Download Auction Catalogue in PDF Format - Heffel

CANADIAN POST~WAR 

& CONTEMPORARY ART 

HEFFEL FINE ART AUCTION HOUSE 

SALE WEDNESDAY, MAY 15, 2013, 4PM, VANCOUVER



AUCTION 

WEDNESDAY, MAY 15, 2013 

4 PM, CANADIAN POST~WAR 


7 PM, FINE CANADIAN ART 

VANCOUVER CONVENTION CENTRE WEST 

BURRARD ENTRANCE, ROOM 211 

1055 CANADA PLACE, VANCOUVER 

PREVIEW AT GALERIE HEFFEL, MONTREAL 

1840 RUE SHERBROOKE OUEST 

THURSDAY, APRIL 25 

& FRIDAY, APRIL 26, 11 AM TO 7 PM 

SATURDAY, APRIL 27, 11 AM TO 5 PM 

PREVIEW AT HEFFEL GALLERY, TORONTO 

13 HAZELTON AVENUE 

THURSDAY, MAY 2 & FRIDAY, MAY 3, 11 AM TO 7 PM 

SATURDAY, MAY 4, 11 AM TO 5 PM 

PREVIEW AT HEFFEL GALLERY, VANCOUVER 

SATURDAY, MAY 11 THROUGH 

TUESDAY, MAY 14, 11 AM TO 6 PM 

WEDNESDAY, MAY 15, 10 AM TO 12 PM 

HEFFEL GALLERY, VANCOUVER 

2247 GRANVILLE STREET, VANCOUVER 

BRITISH COLUMBIA, CANADA V6H 3G1 

TELEPHONE 604 732~6505, FAX 604 732~4245 

TOLL FREE 1 800 528~9608 

INTERNET WWW.HEFFEL.COM 


VANCOUVER • TORONTO • 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 

451 Daly Avenue, Ottawa, Ontario K1N 6H6 

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 604 665~5710 

Account #05680 003: 133 503 3 

Swift Code: ROYccat2 

Incoming wires are required to be sent in Canadian funds and 

must include: Heffel Gallery Limited, 2247 Granville Street, 

Vancouver, BC, Canada V6H 3G1 as beneficiary. 

BOARD OF DIRECTORS 

Chairman In Memoriam ~ Kenneth Grant Heffel 

President ~ David Kenneth John Heffel 

Auctioneer License T83~3364318 and V13~155938 

Vice~President ~ Robert Campbell Scott Heffel 

Auctioneer License T83~3365303 and V13~155937 

HEFFEL.COM DEPARTMENTS 

FINE CANADIAN ART 

canadianart@heffel.com 

APPRAISALS 

appraisals@heffel.com 

ABSENTEE AND TELEPHONE BIDDING 

bids@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 120 of this catalogue. 

AUCTION PERSONNEL 

Audra Branigan ~ Client Services and Accounts 

Lisa Christensen ~ Calgary Representative 

Jasmin D’Aigle and Max Meyer ~ Digital Imaging 

Kate Galicz ~ Director of Appraisal Services 

Andrew Gibbs ~ Ottawa Representative 

Brian Goble ~ Director of Digital Imaging 

Jennifer Heffel ~ Auction Assistant 

Patsy Kim Heffel ~ Director of Accounting 

Elizabeth Hilson and Anthea Song ~ Administrative Assistants 

François Hudon ~ Client Services 

Lindsay Jackson ~ Manager of Toronto Office 

Lauren Kratzer ~ Director of Art Index and Manager of Shipping 

Bobby Ma, John Maclean and Anders Oinonen ~ Internal Logistics 

Alison Meredith ~ Director of Consignments 

Jill Meredith ~ Director of Online Auction Sales 

Jamey Petty ~ Director of Shipping and Framing 

Kirbi Pitt ~ Director of Advertising and Marketing 

Tania Poggione ~ Director of Montreal Office 

Olivia Ragoussis ~ Manager of Montreal Office 

Judith Scolnik ~ Director of Toronto Office 

Rosalin Te Omra ~ Director of Fine Canadian Art Research 

Goran Urosevic ~ Director of Information Services 

CATALOGUE PRODUCTION 

Lisa Christensen, Dr. François~Marc Gagnon, Lindsay Jackson, 

Lauren Kratzer, Joan Murray, Natalie Ribkoff, Judith Scolnik, 

Dr. Sarah Stanners and Rosalin Te Omra ~ Essay Contributors 

Brian Goble ~ Director of Digital Imaging 

David Heffel, Robert Heffel, Iris Schindel 

and Rosalin Te Omra ~ Text Editing, Catalogue Production 

Jasmin D’Aigle and Max Meyer ~ Digital Imaging 

Jill Meredith and Kirbi Pitt ~ Catalogue Layout and Production 

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. 

Follow us @HeffelAuction: 

PRINTING 

Generation Printing, Vancouver 

ISBN 978~1~927031~08~7

3 

AUCTION LOCATION 

PREVIEW 

Heffel Gallery 

2247 Granville Street, Vancouver 

Telephone 604 732~6505 

Toll Free 1 800 528~9608 

AUCTION 

Vancouver Convention Centre West, 

Burrard Entrance, Room 211 

1055 Canada Place, Vancouver 

Saleroom Cell 604 418~6505 

Call our Vancouver office for special accommodation rates, or email reservations@heffel.com 

Please refer to page 124 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 

108 HEFFEL SPECIALISTS 

110 NOTICES FOR COLLECTORS 

112 TERMS AND CONDITIONS OF BUSINESS 

118 CATALOGUE ABBREVIATIONS AND SYMBOLS 

119 CATALOGUE TERMS 

119 HEFFEL’S CODE OF BUSINESS 

CONDUCT, ETHICS AND PRACTICES 

120 ANNUAL SUBSCRIPTION FORM 

120 COLLECTOR PROFILE FORM 

121 SHIPPING FORM FOR PURCHASES 

122 ABSENTEE BID FORM 

123 INDEX OF ARTISTS BY LOT


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 122 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 otherwise arranged in 

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

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

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

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

being released. We honour payment by VISA or MasterCard for 

purchases. Credit card payments are subject to our acceptance and 

approval and to a maximum of $5,000 if you are providing your 

credit card details by fax or to a maximum of $25,000 if the card 

is presented in person with valid identification. Bank Wire 

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

account transit details provided on page 2. 

GENERAL BIDDING INCREMENTS 

Bidding typically begins below the low estimate and 

generally advances in the following bid increments: 

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

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

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

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

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

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

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

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

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

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

FRAMING, RESTORATION AND SHIPPING 

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

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

saleability. As a Buyer, your recently acquired artwork may demand 

a frame complementary to your collection. As a full service 

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

these needs. Buyers who acquire items that require local delivery or 

out of town shipping should refer to our Shipping Form for 

Purchases on page 121 of this publication. Please feel free to contact 

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

related questions. Full completion of our Shipping Form is required 

prior to purchases being released by Heffel. 

WRITTEN VALUATIONS AND APPRAISALS 

Written valuations and appraisals for probate, insurance, family 

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

at your premises. Appraisal fees vary according to circumstances. 

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

is consigned and sold through either Heffel Fine Art Auction House 

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

fee, less incurred “out of pocket” expenses.


VANCOUVER • TORONTO • OTTAWA • MONTREAL 

The Buyer 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 Buyer 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 112 

through 119 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 122 of this publication. 

We recommend that you test your streaming video setup prior 

to our sale at: 

http://www.heffel.tv 

Our Estimates are in Canadian funds. Exchange values are 

subject to change and are provided for guidance only. Buying 

1.00 Canadian dollar will cost approximately 1.00 US dollar, 

0.78 Euro, 0.67 British pound, 97 Japanese yen or 8.10 

Hong Kong dollars as of our publication date.



CATALOGUE 

Featuring Works from 

An Important Montreal Collection 

A Prominent Montreal Family Estate 

The Collection of Belle Burke 

The Estate of James M. Brickley 

The PSBGM Cultural Heritage Foundation 

The Rennie Collection 

& other Important Private Collections 

SALE WEDNESDAY, MAY 13, 15, 2013, 4:00 PM, VANCOUVER


LITERATURE: 

Marjorie M. Halprin, Jack Shadbolt and 

the Coastal Indian Image, UBC Museum 

of Anthropology, 1986, page 26 

Jack Shadbolt was introduced to Emily 

Carr in 1930 in Victoria, and was struck 

by her powerful paintings of First 

Nations villages and totems. By the 

mid~1930s, Shadbolt was sketching 

native masks in Victoria’s BC Provincial 

Museum (now the Royal BC Museum), 

such as this remarkable watercolour of a 

compelling Raven with Human Face 

mask. The cracks from weathering in 

this marvellously detailed mask make 

its beauty all the more fragile and 

evocative. Shadbolt wrote of the 

importance of such images, “The Indian 

mode of expressing things from inside 

out, out of deep interior identification 

with the spirit of the image portrayed, 

gave me my inventive impetus as well as 

helping me to my personal mode of 

abstraction.” He would continue to 

integrate native imagery into his work 

throughout his career because, as he 

wrote, “Their imprint is on my mind. 

Whenever I look out on our wilderness I 

am haunted by evocations of their 

memory…they give my view of nature a 

deeper solemnity, a nostalgia for the 

oneness with a wild world ~ and a 

reproach to aspects of our pragmatic 

environment.” 

ESTIMATE: $7,000 ~ 9,000 

1 JACK LEONARD SHADBOLT 

BCSFA CGP CSPWC OC RCA 1909 ~ 1998 

Bella Bella 

watercolour and crayon on paper, 

signed, titled, dated August 28, 1939 and inscribed 

Head~dress, Raven with Human Face, Victoria Museum 

and on verso inscribed Indian masks 1 

20 1/2 x 16 in, 52.1 x 40.6 cm 

PROVENANCE: 

By descent to the present Private Collection, British Columbia 

1


LITERATURE: 

Alex Colville: The Splendour of Order, 

The National Film Board of Canada, 1983, 

featured and discussed in the video. 

A copy of this video in VHS is included 

with this lot. 

David Burnett, Colville, Art Gallery of 

Ontario, 1983, the 1981 canvas entitled 

Night Walk reproduced page 211 

EXHIBITED: 

Heffel Gallery Limited, Vancouver, Alex 

Colville, October 1989, catalogue #13 

Alex Colville’s art is complex and intriguing, 

and the diagram at the top of this work shows 

how carefully planned his compositions are. 

The artist has divided the work into vertical 

quadrants, and a central circle is marked out 

into a five~pointed star. The vanishing point 

of the sidewalk is also clearly drawn. These 

are the balancing points of the composition, 

the points that move our eye around in the 

work. The central part of the work is filled 

with trees shrouded in darkness, and all of 

the visual weight of the work is at the right in 

the steadily advancing man and dog. We see 

in the diagram that a vertical line runs 

directly through both of their breastbones. 

Thus, in their movement towards us, they 

move as one. The theme of a blind man on a 

night walk is composed differently in other 

drawings and in the final 1981 masterwork 

by Colville. This poignant drawing speaks of 

the man’s visual isolation and the mystery of 

his experience of his internal night within the 

night surrounding him. 

ESTIMATE: $18,000 ~ 22,000 

2 ALEXANDER COLVILLE 

PC CC 1920 ~ 

Night Walk IV 

mixed media on paper, dated November 23, 1981 

twice and on verso inscribed 22 


PROVENANCE: 

Heffel Gallery Limited, Vancouver 

Drabinsky Gallery, Toronto 

Douglas Udell Gallery, Vancouver 

Private Collection, Vancouver 

2


3 EDWARD JOHN (E.J.) HUGHES 

BCSFA CGP OC RCA 1913 ~ 2007 

Near the Forest Museum, Duncan 

watercolour on paper, signed and dated 1998 

and on verso signed, titled and dated 

20 x 24 in, 50.8 x 61 cm 

PROVENANCE: 

Dominion Gallery, Montreal 

The Estate of Dr. Max Stern, Montreal 


LITERATURE: 

Ian M. Thom, E.J. Hughes, Vancouver Art Gallery, 2002, page 187 

As Ian Thom states, “By 1980, E.J. Hughes was the most important 

landscape painter working in British Columbia”, and he is now 

considered to be one of the most important landscape painters in 

Canada. Living in Duncan on Vancouver Island, Hughes focused on 

the surrounding Cowichan Valley for his subjects, this scene being 

particularly close to him. The BC Forest Museum, now called the BC 

Forest Discovery Centre, chronicles the history of logging in British 

Columbia on a 100~acre site with indoor and outdoor exhibits, and 

includes forest with nature trails and a heritage railway. True to Hughes’s 

customary style, nature dominates the scene, with the more subtle 

evidence of man’s interactions with it signified by the presence of the sign 

and small houses in the background. By 1991 Hughes had turned his full 

attention to watercolour, a medium he was a master of, exhibiting fine 

attention to detail and seemingly effortless washes. In Near the Forest 

Museum, Duncan, Hughes captures the atmosphere of tranquility that is so 

much a part of the Cowichan Valley through the lush green vegetation, 

softly glowing sky and serene waters. 

ESTIMATE: $20,000 ~ 30,000 

3




Above Okanagan Lake, Penticton 


and on verso titled on the Dominion Gallery label 

12 x 16 in, 30.5 x 40.6 cm 

PROVENANCE: 



LITERATURE: 

Leslie Allan and Patricia Salmon, E.J. Hughes: The Vast and Beautiful 

Interior, Kamloops Art Gallery, 1994, the 1958 graphite drawing entitled 

Above Okanagan Lake reproduced page 50 and the 1960 canvas entitled 

Above Okanagan Lake reproduced page 53 

Ian M. Thom, E.J. Hughes, Vancouver Art Gallery, 2002, the 1960 canvas 

entitled Above Okanagan Lake reproduced page 154 

Jacques Barbeau, The E.J. Hughes Album, The Paintings Volume I, 1932 ~ 

1991, 2011, the 1960 canvas entitled Above Okanagan Lake reproduced 

page 31 

In 1958 E.J. Hughes was awarded a Canada Council fellowship to 

sketch around British Columbia, and he traveled to the Interior where 

he executed the pencil sketch that this beautiful watercolour and an 

outstanding 1960 canvas were based on. Hughes’s style ~ which had 

evolved through his coastal subjects ~ was fully developed, and the same 

essential elements can be seen in the Interior works: his attraction to a 

stunning panoramic view, his sensitivity to the unique elements of the 

landscape and a heightened awareness of colour. Here he focuses on such 

striking elements as the Ponderosa pine, the deep blue of Okanagan Lake 

and the unique clay cliffs above its shores. His attention to detail is 

manifest in his depiction of the short bunchy grasses in the foreground 

and the sage and other vegetation growing on the slopes above the lake. 

In Above Okanagan Lake, Penticton, Hughes adeptly captures not only the 

physical uniqueness of the area, but also the light~drenched and dreamy 

atmosphere of the Mediterranean~like Okanagan Valley. 

ESTIMATE: $8,000 ~ 12,000 

4


PROVENANCE: 

Woltjen/Udell Gallery, Edmonton 

By descent to the present Private 

Collection, Edmonton 

Jack Bush’s upbeat abstracts are 

primarily concerned with issues of 

colour, and in this regard he is a fine 

master. Here, with this lively, 

controlled, yet about to spring off the 

picture plane image, we can see his 

ability in spades. The ground has been 

sponged on ~ a certain shade of yellow, 

mottled and organic, it is deeply layered 

yet seems thin. Against this ground, the 

angled, crossing form is rendered in 

three colours vertically and two 

horizontally. This form crosses, cuts 

and flies against the yellow~gold 

ground, caught in space, still yet 

moving, alive and vibrant. 

Painted in July of 1974, Cross Over is 

the original work for a run of serigraphs 

produced by Theo Waddington, and as 

a result is signed on verso. Without the 

distraction of anything at all in the 

margins of this lovely work, it seems, 

somehow, to be even more free than its 

soaring forms already suggest. The Tate 

Britain in London has a Cross Over 

serigraph in their collection. 

This work will be included in Sarah 

Stanners’s forthcoming Jack Bush 

Paintings: A Catalogue Raisonné. 

ESTIMATE: $30,000 ~ 40,000 

5 JACK HAMILTON BUSH 

ARCA CGP CSGA CSPWC OSA P11 1909 ~ 1977 

Cross Over 

gouache on paper, inscribed 1.30 and on verso 

signed, titled, dated July 1974 and inscribed 

Toronto / B0821 / DG3698 

29 3/4 x 22 1/4 in, 75.6 x 56.5 cm 

5


PROVENANCE: 

Woltjen/Udell Gallery, Edmonton 

By descent to the present Private 

Collection, Edmonton 

LITERATURE: 

Roald Nasgaard, Abstract Painting in 

Canada, The Art Gallery of Nova Scotia, 

2007, page 123 

Charles Millard relates that, by 1970, 

Jack Bush had “discovered that if the 

thinly rolled paint of the grounds 

contained a certain amount of 

unassimilated pigment, the result was 

a pleasing modulation that produced a 

yielding, although not atmospheric, foil 

for the flat shapes on top of them.” The 

blue ground in this work varies nicely 

in its saturation, containing hints of 

the deeper pigment from which this 

pleasant, rather oceanic blue comes, 

and areas of delicate greenish 

translucency at its edges. Created as the 

basis for a serigraph in 1974, Pink Moon 

shares elements with lot 5, Cross Over, 

in the diagonal slashing form, the 

sponged~on ground of layered colour 

and the joyous, vivid sense of life that it 

contains. The moon motif reminds us 

of the hook motif, a recurrent form in 

Bush’s mid~1970s works. Like Cross 

Over, Pink Moon is signed on verso, 

which allows the image complete 

freedom from any referential text, 

allowing further breathing room into 

this already light and open work. 

This work will be included in Sarah 

Stanners’s forthcoming Jack Bush 


ESTIMATE: $30,000 ~ 40,000 



Pink Moon 

gouache on paper, inscribed 1.30 

and on verso signed, titled, dated July 1974 

and inscribed Toronto / B0823 / DG3699 

30 x 22 1/4 in, 76.2 x 56.5 cm 

6


7


7 GORDON APPELBE SMITH 

BCSFA CGP CPE OC RCA 1919 ~ 

Red Beach 

oil on canvas, signed and on verso 

titled and dated 1965 on the gallery label 


PROVENANCE: 

Galerie Agnès Lefort, Montreal 


LITERATURE: 

Anthony Emery, Ten Years of Painting by Gordon Smith, Fine Arts Gallery, 

University of British Columbia, 1966, unpaginated 

EXHIBITED: 

Galerie Agnès Lefort, Montreal, Gordon Smith, 1965 

By the time Gordon Smith painted this vibrant canvas, he was a 

well~established presence on the national art scene. He had trained in 

Winnipeg, Vancouver and San Francisco, and his painting Structure with 

Red Sun, 1955, had won first prize at the National Gallery of Canada’s First 

Biennial Exhibition of Canadian Painting and been acquired for their 

collection. He was already an important teacher, working since 1956 at 

the University of British Columbia and teaching in Banff, Jasper and 

elsewhere. In 1957 he had served as the president of the Canadian Group 

of Painters, and in the same year had one~man exhibitions at both the 

Vancouver Art Gallery and the Art Gallery of Greater Victoria. Widely 

traveled, he had studied art history at Harvard University, and later spent 

much of 1960 in England and Europe on a Canada Council senior 

fellowship. He had regularly been exhibiting his work in both juried and 

commercial shows in Vancouver, Toronto and Montreal; he first exhibited 

with Galerie Agnès Lefort in Montreal in 1963. He had also, in the 

beginning of his career, worked with architects on large~scale pieces, 

producing a mosaic mural of considerable size for architect Arthur 

Erickson’s Simon Fraser University in 1964. 

Red Beach was shown in his third exhibition at Galerie Agnès Lefort in 

1965. It reveals Smith as an accomplished and confident painter. 

Comfortable with the language of abstraction, something he had 

explored extensively in the summer of 1951 when he trained with Elmer 

Bischoff in San Francisco, Smith was also deeply interested in the 

landscape, having bought his first boat in 1958 to explore the coastline 

around Vancouver. He had developed a visual language that was 

contemporary, but at the same time retained some connections to the 

natural world. Smith had also employed, since the 1950s, a system of 

grids, notably in works such as Structure with Red Sun and Wet Night 

(collection of the Vancouver Art Gallery). The dialogue between the order 

represented by the grid and Smith’s relish in the disorder ~ the messiness 

of paint ~ gives works such as Red Beach a sense of energy and excitement. 

Produced at the same time as the well~known Red Wizard Red (in a private 

collection), Red Beach combines a vivid use of colour, a strong linear 

design and bold brushwork. The title alludes to the natural world, and the 

image may depict the chance amalgamation of flotsam on a beach, but for 

Smith the “subject” of the work is secondary to our experience of colour 

and paint and how they are applied to the surface. The work is 

deliberately explosive; the grid is only just able to restrain the forms, 

which seem ready to move ~ in which direction we cannot tell. Red Beach 

is not a quiet painting, nor was it intended to be. Smith was aware that it 

would be shown in Montreal, the home of Guido Molinari, Yves Gaucher 

and other important abstractionists: if his work was to succeed in that 

environment, boldness and conviction were required. These qualities are 

clearly evident in Red Beach. 

The following year, Smith had the first major survey exhibition of his 

work, Ten Years of Painting by Gordon Smith. Organized by Alvin Balkind 

for the University of British Columbia Fine Arts Gallery, it traveled 

nationally and was an outstanding success because, as Balkind wrote at 

the time, Smith was “a man who has, for well over ten years, consistently 

produced some of the most notable and striking ~ and strikingly 

handsome ~ paintings that Canada has seen in recent decades.” Almost 

50 years after it was painted, “strikingly handsome” remains an apt and 

accurate description of Red Beach. 

ESTIMATE: $20,000 ~ 30,000




Trees in Winter 

acrylic on canvas, signed 


PROVENANCE: 


LITERATURE: 

Robert Enright, Gordon Smith: Entanglements, Equinox Gallery, 

2012, page 5 

Surrounded by forest in his studio and with easy access to wilderness on 

Vancouver’s North Shore, Gordon Smith has used a modernist approach 

to his observations of nature in winter. Robert Enright states, “Smith is 

easily the finest painter of the range and subtleties of snow that this 

snow~bound country has ever produced. The subject has demanded 

from him close observation and detailed mark~making. All landscape 

painters share a common problem; how to find the combination of 

gestures, marks, colours, textures and forms that convincingly render the 

landscape they are looking at and hope to approximate. In this regard, 

Smith’s snow paintings are the white gold standard.” In Trees in Winter, 

our first impression is of black and white, but on closer examination 

gorgeous notes of mauve, green, blue and orange~brown emerge. The 

work demonstrates Smith’s acute awareness of the abstract properties of 

his subject and the qualities of paint itself. Vertical black lines of trunks 

contrast with criss~crossed fine branches and the horizontal patterning 

of snow on undergrowth. Beautiful and ethereal, Trees in Winter is one of 

Smith’s most exquisite snow paintings. 

ESTIMATE: $20,000 ~ 30,000 

8




WF a 

mixed media on paper, 

signed and on verso titled 

on a label and dated 2005 


PROVENANCE: 

Equinox Gallery, Vancouver 


LITERATURE: 

Robert Enright, Gordon Smith: Entanglements, Equinox Gallery, 

2012, page 5 

To this important West Coast modernist, paint and the quality of the 

surface itself is as important as the natural scene he is depicting. In WF a, 

Gordon Smith makes us aware of the space below the surface ~ the 

presence of the growth under the blanket of snow. He insinuates what lies 

beneath by letting the green bleed up in soft smudges ~ suggestions of 

mosses, grasses and ground cover. The bare branches in the foreground 

reflect his attraction to certain patterns; as he stated, “I’ve always loved 

tangles, that crossing over of things.” 

WF a adeptly recreates Smith’s experience in the landscape through its 

painterly surface of dark marks and lines against a luscious snow surface 

glowing with delicate colour tones. As Robert Enright points out, “over 

the course of his 75 year long career he has made paintings employing 

that procedure of looping and overlapping, the movement of line into 

line, texture into texture and colour into colour. Painting is the trace of the 

inside of his head to the outside world, using nature as the subject of that 

complicated disentanglement.” 

