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Canadian Fine Art Auction Monday 21 November 2016

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Canadian Fine Art Auction Lots 1–128

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Canadian Fine Art Auction Monday 21 November 2016 at 7:00 pm On View: Friday 18 November 2016 from 12:00 Noon to 5:00 pm Saturday 19 November 2016 from 11:00 am to 5:00 pm Sunday 20 November 2016 from 11:00 am to 5:00 pm Monday 21 November 2016 from 10:00 am to 12:00 Noon Otherwise by appointment

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

Front Cover Lot 55 JAMES WILSON MORRICE, R.C.A. THE CROSSING Inside Front Cover Spread Lot 52 WILLIAM KURELEK, R.C.A. HAULING FIREWOOD, STONEWALL, MANITOBA Inside Back Cover Lot 7 NORA FRANCES ELISABETH COLLYER TADOUSSAC, P.Q., 1940 Back Cover Lot 53 HAROLD BARLING TOWN, R.C.A. UNTITLED

Canadian Art Administrator / Catalogue Orders Anna Holmes 416.504.5100 canadianart@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 Online Bidding www.invaluable.com

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

This auction is subject to the Conditions of Sale printed in the back of this catalogue. This catalogue and its contents © 2016 Waddington McLean & Company Ltd. Photography by John Macdonald, Waddingtons.ca All rights reserved.

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

1 CHARLES FRASER COMFORT, O.S.A., P.R.C.A. WHITMAN MONUMENT (BON ECHO ROCK, MAZINAW LAKE) oil on panel signed; titled on the reverse 12 ins x 16 ins; 30.5 cms x 40.6 cms Provenance: Private Collection, Ontario $3,000–4,000

Literature: Mary Jo Hughes, Take Comfort – the Career of Charles Comfort, Winnipeg Art Gallery, Winnipeg, 2007, pages 20-27. Note: Bon Echo Rock has been an inspiration to many Canadian painters. Lismer, Jackson and Casson have all painted the impressive rock face located on the eastern side of North Mazinaw. The name Mazinaw has been anglicized from the Algonquin phrase for “painted image lake” referring to the pictographs found on the rock formation. Comfort’s contribution to Canadian art and culture is significant. An accomplished artist, he was also an acclaimed teacher, writer, and arts administrator. From 1959-1965, Comfort was Director of the National Gallery of Canada, and shortly after was made Officer of the Order of Canada for his extensive involvement in arts administration and lifelong belief of the importance of art integrated within society. The title of this lot refers to a memorial inscribed on the face of the rock: “Old Walt 1819-1919 / Dedicated to the democratic ideals of Walt Whitman.”

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2 GERSHON ISKOWITZ, R.C.A. UNTITLED watercolour signed and dated ‘68 18.75 ins x 24.75 ins; 48.3 cms x 62.9 cms Provenance: Private Collection, Ontario Private Collection, British Columbia (by descent) $1,500–2,000

3 WILLIAM RONALD, R.C.A. EVERGREEN oil on canvas signed and dated ‘91; also signed, titled and dated on the reverse 14 ins x 18 ins; 35.6 cms x 45.7 cms Provenance: Private Collection, Ontario Private Collection, British Columbia (by descent) $2,000–3,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

4 MAUD LEWIS COVERED BRIDGE oil on board signed 12 ins x 14 ins; 30.5 cms x 35.6 cms Provenance: Private Collection, Ottawa Literature: Lance Woolaver, The Illuminated Life of Maud Lewis, Art Gallery of Nova Scotia, 1996, page 67 for a closely related work, reproduced in colour. $6,000–8,000

5 MAUD LEWIS THREE BLACK CATS oil on board signed 10.5 ins x 14.25 ins; 26.7 cms x 36.2 cms Provenance: Private Collection, Ottawa Literature: Lance Woolaver, The Illuminated Life of Maud Lewis, Art Gallery of Nova Scotia, 1996, page 63 for a closely related work entitled Black Cats, reproduced in colour. $6,000–8,000

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6 NORA FRANCES ELISABETH COLLYER SIXTEEN ISLAND LAKE, P.Q. FROM SAVAGE’S MOUNTAIN, 1945 oil on panel signed; also signed, titled and dated on the reverse 12 ins x 14 ins; 30.5 cms x 35.6 cms Provenance: Gift of the artist By descent through the artist’s family Note: Sixteen Island Lake is located in the Laurentians, north of Montreal. The lake is very near Lake Wonish where Anne Savage’s family had a cottage. Nora Collyer met Anne while attending art classes at the Art Association of Montreal. She and Anne Savage were to share a studio for several years at 305 Beaver Hall Hill in the early 1920s and these “painting friends” as Barbara Meadowcroft described the women of Beaver Hall, would remain close for life. This lot was painted from a vantage point near the Savage’s cottage, which Collyer would have visited often at Anne’s invitation. $7,000–9,000

7 NORA FRANCES ELISABETH COLLYER TADOUSSAC, P.Q., 1940 oil on panel signed; also signed, titled and dated “July 1940” on the reverse 12.25 ins x 14 ins; 31.1 cms x 35.6 cms Provenance: Gift of the artist By descent through the artist’s family Note: The village of Tadoussac where the Saguenay River meets the mighty St. Lawrence has been a favourite subject for painters for generations. Here, Nora Collyer interprets the village in rich, bold colours and the high vantage point she has selected affords an interesting tension between the perspective demanded by the view and an au fait flattening of the overall design. The result is charming. $7,000–9,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

8 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. LAKE LA PECHE oil on canvas board signed; titled on the reverse 9.5 ins x 11.25 ins; 24.1 cms x 28.6 cms $20,000–30,000

Provenance: Private Collection, Collingwood Literature: Paul Duval, A.J. Casson: His Life and Works, A Tribute, Cerebrus/PrenticeHall, Toronto, 1980, unpaginated. Note: In writing about Casson’s return to painting the subject of Quebec, Paul Duval notes: “Before that, (Casson’s) experience painting in French Canada had been limited to a two week trip to Lake La Peche in 1950.” Though undated, this suggests the work dates to that trip. Interestingly, Duval notes that A.Y. Jackson had tried unsuccessfully to entice Casson to the area almost forty years prior, by describing the charming villages of la belle province. Lake La Peche is located in Gatineau Park.

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9 JEAN-PAUL RIOPELLE, R.C.A. HIBOU MASQUE, 1973 patinated bronze, set on a marble base signed and numbered 4/8 17 ins x 7 ins x 3 ins; 43.2 cms x 17.8 cms x 7.6 cms Provenance: Private Collection, Montreal $20,000–30,000

Literature: Guy Cogeval and Stephane Aquin (eds)., Riopelle: Works from the Collection of Power Corporation of Canada and the Montreal Museum of Fine Arts (catalogue), Montreal Museum of Fine Arts, Montreal, 2006, page 142. Yseult Riopelle (ed.), Jean Paul Riopelle: Catalogue Raisonné des Estampes, for Gilles Daigneault’s chapter entitled “Les années dionysiaques,” Hibou Editeurs, Montreal, 2005, page 34. Note: While Riopelle’s sculpture is generally less well-known than are his paintings, the artist himself asserts that sculpture was always a part of his practice. According to Riopelle, these works were not typically associated with him because “I didn’t have money to cast them in bronze” and, as a result, many of his projects were lost or broken over time. In the late 1960s, Riopelle began modelling sculpture many of which, like this lot, had an animal theme. This theme culminated in his major opus, La Joute, a sculpted fountain that would be installed near the Olympic Stadium in Montreal in 1976. In 1970 the owl motif specifically appears in Riopelle’s art and can be found in various media at this time. Daigneault writes: “We can speculate at length about the deepseated reasons for this obsessive presence in Riopelle’s work” but may never hit upon its real meaning for the artist himself was evasive about the matter and his comments were far from illuminating. Nonetheless, whatever the impetus or inspiration, the owl did seem to have a sort of healing affect for the artist who, according to Daigneault, had been bed-ridden with a back problem for months.

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

10 JEAN-PAUL LEMIEUX, R.C.A. JEUNE FEMME AU CHAPEAU, C. 1968 oil on canvas signed 16 ins x 13 ins; 40.6 cms x 33 cms Provenance: Private Collection, Montreal $40,000–60,000

Note: Jean-Paul Lemieux is considered to be among the most significant artists in the history of Canadian modernism. Born into a prosperous family in Quebec City in 1904, Lemieux began studying art at the conservative École des beaux-arts in Montreal in 1926 where drawing was the basis of artistic training. Here he studied with Edwin Holgate and met other students who were interested in working within the figural tradition, as well as Paul-Émile Borduas, whose art would become abstract and non-figurative. Lemieux disliked non-figurative art and never practiced it himself, believing that it could easily decline into decoration. However, in his art criticism, he would defend modern art and freedom from the rigidity of academicism. Choosing Quebec City as his base, Lemieux remained staunchly independent of the automatisme and other forms of abstraction that dominated Quebec visual art in the 1950s, developing a distinctive form of expression in which simplified figures typically inhabit broad, empty landscapes (see lot 16 and 20). Jeune femme au chapeau is typical of Lemieux’s figural style during his so-called “classic period” (1956-70). As the artist sought a universal form of expression, this may or may not be a portrait of a specific person. It is timeless; the woman, her features generalized, is identified simply by her youth and what she is wearing—the confection of a hat that crowns her head and frames the open circle of black hair that defines her face. As Lemieux worked in the studio without models and focused on the plastic qualities of the painting, his art was not far removed from the practice of abstract painters, as Michèle Grandbois has pointed out. There is harmony in the shapes and in the balance of tones within a limited range of hues. The shape of the woman’s face, the brim of her hat, the upward arc of her mouth complement the oval shape of the canvas—a traditional format for portraits. Close-cropped, the charming subject takes up the entire height of the picture plane and looks directly out at the viewer, confident in her allure that the hat enhances.

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11 CLARENCE ALPHONSE GAGNON, R.C.A. DOGS AND SLED - ÉTUDE POUR LE GRAND SILENCE BLANC gouache with the atelier stamp; also certified by Lucille Rodier Gagnon (no. 696) 3.25 ins x 4.5 ins; 7.6 cms x 12.7 cms Provenance: Private Collection, Montreal Literature: L.-F. Rouquette, Le Grand Silence Blanc, illustré par Clarence Gagnon, Éditions Mornay, Paris, 1928, pages 8, 94 and 95 for illustrations by Gagnon depicting husky dogs and sleds, reproduced in colour. Hélène Sicotte and Michèle Grandbois, Clarence Gagnon, 1881-1942: Dreaming the Landscape, Quebec, 2006, page 191, and cat. no. 136, page 192-193 for a related composition for Le Grand Silence Blanc, reproduced in colour. See website for additional information. $6,000–8,000

12 MARC-AURÈLE FORTIN, A.R.C.A. MAISONS EN ÉTÉ, CA. 1930 watercolour signed 18 ins x 27.5 ins; 99.1 cms x 99.1 cms Provenance: Galerie Jean-Pierre Valentin, Montreal Private Collection, Toronto Note: This work is interesting as much for what Fortin has chosen to paint as for what he has not. Fortin often left sections of the support (in this case paper) unpainted, as a compositional intention. Here he relies on the colour of the unpainted paper to suggest the lane between and in front of the houses. The path itself is a typical device used frequently by Fortin to lead the viewer through his compositions (see lot 18). $8,000–12,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

13 MARC-AURÈLE DE FOY SUZORCOTÉ, R.C.A. PORTRAIT OF A YOUNG WOMAN coloured chalks, an addition to the composition along the upper edge signed 11.75 ins x 11.5 ins; 27.9 cms x 27.9 cms Provenance: Private Collection, Quebec Literature: Laurier Lacroix, Suzor-Coté: Light and Matter, Musée du Québec, Quebec, 2002, page 288 and page 292, cat no. 117. Note: Suzor-Coté executed a number of small pastels with subjects ranging from his nephew, to habitant elders, aboriginal people and, of course, his exquisite nudes. He treasured these works and counted them among his favourites. The intriguing band along the upper edge of this work was likely a result of the artist’s desire to allow for more space above the subject’s head as is typically seen in related portraits. Examples exist of Suzor-Coté reformatting (by cropping) his drawings to enhance a composition. $7,000–9,000

14 NORMAND HUDON LA PÈRE ELPHÈGE ET ADRIEN oil on masonite signed, titled and dated ‘83 16 ins x 20 ins; 40.6 cms x 50.8 cms Provenance: Private Collection, Montreal $4,000–5,000

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15 JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. SUMMER LANDSCAPE oil on board signed and dated 1902

Note: Like many young artists of the time who made their living as commercial artists, J.E.H. MacDonald pursued the fine art aspect of his art in his free time from Grip Printing and Publishing, making sketches around the Humber River and his home north of High Park. He was part of an early movement to establish a Canadian sensibility in art and joined the Toronto Art Students League, a sketch club whose members sought out subject matter rooted in the local scene.

7.75 ins x 9.5 ins; 19.7 cms x 24.1 cms Provenance: Private Collection, Ontario (by descent) $12,000–15,000

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Summer Landscape was probably made on a sketching trip along the Humber River. The divided brush strokes and the interest in light effects (evident in the reflections on the water and in the touches of blue in deep shadows) signify the influence of impressionism and of George Agnew Reid who was teaching the importance of l’effet (the overall effect) that he had learned in Paris in the late 1880s. This quality is evident in the generalized treatment of the foliage. MacDonald acknowledged that Reid had taught him the importance of technique and how the artist must first learn to “see” colour, in order to effectively mix and apply it.


Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

16 JEAN-PAUL LEMIEUX, R.C.A. PAYSAGE oil on canvas signed 11 ins x 20 ins; 27.9 cms x 50.8 cms Provenance: Private Collection, Montreal $20,000–30,000

Note: One feature of the works that constitute Lemieux’s “classic period” (195670) is their emphasis on the horizontal. He developed a horizontal vision, aided by his interest in Japanese scrolls. A number of works, comparable in size to this untitled landscape, executed in the late 1950s and early 1960s appear to be exercises in horizontality, observations made by the artist in his immediate environs. Marine views offered an unbroken horizon; here, gently undulating bands of colour (lacking the strict geometry characteristic of many works from this period) demarcate river, bank, field, distant hills, sky. It appears that Lemieux sought to capture forms and effects found in nature using minimal means—strips of blue and ochre, modulated by black and white. The use of texture along the bank and shadows in the water suggest that this was painted en plein air. It is the sort of view one might observe from a train window as the landscape scrolls past. Lemieux himself enjoyed travelling by train because, as he put it, one could see the landscape approach, present itself, then disappear. This experience of travelling across vast expanses of space inspired his new approach to the landscape once he returned to Canada from France in 1955.

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17 MARC-AURÈLE FORTIN, A.R.C.A. SCÈNE D’HIVER À STE-ROSE

Note: Fortin was a premier colourist and the powerful impact made by such a diminutive work is largely attributable to his unparalleled chromatic sense and intuition.

oil on board 5 ins x 5.75 ins; 12.7 cms x 14.6 cms Provenance: Private Collection, Montreal $10,000–15,000

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Here Fortin executes an effective and exciting paradox in paint. He has made a cold winter’s day in Ste-Rose hot by using oranges and reds, even lime green, in the man-made structures in high contrast to the cool colours of the snow and shadows. The effect is quite fabulous.


Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

18 MARC-AURÈLE FORTIN, A.R.C.A. VUE DU MT-ROYAL pastel signed sight 19.25 ins x 24.25 ins; 48.9 cms x 61.6 cms Provenance: Private Collection, Montreal $20,000–30,000

Literature: René Buisson, Marc-Aurèle Fortin, un maitre inconnu, Le Musée MarcAurèle, Montreal, 1995, pages 78, 79 and 213 for related works Hochelaga, Vue du Mont-Royal and Avenue du Parc, respectively, reproduced. Note: Fortin produced exquisite works in oil (see preceding lot), watercolour (see lot 12) as well as pastel like this highly polished view from Mt-Royal overlooking Fletcher’s Field in Montreal. Here Fortin follows a time-tested arrangement - horizontal bands demarcating specific zones within the panorama. The lush green hills of the lower edge of the mountain in the foreground are separated from the city by a road (Avenue du Parc), which itself is separated from the banlieue in the distance. These receding bands both stabilize the composition and add interest. The monument featured in this view is dedicated to the memory of GeorgeÉtienne Cartier, a Father of Confederation. The monument is reputed to be the largest in Montreal and was inaugurated in 1919.

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19 TOM THOMSON FOREST BRANCHES

Literature: Harold Town and David P. Silcox, Tom Thomson: The Silence and the Storm, Firefly Books, Willowdale, 2001, page 53 and page 202 for this lot reproduced (as Untitled Landscape).

graphite and gouache on board 7.25 ins x 9.75 ins; 17.8 cms x 25.4 cms Provenance: Harry Pinkerton, Toronto Ruth Collins, Toronto Private Collection, Toronto Sotheby’s (Toronto), May 1987 Private Collection, Winnipeg Private Collection, Toronto $25,000–30,000

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Note: This lot is included in the Thomson catalogue raisonné as cat. no. 1910.03. According to the catalogue raisonné, Harry Pinkerton and Thomson were acquaintances at Grip Ltd. which Thomson had joined circa 1908. Pinkerton and Thomson sometimes sketched together. While we do not know the precise location of the scene depicted in this lot, David Silcox notes that “This effervescent crowd (of Grip artists) organized weekend sketching trips into the upper reaches of the Don and Humber Rivers, and sometimes up to Lake Scugog, not great distances from Toronto. Thomson also returned to his home from time to time, and several of the works from these transitional years were done in the Owen Sound area.”


Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

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20 JEAN-PAUL LEMIEUX, R.C.A. DANS LE PARC oil on canvas signed and dated ‘56 31 ins x 41.25 ins; 78.7 cms x 104.1 cms Provenance: Private Collection, Montreal $40,000–60,000

Note: While he was a teacher at the École des beaux-arts de Québec, Lemieux received a grant from the Royal Society of Canada, which enabled him to spend a sabbatical year in France from 1954-55. He later admitted to being lost in France, painting work that looked like Monet or Bonnard in Paris, and Cézanne and Matisse in the south. Nonetheless, a year away from Canada afforded Lemieux the physical and psychological distance from the familiar, so that he could take his work in a different direction when he returned to Canada. He had a new regard for the broad, open spaces of the Canadian landscape which he expressed through the horizontality characteristic of his classic period, beginning in 1956. In 1967, he explained that he tried to express universal solitude in his landscapes and characters, and the inner world of his memories. His physical environment interested him only because it allowed him to paint his “inner world.” Dans le parc, executed in 1956, shows him moving away from the anecdotal quality of the early 1950s work, in order to emphasize the underlying emotional mood of the picture. It is a transitional piece whose painterly style shows the influence of the School of Paris, and whose decorative (that is, symbolic) use of colour and form link it to Post-Impressionism. Lemieux has imbued the work with drama: shades of blue and green dominate, and the dark wedge of forest on the left looms suspensefully over the two tiny figures at the end of the path, who seem caught between the woods and the water. That same year, Lemieux would solve the problem of how to express the isolation of contemporary life. He would simplify the landscape, emphasizing the horizontal, and enlarge the figures so that their relationship to the landscape would carry the emotional message. The National Gallery of Canada owns three works from this year: Winter Landscape, The Noon Train and The Distant City.

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

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21 LÉON BELLEFLEUR, R.C.A. PRINTEMPS gouache on paper signed, titled and dated ‘79, also inscribed “Micheline L.B.” and “Léon & Rita” 16 ins x 11.75 ins; 41.9 cms x 30.5 cms Provenance: Private Collection, Montreal $3,500–4,000

22 PAUL VANIER BEAULIEU, R.C.A. SAINT-SAUVEUR, 1974 oil on canvas signed and dated ‘74 20 ins x 24 ins; 50.8 cms x 61 cms Provenance: Private Collection, Ottawa Literature: Michel Beaulieu and Jacques Brault, Signatures: Paul Beaulieu, La Prairie, 1981, Ottawa, page 104, for this lot reproduced in colour. $6,000–8,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

23 MARCELLE FERRON, R.C.A. SANS TITRE oil on canvas, mounted to board signed and dated ‘60; also signed and dated ‘61 on the reverse

Note: Marcelle Ferron resided in France from 1953-1966 and it was during this period that this little composition was produced. Ferron, who had studied under Borduas, had developed a close professional relationship with him. Certainly, a sympathy between these artists can be detected in this lot which has in common with the senior artist's work both palette and technique. Perhaps one could even consider this lot an hommage; Borduas died on February 22, 1960, at the age of fifty-four.

9.5 ins x 8 ins; 24.1 cms x 20.3 cms Provenance: Private Collection, Montreal

At this time, Ferron's reputation was well-established and she was exhibiting regularly in Europe, and in Canada at Galerie Denyse Delrue.

$10,000–15,000

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24 JOHN YOUNG JOHNSTONE, A.R.C.A. PARIS, 1914 oil on panel signed and dated ‘14 8.75 ins x 7.25 ins; 22.2 cms x 18.4 cms Provenance: Galerie Walter Klinkhoff Inc., Montreal Private Collection, Florida Literature: Hugh Scholfield, “La Belle Epoque: Paris 1914,” BBC News, Paris (7 January 2014), bbc.com. Note: Johnstone vacillated between wanting to be appreciated and wanting to be left alone. As such there is a paucity of information published about him given his obvious talent. In this delightful painting, Johnstone has chosen to observe the world from afar, keeping a safe distance from the quayside action. In 1914, Paris was nearing the end of the Belle Epoque and was as Scholfield put it: ”a city giddy with the pace of industrial, scientific and cultural change...” $7,000–9,000

25 JOHN GEOFFREY CARUTHERS LITTLE, R.C.A LE PRINTEMPS - ST. JEAN DE L’IE, ÎLE D’ORLÉANS, 1983 oil on canvas signed; also signed, titled and dated on the stretcher 16 ins x 20 ins; 40.6 cms x 50.8 cms Provenance: Private Collection, Manotick Note: In the early years of his career, John Little worked with his father, an architect, and developed his interest in the built environment. Though wellknown for his Montreal street scenes, Little's attraction to Île D'Orléans and its village of St. Jean is, therefore, not at all surprising given that it boasts some six hundred buildings that are classified or recognized as heritage properties. $8,000–12,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

26 MARC-AURÈLE DE FOY SUZOR-COTÉ, R.C.A. PERDRIX (PARTRIDGE) oil on canvas signed 20.75 ins x 14.25 ins; 53.3 cms x 35.6 cms Provenance: Walter Klinkhoff Gallery Inc., Montreal Private Collection, Alberta Literature: Laurier Lacroix, Suzor-Coté: Light and Matter, Musée du Québec, Quebec, 2002, page 79. Note: Suzor-Coté had an obvious talent for rendering trompe l’oeil effects as evidenced by this still life with partridge. Laurier Lacroix references other still lifes by the artist featuring game as the subject which date to circa 1895-1896. $10,000–15,000

27 MARY HIESTER REID, O.S.A., A.R.C.A. STILL LIFE WITH FLOWERS oil on canvas signed 16.5 ins x 22 ins; 41.9 cms x 55.9 cms Provenance: Private Collection, Toronto Literature: Brian Foss, The Art of Mary Hiester Reid, Art Gallery of Ontario, Toronto, 2000, page 54. Note: Mary Hiester Reid’s work is so closely identified with floral still life compositions that for her memorial exhibition at the Art Gallery of Toronto, flowers were adopted as the theme and the rooms of the gallery were adorned with daisies, marigolds, pansies and other blossoms. Still Life with Flowers not only depicts an unyielding botanical accuracy, but also reveals certainties of delicacy, beauty, and human sentiment. $5,000–7,000

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28 MANLY EDWARD MACDONALD, R.C.A. WINTER AFTERNOON oil on canvas signed 20 ins x 26 ins; 78.7 cms x 63.5 cms Provenance: Laing Galleries, Toronto Private Collection, Ontario $4,000–6,000

29 JOHN GEOFFREY CARUTHERS LITTLE, R.C.A RUE SHERBROOKE, 1966 oil on canvas board signed 12 ins x 16 ins; 30.5 cms x 40.6 cms Provenance: Galerie L’Art français, Montreal Private Collection, Montreal $7,000–9,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

30 MARC-AURÈLE DE FOY SUZORCOTÉ, R.C.A., R.C.A. LA FLEUVE ST-LAURENT, C. 1920 oil on canvas, laid down on board inscribed “pour Mme Léger/Suzor” on the reverse 14 ins x 10 ins; 35.6 cms x 25.4 cms $15,000–25,000

Provenance: Private Collection, Montreal Literature: Suzor-Coté sought to use the most defining or apropos technique for the subject he was painting. As such, the subtle differences achieved in brushstroke or paint application using a palette knife were very relevant to him. Techniques were refined and reconsidered throughout his career. Here, the contrasting shape of strokes brings forth undertones of salmon pink, orange and blue, animating this big sky landscape and evoking the emotions associated with the grandeur of nature.

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31 JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. JANUARY THAW, CIRCA 1908 oil on board with a certification by the artist’s son, Thoreau MacDonald, on the reverse 8 ins x 6.25 ins; 20.3 cms x 15.9 cms Provenance: Private Collection, Toronto $8,000–12,000

32 JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. EARLY SPRING, THORNHILL, CIRCA 1908 oil on board 3.5 ins x 5.5 ins; 8.9 cms x 14 cms Provenance: Private Collection, Toronto $5,000–7,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

33 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. SPIRES OF SPRUCE

Provenance: The Fine Arts Galleries, The T. Eaton Co. Limited, Canada Private Collection, Toronto

oil on masonite signed

Note: Shortly after his formal departure from the Group of Seven, Johnston took part in the first of many independent exhibitions at the Fine Art Galleries of Eaton’s, where he was celebrated by art critics for his expert use of handling light.

18 ins x 24 ins; 45.7 cms x 61 cms $15,000–18,000

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34 ARTHUR LISMER, O.S.A., R.C.A. ROCK RHYTHM, GEORGIAN BAY, 1944 oil on panel signed and indistinctly dated; a small pencil sketch of a portrait of a woman on the reverse 12 ins x 16 ins; 30.5 cms x 38.1 cms Provenance: Private Collection, Toronto $12,000–16,000

35 ARTHUR LISMER, O.S.A., R.C.A. FOREST INTERIOR oil on panel signed and dated ‘63; also signed and dated “B.C. 63” on the reverse 16 ins x 12 ins; 40.6 cms x 30.5 cms Provenance: The Fine Art Galleries, The T. Eaton Co. Limited, Canada Private Collection, British Columbia $12,000–16,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

36 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. BARN AT POINTE AU CHENE, QUE. oil on board signed; also signed, titled and dated 1968 on the reverse 12 ins x 15 ins; 30.5 cms x 38.1 cms Provenance: Private Collection, Toronto

Note: Fellow Group of Seven member A.Y. Jackson had been an enthusiastic ambassador for Quebec often suggesting to his painting colleagues that the picturesque subject matter to be found there was unparallelled. Other Ontario-based artists, such as Fred Banting for example, travelled with A.Y. to the Lower St. Lawrence and found much to mine there. While Casson had visited Quebec prior to 1968 (see lot 8), it had been in a somewhat limited way. His retirement from Sampson-Matthews in 1958, however, freed him up for longer and more frequent trips and he seized the opportunity. Barn at Pointe au Chene is an example of the result of this and one cannot help but feel the inspiration of A.Y. - who rarely encountered an old barn he didn’t want to paint.

$20,000–30,000

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37 FREDERICK SIMPSON COBURN, R.C.A. LA VISITE DU MÉDECIN oil on canvas signed and dated ‘40 22 ins x 28 ins; 55.9 cms x 71.1 cms Provenance: Galerie Walter Klinkhoff, Montreal Private Collection, Montreal Note: The popularity of Coburn’s timeless winter scenes incentivized him to revisit the subject frequently for decades often varying the colour of the team of horses, the load, or the direction of the sleighs movement as the composition demanded. $12,000–15,000

38 HENRIETTA MABEL MAY, A.R.C.A. WINTER LANDSCAPE oil on board signed; an unfinished landscape on the reverse 16 ins x 20 ins; 40.6 cms x 50.8 cms Provenance: Private Collection, Manotick Literature: Evelyn Walters,The Women of Beaver Hall, Dundurn Press, Toronto, 2005, page 67. Note: Despite a late start, Mabel May’s achievement was significant. According to Evelyn Walters, art critic Albert Laberge of La Presse “placed her in the highest ranks of Montreal painters and praised her powerful originality...” Over time, her work became increasingly simplified in colour. An affiliation with a religious organization may account for this as Walter’s notes: “One of its tenets was that colours had spiritual significance. It is thought that she may have avoided strong colours like black and dark red because they were deemed to have a negative effect.” $10,000–15,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

39 JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. MATTAWA oil on board titled on the reverse 8 ins x 10 ins; 20.3 cms x 25.4 cms Provenance: Florence Wyle, Toronto Walter Klinkhoff Gallery, Montreal Private Collection, Ontario $15,000–20,000

Note: For a number of years before the Group of Seven formally introduced their artistic vision in 1920, the artists who would eventually form the Group had been making trips to Georgian Bay, Algonquin Park and Algoma—relatively remote areas north of urban centres—in search of appropriate subject matter. MacDonald, who left his position at Grip Limited in 1911 to spend more time painting, first visited Georgian Bay in 1912, and in the spring of 1913 made the first of two trips to Mattawa on the Ottawa River with his sketching partner, Lawren Harris. He made a second trip to Mattawa sometime around 1920, either before he took up a teaching position at the Ontario College of Art in the autumn of 1921 or possibly during one of the following summers, when he had time off from teaching. On both trips, MacDonald made oil sketches of the local buildings in town—unusual subject matter for him, as he was not typically drawn to urban scenes. The composition in this later work is more dynamic, (the artist positions the viewer facing the corner of the clapboard structure, which gives it volume) the paint application is broader and freer, and the colours stronger and richer. The foreground is rendered in subtle variations of grey, green and mauve, and the paint thickly applied so as to give the rocks a sculptural quality. This would have appealed to Florence Wyle, the Toronto sculptor and friend of the Group of Seven who originally owned the painting. The increasing freedom of expression evident in MacDonald’s work from around 1916 was noted by Albert Robson in his monograph of the artist in 1937.

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40 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. REFLECTIONS - CLARENDON LAKE, 1957 oil on board titled and dated on the reverse 9.25 ins x 11.25 ins; 23.5 cms x 28.6 cms Provenance: Private Collection, Toronto $20,000–30,000

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Literature: Paul Duval, A.J. Casson: His Life and Works, A Tribute, Cerebrus/PrenticeHall, Markham, 1980, (page 163). Note: Although Casson did not actually retire from full-time employment until 1958, he made his decision to do so the year this work was painted. It is hard not to see a renewal of the artist’s zeal for plein-air painting in this lush, little sketch, a material celebration of his decision to retire. While rigorously limiting his palette to greens and greys, there is an undeniable luxuriousness here in the thick foliage-wrapped rocky outcrop and its dramatic reflection at the water’s edge. Paul Duval notes that “(d)uring the fifties, Casson became more and more involved in his personal creative work.” One cannot help but view this exquisite sketch as an example of a renewed commitment to painting.


Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

41 FREDERICK HORSMAN VARLEY, A.R.C.A. DOON LANDSCAPE, 1949

Literature: Christopher Varley, F.H. Varley: A Centennial Exhibition, Edmonton Art Gallery, Edmonton, 1981, pages 166 and 168.

oil on board signed

Note: In 1949, Varley was teaching at the Doon Summer School of Fine Arts. The demands on him were intense yet he still found time to paint (see lot 74). That autumn, Varley returned to Toronto to feature in a documentary film about his life in art with the NFB.

11.75 ins x 15 ins; 43.8 cms x 52.1 cms Provenance: Private Collection, Waterloo $30,000–40,000

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42 WILLIAM KURELEK, R.C.A. WARTIME HARVESTING NEAR WINNIPEG oil on masonite signed with initials and dated ‘67; titled on the reverse of the frame

Note: From an early age, Kurelek had wanted to illustrate the history of the Ukrainian people. Throughout his career, he would paint his own family’s story (exhibited in 1964 in “An Immigrant Farms in Canada” at the Isaacs Gallery), his memories of growing up in Western Canada in the 1930s and 1940s, and the histories of other European settlers in Canada. In 1967, he completed a series of paintings dedicated to pioneer Ukrainian-Canadian women which had been commissioned by the Ukrainian Women’s Association of Canada.

8.5 ins x 20 ins; 20.3 cms x 50.8 cms Provenance: Acquired directly from the artist Private Collection, Hamilton (by descent) $30,000–50,000

Wartime Harvesting near Winnipeg, set on the Kurelek farm near Stonewall, Manitoba, describes in great detail, the labour intensive method of harvesting wheat in the 1940s: a farmer, his wife and a young man (perhaps a son) are shown gathering and bundling the sheaves by hand after the wheat has been cut by machine. The only other figures are the tractor driver and the man operating the reaper. The painting illustrates historical practices that have long since changed due to increased mechanization and preserves them in the present. The vast expanse of field, accentuated by the horizontal format of the picture, shows the extent of the operation, and the aircraft flying overhead in formation indicates the farm’s proximity to a major air force base in Winnipeg, locating the scene during World War II. While the subject of this work is not religious, Kurelek often included a moral message in his rural and secular subjects: in this case, he celebrates the dignity of labour as well as the wartime contribution of western farmers. On a board prepared with gesso, Kurelek would carefully draw in the composition using lead pencil and ballpoint pen, then apply colour often with a variety of media. The technique that Kurelek used in this work allowed for both a broad panoramic treatment, and areas of detailed drawing in the figures and textured treatment of the stooks and field of stubble. His artistic vision included both the infinitely large and infinitely small.

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

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CanadianArt.Waddingtons.ca

43 KATHLEEN MOIR MORRIS, A.R.C.A. POINT LEVY, QUEBEC, CIRCA 1925 oil on panel signed 10.25 ins x 14 ins; 25.4 cms x 35.6 cms Provenance: Private Collection, Halifax Exhibited: Kathleen Morris (1893-1986), Retrospective Exhibition, Galerie Walter Klinkhoff Inc., Montreal, September 2003, No.19. $60,000–80,000

Literature: Evelyn de Rostaing McMann, The Royal Canadian Academy of Arts: Exhibitions and Members, 1880-1979, University of Toronto Press, Toronto, 1981, page 293, Point Lévis, Quebec (NGC), listed. Frances K. Smith, Kathleen Moir Morris (catalogue), Agnes Etherington Art Centre, Queen’s University, Kingston, 1983, pages 13 and 16. Evelyn Walters, The Women of Beaver Hall: Canadian Modernist Painters, Dundurn Press, Toronto, 2005, page 17 and page 76 for the canvas, Point Levy, Quebec, in the collection of the National Gallery of Canada (acquired by Eric Brown in 1926), reproduced in colour. Barbara Meadowcroft, Painting Friends: The Beaver Hall Women Painters, Véhicule Press, Montreal, 1999, page 87. Note: Kathleen Morris went on regular sketching trips to the Quebec City area. Barbara Meadowcroft quotes Kathleen reminiscing about these trips: “I had a wonderful mother. She would take me off on sketching trips and sit beside me while I painted...” Meadowcroft notes that Kathleen would do two sketches, one in the morning and one in the afternoon, and according to family friend Michael Dunn “never fiddled with them afterwards.” Dunn further added that “She much preferred sketches to large paintings on canvas.” Undoubtedly, Morris would have had to work speedily on winter days, the paint thickening on the brush and becoming increasingly less cooperative in the cold. Her achievement is all the more impressive given that she lived with Cerebral Palsy. Unlike Mabel May (see lot 38), Kathleen unhesitatingly used reds and blacks in her paintings to dramatic effect, enlivening her pictures with “clever dabs and dashes of brilliant orange-red.” While not all sketches Kathleen made were worked up into canvases, this one was (see illustration below for the canvas in the National Gallery of Canada) and it was acquired and exhibited by Eric Brown almost immediately after it was painted. Evelyn Walters credits Eric Brown, the Director of the National Gallery of Canada (1912-1939) and champion of modernism for its extensive collection of Beaver Hall pictures.

Kathleen Moir Morris Point Levy, Quebec, c. 1925 oil on canvas, 45.8 x 61.2 cm Purchased 1926 National Gallery of Canada, Ottawa Photo @ National Gallery of Canada

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

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CanadianArt.Waddingtons.ca

44 LIONEL LEMOINE FITZGERALD NUDE STUDY oil on panel signed with initials 5.75 ins x 5 ins; 15.2 cms x 12.7 cms Provenance: Private Collection, Montreal Note: In this seated nude study, FitzGerald is chiefly preoccupied with form, shape and colour, and not with the specifics of who his subject is, or what she is doing. Many other examples by him exist of relaxed female subjects sometimes posed reading and it is possible that this activity introduced a natural curviness to the subject’s posture that FitzGerald enjoyed painting. While we do not know the identity of the subject, the dimensions of the picture may suggest a certain intimacy with the sitter. $4,000–6,000

45 LIONEL LEMOINE FITZGERALD LANDSCAPE oil on canvas, laid down on board signed 4.25 ins x 7.75 ins; 10.8 cms x 19.7 cms Provenance: Private Collection, Montreal Literature: L.L. FitzGerald 1890-1956: A Memorial Exhibition (catalogue), The Winnipeg Art Gallery, Winnipeg, 1958, unpaginated. Note: FitzGerald was born in Winnipeg and, except for a short time spent in New York at the Art Students’ League during the winter of 1921, he spent his entire life on the prairies. As a prairie painter, it was light and space which were the subject of his landscapes. In the artist’s notes published in the catalogue for his memorial exhibition, FitzGerald alludes to the fecund opportunity provided by his native land, one that non-Manitobans may be quick to dismiss. He remarked: “It naturally requires more thought and concentration to discover the beauty in a common thing, but the very search reveals the artist to himself in a more intense way.” Such commentary speaks to a man who is described by those who knew him well as “intensive rather than extensive,” an artist whose output was a result of contemplation, concentration and a willingness to reflect. $6,000–8,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

46 RANDOLPH STANLEY HEWTON, R.C.A. BAIE ST. PAUL oil on canvas signed 20 ins x 24 ins; 50.8 cms x 61 cms Provenance: Galerie Walter Klinkhoff Inc., Montreal Private Collection, Montreal Literature: Victoria Baker, Modern Colours: The Art of Randolph Stanley Hewton, 1888-1960, Art Gallery of Hamilton, Hamilton, 2001, page 5. $10,000–15,000

Note: Hewton (like Robinson, see lot 72) had been invited to exhibit with the Group of Seven at their inaugural exhibition in 1920 as a result of his friendship with A.Y. Jackson, whom he had met in Paris in 1912 and with whom he often sketched. It is upon this early exposure to audiences as a landscape painter that his reputation was first popularly established. Whereas the figurative work of Hewton has increased in popularity having been underscored by exhibitions such as Modern Colours: The Art of Stanley Hewton in 2001 at the Art Gallery of Hamilton and the current Beaver Hall exhibition making major stops across Canada, it remains that landscape was a great passion of Hewton's. He particularly seems to have enjoyed the camaraderie sketching trips afforded and partook in trips to the Lower St. Lawrence on numerous occasions with Jackson and others, including Banting, Holgate and Gagnon. His great talent was as a colourist, who some said was "unequaled in Canadian Art." Hewton demonstrated himself to be among the most talented of his generation and was influential as the successor to William Brymner when he became director of the Art Association of Montreal. His influence also extended to membership in the selection committee for the famed Wembley Exhibition which introduced Canadian painting to a broad British audience.

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47 WILLIAM KURELEK, R.C.A. DOG & ROCK, 1963 oil on masonite titled and dated on the reverse 18.25 ins x 22.5 ins; 45.7 cms x 55.9 cms Provenance: The Isaacs/Innuit Gallery, Toronto Private Collection, Ontario $40,000–60,000

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Note: In 1957, William Kurelek converted to Roman Catholicism (he had previously been an atheist), and soon after returning to Canada, became involved with the Catholic Information Centre in Toronto. The conversion of others to Catholicism and the salvation of souls through his art became a personal mission. In May 1963, at his third exhibition at the Isaacs Gallery entitled, “Experiments in Didactic Art,” Kurelek first showed religious and so-called instructive works (They were often in the spirit of sixteenth century artist Pieter Breugel’s parables). From here on in, his goal was to alternate a secular series of work with a religious or instructive series. In February of that year, he had made his first trip to Western Canada to document the places where he had grown up. These studies would provide a rich source for his work. Kurelek set Dog and Rock on the family farm in rural Manitoba, a place that held special significance for him and served as a setting for secular and didactic works alike. The painting, which features the family dog investigating a large, solitary rock may be based on Kurelek’s recollection of a real occurrence from his past. The animal’s prints in the snow indicate that it has made a sudden ninety degree turn to the left, deviating from his path alongside the fence, probably having caught a whiff of something interesting. Apart from a few dead weeds that protrude from the snow, there is little that breaks the vast, barren plain—accentuated by the high horizon line and the fence which runs unbroken to meet it. It is no wonder that the dog was drawn to the rock like a magnet. Kurelek’s keen observation and penchant for detail have captured the essence of winter on the prairies and the behaviour of man’s best friend.


Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

48 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. MORGAN COTTAGE, WESTON, ONTARIO, 1935 oil on canvas signed 5.75 ins x 7.5 ins; 14.6 cms x 19.1 cms Provenance: Galerie Walter Klinkhoff Inc., Montreal Private Collection, Toronto $40,000–60,000

Note: Casson excelled at capturing the villages, general stores or lone farmhouses of Ontario whose picturesque charm he conveyed expertly in all media, whether graphite, watercolour or, in this example, oil. This specialization set him apart from his Group colleagues whose preoccupation was landscape untouched by man. Undeniably pretty, there may be more at play in such works than is readily apparent. In this diminutive canvas, the cottage in winter speaks to a time of rest between planting and harvest, when weather forces a welcome change to the quotidien rhythm. Casson often leaves evidence of freshly fallen snow on his steep pitched roofs. A descriptive as well as compositional decision, it also serves to comment on the effectiveness of the sturdily constructed farmhouses of hardy Ontario farmers. The snow on the peak of Morgan cottage has melted under the winter noonday sun. However, no heat has escaped through the well-insulated farmhouse roof which protects its unseen inhabitants who enjoy the much earned rest winter affords. Early scenes such as this work, executed in 1935, show Casson originating the motifs for which he would be best known.

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49 KIM DORLAND UNTITLED oil on canvas signed and dated 2012 on the overflap 40 ins x 30 ins; 102.2 cms x 76.2 cms Provenance: Private Collection, Toronto Note: While this work predates Dorland’s summer residency at the McMichael Canadian Art Collection and the acclaimed exhibition that was developed as a result of his time there, it is hard not to see a ghost-like figure of Thomson or a surrogate for him (perhaps the artist himself?) standing on the edge of Dorland’s lake. Dorland was interested in the mythology of Thomson, an idea which he explored in depth for the McMichael show. In looking at this picture, however, one needs to consider if the preoccupation with this early Canadian master is Dorland’s or our own, so pervasive is the narrative around the artist’s untamed genius and mysterious death. $9,000–12,000

50 PHILIP HENRY HOWARD SURREY, R.C.A. MOTEL AT DUSK oil on canvas signed 20 ins x 30 ins; 50.8 cms x 76.2 cms Provenance: Private Collection, Toronto Literature: Terry Fenton & Karen Wilkin, Modern Painting in Canada: Major Movements in Twentieth Century Canadian Art, Hurtig Publishers, Edmonton, 1978, page 34. Note: Fenton and Wilkin contend that the contribution to the advancement of modern art by artists like Lyman, Goodridge Roberts and Surrey, as members of the Contemporary Art Society in Montreal is significant, if underestimated. He writes: “(These artists) established a modernist art in Canada which sought recognition on the basis of its own intrinsic quality.” $12,000–15,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

51 JEAN-PHILIPPE DALLAIRE SEBASTIANO oil on board signed and titled; also signed, titled (multiple times in various ways) and dated 1953 on the reverse

Note: From 1952-1955, the period during which this work was executed, Dallaire's work was being created "dans un climat mental d'incertitudes, de frustration et d'angoisse." Such uncertainty may have led Dallaire to identify with the Christian martyr, St. Sebastian, who had been violently attacked for his beliefs not once, (the first time, most famously, with arrows) but twice (with cudgels this time, which would be the instrument of his martyrdom). Despite the threat to Sebastian's health that the arrows presented, he, like Dallaire, would recover from the assault.

24 ins x 20 ins; 61 cms x 50.8 cms Provenance: Dominion Gallery, Montreal Waddington Gorce, Montreal Galerie Walter Klinkhoff Inc., Montreal Private Collection, Montreal Literature: Guy Robert, Dallaire ou l'oeil panique, Éditions France-Amérique, Montreal, 1980, page 111 and pages 110 for Défroqués and 245 for L'Annonciation. $50,000–60,000

Sebastian has been a favourite subject of painters and sculptors for centuries, from early renaissance masters to Damien Hirst. Not only does this event provide artists with material for high, if violent, drama, but artists also seem to associate with the saint's poise under extreme circumstance, and his miraculous ability to overcome adversity. Dallaire undertook other works with religious themes during this period including L'Annonciation of 1952-53 and Défroqués of 1953-54. This painting is inscribed "Narbonne" on the reverse. While the people of Narbonne, a small village in the south of France near the Spanish border, lay claim to their town being the site of Sebastian's maternal home, little is recorded about his early life. Dallaire was clearly aware of the local legend and, as such, recorded the information on his painting.

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52 WILLIAM KURELEK, R.C.A. HAULING FIREWOOD, STONEWALL, MANITOBA oil on masonite signed with initials and dated ‘67 10.5 ins x 24 ins; 61 cms x 25.4 cms Provenance: Acquired directly from the artist Private Collection, Hamilton (by descent) $50,000–70,000

Note: William Kurelek was the eldest of seven children born in Canada to a Ukrainian immigrant and his wife. Against his father’s wishes, Kurelek pursued a career in art, studying briefly at the Ontario College of Art and in San Miguel de Allende, Mexico. For most of the 1950s, he lived in London, England, where he received treatment for clinical depression, converted to Roman Catholicism and learned the art of picture framing and finishing. He also achieved a measure of success in his art, exhibiting in the Royal Academy Summer Exhibitions from 1956-58. Returning to Canada in 1959, Kurelek began working as a framer for Av Isaacs the following year. In 1963, after two shows of his work at the Isaacs Gallery, Kurelek began travelling to western Canada, sketching and photographing the places where he had grown up. He would use the material gathered on these annual excursions in his paintings of life on the prairies in the 1930s and 1940s and to illustrate his popular children’s books, including A Prairie Boy’s Winter (1973) and A Prairie Boy’s Summer (1975). In 1934, Kurelek’s parents moved from Alberta to a dairy farm near Stonewall, Manitoba, just north of Winnipeg, the location of this painting. This was the place that he considered home, despite the traumatic childhood memories of being bullied at school and of his father’s strong disapproval. Running a dairy farm was hard work, and each family member had chores they were expected to perform. The children had little time to play, so they did their best to build play into their work. This picture illustrates how William (shown driving the horses) and his siblings could make a game out of hauling wood: when logs fell off the sleigh, they would fall, laughing, into the snow. Kurelek has effectively captured the clarity of prairie light and the flat, empty expanse of the landscape in winter, which dwarfs the sleigh and its riders. He has taken great pains to delineate tiny details along the horizon which he must previously have recorded in precisely rendered sketches or photographs of the area.

