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Joyner Canadian Fine Art Auction

by Waddington's

Platinum House

208 lots | 206 with images

November 26, 2012

Live Auction

275 King Street E

2nd Floor

Toronto, ON, M5A 1K2 Canada

Phone: +1 416 504 9100

Fax: +1 416 504 0033

Email: info@waddingtons.ca

208 Lots
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MANLY EDWARD MACDONALD, R.C.A.LOADING THE SLEIGH, oil on canvas; signed 24 ins x 32 ins; 60 cms x 80 cms

Lot 1: MANLY EDWARD MACDONALD, R.C.A.LOADING THE SLEIGH, oil on canvas; signed 24 ins x 32 ins; 60 cms x 80 cms

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Description: MANLY EDWARD MACDONALD, R.C.A.LOADING THE SLEIGH, oil on canvas; signed 24 ins x 32 ins; 60 cms x 80 cms $4,000-6,000

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JOHN INNES, O.S.A.RED RIVER CART, oil on canvas, laid down on board; signed 23.5 ins x 31.25 ins; 58.8 cms x 78.1 cms  Provenance: Harold Groves Collection, Toronto.Private Collection, Vancouver Island.

Lot 2: JOHN INNES, O.S.A.RED RIVER CART, oil on canvas, laid down on board; signed 23.5 ins x 31.25 ins; 58.8 cms x 78.1 cms Provenance: Harold Groves Collection, Toronto.Private Collection, Vancouver Island.

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Description: JOHN INNES, O.S.A.RED RIVER CART, oil on canvas, laid down on board; signed 23.5 ins x 31.25 ins; 58.8 cms x 78.1 cms $2,000-3,000Provenance: Harold Groves Collection, Toronto.Private Collection, Vancouver Island.

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BERTHE DES CLAYESHORSE AND SLEIGH ON WINTER ROAD, oil on canvas; signed 16 ins x 20 ins; 40 cms x 50 cms  Provenance: Watson Art Galleries, Montreal.Private Collection, Montreal.

Lot 3: BERTHE DES CLAYESHORSE AND SLEIGH ON WINTER ROAD, oil on canvas; signed 16 ins x 20 ins; 40 cms x 50 cms Provenance: Watson Art Galleries, Montreal.Private Collection, Montreal.

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Description: BERTHE DES CLAYESHORSE AND SLEIGH ON WINTER ROAD, oil on canvas; signed 16 ins x 20 ins; 40 cms x 50 cms $5,000-7,000Provenance: Watson Art Galleries, Montreal.Private Collection, Montreal.

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FREDERICK SPROSTON CHALLENER, O.S.A., R.C.A.GIRLS AT PLAY, QUEEN'S PARK, TORONTO, oil on board; signed and dated 1950 16 ins x 20 ins; 40 cms x 50 cms  Exhibited: 79th Annual Exhibition, The Ontario Society of Artists, March, 1951.

Lot 4: FREDERICK SPROSTON CHALLENER, O.S.A., R.C.A.GIRLS AT PLAY, QUEEN'S PARK, TORONTO, oil on board; signed and dated 1950 16 ins x 20 ins; 40 cms x 50 cms Exhibited: 79th Annual Exhibition, The Ontario Society of Artists, March, 1951.

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Description: FREDERICK SPROSTON CHALLENER, O.S.A., R.C.A.GIRLS AT PLAY, QUEEN'S PARK, TORONTO, oil on board; signed and dated 1950 16 ins x 20 ins; 40 cms x 50 cms $4,000-6,000Exhibited: 79th Annual Exhibition, The Ontario Society of Artists, March, 1951.

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JOHN WILLIAM BEATTY, O.S.A., R.C.A.LANDSCAPE, oil on board 10.5 ins x 12 ins; 26.3 cms x 30 cms

Lot 5: JOHN WILLIAM BEATTY, O.S.A., R.C.A.LANDSCAPE, oil on board 10.5 ins x 12 ins; 26.3 cms x 30 cms

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Description: JOHN WILLIAM BEATTY, O.S.A., R.C.A.LANDSCAPE, oil on board 10.5 ins x 12 ins; 26.3 cms x 30 cms $5,000-7,000

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HOMER RANSFORD WATSON, O.S.A., P.R.C.A.CATTLE GRAZING ON THE GRAND, oil on canvas; signed 13.25 ins x 17 ins; 33.1 cms x 42.5 cms  Exhibited: Simplicity of Life and Brush, Homer Watson House & Gallery, Kitchener, June 9 - August 18, 2002.

Lot 6: HOMER RANSFORD WATSON, O.S.A., P.R.C.A.CATTLE GRAZING ON THE GRAND, oil on canvas; signed 13.25 ins x 17 ins; 33.1 cms x 42.5 cms Exhibited: Simplicity of Life and Brush, Homer Watson House & Gallery, Kitchener, June 9 - August 18, 2002.

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Description: HOMER RANSFORD WATSON, O.S.A., P.R.C.A.CATTLE GRAZING ON THE GRAND, oil on canvas; signed 13.25 ins x 17 ins; 33.1 cms x 42.5 cms $3,000-4,000Exhibited: Simplicity of Life and Brush, Homer Watson House & Gallery, Kitchener, June 9 - August 18, 2002.

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PETER CLAPHAM SHEPPARD, O.S.A., R.C.A.PORT CREDIT, 1930S, oil on board; signed 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms

Lot 7: PETER CLAPHAM SHEPPARD, O.S.A., R.C.A.PORT CREDIT, 1930S, oil on board; signed 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms

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Description: PETER CLAPHAM SHEPPARD, O.S.A., R.C.A.PORT CREDIT, 1930S, oil on board; signed 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms $3,000-5,000

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LAWRENCE ARTHUR COLLEY PANTON, O.S.A., R.C.A.GRAY DAY, oil on canvas; signed 34 ins x 40 ins; 85 cms x 100 cms Provenance: Roberts Gallery, Toronto.Private Collection, Toronto.Literature: Joyner Waddington's Canadian Fine Art, auction, Toronto, May

Lot 8: LAWRENCE ARTHUR COLLEY PANTON, O.S.A., R.C.A.GRAY DAY, oil on canvas; signed 34 ins x 40 ins; 85 cms x 100 cms Provenance: Roberts Gallery, Toronto.Private Collection, Toronto.Literature: Joyner Waddington's Canadian Fine Art, auction, Toronto, May

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Description: LAWRENCE ARTHUR COLLEY PANTON, O.S.A., R.C.A.GRAY DAY, oil on canvas; signed 34 ins x 40 ins; 85 cms x 100 cms $5,000-7,000Provenance: Roberts Gallery, Toronto.Private Collection, Toronto.Literature: Joyner Waddington's Canadian Fine Art, auction, Toronto, May 30th, 2006, lot 123 for the oil sketch of this subject.

