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Auction Description for Waddington's: Canadian Fine Art Auction
Viewing Notes:
Friday 18 November 2016 from 12:00 Noon to 5:00 pm Saturday 19 November 2016 from 11:00 am to 5:00 pm Sunday 20 November 2016 from 11:00 am to 5:00 pm Monday 21 November 2016 from 10:00 am to 12:00 Noon

Canadian Fine Art Auction (128 Lots)

by Waddington's


128 lots with images

November 21, 2016

Live Auction

Toronto, ON, Canada

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CHARLES FRASER COMFORT, O.S.A., P.R.C.A., WHITMAN MONUMENT (BON ECHO ROCK, MAZINAW LAKE), oil on panel, 12 ins x 16 ins; 30.5 cms x 40.6 cms

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Description: CHARLES FRASER COMFORT, O.S.A., P.R.C.A.WHITMAN MONUMENT (BON ECHO ROCK, MAZINAW LAKE)oil on panelsigned; titled on the reverse 12 ins x 16 ins; 30.5 cms x 40.6 cms Provenance:Private Collection, OntarioLiterature:Mary Jo Hughes, Take Comfort – the Career of Charles Comfort, Winnipeg Art Gallery, Winnipeg, 2007, pages 20-27. Note:Bon Echo Rock has been an inspiration to many Canadian painters. Lismer, Jackson and Casson have all painted the impressive rock face located on the eastern side of North Mazinaw. The name Mazinaw has been anglicized from the Algonquin phrase for “painted image lake” referring to the pictographs found on the rock formation. Comfort’s contribution to Canadian art and culture is significant. An accomplished artist, he was also an acclaimed teacher, writer, and arts administrator. From 1959-1965, Comfort was Director of the National Gallery of Canada, and shortly after was made Officer of the Order of Canada for his extensive involvement in arts administration and lifelong belief of the importance of art integrated within society. The title of this lot refers to a memorial inscribed on the face of the rock: “Old Walt 1819-1919 / Dedicated to the democratic ideals of Walt Whitman.”Estimate: $3,000–4,000

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GERSHON ISKOWITZ, R.C.A., UNTITLED, watercolour, 18.75 ins x 24.75 ins; 48.3 cms x 62.9 cms

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Description: GERSHON ISKOWITZ, R.C.A.UNTITLEDwatercoloursigned and dated ‘68 18.75 ins x 24.75 ins; 48.3 cms x 62.9 cms Provenance:Private Collection, OntarioPrivate Collection, British Columbia (by descent)Estimate: $1,500–2,000

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WILLIAM RONALD, R.C.A., EVERGREEN, oil on canvas, 14 ins x 18 ins; 35.6 cms x 45.7 cms

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Description: WILLIAM RONALD, R.C.A.EVERGREENoil on canvassigned and dated ‘91; also signed, titled and dated on the reverse 14 ins x 18 ins; 35.6 cms x 45.7 cms Provenance:Private Collection, OntarioPrivate Collection, British Columbia (by descent)Estimate: $2,000–3,000

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MAUD LEWIS, COVERED BRIDGE, oil on board, 12 ins x 14 ins; 30.5 cms x 35.6 cms

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Description: MAUD LEWISCOVERED BRIDGEoil on boardsigned 12 ins x 14 ins; 30.5 cms x 35.6 cms Provenance:Private Collection, OttawaLiterature:Lance Woolaver, The Illuminated Life of Maud Lewis, Art Gallery of Nova Scotia, 1996, page 67 for a closely related work, reproduced in colour.Estimate: $6,000–8,000

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MAUD LEWIS, THREE BLACK CATS, oil on board, 10.5 ins x 14.25 ins; 26.7 cms x 36.2 cms

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Description: MAUD LEWISTHREE BLACK CATSoil on boardsigned 10.5 ins x 14.25 ins; 26.7 cms x 36.2 cms Provenance:Private Collection, OttawaLiterature:Lance Woolaver, The Illuminated Life of Maud Lewis, Art Gallery of Nova Scotia, 1996, page 63 for a closely related work entitled Black Cats, reproduced in colour.Estimate: $6,000–8,000

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NORA FRANCES ELISABETH COLLYER, SIXTEEN ISLAND LAKE, P.Q. FROM SAVAGE’S MOUNTAIN, 1945, oil on panel, 12 ins x 14 ins; 30.5 cms x 35.6 cms

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Description: NORA FRANCES ELISABETH COLLYERSIXTEEN ISLAND LAKE, P.Q. FROM SAVAGE’S MOUNTAIN, 1945oil on panelsigned; also signed, titled and dated on the reverse 12 ins x 14 ins; 30.5 cms x 35.6 cms Provenance:Gift of the artistBy descent through the artist’s familyNote:Sixteen Island Lake is located in the Laurentians, north of Montreal. The lake is very near Lake Wonish where Anne Savage’s family had a cottage.Nora Collyer met Anne while attending art classes at the Art Association of Montreal. She and Anne Savage were to share a studio for several years at 305 Beaver Hall Hill in the early 1920s and these “painting friends” as Barbara Meadowcroft described the women of Beaver Hall, would remain close for life. This lot was painted from a vantage point near the Savage’s cottage, which Collyer would have visited often at Anne’s invitation.Estimate: $7,000–9,000

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NORA FRANCES ELISABETH COLLYER, TADOUSSAC, P.Q., 1940, oil on panel, 12.25 ins x 14 ins; 31.1 cms x 35.6 cms

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Description: NORA FRANCES ELISABETH COLLYERTADOUSSAC, P.Q., 1940oil on panelsigned; also signed, titled and dated “July 1940” on the reverse 12.25 ins x 14 ins; 31.1 cms x 35.6 cms Provenance:Gift of the artistBy descent through the artist’s familyNote:The village of Tadoussac where the Saguenay River meets the mighty St. Lawrence has been a favourite subject for painters for generations. Here, Nora Collyer interprets the village in rich, bold colours and the high vantage point she has selected affords an interesting tension between the perspective demanded by the view and an au fait flattening of the overall design. The result is charming.Estimate: $7,000–9,000

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ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., LAKE LA PECHE, oil on canvas board, 9.5 ins x 11.25 ins; 24.1 cms x 28.6 cms

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Description: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.LAKE LA PECHEoil on canvas boardsigned; titled on the reverse 9.5 ins x 11.25 ins; 24.1 cms x 28.6 cms Provenance:Private Collection, CollingwoodLiterature:Paul Duval, A.J. Casson: His Life and Works, A Tribute, Cerebrus/Prentice-Hall, Toronto, 1980, unpaginated.Note:In writing about Casson’s return to painting the subject of Quebec, Paul Duval notes: “Before that, (Casson’s) experience painting in French Canada had been limited to a two week trip to Lake La Peche in 1950.” Though undated, this suggests the work dates to that trip. Interestingly, Duval notes that A.Y. Jackson had tried unsuccessfully to entice Casson to the area almost forty years prior, by describing the charming villages of la belle province.Lake La Peche is located in Gatineau Park.Estimate: $20,000–30,000

