Untitled - Waddington`s

Transcription

The William (Billy) Jamieson Collection Auction
Tuesday 29 April 2014
at 7:00 pm
*Please note that lots containing animal products (including, but not limited to
ivory, tortoiseshell, leather, fur, etc.) may be subject to import/export
restrictions. Please contact the department with any questions.
On View
Saturday 26 April 2014 from 11:00 am to 5:00 pm
Sunday 27 April 2014 from 11:00 am to 5:00 pm
Monday 28 April 2014 from 10:00 am to 12 Noon
Preview and Auction to be held at
Waddington’s
275 King Street East, 2nd Floor
Toronto Ontario Canada
M5A 1K2
This auction is subject to the Conditions of Sale
printed in the back of this catalogue.
All lots in the auction may be viewed
online at DecorativeArts.Waddingtons.ca
Waddingtons.ca
Front Cover
Lot 72
French Polychromed Composite Anatomical
Model by Louis Thomas Jerome Auzoux
(1797-1880), 19th century
Back Cover
William (Billy) Jamieson
Photo by Cream Productions
Title Page
Lot 65
Two Victorian Zoological Cases
Inside Front Cover
Lot 45
German Renaissance Style Shaffron, 19th century
Inside Back Cover
Lot 71
Case Framed Dental Collage Sign, 19th century
All lots in the auction may be viewed
online at DecorativeArts.Waddingtons.ca
This catalogue and its contents © 2014
Waddington McLean & Company Ltd.
All rights reserved.
Photography by Waddington’s
Specialist
Sean Quinn 416 847 6184
[email protected]
Corporate Receptionist
Kate Godin 416 504 9100
[email protected]
Accounts Manager
Karen Sander 416 847 6173
[email protected]
Absentee and Phone Bidding
416 504 0033 (Fax)
[email protected]
Online Bidding
www.invaluable.com
In Awe-Inspired Memory of William (Billy) Jamieson
July 3, 1954 - July 3, 2011
William (Billy Jamieson was described
as many things. My personal favourite
is: “long-haired, leather-clad, macabreobsessed, anthropological rock star.”
He was certainly unique, and truly
genuine.
Billy dropped out of school when he
was just 14 to become a self-taught
collector who eventually became a
world-renowned dealer of tribal art.
But Billy was known for many things,
like his collection of the bizarre and
macabre, including electric chairs,
instruments of torture and shrunken
heads – and of course his legendary
Halloween parties, which drew a crosssection of Toronto’s social scene. Billy’s
purchase of the Niagara Falls Museum,
including nine Egyptian mummies,
was another headline-grabbing accomplishment, particularly following the
discovery that one of the mummies was that of the missing Pharaoh, Ramses I – a
priceless artifact later repatriated back to Egypt.
Billy was famous for his travel adventures, the eight-episode series Treasure Trader,
which aired on History Television after Jamieson’s death, was created around his
exploits with fiancée and business partner, Jessica Phillips. He was also wellknown in the international ethnographic antiquities field for his frequent
expeditions to the South Pacific and South America, where he travelled among
head-hunters and cannibals, collecting rare artifacts, oddities and curiosities – most
notably real human shrunken heads.
Billy had real cred – he worked as a consultant for the National Geographic Society
on their educational series about headhunting, human sacrifice and cannibalism.
In 2003 he helped revive the Explorers Club of Canada, an academic group that
works to preserve the exploration industry. He sold artifacts to the art world's
biggest names including the ROM, and the Metropolitan Museum of Art, as well as
to private clients such as Steven Tyler and Mick Jagger.
Above all, Billy was a friend to many. I am just one of a vast number of people who
had the opportunity to enter Billy’s world. It was a fascinating world I don’t expect
to experience again. It’s been a privilege to have some of Billy’s world in our gallery
for the last several months. Sharing space with some of the items still startle staff
on occasion, but has added an entire new dimension to all our lives. Billy, this
auction is all about you.
— Duncan McLean
President, Waddington’s
Waddington’s
Leadership Team
Waddington’s is Canada’s most diverse and
significant provider of fine art auction and appraisal
services. Based on a rich legacy in the industry,
Waddington’s actively seeks to redefine our
business to ensure we remain fresh and reactive to
what our clients are seeking. Through our appraisal,
auction, private sale and downsizing expertise, we
are pleased to provide a complete range of services.
Waddington’s leadership team brings together three
of the industry’s best. The combination of their
experience, knowledge of market trends and client
networks builds on Waddington’s 160 year legacy of
growth and dominance.
Waddington’s is Canada’s original auction house,
with a history of conducting auctions since 1850.
We are also an international auction house,
providing access to world markets.
Waddington’s is an innovative leader. We enjoy
pushing the limits, exploring new territory and
creating new partnerships. From the marathon
auction of Maple Leaf Gardens, our partnership
with the LCBO to auction fine wine, to the launch
of Concrete Contemporary and our new Pop-Up
Gallery series, we are driven to find what’s new,
what’s exciting, and what you want to buy or sell.
Waddington’s by Department
Asian Art
Canadian Fine Art
Contemporary Art Auctions and Projects
Decorative Arts
International Art
Inuit Art
Jewellery, Watches & Numismatics
“Off the Wall” Art
Transitions
Philanthropy and Community
Duncan McLean, President, is Waddington’s
corporate leader, responsible for strategic
development and innovation realization. Under his
direction Waddington’s strives to not only
continuously evolve to meet the needs of our
clients and address the demands of the market, but
to push the boundaries, with integrity, creativity
and passion.
Mr. McLean has been involved in the auction
industry for 35 years, as art specialist, appraiser,
auctioneer and corporate leader. His knowledge
base spans the diversity of Waddington’s offerings,
with internationally-recognized expertise in Inuit
Art.
As Vice President Business Development, Stephen
Ranger is focused on identifying new markets, new
clients and new ways to do business. For example,
Mr. Ranger launched Waddington’s Contemporary
Art venture, Concrete Contemporary, to reach an
exciting new sector of art enthusiasts and artists.
Under Mr. Ranger’s guidance, new partnerships are
also being created resulting in edgy new offerings
like our Pop-Up Gallery series debuting in 2013.
Mr.Ranger brings over 25 years of diverse
experience as an auctioneer, appraiser and
consultant in the art auction industry with specific
expertise in Canadian Fine Art.
Linda Rodeck, Vice President Fine Art, is one of
Canada’s most trusted and respected Canadian Art
specialists. Her impressive career of 25+ years
includes leadership roles in the country’s most
distinguished auction houses. Ms. Rodeck’s keen
understanding of the market and her extensive
network are invaluable in her role of sourcing the
best works and providing the best service to our
clients.
As Vice President of Waddington’s Fine Art,
Ms. Rodeck will play a critical role in developing
new business leveraging her success in the
Canadian art market.
Decorative Arts
Canadian Fine Art
Decorative Arts at Waddington’s
encompasses a broad and diverse variety
of objects and the department's client
database is one of our largest. From
ancient to modern, delicate to deadly,
Waddington’s Decorative Arts department
redefines the term, bringing much more
than traditional silverware and porcelain
figurines to market, and with remarkable
success.
Waddington’s has been a major force in
the Canadian art sector for over five
decades, beginning with our first auction
of Canadian Fine Art held at the Queen
Elizabeth Building at the CNE in 1967.
Since that historic event, Waddington’s has
offered some of the most important
Canadian works, set record prices, and has
been an integral part of driving the
Canadian art market.
Waddington’s reputation for developing
new markets is well represented by our
Decorative Arts department, as is our
ability to present large collections –
notable recent sales have included
Contemporary Studio Glass, Scientific
Instruments and Militaria.
With the return of Linda Rodeck, one of
Canada’s most respected art specialists,
Waddington’s is proud to rename our
Canadian Art division under the
Waddington’s brand umbrella.
The department regularly offers auctions
which include bronzes, items of Canadian
Historical interest, ceramics, devotional
works of art, glass, lighting, militaria,
mirrors, objets de vertu, porcelain,
scientific instruments, travel and
exploration maps.
Sean Quinn
Specialist, Decorative Arts
Bill Kime
Specialist, Decorative Arts
Linda Rodeck
Senior Specialist, Canadian Art
Vice President, Fine Art
Concrete Contemporary
Auctions and Projects
Jewellery, Watches and
Numismatics
Waddington’s launched its newest division,
Concrete Contemporary Auctions and
Projects (CCAP) in March 2012 with a
vision and mandate to create a secondary
market for contemporary Canadian art.
Waddington's has conducted auctions of
Fine Jewellery and Numismatics for close
to three decades. Highly respected
expertise and in-depth knowledge of both
domestic and international markets are the
anchors of the ongoing success and
popularity of our auctions.
Concrete Contemporary Auctions merges
the worlds of traditional auction and the
retail gallery, where our relationships with
artists, art dealers, curators and collectors
result in exciting new sources of
contemporary works. The auctions are
tightly focused on Canadian contemporary
art since 1980 with an emphasis on midand late-career artists with exhibition
history in the private and public sphere.
An exciting initiative of CCAP is the launch
of our Pop-Up Gallery series in 2013.
These short-duration, single artist shows
offer works by some of Canada’s most
accomplished working artists.
Led by one of Canada’s most plugged-in
art experts, Stephen Ranger, CCAP is
committed to exploring new ways to
connect, expand and support the arts
community.
