Joyner Canadian Art Auction | June 3, 2013

Canadian Fine Art Auction Monday, June 3rd, 2013 at 7 p.m.

Preview Friday, May 31st: 3 p.m. to 8 p.m.

Saturday, June 1st: 11 a.m. to 4 p.m.

Sunday, June 2nd: 11 a.m. to 4 p.m.

Monday, June 3rd: 10 a.m. to 12 noon Preview and Auction to be held at Waddington’s Auction Galleries 275 King Street East, 2nd Floor Toronto Ontario M5A 1K2 Front Cover: Lot 20 Arthur Lismer, The Pine Tree (detail) Back Cover: Lot 100 Harold Town, 100% Canadian Landscape Inside Front Cover: Lot 120 Marcelle Ferron, Sans Titre, 1961 (detail) Inside Back Cover: Lot 25 Lawren Harris, Mountain Sketch CVI (detail) All lots in the sale may be viewed online at Joyner.Waddingtons.ca www.facebook.com/joynerfineart COPYRIGHT NOTICE This catalogue and its contents © 2013 Waddington McLean & Company Ltd., Waddington’s Canada’s Auction House Since 1850, Joyner Canadian Fine Art is a trademark of Waddington McLean & Company Ltd. All rights reserved. Photography by Waddington’s™

@joynerfineart

CONDITIONS OF SALE 1. Any description issued by the auctioneer of an article to be sold is subject to variation to be announced in the auction room prior to the time of sale. However, while the auctioneer has endeavoured not to mislead in the description issued, such description is 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. 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. A premium of 18% of the successful bid price of each lot is paid by the buyer as part of the purchase price. Artfact Live! clients will be charged a buyer's premium of 23% of the successful bid price of each lot up to and including $50,000 and 18% on any amount in excess of $50,000 as part of the total purchase price.

3. 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.

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

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

6. Each lot may be subject to an unpublished reserve which may be changed at any time by agreement between the auctioneer and the consignor. The auctioneer may bid on behalf of the consignor as agreed between them. In addition, the auctioneer may accept and submit absentee bids 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.

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9. The buyer shall pay for and take away 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.

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

11. Notwithstanding condition no. 1, if the buyer, prior to removal of a lot, makes arrangements satisfactory to the auctioneer for the inspection of such lot by a fully qualified person acceptable to the auctioneer to determine the genuineness or authenticity of the lot, to be carried out promptly following the sale of the lot, and if, but only if, within a period of 7 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, certified cheque, travellers cheque, bank draft, VISA or Mastercard (up to $25,000 or the cardholder’s limit, whichever is less). Credit cards must be presented in person by the cardholder.

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 re-sale amount and the amount to have been paid by the original buyer; (b) any reasonable charge by the auctioneer for the storage of such articles until payment and removal by the subsequent buyer; and (c) the amount of commission which the auctioneer would have earned had payment been made in full by the original buyer.

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.

INFORMATION FOR BUYERS

INFORMATION FOR SELLERS

All lots will be offered and sold subject to the Conditions of Sale which appear in this catalogue as well as any Glossary and posted or oral announcements. By bidding at auction, bidders are bound by those Conditions and Glossary, as amended by any oral announcement or posted notices, which together form the contract of sale between the successful bidder (buyer), Waddington’s or Joyner Waddington’s, and the consignor (seller) of the lot.

Paintings, drawings, prints, furniture, jewellery and all forms of decorative arts and collectibles may be brought to our Toronto office where we can provide you with preliminary auction estimates and consignment procedures. Please visit our website at www.waddingtons.ca for details on our various departments and how to contact the specialists. We also provide advice by email on the marketability of objects. A photograph must accompany a full description of each item.

Descriptions or photographs of lots are not warranties and each lot is sold “as is” in accordance with the Conditions of Sale.

A premium of 18% of the successful bid price of each lot is paid by the buyer as part of the total purchase price.

Our specialists regularly travel to major Canadian cities to meet with prospective consignors. For further information, or to arrange an appointment, please contact our Toronto office.

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.

Property normally arrives at Waddington’s or Joyner 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.

Please note that bidding at this sale will be in Canadian Dollars.

Commission Rates

In no event will Waddington’s or Joyner Waddington’s be liable for damage to glass or picture frames.

Items selling for $7,500 or more..............................................10% Items selling for $2,500-$7,499...............................................15% Items selling for less than $2,500.............................................20%

Bidding To bid in person at the auction, you must register for a bidding number by showing identification acceptable to the Auctioneer upon entering the salesroom. Your number will identify you if you are the successful bidder. You will be responsible for all lots purchased on your bidding number. Banking information may be requested by Waddington’s or Joyner Waddington’s.

You may submit an Absentee Bid form if you are unable to attend the sale. Please refer to this form in the back of this catalogue for the appropriate forms and further information.

Bidding by telephone, in limited circumstances, can be arranged prior to the sale.

While we are pleased to offer absentee and telephone bidding as a service to our clients, and take great care in their commission, the Auctioneer will not be responsible for errors or failure to execute bids.

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

Artfact Live!

Artfact Live! clients will be charged a buyer’s premium of 21% of the successful bid price of each lot as part of the total purchase price.

Payment Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certified cheque (U.S. & Overseas not applicable), travellers cheque, bank draft, electronic transfer (fee applies), and VISA or Mastercard (up to $25,000). As we require written authorization for all credit card purchases, credit cards must be presented in person by the cardholder and therefore cannot be accepted over the telephone. However, fax authorization arrangements can be made.

Removal of Purchases The purchaser will be responsible for shipping and insurance expenses. The Auctioneer will, upon request, provide names of professional packers and shippers but will not be responsible or have any liability for providing this information.

Purchases must be cleared within 48 hours of the date of the sale (see Conditions of Sale, conditions 8 to 15).

Unless waived by the vendor at the time of the consignment, a 1% insurance charge, based on the hammer price of the property, will be applied to all accounts.

GLOSSARY The terms below are used in this catalogue for your guidance, with the meanings ascribed to them below. While the use of these terms is based upon careful study they are not warranties; the Auctioneer and the seller assume no risk, liability or responsibility for the authenticity of authorship of any lot in this catalogue described by these terms. In this regard, you are requested to read condition 1 of the Conditions of Sale.

Artist’s name or recognized designation: In our qualified opinion, a genuine work executed by the artist.

Attributed to: In our opinion, probably a work by the artist but less certainty as to the authorship is expressed than in the preceding category.

Circle of: In our opinion, a work of the period of the artist and closely related to his style.

School of: In our opinion, a work executed in the artist’s style and possibly by a pupil or follower of the artist.

Manner of: In our opinion, a work executed in the artist’s style and probably of a later period.

After: In our opinion, a copy of a work of the artist. *** is in the place of the unknown name.

Signed/Dated/Inscribed: In our opinion, the work has been signed/dated/inscribed by the artist. The inclusion of a question mark indicates some doubt.

Bears signature/Bears date: In our opinion, the signature/date may be by a hand other than the artist.

Certificates/Literature: Any reference to certificates or literature represent the opinion of the authority or author(s) shown.

Provenance: It is intended to indicate previous collections or owners, other than the present owner.

Measurements: Height precedes width in all measurements. Measurements shown are in inches and centimeters.

Packing and/or handling of purchased lots by our employees or agents is undertaken solely as a courtesy for the convenience of clients.

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We are Canada’s pre-eminent auction house for conducting sales of Important Canadian Art. Our staff has more than a century of combined experience holding specialized auctions and preparing formal written appraisals of Canadian works of art.

With consignments from individual collectors, estates, corporations and institutions, sales of Important Canadian Art are held by Joyner Canadian Fine Art twice-yearly in Toronto.

Geoffrey P. Joyner

You may arrange to meet with us in Toronto or in major cities across Canada to discuss the appraisal of your paintings, drawings and prints for auction or other purposes such as probate, family division or insurance.

If you feel we may be of assistance, please contact us for our professional opinion.

275 King Street East, Second Floor Toronto Ontario Canada M5A 1K2 Tel:416.504.9100 Fax:416.504.6971 Toll Free: 1.877.504.5700

Robert P. Cowley

Lydia C. Abbott M.A.

Canadian Fine Art Specialist Member International Society of Appraisers

Canadian Fine Art Specialist Member International Society of Appraisers

Kristin V. Vance Client Services Administrator & Consignment Co-ordinator

www.waddingtons.ca

Nastazja M. Pedersen Research & Cataloguing Assistant

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Canadian Fine Art June 3rd, 2013 7:00 p.m. Precisely

Lot 40 (detail)

CANADIAN ART Monday, June 3rd AT 7 P.M. PRECISELY

The Property of Various Owners 1 FRANK SHIRLEY PANABAKER, A.R.C.A. SAWER MILLS, oil on board, signed 20 ins x 26 ins; 50 cms x 65 cms $2,500–3,000 Provenance: The Fine Art Galleries, T. Eaton Company Limited, Toronto.

Private Collection, Ontario.

1 2 MARION LONG WINTER AFTERNOON, oil on board, signed 8 ins x 10 ins; 20 cms x 25 cms $3,000–5,000 Exhibited: Small Picture Department, Canadian National Exhibition, Toronto, 1927.

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3 JOHN B. WILKINSON CROSSING THE FROZEN ST. LAWRENCE, watercolour 7 3/4 ins x 10 3/4 ins; 19.4 cms x 26.9 cms $2,000–3,000

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Provenance: Pagurian Press Ltd., Toronto.

Kaspar Gallery, Toronto.

Private Collection, Toronto.

4 FREDERICK NICHOLAS LOVEROFF, O.S.A., A.R.C.A. LANDSCAPE AT DUSK, 1926, oil on board, signed 8 1/2 ins x 10 1/2 ins; 21.3 cms x 26.3 cms $3,000–4,000

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5 ROBERT WAKEHAM PILOT, P.R.C.A. METIS BEACH, oil on board, signed 12 ins x 15 1/2 ins; 30 cms x 38.8 cms $5,000–7,000

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6 GEORGE DOUGLAS PEPPER, O.S.A., R.C.A. ROLLING HILLS, CHARLEVOIX, oil on board, signed 10 ins x 12 ins; 25 cms x 30 cms $5,000–7,000 Provenance: Private Collection, Calgary.

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7 7 MAURICE GALBRAITH CULLEN, R.C.A. L’EFFET D’EAU, ST-EUSTACHE, oil on canvas, signed, Cullen Inventory No.905 21 3/4 ins x 17 ins; 54.4 cms x 42.5 cms $20,000–30,000

8 JOHN YOUNG JOHNSTONE, A.R.C.A. PORTNEUF HOUSE, ST. JOACHIM, oil on board, signed 8

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6 ins x 9 1/2 ins; 15 cms x 23.8 cms $5,000–7,000

9 9 MARC-AURELE FORTIN, A.R.C.A. PAYSAGE AU QUEBEC, watercolour and charcoal, signed, Catalogue Raisonne no.A-0565 22 ins x 28 ins; 55 cms x 70 cms $15,000–18,000

10 MARC-AURELE DE FOY SUZOR-COTE, R.C.A. MAISON BRETONNES, PORZ-GUEN, BRETAGNE, 1906, oil on board, signed 8 3/4 ins x 6 ins; 21.9 cms x 15 cms $10,000–15,000 Provenance: Woltjen/Udell Gallery, Edmonton.

Private Collection, Ontario.

Exhibited: The Edmonton Art Gallery, Edmonton (extended loan).

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11 RANDOLPH STANLEY HEWTON, R.C.A. WINTER NEAR CHARLEVOIX, oil on panel 8 1/2 ins x 10 1/2 ins; 21.3 cms x 26.3 cms $2,000–3,000 Provenance: Estate of Randolph S. Hewton.

Masters Gallery Ltd., Calgary.

Private Collection, Calgary.

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12 MAURICE GALBRAITH CULLEN, R.C.A. WINTER RIVER, pastel, signed, Cullen Inventory No.1038 15 ins x 18 ins; 37.5 cms x 45 cms $7,000–9,000

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13 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. SUNSHINE, TASHOTA, oil on board, signed 10 ins x 12 ins; 25 cms x 30 cms $5,000–7,000 13

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Provenance: Kastel Gallery Inc., Montreal.

Private Collection, Toronto.

14 14 FREDERICK SIMPSON COBURN, R.C.A. HAULING LOGS, WINTER, oil on canvas, signed and dated ‘30 25 ins x 31 ins; 62.5 cms x 77.5 cms $20,000–25,000 Provenance: W. Scott & Sons, Montreal.

Private Collection, Ontario.

Literature: Gerald Stevens, Frederick Simpson Coburn, Toronto, 1958, pages 1-2, 6-7.

It was from an early age that Frederick Coburn began sketching horses and “…the boy walked home dreaming of the day when with pencil and brush he could earn a living depicting horses – horses and the rolling hills, the log cabins, the sun-greyed barns of his beloved Eastern Townships.” Following artistic studies in Montreal, New York and Germany, and further travels throughout Europe, the artist returned to Quebec, determined to find a theme which would become the focus of his work.

Although Maurice Cullen provided the painter with the general direction to “…utilize the craftsmanship acquired through years of study under the greatest masters in Europe to depict the contrast of a sunny Canadian winter’s day…”, Coburn still looked to narrow the specific focus of his work. While sitting at the window in his hometown of Melbourne, the subject which had piqued his interest as a child was revealed to him once again.

“The window faced a road along which sleighs, loaded with logs and drawn by horses, travelled to the local sawmill, there to have their burdens of pine or maple or basswood or birch cut into planks and board to be used about the homestead or sold commercially. The basic theme was found at last.” As is clearly evident in this work, Coburn embraced and excelled in the theme, this large canvas a masterful work of detail, perspective, proportion and colour.

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15 15 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. SNOW COVERED SHORELINE, 1914, oil on panel, signed 8 1/2 ins x 10 1/2 ins; 21.3 cms x 26.3 cms $20,000–30,000 Provenance: Private Collection, Toronto.

Literature: Alexander Young Jackson, A Painter’s Country, The Autobiography of A.Y. Jackson, Toronto, 1958, pages 26 and 30.

Only having met a couple months prior, in January of 1914, Jackson and Thomson decided to share a studio together in the

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newly erected Studio Building. It was this move that likely established a close friendship and sense of comradery between the two artists. The following month, Jackson, inspired by Thomson’s accounts, travelled up to Canoe Lake where he would have painted Snow Covered Shoreline. This first trip to Algonquin must have enthralled Jackson as he returned there in September of 1914, meeting up with Thomson who had been at Canoe Lake since the spring. During this autumn visit, they ventured to various sites in Algonquin, including Tea Lake Dam where Jackson produced the sketch for The Red Maple (collection of the National Gallery of Canada, Ottawa).

16 16 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. WINTER NEAR HUNTSVILLE, oil on board, signed 18 ins x 24 ins; 45 cms x 60 cms $20,000–25,000

17 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. WATER TOWERS, pastel, signed 10 1/4 ins x 14 ins; 25.6 cms x 35 cms $3,000–5,000 Exhibited: British Empire Exhibition, Canadian Section of Fine Arts, Wembley, 1925.

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18 18 JAMES WILSON MORRICE, R.C.A. CUSHING’S ISLAND, MAINE, watercolour, signed and inscribed “Yours truly, J.W. Morrice, Montreal” 5 ins x 3 1/4 ins; 12.5 cms x 8.1 cms $3,000–5,000 Provenance: Drawn by the artist in the autograph book of Doreen Grant, Ontario.

Private Collection, Ontario.

Literature: Irene Szylinger, “A Brief Analysis of the Watercolours”, James Wilson Morrice, 1865-1924, Nicole Cloutier (ed), Montreal, 1985, pages, 7980 and 88.

Irene Szylinger, The Watercolours of James Wilson Morrice (1865-1924), University of Toronto, Toronto, 1983, pages 18-19 (conversation with the former owner of this artwork, September, 1981).

