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Contemporary Art Auction Monday 11 April 2016

Waddingtons.ca


Contemporary Art Auction Lots 1–66

Waddingtons.ca


Contemporary Art Auction Monday 11 April 2016 at 7:00 pm On View: Friday 1 April 2016 to Saturday 10 April 2016 Weekday gallery hours from 9:00 am to 5:00 pm Weekend gallery hours from 11:00 am to 5:00 pm

Preview and Auction to be held at Waddington’s 275 King Street East, 2nd Floor Toronto Ontario Canada M5A 1K2

Contemporary Art Specialist Vice President Business Development Stephen Ranger 416.847.6194 skr@waddingtons.ca

Front Cover Lot 46 DAVID BOLDUC RED TIDE Inside Front Cover Spread Lot 58 TOM HOPKINS PRIERE Inside Back Cover Lot 38 JOHN NOBREGA GENERAL LEE Back Cover Lot 32 ROLAND POULIN UNTITLED, 1987

Fine Art Administrator Kristin Vance 416.504.9100 x6178 kv@waddingtons.ca Corporate Receptionist Kate Godin 416 504 9100 kg@waddingtons.ca Accounts Manager Karen Sander 416 847 6173 ks@waddingtons.ca Communications Tess McLean 416 504 9100 tm@waddingtons.ca

All lots offered through Artsty are marked with a red square . To bid through Artsy please visit: www.artsy.net/auctions

This auction is subject to the Conditions of Sale printed in the back of this catalogue. Absentee and Phone Bidding 416 504 0033 (Fax) bids@waddingtons.ca

This catalogue and its contents © 2016 Waddington McLean & Company Ltd.

Online Bidding www.invaluable.com

All rights reserved. Photography by Waddington’s

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

Waddingtons.ca


This spring Concrete Contemporary puts forward an ambitious and important offering of over 150 works in both our online and live auctions from private collections across the country. We hope our online galleries will whet your appetite and we invite you to attend our extended preview at our Toronto, King Street East gallery. The March 11-17 online auction features 77 works, accessibly priced, created by an array of extremely important contemporary Canadian artists. Many works are small in scale and are aimed at the emerging collectors market. Bid on a small work by Kim Dorland or a beautiful photograph by Max Dean or Lynne Cohen for under $3000. It’s a great opportunity to add blue chip art to a budding collection. We are especially pleased to be offering a number of works in support of the Scotiabank Contact Festival again this season. For our live auction on April 11, we have partnered with New York based Artsy, who will feature approximately 15 lots for online bidding prior to the live auction on the evening of April 11. Log on to artsy.net for full information on how to bid or contact Kristin Vance or myself directly for assistance. The live auction is again a panoramic snapshot of the best in contemporary Canadian art. There are many notable works, but we are particularly proud to be offering two major canvases by Wanda Koop from the Estate of James Bisback, wonderfully divergent takes on landscape by Kim Dorland and Steve Driscoll; monumental photo-based works by Ed Burtynsky, Arnold Zageris, Michael Awad and April Hickox; and video installation and photography from Adad Hannah. The list is impressive, speaking to the breadth and talent of contemporary Canadian art. We look forward to welcoming you to the gallery for the auction and previews. Please mark Sunday, April 10 at 2 pm in your calendars for a special preview event at 275 King Street East featuring a number of special guests and refreshments. — Linda Rodeck Stephen Ranger Senior Specialist, Concrete Contemporary Vice President Business Development


ConcreteContemporaryArt.Waddingtons.ca

1 NICOLE KATSURAS UNTITLED oil on canvas condition noted; unframed 54 ins x 72 ins; 137.2 cms x 182.9 cms Provenance: Private Collection, Toronto $1,500–2,000

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Note: Dynamic imagery, highly-textured surfaces and electrified colours come together in fantasy-nature compositions that constitute the recognizable artistic style of Nicole Katsuras. One such work is her untitled large-scale landscape comprised of waterfalls and candy-coloured rocky outcroppings painted with sizeable swaths of unmixed pigment and applied with brush, knife and, quite likely, straight from the tube. Katsuras adds a blackish-night sky for a dramatic contrast to her energetically charged foreground. After receiving her Bachelor of Arts from the University of Toronto and her Master of Fine Arts from the Central Saint Martins School of Art and Design in London, England, Katsuras returned to Toronto to paint full-time. She continues to exhibit regularly in North America and Europe. Katuras’ work can be found in the collections of RBC Capital Investments (UK), Holt Renfrew, News International (UK) and the Donovan Collection.


Contemporary Art Auction - Monday 11 April 2016 at 7 pm

2 SHARY BOYLE UNTITLED watercolour signed and dated 2002 15 ins x 10 ins; 38.1 cms x 25.4 cms Provenance: Private Collection, Toronto

Note: Shary Boyle is one of Canada’s most important contemporary artists working in a diverse range of media including porcelain, sculpture, collage, printmaking and painting. Boyle also works collaboratively with a number of musicians and other artists. Boyle’s work has been exhibited at the National Gallery of Canada, the Art Gallery of Ontario and the Centre Pompidou in Paris. The recipient of numerous awards throughout her career, Boyle represented Canada at the 2013 Venice Biennale.

$2,000–3,000

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3 ROBERT YOUDS FAMILY TREE acrylic and oil on canvas signed, titled and dated /89 on the reverse 57 ins x 64 ins; 144.8 cms x 162.6 cms Provenance: Sable Castelli Gallery, Toronto Private Collection, Toronto Literature: Exhibition catalogue, beautifulbeautiful artificial (Victoria : Art Gallery of Greater Victoria, 2007) http://finearts.uvic.ca/visualarts/contacts/faculty staff/ryouds/pdf/%20RYoudscat.pdf. $4,000–6,000

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Note: “I began making abstract paintings while in university in the late 70s [...] I remember being completely transfixed by the immediacy of the picture plane and the power of colour — when these elements are reduced, there is nothing that works faster on the eyes.” Robert Youds is a Victoria-based multidisciplinary artist who established his career as an abstract painter in the 1980s. Throughout his 30 years of exploration with various media (acrylic, plexiglass, enamel paint, vinyl, neon lights, steel, etc.), his primary concern consistently remains to transpose the energy of light into an art form. Family Tree (1989) is a striking example of the artist’s early investigation with perceptual and sensory experiences. Inspired by wavelengths, this composition questions the power of optical illusion and the limits of vision. By layering bright, concentric circles on the canvas, Youds plays with the flatness of the surface and blurs the lines between foreground and background. Robert Youds currently lives and works in Victoria, B.C.. He holds a B.F.A. from the University of Victoria and an M.F.A. from York University. He has been a Professor of Visual Arts at the University of Victoria since 1989. Youds’ artworks are featured in numerous public and private collections such as the Mendel Art Gallery, the National Gallery of Canada, the Art Gallery of Ontario, the Glenbow Museum, the Canada Council Art Bank and the Vancouver Art Gallery.


Contemporary Art Auction - Monday 11 April 2016 at 7 pm

4 DAVID BOLDUC TANGIER oil on canvas signed, titled and dated 2001 on the reverse 24 ins x 18 ins; 61 cms x 45.7 cms Provenance: Private Collection, Toronto Note: David Bolduc (1945-2010), born in Toronto, Ontario, was one of Canada’s leading abstract painters. His work, often playful, lyrical and colorful abstractions, continued the legacy of Canadian abstract painters Gershon Ishkowitz and Jack Bush. Bolduc’s education started at the Ontario College of Art (now OCAD) in 1962 and continued at the Museum of Fine Arts School in Montreal until 1965. A grant in 1968 allowed Bolduc to travel to Europe, Turkey, Uzbekistan and Russia, and began the artist’s passion for travelling which included many trips to India and stints living in Morocco and Paris in the 1990s. Many of Bolduc’s mature works from the 1980s onwards were directly influenced by the textures, designs and colours of the cultures and countries he visited, with many of his paintings named after particular locations. Tangier (2001), as its name etched into the canvas entices, creates a symbolic connection between paintings and the sights and colours of the major port city and Morocco. Like many of Bolduc’s works, Tangier is composed of a central, vertical block of colour at odds juxtaposed with its surroundings. The central band, a bright yellow with marks of red, white, ultramarine and powder blue is framed and offset by bands of thickly painted, dark earthen reds and lurid greens on either side of the central band, with a viridian base and capped with a block of earthy red, creating a remarkable sense of depth. Tangier, while remaining abstract, intimates an entrance, perhaps a window or a set of steps leading to a small alleyway, offering a possible hint of the ocean amidst small, square houses and colourful carpets. David Bolduc’s work was widely exhibited in North America and is held in major Canadian collections, including the Art Gallery of Ontario and the National Gallery of Canada. Bolduc was also selected for the 14 Canadians exhibit, which included Jack Bush, in 1977, at the Smithsonian’s Hirschhorn Museum and Sculpture Garden in Washington, D.C. $3,000–4,000

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5 ANGELA GROSSMANN BLUE BLANKET oil on mylar signed and dated 2007 24 ins x 36 ins; 61 cms x 91.4 cms Provenance: Private Collection, Montreal $3,000–5,000

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Note: Known for the provocative, edgy themes of sexuality and female politics, Angela Grossmann explores the transition of girls into women and the emotional and social trappings inherent in this stage of self-discovery. In Blue Blanket (2007), Grossmann literally and symbolically blurs the lines of her female figure and generates the angst of transformation through the subject’s gaze, which is emotionally charged with curiosity, confusion, vulnerability and disdain. The painted black-blue lines of the figure dissolve into the blanket which simultaneously acts as a symbol of security and the notion of that security falling away; the evolutionary point where childhood ends and adulthood begins. In 1985, while still a student, Grossmann was named to a list of the decade’s most influential painters. She also showed with the Young Romantics at the Vancouver Art Gallery. She earned her M.F.A. at Concordia University in 1991 and taught at the University of Ottawa before returning to Vancouver in 1996 where she now teaches at the Emily Carr University of Art and Design. Grossmann’s works feature in several notable collections, among them the National Gallery of Canada and the Vancouver Art Gallery.


Contemporary Art Auction - Monday 11 April 2016 at 7 pm

6 JOHN LENNARD RUSHING THE RED LINE oil on linen signed 60 ins x 48 ins; 152.4 cms x 121.9 cms Provenance: Roberts Gallery, Toronto $2,500–3,500

Note: Rushing the Red Line, the namesake piece of Lennard’s 2012 solo show at Roberts Gallery, represents a momentous shift in the artist’s work. Inspired by his travels around the world, Rushing the Red Line, represents a journey into the realm of abstraction. Under the endless blanket of a dark night sky, bands of deep geometric and linear qualities postulate, each exploring the relationship between one another, engrossed in Lennard’s gentle painterly approach, blending softly across the canvas. In notable contrast, the everlasting red line with its distinctive colour and vertical shape, the true starlette of the work -– a delineation, a halt that Lennard playfully inserts, conjuring up conversations of opposites that makes this piece one of contemplation and full of intrigue. Born in Barrie and educated at the Ontario College of Art and Design (OCAD) and the Art Students League in New York, Lennard’s art represents a collage of worldly insights as observed through his extensive travels. In 2011, Lennard was named one of the 29 artists to be selected by the Art Dealers Association of Canada to be exhibited at New York City preeminent art fair, the Armory Show.

