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International Art Auction Tuesday 10 December 2013 at 1:00 pm

On View Saturday 7 December from 11:00 am - 5:00 pm Sunday 8 December from 11:00 am - 5:00 pm Monday 9 December from 10:00 am - 12:00 Noon Preview and Auction to be held at Waddington’s 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 InternationalArt.Waddingtons.ca

Waddingtons.ca


Front Cover Lot 9 (detail) Anne Estelle Rice (1879-1959) BEACH BRITTANY Inside Front Cover Lot 138 (detail) Ferdinand Heilbuth (1826-1889) ROWING ON THE SEINE Back Cover Lot 156 Maqbool Fida Husain (1915-2011) UNTITLED (NUDE WITH ELEPHANT) Inside Back Cover Lot 27 (detail) Charles Hunt (1803-1877) THE COURT MARTIAL

Specialist Susan Robertson 416 847 6179 sr@waddingtons.ca Assistant Emma Frank 416 847 6182 ef@waddingtons.ca Corporate Receptionist Kate Godin 416 504 9100 kg@waddingtons.ca Accounts Manager Karen Sander 416 847 6173 ks@waddingtons.ca Absentee and Phone Bidding 416 504 0033 (Fax) bids@waddingtons.ca Online Bidding www.artfact.com

All lots in the auction may be viewed online at InternationalArt.Waddingtons.ca This catalogue and its contents © 2013 Waddington McLean & Company Ltd. All rights reserved. Photography by Waddington’s


It is our pleasure to present Waddington’s Fall 2013 auction of International Art. Featuring over 170 works by important artists from 12 countries, we are delighted to showcase a most interesting range of paintings, drawings and sculpture, dating from the 16th to 21st Century. This season’s highlights include the vibrant cover piece by American artist Anne Estelle Rice, “Beach Brittany”, and a hitherto unidentified masterwork “Rowing on the Seine” by 19th Century French artist Ferdinand Heilbuth. Our selection also includes unique modern works by Indian artist Maqbool Fida Husain, Japanese artist Setsuko Migishi, Pakistani artist Abdur Rahman Chughtai and a striking abstract by the celebrated Spanish artist Antoni Clavé, “Nature Morte” (1949). A hallmark of Waddington’s live auction season, our International sale will once again feature previously unseen works from private collectors and estates from across Canada, the United States, the United Kingdom, Sweden and Pakistan. We are thankful to our many colleagues who have referred our services as leaders in International Art in Canada: our Transitions team at Waddington’s, our eastern branch at Waddington’s Cobourg and our in-house appraisal team, who have uncovered for us many of these treasures. We also extend our gratitude to all of those who have entrusted Waddington’s to represent your valuable artworks. We hope that you will be able to attend the previews and auction or visit us online where you will be able to view and enjoy this season’s fine selection of offerings. — Susan Robertson Senior Specialist, International Art


Waddington’s

Leadership Team

Waddington’s is Canada’s most diverse and significant provider of fine art auction and appraisal services. Based on a rich legacy in the industry, Waddington’s actively seeks to redefine our business to ensure we remain fresh and reactive to what our clients are seeking. Through our appraisal, auction, private sale and downsizing expertise, we are pleased to provide a complete range of services.

Waddington’s leadership team brings together three of the industry’s best. The combination of their experience, knowledge of market trends and client networks builds on Waddington’s 160 year legacy of growth and dominance.

Waddington’s is Canada’s original auction house, with a history of conducting auctions since 1850. We are also an international auction house, providing access to world markets. Waddington’s is an innovative leader. We enjoy pushing the limits, exploring new territory and creating new partnerships. From the marathon auction of Maple Leaf Gardens, our partnership with the LCBO to auction fine wine, to the launch of Concrete Contemporary and our new Pop-Up Gallery series, we are driven to find what’s new, what’s exciting, and what you want to buy or sell.

Waddington’s by Department Asian Art Canadian Fine Art Contemporary Art Auctions and Projects Decorative Arts International Art Inuit Art Jewellery, Watches & Numismatics “Off the Wall” Art Transitions Philanthropy and Community

Duncan McLean, President, is Waddington’s corporate leader, responsible for strategic development and innovation realization. Under his direction Waddington’s strives to not only continuously evolve to meet the needs of our clients and address the demands of the market, but to push the boundaries, with integrity, creativity and passion. Mr. McLean has been involved in the auction industry for 35 years, as art specialist, appraiser, auctioneer and corporate leader. His knowledge base spans the diversity of Waddington’s offerings, with internationally-recognized expertise in Inuit Art. As Vice President Business Development, Stephen Ranger is focused on identifying new markets, new clients and new ways to do business. For example, Mr. Ranger launched Waddington’s Contemporary Art venture, Concrete Contemporary, to reach an exciting new sector of art enthusiasts and artists. Under Mr. Ranger’s guidance, new partnerships are also being created resulting in edgy new offerings like our Pop-Up Gallery series debuting in 2013. Mr.Ranger brings over 25 years of diverse experience as an auctioneer, appraiser and consultant in the art auction industry with specific expertise in Canadian Fine Art. Linda Rodeck, Vice President Fine Art, is one of Canada’s most trusted and respected Canadian Art specialists. Her impressive career of 25+ years includes leadership roles in the country’s most distinguished auction houses. Ms. Rodeck’s keen understanding of the market and her extensive network are invaluable in her role of sourcing the best works and providing the best service to our clients. As Vice President of Waddington’s Fine Art, Ms. Rodeck will play a critical role in developing new business leveraging her success in the Canadian art market.


International Art

Canadian Fine Art

Waddington’s International Art department presents auctions of fine art from around the world, offering original works from art centres across North America and Europe while continuing to expand our scope to bring our collectors works from Asia, South Asia, Russia and South America. A major element of Waddington’s legacy, our International art auctions draw on Canada’s cultural diversity. The combination of our expertise and our expansive global network ensures the highest standards of authentication and research.

Waddington’s has been a major force in the Canadian art sector for over five decades, beginning with our first auction of Canadian Fine Art held at the Queen Elizabeth Building at the CNE in 1967. Since that historic event, Waddington’s has offered some of the most important Canadian works, set record prices, and has been an integral part of driving the Canadian art market.

Rare and important paintings, sculptures, prints and photographs are offered in our live and online auctions, attracting buyers worldwide.

Susan Robertson Senior Specialist, International Art

With the return of Linda Rodeck, one of Canada’s most respected art specialists, Waddington’s is proud to rename our Canadian Art division under the Waddington’s brand umbrella.

Linda Rodeck Senior Specialist, Canadian Art Vice President, Fine Art


Concrete Contemporary Auctions and Projects

Decorative Arts

Waddington’s launched its newest division, Concrete Contemporary Auctions and Projects (CCAP) in March 2012 with a vision and mandate to create a secondary market for contemporary Canadian art.

Decorative Arts at Waddington’s encompasses a broad and diverse variety of objects and the department's client database is one of our largest.  From ancient to modern, delicate to deadly, Waddington’s Decorative Arts department redefines the term, bringing much more than traditional silverware and porcelain figurines to market, and with remarkable success.

Concrete Contemporary Auctions merges the worlds of traditional auction and the retail gallery, where our relationships with artists, art dealers, curators and collectors result in exciting new sources of contemporary works. The auctions are tightly focused on Canadian contemporary art since 1980 with an emphasis on mid- and latecareer artists with exhibition history in the private and public sphere. An exciting initiative of CCAP is the launch of our Pop-Up Gallery series in 2013. These short-duration, single artist shows offer works by some of Canada’s most accomplished working artists. Led by one of Canada’s most plugged-in art experts, Stephen Ranger, CCAP is committed to exploring new ways to connect, expand and support the arts community.

Waddington’s reputation for developing new markets is well represented by our Decorative Arts department, as is our ability to present large collections – notable recent sales have included Contemporary Studio Glass, Scientific Instruments and Militaria. The department regularly offers auctions which include bronzes, items of Canadian Historical interest, ceramics, devotional works of art, glass, lighting, militaria, mirrors, objets de vertu, porcelain, scientific instruments, travel and exploration maps.

Bill Kime Senior Specialist, Decorative Arts

Stephen Ranger Senior Specialist, Contemporary Art

Sean Quinn Specialist, Decorative Arts


Jewellery, Watches and Numismatics

Inuit Art

Waddington's has conducted auctions of Fine Jewellery and Numismatics for close to three decades. Highly respected expertise and in-depth knowledge of both domestic and international markets are the anchors of the ongoing success and popularity of our auctions.

Waddington’s is internationally recognized as one of the leading authorities in marketing Inuit Art. No other auction house has been as intrinsically linked to the development of a market for this art form. Inuit Art is a proud part of our DNA. From our first landmark auction in 1978 of the William Eccles Collection, Waddington’s has offered thousands of works, set record prices, and expanded the market well beyond Canada’s borders.

Our auctions are composed of a wide spectrum of contemporary and period jewellery featuring examples by some of the most desired names in jewellery including Tiffany, Cartier, Fabergé, Jensen, Yurman and Van Cleef & Arpels. Also featured in our auctions are fine wrist and pocket watches, designer fashion jewellery and all forms of numismatics including coins, tokens, banknotes and ancients.

Donald McLean Senior Specialist, Jewellery, Watches and Numismatics

Our legacy of successful Inuit Art auctions, our ability to achieve continually increasing values and our creation of an international market have been key factors in validating Inuit art as a whole and establishing it as an integral part of the Canadian Art scene.

Duncan McLean Senior Specialist, Inuit Art

Christa Ouimet Specialist, Inuit Art


Asian Art

“Off the Wall” Art

Waddington’s Asian Art department is Canada’s leader in serving the demands of the rapidly growing Asian market supported by our recognized and credible expertise. Our ability to achieve exceptional prices for works, including the Canadian record for the highest price for an Asian work of art, is based on our international reputation and network with the community.

Our “Off The Wall” Art online auctions are a unique opportunity to showcase accessible art. Drawing from our International Art and Canadian Art divisions, “Off The Wall” Art auctions feature paintings, prints and sculpture.

Specializing in jade, paintings, porcelain, religious works of art, textiles, woodblock and export wares, we present works from China, Japan, Korea, South East Asia, South Asia, Himalaya and others.

These monthly, online auctions are always an eclectic selection of affordable works – a great way to learn, enjoy art and start building a collection. Working closely with our other divisions, this auction has developed its own diverse and extensive network of clients.

Doug Payne Specialist, Fine Art Anthony Wu Specialist, Asian Art


Transitions

Philanthropy and Community

Transitions is Waddington’s downsizing and estate management service, created specifically for clients going through a transition who require knowledgeable, qualified and professional advice.

Waddington's is committed to working within the community by contributing our time to charity fundraising events and appraisal clinics. We are honoured to work with countless museums, galleries, art organizations and fund raising events and contribute our time to over 20 events each year raising over $2,000,000 annually for the community.

Successful downsizing and estate planning require an accurate appraisal of tangible assets. Drawing on Waddington’s 160 years of experience across our diverse areas of specialties, Transitions helps clients make informed decisions to keep, gift, sell or donate. Our clients include fiduciaries, executors and beneficiaries responsible for settling estates, as well as private clients looking to downsize and turn their material encumbrances into a monetary resource. Transitions is an end-to-end solution to help you sort, value, sell and move on to the next stage.

Marcia Kim Manager

Ellie Muir Coordinator

In addition, the Concrete Contemporary Acquisition Fund each year funds 50% of the purchase price for a work of contemporary Canadian art for a public institution. In 2012/2013 we have supported the following organizations: Aids Committee of Toronto, SNAP Best Buddies Birdlife International Canadian Opera Company Casey House, Art with Heart Casey House, Snowball CAMH Unmasked Covenant House The Furniture Bank Integra Foundation Lake Ontario Waterkeepers OCAD University Metro Toronto Zoo Montreal Children’s Hospital Nyota School, Kenya Princess Margaret Hospital Robert McLaughlin Gallery Second Harvest, Toronto Taste Serve Canada St. Mary’s General Hospital, Kitchener St. Michaels Hospital, ARTGEMS The STOP Foodbank Toronto Symphony Orchestra The Varley Gallery Windsor Art Gallery Warchild Canada York University Fisher Fund


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1 WILMER SIEGFRIED RICHTER (1891-1993), AMERICAN COBBS CREEK ROAD Oil on canvas; signed and dated 43 lower right, titled to the stretcher 24.75” x 29” — 62.9 x 73.7 cm. $2,000/3,000

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Provenance: Private Collection, Philadelphia until circa 1980 when it was gifted to the present Private Collection, Toronto, a relative of the former owner


International Art Auction – Tuesday 10 December 2013 at 1 p.m.

