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

colour etching and aquatint

signed, titled, dated 1989 and numbered 10/75 in the lower margin

19.75 × 32 in (50.2 × 81.3 cm) (subject)

ink and gouache on paper

signed “Miss Anne Savage, Montreal” and “4090 Highland Ave.” on the reverse; unframed; sold together with “Anne Savage: The Story of a Canadian Painter” by Anne McDougall (Quebec, 1977) and “Anne Savage” (Exhibition Catalogue, Concordia University, 2002)

4 × 4.75 in (10.2 × 12.1 cm) (sheet)

colour etching

signed, titled, dated 2003 and numbered 22/25 in the lower margin; unframed

27.75 × 37.75 in (70.5 × 95.9 cm) (sheet)

single autographic print

signed, dated 1957 and editioned “1-1” in the lower margin; titled and inscribed (twice) “G-980P” on the reverse; unframed (matted)

22 × 31 in (55.9 × 78.7 cm) (sheet)

mixed media on paper

signed and dated 1985 lower right

22 × 30 in (55.9 × 76.2 cm)

folded paper serigraph

signed, titled, dated 1967 and numbered 6/40 along the right edge

13.25 × 29 in (33.7 × 73.7 cm) (overall)

acrylic on paper

signed and dated 1974 lower right; glass not present within framing

12 × 18 in (30.5 × 45.7 cm) (sheet)

engraving

signed in the lower right margin; titled and numbered 1/50 in the lower left margin

6.5 × 5.5 in (16.5 × 14.0 cm) (image)

wood engraving

signed in the lower right margin

2.5 × 2.25 in (6.3 × 5.7 cm) (image)

wood engraving

signed in the lower right margin

2.5 × 2.25 in (6.3 × 5.7 cm) (image)

linocut

signed “Vally + LeMoine” and dated “Christmas 1941” in the lower margin

7 × 4 in (17.8 × 10.2 cm) (image)

wood engraving

3.25 × 2.5 in (8.3 × 6.3 cm) (image)

linocut

6.5 × 3.25 in (16.5 × 8.3 cm) (image)

linocut

signed lower right

8.5 × 9.5 in (21.6 × 24.1 cm) (subject)

Sampson Matthews silkscreen

“Painted by Yvonne McKague Housser, R.C.A.”, “Issued by the National Gallery of Canada, Ottawa” and title printed in the lower margin; a Sampson Matthews label on the reverse; unframed

30 × 40 in (76.2 × 101.6 cm)

charcoal drawing

signed lower left

15 × 12 in (38.1 × 30.5 cm) (sight)

woodblock

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

4.5 × 5 in (11.4 × 12.7 cm) (subject)

etching

signed, titled and inscribed “A/P” in the lower margin; unframed

29.5 × 32.5 in (74.9 × 82.5 cm) (sheet)

colour etching

signed, titled and numbered 8/50 in the lower margin

14 × 16 in (35.6 × 40.6 cm) (plate size)

watercolour on card

signed lower left

5 × 7 in (12.7 × 17.8 cm) (sight)

etching

signed and titled in the lower margin; unframed

8.5 × 13 in (21.6 × 33.0 cm) (sheet)

pastel on paper

signed and dated 1977 lower right; a certificate of authenticity, signed by Marion Panton, on the reverse of the framing

16 × 21 in (40.6 × 53.3 cm) (sight)

colour woodcut

signed and numbered 188 in the lower margin

5.25 × 8.75 in (13.3 × 22.2 cm) (subject)

watercolour

signed lower right

13.25 × 17.5 in (33.7 × 44.5 cm) (sight)

folio of seven colour serigraphs

The Client; Ice Hummocks; Thunderheads; North Channel; Mill Lake; Village Mosaic; Aftermath- each signed with initials, titled and numbered AP 49/75 in the lower margin; housed in card portfolio box with cover page; all unframed