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7 ADAD HANNAH DINNER DATE, 2010 HD VIDEO dated 2010 and numbered 2/5 Provenance: Pierre-Francois Ouellette Art Contemporain, Montreal Private Collection, New York Note: Accompanied by Certificate of Authenticity, editioned DVD, Blu-ray and video tape versions and custom-made artist’s presentation box; running time: 7 minutes 41 seconds. (Still from video) $4,000–6,000

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Contemporary Art Auction - Monday 11 April 2016 at 7 pm

8 ADAD HANNAH A MOMENT OF REFLECTION, 2008 colour photograph edition of 7 40 ins x 53.5 ins; 101.6 cms x 135.9 cms Provenance: Pierre-Francois Ouellette Art Contemporain, Montreal Private Collection, New York Literature: Border Crossing Magazine – Head on Flashpoints and Clash Points in the Art of Adad Hannah (by Katie Addelman; Issue 122 – May 2012) http://bordercrossingsmag.com/article/he ad-on-flashpoints-and-clashpoints-in-theart-of-adad-hannah. $5,000–7,000

Note: Adad Hannah’s witty and engaging A Moment of Reflection (2008) brings the art historical timeline full circle with references to new age photography of the Vancouver School with simultaneous nods to the Old Masters lineage. Using Spanish virtuoso Diego Velázquez’s seminal work Las Meninas (1656) Hannah adds to the narrative that has transfixed art academics and theorists for centuries. Engaging with curiosity and mystery exhibited by Las Meninas, A Moment of Reflection’s focal point becomes the mirror and its tangential properties that capture those in her grasp. Paying homage to Jeff Wall’s interest in mirrored reflections and tradition of staged tableaus as elegant composition ready for the camera, Hannah brings to life the art of the outward looking gaze. A Moment of Reflection is a celebrated union between the technical capabilities of the camera with the age old medium of painting. Hannah’s Dinner Date (HD video; 2010), (lot 7) continues this exploration of the multi-faced nature of the artist’s creative calling – the nexus between old and new with resonances steeped in time yet reflective of modern society. Emerging from Toronto’s Nuit Blanche project, Dinner Date forms part of a larger series entitled “Traces”, where Hannah created a multitude of photographs and videos. Staged at the Toronto’s historic jazz bar, The Rex, Dinner Date continues bridging the past and the present through the tableaux vivants genre, where precise detail and story telling are intermixed, where performance and photography come together with delightful results. A snap shot in its rawest, most intimate form stretched over minutes in time, Dinner Date, beckons you into Hannah’s world - misbehaving and narrative do not go unnoticed, under the spotlight for all to see. Adad Hannah received his MFA from Concordia University in Montreal. His works have been exhibited all over the world, including the Samsung LEEUM Museum (Seoul), the Prague Biennial 5 (Czech Republic) and the Museo de Bellas Artes (Santiago, Chile). Moreover, Hannah art is collected by notable public institutions such as National Gallery of Canada, the Art Gallery of Ontario (AGO) and the Musée d'art contemporain de Montréal. He is represented by Pierre-Francois Ouellette art contemporain (Montreal) and Equinox Gallery (Vancouver).

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9 JOHN SCOTT HALL LA DISPOSICION DEL MERCADO: ALEJANDRA’S OPHELIA acrylic on canvas signed and dated ‘93; titled on the backing 33 ins x 49.25 ins; 83.8 cms x 125.1 cms Provenance: Wynick/Tuck Gallery, Toronto Private Collection, Toronto $6,000–8,000

Note: John Scott Hall (b. 1943) is a painter of frenzied pleasure that’s been bottled or caught, “an urban archaeologist” of the ludic and banal detritus littering contemporary culture. Framed or glossed in plastic and glucose, and through the sheen of the hyper-real, Hall’s subjects agitate in adolescent color, lurid detail, and light. Uncanny, scintillating, comic, and electric, his still-lifes shimmer with energy and provocation. It feels significant, then, that following his training at the Alberta College of Art, Calgary, Hall traveled to Mexico for a year, attending the Instituto Allende, Mexico, in the 1960s. His palette and subject matter betray this education, with their amped, sometimes-clashing hues (yellows, blues, oranges, silvers, and pinks), and their arrangements recalling the domestic altars of Dia del Muertos. Hall’s adopted Latin aesthetic can be discerned in La Disposicion del Mercado: Alejandra’s Ophelia (1993), a strange still life that marries Pop art’s enthusiasm with the morbidity of Shakespeare. A plastic-shrouded doll lies naked in her airless encasement, floating, impregnably, on a lake of silver foil. Amid the nearby flotsam are neon tubes of candy, and fruitshaped fridge magnets that lock her. Ophelia has laid herself to rest amongst a riverbed of comic marginalia, a testament to her ended youth in more ways than one. John Scott Hall (b. Edmonton, 1943) studied at ACAD (1960-65) and Instituto Allende in Mexico (1965-66). He became nationally recognized in the 1970s with his hyper-realist paintings of pop-oriented still lifes. He has exhibited across North America, Europe, and Asia. Hall was elected to membership in the Royal Canadian Academy of Arts in 1975, and is represented in many public collections including the National Gallery of Canada, Art Gallery of Ontario, Montreal Museum of Fine Arts, and the Art Gallery of Nova Scotia. His many solo exhibitions include shows at the National Gallery of Canada (1979-80) and a retrospective exhibition in 1994 at the Museo de Arte Moderno, in Mexico City. Hall has participated in many group exhibitions in Canada, the United States, the UK, Europe, and Japan. He currently holds a professorship emeritus at the University of Calgary, and lives and works in Kelowna, B.C.

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Contemporary Art Auction - Monday 11 April 2016 at 7 pm

10 BARBARA ASTMAN, R.C.A. UNTITLED (BANANA AND APPLE) FROM THE RED SERIES, 1981; UNTITLED (HAMMER AND TROWEL) FROM THE RED SERIES, 1981 colour prints both signed and numbered 81/93 sight 10.5 ins x 10.5 ins; 26.7 cms x 26.7 cms Provenance: Private Collection, Toronto Note: Pivoting between counter-culture politic and consumer-culture critique, Barbara Astman reliably issues a challenging voice on concerns related to media, feminism, and framing that have, in turn, helped advance an allimportant generation of contemporary art. Among Astman’s most enduring artistic occupations is her employment and elevation of photography, a medium that underwent a dramatic shift in perception and assignment in the early 1980s and became more widely accepted within the visual arts. Evoking at turns humor and urgency, Astman’s adroit use of archetypal form, her consistent self-reflexivity, and her dexterous adoption of new technologies has helped establish her as a leading woman artist pursuing vulnerable self- and societal analyses through a still-evolving frame. Her famed Red Series (1980-81) is representative of the artist’s early focuses and formal strengths. Its assemblage of uniformly-painted objects (both banal and cheerful) encircle and occupy an unseeing protagonist who attempts to position herself, to perform herself, amid the flotsam of her competing roles. Born in Rochester, New York, Barbara Astman arrived to Canada in 1970, and three years later, graduated from Ontario College of Art, where she has taught since 1975. She had a twentyyear survey exhibition that reached four leading museums across Canada in 1996-96. $8,000–10,000

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11 TONI HAFKENSCHEID RIVER ROAD colour photograph mounted to plexi signed, titled and numbered 4/10 on the reverse 30 ins x 30 ins; 76.2 cms x 76.2 cms Provenance: Herringer Kiss Gallery, Calgary Private Collection, Calgary $2,000–3,000

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Note: Amsterdam-born Toni Hafkenscheid graduated from the Rietveld Academy in 1989 and has been exhibiting his work internationally since the mid1990s. His instantly recognizable signature style depicts landscapes and architectural vistas with a tight central focus, the edges blurring into a dreamlike background. There is a “positivism” to Hafkenscheid’s practice that that is clear from the manipulation of light that is omnipresent in his work. Hafkenscheid shows in Toronto with Birch Contemporary.


Contemporary Art Auction - Monday 11 April 2016 at 7 pm

12 MICHAEL AWAD LAS VEGAS AT SUNSET digital chromogenic print 48 ins x 96 ins; 121.9 cms x 243.8 cms Provenance: Nicholas Metivier Gallery, Toronto Private Collection, Toronto $6,000–9,000

Note: Like the earliest darkroom experimenters more than a century before him, Michael Awad appears to be equally committed to cataloguing his environment as reflecting on – and pushing – the photographic medium’s very limits. Scanning urban topographies, Awad, an architecture and urban design professor, has built his name on a long series of strata-like composites that picture a place, or the recurrence of a thing, like an archaeologist might lay out his findings, layer upon layer (or Eadweard Muybridge with his indexical focus on movement and the body). City streets are mapped (he’s photographed the entire length of Queen St. three times), parades and neighborhoods go inventoried. Awad carries a Foucauldian appreciation for genealogies and the vanity we suffer in their pursuit, particularly in his encompassing The Entire City Project (2014), which is exactly as ambitious as it sounds. For over a decade, Awad has been photographing “every facet of the urban experience in every city,” writes Canadian Architect. Awad uses custom-built photographic equipment, and applies techniques adapted from military aerial reconnaissance photography. The resulting ribbons read like film reels, presented as horizontal bands that unfurl images in sequence, with disruptions in focus, vantage point, and cropping to suggest changes in perspective, and subjectivity. Across Awad’s practice, the notion of “place-identity” is queried and unspooled. Michael Awad has a Masters of Urban Design from University of Toronto, and a Masters of Architecture from Syracuse University, and has studied abroad in Florence, Paris, Berlin, and Copenhagen. His solo exhibitions and commissioned projects include the Royal Ontario Museum, Pearson International Airport, Milan’s Brookfield Place, Chicago Cultural Centre, and Toronto’s Telus Building. He is represented by Nicholas Metivier Gallery.

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13 KENT MONKMAN UNTITLED acrylic on canvas 36 ins x 72 ins; 91.4 cms x 182.9 cms Provenance: Private Collection, Toronto $4,000–6,000

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Note: Kent Monkman’s expressionistic paintings remain unique in his corpus. In Untitled, the artist plays with the contrast between sheer and opaque qualities by adding various quantities of water to the acrylic medium. Monkman also incorporates International Klein Blue into his compositions, a colour that was first mixed in 1960 by French artist Yves Klein. The use of IKB illuminates the composition and draws immediate attention to the center of each flower. Kent Monkman has been featured in numerous solo exhibitions across Canada, most notably at the Montreal Museum of Fine Art, the Winnipeg Art Gallery and the Museum of Contemporary Canadian Art in Toronto. His artworks are also present in several private and public collections including those of the National Gallery of Canada, the Art Gallery of Ontario, the Vancouver Art Gallery, the Mackenzie Art Gallery and the Smithsonian National Museum of the Indian American.


Contemporary Art Auction - Monday 11 April 2016 at 7 pm

14 PETER ASPELL ANCIENT BURIAL V oil on canvas signed and dated /88; titled on gallery label on the reverse 61 ins x 82 ins; 154.9 cms x 208.3 cms Provenance: Gallery Moos, Toronto Private Collection, Toronto Literature: Gary Michael Dault, Remembering Peter Aspell 1918-2004 (Toronto: Canadian Art Magazine, Winter 2005) http://www.galleryjones.com/wpcontent/ uploads/2014/12/remembering_peter_asp ell.pdf

Note: Peter Aspell is a pioneer of the Canadian West Coast art scene. In 1947, his work was selected by Lauren Harris to represent the country at the World Youth Festival in Prague. Renowned for his highly sensitive explorations of the human subconscious, Aspell was deeply influenced by the primitivism of modern masters such as Modigliani, Derain and Picasso. Ancient Burial V (1988) engages the viewer in a dynamic narrative layered in rich tones of ochre, dark brown and gold. The symbolism he employs evokes mythical ancient ritual and resonates with the viewer’s innermost, subconscious self. Throughout his career, Peter Aspell has created original mythologies deeply concerned with the fate of humankind. Born in 1918 in Saanich B.C., Peter Aspell’s first solo show took place at the Vancouver Art Gallery in 1958. Since then, the artist has held a number of solo and group shows across North America. His legacy now stands in several public and private collections such as the National Gallery Canada, Vancouver Art Gallery, Kelowna Art Gallery, Carlos Monteverde Collection in London, Stern Collection in Chicago and O.J. Firestone Collection in Ottawa.

