CANADIAN POST~WAR & CONTEMPORARY ART - Heffel

CANADIAN POST~WAR 

& CONTEMPORARY ART 

HEFFEL FINE ART AUCTION HOUSE 

SALE WEDNESDAY, JUNE 17, 2009, 4PM, VANCOUVER



AUCTION 

WEDNESDAY, JUNE 17, 2009 

4:00 PM, CANADIAN POST~WAR 


7:00 PM, FINE CANADIAN ART 

VANCOUVER CONVENTION CENTRE WEST 

BURRARD ENTRANCE, ROOM 211 

1055 CANADA PLACE, VANCOUVER 

PREVIEW AT HEFFEL GALLERY, TORONTO 

13 HAZELTON AVENUE 

THURSDAY, MAY 21 THROUGH 

SUNDAY, MAY 24, 11:00 AM TO 6:00 PM 

PREVIEW AT GALERIE HEFFEL, MONTREAL 

1840 RUE SHERBROOKE OUEST 

SATURDAY, MAY 30 THROUGH 

MONDAY, JUNE 1, 11:00 AM TO 6:00 PM 

PREVIEW AT HEFFEL GALLERY, VANCOUVER 

SATURDAY, JUNE 13 THROUGH 

TUESDAY, JUNE 16, 11:00 AM TO 6:00 PM 

WEDNESDAY, JUNE 17, 10:00 AM TO 12:00 PM 

HEFFEL GALLERY, VANCOUVER 

2247 GRANVILLE STREET, VANCOUVER 

BRITISH COLUMBIA, CANADA V6H 3G1 

TELEPHONE 604 732~6505, FAX 604 732~4245 

INTERNET: WWW.HEFFEL.COM 


VANCOUVER • TORONTO • OTTAWA • MONTREAL

2 


A Division of Heffel Gallery Limited 

VANCOUVER 

2247 Granville Street, Vancouver, BC V6H 3G1 

Telephone 604 732~6505, Fax 604 732~4245 

E~mail: mail@heffel.com, Internet: www.heffel.com 

TORONTO 

13 Hazelton Avenue, Toronto, Ontario M5R 2E1 

Telephone 416 961~6505, Fax 416 961~4245 

MONTREAL 

1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4 

Telephone 514 939~6505, Fax 514 939~1100 

OTTAWA 

104 Daly Avenue, Ottawa, Ontario K1N 6E7 

Telephone 613 230~6505, Fax 613 230~8884 

CALGARY 

Telephone 403 238~6505 

CORPORATE BANK 

Royal Bank of Canada, 1497 West Broadway 

Vancouver, British Columbia V6H 1H7 

Telephone 604 665~6941 

Account #05680 003: 133 503 3 

Swift Code: ROYccat2 

Incoming wires are required to be sent in Canadian funds and 

must include: Heffel Gallery Limited, 2247 Granville Street, 

Vancouver, BC, Canada V6H 3G1 as beneficiary. 

BOARD OF DIRECTORS 

Chairman In Memoriam ~ Kenneth Grant Heffel 

President ~ David Kenneth John Heffel 

Auctioneer License T83~3364318 and V09~110755 

Vice~President ~ Robert Campbell Scott Heffel 

Auctioneer License T83~3365303 and V09~110754 

HEFFEL.COM DEPARTMENTS 

FINE CANADIAN ART 

canadianart@heffel.com 

APPRAISALS 

appraisals@heffel.com 

CANADIAN ART AT AUCTION INDEX 

index@heffel.com 

SHIPPING 

shipping@heffel.com 

SUBSCRIPTIONS 

subscriptions@heffel.com 

CATALOGUE SUBSCRIPTIONS 

Heffel Fine Art Auction House and Heffel Gallery Limited regularly 

publish a variety of materials beneficial to the art collector. An 

Annual Subscription entitles you to receive our Auction Catalogues 

and Auction Result Sheets. Our Annual Subscription Form can be 

found on page 95 of this catalogue. 

AUCTION PERSONNEL 

Hughene Acheson ~ Director of Client Services 

Jacques Barbeau, QC ~ Corporate Consultant 

Paul S.O. Barbeau, Barbeau, Evans & Goldstein ~ Legal Advisor 

Lisa Christensen ~ Representative in Calgary 

Jesse Galicz, John Maclean, Hri Neil, 

and Jamey Petty ~ Internal Logistics 

Andrew Gibbs ~ Director of Appraisal Services Eastern Division 

Patsy Kim Heffel ~ Director of Accounting 

Lindsay Jackson ~ Manager of Appraisal Services Eastern Division 

Nina Kim ~ Director of Post~War & Contemporary Art 

Bobby Ma ~ Director of Shipping and Framing 

Alison Meredith ~ Director of Online Auction Sales 

Jill Meredith ~ Manager of Coordination and Reporting 

Kirbi Pitt ~ Manager of Advertising and Marketing 

Tania Poggione ~ Director of Montreal Office 

Nadine Power ~ Director of Condition Reports 

Olivia Ragoussis ~ Manager of Montreal Office 

Judith Scolnik ~ Director of Toronto Office 

Kate Stephenson ~ Director of Appraisal Services Western Division 

Ross Sullivan ~ Director of Public Relations 

Rosalin Te Omra ~ Director of Fine Canadian Art Research 

Goran Urosevic ~ Director of Information Services 

CATALOGUE PRODUCTION 

Hughene Acheson, Dr. Mark Cheetham, Lisa Christensen, 

Brian Dedora, Dr. François~Marc Gagnon, Robert Heffel, 

Lindsay Jackson, Nina Kim, Hri Neil, Tania Poggione, 

Nadine Power, Judith Scolnik, Kate Stephenson, Rosalin Te Omra 

and Scott Watson ~ Essay Contributors 

Elizabeth Fisher, Scott Gorman, Hri Neil 

and Olivia Ragoussis ~ Digital Imaging 

Brian Goble ~ Director of Digital Imaging 

Jill Meredith and Kirbi Pitt ~ Catalogue Layout 

David Heffel ~ Catalogue Layout, Production 

Iris Schindel ~ Text Editing, Catalogue Production 

PRINTING 

Generation Printing, Vancouver 

ISBN 978~0~9811120~1~5 

COPYRIGHT 

No part of this publication may be reproduced, stored in 

retrieval systems or transmitted in any form or by any means, 

digital, photocopy, electronic, mechanical, recorded or otherwise, 

without the prior written consent of Heffel Gallery Limited.

3 

AUCTION LOCATION 

PREVIEW 

Heffel Gallery 

2247 Granville Street, Vancouver 

Telephone 604 732~6505 

Toll Free 800 528~9608 

AUCTION 

Vancouver Convention Centre West, Burrard Entrance 

Room 211, 1055 Canada Place, Vancouver 

VCC Main Switchboard 604 689~8232 

Saleroom Cell 604 418~6505 

Call Alison in our Vancouver office for special accommodation rates, or email alison@heffel.com 

Please refer to page 100 for Toronto and Montreal preview locations

HEFFEL FINE ART AUCTION HOUSE 4 

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 CANADIAN POST~WAR & 

CONTEMPORARY ART CATALOGUE 

86 NOTICES FOR COLLECTORS 

89 TERMS AND CONDITIONS OF BUSINESS 

94 CATALOGUE TERMS 

94 CATALOGUE ABBREVIATIONS AND SYMBOLS 

95 ANNUAL SUBSCRIPTION FORM 

95 COLLECTOR PROFILE FORM 

96 SHIPPING FORM FOR PURCHASES 

97 ABSENTEE BID FORM 

98 INDEX OF ARTISTS


SELLING AT AUCTION 

Heffel Fine Art Auction House is a division of Heffel Gallery Limited. 

Together, our offices offer individuals, collectors, corporations and 

public entities a full service firm for the successful de~acquisition of 

their artworks. Interested parties should contact us to arrange for a 

private and confidential appointment to discuss their preferred 

method of disposition and to analyse preliminary auction estimates, 

pre~sale reserves and consignment procedures. This service is 

offered free of charge. 

If you are from out of town, or are unable to visit us at our 

premises, we would be pleased to assess the saleability of your 

artworks by mail, courier or e~mail. Please provide us with 

photographic or digital reproductions of the artworks and 

information pertaining to title, artist, medium, size, date, 

provenance, etc. Representatives of our firm travel regularly to 

major Canadian cities to meet with prospective sellers. 

It is recommended that property for inclusion in our sale arrive 

at Heffel Fine Art Auction House at least 90 days prior to our 

auction. This allows time to photograph, research, catalogue, 

promote and complete any required work such as re~framing, 

cleaning or restoration. All property is stored free of charge until 

the auction; however, insurance is the Consignor’s expense. 

Consignors will receive, for completion, a Consignment Agreement 

and Consignment Receipt, which set forth the terms and fees for 

our services. The Seller’s Commission rates charged by Heffel Fine 

Art Auction House are as follows: 10% of the successful Hammer 

Price for each Lot sold for $7,500 and over; 15% for Lots sold for 

$2,500 to $7,499; and 25% for Lots sold for less than $2,500. 

Consignors are entitled to set a mutually agreed Reserve or 

minimum selling price on their artworks. Heffel Fine Art Auction 

House charges no Seller’s penalties for artworks that do not 

achieve their Reserve price. 

BUYING AT AUCTION 

All items that are offered and sold by Heffel Fine Art Auction House 

are subject to our published Terms and Conditions of Business, our 

Catalogue Terms and any oral announcements made during the 

course of our sale. Heffel Fine Art Auction House charges a Buyer’s 

Premium calculated at seventeen percent (17%) of the Hammer 

Price of each Lot, plus applicable federal and provincial taxes. 

If you are unable to attend our auction in person, you can bid by 

completing the Absentee Bid Form found on page 97 of this 

catalogue. Please note that all Absentee Bid Forms should be 

received by Heffel Fine Art Auction House at least 24 hours prior 

to the commencement of the sale. 

Bidding by telephone, although limited, is available. Please make 

arrangements for this service well in advance of the sale. 

Telephone lines are assigned in order of the sequence in which 

requests are received. We also recommend that you leave an 

Absentee Bid amount that we will execute on your behalf in the 

event we are unable to reach you by telephone. 

Payment must be made by: a) Bank Wire direct to our account, 

b) Certified Cheque or Bank Draft, unless otherwised arranged in 

advance with the Auction House, or c) a cheque accompanied by 

a current Letter of Credit from the Purchaser’s bank which will 

guarantee the amount of the cheque. A cheque not guaranteed by 

a Letter of Credit must be cleared by the bank prior to purchases 

being released. We honour payment by VISA or Mastercard for 

purchases. Credit card payments are subject to a maximum of 

$5,000, if you are providing your credit card details by fax (for 

purchases in North America only) or to a maximum of $25,000 

if the card is presented in person with valid identification. Bank 

Wire payments should be made to the Royal Bank of Canada as per 

the account transit details provided on page 2. 

GENERAL BIDDING INCREMENTS 

Bidding typically begins below the low estimate and 

generally advances in the following bid increments: 

$100 ~ 2,000 .............................. $100 INCREMENTS 

$2,000 ~ 5,000 ........................... $250 

$5,000 ~ 10,000 ......................... $500 

$10,000 ~ 20,000 ................... $1,000 

$20,000 ~ 50,000 ................... $2,500 

$50,000~ 100,000 .................. $5,000 

$100,000 ~ 300,000 ............. $10,000 

$300,000 ~ 1,000,000 .......... $25,000 

$1,000,000 ~ 2,000,000....... $50,000 

$2,000,000 ~ 5,000,000..... $100,000 

FRAMING, RESTORATION AND SHIPPING 

As a Consignor, it may be advantageous for you to have your 

artwork re~framed and/or cleaned and restored to enhance its 

saleability. As a Purchaser, your recently acquired artwork may 

demand a frame complementary to your collection. As a full service 

organization, we offer guidance and in~house expertise to facilitate 

these needs. Purchasers who acquire items that require local 

delivery or out of town shipping should refer to our Shipping Form 

for Purchases on page 96 of this publication. Please feel free to 

contact us to assist you in all of your requirements or to answer any 

of your related questions. 

WRITTEN VALUATIONS AND APPRAISALS 

Written valuations and appraisals for probate, insurance, family 

division and other purposes can be carried out in our offices or at 

your premises. Appraisal fees vary according to circumstances. 

If, within five years of the appraisal, valued or appraised artwork is 

consigned and sold through either Heffel Fine Art Auction House 

or Heffel Gallery Limited, the client will be refunded the appraisal 

fee, less incurred “out of pocket” expenses.


VANCOUVER • TORONTO • OTTAWA • MONTREAL 

The Purchaser and the Consignor are hereby advised to read 

fully the Terms and Conditions of Business and Catalogue Terms, 

which set out and establish the rights and obligations of the 

Auction House, the Purchaser and the Consignor, and the 

terms by which the Auction House shall conduct the sale and 

handle other related matters. This information appears on 

pages 89 through 94 of this publication. 

All Lots can be viewed on our Internet site at: 

http://www.heffel.com 

Please consult our online catalogue for information 

specifying which works will be present in each of our 

preview locations at: 

http://www.heffel.com/auction 

If you are unable to attend our auction, we produce a live 

webcast of our sale commencing at 3:50 PM PDT. We do not 

offer real~time Internet bidding for our live auctions, but we 

do accept Absentee and prearranged Telephone bids. 

Information on Absentee and Telephone bidding appears on 

pages 5 and 97 of this publication. 

We recommend that you test your streaming video setup prior 

to our sale at: 

http://www.heffel.tv 

Our Estimates are in Canadian funds. Buying 1.00 Canadian 

dollar will cost approximately 0.84 US dollar, 0.64 Euro, 0.57 

British Pound, 85 Japanese Yen and 6.51 Hong Kong Dollars 

as of our publication date.



CATALOGUE 

SALE WEDNESDAY, JUNE 17, 2009, 4:00 PM, VANCOUVER


PROVENANCE: 

Acquired directly from the Artist 

Private Collection, Ontario 

LITERATURE: 

Scott Watson, Jack Shadbolt, 1990, page 32, 

a panel from the mural About Town with the 

United Services reproduced page 32 

In the 1930s, Jack Shadbolt was strongly 

influenced by the socially conscious work of 

Mexican muralist Diego Rivera and that of 

American Thomas Hart Benton ~ particularly his 

famous Hoosier mural. In 1943, Shadbolt found 

the opportunity to create a large, panoramic 

mural commission about Vancouver in wartime, 

an eight~panel work entitled About Town with the 

United Services. After making preparatory 

sketches and watercolour studies, Shadbolt, 

assisted by artist Eric Friefeld, painted the images 

directly onto a plaster wall in the canteen of the 

United Services Recreation Centre. The use of 

architectural detail is exact and specific, such as 

this work’s distinctive Duff’s Cafe sign, motivated 

by Shadbolt’s desire to spur businesses to use art 

in their buildings, and for people to identify with 

their own urban environment of streets, shops 

and buildings. Shadbolt wanted the mural to 

have a sense of community ~ a “people’s art made 

by an artist for the people.” 

Unfortunately, the mural was demolished along 

with the building, leaving only the preparatory 

works such as this fine watercolour to 

commemorate it. Shadbolt has captured the 

vitality of Vancouver’s historic downtown at dusk 

in this exceptional image, warmed by 

streetlamps and redolent of atmosphere. 

ESTIMATE: $10,000 ~ 15,000 

1 JACK LEONARD SHADBOLT 

BCSFA CGP CSPWC OC RCA 1909 ~ 1998 

Pender St. at Granville ~ 

Sketch for United Services Centre Mural 

watercolour on illustration board, signed, dated 1942 

and inscribed in the margin zoot suit, summer shorts, sailors 

and on verso titled 

11 3/8 x 8 1/2 in, 28.9 x 21.6 cm 

1


PROVENANCE: 



LITERATURE: 

Scott Watson, Jack Shadbolt, 1990, page 4 

During World War II, Jack Shadbolt 

enlisted, and in 1944 was based in 

Vancouver. After transferring to Ontario 

in that same year, he was then posted 

overseas to London in February 1945, 

although there is documentation that 

suggests he traveled there in late 1944, 

corroborated by the two dates on this 

work. Cornwall was a painting place 

favoured by Shadbolt, and this scene is the 

tiny fishing village of Mousehole, whose 

harbour is protected from the force of the 

sea by two distinctive breakwaters. The 

nautical details of the boats scattered in a 

line out through the harbour entrance, the 

seashore atmosphere and the strong stone 

walls of the harbour give great charm to 

this exceptional watercolour. Throughout 

his career, Shadbolt returned to seashore, 

harbour and boat themes, from Canada’s 

West Coast to Cornwall in England and 

Collioure in France. Shadbolt’s great 

feeling for the sea began in his childhood 

when he sailed in rafts on Victoria’s Dallas 

Road beach, and he stated, “It is the shore 

where the edge of history washes up to my 

door but extends for a thousand miles in 

each direction. It is a mysterious, 

luminous sea.” 

ESTIMATE: $8,000 ~ 12,000 



Mousehole, Cornwall 

watercolour on paper, signed twice and dated 1944 and 1945 

and on verso signed, titled, dated 1945 and inscribed 

461 N. Glynde Ave., Vancouver, BC 

19 x 14 3/4 in, 48.3 x 37.5 cm 

2




Near Ashcroft 

watercolour on paper, signed, titled and dated July 1954 

and on verso signed, titled Shacks, Merrit, BC and dated 

15 3/4 x 22 1/2 in, 40 x 57.1 cm 

PROVENANCE: 



LITERATURE: 

Jack Shadbolt, In Search of Form, 1968, pages 76 and 77 

In the 1950s, Jack Shadbolt’s profile was on the rise, and he was shown in 

an impressive array of international exhibitions as a representative of 

Canada: the Caracas Bienal in 1953 and 1955; the Sao Paulo Bienal, 1954; 

the Carnagie International Exhibition (Pittsburgh) in 1955; the Venice 

Biennale, 1956; the Brussels International Exposition, 1958; and the 

Guggenheim International Exhibition, also in 1958. 

Shadbolt credited the Group of Seven for stressing the importance of 

working on location to find the true spirit of a landscape, and stated, 

“Through detail we can enter into wonder. Roaming around a ‘world’ 

inhabited by its own special objects, one is taken inside the experience as 

a participator.” Shadbolt was often intrigued by buildings and the 

opportunities they presented for creating a rhythm through their angular 

planes, as with these shacks at Merritt juxtaposed one against the other. 

Near Ashcroft is a fine example of what Shadbolt called his “relaxed 

Classical attitude”, with all its elements quietly present, radiating the 

calm ambiance of BC’s rural interior. 

ESTIMATE: $6,000 ~ 8,000 

3




Chinatown 

watercolour and charcoal on paper, 

signed and dated 1968 

26 x 40 in, 66 x 101.6 cm 

PROVENANCE: 



LITERATURE: 

Scott Watson, Jack Shadbolt Drawings, 1994, page 7 

One of Canada’s most distinguished West Coast artists, Jack Shadbolt had 

a long and illustrious career. Shadbolt was omnidirectional, working in 

styles varying from abstraction to realism. Although the year of this 

watercolour is 1968, it relates to the work influenced by Social Realism 

that he was doing in the 1940s. This is typical of Shadbolt, who did not 

work in a linear fashion ~ he would circle around to previous directions, 

and was known to return to paintings decades later to change them. Scott 

Watson writes, “He works in large achronological circles, mapping out a 

shifting terrain ~ some might call it a war zone ~ between the axes of his 

temperament and the means of expression he has mastered.” In 

Chinatown, Shadbolt finds great visual interest in the ramshackle 

structure with its organic, casual construction surrounded by random 

pieces of lumber and other flotsam at its base ~ the house rising above the 

chaos. In this, although the house is man’s creation, Chinatown relates to 

one of Shadbolt’s deepest themes ~ that of the world of organic birth and 

decay in nature. 

ESTIMATE: $6,000 ~ 8,000 

4


5 EDWARD JOHN (E.J.) HUGHES 

BCSFA CGP RCA 1913 ~ 2007 

Mouth of the Courtenay River, BC 

graphite on card, signed and dated 1952 

and on verso signed, titled and dated 

15 x 18 in, 38.1 x 45.7 cm 

PROVENANCE: 


By descent to the present Private Collection, Vancouver Island 

LITERATURE: 

Doris Shadbolt, E.J. Hughes, Vancouver Art Gallery, 1967, the canvas 

produced from this drawing, in the collection of the College of Physicians 

and Surgeons, reproduced page 23 

Ian M. Thom, E.J. Hughes, Vancouver Art Gallery, 2002, the canvas 

produced from this drawing, in the collection of the College of Physicians 

and Surgeons, reproduced page 109 

Jacques Barbeau, A Journey with E.J. Hughes, 2005, a related 2003 

watercolour entitled Mouth of the Courtenay River reproduced page 110 

E.J. Hughes produced graphite drawings in the field, annotated in 

preparation for future paintings. He preferred this working method due 

to the rapid weather changes of the West Coast, and because of the nature 

of his precise, highly detailed compositions. In letters to Lawren Harris, he 

mentioned that he had attempted sketches using other mediums, but had 

concluded that graphite drawings were the best for him. From the field 

sketch, he would also sometimes make a further highly detailed, finished 

graphite drawing which he called a cartoon. These cartoons, with refined 

compositions and an astonishing sense of atmosphere achieved through 

tonalities of graphite, acted as a bridge between the field sketch and the 

studio painting, and were finished works in themselves. 

This exquisite cartoon from 1952, a highly sought~after period in Hughes’s 

work, has all the elements of a classic Hughes: a beautiful natural scene 

warmed by the presence of boats and people in a complex multi~layered 

composition. The setting is the Courtenay River, which flows into an 

estuary known for its salmon spawning grounds. 

