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Joyner Canadian Fine Art Auction

by Waddington's

Platinum House

170 lots | 169 with images

June 3, 2013

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

170 Lots
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FRANK SHIRLEY PANABAKER, A.R.C.A.,  SAWER MILLS, oil on board, 20 ins x 26 ins; 50 cms x 65 cms

Lot 1: FRANK SHIRLEY PANABAKER, A.R.C.A., SAWER MILLS, oil on board, 20 ins x 26 ins; 50 cms x 65 cms

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Description: FRANK SHIRLEY PANABAKER, A.R.C.A. SAWER MILLS, oil on board; signed 20 ins x 26 ins; 50 cms x 65 cms Provenance: The Fine Art Galleries, T. Eaton Company Limited, Toronto.Private Collection, Ontario.

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MARION LONG, WINTER  AFTERNOON, oil on board, 8 ins x 10 ins; 20 cms x 25 cms

Lot 2: MARION LONG, WINTER AFTERNOON, oil on board, 8 ins x 10 ins; 20 cms x 25 cms

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Description: MARION LONGWINTER AFTERNOON, oil on board; signed 8 ins x 10 ins; 20 cms x 25 cms Exhibited: Small Picture Department, Canadian National Exhibition, Toronto, 1927.

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JOHN B. WILKINSON,  CROSSING THE FROZEN ST. LAWRENCE, watercolour, 7.75 ins x 10.75 ins; 19.4 cms x 26.9 cms

Lot 3: JOHN B. WILKINSON, CROSSING THE FROZEN ST. LAWRENCE, watercolour, 7.75 ins x 10.75 ins; 19.4 cms x 26.9 cms

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Description: JOHN B. WILKINSON CROSSING THE FROZEN ST. LAWRENCE, watercolour 7.75 ins x 10.75 ins; 19.4 cms x 26.9 cms Provenance: Pagurian Press Ltd., Toronto.Kaspar Gallery, Toronto.Private Collection, Toronto.

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ROBERT WAKEHAM PILOT, P.R.C.A.,  METIS BEACH, oil on board, 12 ins x 15.5 ins; 30 cms x 38.8 cms

Lot 5: ROBERT WAKEHAM PILOT, P.R.C.A., METIS BEACH, oil on board, 12 ins x 15.5 ins; 30 cms x 38.8 cms

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Description: ROBERT WAKEHAM PILOT, P.R.C.A. METIS BEACH, oil on board; signed 12 ins x 15.5 ins; 30 cms x 38.8 cms

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GEORGE DOUGLAS PEPPER, O.S.A., R.C.A., ROLLING HILLS, CHARLEVOIX, oil on board, 10 ins x 12 ins; 25 cms x 30 cms

Lot 6: GEORGE DOUGLAS PEPPER, O.S.A., R.C.A., ROLLING HILLS, CHARLEVOIX, oil on board, 10 ins x 12 ins; 25 cms x 30 cms

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Description: GEORGE DOUGLAS PEPPER, O.S.A., R.C.A. ROLLING HILLS, CHARLEVOIX, oil on board; signed 10 ins x 12 ins; 25 cms x 30 cms Provenance: Private Collection, Calgary.

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MAURICE GALBRAITH CULLEN, R.C.A.,  L'EFFET D'EAU, ST-EUSTACHE, oil on canvas, 21.75 ins x 17 ins; 54.4 cms x 42.5 cms

Lot 7: MAURICE GALBRAITH CULLEN, R.C.A., L'EFFET D'EAU, ST-EUSTACHE, oil on canvas, 21.75 ins x 17 ins; 54.4 cms x 42.5 cms

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Description: MAURICE GALBRAITH CULLEN, R.C.A. L'EFFET D'EAU, ST-EUSTACHE, oil on canvas; signed, Cullen Inventory No.905 21.75 ins x 17 ins; 54.4 cms x 42.5 cms

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JOHN YOUNG JOHNSTONE, A.R.C.A., PORTNEUF HOUSE, ST. JOACHIM, oil on board, 6 ins x 9.5 ins; 15 cms x 23.8 cms

Lot 8: JOHN YOUNG JOHNSTONE, A.R.C.A., PORTNEUF HOUSE, ST. JOACHIM, oil on board, 6 ins x 9.5 ins; 15 cms x 23.8 cms

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Description: JOHN YOUNG JOHNSTONE, A.R.C.A. PORTNEUF HOUSE, ST. JOACHIM, oil on board; signed 6 ins x 9.5 ins; 15 cms x 23.8 cms

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MARC-AURELE FORTIN, A.R.C.A.,  PAYSAGE AU QUEBEC, watercolour and charcoal, 22 ins x 28 ins; 55 cms x 70 cms

Lot 9: MARC-AURELE FORTIN, A.R.C.A., PAYSAGE AU QUEBEC, watercolour and charcoal, 22 ins x 28 ins; 55 cms x 70 cms

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Description: MARC-AURELE FORTIN, A.R.C.A. PAYSAGE AU QUEBEC, watercolour and charcoal; signed, Catalogue Raisonne no.A-0565 22 ins x 28 ins; 55 cms x 70 cms

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MARC-AURELE DE FOY SUZOR-COTE, R.C.A., MAISON BRETONNES, PORZ-GUEN, BRETAGNE, 1906, oil on board, 8.75 ins x 6 ins; 21.9 cms x 15 cms

Lot 10: MARC-AURELE DE FOY SUZOR-COTE, R.C.A., MAISON BRETONNES, PORZ-GUEN, BRETAGNE, 1906, oil on board, 8.75 ins x 6 ins; 21.9 cms x 15 cms

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Description: MARC-AURELE DE FOY SUZOR-COTE, R.C.A.MAISON BRETONNES, PORZ-GUEN, BRETAGNE, 1906, oil on board; signed 8.75 ins x 6 ins; 21.9 cms x 15 cms Provenance: Woltjen/Udell Gallery, Edmonton.Private Collection, Ontario.Exhibited: The Edmonton Art Gallery, Edmonton (extended loan).

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RANDOLPH STANLEY HEWTON, R.C.A., WINTER NEAR CHARLEVOIX, oil on panel, 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms

Lot 11: RANDOLPH STANLEY HEWTON, R.C.A., WINTER NEAR CHARLEVOIX, oil on panel, 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms

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Description: RANDOLPH STANLEY HEWTON, R.C.A.WINTER NEAR CHARLEVOIX, oil on panel 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms Provenance: Estate of Randolph S. Hewton.Masters Gallery Ltd., Calgary.Private Collection, Calgary.

