The Art of Canada Auction | May 30, 2016

The Art of Canada Auction Monday 30 May 2016

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The Art of Canada Auction Lots 1–182

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The Art of Canada Auction Monday 30 May 2016 at 7:00 pm On View: Friday 27 May 2016 from 12:00 Noon to 5:00 pm Saturday 28 May 2016 from 11:00 am to 5:00 pm Sunday 29 May 2016 from 11:00 am to 5:00 pm Monday 30 May 2016 from 10:00 am to 12:00 Noon

Preview and Auction to be held at Waddington’s 275 King Street East, 2nd Floor Toronto Ontario Canada M5A 1K2 Canadian Art Specialist Linda Rodeck Canadian Art Administrator / Catalogue Orders Anna Holmes 416.504.5100 canadianart@waddingtons.ca

Front Cover Lot 105 MOLLY LAMB BOBAK, R.C.A. INTERIOR (detail) Inside Front Cover Spread Lot 142 ULYSSE COMTOIS MATIÈRE - LUMIÈRE Inside Back Cover Lot 52 LAWREN STEWART HARRIS ALGOMA SKETCH, 1919 (detail) Back Cover Lot 39 FREDERICK ARTHUR VERNER, O.S.A., A.R.C.A. BISON FORAGING IN WINTER

Inuit Art Specialist Christa Ouimet 416.847.6184 co@waddingtons.ca Fine Art Administrator Nadine Di Monte 416.504.9100 x6250 inuitart@waddingtons.ca Accounts Manager Karen Sander 416.847.6173 ks@waddingtons.ca Communications Tess McLean 416.504.9100 tm@waddingtons.ca

Absentee and Phone Bidding 416.504.0033 (Fax) bids@waddingtons.ca

This auction is subject to the Conditions of Sale printed in the back of this catalogue.

Online Bidding www.invaluable.com

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

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

All rights reserved.

Photography by Waddington’s

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The art of Canada originated with objects created by our indigenous peoples. Whether fabricated for practical or ritualistic purposes, or as a creative record of their history and culture, collectors in Canada and throughout the world have long been fascinated by these objects.

Waddington’s has deep expertise in this collecting area dating back to the first Inuit art auction conducted by our firm in 1978.

We have ruminated for some time now on the possibility of a less restricted interpretation of Canadian art which might leverage our expertise in this area to unite the best examples of indigenous art production with the type of work that, traditionally, has been offered in our Canadian Art major catalogue sales.

We know that the best collectors in this country have always been receptive to an inclusive view of our cultural and artistic heritage. They have long understood that the narrative of Canadian art is artificially limited when we construct silos that separate the artists of this country by ethnicity. While such labels may be convenient, by creating them we inadvertently shortchange our aesthetic experiences and limit our openness to those objects which fall outside the familiar collecting parameters and patterns we may establish for ourselves.

And so this season we are proud to present a unique combination of works created by artistic masters representing The Art of Canada. The scope of works offered this season has been expanded to encompass a selection of quality works by Inuit and First Nations artists as well as Canadian historical, modern and contemporary artists.

The catalogue is intended to awaken and delight your senses and expand your collecting imagination. We hope you find yourself fascinated by objects you might never have considered before.

Enjoy!

Linda Rodeck Senior Canadian Fine Art Specialist Vice President Fine Art Christa Ouimet Senior Inuit Art Specialist

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

1 NIVIAXIE, CAPE DORSET/KINNGAIT ESKIMO SUMMER TENT sealskin stencil 1959, 28/50 unframed 15.75 ins x 14.75 ins; 40 cms x 37.5 cms $6,000–9,000

Note: Niviaxie also known as Niviaksiak, was an excellent stone carver and hunter.

The artist was said to be a thinker, enjoying periods of solitude on his little island camp where he would disappear to for weeks at a time. He and his wife Kunu were raising five children when he tragically died during an unusual hunting accident (see lot 42 for more detail). That very same year Kunu had to leave her family to travel south for treatment for tuberculosis, one can only imagine what a strenuous time it was for this family. Only 50 years old, Niviaksiak passed away before the official release of the 1959 Cape Dorset graphics collection to which he contributed nine brilliant images. Of those, were some of the most striking of the entire 1959 collection. His prints demonstrate his innate ability to create simple yet exquisite images using graceful lines while conveying an intimacy in everyday subject matter. His wife, Kunu was a graphic artist as well, her small, charming print, ‘Girl with Skin Line’ was included in the 1959 graphics collection. Her artwork would have had to sustain the family after the loss of her husband.

Niviaksiak conceived a number of uncatalogued and experimental images as well as two posthumous prints in the 1960 graphics collection.

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2 JEAN-PAUL LEMIEUX, R.C.A. PAYSAGE oil on panel signed and dated ‘50 10 ins x 8 ins; 25.4 cms x 20.3 cms Provenance: Private Collection, Montreal Literature: Guy Robert, Lemieux, Gage Publishing, Canada, 1978, pages 87-88.

Note: In the summer of 1950, having abandoned the easel for two years, Jean-Paul Lemieux resumed painting while on vacation in Pointe au Persil. This period was happily productive.

While the works sold well, they were important for another reason, as Guy Robert observes: “They succeeded in reconciling Lemieux with his painting once again.”

Paysage hails from a critical period, a kind of point of no return for Lemieux. Within the year, the artist would embark upon the path which saw his art undergo what Robert describes as a “profound transformation” leading him directly to the establishment of his signature style. $4,000–5,000

3 KENOJUAK ASHEVAK, C.C., R.C.A., CAPE DORSET/KINNGAIT THE OWL stonecut 1969, 58/100 unframed 24.25 ins x 36.5 ins; 61.6 cms x 92.7 cms $3,000–5,000

Note: Kenojuak is widely regarded as one of the pioneers of Inuit Art and Canada’s foremost artists. She was born in an igloo at Ikirasaq, an Inuit camp at the southern coast of Baffin Island to Silaqqi and Ushuakjuak, a respected shaman. From 1952-1955 she was hospitalized for tuberculosis in Quebec City, where she learned to make dolls and do beadwork. Her artistic abilities attracted the attention of civil administrator and early proponent of Inuit art James Houston and his wife Alma. Houston introduced print making to Cape Dorset in the late 1950s, and he and his wife began marketing Inuit arts and crafts. Kenojuak was the first woman to become involved with the newly

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established printmaking shop at Cape Dorset. Her artwork garnered immediate critical acclaim. Her career spanned more than 50 years and by the time of her death in 2013, she was a member of the Order of Canada, the Royal Canadian Academy of Arts, and Canada's Walk of Fame. Likewise, she held several honourary degrees and was the subject of numerous biographies and film documentaries.

Kenojuak’s graphics, based on her personal imagery and which often feature the arctic owl, are amongst the most celebrated and reproduced images from Cape Dorset.

The Art of Canada Auction - Monday 30 May 2016 at 7 pm

4 KENOJUAK ASHEVAK, C.C., R.C.A., CAPE DORSET/KINNGAIT TUNDRA HAWK stonecut 1970, 27/50 unframed 23.5 ins x 33.5 ins; 59.7 cms x 85.1 cms $2,000–3,000

5 JOE NORRIS WINTER COVE, C. 1978 enamel paint on canvas signed 24 ins x 30 ins; 61 cms x 76.2 cms Provenance: Collection of Chris Huntington and Charlotte McGill, Nova Scotia Exhibited: Joe Norris: Painted Visions of Nova Scotia, Art Gallery of Nova Scotia, 25 November 2000 - 28 January 2001; Art Gallery of Greater Victoria, 08 June - 19 August 2001.

Literature: Bernard Riordon, Joe Norris: Painted Visions of Nova Scotia, Goose Lane Editions, Nova Scotia, 2000, page 40, reproduced in colour. $3,000–4,000

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6 PUDLO PUDLAT, CAPE DORSET/KINNGAIT THOUGHTS OF WALRUS seal skin stencil 1961, 46/50 framed, sight 21 ins x 9.75 ins; 53.3 cms x 24.8 cms Literature: Marie Routledge & Marion E. Jackson, Pudlo, Thirty Years of Drawing, National Gallery of Canada, 1990, page 13.

Note: “In the course of his career as an artist, Pudlo Pudlat has embarked upon an intriguing investigation of ideas and forms. Seen in retrospect, his work has been a continual process of growth, amalgamating personal experience and perception with a measure of artistic license. To appreciate Pudlo’s imagery one must understand the spirit of inquiry that fuels it, for it is through drawing that Pudlo has been able to reflect upon and synthesize his own encounters with the world.” $2,000–3,000

7 PHILIP HENRY HOWARD SURREY, R.C.A. GOUIN BLVD. oil on masonite signed 12 ins x 18 ins; 30.5 cms x 45.7 cms Provenance: Biferali Fine Art, Montreal Private Collection, Montreal Note: Running parallel to the Rivière des Prairies, or Back River, stretches of Gouin Boulevard are unaccustomed to foot traffic. Yet here, Philip Surrey, painter of urban landscapes, vitalizes the composition with a pedestrian duo. Surrey is masterful at painting reflective light. He favours, in particular, street lamps and headlights, both incorporated here. This is a ‘moody tableau,’ but whether romantic or mysterious is uncertain. The approaching vehicle and undulating road suggest a dreamscape as much as an actual place and load the painting with a delightful ambiguity. $3,500–4,000

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

8 JEAN-PHILIPPE DALLAIRE MON POÊLE gouache on board signed; titled and dated 1957 on the reverse 10 ins x 5.25 ins; 25.4 cms x 13.3 cms Provenance: Private Collection, Montreal Note: In 1957, the year this whimsical interior was executed, Jean-Philippe Dallaire found himself at a crossroads. Though he had been offered the support of two Montreal collectors which would enable him to quit his job at the NFB in order to devote himself to painting full-time, he did not accept. Juggling art making with his day job must have been gruelling, but perseverance paid off. In December 1957, Dallaire was recognized in France’s leading newspaper, Le Droit, where he was described as a “brilliant French Canadian artist.” $3,000–5,000

9 TUDLIK, CAPE DORSET/KINNGAIT EXCITED MAN FORGETS HIS WEAPONS stonecut 1959, 32/50 unframed 11 ins x 16.25 ins; 27.9 cms x 41.3 cms Note: Tudlik was in his 70’s when his artwork began selling and exhibiting in art galleries around the world. According to the original catalogue for the 1959 Cape Dorset graphics collection, Tudlik was almost blind and in the hospital about the time the prints were released. He contributed four prints to this collection and demonstrated a range of artistic style, from this adorable image of a hunter helplessly and excitedly chasing a polar bear and her cub, to the utterly graphic visualization of an Inuit system of dividing meat (see lot 58) to the haunting Bird Dream Forewarning Blizzards (see lot 174, Waddington’s cat. spring 2012).

Tudlik was also well known for his exquisite owl sculptures carved from the favoured green serpentine stone from Markham Bay (see lot 181, Waddington’s cat. fall 2009). $3,000–5,000

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10 WILLIAM HUGHES TAYLOR BASSIN LOUISE, QUÉBEC oil on panel signed 9.5 ins x 11 ins; 24.1 cms x 27.9 cms Provenance: Private Collection, Toronto Note: William Hughes Taylor studied under William Brymner and Maurice Cullen at the Art Association of Montreal Art School. He exhibited regularly with the Art Association and the R.C.A. $2,000–3,000

11 MALCOLM RAINS SEVEN PEARS ON A SIDEBOARD oil on canvas signed, titled and dated 1989 on the overflap 44 ins x 66 ins; 111.8 cms x 167.6 cms Provenance: Costin Klintworth, Toronto Private Collection, Toronto Note: Although Malcolm Rains graduated from the Ontario College of Art with a major in sculpture, he is perhaps better known for his still life paintings. Rains’ practice has been to create a series of works focused on a single subject, such as the pears shown here.

Warm lighting and a controlled palette result in canvases that evoke a richness and restraint reminiscent of works by the Old Masters. $7,000–9,000

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

12 DAVID BROWN MILNE ADIRONDACK VALLEY drypoint, printed in colours signed and inscribed /26 in pencil in the lower margin Plate 5 ins x 7 ins; 12.7 cms x 17.8 cms Provenance: Private Collection, Toronto Literature: Rosemarie L. Tovell, Reflections in a Quiet Pool: The Prints of David Milne, National Gallery of Canada, Ottawa, 1980, page 195, page 179 for Adirondack Valley (National Gallery of Canada), reproduced in colour and page 194, cat. no.79 for Adirondack Valley, (National Gallery of Canada), reproduced.

Note: Milne kept detailed notes and maintained a robust correspondence with his dealer, Douglas Duncan. As a result, we know a considerable amount about Milne’s thoughts, habits and the sequence of his art production.

It was at Milne’s Six Mile Lake cabin in 1937 that the first state of Adirondack Lake was produced. The remaining four states, to which group this lot belongs, were pulled over a four day period in late April 1941, at Uxbridge.

Milne had admitted “a weakness for textures” and correspondence between fellow artists testify to his struggle with balancing the contrasts of harsh and soft lines.

Rosemarie Tovell suggests that the gap between the printing of the first state in 1937 and the other four may relate to the “specific textural and colour schemes of the subject.” Abandoned then, by 1941 these “fitted in perfectly with his watercolour style of concentrated dark washes and calligraphic lines.”

Of the five states associated with this title, there are no known signed copied of states I through III. There are only twenty-six known signed impressions of states IV and V combined, at least one of which is in the permanent collection of the National Gallery of Canada (State V) making Adirondack Valley somewhat of a rara avis.

Ian Thom (ed.), David Milne, Douglas & McIntyre, Vancouver, 1991, page 166. $15,000–20,000

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13 JESSIE OONARK, O.C., R.C.A., BAKER LAKE/QAMANI’TUAQ TATTOOED FACES stonecut 1960, 45/50 unframed 17 ins x 12.25 ins; 43.2 cms x 31.1 cms Provenance: The Alaska Shop, Lake Forest, Illinois, U.S.A. Private Collection, Illinois, U.S.A. Literature: Jean Blodgett & Marie Bouchard, Jessie Oonark, A Retrospective, Winnipeg Art Gallery, 1986, page 58, reproduced on page 96.

Note: One of three prints of Oonark’s that were included in Cape Dorset print collections in 1960 and 1961. This is one of the artist’s most important and well known works that established her unique aesthetic of bold, disconnected forms. In Inuit culture, facial tattoos were symbolic of acquiring knowledge especially in regard to motherhood. This print along with Inland Eskimo Woman (see lot 16), which are almost companion pieces, are reproduced in tandem in the Jessie Oonark retrospective. $6,000–9,000

14 PARR, CAPE DORSET/KINNGAIT HUNTERS OF OLD stonecut 1971, 34/50 unframed 24.5 ins x 33.75 ins; 62.2 cms x 85.7 cms Note: This print was produced posthumously and was the subject of a Canadian postage stamp in 1977. $2,500–3,500

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

15 PARR, CAPE DORSET/KINNGAIT HUNTING SCENE graphite drawing c. 1961 unframed 24 ins x 18 ins; 61 cms x 45.7 cms Note: Encouraged by Terry Ryan, Parr began working in graphite in 1961 before moving on to coloured pencil, crayon and felt tip.

He made more than 2000 drawings in eight years. This drawing is from one of his earliest sketch books. Terry Ryan is quoted as saying, “There was no pretense in Parr’s drawings; they were direct and honest.” $4,000–6,000

16 JESSIE OONARK, O.C., R.C.A., BAKER LAKE/QAMANI’TUAQ INLAND ESKIMO WOMAN stonecut 1960, 6/50 unframed 20.75 ins x 12.25 ins; 52.7 cms x 31.1 cms Literature: Jean Blodgett & Marie Bouchard, Jessie Oonark, A Retrospective, Winnipeg Art Gallery, 1986, page 58, reproduced on page 96.

Note: Oonark conceived this dramatic image of a Baker Lake woman’s traditional outfit prior to the inception of her own community’s print program. Working with printer Eegyvudluk Pootoogook at the Cape Dorset print shop, she created a print that is anything but traditional using simple black lines and exaggerated forms, Jack Butler’s observation that “ she was very good in complex communication with extremely simple means” rings quite true in this example. $4,000–6,000

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17 LUKE IKSIKTAARYUK, BAKER LAKE/QAMANI’TUAQ DRUM DANCE GATHERING antler, wood, membrane c. 1970 6 ins x 17.5 ins x 11.5 ins; 15.2 cms x 44.5 cms x 29.2 cms $6,000–9,000

Literature: Helga Goetz, The People Within, Art Gallery of Ontario, 1976, page IV. Norman Zepp, Pure Vision, The Keewatin Spirit, The Mackenzie Art Gallery, 1986, page 50.

Note: Helga Goetz notes, “In Luke Iksiktaaryuk we return to an artist whose interest is in the life of the traditional community. Detail and motion are kept to a minimum in his figure groups which become skeletal, evocative visions of life as it was. They are frozen in time and space.”

Iksiktaaryuk is most known for his composite antler carvings depicting drum dance scenes, single figures or flying shamans. When the other artists were working in stone as long as it was available, Luke chose to use antler exclusively for his carvings. Norman Zepp points out that “Although multiple figure works such as Drum Dance Gathering (cat. 78) have great impact, the success of these configurations is ultimately determined by the strength and beauty of the individual figures, many of which can stand on their own right.” Luke also produced graphic art, which reflected his unique vision.

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

18 JOYCE WIELAND, R.C.A. DANCERS oil on canvas signed and dated ‘87 34 ins x 46 ins; 86.4 cms x 116.8 cms Provenance: Private Collection, Toronto $12,000–15,000

Note: When Joyce Wieland returned to painting in the early 1980s after devoting a number of years to making films, she focused on themes of love and eroticism. As a feminist artist in the male-dominated art world of the 1960s, she had already treated themes of sex and female sexuality in work such as Heart On, 1961 (National Gallery of Canada). In a 1983 review of her current show at the Isaacs Gallery, art critic Christopher Hume called her “a searcher for the ecstatic” (Toronto Star, 30 April 1983).

In Dancers, the fleshy cavorting figures appear to be part of an illusionistic Rococo ceiling painting, floating above our heads. The calligraphic quality of the work and the almost “automatic” application of paint succeed in conveying a feeling of lightness, boundless freedom and ultimately ecstasy as the naked bodies give themselves completely to the dance (of life, perhaps).

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19 CHARLES FRASER COMFORT, O.S.A., P.R.C.A. KATIE MORROW’S CANOE, 1967 oil on panel signed 12 ins x 15.75 ins; 30.5 cms x 40.6 cms Provenance: Private Collection, Toronto $4,000–5,000

20 ROBERT WAKEHAM PILOT, P.R.C.A. FROM DUFFERIN TERRACE oil on panel signed; titled on the reverse 8 ins x 10.5 ins; 20.3 cms x 26.7 cms Provenance: Galerie Walter Klinkhoff Inc., Montreal Private Collection, Toronto Private Collection, Montreal $9,000–12,000

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

Note: The catalogue entry for this work from the mid-1960s show at the Art Gallery of Ontario, describes Freight Yard as depicting the “Area west of Bathurst Street and northeast of Old Fort York, Toronto. In the background the gas storage tank located on the north-west corner of Bathurst and Front streets.”

Robert Stacey writes that during the winter of 1911-12, Lawren Harris and J.E.H. MacDonald were sketching “gritty urban subjects that indicate a familiarity with the ‘New York Realism’ of the Ash Can School.

Together in all weather they sketched at the foot of Bathurst Street capturing the effects of light on the natural and man-made atmospheres (see below).

MacDonald’s interest in urban scenes was likely sparked by Harris who had tackled this subject while living in Berlin and when he first returned to Toronto from abroad.

21 JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. FREIGHT YARD, TORONTO

It was at this time and in this location that MacDonald was inspired to produce his “signal work” Tracks and Traffic. The gas works offered interesting opportunities for capturing atmosphere, inspiring Harris and MacDonald to invent a vocabulary for the language through which they would advance Canadian art. While they were not the first or only artists to concern themselves with industry and its by-products, steam and smoke, this was nonetheless an essential step in their evolution and served as a springboard for what was to follow.

oil on board signed and titled in pencil on the reverse 6 ins x 5.5 ins; 15.2 cms x 12.7 cms Provenance: George Infuso, s.l.

Mr. and Mrs. R. MacDonald, Ontario Private Collection, Ontario Exhibited: J.E.H. MacDonald, R.C.A., 1873-1932, Art Gallery of Toronto (November 13December 12, 1965) and The National Gallery of Canada (January 7 - February 6, 1966), cat.no.51.

