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Auction Description for Waddington's: Decorative Arts & International Art Auction
Viewing Notes:
Saturday 3 December 2016 from 11:00 am to 5:00 pm Sunday 4 December 2016 from 11:00 am to 5:00 pm Monday 5 December 2016 from 10:00 am to 12:00 Noon
Sale Notes:
IMPORTANT NOTICE FOR OUR INTERNATIONAL CLIENTS Restrictions exist regarding the import and export of species protected under CITES (Convention on International Trade in Endangered Species). This includes but is not limited to items made of or containing bone (whalebone etc.), ivory, tortoise shell, seal skin, rhinoceros horn and any other animal part and is strictly controlled or forbidden by most countries. Please review your country's laws before bidding on pieces made of or containing these restricted items. It is the sole responsibility of the buyer to inquire about and obtain the proper permits for artwork purchased that may contain restricted materials, if such permit can be obtained. Please contact the department for further assistance. For more information please visit www.cites.org

Decorative Arts & International Art Auction (290 Lots)

by Waddington's


290 lots with images

December 5, 2016

Live Auction

Toronto, ON, Canada

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H.J.M. (also called A.J.M.) Ellrick (19th Century), OTSEGO LAKE THE RESIDENCE OF JAMES FENIMORE COOPER (AS IT APPEARED IN 1840), Oil on canvas; signed “Ellrick” lower left, signed in uppercase letters “- ELLRICK - “ and titled verso, 24

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Description: H.J.M. (ALSO CALLED A.J.M.) ELLRICK (19TH CENTURY), AMERICANOTSEGO LAKE THE RESIDENCE OF JAMES FENIMORE COOPER (AS IT APPEARED IN 1840)Oil on canvas; signed “Ellrick” lower left, signed in uppercase letters “- ELLRICK - “ and titled verso24" x 46" — 61 x 116.8 cm.Provenance:An “Art Collector’s Estate” from whom purchased by Albert Edward Cooper (1855-1931), London, Ontario at auction probably between the 1880s and 1890s;By descent to his son, Gordon M. Cooper (1890-1975), London, Ontario in 1931;By descent to his daughter, Jean Gordon-Cooper (d. August 2015) London, Ontario,Her Estate; By descent in 2015Note:Little is known of the 19th century American artist H.J.M. Ellrick or McEllrick, whose first name, middle names and dates are not recorded. According to C.R. Jones, Associate Curator of the New York State Historical Association (Cooperstown, NY) in a 1972 letter to Gordon M. Cooper - the grandfather of the consignor - this lot is similar to one of several of the same basic scenes executed by the 19th Century American artist, H.J.M. Ellrick. Jones continues that two similar versions by Ellrick are known to the museum.  These canvases appear to have been inspired by a print that appeared in the Cosmopolitan Art Journal in 1860. Without seeing a clear visual of the painting and its signature at lower left, Jones concluded in his letter that Gordon Cooper may have owned a third version of Otsego Lake by this remotely recorded landscape artist. After extensive research and examination of this original canvas, Waddington’s identified the indistinct signature as “ELLRICK,” confirming Jones’ hypothesis.Other works have surfaced by the same artist at auction, referencing the landscapist as "A.J.M. Ellrick."  One oil work called West Rock, New Haven sold at Heritage Auctions (Dallas, TX) on November 12, 2009, Lot 67078.  Another of a similar view and size as this lot, entitled Otsego Lake sold at Alderfer Auction Company (Hatfield, PA) on December 10, 2003, Lot 347.This serene, sunlit depiction of Otsego Lake, or “the Glimmerglass” as the important American author James Fenimore Cooper described it, has been in the same London, Ontario family collection for five generations.    According to Gordon M. Cooper, writing to the National Trust for Historic Preservation in Washington, D.C. on July 24, 1972, he inherited the painting from his father, Albert Edward Cooper, when his father died in 1931. Gordon Cooper states that his father purchased the painting at auction from an “Art Collector’s Estate - many years ago,” likely at the height of A.E. Cooper’s career in the 1880s and 1890s. Albert Edward Cooper’s family descended from Loyalists in London, Ontario. Mr. A.E. Cooper was a highly successful entrepreneur and one of the largest rare gem importers and diamond merchants active in 19th century Canada. Beginning in the 1880s and into the 1920s, he travelled in an open car selling diamonds and other gems to jewellers across Ontario. It is possible that Albert Edward Cooper was related to James Fenimore Cooper, whose residence is depicted in this lot, or that Albert Edward Cooper acquired the painting at the auction for his namesake.Estimate: $5,000—7,000

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Maurice Braun (1877-1941), SAN DIEGO WATERFRONT, Oil on canvas; signed lower left, titled to the stretcher, 25

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Description: MAURICE BRAUN (1877-1941), AMERICANSAN DIEGO WATERFRONTOil on canvas; signed lower left, titled to the stretcher25" x 30" — 63.5 x 76.2 cm.Provenance:Britnell’s Art Gallery Ltd., Toronto, Diamond Jubilee label;Private Collection, OntarioLiterature:Martin E. Petersen, “Maurice Braun Master Painter of the California Landscape,” San Diego Historical Society Quarterly, Vol. 23, No. 3, Summer 1977, unpaginatedNote:Braun’s first accomplishment in San Diego was the founding of the Fine Arts Academy in June 1912. He exhibited his first major painting of many depicting the San Diego landscape, “Bay and City, San Diego” that year. During the 1920s, Braun spent time between the East and West coasts. He left San Diego for several years in New York and New England. In January or February of 1924 Braun moved back to his San Diego residence. In 1929, he joined with ten other San Diego artists to form the Contemporary Artists of San Diego.“San Diego Waterfront” is cited in curator Martin E. Petersen’s “Maurice Braun Master Painter of the California Landscape” in ‘A Selected List Of Known Works By Maurice Braun’ compiled for the Fine Arts Gallery of San Diego.Estimate: $6,000—9,000

