Concrete Contemporary Art Auction | April 13, 2015

Concrete Contemporary Auctions and Projects Contemporary Art Auction Monday 13 April 2015

On View Saturday 28 March 2015 to Monday 13 April 2015 Weekday gallery hours from 9:00 am to 5:00 pm Weekend gallery hours from 11:00 am to 5:00 pm Closed: Sunday 29 March 2015 April 3 - 5, 2015 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 ConcreteContemporaryArt.Waddingtons.ca

Waddingtons.ca

Front Cover Lot 26 JOHN KISSICK, R.C.A. NO.5 (THE ORDER OF THE PHRASES MAKE...)

Inside Front Cover Lot 14 THRUSH HOLMES TRUMAN COUTURE Title Page Lot 62 ANGELA LEACH AR - WAVE #97 Inside Back Cover Lot 20 GENERAL IDEA MONDO CANE – KAMA SUTRA Back Cover Lot 42 BARBARA ASTMAN, R.C.A. PING PONG PADDLE (FROM THE RED SERIES)

All lots in the auction may be viewed

online at ConcreteContemporaryArt.Waddingtons.ca This catalogue and its contents © 2015 Waddington McLean & Company Ltd. All rights reserved.

Photography by Waddington’s

Specialist Stephen Ranger 416 847 6194 skr@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.invaluable.com Communications Tess McLean 416 504 9100 tm@waddingtons.ca

The spring 2015 Concrete Contemporary auction is our most diverse offering to date. From monumental canvases like our cover lot, John Kissick’s No. 5 (The Order of the Phrases Make...), to Tim Zuck’s small gem, Wing, the sale highlights the eclectic vision of our country’s most dynamic contemporary artists.

Part of what makes putting together the Concrete auctions so interesting and such a fulfilling experience, both professionally and personally, is having the chance to live with the work prior to the auction. Our offices have come to life with three meticulously and beautifully rendered works by Toronto’s Angela Leach, known for her optical masterworks. The intense explosion of colours, shapes and lines of Kissick’s commanding canvas has brightened our gallery through this dreary winter, as has the spirited and extreme colours of Melanie Authier’s Catapult of Standby.

Another aspect of this auction is the generosity of notable photographers Lynne Cohen, Max Dean, Suzy Lake and Ken Lum, whose donated works will be sold to benefit the Scotiabank CONTACT Photography Festival. All proceeds will go to support the 1500 artists who will participate in the 2015 festival and the public programming associated with the festival.

In appreciation of your continued support of Concrete’s vision, we are pleased to add some special programming to enhance your experience, starting with a significantly extended preview schedule. The final Sunday of the preview will feature guest speaker Sky Goodden, one of Canada’s leading contemporary art critics and MOMUS journal founder, as well as a personally guided walkthrough of the gallery. To continue the conversation, the auction itself will be preceded by a wine reception at 6 pm with the sale starting promptly at 7 pm.

We look forward to seeing you – and sincerely hope you enjoy this exceptional offering of art.

— Stephen Ranger Senior Specialist, Contemporary 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 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 over 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 and fine wine 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 plays a critical role in developing new business leveraging her success in the Canadian art market.

Concrete Contemporary Auctions and Projects

Canadian Fine Art

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

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.

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 is the introduction of our Pop-Up Gallery series. These short-duration single artist exhibitions offer works by some of Canada’s most accomplished and influential working artists. As well, the groundbreaking Concrete Contemporary Acquisition Fund assists museums and public galleries in the acquisition of works by artists included in the auction.

Led by one of Canada’s most plugged-in arts experts, Stephen Ranger, we are committed to exploring new ways to connect, expand and support the contemporary art community.

Stephen Ranger Senior Specialist, Contemporary Art

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

Asian Art

Jewellery, Watches and Numismatics

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 is based on our international reputation and network with the community.

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.

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.

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.

Anthony Wu Specialist, Asian Art

Donald McLean Senior Specialist, Jewellery, Watches and Numismatics

Decorative Arts

International 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.

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 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.

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

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, silver, scientific instruments, travel and exploration maps.

Susan Robertson Senior Specialist, International Art

Sean Quinn Specialist, Decorative Arts

Bill Kime Senior Specialist, Decorative Arts

Inuit Art

“Off the Wall” Art

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

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.

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

Duncan McLean Senior Specialist, Inuit Art

Christa Ouimet Specialist, Inuit Art

Philanthropy and Community

Waddington's is committed to working within the community by contributing our time and expertise 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.

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.

Organizations we support include: Aids Committee of Toronto, SNAP Best Buddies Birdlife International Canadian Opera Company Canadian Film Centre Calgary Contemporary Casey House, Art with Heart Casey House, Snowball CAMH Unmasked Covenant House Design Hope The Furniture Bank Integra Foundation Lake Ontario Waterkeepers OCAD University Metro Toronto Zoo Montreal Children’s Hospital

Music and Beyond, Ottawa Nyota School, Kenya Princess Margaret Hospital Robert McLaughlin Gallery Second Harvest, Toronto Taste Serve Canada St. Mary’s General Hospital, Kitchener St. Michael’s Hospital, ARTGEMS The STOP Foodbank Toronto Symphony Orchestra The Varley Gallery Windsor Art Gallery Warchild Canada York University Fisher Fund

Concrete Contemporary Auctions and Projects Contemporary Art Auction Lots 1–72

ConcreteContemporaryArt.Waddingtons.ca

1 MARK STEBBINS SLIDE acrylic and ink on board signed, titled and dated 2013 on the reverse 10 ins x 8 ins; 25.4 cms x 20.3 cms Provenance: Private Collection, Toronto $1,500–2,000

Literature: Bigue Art Contemporain. “Marc Stebbins: About the Artist”. URL: http://www.galeriebac.com/contemporary/mark-stebbins/ Note: Mark Stebbins' artwork can be described as a fusion between rigid, digital design and fluid, organic forms. Using acrylic paint and ink he creates a glitch-like aesthetic akin to photo or digital collage, coupled with a touch of the artist’s hand in paint. It is important that Stebbins' work is created on small surfaces, as the digital quality of his images convey the notion of mass information and data stored within tiny complex systems of technology.

However, despite the instinct that Stebbins’ work is critical of modern systems of information, it has been interpreted as a form of recognition, or celebration of the matter. It has been described as the following, “Stebbins suggests that glitch can be celebrated as a reclamation of error. In glitch there is also hope: a hope that in failure, something new and beautiful will emerge.” This quality sets him apart from the many artist-critics of the contemporary moment, and establishes him as an artist deeply engaged with his surroundings and practice. Additionally, his work is visually interesting as it shifts the viewer between spaces of the digital and the refined.

Stebbins has shown at various solo and group exhibitions in Ontario, Québec, and Nova Scotia, and is the recipient of numerous awards including an Honorable Mention at the 2010 RBC Canadian Painting Competition. He is represented in public and private Canadian and international collections including the Canada Council Art Bank (Ottawa) and the Royal Bank of Canada (Toronto). Stebbins currently lives and works in Toronto.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

2 ANGELA LEACH AR - WAVE #3 acrylic on board signed, titled, and dated 1998 on the reverse

Literature: Roald Nasgaard, Abstract Painting in Canada, Douglas & McIntyre Ltd., Vancouver, 2007, page 377.

Leach, Angela. Artist Statement. 2006. www.angelaleach.com Note: “The practice of filling lines with wiggly stripes of colour, similar to yarn, offered a direction in painting with endless experimentation.”

32 ins x 24 ins; 61 cms x 81.3 cms Provenance: Wynick/Tuck Gallery, Toronto Private Collection, Ontario $3,000–5,000

Toronto native Angela Leach spent her early artistic career exploring the highly textural and colourful practice of weaving. This interest in textiles is evident in her paintings, especially those from her energetically charged AR (Abstract Repeat) series. Roald Nasgaard wrote of her work, “Modelling her procedure on weaving, Leach subjects her paintings to a number of restrictions...using exactly thirty-two colours, repeating them in a sequential order that runs from dark to light, the colour repetition reflecting the regular quality of woven fabric.” Leach paints ribbons of colour that expand and contract; the paintings seem to pulsate as the waves change shape and direction and the colours merge and undulate.

Leach graduated from the Ontario College of Art and Design in 1989 and has since presented her work in many group and solo exhibitions at such institutions as the Art Gallery of Ontario (Toronto); the Power Plant (Toronto); the Contemporary Art Gallery (Vancouver); Edmonton Art Gallery; and the Albright-Knox Art Gallery (Buffalo).

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3 ALEXIS LAVOIE RIDEAU oil on canvas signed, titled and dated 2010 on each panel on the reverse 23 ins x 68.5 ins; 58.4 cms x 174 cms Provenance: Private Collection, Toronto Note: At first glance Rideau (2010) appears to be a mixed media composition; lines and subjects are defined with utmost precision on an otherwise painterly background. Rideau, like so many of Lavoie’s work, is enigmatic and tangible, an honest example of the artist’s ingenuity. With an affinity for stories, Lavoie’s paintings offer the viewer a novel visual experience through the manipulation of scale and space. By introducing incongruous subjects that coalesce on the canvas, his split imagery is unconventional, unsettling, and appears time and time again in his staged compositions.

Lavoie, a graduate of the University of Québec, received the top prize at the 12th annual RBC Painting Competition in 2010. His works are included in multiple public and institutional collections including the Royal Bank of Canada and the Progressive Art Collection in Ohio. The artist has devoted himself full time to painting and currently resides in Montréal. $1,200–1,500

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(detail)

Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

4 MELANIE AUTHIER PERCH acrylic on canvas signed and dated ‘07 20 ins x 16 ins; 50.8 cms x 40.6 cms Provenance: Private Collection, Toronto $2,000–2,500

Literature: Melanie Authier. National Gallery of Canada Artist Interview: Melanie Authier. Dec. 21, 2012. Accessed July 30, 2014. https://www.youtube.com/watch?v=5lLtzD5kLoo_ Note: Melanie Authier’s paintings are spirited arrangements of conflicting elements that appeal to each viewer in a unique way. Some are drawn to the extreme ranges of dynamic colour, while others gravitate toward the controlled chaos of shapes always present in her work. Inspired by the scope of reactions to her painting, Authier creates with the intent of awakening her audience to the complexities of abstract art while retaining a sense of “playfulness.” She says, “With all of my works the attempt and goal is always to combine various visual contradictions into one imaginary space...I’m interested in creating these visual contrasts through a negotiation of oppositions.”

Catapult on Standby (2010) (lot 52) is a large-scale example of Authier’s dynamic composition. The soft tonal quality of the work is inviting and full of movement, while the lush colours of Perch (2007) add an increased energy and vibrancy to the canvas. In both paintings the viewer becomes absorbed in the creative depth of the work as Authier invites us to explore her built environment.

Authier received a BFA from Concordia University (Montréal) in 2002 and completed her MFA at the University of Guelph in 2006. She has received several grants from the Canada Council for the Arts and the Ontario Arts Council. Authier was awarded with an honourable mention at the RBC Canadian Painting Competition in 2007. Her work is represented in many corporate, private and institutional collections.

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5 JOHN LENNARD CAFÉ PARIS, TANGIER oil on canvas signed; dated 2015 on the reverse 30 ins x 36 ins; 76.2 cms x 91.4 cms Provenance: Private Collection, Toronto

Note: Fifteen years ago artist and musician John Lennard visited the Café de Paris in Tangier, Morocco, a mecca for painters, musicians and writers who, since the late 19th century, have found limitless inspiration in the light and energy of this Mediterranean city. Henri Matisse, Tennessee Williams, Paul Bowles, many Beat Generation poets including Jack Kerouac and Allen Ginsberg, as well bands such as the Rolling Stones, were known to frequent this café. Lennard says, “From this inspiring location, with its sense of balance and wonder of nature, space and time seem to flow. [Café Paris] was the start of each day during my sojourn in Tangier.

This painting was created from an early sketchbook I felt inclined to revisit after seeing the Matisse exhibition at the McMichael Art Gallery last year. The intense play of light in Tangier and North Africa is something that always stays with you.”

$3,500–4,500 The light to which Lennard refers is captured in Café Paris, Tangier (2015), with the stark, sun-washed whites of the architecture contrasted against cool shadows and the bright garments of his abstracted figures. Lennard’s perspective as a traveller inspires his painting practice and he skillfully captures the subtle nuances of each locale. His first museum exhibition, organized by the MacLaren Art Centre in Barrie, Ontario in 2006, was entitled “The Artist as Traveller” and provided Lennard an opportunity to showcase his love for travel and foreign cultures by way of the painted canvas.

John Lennard has studied art in Ontario, New York, Italy and Mexico and has paintings in many private and corporate collections in Europe and North America.

He is also a renowned musician and performs internationally.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

6 THOMAS SHERLOCK HODGSON, R.C.A. UNTITLED, 1977 mixed media on canvas unframed 57.75 ins x 57.5 ins; 146.7 cms x 146.1 cms Provenance: Private Collection, Toronto $6,000–8,000

Literature: Fulford, Robert. “A Survey of the Work of 24 Young Canadian Artists.”

Canadian Art Magazine XVIII.1. 1961.

Note: “A Hodgson canvas seems to storm over us, filling our eyes with its swarm of apparently unrelated images... the strange colours are not only the result of a rather eccentric colour sense but also are the result of Hodgson’s desire to break away from all traditional usage and create new worlds of space and light.”

A master of mixed media techniques and materials, Thomas Sherlock Hodgson joined the Painters Eleven group at its founding in 1953. The Canadian collective of abstract artists is recognized for their contribution to abstract expressionism and their influence on the modern art market in Canada. One of the first members of the group to paint on large-scale canvases, Hodgson’s Untitled, 1977 is a mixed media action painting typical of the artist’s later career. Alive in colour, bold shapes and lines which seem to enter into the space of the viewer, Hodgson’s meticulous blending of grey and cream-coloured pigments creates a background from which the marvelous shapes and lines emerge.

