Charles Bronfman's Claridge Collection Auction: Part I & II | November 6, 2013

Charles Bronfman's Claridge Collection Auction Wednesday 6 November 2013 Session 1: Decorative Arts at 1:00 p.m.

Session 2: Fine Arts at 7:00 p.m.

On View Thursday 31 October from 9:00 a.m. - 5:00 p.m.

Friday 1 November from 9:00 a.m. - 5:00 p.m.

Saturday 2 November from 11:00 a.m. - 5:00 p.m.

Sunday 3 November from 11:00 a.m. - 5:00 p.m.

Monday 4 November from 9:00 a.m. - 5:00 p.m.

Tuesday 5 November from 9:00 a.m. - 5:00 p.m.

Preview and Auction to be held at Waddingtons.ca 275 King Street East, 2nd Floor Toronto Ontario Canada M5A 1K2 This auction is subject to the Conditions of Sale printed in the back of this catalogue.

All lots in the auction may be viewed online at Waddingtons.ca

Waddingtons.ca

Specialist Stephen Ranger 416 847 6194 skr@waddingtons.ca Client services for this auction Kathleen Killin 416 504 9100 *6198 kk@waddingtons.ca Corporate Receptionist Kate Godin 416 504 9100 kg@waddingtons.ca Absentee and Phone Bidding 416 504 0033 (Fax) bids@waddingtons.ca Online Bidding www.artfact.com Accounts Manager Karen Sander 416 847 6173 ks@waddingtons.ca

Additional images and full artist biographies available at Waddingtons.ca This catalogue and its contents Š 2013 Waddington McLean & Company Ltd. All rights reserved.

Photography by Waddingtons.ca.

Charles Bronfman's Claridge Collection

When my family holding company Claridge was created, we moved into what was formerly the Windsor Hotel in Montreal, occupying the top three floors of that wonderful building. Our beautiful new premises now needed decorating.

Lorsque nous avons fondé la société d'investissement privée Claridge, nous nous sommes installés dans les trois derniers étages du magnifique ancien Hôtel Windsor, à Montréal. Il fallait alors décorer nos superbes nouveaux locaux.

In April of 1986, my late wife Andy and I were having lunch with Franklin Silverstone, our Curator, and the subject of decorating the new offices came up and the idea of searching out and using Canadian art exclusively was discussed. Not only would it support the work of the Saidye Bronfman Award recipients, it would also benefit all artists who are working in decorative arts and crafts across Canada.

En avril 1986, lors d'un déjeuner avec Franklin Silverstone, notre conservateur, ma défunte femme Andy et moi avons abordé le sujet. C'est alors que nous est venue l'idée de décorer les bureaux exclusivement avec des pièces d'art canadien triés sur le volet. Non seulement cette démarche aiderait-elle les lauréats du Prix Saidye Bronfman, elle profiterait également à tous les artistes travaillant en arts décoratifs et en métiers d'art au Canada.

The idea took hold and, for the next two years, Franklin travelled across the country, visiting artists in various cities in every province in search of excellent objects.

Those works would then be set up, exhibition-style, for Andy and me, together with a couple of our colleagues to review and select those that wowed us. Between 1986 and 1996, over 900 works were purchased and displayed throughout our offices. It quickly became referred to as “The Claridge Collection,” a title that has held all these many years.

Dismantling the collection is bittersweet, but knowing the proceeds will benefit on-going programs of Historica Canada is really a gift that keeps on giving!

Charles Bronfman

L'idée a suivi son chemin, et Franklin est parti à la recherche d'objets qui répondaient à notre critère d'excellence. Pendant deux ans, il a parcouru toutes les provinces du pays pour y rencontrer des artistes. Les pièces que Franklin sélectionnait nous étaient ensuite présentées, sous forme d'exposition. Avec l'aide de certains de nos collègues, Andy et moi les examinions et choisissions celles qui nous épataient. Entre 1986 et 1996, plus de 900 oeuvres ont ainsi été achetées pour être exposées dans nos bureaux. Bientôt, on s'est mis à parler de la « collection Claridge », titre qu'elle a gardé jusqu'à ce jour.

C'est avec un sentiment doux-amer que je dis adieu à la collection, mais je tire satisfaction du fait que les profits de sa vente seront versés aux programmes d'Historica Canada, ce qui lui accordera une forme de pérennité.

Charles Bronfman

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Waddingtons.ca The Claridge Collection

La collection Claridge

Our Claridge colleagues have been fortunate to be able to work amongst the Claridge Collection of Canadian arts and crafts since we moved into the offices at the Windsor in Montreal in 1987. With its unique blend of interior design and varied art collection, this workspace became a warm, friendly, and stimulating place to inhabit over these past 30 years. Visitors have always remarked that we have a very special work environment, much less of an office, and more of an eclectic home - truly one of a kind.

Depuis que Claridge s'est installé dans l'édifice Windsor à Montréal, en 1987, nos collègues ont eu la chance de travailler entourés des œuvres de la collection Claridge de métiers d'art canadiens. Mariant le design d'intérieur avec une collection d'art des plus variées, notre milieu de travail est devenu, au fil des ans, un lieu accueillant, chaleureux et stimulant. D'ailleurs, les visiteurs nous disent que nos locaux ressemblent moins à des bureaux traditionnels qu'à une résidence éclectique - bref, un milieu unique en son genre.

Conceived by my father, Charles, and his wife Andy, and curated by Franklin Silverstone and his assistant, Judy Strapp, the Claridge Collection evolved into one of the great Canadian corporate collections of its time. It is unique in that it is an amalgamation of all artistic media, contemporary in nature, mixing paintings with photography, sculpture, ceramics, glass and many objets d’art. Far from the Group of Seven style of banks and law firms of the day, the collection was much more representative of Canada in the 1980s, less staid than the prevailing corporate style and much more daring in its whimsy, color and blending of works.

Claridge employees were able to work with the curators to decorate their offices, selecting pieces from the collection to suit their individual styles and personalities. We have always been proud to take visitors through the space, knowing its uniqueness for an office environment, and have done many private art tours as well.

After 30 years, I decided that it was time for renewal. We have redesigned and updated our workplace and, along with that upgrade, we are now putting together a new Claridge Collection of Canadian arts, representing today’s stars and emerging stars on the Canadian art scene. As my father, Charles, put together his collection, he had the opportunity to learn about the top talents in Canada, and I look forward to doing the same with with the help of my curator, Judy Strapp, and her assistant, Tina Kyriakakis. I’m a big believer in continuity, be it in building businesses, philanthropy or in surrounding oneself with vibrant, interesting and challenging works of art. Growing up surrounded by art was a real gift, and being able to share the beauty and appreciation of art is also very rewarding.

My father’s vision for the Claridge Collection was highly original, and I’m hoping that today’s version will live up to his legacy. Surrounding ourselves with great Canadian art and being proud of our colourful and diverse Canadian heritage is what I hope that the new Claridge Collection will bring to people.

Stephen Bronfman

Conçue par mon père, Charles, et sa femme, Andy, et réalisée par le conservateur Franklin Silverstone et son adjointe, Judy Strapp, la collection Claridge est devenue l'une des plus importantes collections corporatives de son époque au Canada. Elle se distingue par le fait qu'elle est un amalgame de toutes les formes de support artistique contemporaines, incorporant la peinture, la photographie, la sculpture, la céramique, le verre et un grand nombre d'objets d'art. À la différence des collections des banques ou firmes d'avocats de l'époque, qui privilégiaient typiquement les œuvres du Groupe des Sept et autres artistes de même genre, la collection Claridge était un reflet bien plus authentique du Canada des années quatre-vingt.

Délaissant le style sobre qui avait cours dans les autres entreprises, cette collection a osé être fantaisiste, colorée et hétérogène.

En collaboration avec les conservateurs de la collection, les employés de Claridge pouvaient choisir des pièces pour décorer leurs bureaux en fonction de leurs goûts et personnalités. Nous avons toujours été fiers de faire connaître à d'autres l'originalité de nos locaux, et y avons aussi accueilli de nombreuses visites guidées privées.

Après trente ans, j'ai décidé que le moment était venu de renouveler la collection. Après avoir réaménagé et modernisé nos bureaux, nous montons maintenant une nouvelle collection d'art Claridge, qui rassemblera les œuvres d'artistes déjà très en vue et d'étoiles montantes du milieu artististique canadien. La première collection Claridge a permis à mon père, Charles, de se familiariser avec les meilleurs talents du Canada. J'espère en faire de même avec l'aide de ma conservatrice, Judy Strapp, et de son adjointe, Tina Kyriakakis.

Je crois beaucoup à la continuité, que ce soit sur le plan du développement d'entreprises, de l'engagement philanthropique, ou du choix de s'entourer d'œuvres d'art vivantes, intéressantes et stimulantes. J'ai eu le grand privilège de grandir entouré d'art, et j'ai énormément de plaisir à en partager la beauté et l'appréciation. La collection Claridge était le fruit de la vision très originale de mon père; j'ose espérer que la nouvelle version en sera un digne successeur. Nous entourer de magnifiques œuvres d'art canadiennes et célébrer fièrement la richesse et la variété de notre patrimoine: voilà l'objectif que je me suis fixé pour la nouvelle collection Claridge.

Stephen Bronfman

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Charles Bronfman's Claridge Collection

If ever there were the perfect job offer, it was made to me

by Charles and his late wife, Andy, over lunch one Saturday in June 1985. I had at this point been advising them on their collections for a couple of years. Charles had chosen to move the Claridge offices into what was once the Windsor Hotel, on Peel Street in Montreal. It had been completely restored and he had taken the top three floors, some 60,000 square feet.

Charles and Andy had decided that Canadian art and decorative arts must adorn the offices. During our discussion as to what form that would take, we talked about the Saidye Bronfman Award, which he and his family had created to honour their mother’s 80th birthday back in 1976. The prize, now part of the Governor General’s Awards, is bestowed annually on a leading decorative arts artist, known in those days as craftsman or craftswoman! The winner for 2013 was Calgary’s Greg Payce.

My mandate was to handpick a fun, colourful and bright collection of the top Canadian artists, sculptors and craftspeople, and not based on who was popular at the time. I was to spend the next couple of years travelling to every major city across Canada, and, with folks who knew the art scene there, visiting artists, galleries, craft centers and, in some cases, frame shops, to choose the art. I then shipped all the works back to Montreal for final selection by Andy, Charles and John Hobday, head of the Samuel and Saidye Bronfman Family Foundation. I borrowed John Daniel’s gallery and, on a Sunday night, we would move in to set up the work to be reviewed by the jury on the Monday. As with everything they bought, both Charles and Andy had to love the work to give the piece a ‘thumbs up’ for purchase.

Today, we make way for Claudine and Stephen Bronfman.

It is their turn to encourage new faces to the canvases and clay around the Claridge offices, and I know they are deriving as much enjoyment as we did all those years ago. Perhaps now it is your turn to own some of the collection: you will not be disappointed. Should you purchase work, I shall be delighted to offer you a copy of the privately printed Claridge Collection catalogue containing the first group of artists. I should point out that supplies of the catalogue are limited.

Franklin Silverstone Curator, The Claridge Collection FSilverstone@Collectify.com

Au cours d'un déjeuner, un samedi du mois de juin 1985, Charles et sa défunte épouse Andy m'ont offert un emploi de rêve. Cela faisait un certain temps déjà que je les conseillais au sujet de leurs collections. Charles avait décidé d'installer les bureaux de Claridge dans l'ancien Hôtel Windsor, qui venait d'être entièrement restauré.

Claridge allait occuper les trois derniers étages de cet édifice de la rue Peel, à Montréal, soit quelque 60 000 pieds carrés.

Charles et Andy voulaient que les nouveaux bureaux soient décorés d'œuvres d'art et d'art décoratif canadiens.

En discutant de la meilleure façon de réaliser ce projet, nous en sommes venus à parler du Prix Saidye Bronfman, que Charles et sa famille avaient fondé en 1976 en l'honneur des 80 ans de leur mère. Ce prix, entretemps incorporé aux Prix du Gouverneur général, est attribué annuellement à un ou une artiste en arts décoratifs, ou, pour employer la terminologie de l'époque, à un artisan ou une artisane. Le lauréat de 2013 est le Calgarien Greg Payce.

J'avais pour mandat de choisir des pièces amusantes, colorées et lumineuses, créées par les meilleurs artistes, sculpteurs et artisans canadiens, sans me soucier de qui avait la plus grande cote de popularité. Au cours des deux années suivantes, j'ai donc sillonné le pays, me rendant dans toutes les villes principales du Canada. Avec l'aide de personnes qui connaissaient bien le milieu artistique de leur communauté, j'ai rencontré des artistes et visité des galeries, des centres d'artisanat et parfois même des ateliers d'encadrement pour y dénicher des pièces.

Ensuite, j'expédiais le tout à Montréal, où je montais une exposition dans la galerie de John Daniel, grâcieusement mise à notre disposition. Le lendemain, Charles, Andy et John Hobday, directeur de la Fondation de la famille Samuel et Saidye Bronfman, s'y réunissaient pour choisirent les pièces qui seraient achetées. Comme ce fut le cas pour toutes leurs collections, les pièces n'étaient retenues qu'à condition de plaire autant à Andy qu'à Charles.

Aujourd'hui, nous cédons la place à Claudine et Stephen Bronfman. C'est à leur tour d'agrémenter les bureaux de Claridge avec les œuvres d'artistes contemporains, et je suis convaincu qu'ils auront autant de plaisir que nous en avons eu, il y a tant d'années. Peut-être envisagez-vous d'acquérir une pièce de la collection? Vous ne serez pas déçu. Si vous achetez une œuvre, je serai heureux de vous offrir un exemplaire du catalogue de la collection Claridge, dans lequel sont reproduites les pièces qui font partie du premier encan. Je signale cependant que nous n'en avons imprimé qu'un nombre limité.

Franklin Silverstone, conservateur de la collection Claridge FSilverstone@Collectify.com

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Waddingtons.ca The Claridge Collection: As Chance Would Have It

La Collection Claridge : Née d'un heureux hasard

Serendipity has often featured prominently in the birth and growth of many of our renowned Canadian cultural programs and institutions. Such was the case with the Claridge Collection.

Parmi les institutions et programmes culturels les mieux connus du Canada, bon nombre doivent leur origine et leur épanouissement à un heureux hasard. Ce fut le cas de la Collection Claridge.

In the mid 1960s, Peter Swann was strolling down Sloane Street in London, England, and happened to stop in front of a window display of Canadian First Nations crafts. He struck up a conversation with the shop manager, Peter Weinrich, and together the two Englishmen lamented the fact that very little attention was given to Canadian crafts.

Vers le milieu des années 60, Peter Swann se trouvait à Londres. Un jour, alors qu'il déambulait dans Sloane Street, son attention fut attirée par la vitrine d'un magasin dans laquelle étaient exposées des œuvres d'artisanat des Premières Nations du Canada. Swann entama une conversation avec le gérant du magasin, Peter Weinrich, et les deux Anglais déplorèrent le peu d'intérêt que suscitaient à l'époque les métiers d'art canadiens.

Swann came to Canada in 1966 to become Director of the Royal Ontario Museum and the first Executive Director of the Samuel & Saidye Bronfman Family Foundation in 1972. Throughout these years, he remained in contact with Weinrich, who was offered the position of Executive Director of the Canadian Crafts Council in 1974. An opportunity finally arose in 1977 to raise the profile of Canadian crafts: As a way of commemorating the 80th birthday of “Mrs Saidye”, Swann came up with the idea of establishing a national award in her honour. With Weinrich’s support through the CCC and the Saidye Bronfman Foundation, the Saidye Bronfman Award for Excellence was established, and soon became Canada’s foremost distinction for excellence in the fine crafts. The awards were jointly administered by the Foundation and the Canadian Museum of Civilization.

Ever since, the $25,000 prize has been awarded annually to an exceptional craftsperson and the recipient's works are acquired by the Canadian Museum of Civilization for its permanent collection. The museum has mounted several solo exhibitions and two major retrospective exhibitions of the collection, which have toured across Canada, including "Transitions", which travelled to New York's American Craft Museum, now renamed the Museum of Arts and Design. In 2007 the award became a part of the Governor General’s Awards in Visual and Media Arts. This in turn was a major recognition of both the growing “acceptance” of the fine crafts and the pioneering efforts made to raise the profile of both the crafts and the prestige of the award.

Charles Bronfman began acquiring the works of some of the early Saidye Bronfman Award winners. Thanks to his growing respect for fine crafts, and the enthusiastic support of his late wife, Andrea, their curator Franklin Silverstone began criss-crossing the country in 1986, assembling a wide range of remarkable Canadian fine crafts to adorn the new offices of Claridge Inc. in Montreal. This marked the birth of the Claridge Collection.

John Hobday C.M., Former Executive Director of the Samuel & Saidye Bronfman Family Foundation

En 1966, Swann s'installa au Canada et assuma le poste de premier directeur du Royal Ontario Museum; en 1972, il devint le premier directeur général de la Fondation de la famille Samuel et Saidye Bronfman. Au fil des années, il garda le contact avec Weinrich qui, en 1974, arriva à son tour au Canada pour devenir directeur général du Conseil canadien des métiers d'art. C'est en 1977 que se présenta enfin l'occasion de rehausser le profil des métiers d'art canadiens. En effet, Swann eut l'idée de marquer les 80 ans de « Mme Saidye » en créant un prix national en son honneur. Avec l'appui du CCMA, par l'entremise de Weinrich, et de la Fondation Saidye Bronfman, le Prix Saidye-Bronfman pour l'excellence fut lancé, et fut bientôt reconnu comme la plus haute distinction conférée dans le domaine des métiers d'art au Canada. Le prix était administré conjointement par la Fondation et par le Musée canadien de la civilisation.

Depuis lors, le prix de 25 000 $ est décerné annuellement à un artisan exceptionnel, dont les œuvres sont ensuite achetées par le Musée canadien de la civilisation pour sa collection permanente. En outre, le Musée a tenu plusieurs expositions solo et a monté deux importantes rétrospectives de la collection, qui ont traversé le Canada.

La rétrospective « Transitions » fut aussi montrée au American Craft Museum de New York, entretemps renommé Museum of Arts and Design. En 2007, le prix fut incorporé aux Prix du Gouverneur général en arts visuels et en arts médiatiques, une évolution témoignant à la fois de la légitimation croissante des métiers d'art et des initiatives pionnières entreprises pour mettre en valeur cette forme d'art et pour souligner le prestige du prix.

Charles Bronfman se mit à acquérir les œuvres de certains des premiers lauréats du Prix Saidye Bronfman. En raison de l'appréciation grandissante de Charles pour les métiers d'art, et avec l'appui enthousiaste de feu son épouse, Andrea, le commissaire Franklin Silverstone se mit à sillonner le pays en 1986 pour assembler un vaste éventail de remarquables œuvres artisanales canadiennes, destinées à orner les nouveaux bureaux de Claridge Inc. à Montréal.

Ainsi naquit la Collection Claridge.

John Hobday, C.M., ancien directeur général de la Fondation de la famille Samuel et Saidye Bronfman

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Charles Bronfman's Claridge Collection

One Family, Two Collections In the early 1980s, the Canadian Crafts Council and the Samuel and Saidye Bronfman Family Foundation approached the Canadian Museum of Civilization about the creation of a collection and exhibition of works by the recipients of the Saidye Bronfman Award. This philanthropic gesture was one of three major gifts from Canadian families that strengthened the museum’s holdings of contemporary craft. During this same period, representatives of the Massey Foundation offered us a large collection of Canadian craft. This collection had been developed to demonstrate the continuing importance of the handmade functional object. The Massey Foundation’s focus on functionality allied it with the museum’s collections of historical handmade functional objects. Over 900 artifacts came into our collection by many of the premier craftspeople from across the country. After the initiation of the museum’s Bronfman acquisitions, we were also offered a collection that had been assembled by the Ontario Crafts Council (OCC); much of this collection had been acquired through the generosity of the Chalmers family of Toronto.

Focusing on works made in Ontario, the OCC’s holdings of over 600 artifacts included both functional objects and personal expressions, as well as many works by First Nations and Inuit makers, thus demonstrating the strength of Aboriginal culture.

With the support of the Samuel and Saidye Bronfman Family Foundation, the Canadian Museum of Civilization initially embarked on the acquisition of works by each of the Award recipients. In time, the criteria for the collection were broadened to include works by craftspeople short-listed for the award, those whom the jury deems especially worthy of inclusion, as well as those who have contributed significantly to the history of crafts.

Over 200 works by important craftspeople have been collected so far, spanning the 1940s to the present day, and the museum continues to acquire works with funds previously provided by the foundation.

collection. It provides an all-encompassing view of creative practices in Canada by featuring the works of artists from all regions of the country during the latter part of the 20th century. In contrast, the Canadian Museum of Civilization’s Canadian Crafts collection focuses exclusively on traditional craft materials, that is clay, glass, textiles, metal and wood.

Many craft artists’ works are featured in both the Claridge and the Museum’s collections. Among them are Roy Ron’s beautiful celadon vases; Walter Ostrom’s majolica flower baskets; Monique Cliche-Spénard’s traditional quilts that depict the history of the Beauce region, and Ted Hodgetts’s paper-thin turned wooden vessels. Not all artists are included in both collections. The Canadian Museum of Civilization’s approach to acquisitions is based on a more structured set of criteria, while the Claridge Collection has had the freedom to choose from a broader spectrum of art forms. Looking through the catalogue, I will admit to coveting some of the Claridge pieces for the Museum’s collection.

Many institutions across Canada have been the recipients of the Bronfman family’s generous gifts and donations.

The proceeds of this auction will benefit Historica Canada, whose mission is to strengthen our understanding of Canadian heritage: another example of the family’s support for all facets of Canadian culture.

Alan C. Elder Curator, Canadian Crafts and Design, Canadian Museum of Civilization

There has sometimes been confusion about the nature and holdings of the Claridge Collection, owned by the Bronfmans, and the works that the Canadian Museum of Civilization has acquired through the generosity of the Bronfman family. Although the two are related, in that acquisitions for both collections were being made during the same period of time and often included works by the same artists, they are also quite different. The Claridge Collection’s much broader approach encompasses photographs, paintings, sculptures and works of traditional craft materials. As I look through the images of the works that will be offered for auction, Evergon’s large-scale Polaroid of his mother making bread, Jennifer Dickson’s ethereal garden landscape, Edward Burtynsky’s startling record of uranium tailings, Léon Bellefleur’s small-scale expressions, John Little’s view of Old Quebec in the winter and Allen Sapp’s nostalgic view of life on the Northern Plains, I am struck by the diversity of the

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Waddingtons.ca Une famille, deux collections C'est au début des années 80 que le Conseil canadien des métiers d'art et la Fondation de la famille Samuel et Saidye Bronfman proposèrent au Musée canadien des civilisations de monter une collection et d'exposer les œuvres des lauréats du Prix Saidye Bronfman. À la même époque, deux autres familles faisaient d'importants dons au musée, agrandissant ainsi sa collection d'artisanat contemporain. La Fondation Massey offrit au musée une vaste collection d'œuvres artisanales canadiennes. Cette collection avait été assemblée dans le but d'illustrer l'importance toujours actuelle des objets utilitaires fabriqués à la main. Comme elle privilégiait le volet utilitaire, la collection offerte par la Fondation Massey se mariait bien avec les objets utilitaires historiques que détenait déjà le musée. Plus de 900 artéfacts, créés par certains des artisans les plus réputés du Canada, furent ainsi intégrés aux collections du musée. Plus tard, après le lancement des acquisitions offertes par la Fondation Bronfman, ce fut au tour de l'Ontario Crafts Council d'offrir au musée une collection dont beaucoup de pièces avaient été acquises grâce à la générosité de la famille Chalmers, de Toronto. La collection de l'OCC se composait de plus de 600 œuvres d'artisans ontariens et comprenait à la fois des objets utilitaires et des œuvres d'expression personnelle. Un grand nombre des ces pièces avaient été crées par des artisans des Premières Nations ou Inuit et illustraient la vitalité de la culture autochtone.

Avec l'appui de la Fondation de la famille Samuel et Saidye Bronfman, le Musée canadien des civilisations se mit à acquérir les œuvres des lauréats du Prix Saidye Bronfman.

Au fil du temps, les critères d'inclusion à la collection furent élargis pour inclure les œuvres d'artisans finalistes et d'artisans que le jury considérait particulièrement méritoires, ainsi que ceux qui avaient contribué de façon exceptionnelle à l'histoire des métiers d'art. Plus de 200 œuvres furent acquises, remontant aux années 1940 et créées par des artisans renommés, et le musée poursuit toujours ses acquisitions grâce aux fonds offerts par la fondation.

Il y a parfois confusion quant à ce qui distingue la collection Claridge, détenue par la famille Bronfman, de la collection assemblée par le Musée canadien des civilisations grâce à la générosité de cette même famille. Bien qu'elles aient des point communs, les acquisitions ayant été faites à la même époque et bon nombres d'artistes figurant dans les deux collections, elles sont toutefois assez différentes l'une de l'autre. En effet, la collection Claridge est le fruit d'une approche beaucoup plus large; elle contient des photographies, des tableaux, des sculptures ainsi que des œuvres créées avec les matériaux traditionnels des métiers d'art. Lorsque je regarde les images des œuvres qui seront mises en vente, je suis frappé par leur grande diversité : la photo Polaroid grand format d'Evergon, montrant sa mère en train de faire du pain; le paysage de jardin éthéré de Jennifer Dickson; les représentations déroutantes de résidus d'uranium, d'Edward Burtynsky; les expressions de format réduit de Léon Bellefleur; le Vieux Québec en hiver, peint par John Little; et l'évocation nostalgique de la vie des plaines du Nord par Allen Sapp. La collection est un recueil complet des pratiques artistiques et artisanales de toutes les régions du Canada au 20e siècle. Par contre, les

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collections de Métiers d'art et de design canadiens du Musée canadien des civilisations sont uniquement axées sur les matériaux traditionnellement utilisés en métiers d'art, à savoir l'argile, le verre, les textiles, le métal et le bois.

De nombreux artisans figurent à la fois dans la collection Claridge et dans les collections du musée. Parmi eux, citons Roy Ron et ses beaux vases céladon, Walter Ostrom et ses paniers de fleurs en majolique, Monique Cliche-Spénard et ses courtepointes traditionnelles dépeignant l'histoire de la Beauce, et Ted Hodgett et ses vaisseaux en bois tourné, minces comme du papier. Certains artistes, cependant, ne sont représentés que dans une seule collection. En effet, les acquisitions faites par le Musée canadien des civilisations devaient répondre à un ensemble de critères plus restrictif, alors que la collection Claridge pouvait puiser dans une large gamme de formes d'art. En contemplant le catalogue, je ne peux m'empêcher de convoiter certaines des pièces pour la collection du musée.

Un grand nombre d'institutions canadiennes ont bénéficié de dons généreux qui leur ont été accordés par la famille Bronfman. Les profits de la présente vente seront versés à Historica Canada, qui a pour mission de renforcer notre connaissance du patrimoine canadien : un autre bel exemple de l'intérêt que porte la famille Bronfman à toutes les facettes de la culture canadienne.

Alan C. Elder Conservateur des métiers d'art et du design du Canada, Musée canadien des civilisations

Charles Bronfman's Claridge Collection

The Claridge Collection

La collection Claridge

Reviewing again the work in the Claridge Collection has been an experience both of nostalgia and of pleasure. Nostalgia because so many of the objects embody stories of people and places, events, achievements and lives lived… relationships with artists and artisans who have given shape and texture to their communities, their institutions and their country. Pleasure because so many of the objects retain their vitality and relevance despite the developments in the arts subsequent to their creation.

Renouer avec les œuvres de la collection Claridge a été un mélange de nostalgie et de plaisir. Nostalgie, parce que beaucoup de ces pièces rappellent les personnes, les lieux et les événements qui les ont inspirées, les réalisations marquantes et les parcours de vie, les relations avec les artistes et les artisans qui ont contribué à façonner leurs communautés, leurs institutions et leur pays. Et plaisir, car bon nombre de ces œuvres n'ont rien perdu de leur vitalité et de leur pertinence malgré l'évolution qui a marqué les arts depuis leur création.

As the collection, carefully gathered over decades, once again disperses into individually-owned objects, it may be an occasion to consider some of the characteristics that made it a collection, and an unusual one in Canada.

One characteristic is that so many of the works emerge from the hand-made craft tradition and thus carry the historic skills and technical developments that have brought such richness and diversity to Canadian art. Although often ignored or avoided in the more general discourse on the arts, this energy is celebrated in the Claridge Collection without apology. The places where fine arts and fine crafts inevitably overlap are encountered repeatedly and can be appreciated from the multiple perspectives of skill, imagination, and meaning. The ceramics alone offer a catalogue of significant makers and ideas in this media in the mid to late 20th century.

Another characteristic is that engagement of so many of the works in regional movements of style, design, landscape and culture. The West Coast, Prairies, Maritime and northern environments seem to come alive in so many of the works.

The distinctive styles and designs of the cities, often with international liaisons, also resonate through the collection. In a society as culturally diverse and geographically vast as Canada, what might appear to be fragmentation and hybridity becomes a part of the character of any broad-based collection.

Those who might acquire an object from the Claridge Collection will enjoy it in its own right and fold it into an already existing personal or institutional collection. What they might also enjoy is its legacy as part of an unusual corporate collection, one that involved engagement with artists, with Canadian museums and galleries, with exhibitions and publications. It was an effort that enabled many more Canadians than would otherwise have been possible to encounter the best of Canadian artists working in a wide range of media and drawing on a fascinating range of traditional skills.

Dr. Stephen Inglis Executive Director, Aanischaaukamikw Cree Cultural Institute; former Adjunct Professor, Art History, Carleton University; former Director General, Research and Collections, Canadian Museum of Civilization

Alors que la collection, méticuleusement assemblée au fil des décennies, se voit maintenant répartie entre les mains d'amateurs d'art individuels, le moment est peut-être propice à une réflexion sur ce qui en a fait une collection parmi les plus inusitées au Canada.

