Brandenburg Series Preoccupied - Heffel

HEFFEL FINE ART AUCTION HOUSE 8164 ATTILA RICHARD LUKACS1962 ~Brandenburg Seriesmixed media on paper53 x 39 in, 134.6 x 99 cmPROVENANCE:Private Collection, VancouverThe subject of Lukacs’s Brandenburg Series is the collapse of Communismin Germany. In 1989, Berlin’s Brandenburg Gate, an historic gate into thecity, was located only a short distance from Lukacs’s studio and hadremained closed since the creation of the Berlin Wall in 1961. When theGate re~opened after the fall of the Berlin Wall, it symbolized the birth offreedom and a desire to unify the city of Berlin.ESTIMATE: $8,000 ~ 12,0006465 WILLIAM HODD (BILL) MCELCHERANRCA 1927 ~ 1999Preoccupiedbronze sculpture, initialed, editioned 8/9 and dated 199528 x 10 3/4 x 20 in, 71.1 x 27.3 x 50.8 cmPROVENANCE:Private Collection, VancouverMcElcheran regarded the businessmen that he so often portrayed in hiswork from both a satirical and compassionate viewpoint. Always attiredin classic, tailored business suits and hats, his businessmen heroicallycarry on in their corporate world, bustling on their way to their nextappointment. McElcheran imbues these archetypal figures with the ironyand paradox of modern life, and although they are robust figures full ofvitality, there is something touching in their complete absorption in therat~race of modern life that we identify with.ESTIMATE: $12,000 ~ 16,00065

HEFFEL FINE ART AUCTION HOUSE 82PROVENANCE:Private Collection, British ColumbiaLITERATURE:David Burnett and Marilyn Schiff,Contemporary Canadian Art, 1983,page 53Hodgson’s work has been featured inmore than 20 museum exhibitions,including the Art Gallery of Ontario,Calgary’s Glenbow Museum, the Galeried’arts contemporains de Montréal, theNational Gallery of Canada and theCanadian War Museum in Ottawa. Hiswork is characterized by a radical andindependent response to New YorkAbstract Expressionism within thecontext of Painters Eleven, a group ofCanadian abstract painters based inToronto in the 1950s. With no single lineas a focus, there is an energeticdirectness to his work. The colourfulpalette and composition of Interior StillLife are unrestrained and chaotic butmeld successfully to produce a dynamiccomposition. What drew the public toHodgson was the spontaneous gesturalquality of his paintings. As Burnettwrites, it was “this raw energy whichmade a special mark in the exhibitions ofPainters Eleven and reviews frequentlymade special mention of Hodgson.” Thiswork carries the vitality of the best workof Hodgson, who was the youngestmember of the Painters Eleven group.ESTIMATE: $10,000 ~ 15,00066 THOMAS SHERLOCK HODGSONCGP CSPWC OSA RCA 1924 ~ 2006Interior Still Lifeoil on canvas, signed and dated 1961and on verso signed, titled, dated andinscribed M3/61 and 43 St. Olaves Rd.39 1/4 x 28 3/4 in, 99.7 x 73 cm66

HEFFEL FINE ART AUCTION HOUSE 8367 ATTILA RICHARD LUKACS1962 ~Bamboooil on canvas, on verso signedand inscribed with love Patric, love Attila48 x 24 in, 121.9 x 61 cmPROVENANCE:Acquired from the Artist bythe present Private Collection, Ontario6768 MARCELLE MALTAISAANFM 1933 ~Sans titreoil on canvas, signed and dated 195830 x 14 in, 76.2 x 35.6 cmPROVENANCE:Private Collection, TorontoESTIMATE: $5,000 ~ 7,00068ESTIMATE: $8,000 ~ 10,000