Stephen Ranger
Senior Specialist, Contemporary Art
Our auctions are composed of a wide
spectrum of contemporary and period
jewellery featuring examples by some of
the most desired names in jewellery
including Tiffany, Cartier, Fabergé, Jensen,
Yurman and Van Cleef & Arpels. Also
featured in our auctions are fine wrist and
pocket watches, designer fashion jewellery
and all forms of numismatics including
coins, tokens, banknotes and ancients.
Donald McLean
Senior Specialist, Jewellery, Watches and
Numismatics
International Art
Inuit Art
Waddington’s International Art
department presents auctions of fine art
from around the world, offering original
works from art centres across North
America and Europe while continuing to
expand our scope to bring our collectors
works from Asia, South Asia, Russia and
South America. A major element of
Waddington’s legacy, our International art
auctions draw on Canada’s cultural
diversity. The combination of our expertise
and our expansive global network ensures
the highest standards of authentication
and research.
Waddington’s is internationally recognized
as one of the leading authorities in
marketing Inuit Art. No other auction
house has been as intrinsically linked to
the development of a market for this art
form. Inuit Art is a proud part of our
DNA. From our first landmark auction in
1978 of the William Eccles Collection,
Waddington’s has offered thousands of
works, set record prices, and expanded the
market well beyond Canada’s borders.
Rare and important paintings, sculptures,
prints and photographs are offered in our
live and online auctions, attracting buyers
worldwide.
Susan Robertson
Senior Specialist, International Art
Our legacy of successful Inuit Art auctions,
our ability to achieve continually increasing
values and our creation of an international
market have been key factors in validating
Inuit art as a whole and establishing it as
an integral part of the Canadian Art scene.
Duncan McLean
Senior Specialist, Inuit Art
Christa Ouimet
Specialist, Inuit Art
Asian Art
“Off the Wall” Art
Waddington’s Asian Art department is
Canada’s leader in serving the demands of
the rapidly growing Asian market
supported by our recognized and credible
expertise. Our ability to achieve
exceptional prices for works, including the
Canadian record for the highest price for
an Asian work of art, is based on our
international reputation and network with
the community.
Our “Off The Wall” Art online auctions are
a unique opportunity to showcase
accessible art. Drawing from our
International Art and Canadian Art
divisions, “Off The Wall” Art auctions
feature paintings, prints and sculpture.
Specializing in jade, paintings, porcelain,
religious works of art, textiles, woodblock
and export wares, we present works from
China, Japan, Korea, South East Asia,
South Asia, Himalaya and others.
These monthly, online auctions are always
an eclectic selection of affordable works –
a great way to learn, enjoy art and start
building a collection. Working closely with
our other divisions, this auction has
developed its own diverse and extensive
network of clients.
Doug Payne
Specialist, Fine Art
Anthony Wu
Specialist, Asian Art
Transitions
Philanthropy and Community
Transitions is Waddington’s downsizing and
estate management service, created
specifically for clients going through a
transition who require knowledgeable,
qualified and professional advice.
Waddington's is committed to working
within the community by contributing our
time to charity fundraising events and
appraisal clinics. We are honoured to work
with countless museums, galleries, art
organizations and fund raising events and
contribute our time to over 20 events each
year raising over $2,000,000 annually for
the community. Successful downsizing and estate planning
require an accurate appraisal of tangible
assets. Drawing on Waddington’s 160
years of experience across our diverse
areas of specialties, Transitions helps
clients make informed decisions to keep,
gift, sell or donate.
Our clients include fiduciaries, executors
and beneficiaries responsible for settling
estates, as well as private clients looking
to downsize and turn their material
encumbrances into a monetary resource.
Transitions is an end-to-end solution to
help you sort, value, sell and move on to
the next stage.
Marcia Kim
Manager
Ellie Muir
Coordinator
In addition, the Concrete Contemporary
Acquisition Fund each year funds 50% of
the purchase price for a work of
contemporary Canadian art for a public
institution.
In 2012/2013 we have supported the
following organizations:
Aids Committee of Toronto, SNAP
Best Buddies
Birdlife International
Canadian Opera Company
Casey House, Art with Heart
Casey House, Snowball
CAMH Unmasked
Covenant House
The Furniture Bank
Integra Foundation
Lake Ontario Waterkeepers
OCAD University
Metro Toronto Zoo
Montreal Children’s Hospital
Nyota School, Kenya
Princess Margaret Hospital
Robert McLaughlin Gallery
Second Harvest, Toronto Taste
Serve Canada
St. Mary’s General Hospital, Kitchener
St. Michaels Hospital, ARTGEMS
The STOP Foodbank
Toronto Symphony Orchestra
The Varley Gallery
Windsor Art Gallery
Warchild Canada
York University Fisher Fund
The William (Billy)
Jamieson Collection
Auction
Lots 1–126
DecorativeArts.Waddingtons.ca
1
ROYAL LETTERS PATENT
GRANT OF ARMS TO KNIGHT
COMPANION OF THE MOST
HONOURABLE MILITARY
ORDER OF THE BATH TO SIR
ISAAC BROCK, JANUARY 16TH,
1813
the parchment document with gouache
coat of arms of Canada, the Arms of
Knights and Ladies, the Royal Coat of
Arms, and the College of Arms an
appointment in recognition of his ‘Capture
of the Post of Fort Detroit’ on August 16,
1812, issued, signed by, and with wax seal
of Sir Isaac Heard Garter, Principal King of
Arms, 23.5” x 19.5” — 26 x 33.7 cm.
$3,000—5,000
14
The William (Billy) Jamieson Collection Auction – Tuesday 29 April 2014 at 7 p.m.
15
2
JUMBO, THE ELEPHANT:
COMMEMORATIVE SLICE OF
TUSK, 1885
with polychromed ‘coat of arms’, verso,
inscribed recto: ‘Jumbo, King of
Elephants, Aged 24 Years, Born in Africa
in 1861, Died at St. Thomas, Canada,
Sept. 15, 1885’ (etc.), edge further
inscribed ‘Property of Barnum & London
Combined Shows, 1886’ and ‘From the
Upper Part of Jumbo’s Tusk’, 5.5” x 4.5” x
.25” — 14 x 11.4 x 0.6 cm.
$2,000—3,000
16
Note:
On the accidental death of the animal, the skin was mounted for display at
Tuft’s College, Massachusetts, and the skeleton was sent to The U. S.
National Museum of Natural History in Washington. Slices of the tusks
were sent to various institutions such as the Smithsonian and the British
Museum. This decorated example was sent to Mrs. P. T. Barnum.
3
LETTER SIGNED BY P. T.
BARNUM, 1878
inquiring about the birth in Montreal of
the St. Benoit Siamese twins, framed,
9.75” x 7.75” — 24.8 x 19.7 cm.
Note:
The twins spent one season with
Barnum’s circus before their death in
1879.
$100—200
4
PAIR OF HARRY HOUDINI’S J. J.
TOWER LEG IRONS, EARLY
20TH CENTURY
complete with key, shadow box framed
with COA and portrait, 23.25” x 18.5” —
59.1 x 47 cm.
Provenance:
Sidney Radner Collection, The Great
Houdini Auction, Oct. 30, 2004
$2,000—3,000
17
5
PAIR OF CHINESE RED
LEATHER SHOES FOR BOUND
FEET, EARLY-MID 20TH
CENTURY
length 4.75” — 12.1 cm.
$50—100
6
SMALL MEMENTO MORI
SCHOOL CARVED BONE FIGURE
OF A SKELETON, EARLY-MID
20TH CENTURY
modelled crouching with lizard on his
back, height 4” — 10.2 cm.
$100—200
18
7
AMERICAN BARREL ORGAN,
G. MOLINARI & SONS,
BROOKLYN, N.Y., 19TH CENTURY
playing 6 tunes on 11.5 inch barrel, 16.25”
x 15.25” x 9.5” — 41.3 x 38.7 x 24.1 cm.
$800—1,200
8
VICTORIAN TAXIDERMY
DIORAMA OF TWO CHIHUAHUA
PUPPIES IN LANDSCAPE
SETTING, 19TH CENTURY
10.25” x 9.5” x 6.75” — 26 x 24.1 x 17.1
cm.
$200—300
19
9
CARVED IVORY MEMENTO
MORI SKULL FORM WALKING
STICK HANDLE, 19TH CENTURY
with silver collar on truncated shaft, now
mounted on iron base, height 6.25” —
15.9 cm.
$300—400
10
FRENCH CARVED OAK HOUR
OR SAND GLASS, 19TH
CENTURY
the hexagonal end caps with barley
twist supports, height 9” — 22.9 cm.
$300—400
20
11
FRENCH NAPOLEONIC
‘PRISONER OF WAR’ BONE
MODEL OF A GUILLOTINE,
EARLY 19TH CENTURY
height 9” — 22.9 cm.
$300—500
12
CANADIAN TOBOGGAN, MID
19TH CENTURY
of bentwood construction with rawhide
laced hardwood ribs and painted wreaths
to bow, length 77” — 195.6 cm.
Provenance:
Niagara Falls Museum
$100—200
21
13
FIVE PAIRS OF SNOW SHOES,
18TH OR 19TH CENTURY OR
EARLIER
all of traditional design with hardwood
frame and rawhide webbing, longest
length 62” — 157.5 cm.
