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Auction Description for Waddington's: Canadian Fine Art
Viewing Notes:
On View: Sunday 24 November from 11:00 am - 5:00 pm Monday 25 November from 11:00 am - 7:00 pm Tuesday 26 November from 11:00 am - 7:00 pm Wednesday 27 November from 10:00 am - 12:00 noon
Sale Notes:
On View: Sunday 24 November from 11:00 am - 5:00 pm Monday 25 November from 11:00 am - 7:00 pm Tuesday 26 November from 11:00 am - 7:00 pm Wednesday 27 November from 10:00 am - 12:00 noon

Canadian Fine Art

by Waddington's

Platinum House

193 lots with images

November 27, 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

193 Lots
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GRAHAM NOBLE NORWELL, O.S.A., GATINEAU VILLAGE, WINTER, oil on canvas, 39.5 ins x 49 ins; 100.3 cms x 124.5 cms

Lot 1: GRAHAM NOBLE NORWELL, O.S.A., GATINEAU VILLAGE, WINTER, oil on canvas, 39.5 ins x 49 ins; 100.3 cms x 124.5 cms

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Description: GRAHAM NOBLE NORWELL, O.S.A.GATINEAU VILLAGE, WINTER, oil on canvas; signed 39.5 ins x 49 ins; 100.3 cms x 124.5 cms Provenance: Continental Galleries of Fine Art, MontrealPrivate Collection, ConnecticutExhibited: Canadian National Exhibition, Toronto, Fine Arts Department, 1924

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MARY HIESTER REID, O.S.A., A.R.C.A., STILL LIFE WITH WHITE ROSES, oil on canvas, 12.5 ins x 14.5 ins; 31.8 cms x 36.8 cms

Lot 2: MARY HIESTER REID, O.S.A., A.R.C.A., STILL LIFE WITH WHITE ROSES, oil on canvas, 12.5 ins x 14.5 ins; 31.8 cms x 36.8 cms

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Description: MARY HIESTER REID, O.S.A., A.R.C.A.STILL LIFE WITH WHITE ROSES, oil on canvas; signed and dated 1896 12.5 ins x 14.5 ins; 31.8 cms x 36.8 cms Literature: Brian Foss and Janice Anderson, Quiet Harmony: The Art of Mary Hiester Reid, Art Gallery of Ontario, 2000, cover for a related still life, reproduced in colour.

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ISABEL MCLAUGHLIN, O.S.A, HAPPY DAYS, mixed media drawing, 27 ins x 36 ins; 68.6 cms x 91.4 cms

Lot 3: ISABEL MCLAUGHLIN, O.S.A, HAPPY DAYS, mixed media drawing, 27 ins x 36 ins; 68.6 cms x 91.4 cms

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Description: ISABEL MCLAUGHLIN, O.S.AHAPPY DAYS, mixed media drawing 27 ins x 36 ins; 68.6 cms x 91.4 cms Literature: Joan Murray, Isabel McLaughlin: Recollections, Oshawa, 1983, pages 11 and 20 and page 93 for a work entitled Fish Having Fun, reproduced.Note: Joan Murray describes McLaughlin as "one of the most important modernists in this country." Mentored by Arthur Lismer and Lawren Harris, McLaughlin eventually developed an approach to creating that was independent of the influence of these two giants of Canadian art. "I got going in my way", she said. Happy Days, probably executed in the late 1940s / early 1950s, affirms this shift toward something more uniquely her own - something happier, simpler, freer and more rhythmic.

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JOHN RICHARD (JACK) REPPEN, BLUE KING, mixed media on canvas, 43 ins x 30 ins; 109.2 cms x 76.2 cms

Lot 4: JOHN RICHARD (JACK) REPPEN, BLUE KING, mixed media on canvas, 43 ins x 30 ins; 109.2 cms x 76.2 cms

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Description: JOHN RICHARD (JACK) REPPENBLUE KING, mixed media on canvas; signed and dated '64 43 ins x 30 ins; 109.2 cms x 76.2 cms Provenance: The Estate of a Private Collector, Los Angeles

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ANDRE CHARLES BIELER, O.S.A., R.C.A., ON THE RIDEAU, collage on canvas board, 20.75 ins x 18.75 ins; 50.8 cms x 57.7 cms

Lot 5: ANDRE CHARLES BIELER, O.S.A., R.C.A., ON THE RIDEAU, collage on canvas board, 20.75 ins x 18.75 ins; 50.8 cms x 57.7 cms

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Description: ANDRE CHARLES BIELER, O.S.A., R.C.A.ON THE RIDEAU, collage on canvas board; titled on the artist's label on the reverse 20.75 ins x 18.75 ins; 50.8 cms x 57.7 cms Provenance: Private Collection, Kingston

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DAVID LLOYD BLACKWOOD, O.S.A., R.C.A., MAN WARNING TWO BOYS, etching and aquatint printed in colours, 19.75 ins x 31.5 ins; 50.2 cms x 80 cms

Lot 6: DAVID LLOYD BLACKWOOD, O.S.A., R.C.A., MAN WARNING TWO BOYS, etching and aquatint printed in colours, 19.75 ins x 31.5 ins; 50.2 cms x 80 cms

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Description: DAVID LLOYD BLACKWOOD, O.S.A., R.C.A.MAN WARNING TWO BOYS, etching and aquatint printed in colours; signed, titled, dated 1982 and numbered 39/50 in pencil in the lower margin 19.75 ins x 31.5 ins; 50.2 cms x 80 cms Literature: William Gough, The Art of David Blackwood, Toronto/Montreal, 1988, chapter entitled "Home in Wesleyville,"plate 37 for Man Warning Two Boys, reproduced in colour.