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Attributed to Severin Roesen (1815-1872), GRAPES, ORANGES, PEARS AND PLUMS, APPLES AND BERRIES IN A BASKET ON A MARBLEIZED LEDGE, Oil on canvas; cut down to a sculpted oval. Unsigned., 29.5

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Description: ATTRIBUTED TO SEVERIN ROESEN (1815-1872), AMERICANGRAPES, ORANGES, PEARS AND PLUMS, APPLES AND BERRIES IN A BASKET ON A MARBLEIZED LEDGEOil on canvas; cut down to a sculpted oval. Unsigned.29.5" x 25" — 74.9 x 63.5 cm.Provenance:Private Collection, TorontoLiterature:Norma J. Roberts, ed., The American Collections, Columbus Museum of Art, 1988, page 14Note:This technically superb still life study of fruit came to auction from a private collection in Ontario with a large “T” shaped tear in the original canvas.  The delightful ornateness and fine quality of the unsigned still life and its strong affinity to the mid-nineteenth century American still-life painter, Severin Roesen necessitated the restoration to bring this work back to its original state. Conservation of the painting revealed no signature but the process confirmed that the canvas had been cut-down to the present oval prior to its acquisition by the present Private Collection.  Norma J. Roberts states that over three hundred still life paintings by Roesen have been recorded. His works demonstrate a near technical perfection in their minute details precise arrangements of fruits into evenly lit and symmetrical bunches. Stylistically, this work relates very closely to Severin Roesen’s brilliantly executed still-lifes.However, the marbleized ledge is not entered in the sculpted oval. The right side of the original canvas may have been damaged. It is very possible that the painting was signed by Roesen in the lower right and the signature was lost when the canvas was cut-down to the present oval. There is only an unknown contemporary computerized identification/inventory label with printed letters, ‘"Severin Roesen, "Still Life w Fruit”' mounted to the stretcher.Estimate: $6,000—8,000

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Paul Suttman (1933-1993), STANDING FIGURE #4, 1967, Dark brown patinated bronze; signed, dated ‘67 and numbered 1/6 in the cast at the bottom edge of her dress. Raised on a circular white stone base., Height of sculpture/Mounted height 16

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Description: PAUL SUTTMAN (1933-1993), AMERICANSTANDING FIGURE #4, 1967Dark brown patinated bronze; signed, dated ‘67 and numbered 1/6 in the cast at the bottom edge of her dress. Raised on a circular white stone base.Height of sculpture/Mounted height 16" — 40.6 cm.; 19" — 48.3 cm.Provenance:Donald Morris Gallery, Inc., Detroit, Michigan;Acquired from the above by the present Private Collection on February 18th, 1969 accompanied by the original receiptEstimate: $2,000—3,000

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Charles Arnoldi (1946-), SANTA FE, 1988, XIX, Cast and assembled bronze with dry pigment and patina; signed in gold paint verso, titled and dated: “Santa Fe. May. 11. 1988 XIX” incised to the verso, Approximately 18.75

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Description: CHARLES ARNOLDI (1946-), AMERICANSANTA FE, 1988, XIXCast and assembled bronze with dry pigment and patina; signed in gold paint verso, titled and dated: “Santa Fe. May. 11. 1988 XIX” incised to the versoApproximately 18.75" x 17" x 5" — 47.6 x 43.2 x 12.7 cm.Provenance:Prominent Private CollectionNote:Charles Arnoldi is a well-known California sculptor, painter, and printmaker. This and the following lots by Arnoldi: lot 6; 6A and lot 7 represent his signature wall sculptures, made from assembled bronze. In 1977, he cast his first metal sculpture from one of his small stick wood structures. He had collected some tree branches with a friend from a nearby area, brought them home and positioned them against the wall inside his studio. He observed the pieces and found that they resembled hand-drawn lines. He began to use branches and twigs to make up the lines within his paintings, "building" a painting with them. He collected scraps from the foundry, and appreciating their natural form assembled the pieces to make wall sculptures that resembled the effect of tree branches casting shadows when mounted on a wall. In the 1980s, Arnoldi began to incorporate color to give even more definition to his three-dimensional sculptural wall sculptures.Estimate: $1,200—1,800

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Charles Arnoldi (1946-), VENICE #1, 1988, Cast and assembled bronze with blue/green patination; signed, dated 88 and inscribed “Top” in gold paint  to the underside, Approximately 20.5

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Description: CHARLES ARNOLDI (1946-), AMERICANVENICE #1, 1988Cast and assembled bronze with blue/green patination; signed, dated 88 and inscribed “Top” in gold paint to the undersideApproximately 20.5" x 22.75" x 7" — 52.1 x 57.8 x 17.8 cm.Provenance:Prominent Private CollectionEstimate: $1,200—1,800

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Charles Arnoldi (1946-), VENICE #2, 1988, Cast and assembled bronze with dry pigments and patina; signed, titled, dated 88 and inscribed with hanging instructions

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Description: CHARLES ARNOLDI (1946-), AMERICANVENICE #2, 1988Cast and assembled bronze with dry pigments and patina; signed, titled, dated 88 and inscribed with hanging instructions "Hang Here" in gold paint to the undersideApproximately 22" x 14.5" x 6.25" -- 55.9 x 36.8 x 15.9 cm.Provenance:Prominent Private CollectionEstimate: $1,200--1,800

