The world’s premier auctions
 
 
WELCOME TO INVALUABLE
Be the first to know about
the latest online auctions.
Please enter a valid email address (name@host.com)
Sign Up »
PS: We value your privacy
Thank you!
 
 
Want to learn more
about online auctions?
Take a Quick Tour »
WE'VE CHANGED OUR NAME
is now
 
To celebrate, we’ve enhanced our site with
larger images and browsing by category to help
you easily find what you’re passionate about.
Remember to update your bookmarks.
Get Started »
 
Invaluable cannot guarantee the accuracy of translations through Google Translate and disclaims any responsibility for inaccurate translations.
Show translation options
Auction Description for Waddington's: Canadian Art Auction
Viewing Notes:
Saturday 24 May 2014 at 10:00 am to 5:00 pm Sunday 25 May 2014 at 10:00 am to 5:00 pm Monday 26 May 2014 at 10:00 am to 12 Noon

Canadian Art Auction

by Waddington's

Platinum House

164 lots with images

May 26, 2014

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

164 Lots
Sort by:
Lots with images first
Next »
Per page:
THOMAS WESLEY MCLEAN, PAUSING FOR A REST, ALGONQUIN PARK, oil on canvas, 32.25 ins x 36.25 ins; 82.6 cms x 91.4 cms

Lot 1: THOMAS WESLEY MCLEAN, PAUSING FOR A REST, ALGONQUIN PARK, oil on canvas, 32.25 ins x 36.25 ins; 82.6 cms x 91.4 cms

Estimated Price: Log in or create account to view price data

Description: THOMAS WESLEY MCLEANPAUSING FOR A REST, ALGONQUIN PARKoil on canvassigned 32.25 ins x 36.25 ins; 82.6 cms x 91.4 cms Provenance:Kaspar Gallery, TorontoPrivate Collection, Ontario

View additional info »
Realized: Log in or create account to view price data
RANDOLPH STANLEY HEWTON, R.C.A., PARIS, 1912, oil on board, 7.5 ins x 9.5 ins; 19.1 cms x 24.1 cms

Lot 2: RANDOLPH STANLEY HEWTON, R.C.A., PARIS, 1912, oil on board, 7.5 ins x 9.5 ins; 19.1 cms x 24.1 cms

Estimated Price: Log in or create account to view price data

Description: RANDOLPH STANLEY HEWTON, R.C.A.PARIS, 1912oil on boardsigned 7.5 ins x 9.5 ins; 19.1 cms x 24.1 cms Provenance:W. Scott and Sons, Montreal

View additional info »
Realized: Log in or create account to view price data
RALPH WALLACE BURTON, LAURENTIANS, ST. SAUVEUR, 1955, oil on canvas, 16.25 ins x 20 ins; 41.3 cms x 50.8 cms

Lot 3: RALPH WALLACE BURTON, LAURENTIANS, ST. SAUVEUR, 1955, oil on canvas, 16.25 ins x 20 ins; 41.3 cms x 50.8 cms

Estimated Price: Log in or create account to view price data

Description: RALPH WALLACE BURTONLAURENTIANS, ST. SAUVEUR, 1955oil on canvassigned; titled and dated on the stretcher 16.25 ins x 20 ins; 41.3 cms x 50.8 cms Provenance:Private Collection, Ontario

View additional info »
Realized: Log in or create account to view price data
ETHEL SEATH, WINTER, WATCHING THE TRAIN, gouache, 12.25 ins x 13.5 ins; 31.1 cms x 34.3 cms

Lot 4: ETHEL SEATH, WINTER, WATCHING THE TRAIN, gouache, 12.25 ins x 13.5 ins; 31.1 cms x 34.3 cms

Estimated Price: Log in or create account to view price data

Description: ETHEL SEATHWINTER, WATCHING THE TRAINgouachesigned 12.25 ins x 13.5 ins; 31.1 cms x 34.3 cms Provenance:Estate of the artistBy descent through the familyPrivate Collection, OntarioExhibited:Ethel Seath (1979-1963) Retrospective Exhibition, September 1987, Galerie Walter Klinkhoff, Montreal, no.43.

View additional info »
Realized: Log in or create account to view price data
WALTER JOSEPH PHILLIPS, R.C.A., GLOAMING, woodcut, printed in colours, 10.5 ins x 9 ins; 26.7 cms x 22.9 cms

Lot 5: WALTER JOSEPH PHILLIPS, R.C.A., GLOAMING, woodcut, printed in colours, 10.5 ins x 9 ins; 26.7 cms x 22.9 cms

Estimated Price: Log in or create account to view price data

Description: WALTER JOSEPH PHILLIPS, R.C.A.GLOAMINGwoodcut, printed in colourssigned, titled and numbered 2/50 "second state" in pencil in the lower margin 10.5 ins x 9 ins; 26.7 cms x 22.9 cms Provenance:The Jean and Joseph Connolly Collection, MontrealLiterature:Roger Boulet, The Tranquility and the Turbulence, The Life and Works of Walter J. Phillips, Markham, 1981, page 223 for the first and second state of Gloaming, listed.Nancy E. Green, Kate Rutherford and Toni Tomlinson, Walter J. Phillips, Portland, Oregon, 2013 for the 1921 state, page 6, reproduced.Note:This lot is from the second state of Gloaming published in 1925. The first state was published in 1921. Both states were produced in an edition size of 50.

View additional info »
Realized: Log in or create account to view price data
JEAN-PHILIPPE DALLAIRE, FEMME ASSISE, gouache on paper, laid down on card, (sight) 8.75 ins x 5.25 ins; 22.2 cms x 13.3 cms

Lot 6: JEAN-PHILIPPE DALLAIRE, FEMME ASSISE, gouache on paper, laid down on card, (sight) 8.75 ins x 5.25 ins; 22.2 cms x 13.3 cms

Estimated Price: Log in or create account to view price data

Description: JEAN-PHILIPPE DALLAIREFEMME ASSISEgouache on paper, laid down on cardsigned and dated '46 (sight) 8.75 ins x 5.25 ins; 22.2 cms x 13.3 cms Provenance:Private Collection, MontrealNote:Painted early in his career, Dallaire's Femme Assise does not let on whether the viewer has caught her in a moment of thought, or in a coy gesture of secrecy. Melded by colours and patterns to the chair on which she sits, Dallaire positions the woman as a modern, sibylline figure. While her elongated limbs and supple feminine form beguile us, it is her bolted tendrils of Medusa-like hair that prevent us from averting our gaze.

View additional info »
Realized: Log in or create account to view price data
ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., STILL LIFE WITH FLOWERS, gouache on paper, 12.5 ins x 10.5 ins; 31.8 cms x 26.7 cms

Lot 7: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., STILL LIFE WITH FLOWERS, gouache on paper, 12.5 ins x 10.5 ins; 31.8 cms x 26.7 cms

Estimated Price: Log in or create account to view price data

Description: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.STILL LIFE WITH FLOWERSgouache on papersigned (twice); inscribed Sampson Matthews on the reverse 12.5 ins x 10.5 ins; 31.8 cms x 26.7 cms Provenance:Private Collection, TorontoNote:Casson developed an intense interest in silkscreen serigraphs while working at the graphic arts company, Sampson-Matthews.  Producing his first serigraph for the firm in 1927 (entitled Canada Geese and Pussy Willows), Casson went on to significantly refine the process and to supervise the production of tens of thousands of reproductions in the plant.  Casson himself created many silkscreens of floral arrangements - featuring daffodils, nasturtiums and poppies amongst others.This gouache is the artist's original execution of an image that went on to be reproduced under the title, Flowers in a Red Bowl, in an edition of 60.

View additional info »
Realized: Log in or create account to view price data
RICHARD JACK, R.C.A., UNTITLED - BATHERS ALONG A SANDY BEACH, oil on board, 16 ins x 20 ins; 40.6 cms x 50.8 cms

Lot 8: RICHARD JACK, R.C.A., UNTITLED - BATHERS ALONG A SANDY BEACH, oil on board, 16 ins x 20 ins; 40.6 cms x 50.8 cms

Estimated Price: Log in or create account to view price data

Description: RICHARD JACK, R.C.A.UNTITLED - BATHERS ALONG A SANDY BEACHoil on boardsigned 16 ins x 20 ins; 40.6 cms x 50.8 cms Provenance:Private Collection, Montreal

View additional info »
Realized: Log in or create account to view price data
GRAHAM NOBLE NORWELL, O.S.A., NORTHERN LIGHTS (CHALET AT DUSK, WINTER), oil on canvas, 24 ins x 36 ins; 61 cms x 91.4 cms

Lot 9: GRAHAM NOBLE NORWELL, O.S.A., NORTHERN LIGHTS (CHALET AT DUSK, WINTER), oil on canvas, 24 ins x 36 ins; 61 cms x 91.4 cms

Estimated Price: Log in or create account to view price data

Description: GRAHAM NOBLE NORWELL, O.S.A.NORTHERN LIGHTS (CHALET AT DUSK, WINTER)oil on canvassigned 24 ins x 36 ins; 61 cms x 91.4 cms Provenance:Private Collection, Toronto

