February Online Auction of Works on Paper, Prints & Books (Online Auction)

colour etching and aquatint

signed, titled, dated 1969 and inscribed “Artist’s Proof” in the lower margin

31.75 × 20 in (80.6 × 50.8 cm) (plate size)

lithograph

signed and numbered 69/75 in pencil in the lower margin

14 × 16.5 in (35.6 × 41.9 cm) (sight)

lithograph

signed and numbered 23/75 in pencil in the lower margin

16 × 18.5 in (40.6 × 47.0 cm) (sight)

black ink and red enamel on paper

17.75 × 23.75 in (45.1 × 60.3 cm) (sheet)

mixed media on mylar

signed, titled and dated 2004 on the reverse; unframed

60 × 40 in (152.4 × 101.6 cm) (sheet)

monoprint

signed, titled and dated 1998 along the lower edge; unframed

21.25 × 30 in (54.0 × 76.2 cm) (sheet)

colour serigraph

signed, titled and numbered 41/100 along the lower edge; unframed

26 × 18 in (66.0 × 45.7 cm) (sheet)

sumi ink on Arches paper

dated “6/6/81” lower left

9 × 12.25 in (22.9 × 31.1 cm)

colour lithograph

signed, titled, dated 1986 and numbered 24/50

17 × 33 in (43.2 × 83.8 cm) (subject)

colour lithograph

signed, dated 1969 and numbered 2/60 in the lower margin

22.5 × 29 in (57.1 × 73.7 cm) (sheet)

2 sepia and conté drawings

both titled at the lower centre; Vents et marées: signed, titled, dated “14 decembre 1975” and inscribed “serie 2 #3” on the reverse (11ins x 8 ins); “En route”: signed, titled dated “8 janvier 1976” and inscribed “Montreal” on the reverse (12 ins x 8 ins)

11 × 8 in (27.9 × 20.3 cm)

c-print on dibond

titled and dated 2010 on the artist’s label on reverse; unframed

38 × 49 in (96.5 × 124.5 cm)

mixed media on paper

selection of various studies, still lifes, landscapes and abstract works on paper by the artist; all unframed

colour lithograph

signed, titled and inscribed “AP IV/XV” in the lower margin; unframed

27 × 36.5 in (68.6 × 92.7 cm) (sheet)

colour lithograph

signed, titled and inscribed “AP V/XV” in the lower margin

27.5 × 36.5 in (69.8 × 92.7 cm) (sheet)

woodblock

signed and numbered 101/120 in the lower margin; unframed (matted)

4.5 × 5 in (11.4 × 12.7 cm) (subject)

woodcut

signed in the lower right margin

4.75 × 6.5 in (12.1 × 16.5 cm) (subject)

colour etching & aquatint

signed, titled, dated 1976 and numbered 30/35 in the lower margin; unframed

35 × 24.5 in (88.9 × 62.2 cm) (sheet)

colour lithograph

signed and numbered 184/300 in the lower margin; unframed

19 × 16 in (48.3 × 40.6 cm) (sheet)

colour lithograph

inscribed “W. Kurelek” and initialed by Jean Kurelek in the lower right margin; numbered 76/225

13.5 × 11.25 in (34.3 × 28.6 cm)

colour lithograph

inscribed “W. Kurelek” and initialed by Jean Kurelek in the lower right margin; numbered 52/225

13.5 × 11.25 in (34.3 × 28.6 cm) (sight)

colour serigraph

15.25 × 29 in (38.7 × 73.7 cm) (sight)

gouache on paper

signed and dated 1971 upper left

14.75 × 17.25 in (37.5 × 43.8 cm) (sight)

colour serigraph

signed, numbered 2/20 and inscribed indistinctly in the lower margin

25.25 × 19.5 in (64.1 × 49.5 cm) (subject)

colour woodcut

signed, titled, dated 1978 and numbered 8/25 in the lower margin

23.5 × 18.5 in (59.7 × 47.0 cm)

etching

signed, dated 1964 and numbered 48/50

9.75 × 11.5 in (24.8 × 29.2 cm)

ten unsigned photolithographs

each with the printed title “JPL” number, “ⓒ Galerie Madeleine Lacerte Inc.” and “Imprimé au Canada” along the lower edge; within the original portfolio box with text pamphlet by Jean-Noël Tremblay and a illustrated guide to the prints

19 × 23 in (48.3 × 58.4 cm) (each sheet)

lithograph

signed, titled and numbered 5/25 in the lower margin; unframed

22 × 30 in (55.9 × 76.2 cm) (sheet)

pencil and oil wash

signed and dated 1990 lower right

10.75 × 8.5 in (27.3 × 21.6 cm)

woodcut

signed in the lower margin

5.5 × 6.75 in (14.0 × 17.1 cm) (subject)

woodcut

signed in the margin

5.25 × 7.75 in (13.3 × 19.7 cm) (subject)

book

“Dreams of Fort Garry: an epic poem on the life and times of early settlers of Western Canada, complete with flossary and historical notes” (Watson, Stovel Company Limited, Winnipeg, 1931). Limited and signed & numbered edition 308 of 968. Contains 23 woodcut engraving plates by Walter J. Phillips, printed on rag paper. With original black slipcase.

