Canadian Fine Art | December 5 - 10, 2020

Canadian Fine Art DECEMBER 5 — 10, 2020

BID ONLINE AT

CANADIAN FINE ART

FRONT COVER

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416-504-5100 canadianart@waddingtons.ca

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Lot 45 GEORGE DOUGLAS PEPPER BOATHOUSES ON THE OTTAWA RIVER, 1930

DIRECTOR OF FINE ART

(DETAIL)

www.waddingtons.ca ON VIEW

All lots including additional images, essays, and reports can be viewed online at waddingtons.ca

Yvonne Monestier MANAGER OF CANADIAN FINE ART

Ellie Muir CONSIGNMENT COORDINATOR

Nicole Schembre

INSIDE COVER Lot 15 GUIDO MOLINARI OPPOSITION TRIANGULAIRE, 1971 (DETAIL)

INSIDE BACK COVER Lot 44 PETER CLAPHAM SHEPPARD A NORTHERN LAKE, c.1936-37 (DETAIL)

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

BACK COVER Lot 13 WALTER HAWLEY YARWOOD LANDSCAPE, c.1958

OPPOSITE Lot 18 GERSHON ISKOWITZ SPRING GREENS-B, 1981

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

This catalogue and its contents © 2020 Waddington McLean and Company Ltd. All rights reserved.

Photography and design by Waddington’s.

RENÉ t MARCIL René Marcil’s career began as a fashion illustrator, first for Morgan’s and Eaton’s department stores in Montreal, then Lord and Taylor in New York. In the early 1950s Marcil moved to France where he began supplementing his figure drawing practice with abstracted compositions. The paintings produced during this time demonstrate a continuation of the dynamism and elegance that characterised his fashion illustrations and marked a significant turning point towards the use of bold, brilliant colour that would be further explored in his late-career portrait pieces.

This work, completed in the early days of what would be an extended period living in Europe, exemplifies Marcil’s willingness to experiment with his practice. Here he adopts the established visual language of Fauvism, Cubism, and Surrealism.

Blues dominate the canvas, illuminated by flashing facets of orange, green, and pink. Bold, heavy black strokes provide an architectural structure to the scene: this could be an interior, or a pure abstract exploration of colour. Expressionistic and lyrical, Marcil’s long career was characterised by confident draftsmanship and a unique evolved style.

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RENÉ MARCIL UNTITLED, 1956-58 oil on canvas signed and dated ‘56; also signed, dated ‘58 and inscribed “retouché” verso 39.25 ins x 24 ins; 99.7 cms x 61 cms provenance: Private Collection, Toronto

$3,000–5,000

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WILLIAM RONALD, R.C.A. ZACHARY, 1992-3 oil and acrylic on canvas signed and dated ‘92; also signed, titled and dated ‘92 and 1993 on the reverse 36 ins x 48 ins; 121.9 cms x 91.4 cms provenance: A gift from the artist to his wife, Alana Ronald Private Collection, Montreal

$5,000–7,000

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WILLIAM RONALD, R.C.A. ZACHARY, 1992-3 oil and acrylic on canvas signed and dated ‘92; also signed, titled and dated ‘92 and 1993 on the reverse 36 ins x 48 ins; 121.9 cms x 91.4 cms provenance: A gift from the artist to his wife, Alana Ronald Private Collection, Montreal

$5,000–7,000

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RITA t LETENDRE Though originally hard-edge, by 1971, Rita Letendre’s introduction to the airbrush meant that the radiating bands of colour with which she is associated with began to develop a softness where they met at the adjoining bands’ edge. Some critics interpret this as a return to the “atmospheric notions” Letendre had been investigating during her Automatiste period and remark upon “luminous modulations which electrify the canvas,” as seen in this lot. According to Canadian curator and art historian Dennis Reid, Letendre stopped using the airbrush in 1996.

In this particular piece, Letendre’s signature “zip” makes the most subtle of appearances, stretching horizontally across the bottom of the composition, while it is the soft bands of colour vibrating across the upper levels of the canvas which command our attention.

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RITA LETENDRE, R.C.A. ELECTRIC DREAMS II, 1980 acrylic on canvas signed, titled and dated on the reverse 42 ins x 72 ins; 106.7 cms x 182.9 cms provenance: Private Collection, Ontario

$15,000–25,000

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tPETER DEUTSCH November is a superb demonstration of Deutsch’s treatment of colour to create immersive, energetic optical effects. The palette is pared-down to three colours: solid black, a rich magenta, and a very pale, almost phosphorescent yellow-green. The interplay of wavy patterns of lines suggests a hidden structure, barely perceived, creating a volatile interplay between foreground and background.

Circular dots seem to be pierced hollows or vortices about which the rest of the painting hinges.

The entire work is in fact mirrored on itself - the top is mirrored on the bottom - further emphasizing the destabilizing effect. Methodically planned and rigorously executed, this is an exceptional example of an under-recognized mid-century artist.

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PETER DEUTSCH NOVEMBER, 1966 oil on canvas signed, titled and dated on the reverse 54 ins x 28 ins; 137.2 cms x 71.1 cms provenance: Gallery Moos Ltd., Toronto Private Collection, Oakville

$1,500–2,500 20 Canadian Art Auction

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MARCELLA MALTAIS UNTITLED, 1958 oil on canvas signed and dated ‘58 22.75 ins x 29.75 ins; 57.8 cms x 75.6 cms provenance: Private Collection, Georgia, U.S.A.

$8,000–10,000 VIEW THIS LOT

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WILLIAM RONALD, R.C.A. APRIL’S BREATH, 1994 oil on canvas signed and dated ‘94 60 ins x 60 ins; 152.4 cms x 152.4 cms provenance: By descent from Artist to Private Collection, Toronto

$10,000–15,000

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WILLIAM RONALD, R.C.A. APRIL’S BREATH, 1994 oil on canvas signed and dated ‘94 60 ins x 60 ins; 152.4 cms x 152.4 cms provenance: By descent from Artist to Private Collection, Toronto

$10,000–15,000 28 Canadian Art Auction

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tDENIS JUNEAU Denis Juneau was an important figure in the second generation of Plasticiens, focusing his practice entirely on exploring pure abstraction with an emphasis on the usage of colour. Working in both painting and sculpture (he held a particular interest in metalwork and goldsmithing) it’s his canvases that most boldly argue for his rigorous treatment of geometry and chromatic experimentation.

Expunged of all referent, hard-edged colour becomes the dominant mode of expression. Orange et rouge ably showcases the dynamism he is able to achieve with a minimal palette: two colours are telescoped into a kaleidoscopic lens, creating a billowing, flowing sense of magnified movement.

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DENIS JUNEAU ORANGE ET ROUGE, 1966 oil on canvas signed, titled, and dated ‘66 to the stretcher 39 ins x 39 ins; 99.1 cms x 99.1 cms provenance: Galerie de Siècle, Montreal Private Collection, Oakville

$5,000–7,000

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MARYON KANTAROFF DAUGHTER OF THE MOON, 1974 bronze signed, dated ‘74, and numbered 2/4 to the base; titled to label on the bottom 19.5 ins x 9 ins x 6.5 ins; 48.3 cms x 22.9 cms x 16.5 cms provenance: The Helen and Walter Zwig Foundation Collection, Toronto

$2,000–3,000 VIEW THIS LOT

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t LEO MOL Leo Mol came to Canada from Ukraine in 1948 and soon found work in Winnipeg as a mural painter and stained glass artist, but it would be his sculpture that would cement his reputation as one of Canada’s most collected artists. His talent for sculpting resulted in commissions to create the likenesses of Queen Elizabeth II, Pope John Paul II, Sir Winston Churchill and Dwight D. Eisenhower. His best known works are nudes like our present lot.

This bronze is a study for In The Wind, a well-known nude sculpture which graces the lily pond at the Leo Mol Sculpture Garden in Assiniboine Park in his hometown of Winnipeg.

Click here to view more.

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LEO MOL IN THE WIND, 1974 bronze signed and dated ‘74, numbered 14/15 20.5 ins x 6.75 ins x 5 ins; 52.1 cms x 17.1 cms x 12.7 cms provenance: Private Collection, Toronto

$2,000–3,000

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tWALTER HAWLEY YARWOOD In 1958, already well into his years with Painters Eleven, Walter Yarwood hadn’t yet enjoyed his own solo exhibition as a painter. That honour would come in 1959 when his first one-man show was held at the Dorothy Cameron Gallery. In 1960, the year that Painters Eleven disbanded, Yarwood began to focus on sculpture, leaving behind his painting practice only to return to it much later in his career.

