__MAIN_TEXT__

Page 1


Charles Bronfman’s Claridge Collection Auction: Part V: Decorative Arts Tuesday 21 April 2015 at 1:00 pm

On View Saturday 18 April 2015 from 11:00 am to 5:00 pm Sunday 19 April 2015 from 11:00 am to 5:00 pm Monday 20 April 2015 from 10:00 am to 12 Noon The Proceeds of this auction will benefit Historica Canada 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 DecorativeArts.Waddingtons.ca

Waddingtons.ca


Specialist Andrew Brandt 416.504.9100 ext 6200 ab@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

Green squares indicate lots from another collection 2, 4, 10, 40, 66, 90, 92, 93, 96, 97, 101, 104, 105, 110, 111, 112, 116, 119, 144, 166, 167, 182, 183, 186, 188, 189, 190, 191, 199, 209, 210, 211, 212

All lots in the auction may be viewed online at DecorativeArts.Waddingtons.ca This catalogue and its contents Š 2015 Waddington McLean & Company Ltd. All rights reserved. Photography by Waddington’s


Probably the most distinctive corporate collection of Canadian art and design, the Claridge Collection was the passion of Charles Bronfman and his late wife Andrea, whose vision was to fill the office space of Claridge Inc. in Montreal with new Canadian art and crafts. The collection was an eclectic mixture of fun and colourful, the best and the brightest; but not always the most popular. For every work by a ‘name’ – which included paintings by Toni Onley, Allen Sapp, David Bolduc and Denyse Thomasos; photographs from Edward Burtynsky and George Zimbel; ceramics by Vic Cicansky, Robin Hopper, Greg Payce and Walter Ostrom – the collection included works by artists with little or no wide recognition in Canada. Visionary and almost egalitarian, the collection was a true representation of what was being produced by artists and craftsmen from across the country at that time. We can only imagine how much fun the approval process was, as the Bronfmans gave every piece presented to them by curator Franklin Silverstone for their consideration their personal yay or nay We applaud Mr. Bronfman’s decision to direct the proceeds of the sale of the Collection to benefit Historica Canada (formerly the Historica Dominion Institute), for which Mr. Bronfman has been a long-time patron. And we admire that Mr. Bronfman’s son Stephen, current executive chair of Claridge, is creating a new Claridge Collection, representing today’s Canadian artists, both stars and emerging stars. Stephen Ranger was quoted in the Globe and Mail in November 2013 just prior to the first auction saying, “The outgoing Claridge Collection is distinguished by ‘superb taste and respect for artists.’ “Just prior to these final auctions in April 2015, we are proud to say, “It has been an honour and privilege to conduct the Claridge Collection auctions on behalf of the Bronfman family.”


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 midand late-career artists with exhibition history in the private and public sphere. An exciting initiative is the introduction of our Pop-Up Gallery series. These shortduration 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 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 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 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


Charles Bronfman’s Claridge Collection Auction Part V: Decorative Arts Lots 1–218


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

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

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

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

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

The idea took hold and, for the next two years, Franklin travelled across the country, visiting artists in various cities in every province in search of excellent objects. Those works would then be set up, exhibition-style, for Andy and me, together with a couple of our colleagues to review and select those that wowed us. Between 1986 and 1996, over 900 works were purchased and displayed throughout our offices. It quickly became referred to as “The Claridge Collection,” a title that has held all these many years. Dismantling the collection is bittersweet, but knowing the proceeds will benefit on-going programs of Historica Canada is really a gift that keeps on giving!

Charles Bronfman

L'idée a suivi son chemin, et Franklin est parti à la recherche d'objets qui répondaient à notre critère d'excellence. Pendant deux ans, il a parcouru toutes les provinces du pays pour y rencontrer des artistes. Les pièces que Franklin sélectionnait nous étaient ensuite présentées, sous forme d'exposition. Avec l'aide de certains de nos collègues, Andy et moi les examinions et choisissions celles qui nous épataient. Entre 1986 et 1996, plus de 900 oeuvres ont ainsi été achetées pour être exposées dans nos bureaux. Bientôt, on s'est mis à parler de la « collection Claridge », titre qu'elle a gardé jusqu'à ce jour. C'est avec un sentiment doux-amer que je dis adieu à la collection, mais je tire satisfaction du fait que les profits de sa vente seront versés aux programmes d'Historica Canada, ce qui lui accordera une forme de pérennité. Charles Bronfman

15


DecorativeArts.Waddingtons.ca

The Claridge Collection

La collection Claridge

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

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

Conceived by my father, Charles, and his wife Andy, and curated by Franklin Silverstone and his assistant, Judy Strapp, the Claridge Collection evolved into one of the great Canadian corporate collections of its time. It is unique in that it is an amalgamation of all artistic media, contemporary in nature, mixing paintings with photography, sculpture, ceramics, glass and many objets d’art. Far from the Group of Seven style of banks and law firms of the day, the collection was much more representative of Canada in the 1980s, less staid than the prevailing corporate style and much more daring in its whimsy, color and blending of works. Claridge employees were able to work with the curators to decorate their offices, selecting pieces from the collection to suit their individual styles and personalities. We have always been proud to take visitors through the space, knowing its uniqueness for an office environment, and have done many private art tours as well. After 30 years, I decided that it was time for renewal. We have redesigned and updated our workplace and, along with that upgrade, we are now putting together a new Claridge Collection of Canadian arts, representing today’s stars and emerging stars on the Canadian art scene. As my father, Charles, put together his collection, he had the opportunity to learn about the top talents in Canada, and I look forward to doing the same with with the help of my curator, Judy Strapp, and her assistant, Tina Kyriakakis. I’m a big believer in continuity, be it in building businesses, philanthropy or in surrounding oneself with vibrant, interesting and challenging works of art. Growing up surrounded by art was a real gift, and being able to share the beauty and appreciation of art is also very rewarding. My father’s vision for the Claridge Collection was highly original, and I’m hoping that today’s version will live up to his legacy. Surrounding ourselves with great Canadian art and being proud of our colourful and diverse Canadian heritage is what I hope that the new Claridge Collection will bring to people.

Stephen Bronfman

Conçue par mon père, Charles, et sa femme, Andy, et réalisée par le conservateur Franklin Silverstone et son adjointe, Judy Strapp, la collection Claridge est devenue l'une des plus importantes collections corporatives de son époque au Canada. Elle se distingue par le fait qu'elle est un amalgame de toutes les formes de support artistique contemporaines, incorporant la peinture, la photographie, la sculpture, la céramique, le verre et un grand nombre d'objets d'art. À la différence des collections des banques ou firmes d'avocats de l'époque, qui privilégiaient typiquement les œuvres du Groupe des Sept et autres artistes de même genre, la collection Claridge était un reflet bien plus authentique du Canada des années quatre-vingt. Délaissant le style sobre qui avait cours dans les autres entreprises, cette collection a osé être fantaisiste, colorée et hétérogène. En collaboration avec les conservateurs de la collection, les employés de Claridge pouvaient choisir des pièces pour décorer leurs bureaux en fonction de leurs goûts et personnalités. Nous avons toujours été fiers de faire connaître à d'autres l'originalité de nos locaux, et y avons aussi accueilli de nombreuses visites guidées privées. Après trente ans, j'ai décidé que le moment était venu de renouveler la collection. Après avoir réaménagé et modernisé nos bureaux, nous montons maintenant une nouvelle collection d'art Claridge, qui rassemblera les œuvres d'artistes déjà très en vue et d'étoiles montantes du milieu artististique canadien. La première collection Claridge a permis à mon père, Charles, de se familiariser avec les meilleurs talents du Canada. J'espère en faire de même avec l'aide de ma conservatrice, Judy Strapp, et de son adjointe, Tina Kyriakakis. Je crois beaucoup à la continuité, que ce soit sur le plan du développement d'entreprises, de l'engagement philanthropique, ou du choix de s'entourer d'œuvres d'art vivantes, intéressantes et stimulantes. J'ai eu le grand privilège de grandir entouré d'art, et j'ai énormément de plaisir à en partager la beauté et l'appréciation. La collection Claridge était le fruit de la vision très originale de mon père; j'ose espérer que la nouvelle version en sera un digne successeur. Nous entourer de magnifiques œuvres d'art canadiennes et célébrer fièrement la richesse et la variété de notre patrimoine: voilà l'objectif que je me suis fixé pour la nouvelle collection Claridge. Stephen Bronfman

16


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

A Little Bit About This Catalogue

Un mot sur ce catalogue

I’ve been asked on several occasions since the Claridge Collection began being offered at auction in November 2013 how I felt about saying goodbye to the collection, especially now that we’re in the final stages. What can I say? Twenty-five years is a long time to be friends with the works that sat on pedestals and adorned the walls of Claridge Inc. Just as friendships evolve, so did the works of art: though it may sound crazy, each time we would walk through the halls, there would be something different about them. Was it the light or our mood or just the pleasure of appreciating such amazing art by so many gifted artists?

Depuis que nous avons commencé à mettre aux enchères la Collection Claridge, en novembre 2013, je me fais souvent demander ce que je ressens à l'idée de lui dire adieu, surtout à présent que nous abordons la dernière étape. Que dire? Pendant vingt-cinq ans, j'ai fréquenté ces œuvres, qui trônaient sur leurs piédestals ou ornaient les murs de Claridge Inc, et je m'en suis fait des amies. Et tout comme les amitiés, les œuvres d'art évoluent: cela peut paraître fou, mais chaque fois que nous parcourions les couloirs, les œuvres semblaient avoir changées. Étaitce un effet de la lumière, ou de notre humeur, ou cela venait-il simplement du plaisir de contempler de si belles œuvres créées par de si nombreux artistes de talent?

When I leaf through the wonderful Waddington catalogues that Jamie, Andrew and my assistant, Linda, have put together, it brings back such fond memories: of my travels across Canada to meet the artists and select the works; the fun Andy, Charles, John Hobday (head of the Samuel and Saidye Bronfman Family Foundation), and I had on deciding what pieces would go into the collection; and the pleasure the Claridge staff had in both choosing (at the Bronfmans’ insistence) and sharing their offices with such eclectic works of Contemporary Canadian art. Since the first set of auctions in 2013, Linda and I have been receiving emails from artists thanking the late Mrs. Andy Bronfman and Charles for their encouragement so many years ago. I know that Andy and Charles, and all of us at Claridge were grateful to all the artists for sharing their work with us - it made our lives that much better. Here’s wishing the same for the artists whose works are now being gathered by Stephen and Claudine, with the support of Judy Strapp, their curator. May the next collection bring as much joy to the staff as this one has I’m certain it will! Franklin Silverstone Curator, The Claridge Collection FSilverstone@Collectify.com

Lorsque que je feuillette les splendides catalogues produits par Jamie, Andrew et mon assistante, Linda, de merveilleux souvenirs me reviennent. Je me souviens avec plaisir de mes voyages à travers le Canada, pour rencontrer les artistes et faire connaissance avec leurs œuvres; du plaisir que nous avions, Andy, Charles, John Hobday (directeur de la Fondation de la famille Samuel et Saidye Bronfman) et moi à choisir les pièces qui s'ajouteraient à la collection; et le plaisir que ressentaient les employés de Claridge qui, sur l'insistence de la famille Bronfman, choisissaient parmi cette panoplie éclectique d'art contemporain canadien les œuvres qui seraient exposées dans leurs bureaux et dont ils allaient pouvoir profiter quotidiennement. Suite à la première série d'encans, en 2013, Linda et moi avons reçu des courriels de la part d'artistes qui remerciaient feu Madame Andy Bronfman et Charles de les avoir encouragés, il y a de cela tant d'années. Pour notre part, Andy, Charles et nous tous chez Claridge avons été très reconnaissants envers les artistes d'avoir partagé leurs œuvres avec nous. Leur art a enrichi toutes nos vies. J'espère que cette belle expérience sera vécue, à leur tour, par les artistes dont les œuvres seront sélectionnées par Stephen et Claudine, avec l'aide de leur conservatrice Judy Strapp. Je suis convaincu que la nouvelle collection apportera autant de joie aux employés que celle à laquelle nous disons au revoir aujourd'hui. Franklin Silverstone, conservateur de la collection Claridge FSilverstone@Collectify.com