Provenance:
$300—500
14
INUIT BEADED SEALSKIN
POUCH, 19TH CENTURY
height 12” — 30.5 cm.
Provenance:
$75—150
22
15
TWO INUIT MODELS OF KAYAKS, 19TH AND 20TH
CENTURIES
the earlier Aleutian model together with another having carved wood
and ivory implements, longest length 21” — 53.3 cm.
Provenance:
$300—500
16
PAIR OF INUIT CARVED WOOD SNOW GOGGLES,
19TH CENTURY
with braided sinew cord, length 4.75” — 12.1 cm.
Provenance:
Collection number.
$200—300
Dinosaur Hunting with Billy Jamieson
I first met Billy when we were both on the trail of a
dinosaur. This is where I expect to meet fellow
paleontologists, not art collectors. But Billy had an
interest in anything weird, macabre, or just plain cool.
The dinosaur specimen we were both after certainly
fell into the latter category. It was an almost
complete skull of Dracorex hogwartsia, a name that
translates to ‘Hogwart’s Dragon King’. The species
was named only a decade ago based on the only
other specimen in the World, and it has a spikedstudded skull that evokes a mythical beast from a
fantasy novel. I was interested in acquiring the
specimen for the collection of the Royal Ontario
Museum because of its scientific significance. The
dealer put Billy in touch with me, knowing that he
was a big supporter of the ROM. After a trip to Billy
and Jessica’s place downtown, Billy laid out his plan.
He would purchase the skull, and we would
reconstruct it together for an episode of a television
show, Treasure Trader, that was in the works. After
that he would donate it to the ROM. It was a great
opportunity to teach people about dinosaurs, and a
boon for the museum collections - a win-win, and
very generous. Of course, we were instant friends,
and from that point on Billy was always on the hunt
for more dinosaurs for the Museum. It wasn’t long
after that we were on the trail of a spectacular
Tyrannosaurus Rex named Sampson - Billy was
always thinking big. This was a thrilling chase.
Unfortunately, the T. Rex got away, but with the help
of one of Bill’s business partners, after his passing,
the Dracorex is now in the permanent collection of
the ROM—just as Billy had envisioned.
Dr. David Evans
Curator of Vertebrate Paleontology
Royal Ontario Museum
23
Back in the late nineties Billy asked me to go to Niagara Falls with
him to check out the museum, he also asked me to bring my video
camera. We met with the owner and I filmed the contents of the
place. Then the owner gave Billy an offer to buy the contents if he
gave him a down payment and a year to pay the balance. I must say
I thought Billy was crazy, but I could see his passion; what I couldn’t
see was the value that Billy saw.
With great intestinal fortitude Billy went out on a limb, and pulled
me with him to raise the funds to buy the place. Then I worked with
him for a year marketing the Egyptian collection to pay off the cost
17
OTTAWA VALLEY ELM BOW, 19TH CENTURY
with scalloped edge, and polychromed incised decoration
including crosshatching, bows and arrows, and stylized leaf
pattern, gut bowstring, with wall mount
Provenance:
$800—1,200
18
MI’KMAQ (MICMAC) INDIAN
BEADED VELVET HAT, 19TH OR
EARLY 20TH CENTURY
with floral band and tassel and green silk
lining, height 6” — 15.2 cm.
Provenance:
$100—200
24
of the contents. I must say it was an intense experience but he
pulled it off.
I admired Billy’s passion, knowledge and fascination with the
macabre, as in later years he became one of the most highly
respected dealers and collector of objects from different cultures
around the world. Billy was one of the most friendly, highly social
characters to everyone whom ever knew him. He is truly missed.
Marty MacDougall
Friend
19
THREE PAIRS NORTH
AMERICAN NATIVE INDIAN
MOCCASINS, 19TH AND 20TH
CENTURIES
including Sioux beaded, Cree with silk
needlework and plain hide examples
Provenance:
$200—300
20
FOUR PAIRS OF NORTHEAST
WOODLANDS INDIAN
MOCCASINS, 19TH/EARLY 20TH
CENTURY
two with beadwork on velvet uppers, one
with beaded hide, the fourth pair with
quillwork on hide, longest length 11” —
27.9 cm.
Provenance:
$200—300
25
21
PAIR OF LAKOTA MOCCASINS
FORMERLY PROPERTY OF HOLY
MAN AND WAR CHIEF OF THE
HUNKPAPA LAKOTA SIOUX,
SITTING BULL (1831-1890), 19TH
CENTURY
the bifurcated tongues and uppers fully
beaded in geometric patterns against a
white ground, length 9.25” — 23.5 cm.
$8,000—12,000
26
Provenance:
Purchased from an associate of Sitting Bull’s by U. S. Scout G. J. van Buren,
thence to Niagara Falls Museum
Note:
A forensic foot morphology report conducted by members of the R.C.M.P.
on behalf of the Museum of Civilization in June, 2008 accompanies this lot.
22
NORTHERN PLAINS INDIAN
CHILD’S TUNIC, EARLY 19TH
CENTURY
fringed and with beaded collar, showing
signs of central bullet trauma, cased, 23”
x 31” — 58.4 x 78.7 cm.
Provenance:
Tom Hampton, Santa Fe, NM
$2,000—3,000
23
NORTH AMERICAN IROQUOIS
INDIAN FALSE FACE SOCIETY
MASK, 19TH/20TH CENTURY
carved with protruding tongue and
polychromed, with horse hair detail,
mounted on stand, mounted height 19.5”
— 49.5 cm.
$300—400
27
24
FRENCH AND INDIAN WAR
STYLE POWDER HORN,
POSSIBLY 2ND HALF, 18TH
CENTURY
with incised monograms, name
(E. CESIJHER), trees and mounted figure
Provenance:
$300—500
25
NORTH AMERICAN WEST
COAST INDIAN POTLATCH
SCOOP, EARLY 20TH CENTURY
the scoop with incised whale and beaver
to handle having wolf head terminal,
length 13.75” — 34.9 cm.
Provenance:
Economos Gallery
$200—300
28
26
NORTH AMERICAN OJIBWA
INDIAN JA-DAGNA BALL CLUB,
19TH CENTURY
the spherical head with eagle talons to
slightly curved plain haft, mounted on
stand, length 19.5” — 49.5 cm.
$200—300
27
AMERICAN MODOC INDIAN
BOW, 19TH CENTURY
the yew wood hourglass form
polychromed all over with geometric
designs, length 50” — 127 cm.
Provenance:
$200—300
29
28
LARGE WHALE VERTEBRAE,
19TH CENTURY
27” x 30” — 68.6 x 76.2 cm.
Provenance:
$200—300
29
NORTH AMERICAN SIOUX
INDIAN SADDLE BLANKET AND
POUCH, LATE 19TH/EARLY
20TH CENTURY
the blanket with central canvas panel with
geometric patterned beaded hide border
to later hide fringes, the plain pouch with
bead panelled sides possibly Cheyenne,
largest 25” x 59” — 63.5 x 149.9 cm.
Provenance:
$400—600
30
HOPI INDIAN CEREMONIAL
SASH, 19TH CENTURY
woven in red, yellow and blue, length
104” — 264.2 cm.
Provenance:
$100—200
30
31
MEIJI PERIOD JAPANESE TANEGASHIMA
(MATCHLOCK MUSKET), OKITAMA REGION,
19TH CENTURY
the 25 inch barrel with silver dragon inlay decoration on brass
inlaid signed oak full stock, length 37” — 94 cm.
$800—1,200
Billy was a great friend and the best of colleagues. When calling,
he never failed to open with: “How you doin?” and he never failed
to mean it -- he had time for everyone and relished stories – the
odd, the funny, the personal – it didn’t matter: he loved people and
the ways in which they saw the world. I think that I’d been in
Toronto for maybe three months when the phone rang and Billy
introduced himself – where he got my name we never figured out
(twenty years later he found the first of our letters back and forth)
“I bought the Niagara Falls Museum and I heard you might want
the Egyptian stuff...” In retrospect, I missed a great buy, but made a
great friend.
separating real from fake, the good from the great – were some of
the most satisfying and entertaining of my career. My kids knew
Billy as dad’s “cool” friend -- my daughter still wears the “How to
Shrink a Head” t-shirt that she’s worn to sleepover parties since she
was six. At one point I tested our friendship in the ultimate way (for
art dealers) – I consigned to Christie’s a piece that I had purchased
from Billy some 10 years previous, with his blessing. When it sold
well over estimate, his was the second congratulatory call (first
being Christie’s) and he insisted that my compensation to him
consist of nothing beyond dinner and the promise of continued
collaboration. Billy had class.
Rarely a week went by without “You won’t believe what someone
just sent me”. The hours we’d spend pouring over objects –
Scott Amacker
Friend
31
32
MEIJI PERIOD SAMURAI
HELMET, MASK AND ARMOUR,
19TH CENTURY
33
JAPANESE SAMURAI POLICE
SODEGARAMI, EDO PERIOD,
19TH CENTURY
the ribbed chest plate of leather covered
iron construction, the skirt scales, helmet
and mask of lacquered iron, mounted on
stand, height 46” — 116.8 cm.
the tip with six curved, barbed spikes on
spiked collar to hardwood haft, length 77”
— 195.6 cm.
