HEFFEL FINE ART AUCTION HOUSE FINE CANADIAN ART MAY 15, 2013

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HEFFEL FINE ART AUCTION HOUSE SALE WEDNESDAY, MAY 15, 2013, VANCOUVER FINE CANADIAN ART

Transcript of HEFFEL FINE ART AUCTION HOUSE FINE CANADIAN ART MAY 15, 2013

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ISBN 978~1~927031~07~0

HEFFEL FINE ART AUCTION HOUSE

VANCOUVER • TORONTO • OTTAWA • MONTREAL HEFFEL FINE ART AUCTION HOUSESALE WEDNESDAY, MAY 15, 2013, VANCOUVER

VVVVVISITISITISITISITISIT

www.heffel.com

FINE CANADIAN ART

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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

FINE CANADIAN ART AUCTION

HEFFEL FINE ART AUCTION HOUSE

VANCOUVER • TORONTO • OTTAWA • MONTREAL

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A Division of Heffel Gallery Limited

VANCOUVER

2247 Granville Street, Vancouver, BC V6H 3G1Telephone 604 732~6505, Fax 604 732~4245E~mail: [email protected], Internet: www.heffel.com

TORONTO

13 Hazelton Avenue, Toronto, Ontario M5R 2E1Telephone 416 961~6505, Fax 416 961~4245

MONTREAL

1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4Telephone 514 939~6505, Fax 514 939~1100

OTTAWA

451 Daly Avenue, Ottawa, Ontario K1N 6H6Telephone 613 230~6505, Fax 613 230~8884

CALGARY

Telephone 403 238~6505

CORPORATE BANK

Royal Bank of Canada, 1497 West BroadwayVancouver, British Columbia V6H 1H7Telephone 604 665~5710Account #05680 003: 133 503 3Swift Code: ROYccat2Incoming wires are required to be sent in Canadian funds andmust include: Heffel Gallery Limited, 2247 Granville Street,Vancouver, BC, Canada V6H 3G1 as beneficiary.

BOARD OF DIRECTORS

Chairman In Memoriam ~ Kenneth Grant HeffelPresident ~ David Kenneth John HeffelAuctioneer License T83~3364318 and V13~155938Vice~President ~ Robert Campbell Scott HeffelAuctioneer License T83~3365303 and V13~155937

HEFFEL FINE ART AUCTION HOUSE

Heffel Fine Art Auction House and Heffel Gallery Limited regularlypublish a variety of materials beneficial to the art collector. AnAnnual Subscription entitles you to receive our Auction Cataloguesand Auction Result Sheets. Our Annual Subscription Form can befound on page 132 of this catalogue.

AUCTION PERSONNEL

Audra Branigan ~ Client Services and AccountsLisa Christensen ~ Calgary RepresentativeJasmin D’Aigle and Max Meyer ~ Digital ImagingKate Galicz ~ Director of Appraisal ServicesAndrew Gibbs ~ Ottawa RepresentativeBrian Goble ~ Director of Digital ImagingJennifer Heffel ~ Auction AssistantPatsy Kim Heffel ~ Director of AccountingElizabeth Hilson and Anthea Song ~ Administrative AssistantsFrançois Hudon ~ Client ServicesLindsay Jackson ~ Manager of Toronto OfficeLauren Kratzer ~ Director of Art Index and Manager of ShippingBobby Ma, John Maclean and Anders Oinonen ~ Internal LogisticsAlison Meredith ~ Director of ConsignmentsJill Meredith ~ Director of Online Auction SalesJamey Petty ~ Director of Shipping and FramingKirbi Pitt ~ Director of Advertising and MarketingTania Poggione ~ Director of Montreal OfficeOlivia Ragoussis ~ Manager of Montreal OfficeJudith Scolnik ~ Director of Toronto OfficeRosalin Te Omra ~ Director of Fine Canadian Art ResearchGoran Urosevic ~ Director of Information Services

CATALOGUE 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 ContributorsBrian Goble ~ Director of Digital ImagingDavid Heffel, Robert Heffel, Iris Schindeland Rosalin Te Omra ~ Text Editing, Catalogue ProductionJasmin D’Aigle and Max Meyer ~ Digital ImagingJill Meredith and Kirbi Pitt ~ Catalogue Layout and Production

COPYRIGHT

No part of this publication may be reproduced, stored inretrieval 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.

CATALOGUE SUBSCRIPTIONS

HEFFEL.COM DEPARTMENTS

FINE CANADIAN ART

[email protected]

APPRAISALS

[email protected]

ABSENTEE AND TELEPHONE BIDDING

[email protected]

SHIPPING

[email protected]

SUBSCRIPTIONS

[email protected]

PRINTING

Generation Printing, Vancouver

ISBN 978~1~927031~07~0

Follow us @HeffelAuction:

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Call our Vancouver office for special accommodation rates, or email [email protected] refer to page 136 for Toronto and Montreal preview locations

AUCTION

Vancouver Convention Centre West,

Burrard Entrance, Room 211

1055 Canada Place, Vancouver

Saleroom Cell 604 418~6505

AUCTION LOCATION

PREVIEW

Heffel Gallery

2247 Granville Street, Vancouver

Telephone 604 732~6505

Toll Free 1 800 528~9608

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TABLE OF CONTENTS

5 SELLING AT AUCTION

5 BUYING AT AUCTION

5 GENERAL BIDDING INCREMENTS

5 FRAMING, RESTORATION AND SHIPPING

5 WRITTEN VALUATIONS AND APPRAISALS

7 FINE CANADIAN ART CATALOGUE

120 HEFFEL SPECIALISTS

122 NOTICES FOR COLLECTORS

124 TERMS AND CONDITIONS OF BUSINESS

130 CATALOGUE ABBREVIATIONS AND SYMBOLS

131 CATALOGUE TERMS

131 HEFFEL’S CODE OF BUSINESS

CONDUCT, ETHICS AND PRACTICES

132 ANNUAL SUBSCRIPTION FORM

132 COLLECTOR PROFILE FORM

133 SHIPPING FORM FOR PURCHASES

134 ABSENTEE BID FORM

135 INDEX OF ARTISTS BY LOT

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HEFFEL FINE ART AUCTION HOUSE 5

SELLING AT AUCTION

Heffel Fine Art Auction House is a division of Heffel Gallery Limited.Together, our offices offer individuals, collectors, corporations andpublic entities a full service firm for the successful de~acquisitionof their artworks. Interested parties should contact us to arrange fora private and confidential appointment to discuss their preferredmethod of disposition and to analyse preliminary auction estimates,pre~sale reserves and consignment procedures. This service isoffered free of charge.

If you are from out of town, or are unable to visit us at ourpremises, we would be pleased to assess the saleability of yourartworks by mail, courier or e~mail. Please provide us withphotographic or digital reproductions of the artworks andinformation pertaining to title, artist, medium, size, date,provenance, etc. Representatives of our firm travel regularlyto major Canadian cities to meet with Prospective Sellers.

It is recommended that property for inclusion in our sale arriveat Heffel Fine Art Auction House at least 90 days prior to ourauction. 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 untilthe auction; however, insurance is the Consignor’s expense.

Consignors will receive, for completion, a Consignment Agreementand Consignment Receipt, which set forth the terms and fees forour services. The Seller’s Commission rates charged by Heffel FineArt Auction House are as follows: 10% of the successful HammerPrice 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 orminimum selling price on their artworks. Heffel Fine Art AuctionHouse charges no Seller’s penalties for artworks that do notachieve their Reserve price.

BUYING AT AUCTION

All items that are offered and sold by Heffel Fine Art Auction Houseare subject to our published Terms and Conditions of Business, ourCatalogue Terms and any oral announcements made during thecourse of our sale. Heffel Fine Art Auction House charges a Buyer’sPremium calculated at seventeen percent (17%) of the HammerPrice of each Lot, plus applicable federal and provincial taxes.

If you are unable to attend our auction in person, you can bidby completing the Absentee Bid Form found on page 134 of thiscatalogue. Please note that all Absentee Bid Forms should bereceived by Heffel Fine Art Auction House at least 24 hours priorto the commencement of the sale.

Bidding by telephone, although limited, is available. Pleasemake arrangements for this service well in advance of the sale.Telephone lines are assigned in order of the sequence in whichrequests are received. We also recommend that you leave anAbsentee Bid amount that we will execute on your behalf in theevent we are unable to reach you by telephone.

Payment must be made by: a) Bank Wire direct to our account,b) Certified Cheque or Bank Draft, unless otherwise arranged inadvance with the Auction House, or c) a cheque accompanied bya current Letter of Credit from the Buyer’s bank which willguarantee the amount of the cheque. A cheque not guaranteed bya Letter of Credit must be cleared by the bank prior to purchasesbeing released. We honour payment by VISA or Mastercard forpurchases. Credit card payments are subject to our acceptance andapproval and to a maximum of $5,000 if you are providing yourcredit card details by fax or to a maximum of $25,000 if the cardis presented in person with valid identification. Bank Wirepayments should be made to the Royal Bank of Canada as per theaccount transit details provided on page 2.

GENERAL BIDDING INCREMENTS

Bidding typically begins below the low estimate andgenerally 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 yourartwork re~framed and/or cleaned and restored to enhance itssaleability. As a Buyer, your recently acquired artwork may demanda frame complementary to your collection. As a full serviceorganization, we offer guidance and in~house expertise to facilitatethese needs. Buyers who acquire items that require local delivery orout of town shipping should refer to our Shipping Form forPurchases on page 133 of this publication. Please feel free to contactus to assist you in all of your requirements or to answer any of yourrelated questions. Full completion of our Shipping Form is requiredprior to purchases being released by Heffel.

WRITTEN VALUATIONS AND APPRAISALS

Written valuations and appraisals for probate, insurance, familydivision and other purposes can be carried out in our offices orat your premises. Appraisal fees vary according to circumstances.If, within five years of the appraisal, valued or appraised artworkis consigned and sold through either Heffel Fine Art Auction Houseor Heffel Gallery Limited, the client will be refunded the appraisalfee, less incurred “out of pocket” expenses.

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HEFFEL FINE ART AUCTION HOUSE

VANCOUVER • TORONTO • OTTAWA • MONTREAL

The Purchaser and the Consignor are hereby advised to readfully the Terms and Conditions of Business and Catalogue Terms,which set out and establish the rights and obligations of theAuction House, the Purchaser and the Consignor, and theterms by which the Auction House shall conduct the sale andhandle other related matters. This information appears onpages 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 informationspecifying which works will be present in each of ourpreview locations at:

http://www.heffel.com/auction

If you are unable to attend our auction, we produce a livewebcast of our sale commencing at 3:50 PM PDT. We do notoffer real~time Internet bidding for our live auctions, but wedo accept absentee and prearranged telephone bids.Information on absentee and telephone bidding appears onpages 5 and 134 of this publication.

We recommend that you test your streaming video setup priorto our sale at:

http://www.heffel.tv

Our Estimates are in Canadian funds. Exchange values aresubject to change and are provided for guidance only. Buying1.00 Canadian dollar will cost approximately 1.00 US dollar,0.78 Euro, 0.67 British pound, 97 Japanese yen or 8.10Hong Kong dollars as of our publication date.

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FINE CANADIAN ART CATALOGUE

SALE WEDNESDAY, MAY 15, 2013, 7:00 PM, VANCOUVER

Featuring Works from

An Important Montreal CollectionA Prominent Montreal Family Estate

The PSBGM Cultural Heritage FoundationProperty of a Vancouver Philanthropist

& other Important Private Collections

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101 EMILY CARRBCSFA RCA 1871 ~ 1945

Klee Wyck Totem Lamppainted ceramic sculpture, signed Klee Wyck,circa 1924 ~ 19268 x 5 x 5 in, 20.3 x 12.7 x 12.7 cm

PROVENANCE:Private Collection, Ontario

LITERATURE:Gerta Moray, Unsettling Encounters, First Nations Imagery in the Artof Emily Carr, 2006, page 280, a circa 1924 ~ 1929 beaver table lampreproduced page 280, figure 11.5

During the period when Emily Carr was virtually not painting, one of themultitude of things she did to make a living was to produce pottery

painted with native motifs. One of the most rewarding aspects for her inthis process was in the researching of Haida motifs, from books such asJohn Swanton’s Ethnography of the Haida and museums such as theNational Museum in Ottawa. Gerta Moray writes, “She transferred thetwo~dimensional designs used by the Haida on hats or on argillite platesto the surfaces of large ceramic bowls and platters, and she made lampstands in the form of miniature totem posts of bears and beavers.” This isan outstanding beaver motif totem lamp base ~ the stylized beaver is quiteanimated, and its eyes have a great sense of presence. Carr’s identificationwith First Nations people was very strong during this period ~ shesurrounded herself with her paintings of native villages and totems, andin her attic bedroom she painted two great bird forms from the ’Yaliscemetery, which she slept beneath. Carr stated, “They made ‘strong talk’for me, as my Indian friends would say.”

ESTIMATE: $8,000 ~ 12,000

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102 EMILY CARRBCSFA RCA 1871 ~ 1945

Klee Wyck Dogfish Bowlpainted ceramic sculpture, signed Klee Wyck,circa 1924 ~ 19265 1/2 x 5 1/4 x 2 in, 14 x 13.3 x 5.1 cm

PROVENANCE:Private Collection, Toronto

LITERATURE:Maria Tippett, Emily Carr, A Biography, 1979, page 136

Emily Carr signed her ceramic works Klee Wyck, meaning “LaughingOne”, a name given to her by West Coast First Nations people. She wasinvolved in all the stages of making her ceramic objects, which included

candlesticks, lamp bases, totems and vessels. She dug blue clay from theDallas Road cliffs, bringing it home in her wicker pram. After molding herobjects by hand, she fired them in her homemade backyard kiln. Eachfiring 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 thiscolourful ceramic piece, Carr inventively painted her dogfish motif intothe 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, Carrfound a market in Eastern Canada ~ at a craft sale in Toronto, the ChâteauLaurier in Ottawa and the Canadian Handicraft Guild in Montreal.

ESTIMATE: $6,000 ~ 8,000

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103 JAMES WILLIAMSON GALLOWAY(JOCK) MACDONALDARCA BCSFA CGP OSA P11 1897 ~ 1960

Castle Towers ~ Garibaldi Park, BCoil on board, signed and dated 1943and on verso signed and titled12 x 14 7/8 in, 30.5 x 37.8 cm

PROVENANCE:Acquired directly from the ArtistBy descent to the present Private Collection, Vancouver

LITERATURE:Joyce Zemans, Jock Macdonald: The Inner Landscape / A RetrospectiveExhibition, Art Gallery of Ontario, 1981, page 101, the related 1943canvas entitled Castle Towers Garibaldi Park reproduced page 103and listed page 282

EXHIBITED:Art Gallery of Ontario, Toronto, Jock Macdonald: The Inner Landscape /A Retrospective Exhibition, 1981, traveling in 1981 ~ 1982 to the ArtGallery of Windsor, The Edmonton Art Gallery, the Winnipeg ArtGallery and the Vancouver Art Gallery, the related 1943 canvasentitled Castle Towers Garibaldi Park, catalogue #30

Jock Macdonald taught at the Vancouver School of Decorative andApplied Arts until 1933, when he and Group of Seven painter FrederickVarley formed the British Columbia College of Arts. Both artists paintedtogether at Garibaldi in 1929 and 1934. After their school closed,Macdonald spent several years living simply at Nootka Sound onVancouver Island, before returning to Vancouver in 1936 to teach andpaint. For the next decade, before turning to abstraction, the landscapewould dominate his work. In the early 1940s Lawren Harris moved toVancouver, and Macdonald and Harris went on sketching trips togetherand exchanged ideas about the Transcendental movement and theoriesfrom the leading proponents of spiritualism. Macdonald spent thesummers of 1942 and 1943 in Garibaldi Park, and the effect of theseinfluences can be seen in stunning works such as this, in which the formaland spiritual merge in the magnificent mountain forms and glowing light.Macdonald exclaimed that the nearby Sphinx Glacier “was the mostpowerful force I have ever seen outside the mountainous waters of theopen Pacific”, and here found a cosmic oneness with nature.

ESTIMATE: $12,000 ~ 16,000

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104 JAMES WILLIAMSON GALLOWAY(JOCK) MACDONALDARCA BCSFA CGP OSA P11 1897 ~ 1960

Kalamalka Lake (Looking South),Okanagan, BC

oil on canvas board, signed and dated 1945and on verso signed, titled, dated and inscribed 4477912 x 14 1/2 in, 30.5 x 36.8 cm

PROVENANCE:Acquired directly from the ArtistBy descent to the present Private Collection, Vancouver

LITERATURE:Joyce Zemans, Jock Macdonald, The Inner Landscape / A RetrospectiveExhibition, Art Gallery of Ontario, 1981, page 107

In the Art Gallery of Ontario’s retrospective exhibition catalogue, JoyceZemans writes of Jock Macdonald’s Interior works: “The Okanagan seems

to have elicited a new vision, and the grandeur of the Rockies and ofGaribaldi gave way to softer forms. The darkening clouds of a summerstorm or the brilliant light of the summer sun along with a rich, brightlycoloured palette create vibrant colour harmonies to unify thesepaintings.” This fine Okanagan panorama is a nostalgic reminder of a timewhen Interior lakes like Kalamalka were only sparsely populated. Thesuccessive layers of benchlands and steep hills plunging into the laketapering off to shadowy blue mountains in the distance are a pure andtranquil expression of the beauty of this Mediterranean~like area ofBritish Columbia’s Interior region. In 1944, Macdonald’s Okanaganpaintings were featured in a one~man exhibition at the Vancouver ArtGallery, which was critically well~received. The National Gallery ofCanada has one of Macdonald’s Okanagan canvases among the group ofhis works in its collection, dated 1944 ~ 1945 and entitled Thunder CloudsOver Okanagan Lake.

ESTIMATE: $10,000 ~ 15,000

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105 JAMES WILLIAMSON GALLOWAY(JOCK) MACDONALDARCA BCSFA CGP OSA P11 1897 ~ 1960

“Victory” Garden, Rutland, BCoil on canvas board, on verso signed,titled and dated 194412 x 14 7/8 in, 30.5 x 37.8 cm

PROVENANCE:Acquired directly from the ArtistBy descent to the present Private Collection, Vancouver

During World War II, victory gardens of vegetables and fruits wereplanted 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 finepainting. This grassroots drive was a tremendous success, increasingself~sufficiency and raising morale during wartime. Macdonald paintedthis scene during the summer of 1944 when he traveled to the OkanaganValley from Vancouver. He reacted to the Okanagan’s Mediterraneanclimate by using softer form and a warm colour palette, and loved thequality of brilliant light in this area. Macdonald depicted this rural scenewith a fine sense of rhythm in the rolling hills, and in the fences andbuildings following the lines of the undulating land. Sculpted cloudformations hovering above the hills add to the peaceful, dreamy mood ~a world away from what was happening in Britain and Europe, yet stillconnected through the “victory” garden.

ESTIMATE: $10,000 ~ 15,000

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106 JAMES EDWARD HERVEY (J.E.H.)MACDONALDALC CGP G7 OSA RCA 1873 ~ 1932

Sketch for Logs in the Gatineauoil on board, initialed and on verso signed,titled and dated indistinctly 19148 x 10 in, 20.3 x 25.4 cm

PROVENANCE:Pickering College, Newmarket, OntarioSold sale of Important Canadian Art, Sotheby’s Canada,November 18, 1986, lot 352; Private Collection, OntarioBy descent to the present Private Collection, Ontario

LITERATURE: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 thecollection of the Mendel Art Gallery, Saskatoon, reproduced page 67

In 1914, J.E.H. MacDonald began to venture further afield from his homein Toronto to paint. As he had already worked in the Laurentians, he tooka 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 laterin that same year painted “a series of brilliant on~the~spot studies” alongthe banks of the Gatineau River. One of these was “the superb sketch [inthe collection of the Art Gallery of Windsor] for the major 1915 canvas,Logs on the Gatineau [in the collection of the Mendel Art Gallery inSaskatoon],” as Paul Duval writes. Another is this fine lot. HereMacDonald gives us all of the rapid brushwork and harmonious palettethat characterizes his outdoor sketches. The treatment of the logs, waterand rocks on the near shore conveys the idea of a tangled, log~strewnriverbank quite nicely, while the distant hill, shore and sky are delineatedwith a very different brush~stroke, conveying a feeling of misty distanceand softness that contrasts with the hurry and tumble of the river.

ESTIMATE: $20,000 ~ 30,000

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107 JAMES EDWARD HERVEY (J.E.H.)MACDONALDALC CGP G7 OSA RCA 1873 ~ 1932

Rocky Mountainsoil on board, signed and dated 1929 and on versosigned, titled twice, dated, inscribed $75.00 / 1374 /BA286 and 49 and stamped with a 1939 NationalRevenue Canada customs excise stamp8 1/2 x 10 1/2 in, 21.6 x 26.7 cm

PROVENANCE:The Right Honourable Malcolm MacDonald, Kent, England,British High Commissioner to Canada from 1941 to 1946By descent to the present Private Collection, Toronto

To reach Lake O’Hara, J.E.H. MacDonald would have taken the train fromToronto to Hector Station in British Columbia, at the southeast end ofWapta Lake. From there, he would have gone by packhorse to Lake

O’Hara. In some years he had sufficient overlay time to take out hissketching kit, and in 1929 he had enough time explore the valley leadingtowards Sherbrooke Lake. This hitherto unknown sketch allows us topinpoint another spot on the map of MacDonald’s mountain travels, andis one of less than ten known mountain sketches done outside of LakeO’Hara proper. Here, we are a distance up the trail towards SherbrookeLake, looking back at the glaciated peaks of Mounts Collier, Victoria andHuber. Set in a burned~over forest, the blackened tree trunks are astriking contrast to the autumn colours of the forest floor. A pine tree onthe left is touched with bright yellow lichen, and the bands of turquoise inthe sky serve to contain our gaze and return it to the centre of the scene.

ESTIMATE: $50,000 ~ 70,000

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108 THOMAS JOHN (TOM) THOMSONOSA 1877 ~ 1917

Mississagioil on canvas on board, signed and on versotitled Mississauga on the Laing Galleries labeland inscribed authenticated Tom Thomsonby James M. MacCallum 22 / IV / 1937, circa 19124 1/2 x 7 in, 11.4 x 17.8 cm

PROVENANCE:Mellors Fine Arts, TorontoLaing Galleries, TorontoThe Right Honourable Malcolm MacDonald, Kent, England,British High Commissioner to Canada from 1941 to 1946By descent to the present Private Collection, Toronto

LITERATURE:Thomson to Dr. M.J. McRuer, postmarked October 17, 1912,McMichael Canadian Art Collection ArchivesDr. J.M. MacCallum, “Tom Thomson: Painter of the North”,Canadian Magazine 50, No. 5, March 1918, page 376Albert H. Robson, Tom Thomson, 1937, page 6Joan Murray, The Best of Tom Thomson, 1986, titled as Mississauga,reproduced page 10Joan Murray, “The World of Tom Thomson,” Journal of CanadianStudies 26, No. 3, fall 1991, reproduced page 25Joan Murray, Tom Thomson: The Last Spring, 1994, reproduced page 61Joan Murray, Design for a Canadian Hero, 1998, reproduced page 48

Sometimes a work of art can be a revelation. Mississagi is a painting thatshows Tom Thomson learning his discipline by working in the North tocreate an authentic image of the country. At the same time, this quietlandscape, in shades of grey, green, light blue and black, sets an examplefor the artists who were his peers, acting as a conduit of energy whichwould become full~blown in Canadian art with the Group of Seven.

Thomson made his first major canoe trip in Northern Ontario in thesummer of 1912 with English artist William Broadhead (1889 ~ 1960),a fellow artist from Grip Ltd., the commercial art firm in Toronto. Thisadventure inspired Thomson, though with modest means and ambition,to create bold new work. “We started in at Bisco [Biscotasing, northwestof Sudbury] and took a long trip on the lakes around there up the SpanishRiver and over into the Mississauga [Mississagi] water,” Thomson wroteto a friend, Dr. McRuer, the following fall. “The Mississauga is consideredthe finest canoe trip in the world.” Thomson and Broadhead lost most oftheir sketches and photographs when their boat capsized in the “forty

mile rapids near the end of the trip,” as Thomson wrote McRuer, but thefew paintings that remained struck friends such as Dr. J.M. MacCallum,whom he met that autumn, with “their truthfulness, their feeling andtheir sympathy with the grim, fascinating northland.” They were,MacCallum wrote, “dark, muddy in colour, tight and not wanting intechnical defects,” but worthy of purchase. He bought “some of thesketches fished up from the foot of the rapids.” Albert Robson, Thomson’sboss at Grip Ltd. and later at Rous & Mann Ltd. (another top commercialart firm in Toronto), also recalled the way in which these works caught the“real northern character” and showed an “intimate feeling of the country”.

Thomson’s sketches of this year, mostly ragged and rather severe distantshorelines, are recognized as the first awakenings of the Group of Seven,both philosophically, because of the way the imagery was obtained, and insubject matter. At this moment, Thomson was only four years away fromthe high point of his career as a painter.

Although it is difficult to identify the exact sketches Thomson paintedin 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 theinscription on the verso by MacCallum. Another early sketch wasidentified by Robson as having been painted on the trip ~ DrownedLand, in the collection of the National Gallery of Canada. In both works,Thomson was attracted to a simple motif, which he rendered withtextured brushwork and with great sensitivity to the raw northernlandscape and its often~grey skies.

The Right Honourable Malcolm MacDonald was the British HighCommissioner to Canada from 1941 to 1946. Among the other workshe 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 wasasked to authenticate and date it in April 1937, perhaps at the request ofart dealer Blair Laing, who had organized a Thomson show at Mellors FineArts in March of that year. Mississagi may have remained with Laing untilabout 1940, when it was purchased by MacDonald. Since MacDonaldpurchased another Thomson, the above~mentioned Canoe Lake,Algonquin Park, from Laing Galleries that year, he possibly purchasedMississagi around the same time.

We thank Joan Murray for contributing the above essay. This work will beincluded in Murray’s forthcoming catalogue raisonné on the artist’s work.

ESTIMATE: $80,000 ~ 120,000

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109

109 WALTER JOSEPH (W.J.) PHILLIPSASA CPE CSPWC RCA 1884 ~ 1963

Leaf of Goldwatercolour on paper, signed, circa 194113 7/8 x 20 3/4 in, 35.2 x 52.7 cm

PROVENANCE:Private Collection, Ontario

LITERATURE:Roger Boulet, The Tranquility and the Turbulence, 1981, the 1941colour woodcut entitled Leaf of Gold reproduced page 171

Walter J. Phillips was one of Canada’s finest printmakers andwatercolourists. In this sensitive composition Phillips exquisitelypositioned a single branch with golden fall leaves against a backdrop

of a lake and blue~shadowed mountains. This eye for beauty shows theinfluence of Japanese art on his work ~ in 1925 he had studied with theJapanese master Yoshijiro Urushibara in London. This, combined withhis training in the British watercolour tradition before he came to Canada,forged an exceptional command of the medium. In 1941 he executed thecolour woodcut Leaf of Gold, which is virtually identical in composition tothis work ~ Phillips often derived his woodcuts from drawings andwatercolours. The backdrop is the Rocky Mountains. In 1940 Phillipswas asked to be an instructor at the Banff Summer School, and he movedto Calgary in the fall of 1941, later building a house in Banff. Respondingto the clarity of Canadian light, he worked with washes on dry paper, andconsequently captured with technical virtuosity the ephemeral play oflight and purity of atmosphere seen in this superb watercolour.