View additional info »
Realized: Log in or create account to view price data
FRANK SHIRLEY PANABAKER, A.R.C.A., EVENING LIGHT, GEORGIAN BAY, oil on board, 16 ins x 20 ins; 40.6 cms x 50.8 cms

Lot 10: FRANK SHIRLEY PANABAKER, A.R.C.A., EVENING LIGHT, GEORGIAN BAY, oil on board, 16 ins x 20 ins; 40.6 cms x 50.8 cms

Estimated Price: Log in or create account to view price data

Description: FRANK SHIRLEY PANABAKER, A.R.C.A.EVENING LIGHT, GEORGIAN BAYoil on boardsigned 16 ins x 20 ins; 40.6 cms x 50.8 cms Provenance:Private Collection, Ontario

View additional info »
Realized: Log in or create account to view price data
FREDERICK STANLEY HAINES, O.S.A., P.R.C.A., GRAZING SHEEP, oil on masonite, 47.5 ins x 53.5 ins; 120.7 cms x 135.9 cms

Lot 11: FREDERICK STANLEY HAINES, O.S.A., P.R.C.A., GRAZING SHEEP, oil on masonite, 47.5 ins x 53.5 ins; 120.7 cms x 135.9 cms

Estimated Price: Log in or create account to view price data

Description: FREDERICK STANLEY HAINES, O.S.A., P.R.C.A.GRAZING SHEEPoil on masonitesigned 47.5 ins x 53.5 ins; 120.7 cms x 135.9 cms Provenance:Private Collection, TorontoNote:Haines' most enduring works are anchored by "tree" as a central motif, be it poplar, elm, beech or oak, around which may be scattered fluffy clouds, grazing cows or contented sheep as depicted in this lot. Haines was a traditional man in a rapidly changing world and seems not to have been tempted at all by abstraction which had begun to cast its spell over colleagues. Rather, Haines produced works that remind us of a kinder, gentler time. The subjects he elected to paint were not intended to provoke, but to please and to soothe.

View additional info »
Realized: Log in or create account to view price data
WILLIAM HENRY CLAPP, A.R.C.A., LANDSCAPE #3, oil on board, 8.75 ins x 11.75 ins; 22.2 cms x 29.8 cms

Lot 12: WILLIAM HENRY CLAPP, A.R.C.A., LANDSCAPE #3, oil on board, 8.75 ins x 11.75 ins; 22.2 cms x 29.8 cms

Estimated Price: Log in or create account to view price data

Description: WILLIAM HENRY CLAPP, A.R.C.A.LANDSCAPE #3oil on boardsigned; an unfinished oil sketch with two figures on the reverse 8.75 ins x 11.75 ins; 22.2 cms x 29.8 cms Provenance:Private Collection, Montreal

View additional info »
Realized: Log in or create account to view price data
FREDERICK WILLIAM HUTCHISON, R.C.A, CHURCH AT BAIE ST. PAUL, oil on canvas, laid down on board, 8 ins x 10 ins; 20.3 cms x 25.4 cms

Lot 13: FREDERICK WILLIAM HUTCHISON, R.C.A, CHURCH AT BAIE ST. PAUL, oil on canvas, laid down on board, 8 ins x 10 ins; 20.3 cms x 25.4 cms

Estimated Price: Log in or create account to view price data

Description: FREDERICK WILLIAM HUTCHISON, R.C.ACHURCH AT BAIE ST. PAULoil on canvas, laid down on boardauthenticated by Florence G. Hutchison on the reverse 8 ins x 10 ins; 20.3 cms x 25.4 cms

View additional info »
Realized: Log in or create account to view price data
MARC-AURÈLE FORTIN, A.R.C.A., LANDSCAPE WITH ELM TREE, gouache on paper, 8 ins x 10 ins; 20.3 cms x 25.4 cms

Lot 14: MARC-AURÈLE FORTIN, A.R.C.A., LANDSCAPE WITH ELM TREE, gouache on paper, 8 ins x 10 ins; 20.3 cms x 25.4 cms

Estimated Price: Log in or create account to view price data

Description: MARC-AURÈLE FORTIN, A.R.C.A.LANDSCAPE WITH ELM TREEgouache on papersigned 8 ins x 10 ins; 20.3 cms x 25.4 cms Provenance:The Jean and Joseph Connolly Collection, MontrealNote:This quickly executed sketch relates to many of Marc-Aurèle Fortin's finished works between 1935 and 1955, when the artist was consumed by the depiction of landscapes of his native Sainte-Rose, particularly those framed by elm trees.  That the elm tree held such great fascination for Fortin is due in part to their great numbers in his village and the surrounding area; elms lined the streets leading to Montreal, stood before his house, and guarded the entrance to his church. Landscape with Elm Tree also illustrates a technique frequently used by the artist after 1949 - that of painting in casein, a type of gouache which is stabilised with the milk protein casein.  Fortin enthusiastically took up the water soluble and quick drying medium in his studio, admiring its thick matte effect on both panel and paper.

View additional info »
Realized: Log in or create account to view price data
PETER CLAPHAM SHEPPARD, O.S.A., R.C.A., THE DOCKS, oil on canvas, 17 ins x 21 ins; 43.2 cms x 53.3 cms

Lot 15: PETER CLAPHAM SHEPPARD, O.S.A., R.C.A., THE DOCKS, oil on canvas, 17 ins x 21 ins; 43.2 cms x 53.3 cms

Estimated Price: Log in or create account to view price data

Description: PETER CLAPHAM SHEPPARD, O.S.A., R.C.A.THE DOCKSoil on canvassigned 17 ins x 21 ins; 43.2 cms x 53.3 cms Provenance:Private Collection, Toronto

View additional info »
Realized: Log in or create account to view price data
LÉON BELLEFLEUR, ROSÉDO, 25.25

Lot 16: LÉON BELLEFLEUR, ROSÉDO, 25.25" x 19.25" - 64.1 x 48.9 cm.

Estimated Price: Log in or create account to view price data

Description: LÉON BELLEFLEURROSÉDOsigned, titled and dated '63, 25.25" x 19.25" - 64.1 x 48.9 cm.Provenance:Private Collection, MontrealLiterature:Guy Robert, Bellefleur, The Fervour of the Quest, Montreal, 1988, pages 51 and 97.Note:In the early 1960s, Bellefleur lived in Paris and allied himself with André Breton and Surrealism. He travelled home to Montreal for a few months each year until finally settling back in Canada in 1965. Unlike many artists, Bellefleur chose not to leave his abstracts untitled but christened them after they were painted, or occasionally as he approached their completion. His inspiration was prompted by associations he found within the composition. He sought both to enrich the viewer's experience and "to pull them (the paintings) out of anonymity". While we are uncertain whether Rosédo is Person, Place or Thing, it is possible that it refers to Spanish rosé wine, "Rosado".

View additional info »
Realized: Log in or create account to view price data
BARKER FAIRLEY, R.C.A., ADRIANNA VAN DAMM, oil on masonite, 40 ins x 30 ins; 101.6 cms x 76.2 cms

Lot 17: BARKER FAIRLEY, R.C.A., ADRIANNA VAN DAMM, oil on masonite, 40 ins x 30 ins; 101.6 cms x 76.2 cms

Estimated Price: Log in or create account to view price data

Description: BARKER FAIRLEY, R.C.A.ADRIANNA VAN DAMMoil on masonitesigned, titled and dated 1958-9 on the reverse 40 ins x 30 ins; 101.6 cms x 76.2 cms Provenance:Private Collection, AlbertaLiterature:Rebecca Sisler in Eye of the Intellect: Barker Fairley Portraits of his Colleagues, Toronto, 1987, page 3.Note:Rebecca Sisler, who once sat for the artist, states "When Barker Fairley stood at his easel, brush in hand, sitter in a chair before him, it was with no pre-conceived notion of characterization or of painting technique, of compositional arrangement or of painterly colour scheme that he scanned the features of his subject; he responded incisively, on the spot, with the scalpel of his intellect. And if he was on, two hours later a vibrant human soul stripped of all artificiality looked forth from the painting board with eternal and often disturbing clarity."

View additional info »
Realized: Log in or create account to view price data
MARCELLE FERRON, R.C.A., SANS TITRE, oil on canvas, 9.5 ins x 7.5 ins; 24.1 cms x 19.1 cms

Lot 18: MARCELLE FERRON, R.C.A., SANS TITRE, oil on canvas, 9.5 ins x 7.5 ins; 24.1 cms x 19.1 cms

Estimated Price: Log in or create account to view price data

Description: MARCELLE FERRON, R.C.A.SANS TITREsigned and dated '61; inscribed "F" on the reverse, 9.5 ins x 7.5 ins; 24.1 cms x 19.1 cmsProvenance:Private Collection, QuebecLiterature:Roald Nasgaard and Ray Ellenwood, The Automatiste Revolution, Montreal 1941-1960, Douglas & McIntyre, Vancouver/Toronto/Berkeley, 2009, page 79.Note:In 1946, Marcelle Ferron met Paul-Émile Borduas with whom her paintings such as Sans Titre, 1961 are so favourably compared. In Montreal, Ferron became part of the group of artists associated with Les Automatistes and was a signatory of Le Refuse Gobal. Like Riopelle, Ferron would spend many years pursuing her practice in Paris.  Nasgaard suggests that while other Automatistes moved away from the original tenets of the group, "Riopelle and Ferron alone remained faithful to the Automatiste tache."