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Charles Arnoldi (1946-), VENICE #11, 1988, Cast and assembled bronze with dry pigments and patina; signed, dated 88 and titled

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Description: CHARLES ARNOLDI (1946-), AMERICANVENICE #11, 1988Cast and assembled bronze with dry pigments and patina; signed, dated 88 and titled "Venice #11" in gold paint verso, inscribed hanging instructions "Top" and "Hang Here" in gold paint to the underside.Approximately 19" x 17" x 3.25" -- 48.3 x 43.2 x 8.3 cm.Provenance:Prominent Private CollectionEstimate: $5,000--7,000

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Alexander Calder (1898-1976), ORANGE RED AND BLACK DISCS, 1961, Gouache and ink on BFK Rives watermarked paper; signed with artist’s monogram “AC” initials and dated 61 in black ink lower right, titled “Orange red + black Discs” and

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Description: ALEXANDER CALDER (1898-1976), AMERICANORANGE RED AND BLACK DISCS, 1961Gouache and ink on BFK Rives watermarked paper; signed with artist’s monogram “AC” initials and dated 61 in black ink lower right, titled “Orange red + black Discs” and inscribed “192” in pencil to the sheet verso, a typed label mounted to the original verso backing of the original frame: “CALDER/ ‘Orange Red 1961 & black Disks’/ Gouache/ RUK+”, also inscribed to the Art Rental Service of the Art Gallery of Ontario label mounted to the backing “Calder, Alexander” and titled: “Orange, Red + Black Disks”, dated “1961” and inscribed “original gouache”/ “20 x 27” (framed dimensions), consigned by “Mazelow I” in black ink to the label, numbered “E945” (in red ink) upper left14.9" x 21.9" — 37.8 x 55.5 cm.Provenance:Acquired directly from the artist by Nicholas Guppy, UK;Mazelow Gallery, Toronto, ON, Canada;Art Rental Service of the Art Gallery of Ontario, Toronto, ON, Canada, inventory number “E945” with their label on the frame verso titled “ORANGE RED + BLACK DISKS” (sic) while with Mazelow Gallery;Acquired from the above by a Private Collector, Toronto in 1976;Gifted to her son, the present Private Collection, USANote:This work is registered in the archives of the Calder Foundation, New York, under application number A14057.Executed in 1961, Orange, Red and Black Discs is a classic example of Calder’s art.  The Pennsylvania born artist created endless compositions that feature forms of mostly primary or secondary colours, with black and white that are contained within loosely delineated shapes.  Despite this repetition, from one composition to the next, Calder altered the rhythm of his works by subtly changing these characteristics — his geometric forms were given varying hues, densities, and sizes.  The result is a creation of complex environments that are inhabited by essential geometric forms of basic colours that investigate movement and spatial relationships. The Art Gallery of Ontario, Toronto label and the gallery name “Mazelow” on the Art Rental Service label on the back of the original, simple frame instantly confirmed the artwork contained therein an original gouache by Alexander Calder.  In 1948, Helen Mazelow (1927-2005) opened the doors of one of Canada's premiere art galleries, the Mazelow Gallery on Yonge Street in Toronto.  Following the death of her husband in 1967, Helen continued to manage and expand the art business.  In her time, she was regarded as one of Canada's leading authorities on abstract, impressionistic, and traditional art forms and was responsible for guiding the careers of many of Canada's and America's leading contemporary artists.  Mazelow consigned this 1960s gouache to the Art Gallery of Ontario’s Art Rental Service for purchase at $1,000.00 or for rental at $16.50 per month.It was an exciting one day roundtrip flight to New York City to present the gouache to the Calder Foundation committee, who confirmed its authenticity and registered this lot in the Calder Archives under application number A14057.  We are grateful to the Calder Foundation for providing previous provenance for Orange, Red and Black Discs. It is recorded that the gouache was acquired directly from the artist by Nicholas Guppy of the U.K. However, a grey area exists.  It is not known or recorded if the Mazelow Gallery purchased the work from Nicholas Guppy’s gallery. Waddington’s is honoured to be offering this important Alexander Calder gouache Orange, Red and Black Discs.  Rarely does an original painting by Alexander Calder appear in private Canadian art collections or at auction in Toronto.  According to the vendor, this work was purchased when news of Calder’s death reached the public.  The gouache has been in the family of the same private collection since its purchase in 1976.Estimate: $30,000—40,000

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Camille Souter (1929-), UNTITLED ABSTRACT, 1956, Mixed-media oil and ink on thin paper mounted at the edges to a card support; signed and dated 56 at Dublin lower right, Sheet, Irregularly shaped 10

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Description: CAMILLE SOUTER (1929-), IRISHUNTITLED ABSTRACT, 1956Mixed-media oil and ink on thin paper mounted at the edges to a card support; signed and dated 56 at Dublin lower rightSheet, Irregularly shaped 10" x 7" — 25.4 x 17.8 cm.Note:This work was executed the year the artist returned to Ireland having studied nursing at Guy’s Hospital, London. She took up painting while on a trip to Italy while recovering from an illness in the mid-1950s.Estimate: $3,000—5,000

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Frantz (”Freddy”) Lamothe (Lemothe) (1961- ), THE FABULOUS POPEYE !, 1983, Spray paint on canvas; signed “Freddy” lower right, titled mid left, 107.5

