Modern, Post-War and Contemporary Art | November 19 - 24, 2022

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Modern, Post-War and Contemporary Art NOV EM BE R 19 — 24, 2 022



Modern, Post-War and Contemporary Art NOVEMBER 19 — 24, 2022


bid and view all lots online at www.waddingtons.ca on view Sunday, November 20 from 12pm to 4pm Monday, November 21 from 10am to 7pm Tuesday, November 22 from 10am to 5pm

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

senior consignment specialist Goulven Le Morvan glm@waddingtons.ca 438-528-8489

consignment & marketing specialist Mark Gleberzon mjg@waddingtons.ca 416-489-6105

administrator Mary McMaster mm@waddingtons.ca 416-504-9100

front cover Lot 10

PIERRE BONNARD PAYSAGE HARMONIE BLEUE ET ORANGE (DECOR POUR JEUX), CA. 1920-1925

front inside cover Lot 17

AUGUSTE RODIN BAIGNEUSE ACCROUPIE, ÉTUDE AVEC BRAS, GRAND MODÈLE, CONCEIVED, CA. 1885, LATER CAST IN 1962

back inside cover Lot 22

HENRI MATISSE DEUX FIGURES, 1928

back cover Lot 6 NICOLAS GRIGORESCU FARMER AND CART IN A SHADED VILLAGE LANE

tel: 416-504-9100 toll free: 1-877-504-5700

This catalogue and its contents © 2022 Waddington McLean & Company Ltd.

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

Photography & design by Waddington’s All Rights reserved.


1 FLORA MACDONALD REID (1861-1938), BRITISH MOTHER AND CHILD, 1905

oil on canvas; signed and dated “1905” lower left 18 x 24 in — 46 x 61 cm PROVENANCE:

Private Collection, Ontario $1,200 — 1,800

2 VLASTIMIL HOFMANN (1881-1970), POLISH SELF PORTRAIT, CA. 1926

oil on board; signed lower right 13 x 18.5 in — 33 x 47 cm PROVENANCE:

Private Collection of Mr. Bubela, Ontario, gifted by the artist; Private Collection, Ontario, gifted from the above to the present owner $3,000 — 5,000


3 ALOIS ARNEGGER (1879–1967), AUSTRIAN STAIRWAY TO A COASTAL RESIDENCE IN AMALFI

oil on canvas; signed lower left 26.5 x 37 in — 67.3 x 94 cm PROVENANCE:

Frederick W. Thom Limited, Toronto, ON gallery label verso; Private Collection, Ontario $1,000 — 1,500

4 BERNARDUS (BEN) PETRUS VIEGERS (1886-1947), DUTCH SCHLEPENVISSERS

oil on canvas; signed lower left approx. 23 x 31 in — 58.4 x 78.7 cm PROVENANCE:

Van Der Leer Kunsthandel, S. Gravenhage gallery label verso; Gifted to the present Private Collection, Kelowna, BC $1,500 — 2,500


5 BERNARDUS (BEN) PETRUS VIEGERS (1886-1947), DUTCH DE KUST VAN BRETAGNE (THE COAST OF BRITTANY)

oil on canvas; signed lower right 23.5 x 39.5 in — 59.7 x 100.3 cm PROVENANCE:

Van Der Leer Kunsthandel, S. Gravenhage gallery label verso; Gifted to the present Private Collection, Kelowna, BC $2,000 — 3,000



6 NICOLAS GRIGORESCU (1838-1907), ROMANIAN FARMER AND CART IN A SHADED VILLAGE LANE

oil on canvas; signed lower left 8.75 x 13.8 in — 22.2 x 34.9 cm; Framed 19.3 x 24.3 in — 49 x 61.7 cm PROVENANCE:

Gilbert Charrot, Strasbourg, France; Private Collection, Toronto, ON $18,000 — 22,000


7 ALBERT MARQUET (1875-1947), FRENCH FEMME DE DOS, CA. 1930

watercolour on thin paper; signed lower left 10.9 x 8.2 in — 27.7 x 20.8 cm PROVENANCE:

Private Collection, Quebec $1,200 — 1,800

8 RÓBERT BERÉNY (1887-1953), HUNGARIAN SNOWY PATH

oil on canvas; signed lower right 15.4 x 19.25 in — 38 x 43 cm PROVENANCE:

Private Collection, Montreal, QC $3,000 — 5,000


9 ROSA BONHEUR (1822-1899), FRENCH TROIS VEAUX AU PÂTURAGE, STUDY, CA. 1840

oil on canvas; signed lower right 9.3 x 14.4 in — 23.6 x 36.6 cm PROVENANCE:

Private Collection, Montreal, QC $4,000 — 6,000


PIERRE BONNARD: THE BEAUTY OF THE EVERYDAY

Pierre Bonnard (1867–1947) set out not to faithfully record what he saw, but instead to capture his impressions, what he called “a transcription of the adventures of the optic nerve.” Bonnard rarely painted from life, preferring to sketch his subject before working on the painting in the studio. This method allowed his sense of inspiration and memory to supersede reality. Regarded as one of the greatest colourists of modern art, Bonnard would combine hues in unexpected ways. LES NABIS Bonnard was a member of an artistic group known as Les Nabis. The movement came about after Paul Gaugin mentored Paul Sérusier in the artist colony and village of Pont-Aven in Brittany. Gauguin was said to have told Sérusier “How do you see this tree? It is green. So put green, the most beautiful green on your palette; and that shadow, especially blue? Don’t be afraid to paint it as blue as possible.” Under his influence, Sérusier painted a landscape on a small wooden panel. A handful of Sérusier’s peers, many of whom were fellow students at the Académie Julian, viewed the painting as nothing short of a revelation. In 1888, they decided to form a movement around this new aesthetic vision. They would refer to Sérusier’s painting as “The Talisman” and would name themselves Les Nabis, deriving from the Hebrew term for ‘prophet.’ Members included Bonnard, Sérusier, Edouard Vuillard, Félix Vallotton, Maurice Denis and others, totalling a dozen. The members shared a desire to reject Impressionism’s naturalistic, descriptive tendencies, preferring to focus instead on spiritual and emotional aspects. They believed that art should not be a faithful depiction of nature, but rather an expression of symbols and metaphors created by each individual artist. Gauguin was greatly admired by the Nabis, particularly his Symbolist works. Japonism, then at the height of its popularity in Europe, would also influence the group, as would the decorative arts. Though their styles varied greatly, the Nabis’ style was characterised by bold blocks of colour. Denis, the group’s chief theorist, produced a manifesto in 1890 titled “Definition of Neo-Traditionalism.”

Enclosed within the article was the pronouncement – which is said to prefigure much of the modern art which was to follow: “Remember that a picture — before being a war horse or a nude woman or an anecdote — is essentially a flat surface covered with colours assembled in a certain order.” EXAMINING THE EVERDAY After Les Nabis disbanded around 1900, Bonnard spent the ensuing decades in search of artistic expressions. The Met Museum notes that “for Bonnard, the act of painting was an investigation—the investigation of the physical substance of paint, the visual rhymes echoing throughout the canvas, the dialogue of color notes.” This, combined with his fondness for domestic interiors and intimate scenes of daily life, set him apart from the more conceptual art of his contemporaries. His incredible proficiency with colour would incite Matisse to call Bonnard ‘one of the greatest painters.’ Quoting the Met again, for Bonnard, “color and its color harmonies become the overriding metaphor for the expression of his experience. Color in his late painting transcends descriptive content. In the late masterpieces, color becomes the subject, the vehicle of light, and the means by which we enter the paintings with our eyes. Using hot and cold hues, Bonnard guides the eye, very deliberately, on an adventure through the positive and negative spaces of his complex canvases. One cannot stress enough the importance Bonnard gave to finding the image in paint and to finding the boundaries of his rectangle.” By 1915, Bonnard felt he had gone too deep into his exploration of colour, at the expense of form. His paintings after this period reflect a new focus on structure, though he never abandoned his interest in strong colour values. He began painting a series of nudes in their baths in the 1920s, which would become one of his most famous themes. By the end of that decade, the subject matter of his work became more or less fixed: still lifes, self-portraits, Saint-Tropez seascapes, and garden views painted from his house at Le Cannet, near Cannes, where he had relocated in 1925 with his wife and model,

Maria Boursin (also known as Marthe de Méligny). Boursin would be central in both Bonnard’s art and life, posing for him for nearly 50 years, from their meeting in 1893 until her death in 1942. Their house in Le Cannet – nicknamed Le Bosquet (The Grove) – would provide the subject for some of Bonnard’s most recognizable paintings The familiar rooms, objects, models and rituals of daily life in Bonnard’s work were integral to his process. The artist acknowledged his need to paint the familiar: when asked if he could add a new object to his narrow still life repertoire, he explained that he could not, because “I haven’t lived with that long enough to paint it.” The same went for all of Bonnard’s subjects, be they human or environmental. The root of this peculiarity lay in Bonnard’s process: though he painted rooms in his own house, populated by his own wife, he began his work by making small drawings and watercolours, which he would develop slowly over time. Scenes needed to be etched in his memory before he could paint them, for it was never the thing itself that he sought to paint but rather the memory of it. As a result of this process, dating Bonnard’s work is never perfectly precise. Sketches might serve as the basis for several paintings, on which he would work simultaneously. He would tack up large canvases to the wall of his studio, working on different subjects at the same time. Once paintings were completed, they would be cut out from the larger surface. Often this process took months and even years. Paintings would be constantly reworked, which is why a precise chronology of his pieces evades scholars.


10 PIERRE BONNARD (1867-1947), FRENCH PAYSAGE HARMONIE BLEUE ET ORANGE (DECOR POUR JEUX), CA. 1920-1925

pastel in colours on paper; stamped with the initials “PB” sheet 7.9 x 11 in — 19.5 x 27 cm

PROVENANCE:

Stern Art Dealers, London, UK; Private Collection, Montreal, QC, acquired from the above in 1997 $12,000 — 18,000

11 PIERRE BONNARD (1867-1947), FRENCH ÉTUDE POUR HARMONIE BLEU ET ORANGE, CA. 1920-1925

pencil on paper; stamped with the initials “PB” sheet 6.9 x 10.2 in — 17.5 x 26 cm PROVENANCE:

Stern Art Dealers, London, UK; Private Collection, Montreal, QC, acquired from the above in 1997 $4,000 — 6,000


12 MANÉ KATZ (1894-1962), UKRAINIAN/FRENCH BULL AND MATADOR

watercolour and inkwash on paper; signed lower left 23 x 15 in — 58.4 x 38.1 cm PROVENANCE:

Vollmer Art Gallery, Tel Aviv, Israel; Private Collection, Ontario $1,000 — 1,500

13 FRANÇOIS GALL (1912-1987), FRENCH/HUNGARIAN PLACE DU TERTRE, PARIS

oil on canvas; signed lower right, titled and situated “PL. du Tertre” 8 x 10 in — 20.3 x 25.4 cm PROVENANCE:

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


14 FRANÇOIS GALL (1912-1987), FRENCH/HUNGARIAN REGARD DANS LE MIROIR

oil on canvas; signed lower right and situated at “Paris” 10 x 8 in — 25.4 x 20.3 cm PROVENANCE:

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


15 FRANCOIS GALL (1912-1987), FRENCH/HUNGARIAN EUGÉNIE GALL ET SA FAMILLE, PRÈS DU BATEAU-LAVOIR, ARGENTEUIL, CA. 1950

oil on canvas; signed and situated at “Paris” lower right 9.25 x 11.25 in — 23.5 x 28.6 cm; framed 17.7 x 19.6 in — 45 x 49.8 cm PROVENANCE:

The Leger Galleries Inc., New York, USA; Private Collection, Toronto, ON, acquired from the above LITERATURE:

The authenticity of this work has kindly been confirmed by Madame Marie-Lize Gall. $1,800 — 2,000


16 JOSEPH OPPENHEIMER (1877-1966), GERMAN VIEW FROM THE TOP OF MONT ROYAL, 1952

oil on canvas; signed and dated “52” lower left 25 x 31 in — 63.5 x 78.7 cm PROVENANCE:

Private Collection, Montreal, QC $4,000 — 5,000



17 AUGUSTE RODIN (1840-1917), FRENCH BAIGNEUSE ACCROUPIE, ÉTUDE AVEC BRAS, GRAND MODÈLE, CONCEIVED, CA. 1885, LATER CAST IN 1962

bronze with green shaded patina; signed and numbered “A, Rodin / Nº1” and “© by musée Rodin 1962” on the back of the left base and with the foundry mark “Georges Rudier/Fondeur Paris” on the back of the base. This sculpture was conceived in 1885 and was cast in 1962. According to the research conducted by the Comité Rodin, 13 examples were cast, one before 1952 and the other 12 in 1962 including this one numbered 1 of 12. 12.75 x 10.75 x 9.25 in — 32.4 x 27.3 x 23.5 cm PROVENANCE:

Musée Rodin, Paris; Charles Slatkin Galleries, New York & Toronto, acquired from the above in December 1964; Galerie Dresdnere, Toronto, ON (presumably); Private Collection, Toronto, ON, acquired from the above in the 1980s LITERATURE:

This work will be included in the forthcoming “Catalogue Critique de l’oeuvre sculpté d’Auguste Rodin” currently being prepared by the Comité Rodin in collaboration with Galerie Brame & Lorenceau under the direction of Jérôme Le Blay with the archive number “2022-6617B.” The certificate of authenticity from the Comité Rodin will be delivered to the buyer. $25,000 — 35,000


18 MARCEL DYF (1899-1985), FRENCH JACQUELINE AU RUBAN, 1965

oil on canvas; signed lower right 28.75 x 25.6 in — 73 x 65 cm; 37.25 x 32.1 in — 94.6 x 81.5 cm PROVENANCE:

Frost and Reed Gallery, London, UK; Private Collection, Toronto, ON, acquired from the above LITERATURE:

The authenticity of this work has kindly been confirmed by Madame Claudine Dyf. It is registered in the e-catalogue of Marcel Dyf’s work under the number 1704. $2,000 — 3,000


19 JULES RENÉ HERVÉ (1887-1981), FRENCH BOUQUINISTES ET L’INSTITUT

oil on canvas; signed lower right, signed verso 8.5 x 10.5 in — 21.6 x 26.7 cm PROVENANCE:

Dominion Gallery, Montreal, QC; Private Collection, Toronto, ON, acquired from the above $1,000 — 1,200

20 JULES RENÉ HERVÉ (1887-1981), FRENCH NOTRE DAME ET LE SQUARE

oil on canvas; signed lower left, signed verso 8.5 x 10.5 in — 21.6 x 26.7 cm PROVENANCE:

Dominion Gallery, Montreal, QC; Private Collection, Toronto, ON, acquired from the above $1,000 — 1,200



21 DOROTHEA SHARP, RBA, ROI (1874-1955), BRITISH COTTAGE INTERIOR, BLEWBURY, BERKSHIRE

oil on wood panel; signed “Dorothea Sharp” below frame line, lower left 12.2 x 15.6 in — 31 x 39.6 cm; Framed 16.5 x 19.75 in — 41.9 x 50.2 cm PROVENANCE:

Gallery James Connell & Sons Ltd., Glasgow, UK; Private Collection, Ontario, acquired from the above $8,000 — 12,000


THE DRAWINGS OF HENRI MATISSE

Henri Matisse’s impact on the course of modern art cannot be overstated. Initially trained as a lawyer, Matisse only developed an interest in art at age 21 after discovering painting while recuperating from a bout of appendicitis. As if to compensate for his late start, the artist mastered a wide range of mediums, working in painting, drawing, sculpture, graphic arts, illustration and paper cut-outs. The great theme uniting this diverse output was his desire for minimalism and the appearance of natural ease— though the artist explained that though this “apparent simplicity” was the goal, he worked exceedingly hard to project the “art of balance, of purity and serenity.” Waddington’s is pleased to offer “Deux figures,” a 1928 drawing by Matisse in our Modern, Post-War and Contemporary Art auction (November 19-24). The work represents two great hallmarks of the artist’s work: the female nude, and the drawing. OUT WITH THE OLD, IN WITH THE NUDE Upon deciding to pursue art instead of law, Matisse enrolled in the Académie Julian in 1891, studying under the conservative Salon painter William-Adolphe Bouguereau, followed by time at the École des BeauxArts in 1892 as a pupil with the Symbolist painter Gustave Moreau. Early drawings by Matisse reflect this more conventional academic style. In 1895, Matisse began exhibiting his work, and was invited to become a member of the Salon. Though he had been accepted by the traditionalist French art establishment, Matisse began experimenting with different styles, slowly cobbling together his own visual language, adopting a bolder palette and approach to colour, composition and brushwork. His great breakthrough came in 1904 and 1905, during summers spent soaking in the bright sunlight of the South of France while visiting his friend Paul Signac. Matisse began creating dynamic works with pure, vibrant colours, inspired by the post-Impressionist paintings of Paul Gaugin, Vincent van Gogh and Georges Seurat. Rejecting traditional art and its representation of three-dimensional space, Matisse began painting with explosive, aggressive colours, often applied straight out of the tube. Along with work by peers André Derrain and Maurice de Vlaminck, the new style was exhibited in Paris in 1905, to the great shock of viewers. Critic Louis Vauxcelles referred