View additional info »
Realized: Log in or create account to view price data
BERTRAM BROOKER, R.C.A., CREATION, C. 1927, oil on illustration board, 24 ins x 17 ins; 61 cms x 43.2 cms

Lot 19: BERTRAM BROOKER, R.C.A., CREATION, C. 1927, oil on illustration board, 24 ins x 17 ins; 61 cms x 43.2 cms

Estimated Price: Log in or create account to view price data

Description: BERTRAM BROOKER, R.C.A.CREATION, C. 1927oil on illustration boardtitled on the reverse and with a certification on the Homestead Gallery label by Victor Brooker, Bertram Brooker Estate Catalogue no. OC65 on the backing 24 ins x 17 ins; 61 cms x 43.2 cms Provenance:Estate of the artistCollection of Mrs. Phyllis Brooker Smith, Midhurst, OntarioPrivate Collection, WaterlooExhibited:B.R. Brooker, The National Gallery of Canada, Ottawa, 1972 and travelling to other galleries including the Confederation Art Centre, no.1.The Logic of Ecstasy: Canadian Mystical Painting 1920-1940, London Regional Art and Historical Museums, March 10-April 22, 1990 and travelling to Art Gallery of Greater Victoria, Edmonton Art Gallery, Edmonton, Mendel Art Gallery, Beaverbrook Art Gallery, and Dalhousie Art Gallery, Halifax.Literature:Dennis Reid, Bertram Brooker (Canadian Artists Monograph), National Gallery of Canada, Ottawa, 1973, page 37, cat. no.1, reproduced.Ann Davis, The Logic of Ecstasy: Canadian Mystical Painting 1920-1940, (exhibition catalogue), London Regional Art and Historical Museums, London, 1990, page 39, figure 12, reproduced and page 65, listed. Ann Davis, The Logic of Ecstasy: Canadian Mystical Painting 1920-1940, University of Toronto Press, Toronto, 1992, page 71, reproduced. Note:Brooker settled in Toronto in 1921 and joined the Arts & Letters Club in 1923. There he met Lawren Harris with whom he would share a friendship founded on their mutual interest in Theosophy and Transcendentalism.

View additional info »
Realized: Log in or create account to view price data
KAZUO NAKAMURA, SUNSET OVER FOREST, oil on canvas board, 23 ins x 23.5 ins; 58.4 cms x 59.7 cms

Lot 20: KAZUO NAKAMURA, SUNSET OVER FOREST, oil on canvas board, 23 ins x 23.5 ins; 58.4 cms x 59.7 cms

Estimated Price: Log in or create account to view price data

Description: KAZUO NAKAMURASUNSET OVER FORESToil on canvas boardsigned 23 ins x 23.5 ins; 58.4 cms x 59.7 cms Literature:Kazuo Nakamura, John Mighton and Kerri Sakamoto, Kazuo Nakamura: A Human Measure (exhibition catalogue), Art Gallery of Ontario, Toronto, 2004, page 11.Note:Nakamura's work possessed an orderliness and restraint that was not matched by any of his Painters Eleven peers. Many scholars have pointed to the artist's Japanese heritage as one cause of his singular aesthetic, and Nakamura himself permitted that "for Canadian painters, the main building block is based on the impact and awareness of Western cultural flow...  For Canadian painters of Japanese parentage, it means some awareness of Eastern cultural flow - in particular the development of nature concept and sophistication of natural design." The linear abstractions that Nakamura created during the same period as Sunset over Forest were first worked out on paper before the compositions were committed to oil.  Usually working in a more limited palette of blues and greens, organic shapes were drawn out from an underlying grid.

View additional info »
Realized: Log in or create account to view price data
OSCAR CAHÉN, UNTITLED, watercolour and ink, 25.75 ins x 39.75 ins; 65.4 cms x 101 cms

Lot 21: OSCAR CAHÉN, UNTITLED, watercolour and ink, 25.75 ins x 39.75 ins; 65.4 cms x 101 cms

Estimated Price: Log in or create account to view price data

Description: OSCAR CAHÉNUNTITLED25.75 ins x 39.75 ins; 65.4 cms x 101 cmsProvenance:Estate of the artistPrivate Collection, TorontoPrivate Collection, British ColumbiaExhibited:Oscar Cahén, Ringling, Sarasota, 1968.Literature:David Burnett, Oscar Cahén, Art Gallery of Ontario, Toronto, 1983, page 52, cat. no. 52, reproduced.Iris Nowell, Painters Eleven, The Wild Ones of Canadian Art, Douglas & Mcintyre, Vancouver, 2010, page 154, reproduced in colour.Note:The art of Oscar Cahén underwent rapid and dramatic evolution and growth in the early 1950s. His period of mature fine art production was a scant number of years spanning 1947 until his accidental death at age 40 in 1956. In 1952 Cahén created Candy Tree, one of the artist's most favoured signature works. The style of this work, like the vast majority of abstract works in English Canada, was predicated upon understandings based upon stylized analytic cubism. Essentially a form abstracted from nature, outline drawn, in fractured, faceted planes then 'coloured in' with paint, an approach popularized through the example of Vieira da Silva. Linear drawing was the basis for much of the prior abstract work of Cahén and his colleague artists of Painters Eleven. By 1953 Cahén developed a dramatically different approach. In works such as this lot, the artist has combined linear drawing with bold tonal gestural mark-making wherein the broad painterly stroke simultaneously defines mass while its outer edges of that movement determine the final shape. Rather than looking back towards Paris and Cubism, these Cahén works embrace the inspiration of Abstract Expressionism: Franz Kline, Mark Rothko, William Baziotes and second generation Abstract Expressionists such as Ray Parker. The stark painterly flair of Robert Motherwell's Spanish Elegy series is recalled by Cahén's dramatic use of striking black marks as the scaffold around which the work is structured. So too Cahén may have been inspired by Patrick Heron and the St. Ives group, their work toured to Canada and Toronto's Hart House courtesy of the British Council.By 1953 Cahén's new development had leapfrogged his colleagues of Painters Eleven, works of the sort of this lot established new directions. It is an approach that becomes ubiquitous in English Canada, however primarily in the later 1950s in the years following Cahén's death. These formal experiments would inspire fellow P11 members. The artist's exhibition fortunes also dramatically increased in 1953 both in number of inclusions as well as the consequence of venue, his work was selected for inclusion in the São Paulo Art Biennial exhibiting alongside Borduas.Works such as this lot were among the most advanced sophisticated art of its day in the nation. This work was selected for inclusion in the Art Gallery of Ontario Retrospective. It may be that it was Cahén's mastery as an illustrator that prepared him to take these new steps. Working daily with mixed media on paper, the artist has a complete ease with treating the surface of paper to forceful contrasts of dense, intense marks with whispered counterpoints of line and washes. This lot is classically composed, it pursues a recurring formal dare explored by the artist of having a lateral split left/right side of the picture and treating each side as differently as possible, yet attempting to hold it together as a unified whole.We thank Jeffrey Spalding for providing the essay for this lot.

View additional info »
Realized: Log in or create account to view price data
HARRY BRITTON, O.S.A., R.C.A., BOATS AT ANCHOR, oil on canvas, 30 ins x 50 ins; 76.2 cms x 127 cms

Lot 22: HARRY BRITTON, O.S.A., R.C.A., BOATS AT ANCHOR, oil on canvas, 30 ins x 50 ins; 76.2 cms x 127 cms

Estimated Price: Log in or create account to view price data

Description: HARRY BRITTON, O.S.A., R.C.A.BOATS AT ANCHORoil on canvassigned and dated 1911 30 ins x 50 ins; 76.2 cms x 127 cms Provenance:Mellors Laing Gallery, TorontoCollectors' Gallery, CalgaryPrivate Collection, AlbertaNote:Britton was born in Cambridge, England and moved with his parents to Toronto as a young child. He first studied under McGillivray Knowles and then continued his education in London. Britton would have completed this large-scale work depicting the Cornish fishing boats of St. Ives while at the London School of Art. In 1911, the year this work was painted, Britton submitted no less than six paintings to the Royal Canadian Academy for their annual exhibition and at least five of these had fishing boats as their subject. He was exceptionally adept at capturing the panoply of colors and textures associated with coastal life and industry: sun-drenched boats, crumbling stone breaker walls, rusty chain, the dappled reflections of sunlight playing on the harboured sea, weathered fishing boats with their well-worn sails and serene coastal views. This lot is the largest work of this subject by Britton to appear on the market - although other major works can be found in the collections of the National Gallery of Canada, the Art Gallery of Ontario, and abroad.