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Szylinger (1985) notes that “[o]f the thirteen watercolours done in North America [by Morrice], six represent views of the Maine coastline…along with a page from an autograph book...” Painted in 1882, this work is believed to be the first known watercolour by the artist. Aged 16 or 17 at the time (Morrice was born in August), the painter depicts Cushing’s Island in Maine, where the Morrice family spent many summers. The large white building visible higher up on the hill is the Ottawa House Hotel. The hotel would be replaced by a larger building in 1888.

In her thesis, “The Watercolours of James Wilson Morrice 18651924,” Irene Szylinger mentions that “Miss Grant has stated to the present owner of the watercolour that the drawings reflect scenes from the general area where the Grants and Morrices vacationed in Maine. It is Miss Grant’s recollection that their families vacationed together and that Morrice was seventeen years old when he dedicated these drawings to her.”

We would like to thank Morrice scholar, Lucie Dorais, for assistance in researching and cataloguing this artwork.

19 19 FREDERICK GRANT BANTING CANADIAN ROCKIES MOUNTAINSCAPE, oil on board, an unfinished sketch of a similar subject on the reverse 8 1/2 ins x 10 1/2 ins; 21.3 cms x 26.3 cms $12,000–18,000 Provenance: Collection of the artist.

Lady Henrietta Banting.

Cecilia Long.

Private Collection, Ontario.

Literature: A.Y. Jackson, Banting as an Artist, Toronto, 1943, pages 20-22.

Stephen Eaton Hume, Frederick Banting: Hero, Healer, Artist, Montreal, 2001, page 111.

A friend and frequent sketching companion of A.Y. Jackson, “Banting believed that scientists, like certain painters, were artists. He saw himself as an artist. He believed that scientists were creators, and that they shared with artists a kind of renegade psychology that put them on the fringes of society.” On a sketching trip to Great Slave Lake, Jackson and Banting’s party began their journey in Edmonton and travelled through Jasper National Park on their way to Fort Resolution and their Arctic destination.

19 (verso) This artwork includes a copy of a November, 1983 letter from Cecilia E. Long, longtime companion of Lady Henrietta Banting, certifying the original ownership of this painting.

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20 ARTHUR LISMER, O.S.A., R.C.A. THE PINE TREE, oil on board, signed and dated ‘33, inscribed “Baie Finn, above Killarney - Georgian Bay” with a sketch of a map of the area on the reverse 12 ins x 16 ins; 30 cms x 40 cms $25,000–35,000 Provenance: Acquired by the family of the current owner in 1938.

By descent to the present owner, Ontario.

Literature: John A.B. McLeish, September Gale: A Study of Arthur Lismer and the Group of Seven, Toronto/Vancouver, 1955, pages 31-32.

Lois Darroch, Bright Land, A Warm Look at Arthur Lismer, Toronto, 1981, pages 15, 58, 99 and 109.

Upon his first visit to Georgian Bay in 1913, Arthur Lismer was immediately astonished by the unexpectedly wild and varied landscape. “The sharp challenge of the fall wind, the bizarre shapes and gestures of the trees, the wet, sullen rocks, deeply stirred him...” Accustomed to British landscape traditions, Lismer struggled to express his experience, he felt that “two weeks were not enough for him to absorb its feeling completely and adapt his style to cope with it...No painting technique he had ever practised in Europe could cope with Canada.”

Lismer returned periodically to Georgian Bay, visiting various locations in the region. By then, Lismer had departed from the English style of “soft hues and misty horizons” and began representing Canada as, what the painter described as “a country without shades and shadows, with bright colours and brutal changes of climate. Even when the sun goes down with a bang...Changes occur abruptly...the blazing colours embody a sense of the power of Canadian nature.” The vibrancy Lismer described is strongly evident in The Pine Tree, the painting flooded with assorted hues of green and blue and highlighted with soft whites.

In 1933, the same year Lismer opened the Children’s Art Centre, the first of its kind in the British commonwealth, the artist visited Baie Finn (also known as “Baie Fine” or Baie Fin”). Travelling north to McGregor Bay, Lismer visited this fjord near Killarney for the first and only time. The rocky hills depicted in The Pine Tree are part of the La Cloche mountain range, spanning from Killarney to the Algoma district. “Baie Fin is long, narrow and walled intermittently with white cliffs that stretch into the marbled distance. The Lismers rented a cottage on an island past the narrow entrance, and it was likely in Baie Fin that Lismer painted the sketch for Bright Land.” Locales such as Baie Finn, unexpected paradises along the slopes of Georgian Bay, inspired Lismer to create some of his most celebrated work, artwork influenced by “the feel of rock and moss underfoot, the bold winds, the sparkling and fragrant air...”, transporting the viewer to the very savage and beautiful landscape which first captivated and challenged the painter.

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21 21 MAURICE GALBRAITH CULLEN, R.C.A. MONT TREMBLANT FROM LAC OUIMET, oil on board, signed with monogram, Cullen Inventory No.1298 11 3/4 ins x 16 1/4 ins; 29.4 cms x 40.6 cms $12,000–15,000 Provenance: Watson Art Galleries, Montreal.

Private Collection, Toronto.

22 JOHN WILLIAM BEATTY, O.S.A., R.C.A. COUNTRY ROAD, oil on canvas, signed and dated ‘06 22

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12 ins x 15 ins; 30 cms x 37.5 cms $6,000–8,000

23 23 CLARENCE ALPHONSE GAGNON, R.C.A. DANS LES ALPES, 1927, oil on panel, certified by Lucile Rodier Gagnon (No.468) on the reverse 6 1/4 ins x 9 ins; 15.6 cms x 22.5 cms $10,000–15,000 Provenance: Galerie Walter Klinkhoff Inc., Montreal.

Private Collection, Toronto.

24 FREDERICK STANLEY HAINES, P.O.S.A., P.R.C.A. LANDSCAPE FROM THE SHORELINE, oil on metal, signed 16 ins x 20 ins; 40 cms x 50 cms $4,000–6,000

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25 LAWREN STEWART HARRIS MT. SAMPSON, MALIGNE LAKE, MOUNTAIN SKETCH CVI, oil on board, signed; titled on the reverse 10 3/4 ins x 13 3/4 ins; 26.9 cms x 34.4 cms $175,000–200,000 Painted in 1924.

Provenance: Dominion Gallery, Montreal.

Walter Klinkhoff Gallery, Montreal.

Private Collection, Nova Scotia.

Private Collection, Ontario.

Literature: Bess Harris and R.G.P. Colgrove, Lawren Harris, Toronto, 1969, page 62.

Joan Murray, The Beginning of Vision, The Drawings of Lawren S. Harris, Toronto, 1982, page 98.

Lisa Christensen, A Hiker’s Guide to the Rocky Mountain Art of Lawren Harris, Calgary, 2000, page vii, for a related pen and ink drawing entitled Mount Sampson, Maligne Lake, Jasper, illustrated. Also page 7 for the drawing Maligne Lake, Jasper Park, Alberta, 1924 from the 1925 portfolio, illustrated. See also page 48 for an extensive description of the Maligne Lake topography.

When I first saw the mountains, travelled through them, I was most discouraged. Nowhere did they measure up to the advertising folders, or to the conception these had formed in my mind’s eye. But, after I became better acquainted with the mountains, camped and tramped and lived among them, I found a power and majesty and a wealth of experience at nature’s summit which no travel-folder ever expressed.

Lawren Harris

In the late summer of 1924, Harris took his first trip to the Rocky Mountains, probably under the advice of J.E.H. MacDonald who had visited earlier that summer. Accompanying Harris was his family and fellow Group of Seven member, A.Y. Jackson. This inaugural trip was clearly significant for Harris as almost every year between 1924 and 1929, Harris would spend months at a time sketching in the Rocky Mountains.

This work was most likely the source for the pen and ink drawing Mount Sampson, Maligne Lake, Jasper Park, circa 1924, which was included in the 1925 Group of Seven exhibition. A portfolio of lithographs based on the pen and ink drawings was available for purchase at the 1925 show.

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26 26 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. LAKE OF BAYS, 1926, oil on board, signed 8 1/2 ins x 10 1/2 ins; 21.3 cms x 26.3 cms $20,000–30,000

27 PETER CLAPHAM SHEPPARD, O.S.A., R.C.A. AUTUMN, NORTHERN RIVER, oil on board, signed; an estate stamp on the reverse 27

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10 1/2 ins x 13 3/4 ins; 26.3 cms x 34.4 cms $3,000–4,000

28 28 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. AUTUMN HAZE - TERRA COTTA, oil on canvas, laid down on board, signed 9 1/2 ins x 11 1/4 ins; 23.8 cms x 28.1 cms $20,000–30,000 Literature: Christopher Jackson, A.J. Casson: Behind The Scenes, exhibition catalogue, Varley Art Gallery, Markham, 2006, page 12.

villages and towns of southern Ontario…he and Margaret bought a car and weekends were often taken up with sketching trips to the countryside.” Casson continually explored Ontario, depicting the country and towns of the province, soon discovering and capturing inspiring settings near Georgetown and Caledon, such as Cheltenham and Terra Cotta.

According to a June 7, 1987 inscription by the artist on the reverse, this artwork was “painted about 1935.”

During his time with the Group of Seven, and later the Canadian Group of Painters, “Casson took up his love of the smaller

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29 29 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. GRACE LAKE, oil on board 10 1/2 ins x 13 1/2 ins; 26.3 cms x 33.8 cms $15,000–20,000 Provenance: Loch Mayberry Fine Art Inc., Winnipeg.

Canadian Fine Arts, Toronto.

Private Collection, Toronto.

30 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. SUN OF SEPTEMBER, oil on board, signed 30

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16 ins x 20 ins; 40 cms x 50 cms $6,000–8,000

31 31 ARTHUR LISMER, O.S.A., R.C.A. POOL IN A FOREST CLEARING, oil on board 11 3/4 ins x 15 3/4 ins; 29.4 cms x 39.4 cms $18,000–22,000 Literature: Dennis Reid, Canadian Jungle, The Later Work of Arthur Lismer, Toronto, 1985, page 52.

Joyner Waddington’s Canadian Fine Art, Canadian Art, auction, Toronto, November 22nd, 2010, lot 60, for Lismer’s canvas based on this oil sketch (entitled Forest and Shore, B.C.).

Discussing a fall 1954 exhibition of Arthur Lismer’s recent paintings and drawings, Dennis Reid describes the public reception to the travelling show: “Warmly received at every stop, there were a number of sensitive responses from local critics. The most perceptive was a review from Regina by Richard

Simmins…[who] found the ‘Recent Paintings’ to be ‘rather a choice of little exhibition by one of Canada’s best painters’. The B.C. sketches in particular were, for him ‘full of bright color (sic), intense in feeling and full of nervous, vital movement. I noticed that Lismer has a trick of accentuating movement by emphasizing contour. Instead of outlining a writhing line in colour, he uses the wooden end of his brush to scrape away a line which emphasizes form…Lismer is known to be a fine draughtsman and I find this return to a linear quality in his painting very interesting…Generally speaking one is impressed by the color (sic) vitality of the exhibition and the sense of the artist’s immediacy in relation to nature. In many cases, he takes mundane subject matter, magnifies it and turns chaos into order and art.’”

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32 DORIS JEAN MCCARTHY, O.S.A., R.C.A. CHILDREN TOBOGGANING, HALIBURTON VILLAGE, oil on canvas, signed; a finished painting of a church and cemetery with figures on the reverse 30 ins x 34 ins; 75 cms x 85 cms $20,000–30,000 Provenance: Private Collection, Ontario.

Exhibited: Canadian National Exhibition, Toronto, August 27-September 11, 1948, no.68 (as Haliburton Village).

Literature: William Moore, “Heart Of Vision”, Celebrating Life: The Art of Doris McCarthy, The McMichael Canadian Art Collection, Kleinburg, Ontario, 1999, pages 178, 182 and 190.

During the 1930s and ‘40s, Doris McCarthy would visit Haliburton either in the spring or summer, often returning once more in December to sketch her winter scenes. Usually accompanied by fellow artists on her trips, McCarthy was to a degree influenced by the work of her friends such as Peter and Bobs Cogill Haworth, as well as Virginia Luz. However, “McCarthy was set on a direction different from theirs...McCarthy's painting became less involved with composition, design or with the relationship of form as an end. Instead she used those vehicles to allow the viewer to enter the artist's construction of her understanding of place.”

While still early in her career, McCarthy had, by the 1930s, already developed her “special sense of place”; one that “stands on the very edge of two worlds. One is the dynamic, ever changing and powerful natural order of the landscape itself---the other, an inner world of the artist which celebrates the nature of perception.” In Children Tobogganing, Haliburton Village, these two worlds collide beautifully. The stark snow covered hills and bare trees in the background are warmed with the presence of snowcovered logs representing the comforting hearth, as well as families tobogganing, reminiscent of a childhood in Canada. Varying from some of her other Haliburton scenes, McCarthy chose here not to engulf the buildings in thick snow, as she did in New Years Day, Hailburton and Barns, Haliburton; but rather to lightly dust the taller houses, as if to shift the focus away from the severity of the weather, and unto the pleasantries of the season.

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33 33 CORNELIUS KRIEGHOFF MOTHER AND PAPOOSE CROSSING THE ST. LAWRENCE, oil on canvas, signed and inscribed “Quebec 58” 11 1/4 ins x 9 1/4 ins; 28.1 cms x 23.1 cms $20,000–30,000 Literature: Dennis Reid, “Cornelius Krieghoff: The Development of a Canadian Artist”, Krieghoff: Images of Canada, ed. Dennis Reid, Toronto, 1999, page 83.

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Discussing the painter’s images of Native subjects during his time in Quebec, Dennis Reid explains: “There was a Native presence in Quebec in the mid-fifties, probably as much as Krieghoff had earlier experienced in Montreal. Micmac and Montagnais from New Brunswick and the north shore of the St. Lawrence camped every summer at Indian Cove on the Levis side of the river until at least the mid-nineteenth century, according to George Gale, selling trade goods throughout the season and collecting their treaty payments before departing in the early fall.”

34 34 CORNELIUS KRIEGHOFF INDIAN BASKET SELLER, oil on canvas, signed, dated 1860 and inscribed “Quebec” 11 ins x 9 ins; 27.5 cms x 22.5 cms $20,000–30,000 Provenance: Dominion Gallery, Montreal.

Galerie Claude Lafitte, Montreal.

Private Collection, Toronto.

In his listing of works of art that depict the Indian Basket Seller archetype, Marius Barbeau describes an oval upright artwork which has similar aspects to this painting: “Summertime. Figure occupies half the height of picture, facing right. Mounting an incline. Beaver hat, wide brim and…ribbon. Under-robe, red; dark blue blanket. Seven baskets strung next to skirt; the larger one of bark held by pack strap across shoulder. Distant hills.

Carefully and well painted.”

Literature: Marius Barbeau, Cornelius Krieghoff, Pioneer Painter of North America, Toronto, 1934, pages 147-148 for a listing of works by the artist which illustrate this subject.

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35 35 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. LANDSCAPE WITH CLOUDS, oil on board, signed, a sketch of boats in a lake on the reverse 7 1/4 ins x 9 1/4 ins; 18.1 cms x 23.1 cms $10,000–15,000

36 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. THE FLOWERY PATH, oil on board, signed 36

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10 3/4 ins x 13 3/4 ins; 26.9 cms x 34.4 cms $4,000–6,000

37 37 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. AUTUMN, GRACE LAKE, NEAR WILBERFORCE, oil on canvas board, signed 9 1/2 ins x 11 1/4 ins; 23.8 cms x 28.1 cms $30,000–40,000 Provenance: Private Collection, Ontario.