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MAURICE GALBRAITH CULLEN, R.C.A., WINTER RIVER, pastel, 15 ins x 18 ins; 37.5 cms x 45 cms

Lot 12: MAURICE GALBRAITH CULLEN, R.C.A., WINTER RIVER, pastel, 15 ins x 18 ins; 37.5 cms x 45 cms

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Description: MAURICE GALBRAITH CULLEN, R.C.A.WINTER RIVER, pastel; signed, Cullen Inventory No.1038 15 ins x 18 ins; 37.5 cms x 45 cms

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FRANK HANS JOHNSTON, O.S.A., A.R.C.A., SUNSHINE, TASHOTA, oil on board, 10 ins x 12 ins; 25 cms x 30 cms

Lot 13: FRANK HANS JOHNSTON, O.S.A., A.R.C.A., SUNSHINE, TASHOTA, oil on board, 10 ins x 12 ins; 25 cms x 30 cms

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Description: FRANK HANS JOHNSTON, O.S.A., A.R.C.A.SUNSHINE, TASHOTA, oil on board; signed 10 ins x 12 ins; 25 cms x 30 cms Provenance: Kastel Gallery Inc., Montreal.Private Collection, Toronto.

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ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., SNOW COVERED SHORELINE, 1914, oil on panel, 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms

Lot 15: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., SNOW COVERED SHORELINE, 1914, oil on panel, 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.SNOW COVERED SHORELINE, 1914, oil on panel; signed 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms Provenance: Private Collection, Toronto.Literature: Alexander Young Jackson, "A Painter's Country, The Autobiography of A.Y. Jackson", Toronto, 1958, pages 26 and 30.Note: Only having met a couple months prior, in January of 1914, Jackson and Thomson decided to share a studio together in the newly erected Studio Building. It was this move that likely established a close friendship and sense of comradery between the two artists.The following month, Jackson, inspired by Thomson's accounts, travelled up to Canoe Lake where he would have painted "Snow Covered Shoreline." This first trip to Algonquin must have enthralled Jackson as he returned there in September of 1914, meeting up with Thomson who had been at Canoe Lake since the spring. During this autumn visit, they ventured to various sites in Algonquin, including Tea Lake Dam where Jackson produced the sketch for "The Red Maple" (collection of the National Gallery of Canada, Ottawa).

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FRANK HANS JOHNSTON, O.S.A., A.R.C.A., WINTER NEAR HUNTSVILLE, oil on board, 18 ins x 24 ins; 45 cms x 60 cms

Lot 16: FRANK HANS JOHNSTON, O.S.A., A.R.C.A., WINTER NEAR HUNTSVILLE, oil on board, 18 ins x 24 ins; 45 cms x 60 cms

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Description: FRANK HANS JOHNSTON, O.S.A., A.R.C.A.WINTER NEAR HUNTSVILLE, oil on board; signed 18 ins x 24 ins; 45 cms x 60 cms

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FRANK HANS JOHNSTON, O.S.A., A.R.C.A., WATER TOWERS, pastel, 10.25 ins x 14 ins; 25.6 cms x 35 cms

Lot 17: FRANK HANS JOHNSTON, O.S.A., A.R.C.A., WATER TOWERS, pastel, 10.25 ins x 14 ins; 25.6 cms x 35 cms

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Description: FRANK HANS JOHNSTON, O.S.A., A.R.C.A.WATER TOWERS, pastel; signed 10.25 ins x 14 ins; 25.6 cms x 35 cms Exhibited: British Empire Exhibition, Canadian Section of Fine Arts, Wembley, 1925.

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JAMES WILSON MORRICE, R.C.A., CUSHING'S ISLAND, MAINE, watercolour, 5 ins x 3.25 ins; 12.5 cms x 8.1 cms

Lot 18: JAMES WILSON MORRICE, R.C.A., CUSHING'S ISLAND, MAINE, watercolour, 5 ins x 3.25 ins; 12.5 cms x 8.1 cms

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Description: JAMES WILSON MORRICE, R.C.A.CUSHING'S ISLAND, MAINE, watercolour; signed and inscribed "Yours truly, J.W. Morrice, Montreal" 5 ins x 3.25 ins; 12.5 cms x 8.1 cms Provenance: Drawn by the artist in the autograph book of Doreen Grant, Ontario.Private Collection, Ontario.Literature: Irene Szylinger, "A Brief Analysis of the Watercolours", "James Wilson Morrice, 1865-1924", Nicole Cloutier (ed), Montreal, 1985, pages, 79-80 and 88.Irene Szylinger, "The Watercolours of James Wilson Morrice (1865-1924)", University of Toronto, Toronto, 1983, pages 18-19 (conversation with the former owner of this artwork, September, 1981).Note: Szylinger (1985) notes that "[o]f the thirteen watercolours done in North America [by Morrice], six represent views of the Maine coastline...along with a page from an autograph book..." Painted in 1882, this work is believed to be the first known watercolour by the artist. Aged 16 or 17 at the time (Morrice was born in August), the painter depicts Cushing's Island in Maine, where the Morrice family spent many summers. The large white building visible higher up on the hill is the Ottawa House Hotel. The hotel would be replaced by a larger building in 1888. In her thesis, "The Watercolours of James Wilson Morrice 1865-1924", Irene Szylinger mentions that "Miss Grant has stated to the present owner of the watercolour that the drawings reflect scenes from the general area where the Grants and Morrices vacationed in Maine. It is Miss Grant's recollection that their families vacationed together and that Morrice was seventeen years old when he dedicated these drawings to her."We would like to thank Morrice scholar, Lucie Dorais, for assistance in researching and cataloguing this artwork.

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FREDERICK GRANT BANTING, CANADIAN ROCKIES MOUNTAINSCAPE, oil on board, 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms

Lot 19: FREDERICK GRANT BANTING, CANADIAN ROCKIES MOUNTAINSCAPE, oil on board, 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms

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Description: FREDERICK GRANT BANTINGCANADIAN ROCKIES MOUNTAINSCAPE, oil on board; an unfinished sketch of a similar subject on the reverse 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms Provenance: Collection of the artist.Lady Henrietta Banting.Cecilia Long.Private Collection, Ontario.Literature: A.Y. Jackson, "Banting as an Artist", Toronto, 1943, pages 20-22.Stephen Eaton Hume, "Frederick Banting: Hero, Healer, Artist", Montreal, 2001, page 111.Note: A friend and frequent sketching companion of A.Y. Jackson, "Banting believed that scientists, like certain painters, were artists. He saw himself as an artist. He believed that scientists were creators, and that they shared with artists a kind of renegade psychology that put them on the fringes of society." On a sketching trip to Great Slave Lake, Jackson and Banting's party began their journey in Edmonton and travelled through Jasper National Park on their way to Fort Resolution and their Arctic destination. This artwork includes a copy of a November, 1983 letter from Cecilia E. Long, longtime companion of Lady Henrietta Banting, certifying the original ownership of this painting.

