Canadian Fine Art Auction | November 27, 2013

Canadian Fine Art Auction Wednesday 27 November 2013

Waddingtons.ca

Canadian Fine Art Auction Wednesday 27 November 2013 at 7:00 pm

On View Sunday 24 November from 11:00 am - 5:00 pm Monday 25 November from 11:00 am - 7:00 pm Tuesday 26 November from 11:00 am - 7:00 pm Wednesday 27 November from 10:00 am - 12:00 noon Preview and Auction to be held at Waddington’s 275 King Street East, 2nd Floor Toronto Ontario Canada M5A 1K2 This auction is subject to the Conditions of Sale printed in the back of this catalogue.

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

Waddingtons.ca

Front Cover Lot 35 (detail) ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. LEAF-BURNING, AUTUMN IN ONTARIO Back Cover Lot 99 KOSSO ELOUL, R.C.A. MEETING PLACE Inside Front Cover Lot 140 FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A. QUEEN VICTORIA’S JUBILEE, 1897 Inside Back Cover Lot 62 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. OCTOBER, LAKE KAMANISKEG, 1959

Specialist Linda Rodeck 416 847 6176 lr@waddingtons.ca Client Services Kristin Vance 416 504 5100 kv@waddingtons.ca Corporate Receptionist Kate Godin 416 504 9100 kg@waddingtons.ca Accounts Manager Karen Sander 416 847 6173 ks@waddingtons.ca Absentee and Phone Bidding 416 504 0033 (Fax) bids@waddingtons.ca Online Bidding www.artfact.com

All lots in the auction may be viewed online at CanadianArt.Waddingtons.ca This catalogue and its contents © 2013 Waddington McLean & Company Ltd. All rights reserved.

Photography by Waddington’s

It is a pleasure to present Waddington's Fall 2013 Auction of Canadian Fine Art. Highlights of the auction include important works by B.C. Binning, Jean McEwen, Lise Gervais, Cornelius Krieghoff, Paterson Ewen, Kazuo Nakamura, Jean-Paul Lemieux and many others, in addition to strong representation from the Group of Seven and Canada's early watercolourists Washington Friend, Frederic Marlett Bell-Smith and Frederick Verner. We have complemented our classic offerings with rare finds such as a fascinating Florence Vale collage, a synesthetic cityscape by John Clark and one of two existing AP maquettes for Kosso Eloul's "Meeting Place", the monumental sculpture that dominates 160 Bloor Street East in Toronto.

In addition to our Canadian consignors, collectors and estates from the United States and abroad have entrusted us with their property and we have brought you works of art from Tel Aviv, Los Angeles, New England, South Carolina, Paris and the United Kingdom.

This auction also marks my return to Waddington’s. Over what is now 25 years of diverse experience in the industry, I am delighted to rejoin a cadre of professionals who share my passion and commitment to providing the best in art – and the auction experience – to our clients.

As part of Waddington’s leadership team I look forward to presenting extraordinary Fine Art and to building on our reputation of excellence to bring new and innovative initiatives to our clients.

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

Waddington’s

Leadership Team

Waddington’s is Canada’s most diverse and significant provider of fine art auction and appraisal services. Based on a rich legacy in the industry, Waddington’s actively seeks to redefine our business to ensure we remain fresh and reactive to what our clients are seeking. Through our appraisal, auction, private sale and downsizing expertise, we are pleased to provide a complete range of services.

Waddington’s leadership team brings together three of the industry’s best. The combination of their experience, knowledge of market trends and client networks builds on Waddington’s 160 year legacy of growth and dominance.

Waddington’s is Canada’s original auction house, with a history of conducting auctions since 1850.

We are also an international auction house, providing access to world markets.

Waddington’s is an innovative leader. We enjoy pushing the limits, exploring new territory and creating new partnerships. From the marathon auction of Maple Leaf Gardens, our partnership with the LCBO to auction fine wine, to the launch of Concrete Contemporary and our new Pop-Up Gallery series, we are driven to find what’s new, what’s exciting, and what you want to buy or sell.

Waddington’s by Department Asian Art Canadian Fine Art Contemporary Art Auctions and Projects Decorative Arts International Art Inuit Art Jewellery, Watches & Numismatics “Off the Wall” Art Transitions Philanthropy and Community

Duncan McLean, President, is Waddington’s corporate leader, responsible for strategic development and innovation realization. Under his direction Waddington’s strives to not only continuously evolve to meet the needs of our clients and address the demands of the market, but to push the boundaries, with integrity, creativity and passion.

Mr. McLean has been involved in the auction industry for 35 years, as art specialist, appraiser, auctioneer and corporate leader. His knowledge base spans the diversity of Waddington’s offerings, with internationally-recognized expertise in Inuit Art. As Vice President Business Development, Stephen Ranger is focused on identifying new markets, new clients and new ways to do business. For example, Mr. Ranger launched Waddington’s Contemporary Art venture, Concrete Contemporary, to reach an exciting new sector of art enthusiasts and artists.

Under Mr. Ranger’s guidance, new partnerships are also being created resulting in edgy new offerings like our Pop-Up Gallery series debuting in 2013.

Mr.Ranger brings over 25 years of diverse experience as an auctioneer, appraiser and consultant in the art auction industry with specific expertise in Canadian Fine Art. Linda Rodeck, Vice President Fine Art, is one of Canada’s most trusted and respected Canadian Art specialists. Her impressive career of 25+ years includes leadership roles in the country’s most distinguished auction houses. Ms. Rodeck’s keen understanding of the market and her extensive network are invaluable in her role of sourcing the best works and providing the best service to our clients.

As Vice President of Waddington’s Fine Art, Ms. Rodeck will play a critical role in developing new business by leveraging her success in the Canadian art market.

Canadian Fine Art

Asian Art

Waddington’s has been a major force in the Canadian art sector for over five decades, beginning with our first auction of Canadian Fine Art held at the Queen Elizabeth Building at the CNE in 1967.

Since that historic event, Waddington’s has offered some of the most important Canadian works, set record prices, and has been an integral part of driving the Canadian art market.

Waddington’s Asian Art department is Canada’s leader in serving the demands of the rapidly growing Asian market supported by our recognized and credible expertise. Our ability to achieve exceptional prices for works, including the Canadian record for the highest price for an Asian work of art, is based on our international reputation and network with the community.

With the return of Linda Rodeck, one of Canada’s most respected art specialists, Waddington’s is proud to rename our Canadian Art division under the Waddington’s brand umbrella.

Specializing in jade, paintings, porcelain, religious works of art, textiles, woodblock and export wares, we present works from China, Japan, Korea, South East Asia, South Asia, Himalaya and others.

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

Anthony Wu Specialist, Asian Art

Concrete Contemporary Auctions and Projects

Decorative Arts

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

Decorative Arts at Waddington’s encompasses a broad and diverse variety of objects and the department's client database is one of our largest. From ancient to modern, delicate to deadly, Waddington’s Decorative Arts department redefines the term, bringing much more than traditional silverware and porcelain figurines to market, and with remarkable success.

Concrete Contemporary Auctions merges the worlds of traditional auction and the retail gallery, where our relationships with artists, art dealers, curators and collectors result in exciting new sources of contemporary works. The auctions are tightly focused on Canadian contemporary art since 1980 with an emphasis on mid- and latecareer artists with exhibition history in the private and public sphere.

An exciting initiative of CCAP is the launch of our Pop-Up Gallery series in 2013.

These short-duration, single artist shows offer works by some of Canada’s most accomplished working artists.

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

Waddington’s reputation for developing new markets is well represented by our Decorative Arts department, as is our ability to present large collections – notable recent sales have included Contemporary Studio Glass, Scientific Instruments and Militaria.

The department regularly offers auctions which include bronzes, items of Canadian Historical interest, ceramics, devotional works of art, glass, lighting, militaria, mirrors, objets de vertu, porcelain, scientific instruments, travel and exploration maps.

Bill Kime Senior Specialist, Decorative Arts

Stephen Ranger Senior Specialist, Contemporary Art

Sean Quinn Specialist, Decorative Arts

International Art

Inuit Art

Waddington’s International Art department has expanded its scope to present auctions of fine art from around the world, with a focus on works from the United Kingdom, across Europe, Russia and the United States. A major element of Waddington’s legacy, our International Art auctions thrive on Canada’s cultural diversity. The combination of our expertise and that of our substantive network ensures the highest standards of authentication and research.

Waddington’s is internationally recognized as one of the leading authorities in marketing Inuit Art. No other auction house has been as intrinsically linked to the development of a market for this art form.

Inuit Art is a proud part of our DNA. From our first landmark auction in 1978 of the William Eccles Collection, Waddington’s has offered thousands of works, set record prices, and expanded the market well beyond Canada’s borders.

Original works, photographs, prints and sculpture are offered in our live auctions and online auctions, attracting international clients.

Susan Robertson Senior Specialist, International Art

Our legacy of successful Inuit Art auctions, our ability to achieve continually increasing values and our creation of an international market have been key factors in validating Inuit art as a whole and establishing it as an integral part of the Canadian Art scene.

Duncan McLean Senior Specialist, Inuit Art

Christa Ouimet Specialist, Inuit Art

Jewellery, Watches and Numinastics

“Off the Wall” Art

Waddington’s has conducted auctions of Fine Jewellery and Numismatics for close to three decades. Highly respected expertise and in-depth knowledge of both domestic and international markets is the anchor of our ongoing success and the popularity of our auctions.

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

Our auctions include unmounted gemstones, finely crafted pieces by many of the most desireable names in jewellery including Tiffany, Cartier, Gucci, Hermes, Van Cleef & Arpels, etc., fine watches, as well as antique pieces, coins and banknotes.

Donald McLean Senior Specialist, Jewellery, Watches and Numismatics

These monthly, online auctions are always an eclectic selection of affordable works – a great way to learn, enjoy art and start building a collection. Working closely with our other divisions, this auction has developed its own diverse and extensive network of clients.

Doug Payne Specialist, Fine Art

Transitions

Philanthropy and Community

Transitions is Waddington’s downsizing and estate management service, created specifically for clients going through a transition who require knowledgeable, qualified and professional advice.

Waddington's is committed to working within the community by contributing our time to charity fundraising events and appraisal clinics. We are honoured to work with countless museums, galleries, art organizations and fund raising events and contribute our time to over 20 events each year raising over $2,000,000 annually for the community.

Successful downsizing and estate planning require an accurate appraisal of tangible assets. Drawing on Waddington’s 160 years of experience across our diverse areas of specialties, Transitions helps clients make informed decisions to keep, gift, sell or donate.

Our clients include fiduciaries, executors and beneficiaries responsible for settling estates, as well as private clients looking to downsize and turn their material encumbrances into a monetary resource.

Transitions is an end-to-end solution to help you sort, value, sell and move on to the next stage.

Marcia Kim Manager

Ellie Muir Coordinator

In addition, the Concrete Contemporary Acquisition Fund each year funds 50% of the purchase price for a work of contemporary Canadian art for a public institution.

In 2012/2013 we have supported the following organizations: Aids Committee of Toronto, SNAP Best Buddies Birdlife International Canadian Opera Company Casey House, Art with Heart Casey House, Snowball CAMH Unmasked Covenant House The Furniture Bank Integra Foundation Lake Ontario Waterkeepers OCAD University Metro Toronto Zoo Montreal Children’s Hospital Nyota School, Kenya Princess Margaret Hospital Robert McLaughlin Gallery Second Harvest, Toronto Taste Serve Canada St. Mary’s General Hospital, Kitchener St. Michaels Hospital, ARTGEMS The STOP Foodbank Toronto Symphony Orchestra The Varley Gallery Windsor Art Gallery Warchild Canada York University Fisher Fund

Canadian Fine Art Lots 1–193

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1 GRAHAM NOBLE NORWELL, O.S.A. GATINEAU VILLAGE, WINTER oil on canvas signed 39.5 ins x 49 ins; 100.3 cms x 124.5 cms Provenance: Continental Galleries of Fine Art, Montreal Private Collection, Connecticut Exhibited: Canadian National Exhibition, Toronto, Fine Arts Department, 1924 $8,000—10,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

2 MARY HIESTER REID, O.S.A., A.R.C.A. STILL LIFE WITH WHITE ROSES oil on canvas signed and dated 1896 12.5 ins x 14.5 ins; 31.8 cms x 36.8 cms Literature: Brian Foss and Janice Anderson, Quiet Harmony: The Art of Mary Hiester Reid, Art Gallery of Ontario, 2000, cover for a related still life, reproduced in colour. $4,000—6,000

3 ISABEL MCLAUGHLIN, O.S.A HAPPY DAYS mixed media drawing 27 ins x 36 ins; 68.6 cms x 91.4 cms Literature: Joan Murray, Isabel McLaughlin: Recollections, Oshawa, 1983, pages 11 and 20 and page 93 for a work entitled Fish Having Fun, reproduced.