2 PAL FRIED (1893-1976), HUNGARIAN/AMERICAN RITA (BLUE DRESS WITH PINK UMBRELLA) Oil on canvas; signed lower left, titled verso 30” x 24” — 76.2 x 61 cm. Provenance: Arnot Gallery/Herbert Arnot Inc., New York, purchased on October 8, 1953; Sold to Eaton’s, Canada on March 15, 1954 $1,500/2,500

3 LEMUEL EVERETT WILMARTH (1835-1918), AMERICAN STILL LIFE OF ORANGES, APPLES AND A BASKET Oil on canvas; signed “L.E. Wilmarth N.A.D.” verso and “Prof. L.E. Wilmarth N.A.D.” in pencil to the stretcher 10” x 14” — 25.4 x 35.6 cm. $4,000/6,000

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4 INDIANA GYBERSON (C. 18791928), AMERICAN LA CIGALE; THE CHINESE LANTERN Pair of oils, the first title, an oil on board; signed lower right, the latter, an oil on panel; signed lower left, each signed and titled to gallery labels verso 16” x 12” — 40.6 x 30.5 cm. Provenance: Anderson Galleries, Chicago; Private Estate, Kingston, Canada $6,000/8,000

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

5 JOHN FABIAN CARLSON (18751947), AMERICAN SUNLIT WATERS

Provenance: Grand Central Art Galleries, New York, No. 4159; The Estate of Margaret Hay, Ontario

Oil on canvas; signed lower right, titled to gallery label verso 30” x 40” — 76.2 x 101.6 cm. $10,000/15,000

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6 DAVID DAVIDOVICH BURLIUK (1882-1967), UKRAINIAN/AMERICAN ARBOUR IN A GARDEN Oil on canvasboard, signed lower right 12” x 16” — 30.5 x 40.6 cm. Provenance: Private Collection, Stockholm, Sweden $7,000/9,000

7 ANDRE GISSON (1921-2003), AMERICAN MARGARET Oil on canvas; signed lower right, titled to gallery label verso 30.5” x 40” — 77.5 x 101.6 cm. Provenance: Miner’s Gallery Americana, California label inscribed “purchased 9-14-74”; Estate Collection, Canada $3,000/4,000

8 PAL FRIED (1893-1976), HUNGARIAN/AMERICAN FRANCINE (WEARING A GREEN DRESS IN THE SNOW, NOTRE DAME) Oil on canvas; signed lower left, titled verso. Unframed. 24” x 30” — 61 x 76.2 cm. Provenance: Arnot Gallery/Herbert Arnot Inc., New York purchased on April 8, 1957; Sold to Walter Klinkhoff (Gallery), Montreal on September 16, 1957 $1,500/2,000

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

9 ANNE ESTELLE RICE (1879-1959), AMERICAN BEACH BRITTANY Oil on panel; signed lower left, signed and titled on the remains of the artist’s label verso, titled to gallery label verso. Unframed. 14.25” x 17.25” — 36.2 x 43.8 cm. $6,000/8,000

Provenance: Alex Reid & Lefevre, Ltd. (The Lefevre Galleries), London; Private Collection, England, received as a gift in the 1930’s; By descent to the present Private Collection, Red Deer, Alberta Note: Born in 1877 in Conshohocken near Philadelphia, Anne Estelle Rice studied at the School of Industrial Art of the Pennsylvania Museum and continued her training at the Pennsylvania Academy of the Fine Arts under the direction of renowned American artists Charles Grafly, William Merritt Chase and Thomas Anshutz. She contributed illustrations for Collier’s, Harper’s and the Saturday Evening Post and was commissioned to develop seven historical murals for the Wannamaker store in Philadelphia in 1909. Rice was one of the chief illustrators for the British periodical Rhythm, from 1911-1913. Upon traveling to Europe in 1905, Rice met the Scottish painter John Fergusson who was a mentor and who influenced her subsequent Post Impressionist and Fauvist style, including a vivid and colourful palette, for which she would become known and is represented in the colouring of this work. Her 1910 painting “The Egyptian Dancers” exemplified her use of the Fauvist style; upon its exhibition the American press acclaimed Rice as the leader of a new school of art. From the 1920s, Rice painted still lifes, exhibiting at the Leicester Galleries and the Wildenstein Gallery in England.

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10 PAUL JENKINS (1923-2012), AMERICAN PHENOMENA JOYOUS BEGATS Watercolour on paper; signed lower right Sheet 43.5” x 31” — 110.5 x 78.7 cm. $5,000/7,000

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Provenance: Elaine Horwich Gallery, Scottsdale Arizona, circa 1980 from whom purchased by the present Private Collection, New Mexico


International Art Auction – Tuesday 10 December 2013 at 1 p.m.

11 RICHARD TUTTLE (1941- ), AMERICAN LETTER AND ENVELOPE FROM A COLLECTION OF LETTERS SENT TO A FRIEND Three page pen and ink upper and lower case calligraphic hand printed letter, dated “April 6” including a reference to the death of Martin Luther King Jr., with a hand-made gold paper envelope with masking tape, postmarked “April 1968” (smudged) with ten one cent US stamps depicting Andrew Jackson, the envelope, addressed to “Mrs. Betty Bishop” at “43 Thorncliffe Pk Dr., Toronto”, signed “Tuttle” with his return address: “734 11th Ave./NYC, USA, 1009” on the verso Letter 12.5” x 8.25” — 31.8 x 21 cm.; 4.5” x 9.5” — 11.4 x 24.1 cm. $5,000/7,000

Provenance: Sent to Mrs. Betty Bishop, residing at 43 Thorncliffe Pk. Drive, Apt. 1017, Toronto in April, 1968 from the artist, New York Note: The artist and Betty Bishop corresponded with each other for 20 years beginning in the 1960’s. This and the following lots, lot 12, lot 13 and lot 14 are the embellished handmade envelopes, or in some cases, the embellished commercial envelopes, he sent to his friend, Betty Bishop, in Toronto, in the late 1960’s and 1970’s. It is interesting to note, Betty Bishop’s address changed frequently but Tuttle’s remained primarily the same at 734 11th Avenue, New York. Calligraphy, poetry, language, books and printed matter were primary influences and subjects of Tuttle’s work since the beginning of his career in the 1960’s. He calls his three- dimensional works “drawings” rather than sculpture and emphasized the small scale rather than the conventional large scale of Modern sculptural practice. Instead of steel, marble and bronze, Tuttle created small playful objects in materials such as paper, rope, string, cloth, wire, cardboard, nails and styrofoam. A similar work by Tuttle, utilizing letters of the alphabet, is the subject of “Letters (The Twenty-Six Series)”, currently held in the collection of MOMA (273.2002.a-z). This small galvanized sculpture was executed in 26 parts, each part a letter of the alphabet, measuring 6” x 9” x 5/8”, dates from the same early period, 1966, as this lot. In another example, Tuttle drew his name “Richard Tuttle” in pen and ink and with hand lettering printed: “Not having an idea for a drawing, I made a drawing of my name”.

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12 RICHARD TUTTLE (1941- ), AMERICAN TWO ENVELOPES Two standard white envelopes, one postmarked “29 April 1971 New York, N.Y.” with ink drawing of 5 bricks, an ink drawing of an American flag on stand over the postage stamp, and a stylized ampersand lower right; signed in black marker with the artist’s return address: “Richard Tuttle / 734 11th Avenue / NYC, N.Y. 10019 USA” on the reverse; the other postmarked “Feb. 10, 1965 Toronto, Ontario” with address of Richard Tuttle crossed out and stamped “Unknown”, inscribed in Tuttle’s hand: “This is a present”; the verso with pink and yellow painted design. Each 3.5” x 6.5” — 8.9 x 16.5 cm. Provenance: The first sent to Mrs. Betty Bishop residing at 938 Bathurst Street, Toronto on 29 April 1971; The second, sent from B. Bishop residing at 1701A Bayview Ave., Toronto in February, 1963 $4,000/6,000

13 RICHARD TUTTLE (1941- ), AMERICAN TWO ENVELOPES The first, a standard white envelope postmarked indistinctly “Jan. 1985,” addressed to “Ms. Betty Bishop/110 The Esplanade #904/Toronto, Ontario/Canada”, signed with the return address “Tuttle 1022 Mt. Rd./Santa Fe/NM” with green and red watercolour candy cane stripes to the left edge (water damaged) and enclosing a hand made japon paper star, the second, a handmade white paper envelope with masking tape at the back, postmarked “9 Dec 1967” with calligraphic lettered address: “Mrs. Betty Bishop/43 Thorncliffe Pk. Dr./ Toronto 17, Ontario/Canada” and with “Tuttle 734 11th Ave/NYC/USA” in large pen and ink calligraphic lettering verso 4.75” x 8” — 12.1 x 20.3 cm.; 4.75” x 6.5” — 12.1 x 16.5 cm. Provenance: The first sent to Ms. Betty Bishop, at 110 Esplanade, Toronto from Tuttle in New Mexico; the second, to Mrs. Betty Bishop at 43 Thorncliffe Pk. Dr./Toronto from the artist in New York $4,000/6,000

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

14 RICHARD TUTTLE (1941- ), AMERICAN THREE ENVELOPES The first, a standard blue envelope collaged with a colour print taken from a magazine: “VOTE NOV. 7” adhered with masking tape to the front, postmarked “Nov 1967, New York, N.Y.” and stamped “Please Do Not Fold”, addressed to “Mrs. Betty Bishop” at “43 Thorncliffe Pk. Drive, Toronto 17, Ontario, Canada”; the verso with Tuttle’s name and address in blue ink, with pen and ink doodle phone numbers for Betty B. and Chief Hector verso, the second standard legal size white envelope, with pen and ink address to Mrs. Betty Bishop at “432 Markham Street, Toronto 4, Ontario, Canada” postmarked “6 Jun, 1972, New York, N.Y.” with blue ink doodle of a knotted line issuing at the stamp, the third, a handmade japon paper envelope postmarked “Nov 1968” to “Mrs. Betty Bishop” residing at “66 Belmont St., Toronto”, with masking tape at the verso signed in blue ink “Tuttle / 734 11th Ave / NYC” verso 3.5” x 7.5” — 8.9 x 19.1 cm.; 4” x 9.25” — 10.2 x 23.5 cm.; 3.5” x 6.25” — 8.9 x 15.9 cm.

Provenance: Sent to Mrs. Betty Bishop, Toronto in 1967, 1968 and 1972 at various addresses: 43 Thorncliffe Pk. Drive; 432 Markham Street, and 66 Belmont St., Toronto from the artist

$4,000/6,000

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15 GUSTAV MAJER (1847-1900), AUSTRIAN NOTARY AT WORK Oil on canvas; signed and dated 1879 at “Munchen” upper left 14” x 20.75” — 35.6 x 52.7 cm. $5,000/7,000

16 CARL FAHRINGER (1874-1952), AUSTRIAN PARROTS ON A BRANCH Oil on gray board; signed with initials in pencil lower right; signed and numbered “Nr. 103” in pencil verso 8.5” x 12” — 21.6 x 30.5 cm. $1,000/1,500

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Provenance: The Cooling Galleries, London and Toronto


International Art Auction – Tuesday 10 December 2013 at 1 p.m.

17 LOUIS CHARLES VERBOECKHOVEN (1802-1889), BELGIAN FISHING BOATS, BARGES AND OTHER CRAFT COMING AND GOING FROM A PORT Oil on canvas; signed lower left 14.75” x 22” — 37.5 x 55.9 cm. $5,000/7,000

18 THOMAS SIDNEY COOPER (1803-1902), BRITISH SHEEP AND CATTLE BY A TIDAL FLAT Oil on canvas; signed and dated 1837 lower left 18” x 24” — 45.7 x 61 cm. Provenance: Estate of Edward Albert Manning (1903-1978), Ontario $10,000/15,000

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19 FRANZ VAN SEVERDONCK (1809-1889), BELGIAN SHEEP AND DUCKS AT REST; SHEEP AND CHICKENS AT REST Pair of oils on panel; each signed and dated 1868; the first signed and dated bottom center, the later signed and dated lower left, each certified by the artist verso Each 7” x 9.5” — 17.8 x 24.1 cm. Provenance: The Cooling Galleries Limited, London and Toronto; Estate of Edward Albert Manning (19031978), Ontario $2,000/3,000

20 EUGENE VERBOECKHOVEN (1799-1881), BELGIAN MIDDAY REST Oil on panel; signed and dated 1868 lower left; signed and certified by the artist at “Bruxelles” in 1868 verso 7” x 10.25” — 17.8 x 26 cm. Provenance: The Cooling Galleries Limited, London and Toronto; Estate of Edward Albert Manning (19031978), Ontario $2,000/3,000

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

21 EUGENE VERBOECKHOVEN (1799-1881), BELGIAN THE TWINS

Provenance: Lord Armstrong Collection, purchased at Christie’s inscribed to the Henry J. Muller, James Street, Harrogate, gallery label verso; The Cooling Galleries, London and Toronto; Estate of Edward Albert Manning (1903-1978), Ontario

Oil on canvas; signed and dated 1856 lower right, an adjoined initial monogram “JC” ? beside the date 26” x 22” — 66 x 55.9 cm. $10,000/15,000

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22 MARGARET DOVASTON (1884-1955), BRITISH START FOR THE COMPETITION Oil on canvas; signed lower left 18.25” x 24” — 46.4 x 61 cm. Provenance: Estate collection by descent $10,000/15,000

23 GEORGE AUGUSTUS HOLMES (1822-1911), BRITISH SPANIEL PUPPY IN A BARN Oil on canvas; signed lower left 14” x 18” — 35.6 x 45.7 cm. $2,000/3,000

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

24 LEGHE SUTHERS (1855-1924), BRITISH DINNER TIME Oil on canvas; signed lower left, signed and titled from the artist’s studio at “The Cottage, Porlock, Somerset” to artist’s label to the stretcher 29.75” x 38” — 75.6 x 96.5 cm.

