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Canadian and Inuit Fine Art Auction MONDAY, MAY 27, 2019


Canadian and Inuit Fine Art Auction MONDAY, MAY 27 2019 AT 7:00 PM


LOCATION OF PREVIEW & AUCTION

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

CANADIAN FINE ART

COVER

416-504-5100 canadianart@waddingtons.ca

Lot 76

SENIOR SPECIALIST VICE PRESIDENT

ON VIEW

Stephen Ranger

Friday, May 24 from 12:00 pm to 7:00 pm

CONSIGNMENT SPECIALIST

Saturday, May 25 from 11:00 am to 5:00 pm Sunday, May 26 from 11:00 am to 5:00 pm Monday, May 27 from 10:00 am to 12:00 pm Select lots may be viewed otherwise by appointment. ALL LOTS CAN BE VIEWED ONLINE AT

www.waddingtons.ca

Anna Holmes

INSIDE FRONT COVER

Lot 39

JOHN GRAHAM COUGHTRY TWO FIGURES, 1962

CONSULTING SPECIALIST

FRONTISPIECE

Linda G. Rodeck

Lot 50

INUIT ART

416-847-6191 inuitart@waddingtons.ca SENIOR SPECIALIST PRESIDENT

Duncan McLean CONSIGNMENT SPECIALIST

Rochelle Konn

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

RITA LETENDRE DYNAMIQUE VS. STATIQUE, 1966 (detail)

This catalogue and its contents © 2019 Waddington McLean and Company Ltd. All rights reserved.

A.J. CASSON ROADSIDE STORE (detail) INSIDE BACK COVER

Lot 62

A.Y. JACKSON SUN AND FOG, GREAT BEAR LAKE (detail) BACK COVER

Lot 63

MARION TUU’LUQ TOGETHER IN SPRING

Photography and design by Waddington’s 


1 CHRISTOPHER PRATT, R.C.A. MARCH CROSSING - SKY VARIATION silkscreen signed, titled and dated “Nov. 1977” in pencil in the lower margin sight 20.75 ins x 32.25 ins; 52.7 cms x 81.9 cms PROVENANCE

Mira Godard Gallery, Toronto Private Collection, Toronto $4,000–6,000

MONDAY, MAY 27, 2019

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2 FREDERICK GRANT BANTING LAKE LOUISE oil on panel 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms PROVENANCE

Private Collection, Toronto

Exhibited

Exhibition of Paintings by the late Sir Frederick Banting, Hart House, University of Toronto, Toronto, Saturday 13th February to Monday 1st March, 1943. $18,000–22,000

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Canadian and Inuit Fine Art Auction

Sir Frederick Grant Banting (1891-1941) is best remembered as the co-discoverer of insulin and co-recipient of the 1923 Nobel Prize in Medicine. He was also a talented amateur painter. As a member of the Arts and Letters Club, Banting knew the Group of Seven, and was influenced by their work. He first met A.Y. Jackson when he showed up at Jackson’s studio eager to purchase a war sketch. Painting provided a welcome break from the pressures of medical research, and he benefitted greatly from the sketching trips he made with Jackson, beginning in 1927. Banting’s work consisted mainly of oil sketches on birch panels painted outdoors in all kinds of weather, according to Jackson in an essay he wrote for Banting’s memorial exhibition in 1943. Banting had sketched with Jackson in Jasper National Park in 1930, but this sketch was made on a second trip (apparently without Jackson) in 1936. Jackson’s influence is present, not only in the subject matter, but also in the simplification of forms and use of colour. Banting died in a plane crash in Newfoundland in 1941.


3 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. STORM CLOUDS - ALGONQUIN PARK, 1963 oil on board signed 12 ins x 15 ins; 30.5 cms x 38.1 cms PROVENANCE

Roberts Gallery Limited, Toronto Private Collection, Toronto $20,000–30,000

MONDAY, MAY 27, 2019

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4 ROBERT WAKEHAM PILOT, P.R.C.A. ÎLE D’ORLÉANS oil on panel signed and dated ‘34 6.5 ins x 8.5 ins; 16.5 cms x 21.6 cms PROVENANCE

Kastel Gallery Inc., Montreal Private Collection, Calgary $5,000–7,000

5 RITA MOUNT, A.R.C.A. LES VOILES ROUGES oil on canvas signed 21 ins x 25 ins; 53.3 cms x 63.5 cms PROVENANCE

Private Collection, Montreal $7,000–9,000

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6 ALAN CASWELL COLLIER, O.S.A., R.C.A. FROM THE HIGH HILL - ACROSS SPROAT LAKE TO PORT ALBERNI oil on canvas signed; titled on the stretcher 24 ins x 32 ins; 61 cms x 81.3 cms PROVENANCE

Roberts Gallery Limited, Toronto Private Collection Toronto $5,000–7,000

MONDAY, MAY 27, 2019

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7 NIVIAXIE ᓂᕕᐊᓯ CAPE DORSET / KINNGAIT TWO BEARS HUNTING stonecut, 1959, 45/50, framed 16.5 ins x 21 ins; 41.9 cms x 53.3 cms $6,000—9,000

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8 PAUTA SAILA ᐸᐊ ᓯᓚ, R.C.A. CAPE DORSET / KINNGAIT DANCING BEAR stone, ivory signed in syllabics 12 ins x 8 ins x 7 ins; 30.5 cms x 20.3 cms x 17.8 cms PROVENANCE

Private Collection, Calgary LITERATURE

Susan Gustavison, Northern Rock: Contemporary Inuit Stone Sculpture (exhibition catalogue), McMichael Canadian Art Collection, Kleinburg, Ontario, 1999.

“I like to use axes when they are properly sharpened. I don’t like using grinders because sometimes they tend to take away too much of the stone. Then I use rasps, followed by files — always working towards finer and finer tools. I file only straight forward, not back and forth, just one stroke at a time. When I am doing a bear, and I have done a lot of those, I start working with the neck area first and then the bottom. I just go by the shape of the stone and decide if there will be one foot up or not. I make sure the base is properly level, trying to tip it a little to make sure that the base is not wobbly.” - Pauta Saila.

$15,000–20,000 MONDAY, MAY 27, 2019

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9 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. ROCK FACE, LITTLE MISSISSIPPI RIVER, 1952 watercolour signed; titled and dated on the reverse 13.25 ins x 17.25 ins; 33.7 cms x 43.8 cms PROVENANCE

Private Collection, Toronto $20,000–30,000

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Canadian and Inuit Fine Art Auction


10 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. LAKE CLARENDON, ARDEN, 1957 oil on panel signed, titled and dated on the reverse 9.25 ins x 11.25 ins; 23.5 cms x 28.6 cms PROVENANCE

Private Collection, Toronto $20,000–30,000

MONDAY, MAY 27, 2019

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11 MARC-AURÈLE FORTIN, A.R.C.A. NUAGES AU-DESSUS D’UN PAYSAGE D’ÉTÉ, CIRCA 1917/1918 oil on panel signed, with catalogue raisonné number H-0093 18.5 ins x 18.5 ins; 47 cms x 47 cms PROVENANCE

Galerie Art & Style, Baie St. Paul, QC Private Collection, Ontario $15,000–20,000

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Canadian and Inuit Fine Art Auction


12 FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A. EVENING, LIMEHOUSE, 1910 oil on canvas signed and dated; also signed and titled on the stretcher 27 ins x 40 ins; 68.6 cms x 101.6 cms PROVENANCE

Private Collection, Vancouver $15,000–25,000

MONDAY, MAY 27, 2019

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13 ROBERT WAKEHAM PILOT, P.R.C.A. SWALLOW-TAIL LIGHTHOUSE, GRAND MANAN, NB oil on canvas signed and dated ‘26 18.25 ins x 24.25 ins; 45.7 cms x 61 cms PROVENANCE

Private Collection, Toronto EXHIBITED

Royal Canadian Academy, Montreal, 1926, no. 197. $15,000–18,000

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Canadian and Inuit Fine Art Auction

Robert Pilot (1898-1967) was born in Newfoundland and knew the Maritimes well. Scenes like the rugged coastline depicted here and other moody seascapes are among his most admired subjects. Sea, sky and rock are prominent in this impressive composition but it is deep in the background where the title subject is found: Swallowtail Lighthouse, and its associated keeper’s house. First lit in 1860, the lighthouse has now been decommissioned as surplus. Today the lighthouse no longer warns marine traffic about imminent danger but attracts tourists who admire the dramatic and romantic view and capture it digitally, as Pilot did over 90 years ago with brush and paint. The year prior to executing this work, Pilot had been accepted as an associate member of the Royal Canadian Academy. He would eventually serve as its president for many years, and continues to hold a special place among Canada’s most celebrated Impressionist-style painters.


14 ROBERT WAKEHAM PILOT, P.R.C.A. LEAVING PORT LUNENBURG, 1927 oil on canvas signed 18.5 ins x 24 ins; 47 cms x 61 cms PROVENANCE

Watson Art Galleries, Montreal Collection of Norman Macfarlane Sr. Private Collection, Montreal EXHIBITED

Fifth Annual Exhibition of Robert Pilot, Watson Art Galleries, Montreal, February 2nd-9th, 1929, no. 27. $20,000–25,000

MONDAY, MAY 27, 2019

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15 FLORENCE CARLYLE, O.S.A., A.R.C.A. BRASS AND COPPER, CIRCA 1916 oil on canvas board signed 16 ins x 12 ins; 40.6 cms x 30.5 cms PROVENANCE

Private Collection, Montville, ME EXHIBITED

148th Exhibition, The Royal Academy of Arts, London, England, Summer 1916, no. 953. $6,000–8,000

16 FREDERICK SIMPSON COBURN, R.C.A. AN INTERIOR WITH MOTHER AND CHILD oil on canvas signed 23 ins x 19 ins; 58.4 cms x 48.3 cms PROVENANCE

Blair Laing Limited, Toronto Private Collection, Hamilton EXHIBITED

Private Obsessions: Works of Art from Hamilton Area Collections, Art Gallery of Hamilton, Hamilton, September 16-January 2, 2000. $5,000–7,000

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17 JEAN PAUL LEMIEUX, R.C.A. PORTRAIT OF JEAN-CHARLES FALARDEAU oil on panel signed and dated 1951 12.25 ins x 10.5 ins; 31.1 cms x 26.7 cms PROVENANCE

Private Collection, Quebec LITERATURE

Guy Robert, Lemieux, Gage Publishing, Toronto, 1975, pages 87, 88 and 92. $50,000–60,000 The subject of this 1951 portrait by Jean Paul Lemieux (1904-1990) is Jean-Charles Falardeau who was a sociology professor at the University of Laval in Quebec City, where Lemieux lived and where their paths would have crossed. Falardeau makes a compelling subject for Lemieux, as they shared many of the same concerns related to French culture and the

relationship between French and English cultures in Canada. In Falardeau’s seminal work, Roots and Values in Canadian Lives, he discussed his professional and personal interactions with both cultures. He remained optimistic about the possibility of harmonious biculturalism in Canada which he felt could provide a positive example to the world. In 1951, the year this work was painted, Falardeau published the essay “French Canada, Past and Present” and also became Assistant Director of the Social Research Centre in the Faculty of Social Sciences at Laval. His career was ascendant and while we do not know why this work was painted, whether as a commission or as a gift of friendship, it captures the 37-year old academic who shared many of the concerns of the painter himself, for whom French culture and the past were also very important.  Interestingly, this painting was created shortly after a period when Lemieux had let his brushes lie fallow for two years, and as Guy Robert notes “The years from 1951 to 1955 mark the period in Lemieux’s long career when his art underwent its most profound transformation.” Lemieux also published an article at this time lambasting the public’s “infatuation with things produced abroad to the detriment of those created at home” and the unwitting selling off of Quebec’s material past (armoires, wooden statues, etc) to American dealers. MONDAY, MAY 27, 2019

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18 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. BEAVER LAKE, NEAR BATCHAWANA, ONT., 1955 oil on panel signed; also signed, titled and dated on the reverse 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms PROVENANCE

Watson Art Galleries, Montreal Agghazy Gallery, Calgary Private Collection, Quebec $12,000–15,000

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Canadian and Inuit Fine Art Auction


19 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. WOODLAND, CIRCA 1953 oil on board signed 12 ins x 15 ins; 30.5 cms x 38.1 cms PROVENANCE

Roberts Gallery Limited, Toronto Private Collection, Ontario $20,000–30,000

MONDAY, MAY 27, 2019

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20 JOHN LITTLE, R.C.A WINDSOR HOTEL, RUE WINDSOR, MONTREAL, 1969 oil on canvas signed; also signed, titled and dated on the stretcher 12 ins x 16 ins; 30.5 cms x 40.6 cms PROVENANCE

Private Collection, Courtenay, BC $8,000–10,000

21 MARC-AURÈLE FORTIN, A.R.C.A. LA PÊCHE EN GASPÉSIE gouache and charcoal on paper, mounted to board signed, with catalogue raisonné number D-0198 19.5 ins x 26 ins; 49.5 cms x 66 cms PROVENANCE

Private Collection, Quebec $15,000–20,000

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Canadian and Inuit Fine Art Auction


22 FRITZ BRANDTNER PORT OF MONTREAL (ROYAL HOUSEHOLD FLOUR, MONTREAL) oil on masonite signed 21 ins x 30 ins; 53.3 cms x 76.2 cms PROVENANCE

Artist’s Studio, Montreal Private Collection, Montreal $6,000–8,000 This work was commissioned directly from Fritz Brandtner (1896-1969), after a watercolour executed by the artist of the port of Montreal.