25.5 × 30 in (64.8 × 76.2 cm) (each sheet)

colour linocut

signed, titled and numbered 9/60 in the upper right corner

12.75 × 11.5 in (32.4 × 29.2 cm) (sight)

oil pastel

signed lower right; unframed

8.5 × 10.5 in (21.6 × 26.7 cm) (sheet)

ink and pencil on paper

signed lower left; titled and inscribed “Mexico, 1988” on a label on the reverse

10.5 × 8.5 in (26.7 × 21.6 cm) (sheet)

single autographic print

stamped signature in the lower right margin; Estate stamp lower left margin; unframed

24 × 19 in (61.0 × 48.3 cm) (sheet)

coloured aquatint

numbered 2/5 and inscribed “To Jacky and Michael from Graham” lower left; signed and titled 68 lower right; printed on sheet: “The reproduction of this painting by Graham Coughtry has been graciously allowed by the artist to assist the Spadina Review Corporation. It has been reproduced by Herzig Somerville Ltd in an edition limited to 350 copies. Production, Allan Fleming”

37 × 24 in (94.0 × 61.0 cm) (sheet)

colour serigraph

signed, dated 1977 and numbered 4/100 in the lower margin

28.25 × 24.25 in (71.8 × 61.6 cm)

mixed media on paper

signed and dated 71 lower left

37 × 25.25 in (94.0 × 64.1 cm) (sheet)

acrylic on card

inscribed indistinctly at the lower centre edge; signed, titled and inscribed “Montreal 1984” on the reverse of the framing

7 × 4.75 in (17.8 × 12.1 cm)

white conte pencil on paper

signed and dated “23-6-71” lower left; signed, titled, and dated on the reverse

25 × 19 in (63.5 × 48.3 cm) (sight)

coloured inks on paper

signed and dated 1979 lower right

29.5 × 22.5 in (74.9 × 57.1 cm)

colour silkscreen

stamped signature and inscribed “PP” in the lower margin

24.75 × 33 in (62.9 × 83.8 cm)

colour silkscreen

signed, titled, dated 1972 and numbered 77/100 in the lower margin

29.5 × 18.25 in (74.9 × 46.4 cm) (sight)

lithograph

signed, dated 1970 and numbered “7-46”

20 × 14 in (50.8 × 35.6 cm)

three books

“Mind’s I” (Jack Shadbolt, Toronto, 1973); “Gershon Iskowitz: Painter of LIght” (Adele Freedman, Toronto/Vancouver, 1982); “Pellan” (Germain Lefebvre, Toronto, 1973), within its original slip cover

two books

“Memoirs of an Art Dealer” (G. Blair Laing, Toronto, 1979); “Memoirs of an Art Dealer 2 (G. Blair Laing, Toronto, 1982); both in the original slipcases

book

Clarke, Irwin & Company Limited, Vancouver/Toronto, 1958, signed by the artist and numbered 350/1000; in its original slipbox

book

printed and published by Rous and Mann Ltd., Toronto, 1927; first edition of one thousand copies; introduction by Dr. Frederick Banting

book

Published by Methuen, 1979; autographed by Norval Morrisseau on the title page; light wear evident (condition noted)

1.25 × 13.25 × 11.25 in (3.2 × 33.7 × 28.6 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 Farley Mowat and numbered 112/125 on the title page; includes engraving “Wesleyville” - signed, titled, dated 1973 and numbered 112/125 in the lower margin (11.5 ins x 9.5 ins bound inside volume); in original slipcase

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

book

Paul Duval, “A.J. Casson”, Roberts Gallery, Toronto, 1975; includes A.J. Casson, “Sunlit Isle”, signed and numbered 151/300, lithograph drawn on zinc plate, 11.75 ins x 11.75 (sheet) (full edition of 325 with no Artist’s Proof and the plate destoyed); presented within the original slipcase

13 × 12.5 × 1.5 in (33.0 × 31.8 × 3.8 cm) (overall)

catalogue & two colour lithographs

the catalogue numbered 814/1100; the two lithographs unframed

8.75 × 7.5 in (22.2 × 19.1 cm) (each lithograph (sheet))

pastel on BFK Rives paper (triptych)

signed lower right of left segment; each segment signed, titled and dated ‘1992” on the reverse