View additional info »
Realized: Log in or create account to view price data
ALAN CASWELL COLLIER, O.S.A., R.C.A., LEE'S CORNER, CHILCOTIN ROAD, oil on canvas, 24 ins x 32 ins; 61 cms x 81.3 cms

Lot 23: ALAN CASWELL COLLIER, O.S.A., R.C.A., LEE'S CORNER, CHILCOTIN ROAD, oil on canvas, 24 ins x 32 ins; 61 cms x 81.3 cms

Estimated Price: Log in or create account to view price data

Description: ALAN CASWELL COLLIER, O.S.A., R.C.A.LEE'S CORNER, CHILCOTIN ROADoil on canvassigned; inscribed "On Chilcotin Plateau, West of Williams Lake, B.C." on the stretcher 24 ins x 32 ins; 61 cms x 81.3 cms Provenance:Roberts Gallery Limited, TorontoNote:Born in Toronto, Ontario, Alan Collier attended the Ontario College of Art where he studied under Franklin Carmichael and J.E.H. MacDonald. After travelling across Canada by train in 1934, Collier continued his studies in New York City at the Art Students' League. When he returned to Toronto in 1955, having spent 3 years in the Canadian Army, Collier found himself increasingly drawn towards painting. His background in mining and frequent road-trips with his family into the Canadian landscape informed much of his work. Nestled into a bend on the Chilcotin Road, Lee's Corner bears the name of Norman Lee - a farmer whose failed journey to sell cattle at the Klondike gold camps resulted in his settlement of the area. In this canvas of rich earth-toned colouration, Collier captures both the stillness and the ruggedness of this small locality. Lee's Corner, Chilcotin Road is emblematic of the founder of the town. Its rich simplicity speaks to his determination and to his return home - undaunted.

View additional info »
Realized: Log in or create account to view price data
GERSHON ISKOWITZ, R.C.A., NORTHERN LIGHTS #3, oil on canvas, 45 ins x 39 ins; 114.3 cms x 99.1 cms

Lot 24: GERSHON ISKOWITZ, R.C.A., NORTHERN LIGHTS #3, oil on canvas, 45 ins x 39 ins; 114.3 cms x 99.1 cms

Estimated Price: Log in or create account to view price data

Description: GERSHON ISKOWITZ, R.C.A.NORTHERN LIGHTS #3oil on canvassigned, titled and dated 1984 on the reverse 45 ins x 39 ins; 114.3 cms x 99.1 cms Provenance:Gallery Moos, TorontoThielsen Gallery, London, OntarioPrivate Collection, London, OntarioPrivate Collection, South Africa (by descent)

View additional info »
Realized: Log in or create account to view price data
WILLIAM RONALD, R.C.A., SPEARMINT YELLOW LIGHT, oil on canvas, 60 ins x 60 ins; 152.4 cms x 152.4 cms

Lot 25: WILLIAM RONALD, R.C.A., SPEARMINT YELLOW LIGHT, oil on canvas, 60 ins x 60 ins; 152.4 cms x 152.4 cms

Estimated Price: Log in or create account to view price data

Description: WILLIAM RONALD, R.C.A.SPEARMINT YELLOW LIGHToil on canvassigned and dated '95; signed, titled and dated -95 on the reverse 60 ins x 60 ins; 152.4 cms x 152.4 cms Provenance:Private Collection, London, OntarioPrivate Collection, South Africa (by descent)

View additional info »
Realized: Log in or create account to view price data
JEAN-PAUL LEMIEUX, R.C.A., VILLAGE LE LONG DU ST-LAURENT, oil on masonite, 24 ins x 36 ins; 61 cms x 91.4 cms

Lot 26: JEAN-PAUL LEMIEUX, R.C.A., VILLAGE LE LONG DU ST-LAURENT, oil on masonite, 24 ins x 36 ins; 61 cms x 91.4 cms

Estimated Price: Log in or create account to view price data

Description: JEAN-PAUL LEMIEUX, R.C.A.VILLAGE LE LONG DU ST-LAURENToil on masonitesigned and dated '51 24 ins x 36 ins; 61 cms x 91.4 cms Provenance:Galerie Claude Lafitte, MontrealPrivate CollectionLiterature:Dennis Reid, A Concise History of Painting in Canada, Oxford University Press, Toronto, 2006, page 292.Guy Robert, Lemieux, Gage Publishing, Montreal, 1975, pages 39 and 88.Note:In the early 1930s the landscapes of celebrated Quebec painter Jean-Paul Lemieux were greatly affected by his appreciation for the work of the Group of Seven, and his friendship with his former etching instructor Edwin Holgate.  On his summer breaks from teaching at the École du meuble in Montreal, and from 1937 the École des Beaux-Arts de Québec, Lemieux toured Charlevoix County and its rural villages along the Saint Lawrence working on sketches in oil and watercolour.   Lemieux was frequently accompanied on these expeditions by artist friends such as Jean Palardy, Jori Smith, and his wife Madeline Desrosiers, and drew great inspiration from their companionship.  Village le Long du St-Laurent holds much in common with the artist's landscape paintings of this period, although it was made at the cusp of a major turning point in Lemieux's career.  1951 is commonly cited as the year in which Lemieux entered his "minimalist period" in which some of his best-loved work was created.  The same year, he was awarded first prize at the concours artistiques de la province de la Québec. Over the next five years, Lemieux focused on distilling the forms of nature down to their basic geometric components and on achieving the appearance of simplified space.  This is achieved with a remarkably profound sense of depth and sensitivity in Village le Long du St-Laurent.  With its cool colours and the diminutive settlement nestled between the hills and river, Village expresses the solitude in which the people of rural Quebec had resided for centuries.

View additional info »
Realized: Log in or create account to view price data
ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., SUNDOWN AFTER RAIN, MADAWASKA VALLEY, oil on board, 11.75 ins x 15 ins; 29.8 cms x 38.1 cms

Lot 27: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., SUNDOWN AFTER RAIN, MADAWASKA VALLEY, oil on board, 11.75 ins x 15 ins; 29.8 cms x 38.1 cms

Estimated Price: Log in or create account to view price data

Description: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.SUNDOWN AFTER RAIN, MADAWASKA VALLEYoil on boardsigned; signed and titled on the artist's label on the reverse 11.75 ins x 15 ins; 29.8 cms x 38.1 cms Provenance:Estate of Lurena S. ButtonRoberts Gallery Limited, TorontoSimpsons-Sears LimitedPrivate Collection, Missouri (by descent)Note:In the early 1960s, Sears, Roebuck and Co. and its Canadian counterpart Simpsons-Sears Limited set out to make fine art readily available to the general public. Heading up the initiative was famed celebrity Vincent Price - who, unbeknownst to most, studied art at prestigious academic institutions including Yale University and the University of London. Mr. Price was given authority by the company to acquire works of good quality - both by purchase and commission - that would then be placed on offer to patrons of the store. The first exhibit and sale of "The Vincent Price Collection of Fine Art" took place on October 6, 1962 in a Sears store in Denver, Colorado. Visitors to the sale were invited and able to purchase original works by contemporary artists and old masters including Rembrandt and Whistler. By the time the American program ended in 1971, more than 50,000 works of art had been ushered into homes by way of the program. This painting was gifted to the owner's father-in-law, James Wilson Button Senior, former President of Simpsons-Sears Limited, directly from Vincent Price himself in commemoration of the initiative.

View additional info »
Realized: Log in or create account to view price data
M. EMILY CARR, FOREST CLEARING, oil on paper, 36 ins x 24 ins; 91.4 cms x 61 cms

Lot 28: M. EMILY CARR, FOREST CLEARING, oil on paper, 36 ins x 24 ins; 91.4 cms x 61 cms

Estimated Price: Log in or create account to view price data

Description: M. EMILY CARRFOREST CLEARINGoil on papersigned 36 ins x 24 ins; 91.4 cms x 61 cms Provenance:Private Collection, OntarioNote:Carr painted wooded landscapes in oil on regular excursions from her studio in Victoria. Working on manila paper, which was inexpensive and transportable, Carr created sketches like Forest Clearing in oil paints diluted with gasoline to the consistency of watercolour. She also invented a folding drawing board which simplified the handling of her materials. Happy with the results of this method, she remarked that she was "unafraid to slash away because the material scarcely counts. You can just paint and there's no loss with failures. I try to do one almost every day." Carr perfected this technique by 1934, her sketches also brightening in colour considerably. Sketches were finished in one sitting while perched on a camp chair and were not touched up afterward. Forest Clearing exemplifies these exercises, with its tall and wispy trees watching over the clearing and its optimistic colours suggesting that regeneration is near and inevitable. Every inch of the sketch is activated; something for which Carr strove throughout the later 1930s.After 1937, her reputation as a painter in eastern Canada steadily increased as a result of her participation in 14 solo shows prior to her death in 1945. Final significant sketching trips were undertaken in 1938 and 1942 when Carr's health was already failing. Forest Clearing thus dates from the height of the artist's achievements in painting.