MONDAY, MAY 27, 2019

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23 PHILIP HENRY HOWARD SURREY, R.C.A. UNTITLED (FIGURE DASHING ACROSS A CITY STREET) oil on masonite signed 16 ins x 20 ins; 40.6 cms x 50.8 cms PROVENANCE

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

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Canadian and Inuit Fine Art Auction


24 TED HARRISON, R.C.A. PEACEFUL YUKON acrylic on canvas signed; also signed, titled and dated ‘83 on the reverse 36 ins x 24 ins; 61 cms x 91.4 cms PROVENANCE

Private Collection, Ottawa $15,000–20,000

MONDAY, MAY 27, 2019

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25 JESSIE OONARK ᔪᓯ ᐃᓇ O.C., R.C.A., BAKER LAKE / QAMANI’TUAQ A WINTER DAY stroud, thread, embroidery floss signed in syllabics on the reverse 15 ins x 51.25 ins — 38.1 cms x 130.2 cms PROVENANCE

Private Collection, Hamilton Upstairs Gallery, Winnipeg LITERATURE

Janet Catherine Berlo in Jules Heller and Nancy G. Heller (eds.), North American Women Artists of the Twentieth Century: A Biographical Dictionary, Garland, New York, 1995. “A strong, bold graphic sense informs all of Oonark’s work. Traditional dress, women’s facial tatoos, and shamanistic themes are common in her art, yet they usually appear as isolated, fragmentary forms, shaped into a graphically bold image rather than a comprehensible narrative. Oonark is also well known as a textile artist, whose wool and felt wall-hangings reveal her as a master of colour and form.” $15,000–20,000

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26 ROGER-FRANCOIS THEPOT LYRICAL STRUCTURE, 1966 acrylic on canvas signed and dated; titled on the stretcher 41.5 ins x 30.5 ins; 105.4 cms x 77.5 cms PROVENANCE

Gallery Moos Ltd., Toronto Private Collection, Toronto $3,000–4,000

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Canadian and Inuit Fine Art Auction


27 PEGI NICOL MACLEOD FREDERICTON FLOWER MARKET oil on canvas with stamped signature; titled on the stretcher and with estate stamp on the reverse 30 ins x 26.25 ins; 76.2 cms x 66.7 cms PROVENANCE

Private Collection, Quebec $6,000–8,000


28 MARC-AURÈLE FORTIN, A.R.C.A. PAYSAGE - STE. ROSE, 1932 oil on canvas signed, with catalogue raisonné number H-0087 22.5 ins x 26.5 ins; 57.2 cms x 67.3 cms PROVENANCE

Private Collection, Kingston, ON LITERATURE

François-Marc Gagnon “The Paradox of Marc-Aurèle Fortin” in Michèle Grandbois (ed.), Marc-Aurèle Fortin, The Experience of Colour, Musée national des beaux-arts du Quèbec, 2011, pages 161-162. $40,000–60,000

Colour, style and subject support each other harmoniously in this classic canvas by Marc-Aurèle Fortin (1888-1970). Vibrant reds, oranges, greens and blues applied cloissone-style in cells, create a bucolic symphony of shape and hue by which Fortin successfully conjures up the patchwork landscape of his beloved Ste. Rose. 1932 was a busy year for the artist. The Art Association of Montreal held the first solo exhibition of his work and he continued to exhibit widely at other venues throughout Montreal that year. Surmounting the risk of over-exposure, on the contrary it seemed the art world could not get enough of his work. One critic wrote: “...each viewing of his paintings brings with it new enchantment. His work is supremely uncommon in this country where art is in so many ways in its infancy.” Unlike his confrères, Suzor-Coté and Gagnon, who also had an interest in “terroir”, Fortin did not see the character of French Canada reflected in climate, and veered away from snow scenes commonly produced by other Quebec artists of his generation. François-Marc Gagnon writes that “Fortin intended to distinguish himself from all that” and quotes the artist’s claim: “I invented green trees. I said there is more to the province of Quebec than snow!” Unlike the Group of Seven, Fortin chose to paint rustic nature rather than wild nature and so was drawn to farmed landscapes like this lot. F.M. Gagnon’s description of Fortin’s preferred subject could easily describe this lot: “little houses with red roofs crushed by the huge elms often roadside; the inevitable hay wagon trundling through his painting.” Life was to change for Fortin, whose father died in 1934, and soon after he would depart Quebec for Europe.

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MONDAY, MAY 27, 2019

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29 FRITZ BRANDTNER POTLATCH, B.C., 1948 oil on masonite signed and dated; also signed, titled and dated on the reverse 8 ins x 10 ins; 20.3 cms x 25.4 cms PROVENANCE

Kastel Gallery Inc., Montreal Private Collection, Montreal $4,000–5,000

30 GEORGE TATANIQ BAKER LAKE / QAMANI’TUAQ DRUMMER stone, ivory, antler, signed in syllabics 5.25 ins x 2.5 ins x 3 ins; 13.3 cms x 6.4 cms x 7.6 cms PROVENANCE

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

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Canadian and Inuit Fine Art Auction


31 JEAN-PHILIPPE DALLAIRE LA SOTTE gouache on paper signed; also signed and titled on the reverse 7.5 ins x 4.5 ins; 19.1 cms x 11.4 cms PROVENANCE

Estate of Joseph Koenig, Guelph, ON $3,000–6,000

MONDAY, MAY 27, 2019

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32 ESTHER WERTHEIMER SPECTATORS bronze, set on a resin base signed and numbered 6/10 measurements including base 6 ins x 9.75 ins x 4 ins; 14 cms x 25.4 cms x 24.8 cms PROVENANCE

Private Collection, Montreal $1,200–1,500

33 ESTHER WERTHEIMER THREE DANCERS bronze, set on a marble base signed and numbered 3/10 measurements including base 41 ins x 53 ins x 19 ins; 104.1 cms x 134.6 cms x 48.3 cms PROVENANCE

Private Collection, Montreal $4,000–6,000

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34 DENIS JUNEAU RONDS ROUGES DANS ROND oil on canvas signed, titled and dated on the reverse 39 ins x 39 ins; 99.1 cms x 99.1 cms PROVENANCE

Carmen Lamanna Gallery, Toronto Private Collection, Toronto $5,000–7,000

MONDAY, MAY 27, 2019

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35 OSUITOK IPEELEE ᐅᓱᐃᑐ ᐃᐱᓕ, R.C.A. CAPE DORSET / KINNGAIT LOON WITH FISH stone, signed in Roman and in syllabics 7 ins x 10 ins x 2.5 ins; 17.8 cms x 25.4 cms x 6.4 cms PROVENANCE

Private Collection, Ontario $3,000—5,000

36 SHEOKJUK OQUTAQ ᓱᐅᔪ ᐅᑯᑕ CAPE DORSET / KINNGAIT LOON stone, signed in syllabics 5.25 ins x 13.5 ins x 3.5 ins; 13.3 cms x 34.3 x 8.9 cms PROVENANCE

Estate of Terry Ryan $3,000—5,000

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37 HENRY EVALUARDJUK ᐃᕙᓗᐊᔪ FROBISHER BAY / IQALUIT POLAR BEAR WITH INSET TEETH stone, antler, signed in Roman and in syllabics, disc number inscribed 7.5 ins x 13 ins x 4.75 ins; 19.1 cms x 33 cms x 12.1 cms PROVENANCE

Private Collection, Texas $4,000—6,000

MONDAY, MAY 27, 2019

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38 JEAN ALBERT MCEWEN, R.C.A. LES FIANÇAILLES #10, 1976 oil on canvas signed, titled and dated on the overflap 40 ins x 40 ins; 101.6 cms x 101.6 cms PROVENANCE

Robertson Galleries, Ottawa Private Collection, Toronto $40,000–50,000 Jean McEwen’s (1923-1999) work explored the dynamic possibilities of using pigment, material, and tone to create sensory and affective experiences. Crucial to his practice was understanding how painting was 40

Canadian and Inuit Fine Art Auction

structured by the materials used to create it. Through clever plays of translucency and opacity, he is able to create images that exuberantly declare their materiality while producing arresting and dreamy aesthetic effects. Les Fiançailles #10, produced during the period following McEwen’s second marriage in 1976, is an intimate examination of how his normally forceful works can take on something delicate and pure. Soft greys and opalescent whites overlay each other in a fragile lattice, a subdued haze of clouds where the underlying structure becomes something hinted at rather than asserted. Faint traces of vertical bands emerge and offer a rhythmic structure to the canvas. Half-perceived bars of blue and yellow recessed in the far background hint at something more forceful underlying the frail surface of the painting, and offer a glimmer of the work’s closely-guarded intimacies. There is a permeability, a sense of transparency that reveals the buoyant depths of paint that seethe and curl beneath the surface. Rendered with an ethereal delicacy, McEwen’s painting is a testament to his skill at balancing accessibility with subtlety, and painterly materiality with the soft gossamer resonance of cloud and colour.


39 JOHN GRAHAM COUGHTRY TWO FIGURES, 1962 oil on canvas signed and dated 60 ins x 48 ins; 152.4 cms x 121.9 cms PROVENANCE

Private Collection, Toronto LITERATURE

Joan Murray, Confessions of a Curator: Adventures in Canadian Art, Dundurn Press, Toronto, 1996. $25,000–30,000

Inspired by jazz, poetry, and Dadaism, John Coughtry (1931-1999) embodied a group of Toronto artists energised in the late 1950s and into the 60s by the potential of abstraction and free-form expression. Infamously, he declared that “every damn tree in the country has been painted” - a feeling which brought impassioned and radical developments by the artists of Isaacs Gallery - a group that included Snow, Wieland, Rayner, Burton, and others. It’s within this context that Coughtry saw fit to return repeatedly, and perhaps unexpectedly, to the figurative: to bodies at once abstracted and resolved by their own energy. Two figures appear to embrace in Coughtry’s painting, intimately caught in a moment of emergent excitement. An electric energy wavers off the figures, framing and anchoring them against a backdrop that flares and pulses with colour. Searing oranges and vivid blues clash and glow, while the walls seem to melt and diffuse around the saturated tangle of bodies. The figures are evasive, preoccupied, difficult to discern; lost in each other’s arms, they almost dissolve into each other. But they are made solid, riveted into existence by Coughtry’s heavily-applied impasto and confident paint strokes. Coughtry presents a world structured by passionate and lyric energy, rich in colour and boiling with physical emotion. MONDAY, MAY 27, 2019 41


40 CHRIS KLINE COURSE, 2007 acrylic on poplin, unframed signed, titled and dated on the stretcher 35.25 ins x 60 ins; 91.4 cms x 152.4 cms PROVENANCE

Private Collection, Montreal $5,000–7,000

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41 RONALD LANGLEY BLOORE ABSTRACT COMPOSITION, 1982 oil and enamel on masonite signed and dated on the reverse 48 ins x 54 ins; 121.9 cms x 137.2 cms PROVENANCE

Private Collection, Toronto $20,000–30,000 Ron Bloore (1925-2009) steadfastly refused to give titles to his works, or even discuss the meaning or content of his art. Instead, he prefers his paintings to directly engage the viewer without any mediation, allowing their immediate perception to determine their reaction to the piece.

“The meaning of any work of art is determined entirely by the individual experiencing it,” Bloore says: what the beholder reveals is an extension of his experience in life, “not a confirmation of what he already knows.” For Bloore, painting is given revelatory power: one that is rooted in the viewer, but demanding a dialogue between lived experience and the image. Bloore’s work from this period was characterised by an interest in experimenting with destabilising the painted surface as a two-dimensional space, seeking to play with surface and texture to create absorbing and expansive works. Here, the dashed static of soft greys and whites dominate the canvas, the paint deeply furrowed in a patchwork field of thin ridges. A strip of flat white runs along the edge, bounding in the heavily textured mottling with a moment of quiet. This conflict between balance and breakage is compounded by the monumental size of the work: the painting seems to oscillate between the stability of the rectangle and a buzz of restless movement that surges across the surface, threatening to break out of frame. Carefully stripped of colour and reference, Bloore invites us to expand our perception into a realm of infinite potential. MONDAY, MAY 27, 2019

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42 ALEXANDER COLVILLE BELL BUOY AND CORMORANT ink and acrylic on paper 9.25 ins x 11.5 ins; 23.5 cms x 29.2 cms PROVENANCE

Collection of the artist Private Collection, Montreal LITERATURE

Tom Smart, Alex Colville, Return, Douglas & McIntyre, Vancouver, 2003, page 54 and page 58 for the silkscreen, Bell Buoy and Cormorant, reproduced in colour. $15,000–20,000

43 ALEXANDER COLVILLE BELL BUOY AND CORMORANT serigraph signed, dated 1985 and numbered 2/70 in pencil in the margin 8.5 ins x 21.25 ins; 21.6 cms x 54 cms PROVENANCE

Mira Godard Gallery, Toronto Private Collection, Montreal LITERATURE

Michael Bell, Colville: Being Seen, The Serigraphs, Carleton University Art Gallery, Ottawa, 1994, page 57 for the serigraph, Bell Buoy and Cormorant, reproduced. $3,000–5,000

The soothing impression left by a cursory glance at a work by Alex Colville (1920-2013) contradicts the abundance of complexity that lies just beneath an ordered surface. His Bell Buoy and Cormorant typifies this paradox. It is a simple enough composition that relies on a classic ratio of sky to sea, and  two motifs to suggest perspective and scale. However, like many Colville compositions there is more here than meets the eye. In his monograph Alex Colville, Return, Tom Smart notes the importance of “ordering” to the artist and remarks on Colville’s keen awareness that everything that is typically relied upon can be upended, abruptly. This may account for the tension that one feels in much of Colville’s work which subverts the quotidian into something unknowable: what is more unsettling than something familiar that isn’t what it purports to be. Here, the orderliness of the composition contrasts with what Smart calls a “vast unknowable and unmappable realm” - the Atlantic ocean. It is a vastness we can only endure, when we feel we control it by marking out dangers - shoals or shipwrecks - or marking escape routes, such as the entrance to channels that take us home, with signposts like the bellbuoy shown here. The cormorant by contrast needs no such markers to find its way and unlike us is comfortable in the air and underwater. Cormorants are excellent divers and are able to propel themselves under water as they hunt for food. In this composition, Colville emphasizes this shore bird’s dual nature by placing his cormorant under the horizon line as though underwater  -  the ocean is a foil to its silhouette.  Colville relied on drawing to organize his ideas and lot 42 is an example of an original work on paper produced by the artist for the serigraph, lot 43. The initial conception has been modified (note how the artist has decided to reduce the ratio of sky to ocean) for the final print image. Colville has compressed the sky and adjusted the aspect ratio to produce a panorama that emphasizes the ocean’s great breadth.

MONDAY, MAY 27, 2019

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44 WALTER JOSEPH PHILLIPS, R.C.A. LEAF OF GOLD watercolour signed sheet 15 ins x 21.75 ins; 38.1 cms x 55.2 cms PROVENANCE

Private Collection, Toronto LITERATURE

Nancy Green, Kate Rutherford and Toni Tomlinson, Walter J. Phillips, Pomegranate, Portland, Oregon, 2013, pages 21 and 29, and page 86 for Leaf of Gold (the woodcut), reproduced in colour. Roger Boulet, The Tranquility and the Turbulence, M.B. Loates Publishing Limited, Markham, 1981, page 170 for the related woodcut Leaf of Gold, 1941 which is based on this lot. $15,000–20,000 46

Canadian and Inuit Fine Art Auction

While W.J. Phillips (1884-1964) is broadly known for his print work, specifically his fine woodcuts, his favorite medium was watercolour. The foundation for the woodcuts was his work executed in watercolour although not every painting he did was turned into a print. Phillips was selective. He wrote: “The art of printmaking is a distinct responsibility. A poor painting may be a crime but only one; a poor print is a crime multiplied by the edition.” This serene watercolour was painted when Canada, in poignant contrast to the composition, was in turmoil, fighting the Second World War. Leaf of Gold, 1941 provided an opportunity for reflection, both literal and figurative. This watercolor was used to inspire the woodcut of the same name, produced in an edition of 100.


45 MANASIE AKPALIAPIK ᒪᓇᓯ ᐊᐸᓕᐊᐱ ARCTIC BAY / IKPIARJUK OWL WITH RAISED TALON bone, musk ox horn 17.5 ins x 16 ins x 10 ins; 44.5 cms x 40.6 cms x 25.4 cms PROVENANCE

Private Collection, Toronto LITERATURE

Heather Igloliorte, “Whale Bone Sculpture Playing Against Type” in Sandra Dyck and Ingo Hessel (eds.), Sanattiaqsimajut, Inuit Art from the Carleton University Art Gallery Collection, Carleton University Art Gallery, Ottawa, 2009, page 89. $3,000—5,000

“Whale bone is undoubtedly one of the most challenging raw materials available to Inuit artists. As a carving medium, it is brittle, porous, and hard, and must be aged fifty to a hundred years before it is suitable for carving, thereby demanding that artists scour beaches and scavenge nineteenth century whaling sites for the oldest sources available. Despite these challenges, the rewards for its use are equally great. Whale bone enables artists to create large scale sculptures that draw on its unique shapes and material properties, often highlighting the evocative contours of the monumental vertebrae, or exploiting its highly expressive and varied textures, which can variously mimic fur, fabric or human skin... and evoke a sense of the ancient with its weather worn appearance”.