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JACK BEDER, MIETTE RANGE, CANADIAN ROCKIES, J.N.P., 1969, oil on canvas board, 16 ins x 20 ins; 40.6 cms x 50.8 cms

Lot 7: JACK BEDER, MIETTE RANGE, CANADIAN ROCKIES, J.N.P., 1969, oil on canvas board, 16 ins x 20 ins; 40.6 cms x 50.8 cms

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Description: JACK BEDERMIETTE RANGE, CANADIAN ROCKIES, J.N.P., 1969, oil on canvas board; signed 16 ins x 20 ins; 40.6 cms x 50.8 cms

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JOHN RICHARD (JACK) REPPEN, UNTITLED, mixed media on board, 48 ins x 36 ins; 121.9 cms x 91.4 cms

Lot 8: JOHN RICHARD (JACK) REPPEN, UNTITLED, mixed media on board, 48 ins x 36 ins; 121.9 cms x 91.4 cms

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Description: JOHN RICHARD (JACK) REPPENUNTITLED, mixed media on board; signed and dated '63 48 ins x 36 ins; 121.9 cms x 91.4 cms Provenance: The Estate of Oscar Peterson, Ontario

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PIERRE PAUL BERTIN, VILLAGE, oil on canvas, 49 ins x 49 ins; 124.5 cms x 124.5 cms

Lot 9: PIERRE PAUL BERTIN, VILLAGE, oil on canvas, 49 ins x 49 ins; 124.5 cms x 124.5 cms

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Description: PIERRE PAUL BERTINVILLAGE, oil on canvas; signed and indistinctly dated 49 ins x 49 ins; 124.5 cms x 124.5 cms Provenance: John Arena, Toronto

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DAVID ALEXANDER, FROM THE VAULT TOP, acrylic on canvas, 47 ins x 60.5 ins; 119.4 cms x 153.7 cms

Lot 10: DAVID ALEXANDER, FROM THE VAULT TOP, acrylic on canvas, 47 ins x 60.5 ins; 119.4 cms x 153.7 cms

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Description: DAVID ALEXANDERFROM THE VAULT TOP, acrylic on canvas; signed 47 ins x 60.5 ins; 119.4 cms x 153.7 cms Provenance: Galerie Elca London, Montreal

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PETER ROTTER, BIRCH GROVE, oil on canvas, 66 ins x 50 ins; 167.6 cms x 127 cms

Lot 11: PETER ROTTER, BIRCH GROVE, oil on canvas, 66 ins x 50 ins; 167.6 cms x 127 cms

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Description: PETER ROTTERBIRCH GROVE, oil on canvas; signed 66 ins x 50 ins; 167.6 cms x 127 cms

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THOMAS HAROLD BEAMENT, P.R.C.A., UTAKIJUT - THE WAITING ONES, oil on canvas, 24 ins x 31 ins; 61 cms x 78.7 cms

Lot 12: THOMAS HAROLD BEAMENT, P.R.C.A., UTAKIJUT - THE WAITING ONES, oil on canvas, 24 ins x 31 ins; 61 cms x 78.7 cms

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Description: THOMAS HAROLD BEAMENT, P.R.C.A.UTAKIJUT - THE WAITING ONES, oil on canvas; signed; signed, titled and inscribed "Exhibited in the Tate Gallery, London" on the overflap 24 ins x 31 ins; 61 cms x 78.7 cms

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BARKER FAIRLEY, R.C.A., CUT IN ROAD, oil on board, 11.25 ins x 14 ins; 28.6 cms x 35.6 cms

Lot 13: BARKER FAIRLEY, R.C.A., CUT IN ROAD, oil on board, 11.25 ins x 14 ins; 28.6 cms x 35.6 cms

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Description: BARKER FAIRLEY, R.C.A.CUT IN ROAD, oil on board; signed; signed, titled and dated 1962 on the reverse 11.25 ins x 14 ins; 28.6 cms x 35.6 cms Provenance: Private Collection, TorontoLiterature: Gary Michael Dault, "Barker Fairley," review, Canadian Art magazine, Spring 1987, pages 99-100.Note: Gary Michael Dault has described Fairley's paintings as "assured and economical." "The landscape," he quotes Fairley as saying, "is the great Canadian fact." Dault writes: "That's the way [Fairley] painted it: boldly and simply and eloquently and with a vision unmediated by self-conscious decorativeness."

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JOHN RICHARD (JACK) REPPEN, THE SECRETS OF THE NIGHT, oil and mixed media on masonite, 24 ins x 36 ins; 61 cms x 91.4 cms

Lot 14: JOHN RICHARD (JACK) REPPEN, THE SECRETS OF THE NIGHT, oil and mixed media on masonite, 24 ins x 36 ins; 61 cms x 91.4 cms

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Description: JOHN RICHARD (JACK) REPPENTHE SECRETS OF THE NIGHT, oil and mixed media on masonite; signed and dated '62; signed, titled and dated on the stretcher 24 ins x 36 ins; 61 cms x 91.4 cms

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GRAHAM FOWLER, WATER LILIES, oil on canvas, 36.25 ins x 49.25 ins; 92.1 cms x 125.1 cms

Lot 15: GRAHAM FOWLER, WATER LILIES, oil on canvas, 36.25 ins x 49.25 ins; 92.1 cms x 125.1 cms

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Description: GRAHAM FOWLERWATER LILIES, oil on canvas 36.25 ins x 49.25 ins; 92.1 cms x 125.1 cms

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KOSSO ELOUL, R.C.A., UNTITLED, aluminum, 9.75 ins x 5 ins x 5 ins; 24.8 cms x 12.7 cms x 12.7 cms