La collection s'est distinguée notamment par le fait qu'un grand nombre des pièces qui la composent sont issues de la tradition artisanale, et incarnent ainsi les anciens métiers et savoir-faire qui ont enrichi le patrimoine artistique du Canada et contribué à sa diversité. Alors que ce volet de la création artistique est souvent oubliée, voire exclu du discours général sur l'art, la collection Claridge a fièrement choisi de le mettre en valeur. D'ailleurs, les beaux-arts et les métiers nobles se recoupent inévitablement, et leurs nombreux points de convergence peuvent s'apprécier sur le plan du talent, de l'imagination et du sens. À elles seules, les céramiques sont une représentation éloquente de cette forme d'art de la deuxième moitié du vingtième siècle.

La collection tire aussi son originalité du fait que beaucoup de ses œuvres témoignent de courants régionaux sur le plan du style, du design, des paysages et des cultures. La côte Ouest, les Prairies, les Maritimes et les milieux nordiques y sont incarnés de façon très vivante. Les villes s'y trouvent également bien représentées; chacune y arbore son style distinctif et son design particulier, avec, souvent, un écho international. Dans un pays comme le Canada, avec ses vastes étendues et sa grande diversité culturelle, une démarche qui pourrait sembler fragmentaire et métissée devient un incontournable de toute collection polyvalente.

Les amateurs d'art qui acquerront une pièce de la collection Claridge l'apprécieront pour ses qualités intrinsèques et pourront l'intégrer à une collection personnelle ou institutionnelle. Ils pourront aussi se féliciter d'avoir acquis une part d'une collection d'entreprise unique en son genre, fondée sur l'engagement avec les artistes, avec divers musées et galleries du Canada et avec des expositions et publications.

Grâce à cette démarche, la collection Claridge aura permis à un grand nombre de Canadiens de connaître les meilleurs artistes du pays, faisant appel à un large éventail de médias et exerçant une gamme de métiers traditionnels fascinants.

M. Stephen Inglis, Directeur général, Institut culturel cri Aanischaaukamikw; ancien professeur auxiliaire d'histoire de l'art, l'Université Carleton; ancien directeur général, Direction de la recherche et des collections, Musée canadien des civilisations

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1 WAYNE NGAN RAKU BOWL - BLUE RED clay; artist chop on base height 4 ins; 10.2 cms

STONEWARE BOTTLE clay; artist chop on base diameter 5 ins; 12.7 cms $350—500

Wayne Ngan was born in Kwantung, China in 1937. During the Japanese invasion of China, he immigrated to Canada with his mother at the age of 13, and was sent to live with his grandfather. He grew up struggling with language and poverty in Vancouver. His personal and artistic achievements can undoubtedly be linked to the strength of mind and body that he developed through this struggle.

Ngan put himself through the Vancouver School of Art while working night shift at a local sawmill, graduating in Ceramics in 1963. He soon established his own pottery studio and taught at the art school and at the University of British Columbia, emerging as one of BC’s top ceramic artists.

In 1965 Ngan had his first solo show at Bau-Xi Gallery, Vancouver, displaying his paintings, drawings, sculptures and ceramics.

He subsequently moved to the rural community of Hornby Island, where he built a home and studio. Throughout his career, Ngan has led workshops and exhibited throughout the world. In 1983, the Palace Museum in Taipei exhibited some of his works, the first time in the museum’s history to exhibit a modern piece of pottery.

Ngan was one of three distinguished artists featured in the award-winning 2007 film Glimpses of Heaven. He continues to produce and exhibit his art, and recently had an exhibition of his paintings at the Granville Fine Art Gallery in Vancouver. He is the only potter to be given a one-man show at the Vancouver Art Gallery, and his pieces are frequently presented to visiting foreign dignitaries as official gifts from the Canadian government.

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2 WAYNE NGAN VASE clay; artist chop on base height 14 ins; 35.6 cms, diameter 7 ins; 17.8 cms $400—600

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3 WAYNE NGAN BOWL stoneware; artist chop on base height 3 ins; 7.6 cms, diameter 15 ins; 38.1 cms $700—900

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Charles Bronfman's Claridge Collection

4 WAYNE NGAN PLAQUE stoneware; artist chop on reverse 18 ins x 14 ins x 1 ins; 45.7 cms x 35.6 cms x 2.5 cms $1,000—1,500

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5 SALLY BARBIER BAYOU POUT BLANCHE ceramic; signed, dated 87 25 ins x 23 ins x 13 ins; 63.5 cms x 58.4 cms x 33 cms $800—1,200

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Sally Barbier was born in Lafayette, Louisiana in 1949. She received her Bachelor of Arts from Nicholls State University in Thibodaux, Louisiana, in 1972, and her Master of Fine Arts from the University of Wisconsin in 1975. Barbier’s works have been exhibited throughout Canada and the United States.

Charles Bronfman's Claridge Collection

6 TONY BLOOM PLANTER WITH CURL clay; signed on inner lip height 5 ins; 12.7 cms, diameter 10 ins; 25.4 cms

CANISTER WITH FAN LID clay; signed on inner lip height 8.5 ins; 21.6 cms, diameter 11 ins; 27.9 cms

Tony Bloom was born in Tokyo, Japan and lived in Washington, D.C., and Paris, before settling in Canmore, B.C. in 1970. Through his art, he found that he could create objects and notations that allowed him to convey what was meaningful to him. He studied musical composition at the Banff School of Fine Arts in 1970. Wanting to create a flute out of clay, he signed up for a pottery course and soon realized that flutes were a challenge to make out of clay (some of his clay instruments can be found at the Canadian Museum of Civilization). He grew to love the material and processes and only realized ten years into it that he now had a career, a business and his life’s work. In the mid-1980’s, Bloom started to work with bronze, discovering that, although this material offered different qualities to clay, techniques for each could be overlaid into the other.

$200—300 In 2011, Bloom was commissioned to produce a major piece of art for the Northern Alberta Jubilee Auditorium and in 2013, a recently opened exhibition entitled “Landbuoys” is at the Whyte Museum in Banff, AB .

He is the recipient of numerous awards, including the Province of Alberta Achievement Award (1988) and the Canada Council Award (1984, 1987, 1997), and is co-founder of Stonecrop Studios in Canmore, Alberta, where he continues to create his artwork.

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7 TONY BLOOM CANOPIC TROUGH clay; signed on base 8 ins x 14.5 ins x 7.5 ins; 20.3 cms x 36.8 cms x 19.1 cms $800—1,200

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Charles Bronfman's Claridge Collection

8 TED HODGETTS WERGE AND PANAMERELLA wood; signed, dated 87 on base 6 ins x 8 ins; 15.2 cms x 20.3 cms

Ted Hodgetts was born in 1946 and grew up in Kingston, Ontario. He studied at Queen’s University, the University of Toronto, and received his B.A. from York University, Toronto, in 1970. In 1973 he began his career as a self-taught woodworker, establishing a small cabinetmaking company in Barrie, Ontario, along with several partners. He moved to Newtonville and started a one-man shop there.

$500—700 In 1979, Hodgetts and his partner, porcelain artist Jane Wilson, moved to Millbrook, Ontario, where they set up a studio. He worked with wood professionally for over twenty five years, primarily as a wood turner producing one-of-a-kind, lathe-turned vessels in exotic and burled woods.

His work has been widely exhibited in solo and group exhibitions in Canada, the U.S.A. and Europe, and he has been the recipient of numerous awards from the Ontario Arts Council, as well as the subject of many articles and reviews in national and international publications. In 2000, one of Hodgetts’ turned vessels was featured on a Canadian postage stamp, part of the Millennium Collection, commissioned by Canada Post, to celebrate the history of Canada. Hodgetts’ work is included in a number of private, corporate and public collections.

Ted Hodgetts now focuses on two of his other passions, books and music at JazzFirst Books, his online bookshop which specializes in used first edition blues and jazz books and signed, music ephemera. He lives in Millbrook, Ontario.

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9 TED HODGETTS PURPLE HEART AND SILK YOAK wood 6 ins x 8 ins; 15.2 cms x 20.3 cms $500—700

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Charles Bronfman's Claridge Collection

10 KATRINA CHAYTOR FRUIT BOWL/TRAY earthenware; signed, dated ‘87 14 ins x 16 ins x 10 ins; 35.6 cms x 40.6 cms x 25.4 cms $600—800

Katrina Chaytor was born in St. John’s, Newfoundland in 1962. She received her BFA from the Nova Scotia College of Art and Design in Halifax in 1983 and her MFA from New York State College of Ceramics at Alfred University, Alfred, New York, in 1986. Chaytor has participated in numerous exhibitions both nationally and internationally, and in 2007, was one of ten Canadian ceramic artists invited to participate in a month-long residency at the Fule International Ceramics Art Museums at FuPing, Shaanxi, China.

Chaytor has been a permanent member of the Ceramics faculty at the Alberta College of Art and Design since 2001. She has lectured and taught workshops both nationally and internationally, and is the recipient of several awards and grants, including the Award of Honour from the Alberta Craft Council in 2010.

Chaytor’s work is of slab construction, incorporating complex patterns onto her surfaces with plaster moulds and accentuating them with luminous glazes. She continues to research the role of ornament as a “mediator between art and life” in contemporary culture.

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11 INGRID NICOLAI 3-DIMENSIONAL VESSEL earthenware; signed, dated 93 19 ins x 20.25 ins x 5 ins; 48.3 cms x 51.4 cms x 12.7 cms $400—600

Ingrid Nicolai was born in Hamburg, Germany in 1932 and immigrated to Canada in 1962. She studied Fine Arts at Champlain College in St. Lambert, Quebec, from 1975 to 1978, and was a Ceramics instructor at the school from 1979 to 1983.

Nicolai’s ceramic vessels, derived from Mycenaean and classical Greek pottery, are coiled from white earthenware, treated with ceramic stains in colours reminiscent of the Mediterranean. Her play with perspective is demonstrated in her work, her skill at representing a three-dimensional object in spatial recession on a two-dimensional plane.

Nicolai has participated in numerous group exhibitions in Canada, the United States, Korea and Japan. She was President of the Burlington Potters Guild in Burlington, Ontario from 1988 to 1989, and has also received several grants from the Ontario Arts Council. She lives in Montreal, Quebec.

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Charles Bronfman's Claridge Collection

12 CYNTHIA LIN DUMPLING SERIES: MOM’S TASTE blown glass; signed, dated ‘97 on reverse diameter 11.5 ins; 29.2 cms $200—250

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13 JIM HONG LOUIE FISH BOWL stoneware; signed on base height 5 ins; 12.7 cms, diameter 19.5 ins; 48.8 cms $800—1,200

Jim Hong Louie was born in 1950 in Stockton, California. He has studied at Wayne State University in Detroit, Michigan; at the Centre for Creative Studies (ceramics and graphic arts) in Detroit, Michigan; at the Paris School of Fine Arts (printing and drawing), at the Ontario College of Arts (ceramics) in Toronto and at Sheridan College of School of Design (ceramics) in Mississauga, Ontario. Louie has been exhibiting his ceramics and sculptures since 1975, including the FIRE + EARTH exhibition which toured across Canada and in Japan.

In 2012, The Tom Thomson Art Gallery of Owen Sound created a show and a fundraising auction, exhibiting pieces that Louie, along with twentyone local artists had produced from the salvaged material from St. George’s Church in Owen Sound. Louie lives in Williamsford, Ontario.

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Charles Bronfman's Claridge Collection

14 ROBIN HOPPER PLATE - PRAIRIE STORM SERIES porcelain; artist chop “Robin Hopper Canada” on reverse diameter 16 ins; 40.6 cms $150—250

Robin Hopper was born just prior to the Second World War in 1939, and grew up in London, England. He trained at Croydon College of Art from 1956 to 1961 and emigrated to Canada with his family in 1968. After teaching for two years at Central Technical School in Toronto, he moved to Barrie, Ontario, where he was responsible for starting up and heading the Ceramics and Glass Department at Georgian College. He resigned from his post in 1972 to devote his full energy to his ceramics work. Along with four assistants, Hopper produced a considerable volume of repeat functional production pieces, as well as one-of-a-kind works for exhibition and gallery sales; most of his work at the time was in porcelain, both reduction and oxidation-fired.

Hopper relocated to Vancouver Island, B.C., in 1977, and set up Chosin Pottery, a studio-business which he set up with his wife, Judy Dyelle. That same year, he was the first recipient of the Saidye Bronfman Award, Canada’s most prestigious annual award in the crafts. He has taught throughout Canada, and in England, USA, Australia, New Zealand, China, Korea, Japan and Israel. His works can also be found in numerous public, corporate and private collections throughout the world.

Hopper is an honorary member of the National Council on Education for the Ceramic Arts, and the author of several books, including The Ceramic Spectrum and Functional Pottery, as well as videos. He is also the Founding President Emeritus of the Metchosin International Summer School of Arts, dedicated to bringing internationally acclaimed artists to lead workshops.

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15 ROBIN HOPPER LANDSCAPE BOWL porcelain; artist chop on base height 4 ins; 10 cms, diameter 8.5 ins; 21.6 cms $250—300

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Charles Bronfman's Claridge Collection

16 ROBIN HOPPER BOWL porcelain; artist chop on base height 2.75 ins; 6.9 cms, diameter 9 ins; 22.9 cms $150—200

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17 CAROL & RICHARD SELFRIDGE CLEOPATRA POTTER’S OFFERING clay; signed, dated ‘89 27 ins x 19 ins x 6.5 ins; 68.6 cms x 48.3 cms x 16.5 cms $1,000—1,500

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Carol Selfridge was born in Belleville, Ontario in 1948. She graduated from the University of Alberta in 1969 with a Bachelor of Arts and Professional Diploma after Degree, which included courses in drawing and painting.

Upon graduating, Carol taught high school art in Vancouver until 1974.

Richard Selfridge was born in Seattle, Washington in 1943. He graduated with a Bachelor and a Master of Arts from Washington State University in 1973, and a Ph.D (All but Dissertation) in Political Philosophy from the University of Alberta. In 1978, he attended the Banff Centre on a scholarship in 1978 to study slip casting and mold making with Tony Franks and returned in 1985 to study form and function with Wayne Ngan and Walter Keeler. Carol and Richard Selfridge have been working collaboratively since 1974. They live in Edmonton, Alberta.

Charles Bronfman's Claridge Collection

18 JIM SMITH, RCA PINK BOWL WITH OAK LEAVES glazed ceramic; signed height 3.5 ins; 8.9 cms, diameter 13.5 ins; 34.3 cms $200—300

Jim Smith, born in 1956, has been a studio potter in Chester, Nova Scotia.

Smith began researching schools and, through the encouragement of Walter Ostrom, Smith studied at the Nova Scotia College of Art and Design. Ostrom also introduced him to working with earthenware clay.

Smith graduated with a Bachelor of Fine Arts, majoring in Ceramics, in 1989.

Smith’s art has been greatly influenced by his travels; he has undertaken research in China, Mexico, Europe, Turkey, South Korea and Morocco, as well as done a residency in Italy. He has participated in over 80 exhibitions, both nationally and internationally, and his work is included in many prominent public and private collections, including The Gardiner Museum of Ceramic Art in Toronto, and the Jingdezhen Ceramic Institute in Jingdezhen, China. He has won many awards for his work, including The QE II Golden Jubilee Commemorative Medal by the Canadian Government in recognition of distinguished career achievement and significant contribution to Canadian society in 2002, and was inducted into the Royal Canadian Academy of Arts in 2008. He had the honour of being a juror for Canada’s highest award in fine craft, the Saidye Bronfman Award/Governor General’s Award in Visual and Media Arts. Smith has also recently been granted “Master Craftsman” membership with the Nova Scotia Designer Crafts Council.

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19 JIM SMITH, RCA SOUP TUREEN glazed ceramic; signed on base 8 ins x 14 ins x 9 ins; 20.3 cms x 35.6 cms x 22.9 cms $300—500

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Charles Bronfman's Claridge Collection

20 LLUIS RIERA JARDINIERE clay height 22 ins; 55.9 cms, diameter 15 ins; 38.1 cms

Lluis Riera was born in Spain. His family owned an established tile business and he thus grew up learning about ceramics, glazes and colours.

He attended the School of Arts in Tarragona, Spain, where he studied under Ramon Carret from 1965 to 1972. During his studies he was awarded a scholarship to study in Perugia, Italy. Upon graduating, Riera operated his own studio in Spain while still assisting in the family business.

$300—400 Riera moved to Vancouver, British Columbia, in 1977 and apprenticed with various potters. He was part of the Vancouver Clayworks Society from 1980 to 1984, where he developed a tile making process. Riera eventually set up his own studio in Vancouver, producing large ceramic vessels, tile and architectural terra cotta elements. Riera moved back to Spain in the late 1980’s, settling in Gratallops, where he operates his studio, Ceramica Riera.

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21 PAMELA RODGER THE GREAT SPEAKER clay, porcelain, enamel paint, black stain, melted metal diameter 15 ins; 38.1 cms $300—400

Pamela Rodger was born in Saskatchewan in 1949. She attended the Arts Department and Department of Education, University of Saskatchewan, for 5 years and fulfilled five residencies at the Banff Center of the Arts in Alberta, Canada.

Rodger was Head of the University Transfer Ceramics program at the College of New Caledonia in Prince George, B.C. from 1977 to 1982, and an Out-Reach teacher for Emily Carr College of Arts in Vancouver, British Columbia from 1979 to 1984.

Rodger also owned and operated Fine Line Craft Gift Store, and Full Moon Gallery where she represented twenty-six artists, in Bragg Creek, Alberta for nineteen years. Since 2010, Rodger has been involved with the Artist Gardens Project at Bow Valley Ranch, in Fish Creek Provincial Park, which honours the First Nations People and the rich history of the Bow Valley Ranch. She has been focusing on a commissioned large, permanent mosaic installation at the site.

Rodger continues to maintain a busy studio with several lines of production ware, sculpture and painting. She lives with her husband in Bragg Creek, Alberta.

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Charles Bronfman's Claridge Collection

22 CYNDY CHWELOS PLATTER NUMBER 1 painted majolica; signed on base 15 ins x 19 ins; 38.1 cms x 48.3 cms $150—250

Cyndy Chwelos received her BFA from the University of Saskatchewan, SK in 1983. Interested in education, she completed her Early Childhood Certification from Vancouver Community College in 1998 and her MA (art education/curriculum studies) in 2004 from the University of British Columbia in 2004. She works as the Program Co-ordinator for Catalyst for Change, a residency program that brings artists into classrooms to explore social justice issues, through the creation and discussion of works of art.

Chwelos also teaches a class in Arts, Culture and Heritage at Langara College, which exposes the students to the spectrum of arts programming offered in the field of recreation. The goal of the course is to instill and enhance the students’ values and understandings for the arts and the fundamental role it plays in building healthy communities. Chwelos lives in Vancouver, BC.

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23 CYNDY CHWELOS PLATTER NUMBER 3 painted majolica 19 ins x 15.5 ins; 48.3 cms x 39.4 cms $150—200

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Charles Bronfman's Claridge Collection

24 BARBARA GENTLE DOING LUNCH #3 mixed media 14 ins x 4.5 ins x 4.5 ins; 35.6 cms x 11.4 cms x 11.4 cms

Barbara Gentle was born in London, England, in 1951. She studied at Langara College of Arts in Vancouver, BC, from 1976 to 1978, and received an arts diploma from the Emily Carr College of Art in 1981. Gentle is recognized for both her painting and hand-built ceramic sculptures.

DOING LUNCH #4 mixed media 14 ins x 4.5 ins x 4.5 ins; 35.6 cms x 11.4 cms x 11.4 cms $200—300

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25 CHRIS COGSWELL MULTICOVERED POT clay; signed, dated 87 on base height 19 ins; 48.3 cms, diameter 13 ins; 33 cms $150—200

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Charles Bronfman's Claridge Collection

26 RUTH GOWDY MCKINLEY, RCA WINE DECANTER AND 6 GOBLETS clay; artist chop on base height 9.5 ins; 24.1 cms, diameter 6 ins; 15.2 cms; height 3.5 ins; 8.9 cms, diameter 3 ins; 7.6 cms $4,000—6,000

Ruth Gowdy McKinley was born in Brooklyn, New York, in 1931. She received her BFA in 1953 and her MFA in 1955 from the New York State College of Ceramics, Alfred University, in Alfred, New York, where she had studied under Charles Harder, Daniel Rhodes and Marion Fosdick. Her talents as a potter were recognized at an early point in her life, when she was the recipient of the Young Ceramicist of America Award in 1953.

McKinley and her husband, renowned furniture maker Donald McKinley, moved to Canada in 1957, where they both taught at the newly established Sheridan College, in Oakville, Ontario. As artist-in-residence, McKinley mentored many of today’s leading Canadian ceramic artists such as Keith Campbell, Steve Irvine, and Paul Murray. McKinley was also known as the matriarch of Canadian wood firing, as it was rare during that time for an artist to specialize in wood-fired pottery, even more so for a woman.

McKinley was the first ceramic artist to be elected into the Royal Canadian Academy in 1976, and was also invited to participate in the 27th Concorso Internazionale della Ceramica d’Arte in Faenza, Italy.

Ruth Gowdy McKinley died prematurely of cancer in 1981. The inspiration for the Canadian Clay and Glass Gallery in Waterloo, Ontario, stemmed from a wish to honor her memory. McKinley’s life and works have also been celebrated in the book, An Exuberant Toast: A Tribute to Ruth Gowdy McKinley (2013).

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27 DONALD MCKINLEY WALNUT CHEESEBOARD AND BISCUIT BOWL walnut 6 ins x 28.5 ins x 6 ins; 15.2 cms x 72.4 cms x 15.2 cms $250—350

Donald McKinley was born in 1932, in Bartlesville, Oklahoma. He studied at Wichita State University, Kansas, and at the New York State College of Ceramics at Alfred University. From 1958 to 1962, he worked as Chief Staff Designer at the W.H. Gunlock Chair Company in Wayland, New York, before he continued his studies at the Atheneum Art Museum in Helsinki, Finland, where he was a Fulbright Scholar. In 1964, McKinley received his Master of Industrial Design from Syracuse University, New York, where he continued on as an assistant professor, teaching Three-Dimensional Design.

McKinley and his wife, ceramicist, Ruth Gowdy McKinley, came to the new Sheridan College in Oakville, where he established the School of Crafts and Design and directed it for close to thirty years. He taught and inspired some of the leading Canadian furniture designers, including Michael Fortune, Peter Fleming, Paul Pep, Robert Diemert, and John Ireland.

McKinley devoted all of his time and energy to teaching, putting in nearly one hundred hour weeks at the school, leaving very little time to complete a growing amount of commissions.

McKinley’s work was heavily influenced by the teachings of the Bauhaus School, that advocates for the interaction of art, craft, and architecture.

McKinley’s works, such as his de-agitators, reflected this play between the three, through a solid sense of form and colour, which would “ultimately benefit larger society.”

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Charles Bronfman's Claridge Collection

28 MASATADA FUNO PINCH BOX clay; signed on base height 5.75 ins; 14.6 cms, diameter 4.5 ins; 11.4 cms $150—200

Masatado Funo was born in Seattle, Washington, of Japanese descent. He pursued graduate studies in Clinical Psychology at the University of Chicago in the 1960’s. He was interested in the patterns along which human beings develop, which has translated into his artwork, more specifically the patterns of evolutionary history present within the human body. His work always, as life, starts with an egg, from which he produces exquisite forms in the form of small, clay raku boxes and and sculptures, measuring not more than five inches.

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29 MASATADA FUNO PINCH BOX clay height 6 ins; 15.2 cms, diameter 4 ins; 10.2 cms $150—200

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Charles Bronfman's Claridge Collection

30 MASATADA FUNO PINCH BOX clay height 5 ins; 12.7 cms, diameter 4 ins; 10.2 cms $150—200

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31 DAVID ZAWADUK JARDINIERE clay; signed on base height 20 ins; 50.8 cms, diameter 18 ins; 45.7 cms $300—400

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Charles Bronfman's Claridge Collection

32 MONIQUE CLICHE-SPENARD COTTON QUILT DEPICTING QUEBEC LANDSCAPE cotton quilt; signed, titled, dated 82 on front 96 ins x 94 ins; 243.8 cms x 238.8 cms $500—700

Monique Cliche-Spénard was born in Saint-Joseph-de-Beauce, Quebec, in 1926. She studied oil painting at the School of Arts and Crafts, in SaintGeorge, Quebec. A descendant of one of the region’s 18th century seigneurial families, Cliche-Spénard sought to depict the old ways of her people, the Beaucerons. In the early 1970’s, Cliche-Spénard began collecting a variety of antique Beauce textiles, ancestral techniques and traditional motifs of quilting, and constructed her own unique quilts.

Cliche-Spénard’s works are a bridge between traditional art, which highlights folk art motifs and techniques of the Beauce quilting and popular art, which emphasizes contemporary graphic design. In 1979, she was the recipient of the prestigious Saidye Bronfman Award for Excellence in her craft.

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33 RON DAVID SNAKEWOOD LIDDED CIRCULAR BOX snakewood; signed height 1.5 ins; 3.8 cms, diameter 4 ins; 10.2 cms $400—500

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Born in Stetson, British Columbia in 1945, Ron David studied at the Arrowmont School of Arts and Crafts in Gatlinburg, Tennessee in 1982.

David has shown his wood work in several exhibitions across Canada throughout his career. He lives in Sidney, British Columbia where he owns Terminal Woodworks, producing ornamental woodworks.

Charles Bronfman's Claridge Collection

34 KIRSTIN DONALDSON PEDESTAL TABLE wood, metal, copper, pipe, asphalt 20 ins x 20 ins x 38 ins; 50.8 cms x 50.8 cms x 96.5 cms $250—300

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35 LUCIO DE HEUSCH 3 BOXES - #64, #14, #11 mixed media; signed, titled, dated 1987 Each 5 ins x 11 ins x 3.5 ins; 12.7 cms x 27.9 cms x 8.9 cms $1,000—1,500

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Lucio de Heusch was born in Sherbrooke, Quebec in 1946. He has participated in several solo and group exhibitions in Canada, the United States, Japan, and Europe. His works are part of important collections in Canada and abroad. De Heusch lives and works in Montreal and the Townships. Recently retired, he pursued a career as an art professor both at University of Ottawa and at l’UQAM

Charles Bronfman's Claridge Collection

36 MIMI CABRI, RCA BLUE ONE; YELLOW ONE; WHITE ONE ceramic; signed height 37.5 ins; 95.2 cms, height 39.5 ins; 100.3 cms, height 41.5 ins; 105.4 cms

Mimi Cabri was born in Johannesburg, South Africa. She studied painting and drawing in Johannesburg and in Paris, and immigrated to Canada in the 1960’s. It was in Montreal, Quebec, that the material of clay captivated her when a fellow artist brought her to the Potters Club, now the Visual Arts Center. She realized that it was her experience as a painter that gave an impetus for clay work and sculpture. She began her professional career as a ceramic artist in 1973 since participating in the founding of the Ottawa Potters Guild in 1973.

$2,500—3,500 Cabri’s early work was in stoneware, with her first solo show at the Flora Street Gallery in the mid 1970s. Cabri’s work is found in the collections of the Canadian Museum of Civilisation, the City of Ottawa’s Fine Art Collection, The Canada Council Art Bank. She, along with Jill Elder, was the winner or the City of Ottawa’s Heritage Champagne Bath Art Renovation, and was inducted into the Royal Canadian Academy of Arts in 2003. Cabri was commissioned to create portraits on clay of the previous thirty recipients of the Saidye Bronfman Awards for their 30th Awards Ceremony in 2006. These works were on display at the Lafrenière and Pai Gallery in Ottawa. She has also made a series of hand-painted ceramic tile signs for several libraries and learning centers in Ghana.

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37 MIMI CABRI, RCA 4 EARTHENWARE TILES painted, glazed earthenware; signed on reverse Each 7 ins x 7 ins; 17.8 cms x 17.8 cms $500—700

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38 ALBERT BORCH 3 PLATES brown stoneware clay; signed, dated 3/87 diameter 12 ins; 30.5 cms $150—250

Albert Borch was born in Fort Dodge, Iowa in 1933. He received his BFA in Crafts, with distinction in 1955 and his MFA in Ceramics, with high distinction in 1961 from the California College of Arts and Crafts, Oakland, California. Borch worked as a teacher at the Scattergood Friends School in Iowa from 1955 to 1959, and moved to Chicago, where he taught at the School of the Art Institute of Chicago, from 1961 to 1968. He was also a visiting professor at the University of Chicago the summers of 1964 and 1965.

Borch moved to Calgary, Alberta, where he began teaching in 1968 at the Alberta College of Art and Design, eventually becoming Chairman of the Ceramics Department in 1975. He was awarded Lecturer Emeritus in 1999. Borch also taught bookbinding at several schools throughout his career, including Red Deer College, and the Alberta College of Art and Design. He currently lives with his wife in Kelowna, BC.

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39 ALBERT BORCH SET OF 4 YELLOW CONTAINER MODULES extruded slab; artist chop on base 3 ins x 7 ins x 8 ins; 7.6 cms x 17.8 cms x 20.3 cms $75—125

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Charles Bronfman's Claridge Collection

40 RON DAVID DOGWOOD BURL LIDDED CIRCULAR BOX dogwood; signed height 1.5 ins; 3.8 cms, diameter 4 ins; 10.2 cms $400—500

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41 JAMES DORAN, RCA RESPONDING PAR AVION TO LA CARTE POSTALE mixed media; signed, titled, dated 1988 on base 3.5 ins x 12.5 ins x 13.5 ins; 8.9 cms x 31.8 cms x 34.3 cms $3,500—4,500

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James Doran was born in Vancouver, BC in 1952, and moved to Winnipeg, Manitoba in 1967. He received his B.Sc. from the University of Manitoba (1976) after pursuing studies in computer science, physics and astronomy.