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ARTHUR LISMER, O.S.A., R.C.A., THE PINE TREE, oil on board, 12 ins x 16 ins; 30 cms x 40 cms

Lot 20: ARTHUR LISMER, O.S.A., R.C.A., THE PINE TREE, oil on board, 12 ins x 16 ins; 30 cms x 40 cms

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Description: ARTHUR LISMER, O.S.A., R.C.A.THE PINE TREE, oil on board; signed and dated '33; inscribed "Baie Finn, above Killarney-Georgian Bay", with a sketch of a map of the area on the reverse 12 ins x 16 ins; 30 cms x 40 cms Provenance: Acquired by the family of the current owner in 1938.By descent to the present owner, Ontario.Literature: John A.B. McLeish, "September Gale: A Study of Arthur Lismer and the Group of Seven", Toronto/Vancouver, 1955, pages 31-32.Lois Darroch, "Bright Land, A Warm Look at Arthur Lismer", Toronto, 1981, pages 15, 58, 99 and 109.Note: Upon his first visit to Georgian Bay in 1913, Arthur Lismer was immediately astonished by the unexpectedly wild and varied landscape. "The sharp challenge of the fall wind, the bizarre shapes and gestures of the trees, the wet, sullen rocks, deeply stirred him..." Accustomed to British landscape traditions, Lismer struggled to express his experience, he felt that "two weeks were not enough for him to absorb its feeling completely and adapt his style to cope with it...No painting technique he had ever practised in Europe could cope with Canada."Lismer returned periodically to Georgian Bay, visiting various locations in the region. By then, the artist had departed from the English style of "soft hues and misty horizons" and began representing Canada as, what the painter described as "a country without shades and shadows, with bright colours and brutal changes of climate. Even when the sun goes down with a bang...Changes occur abruptly...the blazing colours embody a sense of the power of Canadian nature." The vibrancy Lismer described is strongly evident in "The Pine Tree", the painting flooded with assorted hues of green and blue and highlighted with soft whites. In 1933, the same year Lismer opened the Children's Art Centre, the first of its kind in the British commonwealth, the artist visited Baie Finn (also known as "Baie Fine" or "Baie Fin"). Travelling north to McGregor Bay, Lismer visited this fjord near Killarney for the first and only time. The rocky hills depicted in "The Pine Tree" are part of the La Cloche mountain range, spanning from Killarney to the Algoma district. "Baie Fin is long, narrow and walled intermittently with white cliffs that stretch into the marbled distance. The Lismers rented a cottage on an island past the narrow entrance, and it was likely in Baie Fin that Lismer painted the sketch for 'Bright Land.'" Locales such as Baie Finn, unexpected paradises along the shores of Georgian Bay, influenced Lismer to create some of his most celebrated work, artwork inspired by "the feel of rock and moss underfoot, the bold winds, the sparkling and fragrant air...", transporting the viewer to the very savage and beautiful landscape which first captivated and challenged the painter.

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MAURICE GALBRAITH CULLEN, R.C.A., MONT TREMBLANT FROM LAC OUIMET, oil on board, 11.75 ins x 16.25 ins; 29.4 cms x 40.6 cms

Lot 21: MAURICE GALBRAITH CULLEN, R.C.A., MONT TREMBLANT FROM LAC OUIMET, oil on board, 11.75 ins x 16.25 ins; 29.4 cms x 40.6 cms

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Description: MAURICE GALBRAITH CULLEN, R.C.A.MONT TREMBLANT FROM LAC OUIMET, oil on board; signed with monogram, Cullen Inventory No.1298 11.75 ins x 16.25 ins; 29.4 cms x 40.6 cms Provenance: Watson Art Galleries, Montreal.Private Collection, Toronto.

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JOHN WILLIAM BEATTY, O.S.A., R.C.A., COUNTRY ROAD, oil on canvas, 12 ins x 15 ins; 30 cms x 37.5 cms

Lot 22: JOHN WILLIAM BEATTY, O.S.A., R.C.A., COUNTRY ROAD, oil on canvas, 12 ins x 15 ins; 30 cms x 37.5 cms

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Description: JOHN WILLIAM BEATTY, O.S.A., R.C.A.COUNTRY ROAD, oil on canvas; signed and dated '06 12 ins x 15 ins; 30 cms x 37.5 cms

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CLARENCE ALPHONSE GAGNON, R.C.A., DANS LES ALPES, 1927, oil on panel, 6.25 ins x 9 ins; 15.6 cms x 22.5 cms

Lot 23: CLARENCE ALPHONSE GAGNON, R.C.A., DANS LES ALPES, 1927, oil on panel, 6.25 ins x 9 ins; 15.6 cms x 22.5 cms

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Description: CLARENCE ALPHONSE GAGNON, R.C.A.DANS LES ALPES, 1927, oil on panel; certified by Lucile Rodier Gagnon (No.468) on the reverse 6.25 ins x 9 ins; 15.6 cms x 22.5 cms Provenance: Galerie Walter Klinkhoff Inc., Montreal.Private Colleciton, Toronto.