Literature: J.E.H. MacDonald, R.C.A., 1873-1932, Art Gallery of Toronto, Toronto, 1965, page 45, cat.no.51, reproduced.

Robert Stacey, “The Sensation Produced by (Their Own) Landscape” in Visions of Light and Air, Canadian Impressionism, 1885-1920, Americas Society Art Gallery, New York, 1995, pages 65-66 and page 66, Fig.7 for Lawren Harris’ The Gas Works, 1911-12 (Art Gallery of Ontario), reproduced. $15,000–20,000

Lawren Stewart Harris The Gas Works, 1911-1912 oil on canvas 23 1/16 x 22 3/16 inches Art Gallery of Ontario Gift from the McLean Foundation, 1959 © Family of Lawren S. Harris

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22 NORA FRANCES ELISABETH COLLYER BEACH, PERSÉ, P.Q., 1953 oil on panel signed; titled and dated on the reverse 12 ins x 14 ins; 30.5 cms x 35.6 cms Provenance: Private Collection, Hudson, Quebec $5,000–7,000

23 NORMAND HUDON CET AGE EST SANS PITIÉ! mixed media on canvas board signed, titled and dated ‘83 22 ins x 28 ins; 55.9 cms x 71.1 cms Provenance: Private Collection, Montreal Note: Known for his humorous, painted commentary of Québécois life, Hudon also unabashedly depicts some hard truths about childhood. In this lot, Hudon shows the flipside of childhood innocence but his playful tact serves as the spoonful of sugar that makes the medicine go down.

Snow ball fights, snow forts and other childhood shenanigans are proxies for weighty lessons that must be learned; good versus evil, strong versus weak, cooperation versus isolation. Works such as this go beyond caricature to serve as a character study of childhood itself. $8,000–12,000

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

24 ROBERT WAKEHAM PILOT, P.R.C.A. UNTITLED - SHIPS IN THE HARBOUR oil on panel signed and dated ‘30 12.25 ins x 17.25 ins; 31.1 cms x 43.8 cms Provenance: Private Collection, Hudson, Quebec $8,000–12,000

25 JEAN LEFEBURE SANS TITRE oil on canvas signed and dated ‘82 30 ins x 36 ins; 76.2 cms x 91.4 cms Provenance: Private Collection, Montreal $5,000–7,000

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26 WILLIAM GOODRIDGE ROBERTS, R.C.A STILL LIFE oil on masonite signed 24 ins x 36 ins; 61 cms x 91.4 cms Provenance: Dominion Gallery, Montreal Private Collection, Toronto Literature: James Borcoman, Goodridge Roberts, A Retrospective, The National Gallery of Canada, Ottawa, 1969, pages 26, 30 and 31.

Note: Goodridge Roberts inevitably evokes the great French master Paul Cézanne and James Borcoman concedes it is Cézanne who is “a central influence on Roberts’ works.”

Here Roberts delights us with the prettiest of pictures using the most accessible subject and yet, Borcoman continues, “For Roberts the very act of painting, its language and materials are not less, but rather more important, than what is being painted. He can look at nothing save in terms of how to paint it. It is the fusion of subject and handling, that precious balance of received sensation and form that Cézanne knew so well...” $9,000–12,000

27 RITA LETENDRE, R.C.A. SINA acrylic on canvas, unframed signed and dated 1972; also signed, titled and dated on the reverse 19.75 ins x 60 ins; 50.2 cms x 152.4 cms $3,000–4,000

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Provenance: Gallery Moos Ltd., Toronto Private Collection, Toronto

The Art of Canada Auction - Monday 30 May 2016 at 7 pm

28 WILLIAM KURELEK, R.C.A. THE SCHOOL FROG mixed media on masonite signed with initials and dated ‘73; titled on the reverse 8 ins x 10.75 ins; 20.3 cms x 27.3 cms Provenance: The Isaacs Gallery Ltd., Toronto $15,000–20,000

Note: Kurelek’s recollections of growing up on the Prairies included the games he played as a boy. While the settings were based on meticulous sketches and photographs he made on his trips out west, the figures and their actions were based on memory.

The theme is one to which Kurelek often returned. In 1952, he had painted Farm Children’s Games in Western Canada (Private Collection), which comprised individual scenes collaged onto a red background. In the early 1970s, he worked on the illustrations for A Prairie Boy’s Winter (1973) and A Prairie Boy’s Summer (1975) to which The School Frog is related.

In this amusing picture, the boy taunts a screaming girl with a frog, considering this to be great sport. To the extreme left, other schoolgirls look on - hoping, perhaps, that it will be their turn next to be frightened. The materials (mixed media) and technique are typical of Kurelek. On a board prepared with gesso, he would carefully draw in the figures using lead pencil and ballpoint pen, then apply colour with spray paints, coloured pencils and markers.

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29 JEAN ALBERT MCEWEN, R.C.A. BLASON DU CHEVALIER ROUGE oil on canvas signed and dated ‘62 on the reverse 39 ins x 39 ins; 99.1 cms x 99.1 cms Provenance: Kaspar Gallery, Toronto Private Collection, Montreal $70,000–90,000

Literature: Constance Naubert-Riser, Jean McEwen: Colour in Depth, Montreal Museum of Fine Arts, Montreal, 1987, pages 39, 41 and 157.

Note: In the early 1960s, Jean McEwen’s star was on the rise. He had already firmly established his reputation in Montreal and had captured the interest of Toronto gallerist Walter Moos, who, in turn, introduced McEwen to New York dealer Martha Jackson.

McEwen’s painting from this period has as its primary concern the relationship between colour and structure. While other artists, including Mark Rothko, had explored this subject before, Constance Naubert-Riser maintains McEwen was nonetheless “able to retain his autonomy and settle on a personal approach to the colour-structure problem.”

Blason shares many characteristics with other works McEwen executed at this time. Colour layers both conceal and reveal each other, a vertical spine both anchors the painting and bisects it into two balanced but not necessarily symmetric cells. Thin rivulets of watery paint at the bottom of the composition - a clear indication of the work’s orientation - coexist and contrast with rich impasto. Varnish and oil are applied (likely by hand) in layers that are “by turn transparent and opaque.” Naubert-Riser notes that there are sometimes as many as twelve superimposed layers.

While McEwen produced related Blason works experimenting with different colours for the main field - the National Gallery of Canada owns Blason du Chevalier Violet from 1962 - the red works remain the most sought after by collectors.

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30 SEEPEE IPEELIE, FROBISHER BAY/IQALUIT MUSK OX stone, bone signed in syllabics, dated 85 11.5 ins x 18 ins x 7.25 ins; 29.2 cms x 45.7 cms x 18.4 cms Note: Seepee is the son of Nuveeya and grandson of Ennutsiak. Seepee was obviously influenced by his father’s work.

Both father and son are accomplished carvers who have excelled at portraying musk oxen. This work is a fine example of Seepee’s command of the subject, its form swells to approximate the real mass of a musk ox’s form. $3,000–5,000

31 LUCASSIE IKKIDLUAK, LAKE HARBOUR/KIMMIRUT MUSK OX stone, bone, antler signed in syllabics 8 ins x 13 ins x 5.5 ins; 20.3 cms x 33 cms x 14 cms $3,000–5,000

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

32 AQJANGAJUK SHAA, R.C.A., CAPE DORSET/KINNGAIT DANCING POLAR BEAR stone 17 ins x 11 ins x 9 ins; 43.2 cms x 27.9 cms x 22.9 cms Note: A magnificent polar bear twisting and turning at impossible angles. Aqjangajuk’s wildlife carvings are some of the most imaginative and lively to come from the art community of Cape Dorset. He learned to carve by watching his grandfather Kiakshuk carve. His sons are accomplished carvers as well. $3,500–4,500

33 PITSEOLAK NIVIAQSI, R.C.A., CAPE DORSET/KINNGAIT BIRD AND FISH stone 12.75 ins x 5.5 ins x 4 ins; 32.4 cms x 14 cms x 10.2 cms $2,500–3,500

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34 M. EMILY CARR BEAVER POT painted ceramic signed “KLEE WYCK” 3 ins x 3 ins; 7.6 cms x 7.6 cms

Note: Gerta Moray writes that “the comforts of material affluence” were never to be something that Emily Carr would experience. Lack of money was a chronic condition for the artist.

Provenance: Private Collection, Ontario

Moray writes, beginning in 1924: “In her search for ways to eke out a living, Carr turned to craft production, taking up rug making and pottery as media through which her interest in native imagery could find a market.” Carr signed her pottery “Klee Wyck” which meant Laughing One, a nickname bestowed upon her by the First Nations people of Ucluelet.

Literature: Emily Carr, The Complete Writings of Emily Carr, Douglas & McIntyre, Vancouver/Toronto, 1993, page 439.

Carr admitted to being conflicted about appropriating native designs and symbols for her pottery. Moray notes “the greatest reward it brought was probably the excuse it gave her to spend time studying and working with First Nations designs.”

Gerta Moray, Unsettling Encounters: First Nations Imagery in the Art of Emily Carr, UBC Press, Vancouver/Toronto, 2006, pages 277-280.

Carr writes about her experience extensively in her autobiography Growing Pains. She foraged for the clay, loaded it into a pram and trundled home with it. There she built up her objects by hand and lost many to shrinkage during the firings. She describes every moment of the firing as “agony, suspense and sweat.” Carr recalled “The small kiln room grew stifling. My bones shook, anticipating a visit from police, fire chief, or insurance man.

The roof caught fire. The floor caught fire. I kept the hose attached to the garden tap and the roof of the kiln shed soaked.”

$10,000–15,000

While she aimed to produce these pottery pieces in quantity as the venture was a commercial one, given how difficult it was for her to make them and how few survived the firings, it is not surprising that so few of these objects remain available to present day collectors.

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

35 RUFUS MOODY, C.M., QUEEN CHARLOTTE ISLANDS/HAIDA GWAII LIDDED BOX, ALL FOUR SIDES RELIEF CARVED WITH FROG IMAGERY & INSET DETAIL, THE FEET OF THE VESSEL CARVED AS INDIVIDUAL FROGS ALSO WITH INSET EYES argillite, abalone shell signed in Roman 5 ins x 8.5 ins x 9 ins; 12.7 cms x 21.6 cms x 22.9 cms Note: One of three generations of Haida artists, Rufus Moody began carving in the 1940’s in the style of his grandfather, Thomas and father, Arthur. Working primarily in argillite from Skidegate which he mined himself, Moody created a variety of intricate works, from relief carved totem poles to model longhouses. In the 1950’s he began to carve on a larger scale. His work is admired internationally and appears in museums, private and corporate collections.

While the Haida have been carving argillite for trade since the 1820’s mostly as panel pipes and model totem poles, carving argillite boxes began in the 1880’s and were inspired by the larger bentwood boxes from the northern part of the Northwest Coast.

This ingenious work from Moody combines both skill and design. Each side is carved with a different design and each has inlaid abalone shell to highlight the eyes, including the lid which depicts faces seemingly arranged around a drum or blanket. Traditionally, frogs were carved on house posts to prevent them from falling down. This piece utilizes frogs to uphold all four corners of the box. $6,000–9,000

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36 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. WATERFALL, ALGOMA, 1920 oil on panel signed “Frank H. Johnston” 13.75 ins x 9 ins; 34.9 cms x 22.9 cms Provenance: Dominion Gallery, Montreal The Art Emporium, Vancouver Masters Gallery Ltd., Calgary Private Collection, Toronto $100,000–150,000

Note: In September 1918, Lawren Harris invited Frank (later Franz) Johnston and J.E.H. MacDonald to accompany Dr. James MacCallum and himself on the first boxcar trip to Algoma (see lot 52). The sketches made on this trip were exhibited at the Art Gallery of Toronto in April 1919. Johnson showed the largest number of sketches, along with a number of “larger works painted as a result of impressions on the trip.” Johnston also took part in the second boxcar trip in the autumn of 1919, and the trip to Mongoose Lake with Harris, Jackson and MacDonald the following year.

Joan Murray writes: “Johnston at once found the rugged wild land an inspiration. As we see in this sketch of a Montreal waterfall amid craggy rocks, the trip and the company brought out Johnston’s painterly gifts: here, he applied a broad rich treatment and piled on the paint in a heavy impasto to convey the immediacy and energy of the scene before him.” Murray continues “In the autumn of 1919, Johnston wrote to his wife about a trip he had made with J.E.H. MacDonald under and down by the falls of the river and described the sketch that he made there as ‘one of his best’.”

Johnston wrote: ”It was very wonderful down there sketching by the gorgeous falls pounding down... they seemed to fascinate you and the great roar of the water withal being a bright sunny day it made the place like an enchanted land...”

Waterfall, Algoma is an exceptional example of Johnston’s Algoma scenes.

He worked largely in tempera on these trips and his oil sketches often share the decorative surface patterning of the temperas with paint applied in small mosaic-like patches, informed by his commercial work. However, the paint in Waterfall, Algoma is more freely applied, and this might have been a response to the subject matter (moving water) and paint handling of J.E.H. MacDonald or one of his other companions in Algoma in the autumn of 1920. According to Franklin Arbuckle, Johnston destroyed much of his early Group work in the 1930s. There may have been other sketches like this lot which have not survived.

“Frank Johnston’s Waterfall” © Gary McGuffin (not sold with this lot) This photograph is from the decade-long research for Gary and Joanie McGuffin’s documentary film Painted Land: In Search of the Group of Seven, co-produced with TVO.

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As a collective, the Group believed that art must flourish in Canada before it would be a real home to its people, and set out to depict the natural splendours of the more remote regions of the country. Johnston undoubtedly shared the Group’s enthusiasm for wilderness landscape, but he was independently-minded and concerned that his association with the dissident group would have a negative impact on the market for his art. He mounted a one-man show at Eaton’s Fine Art Galleries in December 1920, and left Toronto in 1921 to head the Winnipeg School of Art and the Winnipeg Art Gallery. Johnston officially left the Group in 1924 and works from this early Group period are extremely rare.

The Art of Canada Auction - Monday 30 May 2016 at 7 pm

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37 NICHOLAS DE GRANDMAISON, R.C.A. PAPOOSE pastel 11.5 ins x 8.75 ins; 29.2 cms x 22.2 cms Provenance: Private Collection, Toronto Literature: Hugh A. Dempsey, History in Their Blood, Douglas & McIntyre, Vancouver/Toronto, 1982, page 16.

Note: De Grandmaison did not often title his portraits of women and children, preferring to label them generically as “Squaw” or “Papoose.” Belatedly, he realized the historical significance of recording the names of all his subjects, as he did for the Indian Chiefs he drew. Nonetheless, his portraits of children such as this lot were far from being stock types and were said to be so faithful to their subjects that, according to Dempsey, a relative might exclaim: “Ki-ai-yowww” or “it’s just like him (or her).” $10,000–15,000

38 OSUITOK IPEELEE, R.C.A., CAPE DORSET/KINNGAIT MUSK OX stone, bone signed in syllabics, c. 1975 11 ins x 14.75 ins x 6.75 ins; 27.9 cms x 37.5 cms x 17.1 cms Provenance: Theo Waddington Galleries, Toronto, 1980 Private Collection, Hamilton Literature: For a similar work see lot 105a from Waddington’s spring 2007 auction catalogue.

Note: Musk oxen are not native to Baffin Island, however artists from Cape Dorset frequently depict them in their artwork. One of the characteristics that Osuitok has chosen to emphasize in this example is the creature’s mass, the other is a long tail, much longer than is typical of an actual musk ox. Osuitok is perhaps most celebrated for his depiction of wildlife taking liberty with his subjects, combining animal and human forms and experimenting with these combinations. Another noticeable aspect of this work is the lolling tongue of the musk ox. This is likely an added element of humour however one could imagine this burly musk ox has out-run a determined predator and is now panting with its tongue out. Or perhaps the animal, which is the largest grazing mammal of the Arctic, is simply foraging for food. $5,000–7,000

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

39 FREDERICK ARTHUR VERNER, O.S.A., A.R.C.A. BISON FORAGING IN WINTER oil on canvas signed and indistinctly dated 20 ins x 30.25 ins; 50.8 cms x 76.8 cms Provenance: Private Collection, Montreal $20,000–30,000

Literature: Joan Murray, The Last Buffalo: The Story of Frederick Arthur Verner, Painter of the Canadian West, Pagurian Press, Toronto, 1984, pages 66, 134 and the cover illustration for a very closely related canvas entitled Bison Pawing, 1902, reproduced in colour.

Note: The earliest buffalo subjects by Verner date to 1875. For these paintings, Verner relied on sketches he drew of buffalo in captivity. At least fifty-seven sketches - some executed in graphite and watercolour, others in charcoal are known to have been made and he continually referred back to these when producing his canvases. According to Joan Murray, Verner’s buffalo paintings always contain at least one figure from his bank of fifty-seven sketches drawn from life. Examples of these sketches form part of the permanent collections of the National Gallery of Canada, and the McCord Museum in Montreal.

By the time Verner began painting buffalo, the herds were already significantly depleted. Murray acknowledges that Verner was acutely aware of the tragic fate of this “monarch of the plains” noting that “the buffalo officially disappeared from Canada in 1879.” Nonetheless, Murray observes that “Verner never showed the buffalo as a hunted species. He preferred to paint them as magnificent beasts in a proud and free state in nature...”

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40 PAUTA SAILA, R.C.A., CAPE DORSET/KINNGAIT DANCING POLAR BEAR BALANCING ON ONE LEG WITH INSET TEETH stone, ivory signed in syllabics, c. 1990 20 ins x 11 ins x 5.5 ins; 50.8 cms x 27.9 cms x 14 cms $40,000–60,000

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Note: Pauta, now deceased, an imposing leader in his own right, made famous the large scale dancing polar bear. Each carving possesses its own individual charm and unique character. The artist’s portrayal of an open mouthed bear revealing inset incisors while balanced on one leg is widely admired and considered very desirable to collectors. The simplified lines and proportioned mass of the body of the upright bear is his signature subject and style, gaining him widespread popularity in the south. Pauta was made a member of the Royal Canadian Academy of Arts and his works are included in major private and public collections. An almost six foot stone carving by Pauta, made for the International Sculpture Symposium in Toronto in 1967, can be viewed at the entrance to The McMichael Canadian Art Collection.

The Art of Canada Auction - Monday 30 May 2016 at 7 pm

41 PAUTA SAILA, R.C.A., CAPE DORSET/KINNGAIT DANCING POLAR BEAR WITH INSET TEETH stone, ivory 13.75 ins x 6.5 ins x 5 ins; 34.9 cms x 16.5 cms x 12.7 cms $5,000–7,000

42 NIVIAXIE, CAPE DORSET/KINNGAIT TWO BEARS HUNTING stonecut 1959, 43/50 unframed 16.5 ins x 20.75 ins; 41.9 cms x 52.7 cms Literature: “North Hunter v. Spirit”, Time Magazine February 8, 1960.

Note: An uncatalogued Dorset Series print (prints in this category were only offered for sale in Cape Dorset). It was printed in both blue and black and green and black (see Waddington’s catalogue, November 2015, lot 151) and skillfully uses negative space to create the polar bears.

Although not issued as part of the official 1959 Cape Dorset print collection, this print is as collectible as one of Niviaxie’s most prized images.

In 1960, Time Magazine reported on the artists’s death: “Niviaksiak, of all the subjects he portrayed, the one that preyed most on his mind was bears. During the last months of his life, he pondered deeply on the soul of the great, inscrutable polar bear.

Three months ago Niviaksiak and a young companion were tracking a bear. After several hours they finally caught sight of him. Niviaksiak moved in, raised his rifle to fire, then faltered and shrieked: ‘It’s dark.

I’m falling!’ Without firing, he collapsed on the snow, died within minutes. The next day, when Niviaksiak’s companion returned to bury him, they found his body unmauled; the bear had not even come near him. Among Cape Dorset people there was only one explanation: Niviaksiak’s art had probed too near, had offended the spirit of the great polar bear.” $6,000–9,000

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43 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. SUB ARCTIC FAMILY GROUP oil on canvas signed 20 ins x 25 ins; 50.8 cms x 63.5 cms Provenance: Dominion Gallery, Montreal Private Collection, Montreal Literature: Dennis Reid, Alberta Rhythm: The Later Work of A.Y. Jackson, Art Gallery of Ontario, Toronto, 1982, pages 10 and 28. $40,000–60,000

Note: Dennis Reid observed that A.Y. Jackson “loved to be where few others had been, where nothing could interrupt to break the concentration, the communion.” While no situation, no matter how spartan, seemed to have daunted A.Y., the years immediately following the dissolution of the Group of Seven presented Jackson with challenges that could only be overcome by calling up deep reserves of the hearty resilience for which he was known.

