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Auction Description for Waddington's: Joyner Canadian Fine Art Auction
Viewing Notes:
On View: Friday, November 23rd: 3 pm to 8 pm Saturday, November 24th: 11 am to 4 pm Sunday, November 25th: 11 am to 4 pm Monday, November 26th: 10 am to 12 noon
Sale Notes:
The November 26th 2012 Joyner Canadian Art Auction will feature approximately 200 lots from Important Canadian Artists.

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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MARCELLE FERRON, R.C.A.ABSTRACTION, oil on paper, laid down on canvas; signed and dated '65 39.5 ins x 29 ins; 98.8 cms x 72.5 cms Provenance: Galerie Arts & Culture, Ottawa.Private Collection, Ottawa.Note: Paul-Emile Borduas, who became her mentor,

Lot 151: MARCELLE FERRON, R.C.A.ABSTRACTION, oil on paper, laid down on canvas; signed and dated '65 39.5 ins x 29 ins; 98.8 cms x 72.5 cms Provenance: Galerie Arts & Culture, Ottawa.Private Collection, Ottawa.Note: Paul-Emile Borduas, who became her mentor,

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Description: MARCELLE FERRON, R.C.A.ABSTRACTION, oil on paper, laid down on canvas; signed and dated '65 39.5 ins x 29 ins; 98.8 cms x 72.5 cms $15,000-20,000Provenance: Galerie Arts & Culture, Ottawa.Private Collection, Ottawa.Note: Paul-Emile Borduas, who became her mentor, taught Ferron the basics of "Automatiste" painting and, in 1948, she was one of the youngest signatories of the Refus global manifesto. Towards 1953, as the Automatiste group disintegrated, Ferron left for France and did not return to Quebec until 1966."Even though, in France, where Marcelle Ferron has lived for the last ten years, her painting belongs to the Paris School, she still maintains her own touch, recalling her native country with its vast size and harsh climate, where her spirit of independence and her passionate temperament were formed." (Herta Wescher, Vie des Arts 43, 1966).

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WILLIAM RONALD, R.C.A.MEMORIES, NEW YORK, 1959, oil on canvas; signed 33 ins x 45 ins; 82.5 cms x 112.5 cms Provenance: Acquired at a New York gallery, circa 1960s.Private Collection, Ontario.Literature: Harold Rosenberg,

Lot 152: WILLIAM RONALD, R.C.A.MEMORIES, NEW YORK, 1959, oil on canvas; signed 33 ins x 45 ins; 82.5 cms x 112.5 cms Provenance: Acquired at a New York gallery, circa 1960s.Private Collection, Ontario.Literature: Harold Rosenberg, "The Tradition of

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Description: WILLIAM RONALD, R.C.A.MEMORIES, NEW YORK, 1959, oil on canvas; signed 33 ins x 45 ins; 82.5 cms x 112.5 cms $40,000-60,000Provenance: Acquired at a New York gallery, circa 1960s.Private Collection, Ontario.Literature: Harold Rosenberg, "The Tradition of the New," New York, 1959, page 45.Joan Murray, "Painters Eleven in Retrospect," Robert McLaughlin Gallery, Oshawa, 1979, page 15.Note: Ronald moved to New York in 1955, shortly after the first Painters Eleven exhibitions, and quickly became immersed in the energetic art scene there. The artist played an important role in securing the American Abstract Artists' invitation to the Painters Eleven to exhibit in New York in April of 1956 and he also pressured members of the Painters Eleven to accept (and finance) Clement Greenberg's visit in 1957. That same year, Ronald's first solo exhibition was held at Kootz Gallery in New York, where he remained on retainer with a remarkable roster of abstract artists until 1963. Joan Murray notes that upon his move to the city, Ronald "quickly discovered the work of Jackson Pollock, which he was always to admire." That admiration shines through in Ronald's magnificent homage to action painting here in "Memories, New York". Pollock was certainly on the minds of New York art critics, collectors and artists, mourning the sudden loss of the postwar American icon in August of 1956. In gestural abstraction, the canvas becomes what art critic Harold Rosenberg described as "an arena in which to act". Ronald is certainly in action here; his dripping, splattering and pouring of paint upon the canvas reveals a composition that is bursting with bold colour, spontaneity and energy. Vivid blue and yellow calligraphic lines fill the canvas, truly solidifying Ronald's reputation as an outstanding colourist. Joan Murray writes how residing in New York made Ronald's experience "different from other members of the Eleven. For Ronald, New York and its art atmosphere 'makes you rise up to your best.'" In "Memories, New York", Ronald does just that.

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DORIS JEAN MCCARTHY, O.S.A., R.C.A.A VALLEY NEAR SARTEANO, oil on canvas; signed 36 ins x 48 ins; 90 cms x 120 cms Provenance: Private Collection, New Brunswick.Literature: William Moore,

Lot 153: DORIS JEAN MCCARTHY, O.S.A., R.C.A.A VALLEY NEAR SARTEANO, oil on canvas; signed 36 ins x 48 ins; 90 cms x 120 cms Provenance: Private Collection, New Brunswick.Literature: William Moore, "Celebrating Life: The Art of Doris McCarthy", The

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Description: DORIS JEAN MCCARTHY, O.S.A., R.C.A.A VALLEY NEAR SARTEANO, oil on canvas; signed 36 ins x 48 ins; 90 cms x 120 cms $15,000-20,000Provenance: Private Collection, New Brunswick.Literature: William Moore, "Celebrating Life: The Art of Doris McCarthy", The McMichael Canadian Art Collection, Kleinburg, Ontario, 1999, page 21.Note: Doris McCarthy first visited Italy in 1951 while on teaching sabbatical, escorted by a former student, Dino Rigolo. The artist would return to the country on multiple visits in the nearly fifty years that followed, this work depicting the Tuscan countryside, Sarteano located approximately one hundred kilometers southeast of Florence.