10 × 6.25 in (25.4 × 15.9 cm)

colour woodcut

signed and editioned 57 in the lower margin

6.75 × 10 in (17.1 × 25.4 cm) (subject)

etching

signed, titled and numbered 28/75 in the lower margin; unframed

14.75 × 17.75 in (37.5 × 45.1 cm) (sheet)

watercolour

signed and titled lower right; titled on an artist label on the reverse

13 × 17 in (33.0 × 43.2 cm)

lithograph

signed and number 5/12 lower margin

26.5 × 20.25 in (67.3 × 51.4 cm) (sight)

aquatint in colours

signed and titled in the lower margin

5.75 × 7.5 in (14.6 × 19.1 cm) (subject)

aquatint in colours

signed and titled in the lower margin

5.25 × 4.5 in (13.3 × 11.4 cm) (subject)

oil on paper

signed lower right

28 × 22 in (71.1 × 55.9 cm)

drawing

signed lower right

12 × 8.5 in (30.5 × 21.6 cm) (sight)

colour serigraph

signed, dated 1976 and numbered 49/150 in the lower margin

16.5 × 14 in (41.9 × 35.6 cm) (sight)

graphite drawing

signed with initials lower centre

8.25 × 5.5 in (21.0 × 14.0 cm) (sight)

watercolour

signed lower right

19 × 19 in (48.3 × 48.3 cm) (diameter)

colour serigraph

signed, titled and numbered 91/220 in the lower margin

29 × 13 in (73.7 × 33.0 cm)

silkscreen

signed, titled and numbered 73/73 within the lower margin; sold “as is” and not subject to return

21.5 × 29.75 in (54.6 × 75.6 cm) (subject)

colour silkscreen

signed and numbered 226/300 in the lower margin

15 × 11 in (38.1 × 27.9 cm)

colour serigraph

printed name in the plate; titled and numbered 54/75 in the lower margin

20 × 26 in (50.8 × 66.0 cm) (sheet)

colour silkscreen

signed, titled and numbered 3/400 in the lower margin; unframed

29.75 × 22 in (75.6 × 55.9 cm) (sheet)

etching on aluminum

14.5 × 19 in (36.8 × 48.3 cm)

watercolour on card

signed lower centre

10.25 × 7.25 in (26.0 × 18.4 cm) (card)

colour serigraph

10.25 × 8 in (26.0 × 20.3 cm) (subject)

silkscreen

signed lower left within the plate; unframed

20.5 × 28 in (52.1 × 71.1 cm) (sheet)

watercolour

signed lower right

9.5 × 11.5 in (24.1 × 29.2 cm)

lithograph

signed in the lower right margin

16.75 × 13.25 in (42.5 × 33.7 cm) (sight)

colour serigraph

8.5 × 10.25 in (21.6 × 26.0 cm) (plate size)

colour silkscreen

a description from Canada Malting Co. Limited included; unframed (matted)

9 × 10.25 in (22.9 × 26.0 cm)

colour silkscreen

unframed (matted)

8.5 × 10 in (21.6 × 25.4 cm)

silkscreen

10.25 × 8.5 in (26.0 × 21.6 cm) (subject)

watercolour

signed and dated 1974 lower right; unframed

22.25 × 30.25 in (56.5 × 76.8 cm) (sheet)

colour silkscreen

stamped signature and inscribed “PP” in the lower margin

24.75 × 33 in (62.9 × 83.8 cm) (sight)

watercolour

signed lower right; signed, titled twice, dated “Summer 1973” and inscribed “He comes to look over wood that Roy Acker has on his land” on the reverse

15 × 20 in (38.1 × 50.8 cm)

three colour serigraphs

each signed with initials, titled and numbered AP 44/45 in the lower margin; all unframed

20 × 24 in (50.8 × 61.0 cm) (each sheet)

three colour serigraphs

each signed with initials, titled and numbered (“Picnic Island” AP 36/60; “March Day” AP 44/45; “Country Crisis” AP 44/45); each unframed

20 × 24 in (50.8 × 61.0 cm) (each sheet)

watercolour

signed and dated 1965 lower centre; unframed

22 × 15.25 in (55.9 × 38.7 cm) (sheet)

watercolour and graphite

signed lower left

11 × 9 in (27.9 × 22.9 cm)

three colour lithograph

signed, dated 1969 and numbered 37/50 in the lower margin

33 × 24 in (83.8 × 61.0 cm) (sheet)

graphite and watercolour

signed and dated 1978 lower right; signed, titled and dated 1978 on the reverse

7.5 × 5.5 in (19.1 × 14.0 cm)

mixed media print

signed (twice) and dated 2001 (twice) lower right

13 × 11 in (33.0 × 27.9 cm)

colour silkscreen

signed lower left

21.5 × 9.25 in (54.6 × 23.5 cm)

colour serigraph

signed, dated 1979, titled and numbered 113/125 in the lower margin

14.5 × 11 in (36.8 × 27.9 cm) (sight)

mixed media on paper

signed lower right; artist’s seal lower left; unframed

15.75 × 11.75 in (40.0 × 29.8 cm) (sheet)

colour silkscreen

signed, titled, dated “9/8/76”, numbered 72/99 and inscribed “Woodland Studios” in the lower margin