Rather than forming a career in the sciences, Doran turned to the arts.

He began exhibiting his work in the early 1980’s and shortly thereafter started receiving many awards, including Best of Show awards at the Canadian Biennial of Enamel in Laval, Québec. His work has featured in solo and group exhibitions throughout Canada and the US, as well as in Spain, France, Germany and India. Doran also delivered the keynote address at the 1995 International Enamelist Society Conference in Hampton, Virginia. His work is also found in many collections, including the Canada Council Art Bank and the Claridge Collection in Montreal.

Doran has also published work on his research in enameling techniques. In 2007, Doran was inducted into the Royal Canadian Academy. He currently lives and works in Winnipeg with his wife, ceramic artist Karen Dahl.

Charles Bronfman's Claridge Collection

42 JOHN IKEDA ARCHITECT’S TEAPOT clay; signed 6.5 ins x 7 ins x 6.5 ins; 16.5 cms x 17.8 cms x 16.5 cms $600—800

John Ikeda was born in Lethbridge, Alberta 1948, of Japanese-Canadian origin. Early childhood memories were of menial labor on the sugar beet fields of southern Alberta, and racial prejudice, the consequences of internment and displacement after the incarceration of Japanese Canadians during the Second World War. Ikeda received his Bachelor of Arts from the University of Lethbridge, Alberta, in 1971, and went on to pioneer the emergence of the studio art pottery practice of the 1970’s. In 1996, he received the ‘Best Ceramics’, Royal Doulton Ceramics Award.

Ikeda has participated in solo and group exhibitions across Canada since 1970 and is the recipient of several awards, including the Gold Medal at 32nd Annual International Exhibition of Ceramics, in Faenza, Italy in 1974.

His work is also part of major collections in Canada, France, Italy and Taiwan. Ikeda moved to St. Bernardin, Ontario, in 1978 where he set up his rural studio and residence.

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43 DENYS JAMES WINDOW HEAD clay 13 ins x 11 ins x 11 ins; 33 cms x 27.9 cms x 27.9 cms $600—800

Denys James was born in Victoria, British Columbia in 1943. He received his Bachelor of Education from the University of British Columbia in 1968 and attended a two-year program in Ceramics at The Banff Center School of Fine Arts in 1976. James worked as an assistant in the Ceramics department at the Banff Center until 17. He went on to teach at various schools, including the Okanagan University College (1982-1984, 19861991), the Alberta College of Art and Design (1982-1984) and the Victoria College of Art (1991-1998).

James has exhibited since 1978 across Canada, the United States, Mexico, England and Turkey, and his work is included in public and private collections in Canada, the United States and Turkey. He was a member of the National Council on Education for the Ceramic Arts, the Craftsmen’s Association of British Columbia, and the British Columbia Potters’ Guild.

In 1996, James launched Discovery Art Travel, and has organized and led more than 20 ceramic art and language learning vacation excursions to such destinations as Istanbul and Cappadocia, Turkey; Tuscany in Italy; San Miguel de Allede and Oaxaca in Mexico; Laos and Thailand. When not traveling, James lives on Salt Spring Island, BC.

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44 FRED MOULDING GRAIN WAGON painted wood 10.5 ins x 6.5 ins x 32 ins; 26.7 cms x 16.5 cms x 81.3 cms

TRAVOIS painted wood 6.5 ins x 5.5 ins x 13 ins; 16.5 cms x 14 cms x 33 cms

Fred Moulding was born in 1894 in Yorkshire, England. He immigrated to Canada in 1912, settling near Regina, Saskatchewan. Moulding struggled to raise a family as a farmer through the Depression, and it was not until in his sixties that he began carving wood. A self-taught carver, Moulding’s work reflected depicted rural life in Saskatchewan, carving grain wagons, ploughs, butchering equipment, and animals frequently seen in the region.

He hoped to leave a legacy of his life for future generations. Moulding exhibited his work throughout Saskatchewan, including the Susan Whitney Gallery and the Dunlop Gallery in Regina, and the Mendel Art Gallery in Saskatoon. His work is part of several private collections, as well as the collections of the Canada Council Art Bank in Ottawa and the Canadian Museum of Civilization in Hull, Quebec.

$225—325

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45 KAYO O’YOUNG LARGE JAR porcelain, glazes; signed height 9 ins; 22.9 cms, diameter 10 ins; 25.4 cms $200—400

Kayo O’Young was born in Canton, China in 1950 and immigrated to Canada in 1965. He attended Central Technical School in Toronto from 1970 to 1973. He began potting at the age of five under the tutelage of his parents and grandparents who were potters. He describes himself as a self-taught artist, yet his work is found in some of the most prestigious museums, galleries and collections across the world. O’Young’s pieces are one-of-a kind, the style is detailed yet minimalist, quiet yet inviting. Kayo O’Young is recognized as one of Canada’s finest porcelain potters. In the industry, he is known as “a potter’s potter,” the highest acclaim, and he serves as both teacher and inspiration to numerous potters.

O’Young has taught at various schools in Toronto and Montreal, and hosted workshops and seminars at the Ontario College of Art, Mohawk College of Applied Art and the University of Waterloo. His work has also been featured in the films The Hand and the Spirit (TV Ontario, 1992), and Playing with the Fire (CBC Arts and Entertainment, 1993). O’Young lives in Kleinburg, Ontario.

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46 KAYO O’YOUNG COVERED JAR porcelain, glazes; signed, dated 87 on base height 13.75 ins; 34.9 cms, diameter 13 ins; 33 cms $200—300

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47 KAYO O’YOUNG COVERED JAR porcelain, glazes; signed, dated 87 on base height 8.5 ins; 21.6 cms, diameter 9 ins; 22.9 cms $200—300

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48 GREG PAYCE TEAPOT earthenware, terra siggilatta, textured glaze; signed, dated 93 9.5 ins x 10 ins x 7 ins; 24.1 cms x 25.4 cms x 17.8 cms $800—1,200

Greg Payce was born in Edmonton, Alberta in 1956. He received his Bachelor of Arts, with a minor in Anthropology, from the University of Alberta in 1977, and his Master of Fine Arts from the Nova Scotia College of Art and Design in 1987. Payce has been Head of Ceramics at the Alberta College of Art and Design since 1989.

Payce worked with more traditional vessel forms at the start of his career, inspired by ancient pottery from Crete (Octopus Vase, 1992). In the 2000’s he began to explore the negative space between pottery forms to created images (Al Barelli, 2002).

Starting in 2007, Payce began to create large-scale lenticular photographs of major pieces, opening new possibilities for seeing and experiencing the original works (The Customs and the Spirit of the Nations: Occident, 2011). He also began to work with video projections onto moving works, creating mesmerizing sequences that relate decorative motifs found around the globe to contemporary ceramics practice (Albedo Lux: Europa, 2009).

Most recently, Payce’s work was featured in the 2012 solo exhibition, Illusions, at the Gardiner Museum in Toronto. His work is included in numerous public and private collections, including the Claridge Collection in Montreal, the Gardiner Museum in Toronto, and the Canadian Museum of Civilization in Gatineau, Quebec. He has also given numerous lectures workshops and presentations both in Canada and internationally. He is also the 2013 recipient of the Saidye Bronfman Award now part of the Governor General’s Award in Visual Arts and Media. Payce lives and works in Calgary, Alberta.

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49 ANDRE PETTERSON PAINT BOX - SCULPTURE mixed media 46 ins x 26 ins x 26 ins; 116.8 cms x 66 cms x 66 cms $1,200—1,800

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Andre Petterson was born in Rotterdam, Holland, in 1951, and moved to Saskatoon, Saskatchewan at the age of three. He became seriously interested in art in his late teens and was encouraged to follow this path by the Dean of Art at the University of Saskatchewan. He moved to Vancouver, British Columbia, in 1970 and since then has had over 50 international solo shows, exhibiting across the spectrum of art media, including painting, photography, photo-based works, and steel sculpture.

He has also explored performance art, film, and kinetic work involving his own musical compositions, set design and choreography. His current photo-based work explores themes of lighting to create elements of mystery, where the integration of movement and fabric are analogous to brushstrokes. Petterson was the recipient of the National Film Board of Canada Award in 1986. Petterson lives in Vancouver, British Columbia.

Charles Bronfman's Claridge Collection

50 DON PROCH BUILDING WITH A VIEW mixed media 16 ins x 17 ins x 13 ins; 40.6 cms x 43.2 cms x 33 cms

Don Proch was born in Hamilton, Manitoba in 1944 His family moved to Inglis, Manitoba, in 1952 to run a local hotel. He studied Fine Arts at the School of Art at the University of Manitoba, graduating in 1966 with a Bachelor of Fine Arts and a Bachelor of Education. He painted for one year and taught art in a high school from 1967 to 1970. During that time, he became interested in three-dimensional surfaces, his subjects derived from his rural experiences, his strong Ukrainian heritage and prairie culture.

$4,000—6,000 1970 was a pivotal year for Proch’s artistic career. He submitted his first three-dimensional drawing to the Winnipeg Biennial entitled Asessippi Tread, a multi-media assemblage representing a boy crouched low on a bicycle, for which he won a Purchase award. Shortly thereafter he formed the Opthalmia Company of Ingress, comprised of relatives, artists and friends which, in this collective setting, allowed Proch to conceive original ideas while benefiting from the input of other members; his first endeavours were based almost solely on his rural background in Asessippi, Manitoba. In 1972, Proch had his first solo exhibition at the Winnipeg Art Gallery, entitled The Legend of Asessippi. The show was entirely original, as conceptually brilliant as it was visually taxing. Proch held eight more exhibits at the WAG between 1972 and 1997.

In 1976 Proch’s work was chosen for showing at Place Bonaventure in Montreal for the all-Canadian Olympic show. In 1977 he completed a mural for the Winnipeg Convention Centre measuring 8 ft. by 12 ft. of a prairie scene, half of which was fashioned in chromed steel.

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51 LISETTE SAVARIA AND FRANCOIS POTVIN AMBIVALENCE porcelain and bronze; signed, dated 89 11.5 ins x 10 ins x 18 ins; 29.2 cms x 25.4 cms x 45.7 cms $2,000—3,000

Lisette Savaria was born in McMasterville, Quebec, in 1947. After her husband’s death in 1975, she turned her focus on art. She studied at the Ecole des arts Appliqués, in Montréal, Quebec, from 1976 to 1979, as well as painting and sculpture in Mont St. Hilaire with Jordi Bonet and ceramics with Maurice Savoie in Longueuil. Savaria opened her own studio in 1979, and worked on techniques of sculpting, engraving and painting, producing porcelains with window-like openings. She went to France for one year in 1988 to attend the Ecole nationale supérieure des beaux-arts in Paris and the Manufacture nationale de Sèvres.

Savaria has participated in solo and group exhibitions in Canada, France, Norway and Japan. Her works are part of major public and private international collections. The federal government has also presented her porcelain as gifts to visiting heads of state and prominent dignitaries, including Their Imperial Highnesses Prince and Princes Takamado of Japan, Their Royal Highnesses The Duke and Duchess of York, and His Majesty King Fahd bi n Abdul Aziz al Saud, Riyadh of Kingdom of Saudi Arabia.

Lisette Savaria lives in Mirabel, Quebec.

Francois Potvin was born in Granby, Quebec in 1946. He received a technical diploma in Metallurgy in 1966, and began exhibiting his work in the mid 1970’s. He is recognized for his sculptures, bronzes and more importantly porcelain work, and worked closely with Lisette Savaria, with whom he set up a porcelain studio in St. Ours, Quebec in 1979. They have exhibited their works both independently and jointly throughout Canada.

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52 RON TRIBE SCULPTURAL TEAPOT porcelain; artist chop on base 16.5 ins x 9.5 ins; 41.9 cms x 24.1 cms

Born in Surrey, England in 1927, Ron Tribe immigrated to Canada in his youth, and worked for a number of years in the retail business. He eventually chose to pursue the arts and studied different media at the Vancouver School of Art, Capilano College and the University of British Columbia, and eventually opened his own pottery studio. Tribe also taught at various schools, including Capilano College.

$200—400 Tribe exhibited at Retrospect Ceramics 80, the 25th Anniversary of the Potters Guild of B.C., an invitational exhibition featuring 120 national and international ceramic artists who received honors locally or at the national and international level, as well as those who contributed to the growth and development of ceramics in British Columbia over the previous 25 years.

Tribe passed away in 2009.

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53 JOANNE VANDERHORST TEAPOT stoneware 7 ins x 11 ins x 14 ins; 17.8 cms x 27.9 cms x 35.6 cms $150—200

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Joanne Vanderhorst is a Winnipeg artist who is recognized for her paintings and ceramics. She has worked as a professional potter since 1978, and was a founding member and co-owner of The Stoneware Gallery, one of the longest running artist’s co-operatives in Canada. She has given classes and workshops in pottery at the Parks and Recreation Department for the City of Winnipeg, and at the Icelandic College of Art in Reykjavik, Iceland. Vanderhorst has exhibited across Canada, the United States, and Japan, and her work is included in corporate and public collections across Canada.

Charles Bronfman's Claridge Collection

54 KATHRYN YOUNGS TWO-HANDLED VASE clay; signed, dated ‘89 23 ins x 13 ins; 58.4 cms x 33 cms

Kathryn Youngs was born in southern California, and grew up in Lytle Creek. She moved to Vancouver in 1972, where she studied at the Vancouver School of Art from 1972 to 1974. Youngs started her career as a printmaker, but it was while taking a pottery course at a local community center in 1979 that she discovered clay and has since worked on slab-built sculptural vessels.

$300—400 Youngs’ work is part of major collections in Canada, as well as at the National History Museum of Taipei. She has exhibited her work across Canada, in the United States, Norway and China.

In 2008, Youngs retired as an artist and returned to school to obtain her Bachelor of Arts in Anthropology from the University of British Columbia.

She is presently manager of Circle Craft Cooperative Association of BC, and lives in Vancouver.

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55 JAMES AND DAVID PATERSON MAESTRO CANADENSIS carved and painted wood; signed, dated 1989 on base 16.5 ins x 6 ins x 11 ins; 41.9 cms x 15.2 cms x 27.9 cms

James Paterson was born in Prince Albert, Saskatchewan and moved to Toronto, Ontario, where his brother David, was born in 1961. They grew up in the Kensington Market area of Toronto. James received his Bachelor of Fine Arts (Honours) from the University of Waterloo in 1981 and taught art at the elementary and high school levels for several years before leaving teaching to pursue art full time. David graduated from George Brown College, specializing in General Carpentry, in 1985, and worked in his field from 1985 to 1988.

$1,500—2,500 The brothers started creating folk art together, with David doing the carving and James painting them. Their works feature Canadian icons such as stylized Mounties with loons’ heads, and hockey players. James Paterson has recently completed a series of illustrations for the Revised Common Lectionary. He has participated in solo and group exhibitions both nationally and internationally.

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56 DONNA MCLAREN HORSE clay; artist chop inside horse 12 ins x 15.5 ins x 10 ins; 30.5 cms x 39.4 cms x 25.4 cms

Born in Fort William, Ontario, Donna McLaren received her Bachelor of Household Science from the University of Guelph and a certificate in Ceramics from Sheridan College. She went on to teach pottery at Capilano College in North Vancouver for more than twenty years. Due to an injury McLaren was forced to abandon pottery and began painting. Her first show of paintings was held in Ketchum, Sun Valley Idaho, in 2002.

McLaren lives in Vancouver, British Columbia.

$150—250

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57 MARYLKA RHINOCEROS terracotta 9 ins x 6 ins x 18 ins; 22.9 cms x 15.2 cms x 45.7 cms $400—600

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58 GWEN HUGHES LEO THE ELEPHANT clay; signed 11 ins x 10 ins x 8 ins; 27.9 cms x 25.4 cms x 20.3 cms $300—500

Gwen Hughes was born in Regina, Saskatchewan. She graduated in 1979 from the Alberta College of Art, and has also taken art classes at the University of Calgary. Hughes is known as both a painter and sculptor, and has exhibited in both Canada and the United States. Her works are also found in collections across North America.

Hughes owns Hughes and Barber Art studio, a gallery in Bragg Creek, Alberta. She lives in La Quinta, California, where she also teaches art workshops.

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59 GWEN HUGHES THERESA THE ELEPHANT clay; signed 10 ins x 9 ins x 9 ins; 25.4 cms x 22.9 cms x 22.9 cms $300—500

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60 VIRGINIA MCCLURE THE POTTERS CLUB (8 PIECES) clay Approximately 14 ins x 11 ins x 9 ins; 35.6 cms x 27.9 cms x 22.9 cms $400—600

Virginia McClure was a ceramic and plastic arts specialist who lived in Montreal, Quebec. As a child, she studied at the Montreal Museum of Fine Arts with Arthur Lismer. McClure attended McGill University, and graduated in 1955 from the School of the Museum of Fine Arts in Boston, Massachusetts. In 1956, she joined the Potters’ Club, the first clay guild in Canada, a place for potters to work while sharing expensive equipment and offering artistic support. For many years, McClure focused on ceramics, but eventually began exploring other media, including textiles, print-making, oil, acrylic, and assemblage. The Potter’s Club eventually evolved as the Visual Arts Center, where McClure was a pivotal figure, serving as director and president of the board over the years. In 1991, the gallery at the Visual Arts Center was renamed the McClure Gallery in honour of McClure’s long time involvement with and support of the center.

McClure exhibited throughout her career across Canada, the United States and Spain, and her work is part of several corporate and private collections. She was also a published writer and a poet, her works including Green Jelly Beans: Poems and Monoprints (2006), and her memoir, The Yellow Painting (2009). McClure passed away in Montreal in 2012.

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61 MARGARET KEELAN PEGGY IN YELLOW clay, paint; signed on base 20 ins x 9.5 ins x 6 ins; 50.8 cms x 24.1 cms x 15.2 cms $2,500—3,500

Margaret Keelan was born in 1948 in Regina, Saskatchewan. She received her Advanced Bachelor of Art in Fine Arts in 1970, where she discovered clay and wheel throwing, studying under James Thornsbury. She moved to Regina to study under Joe Fafard at Regina Campus in 1973. Keelan completed her Masters in Fine Arts, specializing in Ceramic Sculpture, in 1976 at the University of Utah, under Marilyn Levine. Keelan moved to California where she taught at several institutions, including San Francisco State University and the San Francisco Academy of Art, where she is currently Assistant Direct of Fine Arts, Sculpture.

Keelan’s early sculptures were primarily sections of bodies, mainly of torsos, with truncated limbs, which she described as “incomplete, as I was.” With the “Woman with Alter Ego” series, she addressed her concern with submerged emotions, spiritual growth and our “tribal” connections.

Her most recent sculptures have been the appearance of wooden dolls, the surfaces reminiscent of disintegrating paint over weathered wood, echoing her reflections on mortality. She currently lives in San Pablo, California.

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62 EVA AND MILAN LAPKA CARABINIERI UMBERTO clay; signed 10.5 ins x 16 ins x 3 ins; 26.7 cms x 40.6 cms x 7.6 cms $500—700

Married couple Eva and Milan Lapka were born in the Czech Republic, in 1944 and 1942, respectively. They immigrated to Montreal, Quebec in 1968, five years after having received their diploma in Ceramics, Sculpture and Design from the College of Arts and Crafts in Brno, Czech Republic.

Eva produced the form of the figures, while Milan fired and glazed the works. Most of their ceramics consisted of an exploration of the human figure. They produced both large installations, such as In Infinitum(1990), which combined abstract human forms with painted architectural and landscape backgrounds; and smaller works, such as Ancestral Hero (1989).

During an exhibition that they held in the Czech Republic in 1992, they initiated a cross-cultural exchange between Czech and Canadian artists, known as Exchange (1993, 1996), and Interchange (1995, 1997).

Eva served as a Professor of Ceramic Perfecting at the Institut de métier d’art and the Commission de formation professional in Montreal from 1988 to 1995, and has been teaching ceramics at the Montreal Visual Arts Center since 1991, where she is the Head of the Ceramics Department since 1999. Milan also taught Ceramic Perfecting at the Institut des métiers d’art and at the Commission from 1988 to 1993, and at the Visual Arts Center, where he taught art to children with learning disabilities.

Milan Lapka passed away in 1999. Recently in 2012, Eva became a member of the Royal Academy of Artists.

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63 IRENE FROLIC, RCA LES PETITES V pate de verre 9 ins x 4.5 ins x 4 ins; 22.9 cms x 11.4 cms x 10.2 cms

Irene Frolic was born in Stanislavov, Poland in 1941. She studied English Literature at Ithaca College in 1964, then attended Cornell University in Ithaca, NY from 1964 to 1965. Frolic lived in China with her husband and children in the 1970’s, during the Cultural Revolution. She subsequently moved to Toronto, Canada and began her career in glass in her 40’s. She received her art degree from the Ontario College of Art, Toronto. A.O.C.A in 1990.

$2,500—3,500 In 2001, Frolic was invited to exhibit at the “International Glass” at the Shanghai Fine Arts Museum and the Millennium Museum in Beijing, China, a collaboration between American gallery Habatat and the Liuli Gongfang Company. She has also lectured and taught workshops at Tsinghua University.

Frolic has been involved in the international studio glass movement, helping to develop the art of kiln cast glass as a material for artistic expression by teaching workshops, lecturing and exhibiting world wide.

She is the past president of the Glass Art Association of Canada, and a member of the Royal Canadian Academy of Art (RCA). Her work is exhibited internationally and is found in many public and private collections.

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64 VICTOR CICANSKY SELF PORTRAIT OF THE ARTIST clay; signed, dated 95 15 ins x 13 ins x 14 ins; 38.1 cms x 33 cms x 35.6 cms $2,000—3,000

Victor Cicansky was born in Regina, Saskatchewan in 1935. He developed a respect for the land at an early age as his family grew most of what they ate. He received his B.Ed. from the University of Saskatchewan in 1935, and was an elementary school teacher for several years. He went on to study art at the Hastack Mountain School of Art, Deer Island, Maine, and at the University of California, Davis, where he received his MFA in 1970.

Strongly influenced by the funk art movement in California of the 1960’s, he returned to Saskatchewan and began to create sculptures that reflected his strong connection to nature, depicting the sensuous quality of fruits, vegetables and the land. As Cicansky himself stated, his work is about the backyard garden, what he has seen, remembered, and experienced as a gardener, and translated this into his artwork.

Cicansky was a member of the Faculty of Fine Arts and the University of Regina for over twenty years. He was also a guest lecturer at universities in Canada and the United States, including the University of California, Davis. He also received numerous awards, including the Victoria and Albert Award for Ceramic Sculpture (1967); he was named as a member of the Order of Canada in 2009 for his contributions as an artist and educator.

He was honoroured with the Saskatchewan Lieutenant Governor’s Award for Lifetime Achievement in the arts in 2012. He lives and works in Regina.

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65 VICTOR CICANSKY PERSISTANCE OF WEEDS clay, dark patina bronze; signed, dated ‘88 height 16 ins; 40.6 cms, diameter 5 ins; 12.7 cms $500—700

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66 DALE PEREIRA PLATTER clay; signed height 4 ins; 10.2 cms, diameter 22 ins; 55.9 cms $300—500

Dale Pereira is a graduate of Sheridan College, and received his Bachelor of Fine Arts from the Nova Scotia College of Art and Design, and his Master of Fine Arts from Kent State University, Ohio. He has operated his own independent studio in Toronto since 1985 and has been an active exhibitor throughout Canada. He is a former resident and advisor of the Harbourfront Studio in Toronto. Pereira is most known for his rich earthenware work, and his pieces are found in prominent collections throughout North America. Pereira lives in Toronto, Ontario.

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67 JOHN PICKERING VASE raku height 23 ins; 58.4 cms, diameter 19.5 ins; 49.5 cms $800—1,200

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John Pickering first studied Ceramics at the University of California, Santa Barbara, while concurrently pursuing a degree in Confluent Education. He continued his art studies at the University of Manitoba and graduated in 1984 from the Emily Carr College of Art and Design in Vancouver.

Pickering has had his own studio on Granville Island, and lives in Vancouver, British Columbia.

Charles Bronfman's Claridge Collection

68 WALTER OSTROM FLOWER BRICK WITH BASKET DECORATION earthenware (Lantz clay) 11.5 ins x 11 ins x 5 ins; 29.2 cms x 27.9 cms x 12.7 cms $700—900

Walter Ostrom was born in 1944 in Binghamton, New York. After receiving his B.A. in Biology from Wilmington College, Ohio, in 1967, and his M.F.A. from Ohio State University in 1969, Ostrom came to Canada in 1969 to teach at the Nova Scotia College of Art and Design. A pioneer in the use of Nova Scotia’s Lantz clay, Ostrom had his first show in 1976 at the Art Gallery at Mt. St. Vincent University. Ostrom has participated in over 100 group and solo exhibitions throughout Canada, the United States, Asia, and Europe. His art is also found in major museum collections, including the Museum of CIvilization in Gatineau, the Victoria and Albert Museum in London and the Museum of Fine Arts in Boston.

Ostrom’s work and legacy as a teacher was the subject of the 1996 exhibition at the Art Gallery of Nova Scotia, Walter Ostrom: The Advocacy of Pottery.Ostrom has gained international recognition for reviving and making contemporary the ancient technique of low-fire majolica production. Walter was one of the first western artist/educators to begin traveling to Jingdezhen, China, to study, teach, and research Chinese Ceramics.

Ostrom has also been recognized with the Jean A. Chalmers National Craft Award (1995), the prestigious Saidye Bronfman Award for Outstanding Creativity in Craft (2003), and was named to the Order of Canada (2006).

He was visiting professor at the Jingdezhen Ceramics Institute Jiangxi, China, which awarded him an Honorary Professorship in 1997; quite fitting as this was the town where porcelain was discovered and developed. After 38 years of teaching at NSCAD University, Professor Emeritus Ostrom retired in 2008, with the Walter Ostrom Scholarship in Ceramicsset up in his honor. In the fall of 2013, he will be Visiting Artist with the West Virginia Universe China Ceramics Program in Jingdezhen, China. Ostrom lives in Lunenberg, Nova Scotia.

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69 TRINA COHEN LE SAULT ceramic; signed, dated 93 13.5 ins x 7.5 ins x 5 ins; 34.3 cms x 19.1 cms x 12.7 cms $200—300

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Trina Cohen received her Certificate in Graphic Design from Dawson College in Montreal in 1983, and her BA in Art Education in 1983 from Concordia University in Montreal. She has worked predominantly as a graphic artist, but has also developed her art over the years.

Charles Bronfman's Claridge Collection

70 SUSAN BRISON BLUE PONIES clay; signed on base 20.5 ins x 17.5 ins x 5 ins; 52.1 cms x 44.5 cms x 12.7 cms $200—300

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71 JOHN IVOR SMITH EDWARDIAN HEAD fiberglass-reinforced epoxy; signed, titled on base 23 ins x 8.5 ins; 58.4 cms x 21.6 cms $2,500—3,500

John Ivor Smith was born in London, England, in 1927, and came to Montreal, Quebec, at the age of 13, during the evacuation of children from London during the Second World War blitz. Smith completed his Bachelor of Science in Physics at McGill University in 1948 and went on to work for the Northern Electric Company, making ad films. He took evening classes at the Montreal Museum of Fine Arts, studying under Jacques de Tonnancour, Eldon Grier and Arthur Lismer. His focus was primarily on sculpture, most of his first works being done in wood. In 1955, Smith was awarded a Canada Council Junior Fellowship to work and study new and ancient techniques of casting in Italy.

The emergence of new plastics and resins during the 1950’s and 60’s led Smith to experiment with industrial extruders and reinforced polyester resin exteriors, which he applied to his works. Two of his immense standing figures, Standing Female Torso and Winged Figure,with welded steel substructures and reinforced polyester resin exteriors, were displayed at Montreal’s Expo 67; both works showing the superb craftsmanship and irrepressible humor of Smith. Many other major works followed, including Head (1950); Torso with Horse (1963); Sleeping Family (1963); Patrician Head (1964).

Smith was hired in 1966 as the first sculpture teacher at Concordia University, where he became Associate Professor of Fine Arts and head of the Sculpture Department until 1982. He moved to Duncan, BC in 1990, and died in Victoria, BC, in 2004.

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72 JOHN IVOR SMITH DOCTOR’S HEAD fiberglass-reinforced epoxy; signed on base 21 ins x 7 ins; 53.3 cms x 17.8 cms $2,500—3,500

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73 PAT TADDY BIG BLUE FLASK SMALL TEMMOKU FLASK clay 20 ins x 9.5 ins x 4 ins; 50.8 cms x 24.1 cms x 10.2 cms; 4 ins x 8.5 ins x 3 ins; 10.2 cms x 21.6 cms x 7.6 cms $230—370

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Pat Taddy graduated with a Bachelor or Fine Arts from the Nova Scotia College of Art and Design in 1993 and his Master of Fine Arts from Kansas University. He received the B.C. Telephone scholarship from Emily Carr College in 1990 and the David Lambert Memorial Award in 1991. He is Senior Studio Technician in the Visual Arts department of the University of Simon Fraser Valley.

Charles Bronfman's Claridge Collection

74 JANICE D. MATHESON TEA SERVICE (7 PIECES) clay; each signed on base height 8.5 ins; 21.6 cms, height 5.75 ins; 14.6 cms, height 5 ins; 12.7 cms, height 3 ins; 7.6 cms

Janice Matheson was born in 1958, and received her Bachelor of Fine Arts from the Ontario College of Art in Toronto in 1982, where she continued on to do one year of post-graduate studies at the school. Matheson has been exhibiting her ceramic works since 1984, having won several prestigious awards, including the 2nd World Triennial Exhibition of Small Ceramics Purchase Prize in 1987.