Note: Joan Murray describes McLaughlin as “one of the most important modernists in this country.” Mentored by Arthur Lismer and Lawren Harris, McLaughlin eventually developed an approach to creating that was independent of the influence of these two giants of Canadian art. “I got going in my way”, she said. Happy Days, probably executed in the late 1940s / early 1950s, affirms this shift toward something more uniquely her own - something happier, simpler, freer and more rhythmic. $1,500—2,000

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4 JOHN RICHARD (JACK) REPPEN BLUE KING mixed media on canvas signed and dated ‘64 43 ins x 30 ins; 109.2 cms x 76.2 cms Provenance: The Estate of a Private Collector, Los Angeles $5,000—7,000

5 ANDRE CHARLES BIELER, O.S.A., R.C.A. ON THE RIDEAU collage on canvas board titled on the artist’s label on the reverse 20.75 ins x 18.75 ins; 50.8 cms x 57.7 cms Provenance: Private Collection, Kingston $1,500—2,000

6 DAVID LLOYD BLACKWOOD, O.S.A., R.C.A. MAN WARNING TWO BOYS etching and aquatint printed in colours signed, titled, dated 1982 and numbered 39/50 in pencil in the lower margin 19.75 ins x 31.5 ins; 50.2 cms x 80 cms Literature: William Gough, The Art of David Blackwood, Toronto/Montreal, 1988, chapter entitled “Home in Wesleyville”, plate 37 for Man Warning Two Boys, reproduced in colour. $3,000—4,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

7 JACK BEDER MIETTE RANGE, CANADIAN ROCKIES, J.N.P., 1969 oil on canvas board signed 16 ins x 20 ins; 40.6 cms x 50.8 cms $1,500—2,000

8 JOHN RICHARD (JACK) REPPEN UNTITLED mixed media on board signed and dated ‘63 48 ins x 36 ins; 121.9 cms x 91.4 cms Provenance: The Estate of Oscar Peterson, Ontario $6,000—8,000

9 PIERRE PAUL BERTIN VILLAGE oil on canvas signed and indistinctly dated 49 ins x 49 ins; 124.5 cms x 124.5 cms Provenance: John Arena, Toronto $3,000—4,000

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10 DAVID ALEXANDER FROM THE VAULT TOP acrylic on canvas signed 47 ins x 60.5 ins; 119.4 cms x 153.7 cms Provenance: Galerie Elca London, Montreal $3,000—5,000

11 PETER ROTTER BIRCH GROVE oil on canvas signed 66 ins x 50 ins; 167.6 cms x 127 cms $5,000—7,000

12 THOMAS HAROLD BEAMENT, P.R.C.A. UTAKIJUT - THE WAITING ONES oil on canvas signed; signed, titled and inscribed “Exhibited in the Tate Gallery, London” on the overflap 24 ins x 31 ins; 61 cms x 78.7 cms $4,000—6,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

13 BARKER FAIRLEY, R.C.A. CUT IN ROAD oil on board signed; signed, titled and dated 1962 on the reverse 11.25 ins x 14 ins; 28.6 cms x 35.6 cms Provenance: Private Collection, Toronto Literature: Gary Michael Dault, “Barker Fairley”, review, Canadian Art magazine, Spring 1987, pages 99100.

Note: Gary Michael Dault has described Fairley’s paintings as “assured and economical.”

“The landscape,” he quotes Fairley as saying, “is the great Canadian fact.” Dault writes: “That’s the way [Fairley] painted it: boldly and simply and eloquently and with a vision unmediated by self-conscious decorativeness.” $3,000—4,000

14 JOHN RICHARD (JACK) REPPEN THE SECRETS OF THE NIGHT oil and mixed media on masonite signed and dated ‘62; signed, titled and dated on the stretcher 24 ins x 36 ins; 61 cms x 91.4 cms $5,000—7,000

15 GRAHAM FOWLER WATER LILIES oil on canvas 36.25 ins x 49.25 ins; 92.1 cms x 125.1 cms $3,000—5,000

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16 KOSSO ELOUL, R.C.A. UNTITLED aluminum 9.75 ins x 5 ins x 5 ins; 24.8 cms x 12.7 cms x 12.7 cms Provenance: Private Collection, Tel Aviv (by descent) $2,000—3,000

17 CATHY DALEY UNTITLED - POLKA DOTS AND STILETTOS pastel on vellum signed and dated 2000 42 ins x 67.5 ins; 106.7 cms x 171.5 cms $3,000—5,000

18 CHARLES DAUDELIN COMPOSITION collage signed and dated ‘47 12 ins x 9 ins; 30.5 cms x 22.9 cms Provenance: Gerard Gorce Beaux-Arts Inc., Montreal Gallery ModernArts, London $1,500—1,800

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

19 LISE GERVAIS EMAUX VOLATILES oil on canvas signed and dated /64 71.5 ins x 24.5 ins; 177.5 cms x 61.3 cms Provenance: The Estate of a Private Collector, Los Angeles $18,000—22,000

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20 FLORENCE GERTRUDE VALE SEATED GIRL oil on canvas board signed 20 ins x 15.25 ins; 50.8 cms x 38.7 cms Provenance: The Estate of Oscar Peterson, Ontario $3,000—5,000

21 JACK BEDER SYMMETRICAL FIGURE limestone signed and dated ‘67 height (excluding base) 9 ins; 22.9 cms $700—900

22 WILLIAM RONALD, R.C.A. UNTITLED COMPOSITION watercolour and ink signed 14.5 ins x 19 ins; 36.8 cms x 48.3 cms Provenance: Gift of the artist Private Collection, Toronto $4,000—5,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

23 HAROLD BARLING TOWN, R.C.A. TOY HORSE mixed media drawing on board signed and dated “Nov 29-76”; signed titled and dated on the reverse, unframed 15 ins x 15.5 ins; 38.1 cms x 39.4 cms $2,500—3,000

24 CLAUDE TOUSIGNANT, R.C.A. MONOCHROME BLEU 9 acrylic on card signed, titled, dated 1999 and numbered “8/9” on the reverse 5.75 ins x 9.75 ins; 14.6 cms x 24.8 cms $1,200—1,500

25 WILLIAM PEREHUDOFF, R.C.A. AC.99.18 acrylic on canvas signed, titled and dated 1999 on the reverse 52.5 ins x 56.25 ins; 133.4 cms x 142.9 cms $7,000—9,000

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26 JEAN-PAUL RIOPELLE, R.C.A. NOUVELLE IMPRESSION oil on canvas signed with initial; signed on the stretcher 5.75 ins x 8.75 ins; 14.6 cms x 22.2 cms Provenance: Galerie d’Art Vincent, Ottawa Private Collection, Ottawa $15,000—18,000

27 ANTHONY (TONY) MORSE URQUHART THRESHOLD oil on masonite signed and dated 1980; titled on the gallery label on the reverse 84 ins x 54 ins; 213.4 cms x 137.2 cms Provenance: Bau-Xi Gallery, Toronto/Vancouver $9,000—12,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

28 WILLIAM PATERSON EWEN, R.C.A. COASTLINE WITH PRECIPITATION, 1975 acrylic on handmade paper signed on the reverse; titled and dated on the gallery label 13.5 ins x 62.5 ins; 34.3 cms x 158.8 cms $30,000—50,000

Provenance: Collection of Carmen Lamanna, Toronto By descent to the present owner, Ontario Literature: Heather A. Fraser, Paterson Ewen, Critical Works, Works on Paper 1949-92, Art Gallery of Hamilton, 1992, unpaginated.

Note: According to Fraser, in 1971 Ewen developed an interest in paper making as an offshoot of his exploration of 18th century Japanese prints. She writes: “In 1973, Ewen began in earnest to paint on handmade paper and in 1975 had an exhibition of his works on paper (that same year)...which sold art.”

Fraser quotes reporter Lenore Crawford of the London Free Press: “He’s doing watercolours in a concentrated way as he hasn’t done for years, using beautiful paper he makes himself - proudly - on the paper-making machine in Western’s Fine Art Department.”

Fraser continues: “The chance imperfections of recycled materials and bumps which occur during the paper’s drying, suggested a new role for paper as a medium rather than as a support.”

It was in the year this work was created that Ewen was elected a member of the Royal Canadian Academy.

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29 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. ECHO BAY, GREAT BEAR LAKE, NEAR PORT RADIUM, N.W.T.

Literature: A.Y. Jackson, A Painter’s Country: the autobiography of A.Y. Jackson, Clarke Irwin & Company Limited, Toronto, 1958, page 151.

oil on canvas signed 22 ins x 28 ins; 55.9 cms x 71.1 cms

Naomi Jackson Groves, A.Y.’s Canada, Clarke, Irwin & Company, Toronto/Vancouver, 1968, pages 212213.

$90,000—120,000

Note: With the support of Eldorado Mining and Refining owners of the Port Radium Mine, Jackson first travelled to the Great Bear Lake area in 1938. He visited again in 1949 (at the invitation of the Department of Resources and Development) and this painting is a result of his second trip. While more recent commentators have been more critical of what they would term “devices of colonial legitimization”, Jackson viewed his interpretation of these sites as a kind of celebration of the gifts of the land during Canada’s industrial development.

Jackson Groves captures this well when she writes: “And so living history began to move in this remote spot where the pitchblende had lain waiting for one billion four hundred million years while heat formed rocks and ice gouged them off again up above it. [In the years 1930-1960], [t]he great cycle began: from the silver came the profit to defray the enormous cost of mining the other precious finds; from the pitchblende came radium, a white powder glowing blue in the dark, present in the ratio of one part in three million. (Until La Bine’s discovery, one gram of radium from the Belgian Congo cost seventy thousand dollars.) One by-product of the extraction process was uranium oxide, present in the highest concentration ever mined.”

While the mine had been shut down at the beginning of the war, it was re-opened later under the control of the Canadian government as a uranium mine when the atom bomb programme priorized that material. However, in 1960, the mine was closed once again. Jackson wryly observed, “the premises are now used as a luxury camp for millionaires who pay (handsomely) to fish for Great Bear trout.”

Echo Bay gets its name from the phenomenon caused by the steep rock cliffs that surround the bay which reflect the sound of human voices off the water.

Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

CanadianArt.Waddingtons.ca

30 WALTER YARWOOD CHALIS welded steel height 18 ins; 45.7 cms Note: In 1960, Walter Yarwood quit painting and turned his artistic talents to sculpture. $4,000—5,000

31 KAZUO NAKAMURA INNER EXPANSION oil on canvas signed and indistinctly dated; dated 1960 on a label on the reverse Exhibited: Toronto Collects, The Art Gallery of Toronto, 1961.

Kazuo Nakamura: The Method of Nature, The Robert McLaughlin Gallery, Oshawa (November 2001March 2003), cat no.23.

Literature: Kazuo Nakamura: A Human Measure, Art Gallery of Ontario, 2004, cover illustration for a closely related work, reproduced in colour. $20,000—30,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

32 WALTER YARWOOD UNTITLED, 1958 oil on canvas, laid down on board signed 30 ins x 48 ins; 76.2 cms x 121.9 cms $30,000—50,000

Provenance: Collection of the Rynsburger-Rathwell Family Private Collection Literature: Joan Murray, Painters Eleven in Retrospect, exhibition catalogue, the Robert McLaughlin Gallery, Oshawa, 1979, page 11.

Iris Nowell, Painters Eleven, The Wild Ones of Canadian Art, Douglas & McIntyre, Vancouver/Toronto, 2010, page 276, cover for a detail of this work and page 288, reproduced in colour.

Note: Major paintings by Walter Yarwood comparable in quality to this lot are rare.

Yarwood was a self-taught painter working in advertising during the week and painting on weekends. His demanding job in advertising, the responsibility of supporting a family with five children and his concentration on sculpture in the sixties resulted in a relatively small painting output. Joan Murray, in the Robert McLaughlin Gallery catalogue, Painters Eleven in Retrospect, states, “regarding the matter of colour, all the group were involved with analyzing and using colour, though perhaps Cahen and later Yarwood were most successful as colourists.” Yarwood’s talent as a colourist complemented his philosophy on art. Norwell wrote, “In Yarwood’s words, he ‘liked to produce works of beauty out of things I’ve seen and felt in my lifetime,’ rather than having his art convey social comment.”

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33 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. BRILLIANT OCTOBER oil on board signed “Frank H. Johnston”; signed, titled and inscribed “Thornhill Ont.” on the reverse 10.25 ins x 9.25 ins; 26 cms x 23.5 cms $15,000—20,000

34 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. ALGONQUIN PARK, JULY 1932 oil on panel signed; signed and titled on the reverse 10.5 ins x 13.75 ins; 26.7 cms x 34.9 cms $15,000—20,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

35 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. LEAF-BURNING, AUTUMN IN ONTARIO oil on board signed (twice) 21 ins x 17.5 ins; 53.3 cms x 44.5 cms $70,000—90,000

Provenance: Private Collection, Toronto Note: This classic Canadian scene was used by McLean’s magazine in 1947 for their September 15th cover.

This painting is signed twice, probably first to the right and then to the left in order that the signature be more easily noticed by the magazine buying public, for by 1947 Casson’s reputation as one of Canada’s top artists was well-established. The painting may also have had the second signature added by Casson as a kind of insurance policy against over aggressive cropping during catalogue production; note that the second signature (at the left) is slightly higher than the one to the right.

