Canadian & International Fine Art | May 24-29, 2024

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MAY 24 - 29, 2024

Canadian & International Fine Art

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This catalogue and its contents © 2024 Waddington McLean & Company Ltd.

This auction is subject to Waddington’s Conditions of Sale. Photography & design by Waddington’s. All rights reserved.

canadian fine art


Elizabeth Edwards


senior specialist

Gregory Humeniuk


consignment specialist

Kendra Popelas


international art

director Goulven Le Morvan


consignment specialist

Alicia Bojkov


fine art administrator

Holly Yake


front cover

Lot 16

Jean Paul Lemieux

La jeune fille au voile bleu, ca. 1962 (detail)

front inside cover

Lot 18

Léon Augustin Lhermitte

Harvest (detail)


Lot 31

Norval Morrisseau

Ojibwa Family Motif With Tree of Knowledge, 1991 (detail)

back inside cover

Lot 8

Jules Olitski

Pressure Compact, 1987 (detail)

back cover

Lot 38

Yves Gaucher

Bonne Fête, Raga, 1967

Waddington’s is thrilled to present our major spring fine art auction assembled by our Canadian and International art departments.

Our cover lot for this Spring’s auction is Jean Paul Lemieux’s La jeune fille au voile bleu, circa 1962, an excellent example of the artist’s work, fresh to market, which will be included in the forthcoming catalogue raisonné compiled by Michèle Grandbois. Another standout painting from Quebec is Yves Gaucher’s Bonne fête, Raga, 1967, which is accompanied by an essay written by Roald Nasgaard.

We invite you to take a closer look at lot 50 in this auction, a rare album containing 66 original watercolours, oils and drawings which we believe to have belonged to Anne McCord, the mother of David Ross McCord, the founder of the McCord Museum in Montreal. Included in the album are works by noted early Canadian artists including Cornelius Krieghoff, Otto Reinhold Jacobi, and James Duncan, as well as by lesser-known artists including Anne McCord herself.

Collectors of classic Canadian works will enjoy a major canvas by A.J. Casson, Sun After Rain, 1959, as well as other paintings by artists including A.Y. Jackson, Cornelius Krieghoff, Franz Johnston, P.C. Sheppard, Bertram Booker, and Alexandra Luke. Selections from First Nations artists include three works with excellent provenance by Norval Morrisseau, a large-scale painting by Roy Thomas, and a watercolour by Alex Janvier.

International works in this auction include several paintings from the dynamic decade of the 1980s, including Pressure Compact, 1987, by Jules Olitski, Untitled, circa 1980 by Kwon Young-Woo, and Sleeping Goddess, a 1983 triptych by Norman Bluhm. Collectors of more representational subjects will enjoy the romantic The New York Clipper - Challenge by Montague Dawson, a snowy scene by Józef Bakoś, and a wonderfully evocative pastel by Léon Lhermitte.

We hope you enjoy this auction as much as we have enjoyed working with our clients to bring it together. A sincere thank you to our consignors from around the world, and a big hello to our bidders – we look forward to connecting with you this season and onwards into 2024!

Lot 28

A. J. Casson

Sun After Rain, 1959 (detail)




oil on canvas

signed and dated “03” lower left; titled and dated to labels verso 20 x 32 in — 50.8 x 81.3 cm

PROVENANCE: Ken Danby Studios, Guelph, ON Bernarducci Meisel Gallery, New York, NY

Odon Wagner Contemporary, Toronto, ON

S.P. Family Collection, Toronto, ON


Homage to a Master - Ken Danby (1940-2007), Odon Wagner Contemporary, Toronto, ON, Jun 3 - Jul 3, 2010


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Joan Murray writes that “McCarthy’s work reiterates, in lines, textures and colours, her strategy of simple contrast. In her paintings, powerful shapes generate a stimulating mix of aesthetic energies. Her forté lies in the Midas-like transformation of ordinary worlds into shining visions.” 1

Painted by McCarthy at the age of 95, this vista was made with great economy of vision. The Stream from the Foothills displays the assuredness of a life spent at the easel, the brushstrokes spare yet, as is typical for the artist, highly evocative of place. Her strong design sense is also at play, with the landscape condensed to its most elemental forms. This is a straightforward work, a direct representation of somewhere – a spontaneity which McCarthy chased throughout her career. Per Stuart Reid, “painting for McCarthy is a game of give and take, back and forth – a sustained rally between the artist and the work, lingering somewhere between suggestion and definition.” 2

1 Joan Murray in Celebrating Life: The Art of Doris McCarthy (Kleinburg: McMichael Canadian Art Collection, 1999), 72.

2 Stuart Reid, “Island Sketches” in Celebrating Life: The Art of Doris McCarthy, (Kleinburg: McMichael Canadian Art Collection, 1999), 212.

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signed lower right; dated in artist’s hand verso; also titled and dated to gallery labels verso

30 x 36 in — 76.2 x 91.4 cm


Wynick/Tuck Gallery, Toronto, ON Michael Gibson Gallery, London, ON Private Collection, Oakville, ON


Canadian & International Fine Art 12



ARIZONA VISTA, 1998 oil on canvas

signed lower right; dated in artist’s hand verso; also titled and dated to gallery label verso

30 x 36 in — 76.2 x 91.4 cm

PROVENANCE: Wynick/Tuck Gallery, Toronto, ON Private Collection, Toronto, ON


May 24 - 29, 2024 13


McCarthy took a trip to Arizona, New Mexico, Klondyke, Taos and Abiquiu with fellow painters Judith Finch, Brenda Bisiker and Wendy Wacko from April 1-26, 1998. Finch recalls McCarthy being singularly focused on her work, rising early to paint during the morning before breaking for lunch, after which she would resume painting. “With Doris there was no time to be wasted. She found a suitable view, often spotted the day before, set up her gear and went to work straight off, usually while the rest of us were still wandering about trying: a) to find a place out of the wind, or b) out of the sun, or c) land not too treacherous, or d) out of the line of cars, people, or animals. None of these details seemed to distress Doris one bit; she merely focused on the view and got on with it. Her power of concentration, in spite of all that was going on is legendary.” 1

While the artist is best known for her Canadian scenes, Arizona Vista displays all of the hallmarks of a classic McCarthy painting. Stuart Reid writes: “there is a communion between the artist and the landscape evident in all of McCarthy’s work. She looks at the land. She chooses interesting vistas that are formally sound compositions. Often she sets the major horizon line at the golden mean of the page — a little less than two-thirds up from the bottom. There is a trademark ‘folding’ of the imagined space into a trinity: foreground, midground, far distance and sky; that recurs no matter what her subject. It often seems as though the foreground is less distinct than the midground, fading into washes at the bottom of the page. This recurring trait does not allow the viewer a sure footing in the scene — the vantage-point is somewhere hovering above the land. McCarthy seems to enjoy this spiritual distance from the points of interest, which are usually out of reach — at picture-postcard distance in the midground of the painting. The artist understands how the human eye wanders over a picture plane...” 2

1 Judith Finch, in Celebrating Life: The Art of Doris McCarthy, (Kleinburg: McMichael Canadian Art Collection, 1999), 52.

2 Stuart Reid, “Island Sketches” in Celebrating Life: The Art of Doris McCarthy, (Kleinburg: McMichael Canadian Art Collection, 1999), 231.

14 Canadian & International Fine Art
Canadian & International Fine Art


Born in 1891 in East Buffalo, New York, Józef Bakoś was a modernist American painter. While studying at the Albright Art School in Buffalo, art teacher John Thompson introduced him to Cézanne. In 1917, Bakoś took a job at the University of Colorado before settling in Santa Fe, New Mexico in 1920. He was a founding member of “Los Cinco Pintores,” the first modernist painting group of New Mexico with his fellows Walter Mruk, Fremont Ellis, Willard Nash, and William Shuster. His paintings celebrate his adopted home in Santa Fe and the beautiful American landscapes of New Mexico.

18 Canadian & International Fine Art


JÓZEF GABRYEL BAKOŚ (1891-1977), AMERICAN SNOW MOUNTAIN oil on canvas signed lower right 24 x 30.25 in — 61 x 76.8 cm

PROVENANCE: Gerald P. Peters Gallery, Santa Fe, NM Private Collection, Toronto, ON


Accompanied by the Museum of Fine Arts, Santa Fe 1988 exhibition catalogue Józef Bakoś: An Early Modernist.


20 Canadian & International Fine Art



A.Y. Jackson first visited Go Home Bay, on the eastern shore of Georgian Bay, in 1913. After moving into a crude shack on Portage Island, Jackson was visited by Toronto ophthalmologist Dr. James MacCallum. MacCallum, on the urging of Lawren Harris, invited Jackson to instead stay at his palatial cottage on Go Home Bay. MacCallum was a lover of Canadian art –as well as a dedicated patron to struggling artists. In addition to his invitation to stay with him, he extended Jackson the offer of a year’s financial support on the condition that he take a studio in the Studio Building in Toronto rather than leave for New York at the end of the summer season.

MacCallum had been in close contact with Harris through their mutual association with the Arts and Letters Club in Toronto, and had agreed to help financially back the construction of the Studio Building. Harris and Jackson had also connected for the first time a few months before MacCallum’s generous offer, with Harris having travelled to Berlin (present-day Kitchener), Ontario to meet with Jackson. Harris spoke of the need for a truly Canadian art movement, and wanted Jackson to join. Jackson, who instantly took a liking to Harris, was not immediately convinced, concerned as he was with the difficulties of supporting himself as a landscape painter of Canadian scenes in a city as expensive and indifferent to Canadian art as Toronto of the period. It was MacCallum’s offer of financial support in the fall of 1913 that tipped the balance and convinced Jackson to make his way to Toronto, a momentous move towards his role in the Group of Seven.

Jackson would return to Go Home Bay at least seven more times to sketch and paint. In his memoir, he wrote that “Go Home Bay and the outer islands are filled for me with happy memories of good friends and of efforts, more or less successful, that I made to portray its ever-varying moods.” 1 He elaborated further, writing that “there were many places to go within an hour – much infinite variety, lagoons with water lilies and pickerel weeds, smooth rocks worn into fantastic shapes by glacial actions, pine trees clinging to the rocks and bent into strange forms by the prevailing west winds. Every wind brought its change of colour, – the North wind with everything sharply defined and the distant islands lifted above the horizon by mirage; the South wind, –the blue giving way to greys and browns and the water rushing over the shoals; and the West wind best of all, – sparkling and full of movement.” 2

MacCallum’s cottage on Go Home Bay would provide a basecamp not only for Jackson but for other members of the Group to make paintings which would become some of the most familiar in Canadian art, including F.H. Varley’s Stormy Weather, Georgian Bay (National Gallery of Canada, Accession number 1814) and Arthur Lismer’s A September Gale, Georgian Bay (National Gallery of Canada, Accession number 3360).

1 A.Y. Jackson, A Painter’s Country: The Autobiography of A.Y. Jackson (Toronto: Clarke, Irwin & Company, 1967), 76.

2 A.Y. Jackson, foreword to Percy J. Robinson, The Georgian Bay (Toronto: privately printed, 1966), 3.

Canadian & International Fine Art 22

ALEXANDER YOUNG (A.Y.) JACKSON, OSA, RCA (1882-1974), CANADIAN SWAMP LAKE, GO HOME BAY, 1954 oil on panel signed bottom right; signed, titled, and dated “July 1954” verso; also inscribed “This was bought from A.Y. in the Rosedale Valley studio from the artist himself. Given to Fran & Will December 2006. It was 1 of 5 bought at that date. H. Barnett” verso 10.5 x 13.5 in — 26.7 x 34.3 cm


Acquired directly from the artist by the father of the current owner, 1970 By descent to the Collection of Dr. William and Fran Barnett, London, ON


Canadian & International Fine Art 24


AUTUMN LANDSCAPE WITH FARM BUILDINGS, CA. 1950 oil on divided panel mounted to plywood

10.4 x 13.4 in — 26.7 x 34.3 cm


Collection of Walter R. G. Stewart, Toronto, ON Acquired by the father of the current owner, 1970

By descent to the Collection of Dr. William and Fran Barnett, London, ON


May 24 - 29, 2024 25 6


Barns from a former era were of particular interest for A.Y. Jackson, who never tired of their sloped lines, greying wood and sagging beams. Naomi Groves writes: “A.Y.’s lifelong attachment to barns is so self-evident as seemingly to require little comment... Yet he did not like all barns, not by any means. Not even any old barn. There has to be something special about each barn he honours with permanency in his work.” 1

The ongoing decay of the nation’s barns was of great concern for Jackson. Wayne Larsen writes that “ramshackle wooden barns and ancient snake fences –the cornerstone of Jackson’s rustic style – were disappearing at an alarming rate, to be replaced by modern farm buildings, straight fences, and paved roads.” 2 Jackson began to avoid villages and towns which were modernising too quickly. In 1941 he wrote: “I wish they would give the old barns a rest and concentrate on toilets and baths.” 3

The cluster of outbuildings depicted in this lot display all the hallmarks of a prime Jackson rustic scene with the contoured land cushioning the wilting barn, the curvilinear rootline, and the patinaed wood.

1 Naomi Groves, A.Y.’s Canada (Toronto: Clarke, Irwin & Company Limited, 1968), 76.

2 Wayne Larsen, A.Y. Jackson: The Life of the Landscape Painter (Toronto: Dundurn Press, 2009), 433.

3 Groves, 78. VIEW LOT

Canadian & International Fine Art 26
Canadian & International Fine Art


In the decade after graduating from the Royal College of Art, London in 1974, Tony Scherman established and continued to develop his distinct approach to painting with the encaustic medium; still life subjects of food, pottery, and furniture. 1 While he demonstrated a strong aptitude for life drawing – selfportraits and studio models in his 1970 College entrance portfolio – Scherman did not incorporate figures into his paintings until 1983-84, and first shown at the Sable-Castelli Gallery, Toronto in 1984.2 It included the reviewed and “notorious” “Claudia at Maxim’s.” 3

By 1986, his figures took on a distinct and refined dimension, exemplified by The Ideal Crêpes. The standing figure is a notational drawing done with black oil stick (or pastel) on an ochre-encaustic ground. The face, hat and kerchief of the chef are amplified by encaustic ‘naturalism.’ The crêpe is caught in motion (as crêpes are made one at a time) – the making being performed and registered in a dynamic way. Perhaps this is a “nod” to the futurism in Giacomo Balla’s 1912 painting Dynamism of a Dog on a Leash.