Nightscape therefore represents a time in which the artist was reaching the pinnacle of his modernist abstract painting career. This nocturne captures a remarkable amount of tension (in the best sense) with a web of energetic black stripes wrapped around, and within, the kind of blue that was once reserved for regal robes and heavenly skies.

Yarwood manages to unite a feeling of depth with levity.

We thank Dr. Sarah Stanners, art historian, curator, and Director of the Jack Bush Catalogue Raisonné for contributing this essay.

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WALTER HAWLEY YARWOOD, R.C.A. NIGHTSCAPE, 1958 watercolour on board signed, titled and dated on the reverse 16 ins x 20 ins; 40.6 cms x 50.8 cms provenance: Gift from the Artist By descent to Private Collection, Mississauga

$5,000–7,000

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HAROLD KLUNDER, R.C.A. ELDERSLIE, 1979 lithograph signed, titled, dated, and numbered “1/20” 29.5 ins x 33 ins; 74.9 cms x 83.8 cms provenance: By descent to Private Collection, Toronto

$800–1,200 VIEW THIS LOT

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tALEXANDRA LUKE Alexandra Luke remained an autodidact until 1945.

From 1947 to 1950 she spent some summer weeks each year in Provincetown so that she could train at the Hans Hofmann School. By 1952, Luke made the impressive move of organizing The Canadian Abstract Exhibition. It was the first nationally touring exhibition of abstract painting in Canada and it helped to spawn camaraderie amongst painters of non-objective art, and namely Painters Eleven to which she belonged from its inception until its end (1953-1960). Hofmann’s training made an indelible mark upon Luke’s painting practice. The pops of colour in fast but strong rectilinear shapes across this Untitled painting show his influence. Her aim, she once wrote, “is toward a powerful creative aesthetic element resulting from a spatial concept of controlled abstract expressionism, arriving at three-dimensionality through two-dimensionality by deep consideration of the negative space and shifting planes of the subject…”

We thank Dr. Sarah Stanners, art historian, curator, and Director of the Jack Bush Catalogue Raisonné for contributing this essay.

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ALEXANDRA LUKE UNTITLED oil on board signed to the stretcher on the reverse 48 ins x 32 ins; 121.9 cms x 81.3 cms provenance: Private Collection, Ottawa exhibited: Canadian Women Artists, Riverside Museum, New York, 1947-1950 literature: Luke, personal notebook [1947] qtd. in Maria Tippett, By a Lady, Toronto: Penguin Books, 1992, p. 130.

$30,000–40,000

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tWALTER HAWLEY YARWOOD Landscape is a strong painting – one that you might point to as proof of Walter Yarwood’s keen instincts as an abstract painter. Being a member of Painters Eleven, Yarwood was most closely associated with abstract art, but landscapes were a constant thread throughout his life. In 1958, presumably around the same time that this painting was made, his talent for abstracting the landscape was championed in a review of the exhibition, “Painters Eleven and the Works of Ten Distinguished Artists from Quebec,” which opened at the Park Gallery on October 31, 1958: “One of the prizewinners in this display is a landscape by Yarwood. As late as last year it was difficult to see much resemblance to landscape in Yarwood’s large canvases of luminous orange and purple paint. This example, however, is a subtle variation on a sturdy classical landscape composition…”

We thank Dr. Sarah Stanners, art historian, curator, and Director of the Jack Bush Catalogue Raisonné for contributing this essay.

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WALTER HAWLEY YARWOOD, R.C.A. LANDSCAPE, C.1958 oil on canvas board signed and titled on the reverse 24 ins x 30 ins; 61 cms x 76.2 cms provenance: A Gift from the Artist to Private Collection, Ontario literature: Toronto Daily Star [October 1958] qtd. in Iris Nowell, Painters Eleven: The Wild Ones of Canadian Art, Vancouver: Douglas & McIntyre, 2010

$15,000–25,000

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GORDON APPELBE SMITH, R.C.A. OPTICAL CUBE silkscreen on plexiglass with metal frame 8 ins x 8 ins x 8 ins; 20.3 cms x 20.3 cms x 20.3 cms provenance: Private Collection, Jordan, ON

$1,000–1,500 VIEW THIS LOT

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GUIDO MOLINARI R.C.A. OPPOSITION TRIANGULAIRE, 1971 serigraph signed, titled and numbered 4/50 on the reverse sight 21.5 ins x 21.5 ins; 54.6 cms x 54.6 cms provenance: The Pollack Gallery, Toronto Private Collection, Toronto

$2,000–3,000 VIEW THIS LOT

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tJACK REPPEN Jack Reppen began his career not as a painter but as a sports cartoonist, drawing athlete caricatures and illustrations for the Globe and Mail and the Toronto Star from his early teens. Large and athletic, he had aspirations to be a hockey player and trained as a traffic light repairman (he would end up painting white lines on roadways), before turning to full-time commercial painting in the 1950s.

His abstracted, mixed-media paintings were almost entirely produced in his off-hours after work, and were inspired by locales and themes that would interest him. Most of all he was interested in the play of surface texture: paint is worked in heavy ridges and thick impasto, with embedded material producing a rough, sedimentary feel.

This work was painted during a formative time for Reppen’s painting: his first solo show at Gallery Moos opened in Toronto in 1959 - the first Canadian artist to show at the gallery - and anticipates a productive period following a visit to Mexico two years later. Reppen’s death in 1964 from cancer would bring a sudden end to his influential and important contributions to the Canadian abstract landscape.

Click here to see Reppen at the 1963 opening.

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JACK REPPEN, O.S.A. THE CITY, 1958-61 mixed media on board signed and dated “58’61”; titled on the reverse 36 ins x 48 ins; 91.4 cms x 121.9 cms provenance: Mazelow Gallery, Toronto Private Collection, Toronto

$2,000–3,000

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RONALD YORK WILSON, R.C.A. MESSAGE TO CALIGULA, 1978 oil on canvas signed, titled and dated to artist’s label on the reverse 30 ins x 40 ins; 76.2 cms x 101.6 cms provenance: Private Collection, London, ON

$2,000–3,000 VIEW THIS LOT

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tGERSHON ISKOWITZ While known for his abstraction, Gershon Iskowitz himself would be the first to tell you that abstraction wasn’t his intention. In 1975, he explained that he painted “a whole realistic world…the experience, out in the field, of looking up in the trees or in the sky, of looking down from the height of a helicopter.”

The title of this composition, Spring Greens-B, may offer an insight into what Iskowitz was seeing and feeling when he made this painting. Indeed, the vivid greens burst with new life, and the blues are those of a clear sky.

Proceeds from the sale of this lot will benefit the Gershon Iskowitz Foundation.

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GERSHON ISKOWITZ, R.C.A. SPRING GREENS-B, 1981 oil on canvas signed, titled, and dated on the reverse 52 ins x 42 ins; 132.1 cms x 106.7 cms provenance: Newzones Gallery of Contemporary Art, Calgary Artist’s Studio, Gershon Iskowitz Foundation

$18,000–22,000 70 Canadian Art Auction

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YEHUDA CHAKI UNTITLED acrylic on paper signed sight 43 ins x 33 ins; 111.8 cms x 83.8 cms provenance: Corporate Collection, Toronto

$5,000–7,000

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CLAUDE VERMETTE, R.C.A. PASA DOBLE, 1983 acrylic on canvas signed and dated 83 ins x 36 ins; 124.5 cms x 182.9 cms provenance: Gallery 400, Toronto Private Collection, Toronto

$3,000—5,000 VIEW THIS LOT

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JOHN MEREDITH, R.C.A. DR. FREUD, 1980 coloured ink on paper signed and dated ‘80 image 11.6 ins x 15.6 ins; 29.5 cms x 39.6 cms provenance: The Isaacs Gallery Ltd., Toronto Kaspar Gallery, Toronto Joyner, Canadian Art, 23 May 2000, lot 181 Private Collection, Victoria, BC

$1,500–2,000 VIEW THIS LOT

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RITA LETENDRE, R.C.A. INTERLUDE, 1982 pastel on paper signed, titled, and dated in pencil to the margin sheet 10 ins x 14.5 ins; 25.4 cms x 36.8 cms provenance: Rodman Hall Arts Centre, Art Rental Service, St. Catherines, Ontario Private Collection, Toronto