ESTIMATE: $8,000 ~ 12,000 

9


10 JEAN PAUL LEMIEUX 

CC QMG RCA 1904 ~ 1990 

TransCanada 

oil on canvas on board, signed, circa 1965 


PROVENANCE: 

Acquired directly from the Artist in 1974 by the present 

Private Collection, France 

LITERATURE: 

Francine Brousseau, Jean Paul Lemieux, His Canada, 

Canadian Museum of Civilization, 1998, page 13 

10 

In discussing the enduring appeal of Jean Paul Lemieux’s work, Francine 

Brousseau ascribes the artist’s appeal to his use of pictorial organization, 

light and perspective, and “the emotion and the strange sense of 

complicity we feel when confronted with his images [so] that we never 

tire of these paintings…The artist speaks a language understood by all 

and invites us to look beyond.” 

Painted during the artist’s mature period, this work bears witness to 

Lemieux’s multilayered skill as an artist, his total economy of means, and 

his ability to depict a complex idea through a scene of utter simplicity. 

Here, in an apparently motionless landscape, we are witnessing the clash 

of civilizations, the point of no return between two eras and the rift 

between two different lifestyles. As the train ~ the mechanized world ~ 

rushes into the scene, the horse and rider ~ from a more traditional world 

~ are caught in the near right corner of the composition. On the far left 

and opposite side, a train approaches, white smoke billowing, huffing, 

breaking the silence and inexorably interrupting any inner thought. 

The train has a purpose, it must hurry, it cannot linger nor waste any time. 

The rider and the train are each going in different directions in the 

apparent stillness of the work. The rider comes from our space, 

reminding us of our link to nature and the less hurried, less rushed and 

perhaps less efficient world where, from the vantage of the horse’s back,


we are capable of appreciating nature’s overwhelming beauty, especially 

as represented by Lemieux’s magnificent and enigmatic, timeless and 

austere landscape. The train comes from a distant horizon, perhaps a city, 

but certainly a place of commerce. So much is conveyed by so little in 

Lemieux’s depiction of the train. The triangle of grey smoke is barely 

visible against the grey sky, and the length of the train is uncertain, yet we 

know the train is moving quickly towards an impatiently waiting 

destination, somewhere off to the left of our view. The horse and rider, by 

contrast, move slowly, perhaps even pause, as their half~brown, half~red 

colours echo those of the train. There is a sense of spiritual discord and 

contrast between the horse and rider and the train. It is not a matter of 

right or wrong, but more a matter of a simple difference, and underscores 

the artist’s ability to note, hint at, and ever so subtly suggest that we 

consider this difference. 

Upon closer analysis, the rigorous composition of this work further 

demonstrates Lemieux’s artistic skill. The work can be divided into three 

detail 10 detail 10 

parts, one part land and two parts sky. The moving horse and train 

contrast with the motionlessness of the landscape and are separated 

almost equally by the horizon. One horizontal, the other vertical, the 

rider and the train both occupy the landscape equally, yet their 

relationship to it is completely different. Additionally, while the train 

runs parallel to the horizon, the horse and rider cross it, giving the work 

balance and opposition, push and pull. Further, we are drawn into the 

work in an active manner, as we follow the rider’s path. 

Lemieux’s paintings, at once subtly nuanced and fascinating, have an 

astonishing spiritual appeal. His winter scenes, rife with solitude, have 

contributed to the painter’s eminence. This masterpiece of Canadian art, 

whose location was previously unknown, has now been re~discovered 

and returned to Canada. 

ESTIMATE: $125,000 ~ 175,000


11 ROY ARDEN 

1957 ~ 

Basement 

10 silver gelatin prints and 10 C~prints, 

on verso initialed, titled on a label, 

editioned A.P. 2/2 and dated 1996 

17 1/4 x 21 3/4 in, 43.8 x 55.2 cm each 

PROVENANCE: 

Acquired from Patrick Painter Editions, 1998 

Rennie Collection, Vancouver 

EXHIBITED: 

Oakville Galleries, Roy Arden, Selected Works 1985 ~ 2000, 

February 2 ~ April 7, 2002, traveling to VOX Centre de l’image 

contemporaine, Montreal, August 29 ~ October 27, 2002 

Roy Arden’s photographs of Vancouver have documented the changing 

city in large~scale format since the early 1990s, and he is one of the city’s 

most respected artists, contributing to Vancouver’s reputation as an 

important centre for photography. 

Works from Arden’s 1996 Basement Series are perhaps his most personal, 

exploring as they do Arden’s own cast~off belongings ~ and those of his 

neighbouring tenants ~ that fill the basement of his apartment block. The 

images appear as if just discovered in a modern archaeological dig ~ 

objects yet to be entombed, but still just as forgotten as ancient artifacts, 

as the speed of casting off is much faster in modern times. The 20 images 

in Basement are half in black and white, half in colour, each depicting the 

cluttered objects in a clinical, documentary manner. Objects repeat from 

print to print, suggesting a panoramic approach on Arden’s part. 

Identifiable objects like frying pans and long~play records, once likely 

prized for their newness, have lost their fleeting consumer appeal, a 

consideration to which Arden has always been sensitive to in his work. 

ESTIMATE: $10,000 ~ 15,000 

11


12 JUDY RADUL 

1962 ~ 

Describe Video 

HD video on DVD, VHS 

and portable hard drive, 2007 

16 minutes 17 seconds 

PROVENANCE: 

Catriona Jeffries Gallery, Vancouver, 2007 

Rennie Collection, Vancouver 

Judy Radul’s work as an artist in audio/video, installation, performance 

pieces and performance readings has been exhibited at numerous venues, 

including the Morris and Helen Belkin Art Gallery at the University of 

British Columbia in Vancouver, The Banff Centre in Alberta and 

internationally at the Generali Foundation in Vienna and Digital Media 

City in Seoul. This short narrative, Describe Video, uses conventional 

camerawork and editing to bring the viewer to the point of view of the 

characters ~ two sighted work partners played by blind actors. Over the 

soundtrack of dialogue, ambient sound and music is an additional 

“described video” audio track, a voice~over typically used in television 

and movies, that attempts to translate the visual image into spoken words 

as an aid for the visually impaired. Radul’s works are concerned with 

concepts of gender, the body, speech and the idea of authentic and 

inauthentic expression. In Describe Video, she concentrates on this latter 

idea, exploring the visual disconnect of her actors with their 

dubbed~over speech, the truth of this speech, and the dichotomy this 

disconnect creates. 

ESTIMATE: $5,000 ~ 7,000 

12


13




Snow Day 

acrylic polymer on canvas, on verso signed, 

titled, dated Dec. 1972 and inscribed acrylic 

polymer W.B., December 1972 ~ March 1973 


PROVENANCE: 

David Mirvish Gallery, Toronto 

Coopers & Lybrand (PricewaterhouseCoopers) 

Private Collection, Alberta 

LITERATURE: 

Jack Bush Diary for 1972 and 1973, Jack Bush Fonds, E.P. Taylor 

Research Library & Archives, Art Gallery of Ontario 

The arc of Jack Bush’s career, from the early days of oil sketches en plein air 

to his international success in New York and London with large~scale 

canvases, is paradigmatic of the evolution of Canadian painting from 

European approaches to modernist motives. Bush’s bold but articulate 

use of colour in the 1960s fostered a steady demand for his work by 

dealers and collectors. By the 1970s, Bush was recognized as a 

world~class painter, worthy enough to open the new contemporary wing 

at the Boston Museum of Fine Arts in 1972 with a solo show of his work. It 

was a coup ~ a Canadian artist opening a newly built section of the MFA in 

Boston purposed to celebrate the best in contemporary art. Just ten years 

previously, Bush had landed the first of his solo exhibitions in New York 

City. The show opened on April 17, 1962 at the Robert Elkon Gallery on 

Madison Avenue with peers such as Barnett Newman, Kenneth Noland, 

Robert Murray and Clement Greenberg in attendance. Bush startled 

gallery~goers with a selection of his 1961 “thrust” paintings. Forceful, 

solitary bars of colour or, in some cases, unpainted shafts of canvas, 

culminated in a burst of colour and expressive form. They are undeniably 

sexy. The rigid bars of the “thrust” paintings are born again in the artist’s 

work of the early 1970s such as Snow Day, but this time with daring new 

grounds. 

Bush kept a daily diary, and each day opened with a note about the 

weather. The winter of 1972 / 1973 was notably snowy. Snow Day is 

signed by the artist on the back of the canvas with a date of December 

1972. The artist also kept very careful records of all of his paintings in 

three neat notebooks, complete with small thumbnail sketches for nearly 

all of the abstract paintings. His note for Snow Day bears an extended 

date: “Dec. 1972 ~ Mar. 1973”. The thumbnail sketch also reveals that the 

painting had only five horizontal bars in its original inception. 

Considering the artist’s extensive journaling habits, his remarkably 

comprehensive record books and his 41 years spent as a leading 

commercial illustrator, it is not a stretch to say that Bush had an editorial 

eye. As with many of the artist’s paintings, Snow Day was decidedly 

improved upon. 

The diaries reveal that the artist, in his words, began “editing” a number of 

his paintings in March 1973. Bush regularly reviewed his paintings with 

Installation 13 

Heffel Gallery, Vancouver, March 2013 

peers, his wife Mabel and Clement Greenberg. Greenberg visited with 

Bush in the first few days of March. Discussing what worked and did not 

work, what surprised and what nagged, was typical studio talk. Like 

drafts for written work, clarity was gained with the participation of 

another’s eye, and perspective was gained with the passage of time. After 

discussing possible alterations to be made on a number of paintings made 

over the winter, Bush noted that Greenberg remarked, “You’re going to 

have fun playing around with those ~ I envy you.” Bush’s sensitivity to the 

life of a painting, how it might read differently from one day to the next, is 

what makes paintings like Snow Day feel so very fresh even today. His 

work is ever contemporary. 

We thank Dr. Sarah Stanners for contributing the above essay. Stanners is 

an independent art historian currently directing the Jack Bush catalogue 

raisonné project. She is also a guest curator with the National Gallery of 

Canada where she is co~curating a major Bush retrospective exhibition 

with the Gallery’s director, Marc Mayer, which is scheduled to be on view 

from October 31, 2014 to January 15, 2015. Stanners regularly teaches 

Canadian art history at the university level and is now affiliated with the 

Department of Art at the University of Toronto. 

Snow Day will be included in the forthcoming Jack Bush Paintings: A 

Catalogue Raisonné. For more information on this project, or to submit 

details of a painting, please go to www.jackbush.org 

ESTIMATE: $90,000 ~ 120,000


PROPERTY FROM THE COLLECTION OF BELLE BURKE (NÉE NOTKIN) 

Belle Burke in the Restaurant des Saints~Pères, rue des Saints~Pères, 

Saint~Germain~des~Prés, Rive Gauche, Paris, circa 1952 ~ 1954, 

during the time that she was involved with Jean~Paul Riopelle 

In 1948, the same year he signed Paul~Émile Borduas’s manifesto Refus 

global and kick~started Quebec’s Quiet Revolution, Jean~Paul Riopelle 

married dancer Françoise l’Espérance; they moved to his Montparnasse 

studio in Paris, where he had established himself in 1946. Paris was in the 

midst of recovering from the ravages of the Second World War and was 

flooded with displaced people, while at the same time Montparnasse was 

reclaiming its place as the centre of the cultural avant~garde in Paris. The 

community there was accepting, open and interested in anything new, 

odd, different or challenging. It was quickly becoming the meeting 

ground for artists, writers and creative post~war minds. Riopelle was 

entering one of the most productive periods of his prolific artistic life, 

working long hours at painting with a feverish intensity. Moving in circles 

filled with vibrant personalities and creative minds stimulated his work. 

He associated briefly with the Surrealists, and had the distinction of 

being the only Canadian ever to have exhibited with them. 

The milestone of his first solo exhibition also came in 1948. Riopelle had 

been producing spidery abstractions in ink and watercolour, using 

automatic drawing methods as a jumping~off point. He moved from 

these into larger oils with patches of ink and dripping paint, and 

experimented further with the palette knife. He was introduced to the 

artists Georges Mathieu, Hans Hartung and Georges Duthuit (Henri 

Matisse’s son~in~law) through Paris art dealer Pierre Loeb. Another 

dealer, Pierre Matisse (Henri Matisse’s son) opened even more doors for 

him in Paris, so much so that Riopelle claimed to have associated with 

André Breton, Jean~Paul Sartre, Samuel Beckett and Alberto Giacometti. 

He enjoyed his growing reputation and did not protest becoming known


Burke in New York with her dog 

Ebonite (which she brought 

back from Paris), circa 1955 

Burke in New Jersey, before 

attending Columbia University 

circa 1946 

as “un trappeur supérieur”. The cultural bohemians of the avant~garde Paris art world 

saw him as a wild colonial artist who had burst onto the Paris art scene straight out of 

the wilderness of Canada. He liked this, and his obsessive work habits and intense, 

brooding personality fit this stereotype. Hélène de Billy, who has written extensively on 

Riopelle, describes him as “very handsome and enormously appealing to women”. It 

was an incredibly heady time. 

Belle Burke (Belle Notkin as she was then) was born in 1928 in New Jersey, and spent the 

winter and spring of 1948 and 1949 living in Paris. After going home to complete her 

degree at Barnard College at Columbia University, where she majored in French and 

Literature, she returned to Paris and continued her studies at the Sorbonne (now 

l’Université Paris~Sorbonne). She took apartments in various locations including rue 

Lomond, rue Mederic, rue Daubenton and Blvd Montparnasse. Using her language and 

writing skills, she worked at various freelance jobs as both a translator and an editor. She 

met Riopelle at a party, and it was the beginning of an intense relationship, during which 

Riopelle gave Burke many works of his art, including a sketchbook and numerous oils 

and watercolours. He was smitten with her, and would pen love notes on gallery 

announcements that he gave her. Guy Viau describes Burke as “very delicate and kind. 

She had a tiny waist, the voice of a bird, and owned a poodle named Ebonite. Jean~Paul 

was in love with her. He was still living with Françoise at the time, but he was 

increasingly being seen with Burke.” The affair lasted several years, during which 

Riopelle wanted to marry Burke, but she was not interested. “He told me about his affair 

with Belle,” Joan Mitchell ~ an American artist with whom Riopelle would later develop 

a long~standing relationship ~ stated. “Apparently, he wanted to marry her but she did 

not.” Burke and Riopelle’s relationship became increasingly volatile, and Burke tried 

numerous times to break things off. The situation deteriorated further, and became, 

Burke felt, “destructive, even violent”. Finally, in 1954 or 1955, in order to end the affair, 

she decided to return to New York. Still, Riopelle did not want to let her go, and went to 

great lengths to dissuade her, so much so that she would later describe her flight from 

Paris as “running away from Jean~Paul”. After Burke left Paris for New York, Riopelle 

continued to write to her there, attempting to rekindle their capricious relationship. 

Eventually, he followed her to the United States (he had two solo shows at the Pierre 

Matisse Gallery in New York in 1954 and 1955), but to no avail, as Burke finally ended 

the relationship. Riopelle then returned to Paris. 

In 1955, Mitchell was also living in Paris. While she was aware of Riopelle’s recent 

“passionate and chaotic affair with another woman” and the fact that he was still living 

with his wife and two daughters, she too would become involved with him. Their 

relationship would last almost 25 years. 

Burke lived for many years in Venice and New York, and traveled back to Paris often. She 

met David Burke in Europe and they married in 1967. Through her work as a translator 

and her involvement in the arts, she developed close friendships with many artists and 

writers including Floriano Vecchi, Tobias Schneebaum and Norman Mailer, the latter 

of whom served with Burke’s brother Sam Notkin in the Second World War. She also 

knew and corresponded with the wealthy collector Peggy Guggenheim. Burke’s work as 

a translator included books such as the classic Penguin Island by Anatole France, 

Amorous Initiation by O.V. de L. Milosz and Merlin: Priest of Nature by Jean Markale. She 

also wrote on the topic of culture for several European newspapers, including the 

International Herald Tribune. 

This fine selection of works by Riopelle, lots 14 ~ 21, was given to Burke by the artist 

during their relationship.


14


14 JEAN~PAUL RIOPELLE 

AUTO CAS OC QMG RCA SCA 1923 ~ 2002 

Sans titre 

oil on canvas, circa 1954 


PROVENANCE: 

A gift from the Artist in Paris in the 1950s to Belle Burke, New York 

LITERATURE: 

Hélène de Billy, Riopelle, 1996, page 370 

It is always tempting to seek in the life of an artist for a key to explain their 

art. Two of the Jean~Paul Riopelle paintings offered now at Heffel, this lot 

and lot 17, come from the personal collection of Belle Burke, née Notkin, 

a young American student of French literature at the Sorbonne who was 

Riopelle’s mistress in Paris during the end of his marriage to Françoise 

l’Espérance. Regarding Burke, we are told by Riopelle’s biographer 

Hélène de Billy that, “incapable of facing the end of this relationship, 

Jean~Paul was exhausting himself trying to hold her back. The game was 

turning out to be destructive, even violent and sometimes resembled a 

nightmare.” Among the things that Riopelle did to keep her was to give 

her a number of his works: oils, watercolours and a sketchbook 

containing 19 smaller watercolours (17 of these will be offered in Heffel’s 

Third Session ~ May 2013 Online Auction of Fine Canadian Art). 

But we will seek in vain in this Sans titre (and lot 17) for the slightest 

allusion to Riopelle’s and Burke’s tumultuous affair. Not only are the 

paintings abstract, they are also rather serene and well composed, 

beautiful in colour and harmony. They belong to another world ~ not 

the world of common passions, but the world of art. 

Since at Véhémences confrontées, an exhibition organized by the French 

painter Georges Mathieu at Galerie Nina Dausset in Paris, Riopelle had 

declared that “seul peut~être fécond un hasard total (only a complete 

reliance on chance can be fruitful)”, we cannot see his painting as a 

reflection of his life. This element of chance made all the difference. Now, 

each painting was the result of an extraordinary array of choices made to 

control the flow of movement going in so different directions. Order is 

here obtained not from the exterior ~ including the life of the artist, his 

liaisons and ruptures ~ but from the process of painting, from the inside, 

so to speak. Riopelle had long since abandoned the traditional idea ~ 

which had its root in theology ~ that an intention had to preside over the 

execution of a painting in order for it to conform to the artist’s vision and 

planning. I speak of theology, because the model previously defended for 

art making was to compare the artist to God, and to see in his work an 

example of premeditated good design, a world in miniature, as it were. 

But this was no longer the case ~ this argument of good design was 

obsolete. For a long time, the world had not been perceived as a perfect 

machine proving the existence of its creator. For the painter, there was no 

plan, no aim, no objective defined in advance for a good painting. Even 

Riopelle’s own life could not be of any help in the definition of his art. The 

artist was no longer interested in the why of creation, but in the how. 

There was no final cause such as beauty or love, only a final abstract 

creation made by tools and paint, to use the vocabulary of Aristotle. The 

result was amazing. Suddenly a painting could be seen as full of risks 

taken by the painter, full of disorganization conquered step by step to 

achieve a completely satisfying structure, with movements converging, 

with zones of greater or lesser density, with combinations of colours never 

seen before. Our Sans titre is a magnificent example of the mastery 

Riopelle was able to achieve in this highly successful period of the 1950s. 

The result is almost lyrical, symphonic; completely abstract, this painting 

is not without relation to music. 

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. 

This work is included as an addendum in Yseult Riopelle’s online 

catalogue raisonné on the artist’s work at http://www.riopelle.ca/ 

ESTIMATE: $100,000 ~ 150,000




Sans titre 

watercolour and ink on paper, 

signed, circa 1953 


PROVENANCE: 


LITERATURE: 

Roald Nasgaard and Ray Ellenwood, The Automatiste Revolution: 

Montreal 1941 ~ 1960, 2009, page 61 

Jean~Paul Riopelle’s watercolour and ink abstractions often have, by way 

of the translucence of the watercolour and the opaqueness of the ink, an 

innately balanced depth of field. In Sans titre, push and pull, solid and soft 

contrast in a very pleasing way. Further, in the case of this dancing, 

musical work, Riopelle’s choice of colours, which are primary and 

secondary colours in various levels of saturation, provide additional 

visual balance and a sense of harmony. Roald Nasgaard states that 

Riopelle “neither started with nature, nor was he an abstract painter in 

any absolute sense.” The framework within which he painted, his 

structures and grids, the lines of ink and fine splatters of colours, work 

together to suggest to us rather than tell us, to hint at something rather 

than state it. These charged, vibrant works from the 1950s, when he was 

producing paintings at a frenetic pace in Paris, speak of the creative 

ferment of the time and the place. There is a certain joy in this work, a 

sense of excitement, stimulus and energy. 



ESTIMATE: $25,000 ~ 35,000 

15




Sans titre 

watercolour and ink on paper on card, 

signed, circa 1955 


PROVENANCE: 


During their tumultuous affair in Paris in the mid~1950s, Jean~Paul 

Riopelle gave this lyrical, sparkling watercolour and ink work to his lover, 

Belle Burke. In it, Riopelle has used thinned primary colours as the visual 

ground for the composition, applying them with a light touch, even 

16 

spattering them on in places. This supporting layer of delicate colour is 

held in place and given compositional structure by the black ink, 

resulting in a balanced work with an energetic push and pull. Riopelle’s 

work with watercolour can be as compelling as his work with oil paint 

straight from the tube, and his use of black is often the reason why. Here, 

the black ink daubs, fingerprint~like in their shape, move across the work 

with a rhythmic energy that both follows and breaks away from the 

directional movement of the finer ink lines. 



ESTIMATE: $15,000 ~ 25,000


17




Sans titre 

oil on canvas, circa 1954 ~ 1955 

23 1/4 x 28 1/4 in, 59 x 71.7 cm 

PROVENANCE: 


At the time this painting and lot 14 were produced, there were 

discussions among the Surrealists and their friends about abstract art. 

It seemed impossible to give primacy to the unconscious and at the same 

time not to reject the calculating reason that seems to be at work in 

geometric abstraction. Certain critics, like Charles Estienne, a close 

friend of André Breton, suspected abstract art to be a “new form of 

academism”. And indeed, abstract painters like Auguste Herbin and 

Georges Vantongerloo, by rejecting the slightest allusion to the natural 

world in their paintings in order to affirm the spiritual world of geometry, 

ended up in repetitive and decorative patterns of little interest. But there 

were other ways to abstraction. Estienne later defended the so~called 

“abstraction lyrique” movement with which Jean~Paul Riopelle has often 

been associated. Riopelle, who was part of these discussions, defended 

the possibility of a non~figurative art to be as unpremeditated as the 

dream~like work of Salvador Dali or René Magritte. He was not the only 

one, of course, to defend this position. Georges Mathieu, Hans Hartung, 

Pierre Soulages and many others were all with him on this. One could find 

the same inventiveness in an abstract painting done without 

pre~conceived ideas as in a painting depicting a dream. And you could be 

abstract without being geometric. 

The moment we become more aware of the technique used by Riopelle, 

as in this Sans titre, we are better able to understand why. He had 

discarded long brushes and was exclusively using painting knives. When 

he used that tool, each trace left on the canvas more or less retained its 

shape. This could be seen as a matter of small importance, but I do not 

think that is the case. The painting knife has the particular ability to hide 

the pigment, the medium underneath it, at the very moment when it 

applies the paint on the canvas. This is a thing we could not say of 

brushes, and even less of pen or crayon. The knife introduces in the 

process of painting moments of surprise when the instrument is lifted 

from the surface of the canvas. At that very moment, Riopelle was 

confronted with a situation he could not completely predict and had to 

proceed from there, dealing with the new situation. Thus, the element of 

unpredictability is introduced. The apparent order of the finished work of 

art is, in fact, the result of an incredible number of decisions made by the 

artist. The result is never guaranteed in advance ~ the painting could end 

up in total chaos. That the opposite happens confirms the mastery of 

Riopelle. The result is amazing, and again, as with lot 14, life and 

movement are the key elements of the work. 

We have often noticed that black is used as a colour in a Riopelle painting, 

never the absence of light. It gives strength to the red, blue, yellow and 

white ~ which are particularly brilliant in this striking painting ~ as a kind 

of supportive background. In fact, it helps to control the unpredictable 

effects of the application of paint. With Riopelle, one can speak in the 

same breath of hazard (chance) and control. The element of chance is at 

the core of creativity, but it makes the use of control necessary ~ in 

Riopelle’s art, a non~preconceived idea required the use of conscious 

decisions in the process of painting. 