Alan G. Elder & Ian M. Thom, A Modern Life Art and Design in British Columbia 1945-1960, Vancouver Art Gallery (Vancouver: Pulp Press, 2004). $6,000–9,000

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15 KEN SINGER UNHOMELY DISPERSIONS oil on canvas signed, titled and dated 2005 on the reverse 70 ins x 68 ins; 177.8 cms x 172.7 cms Provenance: Private Collection, Toronto Leo Kamen Gallery, Toronto $5,000–7,000

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Note: Ken Singer is a Canadian artist concerned with the relationship between language and art. Singer’s work is chromatically intense and features dense surfaces in which he explores his ideas through abstraction. He was previously represented by Leo Kamen Gallery in Toronto and taught at Emily Carr School of Art and Design in Vancouver.


Contemporary Art Auction - Monday 11 April 2016 at 7 pm

16 EDWARD BURTYNSKY SHIPYARD #18, QILI PORT, ZHEJIANG PROVINCE, CHINA, 2005

Provenance: Acquired directly from the artist to present owner, Toronto

digital chromogenic colour print; mounted signed, titled, dated 2006 and numbered 22/25 on artist’s label on the reverse 22 ins x 18 ins; 55.8 cms x 45.7 cms $4,500–6,500

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17 ARNOLD ZAGERIS HOMAGE TO HENRY MOORE chromogenic print signed, titled, dated 1988/2007 (negative and print dates) and numbered 3/15 on artist’s label on the reverse 30 ins x 40 ins; 76.2 cms x 101.6 cms Provenance: Private Collection, Toronto $4,500–5,500

Note: Arnold Zageris (b. 1948) has traveled to places as varied and equally inhospitable as the Sahara desert, the Barrier Reef, and Antarctica in his quest for unspoiled landscapes. He’s spent countless hours trekking through the Canadian Arctic and Sub Arctic regions, where he patiently captures the grandeur of the Canadian wilderness. In the tradition of photographer pioneers like Anselm Adams and Fred R. Archer, Zageris uses a large-format camera, and, in a sphere dominated by digital and non-lenticular imagemaking techniques, he revels in the use of exclusively chemical processes to create his highly detailed, painterly photographs. In Homage to Henry Moore (1988/2007), Zageris plays on the latter sculptor's well-documented penchant for basing his modernist anthropomorphic sculptures on the shapes of animal skulls, rocks, bones, and other natural “readymades” which he collected in his studio. In Homage to Henry Moore, Zageris reverses Moore's process by photographing a rock formation that has naturally acquired the dramatic negative spaces, contours, line, and elegance typical of the sculptor. Arnold Zageris (b. 1948, Germany) holds a Bachelor’s of Science from Loyola College, Montreal and a Bachelor’s of Education from the University of New Brunswick. His work has been exhibited at the Canadian Museum of Nature, the Illingworth Kerr Gallery, Alberta College of Art and Design, and the Canadian Museum of Civilization. He lives and works in Peterborough, Ontario.

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Contemporary Art Auction - Monday 11 April 2016 at 7 pm

18 ARNOLD ZAGERIS IGNEOUS INTRUSIONS

Provenance: Private Collection, Toronto

chromogenic print signed, titled, dated 1986/2007 (negative and print dates) and numbered 1/5 on artist’s label on the reverse 49.5 ins x 40 ins; 125.7 cms x 101.6 cms $4,500–5,500

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19 VARIOUS ARTISTS PORTFOLIO 2 various media and techniques each signed, dated 1998 and numbered 11/36 Provenance: Private Collection, Toronto $3,000–4,000

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Note: Stephen Andrews, Untitled, silkscreen, 33 x 45 inches; Cathy Daley, Untitled (Dress), lithograph, 12 x 17 inches; Wanda Koop, Memory - Japan, gelatin silver print, 11 x 14 inches; Micah Lexier, A Minute of My Time (May 4, 1998 20:45 - 20:46), silkscreen, 22 x 30 inches folded to 11 x 15 inches; Euan MacDonald, 2 Planes, silkscreen, 25 x 37 inches; Kim Moodie, Like To Touch, lithograph, 12 x 15 inches; Jeannie Thib, Folio, relief letterpress print, 11 x 15 inches


Contemporary Art Auction - Monday 11 April 2016 at 7 pm

20 VARIOUS ARTISTS PORTFOLIO 1 various media and techniques each signed, dated 1997 and numbered 20/25; published by Paul M. Conway Provenance: Private Collection, Toronto Note: Stephen Andrews: Untitled, etching/embossing, 11 3/8 x 15 inches;Wanda Koop: Untitled, silver print, 4 1/4 x 13 3/4 inches; Micha Lexier: A Minute of My Time (August 14, 1997 00:10-00:11), acid-etched stainless steel, 7 1/2 x 10 1/4 inches; Kim Moodie: Untitled, lithograph, 11 1/2 x 15 inches; Jeannie Thib: Untitled, linocut, 12 7/8 x 17 1/2 inches; contained within original box $3,000–4,000

21 VARIOUS ARTISTS PORTFOLIO 3 various media and techniques each signed, dated 1998 and numbered 4/36; published by Paul M. Conway Provenance: Private Collection, Toronto Note: Stephen Andrews, The 12 Apostles, silkscreen, 11 1/2 x 17 inches; Cathy Daley, Untitled (Dress), etching, 12 x 17 inches; Wanda Koop, In Your Eyes, gelatin silver print, 11 x 14 inches; Micah Lexier, A Minute of My Time (45 Consecutive OneMinute Drawings Beginning December 27, 1998 at 17:17), silkscreen, 11 x 15 inches; Euan MacDonald, 2 Planes, silkscreen, 25 x 37 inches; Kim Moodie, Blue Words, silkscreen, 12 1/2 x 17 inches; Mitch Robertson, Red Bird Paparazzi, colour photograph, 11 x 14 inches; Jeannie Thib, Untitled, lino relief, 11 x 17 1/4 inches $3,000–4,000

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22 EDWARD BURTYNSKY FERROUS BUSHLING #17, HAMILTON, ONTARIO, 1997

Note: Edward Burtynsky was awarded the Governor General's Award in Visual and Media Arts, 2016.

chromogenic colour print signed, titled, dated 1998 and numbered 6/10 on artist’s label on the backing

Edward Burtynsky is an internationally acclaimed photographer who has been capturing the impact of “human systems imposed on the land” for more than 25 years. The artist has travelled extensively to China, India, the United States, Bangladesh, Italy and Spain to research and to photograph monumental industrial wastelands.

21.25 ins x 26.75 ins; 54 cms x 67.9 cms Provenance: Private Collection, Toronto Mira Godard Gallery, Toronto Literature: CBC The National, Edward Burtynsky: On An Epic Scale (2013) http://www.edwardburtynsky.com/site_co ntents/About/aboutMedia.html. Edward Burtynsky, Man Made Landscapes, A Thirst That Must Be Quenched (London: Heist Magazine, 2013) http://www.heistonline.com/edward-burtynsky. $4,000–6,000

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In Ferrous Bushling #17, Burtynsky emphases intense colours and sharp edges to create striking aesthetic harmony. By rendering an immense pile of rubbish as a stunning subject, the artist highlights the sublimity of global consumerism, where daily commodities are synonymous with major environmental impact. Burtynsky’s additional photographic series include aerial views of mines, recycling yards, shipbreakings, quarries and hydraulic installations. Edward Burtynsky was born and raised in St. Catharines, Ontario. He holds a Bachelor of Applied Arts in Photography from Ryerson University and a Graphic Art degree from Niagara College. The artist was appointed Officer of the Order of Canada and holds six honorary degrees. His artwork is collected by more than 60 major international institutions such as the MOMA in New York, the Bibliothèque Nationale in Paris, the Whitney Museum of American Art in New York, the Tate Modern in London and the Reina Sofia in Madrid.


Contemporary Art Auction - Monday 11 April 2016 at 7 pm

23 EDWARD BURTYNSKY CARRARA MARBLE QUARRIES #3, CARRARA, ITALY, 1993

Provenance: Private Collection, Toronto Mira Godard, Toronto

chromogenic colour print signed, titled, dated 2001 and numbered 2/5 on artist’s label on the backing 40 ins x 50 ins; 101.6 cms x 127 cms $9,000–12,000

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24 ROBERT SCOTT CESAR acrylic on canvas signed, titled and dated 1986-87 on the reverse 82 ins x 44 ins; 208.3 cms x 111.8 cms Provenance: Gallery Moos Ltd., Toronto Literature: Time Nowlin, Robert Scott and the Big Picture, [online] http://www.sharecom.ca/scott/. Roald Nasgaard, Abstract Painting in Canada (Vancouver: Douglas and McIntyre Ltd, Halifax: Art Gallery of Nova Scotia, 2007): 305. Note: Robert Scott is a modernist Saskatchewan artist who has been experimenting with the formal qualities of paint since the early 1970s. He achieves a unique mode of expression by digging through the thick layer of pigment with his fingers, arms and elbows. Scott’s dramatic and imposing “walls of paint” exude powerful, all-over gesture and tortuous rhythms. The sense of controlled chaos and the tension present in Scott’s abstractions are characteristic of the action paintings from the mid-20th century. In Gypse Run (1986) and Cesar (1986-87), the painter produces colour field compositions that amalgamate bold textures and strong chromatic contrast. Robert Scott currently lives and works in Edmonton, Alberta. Over the last 40 years, he has participated in several solo and group shows in Calgary, Edmonton, Montreal, Toronto, New York and Los Angeles. Many international institutions collect his artwork such as the Catalunya Institute of Contemporary Art, Canada Council Art Bank, Glenbow Art Gallery, Triangle Artists Workshop in New York and NSU Art Museum in Fort Lauderdale. $4,000–6,000

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Contemporary Art Auction - Monday 11 April 2016 at 7 pm

25 ROBERT SCOTT GYPSE RUN acrylic on canvas signed, titled and dated /86 on the reverse 79 ins x 45 ins; 200.7 cms x 114.3 cms Provenance: Gallery Moos Ltd., Toronto Private Collection, Toronto $4,000–6,000

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26 BRAD PHILLIPS ERIN AFTER JAY ISAAC AFTER BONNARD oil on canvas signed, titled and dated 2009 on the reverse 18 ins x 14 ins; 45.7 cms x 35.6 cms Provenance: Private Collection, Toronto Note: Toronto-born Brad Phillips is an artist and writer who’s work encompasses a range of themes and media. His paintings display astonishing breadth, from text-based to photo-realism, referring in many cases directly to his daily life. In an interview in 2015, Phillips states, “I am earnestly interested in using painting to document my life, in the hopes of connecting to other people.” In Erin After Jay Isaac After Bonnard, (2009), Phillips connects the silhouette of his wife Erin to the multi-media artist Jay Isaac to the Post Impressionistic painter Pierre Bonnard, the sparsely rendered form standing in sharp contrast to the lush and sensual French master. The brooding, yet alert German Shepherds of Endless September, (2004) underscore the darkness of suburban life, a persistent theme throughout Phillips work. Phillips exhibits internationally with shows in New York, London, Boston, Zurich and Berlin and is in the collections of the Glembow Museum, RBC and the Hauser and Wirth Collection. $2,500–3,500

27 BRAD PHILLIPS ENDLESS SEPTEMBER watercolour signed, titled and dated 2004 on the reverse 8.5 ins x 11 ins; 21.6 cms x 27.9 cms Provenance: Private Collection, Toronto $2,500–3,500

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Contemporary Art Auction - Monday 11 April 2016 at 7 pm

28 ELIZABETH MCINTOSH UNTITLED (BLUE RINGS) oil on canvas signed, titled and dated 1995 on the reverse 20 ins x 29.5 ins; 50.8 cms x 74.9 cms Provenance: Private Collection, Toronto Literature: Adele Weder, Done. Not Done. Might Be Done..., (Toronto: Canadian Art, Summer 2010): 58-62. http://canadianart.ca/features/done-notdone.