21 × 30.5 in (53.3 × 77.5 cm) (sight)

colour silkscreen

signed, titled, dated 1977, numbered 43/100 and inscribed “Woodland Studios” in the lower margin; unframed

40 × 26 in (101.6 × 66.0 cm) (sheet)

stonecut and stencil

signed, titled, dated 1971, numbered 2/36 and inscribed in syllabics in the lower margin

15.5 × 17.25 in (39.4 × 43.8 cm) (subject)

colour serigraph

unframed

20 × 26 in (50.8 × 66.0 cm) (sheet)

acrylic on card

signed and dated 1989 lower left

30 × 20 in (76.2 × 50.8 cm) (card)

watercolour on paper laid down on card

signed lower right

14.5 × 10.5 in (36.8 × 26.7 cm) (sight)

acrylic on paper

signed lower right; signed with syllabics lower left; unframed

22 × 30.5 in (55.9 × 77.5 cm) (sheet)

watercolour

signed lower left

7.5 × 19.5 in (19.1 × 49.5 cm)

watercolour

signed, titled and dated 1-12-4-93

7 × 10 in (17.8 × 25.4 cm)

ink drawing

signed, titled and dated 1966 lower right

13 × 18 in (33.0 × 45.7 cm)

watercolour

signed lower right

13.5 × 19.25 in (34.3 × 48.9 cm) (sight)

wood engraving

signed in the lower margin

5 × 8.5 in (12.7 × 21.6 cm)

colour screenprint

signed, titled, numbered 45/55 and editiioned “LXXIX” in the lower margin

28.75 × 39.5 in (73.0 × 100.3 cm) (plate size)

colour serigraph

signed, dated 1979 and numbered “I/ XXV” in the lower margin

15 × 21.5 in (38.1 × 54.6 cm) (image)

watercolour

signed lower right

11.5 × 15 in (29.2 × 38.1 cm) (sight)

Sampson Matthews silkscreen

unframed

19.5 × 28.5 in (49.5 × 72.4 cm) (sheet)

colour serigraph

signed and dated 1957 in the lower right margin

11 × 8.25 in (27.9 × 21.0 cm) (subject)

book

Longman, Brown, Green, Longmans, and Roberts, London, 1859

8.75 × 6 × 1.5 in (22.2 × 15.2 × 3.8 cm)

portfolio of 18 lithographs

Rous & Mann Limited, Toronto, 1925. Page two states: "Of This Portfolio One Hundred copies, each print duly signed, have been printed by Rous & Mann, Limited, at their Press, 172 Simcoe Street, Toronto, Canada, this copy being Number 67." Note: Two prints not included: Lawren Harris, “House, St. Patrick Street” and Arthur Lismer, “Pine”

15.25 × 11.25 in (38.7 × 28.6 cm) (sheet)

book & colour lithograph by Lorne Bouchard

Printed in French, Montreal, 1970, in its original slipcase; Lorne Bouchard, “Portrait of Maurice Cullen”, colour lithograph, numbered 132/160, contained within the volume

12.5 × 11 × 1.75 in (31.8 × 27.9 × 4.4 cm)

book

Louis Hemon, “Maria Chapdelaine” (with illustrations by Clarence Gagnon), Paris, 1933, leather bound volume, numbered 1405 of 1900

10 × 8.5 × 1.5 in (25.4 × 21.6 × 3.8 cm)

book

“Wake of the Great Sealers: Prints and Drawings by David Blackwood” (Farley Mowat, McClelland and Stewart Limited, 1973) signed by David Blackwood and author on title page, includes engraving “Wesleyville” signed, titled dated 1973 and numbered 98/125 in the lower margin (11.5 ins x 9.5 ins bound); in original slipcase

12.25 × 10.75 × 1.25 in (31.1 × 27.3 × 3.2 cm)

ink wash

signed and dated 2002 lower left

18.5 × 14.25 in (47.0 × 36.2 cm) (sight)

colour screenprint

signed and numbered 953/1000 lower left; signed and dated 1995 in the lower left plate

18.5 × 19 in (47.0 × 48.3 cm) (sight)

etching

signed and dated ‘02 in the lower left margin

6 × 9 in (15.2 × 22.9 cm) (subject)

watercolour

signed lower right

21.75 × 18.25 in (55.2 × 46.4 cm)

lithograph

signed, dated 1972, inscribed “Trial Proof” and inscribed to a former owner; unframed; yellowed and some paper loss present within the margins