$400—600

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75 TIM STOREY CAMEL TEAPOT #250 clay; signed, dated 1985, inscribed “Canada” on base 8 ins x 10 ins x 5.25 ins; 20.3 cms x 25.4 cms x 13.3 cms $150—250

Tim Storey was born in Manchester, England, in 1951 and immigrated to Canada with his family in 1953. He graduated from Sheridan College’s School of Design, specializing in Ceramics in 1973, and has since been working as a ceramic artist. He is known for combining a variety of handbuilding techniques with form, function, and a wry sense of humour.

Storey has perfected the salt glaze technique for his works, a method that requires the introduction of salt into the kiln atmosphere, which enhances the depth of detail and complements the subsequent addition of precious metal luster glazes.

Storey is perhaps best known for his signature teapots in the shape of dragons, elephants, giraffes, steamships, spaceships, birds , houses, skyscrapers and snails, which are found in many major North American collections, private, public and corporate. His work has been exhibited widely in one-man shows, group exhibitions, and ceramic competitions in North America and Europe. He has also taught ceramics at St. Laurence College in Brockville, Ontario, and at the Alberta School of Art in Calgary, Alberta. Storey has lived in the Upper Ottawa Valley since 1981, where he has set up a studio with his wife Artist/Blacksmith Lydia VanderStaal.

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76 PAT STRAKOWSKI DWARF PRAIRIE TIGERS mixed media 7 ins x 8 ins x 4 ins; 17.8 cms x 20.3 cms x 10.2 cms $400—600

Pat Strakowsky is best known for her papier-mache sculptures that are carefully painted and adorned to emphasize the mythical quality of her creations.

Pat Strakowski was born in 1937. She waited until her daughters were in high school to enroll at the Alberta College of Art in Calgary, and graduated in 1979 with a Diploma in Textiles. Throughout the greater part of her artistic career, Strakowski has created mythical sculptures with papier mache adorned with found objects, her work influenced by the likes of Marisolo Escobar, Magdalena Agakanowicz and Frida Kahlo. More recently, Strakowski has focussed on altering books: she finds discarded hardcover books and builds them up with found objects, based on a specific theme or imagery. In 2009, a book on her works was published, entitled Moon Nibbler: The Art of Pat Strakowski. Strakowski lives in Calgary, Alberta.

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77 ANNE MARIE SCHMID ESLER PLAQUE clay; signed on reverse diameter 21 ins; 53.3 cms $350—450

Anne Marie Schmid Esler was born in Winnipeg, Manitoba, in 1937. She received her Bachelor of Arts in 1959 from the University of Manitoba, and went on to further studies at the University of Munich, Germany from 1961 to 1962. She returned to Winnipeg and worked as a social worker before focusing her education in fine art. She graduated with a diploma in ceramics from the Alberta College of Art in 1968. Schmidt’s work often reflects a concern for the sorrow of human existence. She played an integral role in shaping the history of ceramic arts in Alberta in the 1970’s and 80’s, pushing the medium beyond traditional practices and ensuring its rightful place in contemporary practice.

Schmid’s career in the arts spanned over 25 years, and she was the recipient of several awards and scholarships, including the Manitoba Arts Council Award. Her work is included in several university collections, as well as in the Alberta House in London, England. She took part in several solo and group exhibitions throughout Canada, in England, France and Japan, including a retrospective of her work at the Triangle Arts Gallery in Calgary, Alberta in 2006. Schmid Esler passed away in 2013 in Calgary, Alberta.

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78 JACK SURES, OC PEACH/BROWN PETS porcelain; signed, dated ‘87 on reverse diameter 22 ins; 55.9 cms $300—400 Jack Joseph Sures was born in Brandon, Manitoba, in 1934, the son of Russian Jewish immigrants. He attended the Winnipeg School of Art under the tutelage of Canadian artists, George Swinton (RCA) and Robert Nelson. He received his Bachelor of Fine Arts in 1959 from the University of Manitoba and continued on to obtain a Master of Arts, with a double major in painting and printmaking, from Michigan State University.

During this time, he took one ceramics course, which was the impetus that initiated his largely self-taught career in clay.

In 1965, Sures was given the opportunity to establish the Printmaking and Ceramics programs at the University of Saskatchewan’s Regina Campus. In 1969, Sures became the Chair of the Department of Visual Arts at the University, shifting his focus from teaching to printmaking, all the while continuing to create ceramics, including murals. He also exhibited across Canada and the United States. It was also during the late 1960’s to the mid 1970’s that the Regina Clay Movement was started. Sures, along with Joe Fafard, David Gilhooly, Lorne Beug, Marilyn Levine and others, dissociated themselves with the mid-twentieth century modernism, in favor of the pop movement style that emerged from California. Sarcasm, wit, and personal expression were the essence of their art.

Sures returned to Regina in 1975 to teach ceramics. He

continued to exhibit his work and received large commissions including an outdoor mural at the Sturdy-Stone Building in Saskatoon in 1978, that was a huge project covering 884 square meters. In 1987, he won a competition for a mural at the new Canadian Museum of Civilization in Gatineau, Quebec, and in 1989, Sures received the Grand Prize at the Second International Ceramics Competition in Mino, Japan, the foremost international ceramic competition held in Japan every three years. He had created a thirty by twenty-four meter wall sculpture using the leftover tiles from his mural at the Canadian Museum of Civilization. In 1991, he was appointed a Member of the Order of Canada, being recognized for a lifetime of outstanding achievement and dedication to the community and service to the nation. He was elected to the International Academy of Ceramics that year as well.

In 1998, Jack Sures retired from the University of Regina, having served thirty years teaching, with the honorary title Professor Emeritus. In 2003, he was awarded the Award of Merit, Saskatchewan’s highest honor. Sures lives in Regina, where he continues to create in his own studio and exhibit his work.

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79 BARBARA TIPTON A SEARCH FOR THE TRUTH ABOUT CERAMICS clay; signed, dated 87 on reverse diameter 16 ins; 40.6 cms $300—500

Barbara Tipton, originally from Tennessee, received her Bachelor of Fine Arts in Ceramics from the Memphis College of Art and her Master of Fine Arts in Ceramics from Ohio State University. Upon graduating, she remained in Columbus to build her studio practice. She moved to Calgary, Alberta, in 1986 with her husband, British/Canadian ceramist, John Chalke, where she has worked on her art and taught at the University of Calgary and the Alberta College of Art and Design. At the time, she was one of the few clay artists with an MFA in ceramics.

Tipton has exhibited across Canada, the United States, Australia and South Korea. In 2009, her work was included in Unity and Diversity, an exhibition at the 2009 Cheongju International Craft Biennale in Cheongju, South Korea. The exhibition returned to Canada in 2010 to appear at the Museum of Vancouver as part of the Cultural Olympiad activities for the 2010 Winter Olympics.

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80 PAULUS TJIANG A SHACK BY THE SEA glass; signed, titled, dated 1992 on reverse diameter 20 ins; 50.8 cms $500—700

Paulus Tjiang studied Pottery at Centennial College in Toronto, Ontario in 1982, and at Pilchuck Glass School in Seattle, Washington in 1987. He graduated form the Ontario College of Art in 1988 and spent the next three years as resident artist at Harbourfont Craft Studio, refining his glassblowing skills primarily using Venetian techniques. He has been a member of the faculty at Halliburton School of Arts, Fleming College since 2005.

Tjiang has participated in numerous exhibitions in Canada and the United States, and his work is included in several corporate and public collections.

He lives in Warkworth, Ontario, where he shares his studio and gallery, Frantic Farms Clay and Glass Gallery, with his wife, ceramic artist Monica Johnston.

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81 JOHN CHALKE, RCA HORSE LEARNS TO READ clay; signed, titled, dated 1985 on reverse diameter 14 ins; 35.6 cms $500—700

John Chalke was born in 1940 in Gloucestershire, England. In 1962, he received an Art Teacher’s Certificate in Education from the Bath Academy of Art. At the age of twenty-eight, Chalke immigrated to Canada, choosing to settle in Alberta. He opened his studio in Calgary, where the main focus of his energy has been to this day. He also has taught throughout his career, at the University of Alberta, the University of Calgary and the Alberta College of Art and Design.

In 2000, Chalke was the first recipient of the Governor General’s Award in Media and Visual Arts for Fine Craft. Two years later, he became a member of the Royal Canadian Academy of Arts, and in 2005 he was awarded an Alberta Centennial Award for Excellence. He was also one of the 2004 finalists for the Saidye Bronfman Award. Chalke is one of only four Canadian ceramists to have had work purchased by the Victoria and Albert Museum in London.

In 2008, Chalke’s artistry was featured in the documentary Landscape as Musefor which the 291 Film Companywas awarded a Gemini Award in 2008 and the CFTPA Indie Award in 2009. Chalke’s most recent group exhibition, Connections: Canadian and British Studio Ceramics, at the Gardiner Museum in Toronto highlights Canadian ceramicists’ strong ties with the British studio pottery movement.

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82 ZBIGNIEW KUPCZYNSKI PLAQUE clay; signed diameter 12 ins; 30.5 cms $400—700

Kupczynski was born in Wilno, Poland, in 1928. He escaped with his mother to Warsaw in 1939 during the Soviet invasion of Poland, while his father, an officer in the Polish army, went to Britain to aid in the war efforts. Kupczynski moved to Wroclaw at the end of the war to study at the Academy of Fine Arts in 1946. He became a member of The Association of Polish Artists, but his works were banned from exhibition by the Polish socialist government because of his tendencies towards expressionism and semi-abstract art. With the change in government in the mid-1950’s, and a more liberal view adopted to abstract art, Kupczynski’s works began to gain attention. The turning point for his career in terms of international recognition came in 1959, when then Vice-President Richard Nixon purchased one of Kupczynski’s paintings. Kupczynski immigrated to Canada in 1971, eventually settling in Vancouver, British Columbia. In 1980, he and his wife opened the Kupczynski Studio Gallery and worked on commissions for the Vancouver Opera, a mural for the British Columbia’s Children’s Hospital, and a commemorative poster, Pax in Terra, to mark Pope John Paul II’s visit to Canada. Kupczynski lives in Vancouver, BC.

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83 ANNE BOQUIST BASKET birch, organic material 21 ins x 17 ins; 53.3 cms x 43.2 cms $100—150

Anne Boquist is known for her works in basket weaving. She collects materials from the swamp, beach and forest, and incorporates these elements into her works. In 1981 she moved to Roves Bay, British Columbia, where in 1986, she founded the Oversea Bay Basket Weaver with friend Kathy Johannesson. Boquist and Johannesson sell their baskets in local shops and craft fairs. In 1986, they jointly won the Jury’s Choice awards at the Fine Arts ‘86.

Boquist currently resides and has her studio in DeMamiel Creek, British Columbia, where she has now found a new source of inspiration: gourds which she uses as the building block of her present art work.

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84 LLUIS RIERA JARDINIERE clay; signed, dated 1988 diameter 17 ins; 43.2 cms $200—300

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85 MICHAEL SHEBA PLAQUE clay; signed on reverse 16 ins x 16 ins; 40.6 cms x 40.6 cms $300—400

Michael Sheba was born in Toronto, Ontario, in 1945 and received his Bachelor of Science in Chemistry from McMaster University in 1969. He went on to study sculpture at the Three Schools in Toronto, and ceramics under Dirk Dijkstra in The Hague, Holland from 1971 to 1973. He returned to Toronto and attended the Ontario College of Art on a part-time basis, continuing his studies in Ceramics, and returned to Holland to study at the Advanced Ceramic Design School in The Hague in 1978.

Sheba originally worked in porcelain and stoneware, but the majority of his career has been in Raku. He has instructed courses and workshops at Halliburton School of Art, Metchosin, the New Brunswick Craft School, as well as in the United States, Mexico and Turkey. He was also artist-inresidence at Millsaps College, Mississippi and Vitra Studio, Istanbul. He was a board member and committee chair for the OCC, and vice-president and exhibitions chair for Fusion. His work is found in prominent collections throughout Canada and the United States, including the Burlington Art Center, the Canadian Clay and Glass Gallery, and Saks Fifth Avenue.

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87 MONICA JOHNSTON VASE clay; signed on reverse 7.5 ins x 6.5 ins; 19.1 cms x 16.5 cms $100—200

Monica Johnston was born in 1963, and received her Diploma in Commercial Ceramics from George Brown College, Toronto, in 1984.

Johnston is known for her precise, wheel-thrown functional ware that is decorated with a bold underglaze.

Johnston has received several Ontario Arts Council grants and her work has been shown in over fifty solo and group exhibitions throughout her career. She has produced reproductions for the Royal Ontario Museum and has contributed to private and public collections, including King Carl Gustaf of Sweden. She is also co-founder and Artistic Director of Artworth, an art camp for children in Trent Hills, Ontario. In 2005, she and her glass blower husband, Paulus Tjiang, opened Frantic Farms Clay & Glass Gallery in the budding Arts Community of Warkworth, Ontario. Johnston has taught several workshops on raku, smoke firing, mold making, and pottery throughout Ontario for over twenty years. She lives in Codrington, Ontario.

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88 ROMAN BARTKIW APPLES ceramic, wood; artist chop on base 9 ins x 7 ins; 22.9 cms x 17.8 cms; 5.5 ins x 4 ins; 13.8 cms x 10 cms $300—400

Roman Bartkiw was born in Montreal, Quebec in 1935, a second generation Ukrainian Canadian, and was raised on the Niagara Peninsula in Ontario. He studied at the Ontario College of Art from 1955 to 1960, winning the Henry Birks Medal, the Governor Generals’ Medal and the J.S. McLean Scholarship. Bartkiw continued on to study glass blowing at the Sheridan School of Design, Toronto, and Alfred University, New York.

In the 1960’s and 70’s, Bartkiw opened pottery and glass studios in Ontario, and also taught in Ontario, Nova Scotia, the Northwest Territories and Denmark, and was the Head of the Ceramics Department of the Ontario College of Art form 1968 to 1969. Bartkiw moved to Port Wade, Nova Scotia, where he opened up a pottery studio, as well as additional studios and showrooms in Granville Ferry and Paradise. He was a Master Craftsman in both glass blowing and glass pressing at the Upper Clements Theme Park from 1989 to 1990. Bartkiw was also a member of the Royal Canadian Academy and had acquired Canada Council travel funds to represent Canada several times in Scandinavia.

Bartkiw stopped exhibiting his art in the 1990’s, and died in 2010 in Wolfville, Nova Scotia, one day before his works were to be exhibited in Upstarts at the Jonathon Bancroft-Snell Gallery in London, Ontario.

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89 PATRICK AMIOT ANTICIPATION fire clay, acrylic 29 ins x 31 ins x 30 ins; 73.7 cms x 78.7 cms x 76.2 cms $3,000—5,000 Patrick Amiot was born in Montreal, Quebec in 1960. At 16 he entered the boat-selling business like his father, making his specialty in windsurfing boards and equipment. Inspired by an art course he took in CEGEP, Amiot decided to try his hand at caricature sculpture. He soon realized that he may stand a chance at succeeding in the arts.

Disillusioned with his life in Montreal, Amiot moved to Vancouver at the age of 21, where rented a studio to create his clay sculptures and supported himself by working at a local bakery. He sold his clay pieces at Circle Craft Cooperative for $15 or $20 a piece. His work quickly became sought after and he was able to quit his bakery job and devote full time to sculpting and exhibiting at regular art galleries. Amiot exhibits at Grace Gallery and at North Park Gallery in Victoria.

In 1997, Amiot and his wife, sculptor Brigitte Laurent, sold most all of their belongings, left behind their artists’ loft in Montreal, and drove across America in a motor home with their two young girls. They settled in Sebastopol, California, but soon found that Northern California didn’t have the market for their ceramics.

Finding themselves in financial difficulties, Amiot, on a whim, decided to build a sculpture of a fisherman from an old rowboat he had bought at a flea market, and displayed it on his front lawn. The public response was so positive that he began filling his neighbors’ lawns with his works. Within eight months, Amiot had his first commission, and sold his first piece.

Besides being environmentally friendly, Amiot and Laurent’s sculptures play an immense part in raising money for community schools. Amiot has recently joined forces with Renga Arts to create a showcase for exemplary works made of salvaged materials. Amiot lives with his family in Sebastopol, California.

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90 GERARD BELANGER, RCA CLIMBING THE TRAPEZE porcelain, wire, painted canvas 38 ins x 7 ins x 6 ins; 96.5 cms x 17.8 cms x 15.2 cms $4,000—7,000

Gérard Bélanger was born in Montreal, Quebec, in 1936. He moved to Inverness in 1974 and, in 1976, was introduced to bronze sculpture by fellow artist, Aristide Gagnon. Bélanger traveled to France to study at the Ecole Boule de Paris, and did various apprenticeships in the United States.

In 1987, Bélanger initiated The Art Foundry of Inverness, bringing economic, social, and artistic prosperity to the region. This success has led to the opening of The Bronze Museum and two more foundries. Not only is he recognized as a master of bronze work but also as being responsible for importing the methods and knowledge of bronze foundry work into Quebec and Canada. He has also been called upon for his expertise by foundries across North America.

Bélanger has exhibited his work, both painting and sculpture, across Canada and internationally. His sculptures are also found in private collections in Canada and France. Bélanger was vice-president of the Quebec Sculptors Association in 1972, and is a member of the Conseil de la sculpture du Québec since 1979. In 2000, Bélanger was invited into the Royal Academy of Arts.

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91 JOHN IKEDA RECTANGULAR VASE clay 10 ins x 8 ins x 6 ins; 25.4 cms x 20.3 cms x 15.2 cms $500—700

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92 DANIEL MATERNA BOWL clay height 3 ins; 7.6 cms, diameter 11 ins; 27.9 cms $80—120

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Daniel Materna was born in Prague, Czech Republic. He graduated from the Ceramics College of Arts in Bechyne in 1965, and worked in several ceramics studios throughout Europe.

In 1969, Materna immigrated to Vancouver, British Columbia, where he set up his own studio in 1969. Materna has participated in a number of exhibitions and his work is found in several collections in Canada. He and his wife, Zuzy Vacek, moved their studio to Granville Island, Vancouver, in the mi-1980’s, where they produce functional ware, lamps and sculptures.

Materna creates the wood fired pieces, while his wife paints folk art style finishes on many of the works.

Charles Bronfman's Claridge Collection

93 GILBERT GALLAYS IRON JAWED LADY painted wood 21 ins x 19 ins x 4 ins; 53.3 cms x 48.3 cms x 10.2 cms $80—120

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94 JOHN MARTIN GILBERT PENNANT STRUGGLE mixed media; signed, titled on base 16 ins x 19 ins x 12 ins; 40.6 cms x 48.3 cms x 30.5 cms $2,000—3,000

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John Martin Gilbert was born in New York City in 1926. After studying at the Art Center School in Los Angeles from 1948 to 1952, he worked as a member of the design team at Disneyland in Anaheim, California for one year before moving to Vancouver, British Columbia in 1955. Gilbert was art director for an advertising company until 1969, when he decided to pursue his personal art work full-time. He moved to Montreal, Quebec in 1971, where he remained for the next nine years before returning to Vancouver.

Charles Bronfman's Claridge Collection

95 LINDSAY ANDERSON LARGE DISK VESSEL raku height 5 ins; 12.7 cms, diameter 20 ins; 50.8 cms

Lindsay Anderson studied art at the Balfour Technical School and pottery under Don Chester and Helen Rogers at the University of Regina. He worked as a studio technical in the Ceramics Department of the university from 1982 to 1990, and continued on to teach ceramics for the City of Regina for two years. Since 2012, Anderson is an instructor at the Visual Arts Center in Bowmanville, Ontario.

$150—200 Anderson’s works focus primarily on functional ware, with sculptural elements incorporated into the pieces. The majority of his pottery is functional porcelain and hand built raku, where he uses a combination of metallic luster and crackle glazes.

Anderson has participated in numerous solo and group exhibitions nationally and international and his work is included in several private and public collections in Canada. He is the recipient of the Saskatchewan Arts Board purchase award in 1986. Anderson lives in Cobourg, Ontario.

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96 MELISSA SEARCY E 33 SLAB BOX, BLUE clay; signed on base 2.25 ins x 5.5 ins x 3 ins; 5.7 cms x 14 cms x 7.6 cms $50—75

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Melissa Searcy studied ceramics at the Emily Carr College of Art and Design in Vancouver, British Columbia from 1981 to 1983. She has exhibited her ceramics throughout Canada and lives on Salt Spring Island, British Columbia.

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97 JOHN BORROWMAN 2 CASSEROLES clay; signed height 6.5 ins; 16.5 cms, diameter 7 ins; 17.8 cms $60—90

John Borrowman studied ceramics at Wilton Pottery and apprenticed under Robin Hopper at Georgian College. He moved to Alberta in 1975 where he shared workspace with Tony Bloom at Stonecrop Studios for several years.

In 1980, Borrowman relocated to Sorrento, British Columbia, where he opened Notch Hill Pottery Studio until 1985, when he returned to Canmore, Alberta. In 1991, he established a new studio called of Cabbages & Kings, which he now runs with his daughter Katie. He has also been involved in the political scene of Canmore, where he has been mayor since 2012.

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98 JANE BUCKLES FRIENDS THAT LUNCH mixed media; signed, dated 1987 on leg 32 ins x 25 ins; 81.3 cms x 63.5 cms

Jane Buckles was born in Toronto, Ontario in 1941. She graduated with a Bachelor of Fine Arts in 1964 from the University of Toronto and went on to do a Secondary School Teaching Certificate from the Ontario College of Education in 1965. Buckles taught at the Secondary School level, and became Head of the Art Department at Etobicoke Collegiate (1964-1966) and Thornhill Secondary School (1966-1970).

$400—700 Buckles received her first commission in 1978 for the Whitby Public Library for a series of large banners and large kite-birds. She has had several other major commissions throughout her career and is part of several public and private collections in Canada, the United States, Hong Kong, and Great Britain.

Buckles retired from the arts in the mid 1990’s but still enjoys working with papier mache and fabric pieces, and is also very active in supporting her local community through her art work. She lives in Uxbridge, Ontario.

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Charles Bronfman's Claridge Collection Auction Wednesday 6 November 2013 Session 2: Fine Arts at 7:00 p.m.

On View Thursday 31 October from 9:00 a.m. - 5:00 p.m.

Friday 1 November from 9:00 a.m. - 5:00 p.m.

Saturday 2 November from 11:00 a.m. - 5:00 p.m.

Sunday 3 November from 11:00 a.m. - 5:00 p.m.

Monday 4 November from 9:00 a.m. - 5:00 p.m.

Tuesday 5 November from 9:00 a.m. - 5:00 p.m.

Preview and Auction to be held at Waddingtons.ca 275 King Street East, 2nd Floor Toronto Ontario Canada M5A 1K2 All lots in the auction may be viewed online at Waddingtons.ca

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101 EDWARD HILLEL STAIRCASES black and white photograph; signed, numbered 7/25 12 ins x 18.5 ins; 30.5 cms x 47 cms $500—700

Edward Hillel was born in 1953 in Baghdad, Iraq. He grew up in Montreal, Quebec, and graduated from McGill University in 1975, having studied political science and philosophy. He spent several years as a community organizer before devoting himself wholly to his art since 1990. A selftaught artist, his works are a form of gesammtkunstwerk, a total engagement with the world he inhabits. A recurring theme for his work has been the stories of Holocaust survivors and the members of the resistance. These works saw an evolution over time that went from standard portraits with audio recordings to multimedia displays built into portable installations, as in “The Birds are Back” (1999). In 2006, Hillel opened his art space in Harlem, New York and, in 2008, founded the Harlem Bienniale, an international arts & culture event that takes place in Harlem, New York.

Hillel’s photographs have appeared in publications such as Le Monde, Esquire, Fortune, Newsweek and Paris Match. He has received the German Critics Visual Arts Prize (Berlin), The Golden Sheaf Film Award (Canada), the Prix Alain de Rothschild (France), and the Spiro Institute Award (UK).

Hillel divides his time between Paris, Montreal and New York.

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102 EDWARD HILLEL ROOFTOPS black and white photograph; signed, numbered 7/25 13 ins x 19 ins; 33 cms x 48.3 cms $800—1,200

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103 JENNIFER DICKSON, RA SUSPENDED TIME: THE BOBOLI GARDENS photograph; signed, titled, numbered 6/30 13.5 ins x 19.5 ins; 34.3 cms x 49.5 cms $500—700

Jennifer Dickson was born in Piet Retief, the Republic of South Africa, in 1936. With her mother’s moral and financial support (her father believed in traditional homemakers’ roles for his four daughters), she went to England where she studied painting and printmaking at Goldsmith’s College School of Art (University of London, England) from 1954 to 1959. From1960 to 1965, on a French Government scholarship, she was an associate of the prestigious graphic workshop, Atelier 17 in Paris, working with Stanley William Hayter. Hayter imparted upon Dickson an analytical rather than emotional approach to her work, as well as the importance of risk taking to discover new forms of expressions and techniques. She went on to found and direct the graduate printmaking program at Brighton College of Art (now Brighton University), where she was instrumental in integrating photography into the program. By this point in her career, Dickson had already established an international reputation: Her etchings were published in a number of major thematic suites. In 1963, she was awarded the Prix des Jeunes Artistes pour Gravure at the Biennial de Paris, and her work, Genesis,was exhibited in the Prizewinners Salon of the Biennale de Paris in 1965.

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Dickson immigrated to Canada in 1969 where she directed the Graphics program at the Saidye Bronfman Center in Montreal (1970-71, 1981), and taught Drawing at Concordia University.

Since 1962, Dickson has had more than 60 solo exhibitions in six countries and has participated in more than 400 group exhibitions. Some of her more renowned exhibits include The Secret Garden (1975), Three Mirrors to Narcissus (1979), Sanctuary: A Landscape of the Mind (2005), which ran at the Royal Academy of Arts in London, England, and The Gods (2006), now part of the permanent collection at the Canadian Museum of Contemporary Photography.

Dickson was elected to the Royal Academy of Arts, London, England in 1970, the only Canadian in the 200-year history of this prestigious institution to have been so honored. Dickson was named to the Order of Canada (CM) in 1995, and was awarded an honorary doctorate (LLD) in 1988 by the University of Alberta, Edmonton. In 2002, she was given the Victor Tolgesy Award for cultural leadership by the Council for the Arts in Ottawa. Also in that year, the National Archives of Canada established the Jennifer Dickson Fonds; the collection will eventually hold all of Dickson’s original photographic material.

Dickson lives and works in Ottawa, Ontario.

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104 JENNIFER DICKSON, RA THE WHITE GARDEN, HIDECOTE photograph; signed, titled 11 ins x 14 ins; 27.9 cms x 35.6 cms $500—700

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105 GEORGE S. ZIMBEL THE BOX 5 black and white photographs Each image 13 ins x 71 ins; 33 cms x 180.3 cms $2,000—3,000

George Zimbel was born in Woburn, Massachusetts, in 1929. His interest in photography started at an early age; he bought his first professional camera at the age of fourteen, and worked for a local newspaper. Zimbel received his Bachelor of Arts from Columbia University, in New York City, in 1951. During his studies there, he was appointed both photographer and editor of the university newspaper, and had published an image in LIFE magazine. In 1949, whilst still at Columbia, he studied with the painter and architecture photographer John Ebstel at the Photo League, which influenced his subsequent dedication to documentary photography.

Upon graduating, Zimbel was accepted as a non-paying student in the course directed by Alexey Brodovitch, and worked as a correspondent of Pix Inc., one of the first photo agencies in New York. It was there that he met photographers Ed Feingersh, Bob Schwalberg, Bob Henriques and Garry Winograd, who would introduce Zimbel to the new 35 mm cameras.

After completing his military service from 1951 to 1953, he retuned to New York and worked as a freelance photographer, his works being published in major newspapers and magazines, such as The New York Times, Look, Saturday Review and Architectural Forum.

In the mid 1950’s and early 1960’s, Zimbel documented some of the most symbolic people of American history: the Presidents Harry S. Truman (in the famous series “A President in Retirement”), John and Jacqueline Kennedy, Dwight D. Eisenhower and Richard M. Nixon. He also portrayed personalities such as Leonard Bernstein, Helen Keller, Mickey Rooney and Jean Seberg. In 1954, Zimbel took some of his best-known photographs, the series on Marilyn Monroe during the film shooting of the film, The Seven-Year Itch.”

Zimbel and his family moved to a farm in Prince Edward Island in 1971, where he continued with his photography and worked on the farm. He moved to Montreal, Quebec, in 1980 and returned to documentary photography and presented his works in numerous major solo and group exhibitions, including Marilyn Monroe (New Orleans, 1995), and The Photography Show (New York 1996). Zimbel’s works are included in the collections of major museums in Canada and the United States, including the Museum of Modern Art and the International Center of Photography in New York, the Canadian Museum of Contemporary Photography in Ottawa, the Canada Council Art Bank in Ottawa, the Musée des BeauxArts de Montréal, the Library of Congress in Washington DC. Zimbel lives in Montreal, Quebec.

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106 DAVID MILLER BELDING - CORTICELLI, LACHINE CANAL, OCTOBER 1985/1995 photograph 10 ins x 13.5 ins; 25.4 cms x 34.3 cms $400—600

David Miller has been photographing for 40 years. He most often works together with his partner, Clara Gusche, producing a remarkable body of work that portrays the city of Montreal, Quebec and its residents. Miller explored architectural forms in several projects, including his works on the neighborhood of Milton Park (1970-1973), the business district (19741979) and the Port of Montreal (1976-1979). MIller’s work has been exhibited from the Vancouver Art Gallery to the National Building Museum in Washington D.C., and from the National Gallery of Canada to the Museum of Fine Arts, Houston. Miller lives in Montreal, Quebec.

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107 JOHN MASSEY & BECKY SINGLETON AFTERLIFE - GIANT ERYNGO YELLOW, AFTER BLOSSEFELDT direct positive print 14 ins x 11 ins; 35.6 cms x 27.9 cms $2,000—2,500

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John Massey was born in 1950 in Toronto, Ontario, the son of prominent architect, Hart Massey, the grandson of The Right Honorable Vincent Massey, and the descendant of a patrician family of patrons of the arts.