ESTIMATE: $15,000 ~ 25,000

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110

110 WALTER JOSEPH (W.J.) PHILLIPSASA CPE CSPWC RCA 1884 ~ 1963

Peggy’s Covewatercolour on paper, signed and dated 1956and on verso titled on the gallery label14 x 21 in, 35.6 x 53.3 cm

PROVENANCE:Canadian Art Galleries, CalgaryPrivate Collection, British Columbia

Originally from England, Walter J. Phillips was steeped in the greattradition of British watercolourists such as David Cox and John SellCotman. Before immigrating to Canada in 1912, he undertook sketchingtrips throughout England and held two exhibitions of his watercolours inSalisbury. Once in Canada, Phillips settled in Winnipeg and set topainting the surrounding landscape. In his unpublished manuscript WetPaint, Phillips describes the Canadian atmosphere as clear and dry, andhis watercolours changed in response to it. Phillips was a champion ofbeauty in nature, and his body of work in watercolour is renowned for its

allure of image and for its technical accomplishment. Phillips’s refined useof 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’sPoint in Peggy’s Cove, Nova Scotia. Built in 1914, it sits atop a ruggedgranite outcrop, and has endured the powerful crash of Atlantic surfduring many winter storms. Phillips’s masterful hand with watercolour isin full evidence here, from the deft handling of texture and patterning inthe rocks to delicate washes defining sand and sky. His eye for thedynamics of composition manifests in his highlighting of the lighthouseagainst a pale sky, and the strength of the granite outcropping on which itstands. Phillips lived in both Winnipeg and Banff, and painted primarilythe Prairies, Lake of the Woods, the Rockies and the West Coast. Peggy’sCove is a rare and splendid depiction of the East Coast.

ESTIMATE: $15,000 ~ 25,000

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111 ALFRED JOSEPH (A.J.) CASSONCGP CSPWC G7 POSA PRCA 1898 ~ 1992

Village in the Rock Countryoil on canvas, signed and on versosigned, titled and dated 196623 x 32 in, 58.4 x 81.3 cm

PROVENANCE:Roberts Gallery, TorontoAcquired from the above by Mr. Ameen AboudBy descent to the present Private Collection, Ontario

A.J. Casson joined the Group of Seven in 1926, but, as the youngestmember, knew he had to forge his own identity amongst them.Acknowledging the fact that A.Y. Jackson had mastered the Quebecvillage, Casson turned his hand to the Ontario village ~ and these works

have contributed vitally to Casson’s stature within the Group andCanadian art history. Casson was an inveterate traveler who loved to driveto remote spots in his Willys Whippet car. He sought to capture the effectsof light and shade on the landscape, but also wanted to record thearchitecture and atmosphere of these remote villages. This magnificentwork combines two of Casson’s great strengths; his ability to bring analmost spiritual presence to the stark forms of a Northern Ontario villageand his sophisticated handling of the massive Precambrian rock formssurrounding Ontario’s lakes. The scene is devoid of human activity, yetthis somehow increases one’s sense of the human presence within thevillage. Art historian Paul Duval felt that, in this regard, Casson’s workhad its parallel in the work of the well~known American artist EdwardHopper.

ESTIMATE: $90,000 ~ 120,000

111

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112

112 ALFRED JOSEPH (A.J.) CASSONCGP CSPWC G7 POSA PRCA 1898 ~ 1992

Summer Landscapeoil on canvas, signed24 x 30 in, 61 x 76.2 cm

PROVENANCE:The Art Emporium, Vancouver, 1976Private Collection, Vancouver

Having worked for Grip Ltd. and then Sampson Matthews Limited as adesigner for many years, Group of Seven painter A.J. Casson had a fine eyefor discerning patterning in the landscape and attaining a finecompositional 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 herein the clouds. In Summer Landscape, Casson first anchors the foregroundwith the large rock to the left edged by forest. He then pulls the eye downthe lake along the shoreline out to the horizon and into an extraordinaryspace ~ an ephemeral effect created by the cloudscape of jagged layers ~which, together with the reflection in the still surface of the lake, producean otherworldly effect. The bluish zone at the horizon between the landforms takes the viewer into the far distance. Pale pearlescent tones in thewater and clouds add to the sense of lightness and mood of transcendencein this beautiful and ethereal scene.

The proceeds from this lot will be donated by the consignor to establish abursary for students in the Faculty of Medicine at the University of BritishColumbia.

ESTIMATE: $50,000 ~ 70,000

PROPERTY OF A VANCOUVER PHILANTHROPIST

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The English Montreal School Board Building, 6000 Fielding Avenue, Montreal, March 2013

In our continued practice of carefully handling important estates andcollections, Heffel is honoured to be entrusted with the sale of works fromThe Protestant School Board of Greater Montreal (PSBGM) CulturalHeritage Foundation, a non~profit body. The Protestant School Board ofGreater Montreal was first incorporated in 1846 by Act of the ProvincialParliament as the Protestant Board of School Commissioners of the City ofMontreal. For many years, it was the only school board serving theProtestant community on the Island of Montreal. Subsequently otherProtestant school boards were established on the Island and in 1973, inaddition to the Protestant Board of School Commissioners of the City ofMontreal, there existed ten other school boards on the territory nowserved by the PSBGM. Under the school reform legislation which cameinto effect on July 1, 1973, the ten other school boards were merged intothe Board incorporated in 1846 and the name of the Board was changed toThe Protestant School Board of Greater Montreal.Quebec’s Protestant school boards served numerous ethnically diversenon~Catholic populations in the city, and established a number ofschools to serve Montreal’s growing immigrant population. Baron ByngHigh School on St. Urbain Street was attended largely by working~classJewish Montrealers from its establishment in 1921 until the 1950s. It nolonger operates as a school, and is presently home to the Sun Youthorganization. It counts among its notable alumni artists Rita Briansky,

PROPERTY OF THE PROTESTANT SCHOOL BOARD OF GREATER MONTREALCULTURAL HERITAGE FOUNDATION

David Silverberg, William Allister, Tobie Steinhouse and Leah Sherman.Rudolph A. Marcus, winner of the 1992 Nobel Prize in Chemistry, LouisHorlick, recipient of the Order of Canada and fellow Order of Canadarecipient and Rhodes Scholar David Lewis (father of Stephen Lewis) werealso students there.

In 1922, Anne Savage was hired by the Protestant Board of SchoolCommissioners of the City of Montreal to teach at their Commercial andTechnical High School. Baron Byng had opened the previous year, andafter impressing the Board with her efforts at the Technical school, Savagewas transferred to Baron Byng as the new school’s first art teacher. She wasgiven a free hand with the children, and her receptive pupils were “firstgeneration Canadians whose parents had fled the Jewish ghettos inEurope…They were hungry for knowledge and, if not especially crazyabout school itself, eager to get ahead.” Savage was a gifted teacher inaddition to being a gifted artist, and inspired many of her students. Onestudent recalled, “We were all sort of in love with her…and through herhad a love affair with art. I felt she had born me into the creative world.” Atthis time, copying the old masters was the standard method of arteducation, but Savage set her students to drawing from life, using eachother as models, and taking them out~of~doors to sketch in the avenue oftrees along Rachel Street. She also turned to fellow artist/teacher ArthurLismer ~ who in 1922 was in the process of setting up the Children’s Art

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Centre at The Toronto Art Gallery (now the Art Gallery of Ontario) ~ foradvice. They would become regular correspondents over the issues andconcerns of teaching art, having a shared passion for their work thatfostered the creativity of children. Savage treated her students as seriousartists from the outset ~ she mounted exhibitions of their work, and theirdesigns were used for Christmas card layouts and rug patterns. Savagehad connections to many other artists, and her enthusiasm for her workthere drew their attention to the school. A.Y. Jackson was her closelifelong friend; he suggested she have the students decorate the schoolwith panels of murals, and eventually Thoreau MacDonald ~ the artist sonof J.E.H. MacDonald ~ would contribute one panel. Savage’s work at theschool also increased its reputation and profile in the community. Jacksonwrote in his autobiography A Painter’s Country, “Anne Savage is gettingwonderful results teaching art at the Baron Byng High School fromyoungsters…this is about the most interesting development inMontreal.” Of the Group of Seven, Jackson in particular was interested inthe school, and when Savage decided to build a small collection for thestudents to study, Jackson wrote to her, saying, “One thing I am doing is tosend you a package of sketches for the Baron Byng school, if they wantthem. I picked out ones from all over Canada so they should be interestingfrom a geographical standpoint. Do as you please with them, they mighthave plain black strip frames around them later.” Savage donated several

One of Anne Savage’s art classes at Baron Byng High School

of her own works to the school, and later helped mastermind theacquisition of additional works by notable artist friends and colleaguesfor the new PSBGM administration building which opened in July of1961. Her connections and discernment led to the acquisition of worksby Jackson, Robert Wakeham Pilot, Maurice Cullen, Frederick SimpsonCoburn, John Little and others. As well, it was a common practice inMontreal in the 1930s for parents and alumni to thank and recognizeindividual schools with the gift of a work of art. The respect andadmiration that Savage’s students and their parents felt for hercontribution can be seen in the quality of the works that were presentedto Baron Byng High School.

Savage taught at Baron Byng from 1922 to 1948, and spent an additionalfour years supervising the art program for the Montreal Protestant SchoolBoard. She was then invited to teach art education at McGill Universityfrom 1954 to 1959, and also taught at the Thomas More Institute inMontreal. She died in March of 1971.

The proceeds from the sale of this collection will directly benefitgraduates of the English Montreal School Board by providingmuch~needed scholarships for post~secondary education.

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113

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113 ALEXANDER YOUNG (A.Y.) JACKSONALC CGP G7 OSA RCA RSA 1882 ~ 1974

Snow on Spruce Trees /Countryside in Winter (verso)

double~sided oil on panel, signed and on versosigned and titled, circa 19148 1/2 x 10 1/2 in, 21.6 x 26.7 cm

PROVENANCE:The PSBGM Cultural Heritage Foundation

LITERATURE:Jeremy Adamson, Lawren Harris: Urban Scenes and WildernessLandscapes, 1906 ~ 1930, 1978, page 54Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition, GalerieWalter Klinkhoff Inc., 1990, listed, unpaginated

EXHIBITED:Galerie Walter Klinkhoff Inc., Montreal, A.Y. Jackson RetrospectiveExhibition, September 10 ~ 22, 1990, catalogue #1

A.Y. Jackson’s lusciously painted Snow on Spruce Trees is reminiscent ofLawren Harris’s exquisite northern wilderness deep~woods snow scenesexecuted from 1914 to 1918. Harris had seen a pivotal exhibition ofmodern Scandinavian northern landscapes at the Albright Gallery inBuffalo in 1913, and been greatly impressed, particularly by GustavFjaestad’s stunning scenes of snow and frost~covered trees. This vigorousand raw approach to the land was a hot topic among the future Group ofSeven members, who were in close contact through the Arts and LettersClub and the Studio Building in Toronto ~ Jackson having moved into theStudio Building in 1914. The North beckoned both Harris and Jackson,particularly Algonquin Park in that decade, and in 1914 Jackson took twotrips to Algonquin Park, joining Tom Thomson in the fall. The response ofGroup painters to the beauty of the North in winter produced iconicworks, and Snow on Spruce Trees is a splendid example. Jackson’sapproach is vigorous, with thick brush~strokes creating an almostabstract pattern of snow~laden branches, in a surprisingly bold andmodern treatment.

It is interesting to compare this lot to lot 158 by Lawren Harris. Jacksonand Harris often worked together, even sitting side by side to sketch attimes. By 1914, Jackson would have seen the earliest of Harris’s finewinter works, such as Morning Sun, Winter, now in a private collection,which was painted in the Studio Building in January and February of1914. Perhaps inspired by Morning Sun, Winter, and no doubt encouragedby Thomson’s descriptions of the park, Jackson ventured to AlgonquinPark alone in February of 1914, arriving in 45 degrees below zero weatherand, in a letter to J.E.H. MacDonald, wrote that he “found it just as Lawrenhad said, you don’t notice the cold one bit, all you notice is your breathdropping down and splintering on the scintillating ground.”

ESTIMATE: $25,000 ~ 35,000

verso 113

Lawren Harris and A.Y. Jackson, 1954Photo credit: Courtesy of The Vancouver Sun

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114

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114 ALEXANDER YOUNG (A.Y.) JACKSONALC CGP G7 OSA RCA RSA 1882 ~ 1974

French Canadian Farm, Les Éboulements /Quebec Village (verso)

double~sided oil on panel, signedand on verso titled, circa 19308 1/2 x 10 1/2 in, 21.6 x 26.7 cm

PROVENANCE:The PSBGM Cultural Heritage Foundation

LITERATURE:Naomi Jackson Groves, A.Y.’s Canada, 1968, page 42Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition,Galerie Walter Klinkhoff Inc., 1990, listed, unpaginated

EXHIBITED:Galerie Walter Klinkhoff Inc., Montreal, A.Y. Jackson RetrospectiveExhibition, September 10 ~ 22, 1990, catalogue #14

A.Y. Jackson’s keen powers of observation focused on those little details ofrural Quebec life that made it so unique, such as the oft~depictedhorse~drawn cart, the early mode of transport in small villages. As hisniece Naomi Jackson Groves noted, “Horses were in for AY.” So weretraditional barns that sagged with the land, irregular woodpiles, rutted,winding roads and organic snake~fences that followed the curves of hillsand hummocks ~ all greatly pleased Jackson, and are present in the sceneson both sides of this delightful panel. Jackson visited the North Shore ofthe Saint Lawrence many times in the 1920s and 1930s, and wasdocumented as sketching specifically in Les Éboulements in 1929, 1930,1932 and 1935. The name Éboulements or landslide derives from a timein 1663 when the area was rocked by earthquakes for seven months,causing the cliff face to collapse, contributing to the uniqueness of thearea’s geography. Jackson, painting on the spot, likely ran out of panelsand, in his desire to keep sketching, painted another image on verso.

ESTIMATE: $25,000 ~ 35,000

verso 114

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115

115 ALEXANDER YOUNG (A.Y.) JACKSONALC CGP G7 OSA RCA RSA 1882 ~ 1974

Fort Resolution, Great Slave Lakeoil on panel, signed and on versosigned and titled, circa 19288 1/2 x 10 1/2 in, 21.6 x 26.7 cm

PROVENANCE:The PSBGM Cultural Heritage Foundation

LITERATURE:A.Y. Jackson, A Painter’s Country, The Autobiography of A.Y. Jackson,1958, pages 100 and 101Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition, Galerie WalterKlinkhoff Inc., 1990, listed, unpaginated

EXHIBITED:Galerie Walter Klinkhoff Inc., Montreal, A.Y. Jackson RetrospectiveExhibition, September 10 ~ 22, 1990, catalogue #9

In July of 1928, A.Y. Jackson traveled to Fort Resolution on the shores ofthe vast Great Slave Lake. It was an arduous journey by rail and boat, butJackson was an experienced and enthusiastic explorer, and he wasintrigued that this “was a part of their country few Canadians at that timeknew 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 mostpicturesque place.” However in 1928, due to the influenza epidemic thatyear, many had scattered. Jackson encountered a challenge from thesummer swarms of insects, which were relentless, even working theirway into his paint, so he concentrated on pencil drawings ~ making thisoil sketch all the more rare. This fascinating scene has a strong centralmotif in the teepee’s bare poles, which frame the figures of two women.Jackson deftly captures the atmosphere of the endless Arctic day in theflickering opalescent tones in the sky.

ESTIMATE: $25,000 ~ 35,000

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116

116 ALEXANDER YOUNG (A.Y.) JACKSONALC CGP G7 OSA RCA RSA 1882 ~ 1974

Godhavn, Greenlandoil on panel, signed and on versotitled and dated July 19278 1/2 x 10 1/2 in, 21.6 x 26.7 cm

PROVENANCE:The PSBGM Cultural Heritage Foundation

LITERATURE:Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition, Galerie WalterKlinkhoff Inc., 1990, listed, unpaginatedWayne Larsen, A.Y. Jackson, The Life of a Landscape Painter, 2009,page 138

EXHIBITED:Galerie Walter Klinkhoff Inc., Montreal, A.Y. Jackson RetrospectiveExhibition, September 10 ~ 22, 1990, catalogue #8

On July 16, 1927, A.Y. Jackson and Dr. Frederick Banting, researchscientist 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 ofGodhavn on the coast of Greenland. Their arrival created a sensation ~ acontingent including the Governor of North Greenland met them, and apublic holiday was declared for the day. Godhavn was quite a sight with,as Wayne Larsen writes, its “colourful Danish~style cottages, with steeproofs and ornate trim, standing side by side with Inuit shacks built fromwhatever material happened to be handy ~ wood, tarpaper, and whalebones.” Jackson and Banting soon slipped away to paint. Jackson wrote,“It’s an unbelievable village, and you keep pinching yourself to find out ifit was a dream or part of the Chauve Souris, or a fairy tale.” This finelybalanced composition captures the striking impact of this harbourtowered over by snow~capped mountains. Jackson’s sure and fluidhandling of volume and paint is in full bloom in the foreground with itsdelicate colour tints in the molded rock formations.

ESTIMATE: $25,000 ~ 35,000

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117

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117 ALEXANDER YOUNG (A.Y.) JACKSONALC CGP G7 OSA RCA RSA 1882 ~ 1974

A Quebec Village (Winter, Saint~Fidèle)oil on canvas, signed and on verso signed, titledA Quebec Village on the stretcher by the artist,and Winter, Ste. Fidele on a label and dated 193025 x 32 1/4 in, 63.5 x 81.9 cm

PROVENANCE:Baron Byng High School, Montreal, 1930The PSBGM Cultural Heritage Foundation

LITERATURE:A.Y. Jackson, A Painter’s Country, The Autobiography of A.Y. Jackson,1958, pages 61 and 62Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition,Galerie Walter Klinkhoff Inc., 1990, reproduced front cover and listed, unpaginatedPierre B. Landry, editor, Catalogue of the National Gallery of Canada,Canadian Art, Volume Two / G ~ K, 1994, similar subjects: a 1926graphite study of the church at Saint~Fidèle, entitled Saint~Fidèle,Quebec reproduced page 199, a 1926 canvas of Saint~Fidèle villagewith the church entitled Winter, Quebec reproduced page 199 anda 1926 graphite study entitled Church at Saint~Fidèle reproducedpage 200Charles C. Hill, The Group of Seven: Art for a Nation, National Galleryof Canada, 1995, titled as Saint~Fidèle, reproduced page 279,figure 248, listed page 336David P. Silcox, The Group of Seven and Tom Thomson, 2003,titled as St. Fidèle, reproduced page 196Wayne Larsen, A.Y. Jackson, The Life of a Landscape Painter, 2009,titled as St. Fidèle, reproduced page 145

EXHIBITED:The Art Gallery of Toronto, Exhibition of Seascapes and Water~Frontsby Contemporary Artists and an Exhibition of the Group of Seven,December 4 ~ 24, 1931, catalogue #96San Francisco Golden Gate International Exhibition, 1939Galerie Walter Klinkhoff Inc., Montreal, A.Y. Jackson, RetrospectiveExhibition, September 1990, catalogue #13National Gallery of Canada, Ottawa, The Group of Seven, Art for a Nation,October 13 ~ December 31, 1995, traveling in 1996 to the VancouverArt Gallery and the Montreal Museum of Fine Arts, catalogue #170

This stunning A.Y. Jackson comes to Heffel through The ProtestantSchool Board of Greater Montreal’s Cultural Heritage Foundation.Beginning in 1922, Anne Savage taught art at the PSBGM’s Baron ByngHigh School, and during her time there she donated several of her ownworks to the school, including the stunning Northern Lake / Trees in theWind (lot 118) and oversaw the acquisition of additional works by otherimportant Canadian artists. It was a common practice in Montreal in the1930s for parents and alumni to thank schools with the gift of a work ofart. Savage’s skilled teaching during her 28~year tenure would haveencouraged parents and alumni to do exactly that, and Savage’s

connections enabled the school to build a fine collection. No doubt herclose relationship with Jackson led to the inclusion of this exceptionallyfine canvas in the PSBGM’s collection. This important collection is nowbeing 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 regionsuch charm. Jackson was utterly at home in Quebec, whether onsnowshoes or on foot, and so at ease with his surroundings that hisQuebec works have a personality and familiarity to them that can onlycome when an artist is particularly attached to a certain place. As withJ.E.H. MacDonald and Lake O’Hara, Lawren Harris and the Arctic, andEmily Carr and the British Columbia forest, when a geographicalconnection between art and artist becomes profound, the work that itgenerates reaches a new level. Here, with snow in abundance and lightplaying against the whites of winter, turning them into blues, pinks andpurples, Jackson is at his finest. The colour of the snow alone makes thispainting outstanding, and the play of the snow colour against that of thesky, so similar yet rendered in a slightly different hand, exemplifiesJackson’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 andshape. In the near ground, the neatly stacked wood adds a contrast ofpattern, while the fence line serves to return our gaze to the centre after wehave taken in all that this charming work has to offer us. Horse~drawncarts 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 EdwinHolgate. He wrote, “It is rather like St. Hilarion on top of a hill butoverlooking the river for miles…not ancient but just a natural villagewhere everyone did as they pleased.” His description of the village asnatural is key, and something Jackson sought out in his preferred paintinglocales, almost on an instinctive level. Although its buildings and thefieldstone church are clearly man~made, Saint~Fidèle seems to havesprouted from the earth with homes, sled~paths and fences situated insuch a manner as to follow the natural hollows and rises of the landscape.Jackson returned again in 1930 with Dr. Frederick Banting, and theyencountered daunting amounts of snow. Jackson commented, “It was ahard month to work, not many effects and more wind than was necessaryand 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 yesterdayand that nearly cured him. We did not have our snowshoes, and we sankin the snow up to our waists. No newspapers, no radio and only enoughwater to wash once a day and yet we are happy.” This waist~deep snow isvery prominent here, sparkling and infused with many delicate hues as itgently blankets this scene of a by~gone era in this masterpiece canvas.

This exceptional canvas was loaned by Baron Byng High School to the1931 Group of Seven exhibition at The Art Gallery of Toronto.

As with the other lots consigned by the PSBGM, proceeds from the sale ofthis work will directly benefit graduates of the English Montreal SchoolBoard by providing scholarships for post~secondary education.

ESTIMATE: $500,000 ~ 700,000

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118

118 ANNE DOUGLAS SAVAGEBHG CGP 1896 ~ 1971

Northern Lake / Trees in the Wind (verso)double~sided oil on canvas, signed31 x 34 in, 78.7 x 86.3 cm

PROVENANCE:A gift from the Artist to Baron Byng High School, MontrealThe PSBGM Cultural Heritage Foundation

LITERATURE: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 resonatestoday with the students and alumni of Montreal’s Baron Byng HighSchool, where she taught from 1922 until 1948. The school wasestablished in 1921 and notes Mordecai Richler, Irving Layton, MoeReineblatt and William Shatner among its graduates. Savage was theschool’s first art teacher, and during her long tenure there she employed a

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method of teaching focused on creative stimulus, positive reinforcementand showing complete trust in the innate artistic talents of all herstudents. Quite ahead of its time, this method produced outstandingresults, and Savage soon became a beloved teacher. She oversaw thepainting of murals on the school walls by students and arranged for thedonation of important works of art by her artistic contemporaries to theschool’s collections. Thus, the walls at Baron Byng were graced with aremarkable array of art. From sketches by J.E.H. MacDonald and finecanvases by A.Y. Jackson to a wintry street scene by Robert WakehamPilot, Savage built a collection with the eye of an experienced curator andthe insight of a gifted educator. As well, she contributed a number of herown works, including Northern Lake / Trees in the Wind.

The view on one side of this double~sided work, entitled Northern Lake, isa depiction of one of Savage’s most treasured vistas. In 1911, her familyhad purchased a summer property at Lake Wonish, north of Montrealnear Sixteen Island Lake. The property was high on a hill above the lakeand had a commanding view of the lake’s waters, which could not be seenin their entirety from the home, being partially hidden beneath steepcliffs, with the view running off into the distance. This distant lake has adistinctive shoreline, standing out like a shard of glass in a lush landscape.Savage was extremely fond of this outlook, and painted it often, in bothsunlight and twilight like French Impressionist Claude Monet, whopainted the same scene again and again. She captured it in all seasons anddifferent times of day, and named it with varying titles. In 1933 she built astudio for herself on this property, at the head of the lake with a view out ofher window that gave her an eagle’s overlook onto the landscape. AnneMcDougall writes, “The fields between the studio and the water fold intovalleys at the foot of elm and maple trees. There is a road running acrossthe end of the fields that turns by a clump of maple trees. Anne found theview satisfying. It contained the elements of rhythm and design that sheneeded, and was right there in front of her…‘Anne’s Lake’, as her friendscalled it, so often gave her the inspiration she needed for on~the~spotsubject matter. She turned to it again and again.” Her depiction of the lakein this work is both expansive and graceful, with a fine, rolling quality anda serene harmony in both her palette and her brushwork. The shadowsand colouring of the elm trees are especially fine.

The verso scene, Trees in the Wind, is equally enchanting. Characteristic ofSavage’s style, movement, rhythm and balanced patterns of colour are themain focuses of this lyrical and energetic composition. Savage lined thewalls of her studio with mirrors so that she could see the works she waspainting in reverse and from various angles while she was working,feeling that these varied perspectives allowed her to compose herpaintings more carefully. Indeed, with both Northern Lake and Trees in theWind, her compositional structure perfectly supports these two delightfulworks.

Savage was a member of both the Beaver Hall Group and the CanadianGroup of Painters. Following her retirement from Baron Byng HighSchool, she supervised the Art Program for The Protestant School Boardof Greater Montreal and taught at McGill University.

ESTIMATE: $70,000 ~ 90,000

Anne Savage with a boys’ class,Baron Byng High School

verso 118

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119 ROBERT WAKEHAM PILOTCGP OSA PRCA 1898 ~ 1967

Indian Fur Tradersoil on canvas on board,signed and dated 192572 x 122 5/8 in, 182.9 x 311.4 cm

PROVENANCE:The PSBGM Cultural Heritage Foundation

LITERATURE:Tim E. Holzkamm, Traders of the Plains: The European Fur Tradeand 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 RobertPilot mural, offered by the PSBGM Cultural Heritage Foundation, depictsa familiar subject: native people and men of European backgroundengaged in a commercial exchange related to the fur trade. This subjecthad been painted by other artists ~ for example, Toronto muralistFrederick S. Challener’s A View of Fort Rouillé, produced in 1928 for theoffices of Loblaws, a major Toronto food company. The foreground of thatwork is occupied by a circle of natives sitting on the ground and engagedin trade with a single military man. Before 1906, Challener had producedan earlier version of the same subject for the King Edward Hotel inToronto. In 1929, the famous historical illustrator C.W. Jefferys painted ascene of the exchange of goods between natives and French settlers for LeManoir Richelieu in Murray Bay, Quebec. Even closer to the setting ofPilot’s murals were the scenes painted by Georges Agnew Reid for theauditorium of a Toronto high school, the Jarvis Collegiate Institute,between 1929 and 1930. One of the panels he produced was entitledHudson’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 scenedepicted. Considering the presence of the teepees in the background andthe majestic feather headpiece of the Indian chief presenting furs to atrader, we are certainly among the Plains Indians; probably the Dakotas,who served as middlemen between other tribes of the Plains and thetraders. The silhouette of a red buffalo on one of the teepees also confirmsthis locale. It also indicates that the shift in the fur trade from beaver peltsto bison robes, which occurred in the 1830s, was well under way. It wouldbe impossible to interpret the furs being offered by the chief in Pilot’smural as beaver pelts. The composition of this mural is similar to Early

Explorers, with which it makes a pair. One finds again two groups ofpeople facing each other in the foreground with a triangular shape of theteepee in the background. In the canoe are the trade goods the traders areoffering in return for the furs. With these two murals, Pilot was coveringan aspect of the history of Canada when European~Canadian settlerswere confronted with Aboriginal populations ~ but he chose to representmoments of collaboration instead of warfare, moments of exchange ofknowledge and skill instead of ignorance and barbarism. Needless to say,that was well suited to the educational purpose of the murals in theiroriginal placement in schools.