Originally from Toronto, Ontario, Hodgson’s work has been exhibited in over 50 major solo and group exhibitions. He was a member of the Ontario Society of Artists (1954), the Canadian Society of Painters in Water Colour (1954), the Canadian Group of Painters (1956), and an Associate of the Royal Canadian Academy, where he exhibited from 1952 to 1966. His work is featured in many private, corporate and public collections including the National Gallery of Canada and the Art Gallery of Ontario.

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7 KATIE PRETTI ANGELS (NOT FOR CHURCHES) NO. 4 mixed media on canvas signed, titled and dated 2013 on the reverse 54 ins x 42 ins; 137.2 cms x 106.7 cms Provenance: Private Collection, Toronto $4,000–6,000

Literature: Katie Pretti: Fortress & Forest, Neubacher Shor, Toronto, 25 October – 25 November, 2013.

Pretti, Katie. (2011, September 26). We Tell Ourselves Stories [Video file]. Retrieved from https://www.youtube.com/watch?v=90clYnTtJek. Note: “If I had to say in a word what my process is, it would be ‘layering’.”

Layers of paint, graphite and charcoal accumulate in swirling eddies of fiery colour and surging lines in Katie Pretti’s Angels (Not for Churches) #3 and Angels (Not for Churches) #4 (2013). These fluid paintings, with suggestions of architectural elements, reveal a literal layering of materials. However, a deeper examination of her process exposes a complex methodology that adds to the overall strata of her work. Pretti approaches each new project by living with an idea, an emotion or a title until she feels compelled to bring to it physicality. “Generally, I get ideas in various places...it starts with an idea, a word, a phrase, and [I] make connections with that based on my own interpretation on that theme...and somehow I break it down into what it makes me feel...” Once the “mood” of the work has been determined, the palette, the media and the design for the painting follow. Music is an integral component in the creation of her canvases; she repetitiously listens to a “playlist” while producing each new work or series. She maintains that this ritual keeps her in a consistent “mental state” providing for a cohesive, emotive and decidedly contemplated body of work.

A graduate of the Ontario College of Art and Design (Toronto) in 2004, Katie Pretti has since worked in Canada, the United States, Argentina and France. Her work is represented in many private and corporate collections. She currently lives and works in Toronto.

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8 KATIE PRETTI ANGELS (NOT FOR CHURCHES) NO. 3 mixed media on canvas signed, titled and dated 2013 on the reverse 54 ins x 42 ins; 137.2 cms x 106.7 cms Provenance: Private Collection, Toronto $4,000–6,000

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9 MARION WAGSCHAL, R.C.A. PORTRAIT OF WALTER WATCHING TELEVISION acrylic on board signed and titled on the reverse 36 ins x 48 ins; 91.4 cms x 121.9 cms Provenance: Charles Bronfman’s Claridge Collection, Montreal $2,000–3,000

Note: Sold to benefit Historica Canada.

Marion Wagschal is a painter of subjects whose environments connote the contemporary, often the domestic and banal, but carry through them weight of history, their mortality, the things they’ve seen and been subject to. Wagschal moved from an early-career focus on biblical figures to portraits of friends, family, and lovers. These subjects are not only resistant to idealized or cosmetic treatments; on close inspection, they bear the markings of the Holocaust, AIDS, senility, enfeeblement. But her portraits are generous and full of empathy, even humour.

Wagschal paints in perfect accordance with her anemic or ghostly subjects, her brushwork and palette patchy, sun-bleached – like memory, sharp in places but hazy allover. Portrait of Walter Watching Television demonstrates her focal points, and the corresponding directives she issues to her viewers.

A shallow backdrop like a darkened curtain brings her titular subject to the foreground, where a TV-set glow makes all the more apparent his infirmity, the wound near his temple. But he’s enraptured. The wires from the set are highlighted with a reverse-Cloisonné white; so too, the checks jump out from his tie. Wagschal has positioned Walter in abject isolation, in closing darkness, but distracted him with this cheap glow, a moving image. She’s brought small touches of humour to her portrait, small cartoonish marks and gestures that alleviate the portrayal’s more strident hurt.

Marion Wagschal arrived in Canada in 1951 from Port of Spain, Trinidad.

She completed her education at Concordia University (Montréal), where she then taught for 37 years. Wagschal has exhibited nationally and internationally. She is an RCA member, and represented in numerous private and public collections, such as the Musée d’art contemporain de Montréal, the Musée des beaux-arts (Montréal), and the Robert McLaughlin Gallery (Oshawa, ON). She is represented by Battat Contemporary.

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10 GERALD FERGUSON ROCKS AND BUSHES enamel on canvas signed, titled and dated ‘08 on the overflap 48 ins x 55 ins; 121.9 cms x 139.7 cms Provenance: Wynick/Tuck Gallery, Toronto Private Collection, Toronto $10,000–15,000

Note: Gerald Ferguson is best known as one of Canada’s most important conceptualist artists and pre-eminent educators. Born in Cincinnati, Ohio in 1937, Ferguson relocated to Nova Scotia in 1968 to take a teaching position at the Nova Scotia College of Art and Design and was highly influential in establishing the institution as a renowned centre of conceptual art throughout the 1970s.

Ferguson’s works are represented in many important collections throughout Canada, the United States and Europe, including the National Gallery of Canada (Ottawa), the Museum of Modern Art (New York) and the Museum Sztuki in Poland. He has received solo shows at numerous institutions including the Art Gallery of Ontario (Toronto), the Winnipeg Art Gallery and the National Gallery of Canada (Ottawa). In 1995, Ferguson received the prestigious $50,000 Molson Prize for Visual Art. This work, Rocks and Bushes (2008), part of his final series of landscape paintings created in homage to American painter Marsden Hartley, was exhibited at Wynick/Tuck Gallery in Toronto in 2009, the year of his death at age 73.

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11 DOUG KIRTON, R.C.A. CASCADE REQUIEM oil on board signed, titled and dated 1987 80 ins x 76 ins; 203.2 cms x 193 cms Provenance: Private Collection, Toronto $3,000–5,000

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Note: Digital photography is an important tool in Kirton’s artistic practice and often uses a photograph as the basis for a painting. He is careful to explain, however, that while the painting approximates the photograph, it is not intended as an exact duplication but rather an interpretation and simultaneously a re-interpretation. Cascade Requiem (1987) is a bold and sweeping work, an anguished and forceful landscape drenched in energy and colour.

Doug Kirton was born in London, Ontario in 1955 and received his BFA from the Nova Scotia College of Art and Design and his MFA from the University of Guelph. Kirton is a member of the Royal Canadian Academy and is on the Faculty of Fine Arts at the University of Waterloo. His work is included in many prestigious corporate, private and public collections both in Canada and internationally, including the National Gallery of Canada (Ottawa), the Vancouver Art Gallery and the Shanghai Art Museum in China.

Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

12 STEVE DRISCOLL WHISPERS urethane and pigment on plexi mounted to board signed, titled and dated 2007 on the reverse 65 ins x 43.5 ins x 1.75 ins; 165.1 cms x 110.5 cms x 4.4 cms Provenance: Private Collection, Toronto $5,000–7,000

Literature: Driscoll, Steve. Artist’s Statement. Accessed September 08, 2014. http:// stevedriscoll.com/info/.

Note: Toronto-based painter Steve Driscoll conjures a vision of nature that undulates with atmosphere and heightened colour effects. Driscoll has most recently turned to the medium of urethane to achieve the trembling force of light and movement manifested in his work. He says, “The passage of time is what urethane depicts so well. Its fluidity holds the minute details of a landscape in motion. I hope these paintings convey the sense of peace and rejuvenation that I experienced in each of these places.” Rich, emotional and dynamic, Whispers (2007) is steeped in the romance of the Canadian landscape. The artist’s impulse to create lively scenes is embodied by the twisting plant life and electricity of the work, setting a tone of earthiness and familiarity with nature.

Driscoll graduated from the Ontario College of Art and Design (Toronto) in 2002. He has since been developing his craft and exploring his technique as a painter, finding inspiration in the Canadian wilderness. The artist has had multiple solo and group exhibitions across Canada and internationally, most recently at the 107 Gallery in San Antonio (Texas); Angell Gallery (Toronto) and the James Baird Gallery (Pouch Cove, Newfoundland).

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13 ANGELA LEACH AR - SHAPE #15 acrylic on board signed, titled and dated 2013 on the reverse 25.75 ins x 30.25 ins x 2 ins; 65.4 cms x 76.8 cms x 5.1 cms Provenance: Private Collection, Ontario $5,000–7,000

Literature: Roald Nasgaard, Abstract Painting in Canada, Douglas & McIntyre Ltd., Vancouver, 2007, page 377.

Leach, Angela. Artist Statement. 2006. www.angelaleach.com Note: “The practice of filling lines with wiggly stripes of colour, similar to yarn, offered a direction in painting with endless experimentation.”

Toronto native Angela Leach spent her early artistic career exploring the highly textural and colourful practice of weaving. This interest in textiles is evident in her paintings, especially those from her energetically charged AR (Abstract Repeat) series. Roald Nasgaard wrote of her work, “Modelling her procedure on weaving, Leach subjects her paintings to a number of restrictions...using exactly thirty-two colours, repeating them in a sequential order that runs from dark to light, the colour repetition reflecting the regular quality of woven fabric.” Leach paints ribbons of colour that expand and contract; the paintings seem to pulsate as the waves change shape and direction and the colours merge and undulate.

Leach graduated from the Ontario College of Art and Design in 1989 and has since presented her work in many group and solo exhibitions at such institutions as the Art Gallery of Ontario (Toronto); the Power Plant (Toronto); the Contemporary Art Gallery (Vancouver); Edmonton Art Gallery; and the Albright-Knox Art Gallery (Buffalo).

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

14 THRUSH HOLMES TRUMAN COUTURE mixed media with resin 48 ins x 36 ins x 1.75 ins; 122 cms x 91.4 cms x 4.4 cms Provenance: Private Collection, Toronto

Note: Hailing from the small town of Welland, Ontario, Thrush Holmes quickly entered the Toronto art scene as a record-breaking artist with high energy and strategy. The journey began when he started painting large, unruly and frantic canvases and selling them on eBay under the names of crafted alteregos, such as “Herman Weiss” and “Truman Couture”. This idea allowed him to make large sums of money quickly, and make an entrance into the city of Toronto and its market. In 2007 Thrush Holmes purchased exhibition space on Queen West and opened what he named the Thrush Holmes Empire, where he became an overnight success. What started as a way of “faking it” ultimately landed him an international reputation as a great young artist. He has been practicing in Toronto ever since.

$6,000–8,000 Holmes uses neon, spray paints, oils, pastels, and experiments with collage.

His work is eclectic, bright, and full of energy. He practices in a variety of mediums and tackles notions of art, myth, and introspection. Holmes’ work has been accessioned into numerous celebrity and high-profile collections, and has garnered considerable national and international critical acclaim.

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15 EVAN PENNY BLUE POLYMORPH #1 polyester resin and pigment signed, titled and dated 1997 on the reverse

Note: There is a curious hybridism to the sculptures of the South African-born Evan Penny, whose compositions range from the precisely lifelike to funhouse mirror-esque malformations. His figures are yanked, stretched, or otherwise contorted to become uncanny messengers of the subjectivity of the way we perceive ourselves and others. In the 1980s he became well known for his hyper-real sculptures of larger than life models, sculpted in clay and then cast in resin.

17 ins x 15 ins; 43.2 cms x 38.1 cms Provenance: Private Collection, Ontario $2,500–3,500

A graduate of the Alberta College of Art (Calgary), Penny consistently presents the human form with a sense of controlled realism, despite irregularities, and is a master over his media. His sculpted skin reminds of the propensity of flesh to bruise, scar, and ultimately deteriorate, alluding to the brevity of human life. In Blue Polymorph #1, the delicate influence of his hand is present in the marks and indentations of the surface; creating a very human-like form out of the very banality of a decorative object.

Penny has exhibited at the Art Gallery of Ontario (Toronto), Vancouver Art Gallery and the Museum Kunst Palast (Düsseldorf). He has garnered an international reputation and his work is in the permanent collections of some of the most important public galleries in Canada and around the world. Most recently Penny was the subject of a major survey at the Art Gallery of Ontario in 2012, entitled “Evan Penny: Re Figured”.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

16 MICHAEL ADAMSON HOARY GREEN oil on canvas board signed, titled and dated 2006 on the reverse 48 ins x 36 ins; 122 cms x 91.4 cms Provenance: Private Collection, Toronto Literature: Adamson, Michael. Artist Statement.

Accesses 28 February, 2015. http://www.sopafinearts.com/artists/Ada mson_Michael/adamson-bio.htm $3,000–5,000

Note: “As an abstract painter, I have become increasingly interested in the structural language of colour and texture and the dynamic tension set up between the manipulation of a substance to reveal its properties and the external pattern created.”

A fundamental and deep attraction to the ways in which colour, texture and pattern interact on canvas compels Michael Adamson to paint. The interplay between these elements is complex in his work, drawing out intense, primordial emotions in response to his powerful colours and dense compositions. Hoary Green (2006) is an example of Adamson’s trademark colour fields interspersed with dots and blocks of bright pigment. The trio of paintings, Flight Group, Behrens and Fair Games (2000) (lot 30) are intimate gems that, although smaller than the works we are accustomed to seeing, retain Adamson’s signature design elements for which his larger canvases are known.