17


DecorativeArts.Waddingtons.ca

The Claridge Collection: As Chance Would Have It

La Collection Claridge : Née d'un heureux hasard

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

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

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

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

Swann came to Canada in 1966 to become Director of the Royal Ontario Museum and the first Executive Director of the Samuel & Saidye Bronfman Family Foundation in 1972.  Throughout these years, he remained in contact with Weinrich, who was offered the position of Executive Director of the Canadian Crafts Council in 1974.  An opportunity finally arose in 1977 to raise the profile of Canadian crafts: As a way of commemorating the 80th birthday of “Mrs Saidye”, Swann came up with the idea of establishing a national award in her honour.  With Weinrich’s support through the CCC and the Saidye Bronfman Foundation, the Saidye Bronfman Award for Excellence was established, and soon became Canada’s foremost distinction for excellence in the fine crafts.  The awards were jointly administered by the Foundation and the Canadian Museum of Civilization.  Ever since, the $25,000 prize has been awarded annually to an exceptional craftsperson and the recipient's works are acquired by the Canadian Museum of Civilization for its permanent collection. The museum has mounted several solo exhibitions and two major retrospective exhibitions of the collection, which have toured across Canada, including "Transitions", which travelled to New York's American Craft Museum, now renamed the Museum of Arts and Design. In 2007 the award became a part of the Governor General’s Awards in Visual and Media Arts. This in turn was a major recognition of both the growing “acceptance” of the fine crafts and the pioneering efforts made to raise the profile of both the crafts and the prestige of the award. Charles Bronfman began acquiring the works of some of the early Saidye Bronfman Award winners.  Thanks to his growing respect for fine crafts, and the enthusiastic support of his late wife, Andrea, their curator Franklin Silverstone began criss-crossing the country in 1986, assembling a wide range of remarkable Canadian fine crafts to adorn the new offices of Claridge Inc. in Montreal. This marked the birth of the Claridge Collection. John Hobday C.M., Former Executive Director of the Samuel & Saidye Bronfman Family Foundation

En 1966, Swann s'installa au Canada et assuma le poste de premier directeur du Royal Ontario Museum; en 1972, il devint le premier directeur général de la Fondation de la famille Samuel et Saidye Bronfman. Au fil des années, il garda le contact avec Weinrich qui, en 1974, arriva à son tour au Canada pour devenir directeur général du Conseil canadien des métiers d'art. C'est en 1977 que se présenta enfin l'occasion de rehausser le profil des métiers d'art canadiens. En effet, Swann eut l'idée de marquer les 80 ans de « Mme Saidye » en créant un prix national en son honneur. Avec l'appui du CCMA, par l'entremise de Weinrich, et de la Fondation Saidye Bronfman, le Prix Saidye-Bronfman pour l'excellence fut lancé, et fut bientôt reconnu comme la plus haute distinction conférée dans le domaine des métiers d'art au Canada. Le prix était administré conjointement par la Fondation et par le Musée canadien de la civilisation. Depuis lors, le prix de 25 000 $ est décerné annuellement à un artisan exceptionnel, dont les œuvres sont ensuite achetées par le Musée canadien de la civilisation pour sa collection permanente. En outre, le Musée a tenu plusieurs expositions solo et a monté deux importantes rétrospectives de la collection, qui ont traversé le Canada. La rétrospective « Transitions » fut aussi montrée au American Craft Museum de New York, entretemps renommé Museum of Arts and Design. En 2007, le prix fut incorporé aux Prix du Gouverneur général en arts visuels et en arts médiatiques, une évolution témoignant à la fois de la légitimation croissante des métiers d'art et des initiatives pionnières entreprises pour mettre en valeur cette forme d'art et pour souligner le prestige du prix. Charles Bronfman se mit à acquérir les œuvres de certains des premiers lauréats du Prix Saidye Bronfman. En raison de l'appréciation grandissante de Charles pour les métiers d'art, et avec l'appui enthousiaste de feu son épouse, Andrea, le commissaire Franklin Silverstone se mit à sillonner le pays en 1986 pour assembler un vaste éventail de remarquables œuvres artisanales canadiennes, destinées à orner les nouveaux bureaux de Claridge Inc. à Montréal. Ainsi naquit la Collection Claridge. John Hobday, C.M., ancien directeur général de la Fondation de la famille Samuel et Saidye Bronfman

18


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

One Family, Two Collections In the early 1980s, the Canadian Crafts Council and the Samuel and Saidye Bronfman Family Foundation approached the Canadian Museum of Civilization about the creation of a collection and exhibition of works by the recipients of the Saidye Bronfman Award. This philanthropic gesture was one of three major gifts from Canadian families that strengthened the museum’s holdings of contemporary craft. During this same period, representatives of the Massey Foundation offered us a large collection of Canadian craft. This collection had been developed to demonstrate the continuing importance of the handmade functional object. The Massey Foundation’s focus on functionality allied it with the museum’s collections of historical handmade functional objects. Over 900 artifacts came into our collection by many of the premier craftspeople from across the country. After the initiation of the museum’s Bronfman acquisitions, we were also offered a collection that had been assembled by the Ontario Crafts Council (OCC); much of this collection had been acquired through the generosity of the Chalmers family of Toronto. Focusing on works made in Ontario, the OCC’s holdings of over 600 artifacts included both functional objects and personal expressions, as well as many works by First Nations and Inuit makers, thus demonstrating the strength of Aboriginal culture. With the support of the Samuel and Saidye Bronfman Family Foundation, the Canadian Museum of Civilization initially embarked on the acquisition of works by each of the Award recipients. In time, the criteria for the collection were broadened to include works by craftspeople short-listed for the award, those whom the jury deems especially worthy of inclusion, as well as those who have contributed significantly to the history of crafts. Over 200 works by important craftspeople have been collected so far, spanning the 1940s to the present day, and the museum continues to acquire works with funds previously provided by the foundation.

collection. It provides an all-encompassing view of creative practices in Canada by featuring the works of artists from all regions of the country during the latter part of the 20th century. In contrast, the Canadian Museum of Civilization’s Canadian Crafts collection focuses exclusively on traditional craft materials, that is clay, glass, textiles, metal and wood. Many craft artists’ works are featured in both the Claridge and the Museum’s collections. Among them are Roy Ron’s beautiful celadon vases; Walter Ostrom’s majolica flower baskets; Monique Cliche-Spénard’s traditional quilts that depict the history of the Beauce region, and Ted Hodgetts’s paper-thin turned wooden vessels. Not all artists are included in both collections. The Canadian Museum of Civilization’s approach to acquisitions is based on a more structured set of criteria, while the Claridge Collection has had the freedom to choose from a broader spectrum of art forms. Looking through the catalogue, I will admit to coveting some of the Claridge pieces for the Museum’s collection. Many institutions across Canada have been the recipients of the Bronfman family’s generous gifts and donations. The proceeds of this auction will benefit Historica Canada, whose mission is to strengthen our understanding of Canadian heritage: another example of the family’s support for all facets of Canadian culture. Alan C. Elder Curator, Canadian Crafts and Design, Canadian Museum of History

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

19


DecorativeArts.Waddingtons.ca

Une famille, deux collections C'est au début des années 80 que le Conseil canadien des métiers d'art et la Fondation de la famille Samuel et Saidye Bronfman proposèrent au Musée canadien des civilisations de monter une collection et d'exposer les œuvres des lauréats du Prix Saidye Bronfman. À la même époque, deux autres familles faisaient d'importants dons au musée, agrandissant ainsi sa collection d'artisanat contemporain. La Fondation Massey offrit au musée une vaste collection d'œuvres artisanales canadiennes. Cette collection avait été assemblée dans le but d'illustrer l'importance toujours actuelle des objets utilitaires fabriqués à la main. Comme elle privilégiait le volet utilitaire, la collection offerte par la Fondation Massey se mariait bien avec les objets utilitaires historiques que détenait déjà le musée. Plus de 900 artéfacts, créés par certains des artisans les plus réputés du Canada, furent ainsi intégrés aux collections du musée. Plus tard, après le lancement des acquisitions offertes par la Fondation Bronfman, ce fut au tour de l'Ontario Crafts Council d'offrir au musée une collection dont beaucoup de pièces avaient été acquises grâce à la générosité de la famille Chalmers, de Toronto. La collection de l'OCC se composait de plus de 600 œuvres d'artisans ontariens et comprenait à la fois des objets utilitaires et des œuvres d'expression personnelle. Un grand nombre des ces pièces avaient été crées par des artisans des Premières Nations ou Inuit et illustraient la vitalité de la culture autochtone. Avec l'appui de la Fondation de la famille Samuel et Saidye Bronfman, le Musée canadien des civilisations se mit à acquérir les œuvres des lauréats du Prix Saidye Bronfman. Au fil du temps, les critères d'inclusion à la collection furent élargis pour inclure les œuvres d'artisans finalistes et d'artisans que le jury considérait particulièrement méritoires, ainsi que ceux qui avaient contribué de façon exceptionnelle à l'histoire des métiers d'art. Plus de 200 œuvres furent acquises, remontant aux années 1940 et créées par des artisans renommés, et le musée poursuit toujours ses acquisitions grâce aux fonds offerts par la fondation. Il y a parfois confusion quant à ce qui distingue la collection Claridge, détenue par la famille Bronfman, de la collection assemblée par le Musée canadien des civilisations grâce à la générosité de cette même famille. Bien qu'elles aient des point communs, les acquisitions ayant été faites à la même époque et bon nombres d'artistes figurant dans les deux collections, elles sont toutefois assez différentes l'une de l'autre. En effet, la collection Claridge est le fruit d'une approche beaucoup plus large; elle contient des photographies, des tableaux, des sculptures ainsi que des œuvres créées avec les matériaux traditionnels des métiers d'art. Lorsque je regarde les images des œuvres qui seront mises en vente, je suis frappé par leur grande diversité : la photo Polaroid grand format d'Evergon, montrant sa mère en train de faire du pain; le paysage de jardin éthéré de Jennifer Dickson; les représentations déroutantes de résidus d'uranium, d'Edward Burtynsky; les expressions de format réduit de Léon Bellefleur; le Vieux Québec en hiver, peint par John Little; et l'évocation nostalgique de la vie des plaines du Nord par Allen Sapp. La collection est un recueil complet des pratiques artistiques et artisanales de toutes les régions du Canada au 20e siècle. Par contre, les

20

collections de Métiers d'art et de design canadiens du Musée canadien des civilisations sont uniquement axées sur les matériaux traditionnellement utilisés en métiers d'art, à savoir l'argile, le verre, les textiles, le métal et le bois. De nombreux artisans figurent à la fois dans la collection Claridge et dans les collections du musée. Parmi eux, citons Roy Ron et ses beaux vases céladon, Walter Ostrom et ses paniers de fleurs en majolique, Monique Cliche-Spénard et ses courtepointes traditionnelles dépeignant l'histoire de la Beauce, et Ted Hodgett et ses vaisseaux en bois tourné, minces comme du papier. Certains artistes, cependant, ne sont représentés que dans une seule collection. En effet, les acquisitions faites par le Musée canadien des civilisations devaient répondre à un ensemble de critères plus restrictif, alors que la collection Claridge pouvait puiser dans une large gamme de formes d'art. En contemplant le catalogue, je ne peux m'empêcher de convoiter certaines des pièces pour la collection du musée. Un grand nombre d'institutions canadiennes ont bénéficié de dons généreux qui leur ont été accordés par la famille Bronfman. Les profits de la présente vente seront versés à Historica Canada, qui a pour mission de renforcer notre connaissance du patrimoine canadien : un autre bel exemple de l'intérêt que porte la famille Bronfman à toutes les facettes de la culture canadienne. Alan C. Elder Conservateur des métiers d'art et du design du Canada, Musée canadien de l’histoire