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46 FREDERICK ARTHUR VERNER, O.S.A., A.R.C.A. ENCAMPMENT, 1876 oil on canvas signed and dated 14 ins x 28 ins; 35.6 cms x 71.1 cms PROVENANCE

Private Collection, Toronto LITERATURE

Joan Murray, The Last Buffalo, The Story of Frederick Arthur Verner, Painter of the Canadian West, Pagurian Press, Toronto, 1984, pages 56, 57 and 63-65. $30,000–40,000

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By 1874, Frederick Arthur Verner (1836-1928) had hit his stride professionally. Joan Murray writes: “He could devote himself full time to painting and by the spring of 1875 had produced a surprising amount of new work. Among his paintings were his first subjects of evening or night...” This moonlit encampment dates to the following year, 1876, and falls within a period of outstanding accomplishment. Between 1873 and 1876, Verner brought to his painting a greater truthfulness, attention to detail, drama and confidence than he had previously demonstrated. In today’s vernacular, Verner was in “the zone”. This halcyon period of consistently exemplary oil painting ended by 1877 after which, according to Murray, many of his best works would now be executed in watercolour.  This painting, like so many other great landscapes from this period, displays Verner’s “mystical use of distance”. The light of the moon in the deep background illuminates a private domestic scene which Murray suggests “approximates the nineteenth century’s version of the genre picture...families sitting about their ideal home...” She continues: “The way (Verner) painted Indians reveals how he felt about them.” This feeling, which ran quite contrary to the current view of many of his peers, was one of deep respect.


detail

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47 There is much about the success of the career of Alfred Laliberté (1878-1953) that defies probability. He was born JEUNES INDIENS CHASSANT into a modest, farming family in Saint Elizabeth de Warwick, bronze in the region of Arthabaska, Quebec and was expected to signed, titled and inscribed “Andro Fondeur carry on the family business. But Laliberté demonstrated Paris” on the base talent as a teenager, winning a prize for sculpting a bust 14.75 ins x 14 ins x 9.5 ins; 37.5 cms x 35.6 cms x of Sir Wilfred Laurier and found patronage from the local 24.1 cms mayor through whose help he made his way to Montreal. There he studied at the Conseil des arts et manufactures. PROVENANCE His patron encouraged him to travel abroad to advance Private Collection, Montreal his studies and through his help as well as an early version of Go-Fund-Me organized by the newspaper La Presse, LITERATURE Laliberté went overseas. In Paris, he lived in extreme penury, Les bronzes d’Alfred Laliberté, Collection du subsisting on a a diet of milk and bread - for years.  He Musée du Québec, Québec, 1978, pages 7 and 17. returned to Montreal in 1907 having produced a large group of sculptures inspired by rural life in Quebec. Despite Odette Legendre and François Brault, Laliberté, nearly a decade in Montreal and Paris, Laliberté conceded: Fides, Canada, 2001, pages 10 and 22, and pages “Je suis né dans le bois et il reste en moi un per de rusticité...” 22 and 24-25 (detail) of Jeunes Indiens Chassant (large bronze), reproduced in colour. This lot, however, stands apart from his early works both in subject and handling, displaying an exceptional elegance. Nicole Cloutier, Laliberté, Musée des beaux-arts Here, the figures are taut with concentration, as the artist de Montréal, Montréal, 1990, page 15, 19, 23 and succeeds in capturing the moment before the action begins. 92, and page 93 for Jeunes Indiens Chassant By contrast, other works from this period are emotive and (large bronze), reproduced in colour. gestural vignettes of rural people and their stories in which sticks are banished, caps doffed and donned, playing cards $12,000–15,000 dealt (to the devil, no less), jigs danced, fiddles plucked and arms raised in benediction. This subject, however, so captivated the Parisian art cognoscenti that it received an honorable mention when it was exhibited in Paris in 1905 at the Salon des Artistes Français. That work was acquired by the National Gallery of Canada in 1906. According to Nicole Cloutier, “This was only the second Canadian sculpture to become part of the (national) collection.. It was installed in the reception room of the speaker of the Senate.” It remains arguably his finest, most finished of the early sculptures produced during his Paris years 1903-1907. ALFRED LALIBERTÉ, R.C.A.

Various versions, the large bronze, the plaster, the small bronze of this subject, were exhibited from 1905 onward at the Societé des artistes Français, Paris; the Monument National, Montreal; the Art Association of Montreal and Le Club St. Denis, Montreal.

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48 JEAN PAUL LEMIEUX, R.C.A. DAPHNIS & CHLOÉ, 1962 oil on canvas signed and dated; titled, dated and inscribed “À Taschereau Fortier” on the stretcher; also titled on the overflap 7.5 ins x 11 ins; 19.1 cms x 27.9 cms PROVENANCE

Collection of R.F.M. McInnis, 1983 Private Collection, Kingston, ON $30,000–40,000

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Jean Paul Lemieux’s (1904-1990) landscapes in this period are almost bare of topographical detail, with the stoic figures occupying the extreme foreground becoming enveloped by vertiginous horizons and flat fields of colour. Daphnis & Chloé depicts a story of youthful innocence and pastoral love. Here the broad distance is punctuated by indistinct blobs of trees and a drab texture of sky: the focus is on the two central figures. They occupy the scene with frank tension, bringing a sense of balance to the evacuated horizon. They wear nothing but sunburnt nudity and serene expressions, punctuated by a bright flower crown and a visible naiveté. Emphasized by the limited palette, the figures are worked with the same plastic and physical texture as their surroundings. There is a sense of prelapsarian innocence here, an interior harmony between two bodies situated within the wider nature. For Lemieux, the loneliness of human experience situated in the infinite landscape can become something bright and unified, a fertile backdrop for purified emotion.


49 WILLIAM GOODRIDGE ROBERTS, R.C.A FLORA IN AN ARMCHAIR oil on canvas signed; titled and dated ca. 1940 on the stretcher 26 ins x 21 ins; 66 cms x 53.3 cms PROVENANCE

Kenneth G. Heffel Fine Art Inc., Vancouver Heffel Gallery Ltd., Vancouver Private Collection, Vancouver $7,000–9,000

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50 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. ROADSIDE STORE oil on masonite signed; also signed and titled on a label on the reverse 24 ins x 36 ins; 61 cms x 91.4 cms PROVENANCE

Roberts Gallery Limited, Toronto The Estate of Geoffrey Armstrong (by descent) $200,000–300,000

When he joined the Group of Seven in 1926, A.J. Casson (1898-1992) was strongly influenced by the work of its established senior members. This influence gradually diminished as he turned to watercolour as a favoured medium (he was a founding member of the Canadian Society of Painters in Watercolour in 1925) and chose the villages and houses of rural Ontario as his primary subject matter. Looking back on his career from the 1970s, he called it his “Ontario quest.” Casson felt that his particular contribution to Canadian art lay in the preservation of rapidly vanishing rural villages by painting them. Working as a commercial artist for the firm Sampson-Matthews Limited from the mid-1920s until his retirement in 1957 (stepping down from the position of vice-president and art director), Casson was a very talented designer. Integrating domestic structures with their regular shapes and lines into the natural environment engaged his keen sense of design. Casson’s choice of rural villages as a subject also fulfilled his desire to inject some humanity into Canadian painting, which had been dominated by landscapes devoid of figural content throughout the 1920s. Casson would repeatedly return to the subject of the rural village, featuring different types of buildings, often the country store. As his artistic priorities shifted, Casson altered the formal treatment of his paintings, applying greater or lesser degrees of abstraction. Roadside Store is a classic Casson subject painted in 1961, later in his career. The picture is dominated by the store with its many additions, tacked on as necessity required. It is centred horizontally, with all other pictorial elements—barns, trees, threatening clouds— simplified and serving to balance the composition. Casson’s use of abstract patterning, which was pronounced in the later 1940s and 1950s, is now confined to the upper half of the painting. One solitary figure animates the scene. A sense of nostalgia pervades the painting. The jalopy tucked in the garage, the unpaved road, and the buildings, settled comfortably on their foundations beside the sloping road, all speak of a bygone age. Casson was now painting the past. As the youngest member of the Group of Seven, he would become an important resource for their history in the 1970s, around the fiftieth anniversary of the Group’s formation in 1920.

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51 ARTHUR LISMER, O.S.A., R.C.A. NORTHERN LAKE oil on panel signed 11.5 ins x 15.5 ins; 29.2 cms x 39.4 cms PROVENANCE

Private Collection, Vancouver $12,000–15,000

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52 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. OLD MAN RIVER, ALBERTA oil on divided panel signed 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms PROVENANCE

Private Collection, London, ON $12,000–15,000

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53 CORNELIUS KRIEGHOFF INDIAN BASKET SELLER oil on canvas signed 11.25 ins x 9.25 ins; 28.6 cms x 23.5 cms PROVENANCE

Watson Art Galleries, Montreal Collection of Norman Macfarlane Sr. Private Collection, Montreal $18,000–22,000

54 CORNELIUS KRIEGHOFF INDIAN MOCCASIN SELLER WITH PIPE oil on canvas signed 10.5 ins x 8.5 ins; 26.7 cms x 21.6 cms PROVENANCE

Private Collection, Toronto $15,000–20,000

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55 FREDERICK ARTHUR VERNER, O.S.A., A.R.C.A. BUFFALO AT WATERING HOLE watercolour on paper, mounted to board signed and dated 1905 13.5 ins x 20.5 ins; 34.3 cms x 52.1 cms PROVENANCE

Collection of Norman Macfarlane Sr. Private Collection, Montreal $5,000–7,000

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56 ROBERT WAKEHAM PILOT, P.R.C.A. THE FIRST SNOW, TERREBONNE oil on canvas signed and dated ‘48 21 ins x 28 ins; 53.3 cms x 71.1 cms PROVENANCE

Private Collection, Montreal EXHIBITED

Robert W. Pilot, Watson Art Galleries, Montreal, 1949, no. 18. Homage à Robert W. Pilot, Galerie Walter Klinkhoff Inc., Montreal, 1988, no.10. $9,000–12,000

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57 ALBERT HENRY ROBINSON, R.C.A. VILLAGE GOSSIP oil on canvas signed and indistinctly dated 20 ins x 24 ins; 50.8 cms x 61 cms PROVENANCE

Private Collection, Nova Scotia LITERATURE

Jennifer C. Watson, Albert H. Robinson: The Mature Years, Kitchener-Waterloo Art Gallery, 1982, page 14. $18,000–22,000

Prior to traveling to Europe in 1903 to further his training at the Académie Julien, a popular destination for young Canadian painters, A.H. Robinson’s (1881-1956) preferred medium was drawing and to a lesser extent, watercolour. By 1903 or so, he began experimenting with oils. This work was the result of a later trip to St. Malo in the company of A.Y. Jackson, in October 1911. It was a stay of about two months, lasting until mid-December. By 1912, Robinson is recorded as being back in Canada. Robinson also visited Dieppe, Dinard and Saint Severin on that trip. While many of his subjects were seascapes or port scenes, which remained a favorite subject throughout his career, he also produced, though more rarely, street scenes such as this one.

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58 LAURA ADELINE MUNTZ LYALL, O.S.A., A.R.C.A. LADY IN WHITE oil on canvas, laid down on board inscribed on the reverse “From the estate of Robt. H. Reid - London, Ont. (said to be a portrait of Mrs. Robt. H. Reid)” 57 ins x 37.5 ins; 144.8 cms x 95.3 cms PROVENANCE

Private Collection, Toronto LITERATURE

Joan Murray, Laura Muntz Lyall, Impressions of Women and Childhood, McGill-Queens University Press, Montreal & Kingston, 2012, pages 12-13, 15, 21 and 26, and page 21 for the photograph of the oil painting reproduced in the Globe in April 1899. $20,000–30,000

Laura Muntz Lyall (1860-1930) was born in England and immigrated to Canada with her parents when she was ten years old. She loved to draw and paint as a child and eventually attended the Ontario School of Art, forerunner of OCAD University. She pursued further studies in London at the St. John’s Wood Art School in 1889 and by the fall of 1890 was back in Canada where Joan Murray explains, she began studying under George Reid “gaining ideas about drawing and painting the figure from him, particularly the way light sculpts form.” Murray continues: “Reid was now painting full-scale canvases of individuals strongly modelled by light” and Muntz “undoubtedly saw examples of Reid’s work...which had enjoyed considerable success in Paris.” In 1891, Muntz decided to travel to Paris to further her training. She opted to study at the Academie Colarossi as so many Canadians did but also because Colarossi was one of the few academies that accepted women as students. By 1894 she had one of her paintings accepted for exhibition at the Paris Salon which brought her a great deal of cachet. While in Paris Muntz shared her apartment with a young American painter, Wilhemina Hawley. They roomed together from 1893 to 1897 and in their final year together, Muntz painted a full-length portrait of Wilhemina, believed to be this lot. Joan Murray describes it this way: “Here Hawley wears a sumptuous gown and fingers a long chain - perhaps to indicate that this piece of jewellery holds a portrait of someone dear to her.” A photograph of the painting was reproduced in the Toronto Globe a few years later in April 1899, the same year that a portrait of Hawley (no.122) was exhibited at the Women’s Art Association of Canada in Toronto, lent by Muntz. Muntz had returned to Canada a year prior in 1898. While this lot was entrusted to us with a history that presumed it to be a portrait of Mrs. Robert H. Reid of London, Ontario, this seems not to be the case unless Muntz decided to use the original Hawley portrait as inspiration for a commissioned portrait of Mrs. Reid. It seems far more likely that the sitter was incorrectly identified as Mrs. Reid and that this painting is the large portrait that was exhibited both in Paris in 1897 and Toronto in 1899.

Miss W.D. Hawley, 1897. Photograph of original oil painting in the Globe (Toronto), April 8, 1899.

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59 JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. LANDSCAPE WITH TREE oil on board signed with initials 10.5 ins x 8.5 ins; 26.7 cms x 21.6 cms PROVENANCE

Private Collection, Toronto $25,000–35,000

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60 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. BARRY’S BAY (AUTUMN WOODS) oil on panel signed; also signed, titled and dated “Oct. 31, 1952” on the reverse 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms PROVENANCE

Private Collection, Gatineau, QC $12,000–15,000

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61 MARC-AURÈLE DE FOY SUZOR-COTÉ, R.C.A.

This work is one of only two female nude sculptures produced by Marc-Aurèle de Foy Suzor-Coté LA MODÈLE (OR DÉMANGEAISON) (1869-1937), and while the edition size is not indicated bronze on the work, Laurier Lacroix lists only three bronze signed, dated 1925, and inscribed “Roman Bronze casts and four plaster versions of other known casts, Works, N.Y.” and “Copyright Canada & U. States” besides this one, which was included in the National on the base Gallery of Canada’s 2002 exhibition Suzor-Coté: Light 15 ins x 14.5 ins x 11 ins; 38.1 cms x 36.8 cms x 27.9 cms and Air. PROVENANCE

Private Collection, Montreal EXHIBITED

Suzor-Coté: Light and Air, National Gallery of Canada, Ottawa, 2002, cat. no. 126. LITERATURE

Pierre L’Allier, Suzor-Coté, L’Oeuvre Sculpte, Musée du Québec, Québec, 1991, page 85 and pages 84-85 for the painted plaster of La Modèle, reproduced. Laurier Lacroix, Suzor-Coté: Light and Air, National Gallery of Canada, Ottawa, 2002, page 290, pages 294 and 350, cat. no.126 for The Itch (The Model), reproduced in colour. $18,000–22,000

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According to Pierre L’Allier, this 1925 bronze was originally called La Modèle but became known as Démangeaison (or The Itch) by 1926. L’Allier notes that the new title “n’est pas sans evoquer ironiquement les interdits de l’epoque concernant la representation du nu integral.” In conservative Quebec during this period, when the nude female form was rendered in art, the subject was often “clothed” with an allegorical allusion or classically themed title. Not so for The Itch which Suzor-Coté presents unabashedly, and uncensored by such niceties. Laurier Lacroix writes effusively about this fine work: “Here the body’s helicoidal position makes the sculpture interesting from all angles. The laughing, almost flirting figure with her long hair streaming down her back is the personification of lightness and grace. The trivial gesture that gives the work its title becomes an excuse for the revelation of beautiful forms. Suzor-Coté multiplies the planes and viewpoints, and the arrangement of the arms inscribes a wide oval around the body that guides the spectators eyes over the entire height of the sculpture.”