$700–900 VIEW THIS LOT

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VARIOUS ARTISTS TWENTIETH ANNIVERSARY 1959-1979, GALLERY MOOS LIMITED portfolio of ten mixed media prints each signed, titled and numbered 2/100 Walter Joseph Gerard Bachinski, Seated Figure Kenneth Edison Danby, Cedar Break John Kenneth Esler, To Climb a Mountain Alex Simeon Janvier, Good Soil Road Rita Letendre, Asot Bernard Mulaire, Self Portrait with Mirrors Pitseolak Ashoona, Animals of Our Land Don Phillips, Composition Edward Porter, Tapestry Noboru Sawai, Antique Birdcage Overall dimensions 20.25 ins x 26.75 ins x 2 ins; 51.4 cms x 67.9 cms x 5.1 cms provenance: Private Collection, Toronto

$1,000–1,500 VIEW THIS LOT

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ANTHONY (TONY) MORSE URQUHART, R.C.A. THE ISLAND, 1962 mixed media on paper signed, titled and dated “2/62” 25.25 ins x 41.5 ins; 64.1 cms x 105.4 cms provenance: By descent to Private Collection, Toronto

$1,000–1,500

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HAROLD BARLING TOWN, R.C.A. VALE VARIATIONS #159, 1975 graphite drawing signed and dated ‘75 20.75 ins x 31.3 ins; 52.7 cms x 79.5 cms provenance: Circle Arts International, Toronto Private Collection, Toronto

$700–900 VIEW THIS LOT

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DAVID LLOYD BLACKWOOD, O.S.A., R.C.A. SICK CAPTAIN LEAVING, 1971 colour etching and aquatint signed, titled, dated, and numbered 16/25 to margin plates 31.1 ins x 19.7 ins; 79 cms x 50 cms provenance: Private Collection, British Columbia

$3,000–4,000 VIEW THIS LOT

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DAVID LLOYD BLACKWOOD, O.S.A., R.C.A. SAM KELLOWAY DREAMS, 1983 colour etching and aquatint signed, titled, dated and numbered 5/50 in pencil to lower margin plate 10 ins x 19.5 ins; 25.4 cms x 49.5 cms provenance: Private Collection, Victoria, BC

$1,800–2,400 VIEW THIS LOT

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JACQUES GODEFROY DE TONNANCOUR, R.C.A. FEMME ASSISE, 1942 charcoal on paper signed twice and dated “10.42” 11.25 ins x 9 ins; 28.6 cms x 22.9 cms

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provenance: Galerie Valentin, Montreal Private Collection, Montreal

$2,000–3,000 VIEW THIS LOT

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RENÉ MARCIL L’HOMME POLITIQUE/THE POLITICIAN acrylic on paper signed, initialed, and titled “L’Homme Politique The Policitian” 48 ins x 31.5 ins; 121.9 cms x 80 cms provenance: Private Collection, Michigan

$2,000–3,000 VIEW THIS LOT

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JEAN PAUL RIOPELLE, R.C.A. ALBUM 67 (NO. 15), 1967 [YSEULT RIOPELLE, 1967.29 OEST.LI.ALB] colour lithograph signed and numbered 56/75 15.7 ins x 31.5 ins; 40 cms x 80 cms provenance: The Pollack Gallery, Toronto Private Collection, Toronto literature: Yseult Riopelle, Jean Paul Riopelle: Catalogue raisonné des estampes, 2005, reproduced p. 171. note: From the portfolio Album 67, 1967

$800–1,000 VIEW THIS LOT

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JEAN PAUL RIOPELLE, R.C.A. L’OIE DE FEU - L’OIE AU SOLIEL, 1990 [YSEULT RIOPELLE, 1990.10EST.GR] original etching in colours signed and numbered 15/50 sheet 22.2 ins x 29.7 ins; 56.5 cms x 75.5 cms provenance: Private Collection, Toronto literature: Yseult Riopelle, Jean Paul Riopelle: Catalogue raisonné des estampes, 2005, reproduced p. 355.

$1,000–1,500 VIEW THIS LOT

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JACK HAMILTON BUSH, O.S.A., A.R.C.A. PURPLE THRUST, 1974 colour serigraph signed, dated 1974 and numbered 23/100 sheet 34.25 ins x 25.5 ins; 87 cms x 64.8 cms provenance: Private Collection, Toronto

$1,500–2,000 VIEW THIS LOT

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ARMAND VAILLANCOURT UNTITLED wood sculpture signed with initials 38 ins x 15.75 ins x 7 ins; 96.5 cms x 40 cms x 17.8 cms provenance: The Helen and Walter Zwig Foundation Collection, Toronto

$3,000–4,000

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KATHLEEN MARGARET HOWITT GRAHAM, R.C.A. RAGGED RAPIDS I, 1976 acrylic and chalk on paper signed, titled, and dated Sheet 29.5 ins x 22 ins; 74.9 cms x 55.9 cms provenance: David Mirvish Gallery, Toronto By descent to Private Collection, Toronto

$800–1,200 VIEW THIS LOT

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KATHLEEN MARGARET HOWITT GRAHAM, R.C.A. ARCTIC THAW IN JUNE, 1990 acrylic on canvas signed, titled and dated ‘90 twice to the stretcher, also signed and dated ‘90 on the reverse 60 ins x 80 ins; 152.4 cms x 203.2 cms provenance: Private Collection, Toronto

$4,000–6,000 VIEW THIS LOT

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tDORIS JEAN MCCARTHY Doris McCarthy’s enchantment with icebergs came during her first visit to the Arctic to paint in 1972, “In my first year in the Arctic I met my very first iceberg and I went crazy about icebergs and started doing ice form fantasies.” 1 Over the years she continued to travel and contentedly spent time sketching in remote locations, including a trip in the summer of 1981 to Broughton Island (Qikiqtarjuaq), on the eastern side of Nunavut.

A master of using the unforgiving medium of watercolour, perfectly suited to capture the glossy icebergs slowly melting along the shoreline. She has reduced the forms of the icebergs but does not lose her feeling of the land. The paintings pull us in to look deep into her view of the frozen landscape.

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William Moore, Celebrating Life: The Art of Doris McCarthy, McMichael

Canadian Art Collection, 1999, p. 199.

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DORIS JEAN MCCARTHY, O.S.A., R.C.A. ROTTING ICE, HARBOUR SHORE, 1981 watercolour signed; titled and dated to gallery label on the reverse sight 14 ins x 21 ins; 35.6 cms x 53.3 cms provenance: Aggregation Gallery, Toronto Private Collection, Toronto

$1,500–2,500

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DORIS JEAN MCCARTHY, O.S.A., R.C.A. SHORE SHAPES AND THE ICEBERG, 1981 watercolour signed; titled and dated to gallery label on the reverse sight 14 ins x 21 ins; 35.6 cms x 53.3 cms provenance: Aggregation Gallery, Toronto Private Collection, Toronto

$1,500–2,500

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CARL FELLMAN SCHAEFER, R.C.A. DEAD LEAVES, 1949 oil on tempera on panel signed; titled and dated on the reverse 11.5 ins x 15.5 ins; 29.2 cms x 39.4 cms provenance: Private Collection, Toronto exhibited: Carl Schaefer Retrospective Exhibition: Paintings from 1926 to 1969, Sir George Williams University, Montreal; Agnes Etherington Art Gallery, Kingston; Art Gallery of Hamilton; London Public Library and Art Museum; Art Gallery of Windsor, 1969-70, cat. no. 48.

$1,500–2,000 VIEW THIS LOT

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t NDRÉ CHARLES A BIÉLER After moving to Montreal in 1930, Biéler went on sketching trips in the Laurentians. Often drawings and watercolours served as studies for his fully realised canvases. We are fortunate to offer the watercolour study for Before the Auction, 1936, a large canvas in the collection of the National Gallery of Canada.

When comparing the two works, the watercolour serves as his observation of rural Quebec life, whereas in the canvas work, Biéler has brought the central figures to the forefront of canvas and added more onlookers to enhance the action of the auction.

Click here to read The National Gallery of Canada Magazine article about Biéler showing After The Auction

VIEW THIS LOT

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ANDRÉ CHARLES BIÉLER, O.S.A., R.C.A. L’ENCAN À STE-ADÈLE, 1935 watercolour signed; titled and dated 1935 to gallery label 17 ins x 21 ins; 43.2 cms x 53.3 cms provenance: Galerie Valentin, Montreal Private Collection, Montreal

$3,000–5,000

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PETER CLAPHAM SHEPPARD, O.S.A., R.C.A. BEACHSIDE, LAKE ONTARIO C. 1912-14 oil on double-sided board signed on the reverse 8.5 ins x 10.25 ins; 26 cms x 21.6 cms provenance: Estate of the Artist Private Collection, Toronto note: According to the consignor of this painting, this scene most likely depicts Cherry Beach which is located along the shoreline of Toronto - much has changed in the interceding century. The two figures are the artist’s sister and her friend. The verso shows a scene of the shoreline looking back toward Toronto.

