NOVEMBER 2013 ONLINE SALE CATALOGUE - HeffelNOVEMBER 2013 ONLINE SALE CATALOGUE Opens: 07-Nov-2013 04:00:00 PM Estimated closing time: 30-Nov-2013 03:00:00 PM 2247 Granville Street

NOVEMBER 2013 ONLINE SALE CATALOGUE

Opens: 07-Nov-2013 04:00:00 PMEstimated closing time: 30-Nov-2013 03:00:00 PM

2247 Granville StreetVancouver, BC, V6H 3G1

Phone: 00 1 604 732 6505 Mobile: 00 1 604 418 6505Fax: 00 1 604 732 4245Email: [email protected]

Buyer's Premium 17%

All works can be viewed on the Internet at www.heffel.com and at Heffel Gallery, 2247 Granville Street, Vancouver, BC, or at Heffel Fine Art Auction House, 13 Hazelton Avenue, Toronto, ON, or at Gallerie Heffel, 1840 rue Sherbrooke Ouest, Montreal, QC, Canada

Viewing:

Sale to be held through the Internet at www.heffel.com.Any estimates for this sale are in Canadian Dollars.

Note:

Telephone and absentee bids accepted.

Heffel Fine Art Auction House

13 Hazelton AvenueToronto, ON, M5R 2E1

Phone: 00 1 416 961-6505 Fax: 00 1 416 961-4245

Heffel Gallery Inc.

1840 rue Sherbrooke OuestMontreal, QC, H3H 1E4

Phone: 00 1 514 939-6505 Fax: 00 1 514 939-1100

Galerie Heffel Québec Ltée.

451 Daly AvenueOttawa, ON, K1N 6E7

Phone: 00 1 613 230 6505 Fax: 00 1 613 230 8884

Heffel Fine Art Auctioneers

(with 3 minutes extension until no further bids received)

Page: 1 of 69NOVEMBER 2013 ONLINE SALE CATALOGUE

201

DAVID BIERK

Still Life, To Art and Life: Michelangelo and Gauguin

1944 - 2002 Canadian

mixed media

27 1/2 x 65 3/4 inches 69.8 x 167 centimetersinitialed in each of the three panels and on verso signed, titled and dated 18 October 1994

$25,000 ~ $35,000 CDNPreview at: Heffel Fine Art Inc. Toronto

Estimate:

Provenance: Private Collection, TorontoExhibited:Literature:

Starting Bid: $20,000 CDN

202

ALFRED JOSEPH (A.J.) CASSON

Sundown, Madawaska River

CGP CSPWC G7 POSA PRCA 1898 - 1992 Canadian

oil on board

12 x 14 3/4 inches 30.5 x 37.5 centimeterssigned and on verso signed and titled

$12,000 ~ $16,000 CDNPreview at: Heffel Gallery Montreal

Estimate:

Provenance: Roberts Gallery, TorontoKastel Gallery, MontrealPrivate Collection, Turks and Caicos Islands

Exhibited:Literature:


203

FREDERICK SIMPSON COBURN

Cross Country Skiing in the Laurentians

AAM RCA 1871 - 1960 Canadian

oil on canvas

20 x 25 3/4 inches 50.8 x 65.4 centimeterssigned and dated 1932


Estimate:

Provenance: Acquired directly from the Artist By descent to the present Private Collection, Montreal




204


On the Melbourne Road, Eastern Townships


oil on canvas

12 x 17 inches 30.5 x 43.2 centimeterssigned and dated 1929 and on verso titled on the gallery label


Estimate:

Provenance: Galerie Walter Klinkhoff Inc., MontrealPrivate Collection, TorontoBy descent to the present Private Collection, Ontario



205

EMILY COONAN

Quebec Landscape

BHG 1885 - 1971 Canadian

oil on canvas

20 x 24 inches 50.8 x 61 centimeterssigned and on verso titled on a label

$12,000 ~ $16,000 CDNPreview at: Heffel Fine Art Auction House Vancouver

Estimate:

Provenance: Patricia Coonan, the Artist's sisterCharlotte Tansey, Montreal A gift from Charlotte Tansey to the present Private Collection, Montreal, 1977


An early exponent of Canadian modernism, Emily Coonan first took art classes at Conseil des arts et manufactures, but her formative studies were later at the Art Association of Montreal. During this time, William Brymner became her teacher and, with his encouragement, Coonan and fellow artist Henrietta Mabel May traveled to France, Belgium and Holland in 1912. This trip allowed Coonan to see the work of the French Impressionists and greatly expanded her artistic horizons. She returned to France in 1920, enabled by a traveling grant awarded by the National Gallery of Canada. This trip proved to be significant, and subsequently her work began to indicate modernist sensibilities through increasingly simplified portraits and landscapes. Also in 1920, she became a member of the important Beaver Hall Group, and exhibited regularly at the Art Association of Montreal and the Royal Canadian Academy. Coonan frequently traveled to the Quebec countryside to paint en plein air, and this work illustrates her clear admiration of her surroundings. With its harmonious colour palette and simplified forms, Quebec Landscape is a charming work from this important female modernist.



206

GREGORY RICHARD CURNOE

Doc Morton, Front Wheel


serigraph on plexiglass

27 1/2 x 27 1/2 inches 69.8 x 69.8 centimeterssigned, titled, editioned 11/65 and dated May 24 - July 4, 1980


Estimate:

Provenance: Private Collection, VancouverExhibited:Literature: Pierre Théberge, Greg Curnoe, Montreal Museum of Fine Arts, 1980, reproduced

page 190, catalogue #161and a related watercolour entitled High Flange Doc Morton Front Hub, DB Rim reproduced page 171, catalogue #121

Greg Curnoe was an avid cyclist, and his hand-built Mariposa bicycles were an important subject in his oeuvre. The title refers to Doc Morton, a member of the Canadian Olympic bicycle racing team circa 1920, also the owner of Lakeshore Cycles in Toronto, where he hand-built racing bicycles and modified CCM Flyers.


207

LAWREN STEWART HARRIS

Laurentians

ALC BCSFA CGP FCA G7 OSA RPS TPG 1885 - 1970 Canadian

oil on panel

5 1/2 x 8 7/8 inches 14 x 22.5 centimeters

signed and on verso titled and inscribed "Laurentians sketching trip with J. MacD 1913/14, Thoreau MacDonald"


Estimate:

Provenance: Mr. & Mrs. A. Crawford KennyPrivate Collection, Toronto


After he returned from Germany, Lawren Harris’s first Canadian sketching trip was to Quebec’s Laurentians in fall 1908, which resulted in his first major Canadian landscape canvas, Deserted Barn, Laurentians. In 1911 Harris met J.E.H. MacDonald, and in the fall of 1913, the soon-to-be fellow Group of Seven artists traveled to the Laurentians. Harris did a number of small panels on this trip, including Laurentians, verified by the verso inscription by MacDonald’s son, Thoreau - although it is uncertain whether this indicates the painting was once in Thoreau's possession. In some of Harris’s Laurentian scenes he used a select palette of warm and cool earth tones, and here he used primarily taupe, umber, brown and orange. The central haystacks, with their unusual forms, are a focal point, contrasted with long, fluid brush-strokes that give rhythm and flow to the surrounding cultivated land. In the hills behind, the oranges and golds of autumn smoulder through the trees. Harris makes the juxtaposition of rustic farmland and wild nature vital and fresh in this engaging rural scene.



208

RANDOLPH STANLEY HEWTON

Murray Bay, View from Cap a l'Aigle

BHG CGP RCA 1888 - 1960 Canadian

oil on canvas

12 x 15 inches 30.5 x 38.1 centimeterssigned and on verso titled and stamped with the Hewton Estate stamp and numbered 212


Estimate:

Provenance: The Art Emporium, VancouverGalerie Walter Klinkhoff Inc., MontrealPrivate Collection, Toronto



209

EDWIN HEADLEY HOLGATE

Old Barn

AAM BHG CGP CSGA G7 RCA 1892 - 1977 Canadian

oil on panel

8 1/4 x 10 1/2 inches 21 x 26.7 centimetersinitialed and on verso titled


Estimate:

Provenance: O.J. Firestone, OttawaPrivate Collection, Toronto



210

ALEXANDER YOUNG (A.Y.) JACKSON

European Scene

ALC CGP G7 OSA RCA RSA 1882 - 1974 Canadian

oil on board

7 3/8 x 9 3/8 inches 18.7 x 23.8 centimeterssigned


Estimate:

Provenance: Kastel Gallery, MontrealPrivate Collection, Montreal




211


Farm, Combermere, Ontario


oil on board

10 1/2 x 13 1/2 inches 26.7 x 34.3 centimeterssigned and on verso titled and dated 1961


Estimate:

Provenance: Private Collection, MontrealExhibited:Literature:


212


Sailing Boats off the Shore


oil on board

8 1/2 x 10 1/2 inches 21.6 x 26.7 centimeters

signed and on verso inscribed "Varnish" in graphite and stamped The Paris American Art Co., 125 Boul du Montparnasse & 2, Rue Bonaparte, 2 Paris


Estimate:

Provenance: Private Collection, OntarioExhibited:Literature:


213


Settler's Home


oil on board


signed and on verso titled on the gallery label, inscribed by Naomi Jackson Groves: "Settler's Home, possibly Opeongo area, Ontario, painted early 1960s" and certified by Naomi Jackson Groves, 11 May 1986, NGC#2516


Estimate:

Provenance: Galerie Valentin, MontrealPrivate Collection, USA




214

FRANK HANS (FRANZ) JOHNSTON

Coldwell, Lake Superior

ARCA CSPWC G7 OSA 1888 - 1949 Canadian

mixed media on board

20 x 24 inches 50.8 x 61 centimeterssigned, dated 1930 and inscribed "Toronto, Can"


Estimate:

Provenance: Private Collection, EnglandExhibited:Literature:

On verso inscribed: "Pinxit Franz Johnston, Dederunt S.C.M. Toronto, 10 December 1930"


215


The Woodpile


oil on board

15 x 18 inches 38.1 x 45.7 centimeterssigned and on verso signed and titled


Estimate:

Provenance: The Fine Art Galleries, T. Eaton Co. Ltd., TorontoPrivate Collection, Ontario




216


Trapper's Old Shack, Good Fish Lake, Swastika District


tempera on illustration board

15 x 15 inches 38.1 x 38.1 centimeterssigned and on verso titled


Estimate:

Provenance: By descent to the present Private Collection, OntarioExhibited:Literature:

The current owner’s great-grandfather, who died in 1931, was a prominent Toronto businessman who purchased two Franz Johnston works in the 1920s. One, an oil on panel bearing the signature Frank H. Johnston, is now in the collection of the Art Gallery of Ontario. The other work, this tempera painting, was unsigned at the time of purchase but was taken by the original owner’s son to Johnston during the course of one of his exhibitions at the Fine Art Galleries at Eaton’s College Street store. The artist signed the work Franz Johnston, the name he was using at that time.