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62 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. SUN AND FOG, GREAT BEAR LAKE oil on canvas signed; titled on the stretcher 21 ins x 26 ins; 53.3 cms x 66 cms PROVENANCE

Lever Bros., Toronto (acquired directly from the artist) George Murray Bertram, Toronto Private Collection, Idaho, USA (by descent) LITERATURE

A.Y. Jackson, A Painter’s Country: the autobiography of A.Y. Jackson, Clarke, Irwin & Company Limited, 1963, page 103.    Dennis Reid, Alberta Rhythm, The Later Work of A.Y. Jackson, Art Gallery of Ontario, Toronto, 1982, pages 17 and 93.    Peter Kujawinski, “Guardians of a Vast Lake and a Refuge for Humanity”, New York Times, Feb 7, 2017. $350,000–400,000 In 1938, Gilbert Labine, owner of the Eldorado Silver Mines on Great Bear Lake, arranged to fly A.Y. Jackson (1882-1974) to that bustling mining community where he reveled in hiking throughout the area, capturing the mining town and its operations from various vantages. Upon his return, Jackson proudly submitted major canvases from this trip for exhibition both in Canada and internationally, including the New York World’s Fair. Today, results of his six - week stay may be found in major collections including the National Gallery of Canada, the Art Gallery of Ontario and the McMichael Canadian Collection.

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Jackson had been to the area a decade before in the company of Frederick Banting and a small coterie of prospectors as guides. It had been an unforgettable trip, not least because of the over-abundance of mosquitoes that were fatally drawn to Jackson’s oil paints, preventing him from working with that medium and compelling him to rely on pencil sketches alone. Jackson had been impressed with the region on that first trip – awestruck by the magnitude of Great Bear Lake, which is some 12,000 square miles and the eighth largest in the world - and was keen to return. Thrilled by the vast scale, Dennis Reid notes that Jackson wrote to his niece, enthusing: “The skies are far away and everything that takes place does it over a thousand square miles.” Describing a less inhabited landscape by Jackson from this same period, one which depicts rugged terrain, rudimentary trees and a “multicoloured carpet of robust plant life”, Reid asks “Is there a place for man in such land?” The answer for Jackson, as evinced by Sun and Fog, is most decidedly, yes. Reid writes: “(Jackson’s) attention would be drawn increasingly to that extensive part of the country that neither contained the soil nor enjoyed the climate to sustain settled life, but that nonetheless drew hardy, adventurous men with its promise of hidden wealth.”   By the early thirties, the settlement had grown considerably and when Jackson returned for his second visit it was home to roughly 200 “hardy, adventurous” people, Hudson Bay Company and RCMP outposts, a post office, a radio station and other government offices.    Jackson was in Port Radium from August 26 to the end of September 1938, when he conceived of Sun and Fog. At that time of year, the area sees its highest amount of precipitation, nearly double that of any other month. The moistness of the air would have resulted in an early morning haze which the rising sun would slowly burn away. In this painting, we see a few workers in the settlement beginning their routine or perhaps heading to the canteen for breakfast before the day begins in earnest. Sun and Fog is a lasting record of this seminal period in the life of an industry which Canada dominated on a global scale – the extraction of radium. Nothing remains of this settlement today and in 2016 the Great Bear Lake watershed was declared a UNESCO Biosphere Reserve, the largest in the world and the first to be led by an indigenous community. 


63 MARION TUU’LUQ BAKER LAKE / QAMANI’TUAQ TOGETHER IN SPRING stroud, thread, embroidery floss, felt signed in syllabics, c. 1977 54 ins x 57 ins; 137.2 cms x 144.8 cms PROVENANCE

Private Collection, Winnipeg, MB EXHIBITED

Marion Tuu’luq, National Gallery of Canada, Ottawa, 2002, no. 18. Illustrated in Exhibition Catalogue. LITERATURE

Marie Routledge, “Examining the Fabric of Art and Life” in Marie Bouchard, Marion Tuu’luq, National Gallery of Canada, Ottawa, 2002, pages 11-15, and page 67 for Together in Spring, reproduced in colour. $20,000–30,000

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“The verb “paint” derives from the Latin root pignere, meaning to paint, but also to embroider or tattoo. In more than one sense it is thus a fitting word to bring to a discussion of the works of Marion Tuu’luq. For some twenty years, this artist painted with woolen fabrics and cotton treads, stitching an art of many layers, both metaphoric and physical. Initially called neevingatah in Inuktitut, which became the rather prosaic “wall hanging” in English, Tuu’luq’s appliqued and embroidered pieces are more aptly described as “works on cloth”. These works have been coloured by the palette of her experience of living in the Canadian Arctic before and during the social, economic, and political transformations that have marked the North for much of the past century – that is, for much of her life. Tuu’luq was born in a remote corner of the Canadian Arctic in the early 1900s, lived a nomadic, camp life for five decades, and then settled in Baker Lake, where she began to create her unique artworks beginning in her late fifties. Her works on cloth speak eloquently about the artist’s fervent attachment to her homeland, about the patterns and rhythms of Inuit life, and about the power and pleasure of creating new spaces of discourse and imagination.”


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64 UNA (JESSIE OONARK) ᔪᓯ ᐃᓇ, O.C., R.C.A. BAKER LAKE / QAMANI’TUAQ TATTOOED FACES stonecut, 1960, 15/50, framed 23.75 ins x 12 ins; 60.3 cms x 30.5 cms PROVENANCE

Estate of Terry Ryan $6,000—9,000

Oonark’s first artistic creations were drawings, six of which were sent to James Houston at the West Baffin Co-operative in Cape Dorset / Kinngait. Two of the drawings—Inland Eskimo Woman/Eskimo Woman and Tattooed Faces — were made into single colour stone cut prints under the name of ‘Una’ at the newly established print shop and were included in the 1960 Cape Dorset print collection and catalogue. It was the first and only time the Cape Dorset print shop included work from an Inuk outside Cape Dorset. More than 100 of Oonark’s drawings would be translated into prints and included in the annual Baker Lake collections and catalogues between 1970 and 1985. 

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65 FRITZ BRANDTNER ABSTRACT COMPOSITION oil on masonite 18 ins x 22 ins; 45.7 cms x 55.9 cms PROVENANCE

Artist’s Studio, Montreal Private Collection, Montreal $10,000–15,000

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66 SOREL ETROG, R.C.A. STUDY II, 1968 bronze signed and numbered 5/10 measurements including base 16 ins x 5 ins x 5 ins; 40.6 cms x 12.7 cms x 12.7 cms PROVENANCE

Private Collection, Toronto $9,000–12,000

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67 KAZUO NAKAMURA, R.C.A. SUSPENDED REFLECTIONS, 1968 oil on canvas signed and dated; also signed and dated on the stretcher 29 ins x 36 ins; 73.7 cms x 91.4 cms PROVENANCE

Private Collection, Toronto $15,000–20,000

Founding member of Painters 11, Kazuo Nakamura (1926-2002) strove to use painting to reveal the “universal patterns” found in nature and science, approaching fundamental and underlying truths through abstraction, repetition, and form. This approach is readily apparent in Suspended Reflections, a compelling work that marks a shift from his earlier stylised landscapes towards the schematic, mathematical grid paintings he would produce in the 1970s and 80s. Here, Nakamura depicts a shuddering lake beneath a tremor of a treeline, all in the same monochrome blue. A blue haze of a sky is hinted at above. The landscape is framed against an indeterminate blue void - not once, but multiple times: the same scene recurs in refracted doublings that recede backwards. Two small sections are segmented out and dappled below. This repetition is reinforced by a bold white laddering along the left-hand edge. The formative geometry comes as a surprise compared to the naturalistic impression of the lake, and self-consciously reveals the structure of the canvas and of the landscape it depicts. Highly analytical and studiously ordered, Nakamura’s paintings are exceptional examples of the productive possibility of fusing landscape and abstraction. MONDAY, MAY 27, 2019

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68 GORDON MCKINLEY WEBBER CABINS AMONG THE TREES, 1933 oil on board signed and dated “Toronto 1933” on the reverse 18 ins x 22.5 ins; 45.7 cms x 57.2 cms PROVENANCE

Family of the Artist, Kitchener, ON LITERATURE

Bruce Anderson, Gordon McKinley Webber: Memories of an Artist, Designer and Teacher, McGill School of Architecture, Montreal, 1996, page 9. $9,000–12,000 In the 1930s Gordon Webber (1909-1965) had the opportunity to study under the tutelage of Arthur Lismer. This influence is readily apparent in the bold colours of Cabins Among the Trees, an excellent early example of Webber’s particular eye for nuance and painterly dynamism. Probably 80

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painted during a long period of respite in Georgian Bay after a leg injury, Cabins is an effusive synthesis of vision, with nature and the built environment blended into one cohesive whole. Nestled in the crook of a treeline are several wood cabins, half-obscured by bright greenery lapping at their side. Devoid of windows or doors, there is a distinct lack of human scale; the houses seem almost like something grown rather than constructed, a product of the forest. A short ladder, fat stumps and logs in the foreground betray this fantasy: this is a human environment, built with purpose. There is however no overt sense of urgency or indignity, and soft glowing sunlight fuses everything together in a peaceful, dreamy atmosphere. This fusion is held in place by the palpable wind which can be heard in the sweeping, amorphous trees and thin film of smoke dripping out of a chimney: the gusts are felt in the liquid play of colour bending across the canvas, almost dissolving the cottages into the trees in one turbulent flow. This beautifully rendered early work is indicative of Webber’s anticipatory interest in modernism, and pre-figures the artist’s later turn to abstraction after studying under an exiled Lazslo Maholy-Nagy at the New Bauhaus in the late 1930s.


69 KENOJUAK ASHEVAK ᑭᓄᔭᐊ ᐊᓯᕗ, C.C., R.C.A CAPE DORSET / KINNGAIT ARRIVAL OF THE SUN stonecut, 1962, 24/50, framed 25 ins x 32.25 ins; 63.5 cms x 81.9 cms PROVENANCE

Private Collection, Victoria, BC $6,000—9,000

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70 DAPHNE ODJIG, R.C.A. ASSEMBLY acrylic on canvas signed and dated ‘77 19.75 ins x 15.5 ins; 50.2 cms x 39.4 cms PROVENANCE

Private Collection, Ontario LITERATURE

Bonnie Devine, et al., The Drawings and Paintings of Daphne Odjig: A Retrospective Exhibition (catalogue), National Gallery of Canada (in collaboration with the Art Gallery of Sudbury), 2007, reproduced in colour, catalogue no.55, unpaginated. $9,000—12,000

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A highly respected, feminist Anishnaabe artist, Daphne Odjig (1919-2016) made an important contribution to contemporary Indigenous art in Canada. Born at Wikwemikong Unceded Indian Reserve, Manitoulin Island, Ontario in 1919, she was a largely self-taught artist whose early work was strongly influenced by Picasso. Her first solo exhibitions, which took place in the 1960s, introduced her work to a wider public. In the 1970s, along with six other Indigenous artists including Alex Janvier, Norval Morrisseau and others, Odjig founded the Professional Native Indian Artists Inc., a collective whose aim was to encourage the development of Indigenous art in Canada. Influenced by the murals and large paintings that she produced at this time, her work became bolder and less tied to the Woodland style of painting.


71 PITALOOSIE SAILA, R.C.A. CAPE DORSET / KINNGAIT WOMAN & SNOW BIRD stonecut 1973, 48/50 24 ins x 16.5 ins; 61 cms x 41.9 cms PROVENANCE

Private Collection, Oakville, ON

LITERATURE

Odette Leroux, Marion E. Jackson and Minnie Aodla Freeman (eds.), Inuit Women Artists: Voices from Cape Dorset, Chronicle Books and Canadian Museum of Civilization, San Francisco, 1996, page 158 for Woman & Snow Bird, reproduced in colour. “I designed it like a shadow, like one part of the face being in the dark. As if it wasn’t brightly lit in the home in those days. Also, a face is different on both sides.”

$7,000–9,000

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72 NORVAL H. MORRISSEAU, R.C.A. THUNDERBIRD acrylic on canvas signed in syllabics 48.75 ins x 50.75 ins; 124.5 cms x 132.1 cms PROVENANCE

Diana Paul Galleries, Alberta Private Collection, Calgary $20,000–30,000

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73 JESSIE OONARK ᔪᓯ ᐃᓇ, O.C., R.C.A. BAKER LAKE / QAMANI’TUAQ UNTITLED stroud, thread, felt, embroidery floss, signed in syllabics 29 ins x 40 ins; 73.7 cms x 101.6 cms PROVENANCE

Private Collection, Oakville, ON $15,000—20,000

Known for both her drawings and wall hangings, Oonark’s decorative, hieratic, brilliantly coloured images come from a lifetime of cutting caribou skins and sewing them into clothes. Oonark was able to create a unique personal vision by combining traditional Inuit images such as the shaman’s flight with hunting scenes and symbols from her experience as a devout Christian. Her work is characterized by flat planes of colour and the constant presence of a female figure. In her large-scale tapestries of the 1970s and 1980s, she combines several narratives in one work.

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74 AISA QUPIRUALU ALASUA POVUNGNITUK / PUVIRNITUQ MOTHER WITH CHILD IN AMAUT stone, ivory, sinew, disc number inscribed, c. 1955 8.5 ins x 7.5 ins x 10 ins; 21.6 cms x 19.1 cms x 25.4 cms PROVENANCE

Private Collection, Toronto $10,000—15,000

The locally sourced dark stone, the inset detail of ivory, the depiction of an Inuit woman and her child, are all trademarks of the works created in Povirnituq during this classic early period of Inuit art. The ‘early master’ artists, of whom Aisa Qupirualu Alasua was one, were born in the early years of the 20th century. They grew up in the harsh and isolated environment of Canada’s Eastern Arctic, initially surviving as traditional hunters, trappers and fishermen before moving their families to the settlement. Their innate powers of observation, the keen awareness of their natural world, and the vital skills of survival needed to live in this unforgiving land combined with a love for family and grounded by a rich and ancient cultural legacy – resulted in some of Canada’s most compelling and influential art. Povirnituq, together with Cape Dorset / Kinngait and Port Harrison / Inukjuak, was one of the three earliest settlements to commercially produce and market Inuit art, starting in 1949.

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75 RAYMOND JOHN MEAD WITHOUT NAME, 1990 acrylic on canvas signed 24.25 ins x 36.25 ins; 61.6 cms x 92.1 cms PROVENANCE

Galerie Dresdnere, Toronto Private Collection, Toronto $5,000–7,000

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76 OSUITOK IPEELEE ᐅᓱᐃᑐ ᐃᐱᓕ, R.C.A. CAPE DORSET / KINNGAIT MOTHER WITH CHILDREN stone 27.5 ins x 10 ins x 8.5 ins; 69.9 cms x 25.4 cms x 21.6 cms PROVENANCE

Private Collection, Toronto LITERATURE

Jean Blodgett, “Osuitok Ipeelee” in Alma Houston, Inuit Art: An Anthology, Watson and Dwyer, Winnipeg,1988, page 46. $10,000–15,000 “His representations of the female range from portrait busts with delicate facial features, long eyelashes, pert noses and elaborate braids, to the buxom figures of his fisherwomen. He pays tribute to the Inuit woman’s ability to fish, sew and care for children, and he frankly admires their physical form.”

