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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 5100

Fax: +1 416 504 0033

Email: info@waddingtons.ca

208 Lots
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LIONEL LEMOINE FITZGERALDAPPLES, watercolour; signed with initials 18 ins x 23.5 ins; 45 cms x 58.8 cms  Provenance: John A. MacAulay, Winnipeg.Carol Joan Taylor (by descent), Toronto.

Lot 101: LIONEL LEMOINE FITZGERALDAPPLES, watercolour; signed with initials 18 ins x 23.5 ins; 45 cms x 58.8 cms Provenance: John A. MacAulay, Winnipeg.Carol Joan Taylor (by descent), Toronto.

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Description: LIONEL LEMOINE FITZGERALDAPPLES, watercolour; signed with initials 18 ins x 23.5 ins; 45 cms x 58.8 cms $3,000-5,000Provenance: John A. MacAulay, Winnipeg.Carol Joan Taylor (by descent), Toronto.

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PERCY FRANKLIN WOODCOCK, R.C.A.STILL LIFE, oil on board; signed 8 ins x 10.25 ins; 20 cms x 25.6 cms

Lot 102: PERCY FRANKLIN WOODCOCK, R.C.A.STILL LIFE, oil on board; signed 8 ins x 10.25 ins; 20 cms x 25.6 cms

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Description: PERCY FRANKLIN WOODCOCK, R.C.A.STILL LIFE, oil on board; signed 8 ins x 10.25 ins; 20 cms x 25.6 cms $1,500-2,000

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EMILY GERALDINE COONANSTILL LIFE, 1942, oil on canvas; signed 18 ins x 21 ins; 45 cms x 52.5 cms

Lot 103: EMILY GERALDINE COONANSTILL LIFE, 1942, oil on canvas; signed 18 ins x 21 ins; 45 cms x 52.5 cms

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Description: EMILY GERALDINE COONANSTILL LIFE, 1942, oil on canvas; signed 18 ins x 21 ins; 45 cms x 52.5 cms $4,000-6,000

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ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.DAHLIAS, 1949, tempera; signed, pinholes and grooves within the subject (likely by the artist's hand) 10.5 ins x 24.75 ins; 26.3 cms x 61.9 cms Provenance: Private Collection, Ontario.Literature: Paul Duval,

Lot 104: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.DAHLIAS, 1949, tempera; signed, pinholes and grooves within the subject (likely by the artist's hand) 10.5 ins x 24.75 ins; 26.3 cms x 61.9 cms Provenance: Private Collection, Ontario.Literature: Paul Duval,

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Description: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.DAHLIAS, 1949, tempera; signed, pinholes and grooves within the subject (likely by the artist's hand) 10.5 ins x 24.75 ins; 26.3 cms x 61.9 cms $7,000-9,000Provenance: Private Collection, Ontario.Literature: Paul Duval, "A.J. Casson", Roberts Gallery, Toronto, 1975, page 8, reproduced in colour.

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FREDERICK SIMPSON COBURN, R.C.A.STILL LIFE OF ROSES, oil on canvas; signed and dated 1914 10.25 ins x 13.5 ins; 25.6 cms x 33.8 cms

Lot 105: FREDERICK SIMPSON COBURN, R.C.A.STILL LIFE OF ROSES, oil on canvas; signed and dated 1914 10.25 ins x 13.5 ins; 25.6 cms x 33.8 cms

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Description: FREDERICK SIMPSON COBURN, R.C.A.STILL LIFE OF ROSES, oil on canvas; signed and dated 1914 10.25 ins x 13.5 ins; 25.6 cms x 33.8 cms $2,000-3,000

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FARQUHAR MCGILLIVRAY STRACHAN KNOWLES, O.S.A., R.C.ARIDING IT OUT, oil on canvas 25 ins x 30 ins; 62.5 cms x 75 cms  Provenance: Acquired directly from the artist.By descent to the current Private Collection, Ontario.Note: Painted circa 1920.

Lot 106: FARQUHAR MCGILLIVRAY STRACHAN KNOWLES, O.S.A., R.C.ARIDING IT OUT, oil on canvas 25 ins x 30 ins; 62.5 cms x 75 cms Provenance: Acquired directly from the artist.By descent to the current Private Collection, Ontario.Note: Painted circa 1920.

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Description: FARQUHAR MCGILLIVRAY STRACHAN KNOWLES, O.S.A., R.C.ARIDING IT OUT, oil on canvas 25 ins x 30 ins; 62.5 cms x 75 cms $3,000-4,000Provenance: Acquired directly from the artist.By descent to the current Private Collection, Ontario.Note: Painted circa 1920.

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ROBERT FORD GAGEN, O.S.A., R.C.A.PORTUGUESE FISHERMAN, oil on canvas; signed 20 ins x 28 ins; 50 cms x 70 cms

Lot 107: ROBERT FORD GAGEN, O.S.A., R.C.A.PORTUGUESE FISHERMAN, oil on canvas; signed 20 ins x 28 ins; 50 cms x 70 cms

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Description: ROBERT FORD GAGEN, O.S.A., R.C.A.PORTUGUESE FISHERMAN, oil on canvas; signed 20 ins x 28 ins; 50 cms x 70 cms $2,000-3,000

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ROBERT MCVITTIECEDRIC THE SAXON, oil on canvas; signed 24 ins x 36 ins; 60 cms x 90 cms  Provenance: Grosvenor Gallery, Vancouver.Private Collection, Toronto.

Lot 108: ROBERT MCVITTIECEDRIC THE SAXON, oil on canvas; signed 24 ins x 36 ins; 60 cms x 90 cms Provenance: Grosvenor Gallery, Vancouver.Private Collection, Toronto.

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Description: ROBERT MCVITTIECEDRIC THE SAXON, oil on canvas; signed 24 ins x 36 ins; 60 cms x 90 cms $3,000-4,000Provenance: Grosvenor Gallery, Vancouver.Private Collection, Toronto.

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ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.LES EBOULEMENTS, QUE., oil on panel; signed, N.J.G. Inventory no.978 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms  Provenance: Walter Klinkhoff Gallery, Montreal.Private Collection, Montreal.Note: Painted circa 1928.

Lot 109: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.LES EBOULEMENTS, QUE., oil on panel; signed, N.J.G. Inventory no.978 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms Provenance: Walter Klinkhoff Gallery, Montreal.Private Collection, Montreal.Note: Painted circa 1928.