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36 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. INDIAN HOME, 1926 oil on panel signed, with a finished oil sketch of Lake Superior on the reverse, also signed 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms $70,000—90,000

Provenance: Laing Galleries, Toronto Private Collection, British Columbia Literature: A.Y. Jackson, A Painter’s Country: the autobiography of A.Y. Jackson, Clarke Irwin & Company Limited, Toronto, 1958, pages 89-90.

Naomi Jackson Groves, A.Y.’s Canada, Clarke, Irwin & Company, Toronto/Vancouver, 1968, pages 152-165 for an extensive discussion of Jackson’s Skeena visit and related drawings.

Wayne Larsen, A.Y. Jackson: The Life of a Landscape Painter, Dundurn Press, Toronto, 2009, pages 130-132.

Note: Larsen writes: “The Skeena River had long been the home of several Aboriginal communities including the Gitksan people...The arrival of the Grand Trunk Pacific Railway...and discovery of gold in the Yukon [saw a] rapid encroachment of the white world [which] was believed to pose a serious threat to the local Gitksan culture, and it was felt by many...that the old ways had to be preserved before they disappeared completely. [Anthropologist Marius] Barbeau had made several trips out to the West Coast and was well acquainted with the people of the Skeena. In the summer of 1926, he returned to the region...to provide a visual record of the area...inviting Jackson and Edwin Holgate to accompany him. Barbeau was also working on a novel set in the region, The Downfall of Temlaham, and it was hoped that some of the images produced by the two artists might be used to illustrate the book...Jackson...was immediately struck by the creative possibilities in the lush scenery...[and said], ‘The Indian villages are almost as fine as the Quebec villages and the backgrounds more exciting.’” Larsen continues, “Together Jackson and Holgate sketched the small villages, the sacred grave houses, and other aspects of the Gitksan settlements...In October, after several weeks working nearly 320 kilometres upriver, Jackson and Holgate travelled all the way down to the mouth of the Skeena at Port Essington...and there Jackson found the subject that inspired what would become one of his favourite works - Indian Home. Judging from the original pencil sketch, the house appears abandoned, almost lost in the overgrowth of tall grass...placing three figures - a mother and her two children - in front of the tiny house...His figures were rarely more than a few dabs of paint, barely noticeable within the composition. The implication was that they were part of the landscape - an indigenous people rooted to their environment.”

Jackson Groves describes the artist’s work from this period as “delectable” and references “several studies of one peaked-roofed house that eventually became the canvas Indian Home...that A.Y. still considers one of his best.”

Detail

In his autobiography, A.Y recalls: “Holgate and I made many drawings of the totem poles around Kitwanga, where Campbell [a CN Railway engineer hired by Barbeau] was straightening them up and setting them in good concrete foundations. For our purposes, we preferred the poles leaning forward or backward, and suggested to Campbell he set them that way. Campbell’s comment on this was brief. ‘I would do anything I could...to please you artists, but as an engineer I cannot put up leaning totem poles. You can make them lean any way you like in your drawings.’”

Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

Recto

Verso

CanadianArt.Waddingtons.ca

37 CORNELIUS KRIEGHOFF INDIAN TRAPPER ON SNOWSHOES oil on canvas signed 10.75 ins x 9 ins; 27.3 cms x 22.9 cms Provenance: Private Collection, California $20,000—30,000

38 GEORGE AGNEW REID, O.S.A., P.R.C.A. THE HUMBER RIVER oil on canvas signed and dated 1890 22 ins x 36 ins; 55.9 cms x 91.4 cms Literature: Muriel Miller Miner, G.A. Reid Canadian Artist, The Ryerson Press, Toronto, 1946, pages 57-58.

Note: It was 1890, the year this painting was executed, that George Reid was elected a full academician of the Royal Canadian Academy. That summer Reid and his wife rented an old mill as a studio in Lambton Mills. According to Miner, in front of the old Mill ran the Humber, which may have been the inspiration for this painting. $8,000—12,000

22

Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

39 CORNELIUS KRIEGHOFF ABOVE THE ST ANNE FALLS, QUEBEC oil on board signed 18.5 ins x 25 ins; 47 cms x 63.5 cms Provenance: Private Collection, Ontario $80,000—100,000

Literature: Dennis Reid, Krieghoff: Images of Canada, Art Gallery of Ontario, Toronto, 1999, page 73 and pages 110-111, colour plates 50 and 51, for the National Gallery of Canada’s versions of this subject, reproduced in colour.

Note: Dennis Reid records that Krieghoff painted versions of virtually every waterfall within visiting distance of Quebec City. Two, depicting the St Anne Falls, are in the collection of the National Gallery of Canada; one of which is a view from above the falls similar to this lot with a figure or figures dwarfed by the majestic landscape. Later Krieghoff would paint the falls of Niagara, Chaudiere and Shawinigan.

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40 JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A. JEH MACDONALD HOUSE ON CENTRE STREET, THORNHILL oil on board 7 ins x 10 ins; 17.8 cms x 25.4 cms Provenance: Private Collection, Alliston, Ontario Note: An inscription on the reverse of this painting reads, “This is our home on Centre St. Thornhill painted by an Artist for mother Mottershall. We went to their home after our house burnt to the ground. I was 5 yrs old (1923). Maude.” $12,000—15,000

Photo 1: An inscription on this family photograph belonging to the consignor reads, “Maude and Dad Mottershall at Center (sic) St., Thornhill, Ont. I’m about 6 yrs?”

Photo 2: This photo is inscribed: “Same view of JEH MacDonald home on Centre St., Thornhill from which his painting was made. He rented this house to Mr. and Mrs. W.H. Mottershall and family from 1923 to 1925 after their home in Thornhill was destroyed by fire. The painting was given to Mrs. Mottershall during the 1923-1925 period. Mrs. Mottershall is in foreground of this photo with her family, taken in 1923 (signed Maude Mottershall).”

Please note the photographs shown here are not being sold as part of this lot and are the property of the consignor.

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

41 KATHLEEN MOIR MORRIS, A.R.C.A. DAIRY COWS AT PASTURE, ELLIOTT FAMILY FARM NEAR MARSHALL’S BAY, ONTARIO oil on panel signed 12 ins x 14 ins; 30.5 cms x 35.6 cms $15,000—20,000

Exhibited: Kathleen Moir Morris, RCA, Loan Exhibition, Walter Klinkhoff Gallery, Montreal, June 1976, no.4 Literature: Frances K. Smith, Kathleen Moir Morris, exhibition catalogue, Agnes Etherington Art Centre, Queen’s University, Kingston, 1983, page 22.

From the 1920s to the 1970s the artist spent two months each summer at Marshall’s Bay near Arnprior at the family cottage. Smith quotes the artist’s nephew thus: “...Kay painted the Elliott cows so often she got to know their daily routine...at the same time every day, say noon, they would wander down to the creek for a drink. Then...they would all amble over to one of their favourite spots for an afternoon rest...Kay was always ready to paint the cows during this lazy period.” Smith adds, “She herself recollected these years in 1976: ‘I love to paint animals. I think cows are just beautiful but they’re awfully hard to paint. They’ve got bumps and lumps. And the flies!

They love the smell of paint. They don’t go all over the cows, they go all over you!’”

This lot is accompanied by a letter from the artist’s niece describing the subject and dating the painting to circa 1930.

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42 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. NORTHERN PATTERN oil on board signed; signed and titled on the reverse 9 ins x 11.75 ins; 22.9 cms x 29.8 cms $7,000—9,000

43 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. SAWMILL - BARRY BAY, 1959 oil on board signed; signed, titled and dated on the artist’s label on the reverse 12 ins x 15 ins; 30.5 cms x 38.1 cms Provenance: Roberts Gallery Limited, Toronto $20,000—30,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

44 MARC-AURELE DE FOY SUZORCOTE, R.C.A. VUE DE PASAJES, ESPAGNE oil on panel signed; titled on the reverse 6.25 ins x 8.75 ins; 15.9 cms x 22.2 cms Note: Suzor-Cote visited the fishing village of Pasejes (Pasaia) in Basque, Spain in 19061907. $6,000—8,000

45 MARC-AURELE FORTIN, A.R.C.A. VILLAGE LANDSCAPE WITH HAYCART, STE-ROSE oil on cardboard signed 9 ins x 12.25 ins; 22.9 cms x 31.1 cms $12,000—18,000

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46 JEAN-PAUL LEMIEUX, R.C.A. JEUNE FILLE DANS LA FORET oil on canvas signed and dated ‘63 26.5 ins x 22.5 ins; 67.3 cms x 57.2 cms $40,000—60,000

28

Note: The year this work was painted was a busy and fulfilling one for the artist.

He participated in exhibitions of Canadian painters at MoMA in New York, at the Tate Gallery in London, at the Musee Galliera in Paris and in one-man shows at Galerie Agnes Lefort and Roberts Gallery in Toronto.

Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

47 JEAN ALBERT MCEWEN, R.C.A. LE PREMIER MOULIN DE MYKONOS oil on canvas signed, titled and dated “November ‘63” on the reverse 50 ins x 50 ins; 127 cms x 127 cms Provenance: The Estate of Oscar Peterson, Ontario $40,000—50,000

Note: Colour in Depth, the a propos title of the Montreal Museum of Fine Arts’ 1987-88 retrospective of Jean McEwen’s work was the artist’s sole focus for 30 years: the question was how a flat surface could, without the traditional devices of perspective and shading (chiaroscuro), create depth. As early as 1955, McEwen identified an approach that would determine the course of his efforts for years to come. Naubert-Riser explains: “[h]is painting would be closely identified with the two-dimensionality of its support, and the logic intrinsic to the canvas would now determine the organization of its planes.” She continues: “[1963] was a year of significant transition… what can be discerned is a gradual movement away from the dominant vertical composition towards a cruciform structure. The introduction of the cruciform shape onto the pictorial plane allowed the artist to bring into surface evidence an element of support: the cross-shaped struts across which the canvas is stretched. The far corners and their relationship with the central shape became, for a time, the focal point of McEwen’s investigation.”

Literature: Constance Naubert-Riser, Jean McEwen Colour in Depth, The Paintings and Works on Paper 1951-1987, Montreal Museum of Fine Arts, 1987, pages 39 and 44.

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48 TONY SCHERMAN THE JUNKIES: DR NICK encaustic signed, titled and dated 06/07 on the reverse, unframed 60 ins x 72 ins; 152.4 cms x 182.9 cms $20,000—30,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

49 DAVID ALEXANDER COLVILLE, R.C.A. FOX AND HEDGEHOG

Literature: Helen J. Dow, The Art of Alex Colville, McGraw Hill Ryerson Limited, Toronto, 1972, page 150, plate 56, reproduced.

openwork 18 carat gold pendant on a chain signed, dated 1972, numbered “2/12”, inscribed “The fox knows many things, but the hedgehog know one big thing” and stamped with the maker’s initials “A.P” (for A. Paton) who worked for S.J. James at this time, on the reverse diameter 1.75 ins; 4.4 cms

Note: Dow notes that the inscription on the pendant is taken from the translation of an ancient Greek proverb used by British philosopher Isaiah Berlin in his book on Tolstoy’s view of history. Dow writes: “Berlin saw Tolstoy as an example of the many-sided and even paradoxical personality which he identified as fox-like, in contrast to the single-mindedness of the hedgehogtype. Perhaps in such a definition of a man who believed one thing but achieved another, Colville recognized himself. Yet, in a much wider sense, his gold medallion demonstrates, like all his other art works, his own consistent awareness of the perpetual human conflict between what there is and what there ought to be.”

$20,000—25,000

31

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50 HAROLD BARLING TOWN, R.C.A. SUMMER AS WISHED collage on masonite signed and dated 1959 9.25 ins x 14.25 ins; 23.5 cms x 36.2 cms Note: Town’s early interest in cubism led him to collage. From the mid-50s on, Town produced as Leclerc notes: “...an impressive body if work in this medium,” and in her view, “ranks among the first Canadians to have turned collage into a serious pursuit.” She continues: “Since most major public galleries acquired his collages, it was primarily this medium that assured his national standing.”

Literature: Denise Leclerc, The Crisis of Abstraction in Canada: The 1950s, National Gallery of Canada, 1992, page, 60-61. $4,000—6,000

51 HAROLD BARLING TOWN, R.C.A. SELF PORTRAIT charcoal and knife incise signed and indistinctly dated “Dec 17 6(?)”

22 ins x 14.75 ins; 55.9 cms x 37.5 cms Literature: Robert Fulford, Harold Town Drawings, McLelland and Stewart Limited, Toronto/Montreal, 1969, page 105, reproduced.

Note: According to Fulford, this work was executed on “December 17, 1965.” $2,000—3,000

52 THE BIG BITE HAROLD BARLING TOWN, R.C.A. single autographic print signed, dated ‘57 and numbered “1-1” in pencil in the lower margin, sold together with Town by David Burnett 19.75 ins x 16 ins; 50.2 cms x 40.6 cms Exhibited: Harold Town, Art Gallery of Ontario, Toronto, May 16 - July 6, 1986.

