fine canadian art

Transcription

fine canadian art

HEFFEL FINE ART AUCTION HOUSE
FINE CANADIAN ART
FINE CANADIAN ART
MAY 15, 2013
V ISIT
www.heffel.com
VANCOUVER
A13s_FCA_Catalogue cover_Draft 1.pmd
1
•
TORONTO
•
MONTREAL
ISBN 978~1~927031~07~0
SALE WEDNESDAY, MAY 15, 2013, VANCOUVER
OTTAWA
•
3/15/2013, 4:20 PM
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3/15/2013, 4:21 PM
FINE CANADIAN ART
AUCTION
WEDNESDAY, MAY 15, 2013
4 PM, CANADIAN POST~WAR
& CONTEMPORARY ART
7 PM, FINE CANADIAN ART
VANCOUVER CONVENTION CENTRE WEST
BURRARD ENTRANCE, ROOM 211
1055 CANADA PLACE, VANCOUVER
PREVIEW AT GALERIE HEFFEL, MONTREAL
1840 RUE SHERBROOKE OUEST
THURSDAY, APRIL 25
& FRIDAY, APRIL 26, 11 AM TO 7 PM
SATURDAY, APRIL 27, 11 AM TO 5 PM
PREVIEW AT HEFFEL GALLERY, TORONTO
13 HAZELTON AVENUE
THURSDAY, MAY 2 & FRIDAY, MAY 3, 11 AM TO 7 PM
SATURDAY, MAY 4, 11 AM TO 5 PM
PREVIEW AT HEFFEL GALLERY, VANCOUVER
SATURDAY, MAY 11 THROUGH
TUESDAY, MAY 14, 11 AM TO 6 PM
WEDNESDAY, MAY 15, 10 AM TO 12 PM
HEFFEL GALLERY, VANCOUVER
2247 GRANVILLE STREET, VANCOUVER
BRITISH COLUMBIA, CANADA V6H 3G1
TELEPHONE 604 732~6505, FAX 604 732~4245
TOLL FREE 1 800 528~9608
INTERNET WWW.HEFFEL.COM
VANCOUVER
•
TORONTO
•
O T TAWA
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MONTREAL
A Division of Heffel Gallery Limited
VANCOUVER
2247 Granville Street, Vancouver, BC V6H 3G1
Telephone 604 732~6505, Fax 604 732~4245
E~mail: [email protected], Internet: www.heffel.com
T ORONTO
13 Hazelton Avenue, Toronto, Ontario M5R 2E1
Telephone 416 961~6505, Fax 416 961~4245
M ONTREAL
1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4
Telephone 514 939~6505, Fax 514 939~1100
OTTAWA
451 Daly Avenue, Ottawa, Ontario K1N 6H6
Telephone 613 230~6505, Fax 613 230~8884
C ALGARY
Telephone 403 238~6505
C ORPORATE BANK
Royal Bank of Canada, 1497 West Broadway
Vancouver, British Columbia V6H 1H7
Account #05680 003: 133 503 3
Swift Code: ROYccat2
Incoming wires are required to be sent in Canadian funds and
must include: Heffel Gallery Limited, 2247 Granville Street,
Vancouver, BC, Canada V6H 3G1 as beneficiary.
BOARD OF DIRECTORS
Chairman In Memoriam ~ Kenneth Grant Heffel
President ~ David Kenneth John Heffel
Auctioneer License T83~3364318 and V13~155938
Vice~President ~ Robert Campbell Scott Heffel
Auctioneer License T83~3365303 and V13~155937
HEFFEL.COM DEPARTMENTS
F INE CANADIAN ART
[email protected]
APPRAISALS
[email protected]
ABSENTEE AND TELEPHONE BIDDING
[email protected]
SHIPPING
[email protected]
SUBSCRIPTIONS
[email protected]
CATALOGUE SUBSCRIPTIONS
Heffel Fine Art Auction House and Heffel Gallery Limited regularly
publish a variety of materials beneficial to the art collector. An
Annual Subscription entitles you to receive our Auction Catalogues
and Auction Result Sheets. Our Annual Subscription Form can be
found on page 132 of this catalogue.
AUCTION PERSONNEL
Audra Branigan ~ Client Services and Accounts
Lisa Christensen ~ Calgary Representative
Jasmin D’Aigle and Max Meyer ~ Digital Imaging
Kate Galicz ~ Director of Appraisal Services
Andrew Gibbs ~ Ottawa Representative
Brian Goble ~ Director of Digital Imaging
Jennifer Heffel ~ Auction Assistant
Patsy Kim Heffel ~ Director of Accounting
Elizabeth Hilson and Anthea Song ~ Administrative Assistants
François Hudon ~ Client Services
Lindsay Jackson ~ Manager of Toronto Office
Lauren Kratzer ~ Director of Art Index and Manager of Shipping
Bobby Ma, John Maclean and Anders Oinonen ~ Internal Logistics
Alison Meredith ~ Director of Consignments
Jill Meredith ~ Director of Online Auction Sales
Jamey Petty ~ Director of Shipping and Framing
Kirbi Pitt ~ Director of Advertising and Marketing
Tania Poggione ~ Director of Montreal Office
Olivia Ragoussis ~ Manager of Montreal Office
Judith Scolnik ~ Director of Toronto Office
Rosalin Te Omra ~ Director of Fine Canadian Art Research
Goran Urosevic ~ Director of Information Services
C ATALOGUE PRODUCTION
Dr. Mark Cheetham, Lisa Christensen, Dr. François~Marc Gagnon,
Andrew Gibbs, Lindsay Jackson, Lauren Kratzer, Max Meyer,
Joan Murray and Rosalin Te Omra ~ Essay Contributors
Brian Goble ~ Director of Digital Imaging
David Heffel, Robert Heffel, Iris Schindel
and Rosalin Te Omra ~ Text Editing, Catalogue Production
Jasmin D’Aigle and Max Meyer ~ Digital Imaging
Jill Meredith and Kirbi Pitt ~ Catalogue Layout and Production
C OPYRIGHT
No part of this publication may be reproduced, stored in
retrieval systems or transmitted in any form or by any means,
digital, photocopy, electronic, mechanical, recorded or otherwise,
without the prior written consent of Heffel Gallery Limited.
Follow us @HeffelAuction:
P RINTING
Generation Printing, Vancouver
ISBN 978~1~927031~07~0
3
AUCTION LOCATION
PREVIEW
AUCTION
Heffel Gallery
Vancouver Convention Centre West,
2247 Granville Street, Vancouver
Burrard Entrance, Room 211
1055 Canada Place, Vancouver
Toll Free 1 800 528~9608
Saleroom Cell 604 418~6505
Call our Vancouver office for special accommodation rates, or email [email protected]
Please refer to page 136 for Toronto and Montreal preview locations
TABLE OF CONTENTS
5
5
5
5
5
7
120
122
124
130
131
131
132
132
133
134
135
S ELLING AT AUCTION
B UYING AT AUCTION
G ENERAL BIDDING INCREMENTS
FRAMING, RESTORATION AND SHIPPING
W RITTEN VALUATIONS AND APPRAISALS
FINE CANADIAN ART C ATALOGUE
H EFFEL SPECIALISTS
N OTICES FOR C OLLECTORS
T ERMS AND CONDITIONS OF BUSINESS
CATALOGUE ABBREVIATIONS AND S YMBOLS
CATALOGUE TERMS
H EFFEL’S C ODE OF BUSINESS
CONDUCT, ETHICS AND PRACTICES
ANNUAL SUBSCRIPTION FORM
COLLECTOR PROFILE F ORM
S HIPPING FORM FOR PURCHASES
ABSENTEE BID FORM
I NDEX OF ARTISTS BY LOT
4
SELLING AT AUCTION
Heffel Fine Art Auction House is a division of Heffel Gallery Limited.
Together, our offices offer individuals, collectors, corporations and
public entities a full service firm for the successful de~acquisition
of their artworks. Interested parties should contact us to arrange for
a private and confidential appointment to discuss their preferred
method of disposition and to analyse preliminary auction estimates,
pre~sale reserves and consignment procedures. This service is
offered free of charge.
If you are from out of town, or are unable to visit us at our
premises, we would be pleased to assess the saleability of your
artworks by mail, courier or e~mail. Please provide us with
photographic or digital reproductions of the artworks and
information pertaining to title, artist, medium, size, date,
provenance, etc. Representatives of our firm travel regularly
to major Canadian cities to meet with Prospective Sellers.
It is recommended that property for inclusion in our sale arrive
at Heffel Fine Art Auction House at least 90 days prior to our
auction. This allows time to photograph, research, catalogue,
promote and complete any required work such as re~framing,
cleaning or restoration. All property is stored free of charge until
the auction; however, insurance is the Consignor’s expense.
Consignors will receive, for completion, a Consignment Agreement
and Consignment Receipt, which set forth the terms and fees for
our services. The Seller’s Commission rates charged by Heffel Fine
Art Auction House are as follows: 10% of the successful Hammer
Price for each Lot sold for $7,500 and over; 15% for Lots sold for
$2,500 to $7,499; and 25% for Lots sold for less than $2,500.
Consignors are entitled to set a mutually agreed Reserve or
minimum selling price on their artworks. Heffel Fine Art Auction
House charges no Seller’s penalties for artworks that do not
achieve their Reserve price.
BUYING AT AUCTION
All items that are offered and sold by Heffel Fine Art Auction House
are subject to our published Terms and Conditions of Business, our
Catalogue Terms and any oral announcements made during the
course of our sale. Heffel Fine Art Auction House charges a Buyer’s
Premium calculated at seventeen percent (17%) of the Hammer
Price of each Lot, plus applicable federal and provincial taxes.
If you are unable to attend our auction in person, you can bid
by completing the Absentee Bid Form found on page 134 of this
catalogue. Please note that all Absentee Bid Forms should be
received by Heffel Fine Art Auction House at least 24 hours prior
to the commencement of the sale.
Bidding by telephone, although limited, is available. Please
make arrangements for this service well in advance of the sale.
Telephone lines are assigned in order of the sequence in which
requests are received. We also recommend that you leave an
Absentee Bid amount that we will execute on your behalf in the
event we are unable to reach you by telephone.
5
Payment must be made by: a) Bank Wire direct to our account,
b) Certified Cheque or Bank Draft, unless otherwise arranged in
advance with the Auction House, or c) a cheque accompanied by
a current Letter of Credit from the Buyer’s bank which will
guarantee the amount of the cheque. A cheque not guaranteed by
a Letter of Credit must be cleared by the bank prior to purchases
being released. We honour payment by VISA or Mastercard for
purchases. Credit card payments are subject to our acceptance and
approval and to a maximum of $5,000 if you are providing your
credit card details by fax or to a maximum of $25,000 if the card
is presented in person with valid identification. Bank Wire
payments should be made to the Royal Bank of Canada as per the
account transit details provided on page 2.
GENERAL BIDDING INCREMENTS
Bidding typically begins below the low estimate and
generally advances in the following bid increments:
$100 ~ 2,000 .............................. $100 INCREMENTS
$2,000 ~ 5,000 ........................... $250
$5,000 ~ 10,000 ........................ $500
$10,000 ~ 20,000 ................... $1,000
$20,000 ~ 50,000 ................... $2,500
$50,000 ~ 100,000 ................. $5,000
$100,000 ~ 300,000 ............. $10,000
$300,000 ~ 1,000,000 .......... $25,000
$1,000,000 ~ 2,000,000 ....... $50,000
$2,000,000 ~ 5,000,000 ..... $100,000
FRAMING, RESTORATION AND SHIPPING
As a Consignor, it may be advantageous for you to have your
artwork re~framed and/or cleaned and restored to enhance its
saleability. As a Buyer, your recently acquired artwork may demand
a frame complementary to your collection. As a full service
organization, we offer guidance and in~house expertise to facilitate
these needs. Buyers who acquire items that require local delivery or
out of town shipping should refer to our Shipping Form for
Purchases on page 133 of this publication. Please feel free to contact
us to assist you in all of your requirements or to answer any of your
related questions. Full completion of our Shipping Form is required
prior to purchases being released by Heffel.
WRITTEN VALUATIONS AND APPRAISALS
Written valuations and appraisals for probate, insurance, family
division and other purposes can be carried out in our offices or
at your premises. Appraisal fees vary according to circumstances.
If, within five years of the appraisal, valued or appraised artwork
is consigned and sold through either Heffel Fine Art Auction House
or Heffel Gallery Limited, the client will be refunded the appraisal
fee, less incurred “out of pocket” expenses.
VANCOUVER
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TORONTO
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O T TAWA
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MONTREAL
The Purchaser and the Consignor are hereby advised to read
fully the Terms and Conditions of Business and Catalogue Terms,
which set out and establish the rights and obligations of the
Auction House, the Purchaser and the Consignor, and the
terms by which the Auction House shall conduct the sale and
handle other related matters. This information appears on
pages 124 through 131 of this publication.
All Lots can be viewed on our Internet site at:
http://www.heffel.com
Please consult our online catalogue for information
specifying which works will be present in each of our
preview locations at:
http://www.heffel.com/auction
If you are unable to attend our auction, we produce a live
webcast of our sale commencing at 3:50 PM PDT. We do not
offer real~time Internet bidding for our live auctions, but we
do accept absentee and prearranged telephone bids.
Information on absentee and telephone bidding appears on
pages 5 and 134 of this publication.
We recommend that you test your streaming video setup prior
to our sale at:
http://www.heffel.tv
Our Estimates are in Canadian funds. Exchange values are
subject to change and are provided for guidance only. Buying
1.00 Canadian dollar will cost approximately 1.00 US dollar,
0.78 Euro, 0.67 British pound, 97 Japanese yen or 8.10
Hong Kong dollars as of our publication date.
FINE CANADIAN ART
CATALOGUE
Featuring Works from
An Important Montreal Collection
A Prominent Montreal Family Estate
The PSBGM Cultural Heritage Foundation
Property of a Vancouver Philanthropist
& other Important Private Collections
SALE WEDNESDAY, MAY 15, 2013, 7:00 PM, VANCOUVER
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101
101 EMILY CARR
BCSFA RCA 1871 ~ 1945
Klee Wyck Totem Lamp
painted ceramic sculpture, signed Klee Wyck,
circa 1924 ~ 1926
8 x 5 x 5 in, 20.3 x 12.7 x 12.7 cm
P ROVENANCE :
Private Collection, Ontario
L ITERATURE :
Gerta Moray, Unsettling Encounters, First Nations Imagery in the Art
of Emily Carr, 2006, page 280, a circa 1924 ~ 1929 beaver table lamp
reproduced page 280, figure 11.5
During the period when Emily Carr was virtually not painting, one of the
multitude of things she did to make a living was to produce pottery
painted with native motifs. One of the most rewarding aspects for her in
this process was in the researching of Haida motifs, from books such as
John Swanton’s Ethnography of the Haida and museums such as the
National Museum in Ottawa. Gerta Moray writes, “She transferred the
two~dimensional designs used by the Haida on hats or on argillite plates
to the surfaces of large ceramic bowls and platters, and she made lamp
stands in the form of miniature totem posts of bears and beavers.” This is
an outstanding beaver motif totem lamp base ~ the stylized beaver is quite
animated, and its eyes have a great sense of presence. Carr’s identification
with First Nations people was very strong during this period ~ she
surrounded herself with her paintings of native villages and totems, and
in her attic bedroom she painted two great bird forms from the ’Yalis
cemetery, which she slept beneath. Carr stated, “They made ‘strong talk’
for me, as my Indian friends would say.”
E STIMATE: $8,000 ~ 12,000
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102
102 EMILY CARR
BCSFA RCA 1871 ~ 1945
Klee Wyck Dogfish Bowl
painted ceramic sculpture, signed Klee Wyck,
circa 1924 ~ 1926
5 1/2 x 5 1/4 x 2 in, 14 x 13.3 x 5.1 cm
P ROVENANCE :
Private Collection, Toronto
L ITERATURE :
Maria Tippett, Emily Carr, A Biography, 1979, page 136
Emily Carr signed her ceramic works Klee Wyck, meaning “Laughing
One”, a name given to her by West Coast First Nations people. She was
involved in all the stages of making her ceramic objects, which included
candlesticks, lamp bases, totems and vessels. She dug blue clay from the
Dallas Road cliffs, bringing it home in her wicker pram. After molding her
objects by hand, she fired them in her homemade backyard kiln. Each
firing of this primitive kiln required Carr’s oversight for 12 to 14 hours,
and she declared it caused her much “agony, suspense, sweat”. Finally,
native designs were applied to the work with enamel paint. In this
colourful ceramic piece, Carr inventively painted her dogfish motif into
the curve of the bowl as though it is coiled up in its sea environment.
As well as selling her work in Victoria, Vancouver, Calgary and Banff, Carr
found a market in Eastern Canada ~ at a craft sale in Toronto, the Château
Laurier in Ottawa and the Canadian Handicraft Guild in Montreal.
E STIMATE: $6,000 ~ 8,000
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103
103 JAMES WILLIAMSON GALLOWAY
(JOCK) MACDONALD
ARCA BCSFA CGP OSA P11 1897 ~ 1960
Castle Towers ~ Garibaldi Park, BC
oil on board, signed and dated 1943
and on verso signed and titled
12 x 14 7/8 in, 30.5 x 37.8 cm
P ROVENANCE :
Acquired directly from the Artist
By descent to the present Private Collection, Vancouver
L ITERATURE :
Joyce Zemans, Jock Macdonald: The Inner Landscape / A Retrospective
Exhibition, Art Gallery of Ontario, 1981, page 101, the related 1943
canvas entitled Castle Towers Garibaldi Park reproduced page 103
and listed page 282
E XHIBITED :
Art Gallery of Ontario, Toronto, Jock Macdonald: The Inner Landscape /
A Retrospective Exhibition, 1981, traveling in 1981 ~ 1982 to the Art
Gallery of Windsor, The Edmonton Art Gallery, the Winnipeg Art
Gallery and the Vancouver Art Gallery, the related 1943 canvas
entitled Castle Towers Garibaldi Park, catalogue #30
Jock Macdonald taught at the Vancouver School of Decorative and
Applied Arts until 1933, when he and Group of Seven painter Frederick
Varley formed the British Columbia College of Arts. Both artists painted
together at Garibaldi in 1929 and 1934. After their school closed,
Macdonald spent several years living simply at Nootka Sound on
Vancouver Island, before returning to Vancouver in 1936 to teach and
paint. For the next decade, before turning to abstraction, the landscape
would dominate his work. In the early 1940s Lawren Harris moved to
Vancouver, and Macdonald and Harris went on sketching trips together
and exchanged ideas about the Transcendental movement and theories
from the leading proponents of spiritualism. Macdonald spent the
summers of 1942 and 1943 in Garibaldi Park, and the effect of these
influences can be seen in stunning works such as this, in which the formal
and spiritual merge in the magnificent mountain forms and glowing light.
Macdonald exclaimed that the nearby Sphinx Glacier “was the most
powerful force I have ever seen outside the mountainous waters of the
open Pacific”, and here found a cosmic oneness with nature.
E STIMATE: $12,000 ~ 16,000
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12
104
(JOCK) MACDONALD
Kalamalka Lake (Looking South),
Okanagan, BC
oil on canvas board, signed and dated 1945
and on verso signed, titled, dated and inscribed 44779
12 x 14 1/2 in, 30.5 x 36.8 cm
P ROVENANCE :
L ITERATURE :
Joyce Zemans, Jock Macdonald, The Inner Landscape / A Retrospective
Exhibition, Art Gallery of Ontario, 1981, page 107
In the Art Gallery of Ontario’s retrospective exhibition catalogue, Joyce
Zemans writes of Jock Macdonald’s Interior works: “The Okanagan seems
to have elicited a new vision, and the grandeur of the Rockies and of
Garibaldi gave way to softer forms. The darkening clouds of a summer
storm or the brilliant light of the summer sun along with a rich, brightly
coloured palette create vibrant colour harmonies to unify these
paintings.” This fine Okanagan panorama is a nostalgic reminder of a time
when Interior lakes like Kalamalka were only sparsely populated. The
successive layers of benchlands and steep hills plunging into the lake
tapering off to shadowy blue mountains in the distance are a pure and
tranquil expression of the beauty of this Mediterranean~like area of
British Columbia’s Interior region. In 1944, Macdonald’s Okanagan
paintings were featured in a one~man exhibition at the Vancouver Art
Gallery, which was critically well~received. The National Gallery of
Canada has one of Macdonald’s Okanagan canvases among the group of
his works in its collection, dated 1944 ~ 1945 and entitled Thunder Clouds
Over Okanagan Lake.
E STIMATE: $10,000 ~ 15,000
13
105
(JOCK) MACDONALD
“Victory” Garden, Rutland, BC
oil on canvas board, on verso signed,
titled and dated 1944
12 x 14 7/8 in, 30.5 x 37.8 cm
P ROVENANCE :
During World War II, victory gardens of vegetables and fruits were
planted at both private residences and public spaces such as parks,
intended to supplement the public food supply during wartime ~
particularly in Britain where food was rationed. This also occurred in
the United States and Canada, as indicated in the title of this fine
painting. This grassroots drive was a tremendous success, increasing
self~sufficiency and raising morale during wartime. Macdonald painted
this scene during the summer of 1944 when he traveled to the Okanagan
Valley from Vancouver. He reacted to the Okanagan’s Mediterranean
climate by using softer form and a warm colour palette, and loved the
quality of brilliant light in this area. Macdonald depicted this rural scene
with a fine sense of rhythm in the rolling hills, and in the fences and
buildings following the lines of the undulating land. Sculpted cloud
formations hovering above the hills add to the peaceful, dreamy mood ~
a world away from what was happening in Britain and Europe, yet still
connected through the “victory” garden.
E STIMATE: $10,000 ~ 15,000
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106
106 JAMES EDWARD HERVEY (J.E.H.)
MACDONALD
ALC CGP G7 OSA RCA 1873 ~ 1932
Sketch for Logs in the Gatineau
oil on board, initialed and on verso signed,
titled and dated indistinctly 1914
8 x 10 in, 20.3 x 25.4 cm
P ROVENANCE :
Pickering College, Newmarket, Ontario
Sold sale of Important Canadian Art, Sotheby’s Canada,
November 18, 1986, lot 352; Private Collection, Ontario
By descent to the present Private Collection, Ontario
L ITERATURE :
Paul Duval, The Tangled Garden: The Art of J.E.H. MacDonald, 1978,
page 53, the related 1915 canvas entitled Logs on the Gatineau, in the
collection of the Mendel Art Gallery, Saskatoon, reproduced page 67
In 1914, J.E.H. MacDonald began to venture further afield from his home
in Toronto to paint. As he had already worked in the Laurentians, he took
a March trip to Algonquin Park with J.W. Beatty, meeting up with A.Y.
Jackson who was already camping and sketching there. After this,
MacDonald explored the area around Minden, north of Toronto, and later
in that same year painted “a series of brilliant on~the~spot studies” along
the banks of the Gatineau River. One of these was “the superb sketch [in
the collection of the Art Gallery of Windsor] for the major 1915 canvas,
Logs on the Gatineau [in the collection of the Mendel Art Gallery in
Saskatoon],” as Paul Duval writes. Another is this fine lot. Here
MacDonald gives us all of the rapid brushwork and harmonious palette
that characterizes his outdoor sketches. The treatment of the logs, water
and rocks on the near shore conveys the idea of a tangled, log~strewn
riverbank quite nicely, while the distant hill, shore and sky are delineated
with a very different brush~stroke, conveying a feeling of misty distance
and softness that contrasts with the hurry and tumble of the river.
E STIMATE: $20,000 ~ 30,000
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107
MACDONALD
Rocky Mountains
oil on board, signed and dated 1929 and on verso
signed, titled twice, dated, inscribed $75.00 / 1374 /
BA286 and 49 and stamped with a 1939 National
Revenue Canada customs excise stamp
8 1/2 x 10 1/2 in, 21.6 x 26.7 cm
P ROVENANCE :
The Right Honourable Malcolm MacDonald, Kent, England,
British High Commissioner to Canada from 1941 to 1946
By descent to the present Private Collection, Toronto
To reach Lake O’Hara, J.E.H. MacDonald would have taken the train from
Toronto to Hector Station in British Columbia, at the southeast end of
Wapta Lake. From there, he would have gone by packhorse to Lake
O’Hara. In some years he had sufficient overlay time to take out his
sketching kit, and in 1929 he had enough time explore the valley leading
towards Sherbrooke Lake. This hitherto unknown sketch allows us to
pinpoint another spot on the map of MacDonald’s mountain travels, and
is one of less than ten known mountain sketches done outside of Lake
O’Hara proper. Here, we are a distance up the trail towards Sherbrooke
Lake, looking back at the glaciated peaks of Mounts Collier, Victoria and
Huber. Set in a burned~over forest, the blackened tree trunks are a
striking contrast to the autumn colours of the forest floor. A pine tree on
the left is touched with bright yellow lichen, and the bands of turquoise in
the sky serve to contain our gaze and return it to the centre of the scene.
E STIMATE: $50,000 ~ 70,000
16
108
108 THOMAS JOHN (TOM) THOMSON
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P ROVENANCE :
mile rapids near the end of the trip,” as Thomson wrote McRuer, but the
few paintings that remained struck friends such as Dr. J.M. MacCallum,
whom he met that autumn, with “their truthfulness, their feeling and
their sympathy with the grim, fascinating northland.” They were,
MacCallum wrote, “dark, muddy in colour, tight and not wanting in
technical defects,” but worthy of purchase. He bought “some of the
sketches fished up from the foot of the rapids.” Albert Robson, Thomson’s
boss at Grip Ltd. and later at Rous & Mann Ltd. (another top commercial
art firm in Toronto), also recalled the way in which these works caught the
“real northern character” and showed an “intimate feeling of the country”.
Mellors Fine Arts, Toronto
Laing Galleries, Toronto
The Right Honourable Malcolm MacDonald, Kent, England,
British High Commissioner to Canada from 1941 to 1946
Thomson’s sketches of this year, mostly ragged and rather severe distant
shorelines, are recognized as the first awakenings of the Group of Seven,
both philosophically, because of the way the imagery was obtained, and in
subject matter. At this moment, Thomson was only four years away from
the high point of his career as a painter.
L ITERATURE :
Although it is difficult to identify the exact sketches Thomson painted
in the Mississagi Forest Reserve in 1912, this sketch, from an early date,
was almost certainly painted on this trip, or so we can believe from the
inscription on the verso by MacCallum. Another early sketch was
identified by Robson as having been painted on the trip ~ Drowned
Land, in the collection of the National Gallery of Canada. In both works,
Thomson was attracted to a simple motif, which he rendered with
textured brushwork and with great sensitivity to the raw northern
landscape and its often~grey skies.
OSA 1877 ~ 1917
Mississagi
oil on canvas on board, signed and on verso
titled Mississauga on the Laing Galleries label
and inscribed authenticated Tom Thomson
by James M. MacCallum 22 / IV / 1937, circa 1912
4 1/2 x 7 in, 11.4 x 17.8 cm
Thomson to Dr. M.J. McRuer, postmarked October 17, 1912,
McMichael Canadian Art Collection Archives
Dr. J.M. MacCallum, “Tom Thomson: Painter of the North”,
Canadian Magazine 50, No. 5, March 1918, page 376
Albert H. Robson, Tom Thomson, 1937, page 6
Joan Murray, The Best of Tom Thomson, 1986, titled as Mississauga,
reproduced page 10
Joan Murray, “The World of Tom Thomson,” Journal of Canadian
Studies 26, No. 3, fall 1991, reproduced page 25
Joan Murray, Tom Thomson: The Last Spring, 1994, reproduced page 61
Joan Murray, Design for a Canadian Hero, 1998, reproduced page 48
Sometimes a work of art can be a revelation. Mississagi is a painting that
shows Tom Thomson learning his discipline by working in the North to
create an authentic image of the country. At the same time, this quiet
landscape, in shades of grey, green, light blue and black, sets an example
for the artists who were his peers, acting as a conduit of energy which
would become full~blown in Canadian art with the Group of Seven.
Thomson made his first major canoe trip in Northern Ontario in the
summer of 1912 with English artist William Broadhead (1889 ~ 1960),
a fellow artist from Grip Ltd., the commercial art firm in Toronto. This
adventure inspired Thomson, though with modest means and ambition,
to create bold new work. “We started in at Bisco [Biscotasing, northwest
of Sudbury] and took a long trip on the lakes around there up the Spanish
River and over into the Mississauga [Mississagi] water,” Thomson wrote
to a friend, Dr. McRuer, the following fall. “The Mississauga is considered
the finest canoe trip in the world.” Thomson and Broadhead lost most of
their sketches and photographs when their boat capsized in the “forty
The Right Honourable Malcolm MacDonald was the British High
Commissioner to Canada from 1941 to 1946. Among the other works
he owned by Thomson are Spring, Algonquin Park (1914) and Canoe Lake,
Algonquin Park (1916).