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

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53 HAROLD BARLING TOWN, R.C.A. UNTITLED oil on board signed and dated ‘59 12 ins x 12 ins; 30.5 cms x 35.6 cms Provenance: Private Collection, Ontario Private Collection, British Columbia (by descent) $8,000–12,000

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Literature: David Burnett, Town, Art Gallery of Ontario, Toronto, 1986, page 86. Iris Nowell, Harold Town, Figure 1 Publishing Inc., Vancouver, 2014, page 94. Note: At the end of the 1950s and beginning of the 1960s, Town was riding a wave of popularity. In 1958 he participated in a two man exhibition with Paul Émile Borduas in London, England which drew positive reviews. In 1961, he was featured on the cover of Maclean’s magazine. This “flood of publicity,” as David Burnett describes it, was “unprecedented for a contemporary Canadian artist and unmatched since.” Burnett further cites fifteen solo exhibitions for Town between 1959 and 1964.


Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

54 NORA FRANCES ELISABETH COLLYER ALBERTA, SOLD TOGETHER WITH TWO DRAWINGS: ST. PETER’S CHURCH AND BERMUDA STREET SCENE oil on canvas board; pen and ink the oil painting and both drawings signed with initials, St. Peter’s Church inscribed “St. George-Bermuda” and Bermuda Street Scene inscribed “Bermuda”; the oil painting also signed and titled on the reverse 24 ins x 20 ins; 61 cms x 50.8 cms; 6.75 ins x 6.75 ins; 17.1 cms x 17.1 cms; 6.75 ins x 6.75 ins; 17.1 cms x 17.1 cms Provenance: Gift of the artist By descent through the artist’s family Exhibited: Group Show of Women Painters, Montreal Museum of Fine Arts, Montreal, 1950, no. 11 for Alberta. $25,000–40,000

Literature: Barbara Meadowcroft, Painting Friends: The Beaver Hall Women Painters, Véhicule Press, Montreal, 1999, page 104 for a photograph of Nora Collyer and Sarah Robertson on a Bermuda cruise circa 1929, reproduced. “The Beaver Hall Group: A Montreal Modernity” by Esther Trépanier in The Beaver Hall Group: 1920s Modernism in Montreal, Montreal Museum of Fine Arts and Black Dog Publishing, Montreal/London, 2015, page 226.

Note: Nora Collyer is known for her rich landscapes of rural Quebec (see lots 6 and 7), however, Esther Trépanier notes that “Portayal of the human figure in a landscape setting was another characteristic feature of the works of several Montreal artists pursuing a modern practice during the 1920s.” Typically the three dimensional figure dominated the composition and was positioned against a flattened background. While the landscape was not always linked to the sitter – often the relationship was more formal than personal- in this case the choice of a landmark so immediately identifiable with Bermuda is not arbitrary. While we have not been able to identify Alberta, her authoritative almost regal pose suggests she was linked to the church in a leadership capacity. There is a formal connection, too. The pinks, blues and creams of Alberta’s scarf are repeated in the church and the fluffy foliage of the trees is echoed in her coiffure. St. Peter’s Church, depicted here, is the oldest standing church in Bermuda, dating back to 1612 when it was built to establish a community in the newly discovered parish of St. George. Intentionally planting a Christian church in the middle of the “new world,” the church marked the beginning of Christian worship in the country of Bermuda.

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55 JAMES WILSON MORRICE, R.C.A. THE CROSSING oil on panel with the studio stamp on the reverse 5.25 ins x 6.75 ins; 13.3 cms x 17.1 cms Provenance: Galerie Walter Klinkhoff Inc., Montreal Private Collection, Toronto Literature: Lucie Dorais, Morrice, (Canadian Artist Series, No. 8,) National Gallery of Canada, Ottawa, 1985, pages 17 and 58. Charles C. Hill, Gift to the Nation: G. Blair Laing Collection of Paintings by James Wilson Morrice, National Gallery of Canada, 1992, page 16. Dennis Reid, A Concise History of Canadian Painting (3rd edition), Oxford University Press, Don Mills, 2012, page 138. A.K. Prakash, Impressionism in Canada: A Journey of Discovery, Arnoldsche Art Publisher, Stuttgart, 2015, pages 335, 342, 347, 359, 364 and page 368, reproduced in colour as The Crossing, ca. 1912. $100,000–150,000

Note: Dennis Reid writes: “Morrice’s importance to the development of Canadian Art is incalculable.” His impact on painters was profound and multigenerational. Artists as distinct as Kathleen Morris and Jean Paul Riopelle affirmed their admiration for him. Dennis Reid notes: “... Cullen, Brymner, (Curtis) Williamson and (Edmund) Morris valued his friendship; Gagnon, A.Y. Jackson, Lawren Harris and countless other young painters sought out his work.” Further, Morrice’s circle of friends included writers and both Arnold Bennett and Somerset Maugham drew on the artist for characters in their books. Today, as in his own lifetime, astute collectors consider Morrice to be the most gifted Canadian painter of his generation. Morrice was also critically acclaimed in his lifetime and as A.K. Prakash writes: “By 1909 Louis Vauxcelles, the prominent French critic... declared that, since the death of Whistler, ‘Morrice is unquestionably the American (sic) painter ...who has achieved, in France and at Paris... the most notable and well-merited place in the world of art’.” Lucie Dorais concurs by noting that “In the course of time, he was elected to every important art society in Paris.” The Crossing shares affinities with one of Morrice’s masterworks, The Ferry, Quebec, in the collection of the National Gallery of Canada. Though undoubtedly not a Canadian subject, The Crossing evokes a strong sense of nostalgia for the ex-patriot’s homeland. Morrice had left Canada in 1889 and while he would visit Canada periodically, he was never again to reside in this country. Both works are linked as much by mood as subject. Certainly peripatetic travel, quest and longing were woven into the very fabric of the man, governing his living arrangements and manifesting itself in the choice of certain subjects, often revisited. A.K. Prakash quotes Matisse describing his wandering friend as “a little like a migrating bird but without any fixed landing place.” Like the ferries he sailed whether across the St. Lawrence or the Strait of Gibraltar, or from Dieppe to Southampton, Morrice travelled back and forth between Europe and Canada, France and North Africa, Venice, Trinidad and Cuba, stopping but not remaining for long and certainly never settling down. Examples of Morrice's best work have become increasingly difficult to acquire. Last autumn, a group of 50 works by Morrice was gifted to the National Gallery of Canada by collector and author A.K. Prakash. This augments the renowned Laing Collection which included 15 canvases and over sixty oil sketches or pochades, gifted to the National Gallery of Canada by art dealer G. Blair Laing in March 1989. A further group of Morrice sketches was donated by the late Kenneth Thomson (Lord Thomson of Fleet) to the Art Gallery of Ontario. As a result, few oil sketches of this calibre remain on the open market.

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

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56 JACK LEONARD SHADBOLT, R.C.A. TRIPTYCH COMPOSITION

Note: Pat Ainslie suggests that by the late 1970s/early 1980s, ”Shadbolt aspired to a more automatic and sensual rather than consciously composed art...”

Provenance: Private Collection, Toronto

Indeed, this triptych is reminiscent of Shadbolt’s surrealism-inspired output and metabolizes notions he absorbed in New York in the mid-1930s and on later visits. Ainslie notes that “The effects of Shadbolt’s experience in New York did not coalesce into a single body of work, but different elements were integrated into his work at different times.” Here the surrealist elements have been layered on or incorporated into a composition organized as landscape, reminiscent of Shadbolt’s mediterranean compositions. Shadbolt may be attempting to contradict the association by using an upright orientation for the panels, yet the association persists. Colour further serves to reinforce this memory.

Literature: Patricia Ainslie, Correspondences, Jack Shadbolt, Glenbow Museum, Calgary, 1991, pages 18 and 24.

Liquid, vital, celebratory, possibly at times accidental, nonetheless this work speaks to Shadbolt’s discipline. As Ainslie reminds us: “Shadbolt’s art was nurtured by the study of form, draughtsmanship and deliberate structuring with attention to formal principles.”

each panel acrylic on conjoined illustration board signed and dated 79-80 each panel 59.5 ins x 40 ins; 152.4 cms x 304.8 cms

$50,000–70,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

57 LOUIS COMTOIS MIDNIGHT CONTAINED mixed media construction signed, dated 1986 and inscribed “New York” on the reverse 45 ins x 80 ins; 114.3 cms x 203.2 cms Provenance: Louis K. Meisel Gallery, New York Private Collection, Toronto Note: Comtois studied at the École des beauxarts de Montreal before moving permanently to New York in 1972. His work was influenced by Tousignant, Molinari and Yves Gaucher and was often executed in multi-media. $5,000–6,000

58 RITA LETENDRE, R.C.A. AFTER THE NIGHT COME THE DAY acrylic on canvas, unframed signed, titled and dated ‘82 on the reverse 42.5 ins x 96 ins; 218.4 cms x 106.7 cms Provenance: Private Collection, Toronto Literature: Fernande Saint-Martin, "Quebec" in The Canadian Canvas, travelling exhibition, Time Canada Ltd., 1975, page 79.

Note: Rita Letendre worked within the automatiste milieu and as such her early works are highly gestural with an expressionist application of paint evoking images of flames or explosions emerging from dark, unknown backgrounds. However, Letendre would abruptly reject this idiom in favour of hard-edge geometric paintings. Her work began to feature diverging, converging or parallel rays or vectors as her prime motif. Though originally hard-edge, by 1971 with Letendre's introduction to the air brush, these bands of radiating colour began to develop a softness where they met at the adjoining bands' edge. Some critics interpret this as a return to the "atmospheric notions" Letendre had been investigating during her automatiste period and remark upon "luminous modulations which electrify the canvas," as seen in this lot. According to Dennis Reid, Letendre stopped using the airbrush in 1996.

Dennis Reid, A Concise History of Canadian Painting (3rd edition), Oxford University Press, Don Mills, 2012, page 406. $10,000–15,000

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59 CORNELIUS KRIEGHOFF FOUR LITHOGRAPHS: INDIAN WIGWAM IN LOWER CANADA; SLEDGE RACE NEAR MONTREAL; PLACE D’ARMES, MONTREAL; FRENCH CANADIAN HABITANTS PLAYING AT CARDS lithographs, printed in colours and mounted to canvas, printed by A. Borum, Munich each 14.5 ins x 20.5 ins; 36.8 cms x 52.1 cms Provenance: Private Collection, Manotick $10,000–15,000

Literature: Marius Barbeau, Cornelius Krieghoff, Pioneer Painter of Canada, The MacMiIllan Company of Canada Limited, Toronto, 1934, page 55, and page 126 for these four works listed and described. Hugues de Jouvancourt, Cornelius Krieghoff, Musson Book Company, Toronto, 1971, page 25 for Indian Wigwam in Lower Canada, page 25 for Place d’Armes, Montreal, page 26 for Sledge Race near Montreal and page 28 for French-Canadian Habitants Playing at Cards (Public Archives of Canada), reproduced, the last in colour. J. Russell Harper, Krieghoff, Key Porter Books,Toronto, 1990, page 13 for Place d’Armes, Montreal, and page 37 for Sledge Race near Montreal, reproduced. Dennis Reid, Krieghoff: Images of Canada, Douglas & McIntyre, Vancouver/Toronto, 1999, pages 33-36 for four related lithographs, reproduced in colour, and pages 62-63 for a discussion of the Montreal prints. Note: These lithographs were published by A. Borum of Munich under the patronage of Lord Elgin, then Governor of Canada. Jouvancourt explains that Krieghoff and Lord Elgin met while “the latter was passing through the village on a tour of inspection.” Seeing his work Elgin “was full of praise for this kind of painting describing the life of the people living in this corner of the province and was struck by the variety of subjects treated by the painter. Since lithography was then all the rage, Krieghoff explained that he intended to choose some of his most typical paintings and have engravings made of them. Lord Elgin thought this an excellent idea and offered his patronage... Later that year, coloured lithographs printed by Kammerer made their appearance...and were an immediate success.”

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

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60 CORNELIUS KRIEGHOFF MONTMORENCY FALLS, CIRCA 1853 watercolour, laid down on illustration board signed 32 ins x 18 ins; 45.7 cms x 81.3 cms Provenance: Galerie Claude Lafitte, Montreal Private Collection, Ontario Literature: Marius Barbeau, Cornelius Krieghoff: Pioneer Painter of North America, The MacMillan Company of Canada Limited, Toronto, 1934, pages 10-11, and page 117. $25,000–30,000

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Note: After a very challenging year in 1852, Krieghoff took the decision to leave Montreal for Quebec City. In the early 1850s, he had met John Budden, a dealer/auctioneer who would become one of Krieghoff’s closest friends and through whom the artist was encouraged to move east. According to Barbeau, “No sooner had Krieghoff landed at Quebec with his family than Budden called out, ‘Now, my dear fellow, let’s go to Montmorency Falls’.” Barbeau continues: “Budden who had a flair for business took Krieghoff to Montmorency Falls and Indian Lorette in the late winter of 1853. There they would meet important Quebec people on their own favourite playgrounds.” Krieghoff painted the falls in all seasons and there are oils, watercolours and lithographs of this subject. However, Barbeau singles out Montmorency in Winter, an oversize watercolour that is very likely this lot, as “the largest and finest.” In his catalogue raisonné of the artist, Barbeau includes Montmorency Falls in Winter, an upright watercolour from the collection of W.P. Hickey, Esquire, exhibited at both the National Gallery of Canada and the Art Association of Montreal in 1934, describing it thus: “Falls in winter with ice cone. Pillars of fallen bridge at top. Smaller fall to the left. Observation stand near top to the left. A berline going towards foot of falls; two people in. Two groups of horses and people at the foot of the cone; someone with toboggan; two people on top of cone. Blue sky with clouds. The largest known water colour of Krieghoff; vigorous.”


Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

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61 WALTER JOSEPH PHILLIPS, R.C.A. THE GOLDEN HOUR, 1918 woodcut, printed in colours signed, titled and numbered 33/50 in pencil in the lower margin sheet 7.75 ins x 7.25 ins; 19.7 cms x 18.4 cms Provenance: Private Collection, Toronto Literature: Roger Boulet, The Tranquility and the Turbulence, The Life and Work of Walter J. Phillips, Loates Publishing Limited, Markham, 1981, page 221 for The Golden Hour listed. $2,000–3,000

62 JAMES DUNCAN, R.C.A. SHOOTING THE RAPIDS watercolour, heightened with gouache signed 6.5 ins x 9.5 ins; 15.2 cms x 23.5 cms Provenance: Private Collection, Montreal Literature: Dennis Reid, A Concise History of Canadian Painting (3rd edition), Oxford University Press, Don Mills, 2012, page 30. Note: Dennis Reid remarks upon how little is known about James Duncan given that he was active in the Montreal area for over fifty years. He adds that George Spendlove “a pioneer scholar of Canadian topographical art has said that ‘no artist has been more neglected by Canadians... although he was possibly for some years the best watercolourist in Canada (italics ours)’.” $4,000–6,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

63 FREDERICK ARTHUR VERNER, O.S.A., A.R.C.A. OJIBWAY CAMP AT NORTHWEST ANGLE, LAKE OF THE WOODS watercolour signed and dated 1902 11.5 ins x 23 ins; 29.2 cms x 58.4 cms $12,000–15,000

Provenance: Walter Klinkhoff Gallery, Montreal Douglas Udell Gallery, Edmonton Private Collection, Edmonton Literature: Joan Murray, The Last Buffalo: The Story of Frederick Arthur Verner, Painter of the Canadian West, Pagurian Press, Toronto, 1984, page 53-62. Note: Joan Murray notes that it was on his first trip west in 1873 that "Verner drew five very important sketches of Indians from life.” They were to become sources to which he would refer again and again. Murray describes the 1873 trip west as "the most important event of (Verner's) life.” This watercolour is closely based on one of those sketches, now in the collection of the National Gallery of Canada. The 1874 oil painting of this subject which is nearly identical to this lot, Ojibway Camp of the North West Angle of the Lake of the Woods was sold by Waddington’s in November 2015 fetching $94,400. The Northwest Angle of Lake of the Woods is the northernmost part of the lake contiguous to the United States and, as such, served as a contentious area in treaties defining the international border of this "fifth" Great Lake.