$200—300
$600—800
(detail)
32
34
PERSIAN KULAH KHUD
HELMET, 19TH CENTURY
of steel construction with traces of
gilding, chainmail coif and embroidered
linen lining, height 21” — 53.3 cm.
$400—600
35
INDO-PERSIAN SHISHPAR
MACE, 19TH CENTURY
the six shaped flanges on tube haft
decorated with silver koftgari script
overall, now mounted on iron stand,
height 23.5” — 59.7 cm.
$200—300
33
36
TURKISH FLINTLOCK
BLUNDERBUSS, 18TH/19TH
CENTURY
the heavily sculpted barrel on
crosshatched oak stock, length 19” —
48.3 cm.
$100—200
37
TURKISH FLINTLOCK
CENTURY
the barrel with brass inlaid decoration on
crosshatched ebonized stock, length
18.25” — 46.4 cm.
$200—300
38
TURKISH FLINTLOCK
CENTURY
with deeply engraved design to barrel and
crosshatching to oak stock, length 19.75”
— 50.2 cm.
$100—200
34
39
TURKISH FLINTLOCK
CENTURY
with deeply chiseled decoration to barrel
and brass studded, diamond patterned,
length 18.5” — 47 cm.
$100—200
Ladies and gentlemen, "The Great Billy J"!
regular local people to international celebrities passing through
Toronto, describing the objects in detail, explaining their cultural
significance, their provenance and the often amusing stories and
adventures that lead to his acquisition of them. His enthusiasm and
fascination for the material was inspiring and infectious.
I first met Billy Jamieson at one of his legendary parties at his
Wellington Street home/museum shortly after I moved to Toronto in
2001. The occasion was a party that he hosted in support of the
Canadian Wildlife Federation. Stepping off of the elevator that opened
into his place, I was immediately struck by the presence of live animals
– a lynx, a vulture, large snakes, scorpions, etc. – and the lively and
colourful human wildlife also present. Moving through the gathering
and looking beyond the live creatures, I was further intrigued (more
like, blown away) when I realized that I was in the midst of what
appeared to be, literally, a walk-in 'cabinet of curiosities', with cases
and walls lined with an abundance of extraordinary artefacts, objects
and art works of nearly every category and description. Among these,
I recognized from my own educational background and personal
interests, significant authentic examples of masks and ritual objects
from African, Oceanic, South American and other regional cultures. At
some point during the evening I introduced myself to Billy, explaining
my interests, and asked if I could have the opportunity to visit with
him privately to discuss the material.
Over those 10 years Billy would often call me up and invite me over
whenever he received any new object or material that he knew that I
would share his enthusiasm for. Over the course of that time his
interests were always expanding as he acquired and sold an
increasingly eclectic range of artefacts and objects, related not only to
anthropology and tribal arts but also unusual material and objects
associated with macabre and even shocking aspects of human
behaviour. The common link between everything that passed through
his hands was that all of it was interesting, engaging and fascinating
in some way or other.
During my first visit a couple of weeks later we instantly bonded over
our mutual fascination with pre-industrial cultures, their artefacts,
histories, mythologies, and an entire spectrum of ancient and
contemporary cultures, art forms and behaviours, from the traditional
and the alternative, to the eccentric and the bizarre. Thus began my
10-year relationship with 'The Great Billy J', an enthusiastic researcher,
collector, salesman, adventurer, and self-described "amateur
anthropologist" whose passionate and serious knowledge was rivaled
by his distinct and charismatic showmanship – a modern-day rockstar version of P.T. Barnum and Robert Ripley. And like all great
performers Billy loved an audience. With carnival-esque flair he took
proud delight in touring his collection to anyone interested, from
I know that one of the motivating factors behind Billy’s collecting
activities was to educate and entertain – himself and others. Through
the course of my friendship with Billy J I can truly say that I was
educated and entertained.
One of my highlights of our friendship was having the opportunity to
curate and present objects from his collection to the public for the
very first time, at Loop Gallery on Queen St. West in 2002. The other
most significant event was when he and I received traditional Borneo
tattoos together at his place from internationally renowned Ernesto
Kalum, proprietor of the Borneo-based, Borneo Headhunters Tattoo
studio during the studio's first visit to Canada in 2002.
David Liss,
Artistic Director and Curator
Museum of Contemporary Canadian Art, Toronto
35
40
TWO NORTH AFRICAN
FLINTLOCK MUSKETS, 19TH
CENTURY
each with niello decorated barrel and
bone inlaid ebonized stock, longest length
63” — 160 cm.
$200—300
41
SOUTH AMERICAN PERUVIAN
PRE COLOMBIAN CHANKAY
TEXTILE FRAGMENT, 1000-1450
A. D.
with bird and house motif worked in reds,
blues and browns on white ground,
framed, 24” x 18.5” — 61 x 47 cm.
$100—200
36
42
SOUTH AMERICAN PRE
COLOMBIAN MOCHE OR CHIMU
COPPER SACRIFICIAL KNIFE,
12TH-15TH CENTURY
the figural handle to crescent blade,
length 4.25” — 10.8 cm.
$75—150
43
PERUVIAN CHIMU COPPER
TUMI, 900 - 1400 A. D.
with incised figural decoration
Note:
These ceremonial blades were included in
the mummification wrapping as symbols
of power and authority. The textile
imprint can be seen on the heavy verdigris
of this example.
$200—300
37
44
FILIPINO MORO SUIT OF
ARMOUR, MINDANAO, 19TH
CENTURY
the tunic consisting of a series of ox horn
and brass overlaid plates of various sizes
held together with brass chainmail rings,
mounted on iron stand, height 41.5” —
105.4 cm.
$500—700
38
45
GERMAN RENAISSANCE STYLE
SHAFFRON, 19TH CENTURY
twist rope edged with etched decoration
overall, alternatively called a chanfron,
length 24” — 61 cm.
$1,000—1,500
39
46
MEDIAEVAL GERMAN STYLE WROUGHT
IRON ‘SHAME’ MASK, 20TH CENTURY
47
LARGE EGYPTIAN BRASS MOUNTED
COPPER BRAZIER, EARLY 20TH CENTURY
now mounted on stand, height 13” — 33 cm.
the removable bowl and pierced cover with crescent
moon and three star finial on table rimmed stand, with
incised script decoration overall, height 26” — 66 cm.
$75—150
Provenance:
$300—400
40
48
TWO WAX MODEL HEADS, LATE
19TH/EARLY 20TH CENTURY
the first of Alexandre Gustave Eiffel, the
second of a young woman, both with
glass eyes and natural hair, height 12.5” —
31.8 cm.
Note:
Eiffel was a noted French civil engineer
and the architect of the Statue of Liberty
and the Eiffel Tower
$200—300
49
FRENCH SCHOOL COMPOSITE
BUST IN BONDAGE, C.1975
NORBERT
mixed media including leather, plaster,
metal, excelsior, height 19” — 48.3 cm.
$150—250
41
50
SIÈGE OF PARIS
COMMEMORATIVE BREAD
RATION, 19TH CENTURY
under glass on oval card with details of
rations available during the 1870-71
occupation, including ‘All Was Eaten:
Dogs, Cats & Rats’, 3” x 4.1” — 7.6 x 10.5
cm.
$75—150
51
PAIR OF VICTORIAN SHOE
STORE WINDOW PROP SHOES,
C.1880
with leather soles and uppers, and
buttoned kid ankles, height 17” — 43.2
cm.
$100—200
42
52
TWO MORBID CURIOSITIES,
20TH CENTURY
a fetal rat in formaldehyde, and proximal,
middle and distal phalanxes (finger bones)
suspended on stand, tallest height 7” —
17.8 cm.
$75—150
53
BALINESE PIERCE CARVED
COCONUT SHELL, MID 20TH
CENTURY
carved all over with exotic fish, tortoises
and mermaids amongst sea plants,
diameter 7” — 17.8 cm.
$75—150
43
I first met Billy when he was looking for some help dismantling
the Niagara Falls Museum exhibits and called on us to help in
repairing and conserving some of the natural history
components which had fallen into disrepair. Billy’s sense of
wonder and amazement and enthusiasm for unique specimens
and artifacts was contagious and we became very good friends.
He was always sharing his latest discovery and dropping by our
workshop with some of the strangest artifacts that needed a
little care and conservation. Whenever Billy called you had to be
ready to hit the ground running and catch up to his train of
thought and usually you become involved in a mini adventure
that had as many twists and turns as some of the best crime
novels. The artifacts and treasures he found were never easy to
locate yet he always seemed to turn over the right stone.
Peter May
Research Casting
54
PAINTED CARVED WOOD MODEL OF A
GREYHOUND, MID 20TH CENTURY
height 22.25” — 56.5 cm.
$75—150
Photo by David Angelo
Billy Jamieson was a loyal and generous friend to museums
around the world - particularly to the Royal Ontario
Museum. Whenever he was acquiring artefacts and specimens
for his collections, he always had museums in mind, and over
the course of his career donated many significant pieces to
them. He was also very generous with his time and hosted
numerous fund raising events in his wonderful home, a giant
cabinet of curiosities itself. We miss him more than we can
possibly say.
Julian Siggers, Ph.D.