Lot 16: KOSSO ELOUL, R.C.A., UNTITLED, aluminum, 9.75 ins x 5 ins x 5 ins; 24.8 cms x 12.7 cms x 12.7 cms

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Description: KOSSO ELOUL, R.C.A.UNTITLED, aluminum 9.75 ins x 5 ins x 5 ins; 24.8 cms x 12.7 cms x 12.7 cms Provenance: Private Collection, Tel Aviv (by descent)

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CATHY DALEY, UNTITLED - POLKA DOTS AND STILETTOS, pastel on vellum, 42 ins x 67.5 ins; 106.7 cms x 171.5 cms

Lot 17: CATHY DALEY, UNTITLED - POLKA DOTS AND STILETTOS, pastel on vellum, 42 ins x 67.5 ins; 106.7 cms x 171.5 cms

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Description: CATHY DALEYUNTITLED - POLKA DOTS AND STILETTOS, pastel on vellum; signed and dated 2000 42 ins x 67.5 ins; 106.7 cms x 171.5 cms

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CHARLES DAUDELIN, COMPOSITION, collage, 12 ins x 9 ins; 30.5 cms x 22.9 cms

Lot 18: CHARLES DAUDELIN, COMPOSITION, collage, 12 ins x 9 ins; 30.5 cms x 22.9 cms

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Description: CHARLES DAUDELINCOMPOSITION, collage; signed and dated '47 12 ins x 9 ins; 30.5 cms x 22.9 cms Provenance: Gerard Gorce Beaux-Arts Inc., MontrealGallery ModernArts, London

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LISE GERVAIS, EMAUX VOLATILES, oil on canvas, 71.5 ins x 24.5 ins; 177.5 cms x 61.3 cms

Lot 19: LISE GERVAIS, EMAUX VOLATILES, oil on canvas, 71.5 ins x 24.5 ins; 177.5 cms x 61.3 cms

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Description: LISE GERVAISEMAUX VOLATILES, oil on canvas; signed and dated /64 71.5 ins x 24.5 ins; 177.5 cms x 61.3 cms Provenance: The Estate of a Private Collector, Los Angeles

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FLORENCE GERTRUDE VALE, SEATED GIRL, oil on canvas board, 20 ins x 15.25 ins; 50.8 cms x 38.7 cms

Lot 20: FLORENCE GERTRUDE VALE, SEATED GIRL, oil on canvas board, 20 ins x 15.25 ins; 50.8 cms x 38.7 cms

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Description: FLORENCE GERTRUDE VALESEATED GIRL, oil on canvas board; signed 20 ins x 15.25 ins; 50.8 cms x 38.7 cms Provenance: The Estate of Oscar Peterson, Ontario

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JACK BEDER, SYMMETRICAL FIGURE, limestone, height 9 ins; 22.9 cms

Lot 21: JACK BEDER, SYMMETRICAL FIGURE, limestone, height 9 ins; 22.9 cms

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Description: JACK BEDERSYMMETRICAL FIGURE, limestone; signed and dated '67 height 9 ins; 22.9 cms

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WILLIAM RONALD, R.C.A., UNTITLED COMPOSITION, watercolour and ink, 14.5 ins x 19 ins; 36.8 cms x 48.3 cms

Lot 22: WILLIAM RONALD, R.C.A., UNTITLED COMPOSITION, watercolour and ink, 14.5 ins x 19 ins; 36.8 cms x 48.3 cms

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Description: WILLIAM RONALD, R.C.A.UNTITLED COMPOSITION, watercolour and ink; signed 14.5 ins x 19 ins; 36.8 cms x 48.3 cms $4,000-5,000Provenance: Gift of the artistPrivate Collection, Toronto

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HAROLD BARLING TOWN, R.C.A., TOY HORSE, mixed media drawing on board, 15 ins x 15.5 ins; 38.1 cms x 39.4 cms

Lot 23: HAROLD BARLING TOWN, R.C.A., TOY HORSE, mixed media drawing on board, 15 ins x 15.5 ins; 38.1 cms x 39.4 cms

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Description: HAROLD BARLING TOWN, R.C.A.TOY HORSE, mixed media drawing on board; signed and dated "Nov 29-76"; signed titled and dated on the reverse, unframed 15 ins x 15.5 ins; 38.1 cms x 39.4 cms

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CLAUDE TOUSIGNANT, R.C.A., MONOCHROME BLEU 9, acrylic on card, 5.75 ins x 9.75 ins; 14.6 cms x 24.8 cms

Lot 24: CLAUDE TOUSIGNANT, R.C.A., MONOCHROME BLEU 9, acrylic on card, 5.75 ins x 9.75 ins; 14.6 cms x 24.8 cms

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Description: CLAUDE TOUSIGNANT, R.C.A.MONOCHROME BLEU 9, acrylic on card; signed, titled, dated 1999 and numbered "8/9" on the reverse 5.75 ins x 9.75 ins; 14.6 cms x 24.8 cms

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WILLIAM PEREHUDOFF, R.C.A., AC.99.18, acrylic on canvas, 52.5 ins x 56.25 ins; 133.4 cms x 142.9 cms

Lot 25: WILLIAM PEREHUDOFF, R.C.A., AC.99.18, acrylic on canvas, 52.5 ins x 56.25 ins; 133.4 cms x 142.9 cms

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Description: WILLIAM PEREHUDOFF, R.C.A.AC.99.18, acrylic on canvas; signed, titled and dated 1999 on the reverse 52.5 ins x 56.25 ins; 133.4 cms x 142.9 cms