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FREDERICK STANLEY HAINES, P.O.S.A., P.R.C.A., LANDSCAPE FROM THE SHORELINE, oil on metal, 16 ins x 20 ins; 40 cms x 50 cms

Lot 24: FREDERICK STANLEY HAINES, P.O.S.A., P.R.C.A., LANDSCAPE FROM THE SHORELINE, oil on metal, 16 ins x 20 ins; 40 cms x 50 cms

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Description: FREDERICK STANLEY HAINES, P.O.S.A., P.R.C.A.LANDSCAPE FROM THE SHORELINE, oil on metal; signed 16 ins x 20 ins; 40 cms x 50 cms

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LAWREN STEWART HARRIS, MT. SAMPSON, MALIGNE LAKE, MOUNTAIN SKETCH CVI, oil on board, 10.75 ins x 13.75 ins; 26.9 cms x 34.4 cms

Lot 25: LAWREN STEWART HARRIS, MT. SAMPSON, MALIGNE LAKE, MOUNTAIN SKETCH CVI, oil on board, 10.75 ins x 13.75 ins; 26.9 cms x 34.4 cms

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Description: LAWREN STEWART HARRISMT. SAMPSON, MALIGNE LAKE, MOUNTAIN SKETCH CVI, oil on board; signed; titled on the reverse 10.75 ins x 13.75 ins; 26.9 cms x 34.4 cms Provenance: Dominion Gallery, Montreal.Walter Klinkhoff Gallery, Montreal.Private Collection, Nova Scotia.Private Collection, Ontario.Literature: Bess Harris and R.G.P. Colgrove, "Lawren Harris", Toronto, 1969, page 62.Joan Murray, "The Beginning of Vision, The Drawings of Lawren S. Harris", Toronto, 1982, page 98.Lisa Christensen, "A Hiker's Guide to the Rocky Mountain Art of Lawren Harris", Calgary, 2000, page vii, for a related pen and ink drawing entitled "Mount Sampson, Maligne Lake, Jasper", illustrated. Also page 7 for the drawing "Maligne Lake, Jasper Park, Alberta, 1924" from the 1925 portfolio, illustrated. See also page 48 for an extensive description of the Maligne Lake topography.Note: Painted in 1924."When I first saw the mountains, travelled through them, I was most discouraged. Nowhere did they measure up to the advertising folders, or to the conception these had formed in my mind's eye. But, after I became better acquainted with the mountains, camped and tramped and lived among them, I found a power and majesty and a wealth of experience at nature's summit which no travel-folder ever expressed." Lawren HarrisIn the late summer of 1924, Harris took his first trip to the Rocky Mountains, probably under the advice of J.E.H. MacDonald who had visited earlier that summer. Accompanying Harris was his family and fellow Group of Seven member, A.Y. Jackson. This inaugural trip was clearly significant for Harris as almost every year between 1924 and 1929, Harris would spend months at a time sketching in the Rocky Mountains.This work was most likely the source for the pen and ink drawing "Mount Sampson, Maligne Lake, Jasper Park, circa 1924", which was included in the 1925 Group of Seven exhibition. A portfolio of lithographs based on the pen and ink drawings was available for purchase at the 1925 show.

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ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., LAKE OF BAYS, 1926, oil on board, 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms

Lot 26: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., LAKE OF BAYS, 1926, oil on board, 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.LAKE OF BAYS, 1926, oil on board; signed 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms

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PETER CLAPHAM SHEPPARD, O.S.A., R.C.A., AUTUMN, NORTHERN RIVER, oil on board, 10.5 ins x 13.75 ins; 26.3 cms x 34.4 cms

Lot 27: PETER CLAPHAM SHEPPARD, O.S.A., R.C.A., AUTUMN, NORTHERN RIVER, oil on board, 10.5 ins x 13.75 ins; 26.3 cms x 34.4 cms

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Description: PETER CLAPHAM SHEPPARD, O.S.A., R.C.A.AUTUMN, NORTHERN RIVER, oil on board; signed; an estate stamp on the reverse 10.5 ins x 13.75 ins; 26.3 cms x 34.4 cms

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ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., AUTUMN HAZE-TERRA COTTA, oil on canvas, laid down on board, 9.5 ins x 11.25 ins; 23.8 cms x 28.1 cms

Lot 28: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., AUTUMN HAZE-TERRA COTTA, oil on canvas, laid down on board, 9.5 ins x 11.25 ins; 23.8 cms x 28.1 cms

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Description: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.AUTUMN HAZE-TERRA COTTA, oil on canvas, laid down on board; signed 9.5 ins x 11.25 ins; 23.8 cms x 28.1 cms Literature: Christopher Jackson, "A.J. Casson: Behind The Scenes", exhibition catalogue, Varley Art Gallery, Markham, 2006, page 12.Note: During his time with the Group of Seven, and later the Canadian Group of Painters, "Casson took up his love of the smaller villages and towns of southern Ontario...he and Margaret bought a car and weekends were often taken up with sketching trips to the countryside." Casson continually explored Ontario, depicting the country and towns of the province, soon discovering and capturing inspiring settings near Georgetown and Caledon, such as Cheltenham and Terra Cotta.According to a June 7, 1987 inscription by the artist on the reverse, this artwork was "painted about 1935."

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ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., GRACE LAKE, oil on board, 10.5 ins x 13.5 ins; 26.3 cms x 33.8 cms

Lot 29: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., GRACE LAKE, oil on board, 10.5 ins x 13.5 ins; 26.3 cms x 33.8 cms

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Description: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.GRACE LAKE, oil on board 10.5 ins x 13.5 ins; 26.3 cms x 33.8 cms Provenance: Loch Mayberry Fine Art Inc., Winnipeg.Canadian Fine Arts, Toronto.Private Collection, Toronto.

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FRANK HANS JOHNSTON, O.S.A., A.R.C.A., SUN OF SEPTEMBER, oil on board, 16 ins x 20 ins; 40 cms x 50 cms

Lot 30: FRANK HANS JOHNSTON, O.S.A., A.R.C.A., SUN OF SEPTEMBER, oil on board, 16 ins x 20 ins; 40 cms x 50 cms

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Description: FRANK HANS JOHNSTON, O.S.A., A.R.C.A.SUN OF SEPTEMBER, oil on board; signed 16 ins x 20 ins; 40 cms x 50 cms Provenance: Private Collection, Ontario.

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ARTHUR LISMER, O.S.A., R.C.A., POOL IN A FOREST CLEARING, oil on board, 11.75 ins x 15.75 ins; 29.4 cms x 39.4 cms

Lot 31: ARTHUR LISMER, O.S.A., R.C.A., POOL IN A FOREST CLEARING, oil on board, 11.75 ins x 15.75 ins; 29.4 cms x 39.4 cms

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Description: ARTHUR LISMER, O.S.A., R.C.A.POOL IN A FOREST CLEARING, oil on board 11.75 ins x 15.75 ins; 29.4 cms x 39.4 cms Literature: Dennis Reid, "Canadian Jungle, The Later Works of Arthur Lismer", Toronto, 1985, page 52.Joyner Waddington's Canadian Fine Art, "Canadian Art", auction, Toronto, November 22nd, 2010, lot 60, for Lismer's canvas based on this oil sketch (entitled "Forest and Shore, B.C.").Note: Discussing a fall 1954 exhibition of Arthur Lismer's recent paintings and drawings, Dennis Reid describes the public reception to the travelling show: "Warmly received at every stop, there were a number of sensitive responses from local critics. The most perceptive was a review from Regina by Richard Simmins...[who] found the 'Recent Paintings' to be 'rather a choice little exhibition by one of Canada's best painters'. The B.C. sketches in particular were, for him 'full of bright color (sic), intense in feeling and full of nervous, vital movement. I noticed that Lismer has a trick of accentuating movement by emphasizing contour. Instead of outlining a writhing line in colour, he uses the wooden end of his brush to scrape away a line which emphasizes form...Lismer is known to be a fine draughtsman and I find this return to a linear quality in his painting very interesting...Generally speaking one is impressed by the color (sic) vitality of the exhibition and the sense of the artist's immediacy in relation to nature. In many cases, he takes mundane subject matter, magnifies it and turns chaos into order and art.'"