Literature: David Burnett, Town, exhibition catalogue, Art Gallery of Ontario, Toronto, 1986, page 69, for this lot reproduced in colour. $3,000—4,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

53 WILLIAM RONALD, R.C.A. UNTITLED

Provenance: Brian Dedora, Toronto Private Collection

watercolour on paper board signed and dated ‘53 17.25 ins x 23.25 ins; 43.8 cms x 59.1 cms

Exhibited: Abstracts at Home(s), Robert McLaughlin Gallery, Oshawa, September 2007 - September 2008.

$10,000—15,000

Literature: Iris Nowell, Painters Eleven: The Wild Ones of Canadian Art, Douglas & McIntyre, Vancouver/Toronto, 2010, pages 67-68 and page 77, reproduced in colour.

Note: This lot was painted the year Painters Eleven was formed. In her book Painters Eleven: The Wild Ones of Canadian Art, Iris Nowell credits this work as being one of the paintings wherein Ronald “...had clearly discovered the painterly vigour he had been searching for.” Nowell considers this painting a turning point for Ronald. She writes that in this composition, “he has adapted calligraphic forms - emphatic black curved shapes to achieve bold visual rhythm. This work features black elements playfully moving against translucent soft orange shapes.” Ronald’s early works were imaginative and technically perfect. His talent was instantly recognized by the New York art community and both the Metropolitan Museum of Art and the Rockefeller family among other prominent collectors purchased paintings by the artist. This lot is an excellent example of Ronald’s early work that was pivotal in establishing his reputation and helped launch his career.

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54 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. LIEVIN, MARCH 15TH, 1918 oil on panel signed; signed and inscribed “3rd BRG ART. HQS” (3rd Brigade Artillery Headquarters), and “Lievin, Mar 15-18” on the reverse 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms $12,000—15,000

Provenance: Dominion Gallery, Montreal Private Collection, Montreal Literature: Susan Butlin, “Landscape as Memorial: A.Y. Jackson and the Landscape of the Western Front, 1917-1918”, Canadian Military History, Vol.5, no.2 (Autumn 1996) pages 62-70, and figure 2 for the related canvas in the collection of the Canadian War Museum entitled Jeanne d’Arc, Hill 70 in the Distance (1918), reproduced.

Note: Butlin notes that “Jackson was chosen as the first Canadian to be assigned to duty as an official war artist for the Canadian War Memorials Fund,” which ultimately would employ 116 artists recording Canada’s war effort at home and abroad. She continues, “While [Jackson] rejected the earlier cannon of war painting which tended to romanticize battle in ‘death and glory’ epic paintings, Jackson’s first depictions of the front line were nonetheless picturesque landscapes or sensitive studies,” such as this lot.

Butlin adds that during the late winter and early spring of 1918, “Jackson was attached to the 3rd Canadian Artillery Brigade at Lievin.”

34

Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

55 ARTHUR LISMER, O.S.A., R.C.A. OFF VANCOUVER IS. 1963 oil on panel signed; signed and titled on the reverse 12 ins x 16 ins; 30.5 cms x 40.6 cms $10,000—15,000

56 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. OCTOBER STORM CLOUDS GRENVILLE, QUE., 1969 oil on board signed; signed, titled and inscribed “for Margaret” and “The property of my wife / A.J. Casson” on the reverse 12 ins x 15 ins; 30.5 cms x 38.1 cms $20,000—30,000

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57 WASHINGTON F. FRIEND MOONLIT ENCAMPMENT watercolour and pastel, heightened with gouache signed 10.25 ins x 14.5 ins; 26 cms x 36.8 cms Provenance: Private Collection, Montreal $1,000—1,500

58 CANADIAN SCHOOL, 19TH CENTURY HERRING COVE, NOVA SCOTIA oil on canvas height 22.5 ins x 34 ins; 57.2 cms x 86.4 cms $5,000—7,000

59 HOMER RANSFORD WATSON, O.S.A., P.R.C.A. CHILDREN SEATED ON THE BANK OF A MILL STREAM oil on canvas signed 16 ins x 24 ins; 40.6 cms x 61 cms $4,000—6,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

60 CORNELIUS KRIEGHOFF “STROLLING ACTORS” AFTER FRANCOIS-AUGUSTE BIARD (1799-1882) oil on canvas signed, titled and dated 28.5 ins x 36 ins; 72.4 cms x 91.4 cms

Note: Research has identified this work as being listed in a draft of Russell Harper’s unpublished catalogue raisonne of the artist. Harper lists it under “Copies of European Paintings Executed in Paris.” Harper believes it was executed during the artist’s first trip (1844-45) when Krieghoff registered to make copies at the Louvre and Luxembourg. The painting by Biard, on which this work is based, is said to be in the Luxembourg collection (but not confirmed) and is described as a group clustered around a small platform with an actress looking in a mirror held by a man, various actors in costume and an open doorway with soldiers and a building in mid-distance.

$30,000—40,000

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61 FRANKLIN CARMICHAEL, O.S.A., R.C.A. SUMMER LANDSCAPE oil on board inscribed “An original sketch by Franklin Carmichael” and signed by the artist’s wife on the reverse 10 ins x 12 ins; 25.4 cms x 30.5 cms $70,000—90,000

Provenance: Private Collection, Ontario Literature: Megan Bice, “Light and Shadow: The Work of Franklin Carmichael”, McMichael Canadian Art Collection, Kleinburg, 1990, page 64, cat. no.74, for a graphite sketch entitled “La Cloche Mountain Tops”, circa 1934.

Note: The period during which this work was painted was a significant one for Carmichael. A year earlier he was elected to the Royal Canadian Academy.

He also designed and built his La Cloche cottage on Cranberry Lake that same year. In 1937, he became President of the Ontario Society of Artists.

This lot could have been based on Carmichael’s studies such as his graphite sketch of “La Cloche Mountain Tops” (circa 1934), which bears a close resemblance to “Summer Landscape”.

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

62 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. OCTOBER, LAKE KAMANISKEG, 1959 oil on canvas signed; titled on the gallery label on the backing 30 ins x 38.25 ins; 76.2 cms x 97.2 cms Provenance: Roberts Gallery Ltd., Toronto Private Collection, Ontario $90,000—120,000

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63 PIERRE GENDRON ILE ROUGE oil on canvas signed, dated ‘58 and inscribed “Paris”; titled on a label attached to the stretcher 35 ins x 45.5 ins; 88.9 cms x 115.6 cms Provenance: The Estate of a Private Collector, Los Angeles $5,000—7,000

64 FRITZ BRANDTNER ABSTRACT NO.9 oil on board signed; signed, titled, dated 1966 and inscribed with the artist’s Montreal address on the reverse 22 ins x 26 ins; 55.9 cms x 66 cms Provenance: Private Collection, New York $10,000—15,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

65 BERTRAM CHARLES BINNING FAIR WEATHER SIGNALS oil on burlap, laid down on board signed; signed, titled and dated 1954 on the artist’s label on the reverse 13.5 ins x 30 ins; 34.3 cms x 76.2 cms Provenance: The Estate of a Private Collector, Los Angeles $70,000—90,000

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66 JACK HAMILTON BUSH, O.S.A., A.R.C.A. JUNE MULBERRY acrylic on canvas signed, titled and dated “June 1972” on the reverse 66 ins x 113 ins; 167.6 cms x 287 cms $225,000—275,000

Provenance: David Mirvish Gallery, Toronto Gallery One, Toronto Gallery Neubacher, Toronto Private Collection, Ontario Exhibited: Jack Bush: New Works, David Mirvish Gallery, Toronto, December 2, 1972 January 2, 1973.

Literature: Kay Kritzwiser, “Sex Is Subtle in Etrog Sculptures”, the Globe and Mail, December 2, 1971.

W. Neill Marshall, “Toronto Letter,” Art International, Summer 1973, pages 40-42.

Note: This work will be included in Dr. Sarah Stanners’ forthcoming catalogue raisonne of the artist. We thank Dr. Stanners for her assistance with this lot.

Further information about the catalogue raisonne may be found at www.jackbush.org.

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

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67 SOREL ETROG, R.C.A. LABRISE bronze height 32 ins; 81.3 cms Provenance: Charles Bronfman’s Claridge Collection, Montreal Note: Executed circa 1964.

Sold to benefit Historica Canada. $25,000—30,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

68 JEAN ALBERT MCEWEN, R.C.A. THE UNKNOWN FLAG, THIRD THEME, #5, 1964 oil on canvas signed, dated ‘64 on the reverse and inscribed “troisieme theme no.5” on the stretcher 72 ins x 54 ins; 182.9 cms x 137.2 cms Provenance: Gallery Moos, Toronto The Estate of a Private Collector, Los Angeles $80,000—120,000 Literature: Constance Naubert-Riser, Jean McEwen Colour in Depth, The Paintings and Works on Paper 19511987, Montreal Museum of Fine Arts, 1987, page 44-46.

Note: Naubert-Riser writes that in early 1964 using the cruciform as his departure point (see lot 47) “McEwen created a key series that was the culmination of all his previous investigations. She continues: “This whole series (The Unknown Flag or Drapeau Inconnu) is notable for its high degree of rigour…McEwen varies and increases the tension between the central form and the four corners. Extremely rich reds dominate the series and are combined, in numerous stratified layers, with mauves, blues and oranges. The intensity of the colour, in conjunction with the rigour of the composition gives rise to a controlled exuberance that is reinforced by the ‘painterly’ treatment of the impasto involving the ‘kneading’ with a trowel of layers of pigments applied over a layer of varnish.”

McEwen often applied paint with his hands, forgoing the paintbrush, and worked the surface of the painting until, in the words of one observer, “it seemed to vibrate like a drum”. McEwen himself spoke of “rubbing the colour into the varnish” in order to obtain unique effects of transparency.

Only 23 paintings comprise this series.

Denise Leclerc and Pierre Dessureault, The 60s in Canada, National Gallery of Canada, 2005, page 93.

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69 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. ST TITE DES CAPS oil on panel signed; signed, titled and inscribed “Studio Bldg, Severn St. Toronto” on the reverse 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Provenance: Walter Klinkhoff Gallery Inc., Montreal Private Collection, Ottawa $20,000—30,000

70 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. HALFWAY LAKE, 1968 oil on board signed; titled on the reverse 9.5 ins x 11.25 ins; 24.1 cms x 28.6 cms $20,000—30,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

71 ROBERT WAKEHAM PILOT, P.R.C.A. THE WHARF, ST. ANDREWS, N.B., 1955 oil on panel signed; signed and titled on the reverse 12.5 ins x 17 ins; 31.8 cms x 43.2 cms Provenance: Private Collection, London, UK $9,000—12,000

72 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. MCALPINE CHANNEL, JULY MORNING, GREAT BEAR LAKE, 1939 oil on board signed 20 ins x 24 ins; 50.8 cms x 61 cms Exhibited: Franz Johnston in Retrospect, 1888-1949, Rothman’s Art Gallery of Stratford, Stratford, Ontario, n.d.

Literature: Paul Rodrik (foreword) Franz Johnston in Retrospect, 1888-1949 (catalogue), cat.no.77, illustrated, also illustrated on the cover. $20,000—30,000

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73 WILLIAM KURELEK, R.C.A. NOW HOW CAN I GET AT THE LITTLE BEGGARS? mixed media on masonite 9.75 ins x 4 ins; 24.8 cms x 10.2 cms Provenance: Private Collection, Guelph, Ontario $10,000—12,000

74 WILLIAM KURELEK, R.C.A. ANTHILL mixed media on masonite 10 ins x 6.75 ins; 25.4 cms x 17.1 cms Provenance: Private Collection, Guelph, Ontario $15,000—20,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

75 WILL GORLITZ AXIS MUNDI “COVER” oil on canvas signed, titled and dated 1986-88 on the reverse, unframed 79 ins x 116 ins; 200.7 cms x 294.6 cms $35,000—40,000

Literature: Jim Guest, “Perspective 86: Will Gorlitz and Nancy Johnson”, Canadian Art magazine, Fall 1986, page 29.

Note: Canadian Art magazine (Fall 1986) described Gorlitz as ranking among the most significant new Canadian artists. In the review of “forest pictures”, in which the viewer is situated as if standing on the forest floor looking straight up into the sky, the reviewer described works like this lot as “beautifully painted and calculated to produce an uneasy whirling sense of vertigo.”