The Ideal Crêpes was shown in his first theme titled exhibition The Comfort of Food. Food can provide comfort for distress or anxiety, but Scherman also used food to reveal underlying and discreet social interactions.

This painting is (likely) the first of three versions done in 1987. The Ideal Crêpe II is on a yellow encaustic ground (Private Collection, USA).4 The other is on a red encaustic ground, whereabouts unknown. This body of work culminated in the 152 x 518 cm triptych – The Comfort of Food, 1987 – commissioned for the Chicago/Oakbrook cinemas.5 Food, and figure/portraiture continued as a key subject matter in Scherman’s later metatextual series such as About 1789, About 1865, and Pictures from Rome.

Ihor Holubizky is a cultural essayist and art historian. He received his PhD in art history from the University of Queensland.


2 One of the early figure paintings is Portrait of Kirkman, 1983-84, collection of the MacKenzie Art Gallery.

3 Christopher Hume, Scherman show repels and fascinates, Toronto Star, 18 November 1984.

4 The work illustrated for the 1988 Mayor Gallery invitation is titled The Ideal Beef.

5 David Burnett, Cineplex Odeon, The First Ten Years, 1989, illustrated 86-87.


30 Canadian & International Fine Art


encaustic, oil stick and pastel on canvas signed, titled, and dated to the overflap 60 x 72 in — 152.4 x 182.9 cm

PROVENANCE: Private Collection, Ontario


Tony Scherman, & The Comfort of Food, The Mayor Gallery, London, UK, 11 Apr-12 May 1988.


Canadian & International Fine Art



Each decade of Jules Olitski’s 40 year career is defined by distinct experimental and expressive handling of materials. Pressure Compact, 1987, can be described as a transitional piece, stylistically situated between his exploration of iridescent paints in the 1970s and early 1980s and his sculptural Mitt paintings of the late 1980s and early 1990s - a culmination of all his artistic experiments.

Beginning his career alongside Color Field movement heavy-hitters like Helen Frankenthaler, Kenneth Noland, Larry Poons, and Frank Stella, Olitski rose to prominence in the late 1950s and 1960s with his Core and Curtain paintings which focused on the saturation of colour on the canvas.1 Soon after, Oltiski developed the goal of “suspending colour” on the canvas which he achieved by applying paint to unprimed canvases via a compressed-air spray gun in his aptly named Spray paintings. The emphasis on the overall effect or gestalt of his work allowed the artist to transcend media, material, and convention, landing Olitski the first solo show by a living artist at The Metropolitan Museum of Art in New York in 1969.2

In Pressure Compact, 1987, Olitski builds upon layers of acrylic and oil-based enamel paints creating a sculptural surface that evokes the ethereal elements of his Spray paintings while dismissing the physical limitations of painting on plexiglass. What is ultimately achieved in Pressure Compact is a multitude of dichotomies coexisting on an unconventional plane where colours are simultaneously lucid and opaque but never dull.



34 Canadian & International Fine Art




water and oil-based enamel on plexiglass signed, titled, and dated verso 49 x 41.25 in — 124.5 x 104.8 cm


Gallery One, Toronto, ON Paul Petro Contemporary Art, Toronto, ON Private Collection, Toronto, ON


Untitled 2011, Paul Petro Contemporary Art, Toronto, ON, 6 Jan - 11 Feb 2017.


Canadian & International Fine Art



Titles of artworks can be categorical, descriptive, and/or evocative. Alexandra Luke’s Full Blown, a still life of flowers, emerges from an abstract composition and hovers on the edge of representation. The painting’s assertive oranges, whites, and yellows radiate from the hardboard support, full blown in energy and dynamism.

Akin to Luke’s breakthrough abstractions of the early 1950s such as the National Gallery of Canada’s Untitled, ca. 1951 (NGC no. 36833), Full Blown also shows the influence of Hans Hofmann (1880-1966) during her study at his summer school in Provincetown, Massachusetts, from 1947 to 1952. A proponent of both Abstract Expressionism and formalist painting, Hofmann was far more sensitive than he was dogmatic. In the 1940s he painted still lifes that, like Full Blown, are still lifes in name only.

In essence, Full Blown functions as an abstract painting. The white and orange heads of the flowers and green of the foliage and vase form a diagonal from lower left to upper right bisecting a background of brown madder, and yellow and green passages. Deftly using lessons from Hofmann, Luke composed a painting attached to the observable world by a tendril. The white, orange and greens of the diagonal pulse forward, while the background’s madder brown and mixtures of yellow and green recede. Importantly, parts of the diagonal recede and parts of the background pulse forward constantly engaging the eye and activating vision.

When Luke showed Full Blown in the 1953 exhibition of the Royal Canadian Academy of Art at the Art Gallery of Toronto, it was her first work shown there. In the spirit of the Group of Seven a quarter of a century earlier, Luke and her colleagues – including Jack Bush, Oscar Cahén, Kazuo Nakamura and William Ronald – banded together to form Painters Eleven in the fall of 1953 and held their first formal exhibition the next year.

Full Blown appears on the Canadian market for the first time in decades, possibly since its appearance at the RCA over 70 years ago. Consigned to Waddington’s by a private American collector, it was previously in the collection of the former Justice of the Mississippi Supreme Court Robert Gillespie and his wife.

38 Canadian & International Fine Art



FULL BLOWN, 1953 oil on hardboard

signed lower right; signed and titled verso 32 x 28 in — 81.3 x 71.1 cm

PROVENANCE: Mrs. Robert Gillespie, Jackson, MS Private Collection, United States


74th Royal Canadian Academy of Arts, Art Gallery of Toronto, Toronto, ON, 27 Nov 1953-10 Jan 1954, no. 55.


40 Canadian & International Fine Art



The death of his father in 1933 meant that Fortin, for the first time in his life, had access to a large sum of money. He would return to the family home in Sainte-Rose, the town where he was born and raised, to establish a studio in the attic above the former stables. After he had settled himself back home, he departed for a five-month trip to Europe, returning to Sainte-Rose in early 1934, and would paint and sketch the local scenes. Fortin drew inspiration from rural Quebec, seeing these vistas as important in fostering a national identity, one which needed to develop apart from both American and European influences. In the spring of 1940, the family home at Sainte-Rose was sold, and Fortin began to rove the province of Quebec.

Fortin, unlike the Impressionists to whom he was often compared, was known to carefully block out his compositions and rather than work alla prima, he often finished his paintings in the studio. Fortin saw painting as a building up of contrasting layers, often working from dark backgrounds and progressing to lighter and brighter colours.

1924-1950 was a period of great visibility for Fortin in the Montreal art world, with critics – most prominently Albert Laberge – describing his art as “bold, personal, original and showed proof of a vigorous effort to avoid conventional and worn-out styles.” 1

1 Esther Trépanier, “The Critical Reception of Marc-Aurèle Fortin,” in Marc-Aurèle Fortin: The Experience of Colour, ed. Michèle Grandbois. (Quebec: Musée des beaux-arts du Quebec, 2011), 190.

42 Canadian & International Fine Art




oil on panel

signed lower left; signed and titled “Octobre” verso; also titled and dated to gallery label verso

11 x 11.75 in — 27.9 x 29.8 cm


Galerie Walter Klinkhoff, Montreal, QC

Private Collection, Ontario

By descent to the present Private Collection, Ontario


44 Canadian & International Fine Art



It is a rare occurrence for a large canvas such as Untitled (Barn) by Frederick Loveroff to come to market and be offered at auction. The artist’s career lasted only 16 years and the scarcity of his work has made paintings such as this deeply desired and coveted by collectors.

Loveroff is most recognized for his observation of light and colour. His style was largely influenced by his contemporaries and his fascination with nature. Writing for The Canadian Collector, Peter Millard noted that Loveroff’s paintings “are crisp, strong landscapes whose chief delight is in their Impressionist colouring.

Shadows, which at first sight seem merely darker in tone, on closer examination yield up rich and extraordinary colour.” The deep purple shadows that Millard references are most prominent in the artist’s winter landscapes, and Untitled (Barn) is no exception.

This painting presents the artist’s genius in colour by using different shades of blue: the lighter tones to highlight the fallen snow and reflecting light and the deep purple tones to emphasize the dark shadows, sky and barn walls. Loveroff balances this composition beautifully by creating a focal point towards the standing figure between the gap in the bare trees. His paint strokes and colour emulate the stillness and frigid temperature of this winter scene.

Loveroff’s work is housed in the collections of the Art Gallery of Ontario, Toronto; the National Gallery of Canada, Ottawa; University of Toronto Hart House, Toronto; the University of Saskatchewan, Saskatoon and the Mendel Gallery (now Remai Modern), Saskatoon.


Kevin Forrest, The Paintings of Frederick Nicholas Loveroff, (Regina: Norman Mackenzie Art Gallery, 1981).

46 Canadian & International Fine Art


UNTITLED (BARN) oil on canvas signed lower left 53 x 47 in — 134.6 x 119.4 cm

PROVENANCE: Private Collection, Ontario By descent to the present Private Collection, Ontario


Canadian & International Fine Art



In the early 1980s, Gershon Iskowitz began to transition his work from the ethereal abstracts of the 1970s – characterised by white and light-toned grounds with dense coloured cloud-cluster forms – to bold-coloured grounds and simplified cloud-lozenge forms. He continued this compositional and colour approach until his last paintings done in 1987.

The palette of the cloud-lozenges in Violet Deep - I is limited to ranges of orange, blue, green and yellow.1 The violet is not a typical ground as it is painted on top to define the cloud-lozenge forms, consistent with his established painting practice. In turn, the violet area is punctuated by small dots in a lighter hue to create a deeper perceptual space.

Violet Deep - I developed into a series titled Northern Lights (1984), Sunlight and Midnight (1986) and can be seen as the foundation for his ambitious and largescaled multi-panelled Septet paintings (1984-1986).2 Iskowitz’s 1986 statement for the Septets is applicable to Violet Deep - I, describing his objective to “create… space and depth in terms of the sky and flying shapes,” and recalling his visit to Churchill, Manitoba in 1967, where he experienced the northern lights.

Closely related to Violet Deep - I is Northern Lights #12, (1984) in the collection of Musée des beaux-arts de Montréal, and comparable period and composition works in the collections of Musée d’art de Joliette and the University of Lethbridge Art Gallery.

Ihor Holubizky is a cultural essayist and art historian. He received his PhD in art history from the University of Queensland.

1 There is a Violet Deep - II painting, and two titled Blue Violet, all 1983, in private collections.


50 Canadian & International Fine Art


VIOLET DEEP - I, 1983 oil on canvas signed, titled, and dated verso; titled to gallery label verso 38 x 70 in — 96.5 x 177.8 cm


Artist’s studio, Toronto, ON Gershon Iskowitz Foundation, Toronto, ON $12,000—15,000

Canadian & International Fine Art




bronze, edition of 7

signed and numbered “2/”

8.25 x 14.25 x 4.5 in — 21 x 35.6 x 11.4 cm


Gift of the artist

Private Collection, Ontario

By descent to the present Private Collection, Ontario


54 Canadian & International Fine Art 13


Sorel Etrog’s steady interest in standing forms, often anthropomorphic, anchored his work in the human experience, natural balance and patterns of growth. Etrog intended for his figures “to soar from the base like the trunk of a tree … leaving the drama to the top.” 1

The elongated horizontal axis of Small Flight Study is a key departure from Etrog’s signature attenuated figures, and it is one of the artist’s earliest works to exhibit what became a recurring motif in his oeuvre: the link. Here two winged figures are adjoined with a connecting loop, creating tension simultaneously away from and toward one another in an attempt to fly. Created in 1964, Small Flight Study was produced following the artist’s return to Canada from Europe where his discovery of Etruscan art inspired his Links Period.

The 15-foot long, fully-realised bronze sculpture, Flight, created for the Canadian Pavilion at Expo ’67 is currently located at the Bank of Canada Plaza at Wellington and Bank Street, Ottawa.

Small Flight Study comes from the collection of renowned Canadian book designer Frank Newfeld (illustrator: Alligator Pie; designer: Leonard Cohen, The Spicebox of Earth (Toronto: McClelland & Stewart, 1961); designer: Sheila Watson, The Double Hook (Toronto: McClelland and Stewart, 1959); designer: William Withrow, Sorel Etrog (Toronto: Wilfeld, 1967). Newfeld and Etrog were friends and associates, and Small Flight Study was given to Newfeld by the artist.

1 Alma Mikulinsky, Sorel Etrog: Life and Work, Art Canada Institute, https://www.

55 May 24 - 29, 2024


Even though he was part of the second generation of Abstract Expressionists – an attribution he abhorred all his life – Bluhm was not worshipful of Post-War Expressionism: “Come on, let’s be real about it. I’m not knocking it, but what I’m doing is, I’m trying to say that in the break out of a kind of cultural force, the abstract period, we have to admit that things existed and things that can move on. Like I had a die hard argument with somebody. I said, you can’t be an abstract painter any more, per se the fifties. It’s gone. You don’t live in that period. [...] We don’t live in that period, we don’t have that energy. We don’t have that anger. We’re not in that time. I mean, art has moved on.” 1

Bluhm studied Bauhaus architecture under Mies van der Rohe until 1941 at the Armour Institute of Technology, but the loss of his brother in World War II prompted Bluhm to become an artist. Thanks to the GI Bill, he was able to travel to Paris in 1956 and study at the Ecole des Beaux-Arts and the Académie de la Grande Chaumière. There he met other American abstractionists such as Joan Mitchell and Sam Francis, and French avant-garde artists including Alberto Giacometti, Jean Cocteau and Antonin Artaud. Influenced by the work of Cezanne, which he encountered in Paris, Bluhm gravitated toward the Abstract movement in Paris, before settling in New York in 1958.