ESTIMATE: $10,000 ~ 15,000 

5




Unloading Logs, Comox Harbour 



14 x 19 1/4 in, 35.6 x 48.9 cm 

PROVENANCE: 



LITERATURE: 

Ian M. Thom, E.J. Hughes, Vancouver Art Gallery, 2002, the canvas 

produced from this drawing entitled Unloading Logs, Comox Harbour, 

1953, in The Barbeau Foundation Collection, reproduced page 120 

Jacques Barbeau, A Journey with E.J. Hughes, 2005, the canvas produced 

from this drawing entitled Unloading Logs, Comox Harbour reproduced 

page 12 and a related drawing entitled Log Dump at Royston, Comox 

Harbour reproduced page 34 

In 1951, E.J. Hughes moved to Shawnigan Lake; from there he explored 

the coastline of eastern Vancouver Island, finding great interest in all the 

activities he saw, including working boats and harbours. On Vancouver 

Island, logging followed farming as the mainstay of the economy. This 

scene is of the log dump at Royston, started by R.J. Filberg, owner of 

Comox Valley Logging. His son purchased this vigorous cartoon drawing 

with lots 5 and 7 in this sale from Hughes’s studio in Shawnigan Lake. 

Hughes’s ability to capture not just the details of the scene but its unique 

feeling and clarity of atmosphere in highly finished graphite drawings 

such as this is truly remarkable. These tonal drawings, called cartoons, 

are rare, as he stopped doing them around 1959. His practice of executing 

them at night from his annotated field drawings caused eyestrain, and he 

was under pressure from Max Stern, his dealer at Dominion Gallery, to 

produce watercolours and oils during daylight. However, Hughes was 

known to have expressed a longing to return to making cartoons, for the 

sheer enjoyment of the process of doing them. 

ESTIMATE: $10,000 ~ 15,000 

6




Church at Sandwick 



15 x 19 in, 38.1 x 48.3 cm 

PROVENANCE: 



The subject of this drawing is Saint Andrew’s Anglican Church, a 

historical landmark in Courtenay, BC. It was built in 1863 by the settlers 

who arrived on the ship HMS Grappler to farm the land on Vancouver 

Island. But while the building’s history is interesting, what is more 

fascinating is E.J. Hughes’s intense degree of observation of it. In this 

highly finished graphite cartoon drawing, the realistic crystallization of 

the primary elements ~ the church, the tree beside it with its powerful 

branches seemingly tossed in the wind, the power pole leaning toward it, 

and the rise and curve of the ground toward them ~ create a charged, 

heightened scene. Added to this is the absence of people, focusing on the 

atmosphere of the church itself, and the unconscious symbolism of the 

pole, a kind of electrified cross. In drawings such as this lie the very heart 

of the three~dimensional realism that Hughes brought to his paintings, 

carefully worked out through black and white tonalities and carefully 

considered layers of composition. Church at Sandwick, from the desireable 

period of the 1950s, is a remarkable expression of Hughes’s unique 

vision. 

ESTIMATE: $10,000 ~ 15,000 

7




Country Church, Saanich 

watercolour on paper, signed and dated 1947 

and on verso titled and dated 

15 1/4 x 19 in, 38.7 x 48.3 cm 

PROVENANCE: 



Jack Shadbolt was influenced in the 1930s by the American and Mexican 

muralists such as Thomas Hart Benton and Diego Rivera. The emphasis 

of the muralists on Social Realism and rural values is a background 

ambiance in Shadbolt’s awareness in works such as this. He was also 

inspired by their use of solid three~dimensional form, and in Country 

Church, Saanich, form is robust and the buildings feel rooted in the 

landscape. The simplicity of the scene has a directness and honesty, with 

the inclusion of elements such as the car and the electrical poles. 

Shadbolt’s use of light and shadow is dramatic, with the sun lighting up 

the white church like a beacon of light, contrasted with the moodiness of 

the shadows on the road and the dark hill behind. The lone figure 

contributes an intriguing note of narrative to this strong watercolour. 

It is interesting to note that the 1941 drawing for this fine watercolour 

entitled Old Church and Car was sold at Heffel’s, June 25, 2005, lot 46. 

ESTIMATE: $8,000 ~ 12,000 

8


9


9 PAUL~ÉMILE BORDUAS 

CAS QMG RCA 1905 ~ 1960 

Ouvertures imprévues 

oil on canvas, signed and dated 1956 

and on verso titled on the Dominion Gallery label 

13 x 16 in, 33 x 40.6 cm 

PROVENANCE: 

Dominion Gallery, Montreal 


Ouvertures imprévues belongs to Borduas’s Parisian period of 1955 to 

1960. In 1956, Paul~Émile Borduas, who had not yet succeeded in 

making any fruitful contact with galleries or museums in Paris, received 

successive visits from Canadian gallery owners and collectors, who 

acquired most of his production of the preceding months. Max Stern of 

the Dominion Gallery in Montreal came in May and acquired 13 oil on 

canvases, among them our Ouvertures imprévues, and 11 watercolours. 

Soon after, Montreal collectors Gerard and Gisele Lortie visited Borduas’s 

studio and acquired six paintings; in July, Montreal gallery owner Agnès 

Lefort bought two paintings; in August, R.H. Hubbard from the National 

Gallery obtained the famous Sea Gull; and finally in September, Martha 

Jackson, the well~known New York gallery owner, acquired nine of his 

most recent paintings. This enabled Borduas to take a break after this 

intensive period of work; he bought a Simca convertible car and made a 

trip to Italy later in September. 

All these commercial activities were certainly beneficial for the painter, 

but create some difficulties for the historian! Paintings sold to gallery 

owners or to private collectors tend to disappear from sight and render 

the task of reconstructing the painter’s development difficult. For 

instance, of all the oil on canvas works acquired by Max Stern in May, only 

one was known until recently ~ the famous Expansion rayonnante, a black 

and white work from 1956, now in the collection of the Montreal 

Museum of Fine Arts (a gift of Dr. and Mrs. Stern in 1978). This is why the 

emergence of Ouvertures imprévues is so exciting. Obviously it precedes 

the advent of his black and white paintings, but more importantly, it 

shows how Borduas finally succeeded in integrating the New 

York~influenced watercolours that he had made two years previously. 

In New York, Borduas had been intrigued by Jackson Pollock’s drip 

technique and had tried his hand at it in some of his watercolours of 1954. 

But nothing of that transpired in his oils of the period. It was only in Paris 

two years later, as our Ouvertures imprévues clearly shows, that he found a 

way to integrate, if not dripping itself, at least an equivalent of it by 

delicate traces of the painter’s knife used on its edge here and there above 

the white, grey and red background. These traces of black are in fact more 

calligraphic, almost Japanese, than anything done by Pollock and show 

how Borduas succeeded in adapting his own vocabulary for what had 

fascinated him before. These traces of black were obviously added to a 

white and grey (with tiny spots of red) composition and tended to suggest 

a reading in depth. Perhaps this is what suggested the title of Unpredicted 

Openings. When these “openings” would begin to be painted in solid 

black instead of these subtle gradations of grey and brown, we would 

enter the black and white period for which Borduas is famous. Here we 

are just before this event in his development and it is because of this, 

I believe, that Ouvertures imprévues is so touching. It is a perfectly 

controlled composition, alternating vertical and horizontal strokes of 

white and grey that come from the four edges of the surface towards the 

centre, where most of the “openings” occur. This is Borduas at his best. 

In Paris he spoke of his admiration for Mondrian, and something of that 

regard is shown in this rigorous composition. But the spontaneity and the 

obvious speed and mastery of the handling of paint make us forget 

whatever influences may have played here, and we are delighted with the 

sheer beauty of the painting. 

We thank François~Marc Gagnon of the Gail and Stephen A. Jarislowsky 

Institute of Studies in Canadian Art, Concordia University, for 

contributing the above essay. 

ESTIMATE: $80,000 ~ 100,000


10


10 WILLIAM KURELEK 

ARCA OC OSA 1927 ~ 1977 

After the Blizzard in Manitoba 

mixed media on board, initialed and dated 1967 

and on verso signed, titled, dated and inscribed 

donated to Mrs. Gerald Hollyer and for Kingsmill 

Company in gratitude for services renderened [sic] 

in purchase of a house 1965 

20 x 28 1/2 in, 50.8 x 72.4 cm 

PROVENANCE: 

Acquired directly from the Artist, 1967 

Private Collection, Toronto 

LITERATURE: 

Philip Earnshaw, director, The Passion of Christ According to Saint Matthew: 

William Kurelek, film, 2005 

In addition to being one of Canada’s most accomplished and interesting 

artists, William Kurelek wrote and illustrated many award~winning 

children’s books. His joyous explorations of childhood themes in his art 

made this a natural extension of his work. And while his art and writings 

can be enjoyed for their simple and exuberant content, to do so is to miss a 

deeper layer of meaning. A child of the Depression and the oldest of seven 

children in a hard~working Ukrainian Orthodox immigrant family, his 

youth was spent on the open prairie of Manitoba. He showed an early 

aptitude for drawing, but this career path was not supported by his 

farming parents, particularly his father. Their troubled relationship was 

“an agony to them both”, and Kurelek would ultimately suffer depression 

and suicidal despair. Largely self~taught, he attended the Ontario College 

of Art briefly, but was drifting and searching for a path. He traveled to San 

Miguel de Allende, Mexico, where he discovered the Nicolaïdes method 

of drawing, which he would later credit with helping him discover his 

own style. Keenly interested in religious iconography and wanting to see 

the world’s great art, he traveled to England in the early 1950s. There, his 

mental health failed and he was treated for depression. While in the 

hospital, he painted the cathartic masterwork The Maze, wherein he 

explores in painful detail the unhappiness in his life. He achieved success 

as a painter as a result of his pain, and in an interesting twist, a pious 

Catholic nurse who cared for him during this time inspired Kurelek to 

revisit religion, and he converted to Catholicism in 1957. 

Returning to Canada as an established painter, he explored the issues in 

his life through his art. His subtle blend of everyday events and religious 

themes are engaging on many levels. Presented to us as Canadian scenes, 

Old World religious imagery is everywhere in his work. Families walk to 

church, priests come for dinner, mothers and sons appear together in 

harmony. The scenes are full of the simple beauty of rural life ~ families at 

rest and play, celebrating birthdays, tending animals, doing the mundane 

chores. Additionally, these everyday acts are given deeper meaning in the 

details and surface treatment of the works. One might compare the 

surface of Kurelek’s paintings, which are hard and smooth, often 

glass~like, to inlaid enamel and religious icons of the sixteenth and 

seventeenth centuries. His unique method of incising dried but uncured 

paint with a ballpoint pen, and using coloured pencils to etch, scratch and 

draw on the paint’s surface, furthers this effect. The contrast of the rich 

surface and the often simple subjects makes for an interesting 

juxtaposition of form and image. This is particularly the case in After the 

Blizzard in Manitoba where we see a group of children playing wildly on 

the cliff of snow cut by a plough after a heavy blizzard. The scene is largely 

comprised of snow, but handled with Kurelek’s unique style, the vast 

whiteness itself is a dance of light and shadow as the colour of the sky 

repeats in the children’s snowsuits and the distant sleigh. The scene is 

almost fantastical, as the snow blankets the telephone poles almost to 

their tops which jut, cross~like, from the surface of the massive drift. 

Without worry of injury, children slide, tunnel and climb. Only the dog 

hesitates to bound into the fray. The work is absolutely joyous ~ children 

playing in the snow ~ yet, we are reminded by Kurelek of the brevity of 

youth as the adult in the scene heads out of the picture in a sleigh, his back 

to the fun, intent on some serious adult purpose. 

ESTIMATE: $50,000 ~ 70,000


11 YVES GAUCHER 

ARCA 1934 ~ 2000 

NT~G~JL / 68 I ~ Nat Gris I 

acrylic on canvas, on verso signed on the canvas, 

titled twice, on the canvas NT~G~JL / 68 I 

and on the stretcher Nat Gris I and dated 1968 

on the canvas 

36 x 36 in, 91.4 x 91.4 cm 

PROVENANCE: 

Galerie Agnès Lefort, Montreal 

By descent to the present Private Collection, Ontario 

LITERATURE: 

William Withrow, Contemporary Canadian Painting, 1972, page 172 

Roald Nasgaard, Yves Gaucher: The Fifteen~Year Perspective / 1963 ~ 1978, 

1979, page 79 

NT~G~JL / 68 I ~ Nat Gris I embraces a minimalist aesthetic in order to 

evoke perceptual processes, and is part of Yves Gaucher’s Grey on Grey 

11 

series. This series began in December 1967 with Gaucher initially 

intending a small production of approximately 12 paintings, yet by 

October 1969 when he finished, over 60 canvases had been completed. 

Each painting in the series was given a title that consisted of a letter / 

number formula, denoting the colours used, along with the inclusion 

of the date. 

Music was an important influence on Gaucher’s work and in NT~G~JL / 

68 I ~ Nat Gris I , the monochromatic canvas is punctuated by short 

horizontal lines known as signals, that draw the viewer’s eye in and out of 

the canvas, creating a visual rhythm. Roald Nasgaard explains the signals 

as “impulses of sound moving through and activating the silence of the 

field.” William Withrow further relates that, “with an understanding of 

Gaucher’s unique success in bringing together the musical and the visual, 

the viewer is enabled to appreciate the richness behind the austere 

surfaces of his work.” These Grey on Grey paintings went on to achieve 

enormous success internationally. 

ESTIMATE: $12,000 ~ 15,000



ARCA OC OSA 1927 ~ 1977 

Ploughing with Horses on the Prairies 


21 x 25 3/4 in, 53.3 x 65.4 cm 

PROVENANCE: 

The Isaacs Gallery Ltd., Toronto 

Galerie Dresdnere, Toronto 


William Kurelek’s seemingly simple themes of play, work, church and 

school belie the complex relationships between people, their God and 

their land that he knew so well. His depictions of family relationships, the 

significance of simple actions and the tiny dramas of everyday life become 

increasingly complex as one studies his works more carefully. His beautiful 

and exacting surfaces, achieved by incising into partially dried paint with 

a sharp tool, are incredibly detailed, with coloured pencil and mixed 

media techniques often being used. They are consistently precise, and 

echo the characteristics of the land and the people they depict ~ wizened 

by extremes of climate, hard work, and devout religious practice. 

In this simple scene of a farmer ploughing his fields, we see the plainly clad 

farmer riding an old~style plough pulled by a team. A foal follows the team 

and birds follow the plough picking at the newly exposed insects. In the 

distance, a pile of stubble burns. While the presence of fire is somewhat 

ominous in the dry field, the farmer’s posture tells us everything is as it 

should be. Nature, through the foal, the birds and the fire, is simply 

renewing itself. 

ESTIMATE: $25,000 ~ 35,000 

12


13


13 JACK HAMILTON BUSH 

ARCA CGP CSGA CSPWC OSA P11 1909 ~ 1977 

Downsweep 


and on verso signed, titled, dated 

and inscribed Toronto 

75 x 96 in, 190.5 x 243.8 cm 

PROVENANCE: 

Estate of the Artist 

Grace Borgenicht Gallery, New York 


LITERATURE: 

Murray Battle, director, Jack Bush, film, 1979 

Jack Bush was one of the few Canadian artists of his generation to 

establish a prominent international reputation. From the 1960s until his 

death in 1977, he exhibited with American artists such as Morris Louis, 

Jules Olitski, Kenneth Noland, Frank Stella and Helen Frankenthaler. 

Like these peers, Bush’s work was championed by the most influential art 

critic of the 20th century, Clement Greenberg. Bush’s example was central 

to this elite group. Today, the status of his vibrant abstract paintings is 

arguably even greater than during his lifetime. 

Downsweep is an exceptional painting from a transitional period in Bush’s 

career, a time when he found his mature idiom and moved to consolidate 

it forcefully. He met Greenberg in Toronto in 1957 when the New York 

critic came to see work by Canada’s Painters Eleven, of whom Bush was a 

founding member. Greenberg’s advice to Bush is legendary: discard the 

“hot licks” of the New York School ~ the generation of Abstract 

Expressionism ~ and embrace the freer, more open, and highly coloured 

manner seen in Bush’s watercolours from the mid~1950s. Bush had been 

traveling to New York since the early 1950s and exhibited in a group show 

there in 1956. He was steeped in both American abstract art and in the 

earlier expressive and colouristic efforts of Paul Klee, Joan Miró, and 

especially Henri Matisse. Downsweep stands confidently and happily 

between these European and American painterly traditions. It maintains 

the boldness and vibrancy of recent American abstraction ~ the jagged 

edges and profound saturation of the black swatch on the right of the 

canvas call to mind both Clifford Still and Robert Motherwell ~ but it is 

also lighter in mood and hue and shows a quality not sufficiently 

emphasized in Bush’s work, one which makes him a direct descendent 

of Matisse: playfulness. 

Bush’s sense of play can be seen in the green and grayish forms that dance 

across the centre of Downsweep, forms that are especially thin in their 

application and free in gesture. Bush brushed diluted oil washes onto the 

canvas at this time (he would turn to acrylics only in 1966), giving a light, 

expansive feel akin to the watercolours and gouaches that Greenberg so 

admired. Remarkable too is the burst of orange that ~ reminiscent of a 

child~like human form with arms outstretched ~ proclaims itself in our 

field of vision by moving dramatically in front of the anchoring black 

forms along the right edge of the painting. Many of Bush’s paintings from 

this time retain a figurative element, a choice that links him to much of the 

European tradition of abstraction that was still powerful in the art world 

of the 1950s. 

Bush’s elevated reputation as a mid~century abstractionist rests above all 

on his colour sense. Downsweep deploys about seven colours, depending 

on how one counts the deepened hues that we notice in all the forms here. 

They are not intermixed and they do not repeat. The dynamism of the 

picture comes not from colour repetition across the space, then, but from 

modulations within forms and from their gestural deposition across the 

surface. The title reinforces this reading. Bush’s choice of colours is 

distinctive and effective optically: while the orange form does perhaps 

play to the crowd, no one colour predominates fully and none are so quiet 

as to become mere background. 

Downsweep is a remarkable painting from a pivotal time in Bush’s career. 

Like the artist in the late 1950s, the painting proclaims its affinities with 

powerful abstract art of the recent past. Its washes of paint and unique 

colouration also announce the Jack Bush of the 1960s and 1970s. 

We thank Mark A. Cheetham, Professor in the Department of Art at the 

University of Toronto and author of Abstract Art Against Autonomy: 

Infection, Resistance, and Cure since the ’60s, for contributing the above 

essay. 

ESTIMATE: $70,000 ~ 90,000


14 

14 JEAN PAUL LEMIEUX 

CC QMG RCA 1904 ~ 1990 

Port~au~Persil 

oil on board, signed 

and dated 1950 and on verso 

titled and dated 

10 1/4 x 8 1/4 in, 26 x 21 cm 

PROVENANCE: 


in 1950 by a Private Collector, 

Quebec City 

By descent to the present Private 

Collection, Montreal 

LITERATURE: 

Guy Robert, Lemieux, 1978, 

reproduced page 86 

Guy Robert writes: “For a period of 

about two years, in fact, Lemieux had 

abandoned his easel and it was not until 

the summer of 1950, during his vacation 

at Port~au~Persil, that he picked up his 

brushes again and executed a rapid series 

of paintings. From October 29 to 

November 6, 1950, he exhibited these 

fresh, unpretentious little pictures in his 

home. The product of two months’ 

leisure spent happily by the banks of the 

Saint Lawrence, these works captured 

various moments of the artist’s life, 

fragments of his surroundings. They 

quickly found buyers; but above all else, 

they succeeded in reconciling Lemieux 

with his painting once again.” 

The present owner’s mother acquired 

this superb work at the exhibition held 

at Jean Paul Lemieux’s home. 

ESTIMATE: $10,000 ~ 15,000


15 JEAN~PHILIPPE 

DALLAIRE 

QMG 1916 ~ 1965 

Seraphine 

oil on canvas, signed, titled and 

dated 1957 and on verso signed, 

titled, dated April 1957 and inscribed 

Ville St~Laurent, P.Q., Canada 

34 x 26 in, 86.3 x 66 cm 

PROVENANCE: 

Waddington Galleries, Montreal 


LITERATURE: 

Marie~Claude Corbeil, Kate Helwig and Claude 

Belleau, “A New Look at the Work of Jean 

Dallaire”, CCI Newsletter, No. 25, May 2000, 

page 1 

EXHIBITED: 

The Montreal Museum of Fine Arts, 

Their Humour: Jean Dallaire, Paintings; 

Louis Archambault, Ceramics, 

November 19 ~ December 3, 1959 

Jean~Philippe Dallaire’s life was one of 

misfortune and he is often referred to as le 

peintre maudit (the accursed painter). After 

spending four years in a Nazi internment camp 

during World War II, Dallaire, once back in 

Canada, was plagued by alcoholism and 

depression. After losing a teaching position at 

l’École des beaux~arts in 1952, he took a job 

with the National Film Board as an illustrator. 

Eventually, he moved to France in 1959 and 

spent his remaining years painting in seclusion. 

Dallaire’s genius and creativity were fuelled by 

his ghosts, and in his melancholy he created a 

powerful body of work brimming with anxieties 

and contradictions. This 1957 portrait, 

Seraphine, exhibits an intimate encounter 

with abstraction ~ a departure from the 

draftsman~inspired paintings created during 

Dallaire’s years at the Film Board. The curious 

stare of the sitter is framed by trembling waves 

of nervous energy with rapid, expressive scrapes of paint convulsing fretful yellows into purple. 

The naivety of the fragile figure set against the vibrating background is a testament to the boundless 

vision of Dallaire’s rhetorical universe. 

ESTIMATE: $15,000 ~ 20,000 

15


16


16 JEAN PAUL LEMIEUX 

CC QMG RCA 1904 ~ 1990 

Le lac du nord 

oil on canvas, signed, 1980 

48 x 98 3/4 in, 121.9 x 250.8 cm 

PROVENANCE: 

Marlborough~Godard, Montreal 

Mira Godard Gallery, Calgary 

Private Collection, Calgary 

Mira Godard Gallery, Toronto 


LITERATURE: 

Alec Scott, Surface Tension, June 16, 2005, http://www.cbc.ca/arts/ 

artdesign/lemieux.html (accessed March 2, 2009) 

EXHIBITED: 

Mira Godard Gallery, Calgary, 1980 

Mira Godard Gallery, Toronto, Jean Paul Lemieux Paintings, 2006 

In 1956, Jean Paul Lemieux received his first public commission with the 

request for a mural, Medicine in Quebec City, for the University of Laval 

health sciences building. This was a welcome project for the artist, who 

admired the work of the Mexican muralists but had not had the 

opportunity to test his own skills on a monumental scale. For the next 45 

years, while mostly creating paintings in dimensions more suited to 

intimate, private spaces, Lemieux confidently produced others meant for 

grand public sites. Among the most memorable of those is his 1964 

Charlottetown Revisited, commissioned to celebrate the opening of the 

Confederation Centre of the Arts, and his 1979 portrait of Queen 

Elizabeth II and the Duke of Edinburgh, which hangs in Rideau Hall. 