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77 THOMAS SHERLOCK HODGSON, R.C.A. ABSTRACT COMPOSITION, 1961 oil on canvas, mounted to board, signed and dated 24 ins x 18.75 ins; 61 cms x 47.6 cms PROVENANCE

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

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78 RITA LETENDRE, R.C.A. DYNAMIQUE VS. STATIQUE, 1966 oil on canvas signed and dated on the reverse 24 ins x 20 ins; 91.4 cms x 61 cms PROVENANCE

Galerie Agnes Lefort, Montreal Galerie Roger Bellemare, Montreal Private Collection, Calgary $25,000–30,000

Rita Letendre (b.1928) demonstrated an early commitment to abstraction. Disaffected with the orthodoxy of the École des Beaux-Arts in Montreal, and having been introduced to Ulysse Comtois and Paul-Émile Borduas, from the beginning of the 1950s she had abandoned figuration altogether: “To make a painting showing a little house on a street, that doesn’t show life,” she said. “I wanted to show the joy of life, its difficulties, its power.” She was included in the final show of the Automatistes in 1954 when she was only in her mid-20s. From there, Letendre threw herself wholeheartedly into abstraction, creating powerful and forceful canvases. Influenced by her work with murals and experimentation with lithography and silkscreening, Letendre’s works produced in the middle of the 1960s were a pronounced move away from thick, gestural brushstrokes of her earlier work towards the flattened and forceful hard-edged period she is best known for. Her paintings in this transitional moment are characterised by heavy contrast between light and dark, using oppositional tones to create dynamic feelings of movement and momentum. The monochromatic Dynamique vs. Statique is a striking example of these sort of tensions. A huge black lozenge is jammed against a white field, nearly piercing through the edge at a single point: the white is bent outwards into a black void, straining from the force. A speared dash of grey emphasizes this dramatic forward thrust and, along with a sliver of lower shadow, suggests an element of three-dimensionality carried over from her earlier use of impasto. There is a sense of a sudden lurch upsetting the stability of the painting, a surgical strike captured at the moment of impact. Compared to some of her wall-sized works, this is more immediate: a localized punch, delivered with urgency. Letendre delivers a visual and empirical tear through the canvas, a breakage of the stable primacy of the rectangle and an exceptional example of her practice. Rita Letendre remains a force in Canadian painting, and is included in the collections of the National Gallery of Canada, the Musée d’Art Contemporain, Musée des Beaux-Arts, and the Royal Bank of Canada. She recently received a major retrospective at the Art Gallery of Ontario, a survey of a career that spans 70 years.

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79 ROLPH SCARLETT ABSTRACT COMPOSITION acrylic on canvas signed 30 ins x 30 ins; 75.6 cms x 76.2 cms PROVENANCE

Private Collection, Toronto $15,000–20,000

A dedicated and consummate modernist, the work of Rolph Scarlett (1889-1984) over the years would span from action painting to surrealism, with stints designing jewellery, household objects, and constructivist stage sets for no less than George Bernard Shaw. When it would come to painting, however, Scarlett insisted that it remained an act of “pure creation”, not referring to anything objective but speaking to universal truths, transcending the boundaries of the outside world. To this end, possibly his most accomplished pieces would be his work with geometric abstraction, produced during the post-war years. This is masterfully demonstrated here: bright, dynamic colours are playfully arranged in a harmonious, fluid arrangement, producing an exceptionally accomplished example of his style. Large lozenges and bold darts kaleidoscope across a light-blue field, while dots and slashes dance around in a constellation of colour. New colours emerge as shapes overlay each other in semi-transparent folds, almost as if they were cut out of cellophane. Scarlett was undoubtedly a painter ahead of his time. An early champion of Scarlett’s was Hilla von Rebay, the first director of the Museum of Non-Objective Painting (later the Solomon R. Guggenheim Museum); 60 of his paintings, gouaches, and monoprints were included in the collection. His works are included in the collections of the Montreal Museum of Fine Arts, the Solomon R. Guggenheim collection - which still has over 30 of his works - and the Los Angeles County Museum of Art.

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80 JAN POLDAAS RED, BLACK, BLUE ENTROPY, 1981 oil on canvas, mounted to board, unframed signed, titled and dated on the reverse 63.5 ins x 14 ins; 161.3 cms x 35.6 cms PROVENANCE

Private Collection, Pelee Island, ON $5,000–7,000

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81 ROGER-FRANCOIS THEPOT BLACK SYMPHONY, 1966 acrylic on canvas signed, titled and dated on the stretcher 44.25 ins x 56.5 ins; 143.5 cms x 112.4 cms PROVENANCE

Gallery Moos Ltd., Toronto Private Collection, Toronto $6,000–8,000

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82 SOREL ETROG, R.C.A. THE COUPLE bronze measurements including base 17.25 ins x 3.25 ins x 3.25 ins; 34.9 cms x 8.3 cms x 8.3 cms PROVENANCE

Private Collection, Ontario $8,000–10,000

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83 JACK HAMILTON BUSH, O.S.A., A.R.C.A. LINCOLN CENTRE colour screenprint signed, dated 1974 and numbered 117/144 in pencil 61.5 ins x 38 ins; 156.2 cms x 96.5 cms PROVENANCE

Contemporary Royale, Vancouver Private Collection, Toronto $12,000–15,000 In 1953 Jack Bush (1909-1977) and associates formed Painters 11 as a mechanism to promote exhibitions exclusively dedicated to abstract art. Throughout the late 1950s and into 1962 the art of Bush and P11 could be characterized as a generation of Abstract Expressionists raised in a particularly Canadian context, insulated from post-war international influence and allowed to develop within the individual milieus of Toronto and Montreal. After a visit to New York and an introduction to Clement Greenberg, Bush’s abstraction matured with nuanced application of vivid colours and streamlined, all-over composition. Lincoln Centre comes at a time when Bush was producing his most personal works, synthesizing floating blocks of contrasting colour with the deliberate lyricism characteristic in his paintings of the late 60s. Large, simple forms are eliminated of superfluous detail and becoming exuberantly self-declarative. This was often achieved as can be seen here: a near-primary colour palette is executed over muted, neutral open fields, foreground made distinct from background. The expected colour rhythms of a yellow-blue-red chord is quickly agitated by the addition of forest green and a cool neutral grey. The sweeping slabs are confidently thrust forward by a dominant peach-coloured wing that is hinged to the side, and the bold colours become a totem in motion. Splashed blue is slashed into the lower margin, further suggesting that the colour is barely contained by the tan backdrop, and providing a shock of energy within the constraints of printmaking. Orchestrated with confident and lyric gesture, this is an exceptional example of why Bush remains one of Canada’s foremost modernists. MONDAY, MAY 27, 2019

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84 OSUITOK IPEELEE ᐅᓱᐃᑐ ᐃᐱᓕ, R.C.A. CAPE DORSET / KINNGAIT SEDNA SWIMMING WITH HER YOUNG stone signed in syllabics and Roman, c. 1970 16.5 ins x 8 ins x 10 ins; 41.9 cms x 20.3 cms x 25.4 cms LITERATURE

Jean Blodgett, “Osuitok Ipeelee” in Alma Houston, Inuit Art: An Anthology, Watson and Dwyer, Winnipeg, 1988, page 46. $5,000–7,000 Jean Blodgett notes: “The sea goddess, Taleeyayo, the mythological creature with a mermaid-like body who was believed to control the animals that people hunted, is a popular subject for Inuit carvers. Osuitok has done a number of representations of the sea goddess...”

85 ULYSSE COMTOIS LUMIÈRE SUR LE JARDIN, 1982

oil on canvas signed and dated; also signed, titled and dated on the reverse 24 ins x 30 ins; 61 cms x 76.2 cms PROVENANCE

Waddington & Gorce Inc., Montreal Private Collection, Montreal $6,000–8,000

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86 OSUITOK IPEELEE ᐅᓱᐃᑐ ᐃᐱᓕ, R.C.A. CAPE DORSET / KINNGAIT STANDING CARIBOU stone, antler signed in syllabics, 1990 21.5 ins x 12 ins x 3.5 ins; 53 cms x 30.5 cms x 8.9 cms PROVENANCE

Images Boréales, Montreal, 1990 The Collection of Bill Johnstone LITERATURE

Susan Gustavison, Northern Rock: Contemporary Inuit Stone Sculpture, (exhibition catalogue), McMichael Canadian Art Collection, Kleinburg, Ontario 1999, pg. 64

$15,000—20,000 “When I’m doing a caribou, I first make the outline of the animal starting with the muzzle, the nose, and then I work my way down to the body. Then I work on the leg areas. The standing caribou are more difficult than the kneeling ones. I work with files when I am doing the legs and ears. The ears are the last thing I do because they tend to break off. So I finish with those. I don’t use the grinder to make the form because sometimes there are areas that you tend to cut into too deeply, something you’re not supposed to do. I prefer to use an axe and a saw. Also I use files that you use for steel (rasps) and then I switch to files for the finer work. For balancing I make sure the base is smooth and flat so that the caribou doesn’t tip to the front or side. I just make sure that the bottom of the hooves is perfectly level. I use a level like carpenters use in construction work. I make sure the base is a little bit thick before I start to get it level.” - Osuitok Ipeelee

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87 JACK LEONARD SHADBOLT, R.C.A. AFRICAN DREAM SERIES (DARK LAND) acrylic on canvas, unframed signed and dated “’59/’75-’97”; titled on the overflap 48.5 ins x 36 ins; 123.8 cms x 91.4 cms PROVENANCE

Bau-Xi Gallery Ltd., Vancouver Equinox Gallery. Vancouver Private Collection, Vancouver LITERATURE

Scott Watson, Jack Shadbolt, Douglas & McIntyre, Vancouver & Toronto, 1990. p 204. $8,000–10,000 100 Canadian and Inuit Fine Art Auction

In Dark Land, a smouldering field is built up over a red ground, providing a dripping backdrop for teetering striped towers. Smoke seems to billow out of the multicoloured pillars. A haze of hypersaturated purple wavers across the top of the canvas, enclosing around the shuddering totems. This isn’t a landscape necessarily - more a psychic impression, a smudge on the subconscious constructed out of holistic memory and mirrored experience. Jack Shadbolt’s (1909-1998) paintings of this time were mining the past, borne out from “a private mythology… built from multicultural references and images from his own past production.” On the verso, red paint is thickly worked in a rough background; it’s unclear if this is a continuation of the dream sequence or a separate, unfinished work.


88 JACK LEONARD SHADBOLT, R.C.A. UNTITLED acrylic on canvas, unframed signed and dated “’77-’97” 58 ins x 48 ins; 147.3 cms x 121.9 cms PROVENANCE

Equinox Gallery, Vancouver Private Collection, Vancouver LITERATURE

Scott Watson, Jack Shadbolt, Douglas & McIntyre, Vancouver & Toronto, 1990. p 204. $15,000–20,000

For Shadbolt, structure is what emerges from a fusion of matter and memory: “What I am thinking of is a form which would seem to indicate the very live organic process, not imposed from the outside by the artist through stylization but in which nature itself seems to be yearning to reveal itself as reaching from an inchoate state toward a declaration of abstract structure.” Here, smattered red amoebas are scattered across a purple field, separated by narrow vertical striped elements - we can think of dappled sunlight through a dawn forest, or leaves shaken free from the first frost. Below, a patchwork of greens, browns, and reds seems to suggest a vegetative floor or tangled deadfall. By offering a subtle twist to the landscape tradition, Shadbolt depicts visualizations of the vital, irrational forces and primeval turbulences that construct the natural world.

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89 FERNAND LEDUC VIBRATIONS SUR JAUNE, 1963 oil on linen signed and dated on the reverse 23.5 ins x 28.5 ins; 59.7 cms x 72.4 cms PROVENANCE

Galerie Roger Bellemare, Montreal Private Collection, Calgary $15,000–20,000

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Fernand Leduc’s (1916-2014) later works became more invested in plasticien theories, exploring the interactions of colour and form. Produced during Leduc’s extended stay in Paris, Vibrations sur Jaune introduces a sense of delicacy and movement to the hard-edged geometries typical of his work in this period. A thin rift of green and red splits the yellow canvas in two, while cracks of red and blue convulse and billow across the broad fields. The ripples of colour stitch through the work with an intense, trembling force, creating a painting that seems to glow with pulsating energy.


90 JUDAS ULLULAQ ᔪᑕ ᐅᓗᓚ GJOA HAVEN / UQSUQTUUQ SPIRIT HUNTER stone, antler 13.5 ins x 9 ins x 6 ins; 34.3 cms x 22.9 cms x 15.2 cms PROVENANCE:

Private Collection, Oregon $4,000—6,000

91 TONI ONLEY, A.R.C.A. ZIHUATANEJO, 1961 oil on paper, mounted to board, unframed signed and dated; titled on the stretcher 35.5 ins x 44.75 ins; 90.2 cms x 113.7 cms PROVENANCE

Private Collection, Vancouver $5,000–6,000

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92 MAXWELL BENNETT BATES, R.C.A. PRAIRIE SHACKS oil on canvas signed 24.25 ins x 30.25 ins; 61 cms x 76.2 cms PROVENANCE

Private Collection, Calgary EXHIBITED

Exhibition 1965, Canadian Group of Painters, Victoria, 1965. $6,000–8,000

93 JACK LEONARD SHADBOLT, R.C.A. UNTITLED (J3), 1956 pastel on paper signed and dated 28.5 ins x 35.75 ins; 72.4 cms x 90.2 cms PROVENANCE

Equinox Gallery, Vancouver Private Collection, Vancouver $5,000–7,000

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94 GORDON MCKINLEY WEBBER UNDER CONSTRUCTION oil on canvas 24 ins x 26.25 ins; 61 cms x 66.7 cms PROVENANCE

Family of the Artist, Kitchener, ON $10,000–15,000 An early influence on Gordon Webber was the contemporary Mexican muralism movements. He made several trips to Mexico in the 1930s, where he met with several Mexican artists and had the opportunity to study the frescoes and mural traditions. He returned with a sense of the rhythmic relationships between labour and the country, and the capacity for the social

significance of painting: “Upon returning to Canada I realized for the first time that in our own country there is a different tempo of life and custom that we can develop as artists and teachers”. Undoubtedly those lessons were quickly applied to his domestic work. Here we are shown a mythic scene of nation building among nature. A bright brick building of red and yellow is erected on a landscape characterised by muddy grey snow banks and bare, swirling trees. Workmen fade into the background, echoing both the gouged landscape and the manufactured materiality of brick and metal. Branching tendrils from a central tree stream across the canvas, stitching the disparate elements together in an all-embracing screen. This can be read as almost a pleading - the death throe of nature in the face of industry - or a Madonna-like maternal sacrifice to the progress and nation-building. Almost abstract in composition, Under Construction is an excellent example of Webber’s early interest in the social possibilities of art. MONDAY, MAY 27, 2019

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95 ATTRIBUTED: MICHAEL AMAROOK BAKER LAKE / QAMANI’TUAQ MOTHER AND CHILD stone, c. early 1960’s height 17 ins; 43.2 cms PROVENANCE

Private Collection, Toronto $4,000—6,000 For a closely related work, see George Swinton’s, Sculpture of the Eskimo, 1972, page 222.

96 PETER SEVOGA ᐱᑕ ᓯᕗᒐ BAKER LAKE / QAMANI’TUAQ MAN WITH RAISED ARM stone, signed in syllabics 18 ins x 10 ins x 10 ins; 45.7 cms x 25.4 cms x 25.4 cms PROVENANCE

Private Collection, Mississauga $2,500—3,500

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97 BARNABUS ARNASUNGAAQ ᐸᓇᐸᓯ ᐊᓇᓴᒐ BAKER LAKE / QAMANI’TUAQ

LITERATURE

Susan Gustavison, Northern Rock: Contemporary Inuit Stone Sculpture, (exhibition catalogue), McMichael Canadian Art Collection, Kleinburg, Ontario 1999, pg. 109.