View additional info »
Realized: Log in or create account to view price data
JEAN-PAUL LEMIEUX, R.C.A., JEUNE FEMME, coloured crayon, 11.75 ins x 8 ins; 29.8 cms x 20.3 cms

Lot 29: JEAN-PAUL LEMIEUX, R.C.A., JEUNE FEMME, coloured crayon, 11.75 ins x 8 ins; 29.8 cms x 20.3 cms

Estimated Price: Log in or create account to view price data

Description: JEAN-PAUL LEMIEUX, R.C.A.JEUNE FEMMEcoloured crayonsigned 11.75 ins x 8 ins; 29.8 cms x 20.3 cms Provenance:The Jean and Joseph Connolly Collection, MontrealLiterature:Guy Robert, Lemieux, Gage Publishing, Toronto, 1978, pages 237, 250 and 287 for the closely related works L'Orpheline, Françoise and Fillette, reproduced.Note:Often working alone in the studio rather than with live models, Lemieux pursued figural painting in an age when the abstractions of Paul-Émile Borduas, Riopelle, and Pellan were capturing critical attention in Canada and abroad.Like so many of Lemieux's portraits, the innocence and solitude of the subject in Jeune Femme is emphasised by the dark ground behind the figure.  This is also evident in Françoise and Fillette, both from 1957.  As well, Jeune Femme holds obvious affinity with the two versions of L'Orpheline which were also created that year. In each case, the vertical format and closeness of the figure to the viewer shows itself as Lemieux's preferred method of character study during this period.

View additional info »
Realized: Log in or create account to view price data
DAVID BOLDUC, BASS CULTURE, acrylic on canvas, 96 ins x 90 ins; 243.8 cms x 228.6 cms

Lot 30: DAVID BOLDUC, BASS CULTURE, acrylic on canvas, 96 ins x 90 ins; 243.8 cms x 228.6 cms

Estimated Price: Log in or create account to view price data

Description: DAVID BOLDUCBASS CULTUREacrylic on canvassigned, titled and dated 1980 on the overflap; signed, titled and inscribed "Calgary" on the stretcher 96 ins x 90 ins; 243.8 cms x 228.6 cms Provenance:Mira Godard Gallery, Toronto/CalgaryPrivate Collection, Toronto

View additional info »
Realized: Log in or create account to view price data
HAROLD BARLING TOWN, R.C.A., THE MASTER'S DILEMMA #2 (WITH FLOWER), oil on canvas, 28.25 ins x 21.75 ins; 71.8 cms x 55.2 cms

Lot 31: HAROLD BARLING TOWN, R.C.A., THE MASTER'S DILEMMA #2 (WITH FLOWER), oil on canvas, 28.25 ins x 21.75 ins; 71.8 cms x 55.2 cms

Estimated Price: Log in or create account to view price data

Description: HAROLD BARLING TOWN, R.C.A.THE MASTER'S DILEMMA #2 (WITH FLOWER)oil on canvassigned and dated '60; signed and dated on the reverse 28.25 ins x 21.75 ins; 71.8 cms x 55.2 cms Provenance:Gallery Dresdnere, MontrealPrivate Collection, OntarioLiterature:David Silcox et al., Magnificent Decade, Harold Town: 1955-1965 (exhibition catalogue), Moore Gallery, Toronto, 1997, cover, a closely related painting entitled Banner #1 from 1960, reproduced in colour.Note:By 1960, Town had mastered the art of printmaking: his Single Autographic Prints had garnered several of the world's most prestigious prizes. In painting, his technique was both prodigious and yet controlled, he had found a visual vocabulary that was varied and large in scope, and had developed a sense of bravura in composition. These achievements were to lead him into the Great Seal and the Tyranny of the Corner series that astonished the Canadian art world and earned him international acclaim in the early-to-mid 1960s.The Master's Dilemma #2 (with Flower) sits right in the middle of Town's immensely productive period of early but mature work. The confidence and originality in this work is typical of the pivotal, central, and magnificent decade (1955 to 1965) in which Town rode to prominence. The composition is bold and provocative, and has a sense of being about to shift, spin, or topple. It is the feeling of anticipation or kinetic energy in it that grips, or unnerves, the viewer. The colours are fat, succulent, and dramatic. Each time you see it, you see something new and fascinating.

View additional info »
Realized: Log in or create account to view price data
FRANK HANS JOHNSTON, O.S.A., A.R.C.A., SNOWY SOLITUDE, oil on board, 24 ins x 20 ins; 61 cms x 50.8 cms

Lot 32: FRANK HANS JOHNSTON, O.S.A., A.R.C.A., SNOWY SOLITUDE, oil on board, 24 ins x 20 ins; 61 cms x 50.8 cms

Estimated Price: Log in or create account to view price data

Description: FRANK HANS JOHNSTON, O.S.A., A.R.C.A.SNOWY SOLITUDEoil on boardsigned "Franz Johnston"; signed and titled on the reverse 24 ins x 20 ins; 61 cms x 50.8 cms Provenance:Private Collection, GuelphLiterature:Roger Burford Mason, A Grand Eye for Glory: A Life of Franz Johnston, Dundurn, Toronto, 1998, unpaginated and page 63.Note:In 1927, Johnston received a commission to paint a mural and was able to travel to northern Quebec and Ontario where he studied the effect of various qualities of snow and light. He had already earned a reputation in the study of the beauty of light effects. Mason writes, "Johnston's skill in rendering the quality of light on snow was thought to be unsurpassed." Further trips to this region and the area around Lake Nipigon throughout the 1930s helped him develop "his very special facility for painting the effect of light and shadow on snow, a theme which informs some of his most popular and enduring works."According to the present owner this painting was purchased from The Fine Art Galleries, T. Eaton Company Limited, Toronto.

View additional info »
Realized: Log in or create account to view price data
MAURICE GALBRAITH CULLEN, R.C.A., THE DEEP POOL, 1926, oil on canvas, laid down on board, 24.25 ins x 18.25 ins; 61.6 cms x 46.4 cms

Lot 33: MAURICE GALBRAITH CULLEN, R.C.A., THE DEEP POOL, 1926, oil on canvas, laid down on board, 24.25 ins x 18.25 ins; 61.6 cms x 46.4 cms

Estimated Price: Log in or create account to view price data

Description: MAURICE GALBRAITH CULLEN, R.C.A.THE DEEP POOL, 1926signed, Cullen inventory no.108124.25 ins x 18.25 ins; 61.6 cms x 46.4 cmsProvenance:W.R. Watson, Westmount, QuebecThe Estate of Claire Watson Fisher, Victoria, British ColumbiaExhibited:300 Years of Canadian Art, The National Gallery of Canada, Ottawa, 1967, no. 226.Literature:Sylvia Antoniou, Maurice Cullen, 1866-1934, Agnes Etherington Art Centre, Queen's University, Kingston, Ontario, 1982, page 41.Note:Legendary art dealer, William Watson, to whom this painting belonged, and whose gallery was situated on St. Catherine Street in Montreal from 1921 until his retirement in 1958, gave Cullen his first show in 1923 and did so annually until the 1934 Cullen Retrospective held just months before the artist's death. Antoniou writes: "Watson's support and promotion of the artist's Laurentian landscapes played an important role in Cullen's production." A demand rose for the Laurentian paintings and as Watson said: "He (Cullen) painted very slowly and I would have to put paintings aside collecting them for a year, to have enough to make an exhibition." According to a typed label on the stretcher, this work was painted in St. Marguerite.

View additional info »
Realized: Log in or create account to view price data
FRANK HANS JOHNSTON, O.S.A., A.R.C.A., NIGHT ABOVE LAKE LOUISE, tempera on card, 14 ins x 10 ins; 35.6 cms x 25.4 cms

Lot 34: FRANK HANS JOHNSTON, O.S.A., A.R.C.A., NIGHT ABOVE LAKE LOUISE, tempera on card, 14 ins x 10 ins; 35.6 cms x 25.4 cms

Estimated Price: Log in or create account to view price data

Description: FRANK HANS JOHNSTON, O.S.A., A.R.C.A.NIGHT ABOVE LAKE LOUISEtempera on cardsigned "Franz Johnston" 14 ins x 10 ins; 35.6 cms x 25.4 cms Provenance:Kaspar Gallery, Toronto Private Collection, TorontoLiterature:Catharine Mastin, "East Views West" in The Group of Seven in Western Canada, Glenbow Museum, Calgary, 2002, page 33 for Resorts in the Canadian Rockies, ca. 1924, reproduced in color.Note:In Night Above Lake Louise, Johnston uses his skill as a graphic artist to great effect. The simplified picture evokes a physical sensation, a shiver, from the evening's chill. In 1924, Johnston was commissioned to create artwork for promotion of the Canadian Pacific Railway mountain resorts. He would only return to the mountains one more time, in 1930. His stylish final cover design, with its high-contrast colours (circa 1924), in the collection of the Glenbow Museum, incorporates several images that closely relate to this lot.