HEFFEL FINE ART AUCTION HOUSE 8469

HEFFEL FINE ART AUCTION HOUSE 8569 JOE TALIRUNILI1893 ~ 1976Migration Boatgrey soapstone, animal hide and wood sculpture,signed “Joe” and “Ta~li~ru~ni~li” in Inuktitut syllabicson a label, certified by the Government of Canadaon the Canada Eskimo Art card #(31)~1~49058and numbered 31~BIA 0149058 on theCanada Eskimo Art label on the work, circa 196613 1/2 x 9 1/2 x 12 1/2 in, 34.3 x 24.1 x 31.7 cmPROVENANCE:Canada Eskimo Art, 1976Boreal Gallery, MontrealPrivate Collection, QuebecLITERATURE:Marybelle Myers, editor, Joe Talirunili: A Grace Beyond the Reach of Art,1977, pages 4, 6 and 30Strong in will and spirit, Joe Talirunili’s distinctive carvings are a productof his environment and are inspired by the history and legends of the Inuitpeople, as well as his own experiences. Talirunili was born inNeahungnuk camp near the Great Whale River north of Puvirnituq,Nunavik (Arctic Quebec) between 1893 and 1906. Talirunili’s ownrecollection is the 1906 date, however, written records in Ottawa debatethis. Talirunili grew up as part of traditional Inuit culture. The Inuitstudied the land and were shaped by their environment, which sustainedtheir way of life. They adapted symbiotically with their harsh arcticlandscape, becoming migratory by necessity, moving inland during thesummer months and returning to the coast during the winter to hunt seal.Talirunili’s creativity was born from these experiences and expressedthrough his carving and graphic work, which filled the last fifteen years ofhis life.Talirunili’s most significant and important pieces are from his Migrationseries. These dramatic sculptures relate to a personal story of survivalduring a migration back to the mainland from an outer island in HudsonBay. As the family fought to reach land in their overcrowded umiak (a boatthey hastily constructed with whatever wood, sealskin and rope that theyhad available), the ice melted around them. Talirunili notes in his writingthe names of many of his people who were lost at sea during thisexpedition. He was just a small child at the time, and this was a central,life~changing event which he carried with him throughout his life.Carved from stone and accented with wood and hide, works from thisseries evoke a sense of the unique history of the Inuit in their courage tosurvive. One can feel the fear of his people in their struggle back to theshore through the harsh elements and icy, mist~covered water, but alsothe feeling of the miraculous for those who survived. Talirunili writes,“There was a great crash of thunder which frightened all of the children inthe boat and made us cover our ears with our hands, it was so loud. Andwhen the thunder stopped, we could see that a path had been madethrough the ice for us and in this path there was just flat water with nopieces of ice. This path led us to land.”front view 69Talirunili’s work is not typical of Puvirnituq sculpture, which is known forits realistic presentation with smooth surfaces and its fine lines. On thecontrary, his work is harder and more abstract. His carving methods arerough in style, described by Johnny Pov as “carving in a style that can notbe copied.” Marybelle Myers writes, “A lesser artist might be accused ofaudacity but Joe’s dispensation came through membership in that class ofgeniuses who, following their inclination, may choose to imitate or ignorethe ‘rules’ of art.” Talirunili carved with no preliminary sketches orplanning and used what materials were available to him. The resultingwork is bold and original, and among the most important examples ofInuit sculpture in existence today.ESTIMATE: $100,000 ~ 150,000

HEFFEL FINE ART AUCTION HOUSE 8670 JOE TALIRUNILI1893 ~ 1976Hunter Carrying a Seal with Harpoon,Bow and Riflegrey soapstone, bone and wood sculpture, signed Joe,inscribed 1~48147, certified by the Government of Canadaon the Canada Eskimo Art card #(31)~1~48147 andnumbered 31~CJ 0148147 on the Canada Eskimo Art labelon the work8 1/2 x 4 1/2 x 5 in, 21.6 x 11.4 x 12.7 cmPROVENANCE:Canada Eskimo Art, 1976; Private Collection, QuebecLITERATURE:Marybelle Myers, editor, Joe Talirunili: A Grace Beyond the Reach of Art,1977, reproduced page 17ESTIMATE: $10,000 ~ 12,0007071 JOE TALIRUNILI1893 ~ 1976Hunter with Harpoon, Bow, Rifle and Knifegrey soapstone, bone and wood sculpture, signed Joe,inscribed 1~61715, certified by the Government of Canadaon the Canada Eskimo Art card #0161715 and numbered31~JF 0161715 on the Canada Eskimo Art label on the work9 1/4 x 4 x 5 in, 23.5 x 10.2 x 12.7 cmPROVENANCE:Canada Eskimo ArtPrivate Collection, QuebecLITERATURE:Marybelle Myers, editor, Joe Talirunili: A Grace Beyond the Reach of Art,1977, reproduced page 6ESTIMATE: $12,000 ~ 15,00071