20 × 53 in (50.8 × 134.6 cm) (overall)

two colour silkscreens

“Abstract in Oranges” (signed, dated December 1971 and numbered 57/75 in the lower margin; sheet 9.5 ins x 9.5 ins); “Abstract in Grey, Black, Purple and Green” (sheet 8.5 ins x 11 ins); both unframed

three colour silkscreens

“Standing Rainbow” (sheet 8.5 ins x 11 ins); “Abstraction in Greys, Oranges and Green” (sheet 8.5 ins x 11 ins); “Abstract in Grey, Black, Purple and Green” (sheet 8.5 ins x 11 ins); each unframed

colour lithograph

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

27.5 × 36 in (69.8 × 91.4 cm) (sheet)

portfolio of 12 lithographs

each plate signed and numbered 52/175 in lower margin on Arches watermarked paper with “Salvador Dali” blindstamp in the lower left margin; with introduction by Pierre Restany and text by Salvador Dali; in original black cardboard box with gilt printed title Note: justification page not included; two of the 12 prints are framed (”Ultra Surrealistic corpusclaire Galutska” and “Crazy, crazy, crazy, Minerva”)

29.5 × 20.25 in (74.9 × 51.4 cm) (sheet)

drypoint etching

signed in the lower left margin

4.75 × 6.75 in (12.1 × 17.1 cm)

sampson-matthews silkscreen

inscribed “Supervised by AJ Casson” lower right

30 × 40 in (76.2 × 101.6 cm)

ink drawing

signed and dated “Aug 8.62” lower left

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

three etchings

“Bloom Finito XL”- signed, titled and dated 1991 in the lower margin; “Vase, Vista V”- signed, titled, dates 1991 and numbered 2/3 in the lower margin; “Waterfall Cross”- signed, titled and number 7/30 in the lower margin; all unframed

29.75 × 22.25 in (75.6 × 56.5 cm) (each sheet)

two reproduction prints

both signed within the plate

12.75 × 8.75 in (32.4 × 22.2 cm) (each sheet)

pencil

signed lower right; signed, titled and dated 1972 on a label on the reverse

21.75 × 14.25 in (55.2 × 36.2 cm) (sight)

drawing

inscribed “drawn by A. Lismer” and “opinion of T. MacDonald” lower left

4.75 × 7.75 in (12.1 × 19.7 cm) (sight)

lithograph

signed and numbered 38/100 in the lower margin; Catalogue raisonne number 95 (1925)

8.5 × 11.5 in (21.6 × 29.2 cm) (subject)

pair of Sampson Matthews silkscreens

both signed within the plate and inscribed “Supervised by AJ Casson” in the lower left; “Departure for the Hunt”- condition noted: tear resulting in loss at lower left corner (29.25 ins x 36.5 ins), “Waiting Ones”- 29.5 ins x 37.25 ins

mixed media on paper

signed and dated 64 lower right

15.5 × 10 in (39.4 × 25.4 cm) (sight)

charcoal on paper

signed lower left

14.25 × 10.25 in (36.2 × 26.0 cm) (sight)

lithograph

signed, dated 1972 and numbered 21/150

14.25 × 19.75 in (36.2 × 50.2 cm)

etching

signed, titled, dated 1993 and numbered 4/8 in the lower margin; unframed

15 × 11 in (38.1 × 27.9 cm)

colour serigraph

5.75 × 4.25 in (14.6 × 10.8 cm) (each sheet)

watercolour and graphite on paper

unframed; accompanied by a photoreproduction of a signed painting of the same subject

7 × 9 in (17.8 × 22.9 cm) (sight)

colour lithograph

signed and numbered 82/300 in the lower margin; unframed

18.25 × 13.5 in (46.4 × 34.3 cm) (sheet)

colour lithograph

signed, titled and numbered 9/950 in the margin

16.25 × 19.5 in (41.3 × 49.5 cm)

mixed media on paper

signed and dated 1994 lower right

30 × 22.25 in (76.2 × 56.5 cm) (sheet)

print with ink

signed with initials and dated 2001 lower right

11 × 8.5 in (27.9 × 21.6 cm) (sheet)

mixed media on paper

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

15.5 × 11.5 in (39.4 × 29.2 cm)

mixed media on paper

signed lower right

15.75 × 12 in (40.0 × 30.5 cm)

silkscreen

signed, titled, dated 1978 and numbered 25/77

14 × 21 in (35.6 × 53.3 cm) (sight)

silkscreen

signed, titled and numbered 78/98

18 × 24 in (45.7 × 61.0 cm) (sight)

silkscreen

signed, titled and numbered 11/285 in the margin; sold “as is” and not subject to return