He studied English & History at Trent University for one year and went on to study at the Ontario College of Art in Toronto from 1971 to 1974.

Massey focused on photography of architectural interiors in the late 1970’s and, with computer manipulation coming into its own in the early 1980’s, he was among those who embraced the new technology. Digital manipulation confirmed his long-held belief that any kind of photograph amounts to an artificial construction rather than a simple depiction of reality. He currently lives and works in Toronto, Ontario.

Charles Bronfman's Claridge Collection

108 RICHARD KAPLAN UNTITLED photograph/dye coupler colour print; signed 27 ins x 28.5 ins; 68.6 cms x 72.4 cms $700—900

Richard Kaplan was born in Montreal, Quebec, in 1948, and received his Bachelor of Commerce in the early 1970’s from Sir George Williams University. He taught ceramics at a local community workshop, having taught himself how to throw pottery. Kaplan moved to Ste Agathe des Monts, Quebec, in the mid 1970’s, where he set up his own ceramic studio, and taught ceramics and pottery at Maison Emmanuel in Val Morin, Quebec. After an injury which left him unable to continue in ceramics, Kaplan turned his focus to photography, his subject matter being primarily nature. He also taught photography at Laurentian International College in Ste Agathe des Monts, Quebec.

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109 EDWARD BURTYNSKY URANIUM TAILINGS, ELLIOT LAKE, ONTARIO #7 print; signed, titled, dated, numbered 1/10 front 13 ins x 24.5 ins; 33 cms x 62.2 cms $3,000—5,000

Edward Burtynsky is one of Canada’s most celebrated photographers. His imagery explores the intricate link between industry and nature, combining the raw elements of mining, quarrying, manufacturing, shipping, oil production and recycling into eloquent, highly expressive visions that find beauty and humanity in the most unlikely of places.

Edward Burtynsky was born in 1955 St. Catharines, Ontario. His parents had immigrated from the Ukraine in 1951, and his father found work at the local General Motors plant on the production line. (Burtynsky links his early exposure to the sites and images of the plant to the development of his photographic work.) At age 11, Burtynsky’s father had set up an amateur dark room in their house, and Edward and his sister learned how to make black-and-white prints. The two of them ran a small portrait business at the local Ukrainian center.

In the early 1970’s Burtynsky worked in printing and took night classes in photography. He obtained a diploma in Graphic Arts from Niagara College in Welland, Ontario, in 1976, and a BAA in Photographic Arts from Ryerson Polytechnical Institute in Toronto, Ontario, in 1982.

In 2006, Burtynsky was the subject of the documentary film, Manufactured Landscapes, that was shown at the 2007 Sundance Film Festival in the World Cinema Documentary Competition. That same year Burtynsky was named Officer of the Order of Canada. Burtynsky’s photographs are found in over 50 museums worldwide. He is also the recipient of four honorary doctorates: Laws, from Mt. Allison University, Sackville, New Brunswick, Canada in Laws, from Queen’s University, Kingston; in Fine Arts in Photography Study from Ryerson University, Toronto; and in Fine Art, from Montserrat College of Art, Boston. He was awarded the TED Prize in 2005.

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110 MARK RUWEDEL LLANO DEL RIO 1992-93 Epreuve Ektacolor, montage d’archive, crayon de plomb; inscribed on front “Lake Thompson Llano del Rio Antelope Valley (A Socialist Community 1914-1918)”; signed, titled, dated on reverse height 16 ins; 40 cms $400—500

Mark Ruwedel was born in Bethlehem, Pennsylvania in 1954. He obtained his Bachelor of Fine Arts from Kurztown State College, Pennsylvania, in 1978 and his Master of Fine Arts from Concordia University in Montreal in 1983. It was while in university that Ruwedel developed an interest in photography, discovering the works of Lee Friedlander, Lewis Baltz, and Robert Adams. Upon graduating, Ruwedel taught photography at Concordia from 1984 until 2001, while pursuing a career as a fine art photographer. Ruwedel has spent his career working in the “New Topographics” tradition, picturing American landscapes as the scarred and decaying byproducts of capitalist exploitation.

Ruwedel’s photographs have been the focus of more than forty solo exhibitions, including at the Palais Rameau in Lille, France, the Nevada Museum of Art in Reno and the Winnipeg Art Gallery in Canada.

Additionally, he has participated in group exhibitions at the J. Paul Getty Museum in Los Angeles, San Francisco Museum of Modern Art, Tate Modern, London, Smithsonian American Art Museum in Washington D.C. and the Vancouver Art Gallery. His photographs are represented in the collections of the J. Paul Getty Museum, Princeton Art Museum, St. Louis Art Museum, and the Metropolitan Museum of Art, New York, among many others. He has held several teaching positions, including, since 2002, his current appointment as Assistant Professor at California State University, Long Beach. Ruwedel divides his time between Long Beach, California, and Vancouver, British Columbia.

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111 RICARDO L. CASTRO MONTREAL SILOS gelatin silver print; signed, titled 8 ins x 10 ins; 20.3 cms x 25.4 cms $150—200

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Castro has participated in numerous photographic exhibitions in Canada and the United States and has also been a contributing writer for various collections of architectural essays. In 1998 his book on Colombian architect Rogelio Salmona (1929-2007) was published by Villegas Editores, Bogotá. In 2006, Olsberg and Castro published their book Arthur Erickson: Critical Works, which accompanied the 2006 exhibition on the recently deceased Canadian Architect at the VAG. Castro was responsible for the design of the exhibition as well as the new photographic material for both the book and the show. In 2009, Rogelio Salmona: A Tribute, was published in English and Spanish versions by Villegas Editores. In 2009, he was elected as a member o the College of Fellows of the Royal Architectural Institute of Canada. His current work focuses on Spanish Baroque Fortifications in the Caribbean, which is part of a SSHRC Major Collaborative Research Initiatives MCRI, 2008-2014, whose PI is Dr. Juan Suarez at Western University.

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112 ANDRE MONGEAU LES NUAGES prismacolour; signed, dated Janvier 88 36 ins x 49 ins; 91.4 cms x 124.5 cms

Quebec artist Andre Mangeau received his art diploma from the Ecole des Beaux-Arts de Montreal in 1969, and studied under Ulysses Comtois at the Université du Québec a Montreal in 1971. He went on to study towards a Masters in Education of Plastic Arts for one year at the Université de Paris VIII in 1975. Mongeau taught art for several years at several universities until 1978, when he decided to devote himself full-time on his art work.

$900—1,200 Mongeau has been an active member of the Association of Sculptors of Quebec since 1972, where he served as vice-president in 1974. He was a founding member and chairman of the Conseil de la Culture de la région Lanaudière. Mangeau has exhibited his sculptures and paintings since the early 1970’s, and his work is found in prominent collections in Quebec. He lives in Lanaudière, Quebec.

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113 RAY MEAD UNTITLED watercolour on paper; signed 14 ins x 19.5 ins; 35.6 cms x 49.5 cms $1,500—2,000

Ray Mead was born in 1921 in Watford, Hertfordshire, England. In 1939, Mead served as a pilot in the Royal Air Force in the Second World War, and, following an injury, was posted to Hamilton, Ontario, traveling to the United States to train American bomber pilots for war. Mead was exposed to American culture and the New York art scene, which brought a new freedom to his work.

Mead returned to Hamilton in 1946, and developed a friendship with the artist, Hortense Gordon, who had trained with Hans Hoffman. Gordon’s mentoring further supported his movement into abstract art. Mead eventually moved to Toronto, where he worked as a commercial artist and art director for an advertising agency. In his free time he created abstract and non-objective paintings in watercolors and oils. He had his first public showing of his art at the Art Gallery of Hamilton in 1948, with his second at the Art Gallery of Toronto in 1950. He joined the Ontario Society of Artists, exhibiting with the group in 1950, and developed close relationships with several of the artists, who would eventually form Painters Eleven. Over the next decade, Mead was included in fifteen Painters Eleven exhibitions, their premiere being at the Roberts Gallery in 1954. Mead also held solo shows in New York City (1955); the Isaacs Gallery, Toronto (1957); and at George Loranger’s, Ottawa (1957).

Mead moved to Montreal in 1958, where he continued with his painting and commercial art work. He took part in several group exhibitions at the National Gallery and the Montreal Museum of Fine Arts. His work is included in numerous collections, including the National Gallery of Canada and the Art Gallery of Ontario. Mead passed away in 1998.

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114 MICHELE WAQUANT LE COLLOGUE oil on canvas; signed, dated 87 on reverse 51 ins x 76.5 ins; 129.5 cms x 194.3 cms $2,000—3,000

Born in Quebec City in 1948, Michèle Waquant studied visual arts at the École des arts visuels à Québec and at the Université Paris, Sorbonne. She has lived in France for several years now, and has taught video at the École Nationale des Beaux-Arts in Dijon, France, since 1990, and at the École des arts supérieure d’arts de Paris-Cergy since 1997.

Waquant has gained international recognition for her painting, sculpture, photography and video work. She has had several solo shows, including Médianes, produced by the Galerie de l’UQAM in 1999 and presented in France at the Galerie de l’École Supérieure des Beaux-Arts de Marseille; L’amoureux, organized by the Galerie Corinne Caminade in Paris in 2002; and L’observatoire, presented at the Centre d’art Passerelle in Brest in 2003.

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115 JACK VANDER WAL #4, AUGUST 1988 oil on canvas; signed, dated; signed, titled, dated on reverse 56 ins x 46 ins; 142.2 cms x 116.8 cms

Jack Vander Wal was born in 1924 in Leewarden, Holland. Growing up in a strict business environment, he took an early interest in painting in his youth as a means of creative release. As there was very little opportunity to make a living in Holland after World War II, Vander Wal immigrated to Canada in 1952, supporting his family as a farm worker in Alberta. He was, however, haunted by the destruction and devastation of the war, and painted for solace in his spare time.

$1,200—1,800 Vander Wal had his first exhibition in 1964 and has since exhibited across Canada, in the United States and France. His paintings are found in public and corporate collections across Canada. In 1974, Vander Wal moved to the Bay of Fundy in Nova Scotia, where he has painted prolifically ever since.

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116 CLAUS HEINECKE UNTITLED oil on canvas; signed, dated 40 ins x 30 ins; 101.6 cms x 76.2 cms $700—1,000

Claus Heinecke was born in the port city of Hamburg, Germany. He graduated with honors from the Ontario College of Art and Design in 1969, where he has taught since. He has spent most of his career as a Graphics Designer, working for thirteen years as Director of Design for Seagram Canada, ten years as Creative Director for the Watt Group, and four years running his own design studio, all the while developing his own art work.

Heinecke’s early works were paintings of boats and ships, which grew out of a love and sailing and the sea. In 1983, he accompanied the National Geographic expedition to the high arctic as Camp Artist. His style has since evolved to a more minimalist approach, focusing primarily on form and colour. In the early 2000’s, Heinecke began to explore sculpture, participating in several group exhibitions in Ontario. He lives in Campbellford, Ontario.

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117 HERMAN HEIMLICH STILL LIFE oil on board; signed, dated ‘64 11.75 ins x 15.75 ins; 29.8 cms x 40 cms $1,500—2,000

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Herman Heimlich was born in Hungary in 1904, and studied art at the Royal Academy of Fine Arts in Budapest, where he taught for several years upon graduating. He left Budapest around 1928 and travelled extensively through Europe, the United States and Canada, painting and exhibiting during his travels.

Heimlich settled in Montreal, Quebec, in 1930, where he established his first studio. That same year, he took part in his first Canadian exhibition, a show held by the Exhibitions Association of the City of St. John, New Brunswick, at which he was awarded first prize. Throughout his career, Heimlich divided his time between painting, drawing, and teaching.

He was a member of the Faculty of the Department of Fine Arts at the Saidye Bronfman Centre for the Arts, and also taught at various community organizations and, along with Arthur Lismer, at schools under the Protestant School Board. He became a member of the Federation of Canadian Artists in 1945.

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118 WILLIAM ALLISTER THISTLES acrylic on canvas; signed 35.5 ins x 47.5 ins; 90.2 cms x 120.7 cms $1,500—2,500

William Allister was born in Benito, Manitoba in 1919 to Ukrainian Jewish immigrants, and grew up in Montreal. He worked as a commercial artist in Montreal and was also active in local theatre. Allister served in the army during World War II, and was made prisoner of the Japanese for three years, a life-altering experience for him. Upon his release in 1945, he went to Hollywood, California, where he was an actor from 1945 to 1948, and returned to Montreal in 1950 to work as a writer for an advertising agency, dividing his free time between painting and writing. His novel, A Handful of Rice (1961), which describes the tribulations of Canadian prisoners captured in Hong Kong, won First Prize for Literary Merit. He was also awarded 9 international first prizes for documentary films, and in 1986 he was presented with an Author’s Award by the League for the Advancement of Canadian Letters.

In 1983, Allister spent two months in Japan, allowing him the opportunity to reconcile the ordeals he had suffered during the war. His East Meets Westcollection, executed upon his return from Japan, was shown at the Asian Centre, UBC, in Richmond, Victoria and in Tokyo at the Canadian Embassy Gallery. To coincide with the exhibition, an hour-long documentary film on his life, The Art of Compassion, was aired nationally on CBC. Allister’s memoir, Where Life and Death Hold Hands (1989), was published in Japanese in 2001, and won the Canadian Prime Minister’s Award for the promotion of inter-cultural relations. Allister held over 30 solo exhibitions throughout his career, and his works are also part of collections in Canada, France, South Africa, Mexico, the US, and Japan, with reproductions sold worldwide. Allister passed away in Delta, British Columbia, at the age of 89.

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119 DONALD H. CURLEY NOT A GREAT PLACE TO CROSS acrylic on board; signed; signed, titled, dated 87 on reverse 18 ins x 27 ins; 45.7 cms x 68.6 cms $2,500—3,500

Donald Curley was born in Halifax, Nova Scotia, in 1940, and graduated from the Nova Scotia College of Art and Design in 1958. He attended classes at the Art Students League in New York City from 1959 to 1961 and from 1966 to 1968, going on to study at the Royal Academy in London for one year in 1969.

In 1996, Curley was included in Who’s Who in International Art, and subsequently in Who’s Who in American Art. In 2002 Donald was recognized by editors of International Artist Magazineas one of the Master Painters of the World, and in the next issue he was chosen to be the Grand Prize Winner, the first artist to be honored twice in the same competition.

Curley completed many commissions, including those for Commemorative Stamps, Switzerland, and for the Royal Canadian Mint, including the gold portrait coin of Alexander Graham Bell, four coins for the 1998-2000 Canadian Sports Series, and the 10-cent coin of John Cabot’s transatlantic crossing. His work is found in several prominent international collections, including the Carnegie Museum in Pennsylvania, and the Art Gallery of Nova Scotia. Curley passed away in Chester, Nova Scotia in 2009

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120 WALTER DROHAN MEETING AT THE HORIZON oil on canvas; titled, dated 02/25/87 on reverse 38 ins x 50 ins; 96.5 cms x 127 cms

Walter Drohan was born in Calgary, Alberta in 1932. He received his Bachelor of Arts from the Provincial Institute of Technology and Art in 1956, now known as the Alberta College of Art and Design, and continued graduate studies at the Cranbrook Academy of Art in Flint, Michigan. He also spent a one-year sabbatical in Germany, which greatly influenced his ideas about porcelain.

$3,000—4,000 Drohan returned to Canada in 1957 to work at the Ceramic Arts, founded

by Luke Lindoe, RCA, working almost exclusively in stoneware, thrown, cast and hand-built, and of a high quality craftsmanship and design. He also began teaching at the Alberta College of Art and Design, where he was pivotal in the development of the ceramics department. Drohan’s passion for all aspects of art resulted in him instructing in every area of study offered at the college: ceramics, painting, drawing and printmaking).

In 1980, Drohan stopped making pottery in 1980 and, for the remainder of his life, pursued a successful second career in painting, his interest lying especially in military aircrafts.

Drohan received many awards, including the prestigious Senior Canada Council Grant, which permitted him to further his studies in Europe. Upon his return, Drohan resumed teaching in the early 1980’s, helping to form the artistic skills of renowned Canadian ceramists including Paul Mathieu, Harlan House, Les Manning, Leopold Foulem, Therese Chabot, Jim Etzkorn, Garry Williams and many others.

Throughout his career, Drohan received many private commissions and exhibited across Canada. Upon retirement, he formed Jumping Pound Studios in Cochrane, Alberta, with his wife, Pat. Walt Drohan passed away suddenly in 2007, at the age of 74 years.

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121 ANN MCCALL, RCA TREELINES X acrylic on canvas; signed; titled, dated Jan 1987, dimensions on reverse 45 ins x 48 ins; 114.3 cms x 121.9 cms $2,000—2,500

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Ann McCall has gained international recognition for her painting and collagraph prints of landscapes. McCall was born in Toronto, Ontario, in 1941, and received her Bachelor of Arts from McGill University in 1964 and her Bachelor of Fine Arts from Concordia University in 1978. McCall began exhibiting her silk screen prints in 1976, and expanded her expertise to collagraph printing in 1997. She has exhibited in over 50 solo shows nationally and internationally, and has participated in more than 250 group exhibitions throughout the world. Her works are also part of many museums, public galleries and corporate collections. McCall’s memberships include the Royal Canadian Academy since 1981, where she has served as Vice-President; The Printmakers of Australia; and the Boston Printmakers.

Furthermore, McCall has taught serigraphy at the Saidye Bronfman Center from 1993 to 2006, and presently lives in Montreal, where she has been working since 1999 in the printmaking studio Atelier Circulaire.

Charles Bronfman's Claridge Collection

122 HORACE CHAMPAGNE, PSC COUCHER DE SOLEIL, BAIE ST. PAUL pastel on paper; signed 22 ins x 29 ins; 55.9 cms x 73.7 cms $2,000—3,000

Horace Champagne was born in Montreal, Quebec, in 1937, the grandson of noted artist Charles Ernest de Belle (1873-1939). He trained in design, graphic arts and fine arts, studying at the Ecole des Beaux-Arts, Montreal(1953-54), the Ottawa School of Art (1979), and in the U.S.A. with Charles Movalli, in Rocky Neck Mass., and with Daniel Green in North Salem, New York. Champagne has been represented by Masters Gallery in Calgary, which had represented The Group of Seven, Tom Thompson, and many other prominent contemporary artists since 1980. In 1982, he was commissioned by Masters Gallery to produce a series depicting scenes from Alberta’s foothills and Rocky Mountains to the Pacific shore of British Columbia.

In 2010, renowned art writer, Joan Murray, published a book on his work and life. Most recently, in 2013, he received an Invitation of Honor from the Art Du Pastel En France, to exhibit.

Horace Champagne lives and works from his two studios, one nestled in the woods of Ile d’Orleans in Quebec, the other on the rocks of Rose Blanche in Newfoundland.

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123 O. JOHN HAWKINS COFFEE CREEK acrylic on canvas; signed, dated ‘88, titled on reverse $1,500—2,000

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O.John Hawkins was born and raised in Oregon City, Oregon. He received his Bachelor of Performing Arts from the Art Center College of Design in California. Following his studies, Hawkins lived in Los Angeles, where he was an active member of a closely-knit artistic community. It was during these years that he developed his style and interest in realism.

In the early sixties Hawkins lived and worked in New York City and then in Greece. In 1965 he moved to Canada, first settling in Ontario and later moved to a remote mountain village in British Columbia, where he fell in love with the local mountains. They became the subject of his realist landscapes and remained so for many years. He returned to Ontario in 1982 where he continued to paint until his death in 2006.

Charles Bronfman's Claridge Collection

124 MICHAEL JOLLIFFE LANDSCAPE acrylic on canvas; signed, titled, dated 87 on reverse 78 ins x 48 ins; 198.1 cms x 121.9 cms $4,000—5,000

Born in 1945 in Darlington, England Michael Jolliffe studied at the Vancouver School of Art from 1974 to 1975, and received his Master of Fine Arts in 1982 from Concordia University in Montreal. He started his artistic career as a printmaker, but with his discovery of Christianity in 1980, began exploring religious themes in large brightly colored and heavily impastoed oils and mixed media abstractions. After a visit to Florence in 1992, his palette became more subdued, but still focused on biblical parables.

Jolliffe has been exhibiting his works across North America since the mid1970’s, and his work is included in numerous public and corporate collections. He has also taught at Concordia University and at the Emily Carr College of Art and Design. Jolliffe lives in Montreal, Quebec.

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125 DAVID HAIGH “PALAZZO” OR “WOMAN ON TELEPHONE” acrylic on canvas; signed 33 ins x 30 ins; 83.8 cms x 76.2 cms $2,000—2,500

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Born in 1936 in Leeds, England, David Haigh was originally trained as a scientific instrument maker and designer, and latter attended the Leeds College of Art, studying under the notable painter Patrick Oliver. He moved to Halifax, Nova Scotia, in 1970 and joined the Canadian Artists’ Representation, whose goal was to raise the status of Canada’s visual arts.

Haigh initially made wood prints, sculpted experimenting with wood, metals, resins and other materials. In 1974 he was co-founder of Eye Level Galleryin Halifax, an alternative exhibition space which showed contemporary work done by people who knew something of art history and of the larger art world in general. Haigh spent two months as a visiting artist at a print workshop in Wolfsburg, Germany in 1975, and in 1975-76, he did studies in intaglio printmaking at the Islington Graphic Studios in London.

Charles Bronfman's Claridge Collection

126 ARTHUR HORSFALL, RCA SMITH STREET acrylic on canvas; signed, dated ‘85; unframed 30 ins x 30 ins; 76.2 cms x 76.2 cms $3,500—4,500

Born in Winnipeg, Manitoba, in 1915 Arthur Horsfall studied art at the Winnipeg School of Art, under L.L. Fitzgerald and Joe Plaskett. He also studied under Nicola Bjelajac at The Forum Art Institute in Winnipeg, attended workshops with Ken Lochhead at St. Andrews-by-the-Sea, and with Roy Kiyooka at the Banff School of Fine Arts. Horsfall worked for thirty years as a commercial artist in Winnipeg, but in 1967, devoted himself full-time to painting. He was the recipient numerous awards, including the Seagram Award in 1965, the Price Fine Arts Award in 1966, and the Hudson’s Bay Company Centennial Award in 1974. Horsfall also taught art at the Forum Art Institute and the University of Manitoba Extension Department. Invited into the Royal Canadian Academy of Arts, Horsfall was also a founding member of the Art Directors’ Club of Winnipeg, and a member of the 1970’s Subway Group of Artists, which later became known as the Subway Galleries

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127 JAMES ARCHIBALD HOUSTON FEEDING CARIBOU pencil on paper; signed, inscribed “Feeding Caribou on the move with Oshaweetok Great Plain of the Kok Juals in Baffin Island”, dated 1956 7.5 ins x 10.5 ins; 19.1 cms x 26.7 cms $600—900

James Houston was born in 1921 in Toronto, Ontario. He studied art as a child at the Art Gallery of Toronto, under Arthur Lismer. Houston was educated at the Ontario College of Art, under L.A.C. Panton, at the Académie de la Grande Chaumière in Paris, and in Tokyo, Japan, at the Hanga under Unichi-Hirasuka, where he mastered printmaking.

He returned home after the war, and in 1948, decided to move up to the Eastern Arctic region, where he served as a Northern Service Officer and Civil Administrator of West Baffin Island. Perhaps the most noted accomplishment of his career was exposing Inuit art to the world. He set up the West Baffin Eskimo Cooperative, giving the opportunity to many Inuit artisans to make a comfortable living selling their sculptures and other works of art. Houston recognized the aesthetic merits of the local art work and brought small carvings to the Canadian Handicrafts Guild in Montreal. The guild was so impressed with the quality of the carvings and with Houston himself that it secured a grant from the federal government, allowing him to purchase art from various communities in the Eastern Arctic. Houston went on to successfully introduce printmaking in 1957. In 1957, the Montreal Museum of Fine Arts acquired a number of his sketches.

Houston moved to New York in 1962, and worked as a master designer at the Steuben Glass Co. for ten years. In 1992, he was honored with a major retrospective exhibit of his work at Steuben, held at the Corning Museum of Glass, in Corning, New York. The Glenbow Museum in Calgary also displays Houston’s Aurora Borealis, created in 1976; the four-storey sculpture of acrylic and brushed aluminum is the centerpiece of the museum’s foyer.

In 1974, Houston was appointed Office of the Order of Canada for his role in representing the interests of Inuit artists and artisans and in 1992, he was named one of the one hundred and twenty five most influential Canadians in the country’s history. In 1981, the Houston family opened the Houston North Gallery in Lunenburg, Nova Scotia, which is almost entirely devoted to showing, selling and educating the public on Inuit art and culture.

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128 JAMES ARCHIBALD HOUSTON RAVEN DANCER pencil on paper; signed, inscribed “Raven Dancer, Chilkat, J, date ‘80” 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms $600—900

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129 JAMES ARCHIBALD HOUSTON CHARLIE JIMMY CHILKAT DANCER conte and pastel on paper; inscribed “Chilkat Dancer 21 June 1982 Alaska James Houston”; inscribed by figures head “Chilkat Charlie Jimmy Carver Dancer” 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms $600—900

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130 JAMES ARCHIBALD HOUSTON OSHAWEETOK A graphite drawing; signed, titled, dated ‘53 8.5 ins x 11.5 ins; 21.6 cms x 29.2 cms $500—700

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131 MARION WAGSCHAL, RCA NATURALIST’S SCREEN oil on wood; triptych 48 ins x 97 ins; 121.9 cms x 246.4 cms $3,000—5,000

Marion Wagschal was born in Port of Spain, Trinidad, in 1943, and immigrated to Canada with her family in 1951, settling in Montreal. She received her Teaching Diploma from McGill University in 1962, and went on to graduate with a Bachelor of Fine Arts from Sir George Williams University in 1965.

The themes of Wagschal’s paintings have evolved throughout her career.

In the 1970’s, she focused on everyday family life, from babies to the elderly, as in The Birthday Party (1971). Wagschal painted large works in the 1980’s and early 1990’s, depicting intimate relationships of families and friends, continuing her chronicle of the ravages of time on the human body, as in her Couple with Calico Cat (1988). She went on to painting places of work with the implication of human figures, such as Lime Light Loom(1993) and landscapes as a place of remembrance, as in Holomovement (1996). Wagschal returned to painting the human figure, depicting both close-up paintings of heads and self-portraits, as in Woman with Still Life (1998).

Wagschal has exhibited nationally and internationally in both solo and group shows. She is the recipient of several Canada Council arts grants, and is a member of the Royal Canadian Academy of the Arts. Her work is represented in numerous corporate, private and public collections, including the Musée d’art contemporain de Montréal, the Art Gallery of Nova Scotia, the Plattsburgh State Art Museum, and the Confederation Centre of the Arts, in Charlottetown, Prince Edward Island.

Wagschal was a professor in the Painting and Drawing Department in the Faculty of Fine Arts at Concordia University, where she taught for 37 years. She lives in Montreal, Quebec.

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132 IGOR BITMAN JUSTE POUR RIRE collage and pastel on canvas; signed, dated ‘86 36 ins x 48 ins; 91.4 cms x 121.9 cms $2,000—3,000

Igor Bitman was born in 1953 in Moscow, Russia. He studied at the Moscow Fine Arts School from 1965 to 1972 and, in the 1970’s and 1980’s, took part in artistic exhibitions organized by Soviet non-conformist artists, who opposed official trends in the Soviet art world. Bitman left Moscow in 1981 and traveled to Italy to study major works of art in the museums of Rome, Florence and Venice. Strongly influenced by painters of the Italian Renaissance, Bitman places himself as a painter in the “Great Tradition”, as such artists as Petrov-Vodkin and Balthus, and far removed from expressionism. Bitman moved to Canada in 1982, settling in Montreal, Quebec. He has exhibited in Canada, Italy, France, Great Britain, and the United States, and his work is included in several international collections. He lives and works in France since 1986.

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133 ALAN WOOD SPRING VISTA WITH FALLS, FAN AND GATE (MORNING) SUMMER VISTA WITH FALLS, FAN AND GATE (MID-DAY) AUTUMN VISTA WITH FALLS, FAN AND GATE (EVENING) WINTER VISTA WITH FALLS, FAN AND GATE (NIGHT) painted wood; signed, titled, dated ‘87, numbered on reverse (set of four) Each 24 ins x 51 ins; 61 cms x 129.5 cms $15,000—25,000

Alan Wood was born in Widnes, Lancashire, England in 1935. Wood developed an interest in art at an early age, which was fostered by his father and his high school art teacher. In 1954, he enrolled at the Liverpool College of Art, where he studied with Arthur Ballard, John Hart, and Georg Mayer-Marton, with some of his fellow students being Beatle John Lennon and Jenny Kydd. Upon graduating in 1959, Wood married Kydd and began teaching art in Lustleigh, Devonshire. During this time, he produced a series of abstract landscape paintings, collages, and assemblages working with different media such as wood, canvas, paint and transparent plastic.

In 1961, Wood won the Darlington Award, giving him the opportunity to paint full-time for a year. From 1961 to 1963, he lived in Zennor, near St. Ives, producing a series of abstract paintings inspired by the landscape of Cornwall. A new teaching position in 1963 brought him to Leeds, and he had his first solo exhibition at The New Art Centre in London. In 1966 he moved to Cardiff, Wales where he taught at Cardiff College.

Wood toured and lectured extensively in Canada and the United States from 1971 to 1974. During his time in North America, he was drawn to the beauty and diversity of the British Columbian landscape, and immigrated with his family to Vancouver in 1974. His works at this time focused more intently on collage and relief elements, reducing Waterfall (1975), a painting with a wooden projection wrapped with painted canvas that extended over one meter onto the floor. It was during this decade that Wood developed what he called “two-dimensional painting”, as exhibited in Cats Cradle (Squamish) (1977).