HEFFEL FINE ART AUCTION HOUSE 8772 RUFUS MOODY1923 ~ 1998side view 72 angle view 72Totem with Eagle, Three Watchmen, Raven,Frog, Beaver, Killer Whale and Humanargillite relief carving, signed and inscribedSkidegate Mission, BC21 1/2 x 3 3/8 x 3 3/4 in, 54.6 x 8.6 x 9.5 cmPROVENANCE:Presented as a retirement gift to Jack Forrest, Group Vice~President,MacMillan Bloedel, 1976By descent to the present Private Collection, VancouverRufus Moody was a Haida sculptor from Skidegate, Queen CharlotteIslands, from a family line of noted carvers ~ his father was Arthur Moodyand his grandfather was Thomas Moody. The Haida people have a richhistory of art, and their compelling images and objects are considered tobe the shining achievement of First Nations peoples.front view 72This form of argillite is found only on native reserve land near Skidegate,and Moody mined the argillite for his work himself. In the late 1950s,Moody began to carve large works in argillite, and large poles are in thecollection of both the Museum of Anthropology at the University ofBritish Columbia and the Queen Charlotte Museum in Skidegate. Thislarge and complex totem depicts various clan emblems such as the Raven,as well as the “watchmen” ~ three human figures wearing high hats, oftenseen on the top of Haida poles. According to Haida legend, the role of thewatchmen is to look out for danger in both the natural and supernaturalworlds. It is rare to see such a large and finely detailed Moody sculptureoffered for sale.This sculpture is attached to an argillite base that measures 5 1/2 x 6 1/2inches.ESTIMATE: $20,000 ~ 30,000

HEFFEL FINE ART AUCTION HOUSE 8873 JOHNNY INUKPUK1911 ~Mother and Child with Fishsoapstone sculpture, signed in syllabicsand inscribed 5A ~ 21520 and certified by the Governmentof Canada on the Canada Eskimo Art card #2152012 3/4 x 5 3/4 x 11 1/4 in, 32.4 x 14.6 x 28.6 cmPROVENANCE:Canada Eskimo ArtPrivate Collection, QuebecLITERATURE:George Swinton, Eskimo Sculpture: Esquimaude, 1965, page 30Mother and Child with Fish illustrates Inukpuk’s characteristic style ofusing full, powerful, rounded figures. By using this mode ofrepresentation, his sculptures create a feeling of abundance, a notion thatis central to the meaning of his works. George Swinton writes thatInukpuk’s sculptures are “strong and decisive with great emphasis onphysical and emotional force, stressing meaning and feeling.”ESTIMATE: $9,000 ~ 12,00073 7474 JOHNNY INUKPUK1911 ~Hunter and Bearsoapstone sculpture, signed, inscribed C~No 5~88 25267,certified by the Government of Canada on the CanadaEskimo Art card #(76)~5~26267 and numbered 76~DFX0525267 on the Canada Eskimo Art label on the work9 1/2 x 13 x 4 1/4 in, 24.1 x 33 x 10.8 cmPROVENANCE:Canada Eskimo ArtBoreal Gallery, MontrealPrivate Collection, QuebecLITERATURE:Natalie Ribkoff and Christine Lalonde, ItuKiagatta! Inuit Sculpture from theCollection of the TD Bank Financial Group, the National Gallery of Canada,2005, page 40Johnny Inukpuk is a celebrated stone carver who lived and worked in theNunavik region of Quebec. The artist was a firm believer that hissculptures were meant to represent the culture he was brought up in.Inukpuk stated, “I try to make my work very figurative and to carvedeeply in order to show our way of life and culture.” As Hunter and Beardemonstrates, the bond between man and nature was a predominanttheme in his subjects. Inukpuk was inaugurated as the first Inuit memberof the Royal Canadian Academy of Arts in 1978.ESTIMATE: $6,000 ~ 8,000

HEFFEL FINE ART AUCTION HOUSE 8975 WILLIAM PATERSON EWENRCA 1925 ~ 2002Abstractoil on canvas, circa 1950 ~ 195512 x 16 in, 30.5 x 40.6 cmPROVENANCE:Acquired directly from the Artist in Montrealby the present Private Collection, London, EnglandIn Montreal in the early 1950s, Ewen’s work was influenced by the newworld of abstraction opened up by the Automatists, with their75championing of freedom of gesture and the unconscious, and movedfrom figurative into abstract work. Through his wife Françoise Sullivan,Ewen met Automatist artists Jean~Paul Mousseau and Claude Gauvreau,who supported him. He was singular in the English~Canadian artisticcommunity in gaining the respect and admiration of hisFrench~Canadian peers, even though he did not formally join either theAutomatists or the Plasticiens. In 1955, his abstract works receivedrecognition in one of the most important exhibitions of the decade ~Espace 55, at the Montreal Museum of Fine Arts.ESTIMATE: $15,000 ~ 20,000