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BARKER FAIRLEY, R.C.A.BARN NEAR VASEY, 1971, oil on board; signed 20 ins x 24 ins; 50 cms x 60 cms

Lot 154: BARKER FAIRLEY, R.C.A.BARN NEAR VASEY, 1971, oil on board; signed 20 ins x 24 ins; 50 cms x 60 cms

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Description: BARKER FAIRLEY, R.C.A.BARN NEAR VASEY, 1971, oil on board; signed 20 ins x 24 ins; 50 cms x 60 cms $5,000-7,000

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DORIS JEAN MCCARTHY, O.S.A., R.C.A.GEORGIAN BAY, oil on board; signed; signed and dated 71/07/10 on the reverse 24 ins x 30 ins; 60 cms x 75 cms Literature: Nancy Campbell,

Lot 155: DORIS JEAN MCCARTHY, O.S.A., R.C.A.GEORGIAN BAY, oil on board; signed; signed and dated 71/07/10 on the reverse 24 ins x 30 ins; 60 cms x 75 cms Literature: Nancy Campbell, "Doris McCarthy: Roughing It in the Bush", Doris McCarthy Gallery, Toronto,

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Description: DORIS JEAN MCCARTHY, O.S.A., R.C.A.GEORGIAN BAY, oil on board; signed; signed and dated 71/07/10 on the reverse 24 ins x 30 ins; 60 cms x 75 cms $10,000-12,000Literature: Nancy Campbell, "Doris McCarthy: Roughing It in the Bush", Doris McCarthy Gallery, Toronto, 2010.Note: "Georgian Bay" reveals great movement through its varying paint strokes and angles, hinting at the direction of the wind and the fluctuating shadows. The fluidity of the painting contrasts typical imaginings of bedrock, depicting at as delicate and rapidly changing, appearing akin to the vegetation. McCarthy had flirted with abstraction for a majority of her career, yet she had never rejected form all together. As Nancy Campbell writes for the "Roughing it in the Bush" exhibition catalogue, "Because her work documents the landscape of Canada and beyond, Doris McCarthy is not, strictly speaking, an abstract artist. But neither is she a landscape painter in the conventional sense. Her strength lies in the binding of the two, and her most successful landscapes are abstracted while remaining highly specific."

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BARKER FAIRLEY, R.C.A.OAT FIELD, AUGUST 1972, oil on board; signed 11.25 ins x 14 ins; 28.1 cms x 35 cms  $2,000-3,000

Lot 156: BARKER FAIRLEY, R.C.A.OAT FIELD, AUGUST 1972, oil on board; signed 11.25 ins x 14 ins; 28.1 cms x 35 cms $2,000-3,000

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Description: BARKER FAIRLEY, R.C.A.OAT FIELD, AUGUST 1972, oil on board; signed 11.25 ins x 14 ins; 28.1 cms x 35 cms $2,000-3,000

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WILLIAM KURELEK, R.C.A.YUKON TRAPPERS' STOP, (BIG LONELY SERIES), mixed media on board; signed with initials and dated '77 24 ins x 7.75 ins; 60 cms x 19.4 cms Provenance: Isaacs Gallery, Toronto.Private Collection, Toronto.Literature: William

Lot 157: WILLIAM KURELEK, R.C.A.YUKON TRAPPERS' STOP, (BIG LONELY SERIES), mixed media on board; signed with initials and dated '77 24 ins x 7.75 ins; 60 cms x 19.4 cms Provenance: Isaacs Gallery, Toronto.Private Collection, Toronto.Literature: William

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Description: WILLIAM KURELEK, R.C.A.YUKON TRAPPERS' STOP, (BIG LONELY SERIES), mixed media on board; signed with initials and dated '77 24 ins x 7.75 ins; 60 cms x 19.4 cms $60,000-80,000Provenance: Isaacs Gallery, Toronto.Private Collection, Toronto.Literature: William Kurelek, "Big Lonely," Isaac's Gallery (letter), Toronto, not dated.Patricia Morely, "Kurelek," Toronto, 1986, pages 190 and 201.Ramsay Cook, "Kurelek Country, The Art of William Kurelek," Toronto, 1999, page 67, reproduced in colour.Note: "Yukon Trappers' Stop" belongs to Kurelek's celebrated Big Lonely series, a collection of paintings composed over the span of almost two decades. In a detailed description by the artist on Isaacs Gallery letterhead, Kurelek described these paintings as expressing a type of sublimity: "It is that its enormity dwarfs and dominates life, all life, both man and animal..." The Big Lonely series was named after the colloquial term used to describe Canada, specifically western Canada, an environment familiar to the artist since his childhood in the Prairies. Patricia Morely describes Big Lonely as one of the series which "confirms Bill's feeling for the vastness of Canada, and for nature as a source of joy."  Kurelek noted how the series reflected his very own experience as a "loner" who had seen this vastness of the country firsthand through his travels, having found comfort in such secluded immensity.In this work, Kurelek's imagination conjures up a wonderful vision of the Yukon trapper. The artist described the trappers' journey: "A Yukon trapper must feel a special warmth towards his little cabin stops, after a long day of checking his trap lines." The solitary figure trudges along a path carved into the deep snow, the bewildering, boundless space of the Canadian north juxtaposed with the serenity of isolation in the wild. Morely describes Kurelek's childhood as one where "he had frequently been moved to semi-mystical states of ecstasy by the play of wind and light on a natural landscape." Through the use of a perspective that elongates the night sky and shrinks the human presence, Kurelek succeeded at not only expressing the isolation of the northern wilderness, but also maintaining the survival of humanity. Kurelek wrote: "I don't want to belabour the threatening aspect of nature as we Canadians know it, for actually I mean this series to be enjoyed as pure poetry..." Poetry is certainly achieved in "Yukon Trappers' Stop"; the aurora borealis illuminates the sky in glorious dancing rhythms of blue and green pigment, providing a wondrous guiding light to the lonesome trapper.