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GEORGE DOUGLAS PEPPER, O.S.A., R.C.A.FISH HOUSES, BLUE ROCKS, oil on panel; signed and dated '31 12 ins x 14 ins; 30 cms x 35 cms

Lot 9: GEORGE DOUGLAS PEPPER, O.S.A., R.C.A.FISH HOUSES, BLUE ROCKS, oil on panel; signed and dated '31 12 ins x 14 ins; 30 cms x 35 cms

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Description: GEORGE DOUGLAS PEPPER, O.S.A., R.C.A.FISH HOUSES, BLUE ROCKS, oil on panel; signed and dated '31 12 ins x 14 ins; 30 cms x 35 cms $6,000-8,000

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ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.MAGNETAWAN RIVER, 1934, oil on board; signed 9.25 ins x 11.25 ins; 23.1 cms x 28.1 cms  Provenance: Mayberry Fine Art, Winnipeg.Private Collection, Winnipeg.

Lot 10: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.MAGNETAWAN RIVER, 1934, oil on board; signed 9.25 ins x 11.25 ins; 23.1 cms x 28.1 cms Provenance: Mayberry Fine Art, Winnipeg.Private Collection, Winnipeg.

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Description: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.MAGNETAWAN RIVER, 1934, oil on board; signed 9.25 ins x 11.25 ins; 23.1 cms x 28.1 cms $30,000-40,000Provenance: Mayberry Fine Art, Winnipeg.Private Collection, Winnipeg.

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YVONNE MCKAGUE HOUSSER, O.S.A., R.C.A.AN ABANDONED FARM, QUEBEC, 1927, oil on panel; signed on the reverse 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms Provenance: Estate of Yvonne McKague Housser.Masters Gallery Ltd., Calgary.Private Collection,

Lot 11: YVONNE MCKAGUE HOUSSER, O.S.A., R.C.A.AN ABANDONED FARM, QUEBEC, 1927, oil on panel; signed on the reverse 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms Provenance: Estate of Yvonne McKague Housser.Masters Gallery Ltd., Calgary.Private Collection,

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Description: YVONNE MCKAGUE HOUSSER, O.S.A., R.C.A.AN ABANDONED FARM, QUEBEC, 1927, oil on panel; signed on the reverse 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms $8,000-12,000Provenance: Estate of Yvonne McKague Housser.Masters Gallery Ltd., Calgary.Private Collection, Toronto.

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ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.INDIAN VILLAGE, 150 MILE HOUSE, B.C., MAY 1949, oil on panel; signed 10.5 ins x 13.5 ins; 26.3 cms x 33.8 cms Provenance: Private Collection, Vancouver.Literature: Naomi Jackson Groves,

Lot 13: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.INDIAN VILLAGE, 150 MILE HOUSE, B.C., MAY 1949, oil on panel; signed 10.5 ins x 13.5 ins; 26.3 cms x 33.8 cms Provenance: Private Collection, Vancouver.Literature: Naomi Jackson Groves, "A.Y.'s Canada",

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Description: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.INDIAN VILLAGE, 150 MILE HOUSE, B.C., MAY 1949, oil on panel; signed 10.5 ins x 13.5 ins; 26.3 cms x 33.8 cms $15,000-20,000Provenance: Private Collection, Vancouver.Literature: Naomi Jackson Groves, "A.Y.'s Canada", Toronto/Vancouver, 1968, pages 176-178 for an account of the "Mile Houses of the Cariboo Road." See also plate 83, reproduced, for a drawing entitled "50 Mile House, British Columbia".

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FREDERICK HORSMAN VARLEY, A.R.C.A.BARNS, WHYCOCOMAGH, CAPE BRETON ISLAND, graphite; signed 8 ins x 11 ins; 20 cms x 27.5 cms

Lot 14: FREDERICK HORSMAN VARLEY, A.R.C.A.BARNS, WHYCOCOMAGH, CAPE BRETON ISLAND, graphite; signed 8 ins x 11 ins; 20 cms x 27.5 cms

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Description: FREDERICK HORSMAN VARLEY, A.R.C.A.BARNS, WHYCOCOMAGH, CAPE BRETON ISLAND, graphite; signed 8 ins x 11 ins; 20 cms x 27.5 cms $2,000-3,000

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CLARENCE ALPHONSE GAGNON, R.C.A.RANG ST. LAURENT, BAIE ST. PAUL, oil on panel; certified by Lucile Rodier Gagnon (No.594) on the reverse 4.75 ins x 7 ins; 11.9 cms x 17.5 cms Provenance: Dominion Gallery, Montreal.Private Collection, Vancouver.Note:

Lot 15: CLARENCE ALPHONSE GAGNON, R.C.A.RANG ST. LAURENT, BAIE ST. PAUL, oil on panel; certified by Lucile Rodier Gagnon (No.594) on the reverse 4.75 ins x 7 ins; 11.9 cms x 17.5 cms Provenance: Dominion Gallery, Montreal.Private Collection, Vancouver.Note:

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Description: CLARENCE ALPHONSE GAGNON, R.C.A.RANG ST. LAURENT, BAIE ST. PAUL, oil on panel; certified by Lucile Rodier Gagnon (No.594) on the reverse 4.75 ins x 7 ins; 11.9 cms x 17.5 cms $25,000-30,000Provenance: Dominion Gallery, Montreal.Private Collection, Vancouver.Note: Painted circa 1920.

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ROBERT WAKEHAM PILOT, P.R.C.A.WINTER SKY, QUEBEC, oil on panel; signed and dated '38 7 ins x 9.5 ins; 17.5 cms x 23.8 cms

Lot 16: ROBERT WAKEHAM PILOT, P.R.C.A.WINTER SKY, QUEBEC, oil on panel; signed and dated '38 7 ins x 9.5 ins; 17.5 cms x 23.8 cms

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Description: ROBERT WAKEHAM PILOT, P.R.C.A.WINTER SKY, QUEBEC, oil on panel; signed and dated '38 7 ins x 9.5 ins; 17.5 cms x 23.8 cms $4,000-6,000

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JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A.MEADOWVALE, ONTARIO, oil on board; signed with initials and dated

Lot 17: JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A.MEADOWVALE, ONTARIO, oil on board; signed with initials and dated "June 4, '11" 7.5 ins x 9.25 ins; 18.8 cms x 23.1 cms Provenance: Roberts Gallery, Toronto.Masters Gallery Ltd., Calgary.