Always in pursuit of the new, Bluhm began re-incorporating the figure into his compositions during the 1970s. He delved into a new narrative of eroticism with the female form expressed in warmer tones, an evolution past pure action painting. These female forms of goddesses Artemis, Aphrodite and Persephone appeared in his art starting in the early 1970s, as in the paintings at the Smithsonian American Art Museum, Erythea (1971) and Thamyris (1972). The triptych format adopted during the same period is used in the composition The Sleeping Goddess, painted in 1983.

Totalling 90 inches, these three panels of 30 inches each allowed the artist to paint a larger scene with gestural brushstrokes and vibrant warm tones suggesting the image of a woman asleep. John Yau writes “It’s as if the clouds and goddesses of Tiepolo, Rubens, and Watteau have been transformed into highly charged, voluptuous, lushly billowing masses.” 2


56 Canadian & International Fine Art



acrylic on canvas, triptych each panel signed and dated “’83” verso

40 x 90 in — 101.6 x 228.6 cm


Zolla/Lieberman Gallery, Chicago, IL

Elite Art Group, Montreal, QC

Galerie Riverin-Arlogos, Eastman, QC

BYDealers, Montreal, QC, 26 May 2019, lot 50

Private Collection, Montreal, QC

L’Arthotèque, Montreal, QC


This work will be included in the forthcoming publication Norman Bluhm: Catalogue Raisonné of Paintings, edited by John Yau.


Canadian & International Fine Art



At the age of fifteen, Montague Dawson started working for a commercial art studio at Bedford Row in London, where he worked on commercial posters and illustrations. The grandson of landscape painter Henry Dawson, Montague never received a formal art education. An autodidact, he taught himself the necessary skills that would earn him his reputation in seascape painting.

During the First World War, Montague enlisted and became a lieutenant of the Royal Navy. His artistic abilities were quickly recognized, and Dawson was assigned the duty of visually recording the war at sea. Mentored by the marine painter Charles Napier Hemy, many of his drawings recording the war became illustrations which were published in The Sphere. At the end of the war in 1918, an issue of The Sphere was entirely dedicated to his drawings of the final surrender of the German Grand Fleet.

In 1924, Dawson embarked on a treasure hunt to the Caribbean. His illustrations were featured once more in The Sphere and The Graphic newspapers, confirming the artist as one of the most promising artists in the United Kingdom. Two years later he began his collaboration with the Frost & Reed gallery in London and began to focus on producing oil paintings instead of the drawings and watercolours made for the newspapers. The success of this collaboration allowed Dawson to relocate to a new home in Milford directly on the coast with a view of the sea.

World War II brought war to the UK and its coastline. Inspired by his experience during the First World War, Dawson stayed at home and painted at the request of the Royal Navy. He produced a large number of illustrations for The Sphere to help bolster the war effort and increase morale.

In 1946, Dawson became a member of the Royal Society of Marine Artists and provided paintings to the collections of the British royal family, and Presidents Dwight D. Eisenhower and Lyndon B. Johnson.

After the war, Dawson’s paintings of warships and navy battles were quickly replaced by a new subject, the clipper. Clippers were merchant vessels designed for speed with large sails and multiple masts, designed to allow the easy transportation of merchandise being imported from China and abroad to be sold in the UK. Dawson would focus on these romantic vessels – conquerors of the seas – until his death in 1973. Featured alone or in battle, these clippers, like the painting offered here, The New York Clipper - Challenge, remind us of an evocative period in marine history.

60 Canadian & International Fine Art



THE NEW YORK CLIPPER - CHALLENGE oil on canvas signed lower left

21 x 31 in — 53.3 x 78.7 cm

PROVENANCE: Private Collection, Ontario


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Jeune fille au voile bleu is a fine example of Jean Paul Lemieux’s painting, which he regarded above all as a flat surface on which he managed to master expression with minimal shapes and colours. During his classical period (1955-1970), the painter produced a large number of portraits of fictitious sitters in both frontal and profile view and in vertical format. The result is an assortment of figures whose immobility transcends the passage of time, a theme that preoccupied Lemieux as he approached sixty.

Here, the artist has painted a portrait of a young girl with a luminous, serene face, whose clear contours have been chiseled into the dark mass of the background. He used contrast to reveal her pretty head emerging from her austere garment, fastened at the neck by a white collar. The only ornament in the composition is a mantilla embroidered with blue motifs. This veil is associated with Roman Catholicism, which required women, young and old, to wear a head covering during mass. Produced in the early 1960s as the people of Quebec began their “Quiet Revolution” against powerful religious authorities, Jeune fille au voile bleu bears witness to a bygone era. Like all French-Canadians, Lemieux was raised Catholic. With Quebec City’s convents, basilica and numerous churches, the painter’s cherished birthplace is a historic centre for the influence of the Catholic faith in North America. This explains why Lemieux’s career is punctuated by works of a religious nature, from the narrative period (1940-1955) to the expressionist period (1970-1990).

Remarkably preserved in private ownership for over 60 years, Jeune fille au voile bleu has not aged a day. In the absence of a date, we can place its creation around 1962, given the stylistic qualities it shares with other works by Lemieux in the early 1960s, such as 1910 Remembered (1962, Private Collection) and the profile portraits La contessa (1961, Private Collection) and Monseigneur (1962, Private Collection).

This work will be included in Grandbois’s forthcoming catalogue raisonné of the artist’s work.

Michèle Grandbois, Ph.D., is an independent researcher, and is currently compiling a catalogue raisonné of the works of Jean Paul Lemieux.

64 Canadian & International Fine Art

JEAN PAUL LEMIEUX (1904-1990), CANADIAN LA JEUNE FILLE AU VOILE BLEU, CA. 1962 oil on canvas signed lower left; titled to upper strainer bar verso 40.5 x 20.75 in — 102.9 x 52.7 cm


Acquired directly from the artist by Private Collection, Montreal, QC Private Collection, Toronto, ON


66 Canadian & International Fine Art
67 May 24 - 29, 2024

Jeune fille au voile bleu est un bel exemple la peinture de Lemieux qu’il considérait avant tout avant tout comme un espace plan où il parvient à maîtriser l’expression avec un minimum de formes et de couleurs. Au cours de sa période classique (1955-1970), le peintre réalisa de nombreux portraits fictifs qui adoptent les positions de face ou de profil dans des formats verticaux. Se constitua ainsi une galerie de personnages dont l’immobilité semble faire obstacle au temps qui fuit, un thème qui obsède Lemieux à l’approche de ses soixante ans.

Le peintre a brossé ici le portrait d’une jeune fille au visage lumineux et serein dont les contours francs sont ciselés dans la masse sombre du fond. Il a procédé par contraste, faisant émerger la jolie tête de son vêtement austère, fermé au coup par un collet blanc. Le seul ornement de la composition consiste en la mantille brodée de motifs bleus. Ce voile est associé à la religion catholique qui imposait aux femmes, jeunes et âgées, le port d’un couvre-chef pendant la messe. Réalisé au début des années 1960 alors que le peuple québécois amorçait sa « Révolution tranquille » contre le puissant pouvoir religieux, Jeune fille au voile bleu témoigne d’une époque bientôt révolue. Comme tous les Canadiens français, Lemieux a été élevé dans la religion catholique. Avec ses couvents, sa basilique et ses nombreuses églises, la ville natale du peintre, qu’il chérissait tant, est un haut-lieu historique du rayonnement de la foi catholique en Amérique du Nord. Cela explique que le parcours de Lemieux est ponctué d’œuvres à caractère religieux depuis la période narrative (1940-1955) jusqu’à la période expressionniste (1970-1990).

Remarquablement conservée dans le domaine privé depuis plus de soixante ans, Jeune fille au voile bleu n’a pas pris une ride. En l’absence de datation, il convient de situer sa réalisation vers 1962, en raison des qualités stylistiques qu’elle partage avec d’autres œuvres du célèbre peintre au début des années 1960 telles 1910 Remembered (1962, collection particulière) et les portraits de profil La contessa (1961, collection particulière) et Monseigneur (1962, collection particulière).

Cette œuvre sera incluse dans le prochain catalogue raisonné de l’artiste par Grandbois.

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Peter Clapham Sheppard’s portrait Dominique La Plante, Thunder Cloud marks his early accomplishment and ambition. It appears to have been exhibited when Sheppard was still a student at the Ontario College of Art and not long after a writer for The Globe (Toronto) described it as “splendidly done,” when they saw it at OCA’s annual exhibition of student work.1 Seven years later it was included in a group exhibition at The Heliconian Club in Toronto that included his OCA classmate Frederick Loveroff, the review of which The Globe’s writer remarked the “regal, red-blanketed Indian is an outstanding example” of Sheppard’s subjects from humanity.2

Still a student and in his mid-20s, Sheppard met a model who had worked in the United States for Eulabee Dix, as well as Frederick Remington and John Singer Sargent.3 When La Plante visited Toronto in April 1913 and was painted by Sheppard, he was also photographed by M.O. Hammond at the request of future Group of Seven member Franz Johnston and for Hammond’s own work.4 He also modelled for Emanuel Hahn, Thunder Cloud and Indian Scout, both from 1913 and in the collection of the National Gallery of Canada.5

Like Sheppard’s two other known studies of La Plante, (Dominique La Plante, Thundercloud, 1912-1914, pastel on paper, 73 x 45.7 cm and a painting reproduced in The Toronto Sunday World in 1923), this painting is much more accomplished and attentive than a classroom exercise.6 A young artist at the outset of his career, Sheppard’s portrayal of the nearly 60-year-old La Plante captures the physiognomy and dignity of his sitter and evokes the viewer’s empathy. Painted on a dark ground, in the tradition of the great 17th century portraitists Anthony van Dyck, Diego Velázquez and closer to Sheppard’s own time, John Singer Sargent, with bold brushstrokes that sculpt La Plante’s features more than they paint them, it is no surprise this painting was noticed early on. With a rare maturity that augured his singular artistic development and achievement, Sheppard made the most of the fewest brushstrokes to portray a figure who had been rendered by older, more experienced and more famous artists.

1 “Art Students’ Work Shows Much Merit,” The Globe (Toronto, ON) (17 May 1913), 8.

2 “Art and Artists,” The Globe (Toronto, ON) (17 Jan 1920), 10.

3 “Chief Thundercloud Dies,” The New York Times (14 Mar 1916), 11.

4 Janet Dewan, “The Mourner: ‘Red Man’s Memories,’” The History of Photography, vol. 15, no. 2.

5 Emanuel Hahn, Indian Scout, 1913, bronze, 85.5 x 27.8 x 42.2 cm, National Gallery of Canada, Purchased 1917, acc. no. 1429; and Thunder Cloud, 1913, bronze, 47.8 x 29 x 26.6 cm, National Gallery of Canada, Purchased 1929, acc. no. 3685).

6 An Artist’s Model, “The Life Of An Artists [sic] Model Is Not An Easy One,” The Toronto Sunday World (3 Jun 1923), 5.


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DOMINIQUE LA PLANTE, THUNDER CLOUD, 1914 oil on canvas signed and dated lower left; P.C. Sheppard Collection inv. no. LG068 24.25 x 30 in — 61.6 x 76.2 cm


Joyner Waddington’s, Toronto, ON, 7 Dec 2005, lot 407, as Portrait of an Indian Chief Private Collection, Toronto, ON


72 Canadian & International Fine Art



In 1874, at the age of 30, Léon-Augustin Lhermitte obtained his first medal at the Salon in Paris. His reputation was cemented with the oil on canvas La Paye des Moissonneurs (Paying the Harvesters) presented at the Salon in 1882 and purchased by the French government for the Musée du Luxembourg in Paris. In opposition to Romanticism, the Naturalist movement that Lhermitte was part of was emerging in France during the 1870s, pursuing the Realist wave shaped by Gustave Courbet and Jean-Francois Millet. Millet’s influence can be felt in La Paye des Moissonneurs, which would be the turning point of Lhermitte’s career, as the financial success following the Salon would allow the artist to continue painting in a Naturalist style. Art world insiders also took note, including Vincent Van Gogh and the art dealer Paul Durand-Ruel.

With the second industrial revolution beginning in 1870, there was a great push towards a new way of life. This race towards progress was largely limited to Paris and other large cities, eluding the French countryside until the beginning of the 20th century. Accordingly, during the late 19th century, many parts of the country were left untouched, as is evidenced by the field workers in the pastel The Harvest. In search of pristine landscapes and views, Lhermitte preferred to depict the rural parts of France he viewed as unsullied. Brittany was of particular interest, what with its unique way of life, complete with its own costumes, activities, celebrations, and palette. The artist depicted the local population without embellishment or idealisation: “to Lhermitte, rustic activity embodied dignity, for he believed workers in the fields seldom complained…Bolstering these ways of representing workers were the locales in which Lhermitte places his figures. The countryside was seldom dour or depressing, the atmosphere often appeared light and airy…and the environment seemed spacious.” 1

Pastel depictions of golden wheat fields form the core of the artist’s production. Though pastel had dropped out of fashion for artists since the 17th century, the medium made a strong comeback during the 19th century, championed by Degas, Redon, Boudin and the Impressionists. Pastel allowed artists to capture an instant image of a scene without the need to fuss with paint and selecting the right palette. Committed to this discipline, Lhermitte created a group named “Les pastellistes” and would help to train the next generation of young artists.