217

CORNELIUS DAVID KRIEGHOFF

Trapper on Snowshoes


oil on canvas

10 3/4 x 8 1/2 inches 27.3 x 21.6 centimeterssigned and on verso titled on the gallery label


Estimate:

Provenance: Vose Galleries, BostonPrivate Collection, Toronto


Cornelius Krieghoff's interest in depicting Canada's First Nations peoples began while living in the Montreal region in the 1840s, and continued after settling in 1853 in Quebec City. He portrayed them going about their daily life and developed an approach to painting the figure, not as a portrait, but as a specific archetype. This work belongs to Krieghoff's tradition of single figure subjects of Canada's First Nations peoples. His depictions often place hunters, trappers or moccasin sellers in the centre of the scene, moving towards their destination within a rich Canadian landscape. This work is a fine example of Krieghoff's delicate handling, evident in the swaying threads of the ceinture fléchée and in the dusting of powdered snow that rises from the figure's snowshoes. The First Nations subject and the snow-filled setting make this work a quintessential Krieghoff.



218

WILLIAM KURELEK

Prairie Boys Dream of Firing of Suitable Receptacle for God's Grace

ARCA OC OSA 1927 - 1977 Canadian


25 x 22 1/2 inches 63.5 x 57.1 centimeters

initialed and dated 1969 and on verso titled and inscribed "O Designer Infinite Must thou char the wood ere thou wouldst Limn With it"


Estimate:


Please note: this painting is in the original frame made by William Kurelek.


219

JAMES EDWARD HERVEY (J.E.H.) MACDONALD

Winter in Thornhill Village

ALC CGP G7 OSA RCA 1873 - 1932 Canadian

oil on board

8 x 10 inches 20.3 x 25.4 centimeters

signed and dated 1913 and on verso signed, titled, dated 1912 - 1913 and 1913 - 1914 and inscribed "Thornhill first house"


Estimate:

Provenance: Dominion Gallery, MontrealPrivate Collection, Montreal



220

DORIS JEAN MCCARTHY

Pond Inlet with Floes on the Mud

CSPWC OC OSA RCA 1910 - 2010 Canadian

acrylic on canvas

60 x 84 inches 152.4 x 213.3 centimeterssigned and on verso titled, dated 1981 on the gallery label and inscribed "810329"


Estimate:

Provenance: Aggregation Gallery, TorontoPrivate Collection, Ontario




221

ISABEL GRACE MCLAUGHLIN

Stan White's, Whitefish Falls, Ont.

CGP OSA 1903 - 2002 Canadian

oil on canvas

26 x 30 inches 66 x 76.2 centimeterson verso signed, titled twice, dated 1936 on the exhibition label and inscribed "A258"


Estimate:

Provenance: Private Collection, OntarioExhibited: The Robert McLaughlin Gallery, Isabel McLaughlin: Recollections, March - September

1983Literature:


222

JAMES WILSON MORRICE

Coastal Landscape

CAC RCA 1865 - 1924 Canadian

oil on canvas on board

9 7/8 x 12 1/8 inches 25.1 x 30.8 centimeterson verso inscribed "M 81, certified by "Studio JW Morrice" stamp and stamped "Estate F.R. Heaton"


Estimate:



223

JEAN-PAUL RIOPELLE

Nouvelles impressions

AUTO CAS OC QMG RCA SCA 1923 - 2002 Canadian

oil on canvas

15 x 18 inches 38.1 x 45.7 centimeterssigned and on verso titled and inscribed "Y18193"


Estimate:


This work will be included as an addendum to Volume V in Yseult Riopelle's online catalogue raisonné on the artist's work at http://www.riopelle.ca/



224

JEAN-PAUL RIOPELLE

Sans titre

AUTO CAS OC QMG RCA SCA 1923 - 2002 Canadian

ink and watercolour on paper

12 x 16 inches 30.5 x 40.6 centimeterssigned and dated 1946 and on verso titled, dated and inscribed "H683" on the Dominion Gallery label


Estimate:

Provenance: Dominion Gallery, MontrealM et Mme Luc Choquette, MontrealPrivate Collection, Toronto

Exhibited: Borduas et les automatistes, Montreal, 1942 - 1955, Galeries nationales du Grand Palais, Paris, 1971, touring October 1, 1971 - January 16th, 1972 to the Musée d'art contemporain de Montréal

Literature: Yseult Riopelle, Jean-Paul Riopelle Catalogue Raisonné, Volume I, 2004, reproduced page 405, catalogue #1946.049P.1946

Jean-Paul Riopelle began working seriously in watercolour in 1946. He was searching for a painting technique that would correspond to the kind of automatic writing produced by poets. This watercolour from 1946 is an early example of the development of his automatic painting technique. In these early years, he combined watercolour with black ink to produce the numerous works that filled the pages of his sketchbooks. In this example, thin lines of ink tie the forms of his muted palette together. The delicacy of line and lightness of touch suggest the beginning stages of his experimentation with ink and watercolour that would later blossom into commanding lines and colourful patterning. This watercolour conveys a sense of energy that is characteristic of Riopelle's oeuvre.


225

MARC-AURÈLE DE FOY SUZOR-COTÉ

Jolliet


bronze sculpture

20 x 8 1/2 x 9 inches 50.8 x 21.6 x 22.9 centimeterssigned, dated 1925 and inscribed "Roman Bronze Works NY No. 6"


Estimate:

Provenance: Private Collection, TorontoExhibited:Literature: Pierre L'Allier, Suzor-Coté: L'oeuvre sculpté, Musée du Québec, 1991, reproduced

page 93, catalogue #33Laurier Lacroix, Suzor-Coté: Light and Matter, Musée du Québec, 2002, the large-scale 1928 bronze entitled Louis Jolliet at the Hôtel du Parlement, Quebec City, reproduced page 310

Louis Jolliet was an Canadian explorer, known for his discoveries in North America.



301

SYBIL ANDREWS

Mangolds

CPE 1898 - 1992 Canadian

colour linocut

12 3/4 x 14 5/8 inches 32.4 x 37.1 centimeterssigned, titled and editioned 31/60


Estimate:

Provenance: Private Collection, VancouverExhibited: Glenbow Museum, Calgary, Sybil Andrews, same image, 1982, catalogue #24Literature: Peter White, Sybil Andrews, Glenbow Museum, 1982, reproduced page 62

Stephen Coppel, Linocuts of the Machine Age, 1995, reproduced page 121, catalogue #SA 56Gordon Samuel, The Cutting Edge of Modernity, Osborne Samuel, 2013, reproduced page 39

This strong impression is on thicker fibrous paper.


302

SYBIL ANDREWS

Ploughing Pasture


linocut in 4 colours



Estimate:

Provenance: Private Collection, VancouverExhibited: Glenbow Museum, Calgary, Sybil Andrews, same image, 1982, catalogue #50Literature: Peter White, Sybil Andrews, Glenbow Museum, 1982, reproduced full page colour

page 44 and page 62 Stephen Coppel, Linocuts of the Machine Age, 1995, reproduced page 121, catalogue #SA 54Gordon Samuel, The Cutting Edge of Modernity, Osborne Samuel, 2013, reproduced page 36

This fine impression is on thin oriental paper.