The passing of J.E.H MacDonald, the sudden death of his sister, disputes with the R.C.A. leading to his resignation and other struggles darkened his notoriously can-do spirit. However, by the late 1930s the opportunity once again to travel to places “where few others had been” propelled him to embark with renewed vigour on the second phase of his career to which this work belongs.

Jackson first started painting in northern Alberta in 1937 and travelled north to the subarctic regions of Canada numerous times over the subsequent decades. While Family Group is not dated, it has much in common with major works produced during the first trips to the northwest in the late 1930s as well as the later works of the Tershipei Mountains with scatterings of jagged boulders behind which Jackson crouched in order to shelter from the east wind.

Family Group is distinguished by fluid bands of radiant colour. The intensely lateral composition speaks to the “shape” of the northwest and, as Reid points out, does not allow for an easy “in”, unlike the Laurentian roads set within picture postcard snow-laden hills which Jackson favoured in the early years. Still, Jackson thrilled to the sheer magnitude of the northwest with its faraway skies and unfathomable scale and, moreover, seemed to know how to summarize its vastness.

Reid maintains that some of the best work of Jackson’s career falls within the period of his northwest trips. He writes: “The primeval nature of the landscape appealed to him, with its vigorous mid-summer life clinging tenaciously to the margins of existence. Nothing extraneous survives.

Fundamental values seem clear.” What also seems clear is the metaphor these fundamentals are for the artist himself, summarizing as they do his remarkable career to that point.

While this work is not dated, we know with some certainty that it was likely acquired by Dominion Gallery directly from Jackson together with eleven other paintings circa 1955. The painting was sold to a private collector in Montreal in February 1960.

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

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44 JOE TALIRUNILI, POVUNGNITUK/PUVIRNITUQ MIGRATION stone, ivory, hide, string signed in Roman and syllabics, c. 1970 5 ins x 5.5 ins x 1.5 ins; 12.7 cms x 14 cms x 3.8 cms Provenance: Acquired directly from the artist by the consignors during a fishing trip to Povungnituk (Puvirnituq) in 1970.

Literature: Joe Talirunili & Marybelle Myers, Joe Talirunili: A Grace Beyond the Reach of Art, La Federation des cooperatives du Nouveau-Quebec, 1977.

Also see lot 102, Waddington’s Inuit Art Auction, Monday 2 June 2014. $15,000–20,000

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Note: It is estimated that Joe carved approximately thirty versions of the migration throughout his career.

Each rendition differs. Some depict the boat occupied by Inuit families, others by owls or hares. Some are packed and overflowing, others are sparsely manned. This particular work must be the smallest version, complete with skin sail and original paddles.

The migration was an event that seemed to haunt Joe especially in later life. While traveling to new hunting grounds, several families were stranded on an ice floe that split from the mainland. They hastily built an umiak out of scarce supplies as the ice floe was melting. Some people perished during this tumultuous migration.

Born in Northern Quebec, in the Kuujjuaraapik area, at the turn of the 20th century, Joe and his family lived the traditional Inuit way until settling near Povungnituk in the early 1950’s. It was about this time that he began to carve, encouraged by James Houston who had travelled from Inukjuak for the purpose of buying carvings. Joe’s carvings documented traditional Inuit life at that time. His carving style was completely his own, he had an innate ability to bring sophistication to what at first glance could be perceived as naive. His personality is very much a part of his art work and those who knew him often express strong impressions of him and his art.

The Art of Canada Auction - Monday 30 May 2016 at 7 pm

45 FREDERICK GRANT BANTING FORT RESOLUTION oil on panel signed; with another landscape sketch on the reverse 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Literature: A.Y. Jackson, A Painter's Country: The Autobiography of A.Y. Jackson, Clarke, Irwin & Company, Toronto, 1958, pages 95-104.

D.B.G. Fair, Banting & Jackson: An Artistic Brotherhood, (catalogue), London Regional Art & Historical Museums, London, 1997, page 11. $12,000–15,000

Note: In his autobiography, A Painter’s Country, A.Y. Jackson writes extensively about his arctic holiday with Dr. Banting. According to Jackson: “Dr. Banting was very interested in the north country and owned an Arctic library of many volumes.”

In the summer of 1927, the artist and doctor travelled north for six weeks on board the Beothic. Barry Fair writes: “Their Arctic trip was a triumph for both men. Banting had spent over six weeks sketching, the longest single period in his lifetime. The sense of freedom, stimulated by the trip, resulted in great improvement in his art work and encouraged him. On the first day at sea, he had thrown his white collar overboard as a symbol of his release from the confines of his research and social burdens.”

Jackson and Banting made a second trip north the following year and it was on this second voyage that they visited Fort Resolution, the subject of this lot.

Jackson writes: “In the summer the Indians congregate at Resolution, where they erect tents and teepees, making of the settlement a most picturesque place.”

Fort Resolution is situated on the mouth of the Slave River on the shore of Great Slave Lake.

According to an inscription on the backing, this work was painted in 1929.

Fort Resolution is sold together with a small oil sketch (see website for image) depicting mountains with a lone tree in the foreground. According to the consignor of this lot, the painting is the work of Charles Best, Banting’s colleague in the discovery of insulin.

Reverse

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46 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. RAIN CLOUDS, OXTONGUE LAKE

47 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. SUMMER MORNING (OXTONGUE LAKE)

oil on board signed; also signed, titled and dated “July 1981” on the reverse 12 ins x 15 ins; 30.5 cms x 38.1 cms

oil on board signed; also signed, titled and dated “July 1981” 12 ins x 15 ins; 30.5 cms x 38.1 cms

Provenance: Private Collection, Toronto

Provenance: Roberts Gallery Limited, Toronto Private Collection, Ontario

$20,000–30,000 $20,000–30,000

Literature: Margaret Gray, Margaret Rand and Lois Steen, A.J Casson, Gage Publishing, Agincourt, Ontario, 1976, pages 49-50, 56.

Ted Herriot, Sunday Morning With Cass: Conversations with A.J. Casson, Purpleville Publishing, Mississauga, 1993, page 128.

Note: A.J. Casson had a number of favourite painting spots but surely Oxtongue Lake was among his most favoured. During interviews conducted for Sunday Morning with Cass, it was Oxtongue Lake that sprung to mind first when Casson was asked for his top picks.

He knew his territories well and had no need, as other painters might, for photography to jog his memory. Gray, Rand and Steen

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suggest that Casson had almost total recall, quoting Casson: “If you asked me to paint a picture of Oxtongue Lake with one of the islands, I could sit down and do it right now.” But Casson’s work is not about mimesis or documentation. Gray, Rand and Steen suggest that “It is in his colour sense that Casson’s greatest strength lies. It was a simple scheme (introduced to him in his student days by Harry Britton), a restricted palette...the tonal values perfectly balanced.”

What is the universal and timeless appeal of Casson? Gray, Rand and Steen suggest an answer: “He preaches no sermon, makes no social comment... He simply distills for us a scene of primordial beauty or monumental calm and offers it to us as a purely aesthetic experience.”

The Art of Canada Auction - Monday 30 May 2016 at 7 pm

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48 DAVID BROWN MILNE EDGE OF THE CLEARING

Literature: David B. Milne Jr. and David P. Silcox, David B. Milne: Catalogue Raisonné of the Paintings, Volume II: 1929 - 1952, Toronto, 1998, page 804, no.

403.151, reproduced.

watercolour on paper sight 14.25 ins x 19.25 ins; 35.6 cms x 48.3 cms

David P. Silcox, Painting Place: The Life and Work of David B. Milne, University of Toronto Press, Toronto, 1996, page 318.

Provenance: Douglas Duncan, Picture Loan Society, Toronto Laura Beattie, London, Ontario (1956) Miss Beverley Lindsey, London, Ontario (by descent) Canadian Fine Arts, Toronto Private Collection, Toronto

Note: In the fall of 1940, David Milne moved to Uxbridge from Toronto. David Silcox writes: “New surroundings and new circumstances had often renewed Milne’s determination to paint and within a month or so the move to Uxbridge proved congenial. His work poured forth in watercolour, colour dry points and the occasional oil... For both quantity and quality it was a year with few equals.” This watercolour dates within a year of Milne’s move to Uxbridge.

Exhibited: Hart House, Toronto The Gallery, Ottawa

While inscribed “Coboconk” by Douglas Duncan, according to Silcox, a letter from Milne to Duncan in October 1942 confirms this picture was painted at Uxbridge.

$15,000–20,000

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

49 JAMES WILSON MORRICE, R.C.A. PLOUGHING, BRITTANY oil on panel stamped with the studio stamp on the reverse 9.25 ins x 13 ins; 23.5 cms x 33 cms Provenance: Canadian Fine Arts, Toronto Private Collection, Toronto $25,000–30,000 Note: James Wilson Morrice was one of the few Canadian painters of his generation to achieve international recognition. Born into an affluent family in Montreal, Morrice studied law in Toronto, but soon after being called to the bar in 1889, he left Canada to pursue his interest in painting, arriving in Paris in 1891.

Although he would return to Canada periodically to visit his parents until 1914, Paris became Morrice’s home and it was there that he met many international artists (Henri, Whistler, Matisse, et. al.) whose work would influence his own. He was an inveterate traveller and exhibited widely, sending work to the French Salon d’Automne (1905-13), the Société Nouvelle (190813) and exhibitions in Britain, the United States and Canada. He made several trips to Brittany, located in the north-west region

of the country. It was already a favourite destination for artists, including the Post-Impressionist painter Paul Gauguin (18481903), who sought an authentic form of representation in more remote places considered free of the corrupting influences of industrialism and capitalism. Morrice was no doubt drawn to the effects of light and colour in the region.

Morrice spent the summers of 1906 and 1907 in Brittany, travelling between Le Pouldu and Concarneau, and visited again in the spring and autumn of 1909 and spring of 1910. In Ploughing, Brittany, Morrice is clearly responding to PostImpressionism in the decorative patchwork of fields. The underlying structure of the composition, roughly delineated in pencil, shows through in areas such as the band of trees along the horizon and around individual patches of green. Morrice has applied the paint loosely and broadly, making few concessions to detail. His interest in the effects of light is evident in the shadow cast on the ploughed earth in the foreground by a passing cloud.

Morrice was known as a consummate colourist. The palette of Ploughing, Brittany consists of closely related colour values, with darker tones (the horse, patch of green in the middle ground, and line of trees on the horizon) providing contrast. As the final touch, Morrice has placed a daub of dusty pink against a green shrub to signify the farmer’s shirt, which is echoed in a lower note in the horse’s yoke. A small detail, it heightens the visual impact of the scene.

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50 FREDERICK GRANT BANTING TEMAGAMI oil on panel titled, dated “June 1939” and certified by the artist’s wife on the reverse 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Provenance: Private Collection, Toronto $18,000–22,000

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Literature: A.Y. Jackson, Banting as an Artist, The Ryerson Press, Toronto, 1943, pages 11 and 43.

Note: Reminiscing about Frederick Banting for an essay accompanying the 1943 Hart House exhibition following Banting’s death, A.Y. Jackson recounts “I remember him telling me about going to a store for colours, not knowing which colours he needed... Things were not going well and trying his hand at painting had no more serious purpose than to pass the time.”

Years later however, Jackson admitted “from the mere amateur, Banting was developing into a vigorous painter. Apart from a few canvases painted at home, most of his work was painted on small birch panels, out-of-doors, under all kinds of weather conditions. He was learning to simplify and keep his colours fresh.”

The Art of Canada Auction - Monday 30 May 2016 at 7 pm

51 KIAWAK ASHOONA, O.C., R.C.A., CAPE DORSET/KINNGAIT BIRD SPIRIT stone signed in syllabics, dated ‘76 17.5 ins x 13 ins x 7 ins; 44.5 cms x 33 cms x 17.8 cms Literature: Marie Routledge & Darlene Coward Wight, Kiugak Ashoona: Stories and Imaginings from Cape Dorset, 2010, page 114-116. $10,000–15,000

Note: Some of the finest carvings to come from the north were created in Cape Dorset. A stone excellent for carving, in beautiful shades of green was discovered near Markham Bay at the south Baffin Island coastline in 1954.

The master carvers from this region, including Kiawak crafted works with great detail and finish. For a similar example, see the Klamer Family collection catalogue, Waddington’s, spring 2005, lot 127.

“When I carve... I will start from the head. I try to put down a lot of details in the carvings that I do. Sometimes I carve from my imagination and sometimes I carve what I have seen in the past.” He is the son of graphic artist Pitseolak and sibling of carvers, Kaka and Koomwartok. Kiawak has noted that he enjoys finishing his work with fine detail. He prefers to carve in seclusion so he can take his time to develop the work.

Kiawak’s depiction of bird spirits is rooted in the story of Natturalik (Golden Eagle). The story of Natturalik was told to Kiawak by the camp elders, including his father Ashoona and Kiakshuk. Wight & Routledge comment, “It [the story of Natturalik] clearly holds extraordinary significance in his art and in his imagination.”

This incarnation possesses the distinctive face and wings of the bird spirit, the body of the polar bear with seal flippers as feet.

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52 LAWREN STEWART HARRIS ALGOMA SKETCH, 1919 oil on panel signed; also signed and titled on the reverse, and dated on an Art Gallery of Ontario label 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms Provenance: Laing Galleries, Toronto Private Collection, Alberta $150,000–175,000

Note: In 1919, Lawren Harris organized a second boxcar trip to Algoma, which included A.Y. Jackson, J.E.H. MacDonald and Frank Johnston. Just as they had done in 1918, the artists first travelled to Sault Ste. Marie where they picked up their caboose, after which they were taken by train to Canyon, the most northerly point of their trip. After several days of sketching in the area, their caboose was hitched to a southbound train, and they began the return trip stopping at Hubert near the Montreal Falls and at Batchewana, before heading back to the Sault and then home to Toronto at the beginning of October.

The Algoma landscape has an overabundance of colour and shape which Harris could draw upon and this sketch contains a lot of detail. However, Algoma was critically important for teaching Harris how to reduce the landscape to its essential forms. Here Harris has ordered the diverse landscape elements into a coherent whole, aided in the process by the seasonal change which eliminated the riotous patterns of autumn leaves from the scene.

This sketch is probably a Batchewana subject, as indicated by the large dark rock formation that rises up the right side of the picture. That it was painted late in the trip is indicated by the absence of colourful autumn foliage on the hills in the background, seen through the screen of dead trees. This motif was a favourite of Tom Thomson, through whose eyes Harris may have interpreted the scene before him. Harris would use it again to dramatic effect in Beaver Swamp, Algoma of 1920 (Art Gallery of Ontario).

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

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53 OZIAS LEDUC, R.C.A. MME. RITA TELLIER DE CARUFEL oil on canvas signed with initials and dated 1891 20 ins x 18 ins; 50.8 cms x 45.7 cms Provenance: Private Collection, Montreal Literature: Jean-Rene Ostiguy, Ozias Leduc: Symbolist and Religious Painting, (catalogue), National Gallery of Canada, Ottawa, 1974, pages 96-97. $20,000–25,000

Note: This portrait from 1891 was commissioned directly from Ozias Leduc by the family of the sitter and has remained in their possession for these many years. Though the relationship between the de Carufel or Tellier families and the artist has been obscured by the passage of many decades, Leduc’s social circle was a small one at this time. Ostiguy notes: ”His first sitters were those nearest him - self-portraits and portraits of more distant friends would have to wait.” It is easy to conclude that the sitter was part of the small social circle that Leduc maintained at this time.

The artist renders the sitter with a velvety touch that implies a kind of intimacy despite the formality of her pose and neutral setting. The backdrop and correspondent colour of her dress and coiffure compel the viewer to focus on the subject’s face and her expression. Madame reveals little; she is prettily comported, yet strikingly enigmatic, one eyebrow raised ever so slightly and her mouth held just so.

While we know very little about the sitter, Madame de Carufel was the spouse of Louis Edouard de Carufel. De Carufel studied law at TroisRivières, then worked as a journalist in both Lowell, Massachusetts and Montreal, where he wrote for La Minerve. Subsequently, he became Secretary of La Société Genérale de Colonisation et de Rapatriement de la Province de Québec, an organization that addressed the crisis of depopulation and transnational mobility faced by certain regions of rural Quebec.

Madame Tellier de Carufel was twenty three years old when she sat for this portrait. She and her husband would have eight children together, only five of whom survived to adulthood. She passed away in 1930.

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54 ROBERT WAKEHAM PILOT, P.R.C.A. MARKET SLEIGHS: ST LOUIS GATE (QUEBEC CITY) oil on panel signed 10.5 ins x 13.5 ins; 25.4 cms x 34.3 cms Provenance: Watson Art Galleries, Montreal Private Collection, Ontario Literature: William Watson, Retrospective: Recollections of a Montreal Art Dealer, University of Toronto Press, 1974, page 48.

A.K. Prakash, Impressionism in Canada: A Journey of Rediscovery, Arnoldshche Art Publishers, Stuttgart, 2015, page 622.

Note: A.K. Prakash notes: “In 1925 (Robert Pilot) was elected an associate member of the Royal Canadian Academy of Arts. William Watson, then Montreal’s foremost art dealer, agreed to represent him and gave him the first of many solo exhibitions at his gallery in 1927.”

While this work is not dated, it bears a label from the Watson Gallery that would date it to circa 1927, the year of Pilot’s inaugural solo exhibition. It reads: “The present exhibition is Mr. Pilot’s first oneman show... we feel sure the discerning picture-lover will appreciate a distinctive Canadian atmosphere in these works and will conclude that here is a young artist who, in the parlance of the studio, has certainly ‘arrived’.”

Watson also references the one-man exhibition he gave Pilot in 1927 in his memoirs.

$20,000–30,000

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55 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. SUMMER STORM - BYNG INLET oil on canvas signed 24 ins x 30 ins; 61 cms x 76.2 cms Provenance: Roberts Gallery Limited, Toronto Private Collection, Toronto $60,000–80,000

Note: A. J. Casson was the youngest member of the Group of Seven, best known for his paintings of rural Ontario villages in which man-made structures are set within the sinuous contours of the natural landscape. Like many of his contemporaries, Casson worked full-time as a commercial artist, painting on the weekends or whenever he could find the time. It wasn’t until he retired from his position as Vice-President and Art Director of the commercial art firm of Sampson-Matthews in 1958 that Casson became a full-time artist, and found a dealer (The Roberts Gallery) to represent him.

In the later 1940s and 1950s, Casson responded to the prevailing taste for abstraction by exaggerating the design elements in his compositions; in the case of Summer Storm, Byng Inlet, this is most obvious in the gigantic cloud formations. The horizontal cloud which moves across the upper third of the canvas echoes the landmasses below, particularly the point of land that juts out into the inlet, painted in similar light tones. The cloud formations could be read as a map of the Georgian Bay coastline with its archipelago of islands as viewed from above. Byng Island is located near Britt, along the eastern shore of Georgian Bay. The use of highly expressive skies is typical of Casson; it allowed him to balance the upper and lower halves of the composition, and to create a pattern of alternating horizontal fields of dark and light that move up the canvas.

While the style is unmistakably Casson’s, the subject is typical of the Group of Seven, some of whom painted in and around Georgian Bay in the early days. Varley, Lismer and Jackson all painted canvases recording stormy weather conditions on the Bay, which may be read as allegories of the human spirit pitted against the power of untamed nature. Casson seems to have been more interested in the design potential of such dramatic views, which continue to capture the imagination of artists today.

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56 OSUITOK IPEELEE, R.C.A., CAPE DORSET/KINNGAIT ESKIMO LEGEND: OWL, FOX AND HARE stencil 1959, 19/30 unframed 24 ins x 18 ins; 61 cms x 45.7 cms Literature: Norman Vorano, Inuit Prints: Japanese Inspiration, Early Printmaking in the Canadian Arctic, Canadian Museum of Civilization, 2011, page 57.

Note: In the early days of print making in Cape Dorset the printmakers had to be quite resourceful. An example of their creative methods and the experimental nature of the project was the use of James Houston’s shaving brush as a stencil brush in the creation of what later became this iconic image. The technique of blending the colours through the stencil provided a softer effect than the use of a roller to apply colour.

Osuitok had been incising on tusks before he met James Houston. He was integral to the start of the print making program in Cape Dorset but contributed just two prints to the 1959 collection.