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JEAN-PAUL RIOPELLE, R.C.A., HIBOU MASQUE, 1973, patinated bronze, 17 ins x 7 ins x 3 ins; 43.2 cms x 17.8 cms x 7.6 cms

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Description: JEAN-PAUL RIOPELLE, R.C.A.HIBOU MASQUE, 1973patinated bronzesigned and numbered 4/8 17 ins x 7 ins x 3 ins; 43.2 cms x 17.8 cms x 7.6 cms Provenance:Private Collection, MontrealLiterature:Guy Cogeval and Stephane Aquin (eds)., Riopelle: Works from the Collection of Power Corporation of Canada and the Montreal Museum of Fine Arts (catalogue), Montreal Museum of Fine Arts, Montreal, 2006, page 142.Yseult Riopelle (ed.), Jean Paul Riopelle: Catalogue Raisonné des Estampes, for Gilles Daigneault’s chapter entitled “Les années dionysiaques,” Hibou Editeurs, Montreal, 2005, page 34.Note:While Riopelle’s sculpture is generally less well-known than are his paintings, the artist himself asserts that sculpture was always a part of his practice. According to Riopelle, these works were not typically associated with him because “I didn’t have money to cast them in bronze” and, as a result, many of his projects were lost or broken over time. In the late 1960s, Riopelle began modelling sculpture many of which, like this lot, had an animal theme. This theme culminated in his major opus, La Joute, a sculpted fountain that would be installed near the Olympic Stadium in Montreal in 1976. In 1970 the owl motif specifically appears in Riopelle’s art and can be found in various media at this time. Daigneault writes: “We can speculate at length about the deep-seated reasons for this obsessive presence in Riopelle’s work” but may never hit upon its real meaning for the artist himself was evasive about the matter and his comments were far from illuminating. Nonetheless, whatever the impetus or inspiration, the owl did seem to have a sort of healing affect for the artist who, according to Daigneault, had been bed-ridden with a back problem for months.Estimate: $20,000–30,000

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JEAN-PAUL LEMIEUX, R.C.A., JEUNE FEMME AU CHAPEAU, C. 1968, oil on canvas, 16 ins x 13 ins; 40.6 cms x 33 cms

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Description: JEAN-PAUL LEMIEUX, R.C.A.JEUNE FEMME AU CHAPEAU, C. 1968oil on canvassigned 16 ins x 13 ins; 40.6 cms x 33 cms Provenance:Private Collection, MontrealNote:Jean-Paul Lemieux is considered to be among the most significant artists in the history of Canadian modernism. Born into a prosperous family in Quebec City in 1904, Lemieux began studying art at the conservative École des beaux-arts in Montreal in 1926 where drawing was the basis of artistic training. Here he studied with Edwin Holgate and met other students who were interested in working within the figural tradition, as well as Paul-Émile Borduas, whose art would become abstract and non-figurative. Lemieux disliked non-figurative art and never practiced it himself, believing that it could easily decline into decoration. However, in his art criticism, he would defend modern art and freedom from the rigidity of academicism. Choosing Quebec City as his base, Lemieux remained staunchly independent of the automatisme and other forms of abstraction that dominated Quebec visual art in the 1950s, developing a distinctive form of expression in which simplified figures typically inhabit broad, empty landscapes (see lot 16 and 20).Jeune femme au chapeau is typical of Lemieux’s figural style during his so-called “classic period” (1956-70). As the artist sought a universal form of expression, this may or may not be a portrait of a specific person. It is timeless; the woman, her features generalized, is identified simply by her youth and what she is wearing—the confection of a hat that crowns her head and frames the open circle of black hair that defines her face. As Lemieux worked in the studio without models and focused on the plastic qualities of the painting, his art was not far removed from the practice of abstract painters, as Michèle Grandbois has pointed out. There is harmony in the shapes and in the balance of tones within a limited range of hues. The shape of the woman’s face, the brim of her hat, the upward arc of her mouth complement the oval shape of the canvas—a traditional format for portraits. Close-cropped, the charming subject takes up the entire height of the picture plane and looks directly out at the viewer, confident in her allure that the hat enhances. Estimate: $40,000–60,000

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CLARENCE ALPHONSE GAGNON, R.C.A., DOGS AND SLED - ÉTUDE POUR LE GRAND SILENCE BLANC, gouache, 3.25 ins x 4.5 ins; 7.6 cms x 12.7 cms

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Description: CLARENCE ALPHONSE GAGNON, R.C.A.DOGS AND SLED - ÉTUDE POUR LE GRAND SILENCE BLANCgouachewith the atelier stamp; also certified by Lucille Rodier Gagnon (no. 696) 3.25 ins x 4.5 ins; 7.6 cms x 12.7 cms Provenance:Private Collection, MontrealLiterature:L.-F. Rouquette, Le Grand Silence Blanc, illustré par Clarence Gagnon, Éditions Mornay, Paris, 1928, pages 8, 94 and 95 for illustrations by Gagnon depicting husky dogs and sleds, reproduced in colour. Hélène Sicotte and Michèle Grandbois, Clarence Gagnon, 1881-1942: Dreaming the Landscape, Quebec, 2006, page 191, and cat. no. 136, page 192-193 for a related composition for Le Grand Silence Blanc, reproduced in colour. See website for additional information.Note:Of the thirty seven illustrations published in Le Grand Silence Blanc, only two are formatted as a two-page spread. One of these is specifically referenced by Sicotte and bears a close relationship to this lot, as it depicts a “single long diagonal formed by the trapper and his dog team moving across the image to the left” which in the final rendering “conjures the struggle against wind and snow.”Estimate: $6,000–8,000

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MARC-AURÈLE FORTIN, A.R.C.A., MAISONS EN ÉTÉ, CA. 1930, watercolour, 18 ins x 27.5 ins; 99.1 cms x 99.1 cms

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Description: MARC-AURÈLE FORTIN, A.R.C.A.MAISONS EN ÉTÉ, CA. 1930watercoloursigned 18 ins x 27.5 ins; 99.1 cms x 99.1 cms Provenance:Galerie Jean-Pierre Valentin, MontrealPrivate Collection, TorontoNote:This work is interesting as much for what Fortin has chosen to paint as for what he has not. Fortin often left sections of the support (in this case paper) unpainted, as a compositional intention. Here he relies on the colour of the unpainted paper to suggest the lane between and in front of the houses. The path itself is a typical device used frequently by Fortin to lead the viewer through his compositions (see lot 18).Estimate: $8,000–12,000

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MARC-AURÈLE DE FOY SUZOR-COTÉ, R.C.A., PORTRAIT OF A YOUNG WOMAN, coloured chalks, an addition to the composition along the upper edge, 11.75 ins x 11.5 ins; 27.9 cms x 27.9 cms