Provenance: The Estate of S.E. O’Brien, Canada; By descent Exhibited: The Royal Academy, 1900, Cat. No. 983

$10,000/15,000

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25 ALEX DE ANDREIS (1880-1929), BRITISH CAVALIERS IN CONVERSATION Oil on canvas; signed lower right 25.75” x 32” — 65.4 x 81.3 cm. Provenance: Frederick W. Thom Limited, Toronto $5,000/7,000

26 ALFRED HOLST TOURRIER (1836-1892), BRITISH THE SOLDIERS STORY: “OF MOVING ACCIDENTS BY FLOOD AND FIELD, ETC” (OTHELLO) Oil on canvas; signed with monogram lower right 28” x 36” — 71.1 x 91.4 cm. Exhibited: The Royal Academy, 1880, Cat. No. 1078 $2,000/3,000

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

27 CHARLES HUNT (1803-1877), BRITISH THE COURT MARTIAL Oil on canvas; signed and dated 1872 lower left 24” x 37” — 61 x 94 cm. Note: This work has been published as a reproduction print entitled: “A Plea for Mercy” $20,000/30,000

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28 WILLIAM HENRY BARTLETT (1809-1854), BRITISH YOUNG BATHERS ON THE COAST Oil on canvas; signed lower left 8.7” x 19” — 22 x 48.3 cm. $2,000/3,000

29 CHARLES LESLIE (C.1835-1890), BRITISH WELSH PASTURES Oil on canvas; signed lower left 24” x 42” — 61 x 106.7 cm. $2,000/3,000

30 ALFRED FONTVILLE DE BREANSKI (1877-1955), BRITISH IN THE ISLE OF SKYE Oil on canvas; signed lower right, signed and titled verso 24” x 36” — 61 x 91.4 cm. Provenance: The Fine Art Galleries, The T. Eaton Co., Ltd., Canada remains of gallery label; From whom purchased by Thomas Beattie, Toronto; By descent to the present Private Collection, Barrie $4,000/6,000

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

31 BENJAMIN WILLIAMS LEADER (1831-1923), BRITISH ON THE LLEDR, NORTH WALES

Provenance: Richard Green, London; from whom purchased by a Private Collection, Canada on 9th June 1978, accompanied by a copy of the original receipt

Oil on canvas; signed and dated 1901 lower left 30” x 48” — 76.2 x 121.9 cm. $12,000/15,000

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32 WILLIAM SHAYER SR. (17871879), BRITISH FISHERMAN’S CHILDREN Oil on panel; signed lower left, signed at “Nursling, Southhampton”, titled and numbered No. 11 to artist’s handwritten label verso 14” x 12” — 35.6 x 30.5 cm. Provenance: Frederick W. Thom Limited, Toronto $1,500/2,000

33 JOSEPH H. BARNES (ACT. 18671887), BRITISH QUIET MOMENTS Oil on canvas; signed lower right 18” x 14” — 45.7 x 35.6 cm. $2,000/3,000

34 ROBERT TAYLOR PRITCHETT (1823-1907), BRITISH THE BEACH OF SCHEVENINGEN Watercolour and pencil on watercolour board; signed lower right, signed with monogram at “Scheveningen” lower left Sheet 13.75” x 28.5” — 34.9 x 72.4 cm. $1,000/1,500

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

35 WILLIAM SHAYER SR. (1787-1879), BRITISH SOUTHHAMPTON COAST Oil on canvas; signed lower left 16” x 24” — 40.6 x 61 cm. Provenance: “Cooling” (Gallery, London and Toronto) inscribed in red crayon to the stretcher; From whom purchased by the present Private Collection, North Carolina $8,000/12,000

36 BERNARD FINEGAN GRIBBLE (1873-1962), BRITISH AN ENGLISH MAN-OFWAR Oil on canvas; signed lower left 20.5” x 30.5” — 52.1 x 77.5 cm. Provenance: Purchased directly from the artist; Leslie W. Lewis, London from The Cunningham Galleries, Hamilton, Ontario, on the accompanying invoice dated October 9th, 1940; The Estate of S.E. O’Brien, Canada; By descent $2,000/3,000

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37 THOMAS CRESWICK (1811-1869), BRITISH TRAVELLERS IN AN EXTENSIVE LANDSCAPE WITH BRIDGE AND CITY VIEW IN THE DISTANCE Oil on canvas; signed and dated 1840 bottom center 30” x 41.5” — 76.2 x 105.4 cm. $2,000/3,000

38 ADAM BARLAND (ACTIVE C. 1843-1863), BRITISH DOLGELLY, NORTH WALES Oil on canvas; signed lower left, titled to gallery labels verso 34.5” x 50” — 87.6 x 127 cm. Provenance: Frost & Reed, London; Roberts Gallery, Toronto $2,000/3,000

39 JOHN CLAYTON ADAMS (18401906), BRITISH THE HEATH OF SURREY Oil on canvas; signed and dated 1878 lower left 40.5” x 50.5” — 102.9 x 128.3 cm. Provenance: The Estate of Bernice Mukamal, Toronto $2,500/3,500

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

40 WILLIAM SHAYER SR. (17871879), BRITISH IN THE NEW FOREST Oil on canvas; signed and dated 1840 lower left 30” x 25” — 76.2 x 63.5 cm.

Provenance: Arthur Ackermann & Sons, London; The Cooling Galleries, London; John Noott Fine Paintings and Works of Art, Worcestershire, England from whom purchased by the present Private Collection, North Carolina in December 2000; With Durrett Studio & Gallery, Marietta, GA Private Collection, North Carolina

$8,000/12,000

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41 JOSEPH SEVERN (1793-1872) THE VINTAGE (ALSO KNOWN AS THE VINTAGE AT GENSANO IN ITALY), 1824-1825 Oil on canvas; titled “An Italian Vintage” with the Duke of Bedford inventory No. “424” to the nameplate, 49” x 40” — 124.5 x 101.6 cm. $5,000/7,000 Provenance: The Duke of Bedford, Woburn Abbey, No. 424; Sold at Christie’s, London on 19 January 1951, lot 203; Purchased by Vladimir and Johanna Vanjecek, Bosch en Duin, the Netherlands in an antique shop in London, England, circa 1974-75; By descent through the family to the present Private Collection, Canada Exhibited: The Royal Academy as “The Vintage at Gensano in Italy” in 1827, No. 273 Literature: Edited by Grant F. Scott, “Joseph Severn: Letters and Memoirs”, 2005, Cornwall, pages 18,19, 67, 68 and 273; “The Vintage” is recorded at Woburn Abbey by George Scharf in his “Catalogue of the Collection of Pictures at Woburn Abbey”, 1877 *Please visit our website for additional information.

42 RICHARD HILDER (1813-1852), BRITISH CHILDREN CROSSING A STREAM Oil on canvas; signed lower left 20.5” x 16” — 52.1 x 40.6 cm. Provenance: The T. Eaton Co., Limited, The Fine Art Galleries, Canada $2,000/3,000

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

43 WILLIAM SHAYER SR. (17871879), BRITISH GYPSY ENCAMPMENT Oil on canvas; signed lower left 20” x 24” — 50.8 x 61 cm. Provenance: P. Fyfe’s, Edinburgh, December 11, 1958 inscribed to an old paper label verso; Kenneth R. Shand, Toronto, from whom purchased by the present Private Collection, North Carolina on 8 April, 2000 $4,000/6,000

44 RICHARD HILDER (1813-1852), BRITISH GYPSIES WATERING COWS ALONG A COUNTRY ROAD Oil on canvas; signed lower right 18” x 24” — 45.7 x 61 cm. Provenance: Frederick W. Thom Limited, Toronto $2,000/3,000

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45 FREDERICK MORGAN (18561927), BRITISH YOUNG SIBLINGS AT THE GARDEN FENCE Watercolour; signed lower right 23.75” x 17.25” — 60.3 x 43.8 cm. Provenance: Kassabian Gallery, Toronto purchased by the present Private Collection, Toronto in 1966 $10,000/15,000

46 GEORGE CHARLES HAITE (18551924), BRITISH A STALL ON THE ZATTERE, VENICE Watercolour; signed lower right, titled to an old unidentified label dated 1922 at “Bedford” verso 13.75” x 23” — 34.9 x 58.4 cm. Provenance: Estate collection: By descent to the present Private Collection, Toronto $1,500/2,000

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

47 MARCUS STONE (1840-1921), BRITISH THE LOVE LETTER Oil on panel; signed lower left 17” x 13” — 43.2 x 33 cm. Provenance: Ex. Coll. Vicars Brothers, London; Leslie W. Lewis, London from The Cunningham Galleries, Hamilton, Ontario, on the accompanying invoice dated October 9th, 1940; The Estate of S.E. O’Brien, Canada; By descent $3,000/5,000

48 HELEN ALLINGHAM (1848-1926), BRITISH PICKING PRIMROSES Watercolour on thick paper; signed lower right; titled to the backing paper remaining on the frame verso Sheet 13” x 21” — 33 x 53.3 cm. $8,000/12,000

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A Collection of Ethelbert White Oils, Watercolours and Woodcuts Lots 49-58

49 ETHELBERT WHITE (1891-1972), BRITISH VIADUCT AND VILLAGE BENEATH THE HILLS Oil on canvas; inscribed “1st Early” and numbered “no. 141” verso 21” x 25” — 53.3 x 63.5 cm. Provenance: This and the following lots: lot 50 to lot 58, were acquired primarily direct from the Estate of the artist; By descent to his wife, Elizabeth Crofton Dodwell, known as Betty; By descent through Betty’s family to the present Private Collection, Toronto $6,000/8,000

50 ETHELBERT WHITE (1891-1972), BRITISH THE TERMINUS POINT Watercolour and ink; signed lower left Sight 11.5” x 14” — 29.2 x 35.6 cm. Provenance: Same as previous lot 49 $1,000/1,500

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An English painter in oil and watercolour, illustrator, wood engraver and poster designer, White was an early member of the Society of Wood Engravers and a founding member of the English Wood Engraving society in 1925. He was a regular exhibitor at the Royal Academy and the Royal Watercolour Society. White studied at the St. John’s Wood Art School becoming good friends with advanced painters such as Mark Gertler and C.R.W. Nevinson. He also created wood illustrations for novels and booklets, including The Story of My Heartby Richard Jeffries in 1923, considered to be the first substantial book illustrated with modern wood engravings published in Britain. A traditional English landscape artist, his subject matter was mostly the scenery of Southern England. Frequently traveling by caravan with his wife, Betty, the couple became noted bohemians, performing folk songs at parties and attending numerous social events such as the Chelsea Arts Ball.


International Art Auction – Tuesday 10 December 2013 at 1 p.m.

51 ETHELBERT WHITE (1891-1972), BRITISH LABOURERS WORKING IN A FIELD Oil on canvas; signed lower right 24.5” x 30” — 62.2 x 76.2 cm. Provenance: Same as lot 49 $5,000/7,000

52 ETHELBERT WHITE (1891-1972), BRITISH PLOWMAN’S COTTAGE; FISHERMAN IN HARBOUR; MAN IN FIELD; CARPENTER Four woodcuts; three signed with initials in the plate, the first title, signed, titled and numbered 41/50 in pencil to margin Image 6.25” x 7” — 15.9 x 17.8 cm.; 5.5” x 7” — 14 x 17.8 cm. Provenance: Same as lot 49 Note: Ethelbert White studied at St John’s Wood, London under Leonard Walker and was friends with Gertler and Nevinson. He was a member of the Royal Society of Wood Engravers and exhibited regularly at the London Group and the New English Art Club. His work is represented in the Tate. $400/600

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53 ETHELBERT WHITE (1891-1972), BRITISH HAYMAKING

54 ETHELBERT WHITE (1891-1972), BRITISH MEDITERRANEAN VILLAGE

Watercolour and conte crayon; signed lower right Sight 10” x 13.25” — 25.4 x 33.7 cm.

Watercolour and conte crayon Sight 11.75” x 14.25” — 29.8 x 36.2 cm.

Provenance: Same as lot 49

Provenance: Same as lot 49

$1,500/2,000

$1,000/1,500

55 ETHELBERT WHITE (1891-1972), BRITISH SUNLIT MEDITERRANEAN STREET SCENE

56 ETHELBERT WHITE (1891-1972), BRITISH TOWN IN A VALLEY

Watercolour and ink Sight 8.25” x 10.5” — 21 x 26.7 cm.

Watercolour and conte crayon; signed lower right Sight 10” x 12.25” — 25.4 x 31.1 cm.