Although Osuitok had a history of creating graphic art, he gravitated strongly towards carving and became much celebrated for his incredible sculptural work. $10,000–15,000

57 JOSEPHIE POOTOOGOOK, CAPE DORSET/KINNGAIT JOYFULLY I SEE TEN CARIBOU stonecut 1959, 12/50 unframed 11.5 ins x 16.25 ins; 29.5 cms x 41.4 cms Note: This wonderful print from the 1959 graphics collection depicts the thrilling moment a hunter sees and indicates to his hunting companions how many caribou he has spotted. $6,000–9,000

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58 TUDLIK, CAPE DORSET/KINNGAIT DIVISION OF MEAT stonecut 1959, 15/50 unframed 12 ins x 9 ins; 30.5 cms x 22.9 cms Literature: Original 1959 Graphics Catalogue, Department of Northern Affairs, Ottawa.

Note: “The Eskimos have a very complicated system for cutting up seals depending on the number of people hunting, their ages, their status, their experience and their sex.

Certain parts of the seal are allotted to each person on the hunt, and this print shows the traditional division of the seal when cutting it up.” $6,000–9,000

59 JOSEPHIE POOTOOGOOK, CAPE DORSET/KINNGAIT WOMAN WITH MUSICAL INSTRUMENT stonecut 1959, 32/50 framed 18 ins x 21.25 ins; 40 cms x 49.5 cms Note: It must have been quite a coup to gain the involvement of revered community elder Pootoogook in the print workshop. His son, Kananginak quickly became an essential figure in the crafts studio.

In this print a tranquil looking seated woman plays a tautiruut (Inuit fiddle). $3,000–5,000

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60 LUKTA QIATSUK, CAPE DORSET/KINNGAIT OWL stonecut 1959, 30/50 unframed 12 ins x 16.75 ins; 30.5 cms x 42.5 cms Literature: Norman Vorano, Inuit Prints: Japanese Inspiration, Early Printmaking in the Canadian Arctic, Canadian Museum of Civilization, 2011, page 53.

Note: “In marked contrast to the experimental Cape Dorset prints, the 1959 Cape Dorset print collection includes 10 unmodulated black on white prints, amounting to roughly one quarter of the entire annual collection. Black on white is seen in similar proportions in annual collections through the early 1960’s, becoming a mainstay stylistic tool for the next few years, especially for printmaker Lukta Qiatsuk. This emphasis on black and white owes a debt to the Japanese modern printmakers who affirmed the artistic legitimacy and expressive power of the simple, monotone black print.” $2,000–3,000

61 KELLYPALIK MANGITAK, CAPE DORSET/KINNGAIT CANADA GEESE stonecut 1959, 20/50 unframed 20.75 ins x 27.75 ins; 52.7 cms x 70.5 cms $2,500–3,500

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

62 KELLYPALIK MANGITAK, CAPE DORSET/KINNGAIT MAN CARRIED TO THE MOON stonecut 1959, 12/50 unframed 22.75 ins x 17.75 ins; 57.8 cms x 45.1 cms Note: Mangitak (also Mungituk) was said to be an eccentric artist, whose prints often portray his wild dreams.

He is a good carver and hunter as well as a graphic artist. He designed some of the most whimsical compositions in the early print collections. $2,500–3,500

63 JOSEPHIE POOTOOGOOK, CAPE DORSET/KINNGAIT WITH THE RAVEN COMES THE FISH stonecut 1959, 35/50 unframed 16.75 ins x 12 ins; 42.5 cms x 30.5 cms Literature: Original 1959 Graphics Catalogue, Department of Northern Affairs, Ottawa, Catalogue Number SC-26.

Note: “The Eskimos say that with the raven comes the fish.

When the raven passes overhead, the fisherman should look into the water because the fish will be passing underneath at the same time.” $3,000–5,000

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64 WILLIAM KURELEK, R.C.A. A GROUP OF NINE DRAWINGS, 1969: Cooling Milk, Making Chop, Castrating Pigs, Feeding Hay Cattle in Winter (Feeding Hay from the Loft), Milking in Fly Season (Milking Cow in Fly-Season), Making Butter (Making Butter in Sealers), Shovelling Grain at Threshing Time (Shovelling in the Granary during Threshing), Formaldehyding Grain, Chopping Mangles pen and ink each signed with initials and dated ‘69, with the artist’s frames each 11 ins x 13.5 ins; each 27.9 cms x 34.3 cms Provenance: Galerie Agnès Lefort, Montreal Marlborough-Godard, Montreal Private Collection, Toronto Exhibited: William Kurelek, Galerie Agnès Lefort, Montreal, 1969.

Mira Godard 35th Anniversary Exhibition, Mira Godard Gallery, Toronto, 1997.

Literature: Patricia Morley, Kurelek: A Biography, Macmillan of Canada, Toronto, 1986, pages 32-33, 35.

James Baque (introduction), O Toronto: paintings and notes by William Kurelek, New Press, Toronto, 1973, page 22. $60,000–80,000

Note: William Kurelek, eldest son of a Ukranian immigrant family, was raised on a farm in Manitoba. From a very young age, Kurelek was “forever drawing”.

Kurelek felt that first hand experience with a subject could not but help an artist to render it better. He considered himself lucky to have worked on a farm as it meant he could “appreciate the tactile values related to naturalistic representation” of this world, one which for him was filled with the sharpest childhood memories that would provide content for so much of his work.

In 1934, the Kurelek family moved from Alberta to Stonewall, Manitoba.

Patricia Morley writes: ”Stonewall would become Bill’s own kingdom in his heart’s core and through a thousand paintings which would celebrate its rich black soil and fecund immigrant culture... The emotional pain which was to be Bill’s inheritance in this place would prove an essential ingredient in the artistic genius nurtured here.”

Barns, the granary, chicken coops, and milk houses were the setting of the stories Bill would later recall in ink and paint. Farm chores had left little time for play but there were chores that Bill considered fun such as transferring chickens from one coop to another or matching wits with hungry pigs.

Family friend Jean Budjak recalls: “You wanted to play, but you had to work, so you tried to combine the two!”

In 1963, Kurelek began travelling to western Canada from Toronto where he now lived, sketching and photographing the places where he had grown up.

Revisiting Stonewall refreshed memories of his childhood which resulted in what Morley describes as “a lifetime of ideas for work.”

In August-September 1969, Kurelek exhibited a series of paintings and drawings on the theme of prairie farm work at the Galerie Godard Lefort in Montreal. In 1963, Mira Godard of the Galerie Agnès Lefort, as it was then known, had approached Kurelek through his Toronto dealer Av Isaacs suggesting that she represent the artist in Montreal. This series of nine drawings was shown in that solo exhibition. The precisely-drawn scenes, executed in black and sepia ink record in detail the variety of tasks involved in running a farm, and are based on Kurelek’s memories of his own family.

As such, they provide a valuable record of a past way of life in rural Canada and illustrate the tasks for which family members were responsible, (the father chopping mangels) and how they worked together (young Kurelek and his father castrating pigs). Often they are humorous (e.g. Milking in Fly Season).

The show at Godard Lefort was the first time in Montreal that Kurelek had shown drawings, as well as paintings in an exhibition. The frames were designed and made by Kurelek.

A letter dated 1997 from the Mira Godard Gallery to the owner of these drawings notes that Isaacs had inspected the drawings and was very excited to see them as he had never seen them before. The letter further indicates that Isaacs felt they were the best drawings Kurelek had ever completed.

Further notes indicate that the original group of drawings was only released to Mrs. Godard in 1969 on the understanding that they were to be considered as one work and never to be separated.

In the 1970s, Kurelek would write and illustrate the popular children’s books, A Prairie Boy’s Winter (1973) and A Prairie Boy’s Summer (1975).

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65 PITALOOSIE SAILA, R.C.A., CAPE DORSET/KINNGAIT WOMAN AND SNOW BIRD stonecut 1973, 17/50 unframed 24.5 ins x 16.75 ins; 62.2 cms x 42.5 cms $6,000–9,000

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Provenance: Private Collection, California, U.S.A. Note: This is arguably Pitaloosie’s most important work. She has been a constant participant in the annual Cape Dorset print collections since 1968. Her and her (now deceased) husband Pauta Saila were somewhat of an Inuit art power couple, considering their immense contribution to Canadian art.

The Art of Canada Auction - Monday 30 May 2016 at 7 pm

66 PAUL VANIER BEAULIEU, R.C.A. STILL LIFE NO. 13 oil on canvas signed and dated ‘53 15 ins x 21.75 ins; 38.1 cms x 53.3 cms Provenance: Private Collection, Quebec Literature: Michel Beaulieu and Jacques Brault, Signatures: Paul Beaulieu, La Prairie, 1981, Ottawa, pages 16-17. $8,000–12,000

Note: In the 1940s and 1950s there were few commercial galleries in Montreal at which to exhibit. Artists frequently mounted studio shows to promote their work. Beaulieu also marketed his pictures in this way. However, in the year this work was painted, Paul Beaulieu had begun to command broader attention from collectors, dealers and critics alike and his work was included in shows such as “Some Contemporary Canadian Artists” at the Musée des beaux arts. From 1954-1965, Beaulieu was represented by the prestigious Dominion Gallery, which further afforded him a degree of financial security.

Beaulieu, like many modernists, did not undertake still life with a view to replicating what lay before him. He also drew from memory and imagination as is clearly evidenced by this lot. Beginning from 1948 and for the next six years, Beaulieu embarked upon an intense period of production which focused on capturing the essential - line, form, and colour. Asking himself “Apres tout, la ligne n’est elle pas à la base de tout art pictorial?” Michel Beaulieu notes that it is at this point “Les éléments qu’il represente sont alors réduits à l’essential et les rassemblements hétéroclites, voires baroques, disparaîssent... Les tableaux de la phase postérieure de cette period temoignent de cette apparents simplification.”

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67 GUIDO MOLINARI R.C.A. RED QUANTIFIER oil on canvas, unframed signed and dated 1/88 on the reverse 78 ins x 66 ins; 193 cms x 167.6 cms Provenance: Private Collection, Toronto $90,000–120,000

Note: By the 1960s, Montreal artist Guido Molinari was one of the most important abstract painters in Canada, known for large scale abstract compositions of saturated colour.

One of the later Plasticiens (along with Claude Tousignant), Molinari created work which resembled American “hard-edged” painting by colour field artists like Kenneth Noland, and Minimalist work with its emphasis on geometry and simplicity from the same period. But Molinari was more interested in the dynamic movement that occurs between colours which appear to change under the viewer’s gaze. He first succeeded in eliminating the hierarchy of forms in pictorial space (figure-ground relationship) by causing the viewer’s visual perception to move back and forth between black and white shapes. From 1963, he began using vertical bands of colours of equal width, varying their positions relative to each other to create optical experiences (see example below).

The work requires longer and repeated viewing time for the optical effects to take place.

Molinari began his “Quantifiers” series of large quasi-monochrome canvases in 1975 and worked on them for the following twenty years. In these works, he explored the relationship between the canvas size, the number of internal trapezoid colour masses (Roald Nasgaard’s term) which divide the canvas vertically and the range of closely related colours. In the series of Red Quantifiers from the mid- to late 1980s, to which this lot belongs, Molinari varied the width and number of the vertical colour masses and adjusted their edges to deviate from the true vertical. This causes the unpredictable play of visual effects across the surface of the canvas as planes of closely related reds form and reform with sustained viewing. Viewers are not entirely certain what they are seeing.

Molinari preferred using pure colours for the greater energy they emit, which enhances the quality of animation across the surface of the painting.

Mutation Serielle with Black Band, 1964 Sold, Waddington’s Canadian Art May 2014 (lot 59)

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68 KAROO ASHEVAK, TALOYOAK/SPENCE BAY BIRD IN NEST WITH EGGS bone c. 1970 7.5 ins x 14.5 ins x 6 ins; 19.1 cms x 36.8 cms x 15.2 cms $3,000–5,000

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Note: The shape and smoothness that Ashevak could create from a dense and difficult piece of whalebone will forever fascinate the onlooker. In the art world where “look but don’t touch” is the motto of museums and art galleries, it is a privilege to have the opportunity to physically handle Ashevak’s work. One only has to hold one of his perfect bone eggs in their hand to fully appreciate the sensory appeal of his sculpture.

There are many examples of his birds in collections and exhibitions. This work is almost a prelude to some of his later more exaggerated creations such as plate 18 in the Winnipeg Art Gallery’s 1977 exhibition. In the same publication, plate 2 & 3 show similar treatments to the wings and eyes perhaps indicative of a more restrained period for the artist. Ashevak’s first one man show outside of Canada was held at the American Indian Arts Center in New York in 1973, where two of the fifteen works forming this exhibition were of a bird protecting its nest of eggs. The base which serves as the nest of number 14 from the show catalogue is remarkably similar to the one in this lot.

The Art of Canada Auction - Monday 30 May 2016 at 7 pm

69 KAROO ASHEVAK, TALOYOAK/SPENCE BAY SPIRIT bone, stone signed in syllabics 13.5 ins x 6 ins; 34.4 cms x 15.2 cms Provenance: Collection of Lolo Sarnoff, Bethesda, Maryland, U.S.A., Private Collection, Washington, DC, U.S.A. Note: This cat-like creature is one of Ashevak’s more simplified inspirations, yet the work has no less impact on the viewer.

Purchased in New York City in the early 1970’s by sculptor, arts patron, and scientist Lolo Sarnoff and later gifted to her dear friend, the consignor, the work has been admired in prestigious art circles.

In the spring of 2015, Lolo Sarnoff’s extraordinary art collection was auctioned at Sotheby’s. The collection ranged from Impressionist & Modern Art including works by Picasso, Chagall and Renoir to Chinese art and French Faience porcelain. *This lot resides in the United States and is being sold from the photographs and description.

Buyers who reside outside the U.S. should be aware of CITES restrictions. This item is available to U.S. clients only. $8,000–12,000

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70 JOHNNY INUKPUK, R.C.A., INUKJUAK/PORT HARRISON A WOMAN LIFTING HER YOUNG CHILD stone c. 1970 14.5 ins x 5 ins x 5 ins; 36.8 cms x 12.7 cms x 12.7 cms Literature: Darlene Coward Wight, Early Masters, Inuit Sculpture 1949-1955, Winnipeg Art Gallery, 2006, page 83.

Note: “Johnny Inukpuk is the best known of all the ‘early masters’, as his round, polished, human figures and animals have been exhibited and illustrated extensively over the years. He has had a long and continuously productive carving career stretching from the early 1950’s to the present. In 1978 he was elected to the Royal Canadian Academy of Artists.” $10,000–15,000

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71 ABRAHAM POV, INUKJUAK/PORT HARRISON MOTHER EMBRACED BY HER CHILDREN stone signed in syllabics, dated ‘80 20 ins x 13 ins x 15 ins; 50.8 cms x 33 cms x 38.1 cms Note: At times quality and detail can be sacrificed for sheer mass, however that is not the case with this work. The artist has left no angle unfinished, with the utmost care he was able to evoke the warmth and affection shared between a mother and her children. It is clear that the scale he chose to work in was meant to emphasize the importance of this relationship. $4,000–6,000

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72 WASHINGTON F. FRIEND VIEW OF QUEBEC FROM BEAUPORT watercolour, framed as an oval signed 13.75 ins x 22 ins; 34.9 cms x 55.9 cms Provenance: Private Collection, Toronto Note: Beauport, a borough of Quebec City, was established in 1634, making it among the earliest European communities in Canada.

Beauport has always drawn artists for the view it provides of Quebec City, but also for the falls of Montmorency located nearby. The shores of Beauport were the site of General Wolfe’s ill-fated attack on the French in July of 1759. A century later, Washington Friend was painting Quebec from its heights. Friend also visited other major cities in Ontario and Quebec to paint topographical scenes of Niagara, Queenston, Toronto, Kingston and Montreal. $4,000–6,000

73 FREDERICK ARTHUR VERNER, O.S.A., A.R.C.A. INDIAN ENCAMPMENT watercolour signed and dated 1878 11.5 ins x 18 ins; 28.6 cms x 45.7 cms Provenance: Private Collection, Ontario Note: By 1878, Frederick Verner was at the height of his powers in depicting subjects such as this encampment. A generous serving of seven teepees as well as both overturned and upright canoes serve as the backdrop for the standing woman grinding corn and two small seated figures shown, perhaps gambling, at the centre right. Three additional figures populate the scene. $5,000–7,000

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74 ENNUTSIAK, FROBISHER BAY/IQALUIT GATHERING FOR A MEAL stone, ivory signed in syllabics, 1963 3.25 ins x 5.75 ins x 5.75 ins; 8.3 cms x 14.6 cms x 14.6 cms Provenance: A farewell gift to an RCMP Superintendent and his wife in 1963, who were stationed in Iqaluit for three years.

Note: One of the top selling Inuit artists, Ennutsiak is defined by his sketch-like carving style and for creating small tableaus of Inuit life. Ennutsiak spent most of his life on the land in the days prior to settlements. He created these narrative and often intimate scenes of normal everyday life prior to his death in 1967. Whether portraying birthing scenes, nomadic life or children playing a game of leap frog, his carvings always convey a sense of community. This is perhaps why his works have achieved unprecedented price levels such as his Family Playing Musical Instruments sculpture from Waddington’s fall 2009 auction which sold for $54,000 and his Migration which fetched $86,250 in Waddington’s fall 2011 auction. His carvings reside in the Canadian Museum of History (Civilization), the Winnipeg Art Gallery, the National Gallery of Canada and in many publications and prominent private collections. $8,000–12,000

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75 PEGI NICOL MACLEOD NEW CHILDREN TO PARK, OTTAWA, ONT. oil on canvas signed 30.25 ins x 28 ins; 82.6 cms x 86.4 cms Provenance: Private Collection, Nelson, British Columbia (a gift from the artist and thence by descent) Note: By the mid-1930s Pegi Nicol’s kaleidoscope vision begins to emerge, a style unique to her and for which there is no Canadian equivalent. Distorting compositions for emotional ends, Nicol is nonetheless disciplined in her use of space. $15,000–18,000

76 TOM HOPKINS HARBOUR signed; signed, titled and dated 1990 on the reverse 48 ins x 90.5 ins; 121.9 cms x 229.9 cms Literature: Tom Hopkins: New Paintings, Galerie de Bellefeuille, Montreal, 1997, page 4, the artist in conversation with Guido Molinari.

Note: “For me, tension is the basis for all life.

Certainly tension between two or three colours in a painting is what makes the painting vibrant, all contrasts – warm/cool, broad areas against detail, organic against mechanical. And of course, in many of my paintings I am interested in the wild versus the tame, water in nature against water imprisoned ‘civilized’ in a bowl or container.”

-T.Hopkins $10,000–15,000

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77 FRANKLIN MILTON ARMINGTON LES BOUQUINS, PLACE DE L’INSTITUT, PARIS oil on canvas signed and dated 1925; also signed and titled on the reverse 20 ins x 24 ins; 49.5 cms x 61 cms Provenance: Estate of the artist By descent to Ann Lownsbury (the artist’s cousin once-removed) Private Collection, Canada $10,000–15,000

Literature: Janet Braide and Nancy Parke-Taylor, Caroline and Frank Armington: Canadian Painter-Etchers in Paris, Art Gallery of Peel, (catalogue), Ontario, 1990.

Paul Duval, Canadian Impressionism, McClelland & Stewart,Inc., Toronto, 1990, page 134 and page 135 for a related work of bookseller stalls along the Seine, reproduced in colour.

Note: Frank Armington enjoyed critical and popular interest internationally though his work was less well-known in Canada and infrequently appears at auction in this country.

Trained in Paris, Armington and his artist-wife Caroline spent most of their lives abroad and exhibited rarely in Canada despite being adept marketers of their work. The Armingtons were represented by some of the best galleries of the day including Durand-Ruel and Ralston in New York. Durand-Ruel was, of course, the gallery which had first introduced French Impressionism, specifically, the works of Monet, Pisarro and Renoir, to the American public.

That the Armingtons were not well-known here had little to do with the calibre of their work and everything to do with the taxes levied on works that were imported to Canada at that time.

The Armingtons were the subject of a major retrospective exhibition at the Art Gallery of Toronto in 1929.

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78 PEGI NICOL MACLEOD A GROUP OF CHILDREN oil on board, stamped signature; with another oil sketch on the reverse 28.75 ins x 22.5 ins; 73 cms x 57.2 cms Note: The energetic artist and non-conformist Pegi Nicol, a member of the Canadian Society of Painters in Watercolour and the Canadian Group of Painters, left Canada in 1937 with her new husband, Norman MacLeod. The couple settled in New York City where Pegi gave birth to a daughter later that year. Caring for a young child focused the artist’s range of subject matter, and MacLeod found herself painting portraits of her daughter Jane and other children.