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JOHN GEOFFREY CARUTHERS LITTLE, R.C.A.HIVER - RUE HENRI JULIEN, MONTREAL, 1977, oil on canvas; signed 24 ins x 30 ins; 60 cms x 75 cms  Provenance: Continental Galleries Inc., Montreal.Private Collection, Quebec.

Lot 158: JOHN GEOFFREY CARUTHERS LITTLE, R.C.A.HIVER - RUE HENRI JULIEN, MONTREAL, 1977, oil on canvas; signed 24 ins x 30 ins; 60 cms x 75 cms Provenance: Continental Galleries Inc., Montreal.Private Collection, Quebec.

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Description: JOHN GEOFFREY CARUTHERS LITTLE, R.C.A.HIVER - RUE HENRI JULIEN, MONTREAL, 1977, oil on canvas; signed 24 ins x 30 ins; 60 cms x 75 cms $12,000-15,000Provenance: Continental Galleries Inc., Montreal.Private Collection, Quebec.

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JOHN GEOFFREY CARUTHERS LITTLE, R.C.A.RUE LAVAL, QUARTIER LATIN, QUEBEC, 1968, oil on canvas; signed 10 ins x 12 ins; 25 cms x 30 cms  Provenance: The Art Emporium, Vancouver.Private Collection, British Columbia.

Lot 159: JOHN GEOFFREY CARUTHERS LITTLE, R.C.A.RUE LAVAL, QUARTIER LATIN, QUEBEC, 1968, oil on canvas; signed 10 ins x 12 ins; 25 cms x 30 cms Provenance: The Art Emporium, Vancouver.Private Collection, British Columbia.

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Description: JOHN GEOFFREY CARUTHERS LITTLE, R.C.A.RUE LAVAL, QUARTIER LATIN, QUEBEC, 1968, oil on canvas; signed 10 ins x 12 ins; 25 cms x 30 cms $5,000-7,000Provenance: The Art Emporium, Vancouver.Private Collection, British Columbia.

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WILLIAM KURELEK, R.C.A.WINTER OUTSIDE ANDREW, ALBERTA, 1966, mixed media on board; signed with initials 13.75 ins x 16.75 ins; 34.4 cms x 41.9 cms Provenance: Private Collection, Ontario.Literature: Patricia Morley, Kurelek: A Biography,

Lot 160: WILLIAM KURELEK, R.C.A.WINTER OUTSIDE ANDREW, ALBERTA, 1966, mixed media on board; signed with initials 13.75 ins x 16.75 ins; 34.4 cms x 41.9 cms Provenance: Private Collection, Ontario.Literature: Patricia Morley, Kurelek: A Biography,

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Description: WILLIAM KURELEK, R.C.A.WINTER OUTSIDE ANDREW, ALBERTA, 1966, mixed media on board; signed with initials 13.75 ins x 16.75 ins; 34.4 cms x 41.9 cms $12,000-15,000Provenance: Private Collection, Ontario.Literature: Patricia Morley, Kurelek: A Biography, Toronto, 1986, pages 190-191.Joan Murray and William Kurelek, Kurelek's Vision of Canada, Edmonton, 1983, page 10.Note: During the early 1960s, William Kurelek began annual excursions to Western Canada, "principally to Manitoba and Alberta, to paint the areas where he had lived as a child and which would become the basis for his most popular paintings." Approximately an hour's drive northeast of Edmonton, Andrew, Alberta is located less than ten kilometers from Whitford, the birthplace and early childhood home of the artist. "To outsiders, Whitford might look bleak - two grain elevators and three buildings huddled under a vast sky. But to Kurelek, even as a small child, the austere emptiness had its own charm."Common with many of Kurelek's most fascinating works, "Winter Outside Andrew, Alberta" possesses minute and distinct details which provide interesting thematic dimensions to an otherwise tranquil Canadian winter landscape. The breathless chase of a hare by a pursuing wolf in the upper left corner provides an urgent and dangerous tone to the snowy scene, while the tiny copy of the Jehovah Witness magazine "The Watchtower" blowing into the bare trees on the right side of the painting ushers a religious tone into the setting. Kurelek's exact motive to include the religious magazine is not made clear to the viewer, leaving the audience to interpret the painter's unique perspective and intention.