303

SYBIL ANDREWS

Red Cedar


woodcut

22 x 15 1/16 inches 55.9 x 38.3 centimeterssigned twice, titled and inscribed "No. A" and indistinctly


Estimate:

Provenance: Private Collection, VancouverExhibited:Literature:


304

SYBIL ANDREWS

The Mowers


linocut in 4 colours

11 1/2 x 14 inches 29.2 x 35.6 centimeterssigned, titled and editioned 33/60


Estimate:

Provenance: Private Collection, OntarioExhibited: Glenbow Museum, Calgary, Sybil Andrews, 1982, same image, catalogue #39Literature: Peter White, Sybil Andrews: Colour Linocuts, Glenbow Museum, 1982, reproduced

full page colour page 39 and page 59 Stephen Coppel, Linocuts of the Machine Age, 1995, reproduced page 117, catalogue #SA 39Gordon Samuel, The Cutting Edge of Modernity, Osborne Samuel Gallery, 2013, reproduced page 35



305

SYBIL ANDREWS

Village in the Snow


oil on canvas

12 x 16 inches 30.5 x 40.6 centimeterssigned and on verso titled and dated circa 1932 - 1938 on a label


Estimate:

Provenance: Private Collection, Vancouver IslandPrivate Collection, British Columbia



306

ANNE MEREDITH BARRY

In the Dunes at Windmill Bight

OSA PDCC SCA 1932 - 2003 Canadian

mixed media on paper

30 x 44 inches 76.2 x 111.7 centimeterssigned and dated 1991 and on verso titled on a label


Estimate:

Provenance: Michael Gibson Gallery, OntarioPrivate Collection, Victoria



307

MAXWELL BENNETT BATES

John Ruskin Checking a Stone at Venice

ASA CGP CSGA OC RCA 1906 - 1980 Canadian


22 x 17 inches 55.9 x 43.2 centimeterssigned and dated April 1964 and on verso titled


Estimate:

Provenance: Private Collection, VancouverExhibited: Vancouver Art Gallery, Maxwell Bates in Retrospect 1921 - 1971, January 5 - 28,

1973, traveling in 1973 to The Alberta College of Art, February 19 - March 9, The Norman Mackenzie Art Gallery, Regina, April 6 - May 4, The Saskatoon Gallery and Conservatory Corporation, May 28 - June 29, catalogue #87

Literature: Terry Guernsey, Maxwell Bates in Retrospect 1921 - 1971, Vancouver Art Gallery, 1973, listed page 17



308

THOMAS HAROLD BEAMENT

Esquimau

CSGA PRCA 1898 - 1984 Canadian

oil on canvas

40 x 30 inches 101.6 x 76.2 centimeterssigned and on verso titled and dated 1967 on the gallery label


Estimate:

Provenance: Galerie des peintres canadiens inc., Place des arts, MontrealPrivate Collection, Ontario



309

JOHN WILLIAM BEATTY

Algonquin Park, Early September

OSA RCA 1869 - 1941 Canadian

oil on board

10 1/4 x 8 1/4 inches 26 x 21 centimeterssigned and on verso signed, titled and inscribed "to my friend, Albert Schnaufer, Xmas 1922"


Estimate:

Provenance: By descent to the present Private Collection, OntarioExhibited:Literature:

After returning to Canada from his studies in Europe around 1909, Beatty decided to embrace a unique form of expression that was emerging at home. He abandoned the Dutch European tradition, which had been the focus of his studies, for a new dynamic style that would best suit the modern subject matter of the rugged Canadian landscape. Beatty is often cited as a forerunner to the Group of Seven, and as an influence on the work of Tom Thomson. He held similar beliefs and aspirations to the artists of the Group, participating as a member of the Arts and Letters Club, and sharing space with members of the Group at the Studio Building in Toronto. Beatty often accompanied his Group of Seven colleagues on many of their sketching trips up north during their early years. This charming scene of Algonquin Park may have been produced on a trip to the park recorded in March of 1914 with J.E.H. MacDonald and A.Y. Jackson. It is a fine example of the vivid colour and loose brushwork that would later come to characterize and define the Group's unique style. With its rhythmic forms, it brilliantly conveys the elemental beauty of the northern landscape at sunset.



310

PAUL VANIER BEAULIEU

Italie

RCA 1910 - 1996 Canadian

oil on canvas

8 5/8 x 13 5/8 inches 21.9 x 34.6 centimeterssigned and on verso titled and dated 1961


Estimate:



311

FREDERIC MARLETT BELL-SMITH

Rapids in the Rockies

OSA RCA SCA 1846 - 1923 Canadian

watercolour on paper



Estimate:


Among Frederic Bell-Smith's best-known Western Canadian subjects are his watercolours of the Rockies and the Selkirk range, of which this is a fine example.


312

LÉON BELLEFLEUR

Les écluses

CAS PY QMG 1910 - 2007 Canadian

oil on canvas

24 x 20 inches 61 x 50.8 centimeterssigned and dated 1988 and on verso signed, titled and dated


Estimate:

Provenance: Louise Smith Gallery, TorontoPrivate Collection, Toronto




313

LÉON BELLEFLEUR

Untitled

CAS PY QMG 1910 - 2007 Canadian

oil on board

13 1/2 x 16 1/4 inches 34.3 x 41.3 centimeterssigned and dated 1960


Estimate:

Provenance: Collection of the ArtistBy descent to the present Private Collection, England



314

DAVID BIERK

La ville Louvre



10 x 22 1/2 inches 25.4 x 57.1 centimetersinitialed and on verso signed, titled, dated November 22, 1992 and inscribed "215-108"


Estimate:

Provenance: Private CollectionExhibited:Literature:


315

DAVID BIERK

The Sculpture Class



11 1/4 x 22 1/2 inches 28.6 x 57.1 centimetersinitialed and on verso signed, titled, dated November 22, 1992 and inscribed "205-107"


Estimate:




316

DAVID LLOYD BLACKWOOD

John Cabot’s Matthew Approaching Newfoundland

CPE CSGA CSPWC OSA RCA 1941 - Canadian

etching and aquatint

22 x 28 inches 55.9 x 71.1 centimeterssigned, titled, editioned 38/50 and dated 1997


Estimate:

Provenance: Private Collection, Vancouver IslandExhibited:Literature:


317

DAVID LLOYD BLACKWOOD

The Burning of the S.S. Viking (Lost Party Series)

CPE CSGA CSPWC OSA RCA 1941 - Canadian

etching

20 x 32 inches 50.8 x 81.3 centimeterssigned, titled, editioned Artist's Proof and dated 1971


Estimate:

Provenance: Galerie Royale, VancouverPrivate Collection, Vancouver



318

RONALD LANGLEY BLOORE

Byzantium Light Series LII

R5 1925 - 2009 Canadian

oil on board

23 3/4 x 27 3/4 inches 60.3 x 70.5 centimeterson verso signed, titled, dated August 15 - Sept 11, 1975 and inscribed variously


Estimate:




319

MOLLY JOAN LAMB BOBAK

Brussel Sprouts

BCSFA CGP CPE CSGA CSPWC RCA 1922 - Canadian

oil on board

23 1/2 x 19 3/4 inches 59.7 x 50.2 centimeterssigned and dated 1953 and on verso signed, titled and inscribed "$60.00"


Estimate:



320

DAVID BOLDUC

Gate


mixed media on canvas

66 1/8 x 55 inches 167.9 x 139.7 centimeterson verso signed, titled, dated 1980 and inscribed "Montreal"


Estimate:




321

SAMUEL BORENSTEIN

A Montreal Street

CAS QMG 1908 - 1969 Canadian

oil on canvas

26 x 18 inches 66 x 45.7 centimeterssigned and dated 1945


Estimate:

Provenance: Louis and Rose Melzack CollectionPrivate Collection, London, England

Exhibited:Literature: William Kuhns and Léo Rosshandler, Sam Borenstein, 1978, page 39

Sam Borenstein offered a unique painterly perspective on the Canadian landscape and cityscape. He was particularly influenced by the explosive, chaotic work of European masters Maurice Utrillo, Chaim Soutine and Vincent van Gogh. In relation to such inspirations, Borenstein wrote in his autobiographical notes: “It dawned on me that it would be necessary for me to create an alphabet and a language, a language that I also discovered would be foreign to anyone but me...People began to say he has talent but is uncontrolled. How does one control himself when one is so enthusiastic about what one sees?” By the mid-1940s, Borenstein was beginning to distance himself from his earlier representational works and develop this new “alphabet and language”. In this work, his excitement for his surroundings is obvious through the passionate – almost flamboyant – brush-strokes and ignited colour palette. A painterly earthquake is starting to rumble beneath the surface as the figures, trees and streets begin to sway. A Montreal Street serves as an important pre-cursor to the wildly Expressionist paintings that would emerge in the following years.


322

SAMUEL BORENSTEIN

Harbour Scene


gouache on card

20 x 25 1/4 inches 50.8 x 64.1 centimeterssigned


Estimate:





323

SAMUEL BORENSTEIN

Ste. Marguerite Station





Estimate:


Exhibited:Literature: William Kuhns and Léo Rosshandler, Sam Borenstein, 1978, the related 1942 canvas

entitled Ste. Marguerite Station reproduced page 91

Sainte-Marguerite Station is located in the Laurentians, a region beloved by Sam Borenstein. In the early 1940s, he began to travel there frequently, painting rural villages and landscapes. The quaint station, approaching train and delicate winter palette make this piece a charming example of his earlier work.


324

SAMUEL BORENSTEIN

View of Montreal


oil on board

12 x 16 inches 30.5 x 40.6 centimeterssigned and dated 1964 and on verso signed, titled and dated December 16th, 1964


Estimate:

Provenance: The Estate of the ArtistKaspar Gallery, TorontoPrivate Collection, TorontoBy descent to the present Private Collection, Ontario




325

NICOLAS J. BOTT

Kitsequekla

1944 - Canadian

oil on canvas



Estimate:


Starting Bid: $800 CDN

326

NICOLAS J. BOTT

Landscape on Stewart Cassiar Highway

1944 - Canadian

oil on canvas

20 x 24 inches 50.8 x 61 centimeterssigned


Estimate:



327

LORNE HOLLAND BOUCHARD

Fields in Spring, St-Benoît, Quebec (Lake of Two Mountains)


oil on board

20 x 30 inches 50.8 x 76.2 centimeterssigned and on verso signed, titled and dated April 18th, 1963


Estimate:




328

LORNE HOLLAND BOUCHARD

In the Laurentide Park, Quebec


oil on board

16 x 20 inches 40.6 x 50.8 centimeterssigned and on verso signed, titled and dated May 9th, 1977


Estimate:

Provenance: Galerie Walter Klinkhoff Inc., MontrealPrivate Collection, Montreal



329

JACK HAMILTON BUSH

Old TTC Building, Front & Yonge

ARCA CGP CSGA CSPWC OSA P11 1909 - 1977 Canadian

oil and graphite on board


signed and on verso signed, titled on a label stamped Jack Bush Art Estate and inscribed "P-32" on a label


Estimate:

Provenance: Estate of the ArtistExhibited:Literature:



330

JACK HAMILTON BUSH

Parking Lot


watercolour and graphite on paper

14 x 18 inches 35.6 x 45.7 centimeterssigned and on verso signed, titled and inscribed "WC-140" on a label


Estimate:

Provenance: Estate of the ArtistExhibited: Art Gallery of Algoma, Jack Bush: Hymn to the Sun, Early Work, 1997Literature: Karen Wilken, Jack Bush, 1984, reproduced page 17

Michael Burtch, Jack Bush: Hymn to the Sun, Early Work, Art Gallery of Algoma, 1997, reproduced page 26

The tower in the background of this image is part of the University Armories, a massive Toronto landmark, completed in 1893 and then demolished in 1963. A 1943 painting of this site is reproduced in the 1984 Jack Bush monograph.