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Description: JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A.MEADOWVALE, ONTARIO, oil on board; signed with initials and dated "June 4, '11" 7.5 ins x 9.25 ins; 18.8 cms x 23.1 cms $20,000-25,000Provenance: Roberts Gallery, Toronto.Masters Gallery Ltd., Calgary.

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JOHN GOODWIN LYMANLAC OUIMET, MONT TREMBLANT, oil on panel; signed 13 ins x 16 ins; 32.5 cms x 40 cms  Provenance: Dominion Gallery, Montreal.Galerie Walter Klinkhoff Inc., Montreal.Private Collection, Toronto.

Lot 18: JOHN GOODWIN LYMANLAC OUIMET, MONT TREMBLANT, oil on panel; signed 13 ins x 16 ins; 32.5 cms x 40 cms Provenance: Dominion Gallery, Montreal.Galerie Walter Klinkhoff Inc., Montreal.Private Collection, Toronto.

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Description: JOHN GOODWIN LYMANLAC OUIMET, MONT TREMBLANT, oil on panel; signed 13 ins x 16 ins; 32.5 cms x 40 cms $7,000-9,000Provenance: Dominion Gallery, Montreal.Galerie Walter Klinkhoff Inc., Montreal.Private Collection, Toronto.

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MAURICE GALBRAITH CULLEN, R.C.A.WINTER EVENING IN THE LAURENTIANS, oil on canvas; signed and dated /20, Cullen Inventory No.1003 14 ins x 20 ins; 35 cms x 50 cms

Lot 19: MAURICE GALBRAITH CULLEN, R.C.A.WINTER EVENING IN THE LAURENTIANS, oil on canvas; signed and dated /20, Cullen Inventory No.1003 14 ins x 20 ins; 35 cms x 50 cms

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Description: MAURICE GALBRAITH CULLEN, R.C.A.WINTER EVENING IN THE LAURENTIANS, oil on canvas; signed and dated /20, Cullen Inventory No.1003 14 ins x 20 ins; 35 cms x 50 cms $20,000-30,000

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ROBERT WAKEHAM PILOT, P.R.C.A.PARLIAMENT BUILDINGS, OTTAWA, oil on panel; signed and dated '38 7.25 ins x 9.5 ins; 18.1 cms x 23.8 cms  Provenance: Continental Galleries of Fine Art, Montreal.Masters Gallery Ltd., Calgary.

Lot 20: ROBERT WAKEHAM PILOT, P.R.C.A.PARLIAMENT BUILDINGS, OTTAWA, oil on panel; signed and dated '38 7.25 ins x 9.5 ins; 18.1 cms x 23.8 cms Provenance: Continental Galleries of Fine Art, Montreal.Masters Gallery Ltd., Calgary.

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Description: ROBERT WAKEHAM PILOT, P.R.C.A.PARLIAMENT BUILDINGS, OTTAWA, oil on panel; signed and dated '38 7.25 ins x 9.5 ins; 18.1 cms x 23.8 cms $4,000-6,000Provenance: Continental Galleries of Fine Art, Montreal.Masters Gallery Ltd., Calgary.

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DAVID BROWN MILNEMAIN STREET, 1942, colour drypoint; signed and numbered 38/40 in the margin 7 ins x 9 ins; 17.5 cms x 22.5 cms Literature: David Silcox,

Lot 21: DAVID BROWN MILNEMAIN STREET, 1942, colour drypoint; signed and numbered 38/40 in the margin 7 ins x 9 ins; 17.5 cms x 22.5 cms Literature: David Silcox, "Painting Place, The Life and Work of David B. Milne," Toronto, 1996, page 314.David Silcox,

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Description: DAVID BROWN MILNEMAIN STREET, 1942, colour drypoint; signed and numbered 38/40 in the margin 7 ins x 9 ins; 17.5 cms x 22.5 cms $20,000-30,000Literature: David Silcox, "Painting Place, The Life and Work of David B. Milne," Toronto, 1996, page 314.David Silcox, "David Milne, 1882-1953" (exhibition catalogue introduction), Agnes Etherington Art Centre, Kingston, 1967.Rosemarie L. Tovell, "Reflections in a Quiet Pool, The Prints of David Milne", Ottawa, 1980, page 196, plate 80, illustrated.Note: After moving to Uxbridge in 1940, Milne rented a studio above Gray's Bakery on Brock Street. Silcox notes how, as a means of hiding him from his estranged wife, Milne's agent Douglas Duncan had "...disguised Milne's whereabouts by giving generic titles, such as Main Street, to paintings of what was really Brock Street in Uxbridge". Milne had also kept his address private from most friends and family, so all correspondence would be done through Duncan, at the agent's gallery, the Picture Loan Society. Milne first used Main Street as a subject in 1940, with "Window on Main Street", and continued years later with this work. By the time Milne had produced "Main Street (1942)" he had developed the perfect reproducible colour for the drypoint. The artist had been using varying mixtures for his drypoints, but by 1942, he began to use more stable and consistent mixtures so that the results would be predictable. He continued to use what many refer to as his "hellish colour". Rosemarie Tovell notes, "Milne's use of 'hellish colour'- a mixture of Yellow Ochre and Permanent Violet- broke dominance of the harsher blacks, whites, Cobalt Blues, and Chinese Vermilions. By early 1940, 'hellish colour' had become lighter and more transparent, varying from sandy to salmon shades." Milne's concern for mixing the perfect colour indicates a desire for his art to provide an immediate impact through accessible depictions. Silcox quotes Milne: "Since art is aesthetic emotion, exhausting, to be sustained intensely only a short time, the more quickly readable a picture is, the more its emotional effect is compressed and the greater its power". "Main Street" is a remarkable example of a vibrant street scene with tones that thrill the senses.

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ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.MOONLIGHT, BAIE ST. PAUL, 1924, oil on panel; signed 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms  Provenance: Lawren Harris (gift from the artist).G. Blair Laing Limited, Toronto.Private Collection, Ontario.

Lot 22: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.MOONLIGHT, BAIE ST. PAUL, 1924, oil on panel; signed 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms Provenance: Lawren Harris (gift from the artist).G. Blair Laing Limited, Toronto.Private Collection, Ontario.

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Description: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.MOONLIGHT, BAIE ST. PAUL, 1924, oil on panel; signed 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms $40,000-60,000Provenance: Lawren Harris (gift from the artist).G. Blair Laing Limited, Toronto.Private Collection, Ontario.