Provenance: Same as lot 49

Provenance: Same as lot 49

$1,000/1,500

$1,000/1,500

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

57 ETHELBERT WHITE (1891-1972), BRITISH POTATO PICKING Oil on canvas; signed “Ethelbert Mayo White” lower right 24.5” x 29.75” — 62.2 x 75.6 cm. Provenance: Same as lot 49 $3,000/5,000

58 ETHELBERT WHITE (1891-1972), BRITISH FARMYARD Oil on canvas; signed lower left 18” x 21.5” — 45.7 x 54.6 cm. Provenance: Same as lot 49 $2,000/3,000

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59 ERNEST LLEWELLYN HAMPSHIRE (1882-), BRITISH THAMES AND LONDON BRIDGE AT NIGHT Oil on canvas; signed lower right 30.5” x 40.5” — 77.5 x 102.9 cm. $3,000/4,000

60 HUGH DE TWENEBROKES GLAZEBROOK (1855-1937), BRITISH FOUR LANDSCAPES OF NORTH ITALY: AN OLIVE GARDEN; CHURCH; RUDLEIGH SALTERTON MARSHES; THE CATHEDRAL SIENNA Four oils on panel; the first three signed with initials recto, each signed and titled verso or to labels verso, the last two dated 1908 and 1884 verso. Various sizes. 8.25” x 5” — 21 x 12.7 cm.; 8” x 5” — 20.3 x 12.7 cm.; 9.5” x 8” — 24.1 x 20.3 cm.; 9.5” x 13” — 24.1 x 33 cm. $1,500/2,000

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

61 EDWARD SEAGO (1910-1974), BRITISH NEAR THE NOTRE DAME, PARIS Oil on masonite board; signed lower left 13” x 16” — 33 x 40.6 cm. Provenance: Private Collection, Toronto; By descent to the present Private Collection, Florida $12,000/18,000

62 WALTER ERNEST WEBSTER (1878-1959), BRITISH YOUNG WOMAN SEWING BEFORE A FIREPLACE; YOUNG WOMAN DRESSING BEFORE A FIREPLACE A double-sided watercolour with crayon sketching lines on stiff watercolour board; the recto signed lower right 19” x 14” — 48.3 x 35.6 cm. Provenance: Royal Institute of Painters in Watercolours, Piccadilly, London from whom purchased by the present Private Collection, Montreal in 1954 $1,500/2,000

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63 JOSHUA ANDERSON HAGUE (1850-1916), BRITISH A COUNTRY ROAD Oil on canvas; signed lower right, titled to gallery label verso 36.5” x 28.5” — 92.7 x 72.4 cm. Provenance: Dominion Gallery, Montreal; By descent to the present Private Collection, Toronto $2,000/3,000

64 ROBERT GALLON (1845-1925), BRITISH COUPLE ON A RIVERBANK WITH FLOCK OF SHEEP IN DISTANCE Oil on canvas; signed and dated 1896 lower left 20” x 30” — 50.8 x 76.2 cm. $2,000/3,000

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

65 ALBERT G. STEVENS (? - 1922), BRITISH A WHITBY JET WORKER Watercolour on paper laid on board; signed lower left, titled verso Sheet 12.75” x 15.75” — 32.4 x 40 cm. Provenance: With Mackenzie & Co., Toronto, early 20th Century, Estate collection by descent $1,500/2,500

66 SIR STANLEY SPENCER (18911959), BRITISH WALTER ELSWORTHY, 1924 Graphite drawing; signed and dated 1924 lower right Sight 13.5” x 9.6” — 34.3 x 24.5 cm. Provenance: Tom Lapierre, Toronto, acquired from the Estate of the artist from whom purchased by the present Private Collection, St. Catharines, Ontario $3,000/5,000

67 SIR STANLEY SPENCER (18911959), BRITISH PEGGY ANDREWS OF READING, DRAWN AT BAGLELINE? Graphite drawing; indistinctly titled verso 13.2” x 8.9” — 33.5 x 22.5 cm. Provenance: Same as lot 66 $1,500/2,000

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68 SIR STANLEY SPENCER (1891-1959), BRITISH STUDY FOR ‘THE FARM GATE’, 1950 Graphite drawing squared for transfer; titled along the top right edge, indistinctly annotated: “..... reach for what interests”? lower right Sheet 10.75” x 6.75” — 27.3 x 17.1 cm. Provenance: Same as lot 66 Note: ‘The Farm Gate’ was Spencer’s diploma painting for his re-election in 1950 to the Royal Academy where it now hangs. $1,000/1,500

69 SIR STANLEY SPENCER (1891-1959), BRITISH STUDY FOR ‘ADORATION FOR YOUNG GIRLS, 1937’; STUDY FOR AN UNRECORDED PAINTING OF ‘THE GOLDEN CALF’ VERSO A double-sided graphite drawing; the recto, squared for transfer, the verso drawing on blue lined paper 8.4” x 6.5” — 21.4 x 16.4 cm. Provenance: Same as lot 66 $3,000/4,000

70 SIR STANLEY SPENCER (1891-1959), BRITISH WOMAN ROLLING STOCKINGS; WOMEN WINDING WOOL AND HOLDING UP FABRIC A double-sided graphite drawing; the recto, squared for transfer Sight 10.4” x 6.4” — 26.5 x 16.2 cm. Provenance: Same as lot 66 $1,500/2,000

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

71 GEORGE HARLOW WHITE (1817-1888), BRITISH “SCRAPS”: SKETCHBOOK CONTAINING 24 PENCIL DRAWINGS AND ONE WATERCOLOUR BY GEORGE HARLOW WHITE AND TWO DRAWINGS BY JOHN LINNELL (1792-1882) WITH ANOTHER UNSIGNED DRAWING AT THE BACK The 25 works by G.H. White include 24 pencil drawings and one watercolour; most signed with initials and titled, various dates from “July 3” to “August 18, 1879 (4?)”, including one pencil drawing dated at “Quebec/ Aug. 17” of a “Raft on the St. Lawrence River”; and other scenes including: “Lledr Valley”; “Isle of Llangollen”; “Bois de Boulogne, Paris”; “Vale of Cousis”; “Vale of Clwyd”; “Dolgellau, Wales”; “Llanrwst, Wales”; “Hastings”; “St. Michael’s, Mount Cornwall” and others Together with: John Linnell (1792-1882), Two pencil drawings at the back of the album; each signed in ink lower right, And with another unsigned pencil drawing tipped onto the back cover. Each of the works, mounted or tipped onto the sheets of a Victorian hardcover green album with letters: “Scraps”. Ex-libris bookplate of George Henry Harlow (1787-1819), the uncle of G.H. White, inside front cover with an inscribed note of his life (G.H. Harlow’s) affixed below his bookplate Together with 5 more loose sheets works taken from the album by: John Linnell (1792-1882) Including A VIEW IN SURREY; and 7 LANDSCAPE SKETCHES on 4 sheets. The first a watercolour “View in Surrey’’; possibly signed bottom to the left of center; and with 7 pencil drawings on 4 sheets that includes two views of the ‘Isle of Wight’; each double-sided pencil drawings, each signed, titled and dated 1815 on the recto, on blue paper and brown paper, each heightened with white; and with another double-sided pencil drawing: the recto signed, titled “N. Wales” and dated 1813; and with another pencil drawing of a “Covered structure”, signed and dated 1801 lower right. Each of the five unframed. Provenance: Ex-libris George Henry Harlow, his bookplate, uncle of the artist G.H. White; J.W. Wallace, n.p., The Estate of a Private Collection, Guelph Album drawings each various sizes 4” x 7” — 10.2 x 17.8 cm.; 3” x 4.75” — 7.6 x 12.1 cm.; 5.25” x 19” — 13.3 x 48.3 cm. $2,500/3,500 *Please visit our website to view additional images

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72 JOHN VARLEY THE ELDER (1778-1842), BRITISH CRUMBS (SKETCHBOOK WITH 27 LANDSCAPES) Twenty-seven watercolours and ink drawings heightened with white on blue paper, mounted to the pages of a hard-cover calf leather sketchbook, the spine with gilt lettering “Crumbs”, the front free endpaper inscribed in pencil “Varley water colours”, “Ex-libris J.E.P.” the first page inscribed “27 ideas? Crumbs”, a loose page inscribed “Ex-libris Sophie Glennie, 1801”, each watercolour accompanied by aphorisms inscribed in blue crayon to the mount beneath each drawing as follows: 1. Into the very night, engagement is our state. 2. Pass on and end ye days,then endless times may come. 3. We must pass through the valley to ascend the hill. 4.Companionship in difficulties and misfortunes is not uncharitably desirable. 5. The traveler may enjoy the rest of the retired. 6. What can express the wonder of the visible variety! 7. Age, in edifices, as in objects of humanity, is honorable. 8. I can pardon wanderer for envying the peace of him at home. 9. Some little pleasures are always sprinkled with great griefs. 10. In... this evening, it is very dull. 11. The blessed occupation of the aged to lead the young. 12. A little cot, in a sheltered spot, and peace within, a happy lot. 13. The rest of the ancient is as sweet as the activity of the agile. 14. Most efficacious is sobriety, the importance of virtue, the coolness of courage. 15.If virtue, in a vicious world, seem to be as insecure as a field of wheat without a fence, it is nonetheless under special protection. 16. The most concealed walk is not the most secure. 17. The engagements into which the mind is...; are equally a defense and an occupation. 18. In the solitary situation is given particular resistance to fear. 19. Necessary, excellent as is order, irregularity is not without its charms. 20. Though they know it not, all keep on their appointed road. 21. Who would not labor for the pleasure to be enjoyed by performance. 22. The recluse feels himself under more than the ministry of men. 23.Who feels their happiness less than those that may have the most company. 24. As is the home to its rider so is the rider to his horse to be accommodated. The mind must be made if the...; cannot be supplied to the mind. 25. The ocean which appears to be bound in the Easter...; mode of communion. 26. The more solitary the situation the deeper...; love is always found. 27. By custom comes conformity to the strangest positions. Each 4” x 6.5” — 10.2 x 16.5 cm. $6,000/8,000

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Provenance: Collection of the artist; Ex-Libris J.E.P. bought at ... (indistinct) on “Feb 26, 1912” as “Varley Water colours” inscribed to front free endpaper; Sophie Glennie, 1801; J.W. Wallace, n.p., The Estate of a Private Collection, Guelph, same as lot 71


International Art Auction – Tuesday 10 December 2013 at 1 p.m.

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73 IRISH SCHOOL (18TH CENTURY) THE RIGHT HONOURABLE WARDEN FLOOD OF FLOOD HALL IN A RED OVERCOAT, (1694-1764), LORD CHIEF JUSTICE OF THE COURT OF KING’S BENCH, IRELAND Oil on canvas. Circa 1727 to 1740 based on the presumed age of the sitter 28.5 “ x 23.5” — 72.4 x 59.7 cm. $3,000/5,000

Provenance: Collection of the sitter; Ballyduff House, Ireland (pictured below) The Estate of Peter Richard Connellan Solly-Flood until 1990 when the family portraits, lots 73 to lot 80 inclusive in this sale, were shipped to Montreal, Canada; By descent to the present Private Collection, Montreal, Canada

was educated at Kilkenny College and the University of Dublin, taking his degree of Bachelor of Arts in 1714. He entered Middle Temple in 1716 and was called to the Irish Bar in 1720. He was appointed Solicitor-General for Ireland in 1741, AttorneyGeneral for Ireland in 1751, and in 1760 was appointed Chief Justice of the King’s Bench. He acted as a judge of assize and was briefly Speaker of the Irish House of Lords. He became the Member of Parliament (MP) for Callan in 1727. He had a house at Cuffe Street in Dublin and at Farmley in Kilkenny. He married Miss Isabella Whiteside and dying in 1764, was survived by his son: The Right Honourable Henry Flood of Farmley in the county of Kilkenny. Warden Flood was considered a very distinguished lawyer in his time but he is mainly remembered as the natural father of the statesman Henry Flood.

Note to the provenance: Lieutenant Colonel Peter Richard Connellan Solly-Flood O.B.E worked as aide-de-camp/secretary to Churchill on his post WW2 tour of the United States in 1946.He helped co-write many of his speeches as Churchill supposedly suffered from a mild form of dyslexia. He was awarded the Officer of the Most Excellent Order of the British Empirein 1946. Note: The sitter, Warden Flood of Flood Hall, in the County of Kilkenny (1694-1764), was the father of The Right Honourable Henry Flood (1732-1791), who became an important member of the Irish House of Commons. The Right Honourable Warden Flood was born at Burnchurch in County Kilkenny, son of Frances Flood and Anne Warden. He

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For the importance of Warden Flood’s son, The Right Honourable Henry Flood (1732-91) see James Kelly, Henry Flood Patriots and Politics in Eighteenth-Century Ireland (Univ.f of Notre Dame Pr August 1998). Prior to James Kelly’s book, there was scant Flood family history. Drawing on public and private documents, Kelly’s biography contextualizes the importance of the family within their home county of Kilkenny, as well as in relation to Irish opposition politics and the politics of empire before the French Revolution. The following Flood family portraits are thus exceedingly rare and help fill the void of historic information about this important Irish family. Waddington’s is pleased to offer the following collection of seven 18th Century Flood family portraits, lots 73 to 80 in this sale, that were formerly held with the Flood family at Ballyduff House, Ireland.


International Art Auction – Tuesday 10 December 2013 at 1 p.m.

74 CIRCLE OF ALLAN RAMSAY (1713-1784), SCOTTISH/IRISH PROVENANCE PORTRAIT OF THE RIGHT HONOURABLE WARDEN FLOOD OF FLOOD HALL (1694-1764), LORD CHIEF JUSTICE OF IRELAND, AS AN OLDER MAN IN HIS ROBES, AFTER 1760, ABOUT 66 YEARS OF AGE Oil on canvas 50” x 40” — 127 x 101.6 cm. Provenance: Same as lot 73 $5,000/7,000

75 CIRCLE OF ALLAN RAMSAY (1713-1784), SCOTTISH/IRISH PROVENANCE PORTRAIT OF JOHN FLOOD OF FARMLEY (1696-1764), LT. COL. KILKENNY DRAGOONS IN THE COUNTY OF KILKENNY Oil on canvas 29” x 24” — 73.7 x 61 cm. Provenance: Same as lot 73 Note: John Flood married Jane Crompton, the only daughter and heir of Crompton Esq. of the County of Kilkenny. They had two sons, a portrait of one being the following lot 76 in this sale: “John Flood Esq. of Flood Hall (1745-1807)” $3,000/5,000

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76 **LAFAYETTE (19TH CENTURY), IRISH JOHN FLOOD OF FLOOD HALL (17451807) Oil on canvas; signed “Layfayette” at “Dublin” lower left 29” x 24” — 73.7 x 61 cm. $3,000/4,000 Provenance: Collection of the sitter; Ballyduff House, Ireland With Peter Reilly, Carver and Guilder Manufacturer, 10 Aungier Street, Dublin, in the mid 19th Century; Same as lot 73 Note: The sitter was the son of John Flood of Farmley, the previous lot 75 in this sale. He married Miss Elizabeth Aldworth, on October 31, 1770. This portrait may be a 19th Century work related to the Layfayette Studio of photography founded by Edmund Lauder, a pioneering and successful photographer who had opened a daguerreotype studio in Dublin in 1853.