18 × 13.25 in (45.7 × 33.7 cm) (subject)

five colour serigraphs

a portfolio containing five serigraphs printed in colours, each signed in pencil, number 155 in an edition of 350, including an edition of publication “The Art of Norval Morrisseau” by Lister Sinclair and Jack Pollock (signed by Norval Morrisseau and Jack Pollock), published by Methuen, Toronto/New York, 1979, contained in a wooden case with calfskin straps

24 × 18 in (61.0 × 45.7 cm) (sheet)

silkscreen

signed, titled and numbered 32/49 in pencil in the lower margin; no glass in framing

31 × 41 in (78.7 × 104.1 cm) (sheet)

stencil

signed and dated 1996 lower right; unframed

22.25 × 30 in (56.5 × 76.2 cm) (sheet)

acrylic on paper

signed lower right; unframed

22.25 × 30 in (56.5 × 76.2 cm) (sheet)

watercolour on paper

signed and titled “February 1970 #27” lower left

22 × 29 in (55.9 × 73.7 cm)

mixed media on paper

unframed

35 × 23 in (88.9 × 58.4 cm)

etching

signed, titled, dated 1963 and numbered 5/50 in the lower margin; unframed

26 × 19.5 in (66.0 × 49.5 cm) (sheet)

lithograph with hand colouring

signed and numbered “31/38 VE” at the lower edge; unframed

22.25 × 30 in (56.5 × 76.2 cm) (sheet)

lithograph with hand colouring

signed, titled and numbered “9/38 VE” at the lower edge; unframed

22.5 × 30 in (57.1 × 76.2 cm) (sheet)

etching with chine colle

signed, titled and numbered 1/70 in the lower margin

21 × 15.5 in (53.3 × 39.4 cm) (sheet)

etching with chine colle

signed, titled, numbered 9/70 and inscribed LXXXVII in the lower margin

21 × 15.5 in (53.3 × 39.4 cm) (sheet)

colour silkscreen

unframed (presented in its original matting)

11.5 × 10 in (29.2 × 25.4 cm) (sheet)

colour woodcut on orange paper

signed and titled in the lower margin

6 × 6 in (15.2 × 15.2 cm) (image)

three photolithographs

“Faculty of Music, University of Toronto, Bloor Street, Toronto” (10.5 ins x 14.5 ins [sight]); “The Old Elgin Hotel, Dundas, Ontario” (10.5 ins x 14.5 ins [sight]); “Glenhyrst, Art Gallery of Brantford, Brantford, Ontario” (14.5 ins x 10.5 ins [sight])

colour woodcut

signed in the lower right margin

3.5 × 6 in (8.9 × 15.2 cm) (image)

sampson-matthews silkscreen

19.75 × 25 in (50.2 × 63.5 cm)

relief print

signed, titled and numbered 2-12 in the lower margin

27 × 20.5 in (68.6 × 52.1 cm) (sight)

etching

signed lower right; unframed

12.75 × 10 in (32.4 × 25.4 cm) (subject)

colour lithograph

signed, titled and editioned “Artist Proof 4/30” in the lower margin

19 × 14.75 in (48.3 × 37.5 cm) (sight)

pen and ink

signed lower right

16 × 13 in (40.6 × 33.0 cm) (sight)

stonecut

signed, titled, dated 1973, numbered 33/50 and inscribed “Cape Dorset” in the lower margin

17 × 24.5 in (43.2 × 62.2 cm)

stonecut print

inscribed “Davidialuk/Louise Quatsalik”, titled, dated 1978, numbered 32/40, inscribed “Povungnituk” and inscribed in syllabics in the lower margin