Note: “What is really intriguing about Elizabeth’s work is the way it blurs this boundary between abstraction and representation.” Intuitive and captivating, Elizabeth McIntosh’s oil paintings embrace the notion of “unfinishedness.” Working with no predetermined plan, method or endpoint, the artist believes each creation exudes its own finality once compositional balance is achieved. McIntosh’s creative process is integral to her work. She carefully layers numerous coats of oil and superimposes diverse geometrical shapes until she obtains a multilayered maze of colour. Elizabeth McIntosh is an Assistant Professor at the Emily Carr University in Vancouver. She has been featured in various solo exhibitions including the Santa Monica Museum of Art, Vancouver Art Gallery, Diaz Contemporary, Parisian Laundry and Blanket Gallery. Her artworks are also included in the collections of the Art Gallery of Ontario, the Musée d’art contemporain de Montréal and the National Gallery of Canada.

$2,000–3,000

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29 JACOB YEREX AFTER NICCOLINI (SURFACING MALE NUDE), 2010 monotype signed and numbered 1/10; titled on gallery label on the reverse 31 ins x 24 ins; 78.7 cms x 61 cms Provenance: Private Collection, Montreal Edward Day Gallery, Toronto Pierre-Francois Ouellette Art Contemporain, Montreal Literature: http://www.jacobyerex.com/index.ht ml http://www.edwarddaygallery.com/#! 2010/c173z $3,000–4,000

Note: Jacob Yerex is a Toronto-based artist and muralist. Yerex began his studies at the age of 17 at the Ontario College of Art and Design in Toronto from 1987-1989 and continued his studies at the University of Guelph from 1993-1999; he has been working as an artist professionally for over 20 years. Yerex’s practice questions the boundaries between printmaking, painting, drawing, collage and sculpture. As the artist mentions, his work explores the tension between order and chaos on a material level, pushing materials past their conventional applications . Many of Yerex’s works play with figuration, blurring illustration and narrative with formal ventures in abstraction. After Niccolini is from Yerex’s 2010 series Influence first shown at the Edward Day Gallery, juxtaposing portraits of African grandmothers who have been working with the Stephen Lewis Foundation juxtaposed with monotype images based on the photographic collection of Salah Bachir. After Niccolini shows a male head and torso curling its shoulders in with its head thrown back so as to see the underside of the man’s chin and nose. The result is a chopped, almost abstract form charateristic of Yerex’s play between abstraction and figuration. As the name of the

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work indicates, After Niccolini is taken from a photograph by Dianora Niccolini, a groundbreaking Italian photographer known for her work as a pioneer of male nude photography. Along with the rest of the works in Influence, as a monotype After Niccolini is an image created by painting on top of a smooth support or matrix which is then run through a printing press to create a unique impression. By producing a monotype of a photograph, Yerex not only challenges the boundaries between the imperfect, unique nature of the monotype as a blend between painting and printmaking with the traditional reproducibility of a print, he highlights the difference between a unique reproduction of a picture and the Niccolini picture itself transforming an image into a cropped, abstract form. Yerex’s works are held in many important local and international collections, and his murals can be found in prominent museums across Canada, including the Canadian War Museum, Ottawa. Algonside his work as an artist, Yerex and his partner, Salah Bachir, are also important patrons to the arts in Toronto, and hold an extensive collection they regularly loan for exhibitions.


Contemporary Art Auction - Monday 11 April 2016 at 7 pm

30 MARCEL DZAMA UNTITLED ink on paper signed 12 ins x 9 ins; 30.5 cms x 22.9 cms Provenance: Private Collection, Montreal Pierre-Francois Ouellette Art Contemporain, Montreal $3,000–4,000

Note: Marcel Dzama is a contemporary artist originally from Winnipeg, Manitoba. He first encountered success with the Winnipeg drawing collective The Royal Art Lodge (1996-2008). Dzama’s visual language is often described as whimsical, surreal, and playful. His artwork is also highly recognizable due to his signature palette, composed of dark browns, greys and reds. Dzama also creates sculptures, paintings, collages, films and album covers. Most recently, he designed the stage and the costumes for The Most Incredible Thing, a New York City ballet production that opened in February, 2016. Marcel Dzama now lives and works in Brooklyn, New York. He has exhibited in solo shows all around the world, most notably at the Musee d’art contemporain de Montreal, the Pinakothek der Moderne in Munich and the Centro de Arte Contemporaneo in Malaga, Spain. His artwork is collected by numerous international museums such as the Center Georges Pompidou in Paris, Dallas Museum of Art, MOMA, Museum of Contemporary Art of North Miami, National Gallery of Canada and the Tate Gallery in London.

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31 WANDA KOOP VIEW FROM HERE (GREY GREEN LANDSCAPE WITH BLACK BOXES) acrylic on canvas signed, titled and dated 2009 on the overflap 48 ins x 48 ins; 121.9 cms x 121.9 cms Provenance: The Estate of James Bisback, Ontario Michael Gibson Gallery, London, Ontario Literature: Petra Halkes, Aspiring to the Landscape On Painting and the Subject of Nature (Toronto: University of Toronto, 2006). $6,000–9,000

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Note: Wanda Koop was awarded the Governor General's Award in Visual and Media Arts, 2016. “It is, perhaps, this inalienable tie to nature that [...] prompts artists to continue to represent the landscape and the viewers to seek out landscape art. And the more nature seems lost, the more sought after it becomes.“ Wanda Koop has been reinventing and redefining landscape painting for more than 40 years. Featured in over 50 solo exhibitions, she is a preeminent figure in contemporary Canadian art. Also renowned for her performance and video art, Wanda Koop is an inventive and accomplished multidisciplinary artist. In Landscape with Red Bar (2008) (lot 48) and View from Here (2009), the striking contrast between the lightly brushed background and the vivid stripes of colour creates an immersive experience for the viewer. Her artwork questions the relationship between the sacredness of nature and the modern technological world. Wanda Koop was born in Vancouver and currently lives and works in Winnipeg. Her artwork is collected internationally by major public and private institutions such as the National Gallery of Canada, the Musée d’art contemporain de Montréal, the Reykjavik Museum, the Shanghai Museum of Modern Art and the Caldic Collection.


Contemporary Art Auction - Monday 11 April 2016 at 7 pm

32 ROLAND POULIN UNTITLED, 1987 mixed media on paper signed with initials and dated /87 39.75 ins x 52 ins; 101 cms x 132.1 cms Provenance: Private Collection, Montreal Pierre-Francois Ouellette Art Contemporain, Montreal $12,000–15,000

Note: Concerned with "working on the horizontal level," sculptor Roland Poulin integrates the floor of the exhibition space into his works. The artist has stated, "You get the feeling that my sculptures rise out of the ground or else sink into it ... The ground is no longer a neutral space: it’s the space that the sculpture and the viewer share." Influenced by his visits to cemeteries in New England and Paris, as well as Egyptian monumental and funerary art, Poulin's forms straddle the line between abstraction and figuration. Resembling tabletops, tombs, and mantles, his sculptures imbue a minimalist strain with a poetic dynamism that renders the starkly colored sculptures with an anthropomorphic quality. Slender shapes, like "limbs," emanate from simple geometric motifs that seem to melt into the ground on which they rest, rise upwards and sideways like arms in supplication, like witnesses to their own transformation, precariously situated within the twilight that divides the tangible and the sublime. Like the architectural sculptures of American artist Tony Smith, or the work of Canadian Kosso Eloul, whose three-dimensional forms challenge the objective stillness of minimalism through their inherent energy and suggestion of movement, Poulin's work displays a humanist focus. He alludes to a transcendental possibility, even spirituality. This quality of transcendence and materiality is also evident in his drawings. Untitled (1987) depicts a table-like form, as well as a solid that could be an international-style chair. It’s not clear where the vertical axis of the composition lies, generating a sensation of vertigo and disorientation, akin to looking at a space reflected on a mirror. This renders the "objects" depicted in purely geometric/sculptural terms: an abstraction, but with the haunting of living form. Roland Poulin (b. 1940, St. Thomas, Ontario) grew up in Montreal, and was taught drawing and sculpture in many faculties across the country. He has exhibited widely in Canada, notably in solo shows at the Musée d'art contemporain de Montréal in 1983, and the National Gallery of Canada in 1994, as well as New York and Paris in the 1980s. He is a winner of the 2005 Governor General's Award in Visual and Media Arts, and the recipient of the Prix Ozias-Leduc, the Jean A. Chalmers Award, and the Victor Martyn Lynch-Staunton Award. He lives and works in Montreal.

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33 JOSEPH HARTMAN DECONSTRUCTION, LAKEVIEW DEMOLITION #25, MISSISSAUGA, ON, 2007 mounted colour photograph 34 ins x 27 ins; 86.4 cms x 68.6 cms Provenance: Private Collection, Toronto $2,000–3,000

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Note: Joseph Hartman is a young photographer from Barrie, Ontario who worked as Edward Burtynsky’s apprentice for four years. Both artists share the passion for capturing the impact of industrialisation on the land. However, Hartman’s true interest lies in the transitional state of environments, where deconstruction and construction intertwine. Lakeview Demolition #25 (2007) is part of the large-format photographic series titled “Deconstruction” (2006-2009). The artist explores the remnants of the Lakeview Generating Station, a coal-generated facility which ceased activity in April 2005. In this image, Hartman exposes the paradox of “modern progress” where the grand innovation of the yesterday becomes the burden of tomorrow. Joseph Hartman has received multiple awards for his achievement in photography. He obtained three Emerging Artist grants from the Ontario Art Council and the two Emerging Photographer grants from the Magenta Foundation. Hartman’s artwork is included in various private and public collections such as the Art Gallery of Hamilton, Farrow Partnerships Architect, TD Canada Trust and MacLaren Art Center.


Contemporary Art Auction - Monday 11 April 2016 at 7 pm

34 EDWARD BURTYNSKY SHIPBREAKING #2, CHITTAGONG, BANGLADESH, 2000

Provenance: Private Collection, Toronto Mira Godard Gallery, Toronto

chromogenic colour print signed, titled, dated 2001 and numbered 3/10 on artist’s label on the backing 34 ins x 27 ins; 86.4 cms x 68.6 cms $8,000–10,000

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ConcreteContemporaryArt.Waddingtons.ca

35 ROD MIRO UNTITLED wooden wall sculpture approximately 52 ins x 43 ins x 12 ins; 132.1 cms x 109.2 cms x 30.5 cms Provenance: Private Collection, Toronto $4,000–6,000

(detail)

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Contemporary Art Auction - Monday 11 April 2016 at 7 pm

36 ATTILA RICHARD LUKACS UNTITLED #4; UNTITLED #5 mixed media on canvas signed with initials and dated 2011 on the reverse; titled in ink on the stretcher 16 ins x 16 ins; 40.6 cms x 40.6 cms Provenance: Private Collection, Toronto $1,500–2,000

Note: Attila Richard Lukacs (b. 1962) is a legendary living artist. With a storied biography and reputation rivaling some of his most fantastical depictions, the Vancouver-based artist of international renown is, in recent years, moving his needle to more grounding and bucolic depictions. A graduate of Vancouver’s Emily Carr College of Art + Design in 1985, Lukacs enjoyed early success as a member of the Young Romantics and then moved quickly to West Berlin, where he would build his name over the course of ten years. His most famous work consisted of mural-scaled figurative paintings depicting homoerotic abjection, indolent heroics, and contemporary allegory. The bruised seething of Lukacs’s canvases gained in credibility in the context of Germany, over Alberta, of course. The wall had come down, and Lukacs’s dark narratives featured eroticized Nazi skinheads. They implied a lust less for a fight than a fate worth fighting for. Lukacs’s “fight” would take him to New York, the depths of drug abuse, and near career annihilation. He’d eventually come up for air in Hawaii, where he would turn, in the min-aughts, to grey-scale abstracts, ink drawings, and later, semi-figurative gardens hewn in verdant greens and yellows. He was straining at Eden. Untitled #4 and #5 (2011) suggest the calm of this period, a fluidity to Lukacs’s hand, the freedom of his gesture. Consistently pulling from Eastern spirituality and symbolism through his winding practice, the abstract suggestions of bamboo, veins, or waterways, is evident in these loose drawings. We can infer a freeing-up and a settling-down of this riven life, a kind of essentialized, even tantric reforming. Atilla Richard Lukacs (b. 1962, Edmonton) has been collected by the National Gallery of Canada, the Art Gallery of Ontario, and the Vancouver Art Gallery, among other institutions. He is a graduate of Emily Carr College of Art + Design, and has exhibited internationally. He was elected to the Royal Canadian Academy of Arts in 1997.