21 × 26 in (53.3 × 66.0 cm) (sheet)

charcoal drawings (2) and books

“Canada Geese” [charcoal drawing; signed, titled and dated 1974; 5.5 ins x 9.5 ins (subject)]; “Rapids at Night” [charcoal drawing; signed with initials, titled and dated 1974; 5 ins x 9.5 ins (subject)]; sold together with six volumes related to Thoreau MacDonald (”Some Tools of the Pioneers”, 1936; “Dame Wiggins of Lee and her Seven Wonderful Cats”; “Thoreau’s Tales”, 2002; “54 Old Houses”, 1964; “Birds and Animals: Second Series”, 1973; “House and Barn”)

5 × 9.5 in (12.7 × 24.1 cm)

watercolour

signed and dated 1990 lower right; unframed

11 × 15 in (27.9 × 38.1 cm) (sheet)

three woodcuts

each signed and titled in the margin; “The Reaper” (7 ins x 8.5 ins); “Niagara Falls” also dated 1949 and numbered 24/50 (5.75 ins x 7.75 ins ); Apple Blossoms (6 ins x 4.5 ins)

7 × 8.5 in (17.8 × 21.6 cm) (largest image size)

graphite drawing

signed and dated 1963 lower right

10.25 × 13.75 in (26.0 × 34.9 cm)

colour silkscreen

signed, dated 1982 and numbered 6/40 in the lower margin

21.75 × 17.75 in (55.2 × 45.1 cm) (subject)

colour woodblock

signed, titled, dated 1973 and numbered 15/35 in the lower margin; visible creasing left margin and left corner; unframed

25.5 × 16.25 in (64.8 × 41.3 cm) (image)

mixed media

“Calgary- Bow River”- charcoal; signed and dated 1979 center edge (9.75 ins x 12.75 ins); “Bare Fax Series 2 #5”- monotype; signed, titled and dated 1984 lower margin (17 ins x 14 ins); “Dancer Series #1”- monotype; signed, titled and dated 1984 in the lower margin (17 ins x 14 ins); “Striped Stockings”- pastel and wash; signed and dated “30 Janvier 1979” lower center edge (16.75 ins x 14 ins); “Woman with Pearls”- oil on panel; signed and dated 1985 upper right (8 ins x 6 ins) (matted); “Reclining with Black Towel”- pastel and wash; signed and dated “20.2.10” at the lower center edge (11.75 ins x 16.5 ins); “Floral Still Life”- ink drawing; signed ad dated April 1979 at the lower center edge (15 ins x 11 ins); “Back View”- ink drawing; signed and dated “13.2.07” twice in the lower margin (12.25 ins x 9 ins); “Woman with Red Flowered Hat”- ink and watercolour drawing; signed and dated “21 April 1978” at the lower center edge (11 ins x 8.5 ins); “Seated Woman”- pastel; signed and dated 1984 twice (12.75 ins x 10 ins); all unframed

graphite and watercolour

signed and dated 1978 lower left

13 × 10 in (33.0 × 25.4 cm)

watercolour and graphite

signed and titled in the lower margin

12 × 14 in (30.5 × 35.6 cm)

ink drawing

signed and titled lower right

8.5 × 10 in (21.6 × 25.4 cm)

photolithograph reproduction

11.75 × 17.75 in (29.8 × 45.1 cm) (sight)

pencil drawing

signed and dated “May ‘37” lower right

15.5 × 11.5 in (39.4 × 29.2 cm) (sight)

watercolour

signed and dated 1970 at the lower edge

17.75 × 14.5 in (45.1 × 36.8 cm) (sight)

colour lithograph

signed and numbered “I/V” lower margin

19 × 17.75 in (48.3 × 45.1 cm) (sheet)

pastel

signed and dated 1970 lower right

25.25 × 18.25 in (64.1 × 46.4 cm) (sight)

colour ithograph

signed, dated 1980 and numbered “1/6 PP” in the lower margin

31.5 × 23.75 in (80.0 × 60.3 cm) (sight)

pastel

signed and dated 1990 lower right; titled and dated on the reverse

9.5 × 7 in (24.1 × 17.8 cm)

woodblock print

signed, titled, dated 1965 and numbered 3/10 in the lower margin

23.5 × 15.75 in (59.7 × 40.0 cm) (plate size)

watercolour

signed and titled in the lower left margin

9.75 × 6.5 in (24.8 × 16.5 cm) (subject)

colour aquatint

5.5 × 4.25 in (14.0 × 10.8 cm) (subject)

colour aquatint

signed and titled lower margin

4.25 × 3.5 in (10.8 × 8.9 cm)

watercolour

signed and dated 1906 lower right

6.75 × 9 in (17.1 × 22.9 cm) (sight)

ink and watercolour on paper

signed and dated “74/75”; titled and dated 1975 on the reverse; unframed

13.75 × 16.5 in (34.9 × 41.9 cm)

assorted media (4)

”Study from Henry Moore” (watercolour and ink on paper, signed, titled and dated 1961 in the lower margin - 9.25 x 7.25 ins); “Autumn Study” (watercolour on paper, signed, titled, dated 1959 in the lower margin - 9.25 x 7.25 ins); “Back Yard” (oil on paper, signed, titled, dated 1955 lower margin - 7.25 x 9.25 ins); “Anson...” (oil on card, signed in the lower margin, titled indistinctly in the side margin, dated 1940 in the lower margin - 8 x 2.75 ins); unframed

9.25 × 7.25 in (23.5 × 18.4 cm)

book

Rous & Mann, Ltd., Toronto, 1921. Containing 11 reproductions of etchings made in the Art Department of Rous and Mann.