331

JACK HAMILTON BUSH

Pigeons on the Roof


oil on board


on verso signed, titled, dated 1950 on a label stamped Jack Bush Art Estate and inscribed "P-9" on a label


Estimate:

Provenance: Estate of the ArtistExhibited:Literature:



332

EMILY CARR

Klee Wyck Bowl

BCSFA CGP 1871 - 1945 Canadian

ceramic sculpture

5 3/4 x 5 3/4 x 3 inches 14.6 x 14.6 x 7.6 centimeterssigned Klee Wyck


Estimate:

Provenance: Private Collection, SeattleExhibited:Literature:


333

EMILY CARR

The Merry Widdow [sic] (an illustrated poem)

BCSFA CGP 1871 - 1945 Canadian

sepia ink on paper

11 3/4 x 8 5/8 inches 29.8 x 21.9 centimeterssigned, titled and inscribed "drawing copy carol" with handwritten text


Estimate:

Provenance: Private Collection, MontrealSold sale of Important Canadian Art, Sotheby's Canada in association with Ritchie's, May 26, 2008, lot 86Private Collection, Vancouver Island

Exhibited:Literature: Emily Carr, Emily Carr & Her Dogs, Flirt, Punk & Loo, 1997, pages 2 and 3

This is a charming example of Emily Carr's illustrated poems, which reveals both her whimsical side and her love of pets. Carr acquired Billie, the dispatcher of rats depicted here, as a gift. Half Bobtail and half English Sheepdog, she described him as "crammed with...loyalty, lovableness, wisdom, courage and kindness." Although he had the reputation of being somewhat wicked, he was devoted to Carr. She wrote, "When he died at the age of sixteen, he left such a blank that the Bobtail kennel idea, which had been rooting in me those many years, blossomed." This lot includes a silver gelatin photograph depicting Emily Carr with a young girl and her pets, which is inscribed on verso "Me, Tantrum, Woo, Phylis, Eliza and Matilda", and on labels inscribed "Mrs. Pearson" and "#13".



334

YEHOUDA CHAKI

Landscape #1019

1938 - Canadian

oil on canvas

40 x 60 inches 101.6 x 152.4 centimeterssigned and on verso titled and dated 1981 on the gallery label


Estimate:

Provenance: Galerie Don Stewart, MontrealPrivate Collection, MontrealPrivate Collection, Vancouver Island



335

YEHOUDA CHAKI

Landscape 7010

1938 - Canadian

oil on canvas

40 x 60 inches 101.6 x 152.4 centimeterssigned and on verso signed, titled and inscribed "C2-287"


Estimate:

Provenance: Buschlen Mowatt Gallery, VancouverPrivate Collection, Japan



336

HORACE CHAMPAGNE

Rolling, Blowing Clouds over Constelation [sic] Lake

PSA PSC 1937 - Canadian

pastel on paper

18 x 24 inches 45.7 x 61 centimeters

signed and on verso signed, titled, dated 2006 and inscribed "Banff National Park, Alberta" on the artist's label


Estimate:

Provenance: Balzac Gallery, TorontoPrivate Collection, Toronto


Please note: the correct name of the body of water in the title is Consolation Lake.



337


Hauling Logs, Eastern Townships


oil on board



Estimate:

Provenance: Newlands Coburn (nephew of the Artist)Galerie Walter Klinkhoff Inc., MontrealPrivate Collection, Montreal



338

NORA FRANCES ELIZABETH COLLYER

Near Cap-à-l'Aigle, PQ, St. Lawrence River

BHG FCA 1898 - 1979 Canadian

oil on canvas board


signed and on verso signed, titled and inscribed "Farm on St. Mathilde Road / $90 / No. 162 / 442 Elm, Westmount"


Estimate:



339

NORA FRANCES ELIZABETH COLLYER

Village Port-au-Persil, PQ, White Barn

BHG FCA 1898 - 1979 Canadian

oil on board

16 x 18 inches 40.6 x 45.7 centimeterssigned and dated 1968 and on verso titled and dated August


Estimate:

Provenance: La galerie continentale inc., MontréalPrivate Collection, Quebec




340

ALEXANDER COLVILLE

New Moon

PC CC 1920 - 2013 Canadian

colour serigraph on card

14 x 17 1/2 inches 35.6 x 44.4 centimeterssigned, editioned 64/70 and dated 1980 in the margin and on verso titled and dated on a label


Estimate:

Provenance: Private Collection, VancouverExhibited:Literature: David Burnett, Colville, Art Gallery of Ontario, 1983, reproduced page 236


341

ALEXANDER COLVILLE

Study for 'August' - Winnie

PC CC 1920 - 2013 Canadian

ink on paper

11 3/4 x 9 inches 29.8 x 22.9 centimeterssigned and dated 5 July 1974 and on verso titled and dated on the gallery labels


Estimate:

Provenance: Fischer Fine Art Ltd., London, UKMarlborough-Godard Gallery, MontrealPrivate Collection, Ontario



342

MAURICE GALBRAITH CULLEN

Late Spring, Cache River


pastel on paper on board

11 3/4 x 16 1/4 inches 29.8 x 41.3 centimeterssigned and on verso certified by Cullen Inventory #1591


Estimate:




343

KEN (KENNETH) EDISON DANBY

On the Road



29 1/8 x 19 5/8 inches 74 x 49.8 centimeterssigned and dated 1966 and on verso titled and titled On His Way on the gallery label


Estimate:

Provenance: Galerie Agnès Lefort, MontrealPrivate Collection, Montreal

Exhibited:Literature: Paul Duval, Ken Danby, 1976, page 83, the 1966 egg tempera painting of this image

entitled On His Way reproduced page 36

Paul Duval writes, "In a country of vast distances, the romance and reality of going from one place to another is culturally omnipresent. Danby has often caught in his paintings the traveller on the move, in mid-passage, and at rest…in On His Way Danby has captured a romantic commonplace of the mechanized twentieth century, where the automobile has replaced the riverboat and black streams of asphalt take precedence over water."


344

KEN (KENNETH) EDISON DANBY

The Hitchhiker


tempera on board

22 x 28 inches 55.9 x 71.1 centimeterssigned and dated 1966 and on verso titled on the gallery label


Estimate:

Provenance: Galerie Agnès Lefort, MontrealPrivate Collection, Montreal




345

ROBERT CHARLES DAVIDSON

Meeting at the Centre

BCSFA OC 1946 - Canadian

epoxy powder-coated aluminum

25 x 26 1/2 x 15 inches 63.5 x 67.3 x 38.1 centimetersinitialed, editioned 2/12 and dated 2004


Estimate:


The base for this work is 26 x 27 x 2 1/4 inches. This work is also accompanied by a plexiglass stand.


346

ROBERT CHARLES DAVIDSON

Sisters of the Underworld

BCSFA OC 1946 - Canadian

serigraph on paper

29 1/4 x 41 3/4 inches 74.3 x 106 centimeterssigned, titled, editioned 48/75 and dated 1998


Estimate:

Provenance: Jenkins Showler Gallery, VancouverPrivate Collection, Vancouver



347

NICHOLAS DE GRANDMAISON

Indian Chief

ARCA OC 1892 - 1978 Canadian

pastel on paper

21 x 16 1/4 inches 53.3 x 41.3 centimeterssigned and on verso stamped "Expositions universelles, [indistinct date], médaille de bronze, EG Paris"


Estimate:

Provenance: Private Collection, MontrealExhibited: Expositions universelles, EG Paris, bronze medalLiterature:



348


Indian Child


pastel on paper

19 x 14 3/4 inches 48.3 x 37.5 centimeterssigned


Estimate:



349


Long Time Squirrel


oil on canvas board

12 x 10 inches 30.5 x 25.4 centimeterssigned and on verso titled on the gallery labels


Estimate:

Provenance: Windsor & Newton's, London (England)Canadian Fine Arts, TorontoMasters Gallery Ltd., CalgaryPrivate Collection, Montreal

Exhibited:Literature: Hugh A. Dempsey, History in Their Blood: The Indian Portraits of Nicholas de

Grandmaison, 1982, a similar 1938 pastel entitled Longtime Squirrel reproduced page 62

Longtime Squirrel was a Blood Indian from Cardson, Alberta who passed away in 1945. He had one of the largest herds of horses on the Blood Reserve, keeping them as a sign of wealth and for rodeo stock. He was a member of the Horn Society, as well as several other religious societies, and possessed a medicine pipe.