$2,500–3,500 VIEW THIS LOT

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VERSO 128 Canadian Art Auction

DECEMBER55——10, 10,2020 2020 129 129 DECEMBER

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FREDERICK STANLEY HAINES, O.S.A., P.R.C.A. THE WORKING TEAM oil on board signed 12 ins x 15 ins; 30.5 cms x 38.1 cms provenance: Canadian Heritage Art Company, Kleinberg, Ontario Private Collection, Ontario

$1,200-$1,600

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130 Canadian Art Auction

DECEMBER55——10, 10,2020 2020 131 131 DECEMBER

tHENRIETTA MABEL MAY Executed in 1934, just a year after the founding of the Canadian Group of Painters, Mabel May’s landscape of a still lake is decidedly of a Canadian style. At this point in her career, the artist had decades of experience painting landscapes in the wilderness around her cottage in Hudson, PQ. She had also been a founding member of the Beaver Hall Group of painters who would sketch out in the forests of Quebec. The treatment of the water here flatly reflects the grey skies and shows her experienced eye as the composition around the water draws the viewer right to the end of the sightline where it meets a hazy horizon of blue-green trees.

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132 Canadian Art Auction

DECEMBER 5 — 10, 2020 133

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HENRIETTA MABEL MAY, A.R.C.A. SILVER LAKE, 1934 oil on panel signed; titled and dated on the reverse 11 ins x 14 ins; 27.9 cms x 35.6 cms provenance: Private Collection, Ontario

$4,000–6,000

134 Canadian Art Auction

DECEMBER55——10, 10,2020 2020 135 135 DECEMBER

PETER CLAPHAM tSHEPPARD While unknown to the majority of Canadians, Louis Gagliardi, an expert on the artist, notes that Peter Clapham Sheppard’s works “offer us a fresh and dynamic alternative to the Group [of Seven].” Indeed, Sheppard and others have been left too long in the shade of the Seven, though audiences and the art market have begun to see the light. Sheppard’s Elizabeth Street, Toronto shattered auction estimates in 2018 at Waddington’s, and we look forward to watching this important Canadian painter’s legacy continue to grow.

Primarily a figurative artist, Sheppard used the landscape as, in the words of art historian Tom Smart, “a visual touchstone that supported an impulse to explore the purely expressive properties of colour.” Northern Lake is one of three Sheppard paintings included in this auction, and is a modernist take on the now-familiar Canadian landscape. At first glance, the painting almost resembles a delicate stained-glass panel, all shimmering segments fitted together in harmony. Upon closer examination, the work dissolves into wonderfully animated brushstrokes.

Sheppard’s signature understanding of light and colour can be seen in the lilac flashes in the sky and the atmospheric purples and blues tucked in amongst the trees on the shore.

This work is particularly special due to it being accompanied by a watercolour study by the artist.

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136 Canadian Art Auction

DECEMBER 5 — 10, 2020 137

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PETER CLAPHAM SHEPPARD, O.S.A., R.C.A. A NORTHERN LAKE, C. 1936-37 oil on canvas signed; with the estate stamp on the reverse 34 ins x 38 ins; 86.4 cms x 96.5 cms provenance: Estate of the Artist Private Collection, Toronto

$20,000–30,000

138 Canadian Art Auction

WATERCOLOUR STUDY

DECEMBER55——10, 10,2020 2020 139 DECEMBER 139

tGEORGE DOUGLAS PEPPER Educated at the Ontario College of Art in Toronto, George Pepper honed his technique in France and Italy before returning to his hometown of Ottawa.

He moved back to Toronto to teach at his alma mater, a career interrupted by a stint as a war artist from 1943-1946.

As a young artist, Pepper studied with J.W. Beatty and J.E.H. MacDonald. The influence of the Group of Seven can be felt in Pepper’s work, echoed in the undulating forms and lively palette of Boathouses on the Ottawa River. The boathouses in question take a backseat to the blanket of snow that utterly envelops the landscape, draping it in a languid layer of thick white fondant. There is an almost cartoonish quality to the snow, shaped in gleeful balls and exuberant puffs. Pepper’s painting showcases winter at its very best: playful, light-filled and inviting.

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140 Canadian Art Auction

DECEMBER 5 — 10, 2020 141

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GEORGE DOUGLAS PEPPER, O.S.A., R.C.A. BOATHOUSES ON THE OTTAWA RIVER, 1930 oil on canvas signed and dated ‘30 28 ins x 36 ins; 71.1 cms x 91.4 cms provenance: Purchased from Kathleen Daly Pepper By descent to Private Collection, Ottawa

$20,000–30,000

142 Canadian Art Auction

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tSTANLEY FRANCIS TURNER Coincidentally, both paintings by Stanley Francis Turner in this auction happen to feature trees bent to the will of nature. In Timber Line, Turner paints branches twisted by wind and weather, shaped into extraordinary curvilinear forms. In Heavy Snow, it is the languorous draped effect of deep winter on evergreen branches that caught Turner’s eye.

Turner was born in Aylesbury, England in 1883, immigrating to Canada at the age of 20. He began farming in Saskatchewan while continuing to make art. In 1911, Turner moved to Toronto to work in the advertising department of the Timothy Eaton Company. Seven years later, he would switch firms, joining Rous and Mann Press Ltd, where he would work under Franklin H. Carmichael, one of the founding members of the Group of Seven. A.J. Casson, who would join the Group in 1926 at the invitation of Carmichael, was also working at Rous and Mann at the time. Turner also studied at the Ontario College of Art in Toronto, where he was taught

by George Reid and J.W. Beatty. These influences, combined with an interest in Japanese prints, can be felt in the works showcased here.

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144 Canadian Art Auction

DECEMBER 5 — 10, 2020 145

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STANLEY FRANCIS TURNER, O.S.A., R.C.A. HEAVY SNOW oil on canvas signed 28 ins x 32 ins; 71.1 cms x 81.3 cms provenance: Private Collection, Toronto

$3,000–5,000

146 Canadian Art Auction

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STANLEY FRANCIS TURNER, O.S.A., R.C.A. TIMBER LINE oil on canvas signed 28 ins x 32 ins; 71.1 cms x 81.3 cms provenance: Private Collection, Toronto exhibited: The Ontario Society of Artists 79th Annual Exhibition - March 1951

$2,000–2,500 DECEMBER 5 — 10, 2020 147

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148 Canadian Art Auction

VIEW THIS LOT

DECEMBER5 5——10, 10,2020 2020 149 DECEMBER 149

tALBERT HENRY ROBINSON Albert Henry Robinson was one of three artists invited to exhibit at the first Group of Seven show in 1920. The other two guest artists were Stanley Hewton and Robinson’s good friend Robert Pilot.

Born in Hamilton, Robinson moved to Montreal in 1908 and began painting around the harbour and in the surrounding villages. He travelled to France with A.Y. Jackson in 1911 sketching Brittany and the U.K. He paused his artistic practice to work in a munitions factory throughout the First World War and in 1933 had to stop painting all-together after experiencing a serious heart issue. This means there are only about twenty years worth of work from this highly sought after artist who so joyously painted his adopted province of Quebec in soft, high-key tones with a very modernist eye for both shape and colour. In Fishing Boats we have an example of his work around harbours and in all likelihood this is Westminster from the Thames on a smoggy London day from his sketching trip with Jackson. In Quebec Village Street a typical Quebec village with a sled full of logs trailing by on the main road that is overlooked by a large church on a hill.

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150 Canadian Art Auction

DECEMBER 5 — 10, 2020 151

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ALBERT HENRY ROBINSON, R.C.A. QUEBEC VILLAGE STREET oil on panel signed; titled to gallery label on the reverse 11.5 ins x 13 ins; 29.2 cms x 33 cms provenance: Continental Galleries, Montreal Private Collection, Victoria, BC

$15,000–25,000

152 Canadian Art Auction

DECEMBER DECEMBER55——10, 10,2020 2020 153 153

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ALBERT HENRY ROBINSON, R.C.A. FISHING BOATS, 1913 oil on panel signed and dated 11 ins x 13.75 ins; 30.5 cms x 40.6 cms provenance: Private Collection, Ontario literature: Evelyn de Rostaing McMann, Montreal Museum of Fine Arts, Spring Exhibitions 1880-1970, University of Toronto Press, Toronto/Buffalo/London, 1988, p. 327, listing number 332.