Michael Adamson graduated from the Emily Carr Institute of Art and Design in Vancouver in 1997. Since then, his work has been featured in dozens of solo and group exhibitions in Europe, Japan, the United States and across Canada. His paintings have been commissioned by major Canadian companies and can be found in many public, private, and corporate collections including the Art Gallery of Nova Scotia, the Bank of Montreal, the Royal Bank of Canada, Holt Renfrew and the Metro Toronto Convention Centre.

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17 KIM DORLAND LOST oil on linen signed, titled, and dated 2011 on the reverse 36 ins x 48 ins; 91.4 cms x 121.9 cms Provenance: Private Collection, New York $8,000–12,000

Literature: Whyte, Murray. “How Kim Dorland is changing the landscape at McMichael Gallery.”

The Toronto Star. October 18, 2013.

Note: Drawing his inspiration from iconic artists such as Tom Thomson and the Group of Seven, Kim Dorland takes the rich tradition of Canadian landscape painting and infuses it with contemporary imagery. In Lost (2011) the viewer is introduced to a subdued landscape, a departure from Dorland’s characteristically large and vibrant work.

Painted on a small scale, a thick black impasto for which he is known lies against an iridescent silver sky, introducing us to Dorland’s eerie depiction of our natural environment and the artist’s unique interpretation of nature. “When you’re dealing with only the landscape, you have to tune up the material a lot to push it into an interesting, uncomfortable place... if I produce something that’s strictly just beautiful, I failed. My biggest fear is that my paintings go somewhere and then become inert.”

The diversity of Kim Dorland’s work is evident in Moose (2011). In this work the artist experiments with mixed media on a taxidermied moose head, pushing the boundaries of paint and material. Dorland insists that first and foremost, his works are about the creative process, his near obsession with colour and his powerful and intuitive relationship to paint. The sculpture bears a strong relationship to our landscape by presenting a wild Canadian icon while simultaneously diffusing the animal’s predacious quality.

Dorland studied at the Emily Carr Institute of Art and Design (Vancouver) as well as York University (Toronto) where he received his Master of Fine Arts degree in 2003.

His works are exhibited globally and are included in the collections of the Musée des beaux- arts in Montréal; Musée d’art contemporain de Montréal; Glenbow Museum (Calgary), and the Museum of Contemporary Art in San Diego.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

18 KIM DORLAND MOOSE mixed media on taxidermied moose head signed and dated 2011 31 ins x 43 ins x 45 ins; 78.7 cms x 109.2 cms x 114.3 cms Provenance: Private Collection, New York $15,000–18,000

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19 JACK WINN THE STANDARD MODEL oil, acrylic and automotive paint on canvas signed; signed, titled and dated “May 2nd, 2014” on the reverse 45 ins x 60 ins; 114.3 cms x 152.4 cms Provenance: Private Collection, Ontario $3,000–5,000

Literature: Stewart, Beth. “Jack Winn.” Accessed February 26, 2015. http:// www.lifestylemagazineonline.com/jack-winn/ Note: Having actively produced painting and sculpture for over 20 years, Jack Winn has recently begun creating larger-scale works that incorporate a mix of oil, acrylics and automotive paints to create a dramatic density to his canvases. “I call my work Structural Impressionism. It is an abstraction of reality... I want the viewer to instantly become emotionally engaged with my work [then] to be sent on a quest of discovery about my subject matter.

Time, the cosmos, infinity, and particle physics are all areas of human exploration that excite me greatly.” Winn’s use of vibrant colour, gesture, and the thick application of paint are employed in The Standard Model (2014), a work that unveils the artist’s abstracted reality.

Winn is also a noted musician who has taught music at the University of Western Ontario (London) for 16 years. His creative relationship with music and painting is apparent in his intricate abstractions. Currently, Jack Winn lives and works in Stratford, Ontario, where he is the Principal Bassist for the Stratford Symphony Orchestra, while simultaneously preparing for a solo art exhibition at Gallery Stratford.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

20 GENERAL IDEA MONDO CANE – KAMA SUTRA colour silkscreen signed, titled, dated ‘85 and numbered 6/25 29 ins x 40.5 ins; 73.7 cms x 102.9 cms Provenance: Private Collection, Toronto $5,000–7,000

Note: The influence of General Idea on the Canadian and international contemporary art world is profound. The collective was founded in 1969 by AA Bronson, Felix Partz and Jorge Zontal. Since this coming together they produced an astonishing body of work in both traditional forms as well as unconventional media which have become the model for future collaborations of artist collectives.

General Idea created a distinct pop-inspired style which challenged contemporary notions of aesthetic and counter-culture. Contemporary media encompassing video, performance, publishing, painting, sculpture, installation, and even a beauty pageant was used as a form of art to subvert traditional techniques, critique the art world and understand why media and aesthetic form culture. Best known for their 1987 re-design of Robert Indiana’s “Love” into a quadrant symbol spelling “AIDS,” General Idea gained popular exposure as the colourful repeating logo was transformed into paintings, prints and posters seen around the world.

Working together for over 25 years, they held 123 solo exhibitions and were included in 149 group exhibitions internationally, including the Paris, Sydney, Sao Paulo and Venice Biennales and Documenta. In 2011, the Art Gallery of Ontario (Toronto) mounted “General Idea: Haute Culture,” a 25year retrospective. Partz and Zontal died of AIDS in 1994 while AA Bronson continues his work as an artist, curator and educator.

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21 JOHN SCOTT UNTITLED mixed media on paper 36 ins x 24 ins; 91.4 cms x 61 cms Provenance: Private Collection, Toronto $3,000–4,000

Note: Through both symbol and figuration – and with an existentialist’s drift and a nihilist’s anger – John Scott has etched the deep markings of a long and sustained career, issuing a singular voice for a mass appeal. His humour, angst, and revolutionary anxiety are profiled through crude gesture, cryptic text, and figures bearing their archetypes. His socio-political commentary, radicalism, and anger are the products of growing up in the ’60s in Windsor, amid the presence of an industrial multitude that took both his parents’ lives. Further, Scott was among a generation whose revolutions were urgent, but too often brief. But their tone was more enduring. On the occasion of his first survey exhibition at the famed Faulconer last year, Scott stirred an echo to the gallery’s impressive Goya collection, his Dark Commander running a dark parallel to the master’s fatalist symbolism. The museum’s associate director says of Scott, “...he seems to have seen the 21st century coming...”, his Neo-Marxist leanings tempered by a black-eyed rejection. But in both A Very Merry No Birthday To You and Untitled, we see Scott maintain his difficult mantels through gritted wit and exuberant expression. These images read like so much scrawled shouting, but their subjects are grinning their defeat.

John Scott graduated from Ontario College of Art and University (Toronto) between 1972 and 1976.

He was the subject of a survey exhibition at the Faulconer in Iowa (2014), and has been exhibited across Canada and in parts of Europe. Scott is represented by Nicolas Metevier Gallery.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

22 JOHN SCOTT A VERY MERRY NO BIRTHDAY TO YOU mixed media on paper 31.25 ins x 24.75 ins; 79.40 cms x 62.9 cms Provenance: Private Collection, Toronto $3,000–5,000

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23 MATT BAHEN WARRIOR/HOSTAGE, 2002 acrylic on tarp 37.5 ins x 39.5 ins; 95.3 cms x 100.3 cms Provenance: Private Collection, Toronto $800–1,000

Exhibited: Juggernaut Cocktail: Matt Bahen, Steve Driscoll, Charlene Connelly and Aleks Rdest.

Angell Gallery. 3 August, 2002.

Note: Matt Bahen is perhaps best known for his haunting canvases of war-torn landscapes, derelict architecture, scavenging dogs and confrontational snipers on human scale canvases. The subject matter for Warrior/Hostage (2002) precedes that of his professional body of work, however it shows a budding interest in machines of destruction and in the devastation of war that permeates much of his work to date.

This work, painted on a reclaimed army canvas, is witty with its bright pink F-15E Strike Eagle (a high speed, long-range military fighter plane) and a “soldier” at the ready (an ape with a can of beer and a cigarette). Humourous it may be at first glance, but the message inherent in Warrior/Hostage might be that humans, with all of their evolved intellect, are not advanced enough to avoid the destruction and desolation of war.

Matt Bahen graduated from the Ontario College of Art and Design (Toronto) in 2002 and has since participated in many group exhibitions across Canada and the United States. In recent years, he has had solo exhibitions at the MacLaren Art Centre in Barrie, Ontario and Munch Gallery in New York. Bahen is also a musician, singer and songwriter.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

24 ANGELA GROSSMANN, R.C.A. PIONEER

25 ANGELA GROSSMANN, R.C.A. BLOOMERS

mixed media on canvas signed with initials and dated 2010

mixed media on canvas signed twice with initials and dated 2010

54 ins x 30.5 ins; 137 cms x 77.4 cms

57 ins x 31.5 ins; 144.8 cms x 80 cms

Provenance: Private Collection, Quebec

Provenance: Private Collection, Quebec

$7,000–9,000

$7,000–9,000

Note: “The thing about the collages, although they look slapdash, maybe, or casual, they’re much more difficult than actually using paint.”

Angela Grossmann is one of Canada’s foremost collage artists who utilizes recycled and repurposed materials found in flea markets and antique shops. Discarded photographs, old tent canvases, tarps and a myriad of found objects imbue her works with nostalgic overtones. “Everything has a little bit of a history and I like old things...anything that somehow links me to something that’s happened before is very interesting.” However linked Grossmann is to her unique processes and use of material, she is equally known for the provocative, edgy themes her works address, such as the Holocaust, identity, sexuality and female politics. “Alpha Girls,” a series Grossmann began in 2004, explores the difficult time of transition for teenage girls and the emotional and social trappings inherent in this stage of self-discovery. Pioneer and Bloomers (2010), two works from this series, speak to the awkwardness of this particular life phase with the figures in uneasy poses that suggest insecurity at the brink of womanhood. True to Grossmann’s hallmark aesthetic, the images are intuitive cut-and-paste creations on found canvas accented in paint with ghostlike auras.

Grossmann has been a driving force of contemporary Canadian art for the last 30 years. Early in her career, she was associated with the “Young Romantics” at the Vancouver Art Gallery and, in 1985 while still a student at the Emily Carr College of Art and Design, was named one the most influential artists of the decade. *additional information availalbe on our website

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26 JOHN KISSICK, R.C.A. NO.5 (THE ORDER OF THE PHRASES MAKE...)

Literature: Kissick, John. Artist Statement, 2004. Accessed 1 March, 2015. http://www.johnkissick.ca/artist_statement_2004_popup.html.

acrylic on canvas signed, titled and dated 2004 on the reverse 66 ins x 66 ins; 167.6 cms x 167.6 cms Provenance: Private Collection, Ontario

Sandals, Leah. Punking Disco, Discoing Punk and... um, Art Education: Q & A with John Kissick in today’s National Post. 10 August, 2010. Accessed 28 February, 2015. http://neditpasmoncoeur.blogspot.ca/2010/08/punking-disco-discoingpunk-and-um-art.html.

John Kissick: dirty little mind. Video. Michael Gibson Gallery. November 1 - 24, 2012. Accessed 24 February, 2015. http://www.gibsongallery.com/news/kissickkirkpatrick-video.

Note: “So that’s why my paintings are like that. I’ve been trying to punk my disco and disco my punk.”

$20,000–25,000

John Kissick’s paintings are complex undertakings borne from a union of his diverse professional practices. As a painter, critic, teacher and writer, Kissick continually examines his artwork from multiple vantage points. He says, “I am constantly in this ongoing critique mode where I can make something and simultaneously deconstruct it.” Always mindful that while his advanced knowledge of the history of abstract art informs his work, he must ultimately rely on his pure and instinctual creativity to produce the masterpieces for which he is so well known. No. 5 (The Order of the Phrases Make...) (2004) reveals Kissick’s ability to merge the complicated influences of his artmaking.

(detail)

(detail)

Drawing from the fundamental elements associated with historical abstract art, Kissick adopts a process-oriented method of working and conveys an impression of spontaneity. Works such as No. 5 (The Order of the Phrases Make...) are highly gestural and emotionally intense, containing vivid colours arranged in excited masses of morphing shapes and snaking lines. While these nods to the past are customary in Kissick’s work, he also incorporates imagery from contemporary culture. In an interview from 2012, he stated that he has “...a recurring interest in the relationship between popular culture, popular music and in contemporary abstraction...I’m interested in that moment in late modernism where the kind of gestures we would normally associate with abstract painting found their way into shag carpeting, basement parties, black light and bad rock-n-roll...” He paints shapes that reference graphic design elements popular in recent decades, and then embellishes them with “dot configurations.” Kissick draws the viewer’s attention to the areas that he has painted over which leave, as he terms it, a “memory trace.”

Kissick’s interest in music and its influence upon his art began with research into the genres of punk and disco from the 1970s and ‘80s. He says, “I was looking outside of art for something that might be used as a metaphor for my paintings, and I started reading a lot about popular music... What I really loved about this history was the inversion of expectation between genres. Reading about that was my eureka moment where I said, ‘So that’s why my paintings are like that. I’ve been trying to punk my disco and disco my punk.’” It is perhaps the hope and expectation of finding a middle ground for his work, a comfortable place for it to exist while honouring the past and the present, that drives his process.

John Kissick attended Queen’s University at Kingston (Ontario), Cornell University (New York) and the Harvard Institute for Higher Education (Massachusetts). He taught at Penn State (Pennsylvania) and held the posts of Head of Painting and Head of Critical Studies. Upon moving back to Canada, Kissick was Dean of the Faculty of Art at the Ontario College of Art and Design (Toronto) from 2000-2003 and the Director of the School of Fine Art and Music at the University of Guelph until 2014. In 2005, he was elected to the Royal Canadian Academy of Arts.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

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27 PETER SCHUYFF UNTITLED mixed media on paper 29 ins x 24 ins; 73.7 cms x 61 cms Provenance: Private Collection, Toronto

Note: Peter Schuyff is a leading international artist whose work is identified with the “Neo-Geo” movement, though makes points of departure. The NeoGeo movement is one that’s less contained to a generation or zeitgeist, but rather symbolizes an engagement with modernist form and its various offshoots (minimalism, pop art, op art, etc.). It typically issues a criticism of modernist form’s commercial applications and claim to objectivity. The movement’s amorphous, ongoing, and, in recent years, re-energized relevance is exemplified in Schuyff’s paintings, which nimbly shift between humour and comment, figuration and abstraction, foreground and background, description and obfuscation, and revelry and disavowal.