The inscription on the verso of this sketch is proof that MacCallum was
asked to authenticate and date it in April 1937, perhaps at the request of
art dealer Blair Laing, who had organized a Thomson show at Mellors Fine
Arts in March of that year. Mississagi may have remained with Laing until
about 1940, when it was purchased by MacDonald. Since MacDonald
purchased another Thomson, the above~mentioned Canoe Lake,
Algonquin Park, from Laing Galleries that year, he possibly purchased
Mississagi around the same time.
We thank Joan Murray for contributing the above essay. This work will be
included in Murray’s forthcoming catalogue raisonné on the artist’s work.
E STIMATE: $80,000 ~ 120,000
18
109
109 WALTER JOSEPH (W.J.) PHILLIPS
ASA CPE CSPWC RCA 1884 ~ 1963
Leaf of Gold
watercolour on paper, signed, circa 1941
13 7/8 x 20 3/4 in, 35.2 x 52.7 cm
P ROVENANCE :
L ITERATURE :
Roger Boulet, The Tranquility and the Turbulence, 1981, the 1941
colour woodcut entitled Leaf of Gold reproduced page 171
Walter J. Phillips was one of Canada’s finest printmakers and
watercolourists. In this sensitive composition Phillips exquisitely
positioned a single branch with golden fall leaves against a backdrop
of a lake and blue~shadowed mountains. This eye for beauty shows the
influence of Japanese art on his work ~ in 1925 he had studied with the
Japanese master Yoshijiro Urushibara in London. This, combined with
his training in the British watercolour tradition before he came to Canada,
forged an exceptional command of the medium. In 1941 he executed the
colour woodcut Leaf of Gold, which is virtually identical in composition to
this work ~ Phillips often derived his woodcuts from drawings and
watercolours. The backdrop is the Rocky Mountains. In 1940 Phillips
was asked to be an instructor at the Banff Summer School, and he moved
to Calgary in the fall of 1941, later building a house in Banff. Responding
to the clarity of Canadian light, he worked with washes on dry paper, and
consequently captured with technical virtuosity the ephemeral play of
light and purity of atmosphere seen in this superb watercolour.
E STIMATE: $15,000 ~ 25,000
19
110
110 WALTER JOSEPH (W.J.) PHILLIPS
ASA CPE CSPWC RCA 1884 ~ 1963
Peggy’s Cove
watercolour on paper, signed and dated 1956
and on verso titled on the gallery label
14 x 21 in, 35.6 x 53.3 cm
P ROVENANCE :
Canadian Art Galleries, Calgary
Private Collection, British Columbia
Originally from England, Walter J. Phillips was steeped in the great
tradition of British watercolourists such as David Cox and John Sell
Cotman. Before immigrating to Canada in 1912, he undertook sketching
trips throughout England and held two exhibitions of his watercolours in
Salisbury. Once in Canada, Phillips settled in Winnipeg and set to
painting the surrounding landscape. In his unpublished manuscript Wet
Paint, Phillips describes the Canadian atmosphere as clear and dry, and
his watercolours changed in response to it. Phillips was a champion of
beauty in nature, and his body of work in watercolour is renowned for its
allure of image and for its technical accomplishment. Phillips’s refined use
of transparent washes, which defined form and atmospheric effects,
captured the clarity of light that is so distinctive in Canadian landscape.
This fine large format watercolour depicts the iconic lighthouse at Peggy’s
Point in Peggy’s Cove, Nova Scotia. Built in 1914, it sits atop a rugged
granite outcrop, and has endured the powerful crash of Atlantic surf
during many winter storms. Phillips’s masterful hand with watercolour is
in full evidence here, from the deft handling of texture and patterning in
the rocks to delicate washes defining sand and sky. His eye for the
dynamics of composition manifests in his highlighting of the lighthouse
against a pale sky, and the strength of the granite outcropping on which it
stands. Phillips lived in both Winnipeg and Banff, and painted primarily
the Prairies, Lake of the Woods, the Rockies and the West Coast. Peggy’s
Cove is a rare and splendid depiction of the East Coast.
E STIMATE: $15,000 ~ 25,000
20
111
111 ALFRED JOSEPH (A.J.) CASSON
CGP CSPWC G7 POSA PRCA 1898 ~ 1992
Village in the Rock Country
oil on canvas, signed and on verso
signed, titled and dated 1966
23 x 32 in, 58.4 x 81.3 cm
P ROVENANCE :
Roberts Gallery, Toronto
Acquired from the above by Mr. Ameen Aboud
A.J. Casson joined the Group of Seven in 1926, but, as the youngest
member, knew he had to forge his own identity amongst them.
Acknowledging the fact that A.Y. Jackson had mastered the Quebec
village, Casson turned his hand to the Ontario village ~ and these works
have contributed vitally to Casson’s stature within the Group and
Canadian art history. Casson was an inveterate traveler who loved to drive
to remote spots in his Willys Whippet car. He sought to capture the effects
of light and shade on the landscape, but also wanted to record the
architecture and atmosphere of these remote villages. This magnificent
work combines two of Casson’s great strengths; his ability to bring an
almost spiritual presence to the stark forms of a Northern Ontario village
and his sophisticated handling of the massive Precambrian rock forms
surrounding Ontario’s lakes. The scene is devoid of human activity, yet
this somehow increases one’s sense of the human presence within the
village. Art historian Paul Duval felt that, in this regard, Casson’s work
had its parallel in the work of the well~known American artist Edward
Hopper.
E STIMATE: $90,000 ~ 120,000
21
PROPERTY OF A VANCOUVER PHILANTHROPIST
112
Summer Landscape
oil on canvas, signed
24 x 30 in, 61 x 76.2 cm
P ROVENANCE :
The Art Emporium, Vancouver, 1976
Private Collection, Vancouver
Having worked for Grip Ltd. and then Sampson Matthews Limited as a
designer for many years, Group of Seven painter A.J. Casson had a fine eye
for discerning patterning in the landscape and attaining a fine
compositional balance, qualities fully manifest in Summer Landscape.
Casson worked with a number of styles, one of which related to Cubism
in that a landscape element would be fractured into planes ~ as seen here
in the clouds. In Summer Landscape, Casson first anchors the foreground
with the large rock to the left edged by forest. He then pulls the eye down
the lake along the shoreline out to the horizon and into an extraordinary
space ~ an ephemeral effect created by the cloudscape of jagged layers ~
which, together with the reflection in the still surface of the lake, produce
an otherworldly effect. The bluish zone at the horizon between the land
forms takes the viewer into the far distance. Pale pearlescent tones in the
water and clouds add to the sense of lightness and mood of transcendence
in this beautiful and ethereal scene.
The proceeds from this lot will be donated by the consignor to establish a
bursary for students in the Faculty of Medicine at the University of British
Columbia.
E STIMATE: $50,000 ~ 70,000
22
PROPERTY OF THE PROTESTANT SCHOOL BOARD OF GREATER MONTREAL
CULTURAL HERITAGE FOUNDATION
The English Montreal School Board Building, 6000 Fielding Avenue, Montreal, March 2013
In our continued practice of carefully handling important estates and
collections, Heffel is honoured to be entrusted with the sale of works from
The Protestant School Board of Greater Montreal (PSBGM) Cultural
Heritage Foundation, a non~profit body. The Protestant School Board of
Greater Montreal was first incorporated in 1846 by Act of the Provincial
Parliament as the Protestant Board of School Commissioners of the City of
Montreal. For many years, it was the only school board serving the
Protestant community on the Island of Montreal. Subsequently other
Protestant school boards were established on the Island and in 1973, in
addition to the Protestant Board of School Commissioners of the City of
Montreal, there existed ten other school boards on the territory now
served by the PSBGM. Under the school reform legislation which came
into effect on July 1, 1973, the ten other school boards were merged into
the Board incorporated in 1846 and the name of the Board was changed to
The Protestant School Board of Greater Montreal.
Quebec’s Protestant school boards served numerous ethnically diverse
non~Catholic populations in the city, and established a number of
schools to serve Montreal’s growing immigrant population. Baron Byng
High School on St. Urbain Street was attended largely by working~class
Jewish Montrealers from its establishment in 1921 until the 1950s. It no
longer operates as a school, and is presently home to the Sun Youth
organization. It counts among its notable alumni artists Rita Briansky,
David Silverberg, William Allister, Tobie Steinhouse and Leah Sherman.
Rudolph A. Marcus, winner of the 1992 Nobel Prize in Chemistry, Louis
Horlick, recipient of the Order of Canada and fellow Order of Canada
recipient and Rhodes Scholar David Lewis (father of Stephen Lewis) were
also students there.
In 1922, Anne Savage was hired by the Protestant Board of School
Commissioners of the City of Montreal to teach at their Commercial and
Technical High School. Baron Byng had opened the previous year, and
after impressing the Board with her efforts at the Technical school, Savage
was transferred to Baron Byng as the new school’s first art teacher. She was
given a free hand with the children, and her receptive pupils were “first
generation Canadians whose parents had fled the Jewish ghettos in
Europe…They were hungry for knowledge and, if not especially crazy
about school itself, eager to get ahead.” Savage was a gifted teacher in
addition to being a gifted artist, and inspired many of her students. One
student recalled, “We were all sort of in love with her…and through her
had a love affair with art. I felt she had born me into the creative world.” At
this time, copying the old masters was the standard method of art
education, but Savage set her students to drawing from life, using each
other as models, and taking them out~of~doors to sketch in the avenue of
trees along Rachel Street. She also turned to fellow artist/teacher Arthur
Lismer ~ who in 1922 was in the process of setting up the Children’s Art
23
One of Anne Savage’s art classes at Baron Byng High School
Centre at The Toronto Art Gallery (now the Art Gallery of Ontario) ~ for
advice. They would become regular correspondents over the issues and
concerns of teaching art, having a shared passion for their work that
fostered the creativity of children. Savage treated her students as serious
artists from the outset ~ she mounted exhibitions of their work, and their
designs were used for Christmas card layouts and rug patterns. Savage
had connections to many other artists, and her enthusiasm for her work
there drew their attention to the school. A.Y. Jackson was her close
lifelong friend; he suggested she have the students decorate the school
with panels of murals, and eventually Thoreau MacDonald ~ the artist son
of J.E.H. MacDonald ~ would contribute one panel. Savage’s work at the
school also increased its reputation and profile in the community. Jackson
wrote in his autobiography A Painter’s Country, “Anne Savage is getting
wonderful results teaching art at the Baron Byng High School from
youngsters…this is about the most interesting development in
Montreal.” Of the Group of Seven, Jackson in particular was interested in
the school, and when Savage decided to build a small collection for the
students to study, Jackson wrote to her, saying, “One thing I am doing is to
send you a package of sketches for the Baron Byng school, if they want
them. I picked out ones from all over Canada so they should be interesting
from a geographical standpoint. Do as you please with them, they might
have plain black strip frames around them later.” Savage donated several
of her own works to the school, and later helped mastermind the
acquisition of additional works by notable artist friends and colleagues
for the new PSBGM administration building which opened in July of
1961. Her connections and discernment led to the acquisition of works
by Jackson, Robert Wakeham Pilot, Maurice Cullen, Frederick Simpson
Coburn, John Little and others. As well, it was a common practice in
Montreal in the 1930s for parents and alumni to thank and recognize
individual schools with the gift of a work of art. The respect and
admiration that Savage’s students and their parents felt for her
contribution can be seen in the quality of the works that were presented
to Baron Byng High School.
Savage taught at Baron Byng from 1922 to 1948, and spent an additional
four years supervising the art program for the Montreal Protestant School
Board. She was then invited to teach art education at McGill University
from 1954 to 1959, and also taught at the Thomas More Institute in
Montreal. She died in March of 1971.
The proceeds from the sale of this collection will directly benefit
graduates of the English Montreal School Board by providing
much~needed scholarships for post~secondary education.
24
113
25
113 ALEXANDER YOUNG (A.Y.) JACKSON
ALC CGP G7 OSA RCA RSA 1882 ~ 1974
Snow on Spruce Trees /
Countryside in Winter (verso)
double~sided oil on panel, signed and on verso
signed and titled, circa 1914
8 1/2 x 10 1/2 in, 21.6 x 26.7 cm
P ROVENANCE :
L ITERATURE :
Jeremy Adamson, Lawren Harris: Urban Scenes and Wilderness
Landscapes, 1906 ~ 1930, 1978, page 54
Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition, Galerie
Walter Klinkhoff Inc., 1990, listed, unpaginated
E XHIBITED :
Galerie Walter Klinkhoff Inc., Montreal, A.Y. Jackson Retrospective
Exhibition, September 10 ~ 22, 1990, catalogue #1
A.Y. Jackson’s lusciously painted Snow on Spruce Trees is reminiscent of
Lawren Harris’s exquisite northern wilderness deep~woods snow scenes
executed from 1914 to 1918. Harris had seen a pivotal exhibition of
modern Scandinavian northern landscapes at the Albright Gallery in
Buffalo in 1913, and been greatly impressed, particularly by Gustav
Fjaestad’s stunning scenes of snow and frost~covered trees. This vigorous
and raw approach to the land was a hot topic among the future Group of
Seven members, who were in close contact through the Arts and Letters
Club and the Studio Building in Toronto ~ Jackson having moved into the
Studio Building in 1914. The North beckoned both Harris and Jackson,
particularly Algonquin Park in that decade, and in 1914 Jackson took two
trips to Algonquin Park, joining Tom Thomson in the fall. The response of
Group painters to the beauty of the North in winter produced iconic
works, and Snow on Spruce Trees is a splendid example. Jackson’s
approach is vigorous, with thick brush~strokes creating an almost
abstract pattern of snow~laden branches, in a surprisingly bold and
modern treatment.
It is interesting to compare this lot to lot 158 by Lawren Harris. Jackson
and Harris often worked together, even sitting side by side to sketch at
times. By 1914, Jackson would have seen the earliest of Harris’s fine
winter works, such as Morning Sun, Winter, now in a private collection,
which was painted in the Studio Building in January and February of
1914. Perhaps inspired by Morning Sun, Winter, and no doubt encouraged
by Thomson’s descriptions of the park, Jackson ventured to Algonquin
Park alone in February of 1914, arriving in 45 degrees below zero weather
and, in a letter to J.E.H. MacDonald, wrote that he “found it just as Lawren
had said, you don’t notice the cold one bit, all you notice is your breath
dropping down and splintering on the scintillating ground.”
E STIMATE: $25,000 ~ 35,000
Lawren Harris and A.Y. Jackson, 1954
Photo credit: Courtesy of The Vancouver Sun
verso 113
26
114
27
French Canadian Farm, Les Éboulements /
Quebec Village (verso)
double~sided oil on panel, signed
and on verso titled, circa 1930
8 1/2 x 10 1/2 in, 21.6 x 26.7 cm
P ROVENANCE :
L ITERATURE :
Naomi Jackson Groves, A.Y.’s Canada, 1968, page 42
Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition,
Galerie Walter Klinkhoff Inc., 1990, listed, unpaginated
E XHIBITED :
A.Y. Jackson’s keen powers of observation focused on those little details of
rural Quebec life that made it so unique, such as the oft~depicted
horse~drawn cart, the early mode of transport in small villages. As his
niece Naomi Jackson Groves noted, “Horses were in for AY.” So were
traditional barns that sagged with the land, irregular woodpiles, rutted,
winding roads and organic snake~fences that followed the curves of hills
and hummocks ~ all greatly pleased Jackson, and are present in the scenes
on both sides of this delightful panel. Jackson visited the North Shore of
the Saint Lawrence many times in the 1920s and 1930s, and was
documented as sketching specifically in Les Éboulements in 1929, 1930,
1932 and 1935. The name Éboulements or landslide derives from a time
in 1663 when the area was rocked by earthquakes for seven months,
causing the cliff face to collapse, contributing to the uniqueness of the
area’s geography. Jackson, painting on the spot, likely ran out of panels
and, in his desire to keep sketching, painted another image on verso.
E STIMATE: $25,000 ~ 35,000
verso 114
28
115
Fort Resolution, Great Slave Lake
oil on panel, signed and on verso
signed and titled, circa 1928
8 1/2 x 10 1/2 in, 21.6 x 26.7 cm
P ROVENANCE :
L ITERATURE :
A.Y. Jackson, A Painter’s Country, The Autobiography of A.Y. Jackson,
1958, pages 100 and 101
Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition, Galerie Walter
Klinkhoff Inc., 1990, listed, unpaginated
E XHIBITED :
In July of 1928, A.Y. Jackson traveled to Fort Resolution on the shores of
the vast Great Slave Lake. It was an arduous journey by rail and boat, but
Jackson was an experienced and enthusiastic explorer, and he was
intrigued that this “was a part of their country few Canadians at that time
knew anything about.” There was interesting sketching material there,
for, as he wrote, “In the summer the Indians congregate at Resolution,
where they erect their tents and teepees, making of the settlement a most
picturesque place.” However in 1928, due to the influenza epidemic that
year, many had scattered. Jackson encountered a challenge from the
summer swarms of insects, which were relentless, even working their
way into his paint, so he concentrated on pencil drawings ~ making this
oil sketch all the more rare. This fascinating scene has a strong central
motif in the teepee’s bare poles, which frame the figures of two women.
Jackson deftly captures the atmosphere of the endless Arctic day in the
flickering opalescent tones in the sky.
E STIMATE: $25,000 ~ 35,000
29
116
Godhavn, Greenland
titled and dated July 1927
8 1/2 x 10 1/2 in, 21.6 x 26.7 cm
P ROVENANCE :
L ITERATURE :
Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition, Galerie Walter
Klinkhoff Inc., 1990, listed, unpaginated
Wayne Larsen, A.Y. Jackson, The Life of a Landscape Painter, 2009,
page 138
E XHIBITED :
On July 16, 1927, A.Y. Jackson and Dr. Frederick Banting, research
scientist and painter, boarded the government supply ship the SS Beothic,
bound for the Arctic. After a week, their first port of call was the village of
Godhavn on the coast of Greenland. Their arrival created a sensation ~ a
contingent including the Governor of North Greenland met them, and a
public holiday was declared for the day. Godhavn was quite a sight with,
as Wayne Larsen writes, its “colourful Danish~style cottages, with steep
roofs and ornate trim, standing side by side with Inuit shacks built from
whatever material happened to be handy ~ wood, tarpaper, and whale
bones.” Jackson and Banting soon slipped away to paint. Jackson wrote,
“It’s an unbelievable village, and you keep pinching yourself to find out if
it was a dream or part of the Chauve Souris, or a fairy tale.” This finely
balanced composition captures the striking impact of this harbour
towered over by snow~capped mountains. Jackson’s sure and fluid
handling of volume and paint is in full bloom in the foreground with its
delicate colour tints in the molded rock formations.
E STIMATE: $25,000 ~ 35,000
30
117
A Quebec Village (Winter, Saint~Fidèle)
oil on canvas, signed and on verso signed, titled
A Quebec Village on the stretcher by the artist,
and Winter, Ste. Fidele on a label and dated 1930
25 x 32 1/4 in, 63.5 x 81.9 cm
P ROVENANCE :
Baron Byng High School, Montreal, 1930
L ITERATURE :
1958, pages 61 and 62
Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition,
Galerie Walter Klinkhoff Inc., 1990, reproduced front cover
and listed, unpaginated
Pierre B. Landry, editor, Catalogue of the National Gallery of Canada,
Canadian Art, Volume Two / G ~ K, 1994, similar subjects: a 1926
graphite study of the church at Saint~Fidèle, entitled Saint~Fidèle,
Quebec reproduced page 199, a 1926 canvas of Saint~Fidèle village
with the church entitled Winter, Quebec reproduced page 199 and
a 1926 graphite study entitled Church at Saint~Fidèle reproduced
page 200
Charles C. Hill, The Group of Seven: Art for a Nation, National Gallery
of Canada, 1995, titled as Saint~Fidèle, reproduced page 279,
figure 248, listed page 336
David P. Silcox, The Group of Seven and Tom Thomson, 2003,
titled as St. Fidèle, reproduced page 196
Wayne Larsen, A.Y. Jackson, The Life of a Landscape Painter, 2009,
titled as St. Fidèle, reproduced page 145
E XHIBITED :
The Art Gallery of Toronto, Exhibition of Seascapes and Water~Fronts
by Contemporary Artists and an Exhibition of the Group of Seven,
December 4 ~ 24, 1931, catalogue #96
San Francisco Golden Gate International Exhibition, 1939
Galerie Walter Klinkhoff Inc., Montreal, A.Y. Jackson, Retrospective
Exhibition, September 1990, catalogue #13
National Gallery of Canada, Ottawa, The Group of Seven, Art for a Nation,
October 13 ~ December 31, 1995, traveling in 1996 to the Vancouver
Art Gallery and the Montreal Museum of Fine Arts, catalogue #170
This stunning A.Y. Jackson comes to Heffel through The Protestant
School Board of Greater Montreal’s Cultural Heritage Foundation.
Beginning in 1922, Anne Savage taught art at the PSBGM’s Baron Byng
High School, and during her time there she donated several of her own
works to the school, including the stunning Northern Lake / Trees in the
Wind (lot 118) and oversaw the acquisition of additional works by other
important Canadian artists. It was a common practice in Montreal in the
1930s for parents and alumni to thank schools with the gift of a work of
art. Savage’s skilled teaching during her 28~year tenure would have
encouraged parents and alumni to do exactly that, and Savage’s
31
connections enabled the school to build a fine collection. No doubt her
close relationship with Jackson led to the inclusion of this exceptionally
fine canvas in the PSBGM’s collection. This important collection is now
being sold to fund scholarships.
Jackson’s beloved Quebec, with its rural quaintness and variable weather,
provided the spirit and character that give his works depicting the region
such charm. Jackson was utterly at home in Quebec, whether on
snowshoes or on foot, and so at ease with his surroundings that his
Quebec works have a personality and familiarity to them that can only
come when an artist is particularly attached to a certain place. As with
J.E.H. MacDonald and Lake O’Hara, Lawren Harris and the Arctic, and
Emily Carr and the British Columbia forest, when a geographical
connection between art and artist becomes profound, the work that it
generates reaches a new level. Here, with snow in abundance and light
playing against the whites of winter, turning them into blues, pinks and
purples, Jackson is at his finest. The colour of the snow alone makes this
painting outstanding, and the play of the snow colour against that of the
sky, so similar yet rendered in a slightly different hand, exemplifies
Jackson’s skill with subtle brushwork. The work is beautifully composed,
with the hollows and whorls of the snow gently broken up by the homes,
barns and church that are painted in hues complementary to one another.
The rooftops of the buildings have a pleasing consistency of line and
shape. In the near ground, the neatly stacked wood adds a contrast of
pattern, while the fence line serves to return our gaze to the centre after we
have taken in all that this charming work has to offer us. Horse~drawn
carts ply the snow, adding two accents of life to the otherwise still scene.
Jackson’s first venture to Saint~Fidèle took place in 1926 with Edwin
Holgate. He wrote, “It is rather like St. Hilarion on top of a hill but
overlooking the river for miles…not ancient but just a natural village
where everyone did as they pleased.” His description of the village as
natural is key, and something Jackson sought out in his preferred painting
locales, almost on an instinctive level. Although its buildings and the
fieldstone church are clearly man~made, Saint~Fidèle seems to have
sprouted from the earth with homes, sled~paths and fences situated in
such a manner as to follow the natural hollows and rises of the landscape.
Jackson returned again in 1930 with Dr. Frederick Banting, and they
encountered daunting amounts of snow. Jackson commented, “It was a
hard month to work, not many effects and more wind than was necessary
and too much new snow and frozen paint…‘Bigger and better snow drifts’
is Banting’s slogan. We went for a short~cut through the woods yesterday
and that nearly cured him. We did not have our snowshoes, and we sank
in the snow up to our waists. No newspapers, no radio and only enough
water to wash once a day and yet we are happy.” This waist~deep snow is
very prominent here, sparkling and infused with many delicate hues as it
gently blankets this scene of a by~gone era in this masterpiece canvas.
This exceptional canvas was loaned by Baron Byng High School to the
1931 Group of Seven exhibition at The Art Gallery of Toronto.
As with the other lots consigned by the PSBGM, proceeds from the sale of
this work will directly benefit graduates of the English Montreal School
Board by providing scholarships for post~secondary education.
E STIMATE: $500,000 ~ 700,000
32
118
118 ANNE DOUGLAS SAVAGE
BHG CGP 1896 ~ 1971
Northern Lake / Trees in the Wind (verso)
double~sided oil on canvas, signed
31 x 34 in, 78.7 x 86.3 cm
P ROVENANCE :
A gift from the Artist to Baron Byng High School, Montreal
L ITERATURE :
Anne McDougall, Anne Savage: The Story of a Canadian Painter,
1977, pages 127 and 128
Anne Savage’s career as an art educator had an impact that still resonates
today with the students and alumni of Montreal’s Baron Byng High
School, where she taught from 1922 until 1948. The school was
established in 1921 and notes Mordecai Richler, Irving Layton, Moe
Reineblatt and William Shatner among its graduates. Savage was the
school’s first art teacher, and during her long tenure there she employed a
33
method of teaching focused on creative stimulus, positive reinforcement
and showing complete trust in the innate artistic talents of all her
students. Quite ahead of its time, this method produced outstanding
results, and Savage soon became a beloved teacher. She oversaw the
painting of murals on the school walls by students and arranged for the
donation of important works of art by her artistic contemporaries to the
school’s collections. Thus, the walls at Baron Byng were graced with a
remarkable array of art. From sketches by J.E.H. MacDonald and fine
canvases by A.Y. Jackson to a wintry street scene by Robert Wakeham
Pilot, Savage built a collection with the eye of an experienced curator and
the insight of a gifted educator. As well, she contributed a number of her
own works, including Northern Lake / Trees in the Wind.
The view on one side of this double~sided work, entitled Northern Lake, is
a depiction of one of Savage’s most treasured vistas. In 1911, her family
had purchased a summer property at Lake Wonish, north of Montreal
near Sixteen Island Lake. The property was high on a hill above the lake
and had a commanding view of the lake’s waters, which could not be seen
in their entirety from the home, being partially hidden beneath steep
cliffs, with the view running off into the distance. This distant lake has a
distinctive shoreline, standing out like a shard of glass in a lush landscape.
Savage was extremely fond of this outlook, and painted it often, in both
sunlight and twilight like French Impressionist Claude Monet, who
painted the same scene again and again. She captured it in all seasons and
different times of day, and named it with varying titles. In 1933 she built a
studio for herself on this property, at the head of the lake with a view out of
her window that gave her an eagle’s overlook onto the landscape. Anne
McDougall writes, “The fields between the studio and the water fold into
valleys at the foot of elm and maple trees. There is a road running across
the end of the fields that turns by a clump of maple trees. Anne found the
view satisfying. It contained the elements of rhythm and design that she
needed, and was right there in front of her…‘Anne’s Lake’, as her friends
called it, so often gave her the inspiration she needed for on~the~spot
subject matter. She turned to it again and again.” Her depiction of the lake
in this work is both expansive and graceful, with a fine, rolling quality and
a serene harmony in both her palette and her brushwork. The shadows
and colouring of the elm trees are especially fine.
Anne Savage with a boys’ class,
Baron Byng High School
The verso scene, Trees in the Wind, is equally enchanting. Characteristic of
Savage’s style, movement, rhythm and balanced patterns of colour are the
main focuses of this lyrical and energetic composition. Savage lined the
walls of her studio with mirrors so that she could see the works she was
painting in reverse and from various angles while she was working,
feeling that these varied perspectives allowed her to compose her
paintings more carefully. Indeed, with both Northern Lake and Trees in the
Wind, her compositional structure perfectly supports these two delightful
works.
Savage was a member of both the Beaver Hall Group and the Canadian
Group of Painters. Following her retirement from Baron Byng High
School, she supervised the Art Program for The Protestant School Board
of Greater Montreal and taught at McGill University.