Literature: Margaret Gray, Margaret Rand, Lois Steen, A.J. Casson, Agincourt, 1976, page 27.

A.J. Casson’s depictions of Ontario, both the countryside and villages of the province, helped in distinguishing the artist’s work from his fellow members of the Group of Seven. The

painter’s skill and versatility in capturing the varying settings and terrain of Ontario are clear within Autumn, Grace Lake, Near Wilberforce, illustrating his familiarity with and inspiration drawn from his subjects. “He knows and loves the various facets of this province, from its pastoral, rolling countryside where a few houses and stores cluster at a crossroads to form a village, to the craggy heights of lonely lakes where only a loon’s cry breaks the stillness.”

Painted in 1941, this work of art hung in the studio of the artist for many years.

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38 38 EFA PRUDENCE HEWARD PORTRAIT OF RANDOLPH STANLEY HEWTON, oil on canvas 24 ins x 20 ins; 60 cms x 50 cms $7,000–9,000 Painted circa 1925.

Provenance: Estate of Randolph S. Hewton.

By descent to the present owner.

Literature: Natalie Luckyj, Expressions of Will, The Art of Prudence Heward, Agnes Etherington Art Centre, Kingston, 1986, pages 31 and 59.

Prudence Heward enrolled at the Art Association of Montreal where she studied under Randolph Stanley Hewton. Later, they were among the artists who formed the Beaver Hall Hill Group in Montreal as well as the Canadian Group of Painters, a group

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Heward co-founded in 1933. It is not surprising that Heward and Hewton shared similar traits in their work. Heward often positioned the sitter of her portrait in front of a landscape as seen in her Portrait of Randolph Hewton, a characteristic also present in Hewton's portraits such as Miss Audrey Buller (ca. 1924).

Heward's preference for familiarity with her subject allowed her to express the heightened emotion and distinct temperament of the sitters. Luckyj describes how the artist successfully integrated figure and landscape through the use of “broadly painted simple forms, strong linear outline and flattened space which result[ed] in compositions which convey monumental scale and heroic inevitability.” The choice to paint a bust of Hewton alludes to classical portrayals of heroic and serious subjects; possibly how Heward regarded her former teacher - as an important pioneer of Canadian art.

39 39 CORNELIUS KRIEGHOFF YOUNG WOMAN GATHERING GRAPES, oil on canvas board, signed, framed as an oval 24 ins x 20 ins; 60 cms x 50 cms $20,000–30,000 Painted circa 1854-55.

Provenance: H.B.M. Hartley, Connecticut.

Mrs. H.W. Chamberlain (granddaughter of H.B.M. Hartley), Ottawa.

Sotheby’s Canada, auction, Toronto, October, 1973, lot 86.

Private Collection, Pennsylvania.

Literature: Marius Barbeau, Cornelius Krieghoff, Pioneer Painter of North America, Toronto, 1934, page 130, listed.

Exhibition of Paintings by Cornelius Krieghoff, 18151872, National Gallery of Canada, Ottawa, 1934, checklist.

Barbeau states that this canvas seems to have been Krieghoff’s first venture in a new direction, as a test of his progress under museum influence. While still in France, he had Louise, his wife, pose in a pretty Italian costume, “a red bodice nicely moulding her bust and waist, with plaited white chemisette, apron and a fine headdress, deep blue and red.” Barbeau points out that the identification as Louise is his.

Exhibited: Krieghoff Exhibition, National Gallery of Canada, Ottawa, Feb-Mar, 1934. Also shown at the Art Association of Montreal, Montreal, March-April, 1934.

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40 DAVID BROWN MILNE BUSH FLOWERS, oil on canvas, signed and dated 1935 12 ins x 16 ins; 30 cms x 40 cms $40,000–60,000 Painted at Six Mile Lake, Muskoka.

Provenance: The Rt. Hon. Vincent Massey, Port Hope, Ontario.

Laing Galleries, Toronto.

Isabelle Erskine, London, Ontario (purchased in 1958).

By descent to the present owner.

Exhibited: David Brown Milne, Kitchener-Waterloo Art Gallery, Kitchener, Ontario, 11 Jan.-3 Feb., 1963.

The David Milne Cameo Exhibition, London Regional Art Gallery, London, Ontario, 16 July-12 Sept., 1982.

Literature: Heather Bruce, The David Milne Cameo Exhibition, London, Ontario, July, 1982, Exhibition Publication, 2pp.

David Milne Jr. and David P. Silcox, David B. Milne: Catalogue Raisonne of the Paintings, Volume 2: 19291953, Toronto, 1998, page 601, no.304.20, reproduced.

Primary Sources: Milne B list 33, UTA; Massey inventory, NAC; Laing sale records, not numbered, Laing Estate.

Milne was greatly inspired by flowers. A regular spring ritual for him was the first flower painting of the season. In 1932 he wrote to Alice Massey about one of his annual flower pictures that the Masseys had just purchased and gave the following account of its inspiration, which could apply as well to this lot: From as long as I can remember I have been a sufferer from spring fever. In the early days sulphur and molasses was the prescription for that – ridiculous, and unpleasant as well. I have worked out a treatment of my own. When the last snow banks have gone from the bush and the warm sun makes you think of sitting in the sheltered side of the hill rather than of walking where you feel the deadly fever stealing through you, go out to the bush and search for wild flowers, anything, hepaticas (pinkies of my young days), yellow lilies (dog tooth violets), trilliums, the little yellowish green ‘wood lilies’, jack in the pulpits. Bring them home and start shuffling them round with what you have at the time on your table until you get them fitted in with the painting motives of the moment, then start to paint. Keep it up for as long as you can get the flowers and you have cured and even forgotten the disease for the year.

Milne to Alice Massey 1 April 1932

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40 An important event occurred in the year this lot was painted.

After viewing an exhibition of Milne’s paintings the previous year, a young philosophy student at the University of Toronto named Alan Jarvis became a passionate admirer of Milne’s work.

Jarvis persuaded his friend Douglas Duncan to see Milne’s paintings and in 1935 they trekked to the artist’s cabin to make his acquaintance. They both became Milne’s close friends.

Duncan had just founded the Picture Loan Society in Toronto and would become the artist’s agent from 1938 onward. Jarvis, who would become the director of the National Gallery of Canada from 1955 to 1959, was a champion of Milne’s work throughout his life.

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41 41 MARC-AURELE FORTIN, A.R.C.A. LAKESIDE COTTAGE, QUEBEC, oil on paper, laid down on board, signed, Catalogue Raisonne no.H-0821 25 ins x 27 ins; 62.5 cms x 67.5 cms $30,000–40,000 Provenance: Private Collection, Ottawa.

Literature: Francois-Marc Gagnon, “The Paradox of Marc-Aurele Fortin”, Marc-Aurele Fortin, The Experience of Colour, Musee National des Beaux-Arts du Quebec, Quebec, 2011, pages 152 and 157.

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Fortin often achieved great depth in his paintings through the skillful use of colour. Gagnon writes: “His painting appeals above all through colour. Consider Fortin's enormous trees.

Dominating the entire landscape, they are lovingly painted, leaf by leaf, branch by branch.” At first glance, Lakeside Cottage, Quebec is a painting dominated by a large tree and a quaint house, however, the eye is drawn in further by the fire-toned sky illuminating the lake and casting shadows on the tree trunk and grass. This vibrant artwork exemplifies Fortin’s own style of painting which he defined aptly as “the school of light and sunshine.”

42 42 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. MADAWASKA, oil on board, signed 9 1/2 ins x 11 1/4 ins; 23.8 cms x 28.1 cms $30,000–40,000 Provenance: Roberts Gallery, Toronto.

Mr. Leslie Mills (partner in the brokerage firm “Mills and Spence” as a retirement gift).

Private Collection, Shanty Bay. By descent in the family.

Sotheby’s, sale, Toronto, November 17, 1999, lot 219.

Private Collection, Ontario.

Exhibited: Canadian Landscape Paintings, Riverbrink Art Museum, Home of the Weir Collection, Queenston, Ontario, May 19-October 14, 2007.

Literature: Paul Duval, A.J. Casson/His Life & Works/A Tribute, Toronto, 1980, pages 79-87 (chapter entitled “Discovering the Village”).

According to Duval, the Ontario village has supplied Casson with a richness of visual substance: “…the varying textures of plaster, wood, stone, brick…The names of the places he painted read like a gazetteer of Ontario towns…”

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43 43 ROBERT WAKEHAM PILOT, P.R.C.A. VENICE FROM THE DANIELLI, 1957, oil on panel, signed 8 1/4 ins x 10 1/2 ins; 20.6 cms x 26.3 cms $6,000–8,000 Provenance: Continental Galleries, Montreal.

Manuge Galleries Limited, Halifax.

Private Collection, Toronto.

44 FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A. ST. MARTINS IN THE FIELD, watercolour, signed 44

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10 1/2 ins x 7 ins; 26.3 cms x 17.5 cms $2,000–3,000

45 45 FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A. HYDE PARK CORNER, PARK LANE, watercolour, signed 12 ins x 18 ins; 30 cms x 45 cms $2,500–3,500 Literature: Roger Boulet, Frederic Marlett Bell-Smith, Art Gallery of Greater Victoria, Victoria, 1977, page 85, plate 61, for another view entitled Hyde Park Corner, circa 1900-1915.

46 JOHN YOUNG JOHNSTONE, A.R.C.A. INTERIOR OF A CATHEDRAL, oil on board, dated “Aug. 12/12” on the reverse 9 1/2 ins x 7 1/2 ins; 23.8 cms x 18.8 cms $4,000–6,000 Provenance: Continental Galleries of Fine Art, Montreal.

Private Collection, Toronto.

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47 47 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. VAN BRUGH LAKE, 1966, oil on panel, signed 10 1/2 ins x 13 1/2 ins; 26.3 cms x 33.8 cms $12,000–15,000

48 JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. ROCKINGHAM, N.S., watercolour, signed with initials, titled and dated “July 8 /98”, minor foxing at upper central edge of paper 48

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6 3/4 ins x 5 ins; 16.9 cms x 12.5 cms $3,000–4,000

49 49 ARTHUR LISMER, O.S.A., R.C.A. REDWOOD, oil on panel, signed and dated ‘63; signed, dated and inscribed “B.C.” on the reverse 16 ins x 12 ins; 40 cms x 30 cms $18,000–22,000 Literature: John A.B. McLeish, September Gale: A Study of Arthur Lismer and the Group of Seven, Toronto/Vancouver, 1955, pages 185-187.

While discussing Arthur Lismer’s “small but powerful paintings of the British Columbian wilderness”, John McLeish notes that, “Lismer once described both his feelings of thraldom for the immense contours and imperious moods of British Columbia, and his feeling of her remoteness and mystery. In spite of the

noble landscapes and the unimaginable blues of the great Pacific coast, it was in the purest sense for Lismer an unhuman land: ‘This is a country that has never been tamed by man,’ he once remarked. ‘It only puts up with man; man has no governance here.’ In such a mood of mingled awe and amazement at the beauty and imperious mastery of the Pacific country, Lismer would set off into the nearest heart of the wilderness, and oblivious to summer heat and the sting and nuisance of black flies and mosquitos, paint purposefully and forcefully among the cathedral dimensions of the firs and among the indefatigable thrustings of what he called ‘the northern jungle growth’ of British Columbia.”

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50 JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. NEAR PETITE RIVIERE, NOVA SCOTIA, oil on board, signed, titled and dated 1922 on the reverse 8 1/2 ins x 10 1/2 ins; 21.3 cms x 26.3 cms $30,000–40,000 Provenance: Walter Klinkhoff Gallery Inc., Montreal.

Private Collection, Ontario.

Exhibited: J.E.H. MacDonald in Nova Scotia with Lewis and Edith Smith, Dalhousie Art Gallery, Halifax, 12 January to 25 February, 1990, no.25. Also shown at the Edmonton Art Gallery and the Beaverbrook Gallery, Fredericton.

Literature: Gemey Kelly, J.E.H. MacDonald, Lewis Smith, Edith Smith, Nova Scotia, Dalhousie Art Gallery, Halifax, 1990, page 37, plate 25, reproduced.

Recounting MacDonald’s travels and sketching in Nova Scotia, Paul Duval writes, “[i]n July, 1922, after his first year at the Ontario College of Art, MacDonald visited his lifelong artist friend, Lewis Smith, at Petit Riviere, Nova Scotia. He did a considerable number of sketches during more than a month-long stay, and he revived his old love of the sea he had acquired as a youth in England.”

“MacDonald spent his time at Petite Riviere going to local picnics and children’s plays, attending Buck Jones westerns at the local Classic Theatre, and sketching, usually alone, but sometimes with his friends, Lewis and Edith Smith. Unlike his Algoma period, he was unsure of his creative results. ‘I have made a good many sketches,’ he wrote. ‘How they stand I cannot say until I get them home, but they are different certainly. I may become something of a marine painter in addition to my other noted accomplishments.

There is no doubt whatever that the Atlantic shore is superior to Lake Simcoe as a sketching ground.”

Petite Riviere is a small village on the south shore about 75 miles from Halifax and was a popular Nova Scotian holiday spot offering two beaches and a rolling landscape of field and woodlands.

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51 51 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. NEAR ST. SAUVEUR, 1937, oil on panel, signed 10 1/2 ins x 13 1/2 ins; 26.3 cms x 33.8 cms $15,000–20,000 Provenance: Roberts Gallery, Toronto.

Sotheby’s sale, Toronto, November, 1996, lot 67.

Private Collection, Ontario.

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52 52 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. OWLS HEAD, QUEBEC, 1974, oil on board, signed 12 ins x 15 ins; 30 cms x 37.5 cms $20,000–25,000

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53 53 LUCIUS RICHARD O’BRIEN, O.S.A., P.R.C.A. TORONTO FROM THE MARSH, watercolour, signed and dated 1873 13 1/2 ins x 20 1/2 ins; 33.8 cms x 51.3 cms $8,000–12,000 Exhibited: Our Own Country Canada, National Gallery of Canada, Ottawa, 1978-1979, no.90. Also shown at the Montreal Museum of Fine Arts, Montreal, July 4- Aug. 19, 1979.

Lucius R. O’Brien: Visions of Victorian Canada, Art Gallery of Ontario, Toronto, 28 September-25 November, 1990, no.8. Also shown at the National Gallery of Canada, Ottawa; Vancouver Art Gallery, Vancouver and Musee du Quebec, Quebec.

Literature: Dennis Reid, Our Own Country Canada, Being an Account of the National Aspiration of the Principal Landscape Artists in Montreal and Toronto, 18601890, National Gallery of Canada, Ottawa, 1979, pages 227-229, and plate 90, reproduced.

Dennis Reid, Lucius R. O’Brien: Visions of Victorian Canada, Art Gallery of Ontario, Toronto, 1990, page 28 and 131, plate 8, reproduced.

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Reid (1979) considers O’Brien to be the best of the painters of the mid-seventies: “His watercolours were seen to be ‘truthful, clear, and harmonious, and…the evident handiwork of a man keenly alive to the beauties of nature, and enthusiastically anxious to do faithful work…No other painter seems to understand Nature like Mr. O’Brien.” Indeed, these qualities of individuality, of thoughtfulness, of clarity and harmony are particularly evident in Toronto from the Marsh.

According to Reid (1990), this lot may have been included in the 1874 O.S.A. exhibition. Toronto from the Marsh presents the provincial capital as an attractive, indeed commanding, backdrop to an image of men in boats enjoying, if not living by, nature.

54 54 LUCIUS RICHARD O’BRIEN, O.S.A., P.R.C.A. SCARBOROUGH BLUFFS, FROM THE ISLAND, watercolour, signed and dated 1873 13 1/2 ins x 20 1/2 ins; 33.8 cms x 51.3 cms $8,000–12,000 Exhibited: Our Own Country Canada, National Gallery of Canada, Ottawa, 1978-1979, no.91. Also shown at the Montreal Museum of Fine Arts, Montreal, July 4-Aug.19, 1979.

