September Online Auction of Canadian and International Artwork (Online Auction)

screenprint

signed, titled, dated January 1994 and numbered 6/45 in the lower margin

22 × 28.75 in (55.9 × 73.0 cm) (sight)

colour etching and aquatint

signed, titled, numbered 2/50 and dated 1983 in the lower margin

10 × 19.5 in (25.4 × 49.5 cm) (plate size)

serigraph

signed and numbered 16/150 in the lower margin

23.5 × 23.5 in (59.7 × 59.7 cm) (image)

colour lithograph

signed, titled and numbered “III/XV” in the lower margin; unframed

27 × 36 in (68.6 × 91.4 cm) (sheet)

colour lithograph

signed, titled and numbered 2/75 in the lower margin; unframed

26 × 36 in (66.0 × 91.4 cm) (sheet)

lithograph

signed and numbered 46/100 in the lower margin; Cramer Catalogue no. 457

12.5 × 15 in (31.8 × 38.1 cm) (image)

acrylic on canvas

signed and dated 1982 on the reverse; titled on the stretcher

64 × 96 in (162.6 × 243.8 cm)

lithograph

signed, titled and numbered 11/21 lower margin

20.75 × 14.75 in (52.7 × 37.5 cm) (sight)

colour lithograph

signed and numbered 226/300 in the lower margin

12 × 7.25 in (30.5 × 18.4 cm) (subject)

sampson-matthews silkscreen

inscribed “Supervised by A.J. Casson” lower right; unframed

21 × 25 in (53.3 × 63.5 cm)

colour serigraph

signed and dated 1971 lower right, numbered “16-99” lower left; titled on the reverse; unframed; Condition noted: repair at upper left corner, repair at lower right quadrant; multiple surface scratches present. Artwork sold “as is” and not subject to return

41 × 28.5 in (104.1 × 72.4 cm) (sheet)

colour serigraph

signed, titled, dated 1974 and numbered E.A. 6/15 in pencil in the lower margin

22 × 36 in (55.9 × 91.4 cm) (sight )

ink drawing

signed lower right

8 × 10 in (20.3 × 25.4 cm) (sight)

colour serigraph

signed, titled, dated 1981 and numbered 14/ 70 in pencil in the lower margin

27.5 × 20.5 in (69.8 × 52.1 cm) (sight )

colour serigraph

signed, titled, dated 1981 and numbered 37/100

21.75 × 21.75 in (55.2 × 55.2 cm) (sight diameter)

ink on paper

signed lower left; titled to gallery label on reverse

29.5 × 21.5 in (74.9 × 54.6 cm) (sight )

watercolour

initialed and dated 2002 lower left

19 × 15 in (48.3 × 38.1 cm) (sheet)

colour photolithograph

inscribed “W. Kurelek”, initialed by the wife of the artist (J.K.) and numbered 191/225 in the lower margin; unframed (matted)

12 × 9.75 in (30.5 × 24.8 cm) (subject)

bronze

incised signature, date of 1974, edition of 2/3 and inscription of “A/C” with “Morris Singer Founders London” stamp; presented upon an acrylic base

16.5 × 14.5 × 6 in (41.9 × 36.8 × 15.2 cm) (overall (excluding base))

ink drawing

signed lower left

6 × 4 in (15.2 × 10.2 cm)

stone sculpture

incised signature on underside; condidtion noted: cracks and missing section at base present, artwork sold “as is” and not subject to return

11.5 × 20.5 × 4.5 in (29.2 × 52.1 × 11.4 cm) (overall)

rose alabaster sculpture

incised signature on underside

17 × 12 × 4 in (43.2 × 30.5 × 10.2 cm) (overall)

oil on canvas

signed lower right

40.5 × 60 in (102.9 × 152.4 cm)

colour serigraph

signed and numbered 65/80 in the lower margin; includes copy of exhibition catalogue “Jack Chambers: A Retrospective” (Art Gallery of Ontario/Vancouver Art Gallery, 1970), signed by the artist