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

The Claridge Collection

La collection Claridge

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

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

As the collection, carefully gathered over decades, once again disperses into individually-owned objects, it may be an occasion to consider some of the characteristics that made it a collection, and an unusual one in Canada. One characteristic is that so many of the works emerge from the hand-made craft tradition and thus carry the historic skills and technical developments that have brought such richness and diversity to Canadian art. Although often ignored or avoided in the more general discourse on the arts, this energy is celebrated in the Claridge Collection without apology. The places where fine arts and fine crafts inevitably overlap are encountered repeatedly and can be appreciated from the multiple perspectives of skill, imagination, and meaning. The ceramics alone offer a catalogue of significant makers and ideas in this media in the mid to late 20th century. Another characteristic is that engagement of so many of the works in regional movements of style, design, landscape and culture. The West Coast, Prairies, Maritime and northern environments seem to come alive in so many of the works. The distinctive styles and designs of the cities, often with international liaisons, also resonate through the collection. In a society as culturally diverse and geographically vast as Canada, what might appear to be fragmentation and hybridity becomes a part of the character of any broad-based collection. Those who might acquire an object from the Claridge Collection will enjoy it in its own right and fold it into an already existing personal or institutional collection. What they might also enjoy is its legacy as part of an unusual corporate collection, one that involved engagement with artists, with Canadian museums and galleries, with exhibitions and publications. It was an effort that enabled many more Canadians than would otherwise have been possible to encounter the best of Canadian artists working in a wide range of media and drawing on a fascinating range of traditional skills. Dr. Stephen Inglis Executive Director, Aanischaaukamikw Cree Cultural Institute; former Adjunct Professor, Art History, Carleton University; former Director General, Research and Collections, Canadian Museum of Civilization

Alors que la collection, méticuleusement assemblée au fil des décennies, se voit maintenant répartie entre les mains d'amateurs d'art individuels, le moment est peut-être propice à une réflexion sur ce qui en a fait une collection parmi les plus inusitées au Canada. La collection s'est distinguée notamment par le fait qu'un grand nombre des pièces qui la composent sont issues de la tradition artisanale, et incarnent ainsi les anciens métiers et savoir-faire qui ont enrichi le patrimoine artistique du Canada et contribué à sa diversité. Alors que ce volet de la création artistique est souvent oubliée, voire exclu du discours général sur l'art, la collection Claridge a fièrement choisi de le mettre en valeur. D'ailleurs, les beaux-arts et les métiers nobles se recoupent inévitablement, et leurs nombreux points de convergence peuvent s'apprécier sur le plan du talent, de l'imagination et du sens. À elles seules, les céramiques sont une représentation éloquente de cette forme d'art de la deuxième moitié du vingtième siècle. La collection tire aussi son originalité du fait que beaucoup de ses œuvres témoignent de courants régionaux sur le plan du style, du design, des paysages et des cultures. La côte Ouest, les Prairies, les Maritimes et les milieux nordiques y sont incarnés de façon très vivante. Les villes s'y trouvent également bien représentées; chacune y arbore son style distinctif et son design particulier, avec, souvent, un écho international. Dans un pays comme le Canada, avec ses vastes étendues et sa grande diversité culturelle, une démarche qui pourrait sembler fragmentaire et métissée devient un incontournable de toute collection polyvalente. Les amateurs d'art qui acquerront une pièce de la collection Claridge l'apprécieront pour ses qualités intrinsèques et pourront l'intégrer à une collection personnelle ou institutionnelle. Ils pourront aussi se féliciter d'avoir acquis une part d'une collection d'entreprise unique en son genre, fondée sur l'engagement avec les artistes, avec divers musées et galleries du Canada et avec des expositions et publications. Grâce à cette démarche, la collection Claridge aura permis à un grand nombre de Canadiens de connaître les meilleurs artistes du pays, faisant appel à un large éventail de médias et exerçant une gamme de métiers traditionnels fascinants. M. Stephen Inglis Directeur général, Institut culturel cri Aanischaaukamikw; ancien professeur auxiliaire d'histoire de l'art, l'Université Carleton; ancien directeur général, Direction de la recherche et des collections, Musée canadien des civilisations

21


DecorativeArts.Waddingtons.ca

1 RAY ALTON WALRUS clay and wire, 9.25” x 14.5” x 11” — 23.5 x 36.8 x 27.9 cm., incised signature and dated 95 Provenance: Purchased directly from the artist $600—800

2 BARBARA GENTLE DANCERS clay, 16.75” x 13.25” x 5.5” — 42.5 x 33.7 x 14 cm., signed in blue pen Provenance: Purchased directly from the artist $150—250

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

22


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

3 WALTER DEXTER, R.C.A. SHAPED VASE raku, 14” x 10.5” x 2.5” — 35.6 x 26.7 x 6.4 cm., signed in black Sharpie Provenance: Purchased directly from the artist $400—600

4 WALTER DEXTER, R.C.A. VASE raku, height 11.5” — 29.2 cm., diameter 9.75” — 24.8 cm., incised signature Provenance: Purchased directly from the artist $400—500

23


DecorativeArts.Waddingtons.ca

5 DIANE NASR SPLISH SPLASH JAR porcelain, condition noted, missing lid, 15.75” x 18.5” x 4” — 40 x 47 x 10.2 cm., signed and dated 1989 in pencil Provenance: Purchased directly from the artist $300—500

6 KAYO O’YOUNG UNTITLED porcelain, height 5.5” — 14 cm., diameter 17” — 43.2 cm., painted signature and dated 87 in black Provenance: Purchased directly from the artist $500—600

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

24


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

7 KAYO O’YOUNG UNTITLED porcelain, height 2” — 5.1 cm., diameter 18.5” — 47 cm., painted signature and dated 89 in blue Provenance: Purchased directly from the artist $300—400

8 KAYO O’YOUNG UNTITLED porcelain, height 11.5” — 29.2 cm., diameter 9.5” — 24.1 cm., painted signature and dated 88 in black Provenance: Purchased directly from the artist $400—600

25


DecorativeArts.Waddingtons.ca

9 KAYO O’YOUNG UNTITLED porcelain, chips to one handle, height 14.25” — 36.2 cm., signed in pencil Provenance: A Show Of Hands, Toronto, ON $500—700

10 JEAN-DENIS BISSON LE DÉPANNEUR stoneware, 26” x 15.75” x 14.5” — 66 x 40 x 36.8 cm., incised signature and dated 88 Provenance: Purchased directly from the artist $400—600

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

26


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

11 WALTER OSTROM, O.C. FLOWER BRICK WITH BASKET DECORATION earthenware, 11.5” x 12.25” x 7.75” — 29.2 x 31.1 x 19.7 cm., painted signature and dated 1988 Provenance: Purchased directly from the artist $1,000—1,200

12 LEONARD MARCOE FLORAL TEAPOT clay, 6.25” x 10.5” x 5” — 15.9 x 26.7 x 12.7 cm., incised signature Provenance: Purchased directly from the artist $75—100

27


DecorativeArts.Waddingtons.ca

13 TESSA STEIN JARDINIÈRE clay, height 13.5” — 34.3 cm., diameter 14.5” — 36.8 cm., incised signature and dated 87 Provenance: Purchased directly from the artist $200—300

14 RICHARD MILETTE MONDRIAN clay, 3.5” x 8.25” x 8.25” — 8.9 x 21 x 21 cm., incised signature and dated 1988 Provenance: Galerie Barbara Silverberg, Montreal, QC $200—300

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

28


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

15 MEL BOLEN JARDINIÈRE stoneware, height 22” — 55.9 cm., incised signature and dated 89 Provenance: Purchased directly from the artist $200—300

16 PATRICK HURST TEA SERVICE porcelain, teapot 6.5” x 7.5” x 9” — 16.5 x 19.1 x 22.9 cm., three cups and saucers signed with impressed initial Provenance: Folio Gallery, Calgary, AB $400—500

29


DecorativeArts.Waddingtons.ca

17 SALLY BARBIER TUSCOLOOSA TWO-STEP ceramic, condition noted, 31.5” x 24” x 10.25” — 80 x 61 x 26 cm., incised signature and dated 85 Provenance: Paul Kuhn Fine Arts, Calgary, AB $300—400

18 DAVID THAI UNTITLED glass and silver leaf, height 29.75” — 75.6 cm., engraved signature and dated 2007 Provenance: Purchased directly from the artist $600—800

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

30


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

19 ANNETTE GILLON CINDERELLA’S CLOSET glass, fabric and thread, 6” x 15.25” x 10” — 15.2 x 38.7 x 25.4 cm., engraved signature Provenance: Purchased directly from the artist $300—400

20 ANN MORTIMER, R.C.A., C.M. TEA FOR TATIANA - SERIES clay, one small chip to each of the smaller cup and saucer, height 3” — 7.6 cm., diameter 6” — 15.2 cm.; height 2” — 5.1 cm., diameter 3.5” — 8.9 cm., three pieces initialed and one dated 93 in marker Provenance: Terminal 3, Pearson International Airport, Toronto, ON $150—250

31


DecorativeArts.Waddingtons.ca

21 ROBIN HOPPER, R.C.A. SLAB LANDSCAPE BOTTLE 1978 - KAMLOOPS SERIES porcelain, 16” x 9.75” x 3.75” — 40.6 x 24.8 x 9.5 cm., impressed signature and seal mark Provenance: Purchased directly from the artist $500—800

22 ROBIN HOPPER, R.C.A. VASE raku, two small chips to base, height 11.25” — 28.6 cm., diameter 5” — 12.7 cm., impressed seal mark Provenance: Purchased directly from the artist $100—200

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

32


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

23 ROBIN HOPPER, R.C.A. LARGE PLATE porcelain, height 2.5” — 6.4 cm., diameter 17” — 43.2 cm., impressed signature and seal mark Provenance: Purchased directly from the artist $300—400

24 ROBIN HOPPER, R.C.A. LARGE SLAB LANDSCAPE BOTTLE - 1978 - KAMLOOPS SIRES porcelain, 19” x 13.5” x 4.5” — 48.3 x 34.3 x 11.4 cm., impressed signature and seal mark Provenance: Purchased directly from the artist $500—800

33


DecorativeArts.Waddingtons.ca

25 ROBIN HOPPER, R.C.A. LARGE TRIFOOT PLATE porcelain, height 3.5” — 8.9 cm., diameter 14.25” — 36.2 cm., impressed signature and seal mark Provenance: Purchased directly from the artist $400—600

26 ROBIN HOPPER, R.C.A. PLATE - 1987 - BLACK, WHITE AND RED SERIES #2 porcelain, height 2” — 5.1 cm., diameter 13.5” — 34.3 cm., impressed signature and seal mark Provenance: Purchased directly from the artist $400—600

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

34


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

27 ROBIN HOPPER, R.C.A. BOWL - 1987 - BLACK, WHITE AND RED SERIES #2 porcelain, 4” x 4.75” x 4.75” — 10.2 x 12.1 x 12.1 cm., impressed signature and seal mark Provenance: Purchased directly from the artist $120—180