8.5 × 11.5 in (21.6 × 29.2 cm) (sight)

stonecut print

inscribed “Davidialuk/Annie Amamatuck”, titled, dated 1977, numbered 32/40, inscribed “Povungnituk” and inscribed in syllabics in the lower margin

19.5 × 30 in (49.5 × 76.2 cm) (sight)

coloured pencil on paper

signed in syllabics in the lower centre margin

14.75 × 19.75 in (37.5 × 50.2 cm) (sheet)

coloured print

signed indistinctly in the margin and numbered 46/250; unframed

39.75 × 28.25 in (101.0 × 71.8 cm) (sheet)

pair of watercolour and graphite works

“Dark Blooms #2 (Sydenham Rose Series)”- signed, titled and dated 1990 in the lower margin; “Untitled” (Sydenham Rose Series)- signed and dated “3.03.89” in the lower margin; signed, titled and dated 1989 on the reverse; both unframed

30 × 22 in (76.2 × 55.9 cm) (each sheet)

mezzotint

22 × 16 in (55.9 × 40.6 cm) (subject)

three watercolours

“Charter House” (signed lower left; 6.25 ins x 4.75 ins sight); “Exterior, Charter House” (signed lower left; 6.25 ins x 4.5 ins sight); “Angling in the Afternoon” (signed lower left; 5 ins x 8 ins sight)

5 × 8 in (12.7 × 20.3 cm) (largest)

linocut

signed, titled, dated 1955, and numbered 4/15 in the lower margin

3.75 × 5.75 in (9.5 × 14.6 cm) (image)

three colour serigraphs

each signed with initials, titled and numbered: “Poplar Grove” AP 37/60; “Village in Winter” AP 40/60; “Sunlit Hill” AP 39/60; each unframed

20 × 24 in (50.8 × 61.0 cm) (sheet)

colour lithograph

signed and numbered 14/70 in the lower margin

8 × 16 in (20.3 × 40.6 cm) (image)

book

Paul Duval, “Ken Danby”, Gallery Moos Limited, Toronto, 1974; includes “Looking In”, signed, dated 1974 and numbered 96/250, colour serigraph (20 colours), 11.75 ins x 11.75 (sheet); presented within the original slipcase

13 × 12.5 × 1.5 in (33.0 × 31.8 × 3.8 cm) (overall)

four books

“Paul Kane’s Frontier” (J. Russell Harper, Toronto, 1971); “Tom Thomson: The Silence and the Storm” (Harold Town and David P. Silcox, Toronto, 1977); Morrice: A Great Canadian Artist Rediscovered” (G. Blair Laing, Toronto, 1984); “Thoreau MacDonald: A Catalogue of Design and Illustration” (Margaret E. Edison, Toronto/Buffalo, 1973)

four books

“G.A. Reid: Canadian Artist” (Muriel Miller MIner, Toronto, 1946); Emily Carr As I Knew Her (Carol Pearson, Toronto, 1954); Anne Savage: The Story of a Canadian Painter (Anne McDougall, Montreal, 1977); “The Art of Emily Carr” (Doris Shadbolt, Toronto/Vancouver, 1979)

three books

“The Mountains and the Sky” (Lorne E. Render, Glenbow-Alberta Institute, Canada, 1974); “Sculpture of the Eskimo” (George Swinton, Toronto, 1972); Passionate Spirits: A History of the Royal Canadian Academy of Arts, 1880-1980 (Rececca Sisler, Toronto/Vancouver, 1980)

five books

“A.Y.’s Canada” (Naomi Jackson Groves/pencil drawings by A.Y. Jackson, Toronto/Vancouver, 1968); “The Tangled Garden: The Art of J.E.H. MacDonald” (Paul Duval, Scarborough, Ontario, 1978); “Varley” (Peter Varley, Toronto, 1983); “Bright Land - A Warm Look at Arthur Lismer” (Lois Darroch, Toronto/Vancouver, 1981); “A Border of Beauty: Arthur LIsmer’s Pen and Pencil” (Marjorie Lismer Bridges, Toronto, 1977)