24.5 × 24 in (62.2 × 61.0 cm) (sight)

oil on board

signed and dated 1987 lower right

15 × 12 in (38.1 × 30.5 cm)

mixed media on paper

signed and dated 1980 lower left; titled on a gallery label on the reverse

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

acrylic on canvas

signed lower right

32 × 24 in (81.3 × 61.0 cm)

colour screenprint

signed, titled, dated 1976 and numbered 53/70 in the lower margin; unframed

21.5 × 27.75 in (54.6 × 70.5 cm) (sheet)

colour etching

signed, titled, dated 1983 and numbered 11/25; unframed

36 × 30.25 in (91.4 × 76.8 cm) (sheet)

silkscreen on landmark marine chart

signed, titled, dated 1994 and numbered 6/10 at the lower edge

46.5 × 33 in (118.1 × 83.8 cm) (sheet)

colour photolithograph

signed, titled and numbered 769/950 in the lower margin

14.5 × 22.5 in (36.8 × 57.1 cm) (sight)

oil on canvas board

signed lower right; inscribed “Sable Is” on the reverse

12 × 16 in (30.5 × 40.6 cm)

stonecut and stencil

signed, titled, dated 1988, numbered 24/50 and inscribed “Dorset” along the lower edge; unframed; discolouring due to moisture present at the lower right edge of the sheet

18 × 24 in (45.7 × 61.0 cm) (sheet)

acrylic on paper

signed in syllabics lower left

30.75 × 22.75 in (78.1 × 57.8 cm) (sight)

oil on canvas

signed lower right

46 × 42 in (116.8 × 106.7 cm)

two acrylics on canvas board

each titled lower left, signed lower right

19.5 × 15.5 in (49.5 × 39.4 cm) (sight)

watercolour

titled lower left, signed and dated 1998 lower right

19 × 14.5 in (48.3 × 36.8 cm) (sight)

oil on canvas board

signed and dated 1990 lower right; titled on the reverse

9 × 12 in (22.9 × 30.5 cm)

patinated bronze

signed, dated 2009 and numbered 2/10

5 × 6.75 × 3.75 in (12.7 × 17.1 × 9.5 cm) (overall)

gouache on paper

signed lower right; titled on a gallery label on the reverse

11 × 15 in (27.9 × 38.1 cm) (sheet)

oil on board

signed and titled on the reverse; unframed

19 × 32 in (48.3 × 81.3 cm)

acrylic on canvas

signed, titled and dated 1976 on the reverse

55 × 55 in (139.7 × 139.7 cm)

colour serigraph

signed, titled, dated 1971 and numbered 38/100 lower left; unframed Condition noted: multiple surface scratches, scuffs and points of grime present. Artwork sold “as is” and not subject to return

27.5 × 35 in (69.8 × 88.9 cm) (sheet)

single autographic print and collage

signed and dated lower margin; titled and inscribed “L-165-C-2-C” at upper edge; unframed

24.25 × 19 in (61.6 × 48.3 cm) (sheet)

colour lithograph

signed and numbered 62/75 in the lower margin

14 × 8.5 in (35.6 × 21.6 cm) (subject)

book and colour lithograph

written by Jack Chambers, edited and published by Nancy Poole/Nancy Poole Studios, Toronto, 1978, contains a colour lithograph of daffodils (signed, numbered 110/300 and dated 77 in the lower margin, within a slip cover), all contained within the original slipcover

12 × 12.25 × 2 in (30.5 × 31.1 × 5.1 cm)

woodcut

signed in the lower margin

4.75 × 6.25 in (12.1 × 15.9 cm) (subject)

lithograph

signed and dated 1971 upper left, numbered “109-175” lower left; unframed

20 × 14 in (50.8 × 35.6 cm)

three colour serigraphs

each signed with initials, titled and numbered: “Morning on the Key River” AP 37/60; “Approaching Thunderstorm” AP 30/60; “Late Flurry” AP 36/60; each unframed