A Group of Children, probably painted in the early to mid-nineteen forties, is typical of her work with its bravura brushwork, sinuous lines and bright colours. It may represent some of the children she encountered in her walks around Manhattan or Fredericton where she taught for six weeks every summer from 1940 to 1948. $15,000–18,000

Reverse

79 JOE NORRIS LOWER PROSPECT enamel paint on panel signed and titled 23.25 ins x 47 ins; 59.1 cms x 119.4 cms Provenance: Private Collection, Toronto $4,000–5,000

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80 WILLIAM KURELEK, R.C.A. BATA SHOE gouache on paper 14 ins x 14 ins; 35.6 cms x 35.6 cms Provenance: Private Collection, Toronto Note: This work references the popular nursery rhyme There was an Old Woman Who Lived in a Shoe, in this case a Blundstone!

According to the present owner, this work was submitted to the Bata Shoe Company for their consideration. It was later gifted to the owner’s mother by the artist. $15,000–18,000

81 NORMAND HUDON DES CORNEILLES SPORTIVES mixed media on masonite signed, titled and dated ‘91 24 ins x 30 ins; 61 cms x 76.2 cms Provenance: Le balcon d’arts, St. Lambert, Quebec Private Collection, Quebec Note: Hudon is best known for his humorous, sometimes madcap, treatment of religious and other authority figures such as lawyers and doctors. Never biting or cruel, yet subtly subversive, his work wittily pokes fun at institutional power.

The word “corneilles” in the title translates to “crows” and refers to the black robes worn by the priests. $8,000–12,000

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82 DAVIDIALUK ALASUA AMITTU, POVUNGNITUK/PUVIRNITUQ AN OWL FEEDING HER YOUNG stone signed in Roman with disc number 8.5 ins x 10 ins x 6 ins; 21.6 cms x 25.4 cms x 15.2 cms Literature: Marybelle Myers, ed., Davidialuk 1977, La Fédération des Coopératives du Nouveau-Québec, 1977, unpaginated Note: “Davidialuk has an innate taste for legends, for myths and for cultural imagery. He made his first carvings in wood, ivory and in pieces of soapstone from old stone lamps. As his talent continued to unfold with each new piece, he went to look for the stones which he wanted to carve, but without ever letting this interfere with his hunting and fishing activities.

The white man’s school usurped the oral tradition; missionaries, doctors and policemen redirected the life, activities and beliefs of the Inuit. He, therefore, would immortalize in stone, the stories, thoughts and dreams which had nurtured his childhood and early life as a ‘free’ Inuk. In so doing, Davidialuk produced some of the most remarkable works of contemporary Inuit art.” $4,000–6,000

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83 DAVIDIALUK ALASUA AMITTU, POVUNGNITUK/PUVIRNITUQ NUDE MAN REMOVING AMAUTIQ (STORY OF NULAYUVINIQ) stone signed in Roman with disc number, c. 1960 6.75 ins x 6 ins x 5.5 ins; 17.8 cms x 15.2 cms x 12.7 cms $2,500–3,500

Literature: For a similar work of the same subject and the full story, see Zebedee Nungak & Eugene Arima, Eskimo Stories, Unikkaatuat, pages 33-35, plate 18.

For another similar work see, George Swinton, Sculpture of the Eskimo, 1972, page 172, plate 373 Also referenced in, Darlene Coward Wight, Early Masters, Inuit Sculpture 1949-1955, Winnipeg Art Gallery, page 120.

Note: Nulayuviniq is the story of the child that has suddenly grown too large for his amautiq. This was a recurring subject for Davidialuk.

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Provenance: Acquired directly from the artist by the consignor during a fishing trip to Povungnituk/Puvirnituq in 1970.

84 JOE TALIRUNILI, POVUNGNITUK/PUVIRNITUQ ARCHER stone, antler, wood, sinew c. 1970 6.5 ins x 3.5 ins x 4 ins; 16.5 cms x 8.9 cms x 10.2 cms $4,000–6,000

Note: For a similar work, see Waddington’s November 2008 auction catalogue, lot 165.

Unlike Joe’s typical depiction of a static hunter ensconced by his hunting gear, this figure is taking aim with his bow and arrow in a crouched position.

85 JOE TALIRUNILI, POVUNGNITUK/PUVIRNITUQ HUNTER CARRYING HARPOON AND RIFLE stone, wood, thread signed in Roman, c. 1972 8.5 ins x 3 ins x 2.5 ins; 21.6 cms x 7.6 cms x 6.4 cms Provenance: The consignor lived and worked in various communities across the Canadian Arctic.

As a nurse she met many artists and came to know them personally. While in Povungnituk, she was directed to Joe after inquiring about purchasing something unique and unlike anything the other artists were producing. She found what she was seeking in this ‘Joe Hunter’, complete with hunting tools and with the artist’s characteristic repaired arm. $3,000–5,000

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

86 JOE TALIRUNILI, POVUNGNITUK/PUVIRNITUQ STANDING HUNTER CARRYING A SEAL stone signed in Roman, c. 1965 6.25 ins x 2.75 ins x 2.5 ins; 15.9 cms x 7 cms x 6.4 cms Provenance: Arden Barnes Collection, U.S.A. Note: For additional information on the Arden Barnes Collection and Barnes’ experiences while living in the Arctic, please see the essay on page 2 of Waddington’s, November 2015 auction catalogue, also available on our website. $1,500–2,000

87 JOE TALIRUNILI, POVUNGNITUK/PUVIRNITUQ OWL stone signed in Roman and syllabics, c. 1970 3.5 ins x 1.5 ins x 3 ins; 8.9 cms x 3.8 cms x 7.6 cms Provenance: Acquired directly from the artist by the consigner during a fishing trip to Povungnituk/Puvirnituq in 1970.

Note: One of Joe’s favourite subjects, owls, frequently appear in his prints and as carvings. Talirunili’s owls are almost prehistoric looking. $1,000–1,500

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88 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. THE WYE IN WINTER oil on masonite signed; titled on the artist’s label on the reverse 20 ins x 24 ins; 50.8 cms x 61 cms Provenance: Private Collection, Ontario $12,000–15,000

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Note: Franz Johnston was one the most sought-after lyrical painters in Canada, making painting trips to northern Ontario and Quebec to study the various effects and qualities of light on snow. His skill at capturing light on snow was considered to be unsurpassed.

The Art of Canada Auction - Monday 30 May 2016 at 7 pm

89 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. AUTUMN ENCHANTMENT oil on masonite signed 20 ins x 24 ins; 50.8 cms x 61 cms Provenance: Private Collection, Toronto

Literature: Roger Burford Mason, A Grand Eye for Glory: The Life of Franz Johnston, Dundurn Press, Toronto, 1998, page 62.

Note: Franz Johnston earned a reputation for the luminous interplay of light and shadow in his paintings. Here the bright sunshine of Autumn Enchantment stands in contrast with the cool depths of the shade beneath the trees.

“Essentially, Mr. Johnston is a painter of light,” one reviewer noted, “and more particularly of that clear, warm, mellow light that emanates from skies.”

$12,000–15,000

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90 ARTHUR LISMER, O.S.A., R.C.A. TIDE COMING IN, CAPE BRETON I, N.S. oil on board signed and dated ‘46 12 ins x 16 ins; 30.5 cms x 40.6 cms Provenance: Private Collection, Toronto Literature: Dennis Reid, Canadian Jungle: The Later Work of Arthur Lismer, Art Gallery of Ontario, Toronto, 1985, pages 42-43. $12,000–16,000

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Note: After the war, Arthur Lismer renewed his pattern of lengthy summer sketching holidays. Dennis Reid writes “It was Cape Breton that now became most important in terms of his work, and he and (his wife) Esther returned (in July and August of 1945) and again in 1948 and 1950 staying usually on the east coast around Ingonish... The work done on Cape Breton Island - strong, assured, often innovative - dominates the middle period of the decade” and “celebrated the virile life of the sea.”

In 1946, after being an associate member for 27 years, Lismer was elected a full member of the Royal Canadian Academy.

The Art of Canada Auction - Monday 30 May 2016 at 7 pm

91 RANDOLPH STANLEY HEWTON, R.C.A. QUEBEC VILLAGE, WINTER oil on canvas 20 ins x 24 ins; 50.8 cms x 61 cms Provenance: Estate of the Artist Private Collection, Montreal Private Collection, Toronto (by descent) $15,000–18,000

Note: Randolph Hewton is known as a painter of portraits, figures and landscapes.

Born in Quebec, Hewton studied first at the Art Association of Montreal, then in Paris, where he met A.Y. Jackson in 1912. They would remain lifelong friends. Hewton was invited to contribute to the first Group of Seven show held in Toronto in 1920, and later that year, was a founding member of the short-lived but significant Beaver Hall Group. (The Beaver Hall Group is the subject of a large exhibition currently on national tour.)

Hewton typically took time off work in the early spring (he ran a business manufacturing paper boxes) to sketch in the Charlevoix district of Quebec— at Baie St. Paul, St. Tite des Caps, St. Irénée—often in the company of Jackson and Percy Robinson. Quebec Village, Winter is a typical rural village scene with the church, whose central position is emphasized by the sweeping curve of the traditional bell-cast roof to the right, and signals its importance in the community. Spring is clearly in the air—the snow is melting, the sky is painted using strokes of warm beige, and Hewton has chosen a close-up view of the town, giving more area to the warm tones of the dwellings.

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92 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. OLD BARN, CHARLEVOIX oil on panel signed; inscribed “Probably Les Eboulements, about 1928” 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Provenance: Watson Art Galleries, Montreal Estate of Theodosia Dawes Bond Thornton, Montreal Private Collection, Ontario Literature: Naomi Jackson Groves, A.Y.’s Canada, Toronto/Vancouver, 1968, page 76 and plate 37 for a closely related drawing, reproduced. $25,000–30,000

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Note: Charlevoix County provided a feast of quaint subjects for A.Y. Jackson including picturesque thatched-roof barns, the inevitable extinction of which was of great concern to the artist. Groves writes: ”A.Y.’s lifelong attachment to barns is so self-evident as seemingly to require little comment... Yet he did not like all barns, not by any means. Not even any old barn. There has to be something special about each barn he honours with permanency in his work.”

Jackson bestows dignity on the old barn depicted in this lot. The barn and the land that surrounds it are a checklist of traits valued by Jackson: the gently contoured land into which the barn has settled, the furrows and snowdrifts that frame it, the slight hump in the roofline, the silvered and rusty red shingles. These were the artist’s quarry, essential ingredients for a successful picture and therefore highly prized by him.

The Art of Canada Auction - Monday 30 May 2016 at 7 pm

93 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. COMBERMERE, 1968 oil on board signed; titled and dated on reverse 9.5 ins x 11.25 ins; 24.1 cms x 28.6 cms $20,000–30,000

Provenance: Private Collection, Toronto Note: Works such as Combermere from 1968 remind us of A.J. Casson’s strong Group roots. As if painting a tribute to his older mentors, Casson uses the upclose vantage point favoured by Arthur Lismer after the mid-1940s; the screen of trees, a device used by Lawren Harris, and before him Tom Thomson; and contrasting light and shade, perhaps a nod to his great friend Franklin Carmichael. Nonetheless, Combermere must not be viewed as derivative, as it is not. It employs Casson’s characteristic controlled palette with Casson’s entirely original handling of paint. The lessons learned have been put to good use.

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94 MARION LONG, O.S.A., R.C.A. THE ARTIST’S STUDIO oil on board signed 20 ins x 16 ins; 52.1 cms x 41.3 cms Provenance: Private Collection, Toronto Note: When Marion Long returned to Toronto in 1913 after studying in Provincetown, she opened a studio. Then, between 1915 and 1926 she occupied Studio One in Studio Building where she became a good friend of Tom Thomson. From 1928 to 1937 she had a studio on Grenville Street. The scene depicted in this lot is likely one of these three studios. $4,000–5,000

95 MARION LONG, O.S.A., R.C.A. IN THE WARD oil on board signed 10.25 ins x 8.25 ins; 24.1 cms x 19.1 cms Provenance: Private Collection, Ontario Note: While this work is not dated, a handwritten label attached to the backing provides a clue. The address the artist gives is “Studio Building Severn St.” Marion Long used this address from 19151926.

In 1933, Marion Long was only the second woman to be elected to the R.C.A. Charlotte Schreiber had been the first. Long’s election made headlines with the Mail and Empire announcing “Marion Long, Toronto Artist, First Woman in 50 Years (italics ours) to become R.C.A. Member.” $3,000–5,000

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96 JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. NASTURTIUMS

Note: A.Y. Jackson wrote that J.E.H. MacDonald was “a designer before he was a painter as is evident in almost everything he painted.”

oil on board signed with initials; titled on the reverse 8 ins x 10 ins; 20.3 cms x 25.4 cms

Some of the finest examples of MacDonald’s work use a technique that gives a nod to the design direction taken in Japanese ukiyo-e, the popularity of which had an enormous influence on Impressionist and post-Impressionist movements worldwide, including Art Nouveau, with which MacDonald was deeply familiar.

Provenance: Private Collection, Ontario Literature: A.Y. Jackson, A Painter’s Country: The Autobiography of A.Y. Jackson, Clarke, Irwin & Company Limited, Canada, 1958, page 25.

In this lot, we see MacDonald placing the subject of the painting - the vase of nasturtiums - in the upper right corner of the composition. The decision to concentrate the action off-centre packs an aesthetic punch. There is correspondence between this painting and other major works such as Morning Shadows (Art Gallery of Ontario). In both works, J.E.H.’s design impulse is dramatic, deliberate and effective.

$20,000–30,000

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97 SAMMY KAITAK, SUGLUK/SALLUIT SEATED WOMAN MENDING A PARKA stone, ivory, sinew c. 1955 8 ins x 5 ins x 5.25 ins; 20.3 cms x 12.7 cms x 13.3 cms Literature: Ted Fraser, Sugluk: Sculpture in Stone, The Art Gallery of Windsor, 1992, page 31-33, catalogue No. 22. $2,500–3,500

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Note: This seated woman mending a parka “emphasizes the central role of the woman in Sugluk. The sculpture represents a woman mending a child’s parka with thread dried and split from caribou sinew. The arcing rhythmic thread constructs a memorable metaphor of woman as the provider and protector of her children at the center of the world.”

The image of ‘woman as provider’ gained popularity in the South for its distinctiveness and for its splendid variations, despite being a leitmotif of the region.

Another iconic work by Sammy Kaitak is the extraordinary “Woman Combing Hair.”

Collection of the Canadian Museum of History (Civilization).

The Art of Canada Auction - Monday 30 May 2016 at 7 pm

98 MIAIJI UITANGI USAITAIJUK, SUGLUK/SALLUIT WOMAN LIFTING A CHILD stone c. 1950 6.5 ins x 3.75 ins x 2.75 ins; 16.5 cms x 9.5 cms x 7 cms Note: Created during a period of heightened production in Salluit in the 1950s. Delicately carved tender family and mother with children scenes dominated this period. $1,500–2,000

99 MANNUMI SHAQU, CAPE DORSET/KINNGAIT SEATED WOMAN TENDING A QULLIQ stone signed in Roman and inscribed with disc number, c. 1951 4 ins x 4.25 ins x 4.5 ins; 10.2 cms x 10.8 cms x 11.4 cms Literature: James Houston & Bert Beaver, Canadian Eskimo Art, Department of Northern Affairs and National Resources, 1954, page 2.

Note: This little carving is near identical to the Mother and Child Tending a Qulliq (stone lamp) that was presented to Queen Elizabeth on her royal visit to Canada in 1951. It had been exhibited at the National Gallery of Canada, loaned for an exhibition in London and reproduced in publications as well as on a Canadian stamp. This work was likely produced at a similar time.

Mannumi was an early star of the settlement of Cape Dorset, along with Osuitok Ipeelee.

The two were good friends and carved together often. $600–900

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100 HENRY EVALUARDJUK, FROBISHER BAY/IQALUIT WOMAN WITH HER CHILDREN stone c. 1970 12 ins x 12 ins x 5 ins; 30.5 cms x 30.5 cms x 12.7 cms $4,000–6,000

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Provenance: NWT Commissioner Hodgens acquired the work from the artist while he was in prison.

Sold to the consignor’s grandfather, Hubert Heinrich, by the Commissioner, Germany.

By descent to present owner, California.

Note: Henry was asked to create a work that was personal to him while he was in prison. The extremely soft light coloured stone supplied to him lent itself to the undercutting needed to create negative space around the close-knit bodies of this family. It was implied that this scene may in fact have represented Henry himself as a small man leaning up against his giant wife.

The Art of Canada Auction - Monday 30 May 2016 at 7 pm

101 OSUITOK IPEELEE, R.C.A., CAPE DORSET/KINNGAIT INUK WOMAN stone c. 1965 10.5 ins x 3.5 ins x 2 ins; 26.7 cms x 8.9 cms x 5.1 cms Provenance: Waddington’s, fall 2003, lot 572, Toronto Private Collection, New York, U.S.A. $2,500–3,500

102 MOSESIE KOLOLA, LAKE HARBOUR/KIMMIRUT WOMAN CARRYING CATCH stone signed in syllabics, c. 1975 16 ins x 9 ins x 7 ins; 40.6 cms x 22.9 cms x 17.8 cms Provenance: langfordgallery.com, Toronto Note: This is one of Mosesie Kolola’s finest works. He created works ranging from etched tusks, to multiple component camp scenes, to figural works. This work has little in common with the elaborate Inuit Camp Scene sold at Waddington’s for $5000 in the fall of 2012, except perhaps the importance that they share.

With the confidence of a resourceful provider, this serene faced woman strolls back to her camp with fresh char in hand. $2,500–3,500

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103 LÉON BELLEFLEUR, R.C.A. JOUR DE COLÈRE oil on canvas signed and dated ‘83; also signed, titled and dated on the reverse 24 ins x 20 ins; 59.7 cms x 49.5 cms Provenance: Private Collection, Ontario Literature: Guy Robert, Bellefleur, The Fervour of the Quest, Montreal, 1988, page 132.

Note: Certain titles Léon Bellefleur gives to his paintings could have multiple, even contrary meanings. For example, Guy Robert cites Flammes of 1984, “standing at the ambiguous border between Joan of Arc’s stake and a merry summer campfire.”

It is difficult to picture Bellefleur the ‘hedonist,’ ‘epicurean,’ ‘incorruptible child’ enraged for a moment, much less an entire day, as suggested by the title of this lot. However, it is curious to consider what might have inspired it. While the composition suggests a certain tension in the central mass and tangle of colour and shape, the overall mood is bouyed by the sudsy, bespeckled border that surrounds it, as though the “colère” is already dissapating. $9,000–12,000

104 ALEX WYSE THE POOR LITTLE DEVILS mixed media painted construction signed and dated 1986 22.25 ins x 29.25 ins; 73.7 cms x 55.9 cms Provenance: Private Collection, Ottawa Exhibited: A Certain Amount of Joy, Agnes Etherington Art Centre, Queen’s University, Kingston, 16 Nov. 1986 - 11 Jan. 1987, cat. no. 11.

Literature: Dorothy Farr, A Certain Amount of Joy: Recent work by Alex Wyse, Agnes Etherington Art Centre, Kingston, 1986, page 13, cat. no. 11 reproduced.

Nancy Baele, Visual Arts Reporter, “The Scales of Humour Balanced with Fragility,” The Ottawa Citizen, Jan. 8, 1987. $5,000–7,000

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105 MOLLY LAMB BOBAK, R.C.A. INTERIOR oil on canvas signed “Molly Lamb B” 40 ins x 48 ins; 101.6 cms x 121.9 cms Provenance: Private Collection, Ontario $15,000–20,000

Literature: Cindy Richmond, Molly Lamb B: A Retrospective, Mackenzie Art Gallery, Regina, 1993, cat. nos. 80 and 100 for related interiors, reproduced in colour.

Note: Molly Bobak was an expressionist painter with a firm footing in reality.

Though broadly known for her crowd scenes, Bobak also executed elegant floral still lifes and sophisticated interiors.

Bobak uses a gestural application of oil paint, and in this case, allows the thinned paint to run down the canvas. Bobak’s expressionist technique implies her personal connection with the room she paints, and is suggestive of the lives of those who inhabit them. Typically, Molly Bobak’s interiors will feature a large bouquet or bouquets of flowers centred on the composition.

In the absence of figures, the flowers serve as a proxy life force.

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106 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. SPRING - LAURENTIAN SIDE ROAD oil on masonite signed 24 ins x 34 ins; 61 cms x 86.4 cms $15,000–20,000

Provenance: Private Collection, Toronto Literature: Roger Burford Mason, A Grand Eye for Glory: The Life of Franz Johnston, Dundurn Press, Toronto, 1998.