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Description: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.LES EBOULEMENTS, QUE., oil on panel; signed, N.J.G. Inventory no.978 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms $15,000-20,000Provenance: Walter Klinkhoff Gallery, Montreal.Private Collection, Montreal.Note: Painted circa 1928.

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FREDERICK HORSMAN VARLEY, A.R.C.A.NIGHT CAMP - GARIBALDI, ink wash, numerous tears (repaired) and some staining at edges, Varley Inventory No.789 11.5 ins x 14.5 ins; 28.8 cms x 36.3 cms Provenance: Yaneff Gallery, Toronto.Private Collection,

Lot 110: FREDERICK HORSMAN VARLEY, A.R.C.A.NIGHT CAMP - GARIBALDI, ink wash, numerous tears (repaired) and some staining at edges, Varley Inventory No.789 11.5 ins x 14.5 ins; 28.8 cms x 36.3 cms Provenance: Yaneff Gallery, Toronto.Private Collection,

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Description: FREDERICK HORSMAN VARLEY, A.R.C.A.NIGHT CAMP - GARIBALDI, ink wash, numerous tears (repaired) and some staining at edges, Varley Inventory No.789 11.5 ins x 14.5 ins; 28.8 cms x 36.3 cms $2,000-3,000Provenance: Yaneff Gallery, Toronto.Private Collection, Vancouver.Exhibited: Varley: A Celebration, The Frederick Horsman Varley Art Gallery of Markham, Unionville, Ontario, May 31-August 10, 1997.Note: Executed circa 1928.

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ROBERT WAKEHAM PILOT, P.R.C.A.STREET IN PERCE, QC, oil on board; signed 12 ins x 17 ins; 30 cms x 42.5 cms

Lot 111: ROBERT WAKEHAM PILOT, P.R.C.A.STREET IN PERCE, QC, oil on board; signed 12 ins x 17 ins; 30 cms x 42.5 cms

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Description: ROBERT WAKEHAM PILOT, P.R.C.A.STREET IN PERCE, QC, oil on board; signed 12 ins x 17 ins; 30 cms x 42.5 cms $10,000-15,000

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ALBERT HENRY ROBINSON, R.C.A.WINTER VILLAGE, QUEBEC, oil on panel; signed (indistinctly); an unfinished work depicting an impressionist sunset on the reverse 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms Provenance: Peter Ohler Fine Arts Ltd.,

Lot 112: ALBERT HENRY ROBINSON, R.C.A.WINTER VILLAGE, QUEBEC, oil on panel; signed (indistinctly); an unfinished work depicting an impressionist sunset on the reverse 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms Provenance: Peter Ohler Fine Arts Ltd.,

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Description: ALBERT HENRY ROBINSON, R.C.A.WINTER VILLAGE, QUEBEC, oil on panel; signed (indistinctly); an unfinished work depicting an impressionist sunset on the reverse 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms $10,000-15,000Provenance: Peter Ohler Fine Arts Ltd., Vancouver.Private Collection, Vancouver.

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ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.BATCHWANA, oil on panel; signed 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms

Lot 113: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.BATCHWANA, oil on panel; signed 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms

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Description: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.BATCHWANA, oil on panel; signed 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms $15,000-20,000

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ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.NEAR KINCARDINE, 1968, oil on board; signed 9.25 ins x 11.25 ins; 23.1 cms x 28.1 cms

Lot 114: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.NEAR KINCARDINE, 1968, 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.NEAR KINCARDINE, 1968, oil on board; signed 9.25 ins x 11.25 ins; 23.1 cms x 28.1 cms $20,000-25,000

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FREDERICK SIMPSON COBURN, R.C.A.THE LAST LOAD, etching, printed in colours; signed, dated 1912 and numbered

Lot 115: FREDERICK SIMPSON COBURN, R.C.A.THE LAST LOAD, etching, printed in colours; signed, dated 1912 and numbered "No.16" in the plate 14 ins x 21 ins; 35 cms x 52.5 cms Literature: Gerald Stevens, "Frederick Simpson Coburn", Toronto, 1958, pages 42-43,

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Description: FREDERICK SIMPSON COBURN, R.C.A.THE LAST LOAD, etching, printed in colours; signed, dated 1912 and numbered "No.16" in the plate 14 ins x 21 ins; 35 cms x 52.5 cms $1,500-2,000Literature: Gerald Stevens, "Frederick Simpson Coburn", Toronto, 1958, pages 42-43, plate 6, illustrated.Evelyn Lloyd Coburn, "F.S. Coburn, Beyond the Landscape", Toronto, 1996, page 81, illustrated in colour.Note: Stevens describes this work as showing a team of horses, tired after a long day in the woods: "The feeling of exhaustion in the horses and the man is in accord with the early winter dusk suggested in the carefully treated sky. It has many, if not all, of the qualities of an oil painting."

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THOMAS MOWER MARTIN, O.S.A., R.C.A.IN THE MOOSE COUNTRY, NORTH OF GEORGIAN BAY, oil on board; signed 13.75 ins x 19.75 ins; 34.4 cms x 49.4 cms  Provenance: Masters Gallery Ltd., Calgary.

Lot 116: THOMAS MOWER MARTIN, O.S.A., R.C.A.IN THE MOOSE COUNTRY, NORTH OF GEORGIAN BAY, oil on board; signed 13.75 ins x 19.75 ins; 34.4 cms x 49.4 cms Provenance: Masters Gallery Ltd., Calgary.

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Description: THOMAS MOWER MARTIN, O.S.A., R.C.A.IN THE MOOSE COUNTRY, NORTH OF GEORGIAN BAY, oil on board; signed 13.75 ins x 19.75 ins; 34.4 cms x 49.4 cms $1,500-2,000Provenance: Masters Gallery Ltd., Calgary.

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FREDERICK SIMPSON COBURN, R.C.A.ON THE LOGGING ROAD, WINTER, etching, printed in colours Subject 18.5 ins x 24 ins; 46.3 cms x 60 cms Literature: Coburn, ibid., page 86, for a canvas of an almost identical subject entitled

Lot 117: FREDERICK SIMPSON COBURN, R.C.A.ON THE LOGGING ROAD, WINTER, etching, printed in colours Subject 18.5 ins x 24 ins; 46.3 cms x 60 cms Literature: Coburn, ibid., page 86, for a canvas of an almost identical subject entitled "Winter Morning at

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Description: FREDERICK SIMPSON COBURN, R.C.A.ON THE LOGGING ROAD, WINTER, etching, printed in colours Subject 18.5 ins x 24 ins; 46.3 cms x 60 cms $1,500-2,000Literature: Coburn, ibid., page 86, for a canvas of an almost identical subject entitled "Winter Morning at Melbourne, Quebec, 1922".