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

oil on board

signed lower right

12 × 16 in (30.5 × 40.6 cm)

watercolour

signed lower right

13 × 28 in (33.0 × 71.1 cm) (sight)

oil on canvas

signed and dated 1961 lower right

20 × 24 in (50.8 × 61.0 cm)

three colour serigraphs

each signed with initials, titled and numbered: “The Village Store” AP 35/60; “Autumn Decorations” AP 37/60; “Valley Farm” AP 34/60; each unframed

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

three colour serigraphs

each signed with initials, titled and numbered: “Autumn On the York River” AP 34/60; “Sunday Morning” AP 37/60; “Mill House” AP 35/60; each unframed

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

watercolour

signed lower right; titled on a label on the reverse

5 × 6.5 in (12.7 × 16.5 cm) (sight)

oil on canvas

signed and dated 1982 lower right; signed, titled and dated 1982 on the reverse

15 × 15 in (38.1 × 38.1 cm)

oil on board

signed lower right; titled on the reverse

12 × 9 in (30.5 × 22.9 cm)

oil on canvas

signed lower right; signed and titled on the reverse

11 × 14.5 in (27.9 × 36.8 cm)

oil on canvas

signed lower right; titled on the reverse

20 × 24 in (50.8 × 61.0 cm)

oil on canvas board

signed lower right; titled on the reverse

9 × 11 in (22.9 × 27.9 cm)

oil on canvas board

signed lower right

10.5 × 13.75 in (26.7 × 34.9 cm)

serigraph

signed, titled and numbered “AP iii/vi” in the lower margin

20.75 × 24.5 in (52.7 × 62.2 cm) (sight)

oil on board

signed and dated 1982 lower right; signed and titled on the reverse; sold together with the book “Bruno Cote” (Maurice Assier, Marcel Broquet Inc., Ottawa, 1985), also signed by the artist

24 × 30 in (61.0 × 76.2 cm)

oil on board

signed lower right; titled to artist label on the reverse

14 × 20 in (35.6 × 50.8 cm)

oil on canvas

signed lower right

24 × 30 in (61.0 × 76.2 cm)

colour serigraph

signed, titled and numbered 31/47 in the lower margin; unframed

19.75 × 24 in (50.2 × 61.0 cm) (sheet)

colour serigraph

signed, titled and numbered 29/49 in the lower margin; unframed

19.75 × 24 in (50.2 × 61.0 cm) (sheet)

watercolour

signed; titled and dated on the reverse

10 × 14 in (25.4 × 35.6 cm)

oil on board

signed lower right; signed, titled and dated 2007 on the reverse

6 × 8 in (15.2 × 20.3 cm)

oil on masonite

signed and dated 1966 lower right; signed and titled on the reverse

24 × 36 in (61.0 × 91.4 cm)

four colour lithographs

“Toronto - The Post Office” (dated 1879 in pencil in the lower right margin, sight 8.75 x 9.5 ins); “Toronto Street, and Post Office” (dated 1882 in pencil in the lower right margin, sight 6.25 x 7 inches); “Post Office, Toronto” (sheet 6.5 x 5 inches) and Mary Schneider “Toronto St., Toronto” (11.5 x 13.5 inches), each unframed

11.5 × 13.5 in (29.2 × 34.3 cm) (largest)

mounted to card

“Kensington Hotel, and Rossin House, Toronto” (sheet 9.25 x 12.25 ins); “Toronto St., Toronto” (sheet 9 x 12 ins); “Yonge St. Dock, Toronto” (sheet 9.25 x 12.25 ins); “Corner King & Church Streets, Toronto” (sheet 9.25 x 12 ins); “Yonge St. Toronto, Looking North” (sheet 9 x 12 ins) and “King St. West from Yonge St. Toronto” (sheet 9.25 x 12 ins), each unframed