$4,000–5,000 Born in the Netherlands, educated in Vancouver, and formerly based in New York and now Amsterdam, the Dutch-Canadian artist is associated with Askley Bickerton, Peter Halley, and Jeff Koons; has sat for an Andy Warhol portrait; and been represented by leading gallerists like Mary Boone.

Schuyff has individuated himself from his colleagues by taking one of NeoGeo’s most identifiable strategies – miming mid-twentieth-century “objective” abstraction but basing it on figurative source material – to its crescendo point, where a burlesquing of the two extremes (a history painting partially obscured by a protruding geometric shape, for instance) helps Schuyff achieve critical distance from both quarters. In Untitled, we see a similar cavorting between form and logic, with Schuyff’s indistinct heraldry literally coming apart at the seams.

Peter Schuyff is an internationally-exhibited painter and sculptor. He attended the Vancouver School of Art (what is now the Emily Carr University of Art and Design). Schuyff has been exhibited and collected internationally, including a presence in the famed art collection of Herbert and Dorothy Vogel. Schuyff’s work was recently exhibited as part of the 2014 Whitney Biennial. He is represented by Mary Boone Gallery.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

28 GREG CURNOE 54

Literature: Curnoe, Greg. Michael Gibson Gallery. Accessed March 07, 2015. http://www.gibsongallery.com/exhibitions/greg-curnoe-text.

ink on paper within artist-made aluminum frame signed, titled and dated “Jan, 1990”

Note: “I was brought up on comic books and on children’s books with captions. It was so natural for me to associate type and text with a picture.”

overall 14 ins x 17 ins x 2 ins; 35.6 cms x 43.2 cms x 5.1 cms

In the last body of work produced by Greg Curnoe, the multi-disciplinary artist focused primarily on self-portraits and stamped, lettered work. Known primarily for his colourful paintings, prints and drawings reminiscent of the Pop Art movement, the work of Curnoe always depended on subject and narrative. 54 (1990), created two years before the artist’s death in 1992, is an ink on paper composition within an artist-made aluminum frame. This direction taken by Curnoe in his later life helps document his commitment to the London, Ontario arts community where he celebrated contemporary art and initiated the creative movement known as “London Regionalism”.

Provenance: Private Collection, Toronto $4,000–6,000

Greg Curnoe attended the Doon School of Fine Arts in Kitchener (Ontario) before attending the Ontario College of Art from 1957-1960. In 1961 Curnoe returned to London, Ontario, where he co-founded Region Magazine and the Region Art Gallery. His career flourished in the late 1960s, as he was chosen to represent Canada at the Sao Paulo Bienal in 1969 and at the Venice Biennale in 1976.

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29 TONY SCHERMAN, R.C.A. UNTITLED (STILL LIFE) encaustic on canvas signed in pencil on the reverse 19.5 ins x 27.5 ins; 49.5 cms x 69.9 cms Provenance: Miriam Shiell, Toronto Canadian Fine Arts, Toronto $3,000–5,000

Literature: Smith, Pete. Interview with Tony Scherman. FOAM (Fine Ontario Art Magazine). 2010. http://www.tonyscherman.com/videos/FoamInterview.html.

Note: Tony Scherman is one of the most provocative encaustic painters in Canadian history. He is mostly recognized for his stunning and textured portraits of individuals of historical and popular significance. Sherman combines wax with various pigments to make an encaustic, then applies layer upon layer slowly onto the canvas. This build up of material gives his work a sense of life and earthiness as the wax looks very natural, almost flesh-like. Blanketing the canvas with a heavy weight, the encaustic is dripped and scored across the surface creating an incredible sense of depth.

As seen here in Untitled (Still Life), Sherman has not always been a portraitist. In fact, his practice began with experiments in the genre of still life in order to better understand and engage with the traditions of art. In the 1980s, he began combining subjects with elements of abstraction.

However, feeling limited in his expression by this style, Sherman then turned to representation and life portraiture. Yet the interest in still life remains constant in his oeuvre as it greatly informs his current practice. His work conveys beauty and the lightness and darkness of the human experience.

Sherman was born Toronto in 1950 and received his M.A from the Royal College of Art in London, England in 1974. Since then, he has exhibited professionally in North America and Europe. His works are widely collected by major museums and corporations and he regularly lectures at colleges and universities on both continents. He is also a member of the Royal Canadian Academy of Arts.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

30 MICHAEL ADAMSON FLIGHT GROUP; BEHRENS; FAIR GAMES

Literature: Adamson, Michael. Artist Statement. Accesses 28 February, 2015. http://www.sopafinearts.com/artists/Adamson_Michael/adamson-bio.htm

acrylic on canvas set of three paintings, each signed, titled and dated 2000 on the overflap

Note: “As an abstract painter, I have become increasingly interested in the structural language of colour and texture and the dynamic tension set up between the manipulation of a substance to reveal its properties and the external pattern created.”

each 8 ins x 6 ins; 20.3 cms x 15.2 cms Provenance: Private Collection, California $1,200–1,500

A fundamental and deep attraction to the ways in which colour, texture and pattern interact on canvas compels Michael Adamson to paint. The interplay between these elements is complex in his work, drawing out intense, primordial emotions in response to his powerful colours and dense compositions. Hoary Green (2006) (lot 16) is an example of Adamson’s trademark colour fields interspersed with dots and blocks of bright pigment.

The trio of paintings, Flight Group, Behrens and Fair Games (2000) are intimate gems that, although smaller than the works we are accustomed to seeing, retain Adamson’s signature design elements for which his larger canvases are known.

Michael Adamson graduated from the Emily Carr Institute of Art and Design in Vancouver in 1997. Since then, his work has been featured in dozens of solo and group exhibitions in Europe, Japan, the United States and across Canada. His paintings have been commissioned by major Canadian companies and can be found in many public, private, and corporate collections including the Art Gallery of Nova Scotia, Bank of Montreal, Royal Bank of Canada, Holt Renfrew and the Metro Toronto Convention Centre.

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31 JAMES LAHEY, R.C.A. CLOUD PORTRAIT, 1998 acrylic on canvas signed, titled and dated on the reverse 9 ins x 12 ins; 22.9 cms x 30.5 cms Provenance: Private Collection, Ontario $1,500–2,000

32 JAMES LAHEY, R.C.A. SUMMER FIELD oil and alkyd on canvas signed, titled, and dated August 2008 on the reverse 12 ins x 24 ins; 30.5 cms x 61 cms Provenance: Private Collection, Ontario $4,000–6,000

Literature: Lahey, James. Spring, 2006 (Artist Statement). Accessed 10 March, 2015. http://www.jameslahey.com/wpcontent/uploads/2015/01/09-Spring-2006.pdf.

Note: Known for his dramatic landscapes, cloudscapes, large-scale abstracts and opulent still lifes, James Lahey excels on all points of the painting spectrum from photorealism to total abstraction. Two examples of his range of subject matter are Cloud Portrait (1998) and Summer Field (2008). Both paintings demonstrate Lahey’s mastery of realism; each brushstroke painstakingly rendered to achieve maximum effect and an exacting portrayal of light, making visible the imaginary line between experience and memory. He says, “[My] representational work is primarily of things elemental and temporal – landscapes, oceans, clouds, flora and the implicit motion within these. I’m interested in these as a way to know the world and phenomenal experience; that is, to know what is often referred to as fleeting experience.”

Lahey’s work is represented in galleries across Canada, Great Britain and the United States and are included in numerous public, private, and corporate collections such as the Art Gallery of Nova Scotia; the Art Gallery of Windsor (Ontario); the Edmonton Art Gallery; the Department of Foreign Affairs (Ottawa); the University of Toronto; CitiBank Canada; Canadian Imperial Bank of Commerce (CIBC); and the Royal Bank of Canada.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

33 PETER HOFFER PORTRAIT, 2006 mixed media on panel 36 ins x 60 ins; 91.4 cms x 152.4 cms Provenance: Stricoff Fine Art. Ltd., New York Private Collection, California $4,000–5,000

Note: Drawing inspiration from historical landscape paintings, Peter Hoffer fuses the time-honoured landscape genre with contemporary mixed media practices.

Referencing the landscapes he paints, Hoffer interprets them through the use of materials and processes that suggest three-dimensionality. As seen in Portrait (2006), layer upon layer of paint and resin and his signature scratching and dripping techniques give his works an imperfect and aged appearance. Hoffer says of his landscapes, “Inconsistencies including discoloration and surface cracking are intentional and integral to the resin paintings. Many of these works have surfaces with various anomalies within the mixed resins. Surfaces are often layered off center thereby exaggerating the inconsistent topography.” Hoffer skillfully applies these methods to mirror the ever-changing characteristics of the scenes he paints.

Hoffer’s works are included in the collections of the Royal Bank of Canada, Cirque de Soleil, the Musée des Beaux-Arts (Montréal), and in major corporate collections in Canada and the United States. He graduated from fine art programs at the University of Guelph (Ontario) and the Ontario College of Art (Toronto) and received his MFA from Concordia University (Montréal). He currently lives in Berlin, Germany.

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34 DAVID BIERK, R.C.A. DAVID BIERK (A BOOK WITH ORIGINAL OIL ON COPPER COVER ILLUSTRATION, CONTAINED WITHIN A WOODEN PRESENTATION SLIPCOVER DESIGNED AS A FRAME) signed, dated “12 Jan 2001” and numbered 28/100 on the title page, published by the Montgomery Museum of Fine Arts, Montgomery Alabama, 2000 11.25 ins x 11.25 ins x 1.25 ins; 28.6 cms x 28.6 cms x 3.2 cms Provenance: Private Collection, Toronto $700–900

35 DAVID BIERK, R.C.A. STILL LIFE, TO ART AND LIFE: MICHELANGELO AND GAUGUIN mixed media initialed on each panel; signed, titled and dated “18 Oct 1994” on the reverse 27.75 ins x 65.75 ins; 70.5 cms x 167 cms Provenance: Private Collection, Toronto $10,000–15,000

Note: David Bierk practiced in the postmodern genre by appropriating old master paintings from art history and juxtaposing them with the style and aesthetic of modern culture and mass media. This re-presentation of old work in a new context turns historical masterpieces into lively, modernized masterpieces of the contemporary period. Through this method, Bierk’s creations reflect on culture, art, history, and philosophy.

Often, Bierk would paint copies of works by artists such as Vermeer, Ingres and famed artists of the Hudson River School. His manipulation of the work creates a tension between old masterly craft on the one hand, and Modernist abstraction and industrial fabrication on the other. The audience is urged to reflect on and understand the past in order to embrace the present. In Still Life: to Art and Life: Michelangelo and Gauguin, this synthesis of various moments in art history comes together in three distinct panels.

Yet the fabrication of the frame is distinctly modern suggesting that these memories of art history can be brought into the present and is continuous with contemporary methods of creation and discovery.

Many of Bierk’s contributions to the Canadian art scene were here in Peterborough, where he founded the artist-run centre Artspace in 1974 and directed until pursuing his painting career full-time in the 1980s. Subsequently in 1998, he was elected a member of the Royal Canadian Academy of Arts, and in 2002 was posthumously awarded the Queen’s Golden Jubilee Medal. Bierk’s work appears in the collections of the National Gallery of Canada (Ottawa); Art Gallery of Ontario (Toronto); and the Canada Council Art Bank (Ottawa) as well as numerous private collections.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

36 LYNNE COHEN, R.C.A. UNTITLED, 2007 chromogenic print signed and numbered 12/25 on label on backing

Note: Lynne Cohen is an internationally renowned photographer, known for presenting images of interior, domestic, and work settings which include spas, laboratories, retirement homes, and factories. These everyday spaces are always void of human subject or intervention and subsequently are perceived two-fold, either humorous or disturbing. The absurd combination of these two very different interpretations is what makes her work unforgettable.

16 ins x 20 ins; 40.6 cms x 50.8 cms Provenance: Donated by the artist; sold to benefit the Scotiabank CONTACT Photography Festival $1,200–1,500

Cohen was born in Racine, Wisconsin in 1944 and passed away in 2014. She received her MFA from Eastern Michigan University and spent a year at the London Slade School of Fine Art (England). London is where she is said to have been influenced by many Pop artists such as Richard Hamilton, Andy Warhol, Roy Lichtenstein, and Claes Oldenburg. Although she began as a sculptor and printmaker during her studies, her success came once she found her calling as a photographer in the 1970s. In Untitled (2007), the balanced studio lighting coupled with the symmetry of planters point to signs of a charming and ideal photograph, yet the viewer is left strangely aware of the emptiness which exists beyond the frame, crafting a unique visual experience.

Cohen began working in Canada in 1973, where she taught photography at the University of Ottawa from 1974 to 2005. In 2005, she was the recipient of a Governor General’s Award. Her work is held in more than 50 public collections, including the National Gallery of Canada (Ottawa); the Art Institute of Chicago; and the Metropolitan Museum of Art (New York).

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37 MAX DEAN TWO STACKS OF PHOTO ALBUMS, 2012 chromogenic print signed and numbered 7/25 on label on backing 20 ins x 16 ins; 50.8 cms x 40.6 cms $1,000–1,200

Provenance: Donated by the artist; sold to benefit the Scotiabank CONTACT Photography Festival Note: Max Dean has been producing significant works of art for over 35 years.