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76 KATHLEEN MOIR MORRIS, A.R.C.A. HORSES GRAZING IN A FIELD oil on panel signed; an unfinished sketch of farm animals on the reverse 12 ins x 14 ins; 30.5 cms x 35.6 cms Provenance: Walter Klinkhoff Gallery, Montreal Peter Ohler Fine Arts Ltd., Vancouver $20,000—25,000

77 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. AUTUMN, COMBERMERE, OCT. 1960 oil on panel signed; signed and titled on the reverse 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms $15,000—18,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

78 MARC-AURELE DE FOY SUZORCOTE, R.C.A. LES EPOUX CHAPDELAINE bronze signed, titled, dated 1922 and inscribed “Copyright Canada & U. States 1922” and “Roman Bronze Works N.Y.” on the base 9 ins x 14 ins x 7 ins; 22.9 cms x 35.6 cms x 17.9 cms Provenance: Private Collection, New York $8,000—10,000

79 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. FIELDS IN WINTER, PORT AU PERSIL, QUE. oil on panel signed; signed, titled and dated “March 1947” on the reverse 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Provenance: Private Collection, Austrailia $18,000—22,000

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80 GEORGE LORNE HOLLAND BOUCHARD, R.C.A. OLD HOME, BAIE ST. PAUL oil on panel signed; signed and titled on the reverse 8 ins x 9.75 ins; 20.3 cms x 24.8 cms $3,000—4,000

81 HENRY GEORGE GLYDE, R.C.A. BOW RIVER, BANFF SPRINGS, LOOKING EAST oil on canvas board signed and dated ‘71; signed, titled and inscribed “Banff, 1971” on the reverse 16 ins x 20 ins; 40.6 cms x 50.8 cms $6,000—8,000

82 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. TWILIGHT oil on board signed; signed and titled on the reverse 12 ins x 16 ins; 30.5 cms x 40.6 cms $5,000—7,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

83 ANNE DOUGLAS SAVAGE VILLAGE IN SUMMER oil on panel signed with initials, an unfinished sketch of a woman seated beside a spinning wheel on the reverse 8.75 ins x 12 ins; 22.2 cms x 30.5 cms Provenance: Roberts Gallery Ltd., Toronto $10,000—15,000

84 ALFRED JOSEPH CASSON, O.S.A., P.R.C.A. SHORELINE oil on board signed 9.25 ins x 11.25 ins; 23.5 cms x 28.6 cms $20,000—30,000

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85 DAVID BROWN MILNE SUMACH AND MAPLE LEAVES II watercolour, laid down on cardboard 14.75 ins x 22 ins; 37.5 cms x 55.9 cms Provenance: Private Collection, Vancouver Literature: David P. Silcox and David Milne, Jr., David B. Milne, Catalogue Raisonne of the Paintings, Volume 2: (1929-1953), University of Toronto Press, Toronto, 1998, page 982, cat.no. 503.67, reproduced.

Note: Executed at Baptiste Lake, Ontario, September-October, 1952. $15,000—18,000

86 MARC-AURELE FORTIN, A.R.C.A. BAIE DES CHALEURS watercolour, laid down on board signed 22 ins x 28 ins; 55.9 cms x 71.1 cms Provenance: Private Collection, Ottawa $20,000—30,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

87 WALTER JOSEPH PHILLIPS, R.C.A. MCINTYRE BLUFFS, OKANAGAN watercolour signed and dated ‘47; titled in pencil on the reverse 16.5 ins x 18 ins; 41.9 cms x 45.7 cms $12,000—15,000

88 MANLY EDWARD MACDONALD, R.C.A. OLD MILL, SALMON RIVER, ONT. oil on canvas signed 28 ins x 36 ins; 71.1 cms x 91.4 cms $5,000—7,000

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89 HORTENSE MATTICE GORDON, R.C.A. PANORAMA oil on panel signed and dated 1959 9 ins x 30 ins; 22.9 cms x 76.2 cms $4,000—5,000

90 RANDOLPH STANLEY HEWTON, R.C.A. SUNFLOWERS oil on canvas 14 ins x 12 ins; 35.6 cms x 30.5 cms Provenance: Estate of the artist $5,000—7,000

91 GERSHON ISKOWITZ, R.C.A. PARRY SOUND VARIATION XXVII watercolour signed and dated ‘65 18.25 ins x 23.75 ins; 46.4 cms x 60.3 cms Provenance: Gallery Moos Ltd., Toronto $4,000—6,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

92 MOLLY LAMB BOBAK, R.C.A. UNTITLED - SKATERS oil on canvas signed “Molly Lamb B” 16 ins x 24 ins; 40.6 cms x 61 cms Provenance: Private Collection, Vancouver $5,000—7,000 Molly Bobak is known primarily for her crowd, parade or public gathering scenes. Burnett and Schiff astutely note: “The contrast in her work between the fragility and anonymity of the individual and the strength and vitality of the group, in a curious way validates the individual even in its loss of separate identity.”

Literature: David Burnett and Marilyn Schiff, Contemporary Canadian Art, Art Gallery of Ontario, Toronto, 1983, page 114.

93 WILLIAM RONALD, R.C.A. UNTITLED watercolour signed and dated ‘63 17.75 ins x 23.25 ins; 45.1 cms x 59.1 cms $4,000—6,000

94 MARJORIE (JORI) ELIZABETH THURSTON SMITH STILL LIFE WITH SIAMESE CAT oil on canvas signed and dated ‘51 28 ins x 34 ins; 71.1 cms x 86.4 cms Provenance: Galerie Jean-Pierre Valentin, Montreal $8,000—10,000

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95 MAXWELL BENNETT BATES, R.C.A. WOMAN OF NICE oil on canvas signed and dated 1973; titled on the stretcher 36 ins x 30 ins; 91.4 cms x 76.2 cms Provenance: Charles Bronfman’s Claridge Collection, Montreal Note: The year this work was painted, Bates was the subject of a major retrospective at the Vancouver Art Gallery, which was both a critical and popular success.

Sold to benefit Historica Canada. $15,000—20,000

96 NORMAND HUDON LES VAINQUERS FIN DE PARTIE oil on board signed and dated /93 24 ins x 30 ins; 61 cms x 76.2 cms $10,000—15,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

97 FLORENCE GERTRUDE VALE SEATED GIRL collage on masonite signed and dated ‘61 20 ins x 16 ins; 50.8 cms x 40.6 cms Provenance: The Estate of Oscar Peterson, Ontario $3,000—5,000

98 TED HARRISON SLUMBERING VILLAGE acrylic on canvas signed; signed, titled and dated 1987 on the reverse 48 ins x 36 ins; 121.9 cms x 91.4 cms Provenance: Charles Bronfman’s Claridge Collection, Montreal Note: Sold to benefit Historica Canada. $15,000—20,000

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99 KOSSO ELOUL, R.C.A. MEETING PLACE aluminum maquette in two parts 10.5 ins x 22 ins x 9 ins; 26.7 cms x 55.9 cms x 22.9 cms Provenance: Private Collection, Tel Aviv (by descent) Literature: Paul Duval, Eloul 1964-1984, 20 years of sculpture, exhibition catalogue, 1984, page 9 for a photograph of the sculptor holding a model of Meeting Place, pages 1, 34 and 47 for an installation shot of Meeting Place in situ outside of Crown Life headquarters, Toronto (now Unilever, 160 Bloor St. East at Church Street, Toronto) and page 54 for a photograph of the entrance of 160 Bloor Street East with a life-size mock-up.

Note: Russian born Eloul studied at the Art Institute of Chicago (1939-1943) and with MaholyNagy in that city, arriving in Canada in 1964.

Quickly establishing his reputation, Eloul produced monumental sculptures in major cities, towns and on university campuses in North America and abroad. In 1984 he was commissioned to produce a sculpture for Crown Life’s new head office in Toronto. Eloul determined that the sculpture should be reminiscent of a gate to a ceremonial path, a monumental entrance not unlike the famous Lion Gate at Mycenae. Paul Duval, who was critical in helping Eloul with the commission, describes Meeting Place - the original Indian name for Toronto - thus: “The poised power of its two counterbalancing elements suggests at once the harmony and diversity that make up the city’s cultural complexion.” $6,000—8,000

100 KOSSO ELOUL, R.C.A. SHAMAN aluminum signed, titled, dated ‘89 and inscribed “sketch study”, further inscribed “to (four named individuals) / the four of you with much love / Kosso” 6.75 ins x 6.5 ins x 1.25 ins; 17.1 cms x 16.5 cms x 3.2 cms Provenance: Private Collection, Tel Aviv (by descent) $2,000—3,000

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Installation shot of Meeting Place, Toronto

Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

101 JOHN CLARK THE CITY AT NIGHT, 1984

“…I hope to prevent a conventional narrative reading. Rather I would like the objects arrangement to resemble the result of some directional force such as a landslide or an explosion.” - John Clark

oil and acrylic on canvas titled on the gallery label on the reverse 82 ins x 66 ins; 208.3 cms x 167.6 cms

Literature: David Burnett and Marilyn Schiff, Contemporary Canadian Art, Art Gallery of Ontario, Toronto, 1983, page 283.

Provenance: Wynick-Tuck Gallery, Toronto Private Collection, Toronto $20,000—30,000

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102 RITA MOUNT, A.R.C.A. EFFET D’OMBRE A MIDI oil on canvas signed; titled on a label on the stretcher 30.25 ins x 34.25 ins; 76.8 cms x 87 cms $10,000—15,000

103 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. WINTER’S TOUCH OF BEAUTY oil on board signed; inscribed on the reverse: “The oldest house in Wyebridge, Ont. Originally the local hotel during the lumbering days some years ago.”

12 ins x 16 ins; 30.5 cms x 40.6 cms $7,000—9,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

104 WILLIAM GOODRIDGE ROBERTS, R.C.A. NATURE MORTE AU BOUQUET oil on masonite signed; titled on both gallery labels on the reverse 20 ins x 24 ins; 50.8 cms x 61 cms Provenance: Galerie Martin, Montreal Galerie Clarence Gagnon, Montreal/Quebec City $15,000—18,000

105 CLARENCE ALPHONSE GAGNON, R.C.A. LAC A ANGE, MONTAGNES DES LAURENTIDES, CANADA oil on panel signed 6 ins x 9.25 ins; 15.2 cms x 23.5 cms $18,000—22,000

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106 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. WINTER BOWS TO SPRING oil on board signed; titled on a label on the reverse 12 ins x 16 ins; 30.5 cms x 40.6 cms $7,000—9,000

107 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. A BEAVER LAKE, ALGOMA, 1919 oil on panel signed; signed, titled and inscribed “Studio Bldg, Severn Street, Toronto” on the reverse 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Provenance: Collection of S. Walter Stewart, Toronto John R.S. Dowsett, Toronto (by descent) James Edwin Guillet, Toronto By descent to the present owner $18,000—22,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

108 JOHN KASYN, O.S.A. RED HOUSE IN PARKDALE oil on masonite signed; signed and titled on the reverse 30 ins x 24 ins; 76.2 cms x 61 cms $15,000—20,000

109 PHILIP HENRY HOWARD SURREY, R.C.A.

BY THE RICHELIEU oil on canvas signed 20 ins x 30 ins; 50.8 cms x 76.2 cms Provenance: Galerie Martin, Montreal $5,000—7,000

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110 MAUD LEWIS SLEIGH AND VILLAGE oil on board signed, sold together with a copy of Lance Woolaver’s The Illuminated Life of Maud Lewis 12 ins x 14 ins; 30.5 cms x 35.6 cms 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. $4,000—6,000

111 MAUD LEWIS COW AND CAR oil on board signed; dated 1967 on the reverse 12.25 ins x 14.25 ins; 31.1 cms x 36.2 cms Literature: Lance Woolaver, The Illuminated Life of Maud Lewis, Art Gallery of Nova Scotia, 1996, page 39 for a closely related work, reproduced in colour.

Note: According to Woolaver, Cow and Car depicts Paul Lewis, the son of Maud’s patron Dr. Doug Lewis of Digby, N.S. $4,000—6,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

112 WILLIAM RONALD, R.C.A. JERUSALEM AT NIGHT (THE OLD CITY) acrylic on canvas signed and dated ‘85; signed, titled and dated “March 12/85” on the reverse 48 ins x 36 ins; 121.9 cms x 91.4 cms Provenance: Gift of the artist (1985) Private Collection, France $4,000—6,000

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113 JEAN-PAUL RIOPELLE, R.C.A. LE ROI DE THULE mixed media on paper signed and dated ‘73 23 ins x 29.25 ins; 58.4 cms x 74.3 cms Provenance: Pierre Matisse Gallery, New York Private Collection, Toronto $12,000—15,000

114 DAVID LLOYD BLACKWOOD, O.S.A., R.C.A. UNCLE CLUNY’S KITE OVER WESLEYVILLE etching and aquatint printed in colours signed, titled, dated 1989 and numbered 56/75 in pencil in the lower margin 15 ins x 35.5 ins; 38.1 cms x 90.2 cms Literature: William Gough, The Art of David Blackwood, Toronto/Montreal, chapter entitled “The Place We Stand to Fly a Kite”, page 1 and pages 52-53 for a detail of, and for Uncle Cluny’s Kite over Wesleyville, respectively, reproduced in colour. $3,000—4,000

115 DAVID LLOYD BLACKWOOD, O.S.A., R.C.A. THE GREAT PEACE OF BRIAN AND MARTIN WINSOR etching and aquatint printed in colours signed, titled, dated 1985 and numbered 47/50 in pencil in the lower margin plate 31.75 ins x 19.75 ins; 80.6 cms x 50.2 cms Literature: Katherine Lochnan, Black Ice, David Blackwood, Prints of Newfoundland, catalogue, Art Gallery of Ontario, Toronto, 2011, plate 44 for Great Peace, reproduced in colour. $9,000—12,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