Influenced by the Realists and the Impressionists, Lhermitte depicted a vanishing era, which he attempted to do without any explicit political agenda. For the artist, fieldworkers were the embodiment of life in the countryside, a life he saw as happy due to its distance from the chaos of the city and its rapid industrialization. With his pastels, Lhermitte was able to represent the working life of individuals without judgement, deeply focusing on the subject or subjects at hand, the landscape and the effects of light.

1 Gabriel Weisberg, “Léon Lhermitte: Creativity in Context,” in Léon Lhermitte, ex. cat. Galerie Michael, 1989.

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pastel on paper

signed lower left

16 x 19 in — 40.6 x 48.3 cm


Collection of George A. Morrow, Toronto, ON Odon Wagner Gallery, Toronto, ON

S.P. Family Collection, Toronto, ON


Art Gallery of Ontario, Jan 1920, Toronto, ON.


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initialed “F.A.H.” lower left 25 x 39 in — 63.5 x 99.1 cm


Richard Winterton Auctioneers Ltd, Lichfield, Staffs., England, 18 Sep 2023, lot 594

Private Collection, Alberta


78 Canadian & International Fine Art




LA TRAITE DU SOIR (THE MILKMAID) oil on canvas, laid down on board initialed “H.W.” lower left and titled to nameplate; titled with estate stamp (certified by Clarence Gagnon) verso; also titled to gallery labels verso 23.75 x 18 in — 58.4 x 43.2 cm


Watson Art Galleries, Montreal, QC Mr. & Mrs. H.A.T. Flemming, Kingston, ON Ritchies, Toronto, ON, 23 Sep 2003, lot 74, as La traite du soir

Galerie d’art Michel Bigué, Toronto, ON Canadian Fine Arts Gallery, Toronto, ON Private Collection, Alberta


Horatio Walker 1858-1938, The Agnes Etherington Art Centre, Kingston, ON, 17 Dec 1977-29 Jan 1978, no. 48.


Dorothy Farr, Horatio Walker 1858-1938 (exh. cat.) (Kingston, ON: Agnes Etherington Art Centre, 1977), 51.


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In her recent monograph, Daniel O’Neill: Romanticism & Friendships, Karen Reihill sheds new light on this Belfast-born artist. More than 45 years after his death, the research made by Reihill allows us to better discover a painter influenced by the French Masters.

The son of an electrician, born during the War of Independence, O’Neill was a Catholic. Self-taught, O’Neill would paint watercolours during the day, a practice which he funded by working a night job. “His early paintings after the bombing of Belfast in 1941 seemed to reflect a man who had witnessed human despair and suffering in addition to experiencing the physical damage to the fabric of his city.” 1

Following the advice of painter Gerard Dillon, O’Neill crossed the border between North and South in 1942 and settled in Dublin. There he met his first wife, Eileen Lyle. His first exhibition in Dublin with Dillon was held at the Contemporary Painters Gallery. As a result, he gained a gallery contract with art dealer Victor Waddington, and in 1945 a very successful solo show was held at the Waddington Galleries. Finally able to work as an artist full time, O’Neill was included in several collaborative shows with the “Four Northern Painters” – Gerard Dillon, George Campbell and Neville Johnson – in Ireland, Los Angeles, New York City and Boston, as well as London and Amsterdam.

Sponsored by Waddington, the artist travelled to Paris in 1948. The planned threemonth trip turned into a six-month stay. Inspired by works by Georges Rouault, Maurice de Vlaminck and Maurice Utrillo, new bohemian scenes of life in Paris and its cafés appeared in O’Neill’s work. “At the age of 30 O’Neill’s career seemed to have reached the status he had craved. He had fulfilled his ambition of becoming a full-time painter. He was in popular demand at home and had visited Paris, still the capital of the art world, and his work was included in group exhibitions in Europe, Canada and the US. Yet around this time something was wrong.” 3 His stormy private life, overflowing with drinking and infidelity, led to the end of his first marriage and the estrangement from his family and daughter. This turmoil impacted his art as well, and O’Neill stopped painting for a few years.

In 1952, the artist left Dublin for London, where his wife and daughter had settled. In search of new markets, Victor Waddington, O’Neill’s dealer, sent the works to his brother’s gallery in Montreal, the George Waddington Galleries. The paintings offered here, Funfair and Portrait of a Girl, were probably part of this shipment.


2 Ibid.

3 Ibid. VIEW LOT

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FUNFAIR oil on hardboard signed lower left; titled to nameplate

16.3 x 24.3 in — 41.5 x 61.7 cm

PROVENANCE: Private Collection, Toronto, ON


Canadian & International Fine Art 84



PORTRAIT OF A GIRL oil on hardboard signed lower right

21.9 x 18.3 in — 55.6 x 46.5 cm

PROVENANCE: Private Collection, Toronto, ON


May 24 - 29, 2024 85
Canadian & International Fine Art



Newly graduated from the Ontario College of Art and with a T. Eaton travel scholarship in hand, Graham Coughtry travelled to Europe in 1954 and 1955. It was in France where he studied the work of Post-Impressionist artist Pierre Bonnard, and was deeply influenced by the interplay of colour and light. Soon after returning to Canada, Coughtry had his first exhibition at Hart House, University of Toronto, with art school classmate Michael Snow.

Reclining No. 2, 1959, was painted one month after the closing of Graham Coughtry’s second solo exhibition at the Greenwich Gallery in Toronto which featured the related work, Reclining. Part of the original group of artists to be represented by Avrom Isaacs, Coughtry, along with Michael Snow, encouraged Isaacs to open the Greenwich Gallery (later the Isaacs Gallery). Coughtry quickly caught the eye of critics and collectors, including Joseph H. Hirshhorn, who purchased five paintings from this solo exhibition. Interest in his work exploded - by 1960, Coughtry was one of a cohort of young, talented artists selected to represent Canada at the 1959 Bienal de São Paulo in Brazil and the 1960 Venice Biennale, and his work had entered numerous public collections such as the Art Gallery of Ontario, the Winnipeg Art Gallery, National Gallery of Canada, and the Vancouver Art Gallery.

Art critic Robert Fulford described Coughtry’s early work as “sensuous, thickly painted studies of interior spaces” and “glowing semi-abstract paintings that showed one or two figures floating, unmoored, in space.” 1

Reclining No. 2 radiates from its fiery red centre with interspersed patches of purple, blue and yellow on a pink and orange ground. If a figure is there, it is imperceivable. Coughtry’s main interest here is the vibrancy and fusion of colour through his brushstrokes.

1 Robert Fulford, Painter staked out the cutting edge with abstract work, The Globe and Mail, Toronto, 16 Jan 1999, C15.

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RECLINING NO. 2, 1959 oil and Lucite 44 on canvas signed lower right; signed, dated “March, 1959,” and titled verso 48.25 x 54 in — 122.6 x 137.2 cm


Isaacs Gallery, Toronto, ON Robert Simpson Company, Montreal, QC as part of the Vincent Price Collection Private Collection, Montreal, QC


The Elsie Perrin Williams Memorial Art Museum, London, ON.


Canadian & International Fine Art



This charming view of a canoe in autumn is an extraordinary new discovery that reveals much about Krieghoff. With no record of public auction, the solitary figure in an empty canoe on a still and deserted lake is a powerful example of Krieghoff’s ability to render immense scale at a small size.

Here, and in Krieghoff’s other scenes of nature rendered at approximately 9 x 13 inches, nature is a place of recreation and tranquillity. His Le Bateau à glace, Québec, ca. 1860 in the Musée national des beaux-arts du Québec and The Artist Painting, ca. 1860 in the Thomson Collection at the Art Gallery of Ontario portray nature as a setting for social and solitary pursuits, respectively. In the latter painting, the figure in a broad brimmed dark hat and dark coat evokes the present painting’s canoeist, although it is premature to speculate on their identity.

The documented provenance of this painting goes back several decades, including a label from Briggs & Co. of Buffalo, New York, on the back of the mid-19th century frame. Briggs & Co. was located at 7 East Swan Street and so named for three years, from 1862 to 1864, when it became Briggs & Howard. Krieghoff, as described by J. Russell Harper, visited western New York in the early 1840s and commissioned Buffalo lithographers to publish prints after his work in the late 1850s.1 The George Rowney & Co. stamp on the back of the unlined canvas indicates it was manufactured between 1854 and ca. 1862 and bolsters the argument for dating this hitherto undocumented painting to around 1860.2

This delightful addition to the corpus of Krieghoff’s paintings shows an artist at the height of his power with an endless capacity to see the landscape and conjure deeply affecting images.

1 J. Russell Harper, Krieghoff (Toronto / Buffalo / London: University of Toronto Press, 1979), 92, 9-10.

2 British canvas, stretcher and panel suppliers’ marks. Part 9, George Rowney & Co., National Portrait Gallery, Accessed 8 Mar 2024, Rowney.pdf

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UNTITLED (CANOE IN AUTUMN), CA. 1860 oil on canvas

signed lower left; stamped with canvas manufacturer’s name and address, framer’s label verso

9 x 12.875 in — 22.9 x 32.7 cm


Private Collection, Belleville, ON

Private Collection, Trenton, ON


Canadian & International Fine Art 94



RETURNING FROM MARKET (AFTER SIR AUGUSTUS WALL CALLCOTT, 1779-1844) oil on canvas signed and inscribed; inscribed verso 21.1 x 26.5 in — 53.5 x 67.3 cm


The Estate of Etta Florence Gale (née Taylor), Toronto, ON Waddington’s Auctioneers, Toronto, ON, 27 Oct 1978, lot 13, as Fording a River John & Marg Stanford, Thornhill, ON

By descent to Private Collection, Burlington, ON


Marcel Barbeau, Cornelius Krieghoff: Pioneer Painter of North America (Toronto: The Macmillan Company of Canada Limited, 1934), 149, as Fording a River


May 24 - 29, 2024 95



Cornelius Krieghoff is among a select number of Canadian artists whose diversity, quality and quantity of of production has contributed to uninterrupted interest for nearly two centuries. Returning from Market, after Sir Augustus Wall Callcott, encapsulates this status and reflects the practice of artists in Canada making paintings after well-known works by European artists (see also Krieghoff’s Cleopatra, after Guido Reni, sold at Waddington’s November 2023).

Sir Augustus Wall Callcott’s painting, Returning from Market (1834) was well known in its era. In the early 19th century, Callcott was J.M.W. Turner’s foremost follower and asked prices for paintings similar to Turner’s, pursuing the commercial middle class as buyers. First exhibited at the Royal Academy in 1834, it soon entered the collection of Robert Vernon, a successful English businessman and well-known collector of contemporary art and was reproduced in a series of engravings after paintings in Vernon’s collection known as the Vernon Gallery.

The renown of the copied paintings worked two ways for Krieghoff. Most obviously, it connected him with appreciated and fashionable paintings of the day, but it also showed a stylistic versatility beyond his successful paintings of Indigenous people and the local populace.

Returning from Market is a brilliant, multilayered testament to the connections between Krieghoff’s continental influences and his well-known North American genre subjects. For all its English charm, the narrative and structure of the painting are consistent with Krieghoff’s North American images. A domestic group travelling through nature with provisions for sustenance and survival is as much about unity, domestic duty and hierarchy as it is an occasion to portray a landscape. As many of Krieghoff’s clientele were English members of Quebec’s mercantile or military elite, this sort of landscape would have been well received as a taste of home. Variants of this composition attributed to Krieghoff have appeared on the market, and by virtue of provenance we know the present version is the one cited by Marius Barbeau in his catalogue raisonné.1

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Marius Barbeau, Cornelius Krieghoff: Pioneer Painter of North America (Toronto: Macmillan Company of Canada, 1934), 149, as Fording a River.
Canadian & International Fine Art


A.Y. Jackson first visited Great Slave Lake in the Northwest Territories in 1928, on a riverboat trip with Dr. Frederick Grant Banting – inventor of insulin and a regular sketching companion of Jackson’s – and geologist Dr. James Macintosh Bell. At the time, the far north was, per Jackson, “a part of the country few Canadians at the time knew anything about” 1 and the resulting paintings broke new ground. Conditions were far from palatial – mosquitos were a constant menace – but Jackson was captivated by the rugged landscapes. Though he was anxious to return to the Northwest Territories, it would be a decade before that dream was realised.

In 1938, prospector Gilbert La Bine invited Jackson up to his mine at Eldorado, 400 kilometres north of Yellowknife, on the banks of Great Bear Lake. La Bine had discovered a radium deposit almost a decade earlier, and a small village known as Port Radium sprung up to service it. Jackson eagerly accepted the invitation, and after a few weeks spent painting in Georgian Bay was flown up to Eldorado. He spent six undisturbed weeks working in this remote part of the country where “everything that takes place does it over a thousand miles.” 2 Jackson enjoyed painting both the wilderness of the Barren Lands and the tiny town of Port Radium from a variety of vantage points.

Jackson would return to Port Radium in 1949, a trip he took after completing his final summer teaching at Banff. He was accompanied by geologist Maurice Haycock. The two would return the following year, and Jackson would visit again in 1951, in the company of mining employee John Rennie. By then, Port Radium had become home to roughly 200 people, as well as the Hudson Bay Company and RCMP outposts, a post office, a radio station and other government offices. Dennis Reid writes that 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.” 3

We are pleased to offer two paintings from these later Eldorado trips in this auction: lot 26, Eldorado Mines, Great Bear Lake, 1950 and lot 27, Rock Form Eldorado Mines, September 1949.