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JEAN-PAUL RIOPELLE, R.C.A., NOUVELLE IMPRESSION, oil on canvas, 5.75 ins x 8.75 ins; 14.6 cms x 22.2 cms

Lot 26: JEAN-PAUL RIOPELLE, R.C.A., NOUVELLE IMPRESSION, oil on canvas, 5.75 ins x 8.75 ins; 14.6 cms x 22.2 cms

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Description: JEAN-PAUL RIOPELLE, R.C.A.NOUVELLE IMPRESSION, oil on canvas; signed with initial; signed on the stretcher 5.75 ins x 8.75 ins; 14.6 cms x 22.2 cms Provenance: Galerie d'Art Vincent, OttawaPrivate Collection, Ottawa

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ANTHONY (TONY) MORSE URQUHART, THRESHOLD, oil on masonite, 84 ins x 54 ins; 213.4 cms x 137.2 cms

Lot 27: ANTHONY (TONY) MORSE URQUHART, THRESHOLD, oil on masonite, 84 ins x 54 ins; 213.4 cms x 137.2 cms

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Description: ANTHONY (TONY) MORSE URQUHARTTHRESHOLD, oil on masonite; signed and dated 1980; titled on the gallery label on the reverse 84 ins x 54 ins; 213.4 cms x 137.2 cms Provenance: Bau-Xi Gallery, Toronto/Vancouver

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WILLIAM PATERSON EWEN, R.C.A., COASTLINE WITH PRECIPITATION, 1975, acrylic on handmade paper, 13.5 ins x 62.5 ins; 34.3 cms x 158.8 cms

Lot 28: WILLIAM PATERSON EWEN, R.C.A., COASTLINE WITH PRECIPITATION, 1975, acrylic on handmade paper, 13.5 ins x 62.5 ins; 34.3 cms x 158.8 cms

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Description: WILLIAM PATERSON EWEN, R.C.A.COASTLINE WITH PRECIPITATION, 1975, acrylic on handmade paper; signed on the reverse; titled and dated on the gallery label 13.5 ins x 62.5 ins; 34.3 cms x 158.8 cms Provenance: Collection of Carmen Lamanna, TorontoBy descent to the present owner, OntarioLiterature: Heather A. Fraser, Paterson Ewen, Critical Works, Works on Paper 1949-92, Art Gallery of Hamilton, 1992, unpaginated.Note: According to Fraser, in 1971 Ewen developed an interest in paper-making as an offshoot of his exploration of 18th century Japanese prints. She writes: "In 1973, Ewen began in earnest to paint on handmade paper and in 1975 had an exhibition of his works on paper (that same year)...which sold art." Fraser quotes reporter Lenore Crawford of the London Free Press: "He's doing watercolours in a concentrated way as he hasn't done for years, using beautiful paper he makes himself - proudly - on the paper-making machine in Western's Fine Art Department."Fraser continues: "The chance imperfections of recycled materials and bumps which occur during the paper's drying, suggested a new role for paper as a medium rather than as a support."It was in the year this work was created that Ewen was elected a member of the Royal Canadian Academy.

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ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., ECHO BAY, GREAT BEAR LAKE, NEAR PORT RADIUM, N.W.T., oil on canvas, 22 ins x 28 ins; 55.9 cms x 71.1 cms

Lot 29: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., ECHO BAY, GREAT BEAR LAKE, NEAR PORT RADIUM, N.W.T., oil on canvas, 22 ins x 28 ins; 55.9 cms x 71.1 cms

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Description: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.ECHO BAY, GREAT BEAR LAKE, NEAR PORT RADIUM, N.W.T., oil on canvas; signed 22 ins x 28 ins; 55.9 cms x 71.1 cms Literature: A.Y. Jackson, A Painter's Country: the autobiography of A.Y. Jackson, Clarke Irwin & Company Limited, Toronto, 1958, page 151.Naomi Jackson Groves, A.Y.'s Canada, Clarke, Irwin & Company, Toronto/Vancouver, 1968, pages 212-213.Note: With the support of Eldorado Mining and Refining owners of the Port Radium Mine, Jackson first travelled to the Great Bear Lake area in 1938. He visited again in 1949 (at the invitation of the Department of Resources and Development) and this painting is a result of his second trip. While more recent commentators have been more critical of what they would term "devices of colonial legitimization," Jackson viewed his interpretation of these sites as a kind of celebration of the gifts of the land during Canada's industrial development.Jackson Groves captures this well when she writes: "And so living history began to move in this remote spot where the pitchblende had lain waiting for one billion four hundred million years while heat formed rocks and ice gouged them off again up above it. [In the years 1930-1960], [t]he great cycle began: from the silver came the profit to defray the enormous cost of mining the other precious finds; from the pitchblende came radium, a white powder glowing blue in the dark, present in the ratio of one part in three million. (Until La Bine's discovery, one gram of radium from the Belgian Congo cost seventy thousand dollars.) One by-product of the extraction process was uranium oxide, present in the highest concentration ever mined."While the mine had been shut down at the beginning of the war, it was re-opened later under the control of the Canadian government as a uranium mine when the atom bomb programme priorized that material. However, in 1960, the mine was closed once again. Jackson wryly observed, "the premises are now used as a luxury camp for millionaires who pay (handsomely) to fish for Great Bear trout."Echo Bay gets its name from the phenomenon caused by the steep rock cliffs that surround the bay which reflect the sound of human voices off the water.

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WALTER YARWOOD, CHALIS, welded steel, height 18 ins; 45.7 cms

Lot 30: WALTER YARWOOD, CHALIS, welded steel, height 18 ins; 45.7 cms

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Description: WALTER YARWOODCHALIS, welded steel height 18 ins; 45.7 cms Note: In 1960, Walter Yarwood quit painting and turned his artistic talents to sculpture.