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37 SUSANNA HELLER MANHATTAN BRIDGE oil on canvas titled and dated on gallery label on the support 25 ins x 33 ins; 63.5 cms x 83.8 cms Provenance: Olga Korper Gallery, Toronto Private Collection, Toronto Literature: Milroy, Sarah. Susanna Heller: Catastrophe as Muse. canadianart.ca/reviews/2012/02/16/susa nna_heller/ $4,000–6,000

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Note: “It took me a good ten years to figure out how to engage the city, how to draw it, how to paint it, how to picture it...it wasn’t exactly about its look, it’s more about its being.” Susanna Heller’s unique relationship to New York City is expressed through her dense and energized paintings of buildings, monuments and sidewalks. She views the city as an animated character and is compelled to capture, in pencil and paint, its vibrancy, space, and above all, its movement. Heller’s paintings radiate energy with their turbulent skies and surging architecture brought to life with her frenetic brushwork and intuitive use of colour. Perhaps best known for her works depicting a post-9/11 New York City, Heller’s intrigue with the buildings and streets of one of the world’s most energized cities began much earlier and led to an artist in residency post at the World Trade Center north tower from 1989-1999, just two years before the infamous attacks. Heller has an extensive exhibition history in North America and beyond and is a recipient of numerous awards from the Canada Council for the Arts, the Ontario Arts Council as well as the National Endowment for the Arts. Her works are included in major collections such as the Air Canada Corporation (Montreal), the Art Gallery of Ontario (Toronto), the Canada Council Art Bank (Ottawa) and the Toronto Dominion Bank as well as in many private collections around the world. She currently lives and works in Brooklyn, New York.


Contemporary Art Auction - Monday 11 April 2016 at 7 pm

38 JOHN NOBREGA GENERAL LEE oil on canvas 62 ins x 77 ins; 157.5 cms x 195.6 cms Provenance: Private Collection, Toronto $12,000–15,000

Note: John Nobrega is one of Canada’s most intelligent painters. His sensitive authority over the medium, coupled with his depth of knowledge of its history were talents recognized early in his career; he was hired into General Idea’s studio when he had only just begun his studies at the Ontario College of Art. The scale of this painting is unprecedented among his fine art practice, but the pleasure isn’t limited to viewing from a distance. Details show both his considered adherence and provoked departure from traditional painting techniques, and it is the culmination of concepts and processes developed with his ‘Salon de Paris’ (2005) and ‘Infinite Justice’ (2007) series. Nobrega’s paintings have been included in exhibitions at the Museum of Contemporary Canadian Art, and the Agnes Etherington Art Centre, and works are in the collections of Paul Duval, and David Blackwood.

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39 MALCOLM RAINS FOUR BLANK CANVASES IN SILVERY LIGHT oil on canvas signed, titled and dated 1985 on the support; signed and dated ‘85 on the overflap 40 ins x 60 ins; 101.6 cms x 152.4 cms Provenance: Private Collection, Toronto $1,500–2,000

Note: Born in Bristol, England in 1947, painter Malcolm Rains emigrated to Canada in 1955 and pursued studies in architecture at the University of Detroit (1967-69) and the University of Toronto (1969-1970) before pursuing a degree in sculpture at the Ontario College of Art from 19711974. While Rains’ subjects are varied and include abstraction, still-life remains a strong focus of his practice informed by his architecture and sculpture studies as well as classical Greek art and architecture. Many of Rains’ works contain a brilliantly subtle play with the tonal qualities of light and colour, generating a strong sense of geometry undoubtedly informed by his architectural and sculptural studies. Four Blank Canvases In Silvery Light perfectly encapsulates Rains’ practice of playing with light and shadow, demonstrating a mastery of tonal contrasts and geometric proportions. Three blank canvases lean on a blank white wall, their shapes outlined by the silvery blue shadows creating triangles to their right. A “silvery” light in the form of a large, bright triangle presumably coming from a window outside the frame of the picture cuts across the canvases from the left, bisected by the blank wall and grey floor. Masterful tonal gradations carve out strong geometric forms in pastel hues reminiscent of the work of Italian modernist still-life master Giorgio Morandi. Rains has exhibited his work extensively throughout Canada in museums and galleries including the Art Gallery of Hamilton, The Power Plant in Toronto and the Art Gallery of Ontario and his work is in many notable public and private collections including the Art Gallery of Hamilton, the Canada Council Art Bank in Ottawa and the Art Gallery of Peterborough.

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Contemporary Art Auction - Monday 11 April 2016 at 7 pm

40 JAMES LAHEY, R.C.A. ATLANTIC OCEAN, WATCH HILL R.I., (AUGUST 29 6:40 A.M., 2000) mixed media on canvas signed, titled and dated 2001 on the reverse 39.75 ins x 78.75 ins; 101 cms x 200 cms Provenance: Private Collection, Toronto $5,000–7,000

Note: James Lahey is a multidisciplinary artist whose diverse aesthetic reflects his craftsmanship and his deep understanding of the art world. Before dedicating himself exclusively to creating art, Lahey worked in the curatorial sphere, notably at the Power Plant, the Art Gallery of Harbourfront, Bruce Mau Design and the Art Gallery of Ontario, in Toronto. He is currently a member of the Board of Directors at The Power Plant Contemporary Art Gallery and a member of the Acquisitions Committee for the Prints and Drawings Department at the Art Gallery of Ontario. Known for his photorealistic paintings, colourful abstractions, surreal landscapes, seascapes, cloudscapes and vast public projects, Lahey always captures the essence of the moment. His aesthetic is often described as serene, powerful and enigmatic. James Lahey lives and works in Toronto. He holds a B.F.A. from York University and was elected to the Royal Canadian Academy in 2001. His artwork is included in numerous public and private collections, such as the Art Gallery of Nova Scotia, Government of Canada External Affairs, Tom Thompson Memorial Art Gallery, Citybank collection, Beaverbrook Art Gallery, AGS Art Services, Edmonton Art Gallery, Spar Aerospace and the Toronto Sun.

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ConcreteContemporaryArt.Waddingtons.ca

41 MATT BAHEN TRENCH SMOKE oil on canvas signed, titled and dated 2008 60 ins x 48 ins; 152.4 cms x 121.9 cms Provenance: Private Collection, Toronto $3,000–5,000

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Note: Matt Bahen is a young artist who creates enigmatic large-scale compositions that play with the observer’s perception. Up close, his aesthetic reveals itself as an abstract composition layered in thick coats of oil paint. However, from a distance, the figurative subjects appear in a clear and detailed manner. In Trench Smoke (2008), Bahen uses his signature technique to depict a typical scene of warfare, soldiers roaming through muddy, waterlogged trenches heading to an unknown, possibly perilous outcome. The parallel between hidden subject matter within the canvas and an “invisible war” is strikingly intelligent. Throughout his corpus, Bahen approaches themes of conflict, loss, survival, hope and compassion. Matt Bahen graduated from the Ontario College of Art and Design in 2002. He participated in various solo shows in North America noticeably at LE Gallery and the Moore Gallery in Toronto, the Munch Gallery and the Claire Olivier Gallery in New York. His artwork is included in various public and private collections such as the BMO Financial Group Toronto, the Canadian National Landscaping Association of Canada and the OCAD collection. Matt Bahen currently lives and works in Toronto.


Contemporary Art Auction - Monday 11 April 2016 at 7 pm

42 KIM DORLAND THERE AINT NO CURE FOR LOVE #3 oil on wood signed, titled and dated 2009 on the reverse 60 ins x 48 ins; 152.4 cms x 121.9 cms Provenance: Private Collection, Toronto Literature: Kim Dorland: Tom Thomson on Acid – Maclean’s Magazine by Sara Angel http://www.macleans.ca/culture/kimdorland-like-tom-thomson-on-acid/

Note: Kim Dorland has been a dominant force within the new wave of the Canadian landscape genre – being at the forefront of his generation, his artwork captures the textural qualities exhibited by both paint and nature in beautiful symmetry. There Ain’t No Cure for Love #3, is a much darker piece in terms of narrative and coloration. A study into the nuanced world of monochrome, Dorland creates trees and a deep wilderness setting with a single colour pigmentation. There Ain’t No Cure for Love #3 embraces Dorland’s trademark technique of rich, luscious impasto style sculpted into shapes, full of presence and domination. The delicacy of this piece is also on display with small hidden staccatos of colour, gem-tone treasures that flicker in the nightly landscape of Dorland’s making. Dorland lives and works in Vancouver, B.C. He received his fine art training at the Emily Carr Institute of Art and Design (Vancouver), followed by a Master of Fine Arts from York University (Toronto). His breadth of work has been exhibited and collected internationally by many institutions such as Musée d'art contemporain de Montréal, the Art Gallery of Alberta and the Museum of Contemporary Art San Diego.

$12,000–15,000

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ConcreteContemporaryArt.Waddingtons.ca

43 APRIL HICKOX COMPOST - RED PETAL chromogenic print titled, dated 2010 and numbered 2/7 on gallery label on the backing 33 ins x 33 ins; 83.8 cms x 83.8 cms Provenance: Private Collection, Toronto Leo Kamen Gallery, Toronto $3,000–5,000

Note: April Hickox’s practice spanning the last 35 years is multi-faceted; a teacher, curator and lens-based artist, her work includes photography, video art, film and installations. Hickox began her studies at the Twickenham College of Technology in London, England in 1973, studying photography and graphic design and later studied at the Ontario College of Art in Toronto, Ontario from 1974 to 1978, graduating with an AOCA degree and 5th year graduate studies program in photography and printmaking. Hickox currently resides on Toronto Island, whose alternative community with a rich history and a deep connection with nature has formed an important part of her practice which documents the changes on the island, questioning what is considered “wild” or not through in depth explorations of how humans shape the environment they live in. Day Lilies and Butterfly Bush (opposite) shows an overhead view of freshly wilting red lilies and brittle lavender-coloured bush, giving a direct documentation of the annual removal of plants in formal gardens in Toronto, tossed away by Toronto Island’s parks department to be turned into compost. Hickox captures the mass of flora right before its eventual decomposition into fertilizer, demonstrating a moment in the life cycle of the plants themselves while simultaneously tracing the cyclical nature of human interaction with the “built” natural environment of Toronto’s parks. The plants in Day Lilies and Butterfly Bush act as symbols for the effect humans have on the environment through the lens of a photographic practice deeply rooted in the site, memory and history of Toronto Island. Hickox is currently associate professor of photography at the Ontario College of Art and Design University and the founding director of Gallery 44 Center for Contemporary Photography, as well as a founding member of Artscape and Tenth Muse Studio. Hickox’s work has been exhibited widely across Canada and internationally and is held in numerous private and public collections, including the Art Gallery of Peterborough, the Art Gallery of Hamilton and the Canadian Museum of Contemporary Photography.