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JEAN-PHILIPPE DALLAIRELA JARDINIERE, gouache; signed and dated /49 6 ins x 7 ins; 15 cms x 17.5 cms

Lot 162: JEAN-PHILIPPE DALLAIRELA JARDINIERE, gouache; signed and dated /49 6 ins x 7 ins; 15 cms x 17.5 cms

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Description: JEAN-PHILIPPE DALLAIRELA JARDINIERE, gouache; signed and dated /49 6 ins x 7 ins; 15 cms x 17.5 cms $7,000-9,000

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BARKER FAIRLEY, R.C.A.CHRISTOPHER CHAPMAN, 1960, oil on board; signed 40 ins x 30 ins; 100 cms x 75 cms

Lot 163: BARKER FAIRLEY, R.C.A.CHRISTOPHER CHAPMAN, 1960, oil on board; signed 40 ins x 30 ins; 100 cms x 75 cms

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Description: BARKER FAIRLEY, R.C.A.CHRISTOPHER CHAPMAN, 1960, oil on board; signed 40 ins x 30 ins; 100 cms x 75 cms $6,000-8,000

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ARTHUR SHILLINGPORTRAIT OF MILLIE, acrylic on board; signed 24 ins x 18 ins; 60 cms x 45 cms

Lot 164: ARTHUR SHILLINGPORTRAIT OF MILLIE, acrylic on board; signed 24 ins x 18 ins; 60 cms x 45 cms

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Description: ARTHUR SHILLINGPORTRAIT OF MILLIE, acrylic on board; signed 24 ins x 18 ins; 60 cms x 45 cms $4,000-6,000

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JEAN-PAUL LEMIEUX, R.C.A.PORTRAIT DE GARCON, oil on canvas; signed (indistinctly) 10.25 ins x 8 ins; 25.6 cms x 20 cms  Provenance: Private Collection, Montreal.

Lot 165: JEAN-PAUL LEMIEUX, R.C.A.PORTRAIT DE GARCON, oil on canvas; signed (indistinctly) 10.25 ins x 8 ins; 25.6 cms x 20 cms Provenance: Private Collection, Montreal.

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Description: JEAN-PAUL LEMIEUX, R.C.A.PORTRAIT DE GARCON, oil on canvas; signed (indistinctly) 10.25 ins x 8 ins; 25.6 cms x 20 cms $25,000-35,000Provenance: Private Collection, Montreal.

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JEAN-PAUL LEMIEUX, R.C.A.YOUNG GIRL WEARING A NECKLACE, graphite and marker; signed 23 ins x 17.5 ins; 57.5 cms x 42.5 cms

Lot 166: JEAN-PAUL LEMIEUX, R.C.A.YOUNG GIRL WEARING A NECKLACE, graphite and marker; signed 23 ins x 17.5 ins; 57.5 cms x 42.5 cms

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Description: JEAN-PAUL LEMIEUX, R.C.A.YOUNG GIRL WEARING A NECKLACE, graphite and marker; signed 23 ins x 17.5 ins; 57.5 cms x 42.5 cms $6,000-8,000

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DAVID LLOYD BLACKWOOD, O.S.A., R.C.A.LONE MUMMER INSIDE, etching and aquatint, printed in colours, signed, titled, dated 1979 and inscribed Artist's Proof 6/10 in the margin 28 ins x 22 ins; 70 cms x 55 cms

Lot 167: DAVID LLOYD BLACKWOOD, O.S.A., R.C.A.LONE MUMMER INSIDE, etching and aquatint, printed in colours, signed, titled, dated 1979 and inscribed Artist's Proof 6/10 in the margin 28 ins x 22 ins; 70 cms x 55 cms

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Description: DAVID LLOYD BLACKWOOD, O.S.A., R.C.A.LONE MUMMER INSIDE, etching and aquatint, printed in colours, signed, titled, dated 1979 and inscribed Artist's Proof 6/10 in the margin 28 ins x 22 ins; 70 cms x 55 cms $3,000-

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Lot 168: DAVID LLOYD BLACKWOOD, O.S.A., R.C.A.AUNT GERTI HANN HOME IN WESLEYVILLE, etching and aquatint, printed in colours; signed, dated 1987 and inscribed "H/C" 15.75 ins x 19.75 ins; 39.4 cms x 49.4 cms

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Description: DAVID LLOYD BLACKWOOD, O.S.A., R.C.A.AUNT GERTI HANN HOME IN WESLEYVILLE, etching and aquatint, printed in colours; signed, dated 1987 and inscribed "H/C" 15.75 ins x 19.75 ins; 39.4 cms x 49.4 cms $2,000-2,500

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ALEXANDER COLVILLE, R.C.A.THE BALLAD OF THE FOXHUNTER: I, II, III, IV, colour serigraphs; each signed and dated 1959 each 18 ins x 10 ins; 45 cms x 25 cms Literature: Michael Bell,

Lot 169: ALEXANDER COLVILLE, R.C.A.THE BALLAD OF THE FOXHUNTER: I, II, III, IV, colour serigraphs; each signed and dated 1959 each 18 ins x 10 ins; 45 cms x 25 cms Literature: Michael Bell, "Colville, Being Seen: The Serigraphs," Carlton University

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Description: ALEXANDER COLVILLE, R.C.A.THE BALLAD OF THE FOXHUNTER: I, II, III, IV, colour serigraphs; each signed and dated 1959 each 18 ins x 10 ins; 45 cms x 25 cms $4,000-6,000Literature: Michael Bell, "Colville, Being Seen: The Serigraphs," Carlton University Art Gallery, Ottawa, 1994, page 31, cat no.5, reproduced. David Burnett, "Colville," Art Gallery of Ontario, Toronto, 1983, page 104, reproduced.