E STIMATE: $70,000 ~ 90,000
verso 118
34
119
35
119 ROBERT WAKEHAM PILOT
CGP OSA PRCA 1898 ~ 1967
Indian Fur Traders
oil on canvas on board,
signed and dated 1925
72 x 122 5/8 in, 182.9 x 311.4 cm
P ROVENANCE :
L ITERATURE :
Tim E. Holzkamm, Traders of the Plains: The European Fur Trade
and the Westward Expansion of the Dakota or Sioux Indians, 1981,
Open Access Dissertations and Theses, http://digitalcommons.
mcmaster.ca/opendissertations/5428/, accessed February 20, 2013
Painted four years before Early Explorers, lot 120 in this sale, this Robert
Pilot mural, offered by the PSBGM Cultural Heritage Foundation, depicts
a familiar subject: native people and men of European background
engaged in a commercial exchange related to the fur trade. This subject
had been painted by other artists ~ for example, Toronto muralist
Frederick S. Challener’s A View of Fort Rouillé, produced in 1928 for the
offices of Loblaws, a major Toronto food company. The foreground of that
work is occupied by a circle of natives sitting on the ground and engaged
in trade with a single military man. Before 1906, Challener had produced
an earlier version of the same subject for the King Edward Hotel in
Toronto. In 1929, the famous historical illustrator C.W. Jefferys painted a
scene of the exchange of goods between natives and French settlers for Le
Manoir Richelieu in Murray Bay, Quebec. Even closer to the setting of
Pilot’s murals were the scenes painted by Georges Agnew Reid for the
auditorium of a Toronto high school, the Jarvis Collegiate Institute,
between 1929 and 1930. One of the panels he produced was entitled
Hudson’s Bay Company, Fur Trading in James Bay, 1668.
What is original in the case of Pilot’s mural is the Plains locale of the scene
depicted. Considering the presence of the teepees in the background and
the majestic feather headpiece of the Indian chief presenting furs to a
trader, we are certainly among the Plains Indians; probably the Dakotas,
who served as middlemen between other tribes of the Plains and the
traders. The silhouette of a red buffalo on one of the teepees also confirms
this locale. It also indicates that the shift in the fur trade from beaver pelts
to bison robes, which occurred in the 1830s, was well under way. It would
be impossible to interpret the furs being offered by the chief in Pilot’s
mural as beaver pelts. The composition of this mural is similar to Early
Installation 119
Galerie Heffel, Montreal, March 2013
Explorers, with which it makes a pair. One finds again two groups of
people facing each other in the foreground with a triangular shape of the
teepee in the background. In the canoe are the trade goods the traders are
offering in return for the furs. With these two murals, Pilot was covering
an aspect of the history of Canada when European~Canadian settlers
were confronted with Aboriginal populations ~ but he chose to represent
moments of collaboration instead of warfare, moments of exchange of
knowledge and skill instead of ignorance and barbarism. Needless to say,
that was well suited to the educational purpose of the murals in their
original placement in schools.
Let us hope that these murals will find public exposure. They could have
much significance in a museum setting, where their intent could be
clearly explained and situated in the context of historical painting. In
other public places, as with their first provenance, schools or public
buildings (either private or governmental) could give them the exposure
they deserve. These works also add to our knowledge of Pilot’s art, which
has been seen almost exclusively as landscapes or Quebec City scenes.
We thank François~Marc Gagnon of the Gail and Stephen A. Jarislowsky
Institute of Studies in Canadian Art, Concordia University, for
contributing the above essay.
E STIMATE: $100,000 ~ 150,000
36
120
37
Early Explorers
oil on canvas on board,
72 x 122 5/8 in, 182.9 x 311.4 cm
P ROVENANCE :
L ITERATURE :
Marilyn McKay, Canadian Historical Murals 1895 ~1939,
Material Progress, Morality and the ‘Disappearance’ of Native
People, Journal of Canadian Art History, Volume XV, #1, 1992,
page 63, http://jcah~ahac.concordia.ca/en/archive/1992_15~1,
accessed February 20, 2013
In an interesting article, Marilyn McKay of the Nova Scotia College of Art
and Design indicated that, in the early 1990s, the location of a Robert
Pilot mural completed for the High School of Montreal was unknown.
She will be pleased to learn that not only this mural, but also another of
Pilot’s historical paintings have been found, and will now be auctioned at
Heffel. Both are large~scale works and have been put up for sale by the
PSBGM Cultural Heritage Foundation with the intention that the
proceeds raised from this sale will provide post~secondary scholarships
to current and future English Montreal School Board graduates.
Early Explorers depicts an encounter between Jacques Cartier and two of
his men with Dom Agaya, the son of Donnacona, the Iroquois chief of
Stadacona (Quebec City). Dom Agaya is providing Cartier with Eastern
White Cedar boughs (Thuya occidentalis) to help his men recover from
scurvy. This was a disease that resulted from a vitamin C deficiency, which
was common among sailors and pirates who were deprived of fruits and
vegetables for long periods. Dom Agaya stripped cedar needles from a
nearby White Cedar tree and proceeded to boil them into a tea, which he
offered to Cartier to drink. It would heal them, he said. Cartier declined,
still apprehensive that it was a plot to poison them, but a few desperate
men eagerly volunteered and drank it anyway ~ better to die quickly from
poison than to suffer the prolonged and horrendous death of scurvy.
Surprisingly, they felt better almost immediately. More tea was made, and
within eight days one tree had been stripped bare, but the Frenchmen
were cured of scurvy.
This is a rare example in the documents of the time where the medical
knowledge of the natives is presented as superior to European settlers’
knowledge, and indeed it is a rare subject in historical murals of the
Installation 120
Galerie Heffel, Montreal, March 2013
period, where the common theme was to praise European technology as
superior to that of the natives. However, the presence of ships in Pilot’s
painting is certainly to reestablish the Eurocentric “balance”. In fact, this
native “superiority” would quickly be forgotten in favour of the work of
Scottish physician James Lind (1716 ~ 1794), who pioneered naval
hygiene in the Royal Navy. By conducting the first~ever clinical trial, Lind
developed the theory that citrus fruits cured scurvy.
Pilot, known for his views of Quebec, reveals himself here as interested in
an historical subject on a grand scale. The triangular composition set up
by the men and the ship in the background is perfectly balanced, the
setting in a winter landscape makes sense considering the subject matter,
and the opposition between the engaging Europeans ~ see the man on the
extreme left ~ and, on the right, the rather “inactive, emotionless Native
Canadians”, to quote McKay, reflects the prejudices of the time.
Nevertheless, Pilot’s painting demonstrates the need to use history in an
educational context, an idea sponsored by the Group of Seven painter
Arthur Lismer, among others. It was seen as crucial to developing the
national consciousness of Canadians.
E STIMATE: $100,000 ~ 150,000
38
121
BHG CGP 1896 ~ 1971
November
oil on board, signed and on verso titled
24 x 30 in, 61 x 76.2 cm
P ROVENANCE :
L ITERATURE :
1977, pages 44 ~ 45
Anne McDougall writes, “Anne Savage sought light and rhythm and had a
sure hand with a purple shadow beneath a bank or a burnt umber across a
sunlit hayfield…she showed a joyful, fearless use of colour…she does not
people her pictures with human beings…but turns again to landscape
and throws joy into the sweeping tree or bank.”
Savage’s colours in this bright, enchanted scene are awash in sunlight. The
effect is one of bleached brilliance, and the scrubbed, dry~brush
application of paint furthers this effect. Her balanced composition
consists of rolling hills set under an umbrella of trees that partially screens
a distant hill, with all of this accented by a few small buildings. Savage
varies her application of paint by a pattern of dotting in some of the tree
boughs, and sets these next to ones painted with fluid smoothness. There
are vertical brush~strokes to offset the horizontal ones, and the division of
the whole scene by lyrical, sweeping lines of reddish~brown ~ quite Art
Nouveau in their character ~ gives the scene a fine sense of design.
E STIMATE: $15,000 ~ 20,000
39
122
BHG CGP 1896 ~ 1971
Summer
oil on board, signed
23 1/2 x 30 in, 59.7 x 76.2 cm
P ROVENANCE :
L ITERATURE :
1977, pages 42, 44 and 47
Anne McDougall writes, “Her paintings…like those of the others in the
Beaver Hall group, show the influence of the Impressionists, an influence
which Morrice and others had brought late to Canada but which was
considered very much avant~garde in households still hanging copies of
old European masters ~ ‘the Dutch gravy school’, [A.Y.] Jackson called
them.”
In late January of 1921, an article in La Presse included the name Anne
Savage in a list of 20 painters that the author considered comparable to
the “Indépendants de Paris” (Société des Artistes Indépendants). Along
with that of Prudence Heward, Adam Sherriff Scott, Edwin Holgate and
the others listed, Savage’s work was, for Canadian eyes, a marked change
from the mainstream. In describing Savage’s work, her biographer
McDougall, when writing of Savage’s membership in the short~lived
Beaver Hall group, states, “They were like a flurry of bright butterflies
settling on a rock for a brief time, then off on their own ways.” Bright and
delicate, and when considered in contrast to the “Dutch gravy” works that
were the object of Jackson’s ire, Savage’s works are butterflies indeed.
E STIMATE: $15,000 ~ 20,000
40
123
Cap~aux~Oies, Que.
oil on panel, signed and on verso signed, titled,
dated March 1931 and inscribed Severn St., Toronto
8 1/2 x 10 1/2 in, 21.6 x 26.7 cm
P ROVENANCE :
L ITERATURE :
E XHIBITED :
In March of 1931, A.Y. Jackson was sketching on the north shore of
the St. Lawrence River with Dr. Frederick Banting and Randolph
Hewton, and painted Cap~aux~Oies, located between the villages of
Sainte~Irenée and Les Éboulements. The string of villages leading up to
Baie~Saint~Paul were noted for their picturesque qualities, and Jackson
knew this “painting trail” on the North Shore intimately. This fine Quebec
oil sketch displays Jackson’s characteristic compositional elements and
sparkles with vitality. The diagonal line of the snake fence leads the eye
straight to the iconic horse and sleigh, then to the rustic town arrayed at
the base of the hill. The scene is flooded by early spring sun, which lights
up the piles of snow shrinking at their edges from the increased warmth.
Jackson’s colour palette is rich, from the houses painted with both warm
and cool colours to the bright blue tones in the shadows on the snow and
the brilliant sky. Jackson’s affection for Quebec villages is palpable ~ he
walked their back roads, knew their people and captured their essence in
fresh, on~the~spot oil sketches like Cap~aux~Oies, Que.
E STIMATE: $25,000 ~ 35,000
41
124
Ellesmere Island
signed, titled and dated August 1927
8 1/2 x 10 1/2 in, 21.6 x 26.7 cm
P ROVENANCE :
L ITERATURE :
E XHIBITED :
During A.Y. Jackson’s 1927 trip to the Arctic on the SS Beothic, he arrived
at the end of July at the tiny settlement of Bache Post on Ellesmere Island,
the most northern inhabited point in Canada. Three Inuit and four police
were the whole population of this remote island, and the Beothic was
dropping supplies there. The ship had to manoeuvre through the pack ice
of Kane Basin to reach it, and due to ice could only anchor nearby. With
the imminent threat of the ice closing in, Jackson and his painting
companion Dr. Frederick Banting hurried ashore and set to sketching.
They found a stark sculptural landscape of ice, shale and gravel, as
revealed in this bold oil sketch. The strength of the landforms, the lofty
perspective and the beauty of the delicate colour tints in the ice floes make
this one of Jackson’s classic Group period sketches.
Jackson later painted a fine canvas based on sketches made of the Beothic
at Ellesmere Island, which he presented to the Minister of the Interior,
who later donated it to the National Gallery of Canada.
E STIMATE: $25,000 ~ 35,000
42
125
43
Corner of Sherbrooke and Peel Streets
28 x 24 in, 71.1 x 61 cm
P ROVENANCE :
L ITERATURE :
Harold Beament, Robert W. Pilot Retrospective, the Montreal Museum
of Fine Arts, 1968, a similar canvas entitled Peel Street, Winter
reproduced page 37
G. Blair Laing, Memoirs of an Art Dealer 2, 1982, page 146
Well~known art dealer Blair Laing wrote, “Robert Pilot was, at his best,
one of Canada’s finest artists. His early works of lower~town Quebec City
and streetscapes of Montreal catch the piquant Gallic charm of these
places and are a delight to look at.” Pilot spent his youth in the vibrant
studio of his stepfather Maurice Cullen, who had married Pilot’s widowed
mother in 1910. Cullen was one of Canada’s finest Impressionist painters,
and quite successful during his lifetime. He had been trained in European
methods and welcomed his young stepson into his studio, giving him
solid foundational skills in painting through the apprenticeship method,
which was in its waning days as a common educational practice. Along
with the direction of William Brymner at the Royal Canadian Academy,
this training gave Pilot a sound academic foundation and excellent
technical skills. In addition to serving in World War I (and later World
War II), Pilot followed the example of his stepfather and other artists of
the time and traveled, training further at the Académie Julian in Paris and
sharing his studio there with Edwin Holgate. In 1922, Pilot returned to
Canada and opened a studio in Montreal. He turned immediately to
painting Canadian scenes, selecting views in the nearby parks, along city
streets, near Montreal’s beautiful churches and along the edges of the city.
While the influence of his time in France remained strong throughout his
life, Pilot was able to blend the Canadian scenery and his French training
smoothly. Here, in this fine scene painted at the intersection of
Sherbrooke and Peel Streets in Montreal, the soft evening light and frosty
winter atmosphere are of paramount interest in the painting. Pilot was
especially fond of early evening light and often painted scenes such as
this, wherein daylight is just ending and the transition into evening
begins. This fleeting moment of ethereal light and atmospheric effects
would fascinate him and stand as one of his favourite subjects. Pilot was
also particularly adept at depicting snow, and here we see it in the form of
frost, slush and ice. Further, light is expertly handled in differing ways in
this work; we have the warm light coming from the windows in the
Mr. Hamilton’s four~in~hand, corner of
Sherbrooke and Peel Streets, Montreal, QC, 1894
© McCord Museum II~106399
buildings, the cool light coming from the street lamps and their soft
reflections on the wet, slick street, and the fading evening light in the sky,
which Pilot has painted using a subtle pointillist method. Larger daubs of
colour demark the sky from the tips of the tree branches, which are coated
with hoar frost and differ only slightly in their form and colour from the
sky. The lyrical, calligraphic forms of the trees further serve to break up
the linear patterns of the architectural details on the buildings directly
behind them and play nicely with the vertical spikes of the iron fence,
creating both balance and contrast in this unified and tonally subdued
work. Corner of Sherbrooke and Peel Streets has an inviting, pleasant
appeal, despite the fact that we are looking at a cold, wintry evening.
Warm interior lights tell us the rooms are occupied, the deftly painted
figures attend to the business of heading on their way, and the red and
green traffic lights indicate that everything is under control. Pilot’s
depictions of Quebec have the ability to take us back in time without
being trite or overly sentimental. His foundational skills as a colourist and
compositional master did not allow for trivial or hackneyed scenes, and
his affection for his home province, its people and scenery, infused his
work with a palpable sincerity. As the last significant painter in the
Canadian Impressionist style, his works are highly sought after, and
Corner of Sherbrooke and Peel Streets is a fine example ~ an evocative,
everyday moment in an historic city during the long Canadian winter.
E STIMATE: $100,000 ~ 150,000
44
126
Saint~Simeon, Lower St. Lawrence
oil on canvas, signed, 1950
24 x 30 in, 61 x 76.2 cm
P ROVENANCE :
L ITERATURE :
1958, pages 82, 166 and 167
Wild weather exhilarated A.Y. Jackson. His brushwork, so full of
movement in this wind~swept, lilting scene, conveys a feeling of
windblown vitality to us instantly. In this quaint village of Saint~Siméon
set on the edge of the St. Lawrence River, even the buildings seem to have
been arranged to withstand the wind that blows steadily across the water,
licking it into waves while curling the clouds in the sky. It is a shoreline
shaped by a powerful force, a place where the land and people are at the
water’s mercy.
Jackson was very familiar with the St. Lawrence, and was asked to
illustrate a book about it as part of the ambitious Rivers of America Series,
published in 1942 in the United States by Farrar & Rinehart. A highly
collected series of books, it contained 65 volumes and was issued under
three different publishers over 37 years. The Jackson~illustrated St.
Lawrence volume was reissued in 2012. This commission was taken on
during the Second World War, and Jackson, so familiar with Quebec’s
riverside villages, assumed he would be able to paint wherever he liked.
Instead, he found himself being repeatedly questioned as to his motives
for sitting alone on the St. Lawrence, and was forced to seek permits to
paint near ports of any strategic significance. He was once, while not
45
actually arrested, taken under armed guard to port officials to explain
himself.
Nonetheless, Jackson’s affection for the St. Lawrence’s shoreline would
last throughout his life. “I have worked in villages on both the north and
south shores…In thirty years I missed only one season, the year I was
teaching at the Ontario College of Art. I have happy memories of a great
many places, from St. Joachim to Tadoussac, and on the south shore from
Lévis to Fox River in Gaspé. The canvasses I painted there are scattered
from New Zealand to Brazil and Barbados, throughout the United States,
and all over Canada.”
His palette in Saint~Simeon, Lower St. Lawrence is especially lovely, with
the colour of the river water echoed in the muddy brown~greens of the
road ~ linking the land and the river so nicely ~ and the rusty red of the
truck’s cab is recalled in the red of the hill in the middle ground, tying the
human elements to the land itself. Further, he uses the same violet ~ in
different levels of saturation ~ to create horizontal slices of cloud in the
sky and to highlight the vertical faces of homes in the village, another
unifying touch. The bright emerald green of the boat behind the bare tree
branches and two middle ground homes form a further connection.
Jackson was a master of these painterly subtleties. His depiction of the
Quebec landscape and aspects of the lives his fellow Quebecers lived
upon it is a gentle dance of people and place. He was just as at home in
Saint~Siméon as the villagers were, and thus his depiction of the village
seems effortless and relaxed, with fluid and assured brushwork that is
used with a consistent touch to depict the sky, water, earth, ramshackle
buildings and fence posts, boats and people. The horse~drawn cart and
red truck add a further human note to this depiction of life lived on the
edge of one of North America’s largest rivers.
E STIMATE: $90,000 ~ 120,000
46
127
The Mill Town Near Murray Bay
oil on canvas, signed and on verso signed and titled
24 1/4 x 32 1/4 in, 61.6 x 81.9 cm
P ROVENANCE :
The town of Murray Bay, in Charlevoix County, Quebec, has attracted the
attention of artists and been a popular tourist destination from as early as
the late 1700s. Situated on the north shore of the St. Lawrence River,
where the Malbaie River feeds into the St. Lawrence, it was renamed
La Malbaie in 1957. In addition to Robert Pilot, who here has painted
Murray Bay against a backdrop of low~lying clouds that have settled
along the river, Nora Collyer, Arnold Benjamin Hopkins and Henri
Masson all painted scenes depicting this quaint village and its
inhabitants. Pilot has depicted the town’s homes and buildings nestled
along the gently rolling shoreline landscape in a contained, appealing
manner. The church and millworks are the tallest of the buildings
depicted, with a plume of smoke from the paper mill evaporating as it
moves skyward. Grey clouds fill the sky, patterning the atmosphere and
balancing the geometry of the village below.
E STIMATE: $30,000 ~ 40,000
47
128
128 RITA MOUNT
ARCA 1888 ~ 1967
Village de L’Anse~aux~Gascons,
Gaspé, Que.
129
Farm Near Baie~Saint~Paul
24 x 32 in, 61 x 81.3 cm
oil on canvas, on verso titled
on the gallery label, 1936
18 x 24 in, 45.7 x 61 cm
P ROVENANCE :
P ROVENANCE :
Continental Galleries, Montreal
Galerie Walter Klinkhoff Inc., Montreal
E XHIBITED :
Robert Pilot was the last significant Canadian painter working in the
Impressionist tradition. He was known for his atmospheric views of
Quebec, both city and countryside, as in this charming canvas.
Baie~Saint~Paul, on the north shore of the St. Lawrence River, was a
favourite location of artists such as A.Y. Jackson and Clarence Gagnon.
Pilot has depicted the scene with a clear, suffused light and a palpable
feeling of affection for the farm nestled into the base of the hill.
Art Association of Montreal, Spring Exhibition, 1945
Rita Mount was an anglophone Montreal artist known for her Quebec
landscape painting, particularly seascapes of the Gaspé coast. This is a
remarkably atmospheric work, with its gorgeous green and blue water
and the small, informal harbour with sailboats pulled up on the shore.
Mount’s soft brush~strokes, pastel tones and sensitive treatment of light
is reminiscent of the French Impressionists’ treatment of coastal France,
but with a brilliant, clear light that reflects the uniqueness of Canadian
atmosphere.
E STIMATE: $4,000 ~ 6,000
E STIMATE: $8,000 ~ 12,000
48
130
Rooftops, Quebec
titled on the gallery label
18 1/8 x 24 1/8 in, 46 x 61.3 cm
P ROVENANCE :
Robert Pilot was deeply devoted to the artistic tradition of Impressionism.
Arguably, his greatest influence came from his stepfather Maurice Cullen,
both in the studio and on their many weekend sketching trips. In addition
to the training provided by Cullen, Pilot received formal education under
William Brymner at the Art Association of Montreal before traveling to
Paris to study at the Académie Julian, and in 1922 exhibited at the Paris
Salon. While abroad, Pilot absorbed the work of fellow Impressionists
and, upon returning to Canada, channelled their techniques into his
work. Pilot found his greatest inspiration in the snow~laden streets of
Montreal and Quebec City, working in a muted colour palette to reflect a
distinctive sense of serenity amidst the urban environment. Rooftops,
Quebec provides the viewer with a unique perspective, as we are raised
above the slush~laden streets and perched amongst brick chimneys and
traditional spires. A few blocks over, a waft of smoke floats into the grey,
overcast sky, expertly rendered by Pilot’s careful hand. It was this loyal
admiration and affection for his urban surroundings that helped confirm
Pilot as one of Canada’s greatest Impressionist painters.
E STIMATE: $20,000 ~ 30,000
49
131
Sainte~Adèle, PQ
19 x 24 in, 48.3 x 61 cm
P ROVENANCE :
Robert Pilot was considered an exceptional talent as a young student, and
William Brymner, who was his teacher at the Royal Canadian Academy
School and at the Art Association of Montreal, went so far as to offer him
free classes in support of his training. In 1920 Pilot was invited to
participate in the first show held by the Group of Seven, but traveled to
France instead, where he was exposed to a wide variety of art and met
fellow Canadian painter Edwin Holgate, who was living and working in
Paris. Pilot was a great admirer of the work of James Wilson Morrice, and
we can see the influence of Morrice, along with a Canadian version of
French Impressionism in Pilot’s work. This fine view of Sainte~Adèle
shows us how clearly Pilot understood the soft light of the Canadian
winter. The reflections in the water and treatment of the snow are
particularly skilled, and the upper branches of the leafless trees seem to
float hazily, suspended in the air as if they are made of smoke.
E STIMATE: $15,000 ~ 20,000
50
132
132 FREDERICK SIMPSON COBURN
AAM RCA 1871 ~ 1960
Harrowing
oil on canvas, signed and dated 1921
20 x 25 in, 50.8 x 63.5 cm
P ROVENANCE :
L ITERATURE :
Janet M. Brooke et al, The Frederick Simpson Coburn Collection,
Musée des beaux~arts de Sherbrooke, 1996, essay by Monique
Nadeau~Saumier, page 35
E XHIBITED :
Galerie Walter Klinkhoff Inc., Montreal, Hommage à F.S. Coburn
(1871 ~ 1960), September 1986, catalogue #31
Frederick Coburn’s best known theme was that of horse~drawn sleighs in
the Quebec countryside near his familiar terrain of Upper Melbourne ~
sometimes jauntily transporting people and sometimes working, such as
pulling sledges loaded with lumber ~ typically in winter. This is a rare
summer scene, depicting a horse team harrowing the land, a process that
prepares the soil for seeding. Monique Nadeau~Saumier writes that it is
“ ‘the human history of the nation’ that provided a fertile ground for the
development of his art, specifically in the activities of the woodsmen and
farmers of the St. Francis River Valley.” Beautifully detailed, and painted
with vigorous brush~strokes, there is much for the eye to savour, from the
lush foreground foliage to the delicate patterns of birds in the sky. Coburn
captures the activities of the farm in a fresh and natural way, observing the
man involved in his work, the watchful dog, the patient horses and the
livestock grazing in the background. Coburn’s consummate knowledge
of composition, light effects and paint handling is fully manifest in this
work, so expressive of the spirit of rural Quebec.
E STIMATE: $12,000 ~ 16,000
51
133
AAM RCA 1871 ~ 1960
Near Melbourne, Quebec
26 1/2 x 32 in, 67.3 x 81.3 cm
P ROVENANCE :
E XHIBITED :
At the turn of the twentieth century in Canada, artists were struggling to
overcome the prejudice of collectors towards dark European paintings of
the Hague and Barbizon Schools. Frederick Coburn trained in Europe,
and the influence of contemporary Dutch painting persisted in his work
until about 1907 ~ Coburn’s art collection even included a work by
Vincent van Gogh. However, Coburn painted with Canadian
Impressionist Maurice Cullen, who had a strong influence on him, and
soon Coburn’s depictions of the landscapes surrounding his studio in
Quebec’s Upper Melbourne were full of fresh, bright atmosphere. Also,
Coburn collaborated with writers William Henry Drummond and Louis
Fréchette, illustrating their books on the legends, traditions and everyday
life of rural Quebec. One senses in Near Melbourne, Quebec Coburn’s keen
appreciation of peaceful rustic scenes such as this, so typical of life in his
district. Pale greens and golds in the foreground and the crest of the near
hill strikingly contrast with a dark screen of trees and blue~shadowed
mountains in the background. High clouds drifting across a blue sky
complete Coburn’s masterful depiction of this tranquil, light~filled
landscape.
E STIMATE: $15,000 ~ 20,000
52
134
Lutheran Church, Rosendal, Ont.
signed, titled and dated October 1960
10 1/2 x 13 1/2 in, 26.7 x 34.3 cm
P ROVENANCE :
L ITERATURE :
Arthur Lismer, A.Y. Jackson: Paintings 1902 ~ 1953, The Art Gallery
of Toronto and the National Gallery of Canada, 1953, page 7
By the 1960s, A.Y. Jackson had left the legendary Studio Building in
Toronto and was living in Manotick in a new studio that he had built.
The pattern of his sketching trips had changed ~ though he continued to
regularly visit Georgian Bay and the east shore of Lake Superior, he would
now explore areas such as the Gatineau region and the Madawaska and
Ottawa Valleys. In October of 1960 he was in the Madawaska Valley,
where he discovered this rural church at Rosendal. Standing peacefully
on its own in a field, the church has a quietly heroic quality, with its spire
reaching to the sky. The brightness in the clouds above the trees gives the
impression of a spiritual glow behind it. Jackson’s simple, fluid
brush~strokes depict the landscape with a natural and rhythmic flow of
its elements. As fellow Group of Seven member Arthur Lismer wrote of
Jackson’s oil sketches, “They are easy to look at, disarming at first in their
simplicity…but they also invite participation in the subtleties of his
execution, of his thoughtful composition, and in the definitive mood.”
E STIMATE: $15,000 ~ 20,000
53
Government Buildings, Quebec City
16 1/4 x 20 in, 41.3 x 50.8 cm
P ROVENANCE :
When Anne Savage was building the Protestant School Board of Greater
Montreal’s art collection, it is likely that works were selected for their
educational purposes as well as for their artistic merit. Robert Pilot’s view
of the Government Buildings in Quebec City is a fine example of a stately
view of these Second Empire~style buildings, and of Pilot’s urban
Impressionism.
E STIMATE: $8,000 ~ 12,000
135
Summer Near Murray Bay
14 1/8 x 17 3/4 in, 35.9 x 45.1 cm
P ROVENANCE :
In this relaxed family scene in Murray Bay, situated in Charlevoix County
on the north shore of the St. Lawrence River, Robert Pilot has deftly
captured everyday life in rural Quebec. As a young man he had forayed on
sketching trips with his stepfather, Canadian Impressionist Maurice
Cullen. Once established in Cullen’s old Montreal studio, Pilot took
regular sketching trips to the Laurentians and the Baie~Saint~Paul area.
Based on his sketches, he produced fresh, atmospheric canvases such as
Summer Near Murray Bay.
136
E STIMATE: $7,000 ~ 9,000
Street in Kingston, Ontario
oil on canvas board, signed and on verso
titled and inscribed 3602
12 1/2 x 17 in, 31.7 x 43.2 cm
P ROVENANCE :
E STIMATE: $4,000 ~ 6,000
137
54
138
BHG CGP 1896 ~ 1971
Birches
oil on board, signed and on verso signed and titled
20 x 24 in, 50.8 x 61 cm
P ROVENANCE :
L ITERATURE :
1977, page 127
Anne McDougall described Anne Savage’s method of working as follows:
“She used to stand her easel by the front window where the light came
over her left shoulder. She would hold one brush in her teeth while
reaching with a finer one for a new colour. She was quick and deft and
unfussy in her movements; mixing turpentine, flourishing a rag to clean
her palette, and standing back, squinting, to get a better perspective.”
This description aptly fits the execution of this bright, modernist still life.