View additional info »
Realized: Log in or create account to view price data
ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., WINTER WOODS, oil on panel, 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

Lot 35: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A., WINTER WOODS, oil on panel, 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

Estimated Price: Log in or create account to view price data

Description: ALEXANDER YOUNG JACKSON, O.S.A., R.C.A.WINTER WOODSoil on panelsigned; signed, dated "Feb 1914" and inscribed "Canoe Lake" on the reverse 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Provenance:Private Collection, MontrealNote:Painted in February of 1914, A.Y. Jackson's Winter Woods is at once quiet in sentiment and sparkling in its colour treatment. It was later on in that same year that Jackson accompanied Tom Thomson on an expedition to Algonquin Park. Their admiration for one another had grown strong - with Jackson having moved to Toronto in 1913 and Thomson residing just outside of the Studio Building on 25 Severn Street in his small 'shack.'Following their trip, Jackson returned to Montreal, and shortly thereafter enlisted to fight with the Canadian Forces as a Private in the 60th Battalion. In 1917, he was wounded in the hip and shoulder during combat at Maple Copse near Ypres and was transferred to England. It was while he was there that tragedy struck back home; Jackson received word that Tom Thomson had drowned in Canoe Lake, just a few days shy of his 40th birthday. This was a severe blow for Jackson.Created during the last year that the two painters spent time together, Winter Woods captures with bittersweet clarity a true devotion to the wilderness. The verticality of the trees, the rich strokes of lilacs and blues and greens channel Thomson's instinctive energy and abilities. Here, on the shores of Canoe Lake, there is no desolation of bush and rock. We find rather that Jackson, without yet knowing it, created a fitting homage to his friend.

View additional info »
Realized: Log in or create account to view price data
KATHLEEN MOIR MORRIS  A.R.C.A., CAB STAND IN WINTER, QUEBEC CITY, oil on canvas, 18 ins x 24 ins; 45.7 cms x 61 cms

Lot 36: KATHLEEN MOIR MORRIS A.R.C.A., CAB STAND IN WINTER, QUEBEC CITY, oil on canvas, 18 ins x 24 ins; 45.7 cms x 61 cms

Estimated Price: Log in or create account to view price data

Description: KATHLEEN MOIR MORRIS A.R.C.A.CAB STAND IN WINTER, QUEBEC CITYoil on canvassigned 18 ins x 24 ins; 45.7 cms x 61 cms Provenance:Private Collection, OttawaExhibited:Canadian National ExhibitionLiterature:Frances K. Smith, Kathleen Moir Morris, Agnes Etherington Art Centre, Queen's University, Kingston, Ontario, 1983, pages 15-18, and page 18, cat no. 17 for the 1925 oil sketch of this canvas entitled "Old Wall, Quebec City" (Private Collection, Montreal), reproduced.Note:Born in Montreal in 1893, Kathleen Morris started drawing at a very young age and while she would deny that she was a child prodigy, her talent was identified by her cousin by marriage, artist Robert Harris, when she was a mere girl of seven years of age. Limited to some degree by a chronic health problem, Morris' training and experience would not include trips abroad like so many of her cohort. Rather she found her greatest subjects closer to home in the snowy streets and busy markets of Ottawa, Montreal and Quebec City and Cab Stand is the product of one of these painting trips east.It comes as no surprise to learn that Morris admired the work of the great James Wilson Morrice whose paintings she would have known. Indeed, their interpretation of the snowy landscapes populated with thick-coated horses waiting patiently for fares at cab stands have much in common. Frances Smith writes: "Not only is her subject matter similar, but her textured snow has the warmish tones of Morrice which contrast vividly with the cold blues and dazzling whites of Cullen and some others."While Morris seldom ever dated her pictures, we have dated this painting to circa 1925. A label fragment on the reverse shows part of the original title which could be "A bit of Old Quebec". A work by this title was exhibited at the Art Association of Montreal Annual Spring Exhibition in 1925 (no. 191).

View additional info »
Realized: Log in or create account to view price data
ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., GOLDEN VALLEY, oil on board, 9.5 ins x 11.25 ins; 24.1 cms x 28.6 cms

Lot 37: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., GOLDEN VALLEY, oil on board, 9.5 ins x 11.25 ins; 24.1 cms x 28.6 cms

Estimated Price: Log in or create account to view price data

Description: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.GOLDEN VALLEYoil on boardsigned; signed and titled on the reverse 9.5 ins x 11.25 ins; 24.1 cms x 28.6 cms Provenance:Roberts Gallery Limited, TorontoPrivate Collection, OntarioNote:Ablaze with gilded and amber hues, A.J. Casson's Golden Valley is warm and compelling.  In restricting his palette, Casson seems to come to a perfect balance:  "...I took lessons from Harry Britton (Lot 22) and he taught me that if you go out up north on a gray day you don't load up your palette with cadmium orange, brilliant yellows and that sort of thing.  If you do, you're going to waste so much time dirtying them.  You use yellow ochre.  The only thing is, if you have a good thing working, you have to be careful not to overdo it."  Though the day is far from a gray one, Casson plies the yellow ochre to a calming affect. By subtly adding a hint of the pigment to the blue of the sky, Casson toasts the scene with a tinge of autumnal comfort.  His love-affair with landscapes - and his remarkable ability to capture their seasonal variability - clearly informed his work for the duration of Casson's career.

View additional info »
Realized: Log in or create account to view price data
EDWIN HEADLEY HOLGATE, R.C.A., FALL, LAURENTIANS, oil on panel, 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

Lot 38: EDWIN HEADLEY HOLGATE, R.C.A., FALL, LAURENTIANS, oil on panel, 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms

Estimated Price: Log in or create account to view price data

Description: EDWIN HEADLEY HOLGATE, R.C.A.FALL, LAURENTIANSoil on panelsigned with initials; dated "OCTOBER '49" on the reverse 8.5 ins x 10.5 ins; 21.6 cms x 26.7 cms Provenance:Galerie L'Art français, MontrealLiterature:Dennis Reid, Edwin Holgate, National Gallery of Canada, Ottawa, 1976, page 22.Note:A central figure in the establishment of a Canadian tradition in painting after the First World War, Edwin Holgate is remembered for his close association with the Group of Seven from 1929, and his earlier involvement with the foundation of the Beaver Hall Group. Fall, Laurentians is an oil study for the larger canvas entitled Three Tamaracks (now in private hands).  Holgate frequently revisited the Quebec landscape throughout his mature years as an artist, particularly Morin Heights north-west of Montreal, where he lived from 1946 to 1973.  The majority of pictures he produced at this time focus on the shoulders of the seasons, when conditional changes seem to occur over a short period of time.  The warm colours of the season in Fall, Laurentians stand in contrast to the cool colours that feature in other pictures of the same year. As a group, Holgate's Laurentian pictures capture his fascination with the ethnology of rural life in French Canada and his own personal relationship to the landscape of Morin Heights.

View additional info »
Realized: Log in or create account to view price data
ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., MARSHE'S FALLS (ALGONQUIN PARK), oil on board, 12 ins x 15 ins; 30.5 cms x 38.1 cms

Lot 39: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A., MARSHE'S FALLS (ALGONQUIN PARK), oil on board, 12 ins x 15 ins; 30.5 cms x 38.1 cms

Estimated Price: Log in or create account to view price data

Description: ALFRED JOSEPH CASSON, O.S.A., P.R.C.A.MARSHE'S FALLS (ALGONQUIN PARK)oil on boardsigned; signed, titled and dated "Oct/80" 12 ins x 15 ins; 30.5 cms x 38.1 cms Literature:Paul Duval, A.J. Casson/His Life & Works/A Tribute, Cerebrus Publishing Company Ltd., Toronto, 1980, unpaginated for Below Ragged Falls Oxtongue River, 1970, and Below Ragged Falls, 1976.Note:In 1971, the Highway 35 bridge that had spanned across Marsh's Falls for many years was torn down.  With access to the natural feature no longer impeded, visitors could enjoy the cascade in all its splendor.  This small waterfall rests upon the Oxtongue River, downstream from the much larger Ragged Falls - which is featured in several of Casson's other paintings.The swirls and movement of the water stand in sharp contrast to the rigidity and impliability of the stone.  Clinging to the side of the rock face is a small, lone pine - alight with brilliant cadmium green. Taking the focus of the scene, its perseverance exhibits the same strength as the Falls themselves.

View additional info »
Realized: Log in or create account to view price data
FRANKLIN CARMICHAEL, O.S.A., R.C.A., SNOWY HILLSIDE, oil on panel, 6 ins x 8.25 ins; 15.2 cms x 21 cms

Lot 40: FRANKLIN CARMICHAEL, O.S.A., R.C.A., SNOWY HILLSIDE, oil on panel, 6 ins x 8.25 ins; 15.2 cms x 21 cms

Estimated Price: Log in or create account to view price data

Description: FRANKLIN CARMICHAEL, O.S.A., R.C.A.SNOWY HILLSIDEoil on panelwith estate stamp; an oil sketch of a shoreline, with estate stamp, on the reverse 6 ins x 8.25 ins; 15.2 cms x 21 cms Provenance:Estate of the artistBy descent through the familyPrivate Collection, British ColumbiaNote:In this early painting, Carmichael weaves together a blanket of greens, burnt sienna and white. Indigo lines become trees that link the clear blue sky to the warm crest of land below. The snow melts away and, in its pooling and puddling, reveals the promise of a new season.