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DORIS JEAN MCCARTHY, O.S.A., R.C.A., CHILDREN TOBAGGANING, HALIBURTON VILLAGE, oil on canvas, 30 ins x 34 ins; 75 cms x 85 cms

Lot 32: DORIS JEAN MCCARTHY, O.S.A., R.C.A., CHILDREN TOBAGGANING, HALIBURTON VILLAGE, oil on canvas, 30 ins x 34 ins; 75 cms x 85 cms

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Description: DORIS JEAN MCCARTHY, O.S.A., R.C.A.CHILDREN TOBAGGANING, HALIBURTON VILLAGE, oil on canvas; signed; a finished painting of a church and cemetery with figures on the reverse 30 ins x 34 ins; 75 cms x 85 cms Provenance: Private Collection, Ontario.Exhibited: Canadian National Exhibition, Toronto, August 27 to September 11, 1948, no.68 (as "Haliburton Village").Literature: William Moore, "Heart Of Vision", "Celebrating Life: The Art of Doris McCarthy", The McMichael Canadian Art Collection, Kleinburg, Ontario, 1999, pages 178, 182 and 190.Note: During the 1930s and '40s, Doris McCarthy would visit Haliburton either in the spring or summer, often returning once more in December to sketch her winter scenes. Usually accompanied by fellow artists on her trips, McCarthy was to a degree influenced by the work of her friends, such as Peter and Bobs Cogill Haworth, as well as Virginia Luz. However, "McCarthy was set on a direction different from theirs...McCarthy's painting became less involved with composition, design or with the relationship of form as an end. Instead she used those vehicles to allow the viewer to enter the artist's construction of her understanding of place." While still early in her career, McCarthy had, by the 1930s already developed her "special sense of place"; one that "stands on the very edge of two worlds. One is the dynamic, ever changing and powerful natural order of the landscape itself---the other, an inner world of the artist which celebrates the nature of perception." In "Children Tobogganing, Haliburton Village", these two worlds collide beautifully. The stark snow covered hills and bare trees in the background are warmed with the presence of snow-covered logs representing the comforting hearth, as well as families tobogganing, reminiscent of a childhood in Canada. Varying from some of her other Haliburton scenes, McCarthy chose here not to engulf the buildings in thick snow, as she did in "New Years Day, Hailburton" and "Barns, Haliburton"; but rather to lightly dust the taller houses, as if to shift the focus away from the severity of the weather, and unto the pleasantries of the season.

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CORNELIUS KRIEGHOFF, MOTHER AND PAPOOSE CROSSING THE ST. LAWRENCE, oil on canvas, 11.25 ins x 9.25 ins; 28.1 cms x 23.1 cms

Lot 33: CORNELIUS KRIEGHOFF, MOTHER AND PAPOOSE CROSSING THE ST. LAWRENCE, oil on canvas, 11.25 ins x 9.25 ins; 28.1 cms x 23.1 cms

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Description: CORNELIUS KRIEGHOFFMOTHER AND PAPOOSE CROSSING THE ST. LAWRENCE, oil on canvas; signed and inscribed "Quebec 58" 11.25 ins x 9.25 ins; 28.1 cms x 23.1 cms Literature: Dennis Reid, "Cornelius Krieghoff: The Development of a Canadian Artist", "Krieghoff: Images of Canada", ed. Dennis Reid, Toronto, 1999, page 83.Note: Discussing the painter's images of Native subjects during his time in Quebec, Dennis Reid explains: "There was a Native presence in Quebec in the mid-fifties, probably as much as Krieghoff had earlier experienced in Montreal. Micmac and Montagnais from New Brunswick and the north shore of the St. Lawrence camped every summer at Indian Cove on the Levis side of the river until at least the mid-nineteenth century, according to George Gale, selling trade goods throughout the season and collecting their treaty payments before departing in the early fall."

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CORNELIUS KRIEGHOFF, INDIAN BASKET SELLER, oil on canvas, 11 ins x 9 ins; 27.5 cms x 22.5 cms

Lot 34: CORNELIUS KRIEGHOFF, INDIAN BASKET SELLER, oil on canvas, 11 ins x 9 ins; 27.5 cms x 22.5 cms

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Description: CORNELIUS KRIEGHOFFINDIAN BASKET SELLER, oil on canvas; signed, dated 1860 and inscribed "Quebec" 11 ins x 9 ins; 27.5 cms x 22.5 cms Provenance: Dominion Gallery, Montreal.Galerie Claude Lafitte, Montreal.Private Collection, Toronto.Literature: Marius Barbeau, "Cornelius Krieghoff, Pioneer Painter of North America", Toronto, 1934, pages 147-148 for a listing of works which illustrate this subject.Note: In his listing of works of art that depict the Indian Basket Seller archetype, Marius Barbeau describes an oval upright artwork which has similar aspects to this painting: "Summertime. Figure occupies half the height of picture, facing right. Mounting an incline. Beaver hat, wide brim and...ribbon. Under-robe, red; dark blue blanket. Seven baskets strung next to skirt; the larger one of bark held by pack strap across shoulder. Distant hills. Carefully and well painted."