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JOE FAFARDAUGUSTE, patinated bronze with acrylic paint; signed, dated 1992 and numbered 3/5 height 22 ins; 55 cms Provenance: Private Collection, Ontario.Literature: Mayo Graham,

Lot 170: JOE FAFARDAUGUSTE, patinated bronze with acrylic paint; signed, dated 1992 and numbered 3/5 height 22 ins; 55 cms Provenance: Private Collection, Ontario.Literature: Mayo Graham, "Joe Fafard, The Bronze Years," Montreal, 1996, page 29 and 31.Terrence

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Description: JOE FAFARDAUGUSTE, patinated bronze with acrylic paint; signed, dated 1992 and numbered 3/5 height 22 ins; 55 cms $30,000-40,000Provenance: Private Collection, Ontario.Literature: Mayo Graham, "Joe Fafard, The Bronze Years," Montreal, 1996, page 29 and 31.Terrence Heath, "Joe Fafard," Toronto, 2007, page 97.Note: Known for his animal representations and portraits, Fafard utilizes various mediums such as clay, bronze and steel in his creations. Fafard's lifelike sculptures are described by curator Mayo Graham to contain an "...animated, uncanny presence, as much as iconography or description, gives Fafard's figures the sense that they are characters inhabiting a narrative". Like other portraits, "Auguste" encapsulates movement, as if Fafard has captured a moment in a story. Heath's description of Fafard's sculpture of his father, "Mon pere", can also be applied to "Auguste": "There is a certain sense that he is present and could also get up and be absent. The figure has authority, a paterfamilias quality, but there is vulnerability, or hesitancy or perhaps gullibility, in the stance as well. The chair would have welcomed him to recline and relax, but he is perched on the edge, ready to say the next thing, ready to move on." The year "Auguste" was done, Fafard had also done a similar sculpture titled "Renoir," where the nineteenth-century artist is sitting upright rather than leaning forward. As with many other artists depicted, Fafard has continued to sculpt and even draw Pierre-Auguste Renoir throughout his career; art which has been collected and exhibited by many major art institutions such as the National Gallery of Canada, McMichael Canadian Art Collection and the Art Gallery of Nova Scotia. Graham writes that "there is a deep sense that certain of Fafard's figures are effigies as much as portraits... the portraits of Van Gogh, Cezanne, Monet, Renoir and Picasso construe a brotherhood in the history of art". Graham also quotes Fafard: "I feel a bit like a novice studying the lives of the saints". Fafard's humble approach instills his art with a sense of raw expression, as an artist whose ambition is unaffected by easily outdated trends and academic expectations, but rather, simply put, seeks to provide his vision a form.

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WILLIAM GOODRIDGE ROBERTS, R.C.A.YELLOW CLOTH AND YELLOW JUG, oil on board; signed 12 ins x 16 ins; 30 cms x 40 cms  Provenance: Roberts Gallery, Toronto.Private Collection, Vancouver.Note: Painted in 1965.

Lot 171: WILLIAM GOODRIDGE ROBERTS, R.C.A.YELLOW CLOTH AND YELLOW JUG, oil on board; signed 12 ins x 16 ins; 30 cms x 40 cms Provenance: Roberts Gallery, Toronto.Private Collection, Vancouver.Note: Painted in 1965.

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Description: WILLIAM GOODRIDGE ROBERTS, R.C.A.YELLOW CLOTH AND YELLOW JUG, oil on board; signed 12 ins x 16 ins; 30 cms x 40 cms $4,000-6,000Provenance: Roberts Gallery, Toronto.Private Collection, Vancouver.Note: Painted in 1965.

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JOSEPH FRANCIS PLASKETT, R.C.A.THE WHITE CUPS ON THE MANTLEPIECE, oil on board; signed and dated /55 15 ins x 31 ins; 37.5 cms x 77.5 cms

Lot 172: JOSEPH FRANCIS PLASKETT, R.C.A.THE WHITE CUPS ON THE MANTLEPIECE, oil on board; signed and dated /55 15 ins x 31 ins; 37.5 cms x 77.5 cms

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Description: JOSEPH FRANCIS PLASKETT, R.C.A.THE WHITE CUPS ON THE MANTLEPIECE, oil on board; signed and dated /55 15 ins x 31 ins; 37.5 cms x 77.5 cms $4,000-6,000

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MOLLY LAMB BOBAK, R.C.A.BOUQUET, watercolour; signed 19 ins x 22 ins; 47.5 cms x 55 cms

Lot 173: MOLLY LAMB BOBAK, R.C.A.BOUQUET, watercolour; signed 19 ins x 22 ins; 47.5 cms x 55 cms

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Description: MOLLY LAMB BOBAK, R.C.A.BOUQUET, watercolour; signed 19 ins x 22 ins; 47.5 cms x 55 cms $1,500-2,000

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ISABEL MCLAUGHLIN, O.S.ACHINESE HATS, BERMUDA, 1948, oil on canvas; signed 26 ins x 26 ins; 65 cms x 65 cms Provenance: Private Collection, Ontario.Literature: Anne Newlands,

Lot 174: ISABEL MCLAUGHLIN, O.S.ACHINESE HATS, BERMUDA, 1948, oil on canvas; signed 26 ins x 26 ins; 65 cms x 65 cms Provenance: Private Collection, Ontario.Literature: Anne Newlands, "Canadian Paintings, Prints and Drawings," Richmond Hill, Ontario,

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Description: ISABEL MCLAUGHLIN, O.S.ACHINESE HATS, BERMUDA, 1948, oil on canvas; signed 26 ins x 26 ins; 65 cms x 65 cms $10,000-12,000Provenance: Private Collection, Ontario.Literature: Anne Newlands, "Canadian Paintings, Prints and Drawings," Richmond Hill, Ontario, 2007, page 208.Note: McLaughlin was a founding member of the Art Students' League and the Canadian Group of Painters, where she was president from 1937-1944. A.Y. Jackson once described McLaughlin as "...reserved, shy of acclaim, paints a naturalist's world...She has been a moving spirit in keeping the Group alive, and we are very much indebted to her". After meeting Prudence Heward in 1929, McLaughlin and Heward began to take sketching trips together, often accompanied by Yvonne McKague Housser. Isabel's father, Sam McLaughlin, founder of General Motors Canada, owned various properties, one of which was in Bermuda. Often travelling south with Heward, McLaughlin visited Bermuda periodically throughout her lifetime. "Chinese Hats, Bermuda" depicts large, vibrant, fully blossomed flowers, certainly one of the artist's favourite motifs.