to the painters as “fauves,” or wild beasts, giving rise to the Fauvist movement. Fauvism would inform much of Matisse’s later work: cementing his interest in expressive rather than realistic colour and the simplification of form – as well as establishing the artist’s avant-garde reputation. Matisse’s art evolved through several stylistic periods, all linked by his pursuit of the “essential character of things.” Lot 22, “Deux figures” comes from the artist’s early Nice period (1917 – 1930), named after the city in the South of France where the artist relocated in 1917. This period centred around depictions of the female figure or an odalisque, often positioned in exotic interiors. Though Matisse would take subjects as varied as landscape, still life, portraiture, and the decorative arts, the female figure remained a central preoccupation throughout his life. THE IMPORTANCE OF DRAWING Drawing formed the foundation of Matisse’s entire output, and was a medium the artist would experiment with throughout his long career. In order to capture a feeling of effortlessness in his art, Matisse laboured over countless sketches and studies.

Drawing allowed the artist to work through new ideas, and solve various compositional issues. Before beginning a painting, Matisse would make several drawings, with each version experimenting with how to best subtract that which was unnecessary, so as to pare his compositions down to their essences. In the artist’s words, drawing was “a means deliberately simplified so as to give simplicity and spontaneity to the expression, which should speak without clumsiness, directly to the mind of the spectator.” Matisse saw drawing as being a very intimate yet unmediated form of expression. He believed in quick, gestural drawings which could record his immediate impressions of the subject at hand. John Elderfield, Chief Curator of Painting and Sculpture at the Museum of Modern Art, New York, from 2003 to 2008, notes that drawing “allowed Matisse to consider simultaneously the character of the model, the human expression, the quality of the surrounding light, atmosphere and all that can only be expressed by drawing.”[1] [1] John Elderfield, The Drawings of Henry Matisse, exh. Cat., Arts Council of Great Britain, 1984, p. 84


22 HENRI MATISSE (1869-1954), FRENCH DEUX FIGURES, 1928

graphite drawing on Arches watermarked paper; signed lower right This drawing was executed in Nice, France in 1928. sheet 15 x 20.1 in — 38.2 x 51 cm PROVENANCE:

Jean Matisse, by descent from the artist; Galerie Jacques Dubourg, Paris, France; Jerrold Morris Gallery, Toronto, ON; Private Collection, Toronto, ON, acquired from the above

EXHIBITED:

Musée Toulouse-Lautrec, Albi, in “Matisse” Cat. No 77, 1961 exhibition label to the backboard verso; Jerrold Morris Gallery, Toronto, ON in “Henri Matisse: Drawings,” n°11. LITERATURE:

A certificate from the Archives Matisse, signed by Georges Matisse, indicating the drawing is included under the number “W77” will be delivered to the buyer. $25,000 — 35,000


23 CECIL KENNEDY (1905-1997), BRITISH SUMMER

oil on canvas; signed lower right 11.8 x 9.3 in — 30 x 23.5 cm PROVENANCE:

Gallery MacConnal-Mason and Son, London, UK; Private Collection, Ontario, acquired from the above $3,000 — 4,000

24 FEDERICO CASTELLÓN (1914-1971), SPANISH/AMERICAN TWO SURREALIST INTERIORS: MAN IN A CASKET, 1935; WOMAN IN A NICHE, PARIS, 1938

two charcoal and ink drawings on paper; each signed, dated “1935” and “1938” respectively and situated at “Paris” along bottom edge sheet 11.75 x 15.8 in — 29.8 x 40.1 cm; sheet 11.75 x 15.9 in — 29.8 x 40.4 cm PROVENANCE:

Private Collection, Toronto, ON $2,000 — 3,000


25 FEDERICO CASTELLÓN (1914-1971), SPANISH/AMERICAN NUDE WITH HAIR IN BUN STANDING AT A PLINTH, 1936

charcoal and ink drawing on paper; signed and dated “36” to the base of the plinth lower left sheet 15.8 x 11.8 in — 40 x 30 cm PROVENANCE:

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

26 FEDERICO CASTELLÓN (1914-1971), SPANISH/AMERICAN DRAPED FIGURE NEAR A WINDOW, 1938

charcoal and ink drawing on paper; signed, dated and situated at “Paris” lower right sheet 15.7 x 11.7 in — 40 x 29.8 cm PROVENANCE:

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


27 FEDERICO CASTELLÓN (1914-1971), SPANISH/AMERICAN UNTITLED, CA. 1935

charcoal and ink drawing on paper; signed and situated at “Paris” bottom centre sheet 15.9 x 11.7 in — 40.3 x 29.8 cm PROVENANCE:

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

28 RENÉ PORTOCARRERO (1912-1985), CUBAN WOMAN WITH A BUTTERFLY, 1942

oil on canvas; signed and dated “1947” lower right 29.75 x 22.75 in — 75.6 x 57.8 cm PROVENANCE:

Private Collection, Cuba; Private Collection, Toronto, ON, acquired from the above in 1995 $7,000 — 9,000


29 CECIL MAGUIRE (1930-2020), IRISH WARRINGSTOWN, 1961

oil on canvas; signed and dated “61” in the lower right corner An oil painting representing the “Seaside” on the canvas verso, unsigned. 16 x 20 in — 40.6 x 50.8 cm PROVENANCE:

Private Collection, British Columbia $2,000 — 3,000

30 CECIL MAGUIRE (1930-2020), IRISH ARMAGH, 1969

oil on hardboard; signed and dated “69” lower right 20 x 26 in — 50.8 x 66 cm PROVENANCE:

Private Collection, British Columbia $3,000 — 5,000


31 CECIL MAGUIRE (1930-2020), IRISH WAITING FOR THE BUS NEAR SPANISH ARCH, GALWAY, 1970

oil on hardboard; signed and dated “70” lower right corner, signed and titled verso 13.8 x 17.9 in — 35.6 x 45.7 cm PROVENANCE:

Private Collection, British Columbia $3,000 — 5,000

32 CECIL MAGUIRE (1930-2020), IRISH CLOCK TOWER, IRVINESTOWN CO. FERMANAGH, 1971

oil on hardboard; signed and dated “71” lower right corner, signed and titled verso 18 x 14 in — 45.7 x 35.6 cm PROVENANCE:

Private Collection, British Columbia $2,000 — 3,000


33 CECIL MAGUIRE (1930-2020), IRISH EARLY MILKING, CONNEMARA, 1973

oil on hardboard; signed and dated “73” lower right 9.5 x 12 in — 24.1 x 30.5 cm PROVENANCE:

Private Collection, British Columbia $1,500 — 1,800

34 ABEL PFEFFERMANN PANN (1883-1963), ISRAELI PORTRAIT OF A MAN

charcoal drawing on paper; signed middle right sheet 11.5 x 8 in — 29.2 x 20.3 cm PROVENANCE:

Private Collection, Toronto, ON $300 — 500


35 LUIS FEITO (1929-2021), SPANISH UNTITLED, CA. 1970

oil on canvas; signed lower left 21.5 x 32 in — 54.5 x 81.2 cm PROVENANCE:

Private Collection, Montreal, QC $5,000 — 6,000

36 SIR JACOB EPSTEIN (1880-1959), BRITISH DRAWING FOR JACKIE

pencil on paper sight 22.75 x 17.5 in — 57.8 x 44.5 cm PROVENANCE:

Private Collection, Toronto, ON LITERATURE:

A note on the back of the drawing by Kathleen Epstein, wife of the artist, dated 1967, confirms the authenticity of the drawing. $600 — 800


37 LESTER JOHNSON (1919-2010), AMERICAN UNTITLED, 1968

ink wash on paper laid down on cardboard; signed and dated “1968” on the bottom 9 x 11.75 in — 22.9 x 29.8 cm PROVENANCE:

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


39 ROGER VAN GINDERTAEL (1899-1982), BELGIAN VILLAGE SCENE AND TREE, CA. 1940

oil on canvas; signed lower right 12 x 16 in — 30.5 x 40.6 cm PROVENANCE:

Private Collection, South Carolina, USA $400 — 600

40 RAPHAEL SOYER (1899-1987), AMERICAN NUDE, CA. 1950

oil on canvas; signed lower right 16 x 12.1 in — 40.6 x 30.5 cm PROVENANCE:

Private Collection, New York, USA; Private Collection, St. Catharines, ON, purchased from the above in 1981 LITERATURE:

A certificate, signed by Raphael Soyer stating “This sketch in oil was done about 1950 in my old Lincoln arcade building studio,” will be delivered to the buyer. $800 — 1,200


41 GARY SCHNEIDER (B. 1954), AMERICAN EAR, 1997

gelatin silver print; signed, titled and dated “1997” below image dedicated verso, “For Jonathan - Peace Gary” sheet 6.4 x 4.4 in — 16.3 x 11.2 cm PROVENANCE:

Private Collection, Quebec $600 — $800

42 GUNTHER BRUS (B. 1938), AUSTRIAN SELBSTBEMALUNG II (SELF PORTRAIT), 1964-1984

Complete portfolio of 20 gelatin silver prints laid down on cardboard; signed and numbered 29/35 on the colophon, each signed and stamped, “Damit bestätige ich die Authentizität dieses Photos. Alle damit nicht bezeichneten Photos sind nicht autorisiert” verso, except one that is signed but not stamped published by Galerie Heike Curtze and Galerie Krinzinger complete with its original box in grey linen with title imprint 19.5 x 15.7 in — 49.5 x 39.9 cm PROVENANCE:

Private Collection, Montreal, QC $5,000 — 7,000


43 JOAN JONAS (B. 1936), AMERICAN RUSTING SET UP, DETAIL DE “PERFORMANCE, LODZ 1992,” 1992

gelatin silver print in colours on Kodak paper; numbered “ed. 1/5” on label verso. 6.1 x 9.4 in — 15.5 x 24 cm PROVENANCE:

Gallery Samuel Lallouz, Montreal, QC; Private Collection, Montreal, QC $1,200 — 1,800

44 JOHN COPLANS (1920-2003), BRITISH SELF PORTRAIT (FRIEZE, NO. 6, TWO PANELS), 1994

two gelatin silver print triptychs, mounted together; signed, titled, dated “1994,” inscribed “SP 694” and inscribed “Artist proof” in pencil stamped with the copyright credit reproduction limitation stamp on the reverse of the mount each panel 3.5 x 4.1 in — 9 x 10.5 cm; overall 11.9 x 10.7 in — 30.1 x 27.3 cm PROVENANCE:

Private Collection, Montreal, QC $2,000 — 3,000


45 LARRY FINK (B. 1941), AMERICAN OSLIN’S GRADUATION PARTY, 1977-1983

gelatin silver print applied on original cardboard; signed, titled and dated “June, 1977” verso, later impression. 19.75 x 15.75 in — 50 x 40 cm PROVENANCE:

Private Collection, Montreal, QC $800 — 1,200

46 JACOBI LOTTE (1896-1990), AMERICAN UNTITLED (CHILD ON A MONUMENT); UNTITLED (PORTRAIT), CA. 1970

two gelatin silver prints mounted on cartepostale paper; signed lower right and lower left, respectively 1.4 x 2.1 in — 3.5 x 5.25 cm; 2.2 x 1.4 in — 5.5 x 3.5 cm PROVENANCE:

Private Collection, Montreal, QC $1,200 — 1,800


47 WYNN BULLOCK (1902-1975), AMERICAN POINT LOBOS, TIDE POOLS (FROM “WYNN BOLLOCK, A PORTFOLIO 1951-1973”), 1972

gelatin silver print; signed lower right margin, titled, dated “1972” and numbered “Set nº 11, print nº11” verso 9.5 x 7.5 in — 24.1 x 19.1 cm PROVENANCE:

Private Collection, Montreal, QC $1,200 — 1,800

48 JOEL MEYEROWITZ (B. 1938), AMERICAN OCEAN & WONDROUS LIGHT (FROM “BAY SKY SERIES”), 1981

chromogenic print; signed, titled “Bay Sky Series” and dated “1984” in ink verso 20 x 24 in — 50.8 x 61 cm PROVENANCE:

Private Collection, Toronto, ON $1,600 — 2,000


49 SHELBY LEE ADAMS (B. 1950), AMERICAN BRUCE & ELI, 2001

gelatin silver print; signed, titled, dated and numbered 1/25 on the front and back 14 x 11 in — 49 x 39 cm PROVENANCE:

Private Collection, Toronto, ON $500 — 600

50 ELY BIELUTIN (1925-2012), RUSSIAN RONDEVOUZ, 1965

oil on canvas; signed and dated “65” bottom centre; signed, titled in Cryllics and dated 1965 verso 77.75 x 39.25 in — 197.5 x 99.7 cm PROVENANCE:

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


51 HENRI HAYDEN (1883–1970), FRENCH/POLISH STILL LIFE, 1964

oil on canvas; signed and dated “64” lower right 15.25 x 21.75 in — 38.7 x 55.2 cm PROVENANCE:

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

52 TODD REIFFERS (B. 1948), AMERICAN MATINICUS HARBOUR (MAINE)

oil on linen; signed lower left 30 x 40 in — 76.2 x 101.6 cm PROVENANCE:

Private Collection, Ontario $3,000 — 4,000


53 HENRY SCOTT (1911-2005), BRITISH CLIPPERS IN HALIFAX HARBOUR

oil on canvas; signed lower left 13.8 x 19.3 in — 35 x 49 cm PROVENANCE:

Gallery MacConnal-Mason and Son, London, UK; Private Collection, Ontario, acquired from the above $3,000 — 5,000

54 GÜNTHER FÖRG (1952-2013), GERMAN UNTITLED, 1988

wax pastel on paper; signed, dated “88” lower right and inscribed “30.8.4” at the bottom sheet 10.5 x 14 in — 266.7 x 35.6 cm PROVENANCE:

Private Collection, Montreal, QC LITERATURE:

We thank Mr. Michael Neff from the Estate of Günther Förg for the information he has kindly provided on this work. This work is now recorded in the archive of Günther Förg as No. WVF.88.P.0734. $2,500 — 3,500


55 JEAN PAUL RIOPELLE, RCA (1923-2002), CANADIAN UNTITLED, 1976

charcoal on paper; signed lower right 26 x 19 in — 66 x 48.3 cm PROVENANCE:

Pierre Matisse Gallery, New York, NY; Acquavella Gallery, New York, NY; Private Collection, Quebec $10,000 — 15,000

56 OLIVER DORFER (B. 1956), AUSTRIAN UNTITLED, 1993

charcoal and chalk with pumice on paper, sprayed with shellac varnish; signed and dated “93” lower right 23.75 x 33.75 in — 58.4 x 85.7 cm PROVENANCE:

Private Collection, Montreal, QC $800 — 1,200


57 PIERRE ALECHNISKY (B. 1927) AND JEAN TARDIEU (1903-1995), BELGIAN EXEMPLAIRE 7, CA. 1985

ink on printed bearer bond paper; signed by Alechinsky in pencil on the board, lower left, and by Jean Tardieu on the board, lower right sheet 8.9 x 12.5 in — 22.6 x 31.8 cm PROVENANCE:

Private Collection, Quebec $2,500 — 3,000

58 MOSE TOLLIVER (1925-2006), AMERICAN UNTITLED, CA. 1986

acrylic on wood board; signed in the right margin 22.5 x 10.5 in — 58.4 x 26.7 cm PROVENANCE:

Private Collection, Montreal, QC $1,000 — 1,500


59 ALEXIS ROCKMAN (B. 1962), AMERICAN UMBLICAL TAMBURINE, 1985

oil on canvas; signed, titled and dated “1985” verso 33 x 29 in — 83.8 x 73.7 cm PROVENANCE:

Private Collection, Montreal, QC $2,500 — 3,500

60 WILLIAM LUMPKINS (1909-2000), AMERICAN UNTITLED, 1972

watercolour on paper; signed with initials and dated “72” lower right corner sight 16 x 12.4 in — 40.6 x 31.5 cm PROVENANCE:

Private Collection, Ontario $400 — 500


61 WILLIAM LUMPKINS (1909-2000), AMERICAN UNTITLED, 1983

watercolour on paper; signed “Lumpkins,” initialed “WL” and dated “83” bottom left corner sight 13.9 x 9.75 in — 35.3 x 24.8 cm PROVENANCE:

Private Collection, Ontario $400 — 500

62 WILLIAM LUMPKINS (1909-2000), AMERICAN UNTITLED, 1989

watercolour on paper; signed “Lumpkins,” initialed “WL” and dated “89” bottom right corner sight 17.25 x 23 in — 43.8 x 58.4 cm PROVENANCE:

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


63 WILLIAM LUMPKINS (1909-2000), AMERICAN UNTITLED, 1986

acrylic on paper; signed and dated “86” lower middle sight 21 x 28.75 in — 53.3 x 73 cm PROVENANCE:

Private Collection, Ontario $2,000 — 2,500

64 WILLIAM JAMES (JACK) MCLARTY (1919–2011), AMERICAN AMERICAN RIBBON ROAD, 1967

oil on canvas; signed and dated “67” lower right 48 x 48 in — 121.9 x 121.9 cm PROVENANCE:

Private Collection, Ontario; Acquired as “Ribbon Road, 1967” at an exhibition of McLarty’s paintings held at Reed College, Portland, Oregon EXHIBITED:

Reed College, Portland, Oregon in 1967. $800 — 1,000


65 RAY SMITH (B. 1959), AMERICAN BREVE CONFERENCIA DE PAJAROS VII, 1990

oil on canvas; signed and dated “1990” lower right 12.6 x 19.75 in — 32 x 50 cm PROVENANCE:

Private Collection, Montreal, QC EXHIBITED:

“Ray Smith,” Galería OMR, Mexico City, 1991 LITERATURE:

The authenticity of this work has kindly been confirmed by Mr. Ray Smith. $2,000 — 3,000

66 VICTOR PANILOV (B. 1924), RUSSIAN IN A SAUNA, 1991

oil on board; signed and dated “1991” verso 19.7 x 31.5 in — 50 x 80 cm PROVENANCE:

The Art Foundation of the USSR, Russia; Private Collection, Montreal, QC $800 — 1,200


68 KARL HORST HODICKE (B. 1938), GERMAN UNTITLED (FLORAL), 1980

oil on canvas; signed and dated “80” to the right selvage 22 x 30 in — 55.9 x 76.2 cm PROVENANCE:

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


69 VAL BERTOIA (B. 1949), AMERICAN # B-2626, B. SOUNDS GOOD, 2022

sound sculpture of 41 beryllium copper rods, soldered to a brass base in a B shape; titled “B 2626” on the plinth of the base 39 x 11 x 9 in — 99.1 x 27.9 x 22.9 cm PROVENANCE:

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


Notes:


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

condition of lots

All of the items are to be considered, unless otherwise noted in the 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 examine the pieces in person or have our staff answer any questions before bidding. Sizes are approximate. It is the sole responsibility of the bidder to inquire as to the condition of a lot before bidding. Condition reports are available upon request by phone, fax, email or in person. You are advised to make any requests well in advance of the sale. Frames on artwork are not included as part of purchase or condition.

buyers premium

A premium of 20% of the successful bid price of each lot. A charge of 13% HST (Harmonized Sales Tax) is applicable on the hammer price and buyer’s premium, except for purchases exported from Canada. In the case where purchases are shipped out of the province of Ontario, the HST or GST is charged based on the tax status of that province.

payment

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

Selling at Waddington’s bidding

The Auctioneer may also execute bids on behalf of the consignor to protect the reserve. The reserve is the confidential minimum price the seller is willing to accept for his or her property, below which it will not be sold.

shipping

waddington’s commission rates Items selling for $7,501 or more 10% Items selling for $2,501 to $7,500 15% Items selling for $251 to $2,500 20%

The Auctioneers will not undertake packing or shipping. The purchaser must designate and arrange for the services of an independent shipper and be responsible for all shipping, insurance expenses and any necessary export permits that may apply. The Auctioneers will, upon request, provide names of professional packers and shippers but will not be held responsible for the service or have any liability for providing this information. Reliable preauction estimates of shipping costs of lots offered in this sale may be obtained from:

Items selling for $250 or less 25%

PakShip

*There is a minimum handling charge of $100 per item

905-470-6874 / 905-470-6875 / 416-293-8225 taurus@pakship.ca / www.pakship.ca Safer Shipping Inc. 416-299-3367 / 416-299-9750 perry@safershipping.ca / www.safershipping.ca

removal of purchases

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

cites

Restrictions exist regarding the import and export of species protected under CITES (Convention on International Trade in Endangered Species). This includes but is not limited to items made of or containing bone (whalebone etc.), ivory, tortoise shell, seal skin, rhinoceros horn and any other animal part and is strictly controlled or forbidden by most countries. Please review your country’s laws before bidding on pieces made of or containing these restricted items. It is the sole responsibility of the buyer to inquire about and obtain the proper permits for artwork purchased that may contain restricted materials, if such permit can be obtained. Please contact the department for further assistance. Failure to obtain necessary import/ export permits will not void any sale. All Narwhal Tusks must have a Marine Harvest Number or a Marine and Mammal Transport number to be sold at Waddington’s. For more information please visit: www.cites.org