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64 MANLY EDWARD MACDONALD, R.C.A. HORSES RESTING oil on canvas signed 25.25 ins x 30.5 ins; 76.2 cms x 88.9 cms Provenance: Laing Galleries, Toronto Private Collection, Ontario Literature: Charles Beale, Manly Edward MacDonald, Interpreter of Old Ontario, Plumley Press, Napanee, 2010, cover illustration for a closely related work, reproduced in colour. $7,000–9,000

65 WILLIAM GOODRIDGE ROBERTS, R.C.A FARM BUILDINGS AND OATFIELD, 1962 oil on masonite signed 36 ins x 48 ins; 91.4 cms x 121.9 cms Provenance: Private Collection, Toronto Literature: James Borcoman, Goodridge Roberts, A Retrospective, The National Gallery of Canada, Ottawa, 1969, page 29. Note: Roberts’ rapid and flowing brushstrokes serve to animate this work, providing the viewer with a sensation of nature rather than a record of it. $7,000–9,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

66 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. THE BLUE VALLEY oil on board signed 20 ins x 24 ins; 50.8 cms x 61 cms $18,000–22,000

Provenance: Private Collection, British Columbia Note: Johnston was a versatile artist, who painted a wide range of scenes in Ontario, Quebec and the Arctic, and was equally comfortable working with oil, tempera or watercolour. He was as well trained as any of his Group colleagues though much has been made of their differences. While his paintings were frequently more decorative than those of his counterparts, they consistently show virtuoso handling of light, pattern and atmospheric effects which account for their timeless appeal.

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67 CLARENCE ALPHONSE GAGNON, R.C.A. PORTRAIT OF A LADY oil on canvas 15.25 ins x 12 ins; 39.4 cms x 30.5 cms Provenance: Walter Klinkhoff Gallery, Montreal Private Collection, Ontario Note: Like many artists of his generation, Gagnon's work would shift steadily toward the impressionist style, particularly after 1904 by which time Gagnon had moved to Europe to further his studies. However, the roots of his practice, like many of his compatriots began with instruction in the academic style at CAM, the Conseil des arts et manufactures under Edmond Dyonnet, whose influence like Brymner's at the Art Association of Montreal was significant. Perhaps, the greatest lesson Gagnon would have absorbed from his painting masters at this time was their strong work ethic and insistence on perfection. This portrait of an unknown lady has been executed in a manner quite typical of works produced esteemed academicians at the time with little emphasis on the background and a strong focus on the sitter. The intent was not to examine the sitter's psychology in any great depth but rather to render a likeness that would be as pleasing to the viewer as the sitter and his or her family, by whom such works were generally commissioned. $9,000–12,000

68 WILLIAM GOODRIDGE ROBERTS, R.C.A STILL LIFE WITH POPPIES oil on masonite signed 32 ins x 25 ins; 81.3 cms x 88.9 cms Provenance: Private Collection, Montreal Literature: James Borcoman, Goodridge Roberts, A Retrospective (catalogue), The National Gallery of Canada, Ottawa, 1969, pages 26-38. Note: Known for having rarely returned to a work after the first sitting, Roberts acted always in the “heat of the moment,” leaving little time for deliberating composition. Nevertheless, the precise colouring, rapid brushwork and accurate scaling between the objects of Still Life with Poppies, demonstrates Roberts’ skill. $10,000–15,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

69 WILLIAM KURELEK, R.C.A. BONNIE, NANCY AND ELLEN mixed media on board signed, titled and dated “June, 1960” 48 ins x 24 ins; 121.9 cms x 61 cms Provenance: Private Collection, Mexico City $40,000–60,000

Note: As a student at the Ontario College of Art in 1949-50, Kurelek’s favourite instructors were Fred Hagan, Eric Freifeld and Carl Schaefer, who were preserving the figural tradition in the face of the rising tide of abstraction. He also admired the Mexican muralists and the English painter, Stanley Spencer. Kurelek included portraits of himself and his family in his nostalgic scenes of growing up in western Canada, and painted two self portraits (1950, 1957). The latter were exhibited in his first exhibition at the Isaacs Gallery in Toronto in March-April 1960 which was very well attended. It may have been as an outcome of this exhibition that Kurelek painted the portrait of Bonnie, Nancy and Ellen in June, 1960 (their names, the date, and Kurelek’s signature are inscribed on the sheet of paper that lies at their feet). Formal portraits of this nature are atypical in Kurelek’s oeuvre. There is no narrative, and the posed figures do not interact with each other. The source was probably one or more photographs of the three young females, whom the viewer assumes to be related. The figures stand against a solid red backdrop, the cast shadows give them substance, and the piece of paper in the foreground indicates the horizontal plane on which they stand, so that they appear to be anchored securely in space. Their gazes (one to the left, one to the right) set up a zigzag across the picture plane; only the youngest looks straight out at the viewer. The placement of their feet creates another rhythm, enlivening what could have been a static composition. If one were to speculate on their identity, it could be that Bonnie, Nancy and Ellen are of Ukrainian heritage; the patterned bands that decorate Nancy’s red dress are typically Ukrainian.

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70 PETER CLAPHAM SHEPPARD, O.S.A., R.C.A. OCTOBER, ALGONQUIN PARK oil on board signed 13 ins x 16 ins; 33 cms x 40.6 cms Provenance: Private Collection, Toronto Note: P.C. Sheppard was inspired by the bounty of Ontario’s landscape, particularly as its shape and colour was transformed or renewed with each passing season. Like many of his contemporaries, nature was his muse and he was drawn to Algonquin Park which afforded myriad views to fuel his imagination. $5,000–7,000

71 MANLY EDWARD MACDONALD, R.C.A. MORNING LIGHT oil on canvas signed 28 ins x 36.5 ins; 71.1 cms x 92.7 cms Provenance: Laing Galleries, Toronto Private Collection, Manotick $8,000–12,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

72 ALBERT HENRY ROBINSON, R.C.A. OLD BARN NEAR KNOWLTON, CA. 1930 oil on canvas signed 17.5 ins x 21.5 ins; 44.5 cms x 54.6 cms Provenance: Roberts Gallery Limited, Toronto Jerrold Morris Gallery, Toronto Cooper Campbell Collection Galerie Walter Klinkhoff Inc., Montreal Mayberry Fine Art, Winnipeg Private Collection, Toronto $30,000–40,000

Exhibited: Albert H. Robinson, University of Guelph, March 3-31, 1968; KitchenerWaterloo Art Gallery, April 5-21, 1968. Literature: Jennifer Watson, Albert H. Robinson: The Mature Years, Kitchener-Waterloo Art Gallery, 1982, page 16. Note: Jennifer Watson remarks upon a change to Robinson’s painting from the late 1920s on, observing dramatic angles and an increased rhythm. She continues: “A calmer mood sets in finally around 1930 with a group of farm scenes, although the ploughed fields here recall earlier rhythms.” This lot has been dated to circa 1930. Only two years earlier Robinson had been awarded the Jessie Dow Prize at the Art Association of Montreal’s spring exhibition. His reputation was cemented and his health still good. Exhibition lists and critical reviews from this period link this work to other closely related paintings such as Farm in the Hills, Knowlton and Haytime near Knowlton both exhibited at the National Gallery of Canada in 1932.

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73 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. SUMMER SKY - ON THE COMBERMERE ROAD, 1958 oil on board signed; also signed and titled on the reverse, and dated on a label on the reverse 12 ins x 15 ins; 30.5 cms x 38.1 cms $20,000–30,000

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Provenance: Roberts Gallery Limited, Toronto Private Collection, Toronto Literature: Christopher E. Jackson, A.J. Casson: An Artist’s Life, McMichael Canadian Art Collection, Kleinburg, 1998, page 50. Note: Casson retired from Sampson-Matthews the same year this work was painted to devote himself full time to his art. His first one man show would be held at Roberts Gallery a year later in 1959 and by the middle of the 1960s his shows were consistently selling out.


Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

74 FREDERICK HORSMAN VARLEY, A.R.C.A. NEAR THE PINNACLE oil on board signed 11.75 ins x 15 ins; 43.8 cms x 52.1 cms $30,000–40,000

Provenance: Private Collection, Waterloo Literature: While undated, this work was likely executed around 1948/49 when Frederick Varley was in Doon teaching at the summer arts school there (see lot 41). Doon is located almost mid-way between Cambridge and Kitchener and the woods of Pinnacle Hill offered some good painting subjects for artists. Carl Schaefer also painted the woods, which afforded a great view of nearby Cambridge from the top of the hill.

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75 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. CAMSELL PORTAGE oil on canvas signed; also signed, titled, dated “Sept. 1957” and inscribed “Gilbert Labine” on the stretcher 21.25 ins x 25 ins; 53.8 cms x 62.5 cms Provenance: Gilbert Labine (thence by descent to his daughter, Margaret) Private Collection, Edmonton Literature: Naomi Jackson Groves, A.Y.’s Canada, Toronto/Vancouver, 1968, pages 212 and 216. $80,000–120,000

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Note: This canvas depicts Camsell Portage, located on the north shore of Lake Athabasca in northern Saskatchewan. Dr. Charles Camsell (1876-1958) after whom this small settlement was named, founded the Royal Canadian Geographical Society in 1929. He was a geologist, explorer and later Deputy Minister of Mines and Resources who along with Gilbert Labine, a prospector, were involved with the discovery of radium and silver at Port Radium on Great Bear Lake during the 1930s. Camsell Portage remains as remote an outpost today as when it was first explored by Dr. Camsell and by A.Y. Jackson a few decades later. Today, fewer than 40 people call it home. When Jackson painted this canvas in the late 1950s many of the miners cabins and other buildings had long been abandoned and stood “amid bright grasses and shrubs, providing many sketching themes for the artist.”


Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

76 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. GODHAVN, GREENLAND, 1927 pen and ink signed and titled 6 ins x 8 ins; 15.2 cms x 20.3 cms Provenance: Roberts Gallery Limited, Toronto Private Collection, Ontario Exhibited: Drawing Conclusions, McMichael Canadian Art Collection, Kleinburg, 23 Feb. - 8 June, 2008. Literature: A.Y. Jackson, The Far North: A Book of Drawings, Rous & Mann Limited, Toronto, 1927, Plate I for Godhavn, Greenland, 1927, reproduced. A.Y. Jackson, A Painter’s Country, Clarke Irwin & Company Limited, Toronto, 1958 for a vivid account of this journey entitled ”An Arctic Holiday with Dr. Banting,” pages 93-102. Naomi Jackson Groves, A.Y. Jackson, The Arctic 1927, Moonbeam, 1982, Plate 71 for Studies of Eskimos in Kayaks, Godhavn and Pangnirtung, a related work. D.B.G. Fair, Banting & Jackson, An Artistic Brotherhood, London, Ontario, 1997, pages 9-10. Wayne Larsen, A.Y. Jackson: The Life of a Landscape Painter, Dundurn Press, Toronto, 2009, pages 134 - 143 for the chapter entitled “Exploring the Northern Frontier,” an account of Jackson and Banting’s Beothic voyage. Note: A.Y. Jackson and Frederick Banting spent from mid-July to September of 1927 travelling throughout the Arctic on board the Beothic a supply ship that served the eastern Arctic. The first stop along this arctic route was in Godhavn, Greenland, the last Port Burwell (see lot 77).

77 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. LABRADOR - NEAR PORT BURWELL, 1927 pen and ink signed, titled and dated 1927 7.5 ins x 10 ins; 19.1 cms x 25.4 cms

Fair describes this as “perhaps the most significant of both artists’ careers.” Immediately upon their return, Jackson exhibited his oil sketches and ink drawings at the Art Gallery of Toronto (now the AGO), which opened on September 21st and published The Far North (Rous and Mann, 1928) in which this little ink sketch is reproduced.

Provenance: Private Collection, Ontario

$4,000–6,000

D.B.G. Fair, Banting & Jackson, An Artistic Brotherhood, London, Ontario, 1997, pages 9-10.

Literature: A.Y. Jackson, The Far North: A Book of Drawings, Rous & Mann Limited, Toronto, 1927, Plate I7 for Labrador, a related work.

Note: A copy of an inscription by Jackson on the backing reads: “A bleak country of rocky hills, treeless, many lakes and a harsh climate.” Godhavn was the first stop on Jackson’s journey aboard the Beothic (see lot 76) and Burwell was the final stop. $4,000–6,000

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78 FREDERICK GRANT BANTING GEORGIAN BAY oil on panel signed with initials; titled on the reverse 8.25 ins x 10.5 ins; 21 cms x 26.7 cms Provenance: Private Collection, Belleville (by descent) $15,000–20,000

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Literature: Stephen Eaton Hume, Frederick Banting: Hero, Healer, Artist, XYZ Publishing, Montreal, 2001, page 123. Note: Banting joined the Arts and Letters Club in the mid-1920s and it was here that he met his great friend, A.Y. Jackson. They sketched frequently together and Banting’s work has become indelibly associated with Jackson’s. While he would never in his lifetime gain the reputation from painting that he achieved in the world of medical research, Hume asserts that “By the 1920s Banting had become one of Canada’s best known amateur painters.” Hume’s use of “amateur” to describe the artist’s work was not pejorative rather it is based on the fact that Banting could never support himself on the proceeds he made from the sporadic sales of his paintings. Most were kept by him or given away to family and friends. This work has remained in the family until now.


Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

79 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. FIELDS IN SPRING, ST. AUBERT, 1945 oil on panel signed; titled and dated “Apr. 29th/45” and with an unfinished sketch on the reverse 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms $15,000–20,000

Provenance: Galerie Walter Klinkhoff, Montreal Private Collection, Montreal Literature: Dennis Reid, Alberta Rhythm: The Later Works of A.Y. Jackson, Art Gallery of Ontario, Toronto, 1982, page 17. Note: A.Y. Jackson’s brother Henry had a summer home in St. Aubert which Jackson visited frequently particularly in the 1940s. St. Aubert is in L’Islet County on the south shore of the St. Lawrence. During the war years, it is possible that the more frequent visits to family were a sign of Jackson looking for a measure of the familiar and comfortable during trying times.