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TONY SCHERMANSTILL LIFE OF GRAPES, encaustic; signed and dated '97 22.5 ins x 21.5 ins; 56.3 cms x 53.8 cms

Lot 175: TONY SCHERMANSTILL LIFE OF GRAPES, encaustic; signed and dated '97 22.5 ins x 21.5 ins; 56.3 cms x 53.8 cms

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Description: TONY SCHERMANSTILL LIFE OF GRAPES, encaustic; signed and dated '97 22.5 ins x 21.5 ins; 56.3 cms x 53.8 cms $6,000-8,000

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JOHN GEOFFREY CARUTHERS LITTLE, R.C.A.RUE DE BULLION VERS VILLENEUVE, D'AUTREFOIS, MONTREAL, 1960, oil on canvas; signed 12 ins x 16 ins; 30 cms x 40 cms

Lot 176: JOHN GEOFFREY CARUTHERS LITTLE, R.C.A.RUE DE BULLION VERS VILLENEUVE, D'AUTREFOIS, MONTREAL, 1960, oil on canvas; signed 12 ins x 16 ins; 30 cms x 40 cms

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Description: JOHN GEOFFREY CARUTHERS LITTLE, R.C.A.RUE DE BULLION VERS VILLENEUVE, D'AUTREFOIS, MONTREAL, 1960, oil on canvas; signed 12 ins x 16 ins; 30 cms x 40 cms $6,000-8,000

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JOHN KASYN, O.S.A.OAK AND RIVER ST., watercolour heightened with white; signed and dated /74 20 ins x 16 ins; 50 cms x 40 cms

Lot 177: JOHN KASYN, O.S.A.OAK AND RIVER ST., watercolour heightened with white; signed and dated /74 20 ins x 16 ins; 50 cms x 40 cms

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Description: JOHN KASYN, O.S.A.OAK AND RIVER ST., watercolour heightened with white; signed and dated /74 20 ins x 16 ins; 50 cms x 40 cms $3,000-4,000

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ALBERT JACQUES FRANCK, A.R.C.A.HOUSE ON BIRCH STREET, oil on board; signed and dated '58 16 ins x 12 ins; 40 cms x 30 cms

Lot 178: ALBERT JACQUES FRANCK, A.R.C.A.HOUSE ON BIRCH STREET, oil on board; signed and dated '58 16 ins x 12 ins; 40 cms x 30 cms

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Description: ALBERT JACQUES FRANCK, A.R.C.A.HOUSE ON BIRCH STREET, oil on board; signed and dated '58 16 ins x 12 ins; 40 cms x 30 cms $3,000-4,000

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HENRI LEOPOLD MASSONSKATING RINK, HULL, QUE., 1982, oil on canvas; signed 16 ins x 20 ins; 40 cms x 50 cms

Lot 179: HENRI LEOPOLD MASSONSKATING RINK, HULL, QUE., 1982, oil on canvas; signed 16 ins x 20 ins; 40 cms x 50 cms

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Description: HENRI LEOPOLD MASSONSKATING RINK, HULL, QUE., 1982, oil on canvas; signed 16 ins x 20 ins; 40 cms x 50 cms $3,000-5,000

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CLAUDE LANGEVINEN FIN DE RETOUR, oil on canvas; signed 30 ins x 40 ins; 75 cms x 100 cms

Lot 180: CLAUDE LANGEVINEN FIN DE RETOUR, oil on canvas; signed 30 ins x 40 ins; 75 cms x 100 cms

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Description: CLAUDE LANGEVINEN FIN DE RETOUR, oil on canvas; signed 30 ins x 40 ins; 75 cms x 100 cms $2,500-3,000

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HORACE CHAMPAGNEEARLY WET STICKY SNOW IN OCTOBER, PARK (SIC) DES LAURENTIDES, pastel; signed 12 ins x 18 ins; 30 cms x 45 cms  Provenance: Private Collection, Calgary.

Lot 181: HORACE CHAMPAGNEEARLY WET STICKY SNOW IN OCTOBER, PARK (SIC) DES LAURENTIDES, pastel; signed 12 ins x 18 ins; 30 cms x 45 cms Provenance: Private Collection, Calgary.

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Description: HORACE CHAMPAGNEEARLY WET STICKY SNOW IN OCTOBER, PARK (SIC) DES LAURENTIDES, pastel; signed 12 ins x 18 ins; 30 cms x 45 cms $2,000-3,000Provenance: Private Collection, Calgary.

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MARCELLE FERRON, R.C.A.MEMOIRES, NO. 3, oil on canvas; signed and dated '86 30 ins x 20 ins; 75 cms x 50 cms  Provenance: Galerie Dresdnere, Toronto.Private Collection, Newfoundland.

Lot 182: MARCELLE FERRON, R.C.A.MEMOIRES, NO. 3, oil on canvas; signed and dated '86 30 ins x 20 ins; 75 cms x 50 cms Provenance: Galerie Dresdnere, Toronto.Private Collection, Newfoundland.