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MARC-AURELE DE FOY SUZOR-COTE, R.C.A.FEMMES DE CAUGHNAWAGA, bronze; signed, titled and numbered 2/8, cast in two sections, set on a base Provenance: Private Collection, Montreal.Literature: Laurier Lacroix,

Lot 118: MARC-AURELE DE FOY SUZOR-COTE, R.C.A.FEMMES DE CAUGHNAWAGA, bronze; signed, titled and numbered 2/8, cast in two sections, set on a base Provenance: Private Collection, Montreal.Literature: Laurier Lacroix, "Suzor-Cote, light and matter",

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Description: MARC-AURELE DE FOY SUZOR-COTE, R.C.A.FEMMES DE CAUGHNAWAGA, bronze; signed, titled and numbered 2/8, cast in two sections, set on a base $20,000-30,000Provenance: Private Collection, Montreal.Literature: Laurier Lacroix, "Suzor-Cote, light and matter", Musee du Quebec, Quebec, 2002, pages 250 and 253, cat. no.120, illustrated.Note: Lacroix writes that the artist regarded this sculpture as "one of his greatest successes" and quotes Pierre L'Allier's view: "Even if Suzor-Cote had only created this one work, his name would deserve to be featured in any history of Canadian sculpture."

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LOUIS-PHILIPPE HEBERT, R.C.A.SIR JOHN A. MACDONALD, plaster; signed and dated 14-10-86 height 29.5 ins; 73.8 cms

Lot 119: LOUIS-PHILIPPE HEBERT, R.C.A.SIR JOHN A. MACDONALD, plaster; signed and dated 14-10-86 height 29.5 ins; 73.8 cms

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Description: LOUIS-PHILIPPE HEBERT, R.C.A.SIR JOHN A. MACDONALD, plaster; signed and dated 14-10-86 height 29.5 ins; 73.8 cms $3,000-5,000

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GEORGE HART HUGHESINDIAN HUNTER ON SNOWSHOES, oil on board; signed with initials and inscribed

Lot 120: GEORGE HART HUGHESINDIAN HUNTER ON SNOWSHOES, oil on board; signed with initials and inscribed "Montreal 1883" 11 ins x 9 ins; 27.5 cms x 22.5 cms Provenance: Walter Klinkhoff Gallery, Montreal.Private Collection, Toronto.

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Description: GEORGE HART HUGHESINDIAN HUNTER ON SNOWSHOES, oil on board; signed with initials and inscribed "Montreal 1883" 11 ins x 9 ins; 27.5 cms x 22.5 cms $3,000-4,000Provenance: Walter Klinkhoff Gallery, Montreal.Private Collection, Toronto.

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FATHER HENRY METZGERPORTRAIT OF AN ELDER, oil on canvas; signed 16 ins x 14 ins; 40 cms x 35 cms

Lot 121: FATHER HENRY METZGERPORTRAIT OF AN ELDER, oil on canvas; signed 16 ins x 14 ins; 40 cms x 35 cms

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Description: FATHER HENRY METZGERPORTRAIT OF AN ELDER, oil on canvas; signed 16 ins x 14 ins; 40 cms x 35 cms $3,000-4,000

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GEORGE HART HUGHESINDIAN MOCCASIN SELLER, oil on board 11 ins x 9 ins; 27.5 cms x 22.5 cms  Provenance: Walter Klinkhoff Gallery, Montreal.Private Collection, Toronto.

Lot 122: GEORGE HART HUGHESINDIAN MOCCASIN SELLER, oil on board 11 ins x 9 ins; 27.5 cms x 22.5 cms Provenance: Walter Klinkhoff Gallery, Montreal.Private Collection, Toronto.

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Description: GEORGE HART HUGHESINDIAN MOCCASIN SELLER, oil on board 11 ins x 9 ins; 27.5 cms x 22.5 cms $2,500-3,500Provenance: Walter Klinkhoff Gallery, Montreal.Private Collection, Toronto.

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GORDON APPELBE SMITH, R.C.A.SUMMER PAINTING, acrylic on canvas; signed and titled on the stretcher 40 ins x 44 ins; 100 cms x 110 cms Note: 

Lot 123: GORDON APPELBE SMITH, R.C.A.SUMMER PAINTING, acrylic on canvas; signed and titled on the stretcher 40 ins x 44 ins; 100 cms x 110 cms Note: "Divided Green", a serigraph by the artist, features a very similar composition to Summer Painting,

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Description: GORDON APPELBE SMITH, R.C.A.SUMMER PAINTING, acrylic on canvas; signed and titled on the stretcher 40 ins x 44 ins; 100 cms x 110 cms $20,000-30,000Note: "Divided Green", a serigraph by the artist, features a very similar composition to Summer Painting, this lot likely the source for the print.

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JACK LEONARD SHADBOLT, R.C.A.ABSTRACT COMPOSITION, STUDY FOR MURAL, mixed media on paper; signed and dated '63 26 ins x 40 ins; 65 cms x 100 cms  Provenance: Private Collection, West Coast.

Lot 124: JACK LEONARD SHADBOLT, R.C.A.ABSTRACT COMPOSITION, STUDY FOR MURAL, mixed media on paper; signed and dated '63 26 ins x 40 ins; 65 cms x 100 cms Provenance: Private Collection, West Coast.

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Description: JACK LEONARD SHADBOLT, R.C.A.ABSTRACT COMPOSITION, STUDY FOR MURAL, mixed media on paper; signed and dated '63 26 ins x 40 ins; 65 cms x 100 cms $8,000-10,000Provenance: Private Collection, West Coast.