Multi-disciplinary and prolific, Dean’s work encompasses performance, video and installation works as well as photography. His recent photographic work explores deeply-held associations with personal objects and the relationships between artist, viewer and the work itself. In 2012, Dean showcased more than 400 family photo albums he had collected over a two-year period at various venues throughout Toronto. The albums were then given away to visitors at each location, allowing the albums to take on new identities and associations for the new owners. The work Two Stacks of Photo Albums (2012) documents this theme and collection.

Dean’s impressive artistic resume includes representing Canada at the Venice Bienale, exhibitions at the National Gallery of Canada (Ottawa), the Art Gallery of Ontario (Toronto), the Mendel Art Gallery (Saskatoon), the Vancouver Art Gallery and the Winnipeg Art Gallery. His work is held in the permanent collections of these institutions. He is also the recipient of the Gershon Iskowitz Award, the Joan Chalmers Award and in 2014 received the Governor General’s Award for Visual Art.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

38 DAVID URBAN, R.C.A. UNTITLED (E) mixed media on paper signed with initials and dated 2007 14 ins x 16.75 ins; 35.6 cms x 42.5 cms Provenance: Corkin Gallery, Toronto Private Collection, Toronto $2,000–3,000

Note: Toronto painter David Urban works in a style which mediates between abstraction and representation, using an energetic and deeply considered engagement with line, gesture and colour. Known through the 1990s as an abstract modernist, Urban’s solo show at the Art Gallery of Ontario (Toronto) in 2002 surprised visitors with representational paintings. His unwillingness to allow himself to be stuck in one particular style marks his malleability as an artist and desire to contribute to the constantly changing contemporary dialogue. His practice is therefore a process of continual development, sharpening and expanding upon what he knows with what he has yet to discover. By being acutely aware of his art, Urban is able to keep his modern abstraction relevant and lively.

Urban has exhibited works in prominent commercial galleries across Canada, the United States and Europe, and is represented in many private and public collections including the National Gallery of Canada (Ottawa). In 2002, Urban curated “Painters 15” for the Museum of Contemporary Canadian Art (Toronto) and the Shanghai Museum of Art, the first survey of contemporary Canadian art to take place in China. In 2010, Urban was identified by Toronto Life magazine as one of the top 10 artists for investment for first-time buyers.

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39 MARIANNA GARTNER I WEAR MY EYES DISCREETLY DOWN (GABOR, GABOR) oil on canvas signed, titled and dated 1987 on stretcher on the reverse 37 ins x 48.5 ins; 94 cms x 123.2 cms Provenance: Private Collection, Calgary $3,000–4,000

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Note: Appropriating elements of late 19th and early 20th century cabinet cards, a style of photography used for portraiture, Marianna Gartner mixes photographic history and records with her own imagined fantasies to create eerie representations of other-worldly environments. Gartner says this is the process of recalling “fictional memories”. Her subjects often hold a direct and confrontational stare as seen in I Wear my Eyes Discreetly Down (Gabor, Gabor) (1987). Here we see a small boy with a forward gaze directed towards the viewer, while a male Mandrill sits behind bars. The boy appears twice, another version of himself looks away from the primate inducing a sense of solitude in the viewer. We recognize the artist’s signature style, her manipulation of subject and a sense of disquiet that keeps us transfixed.

Born in 1963, Gartner has developed a style so distinct and accomplished that she has exhibited at solo shows from Vancouver to England to Germany and many points in between. Marianna Gartner currently lives and works both in Canada and Europe.

Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

40 STEPHEN LACK VAN GOGH’S DAIMLER oil on canvas signed, titled and dated /87 on the reverse 45.5 ins x 68 ins; 115.8 cms x 172.7 cms Provenance: Galerie Daniel, Montreal $2,000–4,000

Note: Stephen Lack is a Canadian painter and actor currently based in New York City. As an actor, he is most recognizable for his lead role in David Cronenberg’s film “Scanners” (1981) and later “Dead Ringers” (1988). He has also had small cameos in many independent Canadian and American films. It is evident that Lack has an inclination for creative self-expression.

As a painter Stephen Lack is known for his finely developed art practice which presents modern American cultural objects and landscapes as subjects of vivid and intensely coloured paintings. Modern relationships, urban violence, and politics are all themes found in his work. Through this portrayal of objects in a stark, recognizable way, Lack is largely reacting against the development and reception of minimalism and conceptual art in the 1960s and 1970s. Using a bright, varying palette and bold outlining strokes, he recalls a time when art was most simply about visual aesthetics and independent self-expression. It is in his automobile series, where many works resemble Van Gogh’s Daimler that this simplistic and American style is mastered.

Lack received his BA from McGill University (Montréal) in 1967. He then received his MFA from the renowned Instituto Allende (San Miguel de Allende, Mexico) in 1969. He has received awards from the National Endowment for the Arts in 1987 and 1993, and the Canada Council for the Arts in 1991. While originally from Montréal, Lack now works out of New York City, where he lives with his family.

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41 BARBARA ASTMAN, R.C.A. DANCING WITH CHE #10, 2002 giclee print signed on the reverse 8 ins x 7.75 ins; 20.3 cms x 19.7 cms Provenance: Private Collection, Toronto $2,000–3,000

Note: Pivoting between counter-culture politic and consumer-culture critique, Barbara Astman reliably issues a challenging voice on concerns related to media, feminism, and framing that have, in turn, helped advance an all-important generation of contemporary art. Among Astman’s most enduring artistic occupations is her employment and elevation of photography, a medium that underwent a dramatic shift in perception and assignment in the early 1980s and became more widely accepted within the visual arts. Evoking at turns humour and urgency, Astman’s adroit use of archetypal form, her consistent self-reflexivity, and her dexterous adoption of new technologies has helped establish her as a leading woman artist pursuing vulnerable self- and societal analyses through a still-evolving frame. Her famed Red Series (198081) is representative of the artist’s early focuses and formal strengths. Its assemblage of uniformly-painted objects (both banal and cheerful) encircle and occupy an unseeing protagonist who attempts to position herself, to perform herself, amid the flotsam of her competing roles. Thirty years later, Astman remains the moving target of her own work, this time dancing with the ubiquitous and commoditized image of Che – a persona that inspires personal attachment. The series lends intimacy to symbolism, and proposes contradictions that Astman still troubles as she pursues.

Born in Rochester, New York, Barbara Astman arrived to Canada in 1970, and three years later, graduated from Ontario College of Art, where she has taught since 1975.

Her recent solo exhibition, dancing with che: enter through the gift shop, toured parts of Canada through installations at the McMaster Museum of Art (Hamilton), Museum of Contemporary Canadian Art (Toronto), and Kelowna Art Gallery, between 2011 and 2013. She had a 20-year survey exhibition that reached four leading museums across Canada in 1996-96. Astman is represented by Corkin Gallery.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

42 BARBARA ASTMAN, R.C.A. PING PONG PADDLE (FROM THE RED SERIES) colour print signed and dated /80 on the reverse 50 ins x 48 ins; 127 cms x 121.9 cms Provenance: The Sable-Castelli Gallery Limited, Toronto Private Collection, British Columbia $18,000–22,000

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43 JACQUES PAYETTE TROIS AUTRES SOULIER encaustic on canvas mounted to board signed, titled and dated 1996 on the reverse 48 ins x 29 ins; 121.9 cms x 73.7 cms Provenance: Charles Bronfman’s Claridge Collection, Montreal $5,000–7,000

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Note: Sold to benefit Historica Canada.

The work of Jacques Payette is characterized by its quiet and moody ambience with layers of encaustic paint, creating rich transparent colour for a dream-like effect. Together these attributes convey Payette’s timeless interpretation of history and historical objects, introducing us to the artist’s personal world. Payette is known for his portraits, but frequently his work includes articles and costumes from the 18th and 19th centuries for which he holds a fascination. Trois Autres Soulier (1996) depicts three Victorian inspired dress shoes, stacked as if on display. The work is meant to arouse nostalgia in the viewer, as these recognizable objects display their historical narrative.

Born in Montréal, Québec, where he continues to live and work, self-taught artist Jacques Payette held his first solo exhibition in 1974 at the Laurent Tremblay gallery in Montréal. Payette’s work is included internationally in private collections, and is featured in multiple collections across Canada such as the Musée national des beaux-arts du Québec (Québec City); Musée d’art Joliette (Joliette, QC); Musée d’art contemporain de Montréal and the Art Bank of the Canada Council for the Arts (Ottawa), among others. In 2011, the Musée des beaux-arts in Montréal held a retrospective exhibition of Payette’s career entitled Capturer le temps.

Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

44 PAUL BÉLIVEAU, R.C.A. LES HUMANITES XXII acrylic on canvas signed, titled and dated 2003 on the reverse 72 ins x 48 ins; 182.9 cms x 121.9 cms Provenance: Galerie de Bellefeuille, Montreal Private Collection, Toronto $6,000–9,000

Literature: Couture Galleri. Paul Béliveau. Accessed February 02, 2015. http:// www.couturegalleri.se/artists/paul-béliveau-137835.

Note: The work of French-Canadian artist Paul Béliveau explores themes of history and literature through photorealism. His large-scale oil paintings fuse iconic imagery and nontraditional subject matter allowing the viewer to interpret the interaction of the two. “In Paul Béliveau’s paintings, the play of juxtaposition is not the result of a random accumulation of images. Rather, it converges towards an idea of structure or of system, an organized assemblage of elements responding to each other and building upon each other.” Les Humanites XXII (2003) pays homage to the great poets and thinkers of the mid-19th century. Here Béliveau depicts the classic work of French poet Charles Baudelaire, Les Fleurs du mal, and Arthur Rimbaud’s Poesies, une Illuminations, publications recognized for their influence on creative change and expression during the Romantic period in Europe. Most notably stationed at the centre of the painting is Van Loon’s biographical text on the life of Rembrandt van Rijn, with an illustration of the Anatomy Lesson of Dr. Nicolaes Tulp (1631), a work that emphasizes crucial historical events and discoveries while underlining the role of the arts in history.

Together these examples merge on canvas as Béliveau’s didactic ode to modernism demonstrates the effects of art and literature on the artist’s creative development.

Paul Béliveau’s work is widely exhibited and collected throughout North America and Europe. The artist has five upcoming solo exhibitions in 2015 including an exhibition at the Winsor Gallery in Vancouver and the Arden Gallery in Boston.

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45 RENÉ-PIERRE ALLAIN 5TH GROUP FLASH, NO.3 mixed media on paper within steel frame signed, titled and dated 1994 on the reverse overall 24 ins x 36 ins; 61 cms x 91.4 cms Provenance: Private Collection, Ontario $3,000–4,000

Note: Whether it be minimalist paintings on steel or contorted metal sculpture, artist René-Pierre Allain’s techniques transform surfaces. Utilizing various materials, including chemicals, acids and fire, the artist warps his subjects until they become an ideal manifestation of his creative vision. Allain began his career as a sculptor, studying Visual Arts at the University of Ottawa before graduating in 1982. His interest in sculpture developed into his distinct object paintings that explore the foundations of material. The cool colours that appear in 5th Group Flash, No.3 and Open Warp #6 (Lot 47) are signature in his work, complimenting the tonal quality of iron while employing the physical element in both cases. Produced in 1999 for the series “Warps”, Open Warp #6 exceeds its steel frame, as Allain would manipulate steel bands and plates by hand and then configure them as a pictorial surface, creating a crossover between painting and sculpture.

Originally from Montréal, Quebec, Allain has been living and working in New York since 1984. He has been exhibiting in solo and group shows since the early 1980s and is featured in the collections of the Art Gallery of Ontario; Brooklyn Museum of Art (New York); Canada Council Art Bank; Musée d’art contemporain de Montréal; National Gallery of Canada and the Tom Thompson Memorial Art Gallery (Owen Sound), among others. The artist currently divides his time between his studio in Brooklyn, New York, and teaching, at the School of Visual Arts in New York.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

46 SUSANNA HELLER BLACK CLOUD REACHES BROOKLYN mixed media on canvas signed, titled and dated 2002 on the stretcher 14 ins x 21 ins; 35.6 cms x 53.3 cms Provenance: Olga Korper Gallery, Toronto Private Collection, Toronto $4,000–6,000

Literature: Milroy, Sarah. Susanna Heller: Catastrophe as Muse. Accessed 27 February, 2015. canadianart.ca/reviews/2012/02/16/susanna_heller/ Susanna Heller. Online video clip. Vimeo. Vimeo, Feb, 2013. Accessed 24 February, 2014. https://vimeo.com/60628028 Note: “It took me a good ten years to figure out how to engage the city, how to draw it, how to paint it, how to picture it...it wasn’t exactly about its look, it’s more about its being.”

Susanna Heller’s unique relationship with New York City is expressed through her dense and dynamic paintings of buildings, monuments and aerial views of the city and its boroughs. She views New York as an animated character and is compelled to capture, in pencil and paint, its vibrancy, space, and above all, its movement. As an artist in residence in Tower I of the World Trade Center just two years before its destruction in 2001, Heller reacted to the devastation through her artwork, becoming “...the most authoritative artistic chronicler of the 9/11 disaster, walking from her Williamsburg apartment over the bridge to Manhattan almost every day for four months to document the ruins, producing smouldering charcoals and paintings that bore witness to chaos in tortured, incredulous, and sometimes exultant strokes, dabs and jabs.”

Heller’s paintings of New York after September 11 radiate a chaotic energy as seen in Black Cloud Reaches Brooklyn (2002). A bird’s-eye view depicts a black, billowing cloud traversing New York City towards Brooklyn. Thick black lines, daubs of red pigment and fragments of torn paper and canvas, perhaps symbolizing the jettisoned building materials from Ground Zero, accentuate the gravity of the subject matter. To balance the sense of upheaval, Heller included a blue meandering horizontal line (likely the East River) and a solitary green space in the foreground providing respite for the viewer from an otherwise tumultuous landscape.