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FRANK HANS JOHNSTON, O.S.A., A.R.C.A.THE SILENT PLACES, oil on board; signed 24 ins x 36 ins; 60 cms x 90 cms

Lot 23: FRANK HANS JOHNSTON, O.S.A., A.R.C.A.THE SILENT PLACES, oil on board; signed 24 ins x 36 ins; 60 cms x 90 cms

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Description: FRANK HANS JOHNSTON, O.S.A., A.R.C.A.THE SILENT PLACES, oil on board; signed 24 ins x 36 ins; 60 cms x 90 cms $20,000-30,000

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HORATIO WALKER, R.C.A.ROOTING TREES, oil on canvas; signed and dated 1893 17.75 ins x 27 ins; 44.4 cms x 67.5 cms  Provenance: Private Collection, Montreal.

Lot 24: HORATIO WALKER, R.C.A.ROOTING TREES, oil on canvas; signed and dated 1893 17.75 ins x 27 ins; 44.4 cms x 67.5 cms Provenance: Private Collection, Montreal.

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Description: HORATIO WALKER, R.C.A.ROOTING TREES, oil on canvas; signed and dated 1893 17.75 ins x 27 ins; 44.4 cms x 67.5 cms $5,000-6,000Provenance: Private Collection, Montreal.

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TOM THOMSONRIVER SCENE, oil on glass; signed with initials 3 ins x 3 ins; 7.5 cms x 7.5 cms Provenance: Amy Barnard (née Turbayne), Toronto.Judi Barnard Koysam, Toronto.Private Collection, Ontario.Note:

Lot 25: TOM THOMSONRIVER SCENE, oil on glass; signed with initials 3 ins x 3 ins; 7.5 cms x 7.5 cms Provenance: Amy Barnard (née Turbayne), Toronto.Judi Barnard Koysam, Toronto.Private Collection, Ontario.Note: "River Scene" is an unlikely

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Description: TOM THOMSONRIVER SCENE, oil on glass; signed with initials 3 ins x 3 ins; 7.5 cms x 7.5 cms $15,000-20,000Provenance: Amy Barnard (née Turbayne), Toronto.Judi Barnard Koysam, Toronto.Private Collection, Ontario.Note: "River Scene" is an unlikely convergence of medium and artist. Tom Thomson, whom we frequently associate with painting in oil on board or canvas, once painted on glass. He only essayed the medium once, but chose to depict on it a spacious landscape, a view into the distance from the shoreline of a body of water. The painting seems, at first, more related to his work as a mature artist, than to his early development. However, the detail with which Thomson painted the foliage on the trees returns the viewer to the recognition of the probable early date.In approximately 1904 or 1905, Thomson had returned to Owen Sound after a stint spent in the United States, studying and working. By 1905, he was working in Toronto with Legg Brothers, Photo Engravers, and around 1909, moved to the firm of Grip Limited. During this period, Thomson is believed to have attended the Central Ontario School of Art and Industrial Design in Toronto, perhaps taking an evening class, since he worked during the day. In 1907, Thomson painted in oil, and his work was commented on favorably by his teacher, the artist William Cruikshank.Thomson's artwork prior to 1911, when he began to develop into an artist with a new identity and history, consists of drawings, watercolours and decorative, illuminated texts. The subjects vary from figures and portraits, often of family members, to landscapes painted around Leith and Owen Sound, and in the country surrounding Toronto. The media employed by Thomson during this period varied, from pencil and ink to chalk, watercolour and oil. The resulting artwork indicates the painter's competence and often a knowledge of the Arts and Crafts movement, of which he had likely learned through his commercial work. This masterful work on glass, with its fine sense of design and deft handling of depth, seems to be part and parcel of the same moment in the artist's development. Thomson's fertile imagination likely conjured the trees that criss-cross at right, a motif he would use in later "decorative" works. Yet there is something about the way he created the work, a wry and resourceful method of tackling the scene which is a sign of the later man.Amy Barnard was a fellow student of Thomson's at the Central Ontario School in Toronto, accompanying the artist on field trips (according to a letter from Judi Barnard Koysam, dated October 18, 2003). "River Scene" was a gift to Barnard from Thomson. In a sense, the painting is a student work, but one painted by a person with ambition, painting like mad towards the goal of becoming a full-time artist. Although tiny, the viewer senses in its refinement and originality, a "seeker". "River Scene" is painted with exquisite care and naturally, since it is painted on glass, it is luminous, proof that Thomson, even at this early date, knew that if he worked hard enough and painted enough, he would be onto a genuinely fresh story.This work will be included in Joan Murray's forthcoming catalogue raisonne of the artist's work.We would like to thank art historian, Joan Murray, for contributing the foregoing essay.This lot is accompanied with a photocopy of a handwritten note, describing the early ownership history of "River Scene", by Judi Barnard Koysam, granddaughter of Amy Barnard.

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HENRIETTA MABEL MAY, A.R.C.A.LANDSCAPE WITH MAPLE TREES, oil on board; signed 12 ins x 15.75 ins; 30 cms x 39.4 cms

Lot 26: HENRIETTA MABEL MAY, A.R.C.A.LANDSCAPE WITH MAPLE TREES, oil on board; signed 12 ins x 15.75 ins; 30 cms x 39.4 cms

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Description: HENRIETTA MABEL MAY, A.R.C.A.LANDSCAPE WITH MAPLE TREES, oil on board; signed 12 ins x 15.75 ins; 30 cms x 39.4 cms $12,000-15,000

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YVONNE MCKAGUE HOUSSER, O.S.A., R.C.A.SUNSET IN THE SWAMP, oil on board; signed 14 ins x 18 ins; 35 cms x 45 cms

Lot 27: YVONNE MCKAGUE HOUSSER, O.S.A., R.C.A.SUNSET IN THE SWAMP, oil on board; signed 14 ins x 18 ins; 35 cms x 45 cms

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Description: YVONNE MCKAGUE HOUSSER, O.S.A., R.C.A.SUNSET IN THE SWAMP, oil on board; signed 14 ins x 18 ins; 35 cms x 45 cms $6,000-8,000

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ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.FARMHOUSE NEAR TERRA COTTA, oil on canvas board; signed 9.5 ins x 11.25 ins; 23.8 cms x 28.1 cms  Provenance: Roberts Gallery, Toronto.Private Collection, Ontario.Note: Painted circa 1934.

Lot 28: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.FARMHOUSE NEAR TERRA COTTA, oil on canvas board; signed 9.5 ins x 11.25 ins; 23.8 cms x 28.1 cms Provenance: Roberts Gallery, Toronto.Private Collection, Ontario.Note: Painted circa 1934.

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Description: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.FARMHOUSE NEAR TERRA COTTA, oil on canvas board; signed 9.5 ins x 11.25 ins; 23.8 cms x 28.1 cms $20,000-30,000Provenance: Roberts Gallery, Toronto.Private Collection, Ontario.Note: Painted circa 1934.