350


Papoose


pastel on paper



Estimate:



351

JACQUES GODEFROY DE TONNANCOUR

La plaine en novembre

ARCA CAS CGP PY QMG 1917 - 2005 Canadian

oil on board

15 3/4 x 19 7/8 inches 40 x 50.5 centimeterssigned and dated 1959


Estimate:



352

ALBERT DUMOUCHEL

La table aux crevettes

AANFM CSGA PY 1916 - 1971 Canadian

acrylic on canvas

24 x 71 7/8 inches 61 x 182.5 centimeterssigned and dated 1960 and on verso titled


Estimate:

Provenance: Galerie Camille Hébert, MontrealPrivate Collection, Montreal




401

MARCELLE FERRON

Sans titre

AANFM AUTO CAS QMG RCA SAAVQ SAPQ 1924 - 2001 Canadian

oil on canvas


signed and on verso signed twice, inscribed "Chemin Chambly, Ville Jacques Cartier, P. Quebec" and numbered 105


Estimate:

Provenance: Private Collection, QuebecExhibited:Literature:


402

MARCELLE FERRON

Sans titre


oil on canvas

13 3/4 x 10 1/2 inches 34.9 x 26.7 centimeterssigned and dated 1956 and on verso signed, dated and numbered 106


Estimate:



403

MARCELLE FERRON

Sans titre





Estimate:




404

MARC-AURÈLE FORTIN

Hochelaga

ARCA 1888 - 1970 Canadian


9 3/8 x 13 1/2 inches 23.8 x 34.3 centimeterssigned and on verso titled on a gallery label


Estimate:

Provenance: Galerie 2000, MontrealBy descent to the present Private Collection, Los Angeles


This work will be included in the forthcoming catalogue raisonné on the artist's work, #A-0592.


405

MARC-AURÈLE FORTIN

Port de Montréal


oil on board

7 1/4 x 13 3/4 inches 18.4 x 34.9 centimeterson verso titled on the gallery label


Estimate:

Provenance: Galerie d'art Michel-Ange, MontrealPrivate Collection, Montreal


This work will be included in the forthcoming catalogue raisonné on the artist's work, #H-0885.


406

ALBERT JACQUES FRANCK

Behind Robert Street, Toronto

ARCA CSPWC OSA 1899 - 1973 Canadian

oil on board

24 x 19 3/4 inches 61 x 50.2 centimeterssigned and dated 1965 and on verso titled on the artist and gallery labels


Estimate:

Provenance: Galerie Martin, MontrealPrivate Collection, Montreal




407

CLARENCE ALPHONSE GAGNON

Études, Baie St. Paul


crayon on paper

5 x 8 1/2 inches 12.7 x 21.6 centimeterson verso titled on a label and certified on a label with inventory #1275


Estimate:

Provenance: Galerie Walter Klinkhoff Inc., MontrealBy descent to the present Private Collection, British Columbia



408

ROBERT GENN

High Woodland

FCA 1936 - Canadian

oil on board

18 x 24 inches 45.7 x 61 centimeterssigned and on verso signed, titled and dated 1971


Estimate:



409

ROBERT GENN

Kwakiutl Village

FCA 1936 - Canadian

acrylic on canvas



Estimate:




410

ROBERT GENN

The Orange Boat

FCA 1936 - Canadian

oil on board

10 x 12 inches 25.4 x 30.5 centimeterssigned and on verso signed, titled and dated 1988


Estimate:



411

ROLAND GISSING

Near Grand Forks, BC

ASA 1895 - 1967 Canadian

oil on board

12 x 16 inches 30.5 x 40.6 centimeterssigned and on verso titled on a label


Estimate:



412

FREDERICK STANLEY HAINES

Edge of the Woods Near Minden

CPE CSGA CSPWC POSA PRCA 1879 - 1960 Canadian

oil on board

12 x 14 1/2 inches 30.5 x 36.8 centimeterssigned and on verso titled and inscribed "25" and "Eaton 32" (crossed out) on the artist's label


Estimate:

Provenance: Keenlyside Gallery, VancouverPrivate Collection, Vancouver




413

FREDERICK STANLEY HAINES

Falls Near Abitibi

CPE CSGA CSPWC POSA PRCA 1879 - 1960 Canadian


12 x 14 1/2 inches 30.5 x 36.8 centimeterssigned and on verso titled and dated 1938 on the artist's label


Estimate:



414

JOHN A. HAMMOND

Coastal Scene


oil on paper board

15 x 24 inches 38.1 x 61 centimeterssigned and dated indistinctly 188(?) and on verso stamped twice Dominion Gallery, Montreal


Estimate:

Provenance: Dominion Gallery, MontrealBy descent to the present Private Collection, British Columbia



415


Rocky Mountain Drawing 9 - 19


graphite on paper

7 1/2 x 9 7/8 inches 19 x 25.1 centimeterson verso inscribed "Book 9 - 19"


Estimate:

Provenance: Estate of Lawren Stewart HarrisEstate of Howard K. Harris

Exhibited: Glenbow Museum, Calgary, The Group of Seven in Western Canada, 2002, traveling to the Art Gallery of Nova Scotia, Halifax, the Winnipeg Art Gallery, the Art Gallery of Greater Victoria and the National Gallery of Canada, Ottawa, 2003 - 2004, catalogue #44

Literature: Catherine Mastin, The Group of Seven in Western Canada, Glenbow Museum, 2002, listed on page 199



416


Rocky Mountain Drawing 9 - 38


graphite on paper

7 1/2 x 9 7/8 inches 19 x 25.1 centimeterson verso inscribed "Book 9 - 38"


Estimate:

Provenance: Estate of Lawren Stewart HarrisEstate of Howard K. Harris

Exhibited: Glenbow Museum, Calgary, The Group of Seven in Western Canada, 2002, traveling to the Art Gallery of Nova Scotia, Halifax, the Winnipeg Art Gallery, the Art Gallery of Greater Victoria and the National Gallery of Canada, Ottawa, 2003 - 2004, catalogue #44

Literature: Catherine Mastin, The Group of Seven in Western Canada, Glenbow Museum, 2002, listed on page 199


417

TED HARRISON

Aurora Borealis

OC SCA 1926 - Canadian

acrylic on canvas

36 x 24 inches 91.4 x 61 centimeterssigned and on verso signed twice, titled and dated twice 1982


Estimate:



418

TED HARRISON

Ice Floes


acrylic on board

24 x 36 inches 61 x 91.4 centimeters

signed and on verso signed, titled, dated 1979 on the artist's label and stamped with the Horizon Art Galleries stamp


Estimate:

Provenance: Private Collection, KentuckyExhibited:Literature:



419

TED HARRISON

Return to Carcross


acrylic on canvas

24 x 36 inches 61 x 91.4 centimeterssigned and on verso signed, titled and dated 1987


Estimate:

Provenance: Given as a presentation award to the present Private Collector, Vancouver, 1980sExhibited:Literature:


420

TED HARRISON

Still, Silent Northern Light


acrylic on canvas



Estimate:

Provenance: Estate of of Dr. Colin B. McKay, former President of the University of New BrunswickPrivate Collection, Halifax


Please note: this work is unframed.


421

JOHN HARTMAN

The City from St. Paul's

1950 - Canadian

oil on linen

22 x 24 inches 55.9 x 61 centimeterssigned and on verso signed, titled and dated 2008


Estimate:

Provenance: Nicholas Metivier Gallery, TorontoPrivate Collection, Toronto




422


Nude Study



10 1/4 x 8 1/2 inches 26 x 21.6 centimetersinitialed and dated 1944 and on verso signed and titled on a label


Estimate:




423


Sous le Cap, Quebec, 1910


chalk pastel on paper

10 1/2 x 8 inches 26.7 x 20.3 centimetersinitialed and on verso signed, titled on the artist's label and inscribed "7095"


Estimate:




424

TOM HOPKINS

Mask


oil on canvas



Estimate:




425

KARL HUBER

Building Vancouver Series: Granville Street Bridge Under Construction #2


black and white inkjet print on archival paper

16 1/4 x 20 inches 41.3 x 50.8 centimeterson verso editioned 1/20 and estate stamp


Estimate:

Provenance: Private Collection, British ColumbiaExhibited:Literature:

Please note: this photograph is unframed. The paper sheet size is 18 x 24 inches.


426

KARL HUBER

Hollow Tree, Stanley Park


black and white inkjet print on archival paper

16 1/4 x 20 inches 41.3 x 50.8 centimeterson verso titled 1/20 and estate stamp


Estimate:

Provenance: Private Collection, British ColumbiaExhibited:Literature:

Please note: this photograph is unframed. The paper sheet size is 18 x 24 inches.