9.25 × 6.5 × 0.25 in (23.5 × 16.5 × 0.6 cm)

book

John Russell Harper, “Painting in Canada: A History” (The Artists’ Edition), printed in Canada, 1966, edition of 150 copies (this issue not numbered), hand bound by Vianney Bélanger, in the original slipcase

11.75 × 9.75 × 1.75 in (29.8 × 24.8 × 4.4 cm)

book

by A.Y. Jackson, Ryerson Press, Toronto 1943; inscribed “David M.L. Farr, Toronto, Ont., September 1945” inside

7.25 × 5.5 in (18.4 × 14.0 cm)

books

The Group of Seven” (Peter Mellen, 1970); The Tangled Garden: The Art of J.E.H. MacDonald” (Paul Duval, 1978); “Frederick H. Varley” (Peter Varley, introduction by Joyce Zemans, 1983); “Bright Land: A Warm Look at Arthur Lismer” (Lois Darroch, 1981); “Lawren Harris” (Edited by Bess Harris and R.G.P. Colgrove, 1969); “Arthur Lismer’s Pen and Pencil: A Border of Beauty” (Marjorie Lismer Bridges, 1977); “Le Goupe des Sept: The Group of Seven: A Bibliography of the Group of Seven” (Dennis Reid, 1970) (2); “A Bibliography of the Group of Seven” (Dennis Reid, 1971); “Lawren S. Harris: Urban Scenes and Wilderness Landscapes 1906-1930” (Jeremy Adamson, 1978); “September Gale: A Study of Arthur Lismer of the Group of Seven” (John A.B. McLeish, 1955); “A Canadian Art Movement: The Story of the Group of Seven” (F.B. Housser, 1926); “Lawren Harris: Paintings 1910-1948” (Art Gallery of Toronto, 1948); “Arthur Lismer: Paintings 1913-1949” (Art Gallery of Toronto, 1950); “F.H. Varley: Paintings 1915-1954” (Art Gallery of Toronto 1955); “Canadian Picture Study” (Arthur Lismer, 1940); “Arthur Lismer” (Robert Ayer, n.d.); “The Group of Seven” Commemorative postage stamps in original booklet and envelope; assorted postcards and small colour reproduction images of Group of Seven artworks

books

“Landmarks of Canadian Art” (Peter Mellan, McClelland and Stewart Limited, 1978); “Great Canadian Painting: A Century of Art” (Elizabeth Kilbourn, The Canadian Centennial Publishing Co. Ltd., 1966); “The History of Painting in Canada: Toward a people’s art” (Barry Lord, NC Press, 1974); “Canadian Painting: 1850-1950” (The National Gallery of Canada, 1967 (2)); “Images for a Canadian Heritage” (Doris Shadbolt, The Vancouver Art Gallery, 1966); “Three Hundred Years of Canadian Art: An Exhibition Arranged in Celebration of the Centenary of Confederation” (R.H. Hubbard and J.R. Ostiguy, The National Gallery of Canada, 1967); The National Gallery of Canada Catalogue of Paintings and Sculpture: Volume III: Canadian School” (R.H. Hubbard, The National Gallery of Canada, 1960); “The J.S. McLean Collection of Canadian Painting” (The Art Gallery of Ontario, 1968); “Painting in Canada: A History” (Russell Harper, UNiversity of Toronto Press, 1966, inscribed by author on cover page); “The Development of Canadian Art” (R.H. Hubbard, The National Gallery of Canada, 1963); “Painters of Quebec: Maurice and Andree Corbeil Collection” (National Gallery of Canada, 1973); “Pictures from the Douglas M. Duncan Collection” (Frances Duncan Barwick, University of Toronto Press, 1975); “Canadian Art” (Graham McInnes, The MacMillan Company of Canada Limited, 1950); “20th Century Canadian Drawings” (The Gallery Stratford, 1979); “Breaking Barriers: Eric Brown and the National Gallery” ( F. Maud Brown, The Society for Art Publications,1964); “Canadian Art 69” (Issue 17:4 July 1960); “A Dictionary of Canadian Artists” (Volumes 1, 3-5, Colin S. MacDonald, Canadian Paperback Publishings, 1967); Selection of Newspaper clippings and weekend publications