One last note on the size of this work and lot 14. Looking at the 

photographs of these paintings, one could easily imagine each being 

larger than they actually are. One cannot say that of all works of art, but 

with Riopelle, his paintings have a monumental impact no matter what 

the scale. 






ESTIMATE: $80,000 ~ 120,000




Sans titre 

watercolour and ink on paper on board, signed, circa 1955 


PROVENANCE: 


As with his thickly painted drip and palette knife works, Jean~Paul 

Riopelle’s work in the aqueous medium of watercolour and ink also 

experiments with mark~making. In this horizontal format work, Riopelle 

has applied black ink onto a surface already washed with chromatically 

related hot reds and yellows. Large blots of ink, probably applied with a 

brush, are extended by spidery radiating lines and slashes. It is the 

18 

application of these latter ink marks, with their vibrant energy, that makes 

this work so interesting. What tool has Riopelle used to give us these 

erratic, yet forceful marks They are too solid to have been made with a 

brush, too controlled to have been dripped on, too tight to have been 

splattered. It is as if they have been applied with a stick, or perhaps an old 

paint~clogged brush that still has some softness to it, but which breaks 

and cracks the lines as they are applied to the paper’s surface. In looking 

closely at them, it is easy to be drawn into their organic energy, just as 

Riopelle was at the moment he made them. 



ESTIMATE: $35,000 ~ 45,000


33 



Sans titre 

ink, gouache and graphite on paper, 

signed and dated 1955 


PROVENANCE: 


During the early 1950s, Jean~Paul Riopelle became deeply immersed in 

the Parisian cultural milieu. Through various exhibitions and his 

association with dealer Pierre Loeb, Riopelle became connected to other 

artists working in Paris at the time such as Georges Mathieu, Hans 

Hartung and Wols, in addition to receiving the continued support of 

19 

Surrealist leader André Breton. In 1954, his international status was 

solidified by his first exhibition with the Pierre Matisse Gallery in New 

York and also by his representation at the Venice Biennale. His global 

exposure continued at the Bienal de São Paulo, Brazil in 1955, which 

further established him as one of Canada’s most important Abstract 

Expressionists. 

The optimism and excitement of the period are captured in lots 19, 20 

and 21 through the refreshing palette of blue, yellow and red, which is 

anchored by the black ink, characteristic of his paperworks from this 

period. All figurative references were eschewed through the black 

spidery lines woven between patches of colour, resulting in these 

organically vital works. The swatches of colour and black also draw a 

connection to the fragmented mosaic tiles he was creating in his larger 

paintings. However, unlike those sprawling, dense surfaces, these


34 

paperworks leave the surface layer exposed, allowing the colour and ink 

to breathe across the plane. Produced during his most significant period, 

these lots are sought~after examples from one of Canada’s most important 

artists, with arguably the greatest international stature. 

These works will be included as addenda in Yseult Riopelle’s online 

catalogue raisonné on the artist’s work at http://www.riopelle.ca/. 

ESTIMATE: $10,000 ~ 15,000 



Sans titre 

ink and gouache on paper, 



PROVENANCE: 


ESTIMATE: $10,000 ~ 15,000 

20 21 



Sans titre 

ink and gouache on paper, 



PROVENANCE: 


ESTIMATE: $10,000 ~ 15,000


PROPERTY OF VARIOUS COLLECTORS 



Triple with Blue, Green, Yellow 

gouache on paper, signed and dated September 1971 



PROVENANCE: 

David Mirvish Gallery, Toronto 

By descent to the present Private Collection, Toronto 

LITERATURE: 

Jack Bush: Works on Paper, New York Studio School, 2009, essay by Karen 

Wilkin, “Jack Bush on Paper: A Selection”, http://www.nyss.org/ 

exhibitions/jack~bush/, accessed February 5, 2013 

Jack Bush’s early training and long experience as a graphic designer made 

it natural and most comfortable for him to work out many of his ideas on 

paper and on a smaller scale than his powerful, large canvases. Bush’s 

superb handling of watercolour and gouache allowed him the freedom to 

experiment with and develop the abstract motifs that brought him both 

national and international attention as a significant abstract artist. One 

notable experiment, begun around 1971, was Bush’s use of three distinct 

sections of ground colour, most evident in Triple with Blue, Green, Yellow. 

As Karen Wilkin states in her essay for the New York exhibition, Jack Bush 

on Paper: A Selection, Bush’s works on paper were not studies for larger 

images but “independent, accomplished works of art in their own right” 

and that he “often seems particularly inventive and especially uninhibited 

on paper.” As with other fine paintings of this period, Triple with Blue, 

Green, Yellow evinces not only the joy and exuberance of the artist’s 

emotions but the wit and inventiveness of his best works. 

This work will be included in Sarah Stanners’s forthcoming Jack Bush 


ESTIMATE: $25,000 ~ 35,000 

22


23 LOUIS BELZILE 

AANFM ARCA LP 1929 ~ 

Composition 

mixed media on board, signed and dated 1958 

and on verso titled and dated on a label and 

stamped with the artist’s stamp 


PROVENANCE: 

A gift from the Artist to the present Private Collection, Montreal 

Louis Belzile was a founding member of the Plasticiens movement whose 

members, after the revolution started by the Automatists, broke even 

further away from modes of traditional painting and created works 

concerned purely with the most basic, formal elements of art: line and 

colour. Their artistic concerns were with the relationship between these 

two elements with the resulting play of contrasts and form, and our 

perception of them. In Composition, Belzile is playing with all of these 

things: creating and defining spaces ~ a box with depth, a floating circle ~ 

and then deconstructing them with line, changing the perceived spaces 

into illusions of perceived spaces, and never allowing us to rest on such 

simple solutions when looking at his work. The Plasticiens admired the 

work of Dutch painter Piet Mondrian, and considered his (and their) 

geometric approach to painting a form of artistic perfection. Belzile’s 

work differs somewhat from the other original members of the Plasticiens 

~ Jauran (Rodolphe de Repentigny), Jean~Paul Jérôme and Fernand 

Toupin ~ in that his works often include areas of textural treatment, and 

that he drew his geometry freehand. 

ESTIMATE: $8,000 ~ 10,000 

23




Things on a Table 

oil on canvas, signed 

and on verso titled, circa 1962 


PROVENANCE: 

Acquired directly from the Artist 

By descent to the present Private Collection, Vancouver 

The 1960s were a formative period for Gordon Smith. At the beginning of 

the decade, Smith gained international exposure by showing at the Bienal 

de São Paulo, Brazil in 1960, and was awarded a Canada Council 

fellowship to travel and study in Europe that same year. Also at this time 

he was teaching at the University of British Columbia, and a fellow faculty 

24 

member acquired Things on a Table directly from him. One of Smith’s 

many strengths as an artist is his unique ability to transform any subject 

matter into individual, painterly expressions, as exemplified in this work. 

The “things” themselves are not entirely clear ~ perhaps some fruit, other 

foods, a plate ~ that are abstracted through varying planes of colour and 

shape. The central forms hover with bright energy against the dark 

background, drawing parallels to his non~representational works of the 

early 1960s. Things on a Table is clearly a still life, as the title suggests, yet 

exudes a unique complexity through his brilliant use of paint and its 

properties. This balance of definition and abstraction continues to play an 

important role throughout his body of work ~ notably in his landscapes ~ 

to the present day. 

ESTIMATE: $20,000 ~ 30,000


25 LISE GERVAIS 

QMG 1933 ~ 1998 

Indian Summer 

oil on canvas, signed and dated 1965 

and on verso signed and titled 


PROVENANCE: 

Gallery Moos, Toronto 

Private Collection, Toronto 

In this hot, shimmering work, Lise Gervais’s understanding of her colour 

palette is readily apparent. It is a luscious painting that speaks of summer 

warmth and autumn ripeness, and Gervais has conveyed the idea of heat 

through her glowing hot reds with their different translucencies, and 

through the slickness of her palette~knife application of paint, which 

feels completely fresh. Suggested by the title of Indian Summer, the shapes 

in the work might evoke the idea of an ancient wall or another type of 

architectural ruin, caught under the heat of the fall sun. The swathes of 

purple, here a royal colour indeed, seem to command centre stage, while 

the inky blacks set everything off brilliantly. Gervais had a masterful 

command of colour, and her ability to use reds that tend to orange as well 

as ones that tend to black and to apply them in such brilliant harmony as 

she has done here, is part of the appeal of her vibrant, enthralling works. 

ESTIMATE: $25,000 ~ 35,000 

25


26 

26 YVES GAUCHER 

ARCA 1934 ~ 2000 

Danse carrée: Once Upon a Square 

oil on canvas, on verso signed, titled and dated 

November ~ December 1964 ~ January 1965 


PROVENANCE: 

Martha Jackson Gallery, New York 

An Imporant Montreal Collection 

LITERATURE: 

Nathalie Garneau, Collection 1: Yves Gaucher, Les Danses carrées, Leonard 

& Bina Ellen Art Gallery, Concordia University, 2005, page 1 

In 1964, Yves Gaucher set out to redefine his art with the support of his 

galleries. By temporarily abandoning printmaking in favour of painting, 

he developed a new visual language focused on hard edge line, bold 

colour and playful shapes. Gaucher’s inspiration for the Danse carrée 

series was derived from the movements of dancers in formation. This 

motif is essential to understanding the work Danse carrée: Once Upon a 

Square. Nathalie Garneau comments, “On this he arranged the elements 

that would henceforth characterize his formal vocabulary: lines and 

marks of varying lengths and thicknesses, as well as diamond shapes.” 

In 1965, Gaucher’s visionary Danse carrée paintings convinced dealer 

Martha Jackson of New York to feature two of them in the group show 

Vibrations 11. Jackson was impressed and gave the artist a solo show the 

subsequent year. It was an incredible accomplishment for the young 

Canadian artist, who was now poised to burst onto the world stage. 

Shortly after, Gaucher was selected to represent Canada at the XXXIII 

Venice Biennale, together with Sorel Etrog and Alex Colville. 

ESTIMATE: $15,000 ~ 20,000



CC QMG RCA 1904 ~ 1990 

Le train 

oil on card, signed and on verso signed, circa 1965 


PROVENANCE: 

Galerie Clarence Gagnon, Montreal 

Private Collection, Quebec 

Jean Paul Lemieux’s mastery of the subtle, scrubbed surface and limited 

palette is especially effective in this fine work. The train, a repeated 

subject of interest for Lemieux, speeds into our space from a distant 

horizon, rushing toward us with all of its mechanized intensity, barely 

contained by the right edge of the work. Yet the tones of the painting ~ 

grey, brown, white and red ~ and the chalky, drybrush method of applying 

paint at which Lemieux was so adept, serve to nullify the threat implied 

by the speeding train. The train simply approaches, charging out of the 

hoary, frozen air in a sweeping line that conveys a sense of vast, empty 

distance. And though the engine looms near to us, it is tethered into the 

distance of the scene by the small patch of corresponding colour on the 

left side of the work. Further, and quintessentially Lemieux, while the 

train tracks lead directly into our space as viewers, this intrusion and its 

threatening psychological effect have been skilfully negated by Lemieux’s 

decision to paint this work in a diminutive format. 

ESTIMATE: $20,000 ~ 30,000 

27



CC QMG RCA 1904 ~ 1990 

La veuve 

gouache, watercolour and india ink on paper, 

signed and titled 

24 x 19 in, 61 x 48.3 cm 

PROVENANCE: 

Marlborough~Godard, Toronto 


Jean Paul Lemieux filled numerous sketchbooks throughout his career, 

the contents forming the basis for what were to become major drawings 

and paintings. He began by using mostly pencil, then pen and ink, and 

eventually felt pen; these mediums allowed him to create ever~larger 

28 

works on paper. In 1972 Lemieux added washes of watercolour and ink 

to his graphic repertoire, resulting in more gestural spontaneity over the 

white paper ground, but without any loss of his outstanding control of 

pictorial space. There is always a natural, unstudied symbiosis between 

the artist’s human subjects and the settings he creates for them. Whether a 

lone figure on a beach, in a field or emerging from a nest of city buildings, 

Lemieux’s quiet human forms speak volumes to the viewer. In La veuve, 

the high~ceilinged room the widow occupies may be brightly lit and 

open; nonetheless, she sits there as if awaiting her release. Here the artist 

demonstrates, with simple means, his subject’s physical and 

psychological isolation. 

ESTIMATE: $18,000 ~ 24,000


29 RITA LETENDRE 

ARCA OC QMG 1928 ~ 

Confluent 




PROVENANCE: 

Masters Gallery Ltd., Calgary 

Private Collection, Ontario 

LITERATURE: 

Roald Nasgaard, Abstract Painting in Canada, Art Gallery of Nova Scotia, 

2007, page 180 

29 

Rita Letendre is one of the important Abstract Expressionists in Canadian 

art, and her early work from 1953 to 1963 established her national and 

international reputation. Confluent is a keynote of her oeuvre, one with a 

powerful design punch and terrific painterly passion. An incredible sense 

of dynamism that is at once highly specific and incipiently abstract 

accrues from the dancing shapes, which cross the surface to create a sense 

of movement. The title of the work reveals the essential magic of the 

composition: confluent ~ a flowing or coming together, a meeting of 

forms, a junction of great energies. 

As Roald Nasgaard points out in Abstract Painting in Canada, here and in 

other works of 1961, Letendre created a “sense of turbulent drama… 

intensified by brighter colours pushing, as if seeking liberation, against 

masses of black.”


Throughout her painting life, Letendre has pursued an art whose primary 

materials are colour, light and space. Her work has matured impressively, 

gaining pictorial weight achieved with tactile surfaces and a rich palette, 

combined with a subtle sense of space ~ sometimes composed of planes 

which seemingly reflect rays of light and divisions in space. Hers has been 

a narrative about beauty, and her images reflect an instinctive formal 

elegance. Despite her work’s ostensible simplicity, the results are 

satisfying as well as informing, intent on not simply repeating the past. 

This painting, with its back~to~basics abstraction characterized by 

simple forms, bold colour and an emphasis on process through the use of 

the palette knife as a paint tool, expresses the soaring joy of Letendre’s 

path. The result, along with several of her other well~known works 

painted the same year such as Victoire, in the collection of the Art Gallery 

of Ontario, and The Realm of the Samurai, in the collection of The Robert 

McLaughlin Gallery, Oshawa, is one of the high points of her work. 

We thank Joan Murray for contributing the above essay. 

ESTIMATE: $25,000 ~ 35,000 

30 LAWRENCE PAUL YUXWELUPTUN 

1957 ~ 

In the Morning 

acrylic on canvas, on verso 

signed, titled and dated 2008 


PROVENANCE: 

Buschlen Mowatt Gallery, Vancouver 


LITERATURE: 

George Harris, Confronting Colonialism, Vancouver Art Gallery, http:// 

projects.vanartgallery.bc.ca/publications/75years/exhibitions/2/1/artist/ 

43/96.27/bibliography/323, accessed March 2, 2013 

Of Coast Salish origin, Lawrence Paul Yuxweluptun is well known for 

expressing his political views about the environment and the treatment of 

First Nations people through his art. The ovoid is a central motif in Haida 

art, used repeatedly in their stylized depictions of form. Yuxweluptun is 

reclaiming this motif in his own terms, removing it from its traditional 

context and taking it into the post~modern world, incorporating 

elements of Minimalism and Colour Field painting. However, politics are 

never far from Yuxweluptun’s consciousness. In 2009, the National 

Gallery of Canada held an exhibition of Yuxweluptun’s Ovoid series. 

In the exhibition catalogue, he included a “Manifesto of Ovoidism”, in 

which he stated that he considered that his ovoids were the basis of “a 

philosophy to think about such things as land claims, Aboriginal rights, 

self determination and self government, social conditions and 

environmentalism, Native reason and Native philosophy…to express 

Native ‘modernalities’ and to intellectualise place, space and Native 

reason.” Furthermore, In the Morning features a simplistic palette of 

black, red and white, colours commonly found in Haida imagery. 

ESTIMATE: $15,000 ~ 20,000 

30


31




Mediterranean Forms 


and on verso titled, dated and inscribed 

J.L. Shadbolt 461 N Glynde Ave., Vancouver BC 


PROVENANCE: 

Collection of Janet and Pierre Berton, Kleinburg 

By descent to the present Private Collection, Toronto 

LITERATURE: 

Recent Canadian Painting, The National Gallery of Canada and 

The National Museum Warsaw, 1962, reproduced, unpaginated 

Colin S. MacDonald, A Dictionary of Canadian Artists, Volume 8, 

2006, page 405 

EXHIBITED: 

The National Museum, Warsaw, Poland, Recent Canadian Painting, 

January 5 ~ April 1962, catalogue #42 

Jack Shadbolt’s artistic influences were varied and rich. He was familiar 

with the work of the Group of Seven as early as 1925, and had met Emily 

Carr in 1930 and Lawren Harris in 1933. He saw the works of Pablo 

Picasso, Henri Matisse and Paul Cézanne in Paris in 1937 and 1938, and 

shared their interest in primitive sculpture, vibrant, dancing colour and 

fractured form. While Shadbolt’s style varied dramatically over the course 

of his prolific career, what always comes through in his work is a powerful 

sense of his personal insightfulness. And, as his work is often described as 

having dreamlike beauty, he must have dreamed of interesting things. 

This stunning, brilliantly coloured work was inspired by his travels in 

1956 to 1957. After representing Canada at the Venice Biennale, Shadbolt 

traveled through the Mediterranean region of France, visiting small 

villages along the French Riviera. With the support of a Canada Council 

Overseas Fellowship and a Canadian Guggenheim International Award 

combined, he spent a month at the small Spanish~influenced fishing 

village of Collioure, which lies in a beautiful circular harbour some 24 

kilometres north of France’s border with Spain. Surrounded by ancient 

buildings, colourful architecture and vibrant people, all set against the 

backdrop of the blue Mediterranean Sea and lit by the heat of the sun, 

Shadbolt’s passion for colour changed hue, as his work was warmed by 

the glowing tones of the region. Mediterranean Forms is rendered in a 

blocky patchwork style that immediately brings to mind an ancient brick 

wall set with a figurative mosaic. Faces, forms, eyes and arms all seem to 

be present in this dancing work. Instantly appealing, this work seems to 

glow with the very warmth of the place it depicts. Shadbolt made two 

trips to the Mediterranean, the second in 1960, and his response to the 

region by way of mosaic~like fracturing, the patchwork style, and his 

affection for hot, burning, ember~like colours would remain present in 

his work long after the trips took place. 

Of particular note is the fact that this work was selected for inclusion in 

the important show Recent Canadian Painting, held in Poland in 1962 

and organized by the National Gallery of Canada. Alex Colville’s Man on 

Verandah (sold by Heffel in November 2010 ~ a record for a work by a 

living Canadian painter sold in Canada) was also selected for inclusion in 

this notable show. Further, Mediterranean Forms once belonged to one of 

Canada’s famous sons ~ author, television host and journalist Pierre 

Berton. Berton and Shadbolt were both distinguished alumni of Victoria 

College (now the University of Victoria) in British Columbia (although 

over ten years apart). They both had great pride in Canada and her history, 

and shared an interest ~ Berton as an historian and Shadbolt being an 

official Canadian war artist ~ in the after effects of World War II. In 

addition to the cover art that Shadbolt produced for MacLean’s magazine 

while Berton was on the editorial staff there, MacLean’s acquired 

Shadbolt’s work for its corporate collection. 

ESTIMATE: $20,000 ~ 30,000


PROVENANCE: 

Louis and Rose Melzack Collection 

Private Collection, London, England 

LITERATURE: 

William Kuhns and Léo Rosshandler, Sam 

Borenstein, 1978, reproduced page 65 

EXHIBITED: 

Art Gallery of Hamilton, Sam Borenstein, 

September ~ October, 1974 

The mid~1950s brought great change 

for Sam Borenstein, both artistically and 

personally. William Kuhns wrote, “As 

Borenstein’s work of the fifties evolved, 

his strokes grew bolder, his colours 

more vivid, the effect more volatile… 

Perspective, so elaborately achieved in 

the earlier landscapes, often had a 

seething, insecure quality ~ as though the 

spaces themselves were vulnerable to the 

eruptions going on within a canvas.” On 

a personal level, his two daughters, Joyce 

and Maxine, were born during difficult 

financial circumstances. Borenstein and 

his wife, Judith, were impoverished at the 

time and Borenstein was forced to ask his 

friend, Montreal entrepreneur Louis 

Melzack, for assistance. Melzack and his 

wife, Rose, owned Classic Bookstore, a 

popular bookstore on St. Catherines 

Street, which also served as a cultural hub 

in Montreal. Melzack acquired 40 

Borenstein paintings, which were hung 

and sold in the store, 

and as a result, the artist’s work was 

introduced to a wider, elite audience. 

All the Borensteins in this sale, including 

Falling Red Leaves, are from the important 

Melzack collection. 

ESTIMATE: $20,000 ~ 30,000 

32 SAMUEL BORENSTEIN 

CAS QMG 1908 ~ 1969 

Falling Red Leaves 


titled and dated 1955 on a label 


32



CAS QMG 1908 ~ 1969 

Downtown Montreal 


and on verso titled on a label 


PROVENANCE: 



EXHIBITED: 

Art Gallery of Hamilton, Sam Borenstein, September ~ October, 1974 

After surviving the war years in Lithuania, Sam Borenstein immigrated to 

Canada in 1921. Upon arrival in Montreal, he worked as a furrier and 

fabric cutter before pursuing painting, and applied in about 1926 to the 

École des beaux~arts in Montreal, but was rejected. Nevertheless, he was 

committed to his practice and attended evening art classes for two years. 

However, his greatest education came from fellow Montreal artists ~ 

Adam Sherriff Scott, Herman Heimlich and Fritz Brandtner, amongst 

others. By the early 1940s, he was increasingly involved in the Montreal 

artistic milieu, but as exemplified here, his individual expression was 

gaining clarity. Great movement is beginning to sweep across the sky, 

almost pulling the trees away with it and thus acting as a sign of the 

expressive eruptions to follow in his later paintings. The shades of blues 

and purples and the almost deserted street evoke a moody atmosphere, as 

if a storm is brewing on the horizon. Downtown Montreal demonstrates a 

stage in Borenstein’s gradual yet unbridled development in becoming one 

of Canada’s most distinct Expressionists. 

ESTIMATE: $20,000 ~ 30,000 

33


The rural Quebec landscape served as 

a great inspiration for Sam Borenstein 

throughout his career. In particular, 

the Laurentians were a subject that 

he would continually return to, first 

traveling there in the 1940s under 

the guidance of art dealer William 

Watson. He also traveled further 

northeast to the Laurentian 

Mountains, a region near the St. 

Lawrence and Ottawa Rivers. Pier by 

the Sea, Laurentian Mountain radiates 

with bold colour and movement, and 

in its strength, the work is vividly 

reminiscent of Borenstein’s greatest 

influence, Dutch Post~Impressionist 

master Vincent van Gogh. Similar to 

van Gogh, Borenstein searched for 

his own painterly language and 

expression to portray the landscape 

he was so clearly moved by. The 

influence of van Gogh is palpable 

here, as Borenstein allows his 

enthusiasm for his subject to override 

formal technique. The water is 

particularly stirring, as the deep, 

greenish abyss of blue is highlighted 

by bold, textural accents of white and 

yellow. The final result is an 

emotionally charged, almost volatile 

work that exudes a vigorous energy. 

ESTIMATE: $15,000 ~ 25,000 


CAS QMG 1908 ~ 1969 

Pier by the Sea, Laurentian Mountain 

oil on canvas, signed 

24 x 20 1/4 in, 61 x 51.4 cm 

PROVENANCE: 



34


LITERATURE: 

William Kuhns and Léo Rosshandler, Sam Borenstein, 

1978, page 39 

Sam Borenstein offered a unique painterly perspective 

on the Canadian landscape and cityscape. He was 

particularly influenced by the explosive, chaotic work 

of European masters Maurice Utrillo, Chaim Soutine 

and Vincent van Gogh. In relation to such inspirations, 

Borenstein wrote in his autobiographical notes: “It 

dawned on me that it would be necessary for me to create 

an alphabet and a language, a language that I also 

discovered would be foreign to anyone but me…People 

began to say he has talent but is uncontrolled. How does 

one control himself when one is so enthusiastic about 

what one sees” By the mid~1940s, Borenstein was 

beginning to distance himself from his earlier 

representational works and develop this new “alphabet 

and language”. In this work, his excitement for his 

surroundings is obvious through the passionate ~ almost 

flamboyant ~ brush~strokes and ignited colour palette. 