1 Wayne Larsen, A.Y. Jackson: The Life of the Landscape Painter, (Toronto: Dundurn Press, 2009), 334.

2 Naomi Groves, A.Y.’s Canada (Toronto: Clarke, Irwin & Company Limited, 1968), 208

3 Dennis Reid, Alberta Rhythm: The Later Work of A.Y. Jackson (exh. cat.) (Toronto: Art Gallery of Ontario, 1982), 13.

100 Canadian & International Fine Art


ELDORADO MINES, GREAT BEAR LAKE, 1950 oil on panel signed lower right; titled to label verso; inscribed “It’s my opinion this sketch was painted by A.Y. Jackson. A.J. Casson” verso; also inscribed “NJG 2243V” verso

10.5 x 13.5 in — 26.7 x 34.3 cm


Private Collection, Toronto, ON


Canadian & International Fine Art 102


signed lower right; titled and dated verso

10.5 x 13.25 in — 26.7 x 33.7 cm


Waddington’s Auctioneers, Toronto, ON, 14 Jun 1984, lot 1031

Private Collection, Toronto, ON


May 24 - 29, 2024 103
Canadian & International Fine Art



A.J. Casson retired in 1958 after a 45-year career in commercial art. During his commercial life he was respected for his perfectionism and his refined understanding of colour and linear design. In his new career as an artist, Casson pushed these effects to heights and achievements unparalleled by the Group of Seven and distinct in Canadian landscape painting with Sun After Rain.

Casson’s masterful control of his palette and chromatic values enabled him to convey the scene with stunning effect. As the rain moves from right to left across the valley to the hills in the distance, sunlight traces the edges of clouds with a brilliant white, slightly infused with pale blue. Casson obscures the sun behind the cloud and engages us with multiple light effects. The rocky crest of a hill picketed with trees in their summer foliage, establishes our point of view.

Directly above, a heavy, dark, cloud refracts the light of the sun behind it. Below, the afternoon sky is still moist and Casson plays vaporous effects off the slopes of the distant hills. Each is slightly different according to distance, ambient light and temperature. Between the foreground and the hills, the expansive plain is divided by a meandering river. It announces the distance between our place in the foreground and the hills kilometres away.

Sun After Rain was reproduced in Pearl McCarthy’s review of Casson’s first solo exhibition at Roberts Gallery, Toronto, March 1959. Their relationship pre-dated that exhibition and continued until Casson’s death, with many solo and group exhibitions in between.

In addition to his perfectionism and acute sense of design, Casson possessed an exemplary work ethic, embodying the dictum, “nulla dies sine linea” (never a day without line).

106 Canadian & International Fine Art


SUN AFTER RAIN, 1959 oil on linen

signed lower right; titled variously and dated to gallery labels verso 30 x 38 in — 76.2 x 96.5 cm


Roberts Gallery, Toronto, ON Private Collection, Canada Roberts Gallery, Toronto, ON Dr. Franc R. Joubin, Toronto, ON Heffel Gallery, Vancouver, BC Waddington & Gorce, Inc., Montreal, QC

Galerie Dresdnere, Toronto, ON, as Sun After Rain, Madawaska Region - Algonquin Park

Private Collection, Toronto, ON


Recent Paintings by A. J. Casson R.C.A., O.S.A., Roberts Gallery, Toronto, ON, 6-21 Mar 1959. A. J. Casson, Kenneth G. Heffel Fine Art Inc., Vancouver, BC, 7 Dec 1985-25 Jan 1986.


Pearl McCarthy, “A Meticulously Orderly Painter,” The Globe and Mail (Toronto, ON), 14 Mar 1959, 15, repro. b/w.

Paul Duval, A.J. Casson (Toronto: Roberts Gallery, 1975), 131 repro. b/w.

Paul Duval, A.J. Casson / His Life & Works / A Tribute (Toronto: Cerebrus / Prentice-Hall, 1980), 227.

Eve Johnson, “Art of a living master,” The Vancouver Sun (Vancouver, BC), 9 Dec 1985, 25.


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In the 1960s, in his early 60s, Casson propelled his interest in the Ontario landscape and its small settlements to a new level of artistic maturity. Casson’s work ethic and standards even accompanied him on a 1968 family vacation to Kincardine, Ontario – a little less than 200 kilometres west-northwest of Toronto on the shore of Lake Huron. Not content to be idle, and finding relaxation in his vocation, Casson sought subjects for painting in the vicinity and took up one of his best known and loved motifs in the small settlement of Kintail, thirty kilometres south of Kincardine.

The palette of Kintail #2 is akin to Sun After Rain, lot 28, but distinct for practical reasons. A smaller repertoire of greens, blues, browns and white are all Casson needed to capture this storefront in a disappearing part of regional economies. The ground Casson prepared for Kintail #2 is more than a painted support for his design. His broadly brushed off-white ground has two important functions: one is technical and the other is aesthetic. The technical purpose was to provide a texture that gripped his brush and the thin layers of paint he applied to create the gentlest impediment to slick painting. The aesthetic purpose is to provide a texture that grips the eye. As Claude Monet knew before him, texture under brushstrokes adds visual interest and keeps eyes lingering. Coupled with his refined palette, the refined geometric of Casson’s composition gently holds our attention as sequences of rectangles open, nestle and envelop each other, constantly engaging our eyes.

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KINTAIL #2, 1968 oil on paperboard signed lower right; signed, titled, and dated verso

9.75 x 11.25 in — 24.8 x 28.6 cm

PROVENANCE: Private Collection, Toronto, ON


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Cap Tourmente is located on the north shore of the St. Lawrence River about 50 kilometres east of Quebec City. A mid-19th century chronicler of life in Canada, John J. Bigsby, recorded in The Shoe and Canoe, or Pictures of Travel in The Canadas: “There are few objects in Lower Canada better known, and perhaps more carefully avoided, than the great headland of Cape Tourment, nineteen hundred feet high. It is the advanced portion of a great group of mountains, occupying a lofty inner country, untravelled, save by a few Indians.” 1 By the end of the 19th century, the profile of the mountainous Cap Tourmente was a familiar sight to artists on the Île d’Orléans looking north across the expanse of the St. Lawrence River.

The Île d’Orléans was a mecca for Canadian artists shortly after the turn of the century. Notably, Horatio Walker (1858-1938), who owned a residence there, inspired fellow painters William Brymner, Edmond Dyonnet, Maurice Cullen, William Cruikshank, James W. Morrice, Curtis Williamson and Edmund Morris to paint near the Pointe d’Argentenay on the north end of the island. By the time Bertram Brooker first visited the Île d’Orléans during the summer of 1941, he had been preceded by a host of other Canadian artistic luminaries such as Clarence Gagnon, A.Y. Jackson, Marc-Aurèle Fortin, Edwin Holgate, Helen McNicoll, Charles Huot and Marc-Aurèle de Foy Suzor-Coté.

Brooker’s summer holiday in rural Quebec in 1941 offered an opportunity for rest and reflection. He stayed in a “backward old village” while painting a vast panorama of farm country stretching north to the Laurentian Shield (North Shore, 1941, Private Collection). Surrounded by images of picturesque Quebec and the various parish villages on the Île d’Orléans, Brooker came to the realisation that true inspiration comes directly from emotion rather than intellect. As he later wrote to LeMoine FitzGerald (June 25, 1942), his vacation on the Île d’Orléans, where he interacted with down-to-earth local types, led him to consider the “matter of feeling – an apprehension of simplicity and beauty, instead of mere thinking or theorising about it.”

Buoyed by this experience, Brooker revisited the Île d’Orléans during the summer of 1946 where he depicted vernacular French colonial régime facades and ornate interiors of several parish churches. In the charming landscape Cap Tourmente, Quebec, 1946, painted from the Île d’Orléans, he chose a vantage point reminiscent of a 1903 painting by Edmund Morris (National Gallery of Canada, Ottawa). Brooker took artistic licence to draw Cap Tourmente closer to the viewer. The mountain and clouds dominate the composition while the grand St. Lawrence River is reduced to a minor waterway. Brooker captures the tranquillity of this traditional Quebec scene, a civilised landscape with a tilled field, log fences and farmhouse.

Michael Parke-Taylor is a Canadian art historian, curator, and author of Bertram Brooker: When We Awake! (McMichael Canadian Art Collection, 2024) and editor of Some Magnetic Force: Lionel LeMoine FitzGerald Writings (Concordia University Press, 2023).

1 John J. Bigsby, The Shoe and Canoe, or Pictures of Travel in The Canadas (London: Chapman and Hall, 1850), Volume 1, 180.

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CAP TOURMENTE, QUEBEC, 1946 oil on board

signed lower left; titled and dated verso; also titled to gallery labels verso 11.5 x 15 in — 29.2 x 38.1 cm


Private Collection, Belgium

Heffel, Montreal, QC, 31 May 2008, lot 306

Canadian Fine Arts, Toronto, ON Masters Gallery Ltd, Calgary, AB

Private Collection, Alberta


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Waddington’s is pleased to offer two canvases by Norval Morrisseau from the artist’s early 1990s in this auction: Ojibwa Family Motif with Tree of Knowledge, 1991 (lot 31) and Fish and Fowl Forms - Composition, 1990 (lot 32).

Paintings by Morrisseau from this period are characterised by new, brighter colours. Already in the mid-1970s Morrisseau was introducing new colours to his paintings, drawing inspiration from his involvement with the spiritual movement Eckankar, and combining this doctrine with the Anishinaabe and Christian beliefs featured in his earlier works. By the early 1990s his signature palette of copper, yellow and blue was fully realised and “conveyed the clarity of vision, lightness, and spirituality that Eckankar espouses.” 1

Jack Pollock and Lister Sinclair discuss the artist’ bright colour palette and the meaning and intentionality of the blue tones found in his canvases, stating that, “to Morrisseau, blue was often regarded as symbolising spiritual protection, […] the light blue indicating that the artist’s spirit is being guarded by day, whereas the mid blue means that it is being guarded by night. In a sense, these two colours seem to perform for him some of the guardian functions which, he tells us, belong to the totem spirits.” 2

Light and dark shades of blue can be found in both Ojibwa Family Motif with Tree of Knowledge and Fish Fowl Forms - Composition. In Ojibwa Family Motif with Tree of Knowledge, Morrisseau achieves a striking sense of balance in this composition by mirroring the shades of blue in the clothing of the family. The Ojibwa family and the transference of knowledge is a recurring theme in Morrisseau’s paintings of this period.3

Fish Fowl Forms - Composition brilliantly depicts Morrisseau’s use of lines: a seminal aspect of Morrisseau’s Woodland School of Art style. Often referred to by the artist as lines of communication, these lines form closed loops and united ties between the figures. Morrisseau would also incorporate internal lines to depict the inner structures of animals and humans, which is apparent in the bird and fish figures in this work. Finally, the divided circle is a common motif that Morrisseau used throughout his career and can be seen in paintings as early as the 1950s. Scholar Carmen Robertson refers to the divided circle as the dualities that exist in the artist’s view of the world.4

1 Art Canada Institute, Norval Morrisseau, Life and Works by Carmen Robertson, Art Canada Institute, accessed 15 April 2024,

2 Lister Sinclair and Jack Pollock, Art of Norval Morrisseau, (Toronto: Methuen, 1979), 58.

3 Norval Morrisseau: Honouring First Nations, (Toronto: Kinsman Robinson Galleries, 1994, Exh. Cat), 8.


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OJIBWA FAMILY MOTIF WITH TREE OF KNOWLEDGE, 1991 acrylic on canvas signed in syllabics lower left; titled and dated to gallery label verso 87 x 54 in — 221 x 137.2 cm


Kinsman Robinson Galleries, Toronto, ON S.P. Family Collection, Toronto, ON


Canadian & International Fine Art





acrylic on canvas signed in syllabics lower left; titled to gallery label verso 40 x 40 in — 101.6 x 101.6 cm


Kinsman Robinson Gallery, Toronto, ON Private Collection, California, USA


The Shaman’s Return, Kinsman Robinson Galleries, Toronto, ON, 31 Mar - 28 Apr 1990.


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acrylic on kraft paper signed in syllabics lower left; titled and dated to gallery label verso 73 x 48 in — 185.4 x 121.9 cm


Acquired directly from the artist Collection of Faith Sinclair, Toronto, ON Kinsman Robinson Galleries, Toronto, ON S.P. Family Collection, Toronto, ON


Norval Morrisseau: Retrospective, Kinsman Robinson Galleries, Toronto, ON, 15 Sept - 20 Oct 2012.


Norval Morrisseau: Retrospective, Toronto: Kinsman Robinson Galleries, 2012, cover illustration (Exh. Cat.).

Lister Sinclair and Jack Pollock, The Art of Norval Morrisseau, (Toronto: Methuen Publications, 1979), illustrated 114.

Carole Carpenter, artmagazine, Nov/Dec 1979, 55. Time Magazine, 25 August 1975.


May 24 - 29, 2024 123 33


Nature’s Balance, 1975 is well known to both scholars and collectors of work by Norval Morrisseau. It masterfully articulates the artist’s connection to nature and the interconnectedness of all life forms. The sacred bear figure in the centre is connected by bolded black outlines to the serpent, fish and three surrounding birds. Often referred to by the artist as lines of communication, these lines form closed loops and united ties between the figures.

Jack Pollock and Lister Sinclair discuss Nature’s Balance, describing the work as an “abstract composition which integrates the creatures of the sky, the earth and the waters. Strong lines of communication unite the three domains, suggesting the natural interdependence of all creatures and the environmental interactions necessary for their survival.” 1

Nature’s Balance is one of the last paintings Morrisseau produced before his involvement with the spiritual movement, Eckankar. Morrisseau was introduced to the movement by Jack Pollock’s assistant Eva Quan in the mid-1970s. The artist drew inspiration in his work from the Eckankar teachings, as paintings from this period are often bolder and brighter in colour than his earlier work.2

1 Lister Sinclair and Jack Pollock. Art of Norval Morrisseau. (Toronto: Methuen, Toronto, 1979), 114.

2 Art Canada Institute Norval Morrisseau. Art Canada Institute. Accessed 15 April 2024. https://www.

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Canadian & International Fine Art



Known for his steady calligraphic lines and bright colour palette, Janvier’s prolific paintings draw inspiration from his Denesuline heritage and culture. His work is a nod to the traditional imagery of his ancestors, yet is painted through a contemporary lens.