MUSK OX ATTACKED BY WOLVES stone “I made all those grooves with a file to make it white. When I 13.5 ins x 19 ins x 13 ins; started carving I used to make the musk ox smooth, but then 34.3 cms x 48.3 cms x 33 cms I thought that it didn’t look like fur. So I started making those grooves. It was a lot of work making rows and rows of marks, PROVENANCE but I got it into my mind that was what I wanted, so I did it.” Private Collection, Toronto “I don’t know where I get my ideas. I can’t recommend any, $8,000—12,000 because it’s all in my mind. I look inside myself. Sometimes, before going to bed, I carefully examine the stone. And in the morning, I know what it will be.” -Barnabus Arnasungaaq.

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98 ARTHUR SHILLING OJIBWAY DREAMS, 1982 oil on canvas signed and dated; titled on the stretcher, with estate stamp 36 ins x 24 ins; 91.4 cms x 61 cms PROVENANCE

Roberts Gallery Limited, Toronto Private Collection, Oakville $6,000–8,000

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99 ARTHUR SHILLING FIGURE STUDY, 1979 oil on canvas signed and dated 30 ins x 40 ins; 76.2 cms x 101.6 cms PROVENANCE

Sundance Gallery, Calgary Private Collection, Calgary $5,000–7,000

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100 LUKE AIRUT IGLULIK / IGLOOLIK ELABORATELY CARVED WALRUS SKULL bone, ivory and stone, signed in Roman 11 ins x 23 ins x 10 ins; 27.9 cms x 58.4 cms x 25.4 cms PROVENANCE

Private Collection, Switzerland $5,000—7,000

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101 VALERIE PALMER MISERINA, 1991 oil on canvas signed 45 ins x 52 ins; 114.3 cms x 132.1 cms PROVENANCE

Nancy Poole’s Studio, Toronto Private Collection, Toronto $10,000–15,000 The borders between interior and exterior lives are dissolved into each other or made ambiguous in Valerie Palmer’s (b. 1950) practice. Windows become either portals to other worlds or else are flat planes, jealously concealing themselves from outside viewers. Stoic figures populate the landscape but seem apart from it, and benign expressions to become pensive or restless as they try to situate

themselves in overcast skies. Though at first glance Palmer’s scenes may appear apprehensive, they are never bleak or overly dark, and further reflections reveal them to be permeable spaces filled with nuanced, turbulent energy. This vital unease can be readily seen in Miserina. Three figures are placed in an indistinct twilit landscape. There is no dialogue between them; each seems to be preoccupied with their own thoughts: a plaster mask, hands anxiously knit together, a lamp casting dingy light. The house in the distance seems precipitously perched on an edge of a cliff, before the dark sliding sea and a coldly glowing horizon beyond. Partially obscured by trees, it glows with the same interior light as the lamp, but is strangely only half-illuminated. The main building is black, indistinct, a void, while the smaller structure is thrust forward, detailed with white cladding and brick. A surreal undertow is deepened by slightly-off details -- a too-tall door has no handle; a small lamp is nestled in the gable; a bright brick chimney protrudes and is cut short -- that seem to suggest that this is a house out of place, or that this family (if it is a family) is apart from it. Displaced but palpably present, Valerie Palmer’s paintings are subtly surreal, psychologicallycharged fusions of landscape and portraiture. MONDAY, MAY 27, 2019

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102 CLAUDE TOUSIGNANT, R.C.A. TWO WORKS: D2, 1981 AND D2, 1982 each acrylic on card the first signed, titled and dated “14-4-81” on the reverse; the second signed, titled and dated “22-1-82” on the reverse diameter each height 9.5 ins; 24.1 cms PROVENANCE

Private Collection, Toronto $3,000–5,000

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103 DAVID GERRY PARTRIDGE, R.C.A. A FLIGHT OF MOUNTAINS nails, mirror, metal measurements including base 101.5 ins x 48 ins x 19 ins; 257.8 cms x 121.9 cms x 48.3 cms PROVENANCE

Royal Canadian Academy, Toronto $4,000–6,000 MONDAY, MAY 27, 2019

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104 SYDNEY HOLLINGER WATSON, P.R.C.A. THE CUP oil on canvas signed 55.5 ins x 23.5 ins; 141 cms x 59.7 cms PROVENANCE

Private Collection, Toronto EXHIBITED

Royal Canadian Academy of Arts, 87th Annual Exhibition, Art Gallery of Toronto, Toronto, March 21st to April 19th, 1959, no. 79. $3,000–4,000

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105 LATCHOLASSIE AKESUK ᓚᓴᓚᓯ ᐊᑲᓴ CAPE DORSET / KINNGAIT SEAL stone, c. 1970 11.5 ins x 6 ins x 5.25 ins; 29.2 cms x 15.2 cms x 13.3 cms PROVENANCE

Private Collection, Mississauga $2,500—3,500

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106 GERSHON ISKOWITZ, R.C.A. ORANGE MAUVE-F oil on canvas signed, titled and dated 1980 on the reverse 42.25 ins x 36 ins; 107.3 cms x 91.4 cms PROVENANCE

Artist’s Studio, Gershon Iskowitz Foundation $12,000–15,000

107 GERSHON ISKOWITZ, R.C.A. YELLOW PAINTING-D oil on canvas signed, titled and dated 1983 on the reverse 26 ins x 39 ins; 66 cms x 99.1 cms PROVENANCE

Artist’s Studio, Gershon Iskowitz Foundation $9,000–12,000

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108 VICTOR CICANSKY, R.C.A. UNTITLED painted bronze with glass top measurements including glass 55 ins x 19 ins x 31.5 ins; 139.7 cms x 47 cms x 80 cms PROVENANCE

Private Collection, Toronto $8,000–10,000

Victor Cicansky (b.1935) is a sculptor who is characterised by his wryly playful contrasts of materials and subject. This sculpture is a defining example of his approach, straddling the boundaries between the natural and the constructed, density and weightlessness, sculptural art object and functional tool. Here, solid bronze is strung out and striated into a tangle of branches and leaves. Painted ripe pears and a bird’s nest complete

the illusion of a tableau that has been excised from the tree tops and literally grounded. Above the knotted branches, the glass table seems to float - a cushion of air, perhaps, or a nearinvisible border hinting at the imaginary canopy extending above. Hovering on the margins of reality, Cicansky presents a dreamy and whimsical take on the natural world, rendering it both near-at-hand and fantastic.

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109 JOE NORRIS LOWER PROSPECT acrylic on canvas, laid down on board signed and titled 23.5 ins x 27.75 ins; 59.7 cms x 70.5 cms PROVENANCE

Private Collection, Toronto $3,000–4,000

110 LUCY QINNUAYUAK ᓗᓯ ᑭᓐᐅᐊᔪᐊ CAPE DORSET / KINNGAIT LARGE BEAR stonecut, 1961, 26/50, framed 21.25 ins x 30 ins; 54 cms x 76.2 cms PROVENANCE

Private Collection, Massachusetts $6,000—9,000

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111 ABRAHAM ETUNGAT ᐊᐃᐊᔭᑲ ᐃᑐᒐ, R.C.A. CAPE DORSET / KINNGAIT MAN CATCHING BIRD stone 14 ins x 7 ins x 2.5 ins; 35.6 cms x 17.8cmsx 6.4 cms PROVENANCE

Private Collection, Toronto $2,000—4,000

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112 MARY PRATT, R.C.A. DONNA IN BATH watercolour 23.5 ins x 17 ins; 59.7 cms x 43.2 cms PROVENANCE

Douglas Udell Gallery, Edmonton Private Collection, Vancouver $8,000–12,000

113 HENRY EVALUARDJUK ᐃᕙᓗᐊᔪ FROBISHER BAY / IQALUIT BUST OF A WOMAN stone, signed in syllabics, dated 1968 12.5 ins x 11 ins x 6 ins; 31.8 cms x 27.9 cms x 15.2 cms PROVENANCE

Private Collection, Mississauga $1,500—2,500

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114 WALTER JOSEPH PHILLIPS, R.C.A. JACK PINE woodcut, printed in colours, signed, titled and numbered 87/100 in pencil in the lower margin 9.5 ins x 10 ins; 24.1 cms x 25.4 cms PROVENANCE

Private Collection, Toronto $3,000—3,500

MONDAY, MAY 27, 2019

121


115 WILLIAM GOODRIDGE ROBERTS, R.C.A STILL-LIFE WITH ROSES, APPLES AND A BOOK oil on masonite signed 12 ins x 16 ins; 30.5 cms x 40.6 cms PROVENANCE

Private Collection, Quebec $4,000–6,000

116 MOLLY LAMB BOBAK, R.C.A. STILL-LIFE WITH FLOWERS AND A LEMON

oil on canvas board signed and dated ‘56 30 ins x 20 ins; 76.2 cms x 50.8 cms PROVENANCE

Bennett’s Antique Gallery, Montreal Private Collection, Montreal $5,000–7,000

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117 MARC-AURÈLE FORTIN, A.R.C.A. LANDSCAPE WITH GREEN TREES, CIRCA 1929/1930 watercolour signed, with catalogue raisonné number A-0855 13.25 ins x 19.5 ins; 33.7 cms x 49.5 cms

At one point early in his career, Marc-Aurèle Fortin abandoned the use of watercolour out of pure frustration. Nonetheless, by the mid-twenties he had taken it up again having “finally achieved mastery of the extremely temperamental medium.” Eventually, Fortin would describe his great passion for watercolor as a “mania”.

PROVENANCE

In this composition, Fortin relies on a trusted arrangement of trees to the left, a repoussoir device that encourages the viewer onto a path dappled with sunlight that has pierced the trees’ leafy boughs. Once on that path, we join several small figures in the distance. The mid-ground is a fertile valley dotted with fields sewn with various crops at different stages EXHIBITED of development, delineated by the split-rail fence and the Musée Marc-Aurèle Fortin, Montreal, 23 Janvier rolling hills beyond. It seems like a simple enough scene but 1985 au 19 Mai 1985, no. P.198. unlike other watercolours by Fortin which sometimes rely on retouching with charcoal and pastel, this work is an entirely LITERATURE “pure”, luminous watercolour. The result is dazzling. Michèle Grandbois (ed.), Marc-Aurèle Fortin, The Experience of Colour, Musée national des beauxarts du Quèbec, Quèbec, 2011, page 33, 102.

Gerard Gorce Fine Arts Inc., Montreal Gallery Gills Saint-Pierre Roberts Gallery Limited, Toronto Private Collection, Ontario

$12,000–15,000

MONDAY, MAY 27, 2019

123


118 MANLY EDWARD MACDONALD, R.C.A. THE DISK - HARROW oil on canvas board signed 12 ins x 15 ins; 30.5 cms x 38.1 cms PROVENANCE

Private Collection, Toronto $5,000–7,000

119 RANDOLPH STANLEY HEWTON, R.C.A. SUMMER LANDSCAPE oil on canvas signed; with estate stamp no.45A 20 ins x 24 ins; 50.8 cms x 61 cms PROVENANCE

Arthur Leggett Fine Arts Limited, Toronto Private Collection, Stratford, ON $5,000–7,000

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Canadian and Inuit Fine Art Auction


120 JOHN WILLIAM BEATTY, O.S.A., R.C.A. LAKE WITH SCREEN OF BIRCH TREES oil on canvas, laid down on board signed 18 ins x 22 ins; 45.7 cms x 55.9 cms PROVENANCE

Private Collection, Vancouver $20,000–25,000

MONDAY, MAY 27, 2019

125


121 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. MOUNT HURD, B.C. oil on panel signed 12 ins x 15.5 ins; 30.5 cms x 39.4 cms PROVENANCE

Private Collection, Vancouver $6,000–9,000

122 JOHN WILLIAM BEATTY, O.S.A., R.C.A. BEFORE THE STORM oil on canvas board signed 10 ins x 12 ins; 25.4 cms x 30.5 cms PROVENANCE

Private Collection, Victoria $5,000–6,000

126

Canadian and Inuit Fine Art Auction


123 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. POPLAR WOOD oil on panel signed; also signed and titled on the reverse 12 ins x 15 ins; 30.5 cms x 38.1 cms PROVENANCE

Roberts Gallery Limited, Toronto Private Collection, Toronto $20,000–30,000

MONDAY, MAY 27, 2019

127


124 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. THE PORTAGE oil on board signed and titled on the reverse 5.75 ins x 8 ins; 14.6 cms x 20.3 cms PROVENANCE

Kastel Gallery Inc., Montreal Private Collection, Quebec $7,000–9,000

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Canadian and Inuit Fine Art Auction


125 ARTHUR LISMER, O.S.A., R.C.A. GEORGIAN BAY oil on board signed; also signed and dated “Aug. 1968’ on the reverse, with estate stamp 8.5 ins x 5.75 ins; 16.5 cms x 21.6 cms PROVENANCE

Masters Gallery Ltd., Calgary Private Collection, Calgary $8,000–10,000

126 JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. EARLY SNOW AT HIGH PARK, 1913 oil on board signed “J. Mac” 7 ins x 9 ins; 17.8 cms x 22.9 cms PROVENANCE

Sotheby’s Toronto, May 3rd and 4th, 1983 (lot 103) Canadian Fine Arts, Toronto Private Collection, Toronto $12,000–15,000

MONDAY, MAY 27, 2019

129


127 C.I. GIBBONS MAPLE LEAF coloured pencil and graphite signed and inscribed “Toronto, Ont.” sheet 20 ins x 31.5 ins; 50.8 cms x 80 cms PROVENANCE

Private Collection, Ontario LITERATURE

Robert B. Townsend, Tales from the Great Lakes, Dundurn Press, Toronto, page 82. Robert Shipley, Schooners (Great Lake Album Series), Vanwell Pub Ltd., St. Catharines, 1991, cover for this lot, illustrated in colour. $5,000–7,000

130

Canadian and Inuit Fine Art Auction

Maritime portraits are a fascinating and specialized genre. Often they are commissioned by a ship’s proud owner or captain, at other times they are painted to commemorate a memorable or even heroic event associated with the vessel. We do not know why C.I. Gibbons painted the Great Lakes schooner, the Maple Leaf, but we do know she was considered  “the comeliest little schooner on Lake Ontario”. Robert Shipley selected this painting to illustrate the cover of his 1991 publication Schooners.  Built in 1867, the Maple Leaf was used as a “stone hooker” grabbing stones from the bottom of Lake Ontario and hauling them to shore as building material for the foundations of a young Toronto. Richard Goldring, her Captain, was barely out of his teens when he first began to sail her, which he continued to do for many decades. The Maple Leaf and Goldring had a rich history together: He “brought her safely through the Great Gale of 1880 and brought her back to life after the Great Esplanade Fire of 1885.” Maple Leaf remains a symbol of a time when skill, rigor, pluck, and hard work, with the promise of only modest rewards, were a matter of course for those who made their livelihood sailing the Lakes.


128 C.I. GIBBONS RIVET coloured pencil and graphite signed, dated 1880 and inscribed “Toronto, Ont.” sheet 19.5 ins x 27 ins; 49.5 cms x 68.6 cms PROVENANCE

Private Collection, Ontario $5,000–7,000

The Rivet was built by W. Simons & Co. of Renfrew, Scotland in 1856, and was brought to Canada on a steamer. The Rivet was a frequent competitor over the years at the Royal Canadian Yacht Club (RCYC) in Toronto, winning the first regatta that honoured the Prince of Wales (later to be King Edward VII) in 1860, establishing the Prince of Wales Cup. This elegant boat served as a yacht until 1890, when it became a steam ferry in Hamilton until 1912. There is now a half-hull model of the Rivet on display at the RCYC, representing the legacy of the yacht as a ‘cutter’.