In many of his larger paintings, the subject was his own family, as in the 

much~reproduced 1910 Remembered (1962) or La Visite (1967). In these 

examples, the figures are clothed in garb reminiscent of the artist’s youth 

with a “palette…as subdued as the emotions he conveys…” 

By 1980, with his reputation and renown as a painter of iconic Canadian 

scenes firmly sealed and celebrated nationwide, Lemieux’s desire to 

create ambitious large~scale paintings had clearly not diminished, 

despite his advancing age. Employing the exaggerated horizontal format 

which distinguishes many of his landscape paintings, Le lac du nord 

reveals much about the artist’s physical and emotional attachment to the 

Quebec countryside; its warmer palette suggests more psychic closeness 

between the figures than in earlier works. In this painting, both the 

figures and the specific site are unnamed, yet the artist’s fondness for them 

and for the place is unambiguous. The setting, perhaps not far from the 

artist’s home in the beautiful Charlevoix region, is bound to evoke 

memories of a warm summer day, seemingly without end, spent lazing at 

the lake. The calm water, sandy beach, dense forest and clear sky are, at 

first viewing, seamless layers in an expansive vista, but on longer viewing 

and examination of the surface, Lemieux’s concentration of small 

brush~strokes are revealed throughout. The viewer’s eye is drawn 

naturally from the largest figure at the left towards the man and his dog at 

the right edge and then to the woman strolling towards us on the beach. 

The cabin at the rim of the lake is at first barely noticeable against the 

backdrop of trees, but it soon becomes visible along with its subtle 

reflection in the lake. 

This image is another fine example of the artist’s masterful ability to 

present us with a grand vista, while remaining attentive to the small 

details that reveal his underlying interest in the scene. In Lemieux’s most 

memorable works, no matter the number of characters that are cast in the 

scene, the dialogue between them is muted and the individuals are 

depicted as somehow removed from the main action. In that vein, the 

script for Le lac du nord has not yet been published ~ but its story may be 

written in the viewer’s imagination. 

ESTIMATE: $80,000 ~ 120,000


17 MICHAEL JAMES ALECK SNOW 

OC RCA 1929 ~ 

Two 

oil on canvas, on verso signed, titled, 

dated September 1960 and inscribed 42 Dell Park 

40 x 50 in, 101.6 x 127 cm 

PROVENANCE: 

The Isaacs Gallery Ltd., Toronto; Mr. & Mrs. J.R. Colombo, Toronto 


LITERATURE: 

Dennis Reid, Philip Monk and Louise Dompierre, The Michael Snow 

Project, Art Gallery of Ontario and The Power Plant, 1994, reproduced 

page 207 

Catsou Roberts, editor, Michael Snow Almost Cover to Cover, 2001, 

essay by Catsou Roberts, page 8 

Conversation between Michael Snow and Hri Neil, Heffel Gallery Inc., 

Toronto, April 1, 2009 

EXHIBITED: 

The Isaacs Gallery Ltd., Toronto, Michael Snow Solo Exhibition, 1960 

The Art Gallery of Toronto, Toronto Collects, 1961 

Art Gallery of Ontario and The Power Plant, Toronto, The Michael Snow 

Project: Exploring Plane and Contour, May 11 ~ June 5, 1994, catalogue #81 

Michael Snow’s work is internationally recognized and celebrated. 

A master of media, Snow works in film, video, photography, sound, 

installation, painting and sculpture, informing each mode with 

understanding gained from his exploration of the others. He comments, 

17


“…my paintings are done by a filmmaker, sculpture by 

a musician, films by a painter…”. With a sly sense of 

humour, Snow makes art that probes perception, 

consciously engaging the viewer in his questioning of 

the act of viewing itself. When asked about how the 

work Two fits within his œuvre, Snow connects this 

early painting to other works from the early 1960s, 

such as Theory of Love, in the collection of the Art 

Gallery of Ontario. Pared down to binaries of positive/ 

negative, foreground/background and push/pull, the 

piece becomes purely about surface ~ as the artist 

states, it “…becomes an object, becomes sculpture.” 

With Two, Snow used a stencil to create the rectangular 

opening into the central dark red mass, a technique 

that was to figure prominently in his further 

explorations of the foreground/background binary in 

his iconic Walking Woman series. The reds that 

dominate the surface are broken by a tracery of subtle 

craquelure, exposing a dark blue ground. As the 

painting has aged, Snow’s intentional craquelure has 

evolved, and in his view the result is either a success or 

failure, based on the viewer’s perspective. However, 

Snow’s humorous delivery of his comments on the 

work made it clear that he considers it a success. 

ESTIMATE: $15,000 ~ 20,000 

ϕ 

18 DENNIS EUGENE NORMAN 

BURTON 

1933 ~ 

Room~Mates #2 


and on verso titled on the stretcher 

36 x 24 in, 91.4 x 61 cm 

PROVENANCE: 


Private Collection, United Kingdom 

LITERATURE: 

Dennis T. Burton et al, Dennis Burton: Retrospective, 

Robert McLaughlin Gallery, 1977, page 23 

Dennis Burton’s work Room~Mates #2 marked a 

particularly significant period in both the artist’s body 

of work and the way in which art was being depicted in 

the Toronto art scene at the time. In 1965, Burton 

achieved renown for his Garterbeltmania paintings, 

portraying women in garter belts. Room~Mates #2 was 

inspired by the nudes of the Old Masters, but updated 

by depicting women in modern underwear. The piece 

is a culmination of characteristics for which the artist is 

best known ~ draughtsmanship, colour sense and erotic subject matter. Burton himself often 

felt that his subject matter was at times too personal, but also argued that, in fact, that was 

what art was all about. As Burton wrote, “I hadn’t depicted anything particularly obscene or 

pornographic; I had just depicted the female in underwear, which at that time I suppose was 

a way to shock the middle class. But underwear was not just for its own sake; it was a matter 

of getting an obsession and a ‘hang~up’ out of my system.” 

ESTIMATE: $5,000 ~ 7,000 

18


19 GERSHON ISKOWITZ 

CSGA RCA 1921 ~ 1988 

Red Violet~A 

acrylic on canvas, 

on verso signed, titled and dated 1980 

38 x 33 in, 96.5 x 83.8 cm 

PROVENANCE: 

Gallery Moos, Toronto; Galerie Samuel Lallouz, Montreal 


19 

LITERATURE: 

Adele Freedman, Gershon Iskowitz, Painter of Light, 1982, page 153 

Gershon Iskowitz’s fame grew among Canadian collectors when he was 

appointed to represent Canada at the XXXVI Venice Biennale in 1972. 

After his 1980 New York group touring exhibition, his reputation was 

firmly solidified. Canadian artists were becoming increasingly known for 

their skill as master colourists, with one New York Times critic praising 

Iskowitz as “extremely gifted in selecting and arranging lyrically beautiful 

colours that coalesce into radiant composition.”


Iskowitz immigrated to Toronto in 1949. After surviving the hardships 

of World War II, his work of the early 1950s was a cathartic closure to his 

wartime memories. Iskowitz’s work is a product of reforming and evolving 

ideas, which he developed over the course of his time in Canada. After a 

brief sombre period, he was soon producing the colourful and joyous 

canvases that became synonymous with the artist’s style in later decades. 

An example of this expressive period is seen in Red Violet~A, where vibrant 

colours of red and violet fade in and out of fresh pale blue tones. 

ESTIMATE: $12,000 ~ 15,000 

20 

20 YVES GAUCHER 

ARCA 1934 ~ 2000 

Gris, rouge 

acrylic on canvas, on verso 

signed, titled and dated 

juillet 1971 

60 x 48 in, 152.4 x 121.9 cm 

PROVENANCE: 

Galerie Godard Lefort, Montreal 

Marlborough~Godard, Toronto 

Private Collection, Montreal 

LITERATURE: 

N.J. Rutherford, Yves Gaucher, The New 

York Cultural Center, 1975, listed page 4 

EXHIBITED: 

The New York Cultural Center, in 

association with Farleigh Dickinson 

University, Yves Gaucher, March 13 ~ 

April 27, 1975, catalogue #11 

At first glance, Yves Gaucher’s expansive 

canvas Gris, rouge may appear to be 

deceptively simple, but upon closer 

examination it reveals a quiet complexity. 

In Gris, rouge, one can see the qualities for 

which Gaucher was best known ~ his 

meticulous craftsmanship and scientific 

experimentation with optical laws ~ 

which demand a great deal more 

observation from the viewer, if the viewer 

will allow it. The flat expanse of grey 

provides the backdrop for the fine, 

horizontal white lines, which only 

emerge from it after much contemplation 

and cerebral concentration. There is a 

stillness and equilibrium present in the 

seemingly austere surface of the work. 

Gaucher’s hard~edged surfaces of line 

and subtle colour planes balance the 

structural components of the piece, and 

therefore reach what can be thought of as 

a surface equilibrium. Gris, rouge 

achieves structural purity through the 

elimination of superfluous details, 

making sensory demands on those who 

view it, but in return offering a visual 

experience which transcends that of the 

work itself. 

ESTIMATE: $25,000 ~ 35,000


page two of nine in the portfolio 21 

21 MICHAEL JAMES ALECK SNOW 

OC RCA 1929 ~ 

Still Living ~ 4 Acts ~ Scene I 

dye~transfer colour photographs, editioned 1/10, 1982 

26 x 20 1/2 in, 66 x 52.1 cm 

PROVENANCE: 



LITERATURE: 

Dennis Reid, Philip Monk and Louise Dompierre, The Michael Snow Project, 

Art Gallery of Ontario and The Power Plant, 1994, listed page 511 

EXHIBITED: 

Art Gallery of Ontario and The Power Plant, Toronto, The Michael Snow Project: 

Embodied Vision, May 11 ~ June 5, 1994, same portfolio, catalogue #40 

21 

This complete limited edition portfolio consists of 36 

colour dye~transfer photographic images on nine 

sheets, plus the title page, which states: “The 36 

photographs in this edition were originally SX70 

Polaroids. The prints were made by the dye transfer 

process. Half~tone separation negatives were made 

using a scanner.” One negative was made for each of 

three colours: magenta, cyan and yellow. The 

matrices needed for the final print were made from 

these separation negatives. The prints were 

assembled by soaking the gelatin matrices in the 

various dye baths and transferring each layer to the 

receiving medium for various lengths of time. They 

were made in collaboration with Michael Snow by 

Nino Mondhe, head of the dye~transfer department 

at Creative Colour Laboratories in Germany. The 

edition is limited to 10 hand~painted portfolios. 

The four images on page five were also part of a 

portfolio of photographs by various photographers 

produced by Anthology Film Archives, New York in 

1982. The title, Still Living ~ 4 Acts ~ Scene I, and the 

use of the word “page”, are attempts to indicate the 

merging of textual, painting, sculptural, theatrical 

and photographic concerns, which was the ambition 

of the work. 

Also included in this lot is the artist’s original 

instructions for framing the portfolio. 

Images from all nine plates are available for viewing 

on heffel.com. 

ESTIMATE: $18,000 ~ 22,000


22 TONI (NORMAN) ONLEY 

BCSFA CPE CSPWC RCA 1928 ~ 2004 

Collage #3 

collage on board, signed and dated 1958 

35 1/4 x 44 3/4 in, 89.5 x 113.7 cm 

PROVENANCE: 

Private Collection, Vancouver Island 

After the death of his wife in 1957, Toni Onley and his two young 

daughters set out for San Miguel de Allende, Mexico, where in the 

ambient surroundings he found solace and fresh inspiration. In Mexico, 

his work became more free and expressionistic ~ he began tearing up 

paintings and reforming them into new compositions. Upon his return 

to Canada in November 1958, Onley was almost immediately recognized 

with a solo show at the Vancouver Art Gallery. This show quickly 

validated this collage series as some of his most innovative and 

important work. 

ESTIMATE: $7,000 ~ 9,000 

22 

23 LOUIS BELZILE 

AANFM ARCA 1929 ~ 

Sérénité 

gouache and crayon on artist board, signed and dated 1956 

and on verso titled on the artist’s label 

30 x 20 in, 76.2 x 50.8 cm 

PROVENANCE: 



LITERATURE: 

David Burnett & Marilyn Schiff, Contemporary Canadian Art, 

1983, page 36 

The Plasticiens, an important artistic movement in Quebec, derived 

certain principles from the Automatist movement, yet were distinctly 

different in theory and painting practice. The unique quality of the 

Plasticiens was largely due to their main artistic alignment with Piet 

Mondrian and the Constructivist movement that focused on a return to 

order, rejecting certain Surrealist tendencies. Burnett writes, “In Paris, 

Belzile, who was there in 1952 ~ 53, could have seen not only the work of 

the original Constructivists but that of many others who had been drawn 

to Paris.” This serene, harmonious work is of particularly fine quality, and 

expresses the primary idea of linear structure which the Plasticiens 

espoused. 

ESTIMATE: $5,000 ~ 7,000 

23


24 JEAN~PAUL ARMAND MOUSSEAU 

AANFM CAS 1927 ~ 1991 

Sans titre 

gouache, ink and watercolour on paper, 


9 x 12 in, 22.9 x 30.5 cm 

PROVENANCE: 


LITERATURE: 

Roald Nasgaard, Abstract Painting in Canada, 2007, page 76 

Being the youngest member of the Automatist group, Jean~Paul 

Mousseau came to painting with different personal and visual influences 

from the others. In Mousseau’s early gouaches, as in this fine example 

dated 1948, some saw incoherence and haphazard methods. But Claude 

Gauvreau, a visionary playwright and poet who was a signatory of the 

manifesto Refus Global (importantly published in the same year this 

painting was produced), was probably the first who recognized that this 

was a misinterpretation. Mousseau had gone beyond certain aspects of 

what Paul~Émile Borduas had defined as Automatism, most notably in 

the deconstruction of the notion of the object. In doing so, Mousseau 

redefined the sense of space in his paintings as well as the relations 

between the forms, thus bringing about a prelude to a greater liberation 

of the visual elements in an all~over approach to the painting surface. 

Roald Nasgaard elaborates that “in a de Kooning~like fashion he tears 

apart the residue of his imagery and scatters it evenly across the surface, 

concomitantly shattering illusionistic space into a consistently 

articulated bas~relief or Analytic Cubist space. His is a lively spontaneous 

expressionistic drawing co~ordinated by conscious formal structuring.” 

ESTIMATE: $4,000 ~ 6,000 

24


25 HAROLD BARLING TOWN 

CGP CPE CSGA OC OSA P11 RCA 1924 ~ 1991 

Toast 

oil and lucite on canvas, signed and dated 1953 

and on verso signed three times, titled, 

dated July 12, 1953 and inscribed 

oil & lucite on canvas and H.T.P. 149~0 

16 x 20 in, 40.6 x 50.8 cm 

PROVENANCE: 

Private Collection, Vancouver 

Harold Town painted Toast three months prior to his work being included 

in the groundbreaking Abstracts At Home exhibition in the display 

windows of Simpson’s department store in October of 1953 which led to 

the formation of Painters Eleven. Town laid the foundation of his life’s 

work in the 1950s, and this painting, with its integrated surface of 

colour, drawing, figuration and abstraction, displays the bravura 

performance of his painting of that period. The over~all surface 

integrates the abstracted toaster in colour and line, with the lines 

being drawn straight from the tube, laid across forms broad~brushed 

with exuberant colour in a space with neither foreground nor 

background. His use of oils and Lucite 44 (a precursor to acrylics) 

made for a quicker drying time and added luminosity to the oils. 

This painting exemplifies the general characteristics of early Abstract 

Expressionism and, in particular, Town’s expressiveness, with a touch 

of humour upheld by his paint~handling virtuosity. 

ESTIMATE: $10,000 ~ 15,000 

25


26




The Great Ones 

oil and casein on board, signed and on verso 

signed J.L. Shadbolt, 128 Monroe St., N.Y.C., 

titled, dated 1948 and inscribed oil on casein study 

for large canvas, $250 

24 x 35 1/2 in, 61 x 90.2 cm 

PROVENANCE: 

Claude Bouchard, Ottawa 


LITERATURE: 

Scott Watson, Jack Shadbolt, 1990, page 57, this painting, as well as the 

related watercolour, reproduced page 61 

EXHIBITED: 

Montreal Museum of Fine Arts, 67th Annual Spring Exhibition, 

March 14 ~ April 9, 1950 

Jack and Doris Shadbolt spent one year in New York City from September 

1948 to August 1949. The year~long “sabbatical” was supported by the 

Department of Veterans Affairs which, however, stipulated that Shadbolt 

be enrolled in a program of study. He registered at the Art Students 

League, where one of his instructors was Vaclav Vylacil, himself a former 

student of Hans Hofmann. Vylacil’s circle included Arshile Gorky, who 

had died by his own hand only weeks before the arrival of the Shadbolts. 

Shadbolt also enrolled in a mythology course at the New School for Social 

Research. In that course, where he made copious notes, the lecturers 

emphasized the need to reintroduce myth to a culture of damaged 

psyches. 

The year 1948 ~ 1949 was a critical one for the emergence of the painters 

who would be known as the New York School, roughly bracketed by the 

death of Gorky and an important exhibition at Samuel M. Kootz Gallery 

in September 1949 that helped define the new movement. But at the time, 

artists like Karl Knaths and Felix Ruvolo were better known than Jackson 

Pollock or Barnett Newman. Although Shadbolt did see and review 

Pollock’s first exhibition at Betty Parsons’ Gallery, he was less than 

enthusiastic about the drip paintings. As it was for Vylacil and many 

others, Shadbolt’s ideal remained Picasso. He had seen the model 

painting for the reigning mode of biomorphic abstraction, Picasso’s 

Guernica, when it was first shown at the 1937 Paris World’s Fair. For 

many artists, Guernica exemplified the possibility of social engagement 

in contemporary art. Drawing on so~called primitive art, Surrealism and 

experiments in abstraction, the Picasso painting was seen as a way to 

connect the crises of history to both eternal verities and new modern 

experiences. 

In the year before traveling to New York, Shadbolt had already turned 

away from Social Realism. His great facilities as a draughtsman had made 

him a celebrated artist in Canada, but in 1947 he began to experiment 

with abstraction. It was primarily his experience in bombed and ruined 

London after World War II, working in the War Artists Administration 

where he processed the photographs coming in from Auschwitz, that 

made him feel realism was not up to the task of expressing the spirit of the 

times. Only abstraction could convey the kinds of anxieties brought on by 

the war, the Holocaust and the dawning of the atomic age. Abstraction 

had a transfiguring power and could “offer order to the spirit”. Shadbolt 

called this “symbolic abstraction”. “Although it will sound fantastical to 

many,” he wrote, “it could be maintained that this concept of symbolic 

abstraction offers us a new dimension of form replete with the 

psychological possibilities for a great human expression at the service 

of large social themes.” 

The Great Ones was painted in New York in 1948 as an allegorical 

symbolic abstraction (a related 1948 watercolour depicts two of the 

figures in the painting with a bluer palette). The title might make one 

think of the victorious war leaders Churchill, Stalin and Roosevelt. Yet 

their gender, more apparent in the oil painting than the watercolour, is 

female. Two of the figures have dog~like heads. Shadbolt often used dogs 

in his wartime paintings to represent sexuality on the one hand and 

anxiety on the other. On verso is inscribed “oil on casein study for a large 

canvas”. It is unlikely he ever executed the proposed larger work. 

Shadbolt must have been pleased with The Great Ones, as he chose to 

exhibit the work at the 67th Annual Spring Exhibition at the Montreal 

Museum of Fine Arts in 1950. 

Works such as The Great Ones mark the turning point in Shadbolt’s career, 

and in the decade after his return from his encounter with the New York 

scene, Shadbolt consolidated his reputation as one of Canada’s leading 

abstract painters. 

We thank Scott Watson, director of the Morris and Helen Belkin Gallery, 

University of British Columbia, for contributing the above essay. 

ESTIMATE: $60,000 ~ 80,000


27 MOLLY JOAN LAMB BOBAK 

BCSFA CGP CPE CSGA CSPWC RCA 1922 ~ 

Summer Bouquet 

oil on canvas, signed and on verso titled 

40 x 30 in, 101.6 x 76.2 cm 

PROVENANCE: 

Private Estate, Montreal 


Molly Lamb Bobak graduated from the Vancouver School of Art in 1942, 

where her teacher and mentor was Jack Shadbolt. During World War II, 

she was the only woman artist to be appointed an official war artist. After 

the war, she taught at the Vancouver School of Art, the Vancouver Art 

27 

Gallery and the University of British Columbia. Bobak painted 

landscapes and urban scenes with figures and flower still lifes. Summer 

Bouquet is a beautiful and sensitive work, lusciously coloured and painted 

with expressionist brush~strokes. She has received considerable 

recognition for her work ~ Jacques Maritain, the Vatican ambassador to 

the United States, arranged a visit to France for her in 1950 on a French 

government scholarship. Alan Jarvis, director of the National Gallery 

of Canada, invited her to participate in the Sao Paulo Bienal and the 

Vancouver Art Gallery’s Third Canadian Biennale in 1960. After spending 

four years in Europe on a Canada Council grant, on return to Canada she 

moved to Fredericton, where she taught at the University of New 

Brunswick Art Centre from1960 to 1977. 