Janvier’s acclaimed style developed as a result of his childhood experiences and education. At eight years old, he was sent to Blue Quills Indian Residential School, Alberta. He spent ten years separated from his land, language, community, belief system and identity. Janvier then went on to receive formal art training at the Provincial Institute of Technology and Art in Calgary (now the Alberta College of Art and Design) in 1960, studying under Canadian painter Marion Nicoll. Janvier was encouraged to pursue automatic painting, as he sourced inspiration from Western abstract painters, Wassily Kandinsky, Paul Klee and Joan Miró. There is freedom in the expression of automatic painting: a breakthrough from restriction and a liberation of control. This sense of freedom is prevalent in Janvier’s work.

Janvier has made lasting contributions as a painter, muralist, activist and teacher. In the early 1970’s, Janvier formed the Professional Native Indian Artists Inc. (PNIAI) with six other artists: Jackson Beardy, Daphne Odjig, Eddy Cobiness, Norval Morrisseau, Carl Ray and Joseph Sánchez to promote and advocate for emerging Indigenous artists. A year after Cherry Cheers was produced, Janvier was made a member of the Order of Canada (2007). The following year he received the Governor General’s Award for Visual and Media Arts. The National Gallery of Canada ran a major retrospective dedicated to Alex Janvier from 2016-2017.

With his family, Janvier currently runs The Janvier Gallery, located in Cold Lake First Nations, Alberta.

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watercolour on paper signed lower left sheet 22.5 x 30 in — 57.2 x 76.2 cm


Acquired directly from the artist Private Collection, Halifax, NS


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Best known for his paintings of totemic animals, Thomas’ work is exemplified by balanced compositions and vivid colours. A leading member of the Woodland School, Thomas, like Norval Morrisseau and other members of the PNIAI who preceded him, helped move conversations about Indigenous art into the mainstream. Simultaneously, Thomas was dedicated to mentoring subsequent generations of contemporary Anishinaabe artists in the complex visual language of their people. James Stevens, who collaborated with Thomas on his biography, The Spirit of Ahnishnabae Art, explains: “I think his contribution really was that his art helped two cultures gain a further understanding of themselves. He helped people from western society understand the values and philosophy on the aboriginal side.” 1

Dr. Elizabeth McLuhan, who curated Vision Circle: The Art of Roy Thomas, a Retrospective Exhibition, at the Thunder Bay Art Gallery, writes that Following Success is an expression of the futility of being driven by other measures of success at the expense of one’s true Ahnisnabae self. It is a powerful statement of hard-won self-knowledge. The piece has a three-part structure. On the left is a white Thunderbird astride a green serpent that is perched on a turtle. Above them is an owl and the Great Spirit. In the centre, the Earth-toned second figure looks right. A broken or jagged orb presides, the orb is split between competing goals. On the right, a blue Thunderbird soars to depart from this life, dominated too much by ambition. Roy’s notes on Following Success observe that:

In the eyes of our Great Spirit honest success is gained by keeping our mind, body and spirit clean. Clean from drugs and alcohol. This is illustrated by the three birds. Each bird represents the mind, body and spirit. The two fish represent the water, to be clean like the water.2

Following Success epitomizes the artist’s use of densely clustered and often overlapping ring-like compositions of figures depicting the Anishinaabe cosmology. In the work, Henry emphasizes the interconnection between the upper, middle, and lower realms of being. Continuity of form and the artist’s implementation of colour in the work imply relations between animals and people occupying the strata of these worlds. The painting is particularly notable both for its monumental scale and the artist’s all-over use of the canvas.

1 Influential aboriginal artist Roy Thomas dies at 54; mentored younger artists, The Canadian Press, 19 November 2004.

2 Elizabeth McLuhan, Roy Thomas, and Joseph Boyden. Vision Circle : the Art of Roy Thomas : a Retrospective. (Thunder Bay: Thunder Bay Art Gallery, 2012), 40.

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acrylic on canvas signed lower right 48 x 94 in — 127 x 246.4 cm


Acquired directly from the artist by Gallery Gevik, Toronto, ON Private Collection, Ontario


Vision Circle: The Art of Roy Thomas, a Retrospective Exhibition, Thunder Bay Art Gallery, Ontario (curated by Dr. Elizabeth McLuhan), 7 Jun - 9 Sep 2012.

Accompanied by a letter of provenance from Gallery Gevik, Toronto, ON (client name and address redacted).


Canadian & International Fine Art



Appel’s works are widely considered to embody the spirit of post-war European art; characterised by bold use of colour, expressive brushwork and a style inspired by folk art, outsider art, and children’s drawings.

His involvement with CoBrA, an avant-garde movement he founded in 1948 along with Asger Jorn, Constant and Corneille, brought attention to the young artist’s work in both Europe and North America. CoBrA, an acronym for the cities the founding artists were from (Copenhagen, Brussels, and Amsterdam), was centred around a rejection of geometric abstraction and rationalism, which CoBrA artists identified with de Stijl. De Stijl was the dominant aesthetic of Dutch art at the time, best typified by the work of Piet Mondrian. CoBrA artists also rejected the similar hegemony of French Surrealism, another major style of the period.

Their aim was to paint the human psyche in all of its disorder and primitivity, reflecting the trauma and unease of the post-war period. Brushwork was often frenetic, the colours vibrant, taking inspiration from the creativity and energy of children. Margalit Fox sums up Appel’s style accordingly: “Some critics discerned violence or even madness in Mr. Appel’s work, with its liberal use of red and its semi-figurative images of grotesque limbs and distorted, grimacing faces. But to other viewers, the unrestrained masses of paint, which Mr. Appel sometimes squeezed onto the canvas straight from the tube, embodied the life force itself.” 1

Helen A. Harrison, writing in the New York Times in 1981, explained that CoBrA’s major achievement “was in fostering an amalgam of aspects of the major trends in contemporary artistic thinking” with “the dark, mystical Northern sensibility that gives their work its peculiar character, so appropriate to postwar Europe.” She added: “In short, they seem to have been able to express both optimism and anxiety at the same time.” 2

Though CoBrA disbanded in 1951, its spontaneous and colourful aesthetic has been credited with reinvigorating Dutch modern art and inspiring subsequent generations of artists. The playful spirit it promoted has also characterised Appel’s subsequent career, emblematized by thick impasto, energetic spontaneity, saturated colour and human or animal subjects.

Essay continues overleaf...

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Appel recalls how formative the group was for him: “The CoBrA group started new, and first of all we threw away all these things we had known and started afresh, like a child -- fresh and new. Sometimes my works look very childish, or childlike, schizophrenic or stupid, you know. But that was the good thing for me. Because, for me, the material is the paint itself. The paint expresses itself. In the mass of paint, I find my imagination and go on to paint it.” 3

Appel began dividing his time between Europe and New York City beginning in 1957. There he would connect with Abstract Expressionist painters including Willem de Kooning, whose dramatic use of paint would influence Appel’s style. In New York, Appel’s art became even freer, though like his earlier work, continued to walk a tightrope between abstraction and figuration, never entirely one or the other. Appel also met jazz musicians Dizzy Gillespie, Miles Davis and Count Basie, whose free-flowing styles would also impact his painting.

The 1960s marked a period of decline and tragedy for Appel, when painting went out of fashion and his second wife, Machteld, passed away. But Appel and his irrepressible style could not be kept down long – Appel remarried his third and last wife, began working again, and signed on with art dealer Annina Nosei, who also represented Jean-Michel Basquiat. Appel would find fresh inspiration in the flattened aesthetics of Pop Art, which he reinterpreted using his signature style.

Appel continued to experiment until the very end of his life. He worked with various media, including sculpture, textile, ceramics, and printmaking, all which he imbued with his signature primal energy. Franz W. Kaiser, writing for the Appel Foundation, notes that “Appel early on recognizes that sticking to one’s own comfort zone inevitably leads to formalism and repetition. He consciously exposes himself again and again to the unknown. This can be a new material or a new method, but also the style of a current avant-garde, of which he takes up individual aspects and integrates them within his characteristic way of working.”4

1 Margalit Fox. Karel Appel, Dutch Expressionist Painter, Dies at 85. The New York Times, 9 May 2006. Accessed 2 April 2024.

2 Helen A. Harrison. Art; Unfolding the Esthetics of the Cobra Group. The New York Times, 10 May 1981. Accessed 2 April 2024., cited in Margalit Fox, ibid.

3 Fox, ibid.

4 Franz W Kaiser. Biography. Karel Appel Foundation. Accessed 2 April 2024. VIEW LOT

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KAREL APPEL (1921-2006), DUTCH

UNTITLED (A FIGURE) oil on paper signed lower left

18.75 x 14 in — 47.6 x 35.6 cm

PROVENANCE: Private Collection, Alberta


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KAREL APPEL (1921-2006), DUTCH

UNTITLED (THREE FACES), 1966 acrylic on paper

signed top left quadrant; dated to label verso

15 x 12.5 in — 38.1 x 31.8 cm

PROVENANCE: Private Collection, Alberta


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Bonne fête, Raga earned a colour reproduction in Time magazine when it was first shown in Yves Gaucher’s 1967 solo exhibition at Galerie Agnès Lefort in Montreal. The Time review was titled Towards Serenity. 1 When the art critic Carol Zemel, writing for Artscanada, visited the show, someone, surely the artist himself, submitted her to a little lightshow. First she looked at the paintings under the normal gallery lighting. Then the lights were lowered, and, as she discovered, now when each painting was differently lit, not only did it look different, but in its new state it totally held its own, in Zemel’s judgement, as “a complete statement.” 2

With Bonne fête, Raga we can ourselves repeat the exercise. Observe first its dominant cadmium red ground, which spreads upwards and outwards with no upper or lateral restraints. Thin horizontal blue and purple stripes, or signals, as Gaucher called them, play jauntily across it, dispersed in a symmetrical oval formation above a thicker purple baseline. But it is the ground plane, more than ever before in Gaucher’s work, that sets the mood. And celebratory it is, as appropriate, as per its title, for a birthday greeting. The paint is perfectly smooth and edges are crisp and clean.

Then we dim the lights and the red plane ever so gently dematerializes, transforming itself from matter into light. The signals hover and seem to glow from within. It is like being transported from the outward world into an inner otherworld. As Gaucher wanted to demonstrate to Zemel, “I am not painting pictures; I am painting states of mind.” He wanted his paintings understood not as pictures of something, but as objects in their own right, plotted out so as to enrapture the viewer’s inner self.

This was no doubt also true of his earlier hardedge and optically active paintings from before the 1967 Agnès Lefort exhibition. But the Ragas, like Bonne fête, Raga, were an inflection point. With their evocative intensity, it is as if they announced Gaucher’s separation from his fellow Plasticiens, Guido Molinari and Claude Tousignant. If the latter’s concurrent work celebrated optical phenomena in the secular world, Gaucher instead was veering off to probe inner states of mind, even broaching the transcendent, a direction decisive for his future work. Essay continues overleaf...

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But it was not so surprising a turn. Already in 1960, well before Yves Gaucher became a hard-edge colour painter, the critic Françoise de Repentigny had described his then work as transcendental, contemplative and spiritual.3 And a transformative moment in his turning to pure abstraction was seeing a Mark Rothko exhibition in 1961 in New York, and then again in Paris in 1962. It was Rothko, as Gaucher later explained, who clarified for him what painting meant: “It’s not what you see… it’s not what you analyze… but the state of trance that you could be put into by the work.”4

Note: the Raga titles reflect the passion that Gaucher had developed for Indian music during the 1960s. He had used other musical titles – the Hommage à Webern prints and the Danse Carrée paintings – and analogies suggest themselves between his compositional rhythms and musical sounds. But we should not overthink this. If the music sparked ideas, their realizations on paper or canvas followed their own visual imperatives.

Roald Nasgaard is the author of the critically acclaimed “Abstract Painting in Canada” (2008). He has curated exhibitions and written extensively on the Montreal Automatistes and Plasticiens. Nasgaard’s monograph on Charles Gagnon will be published in Spring 2025.

1 Manon Gaulin, Toward Serenity, Time, (Can. ed.), 26 May 1967, 9.

2 Carol Zemel, Montreal spring ’67 in the galleries, Artscanada, xxxiv 6/7, 109-110.

3 Françoise de Repentigny, La Relève? De qui, de quoi? Le Devoir, 26 fevrier, 1960.

4 Cited in Roald Nasgaard, Yves Gaucher: A Fifteen-Year Perspective, 1963-1978 (Toronto: Art Gallery of Ontario, 1979), 41.

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147 May 24 - 29, 2024



acrylic on canvas signed, dated “3 / I / 67”, and titled verso; also titled to gallery label verso 48 x 36 in — 121.9 x 91.4 cm


Galerie Agnès Lefort, Montreal, QC

Private Collection, Montreal, QC


Yves Gaucher, Galerie Agnès Lefort, Montreal, QC, 6-19 May 1967.


Manon Gaulin, The Arts: Toward Serenity, Time (Canadian edition), 26 May 1967, 9 repro. col. as Happy Birthday Raga. William James Gordon Kirby, A Discussion of Five Canadian PaintersRonald Bloore, Brian Fisher, Yves Gaucher, Roy Kiyooka, Arthur McKayin the Context of the Artistic and Critical Sensibility of the 1960’s, MA diss., (University of British Columbia, 1973) 29, as Happy Birthday Raga. Martine Perreault, Repères chronologiques, and Chronology, in Yves Gaucher (exh. cat.) (Montreal, QC: Musée d’art contemporain, 2003), 139 and 236, as Bonne fête raga and Happy Birthday Raga (respectively).


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An important Canadian artist, Angela Leach is renowned for her Abstract Repeat (AR) paintings. Her work is included in many public and private collections and exhibited internationally, including the Art Gallery of Ontario, Toronto, the Power Plant, Toronto, the Doris McCarthy Gallery, University of Toronto Scarborough, the Contemporary Art Gallery, Vancouver, and the Albright Knox Gallery, Buffalo.