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Description: MARC-AURÈLE DE FOY SUZOR-COTÉ, R.C.A.PORTRAIT OF A YOUNG WOMANcoloured chalks, an addition to the composition along the upper edgesigned 11.75 ins x 11.5 ins; 27.9 cms x 27.9 cms Provenance:Private Collection, QuebecLiterature:Laurier Lacroix, Suzor-Coté: Light and Matter, Musée du Québec, Quebec, 2002, page 288 and page 292, cat no. 117.Note:Suzor-Coté executed a number of small pastels with subjects ranging from his nephew, to habitant elders, aboriginal people and, of course, his exquisite nudes. He treasured these works and counted them among his favourites. The intriguing band along the upper edge of this work was likely a result of the artist's desire to allow for more space above the subject's head as is typically seen in related portraits. Examples exist of Suzor-Coté reformatting (by cropping) his drawings to enhance a composition. Estimate: $7,000-9,000

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NORMAND HUDON, LA PÈRE ELPHÈGE ET ADRIEN, oil on masonite, 16 ins x 20 ins; 40.6 cms x 50.8 cms

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Description: NORMAND HUDONLA PÈRE ELPHÈGE ET ADRIENoil on masonitesigned, titled and dated ‘83 16 ins x 20 ins; 40.6 cms x 50.8 cms Provenance:Private Collection, MontrealEstimate: $4,000–5,000

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JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A., SUMMER LANDSCAPE, oil on board, 7.75 ins x 9.5 ins; 19.7 cms x 24.1 cms

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Description: JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A.SUMMER LANDSCAPEoil on boardsigned and dated 1902 7.75 ins x 9.5 ins; 19.7 cms x 24.1 cms Provenance:Private Collection, Ontario (by descent)Note:Like many young artists of the time who made their living as commercial artists, J.E.H. MacDonald pursued the fine art aspect of his art in his free time from Grip Printing and Publishing, making sketches around the Humber River and his home north of High Park. He was part of an early movement to establish a Canadian sensibility in art and joined the Toronto Art Students League, a sketch club whose members sought out subject matter rooted in the local scene.Summer Landscape was probably made on a sketching trip along the Humber River. The divided brush strokes and the interest in light effects (evident in the reflections on the water and in the touches of blue in deep shadows) signify the influence of impressionism and of George Agnew Reid who was teaching the importance of l’effet (the overall effect) that he had learned in Paris in the late 1880s. This quality is evident in the generalized treatment of the foliage. MacDonald acknowledged that Reid had taught him the importance of technique and how the artist must first learn to “see” colour, in order to effectively mix and apply it.Estimate: $12,000–15,000

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JEAN-PAUL LEMIEUX, R.C.A., PAYSAGE, oil on canvas, 11 ins x 20 ins; 27.9 cms x 50.8 cms

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Description: JEAN-PAUL LEMIEUX, R.C.A.PAYSAGEoil on canvassigned 11 ins x 20 ins; 27.9 cms x 50.8 cms Provenance:Private Collection, MontrealNote:One feature of the works that constitute Lemieux’s “classic period” (1956-70) is their emphasis on the horizontal. He developed a horizontal vision, aided by his interest in Japanese scrolls. A number of works, comparable in size to this untitled landscape, executed in the late 1950s and early 1960s appear to be exercises in horizontality, observations made by the artist in his immediate environs. Marine views offered an unbroken horizon; here, gently undulating bands of colour (lacking the strict geometry characteristic of many works from this period) demarcate river, bank, field, distant hills, sky. It appears that Lemieux sought to capture forms and effects found in nature using minimal means—strips of blue and ochre, modulated by black and white. The use of texture along the bank and shadows in the water suggest that this was painted en plein air. It is the sort of view one might observe from a train window as the landscape scrolls past. Lemieux himself enjoyed travelling by train because, as he put it, one could see the landscape approach, present itself, then disappear. This experience of travelling across vast expanses of space inspired his new approach to the landscape once he returned to Canada from France in 1955.Estimate: $20,000–30,000

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MARC-AURÈLE FORTIN, A.R.C.A., SCÈNE D’HIVER À STE-ROSE, oil on board, 5 ins x 5.75 ins; 12.7 cms x 14.6 cms

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Description: MARC-AURÈLE FORTIN, A.R.C.A.SCÈNE D’HIVER À STE-ROSEoil on board 5 ins x 5.75 ins; 12.7 cms x 14.6 cms Provenance:Private Collection, MontrealNote:Fortin was a premier colourist and the powerful impact made by such a diminutive work is largely attributable to his unparalleled chromatic sense and intuition. Here Fortin executes an effective and exciting paradox in paint. He has made a cold winter’s day in Ste-Rose hot by using oranges and reds, even lime green, in the man-made structures in high contrast to the cool colours of the snow and shadows. The effect is quite fabulous.Estimate: $10,000–15,000

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MARC-AURÈLE FORTIN, A.R.C.A., VUE DU MT-ROYAL, pastel, sight 19.25 ins x 24.25 ins; 48.9 cms x 61.6 cms

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Description: MARC-AURÈLE FORTIN, A.R.C.A.VUE DU MT-ROYALpastelsigned sight 19.25 ins x 24.25 ins; 48.9 cms x 61.6 cms Provenance:Private Collection, MontrealLiterature:René Buisson, Marc-Aurèle Fortin, un maitre inconnu, Le Musée Marc-Aurèle, Montreal, 1995, pages 78, 79 and 213 for related works Hochelaga, Vue du Mont-Royal and Avenue du Parc, respectively, reproduced. Note:Fortin produced exquisite works in oil (see preceding lot), watercolour (see lot 12) as well as pastel like this highly polished view from Mt-Royal overlooking Fletcher’s Field in Montreal.Here Fortin follows a time-tested arrangement - horizontal bands demarcating specific zones within the panorama. The lush green hills of the lower edge of the mountain in the foreground are separated from the city by a road (Avenue du Parc), which itself is separated from the banlieue in the distance. These receding bands both stabilize the composition and add interest. The monument featured in this view is dedicated to the memory of George-Étienne Cartier, a Father of Confederation. The monument is reputed to be the largest in Montreal and was inaugurated in 1919.Estimate: $20,000–30,000

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TOM THOMSON, FOREST BRANCHES, graphite and gouache on board, 7.25 ins x 9.75 ins; 17.8 cms x 25.4 cms