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Contemporary Art Auction - Monday 11 April 2016 at 7 pm

44 APRIL HICKOX DAY LILIES AND BUTTERFLY BUSH chromogenic print titled, dated 2010 and numbered 1/7 on gallery label on the reverse 33 ins x 33 ins; 83.8 cms x 83.8 cms Provenance: Leo Kamen Gallery, Toronto Private Collection, Toronto $3,500–4,500

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ConcreteContemporaryArt.Waddingtons.ca

45 MATTHEW VAREY THE RED HILL EXPRESSWAY oil on canvas signed, titled and dated 2006-2007 on the reverse 36 ins x 36 ins; 91.4 cms x 91.4 cms Provenance: Private Collection, Toronto Literature: Dault, Gary Michael. “Matthew Varey: Stillness Rampant” Catalogue Essay for McMaster Museum of Art, May 2004 $3,000–4,000

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Note: Prolific artist Matthew Varey’s career has spanned nearly 30 years and has included work in sculpture, photography, installation and painting. Varey’s influences, processes and preferences for various media have evolved over the course of his career; at one point his focus resting on “statementmaking”, that is, his works addressed social and political issues of the time and place in which he worked. The Red Hill Expressway (2006-2007) is likely a work created, in his characteristic, three-dimensional building and layering of paint and composition of interlacing perspective, to draw attention to a controversial building project in his hometown of Hamilton, Ontario. Decades of hostilities due to concerns over environmental impact preceded the expressway’s eventual opening to traffic in 2007. Varey’s current focus is a deeper exploration into the possibilities of materials and processes. Also a revered educator as the Head of Visual Art at Etobicoke School of the Arts, Varey assists his students by preparing them for a life as working artists. He has exhibited extensively in galleries and participated in art fairs across Europe, Canada and the United States, including Art Miami and the Toronto International Art Fair.


Contemporary Art Auction - Monday 11 April 2016 at 7 pm

46 DAVID BOLDUC RED TIDE

Provenance: Private Collection, Toronto

oil on board signed, titled and dated ‘08 on the reverse 36 ins x 48 ins; 91.4 cms x 121.9 cms $7,000–9,000

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ConcreteContemporaryArt.Waddingtons.ca

47 DEAN DREVER KNUCKLE DUSTERS, 2004-2007 stainless steel each signed and numbered 3/3; this lot is accompanied by a stainless steel stand for each piece as well as a custom-made wooden storage box each, set within stand 3.25 ins x 4.75 ins x 1.5 ins; 8.3 cms x 12.1 cms x 3.8 cms $15,000–18,000

Provenance: Private Collection, Toronto Note: Dean Drever’s practice is rooted in an abstract minimalist tradition. His sculptures reflect a keen regard for detail and a seamless level of finish; seductively sparse and calm objects that empower the viewer to consider how we are all involved in art production. Drever’s work addresses complex relationships of complicit desire and unbounded power. Whether it is repressed anger in individuals, or social groups who espouse beliefs that threaten or endanger the freedom of others, he has pursued an interest in the constitution of power and what makes something or someone powerful. Explicit violence, in the form of weapons is examined and exposed in works such as Knuckle Dusters (2004 - 2007), a set of three stainless steel knuckles engraved with warnings of retribution: “THIS TOO WILL PASS”, “THIS WILL NOT GO OVER YOUR HEAD” and “THIS IS NOT GOING TO BE OK”. Drever has exhibited in numerous group and solo shows across Canada and internationally. In recent years he has shown at the Esker Foundation in Calgary, Villa Toronto, White Columns in New York City, and Cooper Gallery in Dundee, Scotland.

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Contemporary Art Auction - Monday 11 April 2016 at 7 pm

48 WANDA KOOP LANDSCAPE WITH RED BAR

Note: Wanda Koop was awarded the Governor General's Award in Visual and Media Arts, 2016.

acrylic on canvas signed, titled and dated 2008 on the overflap

“It is, perhaps, this inalienable tie to nature that [...] prompts artists to continue to represent the landscape and the viewers to seek out landscape art. And the more nature seems lost, the more sought after it becomes.“

79 ins x 95 ins; 200.7 cms x 241.3 cms

Wanda Koop has been reinventing and redefining landscape painting for more than 40 years. Featured in over 50 solo exhibitions, she is a preeminent figure in contemporary Canadian art. Also renowned for her performance and video art, Wanda Koop is an inventive and accomplished multidisciplinary artist.

Provenance: The Estate of James Bisback, Ontario Michael Gibson Gallery, Ontario Private Collection, Ontario Literature: Petra Halkes, Aspiring to the Landscape On Painting and the Subject of Nature (Toronto: University of Toronto, 2006). $20,000–30,000

In Landscape with Red Bar (2008) and View from Here (2009) (lot 31), the striking contrast between the lightly brushed background and the vivid stripes of colour creates an immersive experience for the viewer. Her artwork questions the relationship between the sacredness of nature and the modern technological world. Wanda Koop was born in Vancouver and currently lives and works in Winnipeg. Her artwork is collected internationally by major public and private institutions such as the National Gallery of Canada, the Musée d’art contemporain de Montréal, the Reykjavik Museum, the Shanghai Museum of Modern Art and the Caldic Collection.

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49 DAVID BIERK ELORA DUSK oil on board signed, titled and dated “18 April 1989” on the reverse 15 ins x 19.5 ins; 38.1 cms x 49.3 cms Provenance: Private Collection, Toronto $3,000–5,000

50 DAVID BIERK, R.C.A. A EULOGY TO ART AND LIFE (BALANCE), TO EL LABRADOR mixed media on board with steel signed with initials; signed with artist’s stamp on the reverse; titled and dated 1997 on artist’s label on the reverse 17 ins x 32 ins; 43.2 cms x 81.3 cms Provenance: Private Collection, Toronto Canadian Fine Arts, Toronto $3,000–5,000 Note: Canadian-American painter David Bierk (1944 – 2002) was born in Appleton, Minnesota and went on to study at the California College of Arts & Crafts in Oakland, California. He later received his B.A. and M.F.A. in painting and photography at Humboldt University in Arcata, California. Immigrating to Peterborough, Ontario in 1972 where he taught, Bierk developed a particular painting style and approach that generated international acclaim and recognition. Landscapes featured as a central component of Bierk’s oeuvre, with a characteristically yellowed light and palette that echoed the landscapes of the Romantic period and the Hudson River School. However, Bierk regularly copied and reintroduced works from a wide and varied art-historical canon, and created homages to artists such as Cezanne, Manet, Fantin-Latour, Vermeer and Caravaggio, exploring the relationship between traditional practices and new, modern forms of art-making, including photography and the use of industrial materials. A Eulogy to Art and Life (Balance) (1997) perfectly encapsulates Bierk’s work. In a central panel, a set of beautifully rendered grapes done in an Old Masters style hang from vines; ripened, the “fresh”-looking grapes traditionally symbolize Bacchus, wine and excess. However, Bierk shows the grapes as aged, yellowed and cracked, and framed by two metal panels, he creates a sense of discord between the tradition, craftsmanship and auratic nature of painted images and classical art, and the new, industrially produced materials associated with modernist art practices, generating a nostalgic and melancholic atmosphere. David Bierk was elected a member of the Royal Canadian Academy of Arts in 1998 and was posthumously awarded the Queen’s Gold Jubilee Medal in 2002. Bierk’s work is widely represented and is in numerous public and private collections across North America including the National Gallery of Canada, the Art Gallery of Ontario and the Dayton Art Institute, Dayton, Ohio.

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Contemporary Art Auction - Monday 11 April 2016 at 7 pm

51 JAMES LAHEY, R.C.A. SIMMENTAL BULL, 1988 acrylic on canvas signed, titled, dated and inscribed “from Private Property series” on the reverse 55 ins x 72 ins; 139.7 cms x 182.9 cms Provenance: Private Corporate Collection, Toronto $3,000–4,000

Note: James Lahey is a multidisciplinary artist whose diverse aesthetic reflects his craftsmanship and his deep understanding of the art world. Before dedicating himself exclusively to creating art, Lahey worked in the curatorial sphere, notably at the Power Plant, the Art Gallery of Harbourfront, Bruce Mau Design and the Art Gallery of Ontario, in Toronto. He is currently a member of the Board of Directors at the Power Plant Contemporary Art Gallery and a member of the Acquisitions Committee for the Prints and Drawings Department at the Art Gallery of Ontario. Known for his photorealistic paintings, colourful abstractions, surreal landscapes, seascapes, cloudscapes and vast public projects, Lahey always captures the essence of the moment. His aesthetic is often described as serene, powerful and enigmatic. James Lahey lives and works in Toronto. He holds a B.F.A. from York University and was elected to the Royal Canadian Academy in 2001. His artwork is included in numerous public and private collections, such as the Art Gallery of Nova Scotia, Government of Canada External Affairs, Tom Thompson Memorial Art Gallery, Citybank collection, Beaverbrook Art Gallery, AGS Art Services, Edmonton Art Gallery, Spar Aerospace and The Toronto Sun.

52 JAMES LAHEY, R.C.A. MORNING AT A MARSH acrylic on canvas signed, titled and dated 1997 on the reverse 12 ins x 24 ins; 30.5 cms x 61 cms Provenance: Wynick/Tuck Gallery, Toronto Private Collection, Toronto $2,500–3,500

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53 GORDON RAYNER DELACROIX mixed media on board signed, titled and dated; signed, titled and dated 2002 on the reverse 30 ins x 24 ins; 76.2 cms x 61 cms Provenance: Private Collection, Ireland $7,000–9,000

Note: Gordon Rayner is a versatile artist who comes from a long line of painters and commercial artists. At 15 years of age, he became the apprentice of Jack Bush, a notable member of the Painters Eleven. Always open to new influences, Rayner is mostly known for his abstract compositions of cityscapes and landscapes of Muskoka, Ontario. In the early 2000s, Rayner created a series of portraits depicting notorious historical figures. He extensively researched the life of each subject and drew his inspiration from archival photographs, drawings and paintings. In Delacroix (2002), the artist captures the strong personality of the figure by using a colour-laden palette and by drawing frenetic, swirling masses around Delacroix’s head, just as if Rayner intended to illustrate the buzzing activity of the genius mind. Throughout his career, Gordon Rayner taught in various institutions such as the New School of Art and the Ontario College of Art in Toronto, the Emily Carr College of Art in Vancouver and the Nova Scotia College of Art and Design in Halifax. His work is collected by numerous private and public institutions, notably A.E. Lepage, Art Gallery of Windsor, Art Gallery of Ontario, Canada Council Art Bank, Concordia Art Gallery in Montreal, MOMA, National Gallery of Canada, Philadelphia Museum of Art and Vancouver Art Gallery.

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Contemporary Art Auction - Monday 11 April 2016 at 7 pm

54 STEPHEN ANDREWS CROWD, 2004 linoleum print on mylar edition of 10 with four artist’s proofs, signed on panel #9 overall 60 ins x 60 ins; 152.4 cms x 152.4 cms Provenance: Private Collection, Toronto $9,000–11,000

Note: Stephen Andrews (b. 1956) is reliably painting his subjects – and positioning his viewers – at a remove. In a quarter-century career that can be viewed as a series of responses to crises and change, Andrews’s absorption in the production of color and the repetitiveness of painting has provided him a distraction from grief while promoting a distancing and reflective aesthetic. Beginning his artistic trajectory with a serially-produced collection of greyscale portraits featuring subjects diagnosed with AIDS, Andrews (himself diagnosed with HIV thirty years ago) shifted into color following the attacks of September 11, 2001. It was a calamity he observed at a close distance in New York City, and channeled, in a state of shock, through a series of dot paintings that reveal subjects and palettes additively (as with Seurat’s pointillism), and at a remove. Crowd (2004) epitomizes this body of work. A sectioned canvas split into window-like panes looks over a crowd of people, agitating, their faces nearly indistinguishable from one another, pixelated as if being remembered, not pictured. Color (inky blues and peeks of yellow) gives way to patterning, a mass of people like a constellation, many-peopled and whole. As a result of these “change lines,” Andrews’s work is riven by a sense of apartness, a quiet alienation, and the framing devices of a subject peering from the outside in, or the inside out. In Andrews’s painting, the length of ground between us, our limited subjectivity, provide both our access and our displacement. Stephen Andrews (b. 1956, Sarnia, Ontario) has exhibited across North America, Brazil, Scotland, France, and Japan. His work has been collected by the National Gallery of Canada, the AGO, the Belkin Art Gallery, and the Schwartz Collection, Harvard, among others. Andrews is represented by Paul Petro Contemporary Art in Toronto.