116 MASHEL ALEXANDER TEITELBAUM GRAND VERTICAL oil on canvas; signed, titled and dated ‘64 on the reverse 36 ins x 28 ins; 91.4 cms x 71.1 cms Provenance: The Estate of a Private Collector, Los Angeles $1,500—2,500

117 KAZUO NAKAMURA MORNING DUSK watercolour signed 9 ins x 12 ins; 22.9 cms x 30.5 cms $1,000—1,500

118 MASHEL ALEXANDER TEITELBAUM CONSTANCY OF THE INCONSTANT CORRELATIVE / BLACK AND WHITE oil on canvas titled on the stretcher 50.75 ins x 38 ins; 128.9 cms x 96.5 cms Provenance: The Estate of a Private Collector, Los Angeles $4,000—6,000

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119 CLAUDE TOUSIGNANT POEME AEROSCOLAIRE, CARRE #6 enamel on paper signed, titled and dated “Ete 2000” 19.75 ins x 25.5 ins; 50.2 cms x 64.8 cms Provenance: Paul Kuhn Gallery, Calgary $1,800—2,200

120 CLAUDE TOUSIGNANT POEME AEROSCOLAIRE, GRAND RECTANGLE #3 enamel on paper signed, titled and dated “Ete 2000” 19.75 ins x 25.5 ins; 50.2 cms x 64.8 cms Provenance: Paul Kuhn Gallery, Calgary $1,800—2,200

121 DAVID THAUBERGER CLOUD FALLS acrylic and glitter on canvas signed, titled and dated “May 1983” on the reverse 68 ins x 44.25 ins; 172.7 cms x 112.4 cms Provenance: Mira Godard Gallery, Toronto $4,000—6,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

122 JOSEPH FRANCIS PLASKETT, R.C.A. FIRESIDE oil on canvas signed and dated ‘69 39.25 ins x 28.25 ins; 99.7 cms x 71.8 cms $7,000—9,000

123 GORD SMITH, R.C.A. DIVIDED FIGURE, 1958 welded steel height 25 ins; 63.5 cms Provenance: The Waddington Galleries Inc., Montreal Galerie John A. Schweitzer, Montreal $3,000—5,000

124 CLARK HOLMES MCDOUGALL PORT STANLEY HARBOUR, WINTER (1954) oil on masonite signed; titled on a label on the reverse 24 ins x 29 ins; 61 cms x 73.7 cms Exhibited: Clark McDougall Paintings Since 1953, Vancouver Art Gallery, n.d., cat.no.2 $1,000—1,500

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125 ALEX JANVIER KINDRED SOUL gouache signed, dated ‘75 and inscribed “287” 14.75 ins x 23 ins; 37.5 cms x 58.4 cms Provenance: Dominion Gallery, Montreal Private Collection, Quebec $2,500—3,000

126 MARCELLE FERRON, R.C.A. SANS TITRE mixed media on paper signed and dated ‘74 26 ins x 20 ins; 66 cms x 50.8 cms $8,000—12,000

127 JACQUES HURTUBISE, R.C.A. OEIL DE CHIMERE II oil on paper, laid down on canvas signed and dated ‘86 20 ins x 26 ins; 50.8 cms x 66 cms $4,000—6,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

128 HORTENSE MATTICE GORDON, R.C.A. UNTITLED oil on canvas board signed and dated ‘52 24 ins x 20 ins; 61 cms x 50.8 cms $5,000—8,000

129 JACK WELDON HUMPHREY PICTORIAL STRUCTURE - BALCONY SUBJECT, 1953 oil on canvas signed; signed, titled on the stretcher and inscribed “Paris 1953” on the artist’s label on the stretcher 15 ins x 18 ins; 38.1 cms x 45.7 cms Literature: Ian Lumsden, Drawings by Jack Weldon Humphrey, exhibition catalogue, Beaverbrook Art Gallery, Fredericton, 1977, pages 20-21.

Russell Harper, Jack Humphrey: a painter in the Maritimes, exhibition catalogue, National Gallery of Canada, Ottawa, n.d, pages 12-13.

Note: Humphrey is known primarily as a figure and landscape painter. Works like this lot are both rare and important to understanding Humphrey’s career arc. Lumsden writes: “Recognizing his need for stimulation offered by major art centres especially in the area of contemporary forms of plastic expression, he applied for a Royal Society Overseas Fellowship offered by the Canadian Government and was successful.

In November 1952, he and his wife left for France where they were to remain for the next thirteen months...In his compositions he began to break up the surface by outlining each shape in black thereby flattening it and thus abstracting it. This facilitated the structuring of a work based exclusively on the vocabulary of painting, the employment of the elements of form and colour in a non-associative manner.”

Russell Harper writes: “Discontent with a routine pattern of landscape painting, still life and occasional portraiture become evident after the conclusion of the war. Regionalism, with the paintings of street scenes and the waterfront had had valid meaning, but it was now a tired form of expression...Contemporary avant-garde Parisian exhibitions gave Humphrey new confidence in free experimentation...[and since] then, non-objective tendencies have dominated much of his painting.” $2,000—3,000

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130 MARCELLE MALTAIS SANS TITRE watercolour signed and dated 1956 7.75 ins x 5.75 ins; 19.7 cms x 14.6 cms Provenance: Canadian Fine Arts, Toronto $1,500—1,800

131 ALFRED PELLAN, R.C.A. DISCOTHEQUE serigraph signed, titled, dated ‘75 and numbered “E.A. 5/15” in pencil in the lower margin image size 22 ins x 26 ins; 55.9 cms x 66 cms Provenance: Roberts Gallery Ltd., Toronto Literature: Germain Lefebvre, Pellan, McClelland and Stewart Limited, Toronto, 1973, page 72 for the related oil painting Discotheque, 1970, reproduced in colour. $1,500—2,500

132 NORMAN LALIBERTE ABRAHAM mixed media on board signed, dated 1963 and inscribed “II XVII” and “MALUM” Provenance: The Waddington Galleries Inc., Montreal 23 ins x 29 ins; 58.4 cms x 73.7 cms $1,500—2,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

133 FRITZ BRANDTNER ABSTRACT DESIGN mixed media on paper 9 ins x 11.5 ins; 22.9 cms x 29.2 cms Provenance: Kastel Gallery Inc., Montreal Galerie Valentin, Montreal $2,000—2,500

134 LEON BELLEFLEUR LA LUNE SUR SOCLE gouache signed, titled and dated ‘76 16.5 ins x 12.5 ins; 41.9 cms x 31.8 cms Provenance: Walter Klinkhoff Gallery Inc., Montreal Galerie d’art Yves Laroche, Montreal $3,000—4,000

135 JACK LEONARD SHADBOLT, R.C.A. UNTITLED oil on board signed and dated ‘60 11.25 ins x 15.5 ins; 28.6 cms x 39.4 cms Provenance: Gerard Gorce Beaux-Arts Inc., Montreal $2,500—3,000

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136 FREDERICK ARTHUR VERNER, O.S.A., A.R.C.A. OJIBWA INDIAN, RAINY RIVER watercolour signed and dated 1886; titled on the reverse 15 ins x 12 ins; 38.1 cms x 30.5 cms $5,000—7,000

137 FREDERICK ARTHUR VERNER, O.S.A., A.R.C.A. INDIANS IN A CANOE WITH A SECOND CANOE DISAPPEARING INTO THE MIST watercolour signed and dated 1896, unframed 12.25 ins x 25 ins; 31.1 cms x 63.5 cms Provenance: Private Collection, U.S.A. $5,000—7,000

138 FREDERICK ARTHUR VERNER, O.S.A., A.R.C.A. SIOUX INDIAN ON HORSEBACK watercolour, laid down on board signed; titled, dated 1867 and inscribed “Cayuse” on the backing 18.25 ins x 24.25 ins; 46.4 cms x 61.6 cms Note: The Cayuse are a Native American tribe originally located in present-day northeast Oregon and southeast Washington. The Cayuse were skilled horsemen and were known for their ponies which were bred for speed and endurance. $10,000—15,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

139 FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A. INCLEMENT WEATHER, WESTMINSTER ABBEY, LONDON watercolour, laid down on card signed 11.25 ins x 15.25 ins; 28.6 cms x 38.7 cms $2,000—3,000

140 FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A. QUEEN VICTORIA’S JUBILEE, 1897 watercolour signed 16.5 ins x 24.5 ins; 41.9 cms x 62.2 cms Literature: Roger Boulet, Frederic Marlett Bell-Smith (1846-1923), Art Gallery of Greater Victoria, 1977, page 81, plate 51 for a closely related oil of this subject, reproduced.

Note: On September 23, 1896, Queen Victoria surpassed her father George III as the longest reigning monarch in British history. Her diamond jubilee, which occurred the following year, was therefore cause for enormous celebration and pageantry. BellSmith went to Britain for the occasion in order to capture in paint this historic moment. A watercolour of this subject was exhibited by him at the Royal Canadian Academy annual exhibition in Toronto in 1898. $6,000—8,000

141 WASHINGTON F. FRIEND A PANORAMIC VIEW OF THE CITY OF MONTREAL watercolour signed, with arched upper corners 14.5 ins x 48 ins; 36.8 cms x 121.9 cms Provenance: Charles Bronfman’s Claridge Collection, Montreal Note: Sold to benefit Historica Canada. $8,000—12,000

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142 STANLEY MOREL COSGROVE, R.C.A. PORTRAIT OF TWO WOMEN oil on board signed and dated ‘49 17 ins x 13.75 ins; 43.2 cms x 34.9 cms $7,000—9,000

143 JOHN WILLIAM BEATTY, O.S.A., R.C.A. LANDSCAPE oil on canvas signed and dated ‘01 10.25 ins x 12 ins; 26 cms x 30.5 cms $6,000—8,000

144 ALBERT JACQUES FRANCK, A.R.C.A. TORONTO STREET SCENE oil on canvas board, mounted to plywood signed and dated ‘52 20 ins x 16 ins; 50.8 cms x 40.6 cms $4,000—5,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

145 JOSEPH FRANCIS PLASKETT, R.C.A. THE YELLOW FRUIT oil on canvas signed and dated ‘59 29 ins x 23.75 ins; 73.7 cms x 60.3 cms $5,000—7,000

146 LOUIS MUHLSTOCK, R.C.A. OPEN DOOR TO OUR GARDEN oil on canvas signed; signed on the reverse and titled on the stretcher 30 ins x 26 ins; 76.2 cms x 66 cms Note: This scene depicts the garden at Isola, the artist’s family farm in Val David, Quebec and was executed circa 1950. $3,000—4,000

147 ALAN CASWELL COLLIER, O.S.A., R.C.A. HARVEST HAPPY oil on canvas signed; titled on the artist’s label on the frame (verso) 16 ins x 36.25 ins; 40.6 cms x 92.1 cms $3,000—5,000

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148 JACK NICHOLS, O.S.A., R.C.A. CELEBRATION oil on canvas 40.25 ins x 50.25 ins; 102.2 cms x 127.6 cms $3,000—5,000

149 BERTHE DES CLAYES SAWMILL - OTTAWA RIVER oil on canvas signed 18 ins x 24 ins; 45.7 cms x 61 cms Provenance: Antoine’s Art Gallery Inc., Montreal Galerie Walter Klinkhoff Inc., Montreal Private Collection, Ontario $4,000—6,000

150 CHARLES-ERNEST DE BELLE, A.R.C.A. GATHERING DAISIES pastel signed with monogramme 20 ins x 24.5 ins; 50.8 cms x 62.2 cms Exhibited: 43rd Spring Exhibition, Art Association of Montreal, 1926, no.36, as The Daisy.