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FRANK HANS JOHNSTON, O.S.A., A.R.C.A.IN THE LAURENTIANS, oil on board; signed 8 ins x 10 ins; 20 cms x 25 cms

Lot 29: FRANK HANS JOHNSTON, O.S.A., A.R.C.A.IN THE LAURENTIANS, oil on board; signed 8 ins x 10 ins; 20 cms x 25 cms

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Description: FRANK HANS JOHNSTON, O.S.A., A.R.C.A.IN THE LAURENTIANS, oil on board; signed 8 ins x 10 ins; 20 cms x 25 cms $4,000-6,000

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MARC-AURELE FORTIN, A.R.C.A.MAISON TESSIER, oil on board; signed 18 ins x 26.75 ins; 45 cms x 66.9 cms Provenance: Galerie L'Art francais, Montreal.Private Collection, Ontario.Literature: Esther Trepanier, Marc-Aurele Fortin, Retrospective

Lot 30: MARC-AURELE FORTIN, A.R.C.A.MAISON TESSIER, oil on board; signed 18 ins x 26.75 ins; 45 cms x 66.9 cms Provenance: Galerie L'Art francais, Montreal.Private Collection, Ontario.Literature: Esther Trepanier, Marc-Aurele Fortin, Retrospective

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Description: MARC-AURELE FORTIN, A.R.C.A.MAISON TESSIER, oil on board; signed 18 ins x 26.75 ins; 45 cms x 66.9 cms $30,000-50,000Provenance: Galerie L'Art francais, Montreal.Private Collection, Ontario.Literature: Esther Trepanier, Marc-Aurele Fortin, Retrospective Exhibition, exhibition catalogue, Galerie Walter Klinkhoff, Montreal, 2006.Note: Painted circa 1924.The 1920s were a transitionary period for Marc-Aurele Fortin, the painter beginning to include signature compositional elements within his rural Quebec scenes which would become characteristic of some of the artist's most renowned work. The central, amber and gold-leafed tree depicted within "Maison Tessier" is a strong example of one of these characteristics. The tree towers over all other occupants within the composition, the houses and certainly the figures dwarfed in comparison. The tree commands the middle area of the painting, the colourful branches spreading as it reaches into the clouded sky, its enormity not fully contained within the artwork as its height extends beyond the top border. Trees populate and dominate the landscape of "Maison Tessier", the houses, figures and laneway comfortably nestled, almost protected within the lush autumn vegetation. Clear focus falls on the building left of centre, the house which Fortin would call the Tessier House. Located in the Saguenay and now preserved as a historic monument, the property is now known as the Little House. The house was constructed during the latter half of the nineteenth century and was first used as a base for the Jean-Baptiste Petit and David Tessier trading house. Now a private residence, Maison Tessier remains architecturally significant as one of the first neoclassical houses in Quebec.Art historian Esther Trepanier stated that Fortin viewed himself as a more traditional artist, writing that "in the course of the interviews he granted throughout his career, Fortin maintained his position against modernism and objected whenever his name was associated with fauvism, Van Gogh, or, worse still, when he was seen as a precursor to non-figurative art, especially since he claimed to adhere to a tradition that stopped with impressionism."Trepanier calls attention to the similarities between Fortin and 19th century European landscape painters. "Even in instances where large trees are present in his paintings, the short strokes that give the foliage the appearance of rustling are not dealt with impressionistically. Their primary function is to impart vibrancy to the painted surface. The technique had been used by several other artists before the impressionists. Landscapes by the British painter John Constable come to mind, as do works executed after 1855 by the French artist Jean-Baptiste-Camille Corot, among others."

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ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.CANAL VIEW WITH BARGES, oil on canvas; signed 13 ins x 16 ins; 32.5 cms x 40 cms Provenance: Estate of Randolph Stanley Hewton.Private Collection, Ontario.Literature: Alexander Young Jackson,

Lot 31: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.CANAL VIEW WITH BARGES, oil on canvas; signed 13 ins x 16 ins; 32.5 cms x 40 cms Provenance: Estate of Randolph Stanley Hewton.Private Collection, Ontario.Literature: Alexander Young Jackson, "A Painter's

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Description: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.CANAL VIEW WITH BARGES, oil on canvas; signed 13 ins x 16 ins; 32.5 cms x 40 cms $12,000-15,000Provenance: Estate of Randolph Stanley Hewton.Private Collection, Ontario.Literature: Alexander Young Jackson, "A Painter's Country", Toronto/Vancouver, 1958, pages 7 and 10.Note: Jackson writes: "In 1907, I went to Paris. All right-minded Montreal artists aspired to go to Paris and most of them wanted to study at the Academie Julian. It was not the instruction that attracted them to Julian's, [but] the association with students from all over the world...These were happy years in France untroubled by thoughts of war; there were friendly people everywhere, living conditions were easy, and art, so far as we were concerned, was largely a matter of good craftsmanship."

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WILLIAM BRYMNER, O.S.A., P.R.C.A.VENETIAN CANAL, gouache and watercolour; signed 13 ins x 9.5 ins; 32.5 cms x 23.8 cms

Lot 32: WILLIAM BRYMNER, O.S.A., P.R.C.A.VENETIAN CANAL, gouache and watercolour; signed 13 ins x 9.5 ins; 32.5 cms x 23.8 cms

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Description: WILLIAM BRYMNER, O.S.A., P.R.C.A.VENETIAN CANAL, gouache and watercolour; signed 13 ins x 9.5 ins; 32.5 cms x 23.8 cms $2,000-3,000

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YVONNE MCKAGUE HOUSSER, O.S.A., R.C.A.MONASTERY IN ITALY, oil on board; signed 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms

Lot 33: YVONNE MCKAGUE HOUSSER, O.S.A., R.C.A.MONASTERY IN ITALY, oil on board; signed 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms

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Description: YVONNE MCKAGUE HOUSSER, O.S.A., R.C.A.MONASTERY IN ITALY, oil on board; signed 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms $4,000-6,000

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FARQUHAR MCGILLIVRAY STRACHAN KNOWLES, O.S.A., R.C.AEUROPEAN RIVER SCENE WITH FIGURES, oil on canvas; signed 20 ins x 16 ins; 50 cms x 40 cms

Lot 34: FARQUHAR MCGILLIVRAY STRACHAN KNOWLES, O.S.A., R.C.AEUROPEAN RIVER SCENE WITH FIGURES, oil on canvas; signed 20 ins x 16 ins; 50 cms x 40 cms

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Description: FARQUHAR MCGILLIVRAY STRACHAN KNOWLES, O.S.A., R.C.AEUROPEAN RIVER SCENE WITH FIGURES, oil on canvas; signed 20 ins x 16 ins; 50 cms x 40 cms $2,000-3,000

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ROBERT WAKEHAM PILOT, P.R.C.A.LANDSCAPE NEAR ASSISI, oil on panel; signed with initials, dated '22 and inscribed

Lot 35: ROBERT WAKEHAM PILOT, P.R.C.A.LANDSCAPE NEAR ASSISI, oil on panel; signed with initials, dated '22 and inscribed "To E.J." 5.5 ins x 7.25 ins; 13.8 cms x 18.1 cms Provenance: Walter Klinkhoff Gallery, Montreal.Private Collection, Calgary.