9.25 × 12.25 in (23.5 × 31.1 cm) (largest )

four colour lithographs

“Toronto in 1834”(inscribed “Toronto Weekly Globe July 12th, 1878, No, 1877” in pencil in the top margin, sheet 8 x 10 ins); “The Rossin House, Toronto” (dated 1871 in pencil in the lower right margin, sheet 10.25 x 14 ins); “The Toronto Exchange” (9 x 11.75 ins) and “Toronto - The Queen City of the West - Illustrated” (22.75 x 33 ins), each unframed

22.75 × 33 in (57.8 × 83.8 cm) (largest)

colour reproduction print

18.5 × 30.5 in (47.0 × 77.5 cm) (sight )

three colour lithographs

“British America” (10.75 x 14 ins); “North America” (14.5 x 10 ins) and “Nova Scotia and Newfoundland”, 1851” (10.5 x 13.5 ins), each by J. Rapkin for John Tallis & Company, London & New York, each unframed

14.5 × 10 in (36.8 × 25.4 cm) (largest )

etching

signed in the margin, titled within the plate

4.5 × 11.5 in (11.4 × 29.2 cm) (plate size)

watercolour

signed lower right; titled and inscribed “721026” (dated of Octobrer 26, 1972) on a card attached to the reverse of the framing

12 × 15 in (30.5 × 38.1 cm) (sight)

Sampson Matthews silkscreen

unframed

30 × 40 in (76.2 × 101.6 cm) (sheet)

oil on board

signed and dated 1958 lower right

24 × 20 in (61.0 × 50.8 cm)

three oils on board

“Bernice” (signed lower left; titled on the reverse; 36 ins x 24 ins); “Island Landscape” (signed lower left; 18 ins x 24 ins); “Tree Trunks in a Sunny Haze” (signed lower right; 16 ins x 20 ins); each unframed

signed and dated 1959 lower right

31.75 × 24 in (80.6 × 61.0 cm)

two pencil sketches

11 × 15 in (27.9 × 38.1 cm) (each sheet)

two pencil sketches

9 × 12 in (22.9 × 30.5 cm) (each sheet)

pencil drawing

signed and dated 1975 lower right; water damage noted- artwork is sold “as is” and not subject to return

7 × 12 in (17.8 × 30.5 cm) (sight)

mixed media on cardboard

inscribed “Hodgson” lower left; titled on the reverse

24 × 17.75 in (61.0 × 45.1 cm)

oil on canvas

signed lower left; titled on a gallery label on the reverse

36 × 26 in (91.4 × 66.0 cm)

oil on canvas

signed lower right; signed and titled on the reverse; unframed

38 × 63 in (96.5 × 160.0 cm)

lithograph

signed, titled, dated 1965 and numbered 11/40

14.25 × 16.25 in (36.2 × 41.3 cm) (sight)

two acrylics on canvas

each signed, titled and dated 1993 twice on the reverse overflaps

94.5 × 25 in (240.0 × 63.5 cm) (each)

mixed media on canvas

signed lower right; signed, titled and dated 1975 on the reverse

24 × 20 in (61.0 × 50.8 cm)

tapestry

titled on the reverse

49 × 53 in (124.5 × 134.6 cm) (overall)

oil on board

signed lower right; signed, titled and dated 1952 on the reverse

17.25 × 24 in (43.8 × 61.0 cm)

oil on board

signed lower right; titled to gallery label on the reverse

24 × 20 in (61.0 × 50.8 cm)

oil on board

signed lower right; titled to gallery label on the reverse; unframed

19.75 × 24 in (50.2 × 61.0 cm)

oil on board

titled and dated 1945 to gallery label on the reverse

8.5 × 10.5 in (21.6 × 26.7 cm)

pen and wash on paper

signed and dated 1962

13.5 × 16.25 in (34.3 × 41.3 cm)

lithograph

plate from the “Lied a Emile Nelligan” folio; signed and numbered 53/75 in the lower margin; sold together with three accompanying text lithographs of poems by Emile Nelligan (each sheet 22 ins x 30 ins); unframed

22 × 30 in (55.9 × 76.2 cm) (sheet)

oil on board

signed with initials lower left; titled and inscribed “sketch” and “Rockport, Mass” on the artist’s label on the reverse