77 CIRCLE OF GEORGE ROMNEY (17341802), BRITISH/IRISH PROVENANCE JOHN FLOOD OF FLOOD HALL (17711838), SON OF JOHN FLOOD OF FARMLEY IN THE COUNTY OF KILKENNY Oil on canvas 51.25” x 40” — 130.2 x 101.6 cm. Provenance: Collection of the sitter; Ballyduff House, Ireland; Pitt and Scott Ltd. London storage; Same as lot 73 $6,000/8,000

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

78 EDWARD FREDERICK GREEN (C. 1767-1851), BRITISH/IRISH PROVENANCE ELIZA JANE FRERE AND HER DAUGHTER Oil on canvas; signed and dated 1841 lower left, signed, titled and inscribed by the artist to a label affixed to the reverse: “Eliza Jane Frere wife of William E. Frere to whom the picture belongs. Painted at Malta for the Rt. Honourable T.H. Frere who gave it to her husband (W.E. Frere) on his return to India after her death in 1844” 35” x 27” — 88.9 x 68.6 cm. Provenance: Painted for The Right Honourable T.H. Frere, gifted by him to Eliza’s husband, William E. Frere after 1844; Ballyduff House, Ireland same as lot 73 $5,000/7,000

79 ATTRIBUTED TO EDWARD FREDERICK GREEN (C.1767-1851), BRITISH/IRISH PROVENANCE WILLIAM EDWARD FRERE C.M.G. (1811-1880) Oil on canvas 16” x 13” — 40.6 x 33 cm. Provenance: Collection of the sitter; Ballyduff House, Ireland; Same as lot 73 Note: The sitter was the husband of Eliza Jane Frere, the portrait of her and her daughter, depicted in lot 78. He was the third son of Edward Frere. He travelled to Bombay in 1830 where he became Judge of Dhawar. $2,000/3,000

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80 ATTRIBUTED TO EDWARD FREDERICK GREEN (C. 1767-1851), BRITISH/IRISH PROVENANCE JOHN FRERE (18131875) Oil on canvas 16 “ x 13” — 40.6 x 33 cm. Provenance: Collection of the sitter; Ballyduff House, Ireland Same as lot 73 Note: The sitter was the brother of William Edward Frere (18111880), whose portrait is depicted in the previous lot 79 $2,000/3,000

81 JOHN D. MICHIE (FL. 1860-1892), SCOTTISH “THO FAITHER AND MITHER AND ALL SHOULD GAE MAD/ JUST WHISTLE AND I’LL COME TO YOU, MY LAD” Oil on canvas; signed and dated 1870 lower right, signed and titled to artist label to the stretcher 21” x 29.5” — 53.3 x 74.9 cm. Provenance: Dominion Gallery, Montreal, inventory number E4058 $1,500/2,500

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

82 ROBERT GEMMEL HUTCHISON (1855-1936), SCOTTISH SLEEP BABY SLEEP Oil on canvas; signed lower left, titled to gallery label verso 20.25” x 30” — 51.4 x 76.2 cm. Provenance: George Davidson Ltd., Glasgow; Estate of Arthur Robert Mains, Hamilton, Ontario; Marilyn Stinson, Toronto; By descent $4,000/6,000

83 DAVID YOUNG CAMERON (18641945), SCOTTISH LOCH NELL AT SUNSET Oil on cradled panel; signed lower left, titled to gallery labels verso 8.5” x 10.75” — 21.6 x 27.3 cm. Provenance: Watson Art Galleries, Montreal; Sold to (Proal?) Thomson, London inscribed to the Watson Art Galleries, Montreal label, record no. 14799 verso; Dominion Gallery, Montreal, inventory number B3982; Private Collection, Montreal; By descent to the present Private Collection, Toronto $3,000/4,000

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84 WILLIAM GEAR (1915-1997), SCOTTISH UNTITLED (YELLOW ABSTRACT), 1977 Oil with pieces of canvas collage on canvas; signed and dated 77 lower left. Unframed. 17.75” x 23.5” — 45.1 x 59.7 cm. $7,000/10,000

85 WU HAO (1973- ), CHINESE MY COUNTRY- 2 Oil on canvas; signed, titled and numbered “2-4” verso 38.2” x 51.2” — 97 x 130 cm. $6,000/8,000

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

86 MILJENKO STANCIC (1926-1977), CROATIAN RASTANAK (SEPARATION) Oil on canvas; signed lower right, signed and titled “Rastanak” at “Zagreb/Gajeva 32” verso 28.5” x 39.5” — 72.4 x 100.3 cm. $10,000/15,000

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87 KAREL PAVLIK (1862-1890), CZECH SAMPSON AND DELILAH Oil on canvas laid down on board; signed lower right; signed dated and inscribed in Czech verso 13” x 17.5” — 33 x 44.5 cm. Note: This oil is a sketch for the larger oil of the same title on canvas executed by the artist in 1889 sold at Christie’s, N.Y. on 10/25/2006, lot 102 $1,500/2,000

88 FRANTISEK JAKUB (1875-1940), CZECH JUDITH BEHEADING HOLOFERNES Oil on canvas; signed lower right 59.25” x 49” — 150.5 x 124.5 cm. $3,000/4,000

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89 FRANTISEK JAKUB (1875-1940), CZECH PODZIM (AUGUST) Oil on panel; signed lower right, titled to the nameplate 21.75” x 29.5” — 74.9 x 55.2 cm. $3,000/5,000

90 FRANTISEK JAKUB (1875-1940), CZECH OPERA AT THE TYL THEATRE, PRAGUE Oil on panel; signed lower right 53.5” x 43” — 135.9 x 109.2 cm. $3,000/4,000

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91 ATTRIBUTED TO HENDRIK VAN BALEN THE ELDER (1575-1632), FLEMISH HOLY FAMILY WITH ST. ELIZABETH AND JOHN THE BAPTIST Oil on canvas; signed and dated 1625 lower left 21.5” x 26” — 54.6 x 66 cm. Provenance: H.H. Webster; By descent to the present Private Collection, Ottawa $4,000/6,000

92 ATTRIBUTED TO PIETER VAN BLOEMEN (1657-1720), FLEMISH A CAPRICCIO WITH TRAVELLERS STOPPING AT A WELL AMONG ROMAN RUINS WITH A PYRAMID Oil on canvas; given to “Pieter van Bloemen 1657-1720” on the nameplate to the frame 7.5” x 11.5” — 19.1 x 29.2 cm. Provenance: Private Collection, Montreal $2,000/3,000

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

93 CIRCLE OF AERT DE GELDER (1645-1727), DUTCH JUDAH AND TAMAR DRINKING FROM A CHALICE Oil on canvas 29.5” x 36” — 74.9 x 91.4 cm. Provenance: With Gabriel Van Thienen, Bruxelles Note: In the 1660’s, Aert de Gelder was one of Rembrandt’s last pupils. The influence of Rembrandt’s late painting style is recognizable in his work, but often with a lighter colour palette. He primarily painted Biblical subjects and portraits. Because of their Rembrandt-like character, many of de Gelder’s paintings were, in the past, attributed to Rembrandt. $3,000/5,000

94 JOHANNES KAREL LEURS (18651938), DUTCH SHEPHERDESS LEADING SHEEP Oil on canvas; signed lower right 24.5” x 18.5” — 62.2 x 47 cm. Provenance: W. Scott & Sons, Montreal $1,200/1,800

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95 FOLLOWER OF GOVAERT FLINCK (1615-1660), FLEMISH A YOUNG SHEPHERDESS Oil on canvas 24” x 20.25” — 61 x 51.4 cm. $3,000/4,000

96 JOHANNES CHRISTOFFEL VAARBERG (1825-1871), DUTCH CAVALIERS IN DISCUSSION Oil on panel; signed and dated 59 lower right 17.75” x 12.5” — 45.1 x 31.8 cm. $1,000/1,500

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97 ELISABETH ALIDA HAANEN (1809-1845), DUTCH LADY TRAVELLER SPINNING YARN WITH HER DOG Oil on panel; signed with initials and dated 1835 lower right 14.5” x 11.25” — 36.8 x 28.6 cm. Provenance: Estate of Gonda Jenkin, brought from Holland to Canada, circa 1920’s -1930’s; By descent $4,000/6,000

98 MARIANUS ADRIANUS KOEKKOEK (1833-1904), DUTCH FIGURES ON A COUNTRY ROAD WITH COWS GRAZING Oil on canvas; signed lower left 27” x 37” — 68.6 x 94 cm. Provenance: By descent through the Ross family, St. Catharines and Toronto $4,000/6,000

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99 BERNARD DE HOOG (1867-1943), DUTCH MOTHER FEEDING HER CHILDREN IN A KITCHEN INTERIOR Oil on canvas; signed lower right 41.25” x 48” — 104.8 x 121.9 cm. Provenance: Private Collection, Toronto $4,000/6,000

100 HENDRIK HULK (1842-1937), DUTCH MOORED FISHING BOATS Oil on canvas; signed lower right 18” x 28” — 45.7 x 71.1 cm. Provenance: The Cooling Galleries Ltd., London and Toronto $2,500/3,500

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101 BERNARDUS JOHANNES BLOMMERS (1845-1914), DUTCH CHILDREN ON THE BEACH

Note: Contained in a signed handmade frame by Paul Gehring Lijsten, active since 1845 in the Netherlands

Oil on canvas, signed lower right 18” x 28” — 45.7 x 71.1 cm. $30,000/50,000

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102 BERNARD DE HOOG (1867-1943), DUTCH INTERIOR WITH MOTHER FEEDING HER BABY Oil on canvas; signed lower right 12” x 16” — 30.5 x 40.6 cm. $1,000/1,500

103 CORNELIS GROENEVELD (18821952), DUTCH NEAR VOLENDAM Oil on canvas; signed lower right, titled to gallery labels verso 21.75” x 28” — 55.2 x 71.1 cm. Provenance: The Fine Art Galleries, The T. Eaton Co. Limited, Canada, prior to 1937 $2,000/3,000

104 NIEK VAN DER PLAS (1954- ), DUTCH VENICE Oil on panel; signed lower right, signed and titled verso 14” x 18” — 35.6 x 45.7 cm. $1,500/2,500

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105 JAN HENDRIK WEISSENBRUCH (1824-1903), DUTCH STRANDED BOATS Oil on canvas laid down on panel; signed lower right 7” x 9.5” — 17.8 x 24.1 cm. $10,000/15,000

106 JOHANNES ELSINGA (1893-1969), DUTCH GIRL FROM FRIESLAND Oil on canvas; signed and dated ‘17 lower right 42” x 29” — 104.1 x 73.7 cm. $1,500/2,000

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107 JOHAN FREDERIK CORNELIS SCHERREWITZ (1868-1951), DUTCH HOMEWARDS Oil on canvas; signed lower right 26.5” x 20” — 67.3 x 50.8 cm. Provenance: With Park Lane Galleries inscribed to the frame; The Estate of David Blyth Hanna, Toronto Note: David Blyth Hanna (1858-1938) was a railway executive who became the president of the Canadian National Railway in 1919, maintaining his position until 1922, when he was appointed the first chairman of the Liquor Control Board of Ontario (LCBO). $2,000/3,000

108 NIEK VAN DER PLAS (1954- ), DUTCH YOUNG WOMEN WITH UMBRELLAS AND CHILDREN ON THE BEACH Oil on panel; signed lower right, stamped incised signature verso 9.25” x 11.5” — 23.5 x 29.2 cm. $1,000/1,500

109 JOHAN FREDERIK CORNELIS SCHERREWITZ (1868-1951), DUTCH FARMER LEADING A HORSE DRAWN WAGON Oil on panel; signed with adjoined initials lower left 11” x 9.75” — 27.9 x 24.8 cm. Provenance: Frederick W. Thom Limited, Toronto $2,000/3,000

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110 BERNARD POTHAST (1882-1966), DUTCH BLOWING BUBBLES Oil on canvas; signed lower right 12.75” x 15.75” — 32.4 x 40 cm. $3,000/5,000

111 NIEK VAN DER PLAS (1954- ), DUTCH SUNNY DAY AT THE BEACH Oil on panel; signed lower right, stamped incised signature verso 14” x 18” — 35.6 x 45.7 cm. $1,500/2,500

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112 17TH/18TH CENTURY ITALIAN SCHOOL LAMENTATION OF MARY MAGDALENE Oil on canvas 16.5” x 12” — 41.9 x 30.5 cm. $1,200/1,800