Let us hope that these murals will find public exposure. They could havemuch significance in a museum setting, where their intent could beclearly explained and situated in the context of historical painting. Inother public places, as with their first provenance, schools or publicbuildings (either private or governmental) could give them the exposurethey deserve. These works also add to our knowledge of Pilot’s art, whichhas been seen almost exclusively as landscapes or Quebec City scenes.

We thank François~Marc Gagnon of the Gail and Stephen A. JarislowskyInstitute of Studies in Canadian Art, Concordia University, forcontributing the above essay.

ESTIMATE: $100,000 ~ 150,000

Installation 119Galerie Heffel, Montreal, March 2013

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120

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120 ROBERT WAKEHAM PILOTCGP OSA PRCA 1898 ~ 1967

Early Explorersoil on canvas on board,signed and dated 192972 x 122 5/8 in, 182.9 x 311.4 cm

PROVENANCE:The PSBGM Cultural Heritage Foundation

LITERATURE:Marilyn McKay, Canadian Historical Murals 1895 ~1939,Material Progress, Morality and the ‘Disappearance’ of NativePeople, 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 Artand Design indicated that, in the early 1990s, the location of a RobertPilot mural completed for the High School of Montreal was unknown.She will be pleased to learn that not only this mural, but also another ofPilot’s historical paintings have been found, and will now be auctioned atHeffel. Both are large~scale works and have been put up for sale by thePSBGM Cultural Heritage Foundation with the intention that theproceeds raised from this sale will provide post~secondary scholarshipsto current and future English Montreal School Board graduates.

Early Explorers depicts an encounter between Jacques Cartier and two ofhis men with Dom Agaya, the son of Donnacona, the Iroquois chief ofStadacona (Quebec City). Dom Agaya is providing Cartier with EasternWhite Cedar boughs (Thuya occidentalis) to help his men recover fromscurvy. This was a disease that resulted from a vitamin C deficiency, whichwas common among sailors and pirates who were deprived of fruits andvegetables for long periods. Dom Agaya stripped cedar needles from anearby White Cedar tree and proceeded to boil them into a tea, which heoffered 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 desperatemen eagerly volunteered and drank it anyway ~ better to die quickly frompoison than to suffer the prolonged and horrendous death of scurvy.Surprisingly, they felt better almost immediately. More tea was made, andwithin eight days one tree had been stripped bare, but the Frenchmenwere cured of scurvy.

This is a rare example in the documents of the time where the medicalknowledge of the natives is presented as superior to European settlers’knowledge, and indeed it is a rare subject in historical murals of the

period, where the common theme was to praise European technology assuperior to that of the natives. However, the presence of ships in Pilot’spainting is certainly to reestablish the Eurocentric “balance”. In fact, thisnative “superiority” would quickly be forgotten in favour of the work ofScottish physician James Lind (1716 ~ 1794), who pioneered navalhygiene in the Royal Navy. By conducting the first~ever clinical trial, Linddeveloped the theory that citrus fruits cured scurvy.

Pilot, known for his views of Quebec, reveals himself here as interested inan historical subject on a grand scale. The triangular composition set upby the men and the ship in the background is perfectly balanced, thesetting in a winter landscape makes sense considering the subject matter,and the opposition between the engaging Europeans ~ see the man on theextreme left ~ and, on the right, the rather “inactive, emotionless NativeCanadians”, to quote McKay, reflects the prejudices of the time.Nevertheless, Pilot’s painting demonstrates the need to use history in aneducational context, an idea sponsored by the Group of Seven painterArthur Lismer, among others. It was seen as crucial to developing thenational consciousness of Canadians.

We thank François~Marc Gagnon of the Gail and Stephen A. JarislowskyInstitute of Studies in Canadian Art, Concordia University, forcontributing the above essay.

ESTIMATE: $100,000 ~ 150,000

Installation 120Galerie Heffel, Montreal, March 2013

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121 ANNE DOUGLAS SAVAGEBHG CGP 1896 ~ 1971

Novemberoil on board, signed and on verso titled24 x 30 in, 61 x 76.2 cm

PROVENANCE:A gift from the Artist to Baron Byng High School, MontrealThe PSBGM Cultural Heritage Foundation

LITERATURE:Anne McDougall, Anne Savage: The Story of a Canadian Painter,1977, pages 44 ~ 45

Anne McDougall writes, “Anne Savage sought light and rhythm and had asure 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 notpeople her pictures with human beings…but turns again to landscapeand throws joy into the sweeping tree or bank.”

Savage’s colours in this bright, enchanted scene are awash in sunlight. Theeffect is one of bleached brilliance, and the scrubbed, dry~brushapplication of paint furthers this effect. Her balanced compositionconsists of rolling hills set under an umbrella of trees that partially screensa distant hill, with all of this accented by a few small buildings. Savagevaries her application of paint by a pattern of dotting in some of the treeboughs, and sets these next to ones painted with fluid smoothness. Thereare vertical brush~strokes to offset the horizontal ones, and the division ofthe whole scene by lyrical, sweeping lines of reddish~brown ~ quite ArtNouveau in their character ~ gives the scene a fine sense of design.

ESTIMATE: $15,000 ~ 20,000

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122 ANNE DOUGLAS SAVAGEBHG CGP 1896 ~ 1971

Summeroil on board, signed23 1/2 x 30 in, 59.7 x 76.2 cm

PROVENANCE:A gift from the Artist to Baron Byng High School, MontrealThe PSBGM Cultural Heritage Foundation

LITERATURE:Anne McDougall, Anne Savage: The Story of a Canadian Painter,1977, pages 42, 44 and 47

Anne McDougall writes, “Her paintings…like those of the others in theBeaver Hall group, show the influence of the Impressionists, an influencewhich Morrice and others had brought late to Canada but which was

considered very much avant~garde in households still hanging copies ofold European masters ~ ‘the Dutch gravy school’, [A.Y.] Jackson calledthem.”

In late January of 1921, an article in La Presse included the name AnneSavage in a list of 20 painters that the author considered comparable tothe “Indépendants de Paris” (Société des Artistes Indépendants). Alongwith that of Prudence Heward, Adam Sherriff Scott, Edwin Holgate andthe others listed, Savage’s work was, for Canadian eyes, a marked changefrom the mainstream. In describing Savage’s work, her biographerMcDougall, when writing of Savage’s membership in the short~livedBeaver Hall group, states, “They were like a flurry of bright butterfliessettling on a rock for a brief time, then off on their own ways.” Bright anddelicate, and when considered in contrast to the “Dutch gravy” works thatwere the object of Jackson’s ire, Savage’s works are butterflies indeed.

ESTIMATE: $15,000 ~ 20,000

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123 ALEXANDER YOUNG (A.Y.) JACKSONALC CGP G7 OSA RCA RSA 1882 ~ 1974

Cap~aux~Oies, Que.oil on panel, signed and on verso signed, titled,dated March 1931 and inscribed Severn St., Toronto8 1/2 x 10 1/2 in, 21.6 x 26.7 cm

PROVENANCE:The PSBGM Cultural Heritage Foundation

LITERATURE:Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition, GalerieWalter Klinkhoff Inc., 1990, listed, unpaginated

EXHIBITED:Galerie Walter Klinkhoff Inc., Montreal, A.Y. Jackson RetrospectiveExhibition, September 10 ~ 22, 1990, catalogue #16

In March of 1931, A.Y. Jackson was sketching on the north shore ofthe St. Lawrence River with Dr. Frederick Banting and RandolphHewton, and painted Cap~aux~Oies, located between the villages ofSainte~Irenée and Les Éboulements. The string of villages leading up toBaie~Saint~Paul were noted for their picturesque qualities, and Jacksonknew this “painting trail” on the North Shore intimately. This fine Quebecoil sketch displays Jackson’s characteristic compositional elements andsparkles with vitality. The diagonal line of the snake fence leads the eyestraight to the iconic horse and sleigh, then to the rustic town arrayed atthe base of the hill. The scene is flooded by early spring sun, which lightsup the piles of snow shrinking at their edges from the increased warmth.Jackson’s colour palette is rich, from the houses painted with both warmand cool colours to the bright blue tones in the shadows on the snow andthe brilliant sky. Jackson’s affection for Quebec villages is palpable ~ hewalked their back roads, knew their people and captured their essence infresh, on~the~spot oil sketches like Cap~aux~Oies, Que.

ESTIMATE: $25,000 ~ 35,000

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124 ALEXANDER YOUNG (A.Y.) JACKSONALC CGP G7 OSA RCA RSA 1882 ~ 1974

Ellesmere Islandoil on panel, signed and on versosigned, titled and dated August 19278 1/2 x 10 1/2 in, 21.6 x 26.7 cm

PROVENANCE:The PSBGM Cultural Heritage Foundation

LITERATURE:Walter Klinkhoff, A.Y. Jackson Retrospective Exhibition, GalerieWalter Klinkhoff Inc., 1990, listed, unpaginated

EXHIBITED:Galerie Walter Klinkhoff Inc., Montreal, A.Y. Jackson RetrospectiveExhibition, September 10 ~ 22, 1990, catalogue #7

During A.Y. Jackson’s 1927 trip to the Arctic on the SS Beothic, he arrivedat 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 policewere the whole population of this remote island, and the Beothic wasdropping supplies there. The ship had to manoeuvre through the pack iceof Kane Basin to reach it, and due to ice could only anchor nearby. Withthe imminent threat of the ice closing in, Jackson and his paintingcompanion Dr. Frederick Banting hurried ashore and set to sketching.They found a stark sculptural landscape of ice, shale and gravel, asrevealed in this bold oil sketch. The strength of the landforms, the loftyperspective and the beauty of the delicate colour tints in the ice floes makethis one of Jackson’s classic Group period sketches.

Jackson later painted a fine canvas based on sketches made of the Beothicat Ellesmere Island, which he presented to the Minister of the Interior,who later donated it to the National Gallery of Canada.

ESTIMATE: $25,000 ~ 35,000

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125 ROBERT WAKEHAM PILOTCGP OSA PRCA 1898 ~ 1967

Corner of Sherbrooke and Peel Streetsoil on canvas, signed and on versosigned and dated 196028 x 24 in, 71.1 x 61 cm

PROVENANCE:The PSBGM Cultural Heritage Foundation

LITERATURE:Harold Beament, Robert W. Pilot Retrospective, the Montreal Museumof Fine Arts, 1968, a similar canvas entitled Peel Street, Winterreproduced page 37G. 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 Cityand streetscapes of Montreal catch the piquant Gallic charm of theseplaces and are a delight to look at.” Pilot spent his youth in the vibrantstudio of his stepfather Maurice Cullen, who had married Pilot’s widowedmother in 1910. Cullen was one of Canada’s finest Impressionist painters,and quite successful during his lifetime. He had been trained in Europeanmethods and welcomed his young stepson into his studio, giving himsolid foundational skills in painting through the apprenticeship method,which was in its waning days as a common educational practice. Alongwith the direction of William Brymner at the Royal Canadian Academy,this training gave Pilot a sound academic foundation and excellenttechnical skills. In addition to serving in World War I (and later WorldWar II), Pilot followed the example of his stepfather and other artists ofthe time and traveled, training further at the Académie Julian in Paris andsharing his studio there with Edwin Holgate. In 1922, Pilot returned toCanada and opened a studio in Montreal. He turned immediately topainting Canadian scenes, selecting views in the nearby parks, along citystreets, near Montreal’s beautiful churches and along the edges of the city.While the influence of his time in France remained strong throughout hislife, Pilot was able to blend the Canadian scenery and his French trainingsmoothly. Here, in this fine scene painted at the intersection ofSherbrooke and Peel Streets in Montreal, the soft evening light and frostywinter atmosphere are of paramount interest in the painting. Pilot wasespecially fond of early evening light and often painted scenes such asthis, wherein daylight is just ending and the transition into eveningbegins. This fleeting moment of ethereal light and atmospheric effectswould fascinate him and stand as one of his favourite subjects. Pilot wasalso particularly adept at depicting snow, and here we see it in the form offrost, slush and ice. Further, light is expertly handled in differing ways inthis work; we have the warm light coming from the windows in the

buildings, the cool light coming from the street lamps and their softreflections on the wet, slick street, and the fading evening light in the sky,which Pilot has painted using a subtle pointillist method. Larger daubs ofcolour demark the sky from the tips of the tree branches, which are coatedwith hoar frost and differ only slightly in their form and colour from thesky. The lyrical, calligraphic forms of the trees further serve to break upthe linear patterns of the architectural details on the buildings directlybehind them and play nicely with the vertical spikes of the iron fence,creating both balance and contrast in this unified and tonally subduedwork. Corner of Sherbrooke and Peel Streets has an inviting, pleasantappeal, despite the fact that we are looking at a cold, wintry evening.Warm interior lights tell us the rooms are occupied, the deftly paintedfigures attend to the business of heading on their way, and the red andgreen traffic lights indicate that everything is under control. Pilot’sdepictions of Quebec have the ability to take us back in time withoutbeing trite or overly sentimental. His foundational skills as a colourist andcompositional master did not allow for trivial or hackneyed scenes, andhis affection for his home province, its people and scenery, infused hiswork with a palpable sincerity. As the last significant painter in theCanadian Impressionist style, his works are highly sought after, andCorner of Sherbrooke and Peel Streets is a fine example ~ an evocative,everyday moment in an historic city during the long Canadian winter.

ESTIMATE: $100,000 ~ 150,000

Mr. Hamilton’s four~in~hand, corner ofSherbrooke and Peel Streets, Montreal, QC, 1894

© McCord Museum II~106399

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126 ALEXANDER YOUNG (A.Y.) JACKSONALC CGP G7 OSA RCA RSA 1882 ~ 1974

Saint~Simeon, Lower St. Lawrenceoil on canvas, signed, 195024 x 30 in, 61 x 76.2 cm

PROVENANCE:The PSBGM Cultural Heritage Foundation

LITERATURE:A.Y. Jackson, A Painter’s Country, The Autobiography of A.Y. Jackson,1958, pages 82, 166 and 167

Wild weather exhilarated A.Y. Jackson. His brushwork, so full ofmovement in this wind~swept, lilting scene, conveys a feeling ofwindblown vitality to us instantly. In this quaint village of Saint~Siméonset on the edge of the St. Lawrence River, even the buildings seem to havebeen 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 shorelineshaped by a powerful force, a place where the land and people are at thewater’s mercy.

Jackson was very familiar with the St. Lawrence, and was asked toillustrate a book about it as part of the ambitious Rivers of America Series,published in 1942 in the United States by Farrar & Rinehart. A highlycollected series of books, it contained 65 volumes and was issued underthree different publishers over 37 years. The Jackson~illustrated St.Lawrence volume was reissued in 2012. This commission was taken onduring the Second World War, and Jackson, so familiar with Quebec’sriverside villages, assumed he would be able to paint wherever he liked.Instead, he found himself being repeatedly questioned as to his motivesfor sitting alone on the St. Lawrence, and was forced to seek permits topaint near ports of any strategic significance. He was once, while not

actually arrested, taken under armed guard to port officials to explainhimself.

Nonetheless, Jackson’s affection for the St. Lawrence’s shoreline wouldlast throughout his life. “I have worked in villages on both the north andsouth shores…In thirty years I missed only one season, the year I wasteaching at the Ontario College of Art. I have happy memories of a greatmany places, from St. Joachim to Tadoussac, and on the south shore fromLévis to Fox River in Gaspé. The canvasses I painted there are scatteredfrom 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, withthe colour of the river water echoed in the muddy brown~greens of theroad ~ linking the land and the river so nicely ~ and the rusty red of thetruck’s cab is recalled in the red of the hill in the middle ground, tying thehuman elements to the land itself. Further, he uses the same violet ~ indifferent levels of saturation ~ to create horizontal slices of cloud in thesky and to highlight the vertical faces of homes in the village, anotherunifying touch. The bright emerald green of the boat behind the bare treebranches and two middle ground homes form a further connection.Jackson was a master of these painterly subtleties. His depiction of theQuebec landscape and aspects of the lives his fellow Quebecers livedupon it is a gentle dance of people and place. He was just as at home inSaint~Siméon as the villagers were, and thus his depiction of the villageseems effortless and relaxed, with fluid and assured brushwork that isused with a consistent touch to depict the sky, water, earth, ramshacklebuildings and fence posts, boats and people. The horse~drawn cart andred truck add a further human note to this depiction of life lived on theedge of one of North America’s largest rivers.

ESTIMATE: $90,000 ~ 120,000

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127 ROBERT WAKEHAM PILOTCGP OSA PRCA 1898 ~ 1967

The Mill Town Near Murray Bayoil on canvas, signed and on verso signed and titled24 1/4 x 32 1/4 in, 61.6 x 81.9 cm

PROVENANCE:The PSBGM Cultural Heritage Foundation

The town of Murray Bay, in Charlevoix County, Quebec, has attracted theattention of artists and been a popular tourist destination from as early asthe 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 paintedMurray Bay against a backdrop of low~lying clouds that have settledalong the river, Nora Collyer, Arnold Benjamin Hopkins and HenriMasson all painted scenes depicting this quaint village and itsinhabitants. Pilot has depicted the town’s homes and buildings nestledalong the gently rolling shoreline landscape in a contained, appealingmanner. The church and millworks are the tallest of the buildingsdepicted, with a plume of smoke from the paper mill evaporating as itmoves skyward. Grey clouds fill the sky, patterning the atmosphere andbalancing the geometry of the village below.

ESTIMATE: $30,000 ~ 40,000

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128 RITA MOUNTARCA 1888 ~ 1967

Village de L’Anse~aux~Gascons,Gaspé, Que.

oil on canvas, signed24 x 32 in, 61 x 81.3 cm

PROVENANCE:Continental Galleries, MontrealThe PSBGM Cultural Heritage Foundation

EXHIBITED:Art Association of Montreal, Spring Exhibition, 1945

Rita Mount was an anglophone Montreal artist known for her Quebeclandscape painting, particularly seascapes of the Gaspé coast. This is aremarkably atmospheric work, with its gorgeous green and blue waterand the small, informal harbour with sailboats pulled up on the shore.Mount’s soft brush~strokes, pastel tones and sensitive treatment of lightis reminiscent of the French Impressionists’ treatment of coastal France,but with a brilliant, clear light that reflects the uniqueness of Canadianatmosphere.

ESTIMATE: $4,000 ~ 6,000

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129 ROBERT WAKEHAM PILOTCGP OSA PRCA 1898 ~ 1967

Farm Near Baie~Saint~Pauloil on canvas, on verso titledon the gallery label, 193618 x 24 in, 45.7 x 61 cm

PROVENANCE:Galerie Walter Klinkhoff Inc., MontrealThe PSBGM Cultural Heritage Foundation

Robert Pilot was the last significant Canadian painter working in theImpressionist tradition. He was known for his atmospheric views ofQuebec, both city and countryside, as in this charming canvas.Baie~Saint~Paul, on the north shore of the St. Lawrence River, was afavourite location of artists such as A.Y. Jackson and Clarence Gagnon.Pilot has depicted the scene with a clear, suffused light and a palpablefeeling of affection for the farm nestled into the base of the hill.

ESTIMATE: $8,000 ~ 12,000

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130 ROBERT WAKEHAM PILOTCGP OSA PRCA 1898 ~ 1967

Rooftops, Quebecoil on canvas, signed and on versotitled on the gallery label18 1/8 x 24 1/8 in, 46 x 61.3 cm

PROVENANCE:Galerie Walter Klinkhoff Inc., MontrealThe PSBGM Cultural Heritage Foundation

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 additionto the training provided by Cullen, Pilot received formal education under

William Brymner at the Art Association of Montreal before traveling toParis to study at the Académie Julian, and in 1922 exhibited at the ParisSalon. While abroad, Pilot absorbed the work of fellow Impressionistsand, upon returning to Canada, channelled their techniques into hiswork. Pilot found his greatest inspiration in the snow~laden streets ofMontreal and Quebec City, working in a muted colour palette to reflect adistinctive sense of serenity amidst the urban environment. Rooftops,Quebec provides the viewer with a unique perspective, as we are raisedabove the slush~laden streets and perched amongst brick chimneys andtraditional 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 loyaladmiration and affection for his urban surroundings that helped confirmPilot as one of Canada’s greatest Impressionist painters.

ESTIMATE: $20,000 ~ 30,000

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131 ROBERT WAKEHAM PILOTCGP OSA PRCA 1898 ~ 1967

Sainte~Adèle, PQoil on canvas, signed19 x 24 in, 48.3 x 61 cm

PROVENANCE:Continental Galleries, MontrealThe PSBGM Cultural Heritage Foundation

Robert Pilot was considered an exceptional talent as a young student, andWilliam Brymner, who was his teacher at the Royal Canadian AcademySchool and at the Art Association of Montreal, went so far as to offer himfree classes in support of his training. In 1920 Pilot was invited toparticipate 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 metfellow Canadian painter Edwin Holgate, who was living and working inParis. Pilot was a great admirer of the work of James Wilson Morrice, andwe can see the influence of Morrice, along with a Canadian version ofFrench Impressionism in Pilot’s work. This fine view of Sainte~Adèleshows us how clearly Pilot understood the soft light of the Canadianwinter. The reflections in the water and treatment of the snow areparticularly skilled, and the upper branches of the leafless trees seem tofloat hazily, suspended in the air as if they are made of smoke.

ESTIMATE: $15,000 ~ 20,000

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132

132 FREDERICK SIMPSON COBURNAAM RCA 1871 ~ 1960

Harrowingoil on canvas, signed and dated 1921and on verso titled on the gallery label20 x 25 in, 50.8 x 63.5 cm

PROVENANCE:Galerie Walter Klinkhoff Inc., MontrealThe PSBGM Cultural Heritage Foundation

LITERATURE:Janet M. Brooke et al, The Frederick Simpson Coburn Collection,Musée des beaux~arts de Sherbrooke, 1996, essay by MoniqueNadeau~Saumier, page 35

EXHIBITED: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 inthe Quebec countryside near his familiar terrain of Upper Melbourne ~sometimes jauntily transporting people and sometimes working, such aspulling sledges loaded with lumber ~ typically in winter. This is a raresummer scene, depicting a horse team harrowing the land, a process thatprepares the soil for seeding. Monique Nadeau~Saumier writes that it is“ ‘the human history of the nation’ that provided a fertile ground for thedevelopment of his art, specifically in the activities of the woodsmen andfarmers of the St. Francis River Valley.” Beautifully detailed, and paintedwith vigorous brush~strokes, there is much for the eye to savour, from thelush foreground foliage to the delicate patterns of birds in the sky. Coburncaptures the activities of the farm in a fresh and natural way, observing theman involved in his work, the watchful dog, the patient horses and thelivestock grazing in the background. Coburn’s consummate knowledgeof composition, light effects and paint handling is fully manifest in thiswork, so expressive of the spirit of rural Quebec.

ESTIMATE: $12,000 ~ 16,000

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133 FREDERICK SIMPSON COBURNAAM RCA 1871 ~ 1960

Near Melbourne, Quebecoil on canvas, signed and dated 192426 1/2 x 32 in, 67.3 x 81.3 cm

PROVENANCE:The PSBGM Cultural Heritage Foundation

EXHIBITED:Galerie Walter Klinkhoff Inc., Montreal, Hommage à F.S. Coburn(1871 ~ 1960), September 1986, catalogue #29

At the turn of the twentieth century in Canada, artists were struggling toovercome the prejudice of collectors towards dark European paintings ofthe Hague and Barbizon Schools. Frederick Coburn trained in Europe,and the influence of contemporary Dutch painting persisted in his workuntil about 1907 ~ Coburn’s art collection even included a work byVincent van Gogh. However, Coburn painted with Canadian

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Impressionist Maurice Cullen, who had a strong influence on him, andsoon Coburn’s depictions of the landscapes surrounding his studio inQuebec’s Upper Melbourne were full of fresh, bright atmosphere. Also,Coburn collaborated with writers William Henry Drummond and LouisFréchette, illustrating their books on the legends, traditions and everydaylife of rural Quebec. One senses in Near Melbourne, Quebec Coburn’s keenappreciation of peaceful rustic scenes such as this, so typical of life in hisdistrict. Pale greens and golds in the foreground and the crest of the nearhill strikingly contrast with a dark screen of trees and blue~shadowedmountains in the background. High clouds drifting across a blue skycomplete Coburn’s masterful depiction of this tranquil, light~filledlandscape.

ESTIMATE: $15,000 ~ 20,000

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134 ALEXANDER YOUNG (A.Y.) JACKSONALC CGP G7 OSA RCA RSA 1882 ~ 1974

Lutheran Church, Rosendal, Ont.oil on panel, signed and on versosigned, titled and dated October 196010 1/2 x 13 1/2 in, 26.7 x 34.3 cm

PROVENANCE:Galerie Walter Klinkhoff Inc., MontrealThe PSBGM Cultural Heritage Foundation

LITERATURE:Arthur Lismer, A.Y. Jackson: Paintings 1902 ~ 1953, The Art Galleryof Toronto and the National Gallery of Canada, 1953, page 7

By the 1960s, A.Y. Jackson had left the legendary Studio Building inToronto and was living in Manotick in a new studio that he had built.

The pattern of his sketching trips had changed ~ though he continued toregularly visit Georgian Bay and the east shore of Lake Superior, he wouldnow explore areas such as the Gatineau region and the Madawaska andOttawa Valleys. In October of 1960 he was in the Madawaska Valley,where he discovered this rural church at Rosendal. Standing peacefullyon its own in a field, the church has a quietly heroic quality, with its spirereaching to the sky. The brightness in the clouds above the trees gives theimpression of a spiritual glow behind it. Jackson’s simple, fluidbrush~strokes depict the landscape with a natural and rhythmic flow ofits elements. As fellow Group of Seven member Arthur Lismer wrote ofJackson’s oil sketches, “They are easy to look at, disarming at first in theirsimplicity…but they also invite participation in the subtleties of hisexecution, of his thoughtful composition, and in the definitive mood.”

ESTIMATE: $15,000 ~ 20,000

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137

135136 ROBERT WAKEHAM PILOT

CGP OSA PRCA 1898 ~ 1967

Summer Near Murray Bayoil on canvas, signed and dated 1936and on verso titled on the gallery label14 1/8 x 17 3/4 in, 35.9 x 45.1 cm

PROVENANCE:Galerie Walter Klinkhoff Inc., MontrealThe PSBGM Cultural Heritage Foundation

In this relaxed family scene in Murray Bay, situated in Charlevoix Countyon the north shore of the St. Lawrence River, Robert Pilot has deftlycaptured everyday life in rural Quebec. As a young man he had forayed onsketching trips with his stepfather, Canadian Impressionist MauriceCullen. Once established in Cullen’s old Montreal studio, Pilot tookregular sketching trips to the Laurentians and the Baie~Saint~Paul area.Based on his sketches, he produced fresh, atmospheric canvases such asSummer Near Murray Bay.

ESTIMATE: $7,000 ~ 9,000

137 ROBERT WAKEHAM PILOTCGP OSA PRCA 1898 ~ 1967

Street in Kingston, Ontariooil on canvas board, signed and on versotitled and inscribed 360212 1/2 x 17 in, 31.7 x 43.2 cm

PROVENANCE:The PSBGM Cultural Heritage Foundation

ESTIMATE: $4,000 ~ 6,000

135 ROBERT WAKEHAM PILOTCGP OSA PRCA 1898 ~ 1967

Government Buildings, Quebec Cityoil on canvas, signed16 1/4 x 20 in, 41.3 x 50.8 cm

PROVENANCE:The PSBGM Cultural Heritage Foundation

When Anne Savage was building the Protestant School Board of GreaterMontreal’s art collection, it is likely that works were selected for theireducational purposes as well as for their artistic merit. Robert Pilot’s viewof the Government Buildings in Quebec City is a fine example of a statelyview of these Second Empire~style buildings, and of Pilot’s urbanImpressionism.