$12,000–16,000 VIEW THIS LOT

154 Canadian Art Auction

DECEMBER 5 — 10, 2020 155

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156 Canadian Art Auction

DECEMBER55——10, 10,2020 2020 157 157 DECEMBER

tFRANK HANS JOHNSTON A slight breeze causes a shimmer of movement on the water’s surface. The sun gleams through the approaching clouds one last time before dipping below the horizon. The trees and bushes in the foreground contrast with the turquoise and purple in the sky as night encroaches from behind. In 1932, Johnston was in his second year of running a summer school at Tondakea Lodge at Balm Beach on the shores of Georgian Bay. The west facing strip of sand is famous for its dramatic sunsets over the bay, which Johnston must have greatly enjoyed recording in his paintings.

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158 Canadian Art Auction

DECEMBER 5 — 10, 2020 159

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FRANK HANS JOHNSTON, O.S.A., R.C.A. SUN SONG, C.1932 oil on canvas signed; also signed, titled and inscribed “Dr. Wood, December 1932” on the reverse 12 ins x 16 ins; 30.5 cms x 40.6 cms provenance: Private Collection, Waterloo, ON

$12,000–16,000

160 Canadian Art Auction

DECEMBER55——10, 10,2020 2020 161 161 DECEMBER

tALFRED JOSEPH CASSON Lake of Two Rivers is in Algonquin Park. The park has been a source of inspiration for many Canadian artists, including A.J. Casson, since its establishment in 1893. Casson visited Algonquin Park many times throughout his career and was particularly active there from 1942-1945. Here, an island under changing skies is illuminated in sunlight while the treed hills behind are covered by shadow. As Ian Dejardin notes, Casson’s contribution to the Canadian canon is work that “is always hugely attractive and technically adept, while steering clear of any rough edges.” This painting was purchased directly from the artist in 1953 by Alice and Charles Matthews, of Sampson & Matthews, Casson’s long time employer from which he retired in 1958 to paint full time.

It’s interesting to note the support on which this painting was done seems to be a part of a WWII poster, possibly created at Sampson & Matthews, as warplanes and the word “Fight” can be clearly seen on the reverse.

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162 Canadian Art Auction

DECEMBER 5 — 10, 2020 163

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ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. ISLAND - LAKE OF TWO RIVERS, C.1945 oil on board signed 9.5 ins x 11.25 ins; 24.1 cms x 28.6 cms provenance: Gifted to the consignor’s parents from Alice and Charles Matthews By descent to Private Collection, Ontario literature or exhibited: Ian A.C. Dejardin, Painting Canada: Tom Thomson and The Group of Seven, Philip Wilson Publishers Ltd., London, 2011, p. 25.

$25,000–35,000

164 Canadian Art Auction

DECEMBER 55 —— 10, 10, 2020 2020 165 165 DECEMBER

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EFA PRUDENCE HEWARD UNTITLED (EASTERN TOWNSHIPS), C.1935 oil on panel signed with initials 11.8 ins x 14 ins; 30 cms x 35.6 cms provenance: Private Collection, Quebec

$15,000–20,000 VIEW THIS LOT

166 Canadian Art Auction

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168 Canadian Art Auction

DECEMBER 5 — 10, 2020 169

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CLARENCE ALPHONSE GAGNON, R.C.A. SUNSET AT ST EUSTACHE, QUEBEC, 1909 oil on panel signed, dated ‘09 and inscribed “Xmas 09”; titled on the reverse 6.25 ins x 9.25 ins; 15.9 cms x 23.5 cms provenance: The Stag Gallery, UK Private Collection, UK Gagnon returned to Montreal from France in 1908. His good friend, William Brymner, had a studio in Saint-Eustache, Quebec at the time.

The Légaré Mill depicted in this early work by Gagnon still stands and is operational today.

$10,000–15,000 VIEW THIS LOT

170 Canadian Art Auction

DECEMBER 5 — 10, 2020 171

tFRANKLIN CARMICHAEL We know Franklin Carmichael as a master in both oils and watercolour, but he also produced many works in multiple using woodcut and linocut techniques. In 1925, 1926 and 1928 Carmichael made the trip to the north shore of Lake Superior where he sketched in watercolour. While this linocut is untitled, it is undoubtedly a result of one of those sketches as it shows the famous time-worn granite mounds of islands in that part of our country - a favourite subject for many members of the Group of Seven.

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172 Canadian Art Auction

DECEMBER 5 — 10, 2020 173

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FRANKLIN CARMICHAEL, R.C.A. UNTITLED (LAKE SUPERIOR SCENE) colour linocut signed in pencil to margin image 5.8 ins x 7.75 ins; 14.7 cms x 19.7 cms provenance: Private Collection, Toronto

$3,000–4,000

174 Canadian Art Auction

DECEMBER 5 — 10, 2020 175

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ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. MADAWASKA RIVER, 1961 oil on panel signed; titled, dated “April 1961” and inscribed “Calabogie, Ont.” on the reverse 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms provenance: Private Collection, Scarborough, ON

$15,000–20,000 VIEW THIS LOT

176 Canadian Art Auction

DECEMBER 5 — 10, 2020 177

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ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. MADAWASKA RIVER, 1961 oil on panel signed; titled, dated “April 1961” and inscribed “Calabogie, Ont.” on the reverse 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms provenance: Private Collection, Scarborough, ON

$15,000–20,000

178 Canadian Art Auction

DECEMBER 5 — 10, 2020 179

tGORDON MCKINLEY WEBBER From 1924-27, Gordon Webber studied at the Ontario College of Art under Group of Seven painter Arthur Lismer, and took from his influence an interest in the expressionist treatment of colour, simplified forms, and dense, focussed subjectification of vegetation and landscape.

Webber would later explore many of these themes in further detail in his abstract works, but earlier scenes such as this show his nuanced development of a Canadian painterly language. Often, Webber would explore the synthesis between the built and natural environments: trees seem to phase into structures, even as they obscure or conceal them. Here, the screen of bare trunks seems to blend in with the shingled roof, while the buildings nearly dissolve into the vibrant, liquid colours of the late afternoon sun. The scene is anchored by the verticality of the telephone or electrical pole to the left - a concession to modernity, perhaps, preventing the house from being entirely reclaimed by nature.

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180 Canadian Art Auction

DECEMBER 5 — 10, 2020 181

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GORDON MCKINLEY WEBBER NEWMARKET, 1932 oil on panel signed and dated; also signed and titled on the reverse 9.5 ins x 13 ins; 24.1 cms x 33 cms provenance: Family of the Artist, Kitchener, ON

$4,000–6,000

182 Canadian Art Auction

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184 Canadian Art Auction

57

ROBERT WAKEHAM PILOT, P.R.C.A. BOATS AT ANCHOR: NOVA SCOTIA, 1926 oil on panel signed and dated ‘26 12.5 ins x 17 ins; 31.8 cms x 43.2 cms provenance: The Watson Art Galleries, Montreal Private Collection, Toronto

$6,000–8,000 VIEW THIS LOT

DECEMBER 5 — 10, 2020 185

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PETER CLAPHAM SHEPPARD, O.S.A., R.C.A. SUNDAY AFTERNOON PICNIC BY THE HUMBER RIVER, C.1932 oil on board signed 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms provenance: Estate of the Artist Private Collection, Toronto

$3,000–5,000 VIEW THIS LOT

186 Canadian Art Auction

DECEMBER 5 — 10, 2020 187

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WILLIAM HENRY CLAPP, R.C.A. EUROPEAN GARDEN, 1908 oil on panel signed and dated 10 ins x 13.25 ins; 25.4 cms x 33.7 cms provenance: Private Collection, Victoria, BC

$7,000–9,000 VIEW THIS LOT

188 Canadian Art Auction

DECEMBER 5 — 10, 2020 189

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JOHN WILLIAM BEATTY, O.S.A., R.C.A.

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ALGONQUIN PARK, 1914 oil on panel signed 10.5 ins x 8.5 ins; 26.7 cms x 21.6 cms provenance: Heffel Fine Art Auction House, 19 November 2008, lot 220 Private Collection, Toronto

$8,000–12,000

VIEW THIS LOT

190 Canadian Art Auction

DECEMBER 5 — 10, 2020 191

tJAMES EDWARD HERVEY MACDONALD J.E.H. MacDonald had several periods in his career which art historians have generally categorized geographically; Algoma, British Columbia, Nova Scotia and finally Barbados. In between those periods, MacDonald painted the terrain near his home in Thornhill, called “Four Elms”, named for old towering trees that flanked the property. Here we likely have a small sketch from this location. A portrait of a tree, centred in the composition and capturing its best side.