Susanna Heller has an extensive exhibition history in North America and beyond and is a recipient of numerous awards from the Canada Council for the Arts, the Ontario Arts Council as well as the National Endowment for the Arts. Her works are included in major collections such as The Air Canada Corporation (Montréal), the Art Gallery of Ontario (Toronto), the Canada Council Art Bank (Ottawa) and the Toronto Dominion Bank as well as in many private collections around the world.

She currently lives and works in Brooklyn, New York.

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47 RENÉ-PIERRE ALLAIN OPEN WARP #6 steel signed and titled on the reverse; dated 1999 on gallery label on the reverse 48 ins x 48 ins x 4.5 ins; 122 cms x 122 cms x 11.4 cms Provenance: Galerie de Bellefeuille, Montreal Private Collection, Toronto $5,000–7,000

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

48 GREG MURDOCK WATERFRONT mixed media and graphite on panel signed and dated 1989 on the reverse 80 ins x 60 ins; 203.2 cms x 152.4 cms Provenance: Private Collection, Toronto $5,000–7,000

Note: Inspired by the variety of encounters while traveling, Greg Murdock, always keeping his mind open to new ways of interpreting the visual, illustrates his experiences through the challenging medium of encaustic. Suspending subject matter consisting of natural forms, geometric shapes, and architectural devices, Waterfront (1989) is an early example of the artist’s exploration of object and landscape. With a talent for connecting the canvas with a viewer’s curiosity, the deeply layered surface of intricate mark-making help to identify the artist’s signature style.

Murdock was born in Saskatoon, Saskatchewan in 1954. He studied at the University of Saskatchewan, Instituto Allende (Mexico) and Emily Carr Institute of Art and Design (Vancouver). His work can be found in numerous private, corporate and public collections in Canada and the United States including the Vancouver Art Gallery, the MacKenzie Art Gallery (Regina) Musée d’art Contemporain (Montréal) and the Art Institute of Chicago. He currently lives and works in Vancouver, BC where he exhibits regularly.

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49 ROBERT FONES HYPHEN, COMMA AND PERIOD (AFTER GEOFROY TORY) watercolour and graphite on paper signed, titled and dated May 2001 17.25 ins x 29.75 ins; 43.8 cms x 75.6 cms Provenance: Private Collection, Toronto $1,500–2,000

Note: Born in 1949, Robert Fones began his career in the vibrant art scene of his birthplace, London, Ontario. Mentored by Greg Curnoe, Fones made important contributions within the region, including the founding of Forest City Gallery in 1973. In 1976 he moved to Toronto where he currently lives and practices.

Working across a variety of media including painting, sculpture, photography and printed-matter, Robert Fones has established himself as an integral proponent of Canada’s conceptual art movement. His works provide an examination of cultural production, calling into question the relationship between the natural artifact and the manufactured product.

Through curious combinations of pictograms, unique typefaces, and geometric shapes, Fones investigates processes of change across geological, cultural and industrial histories. Viewers, initially drawn in by elements of pop culture and anthropomorphism, find themselves engaged with work heavily punctuated by social critique.

Represented by Olga Korper Gallery, Fones has exhibited throughout Canada, the United States, and Germany. In 2011 he was the recipient of the Governor General’s Award in Visual and Media Arts. His work is included in many corporate and public collections, including the permanent collections of the Art Gallery of Ontario, Museum London (Ontario), The Canada Council Art Bank, and the National Gallery of Canada.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

50 GREG HOLMAN MY LEFT HAND silver bromide print produced from film negative signed on the reverse 44 ins x 34 ins; 111.8 cms x 86.4 cms Provenance: Private Collection, Toronto

Note: Canadian artist Greg Holman’s series of photographs entitled My Left Hand was exhibited in 1997 at the Carrier Gallery in Toronto and at the National Museum of Photography in Brescia, Italy. The series was originally shot on Polaroid negatives and then re-shot on a large format camera. Three enlargements were created from the 8 x 10 inch negative. Holman describes the work in this way, “The series was initially conceived through my inspiration to pursue three dimensional sculptural forms with photography.

The ability to contort my hands was inherited from my great grandfather, a circus contortionist in Chicago. The twisted form seemed perfect for this sculptural exploration.”

$1,500–2,000

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51 JOE FLEMING YOU KNOW WHAT I’M TALKIN BOUT enamel on polycarbonate with aluminum substrate signed, titled and dated 2014 on the reverse

Note: Joe Fleming is a Toronto-based artist who has been exhibiting internationally for over 15 years. Working on industrial polycarbonate, Fleming’s surfaces are scratched and layered with vivid colour. The translucent nature of the material works to visually dissolve the boundaries between the work and the wall on which it is displayed. His painterly gestures are bold and generous, abstracted and sculptural.

46.5 ins x 36.5 ins; 118.1 cms x 92.7 cms Provenance: Private Collection, Toronto $3,500–4,000

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Fleming’s work is in major corporate and private collections including BMO Financial, HSBC Bank, Pricewaterhouse Coopers, the Canadian High Commission, the Australian High Commission, and has been exhibited throughout the world in Kuala Lampur, Singapore, Paris, Miami, New York, Los Angeles and Cologne. He is represented in Toronto by General Hardware Contemporary.

Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

52 MELANIE AUTHIER CATAPULT ON STANDBY acrylic on canvas signed and dated 2010 on the reverse; titled on the overflap 60 ins x 72 ins; 152.4 cms x 182.9 cms Provenance: Private Collection, Toronto $7,000–9,000

Literature: Melanie Authier. National Gallery of Canada Artist Interview: Melanie Authier. Dec. 21, 2012. Accessed July 30, 2014. https://www.youtube.com/watch?v=5lLtzD5kLoo_ Note: Melanie Authier’s paintings are spirited arrangements of conflicting elements that appeal to each viewer in a unique way. Some are drawn to the extreme ranges of dynamic colour, while others gravitate toward the controlled chaos of shapes always present in her work. Inspired by the scope of reactions to her painting, Authier creates with the intent of awakening her audience to the complexities of abstract art while retaining a sense of “playfulness.” She says, “With all of my works the attempt and goal is always to combine various visual contradictions into one imaginary space...I’m interested in creating these visual contrasts through a negotiation of oppositions.”

Catapult on Standby (2010) is a large-scale example of Authier’s dynamic composition. The soft tonal quality of the work is inviting and full of movement, while the lush colours of Perch (2007) (lot 4) add an increased energy and vibrancy to the canvas. In both paintings the viewer becomes absorbed in the creative depth of the work as Authier invites us to explore her built environment.

Authier received a BFA from Concordia University (Montréal) in 2002 and completed her MFA at the University of Guelph in 2006. She has received several grants from the Canada Council for the Arts and the Ontario Arts Council. Authier was awarded with an honourable mention at the RBC Canadian Painting Competition in 2007. Her work is represented in many corporate, private and institutional collections.

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53 CAROL WAINIO, R.C.A. WAYS OF KNOWING acrylic on canvas signed, titled and dated 1988 on the reverse 24.5 ins x 112 ins; 62.2 cms x 284.5 cms Provenance: Private Collection, Toronto $8,000–10,000

Literature: Thériault, Michèle, Carol Wainio, Contemporary Registers (exhibition catalogue), Musée d’Art de Joliette, Joliette, 2000, pages 58-59.

Note: Carol Wainio’s Ways of Knowing (1988) is an early example of the artist’s career-long interest in the pursuit of knowledge, the nature of time and a highly narrative style of painting. Upon first encountering this work, viewers are presented with a visual “story”; that is, the canvas “reads” from left to right as if Wainio is depicting a tale with a beginning, middle and an end.

There is action taking place; some unknown force is propelling matter at great speed. Sweeping brushstrokes that emulate rushes of air and blurs of pigment in the shapes of discs and exploding orbs suggest a progressive movement and indicate a point of entry and a point of exit. There are characters in this painting as well in the forms of fragmented faces and limbs and animated figures that are being thrust through time and space. The figures have expressions of confusion and contemplation as though they are as curious about what is happening as the viewers are. There is no one interpretation, or ending as it were, to this narrative. Wainio’s intent is to pose the questions and allow for the viewers’ experiences to inform their personal interpretation. “I would truly like for my paintings to be sites of communication – both inside the frame, through the interrelation of the formal elements, and outside, through the links that develop between the thoughts that the painting provokes and the viewer’s life experience.” Visual stimulation and memory recall are in fact ways of knowing. As the title suggests, the narrative in Ways of Knowing does not demand an interpretative conclusion but rather acts as a vehicle for questioning and learning.

Carol Wainio received her MFA from Concordia University (Montréal) in 1985 and has been exhibiting her work ever since at venues such as the National Gallery of Canada (Ottawa), the Musée d’art contemporain de Montréal and the Art Gallery of Ontario (Toronto). Internationally, she has shown in the United States, Europe, China and Italy. Wainio was the 2014 winner of the Governor General’s Award in Visual and Media Arts.

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54 SUZY LAKE, R.C.A. EXTENDED BREATHING WITH MOVING GRASSES, 2011 chromogenic print signed and numbered 24/25 on label on backing 18 ins x 24 ins; 45.7 cms x 61 cms Provenance: Donated by the artist; sold to benefit the Scotiabank CONTACT Photography Festival $1,500–2,000

Note: Born in Detroit, Michigan in 1947, Suzy Lake is one of a pioneering group of visual artists to adopt performance, video and photography in order to explore the politics of body, gender and identity. Upon completing her studies she immigrated to Montréal in 1968. Almost ten years later, she completed a Master of Fine Arts degree at Concordia University. She is largely self-taught in the fields of film, photography, video and performance art. Lake was Guido Molinari’s studio assistant in the early 1970s, and was an active member of the Montréal artistic communities throughout that decade. She cofounded the artist-run avant-garde gallery Véhicule Art Inc. in 1972.

Lake was profoundly influenced by the social and political movements of the 1960s and 70s. She is recognized for her large-scale photography, which reflects the politics of feminism and femininity, referencing the body as both subject and device. She is often compared to the prolific photographer Cindy Sherman for making appearances in her own art and manipulating her visual identity in order to address the constructs of fashion and beauty.

Indeed, she practices a form of conceptual art that uses photography more as a means of communication and inquiry than a record of reality.

Lake has had an extensive exhibition career, with successful shows in North America, South America, Europe and Asia. Her work is represented in many public collections, including those of the Art Gallery of Ontario (Toronto); the Musée d’art Contemporain (Montréal); and the Albright Knox Museum in Buffalo (New York). Most recently in 2014, a retrospective of her career was hosted by the Art Gallery of Ontario.

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55 JASON BROWN MOOSE SEASON IN THE GASPE, RIVIERE-AU-RENARD, QC, 2011 archival pigment print mounted to archival board edition 1/5 41 ins x 50 ins; 104.1 cms x 127 cms Provenance: Private Collection, Toronto $2,000–2,500

Note: Jason Brown is a fine art photographer based in Toronto. His work explores storytelling and hints at narratives found in our built environments and the nominal subjects in our surroundings. Born in Elliot Lake, Ontario, Jason holds a Bachelor of Journalism degree with a concentration in History from Carleton University in Ottawa and he has studied photography at Ryerson University in Toronto. Moose Season in the Gaspé, Rivière-au-Renard, QC (2011) is from the series “You Seem To Be Where I Belong” – Brown’s personal, ongoing, survey of contemporary Canada. Peering around unassuming corners and down quiet roads, this work presents an unexpected view on how our sometimes out-of-date and sometimes out-ofplace occupation of the Canadian landscape connects and brings us together as a society. At its essence, this work is a reflection on the Canadian landscape and small town life, laying bare a country that is in one light authentic and charming, and in another troubled and enigmatic.

-Courtesy of the artist

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56 KEN LUM I DON’T KNOW WHETHER TO LAUGH OR CRY, 2013 inkjet print signed and numbered 51/75 sheet 22.5 ins x 15 ins; 57.2 cms x 38.1 cms Provenance: Donated by the artist; sold to benefit the Scotiabank CONTACT Photography Festival Note: Ken Lum is a key figure in the Vancouver conceptual and post-conceptual school of artists that includes, most notably, Jeff Wall, Rodney Graham and Ian Wallace.

Working in a range of media that includes painting, photography, installation and large-scale public commissions, Lum addresses issues of personal and cultural identity with an edge of social critique.

Particularly attuned to the individual’s rights in our age of globalization and migration, Lum’s work, spanning over 40 years, was the subject of a major 2011 survey at the Vancouver Art Gallery.

Photo-text works such as I Don’t Know Whether to Laugh or Cry (2013), along with his mock low rent strip mall signs and his staged portraits, are among Lum’s signature works.

A prolific and celebrated creator, critic, writer and teacher, Lum was appointed a Guggenheim Fellow in 1999 and a Hnatyshyn Foundation Visual Arts award in 2007. In 2012, he left Vancouver to assume the position of Director of the Undergraduate Fine Art Program at the prestigious University of Pennsylvania School of Design. $700–900

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57 MICAH LEXIER SELF-PORTRAIT AS A PIECE OF PAPER paper and printed text signed with initials and dated 1997 14 ins x 10 ins; 35.6 cms x 25.4 cms Provenance: Private Collection, Ontario Note: Printed text reads: “Self-portrait as a piece of paper divided proportionately between the top area representing life lived and the bottom area representing life to come, based on statistical life expectancy. This piece of paper has been demarcated in the following manner: (hand-written inscription) knife cut, bottom area crumpled and taped together.” $1,500–2,000

58 MICAH LEXIER HE WOULD HAVE (FROM THE LIVES AND WORKS SERIES) laser-cut steel and painted waterjet-cut aluminum signed with initials and dated 2005 on left apostrophe 18.25 ins x 5.5 ins; 46.4 cms x 14 cms Provenance: Private Collection, Ontario Note: Lexier’s oeuvre is conceptual in nature and practice, founded on ideas that precede the realization of the work. His creative practice is pervasive, extending far beyond the walls of the gallery and into the collective cultural conscious. He Would Have (2005), from the artist’s “Lives and Works Series” is an example of Lexier’s laser-cut sculpture, an effect that intrigues audiences through the use of “visual idioms”. Self-Portrait as a Piece of Paper (1997) references Lexier’s own personal experience, and highlights his creative exploration of life and age. Here the artist characteristically inserts language, in printed text at the bottom, signifying its importance and its permanence in his work.