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KAZUO NAKAMURA, INNER EXPANSION, oil on canvas

Lot 31: KAZUO NAKAMURA, INNER EXPANSION, oil on canvas

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Description: KAZUO NAKAMURAINNER EXPANSION, oil on canvas; signed and indistinctly dated; dated 1960 on a label on the reverse $20,000-30,000Exhibited: Toronto Collects, The Art Gallery of Toronto, 1961.Kazuo Nakamura: The Method of Nature, The Robert McLaughlin Gallery, Oshawa (November 2001-March 2003), cat no.23.Literature: Kazuo Nakamura: A Human Measure, Art Gallery of Ontario, 2004, cover illustration for a closely related work, reproduced in colour.

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WALTER YARWOOD, UNTITLED, 1958, oil on canvas, laid down on board, 30 ins x 48 ins; 76.2 cms x 121.9 cms

Lot 32: WALTER YARWOOD, UNTITLED, 1958, oil on canvas, laid down on board, 30 ins x 48 ins; 76.2 cms x 121.9 cms

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Description: WALTER YARWOODUNTITLED, 1958, oil on canvas, laid down on board; signed 30 ins x 48 ins; 76.2 cms x 121.9 cms Provenance: Collection of the Rynsburger-Rathwell FamilyPrivate CollectionLiterature: Joan Murray, Painters Eleven in Retrospect, exhibition catalogue, the Robert McLaughlin Gallery, Oshawa, 1979, page 11.Iris Nowell, Painters Eleven, The Wild Ones of Canadian Art, Douglas & McIntyre, Vancouver/Toronto, 2010, page 276, cover for a detail of this work and page 288, reproduced in colour.Note: Major paintings by Walter Yarwood comparable in quality to this lot are rare. Yarwood was a self-taught painter working in advertising during the week and painting on weekends. In 1960, he quit painting and turned his artistic talents to sculpture. His demanding job, the responsibilities of supporting a family with five children and his concentration on sculpture in the sixties resulted in a relatively small painting output. Joan Murray, in the Robert McLaughlin Gallery catalogue, Painters Eleven in Retrospect, states, "regarding the matter of colour, all the group were involved with analyzing and using colour, though perhaps Cahen and later Yarwood were most successful as colourists." Yarwood's talent as a colourist complemented his philosophy on art. Norwell wrote, "In Yarwood's words, he 'liked to produce works of beauty out of things I've seen and felt in my lifetime,' rather than having his art convey social comment."

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FRANK HANS JOHNSTON, O.S.A., A.R.C.A., BRILLIANT OCTOBER, oil on board, 10.25 ins x 9.25 ins; 26 cms x 23.5 cms

Lot 33: FRANK HANS JOHNSTON, O.S.A., A.R.C.A., BRILLIANT OCTOBER, oil on board, 10.25 ins x 9.25 ins; 26 cms x 23.5 cms

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Description: FRANK HANS JOHNSTON, O.S.A., A.R.C.A.BRILLIANT OCTOBER, oil on board; signed "Frank H. Johnston"; signed, titled and inscribed "Thornhill Ont." on the reverse 10.25 ins x 9.25 ins; 26 cms x 23.5 cms

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ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., ALGONQUIN PARK, JULY 1932, oil on panel, 10.5 ins x 13.75 ins; 26.7 cms x 34.9 cms

Lot 34: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., ALGONQUIN PARK, JULY 1932, oil on panel, 10.5 ins x 13.75 ins; 26.7 cms x 34.9 cms

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Description: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.ALGONQUIN PARK, JULY 1932, oil on panel; signed; signed and titled on the reverse 10.5 ins x 13.75 ins; 26.7 cms x 34.9 cms

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ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., LEAF-BURNING, AUTUMN IN ONTARIO, oil on board, 21 ins x 17.5 ins; 53.3 cms x 44.5 cms

Lot 35: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., LEAF-BURNING, AUTUMN IN ONTARIO, oil on board, 21 ins x 17.5 ins; 53.3 cms x 44.5 cms

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Description: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.LEAF-BURNING, AUTUMN IN ONTARIO, oil on board; signed (twice) 21 ins x 17.5 ins; 53.3 cms x 44.5 cms Provenance: Private Collection, TorontoNote: This classic Canadian scene was used by McLean's magazine in 1947 for their September 15th cover.This painting is signed twice, probably first to the right and then to the left in order that the signature be more easily noticed by the magazine buying public, for by 1947 Casson's reputation as one of Canada's top artists was well-established. The painting may also have had the second signature added by Casson as a kind of insurance policy against over aggressive cropping during catalogue production; note that the second signature (at the left) is slightly higher than the one to the right.

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ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., INDIAN HOME, 1926, oil on panel, 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

Lot 36: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., INDIAN HOME, 1926, oil on panel, 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