It’s likely an elm tree, branching ever outward beyond the frame. It’s a late summer day with a hazy light shining through, illuminating the yellow ground below.

Perhaps a favourite tree, on a property that was central to the happiness of MacDonald and his family.

VIEW THIS LOT

192 Canadian Art Auction

DECEMBER 5 — 10, 2020 193

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JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. LANDSCAPE WITH TREE oil on board signed with initials 10.5 ins x 8.5 ins; 26.7 cms x 21.6 cms provenance: Collection of Major General A.E. Walford By descent to Private Collection, Toronto

$20,000–30,000

194 Canadian Art Auction

DECEMBER 5 — 10, 2020 195

tBARKER FAIRLEY The riddle of the identity of Fairley’s sitter, Sepp Simon, remains moderately unsolved. A sports stadium in Bavaria shares the same name, though who its namesake is a subject for deeper research.

“Sepp” is often a diminutive for the name Joseph, which might suggest that Josef Simon (1930–2016), a German philosopher and professor of the University of Bonn, might be our elusive sitter.

Fairley, in addition to his painting career, was a fiery and inspiring teacher of German literature and one of Canada’s most renowned scholars on Goethe, which might explain how the two men crossed paths.

Fairley was known for his interest in extracting the essence of his sitters, searching for an aspect rather than photographic likeness. He was quick to paint, finishing his paintings alla prima, asking subjects to pose only for a few hours. In this instance, the finished effect is assured, confident, focused and emblematic of the period in which it was painted.

VIEW THIS LOT

196 Canadian Art Auction

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BARKER FAIRLEY, R.C.A. SEPP SIMON, 1976 oil on masonite signed, titled and dated on the reverse 16 ins x 20 ins; 40.6 cms x 50.8 cms provenance: Private Collection, Toronto

$3,000–5,000

198 Canadian Art Auction

DECEMBER 5 — 10, 2020 199

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SOREL ETROG, R.C.A. BOK, 1969 bronze signed and numbered 3/10 to the base 9.75 ins x 3.25 ins x 4.5 ins; 24.8 cms x 8.3 cms x 11.4 cms provenance: Private Collection, Toronto

$4,000–6,000 VIEW THIS LOT

200 Canadian Art Auction

DECEMBER 5 — 10, 2020 201

t JACK HAMILTON BUSH The subject is Harold William James, a painter and member of The Arts and Letters Club. He was a good friend and painted with Bush around Haliburton and Belfountain. There are portraits of Mr. James by Bush in the collections of the Art Gallery of Ontario and the Art Gallery of Algoma in Sault Ste. Marie.

This work will be included in the forthcoming Jack Bush Paintings: A Catalogue Raisonné by art historian, curator, and Director of the Jack Bush Catalogue Raisonné, Dr. Sarah Stanners.

VIEW THIS LOT

202 Canadian Art Auction

DECEMBER 5 — 10, 2020 203

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JACK HAMILTON BUSH, O.S.A., A.R.C.A. THE PAINTER (H. JAMES), 1944 oil on board signed; also signed, titled, dated, and inscribed “Haliburton” on the reverse 8.5 ins x 11 ins; 21.6 cms x 27.9 cms provenance: Estate of the artist Harold James By descent to Private Collection, Ontario

$2,000–3,000

204 Canadian Art Auction

DECEMBER 5 — 10, 2020 205

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206 Canadian Art Auction

65

ROBERT FRANCIS MICHAEL MCINNIS THE BLUE ROOM, 1977 oil on canvas signed and dated ‘77; also signed, titled, and dated “22 January 1977” on the reverse 30 ins x 24 ins; 76.2 cms x 61 cms provenance: Private Collection, Toronto

$1,000–1,500 VIEW THIS LOT

DECEMBER 5 — 10, 2020 207

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ROBERT FRANCIS MICHAEL MCINNIS THE BLUE ROOM, 1977 oil on canvas signed and dated ‘77; also signed, titled, and dated “22 January 1977” on the reverse 30 ins x 24 ins; 76.2 cms x 61 cms provenance: Private Collection, Toronto

$1,000–1,500

208 Canadian Art Auction

DECEMBER 5 — 10, 2020 209

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WILLIAM GOODRIDGE ROBERTS, R.C.A PORTRAIT OF MARIAN, C.1940 oil on board signed; titled to gallery label on the reverse 34.5 ins x 25 ins; 87.6 cms x 63.5 cms provenance: Dominion Gallery, Montreal Estate of Dr. Max Stern, Montreal Sotheby’s, Important Canadian Art, 16 May 2001, lot 52 Private Collection, Toronto note: Roberts married Marian Wilson in 1933 in Ottawa while he was the first resident artist at Queen’s University in Kingston.

She was the model for many of his figure paintings.

- Sotheby’s catalogue, May 2001 Joan Roberts includes this work in the Robert’s Inventory as no. 3045.

$8,000–10,000 VIEW THIS LOT

210 Canadian Art Auction

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212 Canadian Art Auction

67

WILLIAM GOODRIDGE ROBERTS, R.C.A HEAD OF A GIRL, 1958 oil on board signed; titled and dated to gallery label on the reverse 18 ins x 14.5 ins; 45.7 cms x 36.8 cms provenance: Roberts Gallery Limited, Toronto Private Collection, Oakville

$4,000–6,000 VIEW THIS LOT

DECEMBER 5 — 10, 2020 213

WILLIAM tGOODRIDGE ROBERTS In the summer months, Roberts painted landscapes outdoors and in the colder seasons he moved to his studio to paint still lifes and portraits. Roberts thought about still lifes as landscapes, “I like to have things reduced as much as possible to a wall, the table, to the few objects on the table and then perhaps by considerable changing, to be able to bring these things all together so that no one part of the picture is more important than another.[...] I know that I tend when painting landscape often to think of the sky as a backdrop, almost as a wall.” 1 This ideology is exemplified in the still life and two portraits offered. The verdant green cloth in Still Life - Pumpernickel, Green Cloth and Flowers is juxtaposed against an ochre wall which creates the backdrop for fresh pink flowers, citrus fruits and a plump, freshly cut pumpernickel loaf, all tipped up for the viewer to see.

In the two portraits, one of his first wife Marian (lot 66), and the second of a girl (lot 67) while painted about twenty years apart, the choice of colour unites these lovely portraits of the sitters - both in blue tops against reduced ochre and sable brown walls.

1

From transcripts of an audio-taped interview, Alfred Pinsky, 1966.

VIEW THIS LOT 214 Canadian Art Auction

DECEMBER 5 — 10, 2020 215

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WILLIAM GOODRIDGE ROBERTS, R.C.A STILL LIFE - PUMPERNICKEL, GREEN CLOTH AND FLOWERS oil on board signed 25 ins x 32 ins; 63.5 cms x 81.3 cms provenance: Joyner, Canadian Art, 7 December 1999, lot 79 Private Collection, Toronto exhibited: Exposition d’art, Saint-Laurent, 8-17 May 1970, Ville de Saint-Laurent, Quebec

$6,000–8,000

216 Canadian Art Auction

DECEMBER 5 — 10, 2020 217

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218 Canadian Art Auction

69

LOUIS DE NIVERVILLE, R.C.A. STILL LIFE WITH PASSION FRUIT, 1988 acrylic collage on panel signed and dated ‘88; titled to gallery label on the reverse 34 ins x 39.5 ins; 86.4 cms x 100.3 cms provenance: Mira Godard Gallery, Toronto/Calgary The Helen and Walter Zwig Foundation Collection, Toronto

$1,500–2,000 VIEW THIS LOT

DECEMBER 5 — 10, 2020 219

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220 Canadian Art Auction

70

MARIAN MILDRED DALE SCOTT, R.C.A. TRANSLATION, ICONIC NO. 2, 1956 oil on canvas signed and dated /56; titled to gallery label on the reverse 44 ins x 36 ins; 111.8 cms x 91.4 cms provenance: Dominion Gallery, Montreal Private Collection, Toronto

$3,000–5,000 VIEW THIS LOT

DECEMBER 5 — 10, 2020 221

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222 Canadian Art Auction

71

JOHN RICHARD FOX SEATED NUDE WITH PAINTING, 1958 oil on linen signed 36 ins x 24 ins; 91.4 cms x 61 cms provenance: Estate of the Artist Big Brothers Big Sisters of Cornwall, Ontario note: Proceeds to benefit Big Brothers Big Sisters of Cornwall

$2,000–3,000 VIEW THIS LOT

DECEMBER 5 — 10, 2020 223

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224 Canadian Art Auction

72

JOE NORRIS WINTER SCENE, 1987 oil on canvas signed and dated 10 ins x 14 ins; 25.4 cms x 35.6 cms provenance: Estate of Richard LaPrairie, Toronto note: Proceeds will be generously donated by the Estate to Camp Ooch & Camp Trillium to benefit children living with cancer.