113 18TH CENTURY FRENCH ELEGANT LADY WITH RIBBON CHOKER AND PEARLS AT A MAYPOLE FESTIVAL Colour pastel on paper laid on canvas 32” x 25.5” — 81.3 x 64.8 cm. Provenance: With Hoddick’s, Buffalo, N.Y. $2,000/3,000

114 ADOLPHE THEODORE JULES MARTIAL POTEMONT (18281883), FRENCH THE OUTDOOR PARTY Oil on panel; signed lower right 4.25” x 6” — 10.8 x 15.2 cm. $800/1,200

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115 ALEXANDRE GABRIEL DECAMPS (1803-1860), FRENCH THE PALACE GUARDS Oil on canvas; signed on the wall mid right 10.5” x 7.5” — 26.7 x 19.1 cm. Provenance: With W. Scott & Sons, Montreal; Private Collection, Montreal $1,500/2,000

116 GEORGE SAND (1804-1876), FRENCH UN RUISSEAU ENTRE MONTAGNES (‘PAYSAGE’) Watercolour; certified and dated indistinctly 1874 by Aurore Sand, the artist’s granddaughter and entitled “Paysage” verso Sheet 6.25” x 9.5” — 15.9 x 24.1 cm. Provenance: Private Collection, Toronto purchased at G. Morssen, Paris in April 1959, lot 228, accompanied by the original catalogue dated “Avril 1959” Literature: G. Morssen, “Autographes...Aquarelles et Dessins”, no. 228, the catalogue $6,000/9,000

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117 PAUL (LOUIS NARCISSE) GROLLERON (1848-1901), FRENCH INFANTRY SOLDIERS READING DIRECTIVES Oil on canvas; signed lower right 17.5” x 14.5” — 44.5 x 36.8 cm. Provenance: Frederick Thom Gallery, Toronto $4,000/6,000

118 PAUL (LOUIS NARCISSE) GROLLERON (1848-1901), FRENCH MERCENARIES ON A HILLSIDE (NAPOLEON’S ARMY) Oil on canvas; signed lower right 16” x 10.75” — 40.6 x 27.3 cm. Provenance: Frederick Thom Gallery, Toronto $2,500/3,500

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119 CHARLES-BORROMEEANTOINE HOURY (1823-1898), FRENCH NAPOLEON’S MISTRESS WITH HANDMAIDEN Oil on canvas; signed and dated 1861 lower left 38.5” x 51.5” — 97.8 x 130.8 cm. $6,000/9,000

Provenance: Private Collection, Toronto by descent through the family Note: It is believed that this scene depicts Napoleon III’s mistress Eugenie, the last Empress of France, seated on the left with her companion Mme. Lebreton reading a letter on the right. Charles Houry was born in Soignes, Belgium and died in Paris. He was a pupil of Cogniet at l’Ecole des Beaux-Arts. He became a French citizen and exhibited at the Salon de Paris from 1850 both portraits and genre subjects on faience. He was connected to the manufacture of Sevres china and painted their wares with portraits and genre scenes. His paintings on canvas are considered rare.

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120 ETIENNE PROSPER BERNEBELLECOUR (1838-1910), FRENCH THE FRENCH OSTLER Oil on panel; signed and dated 1879 lower left 13.5” x 8.5” — 34.3 x 21.6 cm. Provenance: The Classic Fine Art Galleries; Private Collection, Toronto $1,500/2,000

121 PAUL EMILE LEON PERBOYRE (1851-1929), FRENCH AU CANTONNEMENT Oil on canvas; signed lower right, titled to the nameplate 13” x 18” — 33 x 45.7 cm. Provenance: Frederick W. Thom Limited, Toronto $2,000/3,000

122 PAUL EMILE LEON PERBOYRE (1851-1929), FRENCH FRENCH CUIRASSIERS ON ROUTE Oil on panel; signed lower right 9.5” x 13” — 24.1 x 33 cm. Provenance: Frederick Thom Gallery, Toronto $1,500/2,000

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123 THEOPHILE EMMANUEL DUVERGER ( 1821-1886), FRENCH THE BILLET DOUX Oil on panel; signed lower right 13” x 9.25” — 33 x 23.5 cm. Provenance: Smith, New Bond Street, London; Ex-Coll. H.A. Sutton Esq., 11 Bramham Gardens; Leslie W. Lewis, London from The Cunningham Galleries, Hamilton, Ontario, on the accompanying invoice dated October 9th, 1940; The Estate of S.E. O’Brien, Canada; By descent $3,000/4,000

124 LEON EMILE CAILLE (1836-1907), FRENCH AN APPLE FOR THE DAY Oil on panel; signed and dated 1875 lower left 13” x 9.25” — 33 x 23.5 cm. Provenance: Estate of Gonda Jenkin, brought from Holland to Canada, circa 1920’s -1930’s; By descent $2,000/3,000

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125 PAUL ANTOINE DE LA BOULAYE(1849-1926), FRENCH BELLE EPOQUE BEAUTY RECLINING ON A SETTEE WITH ROSES Oil on canvas; signed and dated 1907 upper left 26” x 32.5” — 66 x 82.6 cm. Provenance: Frederick W. Thom Limited, Toronto from whom purchased by Dennis and Eileen Bridge, Toronto; By descent $4,000/6,000

126 LEON CHARLES HUBER (18581928), FRENCH CHATTONS SUR LIT Oil on canvas, signed lower right, titled to label verso 15” x 22” — 38.1 x 55.9 cm. Provenance: The Cooling Galleries Ltd., London and Toronto; The Estate of Mrs. Fanny Spence (nee Knox, deceased in 1973); Mrs. Frances L. Bonham (her niece, nee Spence); The Estate of Mrs. Frances L. Bonham (deceased in 2003); By descent to her niece $3,000/5,000

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127 FELIX ZIEM (1821-1911), FRENCH VENICE

Provenance: Private Collection, Ottawa

Oil on canvas; signed lower right 18.5” x 26” — 47 x 66 cm. $20,000/30,000

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128 HENRI MALFROY (1895-1944), FRENCH VUE D’UN PORT MEDITERRANEAN Oil on canvas on board; signed lower left, titled to gallery label verso 17.5” x 25” — 44.5 x 63.5 cm. Provenance: Walter Klinkhoff Gallery, Montreal from whom purchased by the present Private Collection in 1968 $3,000/4,000

129 **PELLETIER (1870-1956) LES BORDS AU RIVIERE SEINE ET MARNE Oil on canvas; signed “Pelletier” lower left, titled to label verso, numbered No. 6 to label verso, 20” x 25.50” — 50.8 x 64.8 cm. Note: “Pelletier” was the pseudonym for Antoine Bouvard (1870-1956) $2,000/3,000

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130 NARCISSE VIRGILE DIAZ DE LA PENA (1808-1876), French FORET, CHARGEMENT DE FAGOT, 1857 Oil on canvas; signed and dated 57 lower left 18.25” x 24.5” — 46.4 x 62.2 cm. $7,000/10,000

Provenance: Given by Diaz to A.R. Veron (student of Diaz?); Vente Veron, 17/03/1858; Collection Henry Didier; With Galerie Martinet, Paris (exposition); Vente Henry Didier, Galerie Martinet, Paris, 1868, No. 20; Vente Mme Denain, Paris, 7/04/1893, No. 53; Galerie Boussod-Valadon, Paris, vendu a Galerie Georges Petit, Paris, No. 22791; Christe’s, London, 14/03/1951, No. 73; Collection Greville; Collection, Montreal, Canada Exhibited: Galerie Martinet, Paris, 1860-1861, No. 191 Literature: Pierre and Rolande Miquel, “Narcisse Virgile Diaz de la Pena; Monographie et catalogue raisonné de l’oeuvre peint”; Courbevoie: Paris; ARC ed.; 2006, Cat. No. 1300, illiustrated

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131 LOUIS CAPDEVIELLE (18501905), FRENCH WASH DAY Oil on canvas; signed and dated 1876 lower left 16” x 13” — 40.6 x 33 cm. $1,500/2,500

132 PAUL RENARD (1941-1997), FRENCH LES BOUQUINISTES DE PARIS Gouache, ink and pencil on paper; signed lower left Sight 10.5” x 18” — 26.7 x 45.7 cm. $1,500/2,500

133 JEAN LOUIS LEFORT (1875-1954), FRENCH LITTLE GIRL ON THE BEACH Oil on canvas laid down on panel; signed lower left 8.25” x 5” — 21 x 12.7 cm. $600/900

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134 AFTER JEAN -BAPTISTECAMILE COROT (1797-1875), FRENCH FIGURES IN FOREST GLADE (ALSO CALLED “PRAIRIE PLANTEE D’ARBES”) Oil on canvas laid down on canvas; bears signature lower right. Probably painted by Andre-Julien Prevost (1840-?) 10.5” x 9.5” — 26.7 x 24.1 cm. Provenance: Senator Forget, grandfather of Dr. Paul Chevalier, taken by the Senator from France to England during WWI; Given to his grandson, Dr. Paul Chevalier, England and Montreal; With W. Scott & Sons, Montreal after 1900; The Estate of Caridad Chevalier, Ottawa Note: According to Claire Lebeau and Martin Dieterle this work is most likely a copy of no. 575 in the catalogue of Corot’s works executed by Andre-Julien Prevost, a 19th Century French imitator of Corot. $1,000/2,000

135 CHARLES COTTET (1863-1924), FRENCH BRETONS ON THE COAST WITH FISHING BOATS Oil on board; signed lower left 21.5” x 29.5” — 54.6 x 74.9 cm. $2,500/3,500

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136 ALEXANDRE JACOB (1876-1972), FRENCH BRUME MATINALE SUR L’EURE EN NOVEMBRE Oil on canvas; signed lower left, signed, titled and numbered No. 3 to the stretcher and to the gallery label verso 26” x 21.5” — 66 x 54.6 cm. Provenance: Frost & Reed, London; Estate Collection, Canada by descent $4,000/6,000

137 GEORGES ROBERT CHEYSSIAL (1907-), FRENCH BALLERINE Oil on canvas; signed lower right 19.75” x 29” — 50.2 x 73.7 cm. Provenance: Private Collection, Montreal $1,500/1,800

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138 FERDINAND HEILBUTH (1826-1889), FRENCH ROWING ON THE SEINE Oil on canvas; signed with adjoined initial monogram “FH” on the stern of the boat mid left 33.5” x 55.5” — 85.1 x 141 cm. Provenance: Ex-Coll. Helen Cox, Detroit, Michigan who resided there during the 1940’s and 1950’s; Passed through the family to relatives in Toronto; By descent to the present Private Collection, Waterloo, Ontario Exhibited: In 1871, Heilbuth exhibited two oils at the Royal Academy of Arts, including another scene on the Seine entitled “On the Banks of the Seine”, No. 1042. Note: The artist executed two versions of Rowing on the Seine: this large oil on canvas (with three additional swans depicted in the left distance) and a smaller oil (13 3/4” x 22”) executed on panel, dated circa 1860-1880. The small panel, depicting only the lead swan at the right, is in the collection of the Hermitage Museum, Saint Petersburg, Russia. The small panel version is reproduced in the public domain: http://www.arthermitage.org/Ferdinand-Heilbuth/Rowing-onthe-Seine.html In addition, Heilbuth executed a small watercolour and pencil preliminary sketch for this work entitled: Ladies Boating on a Lake, measuring 4.6 in. x 7.1 in. sold at Christie’s South Kensington on November 29, 2001 [Lot 00219]

Ferdinand Heilbuth was born to a Rabbi in Hamburg, Germany on June 27, 1826 and died in Paris on November 19, 1889. He studied in Dusseldorf, Rome and in Paris. He left his schooling to become a Rabbi and traveled to Rome, Munich, Antwerp and Paris. From 1843-1846 he studied under Hippolyte Delaroche and Charles Gleyre. He also studied under Edouard Manet in the 1870’s. Heilbuth became a French citizen in 1876. It was during this period in the 1870s that the artist shifted his focus away from the Italian themes that he had previously painted and began to create more modern Parisian subjects. His earlier work included elaborate history pieces, which primarily consisted of scenes with Roman cardinals and his later work included a number of outdoor Parisian genre subjects such as this fine canvas. After 1852, Heilbuth regularly submitted at the Paris Salon, the Royal Academy, Grosvenor Gallery and the Boston Atheneum (1863). He was voted and decorated into the Legion of Honor and was later promoted to officer in 1881. Ferdinand Heilbuth sold many of his paintings and was a highly recognized and decorated artist of his time. In addition to his success on the continent, Heilbuth also exhibited in London: twice at the Royal Academy and a total of seventeen times at the Grosvenor Gallery, London (1871-1878). $15,000/25,000

Detail of Monogram

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139 CONSTANTINE KLUGE (19122003), FRENCH PARIS FLOWER STALL AND CARRIAGE BY THE ARC DE TRIOMPHE Oil on canvas; signed lower right 28.5” x 36” — 72.4 x 91.4 cm. Provenance: Wally Findlay Galleries, New York, Chicago, inventory number 90156 $4,000/6,000

140 RENE RAMBERT (1909-1991), FRENCH PARIS ON A WINTER’S EVE Oil on canvas laid down on panel; signed lower right 19.75” x 23.25” — 50.2 x 59.1 cm. $1,000/1,500

141 LOUIS-CHARLES BASSET (1948- ), FRENCH AT THE RACETRACK Oil on canvas laid down on panel; signed lower right 18” x 27” — 45.7 x 68.6 cm. $1,500/2,500