In her work Leach has explored colour within the confines of the basic grid and with a “box of 32 colours”. Experimenting with the configuration of line particular to a composition, vertical and horizontal sections of the painting are designated light or dark value in an attempt to shift the perception of depth, becoming one thing and then another, always with an element of surprise to amazing effect.

In 2003, Gordon Hatt, Director of the Cambridge Galleries, Ontario, organised a major travelling exhibition of her new large paintings, Angela Leach, Shimmy. Leach has said Hatt challenged her to work on a larger scale for the exhibition. In Leach’s words; “thus, the AR-Wave Large series of paintings were born.”

Following are excerpts from Hatt’s catalogue essay: “I stand before these paintings and am enthralled, as I observe how the artist has been able to construct from the same box of colours both gentle spectral shifts and vibrating complementary contrasts. Angela Leach’s paintings gently toss and roll, hover and settle, sparkle, vibrate and shimmer.”

Corinna Ghaznavi’s review of Wynick/Tuck Gallery’s Leach solo exhibition, Canadian Art Magazine, Spring, 2004; “Leach’s striking images seduce and hold the viewer’s attention… Every painting is an entity unto itself. Cumulatively, the paintings take on a resounding rhythm that makes the installation one of brilliant movement.”

All 12 AR-Wave-Large paintings sold originally to private, corporate and public collections. The release of these incredible paintings is a rare occasion.

Lynne Wynick is an art dealer, appraiser and the Director of Wynick/Tuck Gallery.

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AR WAVE LARGE #9, #10, 2005 (DIPTYCH)

acrylic on canvas each signed, titled, and dated to stretcher; also titled and dated to gallery labels verso each 78 x 78 in — 198.1 x 396.2 cm


Wynick/Tuck Gallery, Toronto, ON Important Corporate Collection, Ontario


Canadian & International Fine Art



In her 1992 book, Charles Pachter, Bogomila Welsh-Ovcharov discusses the genesis of the Toronto artist’s depictions of Canada’s flag and compares Pachter’s The Painted Flag series, to the depictions of the American flag by American artist Jasper Johns:

“In June of 1980, Pachter began a series of paintings which later eclipsed his streetcar and Queen on moose themes in capturing the public imagination. After building an improvised flagpole on his Oro farm, he observed the different configurations produced by the rippling flag in rapid succession. He photographed hundreds of variations for later reference. This approach was different from that of American artist Jasper Johns, whose unmodulated gridlike studies of the American flag were seen less as patriotic symbols than as points of departure for formal abstractions. In contrast, Pachter painted the Canadian flag hovering in the air, observed from various angles and distances with emphasis on light and shadow.

By surrounding the chiaroscuro surface of the flag image with flat acrylic colour as background, Pachter showed an element of virtuosity comparable with Johns, who manipulated encaustic…to produce an effect of multi-layered translucency.

In variations on this theme, Pachter alternated the scale of the flag to pole, or abandoned the pole altogether. He also introduced different background shades of blue and improbable hues such as black and pink, suffusing The Painted Flags with an aura that extended far beyond the moment captured.”

Bogomila Welsh-Ovcharov, Charles Pachter, (Toronto: McClelland & Stewart, 1992), 87 and colour plates 89-91 for other works from the 1981 The Painted Flag series.

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acrylic on canvas signed and dated “86”; signed and dated “86” verso; inscribed “St. Rémy Oct 91-Jan 92; Bonn Apr-May 92; CN Tower Jun-Oct/95”

36 x 72 in — 91.4 x 182.9 cm


Acquired directly from the artist Private Collection, Ontario


Charles Pachter: La lumière ombre, Centre d’art Présence Van Gogh Art Contemporain, Saint-Rémy-de-Provence, France, 12 Oct 1991-5 Jan 1992.

Licht im Schatten, Haus an der Redoute, Bonn, Germany, Apr-May 1992.

In Pachter’s Orbit, 360 Revolving Restaurant, CN Tower, Toronto, ON, Jun-30 Sep 1995.


Charles Pachter: La lumière ombre. Exh. cat. (Saint-Rémy-de-Provence: Centre d’Art Présence Van Gogh Art Contemporain, 1991), no. 8, frontispiece repro. col., 26 as Le Drapeau Peint. Maclean’s Special Issue: The Ties That Bind, Vol. 107, no. 27, 1 Jul 1994, cover repro. col. Bogomila Welsh-Ovcharov, Charles Pachter, (Toronto: McClelland & Stewart, 1992) 87 and colour plates 89-91 for other works from the 1981 The Painted Flag series.


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Kwon Young-Woo balances tradition and modernism in his expressive works on paper. Using kanji - Korean mulberry paper - as the basis of his practice, Kwon’s work focuses on materiality and the medium’s connection to Korean culture and history. A member of the first class to graduate from Seoul National University in Fine Arts in 1951, Kwon gained recognition in the 1960s as he began exhibiting works in the Dansaekhwa style, also referred to as the Korean monochrome movement.

Kwon’s monochromatic works, such as Untitled, ca. 1980, primarily use ink, further recalling the historied calligraphy practice in Korean and Asian art. The monochromatic inks absorb and amplify the imperfections of the paper, thus creating a three-dimensionality that can be likened to scarring, a visceral concept for many Koreans who recently experienced the horrors of the Korean War (1950-1953) and the resulting splintering of cultural identity. As writer and Professor of Critical Studies, John Yau, notes, “It seems to me that Young-Woo wounds the paper, as well as registers both its durability and its irreparable damage. The cuts cannot be “healed” without scarring. When pale blue ink bleeds through the mulberry paper, around a puncture, the association with wounds is deepened. In some of the works it is hard not to connect the paper to the human body, the blank surface on which the everyday world has left its mark.” 1 This thread would run throughout his career and in his later works; Kwon would further manipulate the medium by cutting and removing sections of the paper - going beyond the physical damage of trauma and referencing the sometimes irreparable damage to the psyche.

In Untitled, ca. 1980, the viewer can map the gentle creasing of the paper throughout the work highlighting the delicate, corporal nature of kanji. The organic character of the medium is further enhanced by Kwon’s careful application of indigo, creating the ideal environment for the ink to follow the peaks and valleys of the paper - ultimately delineating the life cycle or experience of a culture and material.

1 John Yau, Abstractions That Record the Scars of Trauma, Hyperallergic, 19 April 2022,

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gouache and ink on Korean mulberry paper seal upper left; signed in pencil in Korean and Roman verso

33.9 x 44.1 in — 86 x 112 cm


S.P. Family Collection, Toronto, ON


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Angel Consoling St. Joseph in a Dream, 1962, depicts the moment of the divine message to Joseph that he should wed Mary and that she will carry a son they shall call Jesus, as outlined in Matthew 1:18–23. A common subject in Christian art of the 17th and 18th centuries, Kurelek chooses not to follow the typical iconography of a sleeping Joseph with the visiting angel whispering into his ear. Instead he focuses entirely on the celestial being, who brightly dominates the composition.

In rendering the angel, Kurelek again moves away from the convention of flowing robes on a human form. Instead, he follows more closely the biblical description of angels, namely the six-winged Seraphim in the Old Testament (Isaiah 6:1-8).

Converting to Catholicism in 1957, religious themes frequently appear in Kurelek’s work, often making what art historian Andrew Kear calls an “effort to strike a balance between the expression of spiritual mystery and a call for moral action.” 1 While some of Kurelek’s paintings can evoke punitive overtones, the radiating warmth from the face in Angel Consoling St. Joseph in a Dream is uplifting and inspires hope in the coming salvation.

1 William Kurelek, Life and Work by Andrew Kear, Art Canada Institute, Accessed 15 April 2024,


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mixed media on paper titled to mat; inscribed in artist’s hand verso: “but hardly had this thought come to his mind, when an angel of the lord appeared to him in a dream, and said, Joseph, son of David, do not be afraid to take your wife Mary to yourself for it is by the power of the holy ghost that she has conceived this child; and she will bear a son, whom you shall call Jesus, for he is to save his people from their sins.”

23 x 20 in — 58.4 x 50.8 cm


Gift of the artist

Private Collection, Ontario

By descent to the present Private Collection, Ontario


164 Canadian & International Fine Art



Mostly known for his panoramic landscapes of Jerusalem and the Dead Sea, Rose Garden, 1937 by Ludwig Blum presents a rare verdant view of an otherwise mostly monochromatic terrain. Born in Morovia, Czechoslovakia in 1891, Blum left school at the age of 17 to pursue painting in Vienna. His pursuit of painting would abruptly pause in 1914, when he was drafted into the Austrian Army during the First World War. After the war, Blum attended the Academy of Fine Arts in Prague. However, it was in Jerusalem, where the artist immigrated in 1923 during the Third Aliyah, that Blum’s career blossomed. Entranced by a landscape so aesthetically foreign to that of his native Moravia, Blum began feverishly documenting his surroundings.

Rose Garden, 1937 reveals a more intimate view of the artist’s surroundings. Rather than depicting the larger cityscape of Jerusalem, Blum presents the viewer with a lush garden scene that emanates with sumptuous pink roses. In doing so, he creates a scene that is widely legible in the larger canon of art history whilst rare in the artist’s oeuvre.

166 Canadian & International Fine Art



ROSE GARDEN, 1937 oil on canvas signed, dated, and situated “Jerusalem” lower left

29 x 23 in — 73.7 x 58.4 cm

PROVENANCE: Private Collection, Ontario


168 Canadian & International Fine Art



While former colleagues from the Group of Seven moved towards the modernism of the 20th century, Franz Johnston instead moved backward in time. Though his vast body of work demonstrates an array of artistic styles, his work increasingly took on the narrative qualities of classic 19th century landscapes in all their splendour.

Roger Burford Mason notes the artist’s reputation as a painter who excelled in capturing “the elusive beauty of light effects,” and that “Johnston’s skill in rendering the quality of light on snow was thought to be unsurpassed.“ Trips to northern Quebec and Ontario and the area around Lake Nipigon helped him develop “his very special facility for painting the effect of light and shadow on snow, a theme which informs some of his most popular and enduring works.”

In The Lifting Veil of Winter, Johnston’s palette and brushwork is able to perfectly capture the springtime thaw on the wintery landscapes which so defined the artist’s oeuvre. Deep blue shadows interplay with sun-warmed patches of snow to vibrant effect.


1 Roger Burford Mason, A Grand Eye for Glory: The Life of Franz Johnston. (Toronto: Dundurn Press, 1998), 62-63.

170 Canadian & International Fine Art



THE GOBLIN’S GROVE oil on board

signed lower left; titled verso

10.75 x 13.75 in — 27.3 x 34.9 cm

PROVENANCE: Private Collection, Ontario


Canadian & International Fine Art 172




signed lower left; titled to artist’s label verso

14.5 x 20.25 in — 36.8 x 51.4 cm

PROVENANCE: Private Estate, Ontario


174 Canadian & International Fine Art



By the 1940s, the Quebec villages that Jackson loved to paint were quickly becoming more modern. He particularly resented the snowmobiles which had become so popular with rural Quebecers, allowing them to access routes that neither car nor horse-drawn carriage could reach. It was the sound he hated most, which shattered the peaceful atmosphere that Jackson so enjoyed painting in. As a result, by the spring of 1948 he had relocated his sketching trips to the Gatineau region near Ottawa. The region would interest him until the end of his life, so much so that his move to Manotick, Ontario in 1955 to be closer to his niece Constance and her family, allowed him easy proximity to the Gatineau region’s “rocky hills rising out of the farmlands, rivers, lakes and old settlements all quite close to Ottawa.” 1

1 A.Y. Jackson, A Painter’s Country: The Autobiography of A.Y. Jackson (Toronto: Clarke, Irwin & Company, 1967), 156.


176 Canadian & International Fine Art



UNTITLED (GATINEAU HILLS) oil on panel signed bottom centre

10.5 x 13.5 in — 26.7 x 34.3 cm

PROVENANCE: Private Estate, Ontario


178 Canadian & International Fine Art




THE SLEIGH RACE, QUEBEC, 1856 oil on canvas

inscribed “C. Krieghoff” lower right; titled, dated “1856” to stretcher, and inscribed “Quebec” 14 x 21.75 in — 35.6 x 53.3 cm


Private Collection, United Kingdom

Harry A. Norton Collection, Montreal, QC

Peter Winkworth Collection, London, UK

Christie’s, The Winkworth Collection, London, UK, 1 Apr 2015, lot 313, as Attributed to Cornelius Krieghoff Collection of Sir Christopher and Lady Ondaatje


Marius Barbeau, Cornelius Krieghoff, Pioneer Painter of North America (Toronto: The MacMillan Company, 1934), 110, as Krieghoff (“This animated scene depicts an impromptu sleigh race along a snowy road near Quebec…The picture is rich in colour and one of the best of this subject.”).

Hughes de Jouvancourt, Cornelius Krieghoff (Toronto: Musson Book Company, 1971), 66, as Krieghoff, The Sleigh Race (illustrated).


180 Canadian & International Fine Art



Frederick Simpson Coburn was born in Upper Melbourne in the Eastern Townships, the same village that provides the setting for this painting. The artist travelled extensively throughout his career, living and working in the United States, Germany, France, England, Belgium, and Holland, all well before this painting was made. There is a wonderful sense of Coburn’s world turning full circle, as the artist applies the aesthetic lessons he learned abroad to paint this domestic scene many years later in his career. Coburn would settle in Upper Melbourne with his wife, Belgian artist Malvina Scheepers, while also keeping a pied-à-terre in Montreal.

Despite his globetrotting, Coburn never lost touch with his roots in Quebec. At certain points in his career, Coburn supported himself as an illustrator, establishing his reputation with the 1897 publication of the illustrated volume of W. H. Drummond’s The Habitant. Coburn spent weeks immersed in Habitant culture, spending time living with various families to understand their way of life and provide a foundation for his illustrations. Further assignments illustrating Canadian scenes for books and magazine covers provided the income Coburn required to finance his years of European study.