ESTIMATE: $8,000 ~ 12,000

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138 ANNE DOUGLAS SAVAGEBHG CGP 1896 ~ 1971

Birchesoil on board, signed and on verso signed and titled20 x 24 in, 50.8 x 61 cm

PROVENANCE:A gift from the Artist to Baron Byng High School, MontrealThe PSBGM Cultural Heritage Foundation

LITERATURE:Anne McDougall, Anne Savage: The Story of a Canadian Painter,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 cameover 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 andunfussy in her movements; mixing turpentine, flourishing a rag to cleanher 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 evenlyilluminated through Savage’s attention to light and colour. In the angle ofthe table, window and distant hills outside, we see Savage’s modernistleanings clearly expressed. Careful forethought has been put into thelayers of colour that give us the wall, window frame and table. Savagepaints the sun on the bouquet as prominently as the bouquet itself, andthe effect, with pink light and blue shadows playing with the fallen leaveson the table while sun streams through the foliage in the vase, is quitedazzling.

ESTIMATE: $10,000 ~ 15,000

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139 THOREAU MACDONALDCGP CPE 1901 ~ 1989

Canadian Geeseoil on canvas, signed, initialed and dated 193150 x 40 in, 127 x 101.6 cm

PROVENANCE:Art Emporium Limited, MontrealBaron Byng High School, Montreal,circa December 1931 / January 1932The PSBGM Cultural Heritage Foundation

LITERATURE:Margaret E. Edison, Thoreau MacDonald, A Catalogue of Design andIllustration, 1973, a black and white design of three flying geese for a 1930Canadian 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 strikingdepiction of Canadian geese reflects the strong, graphic quality of hiswork as a designer. MacDonald reduces his painting to powerfulessentials ~ a migration of the strong, assertive geese over a darkened landagainst a glowing sky ~ the most Canadian of images.

ESTIMATE: $8,000 ~ 12,000

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141 MAURICE GALBRAITH CULLENAAM RCA 1866 ~ 1934

North River Near St. Margaret’s, PQoil on board, signed and on verso titledand certified by Cullen Inventory #139511 3/4 x 16 1/4 in, 29.8 x 41.3 cm

PROVENANCE:The PSBGM Cultural Heritage Foundation

The North River in the Laurentians in winter was one of Maurice Cullen’sfavoured subjects. The cabin on Lac Tremblant that he built in the early1920s was his base from which he explored this river’s banks and thesurrounding snow~encrusted forests. His treatment of the delicateborders between snow and water are particularly exquisite, as are thecontrasts between brilliant white snow and deep blue water in this sunlitpainting.

ESTIMATE: $10,000 ~ 15,000

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140 MAURICE GALBRAITH CULLENAAM RCA 1866 ~ 1934

Palisades Through the Treesoil on board, signed and on verso titled on the gallerylabels, inscribed No. 17, January 1925 on the WatsonGalleries label and Chairman’s lounge and certified byCullen Inventory #139411 3/4 x 16 1/4 in, 29.8 x 41.3 cm

PROVENANCE:Watson Art Galleries, MontrealGalerie Walter Klinkhoff Inc., MontrealThe PSBGM Cultural Heritage Foundation

Maurice Cullen, an important Canadian Impressionist, had absorbed thetenets of this movement while studying in Paris. Painting out~of~doorsand capturing the moment in the landscape with its ephemeral effects oflight were a vital part of his work. Mountains such as the Palisades, oftenseen from Lac Tremblant or the Cache River, are a recurring element ofCullen’s Laurentian compositions, captured here with mysterious,deep~shadowed cobalt hues.

ESTIMATE: $10,000 ~ 15,000

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143 FREDERICK SIMPSON COBURNAAM RCA 1871 ~ 1960

View from the Studio, Upper Melbourneoil on canvas, signed15 x 18 in, 38.1 x 45.7 cm

PROVENANCE:The PSBGM Cultural Heritage Foundation

EXHIBITED:Galerie Walter Klinkhoff Inc., Montreal, Hommage à F.S. Coburn(1871 ~ 1960), September 1986, catalogue #30

Although Frederick Coburn trained in Berlin, Munich, Antwerp andParis, it was Melbourne in Quebec, his birthplace, that he returned to andwhere he based his studio. His surroundings had fine scenery for alandscape painter, and the rolling hills of the township were covered withhardwoods ~ such as this large and beautiful tree overlooking a river.Coburn exhibits his command of techniques honed in Europe in thislovely pastoral scene, lush with rich greens and blues.

ESTIMATE: $7,000 ~ 9,000

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142 ROBERT WAKEHAM PILOTCGP OSA PRCA 1898 ~ 1967

Cabbies at McGilloil on canvas on board, signedindistinctly and titled on a plaque12 1/2 x 16 1/2 in, 31.7 x 41.9 cm

PROVENANCE:Continental Galleries, MontrealThe PSBGM Cultural Heritage Foundation

The horse~drawn carriage in service as a cab was a popular subject in thework of several of Canada’s turn~of~the~century era painters. Oftensituated on busy corners or, as here, under the shade of a stately tree,horses rested, drivers chatted and people came and went. One rig wouldbe replaced by the next in turn, and artists could set up across the street tosketch as the day’s passengers were collected and delivered to theirdestinations. Cabbies at McGill is a charming window into life in oldMontreal. Robert Pilot has painted the line of cabs, one horse resting, thenext more alert, under the lively spring~green foliage of tall,black~trunked trees. It is a verdant, tranquil scene, with unhurriedpeople 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 thatechoes that of the tree trunks, breaks up the mossy green of the lawnbehind it.

ESTIMATE: $6,000 ~ 8,000

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144 ARTHUR LISMERAAM CGP CSGA CSPWC G7 OSA RCA 1885 ~ 1969

Undergrowth in the Pine Woods ~ Georgian Bayoil on board, signed and dated 1950 and on versosigned, titled, dated on a label and inscribed 2112 x 16 in, 30.5 x 40.6 cm

PROVENANCE:Private Collection, Vancouver Island

LITERATURE: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 elementalweather there, but also in life at ground level. Lismer noted that his fellowGroup of Seven artists looked over the foreground into the distance, andnow he chose to look at the earth at his feet, where everything originated.Twisting roots, rocks thrusting their way to the surface, random fallenforest debris and plucky small plants surviving in the stoney ground werethe raw material of his forest floor still lifes. Art historian Dennis Reid feelsthat the paintings Lismer produced during the summer of 1950 at bothCape Breton Island and Georgian Bay were vital and exciting, exhibiting“the outrageous hedonism of their sensuous materiality”. In Undergrowthin the Pine Woods ~ Georgian Bay, Lismer revels in the pure joy of thepainterly experience, scumbling and incising his paint, depicting goldenleaves cavorting amongst the stolid rocks of the Canadian Shield withvital, expressionist brush~strokes.

ESTIMATE: $12,000 ~ 16,000

PROPERTY OF VARIOUS COLLECTORS

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145 ARTHUR LISMERAAM CGP CSGA CSPWC G7 OSA RCA 1885 ~ 1969

Flowers of the Forest, BCoil on board, signed and dated July 19, 1951and on verso titled and inscribed 1485 Fort St.and $100 on a label12 x 15 7/8 in, 30.5 x 40.3 cm

PROVENANCE:Private Collection, Vancouver Island

During Arthur Lismer’s 1951 trip to British Columbia, he visited Victoria,then traveled to Galiano, Pender and Saltspring Islands, as well as LongBeach on Vancouver Island’s west coast. It would be the first of manysummer sketching trips to the West Coast. In this truly exquisite naturalstill 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 orangeand pink. A strong use of incised line emphasizes and defines shape amidthe profusion of blooming growth, thick moss and spiky grasses. Lismer’suse of paint is raw and bold, textural and painterly. There is a sense ofurgency and confidence that comes through works such as this ~ asLismer sensed that within this fragment of the forest floor was amicrocosm of its life as a whole. A delightful and sensual work, Flowers ofthe Forest, BC expresses the irrepressible, jungle~like and voluptuousnature of rain forest growth.

ESTIMATE: $12,000 ~ 16,000

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146 CORNELIUS DAVID KRIEGHOFF1815 ~ 1872

Racing Across the Ice, Quebecoil on canvas on board, signed13 x 20 in, 33 x 50.8 cm

PROVENANCE:Continental Galleries, MontrealPrivate Collection, Montreal

Racing Across the Ice, Quebec is an especially interesting example ofCornelius Krieghoff’s scenes of horse~drawn sleighs. In addition to theartist’s careful observation of detail, nuance and colour, we have FrenchCanadian politics. The two sleighs, finely painted but completelydifferent in their styles, are each carrying three men and are drawn by

galloping horses. They are political rivals ~ the Parti rouge racing againstthe Parti bleu. After The Act of Union (formerly The British NorthAmerica Act of 1840) united Upper and Lower Canada, the Parti rougeand Parti bleu developed in the ensuing years. Their party colours aredesignated by the ribbons on the horse’s bridles, which fly in the wind asthey race for political pride. Quebec’s Citadel is seen in the distance,sitting like a quiet observer atop Cap Diamant, and the angular forms ofthe St. Lawrence River’s ice, crushed up and piled like barriers alongsidethe ice road, contain the race, adding tension and excitement. The ice andsnow, distant city and sky are all finely handled in varying tones of winterwhites.

ESTIMATE: $40,000 ~ 60,000

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148 ALEXANDER YOUNG (A.Y.) JACKSONALC CGP G7 OSA RCA RSA 1882 ~ 1974

Sunday Morning, St. Fabienoil on board, on verso titled St. Fabienand inscribed A.Y. Jackson8 1/2 x 10 1/2 in, 21.6 x 26.7 cm

PROVENANCE:John Clymer, Toronto, 1936Sold sale of Canadian Art, Joyner Fine Art Inc.,November 25, 1985, lot 55Private 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 hospitalityof the local inhabitants, one of his favourite places to stay. In his

autobiography A Painter’s Country, he writes of his 1935 trip toSaint~Fabien and the warm welcome he received on being invited to alively sugaring~off party there. Jackson knew that he was witnessing thefinal days of a way of life that would soon be changed forever, and he wasdetermined to record it for posterity. The scene depicted here is classicJackson and his most sought~after subject matter ~ a gently undulatingroad leading down through an old Quebec village lined with a haphazardcollection of wood~clad houses painted in an array of colours. There is,however, nothing haphazard about the structure of the painting. Jacksonwas a master of composition, and he leads our eye down towards the focalpoint of the horse and sleigh and then up to the distant mauve hills, beforecircling back down through the wave~like movements of the undulatinglandscape.

ESTIMATE: $25,000 ~ 35,000

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149 SIR FREDERICK GRANT BANTING1891 ~ 1941

Village in Winter, St. Fidele, Quebecoil on panel, on verso titled variously, dated 1930on the Henrietta Banting label and certified byHenrietta Banting, #118 1/4 x 10 1/2 in, 21 x 26.7 cm

PROVENANCE:Henrietta Banting; David B. Masur, MontrealKastel Gallery Inc., MontrealSold sale of Important Canadian Paintings, Drawings,Watercolours, Books and Prints, Sotheby Parke Bernet(Canada) Inc., May 14, 1979, lot 46; Private Collection, Toronto

LITERATURE:Michael Bliss, Banting: A Biography, 1984, page 191

Frederick Banting was catapulted into the spotlight by his co~discoveryof insulin in 1923. A man who began his life as a straightforward fellowfrom an unpretentious rural upbringing, Banting was unprepared formany of the complexities brought on by his success. Stresses, bothprofessional and personal, led him to flee Toronto whenever possible, andin March of 1927 he undertook his first sketching trip with A.Y. Jacksonto Quebeçois villages along the St. Lawrence. This charming scene of thevillage of Sainte~Fidèle was executed during another trip with Jackson in1930; it deftly portrays the simple rural landscape which Banting soloved. Visiting these small towns and living amongst their residents, hediscovered a way of life that he thought was vanishing. He sought tocapture these scenes both as a return to his youth and an escape fromeveryday life. In his travel diary, he wrote, “The more I think of the city themore I want to live in the country, and the more I think of being aprofessor of research the more I want to be an artist.”

ESTIMATE: $20,000 ~ 30,000

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150 PETER CLAPHAM SHEPPARDARCA OSA 1882 ~ 1965

Marketoil on canvas, signed, circa 192524 x 31 1/2 in, 61 x 80 cm

PROVENANCE:Private Collection, Ontario

Peter Clapham Sheppard exhibited extensively throughout his career butnotably in the 1920s, showing internationally at Wembley in 1925 andthe Jeu de Paume in Paris in 1927. He was a versatile painter ~ talented indepicting figures, coastal scenes, landscapes and still lifes. Sheppard wasparticularly adept at capturing the energy and activity of urban andindustrial scenes, as seen here in Market, in which various figures, either

at work or at leisure, bustle about, enjoying the light streaming intothis urban space. The location of this particular market is undetermined,but we can assume it is Montreal, Ottawa or Toronto. However, theanonymity of the location allows the viewer to identity with thefamiliarity of the market scene and draw connections to their ownexperiences. Sheppard uses his colour palette liberally, adding broad andcontrasting strokes of colour, particularly the electric blue surroundingthe windows contrasted with pink tones on the roof and mint green on thebuilding’s front. Executed in masterly fashion, this luscious light~filledpainting can be seen to have qualities of Canadian Impressionism.

There is an unfinished figurative work on verso.

ESTIMATE: $15,000 ~ 20,000

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151 KATHLEEN MOIR MORRISAAM ARCA BHG 1893 ~ 1986

Byward Market, Ottawaoil on board, signed and on verso titled and inscribedMiss Maw [or May], 172 Ottawa St, Ottawa10 x 13 in, 25.4 x 33 cm

PROVENANCE:Private Collection, TorontoBy descent to the present Private Collection, Toronto

LITERATURE:A.K. Prakash, Independent Spirit: Early Canadian Women Artists,2008, page 156

The history of the Byward Market in Ottawa is the history ofworking~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 asLowertown, Ottawa’s oldest blue~collar neighbourhood and the hub ofthe city’s French inhabitants. York Street was the farmers’ street, linedwith all sorts of store shops, sidewalk sellers and fruit stands. KathleenMorris has created a portal to the past in her animated painting BywardMarket, Ottawa. A.K. Prakash compliments Morris on her insightfulvision, writing that, “Each painting is a window on the past, offeringvisions of pioneer fortitude to modern generations seeking inspirationand a refuge from the present…she immortalizes her experience throughthe imagination of a poet.” Her vivacious use of colour and detail help usto envision the bustling noise, sights and smells of this lively marketscene.

ESTIMATE: $70,000 ~ 90,000

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152 FRANKLIN CARMICHAELCSPWC G7 OSA RCA 1890 ~ 1945

La Cloche Hillswatercolour on paper, signed and datedindistinctly 1925 or 193510 1/2 x 13 in, 26.7 x 33 cm

PROVENANCE:Roberts Gallery, TorontoPrivate Estate, Toronto

LITERATURE:Megan Bice and Mary Carmichael Mastin, Light and Shadow:The Work of Franklin Carmichael, McMichael Canadian ArtCollection, 1990, page 106

Franklin Carmichael first viewed this area from Tower Hill in the NorthRange of La Cloche, and found it irresistible. Mary Mastin writes: “Here

were the elements of height, distance, light and solitude he had beenseeking, and his immediate rapport with La Cloche was to endure fromthe early 1920s to the time of his death in 1945.” Hilltops scoured byglaciers, sparkling quartzite rock, forests, and many lakes and streamsmade it visually stunning. It became such an important painting place forhim that he built a log cabin at Cranberry Lake in 1935. Carmichael’smastery of watercolour was well known ~ he and fellow Group of Sevenartist A.J. Casson along with Fred Brigden formed the Canadian Society ofPainters in Water Colour in 1925 ~ and Carmichael was passionate in hispromotion of this medium. La Cloche Hills is full of light and fresh pastelcolours, from pink to blue and peridot green, contrasted by the smokeydarker blue of the distant peak. With its expansive view and clearatmosphere, it is a stunning example of his La Cloche watercolours.

ESTIMATE: $40,000 ~ 50,000

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153 DAVID BROWN MILNECGP CSGA CSPWC 1882 ~ 1953

Poppies and Lilies IIIwatercolour on paper, dated 1944 ~ 1946and on verso titled in graphite and inscribed byDouglas Duncan W~493, ca. Apr. 194621 1/4 x 14 1/2 in, 54 x 36.8 cm

PROVENANCE:Douglas Duncan, Picture Loan Society, TorontoJames Coyne, Toronto, 1955The Framing Gallery, Toronto, circa 1970Private Collection, Toronto, circa 1970By descent to the present Private Collection

LITERATURE:David P. Silcox, Painting Place: The Life and Work of DavidB. Milne, 1996, pages 320, 333 and 344 and reproducedin colour page 322David 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

EXHIBITED:The Montreal Museum of Fine Arts, Water Colours byDavid Milne, January 22 ~ February 7, 1954, titled asPoppies and Lilies No. 1National Gallery of Canada, Ottawa, David Milne,September 16 ~ October 9, 1955, traveling exhibition,catalogue #106

In 1941 David Milne began a series of paintings ofdelicate flowers using a pink wash that precipitated theuse of an increasing range of colour ~ David Silcoxdescribes it as “a scarlet richness that saturated thepaper in a way that was new in Milne’s work, and that hewould exploit over the new few years.” The fragilepoppy flowers, with their soft, gauzy petals and hairystems, were especially well suited to Milne’s interest ingentle line and ethereal form. Silcox counts these worksamongst Milne’s finest, as they seem “to fulfill hisstatement that he would like to have ‘wished’ his imagesonto the paper.” A related watercolour entitled Poppiesand Lychnis was painted circa August 1943 andacquired by the National Gallery of Canada in 1947. Ofthe four versions of Poppies and Lilies, two are fromAugust of 1943 and two are from early 1946, and all butthis work are in public or government collections ~ theArt Gallery of Ontario, the Vancouver Art Gallery andthe Department of Foreign Affairs, Government ofCanada.

ESTIMATE: $20,000 ~ 30,000153

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154

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Kwakiutl house posts and cross beam at Cape Mudge

154 EMILY CARRBCSFA RCA 1871 ~ 1945

Cape Mudge Totem Poleswatercolour on paper, signed ME Carr and inscribedin graphite Chief Chekiuite and on verso titled on theLaing Galleries label and in graphite Cape Mudg [sic],inscribed in graphite Cad Mudg [sic] Pole SupportingChicken House and stamped Dominion Gallery,circa 1909 ~ 191222 x 15 1/4 in, 55.9 x 38.7 cm

PROVENANCE:Dominion Gallery, MontrealLaing Galleries, TorontoSold sale of American & European Paintings and Drawings,Weschler’s, March 4, 1995, lot 20, reproduced cover lotPrivate Collection, USA

LITERATURE:Emily Carr, “Modern and Indian Art of the West Coast”,Supplement to the McGill News, June 1929, page 22Emily Carr, Growing Pains, manuscript, Carr Papers, Royal BCMuseum and Archives, undated, unpaginatedMarius Barbeau, Totem Poles, National Museum of Canada, 1950,a 1912 related work entitled Kwakiutl Village reproduced page 702and two photographs showing similar totem poles reproducedpages 704 and 705Gerta Moray, Northwest Coast Native Culture & the Early IndianPaintings of Emily Carr, 1899 ~ 1913, Volume 2: Catalogue and Illustrations,Doctoral dissertation, University of Toronto, 1993, page 19 listed asE 2/3, Cape Mudge Pole Supporting Chicken HouseEmily Carr, Growing Pains: The Autobiography of Emily Carr, 2005,page 279Gerta Moray, Unsettling Encounters: First Nations Imagery in the Artof Emily Carr, 2006, page 95

Watercolour was Emily Carr’s primary painting medium in her earlycareer. We see her use it in the latter years of the nineteenth century, whichsaw her visit the First Nations village in Ucluelet. She also produced anumber of watercolours of the Squamish First Nations village in NorthVancouver, Stanley Park and the environs of Victoria after her return toBritish Columbia following her training in England. Carr’s more seriousengagement with First Nations subject matter began with a trip that sheand her sister Alice took to Alaska in the summer of 1907. The sight oftotems in Alert Bay and Sitka made Carr realize that these monumentalsculptures were worthy of her attention. She responded to the forms ofthe totems, even if she sometimes did not understand their significance tothe First Nations people. She also realized that these poles and houseswere threatened by decay and neglect, and this realization seems to havebeen the origin of her plan to document the totemic works of the coastalFirst Nations. She returned to northern British Columbia during the threesubsequent summers and visited T’sakwa’lutan / Cape Mudge on QuadraIsland in the summer of 1909. She produced a small number of

watercolours, among them Cape Mudge Totem Poles. It does not appearthat Carr had any intention of producing oils from these field studies atthis point. By the time she had made her fourth trip north in 1910, sheresolved to go to France and take more training.

Interestingly enough, Carr took some of what she referred to in herGrowing Pains manuscript as her “Indian sketches” with her to France and“repainted” some of them in light of her new “bigger methods” learned inFrance. It is possible that this work was one of these reworked studies,because it is remarkable for the sensitive handling of colour, form andlight. Particularly noteworthy is the subtle treatment of the plank thatholds the door of the small hut closed. The shadow is wonderfullyobserved and conveys a real sense of space.

This work is highly accomplished, and sensitive to the details of the twohouse poles. The poles are boldly carved and painted with eagles atophuman figures (male on the left and female on the right) and the figuresstand, in turn, on bears. The small hut between the two poles is a chickenhouse. We know this from the inscription on verso of this work, and fromthe painting based on this watercolour that Carr produced in 1912 ~

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Kwakiutl house posts and cross beam from Cape MudgeIn the collection of the Canadian Museum of Civilization

Kwakiutl Village, in a private collection ~ which introduces figures feedingchickens. Emily Carr also writes of her encounter with the owner of thepoles, perhaps Chief Chekiuite, in her essay “Modern and Indian Art ofthe West Coast” written for 1929’s McGill News:

“Once an old man returned from fishing and found me sketching hispoles. ‘Go away, you stealing my poles’ he shouted. I explained that theywere beautiful and I wanted to show them to my friends. ‘Why not askme?’ ‘How could I when you weren’t home?’ ‘That’s so, get along andfinish.’ ‘Why did you put your poles in front of your chicken house andnot in front of your house?’ ‘My house velly strong ~ my chicken housevelly weak ~ poles fix him strong.’”

The notable differences between the two compositions (field study andcanvas) reveal that, for Carr, watercolours such as Cape Mudge TotemPoles, done in the field, were essential to allowing her to develop the largercanvases of 1912.

Gerta Moray suggests that the 1909 watercolours were used by Carr toproduce a series of canvases in early 1912, before she went sketching inthe summer. There is support for this idea in Carr’s writings. As Moraynotes, upon Carr’s return from France, she did not return to her previousteaching job, and wrote in Growing Pains, “Having so few pupils, I hadmuch time to study. When I got out my Northern sketches and worked onthem I found that I had grown. Many of these old sketches I made intolarge canvases.”

These canvases set the stage for the major work of the summer of 1912and saw Carr apply her new Fauvist painting skills to “the bigger materialof the west” as she described it in her Growing Pains manuscript. Based onthe acutely observed studies of 1908 ~ 1910, they establish Carr as themost significant painter working in British Columbia. The canvaseswould have been impossible without watercolours such as this one, andthe richness of these images done from on~the~spot observation is stillevident today. Watercolours such as Cape Mudge Totem Poles reveal Carr asan artist of skill in both composition and colour, with a firm grasp of hermedium and an individual voice.

On verso of this work is a graphite drawing of the totem pole.

ESTIMATE: $150,000 ~ 250,000

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left side 155

155 EARLY HAIDA ARTIST19TH CENTURY

Haida Ship Panel Pipeargillite relief carving, circa 1830 ~ 18603 x 10 x 3/4 in, 7.6 x 25.4 x 1.9 cm

PROVENANCE:Private Collection, USAPrivate Collection, Vancouver

The Haida were the first of the Northwest Coast First Nations peoples todevelop art for trade and sale to the Europeans that arrived on their shoresin the Queen Charlotte Islands. Some of the earliest objects producedwere argillite pipe forms with Haida mythological figures, which a decade

later evolved into elongated panel pipes with Euro~American figuresand structures, such as this fine carving. These extraordinary and uniquepanel pipes were not actually intended for smoking tobacco, insteadfunctioning as complex sculptural tableaux. Included were details ofships, forts, houses and cabins, which evidently fascinated the Haidacarvers. This intriguing work includes ship structures such as the stylizedcabin, a Euro~American man with a nautical spyglass telescope and afigure, likely a woman, with a dog. The pipe is finely carved, withexpressive faces on both human figures and dog, and features decorativepatterns and cross~hatching on the structural elements of the ship. Workssuch as this are rare to the market.

ESTIMATE: $12,000 ~ 16,000

ϕ

right side 155

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156

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156 EMILY CARRBCSFA RCA 1871 ~ 1945

Old Timeroil on canvas, signed and on verso titled and inscribedOld Timer by Emily Carr and Given by Emily Carr forauction (written bids) by the Vancouver Art Gallery in aidof the Red Cross in the Second world war ~ 1942 ~ and boughtby Alice Hemming at that sale. (E.C. was pleased about this)(She was a regular listener to the CBC programme ‘A MorningVisit with Alice Hemming’) and $50 on a label, 1931 ~ 193227 x 20 in, 68.6 x 50.8 cm

PROVENANCE:Donated by Emily Carr to a charity auction at the VancouverArt Gallery in aid of the Red Cross in the Second World War, 1942Acquired from the above by Alice Hemming, Vancouver, 1942,then to London, England, 1944By descent to the present Private Collection, London, England

LITERATURE:Doris Shadbolt, Emily Carr, National Gallery of Canada, 1990,listed in the catalogue addendumEmily Carr, Hundreds and Thousands, The Journals of Emily Carr,2006, page 49

EXHIBITED: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’sexhibition of Canadian West Coast Art: Native and Modern. The exhibitionmarked her debut into the larger world of Canadian art and re~launchedher career as an artist. In the exhibition she showed a selection of her 1912First Nations canvases, some of her ceramics and her rag rugs. Thisrecognition of Carr as an artist was of critical importance for her career.She was welcomed as an important participant in the modernistmovement in Canadian art and met members of the Group of Sevenincluding Frederick Varley, A.Y. Jackson, Arthur Lismer and, mostimportantly, Lawren Harris. The reception her work received from fellowartists encouraged her to return full force to painting and subsequently, inthe late twenties and early thirties, she produced some of her mostmemorable 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 sourceof inspiration and support to Carr, working as a relatively isolated figurein 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 Harrisand the young American artist, Mark Tobey, with whom she had aworkshop in the fall of 1928. Likely at the suggestion of Tobey, Carrdevoted a significant period of time to drawing the forests of the provincein a series of charcoal drawings that helped her to define spatial volumesmore convincingly and paved the way for the series of major landscape

canvases beginning in the late twenties and early thirties. These works areamong the most abstract and mysterious of her landscapes: Grey, 1929~1930, in a private collection, Tree Trunk, 1931, and the magisterialForest, British Columbia, 1931, both in the collection of the Vancouver ArtGallery. These canvases see her grappling with volume, colour and lightwith a new conviction and power. The last factor, light, was critical forCarr in conveying the inner life of the forest and is key to the success of OldTimer. This exceptional work pulsates with a vibrant light that silhouettesthe structure of the tree, defines the volumes of the foliage and makesvividly sculptural the central tree. The whole canvas has a strong upwardsurge, which reflects the rich abundance and life of the coastal forest. Carrcelebrates the continued vitality of this magnificent old tree.