Lucius R. O’Brien: Visions of Victorian Canada, Art Gallery of Ontario, Toronto, 28 September-25 November, 1990, no.9. Also shown at the National Gallery of Canada, Ottawa; Vancouver Art Gallery, Vancouver and Musee du Quebec, Quebec.

Literature: Reid (1979), op. cit., plate 91, reproduced.

Reid (1990), op. cit., plate 9, reproduced.

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55 JAMES WILSON MORRICE, R.C.A. LANDSCAPE, oil on canvas, signed and dated ‘91 20 ins x 25 1/4 ins; 50 cms x 63.1 cms $30,000–50,000 Provenance: W. Scott & Sons, Montreal.

Sir William Van Horne (purchased from the artist through W. Scott & Sons, Montreal, 1891).

By descent to the present owner, Ontario.

Exhibited: Memorial Exhibition of Paintings by James W. Morrice, R.C.A., Art Association of Montreal, 16 January 15 February, 1925, no.105.

Exhibition: A Selection from the Collection of Paintings of the Late Sir William Van Horne, K.C.M.G., 1943-1915, Art Association of Montreal, Montreal, 16 October – 5 November, 1933, no.171.

Literature: Robert J. Wickenden, Catalogue of Paintings in Oil and Water-colours, Drawings, Etchings, Etc., in the Collection of the Late Sir William Cornelius Van Horne, K.C.M.G. at 513 Sherbrooke Street West, Montreal – Alphabetical with Addenda, 1927 (manuscript).

Van Horne Family Fonds, Series 13: Wickenden catalogues, Box 35, S.64.11/01/07: No. “V.H. 350 / Landscape”, with note “Purchased from the artist” (Art Gallery of Ontario, E.P. Taylor Research Library and Archives).

Donald W. Buchanan, James Wilson Morrice: A Biography, Toronto, 1936, pages 7-8.

In his seminal Morrice biography, Buchanan narrates how Sir William Van Horne, President of the CPR, purchased a “sketch” from Montreal dealers Scott & Sons; impressed, he “was soon telling David Morrice that his son would never be happy in the law. Let him go to Paris, was the advice...”; stuff for legend, until now. If a 1887 watercolour with the same provenance is a more probable “sketch”, could the present painting have been a commission? Its large dimensions, absolutely unique in Morrice’s early corpus, could indicate that; or an exhibition painting... but the price tag besides Morrice’s entry in the 1891 AAM Spring Salon, Afternoon (oil), and the summertime depicted in Landscape makes it unlikely. As Morrice’s first major oil, purchased, perhaps even commissioned, by celebrated collector Van Horne, this painting is extremely important for the history of Canadian art, especially for the Montreal art milieu.

The subject, treated as pure landscape, is typical of the artist’s early work in Europe; but is it French or English? Although Morrice sailed to Liverpool just before Christmas 1899, and was living in London in April 1891, he had already spent some time in France, and the tall poplars over low hills evoke region northwest of Paris. If the technique is a bit crude, let’s not forget that Morrice, who was just starting his career, had never painted anything that big. But the future artist is already there, as Wickenden saw in 1927: “A dreamy mystery pervades the canvas, the realistic details being suppressed in favour of an agreeable general effect.” (Catalogue) And flowers similar to the lower left poppies will dot the foregrounds of Promenade, Dieppe and Morocco Buildings (ca. 1910 and 1920 respectively, both paintings in the Thomson Collection at the AGO).

We would like to Lucie Dorais, who is preparing the Catalogue Raisonne of Morrice’s work, for contributing the foregoing cataloguing details and essay.

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56 56 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. OCTOBER MORNING, COMBERMERE, OCT. 1962, oil on panel, signed 10 1/2 ins x 13 1/2 ins; 26.3 cms x 33.8 cms $12,000–15,000 Provenance: The Fine Art Galleries, T. Eaton Company Limited, Toronto.

Private Collection, San Francisco.

57 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. WEATHER BREEZING, oil on board, signed, minor pigment loss at lower left quadrant 57

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10 ins x 12 ins; 25 cms x 30 cms $5,000–7,000

58 58 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. MUSKEG; HILBORN, oil on double-sided panel, signed; signed with various inscriptions on the reverse 10 1/2 ins x 13 1/2 ins; 26.3 cms x 33.8 cms $15,000–20,000 Provenance: Sotheby’s sale, Toronto, November, 1996, lot 66.

Private Collection, Ontario.

59 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. THE DISTANT BAY, oil on board 12 ins x 15 1/2 ins; 30 cms x 38.8 cms $4,000–6,000

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60 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. MADAWASKA VALLEY, OCTOBER, oil on canvas, signed 30 ins x 36 ins; 75 cms x 90 cms $100,000–150,000 Provenance: Roberts Gallery, Toronto.

Private Collection, Pennsylvania.

Madawaska Valley, October reveals Casson at his most effective in depicting the Ontario landscape, a detailed and layered terrain falling below a commanding clouded sky. Although Casson only allows roughly one third of his canvas to depict the actual landscape, the richly detailed topography of the region, located in a “long stretch of country between Algonquin Park and Combermere”, is clear and brilliantly composed by the artist. As we move from the immediate foreground of soft greens and rounded rocks, through a cluster of dark green trees clutching the elevated land on the left and a central earthen-toned pointed hill, finally landing on the soft outline of a peaked bluish purple horizon, the viewer is treated to a sliding grade of detail and colour. The sharpness of detail, texture and colour possessed by the vegetation in the immediate foreground relaxes rapidly as we journey into the landscape, finally met with the cool colouring and soft shape of the horizon line.

The calming horizon of Madawaska Valley, October is the perfect host to the dramatic sky above, a staple of many of Casson’s most celebrated signature works depicting the Ontario landscape. The soft geometry of the cumulus clouds is highlighted with brilliant tones of greys and whites, the soft blue sky fighting to break through, pushed mostly toward the upper edge of the composition. The immense clouded sky gives the impression of both movement, as the shifting of shapes seemingly occurs before the eyes of the viewer while the wind sculpts the veritable mountainscape of cloud; and power, as the quick-changing sky warns of the potential for the elements to shift just as suddenly.

When viewing their characteristics individually, it is difficult to imagine a composition where the land and sky of this lot do not compete or worse, clash with one another. However, Casson illustrates in this masterwork not only his endless understanding and appreciation for the Ontario landscape, but also his ability to perfectly portray the seemingly competing elements, arriving with a mature and powerful work of symmetry and harmony.

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61 ROBERT HARRIS, O.S.A., P.R.C.A. PORTRAIT OF MISS KATHLEEN PYKE, MONTREAL, oil on canvas, signed; signed, titled and dated 1913 on the reverse 20 ins x 16 ins; 50 cms x 40 cms $5,000–7,000

61 62 HENRY SANDHAM, O.S.A., R.C.A. COCK OF THE WALK, watercolour, signed 9 ins x 12 1/2 ins; 22.5 cms x 31.3 cms $2,000–3,000 Provenance: Dominion Gallery, Montreal.

Private Collection, Toronto.

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63 ELIZABETH ADELA STANHOPE FORBES YOUNG BOY, oil on panel, signed 10 1/4 ins x 8 1/2 ins; 25.6 cms x 21.3 cms $2,000–3,000 63

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Provenance: Private Collection, Calgary.

64 FREDERICK HORSMAN VARLEY, A.R.C.A. PORTRAIT OF VERA, charcoal with wash, signed 9 1/4 ins x 11 1/4 ins; 23.1 cms x 28.1 cms $8,000–12,000 Provenance: Russell John Hider (acquired directly from the artist), Toronto.

Private Collection, Ontario.

Literature: Christopher Varley, F.H. Varley, A Centennial Exhibition, The Edmonton Art Gallery, Edmonton, 1981, pages 96-100 and page 87, plate 84, for another drawing of Vera.

Varley left his teaching position at the Ontario College of Art in 1926 and moved to Vancouver. He became the instructor of drawing and painting at the Vancouver School of Decorative and Applied Arts and it was here he first met Vera Weatherbie in 1927. From 1930-1936 Vera was virtually the only model that Varley used and he completed many drawings and paintings of her.

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Russell Hider (1899-1992) spent his working career as a graphic artist with Rolph, Clark and Stone in Toronto. He acquired this drawing from Varley when Mrs. Hider sent her husband out to purchase a new suit and he came home with this sketch.

65 LAURA ADELINE MUNTZ, O.S.A., A.R.C.A. PORTRAIT OF A GIRL, watercolour, signed oval 11 3/4 ins x 9 1/2 ins; 29.4 cms x 23.8 cms $4,000–6,000 Provenance: Peter Ohler Fine Arts, Vancouver.

Private Collection, Calgary.

Literature: Joan Murray, Laura Muntz Lyall: impressions of women and childhood, Montreal, 2012, page 85, colour plate 28 for a similar portrait entitled The Little Red Head, 1903.

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66 66 JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. FLOWERS IN A BLUE BOWL, oil on board, signed with initials and dated ‘13 8 ins x 10 ins; 20 cms x 25 cms $20,000–30,000 Provenance: Ernest Frederick and Ethel Ely, Toronto (acquired directly from the artist).

By descent to the present owner.

Private Collection, Ontario.

Literature: Paul Duval, The Tangled Garden, The Art of J.E.H. MacDonald, Scarborough, 1978, pages 48-49.

67 67 EDITH GRACE COOMBS, O.S.A. STILL LIFE (MARIGOLDS), oil on board, signed 20 ins x 24 ins; 50 cms x 60 cms $1,200–1,500

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In the late spring of 1913 MacDonald and his family moved to Thornhill, just north of Toronto. Duval mentions that Thornhill became a country refuge for artists: Varley, Lismer, Johnston and Carmichael, all future members of the Group of Seven, came to live there shortly after MacDonald. Duval also points out that MacDonald’s new property gave him plenty of scope for his favourite hobby of gardening. More importantly, it provided him with subject matter for works such as this lot, as well as one of his finest paintings, The Tangled Garden. MacDonald’s fascination with flowers from his own garden continued for several more years with works including Sketches for Tangled Garden (1915) and Garden Sketch No.1 (Sunflowers) and Garden Sketch No.2, both from 1916.

68 68 DAVID BROWN MILNE STILL LIFE WITH VIOLETS, oil on canvas, inscribed “0-633” and titled by David Milne Jr. on the stretcher 12 ins x 16 ins; 30 cms x 40 cms $30,000–40,000 Painted at Uxbridge, Ontario, spring 1945.

Provenance: Estate of Douglas Duncan, Toronto.

Marlborough–Godard, Toronto/Montreal.

Mr. and Mrs. R.T. Merry, Oakville, Ontario.

Private Collection, Vancouver.

Exhibited: David Milne: A Survey Exhibition, Mira Godard Gallery, Toronto, 4-28 Nov., 1978, no.33.

Literature: David Milne Jr. and David P. Silcox, David B. Milne: Catalogue Raisonne of the Paintings, Volume 2: 19291953, Toronto, 1998, page 864, no.405.31, reproduced.

See lot 40 (footnote) relating how Milne was greatly inspired by flowers.

69 69 EDITH GRACE COOMBS, O.S.A. HEPATICAS, 1963, oil on board, signed 20 ins x 24 ins; 50 cms x 60 cms $1,200–1,500

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70 LAWREN STEWART HARRIS MOUNTAIN ON THE ATHABASCA RIVER, MOUNTAIN SKETCH XCI, oil on board; signed and titled on the reverse 12 ins x 15 ins; 30 cms x 37.5 cms $325,000–375,000 Provenance: Bess Harris Collection, Vancouver.

Dominion Gallery, Montreal.

Private Collection, Edmonton.

Private Collection, Ontario.

Literature: Lisa Christensen, A Hiker’s Guide to the Rocky Mountain Art of Lawren Harris, Calgary, 2000, pages 67 and 75.

Harris and A.Y. Jackson first visited Mount Robson Provincial Park in 1924, painting such subjects as Maligne Lake, the Colin Range and the Athabasca River and Valley.

An avid believer in Theosophy, Harris was interested in divine mysteries and their relationships to human origins. The artist’s time spent in the mountains would provide an experience with the sublime that he had not previously encountered. Harris once described how he applied this awareness to his art: “If we view a great mountain soaring into the sky, it may excite us, evoke an uplifted feeling within us. There is an interplay of something we see outside of us without inner response. The artist takes that response and its feelings and shapes it on canvas with paint so that when finished it contains the experience.” This lot conveys the dramatic visuals of the western Canadian landscape while capturing Harris’ deepening interest in abstract forms.

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71 71 FREDERICK SIMPSON COBURN, R.C.A. WASHING DAY, oil on board 13 1/2 ins x 10 1/2 ins; 33.8 cms x 26.3 cms $7,000–9,000

72 HOMER RANSFORD WATSON, O.S.A., P.R.C.A. AFTER THE HARVEST, oil on canvas, signed 72

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18 ins x 26 ins; 45 cms x 65 cms $2,500–3,000

73 73 FREDERICK SIMPSON COBURN, R.C.A. PLOUGHING THE FIELD, oil on canvas, signed 18 ins x 15 ins; 45 cms x 37.5 cms $10,000–15,000 Provenance: Private Collection, Toronto.

74 JAMES HENDERSON TOP OF THE HILL, SASKATCHEWAN, oil on canvas, signed 21 ins x 27 1/2 ins; 52.5 cms x 68.8 cms $5,000–7,000

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75 DAVID BROWN MILNE THE LAST OF AUTUMN, NEW YORK, oil on canvas 17 ins x 14 ins; 42.5 cms x 35 cms $15,000–20,000 Painted circa 1908-1910.

Provenance: Patsy Milne.

Jerrold Morris Gallery, Toronto.

Kenneth G. Heffel Fine Art Inc., Vancouver.

Kyle’s Gallery, Victoria, British Columbia.

Private Collection, Victoria.

Private Collection, Ontario.

Heffel Fine Art Inc., auction, Vancouver, May 2005, lot 10.

Private Collection, Toronto.

Exhibited: McLaughlin Library, Oshawa, Ontario, 1962, no.4.

Literature: David Milne Jr. and David P. Silcox, David B. Milne: Catalogue Raisonne of the Paintings, Volume 1: 18821928, Toronto, 1998, reproduced page 32, no.102.55, reproduced.

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It is noted in the Milne Catalogue Raisonne that the location (Hudson River) and date (1913) inscribed by Patsy Milne on the reverse of the canvas are inaccurate. The Catalogue Raisonne titles the painting “The Last of Autumn” and dates it to circa 1908-1910.

76 MARY HEISTER REID, O.S.A., A.R.C.A. THE EDGE OF THE GARDEN, oil on canvas, signed 16 ins x 20 ins; 40 cms x 50 cms $3,000–4,000 Painted circa 1905.

Provenance: The Studio of the Artist, Toronto.

Private Collection, Ontario.

Exhibited: Memorial Exhibition of Paintings by M.H. Reid, The Art Gallery of Toronto, Toronto, 1922.

Quiet Harmony: The Art of Mary Heister Reid, The Art Gallery of Ontario, Toronto, November 1, 2000 February 4, 2001, no.25.

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Literature: Brian Foss and Janice Anderson, Quiet Harmony: The Art of Mary Heister Reid, The Art Gallery of Ontario, Toronto, 2000, page 94, reproduced.

77 77 HENRIETTA MABEL MAY, A.R.C.A. LATE WINTER, LOWER ST. LAWRENCE, oil on canvas, signed 22 ins x 27 ins; 55 cms x 67.5 cms $25,000–35,000 Painted circa 1932.

Provenance: Dominion Gallery, Montreal.