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55 JOHN SCOTT JUNO mixed media on paper 35 ins x 23 ins; 88.9 cms x 58.4 cms Provenance: Private Collection, Toronto $2,000–3,000

Note: Through both symbol and figuration – and with an existentialist’s drift and a nihilist’s anger – John Scott has etched the deep markings of a long and sustained career, issuing a singular voice for a mass appeal. His humor, angst, and revolutionary anxiety are profiled through crude gesture, cryptic text, and figures bearing their archetypes. His socio-political commentary, radicalism, and anger are the products of growing up in the ’60s in Windsor, amid the presence of an industrial multitude that took both his parents’ lives. Further, Scott was among a generation whose revolutions were urgent, but too often brief. But their tone was more enduring. On the occasion of his first survey exhibition at the famed Faulconer, Scott stirred an echo to the gallery’s impressive Goya collection, his Dark Commander running a dark parallel to the master’s fatalist symbolism. The museum’s associate director says of Scott, “he seems to have seen the 21st century coming,” his Neo-Marxist leanings tempered by a black-eyed rejection. John Scott graduated from Ontario College of Art and University of Toronto between 1972 and 1976. He was the subject of a survey exhibition at the Faulconer in Iowa (2014), and has been exhibited across Canada and in parts of Europe.

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Contemporary Art Auction - Monday 11 April 2016 at 7 pm

56 RONALD ALBERT MARTIN SCRAPED OFF BLACK PAINTING acrylic on canvas signed, titled and dated 1979 on the reverse 29 ins x 25 ins; 73.7 cms x 63.5 cms Provenance: Private Collection, Toronto Carmen Lamanna Gallery, Toronto $12,000–15,000

Note: Ronald Albert Martin is a visual artist fascinated with the materiality of paint. Highly inspired by the American Abstract Expressionists, particularly Jackson Pollock, Ron Martin believes that the creative gesture triggers the strongest emotional impact in the viewer. During his 50-year career, Ron Martin has worked in series utilizing various media, techniques and colour palette in order to capture the essence of paint. Scraped off Black Painting (1979) is part of the artist’s iconic series, “Black Paintings.” This composition invites the viewer to gaze upon the various textures, layers and patterns engraved into the dark pigment. In 1978, this innovative monochromatic series was chosen to represent Canada at the Venice Biennale. Ron Martin currently lives and works in Toronto. In 2012, he received the Governor General’s Award for Visual and Media Arts. He participated in numerous group and solo shows in Canada, the United States, France, Japan and Germany. His work is featured in the collections of the National Gallery of Canada, Art Gallery of Ontario, Musée des beaux-arts de Montréal, Vancouver Art Gallery and Museum London.

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57 STEPHEN LACK WHITE LIMO oil on canvas signed and dated /89-90 on the reverse 43 ins x 74 ins; 109.2 cms x 188 cms Provenance: Private Collection, Montreal $2,000–4,000

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Note: Stephen Lack is known for his finely developed art practice which presents modern American cultural objects and landscapes as subjects of vivid and intensely coloured paintings. Modern relationships, urban violence, and politics are all themes found in his work. Through this portrayal of objects in a stark, recognizable way, Lack is largely reacting against the development and reception of minimalism and conceptual art in the 1960s and 1970s. Using a bright, varying palette and bold outlining strokes, he recalls a time when art was most simply about visual aesthetics and independent selfexpression. Lack received his BA from McGill University (Montréal) in 1967. He then received his MFA from the renowned Instituto Allende (San Miguel de Allende, Mexico) in 1969. He has received awards from the National Endowment for the Arts in 1987 and 1993, and the Canada Council for the Arts in 1991. While originally from Montréal, Lack now works out of New York City, where he lives with his family.


Contemporary Art Auction - Monday 11 April 2016 at 7 pm

58 TOM HOPKINS PRIERE oil on canvas signed, titled and dated 1994-1995 on the reverse 51 ins x 69 ins; 129.5 cms x 175.3 cms Provenance: Mira Godard Gallery, Toronto Private Collection, Toronto $8,000–10,000

Note: Montreal artist Tom Hopkins was an exemplary painter whose style is instantly recognizable with its rich, surreal backgrounds, highly contrasted areas of light and dark and jewel-like palette. His work was inspired by metaphors, symbols, references to historical art, humour and his personal observations and musings on life. Known for his shorelines, boats, still-lifes, portraits and cityscapes, Hopkins’ subjects are otherworldly and seem to emanate a dreamlike light sourced from within. He was also a highly respected teacher and mentor at McGill and Concordia Universities, shaping the lives and work of many of Canada’s prominent contemporary artists. Born in Summerside, P.E.I., Hopkins studied at Mount Allison University in New Brunswick and obtained his Master of Fine Arts degree at Concordia University in Montreal. He taught art at Concordia from 1983-1997, inspiring numerous notable Canadian artists. Hopkins died in 2011 at the age of 66.

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59 ALEX CAMERON PROTAGORAS acrylic on canvas signed, titled and dated 1981 on the reverse 68 ins x 32 ins; 172.7 cms x 81.3 cms Provenance: Private Collection, Toronto $4,500–5,500

Note: Alex Cameron (b. 1947 in Toronto, Ontario) is one of Canada’s most celebrated painters. Cameron is known for his use of brilliant colour and his particularly thick, textured and gestural paintings. Cameron’s studies at the New School of Art in 1967, under renowned abstract painters such as Graham Coughtry, Gordon Rayner and Robert Markle, would have a profound influence on the development of his practice. Cameron’s early work of the 1970s included initially fluid, gestural abstractions which eventually gave way, in the 1980s, to a more structured, formal play with colours and geometrical forms, a period to which Protagoras belongs. With its carefully overlapped horizontal lines of brilliant oranges, yellows, reds and greens pocketed with opened semi-circular and triangular forms, Protagoras demonstrates Cameron’s vibrant use of patterned colour and his forays into structured, lyrical abstraction. Protagoras’ geometrical forms and colouration characteristic of a period in the early 1980s displays his close affinity with other abstract painters of the time; Cameron notably worked as a studio assistant for pre-eminent abstract painter Jack Bush from 19721976, and was a close friend and colleague of painter David Bolduc. Alex Cameron was one of the 14 artists selected to exhibit at the Smithsonian’s Hirshhorn Museum in 1977 alongside his mentor Jack Bush and fellow abstract painter David Bolduc, a friend with whom he would take annual trips to sketch and take inspiration from the coastlines and forests of Newfoundland. Widely reviewed and written about in many publications, Cameron’s work is part of many national and international public and private collections including the Art Gallery of Ontario, the Art Gallery of Hamilton, the Queen’s Silver Jubilee Art Collection and the Office of the Prime Minister of Canada in Ottawa. Cameron is currently represented by Bau-Xi Gallery in Toronto.

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Contemporary Art Auction - Monday 11 April 2016 at 7 pm

60 CHRIS TEMPLE COMPOSITION #3 oil on canvas signed and dated /82; titled and dated 1982 on the reverse 40 ins x 50 ins; 101.6 cms x 127 cms Provenance: Private Collection, Toronto $4,000–6,000

Note: Fascinated by urban scenes and cityscapes, Chris Temple has made industrial modernity his muse since 1982. By reproducing flawlessly the infrastructures of his favourite cities (Toronto, Montreal, London, New York, Detroit and Chicago) and by excluding figurative forms, Temple conveys the vivid contrast between the diminutiveness of humans and the gigantism of man-made environments. The artist’s technique, close to Photorealism, remains highly personal as he manipulates perspective, juxtaposes multiple architectural elements, emphases sharp angles and positions the spectator in unusual viewpoints as seen in Composition #3 (1982). Chris Temple graduated from the Ontario College of Art in 1981 and is currently living and working in Toronto. His artwork is featured in various private and public collections including those of the Canada Council Art Bank, the Art Gallery of Hamilton, the Imperial Oil in Calgary, the Toronto District School Board, the Department of External Affairs in Ottawa and Hammerson Inc. in London.

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61 IAIN BAXTER& BIRD BUNGALOW CALIFORNIA DESIGN mixed media assemblage signed, titled, dated 2009 and inscribed “Recycled Model” approximately 69.5 ins x 21 ins; 176.5 cms x 53.3 cms Provenance: Private Collection, Ontario Literature: Sarah Scott, Iain Baxter&: Mr. Concept (Toronto: Canadian Art, Spring 2012) http://canadianart.ca/features/iain-baxter-mr-concept/. Note: “ [Iain Baxter&] changes the definition of art nearly every time he does something.” Iain Baxter& is a pioneer of conceptual art who has been pushing artistic boundaries and reinventing himself for more than 50 years. Internationally renowned for his idea of the business as an art form (N.E. Thing. Co, 1966-1978), Baxter& has created an impressive and diverse visual legacy that defies any type of categorization. In the spirit of Marcel Duchamp and the Dadaist movement, Baxter& uses mass-produced objects to critique our consumerist society. In Bird Bungalow California Design (2009), the multidisciplinary artist prophesies the need for human-made birds dwelling once their natural habitat utterly vanishes. In 2003, Baxter& was appointed Officer of the Order of Canada and in 2012, the AGO held a critically acclaimed retrospective of his career. Baxter&’s artwork is included in multiple Canadian and international collections including those of the AGO, the National Gallery of Canada, the MOMA, the L.A. County Museum, the Visual Art Center of Clarington and the Gemeentemuseum in The Hague, Netherlands. $3,000–5,000

(detail)

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Contemporary Art Auction - Monday 11 April 2016 at 7 pm

62 STEVE DRISCOLL RAPIDS urethane and pigment on board signed, titled and dated 2013 on the reverse 46 ins x 82 ins; 116.8 cms x 208.3 cms Provenance: Private Collection, Toronto Literature: Canadian Art – Exhibition May 1 – May 2015: Steve Driscoll: Actually, Everything is Just About the Same | http://canadianart.ca/exhibitions/stevedriscoll-actually-everything-just/ $8,000–11,000

Note: Deepening the breadth of the Canadian landscape genre with contemporary sensibilities, Steve Driscoll brings forth a tidal wave of the avant-garde with Rapids (2013). His energetic palette, complete with the marvels achieved through the genius of his alchemy (pigment and urethane his chosen materials) – a thrilling dance ensures blending both the natural and the chemical into an artistic oeuvre unlike any other. By creating his own visual language, Driscoll affirms not only the natural delights, but in equal measure captures the beauty of Mother Nature through a stunning lens of bright colours that heightens the senses for which Rapids becomes incredibly tangible. The energetic rush of blueturquoise water framed by a supporting cast of trees in their fall season zenith unleashes a balanced composition rich in depth. Driscoll’s mastery of creating deepening perspectives and nuanced planes allow the cascading water to breath, unleashing a treasured secret, deep inside the heart of the Canadian wilderness. Driscoll is a graduate of the Ontario College of Art and Design (OCAD) and recipient of the Medal for Drawing and Painting in 2002. He is represented by galleries across Canada and the U.S., including Angell Gallery (Toronto); Peter Robertson Gallery (Edmonton); Rostad Edward Fine Art (Miami, Florida).