HEFFEL FINE ART AUCTION HOUSE 9076

HEFFEL FINE ART AUCTION HOUSE 9176 MARY FRANCES PRATTOC RCA 1935 ~Summer Firewatercolour, pastel and oil on paper, signed and dated 1989and on verso titled on the Mira Godard Gallery label46 1/4 x 34 3/4 in, 117.5 x 88.3 cmPROVENANCE:Mira Godard Gallery, TorontoPrivate Collection, TorontoLITERATURE:Tom Smart, The Art of Mary Pratt, The Substance of Light,The Beaverbrook Art Gallery, 1995, page 123In the late 1980s, Mary Pratt began a series based on images of fire,contained in barrels or in open bonfires. Through these works, as Smartwrites, “Pratt explored the theme of the end of things, destroyed, offeredup or incinerated.” Although this concept had an apocalytic side, Prattalso found fire to be liberating and alive. In this series of largemulti~media works on paper, she used chalk, pastel and watercolour aswell as oil to capture the ephemeral, dynamic quality of fire, with itselemental power to transform. Known for her ability with the effects oflight on surfaces, here she captures light at the point of its creation in thefire’s consumption of matter.ESTIMATE: $12,000 ~ 16,00077 JACK LEONARD SHADBOLTBCSFA CGP CSPWC OC RCA 1909 ~ 1998Emergent Imageacrylic on board tryptych, signedand dated 1976, 1977 and 1991and on verso titled60 x 120 in, 152.4 x 304.8 cmLITERATURE:Scott Watson, Jack Shadbolt, 1990, pages 150 and 153The theme of transformation is one that continuously appears throughoutShadbolt’s career. This triptych portrays a beautiful butterfly emergingout of the two side panels to start its life cycle. Scott Watson suggests thatShadbolt’s butterfly triptychs are often visual descriptions of sexualityand states, “The looser works, which evoked a metaphor of seedscattering in the wind, were about an orgasmic release of tension. Theensuing relaxation was reflected in the amorphous, flaccid shapes thatfloated across the pictorial field.” Similar to butterflies, Shadbolt’spaintings can also be seen as acts of transformation. Throughout hisartistic career, Shadbolt repeatedly mined past works for his new works.Scott comments that by reworking a past painting, “whose texture andimage would never be completely suppressed by a new layer, he had abuilt~in device for the suggestion of something hidden and repressed,which nonetheless made itself felt through fissures, cracks and bumps.”It is evident that the three panels for Emergent Image have been reworked;bright colours from previous layers on the panels are apparent throughlayered coats of paint, transforming it into a stunning work.ESTIMATE: $40,000 ~ 60,00077

HEFFEL FINE ART AUCTION HOUSE 9278

HEFFEL FINE ART AUCTION HOUSE 9378 JACK LEONARD SHADBOLTBCSFA CGP CSPWC OC RCA 1909 ~ 1998Equivalent for Landscape #3acrylic on canvas, signed and dated 1980and on verso titled on the gallery label70 x 51 in, 177.8 x 129.5 cmPROVENANCE:Bau~Xi Gallery, VancouverPrivate Collection, TorontoLITERATURE:Scott Watson, Jack Shadbolt, 1990, page 193, similar work entitledEquivalent for Landscape #1 reproduced page 194One of Canada’s most distinguished artists, Jack Shadbolt developed avisual language over the course of his career that is vital to the culturalconsciousness of West Coast art. A renowned teacher and painter, hededicated his life’s work to creating an artistic tradition based on organicform that captured the Canadian imagination. As with Shadbolt’s mostimpressive compositions, one is instinctively and emotionally engagedwith this painting. The title, Equivalent for Landscape #3, suggests aparallel to our own environment in which Shadbolt observes a scene thatis abstracted and yet intimately linked with nature. His fascination withflags and banners is embodied in this canvas with jagged scraps of colour;the vibrating hues and heaving elements are constantly transforming in aflux of energy, ready to burst from the canvas, held together only by thepatchwork border. With confident brush~strokes and intangible forms,Shadbolt celebrates his self~liberation. Although existing symbiotically,his shapes are alien to one another; they shift and blend themselves inspace, striving to define their own individual identities.ESTIMATE: $20,000 ~ 30,00079 DONALD JARVISBCSFA CGP FCA RCA 1923 ~ 2001Phoenix No. 3oil on canvas, signed and dated 1957and on verso signed, titled and dated44 x 27 in, 111.7 x 68.6 cmPROVENANCE:Private Collection, TorontoEXHIBITED:Canadian Group of Painters, Toronto, 1957 ExhibitionJarvis painted his first Phoenix in 1953, returned to the theme in 1957 to1958, and again around 1980. In this 1957 painting, the Phoenix’s“ashes” are represented by forest slash and the spindly remains of an oldecosystem at the edge of a clear cut. The rising bird reminds the viewer ofEmily Carr’s “screamers”, the splintered stumps of felled trees.ESTIMATE: $3,000 ~ 5,00079