We are looking down on a simple bouquet of leaves that has been evenly
illuminated through Savage’s attention to light and colour. In the angle of
the table, window and distant hills outside, we see Savage’s modernist
leanings clearly expressed. Careful forethought has been put into the
layers of colour that give us the wall, window frame and table. Savage
paints the sun on the bouquet as prominently as the bouquet itself, and
the effect, with pink light and blue shadows playing with the fallen leaves
on the table while sun streams through the foliage in the vase, is quite
dazzling.
E STIMATE: $10,000 ~ 15,000
55
139
139 THOREAU MACDONALD
CGP CPE 1901 ~ 1989
Canadian Geese
oil on canvas, signed, initialed and dated 1931
50 x 40 in, 127 x 101.6 cm
P ROVENANCE :
Art Emporium Limited, Montreal
Baron Byng High School, Montreal,
circa December 1931 / January 1932
L ITERATURE :
Margaret E. Edison, Thoreau MacDonald, A Catalogue of Design and
Illustration, 1973, a black and white design of three flying geese for a 1930
Canadian National Exhibition catalogue cover reproduced page 69
Thoreau MacDonald, the son of Group of Seven artist J.E.H. MacDonald,
was an accomplished designer and book illustrator. This striking
depiction of Canadian geese reflects the strong, graphic quality of his
work as a designer. MacDonald reduces his painting to powerful
essentials ~ a migration of the strong, assertive geese over a darkened land
against a glowing sky ~ the most Canadian of images.
E STIMATE: $8,000 ~ 12,000
56
140
140 MAURICE GALBRAITH CULLEN
AAM RCA 1866 ~ 1934
Palisades Through the Trees
141
AAM RCA 1866 ~ 1934
North River Near St. Margaret’s, PQ
oil on board, signed and on verso titled on the gallery
labels, inscribed No. 17, January 1925 on the Watson
Galleries label and Chairman’s lounge and certified by
Cullen Inventory #1394
11 3/4 x 16 1/4 in, 29.8 x 41.3 cm
oil on board, signed and on verso titled
and certified by Cullen Inventory #1395
11 3/4 x 16 1/4 in, 29.8 x 41.3 cm
P ROVENANCE :
The North River in the Laurentians in winter was one of Maurice Cullen’s
favoured subjects. The cabin on Lac Tremblant that he built in the early
1920s was his base from which he explored this river’s banks and the
surrounding snow~encrusted forests. His treatment of the delicate
borders between snow and water are particularly exquisite, as are the
contrasts between brilliant white snow and deep blue water in this sunlit
painting.
Watson Art Galleries, Montreal
Maurice Cullen, an important Canadian Impressionist, had absorbed the
tenets of this movement while studying in Paris. Painting out~of~doors
and capturing the moment in the landscape with its ephemeral effects of
light were a vital part of his work. Mountains such as the Palisades, often
seen from Lac Tremblant or the Cache River, are a recurring element of
Cullen’s Laurentian compositions, captured here with mysterious,
deep~shadowed cobalt hues.
E STIMATE : $10,000 ~ 15,000
P ROVENANCE :
E STIMATE: $10,000 ~ 15,000
57
143
142
Cabbies at McGill
AAM RCA 1871 ~ 1960
View from the Studio, Upper Melbourne
oil on canvas on board, signed
indistinctly and titled on a plaque
12 1/2 x 16 1/2 in, 31.7 x 41.9 cm
15 x 18 in, 38.1 x 45.7 cm
P ROVENANCE :
E XHIBITED :
The horse~drawn carriage in service as a cab was a popular subject in the
work of several of Canada’s turn~of~the~century era painters. Often
situated on busy corners or, as here, under the shade of a stately tree,
horses rested, drivers chatted and people came and went. One rig would
be replaced by the next in turn, and artists could set up across the street to
sketch as the day’s passengers were collected and delivered to their
destinations. Cabbies at McGill is a charming window into life in old
Montreal. Robert Pilot has painted the line of cabs, one horse resting, the
next more alert, under the lively spring~green foliage of tall,
black~trunked trees. It is a verdant, tranquil scene, with unhurried
people and an air of pleasant calm. The cabs have their tops pulled back,
indicating the fine weather, and the iron fence, painted in a tone that
echoes that of the tree trunks, breaks up the mossy green of the lawn
behind it.
E STIMATE: $6,000 ~ 8,000
P ROVENANCE :
Although Frederick Coburn trained in Berlin, Munich, Antwerp and
Paris, it was Melbourne in Quebec, his birthplace, that he returned to and
where he based his studio. His surroundings had fine scenery for a
landscape painter, and the rolling hills of the township were covered with
hardwoods ~ such as this large and beautiful tree overlooking a river.
Coburn exhibits his command of techniques honed in Europe in this
lovely pastoral scene, lush with rich greens and blues.
E STIMATE: $7,000 ~ 9,000
58
PROPERTY OF VARIOUS COLLECTORS
144
144 ARTHUR LISMER
AAM CGP CSGA CSPWC G7 OSA RCA 1885 ~ 1969
Undergrowth in the Pine Woods ~ Georgian Bay
oil on board, signed and dated 1950 and on verso
signed, titled, dated on a label and inscribed 21
12 x 16 in, 30.5 x 40.6 cm
P ROVENANCE :
Private Collection, Vancouver Island
L ITERATURE :
Dennis Reid, Canadian Jungle, The Later Work of Arthur Lismer,
Art Gallery of Ontario, 1985, page 46
In July of 1950, Arthur Lismer was back at his beloved Georgian Bay,
and spent time at both Amanda Island and Manitou Dock. Lismer was
interested not only in the dramatic vistas and turbulent elemental
weather there, but also in life at ground level. Lismer noted that his fellow
Group of Seven artists looked over the foreground into the distance, and
now he chose to look at the earth at his feet, where everything originated.
Twisting roots, rocks thrusting their way to the surface, random fallen
forest debris and plucky small plants surviving in the stoney ground were
the raw material of his forest floor still lifes. Art historian Dennis Reid feels
that the paintings Lismer produced during the summer of 1950 at both
Cape Breton Island and Georgian Bay were vital and exciting, exhibiting
“the outrageous hedonism of their sensuous materiality”. In Undergrowth
in the Pine Woods ~ Georgian Bay, Lismer revels in the pure joy of the
painterly experience, scumbling and incising his paint, depicting golden
leaves cavorting amongst the stolid rocks of the Canadian Shield with
vital, expressionist brush~strokes.
E STIMATE: $12,000 ~ 16,000
59
145
145 ARTHUR LISMER
Flowers of the Forest, BC
oil on board, signed and dated July 19, 1951
and on verso titled and inscribed 1485 Fort St.
and $100 on a label
12 x 15 7/8 in, 30.5 x 40.3 cm
P ROVENANCE :
During Arthur Lismer’s 1951 trip to British Columbia, he visited Victoria,
then traveled to Galiano, Pender and Saltspring Islands, as well as Long
Beach on Vancouver Island’s west coast. It would be the first of many
summer sketching trips to the West Coast. In this truly exquisite natural
still life, Lismer continued his fascination with the forest floor that had
begun in Georgian Bay. His delicate colour palette is quite luscious,
contrasting tonal variations of soft greens against cream and dark orange
and pink. A strong use of incised line emphasizes and defines shape amid
the profusion of blooming growth, thick moss and spiky grasses. Lismer’s
use of paint is raw and bold, textural and painterly. There is a sense of
urgency and confidence that comes through works such as this ~ as
Lismer sensed that within this fragment of the forest floor was a
microcosm of its life as a whole. A delightful and sensual work, Flowers of
the Forest, BC expresses the irrepressible, jungle~like and voluptuous
nature of rain forest growth.
E STIMATE: $12,000 ~ 16,000
60
146
146 CORNELIUS DAVID KRIEGHOFF
1815 ~ 1872
Racing Across the Ice, Quebec
oil on canvas on board, signed
13 x 20 in, 33 x 50.8 cm
P ROVENANCE :
Private Collection, Montreal
Racing Across the Ice, Quebec is an especially interesting example of
Cornelius Krieghoff’s scenes of horse~drawn sleighs. In addition to the
artist’s careful observation of detail, nuance and colour, we have French
Canadian politics. The two sleighs, finely painted but completely
different in their styles, are each carrying three men and are drawn by
galloping horses. They are political rivals ~ the Parti rouge racing against
the Parti bleu. After The Act of Union (formerly The British North
America Act of 1840) united Upper and Lower Canada, the Parti rouge
and Parti bleu developed in the ensuing years. Their party colours are
designated by the ribbons on the horse’s bridles, which fly in the wind as
they race for political pride. Quebec’s Citadel is seen in the distance,
sitting like a quiet observer atop Cap Diamant, and the angular forms of
the St. Lawrence River’s ice, crushed up and piled like barriers alongside
the ice road, contain the race, adding tension and excitement. The ice and
snow, distant city and sky are all finely handled in varying tones of winter
whites.
E STIMATE: $40,000 ~ 60,000
61
147
147 CORNELIUS DAVID KRIEGHOFF
1815 ~ 1872
Winter Blizzard ~ Horse and Sleigh
oil on canvas, signed and on verso inscribed
indistinctly Guy ~ St. Catherine St. Montreal
9 1/4 x 13 3/4 in, 23.5 x 34.9 cm
P ROVENANCE :
John Massey, Toronto
By descent to the present Private Collection, British Columbia
This especially fine winter scene by one of Canada’s beloved historical
painters, Cornelius Krieghoff, is filled with charming detail. In this
delightful depiction of winter, the horse pulls hard to drag the bright red
box~style sleigh through the heavy snow, which blankets the fence lines
A2013s_FCA_Catalogue_Final_032213_blueline
61changes.pmd
and coats the trees, some of which are still holding on to their reddish
autumn leaves. Krieghoff has captured a typical Canadian moment from
the time; the horse and sleigh plod directly into the drifting, blowing
snow, and as the snow settles on the hat and clothing of the sleigh’s lone
occupant, he looks at us, aware of his plight and unable to do anything but
endure the storm, as does the horse, until they reach the end of their
journey. The snow sprays up against the sides of the sleigh ~ we can just
see the line of its bright blue interior ~ but allows the curled iron runners
to show in the back; classic Krieghoff details. The wayside cross, with a
decorative rooster atop, is finely handled and stands as a symbol of the
influence of the church in rural Quebec during that time.
E STIMATE: $70,000 ~ 90,000
3/22/2013, 4:34 PM
62
148
Sunday Morning, St. Fabien
oil on board, on verso titled St. Fabien
and inscribed A.Y. Jackson
8 1/2 x 10 1/2 in, 21.6 x 26.7 cm
P ROVENANCE :
John Clymer, Toronto, 1936
Sold sale of Canadian Art, Joyner Fine Art Inc.,
November 25, 1985, lot 55
Private Collection, Quebec
Saint~Fabien, on the south shore of the St. Lawrence, was one of A.Y.
Jackson’s most fruitful painting spots. It was also, thanks to the hospitality
of the local inhabitants, one of his favourite places to stay. In his
autobiography A Painter’s Country, he writes of his 1935 trip to
Saint~Fabien and the warm welcome he received on being invited to a
lively sugaring~off party there. Jackson knew that he was witnessing the
final days of a way of life that would soon be changed forever, and he was
determined to record it for posterity. The scene depicted here is classic
Jackson and his most sought~after subject matter ~ a gently undulating
road leading down through an old Quebec village lined with a haphazard
collection of wood~clad houses painted in an array of colours. There is,
however, nothing haphazard about the structure of the painting. Jackson
was a master of composition, and he leads our eye down towards the focal
point of the horse and sleigh and then up to the distant mauve hills, before
circling back down through the wave~like movements of the undulating
landscape.
E STIMATE: $25,000 ~ 35,000
63
149
149 SIR FREDERICK GRANT BANTING
1891 ~ 1941
Village in Winter, St. Fidele, Quebec
oil on panel, on verso titled variously, dated 1930
on the Henrietta Banting label and certified by
Henrietta Banting, #11
8 1/4 x 10 1/2 in, 21 x 26.7 cm
P ROVENANCE :
Henrietta Banting; David B. Masur, Montreal
Kastel Gallery Inc., Montreal
Sold sale of Important Canadian Paintings, Drawings,
Watercolours, Books and Prints, Sotheby Parke Bernet
(Canada) Inc., May 14, 1979, lot 46; Private Collection, Toronto
L ITERATURE :
Michael Bliss, Banting: A Biography, 1984, page 191
Frederick Banting was catapulted into the spotlight by his co~discovery
of insulin in 1923. A man who began his life as a straightforward fellow
from an unpretentious rural upbringing, Banting was unprepared for
many of the complexities brought on by his success. Stresses, both
professional and personal, led him to flee Toronto whenever possible, and
in March of 1927 he undertook his first sketching trip with A.Y. Jackson
to Quebeçois villages along the St. Lawrence. This charming scene of the
village of Sainte~Fidèle was executed during another trip with Jackson in
1930; it deftly portrays the simple rural landscape which Banting so
loved. Visiting these small towns and living amongst their residents, he
discovered a way of life that he thought was vanishing. He sought to
capture these scenes both as a return to his youth and an escape from
everyday life. In his travel diary, he wrote, “The more I think of the city the
more I want to live in the country, and the more I think of being a
professor of research the more I want to be an artist.”
E STIMATE: $20,000 ~ 30,000
64
150
150 PETER CLAPHAM SHEPPARD
ARCA OSA 1882 ~ 1965
Market
oil on canvas, signed, circa 1925
24 x 31 1/2 in, 61 x 80 cm
P ROVENANCE :
Peter Clapham Sheppard exhibited extensively throughout his career but
notably in the 1920s, showing internationally at Wembley in 1925 and
the Jeu de Paume in Paris in 1927. He was a versatile painter ~ talented in
depicting figures, coastal scenes, landscapes and still lifes. Sheppard was
particularly adept at capturing the energy and activity of urban and
industrial scenes, as seen here in Market, in which various figures, either
at work or at leisure, bustle about, enjoying the light streaming into
this urban space. The location of this particular market is undetermined,
but we can assume it is Montreal, Ottawa or Toronto. However, the
anonymity of the location allows the viewer to identity with the
familiarity of the market scene and draw connections to their own
experiences. Sheppard uses his colour palette liberally, adding broad and
contrasting strokes of colour, particularly the electric blue surrounding
the windows contrasted with pink tones on the roof and mint green on the
building’s front. Executed in masterly fashion, this luscious light~filled
painting can be seen to have qualities of Canadian Impressionism.
There is an unfinished figurative work on verso.
E STIMATE: $15,000 ~ 20,000
65
151
151 KATHLEEN MOIR MORRIS
AAM ARCA BHG 1893 ~ 1986
Byward Market, Ottawa
oil on board, signed and on verso titled and inscribed
Miss Maw [or May], 172 Ottawa St, Ottawa
10 x 13 in, 25.4 x 33 cm
P ROVENANCE :
L ITERATURE :
A.K. Prakash, Independent Spirit: Early Canadian Women Artists,
2008, page 156
The history of the Byward Market in Ottawa is the history of
working~class folk, of farmers and industry. Although today it is best
known for its trendy restaurants and boutiques, this was not always so.
The Market area was, until two or three decades ago, simply known as
Lowertown, Ottawa’s oldest blue~collar neighbourhood and the hub of
the city’s French inhabitants. York Street was the farmers’ street, lined
with all sorts of store shops, sidewalk sellers and fruit stands. Kathleen
Morris has created a portal to the past in her animated painting Byward
Market, Ottawa. A.K. Prakash compliments Morris on her insightful
vision, writing that, “Each painting is a window on the past, offering
visions of pioneer fortitude to modern generations seeking inspiration
and a refuge from the present…she immortalizes her experience through
the imagination of a poet.” Her vivacious use of colour and detail help us
to envision the bustling noise, sights and smells of this lively market
scene.
E STIMATE: $70,000 ~ 90,000
66
152
152 FRANKLIN CARMICHAEL
CSPWC G7 OSA RCA 1890 ~ 1945
La Cloche Hills
watercolour on paper, signed and dated
indistinctly 1925 or 1935
10 1/2 x 13 in, 26.7 x 33 cm
P ROVENANCE :
Private Estate, Toronto
L ITERATURE :
Megan Bice and Mary Carmichael Mastin, Light and Shadow:
The Work of Franklin Carmichael, McMichael Canadian Art
Collection, 1990, page 106
Franklin Carmichael first viewed this area from Tower Hill in the North
Range of La Cloche, and found it irresistible. Mary Mastin writes: “Here
were the elements of height, distance, light and solitude he had been
seeking, and his immediate rapport with La Cloche was to endure from
the early 1920s to the time of his death in 1945.” Hilltops scoured by
glaciers, sparkling quartzite rock, forests, and many lakes and streams
made it visually stunning. It became such an important painting place for
him that he built a log cabin at Cranberry Lake in 1935. Carmichael’s
mastery of watercolour was well known ~ he and fellow Group of Seven
artist A.J. Casson along with Fred Brigden formed the Canadian Society of
Painters in Water Colour in 1925 ~ and Carmichael was passionate in his
promotion of this medium. La Cloche Hills is full of light and fresh pastel
colours, from pink to blue and peridot green, contrasted by the smokey
darker blue of the distant peak. With its expansive view and clear
atmosphere, it is a stunning example of his La Cloche watercolours.
E STIMATE: $40,000 ~ 50,000
67
P ROVENANCE :
Douglas Duncan, Picture Loan Society, Toronto
James Coyne, Toronto, 1955
The Framing Gallery, Toronto, circa 1970
Private Collection, Toronto, circa 1970
By descent to the present Private Collection
L ITERATURE:
David P. Silcox, Painting Place: The Life and Work of David
B. Milne, 1996, pages 320, 333 and 344 and reproduced
in colour page 322
David Milne Jr. and David P. Silcox, David B. Milne:
Catalogue Raisonné of the Paintings Volume 2: 1929 ~
1953, 1998, reproduced page 881, catalogue #406.5
E XHIBITED :
The Montreal Museum of Fine Arts, Water Colours by
David Milne, January 22 ~ February 7, 1954, titled as
Poppies and Lilies No. 1
National Gallery of Canada, Ottawa, David Milne,
September 16 ~ October 9, 1955, traveling exhibition,
catalogue #106
In 1941 David Milne began a series of paintings of
delicate flowers using a pink wash that precipitated the
use of an increasing range of colour ~ David Silcox
describes it as “a scarlet richness that saturated the
paper in a way that was new in Milne’s work, and that he
would exploit over the new few years.” The fragile
poppy flowers, with their soft, gauzy petals and hairy
stems, were especially well suited to Milne’s interest in
gentle line and ethereal form. Silcox counts these works
amongst Milne’s finest, as they seem “to fulfill his
statement that he would like to have ‘wished’ his images
onto the paper.” A related watercolour entitled Poppies
and Lychnis was painted circa August 1943 and
acquired by the National Gallery of Canada in 1947. Of
the four versions of Poppies and Lilies, two are from
August of 1943 and two are from early 1946, and all but
this work are in public or government collections ~ the
Art Gallery of Ontario, the Vancouver Art Gallery and
the Department of Foreign Affairs, Government of
Canada.
153
153 DAVID BROWN MILNE
CGP CSGA CSPWC 1882 ~ 1953
Poppies and Lilies III
watercolour on paper, dated 1944 ~ 1946
and on verso titled in graphite and inscribed by
Douglas Duncan W~493, ca. Apr. 1946
21 1/4 x 14 1/2 in, 54 x 36.8 cm
E STIMATE : $20,000 ~ 30,000
68
154
69
154 EMILY CARR
BCSFA RCA 1871 ~ 1945
Cape Mudge Totem Poles
watercolour on paper, signed ME Carr and inscribed
in graphite Chief Chekiuite and on verso titled on the
Laing Galleries label and in graphite Cape Mudg [sic],
inscribed in graphite Cad Mudg [sic] Pole Supporting
Chicken House and stamped Dominion Gallery,
circa 1909 ~ 1912
22 x 15 1/4 in, 55.9 x 38.7 cm
P ROVENANCE :
Dominion Gallery, Montreal
Laing Galleries, Toronto
Sold sale of American & European Paintings and Drawings,
Weschler’s, March 4, 1995, lot 20, reproduced cover lot
Private Collection, USA
L ITERATURE :
Emily Carr, “Modern and Indian Art of the West Coast”,
Supplement to the McGill News, June 1929, page 22
Emily Carr, Growing Pains, manuscript, Carr Papers, Royal BC
Museum and Archives, undated, unpaginated
Marius Barbeau, Totem Poles, National Museum of Canada, 1950,
a 1912 related work entitled Kwakiutl Village reproduced page 702
and two photographs showing similar totem poles reproduced
pages 704 and 705
Gerta Moray, Northwest Coast Native Culture & the Early Indian
Paintings of Emily Carr, 1899 ~ 1913, Volume 2: Catalogue and Illustrations,
Doctoral dissertation, University of Toronto, 1993, page 19 listed as
E 2/3, Cape Mudge Pole Supporting Chicken House
Emily Carr, Growing Pains: The Autobiography of Emily Carr, 2005,
page 279
Gerta Moray, Unsettling Encounters: First Nations Imagery in the Art
of Emily Carr, 2006, page 95
Watercolour was Emily Carr’s primary painting medium in her early
career. We see her use it in the latter years of the nineteenth century, which
saw her visit the First Nations village in Ucluelet. She also produced a
number of watercolours of the Squamish First Nations village in North
Vancouver, Stanley Park and the environs of Victoria after her return to
British Columbia following her training in England. Carr’s more serious
engagement with First Nations subject matter began with a trip that she
and her sister Alice took to Alaska in the summer of 1907. The sight of
totems in Alert Bay and Sitka made Carr realize that these monumental
sculptures were worthy of her attention. She responded to the forms of
the totems, even if she sometimes did not understand their significance to
the First Nations people. She also realized that these poles and houses
were threatened by decay and neglect, and this realization seems to have
been the origin of her plan to document the totemic works of the coastal
First Nations. She returned to northern British Columbia during the three
subsequent summers and visited T’sakwa’lutan / Cape Mudge on Quadra
Island in the summer of 1909. She produced a small number of
Kwakiutl house posts and cross beam at Cape Mudge
watercolours, among them Cape Mudge Totem Poles. It does not appear
that Carr had any intention of producing oils from these field studies at
this point. By the time she had made her fourth trip north in 1910, she
resolved to go to France and take more training.
Interestingly enough, Carr took some of what she referred to in her
Growing Pains manuscript as her “Indian sketches” with her to France and
“repainted” some of them in light of her new “bigger methods” learned in
France. It is possible that this work was one of these reworked studies,
because it is remarkable for the sensitive handling of colour, form and
light. Particularly noteworthy is the subtle treatment of the plank that
holds the door of the small hut closed. The shadow is wonderfully
observed and conveys a real sense of space.
This work is highly accomplished, and sensitive to the details of the two
house poles. The poles are boldly carved and painted with eagles atop
human figures (male on the left and female on the right) and the figures
stand, in turn, on bears. The small hut between the two poles is a chicken
house. We know this from the inscription on verso of this work, and from
the painting based on this watercolour that Carr produced in 1912 ~
70
Kwakiutl Village, in a private collection ~ which introduces figures feeding
chickens. Emily Carr also writes of her encounter with the owner of the
poles, perhaps Chief Chekiuite, in her essay “Modern and Indian Art of
the West Coast” written for 1929’s McGill News:
“Once an old man returned from fishing and found me sketching his
poles. ‘Go away, you stealing my poles’ he shouted. I explained that they
were beautiful and I wanted to show them to my friends. ‘Why not ask
me?’ ‘How could I when you weren’t home?’ ‘That’s so, get along and
finish.’ ‘Why did you put your poles in front of your chicken house and
not in front of your house?’ ‘My house velly strong ~ my chicken house
velly weak ~ poles fix him strong.’”
The notable differences between the two compositions (field study and
canvas) reveal that, for Carr, watercolours such as Cape Mudge Totem
Poles, done in the field, were essential to allowing her to develop the larger
canvases of 1912.
Gerta Moray suggests that the 1909 watercolours were used by Carr to
produce a series of canvases in early 1912, before she went sketching in
the summer. There is support for this idea in Carr’s writings. As Moray
notes, upon Carr’s return from France, she did not return to her previous
teaching job, and wrote in Growing Pains, “Having so few pupils, I had
much time to study. When I got out my Northern sketches and worked on
them I found that I had grown. Many of these old sketches I made into
large canvases.”
These canvases set the stage for the major work of the summer of 1912
and saw Carr apply her new Fauvist painting skills to “the bigger material
of the west” as she described it in her Growing Pains manuscript. Based on
the acutely observed studies of 1908 ~ 1910, they establish Carr as the
most significant painter working in British Columbia. The canvases
would have been impossible without watercolours such as this one, and
the richness of these images done from on~the~spot observation is still
evident today. Watercolours such as Cape Mudge Totem Poles reveal Carr as
an artist of skill in both composition and colour, with a firm grasp of her
medium and an individual voice.
On verso of this work is a graphite drawing of the totem pole.
E STIMATE : $150,000 ~ 250,000
Kwakiutl house posts and cross beam from Cape Mudge
In the collection of the Canadian Museum of Civilization
71
left side 155
right side 155
ϕ 155
EARLY HAIDA ARTIST
19TH CENTURY
Haida Ship Panel Pipe
argillite relief carving, circa 1830 ~ 1860
3 x 10 x 3/4 in, 7.6 x 25.4 x 1.9 cm
P ROVENANCE :
The Haida were the first of the Northwest Coast First Nations peoples to
develop art for trade and sale to the Europeans that arrived on their shores
in the Queen Charlotte Islands. Some of the earliest objects produced
were argillite pipe forms with Haida mythological figures, which a decade
later evolved into elongated panel pipes with Euro~American figures
and structures, such as this fine carving. These extraordinary and unique
panel pipes were not actually intended for smoking tobacco, instead
functioning as complex sculptural tableaux. Included were details of
ships, forts, houses and cabins, which evidently fascinated the Haida
carvers. This intriguing work includes ship structures such as the stylized
cabin, a Euro~American man with a nautical spyglass telescope and a
figure, likely a woman, with a dog. The pipe is finely carved, with
expressive faces on both human figures and dog, and features decorative
patterns and cross~hatching on the structural elements of the ship. Works
such as this are rare to the market.
E STIMATE: $12,000 ~ 16,000
72
156
156 EMILY CARR
BCSFA RCA 1871 ~ 1945
Old Timer
oil on canvas, signed and on verso titled and inscribed
Old Timer by Emily Carr and Given by Emily Carr for
auction (written bids) by the Vancouver Art Gallery in aid
of the Red Cross in the Second world war ~ 1942 ~ and bought
by Alice Hemming at that sale. (E.C. was pleased about this)
(She was a regular listener to the CBC programme ‘A Morning
Visit with Alice Hemming’) and $50 on a label, 1931 ~ 1932
27 x 20 in, 68.6 x 50.8 cm
P ROVENANCE :
Donated by Emily Carr to a charity auction at the Vancouver
Art Gallery in aid of the Red Cross in the Second World War, 1942
Acquired from the above by Alice Hemming, Vancouver, 1942,
then to London, England, 1944
By descent to the present Private Collection, London, England
L ITERATURE :
Doris Shadbolt, Emily Carr, National Gallery of Canada, 1990,
listed in the catalogue addendum
Emily Carr, Hundreds and Thousands, The Journals of Emily Carr,
2006, page 49
E XHIBITED :
National Gallery of Canada, Ottawa, Emily Carr, June 29 ~
September 3, 1990, catalogue #134
In 1927, Emily Carr’s work was included in the National Gallery’s
exhibition of Canadian West Coast Art: Native and Modern. The exhibition
marked her debut into the larger world of Canadian art and re~launched
her career as an artist. In the exhibition she showed a selection of her 1912
First Nations canvases, some of her ceramics and her rag rugs. This
recognition of Carr as an artist was of critical importance for her career.
She was welcomed as an important participant in the modernist
movement in Canadian art and met members of the Group of Seven
including Frederick Varley, A.Y. Jackson, Arthur Lismer and, most
importantly, Lawren Harris. The reception her work received from fellow
artists encouraged her to return full force to painting and subsequently, in
the late twenties and early thirties, she produced some of her most
memorable totemic canvases, such as Totem and Forest and Big Raven,
both in the collection of the Vancouver Art Gallery.
Harris and Carr began a lengthy correspondence that was a major source
of inspiration and support to Carr, working as a relatively isolated figure
in Victoria. Harris, while enthusiastic about Carr’s totemic work,
encouraged her to focus more on the landscape of her native province.