MONDAY, MAY 27, 2019

131


129 FREDERICK ARTHUR VERNER, O.S.A., A.R.C.A. AFTER THE GALE, TYNEMOUTH watercolour signed and dated 1896; also signed and titled on the reverse 7 ins x 11.75 ins; 17.8 cms x 29.8 cms PROVENANCE

Private Collection, Toronto $2,000–3,000

132

Canadian and Inuit Fine Art Auction


130 OCTAVE HENRI JULIEN SLEDGE RACE watercolour on paper, laid down on board signed 10.75 ins x 17.75 ins; 27.3 cms x 45.1 cms PROVENANCE

Private Collection, Whitby, ON $3,500–5,000

MONDAY, MAY 27, 2019

133


131 CORNELIUS KRIEGHOFF INDIAN ENCAMPMENT, EARLY SUMMER, 1848 oil on canvas, mounted to canvas signed and dated 12 ins x 16 ins; 30.5 cms x 40.6 cms PROVENANCE

Private Collection, Toronto $40,000–60,000

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Canadian and Inuit Fine Art Auction


132 MARC-AURÈLE DE FOY SUZOR-COTÉ, R.C.A. LEVÉE DE LUNE EN SEPTEMBRE, 1912 oil on canvas signed 14 ins x 14.75 ins; 55.9 cms x 71.1 cms PROVENANCE

Galerie Bernard Desroches, Montreal Collection Claude Courcy, Montreal Private Collection, Kimberely, ON $8,000–12,000

MONDAY, MAY 27, 2019

135


133 WILLIAM HENRY EDWARD NAPIER FORT GARRY, WINNIPEG watercolour on paper, mounted to card 8.25 ins x 14 ins; 21 cms x 35.6 cms PROVENANCE

Private Collection, Quebec $2,500–3,500 William Napier (1832-1872) sketched throughout the United Canadas, as well as travelling to the Red River territory, where he executed views of Fort Garry and the vicinity.

136

Canadian and Inuit Fine Art Auction


134 WILLIAM HENRY EDWARD NAPIER PORTAGE watercolour on paper, mounted to card 8.5 ins x 12 ins; 21.6 cms x 30.5 cms PROVENANCE

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

135 WILLIAM HENRY EDWARD NAPIER ONE PASSENGER ON A DOG-SLEIGH watercolour signed and dated “Feb. 20th 1858” 5.5 ins x 10.25 ins; 14 cms x 26 cms PROVENANCE

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

MONDAY, MAY 27, 2019

137


136 WILLIAM ARMSTRONG RAPIDS, WEST END OF WHITE EARTH LAKE, N. ONTARIO watercolour signed and dated ‘09; titled on the reverse 8.75 ins x 14 ins; 22.2 cms x 35.6 cms PROVENANCE

Private Collection, Ontario $2,000–3,000

137 WILLIAM ARMSTRONG RED ROCK, NIPIGON, 1871 watercolour signed, titled and dated 13 ins x 20 ins; 33 cms x 50.8 cms PROVENANCE

Private Collection, Ontario $4,000–5,000

138

Canadian and Inuit Fine Art Auction


138 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. SPRING ICE ON MAGNET LAKE oil on masonite signed; also signed and titled on the reverse 25 ins x 30 ins; 63.5 cms x 76.2 cms PROVENANCE

Canadian Fine Arts, Toronto Private Collection, Toronto $15,000–18,000

139 MANLY EDWARD MACDONALD, R.C.A. FIRST SNOW ON THE UPPER DON

oil on canvas signed 24.5 ins x 30.5 ins; 62.2 cms x 77.5 cms PROVENANCE

Laing Fine Art Galleries Limited, Toronto Private Collection, Toronto $4,000–6,000

MONDAY, MAY 27, 2019

139


140 PEGI NICOL MACLEOD SOLDIERS AT REST oil on board 26 ins x 24 ins; 66 cms x 61 cms PROVENANCE

Private Collection, Oakville, ON (acquired directly from the family of the artist) LITERATURE

Laura Brandon, Pegi by Herself: The Life of Pegi Nicol MacLeod, Canadian Artist, McGill-Queen’s University Press, Montreal & Kingston, 2005, pages 141-142, 148. $15,000–20,000

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Canadian and Inuit Fine Art Auction

When the US entered the second world war in 1941, Pegi Nicol MacLeod (1904-1949) was living in Manhattan. Laura Brandon writes: “The war focused her energy”. Pegi would soon produce war subjects both in New York and Fredericton, where she taught summer art classes, and later in Ottawa where she painted CWACs, the Canadian women who served the war effort. This painting likely dates to the early forties and could be one of the works Pegi produced in the summer of 1943 while she was teaching in New Brunswick. Brandon notes: “Pegi’s wartime depictions of service people on the UNB campus are charming portrayals of untried and untested youth... For her, capturing war meant depicting its absence...” Pegi further explained in a letter to a colleague: “What we want to say about Canada now is that we don’t want war at all.”   In this composition, men and women, some in military uniform, some dressed as civilians, are outdoors on a sunny summer’s day, socializing. Soldiers at Rest is reminiscent of Navy Canteen of 1944 (Art Gallery of Ontario) which depicts US soldiers at a drop-in centre, about which Pegi wrote: “most of the boys are just off the boats and fall asleep in the canteen”. As in that painting, the figures in Soldiers at Rest are settled, relaxed and mellow, basking in the warm sun and enjoy temporary relief from the chronic anxiety of wartime.


141

JOHN LITTLE, R.C.A UNE JOURNÉE HUMIDE, RUE BAGOT, QUEBEC oil on canvas signed; also signed, titled and dated ‘75 on the stretcher bar 12 ins x 16 ins; 30.5 cms x 40.6 cms PROVENANCE

Continental Galleries Inc., Montreal Private Collection, Ontario $7,000–9,000

142 SAMUEL BORENSTEIN ROY STREET, 1936 oil on board signed, titled and dated 20 ins x 26 ins; 50.8 cms x 66 cms PROVENANCE

Private Collection, Ontario $12,000–15,000

MONDAY, MAY 27, 2019

141


143 ALBERT JACQUES FRANCK, A.R.C.A. BEHIND SPADINA AVE. oil on masonite signed and dated ‘70 20 ins x 16 ins; 50.8 cms x 40.6 cms PROVENANCE

Private Collection, Toronto $7,000–9,000

144 PETER CLAPHAM SHEPPARD, O.S.A., R.C.A. AUTUMN LANDSCAPE oil on panel signed, with estate stamp 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms PROVENANCE

Private Collection, Tiny, ON $3,000–5,000

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Canadian and Inuit Fine Art Auction


145 THOMAS DE VANY FORRESTALL, A.R.C.A. Tom Forrestall (b.1936) provides the following information on the reverse of this lot: DESSERT egg tempera on shaped board “Still Life has long held me in its sway...it pulls one signed; also signed, titled and dated 1990 close up to it, sucks one into it and holds on. Much on the reverse maligned by some contemporary thought I’ve never 14.75 ins x 18 ins; 37.5 cms x 45.7 cms seen it in such a light. There’s an odd freedom one has with this kind of vision, in the studio with those PROVENANCE particular things chosen and swelled upon until, like Galerie Dresdnere, Toronto a poem remembered sticks with you all the days Private Collection, Toronto of your life, until you realize its not the objects but the art, the symbol that is the destination and the $3,500–5,000 reason for the journey, the real things, the real pears and apples fade away...leaving only the art - Tom Forrestall”

MONDAY, MAY 27, 2019

143


146 JEAN-PHILIPPE DALLAIRE THE VIOLONCELLIST gouache on card signed; also signed and titled on the reverse 16 ins x 10 ins; 40.6 cms x 24.8 cms PROVENANCE

The Estate of Joseph Koenig, Guelph, ON $10,000–15,000 Jean-Philippe Dallaire (1916-1965) began drawing at the age of 11, and early years studying in art colleges in Toronto and Quebec led to an extended period in Paris. Here, he was introduced to the works of Miró, Picasso, and others, as well as meeting fellow Québécois artist Alfred Pellan; through these, he was exposed to Cubism and Surrealism. In contrast to the often impersonal qualities of these modern styles, Dallaire’s works are highly personal, tempered by a sensible working-class background and enlivened by an air of festivity. Dallaire used the strategies of abstraction to feel liberated in his work: transforming highly schematized forms into rich and animated representations. The two Violoncellist works included here demonstrate his skill in bridging the gap between painting and drawing, as well as a pronounced interest in exploring the boundaries of abstraction while remaining rooted in whimsical representation. The Cubist influence is undeniable but not overbearing: it’s easy to see traces of Braque or Picasso in both subject and palette, while the work settles on a resoundingly humanist centre. Fragments of arms and scalloped wood are evocatively brought to life with spontaneous and bright gestures. There is a sense that the scenes are collapsed on themselves: figure is fused to instrument, while the stage is flattened and bowed out, until the whole tableau seems to thrust forward. Bold calligraphic lines throughout the works bring a sense of spontaneous structure to the scenes, ably demonstrating Dallaire’s talent for draughtsmanship, humour, and caricature.

147 JEAN-PHILIPPE DALLAIRE LE VIOLONCELLIST gouache on card signed; also signed and titled on the reverse 16 ins x 9.5 ins; 40.6 cms x 24.1 cms PROVENANCE

The Estate of Joseph Koenig, Guelph, ON $10,000–15,000

144

Canadian and Inuit Fine Art Auction


148 WILLIAM RONALD, R.C.A. STUDY FOR PRIME MINISTER SERIES: MACKENZIE oil on canvas signed, titled and dated /79 on the reverse 20 ins x 20 ins; 50.8 cms x 50.8 cms

The Prime Ministers Series was completed between 1977 and 1984, in which William Ronald (1926-1998) demonstrates, with both his life and paintings, “that Canadians - prime ministers and artists alike - are a intensely interesting lot if we just put down our preconceptions and look at them without flinching”.

PROVENANCE

Private Collection, Ontario LITERATURE

William Ronald, The Prime Ministers, Exile Editions Limited, Toronto, 1983, page 83. $3,500–4,000

MONDAY, MAY 27, 2019

145


149 BRUNO JOSEPH BOBAK, R.C.A. CAMPBELLTOWN HILLS oil on canvas signed; titled on the stretcher 30 ins x 40 ins; 76.2 cms x 101.6 cms PROVENANCE

Galerie Walter Klinkhoff, Montreal Private Collection, Montreal $5,000–7,000

150 EDWARD WILLIAM (TED) GODWIN, R.C.A. KANANASKIS oil on board signed and titled on the reverse 24 ins x 30 ins; 61 cms x 76.2 cms PROVENANCE

Galerie Don Stewart, Montreal Private Collection, Montreal $4,000–6,000

146

Canadian and Inuit Fine Art Auction


151 TED HARRISON, R.C.A. THE FIRE, 1977 acrylic on masonite signed and dated 17.75 ins x 23.75 ins; 45.1 cms x 60.3 cms PROVENANCE

The Shayne Gallery, Montreal Private Collection, Montreal $8,000–10,000

152 ULYSSE COMTOIS LUMIÈRE D’ÉTÉ V, 1976 oil on canvas signed and dated; titled on the reverse 20 ins x 24 ins; 50.8 cms x 61 cms PROVENANCE

Marlborough-Godard, Toronto Private Collection, Toronto $4,000–6,000

MONDAY, MAY 27, 2019

147


153 BARKER FAIRLEY, R.C.A. ROLLING HILLS, 1980 oil on board signed; also signed and dated on the reverse 20 ins x 23.75 ins; 50.8 cms x 60.3 cms PROVENANCE

Private Collection, Toronto $3,000–5,000

154 FREDERICK GRANT BANTING A FARM, SUMMER oil on panel 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms PROVENANCE

Estate of Lady Henrietta Banting, Ontario By descent in the family Private Collection, British Columbia Private Collection, Toronto

$10,000–12,000

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155 ABRAHAM ETUNGAT ᐊᐃᐊᔭᑲ ᐃᑐᒐ, R.C.A. CAPE DORSET / KINNGAIT BIRD WITH OUTSTRETCHED WINGS stone, signed in syllabics 6 ins x 12 ins x 1.5 ins; 15.2 cms x 30.5 cms x 3.8 cms PROVENANCE

Private Collection, Ontario $1,500—2,500

156 ALEX WYSE STUDIES OF WILFRED SADLERS WINTER WHEAT FIELD mixed media painted construction 29.75 ins x 27.25 ins; 75.6 cms x 69.2 cms PROVENANCE

Private Collection, Toronto $5,000–7,000

MONDAY, MAY 27, 2019

149


157 WILLIAM RONALD, R.C.A. QVALES POTATOE oil on canvas signed and dated ‘93; titled on the reverse 36.25 ins x 35.75 ins; 92.1 cms x 90.8 cms PROVENANCE

Private Collection, Niagara Falls, ON $3,000–4,000

158 HAROLD KLUNDER, R.C.A. STUDY FOR INNER STATE (SELF-PORTRAIT), 1996 oil on canvas signed, titled and dated on the reverse 20 ins x 16 ins; 50.8 cms x 40.6 cms PROVENANCE

Private Collection, Quebec $3,000–4,000

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Canadian and Inuit Fine Art Auction


159 BRUNO CÔTÉ PACIFIC RIM, VANCOUVER ISLAND, B.C. oil on panel signed and dated ‘87; also signed and dated on the reverse

46 ins x 72 ins; 116.8 cms x 182.9 cms PROVENANCE

Private Collection, Quebec $6,000–8,000

160 DOROTHY KNOWLES, R.C.A. THE TREES FORM A SCREEN TO HIDE THE BLUE MOUNTAINS, 1975 acrylic on canvas signed; also signed, titled and dated on the reverse 36 ins x 34 ins; 91.4 cms x 86.4 cms PROVENANCE

Private Collection, Toronto $6,000–8,000

MONDAY, MAY 27, 2019

151


161 PETER CLAPHAM SHEPPARD, O.S.A., R.C.A. PINE GROVE oil on panel signed; titled on the reverse 8.5 ins x 10.75 ins; 21.6 cms x 27.3 cms PROVENANCE

Private Collection, Toronto $3,500–5,000

162 WILLIAM BRYMNER, O.S.A., P.R.C.A. VILLAGE BY THE WATER oil on panel signed 5.25 ins x 7 ins; 13.3 cms x 17.8 cms PROVENANCE

Private Collection, Montreal EXHIBITED

William Brymner, Watson Art Galleries, Montreal, November 30 - December 14, 1925, no. 91. $1,000–1,500

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Canadian and Inuit Fine Art Auction


163 ALEXANDER COLVILLE ELM TREES watercolour signed and dated ‘46 15.25 ins x 20 ins; 38.7 cms x 50.8 cms PROVENANCE

Private Collection, Nova Scotia EXHIBITED

Nova Scotia Society of Artists, Twenty-First Annual Exhibition, 1947, no.18. $7,000–9,000

164 WILLIAM BRYMNER, O.S.A., P.R.C.A. MARINE oil on panel signed 4.45 ins x 7 ins; 11.3 cms x 17.8 cms PROVENANCE

Private Collection, Montreal EXHIBITED

William Brymner, Watson Art Galleries, Montreal, November 30 - December 14, 1925, no.1. $1,000–1,500