We see the ‘Old Timer’ within what Carr herself described as “A forestdone 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 oftrees moving in space”. In this exceptional canvas, Carr takes command ofher subject matter ~ the landscape of her beloved province ~ like no otherartist before or after her. Old Timer is a magnificent canvas that reveals theprofound beauty and spiritual power of the forests of British Columbiaand Carr’s special place in helping define our relationship to them.

This radiant canvas was generously donated by Carr to support the RedCross in World War II, and was purchased by Alice Hemming, a radio hostat the Canadian Broadcasting Corporation. As the inscription on versoindicates, Carr listened to Hemming’s daily radio programme, A MorningVisit with Alice Hemming, and was pleased to learn that she was thepurchaser. Hemming was also familiar with Carr through their mutualfriend Ira Dilworth, who was also a long~term employee at the CBC and avery important figure in Carr’s later life ~ as confidante, literary editor andco~executor of her estate. This rare painting has been passed down withinthe family until its consignment to Heffel and its return to Canada thisyear.

ESTIMATE: $400,000 ~ 600,000

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157 LAWREN STEWART HARRISALC BCSFA CGP FCA G7 OSA RPS TPG 1885 ~ 1970

Pic Island, Lake Superioroil on panel, signed and on versotitled on the gallery label, circa 192310 1/2 x 13 5/8 in, 26.7 x 34.6 cm

PROVENANCE:Estate of Randolf MacDonald, TorontoGalerie Walter Klinkhoff Inc., MontrealPrivate Collection, Montreal

LITERATURE:Anne McDougall, Anne Savage: The Story of a Canadian Painter,1977, page 43Walt Whitman, The Complete Poems, 1995, “Song of the Open Road” from Leaves of Grass, pages 116 and 309

“He pulled out the drawers and there were his brushes as streamlined as ascientific laboratory. He had a heavy black easel. He showed me panels ofLake Superior with huge black stems of trees and a definite feeling ofdignity and control. There was nothing out of place. I remember thinkingisn’t this extraordinary and couldn’t analyse it. But after I came back Irealized he was abstracting his subject. He was on his way to just shootingoff into this world of nothing but light and air.” (Anne Savage to ArthurCalvin)

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 hisartistic career. It is clear from her remarks that the visit had a dramaticeffect on her. Studio visits such as this, with the sharing of ideas betweenartists, as well as group exhibitions and public dialogue, all contributed tothe rich ferment in the school of landscape painting in Canada. Easternphilosophies were being more widely read, and spiritualism, partly inreaction to the First World War, had taken hold of many creative minds.Harris and the other members of the Group of Seven were expressingideas of idealistic nationalism through landscape art, and Harris often, inhis references to the north, chose to write North with a capital, denotingits 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 wetake his later abstractions into account, and this work ~ perhaps evenbeing one of those that Savage saw in his studio ~ is certainly astepping~stone on the way to that world. While a realistic rendering ofthe actual colours and shapes of the Canadian landscape is still clear in the

red tones of the rocky shore, the bleached bone~like trunks of theburnt~over trees and the deep blue of Lake Superior, we are clearlyheading towards something profound with this painting of light and air.

In Pic Island, Lake Superior, we seem to stand, with Harris, on the edge ofthe 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 inperfect complement, and the stillness of the scene is broken only by thevertical trees and the aura of pink and yellow~toned clouds in theunending sky. The trees are like sentinels, standing guard and looking outonto the lake, facing toward the source of the light that bathes the scene inwarmth.

In Anne Davis’s book The Logic of Ecstasy, she compares the characteristicsof nature that Harris sought to depict to those that Walt Whitmanexplored in the poem “Song of the Open Road”, which was published inhis seminal collection of poetry entitled Leaves of Grass:

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 hiscontemporaries, especially Bertram Brooker and J.E.H. MacDonald. Andlike Whitman, who felt that it was his duty to connect man with naturethrough words so that “Nature and Man shall be disjoin’d and diffused nomore”, Harris felt that art and nature were deeply intertwined, and that itwas his duty to connect man with nature through painting. Both art andnature, he felt, operated from the same set of rules ~ regardless of things astemporal as fashion and appearances. The “divine things more beautifulthan words can tell” are the characteristics of nature that Harris sought inhis paintings of the north shore of Lake Superior. The divine light, theelemental form, the beauty of harmonious colour and line, and theprecision and order of nature in Canada’s North ~ all are pared down totheir most simple state as Nature’s divine things.

ESTIMATE: $200,000 ~ 300,000

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158

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158 LAWREN STEWART HARRISALC BCSFA CGP FCA G7 OSA RPS TPG 1885 ~ 1970

Snow in the Woods, Algonquin Park Ioil 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. Groupno. XXI, circa 191510 1/2 x 13 3/4 in, 26.7 x 34.9 cm

PROVENANCE:Galerie Walter Klinkhoff Inc., MontrealA Prominent Montreal CollectionSold sale of Canadian Art, An Outstanding Collection,The Property of a Prominent Montreal Collector, Fraser Bros.,Montreal, October 23, 1986, lot 62Private Collection, Vancouver

LITERATURE:Doris Mills, L.S. Harris Inventory, 1936, listed as Group 5 (5/21)Miscellaneous Sketches, location noted as the Studio BuildingLawren Harris, The Story of the Group of Seven, 1964, page 19

Snow in the Woods, Algonquin Park I was in the sale of an outstandingcollection of a prominent Montreal collector, sold at auction in October of1986. This sale was the subject of numerous headlines, as the collectionsold for $4 million ~ a high value at the time. Because of the high quality ofworks from this collection, including this superb oil, the salejump~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 theMcMichael Canadian Art Collection, Snow II, circa 1916, in the collectionof the National Gallery of Canada and the oil on canvas, Snow, Algonquin

Park, sold at Heffel on May 23, 2007 (lot 8), now in the ThomsonCollection at the Art Gallery of Ontario.

At this time in his a career, Harris was interested in the depiction of lightand pattern as he saw it in the Canadian landscape. Stylistically related toImpressionism, 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 Parkin 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 matterhow wild the wind or the rain. After observing Thomson painting in astorm, Harris would later write, “Tom had caught in living paint thepower and drama of the storm in the north. Here was symbolized, it cameto me, the function of the artist in life: he must accept in deep singleness ofpurpose the manifestations of life in man and in great nature, andtransform these into controlled, ordered and vital expressions ofmeaning.”

Here, Harris has taken a scene from “great nature” and transformed itthrough paint. The brilliant whites of his snow, the deep greens of hisforest, and the wonderful variety of mauve and pink that indicate thedepth of the shadows on the snow and how they play against the light as ithits the snow nearby, act together in vital expression of a moment in aCanadian winter. In his masterful depictions of winter woods, Harriscarefully analyzed the subtle variety of colour in winter snows, and wasadept at blending his pigments to achieve the desired affect. When aperson familiar with the nuances of a Canadian winter closely examines awork 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 snowpaintings, a distillation of the winter beauty of the densely forestednorthern wilderness.

ESTIMATE: $200,000 ~ 300,000

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159

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159 DAVID BROWN MILNECGP CSGA CSPWC 1882 ~ 1953

Drying Waterfalloil on canvas, on verso signed, titled, dated 1916and inscribed by Douglas Duncan David Milne,Drying Waterfall (Berkshires), (Summer 1916)20 x 24 in, 50.8 x 61 cm

PROVENANCE:Douglas Duncan, Picture Loan Society, TorontoR. MacDonald, Woodbridge, Ontario, 1960Private Collection, Toronto, circa 1968By descent to the present Private Collection

LITERATURE:David P. Silcox, Painting Place: The Life and Work of David B. Milne,1996, page 79 and reproduced page 80David Milne Jr. and David P. Silcox, David B. Milne: Catalogue Raisonnéof the Paintings Volume 1: 1882 ~ 1928, 1998, reproduced page 173,catalogue #107.52

David Milne moved a great deal during his career. Perpetuallyimpecunious as well as endlessly curious about landscape motifs, hemade the most of his surroundings. His work from Boston Corners inNew York State is some of the finest he ever did, and Drying Waterfallstands 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, aneffect accomplished with his usual minimal application of pigment andby leaving many areas of the surface untouched, Drying Waterfall bringsus into an intimate visual relationship with nature’s complex forms andcolours. Boldly intricate, the scene of a waterfall diminishing in force withthe 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, wemight wonder at first, is the theme, the central motif? Yet with theattentive looking he demanded of himself and, in turn, of those who seehis work, the scene becomes readily legible without losing any of itsdensity.

Drying Waterfall is, as a physical painting, an intensely delicate latticeof interlocking elements carefully delineated by Milne’s signatureoutlines. The result might remind us of cloisonné, the elaboratecompartmentalization of miniature coloured insets on metal work, longpracticed in many cultures and adapted to painting in the late nineteenthcentury, particularly by Vincent van Gogh and Paul Gauguin. But Milne’simage is not flat or still. It depicts at least three spatial planes, movingback from a close and almost tactile foreground, through a vertical middlespace over which the water flows (and whose vertical axis is bothconfirmed and measured by the birch trees in the right foreground) andinto a deeper space behind the ebbing waterfall. A strong diagonal thatruns from near the top left hand corner to the bottom right of the imagesuggests the course that the flowing water must follow without actuallyshowing us a stream. Milne articulates this satisfying complexity withcharacteristic economy, using only five colours, none of which is typicallyused to indicate water (green, brown, grey, black and white).

One of the great pleasures of a major Milne painting such as this one is thatwe can ~ with Milne’s aesthetic guidance ~ meet his challenge to look at alandscape in all its complexity and achieve a new way of understandingwhat we see. On the one hand, Drying Waterfall presents us with a specialplace. It is as if we have discovered something singular and intimate. Onthe other hand, though, and as Milne’s laconic title suggests, thephenomenon that we witness is cyclical and fleeting. The waterfall will begone soon. The painting is in this way appealingly anti~heroic. Milnedoes not set himself up as a daring explorer discovering a sublime naturalsite. He simply sees and depicts what is readily present to the eye. Thepainting is similarly intimate and quiet. It does not lead us grandly to astupefying view, but instead revels in the pleasures of close looking.

We thank Mark Cheetham, Professor of Art History at the University ofToronto, for contributing the above essay.

ESTIMATE: $70,000 ~ 90,000

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160 JAMES EDWARD HERVEY (J.E.H.)MACDONALDALC CGP G7 OSA RCA 1873 ~ 1932

Algomaoil on board, on verso titled8 1/2 x 10 1/2 in, 21.6 x 26.7 cm

PROVENANCE:A wedding gift from the Artist to Enid Goss LoweDoris Huestis Speirs Collection, 1971Roberts Gallery, TorontoGalerie Walter Klinkhoff Inc., MontrealContinental Galleries, MontrealPrivate Collection, London, England

LITERATURE:Paul Duval, The Tangled Garden: The Art of J.E.H. MacDonald,1978, page 91

Paul Duval observes, “Throughout his Algoma period, MacDonaldproved again and again that he was a master of the big panorama. It is easyfor grand overviews in landscape painting to become monotonous andtiresome, as is proven by countless portrayals of mist~ridden highlands.MacDonald escaped monotony by changing not only the immediatelocale, but the technique, mood and compositional treatments of hispanoramas.”

This expansive Algoma panorama, with its sky~blue lake andcloud~filled sky, conveys a vast sense of distance despite its small size.The foreground foliage is painted in hot, fiery oranges and bright yellowsthat are a brilliant yet balanced contrast to the blue of the lake, which isdepicted as both still and wind~stirred, with a slice of quiet water shiningin the distance and reflecting the yellow trees on the far shore. Thebillowing clouds almost completely fill the sky, yet the day is still brightand open, furthering the sense of distance and openness. In mood, bytechnique, and in its compositional treatment, this charming workexemplifies J.E.H. MacDonald’s mastery of Algoma.

ESTIMATE: $70,000 ~ 90,000

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161 DAVID BROWN MILNECGP CSGA CSPWC 1882 ~ 1953

Wooded Valleyoil on canvas, signed and on verso titled on the Laing Gallerylabel and inscribed no. 76 in graphite by Massey, circa 193012 x 16 in, 30.5 x 40.6 cm

PROVENANCE:Milne sale to Vincent Massey, 1934Laing Galleries, Toronto, 1958Collection of C. Stewart, Toronto, 1958The Framing Gallery, Toronto, circa 1970Private Collection, TorontoBy descent to the present Private Collection

LITERATURE:David Milne Jr. and David P. Silcox, David B. Milne: Catalogue Raisonnéof the Paintings Volume 2: 1929 ~ 1953, 1998, reproduced page 499,catalogue #302.24

In 1943, David Milne wrote to Alice and Vincent Massey, who wereknown for their patronage of the arts and who already owned one of hispaintings. Milne proposed to sell them some 300 pieces of art as acollection, in order to keep the works together. The Masseys accepted,but then began a program of disseminating the work through galleriesand as gifts and donations, as well as initiating exhibitions. While Milneobjected to the break~up of the collection, the Massey’s efforts, in the longterm, resulted in greater exposure and increased appreciation for Milne’sart. Wooded Valley is a characteristically spare Milne oil, painted withblack as the defining, outlining colour, accented and enlivened by green,purple, red and brown plus white. It depicts the woodlands nearPalgrave, within walking distance of where Milne was living at the time.Milne’s controlled palette is used with masterful dexterity in this serenework, where the blank sky, something he explored fully at Palgrave,allows the focus to rest almost fully on the forest.

ESTIMATE: $30,000 ~ 40,000

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162

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162 MARC~AURÈLE FORTINARCA 1888 ~ 1970

Vue de St~Siméonoil on board, signed and on verso signed,titled, inscribed C~1483 / B~53171 and 33~53309and stamped OP2064001, circa 194539 x 48 in, 99 x 121.9 cm

PROVENANCE:The Bonneville Collection, QuebecGalerie Walter Klinkhoff Inc., MontrealGalerie Bernard Desroches, MontrealKenneth G. Heffel Fine Art Inc., Vancouver,inventory #614~6 B678Private Collection, Toronto

LITERATURE:Ottawa Citizen, June 7, 1964, reproduced page 14Maurice Huot, Le Droit, April 25, 1964, reproduced page 3Jean~René Ostiguy, Fortin, National Gallery of Canada, 1964,reproduced frontispiece and listed, unpaginatedJean~Pierre Bonneville, M.A. Fortin, Verdun Cultural Centre,1968, listed page 15 and reproduced page 16Hughes de Jouvancourt, Marc~Aurèle Fortin, 1980, reproducedpage 161Guy Robert, Fortin, 1982, reproduced page 189A.K. Prakash, Canadian Art: Selected Masters from Private Collections,2003, reproduced page 173Marc~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

EXHIBITED:Montreal Museum of Fine Arts, 1954Queen Elizabeth Hotel, Montreal, 1958National Gallery of Canada, Fortin, 1964, traveling to the MontrealMuseum of Fine Art, the Musée du Québec, the MacKenzie Art Gallery,Regina and the Willistead Art Gallery, Windsor, catalogue #62Centre Cultural de Verdun, M.A. Fortin, 1968, catalogue #15Galerie Walter Klinkhoff Inc., Montreal, Fortin Exposition Retrospective,2006, catalogue #46Musée 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 theCharlevoix region, some 175 kilometres from Quebec City. Marc~AurèleFortin’s painting showing the village in the foreground, in front of thespectacular 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 thathad nothing to do with Europe, and in that he shared the thoughts of theAmerican regionalists (Thomas Hart Benton, John Steuart Curry andGrant Wood) and even of the Group of Seven, who were similarly

inclined. But he was also convinced that neither the bustling USeconomic growth nor the wild Canada cherished by the Group could beused to accurately represent the situation in Quebec. For 300 years,French settlers had established churches and villages in Quebec, pushedback the wild border of the forest and established a rural countrysidesimilar to the one the first colonists had left in France. The average look ofthe landscape did not have much to do with the Group’s depiction ofAlgoma in Northern Ontario or the Rockies in the West. Fortin thought,along with traditionalist thinkers like Roman Catholic priest andhistorian Chanoine Lionel Groulx, that Quebec remained unique becauseof the language barriers and the attachment to the Catholic faith, both ofwhich allowed it to avoid the secularisation of its way of life. In this, Fortinwas in accord with a part of Quebec’s elite ~ in particular the clergy. Somecritics (like Jean Chauvin, Maurice Gagnon and Paul Gladu, to name but afew) who admired Fortin’s painting but did not share his traditionalistviews, tried to annex him to the “modern art” movement ~ the so~called“art vivant” trend. However, he objected vehemently to it because of hisattachment to the great masters of the past (he quoted Rembrandt, PeterPaul Rubens and Nicolas Poussin in his work), and he kept his vision of arural Quebec ~ immutable, far from the city and its global economy. Histrip to the north shore of the St. Lawrence River immersed him moredeeply in this persuasion, already defined in his paintings of large treesdone on the outskirts of Montreal.

If we forget about this particular ideological context, it is true that Fortin’spainting is a pure delight of colour, line and movement. We can see in hisVue de St~Siméon an almost unbroken continuity between the houses seenin the foreground and the square patches on the hills. The vertical churchspire is really the pivotal element of the entire composition, and theunruly allure of the fences in the foreground is a part of a gyratingmovement that incorporates the village into the landscape. Movementalso occurs in the blue rocks of the cape plunging into the river, in thewinding road climbing the hills and in the pale clouds drifting in a yellowsky. Fortin also had complete control of colour and of mood in thepainting. We are obviously at the end of the day, as the blue shadows aredeepening, and the river seems almost as quiet as a lake. In Fortin’s workis the clear demonstration that one can never reduce a good painter to hispolitical or religious ideas. The ideas are important not just forthemselves, but for what he is able to do with them.

Since his untimely death more than 40 years ago, the “modernmovement” has strongly claimed Fortin as one of its own. His annexationto the movement was settled once and for all at the great retrospective,Marc~Aurèle Fortin, The Experience of Colour, shown at the Musée nationaldes beaux~arts du Québec in 2011. This painting was one of the gems ofthat show and is reproduced in the substantial catalogue, which wasproduced in both French and English for the occasion.

We thank François~Marc Gagnon of the Gail and Stephen A. JarislowskyInstitute of Studies in Canadian Art, Concordia University, forcontributing the above essay.

This work will be included in the forthcoming catalogue raisonné on theartist’s work, #H~0518.

ESTIMATE: $400,000 ~ 600,000

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163 EMILY CARRBCSFA RCA 1871 ~ 1945

British Columbia Forestoil on paper on board, signed, circa 193533 1/4 x 22 1/2 in, 84.4 x 57.1 cm

PROVENANCE:Mrs. V. LaFontaine, MontrealG. Blair Laing, TorontoPrivate Collection, TorontoSold sale of Fine Canadian Art, Heffel Fine ArtAuction House, November 24, 2005, lot 138Private Collection, USA

LITERATURE:Doris Shadbolt, The Art of Emily Carr, 1979, a similar circa1937 ~ 1940 oil on canvas entitled Sombreness Sunlit, in the collectionof The Province of British Columbia, Provincial Archives, reproducedpage 131Charles 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 VictoriaUniversity at the University of Toronto, reproduced page 232Emily Carr, Hundreds and Thousands, The Journals of Emily Carr,2006, pages 263 and 273

Before 1933, Emily Carr’s sketching trips to the woods around Victoria tosites such as Metchosin, Sooke, Cedar Hill and Goldstream Flats had beenbased in cabins, summer cottages or even a derelict hunting lodgebelonging to others. But in 1933 Carr bought a caravan, which she namedthe 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 cookingshelter. She could then have it towed to various woods and seashorelocations around Victoria as a base for her sketching excursions. Not onlydid this give her more freedom of choice, but more of a sense ofimmersion in her beloved woods ~ she wrote of the sensual joys of thesound of rain on the roof and wind in the trees and the sweet scents ofcedar and pine. Her favourite seasons to paint in the woods were springand fall as, in the summer, she found the forest “too leafy” and invaded by

people. In the spring of 1935 she was in the Elephant at Albert Head. InSeptember of that same year, she went into the forest again with theElephant, and experienced warm days and cool nights, with morningsdewy and sometimes foggy. Setting out into the woods to sketch, shewould choose a spot, set up her campstool and paints, and wait untilform, light and the energy of the woods coalesced into an inspiredcomposition in her vision. Using an innovative medium of oil thinnedwith turpentine or gasoline, she would capture what she saw and felt withgreat sweeping brush~strokes. Carr built a vocabulary of form to definethe elements of her paintings ~ such as curves, rings, or spirals ~ and inBritish Columbia Forest she used a distinctive horizontal web of whitishstrokes in the upper part of the trees, as well as short strokes in the centreright tree trunk, likely indicating broken~off lower branches. Thisdistinctive treatment can be seen in a number of other 1930s works inpublic collections, such the canvas Sombreness Sunlit, in the collection ofThe Province of British Columbia, Provincial Archives, and the canvasDancing Sunlit, in the McMichael Canadian Art Collection. Theforeground in this work creates, with its strong but light strokes of paint,the sensation that Carr perceived as a rushing sea of undergrowth. In herjournals, Carr strove to express her overwhelming feeling of being a partof the pulse of life in the forest, writing, “There is a robust grandeur,loud~voiced, springing richly from earth untilled, unpampered, burstingforth…an awful force greater in its stillness than the crashing, poundingsea…It is life itself, strong, bursting life.”

In her striving to capture the essence of energy that she felt pervadedeverything she saw in the forest, Carr was dissolving form through herexpressionist brush~strokes. Carr had been in contact with Group ofSeven painter Lawren Harris, who by this time had turned from landscapeto abstraction, and he was encouraging her to do the same. Both artistswere highly spiritual, Harris following the tenets of Theosophy while Carrwas 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 thatsustained her spiritually and artistically as nothing else could, so in theend she would never relinquish it.

ESTIMATE: $150,000 ~ 250,000

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164 EMILY CARRBCSFA RCA 1871 ~ 1945

Strait of Juan de Fuca, BCoil on paper on board, signed and on versotitled on the Watson Galleries label, circa 193422 1/4 x 35 3/4 in, 56.5 x 90.8 cm

PROVENANCE:Watson Art Galleries, MontrealBy descent to a Private Collection, MontrealSold sale of Fine Canadian Art, Heffel Fine ArtAuction House, November 24, 2005, lot 139Private Collection, USA

LITERATURE:Paula Blanchard, The Life of Emily Carr, 1987, a similar circa 1936oil on paper entitled Strait of Juan de Fuca, in the McMichael CanadianArt Collection, reproduced, unpaginated plateEmily Carr, Hundreds and Thousands, The Journals of Emily Carr,2006, pages 54 and 55

In the 1930s Emily Carr began to use oil on paper, precipitating a newfreedom in her work. She mixed her oil paint with turpentine ~ and evengasoline ~ to achieve a variety of effects, from the thinness of awatercolour wash to a greater density approaching undiluted oil. Themedium’s fluidity allowed her to use sweeping brush~strokes, whichexpressed the sense she had of the movement of a divine energy throughnature, whether forest or shore. In 1931, she wrote, “This evening I airedthe 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? Godis 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, yetthrough the use of transparent oil washes there is also a quality ofdematerialization like that of the surrounding water and atmosphere. Inthis transcendent seascape, Carr shows her mastery of the medium,permeating form with glowing light and energy.

ESTIMATE: $100,000 ~ 150,000

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165 EMILY CARRBCSFA RCA 1871 ~ 1945

Storm Over Grey Forestoil on canvas, signed with the estate stamp and on versosigned twice with the estate stamp on the tacking edgeand titled on the Dominion Gallery label, circa 193116 x 20 in, 40.6 x 50.8 cm

PROVENANCE:Dominion Gallery, Montreal, inventory #B150Kastel Gallery, MontrealSold sale of Fine Canadian Art, Heffel Fine ArtAuction House, November 24, 2005, lot 193Private Collection, USA

LITERATURE:Doris Shadbolt, Emily Carr, 1990, the related 1930 charcoal drawingUntitled (landscape with “eye” in sky), in the collection of the VancouverArt Gallery, reproduced page 165

Emily Carr’s small sketchbook drawings of 1929 and 1930 formed thebasis for a group of contemporaneous larger drawings that consolidatedher ideas for canvases, including the precursor to this work, Untitled(landscape with “eye” in sky). Doris Shadbolt noted that Carr “was stillunder the spell of the Indian presence and in several of these drawings sheexpressed the underlying correspondence that she had discoveredbetween the natural environment and the Indian carvings in which eyes,or eyelike shapes, appear between totemlike sections of foliage.” In thisdramatic work, the eye is present more abstractly ~ an aperture of lightpiercing through the storm over the dark forest. The compression of thestorm is visible, the wind whipping the branches into wave~likeformations. Much of Carr’s work in the 1930s was done in oil on paper,which allowed a tremendous freedom of movement. Storm Over GreyForest embodies that freedom in a rare and thrilling oil on canvas, inwhich her expressionistic brush~strokes captured the essence of theintangible ~ the storm’s energy, the vapour~laden air and the sensationof intensity in the forest.

ESTIMATE: $80,000 ~ 120,000

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166 EMILY CARRBCSFA RCA 1871 ~ 1945

BC Forestoil on paper on board, signed and on versoinscribed in graphite Miss Flora Burns $20.00and 103 circled, circa 193916 1/2 x 22 3/8 in, 41.9 x 56.8 cm

PROVENANCE:Private Collection, Victoria, possibly Flora Burns,friend of the ArtistGalerie Agnès Lefort, MontrealPrivate Collection, Ontario

LITERATURE:Emily Carr, Hundreds and Thousands, The Journals of Emily Carr,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, Carrchose to include an open foreground and view of the sky, and to make usaware of the atmosphere of the day. The playful wind makes itself knownthrough the rollicking rhythms in the trees, diagonal lines in the sky andthe bent~over tree in the upper left. In the open ground Carr delineatesmore directional movements ~ and the whole painting strikes a finebalance between vertical and horizontal rhythms. The whirlinggesticulation of the gathering of small conical evergreens creates a joyousatmosphere. Carr wrote in her journals about the “frivolous pines, verybright and green…The wind passes over them gaily, ruffling their merry,fluffy tops and sticking~out petticoats. The little pines are very feminineand they are always on the swirl and dance in May and June.” Whateverthe mood of the forest setting she sketched in, she strove to strike the truechord of its expression, as nature was as a cathedral to her that sheworshipped in.

ESTIMATE: $50,000 ~ 70,000

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167

PROVENANCE:Dominion Gallery, MontrealThe Collection of Dr. John A. MacAulay,WinnipegPrivate Collection, Vancouver

LITERATURE:Doris Shadbolt, The Art of Emily Carr, 1979,a similar circa 1936 Untitled oil on paper work,in the collection of the Maltwood Art Museumand Gallery, University of Victoria, reproducedpage 214Emily Carr, Hundreds and Thousands, The Journalsof Emily Carr, 2006, pages 265 and 273

Emily Carr’s depictions of inner forests rangedfrom solemn to tender and joyous, such as in thisfluid, energized oil on paper work. In ForestInterior, painted in a free and expansive manner,Carr is attuned to the pulse of life. Theforeground is lush forest undergrowth, whichshe described in her journal as “a sea of sallal [sic]and bracken, waving, surging, rolling towardsyou. Green jungle…solid, yet the very solidityfull of air spaces.” With her technique of oilwashes on paper, Carr could work directly in theforest. She captured what she perceived withsweeping brush~strokes, finding “themeseverywhere, something sublime…or joyous, orcalm, or mysterious. Tender youthfulnesslaughing at gnarled oldness. Moss and ferns, andleaves and twigs, light and air, depth and colourchattering, dancing a mad joy~dance, but onlyapparently tied up in stillness and silence. Youmust be still in order to hear and see.”

This beautiful painting was once owned by theprominent Winnipeg collector Dr. JohnMacAulay, whose collection included theextraordinary Carr canvas Wind in the Tree Tops,which Heffel sold for a record price in June of2009.