Wallack Galleries, Ottawa.

Private Collection.

Literature: Evelyn Walters, The Women of Beaver Hall, Canadian Modernist Painters, Toronto, 2005, pages 67 and 71.

Walters notes that Henrietta Mabel May’s landscape works after 1920 are “marked by the style of the Group of Seven. She

painted with her friends in the Eastern Townships, New England, and Baie St. Paul in the Lower St. Lawrence area…In 1929 May received honourable mention in the National Gallery’s prestigious William Arts Competition…Her mature works become increasingly more linear, rhythmical and simplified in colour.”

A 1939 Ottawa Citizen review of a solo exhibition of May’s work at James Wilson and Co. remarks: “Miss May is interested in form and rhythm perspective rather than in the more external manifestations of nature. There is a sweep to most of her landscapes and a skilful arrangement of mass and colour. Some are somber in tone and others are bright, but all have a notable unity in conception and manage to suggest the essential nature of the scenes depicted.”

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78 WILLIAM ARMSTRONG, A.R.C.A. RAPIDS, BLACK STURGEON R., L. SUPERIOR, oil on board, signed with monogram 8 ins x 12 ins; 20 cms x 30 cms $5,000–7,000 Literature: Henry C. Campbell, The Art of William Armstrong, Toronto/Montreal, 1971, page 105, illustration, for another work depicting the Toronto newspaper correspondent for the Globe, and his wife running the rapids on the Sturgeon River (Sigmund Samuel Collection of Canadiana, Royal Ontario Museum, Toronto).

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79 THOMAS MOWER MARTIN, O.S.A., R.C.A. INDIAN ENCAMPMENT, watercolour, signed and dated 1920 8 1/2 ins x 16 ins; 21.3 cms x 40 cms $2,500–3,500 Provenance: The Pagurian Corporation Ltd., Toronto.

Private Collection, Toronto.

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80 FREDERICK SIMPSON COBURN, R.C.A. TEAM ON PENFOLD’S HILL, oil on board, signed 10 ins x 13 ins; 25 cms x 32.5 cms $7,000–9,000 80

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Provenance: Gift of the artist to H. McRae Miller, circa 1955.

Private Collection, Montreal.

81 81 CORNELIUS KRIEGHOFF FOURTEEN CARTES DE VISITE, photo-reproductions, each mounted to card, nine hand-coloured; nine printed on reverse “Moulin, Photographe, 23, Rue Richer, Paris”, one with a partial imprint of “C. Krieghoff” along lower edge and “Entered, according to Act of the Provincial Legislature, in the year 1864, by C. Krieghoff in the office of the Registrar of the Province of Canada” printed on the reverse and “2950” inscribed in graphite on the reverse; eight numbered “2/6” on the reverse in graphite; three numbered “1/3” on the reverse in graphite; one titled “Salmon Fishing by Moonlight” on the reverse in graphite; one inscribed “2950” on the reverse, sold “as is” and not subject to return each overall approximately 2 1/2 ins x 4 ins; 6.3 cms x 10 cms $3,000–5,000 (14) Provenance: Private Collection, United Kingdom.

These works represent images which were marketed by Krieghoff during the late 1860s. One of the hand-coloured works in this collection, a tobogganing scene, is one of thirteen images which the artist formally copyrighted in April of 1864.

It is believed that Krieghoff may have sold these works himself, representing some of the earliest (and smallest) limited edition reproductions of the artist’s work.

Krieghoff was represented in the Canadian section of the International Exhibition of Arts and Manufacturers in Dublin in 1865 by nine large hand-coloured photos and twenty coloured cartes-de-visite of his paintings made by the Quebec firm of Ellison & Co. It is believed that the images created by Moulin in Paris (of which nine of the works in this lot are stamped on the reverse) were created during the same period.

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82 82 JOHN INNES, O.S.A. BATTLING THE BLIZZARD, oil on canvas, signed 24 ins x 38 ins; 60 cms x 95 cms $10,000–15,000

83 FREDERICK SIMPSON COBURN, R.C.A. BRINGING BACK THE LOAD, 1931, oil on canvas, signed 15 ins x 18 ins; 37.5 cms x 45 cms $8,000–10,000 Provenance: Canadian Fine Arts, Toronto.

Private Collection, Toronto.

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84 84 FREDERICK ARTHUR VERNER, O.S.A., A.R.C.A. BUFFALO GRAZING, WINTER, oil on canvas, signed and indistinctly dated 16 ins x 24 ins; 40 cms x 60 cms $12,000–15,000

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85 MARC-AURELE DE FOY SUZOR-COTE, R.C.A. LE PORTAGEUR, bronze, signed, titled, dated 1922 and inscribed “Copyright Canada & U. States, 1922” and “Roman Bronze Works, New York” height 15 3/4 ins; 39.4 cms $15,000–20,000 Literature: Laurier Lacroix, Suzor-Cote: light and matter, Musee du Quebec, Quebec, 2002, page 269, illustrated.

Suzor-Cote’s mastery of sculpture is clearly evident in Le Portageur, executed in 1922. It is an example of a group of sculptures by Suzor-cote that highlighted the difficult living conditions of the French-Canadian habitants and in particular the coureur des bois.

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Laurier Lacroix notes that “the theme of the coureur des bois carrying a pack on his back first apprears in Suzor-Cote’s work as an illustration in the novel, Maria Chapdelaine (1916). There, Francois Paradis is shown in a winter setting at the edge of a forest, dragging a sledge and bent over with the weight of his load. In the sculpture, Le Portageur (cat.114), (fig.107), the coureur des bois packs on his back all the contents of his canoe to bypass river rapids.”

86 MARC-AURELE DE FOY SUZOR-COTE, R.C.A. L’HYDROGRAPHE (L’ARPENTURE), bronze, signed and inscribed “Roman Bronze Works Inc., N.Y.” height 22 1/4 ins; 55.6 cms $10,000–15,000 Provenance: Salvatore Schiavo, New York (owner of Roman Bronze Works, 1946-1981).

Private Collection, New York State.

Literature: Pierre L’Allier, Suzor-Cote L’Oeuvre Sculpte, Musee de Quebec, 1991, pages 92-95, pages 92 and 94 illustrated.

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In 1923, Suzor-Cote was contacted by the Historical Monuments Commission in Quebec to create a statue of French Canadian explorer Louis Jolliet to be featured on a façade of the Parliament Building in Quebec City. Through the process of creating the final sculpture for the façade, the artist sculpted three different figures, each displaying individual attributes of the explorer: L’Hydrographe, showing the voyager recording details with a quill; Le Pionnier, presenting the same figure holding a surveying telescope; and Le Coureur de Bois, standing with a walking stick and bag of provisions over his shoulder. L’Allier notes that each of the three sculptures illustrated only one pertinent aspect of Jolliet’s character, leading to Suzor-Cote’s final representation of the explorer, Jolliet, as a less narrative version of the historic figure.

87 FREDERICK SIMPSON COBURN, R.C.A. HEADING OUT, etching, printed in colours, signed in the plate subject 13 1/2 ins x 20 1/2 ins; 33.8 cms x 51.3 cms $2,000–3,000 Literature: Evelyn Lloyd Coburn, F.S. Coburn: Beyond The Landscape, Toronto, 1996, page 81, illustrated in colour.

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88 WALTER JOSEPH PHILLIPS, R.C.A. INDIAN DAYS, BANFF, colour woodcut, signed in the margin 10 ins x 15 1/4 ins; 25 cms x 38.1 cms $5,000–7,000 Provenance: Masters Gallery Ltd., Calgary.

Private Collection, Toronto.

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89 FREDERICK SIMPSON COBURN, R.C.A. ON THE LOGGING ROAD, WINTER, etching, printed in colours, signed in the plate subject 18 3/4 ins x 24 ins; 46.9 cms x 60 cms $2,500–3,500

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90 90 ROBERT WAKEHAM PILOT, P.R.C.A. FISHING BOATS, CONCARNEAU, oil on board 10 1/2 ins x 13 1/2 ins; 26.3 cms x 33.8 cms $8,000–12,000

91 WILLIAM RAPHAEL, R.C.A. SHORELINE NEAR CAMP, oil on canvas, signed 91

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12 ins x 17 ins; 30 cms x 42.5 cms $3,000–4,000

92 92 ROBERT WAKEHAM PILOT, P.R.C.A. LUMBER SCHOONER, ST. JOHN’S, NEWFOUNDLAND, oil on board, signed and dated 1929 12 ins x 17 ins; 30 cms x 42.5 cms $12,000–15,000 Provenance: Watson Art Galleries, Montreal.

Manuge Galleries Limited, Halifax.

Private Collection, Toronto.

93 FREDERICK WILLIAM HUTCHISON, R.C.A. LA BATURE, BAIE ST. PAUL, oil on canvas, signed and inscribed “To H.F. Waltman” 24 ins x 28 1/2 ins; 60 cms x 71.3 cms $3,000–5,000 Provenance: H.F. Waltman.

Harry Butler, Carmel, New York.

Private Collection, Quebec.

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94 94 FREDERICK SPROSTON CHALLENER, O.S.A., R.C.A. SKETCH FOR PROSCENIUM ARCH, graphite and watercolour, signed and dated 1906; inscribed on the reverse “Sketch...for the picture over the Proscenium Arch in Bennett’s Theatre, Dundas Street, London, Ontario. This is for Donald Routledge” 4 1/2 ins x 16 1/2 ins; 11.3 cms x 41.3 cms $1,000–1,500 One of the founding members of the Society of Mural Decorators in Canada in 1894 (along with others, including G.A. Reid), Challener found himself in demand for such specialized work, commissioned for projects for theatres, hotels, restaurants and private residences. Through the turn of the century, Challener’s projects included: the Russell Theatre in Ottawa (the project now housed at the National Gallery of Canada); the King Edward Hotel, Toronto; and the Grand Theatre in London, Ontario.

In 1906, Challener developed a mural for the Proscenium Arch of Bennett’s Theatre, 229-331 Dundas Street, London, Ontario (today the London Mechanics Institute Building, designated by the city of London under the Ontario Heritage Act). As in other commissions, the painter has created a playful, quasi-narrative scene, here of the muses, the goddesses of music, song and dance, at work, playing an instrument, declaiming poetry at a play, as well as reading music and singing to a waiting audience.

This artwork may be the only surviving full working sketch for the mural and is "squared-off" for transfer to a larger surface, likely a canvas that would then have been applied to the proscenium arch of the theatre.

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95 CHARLES WILLIAM JEFFERYS, O.S.A., R.C.A. AT STANLEY ISLAND, ST. LAWRENCE, JULY 1925, watercolour, signed and dated ‘25 12 3/4 ins x 20 ins; 31.9 cms x 50 cms $2,000–2,500 Provenance: Colonel C.H. Mitchell (acquired directly from the artist).

Rachael Elizabeth Clothier, Kemptville, Ontario.

By descent to the present owner, Quebec.

Exhibited: The Society of Painters in Water Colour, Toronto, 1926.

In 1925 Jefferys was a founding-member of the Canadian Society of Painters in Water Colour and was elected to the Royal Canadian Academy. In July he stayed with C.H. Mitchell (Dean of Applied Science and Engineering, University of Toronto) at Cornwall and Stanley Island along the St. Lawrence waterway.

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Contemporary Canadian Fine Art

Lot 118 (detail)

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96 WILLIAM RONALD, R.C.A. HULOT’S AVIGNON, oil on canvas, signed and dated /80 42 ins x 84 ins; 105 cms x 210 cms $8,000–12,000

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97 WALTER YARWOOD SIGN #5, painted cast aluminum, mounted on a wood base; signed, titled and dated /70 on the base overall 14 ins; 35 cms $3,000–4,000

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98 GLENN LEWIS FAIRY RING (TRAVELER’S COMPANION SERIES), 1968, porcelain and plexiglass height 16 1/2 ins; 41.3cms $3,000–5,000 Literature: Paul Mathieu, Sex Pots: Eroticism in Ceramics, New Jersey, 2003, page 173.

From Lewis' “Traveler's Companion” series, Fairy Ring is one of his most visionary works of art. As Mathieu notes, the phallic sculpture is part of “series of salt and pepper shakers and other vessel forms, thrown on the wheel in porcelain, in a very fluid, loose, direct and non-conventional anti-craft fashion.” Fairy Ring, along with other works in the group, such as Nothing is Revealed, “serve as a subject for exploration of diverse concepts around making and using, touching and looking, and other more obvious sexual connotations.”

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99 99 JACK LEONARD SHADBOLT, R.C.A. AUGUST EVENING FORMS, oil on canvas, signed and dated ‘59 36 ins x 28 ins; 90 cms x 70 cms $15,000–20,000 Literature: Bruce Grenville, “Journal Entry February 24 1985”, 75 Years of Collecting: Jack Shadbolt, Vancouver Art Gallery, Vancouver, 2006, page 14.

August Evening Forms reveals vibrant, calligraphic forms that are in a state of in-between; they express the unrestricted representation of the subconscious yet are abstracted and

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unidentifiable. Shadbolt described his artistic practice: “Later, after serving my apprenticeship as a landscape-oriented artist, I was led by historical inevitability toward abstraction. Mere stylization did not seem expressive enough though it strengthened my decorative sense. But I needed more—a more psychologically involved form-relationship process.” August Evening Forms hints at tribal shapes, foreshadowing Shadbolt's future focus and final liberation in art: coastal Aboriginal art.

100 100 HAROLD BARLING TOWN, R.C.A. 100% CANADIAN LANDSCAPE, oil and lucite on masonite, signed and dated ‘60 24 ins x 24 ins; 60 cms x 60 cms $15,000–20,000 Provenance: Isabelle Erskine, London, Ontario.

By descent to the present owner.

Literature: Roald Nasgaard, Abstract Painting in Canada, Toronto, 2007, page 104.

Gary Michel Dault, “Harold Town” (interview), Canadian Art, Spring 1986, pages 44-45.

1960 brought continued success for Harold Town, a charismatic Toronto artist who had gained early prominence in Painters Eleven. Nasgaard describes Town’s obsession of filling the painting surface, the artist “overcome by a horror vacui that drove him to fill every corner and to display in each canvas the whole arsenal of his painter’s techniques.” In 100% Canadian Landscape, Town unleashes his weaponry. The teeming composition brings

together elements which seem to fight for space, overlapping and integrating in the pre-determined manner that Town had truly mastered.

Town’s creative mind made compelling paintings out of his environment. Dissecting his layers of paint, we can visualize the deep, earthy tones of a forest interior, white blankets of snow beneath trees in winter, radiant yellow beams reminiscent of a bright sun and touches of blue suggesting a deep lake or vibrant sky. Perhaps Town’s 100% Canadian Landscape communicates the iconic Canadian landscapes also painted by the Group of Seven.

In a 1986 interview with Gary Michel Dault, Town remarked how he had once, as a young artist, paid very little attention to the Group, confessing that he had “seriously wondered, at one point, if Jock Macdonald had been a member...” The artist admitted to Dault that he came to praise the work of the Group of Seven as there was “nothing wrong with coming to my senses.” 100% Canadian Landscape reveals Town’s powerful, modern take on our country’s terrain; one filled with energetic brushwork, heavy impasto, bold design and an unrivalled energy.

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101 101 RONALD LANGLEY BLOORE UNTITLED, 1976, oil on board, signed on the reverse 43 ins x 66 ins; 107.5 cms x 165 cms $15,000–20,000 Provenance: Galerie Dresdnere, Toronto.

Private Collection, Toronto.

Literature: Roald Nasgaard, Abstract Painting in Canada, Toronto, 2007, pages 148 and 151.