6 × 6.5 in (15.2 × 16.5 cm)

colour silkscreen

signed and dated 1954 lower right

15 × 7 in (38.1 × 17.8 cm) (sight)

oil on canvas

signed and dated 1931 lower left; titled on the reverse

10.5 × 13 in (26.7 × 33.0 cm)

oil on canvas

signed lower right

16 × 20 in (40.6 × 50.8 cm)

oil on canvas board

signed lower right

11 × 14 in (27.9 × 35.6 cm)

oil on board

signed, titled, dated 1974 and inscribed “Thompson” (sic) on the reverse

8 × 10 in (20.3 × 25.4 cm)

watercolour

signed lower left

10.5 × 15 in (26.7 × 38.1 cm) (sight)

oil on panel

signed lower right

12 × 16 in (30.5 × 40.6 cm)

oil on board

signed lower right

12 × 16 in (30.5 × 40.6 cm)

oil on board

signed and dated 1952 lower right; titled and dated 1952 on the reverse

11.5 × 13.5 in (29.2 × 34.3 cm)

watercolour

signed and dated 1883 lower right

5.75 × 9.75 in (14.6 × 24.8 cm) (sight)

oil on board

signed lower left; titled and dated 1925 on the reverse

12.5 × 16.5 in (31.8 × 41.9 cm)

oil on canvas

signed lower right; signed on the reverse and titled on the stretcher

24 × 29 in (61.0 × 73.7 cm)

Sampson Matthews silkscreen

artist name and title (in English and French) and “Issued by the National Gallery of Canada, Ottawa” printed in the lower margin; a Sampson Matthews label on the reverse; unframed; some moisture damage present along the lower portion of the artwork - sold “as is” and not subject to return

30 × 40 in (76.2 × 101.6 cm)

Sampson Matthews silkscreen

unframed

19.5 × 26.75 in (49.5 × 67.9 cm) (sheet)

oil on board

signed and dated 1988 lower right; signed, titled and dated on the reverse

20 × 24 in (50.8 × 61.0 cm)

oil on canvas

signed lower right; titled on a label on the reverse

18 × 24 in (45.7 × 61.0 cm)

oil on canvas

signed lower right; signed and titled on the reverse

18.25 × 24 in (46.4 × 61.0 cm)

two books

Volume 1 (Toronto, McClelland & Stewart, 1979); Volume 2 (Toronto, McClelland & Stewart, 1982), signed by the author on the title page

eight books

“150 Years of Artists’ Lithographs”- Felix H. Man, William Heineman Ltd., 1953; “Renoir”- exhibition catalogue, Museum of Fine Arts, Boston, 1985; “The Lost World of the Impressionists”- Alice Bellony-Rewald, Gallery Press, 1976; “The Thaw Collection: Master Drawings and New Acquisitions”- The Pierpoint Morgan Library, 1994; “Drawings of Leonardo Da Vinci”- George Newnes Limited, 1917; “20th Century Painters”- Bernard Dorival, Universe Books Inc., 1958; “Tuner’s Birds”- David Hill, Phaidon Press, 1988; “Flemish Painting”- Pierre Courthion, 1963

book

Text and artwork by Victor Vasarely, Éditions du Griffon, Switzerland, 1969; hardcover book with colour and black and white illustrations and tipped-in Op-Art prints on acetate

no-medium

“Canada on Canvas” (Winnipeg Art Gallery, Esdale Printing Company Ltd., Canada, 2012); “A Tribute to Samuel J. Zacks from the Sam and Ayala Zacks Collection” (Mario Amaya, Art Gallery of Toronto, Toronto, 1971); “The National Gallery of Canada: Catalogue of Paintings and Sculpture, Volume III: Canadian School” (R.N. Hubbard, University of Toronto Press, Ottawa and Toronto, 1960);“Canadian Art Winter 1995 Vol. 12, No. 4” (Dollco Printing, Toronto, 1995); “Canadian Collage” (Joan Murray, The Robert McLaughlin Gallery, Oshawa, Ont., 1997); “Isaacs Seen” (Hart House, University of Toronto, Toronto, 2005); “The Collection: Sarnia Public Library and Art Gallery” (Haines Frontier Printing Limited, Sarnia, 1981); “The Gershon Iskowitz Prize: 1986-2006” (Library and Archives Canada, Montreal, 2009); “Canadian Drawings and Prints” (Paul Duval, Burns and MacEachern, Toronto, 1952); “Mystical Landscapes: From Vincent Van Gogh to Emily Carr” (Katherine Lochan, Prestel, 2016)