A painterly earthquake is starting to rumble beneath the 

surface as the figures, trees and streets begin to sway. A 

Montreal Street serves as an important pre~cursor to the 

wildly Expressionist paintings that would emerge in the 

following years. 

ESTIMATE: $15,000 ~ 25,000 


CAS QMG 1908 ~ 1969 

A Montreal Street 



PROVENANCE: 



35




Composition 

oil on canvas, on verso titled on 

the Marlborough~Godard label, 1955 


PROVENANCE: 

Marlborough~Godard, Toronto 

Acquired from the above by the present Private Collection 

LITERATURE: 

Hélène de Billy, Riopelle, 1996, page 155 

Yseult Riopelle, Jean~Paul Riopelle Catalogue Raisonné, Volume II, 2004, 

reproduced page 212, 1955.073H.1955, titled as Sans titre 

This well~known painting, entitled Composition (also known as Sans titre 

and reproduced in the catalogue raisonné), belongs to Jean~Paul 

Riopelle’s important period of the 1950s. It is a completely abstract work, 

giving the feeling of an all~over composition (with no hierarchy between 

the elements and no points of focalization on the entire surface) but is not 

completely flat, since the superposition of white strokes on the darker 

background creates an illusion of some depth. In fact, this minimal 

characterization does not acknowledge the subtleties of colours one sees 

here and there, especially as we progress from left to right. It is as if this 

predominantly black and white painting could give a sign of illumination 

in the course of its own development. 

Riopelle wrote in a text prepared for his 1951 presentation at Véhémences 

confrontées, an exhibition organized in Paris at the Galerie Nina Dausset, 

in which the painter Georges Mathieu was hoping to “confront” the 

French and American (even Italian, but represented there only by 

Giuseppe Capogrossi) avant~garde with the idea that the only issue 

open to the painter was the “hasard total” (total hazard or chance). This 

meant that the painter should not know in advance how his painting 

would develop, but instead should proceed by responding to the new 

situation created at each stroke of the painting knife applying colours 

on the canvas. Hazard or chance in this situation is not opposed to 

consciousness and control. In the process of making the painting, the 

artist remains conscious of the situation created (or modified) by each of 

his interventions and intends to control the whole. 

It is not surprising that Riopelle liked to work without witnesses around 

him when he was painting. They would only have disturbed the extreme 

concentration necessary to make the work. I know of only one case of 

someone who has seen him painting. The bookseller Robert Keane, who 

owned a barn at Long Island, witnessed him painting, and wrote: “I will 

never forget this scene. First, he did not paint with a brush but rather with 

what looked like a putty knife. Second, judging by the hundreds of empty 

tubes that lay at his feet, he was using a phenomenal quantity of paint. He 

did not unscrew his tubes. He decapitated them in one move with his 

knife without ever using the cap. Red, blue, or green: the colours 

appeared suddenly at the tip of his fingers. Because that is how he was 

doing it: he held all the tubes (say three or four or as many as his hand 

could hold) in his fist and then either poured them directly on the canvas 

or managed to have one colour mixing with the next by pressing the tubes 

detail 36 

detail 36 

in a certain way”. This description perfectly applies here and gives us a 

hint of Riopelle’s dexterity and his amazing control of technique. 

Technique is important, but it is not all. The result is the main issue, and 

here we can say that the result is completely satisfying. The liveliness, the 

dynamism of this painting ~ which one dreams could continue endlessly 

on the left or on the right ~ is the best proof of this. Let us hope that this 

masterpiece might end up in a public collection, where everybody could 

enjoy it, though I know some collectors see themselves as “custodians” of 

what they own and are conscious of their responsibility to the general 

public. 




ESTIMATE: $600,000 ~ 800,000


36


Jean~Paul Riopelle, 1953 

Denise Colomb (1902 ~ 2004) © Denise Colomb ~ RMN 

37 MARCELLE FERRON 

AANFM AUTO CAS QMG RCA SAAVQ SAPQ 

1924 ~ 2001 

Sans titre 

oil on canvas 


PROVENANCE: 

Acquired directly from the Artist 

By descent to the present Private Collection, Montreal 

Of all of the Automatists, Marcelle Ferron remained truest in her style 

to the original approach of the group throughout her career. She was 

deeply interested in colour, and the gestural swathing~on of paint ~ 

37 

characteristic of the Automatists ~ was something she explored in 

remarkable depth. She worked with a long palette knife, blending her 

carefully selected colours on the surface of her works in a rhythmic, 

free~flowing manner. She continued to grind and mix her colours 

herself, despite the readily available and less expensive options available 

to her in Paris, where she spent much of her career. This intense interest 

in colour no doubt affected the way she blended her paints on the 

surface of her canvases, with an almost innate attention to bringing out 

all of their subtle hidden hues. Additionally, she often set her 

compositions against backgrounds of black or white, the latter being the 

case with Sans titre, and the creamy white she uses here is a delicious 

ground from which her other luminous colours emerge. 

ESTIMATE: $15,000 ~ 20,000 

Jean~Paul Riopelle and Georges Duthuit in front of Pavane, 

in the collection of the National Gallery of Canada, Ottawa, circa 1954


38 LÉON BELLEFLEUR 

CAS PY QMG 1910 ~ 2007 

Signes sur l’eau no. 1 

oil on canvas, signed and dated 1962 and on verso titled 

39 1/4 x 31 7/8 in, 99.7 x 81 cm 

PROVENANCE: 

Galerie Dresdnere, Montreal 

Private Collection, Montreal 

In 1958, Léon Bellefleur returned to France, where he had been several 

times since 1954. While there, he explored in depth his long~held 

interest in the work of the Surrealists and the creative subconscious as a 

source of inspiration. He was also particularly interested in the Russian 

painter Wassily Kandinsky, whose work was heavily influenced by music, 

and who resonated with Bellefleur because of his ideas on spiritualism in 

38 

art. Spain’s Surrealist Joan Miró was also a source of inspiration. Bellefleur 

endeavoured in his work at this time to respond to the creative dictates of 

the subconscious, and to search for the completely spontaneous. His 

work is automatic painting, wherein he approached the canvas without 

any preconceived idea as to what he would paint, simply responding to 

his subconscious. He subscribed to the Surrealist theory on objective 

accidents, and believed that these accidents, which happened when 

painting in this unplanned manner, would shape the composition and 

define the work. He also embraced graphic automatism, a type of 

free~flowing drawing, wherein he allowed his subconscious to guide his 

hand. 

ESTIMATE: $12,000 ~ 16,000


39




Bird Skeleton / Harbour, Mykonos 

Island (verso) 

double~sided oil on board, signed and dated 1947 


PROVENANCE: 

Claude Bouchard, Ottawa 


LITERATURE: 

Scott Watson, Jack Shadbolt, 1990, reproduced page 51 

In 1946, after his time as an official Canadian war artist, Jack Shadbolt 

remained haunted by the things he had witnessed during the war. In 

London, he had walked through bombed streets on his way to his job 

filing photographs taken by the army during their advance into the camp 

at Buchenwald, and he was traumatized by the horrors that he saw. In 

Canada, he began a series of works exploring his unease, using animals, 

including birds, as subjects. The following year he would work at 

Buccaneer Bay on North Thormanby Island, executing another series 

using themes of driftwood and skeletal forms, some beautiful, others 

dealing with the difficult imagery that remained in his mind. In 

Vancouver, he sketched the architectural forms of the city, using rusted 

bridges and derelict buildings as metaphors for the carnage of war. Bird 

Skeleton has elements of each of these things; the skeletal rib cage of the 

bird is as bleached as the driftwood at Buccaneer Bay, and the bird’s 

massive, predatory form clings with red talons to a rusted steel girder. 

It is a profoundly powerful image ~ primitive, supernatural and 

frightening. Shadbolt’s choice of setting the bird against a gold~toned, 

mosaic~like background furthers the sense of the terrible power that it 

conveys, seeming to reign, as it does, over some rich yet apocalyptic 

domain. We know from Shadbolt’s letter (which accompanies this lot), 

that “The Bird Skeleton was done in 1947…at that time, I had not too 

much money for art materials so I often painted on the backs of boards or 

paper or canvases…This work was done just before I went to New York to 

study at the Art Students League in 1948.” Shadbolt then goes on to say, 

regarding the other side of this double~sided work, “In 1960 I went to 

Greece and painted there, on Mykonos Island, a series of heavily 

pigmented sketches of the port. When I returned home again I was still in 

this mood and reaching for any surface I had handy to make quick 

memory impressions of the mood of Greece before I forgot. So, obviously, 

I must have used the back of this other work of the Bird Skeleton ~ though 

I cannot think how I was so foolish to do so as I came to regard the Bird 

Skeleton as one of the best works I had done to date. And, curiously, 

though I had forgotten this impression of Greece, when I see it now I 

realize that it is far better than I must have thought at the time. In fact, I 

think it is bold and expressive painting.” Shadbolt has certainly described 

his work well, the bold expressiveness of the day’s catch caught in a black 

verso 39 

tangle of net is in vivid contrast to the delicate, for Shadbolt at least, 

harbour scene of Mykonos in the distance. 

The work has immediate impact, and is boldly calligraphic in an 

expressionist manner. The simple, pure, primary colours that Shadbolt 

has used to depict the idea of a trapped creature struggling to free itself 

seems somehow to underline and emphasize the primal struggle between 

life and death. In both the Bird Skeleton and the Mykonos image, we have 

two fine examples of brilliantly expressive, powerful works of art by one 

of Canada’s most respected painters. 

Accompanying this lot is a copy of the letter from the artist regarding this 

painting. 

ESTIMATE: $60,000 ~ 80,000




Threnody for Deep Summer 


signed and titled on a label, 1961 


PROVENANCE: 


LITERATURE: 

Scott Watson, Jack Shadbolt, 1990, page 78 

In 1960 Jack Shadbolt went to Europe for a second year~long trip, 

traveling to the Côte d’Azur and Greece. Once again Shadbolt plunged 

into a hedonistic exploration of colour, exemplified by the chromatic 

intensity of Threnody for Deep Summer, aflame with warm colours. 

Threnody means a song or poem of lamentation ~ one can imagine how 

Shadbolt might mourn for the passing of the radiant summers of the Côte 

40 

d’Azur or Greece. The southern heat and light and relaxed lifestyle was an 

incredible personal and artistic release for Shadbolt. On his first trip to 

France, he exclaimed, “To be given this is the gift of life…I am beginning 

to feel now the rediscovery of my human self ~ tastes, smells, touch, 

texture, sun…following instinct rather than plan” ~ a liberating 

experience for this intellectual West Coast modernist. Expressionist 

strokes of multi~coloured paint swirl over the dark central form anchored 

in a field of glowing orange, pink and red, creating a rich and sensuous 

atmosphere. Threnody for Deep Summer is the essence of the deep summer 

day that Shadbolt poignantly longs for. 

ESTIMATE: $20,000 ~ 30,000




Dark Expelled 

oil on canvas, signed and dated 1960 and on verso signed, 

titled, dated and inscribed Painted at Menton, 1960 


PROVENANCE: 


EXHIBITED: 

National Gallery of Canada, Ottawa, Fourth Biennial Exhibition, 

1961, catalogue #75 

The Elsie Perrin Williams Memorial Art Museum, London, 

Ontario, 1968, catalogue #75 

The hot, charged colour palette and sun~drenched, abstracted landscape 

present in this richly painted work derive from Jack Shadbolt’s 1960 

return trip to Europe, when he visited Mediterranean medieval towns 

41 

and painted at Menton and Collioure. The inscription notes that this 

work was produced at Menton in the Côte d’Azur region of France. 

Shadbolt was drawn to this sensual environment of heat and colour, and 

paintings such as this reflect the hedonistic delight and sense of freedom 

he experienced there. Also during this time, Shadbolt was experimenting 

with automatic techniques of mark~marking, producing expressionist 

ink and acrylic washes on paper dominated by strong, black calligraphic 

forms. Forms like this are present here, and in his title Shadbolt intimates 

a struggle between these dark, potent forms and the rich hot reds, oranges 

and yellows ~ possibly symbolizing different impulses of the psyche. 

Transformation, manifestation of the unconscious, dynamic tension and 

spontaneity were at the core of Shadbolt’s painting, and are manifest in 

Dark Expelled. Chosen for the National Gallery of Canada’s Fourth Biennial 

in 1961, this is an outstanding work from this period. 

ESTIMATE: $12,000 ~ 16,000


42 WILLIAM KURELEK 

ARCA OC OSA 1927 ~ 1977 

Foxes Have Holes 

mixed media on board, signed and on verso titled 

and dated 1963 and inscribed This illustrates St. Matthew, 

Chapter 8, line 20 on various labels 


PROVENANCE: 

The Isaacs Gallery Ltd., Toronto 

Roberts Gallery, Toronto 

Sold sale of Important Canadian Paintings, Drawings, Watercolours, 

Books and Prints, Sotheby & Co. (Canada), October 21, 1974, lot 85 


LITERATURE: 

William Kurelek, Someone With Me, 1980, page 152 

Prior to converting to Catholicism, William Kurelek undertook a 

comprehensive four~year study of the religion “to make sure the wool 

wasn’t being pulled over my eyes.” He even made a pilgrimage to Lourdes, 

Spain in 1956. An intensive period of Bible study took place in the 

months before Kurelek was baptized, and his knowledge of scripture, 

particularly relating to the life of Christ, was thorough. 

In his works concerned wholly with religious subjects, Kurelek often 

depicted scenes from the life of Christ, especially those he understood as 

modern parables ~ admonishments to the pitfalls of present~day society. 

Matthew 8:20 (KJV) reads: “And Jesus saith unto him, The foxes have 

holes, and the birds of the air have nests; but the Son of man hath not 

where to lay his head.” In Foxes Have Holes, the Christ~like figure 

represents the son of man without faith ~ thus having no spiritual home. 

While the birds in the leafless tree have nests and the fox has its den, 

eternal life for the son of man is represented by the fully leafed~out tree in 

the distance ~ Kurelek’s metaphor for salvation. 

ESTIMATE: $40,000 ~ 60,000 

43 JOHN GEOFFREY CARUTHERS LITTLE 

ARCA 1928 ~ 

Little Hockey Players 

oil on canvas board, signed, 1962 


PROVENANCE: 

Continental Galleries, Montreal 

The PSBGM Cultural Heritage Foundation 

As David Blackwood is renowned for images of the East Coast and 

William Kurelek for scenes of the Prairies, John Little is synonymous with 

painting the streets of Montreal. However, Little Hockey Players is atypical 

of Little’s usual imagery, as he moves the viewer away from his archetypal 

sidewalks and into a more rural countryside. The children at play are 

embracing the winter season in a quintessentially Canadian game of 

hockey, strongly evoking Little’s admiration for his beloved province of 

Quebec. Little balances this element of play by including the working 

horse and its master in the background, ploughing through the winter 

elements. This charming work includes the artist’s distinctive colour 

42


palette dominated by cream, olive, ochre, grey and brown, and is subtly 

highlighted by the young players’ jerseys in the foreground. The muted 

colour palette and overcast sky emphasize the briskness of the day; yet, 

clothes are still hanging on the line. Little’s characteristic expressionist 

brush~strokes successfully capture his warm appreciation for this 

environment, exemplifying the artist’s unique vision that is so sought 

after today. 

ESTIMATE: $8,000 ~ 12,000 


ARCA OC OSA 1927 ~ 1977 

The King Farm House 

mixed media on board, initialed 

and dated 1974 and on verso 

signed and titled on a label 

10 1/4 x 12 in, 26 x 30.5 cm 

PROVENANCE: 


William Kurelek, raised in a Ukrainian family on farms in Alberta and 

Manitoba, had a keen interest in farm structures, and the King family 

farmhouse was a well~built and prosperous one. He also knew the 

behaviour of animals well. Within this idyllic depiction of a farmhouse is 

a subtle drama ~ a pure white cat is watching the birds on the lawn, its 

intent most likely that of the hunter. 

ESTIMATE: $12,000 ~ 16,000 

43 


CAS QMG 1908 ~ 1969 

Ste. Marguerite Station 

mixed media on paper, signed and dated 1943 


PROVENANCE: 



LITERATURE: 

William Kuhns and Leo Rosshandler, Sam Borenstein, 1978, the related 

1942 canvas entitled Ste. Marguerite Station reproduced page 91 

Sainte~Marguerite Station is located in the Laurentians, a region beloved 

by Sam Borenstein. In the early 1940s, he began to travel there frequently, 

painting rural villages and landscapes. The quaint station, approaching 

train and delicate winter palette make this piece a charming example of 

his earlier work. 

ESTIMATE: $8,000 ~ 12,000 

44 

45


46 KAROO ASHEVAK 

1940 ~ 1974 

Drum Dancer 

whalebone, caribou antler, stone, inset eyes, 

signed with syllabics, circa 1970 

22 x 10 x 10 in, 55.9 x 25.4 x 25.4 cm 

PROVENANCE: 



EXHIBITED: 

The Isaacs Gallery Ltd., Toronto, Karoo Ashevak, solo exhibition, 1972 

Inuit artist Karoo Ashevak is celebrated for his carvings depicting people, 

spirits, shamans, animals and birds. Combining the power of imagination 

with advanced carving skills, Ashevak transformed his personal visions 

46


into unique works of art. During a very brief period of production that 

lasted from 1969 until his death in 1974, the artist created approximately 

250 works of art and inspired generations of artists. 

Ashevak was born in 1940 in the Kitimeot Region of Nunavut. The artist 

spent his early years in an environment in which people hunted and 

fished as a means of survival. This traditional way of life was challenged in 

the 1950s and 1960s; various factors, including climate change that 

altered animal migration patterns and a decline in the external demand 

for fur pelts, had an adverse effect on hunting income. The introduction of 

mandatory education and access to health care resulted in many families 

relocating from seasonal camps to live in more permanent settlements. In 

the mid 1960s, Ashevak moved with his family into Taloyoak. 

As part of their objective of providing the Inuit residents of Taloyoak with 

much~needed employment, the Department of Indian Affairs and 

Northern Development established an arts and crafts program in the early 

1960s. Ashevak participated in the government~sponsored program 

hoping to supplement his hunting income with revenue from the sale of 

artworks. Encouraged by his teacher Algie Malkauskas and his uncle, the 

sculptor Charlie Ugyuk, Ashevak excelled at carving. 

Many of Ashevak’s sculptures, including this Drum Dancer, serve to 

document aspects of the traditional way of life or communicate legends 

and stories that were passed down from community elders. An important 

ritual, drumming was performed at numerous celebrations in Inuit 

culture. 

Throughout his career, Ashevak favoured whalebone for his carvings, a 

choice that might have been necessitated by an absence of stone deposits 

in the region. In order to provide the raw materials required for carving, 

government representatives organized expeditions to collect aged 

whalebones that were scattered over the tundra. These materials were 

transported by dog sled or flown in by chartered plane to Taloyoak where 

they would be transformed into works of art. 

Ashevak’s artistic process involved searching out a piece of whalebone 

with a form that would lend itself well to the subject matter that he wished 

to create. In this sculpture, the back of the drum dancer takes advantage 

of the natural curve of the bone, allowing the viewer to experience the 

movement of the dancer’s parka as he sways to the beat of the drum. 

Once the basic shape of the carving was established, Ashevak 

concentrated on the finishing touches, adding unusual details such as the 

highly realistic eyes of the figure that are made of either ivory or bone, and 

which include pupils made from metal nails. The use of incised graphic 

lines such as the circular shape on the figure’s back is another distinctive 

characteristic of Ashevak’s compositions. Resembling the shape of an eye, 

this detail may have been included to communicate the presence of a 

spirit or shaman. It was these painstaking details and finishing touches 

that differentiated Ashevak’s works of art from others. 

Drum Dancer was included in the one~man exhibition that was held at the 

Inuit Gallery in Toronto in March of 1972. Featuring approximately 30 of 

verso 46 

Ashevak’s carvings, this exhibition, organized by Avrom Isaacs, helped to 

launch Ashevak’s artistic career. His reputation was strengthened by the 

success of the exhibition entitled Karoo Ashevak: Spirits, held at the 

National Museum of the American Indian in New York in January 1973. 

In 1977, the Winnipeg Art Gallery celebrated the life and work of 

Ashevak with a major retrospective and catalogue. 

We thank Natalie Ribkoff for contributing the above essay. In her 

position as the Curator of Visual Art at the TD Bank Group from 1988 ~ 

2011, Ribkoff was responsible for the management of the TD Inuit Art 

Collection. She was the co~curator of ItuKiagâtta!, an exhibition of Inuit 

sculpture that was organized and circulated across Canada by the 

National Gallery of Canada in 2005. 

ESTIMATE: $20,000 ~ 30,000


47 JOSEPH HECTOR YVON (JOE) FAFARD 

OC RCA 1942 ~ 

Diego 

bronze sculpture with patina and acrylic paint, 

signed, editioned 7/7 and dated 2001 

35 x 12 1/4 x 8 in, 88.9 x 31.1 x 20.3 cm 

PROVENANCE: 


LITERATURE: 

Terrence Heath, Joe Fafard, National Gallery of Canada and the 

MacKenzie Art Gallery, 2007, page 128, reproduced page 196 

EXHIBITED: 

National Gallery of Canada, Joe Fafard, February 1 ~ May 4, 2008, 

traveling in 2008 ~ 2009 to the MacKenzie Art Gallery, Regina, the 

McMichael Canadian Art Collection, Kleinburg, the Art Gallery of Nova 

Scotia, Halifax, the Glenbow Museum, Calgary and the Winnipeg Art 

Gallery, same image, catalogue #63 

Diego Rivera was a prominent Mexican painter, known for his 

extraordinary murals and his socially and politically conscious subject 

matter ~ he was a founder of the Revolutionary Union of Technical 

Workers, Painters and Sculptors, and a member of the Mexican 

Communist Party. His was a tumultuous and passionate life ~ and he was, 

of course, the husband of Frida Kahlo, the subject of lot 48 in this sale. 

Rivera was well known internationally, and in 1931 a retrospective of his 

work was held at the Museum of Modern Art in New York. It is not 

surprising that this trail~blazing and charismatic artist would have 

attracted Joe Fafard while he was working on his series of portraits of 

artists in his foundry in Pense, Saskatchewan. Terrence Heath writes, “In 

his portraits of these artists, Joe explores not only their likenesses and the 

life experiences that have moulded their features, posture and stance, but 

also the way they painted.” In Diego, Fafard embodies Rivera’s warmth, 

stout physicality and confidence, brilliantly capturing a visceral and alive 

presence in bronze. 

ESTIMATE: $30,000 ~ 40,000 

48 JOSEPH HECTOR YVON (JOE) FAFARD 

OC RCA 1942 ~ 

Frida 

bronze sculpture with patina and acrylic paint, 

signed, titled, editioned 6/7 and dated 2001 

26 3/4 x 10 7/8 x 17 in, 67.9 x 27.6 x 43.2 cm 

PROVENANCE: 


LITERATURE: 

André Breton, Surrealism and Painting, 1928, English translation 

1972 / 2001, page 144 

Terrence Heath, Joe Fafard, National Gallery of Canada and the 

MacKenzie Art Gallery, 2007, page 128, reproduced page 197, 

listed page 222 

EXHIBITED: 

National Gallery of Canada, Ottawa, Joe Fafard, February 1 ~ May 4, 

2008, traveling in 2008 ~ 2009 to the MacKenzie Art Gallery, Regina, the 

McMichael Canadian Art Collection, Kleinburg, the Art Gallery of Nova 

Scotia, Halifax, the Glenbow Museum, Calgary and the Winnipeg Art 

Gallery, same image, catalogue #64 

In the early 1980s Joe Fafard began to create portraits of well~known 

artists in clay and bronze, such as Dutch Post~Impressionist Vincent van 

Gogh. He had read van Gogh’s letters to his brother Theo, and the insight 

into van Gogh’s intense struggle as an artist profoundly affected him. After 

reading the letters, Fafard stated, “I felt a bit like a novice studying the 

lives of the saints.” This could also apply to the subject of this powerful 

sculpture, Frida Kahlo, renowned Mexican painter and wife of artist 

Diego Rivera, whose passion for painting and life transcended the 

physical suffering she endured from an accident while a teenager. Kahlo 

often painted self portraits, and her work was a raw and uncompromising 

expression of the female experience. The power of her images was such 

that André Breton, initiator of the Surrealist movement, described her art 

as “a ribbon around a bomb”. In this bronze, she wears her customary 

traditional Mexican clothing, and holds a paintbrush, indicating her 

dedication to painting. Fafard sought to portray the inner life of the artist 

and, in Frida, captures a living essence that is arresting. 