HEFFEL FINE ART AUCTION HOUSE 9480 MIYUKI TANOBERCA 1937 ~Année de la femme ~ 1975 ~ Women’s Yearmixed media on board, signed and on versosigned, titled and dated June 30, 197630 x 56 in, 76.2 x 142.2 cmPROVENANCE:Marlborough~Godard, TorontoPrivate Collection, MontrealMiyuki Tanobe was 34 years old when she immigrated from Japan andsettled in Saint~Antoine~sur~Richelieu, Quebec. One could assume sheexperienced the heavy hand of an old patriarchal society growing up in80post~war Japan by her inclusion of the feminist protest gathering in Annéede la femme ~ 1975 ~ Women’s Year. Tanobe paints in nihonga, an old form ofJapanese painting that uses traditional artistic conventions, techniquesand materials, and her unique style has been described as pseudo~naïve.Tanobe challenges her admirers with a blunt look at the challenges andobstacles taken on by the Women’s Movement of the 1970s. The centralfigure of the landmark, Christ Church Cathedral on rue St. Catherine’s, iscontrasted to a skewed window display of women’s lingerie to the left; acontradiction of sorts that depicts the complexities of women’s rights. Butthe viewer still feels her deep affection for the city of Montreal, in herplayful details of a rich cosmopolitan scene on a winter’s day alongside hercommitment to the solidarity of les femmes unies.ESTIMATE: $20,000 ~ 25,000

HEFFEL FINE ART AUCTION HOUSE 958181 SAMUEL BORENSTEINCAS 1908 ~ 1969Seated Man on a Balconycasein on paper board, signed and dated 1942and on verso titled Old Man, dated, inscribed 23/29and numbered 30228 3/4 x 24 in, 73 x 61 cmPROVENANCE:Galerie Walter Klinkhoff Inc., MontrealPrivate Collection, MontrealLITERATURE:William Kuhns and Leo Rosshandler, Sam Borenstein, 1978, page 54Samuel Borenstein returned to Montreal in 1939 from Paris, whereVincent Van Gogh had been an early influence, followed by the paintingof Chaim Soutine with its wild colour, emotion and chaotic form. In1942, Borenstein moved into an apartment in the Plateau district ofMontreal, which is possibly the backdrop for this work. During the late1930s through the 1940s Borenstein painted his most celebratedportraits. Intriguingly, he painted a variety of sitters, even bringing peopleof different walks of life home that he had met on the street ~ his criteriawas that they be distinctive and interesting. Borenstein used his powers ofobservation to penetrate into the inner life of the sitter, and as Kuhnswrites, “A Borenstein portrait has a way of suggesting some primal qualityabout its sitter…His best portraits are studies of people who seem to bequestioning their fate.” In this astute painting, Borenstein captures apatience and dignity in the carefully dressed and posed old man. PerhapsBorenstein was thinking of Van Gogh’s unforgettable portraits of Dr.Gachet, with his intelligent and melancholic yet gentle stance.ESTIMATE: $8,000 ~ 10,000