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80 FREDERICK ARTHUR VERNER, O.S.A., A.R.C.A. OJIBAWA WIGWAMS, LAKE SHEBANDOWAN watercolour on illustration board signed and dated 1891; titled on the reverse 12 ins x 23.75 ins; 30.5 cms x 60.3 cms Provenance: Private Collection, Toronto Literature: Joan Murray, The Last Buffalo, The Story of Frederick Arthur Verner, Painter of the Canadian West, Pagurian Press, Toronto, 1984, pages 53-54. Note: The Shebandowan Lakes are located to the west of Thunder Bay along the route of the Red River Expeditionary Force (Toronto to Fort Garry). According to Joan Murray, Verner first travelled west to the Red River Valley in 1873. On that trip, he would have encountered Ojibway encampments similar to the one depicted in this lot. While not contemporaneous with that first journey of discovery, this watercolour would have been based on a large repertory of notes and sketches compiled by Verner at that time and upon which he drew liberally throughout his career. $7,000–9,000

81 JOHN YOUNG JOHNSTONE, A.R.C.A. CHÂTEAU DES COMTES, GHENT oil on canvas signed 10.25 ins x 13.75 ins; 26 cms x 34.9 cms Provenance: Private Collection, Montreal Exhibited: John Y. Johnstone (1887-1930) Retrospective Exhibition, September 2006, Walter Klinkhoff Gallery, Montreal, no. 1. Literature: A.K. Prakash, “Misplaced Painter Among Moderns,” John Young Johnstone Restrospective Exhibition (catalogue), Walter Klinkhoff Gallery, Montreal, 2005, pages 2-7. Note: A.K. Prakash refers to a certain stoicism that can be appreciated in Johnstone’s painting, and aptly refers to “a preternatural stillness” or mystery so well exemplified in a work such as this lot. Johnstone, who at times lived a somewhat dissipated life, embodied a silver screen version of the peripatetic artist. Born in Montreal, he travelled throughout Quebec as well as northern Europe and died in Havana in 1930. $8,000–12,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

82 CARL FELLMAN SCHAEFER, R.C.A. FARMHOUSE OF JOHN C. SCHAEFER (MY GRANDFATHER), HANOVER oil on board signed and dated ‘24 8.5 ins x 9.75 ins; 21.6 cms x 24.8 cms Provenance: Collection of the artist (thence by descent to his son, Mark) Private Collection, Halifax (acquired directly from Mark Schaefer) Exhibited: Carl Schaefer: Storm on the Horizon, Mendel Art Gallery (June 13 to September 7, 2008), Museum London (November 9, 2008 to February 9, 2009), The Robert McLaughlin Gallery (March 14 to May 3, 2009) and Art Gallery of Nova Scotia (March 27 to June 13, 2010). Literature: Carl Schaefer Retrospective Exhibition: Paintings from 1926 to 1969, Sir George Williams University, Montreal and other locations, 1969, page 4. Note: Schaefer was very close to his grandfather, whose house is depicted in this lot. Schaefer’s grandfather was a furniture finisher by trade and Schaefer reminisces: ”Here was a man doing something with his hands; I was impressed and fascinated. I wanted to be using mine.” $8,000–12,000

83 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. WANING WINTER oil on panel signed; also signed and titled on the reverse 12 ins x 16 ins; 30.5 cms x 40.6 cms Provenance: Private Collection, British Columbia $7,000–9,000

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84 JOHN A. HAMMOND, R.C.A. REELING IN THE NETS oil on canvas, laid down on board signed 18 ins x 30 ins; 45.7 cms x 76.2 cms Provenance: Private Collection, Ontario Note: See note below. $4,000–5,000

85 JOHN A. HAMMOND, R.C.A. EVENING NEAR ST. JOHN, NEW BRUNSWICK oil on canvas signed and dated 1895 14 ins x 43 ins; 35.6 cms x 109.2 cms Provenance: Private Collection, Montreal $4,000–6,000

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Literature: Dennis Reid, A Concise History of Canadian Painting (3rd edition), Oxford University Press, Don Mills, 2012, page 279. Note: John Hammond is best known for his exceptional paintings of the maritime scenery and industry of New Brunswick. His talent is for the cinematic rendition of light effects particularly timed to the extreme ends of a fisherman's workday - dawn and dusk. Hammond's specialization made him expert at painting the fine and complex rigging found on the ubiquitous fishing vessels of the region. What is less known about the artist is that he was also the first director of the Owens Art Institution, an art school which later added a gallery, the forerunner of the Owens Art Gallery at Mount Allison. Hammond is credited with assembling the founding collection of that gallery.


Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

86 HOMER RANSFORD WATSON, O.S.A., P.R.C.A. HAYING SEASON oil on board signed 17 ins x 16 ins; 41.9 cms x 39.4 cms Provenance: Private Collection, Montreal Note: Known as the Canadian Constable, Watson’s career is a roster of high achievement. Recognized both in Canada and abroad, his reputation escalated after Pioneer Mill was exhibited in 1880 with the R.C.A. and purchased for the collection of Queen Victoria. Watson served as the first President of the Canadian Art Club and President of the Royal Canadian Academy. His international reputation was solidified by one-man exhibitions in London and New York. $5,000–7,000

87 JACK LORIMER GRAY FISHING DRAGGER oil on canvas signed and dated ‘61 24 ins x 36 ins; 59.9 cms x 89.9 cms Provenance: Private Collection, Virginia Note: Jack Lorimer Gray was born in Halifax and studied at the Nova Scotia School of Art and Design (NSCAD). Though a traditional painter of marine pictures in a decade known for advances in abstraction in Canada, Gray's paintings are avidly sought internationally. The appeal of his paintings has much to do with their authenticity and dynamism. Gray spent time at sea and was well-positioned to interpret in paint how vessels responded to the movement induced by wind and wave, unlike other marine painters who limited themselves to moored ships which they studied from dry land. Gray lived in New York in the mid-50s and was represented by Kennedy Galleries which accounts for the significant patronage he enjoyed in the U.S. Gray moved to Maine in the late 1950s but was back in Halifax by 1961, the date of this fishing dragger (or trawler). $15,000–20,000

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88 OZIAS LEDUC, R.C.A. PORTRAIT oil on canvas signed with initials and dated ‘97 23.75 ins x 14.75 ins; 58.4 cms x 35.6 cms Provenance: Arthur Leggett Fine Arts Limited, Toronto Private Collection, Ontario Literature: Jean-René Ostiguy, Ozias Leduc: Symbolist and Religious Painting (catalogue), Extension Services Department of The National Gallery of Canada, 1974, pages 98, 196-197. Note: Leduc was in Paris for much of 1897, the year this work was painted. He did not leave until May and it is likely this is a Canadian subject. Leduc had church decorating contracts in Saint-Hilaire, Quebec at that time. While we do not know the identity of the subject, we do know there are a limited number of other portraits of ecclesiasts undertaken after this. Ostiguy cites at least six such portraits executed, with the aid of photographs, between 1900 and 1930, although there is no evidence that this work was done from a photograph. $12,000–15,000

89 MARMADUKE MATTHEWS, O.S.A., R.C.A. PANORAMIC SCENE oil on canvas signed 21.75 ins x 42 ins; 55.2 cms x 106.7 cms Provenance: Private Collection, Montreal $6,000–8,000

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Literature: Dennis Reid, A Concise History of Canadian Painting (3rd edition), Oxford University Press, Don Mills, 2012, page 62. Note: Matthews first arrived in Toronto in 1860 but commuted back and forth between this city and New York until finally settling on a farm near Bathurst and Davenport Road in 1874. Panoramic scenes such as this lot are typical of the artist whose forte perhaps paradoxically was the incorporation of great detail. Dennis Reid reminds us that “Matthews made his most interesting contribution to the art scene in 1891 when he developed his farm as a cooperative artists’ community called Wychwood Park.”


Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

90 LAURA ADELINE MUNTZ LYALL, O.S.A., A.R.C.A. PORTRAIT OF A CHILD oil on canvas signed and dated 1907 16 ins x 12 ins; 40.6 cms x 30.5 cms Provenance: Private Collection, Ottawa

Literature: A.K. Prakash, Independent Spirit: Early Canadian Women Artists, Firefly Books Ltd., Richmond Hill, 2008, page 52. Paul Duval, Canadian Impressionism, McCelland & Stewart Inc., Toronto, 1990, page 50. Note: Laura Muntz famously declared she only held passion for two subjects, “painting and children, I don’t know what I am fondest of.” Her great skill lay in the authenticity by which she effortlessly conveyed the innocence and beauty of childhood. $4,000–6,000

91 HORATIO WALKER, R.C.A. WOMAN BATHING oil on board signed with initials and dated ‘10 11 ins x 14.25 ins; 27.9 cms x 36.8 cms Provenance: Estate of the Artist Private Collection, Montreal Literature: David Karel, Horatio Walker, Musée du Québec, Quebec, 1987, pages 37 and 43. $3,000–4,000

Note: The passage of time has quieted the acclaim that once buzzed around Horatio Walker who, with only Morrice as a possible contender, was the most famous Canadian painter of his generation. David Karel notes: “Walker is among those whose presence lent distinction to the artistic events during the first twenty years of the twentieth century.” Karel argues that in as much as Walker was a cosmopolitan painter rather than a nationalistic one, his influence began to diminish with the rise of the Group of Seven. Nonetheless, our respect for works by early

Canadian painters, such as Walker, who banded together as the Canadian Art Club, and our admiration for the Group of Seven that followed needn’t be positioned as a choice between either/or. Rather, both periods are best considered in the context of the values they represented. Walker exhibited regularly in New York and London. His paintings are found in the collection of the Met, the Corcoran, the Carnegie and other major galleries throughout the world.

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92 CLARENCE ALPHONSE GAGNON, R.C.A. TWO STUDIES FOR LE GRAND SILENCE BLANC: A POLAR BEAR ON AN ICE FLOE AND A HUNTER APPROACHING AN ARCTIC CAVE; SOLD TOGETHER WITH A COPY OF L-F. ROUQUETTE, LE GRAND SILENCE BLANC gouache both with atelier stamp, the first certified by Lucille Rodier Gagnon (no. 910) on a label attached to the backing 5 ins x 6 ins; 12.7 cms x 15.2 cms Provenance: Arthur Leggett Fine Art & Antiques, Toronto Private Collection, Ontario Literature: L-F. Rouquette, Le Grand Silence Blanc, (illustré par Clarence Gagnon), Paris, 1928, page 84, colour illustration (for A Polar Bear on an Ice Floe). Hélène Sicotte and Michèle Grandbois, Clarence Gagnon, 1881-1942: Dreaming the Landscape, Quebec, 2006, pages 173, 178-180, 191 and 194, and page 188 for the printer’s proof page of the polar bear, reproduced in colour. $12,000–15,000

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Note: Sicotte notes that “After 1925, (Gagnon) began devoting most of his energy to illustrating two works of fiction: Louis Frederic Rouquette’s Le Grand Silence blanc: roman vécu d’Alaska and Louis Hémon’s Maria Chapdelaine: récit du Canada français. The two books were published in 1928 and 1933 respectively by Mornay...” Rouquette lived for a time in the Canadian west and based his novel on his experiences here. Sicotte writes: “Since the precedent of Rudyard Kipling, adventure novels set in foreign lands were big sellers, and in the 1920s, the Far North was at the height of its popularity.” The authors also note that “The concurrence of Gagnon’s work in Paris (the Mornay books) and that undertaken in Canada at the instigation of Marius Barbeau was no coincidence.” Indeed, Gagnon undertook intense research at the Bibliothèque nationale, the American Library (Paris), wrote to Duncan Scott, the Deputy General Intendant with the Federal Department of Indian Affairs as well as consulting many other sources. Sicotte reminds us that such undertakings were part of “a worldwide scientific trend that for thirty years or so had focused increasingly on the discovery of new lands, cultures and form of expressions that were still largely unknown.” This lot comprises a copy of Louis-Frédéric Rouquette’s Le Grand Silence Blanc as well as two of the original gouaches produced by Clarence Gagnon in preparation for the title’s first illustrated edition, published in 1928. One of these subjects – the polar bear on an ice floe - was used in the final publication though there are minor differences between the gouache and the final image. While the project was still in the development stages, Gagnon was uncertain whether the images would be reproduced as woodcuts or monotypes. As a result, some of the original images were re-worked to incorporate limitations or opportunities afforded by the print method. According to Sicotte, the final version of Le Grand Silence Blanc includes thirty-seven color illustrations of varying formats, inserted at irregular intervals throughout the text.” Further 725 copies were published, including 30 on Annam paper and numbered with Arabic numbers, and 45 hors commerce.


Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

93 CLARENCE ALPHONSE GAGNON, R.C.A. PRISE D’EAU (STUDY FOR MARIA CHAPDELAINE) pastel with atelier stamp 7 ins x 8 ins; 17.8 cms x 20.3 cms Provenance: Galerie L’Art Francais, Montreal Arthur Leggett Fine Arts Limited, Toronto Private Collection, Ontario Literature: Louis Hémon, Maria Chapdelaine, Éditions Mornay, Paris, 1933, pages 142 and 155 for other related drawings. Hélène Sicotte and Michèle Grandbois, Clarence Gagnon, 18811942: Dreaming the Landscape, Quebec, 2006, pages 197-198, 200, 206-207.

Note: Louis Hémon, author of Maria Chapdelaine, was a Frenchman who travelled to Quebec in the winter of 1911-12, working for several weeks in the summer of 1912 as a farm labourer in the village of Peribonka, the setting for this Quebec classic. According to Sicotte, “Hémon completed the manuscript for Maria Chapdelaine early in 1913.”The novel was published posthumously; Hémon had been killed by a train in Northern Ontario while travelling west. When approached to illustrate a proposed new publication of Maria Chapdelaine by the publishing house of Mornay, with whom Gagnon had recently collaborated on Le Grand Silence Blanc, Gagnon was reluctant to take on another illustration project. Of course, other Canadians, such as Suzor-Coté, had tackled it before and would pay homage later but Gagnon had found work on the Le Grand Silence Blanc project onerous. However, by agreeing to every condition Gagnon set (including the right to keep any of his original drawings), the publisher persuaded Gagnon to accept the project. This lot is probably one of the preparatory studies executed for the publication of Maria Chapdelaine which, according to Sicotte, “contained fifty-four colour illustrations measuring ten centimetres by twelve, inserted at more or less regular intervals throughout the book.” Despite the discomfort the project had caused Gagnon, the publication was a success. Sicotte views Gagnon’s Maria Chapdelaine as “his artistic testament...since in a sense his whole career is condensed into this final project.” Sicotte reminds us that by 1933 just after Maria Chapdelaine was published, “Gagnon virtually stopped painting... executing only a few isolated pictures after that date.”

$10,000–15,000

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94 MAXWELL BENNETT BATES, R.C.A. EVICTION watercolour and ink signed and dated “Sept. 1967” 21.5 ins x 15 ins; 35.6 cms x 53.3 cms Provenance: Private Collection, Newfoundland Note: Bates’ work typically incorporates themes of isolation and alienation. In 1967, the year this watercolour was executed, Canada was celebrating a centennial year. Bates was living in Vancouver, having moved from Calgary in 1962. Vancouver was undergoing a programme of urban renewal which resulted in the sorts of evictions depicted here. Specific neighbourhoods were disrupted, some might even say targeted, including those primarily inhabited by ethnic minorities. $6,000–8,000

95 DORIS JEAN MCCARTHY, O.S.A., R.C.A. ANTARCTICA FROM THE HEIGHTS, 1991 oil on canvas signed 24 ins x 30 ins; 61 cms x 76.2 cms Provenance: Wynick/Tuck Gallery, Toronto Private Collection, Ontario Literature: William Moore, Doris McCarthy: Feast of Incarnation, Gallery Stratford, 1991, page 10. Note: Doris McCarthy was an inveterate traveller and contentedly spent time sketching in remote locations. Nonetheless, this painting is less a travelogue than it is a record of Doris’ feel for the land. It is, as William Moore contends, “about the perceptual experience of the place.” $8,000–12,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

96 WILLIAM RONALD, R.C.A. EXCELSIOR #2 acrylic on canvas signed and dated ‘84; titled and dated “July ‘84” on the reverse 48 ins x 48 ins; 121.9 cms x 121.9 cms Provenance: Acquired directly from the artist Private Collection, Toronto Literature: Robert Belton, The Theatre of the Self: The Life and Art of William Ronald, University of Calgary Press, Calgary, 1999, page 97. $10,000–15,000

Note: Ronald's relevancy is not limited to the work produced in the 1950s and 1960s, and while this may be the period of his greatest fecundity, to limit appreciation of his work to this short period alone limits appreciation for his creative arc. What would Ronald have made of this narrow bias? Belton suggests the artist was "indifferent to critical discourse and intellectual fashion" and so, probably, not much. In fact, 1984 was a significant year for the artist whose Prime Ministers Series was exhibited at the Art Gallery of Ontario that spring garnering the artist considerable press attention. In retrospect, the year proved to be the proverbial calm before the storm, a halcyon year, for in 1985 he and his wife of many years, Helen, would separate and his financial circumstances became mired in issues relating to back taxes.