In the early 1980s, Wood began his “wild west” series, incorporating abstract elements of ranch structures, cowboys, horse and teepees into his paintings. In 1981, he installed his “three-dimensional painting” Ranchat the Charles H. Scott Gallery, Emily Carr College of Art, and in 1983 completed his environmental work Ranch, installed on a 129-hectare property in the foothills of the Alberta Rockies. The work comprised of twelve three-dimensional tableaux, incorporating thousands of meters of painted canvas to cover hundreds of meters of lumber for the construction of a corral, a huge windmill, an eighteen-meter bridge, barns, chutes, and gates. The installation was dismantled a year later.

In the late 1980s and 1990’s, Wood returned to the themes of nature and to two-dimensional collages, exploring the simplified shapes of rocks and waterfalls. From the mid-1990’s and into the 2000’s, Wood maintained his focus on nature, exploring abstraction contained by the format of a frame, such as in To the Sea, Red Tree, 1995, as well as irregularly-shaped relief constructions, as in Green Surge, 2003. In 2008, Wood exhibited Dreams and Memories in Vancouver, incorporating the figure of his late wife, Flora McLeod, into his landscape abstract.

Since 1962, Wood has participated in numerous solo and group exhibitions in Canada, the United States, Australia, Great Britain and Europe. His work is included in prominent collections worldwide, including the Tate Gallery in London. Wood lives in Vancouver, British Columbia.

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134 ESTELLE FLEURY LES DEJEUNERS oil on canvas; signed; set of 4 each 24 ins x 24 ins; 61 cms x 61 cms $900—1,200

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Estelle Fleury studied art at the Ecole des Beaux Arts in Québec in 1943, and continued on to specialize in painting and drawing at the Ateliers d’art de Quebec from 1963 to 1966, as well as engraving at McGill University, in Montreal, in 1974. She taught painting at College Ste-Foy, Quebec, from 1962 to 1972.

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135 ESTELLE FLEURY POISSONS ROUGES oil on canvas; signed; titled, dated ‘89 on reverse; unframed 30 ins x 30 ins; 76.2 cms x 76.2 cms $900—1,200

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136 DENYSE THOMASOS WHISTLE acrylic on canvas; signed, dated 94 on reverse 48 ins x 42 ins; 121.9 cms x 106.7 cms $6,000—9,000 Denyse Thomasos was born in 1964 in Trinidad and immigrated to Canada in 1970 with her family, settling in Mississauga, Ontario. She received her Bachelor of Arts in Painting and Art History from the University of Toronto 1987 and her Master of Fine Arts in Painting at Yale School of Art, Yale University in 1989. As a recent graduate, she installed the large mural Recollect at Mercer Union, one which alluded to both raffia textiles and the architecture of slavery. Thomasos had her first solo show, Rally, at the Olga Korper Gallery in Toronto.

Thomasos came to prominence after moving to New York in the 1990’s. She often painted directly onto gallery walls, staging large-scale installations such as Tracking: Thirty Years in Canada, Thirty Years in Trinidadat the Art Gallery of Bishop’s University in Lennoxville, the MSVU Art Gallery in Halifax, and the monumental 50-foot mural Art Gallery of Ontario in Toronto (2006). She later returned to the canvas with her 2010 exhibit, From Superjails to Super Paintings.

Thomasos found most of her artistic inspiration during research trips around the world, which included her visit to South Africa

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in 1997, after receiving a Guggenheim Fellowship. While on her travels, Thomasos looked at the indigenous and political structures of the countries she visited: prisons in Cambodia, war sites in Vietnam, Africa, India and China. The result of all these reflections was seen in her exhibition, Kingdom Come, held at the Oakville Galleries in 2011.

Thomasos exhibited national and internationally. Her work has been reviewed by international publications including ArtForum, Artnews, Art in America, and the New York Times. She was bestowed with numerous awards and artist residencies including a Guggenheim Award (1997), a PEW Fellowship (1995), Bellagio residency (2001), Yaddo Residency, Joan Mitchell Award (1998) and NYFA (2008). Most recently, she was named the first recipient of the McMillan/Stewart Award, recognizing unique and outstanding contributions made by women artists.

Thomasos was associate professor at Rutgers University, New Jersey until her sudden death in New York City in 2012 after an adverse reaction to a dye injected for a routine MRI.

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137 MARC GARNEAU LE CALME acrylic on canvas, unframed; signed, titled, dated 1987 on reverse 78 ins x 92 ins; 198.1 cms x 233.7 cms $5,000—7,000

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138 RITA COHEN YELLOW LIGHTS acrylic on canvas, unframed; signed, titled, dated ‘91 on reverse 63 ins x 36 ins; 160 cms x 91.4 cms $1,500—2,000

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Rita Cohen is a Montreal-based artist who studied at the University of Manitoba Art School from 1948 to 1954, and at the Ecole des Beaux Arts with Arthur Lismer from 1943 to 1945, and also from 1958 to 1868. Her works are found in major collections in Canada, the United States, and Israel. Cohen has also participated in nearly fifty exhibitions worldwide over her career, and she is the major contributing artist in the Palliative Care Unit’s gallery at the Montreal General Hospital.

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139 JOHN FREEMAN FULL BLOOM acrylic on canvas; signed, titled, dated 1986 on reverse $2,000—3,000

John Freeman was born in Toronto in 1944, and moved to Alberta in 1947.

He received his Bachelor of Arts in Art, with a minor in Psychology in 1966, studied sculpture at the Alberta College of Art from 1967 to 1969, and obtained his Master of Visual Arts, with a specialization in Painting and Printmaking, from the University of Alberta in 1972. Upon graduation, Freeman taught at the University of Alberta, as a tenured faculty member until his retirement in 2005.

Freeman has worked in various media, including sculpture, painting, drawing, print making photography and video. He has exhibited both nationally and internationally for the past forty years and his work is included in many public, private and corporate collections across Canada.

Freeman lives in Edmonton, Alberta, where he owns a ďŹ ne art digital printing company called The Big Pixel Inc, and concentrates on his own art work.

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140 JUDY GARFIN PLANT STUDY acrylic on canvas; signed, dated 89 54 ins x 78 ins; 137.2 cms x 198.1 cms $4,000—6,000

Judy Garfin was born August 30, 1945, in Edmonton, Alberta and raised in Jasper, Alberta and Vancouver, British Columbia. She received her Bachelor of Arts in Literature in 1967 from the University of British Columbia and her Master of Fine Arts in 1973 from the Maryland Institute College of Art’s Hoffberger School of Painting, under the direction of abstract expressionist painter, Grace Hartigan. Upon graduation, she won the Walters Art Museum Traveling Fellowship, awarded to only one graduating MFA candidate annually. In 1998, Garfin had a twenty-five year survey exhibition, Natural Disguise/Déguisement naturel, which toured nationally and was accompanied by the publication of Judy Garfin: Natural Disguise/Déguisement naturel, a hard-bound edition with 80 color plates.

Garfin has exhibited across North America, and her works are found in prominent collections in both Canada and the United States.

Judy Garfin lives in Montreal, where she paints in her studio and teaches graduate and undergraduate courses in Print Media, as a tenured associate professor in the Department of Fine Arts at Concordia University.

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141 CHARLES GAGNON THE COLOUR OF TIME AND THE SOUND OF SPACE silk screen; signed, numbered, inscribed 17/35; set of 8 each 28.5 ins x 22.5 ins; 72.4 cms x 57.2 cms $3,000—5,000

Born in Montreal, Quebec, in 1934, Charles Gagnon studied graphic art and interior design at the Parsons School of Design, New York, and painting at the Art Students’ League under Paul Brach. His period in New York, from 1955 to 1960, helped shape his career. At a time when other young Montreal artists were looking to Paris, he was drawn by the artistic effervescent that characterized New York at the time. Gagnon returned to Montreal in 1960 where he held his first one-man show.

Gagnon was the recipient of many honors over the course of his life, including an honorary doctorate from the University of Montréal in 1991; induction to the Chevalier de l’Ordre National du Québec, in the same year; the prestigious Prix Borduas in 1996; and the Governor General’s Award for the Visual Arts in 2002. In January, 2003 he was awarded the first Jean Paul Riopelle Lifetime Award, given by The Council for Arts and Letters of Québec. Gagnon’s work has been shown extensively throughout Canada, the United States and in Europe and his work is part of major Canadian collections, including the National Gallery of Canada. Several major retrospectives of his work have been mounted in and outside Québec: The Montréal Museum of Fine Arts in 1978 and The Musée Art Contemporain’s retrospective in 2001.

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142 GORDON SMITH UNTITLED acrylic on canvas 50 ins x 55 ins; 127 cms x 139.7 cms $15,000—20,000 Gordon Smith is a key figure in modernist painting and one of the most esteemed artists in Canada. His works can be found in major public and private collections throughout the world, including the Victoria and Albert Museum in London. He is the recipient of the Governor General’s Award and a member of the Order of Canada.

Red Sun(1955), both at the National Gallery of Canada. His work was also reproduced in Paul Duval’s book, Four Decades(1972), including Winter Woodsand November (1967).

Apart from designing various architectural pieces, such as a hard-edge mural for the Mercantile Bank of Canada, (1969) he also is known for his large, serene landscapes.

Gordon Smith was born in Hove, England in 1919. The family immigrated to Canada in 1934, settling in Winnipeg, where Gordon studied at the Winnipeg School of Art under Lemoine Fitzgerald from 1935 to 1937. He joined the Canadian Army during World War II as an intelligence officer, and received his discharge in 1944 after being wounded. He completed his Master of Art in Art History in 1957 at Harvard University, Boston. He taught graphics and design at the Vancouver School of Art from 1946 to 1950 and became an assistant professor at UBC College of Education from 1956 to 1961.

Smith’s work has featured in numerous Canadian and international solo and group exhibitions. He has worn major awards, including the Order of Canada (1996), the Audain Prize for Lifetime Achievement in the Visual Arts (2007), and the Governor General’s Award in Visual and Media Arts (2009). In 2002, The Gordon and Marion Smith Foundation for Young Artistswas established to support art education in British Columbia and the ongoing success and viability of North Vancouver School District’s acclaimed Artists for Kids program.

In 2012, The Gordon Smith Gallery of Canadian Art , a gallery dedicated to young audiences, was named in honour of Gordon Smith, one of the founding patrons of the Arts Officeand a lifelong, tireless supporter of art education. At the age of 93, Gordon Smith still paints every day in his studio in West Vancouver.

Smith drew much of his inspiration for his art work from English painters such as William Turner. He was also influenced by Canadian Lemoine Fitzgerald and later American abstract expressionists, in particular Elmer Bischoff. Some of his work from that time include Pruned Trees (1955), and Structure with

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143 LOUIS COMTOIS LIGHT NOTATIONS 2 mixed media on paper; signed, titled, dated 1986 11.5 ins x 22.5 ins; 29.2 cms x 57.2 cms $3,000—5,000

Louis Comtois was born in Montréal, Québec in 1945. He studied at the École des beaux arts de Montréal before moving permanently to New York City in 1972. His early abstract work in the 1960’s, marked by the use of bright paint layers on layers of dark colour, was greatly influenced by Claude Tousignant, Guido Molinari and Yves Gaucher. In later years, Comtois’ abstract work dealt with a variety of multimedia, where he painted monumental monochromatic paintings on triptychs made of wood and covered with jute or muslin soaked in plaster.

Comtois won The Canada Council’s Gershon Iskowitz prize for achievement and success as a professional Canadian visual artist in 1987. He died in New York in 1990. The City of Montreal along with the Association des galeries d’art contemporain (AGAC) set up the Louis Comtois Award in his honor to support and promote the work of an artist who has distinguished him/herself on Montréal’s contemporary arts scene in the last fifteen years. Comtois died of AIDS in 1990.

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144 THOMAS HAROLD ‘TIB’ BEAMENT, RCA ICE AND REEDS acrylic on board; signed 23 ins x 30 ins; 58.4 cms x 76.2 cms $1,200—1,800 Thomas Harold Beament was born in Ottawa, Ontario, in 1898 and educated at Model School, Ottawa (1905-09) and Ottawa Collegiate Institute (1910-15). He attended Osgoode Hall, Toronto in 1916 and, during World War I served in the Royal Canadian Navy Volunteer Reserve as an ordinary seaman, being promoted to warrant officer. In 1924, he attended evening classes under J.W. Beatty, at the Ontario College of Art, Toronto. Beament was appointed Canada’s Fine Arts Representative to the British Empire Exhibition at Wembley.

For the next five years, he worked as a commercial artist in Montreal, all the while developing his style of decorative realism, producing murals, graphic art and paintings. He exhibited regularly at the Montreal Museum of Fine Arts and the RCA Annual Shows and, in 1935, received the coveted Jessie Dow Prize at the MMFA Spring Show for his painting, Covered Bridge.

Beament served as one of the few official war artists with the RCNVE during the Second World War. The Canadian War Museum has some seventy-six paintings by him, including South SideSt. John’sreproduced in Leslie F. Hannon’s Canada At War

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(1968); his Burial at Sea, a remarkable painting done in pastel and pencil on green paper, appeared in Heather Robertson’s A Terrible Beauty (1977); HMCS Ville de Québec Gets a Subin K. McCormick & H.D. Perry’s Images of War (1990).

In 1946, Thomas Harold Beament was elected a Royal Canadian Academician and became President of the Royal Canadian Academy in 1964. After retiring from the navy in 1947, Beament began his period of greatest artistic creativity, living with and studying the Inuit peoples of Baffin Island. He was one of the first artists, along with Lawren Harris and A.Y. Jackson, to explore the Arctic. In 1955, upon his return to Montreal, Beament was commissioned by the Canadian Government to create a series of the 10-cent stamps with Inuit figures, the most famous being of The Hunter in his Kayak.

Beament was nominated as an Associate member of the Royal Canadian Academy (ARCA) in 1936, and was invited into the Academy in 1946. He served as President of the RCA from 1964 to 1967. He died in Montreal, Quebec, in 1984.

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145 GILLES BOISVERT MORCEAU D’ESPACE #2 acrylic on board; acrylic on wood; signed, titled, dated 1988 on reverse 43 ins x 70 ins; 109.2 cms x 177.8 cms $3,000—4,000

Gilles Boisvert was born in Montreal, Quebec, in 1940, and studied at the Montreal School of Fine Arts from 1958 to 1960, and engraving with Albert Dumouchel from 1961 to 1964. Gilles Boisvert is of the generation of artists of the 60’s, one of the pioneers of the Quebec Pop-Art movement. His exhibition, Présence des jeunes, at the Musée d’art contemporain in Montreal in 1966, was the first ever installation in the province of Quebec. Boisvert has worked at engraving, lithography, photography, drawing, painting, cinema, installations and sculpture and his monumental sculptures are on public display throughout Canada and the United States. He was associated with Atelier Libre de Recherché Graphics, and was a founding member of Atelier de l’Ile in Val David, Quebec.

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146 DAVID BOLDUC SOFT CENTRE acrylic on canvas; signed, titled, dated 72 on reverse 54 ins x 67 ins; 137.2 cms x 170.2 cms $4,000—5,000

David Bolduc was born in Toronto in 1945. He attended the Ontario College of Art from 1963 to 1965 and went on to study at the Montreal Museum of Fine Arts in 1965, with Arthur Lismer. His first exhibitions were held in Montreal galleries, including a solo show at the Elysee Theatre in 1966. He returned to Toronto at the end of 1966 to take on a position as conservationist at the Royal Ontario Museum. In 1967 Bolduc had a solo exhibition at the prestigious Carmen Lamanna Gallery in Toronto. He drew much of his artistic inspiration from his love of travel, incorporating art traditions from Persian miniatures, floral designs in persian carpets to African art and Asian calligraphy.

Bolduc was also known for his work as a book illustrator, including Roy K. Kiyyiooka’s Pear Tree Poems, as well as Michael Ondaatje’s The Story, a project on behalf of the World Literacy Fund. He also taught at York University, the Ontario College of Art, and Concordia University.

In 2009, David Bolduc was diagnosed with a brain tumor, yet he pursued with endless optimism. He plunged into his final works, producing an astonishing 40 canvases, 15 or so of which were exhibited in Days and Nights in the Forest: David Bolduc, held at Christopher Cutts Gallery in Toronto in 2010. Some critics state that this collection was the most impressive work of Bolduc’s career.

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147 ULYSSE COMTOIS SCENE D’ATELIER “PAYSAGES” acrylic on wood; signed, dated 89; titled, dated on reverse 48 ins x 80 ins; 121.9 cms x 203.2 cms $7,000—9,000 Ulysses Comtois was born in Granby, Quebec in 193. Comtois studied briefly at the École des beaux-arts in Montreal (1949–50) before deciding to leave the school and to focus on his own art, inspired by the Automatistes and their 1948 manifesto, Refus global. Some of his work from that period consisted of colour bars over a background of bright colours.

He participated in the last Automatistes exhibition, La matière chante, organized by Claude Gauvreau at Galerie Antoine in the spring of 1954. In 1955, he was part of the group exhibition Espace 55, at the Montreal Museum of Fine Arts. After the demise of the Automatistes, Comtois joined the Association des artistes non-figuratifs de Montréal, an alliance of Plasticiens and Automatistes. and participated in their exhibitions from 1955 to 1959.

Comtois received a Canada Council grant in 1963, allowing him to travel in Europe and Israel. By the 1960’s Comtois was creating novel sculptural pieces first in wood then in metal, exhibiting his small scuptures of welded steel at the Montreal Museum of Fine Arts in 1961. In 1968, the National Gallery of Canada selected Comtois, together with Guido Molinari, to represent Canada at the 34th Venice Biennale. The NGC purchased Comtois’ kinetic sculpture, Column, for its collection, a work that has been on view at the National Gallery since

1995. The piece comprises of 70 aluminum plates fitted over a steel rod with base, each of the plates independently movable through a full circle. He also produced a relief mural for the entrance of the Expo ‘67 Administration & News Building.

Throughout his career, Comtois taught at several institutions, including the École des beaux-arts in Montreal (1965– 70), Université du Québec à Montréal (1970–72), Université Laval, (1970–76), and Concordia University (1976–85; 1991– 94).

Comtois was awarded the Prix de la Province de Québec (1964), Canada Council Grant (1967), the prestigious Paul-Émile Borduas Prize in 1978 by the Government of Québec, and the Prix Louis-Philippe Hébert (1991).

The Musée d’art contemporain de Montréal organized a comprehensive retrospective of his work in 1983. In 2012, the National Gallery held the Ulysses Comtois: Photographs exhibition, a collection Comtois’ photographs of family, friends, his artworks, exhibition openings and installations.

Ulysses Comtois died of cancer at the age of 68 on July 10, 1999, in Sainte-Madeleine, near Mont Saint-Hilaire, Quebec.

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148 GREG MURDOCK SYNCOPATIONS #1 SYNCOPATIONS #3 SYNCOPATIONS #6 graphite and wax; signed, titled, dated 1996 on reverse of each 24 ins x 24 ins; 61 cms x 61 cms $3,000—5,000

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Greg Murdock was born in Saskatoon, Saskatchewan in 1954. He was encouraged to develop his artistic skill by his mother, who was an amateur artist. Murdock received his Bachelor of Fine Arts in 1977 from the University of Saskatchewan, specializing in ceramics, sculpture, and drawing; through his studies he was influenced by such artists as David Gilhooly, Marilyn Levine, David Thauberger, Otto Rogers and Ernest Lindner. He went on to study bronze working at the Instituto Allende in San Miguel de Allende, Mexico in 1978, and graduated with Honours in 1981 from the Emily Carr College of Art and Design in Vancouver under Ray Arnatt. His work is represented in numerous collections, including the Vancouver Art Gallery, Musée d’art contemporain in Montreal, and the Art Institute of Chicago.

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149 KIM ADAMS NICKLE & DIMING 2 acrylic on paper; signed, dated ‘83 22 ins x 30 ins; 55.9 cms x 76.2 cms $2,500—3,000

Kim Adams is considered one of Canada’s leading Contemporary sculptors.

Through his use of commonplace objects, ranging from farm machinery and automobile parts to household objects, toys and model train parts, Adams creates both large and small-scale sculptures that resemble fictional worlds and imaginary landscapes.

Kim Adams was born in Edmonton, Alberta in 1951. He studied at the Northwest Coast Institute of the Arts (1974); the Kootenay School of Art (1974-75); and the University of Victoria (1975-77), where he received his MFA in 1979. By 1976 he had gained a reputation for his colour field paintings taken to the extreme. In the 1980’s he was producing untitled installations, one which he exhibited at the Ydessa Gallery, Toronto in 1981. For the past twenty-five years, Adams’ work has explored two fundamentals of suburban life: the vehicle and the home, such as Decoy Homes (1987) and Earth Wagon (1989-91). In 2001, Adams had two major exhibitions running concurrently, one at the Power Plant in Toronto, which featured his large sculptures, small models and drawings from 19842001; the other exhibition was at Oakville Galleries, featuring his tour the force - “Bruegel-Bosch Bus, now in the permanent collection of the Art Gallery of Hamilton.

Adams has participated in major solo and group exhibitions in Canada, Australia, the United States and Europe. He has exhibited in some of the most prestigious international art exhibitions, including the Sydney Biennale of Contemporary Art, Sydney Australia; Skulptur Projekt 97, Münster, Germany; and InSite1997, San Diego, California and Tijuana, Mexico. His works are also part of the collections of major museums in Canada and elsewhere. In 2012 he was the recipient of the Gershon Iskowitz Prize, and in 2013, Adams was named Guggenheim Fellow.

Adams currently lives and works in Grand Valley, Ontario.

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150 LEONARD BROOKS, RCA LILLIES acrylic on canvas; signed, dated ‘71, inscribed “Rome” 42 ins x 31 ins; 106.7 cms x 78.7 cms $2,500—3,500

Leonard Brooks was born at Enfield, London, England, in 1911. His family immigrated to Canada in 1912, settling in Toronto. Brooks was primarily a self-taught painter, but did study at the Ontario College of Art for six months under Frank Johnston. After traveling and painting in Europe and the States, he settled in Toronto and married Reva Silverman. He taught drawing, painting and graphic arts at the Northern Vocational School and participated in major exhibitions in Canada and the US. In 1943 Brooks enlisted in the Navy (RCNVR) as an able seaman, and was eventually promoted to Official War Artist, painting the movements of an aircraft carrier in the waters of Scotland and the activities of mine sweepers and motor torpedo boats in the English channel off Normandy. Brooks was the most productive of the seven Canadian naval artists, producing 113 works in a two-year period. His most recognized work of that period, Potato Peelers, is unique among war artists for its subject matter, capturing two sailors in the unglamorous act of preparing dinner.

Brooks obtained a grant after the war from the Department of Veterans Affairs to study art in Mexico. In 1947, he and his wife permanently relocated to San Miguel de Allende, north of Mexico City, where he taught for several years. It was in Mexico that Brooks’ style evolved from abstract to free-form collage acrylics with rich textures. He was also among the first expatriate artists to establish an artist colony in the Mexican town.

Brooks was also an accomplished violinist and gave free lessons to local children. He was encouraged to head the music department at the Bellas Artes in San Miguel. He also published several books on watercolor and oil painting techniques. His work has been exhibited world wide and was a member of the Royal Canadian Academy. He died in San Miguel de Allende in 2011 at the age of one hundred.

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151 DAVID BLACKWOOD AUTOBIOGRAPHY: FACES steel engraving; signed, titled, dated 1969, inscribed 7/25 22 ins x 32 ins; 55.9 cms x 81.3 cms $1,500—2,000 David Blackwood was born in 1941 in the outport community of Wesleyville, Newfoundland, to a family with a long seafaring history. In 1956, at the age of fifteen, he opened his own studio, producing award-winning artwork. Recognized as an artistic prodigy, he was awarded a Government of Newfoundland Centennial scholarship to study at the Ontario College of Art, in Toronto in 1959. Blackwood graduated with honors in 1963, and received several awards, including a traveling scholarship to visit major museums and galleries in United States. By the age of twenty-three, one of his etchings had been purchased by the National Gallery of Canada.

Blackwood also was involved with establishing an art gallery at Erindale College, an affiliate of the University of Toronto. In 1992 the Blackwood Gallery, named in his honour, was officially opened at the Erindale campus, now known as The University of Toronto in Mississauga. In 1969, he was appointed the first Artist-in-Residence at Erindale College, a position which he held until 1975. In 1974, the National Film Board of Canada produced the documentary Blackwood, which won 10 international awards, and was nominated by The Academy of Motion Picture Arts & Sciences (Oscar) in1976 for Best documentary.

Blackwood has extensively exhibited his work both internationally as well as throughout Newfoundland and Canada. In addition to being part of the Art Gallery of Newfoundland and Labrador’s Permanent Collection, Blackwood’s art is included in various private and public collections such as the National Gallery of Canada; the National Gallery of Australia; Uffizi, Florence, Italy; and the Montreal Museum of Fine Arts. Blackwood was awarded the Order of Canada in 1993, in recognition of his ongoing and important contributions to the cultural life and heritage of our country.

The Art Gallery of Ontario acquired a major collection of Blackwood prints in 2000 and created a Blackwood Research Center within the Marvin Gelber Print and Drawing Center. In 2003, Blackwood was awarded the Order of Ontario, as well as named Honorary Chairman of the Art Gallery of Ontario, a first for a practicing artist.He has retired from teaching and currently lives in Port Hope, Ontario, while maintaining a studio in Wesleyville, Newfoundland.

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152 ALEX CAMERON NUMIDIA acrylic on canvas; signed, dated 1981, titled, dimensions on reverse 71 ins x 71 ins; 180.3 cms x 180.3 cms

Alex Cameron was born in Toronto in 1947, and was raised on Georgian Bay in Parry Sound, Ontario. In 1967, he started at the artist-run New School in Toronto, where he was taught by some of Canada’s top abstract artists, including Robert Hedrick and Dennis Burton. When David Mirvish Gallery, opened in Toronto in 1966, Cameron worked at the gallery. He then worked as a studio assistant to renowned abstract painter, Jack Bush, a member of the Painters Eleven, from 1972 to 1976.

$4,000—6,000 Cameron emerged as a color field artist, and exhibited his paintings in a solo show at The Sable-Castle Gallery in Toronto in 1976, with rave reviews from the art critics. That same year, Cameron was one of four artists featured in “Four Toronto Painters,” a major exhibition at the Art Gallery of Ontario. In 1977, his work was shown in “14 Canadians,” at the Hirschhorn Museum in Washington, D.C., as well as in the “Queen’s Silver Jubilee Art Collection” exhibition organized by the Province of Ontario. In 1985, an exhibition of his work to date, “Alex Cameron in Mid-Career,” toured across Canada.

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153 LEON BELLEFLEUR, RCA JANVIER EN MONTAGNE watercolour on paper; signed and dated ‘86 9 ins x 10 ins; 22.9 cms x 25.4 cms $1,200—1,800

Leon Bellefleur was born in Montreal, Quebec, in 1910. He received his teaching diploma from the Jacques Cartier Teaching School in 1929 and spent the next twenty-five years teaching, while attending evening art courses at the École des beaux-arts de Montréal until 1938.

In 1942 Bellefleur met Alfred Pellan and frequented his studio where he met prominent Quebec artists, Albert Dumouchel, Jacques de Tonnancour, Louis Archambault, and others. Together, the group signed the Prisme d’Yeux, a manifesto denouncing what they perceived as the narrow-minded vision of Paul-Emile Borduas’ Automatistes.

Bellefleur was drawn to the art of Paul Klee and children’s art and, in 1947, wrote the article Plaidoyer pour l’enfant, a plea in favor of children. His work reflected the influence of surreaslim and its preoccupation with the subconscious. In 1951, Bellefleur was part of the second international COBRA exhibition at Liege, Belgium, and in 1953 became a member of the Automatistes. He retired from teaching in 1954 and traveled extensively through Europe, associating with the Surrealist painter, André Breton, in Paris. He finally settled down in Quebec in 1966, where he continued to paint well into his 90‘s.

In 1960, Bellefleur represented Canada at the Guggenheim International Contest. He was the first winner of the Prix Borduas (1977), received the 1985 annual prize of the Société Saint-Jean-Baptiste and an honourary Ph.D. from Concordia University in 1987. In 1989 Bellefleur was inducted into the Royal Canadian Academy. He died in Montreal in 2007.

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154 JEAN BRILLIANT DETROIT D’ORIENT mixed media 20 ins x 18 ins x 6 ins; 50.8 cms x 45.7 cms x 15.2 cms $1,000—1,500

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Jean Brillant was born in Rimouski, Quebec in 1959. He grew up in Montreal, but studied for several years in France at the École des BeauxArts d’Aix-en-Provence (1978-1979), École Charpentier, Paris (1979-1981), and École Nationale des Beaux-Arts de Dijon (1983). He received his Bachelor’s degree in Visual Arts at the Université du Québec à Montréal in 1984.

Brilliant’s sculptures incorporate man-made objects along with those taken from nature. His monumental works can be seen in a variety of sites throughout Québec. In 2012, he installed one of his sculptures on a golf course in the Moroccan desert. He has also opened his studio, les ateliers Jean Bisson, to up and coming local artists for group exhibitions. Brillant lives in Montreal, Quebec.

Charles Bronfman's Claridge Collection

155 PETER JOHNSTON STILL LIFE polychrome/steel 29.5 ins x 25 ins x 13 ins; 74.9 cms x 63.5 cms x 33 cms

Peter Johnston was born in England and came to Canada as a child. He grew up in Toronto and received his Bachelor of Fine Arts from Queen’s University and Master of Fine Arts from the University of Guelph. He has taught sculpture at Queen’s University, St. Lawrence College, and the University of Guelph. His work is in many public and private collections, including the Toronto Dominion Bank and Minto Corporation.

Commissions include the River Run Centre (Guelph) and Sony Canada.