ESTIMATE: $50,000 ~ 70,000

167 EMILY CARRBCSFA RCA 1871 ~ 1945

Forest Interioroil on paper on board, signed and on verso titledon the Dominion Gallery label and inscribed with theDominion Gallery inventory #D4178, circa 193622 3/4 x 16 in, 57.8 x 40.6 cm

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168 CORNELIUS DAVIDKRIEGHOFF1815 ~ 1872

Indian Moccasin Selleroil on canvas, signed and titled TheIndian Shoe Seller on a plaque and onverso inscribed PC~183 and stampedLeslie Lewis, London11 1/8 x 9 1/8 in, 28.3 x 23.2 cm

PROVENANCE:Leslie Lewis, LondonPrivate Collection, Ontario

Cornelius Krieghoff lived in Quebec Cityfrom 1853 to 1863, and some of hisbest~loved works from this period aredepictions of the local Hurons. Although thefur trade provided their greatest source ofincome, the local economy in Quebec Cityincluded the production and sale oftraditional items such as moccasins,snowshoes, baskets and canoes. Moccasinswere not only attractive footwear; they werealso very practical. Their soft soles enabledthe wearing of snowshoes in the winter andallowed one to step safely into a birch barkcanoe in the summer. Many of these localcrafts were sold to army officers who werelooking for a tangible keepsake of their stay inthis place of romantic scenery. These sameofficers were also avid collectors ofKrieghoff’s small paintings, as the subjectmatter of these works provided a specialmemory of Canada. The female moccasinseller is seen picking her way through the icejams on the St. Lawrence River, the jaggedshards of ice serving as a dramatic backdropas well as a reminder of the harsh butbeautiful winters of Quebec.

ESTIMATE: $20,000 ~ 30,000

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169 CORNELIUS DAVIDKRIEGHOFF1815 ~ 1872

The Indian Hunteroil on canvas, signed and on versotitled on the gallery label10 7/8 x 9 in, 27.6 x 22.9 cm

PROVENANCE:Roberts Gallery, TorontoPrivate Collection, Toronto

LITERATURE:Dennis Reid, Krieghoff / Images of Canada,Art Gallery of Ontario, 1999, a similar 1858work entitled Indian Trapper on Snowshoes, inThe Thomson Collection, the Art Gallery ofOntario, reproduced page 175 and a similar1866 canvas entitled The Indian Hunter, alsoin The Thomson Collection, reproducedpage 184

Cornelius Krieghoff, Canada’s best~knownnineteenth century artist, had a great affinityfor First Nations peoples, and often depictedthem, both in single figure subjects such ashunters and moccasin sellers, and incomplex tableau settings. In the 1840s, whileliving at Montreal and Longeuil, he was incontact with the Mohawks from the village ofCaughnawaga, and after moving to QuebecCity after 1853, observed the Hurons at thenearby village of Lorette, amongst otherpeoples. Single figures such as the hunterrepresented in this fine winter scene wereportrayed by Krieghoff more as archetypesthan as individual personalities. He paidgreat attention to authentic ethnographicdetail, carefully depicting the subject’ssnowshoes, Hudson’s Bay blanket coat,leggings, mittens and distinctive hat withits feather crest. Krieghoff himself enjoyedhunting, and was said to be a fine marksman,and it was common for native guides to behired for these excursions. Striding alongbriskly, full of purpose and undeterred bythe wintery conditions, this self~sufficienthunter is an idealized icon of native life,much admired by Krieghoff and hiscollectors of the time.

ESTIMATE: $20,000 ~ 30,000

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170 ALBERT HENRY ROBINSONCGP RCA 1881 ~ 1956

Cacounaoil on board, signed and on versotitled on the gallery label, circa 19258 3/8 x 10 1/2 in, 21.3 x 26.7 cm

PROVENANCE:Galerie Walter Klinkhoff Inc., MontrealPrivate Collection, Ontario

Cacouna was an important location for Albert Robinson. Situated on thesouth shore of the St. Lawrence, some 200 kilometres downstream fromQuebec City, it was here that he went on a series of productive trips withhis 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 thecollection of the National Gallery of Canada, and works from Cacouna areamongst his most sought after.

Robinson is known as a superb colourist ~ one of the best of hisgeneration. He had a great affection for snow scenes, and while white wasoften a dominant element, he used both warm and cool colours to buildup the overall image. In this powerful sketch, the strong, horizontal bandof the river, almost visibly moving from left to right, is depicted in a moststriking blue~green. In contrast, he has used varying shades of mauve inthe reflections in the snow and used the warm colour of the baresupporting board to complete the overall symphony of colour.

ESTIMATE: $20,000 ~ 25,000

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171 FREDERICK HORSMAN VARLEYARCA G7 OSA 1881 ~ 1969

Rough Waters, Kootenay Lakeoil on canvas board, signed and on verso titledon a label and stamped with the Varley Inventory #29212 x 16 in, 30.5 x 40.6 cm

PROVENANCE:Roberts Gallery, TorontoPrivate Collection, Vancouver Island

LITERATURE:Katerina Atanassova, F.H. Varley: Portraits into the Light / Miseen lumière des portraits, 2007, page 103

Frederick Varley’s skill with colour enabled him to command a brilliantlysaturated palette, work with unusual combinations of complementary

tones and to infuse his warm colours with gold. Not one to take his colourcues from what he saw, he instead sought to give his work the essence ofthe emotional charge he felt when painting. In this lively, bright depictionof Kootenay Lake, Varley has used a preponderance of white, lighteningall his colours to their palest, most silvery hues. It is a work of blindinglight, with a unique Varley~esque force conveyed through subtle blendsand fine colour harmonies. Katerina Atanassova writes, “Varley insistedon seeing the true nature of colour, searching out the exact value and hueinstead of resorting to formulas. In that respect he had a less structuredapproach than the academic painters, who used to lay colours overcarefully executed drawings. Once he had defined the largest areas ofcolour, he made sure that the colours worked together. He never viewedcolours separately, because his goal was always a harmonious blend.”

ESTIMATE: $15,000 ~ 25,000

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172 ARTHUR LISMERAAM CGP CSGA CSPWC G7 OSA RCA 1885 ~ 1969

Georgian Bay Near Manitou Dockoil on board, signed and dated August 12and on verso titled and dated 194812 5/8 x 17 3/4 in, 32.1 x 45.1 cm

PROVENANCE:Private Collection, Calgary

LITERATURE:Lois Darroch, Bright Land, A Warm Look at Arthur Lismer, 1981, page 15

The Group of Seven members each had painting places that had aparticular 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 justbreaking the surface of the Bay ~ others with great, high rocks tumbled inconfused masses and crowned with leaning pines, turned away in raggeddisarray from the west wind…Georgian Bay ~ the happy isles, alldifferent, but bound together in a common unity of form, colour anddesign. It is a paradise for painters.” In 1948, Lismer was based atManitou Dock, one of his favourite locations. This vital work is full of thetumult of the elements, with Lismer depicting the surf lashing the edges ofthe rocky outcrops. Heavy clouds loom over the horizon, but the light isstrong, and the expanse of pale blue water lights up the painting. GeorgianBay Near Manitou Dock is alive with ephemeral weather, and Lismermakes us feel the very touch of the wind.

ESTIMATE: $20,000 ~ 30,000

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173 ARTHUR LISMERAAM CGP CSGA CSPWC G7 OSA RCA 1885 ~ 1969

Shoreline, Georgian Bayoil on canvas on board, signed and dated 1943and on verso titled and dated on the gallery label18 1/2 x 22 1/4 in, 47 x 56.5 cm

PROVENANCE:Galerie Walter Klinkhoff Inc., MontrealPrivate Collection, Montreal

Georgian Bay was an iconic painting place for Arthur Lismer, one hereturned to often after he first saw it in 1913. It was a landscape ofwindswept pines, distinctive islets, powerful rock formations and radiantatmosphere, 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, texturedbrush~stroke and a more sculptural approach to form. He also began topaint close~up views of life at ground level, and here depicts a strikingbeachscape where large slabs and shelves of rocks are contrasted withsmaller rocks and driftwood thrown up on shore. On the horizon, theturbulent waters of Georgian Bay churn and froth, their deep bluehighlighted with rich emerald green. Rocks, driftwood and their shadowsare highlighted with a vibrant range of colour, from blue, green andpurple to warm orange and ochre. In Shoreline, Georgian Bay, Lismer hascaptured the bold and vital nature of this unique and compelling place.

ESTIMATE: $20,000 ~ 30,000

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174 ARTHUR LISMERAAM CGP CSGA CSPWC G7OSA RCA 1885 ~ 1969

Shafts of Lightin the BC Forest

oil on canvas, signed twice,circa 195226 x 21 in, 66 x 53.3 cm

PROVENANCE:The Art Emporium, Vancouver, 1973Private Collection, Vancouver

LITERATURE:Robert Ayre, “A Sheaf of Summer Sketches”,Canadian Art, Volume XIII, Winter, 1956,page 228Dennis Reid, Canadian Jungle, The LaterWork of Arthur Lismer, Art Gallery ofOntario, 1985, page 53

In 1951, Arthur Lismer discovered a newpainting place when he traveled toVancouver Island, exploring Long Beach onits west coast, as well as Galiano, Pender andSaltspring Islands. The West Coast madesuch an impact that he returned over 16summers, painting both shore and innerforest. Robert Ayre described Lismer’sexperience at Wickaninnish at Long Beach:“Lismer swims and catches crabs, paints andhelps Joe cut trails through the jungle,choked with salal, ground sumac and skunkcabbage. You could get lost in the densetropical growth of the cedar swamps.” Thehuge trees on the coast captured Lismer’simagination, as did Emily Carr’s depictionsof them; he stated, “I’m always expectingEmily Carr to appear from behind a tree.”

In Shafts of Light in the BC Forest, acathedral~like forest is lit from within byshafts of warm light that spill over a forestfloor further illuminated by splashes of pinkand orange. Lismer’s bold brush~strokesand textural approach to paint serve tofurther emphasize the power of the trees andthe vigour of the West Coast rain forest.

ESTIMATE: $25,000 ~ 35,000

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175 ARTHUR LISMERAAM CGP CSGA CSPWC G7 OSARCA 1885 ~ 1969

Tree Studyoil on board, signed and on versoinscribed Property of D.M. Ferms~Collier,Forest Hill, Toronto16 x 12 in, 40.6 x 30.5 cm

PROVENANCE:D.M. Ferms~Collier, TorontoPrivate Collection, Whitehorse

LITERATURE:Dennis Reid, Canadian Jungle: The Later Workof Arthur Lismer, Art Gallery of Ontario, 1985,page 51, a similar canvas entitled Forest Giant,Vancouver Island reproduced page 55

Arthur Lismer brought techniques and interestsdeveloped during the time he worked atGeorgian Bay to his 1950s and 1960s BritishColumbia coast painting trips, which beganafter his attention was drawn west when hiscross~Canada retrospective exhibition wasclosing at the Art Gallery of Greater Victoria andthe Vancouver Art Gallery in 1951. Paint wasbold and textural, often incised with animatedlines created by the tip of his brush, and treesand the jumble of life at the forest floor were hismain subjects. Old growth giants such as thesewere often depicted by Lismer in his West Coastworks, and he lit this vibrant forest interior withbold splashes and strokes of yellow, orange,flesh and mauve. In paintings such as this, onecan feel the presence of Emily Carr, who Lismerhad first met on her visit east in 1927. On hissummer trips west, Lismer visited her inVictoria, once even sketching with her belowBeacon Hill Park. In Tree Study, Lismercelebrates a forest full of life, yet venerablethrough the passage of time.

ESTIMATE: $18,000 ~ 22,000

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176 LAWREN STEWART HARRISALC BCSFA CGP FCA G7 OSA RPS TPG 1885 ~ 1970

On an Algoma Lakeoil on board, signed and on verso signed, titledand inscribed in graphite with the Doris MillsInventory #2/115 (crossed out), circa 1918 ~ 192010 1/2 x 13 3/4 in, 26.7 x 34.9 cm

PROVENANCE:The Fine Art Galleries, T. Eaton Co. Ltd., TorontoPrivate Collection, Ontario

LITERATURE: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 subjectin his work. Water, with its reflective possibilities and depth of shadows,requires a different approach than rocks or the lush undergrowth offorest. On an Algoma Lake is a fine example of Harris’s ability to play thesetwo elements against each other. The smooth lines of the flat rock juttingout into the water divides the forest from the lake nicely, with a few whiteaccenting laps against the nose of the rock. It is interesting to note howsimilar the brushwork is in the water and this rock; they work in harmonytogether, despite their differences in solidity. A single yellow tree blazesagainst the green forest, and Harris has outlined many of the features inthis work with black ~ a striking method of his which served to balanceout bright highlights such as the vivid yellow of the small tree. It is aportrait of sorts, wherein the little tree takes most of our attention despitethe eloquent surroundings.

ESTIMATE: $70,000 ~ 90,000

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177 LAWREN STEWART HARRISALC BCSFA CGP FCA G7 OSA RPS TPG 1885 ~ 1970

Rainstorm, Northern Lakeoil on panel, signed, circa 191710 3/4 x 13 3/4 in, 27.3 x 34.9 cm

PROVENANCE:A gift from the Artist to Arthur Burk, TorontoBy descent to a Private Collection, MontrealSold sale of Fine Canadian Art, Heffel Fine ArtAuction House, November 25, 2004, lot 78Private Collection, London, England

LITERATURE:Jeremy Adamson, Lawren S. Harris: Urban Scenes and WildernessLandscapes 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 theirlifting, seemingly windblown tops contrasts with the bright green of thesolid horizontal brush~strokes that Harris uses to depict the foreground.By mood, colour and direction, Harris’s brushwork shows us fine weatherand poor, wind and calm, with the rainstorm on the right being a sheet ofperfect, thinly~painted pale blue verticality.

The subject of this dramatic painting is possibly Kempenfelt Bay on LakeSimcoe, 60 miles north of Toronto, where Harris and his mother owned asummer home. In referring to the works Harris painted there, JeremyAdamson states, “The majority of his Lake Simcoe sketches are studies oftrees set against an expansive sky and indicate pictorial interests differingfrom those of his decorative studio snow scenes.” Harris’s interest here liesin the contrast between the softly~glowing pastoral foreground and theelemental forces of nature in the rainstorm washing across the lake.

ESTIMATE: $90,000 ~ 120,000

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178 MAURICE GALBRAITH CULLENAAM RCA 1866 ~ 1934

Evening Glow, Near Lac Tremblantoil on canvas, signed and on verso titledon the Watson Art Galleries label and certified byCullen Inventory #1032, circa 192624 1/4 x 32 1/4 in, 61.6 x 81.9 cm

PROVENANCE:Watson Art Galleries, Montreal, 1926Acquired from the above exhibition byGeorge McDougall, MontrealPrivate Estate, OntarioSold sale of Fine Canadian Art, Heffel Fine ArtAuction House, May 25, 2006, lot 68Private Collection, Vancouver

LITERATURE:Paul Duval, Canadian Impressionism, 1990, page 42

EXHIBITED:Watson Art Galleries, Montreal, Fourth Annual Exhibition of OilPaintings and Pastels by Maurice Cullen, RCA and Robert Pilot, ARCA,January 18 ~ 30, 1926, priced at $750, catalogue #6

By 1926, Maurice Cullen’s great series of Laurentian landscapes hadreached its apogee. Evening Glow, Near Lac Tremblant is a salient exampleof the winter scenes produced by the artist in the 1920s, landscapes thateloquently captured both the essence and ephemeral characteristics ofthe area around Lac Tremblant. Cullen’s connection to the Laurentianswas profound and prevailing, born of many solitary sketching excursionstaken along the shores of Lac Tremblant and the Cache River, and theartist’s deeply felt experiences of this wild and sentient nature. In the early1920s Cullen built a painting cabin on the shores of Lac Tremblant,making concrete an attachment described as being “as passionate as thatof Monet’s to Giverny”.

Significantly, Evening Glow, Near Lac Tremblant was exhibited at WilliamWatson’s art gallery, then located on St. Catherine Street, the same year itwas produced. This exquisite painting may be said to encapsulate thevery essence of Cullen’s unique oeuvre. In its fluency of form and gentle,glimmering luminosity, the work evokes the grand, sensorial dimensionof the natural world in flux. At once sparse and sumptuous, Evening Glow,Near Lac Tremblant quietly conveys the fullness of the moment as dayturns to dusk. The stillness of the lake, almost abstracted in itsarticulation, the enveloping low light, and the tranquil drama of thesunset unfolding on the horizon, combine to evoke a scene of charged andtimeless serenity.

ESTIMATE: $150,000 ~ 200,000

179 RANDOLPH STANLEY HEWTONBHG CGP RCA 1888 ~ 1960

North Shore, Lower St. Lawrenceoil on canvas, signed and on verso inscribed6 B / J 70 / 04lier and stamped with the Hewtonestate stamp and twice with the Hewton studio stamp10 1/4 x 12 in, 26 x 30.5 cm

PROVENANCE:The Art Emporium, Vancouver, 1972Private Collection, Vancouver

Randolph Hewton trained in France along with Group of Seven artistA.Y. Jackson, and was invited to participate in the first Group exhibitionin 1920. He was one of the members of Montreal’s Beaver Hall Group andwas 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 ruralscene on the St. Lawrence River.

ESTIMATE: $10,000 ~ 15,000

179

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180

180 JAMES EDWARD HERVEY (J.E.H.)MACDONALDALC CGP G7 OSA RCA 1873 ~ 1932

Village Housesoil on board, signed and dated 1930 and on verso signed,titled and inscribed 25 Severn St., Toronto, $30 and $658 1/2 x 10 3/8 in, 21.6 x 26.3 cm

PROVENANCE:A gift from the Artist to a Private Collection, Windsor, 1930By 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 isquite 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 adeep cobalt blue, which has been applied first to depict the trees, shrubsand some lines of the buildings in the village. The age~induced burntorange colour of the supporting board, which shows through in placesbetween the lively, quickly applied strokes of paint, is a lovely contrast tothe cobalt blue. In the sky, billowing clouds tower and are echoed in theirshape by the plume~like trees, which serve, along with the buildings, toboth break up and contrast with the linear treatment of the earth. Themovement of the brushwork in the portion of the painting where the skymeets the distant band of trees is characteristically MacDonald, andreminds us nicely of the presence of his hand in this work.

ESTIMATE: $25,000 ~ 35,000

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181 JAMES EDWARD HERVEY (J.E.H.)MACDONALDALC CGP G7 OSA RCA 1873 ~ 1932

The Swamp, Algonquin Parkoil on panel, on verso signed, titled, dated 1914and certified by Thoreau MacDonald, November 19518 x 10 in, 20.3 x 25.4 cm

PROVENANCE:William Colgate, Toronto; Laing Galleries, TorontoKenneth G. Heffel Fine Art Inc., VancouverPrivate Collection, British ColumbiaSold sale of Fine Canadian Art, Heffel Fine ArtAuction House, May 10, 2000, lot 121Private Collection, USA

LITERATURE:A.Y. Jackson, A Painter’s Country, The Autobiography of A.Y. Jackson,1958, page 29

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 masterpiececanvases in the impressionist mode, and foreshadows the distinctlyCanadian style that he was rapidly developing. By this time in his life,MacDonald had moved into his Thornhill home, which allowed him dailyaccess to a rural country environment. As well, he had met the futuremembers of the Group of Seven and had begun to explore Canada’snorthlands with them. His expanding appreciation for the landscape ofCanada is evident in his letters and diaries, and A.Y. Jackson noted in hisautobiography that “J.E.H. MacDonald…was probably the first to dreamof a school of painting in Canada that would realize the wealth of motifswe had all around us.” MacDonald had an acutely sensitive nature, whichallowed him to respond to things in a very personal way. This boldrendering of the effects of winter sunlight is now almost 100 years old, yetit thoroughly retains its fresh qualities.

There is an unfinished sketch on verso.

ESTIMATE: $20,000 ~ 30,000

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182

182 WILLIAM PERCIVAL (W.P.) WESTONARCA BCSFA CGP RBA 1879 ~ 1967

Atlin, BCoil on canvas, signed and on versosigned, titled and dated 195627 1/4 x 32 in, 69.2 x 81.3 cm

PROVENANCE:Private Collection, TorontoSold sale of Fine Canadian Art, Heffel Fine ArtAuction House, May 25, 2005, lot 51Private Collection, USA

LITERATURE:Ian M. Thom, W.P. Weston, Heffel Gallery Limited, 1991, page 6

Majestic mountains and indomitable trees were William Weston’s twomost powerful subjects. Rugged beauty was what he sought ~ and early in

his career, he wrestled with depicting it, stating, “I painted some prettywild things, but always I came a little closer to my own language of formand the expression of my own feeling for this coast region; its epic quality,its grandeur, its natural beauty.” Atlin Lake is British Columbia’s largestlake, drawing its aqua colour from the sediment in the melt water from thenearby Llewellyn Glacier. After he retired from teaching in 1946, Westonwas able to make sketching trips outside of the Vancouver area, andtraveled to the Okanagan Valley, the Kootenays and the Yukon, whichprovided material for his winter studio work. Atlin, BC contains theessence of Weston’s reverential approach to British Columbia’sawe~inspiring landscape, pared down to its essential elements of themisty lake with its foreshore of sculpted logs and rocky shelves and, risingabove all, the stunning mountain range with glacial rivulets.

ESTIMATE: $15,000 ~ 20,000

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183

183 DONALD M. FLATHERFCA 1903 ~ 1990

The Green Growler of Pond Inletoil on board, signed and dated 1981and on verso signed, titled and dated35 3/4 x 48 1/2 in, 90.8 x 123.2 cm

PROVENANCE:Sold sale of Fine Canadian Art, Heffel Fine ArtAuction House, May 10, 2000, lot 182Private Collection, USA

Inscribed on verso by the artist: “This iceberg entered Pond Inlet fromGreenland three years before, and much larger than at present. Thecharacter of its ice revealed its birthplace. It moved around Pond Inletunder the caprice of winds and tides. In its appearance here it had beengrounded for over three years. The sunshine had reduced its above~water

volume. The cold water did not affect the submerged part much. It wasabout one mile west of the Shaw boat~launching beach and about 800yards offshore to the north. A weighted depth line indicated 195 feet ofwater. The launching beach is another mile west of the centre of PondInlet village. A good truck road connects the two places. The iron~brownhills to the north form the south shore of Bylot Island with three largeglaciers 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 sculptedshape, resembling an Arctic cathedral, a remarkable subject for thisexceptional painting by Donald Flather.

ESTIMATE: $10,000 ~ 15,000

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184 ALEXANDER YOUNG (A.Y.) JACKSONALC CGP G7 OSA RCA RSA 1882 ~ 1974

Eldorado, Great Bear Lakeoil on board, signed and on verso signed, titled, datedSeptember 1938 and inscribed Harbour at Port Radiumand with the Naomi Jackson Groves Inventory #157710 1/2 x 13 1/2 in, 26.7 x 34.3 cm

PROVENANCE:Dr. Charles CamsellThe Right Honourable Malcolm MacDonald, British HighCommissioner to Canada 1941 ~ 1946, and Mrs. MacDonaldPrivate Collection, Ontario

A.Y. Jackson was particularly attracted by the northern Canadianwilderness, and we know that he jumped at the chance to visit PortRadium when his friend Gilbert LaBine, president of Eldorado Mining

and Refining, invited him up to sketch in 1938. He flew up in LaBine’scompany float plane in the late summer, and produced some remarkablework, including this wonderful panoramic sketch. Fall comes early in theFar North, and the reds and yellows of the foliage in the foreground aretypical for September. The buildings in the middle distance are part of theEldorado mine complex ~ a valuable source of radium and uranium in the1930s.

This painting comes with an interesting provenance. Originally owned byDr. Charles Camsell, an important geologist and Commissioner of theNorthwest Territories from 1936 to 1946, he gave it as a wedding presentto the Right Honorable Malcolm MacDonald (British High Commissionerto Canada) and his Canadian bride in 1946. This is the first time this finepainting has appeared on the market.

ESTIMATE: $25,000 ~ 35,000

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185 LAWREN STEWART HARRISALC BCSFA CGP FCA G7 OSA RPS TPG 1885 ~ 1970

Sketch XI, Farmhouse Near Mattawaoil on board, signed and on verso signed, titledand inscribed $25 and inscribed by Thoreau MacDonaldWith J.E.H. MacD., Mattawa, April 1913 / Gift to Carl Schaeferfrom J.E.H. MacD., 1928 and by Carl Schaefer Collection CarlSchaefer, 117 St. Clements Ave., Toronto, 12, Ont.8 x 10 in, 20.3 x 25.4 cm

PROVENANCE:Collection of J.E.H. MacDonaldA gift from J.E.H. MacDonald to Carl F. Schaefer, 1928By descent to the present Private Collection, Ontario

The year 1913 was a turning point for Lawren Harris. In the previous yearhe 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 nearMattawa. This new confidence can be seen in Harris’s application of thethick brush~strokes in the sky and foreground and in his characteristichandling of the lone tree ~ techniques for which he would come to beknown in the decades ahead. Few sketches from this trip have appearedon the market, yet they form an invaluable insight into the beginnings ofthe artist’s new style of painting. Mattawa is a small settlement on theOttawa River, just north of Algonquin Park, where the transition betweennorthern coniferous forest and southern deciduous forest occurs. Harrisand MacDonald presumably exchanged sketches from the trip, becausethis work was in MacDonald’s collection until it was given to the artistCarl Schaefer in 1928.

ESTIMATE: $20,000 ~ 30,000

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186

186 ALFRED JOSEPH (A.J.) CASSONCGP CSPWC G7 POSA PRCA 1898 ~ 1992

Driving Shed ~ Grenville, Que.oil on board, signed and on versosigned, titled and dated 197112 x 15 in, 30.5 x 38.1 cm

PROVENANCE:Roberts Gallery, TorontoWinchester Galleries, VictoriaPrivate Collection, Toronto

Soon after joining the Group of Seven in 1926, A.J. Casson defined hisunique identity in the Group with his depictions of Ontario’s villages and

rural countryside. Casson considered Quebec to be A.Y. Jackson’sterritory, although Jackson had tried to persuade him to paint there in the1920s. In 1966 Jackson finally convinced Casson to accompany him on asketching trip to the town of Grenville in Quebec, guiding him to choicepainting places in the area. Casson returned to Grenville every year until1972. In Driving Shed ~ Grenville, Que., Casson exhibits the same ability tocrystallize the mood of a singular moment and place that he was so wellknown for in his Ontario scenes. The weathered driving shed exudes thewarmth of human presence in a rural landscape glowing with fall colours,while mist effects rise through the background, adding an intriguingatmospheric element to this peaceful, radiant scene.

ESTIMATE: $20,000 ~ 25,000

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187 JAMES EDWARD HERVEY (J.E.H.)MACDONALDALC CGP G7 OSA RCA 1873 ~ 1932

Petite Rivière, Nova Scotiaoil on board, on verso signed, titled, dated 1922and certified by Thoreau MacDonald and with the estate seal8 3/8 x 10 3/8 in, 21.3 x 26.3 cm

PROVENANCE:F. Wallace Clancy, TorontoThe Framing Gallery, TorontoKastel Gallery Inc., MontrealPrivate Collection, Ontario

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 andtook a summer trip to Petite Rivière to stay with his old friend, artist LewisSmith. Both had worked at Grip Ltd., that great meeting place of artiststhat included many of the future members of the Group of Seven. The tripproved to be a successful one as he produced, in a relatively short time, animpressive body of work including shorescapes, open vistas and tranquilsettings such as this one overlooking the river. MacDonald depicted thescene with typical gusto ~ he excelled at stormy skies, and in this sketchhe 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: thechurch spire, the whites of the scattered houses and the broad, verdantgreen in the foreground.