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MARION MILDRED DALE SCOTTARTIFACT #4, 1969, oil on canvas 20 ins x 16 ins; 50 cms x 40 cms

Lot 125: MARION MILDRED DALE SCOTTARTIFACT #4, 1969, oil on canvas 20 ins x 16 ins; 50 cms x 40 cms

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Description: MARION MILDRED DALE SCOTTARTIFACT #4, 1969, oil on canvas 20 ins x 16 ins; 50 cms x 40 cms $2,000-3,000

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MARCELLE FERRON, R.C.A.ABSTRACT COMPOSITION, oil on canvas; signed and dated '63 11 ins x 14 ins; 27.5 cms x 35 cms

Lot 126: MARCELLE FERRON, R.C.A.ABSTRACT COMPOSITION, oil on canvas; signed and dated '63 11 ins x 14 ins; 27.5 cms x 35 cms

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Description: MARCELLE FERRON, R.C.A.ABSTRACT COMPOSITION, oil on canvas; signed and dated '63 11 ins x 14 ins; 27.5 cms x 35 cms $15,000-18,000

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ALFRED PELLAN, R.C.A.ELEMENTS, 1945, mixed media and collage; signed 19 ins x 13 ins; 47.5 cms x 32.5 cms  Provenance: Private Collection, West Coast.

Lot 127: ALFRED PELLAN, R.C.A.ELEMENTS, 1945, mixed media and collage; signed 19 ins x 13 ins; 47.5 cms x 32.5 cms Provenance: Private Collection, West Coast.

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Description: ALFRED PELLAN, R.C.A.ELEMENTS, 1945, mixed media and collage; signed 19 ins x 13 ins; 47.5 cms x 32.5 cms $10,000-12,000Provenance: Private Collection, West Coast.

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TOM HOPKINSLIFELINE / SOURCE OF LIGHT III, oil on canvas; signed 54 ins x 60 ins; 135 cms x 150 cms  Provenance: Galerie de Bellefeuille, Montreal.Private Collection, New York.

Lot 128: TOM HOPKINSLIFELINE / SOURCE OF LIGHT III, oil on canvas; signed 54 ins x 60 ins; 135 cms x 150 cms Provenance: Galerie de Bellefeuille, Montreal.Private Collection, New York.

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Description: TOM HOPKINSLIFELINE / SOURCE OF LIGHT III, oil on canvas; signed 54 ins x 60 ins; 135 cms x 150 cms $12,000-15,000Provenance: Galerie de Bellefeuille, Montreal.Private Collection, New York.

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ALEXANDER COLVILLE, R.C.A.STUDY FOR LOOKING DOWN, ink and acrylic on paper; signed and dated

Lot 129: ALEXANDER COLVILLE, R.C.A.STUDY FOR LOOKING DOWN, ink and acrylic on paper; signed and dated "16 May '88 - 1 June '88" image 7.25 ins x 7.25 ins; 18.1 cms x 18.1 cms Provenance: Dominion Gallery, Montreal.Private Collection, Vancouver.

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Description: ALEXANDER COLVILLE, R.C.A.STUDY FOR LOOKING DOWN, ink and acrylic on paper; signed and dated "16 May '88 - 1 June '88" image 7.25 ins x 7.25 ins; 18.1 cms x 18.1 cms $12,000-15,000Provenance: Dominion Gallery, Montreal.Private Collection, Vancouver.

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PAUL-EMILE BORDUAS,CHATTERIE, oil on canvas; signed and dated '57, inventory no.12F printed on a label on the reverse 24 ins x 20 ins; 60 cms x 50 cms Provenance: Martha Jackson Gallery, New York.Blair Laing Gallery, Toronto.Private

Lot 130: PAUL-EMILE BORDUAS,CHATTERIE, oil on canvas; signed and dated '57, inventory no.12F printed on a label on the reverse 24 ins x 20 ins; 60 cms x 50 cms Provenance: Martha Jackson Gallery, New York.Blair Laing Gallery, Toronto.Private

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Description: PAUL-EMILE BORDUAS,CHATTERIE, oil on canvas; signed and dated '57, inventory no.12F printed on a label on the reverse 24 ins x 20 ins; 60 cms x 50 cms $150,000-200,000Provenance: Martha Jackson Gallery, New York.Blair Laing Gallery, Toronto.Private Collection, Toronto.Literature: Francois-Marc Gagnon, "Paul-Emile Borduas," National Gallery of Canada, Ottawa, 1976, page 26.Francois-Marc Gagnon, "Paul-Emile Borduas (1905-1960), Biographie critique et analyse de l'oeuvre," Montreal, 1978, pages 429-430.G. Blair Laing, "Memoirs of an Art Dealer 2," Toronto, 1982, pages 156 and 200.Denise Leclerc, "Paul Emile-Borduas," Treasures of the National Gallery of Canada, Ottawa, 2003, page 154.Roald Nasgaard, "Paul-Emile Borduas," Canadian Art, The Thomson Collection at the Art Gallery of Ontario, Toronto, 2008, page 142.Note: "Chatterie" came to life during an intense period of work in the artist's Paris studio. In the spring of 1957, Borduas was given his first solo exhibition at the Martha Jackson Gallery in New York as well as a second at the Gallery of Contemporary Art in Toronto that April. In this masterwork, the shapes are distributed in a dynamic manner, in what Gagnon has described as "an attempt to suggest movement and rhythm in space." Rhythm is at the heart of "Chatterie'"; the play of light on the pigments instills the composition with a fantastic sense of vibration. The white "ground" appears to be penetrated by black, deep blue and burgundy amorphous shapes and stained with tachiste red. Borduas wields his palette knife to sculpt marvelous variations in texture, spreading and layering his paint so assertively that, as Nasgaard writes, "the space of the painting seems to occur in that of the viewer". The intensity and simplicity of "Chatterie" makes the painting one of Borduas' finest.Borduas once expressed: "Basically, the element of the world that is for me the most permanent, the only one perhaps, is paint, physical paint, the matiere, the substance. It is my native soil, my land. Without it, I am rootless. With it-whether in Paris or elsewhere, no matter-I am home." By 1957, the artist had truly mastered his matiere, producing some of the most majestic and sought-after constructions of his career. Gagnon notes how Martha Jackson had purchased a large amount of Borduas' paintings in 1956, however, the following year, she had become far more selective in her choice of works. In July of 1957, she wrote to Borduas from Florence, Italy to reserve three striking canvases: "Bercement Silencieux" (Collection of the Art Gallery of Ontario), "Ardente" (Private Collection) and "Chatterie". Gagnon lists "Chatterie" as having been sold by Martha Jackson to Blair Laing in March of 1960 and, since then, its location has remained unknown to the public until its inclusion in this auction.Blair Laing, who sold "Chatterie" to a Toronto collector, described Borduas as "an abstract artist genius," noting that the "...bold resonant paintings of his final years... severe and powerful as they are, [would] probably remain as Borduas' most important painting creations."