ESTIMATE: $30,000 ~ 40,000


47 

48


PROPERTY FROM A PROMINENT MONTREAL FAMILY ESTATE 

49 CHARLES GAGNON 

ARCA 1934 ~ 2003 

Southern 




PROVENANCE: 

Galerie Camille Hébert, Montreal 


EXHIBITED: 

Concordia University, Montreal, Alumni Collects, May 20 ~ June 17, 1981 

During the 1950s when most young Montreal artists looked to Paris, 

Charles Gagnon lived in New York, studying graphic art and interior 

design at the Parsons School of Design, as well as painting at the Art 

Students League. His first one man show was mounted shortly after his 

return to Montreal in 1960, and was followed by many others over the 

course of his prolific career. While painting and photography had been at 

the heart of his art~making practice, he had experimented with and 

produced work in many other media. His interest in sculpture coincided 

with his work in paint on canvas, and simultaneously he began to work 

with the box as both a three~dimensional construction and as a subject 

for painting. He started using a particular shade of viridian green in 1962, 

and explored further the form of a square ~ the box as a figure ~ using 

variations on this green plus a few other signature colours. The results are 

spatially ambiguous, as the works use both splashed~on and painted~on 

colours that each seem to sit at different depths, causing us to consider 

space and form, and their relationship to the painterly plane. 

ESTIMATE: $30,000 ~ 50,000 

49


50 GUIDO MOLINARI 

AANFM LP QMG RCA SAPQ 1933 ~ 2004 

Parallèles bleues 

acrylic on canvas, on verso titled on the labels 


PROVENANCE: 

Ladies’ Committee Sale of Contemporary Canadian Art, Montreal 


LITERATURE: 

Roald Nasgaard, Abstract Painting in Canada, Art Gallery of 

Nova Scotia, 2007, page 188 

In the 1960s, Guido Molinari executed a series of works known as Stripe 

Paintings using vertical bands of equal width and differing colour in 

repeating, fixed patterns. It was the reign of hard~edge painting, and 

50 

Molinari took maximum advantage of the hardest of edges, placing 

near~total reliance on colour to energize these works. There is much 

variation in the width of the vertical bands in the individual Stripe 

Paintings; in Parallèles bleues they are quite wide, while some works have 

their verticality broken by shorter, horizontal blocks, or are offset by 

uneven widths, and are even diagonals. It was, however, a depiction of the 

innate energy of each colour that he sought. He wanted to paint the 

colour~interaction, with the character of each interaction determined by 

the width and placement of the colour bands. Roald Nasgaard writes, 

“Released into play across a field of successive visual experiences, colour 

in the Stripe Paintings established a ‘fictive space,’ as Molinari called it, of 

rhythmic scanning, always fleeting and always advancing, each attempt 

of the viewer to fix an order as quickly destroyed as it is succeeded by 

another.” 

ESTIMATE: $20,000 ~ 30,000


51


51 PAUL~ÉMILE BORDUAS 

AUTO CAS QMG RCA 1905 ~ 1960 

Sans titre 

oil on canvas, on verso 

inscribed Antagonismes 29/1/60, 1959 


PROVENANCE: 

Galerie Agnès Lefort, 1963 


Sans titre shows a remarkable control of the gesture. One of the small 

drawings from 1959 done on Gitanes cigarette packages (see catalogue 

raisonné #2005~1397) seems to be the preparatory sketch for this 

painting, and is also quite close to Composition no. 27, 1959 (see catalogue 

raisonné #2005~1378) but more free~handed. It belongs to a series of 

well~known calligraphic paintings that play on the cross motif, as in 

Composition 44, 1959, at the Montreal Museum of Fine Arts, and 

Abstraction in Blue, 1959, at The Art Gallery of Toronto. Here, the pictorial 

space is crossed by three movements from top to bottom and bottom to 

top. It is, of course, a work like this one that has given the idea of a 

rapprochement with Franz Kline’s painting. But as much as this Borduas 

painting is more calligraphic ~ almost Japanese in its inspiration ~ it must 

be distinguished from Kline, who rejected the idea of his own painting 

being calligraphic. “You don’t make the letter ‘C’,” wrote Kline, “and then 

fill the white in the circle. When people describe forms of painting in the 

calligraphic sense they really mean…the design of black against a form of 

white.” Borduas would not have had any qualms in describing his 

paintings as calligraphic, especially since he was dreaming of visiting 

Japan after his stay in Paris. 

Now what about the story of this painting It was presented to us as being 

titled and dated on the back as Antagonismes, 29/1/1960. In fact, that is 

inscribed on the stretcher, but the writing is not Borduas’s. We believe that 

Antagonismes is not the title of the painting, but the name of the exhibition 

where it was presented in February 1960, the month of Borduas’s death in 

Paris. Antagonismes took place at the Musée des arts décoratifs in Paris and 

a catalogue was published. A Borduas painting is reproduced in this 

catalogue, but it is not our painting. It is rather a painting that belonged to 

Robert Élie, a close friend of Borduas, and which is now in the hands of a 

Montreal collector. It is quite possible that Borduas changed his mind at 

the last minute (January 29, 1960 was the eve of the opening of the show) 

and decided to exhibit this more recent and more vibrant painting than 

the one belonging to Élie. But then the catalogue was already printed and 

there was no way to reproduce the actual painting presented by Borduas ~ 

our Sans titre, 1959. I admit this is all a little speculative but it is not the 

only example known of a painting reproduced in a catalogue that was 

Portrait de Paul~Émile Borduas dans son atelier de Saint~Hilaire 

(Portrait of Paul~Émile Borduas in his Saint~Hilaire studio),1951 

Silver print, Rolleicord. Photograph: Maurice Perron 

Collection Musée national des beaux~arts du Québec 

replaced at the last minute by a better and more significant one. 

It remains that this is a remarkable painting, a rare event when we think 

that very few black and white paintings of the Parisian period have been 

seen recently on the market, and none dated so late, so close to Borduas’s 

death. The work of Borduas shows a constant progress from his early 

Automatist paintings to these last black and white paintings. Borduas 

always felt the need to renew himself. In Paris, he was attracted by the 

more advanced ideas, like Lucio Fontana’s slashed paintings or Yves 

Klein’s monochrome painting and monochord music performances. 

Borduas kept his own style, but remained open to what was happening 

in the art world around him, both in New York and in Paris. 




ESTIMATE: $100,000 ~ 150,000


PROVENANCE: 

Galerie Camille Hébert, Montreal 


Jean~Philippe Dallaire worked in a 

variety of styles, drawing on elements 

of Cubism and Surrealism, and often 

used humour and caricature in his 

work. His palette, like his style, 

was equally wide~ranging. In this 

brilliantly~hued portrait of an 

official, Dallaire exaggerates the 

official’s hat and gives him a 

ridiculous moustache. The 

gaudily~painted uniform seems 

more costume~like than official, 

and the fact that Dallaire shows him 

holding a bouquet distracts from and 

undermines his role as a member of 

the bureaucracy. Dallaire often 

commented in a humorous, 

tongue~in~cheek manner on politics 

and French society in his works, 

using riotous colours and a fine 

painting technique that allowed his 

many layers of careful underpainting 

to show through one another. The 

official’s clownlike face and wavering 

figure contribute to the comment that 

Dallaire is making on authority, 

officials and societal relationships. 

ESTIMATE: $40,000 ~ 60,000 

52 JEAN~PHILIPPE DALLAIRE 

QMG 1916 ~ 1965 

Le fonctionnaire 

oil on canvas, signed, titled and dated 1957 

and on verso signed, titled, dated 13 Sept. 1957 

and inscribed Ville St~Laurent, P. Qué., Canada 


52


53 JEAN~PHILIPPE DALLAIRE 

QMG 1916 ~ 1965 

Qui est coupable 

gouache on paper, signed, titled, dated 1948 

and inscribed Canada 


PROVENANCE: 


Jean~Philippe Dallaire worked as an animator for the National Film Board 

of Canada, and had a strong interest in tapestry~making. He was also 

interested in Pablo Picasso, the Surrealists, and playing with fracturing 

and distorting the human form. His complex, imaginative, sometimes 

macabre works show signs of all these things, yet the circumstances of his 

life ~ having spent four years in an internment camp outside of Paris 

during World War II ~ give us cause to inquire more deeply into his 

imagery. In Qui est coupable (Who is Guilty), a man and a woman sit on 

chairs under a feathery sun. It seems to be a beach scene, as indicated by 

their hats and the gaily~wrapped pole. This work was painted just three 

years after Dallaire’s release from internment. Perhaps we are looking at 

the artist and his wife ~ she was also interned ~ reflecting on their 

experiences during the war Their gaze toward each other tells us little, so 

perhaps it is a simpler scene, having less to do with the politics of war and 

more about the politics between men and women. 

ESTIMATE: $15,000 ~ 20,000 

53


54


54 MARCELLE FERRON 

AANFM AUTO CAS QMG RCA SAAVQ SAPQ 

1924 ~ 2001 

Otsatot 

oil on canvas, signed and dated 1962 and on verso signed 

twice, titled Otsatot / Ostatot / Ostatsu on three labels and 

inscribed by the artist Paris and Tableau extrêmement frais, 

ATTENTION / ne pas toucher la surface peinte 


PROVENANCE: 


LITERATURE: 

Evan H. Turner, Contemporary Canadian Painting and Sculpture, 

Rochester Memorial Art Gallery, 1963, reproduced, unpaginated 

EXHIBITED: 

Montreal Museum of Fine Arts, 79th Annual Spring Exhibition, 

1962, titled as Otsatot 

Rochester Memorial Art Gallery, New York, Contemporary 

Canadian Painting and Sculpture, January 25 ~ February 24, 1963, 

titled as Ostatot 

Interest in the work of Marcelle Ferron, one of Canada’s most compelling 

contemporary painters, has grown steadily over the past few years. Her 

strict religious background ~ she was raised in a Catholic convent ~ was 

countered by the support of her liberal father, and it was his influence, 

along with the support of important teachers, that enabled Ferron to 

overcome the narrow societal expectations placed on a Catholic woman 

in the 1940s. She was, despite marriage, family and intense pressure to 

place those things first in her life, able to fully achieve her own aspirations 

as an artist. 

Ferron initially trained in Quebec City under Jean Paul Lemieux, but was 

expelled from the École des beaux~arts as a result of her refusal to adhere 

to a suitably conservative subject and style. Her inclinations resonated 

much better with those of Paul~Émile Borduas, who suggested she 

become a student of his at l’École du meuble. There, her work flowered 

and her commitment to her ideals solidified. She would sign both the 

open letter to the Spring Salon of the Montreal Museum of Fine Arts and 

the Automatist manifesto Refus global in 1948. When Borduas lost his job 

as a result of the manifesto, support for the work of his compatriot 

painters, including Ferron, dwindled. They had been labeled radicals in 

the press, and when Ferron, now a mother of three, was refused by the 

Salon jury of the Montreal Museum of Fine Arts in 1950, she participated 

in a protest exhibition. In addition to being considered a radical, her 

struggle for acceptance as a serious artist chafed with Quebec society at 

large, which expected her to be a wife and mother instead. A small 

inheritance in 1953 came as an artistic salvation, and she moved her 

family to France where she was accepted into the creative ferment of 

post~war Paris. Her work at this time took a turn toward the joyous, and 

became filled with a sense of freedom, openness and the use of startlingly 

brilliant colour. The influence of Borduas is still apparent, as it was 

throughout her oeuvre, but the colour, tactile surface and composition is 

distinctly Ferron. In Paris, Ferron developed an interest in stained glass, 

training under a master glazer, eventually patenting her own technique in 

this medium and working with it to execute important public 

commissions. Her understanding and appreciation for the interaction of 

colour and light and how they work together underlines her paintings 

and marks them instantly as being by her hand. There are elements of 

regularity in her work too; paint is often applied in quadrants and she uses 

consistently large swatches of colour, sometimes creating motifs of flags 

or simple squared~off shapes. These geometric forms contrast beautifully 

with the open airiness of her paintings. 

Ferron was an obsessive technician and ground her unique pigments by 

hand, using poppy~seed oil as a binder (linseed oil is generally used) 

because it gave her colours the luminosity she was seeking, making them 

reminiscent of the effect of coloured light coming through stained glass. 

She often used the high~chroma blue that we see here in Otsatot, which, 

when blended with less intense colours such as the oranges and greens 

she has used to set off the blue here, adds depth and movement to her 

compositions. There is a certain push~pull, a struggle for dominance of 

colour in her works that comes from the play of a wonderful, imagined 

light shining up through her colours and turning them into jewels. 

ESTIMATE: $50,000 ~ 70,000


55 PAUL VANIER BEAULIEU 

RCA 1910 ~ 1996 

Sans titre 



PROVENANCE: 


Paul Beaulieu owned a studio in Montparnasse, Paris and was living there, 

surrounded by the creative ferment of the Parisian art scene, when the 

Nazis invaded in the city in 1940. Along with Jean~Philippe Dallaire, 

Beaulieu was arrested and interned at the St~Denis camp just outside the 

city. At the end of the war he was released, briefly returning to Canada, 

where he secured Dr. Max Stern of the Dominion Gallery as his dealer, and 

55 

thus was able to send works created in France back to Canada. He then 

reclaimed his original Paris studio, working there until 1973. Beaulieu’s 

work reflects the influence of Expressionist painters Georges Rouault and 

Bernard Buffet. His non~objective abstracts are revered for their richness 

of colour and boldness of form. Sans titre is a perfect example of this, being 

composed of a number of hot, deeply saturated colours set against a 

layered, neutral, yet fully alive ground. Evocatively figural, this work has 

a fine tactile surface and a pleasing sense of balance. 

ESTIMATE: $8,000 ~ 10,000


56 HENRIETTE FAUTEUX~MASSÉ 

AANFM AUTO 1924 ~ 2005 

Gardiens de la lumière 


and on verso signed and titled 


PROVENANCE: 


ESTIMATE: $5,000 ~ 7,000 

56 

57 

57 TONI (NORMAN) ONLEY 

BCSFA CPE CSPWC RCA 1928 ~ 2004 

Column 

oil and canvas collage, signed 

and dated 1963 and on verso titled 


PROVENANCE: 

The Ladies Committee Sale of Contemporary Canadian Art, Montreal 


EXHIBITED: 

Concordia University, Montreal, Alumni Collects, May 20 ~ June 17, 1981 

ESTIMATE: $6,000 ~ 8,000 

58 CHRISTOPHER PRATT 

ARCA CSGA OC 1935 ~ 

St. John’s Centre 

graphite and ink on paper, 

signed and dated March 1969 


PROVENANCE: 


ESTIMATE: $4,000 ~ 6,000 

58


PROPERTY OF VARIOUS COLLECTORS 

59 HAROLD BARLING TOWN 

CGP CPE CSGA OC OSA P11 RCA 1924 ~ 1990 

Cornucopia 

oil and lucite on canvas, signed 

and dated 1958 ~ 1959 and on verso 

signed, titled on the gallery label and dated 


PROVENANCE: 

Jerrold Morris Gallery, Toronto 


By descent to the present Private Estate, Toronto 

Harold Town’s collage~like works employ every possible approach to 

laying paint down on a canvas. He stained, dripped, splattered, scrubbed, 

knifed and brushed on his paints. Additionally, he used a great many 

types of line, blocks of colour, geometric and organic forms and both 

opaque and translucent paint. His skill in using this diversity of 

approaches was making paintings like Cornucopia make sense. In works 

such as this, it is a question of balance. Our eye roams over the imagery, 

looking for something to settle on, finding a familiar shape here or there, a 

line that borders something nicely or cuts through it handily, a colour that 

defines or belies a form ~ complementing another incongruous colour 

and setting off a visual spark with yet another colour. Scrubby lines play 

with clean lines, layered grounds peek through in some areas, while other 

areas of interesting underpainting are obliterated, hinted at only by their 

edges. Town’s ability to make all these elements work together, to make 

everything somehow make sense, is why we find him so appealing and so 

visually right. 

ESTIMATE: $15,000 ~ 20,000 

59


60 LAWREN STEWART HARRIS 

ALC BCSFA CGP FCA G7 OSA RPS TPG 1885 ~ 1970 

LSH 138 

oil on board, on verso signed, dated 1958, 

inscribed F. 114 and stamped Lawren Harris 

LSH Holdings Ltd 138 


PROVENANCE: 

The Art Emporium, Vancouver, 1976 


Lawren Harris’s transformative journey to abstraction began after he left 

Toronto in 1934 for Hanover, New Hampshire, and later Sante Fe, New 

Mexico, where he became involved with the Transcendental Group of 

Painters. Before he left Canada, his landscapes, reduced to their essentials 

60 

and radiant with light, reflected his deep interest in spirituality through 

his involvement with Theosophy, and showed the beginnings of his 

revolutionary leap to abstraction. 

In 1940 he returned to Canada, settling in Vancouver late that year. He 

was soon established as a prominent figure in its art scene, and in 1958 

was appointed Honorary Vice~President and Guarantor of the Vancouver 

Art Gallery. Harris’s abstract work continued to evolve through successive 

stages, and his work was influenced in the mid~1950s by the symbolism 

in Tantric Buddhist images from Tibet. Around this time, he was using 

calligraphic lines, often in a vertical format, as in this elegant work. Lines 

dance in a harmonious rhythm, contained within the painting’s edges, yet 

free within that containment. The colour palette is light and radiant, a 

manifestation of Harris’s creation of transcendent spiritual states through 

his paintings. 

ESTIMATE: $15,000 ~ 25,000


61 MARY FRANCES PRATT 

CC OC RCA 1935 ~ 

Study for Blue Bath Water V 


and on verso titled on the gallery label 


PROVENANCE: 

Mira Godard Gallery, Toronto 


LITERATURE: 

Maurice Yacowar, “The Paintings of Mary (vs. Christopher) Pratt”, 

Dalhousie Review, Volume 68, Issue 4, Winter 1988 ~ 1989, page 396 

Mary Pratt’s first realist painting of a female nude was produced in 1978, 

after her husband, painter Christopher Pratt, had shown her a collection 

of photographs he had taken of the young woman who was his model and 

61 

muse, Donna. Mary continued to work with these images and subsequent 

photographs in poses that she specifically requested for over a decade, in 

works that are both intimate and sensual. Mary stated, “Women can be 

erotic, in a sense, about other women. I mean, women are just plain 

beautiful. That woman in the Blue Bathwater picture (1983) is a kind of 

pearly, lush, warm and sensuous thing…I think I dare to be sensuous 

because this is what I feel about women. I know what it’s like to be a 

woman.” In Study for Blue Bath Water V, the young woman, in an unusual 

pose, is only partially submerged, her attention absorbed by the swirling 

water rising to engulf her. Sensual, soft and painterly like a Pierre Bonnard 

bath scene, delicate colour tints suffuse the model’s skin, evincing Pratt’s 

fascination with light effects. 

ESTIMATE: $10,000 ~ 15,000


62 ALEXANDER COLVILLE 

PC CC 1920 ~ 

West Cappelle, Belgium 

watercolour and graphite on paper, signed, 

titled, dated 2 Nov 1944 and inscribed 

with colour notations in graphite 


PROVENANCE: 



LITERATURE: 

Tom Smart, Alex Colville: Return, Art Gallery of Nova Scotia, 

2003, page 24 

In May of 1942, Alex Colville enlisted in the Canadian Armoured Corps. 

After two years of army service, he was appointed a Canadian war artist in 

62 

the spring of 1944, recording the events of World War II. Stationed in 

England, he trained to work with watercolour, bringing to his subjects the 

cool and observant eye for which he would become so well known in his 

Realist paintings. In October of 1944 he was transferred to the 3rd 

Canadian Infantry Division, on its way to Belgium, Holland and Germany. 

Colville made drawings and watercolours in the field, and this fluid, 

atmospheric watercolour is from a more peaceful time in his war 

experience when, as he related, “everyday I would go out with this jeep 

and driver, and anything I saw that was interesting I would make a 

drawing or watercolour of it.” Once Colville had crossed Holland’s 

Nijmegen Bridge, a more sombre mood dominated, as he and his 

company entered the zone of the war’s destruction. Much of Colville’s 

work as a war artist is in the collection of the Canadian War Museum, 

making this watercolour rare to the market. 

ESTIMATE: $10,000 ~ 15,000


63




Leopard Moth 

acrylic on matt board triptych, 

signed and dated 1977 on the right panel 


PROVENANCE: 

Bau~Xi Gallery, Vancouver 

Canadian Paraplegic Association, Ontario 

Sold sale of Fine Canadian Art, Heffel Fine Art 

Auction House, November 9, 2000, lot 309 

Private Collection, USA 

LITERATURE: 

Scott Watson, Jack Shadbolt, 1990, page 149, a similar 1976 triptych 

entitled Transformations #5 reproduced page 148 and a similar 1977 ~ 

1979 triptych entitled Evening Valley Flight reproduced page 178 

Jack Shadbolt was an influential second~generation West Coast 

modernist. During the 1930s and 1940s, he had been keenly interested 

in emerging art movements in Europe and the United States, and had 

assimilated influences from Paul Cézanne, Pablo Picasso, aspects of 

Surrealism and early Abstract Expressionism. After World War II, he 

emerged as a leader in Vancouver’s modernist community of artists, 

architects and planners. Shadbolt’s profound connection with nature in 

British Columbia, expressed through the use of biomorphic form, created 

a body of work that, considered as a whole, was an explosion of creative 

ideas that continued to evolve decade after decade. He was an artist 

intimately linked with the images of the West Coast while being 

connected to a world view of emerging art movements and theories. 

His work was universal in its merging of the conscious and unconscious, 

its infusion of psychological yearnings and potentialities and primitive 

potency. 

One of Shadbolt’s most extraordinary and sought~after motifs is that of 

the butterfly or moth, which first made its appearance in the early 1970s. 

Shadbolt explained the genesis of his fascination with them: while in the 

Swiss Alps in 1969, he was standing in a meadow when there appeared 

“up from the gentians, in front of our eyeballs, two zig~zagging fritillaries 

flip~flopping out over the space. Nothing much, but their event seemed 

momentous ~ demented, dangerous, memorable.” The abstract design of 

their wings was a rich source of patterning for Shadbolt’s complex images 

of organic form. One prominent aspect of this motif was its life~affirming 

connection with freedom and celebration. In Leopard Moth, the insect’s 

gorgeous wings float over an abstracted background containing drifting 

fragmented shapes that echo elements of their patterning. Shadbolt uses 

soft, modulated colour fields, with the darker palette suggesting the 

nocturnes the moths inhabit. Moths are mysterious, associated with the 

moon, and often used as symbols of intuition and psychic perception. 

Through their soft and languorous flight over an open atmospheric 

background, these moths create a dream~like world devoid of tension. 

Their large scale contributes to the dream~like quality that pervades the 

work ~ it is as if we have gone through the looking glass like Alice in 

Wonderland and inbibed the pill that makes us smaller ~ and they loom 

before us. 

In the 1970s, Shadbolt worked on his Butterfly Transformations series, 

which ranged from works such as this, with large forms on abstracted 

backgrounds, to complex planes of layered and entangled biomorphic 

forms through which the butterfly flitted. Shadbolt continued to work 

with this important motif of butterfly and moth through the 1980s. 

Shadbolt’s fluid and evocative treatment of this iconic image and the 

abstract properties of the surface itself reveal an artist in assured 

command of his subject. This lyrical night world of the Leopard Moth is 

unforgettable ~ through Shadbolt’s vision, we experience an alternate 

dimension in which the very existence of these exotic creatures 

mesmerizes us. 