28 WENDY WALGATE TEAPOT, CUP AND SAUCER ceramic, 17” x 14” x 7” — 43.2 x 35.6 x 17.8 cm., signed with applied plaque, circa 1995 Provenance: Prime Canadian Crafts of Toronto, Toronto, ON $600—800

35


DecorativeArts.Waddingtons.ca

29 WENDY WALGATE TRYING TO FLY ceramic, condition noted, height 4.5” — 11.4 cm., diameter 20” — 50.8 cm., signed with applied plaque Provenance: Prime Canadian Crafts of Toronto, Toronto, ON $300—400

30 WAYNE NGAN OIL SPOT TEA BOWL clay, height 4” — 10.2 cm., diameter 5” — 12.7 cm., impressed seal mark Provenance: Purchased directly from the artist $150—250

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

36


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

31 WAYNE NGAN OIL SPOT BOTTLE clay, height 5.25” — 13.3 cm., diameter 4.75” — 12.1 cm., impressed seal mark Provenance: Purchased directly from the artist $150—200

32 WAYNE NGAN OIL SPOT BOWL clay, height 3.5” — 8.9 cm., diameter 4.25” — 10.8 cm., impressed seal mark Provenance: Purchased directly from the artist $150—200

37


DecorativeArts.Waddingtons.ca

33 WAYNE NGAN PLASTER MOLD FOR A BRONZE #3 plaster, 4” x 9” x 9.5” — 10.2 x 22.9 x 24.1 cm., unsigned, circa 1987 Provenance: Purchased directly from the artist $300—400

34 WAYNE NGAN SALT GLAZED BOX clay, height 4.5” — 11.4 cm., diameter 5” — 12.7 cm., impressed seal mark and numbered W.2.A. Provenance: Purchased directly from the artist $200—300

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

38


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

35 WAYNE NGAN UNTITLED wax, condition noted, 1.75” x 10” x 9.75” — 4.4 x 25.4 x 24.8 cm., incised signature and dated 8/86 Provenance: Purchased directly from the artist $150—250

36 WAYNE NGAN UNTITLED clay, height 5.225” — 13.3 cm., diameter 5.25” — 13.3 cm., impressed seal mark Provenance: Purchased directly from the artist $500—600

39


DecorativeArts.Waddingtons.ca

37 WAYNE NGAN UNTITLED raku, height 3.75” — 9.5 cm., diameter 4.25” — 10.8 cm., impressed seal mark Provenance: Purchased directly from the artist $150—250

38 WAYNE NGAN PLAQUE stoneware, 18” x 14” x 1” — 45.7 x 35.6 x 2.5 cm., artist chop on reverse Provenance: Purchased directly from the artist $700—900

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

40


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

39 WAYNE NGAN UNTITLED stoneware, height 3” — 7.6 cm., diameter 15” — 38.1 cm., artist chop on base Provenance: Purchased directly from the artist $400—500

40 WAYN NGAN GOLD BOWL WITH SILVER NITRATE raku, height 4.5” — 11.4 cm., diameter 5.25” — 13.3 cm., impressed seal mark Provenance: Purchased directly from the artist $300—400

41


DecorativeArts.Waddingtons.ca

41 JIM SMITH, R.C.A. BOWL WITH GRAPES AND LEAVES ceramic, chip to one leaf, height 4.5” — 11.4 cm., diameter 16” — 40.6 cm., incised signature Provenance: Purchased directly from the artist $150—200

42 JIM SMITH, R.C.A. GREEN HANDLED SERVING DISH ceramic, condition noted, 4.5” x 21” x 5” — 11.4 x 53.3 x 12.7 cm., incised signature Provenance: Purchased directly from the artist $100—150

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

42


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

43 JIM SMITH, R.C.A. OTTOMAN TRAY WITH HANDLES earthenware, 5.5” x 33.5” x 11” — 14 x 85.1 x 27.9 cm., incised signature, circa 1994 Provenance: Prime Canadian Crafts of Toronto, Toronto, ON $300—400

44 JIM SMITH, R.C.A. TURQUOISE HANDLED SERVING DISH ceramic, 4.5” x 21” x 5.5” — 11.4 x 53.3 x 14 cm., incised signature Provenance: Purchased directly from the artist $100—150

43


DecorativeArts.Waddingtons.ca

45 GRACE NICKEL, R.C.A. UNTITLED clay, 9.5” x 16” x 2.5” — 24.1 x 40.6 x 6.4 cm., incised signature Provenance: Galerie Barbara Silverberg, Montreal, QC $150—200

46 SHIRLEY ELFORD UNTITLED glass, height 11.5” — 29.2 cm., engraved signature and dated 88 Provenance: Ontario Crafts Council, Toronto, ON $100—200

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

44


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

47 CATHY STROKOWSKY UNTITLED mixed media, height 6” — 15.2 cm., diameter 4.75” — 12.1 cm.; height 3.75” — 9.5 cm., diameter 4.75” — 12.1 cm., unsigned Provenance: Galerie Elena Lee, Montreal, QC $150—250

48 TERESA MCPHERSON SAFARI GIRL glass, 22” x 10” x 6.5” — 55.9 x 25.4 x 16.5 cm., engraved signature, dated 98 and titled Provenance: G.A.S. Conference Student Show $300—400

45


DecorativeArts.Waddingtons.ca

49 PETER POWNING, R.C.A. LIGHT JAR # 11 clay, height 10.75” — 27.3 cm., diameter 7.5” — 19.1 cm., incised signature and dated 1987 Provenance: Purchased directly from the artist $300—400

50 CAROL BENOIT L ‘UNICYCLE mixed media, 28” x 45” x 6” — 71.1 x 114.3 x 15.2 cm., signed to lower right of case in pen Provenance: West End Gallery, Montreal, QC $500—700

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

46


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

51 ANDREW WONG UNTITLED clay, height 17.5” — 44.5 cm., incised signature Provenance: Purchased directly from the artist $150—250

52 RAYMOND WARREN MIGRATIONS clay, 24.5” x 15.5” x 9.5” — 62.2 x 39.4 x 24.1 cm., unsigned Provenance: Purchased directly from the artist $500—700

47


DecorativeArts.Waddingtons.ca

53 KEVIN LOCKAU LOGIC STRIPPED BARE glass and metal, 20.5” x 40” x 7” — 52.1 x 101.6 x 17.8 cm.; 21.5” x 38.5” x 8.5” — 54.6 x 97.8 x 21.6 cm., both signed to metal frame in black Sharpie, circa 2007 Provenance: Lafreniére & Pai, Ottawa $12,000—15,000

54 CHUCK WISSINGER UNTITLED stoneware, condition noted, including stand height 92.25” — 234.3 cm., unsigned Provenance: Fireworks Gallery, Halifax, NS $700—900

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

48


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

55 JUDITH WREND UNTITLED painted metal, 50.75” x 14” x 14” — 128.9 x 35.6 x 35.6 cm., signed and dated 1986 in black Sharpie Provenance: Galerie Barbara Silverberg, Montreal, QC $800—1,000

56 JAMES AND DAVID PATERSON MR. PENGUIN OFF TO THE CLUB carved and painted wood, height 17.5” — 44.5 cm., painted signature and dated 1989 in black Provenance: Purchased directly from the artist $500—700

49


DecorativeArts.Waddingtons.ca

57 SARAH COOTE EWER clay, height 6.25” — 15.9 cm., unsigned, circa 1988 Provenance: Purchased directly from the artist $75—100

58 SARAH COOTE EWER clay, height 6” — 15.2 cm., unsigned, circa 1988 Provenance: Purchased directly from the artist $75—100

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

50


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

59 DIANNE SEARLE TEAPOT clay, length 7” — 17.8 cm., unsigned Provenance: Purchased directly from the artist $100—150

60 DIANNE SEARLE UNTITLED clay, repair to lid of small vase and a chip to lid of the larger, height 725” — 1841.5 cm., diameter 1.5” — 3.8 cm.; height 4.5” — 11.4 cm., diameter 1.75” — 4.4 cm., unsigned Provenance: Purchased directly from the artist $75—100

51


DecorativeArts.Waddingtons.ca

61 LISETTE SAVARIA FLEUR DE PRINTEMPS porcelain, height 6.5” — 16.5 cm., incised signature, dated 1990 and numbered 13/13 - 9/14 Provenance: Purchased directly from the artist $400—500

62 LISETTE SAVARIA FLEUR DE PRINTEMPS porcelain, height 6.5” — 16.5 cm., incised signature, dated 1990 and numbered 13/2 - 8/14 Provenance: Purchased directly from the artist $400—500

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

52


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

63 ROBERT ARCHAMBEAU COVERED JAR WITH BRONZE LID clay and bronze, height 9.25” — 23.5 cm., diameter 9” — 22.9 cm., incised initials to underside of lid Provenance: Prime Gallery, Toronto, ON $400—500

64 ROBERT ARCHAMBEAU COVERED JAR WITH BRONZE LID raku and bronze, height 8” — 20.3 cm., diameter 7.75” — 19.7 cm., engraved signature to underside of lid Provenance: Prime Gallery, Toronto, ON $400—600

53


DecorativeArts.Waddingtons.ca

65 LLUIS RIERA JARDINIÈRE clay, height 22” — 55.9 cm., diameter 15” — 38.1 cm., signed and dated 88 in black paint Provenance: Purchased directly from the artist $250—350

66 LLUIS RIERA UNTITLED clay, small glaze chip, height 15” — 38.1 cm., diameter 16.5” — 41.9 cm., painted signature and dated 88 in red Provenance: Purchased directly from the artist $200—300

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

54


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

67 BOB BILLYARD BUFFALO BRICKS clay, one small chip, 4.5” x 9” x 3.25” — 11.4 x 22.9 x 8.3 cm.; 4.75” x 9.5” x 3.5” — 12.1 x 24.1 x 8.9 cm., both signed with impressed seal mark and titled Provenance: Assiniboia Gallery, Regina, SK $300—400

68 BOB BILLYARD MUSKOX FROM THE LEEWARD SERIES clay, 12” x 17.5” x 7” — 30.5 x 44.5 x 17.8 cm., incised signature and dated 1986 Provenance: Assiniboia Gallery, Regina, SK $400—500

55


DecorativeArts.Waddingtons.ca

69 ZBIGNIEW KUPCZYNSKI UNTITLED clay, paint, 20.5” x 13.75” x 6.75” — 52.1 x 34.9 x 17.1 cm., painted signature in purple, circa 1986 Provenance: Purchased directly from the artist $200—300

70 ZBIGNIEW KUPCZYNSKI PLAQUE clay, diameter 12” — 30.5 cm., signed Provenance: Purchased directly from the artist $250—350

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

56


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

71 CHARLEY FARRERO UNTITLED clay, 2.25” x 17” x 16.75” — 5.7 x 43.2 x 42.5 cm., incised signature Provenance: Purchased directly from the artist $75—100

72 CHARLEY FARRERO UNTITLED clay, 2.5” x 16.25” x 16.5” — 6.4 x 41.3 x 41.9 cm., incised signature Provenance: Purchased directly from the artist $75—100

57


DecorativeArts.Waddingtons.ca

73 MELISSA SEARCY E 15 SLAB BOX, PINK clay, one small chip, 2.5” x 6.25” x 5” — 6.4 x 15.9 x 12.7 cm., incised signature, circa 1986 Provenance: Gallery of BC Ceramics, Vancouver, BC $75—100

74 MELISSA SEARCY E 28 SLAB BOX, GREEN clay, 2.25” x 5” x 4” — 5.7 x 12.7 x 10.2 cm., incised signature, circa 1986 Provenance: Gallery of BC Ceramics, Vancouver, BC $75—100