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97 MASHEL TEITELBAUM VISIONARY NIGHT oil on canvas signed and titled on the stretcher 69 ins x 54 ins; 177.8 cms x 137.2 cms Provenance: Private Collection, Toronto Note: Though initially a painter of portraits and -mainly Saskatchewan- landscapes, Teitelbaum gradually transitioned from regionalism to abstraction, the work by which he is now best-known. $6,000–8,000

98 MOLLY LAMB BOBAK, R.C.A. WHITE FLOWERS ON WHITE oil on canvas signed ”Molly Lamb” and dated ‘61; also signed and titled on the reverse 32 ins x 48 ins; 81.3 cms x 121.9 cms Provenance: Private Collection, Montreal Literature: Cindy Richmond, Molly Lamb Bobak: A Retrospective, Regina, 1993, page 51. Note: As Cindy Richmond notes: “The still lifes suggest a painter who is deeply moved by her subjects, which take on a kind of spiritual significance for her.” Bobak’s still lifes and interior scenes have a superb sense of composition, while achieving “an aesthetic unity in which color, form, and texture are fully integrated, and which at the same time expresses the painter’s evident love and awe of her subject matter.” $7,000–9,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

99 JAMES (JOCK) WILLIAMSON GALLOWAY MACDONALD, O.S.A., A.R.C.A. THE BUTTERFLY oil and Lucite 44 on board signed and dated ‘57; also signed and titled on the reverse 19.75 ins x 24 ins; 50.8 cms x 58.4 cms Provenance: Private Collection, Ontario Private Collection, British Columbia (by descent) Literature: Joyce Zemans, Jock Macdonald: The Inner Landscape, A Retrospective Exhibition, Art Gallery of Ontario, Toronto, 1981, page 207 for The Butterfly, 1946 a watercolour directly related to this lot, in the collection of the Robert McLaughlin Gallery, reproduced. Joyce Zemans, Jock Macdonald: 1897-1960, (Canadian Artists Series), National Gallery of Canada, Ottawa, 1985, page 7, 24 and page 45 for this lot reproduced.

Note: Joyce Zemans states: "The art of Jock Macdonald, one of Canada's greatest and most dedicated exponents of abstract painting, represents in microcosm the development of abstract art in this country." In short, though his role is often eclipsed by the story of abstract art in Quebec, Macdonald's influence on a generation of abstract artists assuredly in Ontario if not more broadly was as crucial as Borduas’ was in Quebec. Macdonald's full-time teaching responsibilities at OCA during the mid-50s left him limited time for painting but Zemans tells us that over the summer of 1956 he was able to devote himself full time to his practice. It was at this time that he discovered DUCO, a product which allowed him to paint with greater fluidity but at a huge cost; DUCO had an unfortunate odor that sickened Macdonald who was compelled to paint with his windows thrown wide open. He experimented with the product until Harold Town introduced him to Lucite 44 which rendered similar effects to DUCO without the dreadful smell. Zemans notes: ”Fluid and quick drying, it allowed Macdonald to work in oil on canvas or masonite as he had in watercolour on paper." Indeed, Macdonald produced The Butterfly in 1957, inspired by a work of the same name he had executed in watercolour and ink only a year prior achieving in this new medium an almost identical effect. According to Zemans in January 1958 the influential New York art critic Clement Greenburg (friend and adviser to color field painters everywhere), "told Macdonald that his latest work was 'hitting absolute tops'.” This lot, The Butterfly, hails from that seminal period.

$20,000–30,000

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100 ALEXANDRA LUKE ABSTRACT mixed media on masonite 24 ins x 18 ins; 61 cms x 45.7 cms Provenance: Family of the artist Literature: Iris Nowell, Painters Eleven: The Wild Ones of Canadian Art, Vancouver, 2010, page 104. Note: While very much aware of trends in abstraction, Luke’s early painting style was heavily influenced by the Group of Seven. By the mid-40s she realized a desire for more advanced training and enrolled in summer school at the Banff School of Fine Arts where she met Jock Macdonald (see lot 99), who would become a lifelong friend. Luke is credited with first bringing together many of the artists who would form the Painters 11 when she developed an exhibition of abstract paintings in Oshawa in 1952. $5,000–7,000

101 JOHN MEREDITH, R.C.A. UNTITLED DRAWING II, 1964 ink on paper signed and dated ‘64 13.75 ins x 16.75 ins; 34.3 cms x 42.5 cms Provenance: The Isaacs Gallery, Toronto Private Collection, Ontario $2,000–3,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

102 RAYMOND JOHN MEAD UNTITLED watercolour signed and dated ‘52

Note: The body of works on paper to which this work relates is a crucial record of Mead's experimentation. In such works Mead plays with media and its particular effects, with drawing, shape and colour, all with no real preconceived notions. Murray refers to the paper works as a "laboratory-like setting for reconstructing the development of one of Canada's major Abstract Expressionists during his formative years."

22 ins x 29.75 ins; 54.6 cms x 72.4 cms Provenance: Private Collection, Ontario Private Collection, British Columbia (by descent) Literature: Joan Murray, Ray Mead: The Papers (catalogue), The Robert McLaughlin Gallery, Oshawa, 1988, page 11-12. $10,000–15,000

The imagery in this untitled work is ambiguous or, like other works from the period, not explicit. Ray Mead used such works on paper to explore. He did not necessarily view these works as preliminary to a canvas, rather Joan Murray contends that these pictures "are complete works in themselves. Even so," she continues "(Mead) occasionally notices, as much as ten years later, images from his drawings that have flowered into the paintings." Mead trained at the famous Slade School in London before immigrating to Canada. He settled in Hamilton in 1945 where he would meet Hortense Gordon. He became good friends with Alexandra Luke and participated in the abstract painting show she organized in Oshawa prior to the Abstracts at Home exhibit where the idea for the collective first took hold (see lot 100).

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103 KAZUO NAKAMURA, R.C.A. UNTITLED LANDSCAPE ‘81 watercolour on paper signed 15 ins x 22 ins; 36.2 cms x 51.4 cms Provenance: Gustafson Galleries, Toronto Private Collection, Ontario Private Collection, British Columbia (by descent) $1,500–2,000

104 JOHN MACGREGOR UNTITLED acrylic on canvas, unframed signed and dated ‘78 30.75 ins x 38.5 ins; 76.2 cms x 96.5 cms Provenance: Private Collection, Ontario Private Collection, British Columbia (by descent) Literature: Greg Bellerby, John MacGregor: A Survey (catalogue), Art Gallery of Greater Victoria, Victoria, 1983, page 4. Note: While MacGregor's work had used representational images, such as doors and chairs in his production prior to the mid-1970's, he embarked on a different path around 1975. Bellerby writes: "...(MacGregor) began to cast off the use of representational and to move toward non-representational painting." Additionally, the pastel colors he had favored gave way to primary colors with black used not simply as line but in an increasingly significant capacity. $3,000–4,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

105 DENNIS EUGENE NORMAN BURTON BRIDGE NEAR MACLEOD oil on masonite signed, titled and dated April ‘58 on the reverse

Note: Dennis Burton studied at OCA under Jock Macdonald in whom he found an informed and sympathetic mind on matters relating to abstraction. At the time, this was not a style widely embraced by the Toronto art college's administration or faculty (see lot 99). Joan Murray quotes the following anecdote recalled by Burton: "(Macdonald) told my parents who had come for my graduation in May 1956, that regardless of my final marks, I was the best painter he had encountered since Bill Ronald and that I should be encouraged to continue painting. He said I had 'it'."

28 ins x 48 ins; 71.1 cms x 121.9 cms Provenance: Private Collection, Toronto Literature: Joan Murray, Jock Macdonald's Students (catalogue), The Robert McLaughin Gallery, Oshawa, 1981, page 18. David Burnett and Marilyn Schiff, Contemporary Canadian Art, Hurtig Publishers, Edmonton, 1983, page 88.

Indeed, Macdonald had such faith in Burton's potential that he submitted his name for a Guggenheim fellowship which the artist was actually awarded. Due to an unfortunate case of misplaced correspondence, Burton did not know he had been chosen and never used the award. Ronald (see lot 96) and Coughtry (see lot 112) were also awarded this prestigious fellowship the same year. After graduating from art school in 1956, Burton struggled to establish a personal direction for his art. Following many visits to New York and closely considering the work of artists such de Kooning and Tworkov, by 1958 Burton’s own approach to abstraction was established. David Burnett interprets Burton’s abstracts as, “seeking to deal with the issues between a tightly organized structure and a free, gestural handling of paint.”

$7,000–9,000 The title of this work may refer to “Old Man River Bridge” in Fort Macleod, a landmark that Burton would have seen on his trips back home to Lethbridge, Alberta.

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106 CHRISTOPHER PRATT, R.C.A. TWO WORKS: STUDY FOR “GIRL IN THE SPARE ROOM,” 1984 & FISHER’S MAID, 1978 the first graphite, the second lithograph the first signed and dated ‘84, the second signed, titled, dated ‘78 and numbered 39/50 in pencil in the lower margin 14 ins x 10.5 ins; 35.6 cms x 26.7 cms; 11.75 ins x 14.75 ins; 29.8 cms x 37.5 cms Provenance: Mira Godard Gallery, Toronto Private Collection, U.S.A. Literature: The prints of Christopher Pratt, 1958-1991: Catalogue Raisonné with essays by Jay Scott and Christopher Pratt, Breakwater Books and Mira Godard Gallery, St. John’s and Toronto, 1991, page 69 for Fisher’s Maid reproduced. Josée Drouin-Brisebois, Christopher Pratt: All My Own Work, National Gallery of Canada, Ottawa, 2005, page 46-47 for the painting Girl in a Spare Room, 1984, reproduced in colour. Note: The painting Girl in a Spare Room for which the drawing in this lot is a study, is in the collection of the Montreal Museum of Fine Arts. Of Fisher’s Maid Pratt writes: “I had never done a lithograph before, but I knew the medium lent itself to night, to darkness, because of its capacity to do rich, inky blacks; and I had never done a figure in a print. Those things came together here.” $8,000–12,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

107 THOMAS DE VANY FORRESTALL, A.R.C.A. ALONG THE FENCE, 1969 egg tempera on gessoed board signed; also signed, titled and dated on the reverse, framed as a tondo 20 ins x 20 ins; 50.8 cms x 50.8 cms Provenance: Galerie Walter Klinkhoff Inc., Montreal Private Collection, Montreal $5,000–7,000

Exhibited: Tom Forrestall, The Beaverbrook Art Gallery, Fredericton, N.B. July-Sept 1971, no.28 and circulated to other galleries including Mendel Art Gallery; the Art Gallery of Greater Victoria; the University of Alberta; the Art Gallery of Windsor; the Montreal Museum of Fine Arts and the Winnipeg Art Gallery. Tom Forrestall, Centre Culturel Canadien, Paris, Nov 16-26, 1972, no.11. Tom Forrestall Retrospective Exhibition (1957-1978), Owens Art Gallery, Mount Allison, 1978; also exhibited at the Art Gallery of Nova Scotia; Saidye Bronfman Centre, Montreal; Art Gallery of Hamilton; The Glenbow Museum, Calgary; Mendel Gallery, Saskatoon; Victoria Art Gallery and the Beaverbrook Art Gallery, Fredericton. Literature: Tom Smart, Tom Forrestall: Paintings, Drawings, Writings, Key Porter Books, Toronto, 2008, pages 58-59. Tom Forrestall Retrospective Exhibition (1957-1978) (catalogue), Owens Art Gallery, Mount Allison, New Brunswick, 1978, outside back cover for this work, reproduced in colour. Note: Tom Smart writes: “Forrestall’s paintings of the late 1960s certainly show him as the diarist of the everyday, adept at representing texture and minute details - the truth of the subject.” Along the Fence, 1969 depicts the typical rather than the extraordinary, and epitomizes what one curator (referenced by Mr. Smart) has described as “the introspective expression of a man who delights in vivid reality.”

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108 TOM HOPKINS BANQUET oil on canvas signed; also signed, titled and dated 1988 on the reverse 69 ins x 50 ins; 175.3 cms x 127 cms $8,000–12,000

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Provenance: Equinox Gallery, Vancouver The Drabinsky Gallery, Toronto Private Collection, Toronto


Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

109 WILLIAM HADD MCELCHERAN, R.C.A. STRIDING BUSINESSMAN WITH ATTACHÉ

Provenance: Private Collection, Toronto

bronze inscribed with initials and dated ‘89 height 12.75 ins; 32.4 cms $10,000–15,000

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110 WILLIAM KURELEK, R.C.A. STUDY FOR RURAL LIFE IN THE CANADIAN COLONIES pencil with another pencil sketch and the inscription “Bank of Montreal Collection” on the backing 10.5 ins x 12.75 ins; 26.7 cms x 32.4 cms Provenance: Acquired directly from the artist Private Collection, Hamilton (by descent) Literature: Merrill Denison, Canada’s First Bank: A History of the Bank of Montreal, Volume One, McClelland & Stewart Limited, TorontoMontreal, 1966, page 95 for the painting related to this sketch, reproduced in colour. $1,500–2,000

111 DAVID LLOYD BLACKWOOD, O.S.A., R.C.A. SICK CAPTAIN RETURNING etching and aquatint printed in colours signed, titled, dated 1972 and inscribed “Artist’s Proof” in pencil in the lower margin sight 33 ins x 21 ins; 83.8 cms x 53.3 cms Provenance: Gallery Pascal, Toronto Literature: William Gough, The Art of David Blackwood, McGraw-Hill Ryerson Limited, Toronto/Montreal, 1988, Plate 40 for Sick Captain Returning, reproduced. $3,000–5,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

112 JOHN GRAHAM COUGHTRY FIGURE STUDY II oil on paper signed and dated ‘62

Literature: Art Gallery of Ontario: Selected Works, Art Gallery of Ontario, Toronto, 1990, page 334. Anna Hudson, “Disarming Conventions of Nudity in Canadian Art” in The Nude in Canadian Modern Art 1920-1950, Musée national des beaux-arts du Québec, 2009, page 80.

44 ins x 59 ins; 121.9 cms x 152.4 cms Provenance: The Isaacs Gallery, Toronto Private Collection, Montreal $9,000–12,000

Jeffrey Spalding “Introduction: Going Out on a Limb” in Kim Dorland, McMichael Canadian Art Collection, Kleinburg, Ontario, 2014, page 6. Note: Dr. Anna Hudson has remarked that it is landscape painting that defines Canadian Art. Certainly a survey of Canadian art demonstrates the irrefutable accuracy of her statement. Even today one is struck by the paucity of figure work by Canadian artists exhibited in galleries or appearing on the market. Jeffrey Spalding quotes Graham Coughtry who spoke “for a new generation (of Canadian artists) by infamously exclaiming that ‘every damn tree in the country has been painted’.” In the early sixties Markle, Snow and Burton were incorporating the human figure into their work as was Coughtry, despite the fact that according to the AGO at that time “formalist criteria dismissed the figure as an inappropriate artistic concern.” A further wave of resistance would come later with discussions surrounding the male gaze. This lot is, however, as much a manifestation of the artist’s delight in celebrating the sensuosity and pleasure of paint as it is a celebration of flesh although admittedly, much work from this period, particularly the Two Figures works is sexually charged.