MONDAY, MAY 27, 2019

153


Index

A

D

AIRUT, LUKE (1942-2018)...100

DALLAIRE, JEAN-PHILIPPE (1916-1965)...31, 146, 147

AKESUK, LATCHOLASSIE (1919-2000)...105 AKPALIAPIK, MANASIE (b. 1955)...45 ALASUA, AISA QUPIRUALU (1916-2003)...74

E

AMAROOK, (ATTRIBUTED TO) MICHAEL (b.1941)...95

ETROG, SOREL (1933-2014)...66, 82

ARMSTRONG, WILLIAM (1822-1914)...136, 137

ETUNGAT, ABRAHAM (1911-1999)...111, 155

ARNASUNGAAQ, BARNABUS (1924-2017)...97

EVALUARDJUK, HENRY (1923-2007)...37, 113

ASHEVAK, KENOJUAK (1927-2013)...69

F B

FAIRLEY, BARKER (1887-1986)...153

BANTING, FREDERICK GRANT (1891-1941)...2, 154

FORRESTALL, THOMAS DE VANY (b. 1936)...145

BATES, MAXWELL BENNETT (1906-1980)...92

FORTIN, MARC-AURÈLE (1888-1970)...11,21, 28, 117

BEATTY, JOHN WILLIAM (1869-1941)...120, 122

FRANCK, ALBERT JACQUES (1899-1973)...143

BELL-SMITH, FREDERIC MARLETT (1846-1923)...12 BLOORE, RONALD LANGLEY (1925-2009)...41 BOBAK, BRUNO JOSEPH (1923-2012)...149

G

BOBAK, MOLLY LAMB (1922-2014)...116

GIBBONS, C.I. (ACT. 1885-1905)...127, 128

BORENSTEIN, SAMUEL (1908-1969)...142

GODWIN, EDWARD WILLIAM (1933-2013)...150

BRANDTNER, FRITZ (1896-1969)...22, 29, 65 BRYMNER, WILLIAM (1855-1925)...162, 164 BUSH, JACK HAMILTON (1909-1977)...83

H HARRISON, TED (b. 1926)...24, 151 HEWTON, RANDOLPH STANLEY(1888-1960)...119

C

HODGSON, THOMAS SHERLOCK (1924-2006)...77

CARLYLE, FLORENCE (1864-1923)...15 CASSON, ALFRED JOSEPH (1898-1992)...3, 9, 10, 19, 50, 123 CICANSKY, VICTOR (b. 1935)...108

I

COBURN, FREDERICK SIMPSON (1871-1960)...16

IPEELEE, OSUITOK (1923-2005)...35, 76, 84, 86

COLLIER, ALAN CASWELL (1911-1990)...6

ISKOWITZ, GERSHON (1920-1988)...106, 107

COLVILLE, ALEXANDER (1920-2013)...42, 43, 163 COMTOIS, ULYSSE (b. 1931)...85, 152 CÔTÉ, BRUNO (1940-2010)...159

J

COUGHTRY, JOHN GRAHAM (1931-1999)...39

JACKSON, ALEXANDER YOUNG (1882-1974)...18, 52, 60, 62 JOHNSTON, FRANK HANS (1888-1949)...121, 124, 138 JULIEN, OCTAVE HENRI (1852-1908)...130 JUNEAU, DENIS (b. 1925)...34

154

Canadian and Inuit Fine Art Auction


K

P/Q

KLINE, CHRIS (b.1973)...40

PALMER, VALERIE (b. 1950)...101

KLUNDER, HAROLD (b. 1943)...158

PARTRIDGE, DAVID GERRY (b. 1919)...103

KNOWLES, DOROTHY (b. 1927)...160

PHILLIPS, WALTER JOSEPH (1884-1963)...44, 114

KRIEGHOFF, CORNELIUS (1815-1872)...53, 54, 131

PILOT, ROBERT WAKEHAM (1898-1967)...4, 13, 14, 56 POLDAAS, JAN (b. 1948)...80

L

PRATT, CHRISTOPHER (b. 1935)...1

LALIBERTÉ, ALFRED (1878-1953)...47

PRATT, MARY (1935-2018)...112

LEDUC, FERNAND (b. 1916)...89

QINNUAYUAK, LUCY (1915-1982)...110

LEMIEUX, JEAN PAUL (1904-1990)...17, 48 LETENDRE, RITA (b. 1928)...78 LISMER, ARTHUR (1885-1969)...51, 125

R

LITTLE, JOHN (b. 1928)...20, 141

ROBERTS, WILLIAM GOODRIDGE (1904-1974)...49, 115

LYALL, LAURA ADELINE MUNTZ (1860-1930)...58

ROBINSON, ALBERT HENRY (1881-1956)...57 RONALD, WILLIAM (1926-1998)...148, 157

M MACDONALD, JAMES EDWARD HERVEY (b. 1921)...59, 126

S

MACDONALD, MANLY EDWARD (1889-1971)...118, 139

SAILA, PAUTA (1916-2009)...8

MACLEOD, PEGI NICOL (1904-1949)...27, 140

SAILA, PITALOOSIE (b. 1942)...71

MCEWEN, JEAN ALBERT (1923-1999)...38

SCARLETT, ROLPH (1889-1984)...79

MEAD, RAYMOND JOHN (1921-1998)...75

SEVOGA, PETER (1940-2007)...96

MORRISSEAU, NORVAL H. (1931-2007)...72

SHADBOLT, JACK LEONARD (1909-1998)...87, 88, 93

MOUNT, RITA (1888-1967)...5

SHEPPARD, PETER CLAPHAM (1882-1965)...144, 161 SHILLING, ARTHUR (1941-1986)...98, 99 SURREY, PHILIP HENRY HOWARD (1910-1990)...23

N

SUZOR-COTÉ, MARC-AURÈLE DE FOY (1869-1937)...61, 132

NAKAMURA, KAZUO (1926-2002)...67 NAPIER, WILLIAM HENRY EDWARD (1830-1894)...133, 134, 135 NIVIAXIE (1909-1959)...7

T/U

NORRIS, JOE (1924-1996)...109

TATANIQ, GEORGE (1910-1991)...30 THEPOT, ROGER-FRANCOIS (b. 1925)...26, 81 TOUSIGNANT, CLAUDE (b. 1932)...102

O/P

TUU’LUQ, MARION (1910-2002)...63

ODJIG, DAPHNE (1919-2016)...70

ULLULAQ, JUDAS (1937-1999)...90

ONLEY, TONI (1928-2004)...91 OONARK, JESSIE (1906-1985)...25, 64, 73 OQUTAQ, SHEOKJUK (1920-1982)...36

V/W VERNER, FREDERICK ARTHUR (1836-1928)...46, 55, 129 WATSON, SYDNEY HOLLINGER (1911-1981)...104 WEBBER, GORDON MCKINLEY (1909-1965)...68, 94 WERTHEIMER, ESTHER (b. 1926)...32, 33 WYSE, ALEX (b. 1938)...156 MONDAY, MAY 27, 2019

155


Buying at Waddington’s

Selling at Waddington’s

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

WADDINGTON’S COMMISSION RATES

CONDITION OF LOTS All of the items are to be considered, unless otherwise noted in the description, 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 examine the pieces in person or have our staff answer any questions before bidding. Sizes are approximate. 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. Frames on artwork are not included as part of purchase or condition. BUYERS PREMIUM A premium of 20% of the successful bid price of each lot. 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), travelers cheque, bank draft, electronic transfer (fee applies), VISA or Mastercard (up to $25,000). ALL PRICES IN CANADIAN FUNDS 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.

BIDDING To bid in person at the auction, you must register for a bidding number by showing identification acceptable to the Auctioneer upon entering the salesroom. Your number will identify you if you are the successful bidder. You will be responsible for all lots purchased on your bidding number. Banking information may be requested by Waddington’s™. You may submit an Absentee Bid Form if you are unable to attend the sale. Bidding by telephone, in limited circumstances, can be arranged prior to the sale. While we are pleased to offer absentee and telephone bidding as a service to our clients, and take great care in their commission, the Auctioneer will not be responsible for technical difficulties, errors or failure to execute bids. The Auctioneer may also execute bids on behalf of the consignor to protect the reserve. The reserve is the confidential minimum price the seller is willing to accept for his or her property, below which it will not be sold.

Items selling for $7,501 or more - 10% Items selling for $2,501 to $7,500 - 15% Items selling for $251 to $2,500 - 20% Items selling for $250 or less - 25% *There is a minimum handling charge of $20 per item CANADIAN ART DEPARTMENT COMMISSION RATES Items selling for $7,501 or more 10% Items selling for $2,501 to $7,500 15% Items selling for $2,500 or less 20%

SHIPPING *There is a minimum handling charge of $20 The Auctioneers will not undertake packing or per item shipping. The purchaser must designate and arrange for the services of an independent INSURANCE shipper and be responsible for all shipping, A 1% insurance charge, based on the hammer insurance expenses and any necessary export price of the property, will be applied to all permits that may apply. The Auctioneers will, accounts. upon request, provide names of professional packers and shippers but will not be held AUCTION ADVICE responsible for the service or have any liability For auction advice on paintings, drawings, for providing this information. Reliable pre- prints, jewellery, and various forms of auction estimates of shipping costs of lots decorative arts and other collectibles, please offered in this sale may be obtained from: feel free to contact us via email or telephone. We are pleased to review emails containing PakShip photographs and information on your pieces 905-470-6874 / 905-470-6875 / 416-293-8225 in order to provide auction estimates for you taurus@pakship.ca / www.pakship.ca to consider. Envoy 416-299-3367 / 416-299-9750 ph@envoy.ca / www.envoypackandship.com Fero Transport 514-453-1462 / www.ferotransport.ca 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

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. 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 or announced verbally in the auction room prior to the time of sale. While the auctioneer has endeavoured 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. An opportunity for inspection of each article is offered prior to the time of sale. No sale will be set aside on account of lack of correspondence of the article with its description or its reproduction, if any, whether colour or black & white. 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. Frames on artwork are not included as part of purchase or condition. It is the responsibility of prospective purchasers to inspect or have inspected each lot upon which they wish to bid, relying upon their own advisers, and to bid accordingly. 2. Each lot sold is subject to a 20% buyers premium as part of the purchase price. 3. Unless exempted by law, the buyer is required to pay Harmonized Sales Tax on the total purchase price including the buyer’s premium. For international buyers, taxes are not applicable when purchases are shipped out of country. Items shipped out of Ontario, the buyer is required to pay taxes as per the tax status of that province, whether it HST or GST (Goods and Services Tax). 4. 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. 5. 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.

6. 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. 7. 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. 8. 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. 9. 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. 10. 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. 11. Notwithstanding condition no. 1, if the buyer, prior to removal of a lot, makes arrangements satisfactory to the auctioneer for the inspection of such lot by a fully qualified person acceptable to the auctioneer to determine the genuineness or authenticity of the lot, to be carried out promptly following the sale of the lot, and if, but only if, within a period of 14 days following the sale a written opinion of such person is presented to the auctioneer to the effect that the lot is not genuine or authentic, accompanied by a written request by the buyer for rescission of the sale, then the sale of the lot will be rescinded and the sale price refunded to the buyer.

12. Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certified cheque (U.S. & Overseas not applicable), travelers cheque, bank draft, electronic transfer (fee applies), and VISA or Mastercard (up to $25,000). 13. 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 resale 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. 14. 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. 15. 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). 16. 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.


AN EXTRAORDINARY EVENING IN SUPPORT OF THE ART OF CANADA AT THE McMICHAEL CANADIAN ART COLLECTION SATURDAY, JUNE 1, 2019 BUY YOUR TICKETS TODAY: moonlightgala.mcmichael.com 905.893.1121 ext. 2228

Follow us: @moonlightgala MOONLIGHT GALA CHAIR: Michèle D. McCarthy HONORARY CHAIR: Hon. Maurizio Bevilacqua, P.C., Mayor, City of Vaughan

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Fine Wine & Spirits MAY 6 - 14, 2019


Departments ASIAN ART

DECORATIVE ARTS & DESIGN

INTERNATIONAL ART

ay@waddingtons.ca

Silver, Glass and Ceramics

416-847-6179

Amelia Zhu

Bill Kime

Austin Yuen 416-847-6195

416-847-6185

asianart@waddingtons.ca

416-847-6189

bk@waddingtons.ca Hayley Dawson

CANADIAN FINE ART Stephen Ranger 416-847-6194

skr@waddingtons.ca Anna Holmes 416-504-5100

canadianart@waddingtons.ca CONTEMPORARY ART Stephen Ranger 416-847-6194

skr@waddingtons.ca Kristin Vance

416-847-6178 kv@waddingtons.ca

Susan Robertson sr@waddingtons.ca Alec Kerr ak@waddingtons.ca 416-847-6186

Sculpture, Decorations, Clocks & Lighting Sean Quinn

JEWELLERY, WATCHES & NUMISMATICS Don P. McLean 416-847-6170

Rugs & Carpets Andrew Brandt 416-847-6168

ab@waddingtons.ca

sr@waddingtons.ca Kristin Vance 416-847-6178

FINE WINE & SPIRITS Stephen Ranger 416-847-6194

INUIT ART

Joann Maplesden

Duncan McLean

jmm@waddingtons.ca

416-847-6189

adm@waddingtons.ca Rochelle Konn 416-847-6184

DISCOVERY ART

416-847-6179

dpm@waddingtons.ca

416-847-6187

sq@waddingtons.ca

Susan Robertson

kv@waddingtons.ca

416-847-6167

hd@waddingtons.ca

FINE PRINTS & PHOTOGRAPHY

skr@waddingtons.ca 416-847-6182

Devin Hatfield 416-847-6181

dh@waddingtons.ca

rk@waddingtons.ca

Doug Payne 416-847-6180

dp@waddingtons.ca

Operational Staff PRESIDENT

COMMUNICATIONS

ACCOUNTS

CLIENT SERVICES

Duncan McLean

Tess McLean

Karen Sander

Brittany Boyd-Pyman

416-847-6183

416-847-6171

adm@waddingtons.ca

tm@waddingtons.ca

ks@waddingtons.ca

VICE PRESIDENT

DESIGN & PRODUCTION

COLLINGWOOD

Stacey Blouin

Stephen Ranger

Julia Deo

Valerie Brown

416-504-9100

416-847-6194

416-847-6188

skr@waddingtons.ca

jcd@waddingtons.ca

vb@waddingtons.ca

GENERAL MANAGER

TECHNICAL SERVICES

VANCOUVER

Duane Smith 416-847-6172

das@waddingtons.ca ONLINE AUCTION SUPPORT & ACCOUNTS Elda Pappada 416-847-6177

Solomon Alaluf sa@waddingtons.ca Erich Deleeuw ed@waddingtons.ca PHOTOGRAPHY John Macdonald 416-847-6192

jm@waddingtons.ca

416-847-6173

705-445-8811

Jacqui Dixon

778-837-4588

jd@waddingtons.ca APPRAISALS & CONSIGNMENTS Ellie Muir 416-847-6196

em@waddingtons.ca

416-847-6175

bbp@waddingtons.ca

sb@waddingtons.ca Alec Kerr 416-847-6166

ak@waddingtons.ca Nicole Schembre 416-967-6027

ns@waddingtons.ca BUSINESS DEVELOPMENT Nisha Dhaliwal 289-218-6091

nd@waddingtons.ca


Telephone: 416-504-9100 Toll Free: 1-877-504-5700 www.waddingtons.ca

275 King Street East, Second Floor Toronto, Ontario Canada M5A 1K2

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Canadian and Inuit Fine Art Auction | May 27, 2019  

Canadian and Inuit Fine Art Auction | May 27, 2019