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Description: FRANTZ (”FREDDY”) LAMOTHE (LEMOTHE) (1961- ), HAITIAN/AMERICANTHE FABULOUS POPEYE !, 1983Spray paint on canvas; signed “Freddy” lower right, titled mid left107.5" x 52.5" — 273.1 x 133.4 cm.Provenance:Sidney Janis Gallery, New York;Gallery Moos Ltd., Toronto;Private Collection, TorontoNote:Frantz Lamothe was born in Haiti in 1961. At four years of age, he left to join his parents in New York. By 16, Frantz was living in the streets of New York painting graffiti in the subway trains of New York. Known as “Freddy”, along with fellow graffiti artists such as Jean-Michel Basquiat, Lamothe was taken up by the New York art world. After Basquiat’s death, Lamothe returned to Haiti, where he continues to paint canvases today. This fine early example of Lamothe’s popular street art was painted in New York in 1983 when he was only 22 years old and is considered rare.Estimate: $3,000—5,000

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Katherine Bernhardt (1975- ), LATE NIGHT CREEPIN, 2005, Oil on canvas with glitter dust; signed, titled and dated 2005 verso, 23.75

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Description: KATHERINE BERNHARDT (1975- ), AMERICANLATE NIGHT CREEPIN, 2005Oil on canvas with glitter dust; signed, titled and dated 2005 verso23.75" x 24.25" — 60.3 x 61.6 cm.Estimate: $6,000—8,000

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George Grosz (1893-1959), NUDE, 1915, Ink drawing on brown paper; signed in pencil lower right, stamped with artist's estate stamp “George Gross Nachlass” numbered 2/36/4 in ink, inscribed ”L3 Nr. 512” and dated 1915 in pencil verso, Sheet

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Description: GEORGE GROSZ (1893-1959), GERMANNUDE, 1915Ink drawing on brown paper; signed in pencil lower right, stamped with artist's estate stamp “George Gross Nachlass” numbered 2/36/4 in ink, inscribed ”L3 Nr. 512” and dated 1915 in pencil versoSheet 16" x 12.75" — 40.6 x 32.4 cm.Provenance:The Pollock Gallery Limited, Toronto;Private Collection;By descentEstimate: $1,500—2,500

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David Mach (1956-), SWIMMER, 1985, Mixed media collage with playing cards on masonite, 36.5

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Description: DAVID MACH (1956-), SCOTTISHSWIMMER, 1985Mixed media collage with playing cards on masonite36.5" x 36.5" — 92.7 x 92.7 cm.Provenance:Gifted from the artist to his former teacher, Canadian artist Michael Davey (born 1948- ) of Toronto, in the winter of 1985/86.Note:Born in Methil, Fife, Scotland, David Mach studied at Duncan of Jordanstone College of Art in Dundee and at the Royal College of Art in London. Michael Davey was Mach’s former teacher at the Duncan of Jordanstone College in Dundee, Ireland from 1976 to 1980. Mr. Davey curated Mach’s first Canadian show held at Mercer Union in Toronto in the Spring of 1985. The exhibit included furniture, drawings and collages. Mach gave this collage to Michael Davey as a thank you for curating the show. The artist specializes in appropriating commonplace objects, such as playing cards (as one sees in this lot), coat hangers, toys, and tires, amongst many others, in multiples to create an image or form to produce temporary or permanent installations.Estimate: $4,000—6,000

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Sir Eduardo Paolozzi (1924-2005), SHATTERED HEAD, 1956, Gold patinated bronze; signed “E. Paolozzi” and numbered 5/6, stamped with the foundry: “Suisse Fond Paris” to the bottom of the back, Height of sculpture 11.25

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Description: SIR EDUARDO PAOLOZZI (1924-2005), BRITISHSHATTERED HEAD, 1956Gold patinated bronze; signed “E. Paolozzi” and numbered 5/6, stamped with the foundry: “Suisse Fond Paris” to the bottom of the backHeight of sculpture 11.25" x 9.75" — 28.6 x 24.8 cm.Provenance:Ex. Coll. Ayala Zacks, Toronto;From whom acquired by her friend, a Private Collection, Toronto; Their Estate, Toronto; by descentLiterature:Diane Kirkpatrick, Eduardo Paolozzi, Studio Vista, London, UK, 1970, page 35, pl. 26, another cast illustrated;Winfried Konnertz, Eduardo Paolozzi, DuMont, Cologne, GE, 1984, pages 82-85, 87, 270, pl. 161, another cast illustratedEstimate: $15,000—20,000

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CIRCLE OF ROBERTO MATTA (1911 - 2002), UNTITLED (SURREALIST COMPOSITION), CIRCA 1960, Oil on canvas. Unsigned. Given to

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Description: CIRCLE OF ROBERTO MATTA (1911 - 2002), CHILEAN UNTITLED (SURREALIST COMPOSITION), CIRCA 1960Oil on canvas. Unsigned. Given to "G. Matta" and dated 1960 to the Arthur Tooth & Sons (London, UK) gallery label verso.24" x 29" -- 61 x 73.7 cm.Provenance:With Arthur Tooth & Sons, London, UK, Inventory No. 6120, inscribed erroneously "G. Matta" to their label and dated "1960" to their label to the frame verso;Ex. Coll. Ayala Zacks, Toronto;From whom acquired by her friend, a Private Collection, Toronto;Their Estate, Toronto;by descentEstimate: $15,000--20,000