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Description: MARCELLE FERRON, R.C.A.MEMOIRES, NO. 3, oil on canvas; signed and dated '86 30 ins x 20 ins; 75 cms x 50 cms $7,000-9,000Provenance: Galerie Dresdnere, Toronto.Private Collection, Newfoundland.

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CLEMENT LEMIEUXPETITE FAMILLE, painted wood; signed, set on a granite base height 47.5 ins; 18.8 cms

Lot 184: CLEMENT LEMIEUXPETITE FAMILLE, painted wood; signed, set on a granite base height 47.5 ins; 18.8 cms

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Description: CLEMENT LEMIEUXPETITE FAMILLE, painted wood; signed, set on a granite base height 47.5 ins; 18.8 cms $2,000-3,000

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DAVID BIERKA EULOGY TO LIFE, FROM DE CHIRICO, oil on photographs on board, with a steel surround; signed with initials 18 ins x 25 ins; 45 cms x 62.5 cms

Lot 186: DAVID BIERKA EULOGY TO LIFE, FROM DE CHIRICO, oil on photographs on board, with a steel surround; signed with initials 18 ins x 25 ins; 45 cms x 62.5 cms

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Description: DAVID BIERKA EULOGY TO LIFE, FROM DE CHIRICO, oil on photographs on board, with a steel surround; signed with initials 18 ins x 25 ins; 45 cms x 62.5 cms $2,000-3,000

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WILLIAM GOODRIDGE ROBERTS, R.C.A.STILL LIFE, oil on board; signed 16 ins x 20 ins; 40 cms x 50 cms  Provenance: Dominion Gallery, Montreal.Private Collection, Ontario.

Lot 187: WILLIAM GOODRIDGE ROBERTS, R.C.A.STILL LIFE, oil on board; signed 16 ins x 20 ins; 40 cms x 50 cms Provenance: Dominion Gallery, Montreal.Private Collection, Ontario.

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Description: WILLIAM GOODRIDGE ROBERTS, R.C.A.STILL LIFE, oil on board; signed 16 ins x 20 ins; 40 cms x 50 cms $10,000-15,000Provenance: Dominion Gallery, Montreal.Private Collection, Ontario.

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JOSEPH FRANCIS PLASKETT, R.C.A.TABLE WITH EVENING LIGHT, 1994, oil on canvas; signed 20 ins x 26 ins; 50 cms x 65 cms  Provenance: Private Collection, Vancouver.

Lot 188: JOSEPH FRANCIS PLASKETT, R.C.A.TABLE WITH EVENING LIGHT, 1994, oil on canvas; signed 20 ins x 26 ins; 50 cms x 65 cms Provenance: Private Collection, Vancouver.

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Description: JOSEPH FRANCIS PLASKETT, R.C.A.TABLE WITH EVENING LIGHT, 1994, oil on canvas; signed 20 ins x 26 ins; 50 cms x 65 cms $3,000-4,000Provenance: Private Collection, Vancouver.

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DAVID BIERKSTILL LIFE FRAGMENT #69, AFTER ZURBARAN, oil on canvas; signed with initials 20 ins x 20 ins; 50 cms x 50 cms

Lot 189: DAVID BIERKSTILL LIFE FRAGMENT #69, AFTER ZURBARAN, oil on canvas; signed with initials 20 ins x 20 ins; 50 cms x 50 cms

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Description: DAVID BIERKSTILL LIFE FRAGMENT #69, AFTER ZURBARAN, oil on canvas; signed with initials 20 ins x 20 ins; 50 cms x 50 cms $2,000-3,000

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JOSEPH DRAPELLMILES IN ANTIBES, 1995, mixed media on canvas; signed on the reverse 29.75 ins x 35.75 ins; 74.4 cms x 89.4 cms

Lot 190: JOSEPH DRAPELLMILES IN ANTIBES, 1995, mixed media on canvas; signed on the reverse 29.75 ins x 35.75 ins; 74.4 cms x 89.4 cms

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Description: JOSEPH DRAPELLMILES IN ANTIBES, 1995, mixed media on canvas; signed on the reverse 29.75 ins x 35.75 ins; 74.4 cms x 89.4 cms $3,000-4,000

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LISE GERVAISABSTRACT, oil on canvas; signed and dated '88 28 ins x 21.75 ins; 70 cms x 54.4 cms

Lot 191: LISE GERVAISABSTRACT, oil on canvas; signed and dated '88 28 ins x 21.75 ins; 70 cms x 54.4 cms

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Description: LISE GERVAISABSTRACT, oil on canvas; signed and dated '88 28 ins x 21.75 ins; 70 cms x 54.4 cms $6,000-8,000

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WILLIAM RONALD, R.C.A.UNTITLED, watercolour; signed and dated /71 17.5 ins x 23 ins; 43.8 cms x 57.5 cms

Lot 192: WILLIAM RONALD, R.C.A.UNTITLED, watercolour; signed and dated /71 17.5 ins x 23 ins; 43.8 cms x 57.5 cms

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Description: WILLIAM RONALD, R.C.A.UNTITLED, watercolour; signed and dated /71 17.5 ins x 23 ins; 43.8 cms x 57.5 cms $2,000-3,000

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WILLIAM GOODRIDGE ROBERTS, R.C.A.NEW BRUNSWICK LANDSCAPE, oil on canvas; signed 12 ins x 16 ins; 30 cms x 40 cms  Note: Painted in 1928.

Lot 193: WILLIAM GOODRIDGE ROBERTS, R.C.A.NEW BRUNSWICK LANDSCAPE, oil on canvas; signed 12 ins x 16 ins; 30 cms x 40 cms Note: Painted in 1928.