no-medium

“Henriette Fauteux-Massé: L’oeuvre abstrait” (Musée d’art contemporain des Laurentides Québec, 2005”; “Jean Paul Riopelle” (Robert Miller Gallery, New York, 2005); “Roger-François Thépot” (Marie-Magdeleine Thépot, Collection Prisme Paris, France, 1972); “Seven Montreal Artists” (Massachusetts Institute of Technology, Cambridge, Mass., 1968); “Rita Letendre: The Montreal Years: 1953-1963” (Concordia Art Gallery, Montreal, 1989); “L’Enseignement des Arts Plastiques” (Frère Jérôme Paradis, Bibliothèque École Normale Eulalie-Durocher Saint-Lambert, 1967); “Simonin Oeuvres 1985-1991” (Galerie Madeleine Lacerte, Quebec, n.d.); “ArtsCanada: Three Abstract Painters: Bush/Ronald/Bloore” (Society for Art Publications, Toronto, March/April 1977); “Serge Lemoyne oeuvres choisies 1974-1998” (Galerie Orange, Montreal, 2007); “Fernand Leduc de 1943 à 1985” (Sylvie Douce de L Salle, Musée des Beaux-Arts de Chartres, Paris, 1985); “Riopelle: The Sixties” (Yves Michaud, Didier Imbert Fine Art, Paris, 1994); (Helene Sicotte, The Leonard & Bina Ellen Art Gallery, Montreal, 1996); “La Galerie Agnès Lefort Gallery: Montreal 1950-1961”; “The Automatiste Revolution: Montreal, 1941-1960” (Roald Nasgaard and Ray Ellenwood, Douglas & McIntyte, Toronto, 2009)

graphite drawing

signed lower right; sold together with “Hillmother” (Claire Weissmann Wilks, with a poem by John Montague, Toronto, 1983, signed by the artist), within which this artwork is reproduced

18 × 20 in (45.7 × 50.8 cm) (subject)

three colour serigraphs

each signed with initials, titled and numbered (“Pink Farm House” AP 37/60; “Parry Sound” AP 44/45; “Poplar Grove” AP 39/60); each unframed

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

oil on board

signed lower right; titled on the reverse; unframed

20.5 × 28.75 in (52.1 × 73.0 cm)

oil on board

signed on the reverse; unframed

16 × 20 in (40.6 × 50.8 cm)

oil on board

signed lower right; signed, titled and dated 1954 on the reverse; unframed

12 × 16 in (30.5 × 40.6 cm)

oil on canvas

signed lower right

20 × 24 in (50.8 × 61.0 cm)

oil on canvas

signed lower left; signed and titled on the reverse

24 × 30 in (61.0 × 76.2 cm)

three oil paintings

“Melting Ice, Credit River” (oil on masonite, signed lower right, titled on the reverse, 12 ins x 16 ins); “Credit Forks Hill” (oil on masonite, signed lower right, titled on the reverse, 12 ins x 16 ins); “Gloucester, Mass - Fishing Boats” (oil on canvas, signed lower right, titled on a label on the reverse, 12 ins x 16 ins)

12 × 16 in (30.5 × 40.6 cm) (each)

oil on board

signed lower right; signed, titled and inscribed “from S. Leacock’s House” on the reverse