Williams Director
University of Pennsylvania Museum of Archaeology and
Anthropology
55
SPANISH COLONIAL POLYCHROMED CRUCIFIX,
18TH CENTURY OR EARLIER
the body of Christ depicted above skull and surrounded by the
Virgin and Saints, 18” x 12.25” — 45.7 x 31.1 cm.
$100—200
44
56
TWO CHINESE HARDSTONE
MODELS OF PAGODAS, MID
20TH CENTURY
height 21.5” — 54.6 cm.
$200—300
57
PAIR OF CONTEMPORARY
WROUGHT IRON THREE LIGHT
CANDELABRA, 20TH CENTURY
height 18” — 45.7 cm.
$100—200
45
58
PAIR OF CONTEMPORARY
LACQUERED METAL BALUSTER
FORM PRICKETS, 20TH
CENTURY
height 15.25” — 38.7 cm.
$75—150
59
MISCELLANEOUS GROUP OF
CHROME BAR WARE, MID 20TH
CENTURY
including cocktail sets, shakers, soda
siphons, ice crusher, etc., tallest height
13” — 33 cm.
$75—150
46
60
TWO VICTORIAN BOTANICAL
SPECIMEN CASES, 19TH
CENTURY
61
TWO VICTORIAN BOTANICAL
SPECIMEN CASES, 19TH
CENTURY
each glazed oak frame with specimens
arranged in decorative pattern on paper
substrate, overall 27.5” x 33.5” — 69.9 x
85.1 cm.
each glazed mahogany frame with
specimens arranged on paper substrate,
32.75” x 38.75” x 2.75” — 83.2 x 98.4 x 7
cm.
$100—200
$150—250
47
62
VICTORIAN ENTOMOLOGICAL
SPECIMEN CASE, 19TH
CENTURY
the glazed wooden case with pinned and
labeled insect specimens, 18” x 12.5” x
3.25” — 45.7 x 31.8 x 8.3 cm.
$75—150
63
VICTORIAN ENTOMOLOGICAL
SPECIMEN CASE, 19TH
CENTURY
the mahogany framed, glazed case with
with pinned specimens, arranged in star
pattern on paper lined substrate, 26” x
30” x 2.75” — 66 x 76.2 x 7 cm.
$100—200
48
64
TWO VICTORIAN
ENTOMOLOGICAL CASES, 19TH
CENTURY
each glazed wood case with pinned
specimens, arranged in patterns on paper
lined substrate, 20.5” x 24” x 3” — 52.1 x
61 x 7.6 cm.
65
TWO VICTORIAN ZOOLOGICAL
CASES
each glazed wooden case with pinned
specimens, some labeled by hand onto
substrate, paper lined
$200—300
$100—200
49
66
SIX VICTORIAN
LEPIDOPTEROLOGICAL CASES,
19TH CENTURY
each glazed wooden case with pinned and
labeled butterfly and moth specimens,
each 19” x 13” x 3.25” — 48.3 x 33 x 8.3
cm.
$200—300
50
67
SIX VICTORIAN
LEPIDOPTEROLOGICAL CASES
labeled butterfly and moth specimens, 18”
x 12.5” x 3” — 45.7 x 31.8 x 7.6 cm.
$200—300
51
68
SIX VICTORIAN
x 13” x 3.25” — 48.3 x 33 x 8.3 cm.
$200—300
52
69
SIX VICTORIAN
x 13” x 3.25” — 48.3 x 33 x 8.3 cm.
$200—300
53
70
SIX VICTORIAN
LEPIDOPTEROLOGICAL CASES,
19TH CENTURY
labeled butterfly and moth specimens
$200—300
54
71
CASE FRAMED DENTAL
COLLAGE SIGN, 19TH CENTURY
the albumen print of ‘Mr. F. Roper,
F.I.D.S., Les Dentes Extrahit’ in top hat
and tails adorned with human teeth, on
green velvet mat decorated with human
and animal teeth and small bones, in
shadow box frame, 30.5” x 22” — 77.5 x
55.9 cm.
Note:
Itinerant surgeon/dentist ‘tooth pullers’ were sideshow attractions at 19th
century carnivals and fairs. Mr. Roper was likely such an attraction.
$1,000—1,500
55
72
FRENCH POLYCHROMED
COMPOSITE ANATOMICAL
MODEL BY LOUIS THOMAS
JEROME AUZOUX (1797-1880),
19TH CENTURY
the 3/4 size intricately detailed ecorche
study figure with removable layers
showing vascular system, musculature,
bone structure, and internal organs all
meticulously labelled and numbered,
mounted on cast iron tripod base, height
53.5” — 135.9 cm.
$3,000—5,000
56
William (Billy) Jamieson was an original. From him I learned that imagination and
vision were far more important than knowledge. His circle of friends were eclectic and
in many cases self-made. Billy was generous providing me with both time and money
while I spent years building the Canadian Chapter of The Explorers Club. We were
about to move on to support the Royal Canadian Geographical Society when he
passed away. I’ll always remember and miss him.
Joseph Frey
Chair, College of Fellows, The Royal Canadian Geographical Society
73
FRENCH POLYCHROMED
PAPIER MACHÉ, GLASS AND
WOOD HEAD AND SHOULDERS
ANATOMICAL STUDY
ECORCHE, EARLY 20TH
CENTURY
bisected to reveal interior musculature,
glands, organs, etc., and with small
numbered paper labels, height 14” —
35.6 cm.
$300—500
74
POLYCHROMED RESIN
ANATOMICAL STUDY MODEL
OF HUMAN SKULL, MEDICAL
PLASTICS LAB, TEXAS, MID
20TH CENTURY
skull cap opening to foam model of brain,
height 6” — 15.2 cm.
$75—150
57
75
MEDICAL QUACKERY: BATTLE
CREEK VIBRATORY CHAIR,
EARLY 20TH CENTURY
of wood, leather and metal construction
and motorized, manufactured by
Sanitarium and Hospital Equipment Co.,
61.75” x 35.5” x 28.25” — 156.8 x 90.2 x
71.8 cm.
$200—300
76
GROUP OF FIVE VICTORIAN
AND EDWARDIAN
MICROSCOPES, 19TH AND
EARLY 20TH CENTURIES
height 14.5” — 36.8 cm.
$300—400
58
77
MEDICAL SCHOOL STUDY
MODEL BY MEDICAL
PRODUCTS CORPORATION,
SKOKIE, ILLINOIS, MID 20TH
CENTURY
latex model for students of proctology,
cased, 24” x 16” x 14.75” — 61 x 40.6 x
37.5 cm.
$200—300
78
ARCHIVE OF 33 SCRAPBOOKS
AND CORRESPONDENCE
RELATING TO CHARLES
MANSON, 1969-1999
including letters from Manson and
Lynette ‘Squeeky’ Fromme, crime scene
photographs, newspaper and magazine
clippings, and a record album Lie: The
Love and Terror Cult
$300—500
59
79
ARCHIVE OF MATERIAL
FORMERLY THE PROPERTY OF
HANGMAN HENRY ALBERT
PIERREPOINT (1878-1922)
including quantity of correspondence
relating to ‘commissions’ including a letter
from the London War office advising him
of work in Germany in 1947, together
with a small log book documenting
executions between 1901 and 1910 with
detailing date, name, age, height, weight,
‘drop’, remarks (strong neck) and town,
with addition notes on ‘Principle
Executions’ together with cloth ‘drop’
measuring tape, book 4.5” x 3” — 11.4 x
7.6 cm.
$500—700
80
ARCHIVE OF MATERIAL
FORMERLY PROPERTY OF
DR. JOHN BODKIN ADAMS,
EARLY-MID 20TH CENTURY
comprising a bible signed from his father
in 1908, engraved copper calling card
plates, a monogrammed travel kit, a
monogrammed paper knife, numerous
photographs of his parents grave site and
his home (Kent Lodge), documents
relating to transfer of real estate from
patient Mary Dillon, brass name plate
from his surgery, and a shirt, all contained
in a monogrammed hard leather overnight
ravel case, 5.5” x 20” x 13” — 14 x 50.8 x
33 cm.
Note:
Adams was the notorious English
suspected serial killer of more than 160 of
his patients.
$500—700
60
81
MARBLE INSULATING TILE
FROM ELECTRIC CHAIR AT
AUBURN PRISON, EARLY 20TH
CENTURY
with painted inscription ‘Marble From
Under Electric Chair After Riot and Fire
July 28th, 1929’, 8.1” x 7.1” — 20.5 x 18
cm.
$100—200
82
CENTURY
polychromed inscription: ‘Marble from
under Electric Death House Chair after
Riot & Fire, July 28th, 1929, Auburn
Prison’, now mounted on painted board,
10” x 10” — 25.4 x 25.4 cm.
$200—300
61
83
CENTURY
engraved with image of a woman in
‘electric chair’ and gilt inscribed “Marble
Slab From Under Electric Chair, Auburn
Prison “Death” Chamber, Mrs. M. Farmer,
the first Woman Electrocuted, After Fire
and Riot. July 19, 1929, now framed,, 10”
x 10” — 25.4 x 25.4 cm.
$300—500
84
TURNED AND CARVED OAK
WALKING STICK BEARING
NAMES AND DATES OF THE
EXECUTIONS OF 55 MEN
EXECUTED BY ELECTRIC CHAIR
AT AUBURN PRISON, NEW YORK
BETWEEN 1890-1916
inscribed ‘Made by A. Lamb, 1916’, and
‘Electrocuted at Auburn, NY, NY State’,
length 31.25” — 79.4 cm.