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Description: ROBERT WAKEHAM PILOT, P.R.C.A.LANDSCAPE NEAR ASSISI, oil on panel; signed with initials, dated '22 and inscribed "To E.J." 5.5 ins x 7.25 ins; 13.8 cms x 18.1 cms $2,000-3,000Provenance: Walter Klinkhoff Gallery, Montreal.Private Collection, Calgary.

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FREDERICK SIMPSON COBURN, R.C.A.TRANSPORT DU BOIS, oil on canvas board; signed and dated '31 6.5 ins x 8.75 ins; 16.3 cms x 21.9 cms  Provenance: Galerie L'Art francais Ltee, Montreal.Private Collection, Vancouver.

Lot 36: FREDERICK SIMPSON COBURN, R.C.A.TRANSPORT DU BOIS, oil on canvas board; signed and dated '31 6.5 ins x 8.75 ins; 16.3 cms x 21.9 cms Provenance: Galerie L'Art francais Ltee, Montreal.Private Collection, Vancouver.

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Description: FREDERICK SIMPSON COBURN, R.C.A.TRANSPORT DU BOIS, oil on canvas board; signed and dated '31 6.5 ins x 8.75 ins; 16.3 cms x 21.9 cms $8,000-10,000Provenance: Galerie L'Art francais Ltee, Montreal.Private Collection, Vancouver.

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MARMADUKE MATTHEWS, O.S.A., R.C.A.TWO HUNTERS ENCAMPED AT THE WATER'S EDGE, watercolour; signed 20 ins x 28.5 ins; 50 cms x 71.3 cms  Provenance: Masters Gallery Ltd., Calgary.Private Collection, Vancouver.

Lot 37: MARMADUKE MATTHEWS, O.S.A., R.C.A.TWO HUNTERS ENCAMPED AT THE WATER'S EDGE, watercolour; signed 20 ins x 28.5 ins; 50 cms x 71.3 cms Provenance: Masters Gallery Ltd., Calgary.Private Collection, Vancouver.

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Description: MARMADUKE MATTHEWS, O.S.A., R.C.A.TWO HUNTERS ENCAMPED AT THE WATER'S EDGE, watercolour; signed 20 ins x 28.5 ins; 50 cms x 71.3 cms $2,000-3,000Provenance: Masters Gallery Ltd., Calgary.Private Collection, Vancouver.

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MANLY EDWARD MACDONALD, R.C.A.HORSE AND SLEIGH IN WINTER, oil on canvas board; signed 12 ins x 16 ins; 30 cms x 40 cms

Lot 38: MANLY EDWARD MACDONALD, R.C.A.HORSE AND SLEIGH IN WINTER, oil on canvas board; signed 12 ins x 16 ins; 30 cms x 40 cms

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Description: MANLY EDWARD MACDONALD, R.C.A.HORSE AND SLEIGH IN WINTER, oil on canvas board; signed 12 ins x 16 ins; 30 cms x 40 cms $3,000-5,000

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CORNELIUS KRIEGHOFFCAUGHNAWAGA INDIANS, WINTER, oil on canvas; signed 8.75 ins x 12.25 ins; 21.9 cms x 30.6 cms Provenance: Watson Art Galleries, Montreal.Private Collection, Ontario.Literature: Marius Barbeau,

Lot 39: CORNELIUS KRIEGHOFFCAUGHNAWAGA INDIANS, WINTER, oil on canvas; signed 8.75 ins x 12.25 ins; 21.9 cms x 30.6 cms Provenance: Watson Art Galleries, Montreal.Private Collection, Ontario.Literature: Marius Barbeau, "Cornelius Krieghoff, Pioneer

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Description: CORNELIUS KRIEGHOFFCAUGHNAWAGA INDIANS, WINTER, oil on canvas; signed 8.75 ins x 12.25 ins; 21.9 cms x 30.6 cms $30,000-50,000Provenance: Watson Art Galleries, Montreal.Private Collection, Ontario.Literature: Marius Barbeau, "Cornelius Krieghoff, Pioneer Painter of North America", Toronto, 1934, listed on page 134.Dennis Reid, "Cornelius Krieghoff: The Development of a Canadian Artist," "Krieghoff Images of Canada", Toronto, 1999, page 82. Ramsay Cook, "The Outsider as Insider: Cornelius Krieghoff's Art of Describing", "Krieghoff Images of Canada", ed. Dennis Reid, Toronto, 1999, page 163. Francois-Marc Gagnon, "Perceiving the Other: French-Canadian and Indian Iconography in the Work of Cornelius Krieghoff", "Krieghoff Images of Canada", ed. Dennis Reid, Toronto, 1999, page 233.Note: Krieghoff would have first encountered the Caughnawaga natives in Montreal, where the women would sell traditional crafts, such as the basket depicted in this painting. "Caughnawaga Indians" is exemplary of one of the artist's frequently produced subjects. Dennis Reid describes: "As common as the Native hunter is the Native woman with baskets, moccasins, or other women's work for sale, travelling to town in the summer, or winter...". By 1850, Krieghoff had mastered the Dutch painting tradition of absorbing the viewer into the painting. In "Caughnawaga Indians" the eyes of the two female subjects meet that of the viewers, as if inviting them to follow along the snow-laden trail to Montreal. The bare landscape surrounding the three subjects, with exception to Mount Royal in the distance, is Krieghoff's interpretation of modernity inciting a change in the landscape; what Francois-Marc Gagnon writes was for Krieghoff "...an inevitable result of colonization [visible through] the pushing back of the forest."

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ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.THE RAILWAY STATION IN UXBRIDGE, 1926, oil on board; signed 9.25 ins x 11.25 ins; 23.1 cms x 28.1 cms

Lot 40: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.THE RAILWAY STATION IN UXBRIDGE, 1926, oil on board; signed 9.25 ins x 11.25 ins; 23.1 cms x 28.1 cms

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Description: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.THE RAILWAY STATION IN UXBRIDGE, 1926, oil on board; signed 9.25 ins x 11.25 ins; 23.1 cms x 28.1 cms $30,000-40,000

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RANDOLPH STANLEY HEWTON, R.C.A.QUEBEC VILLAGE, AUTUMN, oil on canvas; signed, Hewton Estate stamp on the reverse 12 ins x 15 ins; 30 cms x 37.5 cms  Provenance: Estate of Randolph Stanley Hewton.Private Collection, Ontario.