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FERNAND LEDUCABSTRACT COMPOSITION, mixed media; signed and dated '66 13 ins x 9.5 ins; 32.5 cms x 23.8 cms  Provenance: Gerard Gorce, Montreal.Masters Gallery Ltd., Calgary.

Lot 131: FERNAND LEDUCABSTRACT COMPOSITION, mixed media; signed and dated '66 13 ins x 9.5 ins; 32.5 cms x 23.8 cms Provenance: Gerard Gorce, Montreal.Masters Gallery Ltd., Calgary.

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Description: FERNAND LEDUCABSTRACT COMPOSITION, mixed media; signed and dated '66 13 ins x 9.5 ins; 32.5 cms x 23.8 cms $2,500-3,500Provenance: Gerard Gorce, Montreal.Masters Gallery Ltd., Calgary.

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GERSHON ISKOWITZ, R.C.A.UNTITLED, watercolour; signed and dated '78 21 ins x 13 ins; 52.5 cms x 32.5 cms

Lot 132: GERSHON ISKOWITZ, R.C.A.UNTITLED, watercolour; signed and dated '78 21 ins x 13 ins; 52.5 cms x 32.5 cms

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Description: GERSHON ISKOWITZ, R.C.A.UNTITLED, watercolour; signed and dated '78 21 ins x 13 ins; 52.5 cms x 32.5 cms $2,500-3,000

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JEAN ALBERT MCEWEN, R.C.A.SANS TITRE, watercolour; signed and dated /62 14 ins x 10 ins; 35 cms x 25 cms

Lot 133: JEAN ALBERT MCEWEN, R.C.A.SANS TITRE, watercolour; signed and dated /62 14 ins x 10 ins; 35 cms x 25 cms

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Description: JEAN ALBERT MCEWEN, R.C.A.SANS TITRE, watercolour; signed and dated /62 14 ins x 10 ins; 35 cms x 25 cms $3,000-4,000

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PIERRE GENDRONCITE EN CONSTRUCTION, oil on canvas; signed, dated '58 and inscribed

Lot 134: PIERRE GENDRONCITE EN CONSTRUCTION, oil on canvas; signed, dated '58 and inscribed "Paris" 45.5 ins x 35.25 ins; 113.8 cms x 88.1 cms

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Description: PIERRE GENDRONCITE EN CONSTRUCTION, oil on canvas; signed, dated '58 and inscribed "Paris" 45.5 ins x 35.25 ins; 113.8 cms x 88.1 cms $5,000-7,000

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JACK HAMILTON BUSH, O.S.A., A.R.C.A.LINCOLN CENTRE, screen print, printed in colours; signed, dated 1974 and numbered 51/144 overall 61.25 ins x 36.5 ins; 153.1 cms x 91.3 cms

Lot 135: JACK HAMILTON BUSH, O.S.A., A.R.C.A.LINCOLN CENTRE, screen print, printed in colours; signed, dated 1974 and numbered 51/144 overall 61.25 ins x 36.5 ins; 153.1 cms x 91.3 cms

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Description: JACK HAMILTON BUSH, O.S.A., A.R.C.A.LINCOLN CENTRE, screen print, printed in colours; signed, dated 1974 and numbered 51/144 overall 61.25 ins x 36.5 ins; 153.1 cms x 91.3 cms $3,500-4,500

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ALEXANDRA LUKECOMPOSITION, 1964, watercolour and crayon on paper; signed 21.75 ins x 30 ins; 54.4 cms x 75 cms Provenance: The Estate of Margaret Ferguson, North York.Private Collection, Ontario.Note: One of the mediums which Alexandra Luke used with

Lot 136: ALEXANDRA LUKECOMPOSITION, 1964, watercolour and crayon on paper; signed 21.75 ins x 30 ins; 54.4 cms x 75 cms Provenance: The Estate of Margaret Ferguson, North York.Private Collection, Ontario.Note: One of the mediums which Alexandra Luke used with

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Description: ALEXANDRA LUKECOMPOSITION, 1964, watercolour and crayon on paper; signed 21.75 ins x 30 ins; 54.4 cms x 75 cms $3,000-4,000Provenance: The Estate of Margaret Ferguson, North York.Private Collection, Ontario.Note: One of the mediums which Alexandra Luke used with amazing force was watercolour, employed either in the pure state or combined inventively with ink or collage elements, such as Japanese rice paper, fabric or even birch bark. One of her watercolours from 1964, the same year that this work of art was completed, is titled "Adventure," a title which Luke used repeatedly but which seems to apply with special relevance to the paintings she created during her last decade.The composition of this painting is more loose and abstractly handled than in many of the artist's other watercolour work, where Luke would use a sort of grid, within which she placed blocks of colour. A strong playful element is often present in Luke's work and is evident within "Composition, 1964." The painter allows the watercolour to form pools of color which she interrupts with a delicate black line that seems to melt into the paper. Several other works from 1964 have related titles such as "Composition in Blue and Yellow" or "Red Composition." In each of these works Luke experimented with colour, composition, and space dimensions, as Hans Hofmann had suggested she do, urging the artist towards a freedom and spontaneity within her work. However, the unusually large size of "Composition, 1964" suggests its importance in her oeuvre - only about three other works of this approximate size are known, all dating from the period between 1963 and 1965.We would like to thank art historian, Joan Murray, for providing information for the foregoing essay.

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HAROLD BARLING TOWN, R.C.A.FORE, oil on canvas; signed and dated /66 52 ins x 52 ins; 130 cms x 130 cms Provenance: Mazelow Gallery, Toronto.Private Collection, Toronto.Literature: David Burnett, Town, Art Gallery of Ontario, Toronto, 1986, page

Lot 137: HAROLD BARLING TOWN, R.C.A.FORE, oil on canvas; signed and dated /66 52 ins x 52 ins; 130 cms x 130 cms Provenance: Mazelow Gallery, Toronto.Private Collection, Toronto.Literature: David Burnett, Town, Art Gallery of Ontario, Toronto, 1986, page

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Description: HAROLD BARLING TOWN, R.C.A.FORE, oil on canvas; signed and dated /66 52 ins x 52 ins; 130 cms x 130 cms $20,000-30,000Provenance: Mazelow Gallery, Toronto.Private Collection, Toronto.Literature: David Burnett, Town, Art Gallery of Ontario, Toronto, 1986, page 132.Note: Town's "Fore" can be placed within the artist's Opticals series, a work which forges layers of tension through the movement between surface and depth. The artist's method is meticulous, utilizing various sizes of strips of masking tape to construct lines throughout the composition. A time-consuming endeavour, his layering technique creates a tension between the rigid bars and the looser forms which they appear to enclose. Town's oil paintings of the mid-60s have been described as exhibiting the artist's indulgence in "optical gymnastics". The reference to gymnastics seems fitting to "Fore"; the composition is filled with lines dipping downwards and shooting upwards in constant waves, twisting and approaching the viewer, before turning away and receding back into space. The horizontal bands of yellow and peach can barely contain the script-like formations which dance beneath them. Burnett states that many of Town's paintings shown in his 1966 exhibitions were, "sheer gesture(s) of challenge, the challenge to push a painting against the grain of what should work, the challenge to timidity." "Fore" is anything but timid; it exudes the dynamic optical schemes that Town's bold works of the 1960s thrived upon.