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Description: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.INDIAN HOME, 1926, oil on panel; signed, with a finished oil sketch of Lake Superior on the reverse, also signed 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Provenance: Laing Galleries, TorontoPrivate Collection, British ColumbiaLiterature: A.Y. Jackson, A Painter's Country: the autobiography of A.Y. Jackson, Clarke Irwin & Company Limited, Toronto, 1958, pages 89-90.Naomi Jackson Groves, A.Y.'s Canada, Clarke, Irwin & Company, Toronto/Vancouver, 1968, pages 152-165 for an extensive discussion of Jackson's Skeena visit and related drawings.Wayne Larsen, A.Y. Jackson: The Life of a Landscape Painter, Dundurn Press, Toronto, 2009, pages 130-132.Note: Larsen writes: "The Skeena River had long been the home of several Aboriginal communities including the Gitksan people...The arrival of the Grand Trunk Pacific Railway...and discovery of gold in the Yukon [saw a] rapid encroachment of the white world [which] was believed to pose a serious threat to the local Gitksan culture, and it was felt by many...that the old ways had to be preserved before they disappeared completely. [Anthropologist Marius] Barbeau had made several trips out to the West Coast and was well acquainted with the people of the Skeena. In the summer of 1926, he returned to the region...to provide a visual record of the area...inviting Jackson and Edwin Holgate to accompany him. Barbeau was also working on a novel set in the region, The Downfall of Temlaham, and it was hoped that some of the images produced by the two artists might be used to illustrate the book...Jackson...was immediately struck by the creative possibilities in the lush scenery...[and said], 'The Indian villages are almost as fine as the Quebec villages and the backgrounds more exciting.'" Larsen continues, "Together Jackson and Holgate sketched the small villages, the sacred grave houses, and other aspects of the Gitksan settlements...In October, after several weeks working nearly 320 kilometres upriver, Jackson and Holgate travelled all the way down to the mouth of the Skeena at Port Essington...and there Jackson found the subject that inspired what would become one of his favourite works - Indian Home. Judging from the original pencil sketch, the house appears abandoned, almost lost in the overgrowth of tall grass...placing three figures - a mother and her two children - in front of the tiny house...His figures were rarely more than a few dabs of paint, barely noticeable within the composition. The implication was that they were part of the landscape - an indigenous people rooted to their environment."Jackson Groves describes the artist's work from this period as "delectable" and references "several studies of one peaked-roofed house that eventually became the canvas Indian Home...that A.Y. still considers one of his best."In his autobiography, A.Y recalls: "Holgate and I made many drawings of the totem poles around Kitwanga, where Campbell [a CN Railway engineer hired by Barbeau] was straightening them up and setting them in good concrete foundations. For our purposes, we preferred the poles leaning forward or backward, and suggested to Campbell he set them that way. Campbell's comment on this was brief. 'I would do anything I could...to please you artists, but as an engineer I cannot put up leaning totem poles. You can make them lean any way you like in your drawings.'"

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CORNELIUS KRIEGHOFF, INDIAN TRAPPER ON SNOWSHOES, oil on canvas, 10.75 ins x 9 ins; 27.3 cms x 22.9 cms

Lot 37: CORNELIUS KRIEGHOFF, INDIAN TRAPPER ON SNOWSHOES, oil on canvas, 10.75 ins x 9 ins; 27.3 cms x 22.9 cms

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Description: CORNELIUS KRIEGHOFFINDIAN TRAPPER ON SNOWSHOES, oil on canvas; signed 10.75 ins x 9 ins; 27.3 cms x 22.9 cms $20,000-30,000Provenance: Private Collection, California

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GEORGE AGNEW REID, O.S.A., P.R.C.A., THE HUMBER RIVER, oil on canvas, 22 ins x 36 ins; 55.9 cms x 91.4 cms

Lot 38: GEORGE AGNEW REID, O.S.A., P.R.C.A., THE HUMBER RIVER, oil on canvas, 22 ins x 36 ins; 55.9 cms x 91.4 cms

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Description: GEORGE AGNEW REID, O.S.A., P.R.C.A.THE HUMBER RIVER, oil on canvas; signed and dated 1890 22 ins x 36 ins; 55.9 cms x 91.4 cms Literature: Muriel Miller Miner, G.A. Reid Canadian Artist, The Ryerson Press, Toronto, 1946, pages 57-58Note: It was 1890, the year this painting was executed, that George Reid was elected a full academician of the Royal Canadian Academy. That summer Reid and his wife rented an old mill as a studio in Lambton Mills. According to Miner, in front of the old Mill ran the Humber, which may have been the inspiration for this painting.

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CORNELIUS KRIEGHOFF, ABOVE THE ST ANNE FALLS, QUEBEC, oil on board, 18.5 ins x 25 ins; 47 cms x 63.5 cms

Lot 39: CORNELIUS KRIEGHOFF, ABOVE THE ST ANNE FALLS, QUEBEC, oil on board, 18.5 ins x 25 ins; 47 cms x 63.5 cms

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Description: CORNELIUS KRIEGHOFFABOVE THE ST ANNE FALLS, QUEBEC, oil on board; signed 18.5 ins x 25 ins; 47 cms x 63.5 cms Provenance: Private Collection, OntarioLiterature: Dennis Reid, Krieghoff: Images of Canada, Art Gallery of Ontario, Toronto, 1999, page 73 and pages 110-111, colour plates 50 and 51, for the National Gallery of Canada's versions of this subject, reproduced in colour.Note: Dennis Reid records that Krieghoff painted versions of virtually every waterfall within visiting distance of Quebec City. Two, depicting the St Anne Falls, are in the collection of the National Gallery of Canada; one of which is a view from above the falls similar to this lot with a figure or figures dwarfed by the majestic landscape. Later Krieghoff would paint the falls of Niagara, Chaudiere and Shawinigan.