Note:
After 1916 all New York State executions
were carried out at Sing Sing.
$500—700
62
85
ELECTRIC CHAIR, TELEPHONE
AND SWITCH, 20TH CENTURY
the chair of oak construction with leather
seat, straps and adjustable back rest,
together with boxed wall switch and
cradle telephone, chair 54.75” x 29” x 31”
— 139.1 x 73.7 x 78.7 cm.
$10,000—15,000
63
86
MEMENTO MORI SCHOOL PAINTING OF A
TSANTSA (SHRUNKEN HEAD)
acrylic on canvas, signed Davidson, 1996, 39.75” x 30” — 101 x
76.2 cm.
87
AMERICAN CHROMOLITHOGRAPH ONE SHEET
MOVIE POSTER FOR ‘JUNGLE HEADHUNTERS’,
1951
an RKO Radio Pictures release, framed, 40” x 26” — 101.6 x
66 cm.
$100—200
$200—300
I first met Bill Jamieson in 1989 after he had taken out an ad in
the Globe and Mail wanting to purchase a genuine Shuar
shrunken head. I sold him a very "mediocre" one. Over time Bill's
shrunken head collection became second only to Ripley's and with
his first hand experiences in Ecuador, he became one of the
world's authorities on the subject, eventually even selling heads
back to us!"
Bill's acquisition of the historic Niagara Falls museum collection
was a stroke of genius - I wish I had of done it!"
Over the years I knew Bill his collection grew and diversified into
one of the greatest private tribal arts collections in the world.
Anyone who had the pleasure of seeing Bill's unique collection
displayed in his house will never forget the awe-inspiring sight.
Bill and his collection are legendary in the museum world."
Edward Meyer
Ripley's Believe it or Not
64
Photo by Marty MacDugall
88
FRENCH
CHROMOLITHOGRAPH
ADVERTISING POSTER, EARLY
20TH CENTURY
for liqueur Maurin Quina, after the work
by Leonetto Cappiello (1875-1942),
framed
$500—700
89
LARGE FRENCH
CHROMOLITHOGRAPH
ADVERTISING POSTER, 1930
for magic act ‘Cirque Palmarium: La
Guillotine, Reconstitution Exacte d’une
Execution Capitale’, framed, 62” x 45.5”
— 157.5 x 115.6 cm.
$300—400
65
90
LARGE FRENCH
CHROMOLITHOGRAPH MOVIE
POSTER, 1955
for ‘Continent Perdu’ (Italian
release:Continente Perduto), framed, 61”
x 44.5” — 154.9 x 113 cm.
$500—700
91
LARGE FRENCH
CHROMOLITHOGRAPH
20TH CENTURY
for L’Extraordinaire ‘Ryss’ (Georges Gay,
1880-1932) Présente le Barman de Satan,
framed, 53.75” x 28” — 136.5 x 71.1 cm.
$300—400
66
92
FRENCH
CHROMOLITHOGRAPH
20TH CENTURY
for ‘Theatre de la Gaité’ siamese twins
attraction ‘Rosa-Josepha’, framed, 45.25”
x 31” — 114.9 x 78.7 cm.
$300—400
67
93
OVERSIZE AMERICAN
CHROMOLITHOGRAPH POSTER,
EARLY 20TH CENTURY
for magician ‘Carter, The Great’ (Charles
Joseph Carter, 1874-1936) advertising his
‘spirit cabinet’, printed by Otis Lithograph
Co., 106” x 80” — 269.2 x 203.2 cm.
$1,000—1,500
68
94
STEPHEN ROGERS PECK
(AMERICAN, 1912-1988)
THE AUTOPSY
oil on canvas, 42” x 36” — 106.7 x 91.4 cm.
$800—1,200
95
HARVEY ROSEWELL
“LIL’ CLEAVER”
oil on board, signed and dated ‘03, 11.5” x
8.5” — 29.2 x 21.6 cm., ‘03
$75—150
69
96
SARAH BIFFEN (BRITISH, 17841850)
PORTRAIT OF A YOUNG
WOMAN, 1815-1819
gouache on paper in modern frame, sight
15.5” x 13” — 39.4 x 33 cm.
Note:
‘Miss Biffen’ (Beffin, Biffin) was born with
no arms and only vestigial legs. In spite
of her handicap she learned to write, do
needlework and eventually paint which
she did on display as a curiosity.
$800—1,200
97
AFTER DARIUS COBB (1834-1919)
DIPPER MISSING
1988 commemorative lithograph in
Victorian gesso frame, 30” x 35.25” —
76.2 x 89.5 cm.
$50—150
70
98
VARIOUS BATTLE SCENES
FROM THE AMERICAN CIVIL
WAR
colour lithograph prints of various battle
scenes during the American Civil War
(1861- 1865), including frames, overall
30.5” x 35.5” — 77.5 x 90.2 cm.
$200—300
99
FIVE VICTORIAN
LITHOGRAPHS OF BATTLE
SCENES FROM THE WAR OF
1812, 19TH CENTURY
framed colour lithograph prints of various
battle scenes from the British-American
War of 1812, frames 30.5” x 35.5” — 77.5
x 90.2 cm.
$200—300
71
100
FIVE VICTORIAN
LITHOGRAPHS OF BATTLE
SCENES, 19TH CENTURY
colour lithograph prints of various battle
scenes in oak and gesso frames including:
Second Boer War (Battle Spion-Kop,
January 23-24-1900), Spanish-American
War, South African War (The Canadian
Assault on Cronje’s Laager) and The
Battle of Bunker Hill, framed, overall
30.5” x 35.5” — 77.5 x 90.2 cm.
$200—300
101
CANADIAN SCHOOL
PORTRAIT OF CHIEF
TECUMSEH
mid 20th century, half length, oil on
canvas, overall 32.75” x 28.5” — 83.2 x
72.4 cm.
$75—150
72
102
FOUR
CHROMOLITHOGRAPH
CIRCUS POSTERS, 1960
reissues by Circus World
Museum of earlier
advertisements, framed,
various sizes, 19” x 23” — 48.3
x 58.4 cm.
$75—150
103
SHIP’S FIGUREHEAD, 18TH/19TH
CENTURY
carved hardwood modelled female nude,
mounted on stand, mounted height 47”
— 119.4 cm.
$300—500
73
104
MARK PRENT (CANADIAN,
B.1949)
THE INCURABLE ROMANTIC,
1981
kinetic mixed media, pigmented polyester
resin, glass, hair, barber’s chair, length
00” — cm.
$2,000—3,000
74
Provenance:
The Isaacs Gallery, Toronto
105
B.1949)
FROM LOVE’S FIRST FEVER TO
HER PLAGUE
Provenance:
Purchased directly from the artist.
pigmented polyester resin, nylon, 2nd in
an edition of 3, height 33” — 83.8 cm.
$1,000—1,500
75
106
B.1949)
THAWING OUT
pigmented polyester, painted plywood,
chrome plated metal hardware, 78.5” x
48” x 33” — 199.4 x 121.9 x 83.8 cm.
Provenance:
The Isaacs Gallery, Toronto
$5,000—7,000
76
107
PROSTHETIC MASK FOR ‘THE
CURIOUS CASE OF BENJAMIN
BUTTON’ BY FXSMITH, 2008
pigmented silicon, hair, on resin, metal
and wood armature, a collaboration by
Gordon Smith, Evan Penny, Jay
McClennen, Ann Mclaren, Marianne
Lovink and Caroline DeMooy, height 17”
— 43.2 cm.
$2,000—3,000
77
108
RESIN, FEATHER AND GLASS
MODEL OF AN OSTRICH BY
RYAN MCCULLAGH, 20TH
CENTURY
What I loved about Billy was that he was a dealer’s dealer. If he shook on something it
was set in stone. Making deals with Billy was an event; Billy liked to trade, so the deal
was a lot more complex and would take hours. Not once did we cross swords, we both
walked away feeling like we got a good deal.
life size, modelled standing on faux
malachite base, height 76” — 193 cm.
It’s all about the Art of the Deal and Billy was a Master.
$800—1,200
Billy Leroy
Billy’s Antiques NYC
78
109
POLYCHROMED FIBERGLASS
FIGURE OF A TATTOOED
WOMAN BY JONATHAN SHAW
(B.1953)
Note:
Shaw is a noted New York city tattoo aritist whose clients include Johnny
Depp, Dee Dee Ramone and Johnny Winter. He is the son of bandleader
Artie Shaw.
modelled posing in bathing suit on base
decorated with skull with crossbones and
fowled anchors, height 70.25” — 178.4
cm.
$1,000—1,500
79
110
SIDESHOW GAFF FIGURE OF A
SHRUNKEN WOMAN, 21ST
CENTURY
111
SIDESHOW GAFF OF AN
EGYPTIAN SARCOPHAGUS,
20TH CENTURY
mounted on crushed red velvet board,
length 35.25” — 89.5 cm.
of carved hardwood with weathered
surface, length 71” — 180.3 cm.
$100—200
$200—300
80
112
SIDESHOW GAFF OF A CORPSE
BRIDE, 20TH CENTURY
of mixed media construction on velvet
covered plywood base, length 59.5” —
151.1 cm.