HEFFEL FINE ART AUCTION HOUSE 9682 FERNAND LEDUCAANFM CAS QMG 1916Sans titregouache on paper laid down on card,signed and dated 195114 3/4 x 18 1/8 in, 37.5 x 46 cmPROVENANCE:Private Collection, TorontoESTIMATE: $5,000 ~ 7,000828383 HAROLD BARLING TOWNCGP CPE CSGA OC OSA RCA 1924 ~ 1991Silent Light #16oil and lucite 44 on canvas, on verso signed five times,titled twice, dated 68~69~70 four times andinscribed hang in any direction22 3/4 x 23 in, 57.8 x 58.4 cmPROVENANCE:Mazelow Gallery, TorontoPrivate Collection, TorontoLITERATURE:David Burnett, Town, Art Gallery of Ontario, 1986, page 135The toppling of the family Christmas tree under the weight of too manycoloured glass ornaments inspired the Silent Light series, executed from1968 to 1970. As Burnett writes, Town, while collecting the shatteredglass, “became fascinated by the sparkle and mixing of coloured light, andhe made a collage from the fragments.” In the paintings, composed oftightly arranged geometric patterns created by using tape to mask off themany intricate layers, Town slowly built up surfaces as physically tactileas they are precise. Silent Light #16 has a hallucinatory exuberance to it,only made possible by the highly controlled method of construction.Differing from much of the hard edge geometric abstraction and Op Art ofthe time, Silent Light #16 is much more complex and organic in sensibility,causing the viewer’s eye to jump between the many layers which serve toboth construct and deconstruct the composition. Town’s own writing onthe back of the canvas exhorts the owner to “hang in any direction” and, infact, from any perspective it remains a pleasurable enigma to the eye and afocus of playful meditation.ESTIMATE: $6,000 ~ 8,000

HEFFEL FINE ART AUCTION HOUSE 9784 KENNETH CAMPBELL LOCHHEADASA OC 1926 ~2006Yellowscapeacrylic on canvas, on verso signed twice,titled and dated 1969 twice13 x 68 3/4 in, 33 x 174.6 cmPROVENANCE:Acquired directly from the Artist by the present Private Collection,TorontoThe present owner of Yellowscape became acquainted with KennethLochhead during the time he was an Associate Professor of Fine Art at theUniversity of Manitoba from 1964 to 1973. In her capacity as manager ofthe Art Rental department of the Winnipeg Art Gallery, she often visitedhis studio and those of many other local artists. She has particularly fondmemories of observing Lochhead at work on this canvas and was witnessto his striving to perfect the primary hue in this work, his aim being toduplicate the stunning yellow of a late August wheat field. Having herselfbeen entranced by that sight on the Prairies, and delighted with the artist’ssuccessful achievement, she purchased Yellowscape from him as soon as itwas completed.Deceiving in its simplicity, this work represents the paring down of theelements used to produce the post~painterly abstract works thatLochhead created beginning in the early 1960s and may, in fact, be one ofthe last of the stained canvases he made prior to changing his stylisticformat in the 1970s.ESTIMATE: $8,000 ~ 10,00086 ANTOINE PRÉVOST1930 ~Fog Bankwatercolour and coloured pencil on paper, signed23 1/2 x 31 1/2 in, 59.7 x 80 cmPROVENANCE:Private Collection, MontrealESTIMATE: $3,000 ~ 4,000840008685 GREGORY RICHARD CURNOE1936 ~ 1992Sheila Napping (The Green Park, London, UK)watercolour and pencil on sketchbook paper,signed, titled and dated June 20/786 x 9 in, 15.2 x 22.9 cmPROVENANCE:Acquired directly from the Artist by the present Private Collection,OntarioESTIMATE: $3,000 ~ 5,00085

HEFFEL FINE ART AUCTION HOUSE 9887 WILLIAM GOODRIDGE ROBERTSCAS CGP CSGA CSPWC OC OSA RCA 1904 ~ 1974Paysage des Cantons~de~l’Estoil on board, signed and on versotitled and dated 195032 x 48 in, 81.3 x 121.9 cmPROVENANCE:Galerie l’Art Français Ltée., MontrealPrivate Collection, MontrealGoodridge Roberts’s focus on figurative, still life, and landscape subjectsaligned him with both Modernist painting and the Academy in the eyes ofmany of his peers. While Roberts was indeed involved with andsupported by the academic artist associations of the time, he eventuallybecame recognized and respected by both classical Modernist supportersand abstractionist purists alike as an individualist ~ due to the singularityof his artistic vision. Roberts consciously eschewed the sublime in hislandscape paintings, seeking out views of nature that would allow him togive equal importance to both the paint itself and the subject matter.Paysage des Cantons~de~l’Est was realized shortly after joining the stableof artists at Dominion Gallery, and typifies that philosophy. With thecropped foreground and sky, the image represents just a fraction of thelandscape, but in this framing of the subject, alludes to the gestalt ofnature ~ rough and tumble, chaotic, yet with an internal poetry of rhythmand form.ESTIMATE: $15,000 ~ 20,00087