$3,000—4,000

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156 ALEX WYSE RUTHERFORD’S NAUTICAL EXPRESSION mixed media 83 ins x 29 ins x 20 ins; 210.8 cms x 73.7 cms x 50.8 cms $8,000—12,000 Alex Wyse was born in 1938 in Tewkesbury, England. While in his midteens, he studied drawing and printmaking at the Cheltenham College of Art from 1953 to 1956. In 1959, he received a scholarship to study engraving at the Cheltenham College of Art, and had several exhibitions in London before entering the Royal College of Art. However, Wyse left his studies after a year, convinced that art school was “the worst place for art.” He was, however, exposed to the democratic, anti-establishment energy of British Pop Art made by RCA students such as David Hockney.

Wyse immigrated to Canada in 1961 and was first posted as a copperplate engraving and printing instructor at the West Baffin Eskimo Cooperative in Cape Dorset, Baffin Islands. Wyse met his future wife, Anne Berndstsson, who was the principal of the local school. They married in 1962 and moved to Southwestern Ontario in 1964, living in Kettle Point, Sylvan and Forest, Ontario, before settling in Ottawa in 1972. Since his early life in Canada, Wyse adopted a folk-art style, and in the late 1960’s and early 1970’s, exhibited paintings and painted construction in Toronto and London, Ontario, supported by grants from the Canada Council. Wyse is known for his painstakingly detailed, eccentric, political sculptural ‘machines’ and paintings. He uses a ‘cast of fantasy characters’, animals, birds, to convey his satirical social commentary.

Wyse and his wife, Anne, have also published several children’s books to aid literacy, that have won several awards including the 1974 American Institute of Graphic Arts “50 Best Books of the Year” Award and the 1974 Design Council of Canada, “Look of Books” Award. Wyse currently live in Ottawa, Ontario.

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157 VICTOR TOLGESY, RCA EXPLORER metal 41 ins x 39 ins x 32 ins; 104.1 cms x 99.1 cms x 81.3 cms $2,000—3,000

Victor Tolgesy was born in Miskolc, Hungary in 1928. During WW II his family fled their home in Budapest ahead of the invading Soviet Russian army, and in 1945 arrived as refugees in Munich, Germany, where they remained in camps for the next six years. Tolgesy and his parents immigrated to Canada in 1951 and settled in Ottawa. In 1952, he studied for five months at the École des beaux-arts in Montreal on a scholarship, but was otherwise self-taught.

Tolgesy held his first solo exhibition at Robertson Galleries, Ottawa, in 1953. In 1955, he formed the Guild Studio of Contemporary Liturgical Art with fellow Ottawa artists Gerald Trottier, Theo Lubbers and Frank Penn, which had some success and allowed him to work full-time as a sculptor. In 1956, Prime Minister Louis St. Laurent purchased his sculpture, Sitting Nude, to help raise funds for the Hungarian Relief Committee and donated the work to the Canadian Red Cross Society. The following year the National Gallery of Canada purchased two carved wooden sculptures of simplified figurative forms, Warrior and Fish, the latter was exhibited at the 1957 World’s Fair in Brussels.

In 1957, Tolgesy was one of the first Ottawa artists to receive a Canada Council grant to study abroad, spending five months in Copenhagen, Denmark, studying woodturning. Throughout the 1960’s and 1970’s, Tolgesy received several major commissions, including: Freedom for Hungary, Freedom for All, a sculpture for the 10th anniversary of the Hungarian uprising, by the

Canadian Hungarian Uprising; Explorer I, 1967, commissioned for Expo ‘67, and Explorer II, 1968, a smaller version, both named after early American spacecraft and created at the time of the first flights around the moon; Pyramidal Structure - Sakkarah, a commission for the Department of Mathematics and Statistics, Queen’s University, Kingston; and McClintock’s Dream, a 28foot papier mâché cloud suspended from the ceiling depicts whimsical caricatures of market vendors and their produce at Ottawa’s Byward Market.

Tolgesy also wrote plays, novels and essays. His limited edition book, Acrobatics, a Tale of Fantasy and Reality in Words and Sculpture, a semi-autobiographical story was published posthumously in 1985, and was based on Tolgesy’s plans and design. Amongst several awards and distinctions, he was invited into the Royal Canadian Academy of Arts in 1973.

Tolgesy died in Montreal on 6 January 1980, from cancer, at the age of 51. He was in the city on the occasion of his solo exhibition at the Saidye Bronfman Art Gallery. In 1987 the City of Ottawa and the Council for the Arts in Ottawa inaugurated The Victor Tolgesy Arts Award to recognize the accomplishments of residents who have contributed substantially to enrich cultural life in the city. In 2005, Tina Tolgyesy, Tolgesy’s daughter curated a retrospective exhibition that was held at the City of Ottawa’s Karsh-Masson Gallery.

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158 BEN MCLEOD UNTITLED steel; signed, dated 1989 13.5 ins x 12.5 ins x 10 ins; 34.3 cms x 31.8 cms x 25.4 cms $1,000—1,500

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Ben McLeod was born in Aberdeen Scotland, in 1948 and immigrated with his family to Vancouver, British Columbia in 1958. His ďŹ rst job was in a chrome plating shop in Vancouver, where he learned the techniques of grinding and welding. Primarily a self-taught sculptor, McLeod did study at the Alberta College of Art from 1981 to 1983, where he learned about metal fabrication, and pursued a post-graduate year, working on bronze and aluminum casting. McLeod lives in Calgary, Alberta.

Charles Bronfman's Claridge Collection

159 KATHLEEN BARRETT INTO THE SEA bronze 20 ins x 24 ins x 7 ins; 50.8 cms x 61 cms x 17.8 cms

Kathleen Barrrett was born in Montreal, Quebec, in 1955. She received her Bachelor of Fine Arts from Sir George Williams University in Montreal, Quebec, in 1977, studying and working with Guido Molinari. Her sculptures and paintings have been exhibited across Canada. Barrett moved to Vancouver, British Columbia, in 1996 where she still lives.

$2,500—3,000

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160 GEZA BIRO THE WILLOW TREE oil on canvas; signed, dated 1985 28 ins x 31 ins; 71.1 cms x 78.7 cms $2,000—3,000

Geza Biro was born in 1919 in Transylvania, Hungary. He graduated with top honors in Fine Arts, with a minor in Art Restoration, from the Royal Hungarian Academy of Fine Arts in Budapest in 1943, winning the Royal Scholarship Award in his final year. Biro was recruited into the army during World War II, and was made a prisoner of war for four years. Upon his release after the war, Biro worked for the Museum of Fine Arts in Budapest as a researcher, restorer and consultant, restoring historic monuments and artwork that had suffered damage during the war. He began exhibiting his own works in the 1950s at the National Gallery of Hungary and, in the early 1960’s, was exhibited in Austria and Sweden.

In 1967, Biro immigrated to Canada, settling in Montreal and eventually gained recognition as a landscape artist. He held numerous shows in Canada, the United States, Australia and Europe. His works are part of the collections of the Hungarian National Gallery, Ministry of Cultural Affairs of Hungary, the Office of the Governor of Vermont, the Montreal Museum of Fine Arts and in numerous corporate collections throughout Canada.

Biro died in Montreal in 2008.

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161 JEAN BRIDGE UNTITLED graphite and pastel on paper 23.5 ins x 36 ins; 59.7 cms x 91.4 cms $500—700

Jean Bridge received her Bachelor of Fine Arts in 1979 from Queen’s University in Kingston, Ontario. She went on to obtain her certification in Computer Applications in Graphic Design from the Information Technology Design Center at the University of Toronto, and in Multimedia Design and Production from Digital Media Studios. Her work includes print and multimedia installations, CD-ROMS, and interactive image projections.

Since 1994, Bridge has been teaching at Brock University, where she is currently assistant professor; she has also taught at the Ontario College of Art and Design and Sheridan College. More recently, Bridge is the founder of nGen, Niagara Interactive Media Center, whose mission is to connect technology-based businesses, entrepreneurs and researchers, and provide innovative support and assistance.

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162 TONI ONLEY MOUNT BAKER ACROSS BOUNDARY PASSAGE watercolour on paper; signed, titled, dated 4 October 1987 11 ins x 15 ins; 27.9 cms x 38.1 cms $800—1,200

Born in Douglas, Isle of Man, England, Norman Antony (Toni) Onley studied at the Douglas School of Fine Arts, his style of landscape painting influenced by British painters John Cotman and Peter DeWint. He immigrated to Canada with his young family in 1948, initially settling in Brantford, Ontario. Onley gained early recognition for his painting when he won an award in 1955 at the Western Ontario Annual show of artists under 27. Following the death of his wife in 1995, Onley moved his family to Penticton, British Columbia, where he worked as a surveyor, draftsman and commercial artist; he also taught evening and weekend art classes.

In 1961 he was one of seven artists chosen to represent Canada at the Paris biennial exhibition. His collage paintings won critical recognition: the Tate Gallery in London, England selected one of the works from his Polar series, Polar No. 1, in 1963. On a Royal Canadian Academy award Onley traveled to London, England where he studied etching and at that time reestablished his landscape roots with the Norwich School of Watercolor Painting.

Onley’s works are part of major international collections, which include the Tate Gallery and the Victoria and Albert Museum, London, England; the National Gallery of Canada; the Vancouver Art Gallery; and the Library of Congress, Washington, D.C. In 1999, he was made an Officer of the Order of Canada and was bestowed with an Honorary Doctor of Letters Degree from Okanagan University College.

Landscape revealed: The Art of Toni Onley, a documentary of Onley’s life and works was produced in 2004 by Fountain Productions. He was tragically killed that same year when the plane that he was piloting crashed.

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163 ALLEN SAPP, RCA, OC A LITTLE PINE RESERVE acrylic on canvas; signed 30 ins x 48 ins; 76.2 cms x 121.9 cms $2,500—3,000

Allen Sapp was born in 1929 on the Red Pheasant Reserve in northern Saskatchewan, a descendant of the great plains Cree Chief, Poundmaker.

Sapp was often bedridden as a child, and his grandmother encouraged him to draw to pass the time. She also bestowed upon him the name “Kiskayetum,” which, translated, means “he perceives it.”

Sapp moved to North Battleford in the early 1960’s to attempt a living as a self-taught artist, selling his paintings for a few dollars. It was a chance encounter with Dr. Allan Gonor in 1966 that helped launch his career as a painter. Gonor recognized the artistic potential in Sapp and encouraged him to paint what he knew best - life on the reserve in the 1930’s and 1940’s. Gonor agreed to buy and sell all of Sapp’s paintings as long as he kept himself off welfare. He also arranged for Sapp to study under Wynona Mulcaster, one of Saskatchewan’s leading artists, who was then Professor of Art at the University of Saskatchewan.

Sapp held successful exhibitions in 1969 and 1970 in Saskatoon and Vancouver, respectively, and, within the next five years, his paintings were shown and acclaimed across Canada, as well as in London, New York, and Los Angeles. The MacKenzie Art Gallery held a retrospective exhibition, Kiskayetum: Allen Sapp, A Retrospective, in 1994, the first exposition of his work within a public gallery.

In 1989, the Allen Sapp Gallery: The Gonor Collection, a public art gallery named for a living artist, was opened in North Battleford, Saskatchewan. It houses the most extensive permanent collection of Sapp’s paintings. Allen Sapp lives in North Battleford.

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164 CONRAD FUREY 6TH HOLE mixed media on wood; signed; titled, dated 1992 on reverse 80 ins x 24 ins; 203.2 cms x 61 cms $1,500—2,000

Conrad Furey was born in Baie Verte, Newfoundland, in 1954. He studied commercial art in St. John’s and moved to Ontario, where he attended the creative arts program at Sheridan College, Brampton. He settled in Hamilton, Ontario, working as a curator at the Canvas Gallery, and as a set designer for television before turning full-time to his art. He became involved in the Hamilton art community, participating in the “Creative Artists in the Schools” Program of the Ontario Arts Council. Conrad was also one of the founding members of the Tiger Group, which included Bill Powell, Rick Cook, Wayne Allen and Gundar Robez until 1980.

Furey described himself as a self-taught artist “pulled into expression by instinct rather than learned technique,” and said he had rebelled against what little formal training he had had. His work was primarily inspired by the memories of his childhood in Newfoundland. He created a number of large-scale murals and religious works in Hamilton and Newfoundland.

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165 HARRY MAYEROVITCH, RCA THE AUDIENCE acrylic on board; signed 14 ins x 17.5 ins; 35.6 cms x 44.5 cms $2,500—3,500

Harry Mayerovitch was born in Montreal in 1910, the son of Romanian Jewish immigrants graduating with a degree in Arts and Architecture in 1933. That same year, he was awarded the McLennan Traveling Scholarship, which allowed him to study in Paris for one year. Mayerovitch returned to Montreal and worked with renowned architect, Percy Nobbs, before going into partnership with Alan Bernstein in 1935. The firm specialized in local high-rise apartment buildings, such as the Seigniory, as well as industrial, commercial and public buildings and synagogues, including the Young Israel of Montreal Synagogue. Besides architecture, Mayerovitch also worked in photography, sculpture, etching, painting and drawings. His works often reflected his strong social commitment. He painted the unemployed and disadvantaged of the Depressions years, and contributed political cartoons during the Duplessis era for the Montreal newspaper, Le Jour. During World War II, Mayerovitch designed a series of propaganda posters for Canada’s war effort. John Grierson, the founder of the National Film Board, was so impressed by one of Mayerovitch’s posters, Home Front, that he hired him as the Director of the Wartime Information Board’s Graphic Arts Division. His talents extended to writing and illustrating several books, including Overstreet (1973), How Architecture Speaks (1996), and Way to Go (2004). Mayerovitch taught at the McGill School of Architecture from 1965 until his death in 2004, at age 94 in Montreal, Quebec.

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166 DIANE COLLET-LARICHELIERE DES CHRISTINES LE FUN acrylic on canvas, unframed; signed, titled on reverse 36 ins x 48 ins; 91.4 cms x 121.9 cms $500—700

Diane Collet-Larichelière produces narrative work which explores the absurdity of life with respect to human relations and the sociological inequality of the sexes. She toys with philosophies that perpetuate stereotypes and produces puns inspired from everyday language.

Diane Collet-Larichelière was born in 1948 in Shawinigan, Quebec. She received a certificate in Plastic Arts from Sir George Williams School of Art in 1996, her BA in Plastic Arts (1996) and MA in Visual Arts Education (2003) from Concordia University.

Collet has exhibited throughout North America and internationally, and her works are found in both public and private collections in Canada, the United States, the United Kingdom, Australia and Japan. She has also received several awards and mentions throughout her career, as well as a grant from the Ministère des Affaires Culturelles du Québec in 1990.

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167 STEVE MENNIE PLAYGROUND acrylic on canvas 48 ins x 60 ins; 121.9 cms x 152.4 cms $3,000—4,000

Steve Mennie was born in 1945 in Revelstoke, British Columbia, and graduated in 1968 from the Ontario College of Art, in Toronto, Ontario.

He worked as a freelance illustrator in Toronto for two years before retuning to BC in 1970. Mennie has worked in various media, including hand-pulled silkscreen, acrylic, oil and watercolor. He has exhibited since the 1970’s both nationally and internationally and his works are part of major corporate and public collections across Canada. In addition, Mennie has been commissioned twice by Canada Post to design commemorative postage stamps.

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168 BARRY MCCARTHY GREEN HILL watercolour 38.5 ins x 57 ins; 97.8 cms x 144.8 cms $3,000—4,000

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Barry McCarthy was born in Deep River, Ontario, in 1951. He graduated with an honours Bachelor of Arts degree from the University of Guelph in 1975, and attended Teachers’ College at the University of Western Ontario in 1976. McCarthy went on to teach art for three decades at Waterloo Collegiate (1976 to 2006), before retiring to focus on art full-time.

McCarthy has showcased his works in both solo and group exhibits throughout Ontario. He lives in Elora, Ontario, where he opened his own studio in 2008.

Charles Bronfman's Claridge Collection

169 MYFANWY PAVELIC THE LIMNERS acrylic on board; signed, titled on reverse 36 ins x 48 ins; 91.4 cms x 121.9 cms $8,000—10,000

Myfanwy Pavelic, nee Spencer, was born in Victoria, BC, in 1916. At the age of six, she met the influential artist, Emily Carr, who mentored her and arranged a show of her drawings at Carr’s Peoples’ Gallery at the age of fifteen. The two artists corresponded until Carr’s death in 1945.

During the Second World War, Pavelic painted portraits across Canada and donated the funds to the Red Cross. In 1948, she married her second husband, Nikola Pavelic, son of the former Yugoslavian prime minister, before returning to Victoria. During the 1960’s, Pavelic spent much time in New York, drawn to the bustling art scene. In the 1970s, Pavelic became part of Victoria’s Limners , a collective group of painters, sculptors, potters, and visual artists, which included Maxwell Bates, Robin Skelton, Herbert Siebner, Richard Ciccimarra, Karl Spreitz and Nita Forest. Their focus was in portraying the essence of human nature through art, as well as providing artistic, material and moral support to the members.

Pavelic focused most of her artistic career on the human figure and is renowned for her portrait paintings. She painted many musicians, including Yehudi Menuhin (now in Britain’s National Portrait Gallery), Glenn Gould, Rostropovich, Segovia and Ravi Shankar. She also developed a long lasting friendship with actress Katherine Hepburn, which led to many sittings and portraits of Katherine. In 1990, former Canadian Prime Minister Pierre Elliot Trudeau’s advisor Claridge Curator Franklin SIlverstone chose her to create Mr. Trudeau’s official portrait, which now hangs in Parliament in Ottawa, and was later used on his Commemorative Stamp.

Pavelic received an honorary Doctorate from the University of Victoria, the Order of Canada in 1984, and in 2001 received the Order of British Columbia. She died peacefully on May 7, 2007.

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170 CLAUDE GOULET, RCA UNTITLED acrylic and mixed techniques on canvas; signed, dated ‘87 on reverse 40 ins x 40 ins; 101.6 cms x 101.6 cms $800—1,200

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Claude Goulet was born in Montreal in 1925. He graduated with a degree in chemistry from the University of Montreal, and pursued his studies at the Ecole des Beaux-Arts de Montreal. He was known for his geometric style of painting.

Charles Bronfman's Claridge Collection

171 ROZ MARSHALL WINTER POOLS acrylic on canvas; signed, dated 80, titled on reverse 68 ins x 68 ins; 172.7 cms x 172.7 cms $1,000—1,500

Rosalind Marshall was born in 1947 in Newport, Wales, the daughter of an oďŹƒcer in the Royal Air Force. Her family immigrated to Canada in 1962, settling in Vancouver. Marshall graduated with honors in Painting from the Vancouver School of Arts in 1970, having studied under Don Jarvis, Bruce Boyd, and Jack Shadbolt, whom she credits for her independent approach to imagery. Marshall later studied ceramics and drawing at High Wycombe College of Art, in England, and printmaking at the Alberta College of Art. Marshall has been living in Kona, Hawaii, since 2002, where she teaches and continues to work.

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172 CHARMIAN JOHNSON FAVA BEANS WITH BEES pen and ink, watercolour on paper 23 ins x 20 ins; 58.4 cms x 50.8 cms

Born in 1939, Charmian Johnson received her formal training in drawing and graphics in the Department of Art Education at the University of British Columbia, under Jim MacDonald and Bob Steele. She is renowned for her tea bowls, porcelain boxes, ikebana dishes, gargoyles and platters, with exquisite glazes and unpretentious forms. She returned to painting in 1978, producing a series of pen and ink drawings.

$1,500—2,000 Johnson has taught drawing and art education within the public school system as well as at the University of Saskatchewan and the University of British Columbia. She lives in Vancouver, British Columbia.

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173 LUCIO DE HEUSCH S.P. #17 acrylic on paper; signed, titled, dated 1991 on reverse 15 ins x 22 ins; 38.1 cms x 55.9 cms

Lucio de Heusch was born in Sherbrooke, Quebec in 1946. He has participated in several solo and group exhibitions in Canada, the United States, Japan, and Europe. His works are part of important collections in Canada and abroad. De Heusch lives and works in Montreal and the Townships. Recently retired, he pursued a career as an art professor both at University of Ottawa and at l’UQAM.

$800—1,200

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174 RUSSELL T. GORDON FREE FEDOROUS FEDERA mixed media 40 ins x 32 ins; 101.6 cms x 81.3 cms $1,500—2,500

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Russell T. Gordon was born in 1936 in Philadelphia, Pennsylvania. He received his Master of Fine Arts in 1967 from the University of Wisconsin and taught at the University of Utah, and the University of California, Berkeley, before settling in Montreal, Quebec in 1974. Gordon taught painting and drawing in the Department of Studio Arts at Concordia University until his retirement in 1998.

Charles Bronfman's Claridge Collection

175 MAXIME BEN HAIM FEMME DE MEMOIRE - MYRIAM acrylic on paper; signed, dated ‘88 height 21.5 ins; 53.8 cms $1,500—2,000

Maxime Ben Haim was born in Meknes, Morocco, once known as the “small Jerusalem of Morocco.” He received a full scholarship to study graphic arts in Paris in 1960, and returned home to work as a graphic designer in advertising, His clients including Royal Air Maroc, and the National Tourism Office. He excelled in illustrations as well, working on book covers and cartoons. He immigrated to Paris, France, where he participated in group exhibitions with other Moroccan artists, and later immigrated to Canada in 1979, settling in Montreal, Quebec, where he set up a graphic art studio. At the age of fifty, Ben Haim decided to dedicate all of this time to painting.

Ben Haim’s works most often reflect memories of his childhood, the rich cultural heritage of Jewish community life. His works have been exhibited internationally, including Canada, France, and Morocco.

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176 FRANCE TRUDEL A LA GARDERIE #1 oil on canvas; signed 20 ins x 23.5 ins; 50.8 cms x 59.7 cms $400—600

France Trudel was born in 1953 in St-Hubert, Quebec, and at the age of 19, joined the theatre group, la Veillée, that travelled across Quebec, Vermont and Europe. A self-taught artist, she has worked in various media, including painting, drawing, printing, and book binding, selling her work at the Salon des Métiers d’arts du Québec. She eventually studied lithography at the Atelier Graff in Montreal in 1981, and moved to Toronto in 1982, where she attended the Ontario College of Art. Trudel graduated in 1986, winning the prestigious W.O. Forsythe scholarship. She was selected to participate at the Symposium de Baie St-Paul, and returned to live in Montreal.

Trudel has participated in several solo and group exhibitions in Canada, Mexico and France, including the Salon de Laperriere in Normandy and Salon Bechu in Paris. Trudel lives in Montreal, Quebec.

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177 JOAN BIRCHWOOD CITY CO-OP photo collage on paper; signed 12 ins x 11 ins; 30.5 cms x 27.9 cms $500—700

Joan Birchwood was born in 1934 in Montreal, Quebec. She graduated from the University of Vermont with a major in design, and worked as an advertising copywriter. Throughout her career, Birchwood created numerous radio and television commercials and also wrote radio plays and TV specials.

Birchwood’s interests always lay in the artistic world. In 1988, she developed a concept of photomontage which she called “transformations”, where she would use repeats of her images, combining them to create a visual experience that was completely different from the original single photograph. She had her first solo exhibition in 1989 at the Tenth Anniversary Celebration of the Jane Corkin Gallery, in Toronto.

Birchwood’s work continuously evolved throughout her career. In 1995, Birchwood did a series of photographs, entitled Oh Canada, symbolizing the ten provinces and reflecting the prevailing moods of the country: conviction, conflict, co-existence, division, indecision, independence, power, love, anticipation, separation, solidarity, uncertainty. The series was first exhibited at the Lonsdale Gallery in Toronto. Birchwood continued to exhibit throughout Canada and the United States, until her death in Toronto in 2004.

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178 MARIE BERGMAN NARAMATA SUITE #6 collage, cloth, paper, thread; signed and dated ‘86 6.5 ins x 6 ins; 16.5 cms x 15.2 cms $200—300

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179 JAMES BOYD, RCA YELLOW ATTACK intaglio colour, relief embossed on paper; signed, titled, numbered 48/50 12 ins x 9.5 ins; 30.5 cms x 24.1 cms

James Boyd was born in Ottawa, Ontario, in 1928. He apprenticed at the Canadian Bank Note Co. Ltd., Ottawa from 1946 to 1953. Under the direction of S.R. Allen, he learned the process of steel engraving, working on portraits and stamps. Boyd went on to study at the Art Students’ League in New York City; at the National Academy of Design under Robert Phillip; and at the Contemporaries Graphic Workshop under M. Ponce De Leon.

$200—300 Boyd returned to Ottawa in 1956, where he taught print at the Ottawa Municipal Art Centre from 1956 to 1967, first as a print instructor (195667), and later as printing instructor (1974-79). He was graphic artist for the Brussels World’s Fair in 1958 and designer for general trade fairs for the Canadian Government Exhibition Commission from 1957 to 1962. Boyd was Resident Artist at the University of Western Ontario from 1967 to 1969. He held several teaching positions throughout his career, including at the Ontario College of Art, Concordia University, the University of Ottawa.

Boyd worked extensively on developing metal collage relief prints, adding metal, wood, linoleum on top of metal plates to achieve a relief effect and pulling only one print, the colors vibrant and colorful. Boyd was a Fellow of the International Institute of Arts and Letters Member, as well as the Royal Canadian Academy. He died in Ottawa in 2002.

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180 SCOTT MACLEOD INDIAN ROOM V mixed media on paper; signed 8 ins x 11 ins; 20.3 cms x 27.9 cms $300—400

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MacLeod has received several awards and grants throughout his career, that have allowed him to study at the Banff Centre of Fine Arts (1986); the Uffizi Print and Drawing Room in Florence, where he studied Master drawings and prints; and the Leighton Artist Colony at the Banff Center for the Arts, where he produced his Owe Canada Owe Quebec Series. He has produced several films, including his documentary After the War with Hanelore, which premiered at the Arnsenal 2 Institut für Film und Videokunst in Berlin, Germany, in 2009; as well as video installations, including his most recent work, The Sacred Feminine and Masculine.

Moreover, he is the creator of A Brief Canadian History, a multimedia performance and education package designed to promote a deeper awareness of Canada, and Canada’s First Nations art, culture and history.

MacLeod lives in Montreal, Quebec

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181 LES BRANDT CHURCHILL #, (IRV’S TUG) mixed media, acrylic, collage, pencil, ink; signed, dated ‘87 22 ins x 29.5 ins; 55.9 cms x 74.9 cms $200—300

Winnipeg artist Les Brandt received his Bachelor of Fine Arts in 1979 from the University of Manitoba. He began exhibiting his paintings in 1981, and had his first solo show in 1983 at The Osborne Gallery in Winnipeg. He joined the Canadian Artists Representation (CARFAC) in 1981, where he served on the board and as president from 1982 to 1984. Brandt was also an art instructor at the Forum Art Institute from 1983 to 1985, and taught workshops in rural Manitoba for Westman Arts Association in 1985 and 1986.

Brandt’s works are found in several prominent collections in Canada, including the Canada Council Art Bank. He has also designed book covers for Turnstone Press, magazine covers for Prairie Fire, CV2, and Rhubarb.

Brandt lives in Winnipeg, Manitoba.

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182 JERRY GREY, RCA NEPEAN POINT SUITE, NO. 1 woodcut on paper; signed, titled, dated 1983, inscribed 48/50 9 ins x 10.5 ins; 22.9 cms x 26.7 cms $150—200

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Born in Vancouver, British Columbia, in 1940 Jerry Grey attended the Vancouver School of Art from 1960 to 1963. She went on to study at the University of Saskatchewan’s Emma Lake Artists’ Workshop under the leadership of Jules Olitski, Lawrence Alloway, and Harold Cohen from 1964 to 1966.

She has lectured on a variety of topics at the National Gallery of Canada and taught at the Banff School of Fine Arts, the Emily Carr School of Art, the University of Ottawa, the Ottawa School of Art and the Avenue Road Arts School in Toronto. In addition, she has worked with a number of arts organizations and agencies, at both the national and the municipal levels.

These include: the Canadian Artist Representation where among other things she co-edited CAROT (CAR Ontario Trades Paper). She has been an executive/advisory committee member of a number of Ottawa area art and education organizations and with the Royal Canadian Academy of Art, where she was elected to membership in 1984. Grey has lived and contributed to the City of Ottawa since 1970.

Charles Bronfman's Claridge Collection

183 SHIRLEY CHINNECK FORGET-ME-NOTS (METIS, P.Q.) oil pastel on paper; signed, dated ‘87 17.5 ins x 24 ins; 44.5 cms x 61 cms $400—600

Shirley Chinneck was born in 1928 in Exshaw, Alberta, and moved with her family to Edmonton in 1938. She graduated as a Registered Nurse from the Royal Alexandra School of Nursing in Edmonton in 1950 and worked in her profession in Alberta, Ontario and Quebec. In 1986, Chinneck decided to retire from nursing to dedicate herself full-time to her painting.

Although Chinneck is a self-taught painter, but took weekly painting lessons with John Rennie while in Yellowknife the 1950’s. She is recognized for her landscapes, still lifes, flowers and portraits, and her work is found in several corporate and private collections across Canada. She is a member of the Society of Canadian Artists in Toronto and a lifetime member of The Arts Club Montreal. She has also taught portrait drawing and watercolor at the Arctic College in Invoke, Northwest Territories. Chinneck lives in Canmore, Alberta.

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184 ADELE LEWIS DAYBREAK - TATLYOKO LAKE acrylic on paper; signed, titled 24 ins x 30.5 ins; 61 cms x 77.5 cms $200—300

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185 JAN MENSES, RCA UNTITLED mixed media on paper; signed, dated ‘63 20 ins x 25.5 ins; 50.8 cms x 64.8 cms $300—500

Jan Menses was born and raised in Rotterdam in 1933. The memories of growing up through the atrocities that he witnessed during the Second World War are embedded in him and are explored in his art. Menses studied etching and lithography at the Rotterdam Art Academy, and went on to complete his military service as an officer in the Royal Dutch Air Force. He travelled extensively afterwards through Europe and Morocco.