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JEAN-PHILIPPE DALLAIRECOMPOSITION MUSICALE, gouache on paper; signed, dated '45 and inscribed

Lot 138: JEAN-PHILIPPE DALLAIRECOMPOSITION MUSICALE, gouache on paper; signed, dated '45 and inscribed "Canada" 40 ins x 27 ins; 100 cms x 67.5 cms Provenance: Mr. and Mrs. Georges Ayotte, Ottawa (as a wedding present from the artist), Hull, Quebec.Private

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Description: JEAN-PHILIPPE DALLAIRECOMPOSITION MUSICALE, gouache on paper; signed, dated '45 and inscribed "Canada" 40 ins x 27 ins; 100 cms x 67.5 cms $30,000-40,000Provenance: Mr. and Mrs. Georges Ayotte, Ottawa (as a wedding present from the artist), Hull, Quebec.Private Collection, Ottawa (acquired from the above in 1973).Exhibited: Jean Dallaire, Cercle Universitaire de Montreal, Montreal, May 3-17, 1947, no.40.Retrospective Jean Dallaire, La Grande Fete de Hull, Hull, du 23 juin au 6 juillet, 1975, no.9 (as Musique Canada, 1945).Literature: Maurice Gagnon and Paul Dumas, "Jean Dallaire," Cercle Universitaire de Montreal, Montreal, 1947, n.p., cat.no.40.Guy Robert, "Retrospective Jean Dallaire," Campeau Corporation, Hull, 1975, n.p.Guy Robert, "Dallaire ou l'oeil panique," Editions France-Amerique, Montreal, 1980, pages 63-66.Marie Carani, Michele Grandbois and Michael La Chance, "Dallaire," Musee du Quebec, Quebec, 1999.Note: Dallaire married Marie-Therese Ayotte, the sister of the designer Georges Ayotte in Ottawa in 1938.

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LEON BELLEFLEURPOUPEE XVIIIIEME, oil on canvas; signed and dated '75 24 ins x 20 ins; 60 cms x 50 cms Provenance: Collection of the artist.Collection of the artist's daughter.Private Collection, Quebec.Literature: Guy Robert,

Lot 139: LEON BELLEFLEURPOUPEE XVIIIIEME, oil on canvas; signed and dated '75 24 ins x 20 ins; 60 cms x 50 cms Provenance: Collection of the artist.Collection of the artist's daughter.Private Collection, Quebec.Literature: Guy Robert, "Bellefleur," Montreal,

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Description: LEON BELLEFLEURPOUPEE XVIIIIEME, oil on canvas; signed and dated '75 24 ins x 20 ins; 60 cms x 50 cms $12,000-15,000Provenance: Collection of the artist.Collection of the artist's daughter.Private Collection, Quebec.Literature: Guy Robert, "Bellefleur," Montreal, 1988, pages 117-119, reproduced, full-page in colour.Note: Discussing Bellefleur's work during the 1970s, Guy Robert demonstrates that the artist's ongoing preoccupation with the passage of time became intensified, the painter turning sixty at the start of the decade: "...We sense in Bellefleur's painting, with more fervour and intensity than ever in the 1970s, the diffuse but firm intention to keep from vanishing the flavour of an instant, the fragrance of a particular hour, the music of a special moment, and so give fleeting time new living space, a safeguard against its inevitable transience." Robert notes that "...paintings like [this lot] invent a space where time takes on a magical form".

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THOMAS SHERLOCK HODGSONMANGANESE BLUE, oil on canvas with metal eyes; signed and dated /77 57.5 ins x 57.5 ins; 143.8 cms x 143.8 cms

Lot 140: THOMAS SHERLOCK HODGSONMANGANESE BLUE, oil on canvas with metal eyes; signed and dated /77 57.5 ins x 57.5 ins; 143.8 cms x 143.8 cms

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Description: THOMAS SHERLOCK HODGSONMANGANESE BLUE, oil on canvas with metal eyes; signed and dated /77 57.5 ins x 57.5 ins; 143.8 cms x 143.8 cms $6,000-8,000

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WILLIAM RONALD, R.C.A.SEPTEMBER MORN, oil on canvas; signed and dated /82 30 ins x 30 ins; 75 cms x 75 cms

Lot 141: WILLIAM RONALD, R.C.A.SEPTEMBER MORN, oil on canvas; signed and dated /82 30 ins x 30 ins; 75 cms x 75 cms

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Description: WILLIAM RONALD, R.C.A.SEPTEMBER MORN, oil on canvas; signed and dated /82 30 ins x 30 ins; 75 cms x 75 cms $6,000-8,000

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PIERRE PATRYCURIOUS, mixed media on canvas 28 ins x 32 ins; 70 cms x 80 cms  Literature: Guy Robert,

Lot 142: PIERRE PATRYCURIOUS, mixed media on canvas 28 ins x 32 ins; 70 cms x 80 cms Literature: Guy Robert, "Pierre Patry," Quebec, 1995, page 37, reproduced in colour.

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Description: PIERRE PATRYCURIOUS, mixed media on canvas 28 ins x 32 ins; 70 cms x 80 cms $2,000-3,000Literature: Guy Robert, "Pierre Patry," Quebec, 1995, page 37, reproduced in colour.

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MARCELLE FERRON, R.C.A.L'AUBE, acrylic on board; signed and dated '72 40 ins x 26 ins; 100 cms x 65 cms  Provenance: Collection of the artist.Galerie Lacerte, Quebec.Private Collection, Montreal.

Lot 143: MARCELLE FERRON, R.C.A.L'AUBE, acrylic on board; signed and dated '72 40 ins x 26 ins; 100 cms x 65 cms Provenance: Collection of the artist.Galerie Lacerte, Quebec.Private Collection, Montreal.