ESTIMATE: $12,000 ~ 16,000


28 JOSEPH FRANCIS PLASKETT 

BCSFA OC RCA 1918 ~ 

Still Life After Breakfast 


28 1/4 x 39 in, 71.7 x 99 cm 

PROVENANCE: 


LITERATURE: 

Joe Plaskett, Canadian Cultural Centre, Paris, 1977, pages 3 and 8 

Judy Stoffman, “Still Carrying the Group of Seven’s Torch”, The Star, 

Toronto, September 25, 2008 

Joe Plaskett has always enjoyed dissecting and reveling in the intimate 

expressions of the everyday, and Still Life After Breakfast is no exception. 

His paintings, and in particular the still lifes, as Judy Stoffman writes, 

“show an intimacy with past masters and a tender appreciation of the 

present moment.” In this fine painting, Plaskett takes the daily activity of 

breakfast and turns it into a sensuous and tactile celebration: half~eaten 

grapefruits, croissants and café au lait bowls, along with a half~filled 

marmalade jar, are the remnants of an animated morning complete with 

good conversation. It is likely that the setting for Still Life After Breakfast is 

Plaskett’s residence at 2 rue Pecquay in Paris, which hosted a plethora of 

Canadian artists and writers such as Bill Reid, Jean Paul Lemieux and the 

famed poet and writer Mavis Gallant. Plaskett comments on his painting, 

“My work may be said to descend from the Impressionists. What I do 

share with them is their subject matter ~ their delight in painting any 

aspect of life around them. I do find a micro~cosmos of the universe in the 

interior of a room. Its possibilities are inexhaustible, its variety infinite.” 

ESTIMATE: $10,000 ~ 15,000 

28




Summer Icon 

ink, latex and acrylic on board triptych, signed 

and dated 1977 and on verso signed, titled and dated 

60 x 120 in, 152.4 x 304.8 cm 

PROVENANCE: 


LITERATURE: 

Scott Watson, Jack Shadbolt: Act of Painting, Vancouver Art Gallery, 1984, 

page 11, a similar 1981 work entitled Butterfly Transformation Theme 

reproduced pages 12 and 13 

Scott Watson, Jack Shadbolt, 1990, similar 1977 ~ 1979 work entitled 

Evening Valley Flight reproduced page 178 

The butterfly was one of Jack Shadbolt’s powerful transformation motifs. 

Scott Watson writes, “The butterfly is a symbol of the soul. Usually we 

think of them as delicate, ephemeral creatures. Shadbolt turns them into 

gigantic solid beasts; they are almost like a phallanx of African 

Shields…The butterfly, unlike man ~ but so anthropomorphic in 

Shadbolt’s paintings ~ comes into the world tatooed, decorated and 

painted, and represents the artist’s modern longing for an authentic 

experience of being which is unmediated by culture.” A rich symbol, the 

butterfly suggests many things ~ eroticism, a desire to evolve and 

transform into something beautiful, or more simply, images of freedom 

and celebration. Changing their scale from small to immense makes them 

more consequential and brings their secret world under our scrutiny. 

Shadbolt sometimes painted them as strange and powerful, sometimes 

joyous and a symbol of release. In Summer Icon, the atmosphere is lyrical, 

full of golden light and floating shapes, a lush and painterly celebration of 

the natural world. 

ESTIMATE: $50,000 ~ 70,000 

29




Storm Warning 

acrylic on paper board triptych, signed and dated 1984 


60 x 120 in, 152.4 x 304.8 cm 

PROVENANCE: 

Bau~Xi Gallery, Vancouver 


LITERATURE: 


The core of Jack Shadbolt’s painting springs from the rich imagery of West 

Coast nature, based on abstracted biomorphic forms. Storm Warning is a 

strong example of his painting of the early 1980s, with its dense patches 

of colour which create depth through contrasts of receding dark and 

advancing light hues. Organic shapes rise, twist, undulate and float across 

the surface of the work, as if rushing in reaction to an impeding event. 

Also emerging are emblematic forms ~ Shadbolt was fascinated with 

heraldry, banners and flags ~ and their more geometric and linear 

elements provide a dynamic contrast with organic forms. Colour shapes 

were seen as “tugging free of the pictorial matrix toward a psychological 

freedom of their own identities ~ a pure primordial urge.” The struggle for 

freedom of these elements was most likely a reflection of Shadbolt’s own 

striving for liberation and identity, and of his modernist, intellectual 

concerns vying with emotional and unconscious urges. Because of this, 

Shadbolt’s work was never static, but always evolving. Storm Warning 

exudes vitality and a sense of urgency ~ a painting in the midst of a 

spontaneous, living process. 

ESTIMATE: $25,000 ~ 35,000 

30


31


31 JEAN~PAUL RIOPELLE 

OC QMG RCA SCA 1923 ~ 2002 

Jouet 


and on verso titled on the stretcher 

44 7/8 x 57 1/2 in, 114 x 146 cm 

PROVENANCE: 

Galerie Jacques Dubourg, Paris 

Galerie Anne Abels, Cologne, 1959 

Private Collection, Geneva 

LITERATURE: 

Harold Rosenberg, “The American Action Painting”, Art News, 

Volume 51, no. 8, December 1952, pages 22 ~ 23 and 48 ~ 50 

Robert Goldwater, “These Promising Younger Europeans”, Art News, 

col. LII, no. 8, December 1953, pages 14 ~ 16 and 53 ~ 54 

James Fitzsimmons, “Art”, Art and Architecture, Volume LXX, no. 12, 

December 1953, pages 32 ~ 33 

Robert M. Coates, “Young Europeans at Guggenheim Museum”, 

The New Yorker, no. 29, December 19, 1953, page 89 

James Thrall Soby, “Younger European Painters”, Saturday Review, 

Volume XXXVII, January 1954, pages 61 ~ 62 

Karel Appel, Georges Mathieu, Mattia Moreni and Jean~Paul Riopelle, 

Kunsthalle Basel, 1959 

Eduard Trier, Jean~Paul Riopelle, Galerie Anne Abels, 1959, reproduced 

catalogue #2 

EXHIBITED: 

Kunsthalle Basel, Karel Appel, Georges Mathieu, Mattia Moreni and 

Jean~Paul Riopelle, January 24 ~ March 1, 1959, traveling to Musée des 

beaux~arts, Neuchâtel, Switzerland, 1959, catalogue #38, labels on verso 

Galerie Anne Abels, Cologne, Jean~Paul Riopelle, November ~ December 

1959, catalogue #2, label on verso 

Once again, a major Riopelle from the early 1950s has surfaced. Dated 

1953, Jouet (Toy) belongs to the crucial period when Jean~Paul Riopelle 

confronted the New York scene head on. He was part of James Johnson 

Sweeney’s show entitled Younger European Painters at the Solomon R. 

Guggenheim Museum (which was not yet in the Frank Lloyd Wright 

building) at the end of 1953 and the beginning of 1954, exhibiting the 

rather dark Blue Night, 1952, now in the collection of the Guggenheim 

Museum. At this time, Riopelle was already in contact with the Pierre 

Matisse Gallery in New York. Moreover, the art critics, who were quick to 

compare him to Pollock, noticed his contribution to the Guggenheim’s 

show, singling him out as one of the most promising among the 33 

“younger European [!] painters” exhibited. It was a grand debut. 

Meanwhile his teacher, Paul~Émile Borduas, was having his first 

one~man show in New York at Georgette Passedoit Gallery, at 121 East 

57th Street, not far from the Pierre Matisse Gallery (situated in the Fuller 

Building at 41 East 57th Street) where Riopelle was showing. 

The issue, of course, was the competition between New York and Paris, 

not Canadian painting. Had Sweeney’s show demonstrated the existence 

of a new avant~garde in Paris, strong enough to leave behind what was 

then happening in New York It is in this context that the critics who 

mentioned Riopelle’s contribution to Younger European Painters should be 

considered. For instance, the art historian Robert Goldwater suggested 

that “Pollock and Riopelle, Soulages and Kline, Bazaine and Brooks, etc.” 

should be compared to each other. The comparison between Wols and 

Pollock, attempted by Georges Mathieu in Paris, is dismissed in favour of 

Riopelle. For James Fitzsimmons, three major painters were exhibited in 

Younger European Painters: Riopelle, Soulages and Mathieu! For Robert 

Coates, who is habitually credited as the creator of the appellation 

Abstract Expressionism, Soulages, Poliakoff, Tal~Coat and Riopelle were 

the best in the exhibition. We find the same type of selection from James 

Thrall Soby. For him, Soulages and Mathieu came first, but Burri, 

Mendelson, Riopelle, Ubac and Vieira de Silva were also worthy of 

attention. The only one to directly attempt a comparison between Pollock 

and Riopelle was James Fitzsimmons, in the Art and Architecture article 

already quoted.


Fitzsimmons wrote, “Riopelle’s painting is large and horizontal, and 

resembles some of Pollock’s later compositions. But Riopelle did less with 

line and more with colour, and the reference to the external world, to 

nature, was more overt. He laid on his colour ~ deep reds, greens, blues 

and blacks ~ very thickly, layer on layer, with short choppy strokes that 

were sometimes parallel, sometimes diagonal to each other. Over and 

among these colours he threw a tracery, a torn web of sparkling white 

lines. The final result is quite magnificent: a sort of tapestried richness 

of substance.” 

There is much to say about this description. Speaking of “tapestry”, 

Fitzsimmons was quite close to the metaphor that would be used later 

about Riopelle’s pictorial effect, when the word mosaic was used instead. 

The difference between Pollock and Riopelle was aptly put: Pollock 

worked with line, Riopelle with colour. In fact, Pollock came from Picasso 

and Riopelle from Monet. Even when Pollock broadened his lines, like in 

the magnificent Greyed Rainbow, 1953, at the Art Institute of Chicago, 

they remained what they were: lines. We should not forget that 1953 is the 

date of Pollock’s Portrait and a Dream, in the collection of the Dallas 

Museum of Art, where figuration influenced by Picasso clearly surfaced. 

In his article, Fitzsimmons insisted on the figurative effect of Riopelle’s 

Blue Night, stating, “For me the painting has the feeling of a dense forest at 

night with the blue night sky showing through the thick leaves and 

branches.” 

In fact, Blue Night was much more abstract than his contemporary 

Pollock’s painting of 1952 ~ 1953. And Fitzsimmons did not advance his 

case by stressing that since Riopelle was a Canadian, who “worked for a 

time as a trapper”, he must have known the forest! Why not say that 

Pollock, who came from Wyoming, worked as a cowboy and took the idea 

of his use of line from the movement of lashes By the way, this story of 

Riopelle having been a trapper was the pure invention of André Breton, 

who used to call him “le trappeur supérieur”. They liked trappers in Paris! 

In Paris, Riopelle and his American friends, Sam Francis and Joan 

Mitchell, had quite deliberately detached themselves from the vogue for 

Picasso after the war and became interested in Monet, who, when almost 

blind, transformed his beloved garden in Giverny into abstract fields of 

colour. This was understood early on by Francis and Riopelle: painting 

could be a colour field, more or less homogenous, that invaded the scope 

of vision. A French critic invented the word “nuagisme” (from nuage ~ 

cloud) to described the effect produced by their paintings. 

Riopelle in his Studio on rue Durantin, Paris, 1952 

Photograph: John Craven 

Courtesy of Yseult Riopelle


Riopelle in his Studio on rue Durantin, Paris, 1952 

Photograph: John Craven 

Courtesy of Yseult Riopelle 

In fact, the real affinity between Pollock and Riopelle lies at a deeper level. 

Both had been looking for a way to remain extremely conscious during 

the act of painting. Pollock put his canvas flat on the floor in order to 

dominate the whole surface. He created line with paint thrown from 

above, staying in constant control of what he was doing. Otherwise, he 

could not have achieved the all~over effect he was searching for. The 

canvas became, as Harry Rosenberg suggested, an “arena in which to act ~ 

rather than a space in which to reproduce, re~design, analyze, or express 

an object, actual or imagined”, an arena where “energy was made visible”, 

to quote the title of B.H. Friedman’s book on Pollock. The same was true 

of Riopelle. One has to realize how the use of the palette knife was as 

determinant for Riopelle as the drip technique was for Pollock. When the 

palette knife charged with colour was applied, the result was unknown, 

or rather it would only be known after Riopelle lifted it from the canvas. 

Then he would have to decide what to do after. Each stroke of the palette 

knife was a succession of hiding and emergence that made the painter 

extremely aware of what was happening on his canvas. Each stroke of 

paint became a conscious decision, always risky. 

In both cases, the consciousness of the process of painting was at the 

maximum. The very awareness of each painter made them feel in control 

of what was at stake on the canvas. Neither Pollock nor Riopelle wanted to 

get involved in copying nature, because they would have lost themselves 

in the object being painted. They wanted to “work from within”, as 

Pollock famously said. 

One last word about the title of the work ~ why Jouet (Toy) I don’t think 

Riopelle wanted to suggest that painting was for him just a playful activity. 

It was done with too much inner struggle to be considered as such. In fact, 

Riopelle had been often reluctant to give titles to his pictures, preferring 

to simply leave them untitled and to let others do the job. In 1953, he had 

two small children in the house ~ Yseult was five and Sylvie four years old. 

I imagine that there were some toys around! 




This work is accompanied by a photograph certificate of authenticity 

(#255~CA~GA) and will be included as an addendum to Volume I, 

#1953.056H in Yseult Riopelle’s catalogue raisonné on the artist’s work. 

ESTIMATE: $1,000,000 ~ 1,500,000


32 WILLIAM RONALD 

P11 RCA 1926 ~ 1998 

Jazz Town 

oil, duco and casein on board, signed and dated 1953 

and on verso signed on the stretcher 

and titled on the board and the stretcher 

36 x 48 in, 91.4 x 121.9 cm 

PROVENANCE: 



EXHIBITED: 

Eglinton Gallery, Toronto, Paintings: Karl May, William Ronald, 

March 1954 

Hart House, University of Toronto, William Ronald, Paintings and Poems, 

February 28 ~ March 13, 1955 

In 1952, William Ronald was awarded a Canadian Amateur Hockey 

Association scholarship, which allowed him to study with Hans Hofmann 

in New York for six months. His exposure to the New York School of 

Abstract Expressionists, generally accepted as the first American 

avant~garde movement of international significance, provided Ronald 

with the impetus for his own artistic development. American artists such 

as Jackson Pollock, Franz Kline and Willem de Kooning were turning the 

personal inside out and producing a new paradigm in art ~ raw, 

emotional, irascible and unwilling to pander to the concept of 

accessibility. As such, Jazz Town is an exciting and important painting, 

embodying Ronald’s initial experimentation with New York abstraction. 

Self~assured yet delicate, Jazz Town is an exploration of spontaneity and 

musical rhythm against a backdrop of a richly textured surface. The black 

bursts of paint almost dance along the canvas like notes on a musical staff 

against a sea of colourful harmony. The work pulses with Ronald’s energy, 

and, as an uncompromising abstraction will do, demands our sustained 

reflection. 

Jazz Town was exhibited at Hart House and was subsequently stored in 

Ronald’s studio for a number of years before being acquired directly from 

the artist by the current owner. 

ESTIMATE: $12,000 ~ 15,000 

32


33 RITA LETENDRE 

ARCA QMG 1929 ~ 

Réseaux d’intrigue 

oil on canvas, signed and dated 1958 and on verso 

signed, titled and dated on the stretcher 

26 x 32 1/4 in, 66 x 81.9 cm 

PROVENANCE: 


LITERATURE: 

Linda Jansma, Rita Letendre: Beginnings in Abstraction, 2005, 

The Robert McLaughlin Gallery, reproduced page 15 

EXHIBITED: 

The Robert McLaughlin Gallery, Oshawa, Rita Letendre: 

Beginnings in Abstraction, September 23, 2005 ~ September 24, 2006 

When she painted Réseaux d’intrigue in 1958, Rita Letendre’s work had 

achieved a level of maturity that was being rewarded with significant 

public recognition. She was exhibiting regularly in post~Automatist 

group shows, and a solo show at Montreal’s Galerie Artek in October of 

that year had earned her considerable favour with local critics. Although 

Letendre was a devoted pupil of Paul~Émile Borduas, this striking canvas 

implies contemplation of not only the instinctive approach of the 

Automatists, but also the coherent structure of the Plasticiens. While the 

use of a palette knife and tache~style marking is reminiscent of the 

paintings of Jean~Paul Riopelle, there is nonetheless a deliberate order to 

this composition that is premeditated and supremely conscious. Réseaux 

d’intrigue is an exceptional example of Letendre’s skill and identity as a 

modern painter; she participates in the dialogue of abstraction with 

currency and force, while contributing her own distinctive and influential 

attitudes. The exhibition of this work at The Robert McLaughlin Gallery 

in 2005 attests to Letendre’s enduring importance. This is a brilliant 

example of the artist in her most inspired and prolific years. 

Please note: this work is in the original frame made by the artist and is 

accompanied by The Robert McLaughlin Gallery exhibition catalogue. 

ESTIMATE: $35,000 ~ 45,000 

33


34




Côte sauvage (D) 


and on verso signed, titled, dated 

and inscribed pas a vendre 

31 1/2 x 39 in, 80 x 99 cm 

PROVENANCE: 

Laing Galleries, Toronto 



LITERATURE: 

G. Blair Laing, Memoirs of an Art Dealer, 1979, page 211 

This stunning painting was originally acquired from Jean~Paul Riopelle 

by one of Canada’s most famous dealers, G. Blair Laing of Toronto. 

Riopelle’s energetic paintings are intertwined with his dynamic life. As 

Laing writes in his memoirs, “Riopelle’s energy spilled over into just about 

everything he did. He owned a boat and cruised her on the 

Mediterranean, liked fast cars, went on hunting expeditions for wild boar, 

and loved salmon fishing. At a moment’s notice he would go off to the 

airport to catch the first plane to New York, without as much as a hand 

bag. He said he could buy anything he needed in New York…his dealer 

there, Pierre Matisse (Henri’s son), gave him unlimited credit. Riopelle 

knew many of the artists and sculptors of the day, like Zao Wou~Ki and 

Alberto Giacometti, but in general he was a lone wolf. Yet at the same time 

he was always the generous host, ready to take you to dinner at one of the 

many good small restaurants he knew. He and Joan [Mitchell] frequented 

the Dome and Coupole, and at both places his stocky frame and tousled 

black hair were well~known. I never missed a chance of seeing him on 

my trips to Paris, even if it meant an evening of wandering through 

Montparnasse bistros to find him.” Côte sauvage (D) displays Riopelle’s 

classic palette knife technique, and expresses the passion for life that is 

the artist at his best. 

This work will be included in Volume III of Yseult Riopelle’s forthcoming 

catalogue raisonné on the artist’s work. 

ESTIMATE: $150,000 ~ 200,000


35


35 MARCELLE FERRON 

AANFM CAPQ CAS QMG RCA SAPQ 1924 ~ 2001 

Sans titre 


57 1/2 x 44 3/4 in, 146 x 113.7 cm 

PROVENANCE: 


In 1962, Marcelle Ferron was in France, having left the oppressive 

societal atmosphere of Quebec in 1953. Borduas had died in Paris in 

1960, but Jean~Paul Riopelle and Fernand Leduc were still living there. 

Of all the Automatists, Ferron was perceived as the one closest to Borduas 

in her method of painting ~ she used a spatula and heavy impastos. But 

this is a rather superficial approach to her style. In Ferron’s paintings of 

the 1960s, three elements stand out as specifically her own: the gestural 

quality of her handling of the paint medium, the transparency of her 

colour and a definitively Canadian sense of space. 

However, in 1961 and in 1963, when she showed her recent paintings at 

Agnès Lefort Gallery in Montreal, some local critics spoke of the danger 

of decorativism in her painting, as if her use of subtle colouring, as in this 

work ~ mauve and orange ~ could be the means of being decorative. And, 

to tell the truth, why not Henri Matisse is decorative and Alfred Pellan 

also. Is it an irremediable defect or something to be ashamed of I think 

that this is not the real issue here. In fact, the real feeling that this specific 

Ferron painting conveys, with its tumbling of masses from above, with its 

sliding of colours and blacks into a snowy landscape at the bottom and its 

mysterious recesses in the middle, is the feeling of the sublime rather than 

the decoratively beautiful. It is the feeling one has facing an avalanche, not 

in reaction to pretty colours. 

You have to respond to the movement conveyed by each stroke of the 

spatula to understand the kind of vehemence which is expressed here, 

a vehemence I would qualify, knowing how Ferron felt about life and 

painting, as almost political. What is important about the colour is not the 

easy association one can make with the colour of flowers or lingerie; it is 

the transparency of that colour, creating the effect of deep recesses or of 

hanging planes wrapped above the void. One range of effects that painters 

who used the palette knife, like Ferron or Riopelle, could not achieve was 

the effect of a smooth surface with gradual changes of tone and colour, 

such as Dali accomplished with his academic technique à la Meissonnier. 

The work of the painters that used the spatula suggested on the contrary 

a range of more geologic associations, and in the case of Ferron, of ice, 

waves or gems. It is not surprising that she would later be interested in 

glass and would create huge stained glass murals for a metro station in 

Montreal (Champ~de~Mars) and for the Court of Justice in Granby, 

Quebec. Finally, there is a sense of the fragmented landscape, of 

something violent and almost chaotic in this painting. This is her 

Canadian dimension, although I know she would have preferred that 

I say Québécois. However, the historian gets the better of me in this. In 

1962, when she painted this work, she was in France, building up her 

international reputation. She was perceived by Herda Wescher and others 

as a Canadian painter, not yet as a Québécois. The Quiet Revolution had 

just begun in Quebec and Ferron would not go back there until 1966. Her 

commitment to the Quebec milieu, with her grand stained glass projects 

and her return to painting, would be of another era. 