$2,000–3,000 VIEW THIS LOT

DECEMBER 5 — 10, 2020 225

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226 Canadian Art Auction

73

JOSEPH YVON FAFARD, R.C.A COW clay signed on the bottom 8.5 ins x 20 ins x 12 ins; 21.6 cms x 50.8 cms x 30.5 cms provenance: Estate of Richard LaPrairie, Toronto note: Proceeds will be generously donated by the Estate to Camp Ooch & Camp Trillium to benefit children living with cancer.

$4,000–6,000

VIEW THIS LOT

DECEMBER 5 — 10, 2020 227

74

JOHN RICHARD FOX CANAL II, 1990 oil on linen signed and dated ‘90 on the reverse 49 ins x 34 ins; 124.5 cms x 86.4 cms provenance: Estate of the Artist Big Brothers Big Sisters of Cornwall, Ontario note: Proceeds to benefit Big Brothers Big Sisters of Cornwall.

$3,000–5,000

VIEW THIS LOT

DECEMBER 5 — 10, 2020 229

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230 Canadian Art Auction

75

JOHN RICHARD FOX ST. HENRI, 1999 oil on linen initialed and dated ‘99; also signed and dated ‘99 on the reverse 35 ins x 40 ins; 88.9 cms x 101.6 cms provenance: Estate of the Artist Big Brothers Big Sisters of Cornwall, Ontario exhibited: John Fox R.C.A. Retrospective Exhibition, Sept. 2010, Galerie Walter Klinkhoff, Montreal note: Proceeds to benefit Big Brothers Big Sisters of Cornwall

$2,500–3,500 VIEW THIS LOT

DECEMBER 5 — 10, 2020 231

76

DAVID T. ALEXANDER, R.C.A. THE GAP, 1988 acrylic on canvas signed and dated ‘88 47 ins x 52 ins; 151.1 cms x 176.5 cms provenance: Elca London, Montreal Corporate Collection, Toronto

$4,000–6,000 VIEW THIS LOT

DECEMBER 5 — 10, 2020 233

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77

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ALAN CASWELL COLLIER, O.S.A., R.C.A. AROUND THE INLET, LUTAK INLET, HAINES, ALASKA oil on board signed; also signed and titled on the reverse 12 ins x 16 ins; 30.5 cms x 40.6 cms provenance: Roberts Gallery Limited, Toronto Private Collection, Toronto

$2,000–3,000 VIEW THIS LOT

236 Canadian Art Auction

DECEMBER 5 — 10, 2020 237

tTHOMAS DE VANY FORRESTALL Throughout his career, Forrestall experimented with painting supports in a variety of shapes, from the triangular to the t-shaped, chosen to suit his intentions for specific pieces. He explains that “the rectangle is a boring shape artists have had foisted on them by the framing industry for years. The form and content don’t connect. I was in New York looking at a Jackson Pollock and the damn shape kills it. The swirling paint hits the four walls like a padded cell. Creative shapes have a power to them.”1 In Preparations for the Pig, the bellows-shape of the panel is an artistic nod to the activity depicted. While the painting already sidles up to several of our senses—the smell of the dense smoke, the warmth of the fire—the shape of the bellows suggests a certain physicality, reminding us of the movements involved in pumping and blowing a fire to life.

Forrestall often paints in egg tempera, a method which requires the artist to mix pigments with a binder, provided by the yolk of an egg.

Pre-dating oil paint, egg tempera examples from the first century still exist. The paint must be carefully monitored to ensure the right consistency, with the artist balancing water and yolk in the mixture both during the painting and the drying process. Egg tempera is not flexible, and requires a stiff surface to prevent cracking. The paint itself cannot be stored long term, adding to the primacy of the process, well suited to an artist who, like Forrestall, enjoys creating work en plein air.

1 The Chronicle Herald

VIEW THIS LOT 238 Canadian Art Auction

DECEMBER 5 — 10, 2020 239

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THOMAS DE VANY FORRESTALL, R.C.A. PREPARATIONS FOR THE PIG, 1969 egg tempera on Masonite signed; also signed, titled and dated “Dec. 1969” 23.5 ins x 31.75 ins; 58.8 cms x 79.5 cms provenance: Roberts Gallery Limited, Toronto Private Collection, Toronto exhibited: Tom Forrestall Exhibition, 1971-72: The Art Gallery of Hamilton, Beaverbrook Art Gallery, Fredericton; Centre Culturel Canadien, Paris, France

$4,000–6,000

240 Canadian Art Auction

79

ANTHONY (TONY) MORSE URQUHART, R.C.A. THE TIMOTHY ICON (TIMOTHY AT NIGHT), 1963 oil and collage on board signed and dated ‘63; titled to gallery label on the reverse 7.5 ins x 6.8 ins; 19.1 cms x 17.3 cms provenance: The Isaacs Gallery, Toronto By descent to Private Collection, Toronto

$800–1,200 VIEW THIS LOT DECEMBER 5 — 10, 2020 241

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CONRAD FUREY SKATERS, 1991 acrylic on canvas signed, titled, and dated on the reverse 15 ins x 19 ins; 38.1 cms x 48.3 cms provenance: Private Collection, Ontario

$500–700 VIEW THIS LOT

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t WILLIAM ARTHUR WINTER William Winter’s work is part of many prominent Canadian art collections both public and private.

His most highly acclaimed works are those capturing the scenes of urban life. Paul Duval noted that some of Winter’s best work was produced from the 1940s to the early 50s, and included “penetrating studies of Toronto’s inner city.” His modern style and bold use of colour are on full display here, showing a crowd stopping by shops in the twilight hours of a Saturday night in Toronto. A successful career as a commercial artist preceded his later years as an independent artist which began in 1955. This sketch seems to be from that period of commercial art as it would is reminiscent of some of the work he did for publications like Maclean’s magazine.

Paul Duval, Canadian Review of Music and Art #6.

VIEW THIS LOT

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WILLIAM ARTHUR WINTER, O.S.A, R.C.A. SATURDAY NIGHT oil on board signed; also signed and titled to artist’s label on the reverse 10 ins x 12 ins; 25.4 cms x 30.5 cms provenance: By descent from the Artist Private Collection, Ontario

$800–1,200

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JOHN KASYN, O.S.A. WINTER ON CRAWFORD ST, 1977 watercolour signed and dated ‘77; titled to artist’s label on the reverse 6 ins x 6 ins; 15.2 cms x 15.2 cms provenance: Private Collection, Toronto

$1,200–1,500 VIEW THIS LOT

DECEMBER 5 — 10, 2020 251

83

JOHN KASYN, O.S.A. NORTH SIDE OF QUEEN ST. WEST, 1973 oil on masonite signed and dated ‘73 16.5 ins x 12.5 ins; 41.9 cms x 31.8 cms provenance: Wallack Galleries, Ottawa Private Collection, California

$3,000–5,000 VIEW THIS LOT

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ALBERT JACQUES FRANCK, R.C.A. DOMINION SQUARE, MONTREAL, 1963 oil on Masonite signed and dated ‘63; titled to artist’s label on the reverse 10 ins x 12 ins; 25.4 cms x 30.5 cms provenance: Private Collection, Toronto

$2,000–3,000 VIEW THIS LOT

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CLAUDE LANGEVIN AUTOMNE LAURENTIEN oil on canvas signed; also signed and titled on the reverse 30 ins x 40 ins; 76.2 cms x 101.6 cms provenance: Private Collection, Toronto

$2,500–3,000 VIEW THIS LOT

DECEMBER 5 — 10, 2020 257

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CLAUDE LANGEVIN CLAIR DE LUNE oil on canvas signed; also signed and titled on the reverse 24 ins x 30 ins; 61 cms x 76.2 cms provenance: Joyner Canadian Art, 23 May 2000, lot 158 Private Collection, Toronto

$2,000–2,500 VIEW THIS LOT

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CLAUDE LANGEVIN VILLAGE DE MES ANCÊTRES oil on canvas signed; also signed and titled on the reverse 16 ins x 20 ins; 40.6 cms x 50.8 cms provenance: Private Collection, Toronto