Formally trained in art, art history and archaeology at universities in Toronto, New York and London, Bloore's experience made him a natural leader in the Regina art scene of the 1960s. His interest in historical societies and material culture is visibility translated in his art. Naomi Jackson Groves described Bloore's work as “calmy preplanned puritanical patterns that have the evocative power of ancient symbols, the subtle refinement of pure natural shapes...” By envisioning his art before commencing its production, Bloore was able to execute textured patterns with full control, resulting in bold simplicity.

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102 102 WILLIAM RONALD, R.C.A. DANCER, oil on canvas, signed and dated ‘73 77 ins x 59 ins; 192.5 cms x 147.5 cms $15,000–20,000 Ronald’s larger-than-life personality was reaching new heights by the early seventies. The artist was enjoying a return to television on the Toronto-based program Free For All while maintaining a career as a prominent Toronto painter. Dancer displays Ronald’s gusto for the theatrical; the performer’s movements are captured by Ronald’s expressive forms, complemented by a rich palette.

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103 103 JOHN GEOFFREY CARUTHERS LITTLE, R.C.A. COTE ST. AUGUSTIN, QUEBEC, oil on canvas board, signed 8 ins x 10 ins; 20 cms x 25 cms $5,000–7,000 Provenance: Walter Klinkhoff Gallery, Montreal.

Private Collection, Toronto.

104 GORDON APPELBE SMITH, R.C.A. ROOFTOPS, oil on board, signed 14 1/2 ins x 17 1/2 ins; 36.3 cms x 43.8 cms $3,000–5,000 104

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Provenance: Acquired directly from the artist.

Private Collection, Ontario.

105 105 JOHN KASYN, O.S.A. RUE DORCHESTER, MONTREAL, oil on board, signed and dated ‘77 20 ins x 30 ins; 50 cms x 75 cms $15,000–20,000

106 ARTO YUZBASIYAN KING STREET EAST, oil on canvas, signed 14 ins x 18 ins; 35 cms x 45 cms $1,500–2,000 Provenance: Galerie D’Art Vincent, Ottawa.

Private Collection, Ottawa.

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107 TOM HOPKINS BLUE ENCOUNTER (STUDY), 1996, oil and encaustic on canvas, signed 20 1/2 ins x 18 1/2 ins; 51.3 cms x 46.3 cms $2,500–3,500

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108 GREGORY RICHARD CURNOE SATIE, ink, signed, titled and dated “Sept. 18, 1965”, several spots of adhesive visible along top edge of paper 22 ins x 17 ins; 55 cms x 42.5 cms $1,500–2,000

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109 109 WILLIAM HADD MCELCHERAN THE NEWSPAPER, bronze, signed with initials, numbered 3/9 and stamped “MST Bronze” height 10 3/4 ins; 26.9 cms $8,000–12,000 Provenance: Private Collection, New York, New York.

Literature: David Silcox (English text), William Mac (William McElcheran) The Businessman, Munich, 1991, pages 26-27.

tradition, McElcheran redevelops the hero archetype; moving away from representing the ideal to the “anti-ideal”, the “Everyman, the ubiquitous non hero.” The artist described the businessman, saying that: “His mission in our time is to be part of a larger organization in which he has to be a functioning part.

Most of these guys are not in positions of power. So the image of the businessman with his overcoat, his hat and briefcase is like the package that he puts himself in, because he feels that that’s the kind of image that he has to project to the world.”

For William McElcheran, the businessman is a multifacetal representation of the average man. Drawing from classical

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110 WILLIAM KURELEK, R.C.A. HE GLOATS OVER OUR SCEPTICISM, mixed media on board, signed and dated /72 24 ins x 20 1/2 ins; 60 cms x 51.3 cms $150,000–200,000 Provenance: Isaacs Gallery, Toronto.

Private Collection, Niagara Falls.

Exhibited: William Kurelek: The Toronto Series, The Isaacs Gallery, Toronto, October 10-30, 1972.

William Kurelek: The Messenger, Winnipeg Art Gallery, Winnipeg, September 29-December 31, 2011, no. 44. Also shown at Art Gallery of Hamilton, Hamilton (January 28-April 29, 2012) and Art Gallery of Greater Victoria, Victoria (May 25-September 3, 2012).

Literature: William Kurelek, O Toronto, Paintings and Notes by William Kurelek, Toronto, 1973, plate 15, reproduced in colour; pages ix, 30 and 31.

William Kurelek, Someone With Me, Cornell University, Ithaca, New York, 1973, pages 499500 and 507-508.

Patricia Morley, Kurelek: A Biography, Toronto, 1986, pages 182 and 250 Michael Ewanchuk, William Kurelek: The Suffering Genius, Steinbach, Manitoba, 1996, pages 68-69.

Ilse E. Friesen, Earth, Hell & Heaven In The Art of William Kurelek, Oakville / Buffalo, 1997, page 116.

Tobi Bruce; Mary Jo Hughes; Andrew Kear (curators), William Kurelek: The Messenger, Canada, 2011, page 94 (no. 44), reproduced in colour.

In a 1975 interview, William Kurelek confirmed that his artwork could be divided into two groups, “socio-religious commentary” and “simply farm painting”, which the artist went further to say, “…could be more broadly expressed by saying it is nostalgic.” He wrote that early in his career he “…fretted because I couldn’t paint message paintings only. It wasn’t that I didn’t like doing the farm life ones. It was just that I felt a sense of urgency about the others. I’d discovered after the first two or so exhibits that there were two main streams in my subject matter.” The painter stated that in his “didactic or moralizing” paintings, he would “…paint a theme that I strongly feel needs to be made public, and I deliberately use the popularity of my other more pleasant, memory-recording type painting so that I can attract the public.”

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William Kurelek: The Toronto Series, the 1972 exhibition at Isaacs Gallery, was the perfect opportunity for the painter to present both nostalgic and message works together to the public.

The show included “…twenty-one paintings, one for each of the main districts of the city.” Kurelek noted that he had “…come to love Toronto and was attempting to portray a new subject, ‘the soul of a city’”. Of the twenty-one works of art, six were didactic, including He Gloats Over Our Scepticism.

In O Toronto, Kurelek provides his description of this lot, beginning by saying that the painting may “…look satirical to some, and others may find it ridiculous, maudlin or grotesque.

I’ve tried, in [The Toronto Series], to avoid the self-righteous approach which is so easy to fall into. I deliberately use the personal pronouns ‘we’ and ‘our’, meaning that I can understand mankind’s aberrations even though I don’t agree with them.

After all, I am also a member of the fallen mankind and so it is not for me to judge who specifically is a lost soul.” Kurelek appears almost defensive through this short introduction, clarifying to his audience that he is not preaching “repent and be saved”, but rather attempting to inform and educate through He Gloats Over Our Scepticism his message and world view.

Describing the farmer and his “field” in this painting, Kurelek informs that, “[T]he pronoun ‘He’ used in the title refers to Satan. At first I visualized him literally making hay, mowing down couples having illicit sexual relations. But then I decided that image would be too pastoral for a series dealing with the city. So when I began to meditate on ‘The Strip’, the part of lower Yonge Street that concentrates on sexual titillation, another, better idea came to mind. The term ‘strip’ is used in farming and lumbering to designate a small parcel of a crop to be harvested by one man.”

It is Kurelek’s perceived social scepticism and obliviousness to the existence of God and Satan which he presents as the predominant theme in this painting. “The wandering crowds congregating on the sidewalks of Yonge Street in the evenings appear allegorically like the crop talked of in the Bible. They are ready for harvesting, but alas, in this case, by the wrong person.

The devil’s work is a breeze in our times because he is universally regarded as a fairy tale.”

While there are clear divisions between many of the paintings within the two recognized types of William Kurelek’s work, mainly in the complicated tone and varying brutal depictions observed in his didactic works, this lot stands as a strong example of Kurelek’s continual to attempt to bridge the gap between the two categories.

110 In Someone With Me, Kurelek commented on the separate existence of his didactic and nostalgic works, saying: “Eventually perhaps two main overall themes will become married, completely merged.” While He Gloats Over Our Scepticism plays the role of a didactic work of art, the careful and skilled creation

of this painting of colour, detail, perspective and proportion display the incredible talents of William Kurelek as a master painter and a gifted storyteller, displaying the distinctive and crucial elements found in the artist’s most renowned work.

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111 111 WILLIAM JOHN BERTRAM NEWCOMBE WESTERN MOUNTAIN ABSTRACTION, oil on board, signed and dated /54 31 1/2 ins x 48 ins; 78.8 cms x 120 cms $4,000–6,000

112 WILLIAM RONALD, R.C.A. JERUSALEM AT NIGHT (THE OLD CITY), acrylic on canvas, signed and dated ‘85, unframed 112

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48 ins x 36 ins; 120 cms x 90 cms $4,000–6,000

113 113 ROLPH SCARLETT UNTITLED, oil on board, signed 46 ins x 50 ins; 115 cms x 125 cms $5,000–7,000 Painted circa 1928.

Literature: Rowland Weinstein, Forward to Rolph Scarlett: Listen with Your Eyes, Weinstein Gallery, San Francisco,California, 2011, page 3.

Judith Nasby, “Rolph Scarlett” in Rolph Scarlett: Listen with Your Eyes, Weinstein Gallery, San Francisco, California, 2011, page 7.

Samuel Esses “My Friendship with Rolph Scarlett” in Rolph Scarlett: Listen with Your Eyes, Weinstein Gallery, San Francisco, California, 2011, page 124.

Canadian-born Rolph Scarlett had a successful career in the United States. During the 1920s, he had a keen interest in stage

design. Inspired by jazz music, Scarlett applied fast paced movements to his art: “Geometric structure, vibrant colours, and collage were hallmarks of his stage designs.” Applying a similar style to painting, Scarlett's work aims to express cosmic reality without reference to divinity. The artist describes his painting: “The underlying principle behind my work is an attempt to reach for universal order. The main thing is not spiritualism, it is aesthetics, order, form, colour and rhythm.” In 1938, through the support of Solomon R. Guggenheim, Scarlett was able to begin painting full time. His varied skills in artistry had increased his capabilities in utilizing various styles. Esses writes: “[Rolph’s] ever stretching imagination sought new directions and new forms of expression. The paintings are totally, uniquely Scarlett. They touch all aspects of art, from the early 1920s modern period, cubist, surrealist, non-objective, abstract expressionist, to his later linear expressionist and representational work.”

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114 114 WALTER YARWOOD SEASCAPE, oil on canvas, laid down on board, signed 24 ins x 30 ins; 60 cms x 75 cms $12,000–15,000 Literature: Iris Nowell, Painters Eleven, The Wild Ones of Canadian Art, Toronto, 2010, pages 276 and 278.

A self-taught artist, Walter Yarwood was known for his experiments in art. Nowell writes how the artist often “test[ed] himself, seeing how far he could stretch his tones and maintain

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the compatibility of one with another. Nothing is overdone in his strong colours; it's as though a buzzer in his brain alerted him when to stop.” In Seascape, Yarwood portrays the landscape, a subject he focused on in the 1940s, with the abstract style seen in his work from the 1950s. Seascape may have been a product of Yarwood's transition between the two periods, leading into the formation of Painters Eleven in 1953. Known to his friends as a master of all things outdoors, Yarwood's time was best enjoyed “sitting on a rocky shoal surrounded by water and doing little else but watching waves, birds, clouds, the sun and rain.”

115 115 HAROLD BARLING TOWN, R.C.A. ABSTRACT, oil on canvas, signed and dated ‘60 80 ins x 80 ins; 200 cms x 200 cms $30,000–50,000 Literature: Roald Nasgaard, Abstract Painting in Canada, Toronto/Vancouver, 2007, page 104.

Abstract (1960) is masterful example of Harold Town's ability to reconcile seemingly contradictory elements in his painting.

What appears at first glance to be a display of chaos and frenzy, a further look indicates control and a sense of planning and forethought seen in many of the artist’s works of this period.

Nasgaard writes, “Town’s characteristic method of constructing a canvas is the contrast of opposites. His approach is not to take a single idea and lay it out. Instead Town employs a colour, a shape, or a texture and then introduces its opposite and its

opposite and so on. From there on a struggle ensues whereby Town, to succeed, must wrestle apparent irreconcilables into visual coherence.” Abstract shows Town’s process of reconciliation within the confines of the canvas by pairing erratic brushstrokes and wandering lines within ordered collage-like blocks of colour, creating at the same time a frenetic energy and compositional harmony. Some areas of the canvas seem overcome with chaos but are compensated by adjacent strips of relative calm and subdued colours. The central focus, the star form, struggles to stay intact with its broken lines, edges that are almost consumed by the surrounding complexities of pattern and texture. However, it remains firmly grounded by Town’s use of strong outline colour and contrasting shapes. His technique of “synthesis, antithesis, and resolution seems…to account for the fact that a Town canvas often seems a contest, an argument, a clash of opposed wills.”

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116 116 TONY SCHERMAN FLORAL STILL LIFE (JOCASTA & OEDIPUS SERIES), oil and encaustic on canvas, signed, titled and dated 2002 on the reverse 32 ins x 36 ins; 80 cms x 90 cms $10,000–15,000 Literature: Tony Scherman, “Thirteen notes on The Seduction of Oedipus”, artist’s website.

In his notes on The Seduction of Oedipus, Scherman writes that “metaphors are always fusions of opposites.” The use of flowers as metaphors for the famously incestuous couple represents the apparent innocence of Oedipus and Jocasta positioned against the darkness which was to be their future. By pairing two flowers in different stages of flowering, Scherman might also be alluding to his uncertainty of Jocasta's ignorance; “From what Jocasta says she might well have known about it all along. In any event ‘I love you, I know what is good for you’ sounds more like a mother’s voice than a lover’s.”

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117 117 TONY SCHERMAN LOUIS XVI DREAMS (ABOUT 1789), oil and encaustic on canvas, signed, titled and dated 98/9 on the reverse 40 ins x 40 ins; 100 cms x 100 cms $14,000–18,000 Literature: Sanford Kwinter and Bruce Mau, “Tony Scherman in conversation with Sanford Kwinter and Bruce Mau”, Tony Scherman, Chasing Napoleon: Forensic Portraits, Toronto, 2000.

Jacques Henric, “The Darkest Shadow, The Brightest Light”, About 1789, exhibition catalogue, Galerie Daniel Templon, Paris, 1997.

Scherman, who spent a period of his childhood in Paris, was exposed to the tales of the French Revolution early on; an

interest which would resonate with him for decades. When asked in an interview when he started thinking about Napoleon, Scherman responded: “I remember going to Les Invalides to see Napoleon's tomb, and seeing this big, brown, incomprehensible thing, the spookiest shape, clearly Napoleonic, Empire-style but at the same time not.” The series expresses various events of the Revolution: “...it's all there, the best and the worst: the combat for liberty, incredible devotion, but also factional infighting, the Terror, totalitarian deviations, fanaticism, the beginnings of genocide.” King Louis XVI's sense of fear, panic, and anticipation of the crumbling monarchy, is beautifully portrayed with the contrasting and violent thick strokes of light and dark encaustic.

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118 118 RITA LETENDRE, R.C.A. SIGNE, oil on canvas, signed and dated /64; signed, titled and dated on the reverse, unframed 16 ins x 20 ins; 40 cms x 50 cms $20,000–30,000 Provenance: Galerie de Montreal, Montreal.

Private Collection, Montreal.

By descent to the present owner, San Francisco.

Literature: Sandra Paikowsky, Rita Letendre, The Montreal Years, Concordia Art Gallery, Montreal, 1989, pages 18 and 29.