ESTIMATE: $20,000 ~ 25,000

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188 ALEXANDER YOUNG (A.Y.) JACKSONALC CGP G7 OSA RCA RSA 1882 ~ 1974

Georgian Bayoil on panel, signed and on versotitled and dated 19208 1/4 x 10 1/2 in, 21 x 26.7 cm

PROVENANCE:Exposition Art Gallery, VancouverPrivate Collection, Vancouver

LITERATURE:A.Y. Jackson, A Painter’s Country, The Autobiography of A.Y. Jackson,1958, page 49

A.Y. Jackson had a long and fruitful connection with Georgian Bay. Apivotal event in his career took place there: during a 1913 Georgian Bay

sketching trip, he encountered art patron Dr. James MacCallum, who hada 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 theStudio Building in Toronto. Starting in February of 1920, Jackson spenttwo months sketching at Georgian Bay, principally at Penetanguisheneand Franceville. Back in Toronto in April, he worked on Georgian Baycanvases for the first Group of Seven show in May. Jackson returned oftento Georgian Bay up until 1967 ~ he had family and friends there, anddeclared it “one of my happy hunting grounds for camping and fishing inall seasons”. He explored its islands, intricate rocky channels and bays bycanoe, finding fine subjects. This classic Group of Seven period workplaces the viewer intimately on the edge of a still channel. It reflects animage iconic to the Group ~ a stand of wind~blown pines above the rockyshore.

ESTIMATE: $18,000 ~ 22,000

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189 SIR FREDERICK GRANT BANTING1891 ~ 1941

Honey Harbouroil on board, signed and on verso titled, dated 1933on the Hart House exhibition label and inscribedTo Freddie H Aug 26 / 33, ‘Many Happy Returns’ as the girlsaid and Dr. Hipwell, 172 Rosedale Heights Dr., Toronto8 1/8 x 10 1/4 in, 20.6 x 26 cm

PROVENANCE:A gift from the Artist to Dr. F.W.W. Hipwell, TorontoBy descent to the present Private Collection, Ontario

LITERATURE:Michael Bliss, Banting: A Biography, 1993, page 26

EXHIBITED:Hart House, University of Toronto, Exhibition of Paintings of the lateSir 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 interestin culture drew him to the Toronto Arts and Letters Club where, amongothers, he met Group of Seven artist A.Y. Jackson. They became friends,and Banting joined Jackson on some important sketching trips to theArctic, Quebec and Northern Ontario, resulting in significant works forboth artists. This richly colourful, atmospheric 1933 work is comparablein style and execution to some of the best sketches that Jackson painted inGeorgian Bay in the mid~1930s. Honey Harbour is at the south~east endof Georgian Bay, and is dotted with countless small islands and outcrops.

This painting was a gift from Banting to Dr. Fred Hipwell, his first cousinand friend, someone who “was, and always would be, his greatest chum.”Dr. Hipwell and his wife were intimately involved in the progress ofBanting and Dr. Charles Best in the early 1920s, as they lived near thelaboratory where the discovery of insulin was made.

ESTIMATE: $12,000 ~ 15,000

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190 EMILY COONANBHG 1885 ~ 1971

Quebec Landscapeoil on canvas, signed and on versotitled on a label20 x 24 in, 50.8 x 61 cm

PROVENANCE:Patricia Coonan, the Artist’s sisterCharlotte Tansey, MontrealA gift from Charlotte Tansey to the presentPrivate Collection, Montreal, 1977

An early exponent of Canadian modernism, Emily Coonan first took artclasses at Conseil des arts et manufactures, but her formative studies werelater at the Art Association of Montreal. During this time, William Brymner

became her teacher and, with his encouragement, Coonan and fellowartist Henrietta Mabel May traveled to France, Belgium and Holland in1912. This trip allowed Coonan to see the work of the FrenchImpressionists and greatly expanded her artistic horizons. She returnedto France in 1920, enabled by a traveling grant awarded by the NationalGallery of Canada. This trip proved to be significant, and subsequentlyher work began to indicate modernist sensibilities through increasinglysimplified portraits and landscapes. Also in 1920, she became a memberof the important Beaver Hall Group, and exhibited regularly at the ArtAssociation of Montreal and the Royal Canadian Academy. Coonanfrequently traveled to the Quebec countryside to paint en plein air, andthis work illustrates her clear admiration of her surroundings. With itsharmonious colour palette and simplified forms, Quebec Landscape is acharming work from this important female modernist.

ESTIMATE: $15,000 ~ 20,000

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191 ALFRED JOSEPH (A.J.) CASSONCGP CSPWC G7 POSA PRCA 1898 ~ 1992

Clear Morning ~ Quebecoil on board, signed and on versosigned, titled and dated 196712 x 15 in, 30.5 x 38.1 cm

PROVENANCE:Roberts Gallery, TorontoBy descent to the present Private Collection, British Columbia

LITERATURE:Paul Duval, A.J. Casson, Roberts Gallery, 1975, page 151

“In 1966,” Paul Duval writes, “Casson turned his creative attention toQuebec Province for the first time in a serious way. Before that, his

experience painting in French Canada had been limited to a two week tripto Lake La Pêche in 1940.” The 1966 trip was with fellow Group of Sevenpainter A.Y. Jackson, and they stayed at Grenville, at the farmhouse ofJackson’s friends Munroe and Joyce Putnam. The two artists sketched inHarrington, Avoca and Montebello ~ Avoca being A.J. Casson’s favouritearea. In 1968, Casson’s paintings from the Grenville area were featured inan exhibition at Roberts Gallery. Casson was enjoying much success withhis exhibitions there, and was receiving great recognition in general atthis point ~ Group of Seven members being well on their way to attainingthe status of national treasures. Clear Morning ~ Quebec is a tranquilmeditation on pure landscape. The foreground screen of trees, showing aturn to autumn colours, is a symphony of tonal pale greens and golds,while beyond it the background mountain looms in blue~shadowedmystery.

ESTIMATE: $12,000 ~ 16,000

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192 RENÉ JEAN RICHARDOC RCA 1895 ~ 1982

Territoire de trappeursoil on board, signed40 1/4 x 47 in, 102.2 x 119.4 cm

PROVENANCE:Galerie Clarence Gagnon, MontrealPrivate Collection, Montreal

EXHIBITED: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 newopportunities, 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 theMcKenzie 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 totravel to Paris where he met Clarence Gagnon. Gagnon took Richardunder his wing, encouraging him to visit museums and to explore thecountryside to sketch. After exhausting his funds, Richard returned toAlberta and the mining and trapping life, but filled his backpack with artsupplies, working out~of~doors whenever he could. He moved toQuebec in 1940 at the suggestion of Gagnon. Territoire de trappeurs has alively, windswept and wintery atmosphere. Richard keenly understoodthe hard work involved in trapping, and thus his depiction of this lonetrapper’s encampment has a unique authenticity.

ESTIMATE: $20,000 ~ 30,000

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193 MARC~AURÈLE DE FOY SUZOR~COTÉCAC RCA 1869 ~ 1937

Le halage du boisbronze sculpture, signed, dated 1924 and inscribedwith the foundry mark Roman Bronze Works N.Y.,Copyright Canada & United States14 3/4 x 61 x 6 in, 37.5 x 154.9 x 15.2 cm

PROVENANCE:The Elizabeth T. Greenshields MemorialFoundation, Montreal, 1970A Prominent Montreal Family Estate

LITERATURE:Laurier Lacroix, Suzor~Coté, Light and Matter, National Galleryof Canada and Musée du Québec, 2002, pages 244 and 266,reproduced pages 267 and 349 and reproduced in an installationphotograph from the 1929 exhibition page 312

EXHIBITED:Art Association of Montreal, Forty~Second Spring Exhibition,April 2 ~ 26, 1925, same cast, catalogue #401École 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 onone aspect or another of the land and one of his most ambitious works wasHauling Logs, a subject he first treated around 1909, then took up again in1920 and exhibited in 1924. The theme, with its explicit sense ofmovement, consists of a farmer drawing a load of wood. The sculpture isconceived as a bas~relief frieze and its horizontal format ironicallydestines it to wind up over a mantelpiece.”

In 1910, Marc~Aurèle Suzor~Coté exhibited the maquette for this workat the Ontario Society of Artists. Never made to endure and now lost, it isknown only through a photograph in which we see that the farmer andhorse were made of sculpted plaster and that the artist used smallbranches and natural wood for the logs and sled. This quaint andextremely detailed maquette was also used as a subject for a painting,exhibited in that same year at the Art Association of Montreal, also in anunknown location.

Suzor~Coté returned to the theme again in 1924 when he made a paintingand a bronze of the log hauler. Hauling Logs, the 1924 oil on canvas, nowin the collection of the National Gallery of Canada, is a masterwork,true to the form of the original maquette and full of energy andmovement. All the details of the model are found therein, the axe stuckinto one of the logs, the blowing scarf of the farmer, the chuffing energy ofthe horse. In Le halage du bois, the details vary only slightly from that of theoriginal maquette and the National Gallery of Canada’s painting, to allowfor the different medium of bronze. The reins have become a whip that thefarmer holds in one hand and flicks lightly above the haunches of thehorse as it strains against the load of wood. The farmer’s other hand ~having no reins to hold ~ has been stuffed into his pocket, emphasizingthe cold of winter that one reads instantly from this action. Measuringmore than a metre and a half in length, this unique and delightful bronzeis 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 painterlyaspects of bronze. The bronze is textured and very finely detailed, and inthe different castings, coloured patinas give the work a painterly feel.

When the bronze was shown in 1925 at the Art Association of Montreal, itelicited this response from Albert Laberge in La Presse, April 3, 1925: “Mr.Suzor~Côté…is establishing himself as a powerful sculptor…Thiscomposition is full of movement and action, reflecting a thoroughknowledge of nature and a highly developed faculty of observation.”When the work was shown in the Suzor~Coté retrospective exhibition atthe École des beaux~arts de Montréal in 1929, it was placed just off thefloor, 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 inpaint. Lacroix notes, “The sensitivity with which Suzor~Coté approachedthe technique of sculpting in the round, his ability to synthesise andsuggest movement, and his skill in animating matter all derived from theFrench school of sculpture as it was practised in the late 19th century.Nonetheless, he was able to transcend this influence in his Canadiansubjects, infusing them with a presence and a permanence that no otherartist has ever matched.”

ESTIMATE: $60,000 ~ 80,000

193

PROPERTY OF A PROMINENT MONTREAL FAMILY ESTATE

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194 MARC~AURÈLE DE FOY SUZOR~COTÉCAC RCA 1869 ~ 1937

Le vieux pionnier Canadienbronze sculpture, signed, titled, dated 1912and inscribed with the foundry mark Roman BronzeWorks Inc. NY, Copyrighted Canada 191415 3/4 x 9 1/4 x 17 in, 40 x 23.5 x 43.2 cm

PROVENANCE:The Elizabeth T. Greenshields MemorialFoundation, Montreal, 1970A Prominent Montreal Family Estate

LITERATURE:Pierre L’Allier, Suzor~Coté, l’oeuvre sculpté, Musée du Québec,1991, reproduced page 46, catalogue #6 and #6aLaurier Lacroix, Suzor~Coté, Light and Matter, National Galleryof Canada and Musée du Québec, 2002, page 235,reproduced page 237

Le vieux pionnier Canadien (The Old Canadian Pioneer) was first exhibitedat the Art Association of Montreal exhibition in 1913. Léon Lorraindescribed the sculpture as “a commendable form of nationalism.” In thishumbly dressed pioneer, sitting in his rocking chair while smoking hispipe, Marc~Aurèle Suzor~Coté captured the inner strength of earlyQuebec settlers, who cleared the land for farming. Laurier Lacroix writes,“Suzor~Coté’s sculpture was perceived to have succeeded in transmittingthe character of the intrinsic ‘soul’ of French~Canadian rural residents,the pillars of a nation.” La compagne du vieux pionnier, lot 195, isconsidered to be a companion to this work, and although the twosculptures were created separately, they were exhibited as a pair, and havegrown to be regarded as icons of Canadian art. These sculptures areconsidered to be an inseparable pair, symbolic of the tenacity andperseverance of Canadian rural life.

ESTIMATE: $15,000 ~ 20,000

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195

195 MARC~AURÈLE DE FOY SUZOR~COTÉCAC RCA 1869 ~ 1937

La compagne du vieux pionnierbronze sculpture, signed, titled, dated 1912 and inscribedwith the foundry mark Roman Bronze Works Inc. NY, Copyright,Canada United States 1918 by Suzor~Coté15 3/4 x 9 1/4 x 17 1/4 in, 40 x 23.5 x 43.8 cm

PROVENANCE:The Elizabeth T. Greenshields MemorialFoundation, Montreal, 1970A Prominent Montreal Family Estate

LITERATURE:Pierre L’Allier, Suzor~Coté, L’oeuvre sculpté, Musée du Québec,1991, reproduced pages 48 and 49, catalogue #7 and #7aLaurier Lacroix, Suzor~Coté, Light and Matter, National Galleryof Canada and Musée du Québec, 2002, page 224, reproducedpage 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 atwell~known art schools, and while in France in 1911, spent many hourswith renowned sculptor Auguste Rodin. In sculptures such as Lacompagne du vieux pionnier (The Companion of the Old Pioneer),Suzor~Coté was able, through his long observation of French~Canadianhabitants, to transmit their admirable qualities. As Charles L. Sibleywrote in 1914, “Those who don’t know the French Canadian people haveno idea of the pride of Suzor~Coté’s people in him. And he in them. Travelhas opened his eyes to what the people of his race stand for ~ to theirgenuine simplicity and sweetness of heart. He sees character, character,character everywhere…Nothing enthuses him like his own ancestralcountry and the old customs of his race.” The Companion isintrospective, absorbed in her knitting ~ her posture reflects a life of hardwork, although her features are fine~boned and her hands are strong. Sheis a moving symbol of the humble yet enduring French~Canadian ruralwoman, the backbone of her family and society.

ESTIMATE: $15,000 ~ 20,000

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196

HEFFEL FINE ART AUCTION HOUSE 118

196 MARC~AURÈLE FORTINARCA 1888 ~ 1970

Vue de Montréal du Mont~Royalwatercolour on paper, signedand on verso titled, circa 19289 x 11 1/8 in, 22.9 x 28.3 cm

PROVENANCE:Private Collection, TorontoBy descent to the present Private Collection

In about 1910, Quebec artist Marc~Aurèle Fortin left Montreal forextended travels in western Canada, specifically Edmonton, and thenwent on into the United States, where he studied at The Art Institute ofChicago and in New York and Boston, returning to Montreal in 1914.

He also traveled to France and England in 1922. During the course ofthese travels, Fortin saw a wide range of art, which influenced his ownproduction. However, his love for his home city did not change, andviews of Montreal are a core subject in his work from the early days of hiscareer through to his later years when he worked in a fauvist style. Fortinwas known for his artistic courage and interest in experimenting with hisart. Vue de Montréal du Mont~Royal is quite loose and freely handled for awatercolour of 1928, and would have been considered stylisticallymodern, with the vertical trees on either side of the view acting as curtainsof a sort, framing the scene in a pleasing manner, as if it has just beenopened up for us too see.

This work will be included in the forthcoming catalogue raisonné on theartist’s work, #A~0563.

ESTIMATE: $9,000 ~ 12,000

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Thank you for attending our sale of Fine Canadian Art.After tonight’s sale, please view our Third Session ~ MayOnline Auction of Fine Canadian Art at www.heffel.com,closing on Thursday, May 30, 2013. Lots can beindependently viewed at one of our galleries in Vancouver,Toronto or Montreal, as specified in our online catalogue.

198 MARC~AURÈLE DE FOY SUZOR~COTÉCAC RCA 1869 ~ 1937

Retour de pêche au largede Bréhat, Bretagne

oil on card, signed and on versosigned, titled and dated 19075 1/4 x 9 1/4 in, 13.3 x 23.5 cm

PROVENANCE:Private Collection, Montreal

ESTIMATE: $4,000 ~ 6,000

198

197 ROBERT WAKEHAM PILOTCGP OSA PRCA 1898 ~ 1967

The Ramparts, Quebecoil on board, signed and on versotitled indistinctly8 1/2 x 11 in, 21.6 x 27.9 cm

PROVENANCE:A gift from the ArtistBy descent to an Important Montreal Collection

ESTIMATE: $5,000 ~ 7,000

197

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TORONTO

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Page 124: HEFFEL FINE ART AUCTION HOUSE FINE CANADIAN ART MAY 15, 2013

INVITATION TO CONSIGN

HEFFEL FINE ART AUCTION HOUSE

VANCOUVER • TORONTO • OTTAWA • MONTREAL

www.heffel.com • 1 800 528 9608 • [email protected]

We are now accepting consignments for our October sale of:

Fine International Art

International Pop Art Prints

ANDY WARHOL, Marilyn, screenprint on paper, 1967, 36 x 36 inSold for $87,750

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HEFFEL FINE ART AUCTION HOUSE

VANCOUVER • TORONTO • OTTAWA • MONTREAL

www.heffel.com • 1 800 528 9608 • [email protected]

We are now accepting consignments for our fall live auction of:

Canadian Post~War & Contemporary Art

Fine Canadian Art

INVITATION TO CONSIGN

LAWREN S. HARRIS, The Old Stump, Lake Superior, oil on board, 1926, 12 x 15 inSold for a Record $3,510,000

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A. DEFINED TERMS:

1. AUCTION HOUSE

The Auction House is Heffel Fine Art Auction House, adivision of Heffel Gallery Limited, or an affiliated entity;

2. CONSIGNOR

The Consignor is the person named in the ConsignmentAgreement as the person from which the Property or Lot hasbeen received for auction;

3. CONSIGNOR’S COMMISSION

The Consignor’s Commission is the amount paid by theConsignor to the Auction House on the sale of a Lot, that iscalculated on the Hammer Price, at the rates specified inwriting by the Consignor and the Auction House on theConsignment Agreement Form, plus applicable Sales Tax;

4. PROPERTY

The Property is any Property delivered by the Consignor tothe Auction House to be placed in the auction sale held bythe Auction House on its premises, online or elsewhere and,specifically, that Property described by Lot number in theAuction House catalogue for the auction sale. The AuctionHouse will have the authority to partition the Property intoLots (the “Lots” or “Lot”);

5. RESERVE

The reserve is a minimum price for the sale of the Lot, agreedto between the Consignor and the Auction House;

6. KNOCKED DOWN

Knocked Down means the conclusion of the sale of the Lotbeing auctioned by the Auctioneer;

7. EXPENSES

Expenses shall include all costs incurred, directly orindirectly, in relation to the consignment and sale of the Lot;

8. HAMMER PRICE

The Hammer Price is the price at which the Auctioneer hasKnocked Down the Lot to the Buyer;

9. BUYER

The Buyer is the person, corporation or other entity or suchentity’s agent, who bids successfully on the Lot at the auctionsale;

10. PURCHASE PRICE

The Purchase Price is the Hammer Price and the Buyer’sPremium, applicable Sales Tax and additional charges and

TERMS AND CONDITIONS OF BUSINESS

These Terms and Conditions of Business represent the terms uponwhich the Auction House contracts with the Consignor and, acting inits capacity as agent on behalf of the Consignor, contracts with theBuyer. These Terms and Conditions of Business shall apply to the saleof the Lot by the Auction House to the Buyer on behalf of the Consignor,

and shall supersede and take precedence over any previously agreedTerms and Conditions of Business. These Terms and Conditions ofBusiness are hereby incorporated into and form part of theConsignment Agreement entered into by the Auction House and theConsignor.

Expenses including expenses due from a defaulting Buyer;

11. BUYER’S PREMIUM

The Buyer’s Premium is the amount paid by the Buyer to theAuction House on the purchase of a Lot, that is calculated onthe Hammer Price, at the rate of seventeen percent (17%) ofthe Hammer Price of the Lot, plus applicable Sales Tax;

12. SALES TAX

Sales Tax means the Federal and Provincial sales and excisetaxes applicable in the jurisdiction of sale of the Lot;

13. REGISTERED BIDDER

A Registered Bidder is a bidder who has fully completed theregistration process, provided the required information to theAuction House and has been assigned a unique paddlenumber for the purpose of bidding on Lots in the auction;

14. PROCEEDS OF SALE

The Proceeds of Sale are the net amount due to the Consignorfrom the Auction House, which shall be the Hammer Priceless commission at the Published Rates and Expenses and anyother amounts due to the Auction House or associatedcompanies;

15. LIVE AND ONLINE AUCTIONS

These Terms and Conditions of Business apply to all live andonline auction sales conducted by the Auction House. For thepurposes of online auctions, all references to the Auctioneershall mean the Auction House and Knocked Down is a literalreference defining the close of the auction sale.

B. THE BUYER:

1. THE AUCTION HOUSE

The Auction House acts solely as agent for the Consignor,except as otherwise provided herein.

2. THE BUYER

a) The highest Registered Bidder acknowledged by theAuctioneer as the highest bidder at the time the Lot isKnocked Down;

b) The Auctioneer has the right, at his sole discretion, to reopena Lot if he has inadvertently missed a Bid, or if a RegisteredBidder, immediately at the close of a Lot, notifies theAuctioneer of his intent to Bid;

c) The Auctioneer shall have the right to regulate and controlthe bidding and to advance the bids in whatever intervals heconsiders appropriate for the Lot in question;

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d) The Auction House shall have absolute discretion in settlingany dispute in determining the successful bidder;

e) The Buyer acknowledges that invoices generated during thesale or shortly after may not be error free, and therefore aresubject to review;

f) Every Registered Bidder shall be deemed to act as principalunless the Auction House has acknowledged in writing atleast twenty~four hours (24) prior to the date of the auctionthat the Registered Bidder is acting as an agent on behalf of adisclosed principal and such agency relationship is acceptableto the Auction House;

g) Every Registered Bidder shall fully complete the registrationprocess and provide the required information to the AuctionHouse. Every Registered Bidder will be assigned a uniquepaddle number (the “Paddle”) for the purpose of bidding onLots in the auction. For online auctions, a password will becreated for use in the current and future online sales only.This online registration procedure may require up totwenty~four (24) hours to complete;

h) Every Registered Bidder acknowledges that once a bid ismade with his Paddle, or Paddle and password, as the casemay be, it may not be withdrawn without the consent of theAuctioneer who, in his sole discretion, may refuse suchconsent; and

i) Every Registered Bidder agrees that if a Lot is Knocked Downon his bid, he is bound to purchase the Lot for the PurchasePrice.

3. BUYER’S PRICE

The Buyer shall pay the Purchase Price (inclusive of theBuyer’s Premium) to the Auction House. The Buyeracknowledges and agrees that the Auction House may alsoreceive a Consignor’s Commission.

4. SALES TAX EXEMPTION

All or part of the Sales Tax may be exempt in certaincircumstances if the Lot is delivered or otherwise removedfrom the jurisdiction of sale of the Lot. It is the Buyer’sobligation to demonstrate, to the satisfaction of the AuctionHouse, that such delivery or removal results in an exemptionfrom the relevant Sales Tax legislation. Shipments out of thejurisdiction of sale of the Lot(s) shall only be eligible forexemption from Sales Tax if shipped directly from theAuction House and appropriate delivery documentation isprovided, in advance, to the Auction House. All claims forSales Tax exemption must be made prior to or at the time ofpayment of the Purchase Price. Sales Tax will not be refundedonce the Auction House has released the Lot.

5. PAYMENT OF THE PURCHASE PRICE

a) The Buyer shall:

(i) Unless he has already done so, provide the Auction Housewith his name, address and banking or other suitablereferences as may be required by the Auction House; and

(ii) Payment must be made by 4:30 p.m. on the seventh (7th)day following the auction by: a) Bank Wire direct to theAuction House’s account, b) Certified Cheque or BankDraft, unless otherwise arranged in advance with theAuction House, or c) a cheque accompanied by a currentLetter of Credit from the Buyer’s bank which willguarantee the amount of the cheque (release of Lot subjectto clearance of cheque). Credit card payments are subjectto acceptance and approval by the Auction House and to amaximum of $5,000 if the Buyer is providing his creditcard details by fax, or to a maximum of $25,000 if thecard is presented in person with valid identification. Suchcredit card payment limits apply to the value of the totalpurchases made by the Buyer and will not be calculatedon individual transactions for separate Lots. In all othercircumstances, the Auction House accepts payment bywire transfer.

b) Title shall pass, and release and/or delivery of the Lot shalloccur, only upon payment of the Purchase Price by the Buyerto 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 orother publication or report, as to the authorship, origin, date,age, size, medium, attribution, genuineness, provenance,condition or estimated selling price of the Lot, are statementsof opinion only. The Buyer agrees that the Auction Houseshall not be liable for any errors or omissions in the catalogueor any supplementary material produced by the AuctionHouse;

b) All photographic representations and other illustrationspresented in the catalogue are solely for guidance and are notto be relied upon in terms of tone or colour or necessarily toreveal any imperfections in the Lot;

c) Many Lots are of an age or nature which precludes them frombeing in pristine condition. Some descriptions in thecatalogue or given by way of condition report make referenceto damage and/or restoration. Such information is given forguidance only and the absence of such a reference does notimply that a Lot is free from defects, nor does any reference toparticular defects imply the absence of others;

d) The prospective Buyer must satisfy himself as to all mattersreferred to in a), b) and c) of this paragraph by inspection,other investigation or otherwise prior to the sale of the Lot. Ifthe prospective Buyer is unable to personally view any Lot,the Auction House may, upon request, e~mail or fax acondition report describing the Lot to the prospective Buyer.Although the Auction House takes great care in executingsuch condition reports in both written and verbal format,condition reports are only matters of opinion, arenon~exhaustive, and the Buyer agrees that the Auction Houseshall not be held responsible for any errors or omissions

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contained within. The Buyer shall be responsible forascertaining the condition of the Lot; and

e) The Auction House makes no representations or warranties tothe Buyer that the Buyer of a Lot will acquire any copyright orother reproduction right in any purchased Lot.

7. PURCHASED LOT

a) The Buyer shall collect the Lot from the Auction House by4:30 p.m. on the seventh (7th) day following the date of theauction sale, after which date the Buyer shall be responsiblefor all Expenses until the date the Lot is removed from theoffices of the Auction House;

b) All packing, handling and shipping of any Lot by the AuctionHouse is undertaken solely as a courtesy service to the Buyer,and will only be undertaken at the discretion of the AuctionHouse and at the Buyer’s risk. Prior to all packing andshipping, the Auction House must receive a fully completedand signed Shipping Form and payment in full of allpurchases; and

c) The Auction House shall not be liable for any damage to glassor frames of the Lot and shall not be liable for any errors oromissions or damage caused by packers and shippers,whether or not such agent was recommended by the AuctionHouse.

8. RISK

a) The purchased Lot shall be at the Consignor’s risk in allrespects for seven (7) days after the auction sale, after whichthe Lot will be at the Buyer’s risk. The Buyer may arrangeinsurance coverage through the Auction House at the thenprevailing rates and subject to the then existing policy; and

b) Neither the Auction House nor its employees nor its agentsshall be liable for any loss or damage of any kind to the Lot,whether caused by negligence or otherwise, while any Lot isin or under the custody or control of the Auction House.