HEFFEL FINE ART AUCTION HOUSE 9988 DAVID BIERK1944 ~ 2002Giverny Field / Tree Reflection, to Monetoil on photograph on canvas, initialed and on versosigned, titled and dated January 4, 199122 x 32 in, 55.9 x 81.3 cmPROVENANCE:Bess Cutler Gallery, New YorkDiane Farris Gallery, VancouverPrivate Collection, OntarioBierk worked with the concept of photomontages, combining paint withphotographs, well before many artists began to manipulate thesemediums in such a manner. Giverny Field / Tree Reflection, to Monet isunique in the way in which the paint has been applied to the surface of thephotograph in that the strokes become more visible towards theperiphery, almost forming a border around the work. The glisteningfinish of the piece further enhances the reflection of the tree and the warmcolours in the sky visible in the pool of water. The combination of thesubject, materials and finish that Bierk has used in this transcendentpainting brings to our attention his juxtaposition of tradition andmodernity.ESTIMATE: $8,000 ~ 12,0008889 DAVID BIERK1944 ~ 2002Orange Sky (warm), Green Hills, Study Ioil on canvas on panel, on verso titledon the Wynick/Tuck Gallery label, 19889 x 14 in, 22.9 x 35.6 cmPROVENANCE:Wynick/Tuck Gallery, TorontoPrivate Collection, TorontoBierk’s painting Orange Sky (warm), Green Hills, Study I explores therelationship between nature and a less immediate realm, alluding to aneternal dimension. A warm and glowing aura is visible in the sky, castinglight and shadow on the landscape below, which emerges as abstractlayers of colour and light. The dichotomy between the temporal andeternal is a recurrent theme in Bierk’s strongest paintings and perhaps onefor which he is best known.ESTIMATE: $8,000 ~ 12,000Thank you for attending our Canadian Post~War &Contemporary Art sale. Our Fine Canadian Art auction willbe commencing at 7:00 p.m. After tonight’s sale, pleaseview our November Online Auction, featuring over 200 Lots,at www.heffel.com, closing on Thursday, November 27,2008. Lots can be independently viewed at one of ourgalleries in Vancouver, Toronto or Montreal, as specified inour online catalogue.89

HEFFEL FINE ART AUCTION HOUSEAuctioneers & AppraisersVANCOUVER • TORONTO • OTTAWA • MONTREALMONTREAL OFFICE1840 rue Sherbrooke OuestMontreal, Quebec H3H 1E4Telephone 514 939~6505TORONTO OFFICE13 Hazelton AvenueToronto, Ontario M5R 2E1Telephone 416 961~6505OTTAWA OFFICEBy appointment104 Daly AvenueOttawa, Ontario K1N 6E7Telephone 613 230~6505Robert and David Heffel with their mother Marjorie, May 2007Canada’s national fine art auction house, Heffel’sregularly conducts live ballroom auctions ofFine Canadian Art and Canadian Post~War &Contemporary Art in Vancouver during the springand Toronto in the fall, preceded by previews of oursales in Vancouver, Toronto and Montreal. We alsoconduct monthly Internet auctions of FineCanadian and International Art. We have offices inVancouver, Toronto, Montreal and Ottawa. OurCanadian art experts regularly travel across thecountry providing free confidential and professionalauction appraisals.Call 1 800 528~9608 today to arrange for theassessment of your fine art for auction or otherpurposes, such as probate, family division orVANCOUVER OFFICE2247 Granville StreetVancouver, BC V6H 3G1Telephone 604 732~6505REPRESENTATIVE IN CALGARYLisa ChristensenTelephone 403 238~6505insurance. Our experts can be contacted at anyof our locations listed above and you may visit ourwebsite at www.heffel.com for further informationregarding buying and selling with Heffel’s. Whenyou consign with Heffel’s your important paintingsare marketed globally.