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Description: TOM THOMSONFOREST BRANCHESgraphite and gouache on board7.25 ins x 9.75 ins; 17.8 cms x 25.4 cmsProvenance:Harry Pinkerton, TorontoRuth Collins, TorontoPrivate Collection, TorontoSotheby’s (Toronto), May 1987Private Collection, WinnipegPrivate Collection, TorontoLiterature:Harold Town and David P. Silcox, Tom Thomson: The Silence and the Storm, Firefly Books, Willowdale, 2001, page 53 and page 202 for this lot reproduced (as Untitled Landscape).Note:This lot is included in the Thomson catalogue raisonné as cat. no. 1910.03.According to the catalogue raisonné, Harry Pinkerton and Thomson were acquaintances at Grip Ltd. which Thomson had joined circa 1908. Pinkerton and Thomson sometimes sketched together. While we do not know the precise location of the scene depicted in this lot, David Silcox notes that “This effervescent crowd (of Grip artists) organized weekend sketching trips into the upper reaches of the Don and Humber Rivers, and sometimes up to Lake Scugog, not great distances from Toronto. Thomson also returned to his home from time to time, and several of the works from these transitional years were done in the Owen Sound area.”Estimate: $25,000–30,000

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JEAN-PAUL LEMIEUX, R.C.A., DANS LE PARC, oil on canvas, 31 ins x 41.25 ins; 78.7 cms x 104.1 cms

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Description: JEAN-PAUL LEMIEUX, R.C.A.DANS LE PARCoil on canvassigned and dated ‘56 31 ins x 41.25 ins; 78.7 cms x 104.1 cms Provenance:Private Collection, MontrealNote:While he was a teacher at the École des beaux-arts de Québec, Lemieux received a grant from the Royal Society of Canada, which enabled him to spend a sabbatical year in France from 1954-55. He later admitted to being lost in France, painting work that looked like Monet or Bonnard in Paris, and Cézanne and Matisse in the south. Nonetheless, a year away from Canada afforded Lemieux the physical and psychological distance from the familiar, so that he could take his work in a different direction when he returned to Canada. He had a new regard for the broad, open spaces of the Canadian landscape which he expressed through the horizontality characteristic of his classic period, beginning in 1956. In 1967, he explained that he tried to express universal solitude in his landscapes and characters, and the inner world of his memories. His physical environment interested him only because it allowed him to paint his “inner world.”Dans le parc, executed in 1956, shows him moving away from the anecdotal quality of the early 1950s work, in order to emphasize the underlying emotional mood of the picture. It is a transitional piece whose painterly style shows the influence of the School of Paris, and whose decorative (that is, symbolic) use of colour and form link it to Post-Impressionism. Lemieux has imbued the work with drama: shades of blue and green dominate, and the dark wedge of forest on the left looms suspensefully over the two tiny figures at the end of the path, who seem caught between the woods and the water. That same year, Lemieux would solve the problem of how to express the isolation of contemporary life. He would simplify the landscape, emphasizing the horizontal, and enlarge the figures so that their relationship to the landscape would carry the emotional message. The National Gallery of Canada owns three works from this year: Winter Landscape, The Noon Train and The Distant City. Estimate: $40,000–60,000

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LÉON BELLEFLEUR, R.C.A., PRINTEMPS, gouache on paper, 16 ins x 11.75 ins; 41.9 cms x 30.5 cms

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Description: LÉON BELLEFLEUR, R.C.A.PRINTEMPSgouache on papersigned, titled and dated ‘79, also inscribed “Micheline L.B.” and “Léon & Rita” 16 ins x 11.75 ins; 41.9 cms x 30.5 cms Provenance:Private Collection, MontrealEstimate: $3,500–4,000

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PAUL VANIER BEAULIEU, R.C.A., SAINT-SAUVEUR, 1974, oil on canvas, 20 ins x 24 ins; 50.8 cms x 61 cms

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Description: PAUL VANIER BEAULIEU, R.C.A.SAINT-SAUVEUR, 1974oil on canvassigned and dated ‘74 20 ins x 24 ins; 50.8 cms x 61 cms Provenance:Private Collection, OttawaLiterature:Michel Beaulieu and Jacques Brault, Signatures: Paul Beaulieu, La Prairie, 1981, Ottawa, page 104, for this lot reproduced in colour.Estimate: $6,000–8,000

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MARCELLE FERRON, R.C.A., SANS TITRE, oil on canvas, mounted to board, 9.5 ins x 8 ins; 24.1 cms x 20.3 cms

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Description: MARCELLE FERRON, R.C.A.SANS TITREoil on canvas, mounted to boardsigned and dated ‘60; also signed and dated ‘61 on the reverse 9.5 ins x 8 ins; 24.1 cms x 20.3 cms Provenance:Private Collection, MontrealNote:Marcelle Ferron resided in France from 1953-1966 and it was during this period that this little composition was produced. Ferron, who had studied under Borduas, had developed a close professional relationship with him. Certainly, a sympathy between these artists can be detected in this lot which has in common with the senior artist's work both palette and technique. Perhaps one could even consider this lot an hommage; Borduas died on February 22, 1960, at the age of fifty-four.At this time, Ferron's reputation was well-established and she was exhibiting regularly in Europe, and in Canada at Galerie Denyse Delrue.Estimate: $10,000–15,000

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JOHN YOUNG JOHNSTONE, A.R.C.A., PARIS, 1914, oil on panel, 8.75 ins x 7.25 ins; 22.2 cms x 18.4 cms

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Description: JOHN YOUNG JOHNSTONE, A.R.C.A.PARIS, 1914oil on panelsigned and dated ‘14 8.75 ins x 7.25 ins; 22.2 cms x 18.4 cms Provenance:Galerie Walter Klinkhoff Inc., MontrealPrivate Collection, FloridaLiterature:Hugh Scholfield, “La Belle Epoque: Paris 1914,” BBC News, Paris (7 January 2014), bbc.com.Note:Johnstone vacillated between wanting to be appreciated and wanting to be left alone. As such there is a paucity of information published about him given his obvious talent. In this delightful painting, Johnstone has chosen to observe the world from afar, keeping a safe distance from the quayside action. In 1914, Paris was nearing the end of the Belle Epoque and was as Scholfield put it: ”a city giddy with the pace of industrial, scientific and cultural change...”Estimate: $7,000–9,000

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JOHN GEOFFREY CARUTHERS LITTLE, R.C.A, LE PRINTEMPS - ST. JEAN DE L’IE, ÎLE D’ORLÉANS, 1983, oil on canvas, 16 ins x 20 ins; 40.6 cms x 50.8 cms

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Description: JOHN GEOFFREY CARUTHERS LITTLE, R.C.ALE PRINTEMPS - ST. JEAN DE L’IE, ÎLE D’ORLÉANS, 1983oil on canvassigned; also signed, titled and dated on the stretcher 16 ins x 20 ins; 40.6 cms x 50.8 cms Provenance:Private Collection, ManotickNote:In the early years of his career, John Little worked with his father, an architect, and developed his interest in the built environment. Though well-known for his Montreal street scenes, Little's attraction to Île D'Orléans and its village of St. Jean is, therefore, not at all surprising given that it boasts some six hundred buildings that are classified or recognized as heritage properties.Estimate: $8,000–12,000