books

“Alex Colville: Diary of a War Artist” (Graham Metson and Cheryl Lean, Nimbus Publishing, 1981, signed by Alex Colville on title page); “Ken Danby” (Paul Duval, Clarke, Irwin and Company, 1976); “Charles Comfort: Canadian Artists 2” (Margaret Gray, Margaret Rand, Lois Steen, Gage Publishing, 1976); “Carl Schaefer: Canadian Artists 3” (Margaret Gray, Margaret Rand, Lois Steen, Gage Publishing, 1977); :Ernest Linder 1897-: A Retrospective Exhibition” (Mendel Art Gallery, Saskatoon, 1970); “David Blackwood” (John de Visser, Gallery Pascal, 1979); “Christopher Pratt” (Memorial University of Newfoundland, 1970); “Drawings 1969-1972: E. Lindner” (The Saskatoon Gallery and Conservatory Corporation, n.d.); “The Watercolours of Robert Verity Clem” (New Britain Museum of American Art, 1983); “Tom Forrestall: New Works” (Galerie Mira Godard; 1977); “Ron Bolt” (The McMichael Canadian Collection, n.d.); “Fences: Drawings by C.W. Jefferys” (Harry Symons, The Ryerson Press, 1958, a small sketch of fence posts is included with this text); “The Second Portfolio of Canadian Drawings: Four Artists from Quebec” (prints of Paul Beaulieu ‘Man with Puppet’, Ozias Leduc ‘The Prayer’, Alfred Pellan ‘Head’ and William Raphael ‘Snow-Shoer’ and ‘Habitant’, National Gallery of Canada)

no-medium

“The Fine Arts in Canada” (Newton MacTavish, M.A., The MacMillan Company of Canada, 1925); “The First Exhibition in Fifty Years of Oil Paintings By Russell Smith and his son Xanthus Smith” (Vose Galleries of Boston Inc., n.d.); “Paul Kane: Sketchpad” (Charles J. Musson Limited, Publishers, 1969); “Parkman Centenary Celebration” (pamphlet, Parkman Centenary Sub-Committee and McGill University, Montreal, 1923); “Canadian Aspirations in Painting” (Walter Abell, reprinted from ‘Culture’, 1942, inscribed on cover by the author); “The Gal;lery of Canadian Art: 1: Cornelius Krieghoff” (Marius Barbeau, McClelland and Stewart Limited, 1962); “Frederick Simpson Coburn” (Gerald Stevens, forward by A.Y. Jackson, Ryerson Press, 1958); “Aspects of Contemporary Painting in Canada” (Addison Gallery of American Art, 1942); “Ontario Society of Artists 75th Annual Spring Exhibition” (1947); “Canadian Painting: An Exhibition Arranged by the National Gallery of Canada” (National Gallery of Art Smithsonian Institution, Washington, 1950); “Peaople’s Art: Naive Art in Canada” (The National Gallery of Canada, 1973); “The National Gallery of Canada Bulletin” (The National Gallery of Canada, issue 7, 1966); “A Tribute tot he First Canadians: A Collection of Historical Paintings on Indian Life” (Selection of prints in original box, 1968); “The Face of Early Canada: Pictures of Canada which have helped to make history” (F. St. George Spendlove, Ryerson Press, 1958); “David Milne: Painting Place” (Rosmarie L. Tovell, The National Gallery of Canada, 1976); “Reflections in a Quiet Pool: The Prints of David Milne” (Rosmarie L. Tovell, The National Gallery of Canada, 1980)

book with etching

“The Art of David Blackwood” (William Gaugh, McGraw-Hill Ryerson,1988) signed by David Blackwood and author on title page; includes etching “Lewis Lacey’s Lantern” signed, titled, dated 1988 and numbered 79/150 in the lower margin (9.75 ins x 10.25 ins, unframed); in original slipcase

11.25 × 11 × 1.25 in (28.6 × 27.9 × 3.2 cm)

watercolour

signed lower left

12.75 × 19.5 in (32.4 × 49.5 cm) (sight)

books

“Tom Thomson” (Harold Town and David Silcox, 1977); “The Art of Tom Thomson” (Joan Murray, 1971) (2); “The Tom Thomson Mystery” (William T. Little, 1970); “Tom Thomson: The Jack Pine” (Dennis Reid, 1975); “The Group of Seven and Tom Thomson” (Jeanne L. Pattinson, 1978); “TomThomson and Other Poems” (Arthur S. Bourinot, 1954); “The Gallery of Canadian Art :2: Tom Thomson” (R.H. Hubbard, 1962); “Two Letters of Tom Thomson 1915 & 1916” (William Colgate, 1948); “Paddle and palette: The Story of Tom Thomson” (Blodwen Davies, 1930); “Outline for Picture Study: Spring Ice by Tom Thomson” (Arthur Lismer, n.d.);”Exhibition of Works by Tom Thomson, March 13th to March 31st 1937 Mellors Galleries” (J.M. MacCallum, 1937) (2); “The Art Museum’s Permanent Collection, London Public Library and Art Museum” (London Public Library and Art Museum, n.d.); selection of notecards with images of Tom Thomson and Group of Seven artworks reproduced

book

“Barker Fairley” (Paul Duval, Marianne Friedland Gallery Limited, 1980) signed by Barker Fairley and author on title page, includes 2 unframed lithographs- each signed and numbered 8/300 (11.5 ins x 11 ins (sheet)) enclosed in front pages; in original case