ESTIMATE: $50,000 ~ 70,000


64



ARCA OC OSA 1927 ~ 1977 

Mendelssohn in Canadian Winter 

mixed media on board, initialed and dated 1967 

and on verso titled on the gallery labels, dated 

and inscribed 433 876 


PROVENANCE: 


Mr. and Mrs. D. Pim, Toronto 


LITERATURE: 

Letter from William Kurelek to Mr. and Mrs. Pim, November 11 

(year unknown) 

Patricia Morley, Kurelek, A Biography, 1986, detail reproduced page 173 

Tobi Bruce, Mary Jo Hughes et al, William Kurelek: The Messenger, 

Winnipeg Art Gallery, 2011, reproduced page 88 

EXHIBITED: 

Winnipeg Art Gallery, William Kurelek: The Messenger, 2011, traveling to 

the Art Gallery of Greater Victoria and the Art Gallery of Hamilton, 2012, 

catalogue #38 

Mendelssohn in Canadian Winter can be seen as the antithesis of The Maze 

(one of William Kurelek’s most iconic works), yet it has a great deal in 

common with it. In both this work from 1967 and The Maze from 1953, 

Kurelek uses a similar scene~within~a~scene format to convey numerous 

ideas and their relationships to one another. In The Maze ~ a complex 

depiction of Kurelek’s agonizing personal struggle with mental illness ~ 

Kurelek’s skull lies open and exposed on the ground outside of the 

psychiatric hospital in England where he was treated. Through the skull 

we see chambered sections containing vignettes from his troubled life, 

scenes of violence and symbols of moral decay. In Mendelssohn in 

Canadian Winter, Kurelek once again uses a scene~within~a~scene 

composition. The work is extremely complex, with vignettes in the 

distance as in The Maze. In the winter vignette, the end of the world has 

come, while in the summer scene in the foreground, we have salvation 

through love. 

To say that Kurelek recovered from his mental illness with the help of 

religion is an understatement. He felt he could only have recovered 

through accepting religion. He found complete salvation in his god, and 

through this he was led to his family. Their depiction as the central group 

of people in the near ground of the smoke~vision image in the lush, green 

centre of this complex work speaks of his recovery, his devotion to his 

family, and his having come full circle in the healing process. It also 

cements his place as an artist who has presented us with some of the most 

profoundly complex and challenging painting created in Canada. Only 

Kurelek could have created an image such as this, and only Kurelek could 

make it work. 

Kurelek wrote a letter of thanks to the collectors who acquired this work, 

stating, “I am penning this note of appreciation to attach to the back of 

your painting. I hope you continue to get the pleasure from looking at my 

work as I had pleasure in executing it.” With the letter, he also provided a 

lengthy note of explanation (artist’s spellings retained): “The painting is 

an intuitive prophetic type of painting with the scene set in Northern 

Ontario roundabout 10 years hence. The nuclear haulocost of World War 

III has just destroyed the southern densely populated districts and the few 

survivors are fleeing to uncontaminated areas. An anti~christian ‘1984’ 

type government…is offering food and comforts (note Utopia Express) in 

return for apostacy (symbolized by the man trampling on the 

crucifix)…One family is determined to carry on to independence and 

have lit a bonfire for warmth as they rest and play a small tape recorder for 

morale. In the smoke they see a vision of their relatively happy and secure 

earlier life (symbolized by my wife and 3 children)…The music is 

Mendelsohns Violin Concerto op. 64 which he wrote to describe a happy 

time in his life.” 

The contrast between the two scenes is remarkable. The winter scene 

shows us families breaking up, cold, want and poverty ~ and the distant 

flash of the nuclear explosion. The summer scene shows us tranquility, 

lush bounty, dancing and happiness. But most compelling of all are the 

expressions on the faces of Kurelek’s wife and children. She looks right at 

us as we stand in the artist’s place, her expression one of gentle 

contentment and love, and the children gaze off to the left, smiling, sweet, 

happily looking at something we can only presume to be their father. It is 

rather humbling to consider The Maze while looking at Mendelssohn in 

Canadian Winter, and to contemplate the life and the prolific output of 

intriguing work produced in a small, cramped studio by this masterful 

Canadian artist. 

ESTIMATE: $40,000 ~ 60,000




Crab Plant on the Bay of the Islands: 

New Colours of Newfoundland 

mixed media on paper, signed, titled, 

dated 2009 and inscribed CC Plant April 2009 



PROVENANCE: 


Estate of James M. Brickley, Vancouver 

LITERATURE: 

Josée Drouin~Brisebois, Christopher Pratt: All My Own Work, 

National Gallery of Canada, 2005, page 100 

Christopher Pratt’s subjects of working structures have included freight 

and salt sheds, towers, trains, abandoned whaling stations and, in this 

evocative work, a crab plant. In Pratt’s reductive realist images, each 

element is carefully considered, particularly light. He stated, “The most 

important thing in my work is light. Composition and design are 

important elements in any two~dimensional art, but in mine they are the 

bones, and light is the flesh and blood. It is an essential metaphor for life.” 

In this image, a pale glow on the horizon, either dawn or dusk, lights the 

scene, as does a single streetlamp beside the plant ~ an interesting 

contrast between natural and artificial light. Typical of Pratt’s work, the 

structures of the crab plant show Pratt’s awareness of line and perspective. 

The light revealing these features is very subtle, a product of successive 

stages of refinement. Pratt explained, “I may spend weeks just glazing in 

lights and darks, building up contrasts…tuning them so that the light 

‘does it’. When I decide I’ve gotten there, then I have that thirty~second 

rush.” 

ESTIMATE: $12,000 ~ 16,000 

65




The Drilling Site on the 

Port au Port Peninsula 

mixed media on paper, 

signed and dated November 2005 



PROVENANCE: 



LITERATURE: 

Josée Drouin~Brisebois, Christopher Pratt: All My Own Work, 

National Gallery of Canada, 2005, page 91 

Christopher Pratt was born in St. John’s, Newfoundland, and has his 

studio in St. Mary’s Bay. Pratt is a keen observer of all the aspects of 

Newfoundland life. As Josée Drouin~Brisebois wrote, his images “are 

informed by the grand narratives of the place and reflect concern for the 

kinds of political, social, cultural, and ecological changes that are 

occurring across the continent.” This drilling site on the Gulf of St. 

Lawrence recalls the struggle over revenue from Newfoundland’s offshore 

oil and gas resources, which were supposed to primarily benefit 

Newfoundland as agreed to in the 1985 Atlantic Accord, thus ending its 

dependence on federal transfer payments. However, this did not happen, 

and there was a national uproar in 2004 when the Newfoundland premier 

ordered that Canadian flags be removed from provincial government 

buildings. In 2005 the Offshore Arrangement was signed, ending the 

dispute. 

Built environments are one of Pratt’s significant themes, and this 

industrial scene with its volumetric round towers and attached grid~like 

structures has a quality of still life. Typical of Pratt’s work, they are without 

human presence ~ sentinels standing silently in their monochromatic 

winter environs; silent, full of portent. 

ESTIMATE: $12,000 ~ 16,000 

66


67 DORIS JEAN MCCARTHY 

CSPWC OC OSA RCA 1910 ~ 2010 

Pangnirtung, Northwest Territories 

oil on canvas, signed and on verso titled, 

dated 1984 on the gallery label and inscribed 84022 


PROVENANCE: 

Wynick/Tuck Gallery, Toronto 


LITERATURE: 

Doris McCarthy, The Good Wine: An Artist Comes of Age, 1991, page 158 

“Twice a day at Pangnirtung the tide came in, bringing with it a flotilla of 

ice floes that sailed up the fiord like a regatta of small bergs. As the tide 

67 

ebbed, they went back to sea, their restless movement keeping me in a 

constant state of excitement.” Doris McCarthy’s words from the first of 

three memoirs remind us of her passion and commitment to the full~time 

artist’s life that she longed for and finally achieved, after retirement from a 

40~year career as a memorable and beloved art teacher. Soon after that 

retirement in 1972, McCarthy headed out on the first of many painting 

trips to the Arctic, starting with Pond Inlet, only later recalling in her diary 

that it had been her sixty~second birthday the day she had a harrowing 

fall into a frozen creek. This fine 1984 scene of one of her favourite 

painting sites clearly demonstrates that nothing could stop McCarthy 

from continuing her explorations of the great Canadian landscape and the 

high Arctic. 

ESTIMATE: $20,000 ~ 30,000


68 

68 DAVID LLOYD 

BLACKWOOD 

CPE CSGA CSPWC OSA RCA 

1941 ~ 

North Atlantic 

watercolour and graphite on paper, 


and on verso titled 


PROVENANCE: 

Abbozzo Gallery, Oakville 


LITERATURE: 

William Gough, David Blackwood: Master 

Printmaker, 2001, page xiii 

Katharine Lochnan, Black Ice, David Blackwood: 

Prints of Newfoundland, Art Gallery of Ontario, 

2011, a similar 1995 etching entitled Wesleyville 

Fleet in the Labrador Sea reproduced catalogue 

#60, unpaginated 

David Blackwood is one of Canada’s most 

important printmakers, whose work has 

been collected in depth by the Art Gallery of 

Ontario. Blackwood grew up in Newfoundland 

in a seafaring family ~ both his father and 

grandfather were ship’s captains. Steeped 

in the myths, stories and customs of this 

unique province, Blackwood’s depictions of 

Newfoundland life in his work are an invaluable 

record of a traditional way of life that is all but 

gone. The sea is of central importance in his 

work, and the image of a whale has often 

appeared in it, such as in his renowned print 

from 1980, Fire Down on the Labrador. In this 

compelling watercolour, Blackwood captures 

the sense of wonder surrounding an encounter 

with one of these leviathans. Plunging into the 

deep, its bright and intelligent eye draws us to 

the mystery of its life. As William Gough writes, 

Blackwood “approaches his art as if it were the 

ocean ~ endless, deep and infinitely variable. It is 

here that Blackwood has set his nets, and his nets 

come up filled with light and stories.” 

ESTIMATE: $10,000 ~ 15,000


69 LÉON BELLEFLEUR 

CAS PY QMG 1910 ~ 2007 

Émeraudes de nuit 


and on verso signed, titled and dated on two labels 


PROVENANCE: 

Collection of the Artist 

By descent to the present Private Collection, England 

LITERATURE: 

Dennis Reid, A Concise History of Canadian Painting, 2012, page 243 

Léon Bellefleur was interested in art as a child, and had determined to 

become an artist by the age of 12. His early career was spent teaching, but 

69 

after meeting Alfred Pellan in 1942, Bellefleur was introduced to the 

Automatists, and through them became interested in the work of the 

Surrealists, especially that of Paul Klee. Bellefleur was a signatory of the 

Prisme d’yeux manifesto, and participated in their first show in 1948 

when, as Dennis Reid relates, they declared: “We seek a painting freed 

from all contingencies of time and place, of restrictive ideology, conceived 

without any literary, political, philosophical or other meddling which 

could dilute its expression or compromise its purity.” Bellefleur’s 

paintings are usually organized around a central motif, as is the case here, 

with a seemingly organic, energetic, amorphous form set in a black (or 

often white) space. His work seems filled with a sense of new life, having a 

quality akin to birth or growth, and often leaves the viewer feeling that 

something is about to happen. 

ESTIMATE: $9,000 ~ 12,000




Contexts: Variations on Primavera Theme 

(16 works) 

acrylic on posters, 1984, on verso each 

signed and titled on the backing 


PROVENANCE: 


LITERATURE: 

Jack Shadbolt, City of Vancouver, Public Art Registry, http:// 

app.vancouver.ca/PublicArt_NetArtworkDetails.aspxArtworkID 

=136&Neighbourhood=&Ownership=&Program=, 

accessed March 12, 2013 

Jack Shadbolt began to work with images of butterflies in 1974, using 

their delicate forms in both collage works and in paintings, and later, 

larger public installations. The image in this group is from a photograph 

of Shadbolt’s 1987 large~scale three~dimensional constructed work 

Primavera, commissioned for the MacMillan Bloedel Building in 

Vancouver, and completed in collaboration with Alan Wood and Greg 

Bullen. This work was subsequently acquired by Tantalus Vineyards in 

Kelowna. 

70 

Shadbolt intended this image to be “expansive and jubilant”, as he 

described ~ in contrast to the massive, grey building, and to uplift the 

public who would view it. He stated, “What better than a great ‘primavera’ 

for Spring to cheer the spirit And what more impressive than a large 

sculptural relief in full colour And what more poetically exuberant as a 

permanent symbol than two splendid butterflies breaking from the white 

cocoon of Spring ~ the one on the left an abstraction of pieces coming 

together to form the insect and the one on the right a full~fledged 

realization It is hoped that once the mind is focussed in this direction a 

certain transformational process is suggested and with it certain 

mythological overtones might unfold. The cocoon may then become the 

violet and white mythic egg from which Spring is born. The symbolic bird 

and flowers now become the guardians of this ritual birth of new life, this 

PRIMAVERA.” 

In this series of hand~painted posters of the Primavera theme, each has 

been hand~painted in a similar palette, but in a unique manner. Mounted 

as Shadbolt intended, they become a cloud of butterflies against a wall. 

This work is comprised of 15 hand~painted posters and one title page of 

the original image. Each poster measures 20 x 26 inches. The group is 

meant to be installed with five works in a row and three in a column. 

ESTIMATE: $35,000 ~ 45,000




Abstract (Entanglements Series) 

acrylic on canvas, on verso dated 

October 2009 and inscribed From Gordon 

and Marion in the artist’s handwriting 


PROVENANCE: 


Gordon Smith is acknowledged as one of Canada’s finest landscape 

painters and an early proponent of modernism on the West Coast. At his 

West Vancouver studio, Smith is surrounded by forest, and the patterns 

of its web of life have been an ongoing source of fascination for him. 

Resembling a blizzard of slender snow~encrusted branches, this 

beautiful painting from the Entanglements series dazzles the eye with its 

dense criss~cross tracery of white lines. Although white may be the first 

impression, on closer consideration the dark background emerges, with 

its splashes of both warm and cool tones ~ an abstraction of the forest’s 

growth and ground. This painting could also be seen as a completely 

abstract work. Its all~over patterning creates a strong surface plane, 

with the contained dance of its gestures, marks and lines handled with 

absolute assurance. White light can be broken into all colours ~ which 

can be seen to happen here, with many colours dancing below the 

surface. Elegant and ethereal, Abstract (Entanglements Series) shows 

Smith’s ever~evolving relationship to nature and his mastery of the 

language of paint itself. 

ESTIMATE: $30,000 ~ 50,000 

71


72 TOM HOPKINS 

1944 ~ 2011 

Nocturne: Curving Motion 

oil on canvas on board, on verso 



PROVENANCE: 

Private Collection, Calgary 

Painter Tom Hopkins was born in Prince Edward Island and died in 2011 

in Montreal, where he had lived and worked for most of his adult career. 

Hopkins’s work is grounded in landscape and still life ~ yet decidedly 

modernist in style. His floating, almost surreal images are painted with 

brush and knife, and show a keen understanding of how light, colour and 

72 

surface work together to produce compelling, luminous and rather 

enigmatic images. His landscapes are often mysterious, heavily glazed 

and suffused with light, recalling the chiaroscuro technique of 

Renaissance painters; and he used allegorical themes and references to 

the classical art world to further underscore the link that all modern art 

has with the past. As a teacher of painting technique at McGill University, 

and an alumnus of Concordia University, where he was also on the Fine 

Arts Faculty, he had a passionate interest in traditional painting 

techniques, and taught courses and workshops in materials and methods 

in both Canada and the United States. 

ESTIMATE: $10,000 ~ 15,000


73




Mt. Stephen 


and on verso signed, titled, dated and inscribed 

with the Dominion Gallery inventory #D33442 


PROVENANCE: 


Private Collection, British Columbia 

LITERATURE: 

Leslie Allan Dawn and Patricia Salmon, E.J. Hughes: The Vast and Beautiful 

Interior, Kamloops Art Gallery, 1994, page 43 

Ian M. Thom, E.J. Hughes, Vancouver Art Gallery, 2002, page 158 

Jacques Barbeau, The E.J. Hughes Album, The Paintings ~ Volume I, 1932 ~ 

1991, 2011, reproduced page 39 

In 1963, E.J. Hughes received his second Canada Council grant, and with 

the $3,000 he was awarded he was able to travel to the Interior of British 

Columbia to areas such as the Thompson Valley and the Fraser Valley near 

Lillooet, and as far east as the Alberta Rockies. The subject of this 

exceptional oil is Mount Stephen, located in the Kicking Horse River 

Valley of Yoho National Park, half a kilometre east of Field in British 

Columbia. Hughes used a recent purchase, a Pontiac Acadian car, to 

access his subjects, carry his art supplies and protect his pencil sketches 

from sudden bad weather. Hughes did not learn to drive until he was 45, 

but found the use of a car to be most liberating. His success in the early 

1960s made this possible ~ his paintings were used for the covers of two 

BC Telephone Company directories, he had completed a Canadian Pacific 

Railway mural commission and the Dominion Gallery in Montreal was 

handling sales of his work. Recognition was on the rise, and in 1961 the 

Canadian Broadcasting Corporation included him in a short television 

documentary on British Columbia artists called Five BC Painters. 

Hughes further describes this scene on a paper label on verso: “The 

greenish~whiteness of the Kicking Horse River in the foreground is not 

caused by foam but by a white sediment brought down by its tributary, the 

Yoho River. The tunnel entrance on the left is the famous CPR spiral 

tunnel, and the tunnel entrance on the right is, I believe, just a small 

tunnel. The small red car between these is on the main Trans~Canada 

highway, and the gravel road at the bottom of the painting is the Yoho 

Valley Road.” 

It was not uncommon for artists to be daunted by the vast scale, density of 

forest and panoramic majesty of British Columbia, particularly the 

Rockies. Hughes’s humble and reverential nature can be sensed in a letter 

to his sister regarding the landscape he had seen on this trip in which he 

states, “It will be a problem to make art out of such beautiful and 

picturesque subjects, but I feel it can be done…” Clearly, in Mt. Stephen 

he rose heroically to the challenge, due to his great love of nature and 

predilection for panoramic scenes. In the 1961 CBC film, Hughes stated, 

“One of the reasons I paint is because nature is so wonderful…I feel that 

when I am painting, it is a form of worship.” 

Hughes’s paintings of the 1960s are sought after because of their brilliant 

colour palette, fineness of detail and intensity of vision. Mt. Stephen 

embodies all these properties. It is a stunning composition, with the regal 

peak the focus, wrapped by a glacier at the top, and with screes of rock 

debris running down its flanks. Hughes’s inclusion of elements such as 

the roads and the red car brings the warming presence of humanity into 

the scene. They also add a sense of scale to the vastness of the scene ~ 

demonstrating that here, nature overwhelmed man. His palette of greens 

is cool, dominated by the light and dark olive tones in the evergreen 

forest. In counterpoint to the predominantly green, grey and ochre palette 

is the foaming white water in the river and the white snow still lingering in 

the rocks and on the glacier at the peak. Hughes contrasts this white with 

tones of peridot in the water and teal in the glacier. He had a keen eye for 

patterning, which is consciously emphacized in the loose tumble of rocks 

gathered at the top of the slope, the stands of evergreens and the 

vegetation dotting the steep hillsides. All these fine elements make the 

magestic Mt. Stephen a superb example of Hughes’s 1960s period, an 

embodiment of the sublime beauty of British Columbia. 

ESTIMATE: $120,000 ~ 160,000


74 STANLEY MOREL COSGROVE 

CAS CGP QMG RCA 1911 ~ 2002 

Jeune femme 




PROVENANCE: 



Stanley Cosgrove absorbed international influences in his work and, 

although blocked by World War II from traveling to France, the influence 

of Georges Rouault can be seen in the strong use of outlines to define his 

figures. In 1939, Cosgrove traveled to New York, where he was impressed 

by the work of Pablo Picasso, then in 1940 to Mexico City, where for four 

years he studied fresco painting with José Clemente Orozco. He returned 

to Canada in late 1943, and continued to paint still lifes, distinctive 

landscapes of trees and portraits of women, both clothed and nude. He 

often painted women he knew, such as his mother, sister, first wife Claire 

Létourneau and his second wife Ann Dodds. More than a representation 

of a particular person, his portraits have a universal quality. In Jeune 

femme, her flesh is painted with soft and subtle pastel tonalities, creating a 

glowing effect against a simple colour field background with a shadowy 

aura behind the figure. Graceful and serene of mood, Jeune femme is a 

sophisticated and beautiful expression of the universal feminine. 

ESTIMATE: $10,000 ~ 15,000 

74


75 ALFRED PELLAN 

CAS OC PY QMG RCA 1906 ~ 1988 

Rêve d’une villageoise 

mixed media on canvas, signed and dated 1958 

and on verso signed, titled and inscribed 649 Grande 

Côte, Ste~Rose Est, Cté Laval, P.Q., Canada and No. 351 


PROVENANCE: 


LITERATURE: 

Germain Lefebvre, Pellan, Musée du Québec, 1972, listed page 117 

EXHIBITED: 

Musée du Québec, Pellan, September 7 ~ October 8, 1972, traveling to 

the Montreal Museum of Fine Arts, October 20 ~ November 26, 1972 and 

the National Gallery of Canada, Ottawa, January 8 ~ December 7, 1973, 

catalogue #126 

Rêve d’une villageoise is an important and significant work by Alfred 

Pellan, produced in his fruitful late 1950s period. At the beginning of the 

decade, Pellan won a grant from the Royal Society of Canada that allowed 

him to travel to Paris from 1952 to 1955. While abroad, he was the first 

Canadian artist to be honoured with a solo exhibition at Paris’s Musée 

national d’art moderne. As a result, he returned to Canada with great 

confidence, and Germain Lefebvre admiringly describes works from this 

period as “bursting, vibrant, from which emerge jewels, flowers and 

delicious little fairies suddenly coming alive.” This topsy~turvy world of 

Pellan is vividly exemplified in Rêve d’une villageoise. The small village is 

punctuated by the elongated female figure drifting through the sky and is 

anchored by the uncanny figure staring out of the bottom right corner. 

Such elements confirm Pellan’s inclination towards Surrealism, and the 

title, which translates as “dream of a villager”, solidifies this further. 

Pellan’s vision is full of fantasy, theatre and whimsy, making this image a 

visual feast for the viewer. 

ESTIMATE: $15,000 ~ 20,000 

75


76 ANTONY (TONY) SCHERMAN 

1950 ~ 

The Blue Highway: Framboisier 

encaustic on canvas, 

on verso signed, titled and dated 2000 


PROVENANCE: 

Winston Wächter Fine Art, Seattle 


Tony Scherman’s provocative work in encaustic ~ a mixture of warm 

beeswax and pigments ~ elevates the subject of still life, in which he has 

been long interested, to a new level. Scored, dripped and layered, his 

images become something more than themselves; they seem rarefied and 

hallowed. Set in beautiful chiaroscuro light, they are richly done, 

dripping with sensuality and opulence. Scherman’s mastery of the 

medium of encaustic is truly remarkable ~ his close~up cinematic~style 

portraits make use of encaustic’s ability to mimic the varied textures of 

human skin, and his still life work incorporates carving and incising 

directly into the work, giving sculptural life to his subjects. Works 

depicting overripe raspberries appear with some regularity in Scherman’s 

oeuvre, and here the berries are ripe to the point of spoiling. Their vibrant 

red is brilliant against the white of the cream, which almost seems to drip 

off the surface of the work, making a succinct comment on decadence and 

excess. 

ESTIMATE: $20,000 ~ 30,000 

76


77 THOMAS SHERLOCK HODGSON 

CGP CSPWC OSA P11 RCA 1924 ~ 2006 

Still Life 

watercolour, gouache, pastel and graphite 

on illustration board, signed and dated 1957 


PROVENANCE: 


By descent to the present Private Estate, Toronto 

As a member of the Painters Eleven ~ the group that was largely 

responsible for bringing abstraction to Toronto in the 1950s ~ Tom 

Hodgson was an individual among individuals. Each of the Eleven had 

their own style; they had come together in order to be known formally as a 

group, and also as a way to increase their likelihood of exhibiting and 

77 

selling work. Hodgson worked mainly in the style of lyrical abstraction. 

He preferred the female figure ~ painting chaotic, sensual semi~nudes ~ 

but also painted still lifes. His watercolours are perhaps the most lyrical of 

his abstractions, owing in part to their assured, fluid lines and floating 

washes of colour. Defined with graphite, brightened with pastel and 

further elaborated by watercolour and gouache, Still Life is no exception 

to this, with the outside lines and inside shapes of the forms hinting at 

what they actually are; a black~capped bottle, a book and perhaps a glass. 