Lot 41: RANDOLPH STANLEY HEWTON, R.C.A.QUEBEC VILLAGE, AUTUMN, oil on canvas; signed, Hewton Estate stamp on the reverse 12 ins x 15 ins; 30 cms x 37.5 cms Provenance: Estate of Randolph Stanley Hewton.Private Collection, Ontario.

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Description: RANDOLPH STANLEY HEWTON, R.C.A.QUEBEC VILLAGE, AUTUMN, oil on canvas; signed, Hewton Estate stamp on the reverse 12 ins x 15 ins; 30 cms x 37.5 cms $5,000-7,000Provenance: Estate of Randolph Stanley Hewton.Private Collection, Ontario.

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ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.GATINEAU FARM WITH GRAZING CATTLE, oil on canvas; signed 26 ins x 32 ins; 65 cms x 80 cms  Provenance: Joyner Fine Art Inc., auction, Toronto, November 15th, 1996, lot 136.Private Collection, Ontario.

Lot 42: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.GATINEAU FARM WITH GRAZING CATTLE, oil on canvas; signed 26 ins x 32 ins; 65 cms x 80 cms Provenance: Joyner Fine Art Inc., auction, Toronto, November 15th, 1996, lot 136.Private Collection, Ontario.

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Description: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.GATINEAU FARM WITH GRAZING CATTLE, oil on canvas; signed 26 ins x 32 ins; 65 cms x 80 cms $30,000-40,000Provenance: Joyner Fine Art Inc., auction, Toronto, November 15th, 1996, lot 136.Private Collection, Ontario.

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ARTHUR LISMER, O.S.A., R.C.A.TOTEM TREE AT LONG BEACH, B.C., 1953, oil on panel; signed 16 ins x 12 ins; 40 cms x 30 cms Literature: Lois Darroch,

Lot 43: ARTHUR LISMER, O.S.A., R.C.A.TOTEM TREE AT LONG BEACH, B.C., 1953, oil on panel; signed 16 ins x 12 ins; 40 cms x 30 cms Literature: Lois Darroch, "Bright Land: A Warm Look at Arthur Lismer", Toronto, 1981, pages 138 and 149.Marjorie Lismer Bridges,

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Description: ARTHUR LISMER, O.S.A., R.C.A.TOTEM TREE AT LONG BEACH, B.C., 1953, oil on panel; signed 16 ins x 12 ins; 40 cms x 30 cms $15,000-20,000Literature: Lois Darroch, "Bright Land: A Warm Look at Arthur Lismer", Toronto, 1981, pages 138 and 149.Marjorie Lismer Bridges, "A Border of Beauty", Toronto, 1977, pages 16-18.Dennis Reid, "Canadian Jungle: The Later Work of Arthur Lismer", Art Gallery of Ontario, Toronto, 1985, page 51.Note: After visiting Long Beach, Vancouver Island, in 1951, Lismer continued to visit the area for sixteen years. Long Beach provided 10 kilometres of forest-lined beach and hiking trails between Wickaninnish and Florencia Bays; plenty of lush woodland for Lismer to explore. Returning for the remoteness that the location offered, the Lismers would take the train from Montreal to Vancouver; Lismer cherished the seclusion of the five-day journey. This period in Lismer's life had led to a significant shift in his painting. "The Totem Tree at Long Beach" is a product of a renewed perspective Lismer gained in his later years. Lois Darroch writes, "Lismer was perspicacious enough to realize that the landscape art of the Group of Seven was not 'old hat' in a changing world, and he knew that he himself should change with it...His later work showed the sky pushed into ever lessening importance until it disappeared almost entirely with his interest in the foreground". He was intrigued by "the details" since his very first encounter with Canadian landscape in 1914, writing of the "tall sombre trunks purple grey, and delicate branches interwoven in a marvelous intricacy of pattern" which he discovered in Algonquin Park. Although Lismer's writings focused on the particularities, it was not until years after the Group of Seven had disbanded that Lismer's paintings begin to show aspects often overlooked in Canadian landscape. Starting with the infamous "Canadian Jungle", Lismer began to expose the richness and intensity of the forest. Incorporating a new subject that year, skunk cabbages, "The Totem Tree at Long Beach" is a vibrant concoction of colour and texture used to define the tree centred amongst what Dennis Reid calls "...floridly extravagant skunk cabbages that appear like grotesque efflorescence among the dead ferns and lesser flora of the forest floor".

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ARTHUR LISMER, O.S.A., R.C.A.TREE STUMP, B.C. FOREST, oil on board; signed and dated '51 12 ins x 15.75 ins; 30 cms x 39.4 cms Provenance: The Art Emporium, Vancouver.Private Collection, Toronto.Literature: Marjorie Lismer Bridges,

Lot 44: ARTHUR LISMER, O.S.A., R.C.A.TREE STUMP, B.C. FOREST, oil on board; signed and dated '51 12 ins x 15.75 ins; 30 cms x 39.4 cms Provenance: The Art Emporium, Vancouver.Private Collection, Toronto.Literature: Marjorie Lismer Bridges, "A Border of

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Description: ARTHUR LISMER, O.S.A., R.C.A.TREE STUMP, B.C. FOREST, oil on board; signed and dated '51 12 ins x 15.75 ins; 30 cms x 39.4 cms $15,000-20,000Provenance: The Art Emporium, Vancouver.Private Collection, Toronto.Literature: Marjorie Lismer Bridges, "A Border of Beauty", Toronto, 1977, pages 16-18.Note: Although documented by Arthur Lismer almost forty years before painting "Tree Stump, B.C. Forest", the artist's recorded first impressions of his inaugural trip to Algonquin Park (on a sketching trip with Tom Thomson) reveal Lismer's "wonder and excitement" for the Canadian forest landscape and a love for the details he discovered within its depths, traits which remain a constant in the painter's work throughout his career. Lismer's description of the intricacies he discovered inside Algonquin Park point clearly to details which the artist has captured within "Tree Stump, B.C. Forest"."Everything was growing, growing, growing - everything had a song... There - a contrast in the depth of cedar grove, or pine and spruce bush - here - a merciless tangle of fallen trees and age-long struggle with the elements... Overhead, the heavy interlacing branches permit but little light to penetrate. Only here and there a shaft of light has caught the top of a rotting stump, and burns like a sacrificial fire in some huge primeval temple."

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ROBERT WAKEHAM PILOT, P.R.C.A.WINTER, MONTREAL, oil on panel; signed Provenance: Walter Klinkhoff Gallery, Montreal.Masters Gallery Ltd., Calgary.Peter Ohler Fine Arts, Vancouver.Private Collection, Vancouver.Note: Painted circa 1936.