Lexier studied at the Nova Scotia College of Art and Design before establishing himself in Toronto. He has participated in numerous international group exhibitions including Numerica at the Centro Arte Contemporanea in Siena, Italy (2007); The Time of Our Lives at the New Museum in New York (1999), and Speed at the Whitechapel Art Gallery in London, England (1998).

His work is featured in numerous private and public collections including the Art Gallery of Ontario; British Museum (London); The Jewish Museum (New York) and the Contemporary Art Gallery in Sydney, Australia. Most recently a survey of his work “One, and Two, and More Than Two” was shown at the Power Plant (Toronto), in 2013 and 2014. $4,000–6,000

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59 MARCEL DZAMA UNTITLED mixed media on paper signed; inscribed “Now my luck may have died and my love may be cold but with you forever I’ll stay” and dated /97 on the reverse signt 8.5 ins x 8 ins; 21.6 cms x 20.3 cms Provenance: Private Collection, Toronto $2,000–3,000

Note: Marcel Dzama is a multidisciplinary artist from Winnipeg, Alberta, and is best known for his drawings, sculptures, dioramas, films and paintings. He first came to the public’s attention in the 1990s after he co-founded the Royal Art Lodge, a collaborative artist group which specialized in small-scale drawings and paintings. He was active with the collective until it disbanded in 2008.

In his solo career, Dzama creates drawings coloured in a muted palette of reds, greens and browns. His subject matter ranges from that of anthropomorphized trees, cowboys and ghosts to astronauts, dancers, and bears, all equally comic and bizarre. In 2010, his largest solo show to date entitled “Of Many Turns” was held at the Musée d’art contemporain (Montréal) and was a true celebration of the artist’s prolific career. Now, Dzama has begun to embrace film and sculpture as he continues his practice in New York.

His work has been exhibited and collected by major institutions including the Museum of Modern Art (New York); the Pinakothek der Moderne (Munich); National Gallery of Canada (Ottawa); Solomon R. Guggenheim Museum (New York); and Tate Gallery (London). In 2013, Harry Abrams published the first comprehensive monograph of the artist’s work, entitled “Marcel Dzama: Sower of Discord”.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

60 BRUCE MAU UNTITLED mixed media on paper signed 19.25 ins x 19.25 ins; 48.9 cms x 48.9 cms Provenance: Private Collection, Toronto $1,000–1,500

Note: Widely known for his innovation in design and high-profile collaborations with leading architects, Bruce Mau has certainly transcended nationhood and become a contributor to the highest planes of creative enterprise. Born in Sudbury, Ontario, Mau studied communication design at Ontario College of Art and Design and began his practical education in London, UK, where he gained exposure to visual artists who doubled as designers, like Herman Lelie. Since those formative years Mau has consistently pursued an interdisciplinarity that crossed politics, activism, design, architecture, and art.

Mau has worked closely with Frank Gehry, designing the typography and signage for the Walt Disney Concert Hall, as well as that of the Art Gallery of Ontario, following Gehry’s “transformation.” He’s also worked with Rem Koolhaas on a lauded redesign of Toronto’s Downsview Park. He’s been commissioned by leading artworld institutions including the MoMA and Gagosian Gallery (New York), and has collaborated with artists Michael Snow, Gordon Monahan, and choreographer Meg Stuart. His aesthetic has been celebrated for its clarity, energy, and youth. Imbuing these spirited typographies is an urgent commentator on issues of consumption, communication, and persuasion. The drawing Untitled effectively communicates some of Mau’s aesthetic (multiple and clashing perspectives, for instance) and what can be his biting critique.

Bruce Mau founded Bruce Mau Design in 1985, where he was the creative director until 2010. He also founded the Institute without Boundaries, whose first major project, Massive Change: The Future of Global Design, “examined the role of design in addressing social, environmental, and economic issues.” Mau is an honorary fellow of the Ontario College of Art and Design and a member of the Royal Canadian Academy of Arts. He was awarded the Chrysler Award for Design Innovation in 1998, and the Toronto Arts Award for Architecture and Design in 1999. In 2001 he received an Honorary Doctor of Letters from the Emily Carr University of Art and Design in Vancouver.

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61 LOUIS DE NIVERVILLE, R.C.A. DESERT HOLIDAY mixed media on board stamped “L. DE NIVERVILLE” on the reverse 32 ins x 35 ins; 81.3 cms x 88.9 cms Provenance: Canadian Fine Arts, Toronto

Literature: De Niverville, Louis. Saatchi Art. Accessed March 07, 2015. http://www.saatchiart.com/louisdeniverville.

Note: A self-taught artist, Louis de Niverville worked as a graphic designer for the Canadian Broadcasting Corporation in Toronto which led him to develop a formidable technique, particularly with collage. His work is characterized by fresh and provocative imagery, a world in which fantasy and nightmare collide. The visionary world of de Niverville appears in the mixed media composition Desert Holiday, where multiple characters are illustrated in a vibrant scene al fresco. The work’s twodimensionality and abundance of texture create an engaging dream world that is simultaneously static as if frozen in time.

$2,500–3,500 Louis de Niverville has been exhibiting across Canada and the United States since the mid-1980s. He has worked on many commissions and murals including the Bentall Centre (Vancouver), a mural for the Toronto Hospital for Sick Children and the Toronto Transit Commission, among others. He is featured in many private and public collections including the National Gallery of Canada; Museé d’art contemporain de Montréal; Art Gallery of Ontario; Canada Council Art Bank (Ottawa), and the Coca Cola Company in Toronto.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

62 ANGELA LEACH AR - WAVE #97 acrylic on board signed, titled and dated 2009 on the reverse

Literature: Roald Nasgaard, Abstract Painting in Canada, Douglas & McIntyre Ltd., Vancouver, 2007, page 377.

Leach, Angela. Artist Statement. 2006. www.angelaleach.com Note: “The practice of filling lines with wiggly stripes of colour, similar to yarn, offered a direction in painting with endless experimentation.”

24 ins x 24 ins; 61 cms x 61 cms Provenance: Wynick/Tuck Gallery, Toronto Private Collection, Toronto $4,500–5,500

Toronto native Angela Leach spent her early artistic career exploring the highly textural and colourful practice of weaving. This interest in textiles is evident in her paintings, especially those from her energetically charged AR (Abstract Repeat) series. Roald Nasgaard wrote of her work, “Modelling her procedure on weaving, Leach subjects her paintings to a number of restrictions...using exactly thirty-two colours, repeating them in a sequential order that runs from dark to light, the colour repetition reflecting the regular quality of woven fabric.” Leach paints ribbons of colour that expand and contract; the paintings seem to pulsate as the waves change shape and direction and the colours merge and undulate.

Leach graduated from the Ontario College of Art and Design in 1989 and has since presented her work in many group and solo exhibitions at such institutions as the Art Gallery of Ontario (Toronto); the Power Plant (Toronto); the Contemporary Art Gallery (Vancouver); Edmonton Art Gallery; and the Albright-Knox Art Gallery (Buffalo).

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63 STEPHEN ANDREWS CRY ME A RIVER etching dated “12/XII.89” and numbered 13/14; signed and titled on the backing 13 ins x 19.75 ins; 33 cms x 50.2 cms Provenance: Private Collection, Toronto $1,000–1,500

Note: With a mix of drawing, painting, printmaking, and animation, Toronto-based artist Stephen Andrews questions the role of personal memory and visual interpretations in his contemporary art practice. Focusing on themes of identity, technology, the human body and their representations in various forms of media, Andrews illustrated many portraits of men in the 1980s who died of AIDS or AIDS-related causes. The 1989 etching Cry Me a River (1989) is one such example. Andrews was greatly impacted by the virus and its effects, choosing to express himself and the people he lost through art.

Here we see a group of men mourning the loss of a friend, exposing themselves both literally and figuratively to the effects of the epidemic.

Andrews has said that one of the characteristics he most values in his art is the “ability to fail miserably.” With that in mind he has always allowed himself to experiment with various techniques that give weight to his chosen topics and encourage self-reflection, no matter the form.

The work of Stephen Andrews can be found in many prestigious collections throughout North America including the Art Gallery of Ontario; the Schwartz Collection at Harvard University (Cambridge, Massachusetts); Canada Council Art Bank; the Museum of Contemporary Canadian Art (Toronto) and the National Gallery of Canada in Ottawa.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

64 BALINT ZSAKO UNTITLED both watercolour and ink on paper the first: signed and dated “2008 OCTOBER”; the second: signed and dated “2008 MAY” both 16 ins x 12 ins; 40.6 cms x 30.5 cms Provenance: Private Collection, Toronto $2,000–3,000

Note: Balint Zsako was born in Budapest, Hungary, in 1979, and received his BFA from Ryerson University (Toronto) in 2002. He is best known for his drawings and collages which use watercolor and ink on paper to depict a multitude of characters and experiences encompassing themes such as family, mythology, sex, bodily functions, and primitive desires. His work is recognized for the thick black outlines which encase “shocks of colour”.

Zsako’s art has also been likened to illuminated manuscripts, as the delicate lines are combined with very simple, archetypal themes. However, it takes the viewer a moment to recognize that this traditional method of drawing with ink on paper is coupled with notions of innocence, perversity, and sometimes even cruelty. Bodies twist in unusual positions, and interactions between subjects are unusually sexual and savage. This adds an element of the surreal and the bizarre; setting his work apart from the historical and into the contemporary moment.

Zsako has experienced a large amount of success in the 2000s, and has moved his practice to New York where he continues to create his sinister and quirky drawings.

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ConcreteContemporaryArt.Waddingtons.ca

65 DAVID BOLDUC FROM THE TRAIN

Note: Sold to benefit Historica Canada.

acrylic on canvas signed, titled and dated 1988 on the overflap; unframed

The abstract paintings of the prolific David Bolduc are known for their poetic and lyrical quality.

Maintaining a style often referred to as ‘exotic’ or ‘eccentric’ modernism, Bolduc is undoubtedly an heir to the abstraction of his many great predecessors such as Jack Bush and Gershon Iskowitz, although he works in a style of softness as opposed to the gestural. Inspired by motifs in nature such as flowers, trees and stars which he admired during his many worldly travels, Bolduc interpreted his subjects using a colourful palette and building bold, impasto surfaces.

60 ins x 56 ins; 152.4 cms x 142.2 cms Provenance: Charles Bronfman’s Claridge Collection, Montreal $6,000–8,000

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In West Night, Bolduc presents a bright night sky with a dynamic burst of colour emanating through the centre. Stars speckle the top half of the canvas, descending upon the rippling waves below. The irregular lines which interject this peaceful scene liven the surface by bringing a sense of movement to the still night. Unsure whether this form indicates a shooting star, a mass of land, or a life form, Bolduc keeps the viewer guessing with his unique sense of the abstract.

Bolduc was born in Toronto in 1945 and spent one year at the Ontario College of Art (Toronto) before studying at the Museum of Fine Arts School in Montréal. It was in Montréal that he would hold his first solo show at the Elysée Theatre in 1966. Bolduc’s artistic career spanned over three decades and included an extensive exhibition schedule with many commercial galleries in Toronto. His work is represented in major public collections throughout Canada. Since his passing in 2010, he has remained an important figure of abstract art in Canada.

Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

66 DAVID BOLDUC WEST NIGHT acrylic on canvas signed, titled and dated 1987 on the reverse 54 ins x 80 ins; 137.2 cms x 203.2 cms Provenance: Private Collection, Toronto $7,000–9,000

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67 WANDA KOOP, R.C.A. A CANAL acrylic on rag paper 22 ins x 29.75 ins; 55.9 cms x 75.6 cms Provenance: Private Collection, Toronto $3,000–4,000

Note: Wanda Koop is well known for her artistic diversity, excelling in performance art, video and large-scale installations and of course, painting. Her work often addresses the challenging relationship between humanity and nature; Koop is interested in the ways that technology and modernization affect the landscape. A Canal is a depiction of a man-made waterway system that meets a sunset awash in muted tones and blends seamlessly with the land at its borders. The resulting impression is that the canal is a part of the actual landscape and not a construction that has permanently marred it. The angular lines and the architectural shapes subtly suggest both a figurative and literal blurring of the lines between the landscape and its ultimate urbanization.