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MARC-AURÈLE DE FOY SUZOR-COTÉ, R.C.A., PERDRIX (PARTRIDGE), oil on canvas, 20.75 ins x 14.25 ins; 53.3 cms x 35.6 cms

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Description: MARC-AURÈLE DE FOY SUZOR-COTÉ, R.C.A.PERDRIX (PARTRIDGE)oil on canvassigned 20.75 ins x 14.25 ins; 53.3 cms x 35.6 cms Provenance:Walter Klinkhoff Gallery Inc., MontrealPrivate Collection, AlbertaLiterature:Laurier Lacroix, Suzor-Coté: Light and Matter, Musée du Québec, Quebec, 2002, page 79.Note:Suzor-Coté had an obvious talent for rendering trompe l’oeil effects as evidenced by this still life with partridge. Laurier Lacroix references other still lifes by the artist featuring game as the subject which date to circa 1895-1896.Estimate: $10,000–15,000

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MARY HIESTER REID, O.S.A., A.R.C.A., STILL LIFE WITH FLOWERS, oil on canvas, 16.5 ins x 22 ins; 41.9 cms x 55.9 cms

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Description: MARY HIESTER REID, O.S.A., A.R.C.A. STILL LIFE WITH FLOWERS oil on canvas laid down on masonite signed 16.5 ins x 22 ins; 41.9 cms x 55.9 cms Provenance: Private Collection, Toronto Literature: Brian Foss, The Art of Mary Hiester Reid, Art Gallery of Ontario, Toronto, 2000, page 54. Note: Mary Hiester Reid's work is so closely identified with floral still life compositions that for her memorial exhibition at the Art Gallery of Toronto, flowers were adopted as the theme and the rooms of the gallery were adorned with daisies, marigolds, pansies and other blossoms. Still Life with Flowers not only depicts an unyielding botanical accuracy, but also reveals certainties of delicacy, beauty, and human sentiment.   Estimate: $5,000-7,000

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MANLY EDWARD MACDONALD, R.C.A., WINTER AFTERNOON, oil on canvas, 20 ins x 26 ins; 78.7 cms x 63.5 cms

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Description: MANLY EDWARD MACDONALD, R.C.A.WINTER AFTERNOONoil on canvassigned 20 ins x 26 ins; 78.7 cms x 63.5 cms Provenance:Laing Galleries, TorontoPrivate Collection, OntarioEstimate: $4,000–6,000

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JOHN GEOFFREY CARUTHERS LITTLE, R.C.A, RUE SHERBROOKE, 1966, oil on canvas board, 12 ins x 16 ins; 30.5 cms x 40.6 cms

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Description: JOHN GEOFFREY CARUTHERS LITTLE, R.C.ARUE SHERBROOKE, 1966oil on canvas boardsigned 12 ins x 16 ins; 30.5 cms x 40.6 cms Provenance:Galerie L’Art français, Montreal Private Collection, MontrealEstimate: $7,000–9,000

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MARC-AURÈLE DE FOY SUZOR-COTÉ, R.C.A., R.C.A., LA FLEUVE ST-LAURENT, C. 1920, oil on canvas, laid down on board, 14 ins x 10 ins; 35.6 cms x 25.4 cms

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Description: MARC-AURÈLE DE FOY SUZOR-COTÉ, R.C.A., R.C.A.LA FLEUVE ST-LAURENT, C. 1920oil on canvas, laid down on boardinscribed “pour Mme Léger/Suzor” on the reverse 14 ins x 10 ins; 35.6 cms x 25.4 cms Provenance:Private Collection, MontrealLiterature:Suzor-Coté sought to use the most defining or apropos technique for the subject he was painting. As such, the subtle differences achieved in brushstroke or paint application using a palette knife were very relevant to him. Techniques were refined and reconsidered throughout his career. Here, the contrasting shape of strokes brings forth undertones of salmon pink, orange and blue, animating this big sky landscape and evoking the emotions associated with the grandeur of nature.Estimate: $15,000–25,000

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JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A., JANUARY THAW, CIRCA 1908, oil on board, 8 ins x 6.25 ins; 20.3 cms x 15.9 cms

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Description: JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A.JANUARY THAW, CIRCA 1908oil on boardwith a certification by the artist’s son, Thoreau MacDonald, on the reverse 8 ins x 6.25 ins; 20.3 cms x 15.9 cms Provenance:Private Collection, TorontoEstimate: $8,000–12,000

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JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A., EARLY SPRING, THORNHILL, CIRCA 1908, oil on board, 3.5 ins x 5.5 ins; 8.9 cms x 14 cms

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Description: JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A.EARLY SPRING, THORNHILL, CIRCA 1908oil on board 3.5 ins x 5.5 ins; 8.9 cms x 14 cms Provenance:Private Collection, TorontoEstimate: $5,000–7,000

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FRANK HANS JOHNSTON, O.S.A., A.R.C.A., SPIRES OF SPRUCE, oil on masonite, 18 ins x 24 ins; 45.7 cms x 61 cms

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Description: FRANK HANS JOHNSTON, O.S.A., A.R.C.A.SPIRES OF SPRUCEoil on masonitesigned 18 ins x 24 ins; 45.7 cms x 61 cms Provenance:The Fine Arts Galleries, The T. Eaton Co. Limited, CanadaPrivate Collection, TorontoNote:Shortly after his formal departure from the Group of Seven, Johnston took part in the first of many independent exhibitions at the Fine Art Galleries of Eaton’s, where he was celebrated by art critics for his expert use of handling light.Estimate: $15,000–18,000

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ARTHUR LISMER, O.S.A., R.C.A., ROCK RHYTHM, GEORGIAN BAY, 1944, oil on panel, 12 ins x 16 ins; 30.5 cms x 38.1 cms

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Description: ARTHUR LISMER, O.S.A., R.C.A.ROCK RHYTHM, GEORGIAN BAY, 1944oil on panelsigned and indistinctly dated; a small pencil sketch of a portrait of a woman on the reverse 12 ins x 16 ins; 30.5 cms x 38.1 cms Provenance:Private Collection, TorontoEstimate: $12,000–16,000

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ARTHUR LISMER, O.S.A., R.C.A., FOREST INTERIOR, oil on panel, 16 ins x 12 ins; 40.6 cms x 30.5 cms

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Description: ARTHUR LISMER, O.S.A., R.C.A.FOREST INTERIORoil on panelsigned and dated ‘63; also signed and dated “B.C. 63” on the reverse 16 ins x 12 ins; 40.6 cms x 30.5 cms Provenance:The Fine Art Galleries, The T. Eaton Co. Limited, Canada Private Collection, British ColumbiaEstimate: $12,000–16,000