Her approach to the landscape was shaped by advice from both Harris
and the young American artist, Mark Tobey, with whom she had a
workshop in the fall of 1928. Likely at the suggestion of Tobey, Carr
devoted a significant period of time to drawing the forests of the province
in a series of charcoal drawings that helped her to define spatial volumes
more convincingly and paved the way for the series of major landscape
73
canvases beginning in the late twenties and early thirties. These works are
among the most abstract and mysterious of her landscapes: Grey, 1929
~1930, in a private collection, Tree Trunk, 1931, and the magisterial
Forest, British Columbia, 1931, both in the collection of the Vancouver Art
Gallery. These canvases see her grappling with volume, colour and light
with a new conviction and power. The last factor, light, was critical for
Carr in conveying the inner life of the forest and is key to the success of Old
Timer. This exceptional work pulsates with a vibrant light that silhouettes
the structure of the tree, defines the volumes of the foliage and makes
vividly sculptural the central tree. The whole canvas has a strong upward
surge, which reflects the rich abundance and life of the coastal forest. Carr
celebrates the continued vitality of this magnificent old tree.
We see the ‘Old Timer’ within what Carr herself described as “A forest
done in simple movement, just forms of trees moving in space.” Clearly,
however, the whole is more than the sum of the parts, more than “forms of
trees moving in space”. In this exceptional canvas, Carr takes command of
her subject matter ~ the landscape of her beloved province ~ like no other
artist before or after her. Old Timer is a magnificent canvas that reveals the
profound beauty and spiritual power of the forests of British Columbia
and Carr’s special place in helping define our relationship to them.
This radiant canvas was generously donated by Carr to support the Red
Cross in World War II, and was purchased by Alice Hemming, a radio host
at the Canadian Broadcasting Corporation. As the inscription on verso
indicates, Carr listened to Hemming’s daily radio programme, A Morning
Visit with Alice Hemming, and was pleased to learn that she was the
purchaser. Hemming was also familiar with Carr through their mutual
friend Ira Dilworth, who was also a long~term employee at the CBC and a
very important figure in Carr’s later life ~ as confidante, literary editor and
co~executor of her estate. This rare painting has been passed down within
the family until its consignment to Heffel and its return to Canada this
year.
E STIMATE: $400,000 ~ 600,000
74
157
157 LAWREN STEWART HARRIS
ALC BCSFA CGP FCA G7 OSA RPS TPG 1885 ~ 1970
Pic Island, Lake Superior
75
red tones of the rocky shore, the bleached bone~like trunks of the
burnt~over trees and the deep blue of Lake Superior, we are clearly
heading towards something profound with this painting of light and air.
L ITERATURE :
In Pic Island, Lake Superior, we seem to stand, with Harris, on the edge of
the uppermost rocky promontory in the near foreground of the work.
From this sanctified place, we look out onto a still, unpeopled landscape.
Harris’s hot red ochre and orange and the cool blue of the lake are in
perfect complement, and the stillness of the scene is broken only by the
vertical trees and the aura of pink and yellow~toned clouds in the
unending sky. The trees are like sentinels, standing guard and looking out
onto the lake, facing toward the source of the light that bathes the scene in
warmth.
1977, page 43
Walt Whitman, The Complete Poems, 1995, “Song of the Open Road”
from Leaves of Grass, pages 116 and 309
In Anne Davis’s book The Logic of Ecstasy, she compares the characteristics
of nature that Harris sought to depict to those that Walt Whitman
explored in the poem “Song of the Open Road”, which was published in
his seminal collection of poetry entitled Leaves of Grass:
titled on the gallery label, circa 1923
10 1/2 x 13 5/8 in, 26.7 x 34.6 cm
P ROVENANCE :
Estate of Randolf MacDonald, Toronto
“He pulled out the drawers and there were his brushes as streamlined as a
scientific laboratory. He had a heavy black easel. He showed me panels of
Lake Superior with huge black stems of trees and a definite feeling of
dignity and control. There was nothing out of place. I remember thinking
isn’t this extraordinary and couldn’t analyse it. But after I came back I
realized he was abstracting his subject. He was on his way to just shooting
off into this world of nothing but light and air.” (Anne Savage to Arthur
Calvin)
When Savage penned these comments about Lawren Harris in 1925,
she was fortunate to have visited him in his studio at a pivotal time in his
artistic career. It is clear from her remarks that the visit had a dramatic
effect on her. Studio visits such as this, with the sharing of ideas between
artists, as well as group exhibitions and public dialogue, all contributed to
the rich ferment in the school of landscape painting in Canada. Eastern
philosophies were being more widely read, and spiritualism, partly in
reaction to the First World War, had taken hold of many creative minds.
Harris and the other members of the Group of Seven were expressing
ideas of idealistic nationalism through landscape art, and Harris often, in
his references to the north, chose to write North with a capital, denoting
its significance to him. Savage’s analysis that Harris was about to enter a
“world of nothing but light and air” is quite profound, especially when we
take his later abstractions into account, and this work ~ perhaps even
being one of those that Savage saw in his studio ~ is certainly a
stepping~stone on the way to that world. While a realistic rendering of
the actual colours and shapes of the Canadian landscape is still clear in the
The earth never tires;
The earth is rude, silent, incomprehensible at first, Nature is rude and
incomprehensible at first,
Be not discouraged, keep on, there are divine things well envelop’d,
I swear to you there are divine things more beautiful than words can tell.
Harris held Whitman in the utmost esteem, as did several of his
contemporaries, especially Bertram Brooker and J.E.H. MacDonald. And
like Whitman, who felt that it was his duty to connect man with nature
through words so that “Nature and Man shall be disjoin’d and diffused no
more”, Harris felt that art and nature were deeply intertwined, and that it
was his duty to connect man with nature through painting. Both art and
nature, he felt, operated from the same set of rules ~ regardless of things as
temporal as fashion and appearances. The “divine things more beautiful
than words can tell” are the characteristics of nature that Harris sought in
his paintings of the north shore of Lake Superior. The divine light, the
elemental form, the beauty of harmonious colour and line, and the
precision and order of nature in Canada’s North ~ all are pared down to
their most simple state as Nature’s divine things.
E STIMATE: $200,000 ~ 300,000
76
158
Snow in the Woods, Algonquin Park I
oil on panel, signed and on verso signed,
titled variously and inscribed with the artist’s symbol,
4 (circled), 36 in red, the Doris Mills inventory #5/21
(crossed out), Not For Sale, and on a label Misc. Group
no. XXI, circa 1915
10 1/2 x 13 3/4 in, 26.7 x 34.9 cm
P ROVENANCE :
A Prominent Montreal Collection
Sold sale of Canadian Art, An Outstanding Collection,
The Property of a Prominent Montreal Collector, Fraser Bros.,
Montreal, October 23, 1986, lot 62
L ITERATURE :
Doris Mills, L.S. Harris Inventory, 1936, listed as Group 5 (5/21)
Miscellaneous Sketches, location noted as the Studio Building
Lawren Harris, The Story of the Group of Seven, 1964, page 19
Snow in the Woods, Algonquin Park I was in the sale of an outstanding
collection of a prominent Montreal collector, sold at auction in October of
1986. This sale was the subject of numerous headlines, as the collection
sold for $4 million ~ a high value at the time. Because of the high quality of
works from this collection, including this superb oil, the sale
jump~started the Canadian art market at the time to a new level.
This very fine oil on panel by Lawren Harris comes from around 1915,
and relates directly to master canvases including Snow, circa 1915, in the
McMichael Canadian Art Collection, Snow II, circa 1916, in the collection
of the National Gallery of Canada and the oil on canvas, Snow, Algonquin
77
Park, sold at Heffel on May 23, 2007 (lot 8), now in the Thomson
Collection at the Art Gallery of Ontario.
At this time in his a career, Harris was interested in the depiction of light
and pattern as he saw it in the Canadian landscape. Stylistically related to
Impressionism, but thematically rooted in Canada, this swirling,
close~in~view work is a riotous dance between light, tree limbs and snow.
Harris went on a painting trip with Tom Thomson into Algonquin Park
in 1916. He was impressed with Thomson’s lack of regard for the weather,
and noted that Thomson’s need to paint on the spot remained no matter
how wild the wind or the rain. After observing Thomson painting in a
storm, Harris would later write, “Tom had caught in living paint the
power and drama of the storm in the north. Here was symbolized, it came
to me, the function of the artist in life: he must accept in deep singleness of
purpose the manifestations of life in man and in great nature, and
transform these into controlled, ordered and vital expressions of
meaning.”
Here, Harris has taken a scene from “great nature” and transformed it
through paint. The brilliant whites of his snow, the deep greens of his
forest, and the wonderful variety of mauve and pink that indicate the
depth of the shadows on the snow and how they play against the light as it
hits the snow nearby, act together in vital expression of a moment in a
Canadian winter. In his masterful depictions of winter woods, Harris
carefully analyzed the subtle variety of colour in winter snows, and was
adept at blending his pigments to achieve the desired affect. When a
person familiar with the nuances of a Canadian winter closely examines a
work such as this, the response is often one of delighted understanding.
Snow in the Woods, Algonquin Park I is a superb example of Harris’s snow
paintings, a distillation of the winter beauty of the densely forested
northern wilderness.
E STIMATE: $200,000 ~ 300,000
78
159
Drying Waterfall
oil on canvas, on verso signed, titled, dated 1916
and inscribed by Douglas Duncan David Milne,
Drying Waterfall (Berkshires), (Summer 1916)
20 x 24 in, 50.8 x 61 cm
P ROVENANCE :
Douglas Duncan, Picture Loan Society, Toronto
R. MacDonald, Woodbridge, Ontario, 1960
Private Collection, Toronto, circa 1968
L ITERATURE :
David P. Silcox, Painting Place: The Life and Work of David B. Milne,
1996, page 79 and reproduced page 80
David Milne Jr. and David P. Silcox, David B. Milne: Catalogue Raisonné
of the Paintings Volume 1: 1882 ~ 1928, 1998, reproduced page 173,
catalogue #107.52
David Milne moved a great deal during his career. Perpetually
impecunious as well as endlessly curious about landscape motifs, he
made the most of his surroundings. His work from Boston Corners in
New York State is some of the finest he ever did, and Drying Waterfall
stands out even in this company.
Milne painted both long and close views of the landscape at this time.
Where the more distant prospects are distinguished by their openness, an
effect accomplished with his usual minimal application of pigment and
by leaving many areas of the surface untouched, Drying Waterfall brings
us into an intimate visual relationship with nature’s complex forms and
colours. Boldly intricate, the scene of a waterfall diminishing in force with
the change of season displays a remarkable range of forms, hues and lines.
Milne brings our eyes to the brink of confusion with this view: what, we
might wonder at first, is the theme, the central motif? Yet with the
attentive looking he demanded of himself and, in turn, of those who see
his work, the scene becomes readily legible without losing any of its
density.
79
Drying Waterfall is, as a physical painting, an intensely delicate lattice
of interlocking elements carefully delineated by Milne’s signature
outlines. The result might remind us of cloisonné, the elaborate
compartmentalization of miniature coloured insets on metal work, long
practiced in many cultures and adapted to painting in the late nineteenth
century, particularly by Vincent van Gogh and Paul Gauguin. But Milne’s
image is not flat or still. It depicts at least three spatial planes, moving
back from a close and almost tactile foreground, through a vertical middle
space over which the water flows (and whose vertical axis is both
confirmed and measured by the birch trees in the right foreground) and
into a deeper space behind the ebbing waterfall. A strong diagonal that
runs from near the top left hand corner to the bottom right of the image
suggests the course that the flowing water must follow without actually
showing us a stream. Milne articulates this satisfying complexity with
characteristic economy, using only five colours, none of which is typically
used to indicate water (green, brown, grey, black and white).
One of the great pleasures of a major Milne painting such as this one is that
we can ~ with Milne’s aesthetic guidance ~ meet his challenge to look at a
landscape in all its complexity and achieve a new way of understanding
what we see. On the one hand, Drying Waterfall presents us with a special
place. It is as if we have discovered something singular and intimate. On
the other hand, though, and as Milne’s laconic title suggests, the
phenomenon that we witness is cyclical and fleeting. The waterfall will be
gone soon. The painting is in this way appealingly anti~heroic. Milne
does not set himself up as a daring explorer discovering a sublime natural
site. He simply sees and depicts what is readily present to the eye. The
painting is similarly intimate and quiet. It does not lead us grandly to a
stupefying view, but instead revels in the pleasures of close looking.
We thank Mark Cheetham, Professor of Art History at the University of
Toronto, for contributing the above essay.
E STIMATE: $70,000 ~ 90,000
80
160
MACDONALD
Algoma
oil on board, on verso titled
8 1/2 x 10 1/2 in, 21.6 x 26.7 cm
P ROVENANCE :
A wedding gift from the Artist to Enid Goss Lowe
Doris Huestis Speirs Collection, 1971
Private Collection, London, England
L ITERATURE :
Paul Duval, The Tangled Garden: The Art of J.E.H. MacDonald,
1978, page 91
Paul Duval observes, “Throughout his Algoma period, MacDonald
proved again and again that he was a master of the big panorama. It is easy
for grand overviews in landscape painting to become monotonous and
tiresome, as is proven by countless portrayals of mist~ridden highlands.
MacDonald escaped monotony by changing not only the immediate
locale, but the technique, mood and compositional treatments of his
panoramas.”
This expansive Algoma panorama, with its sky~blue lake and
cloud~filled sky, conveys a vast sense of distance despite its small size.
The foreground foliage is painted in hot, fiery oranges and bright yellows
that are a brilliant yet balanced contrast to the blue of the lake, which is
depicted as both still and wind~stirred, with a slice of quiet water shining
in the distance and reflecting the yellow trees on the far shore. The
billowing clouds almost completely fill the sky, yet the day is still bright
and open, furthering the sense of distance and openness. In mood, by
technique, and in its compositional treatment, this charming work
exemplifies J.E.H. MacDonald’s mastery of Algoma.
E STIMATE: $70,000 ~ 90,000
81
161
Wooded Valley
oil on canvas, signed and on verso titled on the Laing Gallery
label and inscribed no. 76 in graphite by Massey, circa 1930
12 x 16 in, 30.5 x 40.6 cm
P ROVENANCE :
Milne sale to Vincent Massey, 1934
Laing Galleries, Toronto, 1958
Collection of C. Stewart, Toronto, 1958
The Framing Gallery, Toronto, circa 1970
L ITERATURE :
David Milne Jr. and David P. Silcox, David B. Milne: Catalogue Raisonné
of the Paintings Volume 2: 1929 ~ 1953, 1998, reproduced page 499,
catalogue #302.24
In 1943, David Milne wrote to Alice and Vincent Massey, who were
known for their patronage of the arts and who already owned one of his
paintings. Milne proposed to sell them some 300 pieces of art as a
collection, in order to keep the works together. The Masseys accepted,
but then began a program of disseminating the work through galleries
and as gifts and donations, as well as initiating exhibitions. While Milne
objected to the break~up of the collection, the Massey’s efforts, in the long
term, resulted in greater exposure and increased appreciation for Milne’s
art. Wooded Valley is a characteristically spare Milne oil, painted with
black as the defining, outlining colour, accented and enlivened by green,
purple, red and brown plus white. It depicts the woodlands near
Palgrave, within walking distance of where Milne was living at the time.
Milne’s controlled palette is used with masterful dexterity in this serene
work, where the blank sky, something he explored fully at Palgrave,
allows the focus to rest almost fully on the forest.
E STIMATE: $30,000 ~ 40,000
82
162
162 MARC~AURÈLE FORTIN
ARCA 1888 ~ 1970
Vue de St~Siméon
oil on board, signed and on verso signed,
titled, inscribed C~1483 / B~53171 and 33~53309
and stamped OP2064001, circa 1945
39 x 48 in, 99 x 121.9 cm
P ROVENANCE :
The Bonneville Collection, Quebec
Galerie Bernard Desroches, Montreal
Kenneth G. Heffel Fine Art Inc., Vancouver,
inventory #614~6 B678
L ITERATURE :
Ottawa Citizen, June 7, 1964, reproduced page 14
Maurice Huot, Le Droit, April 25, 1964, reproduced page 3
Jean~René Ostiguy, Fortin, National Gallery of Canada, 1964,
reproduced frontispiece and listed, unpaginated
Jean~Pierre Bonneville, M.A. Fortin, Verdun Cultural Centre,
1968, listed page 15 and reproduced page 16
Hughes de Jouvancourt, Marc~Aurèle Fortin, 1980, reproduced
page 161
Guy Robert, Fortin, 1982, reproduced page 189
A.K. Prakash, Canadian Art: Selected Masters from Private Collections,
2003, reproduced page 173
Marc~Aurèle Fortin, The Experience of Colour / Marc~Aurèle Fortin,
L’expérience de la couleur, Musée national des beaux~arts du Québec,
2011, reproduced page 182 and listed page 256
E XHIBITED :
Montreal Museum of Fine Arts, 1954
Queen Elizabeth Hotel, Montreal, 1958
National Gallery of Canada, Fortin, 1964, traveling to the Montreal
Museum of Fine Art, the Musée du Québec, the MacKenzie Art Gallery,
Regina and the Willistead Art Gallery, Windsor, catalogue #62
Centre Cultural de Verdun, M.A. Fortin, 1968, catalogue #15
Galerie Walter Klinkhoff Inc., Montreal, Fortin Exposition Retrospective,
2006, catalogue #46
Musée national des beaux~arts du Québec, Marc~Aurèle Fortin,
The Experience of Colour / Marc~Aurèle Fortin, L’expérience de la couleur,
2011, traveling to the McMichael Canadian Art Collection, Kleinburg,
catalogue #101
Saint~Siméon is a small village on the St. Lawrence River in the
Charlevoix region, some 175 kilometres from Quebec City. Marc~Aurèle
Fortin’s painting showing the village in the foreground, in front of the
spectacular series of capes ending in the river, is a classic view of the site.
Fortin was committed to the idea of producing an image of Quebec that
had nothing to do with Europe, and in that he shared the thoughts of the
American regionalists (Thomas Hart Benton, John Steuart Curry and
Grant Wood) and even of the Group of Seven, who were similarly
83
inclined. But he was also convinced that neither the bustling US
economic growth nor the wild Canada cherished by the Group could be
used to accurately represent the situation in Quebec. For 300 years,
French settlers had established churches and villages in Quebec, pushed
back the wild border of the forest and established a rural countryside
similar to the one the first colonists had left in France. The average look of
the landscape did not have much to do with the Group’s depiction of
Algoma in Northern Ontario or the Rockies in the West. Fortin thought,
along with traditionalist thinkers like Roman Catholic priest and
historian Chanoine Lionel Groulx, that Quebec remained unique because
of the language barriers and the attachment to the Catholic faith, both of
which allowed it to avoid the secularisation of its way of life. In this, Fortin
was in accord with a part of Quebec’s elite ~ in particular the clergy. Some
critics (like Jean Chauvin, Maurice Gagnon and Paul Gladu, to name but a
few) who admired Fortin’s painting but did not share his traditionalist
views, tried to annex him to the “modern art” movement ~ the so~called
“art vivant” trend. However, he objected vehemently to it because of his
attachment to the great masters of the past (he quoted Rembrandt, Peter
Paul Rubens and Nicolas Poussin in his work), and he kept his vision of a
rural Quebec ~ immutable, far from the city and its global economy. His
trip to the north shore of the St. Lawrence River immersed him more
deeply in this persuasion, already defined in his paintings of large trees
done on the outskirts of Montreal.
If we forget about this particular ideological context, it is true that Fortin’s
painting is a pure delight of colour, line and movement. We can see in his
Vue de St~Siméon an almost unbroken continuity between the houses seen
in the foreground and the square patches on the hills. The vertical church
spire is really the pivotal element of the entire composition, and the
unruly allure of the fences in the foreground is a part of a gyrating
movement that incorporates the village into the landscape. Movement
also occurs in the blue rocks of the cape plunging into the river, in the
winding road climbing the hills and in the pale clouds drifting in a yellow
sky. Fortin also had complete control of colour and of mood in the
painting. We are obviously at the end of the day, as the blue shadows are
deepening, and the river seems almost as quiet as a lake. In Fortin’s work
is the clear demonstration that one can never reduce a good painter to his
political or religious ideas. The ideas are important not just for
themselves, but for what he is able to do with them.
Since his untimely death more than 40 years ago, the “modern
movement” has strongly claimed Fortin as one of its own. His annexation
to the movement was settled once and for all at the great retrospective,
Marc~Aurèle Fortin, The Experience of Colour, shown at the Musée national
des beaux~arts du Québec in 2011. This painting was one of the gems of
that show and is reproduced in the substantial catalogue, which was
produced in both French and English for the occasion.
This work will be included in the forthcoming catalogue raisonné on the
artist’s work, #H~0518.
E STIMATE: $400,000 ~ 600,000
84
163
163 EMILY CARR
BCSFA RCA 1871 ~ 1945
British Columbia Forest
oil on paper on board, signed, circa 1935
33 1/4 x 22 1/2 in, 84.4 x 57.1 cm
P ROVENANCE :
Mrs. V. LaFontaine, Montreal
G. Blair Laing, Toronto
Sold sale of Fine Canadian Art, Heffel Fine Art
Auction House, November 24, 2005, lot 138
L ITERATURE :
Doris Shadbolt, The Art of Emily Carr, 1979, a similar circa
1937 ~ 1940 oil on canvas entitled Sombreness Sunlit, in the collection
of The Province of British Columbia, Provincial Archives, reproduced
page 131
Charles C. Hill, Johanne Lamoureux, Ian M. Thom et al, Emily Carr,
New Perspectives on a Canadian Icon, National Gallery of Canada, 2006,
a similar circa 1938 canvas entitled Forest, in the collection of Victoria
University at the University of Toronto, reproduced page 232
2006, pages 263 and 273
Before 1933, Emily Carr’s sketching trips to the woods around Victoria to
sites such as Metchosin, Sooke, Cedar Hill and Goldstream Flats had been
based in cabins, summer cottages or even a derelict hunting lodge
belonging to others. But in 1933 Carr bought a caravan, which she named
the Elephant, that she outfitted to suit her needs ~ with a bed, shelving,
boxes for her dogs and monkey, oil stove and a canvas tarp for a cooking
shelter. She could then have it towed to various woods and seashore
locations around Victoria as a base for her sketching excursions. Not only
did this give her more freedom of choice, but more of a sense of
immersion in her beloved woods ~ she wrote of the sensual joys of the
sound of rain on the roof and wind in the trees and the sweet scents of
cedar and pine. Her favourite seasons to paint in the woods were spring
and fall as, in the summer, she found the forest “too leafy” and invaded by
85
people. In the spring of 1935 she was in the Elephant at Albert Head. In
September of that same year, she went into the forest again with the
Elephant, and experienced warm days and cool nights, with mornings
dewy and sometimes foggy. Setting out into the woods to sketch, she
would choose a spot, set up her campstool and paints, and wait until
form, light and the energy of the woods coalesced into an inspired
composition in her vision. Using an innovative medium of oil thinned
with turpentine or gasoline, she would capture what she saw and felt with
great sweeping brush~strokes. Carr built a vocabulary of form to define
the elements of her paintings ~ such as curves, rings, or spirals ~ and in
British Columbia Forest she used a distinctive horizontal web of whitish
strokes in the upper part of the trees, as well as short strokes in the centre
right tree trunk, likely indicating broken~off lower branches. This
distinctive treatment can be seen in a number of other 1930s works in
public collections, such the canvas Sombreness Sunlit, in the collection of
The Province of British Columbia, Provincial Archives, and the canvas
Dancing Sunlit, in the McMichael Canadian Art Collection. The
foreground in this work creates, with its strong but light strokes of paint,
the sensation that Carr perceived as a rushing sea of undergrowth. In her
journals, Carr strove to express her overwhelming feeling of being a part
of the pulse of life in the forest, writing, “There is a robust grandeur,
loud~voiced, springing richly from earth untilled, unpampered, bursting
forth…an awful force greater in its stillness than the crashing, pounding
sea…It is life itself, strong, bursting life.”
In her striving to capture the essence of energy that she felt pervaded
everything she saw in the forest, Carr was dissolving form through her
expressionist brush~strokes. Carr had been in contact with Group of
Seven painter Lawren Harris, who by this time had turned from landscape
to abstraction, and he was encouraging her to do the same. Both artists
were highly spiritual, Harris following the tenets of Theosophy while Carr
was Christian, and ideas were exchanged about this as well. However,
Carr discovered that she was not comfortable with Theosophy and that,
for her, abstraction was not the final liberation. It was nature that
sustained her spiritually and artistically as nothing else could, so in the
end she would never relinquish it.
E STIMATE: $150,000 ~ 250,000
86
164
164 EMILY CARR
BCSFA RCA 1871 ~ 1945
Strait of Juan de Fuca, BC
oil on paper on board, signed and on verso
titled on the Watson Galleries label, circa 1934
22 1/4 x 35 3/4 in, 56.5 x 90.8 cm
P ROVENANCE :
Watson Art Galleries, Montreal
By descent to a Private Collection, Montreal
L ITERATURE :
Paula Blanchard, The Life of Emily Carr, 1987, a similar circa 1936
oil on paper entitled Strait of Juan de Fuca, in the McMichael Canadian
Art Collection, reproduced, unpaginated plate
2006, pages 54 and 55
In the 1930s Emily Carr began to use oil on paper, precipitating a new
freedom in her work. She mixed her oil paint with turpentine ~ and even
gasoline ~ to achieve a variety of effects, from the thinness of a
watercolour wash to a greater density approaching undiluted oil. The
medium’s fluidity allowed her to use sweeping brush~strokes, which
expressed the sense she had of the movement of a divine energy through
nature, whether forest or shore. In 1931, she wrote, “This evening I aired
the dogs and took tea on the beach…all the world was sweet, peaceful,
lovely. Why don’t I have a try at painting the rocks and cliffs and sea? God
is in them all. Now I know that is all that matters.” In Strait of Juan de Fuca,
BC, there is a sculptural strength in the looming rocky headland, yet
through the use of transparent oil washes there is also a quality of
dematerialization like that of the surrounding water and atmosphere. In
this transcendent seascape, Carr shows her mastery of the medium,
permeating form with glowing light and energy.
E STIMATE: $100,000 ~ 150,000
87
165
165 EMILY CARR
BCSFA RCA 1871 ~ 1945
Storm Over Grey Forest
oil on canvas, signed with the estate stamp and on verso
signed twice with the estate stamp on the tacking edge
and titled on the Dominion Gallery label, circa 1931
16 x 20 in, 40.6 x 50.8 cm
P ROVENANCE :
Dominion Gallery, Montreal, inventory #B150
Kastel Gallery, Montreal
L ITERATURE :
Doris Shadbolt, Emily Carr, 1990, the related 1930 charcoal drawing
Untitled (landscape with “eye” in sky), in the collection of the Vancouver
Art Gallery, reproduced page 165
Emily Carr’s small sketchbook drawings of 1929 and 1930 formed the
basis for a group of contemporaneous larger drawings that consolidated
her ideas for canvases, including the precursor to this work, Untitled
(landscape with “eye” in sky). Doris Shadbolt noted that Carr “was still
under the spell of the Indian presence and in several of these drawings she
expressed the underlying correspondence that she had discovered
between the natural environment and the Indian carvings in which eyes,
or eyelike shapes, appear between totemlike sections of foliage.” In this
dramatic work, the eye is present more abstractly ~ an aperture of light
piercing through the storm over the dark forest. The compression of the
storm is visible, the wind whipping the branches into wave~like
formations. Much of Carr’s work in the 1930s was done in oil on paper,
which allowed a tremendous freedom of movement. Storm Over Grey
Forest embodies that freedom in a rare and thrilling oil on canvas, in
which her expressionistic brush~strokes captured the essence of the
intangible ~ the storm’s energy, the vapour~laden air and the sensation
of intensity in the forest.
E STIMATE: $80,000 ~ 120,000
88
166
166 EMILY CARR
BCSFA RCA 1871 ~ 1945
BC Forest
oil on paper on board, signed and on verso
inscribed in graphite Miss Flora Burns $20.00
and 103 circled, circa 1939
16 1/2 x 22 3/8 in, 41.9 x 56.8 cm
P ROVENANCE :
Private Collection, Victoria, possibly Flora Burns,
friend of the Artist
Galerie Agnès Lefort, Montreal
L ITERATURE :
2006, page 185
Emily Carr’s body of forest work is like an opera, sometimes with deep,
serious tones, sometimes with light, high passages. In BC Forest, Carr
chose to include an open foreground and view of the sky, and to make us
aware of the atmosphere of the day. The playful wind makes itself known
through the rollicking rhythms in the trees, diagonal lines in the sky and
the bent~over tree in the upper left. In the open ground Carr delineates
more directional movements ~ and the whole painting strikes a fine
balance between vertical and horizontal rhythms. The whirling
gesticulation of the gathering of small conical evergreens creates a joyous
atmosphere. Carr wrote in her journals about the “frivolous pines, very
bright and green…The wind passes over them gaily, ruffling their merry,
fluffy tops and sticking~out petticoats. The little pines are very feminine
and they are always on the swirl and dance in May and June.” Whatever
the mood of the forest setting she sketched in, she strove to strike the true
chord of its expression, as nature was as a cathedral to her that she
worshipped in.