Note: It is a mistake to downplay the illustrative body of work made by Franz Johnston, including works such as the masterfully rendered Laurentian Side Road, in order to favour the Group period pictures, exclusively. While the earlier works are indisputably important and rare, there is also value in what followed and the workmanship found in these paintings is unparalleled.

It is worthwhile to consider these later works in light of Johnston’s extraordinary popularity sustained over decades. It is largely these works which solidified his reputation. Johnston enjoyed telling the stories of farm life in the Wyebridge area and people seemed hungry for these picturesque genre scenes, unbothered as they are by modernist principles.

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107 HORATIO WALKER, R.C.A. THE HARROWER oil on canvas signed and dated 1930 30.5 ins x 24 ins; 77.5 cms x 61 cms Provenance: Private Collection, Montreal Private Collection, Toronto (by descent) $10,000–15,000

Note: Horatio Walker painted pictures in a style influenced by the French Barbizon painters whose work he first saw on a trip to Europe in 1882. His works were popular with American audiences; an earlier version of The Harrower, c. 1894 was bought by an American collector who donated it to the Metropolitan Museum of Art in 1911. By 1883, Walker was represented by the Montross Gallery in New York, and typically spent the winter months in New York overseeing his business, while spending his summers on the Île d’Orléans in Quebec where he had bought property in 1888. Walker retired in 1928 to the village of Sainte-Pétronille (his principal residence from 1905) where he continued to produce richly textured paintings on the theme of an idealized past, but using a lighter palette and less detail than in his earlier canvases.

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108 MELIA PADLUQ, LAKE HARBOUR/KIMMIRUT GOOSE AND YOUNG stone signed in syllabics 18 ins x 19 ins x 5 ins; 45.7 cms x 48.3 cms x 12.7 cms $2,500–3,500

109 OSUITOK IPEELEE, R.C.A., CAPE DORSET/KINNGAIT FAMILY OF GEESE stone signed in syllabics 16 ins x 6 ins x 3.75 ins; 40.6 cms x 15.2 cms x 9.5 cms Note: This stunning mid 1990s work harkens back to Osuitok’s early compositions portraying his subject with grace and elegance in a modern configuration. $1,500–2,500

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

110 HENRY EVALUARDJUK, FROBISHER BAY/IQALUIT STANDING POLAR BEAR stone signed in Roman with syllabics 6.75 ins x 2.5 ins x 3 ins; 16.5 cms x 6.4 cms x 7.6 cms $1,500–2,000

111 HENRY EVALUARDJUK, FROBISHER BAY/IQALUIT POLAR BEAR ON HIND LEGS WITH INSET TEETH stone, ivory signed in Roman with syllabics, c. 1965-70, 12.5 ins x 5 ins x 4.5 ins; 31.8 cms x 12.7 cms x 11.4 cms Note: Despite Henry’s personal difficulties, he rarely had an off-day when it came to carving. Where Pauta made the ‘dancing bear’ famous, Henry’s realistic polar bears also became iconic. Arguably unrivaled in this territory, one can spot a ‘Henry bear’ on a shelf full of polar bear carvings. The inset teeth detail and mottled grey stone are indicative of an earlier period. $2,500–3,500

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112 HENRY EVALUARDJUK, FROBISHER BAY/IQALUIT TROTTING ARCTIC FOX stone signed in Roman with syllabics 5 ins x 9.75 ins x 3 ins; 12.7 cms x 24.8 cms x 7.6 cms $1,500–2,000

113 ABRAHAM ETUNGAT, R.C.A., CAPE DORSET/KINNGAIT BIRD WITH SPREAD WINGS stone signed in syllabics 6.75 ins x 10 ins x 3.5 ins; 17.1 cms x 25.4 cms x 8.9 cms Provenance: Elca London Gallery, Montreal, Private Collection, Montreal Literature: Abraham Etungat Sculpture, Images Art Gallery, Toronto, 1981.

Note: Etungat’s birds are perhaps the most identifiable of all bird sculptures from Cape Dorset. Etungat masterfully creates birds with raised or spread wings, usually from the stunning green stone from the region. He was said to be an independent soul who focused on creating powerful works. Etungat’s Bird of Spring in the collection of the Glenbow Museum was reproduced in seven foot bronzes which are on display in Ryerson Community Park in Toronto and at the Court House in Vancouver. $1,500–2,500

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114 KANANGINAK POOTOOGOOK, R.C.A., CAPE DORSET/KINNGAIT ARCTIC FOX stone signed in syllabics 5.5 ins x 7.5 ins x 2.5 ins; 14 cms x 19.1 cms x 6.4 cms $800–1,200

115 OSUITOK IPEELEE, R.C.A., CAPE DORSET/KINNGAIT LOON stone signed in syllabics 10.5 ins x 6 ins x 3.5 ins; 26.7 cms x 15.2 cms x 8.9 cms $1,000–1,500

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116 ARTHUR LISMER, O.S.A., R.C.A. TREE STUDY pen and wash signed and dated ‘64 Sight 15.25 ins x 11.5 ins; 39.4 cms x 29.2 cms Provenance: Private Collection, Toronto Literature: Marjorie Lismer Bridges, A Border of Beauty: Arthur Lismer’s Pen and Pencil, Red Rock, Toronto, 1977, page 151.

Note: In 1950, the year of Arthur Lismer’s major retrospective at the Art Gallery of Toronto and the National Gallery of Canada, Lismer and his wife, Esther, first holidayed on Vancouver Island. It was a place to which he would return for sixteen summers.

The forest captivated him in much the way he had been struck by Georgian Bay over thirty-five years earlier.

However, he painted the great shafts of the mighty Pacific coast trees in an altogether different way than he had the spindlier trees of Ontario.

Marjorie Bridges, the artist’s daughter, writes that her father “liked to experiment with different styles... He was also much intrigued with the art of China and Japan and used oriental brushes and black ink to follow the rhythm and flowing lines of Hokusai. These were not done with exhibitions of sales in mind, but for his own satisfaction just to show himself that he could master other styles.” $2,000–3,000

117 JEAN-PAUL RIOPELLE, R.C.A. JUTE III lithograph, printed in colours signed and numbered 33/75 in pencil in the lower margin 29.5 ins x 41 ins; 74.9 cms x 104.1 cms Provenance: Private Collection, Montreal Literature: Yseult Riopelle (ed.), Jean-Paul Riopelle, Catalogue Raisonné des estampes, 1954-1959, Hibou, 2005, cat. no. 1967. 14EST.LI., page 150, for Jute III reproduced in colour. $5,000–7,000

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118 KIAKSHUK, CAPE DORSET/KINNGAIT KIKGAVIK AND THE HUNTER stonecut 1960, 22/50 unframed 22.75 ins x 28 ins; 57.8 cms x 71.1 cms $2,000–3,000

119 JOHNNIEBO ASHEVAK, CAPE DORSET/KINNGAIT & KENOJUAK ASHEVAK, C.C., R.C.A., CAPE DORSET/KINNGAIT A VISION OF ANIMALS stonecut 1961, 14/50 unframed 24 ins x 36 ins; 61 cms x 91.4 cms Note: The cover print for The 1961 catalogue of stone cuts and seal skin prints from the West Baffin Eskimo Co-operative in Cape Dorset in Canada’s Arctic, this work was initially attributed to Kenojuak but the print was later understood to be designed in conjunction with Kenojuak’s husband, Johnniebo. $4,000–6,000

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120 PITALOOSIE SAILA, R.C.A., CAPE DORSET/KINNGAIT ESKIMO LEADER

Note: A print from this edition was presented to Prime Minister Jean Chrétien in 1974 by Canadian Arctic Producers.

stonecut 1972, 19/50 unframed 24 ins x 33.5 ins; 61 cms x 85.1 cms

“The contemporary, Picasso-like image is of a powerful woman. She has tattoo marks under her nose as well as horizontal stripes around the tops of her boots indicating she is a female figure. The design on men’s boots would go straight down in a vertical line. The black area on the face represents shadow. Pitaloosie heard of some ‘boss women’ existing a long time ago and she finds the subject very interesting.”

Provenance: Private Collection, California, U.S.A. Literature: B. Lipton. ed., Arctic Vision: Art of the Canadian Inuit, Canadian Arctic Producers, 1984, page 29. $3,000–5,000

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121 KAKA ASHOONA, CAPE DORSET/KINNGAIT SEDNA HOLDING SEAL stone signed in syllabics and Roman 15.5 ins x 21.75 ins x 8 ins; 39.4 cms x 55.2 cms x 20.3 cms Exhibited: Kaka (Qaqaq) was from a very artistically talented family. Son of prolific graphic artist Pitseolak and brother to Kiawak (Kiugak), Kaka learned to carve at a young age. His sculpture is described as having monumentality and strength. $3,000–5,000

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122 ROBERT WAKEHAM PILOT, P.R.C.A. WINTER STREAM oil on board signed 12.5 ins x 16.75 ins; 31.8 cms x 42.5 cms $8,000–12,000

123 JOHN YOUNG JOHNSTONE, A.R.C.A. LIGHTHOUSE WITH MOORED BOATS oil on panel signed 5 ins x 7 ins; 12.7 cms x 12.7 cms Provenance: Private Collection, Toronto Literature: A.K. Prakash, John Young Johnstone (1887-1930): Retrospective Exhibition (catalogue), Galerie Walter Klinkhoff, Montreal, 2005, page 2.

Note: A lighthouse with moored boats is a typical choice of subject for an Impressionist painter, yet John Young Johnstone infuses this work with unexpected suspense not so typical of his confrères. As A.K. Prakash observes, Johnstone “Instinctively was now rendering not a fleeting moment like the Impressionists, but an immeasurable duration that emphasizes the suspension of time.” $2,000–3,000

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124 FREDERIC MARLETT BELLSMITH, O.S.A., R.C.A. THE SILVERY TIDE oil on canvas signed and dated 1913 42 ins x 60 ins; 111.8 cms x 152.4 cms Provenance: Private Collection, Toronto Exhibited: 38th Annual Exhibition, The Ontario Society of Artists, 14 March 1914, cat. no.4.

Fine Arts Department, Canadian National Exhibition, Toronto, 1914.

Note: For the duration of his career, Frederic Marlett Bell-Smith maintained an insatiable interest in atmospheric effects whether rendered in watercolour or oil. This passion predisposed him toward subjects that accommodated this aim.

Whether rendering craggy mountains with their cascading waterfalls and dizzying gorges, or bustling London Streets and Thames riverboats, the artist exhibited an almost unrivalled talent for capturing rain, steam, smoke, haze, and fog. So evident is this, that one may assert that it was these atmospheric effects which were his primary subject and the physical and human geography merely a vehicle for achieving this end.

The view depicted here is of Waterloo Bridge with Somerset House in the distance. Paintings of this bridge were also produced by Claude Monet and J.M.W. Turner. Replaced with a new structure in 1942, granite stones from the original bridge were saved and distributed throughout the commonwealth “to further historic links in the British Commonwealth nations.”

$30,000–40,000

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125 MAURICE GALBRAITH CULLEN, R.C.A. LIGHT EFFECTS, BEAUPRÉ oil on canvas signed, Cullen Inventory No. 182 13 ins x 18 ins; 33 cms x 45.7 cms Provenance: Canadian Fine Arts, Toronto Private Collection, Hudson, Quebec Literature: Conrad Graham, Maurice Cullen Retrospective Exhibition, (catalogue), Walter Klinkhoff Gallery, Montreal, September 1630, 2000, page 4.

Crystal S. Parsons, Maurice Cullen and His Circle, National Gallery of Canada, Ottawa, 2009, page 11. $12,000–15,000

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Note: When Maurice Galbraith Cullen returned from France in 1896, he and his circle of friends, which included James Wilson Morrice, William Brymner and Edmund Morris continued the tradition they had established there of accompanying one another on sketching trips. Among the places they visited together repeatedly was Beaupré, the subject of this work.

While Light Effects is not dated, it possesses many of the finest qualities of that earlier period with its contrasty bands of light and shadow.

It is delightful to imagine Cullen painting works such as this one in the company of Morrice, Brymner or Morris, striving to translate the lessons learned in France to suit the Canadian landscape and atmosphere.

A slash of gold mingling with pale salmon pink provides a striking contrast to the rich green tones of the bankside grasses. Cullen’s interpretation of the Beaupré twilight demonstrates his ability to render light convincingly.

Cullen, the Painter of Light, would become celebrated for his luminous winter scenes in oil and pastel, but clearly could dazzle in all seasons.

The Art of Canada Auction - Monday 30 May 2016 at 7 pm

126 ARTHUR LISMER, O.S.A., R.C.A. NORTHERN ROCK FROM GEORGIAN BAY oil on panel signed and dated ‘50; also signed, titled and dated 1950 on the reverse 12 ins x 16 ins; 30.5 cms x 40.6 cms Provenance: Private Collection, Toronto Literature: Lois Darroch, Bright Land: A Warm Look at Arthur Lismer, Merritt Publishing Company Limited, Toronto/ Vancouver, pages 64, 104 and 151.

Note: Arthur Limser was first introduced to Georgian Bay in 1913 by Dr. MacCallum, one of the earliest patrons of the Group of Seven, and returned regularly with brief hiatuses only due to major impediments to travel such as the Great War. The composition of Northern Rock speaks to an innovation in Lismer’s work post Group period that was intentional and a response to his earlier success.

As Darroch explains, by the mid-twenties “The Group had triumphed (against their critics), but, like any art movement, its technique was now in danger of crystallizing into a somewhat basic composition of mounded rocks, water and trees breaking the top edge of the canvas.“ Recognizing the need to differentiate, Lismer began to examine his subject at closer range. The sky was increasingly reduced in importance, sometimes disappearing entirely and what remained at times more akin to still life than landscape.

As many of these works coincide with the output of his mature years, Lismer often joked about his “myopic art”.

$12,000–16,000 In 1950, the year this work was painted, Lismer was honoured with a retrospective at the Art Gallery of Toronto and the National Gallery of Canada.

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127 JOHN GEOFFREY CARUTHERS LITTLE, R.C.A OLD RUE ST. PAUL - MONTRÉAL oil on canvas signed; also signed, titled and dated ‘85 on the stretcher 8 ins x 10 ins; 20.3 cms x 25.4 cms Provenance: Private Collection, Toronto $6,000–8,000

128 HAROLD TOWN TWO WORKS: ENIGMA NO. 10 (WEDDING COUPLE AND CAMERA) AND ENIGMA NO. 12 (CAPTAIN AND STOVE) ink and wash on light brown paper both signed, the first dated “3-4-5-2-/64”, the second dated “11-14-2-/64” 19.25 ins x 22.75 ins; 48.9 cms x 57.8 cms Provenance: Walter and Else Landauer, Toronto Private Collection, Toronto Exhibited: XXXII Esposizione Biennale Internazionale d’Arte, (Venice Biennale), Venice, Italy, 1964, cat. no.35 and cat. no.36 respectively Literature: David Burnett, Town, Art Gallery of Ontario, Toronto, 1986, pages 142-152 for an extensive discussion of the Enigma Series.

Note: According to David Burnett, the Enigma drawings were made during an eight year period beginning in January 1964.

Burnett writes: “the series gained instant notoriety when ten of the drawings (among which were the two in this lot) were included in the 1964 Venice Biennale. Two of the drawings were found to be offensive by a cardinal... who ordered them removed.” Harold Town was amused by this and Burnett quotes him as quipping “It’s ironic that the pictures were removed on the complaint of a cardinal. I regard censorship as a cardinal sin.” $7,000–9,000

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

129 WILLIAM RONALD, R.C.A. TINSEL oil on canvas signed and dated ‘76 78 ins x 60 ins; 198.1 cms x 152.4 cms $15,000–20,000

Provenance: Private Collection, Toronto Literature: Robert James Belton, The Theatre of the Self: The Life and Art of William Ronald, University of Calgary Press, Calgary, 1999.

Note: Tinsel was painted only a year after William Ronald’s major retrospective at the Robert McLaughlin Gallery. The exhibition celebrated 25 years of the groundbreaking artist’s career. In this work Ronald introduces spray paint an innovation in his painting practice.

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130 OVILU TUNNILLIE, R.C.A., CAPE DORSET/KINNGAIT SEDNA stone signed in syllabics 21 ins x 11 ins x 5 ins; 53.3 cms x 27.9 cms x 12.7 cms Literature: Ovilu Tunnillie in Oviloo Tunnillie, Marion Scott Gallery, Vancouver, 1994, unpaginated.

Jean Blodgett, In the Shadow of the Midnight Sun: Sami and Inuit Art 2000-2005, Art Gallery of Hamilton, Hamilton, Ontario, 2007.

Note: “At one time, when I was younger, I was shy, almost embarrassed to carve. If a woman was a carver it was a very unusual thing. People would see it as a man’s work, but today the woman has to be recognized more.”

Ovilu has assuredly gained recognition for her contributions to Inuit art. She is among the only Inuit artists to depict nudity and she is on of the first to portray herself as the subject of her carvings.

Ovilu works are celebrated for their simplicity and strong symmetry, appealing to a contemporary aesthetic that favours unadorned geometric forms. $1,000—1,500

131 EYEETSIAK PETER, CAPE DORSET/KINNGAIT HUNTER CARRYING A CARIBOU stone, antler, sinew signed in syllabics 22 ins x 9.25 ins x 8 ins; 55.9 cms x 23.5 cms x 20.3 cms $1,500–2,500

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

132 ALAN CASWELL COLLIER, O.S.A., R.C.A. WILDERNESS WOODLAND oil on canvas signed 24 ins x 32 ins; 61 cms x 81.3 cms Provenance: Roberts Gallery Limited, Toronto Private Collection, Toronto $4,000–6,000

133 PARASKEVA PLISTIK CLARK, O.S.A., R.C.A. UNTITLED - LANDSCAPE oil on masonite signed and dated ‘50 16 ins x 20 ins; 40.6 cms x 50.8 cms Provenance: Private Collection, Toronto Literature: Mary E. MacLachlan, Paraskeva Clark: Paintings and Drawings, (catalogue), Dalhousie Art Gallery, Dalhousie University, Halifax, N.S., 1982, pages 17 and 29.

Note: Paraskeva Clark credits art dealer Douglas Duncan as “the climate that was beneficial to my taking roots in the Canadian soil.”

Duncan purchased the artist’s first Canadian landscape (now in the collection of the Art Gallery of Ontario), after she had emigrated from St. Petersburg via Europe to settle in Toronto.

Mary MacLachlan writes: “In spite of her stated intention to serve humanity through art, and her criticism of painters who neglected still life, portrait and narrative subjects, the greatest volume of Paraskeva’s work of over forty years is landscape.” Clark explained: “I really have a sort of religious feeling towards (nature).” $5,000–7,000

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134 JOHNNY INUKPUK, R.C.A., INUKJUAK/PORT HARRISON WOMAN SCRAPING A SKIN WITH CHILD IN HER AMAUT stone signed in syllabics, dated 1975 12 ins x 10 ins x 6 ins; 30.5 cms x 25.4 cms x 15.2 cms $2,000–3,000

135 Attr: AKEEAKTASHUK, INUKJUAK/PORT HARRISON HUNTER OVER WALRUS HOLE stone, ivory, skin c. 1953 11.25 ins x 6 ins x 7 ins; 28.6 cms x 15.2 cms x 17.8 cms Literature: For a similar piece see, Darlene Coward Wight, Early Masters, Inuit Sculpture, 1949-1955, The Winnipeg Art Gallery, page 28.

Note: This piece bears Akeeaktashuk’s signature hood ties. $2,500–3,500

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

136 MARC-AURÈLE FORTIN, A.R.C.A. MAISON AUX VOLETS VERTS oil on canvas, laid down on canvas 9 ins x 13.25 ins; 22.9 cms x 30.5 cms Provenance: Private Collection, Nova Scotia Literature: Michèle Grandbois (ed.), Marc-Aurèle Fortin: The Experience of Colour, (catalogue), Musée nationale des beaux-arts du Quebéc, Les Éditions de l’Homme, 2011, pages 157-158.

Note: Marc-Aurèle Fortin and other Quebec painters, including A.Y. Jackson and Clarence Gagnon, excelled at painting winter scenes. The severe climate of that province was felt almost to be a part of French Canada’s DNA. However, Fortin also derived inspiration from Quebec in warmer seasons, and believed whether in winter or summer, as François-Marc Gagnon writes: “that Quebecers should take up ‘..the school of light and sunshine, drawing inspiration from the rustic scenes of (our) country...” $8,000–12,000

137 RANDOLPH STANLEY HEWTON, R.C.A. BIRCH TREES, SUMMER oil on canvas signed 22 ins x 22.5 ins; 54.6 cms x 55.9 cms Provenance: Estate of the artist Hugh J. Campbell by bequest (1960) Collection of Mrs. H.J. Campbell by descent (1995) Private Collection, Ontario Exhibited: Modern Colours: The Art of Randolph S. Hewton, 19 January - 31 March 2002, cat. no. 35.