Winter scenes were a particular speciality of the artist, particularly those with horses, Coburn’s “first and greatest love.”

1 Evelyn Lloyd Coburn, writing for the McMaster Museum of Art, writes that “Frederick Simpson Coburn’s paintings of horses hauling logs through snowy woodlands, and bright red sleighs down sunny country roads captured the spirit of an era. Since the late 1920s his winter scenes have appeared regularly on Christmas cards and calendars because, as one collector remarked, “The title of his canvas is ‘Canada’.” 2

Public demand for these winter scenes was unrelenting, and Coburn, ever the craftsman, worked hard to perfect the subject. In his book, Canadian Art: Its Origin and Development (1943), William Colgate wrote: “today, scarcely a Canadian painter enjoys a higher reputation.... He evidently regards a subject as an opportunity to produce effects of light and subtle colour harmonies.” 3

1 Gerald Stevens quoted in Evelyn Lloyd Coburn, Frederick Simpson Coburn. McMaster Museum of Art eMuseum. Accessed 2 April 2024.

2 Evelyn Lloyd Coburn, ibid.

3 William Colgate quoted in ibid.


182 Canadian & International Fine Art



signed and dated “32” lower left

14.25 x 25 in — 36.2 x 63.5 cm

PROVENANCE: Private Estate, Ontario


184 Canadian & International Fine Art



Reflecting contemporary literary taste, Tom Thomson’s Decorative Design: Quotation from “The Light That Failed” by Rudyard Kipling, reminds us of the richness of his life and career. With fluid Arts and Crafts design and the skillful lettering for which he was known, this modest and intimate work has been cited in the major literature on Thomson published in the last half century, oftentimes reproduced with archival images and unknown collection information.

Now at auction for the first time, Thomson prepared this passage from Kipling’s 1891 novel for his fellow artist and resident of The Studio Building, Marion Long.

186 Canadian & International Fine Art




gouache and ink on paper inscribed “This design was done for me by Tom Thomson in the Spring of 1916. Marion Long” verso 10.5 x 7.25 in — 26.7 x 18.4 cm


Marion Long, Toronto, ON Arthur H. Birks, Ottawa, ON Private Collection, Ottawa, ON


Exhibition of Paintings by Tom Thomson and Horatio Walker, Art Gallery of Toronto, Toronto, ON, 3 Jan-2 Feb 1941, as Decorations (small).


Joan Murray, The Best of Tom Thomson (Edmonton: Hurtig Publishers, 1986), 17 repro. b/w as Quotation from Kipling.

Joan Murray, Tom Thomson: The Last Spring (Toronto: Dundurn Press, 1994),15 repro. b/w as Illustration of a quotation from Rudyard Kipling. Robert Stacey, “Tom Thomson as Applied Artist,” in Tom Thomson (exh. cat.) (Ottawa: National Gallery of Canada; Toronto: Art Gallery of Ontario; Vancouver: Douglas & McIntyre, 2002), 61, fig. 27 repro. b/w as “quotation from The Light That Failed.”

Sherril E. Grace, Inventing Tom Thomson: From Biographical Fictions to Fictional Autobiographies and Reproductions (Montreal/ Kingston: McGillQueen’s University Press, 2004), 70, repro b/w, 71-81.

Joan Murray, “Decorative Design: Quotation from The Light That Failed by Rudyard Kipling,” Tom Thomson: Catalogue Raisonné, accessed 14 Mar 2024,


188 Canadian & International Fine Art 49



Coming to Waddington’s from a private collection, lot 50 is an exceedingly rare album composed of 66 original watercolours, oils and drawings dated to the 19th century. Rich in historical value, this album tells a story of early Montreal – though it is somewhat of an enigma, a curious artistic puzzle from early Canadian history that perhaps raises more questions than it answers.

The folio was likely assembled by Anne McCord, née Ross (1807-1870). Anne was the daughter of David Ross (1770–1837) the Seigneur of St. Gilles de Beaurivage, who by the mid 1820s was the fifth-largest private property owner in Montreal. Anne married John Samuel McCord (1801–1865), a Judge of the Supreme Court. Together they had several children, the fourth of whom was David Ross McCord (1844-1930), a lawyer and the founder of the McCord Museum in Montreal. In 1919, David donated his extensive holdings of art and artefacts to McGill University , which led to the opening of the McCord Museum, established to house the collection. David’s passion for art was fostered by his parents: his father John was an avid art collector and his mother Anne was an accomplished watercolour painter.

Included in the album are works by noted early Canadian artists including Cornelius Krieghoff (1815-1872), Otto Reinhold Jacobi (1812-1901), and James Duncan (1806-1881), as well as by less well known artists including Anne McCord and other figures whose accomplishments have not been as well recorded. The earliest dated work in the album, a watercolour of flowers by Anne herself, appears to be dated 1835. A large percentage of the other paintings and sketches date to the following year, though works were added to the album as late as 1878 – some 40 years after the collection was started. Some of the works depict Canadian views, while others appear to have been made abroad.

Essay continues overleaf...

190 Canadian & International Fine Art

Anne McCord is known to have studied painting with James Duncan. During the period, watercolour was an encouraged pursuit for ladies of the upper and middle classes, and McCord’s high status would have given her access to some of the best teachers. In A Concise History of Canadian Painting, art historian Dennis Reid quotes scholar George Spendlove as saying of Duncan that “no artist has been more neglected by Canadians... although he was possibly for some years the best water-colourist in Canada.”1 Four works by Duncan are included in this collection. Also of note are two chalk drawings by Frederick William Lock (1824-1885), who made two portraits of Anne which are currently held in the permanent collection of the McCord Museum.2

As for the work by Krieghoff, it is a pencil copy of The Tribute to Caesar by French painter Valentin de Boulogne (1591-1632), sometimes referenced as Le Valentin.3 Valentin was best known for his Tenebrist style, heavily influenced by Caravaggio. While the pencil sketch is not dated, it is known that Krieghoff left Canada in 1863, relocating to Europe for seven years, though details of his actual stay in Europe remain unclear. Reid suggests that Krieghoff spent time in Paris and Munich, and very likely in London, and it is possible that Krieghoff encountered Valentin’s painting at this time.4

Another interesting link to Krieghoff’s work lies in a sketch by an artist identified as “Bieraccini.” The drawing depicts Cleopatra at the moment of her suicide by asp. Waddington’s recently offered a painting by Krieghoff from the collection of Sir Christopher and Lady Ondaatje that depicts this exact scene, sold November 2023.5 Krieghoff’s version is after a painting by Guido Reni, which Waddington’s suggested that Krieghoff painted from a photograph, a version of which is presently held in the collection of the National Gallery of Canada, Ottawa.6 Given the wide scope of McCord’s album and the varied examples within it which were painted in both Canada and abroad, it is possible that the version by “Bieraccini” was sketched directly from the Reni original, though equally likely that it was inspired by seeing Krieghoff’s version, or perhaps even his photograph of the Reni painting.

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192 Canadian & International Fine Art




This important Canadian historical document was likely assembled by Anne McCord (née Ross) the mother of David Ross McCord, the founder of the McCord Museum. Featuring original works by Cornelius Krieghoff (1815-1872), James Duncan (1806-1881), Otto Reinhold Jacobi (1812-1901), and others, sketches of Canadian scenes including Montreal, Montmorency Falls and the Eastern Townships, and European copy paintings and scenes including the eruption of Mount Vesuvius in 1838. Additionally, a fine painting of a group of flowers signed "A. McC. 1835", thought to be the hand of Anne McCord (née Ross), 1807-1870. Featuring an elaborately decorated frontispiece by A. Leblanc (Paris, 1839) and bound in tooled and gilt green Morocco binding. Artworks include both works directly executed, and tipped in.

14 x 11 in — 35.6 x 27.9 cm

PROVENANCE: Private Estate, Ontario


193 May 24 - 29, 2024

Among the album’s virtues is the impeccable condition of the works collected within. Though painted nearly 200 years ago in watercolour – a medium known for its fugitive pigments – images remain crisp and colours remarkably vibrant.

Many of the paintings are affixed to coloured pages of various pastel shades of blue, green, pink, yellow and cream, while other works are drawn or painted directly onto the sheet. McCord appears to have handed out the album to artists or friends in her circle, requesting that they create an original work specifically for her book. Likely of English manufacture, the binding is of considerable quality and the gilding and embossing speaks to the luxury of creating and maintaining such an album.

Looking at these pages raises questions, like whether or not there were/are other albums like this within similarly well-to-do Montreal libraries. Could this album have functioned as a sort of “baseball card” collection with pages traded back and forth between other connoisseurs? Or perhaps the well-known artists whose work is featured in McCord’s album were “auditioning” for patronage or commissions?

The album includes a reference to the Bank of Montreal Waterloo Place, London, England, which was an important hub for Canadian soldiers to conduct their financial affairs while fighting overseas. The location became a place where Canadians could bank, collect their mail, and socialise with other Canadians.

The album comes to Waddington’s from a private library centred around a range of 19th and 20th century volumes. The present consignor’s son suggests that the album could have entered his family’s collection from either side of his lineage. One branch included Hugh Gerard Hazen Hansard (1905-1985), a Montreal-based lawyer, while another featured Joseph Arthur Barry (1873-1971), a wealthy businessman who made his fortune in insurance. Both families lived in Westmount, close to Temple Grove, the McCord family home on Côte des Neiges Road.

Essay continues overleaf....

194 Canadian & International Fine Art
195 May 24 - 29, 2024

Another interesting detail comes from a typewritten inventory done of the album in the 20th century. The ledger includes a note about an 1828 work titled Arab Horses by H. Aiken that was sold on 17 November 1926 by the order of W.D. Lighthall. W.D. Lighthall surely refers to William Douw Lighthall, a lawyer and the Mayor of Westmount from 1900-1902. Lighthall was close friends with David McCord, and when the McCord collection of some 18,000 artefacts was presented to McGill University in 1919, Lighthall and Charles Henry Gould, McGill’s librarian, oversaw the collection’s transition.

It is very possible that the McCord album entered Lighthall’s personal collection, perhaps as a gift from David McCord. After Anne McCord’s death, it appears that all of the figures with any connection to the album ran in the same Montreal legal circles, which could easily explain its transition between these prominent private collections.

Click here to view the full portfolio.

1 Dennis Reid, A Concise History of Canadian Painting (Ontario: Oxford University Press, 2012), 30.

2 For links to the portraits, please visit mme-anne-ross-mccord?ctx=2b3933b7e27b68993fbd4beb740adb104b52a22a&idx=14 and https://

3 For a link to the original painting by Valentin de Boulogne, please visit File:Valentin_de_Boulogne_-_The_Tribute_to_Caesar_-_WGA24252.jpg

4 Dennis Reid, Krieghoff: Images of Canada (Toronto: Douglas & McIntyre, 1999), 94.

5 To see the painting by Krieghoff, please visit

6 To see the albumin silver print of Reni’s painting, please visit artwork/florence-pitti-gallery-cleopatra-by-guido-reni

196 Canadian & International Fine Art
197 May 24 - 29, 2024

1. Waddington's charges a buyer's premium of 25% on the hammer price up to and including $25,000 CAD. Hammer price in excess of $25,000 CAD will be charged a buyer's premium of 22%.

Bidders buying on the Invaluable site will be charged a Buyer's Premium of 28% on the hammer price up to and including $25,000 CAD Hammer prices in excess of $25,000 CAD will be charged at 25%.

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

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

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

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

6 The highest bidder accepted by the auctioneer for any lot shall be the buyer and such buyer shall forthwith assume full risk and responsibility for the lot and must comply with such other Conditions of Sale as may be applicable. If any dispute should arise between bidders the auctioneer shall have the absolute discretion to designate the buyer or, at his option, to withdraw any disputed lot from

the sale, or to re-offer it at the same or a subsequent sale. The auctioneer’s decision in all cases shall be final.

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

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

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

10. All lots are sold “AS IS”. Any description issued by the auctioneer of an article to be sold is subject to variation to be posted online and/or announced via email prior to the time of sale. While the auctioneer has endeavored not to mislead in the description issued, and the utmost care is taken to ensure the correct cataloguing of each item, such descriptions are purely statements of opinion and are not intended to constitute a representation to the prospective purchasers and no warranty of the correctness of such description is made. Some lots are of an age and/ or nature which preclude their being in pristine condition and some catalogue descriptions make reference to damage and/or restoration. The lack of such a reference does not imply that a lot is free from defects nor does any reference to certain defects imply the absence of others. It is the responsibility of prospective purchasers to inspect or have inspected each lot upon which they wish to bid and to bid accordingly.

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12. In the event of failure to pay for or remove articles within the aforementioned time limit, the auctioneer, without limitation of the rights of the consignor and the auctioneer against the buyer, may resell any of the articles affected, and in such case the original buyer shall be responsible to the auctioneer and the consignor for:

(a) any deficiency in price between the re-sale amount and the amount to have been paid by the original buyer

(b) any reasonable charge by the auctioneer for the storage of such articles until payment and removal by the subsequent buyer and

(c) the amount of commission which the auctioneer would have earned had payment been made in full by the original buyer.

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

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

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

Conditions of Sale

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


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


Waddington's charges a buyer's premium of 25% on the hammer price up to and including $25,000 CAD. Hammer price in excess of $25,000 CAD will be charged a buyer's premium of 22%.

Bidders buying on the Invaluable site will be charged a Buyer's Premium of 28% on the hammer price up to and including $25,000 CAD Hammer prices in excess of $25,000 CAD will be charged at 25%.

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


Payment for purchases must be by cash; interac direct debit (CDN clients in person only); certified cheque (U.S. & Overseas not applicable); bank draft; E-Transfer; Wire Transfer (fee applies); visa or Mastercard (up to $25,000).

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

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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.

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