E STIMATE: $50,000 ~ 70,000
89
P ROVENANCE :
Dominion Gallery, Montreal
The Collection of Dr. John A. MacAulay,
Winnipeg
L ITERATURE:
Doris Shadbolt, The Art of Emily Carr, 1979,
a similar circa 1936 Untitled oil on paper work,
in the collection of the Maltwood Art Museum
and Gallery, University of Victoria, reproduced
page 214
Emily Carr, Hundreds and Thousands, The Journals
of Emily Carr, 2006, pages 265 and 273
Emily Carr’s depictions of inner forests ranged
from solemn to tender and joyous, such as in this
fluid, energized oil on paper work. In Forest
Interior, painted in a free and expansive manner,
Carr is attuned to the pulse of life. The
foreground is lush forest undergrowth, which
she described in her journal as “a sea of sallal [sic]
and bracken, waving, surging, rolling towards
you. Green jungle…solid, yet the very solidity
full of air spaces.” With her technique of oil
washes on paper, Carr could work directly in the
forest. She captured what she perceived with
sweeping brush~strokes, finding “themes
everywhere, something sublime…or joyous, or
calm, or mysterious. Tender youthfulness
laughing at gnarled oldness. Moss and ferns, and
leaves and twigs, light and air, depth and colour
chattering, dancing a mad joy~dance, but only
apparently tied up in stillness and silence. You
must be still in order to hear and see.”
This beautiful painting was once owned by the
prominent Winnipeg collector Dr. John
MacAulay, whose collection included the
extraordinary Carr canvas Wind in the Tree Tops,
which Heffel sold for a record price in June of
2009.
167
167 EMILY CARR
BCSFA RCA 1871 ~ 1945
Forest Interior
oil on paper on board, signed and on verso titled
on the Dominion Gallery label and inscribed with the
Dominion Gallery inventory #D4178, circa 1936
22 3/4 x 16 in, 57.8 x 40.6 cm
E STIMATE : $50,000 ~ 70,000
90
168 CORNELIUS DAVID
KRIEGHOFF
1815 ~ 1872
Indian Moccasin Seller
oil on canvas, signed and titled The
Indian Shoe Seller on a plaque and on
verso inscribed PC~183 and stamped
Leslie Lewis, London
11 1/8 x 9 1/8 in, 28.3 x 23.2 cm
P ROVENANCE :
Leslie Lewis, London
168
Cornelius Krieghoff lived in Quebec City
from 1853 to 1863, and some of his
best~loved works from this period are
depictions of the local Hurons. Although the
fur trade provided their greatest source of
income, the local economy in Quebec City
included the production and sale of
traditional items such as moccasins,
snowshoes, baskets and canoes. Moccasins
were not only attractive footwear; they were
also very practical. Their soft soles enabled
the wearing of snowshoes in the winter and
allowed one to step safely into a birch bark
canoe in the summer. Many of these local
crafts were sold to army officers who were
looking for a tangible keepsake of their stay in
this place of romantic scenery. These same
officers were also avid collectors of
Krieghoff’s small paintings, as the subject
matter of these works provided a special
memory of Canada. The female moccasin
seller is seen picking her way through the ice
jams on the St. Lawrence River, the jagged
shards of ice serving as a dramatic backdrop
as well as a reminder of the harsh but
beautiful winters of Quebec.
E STIMATE : $20,000 ~ 30,000
91
169 CORNELIUS DAVID
KRIEGHOFF
1815 ~ 1872
The Indian Hunter
titled on the gallery label
10 7/8 x 9 in, 27.6 x 22.9 cm
P ROVENANCE :
L ITERATURE :
Dennis Reid, Krieghoff / Images of Canada,
Art Gallery of Ontario, 1999, a similar 1858
work entitled Indian Trapper on Snowshoes, in
The Thomson Collection, the Art Gallery of
Ontario, reproduced page 175 and a similar
1866 canvas entitled The Indian Hunter, also
in The Thomson Collection, reproduced
page 184
Cornelius Krieghoff, Canada’s best~known
nineteenth century artist, had a great affinity
for First Nations peoples, and often depicted
them, both in single figure subjects such as
hunters and moccasin sellers, and in
complex tableau settings. In the 1840s, while
living at Montreal and Longeuil, he was in
contact with the Mohawks from the village of
Caughnawaga, and after moving to Quebec
City after 1853, observed the Hurons at the
nearby village of Lorette, amongst other
peoples. Single figures such as the hunter
represented in this fine winter scene were
portrayed by Krieghoff more as archetypes
than as individual personalities. He paid
great attention to authentic ethnographic
detail, carefully depicting the subject’s
snowshoes, Hudson’s Bay blanket coat,
leggings, mittens and distinctive hat with
its feather crest. Krieghoff himself enjoyed
hunting, and was said to be a fine marksman,
and it was common for native guides to be
hired for these excursions. Striding along
briskly, full of purpose and undeterred by
the wintery conditions, this self~sufficient
hunter is an idealized icon of native life,
much admired by Krieghoff and his
collectors of the time.
E STIMATE: $20,000 ~ 30,000
169
92
170
170 ALBERT HENRY ROBINSON
CGP RCA 1881 ~ 1956
Cacouna
oil on board, signed and on verso
titled on the gallery label, circa 1925
8 3/8 x 10 1/2 in, 21.3 x 26.7 cm
P ROVENANCE :
Cacouna was an important location for Albert Robinson. Situated on the
south shore of the St. Lawrence, some 200 kilometres downstream from
Quebec City, it was here that he went on a series of productive trips with
his old friend A.Y. Jackson in the 1920s. Two similar sketches of Cacouna,
showing glimpses of the icy St. Lawrence through the rooftops, are in the
collection of the National Gallery of Canada, and works from Cacouna are
amongst his most sought after.
Robinson is known as a superb colourist ~ one of the best of his
generation. He had a great affection for snow scenes, and while white was
often a dominant element, he used both warm and cool colours to build
up the overall image. In this powerful sketch, the strong, horizontal band
of the river, almost visibly moving from left to right, is depicted in a most
striking blue~green. In contrast, he has used varying shades of mauve in
the reflections in the snow and used the warm colour of the bare
supporting board to complete the overall symphony of colour.
E STIMATE: $20,000 ~ 25,000
93
171
171 FREDERICK HORSMAN VARLEY
ARCA G7 OSA 1881 ~ 1969
Rough Waters, Kootenay Lake
oil on canvas board, signed and on verso titled
on a label and stamped with the Varley Inventory #292
12 x 16 in, 30.5 x 40.6 cm
P ROVENANCE :
L ITERATURE :
Katerina Atanassova, F.H. Varley: Portraits into the Light / Mise
en lumière des portraits, 2007, page 103
Frederick Varley’s skill with colour enabled him to command a brilliantly
saturated palette, work with unusual combinations of complementary
tones and to infuse his warm colours with gold. Not one to take his colour
cues from what he saw, he instead sought to give his work the essence of
the emotional charge he felt when painting. In this lively, bright depiction
of Kootenay Lake, Varley has used a preponderance of white, lightening
all his colours to their palest, most silvery hues. It is a work of blinding
light, with a unique Varley~esque force conveyed through subtle blends
and fine colour harmonies. Katerina Atanassova writes, “Varley insisted
on seeing the true nature of colour, searching out the exact value and hue
instead of resorting to formulas. In that respect he had a less structured
approach than the academic painters, who used to lay colours over
carefully executed drawings. Once he had defined the largest areas of
colour, he made sure that the colours worked together. He never viewed
colours separately, because his goal was always a harmonious blend.”
E STIMATE: $15,000 ~ 25,000
94
172
172 ARTHUR LISMER
Georgian Bay Near Manitou Dock
oil on board, signed and dated August 12
and on verso titled and dated 1948
12 5/8 x 17 3/4 in, 32.1 x 45.1 cm
P ROVENANCE :
Private Collection, Calgary
L ITERATURE :
Lois Darroch, Bright Land, A Warm Look at Arthur Lismer, 1981, page 15
The Group of Seven members each had painting places that had a
particular resonance for them, and for Arthur Lismer it was Georgian Bay.
Lismer’s first sight of it was a revelation to him, and he wrote, “Georgian
Bay!…thousands of islands, little and big, some of them mere rocks just
breaking the surface of the Bay ~ others with great, high rocks tumbled in
confused masses and crowned with leaning pines, turned away in ragged
disarray from the west wind…Georgian Bay ~ the happy isles, all
different, but bound together in a common unity of form, colour and
design. It is a paradise for painters.” In 1948, Lismer was based at
Manitou Dock, one of his favourite locations. This vital work is full of the
tumult of the elements, with Lismer depicting the surf lashing the edges of
the rocky outcrops. Heavy clouds loom over the horizon, but the light is
strong, and the expanse of pale blue water lights up the painting. Georgian
Bay Near Manitou Dock is alive with ephemeral weather, and Lismer
makes us feel the very touch of the wind.
E STIMATE: $20,000 ~ 30,000
95
173
173 ARTHUR LISMER
Shoreline, Georgian Bay
oil on canvas on board, signed and dated 1943
and on verso titled and dated on the gallery label
18 1/2 x 22 1/4 in, 47 x 56.5 cm
P ROVENANCE :
Georgian Bay was an iconic painting place for Arthur Lismer, one he
returned to often after he first saw it in 1913. It was a landscape of
windswept pines, distinctive islets, powerful rock formations and radiant
atmosphere, and Lismer loved its rugged beauty. In 1943 he stayed at
Copperhead, on a small island north of his usual haunt of Manitou Dock.
It was at Georgian Bay that he developed his distinctive gestural, textured
brush~stroke and a more sculptural approach to form. He also began to
paint close~up views of life at ground level, and here depicts a striking
beachscape where large slabs and shelves of rocks are contrasted with
smaller rocks and driftwood thrown up on shore. On the horizon, the
turbulent waters of Georgian Bay churn and froth, their deep blue
highlighted with rich emerald green. Rocks, driftwood and their shadows
are highlighted with a vibrant range of colour, from blue, green and
purple to warm orange and ochre. In Shoreline, Georgian Bay, Lismer has
captured the bold and vital nature of this unique and compelling place.
E STIMATE: $20,000 ~ 30,000
96
174 ARTHUR LISMER
AAM CGP CSGA CSPWC G7
OSA RCA 1885 ~ 1969
Shafts of Light
in the BC Forest
oil on canvas, signed twice,
circa 1952
26 x 21 in, 66 x 53.3 cm
P ROVENANCE :
L ITERATURE :
Robert Ayre, “A Sheaf of Summer Sketches”,
Canadian Art, Volume XIII, Winter, 1956,
page 228
Dennis Reid, Canadian Jungle, The Later
Work of Arthur Lismer, Art Gallery of
Ontario, 1985, page 53
In 1951, Arthur Lismer discovered a new
painting place when he traveled to
Vancouver Island, exploring Long Beach on
its west coast, as well as Galiano, Pender and
Saltspring Islands. The West Coast made
such an impact that he returned over 16
summers, painting both shore and inner
forest. Robert Ayre described Lismer’s
experience at Wickaninnish at Long Beach:
“Lismer swims and catches crabs, paints and
helps Joe cut trails through the jungle,
choked with salal, ground sumac and skunk
cabbage. You could get lost in the dense
tropical growth of the cedar swamps.” The
huge trees on the coast captured Lismer’s
imagination, as did Emily Carr’s depictions
of them; he stated, “I’m always expecting
Emily Carr to appear from behind a tree.”
In Shafts of Light in the BC Forest, a
cathedral~like forest is lit from within by
shafts of warm light that spill over a forest
floor further illuminated by splashes of pink
and orange. Lismer’s bold brush~strokes
and textural approach to paint serve to
further emphasize the power of the trees and
the vigour of the West Coast rain forest.
E STIMATE : $25,000 ~ 35,000
174
97
175 ARTHUR LISMER
AAM CGP CSGA CSPWC G7 OSA
RCA 1885 ~ 1969
Tree Study
inscribed Property of D.M. Ferms~Collier,
Forest Hill, Toronto
16 x 12 in, 40.6 x 30.5 cm
P ROVENANCE :
D.M. Ferms~Collier, Toronto
Private Collection, Whitehorse
L ITERATURE :
Dennis Reid, Canadian Jungle: The Later Work
of Arthur Lismer, Art Gallery of Ontario, 1985,
page 51, a similar canvas entitled Forest Giant,
Vancouver Island reproduced page 55
175
Arthur Lismer brought techniques and interests
developed during the time he worked at
Georgian Bay to his 1950s and 1960s British
Columbia coast painting trips, which began
after his attention was drawn west when his
cross~Canada retrospective exhibition was
closing at the Art Gallery of Greater Victoria and
the Vancouver Art Gallery in 1951. Paint was
bold and textural, often incised with animated
lines created by the tip of his brush, and trees
and the jumble of life at the forest floor were his
main subjects. Old growth giants such as these
were often depicted by Lismer in his West Coast
works, and he lit this vibrant forest interior with
bold splashes and strokes of yellow, orange,
flesh and mauve. In paintings such as this, one
can feel the presence of Emily Carr, who Lismer
had first met on her visit east in 1927. On his
summer trips west, Lismer visited her in
Victoria, once even sketching with her below
Beacon Hill Park. In Tree Study, Lismer
celebrates a forest full of life, yet venerable
through the passage of time.
E STIMATE : $18,000 ~ 22,000
98
176
On an Algoma Lake
oil on board, signed and on verso signed, titled
and inscribed in graphite with the Doris Mills
Inventory #2/115 (crossed out), circa 1918 ~ 1920
10 1/2 x 13 3/4 in, 26.7 x 34.9 cm
P ROVENANCE :
The Fine Art Galleries, T. Eaton Co. Ltd., Toronto
L ITERATURE :
Doris Mills, L.S. Harris Inventory, 1936, listed as Group 2 (2/115),
Algoma Sketches, location noted as the Studio Building
Lawren Harris often chose the place where water meets land as a subject
in his work. Water, with its reflective possibilities and depth of shadows,
requires a different approach than rocks or the lush undergrowth of
forest. On an Algoma Lake is a fine example of Harris’s ability to play these
two elements against each other. The smooth lines of the flat rock jutting
out into the water divides the forest from the lake nicely, with a few white
accenting laps against the nose of the rock. It is interesting to note how
similar the brushwork is in the water and this rock; they work in harmony
together, despite their differences in solidity. A single yellow tree blazes
against the green forest, and Harris has outlined many of the features in
this work with black ~ a striking method of his which served to balance
out bright highlights such as the vivid yellow of the small tree. It is a
portrait of sorts, wherein the little tree takes most of our attention despite
the eloquent surroundings.
E STIMATE: $70,000 ~ 90,000
99
177
Rainstorm, Northern Lake
oil on panel, signed, circa 1917
10 3/4 x 13 3/4 in, 27.3 x 34.9 cm
P ROVENANCE :
A gift from the Artist to Arthur Burk, Toronto
By descent to a Private Collection, Montreal
Private Collection, London, England
L ITERATURE :
Jeremy Adamson, Lawren S. Harris: Urban Scenes and Wilderness
Landscapes 1906 ~ 1930, Art Gallery of Ontario, 1978, page 65
This exciting work by Lawren Harris is an essay in contrasts. The graceful,
vertical trees are light and airy, with thinly painted trunks that make
skillful use of the wooden support panel itself. The dark green of their
lifting, seemingly windblown tops contrasts with the bright green of the
solid horizontal brush~strokes that Harris uses to depict the foreground.
By mood, colour and direction, Harris’s brushwork shows us fine weather
and poor, wind and calm, with the rainstorm on the right being a sheet of
perfect, thinly~painted pale blue verticality.
The subject of this dramatic painting is possibly Kempenfelt Bay on Lake
Simcoe, 60 miles north of Toronto, where Harris and his mother owned a
summer home. In referring to the works Harris painted there, Jeremy
Adamson states, “The majority of his Lake Simcoe sketches are studies of
trees set against an expansive sky and indicate pictorial interests differing
from those of his decorative studio snow scenes.” Harris’s interest here lies
in the contrast between the softly~glowing pastoral foreground and the
elemental forces of nature in the rainstorm washing across the lake.
E STIMATE: $90,000 ~ 120,000
100
178
101
AAM RCA 1866 ~ 1934
Evening Glow, Near Lac Tremblant
oil on canvas, signed and on verso titled
on the Watson Art Galleries label and certified by
Cullen Inventory #1032, circa 1926
24 1/4 x 32 1/4 in, 61.6 x 81.9 cm
P ROVENANCE :
Watson Art Galleries, Montreal, 1926
Acquired from the above exhibition by
George McDougall, Montreal
Private Estate, Ontario
Auction House, May 25, 2006, lot 68
L ITERATURE :
Paul Duval, Canadian Impressionism, 1990, page 42
E XHIBITED :
179
Watson Art Galleries, Montreal, Fourth Annual Exhibition of Oil
Paintings and Pastels by Maurice Cullen, RCA and Robert Pilot, ARCA,
January 18 ~ 30, 1926, priced at $750, catalogue #6
179 RANDOLPH STANLEY HEWTON
By 1926, Maurice Cullen’s great series of Laurentian landscapes had
reached its apogee. Evening Glow, Near Lac Tremblant is a salient example
of the winter scenes produced by the artist in the 1920s, landscapes that
eloquently captured both the essence and ephemeral characteristics of
the area around Lac Tremblant. Cullen’s connection to the Laurentians
was profound and prevailing, born of many solitary sketching excursions
taken along the shores of Lac Tremblant and the Cache River, and the
artist’s deeply felt experiences of this wild and sentient nature. In the early
1920s Cullen built a painting cabin on the shores of Lac Tremblant,
making concrete an attachment described as being “as passionate as that
of Monet’s to Giverny”.
oil on canvas, signed and on verso inscribed
6 B / J 70 / 04lier and stamped with the Hewton
estate stamp and twice with the Hewton studio stamp
10 1/4 x 12 in, 26 x 30.5 cm
Significantly, Evening Glow, Near Lac Tremblant was exhibited at William
Watson’s art gallery, then located on St. Catherine Street, the same year it
was produced. This exquisite painting may be said to encapsulate the
very essence of Cullen’s unique oeuvre. In its fluency of form and gentle,
glimmering luminosity, the work evokes the grand, sensorial dimension
of the natural world in flux. At once sparse and sumptuous, Evening Glow,
Near Lac Tremblant quietly conveys the fullness of the moment as day
turns to dusk. The stillness of the lake, almost abstracted in its
articulation, the enveloping low light, and the tranquil drama of the
sunset unfolding on the horizon, combine to evoke a scene of charged and
timeless serenity.
E STIMATE: $150,000 ~ 200,000
BHG CGP RCA 1888 ~ 1960
North Shore, Lower St. Lawrence
P ROVENANCE :
Randolph Hewton trained in France along with Group of Seven artist
A.Y. Jackson, and was invited to participate in the first Group exhibition
in 1920. He was one of the members of Montreal’s Beaver Hall Group and
was considered to be a prominent member of that city’s art community.
His Quebec landscapes were known for their strength of composition,
freshness of colour and simplicity of form, as in this crisp winter rural
scene on the St. Lawrence River.
E STIMATE: $10,000 ~ 15,000
102
180
MACDONALD
Village Houses
oil on board, signed and dated 1930 and on verso signed,
titled and inscribed 25 Severn St., Toronto, $30 and $65
8 1/2 x 10 3/8 in, 21.6 x 26.3 cm
P ROVENANCE :
A gift from the Artist to a Private Collection, Windsor, 1930
By descent to the present Private Collection, Oshawa
This delightful J.E.H. MacDonald oil painting depicts a farm scene,
something we do not often see in his subjects. MacDonald’s palette here is
quite spare ~ he has used only a few colours to depict the scene, as was his
practice when sketching out~of~doors. Particularly fine is his choice of a
deep cobalt blue, which has been applied first to depict the trees, shrubs
and some lines of the buildings in the village. The age~induced burnt
orange colour of the supporting board, which shows through in places
between the lively, quickly applied strokes of paint, is a lovely contrast to
the cobalt blue. In the sky, billowing clouds tower and are echoed in their
shape by the plume~like trees, which serve, along with the buildings, to
both break up and contrast with the linear treatment of the earth. The
movement of the brushwork in the portion of the painting where the sky
meets the distant band of trees is characteristically MacDonald, and
reminds us nicely of the presence of his hand in this work.
E STIMATE: $25,000 ~ 35,000
103
181
MACDONALD
William Colgate, Toronto; Laing Galleries, Toronto
Kenneth G. Heffel Fine Art Inc., Vancouver
Private Collection, British Columbia
This brightly lit depiction of a frozen Algonquin swamp dates from 1914,
and it both echoes the earlier style of J.E.H. MacDonald’s masterpiece
canvases in the impressionist mode, and foreshadows the distinctly
Canadian style that he was rapidly developing. By this time in his life,
MacDonald had moved into his Thornhill home, which allowed him daily
access to a rural country environment. As well, he had met the future
members of the Group of Seven and had begun to explore Canada’s
northlands with them. His expanding appreciation for the landscape of
Canada is evident in his letters and diaries, and A.Y. Jackson noted in his
autobiography that “J.E.H. MacDonald…was probably the first to dream
of a school of painting in Canada that would realize the wealth of motifs
we had all around us.” MacDonald had an acutely sensitive nature, which
allowed him to respond to things in a very personal way. This bold
rendering of the effects of winter sunlight is now almost 100 years old, yet
it thoroughly retains its fresh qualities.
L ITERATURE :
There is an unfinished sketch on verso.
1958, page 29
E STIMATE: $20,000 ~ 30,000
The Swamp, Algonquin Park
oil on panel, on verso signed, titled, dated 1914
and certified by Thoreau MacDonald, November 1951
8 x 10 in, 20.3 x 25.4 cm
P ROVENANCE :
104
182
182 WILLIAM PERCIVAL (W.P.) WESTON
ARCA BCSFA CGP RBA 1879 ~ 1967
Atlin, BC
27 1/4 x 32 in, 69.2 x 81.3 cm
P ROVENANCE :
L ITERATURE :
Ian M. Thom, W.P. Weston, Heffel Gallery Limited, 1991, page 6
Majestic mountains and indomitable trees were William Weston’s two
most powerful subjects. Rugged beauty was what he sought ~ and early in
his career, he wrestled with depicting it, stating, “I painted some pretty
wild things, but always I came a little closer to my own language of form
and the expression of my own feeling for this coast region; its epic quality,
its grandeur, its natural beauty.” Atlin Lake is British Columbia’s largest
lake, drawing its aqua colour from the sediment in the melt water from the
nearby Llewellyn Glacier. After he retired from teaching in 1946, Weston
was able to make sketching trips outside of the Vancouver area, and
traveled to the Okanagan Valley, the Kootenays and the Yukon, which
provided material for his winter studio work. Atlin, BC contains the
essence of Weston’s reverential approach to British Columbia’s
awe~inspiring landscape, pared down to its essential elements of the
misty lake with its foreshore of sculpted logs and rocky shelves and, rising
above all, the stunning mountain range with glacial rivulets.
E STIMATE: $15,000 ~ 20,000
105
183
183 DONALD M. FLATHER
FCA
1903 ~ 1990
The Green Growler of Pond Inlet
oil on board, signed and dated 1981
and on verso signed, titled and dated
35 3/4 x 48 1/2 in, 90.8 x 123.2 cm
P ROVENANCE :
Inscribed on verso by the artist: “This iceberg entered Pond Inlet from
Greenland three years before, and much larger than at present. The
character of its ice revealed its birthplace. It moved around Pond Inlet
under the caprice of winds and tides. In its appearance here it had been
grounded for over three years. The sunshine had reduced its above~water
volume. The cold water did not affect the submerged part much. It was
about one mile west of the Shaw boat~launching beach and about 800
yards offshore to the north. A weighted depth line indicated 195 feet of
water. The launching beach is another mile west of the centre of Pond
Inlet village. A good truck road connects the two places. The iron~brown
hills to the north form the south shore of Bylot Island with three large
glaciers reaching tide~water. Bylot was Baffin’s excellent navigator.”
The term “growler” refers to a piece of glacier ice, often transparent,
appearing green or almost black. This glacier is an extraordinary sculpted
shape, resembling an Arctic cathedral, a remarkable subject for this
exceptional painting by Donald Flather.
E STIMATE: $10,000 ~ 15,000
106
184
Eldorado, Great Bear Lake
oil on board, signed and on verso signed, titled, dated
September 1938 and inscribed Harbour at Port Radium
and with the Naomi Jackson Groves Inventory #1577
10 1/2 x 13 1/2 in, 26.7 x 34.3 cm
P ROVENANCE :
Dr. Charles Camsell
The Right Honourable Malcolm MacDonald, British High
Commissioner to Canada 1941 ~ 1946, and Mrs. MacDonald
A.Y. Jackson was particularly attracted by the northern Canadian
wilderness, and we know that he jumped at the chance to visit Port
Radium when his friend Gilbert LaBine, president of Eldorado Mining
and Refining, invited him up to sketch in 1938. He flew up in LaBine’s
company float plane in the late summer, and produced some remarkable
work, including this wonderful panoramic sketch. Fall comes early in the
Far North, and the reds and yellows of the foliage in the foreground are
typical for September. The buildings in the middle distance are part of the
Eldorado mine complex ~ a valuable source of radium and uranium in the
1930s.
This painting comes with an interesting provenance. Originally owned by
Dr. Charles Camsell, an important geologist and Commissioner of the
Northwest Territories from 1936 to 1946, he gave it as a wedding present
to the Right Honorable Malcolm MacDonald (British High Commissioner
to Canada) and his Canadian bride in 1946. This is the first time this fine
painting has appeared on the market.
E STIMATE: $25,000 ~ 35,000
107
185
Sketch XI, Farmhouse Near Mattawa
oil on board, signed and on verso signed, titled
and inscribed $25 and inscribed by Thoreau MacDonald
With J.E.H. MacD., Mattawa, April 1913 / Gift to Carl Schaefer
from J.E.H. MacD., 1928 and by Carl Schaefer Collection Carl
Schaefer, 117 St. Clements Ave., Toronto, 12, Ont.
8 x 10 in, 20.3 x 25.4 cm
P ROVENANCE :
Collection of J.E.H. MacDonald
A gift from J.E.H. MacDonald to Carl F. Schaefer, 1928
The year 1913 was a turning point for Lawren Harris. In the previous year
he had made his first major sale to the National Gallery of Canada, and it
was with increasing confidence that he set off with fellow artist J.E.H.
MacDonald in the spring of 1913 to sketch the northern wilderness near
Mattawa. This new confidence can be seen in Harris’s application of the
thick brush~strokes in the sky and foreground and in his characteristic
handling of the lone tree ~ techniques for which he would come to be
known in the decades ahead. Few sketches from this trip have appeared
on the market, yet they form an invaluable insight into the beginnings of
the artist’s new style of painting. Mattawa is a small settlement on the
Ottawa River, just north of Algonquin Park, where the transition between
northern coniferous forest and southern deciduous forest occurs. Harris
and MacDonald presumably exchanged sketches from the trip, because
this work was in MacDonald’s collection until it was given to the artist
Carl Schaefer in 1928.
E STIMATE: $20,000 ~ 30,000
108
186
Driving Shed ~ Grenville, Que.
12 x 15 in, 30.5 x 38.1 cm
P ROVENANCE :
Winchester Galleries, Victoria
Soon after joining the Group of Seven in 1926, A.J. Casson defined his
unique identity in the Group with his depictions of Ontario’s villages and
rural countryside. Casson considered Quebec to be A.Y. Jackson’s
territory, although Jackson had tried to persuade him to paint there in the
1920s. In 1966 Jackson finally convinced Casson to accompany him on a
sketching trip to the town of Grenville in Quebec, guiding him to choice
painting places in the area. Casson returned to Grenville every year until
1972. In Driving Shed ~ Grenville, Que., Casson exhibits the same ability to
crystallize the mood of a singular moment and place that he was so well
known for in his Ontario scenes. The weathered driving shed exudes the
warmth of human presence in a rural landscape glowing with fall colours,
while mist effects rise through the background, adding an intriguing
atmospheric element to this peaceful, radiant scene.
E STIMATE: $20,000 ~ 25,000
109
187
MACDONALD
Petite Rivière, Nova Scotia
oil on board, on verso signed, titled, dated 1922
and certified by Thoreau MacDonald and with the estate seal
8 3/8 x 10 3/8 in, 21.3 x 26.3 cm
P ROVENANCE :
F. Wallace Clancy, Toronto
The Framing Gallery, Toronto
Kastel Gallery Inc., Montreal
Petite Rivière is a small settlement on the south shore of Nova Scotia.