ESTIMATE: $70,000 ~ 90,000


36 RODOLPHE (JAURAN) DE REPENTIGNY 

1926 ~ 1959 

Sans titre 

oil on board, on verso dated 1955 on a label 

23 x 26 1/4 in, 58.4 x 66.7 cm 

PROVENANCE: 


LITERATURE: 

Yves Lacasse and John R. Porter, editors, The Collection of the 

Musée des beaux~arts du Québec: A History of Art in Quebec, 2004, 

essay by Pierre Landry, page 152 

36 

EXHIBITED: 

L’Échourie, Montreal, Plasticiens, February 11 ~ March 2, 1955 

Musée d’art contemporain de Montréal, Jauran et les premiers 

Plasticiens, 1977 

Galerie Simon Blais, Montreal, Hommage aux premiers Plasticiens, 

April 13 ~ May 14, 2005 

Musée des beaux~arts de Sherbrooke, Les Plasticiens, 

June 11 ~ October 2, 2005 

Before becoming a founding member of the Plasticien group and an 

influential painter, Rodolphe de Repentigny was already a respected art 

critic for La Presse. In 1955, under the pseudonym Jauran, alongside 

Louis Belzile, Jean~Paul Jérôme and Fernand Toupin, de Repentigny 

wrote and launched the Plasticien manifesto which led to a new


37 JEAN~PHILIPPE 

DALLAIRE 

QMG 1916 ~ 1965 

Nu décoratif 

gouache on paper, signed, titled 

and inscribed Ottawa 

25 3/4 x 19 1/2 in, 65.4 x 49.5 cm 

PROVENANCE: 

Acquired directly from the Artist by the 

present Private Collection, Ontario 

Jean~Philippe Dallaire was born in Hull, Quebec in 

1916. He traveled and painted extensively in France, 

where he studied works by Picasso and the Cubists, 

as well as by Surrealist painters. It was also while 

abroad that he discovered the art of fellow 

Québécois artist Alfred Pellan, whose work 

encouraged Dallaire to continue his exploration 

of figurative painting. Although the time spent in 

France has obviously impacted the figure in Nu 

décoratif, the combination of bold and pastel tones 

together with sharp lines and dignified composition 

affords this work a characteristic intensity unique to 

Dallaire. Throughout his life, he ignored almost 

entirely the Abstract Expressionism being explored 

by his Canadian contemporaries and his inimitable 

style influenced a resurgence of figuration beginning 

in the 1960s. With the use of tiny brush~strokes and 

detailed application of paint, Dallaire creates in this 

work a remarkable sensation of movement while 

paradoxically rendering a tranquil figure in a still life 

setting. His sitter is sombre yet enchanting ~ her soft 

flesh inviting, but her two~toned stare is sharp and 

resistant ~ and by this, Dallaire affirms himself as a 

master manipulator of contrast and mood. 

ESTIMATE: $25,000 ~ 35,000 

37 

avant~garde movement in response to Automatism. With Piet Mondrian as their inspiration, 

what the Plasticiens cared about most were the plastic elements which unified their painting in 

a controlled way ~ colour, shade, texture, line and form ~ therefore ridding their painting of the 

expressive and intuitive characteristics that were central to Automatism. 

De Repentigny died at the age of 33 in a mountain climbing accident in 1959. Even though 

he produced few works, the impact of his œuvre was great, and the reverberations of his 

influence long~standing. This important and rare geometric abstract work was exhibited 

during the first Plasticien show at L’Échourie in 1955 and is perhaps the largest painting he ever 

produced. Pierre Landry wrote, “Jauran’s painted œuvre, based on Plasticien theory, served as a 

catalyst to the development of an abstract geometric style in Quebec that remained current 

into the 1970s and beyond.” 

ESTIMATE: $20,000 ~ 25,000


38 FERNAND LEDUC 

AANFM CAS QMG 1916 ~ 

Chromatisme binaire: violet cobalt 



19 3/4 x 24 in, 50,2 x 61 cm 

PROVENANCE: 


LITERATURE: 

Denise LeClerc, The Crisis of Abstraction in Canada: The 1950s, 

1992, page 48 

Fernand Leduc was one of the linking members that facilitated a 

transition between the Automatist and Plasticien movements in Quebec. 

An important artist for numerous reasons, Leduc was able to approach 

and unify critical themes in art abstraction that had yet to be tackled by 

the Automatists. The geometric style of Leduc’s painting was a break from 

the automatic painting style that his contemporaries such as Paul~Émile 

Borduas were fashioning. Chromatisme binaire: violet cobalt is a product of 

Leduc’s second period in Paris, where the influence of painter Jean 

Bazaine, for whom Automatist painting techniques developed from 

automatic writing had reached an impasse, can be seen. A key approach 

Bazaine espoused was the reconciliation of the experiments of modern art 

and Cubism with Thomist philosophy based on the teachings of Thomas 

Aquinas. As Denise LeClerc writes, “Leduc, a former seminarian with a 

philosophical bent, found himself on familiar ground here.” In this richly 

hued painting, Leduc has progressed to a more hard~edge style of 

abstraction, as seen in the linear shape of the lighter purple crescent 

contrasted against the dark, expansive background. 

ESTIMATE: $12,000 ~ 15,000 

38


39 WALTER HAWLEY YARWOOD 

ARCA CGP OSA P11 1917 ~ 1996 

Island 

oil on canvas laid down on board, 

signed and on verso signed and titled, 1958 

20 x 30 in, 50.8 x 76.2 cm 

PROVENANCE: 

Isaacs Gallery, Toronto 


LITERATURE: 

Roald Nasgaard, Abstract Painting In Canada, 2008, page 97 

Painters Eleven was a thought~provoking and progressive artistic group 

whose first meeting was in 1953 in Toronto. Their mentality drove Walter 

Yarwood to experiment with new elements in tightly organized abstract 

works such as Island. Barrie Hale, a critic of the period, saw this new 

painting form take shape and coined it “The Toronto Look”. He further 

stated that “the jeopardy of gesture, the path of the artist’s hand…over the 

surface of the painting, the orchestration of the artist’s entire means 

toward the final work itself ~ these stamp the Toronto artist of the time as 

clearly as the compulsion to shake the ‘respectability’ of the establishment 

painters that preceded them stamped their lives.” 

Fellow Painters Eleven artist Oscar Cahén influenced Yarwood heavily 

throughout his career. Cahén had a European German Expressionist 

aesthetic derived from his training in Europe, which Yarwood adapted in 

his abstracts. The use of indistinct images, central blocks of isolated 

colour and broad gestural brush~strokes are all present in this beautifully 

arranged composition. 

ESTIMATE: $15,000 ~ 20,000 

39


40


40 ALEXANDER COLVILLE 

OC 1920 ~ 

Coastal Figure 

glazed tempera on board, signed 

and dated 1951 and on verso 

signed, titled and dated 

25 1/4 x 55 in, 64.1 x 139.7 cm 

PROVENANCE: 


Private Collection, Ottawa 


LITERATURE: 

Helen Dow, The Art of Alex Colville, 1972, listed page 219 

David Burnett, Colville, 1983, page 64, reproduced page 72, 

catalogue raisonné #28 

Alex Colville has fascinated Canadian and international audiences since 

his work came to prominence in the 1950s. A public figure whose 

proudly conservative values cut against the perceived image of what an 

artist is and does, Colville the man ~ very like his quietly enigmatic and 

sometimes unsettling work ~ has staying power. 

Coastal Figure embodies many of the qualities that give Colville’s unique 

images their potency. Painted in 1951 when he was teaching studio art 

and art history at Mount Allison University in Sackville, New Brunswick, 

it is part of a group of early pictures with which he was, for the first time, 

satisfied. The sophistication of the work is manifest. The divisionist 

application of pigment is confident, as is the sense of place on Canada’s 

East Coast and the presentation of the female nude, a recurrent theme 

for Colville. He had his first solo exhibition in Canada in the year this 

canvas appeared, 1951. By 1953, he was exhibiting successfully in 

New York. 

Colville has said that there are “two qualities which are essential to an 

artist ~ the sense of humility and the sense of mystery.” Here we see both, 

even though Colville presents us with an everyday scene, one which we 

can easily understand, at least initially. A woman on a beach gazes towards 

the horizon. Colville values the quotidian, the rhythms of our everyday 

lives, those details and habits that he believes define us as individuals. He 

reveres nature as something much larger than the human. He is humble. 

Coastal Figure magically conveys a sense of mystery, too, an oddness that 

is less than menacing but not easily forgotten. 

While the landscape here may seem natural, its detail is radically 

suppressed. The scooped out shoreline at the top left of the picture ~ a line 

that repeats the curves of the woman’s back and thus weaves her into 

nature’s fabric ~ is the simplest of forms. Her line of sight is continuous 

with the horizon, melding the two. The beach and the woman are almost 

the same colour and both are rendered with Colville’s signature small, 

multicoloured brush~strokes. But what is the form in the water in the 

right middle of the picture It seems attached to the bather’s right knee yet 

appears behind it in space. We know rationally that it must be an island in 

the middle distance, but so akin to the woman’s form and texture is this 

shape that we are given pause to think about the connections between 

nature, ourselves, and the artistry that makes these links apparent. 

Colville is the consummate observer. He is methodical in his working 

methods, constantly measuring and balancing elements within the 

image. The paradox of his work ~ evident in Coastal Figure ~ is that his 

compulsive precision allows us to see what he cannot present visually. 

The foreground nude commands the picture space but she is ultimately 

dwarfed by nature. Colville thus manipulates and brings into close 

relationship two of the dominant themes of Western art, landscape and 

the female nude. The locale seems identifiable, yet the generality of the 

landscape points towards the universal. Colville thus has us ponder the 

connection between the local and the global. The work appears direct, 

even innocent, but it echoes not only the sculptural and more abstract 

nudes of Henry Moore but also the stillness of early Italian Renaissance 

painting. Colville’s seeing ~ like ours ~ is individual but also 

predetermined by the norms of art history. 

Coastal Figure was created only a few years after Colville returned from 

World War II. He stated, “The question in my mind at the end of the war 

was, ‘What does it mean’ There were questions of not only what to think, 

but of what to do.” It is within this large frame, one drawn for Colville by 

his readings in the existentialist philosophy of Albert Camus and others, 

that Coastal Figure emerges as a profoundly contemplative work. The 

woman gazes thoughtfully at nature. As a category ~ female, nude, the 

natural ~ rather than an individual, her gaze is that of art as a way of 

seeing. Colville asks what art can and should do. 

We thank Mark A. Cheetham, Professor in the Department of Art at the 

University of Toronto and author of Alex Colville: The Observer Observed, 

for contributing the above essay. 

ESTIMATE: $250,000 ~ 300,000




Trees on a Point, Mill Bay, BC 



24 x 36 in, 61 x 91.4 cm 

PROVENANCE: 


Private Collection, BC 

Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, 

May 25, 2006, lot 119 


LITERATURE: 

Jane Young, E.J. Hughes 1931 ~ 1982, Surrey Art Gallery, 1983, page 71 

Young wrote that E.J. Hughes “painted the world as a civilized and 

cultivated garden through which man wanders, at home and at peace.” 

Certainly this work, a peaceful beach scene with a group of people 

enjoying the stunning view of Saltspring Island with its cottages, and the 

standing figure contemplating the sunset, is all of that. Yet the intense 

colour and high contrasts of Hughes’s 1960s palette gives a heightened, 

almost supernatural atmosphere to this painting. He mixes dark clouds 

with brilliant white highlighted ones, and the effect is moody and 

exhilarating. 

This painting is full of patterns, from the scattering and piling of rocks on 

the shore to the layers of clouds in the sky. Everything is finely detailed, 

sharply defined and carefully placed. In the 1960s, a much sought~after 

period of his work, Hughes produced sublime landscapes by heightening 

colour and crystallizing each individual form. Trees on a Point, Mill Bay, 

BC, with its intense sunset light that electrifies the scene and its striking 

seashore setting, is an outstanding painting from this period. Hughes has 

brilliantly captured the dramatic light of a day’s end, with a sky of rich 

cobalt and teal slashed with brilliant burnt orange. 

ESTIMATE: $150,000 ~ 200,000 

41




Above Maple Bay 



25 x 32 in, 63.5 x 81.3 cm 

PROVENANCE: 


Masters Gallery Ltd., Calgary 


Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, 

May 25, 2006, lot 151 


LITERATURE: 

Ian M. Thom, E.J. Hughes, Vancouver Art Gallery, 2002, page 187 

Ian Thom observes, “By 1980, E.J. Hughes was the most important 

landscape painter working in British Columbia.” He was living in Duncan 

on Vancouver Island and was deeply devoted to his work. Hughes was 

receiving increasing recognition and in 1983, a retrospective exhibition 

organized by the Surrey Art Gallery traveled across the country to venues 

that included the National Gallery of Canada. This show, originating in 

Vancouver, was particularly significant as Hughes’s work had rarely been 

seen in depth in British Columbia up to this point. In this stunning view 

from Maple Bay, near Duncan, looking out toward Saltspring Island, the 

pale blue tones of sky and water glow transcendently with light. The 

scene utilizes a classic compositional device for Hughes ~ a bird’s~eye 

panoramic view over a sea dotted with pleasure craft, man a tiny but 

harmonious presence in the immensity of nature. This bird’s~eye view 

can be seen throughout Hughes’s career, such as in the 1957 canvas South 

Thompson Valley near Chase, BC, the 1959 canvas View of Shawnigan Lake, 

in the collection of the Mendel Art Gallery, and the 1983 canvas Above 

Finlayson Arm. 

ESTIMATE: $75,000 ~ 100,000 

42


PROVENANCE: 


EXHIBITED: 

Art Gallery of Toronto, Women’s Committee, 

Sixth Annual Sale of Paintings and Sculpture, 

November 7 ~ 16, 1952 

B.C. Binning, a pioneer modernist artist and educator, 

was a pivotal figure in the West Coast scene ~ at the 

University of British Columbia he was a professor at 

the School of Architecture, founding head of the Fine 

Arts Department and developer of the Fine Arts 

Gallery. Binning’s impulse toward abstraction 

developed from a 1948 series of works based on 

maritime themes, in which appear the abstracted 

shapes of hulls of ships, rigging, buoys and portholes. 

Works such as this playful yet formal painting are 

taken to an even greater degree of abstraction in which 

shapes float or are anchored in a loose grid of lines. 

The work shows the influence of the surrealist 

atmospheres of Joan Miró and Paul Klee, and Binning 

experiments with form, space, colour and texture, 

sparking an aesthetic response in the viewer. Binning’s 

title, Device for Receiving Aesthetic Response, implies 

that the painting is capable of drawing the viewer’s 

response into it. This delightful painting embodies 

Binning’s dichotomy in his work, his wit and joy 

versus his cool classicism, the intellect versus the 

arising unconscious. 

ESTIMATE: $20,000 ~ 25,000 

43 BERTRAM CHARLES 

(B.C.) BINNING 

BCSFA CGP CSGA OC RAIC RCA 1909 ~ 1976 

Device for Receiving Aesthetic Response 

oil on burlap on board, signed and on verso 

titled on the Art Gallery of Toronto label, 

circa 1952 

16 3/4 x 11 1/8 in, 42.5 x 28.3 cm 

43 



Museum Ship at Penticton, BC 

watercolour on paper, signed and dated 1994 

and on verso signed, titled on the paper 

and on the Dominion Gallery label as 

Museum Ship, Penticton 

and dated 

20 x 24 in, 50.8 x 61 cm 

PROVENANCE: 


Heffel Gallery Limited, Vancouver 


LITERATURE: 

E.J. Hughes, Paintings, Drawings & Watercolours, Heffel 

Gallery Limited, 1990, the 1959 pencil drawing of the 

same scene entitled Museum Ship, Penticton, BC 

reproduced, unpaginated


Leslie Allan Dawn and Patricia Salmon, E.J. Hughes: The Vast and Beautiful 

Interior, Kamloops Art Gallery, 1994, the 1959 pencil drawing of the same 

scene entitled Museum Ship, Penticton, BC reproduced page 41, this work 

listed page 72 

Jacques Barbeau, A Journey with E.J. Hughes, 2005, the 1959 pencil 

drawing of the same scene entitled Museum Ship, Penticton, BC 

reproduced page 6 

EXHIBITED: 

Kamloops Art Gallery, E.J. Hughes: The Vast and Beautiful Interior, 

September 22 ~ November 6, 1994, traveling to the Grand Forks Art 

Gallery, the Vernon Art Gallery, the Art Gallery of the South Okanagan, 

Penticton, the Kelowna Art Gallery and the Prince George Art Gallery, 

1994 ~ 1995, catalogue #46 

Asia Pacific Economic Conference, Vancouver, 1997 

E.J. Hughes was awarded a Canada Council Fellowship in 1958 to fund 

sketching trips within British Columbia, and traveled to the Interior that 

same year, spending two weeks in Penticton in June. One of the works 

that resulted from this trip was a 1959 finished tonal pencil drawing, 

known as a cartoon, entitled Museum Ship, Penticton, BC, which formed 

the basis for this magnificent watercolour. The scene is of the old 

sternwheeler, the SS Sicamous, which formerly plied Okanagan Lake, but 

had been beached at the south end of the lake in Penticton and converted 

into a museum. Boats were always an important and sought~after subject 

in Hughes’s work, and this superb watercolour reflects this interest. It is 

precisely detailed and colourful, with the line of rowboats, people at the 

rental shack and the piled~up paddles providing great visual interest. 

In all the elements of this superb watercolour, from the depiction of the 

historic boat embedded in the textured sand to the background of dry 

hills and distinctive cliffs above the west shore of the lake, Hughes 

exhibited his virtuoso technical ability and his deep understanding of 

the essence of British Columbia. 

ESTIMATE: $75,000 ~ 95,000 

44


45 THOMAS SHERLOCK HODGSON 

CGP CSPWC OSA P11 RCA 1924 ~ 2006 

Construction Road Signs 

oil on canvas, signed and dated 1963 and on verso 

signed, titled and dated on the stretcher 

41 3/4 x 54 1/4 in, 106 x 137.8 cm 

PROVENANCE: 



LITERATURE: 

J. Russell Harper, Painting in Canada: A History, 1967, page 349 

Joan M. Murray, Painters Eleven in Retrospect, The Robert McLaughlin 

Gallery, 1979, page 22 

Tom Hodgson was the youngest member of the Canadian group known as 

Painters Eleven. He developed a distinct and individualistic style of 

lyrical abstraction that by the early 1960s was well received nationwide. 

It is interesting to observe the correlation between Hodgson’s athleticism 

~ he was an Olympic paddling champion ~ and the style of his abstract 

brushwork. Critics have repeatedly mentioned the connection between 

the athlete and artist when referring to Hodgson. Joan Murray notes that, 

“…you see his abstractions as a reflection of the great sweep of his arm as 

a paddler.” In Construction Road Signs, this sweeping gesture is evident in 

the thin lines and broad brush~strokes of white paint. The colour palette 

of bright pinks and reds is symbolic of the subject; traffic lights and stops 

signs are clearly abstract in expression yet still figuratively discernible. 

Further to this, Russell Harper recognizes the narrative of action in 

Hodgson’s canvases, commenting, “Hodgson, an Abstract Expressionist, 

painted with a vigorous facility which has been described as reminiscent 

of Willem de Kooning.” Painters Eleven is credited with acculturating 

Canadian collectors to the beauty and importance of abstract painting 

at the time it was being produced, and Hodgson’s abstracts are 

representative of this formative era in Canadian art. 

ESTIMATE: $12,000 ~ 15,000 

45


46 JOANNE TOD 

1953 ~ 

Pox 

oil and acrylic on polyester, 

on verso signed, titled and dated 1994 

36 x 48 x 1 1/2 in, 91.4 x 121.9 x 3.8 cm 

PROVENANCE: 

Stux Gallery, New York 


LITERATURE: 

Correspondence between Joanne Tod and Nina Kim, Heffel Gallery Inc., 

Toronto, April 2009 

Since her first show at Toronto’s Carmen Lamanna Gallery in the early 

1980s, Joanne Tod has focused on socio~political themes in her painting 

that tackle issues of gender, race and class in contemporary life. One 

subject used to address these issues has been the depiction of interior 

spaces, in which she portrays the ironies of image, power and glamour 

in today’s culture. Tod produced work in response to claims that painting 

was a masculine art form and that images of the domestic sphere were not 

suitable subject matter for serious art. She challenges contemporary 

visual culture, creating new connections for her work, and ultimately, 

for other women artists. 

Tod comments on this work, “Pox is structured using two layers of 

polyester separated by the depth of the stretcher. The actual, physical 

layering of the material enhances the illusion of space. In the pictorial 

space, a Morris Louis Veil painting hangs on the far wall. The notion of 

veiling is reiterated in the cellular form hovering in front of the Louis. 

Pink fluorescent paint swatches further suggest spherical volume and 

the idea of an organism, which of course the title suggests is virulent.” 

ESTIMATE: $8,000 ~ 10,000 

46


48 

47 SOREL ETROG 

RCA 1933 ~ 

Untitled 

bronze sculpture on a black marble base, 

signed and editioned 7/10 

8 x 4 x 2 in, 20.3 x 10.2 x 5.1 cm 

PROVENANCE: 

Gallery Moos, Toronto; Collection of Ben and Yael Dunkleman, Toronto 


With this sculpture, Sorel Etrog’s interest in primitivism ~ the work of 

African and New Guinea sculptors ~ is apparent. Archaic figures and the 

slight stretching of the base are evident in Untitled. This stylization 

progressed to Etrog’s archetypal vertically stretched bases, seen in his 

bronzes from the early 1960s. Etrog is recognized internationally, and has 

shown at the Museum of Modern Art and the Solomon R. Guggenheim 

Museum in New York, the Centre Georges Pompidou in Paris, and many 

other institutions. 

ESTIMATE: $4,000 ~ 6,000 

47 



Hibou 

bronze sculpture, signed and editioned 2/8, circa 1969 

11 3/4 x 8 1/2 x 6 1/2 in, 29.8 x 21.6 x 16.5 cm 

PROVENANCE: 

Galerie Lelong, Paris; Private Collection, Montreal 

One of Jean~Paul Riopelle’s earliest surviving canvases of an owl, entitled 

Hibou premier and painted in 1939 to 1940, set the stage for what would 

become one of the most important subjects of his work, whether 

incorporated in an abstract or figurative form, and would give birth to a 

sculptural series of owls produced from 1969 to 1970. The owl became a 

symbol synonymous with Riopelle, and was a reflection of the way in 

which he developed his work. Riopelle’s gaze was often transfixed by the 

realm of another world, a realm that transcended the boundaries of time 

and space. This is similar to the gaze of an owl, a prophetic bird whose 

eyes can see the invisible. It was from this mysterious plane that Riopelle 

created his work ~ the bronze Hibou becoming the manifestation of his 

connection with the bird, and through its tactility and texture, the 

melding of his vision as a painter with that of a sculptor. 