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Yannis (Jannis) Spyropoulos (1912-1990), THEMES & VARIATIONS NO. 27, 1960, Oil on canvas; signed in Greek lower right, signed in Greek and in Roman verso, signed and titled in Roman, numbered “No. 27” and dated 1960 at Athens to the stretcher,

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Description: YANNIS (JANNIS) SPYROPOULOS (1912-1990), GREEKTHEMES & VARIATIONS NO. 27, 1960Oil on canvas; signed in Greek lower right, signed in Greek and in Roman verso, signed and titled in Roman, numbered “No. 27” and dated 1960 at Athens to the stretcher, also titled, dated (1960) and numbered “Catalog #620” to gallery label verso44.75" x 64" — 113.7 x 162.6 cm.Provenance:World House Galleries Corp., New York, Catalog # 6201;Ex. Coll. Ayala Zacks, Toronto from whom acquired by her friend, a Private Collection, Toronto;Their Estate;by descentLiterature:Spyropoulos Foundation, “Biography,” unpaginatedNote:In 1957, Jannis met Herbert Mayer of World House Galleries, New York. Two years later, Jannis was selected as one of eight Greek artists chosen to exhibit their works in the United States representing Greece, with abstract works being the prominent theme. Jannis held his first solo exhibition at the World House Galleries, New York. In 1960, the year this work was executed, Jannis represented Greece in the 30th Venice Biennale where he received the UNESCO prize.Estimate: $20,000—30,000

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Victor Vasarely (1906-1997), TRIDIM-C, 1968, Acrylic on canvas; signed

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Description: VICTOR VASARELY (1906-1997), HUNGARIAN/FRENCHTRIDIM-C, 1968 Acrylic on canvas; signed "Vasarely" lower left, signed, inscribed, titled and dated 1968 in black felt tip pen verso, numbered "Vasarely #12500" to gallery label verso, Square/Lozenge 63" x 63" -- 160 x 160 cm.; 89.75" x 89.75" -- 228 x 228 cm.. Provenance:Sidney Janis Gallery, New York, "Vasarely #12500" as "tempera on canvas" inscribed to the gallery label verso;Private Collection, Ontario since circa 1990Literature:Victor Vasarely, Vasarely, Alpine Fine Arts Collection Ltd., New York, NY, 1979, fig. XXXV, illustratedNote:The authenticity of this work has been confirmed by the artist's son, Pierre Vasarely. This work will be included in the forthcoming catalogue raisonné de l'oeuvre peint de Victor Vasarely, currently being compiled by the Fondation Vasarely, Aix-en-Provence, France.Estimate: $50,000--75,000

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George Clarkson Stanfield (1828-1878), ON THE MOSELLE, Oil on canvas; signed “George C. Stanfield” and indistinctly dated 1855 on the boat at right, titled to the nameplate, 20

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Description: GEORGE CLARKSON STANFIELD (1828-1878), BRITISHON THE MOSELLEOil on canvas; signed “George C. Stanfield” and indistinctly dated 1855 on the boat at right, titled to the nameplate20" x 30" — 50.8 x 76.2 cm.Provenance:Isaacs Gallery, Toronto;Private Collection, TorontoEstimate: $5,000—7,000

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Louise J. Rayner (1892-1924), FOOT OF THE WEST BOW, EDINBURGH, Watercolour and gouache on paper, laid down on board; signed lower right, 19.25

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Description: LOUISE J. RAYNER (1892-1924), BRITISHFOOT OF THE WEST BOW, EDINBURGHWatercolour and gouache on paper, laid down on board; signed lower right19.25" x 11" — 48.9 x 27.9 cm.Provenance:Purchased by the grandparents of the present owner in the UK; By descent to the present Private Collection, CanadaEstimate: $6,000—8,000

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Joseph Adam (fl. 1858-1880) In Collaboration with Joseph Denovan Adam (1842-1896), HIGHLAND LANDSCAPE WITH SHEEP, 1868, Oil on canvas; signed “J. & J.D. Adam” by both artists, father and son, and dated 1868 on the rock lower right, 30

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Description: JOSEPH ADAM (FL. 1858-1880) IN COLLABORATION WITH JOSEPH DENOVAN ADAM (1842-1896), SCOTTISHHIGHLAND LANDSCAPE WITH SHEEP, 1868Oil on canvas; signed “J. & J.D. Adam” by both artists, father and son, and dated 1868 on the rock lower right30" x 50" — 76.2 x 127 cm.Estimate: $5,000—7,000

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Sir David Murray (1849-1933), UNDER THE BLOSSOM, 1922, Oil on canvas; signed and dated 1922 lower left, signed, titled, inscribed and numbered “No. 3” to the wood backboard, 30.25

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Description: SIR DAVID MURRAY (1849-1933), SCOTTISHUNDER THE BLOSSOM, 1922Oil on canvas; signed and dated 1922 lower left, signed, titled, inscribed and numbered “No. 3” to the wood backboard30.25" x 36" — 76.8 x 91.4 cm.Provenance:Private Collection, Montreal held in the family for over 70 yearsEstimate: $4,000—6,000

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Montague Dawson (1890-1973), “TEARING ON” / THE ‘WILD RANGER’ 1044 TONS BUILT IN 1853, Oil on canvas; signed lower left, titled to the stretcher, 20

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Description: MONTAGUE DAWSON (1890-1973) , BRITISH“TEARING ON” / THE ‘WILD RANGER’ 1044 TONS BUILT IN 1853Oil on canvas; signed lower left, titled to the stretcher20" x 30.5" — 50.8 x 77.5 cm.Provenance:The Estate Collection, Orillia, OntarioEstimate: $30,000—50,000