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

58


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

75 EVA LAPKA, R.C.A. EN AVANT! BIEN S’ALIGNER clay, 14.75” x 9” x 5” — 37.5 x 22.9 x 12.7 cm., signed in black Sharpie Provenance: Purchased directly from the artist $500—700

76 CARYN NUTTALL JENKIN’S MYSTERY TOUR ceramic in plexiglass case, condition noted, 10” x 15.5” x 7” — 25.4 x 39.4 x 17.8 cm., signed in black pen Provenance: Vicky Henry Ufundi Gallery, Ottawa, ON $300—400

59


DecorativeArts.Waddingtons.ca

77 JACK SURES, O.C. LARGE PLATE clay, height 2.5” — 6.4 cm., diameter 11” — 27.9 cm., incised signature and dated 98 Provenance: Susan Whitney Gallery, Regina, SK $500—600

78 MICHELINE BEAUCHEMIN, R.C.A., O.C. RAILES COULEUR DE TEMPS GRIS fibre and acrylic, 20.5” x 10.5” x 10.5” — 52.1 x 26.7 x 26.7 cm., engraved signature and dated 1981 Provenance: Purchased directly from the artist Note: Maquette for a larger work $500—700

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

60


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

79 BRIGITTE RADECKI STILL LIFE WITH PAINTED SUPPORT mixed media, height 49.75” — 126.4 cm., circa 1986 Exhibited: Galerie John Daniel, Montreal, QC $500—700

80 STEVE HEINEMANN, R.C.A. DIVIDED FLORALS ceramic, 14” x 25.5” x 20” — 35.6 x 64.8 x 50.8 cm., unsigned Provenance: Galerie Elena Lee, Montreal, QC $3000—4000

61


DecorativeArts.Waddingtons.ca

81 YVETTE MINTZBERG, R.C.A. MÉMOIRE raku, height 3.5” — 8.9 cm., diameter 19.5” — 49.5 cm., signed in black Sharpie, circa 1989 Provenance: Purchased directly from the artist $300—400

82 GARY WILLIAMS ARE YOU HAPPY NOW clay, 37.5” x 36” x 21” — 95.3 x 91.4 x 53.3 cm., signed in black Sharpie Provenance: Purchased directly from the artist $600—900

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

62


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

83 VIRGINIA WILSON SWIZEL glass, height 11.5” — 29.2 cm., diameter 6” — 15.2 cm., engraved signature, circa 1996 Provenance: G.A.S. Conference Student Show $100—150

84 MAUREEN MARCOTTE INTERIOR SCENE TRAY porcelain, 1.75” x 22” x 13.25” — 4.4 x 55.9 x 33.7 cm., painted signature and dated 09/95 Provenance: Terminal 3, Pearson International Airport, Toronto, ON $200—300

63


DecorativeArts.Waddingtons.ca

85 JOHN GUTTERIDGE PLATE WITH VASE earthenware, height 2.25” — 5.7 cm., diameter 18.75” — 47.6 cm., painted signature in black, circa 1986 Provenance: Crafthouse, Vancouver, BC $200—300

86 JEFF GOODMAN UNTITLED cast glass, 2” x 13.25” x 6.5” — 5.1 x 33.7 x 16.5 cm., unsigned, circa 2001 Provenance: The Guild Store, Toronto, ON Note: 25th Anniversary Limited Edition Collector’s Piece $300—400

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

64


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

87 BILL TSOUMAGAS AMPHORA CONE glass, 10” x 7” x 7” — 25.4 x 17.8 x 17.8 cm., engraved signature and dated ‘97 Provenance: Galerie Elena Lee, Montreal, QC $200—300

88 CATHERINE TREMBLAY COUPE A FRUIT glass and silver, height 7” — 17.8 cm., diameter 9.5” — 24.1 cm., hallmarked with initial and 925 Provenance: Galerie Elena Lee, Montreal, QC $400—500

65


DecorativeArts.Waddingtons.ca

89 NAOKO TAKENOUCHI PRIMORDIAL EGG 03 glass, height 6” — 15.2 cm., engraved signature, dated 95 and titled Exhibited: Ontario Crafts Council, 10th Show Terminal 3, Pearson International Airport, Toronto, ON, $250—350

90 JOHN PICKERING UNTITLED raku, condition noted, height 20” — 50.8 cm., incised signature Provenance: Purchased directly from the artist $300—400

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

66


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

91 JOHN PICKERING VASE raku, height 23” — 58.4 cm., diameter 19.5” — 49.5 cm., incised signature Provenance: Purchased directly from the artist $500—700

92 JOHN PICKERING BOX raku, one small chip, 13.5” x 10.25” x 8.75” — 34.3 x 26 x 22.2 cm., incised signature Provenance: Purchased directly from the artist $200—300

67


DecorativeArts.Waddingtons.ca

93 JOHN PICKERING BLUE AND RED VASE raku, condition noted, height 22” — 55.9 cm., incised signature Provenance: Purchased directly from the artist $400—600

94 LETA CORMIER LUSTRE VASE raku and copper, height 11” — 27.9 cm., impressed seal mark Provenance: Purchased directly from the artist $200—300

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

68


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

95 LETA CORMIER LUSTRE VASE raku, height 10.75” — 27.3 cm., impressed seal mark Provenance: Purchased directly from the artist $100—200

96 LETA CORMIER VASE raku, height 7” — 17.8 cm., diameter 6” — 15.2 cm., impressed seal mark Provenance: Purchased directly from the artist $50—75

69


DecorativeArts.Waddingtons.ca

97 LETA CORMIER VASE ceramic, height 13.75” — 34.9 cm., impressed seal mark Provenance: Purchased directly from the artist $75—125

98 MICHAEL HUYGHE UNTITLED porcelain, height 4” — 10.2 cm., diameter 8.75” — 22.2 cm., impressed seal mark Provenance: Purchased directly from the artist $50—75

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

70


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

99 MICHAEL HUYGHE UNTITLED clay, height 9.25” — 23.5 cm., impressed seal mark, circa 1987 Provenance: Purchased directly from the artist $75—100

100 ALBERT BORCH BOTTLE porcelain, height 11.75” — 29.8 cm., impressed seal mark and incised date 5/87 Provenance: Purchased directly from the artist $300—400

71


DecorativeArts.Waddingtons.ca

101 ALBERT BORCH UNTITLED ceramic, height 20” — 50.8 cm., incised signature and dated 82 Provenance: Purchased directly from the artist $300—400

102 KATHRYN YOUNGS TWO-HANDLED VASE clay, 23” x 13” — 58.4 x 33 cm., signed and dated ‘89 Provenance: Purchased directly from the artist $250—350

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

72


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

103 KATHRYN YOUNGS BOTTLE, JUG AND LEMONS clay, 20.5” x 16” x 8.5” — 52.1 x 40.6 x 21.6 cm., painted signature and dated ‘91 in black Provenance: Purchased directly from the artist $200—300

104 KATHRYN YOUNGS KING’S VESSEL ceramic, 19.25” x 13.5” x 4” — 48.9 x 34.3 x 10.2 cm., painted signature and dated 92 in cream Provenance: Purchased directly from the artist $150—200

73


DecorativeArts.Waddingtons.ca

105 KATHRYN YOUNGS ASSEMBLAGE ceramic, 24.25” x 22” x 9.5” — 61.6 x 55.9 x 24.1 cm., signed and dated Nov, 98 in black Provenance: Purchased directly from the artist $300—500

106 DANIEL MATERNA UNTITLED raku, 18” x 15” x 10” — 45.7 x 38.1 x 25.4 cm., incised signature, circa 1987 Provenance: Purchased directly from the artist $150—200

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

74


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

107 DANIEL MATERNA LARGE COW clay and arylic paint, condition noted, 15” x 20.5” x 11” — 38.1 x 52.1 x 27.9 cm., unsigned Provenance: Purchased directly from the artist $150—200

108 DANIEL MATERNA UNTITLED clay, height 10” — 25.4 cm., signed in gold Sharpie Provenance: Purchased directly from the artist $50—100

75


DecorativeArts.Waddingtons.ca

109 DANIEL MATERNA UNTITLED raku, height 16.5” — 41.9 cm., impressed seal mark Exhibited: Terra Cotta Gallery, Vancouver, BC $75—100

110 DANIEL MATERNA BOX raku, height 4.75” — 12.1 cm., signed in gold marker Provenance: Purchased directly from the artist $100—150

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

76


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

111 DANIEL MATERNA BOX raku, two small chips, height 4.25” — 10.8 cm., signed in gold marker Provenance: Purchased directly from the artist $100—150

112 DANIEL MATERNA BOX raku, one small chip, height 7.25” — 18.4 cm., signed in gold marker Provenance: Purchased directly from the artist $100—150

77


DecorativeArts.Waddingtons.ca

113 ENID LEGROS-WISE, R.C.A. BARNACLES AND EMERALDS porcelain, 4” x 3.75” x 3.25” — 10.2 x 9.5 x 8.3 cm., incised signature, circa 1987 Provenance: Purchased directly from the artist $200—300

114 ENID LEGROS-WISE, R.C.A. RAIN CUPS OF ROCK ISLAND porcelain, 4” x 2” x 2.5” — 10.2 x 5.1 x 6.4 cm., incised signature, circa 1987 Provenance: Purchased directly from the artist $200—300

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

78


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

115 ENID LEGROS-WISE, R.C.A. WISH OF SIGHS AGAIN porcelain, 3” x 3.5” x 3” — 7.6 x 8.9 x 7.6 cm., incised signature, circa 1987 Provenance: Purchased directly from the artist $200—300

116 CHARMIAN JOHNSON TEA BOWL clay, height 3.5” — 8.9 cm., diameter 6” — 15.2 cm., impressed seal mark Provenance: Purchased directly from the artist $75—100

79


DecorativeArts.Waddingtons.ca

117 CHARMIAN JOHNSON TEA BOWL clay, height 3.75” — 9.5 cm., diameter 4.75” — 12.1 cm., impressed seal mark Provenance: Purchased directly from the artist $75—100

118 MARGARET STEPHENSON COOLE FIESTA fiber and cotton, 58.5” x 58.25” — 148.6 x 148 cm., signed and dated 1988 in orange thread Provenance: Purchased directly from the artist $500—700

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

80


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

119 MARGARET STEPHENSON COOLE BURGAMASQUE fabric, height 44” — 111.8 cm., stitched signature in orange thread Provenance: Purchased directly from the artist $200—300

120 GREG PAYCE UNTITLED clay, height 6.25” — 15.9 cm., diameter 16.25” — 41.3 cm., unsigned, circa 1988 Provenance: Purchased directly from the artist $600—800

81


DecorativeArts.Waddingtons.ca

121 JAY MACDONELL FORMULATION glass, height 18” — 45.7 cm.; 17.75” — 45.1 cm., both engraved with signature and dated 2001 Provenance: Purchased directly from the artist $1,000—1,500

122 RUSSELL T. GORDON BAROQUE BABBLER; MISPLACED MYSTIC clay, 19.5” x 13.75” x 3.25” — 49.5 x 34.9 x 8.3 cm.; 19.25” x 16.75” x 4.25” — 48.9 x 42.5 x 10.8 cm., painted signature and dated 1984 Provenance: Waddington and Gorce Inc., Montreal, QC $1,200—1,800

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

82


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

123 ROBERT JEKYLL, R.C.A. HOMMAGE TO FRANK GEHRY mixed media, condition noted, 39.5” x 41.5” — 100.3 x 105.4 cm., unsigned Provenance: Purchased directly from the artist $500—700

124 JIM KRIEGER THRUST steel and marble, height 18” — 45.7 cm., engraved initials Provenance: Purchased directly from the artist $500—700