Included with this lot is a copy of the invoice from Galerie Lelong, Paris. 

ESTIMATE: $15,000 ~ 20,000


49 

49 ROBERT CHARLES DAVIDSON 

BCSFA OC 1946 ~ 

Dunee 

bronze sculpture on black stone base with copper inlay, 

initialed and editioned 7/12, 2002 

11 1/2 x 10 1/2 x 7 in, 29.2 x 26.7 x 17.8 cm 

PROVENANCE: 

Eagle Spirit Gallery, Vancouver 

Private Collection, Australia 

Robert Davidson is a Haida sculptor of national and international 

acclaim. The great~grandson of renowned Haida carver Charles 

Edenshaw, Davidson takes the forms and myths of Haida history and 

expresses them in his own unique and contemporary style. Known 

for the purity and simplicity of his line and fluid form, in his work 

Davidson exhibits technical mastery and an authentic, timeless 

expression of his culture. 

This sculpture is a portrait mask of Davidson’s brother, Reg Davidson, 

who is also an artist. 

ESTIMATE: $9,000 ~ 12,000 

50 SOREL ETROG 

RCA 1933 ~ 

Queen 

bronze sculpture mounted on a wood base, 

signed and editioned 2/5 

6 3/4 x 3 x 3 3/4 in, 17.1 x 7.6 x 9.5 cm 

PROVENANCE: 

Gallery Moos, Toronto 

Collection of Ben and Yael Dunkleman, Toronto 


Sorel Etrog has been known to use sculpture as a medium to develop both 

contradictions and connections using space and material in his art. His 

sculpture Queen is a bronze cast of a powerful female form. For such a 

small work, the presence of this mysterious figure commands a greater 

volume of space and substance than the dimensions would suggest. Etrog 

alludes to a primitive sensibility, which is embodied in Queen. 

ESTIMATE: $4,000 ~ 6,000 

50


51 SERGE LEMOYNE 

1941 ~ 1998 

Maison II 

acrylic on canvas, on verso signed, 

titled on a label and dated October 1989 

30 x 36 in, 76.2 x 91.4 cm 

PROVENANCE: 


The theme of the house (maison) is significant in Serge Lemoyne’s œuvre. 

When Lemoyne, who was known as the enfant terrible of Quebec art, 

inherited the family home, built in 1875 in Acton Vale, he was greatly 

inspired to use it for different artistic purposes. It was used as a workshop, 

a gallery and even as a canvas. The house went through different 

colourful phases of metamorphosis and became a work of art in progress 

known as Maison ~ œuvre d’art. The house also became a great inspiration 

for Lemoyne’s painting series entitled Maison in which architectural 

elements converge into pure abstraction. This superb 1989 canvas is an 

outstanding example. 

Unfortunately, the municipality of Acton Vale opposed Lemoyne’s 

experimental art house. After several disputes in court that stretched 

over two years, Lemoyne passed away and the house was vandalized 

and sadly torn to pieces ~ only a few fragments survived. However, the 

essence of Lemoyne’s process there survives in the paintings from the 

Maison series, such as Maison II, in their unique and powerful resonance. 

ESTIMATE: $6,000 ~ 8,000 

51


52 RODOLPHE (JAURAN) DE REPENTIGNY 

1926 ~ 1959 

Sans titre 

oil on canvas laid down on board, 1954 

10 1/2 x 14 1/4 in, 26.7 x 36.2 cm 

PROVENANCE: 

A gift from the Artist to his sister~in~law 

By descent to the present Private Collection, Montreal 

Rodolphe de Repentigny was an avid intellectual who studied 

mathematics in Montreal and philosophy at La Sorbonne in Paris. 

When he returned to Quebec in the early 1950s, he was able to transfer 

his introspective and rigorous thoughts not only into his writings as a 

traveling art critic, but also into his paintings. What defines de 

Repentigny’s style is his individual authenticity, expressed in the way that 

he understands and conceives the act of creating within the Abstract 

Expressionist and Automatist contexts of the time. What de Repentigny 

and the first Plasticiens accomplished is considered to be the second 

turning point in Quebec’s art history, which paved the way for its 

post~1955 artistic evolution. Françoise de Repentigny recalls her 

husband painting this fine work in her parents’ garden during a beautiful 

sunny summer afternoon in 1954. It is clear to see how the blazing sun 

under which de Repentigny painted influenced this work, as exhibited 

by his rare use of vibrant reds. 

ESTIMATE: $8,000 ~ 10,000 

52


53 MAXWELL BENNETT BATES 

ASA CGP CSGA CSW RCA 1906 ~ 1980 

Brooklyn Tavern 


and on verso titled 

24 x 30 in, 61 x 76.2 cm 

PROVENANCE: 

Private Collection, BC; Private Collection, Stamford, Connecticut 


LITERATURE: 

Kathleen Snow, Maxwell Bates: Biography of an Artist, 1993, page 73 

In 1949, Maxwell Bates went to New York to study at the Brooklyn 

Museum Art School under Max Beckmann and Abraham Rattner. As an 

architect, he was fascinated by the buildings of New York and, according 

to Kathleen Snow, “found time to paint and sketch the New York scene, 

prowling the streets.” This work from 1973 was likely produced, while 

he was living in Victoria, from drawings and sketches executed in 1949. 

Bates’s dramatic use of colour has often been attributed to his admiration 

for the German Expressionists and his studies under Beckmann; these, 

along with exhibitions he had seen in London prior to World War II, 

were all influential to his developing style. Throughout his artistic 

development, Bates’s unique use of colour and his strong black outlines 

characterized his emphatic and candid approach. Bates stated that he was 

fascinated by cities with considerable history, and New York clearly made 

a lasting impression on him. Brooklyn Tavern is a lively work that contrasts 

the older tavern with a modern advertising billboard, and, true to Bates’s 

great affinity for humanity, includes neighbourhood characters such as 

the man with his cart. 

ESTIMATE: $12,000 ~ 16,000 

53


Goodridge Roberts’s landscape, still life and 

figurative images were of equal importance in his 

body of work. He produced self portraits 

throughout his life, but in 1953, following the death 

of his father, he produced about a dozen of them. 

A number of these paintings were exhibited in the 

Dominion Gallery that same year, and it is possible, 

given the gallery label, that this was one of them. 

These self portraits have rarely come to market since 

then; for example, only three of these paintings have 

sold at auction in the past 30 years. 

In this expressive work, Roberts shows himself in 

the studio with brush and palette in hand. With his 

face illuminated with a warm light, his gaze turns 

directly outward to the viewer, with a still and 

soulful regard. The studio backdrop is in the dark, 

putting all the emphasis on the essence of his state 

of being and the beauty of the painterly, 

expressionistic brush~strokes with which he 

defines his clothing and body. Roberts’s scrutiny 

of self reveals a sensitive introspective persona ~ he 

both read and wrote poetry, and Robert Ayre 

describes him as going “through life softly, slowly, 

gracefully like an old~fashioned gentleman…like 

some kind of young god.” Roberts captured a 

haunting, timeless quality in this fine self portrait. 

ESTIMATE: $15,000 ~ 20,000 

54 WILLIAM GOODRIDGE ROBERTS 

CAS CGP CSGA CSPWC OC OSA RCA 1904 ~ 1974 

Self Portrait 

oil on board, signed and on verso 

titled on the Dominion Gallery label, circa 1953 

32 x 25 in, 81.3 x 63.5 cm 

PROVENANCE: 



LITERATURE: 

James Borcoman, Goodridge Roberts: A Retrospective Exhibition, 

The National Gallery of Canada, 1969, essay by Robert Ayre, page 17 

54


55 

56



ARCA OC OSA 1927 ~ 1977 

Ambush in Manitoba #2 


6 1/2 x 17 3/4 in, 16.5 x 45.1 cm 

PROVENANCE: 


Alberta born and Manitoba raised, William Kurelek had an 

understanding of life on the Prairies that was hard~earned through 

experience. Farm chores and bitter winters, blinding summer sunlight 

and family picnics were the stuff of his youth, and it has been argued that 

no other Canadian artist captures these things more successfully in paint. 

In Ambush in Manitoba #2, we see a group of children in the very near 

ground, about to surprise another distant group with a snowball attack. 

The fight is staged in the centre of a vast sea of snow, hardened and 

smoothed by the winter winds. The only refuge, the corner of a building ~ 

perhaps a school ~ is off to one side. Evenly balanced, three against three, 

the targets have the advantage of the refuge, while we naturally feel a part 

of the attacking forces, since they are set within our space, close to the 

foreground of the work. Kurelek’s knack for including the viewer in his 

scenes is part of the reason his paintings are so engaging. We ride the 

tractor behind the farmer, sit at a table at the community centre or, as 

in this work, stand in the snow behind the ambushing children. 

ESTIMATE: $25,000 ~ 35,000 


ARCA OC OSA 1927 ~ 1977 

Rosedale Golf and Country Club ~ 

It’s Hard for Us to Realize 

mixed media on board, initialed, titled 

It’s Hard for Us to Realize and dated 1972 


22 x 41 3/4 in, 55.9 x 106 cm 

PROVENANCE: 

Acquired directly from the Artist in 1967 by a Private Collector, Toronto 


LITERATURE: 

William Kurelek, O Toronto, Paintings and Notes, 1971, page 24, similar 

mixed media work entitled It’s Hard for Us to Realize reproduced page 25 

Kurelek writes, “The setting is the Rosedale Golf and Country Club… 

I attended a wedding reception there a few years ago. Two years after that 

experience of sumptuousness and high fashion, I was walking the streets 

of Bombay in the company of a Capuchin monk. I try to get the feeling 

across that I had then of the contrast between the two ways of life by 

superimposing one scene on the other. In the foreground I’ve located my 

own house from Balsam Avenue, modest in comparison with some in the 

wealthier areas of town, but I placed right behind it the lean~to and 

culvert homes of India’s destitute. That’s the habitation contrast.” 

This painting is filled with Kurelek’s social commentary on the disparity 

between conditions in Canada and what he observed in India, such as 

people riding in golf carts contrasted with the overburdened coolies 

behind it and the wastefulness implied in the overflowing garbage cans. 

As Kurelek pointedly stated, “Indians would be overjoyed to receive the 

treasure we dispose of if it were possible to shoot our garbage over there 

by rocket.” 

ESTIMATE: $25,000 ~ 35,000


57 

57 WILLIAM GOODRIDGE 

ROBERTS 

CAS CGP CSGA CSPWC OC 

OSA RCA 1904 ~ 1974 

Nude 


dated 1961 and inscribed with 

the Roberts Inventory #1775 

48 x 32 in, 121.9 x 81.3 cm 

PROVENANCE: 


LITERATURE: 

Sandra Paikowsky, Goodridge Roberts: 

1904 ~ 1974, The McMichael Canadian Art 

Collection, 1998, page 195 

EXHIBITED: 

Galerie Walter Klinkhoff Inc., Montreal, 

Hommage à Goodridge Roberts (1904 ~ 1974), 

September 1983, catalogue #10 

Goodridge Roberts was known equally for 

his landscape, still life and figurative work. 

Sandra Paikowsky writes, “Around 1961, 

he produced a series of nudes which are 

among his most dramatic experiments with 

the figure. They were also the images which 

drew the most positive critical attention in 

the press.” These works were noted for their 

simplicity of setting, pronounced gestural 

brush~stroke and rich colour. Roberts’s 

backgrounds were vertical sections of 

abstract colour fields, as in this work with 

its brilliant blue and deep ochre areas. This 

emphasizes the three~dimensional volume 

of the model, whose body is sensuously 

defined with golden tones of paint against a 

scarlet cloth backdrop. The model fills the 

picture plane in this large and impressive 

painting. She faces the viewer, but her gaze 

is cool, oblique and non~confrontational ~ 

the paint itself carries emotion with its 

charged colouration and the passion of the 

expressionist brush~stroke. Roberts always 

worked directly from his subject, and Nude 

is a superb expression of his profoundly 

poetic process of seeing and feeling his 

subject through the medium of paint. 

ESTIMATE: $20,000 ~ 25,000


58 ATTILA RICHARD 

LUKACS 

1962 ~ 

Fuck 

oil on canvas, initialed and 

dated 1992 and on verso signed, 

dated and inscribed Berlin 

106 x 75 in, 269.2 x 190.5 cm 

PROVENANCE: 


Attila Lukacs emerged from a creative 

ferment during the mid~1980s at 

Vancouver’s Emily Carr College of Art, 

and was an immediate sensation. After 

living and working for ten years in 

Germany and exhibiting 

internationally, he moved to New 

York, where he painted this 

uncompromising work. Like the 

majority of Lukacs’s most powerful 

images, breathtaking in their 

originality and impact, this work 

exhibits a life lived on the edge. In 

many of his monumental paintings, 

Lukacs employs elaborate set pieces 

and sumptuously painted surfaces to 

draw us into his world, a world 

populated by groups of male 

skinheads or men in uniform. In 

these works, his depiction of the male 

figure, whether costumed or nude, 

deals with issues of power and control. 

Lukacs is well known for his themes of 

social deviance, sexual agression and 

seduction. The subject of Fuck seems 

to suggest a personal statement; 

bracketed by two sections of 

brilliantly coloured and emotionally 

charged space we find a central figure, 

engulfed by an abstract riot, alone and 

vulnerable. 

ESTIMATE: $30,000 ~ 40,000 

58


59 GORDON APPELBE SMITH 

BCSFA CGP CPE OC RCA 1919 ~ 

Bay of Fundy 

acrylic on canvas, on verso titled 

and dated A~9~1979 on the stretcher 

48 x 55 in, 121.9 x 139.7 cm 

PROVENANCE: 

Marlborough Godard Gallery, Toronto 


LITERATURE: 

Andrew Hunter and Ian M. Thom, Gordon Smith: The Act of Painting, 1997, 

pages 27 and 46, similar work entitled Cumberland Basin, Nova Scotia 

Series, CB #8, reproduced page 47 

Lawren Harris, when asked to comment on the work of Gordon Smith 

during a CBC radio broadcast, stated, “Here indeed is a true artist, whose 

work has the finest textural qualities, a restrained richness of colour 

values, the most satisfying paint qualities and the most forthright balance 

of all that goes to make a work of art satisfying and great.” This was high 

praise from one of Canada’s greatest artists for this accomplished painter. 

Smith re~envisioned the Canadian landscape through abstraction, and 

produced beautiful canvases that were inspired by his travels. For 

instance, it was the warm colours of the Egyptian desert that influenced 

the colour palette of his paintings of 1978 to 1980. This warm palette was 

particularly evident in his works painted in the summer of 1979, when he 

was teaching in Sackville, New Brunswick. In this superlative painting, 

he makes reference to landscape in the title, includes sky and horizon 

line, but dissolves land masses into abstract planes. Smith characterized 

his work of this time as being about “colour, the act of painting, surface 

sensitivity and space.” 

ESTIMATE: $10,000 ~ 15,000 

59


PROVENANCE: 

Gallery Moos, Toronto 


LITERATURE: 

Adele Freedman, Gershon Iskowitz: 

Painter of Light, 1982, pages 90, 95 

and 100 

On February 26, 1960, Gershon 

Iskowitz had his first one~man show 

at Dorothy Cameron’s Here and Now 

Gallery in Toronto. The show was a 

resounding success, receiving 

favourable reviews in the newspapers 

of the day. The importance of the 

show cannot be over~estimated, 

since it included paintings that 

showcased his gradual evolution 

from earlier images that depicted the 

atrocities of his indelible wartime 

experiences along with his 

developing, soft~edged paintings. 

Spring Images is an important work 

from 1964 as, although it is abstract, 

it maintains an adherence to his 

previous palette. It is a large canvas 

of transcendent qualities, and part 

of an entire body of work in which 

“recognizable images begin to 

disintegrate, float and move in a 

disembodied dance to the strains of 

ethereal music.” The painting engulfs 

the viewer in a sea of muted colours 

that coalesce into a spatial limbo. As 

Cameron said of his work, “He’d 

taken the Canadian landscape and 

just turned it into something we 

never saw in our own landscape. He 

saw this lovely, soft, romantic, golden 

afternoon.” 

ESTIMATE: $15,000 ~ 20,000 

60 GERSHON ISKOWITZ 

CSGA RCA 1921 ~ 1988 

Spring Images 

oil on canvas, on verso signed, titled and dated 1964 

54 1/2 x 39 1/2 in, 138.4 x 100.3 cm 

60




Laurentian Landscape 


inscribed with the Roberts Inventory #244 

32 x 48 in, 81.3 x 121.9 cm 

PROVENANCE: 


LITERATURE: 

Joan Murray, Canadian Art in the Twentieth Century, 1999, page 76 

Goodridge Roberts’s long love affair with the landscape of the Laurentian 

Mountains region began when he visited Morin Heights in the summer of 

1937. That sojourn was to be followed by many more summer visits, 

encouraged by the loan of John Lyman’s St. Jovite farmhouse in 1939 and 

1940, and continuing throughout the 1950s. He was clearly drawn by the 

Laurentians’ contrasting areas of rugged terrain, forest growth and 

pastoral farmland. As Joan Murray writes, “Roberts’s work came alive 

when he demonstrated that his vision of space could be as dynamic as it 

was descriptive…The animated exchange between paint and 

nature…are, in Roberts’s best canvases, a key to his work.” In this richly 

hued painting, Roberts tantalizes us with a scene redolent with the 

warmth of a mid~summer day. His ever~dynamic brushwork depicts the 

lushness of the growth in a fallow field, a brisk wind stirring the trees and 

the storm clouds that threaten above, while the remnants of a sunny day 

are reflected in the bright green of the foreground grasses. 

ESTIMATE: $15,000 ~ 20,000 

61




Clearing, Laurentians 

oil on board, signed and on verso titled 

and dated 1960 on the Roberts Gallery label 

24 x 36 in, 61 x 91.4 cm 

PROVENANCE: 

Roberts Gallery, Toronto 


ESTIMATE: $10,000 ~ 12,000 



Still Life with Casaba Melon 


24 x 32 in, 61 x 81.3 cm 

PROVENANCE: 


LITERATURE: 

Scott Watson, Jack Shadbolt, 1990, page 27, reproduced page 26 

In the early 1940s, Jack Shadbolt was painting luxuriant still lifes. Scott 

Watson writes, “The most noteworthy of these was his Still Life with 

Casaba Melon…which won the Beatrice Stone Medal at the BC Annual in 

1941. He wanted ‘to create cold grandeur out of burning colour’ and 

invested his melons with an almost anthropomorphic sexual tension.” 

ESTIMATE: $8,000 ~ 10,000 

62 

64 JOHN GEOFFREY CARUTHERS LITTLE 

ARCA 1928 ~ 

Deux jeunes filles avec une flaque d’eau, 

rue de la Salle, Québec 

oil on canvas, signed and on verso 

signed, titled and dated 1974 

12 x 16 in, 30.5 x 40.6 cm 

PROVENANCE: 


ESTIMATE: $6,000 ~ 8,000 

63 

64


65 JEAN~PHILIPPE DALLAIRE 

QMG 1916 ~ 1965 

La propriétaire 

oil on board, signed and dated 1951 

7 1/2 x 7 1/2 in, 19 x 19 cm 

PROVENANCE: 

Private Collection, Quebec 

After his return from France in 1947, Jean~Philippe Dallaire was offered a 

teaching position at L’École des beaux~arts in Quebec City. Inspired by the 

passion of his students, he began to paint with enthusiasm, and entered a 

period of creativity and prolificacy unsurpassed in his pre~war years. La 

propriétaire is an intriguing composition, and although suggestive of a scene 

rooted firmly in reality, Dallaire’s interpretation of perspective and inclusion 

of unworldly forms border on the surreal. 

ESTIMATE: $10,000 ~ 15,000 

65 

66 WILLIAM HODD (BILL) 

MCELCHERAN 

RCA 1927 ~ 1999 

Satisfied 

bronze sculpture, initialed, editioned 3/9 

and dated 1996 

30 1/2 x 10 x 12 in, 77.5 x 25.4 x 30.5 cm 

PROVENANCE: 


Bill McElcheran was known for producing sculpture that was 

planned to be integrated into architectural designs, as well as 

large and small freestanding sculptures. His public sculpture 

commissions are installed in the streets of Calgary and 

Toronto, as well as internationally in Germany, Italy, Japan 

and the United States. His best~known subject was the iconic 

businessman, the robust denizen of the financial world, 

whom he imbued with the irony and paradox of modern life. 

ESTIMATE: $12,000 ~ 16,000 

66


67 NUNA PARR 

1949 ~ 

Dancing Bear 

dark green serpentine stone sculpture, signed 

18 x 17 3/4 x 12 1/2 in, 45,7 x 45,1 x 31,7 cm 

PROVENANCE: 

Private Collection, Quebec 

Nuna Parr was born on Baffin Island near Cape Dorset, a vibrant arts 

centre. Parr worked with the local green soapstone known as serpentine, 

the quality of which allows the achievement of fluid form, delicate line 

and silky finish. His observation of wildlife while hunting naturally led 

him to carve animals, the powerful yet playful bear being one of his 

favoured subjects. His work is in the collection of the National Gallery 

of Canada. 

ESTIMATE: $6,000 ~ 8,000 

67 


QMG 1916 ~ 1965 

Head of a Young Hebrew 

oil on board, signed and on verso signed, 

titled and inscribed Ottawa, Canada, 1950 

13 1/3 x 11 1/2 in, 33.9 x 29.2 cm 

PROVENANCE: 

Acquired in the mid~1950s by the present Private Collector, Kelowna 

Head of a Young Hebrew is an exquisite example of the fantastic colours 

that typified ean~Philippe Dallaire’s work of the 1950s. A talented 

portrait painter, he was also very interested in design, and his painterly 

skill and calculated precision are highlighted here in brilliant hues ~ 

creating a simple yet highly expressive composition. 