ESTIMATE: $8,000 ~ 10,000



ARCA OC OSA 1927 ~ 1977 

Ukrainian~Canadian Children 

Schoolbound, Stuartburn, Manitoba 

mixed media on board, initialed 

and dated 1971 and on verso titled 


PROVENANCE: 



In William Kurelek’s marvellous book A prairie boy’s winter, his 

dedication was “For everyone who ever spent a winter on the prairies ~ 

and for all the others who wonder what it was like.” Brought up on a 

Manitoba farm in a Ukrainian family, Kurelek knew the Prairie winter 

intimately, and his poignant and insightful works based on his 

childhood are an important part of his oeuvre. Although his childhood 

was challenging, his paintings of it are often idyllic. For the children, 

winters were not just a time of bitter cold and chores, but were filled 

with activities such as hockey played on home~made rinks, inventive 

childhood games and, while on school recess, the carving of snowdrifts 

into elaborate tunnels and rooms. Kurelek’s school was a one~room 

building, its students children from Ukrainian, Mennonite and 

Anglo~Saxon backgrounds. Here Kurelek depicts a winter day so white 

and snow~encrusted that the sky echoes the road, with the children’s 

bright clothes a strong contrast to the whiteout. This charming scene has 

an utterly natural quality, and draws us to it with its evocation of a simpler, 

more innocent time. 

ESTIMATE: $30,000 ~ 35,000 

78



ARCA OC OSA 1927 ~ 1977 

The Unclean Spirit 

watercolour and gouache on card, signed and initialed 

and on verso signed and on various labels titled and dated 

1963 and inscribed St Mathew [sic] XII 43 ~ 45 


PROVENANCE: 


Private Collection, USA 

William Kurelek’s depictions of the Canadian landscape often show the 

vast, empty Prairie, so closely associated with his upbringing on a rural 

Manitoba farm. Wide, flat skies, immense fields, distant horizons, and 

roads and fences that seem to run without end out of our view are 

common in his work. Yet despite their seeming emptiness, such works are 

full of small details finely painted. Here, dry wisps of grass poke through 

79 

the wind~crusted snow that has been 

painted in varying shades of white, 

showing us the artist’s knowledge of 

the subtleties of winter colour. 

Footprints, each unique and carefully 

rendered, plod across the winter field 

as the figure moves away and then 

returns to the scene. His red clothing 

and hat contrast vividly with the 

detail 79 

otherwise all~white composition. 

Kurelek’s works often portray passages from the New Testament, as is the 

case here where he depicts Matthew’s parable of a man who, once the 

unclean spirit has left him, has gone out in search of rest and, finding 

none, has begun the journey home where he will find God again. 

ESTIMATE: $18,000 ~ 22,000


80 MAXWELL BENNETT BATES 

ASA CGP CSGA OC RCA 1906 ~ 1980 

The Lonesome Road 



PROVENANCE: 

Acquired as a wedding present in 1971 from the Artist 

by the present Private Collection, Scotland 

LITERATURE: 

Jack Shadbolt, “Maxwell Bates (1906 ~ 1980)”, artscanada 37, 

December 1980 / January 1981, page 2 

Patricia E. Bovey, A Passion for Art, The Art and Dynamics of the Limners, 

1996, reproduced in a photograph of a scene from Maxwell Bates’s 

seventieth birthday party, page 51 

This work appears in a photograph of Maxwell Bates’s seventieth birthday 

party at the Victoria home of Robin Skelton, a well~known poet and 

80 

academic, with the guests dressed as figures from Bates’s paintings. It is 

believed to be a self~portrait, the face an amalgam of dog / sheep / human 

features, clothing seemingly on backwards, an image consistent with 

Bates’s sense of sardonic humour and use of social satire. The Lonesome 

Road could refer to his looking back over his struggle as an artist and as a 

human being ~ he was a survivor of a German prisoner of war camp and of 

a stroke in 1961. In a tribute, artist Jack Shadbolt wrote, “He saw the 

world around him with no illusions but with human tolerance…His was 

the realism of the compassionate satirist. His technique and vision 

stemmed from Max Beckmann, with whom he studied and whom he 

admired unreservedly, but his extensions out of such a beginning were his 

own and unique.” Bates is one of Canada’s most important Expressionists, 

and The Lonesome Road is an outstanding example of his intense and 

complex portraits. 

ESTIMATE: $15,000 ~ 25,000




Behind the Wire 

ink and watercolour on paper, signed and dated 

1947 and on verso signed, titled and dated 


PROVENANCE: 


LITERATURE: 

Scott Watson, Jack Shadbolt, 1990, pages 34 and 36 

Jack Shadbolt was transferred to London, England in 1945 to serve as an 

administrative officer for the Official Canadian Army War Artists 

Programme. After the end of the Second War War, Shadbolt processed the 

photographs coming in from German concentration camps such as 

Belsen, Buchenwald and Auschwitz. The impact of these photographs 

was overwhelming, and Shadbolt wrote, “I found the experience 

devastating. For some time after this, I had the need for a violent image of 

pathos to relieve my feelings, in my work…and to express my outrage.” 

Shadbolt depicted both the ruins in London and images directly from the 

photographs that he saw, such as this searingly unforgettable 

watercolour. Powerful images such as this were in the style of social 

realism that Shadbolt had been using since the 1930s. But it was because 

of this experience and the explosive changes brought on by the war, the 

Holocaust and the dawning of the atomic age that Shadbolt would later 

turn to abstraction, which he felt could fully express the anxieties of 

modern life after the war. 

ESTIMATE: $10,000 ~ 15,000 

81


82 WILLIAM GOODRIDGE ROBERTS 

CAS CGP CSGA CSPWC EGP OC OSA PY RCA 

1904 ~ 1974 

Still Life 

oil on board, signed and on verso titled, dated 

circa 1956 on the gallery label and inscribed 2728 


PROVENANCE: 


By descent to the present Private Collection, Ontario 

LITERATURE: 

Colin S. MacDonald, A Dictionary of Canadian Artists, Volume 7, 1990, 

page 2170 

EXHIBITED: 

The Women’s Committee of The Art Gallery of Toronto, Sale of 

Canadian Art 

Goodridge Roberts’s work in still life is a steady thread throughout his 

career. Roberts was also an accomplished poet ~ a talent that ran in his 

family; his uncle Sir Charles G.D. Roberts was a poet, and Bliss Carman 

was his cousin. Comparisons between poetry and painting are often 

made, and it is perhaps in the genre of still life that we have the closest 

alignment. Like poetry, a still life is composed of limited things that must 

harmonize and accent each other. A small blue and white jug can contrast 

with a clear glass, a velvety green cloth can offset a grey wall. The success 

of the outcome depends on brevity, balance and harmony ~ and in poetry, 

carefully selected words. In the still life work of Roberts, it is the 

placement and choice of each carefully selected object that gives them 

such consistent success. 

ESTIMATE: $10,000 ~ 15,000 

82


83 WILLIAM GOODRIDGE ROBERTS 

CAS CGP CSGA CSPWC EGP OC OSA PY RCA 

1904 ~ 1974 

Sunlight on the Bay 

oil on board, signed and on verso titled, dated 1968 

on the gallery label and inscribed 1867 


PROVENANCE: 


By descent to the present Private Collection, Ontario 

Goodridge Roberts visited New York in 1926 to study at the Art Students 

League and would remain there for two years, taking advantage of every 

opportunity to see the art on display in the city’s museums and galleries. 

He was exposed to the vibrant colour of the Fauves, the reconfigured 

forms of Cubism and the shimmering light and colour of Impressionism. 

Into his own art, he took traits from several of these styles and refined 

them in his own personal manner. For his subjects, he preferred still life, 

the figure and landscape, and he borrowed from Henri Matisse’s colours 

and forms, translating them through the light, air and character of 

Canada. Roberts’s work has a quality of solemn strength unlike any other 

Canadian artist of his time. His palette is bold, and his forms are never 

overly delicate or insubstantial. In Sunlight on the Bay, we can see the 

uniqueness of Roberts’s brushwork; its rough manner deftly conveys a 

sense of the wind coming off the water. 

ESTIMATE: $10,000 ~ 15,000 

83


84 TED HARRISON 

OC SCA 1926 ~ 

Peter’s Yukon 

acrylic on board, signed and on verso signed, 

titled and dated 1979 on the artist’s label 


PROVENANCE: 


LITERATURE: 

Katherine Gibson, Ted Harrison: Painting Paradise, 2009, page 117 

Ted Harrison grew up in a grimy coal mining community in England. He 

came to Canada in 1967 and began teaching in Alberta. Fascinated by 

tales of the Yukon from a fellow teacher, he resolved to move there, 

arriving in Carcross, near Whitehorse, in 1968. He was thrilled by the 

84 

first sight of it, declaring, “Suddenly, as if a magician had conjured up a 

mirage, the village of Carcross popped into view…It looked like a little 

toy town…It’s wonderful, absolutely wonderful.” Pristine nature 

surrounded the town, and the natural activities of the townspeople, such 

as ice~fishing, snowshoeing, sledding and canoeing, fascinated Harrison. 

Soon he was snowmobiling around the countryside, eating caribou given 

to him by First Nations people and meeting the eccentric characters that 

gravitated to the North. Peter’s Yukon is an outstanding early work 

depicting northern town life, painted with electric colour. As if on a stage, 

the townspeople in the foreground go about their everyday activities, 

dogs caper and ravens scour for food, all captured with Harrison’s 

characteristic warmth and empathy for his community. 

ESTIMATE: $10,000 ~ 15,000


85 TED HARRISON 

OC SCA 1926 ~ 

Dancing Kites 

acrylic on canvas, signed and on verso 



PROVENANCE: 

Buschlen Mowatt Gallery, Vancouver 


LITERATURE: 

Katherine Gibson, Ted Harrison: Painting Paradise, 2009, 

page 126, reproduced page 203 

When Ted Harrison began to paint the Yukon, he realized he had to throw 

out the rules of his academic training and take what was, for him, a 

85 

revolutionary approach. He explained, “I became aware of a subtle force 

emanating from the land itself. There were so many colours! Trees, 

bushes, rocks and mountains were conspiring to force me to paint in their 

colours and in their particular forms.” He simplified his forms, began to 

work with a vivid colour palette and to emphasize the rhythm and energy 

present in the land. Dancing Kites is a joyous and uplifting expression of 

the innocent pleasures of northern children in their vast land. Bands of 

colour radiate upward like Northern Lights ~ a stunning feature in the 

land of the midnight sun. Harrison’s unique approach to the North has 

inspired collectors and brought him great recognition. His first exhibition 

in Ottawa was attended by former Prime Minister Jean Chrétien, then 

minister of Indian Affairs and Northern Development. Harrison was later 

awarded the Order of Canada. 

ESTIMATE: $10,000 ~ 15,000




Monument and Chateau Laurier 

watercolour on paper, signed and on verso 

titled and dated 1956 on the Dominion Gallery label 


PROVENANCE: 




LITERATURE: 

Patricia Salmon, E.J. Hughes, RCA : 40 ans avec la galerie / E.J. Hughes, 

RCA: 40 Years with Dominion Gallery, Dominion Gallery, 1991, page 18, 

reproduced page 19 and listed page 24 

EXHIBITED: 

Dominion Gallery, Montreal, E.J. Hughes, RCA : 40 ans avec la galerie / 

E.J. Hughes, RCA: 40 Years with Dominion Gallery, 1991 

E.J. Hughes had first spent time in Ottawa from 1944 to 1946, while 

serving as an Official War Artist. In 1956, he went on a cross~Canada trip 

sponsored by Dr. Max Stern, his dealer at Montreal’s Dominion Gallery. 

Stern had discovered Hughes during a trip to Vancouver in 1951, and 

thus began a long and fruitful relationship. During this 1956 eastern trip, 

Hughes sketched the cities of Montreal, Toronto, Calgary and Regina, a 

departure from his usual landscape subjects. In recalling this trip, Hughes 

wryly commented, “Perhaps Max Stern thought he could make another 

Canaletto out of me.” His works from the 1950s are much sought after, 

since Hughes’s mature style was fully crystallized, and this is an 

outstanding example of his eastern cityscapes. Finely detailed, this 

watercolour of the iconic Château Laurier Hotel with the imposing War 

Memorial in the foreground captures the urban grandeur of Ottawa’s wide 

boulevards and stately architecture. This work and lot 87 in this auction 

were chosen to represent the Cities of Canada section of a 1991 exhibition 

honouring Hughes’s forty~year relationship with Dominion Gallery. 

ESTIMATE: $8,000 ~ 12,000 

86




View of the Houses of Parliament, Ottawa 

graphite and white pencil on paper, signed 

and on verso signed, titled and dated 1945 

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

PROVENANCE: 




LITERATURE: 

Patricia Salmon, E.J. Hughes, RCA : 40 ans avec la galerie / E.J. Hughes, 

RCA: 40 Years with Dominion Gallery, Dominion Gallery, 1991, 

listed page 24 

87 

EXHIBITED: 

Dominion Gallery, Montreal, E.J. Hughes, RCA : 40 ans avec la galerie / 

E.J. Hughes, RCA: 40 Years with Dominion Gallery, 1991 

E.J. Hughes was appointed an Official War Artist in 1942 and, after his 

posting to Kiska, Alaska, returned to Ottawa in 1944, where he was based 

until 1946. During his time in Ottawa, he worked on war sketch material 

executed in England and Alaska, and developed a process of making 

highly worked drawings he called cartoons. He also depicted the city 

itself, and this finely finished portrayal of Ottawa’s impressive Parliament 

Buildings is a rare urban drawing from this period. 

ESTIMATE: $6,000 ~ 8,000


88 HENRY GEORGE GLYDE 

ASA CSGA FCA PDCC RCA 1906 ~ 1998 

Gowland Point, South Pender, BC 

oil on canvas, signed and on verso signed and titled 


PROVENANCE: 

Private Collection, Calgary 

Henry Glyde came to Canada from England in 1935, taking a teaching 

position at the Provincial Institute of Technology and Art in Calgary. He 

was head of the painting program at the Banff School of Fine Arts from 

1936 until his retirement, and also taught at the University of Alberta, 

establishing their art department in 1947. Glyde’s works are often 

concerned with social realism, and even in this pastoral scene at Gowland 

Point, a regional park on Pender Island, British Columbia, Glyde’s subtle 

social comments are apparent. The fisherman, working class, talks with 

another man who leans on an oar, their heads bent in considered 

conversation, while the third man, seated, looks on. Glyde excelled at 

depicting people caught in conversation, and the downward gaze of the 

man with the oar and the posture of the fisherman are delightful. Two 

women, apart from the men and perhaps on holiday, gaze out toward the 

water, the white~hatted lady inclining her head towards her companion 

who, in turn, leans back slightly. It is a lovely, gentle scene, and Glyde’s 

soft hazy palette of muted tones evokes a feeling of sultry coastal weather. 

ESTIMATE: $10,000 ~ 15,000 

Thank you for attending our sale of Canadian Post~War & 

Contemporary Art. Our Fine Canadian Art auction will 

commence at 7:00 p.m. After tonight’s sale, please view 

our Third Session ~ May Online Auction of Fine Canadian Art 

at www.heffel.com, closing on Thursday, May 30, 2013. 

Lots can be independently viewed at one of our galleries in 

Vancouver, Toronto or Montreal, as specified in our online 

catalogue. 

88

Heffel 

KAREL APPEL, Wingy People, oil on board, 36 x 42 in • Estimate: $50,000 ~ 70,000 

Fine International Art Online Auction closes April 25, 2013 

Works previewed in Montreal, Toronto and Vancouver 

View catalogue online at www.heffel.com 



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INVITATION TO CONSIGN 

ANDY WARHOL, Marilyn, screenprint on paper, 1967, 36 x 36 in 

Sold for $87,750 

We are now accepting consignments for our October sale of: 

Fine International Art 

International Pop Art Prints 




INVITATION TO CONSIGN 

ALEX COLVILLE, Man on Verandah, glazed tempera on board, 1953, 15 x 20 in 

Sold for a Record $1,287,000 

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

Canadian Post~War & Contemporary Art 

Fine Canadian Art 





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e) The Buyer acknowledges that invoices generated during the 

sale or shortly after may not be error free, and therefore are 

subject to review; 

f) Every Registered Bidder shall be deemed to act as principal 

unless the Auction House has acknowledged in writing at 

least twenty~four hours (24) prior to the date of the auction 

that the Registered Bidder is acting as an agent on behalf of a 

disclosed principal and such agency relationship is acceptable 

to the Auction House; 

g) Every Registered Bidder shall fully complete the registration 

process and provide the required information to the Auction 

House. Every Registered Bidder will be assigned a unique 

paddle number (the “Paddle”) for the purpose of bidding on 

Lots in the auction. For online auctions, a password will be 

created for use in the current and future online sales only. 

This online registration procedure may require up to 

twenty~four (24) hours to complete; 

h) Every Registered Bidder acknowledges that once a bid is 

made with his Paddle, or Paddle and password, as the case 

may be, it may not be withdrawn without the consent of the 

Auctioneer who, in his sole discretion, may refuse such 

consent; and 

i) Every Registered Bidder agrees that if a Lot is Knocked Down 

on his bid, he is bound to purchase the Lot for the Purchase 

Price. 

3. BUYER’S PRICE 

The Buyer shall pay the Purchase Price (inclusive of the 

Buyer’s Premium) to the Auction House. The Buyer 

acknowledges and agrees that the Auction House may also 

receive a Consignor’s Commission. 

4. SALES TAX EXEMPTION 

All or part of the Sales Tax may be exempt in certain 

circumstances if the Lot is delivered or otherwise removed 

from the jurisdiction of sale of the Lot. It is the Buyer’s 

obligation to demonstrate, to the satisfaction of the Auction 

House, that such delivery or removal results in an exemption 

from the relevant Sales Tax legislation. Shipments out of the 

jurisdiction of sale of the Lot(s) shall only be eligible for 

exemption from Sales Tax if shipped directly from the 

Auction House and appropriate delivery documentation is 

provided, in advance, to the Auction House. All claims for 

Sales Tax exemption must be made prior to or at the time of 

payment of the Purchase Price. Sales Tax will not be refunded 

once the Auction House has released the Lot. 

5. PAYMENT OF THE PURCHASE PRICE 

a) The Buyer shall: 

(i) Unless he has already done so, provide the Auction House 

with his name, address and banking or other suitable 

references as may be required by the Auction House; and 

(ii) Payment must be made by 4:30 p.m. on the seventh (7th) 

day following the auction by: a) Bank Wire direct to the 

Auction House’s account, b) Certified Cheque or Bank 

Draft, unless otherwise arranged in advance with the 

Auction House, or c) a cheque accompanied by a current 

Letter of Credit from the Buyer’s bank which will 

guarantee the amount of the cheque (release of Lot subject 

to clearance of cheque). Credit card payments are subject 

to acceptance and approval by the Auction House and to a 

maximum of $5,000 if the Buyer is providing his credit 

card details by fax, or to a maximum of $25,000 if the 

card is presented in person with valid identification. Such 

credit card payment limits apply to the value of the total 

purchases made by the Buyer and will not be calculated 

on individual transactions for separate Lots. In all other 

circumstances, the Auction House accepts payment by 

wire transfer. 

b) Title shall pass, and release and/or delivery of the Lot shall 

occur, only upon payment of the Purchase Price by the Buyer 

to the Auction House. 

6. DESCRIPTIONS OF LOT 

a) All representations or statements made by the Auction House, 

or in the Consignment Agreement, or in the catalogue or 

other publication or report, as to the authorship, origin, date, 

age, size, medium, attribution, genuineness, provenance, 

condition or estimated selling price of the Lot, are statements 

of opinion only. The Buyer agrees that the Auction House 

shall not be liable for any errors or omissions in the catalogue 

or any supplementary material produced by the Auction 

House; 

b) All photographic representations and other illustrations 

presented in the catalogue are solely for guidance and are not 

to be relied upon in terms of tone or colour or necessarily to 

reveal any imperfections in the Lot; 

c) Many Lots are of an age or nature which precludes them from 

being in pristine condition. Some descriptions in the 

catalogue or given by way of condition report make reference 

to damage and/or restoration. Such information is given for 

guidance only and the absence of such a reference does not 

imply that a Lot is free from defects, nor does any reference to 

particular defects imply the absence of others; 

d) The prospective Buyer must satisfy himself as to all matters 

referred to in a), b) and c) of this paragraph by inspection, 

other investigation or otherwise prior to the sale of the Lot. If 

the prospective Buyer is unable to personally view any Lot, 

the Auction House may, upon request, e~mail or fax a 

condition report describing the Lot to the prospective Buyer. 

Although the Auction House takes great care in executing 

such condition reports in both written and verbal format, 

condition reports are only matters of opinion, are 

non~exhaustive, and the Buyer agrees that the Auction House 

shall not be held responsible for any errors or omissions


contained within. The Buyer shall be responsible for 

ascertaining the condition of the Lot; and 

e) The Auction House makes no representations or warranties to 

the Buyer that the Buyer of a Lot will acquire any copyright or 

other reproduction right in any purchased Lot. 

7. PURCHASED LOT 

a) The Buyer shall collect the Lot from the Auction House by 

4:30 p.m. on the seventh (7th) day following the date of the 

auction sale, after which date the Buyer shall be responsible 

for all Expenses until the date the Lot is removed from the 

offices of the Auction House; 

b) All packing, handling and shipping of any Lot by the Auction 

House is undertaken solely as a courtesy service to the Buyer, 

and will only be undertaken at the discretion of the Auction 

House and at the Buyer’s risk. Prior to all packing and 

shipping, the Auction House must receive a fully completed 

and signed Shipping Form and payment in full of all 

purchases; and 

c) The Auction House shall not be liable for any damage to glass 

or frames of the Lot and shall not be liable for any errors or 

omissions or damage caused by packers and shippers, 

whether or not such agent was recommended by the Auction 

House. 

8. 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 Buyer’s risk. The Buyer may arrange 

insurance coverage through the Auction House at the then 

prevailing rates and subject to the then existing policy; and 

b) Neither the Auction House nor its employees nor its agents 

shall be liable for any loss or damage of any kind to the Lot, 

whether caused by negligence or otherwise, while any Lot is 

in or under the custody or control of the Auction House. 

9. NON~PAYMENT AND FAILURE TO COLLECT LOT(S) 

If the Buyer fails either to pay for or to take away any Lot by 

4:30 p.m. on the seventh (7th) day following the date of the 

auction sale, the Auction House may in its absolute discretion 

be entitled to one or more of the following remedies without 

providing further notice to the Buyer and without prejudice 

to any other rights or remedies the Auction House may have: 

a) To issue judicial proceedings against the Buyer for damages 

for breach of contract together with the costs of such 

proceedings on a full indemnity basis; 

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

Buyer; 

c) To resell the Lot or cause it to be resold by public or private 

sale, or by way of live or online auction, with any deficiency 

to be claimed from the Buyer and any surplus, after Expenses, 

to be delivered to the Buyer; 

d) To store the Lot on the premises of the Auction House or 

third party storage facilities with Expenses accruing to the 

account of the Buyer, and to release the Lot to the Buyer only 

after payment of the Purchase Price and Expenses to the 

Auction House; 

e) To charge interest on the Purchase Price at the rate of five 

percent (5%) per month above the Royal Bank of Canada base 

rate at the time of the auction sale and adjusted month to 

month thereafter; 

f) To retain that or any other Lot sold to the Buyer at the same 

or any other auction and release the same only after payment 

of the aggregate outstanding Purchase Price; 

g) To apply any Proceeds of Sale of any Lot then due or at any 

time thereafter becoming due to the Buyer towards settlement 

of the Purchase Price, and the Auction House shall be entitled 

to a lien on any other property of the Buyer which is in the 

Auction House’s possession for any purpose; 

h) To apply any payments made by the Buyer to the Auction 

House towards any sums owing from the Buyer to the 

Auction House without regard to any directions received from 

the Buyer or his agent, whether express or implied; and 

i) In the absolute discretion of the Auction House, to refuse or 

revoke the Buyer’s registration in any future auctions held by 

the Auction House. 

10. GUARANTEE 

The Auction House, its employees and agents, shall not be 

responsible for the correctness of any statement as to the 

authorship, origin, date, age, size, medium, attribution, 

genuineness or provenance of any Lot or for any other errors 

of description or for any faults or defects in any Lot and no 

warranty whatsoever is given by the Auction House, its 

employees or agents in respect of any Lot and any express or 

implied conditions or warranties are hereby excluded. 

11. ATTENDANCE BY BUYER 

a) Prospective Buyers are advised to inspect the Lot(s) before the 

sale, and to satisfy themselves as to the description, 

attribution and condition of each Lot. The Auction House will 

arrange suitable viewing conditions during the preview 

preceding the sale, or by private appointment; 

b) Prospective Buyers are advised to personally attend the sale. 