Samuel de Champlain is said to have named it after landing there in 1604.
In 1922, J.E.H. MacDonald was teaching at the Ontario College of Art and
took a summer trip to Petite Rivière to stay with his old friend, artist Lewis
Smith. Both had worked at Grip Ltd., that great meeting place of artists
that included many of the future members of the Group of Seven. The trip
proved to be a successful one as he produced, in a relatively short time, an
impressive body of work including shorescapes, open vistas and tranquil
settings such as this one overlooking the river. MacDonald depicted the
scene with typical gusto ~ he excelled at stormy skies, and in this sketch
he included the darkest of clouds. Fortunately, we are in the month of July,
and the sun is doing its best to pick out the highlights of the landscape: the
church spire, the whites of the scattered houses and the broad, verdant
green in the foreground.
E STIMATE: $20,000 ~ 25,000
110
188
Georgian Bay
titled and dated 1920
8 1/4 x 10 1/2 in, 21 x 26.7 cm
P ROVENANCE :
Exposition Art Gallery, Vancouver
L ITERATURE :
1958, page 49
A.Y. Jackson had a long and fruitful connection with Georgian Bay. A
pivotal event in his career took place there: during a 1913 Georgian Bay
sketching trip, he encountered art patron Dr. James MacCallum, who had
a cottage on Go Home Bay. As well as providing the use of his cabin,
MacCallum offered a year’s financial support if Jackson moved into the
Studio Building in Toronto. Starting in February of 1920, Jackson spent
two months sketching at Georgian Bay, principally at Penetanguishene
and Franceville. Back in Toronto in April, he worked on Georgian Bay
canvases for the first Group of Seven show in May. Jackson returned often
to Georgian Bay up until 1967 ~ he had family and friends there, and
declared it “one of my happy hunting grounds for camping and fishing in
all seasons”. He explored its islands, intricate rocky channels and bays by
canoe, finding fine subjects. This classic Group of Seven period work
places the viewer intimately on the edge of a still channel. It reflects an
image iconic to the Group ~ a stand of wind~blown pines above the rocky
shore.
E STIMATE: $18,000 ~ 22,000
111
189
189 SIR FREDERICK GRANT BANTING
1891 ~ 1941
Honey Harbour
oil on board, signed and on verso titled, dated 1933
on the Hart House exhibition label and inscribed
To Freddie H Aug 26 / 33, ‘Many Happy Returns’ as the girl
said and Dr. Hipwell, 172 Rosedale Heights Dr., Toronto
8 1/8 x 10 1/4 in, 20.6 x 26 cm
P ROVENANCE :
A gift from the Artist to Dr. F.W.W. Hipwell, Toronto
L ITERATURE :
Michael Bliss, Banting: A Biography, 1993, page 26
E XHIBITED :
Hart House, University of Toronto, Exhibition of Paintings of the late
Sir Frederick Banting, February 13 ~ March 1, 1943
Dr. Frederick Banting, world~famous as the co~discoverer of insulin,
was also a talented artist. While practicing as a medical doctor, his interest
in culture drew him to the Toronto Arts and Letters Club where, among
others, he met Group of Seven artist A.Y. Jackson. They became friends,
and Banting joined Jackson on some important sketching trips to the
Arctic, Quebec and Northern Ontario, resulting in significant works for
both artists. This richly colourful, atmospheric 1933 work is comparable
in style and execution to some of the best sketches that Jackson painted in
Georgian Bay in the mid~1930s. Honey Harbour is at the south~east end
of Georgian Bay, and is dotted with countless small islands and outcrops.
This painting was a gift from Banting to Dr. Fred Hipwell, his first cousin
and friend, someone who “was, and always would be, his greatest chum.”
Dr. Hipwell and his wife were intimately involved in the progress of
Banting and Dr. Charles Best in the early 1920s, as they lived near the
laboratory where the discovery of insulin was made.
E STIMATE: $12,000 ~ 15,000
112
190
190 EMILY COONAN
BHG 1885 ~ 1971
Quebec Landscape
titled on a label
20 x 24 in, 50.8 x 61 cm
P ROVENANCE :
Patricia Coonan, the Artist’s sister
Charlotte Tansey, Montreal
A gift from Charlotte Tansey to the present
Private Collection, Montreal, 1977
An early exponent of Canadian modernism, Emily Coonan first took art
classes at Conseil des arts et manufactures, but her formative studies were
later at the Art Association of Montreal. During this time, William Brymner
became her teacher and, with his encouragement, Coonan and fellow
artist Henrietta Mabel May traveled to France, Belgium and Holland in
1912. This trip allowed Coonan to see the work of the French
Impressionists and greatly expanded her artistic horizons. She returned
to France in 1920, enabled by a traveling grant awarded by the National
Gallery of Canada. This trip proved to be significant, and subsequently
her work began to indicate modernist sensibilities through increasingly
simplified portraits and landscapes. Also in 1920, she became a member
of the important Beaver Hall Group, and exhibited regularly at the Art
Association of Montreal and the Royal Canadian Academy. Coonan
frequently traveled to the Quebec countryside to paint en plein air, and
this work illustrates her clear admiration of her surroundings. With its
harmonious colour palette and simplified forms, Quebec Landscape is a
charming work from this important female modernist.
E STIMATE: $15,000 ~ 20,000
113
191
Clear Morning ~ Quebec
12 x 15 in, 30.5 x 38.1 cm
P ROVENANCE :
By descent to the present Private Collection, British Columbia
L ITERATURE :
Paul Duval, A.J. Casson, Roberts Gallery, 1975, page 151
“In 1966,” Paul Duval writes, “Casson turned his creative attention to
Quebec Province for the first time in a serious way. Before that, his
experience painting in French Canada had been limited to a two week trip
to Lake La Pêche in 1940.” The 1966 trip was with fellow Group of Seven
painter A.Y. Jackson, and they stayed at Grenville, at the farmhouse of
Jackson’s friends Munroe and Joyce Putnam. The two artists sketched in
Harrington, Avoca and Montebello ~ Avoca being A.J. Casson’s favourite
area. In 1968, Casson’s paintings from the Grenville area were featured in
an exhibition at Roberts Gallery. Casson was enjoying much success with
his exhibitions there, and was receiving great recognition in general at
this point ~ Group of Seven members being well on their way to attaining
the status of national treasures. Clear Morning ~ Quebec is a tranquil
meditation on pure landscape. The foreground screen of trees, showing a
turn to autumn colours, is a symphony of tonal pale greens and golds,
while beyond it the background mountain looms in blue~shadowed
mystery.
E STIMATE: $12,000 ~ 16,000
114
192
192 RENÉ JEAN RICHARD
OC RCA 1895 ~ 1982
Territoire de trappeurs
oil on board, signed
40 1/4 x 47 in, 102.2 x 119.4 cm
P ROVENANCE :
Galerie Clarence Gagnon, Montreal
E XHIBITED :
Musée Marc~Aurèle Fortin, Montreal, Exposition, May 10 ~
September 9, 1990, catalogue #19
René Richard came to Canada in 1909. His parents were in search of new
opportunities, and established themselves at Cold Lake in northern
Alberta in 1910, where Richard’s father operated a trading post. Richard,
then 15, became a trapper, and in 1923 paddled a canoe down the
McKenzie River to the Arctic Ocean, trapping Arctic fox along the way.
His interest in art, and his desire for another kind of life, spurred him to
travel to Paris where he met Clarence Gagnon. Gagnon took Richard
under his wing, encouraging him to visit museums and to explore the
countryside to sketch. After exhausting his funds, Richard returned to
Alberta and the mining and trapping life, but filled his backpack with art
supplies, working out~of~doors whenever he could. He moved to
Quebec in 1940 at the suggestion of Gagnon. Territoire de trappeurs has a
lively, windswept and wintery atmosphere. Richard keenly understood
the hard work involved in trapping, and thus his depiction of this lone
trapper’s encampment has a unique authenticity.
E STIMATE: $20,000 ~ 30,000
115
PROPERTY OF A PROMINENT MONTREAL FAMILY ESTATE
193
193 MARC~AURÈLE DE FOY SUZOR~COTÉ
CAC RCA 1869 ~ 1937
Le halage du bois
bronze sculpture, signed, dated 1924 and inscribed
with the foundry mark Roman Bronze Works N.Y.,
Copyright Canada & United States
14 3/4 x 61 x 6 in, 37.5 x 154.9 x 15.2 cm
P ROVENANCE :
The Elizabeth T. Greenshields Memorial
Foundation, Montreal, 1970
L ITERATURE :
Laurier Lacroix, Suzor~Coté, Light and Matter, National Gallery
of Canada and Musée du Québec, 2002, pages 244 and 266,
reproduced pages 267 and 349 and reproduced in an installation
photograph from the 1929 exhibition page 312
E XHIBITED :
Art Association of Montreal, Forty~Second Spring Exhibition,
April 2 ~ 26, 1925, same cast, catalogue #401
École des beaux~arts de Montréal, Rétrospective Suzor~Coté,
December 3 ~ 20, 1929, listed as Haleur de bois, catalogue #144
Laurier Lacroix writes, “The majority of Suzor~Coté’s sculptures draw on
one aspect or another of the land and one of his most ambitious works was
Hauling Logs, a subject he first treated around 1909, then took up again in
1920 and exhibited in 1924. The theme, with its explicit sense of
movement, consists of a farmer drawing a load of wood. The sculpture is
conceived as a bas~relief frieze and its horizontal format ironically
destines it to wind up over a mantelpiece.”
In 1910, Marc~Aurèle Suzor~Coté exhibited the maquette for this work
at the Ontario Society of Artists. Never made to endure and now lost, it is
known only through a photograph in which we see that the farmer and
horse were made of sculpted plaster and that the artist used small
branches and natural wood for the logs and sled. This quaint and
extremely detailed maquette was also used as a subject for a painting,
exhibited in that same year at the Art Association of Montreal, also in an
unknown location.
Suzor~Coté returned to the theme again in 1924 when he made a painting
and a bronze of the log hauler. Hauling Logs, the 1924 oil on canvas, now
in the collection of the National Gallery of Canada, is a masterwork,
true to the form of the original maquette and full of energy and
movement. All the details of the model are found therein, the axe stuck
into one of the logs, the blowing scarf of the farmer, the chuffing energy of
the horse. In Le halage du bois, the details vary only slightly from that of the
original maquette and the National Gallery of Canada’s painting, to allow
for the different medium of bronze. The reins have become a whip that the
farmer holds in one hand and flicks lightly above the haunches of the
horse as it strains against the load of wood. The farmer’s other hand ~
having no reins to hold ~ has been stuffed into his pocket, emphasizing
the cold of winter that one reads instantly from this action. Measuring
more than a metre and a half in length, this unique and delightful bronze
is the only work the artist is known to have executed in the style of a frieze.
Suzor~Coté understood the painterly equivalents of a frieze~style work,
and used the qualities of the landscape format to emphasize the painterly
aspects of bronze. The bronze is textured and very finely detailed, and in
the different castings, coloured patinas give the work a painterly feel.
When the bronze was shown in 1925 at the Art Association of Montreal, it
elicited this response from Albert Laberge in La Presse, April 3, 1925: “Mr.
Suzor~Côté…is establishing himself as a powerful sculptor…This
composition is full of movement and action, reflecting a thorough
knowledge of nature and a highly developed faculty of observation.”
When the work was shown in the Suzor~Coté retrospective exhibition at
the École des beaux~arts de Montréal in 1929, it was placed just off the
floor, under the paintings. It was often noted, during the artist’s lifetime,
that his work in bronze equaled and, in some cases, surpassed his work in
paint. Lacroix notes, “The sensitivity with which Suzor~Coté approached
the technique of sculpting in the round, his ability to synthesise and
suggest movement, and his skill in animating matter all derived from the
French school of sculpture as it was practised in the late 19th century.
Nonetheless, he was able to transcend this influence in his Canadian
subjects, infusing them with a presence and a permanence that no other
artist has ever matched.”
E STIMATE: $60,000 ~ 80,000
116
194
CAC RCA 1869 ~ 1937
Le vieux pionnier Canadien
bronze sculpture, signed, titled, dated 1912
and inscribed with the foundry mark Roman Bronze
Works Inc. NY, Copyrighted Canada 1914
15 3/4 x 9 1/4 x 17 in, 40 x 23.5 x 43.2 cm
P ROVENANCE :
L ITERATURE :
Pierre L’Allier, Suzor~Coté, l’oeuvre sculpté, Musée du Québec,
1991, reproduced page 46, catalogue #6 and #6a
of Canada and Musée du Québec, 2002, page 235,
reproduced page 237
Le vieux pionnier Canadien (The Old Canadian Pioneer) was first exhibited
at the Art Association of Montreal exhibition in 1913. Léon Lorrain
described the sculpture as “a commendable form of nationalism.” In this
humbly dressed pioneer, sitting in his rocking chair while smoking his
pipe, Marc~Aurèle Suzor~Coté captured the inner strength of early
Quebec settlers, who cleared the land for farming. Laurier Lacroix writes,
“Suzor~Coté’s sculpture was perceived to have succeeded in transmitting
the character of the intrinsic ‘soul’ of French~Canadian rural residents,
the pillars of a nation.” La compagne du vieux pionnier, lot 195, is
considered to be a companion to this work, and although the two
sculptures were created separately, they were exhibited as a pair, and have
grown to be regarded as icons of Canadian art. These sculptures are
considered to be an inseparable pair, symbolic of the tenacity and
perseverance of Canadian rural life.
E STIMATE: $15,000 ~ 20,000
117
195
CAC RCA 1869 ~ 1937
La compagne du vieux pionnier
bronze sculpture, signed, titled, dated 1912 and inscribed
with the foundry mark Roman Bronze Works Inc. NY, Copyright,
Canada United States 1918 by Suzor~Coté
15 3/4 x 9 1/4 x 17 1/4 in, 40 x 23.5 x 43.8 cm
P ROVENANCE :
L ITERATURE :
Pierre L’Allier, Suzor~Coté, L’oeuvre sculpté, Musée du Québec,
1991, reproduced pages 48 and 49, catalogue #7 and #7a
of Canada and Musée du Québec, 2002, page 224, reproduced
page 236
In 1901, Marc~Aurèle Suzor~Coté produced his first sculpture in clay,
and by 1907 was casting in bronze. He had studied sculpture in Paris at
well~known art schools, and while in France in 1911, spent many hours
with renowned sculptor Auguste Rodin. In sculptures such as La
compagne du vieux pionnier (The Companion of the Old Pioneer),
Suzor~Coté was able, through his long observation of French~Canadian
habitants, to transmit their admirable qualities. As Charles L. Sibley
wrote in 1914, “Those who don’t know the French Canadian people have
no idea of the pride of Suzor~Coté’s people in him. And he in them. Travel
has opened his eyes to what the people of his race stand for ~ to their
genuine simplicity and sweetness of heart. He sees character, character,
character everywhere…Nothing enthuses him like his own ancestral
country and the old customs of his race.” The Companion is
introspective, absorbed in her knitting ~ her posture reflects a life of hard
work, although her features are fine~boned and her hands are strong. She
is a moving symbol of the humble yet enduring French~Canadian rural
woman, the backbone of her family and society.
E STIMATE: $15,000 ~ 20,000
118
196
196 MARC~AURÈLE FORTIN
ARCA 1888 ~ 1970
Vue de Montréal du Mont~Royal
watercolour on paper, signed
and on verso titled, circa 1928
9 x 11 1/8 in, 22.9 x 28.3 cm
P ROVENANCE :
In about 1910, Quebec artist Marc~Aurèle Fortin left Montreal for
extended travels in western Canada, specifically Edmonton, and then
went on into the United States, where he studied at The Art Institute of
Chicago and in New York and Boston, returning to Montreal in 1914.
He also traveled to France and England in 1922. During the course of
these travels, Fortin saw a wide range of art, which influenced his own
production. However, his love for his home city did not change, and
views of Montreal are a core subject in his work from the early days of his
career through to his later years when he worked in a fauvist style. Fortin
was known for his artistic courage and interest in experimenting with his
art. Vue de Montréal du Mont~Royal is quite loose and freely handled for a
watercolour of 1928, and would have been considered stylistically
modern, with the vertical trees on either side of the view acting as curtains
of a sort, framing the scene in a pleasing manner, as if it has just been
opened up for us too see.
This work will be included in the forthcoming catalogue raisonné on the
artist’s work, #A~0563.
E STIMATE: $9,000 ~ 12,000
119
The Ramparts, Quebec
titled indistinctly
8 1/2 x 11 in, 21.6 x 27.9 cm
P ROVENANCE :
A gift from the Artist
By descent to an Important Montreal Collection
E STIMATE: $5,000 ~ 7,000
197
CAC RCA 1869 ~ 1937
Retour de pêche au large
de Bréhat, Bretagne
oil on card, signed and on verso
5 1/4 x 9 1/4 in, 13.3 x 23.5 cm
P ROVENANCE :
E STIMATE: $4,000 ~ 6,000
198
Thank you for attending our sale of Fine Canadian Art.
After tonight’s sale, please view our Third Session ~ May
Online Auction of Fine Canadian Art at www.heffel.com,
closing on Thursday, May 30, 2013. Lots can be
independently viewed at one of our galleries in Vancouver,
Toronto or Montreal, as specified in our online catalogue.
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INVITATION TO CONSIGN
ANDY WARHOL, Marilyn, screenprint on paper, 1967, 36 x 36 in
Sold for $87,750
We are now accepting consignments for our October sale of:
Fine International Art
International Pop Art Prints
VANCOUVER • TORONTO • O T TAWA • M O N T R E A L
www.heffel.com • 1 800 528 9608 • [email protected]
INVITATION TO CONSIGN
LAWREN S. HARRIS, The Old Stump, Lake Superior, oil on board, 1926, 12 x 15 in
Sold for a Record $3,510,000
We are now accepting consignments for our fall live auction of:
Canadian Post~War & Contemporary Art
Fine Canadian Art
VANCOUVER • TORONTO • O T TAWA • M O N T R E A L
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124
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10. P URCHASE PRICE
The Purchase Price is the Hammer Price and the Buyer’s
Premium, applicable Sales Tax and additional charges and
c) The Auctioneer shall have the right to regulate and control
the bidding and to advance the bids in whatever intervals he
considers appropriate for the Lot in question;
d) The Auction House shall have absolute discretion in settling
any dispute in determining the successful bidder;
e) The Buyer acknowledges that invoices generated during the
sale or shortly after may not be error free, and therefore are
subject to review;
f) Every Registered Bidder shall be deemed to act as principal
unless the Auction House has acknowledged in writing at
least twenty~four hours (24) prior to the date of the auction
that the Registered Bidder is acting as an agent on behalf of a
disclosed principal and such agency relationship is acceptable
to the Auction House;
g) Every Registered Bidder shall fully complete the registration
process and provide the required information to the Auction
House. Every Registered Bidder will be assigned a unique
paddle number (the “Paddle”) for the purpose of bidding on
Lots in the auction. For online auctions, a password will be
created for use in the current and future online sales only.
This online registration procedure may require up to
twenty~four (24) hours to complete;
h) Every Registered Bidder acknowledges that once a bid is
made with his Paddle, or Paddle and password, as the case
may be, it may not be withdrawn without the consent of the
Auctioneer who, in his sole discretion, may refuse such
consent; and
i) Every Registered Bidder agrees that if a Lot is Knocked Down
on his bid, he is bound to purchase the Lot for the Purchase
Price.
3. BUYER ’S PRICE
The Buyer shall pay the Purchase Price (inclusive of the
Buyer’s Premium) to the Auction House. The Buyer
acknowledges and agrees that the Auction House may also
receive a Consignor’s Commission.
4. SALES TAX EXEMPTION
All or part of the Sales Tax may be exempt in certain
circumstances if the Lot is delivered or otherwise removed
from the jurisdiction of sale of the Lot. It is the Buyer’s
obligation to demonstrate, to the satisfaction of the Auction
House, that such delivery or removal results in an exemption
from the relevant Sales Tax legislation. Shipments out of the
jurisdiction of sale of the Lot(s) shall only be eligible for
exemption from Sales Tax if shipped directly from the
Auction House and appropriate delivery documentation is
provided, in advance, to the Auction House. All claims for
Sales Tax exemption must be made prior to or at the time of
payment of the Purchase Price. Sales Tax will not be refunded
once the Auction House has released the Lot.
5. P AYMENT OF THE PURCHASE PRICE
a) The Buyer shall:
(i) Unless he has already done so, provide the Auction House
with his name, address and banking or other suitable
references as may be required by the Auction House; and
125
(ii) Payment must be made by 4:30 p.m. on the seventh (7th)
day following the auction by: a) Bank Wire direct to the
Auction House’s account, b) Certified Cheque or Bank
Draft, unless otherwise arranged in advance with the
Auction House, or c) a cheque accompanied by a current
Letter of Credit from the Buyer’s bank which will
guarantee the amount of the cheque (release of Lot subject
to clearance of cheque). Credit card payments are subject
to acceptance and approval by the Auction House and to a
maximum of $5,000 if the Buyer is providing his credit
card details by fax, or to a maximum of $25,000 if the
card is presented in person with valid identification. Such
credit card payment limits apply to the value of the total
purchases made by the Buyer and will not be calculated
on individual transactions for separate Lots. In all other
circumstances, the Auction House accepts payment by
wire transfer.
b) Title shall pass, and release and/or delivery of the Lot shall
occur, only upon payment of the Purchase Price by the Buyer
to the Auction House.
6. DESCRIPTIONS OF LOT
a) All representations or statements made by the Auction House,
or in the Consignment Agreement, or in the catalogue or
other publication or report, as to the authorship, origin, date,
age, size, medium, attribution, genuineness, provenance,
condition or estimated selling price of the Lot, are statements
of opinion only. The Buyer agrees that the Auction House
shall not be liable for any errors or omissions in the catalogue
or any supplementary material produced by the Auction
House;
b) All photographic representations and other illustrations
presented in the catalogue are solely for guidance and are not
to be relied upon in terms of tone or colour or necessarily to
reveal any imperfections in the Lot;
c) Many Lots are of an age or nature which precludes them from
being in pristine condition. Some descriptions in the
catalogue or given by way of condition report make reference
to damage and/or restoration. Such information is given for
guidance only and the absence of such a reference does not
imply that a Lot is free from defects, nor does any reference to
particular defects imply the absence of others;
d) The prospective Buyer must satisfy himself as to all matters
referred to in a), b) and c) of this paragraph by inspection,
other investigation or otherwise prior to the sale of the Lot. If
the prospective Buyer is unable to personally view any Lot,
the Auction House may, upon request, e~mail or fax a
condition report describing the Lot to the prospective Buyer.
Although the Auction House takes great care in executing
such condition reports in both written and verbal format,
condition reports are only matters of opinion, are
non~exhaustive, and the Buyer agrees that the Auction House
shall not be held responsible for any errors or omissions
contained within. The Buyer shall be responsible for
ascertaining the condition of the Lot; and
e) The Auction House makes no representations or warranties to
the Buyer that the Buyer of a Lot will acquire any copyright or
other reproduction right in any purchased Lot.
7. P URCHASED LOT
a) The Buyer shall collect the Lot from the Auction House by
4:30 p.m. on the seventh (7th) day following the date of the
auction sale, after which date the Buyer shall be responsible
for all Expenses until the date the Lot is removed from the
offices of the Auction House;
b) All packing, handling and shipping of any Lot by the Auction
House is undertaken solely as a courtesy service to the Buyer,
and will only be undertaken at the discretion of the Auction
House and at the Buyer’s risk. Prior to all packing and
shipping, the Auction House must receive a fully completed
and signed Shipping Form and payment in full of all
purchases; and
c) The Auction House shall not be liable for any damage to glass
or frames of the Lot and shall not be liable for any errors or
omissions or damage caused by packers and shippers,
whether or not such agent was recommended by the Auction
House.
8. R ISK
a) The purchased Lot shall be at the Consignor’s risk in all
respects for seven (7) days after the auction sale, after which
the Lot will be at the Buyer’s risk. The Buyer may arrange
insurance coverage through the Auction House at the then
prevailing rates and subject to the then existing policy; and
b) Neither the Auction House nor its employees nor its agents
shall be liable for any loss or damage of any kind to the Lot,
whether caused by negligence or otherwise, while any Lot is
in or under the custody or control of the Auction House.
9. N ON~PAYMENT AND FAILURE TO COLLECT LOT( S)
If the Buyer fails either to pay for or to take away any Lot by
4:30 p.m. on the seventh (7th) day following the date of the
auction sale, the Auction House may in its absolute discretion
be entitled to one or more of the following remedies without
providing further notice to the Buyer and without prejudice
to any other rights or remedies the Auction House may have:
a) To issue judicial proceedings against the Buyer for damages
for breach of contract together with the costs of such
proceedings on a full indemnity basis;
b) To rescind the sale of that or any other Lot(s) sold to the
Buyer;
c) To resell the Lot or cause it to be resold by public or private
sale, or by way of live or online auction, with any deficiency
to be claimed from the Buyer and any surplus, after Expenses,
to be delivered to the Buyer;
126
d) To store the Lot on the premises of the Auction House or
third party storage facilities with Expenses accruing to the
account of the Buyer, and to release the Lot to the Buyer only
after payment of the Purchase Price and Expenses to the
Auction House;
e) To charge interest on the Purchase Price at the rate of five
percent (5%) per month above the Royal Bank of Canada base
rate at the time of the auction sale and adjusted month to
month thereafter;
f) To retain that or any other Lot sold to the Buyer at the same
or any other auction and release the same only after payment
of the aggregate outstanding Purchase Price;
g) To apply any Proceeds of Sale of any Lot then due or at any
time thereafter becoming due to the Buyer towards settlement
of the Purchase Price, and the Auction House shall be entitled
to a lien on any other property of the Buyer which is in the
Auction House’s possession for any purpose;
h) To apply any payments made by the Buyer to the Auction
House towards any sums owing from the Buyer to the
Auction House without regard to any directions received from
the Buyer or his agent, whether express or implied; and
i) In the absolute discretion of the Auction House, to refuse or
revoke the Buyer’s registration in any future auctions held by
the Auction House.
10. GUARANTEE
The Auction House, its employees and agents, shall not be
responsible for the correctness of any statement as to the
authorship, origin, date, age, size, medium, attribution,
genuineness or provenance of any Lot or for any other errors
of description or for any faults or defects in any Lot and no
warranty whatsoever is given by the Auction House, its
employees or agents in respect of any Lot and any express or
implied conditions or warranties are hereby excluded.
11. ATTENDANCE BY B UYER
a) Prospective Buyers are advised to inspect the Lot(s) before the
sale, and to satisfy themselves as to the description,
attribution and condition of each Lot. The Auction House will
arrange suitable viewing conditions during the preview
preceding the sale, or by private appointment;
b) Prospective Buyers are advised to personally attend the sale.
However, if they are unable to attend, the Auction House will
execute bids on their behalf subject to completion of the
proper Absentee Bid Form, duly signed and delivered to the
Auction House forty~eight (48) hours before the start of the
auction sale. The Auction House shall not be responsible nor
liable in the making of any such bid by its employees or
agents;
c) In the event that the Auction House has received more than
one Absentee Bid Form on a Lot for an identical amount and
at auction those absentee bids are the highest bids for that
Lot, the Lot shall be Knocked Down to the person whose
Absentee Bid Form was received first; and
d) At the discretion of the Auction House, the Auction House
may execute bids, if appropriately instructed by telephone, on
behalf of the prospective Buyer, and the prospective Buyer
hereby agrees that neither the Auction House nor its
employees nor agents shall be liable to either the Buyer or the
Consignor for any neglect or default in making such a bid.
12. EXPORT PERMITS
Without limitation, the Buyer acknowledges that certain
property of Canadian cultural importance sold by the Auction
House may be subject to the provisions of the Cultural
Property Export and Import Act (Canada), and that
compliance with the provisions of the said act is the sole
responsibility of the Buyer.
C. THE CONSIGNOR:
1. T HE AUCTION HOUSE
a) The Auction House shall have absolute discretion as to
whether the Lot is suitable for sale, the particular auction sale
for the Lot, the date of the auction sale, the manner in which
the auction sale is conducted, the catalogue descriptions of
the Lot, and any other matters related to the sale of the Lot at
the auction sale;
b) The Auction House reserves the right to withdraw any Lot at
any time prior to the auction sale if, in the sole discretion of
the Auction House:
(i) there is doubt as to its authenticity;
(ii) there is doubt as to the accuracy of any of the Consignor’s
representations or warranties;
(iii) the Consignor has breached or is about to breach any
provisions of the Consignment Agreement; or
(iv) any other just cause exists.
c) In the event of a withdrawal pursuant to Conditions C.1.b (ii)
or C.1.b (iii), the Consignor shall pay a charge to the Auction
House, as provided in Condition C.8.