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Marcus Stone (1840-1921), NELL GWYNN & THE OLD SOLDIER, 1867, Oil on canvas; signed and dated /67 lower right, 16

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Description: MARCUS STONE (1840-1921), BRITISHNELL GWYNN & THE OLD SOLDIER, 1867Oil on canvas; signed and dated /67 lower right16" x 24" — 40.6 x 61 cm.Provenance:Christie’s, London, 30 November 2001, Lot 79;Estate Collection;Waddington’s, 11 December 2012, Lot 90;Acquired from the above by the present Private Collection, OntarioEstimate: $3,000—5,000

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Frank Moss Bennett (1874-1953), PUNCH BOWL, Oil on canvas on board; signed and dated 1947 lower left, 14.5

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Description: FRANK MOSS BENNETT (1874-1953), BRITISHPUNCH BOWLOil on canvas on board; signed and dated 1947 lower left14.5" x 20" — 36.8 x 50.8 cm.Provenance:Cooling Galleries (Ontario) Limited, Toronto;From whom purchased by Mr. J. McKay-Clements, New Liskeard, Ontario, together with a copy of the original receipt dated December 12th, 1960 as “Punch Bowl”;The Estate of his wife, Mrs. Muriel Margaret McKay-Clements, Haileybury, Ontario; By descentEstimate: $2,500—3,500

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John Smart (1838-1899), ERIE LINKS, Watercolour en grisaille heightened with white on paper; signed lower left and titled lower right, Image 17.5

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Description: JOHN SMART (1838-1899), SCOTTISHERIE LINKSWatercolour en grisaille heightened with white on paper; signed lower left and titled lower rightImage 17.5" x 27.75" — 44.5 x 70.5 cm.Note:John Smart played golf at Leith Links. He is best known for his early paintings of golf courses in Scotland. He executed a collection of twenty watercolours featuring various Scottish golf courses of the 1880s and 1890s. This lot is likely a watercolour study for Views of the Golf Greens of Scotland, which were engraved by George Aikman, after Smart in 1893.Estimate: $6,000—8,000

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Margaret Dovaston (1884-1955), A PROUD MOMENT, Oil on canvas; signed lower right, 20

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Description: MARGARET DOVASTON (1884-1955), BRITISHA PROUD MOMENTOil on canvas; signed lower right20" x 27" — 50.8 x 68.6 cm.Provenance:Cooling Galleries Ltd., London;Cooling Galleries (Ontario) Limited, Toronto;From whom purchased by Mr. J. McKay-Clements, New Liskeard, Ontario, together with a copy of the original receipt dated August 30th, 1957 as “A Proud Moment”;The Estate of his wife, Mrs. Muriel Margaret McKay-Clements, Haileybury, Ontario; By descentEstimate: $6,000—8,000

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George Lance (1802-1864), PREPARING FOR THE FEAST, Oil on canvas; signed and titled at Liverpool to artist’s label verso, 34

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Description: GEORGE LANCE (1802-1864), BRITISHPREPARING FOR THE FEASTOil on canvas; signed and titled at Liverpool to artist’s label verso34" x 44" — 86.4 x 111.8 cm.Provenance:Estate Collection, London, OntarioEstimate: $5,000—7,000

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William Shayer The Elder (1787-1879), THE BERRY SELLER OFFERING A BUNCH OF CHERRIES, Oil on canvas; signed lower left, 28

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Description: WILLIAM SHAYER THE ELDER (1787-1879), BRITISHTHE BERRY SELLER OFFERING A BUNCH OF CHERRIESOil on canvas; signed lower left28" x 36" — 71.1 x 91.4 cm.Provenance:With the British & Foreign Shipping Co., Ltd., London inv. 1508;Estate Collection, London, OntarioEstimate: $6,000—9,000

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William Shayer the Elder (1787-1879), “GYPSEYS ENCAMPING”, 1851, Oil on canvas; signed and dated 1851 lower left, signed, titled, dated 1851 and numbered No. 7 to artist’s label to the stretcher, 37.25

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Description: WILLIAM SHAYER THE ELDER (1787-1879), BRITISH“GYPSEYS ENCAMPING”, 1851Oil on canvas; signed and dated 1851 lower left, signed, titled, dated 1851 and numbered No. 7 to artist’s label to the stretcher37.25" x 30" — 94.6 x 76.2 cm.Provenance:Waddington’s, 12 December 2012, lot 58;Acquired from the above by the present Private Collection, OntarioEstimate: $5,000—9,000

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John Charlton (1849-1917), WAITING, 1917, Oil on canvas; signed and dated 1917 lower right, signed and titled to the selvage, signed again “J. Charlton Esq.” from “6 William St., N.W.” to the C. Roberson & Co. Ltd., London label to the

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Description: JOHN CHARLTON (1849-1917), BRITISHWAITING, 1917Oil on canvas; signed and dated 1917 lower right, signed and titled to the selvage, signed again “J. Charlton Esq.” from “6 William St., N.W.” to the C. Roberson & Co. Ltd., London label to the stretcher37.75" x 50" — 95.9 x 127 cm.Provenance:Reportedly Ex. Coll. Chipchase Castle, Northumberland; Private Collection, Canada, acquired in Newcastle, Quayside Upon Tyne in 1969Estimate: $10,000—15,000

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Edmund Adler (1876-1965), THE BIG SISTER, Oil on canvas; signed lower right, titled to label verso, 22.25

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Description: EDMUND ADLER (1876-1965), AUSTRIANTHE BIG SISTEROil on canvas; signed lower right, titled to label verso22.25" x 27" — 56.5 x 68.6 cm.Estimate: $8,000—12,000