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Description: MARCELLE FERRON, R.C.A.L'AUBE, acrylic on board; signed and dated '72 40 ins x 26 ins; 100 cms x 65 cms $25,000-35,000Provenance: Collection of the artist.Galerie Lacerte, Quebec.Private Collection, Montreal.

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GREGORY RICHARD CURNOESILVA DISC WHEEL, watercolour and graphite; signed and dated twice, enclosed within the artist's frame 18 ins x 18 ins; 45 cms x 45 cms Literature: Literature: Sarah Milroy,

Lot 144: GREGORY RICHARD CURNOESILVA DISC WHEEL, watercolour and graphite; signed and dated twice, enclosed within the artist's frame 18 ins x 18 ins; 45 cms x 45 cms Literature: Literature: Sarah Milroy, "Greg Curnoe: Time Machines", Greg Curnoe:

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Description: GREGORY RICHARD CURNOESILVA DISC WHEEL, watercolour and graphite; signed and dated twice, enclosed within the artist's frame 18 ins x 18 ins; 45 cms x 45 cms $12,000-15,000Literature: Literature: Sarah Milroy, "Greg Curnoe: Time Machines", Greg Curnoe: Life & Stuff, Toronto, 2001, pages 68 and 80.Christopher Dewdney, "Evident Truths: Greg Curnoe 1936-1992" (pamphlet), National Gallery of Canada, Ottawa, 1995.Note: Executed from December 1985-March 1986.Curnoe's recurrent use of the bicycle motif highlights his unique technical skill with the often unpredictable medium of watercolour. Rediscovering a passion for cycling in the early seventies, Christopher Dewdney remarks how Greg was able to "fuse three separate interests into one: racing machines, personal participation in physically demanding competitive sport, and painting." "Silva Disc Wheel" underscores Curnoe's incredible passion for cycling that remained with the artist until his death in 1992, which occurred during a Saturday morning ride with the London Centennial Wheelers.Sarah Milroy writes how Curnoe had "described bicycles as a form of functional collage; through a limitless refining of the component parts, the cycle aficionado could produce a lighter and lighter machine." "Silva Disc Wheel" was given by Curnoe to the owner of a Toronto bicycle shop in exchange for his very own clear anodized Silva disc wheel.

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MICHAEL SNOWTWO, oil on canvas; signed, titled and dated

Lot 145: MICHAEL SNOWTWO, oil on canvas; signed, titled and dated "September 1960" on the reverse 40 ins x 50 ins; 100 cms x 125 cms Provenance: The Isaacs Gallery Ltd., Toronto.Mr. and Mrs. J.R. Colombo, Toronto.Private Collection, Toronto.Private

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Description: MICHAEL SNOWTWO, oil on canvas; signed, titled and dated "September 1960" on the reverse 40 ins x 50 ins; 100 cms x 125 cms $35,000-45,000Provenance: The Isaacs Gallery Ltd., Toronto.Mr. and Mrs. J.R. Colombo, Toronto.Private Collection, Toronto.Private Collection, Montreal.Exhibited: Michael Snow Solo Exhibition, The Isaacs Gallery Ltd., Toronto, 1960.Toronto Collects, The Art Gallery of Toronto, 1961.The Michael Snow Project: Exploring Plane and Contour, Art Gallery of Ontario and The Power Plant, Toronto, May 11-June 5, 1994, cat. no.81.Literature: Dennis Reid, Philip Monk and Louise Dompierre, "The Michael Snow Project," Art Gallery of Ontario and The Power Plant, Toronto, 1994, page 207, reproduced.Catsu Roberts, "Michael Snow Almost Cover to Cover," 2001, essay by Catsu Roberts, page 8.Note: In "Two," the artist used a stencil to create the rectangular opening into the central dark red mass, a technique which would figure prominently in his later explorations of the foreground-background binary in his iconic "Walking Woman" series. Over time, Snow's intentional craquelure has evolved, resulting in either a success or not, based on the viewer's perspective.

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HORTENSE MATTICE GORDON, R.C.A.DESIGN FOR WALLPAPER, gouache; signed twice 21 ins x 21 ins; 52.5 cms x 52.5 cms Provenance: Private Collection, Hamilton.Exhibited: Exhibition of Architecture and Allied Arts, Ontario Association of Architects,

Lot 146: HORTENSE MATTICE GORDON, R.C.A.DESIGN FOR WALLPAPER, gouache; signed twice 21 ins x 21 ins; 52.5 cms x 52.5 cms Provenance: Private Collection, Hamilton.Exhibited: Exhibition of Architecture and Allied Arts, Ontario Association of Architects,

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Description: HORTENSE MATTICE GORDON, R.C.A.DESIGN FOR WALLPAPER, gouache; signed twice 21 ins x 21 ins; 52.5 cms x 52.5 cms $6,000-8,000Provenance: Private Collection, Hamilton.Exhibited: Exhibition of Architecture and Allied Arts, Ontario Association of Architects, Toronto, date unknown.Literature: Iris Nowell, "Painters Eleven, The Wild Ones of Canadian Art," Vancouver/Toronto, 2010, pages 255 and 260.Note: Upon a visit to Michigan while in her teens, Hortense Gordon discovered artist William Morris, a designer well-represented in the American galleries who had lead the Arts and Crafts movement in Britain decades earlier. Returning to Canada, Gordon's interest in the crafts grew exponentially and she began working in her own studio with a kiln, teaching classes on china painting and pottery making. Relocating back to Hamilton in 1918 for a higher paying teaching position, Gordon created a ceramics course at the Hamilton Technical and Art School. As Iris Nowell points out, Gordon believed in making art that could be enjoyed by all: "She tried to uphold William Morris's commitment to bringing the highest standard of beauty into daily life..." It was her interest in function and art that lead to "Design for Wallpaper", a product of her two passions, painting and craftwork. The work was most likely done before the 1940s when Gordon's interest in Abstract Expressionism had gained momentum and she began to study under Hans Hofmann at his school in Provincetown, Massachusetts. After Gordon's death in 1963, Hans Hofmann stated: "Hortense Gordon was indeed an extraordinary person; always directed toward the future and progress in life and art, and determined to do her very best in her work...and the results and consequences have been remarkable and beautiful."