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63 ALEX CAMERON LAST LIGHT ON BAY FINN oil on canvas signed, titled and dated 1988 on the reverse diameter 48 ins; 121.9 cms Provenance: Private Collection, Ontario Exhibited: PRIVATE COLLECTION, $2,500–3,500

Note: Alex Cameron (b. 1947 in Toronto, Ontario) is one of Canada’s most celebrated painters. Cameron is known for his use of brilliant colour and his particularly thick, textured and gestural paintings. Cameron’s studies at the New School of Art in 1967, under renowned abstract painters such as Graham Coughtry, Gordon Rayner and Robert Markle, would have a profound influence on the development of his practice. While Cameron’s paintings from the 1970s and early 1980s remained steadfastly abstract, his work as a mechanic and tuner for a Formula 1 motorcycle racer until 1987 allowed Cameron to travel across North America, landscapes that would stay embedded in the artist’s memory. Gradually, by the mid 1980s, Cameron moved his painting practice away from abstract work towards fully formed landscapes that retain a particular lyrical and whimsical quality. Last Light On Bay Finn depicts a yellowed sky foregrounded by the silhouettes of trees. The work’s sombre palette is particularly characteristic of a period in the late 1980s to early 1990s, before Cameron reintroduced the vibrant, un-naturalistic colours of his early abstractions to his imaginative landscapes. Alex Cameron was one of the 14 artists selected to exhibit at the Smithsonian’s Hirshhorn Museum in 1977 alongside his mentor Jack Bush and fellow abstract painter David Bolduc, a friend with whom he would take annual trips to sketch and take inspiration from the coastlines and forests of Newfoundland. Widely reviewed and found in many publications, Cameron’s work is part of many national and international public and private collections, including the Art Gallery of Ontario, the Art Gallery of Hamilton, the Queen’s Silver Jubilee Art Collection and the Office of the Prime Minister of Canada in Ottawa. Cameron is currently represented by Bau-Xi Gallery in Toronto.

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Contemporary Art Auction - Monday 11 April 2016 at 7 pm

64 TONY SCHERMAN STILL LIFE WITH FRUIT oil and encaustic on canvas 36 ins x 36 ins; 91.4 cms x 91.4 cms Provenance: Private Collection, Toronto Canadian Fine Arts. Toronto

Note: Tony Scherman’s Still Life with Fruit is a stoic composition of a traditional subject matter with contemporary resonances – the pastel tones exude a rich tapestry of texture representing a dreamlike sequence. Through his distinctive style and mastery of the encaustic technique, Scherman marries both wax and pigment together into a sophisticated media that brings a cleverness to his oeuvre. The depth achieved by continual and constant layering of varying colours and subtle blending across the canvas create a sense of softness. Still Life with Fruit provides an insight into Sherman painterly process, complete with drips and heavy built up layers of wax. This piece also is an exploration of the study of shadows that are beautifully crafted and nurtured through the delectable delights of the fruit.

$12,000–15,000 Tony Scherman is a graduate of the Royal College of Art (London, England) and member of the Royal Canadian Academy of Arts. The artist’s work is widely collected for public, private and corporate institutions across North America and Europe, forming part of major collections including Barclay’s Bank in New York, Toronto Dominion Bank in Toronto and the Los Angeles County Museum (LACMA).

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65 MICHAEL SNOW, R.C.A. MAN AT DESK #2 ink on paper signed; titled and dated 1957 on gallery label on the reverse sight 10.5 ins x 15.25 ins; 26.7 cms x cms Provenance: Private Collection, Toronto Isaacs Gallery, Toronto $1,500–2,000

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Note: A multi-disciplinarian across many branches of art, Michael Snow has been a pioneering force in the world of visual arts, filmmaking and music for over fifty years. Man at Desk from 1957, a work from the early days of Snow’s illustrious career, provides insight into the artist’s creative soul. A piece with a delightful mixture of contrasts summoning both the abstract with the representational genres, Man at Desk – goes deeper with its monochromatic tonalities of black and white, mirrored opposites in equal measure. Man at Desk shows a distinct confidence in Snow’s brushwork with ink - at once exhibiting the delicacy and intricacy of contour with the density of solid painterly qualities. Michael Snow is the recipient of many prestigious awards over the course of his lifetime, including the Guggenheim Fellowship in 1972; receiving the Order of Canada in 1981 for his contributions to international visual arts; and was winner of the Gershon Iskowitz prize in 2011. Snow has had a multitude of solo shows across Canada and the United States and has left his mark on Toronto’s public art scene, including a flock of geese within the Eaton’s Centre, Flight Stop and The Audience, contemporary figurative carvings along the Rogers Centre.


Contemporary Art Auction - Monday 11 April 2016 at 7 pm

66 JEANIE RIDDLE GOSPEL oil on canvas signed, titled and dated 02/2014 on the reverse 72 ins x 72 ins; 182.9 cms x 182.9 cms Provenance: Galerie Antoine Ertaskiran, Montreal Private Collection, Toronto

Note: Jeanie Riddle is a Montreal based artist, curator and cultural tour de force. She has exhibited across Canada and received numerous awards and grants including the inaugural Yves Gaucher Award. Her wider-ranging practice includes paintings, sculpture and installation. The bold minimalism of Gospel (2014) hints at this negotiation of objects in space and recalls the careful delineations of Mark Rothko, William Perehudoff and Jack Bush. Riddle is deeply involved in the Montreal cultural scene and is Director of the highly influential gallery Parisian Laundry. This lot is sold to benefit Casey House, Toronto, Canada’s leading AIDS Hospice.

$8,000–9,000

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Index

A Andrews, Stephen…19-21, 54 Aspell, Peter…14 Astman, Barbara…10 Awad, Michael…12 B Bahen, Matt…41 Baxter&, Ian…61 Bierk, David…49, 50 Bolduc, David…4, 46 Boyle, Shary…2 Burtynsky, Edward…16, 22, 23, 34 C Cameron, Alex…59, 63 D Daley, Cathy…19, 21 Dorland, Kim…42 Drever, Dean…47 Driscoll, Steve…62 Dzama, Marcel…30 G Grossmann, Angela…5 H Hafkenscheid, Toni…11 Hall, John Scott…9 Hannah, Adad…7, 8 Hartman, Joseph…33 Heller, Susanna…37 Hickox, April…43, 44 Hopkins, Tom…58

Contributing Writers

M Martin, Ronald Albert…56 MacDonald, Euan…19, 21 McIntosh, Elizabeth…28 Miro, Rod…35 Monkman, Kent…13 Moody, Kim…19-21

Waddington’s

N Nobrega, John…38

Special Thanks To:

P Phillips, Brad…26, 27 Poulin, Roland…32 R Rains, Malcolm…39 Rayner, Gordon…53 Riddle, Jeanie…66 Robertson, Mitch…21 S Scherman, Tony…64 Scott, John…55 Scott, Robert…24, 25 Singer, Ken…15 Snow, Michael…65 T Temple, Chris…60 Thib, Jeannie…19-21 V Varey, Matthew…45 Various Artists, 19-21

K Katsuras, Nicole…1 Koop, Wanda…19-21, 31, 48

Y Yerex, Jacob…29 Youds, Robert…3

L Lack, Stephen…57 Lahey, James…40, 51, 52 Lennard, John…6 Lexier, Micah…19-21, Lukacs, Attila Richard…36

Z Zageris, Arnold…17, 18

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Stephen Ranger (Specialist) Camila Jourdain Holly Mazar-Fox Kristin Vance

Brett Despotovich Sky Goodden Stu Monck James Proctor


Contemporary Art Auction - Monday 11 April 2016 at 7 pm

Conditions Of Sale

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

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

payment of the whole or any part of the purchase price requested by the auctioneer, failing which the auctioneer in his sole discretion may cancel the sale, with or without re-offering the item for sale. 9. The buyer shall pay for all lots within 48 hours from the date of the sale, after which a late charge of 2% per month on the total invoice may be incurred or the auctioneer, in his sole discretion, may cancel the sale. The buyer shall not become the owner of the lot until paid for in full. Items must be removed within 10 days from the date of sale , after which storage charges may be incurred. 10. Each lot purchased, unless the sale is cancelled as above, shall be held by the auctioneer at his premises or at a public warehouse at the sole risk of the buyer until fully paid for and taken away. 11. Notwithstanding condition no. 1, if the buyer, prior to removal of a lot, makes arrangements satisfactory to the auctioneer for the inspection of such lot by a fully qualified person acceptable to the auctioneer to determine the genuineness or authenticity of the lot, to be carried out promptly following the sale of the lot, and if, but only if, within a period of 14 days following the sale a written opinion of such person is presented to the auctioneer to the effect that the lot is not genuine or authentic, accompanied by a written request by the buyer for rescission of the sale, then the sale of the lot will be rescinded and the sale price refunded to the buyer. 12. Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certified cheque (U.S. & Overseas not applicable), travelers cheque, bank draft, electronic transfer (fee applies), and VISA or Mastercard (up to $25,000).

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

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ConcreteContemporaryArt.Waddingtons.ca

Buying at Waddington’s

All lots will be offered and sold subject to the Conditions of Sale which appear in this catalogue as well as any Glossary and posted or oral announcement. By bidding at auction, bidders are bound by those Conditions and Glossary, as amended by any oral announcement or posted notices, which together form the contract of sale between the successful bidder (buyer), Waddington’s™ and the consignor (seller) of the lot. Descriptions or photographs of lots are not warranties and each lot is sold “as is” in accordance with the Conditions of Sale. 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 inquire as to the

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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. 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. 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. 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). ALL PRICES IN CANADIAN FUNDS


Contemporary Art Auction - Monday 11 April 2016 at 7 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. Property normally arrives at Waddington’s at least three months before the sale in order to allow our specialists time to research, catalogue, photograph and promote the items. Consignors will receive a contract to sign, setting forth terms and fees for our services.

Notice for our International Clients

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

Restrictions exist regarding the import and export of species protected under CITES (Convention on International Trade in Endangered Species). This includes but is not limited to items made of or containing bone (whalebone etc.), ivory, tortoise shell, seal skin, rhinoceros horn and any other animal part and is strictly controlled or forbidden by most countries. Please review your country’s laws before bidding on pieces made of or containing these restricted items. It is the sole responsibility of the buyer to inquire about and obtain the proper permits for artwork purchased that may contain restricted materials, if such permit can be obtained. Please contact the department for further assistance. All Narwhal Tusks must have a Marine Harvest Number or a Marine and Mammal Transport number to be sold at Waddington's. For more information please visit: www.cites.org

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ConcreteContemporaryArt.Waddingtons.ca

Operational Staff

Specialist Departments

Asian Art Chih-En Chen 陳之恩 416 847 6185 cc@waddingtons.ca Simone Ludlow Asian Art Administrator 416 847 6195 scl@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 lr@waddingtons.ca

Doug Payne 416 847 6180 dp@waddingtons.ca

Anna Holmes Condition Reports 416 847 6176 canadianart@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

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

Susan Robertson 416 847 6179 sr@waddingtons.ca

Sarah Carter Decorative Arts Administrator 416 504 9100 x6220 sc@waddingtons.ca

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

Fine Wine & Spirits

Inuit Art Christa Ouimet 416 847 6184 co@waddingtons.ca Nadine Di Monte Assistant 416 847 6182 npd@waddingtons.ca

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Stephen Ranger 416 847 6194 skr@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 Otto Lam Assistant ol@waddingtons.ca Accounts Manager Karen Sander 416 847 6173 ks@waddingtons.ca Online Auction Support / Accounts Manager Elda Pappada 416 504 9100 x6213 ep@waddingtons.ca Corporate Receptionist Kate Godin 416 504 9100 kg@waddingtons.ca Appraisal Co-ordinators Ellie Muir 416 847 6196 em@waddingtons.ca Holly Mazar-Fox 416 847 6167 hmf@waddingtons.ca Communications Tess McLean 416 504 9100 tm@waddingtons.ca

Waddingtons.ca/Collingwood P. O. Box 554, Collingwood ON L9Y 4B2 Valerie Brown 705 445 8811 vb@waddingtons.ca


Contemporary Art Waddingtons.ca

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

Telephone: 416.504.9100 Fax: 416.504.0033 Toll Free: 1.877.504.5700

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Concrete Contemporary Art Auction | Apr. 11, 2016  

Concrete Contemporary Art Auction | Apr. 11, 2016