427

FRANCESCO (FRANK) IACURTO

Autumn Tilling

RCA SAPQ 1908 - 2001 Canadian

oil on canvas

18 1/4 x 22 1/4 inches 46.3 x 56.5 centimeterssigned and dated 1949 and on verso inscribed "2110"


Estimate:




428

LUCASSIE IKKIDLUAK

Musk Ox

1949 Canadian Indigenous

soapstone and antler sculpture

10 3/4 x 8 1/2 x 17 inches 27.3 x 21.6 x 43.2 centimeterson verso signed in syllabics and dated 2011


Estimate:

Provenance: Acquired directly from the Artist by the present Private Collection, MontrealExhibited:Literature:


429

DONALD JARVIS

Red Forest Figure

BCSFA CGP FCA RCA 1923 - 2001 Canadian

acrylic on canvas

65 x 48 1/2 inches 165.1 x 123.2 centimeterssigned and on verso signed, titled and dated 1992


Estimate:



430


Enchanted Valley





Estimate:




431


October - Murray Bay


oil on board

10 1/2 x 14 1/4 inches 26.7 x 36.2 centimeterssigned and on verso titled on the artist's label


Estimate:



432

JOHN YOUNG JOHNSTONE

Market Square, Bruges


oil on canvas

20 1/4 x 16 inches 51.4 x 40.6 centimeterssigned and dated 1913 and on verso titled on the gallery label


Estimate:

Provenance: Galerie Walter Klinkhoff Inc., MontrealPrivate Collection, Toronto



433

CIRCLE OF CORNELIUS DAVID KRIEGHOFF

The Woodcutter


oil on canvas

11 1/2 x 9 3/4 inches 29.2 x 24.8 centimeterssigned C. Krieghoff


Estimate:

Provenance: Private Collection, USAPrivate Collection, Toronto




434

WILLIAM KURELEK

Vestibule

ARCA OC OSA 1927 - 1977 Canadian

ink on paper


initialed, titled on the mat, dated 1971 and inscribed "#13" and on verso titled Canadian Western Ukrainian Pioneer Hut on the owner's label


Estimate:

Provenance: Dr. & Mrs. Stephen E. Klemchuck, TorontoBy descent to the present Private Collection, Ontario



435

JEAN PAUL LEMIEUX

Marie Dubuc, New Smyrna Beach

CC QMG RCA 1904 - 1990 Canadian

ink and graphite on paper

16 3/4 x 13 3/4 inches 42.5 x 34.9 centimeterssigned and dated février 1972


Estimate:


This work is accompanied by a card signed by Madeleine Lemieux and stamped "January 30, 1973". The message on the card states: "Chère Mme Dubuc, mon mari est très heureux que le portrait qu'il a fait de votre tante vous soit agréable. Comme je l'avais signalé à Madame Dubuc, le prix est de 750.00$. Vous seriez gentille de faire le chèque à mon nom, c'est le vœux de mon mari. Nous serons à New Smyrna le 15 février et nous dirons à Marie comme elle sera entre bonnes mains. Veuillez croire à l'expression de nos meilleurs sentiments. Madeleine Lemieux." Translation: "Dear Mrs. Dubuc, my husband is very happy that you are pleased with the portrait he made of your aunt. As I mentioned to Mrs. Dubuc, the price is $750. Please be so kind as to make the cheque out to my name, as per my husband's wish. We will be at New Smyrna on February the 15th and will let Marie know that she will be in good hands. Please acknowledge the expression of our best wishes. Madeleine Lemieux"



436

SERGE LEMOYNE

Bleu blanc rouge


acrylic on paper

12 x 9 7/8 inches 30.5 x 25.1 centimeterson verso signed and dated 1977


Estimate:

Provenance: Galerie d'art Yves Laroche, MontrealPrivate Collection, Montreal



437

MAUD LEWIS

Snow Covered Bridge


oil on board

12 x 14 inches 30.5 x 35.6 centimeterssigned


Estimate:

Provenance: Acquired directly from the ArtistBy descent to the present Private Collection, United Kingdom




438

ARTHUR LISMER

West Coast Forest

AAM CGP CSGA CSPWC G7 OSA RCA 1885 - 1969 Canadian

ink on paper



Estimate:




439

JOHN GEOFFREY CARUTHERS LITTLE

Rue Logan coin de Rue Champlain, Montreal

ARCA 1928 - Canadian

oil on canvas board



Estimate:



440

JOHN GEOFFREY CARUTHERS LITTLE

Une journée de mars, rue Christophe Colomb coin de Victoria, Quebec

ARCA 1928 - Canadian

oil on canvas



Estimate:



441

MARION LONG

Morning Sun

OIP OSA RCA 1882 - 1970 Canadian

oil on board

8 1/2 x 10 1/2 inches 21.6 x 26.7 centimeterssigned and on verso signed and titled on the artist's label


Estimate:

Provenance: Private Collection, TorontoExhibited: Canadian National Exhibition, Department of Small Pictures, Toronto, 1931Literature:



442

ALEXANDRA LUKE

Music in Rome

CGP CSPWC OSA P11 1901 - 1967 Canadian

ink and crayon on paper

8 1/8 x 10 1/2 inches 20.6 x 26.7 centimeterssigned three times and dated 1955 and on verso inscribed "White"


Estimate:

Provenance: The Estate of the Artist, OshawaBy descent to the Artist's son E.R.S. McLaughlin, OshawaAcquired from the above by the present Private Collection, Ontario

Exhibited: The Park Gallery, Alexandra Luke, Toronto, May 5 - 17, 1958, catalogue #26Literature: Jock Macdonald to Maxwell Bates, December 26, 1954, McCord Museum, Montreal

M. Rodgers, Locating Alexandra, 1995, page 138

In the late autumn of 1955, after much urging from Jock Macdonald and his wife Barbara who had travelled to Europe, Alexandra Luke journeyed to France to join them in Vence on the French Riviera. In this charming town, Macdonald and Luke worked intensely at creating “automatics,” using the unconscious to create paintings automatically - without thought - a method of working which Macdonald had learned from Dr. Grace Pailthorpe in Vancouver. Like Macdonald, Luke used the wax resist technique to achieve accidental effects and a greater sense of space through the insistently open ground which resist creates. Vence would have supplied Luke, as it did Macdonald, with the necessary stimulus for non-objective work; she would have found the colour of her surroundings entering her paintings - the brilliant light of the warm winter and the growth forms of the area with their powder blue green olive trees and black cypress - as Macdonald described them in a letter to Maxwell Bates. Occasionally, as in her abstract paintings, she retained a detail from the scene before her, indicating, perhaps, the shape of the spray of water from a fountain, details of people on parade and what may be the shape of a horn along with dancing lines and gay colour in Music in Rome, created as she continued her adventures in Rome, Florence and Fiesole.Luke always valued and kept the works from this trip, not only to remember her happy time with her friends, but because they were important seminal points for her as an artist. She exhibited them, along with oils and watercolours in an exhibition of 40 works at the Park Gallery in Toronto in a solo show in 1958.She clearly was proud that she was able to evoke her own language of form and colour through only the slightest of means. What Luke found in these "automatics," of which Music in Rome is an important example, is a rich evocative power, fresh compositions and forms, and pleasure. As Margaret Rodgers writes of Luke at this time: “Her trip to Europe…resulted in a series of charming crayon-resist works on paper that relate to her earlier automatics in terms of scale and composition; but they are also invested with a new confidence, which is evident in their emphatic use of india-ink wash over exuberantly crayoned lines.” Luke signed the work in three different places, an indication that she hung it both horizontally and vertically, which would have been for her at this point a newer, more playful way of regarding her work. The painting is an extremely rare, excellent example of her oeuvre.



443

JOHN GOODWIN LYMAN

Hill Farm, St. Jovite

CAS CGP EGP FRSA 1886 - 1967 Canadian

oil on board

15 x 18 1/2 inches 38.1 x 47 centimeterssigned and on verso titled and dated 1935


Estimate:

Provenance: Private Collection, TorontoExhibited: Valentine Gallery, New York, Paintings by John Lyman, May 14 - 28, 1936Literature: Montreal Gazette, May 22, 1935

In May of 1935, a brief article in the Montreal Gazette accompanied an advertisement for Summer art classes conducted by John Lyman and Harold Beament describing the location as "in the Laurentians, near Lake Ouimet, between St. Jovite and Mont Tremblant …[in] 150 acres enclosing a private lake." Lyman's treatment of that landscape became emblematic of his paintings from this period. Bearing the title Hill Farm, this painting was one of 25 paintings shown in Lyman's 1936 solo exhibition at New York's Valentine Gallery.


444

JAMES WILLIAMSON GALLOWAY (JOCK) MACDONALD

Sunday Evening, North Vancouver

ARCA BCSFA CGP OSA P11 1897 - 1960 Canadian

oil on board

11 3/4 x 15 inches 29.8 x 38.1 centimeters

initialed and on verso signed, titled and titled Gravel Bunkers for Ship Ballast, Sunday Evening, Waterfront, North Vancouver, BC and inscribed "Out of Parakantis studio shared with Varley, 1087 Bute Street"


Estimate:


In 1929 Jock Macdonald shared studio space in Vancouver with Group of Seven painter Frederick Varley, who had moved there in 1926 to teach. They also went on sketching trips to the Garibaldi area together.



445

PEGI NICOL MACLEOD

Central Park, New York

CGP 1904 - 1949 Canadian

oil on burlap

17 x 31 inches 43.2 x 78.7 centimeterson verso titled on the gallery label


Estimate:

Provenance: Galerie Walter Klinkhoff Inc., MontrealPrivate Collection, Toronto



446

HENRIETTA MABEL MAY

Forest Interior

ARCA BCSA BHG CGP 1877 - 1971 Canadian




Estimate:

Provenance: Acquired directly from the ArtistBy descent to the present Private Collection, Montreal



447

HENRIETTA MABEL MAY

Portrait of a Lady in Blue

ARCA BCSA BHG CGP 1877 - 1971 Canadian

oil on cardboard



Estimate:

Provenance: Acquired directly from the Artist in the early 1940sBy descent to the present Private Collection, Montreal




448

JOHN MEREDITH

No. 2 Ascent 100


oil on canvas

28 x 21 inches 71.1 x 53.3 centimeterssigned and dated 1959 and on verso titled


Estimate:

Provenance: Acquired directly from the Artist by the present Private Collection, OntarioExhibited:Literature:


449

JOHN MEREDITH

No. 6 M8


oil on canvas

32 5/8 x 25 7/8 inches 82.9 x 65.7 centimeterssigned and dated 1960 and on verso titled


Estimate:

Provenance: Acquired directly from the Artist by the present Private Collection, OntarioExhibited:Literature:


450

TONI (NORMAN) ONLEY

Mt. Mamquam Glacier, BC

BCSFA CPE CSPWC RCA 1928 - 2004 Canadian

oil on canvas

29 3/4 x 39 3/4 inches 75.6 x 101 centimeterssigned and on verso titled and dated 1985


Estimate:




501

NUNA PARR

Dancing Bear

1949 - Canadian

green serpentine stone sculpture

16 1/4 x 11 x 17 3/4 inches 41.3 x 27.9 x 45.1 centimeters

signed, titled and dated 2009 and on verso certified by the Government of Canada Cape Dorset tag, #6777D


Estimate:


Please note: this work is accompanied by a rotating base.