*There is a minimum handling charge of $20 per item canadian art department commission rates Items selling for $7,501 or more 10% Items selling for $2,501 to $7,500 15% Items selling for $2,500 or less 20%

insurance

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

auction advice

For auction advice on paintings, drawings, prints, jewellery, and various forms of decorative arts and other collectibles, please feel free to contact us via email or telephone. We are pleased to review emails containing photographs and information on your pieces in order to provide auction estimates for you to consider. For collections with a variety of objects, please contact our Appraisals and Consignments department (consignments@waddingtons.ca). For department-specific inquiries, please contact the specialist and/or department directly. All contact information can be found at www.waddingtons.ca. Our offices are located in Toronto and Vancouver, but our specialists occasionally travel to major Canadian cities to meet with prospective consignors. To receive more information on Valuation Days across Canada or to arrange an appointment, please contact our Toronto office (416-504-9100). Please note that property typically arrives at Waddington’s at least three months before the sale in order to allow our specialists time to research, catalogue, photograph and promote the items. Consignors will receive a contract to sign, setting forth terms and fees for our services.


Conditions of Sale 1. All lots are sold “AS IS”. Any description issued by the auctioneer of an article to be sold is subject to variation to be posted or announced verbally in the auction room prior to the time of sale. While the auctioneer has endeavoured not to mislead in the description issued, and the utmost care is taken to ensure the correct cataloguing of each item, such descriptions are purely statements of opinion and are not intended to constitute a representation to the prospective purchasers and no warranty of the correctness of such description is made. An opportunity for inspection of each article is offered prior to the time of sale. No sale will be set aside on account of lack of correspondence of the article with its description or its reproduction, if any, whether colour or black & white. Some lots are of an age and/or nature which preclude their being in pristine condition and some catalogue descriptions make reference to damage and/or restoration. The lack of such a reference does not imply that a lot is free from defects nor does any reference to certain defects imply the absence of others. Frames on artwork are not included as part of purchase or condition. It is the responsibility of prospective purchasers to inspect or have inspected each lot upon which they wish to bid, relying upon their own advisers, and to bid accordingly. 2. Each lot sold is subject to a 20% buyers premium as part of the purchase price. 3. Unless exempted by law, the buyer is required to pay Harmonized Sales Tax on the total purchase price including the buyer’s premium. For international buyers, taxes are not applicable when purchases are shipped out of country. Items shipped out of Ontario, the buyer is required to pay taxes as per the tax status of that province, whether it HST or GST (Goods and Services Tax).

6. Each lot may be subject to an unpublished reserve which may be changed at any time by agreement between the auctioneer and the consignor. The auctioneer may bid, or direct an employee to bid, on behalf of the consignor as agreed between them. In addition, the auctioneer may accept and submit absentee and telephone bids, to be executed by an employee of the auctioneer, pursuant to the instructions of prospective purchasers not in attendance at the sale. 7. The highest bidder accepted by the auctioneer for any lot shall be the buyer and such buyer shall forthwith assume full risk and responsibility for the lot and must comply with such other Conditions of Sale as may be applicable. If any dispute should arise between bidders the auctioneer shall have the absolute discretion to designate the buyer or, at his option, to withdraw any disputed lot from the sale, or to re-offer it at the same or a subsequent sale. The auctioneer’s decision in all cases shall be final. 8. Immediately after the purchase of a lot, the buyer shall pay or undertake to the satisfaction of the auctioneer with respect to payment of the whole or any part of the purchase price requested by the auctioneer, failing which the auctioneer in his sole discretion may cancel the sale, with or without re-offering the item for sale. 9. The buyer shall pay for all lots within 48 hours from the date of the sale, after which a late charge of 2% per month on the total invoice may be incurred or the auctioneer, in his sole discretion, may cancel the sale. The buyer shall not become the owner of the lot until paid for in full. Items must be removed within 10 days from the date of sale, after which storage charges may be incurred.

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

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

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

11. Notwithstanding condition no. 1, if the buyer, prior to removal of a lot, makes arrangements satisfactory to the auctioneer for the inspection of such lot by a fully qualified person acceptable to the auctioneer to determine the genuineness or authenticity of the lot, to be carried out promptly following the sale of the lot, and if, but only if, within a period of 14

days following the sale a written opinion of such person is presented to the auctioneer to the effect that the lot is not genuine or authentic, accompanied by a written request by the buyer for rescission of the sale, then the sale of the lot will be rescinded and the sale price refunded to the buyer. 12. Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certified cheque (U.S. & Overseas not applicable), bank draft, electronic transfer (fee applies), and VISA or Mastercard (up to $25,000). 13. In the event of failure to pay for or remove articles within the aforementioned time limit, the auctioneer, without limitation of the rights of the consignor and the auctioneer against the buyer, may resell any of the articles affected, and in such case the original buyer shall be responsible to the auctioneer and the consignor for: (a) any deficiency in price between the resale amount and the amount to have been paid by the original buyer; (b) any reasonable charge by the auctioneer for the storage of such articles until payment and removal by the subsequent buyer; and (c) the amount of commission which the auctioneer would have earned had payment been made in full by the original buyer. 14. It is the responsibility of the buyer to make all arrangements for insuring, packing and removing the property purchased and any assistance by the auctioneer or his servants, agents or contractors, in packing or removal shall be rendered as a courtesy and without any liability to them. 15. The auctioneer acts solely as agent for the consignor and makes no representation as to any attribute of, title to, or restriction affecting the articles consigned for sale. Without limitation, the buyer understands that any item bought may be affected by the provisions of the Cultural Property Export Act (Canada). 16. The auctioneer reserves the right to refuse admission to the sale or to refuse to recognize any or all bids from any particular person or persons at any auction.



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

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