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ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., BARN AT POINTE AU CHENE, QUE., 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.BARN AT POINTE AU CHENE, QUE.oil on boardsigned; also signed, titled and dated 1968 on the reverse 12 ins x 15 ins; 30.5 cms x 38.1 cms Provenance:Private Collection, TorontoNote:Fellow Group of Seven member A.Y. Jackson had been an enthusiastic ambassador for Quebec often suggesting to his painting colleagues that the picturesque subject matter to be found there was unparallelled. Other Ontario-based artists, such as Fred Banting for example, travelled with A.Y. to the Lower St. Lawrence and found much to mine there. While Casson had visited Quebec prior to 1968 (see lot 8), it had been in a somewhat limited way. His retirement from Sampson-Matthews in 1958, however, freed him up for longer and more frequent trips and he seized the opportunity. Barn at Pointe au Chene is an example of the result of this and one cannot help but feel the inspiration of A.Y. - who rarely encountered an old barn he didn’t want to paint.Estimate: $20,000–30,000

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FREDERICK SIMPSON COBURN, R.C.A., LA VISITE DU MÉDECIN, oil on canvas, 22 ins x 28 ins; 55.9 cms x 71.1 cms

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Description: FREDERICK SIMPSON COBURN, R.C.A.LA VISITE DU MÉDECINoil on canvassigned and dated ‘40 22 ins x 28 ins; 55.9 cms x 71.1 cms Provenance:Galerie Walter Klinkhoff, MontrealPrivate Collection, MontrealNote:Coburn began painting what have become his signature winter landscapes, so different to what he had been producing only a few years earlier, after a revelatory experience circa 1910. Coburn had been gazing out his window at the wintry fields that surrounded his Melbourne, Quebec studio when a team of horses appeared along the road hauling a load of logs, a familiar enough sight in Quebec at the turn of the century. However, the subject struck him as the perfect embodiment of life in rural Quebec: an acceptance of hard physical labour, a reliance on what the land could provide for sustenance, and an acceptance even celebration of the winter season. The popularity of these timeless winter scenes incentivized Coburn to revisit the subject frequently for decades often varying the colour of the team of horses, the load, or the direction of the sleighs movement as the composition demanded.Estimate: $12,000–15,000

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HENRIETTA MABEL MAY, A.R.C.A., WINTER LANDSCAPE, oil on board, 16 ins x 20 ins; 40.6 cms x 50.8 cms

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Description: HENRIETTA MABEL MAY, A.R.C.A.WINTER LANDSCAPEoil on boardsigned; an unfinished landscape on the reverse 16 ins x 20 ins; 40.6 cms x 50.8 cms Provenance:Private Collection, ManotickLiterature:Evelyn Walters,The Women of Beaver Hall, Dundurn Press, Toronto, 2005, page 67.Note:Despite a late start, Mabel May’s achievement was significant. According to Evelyn Walters, art critic Albert Laberge of La Presse “placed her in the highest ranks of Montreal painters and praised her powerful originality...” Over time, her work became increasingly simplified in colour. An affiliation with a religious organization may account for this as Walter’s notes: “One of its tenets was that colours had spiritual significance. It is thought that she may have avoided strong colours like black and dark red because they were deemed to have a negative effect.”Estimate: $10,000–15,000

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JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A., MATTAWA, oil on board, 8 ins x 10 ins; 20.3 cms x 25.4 cms

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Description: JAMES EDWARD HERVEY MACDONALD, O.S.A., R.C.A.MATTAWAoil on boardtitled on the reverse 8 ins x 10 ins; 20.3 cms x 25.4 cms Provenance:Florence Wyle, TorontoWalter Klinkhoff Gallery, MontrealPrivate Collection, OntarioNote:For a number of years before the Group of Seven formally introduced their artistic vision in 1920, the artists who would eventually form the Group had been making trips to Georgian Bay, Algonquin Park and Algoma—relatively remote areas north of urban centres—in search of appropriate subject matter. MacDonald, who left his position at Grip Limited in 1911 to spend more time painting, first visited Georgian Bay in 1912, and in the spring of 1913 made the first of two trips to Mattawa on the Ottawa River with his sketching partner, Lawren Harris. He made a second trip to Mattawa sometime around 1920, either before he took up a teaching position at the Ontario College of Art in the autumn of 1921 or possibly during one of the following summers, when he had time off from teaching.On both trips, MacDonald made oil sketches of the local buildings in town—unusual subject matter for him, as he was not typically drawn to urban scenes. The composition in this later work is more dynamic, (the artist positions the viewer facing the corner of the clapboard structure, which gives it volume) the paint application is broader and freer, and the colours stronger and richer. The foreground is rendered in subtle variations of grey, green and mauve, and the paint thickly applied so as to give the rocks a sculptural quality. This would have appealed to Florence Wyle, the Toronto sculptor and friend of the Group of Seven who originally owned the painting. The increasing freedom of expression evident in MacDonald’s work from around 1916 was noted by Albert Robson in his monograph of the artist in 1937. Estimate: $15,000–20,000

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ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., REFLECTIONS - CLARENDON LAKE, 1957, oil on board, 9.25 ins x 11.25 ins; 23.5 cms x 28.6 cms

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Description: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.REFLECTIONS - CLARENDON LAKE, 1957oil on boardtitled and dated on the reverse 9.25 ins x 11.25 ins; 23.5 cms x 28.6 cms Provenance:Private Collection, TorontoLiterature:Paul Duval, A.J. Casson: His Life and Works, A Tribute, Cerebrus/Prentice-Hall, Markham, 1980, (page 163).Note:Although Casson did not actually retire from full-time employment until 1958, he made his decision to do so the year this work was painted. It is hard not to see a renewal of the artist’s zeal for plein-air painting in this lush, little sketch, a material celebration of his decision to retire. While rigorously limiting his palette to greens and greys, there is an undeniable luxuriousness here in the thick foliage-wrapped rocky outcrop and its dramatic reflection at the water’s edge. Paul Duval notes that “(d)uring the fifties, Casson became more and more involved in his personal creative work.” One cannot help but view this exquisite sketch as an example of a renewed commitment to painting.Estimate: $20,000–30,000

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FREDERICK HORSMAN VARLEY, A.R.C.A., DOON LANDSCAPE, 1949, oil on board, 11.75 ins x 15 ins; 43.8 cms x 52.1 cms

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Description: FREDERICK HORSMAN VARLEY, A.R.C.A.DOON LANDSCAPE, 1949oil on boardsigned 11.75 ins x 15 ins; 43.8 cms x 52.1 cms Provenance:Private Collection, WaterlooLiterature:Christopher Varley, F.H. Varley: A Centennial Exhibition, Edmonton Art Gallery, Edmonton, 1981, pages 166 and 168.Note:In 1949, Varley was teaching at the Doon Summer School of Fine Arts. The demands on him were intense yet he still found time to paint (see lot 74). That autumn, Varley returned to Toronto to feature in a documentary film about his life in art with the NFB.Estimate: $30,000–40,000

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WILLIAM KURELEK, R.C.A., WARTIME HARVESTING NEAR WINNIPEG, oil on masonite, 8.5 ins x 20 ins; 20.3 cms x 50.8 cms