2. W ARRANTIES AND INDEMNITIES
a) The Consignor warrants to the Auction House and to the
Buyer that the Consignor has and shall be able to deliver
unencumbered title to the Lot, free and clear of all claims;
b) The Consignor shall indemnify the Auction House, its
employees and agents and the Buyer against all claims made
or proceedings brought by persons entitled or purporting to
be entitled to the Lot;
c) The Consignor shall indemnify the Auction House, its
employees and agents and the Buyer against all claims made
or proceedings brought due to any default of the Consignor
in complying with any applicable legislation, regulations and
these Terms and Conditions of Business; and
127
d) The Consignor shall reimburse the Auction House in full and
on demand for all Expenses or any other loss or damage
whatsoever made, incurred or suffered as a result of any
breach by the Consignor of Conditions C.2.a and/or C.2.c
above.
3. R ESERVES
a) The Auction House is authorized by the Consignor to Knock
Down a Lot at less than the Reserve, provided that, for the
purposes of calculating the Proceeds of Sale due to the
Consignor, the Hammer Price shall be deemed to be the full
amount of the agreed Reserve established by the Auction
House and the Consignor.
4. C OMMISSION AND E XPENSES
a) The Consignor authorizes the Auction House to deduct the
Consignor’s Commission and Expenses from the Hammer
Price and, notwithstanding that the Auction House is the
Consignor’s agent, acknowledges that the Auction House shall
charge and retain the Buyer’s Premium;
b) The Consignor shall pay and authorizes the Auction House to
deduct all Expenses incurred on behalf of the Consignor,
together with any Sales Tax thereon; and
c) The charge for illustrating a Lot in the live auction sale
catalogue shall be a flat fee paid by the Consignor of $500 for
a large size reproduction and $275 for a small reproduction,
per item in each Lot, together with any Sales Tax chargeable
thereon. The Auction House retains all rights to photographic
and printing material and the right of reproduction of such
photographs. The charge for online digital photography,
cataloguing and Internet posting is a flat fee of $100 per Lot.
5. INSURANCE
a) Lots are only covered by insurance under the Fine Arts
Insurance Policy of the Auction House if the Consignor so
authorizes;
b) The rate of insurance premium payable by the Consignor is
$15 per $1,000 (1.5%) of the greater value of the high
estimate value of the Lot or the realized Hammer Price or for
the alternative amount as specified in the Consignment
Receipt;
c) If the Consignor instructs the Auction House not to insure a
Lot, it shall at all times remain at the risk of the Consignor
who hereby undertakes to:
(i) indemnify the Auction House against all claims made or
proceedings brought against the Auction House in respect
of loss or damage to the Lot of whatever nature,
howsoever and wheresoever occurred, and in any
circumstances even where negligence is alleged or proven;
(ii) reimburse the Auction House for all Expenses incurred by
the Auction House. Any payment which the Auction
House shall make in respect of such loss or damage or
Expenses shall be binding upon the Consignor and shall
be accepted by the Consignor as conclusive evidence that
the Auction House was liable to make such payment; and
(iii) notify any insurer of the existence of the indemnity
contained in these Terms and Conditions of Business.
d) The Auction House does not accept responsibility for Lots
damaged by changes in atmospheric conditions and the
Auction House shall not be liable for such damage nor for any
other damage to picture frames or to glass in picture frames;
and
e) The value for which a Lot is insured under the Fine Arts
Policy of the Auction House in accordance with Condition
C.5.b above shall be the total amount due to the Consignor in
the event of a successful claim being made against the
Auction House.
6. P AYMENT OF P ROCEEDS OF SALE
a) The Auction House shall pay the Proceeds of Sale to the
Consignor thirty~five (35) days after the date of sale, if the
Auction House has been paid the Purchase Price in full by the
Buyer;
b) If the Auction House has not received the Purchase Price from
the Buyer within the time period specified, then the Auction
House will pay the Proceeds of Sale within seven (7) working
days following receipt of the Purchase Price from the Buyer;
and
c) If before the Purchase Price is paid in full by the Buyer, the
Auction House pays the Consignor an amount equal to the
Proceeds of Sale, title to the property in the Lot shall pass to
the Auction House.
7. C OLLECTION OF THE P URCHASE PRICE
If the Buyer fails to pay to the Auction House the Purchase
Price within thirty (30) days after the date of sale, the Auction
House will endeavour to take the Consignor’s instructions as
to the appropriate course of action to be taken and, so far as
in the Auction House’s opinion such instructions are
practicable, will assist the Consignor in recovering the
Purchase Price from the Buyer, save that the Auction House
shall not be obligated to issue judicial proceedings against the
Buyer in its own name. Notwithstanding the foregoing, the
Auction House reserves the right and is hereby authorized at
the Consignor’s expense, and in each case at the absolute
discretion of the Auction House, to agree to special terms for
payment of the Purchase Price, to remove, store and insure
the Lot sold, to settle claims made by or against the Buyer on
such terms as the Auction House shall think fit, to take such
steps as are necessary to collect monies from the Buyer to the
Consignor and, if appropriate, to set aside the sale and refund
money to the Buyer.
8. C HARGES FOR WITHDRAWN LOTS
The Consignor may not withdraw a Lot prior to the auction
sale without the consent of the Auction House. In the event
128
that such consent is given, or in the event of a withdrawal
pursuant to Condition C.1.b (ii) or C.1.b (iii), a charge of
twenty~five percent (25%) of the high pre~sale estimate,
together with any applicable Sales Tax and Expenses, is
immediately payable to the Auction House, prior to any
release of the Property.
9. UNSOLD LOTS
a) Unsold Lots must be collected at the Consignor’s expense
within the period of ninety (90) days after receipt by the
Consignor of notice from the Auction House that the Lots are
to be collected (the “Collection Notice”). Should the
Consignor fail to collect the Lot from the Auction House
within ninety (90) days from the receipt of the Collection
Notice, the Auction House shall have the right to place such
Lots in the Auction House’s storage facilities or third party
storage facilities, with Expenses accruing to the account of the
Consignor. The Auction House shall also have the right to sell
such Lots by public or private sale and on such terms as the
Auction House shall alone determine, and shall deduct from
the Proceeds of Sale any sum owing to the Auction House or
to any associated company of the Auction House including
Expenses, before remitting the balance to the Consignor. If
the Consignor cannot be traced, the Auction House shall
place the funds in a bank account in the name of the Auction
House for the Consignor. In this condition the expression
“Proceeds of Sale” shall have the same meaning in relation to
a private sale as it has in relation to a sale by auction;
b) Lots returned at the Consignor’s request shall be returned at
the Consignor’s risk and expense and will not be insured in
transit unless the Auction House is otherwise instructed by
the Consignor; and
c) If any Lot is unsold by auction, the Auction House is
authorized as the exclusive agent for the Consignor for a
period of ninety (90) days following the auction to sell such
Lot by private sale or auction sale for a price that will result in
a payment to the Consignor of not less than the net amount
(i.e., after deduction of the Auction House Commission and
Expenses) to which the Consignor would have been entitled
had the Lot been sold at a price equal to the agreed Reserve,
or for such lesser amount as the Auction House and the
Consignor shall agree. In such event, the Consignor’s
obligations to the Auction House hereunder with respect to
such a Lot are the same as if it had been sold at auction. The
Auction House shall continue to have the exclusive right to
sell any unsold Lots after the said ninety (90) day period,
until such time as the Auction House is notified in writing by
the Consignor that such right is terminated.
10. C ONSIGNOR’ S SALES TAX STATUS
The Consignor shall give to the Auction House all relevant
information as to his Sales Tax status with regard to the Lot to
be sold, which he warrants is and will be correct and upon
which the Auction House shall be entitled to rely.
11. P HOTOGRAPHS AND ILLUSTRATIONS
In consideration of the Auction House’s services to the
Consignor, the Consignor hereby warrants and represents to
the Auction House that it has the right to grant to the Auction
House, and the Consignor does hereby grant to the Auction
House, a non~exclusive, perpetual, fully paid~up, royalty free
and non~revocable right and permission to:
a) reproduce (by illustration, photograph, electronic
reproduction, or any other form or medium whether
presently known or hereinafter devised) any work within any
Lot given to the Auction House for sale by the Consignor; and
b) use and publish such illustration, photograph or other
reproduction in connection with the public exhibition,
promotion and sale of the Lot in question and otherwise in
connection with the operation of the Auction House’s
business, including without limitation by including the
illustration, photograph or other reproduction in promotional
catalogues, compilations, the Auction House’s Art Index, and
other publications and materials distributed to the public,
and by communicating the illustration, photograph or other
reproduction to the public by telecommunication via an
Internet website operated by or affiliated with the Auction
House (“Permission”). Moreover, the Consignor makes the
same warranty and representation and grants the same
Permission to the Auction House in respect of any
illustrations, photographs or other reproductions of any work
provided to the Auction House by the Consignor. The
Consignor agrees to fully indemnify the Auction House and
hold it harmless from any damages caused to the Auction
House by reason of any breach by the Consignor of this
warranty and representation.
D. GENERAL CONDITIONS:
1. The Auction House as agent for the Consignor is not
responsible for any default by the Consignor or the Buyer.
2. The Auction House shall have the right at its absolute
discretion to refuse admission to its premises or attendance at
its auctions by any person.
3. The Auction House has the right at its absolute discretion to
refuse any bid, to advance the bidding as it may decide, to
withdraw or divide any Lot, to combine any two or more Lots
and, in the case of dispute, to put up any Lot for auction
again. At no time, shall a Registered Bidder retract or
withdraw his bid.
129
or suffered by the person for whose benefit the indemnity is
given and, the Auction House shall hold any indemnity on
trust for its employees and agents where it is expressed to be
for their benefit.
6. Any notice given hereunder shall be in writing and if given by
post shall be deemed to have been duly received by the
addressee within three (3) business days.
7. The copyright for all illustrations and written matter relating
to the Lots shall be and will remain at all times the absolute
property of the Auction House and shall not, without the
prior written consent of the Auction House, be used by any
other person.
8. The Auction House will not accept any liability for any errors
that may occur in the operation of any video or digital
representations produced and/or broadcasted during an
auction sale.
9. This Agreement shall be governed by and construed in
accordance with British Columbia Law and the laws of
Canada applicable therein and all parties concerned hereby
submit to the exclusive jurisdiction of the British Columbia
Courts.
10. Unless otherwise provided for herein, all monetary amounts
referred to herein shall refer to the lawful money of Canada.
11. All words importing the singular number shall include the
plural and vice versa, and words importing the use of any
gender shall include the masculine, feminine and neuter
genders and the word “person” shall include an individual, a
trust, a partnership, a body corporate, an association or other
incorporated or unincorporated organization or entity.
12. If any provision of this Agreement or the application thereof
to any circumstances shall be held to be invalid or
unenforceable, the remaining provisions of this Agreement, or
the application thereof to other circumstances, shall not be
affected thereby and shall be held valid to the full extent
permitted by law.
The Buyer and the Consignor are hereby advised to read fully the Agreement
which sets out and establishes the rights and obligations of the Auction House,
the Buyer and the Consignor and the terms by which the Auction House shall
conduct the sale and handle other related matters.
4. For advertising and promotional purposes, the Consignor
acknowledges and agrees that the Auction House shall, in
relation to any sale of the Lot, make reference to the aggregate
Purchase Price of the Lot, inclusive of the Buyer’s Premium,
notwithstanding that the Consignor’s Commission is
calculated on the Hammer Price.
5. Any indemnity hereunder shall extend to all actions,
proceedings, costs, claims and demands whatsoever incurred
Version 2013.03, © Heffel Gallery Limited
130
CATALOGUE ABBREVIATIONS AND SYMBOLS:
AAM
AANFM
AAP
ACM
AGA
AGQ
AHSA
ALC
AOCA
ARCA
ASA
ASPWC
ASQ
AUTO
AWCS
BCSFA
BCSA
BHG
CAC
CAS
CC
CGP
CH
CPE
CSAA
CSGA
CSMA
CSPWC
EGP
FBA
FCA
FRSA
G7
IAF
IWCA
LP
MSA
NAD
NEAC
NSSA
OC
OIP
OM
OSA
Art Association of Montreal founded in 1860
Association des artistes non~figuratifs de Montréal
Association des arts plastiques
Arts Club of Montreal
Art Guild America
Association des graveurs du Québec
Art, Historical and Scientific Association of Vancouver
Arts and Letters Club
Associate Ontario College of Art
Associate Member Royal Canadian Academy of Arts
Alberta Society of Artists
American Society of Painters in Water Colors
Association des sculpteurs du Québec
Les Automatistes
American Watercolor Society
British Columbia Society of Fine Arts founded in 1909
British Columbia Society of Artists
Beaver Hall Group, Montreal 1920 ~1922
Canadian Art Club
Contemporary Arts Society
Companion of the Order of Canada
Canadian Group of Painters 1933 ~ 1969
Companion of Honour Commonwealth
Canadian Painters ~ Etchers’ Society
Canadian Society of Applied Art
Canadian Society of Graphic Artists founded in 1905
Canadian Society of Marine Artists
Canadian Society of Painters in Water Colour founded in 1925
Eastern Group of Painters
Federation of British Artists
Federation of Canadian Artists
Fellow of the Royal Society of Arts
Group of Seven 1920 ~ 1933
Institut des arts figuratifs
Institute of Western Canadian Artists
Les Plasticiens
Montreal Society of Arts
National Academy of Design
New English Art Club
Nova Scotia Society of Artists
Order of Canada
Ontario Institute of Painters
Order of Merit British
Ontario Society of Artists founded 1872
P11
PDCC
Painters Eleven 1953 ~ 1960
Print and Drawing Council of Canada
PNIAI
Professional Native Indian Artists Incorporation
POSA
President Ontario Society of Artists
PPCM
Pen and Pencil Club, Montreal
PRCA
President Royal Canadian Academy of Arts
PSA
Pastel Society of America
PSC
Pastel Society of Canada
PY
Prisme d’yeux
QMG
Quebec Modern Group
R5
Regina Five 1961 ~ 1964
RA
Royal Academy
RAAV
Regroupement des artistes en arts visuels du Québec
RAIC
Royal Architects Institute of Canada
RBA
RCA
RI
Royal Society of British Artists
Royal Canadian Academy of Arts founded 1880
Royal Institute of Painters in Watercolour
RMS
Royal Miniature Society
ROI
Royal Institute of Oil Painters
RPS
Royal Photographic Society
RSA
Royal Scottish Academy
RSC
RSMA
Royal Society of Canada
Royal Society of Marine Artists
RSPP
Royal Society of Portrait Painters
RWS
Royal Watercolour Society
SAA
SAAVQ
SAP
SAPQ
SC
SCA
SCPEE
SSC
SWAA
Society of American Artists
Société des artistes en arts visuels du Québec
Société des arts plastiques
Société des artistes professionnels du Québec
The Studio Club
Society of Canadian Artists 1867 ~ 1872
Society of Canadian Painters, Etchers and Engravers
Sculptors’ Society of Canada
Saskatchewan Women Artists’ Association
TCC
Toronto Camera Club
TPG
Transcendental Painting Group 1938 ~ 1942
WAAC
Women’s Art Association of Canada
WIAC
Women’s International Art Club
WS
Woodlands School
YR
Young Romantics
ϕ
Indicates that Heffel Gallery owns an equity interest
in the Lot
Denotes that additional information on this lot can
be found on our website at www.heffel.com
131
CATALOGUE TERMS:
HEFFEL’S CODE OF BUSINESS CONDUCT,
ETHICS AND PRACTICES:
These catalogue terms are provided for your guidance:
Heffel takes great pride in being the leader in the Canadian fine art auction
industry, and has an unparalleled track record. We are proud to have been
the dominant auction house in the Canadian art market from 2004 to the
present. Our firm’s growth and success has been built on hard work and
innovation, our commitment to our Clients and our deep respect for the
fine art we offer. At Heffel we treat our consignments with great care and
respect, and consider it an honour to have them pass through our hands.
We are fully cognizant of the historical value of the works we handle, and
their place in art history.
C ORNELIUS DAVID KRIEGHOFF
In our best judgment, a work by the artist.
ATTRIBUTED TO CORNELIUS DAVID KRIEGHOFF
In our best judgment, a work possibly executed in whole or in
part by the named artist.
STUDIO OF CORNELIUS DAVID K RIEGHOFF
In our best judgment, a work by an unknown hand in the studio
of the artist, possibly executed under the supervision of the
named artist.
C IRCLE OF CORNELIUS DAVID KRIEGHOFF
In our best judgment, a work of the period of the artist, closely
related to the style of the named artist.
MANNER OF CORNELIUS DAVID KRIEGHOFF
In our best judgment, a work in the style of the named artist and
of a later date.
AFTER CORNELIUS DAVID KRIEGHOFF
In our best judgment, a copy of a known work of the named artist.
DIMENSIONS
Measurements are given height before width in both inches and
centimetres.
SIGNED / TITLED / DATED
In our best judgment, the work has been signed/titled/dated by
the artist. If we state “dated 1856” then the artist has inscribed the
date when the work was produced. If the artist has not inscribed
the date and we state “1856”, then it is known the work was
produced in 1856, based on independent research. If the artist
has not inscribed the date and there is no independent date
reference, then the use of “circa” approximates the date based on
style and period.
BEARS SIGNATURE / BEARS DATE
In our best judgment, the signature/date is by a hand other than
that of the artist.
Heffel, to further define its distinction in the Canadian art auction
industry, has taken the following initiative. David and Robert Heffel,
second~generation art dealers of the Company’s founding Heffel family,
have personally crafted the foundation documents (as published on our
website www.heffel.com): Heffel’s Corporate Constitutional Values and
Heffel’s Code of Business Conduct, Ethics and Practices. We believe the values
and ethics set out in these documents will lay in stone our moral compass.
Heffel has flourished through more than three decades of change, proof
that our hard work, commitment, philosophy, honour and ethics in all
that we do, serves our Clients well.
Heffel’s Employees and Shareholders are committed to Heffel’s Code of
Business Conduct, Ethics and Practices, together with Heffel’s Corporate
Constitutional Values, our Terms and Conditions of Business and related
corporate policies, all as amended from time to time, with respect to our
Clients, and look forward to continued shared success in this auction
season and ongoing.
David K.J. Heffel
President, Director
and Shareholder (through Heffel Investments Ltd.)
Robert C.S. Heffel
Vice~President, Director
and Shareholder (through R.C.S.H. Investments Ltd.)
P ROVENANCE
Is intended to indicate previous collections or owners.
C ERTIFICATES / LITERATURE / EXHIBITED
Any reference to certificates, literature or exhibition history
represents the best judgment of the authority or authors named.
ESTIMATE
Our Estimates are intended as a statement of our best judgment
only, and represent a conservative appraisal of the expected
Hammer Price.
132
ANNUAL SUBSCRIPTION FORM
COLLECTOR PROFILE FORM
Please complete this Annual Subscription Form to receive
our twice~yearly Auction Catalogues and Auction Result Sheet.
Please complete our Collector Profile Form to assist us in our
ability to offer you our finest service.
To order, return a copy of this form with a cheque payable to:
Heffel Gallery, 2247 Granville Street,
Vancouver, British Columbia, Canada V6H 3G1
Tel 604 732~6505, Fax 604 732~4245, Toll free 800 528~9608
E~mail: [email protected], Internet: www.heffel.com
C ATALOGUE SUBSCRIPTIONS ~
DELIVERED
IN
OF
PARTICULAR INTEREST
IN
PURCHASING
OF
PARTICULAR INTEREST
IN
SELLING
1)
2)
TAX INCLUDED
CANADA
One Year (four catalogues) ~
Fine Canadian Art / Post~War & Contemporary Art
Two Year (eight catalogues) ~
DELIVERED
ARTISTS
TO THE
UNITED STATES
AND
AT
4)
$130.00
5)
OVERSEAS
One Year (four catalogues) ~
Two Year (eight catalogues) ~
C ANADIAN ART
3)
$80.00
AUCTION INDEX ONLINE ~
$90.00
6)
$150.00
7)
8)
TAX INCLUDED
Please contact Heffel Gallery to set up
One Block of 25 Search Results
One Year Subscription (35 searches per month)
Two Year Subscription (35 searches per month)
$50.00
$250.00
$350.00
9)
ARTISTS
Name
1)
Address
2)
3)
4)
Postal Code
E~mail Address
5)
Residence Telephone
Business Telephone
Fax
Cellular
6)
7)
8)
VISA # or MasterCard #
Expiry Date
Signature
Date
9)
133
SHIPPING FORM FOR PURCHASES
Heffel Fine Art Auction House will arrange to have Property
purchased at the auction sale packed, insured and forwarded to
the Purchaser at the Purchaser’s expense and risk pursuant to the
Terms and Conditions of Business set out in the Auction Sale
Catalogue. The Purchaser is aware and accepts that Heffel Fine Art
Auction House does not operate a professional packing service
and shall provide such assistance for the convenience only of the
Purchaser. Your signature on this form releases Heffel Fine Art
Auction House from any liability that may result from damage
sustained by artwork during packing and shipping. All such
works are packed at the Purchaser’s risk and then transported by
a carrier chosen at the discretion of Heffel Fine Art Auction House.
Works purchased may be subject to the Cultural Property Export
and Import Act (Canada), and compliance with the provisions of
the said Act is the sole responsibility of the Purchaser.
Sale Date
Purchaser’s Name as invoiced
Shipping Address
City
Province, Country
Postal Code
E~mail Address
Residence Telephone
Business Telephone
Fax
Cellular Telephone
Credit Card Number
Expiry Date
Please indicate your preferred method of shipping below
All Charges are Collect for Settlement by the Purchaser
Social Security Number for U.S. Customs (U.S. Residents Only)
SHIPPING OPTIONS
L OT NUMBER
L OT DESCRIPTION
in numerical order
artist
Please have my purchases forwarded by:
Air
Surface or
Consolidated Ground Shipment to (when available):
Heffel Toronto
C ARRIER
OF
Heffel Montreal
2)
3)
C HOICE
Please have my purchases couriered by:
FedEx
1)
4)
Other
Carrier Account Number
O PTIONAL INSURANCE
YES, please insure my purchases at full sale value while in
transit. Heffel does not insure frames or glass. (Please note: works
under glass and some ground shipments cannot be insured while
in transit.)
NO, I do not require insurance for the purchases listed on this
form. (I accept full responsibility for any loss or damage to my
purchases while in transit.)
SHIPPING QUOTATION
YES, please send me a quotation for the shipping options
selected above.
NO shipping quotation necessary, please forward my
purchases as indicated above. (Please note: packing charges may
apply in addition to shipping charges.)
AUTHORIZATION
FOR
COLLECTION
My purchase will be collected on my behalf
Individual or company to collect on my behalf
Date of collection/pick~up
Signed with agreement to the above
Date
Heffel Fine Art Auction House
British Columbia, Canada V6H 3G1
Telephone 604 732~6505, Fax 604 732~4245
E~mail:[email protected], Internet:http://www.heffel.com
134
ABSENTEE BID FORM
Please view our General Bidding Increments as published by Heffel.
Sale Date
L OT NUMBER
L OT DESCRIPTION
in numerical order
artist
M AXIMUM BID
Hammer Price $ CAD
(excluding Buyer’s Premium)
1)
Billing Name
2)
3)
Address
4)
City
Province, Country
5)
6)
Postal Code
E~mail Address
Daytime Telephone
Evening Telephone
7)
8)
Fax
Cellular
I request Heffel Fine Art Auction House to enter bids on my behalf
for the following Lots, up to the maximum Hammer Price I have
indicated for each Lot. I understand that if my bid is successful, the
purchase price shall be the Hammer Price plus a Buyer’s Premium
of seventeen percent (17%) of the Hammer Price of each Lot, and
applicable GST/HST and PST. I understand that Heffel Fine Art
Auction House executes Absentee Bids as a convenience for its
clients and is not responsible for inadvertently failing to execute
bids or for errors relating to their execution of my bids. On my
behalf, Heffel Fine Art Auction House will try to purchase these
Lots for the lowest possible price, taking into account the Reserve
and other bids. If identical Absentee Bids are received, Heffel Fine
Art Auction House will give precedence to the Absentee Bid Form
received first. I understand and acknowledge all successful bids are
subject to the Terms and Conditions of Business printed in the
Heffel Fine Art Auction House catalogue.
Signature
Date Received ~ for office use only
Confirmed ~ for office use only
Date
To be sure that bids will be accepted and delivery of Lots not
delayed, bidders not yet known to Heffel Fine Art Auction House
should supply a bank reference. All Absentee Bidders must supply
a valid MasterCard or VISA # and expiry date.
MasterCard or VISA #
Expiry Date
Name of Bank
Branch
Address of Bank
Name of Account Officer
Telephone
To allow time for processing, Absentee Bids should be received at
least 24 hours before the sale begins. Heffel Fine Art Auction
House will confirm by telephone or e~mail all bids received. If
you have not received our confirmation within one business day,
please re~submit your bids or contact us at:
British Columbia, Canada V6H 3G1
Telephone 604 732~6505, Fax 604 732~4245
E~mail: [email protected]; Internet: http://www.heffel.com
INDEX OF ARTISTS BY LOT
A/B
M/N/O
BANTING, SIR FREDERICK GRANT 149,
189
MACDONALD , JAMES EDWARD HERVEY
(J.E.H.) 106, 107, 160, 180, 181,
187
MACDONALD, JAMES WILLIAMSON
GALLOWAY (JOCK) 103, 104, 105
MACDONALD , THOREAU 139
MILNE, DAVID BROWN 153, 159, 161
MORRIS, KATHLEEN MOIR 151
MOUNT, RITA 128
C/D/E
CARMICHAEL , FRANKLIN 152
CARR , EMILY 101, 102, 154, 156,
163, 164, 165, 166, 167
CASSON, A LFRED JOSEPH (A.J.) 111,
112, 186, 191
COBURN, FREDERICK SIMPSON 132,
133, 143
COONAN , EMILY 190
CULLEN, M AURICE GALBRAITH 140,
141, 178
F/G/H
FLATHER, DONALD M. 183
FORTIN, M ARC~AURÈLE 162, 196
HAIDA ARTIST, E ARLY 155
HARRIS, L AWREN STEWART 157, 158,
176, 177, 185
HEWTON, RANDOLPH STANLEY 179
I/J/K/L
JACKSON, ALEXANDER YOUNG (A.Y.)
113, 114, 115, 116, 117, 123, 124,
126, 134, 148, 184, 188
KRIEGHOFF, C ORNELIUS DAVID 146,
147, 168, 169
L ISMER, ARTHUR 144, 145, 172, 173,
174, 175
P/Q/R
P HILLIPS, W ALTER JOSEPH (W.J.) 109,
110
P ILOT, ROBERT WAKEHAM 119, 120,
125, 127, 129, 130, 131, 135, 136,
137, 142, 197
RICHARD, R ENÉ J EAN 192
ROBINSON, A LBERT HENRY 170
S/T/U
SAVAGE , ANNE DOUGLAS 118, 121,
122, 138
SHEPPARD , PETER CLAPHAM 150
SUZOR ~COTÉ, MARC~AURÈLE DE FOY
193, 194, 195, 198
THOMSON, T HOMAS J OHN (TOM ) 108
V/W/X/Y/Z
V ARLEY, F REDERICK HORSMAN 171
WESTON , WILLIAM PERCIVAL (W.P.)
182
135
Spring Live Auction Highlight Previews
MONTREAL AND TORONTO
Montreal Preview
Thursday, April 25 & Friday, April 26, 11:00 AM to 7:00 PM
Saturday, April 27, 11:00 AM to 5:00 PM
Toronto Preview
Thursday, May 2 & Friday, May 3, 11:00 AM to 7:00 PM
Saturday, May 4, 11:00 AM to 5:00 PM
Please visit our live auction online catalogue at www.heffel.com for specific details
designating which Lots will be exhibited for our Montreal and Toronto previews.
1840 rue Sherbrooke Ouest
Montreal, Quebec H3H 1E4
Telephone: 514 939~6505
Toll Free: 866 939~6505
Facsimile: 514 939~1100
13 Hazelton Avenue
Toronto, Ontario M5R 2E1
Telephone: 416 961~6505
Toll Free: 866 961~6505
Facsimile: 416 961~4245
2
3/15/2013, 4:21 PM
FINE CANADIAN ART
FINE CANADIAN ART
MAY 15, 2013
V ISIT
www.heffel.com
VANCOUVER
1
•
TORONTO
•
MONTREAL
ISBN 978~1~927031~07~0
SALE WEDNESDAY, MAY 15, 2013, VANCOUVER
OTTAWA
•
3/15/2013, 4:20 PM

fine canadian art

Transcription

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