A native of Vancouver, Koop has shown her work in over 50 solo exhibitions over the past three decades in Canada, Great Britain, the Netherlands, Germany, Brazil, Japan, the United States, Italy, India and China. Her work is featured in the collections of the Reykjavik Art Museum (Iceland); Musée d’Art contemporain (Montréal); and the Canada Council Art Bank (Ottawa), amongst others. In 1998, Koop founded Winnipeg's Art City Project, an organization that provides inner-city youth with the opportunity to work with contemporary visual artists. She is the recipient of a myriad of awards both nationally and internationally including honorary degrees from the University of Winnipeg (Honorary Doctor of Letters, 2002) and Emily Carr Institute of Art and Design, Vancouver (2007). In 2002, she was awarded the Queen's Golden Jubilee Medal and in 2006, Koop was appointed a member of the Order of Canada. She currently lives and works in Winnipeg.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

68 SUZY LAKE, R.C.A. UNTITLED mixed media on paper signed and dated ‘84 8 ins x 26 ins; 20.3 cms x 66 cms Provenance: Private Collection, Toronto $5,000–7,000

Note: Born in Detroit, Michigan in 1947, Suzy Lake is one of a pioneering group of visual artists to adopt performance, video and photography in order to explore the politics of body, gender and identity. Upon completing her studies she immigrated to Montréal in 1968. Almost ten years later, she completed a Master of Fine Arts degree at Concordia University. She is largely self-taught in the fields of film, photography, video and performance art. Lake was Guido Molinari’s studio assistant in the early 1970s, and was an active member of the Montréal artistic communities throughout that decade. She cofounded the artist-run avant-garde gallery Véhicule Art Inc. in 1972.

Lake was profoundly influenced by the social and political movements of the 1960s and 70s. She is recognized for her large-scale photography, which reflects the politics of feminism and femininity, referencing the body as both subject and device. She is often compared to the prolific photographer Cindy Sherman for making appearances in her own art and manipulating her visual identity in order to address the constructs of fashion and beauty.

Indeed, she practices a form of conceptual art that uses photography more as a means of communication and inquiry than a record of reality.

Lake has had an extensive exhibition career, with successful shows in North America, South America, Europe and Asia. Her work is represented in many public collections, including those of the Art Gallery of Ontario (Toronto); the Musee d'art Contemporain (Montréal); and the Albright Knox Museum in Buffalo (New York). Most recently in 2014, a retrospective of her career was hosted by the Art Gallery of Ontario.

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69 PAUL SLOGGETT, R.C.A. THE ROYAL COACHMAN acrylic on canvas signed, titled and dated 1975 on the reverse 78 ins x 66 ins; 198.1 cms x 167.6 cms Provenance: Private Collection, Toronto

Literature: Sloggett, Paul. Virginia Christopher Fine Art. URL: http://www.virginiachristopherfineart.com/artists/paul_sloggett/paul_sloggett.html.

Note: Paul Sloggett graduated from the Ontario College of Art in 1973. His remarkable geometric abstractions were first exhibited at Hart House, at the University of Toronto in 1971. Since then, he has enjoyed a long and prestigious exhibition history which includes a number of successful shows, such as a 1977 exhibition where his work was exhibited alongside Jack Bush, K.M. Graham, Charles Gagnon, David Bolduc and Jean Paul Lemieux at the Hirshhorn Museum and Sculpture Garden (Washington, D.C).

$2,000–3,000 In The Royal Coachman (1975), Sloggett’s distinct style inspired by Russian constructivism, architectural design, and colour theory dominates the canvas through the simple juxtaposition of texture and geometry. Here, like much of his work, he examines the ongoing pursuit of abstraction, an aesthetic which he believes to be far from over. Commenting on his own practice he says, “The pursuit of pure abstraction as an art form is roughly 100 years old and contrary to what the cultural morticians tell, is it seems quite doubtful that artists could have exhausted infinite possibility in this seemingly brief period of time.”

His work has been exhibited across Canada, as well as in China, Germany, Italy and the United States, and is included in numerous collections, including the Art Gallery of Alberta; the Art Gallery of Hamilton (Ontario); and the Robert McLaughlin Gallery (Ontario). His work was also included in Dr. Roald Nasgaard’s definitive text on Canadian Abstraction, “Abstract Painting in Canada”. He has been the recipient of several Canadian & Ontario Arts Council grants and awards, and is a member of the Royal Canadian Academy of Arts.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

70 RONALD WILLIAM BOLT, P.R.C.A., R.C.A. BAFFINSCAPE acrylic on canvas signed and dated /81; signed, titled and dated /81 on the reverse 48 ins x 50 ins; 121.9 cms x 127 cms Provenance: Roberts Gallery, Toronto By descent to the present owner, Ontario $4,000–6,000

Note: Over the course of four decades, Ron Bolt has pursued the depiction of our elements and natural environments, continuing an important legacy of landscape painting in Canada, and a greater Romantic tradition that extends well beyond our national art history, and attempts to evoke the sublime. Spanning over 70 solo exhibitions and multiple international group shows, government-commissioned murals, and publications, Bolt has lent image to a vast array of subjects, including the incidental, the monumental, and a recurring theme regarding waterways.

Working from an early influence rooted in abstraction, Bolt maintains a minimalist sensibility even in his most detailed descriptions. Rarely pastoral and often exalted, his subjects are imbued with depth and time through his use of colour, subtle brushwork, and complex arrangements. Baffinscape (1981) locates Bolt’s deftness in navigating between photographic realism and the reduction of form to its most essential elements, verging on something nearing abstraction. In this distillation, he arrives at the natural world like a language needing our conservation and earnest perpetuation. His truer subject is preservation.

Ron Bolt is a member of the Royal Canadian Academy of Arts. He has shown in numerous group exhibitions across the United States, Mexico, England, and Asia, and has been featured in over 70 solo shows. His work is collected by Canada’s leading institutions. Bolt is represented by Loch Gallery.

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71 DIANA THORNEYCROFT GROUP OF SEVEN AWKWARD MOMENTS (BEAVERS AND WOO AT TANOO) chromogenic print signed, titled, dated 2008 and numbered 9/20 on a label on the backing sight 22 ins x 29.5 ins; 55.9 cms x 74.9 cms Provenance: Private Collection, Toronto $1,000–1,500

Literature: Thornerycroft, Diana. “Group of Seven Awkward Moments.” Accessed February 20, 2015. http://dianathorneycroft.com/collection-sevenawkward.php.

Note: Diana Thorneycroft’s quirky photographs surge with humour and creativity.

In her 2008 work Group of Seven Awkward Moments (Beavers and Woo at Tanoo), Thorneycroft presents us with a peculiar scene compiled by appropriating various mass media subjects such as plastic figurines, paper cutouts and painted backdrops. Here the artist pays tribute to the famed group of Canadian landscape painters by exploring the relationship between the landscape and our national identity. The backdrop of the work is a recognized painting by the group, fronted by a dreary scene of chaos.

Thorneycroft describes her intent, “By pairing the tranquility of traditional landscape painting with black humour, the work conjures up topical and universally familiar landscapes fraught with anxiety and contradictions.”

Thorneycroft received her BFA from the University of Manitoba and her MA from the University of Wisconsin. She has exhibited across North America and Europe, including the Museum of Contemporary Canadian Art in Toronto and the Canadian Cultural Centre in Paris. Her work can be found in the collections of the Canadian Museum for Contemporary Photography in Ottawa, the Vancouver Art Gallery and the Winnipeg Art Gallery among many others.

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Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

72 TIM ZUCK WING etching signed, titled, dated ‘97 and numbered 9/20

Note: Born in Erie, Pennsylvania in 1947, Tim Zuck was educated at the Nova Scotia College of Art and received his MFA from the California Institute of the Arts in 1972. As an instructor at Nova Scotia College of Art and Design from 1972 to 1979, Zuck’s practice reflected the conceptual processes prevalent at the time. In 1979 Zuck left the institution to pursue his performance, video and photography work full-time.

plate 6.5 ins x 9.5 ins; 16.5 cms x 24.1 cms Provenance: Private Collection, Ontario $400–500

Zuck is known to paint common objects and familiar places, pared down to their most essential form. In his expertly executed paintings, he pushes the boundaries of realism. “I really try to slow down time by trying to take simple things and actually tear them down, peel away at it. I basically try and reduce the object to its essence and that is really intense for me and it works.” The etching Wing from 1972 graphically illustrates this formal minimalism, the spare wing extending out into an open grey sky.

Zuck has been widely exhibited and collected throughout Canada and his work his held in the permanent collections of leading institutions including the National Gallery of Canada (Ottawa), the Canada Council Art Bank, McMichael Canadian Collection,Vancouver Art Gallery and Art Gallery of Ontario among many others.

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Index

A

H

T

ADAMSON, MICHAEL...16, 30

HELLER, SUSANNA...46

THORNEYCROFT, DIANA...71

ALLAIN, RENÉ- PIERRE...45, 47

HODGSON, THOMAS SHERLOCK...6

ANDREW, STEPHEN...63

HOFFER, PETER...33

U

ASTMAN, BARBARA...41-42

HOLMAN, GREG...50

URBAN, DAVID...38

AUTHIER, MELANIE...4, 52

HOLMES, THRUSH...14

B

K

WAGSCHAL, MARION...9

BAHEN, MATT...23

KIRTON, DOUG...11

WAINIO, CAROL...53

BÉLIVEAU, PAUL...44

KISSICK, JOHN...26

WINN, JACK...19

BIERK, DAVID...34-35

KOOP, WANDA...67

W

Z

BOLDUC, DAVID...65-66 BOLT, RONALD WILLIAM...70

L

ZSAKO, BALINT...64

BROWN, JASON...55

LACK, STEPHEN...40

ZUCK, TIM...72

LAHEY, JAMES...31-32 C

LAKE, SUZY...54, 68

COHEN, LYNNE...36

LAVOIE, ALEXIS...3

CURNOE, GREG...28

LEACH, ANGELA...2, 13, 62 LENNARD, JOHN...5

“NOTES” contributions by Emily Cavanagh,

D

LEXIER, MICAH...57-58

Elyse Clinning, Sky Goodden, Stephen

DE NIVERVILLE, LOUIS...61

LUM, KEN...56

Ranger, Erin Rutherford and Kristin Vance.

DEAN, MAX...37 DORLAND, KIM...17-18

M

DRISCOLL, STEVE...12

MAU, BRUCE...60

DZAMA, MARCEL...59

MURDOCK, GREG...48

F

P

FERGUSON, GERALD...10

PAYETTE, JACQUES...43

FLEMING, JOE...51

PENNY, EVAN...15

FONES, ROBERT...49

PRETTI, KATIE...7-8

G

S

GARTNER, MARIANNA...39

SCHERMAN, TONY...29

GENERAL IDEA...20

SCHUYFF, PETER...27

GROSSMANN, ANGELA...24-25

SCOTT, JOHN...21-22 SLOGGETT, PAUL...69 STEBBINS, MARK...1

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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.

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that province, whether it HST or GST (Goods and Services Tax).

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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.

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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.

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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.

Presented by Presented

April 24 - 26, 2015 Complexe de Gaspé, 5445 de Gaspé Montreal Montr eal – Queb Quebec ec – C Canada anada papiermontreal.com p apiermontreal.com

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ConcreteContemporaryArt.Waddingtons.ca

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.

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

ConcreteContemporaryArt.Waddingtons.ca

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 pre-auction 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 Envoy 416.299.3367 416.299.9750 ph@envoy.ca www.envoypackandship.com 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.

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Paintings, drawings, prints, furniture, jewellery and all forms of decorative arts and collectibles may be brought to our Toronto office where we can provide you with preliminary auction estimates and consignment procedures.

Please visit our website at www.waddingtons.ca for details on our various departments and how to contact the specialists. We also accept mailed and emailed requests for advice on the marketability of objects. A photograph and phone number must accompany a full description of each item.

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

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

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

Notice for our International Clients

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

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

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

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

For more information please visit: www.cites.org

Concrete Contemporary Auctions and Projects - Contemporary Art Auction - Monday 13 April 2015

Operational Sta

Specialist Departments

Asian Art Anthony Wu 416 847 6185 aw@waddingtons.ca Yvonne Li 416 847 6195 yl@waddingtons.ca

Jewellery, Watches & Numismatics Don P. McLean 416 847 6170 dpm@waddingtons.ca Lynda Macpherson Jewellery Administrator 416 847 6190 lm@waddingtons.ca

Canadian Fine Art Monthly Fine Art Linda Rodeck 416 847 6176 lr@waddingtons.ca Eileen Reilly Condition Reports 416 847 6191 etr@waddingtons.ca Erin Rutherford Fine Art Administrator 416 504 5100 er@waddingtons.ca Contemporary Art Stephen Ranger 416 847 6194 skr@waddingtons.ca Kristin Vance Fine Art Administrator 416 504 9100 ext 6178 kv@waddingtons.ca International Art Susan Robertson 416 847 6179 sr@waddingtons.ca Nadine Di Monte Assistant 416 847 6182 npd@waddingtons.ca Inuit Art Christa Ouimet 416 847 6184 co@waddingtons.ca

Doug Payne 416 847 6180 dp@waddingtons.ca Decorative Arts Bill Kime Silver, Glass & Ceramics 416 847 6189 bk@waddingtons.ca Sean Quinn Sculpture, Decorations, Clocks & Lighting 416 847 6187 sq@waddingtons.ca Ellie Muir Decorative Arts Assistant 416 847 6196 em@waddingtons.ca

President Duncan McLean 416 847 6183 adm@waddingtons.ca

Building Manager Steve Sheppard 416 847 6186 ss@waddingtons.ca

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

Client Services Andrew Brandt 416 504 9100 ext 6200 ab@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 Queeny Xu Assistant qx@waddingtons.ca Accounts Manager Karen Sander 416 847 6173 ks@waddingtons.ca Elda Pappada 416 504 9100 x6213 ep@waddingtons.ca

Waddingtons.ca/Cobourg 9 Elgin Street East, Cobourg ON K9A 0A1 General Manager Paul Needham 905 373 0501 pn@waddingtons.ca 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

Corporate Receptionist Kate Godin 416 504 9100 kg@waddingtons.ca Ali Nasir 416 847 6181 an@waddingtons.ca Appraisal Co-ordinator Ellie Muir 416 847 6196 em@waddingtons.ca Communications Tess McLean 416 504 9100 tm@waddingtons.ca

Nadine Di Monte Assistant 416 847 6182 npd@waddingtons.ca

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Contemporary 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