Letendre's energetic compositions of the 1960s remain some of

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the most celebrated artworks of her career. The artist demonstrated an early commitment to abstraction while exhibiting with the Automatistes in the 1950s. This dedication blossomed into something quite extraordinary by the following decade when Letendre conceived unrestrained, gestural works such as Signe. Here, the artist uses a palette knife to forge a grand, sweeping motion and sudden central vertical thrust of white pigment, creating a marvelous compositional tension between light and dark. Paikowsky writes how Letendre’s works of the early sixties exhibited “chaotic unrest as though the previously ordered natural world of her images had returned to its primeval origins.” Signe emerged following a decade of growth and accomplishment in Montreal for Letendre; these experiences solidified her devotion to abstraction and her concern for heavy impasto and tense, powerful forms.

119 119 JEAN PAUL RIOPELLE, R.C.A. AUTOMNE, oil on canvas, signed 15 ins x 18 ins; 37.5 cms x 45 cms $30,000–50,000 Provenance: Galerie Maeght, Paris.

Private Collection, Ontario.

Literature: Pierre de Ligny Boudreau, “Seasons within Seasons”, Jean Paul Riopelle, exhibition catalogue, Kitchener-Waterloo Art Gallery, 1980, pages 3-4.

Discussing the theme of seasons in Riopelle’s painting, Pierre de Ligny Boudreau writes: “Autumn: in the clear air each element in the landscape in view is sharply outlined…in their slow seasonal journey to winter, the trees have reached a lyrical moment of utter exuberance parading their reds…it is breathtaking fall in the new world.” Riopelle’s Automne surely gives us “the sensation, the sentiment, the essence” of the transitional season.

This painting will be included in Yseult Riopelle’s forthcoming catalogue raisonne on the artist’s artwork of this period.

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120 MARCELLE FERRON, R.C.A. SANS TITRE, 1961, oil on canvas, signed 28 1/2 ins x 21 ins; 71.3 cms x 52.5 cms $70,000–90,000 Provenance: Gallery Moos, Toronto.

Private Collection, Toronto.

Exhibited: Marcelle Ferron, Gallery Moos, Toronto, April 5-24, 1962.

Literature: Gunda Lambton, Stealing the Show: Seven Women Artists in Canadian Public Art, Montreal/Kingston, 1994, page 23.

Produced during Ferron’s Parisian period, Sans Titre underscores the artist’s affinity for a powerful palette and broad, gestural strokes. Having resided in France since 1953, Ferron’s international reputation had grown significantly with participation in numerous international solo and group exhibitions. In 1961, Ferron was awarded the silver medal at the Bienal de São Paulo, a major exhibition which also presented the talents of Canadian artists Ron Bloore, Alex Colville, Gord Smith and Harold Town. It was during this momentous year that Sans Titre was born; the painting would then travel across the Atlantic and be exhibited in April of 1962 at Gallery Moos in Toronto.

In Sans Titre, Ferron employs wide palette knife strokes with brilliant hues that contrast a magnificent white pigment. The controlled and exquisite movement of the palette knife brings to life a composition that has some impressions of Paul-Emile Borduas’ work with a colour scheme and dynamic tension that are Ferron’s own. Although incredibly vivid, the pigments have a great transparency to them caused by the act of sweeping the spatula across the surface. Sans Titre is a unique display of “matter and transparence”, where experimental colours and forms incite thoughts of gemstones or a masterfully disintegrated landscape. It is not surprising that, by 1963, Ferron would commence studying experimental stained-glass making in Michel Blum’s Parisian studio.

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121 121 RONALD ALBERT MARTIN ONE COLOUR PAINTING, 1972-73, oil on canvas, signed, titled and dated on the reverse, unframed 80 ins x 72 ins; 200 cms x 180 cms $15,000–25,000 Literature: Roald Nasgaard, Abstract Painting in Canada, Toronto/Vancouver, 2007, page 283.

Nasgaard writes how “the sweep and flow of hand-drawn gestures of [Martin’s] One-Colour Paintings seem indebted to ‘Action painting’…the picture a record of an event rooted in the artist’s biography.” One-Colour Painting (1972-73) would have been executed with strict parameters: Martin used a standard sized canvas for artworks in this series, a predetermined amount of only one colour of paint, and did not allow for any interruption during its execution.

122 122 WILLIAM RONALD, R.C.A. ABSTRACT (R-135), ink wash and watercolour, signed and dated /60 18 ins x 24 ins; 45 cms x 60 cms $1,500–2,000

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123 HAROLD BARLING TOWN, R.C.A. ABSTRACT, mixed media on card, signed and dated “June 12, ‘52” 28 ins x 22 ins; 70 cms x 55 cms $6,000–8,000

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124 OSCAR CAHEN UNTITLED, mixed media, signed and dated ‘56 27 1/2 ins x 18 1/4 ins; 68.8 cms x 45.6 cms $15,000–25,000 Painted during the final year of Cahen’s life, this work exudes the masterful brush handling, warm palette and imagination that defined the influential Painters Eleven artist. Cahen’s use of dyes, wash and ink creates a harmonious work while dynamic shapes and sweeping lines hint at both the natural and the supernatural.

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125 JAMES (JOCK) WILLIAMSON GALLOWAY MACDONALD, O.S.A., A.R.C.A. PLATO’S CAVE, oil on canvas board, signed and dated /60 16 ins x 20 ins; 40 cms x 50 cms $15,000–20,000 Provenance: Estate of the artist, Toronto.

Roberts Gallery, Toronto.

Private Collection, Toronto.

Exhibited: Jock Macdonald: A Retrospective, Roberts Gallery, Toronto, January 5-20, 1962, (also titled Roseate Rapture by the family of the artist according to the present owner).

Literature: Joyce Zemans, Jock Macdonald: the inner landscape/a retrospective exhibition, Art Gallery of Ontario, Toronto, 1981, pages 211, 229 and 241.

Iris Nowell, Painters Eleven, The Wild Ones of Canadian Art, Toronto, 2010, pages 205 and 213.

Following a retrospective exhibition at the Art Gallery of Toronto of Macdonald’s work in the spring of 1960, the artist had many doors open for him. Joyce Zemans notes how “the Roberts Gallery, which ‘previously…wouldn’t look at [his] stuff’ asked to represent him, taking six oils and six watercolours immediately. He was pleased in spite of the gallery’s former position, as Roberts was ‘an excellent gallery’.”

In Plato’s Cave, Macdonald depicts darkness and depth that contrast luminous, amorphous shapes with emanating red and cream coloured forms. Zemans writes that “Macdonald moved beyond the all-over composition to concentrate on a powerful central image. It is an image that comes alive primarily through colour and through the tension established between the fluid elemental shapes.” The title alludes to Plato’s Allegory of the Cave, a symbol for contrasts between ideas and the perception of reality. By not concerning himself with the representation of “natural appearances” Macdonald’s painting is not “an escape from life but may be a penetration into reality-and an expression of the significance of life…”

Always an inspiring teacher, Macdonald had a lasting effect on his students and colleagues. William Ronald, fellow Painters Eleven member, remarked: “I owe everything to Jock…Anything that I do is due to Jock. Without him I think I would still be in the thirdyear drawing and painting class.” Plato’s Cave highlights the philosophical views that Macdonald expressed throughout his painting career, continuously adding a deeper level of meaning to his art.

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126 126 HAROLD BARLING TOWN, R.C.A. ABSTRACT, oil and lucite on masonite, signed and dated /59 17 ins x 17 ins; 42.5 cms x 42.5 cms $10,000–15,000

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127 127 WILLIAM KURELEK, R.C.A. PRAIRIE CHILDREN FETCHING FIREWOOD, oil on board, signed with initials and dated ‘67 12 1/2 ins x 15 ins; 31.3 cms x 37.5 cms $20,000–30,000 Provenance: Private Collection, Toronto.

Literature: William Kurelek, A Prairie Boy’s Winter, Paintings and Story by William Kurelek, Montreal, 1973, Plate 13, entitled Hauling Firewood.

Kurelek writes that fetching firewood was one chore that he never liked. He could carry the wood by armfuls to the house from the woodpile, but that meant too much trudging through the snow.

Better to load up the sleigh and if Winnie would push, that made it easier: “So hauling wood was a regular chore. If the woodpile was snowed in, William had to dig for the logs.” In Prairie Children Fetching Logs we see a young boy, probably Kurelek, splitting logs while a young girl, perhaps his sister Winnie, is loading the sleigh.

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128 128 WILLIAM RONALD, R.C.A. BABY POWDER, oil on canvas, signed and dated /80 36 ins x 78 ins; 90 cms x 195 cms $12,000–15,000 Provenance: Christopher Cutts Gallery, Toronto.

Private Collection, Toronto.

129 WILLIAM RONALD, R.C.A. UNTITLED, ink, signed and dated ‘63 129

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25 ins x 20 ins; 62.5 cms x 50 cms $2,000–3,000

130 130 FERNAND TOUPIN ICEBERG II, acrylic on canvas, signed and dated /88 26 ins x 40 ins; 65 cms x 100 cms $5,000–7,000

131 CHRISTIAN MARCEL BARBEAU, R.C.A. ABSTRACT, acrylic on canvas, signed 25 1/2 ins x 31 1/2 ins; 63.8 cms x 78.8 cms $3,000–5,000

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132 132 PAUL VANIER BEAULIEU, R.C.A. LE NAPPE ROUGE (THE RED TABLECLOTH), oil on canvas, signed and dated ‘59 10 1/2 ins x 14 ins; 26.3 cms x 35 cms $5,000–7,000

133 DAVID BIERK A EULOGY TO ART AND LIFE, TO CARAVAGGIO AND DA CORTONA (STUDY 1), 1996, oil on photograph on board, signed with initials 133

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16 ins x 18 ins; 40 cms x 45 cms $1,500–2,000

134 134 MALCOLM RAINS TENOS, 2002, oil on canvas, signed 28 ins x 42 ins; 70 cms x 105 cms $7,000–9,000

135 MARCELLE FERRON, R.C.A. ABSTRACTION, mixed media on card, signed and dated /75 15 ins x 12 ins; 37.5 cms x 30 cms $3,000–4,000 Provenance: Galerie Gilles Corbeil, Montreal.

Galerie D’Art Vincent, Ottawa.

Private Collection, Toronto.

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136 136 ADAM SHERRIFF SCOTT, R.C.A. OLD TIME SUGARING, oil on canvas board, signed 24 ins x 36 ins; 60 cms x 90 cms $15,000–20,000

137 CHARLES FRASER COMFORT, O.S.A., P.R.C.A. BACK ROAD TO CORMAC, oil on canvas, signed 20 ins x 26 ins; 50 cms x 65 cms $7,000–9,000 137

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Provenance: Wallack Galleries, Ottawa.

Private Collection, Ottawa.

138 ARTHUR SHILLING FIGURES IN THE FOREST, AUTUMN, oil on canvas, signed and dated /72 36 ins x 30 ins; 90 cms x 75 cms $6,000–8,000

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139 RENE RICHARD TRAPPER’S CAMP, oil on board, signed 24 ins x 26 ins; 60 cms x 65 cms $12,000–15,000

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140 EDWARD JOHN HUGHES, R.C.A. ABOVE REVELSTOKE, B.C., oil on canvas, signed and dated 1963 32 ins x 48 ins; 80 cms x 120 cms $125,000–175,000 Provenance: Dominion Gallery, Montreal.

Private Collection, Europe.

Literature: Ian M. Thom, E.J. Hughes, Vancouver, 2002, pages 144, 155-156 and169, illustrated in colour for another view entitled Eagle Pass at Revelstoke, 1961 (collection of the Vancouver Club).

Jacques Barbeau, A Journey with E.J. Hughes: One Collector’s Odyssey, Vancouver/Toronto, 2005, pages 61-63, #’s 39 and 42 for the artist’s pencil studies for Eagle Pass at Revelstoke (both in the Jacques Barbeau Foundation Collection).

In 1963, Hughes received a second Canada Council grant. Ian Thom writes: “The sketching trips that Hughes made with the support of the Canada Council took him and his wife throughout the interior of British Columbia…” In his travels, Hughes came upon the marvelous panorama that is Revelstoke. This depiction of the British Columbia locale is especially captivating as it illustrates the landscape from a bird’s eye view; the delicately composed town below is a stunning contrast to the wild nature of the mountainous region across the water. There is a consistent, meticulous manner in which Hughes constructs his composition; the perfect lines of the architectural features of the town, the soft lines of vegetation, ripples in the winding water and delicately defined snow-capped mountains attest to the artist’s skill in depicting an impressive variety of surfaces in a signature, largescale composition.

In his discussion of another view of Revelstoke entitled Eagle Pass at Revelstoke, 1961, Thom notes how “the contrast between the relatively busy foreground and the mountains in the background was [for Hughes] a challenge.” In a letter to the artist dated March 9th, 1962, art dealer Dr. Max Stern suggests that he “not close up the landscape…but let the eye of the onlooker travel into the distance, which you always render so beautifully.” A vast, impressive landscape is precisely what Hughes achieves in Above Revelstoke, B.C.

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141 FRANK LEONARD BROOKS, O.S.A., A.R.C.A. COASTAL CRETE, mixed media collage on canvas, signed 36 ins x 40 ins; 90 cms x 100 cms $3,000–4,000 Provenance: Roberts Gallery, Toronto.

Private Collection, Toronto.

141 142 THOMAS SHERLOCK HODGSON UNTITLED - GOLD AND PURPLE ABSTRACT, oil on canvas, signed 22 ins x 21 1/4 ins; 55 cms x 53.1 cms $2,500–3,500 Provenance: Roberts Gallery, Toronto.

Canadian Fine Arts, Toronto.

Private Collection, Toronto.

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143 GORDON APPELBE SMITH, R.C.A. FOREST, oil on canvas, signed 22 ins x 23 ins; 55 cms x 57.5 cms $4,000–6,000 143

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Provenance: Acquired directly from the artist.

Private Collection, Ontario.

144 144 JACK LEONARD SHADBOLT, R.C.A. ABSTRACT, gouache, signed and dated ‘56 22 ins x 30 ins; 55 cms x 75 cms $12,000–15,000

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145 PHILIP HENRY HOWARD SURREY, R.C.A. BEACH SCENE, watercolour, signed 11 1/2 ins x 17 1/4 ins; 28.8 cms x 43.1 cms $2,500–3,500 Provenance: Joyner Fine Art Inc., Canadian Art Auction, Toronto, May 14th, 1991, lot 11.

Private Collection, Calgary.

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146 HILTON MACDONALD HASSELL, O.S.A., R.C.A. HARBOUR PATTERN, oil on board, signed 28 ins x 40 ins; 70 cms x 100 cms $3,000–5,000 Exhibited: Eleventh Annual Exhibition, Art Gallery of Hamilton, Ontario, 1960.

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147 JOE NORRIS GULLS AND SHIP ON ROCKS, oil on canvas, signed and inscribed “Lower Prospect” 24 ins x 30 ins; 60 cms x 75 cms $3,000–5,000 Painted circa 1978.

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Exhibited: Joe Norris: Painted Visions of Nova Scotia, travelling exhibition, Art Gallery of Nova Scotia, Halifax, 2000.

148 148 ROBERT BATEMAN RIGGING AND GULLS, oil on board, signed and dated 1982 12 ins x 24 ins; 30 cms x 60 cms $8,000–12,000 Literature: Robert Bateman and Ramsay Derry (text), The Art of Robert Bateman, Toronto, 2006, page 135.

While describing another painting depicting gulls surrounding a boat, Bateman discusses his preference when combining elements of nature and man-made “things” within his work, saying that he will “…usually choose subjects that nature has already taken a bite out of. A new, freshly painted, steel-hulled oil carrier doesn’t have too much appeal for me, but a well-worn wooden fishing boat… with peeling paint and patina from age and weathering, has become part of the natural world.”