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ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., LANDSCAPE WITH CLOUDS, oil on board, 7.25 ins x 9.25 ins; 18.1 cms x 23.1 cms

Lot 35: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., LANDSCAPE WITH CLOUDS, oil on board, 7.25 ins x 9.25 ins; 18.1 cms x 23.1 cms

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Description: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.LANDSCAPE WITH CLOUDS, oil on board; signed, a sketch of boats in a lake on the reverse 7.25 ins x 9.25 ins; 18.1 cms x 23.1 cms Provenance:

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FRANK HANS JOHNSTON, O.S.A., A.R.C.A., THE FLOWERY PATH, oil on board, 10.75 ins x 13.75 ins; 26.9 cms x 24.4 cms

Lot 36: FRANK HANS JOHNSTON, O.S.A., A.R.C.A., THE FLOWERY PATH, oil on board, 10.75 ins x 13.75 ins; 26.9 cms x 24.4 cms

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Description: FRANK HANS JOHNSTON, O.S.A., A.R.C.A.THE FLOWERY PATH, oil on board; signed 10.75 ins x 13.75 ins; 26.9 cms x 24.4 cms

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ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., AUTUMN, GRACE LAKE, NEAR WILBERFORCE, oil on canvas board, 9.5 ins x 11.25 ins; 23.8 cms x 28.1 cms

Lot 37: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., AUTUMN, GRACE LAKE, NEAR WILBERFORCE, oil on canvas board, 9.5 ins x 11.25 ins; 23.8 cms x 28.1 cms

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Description: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.AUTUMN, GRACE LAKE, NEAR WILBERFORCE, oil on canvas board; signed 9.5 ins x 11.25 ins; 23.8 cms x 28.1 cms Provenance: Private Collection, Ontario.Literature: Margaret Gray, Margaret Rand, Lois Steen, "A.J. Casson", Agincourt, 1976, page 27.Note: A.J. Casson's depictions of Ontario, both the countryside and villages of the province, helped in distinguishing the artist's work from his fellow members of the Group of Seven. The painter's skill and versatility in capturing the varying settings and terrain of Ontario are clear within "Autumn, Grace Lake, Near Wilberforce", illustrating his familiarity with and inspiration drawn from his subjects. "He knows and loves the various facets of this province, from its pastoral, rolling countryside where a few houses and stores cluster at a crossroads to form a village, to the craggy heights of lonely lakes where only a loon's cry breaks the stillness."Painted in 1941, this work of art hung in the studio of the artist for many years.

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EFA PRUDENCE HEWARD, PORTRAIT OF RANDOLPH STANLEY HEWTON, oil on canvas, 24 ins x 20 ins; 60 cms x 50 cms

Lot 38: EFA PRUDENCE HEWARD, PORTRAIT OF RANDOLPH STANLEY HEWTON, oil on canvas, 24 ins x 20 ins; 60 cms x 50 cms

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Description: EFA PRUDENCE HEWARDPORTRAIT OF RANDOLPH STANLEY HEWTON, oil on canvas 24 ins x 20 ins; 60 cms x 50 cms Provenance: Estate of Randolph S. Hewton.By descent to the present owner.Literature: Natalie Luckyj, "Expressions of Will, The Art of Prudence Heward", Agnes Etherington Art Centre, Kingston, 1986, pages 31 and 59.Note: Painted circa 1925.Prudence Heward enrolled at the Art Association of Montreal where she studied under Randolph Stanley Hewton. Later, they were among the artists who formed the Beaver Hall Hill Group in Montreal as well as the Canadian Group of Painters, a group Heward co-founded in 1933. It is not surprising that Heward and Hewton shared similar traits in their work. Heward often positioned the sitter of her portrait in front of a landscape as seen in her "Portrait of Randolph Hewton", a characteristic also present in Hewton's portraits such as "Miss Audrey Buller" (ca. 1924). Heward's preference for familiarity with her subject allowed her to express the heightened emotion and distinct temperament of the sitters. Luckyj describes how the artist successfully integrated figure and landscape through the use of "broadly painted simple forms, strong linear outline and flattened space which result[ed] in compositions which convey monumental scale and heroic inevitability." The choice to paint a bust of Hewton alludes to classical portrayals of heroic and serious subjects; possibly how Heward regarded her former teacher - as an important pioneer in Canadian art.

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CORNELIUS KRIEGHOFF, YOUNG WOMAN GATHERING GRAPES, oil on canvas, 24 ins x 20 ins; 60 cms x 50 cms

Lot 39: CORNELIUS KRIEGHOFF, YOUNG WOMAN GATHERING GRAPES, oil on canvas, 24 ins x 20 ins; 60 cms x 50 cms

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Description: CORNELIUS KRIEGHOFFYOUNG WOMAN GATHERING GRAPES, oil on canvas; signed, framed as an oval 24 ins x 20 ins; 60 cms x 50 cms Provenance: H.B.M. Hartley, Connecticut.Mrs. H.W. Chamberlain (granddaughter of H.B.M. Hartley), Ottawa.Sotheby's Canada, auction, Toronto, October, 1973, lot 86.Private Collection, Pennsylvania.Exhibited: Krieghoff Exhibition, National Gallery of Canada, Ottawa, Feb-Mar, 1934. Also shown at the Art Association of Montreal, Montreal, March-April, 1934.Literature: Marius Barbeau, "Cornelius Krieghoff, Pioneer Painter of North America", Toronto, 1934, page 130, listed."Exhibition of Paintings by Cornelius Krieghoff, 1815-1872", National Gallery of Canada, Ottawa, 1934, checklist.Note: Painted circa 1854-55.Barbeau states that this canvas seems to have been Krieghoff's first venture in a new direction, as a test of his progress under museum influence. While still in France, he had Louise, his wife, pose in a pretty Italian costume, "a red bodice nicely moulding her bust and waist, with plaited white chemisette, apron and a fine headdress, deep blue and red." Barbeau points out that the identification as Louise is his.

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DAVID BROWN MILNE, BUSH FLOWERS, oil on canvas, 12 ins x 16 ins; 30 cms x 40 cms

Lot 40: DAVID BROWN MILNE, BUSH FLOWERS, oil on canvas, 12 ins x 16 ins; 30 cms x 40 cms