However, if they are unable to attend, the Auction House will 

execute bids on their behalf subject to completion of the 

proper Absentee Bid Form, duly signed and delivered to the 

Auction House forty~eight (48) hours before the start of the 

auction sale. The Auction House shall not be responsible nor 

liable in the making of any such bid by its employees or 

agents; 

c) In the event that the Auction House has received more than 

one Absentee Bid Form on a Lot for an identical amount and 

at auction those absentee bids are the highest bids for that


Lot, the Lot shall be Knocked Down to the person whose 

Absentee Bid Form was received first; and 

d) At the discretion of the Auction House, the Auction House 

may execute bids, if appropriately instructed by telephone, on 

behalf of the prospective Buyer, and the prospective Buyer 

hereby agrees that neither the Auction House nor its 

employees nor agents shall be liable to either the Buyer or the 

Consignor for any neglect or default in making such a bid. 

12. EXPORT PERMITS 

Without limitation, the Buyer acknowledges that certain 

property of Canadian cultural importance sold by the Auction 

House may be subject to the provisions of the Cultural 

Property Export and Import Act (Canada), and that 

compliance with the provisions of the said act is the sole 

responsibility of the Buyer. 

C. THE CONSIGNOR: 

1. 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 Conditions C.1.b (ii) 

or C.1.b (iii), the Consignor shall pay a charge to the Auction 

House, as provided in Condition C.8. 

2. WARRANTIES AND INDEMNITIES 

a) The Consignor warrants to the Auction House and to the 

Buyer that the Consignor has and shall be able to deliver 

unencumbered title to the Lot, free and clear of all claims; 

b) The Consignor shall indemnify the Auction House, its 

employees and agents and the Buyer against all claims made 

or proceedings brought by persons entitled or purporting to 

be entitled to the Lot; 

c) The Consignor shall indemnify the Auction House, its 

employees and agents and the Buyer against all claims made 

or proceedings brought due to any default of the Consignor 

in complying with any applicable legislation, regulations and 

these Terms and Conditions of Business; and 

d) The Consignor shall reimburse the Auction House in full and 

on demand for all Expenses or any other loss or damage 

whatsoever made, incurred or suffered as a result of any 

breach by the Consignor of Conditions C.2.a and/or C.2.c 

above. 

3. RESERVES 

a) The Auction House is authorized by the Consignor to Knock 

Down a Lot at less than the Reserve, provided that, for the 

purposes of calculating the Proceeds of Sale due to the 

Consignor, the Hammer Price shall be deemed to be the full 

amount of the agreed Reserve established by the Auction 

House and the Consignor. 

4. 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 

charge and retain the Buyer’s Premium; 

b) The Consignor shall pay and authorizes the Auction House to 

deduct all Expenses incurred on behalf of the Consignor, 

together with any Sales Tax thereon; and 

c) The charge for illustrating a Lot in the live auction sale 

catalogue shall be a flat fee paid by the Consignor of $500 for 

a large size reproduction and $275 for a small reproduction, 

per item in each Lot, together with any Sales Tax chargeable 

thereon. The Auction House retains all rights to photographic 

and printing material and the right of reproduction of such 

photographs. The charge for online digital photography, 

cataloguing and Internet posting is a flat fee of $100 per Lot. 

5. INSURANCE 

a) Lots are only covered by insurance under the Fine Arts 

Insurance Policy of the Auction House if the Consignor so 

authorizes; 

b) The rate of insurance premium payable by the Consignor is 

$15 per $1,000 (1.5%) of the greater value of the high 

estimate value of the Lot or the realized Hammer Price or for 

the alternative amount as specified in the Consignment 

Receipt; 

c) If the Consignor instructs the Auction House not to insure a 

Lot, it shall at all times remain at the risk of the Consignor 

who hereby undertakes to: 

(i) indemnify the Auction House against all claims made or 

proceedings brought against the Auction House in respect 

of loss or damage to the Lot of whatever nature, 

howsoever and wheresoever occurred, and in any 

circumstances even where negligence is alleged or proven; 

(ii) reimburse the Auction House for all Expenses incurred by 

the Auction House. Any payment which the Auction 

House shall make in respect of such loss or damage or 

Expenses shall be binding upon the Consignor and shall


be accepted by the Consignor as conclusive evidence that 

the Auction House was liable to make such payment; and 

(iii) notify any insurer of the existence of the indemnity 

contained in these Terms and Conditions of Business. 

d) The Auction House does not accept responsibility for Lots 

damaged by changes in atmospheric conditions and the 

Auction House shall not be liable for such damage nor for any 

other damage to picture frames or to glass in picture frames; 

and 

e) The value for which a Lot is insured under the Fine Arts 

Policy of the Auction House in accordance with Condition 

C.5.b above shall be the total amount due to the Consignor in 

the event of a successful claim being made against the 

Auction House. 

6. 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 

Buyer; 

b) If the Auction House has not received the Purchase Price from 

the Buyer within the time period specified, then the Auction 

House will pay the Proceeds of Sale within seven (7) working 

days following receipt of the Purchase Price from the Buyer; 

and 

c) If before the Purchase Price is paid in full by the Buyer, the 

Auction House pays the Consignor an amount equal to the 

Proceeds of Sale, title to the property in the Lot shall pass to 

the Auction House. 

7. COLLECTION OF THE PURCHASE PRICE 

If the Buyer fails to pay to the Auction House the Purchase 

Price within thirty (30) days after the date of sale, the Auction 

House will endeavour to take the Consignor’s instructions as 

to the appropriate course of action to be taken and, so far as 

in the Auction House’s opinion such instructions are 

practicable, will assist the Consignor in recovering the 

Purchase Price from the Buyer, save that the Auction House 

shall not be obligated to issue judicial proceedings against the 

Buyer in its own name. Notwithstanding the foregoing, the 

Auction House reserves the right and is hereby authorized at 

the Consignor’s expense, and in each case at the absolute 

discretion of the Auction House, to agree to special terms for 

payment of the Purchase Price, to remove, store and insure 

the Lot sold, to settle claims made by or against the Buyer on 

such terms as the Auction House shall think fit, to take such 

steps as are necessary to collect monies from the Buyer to the 

Consignor and, if appropriate, to set aside the sale and refund 

money to the Buyer. 

8. 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 C.1.b (iii), a charge of 

twenty~five percent (25%) of the high pre~sale estimate, 

together with any applicable Sales Tax and Expenses, is 

immediately payable to the Auction House, prior to any 

release of the Property. 

9. UNSOLD LOTS 

a) Unsold Lots must be collected at the Consignor’s expense 

within the period of ninety (90) days after receipt by the 

Consignor of notice from the Auction House that the Lots are 

to be collected (the “Collection Notice”). Should the 

Consignor fail to collect the Lot from the Auction House 

within ninety (90) days from the receipt of the Collection 

Notice, the Auction House shall have the right to place such 

Lots in the Auction House’s storage facilities or third party 

storage facilities, with Expenses accruing to the account of the 

Consignor. The Auction House shall also have the right to sell 

such Lots by public or private sale and on such terms as the 

Auction House shall alone determine, and shall deduct from 

the Proceeds of Sale any sum owing to the Auction House or 

to any associated company of the Auction House including 

Expenses, before remitting the balance to the Consignor. If 

the Consignor cannot be traced, the Auction House shall 

place the funds in a bank account in the name of the Auction 

House for the Consignor. In this condition the expression 

“Proceeds of Sale” shall have the same meaning in relation to 

a private sale as it has in relation to a sale by auction; 

b) Lots returned at the Consignor’s request shall be returned at 

the Consignor’s risk and expense and will not be insured in 

transit unless the Auction House is otherwise instructed by 

the Consignor; and 

c) If any Lot is unsold by auction, the Auction House is 

authorized as the exclusive agent for the Consignor for a 

period of ninety (90) days following the auction to sell such 

Lot by private sale or auction sale for a price that will result in 

a payment to the Consignor of not less than the net amount 

(i.e., after deduction of the Auction House Commission and 

Expenses) to which the Consignor would have been entitled 

had the Lot been sold at a price equal to the agreed Reserve, 

or for such lesser amount as the Auction House and the 

Consignor shall agree. In such event, the Consignor’s 

obligations to the Auction House hereunder with respect to 

such a Lot are the same as if it had been sold at auction. The 

Auction House shall continue to have the exclusive right to 

sell any unsold Lots after the said ninety (90) day period, 

until such time as the Auction House is notified in writing by 

the Consignor that such right is terminated. 

10. 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 

illustrations, photographs or other reproductions of any work 

provided to the Auction House by the Consignor. The 

Consignor agrees to fully indemnify the Auction House and 

hold it harmless from any damages caused to the Auction 

House by reason of any breach by the Consignor of this 

warranty and representation. 

D. GENERAL CONDITIONS: 

1. The Auction House as agent for the Consignor is not 

responsible for any default by the Consignor or the Buyer. 

2. The Auction House shall have the right at its absolute 

discretion to refuse admission to its premises or attendance at 

its auctions by any person. 

3. The Auction House has the right at its absolute discretion to 

refuse any bid, to advance the bidding as it may decide, to 

withdraw or divide any Lot, to combine any two or more Lots 

and, in the case of dispute, to put up any Lot for auction 

again. At no time, shall a Registered Bidder retract or 

withdraw his bid. 

4. For advertising and promotional purposes, the Consignor 

acknowledges and agrees that the Auction House shall, in 

relation to any sale of the Lot, make reference to the aggregate 

Purchase Price of the Lot, inclusive of the Buyer’s Premium, 

notwithstanding that the Consignor’s Commission is 

calculated on the Hammer Price. 

5. Any indemnity hereunder shall extend to all actions, 

proceedings, costs, claims and demands whatsoever incurred 

or suffered by the person for whose benefit the indemnity is 

given and, the Auction House shall hold any indemnity on 

trust for its employees and agents where it is expressed to be 

for their benefit. 

6. Any notice given hereunder shall be in writing and if given by 

post shall be deemed to have been duly received by the 

addressee within three (3) business days. 

7. The copyright for all illustrations and written matter relating 

to the Lots shall be and will remain at all times the absolute 

property of the Auction House and shall not, without the 

prior written consent of the Auction House, be used by any 

other person. 

8. The Auction House will not accept any liability for any errors 

that may occur in the operation of any video or digital 

representations produced and/or broadcasted during an 

auction sale. 

9. This Agreement shall be governed by and construed in 

accordance with British Columbia Law and the laws of 

Canada applicable therein and all parties concerned hereby 

submit to the exclusive jurisdiction of the British Columbia 

Courts. 

10. Unless otherwise provided for herein, all monetary amounts 

referred to herein shall refer to the lawful money of Canada. 

11. All words importing the singular number shall include the 

plural and vice versa, and words importing the use of any 

gender shall include the masculine, feminine and neuter 

genders and the word “person” shall include an individual, a 

trust, a partnership, a body corporate, an association or other 

incorporated or unincorporated organization or entity. 

12. If any provision of this Agreement or the application thereof 

to any circumstances shall be held to be invalid or 

unenforceable, the remaining provisions of this Agreement, or 

the application thereof to other circumstances, shall not be 

affected thereby and shall be held valid to the full extent 

permitted by law. 

The Buyer and the Consignor are hereby advised to read fully the Agreement 

which sets out and establishes the rights and obligations of the Auction House, 

the Buyer and the Consignor and the terms by which the Auction House shall 

conduct the sale and handle other related matters. 

Version 2013.03, © Heffel Gallery Limited


CATALOGUE ABBREVIATIONS AND SYMBOLS: 

AAM Art Association of Montreal founded in 1860 

AANFM Association des artistes non~figuratifs de Montréal 

AAP Association des arts plastiques 

ACM Arts Club of Montreal 

AGA Art Guild America 

AGQ Association des graveurs du Québec 

AHSA Art, Historical and Scientific Association of Vancouver 

ALC Arts and Letters Club 

AOCA Associate Ontario College of Art 

ARCA Associate Member Royal Canadian Academy of Arts 

ASA Alberta Society of Artists 

ASPWC American Society of Painters in Water Colors 

ASQ Association des sculpteurs du Québec 

AUTO Les Automatistes 

AWCS American Watercolor Society 

BCSFA British Columbia Society of Fine Arts founded in 1909 

BCSA British Columbia Society of Artists 

BHG Beaver Hall Group, Montreal 1920 ~1922 

CAC Canadian Art Club 

CAS Contemporary Arts Society 

CC Companion of the Order of Canada 

CGP Canadian Group of Painters 1933 ~ 1969 

CH Companion of Honour Commonwealth 

CPE Canadian Painters ~ Etchers’ Society 

CSAA Canadian Society of Applied Art 

CSGA Canadian Society of Graphic Artists founded in 1905 

CSMA Canadian Society of Marine Artists 

CSPWC Canadian Society of Painters in Water Colour founded in 1925 

EGP Eastern Group of Painters 

FBA Federation of British Artists 

FCA Federation of Canadian Artists 

FRSA Fellow of the Royal Society of Arts 

G7 Group of Seven 1920 ~ 1933 

IAF Institut des arts figuratifs 

IWCA Institute of Western Canadian Artists 

LP Les Plasticiens 

MSA Montreal Society of Arts 

NAD National Academy of Design 

NEAC New English Art Club 

NSSA Nova Scotia Society of Artists 

OC Order of Canada 

OIP Ontario Institute of Painters 

OM Order of Merit British 

OSA Ontario Society of Artists founded 1872 

P11 Painters Eleven 1953 ~ 1960 

PDCC Print and Drawing Council of Canada 

PNIAI Professional Native Indian Artists Incorporation 

POSA President Ontario Society of Artists 

PPCM Pen and Pencil Club, Montreal 

PRCA President Royal Canadian Academy of Arts 

PSA Pastel Society of America 

PSC Pastel Society of Canada 

PY Prisme d’yeux 

QMG Quebec Modern Group 

R5 Regina Five 1961 ~ 1964 

RA Royal Academy 

RAAV Regroupement des artistes en arts visuels du Québec 

RAIC Royal Architects Institute of Canada 

RBA Royal Society of British Artists 

RCA Royal Canadian Academy of Arts founded 1880 

RI Royal Institute of Painters in Watercolour 

RMS Royal Miniature Society 

ROI Royal Institute of Oil Painters 

RPS Royal Photographic Society 

RSA Royal Scottish Academy 

RSC Royal Society of Canada 

RSMA Royal Society of Marine Artists 

RSPP Royal Society of Portrait Painters 

RWS Royal Watercolour Society 

SAA Society of American Artists 

SAAVQ Société des artistes en arts visuels du Québec 

SAP Société des arts plastiques 

SAPQ Société des artistes professionnels du Québec 

SC The Studio Club 

SCA Society of Canadian Artists 1867 ~ 1872 

SCPEE Society of Canadian Painters, Etchers and Engravers 

SSC Sculptors’ Society of Canada 

SWAA Saskatchewan Women Artists’ Association 

TCC Toronto Camera Club 

TPG Transcendental Painting Group 1938 ~ 1942 

WAAC Women’s Art Association of Canada 

WIAC Women’s International Art Club 

WS Woodlands School 

YR Young Romantics 

ϕ Indicates that Heffel Gallery owns an equity interest 

in the Lot 

Denotes that additional information on this lot can 

be found on our website at www.heffel.com


CATALOGUE TERMS: 

These catalogue terms are provided for your guidance: 

CORNELIUS DAVID KRIEGHOFF 

In our best judgment, a work by the artist. 

ATTRIBUTED TO CORNELIUS DAVID KRIEGHOFF 

In our best judgment, a work possibly executed in whole or 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. 

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. 

HEFFEL’S CODE OF BUSINESS CONDUCT, 

ETHICS AND PRACTICES: 

Heffel takes great pride in being the leader in the Canadian fine art auction 

industry, and has an unparalleled track record. We are proud to have been 

the dominant auction house in the Canadian art market from 2004 to the 

present. Our firm’s growth and success has been built on hard work and 

innovation, our commitment to our Clients and our deep respect for the 

fine art we offer. At Heffel we treat our consignments with great care and 

respect, and consider it an honour to have them pass through our hands. 

We are fully cognizant of the historical value of the works we handle, and 

their place in art history. 

Heffel, to further define its distinction in the Canadian art auction 

industry, has taken the following initiative. David and Robert Heffel, 

second~generation art dealers of the Company’s founding Heffel family, 

have personally crafted the foundation documents (as published on our 

website www.heffel.com): Heffel’s Corporate Constitutional Values and 

Heffel’s Code of Business Conduct, Ethics and Practices. We believe the values 

and ethics set out in these documents will lay in stone our moral compass. 

Heffel has flourished through more than three decades of change, proof 

that our hard work, commitment, philosophy, honour and ethics in all 

that we do, serves our Clients well. 

Heffel’s Employees and Shareholders are committed to Heffel’s Code of 

Business Conduct, Ethics and Practices, together with Heffel’s Corporate 

Constitutional Values, our Terms and Conditions of Business and related 

corporate policies, all as amended from time to time, with respect to our 

Clients, and look forward to continued shared success in this auction 

season and ongoing. 

David K.J. Heffel 

President, Director 

and Shareholder (through Heffel Investments Ltd.) 

Robert C.S. Heffel 

Vice~President, Director 

and Shareholder (through R.C.S.H. Investments Ltd.) 

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. 

Version 2012.09, © Heffel Gallery Limited 



ANNUAL SUBSCRIPTION FORM 

Please complete this Annual Subscription Form to receive 

our twice~yearly Auction Catalogues and Auction Result Sheet. 

To order, return a copy of this form with a cheque payable to: 

Heffel Gallery, 2247 Granville Street, 

Vancouver, British Columbia, Canada V6H 3G1 

Tel 604 732~6505, Fax 604 732~4245, Toll free 800 528~9608 

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

CATALOGUE SUBSCRIPTIONS ~ TAX INCLUDED 

DELIVERED IN CANADA 

One Year (four catalogues) ~ 

Fine Canadian Art / Post~War & Contemporary Art $80.00 

Two Year (eight catalogues) ~ 


DELIVERED TO THE UNITED STATES AND OVERSEAS 

One Year (four catalogues) ~ 


Two Year (eight catalogues) ~ 


CANADIAN ART AT AUCTION INDEX ONLINE ~ TAX INCLUDED 

Please contact Heffel Gallery to set up 

One Block of 25 Search Results $50.00 

One Year Subscription (35 searches per month) $250.00 

Two Year Subscription (35 searches per month) $350.00 

COLLECTOR PROFILE FORM 

Please complete our Collector Profile Form to assist us in our 

ability to offer you our finest service. 

ARTISTS OF PARTICULAR INTEREST IN PURCHASING 

1) 

2) 

3) 

4) 

5) 

6) 

7) 

8) 

9) 

Name 

Address 

ARTISTS OF PARTICULAR INTEREST IN SELLING 

1) 

2) 

3) 

Postal Code 

E~mail Address 

4) 

5) 

Residence Telephone 

Business Telephone 

6) 

Fax 

VISA # or MasterCard # 

Cellular 

Expiry Date 

7) 

8) 

9) 

Signature 

Date 



SHIPPING FORM FOR PURCHASES 

Heffel Fine Art Auction House will arrange to have Property 

purchased at the auction sale packed, insured and forwarded to 

the Purchaser at the Purchaser’s expense and risk pursuant to the 

Terms and Conditions of Business set out in the Auction Sale 

Catalogue. The Purchaser is aware and accepts that Heffel Fine Art 

Auction House does not operate a professional packing service 

and shall provide such assistance for the convenience only of the 

Purchaser. Your signature on this form releases Heffel Fine Art 

Auction House from any liability that may result from damage 

sustained by artwork during packing and shipping. All such 

works are packed at the Purchaser’s risk and then transported by 

a carrier chosen at the discretion of Heffel Fine Art Auction House. 

Works purchased may be subject to the Cultural Property Export 

and Import Act (Canada), and compliance with the provisions of 

the said Act is the sole responsibility of the Purchaser. 

Purchaser’s Name as invoiced 

Shipping Address 

City 

Postal Code 

Residence Telephone 

Fax 

Province, Country 


Business Telephone 

Cellular Telephone 

Sale Date 

Please indicate your preferred method of shipping below 

All Charges are Collect for Settlement by the Purchaser 

Credit Card Number 

Expiry Date 

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 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 as published by Heffel. 

LOT NUMBER LOT DESCRIPTION MAXIMUM BID 

Sale Date 

in numerical order artist Hammer Price $ CAD 

(excluding Buyer’s Premium) 

1) 

Billing Name 

2) 

Address 

3) 

4) 

City 

Postal Code 

Province, Country 


5) 

6) 

7) 

Daytime Telephone 

Evening Telephone 

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 by telephone or e~mail all bids received. If 

you have not received our confirmation within one business day, 

please re~submit your bids or contact us at: 


British Columbia, Canada V6H 3G1 

Telephone 604 732~6505, Fax 604 732~4245 

E~mail: mail@heffel.com; Internet: http://www.heffel.com 



INDEX OF ARTISTS BY LOT 

A/B 

ARDEN, ROY 11 

ASHEVAK, KAROO 46 

BATES, MAXWELL BENNETT 80 

BEAULIEU, PAUL VANIER 55 

BELLEFLEUR, LÉON 38, 69 

BELZILE, LOUIS 23 

BLACKWOOD, DAVID LLOYD 68 

BORDUAS, PAUL~ÉMILE 51 

BORENSTEIN, SAMUEL 32, 33, 34, 

35, 45 

BUSH, JACK HAMILTON 5, 6, 13, 22 

C/D 

COLVILLE, ALEXANDER 2, 62 

COSGROVE, STANLEY MOREL 74 

DALLAIRE, JEAN~PHILIPPE 52, 53 

E/F 

FAFARD, JOSEPH HECTOR YVON (JOE) 

47, 48 

FAUTEUX~MASSÉ, HENRIETTE 56 

FERRON, MARCELLE 37, 54 

G 

GAGNON, CHARLES 49 

GAUCHER, YVES 26 

GERVAIS, LISE 25 

GLYDE, HENRY GEORGE 88 

H 

HARRIS, LAWREN STEWART 60 

HARRISON, TED 84, 85 

HODGSON, THOMAS SHERLOCK 77 

HOPKINS, TOM 72 

HUGHES, EDWARD JOHN (E.J.) 3, 4, 

73, 86, 87 

I/J/K/L 

KURELEK, WILLIAM 42, 44, 64, 78, 79 

LEMIEUX, JEAN PAUL 10, 27, 28 

LETENDRE, RITA 29 

LITTLE, JOHN GEOFFREY CARUTHERS 43 

M/N/O 

MCCARTHY, DORIS JEAN 67 

MOLINARI, GUIDO 50 

ONLEY, TONI (NORMAN) 57 

P 

PELLAN, ALFRED 75 

PRATT, CHRISTOPHER 58, 65, 66 

PRATT, MARY FRANCES 61 

Q/R 

RADUL, JUDY 12 

RIOPELLE, JEAN~PAUL 14, 15, 16, 17, 

18, 19, 20, 21, 36 

ROBERTS, WILLIAM GOODRIDGE 82, 83 

S 

SCHERMAN, ANTONY (TONY) 76 

SHADBOLT, JACK LEONARD 1, 31, 39, 

40, 41, 63, 70, 81 

SMITH, GORDON APPELBE 7, 8, 9, 

24, 71 

T/U/V/W/X/Y/Z 

TOWN, HAROLD BARLING 59 

YUXWELUPTUN, LAWRENCE PAUL 30

Spring Live Auction Highlight Previews 

MONTREAL AND TORONTO 

Montreal Preview 

Thursday, April 25 & Friday, April 26, 11:00 AM to 7:00 PM 

Saturday, April 27, 11:00 AM to 5:00 PM 

Toronto Preview 

Thursday, May 2 & Friday, May 3, 11:00 AM to 7:00 PM 

Saturday, May 4, 11:00 AM to 5:00 PM 

Please visit our live auction online catalogue at www.heffel.com for specific details 

designating which Lots will be exhibited for our Montreal and Toronto previews. 

1840 rue Sherbrooke Ouest 

Montreal, Quebec H3H 1E4 

Telephone: 514 939~6505 

Toll Free: 866 939~6505 

Facsimile: 514 939~1100 

13 Hazelton Avenue 

Toronto, Ontario M5R 2E1 

Telephone: 416 961~6505 

Toll Free: 866 961~6505 

Facsimile: 416 961~4245

VISIT 

www.heffel.com 



ISBN 978~1~927031~08~7

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