9. NON~PAYMENT AND FAILURE TO COLLECT LOT(S)If the Buyer fails either to pay for or to take away any Lot by4:30 p.m. on the seventh (7th) day following the date of theauction sale, the Auction House may in its absolute discretionbe entitled to one or more of the following remedies withoutproviding further notice to the Buyer and without prejudiceto any other rights or remedies the Auction House may have:

a) To issue judicial proceedings against the Buyer for damagesfor breach of contract together with the costs of suchproceedings on a full indemnity basis;

b) To rescind the sale of that or any other Lot(s) sold to theBuyer;

c) To resell the Lot or cause it to be resold by public or privatesale, or by way of live or online auction, with any deficiencyto be claimed from the Buyer and any surplus, after Expenses,to be delivered to the Buyer;

d) To store the Lot on the premises of the Auction House orthird party storage facilities with Expenses accruing to theaccount of the Buyer, and to release the Lot to the Buyer onlyafter payment of the Purchase Price and Expenses to theAuction House;

e) To charge interest on the Purchase Price at the rate of fivepercent (5%) per month above the Royal Bank of Canada baserate at the time of the auction sale and adjusted month tomonth thereafter;

f) To retain that or any other Lot sold to the Buyer at the sameor any other auction and release the same only after paymentof the aggregate outstanding Purchase Price;

g) To apply any Proceeds of Sale of any Lot then due or at anytime thereafter becoming due to the Buyer towards settlementof the Purchase Price, and the Auction House shall be entitledto a lien on any other property of the Buyer which is in theAuction House’s possession for any purpose;

h) To apply any payments made by the Buyer to the AuctionHouse towards any sums owing from the Buyer to theAuction House without regard to any directions received fromthe Buyer or his agent, whether express or implied; and

i) In the absolute discretion of the Auction House, to refuse orrevoke the Buyer’s registration in any future auctions held bythe Auction House.

10. GUARANTEE

The Auction House, its employees and agents, shall not beresponsible for the correctness of any statement as to theauthorship, origin, date, age, size, medium, attribution,genuineness or provenance of any Lot or for any other errorsof description or for any faults or defects in any Lot and nowarranty whatsoever is given by the Auction House, itsemployees or agents in respect of any Lot and any express orimplied conditions or warranties are hereby excluded.

11. ATTENDANCE BY BUYER

a) Prospective Buyers are advised to inspect the Lot(s) before thesale, and to satisfy themselves as to the description,attribution and condition of each Lot. The Auction House willarrange suitable viewing conditions during the previewpreceding 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 willexecute bids on their behalf subject to completion of theproper Absentee Bid Form, duly signed and delivered to theAuction House forty~eight (48) hours before the start of theauction sale. The Auction House shall not be responsible norliable in the making of any such bid by its employees oragents;

c) In the event that the Auction House has received more thanone Absentee Bid Form on a Lot for an identical amount andat auction those absentee bids are the highest bids for that

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Lot, the Lot shall be Knocked Down to the person whoseAbsentee Bid Form was received first; and

d) At the discretion of the Auction House, the Auction Housemay execute bids, if appropriately instructed by telephone, onbehalf of the prospective Buyer, and the prospective Buyerhereby agrees that neither the Auction House nor itsemployees nor agents shall be liable to either the Buyer or theConsignor for any neglect or default in making such a bid.

12. EXPORT PERMITS

Without limitation, the Buyer acknowledges that certainproperty of Canadian cultural importance sold by the AuctionHouse may be subject to the provisions of the CulturalProperty Export and Import Act (Canada), and thatcompliance with the provisions of the said act is the soleresponsibility of the Buyer.

C. THE CONSIGNOR:

1. THE AUCTION HOUSE

a) The Auction House shall have absolute discretion as towhether the Lot is suitable for sale, the particular auction salefor the Lot, the date of the auction sale, the manner in whichthe auction sale is conducted, the catalogue descriptions ofthe Lot, and any other matters related to the sale of the Lot atthe auction sale;

b) The Auction House reserves the right to withdraw any Lot atany time prior to the auction sale if, in the sole discretion ofthe Auction House:

(i) there is doubt as to its authenticity;

(ii) there is doubt as to the accuracy of any of the Consignor’srepresentations or warranties;

(iii) the Consignor has breached or is about to breach anyprovisions 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 AuctionHouse, as provided in Condition C.8.

2. WARRANTIES AND INDEMNITIES

a) The Consignor warrants to the Auction House and to theBuyer that the Consignor has and shall be able to deliverunencumbered title to the Lot, free and clear of all claims;

b) The Consignor shall indemnify the Auction House, itsemployees and agents and the Buyer against all claims madeor proceedings brought by persons entitled or purporting tobe entitled to the Lot;

c) The Consignor shall indemnify the Auction House, itsemployees and agents and the Buyer against all claims madeor proceedings brought due to any default of the Consignorin complying with any applicable legislation, regulations andthese Terms and Conditions of Business; and

d) The Consignor shall reimburse the Auction House in full andon demand for all Expenses or any other loss or damagewhatsoever made, incurred or suffered as a result of anybreach by the Consignor of Conditions C.2.a and/or C.2.cabove.

3. RESERVES

a) The Auction House is authorized by the Consignor to KnockDown a Lot at less than the Reserve, provided that, for thepurposes of calculating the Proceeds of Sale due to theConsignor, the Hammer Price shall be deemed to be the fullamount of the agreed Reserve established by the AuctionHouse and the Consignor.

4. COMMISSION AND EXPENSES

a) The Consignor authorizes the Auction House to deduct theConsignor’s Commission and Expenses from the HammerPrice and, notwithstanding that the Auction House is theConsignor’s agent, acknowledges that the Auction House shallcharge and retain the Buyer’s Premium;

b) The Consignor shall pay and authorizes the Auction House todeduct 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 salecatalogue shall be a flat fee paid by the Consignor of $500 fora large size reproduction and $275 for a small reproduction,per item in each Lot, together with any Sales Tax chargeablethereon. The Auction House retains all rights to photographicand printing material and the right of reproduction of suchphotographs. 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 ArtsInsurance Policy of the Auction House if the Consignor soauthorizes;

b) The rate of insurance premium payable by the Consignor is$15 per $1,000 (1.5%) of the greater value of the highestimate value of the Lot or the realized Hammer Price or forthe alternative amount as specified in the ConsignmentReceipt;

c) If the Consignor instructs the Auction House not to insure aLot, it shall at all times remain at the risk of the Consignorwho hereby undertakes to:

(i) indemnify the Auction House against all claims made orproceedings brought against the Auction House in respectof loss or damage to the Lot of whatever nature,howsoever and wheresoever occurred, and in anycircumstances even where negligence is alleged or proven;

(ii) reimburse the Auction House for all Expenses incurred bythe Auction House. Any payment which the AuctionHouse shall make in respect of such loss or damage orExpenses shall be binding upon the Consignor and shall

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be accepted by the Consignor as conclusive evidence thatthe Auction House was liable to make such payment; and

(iii) notify any insurer of the existence of the indemnitycontained in these Terms and Conditions of Business.

d) The Auction House does not accept responsibility for Lotsdamaged by changes in atmospheric conditions and theAuction House shall not be liable for such damage nor for anyother damage to picture frames or to glass in picture frames;and

e) The value for which a Lot is insured under the Fine ArtsPolicy of the Auction House in accordance with ConditionC.5.b above shall be the total amount due to the Consignor inthe event of a successful claim being made against theAuction House.

6. PAYMENT OF PROCEEDS OF SALE

a) The Auction House shall pay the Proceeds of Sale to theConsignor thirty~five (35) days after the date of sale, if theAuction House has been paid the Purchase Price in full by theBuyer;

b) If the Auction House has not received the Purchase Price fromthe Buyer within the time period specified, then the AuctionHouse will pay the Proceeds of Sale within seven (7) workingdays following receipt of the Purchase Price from the Buyer;and

c) If before the Purchase Price is paid in full by the Buyer, theAuction House pays the Consignor an amount equal to theProceeds of Sale, title to the property in the Lot shall pass tothe Auction House.

7. COLLECTION OF THE PURCHASE PRICE

If the Buyer fails to pay to the Auction House the PurchasePrice within thirty (30) days after the date of sale, the AuctionHouse will endeavour to take the Consignor’s instructions asto the appropriate course of action to be taken and, so far asin the Auction House’s opinion such instructions arepracticable, will assist the Consignor in recovering thePurchase Price from the Buyer, save that the Auction Houseshall not be obligated to issue judicial proceedings against theBuyer in its own name. Notwithstanding the foregoing, theAuction House reserves the right and is hereby authorized atthe Consignor’s expense, and in each case at the absolutediscretion of the Auction House, to agree to special terms forpayment of the Purchase Price, to remove, store and insurethe Lot sold, to settle claims made by or against the Buyer onsuch terms as the Auction House shall think fit, to take suchsteps as are necessary to collect monies from the Buyer to theConsignor and, if appropriate, to set aside the sale and refundmoney to the Buyer.

8. CHARGES FOR WITHDRAWN LOTS

The Consignor may not withdraw a Lot prior to the auctionsale without the consent of the Auction House. In the event

that such consent is given, or in the event of a withdrawalpursuant to Condition C.1.b (ii) or C.1.b (iii), a charge oftwenty~five percent (25%) of the high pre~sale estimate,together with any applicable Sales Tax and Expenses, isimmediately payable to the Auction House, prior to anyrelease of the Property.

9. UNSOLD LOTS

a) Unsold Lots must be collected at the Consignor’s expensewithin the period of ninety (90) days after receipt by theConsignor of notice from the Auction House that the Lots areto be collected (the “Collection Notice”). Should theConsignor fail to collect the Lot from the Auction Housewithin ninety (90) days from the receipt of the CollectionNotice, the Auction House shall have the right to place suchLots in the Auction House’s storage facilities or third partystorage facilities, with Expenses accruing to the account of theConsignor. The Auction House shall also have the right to sellsuch Lots by public or private sale and on such terms as theAuction House shall alone determine, and shall deduct fromthe Proceeds of Sale any sum owing to the Auction House orto any associated company of the Auction House includingExpenses, before remitting the balance to the Consignor. Ifthe Consignor cannot be traced, the Auction House shallplace the funds in a bank account in the name of the AuctionHouse for the Consignor. In this condition the expression“Proceeds of Sale” shall have the same meaning in relation toa private sale as it has in relation to a sale by auction;

b) Lots returned at the Consignor’s request shall be returned atthe Consignor’s risk and expense and will not be insured intransit unless the Auction House is otherwise instructed bythe Consignor; and

c) If any Lot is unsold by auction, the Auction House isauthorized as the exclusive agent for the Consignor for aperiod of ninety (90) days following the auction to sell suchLot by private sale or auction sale for a price that will result ina payment to the Consignor of not less than the net amount(i.e., after deduction of the Auction House Commission andExpenses) to which the Consignor would have been entitledhad the Lot been sold at a price equal to the agreed Reserve,or for such lesser amount as the Auction House and theConsignor shall agree. In such event, the Consignor’sobligations to the Auction House hereunder with respect tosuch a Lot are the same as if it had been sold at auction. TheAuction House shall continue to have the exclusive right tosell any unsold Lots after the said ninety (90) day period,until such time as the Auction House is notified in writing bythe Consignor that such right is terminated.

10. CONSIGNOR’S SALES TAX STATUS

The Consignor shall give to the Auction House all relevantinformation as to his Sales Tax status with regard to the Lot tobe sold, which he warrants is and will be correct and uponwhich the Auction House shall be entitled to rely.

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11. PHOTOGRAPHS AND ILLUSTRATIONS

In consideration of the Auction House’s services to theConsignor, the Consignor hereby warrants and represents tothe Auction House that it has the right to grant to the AuctionHouse, and the Consignor does hereby grant to the AuctionHouse, a non~exclusive, perpetual, fully paid~up, royalty freeand non~revocable right and permission to:

a) reproduce (by illustration, photograph, electronicreproduction, or any other form or medium whetherpresently known or hereinafter devised) any work within anyLot given to the Auction House for sale by the Consignor; and

b) use and publish such illustration, photograph or otherreproduction in connection with the public exhibition,promotion and sale of the Lot in question and otherwise inconnection with the operation of the Auction House’sbusiness, including without limitation by including theillustration, photograph or other reproduction in promotionalcatalogues, compilations, the Auction House’s Art Index, andother publications and materials distributed to the public,and by communicating the illustration, photograph or otherreproduction to the public by telecommunication via anInternet website operated by or affiliated with the AuctionHouse (“Permission”). Moreover, the Consignor makes thesame warranty and representation and grants the samePermission to the Auction House in respect of anyillustrations, photographs or other reproductions of any workprovided to the Auction House by the Consignor. TheConsignor agrees to fully indemnify the Auction House andhold it harmless from any damages caused to the AuctionHouse by reason of any breach by the Consignor of thiswarranty and representation.

D. GENERAL CONDITIONS:

1. The Auction House as agent for the Consignor is notresponsible for any default by the Consignor or the Buyer.

2. The Auction House shall have the right at its absolutediscretion to refuse admission to its premises or attendance atits auctions by any person.

3. The Auction House has the right at its absolute discretion torefuse any bid, to advance the bidding as it may decide, towithdraw or divide any Lot, to combine any two or more Lotsand, in the case of dispute, to put up any Lot for auctionagain. At no time, shall a Registered Bidder retract orwithdraw his bid.

4. For advertising and promotional purposes, the Consignoracknowledges and agrees that the Auction House shall, inrelation to any sale of the Lot, make reference to the aggregatePurchase Price of the Lot, inclusive of the Buyer’s Premium,notwithstanding that the Consignor’s Commission iscalculated on the Hammer Price.

5. Any indemnity hereunder shall extend to all actions,proceedings, costs, claims and demands whatsoever incurred

or suffered by the person for whose benefit the indemnity isgiven and, the Auction House shall hold any indemnity ontrust for its employees and agents where it is expressed to befor their benefit.

6. Any notice given hereunder shall be in writing and if given bypost shall be deemed to have been duly received by theaddressee within three (3) business days.

7. The copyright for all illustrations and written matter relatingto the Lots shall be and will remain at all times the absoluteproperty of the Auction House and shall not, without theprior written consent of the Auction House, be used by anyother person.

8. The Auction House will not accept any liability for any errorsthat may occur in the operation of any video or digitalrepresentations produced and/or broadcasted during anauction sale.

9. This Agreement shall be governed by and construed inaccordance with British Columbia Law and the laws ofCanada applicable therein and all parties concerned herebysubmit to the exclusive jurisdiction of the British ColumbiaCourts.

10. Unless otherwise provided for herein, all monetary amountsreferred to herein shall refer to the lawful money of Canada.

11. All words importing the singular number shall include theplural and vice versa, and words importing the use of anygender shall include the masculine, feminine and neutergenders and the word “person” shall include an individual, atrust, a partnership, a body corporate, an association or otherincorporated or unincorporated organization or entity.

12. If any provision of this Agreement or the application thereofto any circumstances shall be held to be invalid orunenforceable, the remaining provisions of this Agreement, orthe application thereof to other circumstances, shall not beaffected thereby and shall be held valid to the full extentpermitted by law.

The Buyer and the Consignor are hereby advised to read fully the Agreementwhich 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 shallconduct the sale and handle other related matters.

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CATALOGUE ABBREVIATIONS AND SYMBOLS:

AAM Art Association of Montreal founded in 1860

AANFM Association des artistes non~figuratifs de Montréal

AAP Association des arts plastiques

ACM Arts Club of Montreal

AGA Art Guild America

AGQ Association des graveurs du Québec

AHSA Art, Historical and Scientific Association of Vancouver

ALC Arts and Letters Club

AOCA Associate Ontario College of Art

ARCA Associate Member Royal Canadian Academy of Arts

ASA Alberta Society of Artists

ASPWC American Society of Painters in Water Colors

ASQ Association des sculpteurs du Québec

AUTO Les Automatistes

AWCS American Watercolor Society

BCSFA British Columbia Society of Fine Arts founded in 1909

BCSA British Columbia Society of Artists

BHG Beaver Hall Group, Montreal 1920 ~1922

CAC Canadian Art Club

CAS Contemporary Arts Society

CC Companion of the Order of Canada

CGP Canadian Group of Painters 1933 ~ 1969

CH Companion of Honour Commonwealth

CPE Canadian Painters ~ Etchers’ Society

CSAA Canadian Society of Applied Art

CSGA Canadian Society of Graphic Artists founded in 1905

CSMA Canadian Society of Marine Artists

CSPWC Canadian Society of Painters in Water Colour founded in 1925

EGP Eastern Group of Painters

FBA Federation of British Artists

FCA Federation of Canadian Artists

FRSA Fellow of the Royal Society of Arts

G7 Group of Seven 1920 ~ 1933

IAF Institut des arts figuratifs

IWCA Institute of Western Canadian Artists

LP Les Plasticiens

MSA Montreal Society of Arts

NAD National Academy of Design

NEAC New English Art Club

NSSA Nova Scotia Society of Artists

OC Order of Canada

OIP Ontario Institute of Painters

OM Order of Merit British

OSA Ontario Society of Artists founded 1872

P11 Painters Eleven 1953 ~ 1960

PDCC 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 Royal Society of British Artists

RCA Royal Canadian Academy of Arts founded 1880

RI 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 Royal Society of Canada

RSMA Royal Society of Marine Artists

RSPP Royal Society of Portrait Painters

RWS Royal Watercolour Society

SAA Society of American Artists

SAAVQ Société des artistes en arts visuels du Québec

SAP Société des arts plastiques

SAPQ Société des artistes professionnels du Québec

SC The Studio Club

SCA Society of Canadian Artists 1867 ~ 1872

SCPEE Society of Canadian Painters, Etchers and Engravers

SSC Sculptors’ Society of Canada

SWAA 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 interestin the Lot

Denotes that additional information on this lot canbe found on our website at www.heffel.com

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HEFFEL’S CODE OF BUSINESS CONDUCT,ETHICS AND PRACTICES:

Heffel takes great pride in being the leader in the Canadian fine art auctionindustry, and has an unparalleled track record. We are proud to have beenthe dominant auction house in the Canadian art market from 2004 to thepresent. Our firm’s growth and success has been built on hard work andinnovation, our commitment to our Clients and our deep respect for thefine art we offer. At Heffel we treat our consignments with great care andrespect, 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, andtheir place in art history.

Heffel, to further define its distinction in the Canadian art auctionindustry, 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 ourwebsite www.heffel.com): Heffel’s Corporate Constitutional Values andHeffel’s Code of Business Conduct, Ethics and Practices. We believe the valuesand ethics set out in these documents will lay in stone our moral compass.Heffel has flourished through more than three decades of change, proofthat our hard work, commitment, philosophy, honour and ethics in allthat we do, serves our Clients well.

Heffel’s Employees and Shareholders are committed to Heffel’s Code ofBusiness Conduct, Ethics and Practices, together with Heffel’s CorporateConstitutional Values, our Terms and Conditions of Business and relatedcorporate policies, all as amended from time to time, with respect to ourClients, and look forward to continued shared success in this auctionseason and ongoing.

David K.J. HeffelPresident, Directorand Shareholder (through Heffel Investments Ltd.)

Robert C.S. HeffelVice~President, Directorand Shareholder (through R.C.S.H. Investments Ltd.)

CATALOGUE TERMS:

These catalogue terms are provided for your guidance:

CORNELIUS 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 inpart by the named artist.

STUDIO OF CORNELIUS DAVID KRIEGHOFF

In our best judgment, a work by an unknown hand in the studioof the artist, possibly executed under the supervision of thenamed artist.

CIRCLE OF CORNELIUS DAVID KRIEGHOFF

In our best judgment, a work of the period of the artist, closelyrelated 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 andof 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 andcentimetres.

SIGNED / TITLED / DATED

In our best judgment, the work has been signed/titled/dated bythe artist. If we state “dated 1856” then the artist has inscribed thedate when the work was produced. If the artist has not inscribedthe date and we state “1856”, then it is known the work wasproduced in 1856, based on independent research. If the artisthas not inscribed the date and there is no independent datereference, then the use of “circa” approximates the date based onstyle and period.

BEARS SIGNATURE / BEARS DATE

In our best judgment, the signature/date is by a hand other thanthat of the artist.

PROVENANCE

Is intended to indicate previous collections or owners.

CERTIFICATES / LITERATURE / EXHIBITED

Any reference to certificates, literature or exhibition historyrepresents the best judgment of the authority or authors named.

ESTIMATE

Our Estimates are intended as a statement of our best judgmentonly, and represent a conservative appraisal of the expectedHammer Price.

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HEFFEL FINE ART AUCTION HOUSE 132

ANNUAL SUBSCRIPTION FORM

Please complete this Annual Subscription Form to receiveour twice~yearly Auction Catalogues and Auction Result Sheet.

To order, return a copy of this form with a cheque payable to:Heffel Gallery, 2247 Granville Street,Vancouver, British Columbia, Canada V6H 3G1Tel 604 732~6505, Fax 604 732~4245, Toll free 800 528~9608E~mail: [email protected], Internet: www.heffel.com

CATALOGUE SUBSCRIPTIONS ~ TAX INCLUDED

DELIVERED IN CANADA

One Year (four catalogues) ~Fine Canadian Art / Post~War & Contemporary Art $80.00Two Year (eight catalogues) ~Fine Canadian Art / Post~War & Contemporary Art $130.00

DELIVERED TO THE UNITED STATES AND OVERSEAS

One Year (four catalogues) ~Fine Canadian Art / Post~War & Contemporary Art $90.00Two Year (eight catalogues) ~Fine Canadian Art / Post~War & Contemporary Art $150.00

CANADIAN ART AT AUCTION INDEX ONLINE ~ TAX INCLUDED

Please contact Heffel Gallery to set up

One Block of 25 Search Results $50.00 One Year Subscription (35 searches per month) $250.00 Two Year Subscription (35 searches per month) $350.00

Name

Address

Postal Code E~mail Address

Residence Telephone Business Telephone

Fax Cellular

VISA # or MasterCard # Expiry Date

Signature Date

COLLECTOR PROFILE FORM

Please complete our Collector Profile Form to assist us in ourability to offer you our finest service.

ARTISTS OF PARTICULAR INTEREST IN PURCHASING

1)

2)

3)

4)

5)

6)

7)

8)

9)

ARTISTS OF PARTICULAR INTEREST IN SELLING

1)

2)

3)

4)

5)

6)

7)

8)

9)

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HEFFEL FINE ART AUCTION HOUSE 133

SHIPPING FORM FOR PURCHASES

Heffel Fine Art Auction House will arrange to have Propertypurchased at the auction sale packed, insured and forwarded tothe Purchaser at the Purchaser’s expense and risk pursuant to theTerms and Conditions of Business set out in the Auction SaleCatalogue. The Purchaser is aware and accepts that Heffel Fine ArtAuction House does not operate a professional packing serviceand shall provide such assistance for the convenience only of thePurchaser. Your signature on this form releases Heffel Fine ArtAuction House from any liability that may result from damagesustained by artwork during packing and shipping. All suchworks are packed at the Purchaser’s risk and then transported bya carrier chosen at the discretion of Heffel Fine Art Auction House.Works purchased may be subject to the Cultural Property Exportand Import Act (Canada), and compliance with the provisions ofthe said Act is the sole responsibility of the Purchaser.

Sale Date

Please indicate your preferred method of shipping below

All Charges are Collect for Settlement by the Purchaser

SHIPPING OPTIONS

Please have my purchases forwarded by:

Air Surface or

Consolidated Ground Shipment to (when available):

Heffel Toronto Heffel Montreal

CARRIER OF CHOICE

Please have my purchases couriered by:

FedEx Other

Carrier Account Number

OPTIONAL INSURANCE

YES, please insure my purchases at full sale value while intransit. Heffel does not insure frames or glass. (Please note: worksunder glass and some ground shipments cannot be insured whilein transit.)

NO, I do not require insurance for the purchases listed on thisform. (I accept full responsibility for any loss or damage to mypurchases while in transit.)

SHIPPING QUOTATION

YES, please send me a quotation for the shipping optionsselected above.

NO shipping quotation necessary, please forward mypurchases as indicated above. (Please note: packing charges mayapply in addition to shipping charges.)

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

Social Security Number for U.S. Customs (U.S. Residents Only)

LOT NUMBER LOT DESCRIPTION

in numerical order artist

1)

2)

3)

4)

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 House2247 Granville Street, VancouverBritish Columbia, Canada V6H 3G1Telephone 604 732~6505, Fax 604 732~4245E~mail:[email protected], Internet:http://www.heffel.com

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ABSENTEE BID FORM

Sale Date

Billing Name

Address

City Province, Country

Postal Code E~mail Address

Daytime Telephone Evening Telephone

Fax Cellular

I request Heffel Fine Art Auction House to enter bids on my behalffor the following Lots, up to the maximum Hammer Price I haveindicated for each Lot. I understand that if my bid is successful, thepurchase price shall be the Hammer Price plus a Buyer’s Premiumof seventeen percent (17%) of the Hammer Price of each Lot, andapplicable GST/HST and PST. I understand that Heffel Fine ArtAuction House executes Absentee Bids as a convenience for itsclients and is not responsible for inadvertently failing to executebids or for errors relating to their execution of my bids. On mybehalf, Heffel Fine Art Auction House will try to purchase theseLots for the lowest possible price, taking into account the Reserveand other bids. If identical Absentee Bids are received, Heffel FineArt Auction House will give precedence to the Absentee Bid Formreceived first. I understand and acknowledge all successful bids aresubject to the Terms and Conditions of Business printed in theHeffel Fine Art Auction House catalogue.

Signature Date

Date Received ~ for office use only

Confirmed ~ for office use only

Please view our General Bidding Increments as published by Heffel.

LOT NUMBER LOT DESCRIPTION MAXIMUM BID

in numerical order artist Hammer Price $ CAD(excluding Buyer’s Premium)

1)

2)

3)

4)

5)

6)

7)

8)

To be sure that bids will be accepted and delivery of Lots notdelayed, bidders not yet known to Heffel Fine Art Auction Houseshould supply a bank reference. All Absentee Bidders must supplya 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 atleast 24 hours before the sale begins. Heffel Fine Art AuctionHouse will confirm by telephone or e~mail all bids received. Ifyou have not received our confirmation within one business day,please re~submit your bids or contact us at:

2247 Granville Street, VancouverBritish Columbia, Canada V6H 3G1Telephone 604 732~6505, Fax 604 732~4245E~mail: [email protected]; Internet: http://www.heffel.com

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INDEX OF ARTISTS BY LOT

A/B

BANTING, SIR FREDERICK GRANT 149,189

C/D/E

CARMICHAEL, FRANKLIN 152

CARR, EMILY 101, 102, 154, 156,163, 164, 165, 166, 167

CASSON, ALFRED JOSEPH (A.J.) 111,112, 186, 191

COBURN, FREDERICK SIMPSON 132,133, 143

COONAN, EMILY 190

CULLEN, MAURICE GALBRAITH 140,141, 178

F/G/H

FLATHER, DONALD M. 183

FORTIN, MARC~AURÈLE 162, 196

HAIDA ARTIST, EARLY 155

HARRIS, LAWREN 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, CORNELIUS DAVID 146,147, 168, 169

LISMER, ARTHUR 144, 145, 172, 173,174, 175

M/N/O

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

P/Q/R

PHILLIPS, WALTER JOSEPH (W.J.) 109,110

PILOT, ROBERT WAKEHAM 119, 120,125, 127, 129, 130, 131, 135, 136,137, 142, 197

RICHARD, RENÉ JEAN 192

ROBINSON, ALBERT 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, THOMAS JOHN (TOM) 108

V/W/X/Y/Z

VARLEY, FREDERICK HORSMAN 171

WESTON, WILLIAM PERCIVAL (W.P.)182

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Spring Live Auction Highlight PreviewsMONTREAL AND TORONTO

Please visit our live auction online catalogue at www.heffel.com for specific detailsdesignating which Lots will be exhibited for our Montreal and Toronto previews.

1840 rue Sherbrooke OuestMontreal, Quebec H3H 1E4

Telephone: 514 939~6505Toll Free: 866 939~6505

Facsimile: 514 939~1100

13 Hazelton AvenueToronto, Ontario M5R 2E1Telephone: 416 961~6505Toll Free: 866 961~6505Facsimile: 416 961~4245

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

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ISBN 978~1~927031~07~0

HEFFEL FINE ART AUCTION HOUSE

VANCOUVER • TORONTO • OTTAWA • MONTREAL HEFFEL FINE ART AUCTION HOUSESALE WEDNESDAY, MAY 15, 2013, VANCOUVER

VVVVVISITISITISITISITISIT

www.heffel.com

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