Included with this lot is a greeting card hand painted in gouache by 

Dallaire and signed “Dal”. The card measures 6 1/8 x 4 7/8 inches, and 

is available for viewing on heffel.com. 

ESTIMATE: $5,000 ~ 7,000 

68


69 

69 AGATHA (GATHIE) FALK 

BCSA OC 1928 ~ 

Still Life with Fruit 

ceramic and mixed media sculpture 

8 x 22 x 10 in, 20.3 x 55.9 x 25.4 cm 

PROVENANCE: 

Equinox Gallery, Vancouver 


LITERATURE: 

Robin Laurence et al, Gathie Falk, Vancouver Art Gallery, 2000, page 19 

As well as being a painter, Gathie Falk is also a performance artist and 

sculptor. She has done an exceptional and unique body of work in 

ceramic, in which she elevated the simple things of everyday life to the 

status of precious artifacts ~ a split watermelon, symmetrical piles of fruit, 

shoes carefully placed in display cabinets and still life tableaus, such as 

this lusciously coloured work. For Falk, these works are about “the 

veneration of the ordinary” in which these everyday objects become 

extraordinary. 

ESTIMATE: $6,000 ~ 8,000 

70 

70 AGATHA (GATHIE) FALK 

BCSA OC 1928 ~ 

Heavenly Body: Moon & Cloud 

acrylic on canvas, signed, titled and dated 2004 

57 1/2 x 44 1/2 in, 146 x 113 cm 

PROVENANCE: 

Equinox Gallery, Vancouver 

Private Collection, Calgary 

Gathie Falk’s extraordinary paintings of night skies began in 1979, when, 

on a night walk, she heard an inner voice commanding her to paint the 

night sky. This inspiration was unconsciously seeded in Padua in 1977 by 

her viewing of a fresco by Giotto of an exquisite peacock~blue sky set with 

sun, moon and stars. This transcendent series was followed by more 

explorations of this subject beginning in 1999 with her series Heavenly 

Bodies ~ stellar landscapes that included such natural phenomena as the 

northern lights, Comet Hale~Bopp, the stars and, as in this beautiful 

painting, the moon and clouds illuminated by its rays. 

ESTIMATE: $6,000 ~ 8,000


71 RAYMOND JOHN MEAD 

CGP CSGA P11 1921 ~ 1998 

Rising 

collage and acrylic on board, 

initialed and dated 1961 ~ 1962 

13 x 27 in, 33 x 68.6 cm 

PROVENANCE: 


ESTIMATE: $6,000 ~ 8,000 

72 HENRIETTE FAUTEUX~MASSÉ 

1924 ~ 2005 

Sans titre 

oil and gesso on canvas, on verso 

signed on the stretcher, circa 1956 

22 x 14 in, 55.9 x 35.6 cm 

PROVENANCE: 



Henriette Fauteux~Massé was part of a generation of women in the early 

1950s who were not afraid to assert themselves as professional artists. She 

painted in a traditional landscape style until 1952, when a scholarship 

from the Government of Quebec allowed her to study at the André Lhote 

studio in Paris. Returning to Montreal, her vision and its expression were 

transformed, and from 1954 to 1970 she painted abstracts. In 2005, the 

Musée d’art contemporain des Laurentides held an important exhibition 

of Fauteux~Massé’s abstract work. 

ESTIMATE: $5,000 ~ 6,000 

71 

72



QMG 1916 ~ 1965 

Bouquet 

double~sided gouache on card, 


8 1/2 x 7 1/4 in, 21.6 x 18.4 cm 

PROVENANCE: 


Please note that the artist executed the work on a piece of card that was 

previously used for another painting, therefore there is an interesting 

cropped image of a still life on verso. 

The verso image is available for viewing on heffel.com. 

ESTIMATE: $5,000 ~ 7,000 

73 



Abstraction 

mixed media on paper board, 


15 x 12 in, 38.1 x 30.5 cm 

PROVENANCE: 

Galerie Gilles Corbeil, Montreal 

Galerie d’Art Vincent, Ottawa 


ESTIMATE: $4,000 ~ 6,000 

74


75 MOLLY JOAN LAMB BOBAK 

BCSFA CGP CPE CSGA CSPWC RCA 1922 ~ 

Beach at PEI 

oil on board, signed and on verso titled 

24 x 32 in, 61 x 81.3 cm 

PROVENANCE: 



LITERATURE: 

Doris Shadbolt, “Molly and Bruno Bobak”, Canadian Art, Spring 1959, 

Vol. IX, No. 3, page 124 

Molly Lamb Bobak moved to Fredericton in New Brunswick in 1960, 

and taught at the New Brunwick Art Centre. Bobak is known for her keen 

observations of the spectacle of passing life, and the sensitive, painterly 

qualities of her work. As Doris Shadbolt writes, “Her surfaces, with their 

uncalculating variety of brush work, their delighted acceptance of the 

accidental scumbling of underpainting, are fresh and exciting.” In Beach 

at PEI, Bobak treats the beach on Prince Edward Island like a beautiful 

golden colour field, painted with light~filled brush~strokes. At the 

water’s edge, she positions a group of clothed spectactors who, poised at 

edge of the dark ocean, create the intriguing sensation of standing at the 

brink of a mysterious realm. 

ESTIMATE: $8,000 ~ 12,000 

75 



Red Birds in the Grass 

mixed media on paper, signed and dated 1952 


36 x 26 in, 91.4 x 66 cm 

PROVENANCE: 

Downstairs Gallery, Edmonton 


LITERATURE: 


In the early 1950s, Jack Shadbolt began painting abstracted works that 

incorporated bird, insect and plant life, producing a series of works with 

organic life forms submerged in grasses. Shadbolt stated, “In my Field 

Grass themes…deep among the golden stems, or red stems, or 

dried~straw stems, or green stems, may be re~enacted the silent struggle 

of life.” Intrigued with the cycles of nature, Shadbolt observed life above 

and below the soil on his forested lot in Vancouver while building a house, 

and was also examining photographs of plant and fungus growth. In this 

playful work, identity of form is fluid, such as the seeded grass tips like 

arrow shafts, and the elements of organic life arise, displaying their 

heraldic forms around Shadbolt’s protagonists, the red birds. 

ESTIMATE: $7,000 ~ 9,000 

76


77 FERNAND LEDUC 

AANFM CAS QMG 1916 ~ 

Rouge mitoyen 


and on verso titled and dated on the stretcher 

39 1/4 x 32 in, 99.7 x 81.3 cm 

77 

PROVENANCE: 


LITERATURE: 

Line Ouellet, Fernand Leduc ~ Essay, 2007, 

http://www.canadacouncil.ca/ 

prizes/ggavma/2007/ 

gd128182784313408336.htm 

(accessed April 13, 2009) 

As the eldest member of Paul~Émile 

Borduas’s circle, and the theoretician 

among the signatories of the Refus Global, 

Fernand Leduc knew he would have to 

find his own course in order to reconcile 

the energy found in the unconscious with 

his deep~seated predilection for order. 

His work at that point became more 

concerned with the concept of a 

constructed order and the role of geometry 

in painting. But as the 1960s progressed, 

Leduc’s work became less preoccupied 

with the geometric and hard~edged 

properties of form and more involved with 

the interaction and contrast of colours. 

Shapes became somewhat softer and 

curvilinear, and the forms present in the 

work seemed to exist mainly to heighten 

varying depths of colour. Line Ouellet 

observes, “Like the Impressionists, Leduc 

is a true master of colour, whose hues and 

values he has tirelessly tested. These 

works require great clarity of vision on the 

part of the artist, and total immersion in 

the expanse of colour on the part of the 

viewer, the better to appreciate their many 

nuances. In such paintings, time and light 

meet and are held captive, to our very great 

delight.” 

ESTIMATE: $25,000 ~ 35,000




Composition en vert 

oil on canvas, signed 

and on verso dated 1959 on a label 

10 5/8 x 10 1/2 in, 27 x 26.7 cm 

PROVENANCE: 


Galerie Simon Blais, Montreal 


EXHIBITED: 

Galerie Simon Blais, Montreal, Marcelle Ferron ~ Oeuvres sur papier 

1954 ~ 1995, October 11 ~ November 25, 1995 

In 1953, Marcelle Ferron and her three daughters left Montreal for a new 

life in France. She spent the majority of the next 13 years in Paris and 

quickly gained attention from Parisian gallery owners and foreign 

collectors. Her Parisian period was one of the most prolific and creative of 

her life and, due to the success of such paintings as Composition en vert, 

Ferron returned to Canada as an internationally recognised artist in 1966. 

ESTIMATE: $10,000 ~ 12,000 

78 



Sans titre 

mixed media on paper, signed 

24 1/2 x 18 1/2 in, 62.2 x 47 cm 

PROVENANCE: 

Galerie Simon Blais, Montreal 


LITERATURE: 

Gaston Roberge, Autour de Marcelle Ferron, 1995, reproduced page 25 

ESTIMATE: $5,000 ~ 7,000 

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WHEN DID YOU LAST HAVE YOUR COLLECTION 

LOOKED AT BY AN EXPERT 

Speedway Sales 1996 ~ 2008 

$120,000 

$103,500 

$100,000 

$80,000 

$60,000 

$51,750 

SYBIL ANDREWS 

1898 ~ 1992 CANADIAN 

Speedway 

linocut in 4 colours 

12 3/4 x 9 1/2 in 

$40,000 

$20,000 

$~ 

$8,580 

$12,650 

1996 1999 2006 2008 

In 12 years Speedway by 

Sybil Andrews appreciated 1,200% 

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Sales Tax means the Federal and Provincial sales and excise taxes 

applicable in the jurisdiction of sale of the Lot; 

10 PROCEEDS OF SALE 

The net amount due to the Consignor from the Auction House, 

which shall be the Hammer Price less commission at the 

Published Rates and Expenses and any other amounts due to the 

Auction House or associated companies; 

11 LIVE AND ONLINE AUCTIONS 

These Terms and Conditions of Business apply to all live and 

online auction sales conducted by the Auction House. For the 

purposes of online auctions, all references to the Auctioneer shall 

mean the Auction House and Knocked Down is a literal reference 

defining the close of the auction sale. 

1 THE AUCTION HOUSE 

The Auction House acts solely as agent for the Consignor, 

except as otherwise provided herein. 

2 THE PURCHASER 

(a) 

The highest bidder acknowledged by the Auctioneer as the 

highest bidder at the time the Lot is Knocked Down; 

(b) The Auctioneer has the right, at his sole discretion, to reopen 

a Lot if he has inadvertently missed a Bid, or if a Bidder 

immediately at the close of a Lot notifies the Auctioneer of his 

intent to Bid; 

(c) The Auctioneer shall have the right to regulate and control 

the bidding and to advance the bids in whatever intervals he 

considers appropriate for the Lot in question; 

(d) The Auction House shall have absolute discretion in settling 

any dispute in determining the successful bidder; 

(e) Every bidder shall be deemed to act as principal unless the 

Auction House has acknowledged in writing prior to the date 

of the auction, that the bidder is acting as agent on behalf of a 

disclosed principal and where such agency relationship is 

acceptable to the Auction House; 

(f) The Purchaser acknowledges that invoices generated during 

the sale or shortly after may not be error~free, and therefore 

are subject to review; and, 

(g) Every bidder shall submit a fully completed Registration 

Form and provide the required information to the Auction 

House. Every bidder will be assigned a unique paddle 

number. For online auctions, a password will be created for 

use in the current and future online sales only. This online 

registration procedure may require up to twenty~four (24) 

hours to complete. 

3 PURCHASER’S PRICE 

The Purchaser shall pay the Purchase Price to the Auction 

House. 

4 SALES TAX EXEMPTION 

All or part of the Sales Tax may be exempt in certain 

circumstances if the Lot is delivered or otherwise removed 

from the jurisdiction of sale of the Lot. It is the Purchaser’s 

obligation to demonstrate, to the satisfaction of the Auction 

House, that such delivery or removal results in an exemption 

from the relevant Sales Tax legislation. Shipments out of the 

jurisdiction of sale of the Lot(s) shall only be eligible for 

exemption from Sales Tax if shipped directly from the


Auction House and appropriate delivery documentation is 

provided, in advance, to the Auction House. All claims for 

Sales Tax exemption must be made prior to or at the time of 

payment of the Purchase Price. Sales Tax will not be refunded 

once the Auction House has released the Lot. 

5 PAYMENT OF THE PURCHASE PRICE 

(a) The Purchaser shall: 

(i) Unless he has already done so, provide the Auction House 

with his name, address and banking or other suitable 

references as may be required by the Auction House; and, 

(ii) Payment must be made within seven (7) days from the 

date of the auction by: a) Bank Wire direct to our account, 

b) Certified Cheque or Bank Draft, unless otherwise 

arranged in advance with the Auction House, or c) a 

cheque accompanied by a current Letter of Credit from 

the Purchaser’s bank which will guarantee the amount of 

the cheque (release of Lot subject to clearance of cheque). 

Credit card payments subject to a maximum of $5,000, if 

you are providing your credit card details by fax (for 

purchases in North America only) or to a maximum of 

$25,000 if the card is presented in person with valid 

identification. In all other circumstances, we accept 

payment by wire transfer. 

(b) Title shall pass, and release and/or delivery of the Lot shall 

occur, only upon payment of the Purchase Price by the 

Purchaser to the Auction House. 

6 DESCRIPTIONS OF LOT 

(a) 

All representations or statements made by the Auction House, 

or in the Consignment Agreement, or in the catalogue or 

other publication or report, as to the authorship, origin, date, 

age, size, medium, attribution, genuineness, provenance, 

condition or estimated selling price of the Lot, are statements 

of opinion only; 

(b) All photographic representations and other illustrations 

presented in the catalogue are solely for guidance and are not 

to be relied upon in terms of tone or colour or necessarily to 

reveal any imperfections in the Lot; 

(c) Many Lots are of an age or nature which precludes their being 

in pristine condition. Some descriptions in the catalogue or 

given by way of condition report make reference to damage 

and/or restoration. Such information is given for guidance 

only and the absence of such a reference does not imply that 

a Lot is free from defects, nor does any reference to particular 

defects imply the absence of others; and, 

(d) The prospective Purchaser must satisfy himself as to all 

matters referred to in (a), (b) and (c) of this paragraph by 

inspection, other investigation or otherwise prior to the sale 

of the Lot. If the prospective Purchaser is unable to personally 

view any Lot, the Auction House may, upon request, e~mail 

or fax a condition report describing the Lot to the prospective 

Purchaser. 

7 PURCHASED LOT 

(a) 

The Purchaser shall collect the Lot from the Auction House 

within seven (7) days from the date of the auction sale, after 

which date the Purchaser shall be responsible for all Expenses 

until the date the Lot is removed from the offices of the 

Auction House; 

(b) All packing and handling of the Lot by the Auction House is 

undertaken solely as a service to the Purchaser, and will only 

be undertaken at the discretion of the Auction House and at 

the Purchaser’s risk; and, 

(c) The Auction House shall not be liable for any damage to glass 

or frames of the Lot and shall not be liable for any errors or 

omissions or damage caused by packers and shippers, 

whether or not such agent was recommended by the Auction 

House. 

8 RISK 

(a) The purchased Lot shall be at the Consignor’s risk in all 

respects for seven (7) days after the auction sale, after which 

the Lot will be at the Purchaser’s risk. The Purchaser may 

arrange insurance coverage through the Auction House at the 

then prevailing rates and subject to the then existing policy. 

(b) Neither the Auction House nor its employees nor its agents 

shall be liable for any loss or damage of any kind to the Lot, 

whether caused by negligence or otherwise, while any Lot is 

in or under the custody or control of the Auction House. 

9 NON~PAYMENT AND FAILURE TO COLLECT LOT(S) 

If the Purchaser fails either to pay for or to take away any Lot 

within seven (7) days from the date of the auction sale, the 

Auction House may in its absolute discretion be entitled to 

one or more of the following remedies without providing 

further notice to the Purchaser and without prejudice to any 

other rights or remedies the Auction House may have: 

(a) To issue judicial proceedings against the Purchaser for 

damages for breach of contract together with the costs of such 

proceedings on a full indemnity basis; 

(b) To rescind the sale of that or any other Lots sold to the 

Purchaser; 

(c) To resell the Lot or cause it to be resold by public or private 

sale, or by way of live or online auction, with any deficiency 

to be claimed from the Purchaser and any surplus, after 

Expenses, to be delivered to the Purchaser; 

(d) To store the Lot on the premises of the Auction House or 

elsewhere, and to release the Lot to the Purchaser only after 

payment of the full Purchase Price and associated cost to the 

Auction House; 

(e) To charge interest on the Purchase Price at the rate of five 

percent (5%) above the Royal Bank of Canada base rate at the 

time of the auction sale and adjusted month to month 

thereafter; 

(f) To retain that or any other Lot sold to the Purchaser at the


same or any other auction and release the same only after 

payment of the aggregate outstanding Purchase Price; 

(g) To apply any Proceeds of Sale of any Lot then due or at any 

time thereafter becoming due to the Purchaser towards 

settlement of the Purchase Price, and the Auction House shall 

be entitled to a lien on any other property of the Purchaser 

which is in the Auction House possession for any purpose; 

and, 

(h) To apply any payments by the Purchaser to the Auction 

House towards any sums owing from the Purchaser to the 

Auction House or to any associated company of the Auction 

House without regard to any directions of the Purchaser or 

his agent, whether express or implied. 

10 GUARANTEE 

The Auction House, its employees and agents, shall not be 

responsible for the correctness of any statement as to the 

authorship, origin, date, age, size, medium, attribution, 

genuineness or provenance of any Lot or for any other errors 

of description or for any faults or defects in any Lot and no 

warranty whatsoever is given by the Auction House, its 

employees or agents in respect of any Lot and any express or 

implied conditions or warranties are hereby excluded. 

11 ATTENDANCE BY PURCHASER 

(a) 

Prospective Purchasers are advised to inspect the Lot(s) 

before the sale, and to satisfy themselves as to the description, 

attribution and condition of each Lot. The Auction House will 

arrange suitable viewing conditions during the preview 

preceding the sale, or by private appointment; 

(b) Prospective Purchasers are advised to personally attend the 

sale. However, if they are unable to attend, the Auction House 

will execute bids on their behalf subject to completion of the 

proper Absentee Bid Form, duly signed and delivered to the 

Auction House forty~eight (48) hours before the start of the 

auction sale. The Auction House shall not be responsible nor 

liable in the making of any such bid by its employees or 

agents; 

(c) In the event that the Auction House has received more than 

one Absentee Bid Form on a Lot for an identical amount and 

at auction those absentee bids are the highest bids for that 

Lot, the Lot shall be Knocked Down to the person whose 

Absentee Bid Form was received first; and, 

(d) At the discretion of the Auction House, the Auction House 

may execute bids, if appropriately instructed by telephone, on 

behalf of the prospective purchaser, and the prospective 

purchaser hereby agrees that neither the Auction House nor 

its employees nor agents shall be liable to either the Purchaser 

or the Consignor for any neglect or default in making such a 

bid. 

12 EXPORT PERMITS 

Without limitation, the Purchaser acknowledges that certain 

property of Canadian cultural importance sold by the Auction 

C 

House may be subject to the provisions of the Cultural 

Property Export and Import Act (Canada), and that compliance 

with the provisions of the said act is the sole responsibility of 

the Purchaser. 

THE CONSIGNOR: 

1 THE AUCTION HOUSE 

(a) 

The Auction House shall have absolute discretion as to 

whether the Lot is suitable for sale, the particular auction sale 

for the Lot, the date of the auction sale, the manner in which 

the auction sale is conducted, the catalogue descriptions of 

the Lot, and any other matters related to the sale of the Lot at 

the auction sale; 

(b) The Auction House reserves the right to withdraw any Lot at 

any time prior to the auction sale if, in the sole discretion of 

the Auction House: 

(i) there is doubt as to its authenticity; 

(ii) there is doubt as to the accuracy of any of the Consignor’s 

representations or warranties; 

(iii) the Consignor has breached or is about to breach any 

provisions of the Consignment Agreement; or 

(iv) any other just cause exists. 

(c) In the event of a withdrawal pursuant to Condition C.1.b.(ii) 

or C.1.b.(iii), the Consignor shall pay a charge to the Auction 

House, as provided in Condition C.8. 

2 WARRANTIES AND INDEMNITIES 

(a) 

The Consignor warrants to the Auction House and to the 

Purchaser that the Consignor has and shall be able to deliver 

unencumbered title to the Lot, free and clear of all claims; 

(b) The Consignor shall indemnify the Auction House, its 

employees and agents and the Purchaser against all claims 

made or proceedings brought by persons entitled or 

purporting to be entitled to the Lot; 

(c) The Consignor shall indemnify the Auction House, its 

employees and agents and the Purchaser against all claims 

made or proceedings brought due to any default of the 

Consignor in complying with any applicable legislation, 

regulations and these terms and Conditions of Business; and, 

(d) The Consignor shall reimburse the Auction House in full and 

on demand for all Expenses or any other loss or damage 

whatsoever made, incurred or suffered as a result of any 

breach by the Consignor of C.2.a and/or C.2.c above. 

3 RESERVES 

The Auction House is authorized by the Consignor to Knock 

Down a Lot at less than the Reserve, provided that, for the 

purposes of calculating the Proceeds of Sale due to the 

Consignor, the Hammer Price shall be deemed to be the full 

amount of the agreed Reserve established by the Auction 

House and the Consignor.


4 COMMISSION AND EXPENSES 

(a) 

The Consignor authorizes the Auction House to deduct the 

Consignor’s Commission and Expenses from the Hammer 

Price and, notwithstanding that the Auction House is the 

Consignor’s agent, acknowledges that the Auction House shall 

retain the Buyer’s Premium; 

(b) The Consignor shall pay and authorizes the Auction House to 

deduct all Expenses incurred on behalf of the Consignor, 

together with any Sales Tax thereon; and, 

(c) The charge for illustrating a Lot in the live auction sale 

catalogue shall be a flat fee paid by the Consignor of $500 for 

a large size reproduction and $275 for a small reproduction, 

per item in each Lot, together with any Sales Tax chargeable 

thereon. The Auction House retains all rights to photographic 

and printing material and the right of reproduction of such 

photographs. The charge for online digital photography, 

cataloguing and internet posting is a flat fee of $100 per Lot. 