Literature: Victoria Baker, Modern Colours: The Art of Randolph S. Hewton, 1888-1960, Art Gallery of Hamilton, Ontario, 2001, page 54, cat. no.

35, listed. $7,000–9,000

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138 FRANKLIN MILTON ARMINGTON PAYSAGE PRÈS DE LOUVIER oil on panel signed and dated 1924; also signed and titled on the reverse 8.5 ins x 10.75 ins; 21.6 cms x 26.7 cms Provenance: Private Collection, Toronto Literature: Paul Duval, Canadian Impressionism, McClelland & Stewart, Inc., Toronto, 1990, page 132.

Note: Paul Duval notes: “Apart from James Wilson Morrice, Franklin Armington was the only artist from Canada to seriously devote his attention to Paris. His French subjects are represented in the French National Collection; the Petite Palais, Paris, The British Museum, The Victoria and Albert Museum, the Library of Congress and other major institutions.

This work bears a stamp from the artist material supply store, Lucien LefebvreFoinet, Paris. $3,000–4,000

139 FRANKLIN MILTON ARMINGTON DANS UN VERGIER À CAUDEBEC-EN-CAUX oil on panel signed and dated 1921; also signed and titled on the reverse 8.5 ins x 10.75 ins; 21.6 cms x 26.7 cms Provenance: Private Collection, Toronto $4,000–6,000

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

140 GEORGE AGNEW REID, O.S.A., P.R.C.A. HAYSTACKS oil on canvas 15.25 ins x 13.25 ins; 38.7 cms x 33.7 cms Provenance: Private Collection, Toronto Note: At the age of ten, George Reid announced to his skeptical farming family that he intended to be a painter of pictures. Reid attended art school in Toronto and then studied at the Pennsylvania Academy of Fine Arts, one of the leading institutions of the day. Two decades later he would become founding president of the Ontario College of Art. $2,500–3,000

141 FREDERICK SIMPSON COBURN, R.C.A. LAURENTIAN SCENE, WINTER DAY oil on canvas signed and dated ‘27 15 ins x 18 ins; 38.1 cms x 45.7 cms Provenance: Private Collection, Toronto Private Collection, New York Literature: Gerald Stevens, Frederick Simpson Coburn, The Ryerson Press, Toronto, 1958, pages 21-22.

Note: The high-recognition factor of Frederick Coburn landscapes has always been part of their appeal. As critic William Colgate noted “The subject may be, and sometimes is, repeated but the light which illuminates it rarely is.” However, while each of the works is often compositionally correspondent, Stevens maintains they “comprise all the countless variations of a winter’s day or night to be encountered in the Laurentians or Eastern Townships.”

A year after this work was painted, Coburn was elected a full member of the Royal Canadian Academy. $9,000–12,000

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142 ULYSSE COMTOIS MATIÈRE - LUMIÈRE oil on canvas signed and dated ‘78 24 ins x 60 ins; 61 cms x 152.4 cms

Note: While Ulysse Comtois had focused on sculpture in 1960s, in the 1970s he returned to painting using a form of exaggerated pointillism shown here in Matière-Lumière. Comtois used this technique to explore the effects created by juxtaposing strokes of contrasting colour. In 1978, the Government of Quebec awarded Comtois the prestigious Paul-Émile Borduas Prize for his contributions to the provincial and international art scenes.

Provenance: Marlborough-Godard Gallery, Toronto / Montreal Private Collection, Toronto $6,000–8,000

143 NICHOLAS HORNYANSKY, O.S.A., R.C.A. OLD NET POLES oil on panel signed 30 ins x 24 ins; 76.2 cms x 61 cms Provenance: Mrs. N. Hornyansky, Toronto Private Collection, Toronto Exhibited: 82nd Annual Exhibition, Royal Canadian Academy, Montreal Museum of Fine Arts, 11 November-10 December, 1961, Sarnia Public Library and Art Gallery, 2 -20 January, 1962 and the Norman Mackenzie Art Gallery, Regina 6-25 February, 1962, no.48.

Fourteenth Annual Exhibition, Art Gallery of Hamilton, 1963. $5,000–6,000

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

144 TAKAO TANABE THE LAND /16 acrylic on canvas signed; also signed, dated 1972 and inscribed “New York” on the overflap, also titled and dated on the stretcher 52 ins x 66 ins; 167.6 cms x 132.1 cms Provenance: Private Collection, Toronto $15,000–18,000

Literature: Elissa Barnard, “Tanabe Helped Re-establish Roots of Canadian Art,” The Chronicle Herald (June 3, 2006): F6.

Note: In 1972, Takao Tanabe left New York to accept a summer teaching position at the Banff School of Fine Arts, a move that marked a new stage in his career and an even more radical change in his work. Tanabe took a week to drive from Winnipeg to Banff with the intention of painting the prairies, taking photographs when a scene caught his eye. While the prairies have led other Canadian artists towards abstraction, these paintings were to become Tanabe’s first representational landscapes. According to Elissa Barnard, Tanabe later stated that the landscape is “really rather simple abstraction, the band of sky and the band of land.”

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145 JACK LEONARD SHADBOLT, R.C.A. SPACE BETWEEN COLUMNS collage signed and dated ‘69 24.5 ins x 31 ins; 61 cms x 76.2 cms Provenance: Private Collection, Toronto Literature: Scott Watson, Jack Shadbolt, Douglas & McIntyre, Vancouver / Toronto, 1990, page 107.

Patricia Ainslie, Correspondences, Jack Shadbolt, Glenbow Museum, Calgary, 1991, page 21. $5,000–7,000

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Note: Jack Shadbolt embarked on the Space Between Columns series in 1965.

Scott Watson notes that this series “combined painterly and geometric elements” with Greek columns. Sometimes the columns were arranged as pairs, with or without their lintel, sometimes the columns appeared in rows reminiscent of a classic Greek peristyle.

While Shadbolt had visited Greece four years prior and found much to inspire him on that trip, the motifs in the Space Between series were actually prompted not entirely by classical Greece but by contemporary B.C. At that time, Simon Fraser University was being built to the design specifications of Arthur Erickson. This project was a hot topic and prompted much discussion in the community. Shadbolt recalls that it was while walking on that site “it all came back to me, the space between columns.”

While this work was executed at the tail end of the series, Patricia Ainslie notes the relevance of work from this period: ”The experimentation with painted collage increased Shadbolt’s power of invention and affected the manner in which he composed his paintings, especially after 1970.”

The Art of Canada Auction - Monday 30 May 2016 at 7 pm

146 WILLIAM KURELEK, R.C.A. TROMPE L’OEIL WITH DOLLAR BILL, 1958 watercolour and ink signed 4.25 ins x 9 ins; 10.8 cms x 22.9 cms Provenance: The Isaacs Gallery, Toronto Private Collection, Alberta Literature: Patricia Morley, Kurelek: A Biography, Macmillan of Canada, Toronto, 1986, page 110.

William Kurelek, Someone with Me, The Autobiography of William Kurelek, Niagara Falls Art Gallery, 1988, page 489.

Note: Dealer Av Isaacs met William Kurelek in the late fifties soon after the artist returned to Toronto from England. Kurelek had applied to the gallery for a job as a framer. Recognizing Kurelek’s talent (he had put samples of his own works in the frames he brought to show Isaacs), in 1960 Isaacs held Kurelek’s first exhibition.

Tobi Bruce suggests that the trompe l’oeil works produced in these early years may be viewed as a kind of “visual skills testing, a proving of his artistic abilities” that would “testify to the artist’s capacity to accurately render form and perspective.”

While Kurelek is reputed to have felt such works were simply tricks and somehow beneath him, this position may have been somewhat disingenuous as Patricia Morley notes that “[s]tories of Bill’s obvious pleasure in watching spectators finger his own trompe l’oeil are numerous.”

When Kurelek returned to Canada he was down to the last of his savings.

The depiction of the currency in this lot speaks to his penury, made all the more poignant by the worm holes eroding the single dollar.

Tobi Bruce, et al., William Kurelek: the messenger, Friesens, Altona, MB, 2011, page 137 and cat. nos. 12-14 for three related trompe l’oeil works circa 1959, reproduced in colour. $5,000–7,000

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147 LISE GERVAIS COMPOSITION oil on canvas signed and dated ‘63 36 ins x 36 ins; 91.4 cms x 91.4 cms Provenance: Private Collection, Quebec $18,000–22,000

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Note: Lise Gervais was a teenager in Quebec when the Refus Global, the Automatistes manifesto, was released in Montreal in August 1948. Their work, influenced by André Breton, Surrealist techniques and psychoanalysis, was the dominant form of artistic expression in Quebec from the mid-1940’s until 1954, while Gervais was attending school and pursuing art studies at the École des beaux-arts de Montreal from 1953-4. A follower of the Automatistes, Gervais’ approach emphasized the materiality of the paint itself, which she applied in thick layers with a palette knife. Using this technique, with virtually no mixing of pigment, she was able to maintain the brilliance of pure colour, as exemplified by Composition.

The Art of Canada Auction - Monday 30 May 2016 at 7 pm

148 ULYSSE COMTOIS AUTUMN MORNING oil on panel signed and dated ‘88; also signed, titled, dated 1988 and inscribed “Scale 1:4” and “Maquette pour Ciné-plex Odeon Chicago” on the reverse 21 ins x 48 ins; 53.3 cms x 121.9 cms Provenance: Private Collection, Toronto

Literature: Cyndie Campbell, Ulysse Comtois: Photographs, Ottawa: National Gallery of Canada, Ottawa, 2011, page 1.

Note: In Autumn Morning Ulysse Comtois uses a modified pointillist technique, marking his panel with strokes and daubs of vivid colour.

Although Comtois is known primarily as an abstract artist, his career was characterized by exploration in myriad media and styles. As Comtois once stated, “My ideology of art is that there are no categories such as abstract art or figurative art. These are not mutually exclusive areas. On the contrary, they form one continuous area. It’s a question of degree, not of type. There are works that are more or less abstract; that’s all.”

$5,000–7,000

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149 TAKAO TANABE BANFF, THE LAND: 17-73 acrylic on canvas signed; also signed, titled and dated “1973” on the reverse, titled on the overflap and signed, titled and dated on the stretcher 33 ins x 56 ins; 83.8 cms x 142.2 cms Provenance: Private Collection, Toronto $9,000–12,000

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Literature: Nancy Tousley, “Takao Tanabe: The Prairie Paintings,” in Takao Tanabe, Vancouver Art Gallery, Vancouver, 2005, page 88.

Note: In 1973, Takao Tanabe accepted a full-time teaching position at the Banff School of Fine Arts. During his seven-year stay in Banff he produced a series of paintings of the prairies. The paintings, based on Tanabe’s large collection of photographs and sketches, were reduced to their essential forms, eliminating all recognizable landmarks. He later stated, “I don’t feel the tug to paint a view that somebody can recognize as being from their front porch or from some crossroads. [F]or me it’s...really a generalized sense of space. What I think about the prairie is perhaps romantic but it is an enormously simple-looking space and within all that simplicity it’s very, very rich, very subtle. I think those are the things I have been trying to get in the paintings.”

The Art of Canada Auction - Monday 30 May 2016 at 7 pm

150 LÉON BELLEFLEUR, R.C.A. ENVOL DES GOÉLANDS oil on canvas signed and dated ‘96; also signed, titled and dated on the reverse 26 ins x 32 ins; 66 cms x 81.3 cms Provenance: Canadian Fine Arts, Toronto Private Collection, Toronto $9,000–12,000

Literature: Guy Robert, Bellefleur, The Fervour of the Quest, Iconia, Montreal, 1988, page 134.

Note: This work is an example of Léon Bellefleur’s sustained approach to art making. As fresh as works from decades earlier, Bellefleur’s greatest achievement may be as Guy Robert describes it, the fact that despite his years “he remains an incorruptible child discovering the world on the doorstep of his studio, every time picking up his colours as if it were the first time!”

The central image of Envol des Goélands interprets the splash and sputter of a flock of seabirds taking flight; the apparent chaos and scramble giving way to a graceful aerial ballet as they begin to soar. One imagines the artist’s child-like thrill at that moment of transformation.

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151 JOHN RICHARD FOX MISTIGRIS oil on canvas, unframed signed, titled and dated ‘79 on the reverse 80.5 ins x 65 ins; 204.5 cms x 165.1 cms Provenance: Marlborough-Godard, Toronto/Montreal Private Collection, Toronto Literature: Donald F.P. Andrus, John Fox: 10 New Paintings, Sir George Williams Art Galleries, Concordia University, (catalogue), Montreal, 1980, page 2.

Note: In 1972, John Fox made the decision to abandon representational painting in order to paint nonobjectively. Fox states that by 1972 he had begun “...to question my commitment to figuration as image.”

Nonetheless, as Donald Andrus suggests in his catalogue essay to the 1980 exhibition at Concordia, the work was still “rooted in experience at least initiated in nature.” Fox would return to figurative work in 1986.

The title, Mistigris, refers to a joker or wild card. $5,000–7,000

152 HAROLD BARLING TOWN, R.C.A. GINGHAM THRUWAY oil on canvas, unframed signed and dated ‘68 (twice) on the reverse 52 ins x 52 ins; 132.1 cms x 132.1 cms Provenance: Private Collection, Chicago Literature: Gerta Moray, Harold Town, Life & Work, Art Canada Institute, Toronto, 2014, page 12.

Note: In 1968, the year this work was painted, Harold Town was made an Officer of the Order of Canada. He had been enjoying a long streak of both critical and popular acclaim and was, at the time, one of the bestknown artists in Canada. The following year, he appeared on the cover of Time magazine (Canadian edition).

He was also involved in city politics (a large Town painting hung behind Mayor Given’s desk) and opposed the construction of the Spadina Expressway favouring perhaps a Gingham Thruway, rather than a concrete one. $8,000–12,000

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

153 PIERRE GENDRON PAYSAGE ORIENTALE oil on canvas signed, dated ‘59 and inscribed “Paris” 39.5 ins x 28.75 ins; 100.3 cms x 73 cms Provenance: Sale of Canadian Art, The Women’s Committee of the Art Gallery of Toronto Private Collection, Toronto $5,000–7,000

154 NORMAND HUDON LA GRANDE MONTÉE À TROIS mixed media on canvas board signed, titled and dated ‘82 18 ins x 24 ins; 45.7 cms x 61 cms Provenance: Private Collection, Quebec Note: When not poking fun at authority figures, Normand Hudon’s work frequently highlights themes from childhood. Routine or intense moments in the school yard or on the hockey rink where youngsters come together to learn, to play, to negotiate or to conquer are opportunties to show children at their noblest (La Grande Montée à Trois) or most mischievous (Double accrochage, 4 minutes). $5,000–7,000

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155 WILLIAM GOODRIDGE ROBERTS, R.C.A STILL LIFE oil on canvas signed 24 ins x 18 ins; 61 cms x 45.7 cms Provenance: Dominion Gallery, Toronto Private Collection, Ontario Private Collection, U.S.A. (by descent) Literature: James Borcoman, Goodridge Roberts, A Retrospective, The National Gallery of Canada, Ottawa, 1969, pages 26, 30 and 31.

Note: A master of volume and scale, Goodridge Roberts’ profound skill at being able to render objects accurately, serves to liberate and encourage the committed observer to move beyond the obvious appeal of Still Life to consider the plastic accomplishment of this painter: colour, brushwork and composition. $7,000–9,000

156 ULYSSE COMTOIS SANS-TITRE oil on canvas signed and dated ‘65 18 ins x 24 ins; 45.7 cms x 61 cms Provenance: Canadian Fine Arts, Toronto Private Collection, Toronto Literature: Cyndie Campbell, Ulysse Comtois: Photographs, Ottawa: National Gallery of Canada, Ottawa, 2011.

Note: Ulysse Comtois briefly attended the École des beaux-arts de Montréal and was inspired by the Automatistes and their 1948 manifesto, Refus global. He joined the Automatistes for their last group show in 1954, but frequently found himself torn between the loose paint handling of the Automatistes and the hard-edged geometrical style of the Plasticiens. The brightly-coloured stripes in Sans-Titre echo his earlier experimentations with the theme and may have been influenced by Guido Molinari. In 1978, both Comtois and Molinari were chosen to represent Canada at the Venice Biennale. $7,000–9,000

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

157 GORDON APPELBE SMITH, R.C.A. DIVIDED GREEN, 1970 acrylic on canvas signed and titled along the stretcher 35.5 ins x 42.5 ins; 91.4 cms x 109.2 cms Provenance: Gallery Godard Lefort, Montreal Marlborough-Godard, Toronto/Montreal Private Collection, Toronto

Literature: Ian Thom and Andrew Hunter, Gordon Smith: The Act of Painting, Douglas & McIntyre, Vancouver Art Gallery, 1997, pages 37-40.

Note: By the mid-1960s, Gordon Smith was producing paintings in step with the trend for hard-edge abstraction also being explored by fellow B.C. artists such as Roy Kiyooka and others.

Ian Thom notes that Smith often used difficult colours such as the acidic green in this lot, but succeeded in controlling this “exuberance” through composition. While Smith’s works from this period were critically successful, the artist increasingly viewed them as experimental, a time for discovery but not an end in itself.

$9,000–12,000 The transitional work that followed, particularly those that date to 1970-71, such as this lot, are extremely limited and Thom suggests that Smith produced only about two or three paintings at this time.

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158 JOHN KAVIK, RANKIN INLET/KANGIQLINIQ STANDING FIGURE stone 8.75 ins x 4 ins x 1.75 ins; 22.2 cms x 10.2 cms x 4.4 cms $1,000–1,500

159 KATHLEEN FRANCES DALY, O.S.A., R.C.A. BAALGABON (SIC), SPAIN oil on canvas signed 28 ins x 32 ins; 71.1 cms x 81.3 cms Provenance: Private Collection, Ontario Exhibited: 93rd Annual Exhibition, Ontario Society of Artists, 1965.

Note: While this work is titled on a label on the reverse, it is likely of Benagalbón, Spain.

Kathleen Daly was a consummate traveller, taking sketching and painting trips across Canada and Europe.

In 1955, Daly and her husband, artist George Pepper, spent a year sketching and painting as they travelled through Spain and Morocco. Smooth, creamy brushstrokes characterize Daly’s scene of the crisp blue sky and white houses of Benagalbón near the southern coast of Spain. $5,000–7,000

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

160 JOHN KAVIK, RANKIN INLET/KANGIQLINIQ BUST OF AN INUK WITH ARMS WIDE stone signed in syllabics 7 ins x 7 ins x 2.5 ins; 17.8 cms x 17.8 cms x 6.4 cms $1,000–1,500

161 THOMAS DE VANY FORRESTALL, A.R.C.A. THE EAST ROOM, 1965 egg tempera on masonite signed and titled on the reverse 30 ins x 36 ins; 76.2 cms x 91.4 cms Provenance: Walter Klinkhoff Gallery, Montreal Biferali Fine Art, Montreal Private Collection, Montreal Exhibited: Beaverbrook Art Gallery, Fredericton, cat. #4.

Literature: Paul Duval, High Realism in Canada, Clarke, Irwin & Company Limited, Toronto / Vancouver, 1974, page 91.

Tom Smart, Tom Forrestall: Paintings, Drawings and Writings, Key Porter Books Limited, Toronto, 2004.

Note: Tom Forrestall is a leading figure of High, or Magic, Realism in Canada. This genre became closely associated with Mount Alison through Forrestall, Alexander Colville and Christopher Pratt.

Paul Duval notes the medium of egg tempera is well suited to the “detailed and deliberate sort of realist paintings (Forrestall) was ambitious to produce.” Duval continues: “Like other realists, Forrestall has had to fight against a tide of abstract and pop art which was particularly strong during the 1960s.”