13 × 12.25 × 1.25 in (33.0 × 31.1 × 3.2 cm)

book with artwork

“Ken Danby: Gallery Moos” (Paul Duval, 1974) includes accompanying unframed colour serigraph “Looking In” signed, dated 1974 and numbered 35/ 250 in the lower margin (11.75 ins x 11.75 ins) and original gallery exhibition poster (unframed and folded); in original case

13.5 × 12.5 × 1.5 in (34.3 × 31.8 × 3.8 cm)

books

“A.Y.’s Canada” (Naomi Jackson Groves, 1968); “ A.Y. Jackson: The Arctic 1927” (Introduction by Naomi Jackson Groves, 1982); “The Other A.Y. Jackson: A Memoir” (O.J. Firestone, 1979); “A.Y. Jackson: Paintings 1902-1953” (Art Gallery of Toronto, 1954); “A.Y. Jackson: Thirty Years of Painting” (Max Stern, n.d.)

books

“A.J. Casson, His Life and Works, A Tribute” (Paul Duval, Cebrus/ Pretice-Hall, 1980), signed by A.J. Casson on front title page; “A.J. Casson” (Paul Duval, The Ryerson Press Toronto, 1951); “A.J. Casson” (Margaret Gray, Margaret Rand and Lois Steen, Gage Publishing, 1976)

books

“Eskimo” (Edmund Carpenter, Frederick Varley, Robert Flaherty, University of TorontoPress, 1968); “The Eskimo and His Art” (Carson I.A. Ritchie, Academy Editions, 1975); “Arts of the Eskimo: Prints” (Patrick Furneaux and Leo Rosshandler, Signum Press, Montreal, 1974); “The Inuit Print” (National Museum of Man, Ottawa, 1977); “The Far North: 2000 Years of American Eskimo and Indian Art” ( Henry B. Collins, Frederica de Laguna, Edmund Carpenter and Peter Stone, National Gallery of Art, Washington, 1973); “Eskimo Prints” (James Houston, Barre Publishing, 1967); included in this lot, 3 slides of Inuit masks

books

“Ateliers: Etudes sur vingt-deaux peintres et sculpteurs canadiens” (Jean Chauvin, Les Editions du Mercure, 1928); “The Downfall of Temlaham” (Marius Barbeau, illustrations by A.Y. Jackson, Edwin Holgate, W. Langdon Kihn, Emily Carr and Anne D. Savage, The MacMillan Company of Canada Limited, 1928); “Other Days, Other Ways: Silhouettes of the Past in French Canada” (Georges Bouchard, illustrations by Edwin Holgate, The MacMillan Company of Canada Limited, 1930); “L’illustration Noel” (December 5, 1931 - illustrated article, “Clarence Gagnon Au Pays de Maria Chapdelaine” within)

books

“Canadian National Exhibition: Department of Fine Arts” (Toronto, August 23 to September 8, 1913); “Canadian National Exhibition: Catalogue of Paintings and International Graphic Art” (Toronto, August 26 to September 9, 1922); “Canadian National Exhibition: Catalogue of Paintings and International Graphic Art” (Toronto, August 25 to September 8, 1923); “Vers Un Art Canadien: Lettre aux anciens a l’occasion du 20e anniversaire de fondation de l’ecole des beaux-arts de montreal: 1923-1943”; “A Century of Canadian Art” (The Tate Gallery, London, 1938); “Canadian Group of Painters” (1947-1948); “The Development of Canadian Painting” (Halifax Memorial Library, 1951)

book

A. & C. Black, London, 1907

9 × 6.75 × 2 in (22.9 × 17.1 × 5.1 cm)

book

George Virtue, London, 1842

11 × 9 × 1 in (27.9 × 22.9 × 2.5 cm)

no-medium

“Toronto Art League 1900 Calendar” and “Toronto Art League Calendar 1901” (Designed by the Toronto Art League, George N. Morang & Company Limited Publishers); “Exposition d’art Canadien” (Musee du jeu du paume, Paris, April 10 to May 10, 1927)

book

Roger H. Boulet, M.B. Loates Publishing, Markham, Ontario, 1981

13.75 × 16 × 1.5 in (34.9 × 40.6 × 3.8 cm)

no-medium

“Christie’s Canada Auction Catalogues” (April 16-18, 1969; May 1-2, 1969; May 21, 1969; May 22, 1969; September 24, 1969; September 25, 1969; October 29, 1969; October 30, 1969; November 26, 1969; November 27, 1969; February 11-12, 1970; March 25-26, 1970; March 26, 1970 (2); April 30, 1970; May 20-21, 1970; May 21, 1970; June 18-19, 1970; September 18, 1970; September 28, 1970); Sotheby’s” (March 22-23, 1976; April 5, 1976); “Frank Waddington Auctioneer” (May 17th, 1967); “Northward Journal: A Quarterly of Northern Arts” (Issues 13 (2), 14/15 (2), 16, 17 (2), 18/19, 1979-1980); “Habitat” (Poems by Jocelyn Baker, Peguis Publishers Limited, 1974 (2)); “Boreal Journal” (Issues 9 (3), 10 (2), 11/12 (2), 1977-1978); “Journal of Canadian Art History” (Issues Spring 1974 1:1, Fall 1974 1:2, Summer 1975 2:1; 1977/78 4:2 (2); 1981 5:2)

book with colour woodblock

“Andre Bieler: An Artist’s Life and Times” (Frances K. Smith, Merritt Publishing Company, 1980) in original slipcase; “Mon voisin”- colour woodblock, signed, titled and numbered 211/225 in the lower margin (13 ins x 10 ins (sheet); unframed (matted))