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Description: DAVID BROWN MILNEBUSH FLOWERS, oil on canvas; signed and dated 1935 12 ins x 16 ins; 30 cms x 40 cms Provenance: The Rt. Hon. Vincent Massey, Port Hope, Ontario.Laing Galleries, Toronto.Isabelle Erskine, London, Ontario (purchased in 1958).By descent to the present owner.Exhibited: David Brown Milne, Kitchener-Waterloo Art Gallery, Kitchener, Ontario, 11 Jan.-3 Feb., 1963.The David Milne Cameo Exhibition, London Regional Art Gallery, London, Ontario, 16 July-12 Sept., 1982.Literature: Heather Bruce, "The David Milne Cameo Exhibition", London, Ontario, July, 1982, Exhibition Publication, 2pp.David Milne Jr. and David P. Silcox, "David B. Milne: Catalogue Raisonne of the Paintings, Volume 2: 1929-1953", Toronto, 1998, page 601, no.304.20, reproduced."Primary Sources": Milne B list 33, UTA; Massey inventory, NAC; Laing sale records, not numbered, Laing Estate.Note: Painted at Six Mile Lake, Muskoka.Milne was greatly inspired by flowers. A regular spring ritual for him was the first flower painting of the season. In 1932 he wrote to Alice Massey about one of his annual flower pictures that the Masseys had just purchased and gave the following account of its inspiration, which could apply as well to this lot: "From as long as I can remember I have been a sufferer from spring fever. In the early days sulphur and molasses was the prescription for that - ridiculous, and unpleasant as well. I have worked out a treatment of my own. When the last snow banks have gone from the bush and the warm sun makes you think of sitting in the sheltered side of the hill rather than of walking where you feel the deadly fever stealing through you, go out to the bush and search for wild flowers, anything, hepaticas (pinkies of my young days), yellow lilies (dog tooth violets), trilliums, the little yellowish green 'wood lilies', jack in the pulpits. Bring them home and start shuffling them round with what you have at the time on your table until you get them fitted in with the painting motives of the moment, then start to paint. Keep it up for as long as you can get the flowers and you have cured and even forgotten the disease for the year."Milne to Alice Massey1 April 1932An important event occurred in the year this lot was painted. After viewing an exhibition of Milne's paintings the previous year, a young philosophy student at the University of Toronto named Alan Jarvis became a passionate admirer of Milne's work. Jarvis persuaded his friend Douglas Duncan to see Milne's paintings and in 1935 they trekked to the artist's cabin to make his acquaintance. They both became Milne's close friends. Duncan had just founded the Picture Loan Society in Toronto and would become the artist's agent from 1938 onward. Jarvis, who would become the director of the National Gallery of Canada from 1955 to 1959, was a champion of Milne's work throughout his life.

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MARC-AURELE FORTIN, A.R.C.A., LAKESIDE COTTAGE, QUEBEC, oil on paper, laid down on board, 25 ins x 27 ins; 62.5 cms x 67.5 cms

Lot 41: MARC-AURELE FORTIN, A.R.C.A., LAKESIDE COTTAGE, QUEBEC, oil on paper, laid down on board, 25 ins x 27 ins; 62.5 cms x 67.5 cms

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Description: MARC-AURELE FORTIN, A.R.C.A.LAKESIDE COTTAGE, QUEBEC, oil on paper, laid down on board; signed, Catalogue Raisonne no.H-0821 25 ins x 27 ins; 62.5 cms x 67.5 cms Provenance: Private Collection, Ottawa.Literature: Francois-Marc Gagnon, "The Paradox of Marc-Aurele Fortin", "Marc-Aurele Fortin, The Experience of Colour", Musee National des Beaux-Arts du Quebec, Quebec, 2011, pages 152 and 157.Note: Fortin often achieved great depth in his paintings through the skillful use of colour. Gagnon writes: "His painting appeals above all through colour. Consider Fortin's enormous trees. Dominating the entire landscape, they are lovingly painted, leaf by leaf, branch by branch." At first glance, "Lakeside Cottage, Quebec" is a painting dominated by a large tree and a quaint house, however, the eye is drawn in further by the fire-toned sky illuminating the lake and casting shadows on the tree trunk and grass. This vibrant artwork exemplifies Fortin's own style of painting which he defined aptly as "the school of light and sunshine."

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ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., MADAWASKA, oil on board, 9.5 ins x 11.25 ins; 23.8 cms x 28.1 cms

Lot 42: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., MADAWASKA, oil on board, 9.5 ins x 11.25 ins; 23.8 cms x 28.1 cms

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Description: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.MADAWASKA, oil on board; signed 9.5 ins x 11.25 ins; 23.8 cms x 28.1 cms Provenance: Roberts Gallery, Toronto.Mr. Leslie Mills (partner in the brokerage firm "Mills and Spence" as a retirement gift).Private Collection, Shanty Bay.By descent in the family.Sotheby's sale, Toronto, November 17, 1999, lot 219.Private Collection, Ontario.Exhibited: Canadian Landscape Paintings, Riverbrink Art Museum, Home of the Weir Collection, Queenston, Ontario, May 19-October 14, 2007.Literature: Paul Duval, "A.J. Casson / His Life & Works / A Tribute", Toronto, 1980, pages 79-87 (chapter entitled "Discovering the Village").Note: According to Duval, the Ontario village has supplied Casson with a richness of visual substance: "...the varying textures of plaster, wood, stone, brick...The names of the places he painted read like a gazetteer of Ontario towns..."

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ROBERT WAKEHAM PILOT, P.R.C.A., VENICE FROM THE DANIELLI, 1957, oil on panel, 8.25 ins x 10.5 ins; 20.6 cms x 26.3 cms

Lot 43: ROBERT WAKEHAM PILOT, P.R.C.A., VENICE FROM THE DANIELLI, 1957, oil on panel, 8.25 ins x 10.5 ins; 20.6 cms x 26.3 cms

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Description: ROBERT WAKEHAM PILOT, P.R.C.A.VENICE FROM THE DANIELLI, 1957, oil on panel; signed 8.25 ins x 10.5 ins; 20.6 cms x 26.3 cms Provenance: Continental Galleries, Montreal.Manuge Galleries Limited, Halifax.Private Collection, Toronto.

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FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A., ST. MARTINS IN THE FIELD, watercolour, 10.5 ins x 7 ins; 26.3 cms x 17.5 cms

Lot 44: FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A., ST. MARTINS IN THE FIELD, watercolour, 10.5 ins x 7 ins; 26.3 cms x 17.5 cms

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Description: FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A.ST. MARTINS IN THE FIELD, watercolour; signed 10.5 ins x 7 ins; 26.3 cms x 17.5 cms

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FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A., HYDE PARK CORNER, PARK LANE, watercolour, 12 ins x 18 ins; 30 cms x 45 cms

Lot 45: FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A., HYDE PARK CORNER, PARK LANE, watercolour, 12 ins x 18 ins; 30 cms x 45 cms

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Description: FREDERIC MARLETT BELL-SMITH, O.S.A., R.C.A.HYDE PARK CORNER, PARK LANE, watercolour; signed 12 ins x 18 ins; 30 cms x 45 cms Literature: Roger Boulet, "Frederic Marlett Bell-Smith", Art Gallery of Greater Victoria, Victoria, 1977, page 85, plate 61, for another view entitled "Hyde Park Corner", circa 1900-1915.