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Oszkar Glatz (1872-1958), SISTER TEACHING BROTHER, 1930, Oil on canvas; signed and dated 1930 lower right, inscribed: “Legrady Testverek Lulajdona. Budapest” in black ink verso, 31.75

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Description: OSZKAR GLATZ (1872-1958), HUNGARIANSISTER TEACHING BROTHER, 1930Oil on canvas; signed and dated 1930 lower right, inscribed: “Legrady Testverek Lulajdona. Budapest” in black ink verso31.75" x 24" — 80.6 x 61 cm.Provenance:Ex. Collection Legrady, Budapest;Acquired by the parents of the consignor in Hungary in 1969 where the painting hung in their home until nowEstimate: $6,000—8,000

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Bernard Pothast (1882-1966), HOME LESSONS, Oil on canvas; signed lower right, 26

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Description: BERNARD POTHAST (1882-1966), DUTCHHOME LESSONSOil on canvas; signed lower right26" x 29" — 66 x 73.7 cm.Provenance:Robert Scott & Son, Dundee;Estate Collection, London, OntarioEstimate: $5,000—7,000

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Bernard Pothast (1882-1966), INTERIOR WITH MOTHER AND CHILDREN BY A WINDOW, Oil on canvas; signed lower right, 20

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Description: BERNARD POTHAST (1882-1966), DUTCHINTERIOR WITH MOTHER AND CHILDREN BY A WINDOWOil on canvas; signed lower right20" x 24" — 50.8 x 61 cm.Provenance:The Estate Collection, Orillia, OntarioEstimate: $4,000—6,000

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Johann Jan Zoetelief Tromp (1872-1947), BRINGING IN THE CATCH, Oil on canvas; signed “J. Zoetelief Tromp” lower left, titled to gallery label verso, 27.25

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Description: JOHANN JAN ZOETELIEF TROMP (1872-1947), DUTCHBRINGING IN THE CATCHOil on canvas; signed “J. Zoetelief Tromp” lower left, titled to gallery label verso27.25" x 37.25" — 69.2 x 94.6 cm.Provenance:Ex. Coll. Alicia Joubert (Westmount, Quebec) from whom purchased by the Dominion Gallery, Montreal, in April 1973, Inventory number A5090;Sold to Barmish Brothers Inc., Montreal on July 3, 1973;Private Estate Collection, MontrealNote:Though Tromp trained as an artist at the Academy of Arts of The Hague and later at Rijks Academie of Amsterdam, he was clearly influenced by the work of his father-in-law Bernardus Johannes Blommers (see lot 37).  Like his predecessors of the Hague School, Tromp depicted genre scenes populated by rural figures.  In this beach scene, light glitters over the wave caps and garb of the women as they meander along the shoreline.  A fine and bright play of colour, harmonized by delicate half-tones, is characteristic of Tromp’s ability to create works of intimate pictorial quality and to subtly render textures.Estimate: $40,000—60,000

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Bernardus Johannes Blommers (1845-1914), MOTHER AND BABY RESTING IN A FIELD, Oil on canvas; signed “Blommers” lower right, 17

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Description: BERNARDUS JOHANNES BLOMMERS (1845-1914), DUTCHMOTHER AND BABY RESTING IN A FIELDOil on canvas; signed “Blommers” lower right17" x 25.5" — 43.2 x 64.8 cm.Provenance:With Haynes Art Gallery, Toronto, on April 31, 1946, dated to their label verso;Private Collection, Canada;By descentEstimate: $15,000—25,000

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Arnold Marc Gorter (1866-1933), LATE SUMMER LANDSCAPE WITH CATTLE BY A STREAM, Oil on canvas; signed lower right, 28.5

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Description: ARNOLD MARC GORTER (1866-1933), DUTCHLATE SUMMER LANDSCAPE WITH CATTLE BY A STREAMOil on canvas; signed lower right28.5" x 37" — 72.4 x 94 cm.Estimate: $3,000—5,000

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Frans de Beul (1849-1919), TO THE PASTURE, Oil on canvas; signed and dated 1874 lower right, titled to gallery label verso, 30

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Description: FRANS DE BEUL (1849-1919), BELGIANTO THE PASTUREOil on canvas; signed and dated 1874 lower right, titled to gallery label verso30" x 50" — 76.2 x 127 cm.Provenance:Luscombe-Carroll (The Carroll Gallery), London, England;Private Collection, OntarioEstimate: $3,000—5,000

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Jean Carolus (1814-1897), THE ANTIQUARIAN, Oil on canvas; signed lower left, 30

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Description: JEAN CAROLUS (1814-1897), BELGIANTHE ANTIQUARIANOil on canvas; signed lower left30" x 37" — 76.2 x 94 cm.Provenance:Estate Collection, London, OntarioEstimate: $8,000—12,000

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Louis Simon Cabaillot Lassalle(1810-1870), LA MATINEE D’AUTOMNE, Oil on panel; signed “Louis Lassalle” lower right, titled verso, 10.5

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Description: LOUIS SIMON CABAILLOT LASSALLE(1810-1870), FRENCHLA MATINEE D’AUTOMNEOil on panel; signed “Louis Lassalle” lower right, titled verso10.5" x 8.75" — 26.7 x 22.2 cm.Provenance:Private Estate Collection, MontrealEstimate: $4,000—6,000

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Guillaume Seignac (1870-1924), NEOCLASSIC BEAUTY AT THE WELL, Oil on canvas; signed “G. Seignac” lower right, 29