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Description: WILLIAM KURELEK, R.C.A.WARTIME HARVESTING NEAR WINNIPEGoil on masonitesigned with initials and dated ‘67; titled on the reverse of the frame 8.5 ins x 20 ins; 20.3 cms x 50.8 cms Provenance:Acquired directly from the artistPrivate Collection, Hamilton (by descent)Note:From an early age, Kurelek had wanted to illustrate the history of the Ukrainian people. Throughout his career, he would paint his own family’s story (exhibited in 1964 in “An Immigrant Farms in Canada” at the Isaacs Gallery), his memories of growing up in Western Canada in the 1930s and 1940s, and the histories of other European settlers in Canada. In 1967, he completed a series of paintings dedicated to pioneer Ukrainian-Canadian women which had been commissioned by the Ukrainian Women’s Association of Canada. Wartime Harvesting near Winnipeg, set on the Kurelek farm near Stonewall, Manitoba, describes in great detail, the labour intensive method of harvesting wheat in the 1940s: a farmer, his wife and a young man (perhaps a son) are shown gathering and bundling the sheaves by hand after the wheat has been cut by machine. The only other figures are the tractor driver and the man operating the reaper. The painting illustrates historical practices that have long since changed due to increased mechanization and preserves them in the present. The vast expanse of field, accentuated by the horizontal format of the picture, shows the extent of the operation, and the aircraft flying overhead in formation indicates the farm’s proximity to a major air force base in Winnipeg, locating the scene during World War II. While the subject of this work is not religious, Kurelek often included a moral message in his rural and secular subjects: in this case, he celebrates the dignity of labour as well as the wartime contribution of western farmers.On a board prepared with gesso, Kurelek would carefully draw in the composition using lead pencil and ballpoint pen, then apply colour often with a variety of media. The technique that Kurelek used in this work allowed for both a broad panoramic treatment, and areas of detailed drawing in the figures and textured treatment of the stooks and field of stubble. His artistic vision included both the infinitely large and infinitely small. Estimate: $30,000–50,000

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KATHLEEN MOIR MORRIS, A.R.C.A., POINT LEVY, QUEBEC, CIRCA 1925, oil on panel, 10.25 ins x 14 ins; 25.4 cms x 35.6 cms

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Description: KATHLEEN MOIR MORRIS, A.R.C.A.POINT LEVY, QUEBEC, CIRCA 1925oil on panelsigned 10.25 ins x 14 ins; 25.4 cms x 35.6 cms Provenance:Private Collection, HalifaxExhibited:Kathleen Morris (1893-1986), Retrospective Exhibition, Galerie Walter Klinkhoff Inc., Montreal, September 2003, No.19.Literature:Evelyn de Rostaing McMann, The Royal Canadian Academy of Arts: Exhibitions and Members, 1880-1979, University of Toronto Press, Toronto, 1981, page 293, Point Lévis, Quebec (NGC), listed.Frances K. Smith, Kathleen Moir Morris (catalogue), Agnes Etherington Art Centre, Queen’s University, Kingston, 1983, pages 13 and 16.Evelyn Walters, The Women of Beaver Hall: Canadian Modernist Painters, Dundurn Press, Toronto, 2005, page 17 and page 76 for the canvas, Point Levy, Quebec, in the collection of the National Gallery of Canada (acquired by Eric Brown in 1926), reproduced in colour.Barbara Meadowcroft, Painting Friends: The Beaver Hall Women Painters, Véhicule Press, Montreal, 1999, page 87.Note:Kathleen Morris went on regular sketching trips to the Quebec City area. Barbara Meadowcroft quotes Kathleen reminiscing about these trips: “I had a wonderful mother. She would take me off on sketching trips and sit beside me while I painted...” Meadowcroft notes that Kathleen would do two sketches, one in the morning and one in the afternoon, and according to family friend Michael Dunn “never fiddled with them afterwards.” Dunn further added that “She much preferred sketches to large paintings on canvas.” Undoubtedly, Morris would have had to work speedily on winter days, the paint thickening on the brush and becoming increasingly less cooperative in the cold. Her achievement is all the more impressive given that she lived with Cerebral Palsy. Unlike Mabel May (see lot 38), Kathleen unhesitatingly used reds and blacks in her paintings to dramatic effect, enlivening her pictures with “clever dabs and dashes of brilliant orange-red.”While not all sketches Kathleen made were worked up into canvases, this one was (see illustration below for the canvas in the National Gallery of Canada) and it was acquired and exhibited by Eric Brown almost immediately after it was painted. Evelyn Walters credits Eric Brown, the Director of the National Gallery of Canada (1912-1939) and champion of modernism for its extensive collection of Beaver Hall pictures.Estimate: $60,000–80,000

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LIONEL LEMOINE FITZGERALD, NUDE STUDY, oil on panel, 5.75 ins x 5 ins; 15.2 cms x 12.7 cms

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Description: LIONEL LEMOINE FITZGERALDNUDE STUDYoil on panelsigned with initials 5.75 ins x 5 ins; 15.2 cms x 12.7 cms Provenance:Private Collection, MontrealNote:In this seated nude study, FitzGerald is chiefly preoccupied with form, shape and colour, and not with the specifics of who his subject is, or what she is doing. Many other examples by him exist of relaxed female subjects sometimes posed reading and it is possible that this activity introduced a natural curviness to the subject's posture that FitzGerald enjoyed painting. While we do not know the identity of the subject, the dimensions of the picture may suggest a certain intimacy with the sitter.Estimate: $4,000-6,000

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LIONEL LEMOINE FITZGERALD, LANDSCAPE, oil on canvas, laid down on board, 4.25 ins x 7.75 ins; 10.8 cms x 19.7 cms

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Description: LIONEL LEMOINE FITZGERALDLANDSCAPEoil on canvas, laid down on boardsigned 4.25 ins x 7.75 ins; 10.8 cms x 19.7 cms Provenance:Private Collection, MontrealLiterature:L.L. FitzGerald 1890-1956: A Memorial Exhibition (catalogue), The Winnipeg Art Gallery, Winnipeg, 1958, unpaginated.Note:FitzGerald was born in Winnipeg and, except for a short time spent in New York at the Art Students' League during the winter of 1921, he spent his entire life on the prairies. As a prairie painter, it was light and space which were the subject of his landscapes. In the artist's notes published in the catalogue for his memorial exhibition, FitzGerald alludes to the fecund opportunity provided by his native land, one that non-Manitobans may be quick to dismiss. He remarked: "It naturally requires more thought and concentration to discover the beauty in a common thing, but the very search reveals the artist to himself in a more intense way." Such commentary speaks to a man who is described by those who knew him well as "intensive rather than extensive," an artist whose output was a result of contemplation, concentration and a willingness to reflect.Estimate: $6,000-8,000