View additional info »
Realized: Log in or create account to view price data
DAVID BROWN MILNE, PARK AND CITY, NEW YORK, watercolour on illustration board, 8 ins x 10 ins; 20.3 cms x 24.8 cms

Lot 41: DAVID BROWN MILNE, PARK AND CITY, NEW YORK, watercolour on illustration board, 8 ins x 10 ins; 20.3 cms x 24.8 cms

Estimated Price: Log in or create account to view price data

Description: DAVID BROWN MILNEPARK AND CITY, NEW YORKwatercolour on illustration board 8 ins x 10 ins; 20.3 cms x 24.8 cms Provenance:Estate of the artistMasters Gallery Ltd., CalgaryPrivate Collection, VancouverLiterature:David P. Silcox and David Milne, Jr., David B. Milne, Catalogue Raisonné of the Paintings, Volume 1: (1882-1928), University of Toronto Press, Toronto, 1998, page 72, cat. no. 104.18, reproduced.Ian Thom (ed.), David Milne, Douglas & McIntyre, Vancouver, 1991, pages 30 and 37.Note:At the time this work was executed, circa 1912, Milne was living in New York and had a business at 5th Avenue and East 42nd Street - near the New York Public Library which had just opened in 1911.A guiding principal of aesthetic economy can be found throughout Milne's work and is quite evident here. In order that the artist's feeling be conveyed directly to the viewer, speed of execution was important. Boyanoski quotes Milne as stating: "the less expenditure of aesthetic means (color and line), the greater the power of the picture."

View additional info »
Realized: Log in or create account to view price data
JEAN-PHILIPPE DALLAIRE, LE MAIN DE DIEU, sight 9

Lot 42: JEAN-PHILIPPE DALLAIRE, LE MAIN DE DIEU, sight 9" x 10.25" - 22.9 x 26 cm.

Estimated Price: Log in or create account to view price data

Description: JEAN-PHILIPPE DALLAIRELE MAIN DE DIEUsigned, titled and dated '55, sight 9" x 10.25" - 22.9 x 26 cm.Provenance:Private Collection, Montreal

View additional info »
Realized: Log in or create account to view price data
LAURA ADELINE MUNTZ, O.S.A., A.R.C.A., BOY WITH A STRAW HAT, oil on canvas, 15 ins x 13 ins; 38.1 cms x 33 cms

Lot 43: LAURA ADELINE MUNTZ, O.S.A., A.R.C.A., BOY WITH A STRAW HAT, oil on canvas, 15 ins x 13 ins; 38.1 cms x 33 cms

Estimated Price: Log in or create account to view price data

Description: LAURA ADELINE MUNTZ, O.S.A., A.R.C.A.BOY WITH A STRAW HAToil on canvassigned with initials "LM" 15 ins x 13 ins; 38.1 cms x 33 cms Provenance:Private Collection, Ontario

View additional info »
Realized: Log in or create account to view price data
WALTER JOSEPH PHILLIPS, R.C.A., YORK BOAT ON LAKE WINNIPEG, 1930, woodcut, Sheet 11.5 ins x 15.25 ins; 26 cms x 34.9 cms

Lot 44: WALTER JOSEPH PHILLIPS, R.C.A., YORK BOAT ON LAKE WINNIPEG, 1930, woodcut, Sheet 11.5 ins x 15.25 ins; 26 cms x 34.9 cms

Estimated Price: Log in or create account to view price data

Description: WALTER JOSEPH PHILLIPS, R.C.A.YORK BOAT ON LAKE WINNIPEG, 1930signed and titled in pencil in the lower margin, and signed in the print with the artist's monogramme, Sheet 11.5 ins x 15.25 ins; 26 cms x 34.9 cmsLiterature:Duncan Campbell Scott, Walter J. Phillips (Canadian Artists Series), The Ryerson Press, Toronto, n.d., page 41, reproduced.Roger Boulet, The Tranquility and the Turbulence: The Life and Works of Walter J. Phillips, M.B. Loates, Markham, 1981, frontispiece, page 113 and page 133 for York Boat on Lake Winnipeg, reproduced in colour.Patricia Ainslie, Images of the Land: Canadian Block Prints 1919-1945, Glenbow Museum, Calgary, 1984, page 40, cat. no 137 for York Boat on Lake Winnipeg, reproduced in color.Nancy Green, Kate Rutherford and Toni Tomlinson, Walter J. Phillips, Pomegranate, Portland, Oregon, 2013, page 30 for York Boat on Lake Winnipeg, reproduced in colour.Note:The title of Roger Boulet's monograph was drawn from Phillips' remark: "Water is the most expressive element in nature. It responds to every mood from tranquility to turbulence" and indeed many of the artist's best known works include water as a kind of mood gauge. Kate Rutherford observes that while so many of Phillips' compositions could be viewed as objective - depicting things as they could be seen in real life - York Boat is an exception. According to Rutherford, the artist's great grand-daughter, York Boat "portrays the frustration and energy of the boatmen fighting the winds, and the active, swirling water adds a sublime aspect to the piece."

View additional info »
Realized: Log in or create account to view price data
WALTER JOSEPH PHILLIPS, R.C.A., THE HOH-HOK HOUSEPOSTS AT KARLUKWEES, watercolour, laid down on board, 20.5 ins x 16 ins; 52.1 cms x 40.6 cms

Lot 45: WALTER JOSEPH PHILLIPS, R.C.A., THE HOH-HOK HOUSEPOSTS AT KARLUKWEES, watercolour, laid down on board, 20.5 ins x 16 ins; 52.1 cms x 40.6 cms

Estimated Price: Log in or create account to view price data

Description: WALTER JOSEPH PHILLIPS, R.C.A.THE HOH-HOK HOUSEPOSTS AT KARLUKWEESwatercolour, laid down on boardsigned 20.5 ins x 16 ins; 52.1 cms x 40.6 cms Provenance:Private Collection, United KingdomPrivate Collection, British ColumbiaLiterature:Duncan Campbell Scott, Walter J. Phillips (Canadian Art Series), The Ryerson Press, Toronto, n.d., pages 23-24. Nancy Green, Kate Rutherford and Toni Tomlinson, Walter J. Phillips, Pomegranate, Portland, Oregon, 2013, pages 19-21.Note:While W.J. Phillips is widely known for his masterful woodcuts, his watercolours rarely appear on the market and are both rare and remarkable. In his early work on Phillips for the Canadian Art Series, Campbell quotes foremost watercolourist of the day, Fred Brigden, who after rhapsodizing at great length about Phillips' long inventory of skill and acumen, eventually places him "easily among the top ranking water color men in Canada or abroad." Brigden references Phillips' feeling for watercolor and his careful emphasis on design and form. He notes, Phillips, "like all great masters, restricted his palette to employ the fewest possible colours to obtain his effects." We know that in 1927, Phillips traveled to Alert Bay - northern Vancouver Island- to visit his sister. From there he travelled by boat with his brother-in-law to Mamalilicoola, Tsatsisnukomi and Karlukwees, the subject of this lot, where he recorded the "strange monuments" in the mist and the fog.Phillips described these first nations villages as "delectable sketching ground." This watercolour would be translated into the second wood engraving of Phillips' 1930 portfolio, An Essay in Woodcuts.

View additional info »
Realized: Log in or create account to view price data
LAWREN STEWART HARRIS, LAKE SUPERIOR PAINTING, oil on canvas, 40 ins x 50 ins; 101.6 cms x 127 cms

Lot 46: LAWREN STEWART HARRIS, LAKE SUPERIOR PAINTING, oil on canvas, 40 ins x 50 ins; 101.6 cms x 127 cms