Literature: Evelyn de R. McMann, Montreal Museum of Fine Arts, formerly Art Association of Montreal, Spring Exhibitions 1880-1970, page 28. $3,000—4,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

151 ALAN CASWELL COLLIER, O.S.A., R.C.A. RHYTHM OF FLYING CLOUDS, FLETCHER LAKE, BC, ON THE CHILCOTIN PLATEAU oil on canvas signed 24 ins x 36 ins; 61 cms x 91.4 cms Provenance: Roberts Gallery Ltd., Toronto $6,000—8,000

152 ROBERT WAKEHAM PILOT, P.R.C.A. STREET IN PERCE, QC oil on board signed 12 ins x 17 ins; 30.5 cms x 43.2 cms $6,000—8,000

153 JOHN DOUGLAS LAWLEY SABLE ISLAND oil on canvas board signed 20 ins x 24 ins; 50.8 cms x 61 cms $3,000—5,000

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154 MARC-AURELE FORTIN, A.R.C.A. STE-ROSE watercolour 13.5 ins x 17 ins; 34.3 cms x 43.2 cms Provenance: Galerie Port-Royal, Montreal Private Collection, Montreal $2,000—3,000

155 TED GODWIN WILD RICE, LILY PADS AND SUMMER BREEZES oil on canvas signed and titled on the stretcher 57 ins x 45 ins; 144.8 cms x 114.3 cms Provenance: Charles Bronfman’s Claridge Collection, Montreal Note: Sold to benefit Historica Canada. $7,000—9,000

156 FREDERICK STANLEY HAINES, O.S.A., P.R.C.A. PINE TREES ON THE SHORELINE oil on masonite signed 20 ins x 26 ins; 50.8 cms x 66 cms $4,000—5,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

157 JOHN WILLIAM BEATTY, O.S.A., R.C.A. SUMMER LANDSCAPE oil on panel signed 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms $3,000—4,000

158 ALFRED LALIBERTE LE TONNELLIER bronze signed and titled on the base height 15.5 ins; 39.4 cms $4,000—6,000

159 JULIAN RUGGLES SEAVEY, O.S.A. COUNTRY LIVING, ONTARIO oil on canvas signed 12.25 ins x 18.25 ins; 31.1 cms x 46.4 cms Note: Seavey emigrated to Canada from Boston having studied art in New York, Paris and Rome. He was Head of Art Department of the Hamilton Normal School and exerted considerable influence over the cultural growth of the city during the first quarter of the 20th century. $2,000—3,000

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160 ARMAND TATOSSIAN, R.C.A. VUE DE MONT ROYAL oil on canvas signed; signed and titled on the reverse 36 ins x 48 ins; 91.4 cms x 121.9 cms $5,000—7,000

161 JOHN KASYN, O.S.A. BACK OF DENNISON AVE, 1979 oil on masonite signed; signed, titled and dated on the reverse 15 ins x 11 ins; 38.1 cms x 27.9 cms $4,000—5,000

162 CLARK HOLMES MCDOUGALL REILLEY’S HOUSE, DRAYTON, OCTOBER ‘56 oil on masonite signed; titled on a label on the reverse 24 ins x 32 ins; 61 cms x 81.3 cms Exhibited: Clark McDougall Paintings Since 1953, Vancouver Art Gallery, n.d., cat.no.5. $800—1,200

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

163 LUC DESCHAMPS LA PAUSE AU POLE oil on board signed; signed and titled on the reverse 16 ins x 24 ins; 40.6 cms x 61 cms $1,000—1,500

164 MANLY EDWARD MACDONALD, R.C.A. AUTUMN IN BELLEVILLE oil on canvas signed 24 ins x 30 ins; 61 cms x 76.2 cms $4,000—6,000

165 DONALD MACKAY HOUSTOUN, R.C.A. SUDDEN CLEARING, GRAND VALLEY oil on canvas signed; signed and titled “Sudden Clearing, G.V.” on the reverse of the frame 24 ins x 28 ins; 61 cms x 71.1 cms Provenance: Roberts Gallery Ltd., Toronto $1,200—1,500

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166 FREDERIC MARLETT BELLSMITH, O.S.A., R.C.A. TWO MINIATURE LANDSCAPES: TAKAKA FALLS, YOHO VALLEY AND MOUNT FITZWILLIAM, YELLOWHEAD PASS, B.C. both oils on board both signed with initials, contained in a single frame each 3 ins x 2.25 ins; 7.6 cms x 5.7 cms $1,500—2,500

167 ARMAND TATOSSIAN, R.C.A. VITRINE oil on canvas signed; titled on the reverse 12 ins x 16 ins; 30.5 cms x 40.6 cms $1,500—1,800

168 RENE RICHARD PARC DES LAURENTIDES oil on masonite signed 13 ins x 15 ins; 33 cms x 38.1 cms $2,000—3,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

169 HORTENSE MATTICE GORDON, R.C.A. UNTITLED oil on board signed 23.75 ins x 17.75 ins; 60.3 cms x 45.1 cms $5,000—7,000

170 DAVID BIERK QUIET STREAM / VERMONT SUMMER, 1990 oil on photographs on canvas 15.75 ins x 24.75 ins; 40 cms x 62.9 cms Provenance: Bess Cutler Gallery, New York, N.Y. Private Collection, New York, N.Y. $4,000—6,000

171 DORIS JEAN MCCARTHY, O.S.A., R.C.A. KILLARNEY, ONT. CAMP, BAIE FINN, 1939 oil on board signed, titled and dated on the reverse 11.5 ins x 13.5 ins; 29.2 cms x 34.3 cms $2,500—3,500

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172 FRANK HANS JOHNSTON, O.S.A., A.R.C.A. POOLS OF SILENCE oil on board signed signed and titled on the reverse 9.75 ins x 7.75 ins; 24.8 cms x 19.7 cms Provenance: Private Collection, Toronto $3,000—4,000

173 HENRI LEOPOLD MASSON PAYSAGE D’UNE FORET oil on canvas board signed 16 ins x 20 ins; 40.6 cms x 50.8 cms $2,000—3,000

174 WILLIAM GOODRIDGE ROBERTS, R.C.A. BEFORE RAIN, 1949 oil on canvas signed, titled and dated on the gallery label 21.25 ins x 26.25 ins; 54 cms x 66.7 cms Provenance: Dominion Gallery, Montreal $4,000—5,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

175 GEORGE FRANKLIN ARBUCKLE, O.S.A., P.R.C.A. ILE D’ORLEANS oil on masonite signed; signed, titled and dated ‘80 on the reverse 12 ins x 16 ins; 30.5 cms x 40.6 cms $900—1,200

176 RALPH WALLACE BURTON OTTAWA STREET SCENE WITH ZELIKOVITZ BROTHERS WHOLESALE FRUITS, FEBRUARY 1964 oil on panel signed; signed and dated on the reverse 10.5 ins x 13.5 ins; 26.7 cms x 34.3 cms Note: On the reverse of this painting is inscribed: “Sketched near the corner of Dalhousie and Boteler Sts looking west on Boteler St toward Hull, Que. Florence Paper Co Ltd. is in high brick building to left of sketch.” $600—800

177 HILTON MACDONALD HASSELL, O.S.A., R.C.A. BREATH OF SPRING (NEAR OAKVILLE) oil on board signed; titled on the artist’s label on the reverse 20 ins x 26 ins; 50.8 cms x 66 cms $2,000—2,500

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178 PETER CLAPHAM SHEPPARD, O.S.A., R.C.A. SUMMER, PROSPECT LAKE, MUSKOKA oil on board signed 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Provenance: Estate of the artist Painted circa 1928. $4,000—6,000

179 WILLIAM GOODRIDGE ROBERTS, R.C.A. NEAR ST AGATHA oil on masonite signed; titled and inscribed “To Joan, Christmas ‘65” and “c. 1949” on the reverse 18 ins x 24 ins; 45.7 cms x 61 cms Provenance: Gallery One, Toronto $4,000—5,000

180 PELEG FRANKLIN BROWNELL, O.S.A., R.C.A. AUTUMN, MEACHE LAKE oil on canvas board signed 12 ins x 16 ins; 30.5 cms x 40.6 cms $3,000—4,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

181 STANLEY MOREL COSGROVE, R.C.A. SOUS BOIS oil on canvas signed 25 ins x 32 ins; 63.5 cms x 81.3 cms Provenance: Dominion Gallery, Montreal $4,000—5,000

182 ALEXANDER YOUNG JACKSON, O.S.A., R.C.A. VERRE HARBOUR, HOLLAND oil on board mounted on board 7.25 ins x 9.25 ins; 18.4 cms x 23.5 cms $5,000—7,000

183 RONALD WILLIAM BOLT, P.R.C.A. COASTAL VIOLENCE SERIES #3 acrylic on canvas signed, titled and dated 1981 on the reverse 44 ins x 66 ins; 111.8 cms x 167.6 cms Provenance: Beckett Gallery, Toronto Gallery Moos, Toronto $5,000—7,000

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184 KENNETH CAMPBELL LOCHHEAD LOGGING oil on canvas signed and dated ‘45 20 ins x 26 ins; 50.8 cms x 66 cms $7,000—10,000

185 RENE RICHARD HAUTEUR DE BAIE-ST. PAUL oil on panel signed; titled on the reverse 18 ins x 24 ins; 45.7 cms x 61 cms Provenance: Private Collection, New York $5,000—7,000

186 CHARLES FRASER COMFORT, O.S.A., P.R.C.A. BACK ROAD TO CORMAC oil on canvas signed; titled on two labels on the reverse 20 ins x 26 ins; 50.8 cms x 66 cms Provenance: Wallack Galleries, Ottawa Private Collection, Ottawa $5,000—7,000

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

187 LAURA ADELINE MUNTZ, O.S.A., A.R.C.A. STILL LIFE WITH FLOWERS oil on canvas signed 20 ins x 24 ins; 50.8 cms x 61 cms $6,000—8,000

188 LAURA ADELINE MUNTZ, O.S.A., A.R.C.A. WHITE BONNET AND STRAW HAT - A DOUBLE PORTRAIT OF TWO YOUNG GIRLS oil on canvas signed 21 ins x 18.5 ins; 53.3 cms x 47 cms Provenance: Private Collection, Ontario $12,000—18,000

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189 JOSEPH JULIUS HUMME A GROUP OF THREE OIL PAINTINGS DEPICTING HUNTING AND FISHING SCENES oils on canvas each signed with the artist’s monogramme each approximately 11.5 ins x 17.75 ins; 29.2 cms x 45.1 cms $3,000—5,000

190 FREDERICK SIMPSON COBURN, R.C.A. A COLLECTION OF FOUR QUEBEC SCENES coloured pencils each signed, the first titled “Ham Mountain”; the third dated “Sept 41”; the fourth inscribed “signed for Philip Feb 1st, 1959 - Upper Melbourne Quebec by Mr. Coburn” on the reverse 8 ins x 11.5 ins; 20.3 cms x 29.2 cms; 7 ins x 8.5 ins; 17.8 cms x 21.6 cms; 6.5 ins x 8.5 ins; 16.5 cms x 21.6 cms; 6.5 ins x 8.5 ins; 16.5 cms x 21.6 cms $1,200—1,500

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Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

191 FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A. THE CRICKET MATCH watercolour signed and dated ‘79, sold together with a copy of Roger Boulet’s exhibition catalogue to the 1978 travelling retrospective of the artist, Frederic Marlett Bell-Smith (18461923) 9 ins x 12.75 ins; 22.9 cms x 32.4 cms $3,000—5,000

192 DAVID BROWN MILNE HILLTOP (PAINTING PLACE) drypoint etching printed in two colours signed with initials in the plate, also signed in pencil in the lower margin, unframed sheet 10.5 ins x 8.5 ins; 26.7 cms x 21.6 cms Provenance: Private Collection, California Note: In the mid 1920s, Milne had become unhappy with his watercolours and ceased using this medium for a period. He wrote to his close friend James Clarke suggesting etching be used “as a running mate for oil and successor of watercolour.”

In March of 1931, Milne began work on an etching based on his oil paintings known as Painting Place (various versions) for a book collection quarterly The Colophon founded in 1929. Each issue of the quarterly would include an original work of art and Milne was engaged to produce over 2000 etchings for inclusion in a forthcoming issue. The work was laborious and daunting; Milne could only produce about 40 prints per session. Deadlines came and passed. For his effort, he was paid $400. $1,000—1,500

193 JEREMY SMITH PINE TREE pencil signed with initials 8.5 ins x 8.5 ins; 21.5 cms x 21.5 cms Note: Executed in 1994. $300—500

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CanadianArt.Waddingtons.ca

Index

A

Cosgrove, Stanley Morel (1911-2002)...142,

H

181 Alexander, David (B. 1947)…10 Arbuckle, George Franklin (1909-2001)…175

Haines, Frederick Stanley (1879-1960)...156 D

Harrison, Ted (b. 1926)…98 Hassell, Hilton MacDonald (1910-1980)…177

B

Daley, Cathy (b. 1955)…17

Hewton, Randolph Stanley (1888-1960)…90

Daudelin, Charles (1920-2001)…18

Houstoun, Donald Mackay (1916-2004)…

Bates, Maxwell Bennett (1906-1980)...95

de Belle, Charles-Ernest (1873-1939)...150

165

Beament, Thomas Harold (1898-1984)...12

Des Clayes, Berthe (1877-1968)...149

Hudon, Normand (1929-1997)...96

Beatty, John William (1869-1941)...143, 157

Deschamps, Luc (b. 1961)…163

Humme, Joseph Julius (1825-1889)…189

Beder, Jack (1909-1987)…7, 21 Bell-Smith, Frederic Marlett (1846-

Humphrey, Jack Weldon (1901-1967)...129 E

Hurtubise, Jacques (b. 1939)…127

Bellefleur, Leon (1910-2007)…134

Eloul, Kosso (1920-1995)…16, 99, 100

I

Bertin, Pierre Paul (1962-2006)…9

Etrog, Sorel (b. 1933)...67

Bieler, Andre Charles (1896-1989)…5

Ewen, William Paterson (1925-2002)…28

Iskowitz, Gershon (1921-1988)...91

F

J

Bobak, Molly Lamb (b. 1922)…92

Fairley, Barker (1887-1986)...13

Jackson, Alexander Young (1882-1974)...29,

Bolt, Ronald William (b. 1938)…183

Ferron, Marcelle (1924-2001)…126

34, 36, 54, 69, 77, 79, 107, 182

Bouchard, George Lorne Holland (1913-

Fortin, Marc-Aurele (1888-1970)...45, 86,

Janvier, Alex (b. 1935)…125

1978)…80

154

Johnston, Frank Hans (1888-1949)...33, 42,

Brandtner, Fritz (1896-1969)…64, 133

Fowler, Graham (b. 1952)…15

72, 82, 103, 106, 172

Brownell, Peleg Franklin (1857-1946)…180

Franck, Albert Jacques (1899-1973)…144

Burton, Ralph Wallace (1905-1983)...176

Friend, Washington F. (c.1820-1886)…57, 141

K

G

Kasyn, John (1926-2008)...108, 161

1923)...139, 140, 166, 191

Bierk, David (1944-2002)...170 Binning, Bertram Charles (1909-1976)…65 Blackwood, David Lloyd (b. 1941)...6, 114, 115