It was while in Morocco that he was deeply influenced by the mystical spirituality of the Jewish community that led to his conversion to Tora. He abandoned his early colorful, expressionistic style and embarked on a progression of cycles of Judaic and cabalistic inspired work.

Menses and his wife immigrated to Montreal, Quebec, in 1960, where he began his first thematic series, Diabolica, a set of 165 etchings.

Throughout the next twenty-five years, produced three other series: Kaddish, dealing with the concentration camps; Klippoth, a study on the various facets of evil; and Tikkun, inspired by the theme of messianic redemption. His first solo exhibition in 1961 was held at the Jewish Public Library in Montreal, and he has since participated in over 250 solo and group exhibitions throughout the world, including at the Guggenheim and the Museum of Modern Art in New York, and at The Victoria and Albert Museum in London. Menses lives in Tzfat, Israel, where he owns a gallery.

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186 PAUL HESS DRAWING #30 graphite drawing 20 ins x 26 ins; 50.8 cms x 66 cms $300—400

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Paul Hess was born in Toronto, Ontario in 1954. He received his Bachelor of Art from the University of Guelph and his Master of Fine Arts from the Nova Scotia College of Art and Design in 1978. Hess has been exhibiting his paintings and photographs across Canada since 1974, and has also become recognized for his illustrations. He has been the recipients of several art grants from the Ontario Arts Council, BC Arts Council and the Canada Council. He has also taught at several universities across Canada, including the Emily Carr University of Art and Design. In 2008, Hess was appointed Director of the School of Art at the University of Manitoba. He currently lives in Winnipeg, Manitoba.

Charles Bronfman's Claridge Collection

187 PAUL HESS DRAWING #13 graphite drawing 25 ins x 30 ins; 63.5 cms x 76.2 cms $300—400

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188 SCOTT DINEL WICKLOW COUNTY acrylic on board; signed, dated 1996 20 ins x 23.5 ins; 50.8 cms x 59.7 cms $400—600

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Scott Dinel graduated with a Bachelor of Applied Arts in Interior Design from Ryerson Polytechnic University, in Toronto, Ontario, in 1989. He worked in Interior Design for several years before dedicating himself on a more full-time basis to making folk art. Since 1994, he started painting, his works a reection of nineteenth-century primitive art. He is a self-taught painter, and works in both two and three-dimensional forms.

Charles Bronfman's Claridge Collection

189 SCOTT DINEL BROOKFIELD COUNTY acrylic on board; signed 20 ins x 23.5 ins; 50.8 cms x 59.7 cms $400—600

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190 SCOTT DINEL LARKSPUR FARMS acrylic on board; signed; titled, dated 1996 on reverse 20 ins x 23.5 ins; 50.8 cms x 59.7 cms $400—600

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191 CAROL BRETZLOFF UNDER HEAVEN, WIND dried petals on paper; signed, titled, dated 1983, numbered 48/50 5 ins x 5 ins; 12.7 cms x 12.7 cms $200—300

Carol Bretzloff was born in Ottawa, Ontario, in 1951. She received her Bachelor of Fine Arts in 1973 from Mount Allison University, and went on to obtain a diploma in Secondary Art Instruction (1974) as well as a diploma in Reading Instruction (1978) from McGill University. She emerged on the scene as an artist working in mixed media. Her art, sometimes untraditional in approach, takes different forms - gathered objects fixed or placed together to convey her thoughts about some aspect of nature. Her work for the 1975 Visual Arts Ottawa Survey Exhibition entitled Banner consisted of wood, lambskin and oranges. Other works include lithographs enhanced by natural objects like leaves.

For thirty-five years Bretzloff developed and taught the Fine Arts Program at Pontiac High School in Shawville, Quebec. She conducted workshops in visual arts for elementary and secondary teachers for the Western Quebec School Board. She held summer classes for children at Netherleigh Farm, where she lives in Clarendon, Quebec, and at the Centre d’exposition l’Imagier, Gatineau, Quebec. Bretzloff lives in Shawville, Quebec.

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192 CAROL BRETZLOFF HEAVEN ABOVE, THE LAKE BELOW dried petals on paper; signed, titled, dated 1983, numbered 48/50 5 ins x 5 ins; 12.7 cms x 12.7 cms $200—300

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193 DOUGLAS STONE A SET OF 4 TWOMBLY print on paper; signed, dated ‘92, numbered 10/25 9 ins x 9 ins; 22.9 cms x 22.9 cms $600—800

Doug Stone was born in Simcoe, Ontario, in 1951 and graduated from the University of Guelph, Ontario, in 1974 with an Honors Bachelor of Fine Arts. In the late 1970’s, Stone ran a high-tech furniture store in Toronto, and in the 1980’s was renowned in the city for his innovative furniture design. Towards the end of the 80’s, Stone battled AIDS, and was hospitalized for a period of time. When he recovered from his near-death experience, he turned to painting as a means of documenting battle, in particular the isolation that results from illness. The works that were shown at the Christopher Cutts Gallery in Toronto in 1996 are an autobiographical account of his experience.

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194 JACK POLLACK CHEZ MOI gouache on paper; signed, titled, dated 1991 11 ins x 8 ins; 27.9 cms x 20.3 cms $250—350

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Complete List of Artists for Claridge Collection Auctions 1, 2 & 3 Abrahamson, Kirsten

Auction 3

Brillant, Jean

Adams, Kim

Auction 1

Brison, Susan

Auctions 1, 3

Allister, William

Auction 1

Brooks, Leonard

Auction 1

Alton, Ray

Auction 2

Browns, Joseph L.

Auction 2

Amiot, Patrick/Laurent, Brigitte

Auctions 1, 2

Buckles, Jane

Auction 1

Anderson, John David

Auction 3

Burke, Judith

Auctions 2, 3

Anderson, Lindsay

Auctions 1, 2, 3

Burnette, Jeff

Auction 3

Archambeau, Robert

Auctions 2, 3

Burtynsky, Edward

Auction 1

Ayres, Jonathan

Auction 2

Cabri, Mimi

Auction 1

Bachinski, Walter

Auction 2

Cameron, Alex

Auction 1

Baker, Peter

Auction 2

Card, Louise

Auction 3

Balfour, Barbara

Auction 3

Castro, Ricardo L.

Auction 1

Barbier, Sally

Auctions 1, 2, 3

Chalke, John

Auction 1

Barrett, Kathleen

Auction 1

Champagne, Horace

Auction 1

Bartkiw, Roman

Auction 1

Chaytor, Katrina

Auctions 1, 2, 3

Beament, Thomas Harold

Auctions 1, 3

Chinneck, Shirley

Auction 1

Bélanger, Gerard

Auctions 1, 3

Chwelos, Cyndy

Auctions 1, 2, 3

Ben Haim, Maxime

Auctions 1, 2

Cicansky, Victor

Auctions 1, 2, 3

Benoit, Carol

Auction 3

Clark, Kelly

Auctions 2, 3

Benstead, Ron

Auctions 2, 3

Clark, Tim

Auction 2

Bergman, Marie

Auctions 1, 2

Cliche-Spenard, Monique

Auction 1

Billyard, Bob

Auction 3

Cogswell, Chris

Auction 1, 3

Birchwood, Joan

Auction 1

Cohen, Rita

Auction 1

Biro, Geza

Auction 1

Cohen, Trina

Auction 1

Bisson, Jean Denis

Auctions 1, 2, 3

Collet-Larichellere, Diane

Auction 1

Bittman, Igor

Auction 1

Comtois, Louis

Auction 1

Blackwood, David

Auction 1

Comtois, Ulysses

Auction 1

Bloom, Tony

Auctions 1, 2, 3

Coote, Sarrah

Auction 3

Boisvert, Gilles

Auction 1

Cormier, Leta

Auction 3

Bolduc, David

Auctions 1, 2, 3

Cornish, Jason

Auction 3

Bolen, Mel

Auctions 2, 3

Côté, Marie-Andrée

Auction 3

Boquist, Anne

Auction 1

Cousineau, Sylvain

Auctions 2, 3

Borch, Albert

Auctions 1, 2, 3

Crimmins, Allan

Auction 2

Borrowman, John

Auctions 1, 3

Cumberland, Daily

Auction 2

Boyd, James

Auction 1

Cummings, Ann

Auction 2

Brandt, Les

Auction 1

Curley, Donald

Auction 1

Brantner, Fritz

Auction 3

David, Ron

Auction 1

Bretzloff, Carol

Auctions 1, 2

Davidson, Joanna

Auction 3

Briansky, Rita

Auction 2

Davison, Betty

Auction 3

Bridge, Jean

Auction 1

Day, Susan

Auction 3

Auction 1

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De Heusch, Lucio

Auctions 1, 2

Gilbert, John Martin

Auction 1

Demidoff-Seguin, Tatiana

Auction 2

Gladu, Normand

Auction 3

Denslow, Stephen

Auction 3

Gledhill, George

Auction 2

Dexter, Walter

Auction 2

Glover, Connie

Auction 3

Dickson, Jennifer

Auctions 1, 2, 3

Goodman, Jeff

Auction 3

Didur, Jerry

Auction 3

Gordon, Russell T.

Auctions 1, 3

Dinel, Scott

Auction 1

Goulet, Claude

Auction 1

Donaldson, Kirstin

Auction 1

Gregory, Brian

Auction 3

Donovan, Jane

Auction 2

Grey, Jerry

Auction 1

Doran, James

Auction 1

Grostern, Dorothy

Auction 3

Drohan, Walter

Auctions 1, 3

Gutteridge, John

Auction 3

Dukes, Caroline

Auction 2

Haigh, David

Auction 1

Durham, Michael

Auction 3

Hara, Sue

Auction 3

Durr, Pat

Auction 3

Hawkins, O. John

Auctions 1, 3

Dyskiewicz, Maciej

Auction 2

Heimlich, Herman

Auction 1

Elford, Shirley

Auction 3

Heinecke, Claus

Auction 1

Epp, Edward

Auction 2

Heisler, Franklyn

Auctions 2, 3

Etherington Betteridge, Lois

Auction 3

Hess, Paul

Auction 1

Evergon

Auction 2

Hillel, Edward

Auction 1

Evrard, Jamie

Auctions 2, 3

Hodgetts, Ted

Auction 1

Fafard, Joe

Auction 2

Hooper, John

Auction 3

Falk, Gathie

Auction 2

Hooper, Kathy

Auction 3

Farrero, Charley

Auctions 2, 3

Hopper, Robin

Auctions 1, 2, 3

Fears, Todd

Auction 2

Horsfall, Arthur

Auction 1

Ferley, Somani

Auction 2

Houle, Jean-François

Auction 2

Fleury, Estelle

Auctions 1, 2, 3

Houston, James Archibald

Auction 1

Flynn, Robert “Irish”

Auctions 2, 3

Hughes, Gwen

Auctions 1, 2

Forbes, Ian

Auction 2

Hurst, Patrick

Auction 3

Fortier, Marc A.J.

Auction 2

Hushlak, Gerald

Auction 2

Fournier, Paul

Auction 2

Hutchens, Gordon

Auction 2

Fox, John

Auction 2

Huyghe, Michael

Auction 2

Freeman, John

Auction 1

Ikeda, John

Auctions 1, 2, 3

Frolic, Irene

Auction 1

Ikeda, Suki

Auction 2

Funo, Masatada

Auctions 1, 2

Irvine, Steve

Auction 2

Furey, Conrad

Auction 1

James, Ann

Auction 2

Gagnon, Charles

Auction 1

James, Denys

Auction 1

Gallays, Gilbert

Auction 1

Jasmin, Edouard

Auction 3

Gamache, George

Auction 3

Jefferess, Constance

Auction 2

Garfin, Judy

Auction 1

Jekyll, Robert

Auction 2

Garneau, Marc

Auction 1

Johnson, Charmian

Auctions 1, 2, 3

Gasoi, Marvin

Auction 3

Johnston, Max

Auction 3

Gaudreau, Violaine

Auction 2

Johnston, Monica

Auction 1

Gentle, Barbara

Auctions 1, 2, 3

Johnston, Peter

Auction 1

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Jolliffe, Michael

Auctions 1, 2

McClure, Virginia

Kaplan, Richard

Auctions 1, 2

McCurdy, Alexandra

Auction 3

Katz, Shirley

Auctions 1, 2, 3

McDonnell, Jay

Auction 2

Keelan, Margaret

Auctions 1, 2

McInnis, Harvey

Auction 3

Koop, Kathryne

Auction 2

McInnis, Robert

Auction 3

Krieger, Jim

Auction 2

McKinley, Don

Auction 1

Kroo, Kathryn

Auction 2

McKinley, Ruth Gowdy

Auction 1

Kupczynski, Zbigniew

Auctions 1, 2, 3

McKinnell, Karen

Auction 2

L’Archeveque, Andris

Auction 2

McLaren, Donna

Auction 1

Labrie, Helene

Auction 2

McLeod, Ben

Auction 1

Landsley, Patrick

Auction 2

Mead, Ray

Auction 1

Lapka, Eva

Auctions 2, 3

Meindl, Susan

Auction 2

Lapka, Milan

Auctions 1, 2

Mennie, Steve

Auction 1

Legros-Wise, Enid

Auction 2

Menses, Jan

Auctions 1, 2

Leimanis, Andris

Auction 3

Merkel, Gary

Auctions 2, 3

Leser, Sylva

Auction 2

Michener, Robert

Auction 3

Lewis, Adele

Auction 1

Milette, Richard

Auction 3

Lim, John

Auction 3

Miller, David

Auction 1

Lin, Cynthia

Auction 1

Mongeau, Andre

Auction 1

Little, John Carruthers

Auction 2

More, David J.

Auction 2

Louie, Jim Hong

Auction 1

Morris, Regan

Auction 2

Low, Shelley

Auction 2

Morrissey-Clayton, Merijean

Auction 2

Lussier, Pierre

Auction 2

Mortimer, Ann

Auction 3

Lynn, Lou

Auction 2

Moulding, Fred

Auction 1

MacGregor, John

Auction 2

Mrnavy, Peter Pavel

Auction 2

MacKenzie, David

Auction 3

Mulligan, Sarah

Auction 2

MacLeod, Ian

Auction 3

Murdock, Greg

Auctions 1, 2, 3

MacLeod, Scott

Auctions 1, 2

Myers, Edna

Auction 3

Maka, Jahan

Auction 2

Nasr, Diane

Auctions 2, 3

Manning, Les

Auction 2

New-Small, David

Auction 3

Marange, François Xavier

Auction 3

Newdigate, Ann

Auction 3

Marcoe, Leonard

Auctions 2, 3

Newman, Brian

Auction 3

Marcotte, Maureen

Auction 3

Ngan, Wayne

Auctions 1, 2, 3

Marlow, Jason

Auction 2

Nickel, Grace

Auction 3

Marshall, Roz

Auctions 1, 3

Nicolai, Ingrid

Auction 1

Marylka

Auction 1

Norris, Joseph

Auction 3

Massey, John/Singleton, Beck

Auctions 1, 2

Norton, James

Auction 3

Massey, Vincent

Auction 3

Nuttall, Caryn

Auction 3

Materna, Daniel

Auctions 1, 2, 3

O’Young, Kayo

Auctions 1, 2, 3

Matheson, Janice D.

Auction 1

Onley, Toni

Auctions 1, 2, 3

Mayerovitch, Harry

Auction 1

Ostrom, Walter

Auctions 1, 2, 3

McCall, Ann

Auction 1

Ostermann, Matthias

Auction 3

McCarthy, Barry

Auction 1

Outhouse, Stephen

Auction 3

Auction 1

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Pachter, Charles

Auction 2

Schantz, Karl

Auction 3

Paille, Louise

Auction 2

Schklar, Lois

Auction 2

Paterson, James and David

Auctions 1, 2

Schmid Esler, Anne Marie

Auctions 1, 2, 3

Pavelic, Myfanwy

Auctions 1, 2

Searcy, Melissa

Auctions 1, 2, 3

Payce, Greg

Auctions 1, 2

Searle, Dianne

Auction 3

Perehudoff, Rebecca

Auction 2

Segal, Seymour

Auctions 2, 3

Pereira, Dale

Auction 1

Selfridge, Carol & Richard

Auction 1

Petterson, Andre

Auctions 1, 2

Setsuko, Piroche

Auction 2

Pickering, John

Auctions 1, 2, 3

Sheba, Michael

Auction 1

Picotte, Michel

Auctions 2, 3

Shigwadja, Jacob

Auction 2

Pokrant, Luther

Auction 2

Shinego, Kinichi

Auction 3

Pollack, Jack

Auctions 1, 2, 3

Sidley, David

Auction 2

Poole, Leslie

Auction 2

Sivell, Ted

Auction 3

Poulin, Roland

Auction 2

Sleska, Eva

Auction 2

Powning, Peter

Auction 3

Smith, Gordon

Auction 1

Proch, Don

Auction 1

Smith, Jim

Auctions 1, 2, 3

Pudlat, Andla

Auctions 2, 3

Smith, John Ivor

Auction 1

Radecki, Brigitte

Auction 2

Stanbridge, Linda

Auction 3

Radford, Ed

Auction 2

Staniszkis, Joanna

Auction 3

Raginsky, Nina

Auction 3

Stein, Tessa

Auction 3

Rains, Malcolm

Auction 2

Steinman, Barbara

Auction 2

Rautiainen, Auli

Auction 2

Stephenson Coole, Margaret

Auction 2

Reichmann, Eva Frenzy

Auction 3

Stevenson, Terry Dunton

Auction 2

Reid, Leslie

Auction 2

Stone, Douglas

Auctions 1, 2

Riera, Lluis

Auction 1, 3

Storey, Tim

Auction 1

Rimer, Shirley

Auction 2

Strakowski, Pat

Auctions 1, 2, 3

Robert, Louise

Auction 2

Sullivan, Diane E.

Auction 3

Roblin, Richard

Auction 3

Sures, Jack

Auctions 1, 2, 3

Rochon, Danièle

Auction 2

Sutherland, Roberta

Auction 2

Rodger, Pamela

Auction 1

Sybal, P.

Auction 2

Rogers, Otto

Auction 2

Symons, Ian

Auction 2

Rooke, Fay

Auction 3

Taddy, Pat

Auctions 1, 2

Roux, Françoise

Auction 2

Takenouchi, Naoko

Auction 3

Roy, Elizabeth

Auction 2

Tang, Muli

Auction 2

Roy, Ron

Auction 2

Taylor, David

Auctions 2, 3

Rupp, Rebecca

Auction 3

Taylor, Susan Geraldine

Auction 2

Ruwedel, Mark

Auction 1

Thierfelder, Vivian

Auction 2

Safdie, Sylvia

Auction 3

Thomas, Peter

Auction 3

Sapp, Allen

Auction 1

Thomasos, Denyse

Auction 1

Savage, Roger

Auctions 2, 3

Thomson, Jim

Auction 3

Savaria, Lisette

Auctions 2, 3

Tipton, Barbara

Auction 1

Savaria, Lisette/Potvin François

Auction 1

Tjiang, Paulus

Auction 1

Savoie, Robert

Auction 2

Tolgesy, Victor

Auction 1

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Tougas, Pierre

Auction 2

Townsend, Martha

Auction 2

Tremblay, Catherine

Auction 3

Tremblé, Léo-Paul

Auction 2

Trepanier, Robert

Auction 2

Tribe, Ron

Auctions 1, 2, 3

Trudel, France

Auctions 1, 2

Tsoumagas, Bill

Auction 3

Valko, Andrew

Auction 2

Vander Wal, Jack

Auctions 1, 2

Vanderhorst, Joanne

Auction 1

Van Sewell, Jordan

Auction 3

Vincent, François

Auction 3

Wagman, Lorne

Auction 3

Wagschal, Marion

Auctions 1, 3

Walgate, Wendy

Auctions 2, 3

Walker, Robert

Auction 3

Waquant, Michèle

Auction 1

Warren, Raymond

Auction 3

Webster, John

Auctions 2, 3

Webster, Kim

Auction 2

Wells, Don

Auction 2

Wildsmith, Muir

Auction 2

Wilson, Virginia

Auction 3

Winterer, Mary Anne

Auction 3

Wissinger, Chuck

Auction 2

Wood, Alan

Auction 1

Woods, Phyllis

Auction 3

Woods, Robert

Auction 3

Wyse, Alex

Auction 1

Young, Robert

Auction 3

Youngs, Kathryn

Auctions 1, 2, 3

Yuzbasiyan, Arto

Auction 3

Zawaduk, David

Auction 1

Zelski, Marek

Auction 3

Zimbel, George S.

Auction 1

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Buying at Waddington’s

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

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

inquire as to the condition of a lot before bidding.

Condition reports are available upon request by phone, fax, email or in person. You are advised to make any requests well in advance of the sale.

Condition of Lots All of the items are to be considered, unless otherwise noted in the description, in good condition. The definition of “good” when used in reference to condition, describes an object as having had no major damage or repair but as with the nature of the material, may show minor surface wear, discolouration etc., which indicates the acceptable wear that the piece may acquire with age.

If you are particular about minor flaws, you should examine the pieces in person or have our staff answer any questions before bidding.

Sizes are approximate. It is the sole responsibility of the bidder to

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.

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Frames on artwork are not included as part of purchase or condition.

Buyers Premium A premium of 20% of the successful bid price of each lot up to and including $50,000 and 15% on any amount in excess of $50,000 is paid by the buyer as part of the total purchase price.

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.

Bidding To bid in person at the auction, you must register for a bidding number by showing identification acceptable to the Auctioneer upon entering the salesroom. Your number will identify you if you are the successful bidder. You will be responsible for all lots purchased on your bidding number. Banking information may be requested by Waddington’s™. You may submit an Absentee Bid Form if you are unable to attend the sale. Bidding by telephone, in limited circumstances, can be arranged prior to the sale.

While we are pleased to offer absentee and telephone bidding as a service to our clients, and take great care in their commission, the Auctioneer will not be responsible for technical difficulties, errors or failure to execute bids. The Auctioneer may also execute bids on behalf of the consignor to protect the reserve. The reserve is the confidential minimum price the seller is willing to accept for his or her property, below which it will not be sold.

Absentee Bidders All absentee and phone bidders are required to contact our offices at 416504-9100 to confirm whether they have been successful.

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

As Waddington's requires 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.

ALL PRICES IN CANADIAN FUNDS

Charles Bronfman's Claridge Collection

Selling at Waddington’s

Shipping: The Auctioneers will not undertake packing or shipping. The purchaser must designate and arrange for the services of an independent shipper and be responsible for all shipping, insurance expenses and any necessary export permits that may apply. The Auctioneers will, upon request, provide names of professional packers and shippers but will not be held responsible for the service or have any liability for providing this information. Reliable preauction estimates of shipping costs of lots offered in this sale may be obtained from: Pak Mail 905.470.6874 905.470.6875 416.293.8225 taurus@pakmailmarkham.ca www.pakmailmarkham.ca Removal of Purchases Purchases must be paid for within 48 hours of the date of the sale, and removed from premises within 10 days of the date of sale (see Conditions of Sale, conditions 8 to 15). Clients are advised that packing and/or handling of purchased lots by our employees or agents is undertaken solely as a courtesy for the convenience of clients.

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 accept mailed and emailed requests for advice on the marketability of objects. A photograph and phone number must accompany a full description of each item.

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.

Property normally arrives at Waddington’s™ at least three months before the sale in order to allow our specialists time to research, catalogue, photograph and promote the items.

Consignors will receive a contract to sign, setting forth terms and fees for our services.

Notice for our International Clients

Commission Rates Items selling for $7,501 or more 10% Items selling for $2,501 to $7,500 15% Items selling for $251 to $2,500 20% Items selling for $250 or less 25% *There is a minimum handling charge of $20 per item Insurance A 1% insurance charge, based on the hammer price of the property, will be applied to all accounts.

Restrictions exist regarding the export of species protected under CITES (Convention on International Trade in Endangered Species).

The export and importation of items made of or containing whalebone, ivory, tortoise shell, seal skin, rhinoceros horn and other animal parts is strictly controlled or forbidden by most countries. Please review your country’s laws before shipping or purchasing pieces made of or containing these restricted items. Obtaining the appropriate permits is the responsibility of the client.

All Narwhal Tusks must have a Marine Harvest Number or a Marine and Mammal Transport number to be sold at Waddington's.

For more information please visit: www.cites.org

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Waddingtons.ca

Conditions Of Sale

1. All lots are sold “AS IS”. Any description issued by the auctioneer of an article to be sold is subject to variation to be posted or announced verbally in the auction room prior to the time of sale. While the auctioneer has endeavoured not to mislead in the description issued, and the utmost care is taken to ensure the correct cataloguing of each item, such descriptions are purely statements of opinion and are not intended to constitute a representation to the prospective purchasers and no warranty of the correctness of such description is made. An opportunity for inspection of each article is offered prior to the time of sale. No sale will be set aside on account of lack of correspondence of the article with its description or its reproduction, if any, whether colour or black & white. Some lots are of an age and/or nature which preclude their being in pristine condition and some catalogue descriptions make reference to damage and/or restoration. The lack of such a reference does not imply that a lot is free from defects nor does any reference to certain defects imply the absence of others.

Frames on artwork are not included as part of purchase or condition. It is the responsibility of prospective purchasers to inspect or have inspected each lot upon which they wish to bid, relying upon their own advisers, and to bid accordingly.

2. Each lot sold is subject to a premium of 20% of the successful bid price of each lot up to and including $50,000 and 15% on any amount in excess of $50,000 as part of the purchase price.

3. Unless exempted by law, the buyer is required to pay Harmonized Sales Tax on the total purchase price including the buyer’s premium. For international buyers, taxes are not applicable when purchases are shipped out of country. Items shipped out of Ontario, the buyer is required to pay taxes as per the tax status of that province, whether it HST or

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GST (Goods and Services Tax).

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

5. The auctioneer has the right to refuse any bid and to advance the bidding at his absolute discretion. The auctioneer reserves the right not to accept and not to reject any bid.

Without limitation, any bid which is not commensurate with the value of the article offered, or which is merely a nominal or fractional advance over the previous bid may not be recognized.

6. Each lot may be subject to an unpublished reserve which may be changed at any time by agreement between the auctioneer and the consignor.

The auctioneer may bid, or direct an employee to bid, on behalf of the consignor as agreed between them. In addition, the auctioneer may accept and submit absentee and telephone bids, to be executed by an employee of the auctioneer, pursuant to the instructions of prospective purchasers not in attendance at the sale.

7. The highest bidder accepted by the auctioneer for any lot shall be the buyer and such buyer shall forthwith assume full risk and responsibility for the lot and must comply with such other Conditions of Sale as may be applicable. If any dispute should arise between bidders the auctioneer shall have the absolute discretion to designate the buyer or, at his option, to withdraw any disputed lot from the sale, or to re-offer it at the same or a subsequent sale. The auctioneer’s decision in all cases shall be final.

8. Immediately after the purchase of a lot, the buyer shall pay or undertake to the satisfaction of the auctioneer with respect to payment of the whole or any part of the purchase price

requested by the auctioneer, failing which the auctioneer in his sole discretion may cancel the sale, with or without re-offering the item for sale.

9. The buyer shall pay for all lots within 48 hours from the date of the sale, after which a late charge of 2% per month on the total invoice may be incurred or the auctioneer, in his sole discretion, may cancel the sale.

The buyer shall not become the owner of the lot until paid for in full. Items must be removed within 10 days from the date of sale , after which storage charges may be incurred.

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

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

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

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.

Charles Bronfman's Claridge Collection

Operational Sta

Specialist Departments

Asian Art

Monthly Fine Art

Anthony Wu 416 847 6185 aw@waddingtons.ca

Doug Payne 416 847 6180 dp@waddingtons.ca

Yvonne Li 416 847 6195 yl@waddingtons.ca

Silver, Glass & Ceramics

Canadian Fine Art

Bill Kime 416 847 6189 bk@waddingtons.ca

Linda Rodeck 416 847 6176 lr@waddingtons.ca

Sculpture, Decorations, Clocks & Lighting

Kristin Vance 416 504 5100 kv@waddingtons.ca

Sean Quinn 416 847 6187 sq@waddingtons.ca

Contemporary Art Stephen Ranger 416 847 6194 skr@waddingtons.ca

International Art

President Duncan McLean 416 847 6183 adm@waddingtons.ca

Waddingtons.ca/Cobourg

General Manager Duane Smith 416 847 6172 das@waddingtons.ca

General Manager Paul Needham 905 373 0501 pn@waddingtons.ca

Vice President Business Development Stephen Ranger 416 847 6194 skr@waddingtons.ca

Absentee and Phone Bidding 905 373 1467 (Fax)

Creative & Technical Manager Jamie Long 416 847 6188 jl@waddingtons.ca

P. O. Box 554, Collingwood ON L9Y 4B2

Accounts Manager Karen Sander 416 847 6173 ks@waddingtons.ca Corporate Receptionist Kate Godin 416 504 9100 kg@waddingtons.ca

Susan Robertson 416 847 6179 sr@waddingtons.ca

Appraisal Co-ordinator Ellie Muir 416 847 6196 em@waddingtons.ca

Inuit Art

Client Services Steve Sheppard 416 847 6186 ss@waddingtons.ca

Christa Ouimet 416 847 6184 co@waddingtons.ca

Jewellery, Watches & Numismatics

9 Elgin Street East, Cobourg ON K9A 0A1

Waddingtons.ca/Collingwood

Valerie Brown 705 445 8811 vb@waddingtons.ca

Transitions.Waddingtons.ca Marcia Kim 416 847 6196 mk@waddingtons.ca

Andrew Brandt 416 504 9100 ext 6200 ab@waddingtons.ca

Don P. McLean 416 847 6170 dpm@waddingtons.ca

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