That Forrestall was the subject of a major retrospective and monograph in 2004, attests to the merit of that struggle. $5,000–7,000

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162 JOHN KAVIK, RANKIN INLET/KANGIQLINIQ VASE DECORATED WITH FOUR FIGURES ceramic signed in syllabics 8.25 ins x 5 ins x 5 ins; 21 cms x 12.7 cms x 12.7 cms Note: This work is the result of the original Rankin Inlet ceramics program which began in 1963 until 1977. Although the medium was a major adjustment for the artists, Kavik seemingly shifted between stone and clay with ease. $1,500–2,000

163 JOHN TIKTAK, R.C.A., RANKIN INLET/KANGIQLINIQ OPPOSING FACES stone signed in syllabics 3.75 ins x 3.5 ins x 2 ins; 9.5 cms x 8.9 cms x 5.1 cms $1,500–2,000

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164 MIRIAM MAREALIK QIYUK, BAKER LAKE/QAMANI’TUAQ A FAMILY stone signed in Roman, c. 1980 3.75 ins x 13 ins x 5 ins; 9.5 cms x 33 cms x 12.7 cms Note: Miriam is the daughter of accomplished graphic and textile artist Jessie Oonark. A textile artist herself, Miriam carved in the black basalt stone common to Baker Lake with her own signature style. Her sculptures are usually flat almost relief carved works of families or a cluster of people seemingly posing for a photo. $1,000–1,500

165 ENNUTSIAK, FROBISHER BAY/IQALUIT LEMMING IN A QULLIQ stone signed in syllabics and inscribed with disc number 2 ins x 8 ins x 4.25 ins; 5.1 cms x 20.3 cms x 10.8 cms Note: Broadly, the artist composed figural works (see lot 74) and this composition stands out within Ennutsiak’s oeuvre. Though atypical for the artist, this work is not less skillfully carved. Here, the subject is a small lemming that has clambered into a quilliq. A quilliq (kudlik) is the traditional oil lamp used by Inuit. $700–1,000

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166 PEGI NICOL MACLEOD STUDY OF SHIRLEY, 1942 oil on canvas signed with initials 22 ins x 16 ins; 48.3 cms x 63.5 cms Provenance: Private Collection, Nelson, British Columbia (a gift from the artist and thence by descent) Note: According to an inscription on the backing, this work depicts Shirley MacLeod Miller, and was painted in Fredericton, New Brunswick. $7,000–9,000

167 MARC-AURÈLE FORTIN, A.R.C.A. ANTIBES, LE PORT watercolour and pencil signed; titled and dated “23 Jan 34” on the reverse 10.25 ins x 13.75 ins; 26.7 cms x 34.3 cms Provenance: Private Collection, Nova Scotia Literature: Michèle Grandbois (ed.), Marc-Aurèle Fortin: The Experience of Colour, (catalogue), Musée nationale des beaux-arts du Quebec, Les Editions de l’Homme, 2011, pages 37 and 102.

Note: In 1933, Marc-Aurèle Fortin’s father with whom he had a difficult relationship passed away, resulting in Fortin coming into an inheritance which, Richard Foisy describes as “a considerable sum” affording him the opportunity of visiting Europe. This work dates from that trip.

It is not surprising to see Fortin using watercolour at this time. As Grandbois points out “Lightweight and easy to carry, watercolour requires little in the way of preparation. The artists baggage is limited to a few sheets of paper, brushes, water and a small metal box containing the watercolour cakes...” She continues: “The artist developed a passion for watercolour, describing it as a ‘tremendous mania’ that intoxicated him as if he were a morphine addict.” $5,000–7,000

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The Art of Canada Auction - Monday 30 May 2016 at 7 pm

168 C.I. GIBBONS WEST WIND coloured pencil drawing signed, titled and inscribed “Toronto” 18.25 ins x 25.75 ins; 58.4 cms x 78.7 cms Provenance: Private Collection, Toronto (by descent) Note: The West Wind, which was wrecked off Cobourg in 1879, was owned by Captain James McSherry, Senior, who sailed for forty years, “ten on salt water and thirty on the great lakes.”

In addition to the West Wind, McSherry owned two other Great Lakes vessels: the Echo and the Belle Sheridan. The Belle Sheridan was lost just one year after the West Wind in one of the fiercest gales ever recorded on Lake Ontario. There was but one survivor, the captain’s son, also called James. Young James McSherry would himself become a Great Lakes captain, sailing for the Tymon & Murphy Company. $3,000–5,000

169 DAVID BOLDUC AID TO MEMORY #2 acrylic on canvas signed, titled and dated 1981 on the overflap 67 ins x 108 ins; 274.3 cms x 170.2 cms Provenance: Circle Arts, Toronto Private Collection, Toronto Literature: Gary Michael Dault “David Bolduc: Towards a More Interior Life”, David Bolduc: Days and Nights in the Forest, (catalogue), Christopher Cutts Gallery, 2010, unpaginated.

Note: For many years, David Bolduc used what Gary Michael Dault described as a “trademark vertical thrust” to anchor his compositions. Dault recalls the artist telling him that this signature motif began as the hands of a watch pointing towards midnight.

Over time, the “line of organizational force” became less rigid. In Aid to Memory this organizational force serves to enliven the picture plane and is in turn echoed by the colourful ladders that act, rather classically, as repoussoir elements to frame the composition. $4,000–5,000

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170 WILLIAM RAPHAEL, R.C.A. AWAITING MOTHER’S RETURN ON A SNOWY DAY oil on canvas signed and dated 1891 28 ins x 17.25 ins; 71.8 cms x 43.8 cms Provenance: Private Collection, Toronto Literature: Sharon Goelman, William Raphael, R.C.A.: Retrospective Exhibition (1833-1914), (catalogue), Walter Klinkhoff Gallery, Montreal, September 7-21, 1996, page 1.

Note: Sharon Goelman writes that “Raphael was best known for his exemplary portraits and lively Canadian genre scenes.”

This work incorporates both of the artist’s fortés. Effectively, an informal triple portrait, it is evidence of William Raphael at capacity, expertly rendering the particular essence of each of the characters: infant, child and elder. This painting serves as a kind of figurative “sampler”.

Furthermore, with paint and brush the artist conjures stone and snow, fur, flesh, and fabric, the coarseness of one balancing the softness of another.

As a new immigrant to Canada, Raphael had an interest bordering on obsession with accurately depicting the details of habitant life. Here he provides himself with an opportunity to riff on the quotidien details of the new world: the people, their clothing and the settings, all of which he closely observes and renders. $9,000–12,000

171 HOMER RANSFORD WATSON, O.S.A., P.R.C.A. WATERING CATTLE, MORNING oil on canvas signed and indistinctly dated 18 ins x 24 ins; 58.4 cms x 43.2 cms Provenance: Private Collection, Ontario Literature: Jane Van Every, With Faith, Ignorance and Delight: Homer Watson, Homer Watson Trust, 1967, page 57. $8,000–10,000

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172 CHARLES FRASER COMFORT, O.S.A., P.R.C.A. NEW MOON oil on canvas signed and dated ‘69 30 ins x 60 ins; 76.2 cms x 152.4 cms Provenance: Collection of Dr. Steven Demeter, Toronto Private Collection, Toronto $8,000–12,000

Literature: Margaret Gray, Margaret Rand and Lois Steen, Charles Comfort, Canadian Art Series, Agincourt, Ontario, 1976, page 57 and page 63, reproduced in colour.

Note: Describing the painting as “remarkable,” “mystical” and a “beautiful example of Charles Comfort’s use of symbolism,” Gray, Rand and Steen, emphasize the study in contrasts that this painting embodies. Hard, cold rock is set against warm flesh; the new moon and the primeval stone sound off one another and the delicate tracery of light cast by the celestial body balances the deeply shadowed pools cliffside.

Comfort was a distinguished war artist, Emeritus Director of the National Gallery of Canada, champion of the Group of Seven and founding member (later President) of the Canadian Group of Painters. While his work is often overshadowed by his more famous Group colleagues, nonetheless, it is found in major collections throughout Canada.

Lot 171 (Watson) continued...

Note: Homer Watson is celebrated for his accomplished renderings of placid, pastoral pictures of old mills, foraging sheep, horses harrowing and cattle watering. But these expertly composed landscapes belie the sensuousity of Watson’s painting excursions as recorded by the artist. Describing his forays, Watson speaks of mystery, awe, exhilaration, luxury, the sultry air, buoyant odors, the nameless foreboding of early morning starts, the “littleness of humanity and the greatness of the force in which we live.”

Watson writes: ”Truly feverish anxiety marks the artist when nature holds her gems before him. Trembling with eagerness he endeavours to pick them up, but he finds the brush a sorry instrument... Anon a few lucky strokes gather into something definable, and painter and nature are linked together.”

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173 UNIDENTIFIED, SUGLUK/SALLUIT STANDING HUNTER WITH INSET FACE stone, ivory, skin c. 1955 6.25 ins x 5.25 ins x 2 ins; 15.9 cms x 13.3 cms x 5.1 cms Literature: For a similar work see Virginia J. Watt, ed., Canadian Guild of Crafts Quebec.

The Permanent Collection: Inuit Arts and Crafts c.1900-1980, frontispiece. $800–1,200

174 TIMOTHY OTTOCHIE, CAPE DORSET/KINNGAIT STANDING WOMAN IN AMAUT stone c. 1955 4.5 ins x 3 ins x 1.5 ins; 11.4 cms x 7.6 cms x 3.8 cms $800–1,200

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175 UNIDENTIFIED, ARCTIC QUEBEC/NUNAVIK WOMAN CARRYING CHILD IN HER AMAUT stone c. 1960 8.75 ins x 8 ins x 4.5 ins; 22.2 cms x 20.3 cms x 11.4 cms $700–1,000

176 MATHEW AQIGAAQ, BAKER LAKE/QAMANI’TUAQ MOTHER WITH CHILD IN HER AMAUT stone 13.75 ins x 6.5 ins x 10 ins; 34.9 cms x 16.5 cms x 25.4 cms $2,000–3,000

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177 DAVIDIALUK ALASUA AMITTU, POVUNGNITUK/PUVIRNITUQ FALCON stone signed in Roman 8 ins x 13.5 ins x 4.5 ins; 20.3 cms x 34.3 cms x 11.4 cms $2,500–3,500

178 MATHEW AQIGAAQ, BAKER LAKE/QAMANI’TUAQ KNEELING WOMAN HOLDING A FISH stone signed in Roman and syllabics, c. 1965 7.5 ins x 6.25 ins x 5 ins; 19.1 cms x 15.9 cms x 12.7 cms Provenance: Arden Barnes Collection, U.S.A. Note: For additional information on the Arden Barnes Collection and Barnes’ experiences while living in the Arctic, please see the essay on page 2 of Waddington’s, November 2015 auction catalogue, also available on our website. $800–1,200

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179 AQJANGAJUK SHAA, R.C.A., CAPE DORSET/KINNGAIT DRUM DANCER WITH LOLLING TONGUE stone, antler with inset drum 15.5 ins x 10.5 ins x 6 ins; 39.4 cms x 26.7 cms x 15.2 cms $1,000–1,500

180 OSUITOK IPEELEE, R.C.A., CAPE DORSET/KINNGAIT ONE ARMED DRUMMER stone, antler dated 77 and signed in syllabics 12.25 ins x 22.5 ins x 5.25 ins; 31.1 cms x 57.2 cms x 13.3 cms $2,000–3,000

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181 SIMON OLEEKATALIK, TALOYOAK/SPENCE BAY GIRL JUMPING ROPE

Literature: Darlene Coward Wight, Art & Expression of the Netsilik, The Winnipeg Art Gallery, 2000, page 99.

stone, leather signed in syllabics, c.1993 10.25 ins x 8 ins x 2 ins; 26 cms x 20.3 cms x 5.1 cms

Note: The artist was born in Gjoa Haven but moved with his parents to Taloyoak (Spence Bay) in 1962. He spent a year in an Edmonton hospital where he made his first carving. As a carpenter he is usually busy with building projects, but he sets some time aside for carving sculptures. This work would be his most popular and defining subject matter.

$800–1,200

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182 ATTR: TOMMY ASHEVAK, TALOYOAK/SPENCE BAY TRANSFORMING SHAMAN

Literature: Darlene Coward Wight, Art & Expression of the Netsilik, The Winnipeg Art Gallery, 2000, page 72.

bone, mounted to revolving wood base 10 ins x 8 ins x 8 ins; 25.4 cms x 20.3 cms x 20.3 cms

Note: Tommy was a contemporary of Karoo Ashevak’s. Both artists compose their works with humour and flamboyance, characteristics that are synonymous with their community of Spence Bay and the Netsilik region, more generally.

$1,000–1,500

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Index

A Akeeaktashuk, attributed to (1898-1954)…135 Amittu, Davidialuk Alasua (1910-1976)…82, 83, 177 Aqigaaq, Mathew (b.1940)…176, 178 Armington, Franklin Milton (1876-1941)…77, 138, 139 Ashevak, Johnniebo (1923-1972)…119 Ashevak, Karoo (1940-1974)…68, 69 Ashevak, Kenojuak (1927-2013)…3, 4, 119 Ashevak, Tommy, attributed to (b.1931)…182 Ashoona, Kaka (1928-1996)…121 Ashoona, Kiawak (1933-2014)…51 B Banting, Frederick Grant (1891-1941)…45, 50 Beaulieu, Paul Vanier (1910-1996)…66 Bell-Smith, Frederic Marlett (1846-1923)…124 Bellefleur, Léon (1910-2007)…103, 150 Bobak, Molly Lamb (1922-2014)…105 Bolduc, David (1945-2010)…169 C Carr, Emily M. (1871-1945)…34 Casson, Alfred Joseph (1898-1992)…46, 47, 55, 93 Clark, Paraskeva Plistik (1898-1986)…133 Coburn, Frederick Simpson (1871-1960)…141 Collier, Alan Caswell (1911-1990)…132 Collyer, Nora Frances Elisabeth (1898-1979)…

22 Comfort, Charles Fraser (1900-1994)…19, 172 Comtois, Ulysse (1931-1999)…142, 148, 156 Cullen, Maurice Galbraith (1866-1934)…125 D Dallaire, Jean-Philippe (1916-1965)…8 Daly, Kathleen Frances (1898-1994)…159 de Grandmaison, Nicholas (1892-1978)…37 E Ennutsiak (1896-1967)…74, 165 Etungat, Abraham (1911-1999)…113 Evaluardjuk, Henry (1923-2007)…100, 110, 111, 112 F Fortin, Marc-Aurèle (1888-1970)…136, 167 Forrestall, Thomas de Vany (b.1936)…161 Fox, John Richard (1927-2008)…151 Friend, Washington (c.1820-1886)…72 G Gendron, Pierre (b.1934)…153 Gervais, Lise (1933-1998)…147 Gibbons, C.I. (act. 1885-1905)…168

H Harris, Lawren Stewart (1885-1970)…52 Hewton, Randolph Stanley (1888-1960)…91, 137 Hopkins, Tom (1944-2011)…76 Hornyansky, Nicholas (1896-1965)…143 Hudon, Normand (1929-1997)…23, 81, 154 I Ikkidluak, Lucassie (b.1949)…31 Iksiktaaryuk, Luke (1909-1977)…17 Inukpuk, Johnny (1911-2007)…70, 134 Ipeelee, Osuitok (1923-2005)…38, 56, 101, 109, 115, 180 Ipeelie, Seepee (1940-2000)…30 J Jackson, Alexander Young (1882-1974)…43, 92 Johnston, Frank Hans (1888-1949)…36, 88, 89, 106 Johnstone, John Young (1887-1930)…123 K Kaitak, Sammy (1926-2004)…97 Kavik, John (1897-1993)…158, 160, 162 Kiakshuk (1886-1966)…118 Kolola, Mosesie (1930-1985)…102 Kurelek, William (1927-1977)…28, 64, 80, 146 L Leduc, Ozias (1864-1955)…53 LeFebure, Pierre (1930-2013)…25 Lemieux, Jean-Paul (1904-1990)…2 Letendre, Rita (b.1928)…27 Lismer, Arthur (1885-1969)…90, 116, 126 Little, John Geoffrey Caruthers (b.1928)…127 Long, Marion (1882-1970)…94, 95 M MacDonald, James Edward Hervey (19831932)…21, 96 MacLeod, Pegi Nicol (1904-1949)…75, 78, 166 Mangitak, Kellypalik (b.1940)…61, 62 McEwen, Jean Albert (1923-1999)…29 Milne, David Brown (1882-1953)…12, 48 Molinari, Guido (1933-2004)…67 Moody, Rufus (1923-1998)…35 Morrice, James Wilson (1865-1924)…49 N Niviaqsi, Pitseolak (1947-2015)…33 Niviaxie (1909-1959)…1, 42 Norris, Joe (1924-1996)…5, 79 O Oleekatalik, Simon (b.1942)…181

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Oonark, Jessie (1906-1985)…13, 16 Ottochie, Timothy (1904-1982)…174 P Padluq, Melia (b.1940)…108 Parr (1893-1969)…14, 15 Peter, Eyeetsiak (b.1937)…131 Pilot, Robert Wakeham (1898-1967)…20, 24, 54, 122 Pootoogook, Josephie (1887-1958)…57, 59, 63 Pootoogook, Kananginak (1935-2010)…114 POV, Abraham (1927-1994)…71 Pudlat, Pudlo (1916-1992)…6 Q Qiatsuk, Lukta (1928-2004)…60 Qiyuk, Miriam Marealik (b.1933)…164 R Rains, Malcolm (b.1947)…11 Raphael, William (1833-1914)…170 Reid, George Agnew (1860-1947)…140 Riopelle, Jean-Paul (1923-2002)…117 Roberts, William Goodridge (1904-1974)…26, 155 Ronald, William (1926-1998)…129 S Saila, Pauta (1916-2009)…40, 41 Saila, Pitaloosie (b.1942)…65, 120 Shaa, Aqjangajuk (b.1937)…32, 179 Shadbolt, Jack Leonard (1909-1998)…145 Shaqum, Mannumi (1917-2000)…99 Smith, Gordon Applebee (b.1919)…157 Surrey, Philip Henry Howard (1910-1990)…7 T Talirunili, Joe (1893-1976)…44, 84, 85, 86, 87 Tanabe, Takao (b.1926)…144, 149 Taylor, William Hughes (1891-1978)…10 Tiktak, John (1916-1981)…163 Town, Harold Barling (1924-1990)…128, 152 Tudlik (1890-1966)…9, 58 Tunnillie, Ovilu (1949-2014)…130 U Uitangi Usaitaijuk, Miaiji (1911-1965)…98 V Verner, Frederick Arthur (1836-1928)…39, 73 W Walker, Horatio (1858-1938)…107 Watson, Homer Ransford (1855-1936)…171 Wieland, Joyce (1930-1998)…18 Wyse, Alex (b.1938)…104

The Art of Canada Auction - Monday 30 May 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.

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).

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.

13. In the event of failure to pay for or remove articles within the aforementioned time limit, the auctioneer, without limitation of

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Buying at Waddington’s

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

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

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

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

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

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

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.

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

Buyers Premium A premium of 20% of the successful bid price of each lot.

Invaluable Live! clients will be charged a buyer's premium of 23% of the successful bid price of each lot.

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

The Art of Canada Auction - Monday 30 May 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

Waddington’s 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 Canadian Art Department Commission Rates Items selling for $7,500 or more 10% Items selling for $2,501 to $7,499 15% Items selling for $2,000 or less 20% *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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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 Canadian Fine Art Linda Rodeck canadianart@waddingtons.ca Anna Holmes Fine Art Administrator 416 504 5100 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 Susan Robertson 416 847 6179 sr@waddingtons.ca Nadine Di Monte Fine Art Administrator 416 847 6182 npd@waddingtons.ca Inuit Art Christa Ouimet 416 847 6184 co@waddingtons.ca Nadine Di Monte Fine Art Administrator 416 504 9100 x6250 inuitart@waddingtons.ca

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

President

Appraisal Co-ordinator

Duncan McLean 416 847 6183 adm@waddingtons.ca

Holly Mazar-Fox 416 847 6167 hmf@waddingtons.ca

Vice President Business Development

Communications

Stephen Ranger 416 847 6194 skr@waddingtons.ca

Building Manager

Monthly Fine Art Doug Payne 416 847 6180 dp@waddingtons.ca

Tess McLean 416 504 9100 tm@waddingtons.ca

Vice President Fine Art Linda Rodeck canadianart@waddingtons.ca

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

Decorative Arts

General Manager

Bill Kime Silver, Glass & Ceramics 416 847 6189 bk@waddingtons.ca

Duane Smith 416 847 6172 das@waddingtons.ca

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

Creative & Technical Manager Sean Quinn Sculpture, Decorations, Clocks & Lighting 416 847 6187 sq@waddingtons.ca Andrew Brandt Rugs & Carpets 416 504 9100 ext 6200 ab@waddingtons.ca Fine Wine & Spirits Stephen Ranger 416 847 6194 skr@waddingtons.ca

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

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

The Art of Canada Auction 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