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Description: GUILLAUME SEIGNAC (1870-1924), FRENCHNEOCLASSIC BEAUTY AT THE WELLOil on canvas; signed “G. Seignac” lower right29" x 19.5" — 73.7 x 49.5 cm.Estimate: $7,000—10,000

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Circle of Rudolf Weiss (1869), MELODY FOR A HAREM GIRL BY THE SEA, Oil on canvas; possibly signed indistinctly to the book under the stand lower left and possibly dated “18?8” to the wall panel at mid right, 21.5

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Description: CIRCLE OF RUDOLF WEISS (1869), AUSTRIANMELODY FOR A HAREM GIRL BY THE SEAOil on canvas; possibly signed indistinctly to the book under the stand lower left and possibly dated “18?8” to the wall panel at mid right21.5" x 15" — 54.6 x 38.1 cm.Provenance:Gift from Emilie P. Coles inscribed to the frame recto;Waddington’s, 12 June 2012, Lot 204;Acquired from the above by the present Private Collection, OntarioEstimate: $6,000—9,000

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Leon Augustin L’Hermitte (1844-1925), PEASANT FAMILY ON A RIVER BANK, Colour pastel on paper on canvas; signed lower right, 17.75

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Description: LEON AUGUSTIN L’HERMITTE (1844-1925), FRENCHPEASANT FAMILY ON A RIVER BANKColour pastel on paper on canvas; signed lower right17.75" x 12.5" — 45.1 x 31.8 cm.Provenance:Waddington’s, 23 December 2011, Lot 175;Acquired from the above by the present Private Collection, OntarioEstimate: $6,000—9,000

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Theophile Alexandre Steinlen (1859-1923), STREET SCENE; WOMAN ABOUT TO OPEN A DOOR (2 WORKS), Two drawings: the former, a pen and ink drawing heightened with colour crayon and watercolour wash on paper; signed with initials ST lower right, the

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Description: THEOPHILE ALEXANDRE STEINLEN (1859-1923), SWISS/FRENCHSTREET SCENE; WOMAN ABOUT TO OPEN A DOOR (2 WORKS)Two drawings: the former, a pen and ink drawing heightened with colour crayon and watercolour wash on paper; signed with initials ST lower right, the latter, a black chalk drawing on linen wove paper; stamped with initials ST lower rightSheet Sight 11.75" x 13.75" — 29.8 x 34.9 cm.Provenance:The latter title [Lugt 2368c] was from the studio sale, Paris, held in 1930;Waddington’s, 11 December 2012, Lot 258;Acquired from the above by the present Private Collection, OntarioEstimate: $2,000—3,000

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Jorgos Busianis (Georgios Bouzianis) (1885-1959), PORTRAIT OF A WOMAN WEARING A SCARF (THE ARTIST’S WIFE, MS. MARIA IMHOLZ), Watercolour and pencil on paper; signed in pencil mid-left, inscribed verso, 13.25

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Description: JORGOS BUSIANIS (GEORGIOS BOUZIANIS) (1885-1959), GREEKPORTRAIT OF A WOMAN WEARING A SCARF (THE ARTIST’S WIFE, MS. MARIA IMHOLZ)Watercolour and pencil on paper; signed in pencil mid-left, inscribed verso13.25" x 12.5" — 33.7 x 31.8 cm.Provenance:By descent through the family of the artist to a Private Collection, Cambridge;Waddington’s, 12 June 2012, lot 284;Acquired from the above by the present Private Collection, OntarioEstimate: $4,000—5,000

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Tato (Guglielmo Sansoni) (1896-1974), PERSONAGGI DEL CIRCO, Oil on canvas laid on plywood panel; signed “Tato” lower right., 25.25

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Description: TATO (GUGLIELMO SANSONI) (1896-1974), ITALIANPERSONAGGI DEL CIRCOOil on canvas laid on plywood panel; signed “Tato” lower right.25.25" x 19.5" — 64.1 x 49.5 cm.Provenance:Purchased privately from a Montreal Estate, circa 2006Estimate: $5,000—7,000

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Francois Gall (1912-1987), YOUNG WOMAN KNITTING IN A MEADOW, Oil on masonite; signed lower left, 8.5

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Description: FRANCOIS GALL (1912-1987), FRENCHYOUNG WOMAN KNITTING IN A MEADOWOil on masonite; signed lower left8.5" x 10.5" — 21.6 x 26.7 cm.Estimate: $2,000—3,000

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Francois Gall (1912-1987), RENDEZVOUS AT THE CAFE, Oil on canvas; signed lower left, 16

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Description: FRANCOIS GALL (1912-1987), FRENCHRENDEZVOUS AT THE CAFEOil on canvas; signed lower left16" x 13" — 40.6 x 33 cm.Provenance:Kar Gallery, Toronto,From whom purchased by the parents of the present Private Collection, Toronto, on March 21, 1970 accompanied by a copy of the original receiptEstimate: $3,000—5,000

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Francois Gall (1912-1987), STILL LIFE, Oil on canvas; signed lower right, titled and dated 1971 to gallery label verso, 11

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Description: FRANCOIS GALL (1912-1987), FRENCHSTILL LIFEOil on canvas; signed lower right, titled and dated 1971 to gallery label verso11" x 9" — 27.9 x 22.9 cm.Provenance:Burrell Galleries Inc., New York;From whom purchased by the parents of the present Private Collection, Toronto, on March 20, 1971 accompanied by a copy of the original receiptEstimate: $1,500—2,000

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