four books

The Automatiste Revolution, Montréal, 1941-1960 (Roald Nasgaard & Ray Ellenwood; Douglas & McIntyre/Varley-McKay Art Foundation of Markham, 2009); Fernand Leduc de 1943 á 1985 (Musée des Beaux-Arts de Chartres, 1985); Guido Molinari 1951-1961 - The Black and White Paintings (Vancouver Art Gallery, 1989); Rita Letendre - The Montréal Years 1953-1963 (Concordia Art Gallery, 1989)

colour wood engraving

5.75 × 4.25 in (14.6 × 10.8 cm) (image)

book

John E. Langdon, “Canadian Silversmiths 1700-1900”, Toronto, 1966 (limited to 1,000 copies)

four catalogues

“Canadian National Exhibition Catalogue of the Arts, 1936”; “Canadian National Exhibition of the Arts, 1937”; “Canadian National Exhibition Catalogue of the Arts, 1939”; “Canadian Armed Forces Art Exhibition” (Hart House, University of Toronto, November 14th to 29th, 1942)

four catalogues

“Catalogue of Fine, Graphic, And Applied Arts, and Salon of Photography, Canadian National Exhibition, August 22nd to September 6th, 1930”; “Catalogue of the Arts, Canadian National Exhibition, 1931”; “1933 Catalogue of the Arts, Canadian National Exhibition”; “Catalogue of the Arts, Canadian National Exhibtion, 1934”

three books

Harold Town - Drawings [McClelland and Stewart Limited, Toronto, 1969 (Introduction by Robert Fulford). With 195 plates of drawings including some colour. Contains an original lithograph "Mary Hopkins", signed and dated 1969 by Harold Town. Volume signed, dated 1969 and numbered 141/141]; Harold Town - Enigmas/Enigmes [McClelland and Stewart Limited, Toronto, 1964. Contains an original lithograph, signed, dated 1964 and numbered “122/175” by Harold Town. Volume signed and numbered 122/175. In the original slipcover]; Harold Town - Silent Stars, Sound Stars, Film Stars [McClelland and Stewart Limited, Toronto, 1971. Contains an original lithograph, signed, dated 1971 and numbered “92/110” by Harold Town. Volume signed and numbered 92/110. In the original claim shell box with velvet cloth liner]

conté drawing

signed lower right; signed and titled on the reverse

30 × 36 in (76.2 × 91.4 cm)

mixed media

“Reclining Nude”- etching; signed within the plate; signed, titled, dated 1982 and numbered 21/25 in the lower margin (18.25 ins x 25 ins); “Mirror Image”- monotype; signed, titled and dated 1984 in the lower margin (17 ins x 14 ins); “Lido Series”- signed, titled and dated 1984 in the lower margin, inscribed “1-12-84” lower right (17 ins x 14 ins); “John Wallack”- monotype; signed, titled and dated 1984 in the lower margin; inscribed “29-11-84” lower right (17 ins x 14 ins); “Blue Hat #1”- oil on paper; signed and dated 1981 lower center edge; titled and dated “18 Juin 1981” lower right (17 ins x 13.75 ins); “Winter Shoreline”- oil on paper; signed and dated 2011 at the lower center edge (15 ins x 15.5 ins); “Crimson Stockings”- ink and wash; signed and dated “8.5.02” at the lower center edge (16.5 ins x 11.75 ins); “Model with Garter Belt”- graphite and watercolour; signed and dated 24.3.03” lower center edge; inscribed “160250” lower left (11.5 ins x 16.5 ins); “Standing Model in Black Dress”- graphite and watercolour; signed and dated “5.7.13” lower left (15.5 ins x 10 ins); “Model in Ivory”- graphite and watercolour; signed and dated “28.7.13” lower left (15.75 ins x 10 ins); “Woman in Black Dress”- pastel; signed and dated 1985 lower right, inscribed “2-29-7-85” lower right (12.75 ins x 9.75 ins); all unframed

etching

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

5 × 6.25 in (12.7 × 15.9 cm) (subject)

colour silkscreen

signed in the lower right margin; unframed

10.25 × 10 in (26.0 × 25.4 cm) (sheet)

watercolour heightened with white

3 × 6.5 in (7.6 × 16.5 cm) (sheet)

reproduction print

9.5 × 6.5 in (24.1 × 16.5 cm) (sheet)

gelatin silver print

11.5 × 14 in (29.2 × 35.6 cm) (sheet)

watercolour

signed, titled and dated 1913 lower left

10.25 × 6.75 in (26.0 × 17.1 cm)

watercolour

signed lower right; titled “View from a Window”, dated “Toronto, August 1940”, and inscribed “Pall Mall Apt.” & “To Alice and Bill, with the best wishes of Mona and Oswald” on the reverse