12 × 16 in (30.5 × 40.6 cm)

oil on board

signed and dated 1969 lower right; titled and dated 1969 on the reverse

16 × 20 in (40.6 × 50.8 cm)

oil on canvas board

signed lower right; titled on the reverse

10 × 12 in (25.4 × 30.5 cm)

oil on canvas

signed lower right; signed, titled, dated 1967 and inscribed “Near St. John” on the stretcher

16.25 × 20.25 in (41.3 × 51.4 cm)

oil on board

signed lower right; signed and titled on the reverse

12 × 16 in (30.5 × 40.6 cm)

oil on board

signed lower left

24 × 30 in (61.0 × 76.2 cm)

graphite drawing

signed, titled, and dated “May 14, 1972” at the lower edge

6.25 × 8.25 in (15.9 × 21.0 cm) (sight)

oil on board

signed and dated 1963 lower right

48 × 24 in (121.9 × 61.0 cm)

selection of thirteen books

“J.E.H. MacDonald: Sketchbook, 1915-1922” (introduction by Hunter Bishop, Penumbra Press, 1979); “A Concise History of Painting” (Dennis Reid, Oxford University Press, 1973); “Pictures from the Douglas M. Duncan Collection” (University of Toronto Press, 1975); “Lumberjack: Paintings and Story by William Kurelek” (William Kurelek, Tundra Books, Missing inside title page); “Les Plasticiens and Beyond: Montreal 1955-1970” (Roald Nasgaard and Michel Martin, Varley Art Gallery of Markham, 2013); “Les Automatistes” (Galerie l’Orange and Lacerte Art Contemporain, Montreal, 2008); “Canadian Art” (Summer 1987); “A Heritage of Canadian Art: The McMichael Collection” (McMichael Canadian Collection, 1979); “Colville” (Ed. Andrew Hunter, Art Gallery of Ontario, 2014); “Karsh Portfolio” (Yousuf Karsh; University of Toronto Press, 1967); “The Best Contemporary Canadian Art” (Joan Murray, Hurtig Publishers, 1987); “The Group of Seven: Art for a Nation” (Charlie Hill, National Gallery of Canada, 1995); “The Heritage of Upper Canadian Furniture: A Study in the Survival of Formal and Vernacular Styles from Britain, America and Europe, 1780-1900” (Howard Pain, Van Nostrand Reinhold Ltd., 1978)

charcoal drawing

signed lower right, titled lower left

5 × 7 in (12.7 × 17.8 cm) (sight)

oil on canvas

signed lower right; signed, titled and dated 1997 on the reverse

9 × 12 in (22.9 × 30.5 cm)

Sampson Matthews silkscreen

unframed

30 × 40 in (76.2 × 101.6 cm) (sheet)

four works of art

“Leaving the Village” (oil on canvas, signed and dated 1915 lower left, titled on a gallery label on the reverse, 8x10 ins); “Farm House” (watercolour, signed lower right, 5 x 9.75 ins sight); “Sunset” (oil on canvas, signed and dated 1918 lower right, 13 ins x 17.5 ins); “Grazing Sheep” (oil on canvas, signed and dated 1915 lower left, 6.5 ins x 10 ins)

oil on panel

signed lower left

16 × 20 in (40.6 × 50.8 cm)

acrylic on canvas

signed lower right; unframed

24 × 32 in (61.0 × 81.3 cm)

three oils on board

“Wild Iris” (signed lower left; titled on the reverse; 24 ins x 36 ins); “Sun in the Valley” (17.5 ins x 23.75 ins); “Portrait in Green” (signed lower right; 18 ins x 16 ins); each unframed

oil on board

signed lower right; signed, titled and dated 1988 on the reverse

27 × 18 in (68.6 × 45.7 cm)

watercolour

signed and dated 1928 lower right

9.75 × 11.75 in (24.8 × 29.8 cm) (sight)

oil on canvas

signed lower left

14 × 21 in (35.6 × 53.3 cm)

oil on canvas

signed lower right; signed and titled on the reverse

30 × 36 in (76.2 × 91.4 cm)