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JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A., JEH MACDONALD HOUSE ON CENTRE STREET, THORNHILL, oil on board, 7 ins x 10 ins; 17.8 cms x 25.4 cms

Lot 40: JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A., JEH MACDONALD HOUSE ON CENTRE STREET, THORNHILL, oil on board, 7 ins x 10 ins; 17.8 cms x 25.4 cms

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Description: JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A.JEH MACDONALD HOUSE ON CENTRE STREET, THORNHILL, oil on board 7 ins x 10 ins; 17.8 cms x 25.4 cms $Provenance: Private Collection, Alliston, OntarioNote: An inscription on the reverse of this painting reads, "This is our home on Centre St. Thornhill painted by an Artist for mother Mottershall. We went to their home after our house burnt to the ground. I was 5 yrs old (1923). Maude."Photo 1: An inscription on this family photograph belonging to the consignor reads, "Maude and Dad Mottershall at Center (sic) St., Thornhill, Ont. I'm about 6 yrs?"Photo 2: This photo is inscribed, "Same view of JEH MacDonald home on Centre St., Thornhill from which his painting was made. He rented this house to Mr. and Mrs. W.H. Mottershall and family from 1923 to 1925 after their home in Thornhill was destroyed by fire. The painting was given to Mrs. Mottershall during the 1923-1925 period. Mrs. Mottershall is in foreground of this photo with her family, taken in 1923 (signed Maude Mottershall)."Please note the photographs shown here are not being sold as part of this lot and are the property of the consignor.

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KATHLEEN MOIR MORRIS, A.R.C.A., DAIRY COWS AT PASTURE, ELLIOTT FAMILY FARM NEAR MARSHALL'S BAY, ONTARIO, oil on panel, 12 ins x 14 ins; 30.5 cms x 35.6 cms

Lot 41: KATHLEEN MOIR MORRIS, A.R.C.A., DAIRY COWS AT PASTURE, ELLIOTT FAMILY FARM NEAR MARSHALL'S BAY, ONTARIO, oil on panel, 12 ins x 14 ins; 30.5 cms x 35.6 cms

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Description: KATHLEEN MOIR MORRIS, A.R.C.A.DAIRY COWS AT PASTURE, ELLIOTT FAMILY FARM NEAR MARSHALL'S BAY, ONTARIO, oil on panel; signed 12 ins x 14 ins; 30.5 cms x 35.6 cms Exhibited: Kathleen Moir Morris, RCA, Loan Exhibition, Walter Klinkhoff Gallery, Montreal, June 1976, no.4Literature: Frances K. Smith, Kathleen Moir Morris, exhibition catalogue, Agnes Etherington Art Centre, Queen's University, Kingston, 1983, page 22.Note: From the 1920s to the 1970s the artist spent two months each summer at Marshall's Bay near Arnprior at the family cottage. Smith quotes the artist's nephew thus: "...Kay painted the Elliott cows so often she got to know their daily routine...at the same time every day, say noon, they would wander down to the creek for a drink. Then...they would all amble over to one of their favourite spots for an afternoon rest...Kay was always ready to paint the cows during this lazy period." Smith adds, "She herself recollected these years in 1976: 'I love to paint animals. I think cows are just beautiful but they're awfully hard to paint. They've got bumps and lumps. And the flies! They love the smell of paint. They don't go all over the cows, they go all over you!'"This lot is accompanied by a letter from the artist's niece describing the subject and dating the painting to circa 1930.

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FRANK HANS JOHNSTON, O.S.A., A.R.C.A., NORTHERN PATTERN, oil on board, 9 ins x 11.75 ins; 22.9 cms x 29.8 cms

Lot 42: FRANK HANS JOHNSTON, O.S.A., A.R.C.A., NORTHERN PATTERN, oil on board, 9 ins x 11.75 ins; 22.9 cms x 29.8 cms

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Description: FRANK HANS JOHNSTON, O.S.A., A.R.C.A.NORTHERN PATTERN, oil on board; signed; signed and titled on the reverse 9 ins x 11.75 ins; 22.9 cms x 29.8 cms

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ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., SAWMILL - BARRY BAY, 1959, oil on board, 12 ins x 15 ins; 30.5 cms x 38.1 cms

Lot 43: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., SAWMILL - BARRY BAY, 1959, oil on board, 12 ins x 15 ins; 30.5 cms x 38.1 cms

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Description: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.SAWMILL - BARRY BAY, 1959, oil on board; signed; signed, titled and dated on the artist's label on the reverse 12 ins x 15 ins; 30.5 cms x 38.1 cms Provenance: Roberts Gallery Ltd., Toronto

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MARC-AURELE DE FOY SUZOR-COTE, R.C.A., VUE DE PASAJES, ESPAGNE, oil on panel, 6.25 ins x 8.75 ins; 15.9 cms x 22.2 cms

Lot 44: MARC-AURELE DE FOY SUZOR-COTE, R.C.A., VUE DE PASAJES, ESPAGNE, oil on panel, 6.25 ins x 8.75 ins; 15.9 cms x 22.2 cms

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Description: MARC-AURELE DE FOY SUZOR-COTE, R.C.A.VUE DE PASAJES, ESPAGNE, oil on panel; signed; titled on the reverse 6.25 ins x 8.75 ins; 15.9 cms x 22.2 cms Note: Suzor-Cote visited the fishing village of Pasejes (Pasaia) in Basque, Spain in 1906-1907.

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MARC-AURELE FORTIN, A.R.C.A., VILLAGE LANDSCAPE WITH HAYCART, STE-ROSE, oil on cardboard, 9 ins x 12.25 ins; 22.9 cms x 31.1 cms

Lot 45: MARC-AURELE FORTIN, A.R.C.A., VILLAGE LANDSCAPE WITH HAYCART, STE-ROSE, oil on cardboard, 9 ins x 12.25 ins; 22.9 cms x 31.1 cms

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Description: MARC-AURELE FORTIN, A.R.C.A.VILLAGE LANDSCAPE WITH HAYCART, STE-ROSE, oil on cardboard; signed 9 ins x 12.25 ins; 22.9 cms x 31.1 cms

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JEAN-PAUL LEMIEUX, R.C.A., JEUNE FILLE DANS LA FORET, oil on canvas, 26.5 ins x 22.5 ins; 67.3 cms x 57.2 cms

Lot 46: JEAN-PAUL LEMIEUX, R.C.A., JEUNE FILLE DANS LA FORET, oil on canvas, 26.5 ins x 22.5 ins; 67.3 cms x 57.2 cms

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Description: JEAN-PAUL LEMIEUX, R.C.A.JEUNE FILLE DANS LA FORET, oil on canvas; signed and dated '63 26.5 ins x 22.5 ins; 67.3 cms x 57.2 cms Note: The year this work was painted was a busy and fulfilling one for the artist. He participated in exhibitions of Canadian painters at MoMA in New York, at the Tate Gallery in London, at the Musee Galliera in Paris and in one-man shows at Galerie Agnes Lefort and Roberts Gallery in Toronto.