5 INSURANCE 

(a) 

Lots are only covered by insurance under the Fine Arts 

Insurance Policy of the Auction House if the consignor so 

authorizes; 

(b) The rate of insurance premium payable by the Consignor is 

$15 per $1,000 (01.5%) of the greater value of the high 

estimate value of the Lot or the realized Hammer Price or for 

the alternative amount as specified in the Consignment 

Receipt; 

(c) If the Consignor instructs the Auction House not to insure a 

Lot, it shall at all times remain at the risk of the Consignor 

who hereby undertakes to: 

(i) indemnify the Auction House against all claims made or 

proceedings brought against the Auction House in respect 

of loss or damage to the Lot of whatever nature, 

howsoever and wheresoever occurred, and in any 

circumstances even where negligence is alleged or proven; 

(ii) reimburse the Auction House for all Expenses incurred by 

the Auction House. Any payment which the Auction 

House shall make in respect of such loss or damage or 

Expenses shall be binding upon the Consignor and shall 

be accepted by the Consignor as conclusive evidence that 

the Auction House was liable to make such payment; and, 

(iii) notify any insurer of the existence of the indemnity 

contained in these Terms and Conditions of Business; 

(d) The Auction House does not accept responsibility for Lots 

damaged by changes in atmospheric conditions and the 

Auction House shall not be liable for such damage nor for any 

other damage to picture frames or to glass in picture frames; 

and, 

(e) The value for which a Lot is insured under the Fine Arts 

Policy of the Auction House in accordance with sub~clause 

C.4.b above shall be the total amount due to the Consignor in 

the event of a successful claim being made against the 

Auction House. 

6 PAYMENT OF PROCEEDS OF SALE 

(a) 

The Auction House shall pay the Proceeds of Sale to the 

Consignor thirty~five (35) days after the date of sale, if the 

Auction House has been paid the Purchase Price in full by the 

Purchaser; 

(b) If the Auction House has not received the Purchase Price from 

the Purchaser within the time period specified, then the 

Auction House will pay the Proceeds of Sale within seven (7) 

working days following receipt of the Purchase Price from the 

Purchaser; and, 

(c) If before the Purchase Price is paid in full by the Purchaser, 

the Auction House pays the Consignor an amount equal to 

the Proceeds of Sale, title to the property in the Lot shall pass 

to the Auction House. 

7 COLLECTION OF THE PURCHASE PRICE 

If the Purchaser fails to pay to the Auction House the 

Purchase Price within thirty (30) days after the date of sale, 

the Auction House will endeavour to take the Consignor’s 

instructions as to the appropriate course of action to be 

taken and, so far as in the Auction House’s opinion such 

instructions are practicable, will assist the Consignor in 

recovering the Purchase Price from the Purchaser, save that 

the Auction House shall not be obligated to issue judicial 

proceedings against the Purchaser in its own name. 

Notwithstanding the foregoing, the Auction House reserves 

the right and is hereby authorized at the Consignor’s expense, 

and in each case at the absolute discretion of the Auction 

House, to agree to special terms for payment of the Purchase 

Price, to remove, store and insure the Lot sold, to settle 

claims made by or against the Purchaser on such terms as the 

Auction House shall think fit, to take such steps as are 

necessary to collect monies from the Purchaser to the 

Consignor and, if appropriate, to set aside the sale and refund 

money to the Purchaser. 

8 CHARGES FOR WITHDRAWN LOTS 

The Consignor may not withdraw a Lot prior to the auction 

sale without the consent of the Auction House. In the event 

that such consent is given, or in the event of a withdrawal 

pursuant to Condition C.1.b.(ii) or (iii), a charge of, 

whichever is greater, twenty~five percent (25%) of the high 

pre~sale estimate or the insured value, together with any 

applicable Sales Tax and Expenses, is immediately payable to 

the Auction House, prior to any release of property. 

9 UNSOLD LOTS 

(a) 

Unsold Lots must be collected at the Consignor’s expense 

within the period of ninety (90) days after receipt by the 

Consignor of notice from the Auction House. Upon the 

expiration of such a period, the Auction House shall have the 

right to sell such Lots by public or private sale and on such 

terms as it thinks fit and to deduct from the Proceeds of Sale 

any sum owing to the Auction House or to any associated 

company of the Auction House including Expenses, before


remitting the balance to the Consignor. If the Consignor 

cannot be traced, the Auction House shall place the funds in a 

bank account in the name of the Auction House for the 

Consignor. In this condition the expression “Proceeds of Sale” 

shall have the same meaning in relation to a private sale as it 

has in relation to a sale by auction; 

(b) Lots returned at the Consignor’s request shall be returned at 

the Consignor’s risk and expense and will not be insured in 

transit unless the Auction House is otherwise instructed by 

the Consignor; and, 

(c) If any Lot is unsold by auction, the Auction House is 

authorized as the exclusive agent for the Consignor for a 

period of 90 days following the auction to sell such Lot 

privately for a price that will result in a payment to the 

Consignor of not less than the net amount (i.e., after 

deduction of the Auction House Commission and Expenses) 

to which the Consignor would have been entitled had the Lot 

been sold at a price equal to the agreed Reserve, or for such 

lesser amount as the Auction House and the Consignor shall 

agree. In such event the Consignor’s obligations to the 

Auction House hereunder with respect to such a Lot are the 

same as if it had been sold at auction. 

10 CONSIGNOR’S SALES TAX STATUS 

The Consignor shall give to the Auction House all relevant 

information as to his Sales Tax status with regard to the Lot to 

be sold, which he warrants is and will be correct and upon 

which the Auction House shall be entitled to rely. 

11 PHOTOGRAPHS AND ILLUSTRATIONS 

In consideration of the Auction House’s services to the 

Consignor, the Consignor hereby warrants and represents to 

the Auction House that it has the right to grant to the Auction 

House, and the Consignor does hereby grant to the Auction 

House, a non~exclusive, perpetual, fully paid~up, royalty free 

and non~revocable right and permission to: 

(a) reproduce (by illustration, photograph, electronic 

reproduction, or any other form or medium whether 

presently known or hereinafter devised) any work within any 

Lot given to the Auction House for sale by the Consignor; and 

(b) use and publish such illustration, photograph or other 

reproduction in connection with the public exhibition, 

promotion and sale of the Lot in question and otherwise in 

connection with the operation of the Auction House’s 

business, including without limitation by including the 

illustration, photograph or other reproduction in promotional 

catalogues, compilations, the Auction House’s Art Index, and 

other publications and materials distributed to the public, 

and by communicating the illustration, photograph or other 

reproduction to the public by telecommunication via an 

Internet website operated by or affiliated with the Auction 

House (“Permission”). Moreover, the Consignor makes the 

same warranty and representation and grants the same 

Permission to the Auction House in respect of any 

D 

illustrations, photographs or other reproductions of any work 

provided to the Auction House by the Consignor. The 

Consignor agrees to fully indemnify the Auction House and 

hold it harmless from any damages caused to the Auction 

House by reason of any breach by the Consignor of this 

warranty and representation. 

GENERAL CONDITIONS: 

1 The Auction House as agent for the Consignor is not 

responsible for any default by the Consignor or the Purchaser. 

2 The Auction House shall have the right at its absolute 

discretion to refuse admission to its premises or attendance 

at its auctions by any person. 

3 The Auction House has the right at its absolute discretion to 

refuse any bid, to advance the bidding as it may decide, to 

withdraw or divide any Lot, to combine any two or more 

Lots and, in the case of dispute, to put up any Lot for 

auction again. 

4 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 is 

given; and the Auction House shall hold any indemnity on 

trust for its employees and agents where it is expressed to be 

for their benefit. 

5 Any notice given hereunder shall be in writing and if given by 

post shall be deemed to have been duly received by the 

addressee within three (3) business days. 

6 The copyright for all illustrations and written matter relating 

to the Lots shall be and will remain at all times the absolute 

property of the Auction House and shall not, without the 

prior written consent of the Auction House, be used by any 

other person. 

7 This Agreement shall be governed by and construed in 

accordance with British Columbia law and the laws of Canada 

applicable therein and all parties concerned hereby submit to 

the exclusive jurisdiction of the British Columbia Courts. 

8 Unless otherwise provided for herein, all monetary amounts 

referred to herein shall refer to the lawful money of Canada. 

9 All words importing the singular number shall include the 

plural and vice versa, and words importing the use of any 

gender shall include the masculine, feminine and neuter 

genders and the word “person” shall include an individual, a 

trust, a partnership, a body corporate, an association or other 

incorporated or unincorporated organization or entity. 

The Purchaser and the Consignor are hereby advised to read fully the Agreement 

which sets out and establishes the rights and obligations of the Auction House, the 

Purchaser and the Consignor and the terms by which the Auction House shall 

conduct the sale and handle other related matters. 

Version 2008.10, © Heffel Gallery Limited


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 executed in whole or in part by the 

named artist. 

STUDIO OF CORNELIUS DAVID KRIEGHOFF 

In our best judgment, a work by an unknown hand in the studio 

of the artist, possibly executed under the supervision of the 

named artist. 

CIRCLE OF CORNELIUS DAVID KRIEGHOFF 

In our best judgment, a work of the period of the artist, closely 

related to the style of the named artist. 

MANNER OF CORNELIUS DAVID KRIEGHOFF 

In our best judgment, a work in the style of the named artist and 

of a later date. 

AFTER CORNELIUS DAVID KRIEGHOFF 

In our best judgment, a copy of a known work of the named artist. 

DIMENSIONS 

Measurements are given height before width in both inches and 

centimetres. 

PICTURE FRAMES 

Pictures are framed unless otherwise noted. 

SIGNED / TITLED / DATED 

In our best judgment, the work has been signed/titled/dated by 

the artist. If we state “dated 1856” then the artist has inscribed 

the date when the work was produced. If the artist has not 

inscribed the date and we state “1856”, then it is known the work 

was produced in 1856, based on independent research. If the 

artist has not inscribed the date and there is no independent date 

reference, then the use of “circa” approximates the date based on 

style and period. 

BEARS SIGNATURE / BEARS DATE 

In our best judgment, the signature/date is by a hand other than 

that of the artist. 

PROVENANCE 

Is intended to indicate previous collections or owners. 

CERTIFICATES / LITERATURE / EXHIBITED 

Any reference to certificates, literature or exhibition history 

represents the best judgment of the authority or authors named. 

ESTIMATE 

Our Estimates are intended as a statement of our best judgment 

only, and represent a conservative appraisal of the expected 

Hammer Price. 

CATALOGUE ABBREVIATIONS AND SYMBOLS: 

P before Society indicates President 

A before Society indicates Associate Member 

AAM Art Association of Montreal founded 1860 

ALC Arts and Letters Club, Vancouver 

ASA Alberta Society of Artists 

BCSFA British Columbia Society of Fine Arts 

founded in 1909 

BHHG Beaver Hall Hill Group, Montreal 1920~1922 

CAC Canadian Art Club 

CGP Canadian Group of Painters 1933 ~ 1969 

CPE Canadian Painters ~ Etchers’ Society 

CSAA Canadian Society of Applied Art 

CSGA Canadian Society of Graphic Artists 


CSMA Canadian Society of Marine Artists 

CSPWC Canadian Society of Painters in Water Colour 


FCA Federation of Canadian Artists 

G7 Group of Seven 1920~1933 

NFAAM Non~Figurative Artists’ Association of Montreal 

NSSA Nova Scotia Society of Artists 

OC Order of Canada 

OIP Ontario Institute of Painters 

OSA Ontario Society of Artists founded 1872 

P11 Painters Eleven 1953~1960 

PPCM Pen and Pencil Club, Montreal 

RA Royal Academy 

RAIC Royal Architects Institute of Canada 

RBA Royal Society of British Artists 

RCA Royal Canadian Academy of Arts founded 1880 

RPS Royal Photographic Society 

RSA Royal Scottish Academy 

SAP Société des Arts Plastiques 

SC The Studio Club 

SCA Society of Canadian Artists 1867 ~ 1872 

TCC Toronto Camera Club 

ϕ Indicates that Heffel Gallery owns an equity interest 

in the Lot 

Denotes that additional information on this Lot can 

be found on our website at www.heffel.com 



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ARTISTS OF PARTICULAR INTEREST IN PURCHASING 

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ARTISTS OF PARTICULAR INTEREST IN SELLING 

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SHIPPING FORM FOR PURCHASES 

Heffel Fine Art Auction House will arrange to have Property 

purchased at the auction sale packed, insured and forwarded to 

the Purchaser at the Purchaser’s expense and risk pursuant to the 

Terms and Conditions of Business set out in the Auction Sale 

Catalogue. The Purchaser is aware and accepts that Heffel Fine Art 

Auction House does not operate a professional packing service 

and shall provide such assistance for the convenience only of the 

Purchaser. Your signature on this form releases Heffel Fine Art 

Auction House from any liability that may result from damage 

sustained by artwork during packing and shipping. All such 

works are packed at the Purchaser’s risk and then transported by a 

carrier chosen at the discretion of Heffel Fine Art Auction House. 

Works purchased may be subject to the Cultural Property Import 

and Export Act of Canada, and compliance with the provisions of 

the said Act is the sole responsibility of the Purchaser. 

Purchaser’s Name as invoiced 

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Please indicate your preferred method of shipping below 

All Charges are Collect for Settlement by the Purchaser 

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

SHIPPING OPTIONS 

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 

LOT NUMBER 

in numerical order 

1) 

2) 

3) 

4) 

LOT DESCRIPTION 

artist 

Carrier Account Number 

OPTIONAL INSURANCE 

YES, please insure my purchases at full sale value while in 

transit. Heffel’s does not insure frames or glass. (Please note: works 

under glass and some ground shipments cannot be insured while 

in transit) 

NO, I do not require insurance for the purchases listed on this 

form. (I accept full responsibility for any loss or damage to my 

purchases while in transit) 

SHIPPING QUOTATION 

YES, please send me a quotation for the shipping options 

selected above. 

NO shipping quotation necessary, please forward my 

purchases as indicated above. (Please note: packing charges may 

apply in addition to shipping charges) 

AUTHORIZATION FOR COLLECTION 

My purchase will be collected on my behalf 

Individual or company to collect on my behalf 

Date of collection/pick~up 

Signed with agreement to the above 

Date 

Heffel Fine Art Auction House 


British Columbia, Canada V6H 3G1 

Telephone 604 732~6505, Fax 604 732~4245 

E~mail:mail@heffel.com, Internet:http://www.heffel.com 



ABSENTEE BID FORM 

Please view our General Bidding Increments found on page 5. 

LOT NUMBER LOT DESCRIPTION MAXIMUM BID 

Sale Date 

Billing Name 

in numerical order artist Hammer Price $ CAD 

(excluding Buyer’s Premium) 

1) 

2) 

Address 

City 

Province, Country 

3) 

4) 

5) 

Postal Code 

Daytime Telephone 


Evening Telephone 

6) 

7) 

8) 

Fax 

Cellular 

I request Heffel Fine Art Auction House to enter bids on my behalf 

for the following Lots, up to the maximum Hammer Price I have 

indicated for each Lot. I understand that if my bid is successful, 

the purchase price shall be the Hammer Price plus a Buyer’s 

Premium of seventeen percent (17%) of the Hammer Price of each Lot, 

and applicable GST/HST and PST. I understand that Heffel Fine Art 

Auction House executes absentee bids as a convenience for its clients and 

is not responsible for inadvertently failing to execute bids or for errors 

relating to their execution of my bids. On my behalf, Heffel Fine Art 

Auction House will try to purchase these Lots for the lowest possible 

price, taking into account the reserve and other bids. If identical 

absentee bids are received, Heffel Fine Art Auction House will give 

precedence to the Absentee Bid Form received first. I understand 

and acknowledge all successful bids are subject to the Terms and 

Conditions of Business printed in the Heffel Fine Art Auction House 

catalogue. 

Signature 

Date Received ~ for office use only 

Confirmed ~ for office use only 

Date 

To be sure that bids will be accepted and delivery of lots not delayed, 

bidders not yet known to Heffel Fine Art Auction House should supply a 

bank reference. All Absentee Bidders must supply a valid Mastercard or 

VISA # and expiry date. 

MasterCard or VISA # 

Name of Bank 

Address of Bank 

Name of Account Officer 

Expiry Date 

Branch 

Telephone 

To allow time for processing, absentee bids should be received at 

least 24 hours before the sale begins. Heffel Fine Art Auction 

House will confirm all bids received by fax by return fax. If you 

have not received our confirmation within one business day, 

please re~submit your bids or contact us at: 


British Columbia, Canada V6H 3G1 

Telephone 604 732~6505, Fax 604 732~4245 

E~mail: mail@heffel.com; Internet: http://www.heffel.com 



INDEX OF ARTISTS BY LOT 

A/B 

BATES, MAXWELL BENNETT 53 

BELZILE, LOUIS 23 

BINNING, BERTRAM CHARLES (B.C.) 43 

BOBAK, MOLLY JOAN LAMB 27, 75 

BORDUAS, PAUL~ÉMILE 9 

BURTON, DENNIS EUGENE NORMAN 18 

BUSH, JACK HAMILTON 13 

C 

COLVILLE, ALEXANDER 40 

D 

DALLAIRE, JEAN~PHILIPPE 15, 37, 65, 

68, 73 

DAVIDSON, ROBERT CHARLES 49 

DE REPENTIGNY, RODOLPHE (JAURAN) 

36, 52 

E/F 

ETROG, SOREL 47, 50 

FALK, AGATHA (GATHIE) 69, 70 

FAUTEUX~MASSÉ, HENRIETTE 72 

FERRON, MARCELLE 35, 74, 78, 79 

G/H 

GAUCHER, YVES 11, 20 

HODGSON, THOMAS SHERLOCK 45 

HUGHES, EDWARD JOHN (E.J.) 5, 6, 

7, 41, 42, 44 

I/J/K 

ISKOWITZ, GERSHON 19, 60 

KURELEK, WILLIAM 10, 12, 55, 56 

LEMOYNE, SERGE 51 

LETENDRE, RITA 33 

LITTLE, JOHN GEOFFREY CARUTHERS 64 

LUKACS, ATTILA RICHARD 58 

M/N 

MCELCHERAN, WILLIAM HODD (BILL) 

66 

MEAD, RAYMOND JOHN 71 

MOUSSEAU, JEAN~PAUL ARMAND 24 

O/P 

ONLEY, TONI (NORMAN) 22 

PARR, NUNA 67 

PLASKETT, JOSEPH FRANCIS 28 

Q/R 

RIOPELLE, JEAN~PAUL 31, 34, 48 

ROBERTS, WILLIAM GOODRIDGE 54, 57, 

61, 62 

RONALD, WILLIAM 32 

S 

SHADBOLT, JACK LEONARD 1, 2, 3, 4, 8, 

26, 29, 30, 63, 76 

SMITH, GORDON APPELBE 59 

SNOW, MICHAEL JAMES ALECK 17, 21 

T 

TOD, JOANNE 46 

TOWN, HAROLD BARLING 25 

U/V/W/X/Y/Z 

YARWOOD, WALTER HAWLEY 39 

L 

LEDUC, FERNAND 38, 77 

LEMIEUX, JEAN PAUL 14, 16

Heffel’s 

SPECIALTY AUCTIONS 

NATIVE ART 

IRISH ART 

BRITISH ART 

ASIAN ART 

BILL REID 

1920 ~ 1998 CANADIAN 

Killer Whale 

Estimate: $275,000 ~ $325,000 

Sold for $414,500 

JACK BUTLER YEATS 

1871 ~ 1957 IRISH 

The Mail Car, Early Morning 

Estimate: $125,000 ~ $175,000 

Sold for $227,500 

MONTAGUE DAWSON 

1895 ~ 1973 BRITISH 

The Race 

Estimate: $55,000 ~ $75,000 

Sold for $161,000 

MAY 2009 ONLINE AUCTION 

Fine Canadian Art 

Opens: Thursday, May 7 / Closes: Thursday, May 28 

JUNE 2009 ONLINE AUCTION 

Western Canadian Modernists 

Eastern Canadian Modernists 

Opens: Thursday, June 4 / Closes: Thursday, June 25 

JULY 2009 ONLINE AUCTION 

Maritime Sale 

Opens: Thursday, July 2 / Closes: Thursday, July 30 

ZAO WOU~KI 

1921 ~ CHINESE 

5.11.62 

Estimate: $400,000 ~ $600,000 

Sold for $718,750 

AUGUST 2009 ONLINE AUCTION 

Northwest Coast Native Art, Inuit Art, Canadian Art 

Opens: Thursday, August 6 / Closes: Thursday, August 27 

We are currently accepting consignments for our upcoming sales 

Heffel’s has the most experienced team of fine art specialists in the business, providing clients with 

the best opportunity for maximizing the value of their Canadian and International works 

www.heffel.com

PLEASE VISIT US IN TORONTO AND MONTREAL 

FOR OUR JUNE AUCTION HIGHLIGHT PREVIEWS 

Toronto Preview Thursday, May 21 through Sunday, May 24, 11 am to 6 pm 

Montreal Preview Saturday, May 30 through Monday, June 1, 11 am to 6 pm 

Please visit our live auction online catalogue at www.heffel.com for specific details 

designating which Lots will be available for our Montreal and Toronto previews 

1840 RUE SHERBROOKE OUEST 

MONTREAL, QUEBEC H3H 1E4 

TELEPHONE: 514 939~6505 

TOLL FREE: 866 939~6505 

FACSIMILE: 514 939~1100 

13 HAZELTON AVENUE 

TORONTO, ONTARIO M5R 2E1 

TELEPHONE: 416 961~6505 

TOLL FREE: 866 961~6505 

FACSIMILE: 416 961~4245

CANADIAN POST~WAR & CONTEMPORARY ART - Heffel

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