$300—500
113
SIDESHOW GAFF COMPOSITE
MODEL OF A ‘FIJI ISLAND
MERMAID’, 20TH CENTURY
modelled by Mark Frierson, ‘Artifakes’,
with COA, length 24” — 61 cm.
$75—150
81
114
SIDESHOW GAFF RESIN MODEL
OF AN ‘ALIEN SKULL’, 1997
signed K. Giannetti and dated, height 10”
— 25.4 cm.
$75—150
115
COLLECTION OF CARVED
CIRCUS WAGON FRAGMENTS,
19TH/EARLY CENTURY
including two lion masks, two demonic
busts, two large demonic heads, six
demonic masks and three relief carved
panels
$500—700
82
116
THREE PAINTED RESIN
MODELS OF DINOSAURS, 20TH
CENTURY
an ankylosaurus, a corythosaurus and a
tyrannosaurus rex, height 25.5” — 64.8
cm.
$75—150
117
AUSTRIAN SECESSIONIST GILT
METAL AND GLASS FOUR
LIGHT CHANDELIER, C.1900
the panel-chain suspended tripartite
hammered frame with three tiers of glass
tube fringe, height 46” — 116.8 cm.
$300—400
83
118
LARGE PAIR OF EMPIRE STYLE
PARCEL GILT AND BLACK
LACQUERED METAL
TORCHIERE WALL SCONCES,
MID 20TH CENTURY
height 52.5” — 133.4 cm.
$200—400
119
ART DECO STYLE BRASS AND
ETCHED GLASS CHANDELIER,
MID 20TH CENTURY
the bell canopy to tube riser with four
decorative vanes suspending two tier
fluted circular body with central
illumination, height 49” — 124.5 cm.
Provenance:
The St. Charles Tavern, Toronto
$300—500
84
120
MID 20TH CENTURY
Provenance:
$300—500
121
MID 20TH CENTURY
Provenance:
$300—500
85
122
ART DECO NICKEL AND
MID 20TH CENTURY
the canopy to tube riser suspending
framed four plate circular body with
central illumination, height 49” — 124.5
cm.
$200—300
86
123
LARGE WROUGHT IRON
MIRROR, EARLY-MID 20TH
CENTURY
124
ART DECO STYLE MAHOGANY
PEDESTAL STAND, LATE 20TH
CENTURY
with grapevine pattern open work frame,
69.5” x 49” — 176.5 x 124.5 cm.
height 36.25” — 92.1 cm.
$200—300
$300—400
87
125
ART DECO STYLE GLAZED
MAHOGANY AND EBONIZED
WOOD CABINET, MID 20TH
CENTURY
the tapering form with two doors opening
to glass shelve over base with bottle
recesses, height 52.5” — 133.4 cm.
Note:
Contents are Lot 59
$300—400
88
126
LARGE VICTORIAN EBONIZED
AQUARIUM CABINET, 19TH
CENTURY AND LATER
fashioned from the rear glazed doors of a
New Orleans style horse drawn hearse,
adapted on modern stand to
accommodate tank, filter and lighting, all
included, 80;.5” x 57” x 41” — 204.5 x
144.8 x 104.1 cm.
$1,000—1,500
The last time I saw Bill, my girlfriend and I were visiting him in his museum home, which
– despite my many visits – never ceased to amaze me with its vast selection of
mummies, shrunken heads and all manner of macabre memorabilia. “You own such an
incredible collection,” I told him, overwhelmed by the scope and breath of so many
arcane objects, to which he replied, very matter-of-factly: “I don’t own it. I’m just
looking after it for a little while.” In fact, he would only look after it for another three
weeks before he was tragically called away. Ultimately, pieces are bought and pieces are
sold. Like life itself, they are meant to move.
Rodrigo Gudiño
President
RUE MORGUE, Toronto
89
Buying at
Waddington’s
All lots will be offered and
sold subject to the
Conditions of Sale which
appear in this catalogue as
well as any Glossary and
posted or oral
announcement. By bidding at
auction, bidders are bound
by those Conditions and
Glossary, as amended by any
oral announcement or posted
notices, which together form
the contract of sale between
the successful bidder (buyer),
Waddington’s™ and the
consignor (seller) of the lot.
Descriptions or photographs
of lots are not warranties and
each lot is sold “as is” in
accordance with the
Conditions of Sale.
inquire as to the condition of
a lot before bidding.
Condition reports are
available upon request by
phone, fax, email or in
person. You are advised to
make any requests well in
advance of the sale.
Condition of Lots
All of the items are to be
considered, unless otherwise
noted in the description, in
good condition. The
definition of “good” when
used in reference to
condition, describes an object
as having had no major
damage or repair but as with
the nature of the material,
may show minor
surface wear, discolouration
etc., which indicates the
acceptable wear that the
piece may acquire with age.
If you are particular about
minor flaws, you should
examine the pieces in person
or have our staff answer any
questions before bidding.
Sizes are approximate. It is
the sole
responsibility of the bidder to
Artfact Live! clients will be
charged a buyer's premium of
23% of the successful bid
price of each lot up to and
including $50,000 and 18%
on any amount in excess of
$50,000 as part of the total
purchase price.
96
Frames on artwork are not
included as part of purchase
or condition.
Buyers Premium
A premium of 20% of the
successful bid price of each
lot up to and including
$50,000 and 15% on any
amount in excess of $50,000
is paid by the buyer as part
of the total purchase price.
A charge of 13% HST
(Harmonized Sales Tax) is
applicable on the hammer
price and buyer's premium,
except for purchases
exported from Canada. In
the case where purchases are
shipped out of the province
of Ontario, the HST or GST is
charged based on the tax
status of that province.
Bidding
To bid in person at the
auction, you must register for
a bidding number by showing
identification acceptable to
the Auctioneer upon entering
the salesroom. Your number
will identify you if you are
the successful bidder. You will
be responsible for all lots
purchased on your bidding
number. Banking information
may be requested by
Waddington’s™. You may
submit an Absentee Bid Form
if you are unable to attend
the sale. Bidding by
telephone, in limited
circumstances, can be
arranged prior to the sale.
While we are pleased to offer
absentee and telephone
bidding as a service to our
clients, and take great care in
their commission, the
Auctioneer will not be
responsible for technical
difficulties, errors or failure to
execute bids. The Auctioneer
may also execute bids on
behalf of the consignor to
protect the reserve. The
reserve is the confidential
minimum price the seller is
willing to accept for his or
her property, below which it
will not be sold.
Absentee Bidders
All absentee and phone
bidders are required to
contact our offices at 416504-9100 to confirm
whether they have been
successful.
Payment
Payment for purchases must
be by cash, INTERAC direct
debit (Cdn clients in person
only), certified cheque (U.S.
& Overseas not applicable),
travelers cheque, bank draft,
electronic transfer (fee
applies), VISA or Mastercard
(up to $25,000). As
Waddington's requires
written authorization for all
credit card purchases, credit
cards must be presented in
person by the cardholder and
therefore cannot be accepted
over the telephone. However,
fax authorization
arrangements can be made.
ALL PRICES IN
CANADIAN FUNDS
Selling at
Waddington’s
Shipping:
The Auctioneers will not
undertake packing or
shipping. The purchaser must
designate and arrange for the
services of an independent
shipper and be responsible
for all shipping, insurance
expenses and any necessary
export permits that may
apply. The Auctioneers will,
upon request, provide names
of professional packers and
shippers but will not be held
responsible for the service or
have any liability for
providing this
information. Reliable preauction estimates of shipping
costs of lots offered in this
sale may be obtained from:
Pak Mail
905.470.6874
905.470.6875 416.293.8225
[email protected]
www.pakmailmarkham.ca
Removal of Purchases
Purchases must be paid for
within 48 hours of the date
of the sale, and removed
from premises within 10 days
of the date of sale (see
Conditions of Sale, conditions
8 to 15). Clients are advised
that packing and/or handling
of purchased lots by our
employees or agents is
undertaken solely as a
courtesy for the convenience
of clients.
Paintings, drawings, prints,
furniture, jewellery and all
forms of decorative arts and
collectibles may be brought
to our Toronto office where
we can provide you with
preliminary auction estimates
and consignment procedures.
Please visit our website at
www.waddingtons.ca for
details on our various
departments and how to
contact the specialists. We
also accept mailed and
emailed requests for advice
on the marketability of
objects. A photograph and
phone number must
accompany a full description
of each item.
Our specialists regularly
travel to major Canadian
cities to meet with
prospective consignors. For
further information, or to
arrange an appointment,
please contact our Toronto
office.
Notice for our
International
Clients
Commission Rates
Items selling for
$7,501 or more 10%
Items selling for
$2,501 to $7,500 15%
Items selling for
$251 to $2,500 20%
Items selling for
$250 or less 25%
*There is a minimum handling
charge of $20 per item
Insurance
A 1% insurance charge,
based on the hammer price
of the property, will be
applied to all
accounts.
Restrictions exist regarding
the export of species
protected under CITES
(Convention on International
Trade in Endangered
Species).
The export and importation
of items made of or
containing whalebone, ivory,
tortoise shell, seal skin,
rhinoceros horn and other
animal parts is strictly
controlled or forbidden by
most countries. Please review
your country’s laws before
shipping or purchasing pieces
made of or containing these
restricted items. Obtaining
the appropriate permits is the
responsibility of the client.