Lot 45: ROBERT WAKEHAM PILOT, P.R.C.A.WINTER, MONTREAL, oil on panel; signed Provenance: Walter Klinkhoff Gallery, Montreal.Masters Gallery Ltd., Calgary.Peter Ohler Fine Arts, Vancouver.Private Collection, Vancouver.Note: Painted circa 1936.

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Description: ROBERT WAKEHAM PILOT, P.R.C.A.WINTER, MONTREAL, oil on panel; signed $4,000-6,000Provenance: Walter Klinkhoff Gallery, Montreal.Masters Gallery Ltd., Calgary.Peter Ohler Fine Arts, Vancouver.Private Collection, Vancouver.Note: Painted circa 1936.

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PAUL ARCHIBALD CARON, A.R.C.A.STREETSCAPE, QUEBEC, watercolour; signed 11.75 ins x 15.25 ins; 29.4 cms x 38.1 cms

Lot 46: PAUL ARCHIBALD CARON, A.R.C.A.STREETSCAPE, QUEBEC, watercolour; signed 11.75 ins x 15.25 ins; 29.4 cms x 38.1 cms

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Description: PAUL ARCHIBALD CARON, A.R.C.A.STREETSCAPE, QUEBEC, watercolour; signed 11.75 ins x 15.25 ins; 29.4 cms x 38.1 cms $2,500-3,000

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JOHN YOUNG JOHNSTONE, A.R.C.A.OLD CHURCH, POINTE-AUX-TREMBLES, oil on panel; signed 4.75 ins x 7 ins; 11.9 cms x 17.5 cms  Provenance: Canadian Fine Arts, Toronto.Private Collection, Toronto.

Lot 47: JOHN YOUNG JOHNSTONE, A.R.C.A.OLD CHURCH, POINTE-AUX-TREMBLES, oil on panel; signed 4.75 ins x 7 ins; 11.9 cms x 17.5 cms Provenance: Canadian Fine Arts, Toronto.Private Collection, Toronto.

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Description: JOHN YOUNG JOHNSTONE, A.R.C.A.OLD CHURCH, POINTE-AUX-TREMBLES, oil on panel; signed 4.75 ins x 7 ins; 11.9 cms x 17.5 cms $4,000-6,000Provenance: Canadian Fine Arts, Toronto.Private Collection, Toronto.

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CLARENCE ALPHONSE GAGNON, R.C.A.LA MAISON AU PIQUE VERT, oil on panel; certified by Lucile Rodier Gagnon (No.230) on the reverse 4.75 ins x 7 ins; 11.9 cms x 17.5 cms Provenance: Laing Fine Art Galleries, Toronto.Private Collection, Vancouver.Note:

Lot 48: CLARENCE ALPHONSE GAGNON, R.C.A.LA MAISON AU PIQUE VERT, oil on panel; certified by Lucile Rodier Gagnon (No.230) on the reverse 4.75 ins x 7 ins; 11.9 cms x 17.5 cms Provenance: Laing Fine Art Galleries, Toronto.Private Collection, Vancouver.Note:

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Description: CLARENCE ALPHONSE GAGNON, R.C.A.LA MAISON AU PIQUE VERT, oil on panel; certified by Lucile Rodier Gagnon (No.230) on the reverse 4.75 ins x 7 ins; 11.9 cms x 17.5 cms $25,000-30,000Provenance: Laing Fine Art Galleries, Toronto.Private Collection, Vancouver.Note: Painted circa 1923.

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RENE RICHARDRUE DU VILLAGE, BAIE ST. PAUL, oil on board; signed 16 ins x 20 ins; 40 cms x 50 cms  Provenance: Galerie L'Art francais, Montreal.Private Collection, Florida.

Lot 49: RENE RICHARDRUE DU VILLAGE, BAIE ST. PAUL, oil on board; signed 16 ins x 20 ins; 40 cms x 50 cms Provenance: Galerie L'Art francais, Montreal.Private Collection, Florida.

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Description: RENE RICHARDRUE DU VILLAGE, BAIE ST. PAUL, oil on board; signed 16 ins x 20 ins; 40 cms x 50 cms $3,000-5,000Provenance: Galerie L'Art francais, Montreal.Private Collection, Florida.

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FRANKLIN CARMICHAEL, O.S.A., R.C.A.AUTUMN LANDSCAPE, oil on board; signed and dated 1921 10 ins x 12 ins; 25 cms x 30 cms Provenance: L. Bruce Pierce Collection (No.9), Toronto.Jennings D. Young Collection, Toronto.Private Collection,

Lot 50: FRANKLIN CARMICHAEL, O.S.A., R.C.A.AUTUMN LANDSCAPE, oil on board; signed and dated 1921 10 ins x 12 ins; 25 cms x 30 cms Provenance: L. Bruce Pierce Collection (No.9), Toronto.Jennings D. Young Collection, Toronto.Private Collection,

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Description: FRANKLIN CARMICHAEL, O.S.A., R.C.A.AUTUMN LANDSCAPE, oil on board; signed and dated 1921 10 ins x 12 ins; 25 cms x 30 cms $125,000-150,000Provenance: L. Bruce Pierce Collection (No.9), Toronto.Jennings D. Young Collection, Toronto.Private Collection, Ontario.Exhibited: Masterpieces of Twentieth-Century Canadian Painting, The Norton Gallery and School of Art, West Palm Beach, Florida, March 18-April 29, 1984.Literature: E. Robert Hunter, "Masterpieces of Twentieth-Century Canadian Painting", Catalogue of an exhibition, The Norton Gallery and School of Art, West Palm Beach, Florida, page 54, listed.Megan Bice, "Light & Shadow: The Work of Franklin Carmichael", McMichael Canadian Art Collection, Kleinburg, 1990, pages 30-33 and plate 22, entitled "Autumn Woods, Interior, West Don Valley, 1921".Note: During the early 1920s Carmichael painted many works which included a close-up examination of the natural pattern of branches and leaves where the composition is dominated by a central massing of trees. Bice mentions Carmichael's "...continuing love of the tangled lines of trees..." and "...his fascination with the intermingling of dappled light and luminescent leaves."Jennings Young, a resident of Toronto and well-known collector of Canadian art but with family connections in Owen Sound, donated works by Casson and Schaefer to the newly formed Tom Thomson Art Gallery in Owen Sound. In 1990 the Gallery established an endowment fund to support the long-term objectives and operations. The initial capital for the fund was provided through a bequest from the estate of Mr. Young, a long-time supporter of the Tom Thomson Art Gallery.

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