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JOHN YOUNG JOHNSTONE, A.R.C.A., INTERIOR OF A CATHEDRAL, oil on board, 9.5 ins x 7.5 ins; 23.8 cms x 18.8 cms

Lot 46: JOHN YOUNG JOHNSTONE, A.R.C.A., INTERIOR OF A CATHEDRAL, oil on board, 9.5 ins x 7.5 ins; 23.8 cms x 18.8 cms

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Description: JOHN YOUNG JOHNSTONE, A.R.C.A.INTERIOR OF A CATHEDRAL, oil on board; dated "Aug. 12/12" on the reverse 9.5 ins x 7.5 ins; 23.8 cms x 18.8 cms Provenance: Continental Galleries of Fine Art, Montreal.Private Collection, Toronto.

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ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., VAN BRUGH LAKE, 1966, oil on panel, 10.5 ins x 13.5 ins; 26.3 cms x 33.8 cms

Lot 47: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., VAN BRUGH LAKE, 1966, oil on panel, 10.5 ins x 13.5 ins; 26.3 cms x 33.8 cms

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Description: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.VAN BRUGH LAKE, 1966, oil on panel; signed 10.5 ins x 13.5 ins; 26.3 cms x 33.8 cms

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JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A., ROCKINGHAM, N.S., watercolour, 6.75 ins x 5 ins; 16.9 cms x 12.5 cms

Lot 48: JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A., ROCKINGHAM, N.S., watercolour, 6.75 ins x 5 ins; 16.9 cms x 12.5 cms

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Description: JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A.ROCKINGHAM, N.S., watercolour; signed with initials, titled and dated "July 8 /98", minor foxing at upper central edge of paper 6.75 ins x 5 ins; 16.9 cms x 12.5 cms

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ARTHUR LISMER, O.S.A., R.C.A., REDWOOD, oil on panel, 16 ins x 12 ins; 40 cms x 30 cms

Lot 49: ARTHUR LISMER, O.S.A., R.C.A., REDWOOD, oil on panel, 16 ins x 12 ins; 40 cms x 30 cms

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Description: ARTHUR LISMER, O.S.A., R.C.A.REDWOOD, oil on panel; signed and dated '63; signed, dated and inscribed "B.C." on the reverse 16 ins x 12 ins; 40 cms x 30 cms Literature: John A.B. McLeish, "September Gale: A Study of Arthur Lismer and the Group of Seven", Toronto / Vancouver, 1955, pages 185-187.Note: While discussing Arthur Lismer's "small but powerful paintings of the British Columbian wilderness", John McLeish notes that, "Lismer once described both his feelings of thraldom for the immense contours and imperious moods of British Columbia, and his feeling of her remoteness and mystery. In spite of the noble landscapes and the unimaginable blues of the great Pacific coast, it was in the purest sense for Lismer an unhuman land: 'This is a country that has never been tamed by man,' he once remarked. 'It only puts up with man; man has no governance here.' In such a mood of mingled awe and amazement at the beauty and imperious mastery of the Pacific country, Lismer would set off into the nearest heart of the wilderness, and oblivious to summer heat and the sting and nuisance of black flies and mosquitos, paint purposefully and forcefully among the cathedral dimensions of the firs and among the indefatigable thrustings of what he called 'the northern jungle growth' of British Columbia."

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JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A., NEAR PETITE RIVIERE, NOVA SCOTIA, oil on board, 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms

Lot 50: JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A., NEAR PETITE RIVIERE, NOVA SCOTIA, oil on board, 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms

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Description: JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A.NEAR PETITE RIVIERE, NOVA SCOTIA, oil on board; signed, titled and dated 1922 on the reverse 8.5 ins x 10.5 ins; 21.3 cms x 26.3 cms Provenance: Walter Klinkhoff Gallery Inc., Montreal.Private Collection, Ontario.Exhibited: J.E.H. MacDonald in Nova Scotia with Lewis and Edith Smith, Dalhousie Art Gallery, Halifax, 12 January to 25 February, 1990, no.25. Also shown at the Edmonton Art Gallery and the Beaverbrook Gallery, Fredericton.Literature: Paul Duval, "The Tangled Garden", Scarborough, Ontario, 1978, page 142.Gemey Kelly, "J.E.H. MacDonald, Lewis Smith, Edith Smith, Nova Scotia", Dalhousie Art Gallery, Halifax, 1990, page 37, plate 25, reproduced.Note: Recounting MacDonald's travels and sketching in Nova Scotia, Paul Duval writes, "[i]n July, 1922, after his first year at the Ontario College of Art, MacDonald visited his lifelong artist friend, Lewis Smith, at Petit Riviere, Nova Scotia. He did a considerable number of sketches during more than a month-long stay, and he revived his old love of the sea he had acquired as a youth in England.""MacDonald spent his time at Petite Riviere going to local picnics and children's plays, attending Buck Jones westerns at the local Classic Theatre, and sketching, usually alone, but sometimes with his friends, Lewis and Edith Smith. Unlike his Algoma period, he was unsure of his creative results. 'I have made a good many sketches,' he wrote. 'How they stand I cannot say until I get them home, but they are different certainly. I may become something of a marine painter in addition to my other noted accomplishments. There is no doubt whatever that the Atlantic shore is superior to Lake Simcoe as a sketching ground."Petite Riviere is a small village on the south shore about 75 miles from Halifax and was a popular Nova Scotian holiday spot offering two beaches and a rolling landscape of field and woodlands.

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ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., NEAR ST. SAUVEUR, 1937, oil on panel, 10.5 ins x 13.5 ins; 26.3 cms x 33.8 cms

Lot 51: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., NEAR ST. SAUVEUR, 1937, oil on panel, 10.5 ins x 13.5 ins; 26.3 cms x 33.8 cms

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Description: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.NEAR ST. SAUVEUR, 1937, oil on panel; signed 10.5 ins x 13.5 ins; 26.3 cms x 33.8 cms Provenance: Roberts Gallery, Toronto.Sotheby's sale, Toronto, November, 1996, lot 67.Private Collection, Ontario.

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ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., OWLS HEAD, QUEBEC, 1974, oil on board, 12 ins x 15 ins; 30 cms x 37.5 cms

Lot 52: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., OWLS HEAD, QUEBEC, 1974, oil on board, 12 ins x 15 ins; 30 cms x 37.5 cms

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Description: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.OWLS HEAD, QUEBEC, 1974, oil on board; signed 12 ins x 15 ins; 30 cms x 37.5 cms

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