502

NUNA PARR

Dancing Walrus

1949 - Canadian

green serpentine stone sculpture

23 x 22 x 10 1/2 inches 58.4 x 55.9 x 26.7 centimeterssigned, titled and dated 2003 on the Inuit tag


Estimate:

Provenance: Acquired directly from the Artist by the present Private Collection, 2003Exhibited:Literature:

Please note: the tusks are made from caribou antler bone.


503

ROSS PENHALL

Lindsay's Field (Pemberton, BC)

1959 - Canadian

oil on canvas



Estimate:





504

WALTER JOSEPH (W.J.) PHILLIPS

Howe Sound, BC

ASA CPE CSPWC RCA 1884 - 1963 Canadian

colour woodcut



Estimate:

Provenance: Private Collection, MontrealExhibited:Literature: Roger Boulet, Walter J. Phillips, The Complete Graphic Works, 1981, page 496,

reproduced page 497Roger Boulet, The Tranquility and the Turbulence, 1982, reproduced page 168Maria Tippett and Douglas Cole, editors, Phillips in Print: The Selected Writings of Walter J. Phillips on Canadian Nature and Art, 1982, reproduced, unpaginated

Walter J. Phillips writes about this stunning print, “I looked up Howe Sound on a grey day and saw blue-grey mountains one behind the other in receding planes each clearly differentiated. The next day the sun shone – the mountains, all save the nearest, appeared to lie on one plane, and the whole mass formed a silhouette of pale blue. They are never the same.”


505


The Canadian Scene: Seven Colour Prints and a Dissertation (Complete Portfolio)




Estimate:


The Canadian Scene: Seven Colour Prints and a Dissertation by Walter J. Phillips, with an introduction by Martin Hardie, was produced in 1928 in Toronto by Thomas Nelson & Sons Ltd., in an edition of 300.



506


Vista Lake, Canadian Rockies





Estimate:

Provenance: By descent to a Private Collection, OntarioPrivate Collection, New York



507

CLAUDE PICHER

Going to the Christmas Dinner


acrylic on canvas



Estimate:

Provenance: Jenkins Showler Gallery, VancouverPrivate Collection, Vancouver



508

CLAUDE PICHER

St. Joachim de Tourelle


acrylic on canvas

18 x 24 inches 45.7 x 61 centimeterssigned and on verso signed and titled


Estimate:




509

ROBERT WAKEHAM PILOT

At the Wharf

CGP OSA PRCA 1898 - 1967 Canadian

chalk pastel on paper



Estimate:

Provenance: Canadian Fine Arts, TorontoPrivate Collection, Toronto



510

ROBERT WAKEHAM PILOT

Sunglow, Dufferin Terrace

CGP OSA PRCA 1898 - 1967 Canadian

oil on board

8 1/2 x 10 1/2 inches 21.6 x 26.7 centimeterssigned and on verso signed, titled and dated 1964


Estimate:

Provenance: Galerie Walter Klinkhoff Inc., MontrealPrivate Collection, TorontoBy descent to the present Private Collection, Ontario



511

RENÉ JEAN RICHARD

La barque dans la baie

OC RCA 1895 - 1982 Canadian

oil on board

18 x 24 inches 45.7 x 61 centimeterssigned and on verso titled on the gallery label


Estimate:

Provenance: Galerie Clarence Gagnon, MontrealPrivate Collection, Montreal




512

RENÉ JEAN RICHARD

Paysage montagneux


oil on board

16 x 20 inches 40.6 x 50.8 centimeterssigned and on verso inscribed "19-0961"


Estimate:



513

RENÉ JEAN RICHARD

Trappeur


mixed media on paper on board

5 x 6 1/8 inches 12.7 x 15.6 centimeterssigned and on verso titled on the gallery label

$900 ~ $1,200 CDNPreview at: Heffel Gallery Montreal

Estimate:

Provenance: Galerie Art & Style, Westmount, QuebecPrivate Collection, Ottawa



514

WILLIAM GOODRIDGE ROBERTS

Baie, Port-au-Persil

CAS CGP CSGA CSPWC EGP OC OSA PY RCA 1904 - 1974 Canadian

oil on board

12 x 16 inches 30.5 x 40.6 centimeterssigned and on verso titled on the gallery labels and dated circa 1950 on a gallery label


Estimate:

Provenance: Dominion Gallery, MontrealGalerie Walter Klinkhoff Inc., MontrealPrivate Collection, Montreal




515


Countryside



16 x 19 7/8 inches 40.6 x 50.5 centimeterssigned and on verso titled on the gallery label and inscribed "C692 / -145"


Estimate:

Provenance: Dominion Gallery, MontrealPrivate Collection, Ontario



516


Hillside Near Alphonse


oil on canvas

20 1/2 x 30 inches 52.1 x 76.2 centimeterssigned and on verso titled and dated circa 1942 on the exhibition labels


Estimate:

Provenance: Dominion Gallery, MontrealPrivate Collection, Toronto

Exhibited: National Gallery of Canada, Goodridge Roberts, A Retrospective Exhibition, 1969, traveling to the Montreal Museum of Fine Arts, the Art Gallery of Hamilton, Musée du Québec, Confederation Art Gallery and Museum, Charlottetown and Art Gallery of London, catalogue #39

Literature: James Borcoman, Goodridge Roberts, A Retrospective Exhibition, 1969, reproduced pages 24 and 81


517


Sandy Path


oil on board

29 x 36 inches 73.7 x 91.4 centimeterssigned and on verso titled, dated 1966 on the gallery label and inscribed "1567" and "12"


Estimate:

Provenance: Roberts Gallery, TorontoMarcia Rafelman Fine Arts, TorontoPrivate Collection, Toronto




518

ATTRIBUTED TO ALBERT HENRY ROBINSON

Winter on the Saint Lawrence

1881-1956 Canadian

oil on board

8 1/2 x 10 1/2 inches 21.6 x 26.7 centimeterson verso inscribed "Dr. Martin, 14 Harrow Road."


Estimate:


Please note: this work is unframed.Included with this lot is a copy of a letter from Dennis Reid, attributing the work to A.H. Robinson. Please note: this is a split panel.


519

WILLIAM RONALD

Opus No. 3

P11 RCA 1926 - 1998 Canadian

oil on canvas

36 x 42 inches 91.4 x 106.7 centimeterson verso signed, titled, dated Nov. 27, 1963 and inscribed "#633"


Estimate:

Provenance: Gallery Kootz, New YorkPrivate Collection, Montreal




520

PAUTA SAILA

Mother Owl

RCA 1916 - 2009 Canadian Indigenous

stonecut on paper

24 x 20 inches 61 x 50.8 centimeterssigned, titled, editioned 6/50, dated 1968 and inscribed "Dorset"


Estimate:


Please note: the sheet size is 33 1/4 x 24 1/2 inches.



521

ALLEN SAPP

Man Logging in the Woods

OC RCA 1929 - Canadian

acrylic on canvas

16 x 20 inches 40.6 x 50.8 centimeterssigned and on verso signed


Estimate:



522

ALLEN SAPP

Man with Two Horses

OC RCA 1929 - Canadian

acrylic on canvas

16 x 20 inches 40.6 x 50.8 centimeterssigned and on verso signed


Estimate:



523

ANNE DOUGLAS SAVAGE

Saint-Sauveur-des-Monts

BHG CGP 1896 - 1971 Canadian

oil on board

6 3/8 x 8 1/8 inches 16.2 x 20.6 centimeterssigned and on verso titled


Estimate:




524

CARL FELLMAN SCHAEFER

Black Spruce, Pickerel River

CGP CSGA CSPWC OC OSA PDCC RCA RSA 1903 - 1995 Canadian

oil on paper board

14 x 11 3/4 inches 35.6 x 29.8 centimeterssigned and dated 1926 and on verso titled and dated twice


Estimate:

Provenance: A gift from the Artist to his son Mark ShaeferPrivate Collection, Halifax, NS

Exhibited: Museum London, Carl Schaefer: Storm on the the Horizon, November 9, 2008 - February 9, 2009, traveling in 2008 - 2010 to the Mendel Art Gallery, Saskatoon, the Robert McLaughlin Gallery, Oshawa, and the Art Gallery of Nova Scotia

Literature: Andrew Hunter, Carl Shaefer: Storm on the Horizon, 2008, reproduced page 36

Inscribed on verso: "To Mark and Lorna, I thought you might like to have this painting of my early days when I was just starting out. Love to you both, Dad, Aug 11/58" and "For Mark Schaefer"


525

ANTONY (TONY) SCHERMAN

Apollo: Seduction of Oedipus

1950 - Canadian

encaustic on paper

26 1/2 x 20 1/2 inches 67.3 x 52.1 centimeterssigned, titled and dated 2003


Estimate:

Provenance: Douglas Udell Gallery, EdmontonPrivate Collection, VancouverPrivate Collection, Toronto




526

ADAM SHERRIFF SCOTT

Rétrospective sur Montreal


oil on board



Estimate:



527

ETHEL SEATH

Lily Buds

BHG CAS CGP 1879 - 1963 Canadian

oil on board

24 x 18 inches 61 x 45.7 centimeters

signed and on verso signed, titled and titled variously on the artist's labels and inscribed "No. 8" on the artist's label


Estimate:

Provenance: Private Collection, TorontoExhibited: Canadian Group of Painters Exhibition, 1961Literature:


528

JACK LEONARD SHADBOLT

Abstract

BCSFA CGP CSPWC OC RCA 1909 - 1998 Canadian

oil on board

20 x 18 inches 50.8 x 45.7 centimeterssigned and dated 1952 and on verso signed


Estimate:

Provenance: Acquired directly from the Artist By descent to the present Private Collection, Vancouver




529


Rock and Tree Landscape, Victoria, BC


charcoal on paper

22 x 28 inches 55.9 x 71.1 centimeterssigned and dated 1939 and on verso signed, titled and dated


Estimate:



530


Untitled


enamel on board

62 3/4 x 48 inches 159.4 x 121.9 centimeters


Estimate:

Provenance: Collection of Doris ShadboltJack and Doris Shadbolt Foundation, VancouverPrivate Collection, Vancouver


This painting is from Jack Shadbolt's studio. Jack's wife Doris Shadbolt designed the frame for this painting following his passing. This fine painting relates to the calligraphic works that he was producing during the early 1960s.