All Narwhal Tusks must have
a Marine Harvest Number or
a Marine and Mammal
Transport number to be sold
at Waddington's.
For more information please
visit: www.cites.org
Property normally arrives at
Waddington’s™ at least three
months before the sale in
order to allow our specialists
time to research, catalogue,
photograph
and promote the items.
Consignors will receive a
contract to sign, setting forth
terms and
fees for our services.
97
Conditions
Of Sale
1. All lots are sold “AS IS”. Any
description issued by the
auctioneer of an article to be
sold is subject to variation to be
posted or announced verbally in
the auction room prior to the
time of sale. While the auctioneer
has endeavoured not to mislead
in the description issued, and the
utmost care is taken to ensure
the correct cataloguing of each
item, such descriptions are purely
statements of opinion and are
not intended to constitute a
representation to the prospective
purchasers and no warranty of
the correctness of such
description is made. An
opportunity for inspection of
each article is offered prior to the
time of sale. No sale will be set
aside on account of lack of
correspondence of the article
with its description or its
reproduction, if any, whether
colour or black & white. Some
lots are of an age and/or nature
which preclude their being in
pristine condition and some
catalogue descriptions make
reference to damage and/or
restoration. The lack of such
a reference does not imply that a
lot is free from defects nor does
any reference to certain defects
imply the absence of others.
Frames on artwork are not
included as part of purchase or
condition. It is the responsibility
of prospective purchasers to
inspect or have inspected each
lot upon which they wish to bid,
relying upon their own advisers,
and to bid accordingly.
2. Each lot sold is subject to a
premium of 20% of the
successful bid price of each lot up
to and including $50,000 and
15% on any amount in excess of
$50,000 as part of the purchase
price.
sale at any time, to divide any lot
or to combine any two or more
lots at his sole discretion, all
without notice.
5. The auctioneer has the right to
refuse any bid and to advance
the bidding at his absolute
discretion. The auctioneer
reserves the right not to accept
and not to reject any bid.
Without limitation, any bid which
is not commensurate with the
value of the article offered, or
which is merely a nominal or
fractional advance over the
previous bid may not be
recognized.
6. Each lot may be subject to an
unpublished reserve which may
be changed at any time by
agreement between the
auctioneer and the consignor.
The auctioneer may bid, or direct
an employee to bid, on behalf of
the consignor as agreed between
them. In addition, the auctioneer
may accept and submit absentee
and telephone bids, to be
executed by an employee of the
auctioneer, pursuant to the
instructions of prospective
purchasers not in attendance at
the sale.
7. The highest bidder accepted by
the auctioneer for any lot shall be
the buyer and such buyer shall
forthwith assume full risk and
responsibility for the lot and must
comply with such other
Conditions of Sale as may be
applicable. If any dispute should
arise between bidders the
auctioneer shall have the
absolute discretion to designate
the buyer or, at his option, to
withdraw any disputed lot from
the sale, or to re-offer it at the
same or a subsequent sale. The
auctioneer’s decision in all cases
shall be final.
3. Unless exempted by law, the
buyer is required to pay
Harmonized Sales Tax on the
total purchase price including the
buyer’s premium. For
international buyers, taxes are
not applicable when
purchases are shipped out of
country. Items shipped out of
Ontario, the buyer is required to
pay taxes as per the tax status of
that province, whether it HST or
GST (Goods and Services Tax).
8. Immediately after the
purchase of a lot, the buyer shall
pay or undertake to the
satisfaction of the
auctioneer with respect to
payment of the whole or any
part of the purchase price
requested by the auctioneer,
failing which the auctioneer in his
sole discretion may cancel the
sale, with or without
re-offering the item for sale.
4. The auctioneer reserves the
right to withdraw any lot from
9. The buyer shall pay for all lots
within 48 hours from the date of
98
the sale, after which a late
charge of 2% per month on the
total invoice may be incurred or
the auctioneer, in his sole
discretion, may cancel the sale.
The buyer shall not become the
owner of the lot until paid
for in full. Items must be
removed within 10 days from the
date of sale , after which storage
charges may be incurred.
10. Each lot purchased, unless
the sale is cancelled as above,
shall be held by the auctioneer at
his premises or at a public
warehouse at the sole risk of the
buyer until fully paid for and
taken away.
11. Notwithstanding condition
no. 1, if the buyer, prior to
removal of a lot, makes
arrangements satisfactory to the
auctioneer for the inspection of
such lot by a fully qualified
person acceptable to the
auctioneer to determine the
genuineness or authenticity of
the lot, to be carried out
promptly following the sale of
the lot, and if, but only if, within
a period of 14 days following the
sale a written opinion of such
person is presented to the
auctioneer to the effect that the
lot is not genuine or
authentic, accompanied by a
written request by the buyer for
rescission of the sale,
then the sale of the lot will be
rescinded and the sale price
refunded to the buyer.
12. Payment for purchases must
be by cash, INTERAC direct debit
(Cdn clients in person
only), certified cheque (U.S. &
Overseas not applicable),
travelers cheque, bank
draft, electronic transfer (fee
applies), and VISA or Mastercard
(up to $25,000). As
Waddington's requires written
authorization for all credit card
purchases, credit cards must be
presented in person by the
cardholder and therefore cannot
be accepted over the telephone.
However, fax authorization
arrangements can be made.
13. In the event of failure to pay
for or remove articles within the
aforementioned time limit, the
auctioneer, without limitation of
the rights of the consignor and
the auctioneer against the buyer,
may resell any of the articles
affected, and in such case
the original buyer shall be
responsible to the auctioneer and
the consignor for:
(a) any deficiency in price
between the re-sale amount and
the amount to have been paid by
the original buyer;
(b) any reasonable charge by the
auctioneer for the storage of
such articles until payment and
removal by the subsequent
buyer; and
(c) the amount of commission
which the auctioneer would have
earned had payment been made
in full by the original buyer.
14. It is the responsibility of the
buyer to make all arrangements
for insuring, packing and
removing the property purchased
and any assistance by the
auctioneer or his servants, agents
or contractors, in packing or
removal shall be rendered as a
courtesy and without any liability
to them.
15. The auctioneer acts solely as
agent for the consignor and
makes no representation as to
any attribute of, title to, or
restriction affecting the articles
consigned for sale. Without
limitation, the buyer understands
that any item bought may be
affected by the provisions of the
Cultural Property Export Act
(Canada).
16. The auctioneer reserves the
right to refuse admission to the
sale or to refuse to recognize any
or all bids from any particular
person or persons at any auction.
Operational Staff
Specialist
Departments
Asian Art
Anthony Wu
416 847 6185
[email protected]
Jewellery, Watches &
Numismatics
Don P. McLean
416 847 6170
[email protected]
Yvonne Li
416 847 6195
[email protected]
Monthly Fine Art
Janfer Chung
416 847 2852
[email protected]
Doug Payne
416 847 6180
[email protected]
Canadian Fine Art
Silver, Glass & Ceramics
Linda Rodeck
416 847 6176
[email protected]
Bill Kime
416 847 6189
[email protected]
Erin Rutherford
Fine Art Administrator
416 504 5100
[email protected]
Shasha Liu
Assistant
[email protected]
Contemporary Art
Stephen Ranger
416 847 6194
[email protected]
Kristin Vance
Client Services / Administrator
[email protected]
International Art
Susan Robertson
416 847 6179
[email protected]
Emma Frank
Assistant
[email protected]
Inuit Art
Christa Ouimet
416 847 6184
[email protected]
Nadine DiMonte
Assistant
[email protected]
Sculpture, Decorations, Clocks
& Lighting
Sean Quinn
416 847 6187
[email protected]
President
Duncan McLean
416 847 6183
[email protected]
Vice President
Business Development
Stephen Ranger
416 847 6194
[email protected]
Vice President
Fine Art
Linda Rodeck
416 847 6176
[email protected]
General Manager
Duane Smith
416 847 6172
[email protected]
Creative & Technical Manager
Jamie Long
416 847 6188
[email protected]
Queeny Xu
Assistant
[email protected]
Waddingtons.ca/Cobourg
9 Elgin Street East,
Cobourg ON K9A 0A1
General Manager
Paul Needham
905 373 0501
[email protected]
Absentee and Phone Bidding
905 373 1467 (Fax)
Waddingtons.ca/Collingwood
P. O. Box 554,
Collingwood ON L9Y 4B2
Valerie Brown
705 445 8811
[email protected]
Transitions.Waddingtons.ca
Marcia Kim
416 847 6196
[email protected]
Accounts Manager
Karen Sander
416 847 6173
[email protected]
Elda Pappada
416 504 9100 x6213
[email protected]
Corporate Receptionist
Kate Godin
416 504 9100
[email protected]
Lynda Macpherson
416 847 6190
[email protected]
Appraisal Co-ordinator
Ellie Muir
416 847 6196
[email protected]
Building Manager
Steve Sheppard
416 847 6186
[email protected]
Client Services
Andrew Brandt
416 504 9100 ext 6200
[email protected]
99
The William (Billy) Jamieson Collection
Waddingtons.ca
275 King Street East, Second Floor
Toronto Ontario Canada
M5A 1K2
Telephone: 416.504.9100
Fax: 416.504.0033
Toll Free: 1.877.504.5700

Untitled - Waddington`s

Transcription

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