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Description: WILLIAM GOODRIDGE ROBERTS, R.C.A.NEW BRUNSWICK LANDSCAPE, oil on canvas; signed 12 ins x 16 ins; 30 cms x 40 cms $5,000-7,000Note: Painted in 1928.

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DOROTHY KNOWLES, R.C.A.THE BEAR HILLS, 1966, oil on canvas; signed 22 ins x 28 ins; 55 cms x 70 cms

Lot 194: DOROTHY KNOWLES, R.C.A.THE BEAR HILLS, 1966, oil on canvas; signed 22 ins x 28 ins; 55 cms x 70 cms

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Description: DOROTHY KNOWLES, R.C.A.THE BEAR HILLS, 1966, oil on canvas; signed 22 ins x 28 ins; 55 cms x 70 cms $3,000-4,000

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DAVID BIERKDIABLO MEMORY / BLACK OAK, SUNSET, 1992, oil on photographs on paper laid down on board; signed with initials 9.25 ins x 15 ins; 23.1 cms x 37.5 cms

Lot 195: DAVID BIERKDIABLO MEMORY / BLACK OAK, SUNSET, 1992, oil on photographs on paper laid down on board; signed with initials 9.25 ins x 15 ins; 23.1 cms x 37.5 cms

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Description: DAVID BIERKDIABLO MEMORY / BLACK OAK, SUNSET, 1992, oil on photographs on paper laid down on board; signed with initials 9.25 ins x 15 ins; 23.1 cms x 37.5 cms $1,500-2,000

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STANLEY MOREL COSGROVE, R.C.A.FOREST INTERIOR, 1979, oil on board; signed 16 ins x 20 ins; 40 cms x 50 cms  Provenance: Galerie L'Art francais, Montreal.Private Collection, Florida.

Lot 196: STANLEY MOREL COSGROVE, R.C.A.FOREST INTERIOR, 1979, 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: STANLEY MOREL COSGROVE, R.C.A.FOREST INTERIOR, 1979, oil on board; signed 16 ins x 20 ins; 40 cms x 50 cms $2,500-3,500Provenance: Galerie L'Art francais, Montreal.Private Collection, Florida.

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CARL FELLMAN SCHAEFER, R.C.A.THE POND, WATERLOO COUNTY, watercolour; signed and dated 25.7.62 15 ins x 22 ins; 37.5 cms x 55 cms  Provenance: Roberts Gallery, Toronto.Private Collection, Calgary.

Lot 197: CARL FELLMAN SCHAEFER, R.C.A.THE POND, WATERLOO COUNTY, watercolour; signed and dated 25.7.62 15 ins x 22 ins; 37.5 cms x 55 cms Provenance: Roberts Gallery, Toronto.Private Collection, Calgary.

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Description: CARL FELLMAN SCHAEFER, R.C.A.THE POND, WATERLOO COUNTY, watercolour; signed and dated 25.7.62 15 ins x 22 ins; 37.5 cms x 55 cms $2,000-3,000Provenance: Roberts Gallery, Toronto.Private Collection, Calgary.

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BARKER FAIRLEY, R.C.A.WHITE PINE, LAKE OF BAYS, SEPTEMBER 1972, oil on board; signed 11.25 ins x 14 ins; 28.1 cms x 35 cms

Lot 198: BARKER FAIRLEY, R.C.A.WHITE PINE, LAKE OF BAYS, SEPTEMBER 1972, oil on board; signed 11.25 ins x 14 ins; 28.1 cms x 35 cms

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Description: BARKER FAIRLEY, R.C.A.WHITE PINE, LAKE OF BAYS, SEPTEMBER 1972, oil on board; signed 11.25 ins x 14 ins; 28.1 cms x 35 cms $2,000-3,000

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DORIS JEAN MCCARTHY, O.S.A., R.C.A.SOUTH FROM JASPER LAKE, 1990, oil on panel; signed 12 ins x 16 ins; 30 cms x 40 cms  Provenance: Wynick/Tuck Gallery, Toronto.Private Collection, Toronto.

Lot 199: DORIS JEAN MCCARTHY, O.S.A., R.C.A.SOUTH FROM JASPER LAKE, 1990, oil on panel; signed 12 ins x 16 ins; 30 cms x 40 cms Provenance: Wynick/Tuck Gallery, Toronto.Private Collection, Toronto.

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Description: DORIS JEAN MCCARTHY, O.S.A., R.C.A.SOUTH FROM JASPER LAKE, 1990, oil on panel; signed 12 ins x 16 ins; 30 cms x 40 cms $4,000-6,000Provenance: Wynick/Tuck Gallery, Toronto.Private Collection, Toronto.

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ALAN CASWELL COLLIER, O.S.A., R.C.A.CUMBERLAND PENINSULA, BAFFIN ISLAND (ABOARD C.C.G.S. D'IBERVILLE, 1972), oil on board; signed 12 ins x 16 ins; 30 cms x 40 cms

Lot 200: ALAN CASWELL COLLIER, O.S.A., R.C.A.CUMBERLAND PENINSULA, BAFFIN ISLAND (ABOARD C.C.G.S. D'IBERVILLE, 1972), oil on board; signed 12 ins x 16 ins; 30 cms x 40 cms

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Description: ALAN CASWELL COLLIER, O.S.A., R.C.A.CUMBERLAND PENINSULA, BAFFIN ISLAND (ABOARD C.C.G.S. D'IBERVILLE, 1972), oil on board; signed 12 ins x 16 ins; 30 cms x 40 cms $2,500-3,500

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