83


DecorativeArts.Waddingtons.ca

125 SOMANI FERLEY CONIC STRATIFORM - 3 pate de verre, 7.25” x 10.25” x 10.25” — 18.4 x 26 x 26 cm., unsigned Provenance: Joseph Gross Gallery, Tucson, AZ $250—350

126 JIM THOMSON, R.C.A. URN WITH LEAVES stoneware, 2 small chips, 19” x 18.5” x 13.5” — 48.3 x 47 x 34.3 cm., unsigned Provenance: Prime Canadian Crafts, Toronto, ON $400—500

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

84


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

127 DAVID MCKENZIE SUN RISE OVER MERMAIDS ceramic, height 2.5” — 6.4 cm., diameter 23” — 58.4 cm., painted signature in blue Provenance: Galerie Barbara Silverberg, Montreal, QC $300—400

128 DAVID NEW-SMALL MARINE RELIQUARY glass, height 5.5” — 14 cm., diameter 6.75” — 17.1 cm., engraved signature, dated 93 and numbered ARV 240 Provenance: Canadian Clay and Glass Gallery, Waterloo, ON $100—150

85


DecorativeArts.Waddingtons.ca

129 DAVID TAYLOR PRINT BASKET clay, 9.75” x 20.25” x 12” — 24.8 x 51.4 x 30.5 cm., painted signature in black, circa 1988 Provenance: Purchased directly from the artist $300—400

130 CONNIE GLOVER UNTITLED clay, height 3” — 7.6 cm., diameter 4.5” — 11.4 cm., incised signature Provenance: Purchased directly from the artist $75—100

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

86


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

131 GARY MERKEL GREY SPOUTED TEAPOT clay, 14.75” x 11.75” x 3.5” — 37.5 x 29.8 x 8.9 cm., signed in pencil Provenance: Purchased directly from the artist $150—200

132 SUSAN BRISON PLANTER # 7-41 clay, height 2.5” — 6.4 cm., diameter 19.75” — 50.2 cm., incised signature, circa 1987 Provenance: Prime Gallery, Toronto, ON $100—150

87


DecorativeArts.Waddingtons.ca

133 GEORGE GAMACHE FRUIT BOWL papier mậché, height 8.5” — 21.6 cm., diameter 18” — 45.7 cm., painted signature and dated 1987 in white Provenance: Dexterity Gallery, Toronto, ON $300—400

134 MARIE ANDRÉE CÔTÉ THE ZOOLOO clay and leather, 16” x 9.5” x 3” — 40.6 x 24.1 x 7.6 cm., painted signature and dated 87 in black Provenance: Purchased directly from the artist $150—250

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

88


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

135 FRANKLYN HEISLER UNTITLED clay, 9” x 12” x 7.5” — 22.9 x 30.5 x 19.1 cm., vase marked with incised signature and stand signed and dated 86 in pencil Provenance: Fireworks Gallery, Halifax, NS $200—300

136 DIANE E. SULLIVAN MEDIEVAL TRILLIUM EWER ceramic, height 17” — 43.2 cm., unsigned Provenance: Purchased directly from the artist $300—400

89


DecorativeArts.Waddingtons.ca

137 ANN NEWDIGATE NOMAD’S RESPITE tapestry (Gobelin style), 44.5” x 74.5” — 113 x 189.2 cm., unsigned; sewn tag with typed title and dated 1983 Provenance: Mendel Art Gallery, Vancouver, BC Exhibited: Ann Newdigate Mills: “Look At This Way” Susan Whitney Gallery, Regina, SK $800—1,000

138 BARBARA BALFOUR FLOWER VASE CIRCA 1985 porecelian, 8.25” x 20.75” x 4.5” — 21 x 52.7 x 11.4 cm., incised signature Provenance: Manitoba Crafts Council $150—250

139 UNATTRIBUTED BLACK JARDINIÈRE clay, glaze chips to rim and other areas, height 23.25” — 59.1 cm., impressed seal mark, c.1986 $400—600

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

90


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

140 PETER PAVEL MRNAVY IS LIFE STILL clay, 36” x 36” — 91.4 x 91.4 cm., unsigned, circa 1991 Exhibited: Christopher Cutts Gallery, Toronto, ON $400—600

91


DecorativeArts.Waddingtons.ca

141 JOHN BORROWMAN LARGE BOWL clay, height 5.25” — 13.3 cm., diameter 19” — 48.3 cm., incised signature and dated 87 Provenance: Purchased directly from the artist $100—150

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

92


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

142 JOHN BORROWMAN PLANTER clay, height 8.75” — 22.2 cm., diameter 7.25” — 18.4 cm., incised signature Provenance: Purchased directly from the artist $100—150

143 VINCENT MASSEY UNTITLED clay, height 4.75” — 12.1 cm., diameter 4.25” — 10.8 cm., impressed seal mark, circa 1988 Provenance: Terra Cotta Gallery, Vancouver, BC $100—150

144 lot as may appear

93


DecorativeArts.Waddingtons.ca

145 RON DAVID DOGWOOD BURL LIDDED CIRCULAR BOX dogwood, height 1.5” — 3.8 cm., diameter 4” — 10.2 cm., signed Provenance: Purchased directly from the artist $300—400

146 RON DAVID SNAKEWOOD LIDDED CIRCULAR BOX snakewood, height 1.5” — 3.8 cm., diameter 4” — 10.2 cm., signed Provenance: Purchased directly from the artist $300—400

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

94


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

147 JAMES NORTON UNTITLED glass, 17.25” x 8.25” x 4” — 43.8 x 21 x 10.2 cm., engraved signature, dated 1987 and numbered H.B.2 Provenance: Fireworks Gallery, Halifax, NS $500—700

148 JAMES NORTON UNTITLED glass and stone, 8.25” x 4.5” x 2.75” — 21 x 11.4 x 7 cm., engraved signature and dated 1987 Provenance: Fireworks Gallery, Halifax, NS $200—300

95


DecorativeArts.Waddingtons.ca

149 PHYLLIS WOODS BOX alder wood and twig, 9.75” x 16” x 11” — 24.8 x 40.6 x 27.9 cm., signed and dated 87 in black pen Provenance: Purchased directly from the artist $300—400

150 PHYLLIS WOODS HIDDEN DREAM CATCHER soft maple, pine and burl woods, largest 4” x 8.25” x 3” — 10.2 x 21 x 7.6 cm., one signed and dated 88 in black pen Provenance: Purchased directly from the artist $600—900

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

96


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

151 ANNE MARIE SCHMID ESLER MOUNTAINS AND LAKES clay and felt, height 1.75” — 4.4 cm., diameter 21.25” — 54 cm., incised signature Provenance: Purchased directly from the artist $300—500

152 ANNE MARIE SCHMID ESLER UNTITLED PLAQUE clay, diameter 21” — 53.3 cm., signed on reverse Provenance: Purchased directly from the artist $250—350

97


DecorativeArts.Waddingtons.ca

153 RON BENSTEAD ASHTRAYS (4) clay, height 2.75” — 7 cm., diameter 8.5” — 21.6 cm., each with impressed signature Provenance: Purchased directly from the artist $80—120

154 RON BEDSTEAD ASHTRAYS (4) clay, height 2.75” — 7 cm., diameter 8.5” — 21.6 cm., each signed with impressed signature Provenance: Purchased directly from the artist $80—120

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

98


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

155 RON BENSTEAD ASHTRAYS (3) clay, height 2.75” — 7 cm., diameter 8.5” — 21.6 cm., each signed with impressed signature Provenance: Purchased directly from the artist $60—100

156 RON BENSTEAD UNTITLED porcelain, 5” x 7” x 6.75” — 12.7 x 17.8 x 17.1 cm., incised signature and dated 87 Provenance: Purchased directly from the artist $150—250

99


DecorativeArts.Waddingtons.ca

157 RON BENSTEAD UNTITLED porcelain, 5.75” x 7.75” x 7.25” — 14.6 x 19.7 x 18.4 cm., incised signature and dated 87 Provenance: Purchased directly from the artist $150—250

158 RON BENSTEAD UNTITLED porcelain, height 22” — 55.9 cm., incised signature and dated 84 Provenance: Purchased directly from the artist $150—250

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

100


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

159 RON BENSTEAD UNTITLED porcelain, 8.5” x 9.5” x 9.75” — 21.6 x 24.1 x 24.8 cm., incised signature and dated 87 Provenance: Purchased directly from the artist $150—250

160 TONY BLOOM FLAT VASE porcelain, 5.75” x 8.25” x 2.25” — 14.6 x 21 x 5.7 cm., incised signature and applied seal mark Provenance: Purchased directly from the artist $150—200

101


DecorativeArts.Waddingtons.ca

161 TONY BLOOM CANISTERS WITH FAN LIDS clay, 7” x 10.5” x 10.5” — 17.8 x 26.7 x 26.7 cm.; 6.5” x 7.75” x 7.75” — 16.5 x 19.7 x 19.7 cm., unsigned, circa 1986 Provenance: Purchased directly from the artist $400—600

162 ROBERT ‘IRISH’ FLYNN UNTILTED clay, condition noted, missing lid, height 18.5” — 47 cm., impressed seal mark, circa 1987 Provenance: Purchased directly from the artist $150—200

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

102


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

163 ROBERT ‘IRISH’ FLYNN UNTITLED stoneware, height 15” — 38.1 cm., diameter 10.5” — 26.7 cm., applied seal mark, circa 1997 Provenance: Purchased directly from the artist $200—300

164 JIM HONG LOUIE FISH BOWL stoneware, height 5” — 12.7 cm., diameter 19.5” — 48.8 cm., signed on base Provenance: Purchased directly from the artist $600—900

103


DecorativeArts.Waddingtons.ca

165 MIMI CABRI, R.C.A. BLUE ONE; YELLOW ONE; WHITE ONE ceramic, signed, tallest 57” —144.8 cm Provenance: Purchased directly from the artist $1,500—2,000

166 JORDAN VAN SEWELL TROUBLE OVER PARADISE ceramic, 12” x 18” x 15” — 30.5 x 45.7 x 38.1 cm., incised signature and dated 1985 Provenance: Purchased directly from the artist $600—900

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

104


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

167 MATTHIAS OSTERMANN BIRD THIEF earthenware, 25.75” x 7” x 4.75” — 65.4 x 17.8 x 12.1 cm., signed in white paint Provenance: Purchased directly from the artist $400—600

168 IAN MACLEOD THE BLACK AND WHITE TRIBE wood and acrylic paint, tallest height 63.5” — 161.3 cm., unsigned Provenance: Purchased directly from the artist $600—800

105


DecorativeArts.Waddingtons.ca

169 BRIAN MCNEIL THE SAINT mixed media, 19.5” x 16” x 14” — 49.5 x 40.6 x 35.6 cm., unsigned Provenance: Purchased directly from the artist $500—700

170 ROBERT WOODS HARD MAPLE BOWL maple, 7.75” x 12” x 11” — 19.7 x 30.5 x 27.9 cm., signed and dated 1987 in black pen Provenance: Purchased directly from the artist $300—400

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

106


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

171 RON TRIBE SCULPTURAL TEAPOT clay, 10.75” x 8” x 1.75” — 27.3 x 20.3 x 4.4 cm., unsigned Provenance: Purchased directly from the artist $200—300

172 GORDON HUTCHENS UNTITLED clay, height 9.5” — 24.1 cm., incised signautre Provenance: Purchased directly from the artist $100—150