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JEAN ALBERT MCEWEN, R.C.A., LE PREMIER MOULIN DE MYKONOS, oil on canvas, 50 ins x 50 ins; 127 cms x 127 cms

Lot 47: JEAN ALBERT MCEWEN, R.C.A., LE PREMIER MOULIN DE MYKONOS, oil on canvas, 50 ins x 50 ins; 127 cms x 127 cms

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Description: JEAN ALBERT MCEWEN, R.C.A.LE PREMIER MOULIN DE MYKONOS, oil on canvas; signed, titled and dated "November '63" on the reverse 50 ins x 50 ins; 127 cms x 127 cms Provenance: The Estate of Oscar Peterson, OntarioLiterature: Constance Naubert-Riser, Jean McEwen Colour in Depth, The Paintings and Works on Paper 1951-1987, Montreal Museum of Fine Arts, 1987, pages 39 and 44.Note: Colour in Depth, the apropos title of the Montreal Museum of Fine Arts' 1987-88 retrospective of Jean McEwen's work was the artist's sole focus for 30 years: the question of how a flat surface could , without the traditional devices of perspective and shading (chiaroscuro), create depth. As early as 1955, McEwen identified an approach that would determine the course of his efforts for years to come. Naubert-Riser explains: "...[his] painting would be closely identified with the two-dimensionality of its support, and the logic intrinsic to the canvas would now determine the organization of its planes." She continues: [1963] was a year of significant transition...what can be discerned is a gradual movement away from the dominant vertical composition towards a cruciform structure. The introduction of the cruciform shape onto the pictorial plane allowed the artist to bring into surface evidence an element of support: the cross-shaped struts across which the canvas is stretched. The far corners and their relationship with the central shape became, for a time, the focal point of McEwen's investigation."

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TONY SCHERMAN, THE JUNKIES: DR NICK, encaustic, 60 ins x 72 ins; 152.4 cms x 182.9 cms

Lot 48: TONY SCHERMAN, THE JUNKIES: DR NICK, encaustic, 60 ins x 72 ins; 152.4 cms x 182.9 cms

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Description: TONY SCHERMANTHE JUNKIES: DR NICK, encaustic; signed, titled and dated 06/07 on the reverse, unframed 60 ins x 72 ins; 152.4 cms x 182.9 cms $20,000-30,000

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DAVID ALEXANDER COLVILLE, R.C.A., FOX AND HEDGEHOG, openwork 18 carat gold pendant on a chain, diameter 1.75 ins; 4.4 cms

Lot 49: DAVID ALEXANDER COLVILLE, R.C.A., FOX AND HEDGEHOG, openwork 18 carat gold pendant on a chain, diameter 1.75 ins; 4.4 cms

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Description: DAVID ALEXANDER COLVILLE, R.C.A.FOX AND HEDGEHOG, openwork 18 carat gold pendant on a chain; signed, dated 1972, numbered "2/12," inscribed "The fox knows many things, but the hedgehog know one big thing" and stamped with the maker's initials "A.P" (for A. Paton) who worked for S.J. James at this time, on the reverse diameter 1.75 ins; 4.4 cms Literature: Helen J. Dow, The Art of Alex Colville, McGraw Hill Ryerson Limited, Toronto, 1972, page 150, plate 56, reproduced.Note: Dow notes that the inscription on the pendant is taken from the translation of an ancient Greek proverb used by British philosopher Isaiah Berlin in his book on Tolstoy's view of history. Dow writes: "Berlin saw Tolstoy as an example of the many-sided and even paradoxical personality which he identified as fox-like, in contrast to the single-mindedness of the hedgehog-type. Perhaps in such a definition of a man who believed one thing but achieved another, Colville recognized himself. Yet, in a much wider sense, his gold medallion demonstrates, like all his other art works, his own consistent awareness of the perpetual human conflict between what there is and what there ought to be."

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HAROLD BARLING TOWN, R.C.A., SUMMER AS WISHED, collage on masonite, 9.25 ins x 14.25 ins; 23.5 cms x 36.2 cms

Lot 50: HAROLD BARLING TOWN, R.C.A., SUMMER AS WISHED, collage on masonite, 9.25 ins x 14.25 ins; 23.5 cms x 36.2 cms

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Description: HAROLD BARLING TOWN, R.C.A.SUMMER AS WISHED, collage on masonite; signed and dated 1959 9.25 ins x 14.25 ins; 23.5 cms x 36.2 cms Literature: Denise Leclerc, The Crisis of Abstraction in Canada: the 1950s, National Gallery of Canada, 1992, pages 60-61.Note: Town's early interest in cubism led him to collage. From the mid-50s on, Town produced as Leclerc notes: "...an impressive body of work in this medium," and in her view, "...ranks among the first Canadians to have turned collage into a serious pursuit." She continues: "Since most major public galleries acquired his collages, it was primarily this medium that assured his national standing."

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