Estimated Price: Log in or create account to view price data

Description: LAWREN STEWART HARRISLAKE SUPERIOR PAINTINGoil on canvassigned and titled on a label on the stretcher 40 ins x 50 ins; 101.6 cms x 127 cms Provenance:Acquired from the artist's family by the present owner (in 1952)Literature:Lawren Harris, Paintings 1910-1948 (exhibition catalogue), Art Gallery of Toronto, 1948, pages 10, 31 and plates 10 and 12, cat. nos. 34 and 44, for related works from this period (the second in the collection of the National Gallery of Canada), reproduced. Lawren Harris, Retrospective Exhibition, 1963 (exhibition catalogue) National Gallery of Canada and the Vancouver Art Gallery, Vancouver, 1963, page 7 (foreword), page 23 (Paul Duval, "From Nature to Abstraction") and page 32 (William Hart, "Theory and Practice of Abstract Art").Jeremy Adamson, Lawren S. Harris, Urban Scenes and Wilderness Landscapes 1906-1930 (exhibition catalogue), Art Gallery of Ontario, Toronto, 1978, pages 123, 126 and 142. "He's Leaving Home" by Sara Angell, Maclean's (March 13, 2014), pages 52-54.Note:In A.Y. Jackson's biographical sketch of Lawren Harris, the preface to the 1948 Harris exhibition at the Art Gallery of Toronto, Jackson writes that while "Algoma provided MacDonald with the subject of his finest canvases... Harris was (already) tending toward simplification and this opulent heavy wooded country was difficult for him. He needed more space and found it on the North Shore of Lake Superior... It was this country that gave Harris the motives for many of his best-known canvases. There was a feeling of space, dramatic lighting, the stark forms of rocky hills and dead trees, and beyond, Lake Superior, shining like burnished silver."It may have been the naturally occurring simplicity of the land and reductions of forms that produced in Harris an affinity for Lake Superior. Adamson writes: "Reduced to essential forms by successive ice ages, the landscape differed strongly from the variegated scenery of Algoma. All transient effects seem to have been eliminated. Harris was captivated by this sense of timelessness and his Lake Superior paintings directly embody this quality."Indeed, most critics and art historians agree that while Georgian Bay and Algoma were pivotal for Harris' Group of Seven colleagues, Lake Superior was crucial to Harris' evolution. Tension, simplification and dramatic lighting as highlighted in this lot are hallmarks of this period of transition. Harris embraced the north as a place of spirituality and compositions such as Lake Superior Painting were informed by his growing interest in Theosophy and Transcendentalism and a move away from the Nationalism that informed early group works. Adamson describes it as a move away from the particular to the universal. Writing of this period, Dr. Charles Comfort, then director of the National Gallery of Canada, remarked that after his Algoma experience Harris searched for "something more austere, geographical equivalents which supported his theory of replenishing values... and confirmed his doctrine of the spread of spiritual emancipation from the cleansing north." Indeed, Harris felt that Lake Superior provided the inspiration to produce paintings in which man, nature and spirit were one.Paul Duval writes: "It is in the richly productive decade between 1920 and 1930 that the technical and aesthetic resources possessed by Harris are most clearly apparent... The contrast of Lake Superior's rocky shoreline to the richly tangled forest of Algoma and the crumbling textures of the slum houses seemed to get Harris into creative high gear... Out of the seemingly unpromising material of Lake Superior's barren rock and open sky (which, according to Harris, in their singing expressiveness and sublimity existed nowhere else in Canada) and withered trees, Harris composed a number of masterpieces."Increasingly in the 20s, Harris' work grows more formal. Hart writes that Harris' main concern "appears to be to impose strict compositional control upon the majestic landscape. Pentimenti (as evidenced in this lot) indicate the colour, size and thickness of several shapes were adjusted for the sake of refinement and pictorial unity."Lake Superior Painting embodies the two important characteristics of this period of Harris' production that are powerfully rendered here: infinite space and supernatural light. The radiating bands of light symbolize high intellect, a kind of divine intelligence and space is synonymous with consciousness. Adamson writes: "Both elements are directly related to (Harris') occult vision of reality."It is difficult to know precisely when this important canvas was executed. After 1924, Harris seldom dated works and Hart postulates that "perhaps he felt their autonomous quality would be compromised by reference to the make and time of its completion." Lawren Harris is the subject of three major exhibitions which will take place over the next several years: Lawren Harris - Canadian Visionary organized by the Vancouver Art Gallery, a second exhibition organized by the Hammer Museum of Los Angeles in association with the Art Gallery of Ontario, and Mystical Modernism curated by Roald Nasgaard which will visit the McMichael Gallery in 2016.

View additional info »
Realized: Log in or create account to view price data
JEAN-PAUL LEMIEUX, R.C.A., SOUVENIRS - LA DAME AU COLLIER ET LE JEUNE GARÇON EN VILLE, oil on canvas, 24 ins x 20 ins; 61 cms x 50.8 cms

Lot 47: JEAN-PAUL LEMIEUX, R.C.A., SOUVENIRS - LA DAME AU COLLIER ET LE JEUNE GARÇON EN VILLE, oil on canvas, 24 ins x 20 ins; 61 cms x 50.8 cms

Estimated Price: Log in or create account to view price data

Description: JEAN-PAUL LEMIEUX, R.C.A.SOUVENIRS - LA DAME AU COLLIER ET LE JEUNE GARÇON EN VILLEoil on canvassigned 24 ins x 20 ins; 61 cms x 50.8 cms Provenance:Private Collection, QuebecLiterature:Marie Carani, Jean-Paul Lemieux (exhibition catalogue), Musée du Québec, 1992, page 258 for Angoisse, reproduced in colour.Note:Remembered as one of the most important Quebec painters of the twentieth century, Jean-Paul Lemieux stands apart from his contemporaries for his unique perspective on memory and Canadian life, and his commitment to figural painting in an era of abstraction.Lemieux's works on canvas of the late 1980s, reveal his Expressionist and romantic leanings, and his interest in the work of the Norwegian Expressionist painter Edvard Munch (1863-1944).  Evoking a nostalgia, but leaving out sentimentality, works such as Souvenirs - La Dame au Collier et le Jeune Garçon possess a strong surrealist element and a dream-like aura which pervades much of Lemieux's mature work. Couples of all configurations are depicted in many of his works dating from the 1960s to 1980s, and within that genre, the exploration of generational relationships persists.  As with the closely related painting Angoisse (1988), many of these scenes take place at night under hazy skies.  Souvenirs contains another hallmark of Lemieux's oeuvre: the cityscape, which held both a lifelong fascination and a sense of unease for the artist.Created at the height of Lemieux's fame, Souvenirs shares the familiar colours and brushwork of the painter's last twenty years, when he continued to explore the memories of childhood in pictures which are profoundly personal.

View additional info »
Realized: Log in or create account to view price data
MARC-AURÈLE FORTIN, A.R.C.A., PAYSAGE À STE-ROSE (MY HOME), oil on masonite, 36 ins x 48 ins; 91.4 cms x 121.9 cms

Lot 48: MARC-AURÈLE FORTIN, A.R.C.A., PAYSAGE À STE-ROSE (MY HOME), oil on masonite, 36 ins x 48 ins; 91.4 cms x 121.9 cms

Estimated Price: Log in or create account to view price data

Description: MARC-AURÈLE FORTIN, A.R.C.A.PAYSAGE À STE-ROSE (MY HOME)oil on masonitesigned 36 ins x 48 ins; 91.4 cms x 121.9 cms Provenance:Private Collection, QuebecLiterature:Fortin, National Gallery of Canada (exhibition catalogue), 1964, page 4.M.A. Fortin, Verdun Cultural Centre (exhibition catalogue), 1968, page 5.Dennis Reid, A Concise History of Canadian Painting, Oxford University Press, Toronto, 106, page 216.Note:After a five year absence from Quebec spent studying art in Chicago, New York and Boston, Marc-Aurèle Fortin returned to Sainte-Rose, the village of his birth, in 1914.  From 1920, Fortin's work frequently revisited the landscape around Sainte-Rose, seeing it as an oasis of unspoiled countryside and an inexhaustible trigger for his visual imagination.  These works are both humble and imaginative; traditional and unique. Fortin was an accomplished draughtsman who became an extraordinary painter of landscapes.  The purposefully colouristic execution of these views was accomplished by using oil pigments straight from the tube rather than mixing them on his palette.  Energetic and with an underlying sense of urgency, Fortin's landscapes were among the most innovative to be found in Montreal at the time, as Dennis Reid has remarked.Paysage à Ste-Rose (My Home) is an exquisite example of the scenes with which the artist documented the topography of the countryside surrounding his beloved Sainte-Rose.  In addition to illustrating the vivid colours typical of Fortin's best work, it is also a deeply personal work in which the artist allows us to see into the solitary world in which he worked for almost forty years.

View additional info »
Realized: Log in or create account to view price data
THOMAS SHERLOCK HODGSON, UNTITLED, oil on masonite, 36 ins x 30 ins; 91.4 cms x 76.2 cms

Lot 49: THOMAS SHERLOCK HODGSON, UNTITLED, oil on masonite, 36 ins x 30 ins; 91.4 cms x 76.2 cms

Estimated Price: Log in or create account to view price data

Description: THOMAS SHERLOCK HODGSONUNTITLEDoil on masonitesigned and dated '60 36 ins x 30 ins; 91.4 cms x 76.2 cms Provenance:Private Collection, Oakville

View additional info »
Realized: Log in or create account to view price data
WILLIAM RONALD, R.C.A., THE WAY, oil on canvas, 60 ins x 45 ins; 152.4 cms x 114.3 cms

Lot 50: WILLIAM RONALD, R.C.A., THE WAY, oil on canvas, 60 ins x 45 ins; 152.4 cms x 114.3 cms

Estimated Price: Log in or create account to view price data

Description: WILLIAM RONALD, R.C.A.THE WAYoil on canvassigned and dated '61; titled on the reverse 60 ins x 45 ins; 152.4 cms x 114.3 cms Provenance:The Collection of Brian Dedora, VancouverPrivate Collection

View additional info »
Realized: Log in or create account to view price data
Per page:
1
2
3
4
Next »