107


DecorativeArts.Waddingtons.ca

173 BONNIE KING AGAINST THE CURRENT

174 LOIS SCHKLAR UNTITLED

glass, height 10.75” — 27.3 cm., engraved signature and dated 97

acrylic on canvas, height 38” — 96.5 cm., signed in black Sharpie

Exhibited: Joseph Gross Gallery, University of Arizona

Provenance: Purchased directly from the artist $150—250

$150—250

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

108


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

175 LOU LYNN, R.C.A. CALLIGRAPHY fused glass, condition noted, length 5.75” — 14.6 cm., engraved signature and dated 1987 Provenance: Purchased directly from the artist $250—350

176 SHELLY LOW LOUNGING LADY stoneware, 11.25” x 15” x 7.5” — 28.6 x 38.1 x 19.1 cm., signed and dated ‘87 in black pen Exhibited: Galerie Pink, Montreal, QC $250—350

109


DecorativeArts.Waddingtons.ca

177 CONSTANCE JEFFERESS CAPE FOR CHARLES RENNIE MACKINTOSH fabric, length 52” — 132.1 cm., signed with stitched label in black thread Provenance: Purchased directly from the artist $200—300

178 SUSAN MEINDL THE TELEPHONE clay, 10” x 16.25” x 10.25” — 25.4 x 41.3 x 26 cm., incised signature and dated 1988 Provenance: Purchased directly from the artist $250—350

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

110


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

179 SALLY BARBIER BUGALUSA MAMBO glazed ceramic, 30” x 24.25” x 13” — 76.2 x 61.6 x 33 cm. Provenance: Purchased directly from the artist $300—400

180 PAULUS TJIANG A SHACK BY THE SEA glass, diameter 20” — 50.8 cm., signed, dated 1992 and titled on reverse Provenance: Galerie Elena Lee, Montreal, QC $300—400

111


DecorativeArts.Waddingtons.ca

181 DENYS JAMES WINDOW HEAD clay, 13” x 11” x 11” — 33 x 27.9 x 27.9 cm., unsigned Provenance: Virginia Christopher Gallery, Calgary, AB $350—450

182 PAT STRAKOWSKI WET SUIT papier mâché and mixed media, 15.25” x 7” x 7.25” — 38.7 x 17.8 x 18.4 cm., signed, dated 1986 and tilted in pencil Provenance: Purchased directly from the artist $300—400

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

112


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

183 LYNN ONLEY PINK PELICAN clay, 15.25” x 20.5” x 1.25” — 38.7 x 52.1 x 3.2 cm., unsigned Provenance: Purchased directly from the artist $200—300

184 JEFF BURNETTE UNTITLED glass, height 5.25” — 13.3 cm., diameter 12.25” — 31.1 cm., engraved initials and dated 95 Exhibited: Ontario Crafts Council, 10th Show, Terminal 3, Pearson International Airport, Toronto, ON $200—300

113


DecorativeArts.Waddingtons.ca

185 KOEN VANDERSTUKKEN SHADOW

186 ANITA DUMINS SUBCONSCIOUS RELICS 3

glass on metal base, 24.75” x 8.5” x 5” — 62.9 x 21.6 x 12.7 cm., incised signature and dated ‘98

raku with copper, height 13” — 33 cm., diameter 8” — 20.3 cm., signed in pencil

Provenance: Galerie Elena Lee, Montreal, QC

Provenance: Purchased directly from the artist

$400—600

$200—300

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

114


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

187 KATRINA CHAYTOR UNTITLED clay earthenware, 15” x 17.5” x 7.25” — 38.1 x 44.5 x 18.4 cm., signed and dated 89 in black Sharpie Provenance: Purchased directly from the artist $500—800

188 REBECCA RUPP UNTITLED porcelain, 9.5” x 12” x 5.75” — 24.1 x 30.5 x 14.6 cm., teapot and three cups and saucers with incised signature Provenance: Purchased directly from the artist $300—500

115


DecorativeArts.Waddingtons.ca

189 LINDSAY ANDERSON LIDDED VASE raku, height 10.5” — 26.7 cm., unsigned Provenance: Purchased directly from the artist $200—300

190 LINDSAY ANDERSON LIDDED JAR raku, condition noted, height 4.5” — 11.4 cm., diameter 12.5” — 31.8 cm., unsigned Provenance: Purchased directly from the artist $200—300

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

116


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

191 LINDSAY ANDERSON MUSHROOM SHAPED VESSEL raku, height 7.5” — 19.1 cm., diameter 10.75” — 27.3 cm., unsigned Provenance: Purchased directly from the artist $200—300

192 LOUISE CARD WATER PITCHER, SALT AND PEPPER SHAKER clay, 9.5” x 9” x 3” — 24.1 x 22.9 x 7.6 cm., each piece signed Provenance: Purchased directly from the artist $400—500

117


DecorativeArts.Waddingtons.ca

193 LOUISE CARD LARGE SPOUTED VESSEL raku, 7” x 7” x 8.25” — 17.8 x 17.8 x 21 cm., incised signature Provenance: Purchased directly from the artist $300—400

194 LOUISE CARD CREAMER AND SUGAR BOWL clay, 4.75” x 7.75” x 2.5” — 12.1 x 19.7 x 6.4 cm., each piece signed in black Sharpie Provenance: Purchased directly from the artist $200—300

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

118


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

195 SUE HARA UNTITLED porcelain, height 2.5” — 6.4 cm., diameter 9.25” — 23.5 cm., incised signature Provenance: Purchased directly from the artist $75—100

196 SUE HARA BOTTLE clay, height 8” — 20.3 cm., diameter 3.5” — 8.9 cm., incised signature Provenance: Purchased directly from the artist $75—100

119


DecorativeArts.Waddingtons.ca

197 SUE HARA UNTITLED clay, height 5” — 12.7 cm., incised signature Provenance: Purchased directly from the artist $75—100

198 SUE HARA UNTITLED clay, 1” x 9.5” x 9.5” — 2.5 x 24.1 x 24.1 cm., incised signature Provenance: Purchased directly from the artist $75—100

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

120


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

199 SUE HARA VASE clay, small chip to rim, height 6.5” — 16.5 cm., diameter 6” — 15.2 cm., incised signature Provenance: Purchased directly from the artist $50—75

200 ALEXANDRA MCCURDY MICMAC INDIAN porcelain, .75” x 14.5” x 10.25” — 1.9 x 36.8 x 26 cm., incised signature, circa 1988 Provenance: Purchased directly from the artist $100—150

121


DecorativeArts.Waddingtons.ca

201 ALEXANDRA MCCURDY COVERED JAR clay, height 7.25” — 18.4 cm., diameter 5.25” — 13.3 cm., painted signature in black, circa 1987 Provenance: Purchased directly from the artist $75—100

202 CYNDY CHWELOS PLATTER NUMBER 3 painted majolica, 19” x 15.5” — 48.3 x 39.4 cm., unsigned Provenance: Susan Whitney Gallery, Regina, SK $75—100

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

122


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

203 CYNDY CHWELOS PLATTER NUMBER 15 majolica, 2.25” x 14” x 15.25” — 5.7 x 35.6 x 38.7 cm., painted signature in black Provenance: Susan Whitney Gallery, Regina, SK $50—75

204 ANN CUMMINGS LOOKING FOR A GOOD HOME clay, 4.5” x 23.5” x 13.75” — 11.4 x 59.7 x 34.9 cm., painted signature in cream, circa 1993 Provenance: Canadian Clay & Glass Gallery, Kitchener, ON $200—300

123


DecorativeArts.Waddingtons.ca

205 KATRINA CHAYTOR UNTITLED earthenware, height 15” — 38.1 cm., painted signature and dated ‘89 in black Provenance: Purchased directly from the artist $500—800

206 BARBARA TIPTON A SEARCH FOR THE TRUTH ABOUT CERAMICS (UTILITY) clay, diameter 16” — 40.6 cm., signed and dated 87 on reverse Provenance: Purchased directly from the artist $250—350

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

124


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

207 MICHAEL SHEBA UNTITLED SQUARE clay, 16” x 16” — 40.6 x 40.6 cm., signed Provenance: Purchased directly from the artist $200—300

208 TRINA COHEN LE SAULT ceramic, 13.5” x 7.5” x 5” — 34.3 x 19.1 x 12.7 cm., signed and dated 93 Provenance: Galerie Barbara Silverberg, Montreal, QC $100—150

125


DecorativeArts.Waddingtons.ca

209 CHRIS COGSWELL ARABIAN POT clay, height 17.75” — 45.1 cm., diameter 12.5” — 31.8 cm., unsigned Provenance: Purchased directly from the artist $150—200

210 MIEKE SKIER AND TENNIS PLAYER papier mâché, one small chip to both pieces, largest 15.5” x 11.75” x 5.25” — 39.4 x 29.8 x 13.3 cm., signed in black paint Provenance: Show of Hands Gallery, Toronto, ON $150—250

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

126


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

211 JOANNE VANDERHORST TEAPOT ceramic, 8.5” x 10.5” x 7.5” — 21.6 x 26.7 x 19.1 cm., unsigned Provenance: Purchased directly from the artist $150—200

212 JUDITH BURKE BIRD BATH ceramic, height 12.75” — 32.4 cm., diameter 16” — 40.6 cm., impressed seal mark Provenance: Purchased directly from the artist $100—150

127


DecorativeArts.Waddingtons.ca

213 AULI RAUTIAINEN MEMORY CONTAINER glass, height 11” — 27.9 cm., engraved signature Exhibited: G.A.S. Conference - Student Show at MIT, Cambridge, MA $100—150

214 PAT TADDY LARGE SHIP FLASK GREEN FLOWERS clay, 18.75” x 6.5” x 6.25” — 47.6 x 16.5 x 15.9 cm., impressed initials Exhibited: Gallery of BC Ceramics, Vancouver, BC $50—75

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

128


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

215 SUSAN DAY PLATE clay, 14” x 13.25” x 12.25” — 35.6 x 33.7 x 31.1 cm., incised signature and dated 1988 Provenance: Purchased directly from the artist $50—75

216 STEPHEN DENSLOW MOTHER AND CHILD mixed media, 18.25” x 7” x 2.5” — 46.4 x 17.8 x 6.4 cm., painted signature Provenance: Purchased directly from the artist $50—75

129


DecorativeArts.Waddingtons.ca

217 ALLAN CRIMMINS UNTITLED clay, height 1.75” — 4.4 cm., diameter 12.75” — 32.4 cm., incised signature and dated ‘81 Provenance: Purchased directly from the artist $100—150

218 DON WELLS UNTITLED clay, height 8.75” — 22.2 cm., diameter 17.5” — 44.5 cm., incised signature and dated ‘85 Exhibited: Fireworks Gallery, Calgary, AB $75—100

Full artist biographies are available at: DecorativeArts.Waddingtons.ca

130


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

Index A ALTON, RAY...1 ANDERSON, LINDSAY...189, 190, 191 ARCHAMBEAU, ROBERT...63, 64 B BALFOUR, BARBARA...138 BARBIER, SALLY...17, 179 BEAUCHEMIN, MICHELINE, R.C.A., O.C....78 BENOIT, CAROL...50 BENSTEAD, RON...153, 154, 155, 156, 157, 158, 159 BILLYARD, BOB...67, 68 BISSON, JEAN-DENIS...10 BLOOM, TONY...160, 161 BOLEN, MEL...15 BORCH, ALBERT...100, 101 BORROWMAN, JOHN...141, 142 BRISON, SUSAN...132 BURKE, JUDITH...212 BURNETTE, JEFF...184 C CABRI, MIMI, R.C.A....165 CARD, LOUISE...192, 193, 194 CHAYTOR, KATRINA...187, 205 CHWELOS, CYNDY...202, 203 COGSWELL, CHRIS...209 COHEN, TRINA...208 COOTE, SARAH...57, 58 CORMIER, LETA...94, 95, 96, 97 CÔTÉ, MARIE ANDRÉE...134 CRIMMINS, ALLAN...217 CUMMINGS, ANN...204 D DAVID, RON...144, 146 DAY, SUSAN...215 DENSLOW, STEPHEN...216 DEXTER, WALTER, R.C.A....3, 4 DUMINS, ANITA...186 E ELFORD, SHIRLEY...46 F FARRERO, CHARLEY...71, 72 FERLEY, SOMANI...125 FLYNN, ROBERT ‘IRISH’...162, 163 G GAMACHE, GEORGE...133 GENTLE, BARBARA...2 GILLON, ANNETTE...19 GLOVER, CONNIE...130 GOODMAN, JEFF...86 GORDON, RUSSELL T....122 GUTTERIDGE, JOHN...85 H HARA, SUE...195, 196, 197, 198, 199 HEINEMANN, STEVE, R.C.A....80 HEISLER, FRANKLYN...135