oil on board

signed lower left; signed and titled on the reverse

12 × 16 in (30.5 × 40.6 cm)

acrylic on board

signed and dated 1981 lower left; signed, titled and dated 1981 on the reverse

20 × 12 in (50.8 × 30.5 cm)

oil on canvas

signed lower right

10 × 11.5 in (25.4 × 29.2 cm)

colour serigraph

signed and numbered 21/60 in the lower margin

16 × 17.5 in (40.6 × 44.5 cm) (sight)

soft-ground etching

signed “Miramon”, titled and dated 1985 and the lower edge

8.5 × 15.75 in (21.6 × 40.0 cm) (sight)

oil on canvas board

signed and titled on the reverse

11 × 14 in (27.9 × 35.6 cm)

screenprint in colour

signed, titled, dated 1992 and numbered 54/155 in the lower margin

18.75 × 22 in (47.6 × 55.9 cm) (sight)

oil on panel

signed lower left

11 × 14 in (27.9 × 35.6 cm)

oil on canvas

signed lower right

10 × 12 in (25.4 × 30.5 cm)

ink drawing

signed and dated 1961 to the right

18.5 × 28.25 in (47.0 × 71.8 cm) (sight)

oil on canvas board

signed lower right; signed, titled, dated 1962 and inscribed “Regina” on the reverse

24 × 15 in (61.0 × 38.1 cm)

assorted media on paper (2)

“Girl Playing Flute” (charcoal on paper, signed and dated 1976 lower left - 19.5 x 25.5 ins); “Bathing” (ink on paper, signed and dated 1963 lower right - 17.75 x 14.75 ins); unframed

three oils on board

“Portrait in Blues, Greens and Pinks” (signed lower left; 36 ins x 24 ins); “Sunflowers” (signed lower right; 18 ins x 24 ins); “Dark Thistle” (signed lower right; 20 ins x 24 ins); each unframed

etching in colours

signed, titled, dated 1968 and numbered 14/30 in the lower margin

16.75 × 20.5 in (42.5 × 52.1 cm) (sight)

lithograph in colours

signed lower right

26 × 19 in (66.0 × 48.3 cm) (sight)

acrylic on canvas board

signed lower right; signed, titled and dated 1970 on the reverse

18 × 24 in (45.7 × 61.0 cm)

watercolour

signed lower right

17.5 × 23.75 in (44.5 × 60.3 cm) (sight)

Sampson Matthews silkscreen

There is a vertical crease present at the left half of the composition, running from the upper to lower edge, sold “as is” and not subject to return; unframed

20 × 30.25 in (50.8 × 76.8 cm) (sheet)

watercolour

signed and dated 1970 upper left (along the horizon)

17 × 23 in (43.2 × 58.4 cm) (sight)

pastel on paper

signed and dated 1982 lower right

9 × 12 in (22.9 × 30.5 cm) (sheet)

oil on board

signed lower right; titled on the reverse

12 × 16 in (30.5 × 40.6 cm)

oil on canvas

signed lower right

22 × 32 in (55.9 × 81.3 cm)

oil on canvas

signed and dated 2013 lower left; signed, titled and dated 2013 on the reverse

20 × 16 in (50.8 × 40.6 cm)

oil on panel

signed lower right

20 × 24 in (50.8 × 61.0 cm)

oil on paper

signed on the reverse of the framing

7.25 × 9.5 in (18.4 × 24.1 cm) (sight)

ceramic

9.75 × 6.75 in (24.8 × 17.1 cm) (each overall)

oil on board

signed lower right; signed, titled and inscribed to a previous owner on the reverse

16 × 12 in (40.6 × 30.5 cm)

watercolour

signed and dated 1969 lower right

25 × 19.25 in (63.5 × 48.9 cm) (sight)

lithograph

signed indistinctly and numbered 16 in the lower margin

16.5 × 19.5 in (41.9 × 49.5 cm) (sight)

watercolour

signed lower right; titled on a label on the reverse

26.26 × 17.5 in (66.7 × 44.5 cm) (sheet)