14.75 × 12.5 × 1.5 in (37.5 × 31.8 × 3.8 cm)

coloured etching

signed, titled, dated 1966 and editioned “A74” in he lower margin

15.75 × 17.75 in (40.0 × 45.1 cm) (plate size)

conté drawing

signed, titled and dated 1979

12 × 6.75 in (30.5 × 17.1 cm)

lithograph

signed and numbered 10/15 at the lower edge

32 × 24.75 in (81.3 × 62.9 cm) (sheet)

mixed media on paper (pair of works)

“Winter Landscape, Scarborough” (mixed media on paper; signed lower right; signed and titled on the reverse; 20 ins x 26 ins sheet size); “Snowly Landscape” (mixed media on paper; signed lower right; 14.5 ins x 20.25 ins sight)

14.5 × 20.25 in (36.8 × 51.4 cm)

colour lithograph

signed, titled and inscribed “H.C.” on the reverse

18.5 × 10.75 in (47.0 × 27.3 cm)

gouache and watercolour

signed indistinctly and dated 1977 lower left

31.5 × 22.5 in (80.0 × 57.1 cm) (sight)

watercolour

signed lower right

13.25 × 19 in (33.7 × 48.3 cm)

etching laid down on card

signed and titled in the lower margin; unframed (matted)

9.5 × 6.75 in (24.1 × 17.1 cm) (sight)

unsigned reproduction

9.25 × 13.75 in (23.5 × 34.9 cm) (sight)

photograph

unsigned reproduction

9.25 × 13.75 in (23.5 × 34.9 cm) (sight)

pastel

initialed lower right

7.5 × 9.5 in (19.1 × 24.1 cm) (sight)

watercolour

signed and titled lower right

11 × 14 in (27.9 × 35.6 cm)

watercolour

signed and titled lower left

8.5 × 10.5 in (21.6 × 26.7 cm)

two prints

the first: a reproduction of a pencil drawing inscribed in pen “To Bob McInnis, with best wishes from A.Y. Jackson Dec 27, 1965” (measuring 11.5 ins x 15.5 ins sight); the second: a silkscreen of St Fidele, signed in pencil within the margin (measuring 11 ins x 8.5 ins subject)

11.5 × 15.5 in (29.2 × 39.4 cm) (largest)

watercolour

titled lower left, signed and dated “24.5.93” lower right

9 × 12 in (22.9 × 30.5 cm) (sheet)

watercolour

signed, titled, dated 2-13-4-93

6.5 × 8.75 in (16.5 × 22.2 cm)

tape collage on wove paper

signed, titled and dated 1968 in the lower margin

13.75 × 22.75 in (34.9 × 57.8 cm) (sheet)

watercolour

signed lower left

6.5 × 9.5 in (16.5 × 24.1 cm) (sight)

mixed media on paper

signed and dated 1957 lower right

6.25 × 7 in (15.9 × 17.8 cm) (sight)

colour prints

“Montreal” - 6 ins x 9 ins; “Chaudière Falls” - 7 ins x 9.5 ins; “Prescott from Ogdensburgh Harbour” - 6.5 ins x 6.5 ins; “Kingston, Lake Ontario” - 6.5 ins x 9.5 ins; each inscribed “Published by Charles Magnus & Co. 12 Frankfurt St N.Y.” lower left

6 × 9 in (15.2 × 22.9 cm) (smallest)

colour aquatint

titled and numbered 333/500 in the lower margin

7 × 5 in (17.8 × 12.7 cm) (subject)

coloured ink drawing

signed “O.H. Smith” and dated 1972 lower right

4.5 × 5.5 in (11.4 × 14.0 cm) (image)

pastel

signed “T Witterungle” and dated 1981 lower left

6.25 × 5.75 in (15.9 × 14.6 cm) (sight)

colour lithograph

signed “Tobie”, dated 1970 and numbered 8/24 in the lower margin

15.5 × 13 in (39.4 × 33.0 cm) (sight)

lithograph

8.5 × 9 in (21.6 × 22.9 cm) (sight)

watercolours on paper (2)

“Green Apples” (signed, titled, dated 1959 in the lower margin - 7.25 x 9.25 ins); “Laurentian Landscape” (signed, titled, dated 1945 in the lower margin - 10.5 x 13.5 ins); unframed

7.25 × 9.25 in (18.4 × 23.5 cm)

acrylic on paper

signed lower right; signed with syllabics lower left; unframed

30 × 22 in (76.2 × 55.9 cm)