Bush, Jack Hamilton (1909-1977)…66 C

Krieghoff, Cornelius (1815-1872)...37, 39, 60 Gagnon, Clarence Alphonse (1881-1942)…

Kurelek, William (1927-1977)...73, 74

Canadian School, 19th Century…58

105

Carmichael, Franklin (1890-1945)...61

Gendron, Pierre (b. 1934)…63

Casson, Alfred Joseph (1898-1992)...35, 43,

Gervais, Lise (1933-1998)…19

56, 62, 70, 84

Glyde, Henry George (1906-1998)…81

Laliberte, Alfred (1878-1953)…158

Clark, John (1943-1989)…101

Godwin, Ted (1933-2013)…155

Laliberte, Norman (b. 1925)…132

Coburn, Frederick Simpson (1871-1960)...190

Gordon, Hortense Mattice (1889-1961)...89,

Lawley, John Douglas (1906-1970)…153

Collier, Alan Caswell (1911-1990)…147, 151

128, 169

Lemieux, Jean-Paul (1904-1990)…46

Colville, David Alexander (1920-2013)…49

Gorlitz, Will (b. 1952)…75

Lewis, Maud (1903-1970)...110, 111

Comfort, Charles Fraser (1900-1994)...186

96

L

Lismer, Arthur (1885-1969)…55

Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

Lochhead, Kenneth Campbell (1926-

Reid, Mary Hiester (1854-1921)…2

2006)...184

Reppen, Jack (1933-1964)...4, 8, 14

M

V

Richard, Rene (1895-1982)...168, 185

Vale, Florence Gertrude (1909-2003)…20,

Riopelle, Jean-Paul (1923-2002)…26, 113

97

Roberts, William Goodridge (1904-

Verner, Frederick Arthur (1836-1928)...136,

MacDonald, James Edward Hervey (1873-

1974)...104, 174, 179

137, 138

1932)...40

Ronald, William (1926-1998)...22, 53, 93, 112

MacDonald, Manly Edward (1889-1971)...88,

Rotter, Peter…11

W

S

Watson, Homer Ransford (1855-1936)…59

McCarthy, Doris Jean (1910-2010)...171

Savage, Anne Douglas (1896-1971)...83

Y

McDougall, Clark Holmes (1921-1980)…124,

Scherman, Tony (b. 1950)...48

162

Seavey, Juilian Ruggles (1857-1940)…159

McEwen, Jean Albert (1923-1999)…47, 68

Shadbolt, Jack Leonard (1909-1998)...135

McLaughlin, Isabel (1903-2002)…3

Sheppard, Peter Clapham (1882-1965)…178

Milne, David Brown (1882-1953)…85, 192

Smith, Gord (b. 1937)…123

Mount, Rita (1888-1967)…102

Smith, Jeremy (b. 1946)…193

Morris, Kathleen Moir (1893-1986)...41, 76

Smith, Marjorie (Jori) Elizabeth Thurston

Muhlstock, Louis (1904-2001)...146

(1907-2005)…94

Muntz, Laura Adeline (1860-1930)...187, 188

Surrey, Philip Henry Howard (1910-1990)…

164 Maltais, Marcelle (b. 1933)…130 Masson, Henri Leopold (1907-1996)…173

Yarwood, Walter (1917-1996)…30, 32

109 N

Suzor-Cote, Marc-Aurele de Foy (18691937)...44, 78

Nakamura, Kazuo (1926-2002)…31, 117 Nichols, Jack (1921-2009)…148

T

Norwell, Graham Noble (1901-1967)…1 Tatossian, Armand (b. 1948)…160, 167 P

Teitelbaum, Mashel Alexander (1921-1985)…

116, 118

Pellan, Alfred (1906-1988)...131

Thauberger, David (b. 1948)…121

Perehudoff, William (b. 1918)...25

Tousignant, Claude (b.1932)...24, 119, 120

Phillips, Walter Joseph (1884-1963)...87

Town, Harold Barling (1924-1990)...23, 50,

Pilot, Robert Wakeham (1898-1967)...71, 152

51, 52

Plaskett, Joseph Francis (b. 1918)…122, 145 U R Urquhart, Anthony (Tony) Morse (b. 1934)…

Reid, George Agnew (1860-1947)...38

27

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CanadianArt.Waddingtons.ca

Buying at Waddington’s

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

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

inquire as to the condition of a lot before bidding.

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

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

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

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

Artfact Live! clients will be charged a buyer's premium of 23% of the successful bid price of each lot up to and including $50,000 and 18% on any amount in excess of $50,000 as part of the total purchase price.

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

Buyers Premium A premium of 18% of the successful bid price of each lot up to and including $50,000 and 15% on any amount in excess of $50,000 is paid by the buyer as part of the total purchase price.

A charge of 13% HST (Harmonized Sales Tax) is applicable on the hammer price and buyer's premium, except for purchases exported from Canada. In the case where purchases are shipped out of the province of Ontario, the HST or GST is charged based on the tax status of that province.

Bidding To bid in person at the auction, you must register for a bidding number by showing identification acceptable to the Auctioneer upon entering the salesroom. Your number will identify you if you are the successful bidder. You will be responsible for all lots purchased on your bidding number. Banking information may be requested by Waddington’s™. You may submit an Absentee Bid Form if you are unable to attend the sale. Bidding by telephone, in limited circumstances, can be arranged prior to the sale.

While we are pleased to offer absentee and telephone bidding as a service to our clients, and take great care in their commission, the Auctioneer will not be responsible for technical difficulties, errors or failure to execute bids. The Auctioneer may also execute bids on behalf of the consignor to protect the reserve. The reserve is the confidential minimum price the seller is willing to accept for his or her property, below which it will not be sold.

Absentee Bidders All absentee and phone bidders are required to contact our offices at 416504-9100 to confirm whether they have been successful.

Payment Payment for purchases must be by cash, INTERAC direct debit (Cdn clients in person only), certified cheque (U.S. & Overseas not applicable), travelers cheque, bank draft, electronic transfer (fee applies), VISA or Mastercard (up to $25,000). As Waddington's requires written authorization for all credit card purchases, credit cards must be presented in person by the cardholder and therefore cannot be accepted over the telephone. However, fax authorization arrangements can be made.

ALL PRICES IN CANADIAN FUNDS

Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

Selling at Waddington’s

Shipping: The Auctioneers will not undertake packing or shipping. The purchaser must designate and arrange for the services of an independent shipper and be responsible for all shipping, insurance expenses and any necessary export permits that may apply. The Auctioneers will, upon request, provide names of professional packers and shippers but will not be held responsible for the service or have any liability for providing this information. Reliable preauction 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 Removal of Purchases Purchases must be paid for within 48 hours of the date of the sale, and removed from premises within 10 days of the date of sale (see Conditions of Sale, conditions 8 to 15). Clients are advised that packing and/or handling of purchased lots by our employees or agents is undertaken solely as a courtesy for the convenience of clients.

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

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

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

Notice for our International Clients

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

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

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

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

For more information please visit: www.cites.org

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

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

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CanadianArt.Waddingtons.ca

Conditions Of Sale

1. All lots are sold “AS IS”. Any description issued by the auctioneer of an article to be sold is subject to variation to be posted or announced verbally in the auction room prior to the time of sale. While the auctioneer has endeavoured not to mislead in the description issued, and the utmost care is taken to ensure the correct cataloguing of each item, such descriptions are purely statements of opinion and are not intended to constitute a representation to the prospective purchasers and no warranty of the correctness of such description is made. An opportunity for inspection of each article is offered prior to the time of sale. No sale will be set aside on account of lack of correspondence of the article with its description or its reproduction, if any, whether colour or black & white. Some lots are of an age and/or nature which preclude their being in pristine condition and some catalogue descriptions make reference to damage and/or restoration. The lack of such a reference does not imply that a lot is free from defects nor does any reference to certain defects imply the absence of others.

Frames on artwork are not included as part of purchase or condition. It is the responsibility of prospective purchasers to inspect or have inspected each lot upon which they wish to bid, relying upon their own advisers, and to bid accordingly.

2. Each lot sold is subject to a premium of 18% of the successful bid price.

3. Unless exempted by law, the buyer is required to pay Harmonized Sales Tax on the total purchase price including the buyer’s premium. For international buyers, taxes are not applicable when purchases are shipped out of country. Items shipped out of Ontario, the buyer is required to pay taxes as per the tax status of that province, whether it HST or GST (Goods and Services Tax).

4. The auctioneer reserves the right to withdraw any lot from

100

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). As Waddington's requires written authorization for all credit card purchases, credit cards must be presented in person by the cardholder and therefore cannot be accepted over the telephone.

However, fax authorization arrangements can be made.

13. In the event of failure to pay for or remove articles within the aforementioned time limit, the auctioneer, without limitation of the rights of the consignor and the auctioneer against the buyer, may resell any of the articles affected, and in such case the original buyer shall be responsible to the auctioneer and the consignor for: (a) any deficiency in price between the re-sale amount and the amount to have been paid by the original buyer; (b) any reasonable charge by the auctioneer for the storage of such articles until payment and removal by the subsequent buyer; and (c) the amount of commission which the auctioneer would have earned had payment been made in full by the original buyer.

14. It is the responsibility of the buyer to make all arrangements for insuring, packing and removing the property purchased and any assistance by the auctioneer or his servants, agents or contractors, in packing or removal shall be rendered as a courtesy and without any liability to them.

15. The auctioneer acts solely as agent for the consignor and makes no representation as to any attribute of, title to, or restriction affecting the articles consigned for sale. Without limitation, the buyer understands that any item bought may be affected by the provisions of the Cultural Property Export Act (Canada).

16. The auctioneer reserves the right to refuse admission to the sale or to refuse to recognize any or all bids from any particular person or persons at any auction.

Canadian Fine Art Auction – Wednesday 27 November 2013 at 7 p.m.

Operational Sta

Specialist Departments

Asian Art

Monthly Fine Art

Anthony Wu 416 847 6185 aw@waddingtons.ca

Doug Payne 416 847 6180 dp@waddingtons.ca

Yvonne Li 416 847 6195 yl@waddingtons.ca

Silver, Glass & Ceramics

Canadian Fine Art

Bill Kime 416 847 6189 bk@waddingtons.ca

Linda Rodeck 416 847 6176 lr@waddingtons.ca

Shasha Liu Assistant sl@waddingtons.ca

Kristin Vance 416 504 5100 kv@waddingtons.ca

Sculpture, Decorations, Clocks & Lighting

Kathleen Killin Assistant kk@waddingtons.ca

Sean Quinn 416 847 6187 sq@waddingtons.ca

President Duncan McLean 416 847 6183 adm@waddingtons.ca

Waddingtons.ca/Cobourg

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

General Manager Paul Needham 905 373 0501 pn@waddingtons.ca

Vice President Fine Art Linda Rodeck 416 847 6176 lr@waddingtons.ca General Manager Duane Smith 416 847 6172 das@waddingtons.ca Creative & Technical Manager Jamie Long 416 847 6188 jl@waddingtons.ca

Contemporary Art Stephen Ranger 416 847 6194 skr@waddingtons.ca International Art Susan Robertson 416 847 6179 sr@waddingtons.ca Emma Frank Assistant ef@waddingtons.ca

Queeny Xu Assistant qx@waddingtons.ca

9 Elgin Street East, Cobourg ON K9A 0A1

Absentee and Phone Bidding 905 373 1467 (Fax) Waddingtons.ca/Collingwood P. O. Box 554, Collingwood ON L9Y 4B2 Valerie Brown 705 445 8811 vb@waddingtons.ca Transitions.Waddingtons.ca Marcia Kim 416 847 6196 mk@waddingtons.ca

Accounts Manager Karen Sander 416 847 6173 ks@waddingtons.ca Ellda Pappada 416 504 9100 x6213 ep@waddingtons.ca Corporate Receptionist Kate Godin 416 504 9100 kg@waddingtons.ca

Inuit Art Christa Ouimet 416 847 6184 co@waddingtons.ca Jewellery, Watches & Numismatics Don P. McLean 416 847 6170 dpm@waddingtons.ca

Appraisal Co-ordinator Ellie Muir 416 847 6196 em@waddingtons.ca Building Manager Steve Sheppard 416 847 6186 ss@waddingtons.ca Client Services Andrew Brandt 416 504 9100 ext 6200 ab@waddingtons.ca

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Canadian Fine Art Waddingtons.ca

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

Telephone: 416.504.5100 Fax: 416.504.6971 Toll Free: 1.877.504.5700