149 MAUD LEWIS NOVA SCOTIA INLET, oil on board, signed 11 1/2 ins x 13 1/2 ins; 28.8 cms x 33.8 cms $4,000–6,000

149

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150 JOE NORRIS THREE MOOSE - THE CHALLENGE, oil on canvas, signed and inscribed “Lower Prospect” 25 ins x 30 ins; 62.5 cms x 75 cms $3,000–5,000

150

151 HAROLD BARLING TOWN, R.C.A. UNTITLED (TOY HORSES), gouache, signed and dated Dec. 10 /77 22 1/2 ins x 28 1/2 ins; 56.3 cms x 71.3 cms $2,000–3,000

151

152 ADAM SHERRIFF SCOTT, R.C.A. INUIT ENCAMPMENT, BAFFIN ISLAND, oil on canvas, signed 152

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24 ins x 30 ins; 60 cms x 75 cms $3,000–4,000

153 DAVID LLOYD BLACKWOOD, O.S.A., R.C.A. YOUNG WHALE IN GREENSPOND TICKLE, etching and aquatint, printed in colours, signed, titled, dated 1974 and numbered 4/50 in the margin 20 ins x 16 ins; 50 cms x 40 cms $3,000–5,000 Literature: Gary Michael Dault, “Ice and Fire: An Interview with David Blackwood”, Katharine Lochan, Black Ice: David Blackwood, Prints of Newfoundland, Toronto, 2011, page 32.

Depicting a similar scene and theme to some of the artist’s most celebrated works, Young Whale In Greenspond Tickle provides not only a representation of the balance of power between man and nature, but also that of the conscious and unconscious. Gary Michael Dault discusses this theme with Blackwood during a 2011 interview, inferring that “…the power of [Blackwood’s] depictions of those prodigious whales lurking beneath the surface of the sea might derive from the idea of the submerged as the realm of the unconscious.” Blackwood replied with, “I suppose we can see in it the presence of the unconscious – unconsciously. But I also think all that had a great deal to do with living intimately, every day, with life and death.” Indeed, the passenger of the wooden rowboat on the surface straddles a fine line between life and death, the smallest move of the giant surfacing whale having the power to potential capsize the vessel, leaving its passenger at the mercy of the frigid waters.

153

154 NORVAL MORRISSEAU, R.C.A. PAAKUK, acrylic on paper, signed, with a detailed description of the subject on the reverse 18 ins x 27 ins; 45 cms x 67.5 cms $8,000–10,000 Provenance: Kinsman Robinson Galleries, Toronto.

Private Collection, Toronto.

Exhibited: Norval Morrisseau: Legendes Indiennes du Grand Nord Canadien, Galerie St-Paul, St-Paul-deVence, France, September 3-24, 1969.

Literature: Herbert T. Schwarz, Windigo and Other Tales of the Ojibways, illustrated by Norval Morrisseau, Toronto, 1969, page 23, reproduced in colour.

154

This lot is accompanied by a copy of Windigo and Other Tales of the Ojibways by Herbert T. Schwarz and Norval Morrisseau.

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155 JOSEPH FRANCIS PLASKETT, R.C.A. SELF PORTRAIT, oil on canvas, signed and dated ‘55 18 ins x 13 ins; 45 cms x 32.5 cms $2,500–3,500 Provenance: Acquired directly from the artist.

Dr. and Mrs. Hill H. Cheney, British Columbia.

Family of the artist.

In a December, 1949 letter from Joseph Plaskett to Dr. and Mrs. Hill H. Cheney, the original owners of this portrait, the artist cannot help but contain his excitement after recently settling for the first time in Paris, France. “Paris has the quality of a dream and fantasy. I believe it is only to be prelude to Italy in the Spring. Maybe a jaunt to Belgium and Holland in the New Year.

I’m being educated in tremendous proportions.”

A copy of the letter from the artist to Dr. and Mrs. Cheney, as well as copies of two photographs of the artist posing with this painting, are available to the purchaser of this artwork.

155

156 GRANT KENNETH MACDONALD, R.C.A. PRAYING FIGURE, gouache, signed and dated /52 16 ins x 12 ins; 40 cms x 30 cms $1,500–2,000

156

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157 157 ARTHUR SHILLING NINE HEADS, oil on board, signed and dated /81 27 1/2 ins x 39 1/2 ins; 68.8 cms x 98.8 cms $8,000–10,000 Provenance: Beckett Gallery, Hamilton.

Private Collection, Toronto.

158 STANLEY MOREL COSGROVE, R.C.A. FEMME AUX YEUX BRUNS, oil on board, signed and dated ‘53 20 ins x 16 ins; 50 cms x 40 cms $5,000–7,000

158

Provenance: Dominion Gallery, Montreal.

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159 159 CHARLES FRASER COMFORT, O.S.A., P.R.C.A. OBLONG LAKE, HALIBURTON COUNTY, oil on canvas, signed 20 ins x 26 ins; 50 cms x 65 cms $7,000–9,000

160 CHARLES FRASER COMFORT, O.S.A., P.R.C.A. SUNSET, MACGREGOR BAY, oil on board, signed 160

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12 ins x 16 ins; 30 cms x 40 cms $3,000–5,000

161 161 KENNETH CAMPBELL LOCHHEAD SPECIAL DAY, GATINEAU RIVER, 1995, oil on canvas, signed 24 ins x 36 ins; 60 cms x 90 cms $3,000–4,000 Provenance: Acquired directly from the artist.

Private Collection, Gatineau, Quebec.

Literature: Robert Enright, “In the Garden of Lochhead”, Globe & Mail, Wednesday, April 6, 2005, Review Section, page R3.

In a Globe & Mail review of a 2005 Retrospective exhibition of the artist’s work at the MacKenzie Art Gallery in Regina, Robert Enright speaks of Lochhead’s ever-changing work as the painter underwent “…another transformation in the midnineties when he becomes a landscape painter. But it doesn’t matter what his subject is…you are always aware how good a painter he is, and how much the act of painting matters to him…Lochhead has always made painting because they made sense of where he was. He is the embodiment of Northrop Frye’s definition of what it is to be a Canadian.” Lochhead was a founding member of the Regina Five group of painters and was named to the Order of Canada in 1971. The artist received the Governor General’s Award in Visual and Media Arts in 2006.

162 162 HENRI LEOPOLD MASSON POND, oil on canvas board, signed 14 ins x 18 ins; 35 cms x 45 cms $2,000–3,000

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163 DAVID ALEXANDER COME TO THE SURFACE, acrylic on canvas, signed and dated /99 91 ins x 40 ins; 227.5 cms x 100 cms $5,000–7,000 Provenance: Wallack Galleries, Ottawa.

Private Collection, Ontario.

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164 HENRI LEOPOLD MASSON FIN D’OCTOBRE, RIVIERE RIDEAU, oil on board, signed 163

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16 ins x 20 ins; 40 cms x 50 cms $4,000–6,000

165 165 NORVAL MORRISSEAU, R.C.A. UNTITLED (MYTHIC CREATURE), acrylic on paper, signed 23 ins x 35 1/2 ins; 57.5 cms x 88.8 cms $6,000–8,000 Provenance: Acquired directly from the artist.

By descent to the present owner, Ontario.

166 NORVAL MORRISSEAU, R.C.A. UNTITLED (THUNDERBIRD), acrylic on paper, signed 32 ins x 21 1/2 ins; 80 cms x 53.8 cms $5,000–7,000 Provenance: Acquired directly from the artist.

By descent to the present owner, Ontario.

166

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167 167 JACQUES GODEFROY DE TONNANCOUR, A.R.C.A. LE MONT-ROYAL ET L’ORATOIRE, oil on canvas, signed and dated ‘44 19 ins x 23 ins; 47.5 cms x 57.5 cms $6,000–8,000 Provenance: Dominion Gallery, Montreal.

Private Collection, Toronto.

168 WILLIAM GOODRIDE ROBERTS, R.C.A. TREES AGAINST BRIGHT SKY, GEORGIAN BAY, oil on board, signed 20 ins x 24 ins; 50 cms x 60 cms $4,000–6,000 Provenance: Roberts Gallery, Toronto.

Private Collection, Ontario.

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168

169 169 MAUD LEWIS CARRIAGE RIDES THROUGH TOWN, WINTER, oil on board, signed 12 ins x 15 3/4 ins; 30 cms x 39.4 cms $3,000–5,000

170 BRUNO JOSEPH BOBAK, R.C.A. WINTER LANDSCAPE, oil on canvas, signed 170

22 ins x 30 ins; 55 cms x 75 cms $4,000–6,000

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171 171 WILLIAM GOODRIDGE ROBERTS, R.C.A. LAURENTIAN FIELD, oil on board, signed 25 ins x 32 ins; 62.5 cms x 80 cms $4,000–6,000 This lot was painted in 1961 at Calumet, Quebec.

172 ADAM SHERRIFF SCOTT, R.C.A. UNLOADING, BREAKING CAMP IN SPRING, oil on canvas, signed 24 ins x 36 ins; 60 cms x 90 cms $4,000–6,000

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173 CARL FELLMAN SCHAEFER, R.C.A. YELLOW BIRCH, HALIBURTON, watercolour, signed and dated “9.10.55” 11 ins x 14 1/2 ins; 27.5 cms x 36.3 cms $2,000–3,000 Provenance: Collection of the artist.

Masters Gallery Ltd., Calgary.

Private Collection, Calgary.

Literature: Margaret Gray et al, Carl Schaefer (Canadian Artists 3), Toronto, 1977, page 38, colour plate, reproduced.

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174 THOMAS DE VANY FORRESTALL, A.R.C.A. THE BUSH, HORIZON #3, egg tempera, signed and dated 1973 20 ins x 36 ins; 50 cms x 90 cms $2,500–3,500 Provenance: Roberts Gallery, Toronto.

Private Collection, Pennsylvania.

This work was painted at Upper Clements, Nova Scotia, and depicts the bush in the woods behind the artist’s house.

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END OF SALE

Fall 2013 Canadian Fine Art Auction Our fall sale is tentatively scheduled to take place on Monday, November 25th at 7:00 p.m.

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INDEX OF ARTISTS A

H

Alexander, David (b.1947)...163 Armstrong, William (1822-1914)...78

Haines, Frederick Stanley (1879-1960)...24 Harris, Lawren Stewart (1885-1970)...25, 70 Harris, Robert (1849-1919)...61 Hassell, Hilton MacDonald (1910-1980)...146 Henderson, James (1871-1951)...74 Heward, Efa Prudence (1896-1947)...38 Hewton, Randolph Stanley (1888-1960)...11 Hodgson, Thomas Sherlock (1924-2006)...142 Hopkins, Tom (1944-2011)...107 Hughes, Edward John (1913-2007)...140 Hutchison, Frederick William (1871-1953)...93

B Banting, Frederick Grant (1891-1941)...19 Barbeau, Christian Marcel (b. 1925)...131 Bateman, Robert (b. 1930)...148 Beatty, John William (1869-1941)...22 Beaulieu, Paul Vanier (1910-1996)...132 Bell-Smith, Frederic Marlett (1846-1923)...44-45 Bierk, David (1944-2002)...133 Blackwood, David Lloyd (b. 1941)...153 Bloore, Ronald Langley (1925-2009)...101 Bobak, Bruno Joseph (1923-2013)...170 Brooks, Frank Leonard (1911-1989)...141

I Innes, John (1863-1941)...82 J

C Cahen, Oscar (1916-1956)...124 Casson, Alfred Joseph (1898-1992)...28, 37, 42, 52, 60 Challener, Frederick Sproston (1869-1959)...94 Coburn, Frederick Simpson (1871-1960)...14, 71, 73, 80, 83, 87, 89 Comfort, Charles Fraser (1900-1994)...137, 159-160 Coombs, Edith Grace (1890-1986)...67, 69 Cosgrove, Stanley Morel (1911-2002)...158 Cullen, Maurice Galbraith (1866-1934)...7, 12, 21 Curnoe, Gregory Richard (1936-1992)...108

Jackson, Alexander Young (1882-1974)...15, 26, 29, 35, 47, 51, 56, 58 Jefferys, Charles William (1869-1951)...95 Johnston, Frank Hans (1888-1949)...13, 16, 17, 30, 36, 57, 59 Johnstone, John Young (1887-1930)...8, 46 K Kasyn, John (1926-2008)...105 Krieghoff, Cornelius (1815-1872)...33-34, 39, 81 Kurelek, William (1927-1977)...110, 127

D

L

de Tonnancour, Jacques Godefroy (b. 1917)...167

Letendre, Rita (b. 1929)...118 Lewis, Glenn (b. 1935)...98 Lewis, Maud (1903-1970)...149, 169 Lismer, Arthur (1885-1969)...20, 31, 49 Little, John Geoffrey Caruthers (b. 1928)...103 Lochhead, Kenneth Campbell (1926-2006)...161 Long, Marion (1882-1970)...2 Loveroff, Frederick Nicholas (1890-1959)...4

F Ferron, Marcelle (1924-2001)...120, 135 Forbes, Elizabeth Adela Stanhope (1859-1912)...63 Forrestall, Thomas de Vany (b. 1936)...174 Fortin, Marc-Aurele (1888-1970)...9, 41 G Gagnon, Clarence Alphonse (1881-1942)...23

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INDEX OF ARTISTS M

S

MacDonald, Grant Kenneth (1909-1987)...156 MacDonald, James Edward Hervey (1873-1932)...48, 50, 66 Macdonald, James Williamson Galloway (1897-1960)...125 Martin, Ronald Albert (b. 1943)...121 Martin, Thomas Mower (1838-1934)...79 Masson, Henri Leopold (1907-1996)...162, 164 May, Henrietta Mabel (1877-1971)...77 McCarthy, Doris Jean (1910-2010)...32 McElcheran, William Hadd (1927-1999)...109 Milne, David Brown (1882-1953)...40, 68, 75 Morrice, James Wilson (1865-1924)...18, 55 Morrisseau, Norval (1932-2007)...154, 165-166 Muntz, Laura Adeline (1860-1930)...65

Sandham, Henry (1842-1910)...62 Scarlett, Rolph (1891-1984)...113 Schaefer, Carl Fellman (1903-1995)...173 Scherman, Tony (b. 1950)...116-117 Scott, Adam Sherriff (1887-1980)...136, 152, 172 Shadbolt, Jack Leonard (1909-1998)...99, 144 Sheppard, Peter Clapham (1882-1965)...27 Shilling, Arthur (1941-1986)...138, 157 Smith, Gordon Appelbe (b. 1919)...104, 143 Surrey, Philip Henry Howard (1910-1990)...145 Suzor-Cote, Marc-Aurele de Foy (1869-1937)...10, 85-86

N

T Toupin, Fernand (1930-2009)...130 Town, Harold Barling (1924-1990)...100, 115, 123, 126, 151

Newcombe, William John Bertram (1907-1969)...111 Norris, Joe (1924-1996)...147, 150

V Varley, Frederick Horsman (1881-1969)...64 Verner, Frederick Arthur (1836-1928)...84

O

W

O’Brien, Lucius Richard (1832-1899)...53-54

Watson, Homer Ransford (1855-1936)...72 Wilkinson, John B. (act. 1865-1907)...3

P Y Panabaker, Frank Shirley (1904-1992)...1 Pepper, George Douglas (1903-1962)...6 Phillips, Walter Joesph (1884-1963)...88 Pilot, Robert Wakeham (1898-1967)...5, 43, 90, 92 Plaskett, Joseph Francis (b. 1918)...155

Yarwood, Walter (1917-1996)...97, 114 Yuzbasiyan, Arto (b. 1948)...106

R Rains, Malcolm (b. 1945)...134 Raphael, William (1833-1914)...91 Reid, Mary Heister (1854-1921)...76 Richard, Rene (1895-1982)...139 Riopelle, Jean Paul (1923-2002)...119 Roberts, William Goodridge (1904-1974)...168, 171 Ronald, William (1926-1998)...96, 102, 112, 122, 128-129

Canadian Fine Art - Monday, June 3rd, 2013 at 7 p.m. 127

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