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RANDOLPH STANLEY HEWTON, R.C.A., BAIE ST. PAUL, oil on canvas, 20 ins x 24 ins; 50.8 cms x 61 cms

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Description: RANDOLPH STANLEY HEWTON, R.C.A.BAIE ST. PAULoil on canvassigned 20 ins x 24 ins; 50.8 cms x 61 cms Provenance:Galerie Walter Klinkhoff Inc., MontrealPrivate Collection, MontrealLiterature:Victoria Baker, Modern Colours: The Art of Randolph Stanley Hewton, 1888-1960, Art Gallery of Hamilton, Hamilton, 2001, page 5.Note:Hewton (like Robinson, see lot 72) had been invited to exhibit with the Group of Seven at their inaugural exhibition in 1920 as a result of his friendship with A.Y. Jackson, whom he had met in Paris in 1912 and with whom he often sketched. It is upon this early exposure to audiences as a landscape painter that his reputation was first popularly established. Whereas the figurative work of Hewton has increased in popularity having been underscored by exhibitions such as Modern Colours: The Art of Stanley Hewton in 2001 at the Art Gallery of Hamilton and the current Beaver Hall exhibition making major stops across Canada, it remains that landscape was a great passion of Hewton's. He particularly seems to have enjoyed the camaraderie sketching trips afforded and partook in trips to the Lower St. Lawrence on numerous occasions with Jackson and others, including Banting, Holgate and Gagnon. His great talent was as a colourist, who some said was "unequaled in Canadian Art."Hewton demonstrated himself to be among the most talented of his generation and was influential as the successor to William Brymner when he became director of the Art Association of Montreal. His influence also extended to membership in the selection committee for the famed Wembley Exhibition which introduced Canadian painting to a broad British audience. Estimate: $10,000–15,000

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WILLIAM KURELEK, R.C.A., DOG & ROCK, 1963, oil on masonite, 18.25 ins x 22.5 ins; 45.7 cms x 55.9 cms

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Description: WILLIAM KURELEK, R.C.A.DOG & ROCK, 1963oil on masonitetitled and dated on the reverse 18.25 ins x 22.5 ins; 45.7 cms x 55.9 cms Provenance:The Isaacs/Innuit Gallery, TorontoPrivate Collection, OntarioNote:In 1957, William Kurelek converted to Roman Catholicism (he had previously been an atheist), and soon after returning to Canada, became involved with the Catholic Information Centre in Toronto. The conversion of others to Catholicism and the salvation of souls through his art became a personal mission. In May 1963, at his third exhibition at the Isaacs Gallery entitled, “Experiments in Didactic Art,” Kurelek first showed religious and so-called instructive works (They were often in the spirit of sixteenth century artist Pieter Breugel’s parables). From here on in, his goal was to alternate a secular series of work with a religious or instructive series. In February of that year, he had made his first trip to Western Canada to document the places where he had grown up. These studies would provide a rich source for his work.Kurelek set Dog and Rock on the family farm in rural Manitoba, a place that held special significance for him and served as a setting for secular and didactic works alike. The painting, which features the family dog investigating a large, solitary rock may be based on Kurelek’s recollection of a real occurrence from his past. The animal’s prints in the snow indicate that it has made a sudden ninety degree turn to the left, deviating from his path alongside the fence, probably having caught a whiff of something interesting. Apart from a few dead weeds that protrude from the snow, there is little that breaks the vast, barren plain—accentuated by the high horizon line and the fence which runs unbroken to meet it. It is no wonder that the dog was drawn to the rock like a magnet. Kurelek’s keen observation and penchant for detail have captured the essence of winter on the prairies and the behaviour of man’s best friend.Estimate: $40,000–60,000

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ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., MORGAN COTTAGE, WESTON,  ONTARIO, 1935, oil on canvas, 5.75 ins x 7.5 ins; 14.6 cms x 19.1 cms

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Description: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.MORGAN COTTAGE, WESTON, ONTARIO, 1935oil on canvassigned 5.75 ins x 7.5 ins; 14.6 cms x 19.1 cms Provenance:Galerie Walter Klinkhoff Inc., MontrealPrivate Collection, TorontoNote:Casson excelled at capturing the villages, general stores or lone farmhouses of Ontario whose picturesque charm he conveyed expertly in all media, whether graphite, watercolour or, in this example, oil. This specialization set him apart from his Group colleagues whose preoccupation was landscape untouched by man. Undeniably pretty, there may be more at play in such works than is readily apparent. In this diminutive canvas, the cottage in winter speaks to a time of rest between planting and harvest, when weather forces a welcome change to the quotidien rhythm. Casson often leaves evidence of freshly fallen snow on his steep pitched roofs. A descriptive as well as compositional decision, it also serves to comment on the effectiveness of the sturdily constructed farmhouses of hardy Ontario farmers. The snow on the peak of Morgan cottage has melted under the winter noonday sun. However, no heat has escaped through the well-insulated farmhouse roof which protects its unseen inhabitants who enjoy the much earned rest winter affords. Early scenes such as this work, executed in 1935, show Casson originating the motifs for which he would be best known.Estimate: $40,000–60,000

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KIM DORLAND, UNTITLED, oil on canvas, 40 ins x 30 ins; 102.2 cms x 76.2 cms

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Description: KIM DORLANDUNTITLEDoil on canvassigned and dated 2012 on the overflap 40 ins x 30 ins; 102.2 cms x 76.2 cms Provenance:Private Collection, TorontoNote:While this work predates Dorland’s summer residency at the McMichael Canadian Art Collection and the acclaimed exhibition that was developed as a result of his time there, it is hard not to see a ghost-like figure of Thomson or a surrogate for him (perhaps the artist himself?) standing on the edge of Dorland’s lake. Dorland was interested in the mythology of Thomson, an idea which he explored in depth for the McMichael show. In looking at this picture, however, one needs to consider if the preoccupation with this early Canadian master is Dorland’s or our own, so pervasive is the narrative around the artist’s untamed genius and mysterious death.Estimate: $9,000–12,000

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PHILIP HENRY HOWARD SURREY, R.C.A., MOTEL AT DUSK, oil on canvas, 20 ins x 30 ins; 50.8 cms x 76.2 cms

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Description: PHILIP HENRY HOWARD SURREY, R.C.A.MOTEL AT DUSKoil on canvassigned 20 ins x 30 ins; 50.8 cms x 76.2 cms Provenance:Private Collection, TorontoLiterature:Terry Fenton & Karen Wilkin, Modern Painting in Canada: Major Movements in Twentieth Century Canadian Art, Hurtig Publishers, Edmonton, 1978, page 34.Note:Fenton and Wilkin contend that the contribution to the advancement of modern art by artists like Lyman, Goodridge Roberts and Surrey, as members of the Contemporary Art Society in Montreal is significant, if underestimated. He writes: “(These artists) established a modernist art in Canada which sought recognition on the basis of its own intrinsic quality.”Estimate: $12,000–15,000

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