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113 EMILY GERALDINE COONAN STILL LIFE oil on canvas signed 16 ins x 20 ins; 40.6 cms x 50.8 cms Provenance: Private Collection, Montreal Literature: Karen Antaki, Emily Coonan (1885-1971), Concordia Art Gallery, Montreal, 1987. Note: According to Karen Antaki: "... Although undated, this lot is stylistically akin to works of the late 40s, and encapsulates Coonan’s signature ability to transform mundane subjects into persuasive paintings. Carefully composed, effortlessly executed, it depicts an arrangement of meal-related items — lettuce, tomatoes, a teapot and an empty sugar bowl — set out on a kitchen tabletop. The crockery is commonplace, the produce is plain, and the space is otherwise empty. Despite its homely traits, and the familiarity of the ordinary objects, the setting remains anonymous, much like the ‘portraits’ of Coonan’s early years. In many ways this ambiguity enhances the painting’s universal appeal; the scene is knowable, if unknown. This intimated familiarity, along with the fresh naturalism of the colour scheme, serves to trigger memories of easy, breezy summer meals." $5,000–6,000

114 MAUD LEWIS TEAM OF OXEN oil on board signed 12 ins x 14 ins; 30.5 cms x 35.6 cms Provenance: Private Collection, New York Literature: Lance Woolaver, The Illuminated Life of Maud Lewis, Art Gallery of Nova Scotia, 1996, page 23 for a closely related work entitled Under Spruce, reproduced in colour. $4,000–6,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

115 JOE FAFARD, R.C.A. MILA patinated bronze signed, dated ‘04 and numbered 9/9 13.25 ins x 13.5 ins x 4 ins; 33 cms x 35.6 cms x 17.8 cms Provenance: Private Collection, Edmonton $5,000–7,000

116 BERTHE DES CLAYES HAULING ICE oil on canvas signed 18 ins x 24 ins; 40.6 cms x 61 cms Provenance: Private Collection, Toronto $4,000–5,000

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J. RUSSELL HARPER (1914-1983), O.C., F.R.S.C. Russell Harper was the National Gallery of Canada’s Curator of Canadian Art from 1959-1963. He also held positions at the Royal Ontario Museum as well as the McCord Museum in Montreal. He was made an Officer of the Order of Canada in 1974. Author of a number of seminal works advancing knowledge and appreciation of Canadian Art History, he is perhaps most widely recognized as the author of Painting in Canada: A History, which was first published in 1966 and, according to

Laurier Lacroix was the first survey of Canadian Art “to make an effort to provide genuinely ‘national coverage’.” He is also broadly known for his monograph on Cornelius Krieghoff (1979). While Russell Harper’s extensive library was generously donated to the National Gallery of Canada in the early 1990s, elements of his extensive collection of Canadian Art remained with the Harper family, including the following six lots.

117 FRITZ BRANDTNER STILL LIFE

118 JACK WELDON HUMPHREY PORTRAIT OF A YOUNG BOY

coloured inks signed

oil on canvas signed

8.25 ins x 6.25 ins; 21.6 cms x 15.9 cms

20 ins x 16 ins; 25.4 cms x 40.6 cms

Provenance: Private Collection of J. Russell Harper Private Collection, Montreal (by descent)

Provenance: Private Collection of J. Russell Harper Private Collection, Montreal (by descent)

$2,500–4,000

$1,500–2,000

119 FREDERICK NICHOLAS LOVEROFF, O.S.A., A.R.C.A. SNOW REFLECTIONS

120 FREDERICK NICHOLAS LOVEROFF, O.S.A., A.R.C.A. MARCH EVENING

oil on board signed

oil on board signed; also signed and titled on the reverse

8.5 ins x 10.5 ins; 21.6 cms x 25.4 cms

6.75 ins x 8 ins; 15.2 cms x 17.8 cms

Provenance: Private Collection of J. Russell Harper Private Collection, Montreal (by descent)

Provenance: Private Collection of J. Russell Harper Private Collection, Montreal (by descent)

$2,500–3,000

$1,500–2,000

121 ANGUS TRUDEAU THE CITY OF MIDLAND, 1975

122 EDITH GRACE COOMBS, O.S.A. IN THE PATH OF THE STORM, NORTHERN ONTARIO

mixed media on board titled “The City of Midland”

oil on canvas signed and dated 1926

23.5 ins x 30.5 ins; 58.4 cms x 76.2 cms 24 ins x 36 ins; 61 cms x 91.4 cms Provenance: The Isaacs Gallery, Toronto Private Collection of J. Russell Harper Private Collection, Montreal (by descent)

Provenance: Private Collection of J. Russell Harper Private Collection, Montreal (by descent)

$3,000–4,000

$3,000–4,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

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123 BARKER FAIRLEY, R.C.A. ELLEN ADAMS (HAMMER SCHLAGL), 1967 oil on masonite signed; also signed, titled and dated on the reverse 20 ins x 16 ins; 49.5 cms x 39.4 cms Provenance: Private Collection, Ontario Literature: Gary Michael Dault, Barker Fairley Portraits, Methuen Publications, Agincourt, Ontario, 1981, pages X and XVII. Note: Barker Fairley wrote, “What I’m seeking is an aspect of the face. Something by which a face becomes humane and reflects on humanity. When it does happen that way, it happens because of the visual freedom I give myself.” While this portrait, like others we have offered by Barker Fairley, is titled and represents a specific person as opposed to an archetype, it seems evident that he was looking for something of the universal in this picture rather than the specific. Here, Ellen Adams, appears as “woman.” No backdrop situates her, no prop gives us a clue to her proclivities, personality or vocation. Rather she is rendered as timeless as a Greek kore. $3,000–4,000

124 BARKER FAIRLEY, R.C.A. FIELD COLOURS, 1962 oil on masonite signed; also signed, titled and dated on the reverse 20 ins x 24 ins; 49.5 cms x 59.7 cms Provenance: Private Collection, Ontario Note: Fairley often grappled with how much to put into his painting preferring, as in this lot, to leave as much implied as stated. His most successful landscapes are painted economically and rigorously limit themselves to the essentials in terms of both colour and line. $4,000–6,000

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Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

125 FREDERICK BOURCHIER TAYLOR, R.C.A. THE CHURCH OF SAN GUANITO, OAXACA, MEXICO oil on canvas signed and dated ‘57 36 ins x 30 ins; 91.4 cms x 76.2 cms Provenance: Private Collection, Montreal Literature: John Virtue, Fred Taylor, Brother in the Shadows, McGill-Queens University Press, Montreal & Kingston, 2008, pages 174-175. Note: Renowned for his depictions of Montreal street scenes, Fred Taylor moved from Montreal to San Miguel, Mexico in 1960 where he would reside for the remainder of his life. Taylor viewed San Miguel, then as now a robust artist’s colony, as a place where makers of art were valued and where the government demonstrated its support. The town was filled with fellow artists, and the camaraderie he found there reminded him of his art school days in London. Taylor enjoyed the paintable scenes that abounded in San Miguel, and reveled in this cultural hub. Taylor died in San Miguel in 1987 at the age of 81. $3,000–5,000

126 GRAHAM NOBLE NORWELL, O.S.A. FALL IN THE LAURENTIANS oil on board signed 16.5 ins x 23.25 ins; 42.5 cms x 59.7 cms Provenance: Private Collection, Ontario Private Collection, British Columbia (by descent) $2,000–3,000

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CanadianArt.Waddingtons.ca

127 HAROLD TOWN TWO WORKS: ENIGMA NO. 6 (CAGE AND BABY), 1984, AND ENIGMA NO. 3 (QUEEN WITH HANGING BODY), 1964 ink and wash on light brown paper signed and dated “16-17-64” and “1314/64”, respectively both 19 ins x 26 ins; 48.3 cms x 66 cms $7,000–9,000

128 PAUL FOURNIER, R.C.A. WINDHOVER acrylic on canvas signed and dated 81/82 40 ins x 80 ins; 101.6 cms x 203.2 cms $3,000–5,000

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Provenance: Walter and Else Landauer, Toronto Private Collection, Toronto Exhibited: XXIII Venice Biennale, Venice, Italy, 1965, cat no. 96 (Cage and Baby) and cat.no. 93 (Queen with Hanging Body). Literature: David Burnett, Town, Art Gallery of Ontario, Toronto, 1986, pages 142-152 for an extensive discussion of the Enigma Series.


Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

Index

A/B

Letendre, Rita (b.1928)…58

Banting, Frederick Grant (1891-1941)…78

Lewis, Maud (1903-1970)…4, 5, 114

Bates, Maxwell Bennett (1906-1980)…94

Lismer, Arthur (1885-1969)…34, 35

Beaulieu, Paul Vanier (1910-1996)…22

Little, John Geoffrey Caruthers (1928-)…25, 29,

Bellefleur, Leon (1910-2007)…21

Loveroff, Frederick Nicholas (1894-1959)…119, 120

Blackwood, David Lloyd (b.1941)…111

Luke, Alexandra (1891-1967)…100

Bobak, Molly Lamb (1922-2014)…98

Lyall, Laura Muntz (1860-1930)…90

Brandtner, Fritz (1896-1969)…117

M/N

Burton, Dennis Eugene Norman (1933-2012)…105

MacDonald, James Edward Hervey (1873-1932)…15, 31, 32, 39

C

Macdonald, James (Jock) Williamson Galloway (1897-1960)…99

Casson, Alfred Joseph (1898-1992)…8, 36, 40, 48, 73

MacDonald, Manly Edward (1889-1971)…28, 64, 71

Coburn, Frederick Simpson (1871-1960)…37

MacGregor, John (1944-)…104

Collyer, Nora Frances (1898-1979)…6, 7, 54

Matthews, Marmaduke (1837-1913)…89

Comfort, Charles Fraser (1900-1994)…1

May, Henrietta Mabel (1877-1971)…38

Comtois, Louis (1945-1990)…57

McCarthy, Doris Jean (1910-2010)…95

Coombs, Edith Grace (1890-1986)…122

McElcheran, William Hadd (1927-1999)…109

Coonan, Emily Geraldine (1885-1971)…113

Mead, Raymond John (1921-1998)…102

Coughtry, John Graham (1931-1999)…112

Meredith, John (1933-2000)…101

D

Morrice, James Wilson (1965-1924)…55

Dallaire, Jean-Phillipe (1916-1965)…51

Morris, Kathleen Moir (1893-1986)…43

Des Clayes, Berthe (1877-1968)…116

Nakamura, Kazuo (1926-2002)…103

Dorland, Kim (b.1974)…49

Norwell, Graham Noble (1901-1967)…126

Duncan, James (1806-1881)…62

P/Q/R

F Fafard, Joe (b.1942)…115 Fairley, Barker (1887-1986)…123, 124 Ferron, Marcelle (1924-2001)…23 FitzGerald, Lionel Lemoine (1890-1956)…44, 45 Forrestall, Thomas De Vany (b.1936)…107 Fortin, Marc-Auréle (1888-1970)…12, 17, 18 Fournier, Paul (b.1939)…128 G/H Gagnon, Clarence Alphonse (1881-1942)…11, 67, 92, 93 Gray, Jack Lorimer (1927-1981)…87 Hammond, John A. (1843-1939)…84, 85 Hewton, Randolph Stanley (1888-1960)…46 Hopkins, Tom (1955-2011)…108 Hudon, Normand (1929-1997)…14 Humphrey, Jack Weldon (1907-1967)…118 I/J/K Iskowitz, Gershon (1921-1988)…2 Jackson, Alexander Young (1882-1974)…75, 76, 77, 79 Johnston, Frank Hans (1888-1949)…33, 66, 83 Johnstone, John Young (1887-1930)…24, 81 Krieghoff, Cornelius (1815-1872)…59, 60 Kurelek, William (1927-1977)…42, 47, 52, 69, 110 L Leduc, Ozias (1864-1955)…88

Pratt, Christopher (b.1935)…106 Phillips, Walter Joseph (1884-1963)…61 Reid, Mary Hiester (1854-1921) …27 Riopelle, Jean-Paul (1921-2002)…9 Roberts, William Goodridge (1904-1974)…65, 68 Robinson, Albert Henry (1881-1956)…72 Ronald William (1926-1998)…3, 96 S Schaefer, Carl Fellman (1903-1995)…82 Shadbolt, Jack Leonard (1909-1998)…56 Sheppard, Peter Clapham (1882-1965)…70 Surrey, Philip Henry Howard (1910-1990)…50 Suzor-Coté, Marc-Aurèle de Foy (1869-1937)…13, 26, 30 T Taylor, Frederick Bourchier (1907-1987)…125 Teitelbaum, Mashel (1921-1985)…97 Thomson, Tom (1877-1917)…19 Town, Harold Barling (1924-1990)…53, 127 Trudeau, Angus (1908-1984)…121 V Varley, Frederick Horsman (1881-1969)…41, 74 Verner, Frederick Arthur (1836-1928)…63, 80 W Walker, Horatio (1858-1938)…91 Watson, Homer Ransford (1855-1936)…86

Lemieux, Jean Paul (1904-1990)…10, 16, 20

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Canadian Fine Art Auction - Monday 21 November 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 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 condition of a lot before bidding. Condition reports are available upon request by phone, fax, email or in person. You are advised to make any requests well in advance of the sale. Frames on artwork are not included as part of purchase

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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 25% of the successful bid price of each lot. A charge of 13% HST (Harmonized Sales Tax) is applicable on the hammer price and buyer's premium, except for purchases exported from Canada. In the case where purchases are shipped out of the province of Ontario, the HST or GST is charged based on the tax status of that province. Bidding To bid in person at the auction, you must register for a bidding number by showing identification acceptable to the Auctioneer upon entering the salesroom. Your number will identify you if you are the successful bidder. You will be responsible for all lots purchased on your bidding number. Banking information may be requested by Waddington’s™. You may submit an Absentee Bid Form if you are unable to attend the sale. Bidding by telephone, in limited circumstances, can be arranged prior to the sale. While we are pleased to offer absentee and telephone bidding as a service to our clients, and take great care in their commission, the Auctioneer will not be responsible for technical difficulties, errors or failure to execute bids. The Auctioneer may also execute bids on behalf of the consignor to protect the reserve. The

reserve is the confidential minimum price the seller is willing to accept for his or her property, below which it will not be sold. Payment Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certified cheque (U.S. & Overseas not applicable), travelers cheque, bank draft, electronic transfer (fee applies), VISA or Mastercard (up to $25,000). ALL PRICES IN CANADIAN FUNDS 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.


Canadian Fine Art Auction - Monday 21 November 2016 at 7 pm

Selling at Waddington’s

Notice for our International Clients

Waddington’s Commission Rates Items selling for $7,501 or more 10%

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.

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.

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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CanadianArt.Waddingtons.ca

Operational Sta

Specialist Departments

Asian Art Chih-En Chen  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

Jamie Long 416 847 6188 jl@waddingtons.ca Otto Lam Assistant ol@waddingtons.ca

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

Solomon Alaluf Assistant sa@waddingtons.ca

Vancouver.Waddingtons.ca

Accounts Manager

Vancouver, Canada

Karen Sander 416 847 6173 ks@waddingtons.ca

Jacqui Dixon 778 837 4588 jd@waddingtons.ca

Fine Wine & Spirits Stephen Ranger 416 847 6194 skr@waddingtons.ca

Online Auction Support / Accounts Manager Elda Pappada 416 504 9100 x6213 ep@waddingtons.ca Customer Service Administrator Dee Ismail 416 504 9100 di@waddingtons.ca


Canadian Fine Art Waddingtons.ca

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

Telephone: 416.504.5100 Fax: 416.504.0033 Toll Free: 1.877.504.5700

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Canadian Fine Art Auction | Nov. 21, 2016  

Canadian Fine Art Auction | Nov. 21, 2016