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MAUD LEWISDEER IN WINTER, oil on board; signed 11.25 ins x 14 ins; 28.1 cms x 35 cms Note: Purchased from Maud Lewis by the family of the consignor, the original owner of the painting is photographed conversing with the artist, steps away from Lewis'

Lot 147: MAUD LEWISDEER IN WINTER, oil on board; signed 11.25 ins x 14 ins; 28.1 cms x 35 cms Note: Purchased from Maud Lewis by the family of the consignor, the original owner of the painting is photographed conversing with the artist, steps away from Lewis'

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Description: MAUD LEWISDEER IN WINTER, oil on board; signed 11.25 ins x 14 ins; 28.1 cms x 35 cms $6,000-8,000Note: Purchased from Maud Lewis by the family of the consignor, the original owner of the painting is photographed conversing with the artist, steps away from Lewis' famous home. The image was captured on the day which "Deer in Winter" was purchased.

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JOE FAFARDMONSEIGNEUR, painted bronze; number 3 in an edition of 5 18 ins x 41 ins x 6 ins; 45 cms x 102.5 cms x 15 cms  Note: Executed in 1998.

Lot 148: JOE FAFARDMONSEIGNEUR, painted bronze; number 3 in an edition of 5 18 ins x 41 ins x 6 ins; 45 cms x 102.5 cms x 15 cms Note: Executed in 1998.

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Description: JOE FAFARDMONSEIGNEUR, painted bronze; number 3 in an edition of 5 18 ins x 41 ins x 6 ins; 45 cms x 102.5 cms x 15 cms $12,000-15,000Note: Executed in 1998.

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DAVID LLOYD BLACKWOOD, O.S.A., R.C.A.FIRE DOWN ON THE LABRADOR, etching and aquatint, painted in colours; signed, titled, dated 1980 and numbered 17/50 31.5 ins x 19.75 ins; 78.8 cms x 49.4 cms Provenance: Private Collection, Ontario.Literature:

Lot 149: DAVID LLOYD BLACKWOOD, O.S.A., R.C.A.FIRE DOWN ON THE LABRADOR, etching and aquatint, painted in colours; signed, titled, dated 1980 and numbered 17/50 31.5 ins x 19.75 ins; 78.8 cms x 49.4 cms Provenance: Private Collection, Ontario.Literature:

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Description: DAVID LLOYD BLACKWOOD, O.S.A., R.C.A.FIRE DOWN ON THE LABRADOR, etching and aquatint, painted in colours; signed, titled, dated 1980 and numbered 17/50 31.5 ins x 19.75 ins; 78.8 cms x 49.4 cms $20,000-25,000Provenance: Private Collection, Ontario.Literature: Gary Michael Dault, "Ice and Fire: An Interview with David Blackwood", Black Ice: David Blackwood, Prints of Newfoundland, Toronto, 2011, page 37.Michael Crummey, "Candles In The Dark", Black Ice: David Blackwood, Prints of Newfoundland, Toronto, 2011, page 120.Note: Discussing two of David Blackwood's most celebrated prints, Michael Crummey demonstrates that, "Blackwood has always set the human element in his art within that same looming scale, the ocean and headland and restless night... In "Loss of Flora S. Nickerson" and in "Fire Down on the Labrador", the human disasters are happening in the wings, barely registering against the vastness of the North Atlantic and its creatures. I've always been struck by how often light is a peripheral presence in Blackwood's best-known work, whether in the torches of sealers adrift in the cavernous winter night, the helpless ship ablaze in "Fire Down on the Labrador", or the tangential gleam of sunrise or sunset just offstage in his many seascapes... The sheer scope and eerie beauty of the landscape he depicts inspire both wonder and dread in equal measure. The cumulative effect of his work is to make the history of settlement of this island - and all human endeavour beside it - seem impossibly fragile and fugitive. And heartbreakingly tenacious and honourable".In a 2010 interview with Gary Michael Dault, Blackwood noted the immense risk which fire presented at both land and sea, a grease fire in the gallery of a schooner a serious threat which could lead to a catastrophic destruction and abandoning of a ship in the unforgiving sea. "...And then you'd be facing the worst possible scenario, the thing that was the greatest fear of all - to be caught in the Labrador Sea all alone, and having to abandon... So in my print 'Fire Down on the Labrador,' it's the ultimate disaster that I'm depicting - to be caught in that environment, and having to abandon ship."

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DAVID LLOYD BLACKWOOD, O.S.A., R.C.A.LOSS OF THE FLORA NICKERSON, etching and aquatint, printed in colours; signed, titled, dated 1993 and inscribed

Lot 150: DAVID LLOYD BLACKWOOD, O.S.A., R.C.A.LOSS OF THE FLORA NICKERSON, etching and aquatint, printed in colours; signed, titled, dated 1993 and inscribed "artist's proof III/X" in the margin 32 ins x 19.75 ins; 80 cms x 49.4 cms Provenance: Mayberry Fine

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Description: DAVID LLOYD BLACKWOOD, O.S.A., R.C.A.LOSS OF THE FLORA NICKERSON, etching and aquatint, printed in colours; signed, titled, dated 1993 and inscribed "artist's proof III/X" in the margin 32 ins x 19.75 ins; 80 cms x 49.4 cms $12,000-15,000Provenance: Mayberry Fine Art, Winnipeg.Private Collection, Ontario.Literature: Sean T. Cadigan, "The Newfoundland of David Blackwood: A Historical Setting", Black Ice: David Blackwood, Prints of Newfoundland, Toronto, 2011, page 75.William Gough, David Blackwood, Master Printmaker, Vancouver/Toronto, 2001, pages 104.Note: In "Black Ice", Sean T. Cadigan illustrates the role which Blackwood's immediate family and their sailing vessel played in the fishery industry: "Over the course of Wesleyville's involvement in the Labrador fishery, about 175 men served as captains of ships, mostly schooners, that plied the waters off Labrador. Such was the calling of David Blackwood's grandfather, Captain Albert Blackwood, and his father, Captain Edward Blackwood, with whom David Blackwood sailed to Labrador as a young man on their schooner, the Flora S. Nickerson."William Gough notes that for "...Blackwood growing up, Labrador and the Flora S. Nickerson were always connected. The image of her stayed, vivid newly outfitted in springtime, heading bravely for Labrador, then sliding back into home port in the fall, sails worn, the look of a hard summer's voyage upon her. The sighting of sails full against the clouds, the look of a bone curve of wave in the teeth of the prow that brought the Flora S. Nickerson home. Perched on a rock, leaning into the earth, David would watch the boat, crisp against the day, and dream of the time when he'd head to the Labrador."

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