531


Villa in the Countryside



28 3/4 x 36 inches 73 x 91.4 centimeterssigned


Estimate:

Provenance: Collection of Doris ShadboltJack and Doris Shadbolt Foundation, VancouverPrivate Collection, Vancouver



532


White City


acrylic and gouache on paper

22 3/8 x 30 1/2 inches 56.8 x 77.5 centimeterssigned and dated 1961 and on verso titled on the label


Estimate:

Provenance: Vancouver Art Gallery Private Collection, Montreal

Exhibited: Montreal Museum of Fine Arts, Ladies Committee Sale of Canadian Contemporary Art (on loan from the Vancouver Art Gallery)

Literature:


533

GORDON APPELBE SMITH

Abstract

BCSFA CGP CPE OC RCA 1919 - Canadian

acrylic on canvas

27 x 38 inches 68.6 x 96.5 centimeterssigned and on verso signed and dated 2011


Estimate:

Provenance: A gift from the ArtistPrivate Collection, Vancouver




534


Pacific Rim Trees VI


acrylic on paper

13 x 10 1/2 inches 33 x 26.7 centimeterson verso titled and dated 2001


Estimate:

Provenance: Equinox Gallery, VancouverPrivate Collection, Vancouver



535


Reflection


acrylic on paper

30 3/4 x 14 1/2 inches 78.1 x 36.8 centimeterssigned and on verso signed and dated 2012


Estimate:




536


Tangle


acrylic on paper

19 x 28 inches 48.3 x 71.1 centimeterssigned


Estimate:





537


Bord d'Étang, Cernay


oil on panel



Estimate:



538


La compagne du vieux pionnier


bronze sculpture

15 3/4 x 9 1/4 x 17 1/4 inches 40 x 23.5 x 43.8 centimeters

signed, titled, dated 1912 and inscribed with the foundry mark "Roman Bronze Works Inc. NY, Copyright, Canada United States 1918 by Suzor-Coté" and on verso inscribed "No. 8"


Estimate:

Provenance: The Elizabeth T. Greenshields Memorial Foundation, Montreal, 1970A Prominent Montreal Family Estate

Exhibited:Literature: Pierre L'Allier, Suzor-Coté, L'oeuvre sculpté, Musée du Québec, 1991, reproduced

pages 48 and 49, catalogue #7 and #7aLaurier Lacroix, Suzor-Coté, Light and Matter, National Gallery of Canada and Musée du Québec, 2002, page 224, reproduced page 236

In 1901, Marc-Aurèle Suzor-Coté produced his first sculpture in clay, and by 1907 was casting in bronze. He had studied sculpture in Paris at well~known art schools, and while in France in 1911, spent many hours with renowned sculptor Auguste Rodin. In sculptures such as La compagne du vieux pionnier (The Companion of the Old Pioneer), Suzor-Coté was able, through his long observation of French-Canadian habitants, to transmit their admirable qualities. As Charles L. Sibley wrote in 1914, “Those who don’t know the French Canadian people have no idea of the pride of Suzor-Coté’s people in him. And he in them. Travel has opened his eyes to what the people of his race stand for - to their genuine simplicity and sweetness of heart. He sees character, character, character everywhere…Nothing enthuses him like his own ancestral country and the old customs of his race.” The Companion is introspective, absorbed in her knitting - her posture reflects a life of hard work, although her features are fine-boned and her hands are strong. She is a moving symbol of the humble yet enduring French-Canadian rural woman, the backbone of her family and society.This sculpture is a second cast, done from the original plaster around the time the artist passed away, produced between 1937 and 1950.



539


Le vieux pionnier Canadien


bronze sculpture

15 3/4 x 9 1/4 x 17 inches 40 x 23.5 x 43.2 centimeters

signed, titled, dated 1912 and inscribed with the foundry mark "Roman Bronze Works Inc. NY, Copyrighted Canada 1914" and on verso inscribed "N-8" and "S"


Estimate:

Provenance: The Elizabeth T. Greenshields Memorial Foundation, Montreal, 1970A Prominent Montreal Family Estate

Exhibited:Literature: Pierre L'Allier, Suzor-Coté, l'oeuvre sculpté, Musée du Québec, 1991, reproduced

page 46, catalogue #6 and #6aLaurier Lacroix, Suzor-Coté, Light and Matter, National Gallery of Canada and Musée du Québec, 2002, page 235, reproduced page 237

Le vieux pionnier Canadien (The Old Canadian Pioneer) was first exhibited at the Art Association of Montreal exhibition in 1913. Léon Lorrain described the sculpture as “a commendable form of nationalism.” In this humbly dressed pioneer, sitting in his rocking chair while smoking his pipe, Marc-Aurèle Suzor-Coté captured the inner strength of early Quebec settlers, who cleared the land for farming. Laurier Lacroix writes, “Suzor-Coté’s sculpture was perceived to have succeeded in transmitting the character of the intrinsic ‘soul’ of Frenc-Canadian rural residents, the pillars of a nation.” La compagne du vieux pionnier, lot 195, is considered to be a companion to this work, and although the two sculptures were created separately, they were exhibited as a pair, and have grown to be regarded as icons of Canadian art. These sculptures are considered to be an inseparable pair, symbolic of the tenacity and perseverance of Canadian rural life.This sculpture is a second cast, done from the original plaster around the time the artist passed away, produced between 1937 and 1950.


540

TAKAO TANABE

Banff

OC 1926 - Canadian

acrylic wash on canvas

16 x 19 3/4 inches 40.6 x 50.2 centimeterssigned and on verso signed, titled, dated 1973 and inscribed indistinctly


Estimate:




541

MIYUKI TANOBE

Les filles fortes du Yukon au "Rendezvous" de Whitehorse

RCA 1937 - Canadian


14 x 18 inches 35.6 x 45.7 centimeterssigned and on verso signed, titled and dated 01-04-1990


Estimate:

Provenance: Private Collection, TorontoExhibited:Literature: Roch Carrier, Canada je t'aime / I love you, 1991, pages 58 - 60, reproduced page 61


542

MASHEL ALEXANDER TEITELBAUM

Tausing and After


oil on canvas

40 x 30 inches 101.6 x 76.2 centimeterson verso signed and dated 1963


Estimate:



543

FREDERICK ARTHUR VERNER

Buffalo Grazing in a Winter Storm

ARCA OSA 1836 - 1928 Canadian

watercolour on paper on board

20 x 29 inches 50.8 x 73.7 centimeterssigned and dated 1902


Estimate:




544

FREDERICK ARTHUR VERNER

Indian Encampment

ARCA OSA 1836 - 1928 Canadian

watercolour on board

14 1/4 x 21 inches 36.2 x 53.3 centimeterssigned and dated 1891


Estimate:

Provenance: By descent to the present Private Collection, VancouverExhibited:Literature:


545

ROY HENRY VICKERS

The Fisherman

1946 - Canadian

acrylic on paper



Estimate:



546

WILLIAM PERCIVAL (W.P.) WESTON

Elk River, Fernie, BC

ARCA BCSFA CGP RBA 1879 - 1967 Canadian

oil on board

13 x 16 inches 33 x 40.6 centimeterssigned and dated 1958 and on verso signed, titled and dated


Estimate:

Provenance: Acquired directly from the ArtistBy descent to the present Private Collection, Vancouver




547


The Crow's Nest Pass, Fernie


oil on board


signed and dated 1962 and on verso signed, titled, dated and inscribed “Personal property of Grace Hockridge, purchased by her from W.P. Weston, 1962”


Estimate:

Provenance: Acquired directly from the ArtistBy descent to the present Private Collection, Vancouver



548


Vedder River, Chilliwack


oil on board

12 x 15 inches 30.5 x 38.1 centimeterssigned and on verso signed and titled Veder [sic] River, Chilliwack


Estimate:

Provenance: Private Collection, CaliforniaSold sale of Fine Canadian Art, Heffel Fine Art Auction House, November 14, 2002, lot 237Private Collection, Vancouver Island



549

RONALD YORK WILSON

Venezia


oil on canvas

38 1/8 x 51 1/8 inches 96.8 x 129.8 centimeterssigned and on verso signed and titled


Estimate:




550

LAWRENCE PAUL YUXWELUPTUN

Untitled

1957 - Canadian

acrylic on canvas with horse hair

48 x 48 inches 121.9 x 121.9 centimeterson verso signed and dated 2007


Estimate:




Documents

NOVEMBER 2013 ONLINE SALE CATALOGUE - HeffelNOVEMBER 2013 ONLINE SALE CATALOGUE Opens: 07-Nov-2013 04:00:00 PM Estimated closing time: 30-Nov-2013 03:00:00 PM 2247 Granville Street