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142 VICTOR VASARELY (1906-1997), HUNGARIAN/FRENCH UNTITLED (BLACK GROUND) Paper collage on pvc; signed lower right 39.25” x 27.5” — 99.7 x 69.9 cm. Provenance: Medgyanszky, Budapest, from whom purchased by the present Private Collection, Canada in the mid 1990’s $4,000/6,000

143 VICTOR VASARELY (1906-1997), HUNGARIAN/FRENCH UNTITLED Paper collage on pvc; signed lower right 39.25” x 27.5” — 99.7 x 69.9 cm. Provenance: Medgyanszky, Budapest, from whom purchased by the present Private Collection, Canada in the mid 1990’s $4,000/6,000

144 VICTOR VASARELY (1906-1997), HUNGARIAN/FRENCH UNTITLED (BLUE GROUND) Paper collage on pvc; signed lower right. Unframed. 23.25” x 15.75” — 59.1 x 40 cm. Provenance: Medgyanszky, Budapest, from whom purchased by the present Private Collection, Canada in the mid 1990’s $2,000/3,000

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145 ANDRE DERAIN (1880-1954), FRENCH PIPE IMAGINAIRE Bronze; signed with initials and numbered 11/11 in the cast. Raised on a black ebonized base. Bronze height 3.3” — 8.5 cm. $2,500/3,500

146 ERTE (1892-1990), FRENCH MAN IN COSTUME (FOR WONDER-WORLD PHOTOGRAPHIE) Gouache on paper; signed lower right Sight 13” x 9” — 33 x 22.9 cm. Provenance: Graphis Gallery, Toronto purchased by the present Private Collection on Nov. 8/78 on the accompanying copy of the original receipt $1,500/2,000

147 VICTOR VASARELY (1906-1997), HUNGARIAN/FRENCH UNTITLED (GLOBE) Gilt paper collage on pvc; signed lower right 19.75” x 19.75” — 50.2 x 50.2 cm. Provenance: Medgyanszky, Budapest, from whom purchased by the present Private Collection, Canada in the mid 1990’s $3,000/4,000

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148 EDOUARD FREDERIC WILHEIM RICHTER (1844-1913), GERMAN THE BLUE GOWN Oil on canvas; signed lower left 18” x 14” — 45.7 x 35.6 cm. $2,000/3,000

149 ANTON SCHRANZ (SCHRANTZ) OF MALTA (FL. 19TH CENTURY), GERMAN/MALTESE VIEW ON THE ROAD FROM SMYRNA TO BOUDJA IN 1836 Oil on canvas; signed: “A. Schranz” lower left, signed, titled and dated 1836 at “Smyrna” and annotated by the artist: “for W. Talbot Rothwell” verso 12.25” x 17.75” — 31.1 x 45.1 cm. Provenance: W. Talbot Rothwell, Smyrna direct from the artist in 1836 Note: Athough this particular image is set on the Aegean Sea coast of modern day Turkey, this renowned family of painters, lead by Anton Schranz and his sons Giovanni and Anton Schranz Jr., were known primarily for their romantic depictions of early 19th century Malta and the raging Maltese seas. Their paintings were originally created as souvenirs for members of the navy and the British military stationed on the island and the burgeoning tourist market in 19th century Malta. $10,000/15,000

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150 ALBERT FRIEDRICH SCHRODER (SCHROEDER) (1854-1939), GERMAN CAVALIER PLAYING A MANDOLIN Oil on braced panel; signed and dated 86 at “Munchen” upper left 10.5” x 8” — 26.7 x 20.3 cm. Provenance: Frederick Thom Gallery, Toronto $2,500/3,500

151 ANTON EBERT (1845-1896), GERMAN WEDDING TOAST TO THE NEW SUITOR Oil on canvas; signed lower right 46” x 37” — 116.8 x 94 cm. Provenance: By descent to the present Private Collection, Shanty Bay, Ontario $3,000/5,000

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152 FRANZ EDUARD MEYERHEIM (1838-1880), GERMAN THE FAVOURITE; PLAYTIME WITH MOTHER CAT AND HER KITTENS

Provenance: By descent through the family: From Jessie McGhie on April 1988; Othmar Ross and Agnes Ross (grandparents), St. Catharines; Wally and Sara Ross, Toronto

Pair of oils on canvas; each signed and titled in German to artist’s handwritten labels to the stretcher Each 17” x 15” — 43.2 x 38.1 cm. $4,000/6,000

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153 CARL THEODOR REIFFENSTEIN (REIFF STEIN) (1820-1893), GERMAN FIFTEEN TOPOGRAPHIC LANDSCAPE AND CITY VIEWS Fifteen watercolours, some “en grisaille”; most signed and dated 1845, including the following scenes: 1. Carriage, signed and dated 1845 lower left 2. Boats in Harbour, signed and dated 1845 lower right 3. Carriage by Cathedral, signed and dated 1845 lower left 4. Figures on a Riverbank with Ruin on hilltop, signed and dated 1845 lower right 5. Lane toward a Castle, signed and dated 1845 lower left 6. Figures walking outside Classic building, signed and dated 1845 lower left 7. Village Market scene, signed and dated 1845 lower right 8. Market scene (vertical), signed and dated 1845 lower left 9. Women Market vendors, signed and dated 1845 lower left 10. River with boats in calm, unsigned 11. Figures Haying, signed and dated 1845 lower right 12. Two Figures at a river beneath mountains, signed and dated 1845 lower right 13. Officers in a Hall, signed and dated 1845 lower left 14. Street Scene with Carriages and Men in Top Hats, signed and dated 1845, lower right 15. Figures Boating with Estate on hilltop, signed and dated 1845 lower right Some on laid paper, some with partial watermark, most mounted to the pages of a Victorian hardcover album with gilt lettered spine “Album”, others unmounted and loose. Together with four watercolours by others including: Carl Ludvig Thilson Locher (1851-1915) Danish BARQUE IN STILL WATERS; Watercolour; signed lower left Attributed to Clarkson Stanfield (1793-1867) British FISHERFOLK ON A BEACH POINTING OUT TO A HARBOUR Watercolour; signed with initial monogram lower right; Attributed to Samuel Prout (1783-1852) British WOMEN AT A WELL, Watercolour; inscribed “Prout” in pencil verso Russian School (20th Century), FESTIVAL Various small sizes Together with: Three postcards (two depicting Tuxedo Park, N.Y.), one addressed to “Master Anthony Adamson, Port Credit, Ontario” and postmarked “New York, 1911” and inscribed: “I hope you will put this in your book”; two sepia photographs, one depicting Tuxedo Park; two aquatints of published prints, trimmed, likely by Reiffenstein; and two reproduction prints by others, all contained loose in the Victorian hardcover album. Each 4.75” x 7.25” — 12.1 x 18.4 cm.; 9.5” x 12.5” — 24.1 x 31.8 cm. $6,000/9,000

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Provenance: Master Anthony Adamson, Port Credit, Ontario, his book; Private Collection, Toronto


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154 FRIEDRICH KARL STEINHARDT (1844-1894), GERMAN THE LOVE LETTER Oil on panel; signed lower right 22.75” x 19” — 57.8 x 48.3 cm. Provenance: With J. Wachendorfer Jr. Vergolder, Frankfurt label to the frame $2,500/3,000

155 BRUNO KRAUSKOPF (1892-1960), GERMAN WOMAN WORKING WITH HER HANDS Gouache and watercolour on paper; signed lower left Sight 25” x 19” — 63.5 x 48.3 cm. Provenance: Ex-Coll. Dr. Baus (? spelling), Germany in the 1920’s who immigrated to Israel; Private Collection, Israel since the 1950’s $6,000/8,000

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

156 MAQBOOL FIDA HUSAIN (1915-2011), INDIAN UNTITLED (NUDE WITH ELEPHANT) Oil on canvas laid on masonite board; signed in stylized Urdu lower left 49.25” x 23.5” — 125.1 x 59.7 cm. Provenance: Private Collection, Montreal $40,000/60,000

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157 MIRKO BASALDELLA (1910-1983), ITALIAN PROFETA Bronze; signed “Mirko” to the underside of the cast height 12” — 30.5 cm. $800/1,200

158 ARNALDO TAMBURINI (18431908), ITALIAN THE DAILY NEWS Oil on panel; signed at Florence upper right 10” x 7.5” — 25.4 x 19.1 cm. $1,500/2,000

159 BARTOLOMEO PINELLI (17811835), ITALIAN ROMAN SCENE WITH MUSICIANS Watercolour and pen and ink on paper; signed at “Roma” lower left Sheet 7.5” x 10.2” — 19 x 26 cm. Provenance: Laing Galleries, Toronto, purchased circa 1980 $1,500/2,500

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

160 ATTRIBUTED TO BERNARDINO NOCCHI (17411812), ITALIAN ASSEMBLY OF MONKS (LUNETTE SHAPED STUDY FOR A FRESCO) AND FIVE OTHER OLD MASTER WORKS ON PAPER The first, a pencil drawing on thin transparent paper with laid lines and indistinct “FC” watermark; signed “Bernardino” bottom center Together with: 2. Italian School (early - mid 17th Century) MARRIAGE OF THE VIRGIN; Brush and pen and ink with gray wash “en grisaille”, pricked with sepia ink on laid paper with indistinct 2 1/4” diameter circular watermark in center

3. Follower of Francesco Guardi (1712-1793), Italian A VENETIAN CAPRICE; Pen and ink with brown wash heightened with blue watercolour on laid paper 4. B. Cartier (18th Century) French TWO HEADS; Chalk and stump on un-watermarked smooth paper; signed lower left. 5. Mose Gabriel Benedict (Act. 1791) Italian? WOMAN IN THE WILDERNESS; Sepia drawing with watercolour wash on laid paper with watermark of a dagger/crowned with oak leaves and a beehive? wrapped shaft; signed and dated “Furh d. (drawing?) 17th December 1791” along the bottom edge 6. After Jacopo Robusti (“il Tintoretto”) (1519-1594), Italian ADORATION OF THE SHEPHERDS [c. 1649]; Etching by Carlo Antonio Sacchi (Pavia c. 1616-1706), Italian. Each unframed. 9.5” x 14” — 24.1 x 35.6 cm.; 15.5” x 9.75” — 39.4 x 24.8 cm.; 10” x 6.5” — 25.4 x 16.5 cm.; 10.5” x 13.5” — 26.7 x 34.3 cm.; 13.75” x 8.25” — 34.9 x 21 cm.; 20.25” x 15.25” — 51.4 x 38.7 cm. $2,000/3,000

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161 ATTRIBUTED TO JAN SNELLINCK THE YOUNGER (1575-1627), FLEMISH CHRIST ON THE MOUNT OF OLIVES Oil on canvas; partial signature “T (J?) van Snell... “ lower right $2,500/3,500

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

162 SETSUKO MIGISHI (1905-1999), JAPANESE UNTITLED (FLOWER)

Provenance: Private Collection, Hong Kong (where the collector resided for some 50 years with residences in Santa Barbara and Montreal, Canada) purchased this work in Tokyo in the 1970’s; By descent to the present Private Collection, Toronto

Oil on canvas; signed lower right 16” x 13” — 40.6 x 33 cm. $12,000/18,000

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163 MUHAMMED ABDUR RAHMAN CHUGHTAI (1897-1975), PAKISTANI BATHING DAY (KASHMIRI GIRL REMOVING HER DRESS TO TAKE A BATH IN POND OF WATER) Watercolour on heavy paper; signed lower left, titled, annotated and certified by the artist’s son, Arif Rahman Chughtai on 17th September, 2013; stamped by the Chughtai Museum Trust, Lahore, Pakistan verso. Unframed. Sheet 23.5” x 19.25” — 59.7 x 48.9 cm. $20,000/30,000

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Note: The artist’s son notes that although signed, this study was one Chughtai considered unfinished. In his old age, he became ill and had many projects and works underway which he wished to revisit. Before his death, Chughtai signed this work and left other works unsigned.


International Art Auction – Tuesday 10 December 2013 at 1 p.m.