$1,500–2,000 VIEW THIS LOT

DECEMBER 5 — 10, 2020 261

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HORACE CHAMPAGNE FRESH FALLING SNOW, PARC MORENCY (CHÂTEAU FRONTENAC), 1995 pastel signed; also signed, titled and dated to artist’s label on the reverse 18 ins x 24 ins; 45.7 cms x 61 cms provenance: Master’s Gallery, Calgary Private Collection, Toronto

$800–1,200 VIEW THIS LOT

DECEMBER 5 — 10, 2020 263

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89

HORACE CHAMPAGNE THE OLD POST OFFICE CLOCK, PLACE D’ARMES, VIEUX QUEBEC, 1995 pastel signed; also signed, titled and dated “January 1995” to artist’s label 16 ins x 20 ins; 45.7 cms x 61 cms provenance: Private Collection, Toronto

$800–1,200 VIEW THIS LOT

DECEMBER 5 — 10, 2020 265

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STANLEY MOREL COSGROVE, R.C.A. VARIATION ON A TREE, 1974 oil on canvas signed and dated ‘74; titled to the gallery label on the stretcher 25 ins x 32 ins; 63.5 cms x 81.3 cms provenance: Damkjar-Burton Gallery, Hamilton, ON Private Collection, London, ON

$3,000–5,000 VIEW THIS LOT

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Index

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A ALEXANDER, DAVID T. (b. 1947) (76) ARTISTS, VARIOUS (23)

B BEATTY, JOHN WILLIAM (1869-1941) (60) BIÉLER, ANDRÉ CHARLES (1896-1989) (39) BLACKWOOD, DAVID LLOYD (b. 1941) (26, 27) BUSH, JACK HAMILTON (1909-1977) (32, 64)

C CARMICHAEL, FRANKLIN (1890-1945) (54) CASSON, ALFRED JOSEPH (1898-1992) (51) CHAKI, YEHUDA (b. 1938) (19) CHAMPAGNE, HORACE (b. 1937) (88,89) CLAPP, WILLIAM HENRY (1879-1951) (59) COLLIER, ALAN CASWELL (1911-1990) (77) COSGROVE, STANLEY MOREL (1911-2002) (90)

D DE NIVERVILLE, LOUIS (1933-2019) (69) DE TONNANCOUR, JACQUES GODEFROY (1917-2005) (28) DEUTSCH, PETER (b. 1926) (4)

E ETROG, SOREL (1933-2014) (63)

F FAFARD, JOSEPH YVON (1942-2019) (73) FAIRLEY, BARKER (1887-1986) (62) FORRESTALL, THOMAS DE VANY (b. 1936) (78) FOX, JOHN RICHARD (1927-2008) (71, 74, 75) FRANCK, ALBERT JACQUES (1899-1973) (84) FUREY, CONRAD (1954-2008) (80) G GAGNON, CLARENCE ALPHONSE (1881-1942) (53) GRAHAM, KATHLEEN MARGARET HOWITT (1913-2008) (34, 35)

H HAINES, FREDERICK STANLEY (1879-1960) (42) HEWARD, EFA PRUDENCE (1896-1947)(52)

I ISKOWITZ, GERSHON (1921-1988) (18)

J JACKSON, ALEXANDER YOUNG (1882-1974) (55) JOHNSTON, FRANK HANS (1888-1949)(50) JUNEAU, DENIS (1925-2014) (7)

K KANTAROFF, MARYON (1933-2019) (8) KASYN, JOHN (1926-2008) (82, 83) KLUNDER, HAROLD (b. 1943) (11)

L LANGEVIN, CLAUDE (b. 1942) (85, 86, 87) LETENDRE, RITA (b. 1928) (3, 22) LUKE, ALEXANDRA (1901-1967) (12)

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M MACDONALD, JAMES EDWARD HERVEY (1879-1932) (61) MABEL MAY, HENRIETTA (1884-1971) (43) MALTAIS, MARCELLA (1933-2018) (5) MARCIL, RENÉ (1917-1993) (1, 29) MCCARTHY, DORIS JEAN (1910-2010) (36, 37) MCINNIS, ROBERT FRANCIS MICHAEL (b. 1942) (65) MEREDITH, JOHN (1933-2000) (21) MOL, LEO (1915-2009) (9) MOLINARI, GUIDO (1933-2004) (15)

T TOWN, HAROLD BARLING (1924-1991)(25) TURNER, STANLEY FRANCIS (1883-1953) (46, 47)

U URQUHART, ANTHONY (TONY) MORSE (b. 1934) (24, 79)

V VAILLANCOURT, ARMAND (b. 1932)(33) VERMETTE, CLAUDE (1930-2006) (20)

N NORRIS, JOE (1924-1996) (72)

P PEPPER, GEORGE DOUGLAS (1903-1962) (45) PILOT, ROBERT WAKEHAM (1898-1967) (57)

R REPPEN, JACK (1933-1964) (16) RIOPELLE, JEAN PAUL (1923-2002) (30, 31) ROBERTS, WILLIAM GOODRIDGE (1904-1974) (66, 67, 68) ROBINSON, ALBERT HENRY (1881-1956) (48, 49) RONALD, WILLIAM (1926-1998) (2, 6)

W WEBBER, GORDON MCKINLEY (1909-1965) (56) WILSON, RONALD YORK (1907-1984)(17) WINTER, WILLIAM ARTHUR (1909-1996) (81)

Y YARWOOD, WALTER HAWLEY (1917-1996) (10, 13)

S SCHAEFER, CARL FELLMAN (1903-1995) (38) SCOTT, MARIAN MILDRED DALE (1906-1993) (70) SHEPPARD, PETER CLAPHAM (1879 -1965) (41, 44, 58) SMITH, GORDON APPELBE (1919-2020)(14)

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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.

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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), travelers cheque, 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

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 $20 per item

Safer Shipping Inc. 416-299-3367 / 416-299-9750 perry@safershipping.ca / www.safershipping.ca

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

905-470-6874 / 905-470-6875 / 416-293-8225 taurus@pakship.ca / www.pakship.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.

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waddington’s commission rates

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

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), travelers cheque, bank draft, electronic transfer (fee applies), and VISA or Mastercard (up to $25,000).

13. In the event of failure to pay for or remove articles within the aforementioned time limit, the auctioneer, without limitation of the rights of the consignor and the auctioneer against the buyer, may resell any of the articles affected, and in such case the original buyer shall be responsible to the auctioneer and the consignor for: (a) any deficiency in price between the resale amount and the amount to have been paid by the original buyer; (b) any reasonable charge by the auctioneer for the storage of such articles until payment and removal by the subsequent buyer; and (c) the amount of commission which the auctioneer would have earned had payment been made in full by the original buyer.

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

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

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

DECEMBER 5 — 10, 2020 273

CONTACT@JACKBUSH.ORG WWW.JACKBUSH.ORG

Jack Bush, Joseph’s Coat, February 1965, Oil on canvas, 88 × 70 inches / 223.5 × 127 cm The University of Warwick Art Collection © Estate of Jack Bush / SOCAN (2020)

JACK BUSH paintings: a CATALOGUE RAISONNÉ

THE FORTHCOMING MULTI-VOLUME PRINT PUBLICATION JACK BUSH PAINTINGS: A CATALOGUE RAISONNÉ BY DR. SARAH STANNERS IS NEARING COMPLETION AND IS THEREFORE ANNOUNCING A LAST CALL FOR SUBMISSIONS TO BE RECEIVED BY 31 DECEMBER 2020.

IF YOU HAVE NOT YET BEEN IN TOUCH WITH DR. STANNERS AND YOU CURRENTLY OWN A JACK BUSH PAINTING, OR OWNED ONE IN THE PAST, PLEASE REACH OUT BY EMAIL TO CONTACT@JACKBUSH.ORG OR DOWNLOAD A CATALOGUE RAISONNÉ SUBMISSION FORM DIRECTLY AT WWW.JACKBUSH.ORG. IF YOU HAVE SOLD YOUR JACK BUSH PAINTING THAT HAS ALREADY BEEN CATALOGUED, PLEASE GET IN TOUCH SO THE PROVENANCE OF THE PAINTING CAN BE UPDATED. IF YOU WOULD LIKE TO CHANGE YOUR ACKNOWLEDGEMENT LINE OR PROVIDE ANY FURTHER PERTINENT INFORMATION, PLEASE CONTACT DR. STANNERS BEFORE 31 DECEMBER 2020.

JACK BUSH PAINTINGS: A CATALOGUE RAISONNÉ AIMS TO INCLUDE ALL KNOWN PAINTINGS BY THE ARTIST.

31 december 2020 Last call for submissions