HOPPER, ROBIN, R.C.A....21, 22, 23, 24, 25, 26, 27 HURST, PATRICK...16 HUTCHENS, GORDON...172 HUYGHE, MICHAEL...98, 99 J JAMES, DENYS...181 JEFFERESS, CONSTANCE...177 JEKYLL, ROBERT, R.C.A....123 JOHNSON, CHARMIAN...116, 117 K KING, BONNIE...173 KRIEGER, JIM...124 KUPCZYNSKI, ZBIGNIEW...69, 70 L LAPKA, EVA, R.C.A....75 LEGROS-WISE, ENID, R.C.A....113, 114, 115 LOCKAU, KEVIN...53 LOUIE, JIM HONG ...164 LOW, SHELLY...176 LYNN, LOU, R.C.A....175

PAYCE, GREG...120 PICKERING, JOHN...90, 91, 92, 93 POWNING, PETER, R.C.A....49 R RADECKI, BRIGITTE...79 RAUTIAINEN, AULI...213 RIERA, LLUIS...65, 66 RUPP, REBECCA...188 S SAVARIA, LISETTE...61, 62 SCHKLAR, LOIS...174 SCHMID ESLER, ANNE MARIE...151, 152 SEARCY, MELISSA...73, 74 SEARLE, DIANNE...59, 60 SHEBA, MICHAEL...207 SMITH, JIM, R.C.A....41, 42, 43, 44 STEIN, TESSA...13 STEPHENSON COOLE, MARGARET...118, 119 STRAKOWSKI, PAT...182 STROKOWSKY, CATHY...47 SULLIVAN, DIANE E....136 SURES, JACK, O.C....77

M MACDONELL, JAY...121 MACLEOD, IAN...168 MARCOE, LEONARD...12 MARCOTTE, MAUREEN...84 MASSEY, VINCENT...143 MATERNA, DANIEL...106, 107, 108, 109, 110, 111, 112 MCCURDY, ALEXANDRA...200, 201 MCKENZIE, DAVID...127 MCNEIL, BRIAN...169 MCPHERSON, TERESA...48 MEINDL, SUSAN...178 MERKEL, GARY...131 MIEKE...210 MILETTE, RICHARD...14 MINTZBERG, YVETTE, R.C.A....81 MORTIMER, ANN, R.C.A., C.M....20 MRNAVY, PETER PAVEL...140

T TADDY, PAT...214 TAKENOUCHI, NAOKO...89 TAYLOR, DAVID...129 THAI, DAVID...18 THOMSON, JIM, R.C.A....126 TIPTON, BARBARA...206 TJIANG, PAULUS...180 TREMBLAY, CATHERINE...88 TRIBE, RON...171 TSOUMAGAS, BILL...87

N NASR, DIANE...5 NEWDIGATE, ANN...137 NEW-SMALL, DAVID...128 NGAN, WAYNE...30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40 NICKEL, GRACE, R.C.A....45 NORTON, JAMES...147, 148 NUTTALL, CARYN...76

W WALGATE, WENDY...28, 29 WARREN, RAYMOND...52 WELLS, DON...218 WILLIAMS, GARY...82 WILSON, VIRGINIA...83 WISSINGER, CHUCK...54 WONG, ANDREW...51 WOODS, PHYLLIS...149, 150 WOODS, ROBERT...170 WREND, JUDITH...55

O ONLEY, LYNN...183 OSTERMANN, MATTHIAS...167 OSTROM, WALTER, O.C....11 O’YOUNG, KAYO...6, 7, 8, 9

U UNATTRIBUTED...139 V VANDERHORST, JOANNE...211 VANDERSTUKKEN, KOEN...185 VAN SEWELL, JORDAN...166

Y YOUNGS, KATHRYN...102, 103, 104, 105

P PATERSON, JAMES AND DAVID..56

131


DecorativeArts.Waddingtons.ca

Conditions Of Sale

1. All lots are sold “AS IS”. Any description issued by the auctioneer of an article to be sold is subject to variation to be posted or announced verbally in the auction room prior to the time of sale. While the auctioneer has endeavoured not to mislead in the description issued, and the utmost care is taken to ensure the correct cataloguing of each item, such descriptions are purely statements of opinion and are not intended to constitute a representation to the prospective purchasers and no warranty of the correctness of such description is made. An opportunity for inspection of each article is offered prior to the time of sale. No sale will be set aside on account of lack of correspondence of the article with its description or its reproduction, if any, whether colour or black & white. Some lots are of an age and/or nature which preclude their being in pristine condition and some catalogue descriptions make reference to damage and/or restoration. The lack of such a reference does not imply that a lot is free from defects nor does any reference to certain defects imply the absence of others. Frames on artwork are not included as part of purchase or condition. It is the responsibility of prospective purchasers to inspect or have inspected each lot upon which they wish to bid, relying upon their own advisers, and to bid accordingly. 2. Each lot sold is subject to a premium of 20% of the successful bid price of each lot up to and including $50,000 and 15% on any amount in excess of $50,000 as part of the purchase price. 3. Unless exempted by law, the buyer is required to pay Harmonized Sales Tax on the total purchase price including the buyer’s premium. For international buyers, taxes are not applicable when purchases are shipped out of country. Items shipped out of Ontario, the buyer is required to pay taxes as per the tax status of

132

that province, whether it HST or GST (Goods and Services Tax). 4. The auctioneer reserves the right to withdraw any lot from sale at any time, to divide any lot or to combine any two or more lots at his sole discretion, all without notice. 5. The auctioneer has the right to refuse any bid and to advance the bidding at his absolute discretion. The auctioneer reserves the right not to accept and not to reject any bid. Without limitation, any bid which is not commensurate with the value of the article offered, or which is merely a nominal or fractional advance over the previous bid may not be recognized. 6. Each lot may be subject to an unpublished reserve which may be changed at any time by agreement between the auctioneer and the consignor. The auctioneer may bid, or direct an employee to bid, on behalf of the consignor as agreed between them. In addition, the auctioneer may accept and submit absentee and telephone bids, to be executed by an employee of the auctioneer, pursuant to the instructions of prospective purchasers not in attendance at the sale. 7. The highest bidder accepted by the auctioneer for any lot shall be the buyer and such buyer shall forthwith assume full risk and responsibility for the lot and must comply with such other Conditions of Sale as may be applicable. If any dispute should arise between bidders the auctioneer shall have the absolute discretion to designate the buyer or, at his option, to withdraw any disputed lot from the sale, or to re-offer it at the same or a subsequent sale. The auctioneer’s decision in all cases shall be final. 8. Immediately after the purchase of a lot, the buyer shall pay or undertake to the satisfaction of the auctioneer with respect to

payment of the whole or any part of the purchase price requested by the auctioneer, failing which the auctioneer in his sole discretion may cancel the sale, with or without re-offering the item for sale.

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.

9. The buyer shall pay for all lots within 48 hours from the date of the sale, after which a late charge of 2% per month on the total invoice may be incurred or the auctioneer, in his sole discretion, may cancel the sale. The buyer shall not become the owner of the lot until paid for in full. Items must be removed within 10 days from the date of sale , after which storage charges may be incurred.

13. In the event of failure to pay for or remove articles within the aforementioned time limit, the auctioneer, without limitation of the rights of the consignor and the auctioneer against the buyer, may resell any of the articles affected, and in such case the original buyer shall be responsible to the auctioneer and the consignor for:

10. Each lot purchased, unless the sale is cancelled as above, shall be held by the auctioneer at his premises or at a public warehouse at the sole risk of the buyer until fully paid for and taken away. 11. Notwithstanding condition no. 1, if the buyer, prior to removal of a lot, makes arrangements satisfactory to the auctioneer for the inspection of such lot by a fully qualified person acceptable to the auctioneer to determine the genuineness or authenticity of the lot, to be carried out promptly following the sale of the lot, and if, but only if, within a period of 14 days following the sale a written opinion of such person is presented to the auctioneer to the effect that the lot is not genuine or authentic, accompanied by a written request by the buyer for rescission of the sale, then the sale of the lot will be rescinded and the sale price refunded to the buyer. 12. Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certified cheque (U.S. & Overseas not applicable), travelers cheque, bank draft, electronic transfer (fee applies), and VISA or Mastercard (up to $25,000). As Waddington's requires written

(a) any deficiency in price between the re-sale amount and the amount to have been paid by the original buyer; (b) any reasonable charge by the auctioneer for the storage of such articles until payment and removal by the subsequent buyer; and (c) the amount of commission which the auctioneer would have earned had payment been made in full by the original buyer. 14. It is the responsibility of the buyer to make all arrangements for insuring, packing and removing the property purchased and any assistance by the auctioneer or his servants, agents or contractors, in packing or removal shall be rendered as a courtesy and without any liability to them. 15. The auctioneer acts solely as agent for the consignor and makes no representation as to any attribute of, title to, or restriction affecting the articles consigned for sale. Without limitation, the buyer understands that any item bought may be affected by the provisions of the Cultural Property Export Act (Canada). 16. The auctioneer reserves the right to refuse admission to the sale or to refuse to recognize any or all bids from any particular person or persons at any auction.


DecorativeArts.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

Invaluable 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.

134

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


Charles Bronfman’s Claridge Collection Auction: Part V Decorative Arts - Tuesday 21 April 2015 at 1:00 pm

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.

Paintings, drawings, prints, furniture, jewellery and all forms of decorative arts and collectibles may be brought to our Toronto office where we can provide you with preliminary auction estimates and consignment procedures. Please visit our website at www.waddingtons.ca for details on our various departments and how to contact the specialists. We also accept mailed and emailed requests for advice on the marketability of objects. A photograph and phone number must accompany a full description of each item. Our specialists regularly travel to major Canadian cities to meet with prospective consignors. For further information, or to arrange an appointment, please contact our Toronto office.

Notice for our International Clients

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

Restrictions exist regarding the export of species protected under CITES (Convention on International Trade in Endangered Species). The export and importation of items made of or containing whalebone, ivory, tortoise shell, seal skin, rhinoceros horn and other animal parts is strictly controlled or forbidden by most countries. Please review your country’s laws before shipping or purchasing pieces made of or containing these restricted items. Obtaining the appropriate permits is the responsibility of the client. All Narwhal Tusks must have a Marine Harvest Number or a Marine and Mammal Transport number to be sold at Waddington's. For more information please visit: www.cites.org

Property normally arrives at Waddington’s at least three months before the sale in order to allow our specialists time to research, catalogue, photograph and promote the items. Consignors will receive a contract to sign, setting forth terms and fees for our services.

135


DecorativeArts.Waddingtons.ca

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

136

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 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

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


Profile for waddingtons

Charles Bronfman's Claridge Collection Auction: Part V | Apr. 21, 2015  

Charles Bronfman's Claridge Collection Auction: Part V | Apr. 21, 2015