164 VICTOR (VIKTOR) SCHIVERT (1863-1926), ROMANIAN JOVIAL GATHERING IN A TAVERN Oil on canvas; signed lower right 18.5” x 23.75” — 47 x 60.3 cm. $2,000/3,000

165 WICTOR ORLOW (1911- ), RUSSIAN WINTER SLEIGH RIDE Oil on panel; signed lower right Together with: PAVEL KOVALEVSKY (1843-1903), RUSSIAN RUSSIAN COSSACK: Oil on card; signed and dated 1886 in cyrillics verso 8” x 10” — 20.3 x 25.4 cm.; 10” x 7” — 25.4 x 17.8 cm. $1,500/2,000

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166 ANATOLY ZVEREV (1931-1986), RUSSIAN PORTRAIT; SURREALIST LANDSCAPE WITH DOMED CATHEDRAL Two watercolours and inks on paper; the first signed in cyrillics and dated -58 (?) lower right, the latter signed with cyrillic initials lower left 19.5” x 15.5” — 49.5 x 39.4 cm.; 9.5” x 14.5” — 24.1 x 36.8 cm. Provenance: Acquired from George Costakis, Moscow; Private Collection, Toronto $1,500/2,500

167 YURI KRASNY (1925-2005), RUSSIAN NUDE WITH A TOP HAT; GIRL ON A UNICORN Two gouaches on paper, the second title, executed on the verso of a reproduction print; each signed lower right, the first also dated 83 lower right 13.25” x 17” — 33.7 x 43.2 cm.; 11.75” x 10” — 29.8 x 25.4 cm. Provenance: Private Collection, Toronto, gifted from the artist, friends in Moscow since 1958 until Krasny’s death in 2005 $1,200/1,800

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

168 SERGE IVANOFF (1893-1983), RUSSIAN ELEGANT LADY IN A FUR STOLE, CIRCA 1940’S Oil on canvas; signed lower right 24” x 20” — 61 x 50.8 cm. $8,000/10,000

169 YURI KRASNY (1925-2005), RUSSIAN CABARET GIRL WITH HELMUT AND TWO WOMEN Acrylic on canvas; signed lower right 24” x 32” — 61 x 81.3 cm. Provenance: Private Collection, Toronto, direct from the artist while Krasny was residing in New York, circa early 1990’s Note: In 1971, the artist immigrated from Russia, first travelling to Israel, then to New York $5,000/7,000

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170 ANTONI CLAVÉ (1913-2005), SPANISH NATURE MORTE, 1949 Oil and mixed-media on paper laid on board; signed lower right, signed, dated 1949 and inscribed by the artist: “ce tableau (60 x 46) a été peint par moi en 1949” on the accompanying photo-certificate Clave dated “17/11/65” 18” x 24” — 45.7 x 61 cm.

Provenance: Private Collection, Montreal from Galerie Semina Huber, Zurich Note: Also includes a copy of the hardcover book “Clavé” by Jean Casson and an exhibition catalogue from Galerie Semina Huber, Zurich, June - August 1963.

$20,000/30,000

Verso of photo certificate

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

171 AFTER PABLO PICASSO (18811973), SPANISH FEMME DEBOUT, 1945 (A VARIANT CASTING) Bronze with gold/brown patination; numbered indistinctly in an edition of 10 on the back, titled: “Nu, les bras ecartes, 1945” and numbered “4/10” to gallery label on the underside. Raised on a black wood pedestal base. height 7” — 17.8 cm. Provenance: Marlborough Godard, Montreal and Toronto as “Nu, les bras ecartes, 1945” label to underside; From whom purchased by the present Private Collection by 1970 $2,000/3,000

172 ATTRIBUTED TO PABLO PICASSO (1881-1973), SPANISH TORO, 1960 Ball point pen drawing with incised lines on paper laid down on card; a faint incised signature lower right, titled and dated to gallery label verso Sheet 6.75” x 8.9” — 17.1 x 22.6 cm. Provenance: Galerie Agnes Lefort, Montreal sold as “Picasso/drawing/Toro, 1960” to their label verso; Private Collection, Montreal $1,000/1,500

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173 JOHANN JACOB WOLFENSBERGER (1797-1850), SWISS SELINUNTE Watercolour and ink on paper; signed and dated “Fecit 1825” lower right; titled to label verso Sheet 7.8” x 11” — 19.8 x 27.9 cm. Provenance: Lambert & Co., London $1,500/2,500

174 IL’YA EFIMOVICH REPIN (1844-1930), UKRAINIAN PORTRAIT OF A BEARDED COUNTRYMAN IN LONG OVERCOAT Graphite drawing with shading on paper; signed with cyrillic initials lower right Sheet 10” x 5.25” — 25.4 x 13.3 cm. Provenance: Private Collection, Montreal $1,500/2,500

175 MYKOLA VASYL KRYCHEVSKY (1898-1961), UKRAINIAN VENICE; PARIS Pair of watercolours with crayon sketching lines; each signed, the first dated 1953 at Venice lower right, the latter dated May 1956 lower right Sight 19” x 23” — 48.3 x 58.4 cm. Provenance: With Roberts Gallery, Toronto $5,000/6,000

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Index

A

D

H

Adams, John Clayton 39

Decamps, Alexandre Gabriel 115

Haanen, Elisabeth Alida 97

Allingham, Helen 48

Derain, Andre 145

Hague, Joshua Anderson 63

Andreis, Alex de 25

Dovaston, Margaret 22

Haite, George Charles 46

Duverger, Theophile Emmanuel 123

Hampshire, Ernest Llewellyn 59

B

Hao, Wu 85 Heilbuth, Ferdinand 138

E Balen the Elder, Hendrik van, Attributed to

Hilder, Richard 42, 44

91

Ebert, Anton 151

Holmes, George Augustus 23

Barland, Adam 38

Elsinga, Johannes 106

Hoog, Bernard de 99, 102

Barnes, Joseph H. 33

Erte 146

Houry, Charles-Barromee-Antoine 119

Bartlett, William Henry 28 Basaldella, Mirko 157

Huber, Leon Charles 126 Hulk, Hendrik 100

F

Basset, Louis-Charles 141

Hunt, Charles 27

Bendict, Mose Gabriel 160

Fahrigner, Carl 16

Husain, Maqbool Fida 156

Berne-Bellecour, Etienne Prosper 120

Flinck, Govaert Follower of 95

Hutchison, Robert Gemmel 82

Bloemen, Pieter van, Attributed to 92

French School, 18th Century 113

Blommers, Johannes Bernardus 101

Fried, Pal

2, 8

I

Boulaye, Paul Antoine de la 125 Breanski, Alfred Fontville de 30

G

Burliuk, David Davidovich 6 C

Irish School, 18th Century 73 Italian School, Early-Mid 17th Century 160

Gallon, Robert 64

Italian School, 17th/18th Century 112

Gear, William 84

Ivano, Serge 168

Gelder, Aert de, Circle of 93 Caille, Leon Emile 124

Gisson, Andre 7

Cameron, David Young 83

Glazebrook, Hugh de Twenebrokes 60

Capdevielle, Louis 131

Green, Edward Frederick 78

Jacob, Alexandre 136

Carlson, John Fabian 5

Green, Edward Frederick, Attributed to 79,

Jakub, Frantisek 88,89,90

Cartier, B. 160

80

Jenkins, Paul 10

Cheyssial, Georges Robert 137

Gribble, Bernard Finegan 36

Chughtai, Muhammed Abdur Rahman 163

Groeneveld, Cornelis 103

ClavĂŠ, Antoni 170

Grolleron, Paul Louis Narcisse 117,118

Cooper, Thomas Sidney 18

Guardi, Francesco Follower of 160

Kluge, Constantine 139

Corot, Jean-Baptiste-Camille 134

Gyberson, Indiana 4

Koekkoek, Marianus Adrianus 98

J

K

Cottet, Charles 135

Kovalesky, Pavel 165

Creswick, Thomas 37

Kransny, Yuri 167, 169 Krauskopf, Bruno 155 Krychesvsky, Mykola Vasyl 175

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International Art Auction – Tuesday 10 December 2013 at 1 p.m.

L

Pothast, Bernard 110

T

Prevost, Andre-Julien 134 **Lafayette 76

Pritchett, Robert Taylor 34

Tamburini, Arnaldo 158

Leader, Benjamin Williams 31

Prout, Samuel, Attributed to 153

Tourrier, Alfred Holst 26

Lefort, Jean Louis 133 Leslie, Charles 29

Tuttle, Richard 11, 12, 13, 14 R

Leurs, Johannes Karel 94

V

Linnell, John 71

Rambert, Rene 140

Locher, Carl Ludvig Thilson 153

Ramsay, Alan, Circle of 74, 75

Vaarberg, Johannes Christoffel 96

Reiffenstein (Reiff Stein), Carl Theodore 153

Vasarely, Victor 142, 143, 144, 147

Renard, Paul 132

Varley the Elder, John 72

Repin, Il’ya Efimovich 174

Verboeckhoven, Eugene 20, 21

Majer, Gustav 15

Rice, Anne Estelle 9

Verboeckhoven, Louis Charles 17

Malfroy, Henri 128

Richter, Edouard Frederic Wilheim 148

Meyerheim, Franz Eduard 152

Richter, Wilmer Siegfried 1

Michie, John D. 81

Robusti, Jacopo, After 160

Migishi, Setsuko 162

Romney, George, Circle of 77

Webster, Walter Ernest 62

Morgan, Frederick 45

Russian School, 20th Century 153

Weissenbruch, Jan Hendrik 105

N

S

Nocchi, Bernardino, Attributed to 160

Sand, George 116

Wilmarth, Lemuel Everett 3

Severdonck, Franz van 19

Wolfensberger, Johann Jacob 173

M

W

White, Ethelbert 49, 50, 51, 52, 53, 54, 55, 56, 57, 58 White, George Harlow 71

O

Scherrewitz, Johan Frederik Cornelis 107, 109 Schivert, Victor (Viktor) 164

Orlow, Wictor 165 P

Z

Schranz (Schrantz), Anton 149 Schroder (Schroeder), Albert Friedrich 150

Ziem, Felix 127

Severn, Joseph 41

Zverev, Anatoly 166

Shayer, William Sr. 32, 35, 40, 43 Pavlik, Karel 87

Snellick, Jan the Younger, Attributed 161

**Pelletier 129

Spencer, Sir Stanley 66, 67, 68, 69, 70

Pena, Narcisse Virgile Diaz de la 130

Stanfield, Clarkson, Attributed to 153

Perboyre, Paul Emile Leon 121, 122

Steinhardt, Friedrich Karl 154

Picasso, Pablo, After 171

Stone, Marcus 47

Picasso, Pablo, Attributed to 172

Stancic, Miljenko 86

Pinelli, Bartolomeo 159

Suthers, Leghe 24

Plas, Niek van der 104, 108, 111 Potemont, Aldolphe Theodore Jules Martial 114

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Glossary

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

Artist’s name or recognized designation: In our qualified opinion, a genuine work executed by the artist. Attributed to: In our opinion, probably a work by the artist but less certainty as to the authorship is expressed than in the preceding category. Circle of: In our opinion, a work of the period of the artist and closely related to his style. Follower of: In our opinion, a work executed in the artist’s style but not necessarily by a pupil. Studio of/Workshop of: In our qualified opinion a work, by an unknown hand, possibly executed under the supervision of the artist School of: In our opinion, a work executed in the artist’s style and possibly by a pupil or follower of the artist. Manner of: In our opinion, a work executed in the artist’s style and probably of a later period. After: In our opinion, a copy of a work of the artist. ***: Is in the place of an unknown name.

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Signed/Dated/Inscribed: In our opinion, the work has been signed/dated/inscribed by the artist. The inclusion of a question mark indicates some doubt. Bears signature/Bears date: In our opinion, the signature/date may be by a hand other than that of the artist. Certificates/Literature: Any reference to certificates or literature represent the opinion of the authority or author(s) shown. Provenance: It is intended to indicate previous collections or owners, other than the present. Measurements: Height precedes width in all measurements. Measurements shown are in inches and centimeters.


International Art Auction – Tuesday 10 December 2013 at 1 p.m.

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 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.

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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


International Art Auction – Tuesday 10 December 2013 at 1 p.m.

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.

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

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.

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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

Shasha Liu Assistant sl@waddingtons.ca

Kristin Vance 416 504 5100 kv@waddingtons.ca

Sculpture, Decorations, Clocks & Lighting

Kathleen Killin Assistant kk@waddingtons.ca

Sean Quinn 416 847 6187 sq@waddingtons.ca

President Duncan McLean 416 847 6183 adm@waddingtons.ca

Waddingtons.ca/Cobourg

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

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

Vice President Fine Art Linda Rodeck 416 847 6176 lr@waddingtons.ca General Manager Duane Smith 416 847 6172 das@waddingtons.ca Creative & Technical Manager Jamie Long 416 847 6188 jl@waddingtons.ca

Contemporary Art Stephen Ranger 416 847 6194 skr@waddingtons.ca International Art Susan Robertson 416 847 6179 sr@waddingtons.ca Emma Frank Assistant ef@waddingtons.ca

Queeny Xu Assistant qx@waddingtons.ca Accounts Manager Karen Sander 416 847 6173 ks@waddingtons.ca Ellda Pappada 416 504 9100 x6213 ep@waddingtons.ca Corporate Receptionist Kate Godin 416 504 9100 kg@waddingtons.ca

Inuit Art Christa Ouimet 416 847 6184 co@waddingtons.ca Nadine DiMonte Assistant nd@waddingtons.ca Jewellery, Watches & Numismatics Don P. McLean 416 847 6170 dpm@waddingtons.ca

104

Linda Macpherson 416 847 6190 lm@waddingtons.ca Appraisal Co-ordinator Ellie Muir 416 847 6196 em@waddingtons.ca Building Manager Steve Sheppard 416 847 6186 ss@waddingtons.ca Client Services Andrew Brandt 416 504 9100 ext 6200 ab@waddingtons.ca

9 Elgin Street East, Cobourg ON K9A 0A1

Absentee and Phone Bidding 905 373 1467 (Fax) Waddingtons.ca/Collingwood P. O. Box 554, Collingwood ON L9Y 4B2 Valerie Brown 705 445 8811 vb@waddingtons.ca Transitions.Waddingtons.ca Marcia Kim 416 847 6196 mk@waddingtons.ca


International Art Waddingtons.ca

275 King Street East, Second Floor Toronto Ontario Canada M5A 1K2

Telephone: 416.504.9100 Fax: 416.504.0033 Toll Free: 1.877.504.5700

Profile for waddingtons

International Art Auction | Dec. 10, 2013  

International Art Auction | Dec. 10, 2013