9 × 7.25 in (22.9 × 18.4 cm) (sheet)

laid down on board

“Burnt Spruce in Hilly Landscape” (oil pastel over watercolour; signed lower centre; 19.75 ins x 25.75 ins); “Burnt Spruce” (watercolour; signed lower left; 20.75 ins x 26.75 ins); “Abstract Forest” (watercolour; signed lower right; 14.5 ins x 21 ins); “Burnt Spruce and Rocks” (oil pastel over watercolour; signed lower centre; 20.75 ins x 25.75 ins); unframed

20.75 × 26.75 in (52.7 × 67.9 cm) (largest)

lithograph

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

20.5 × 30 in (52.1 × 76.2 cm) (sheet)

colour woodcut

signed in the lower left margin and inscribed “imp. Delet Sculp.” in the lower right margin

6.25 × 8 in (15.9 × 20.3 cm) (sheet)

3 watercolours

“An Unexpected Meeting” (signed in the lower right margin of original mount; 7.25 ins x 9.5 ins [sight]); “Dominion Metalic (sic) Cartridge” (7.75 in x 5.25 ins [sight]); “Winter Landscape with Stagecoach” (numbered 15 lower right; 4.75 ins x 7.75 ins [sight]); unframed

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

4 watercolours on paper laid down on board

“Coastal Landscape with Sumac” (signed lower left; 18.75 ins x 26 ins); “Trees at Water’s Edge” (signed lower left; 17.25 ins x 23.5 ins); Pink Landscape with Sumac (signed lower left; 19.75 ins x 25.75 ins); Abstract Forest (signed lower right; 18 ins x 24 ins); unframed; condition noted

4 works on paper laid down on board

“Abstract Landscape” (watercolour; signed lower right; 18.5 ins x 23.25 ins); “Abstract Landscape” (watercolour; signed lower right; 19.25 ins x 25.75 ins); “Abstract Floral Composition” (oil pastel over watercolour; signed lower right; 18.75 ins x 26.5 ins); “Landscape with Flowering Bush” (oil pastel over watercolour; signed lower centre; 19.5 ins x 26 ins); unframed

colour silkscreen

initialed “LM” lower right, within the plate

3.25 × 5.25 in (8.3 × 13.3 cm) (sheet)

serigraph

signed, titled, dated 1969 and numbered 32/50 in pencil in the lower margin; unframed

24 × 30 in (61.0 × 76.2 cm) (sheet)

mixed media

“Reclining Nude”- etching; signed within the plate; signed, titled, dated 1982 and numbered 21/25 in the lower margin (18.25 ins x 25 ins); “Woman in Black”- monotype; signed, titled and dated 1984 in the lower margin, inscribed “26-11-84” lower right (17 ins x 14 ins); “BF #2 Series 1”- monotype; signed, titled, dated 1984 and inscribed “27-11” in the lower margin (17 ins x 14 ins); “Black Stockings”- ink and wash; signed and dated “7.5.02” at the lower edge (14 ins x 17 ins); “Purple Coat”- oil on paper; signed and dated 2009 at the lower edge; inscribed “25-10-09” in the lower margin (16 ins x 14.75 ins); “Red Headed Seated Model”- oil on paper; signed, dated 1981 and inscribed “16 Juin 1981” at the lower edge (17 inx x 13.75 ins); “Model in Floral Dress”- ink and watercolour; signed and dated “5.7.13” lower left (15.75 ins x 12 ins); “Draped Model”- watercolour; signed and dated “10.7.13” lower right (15.5 ins x 10 ins); “Seated Model”- watercolour; signed and dated “31.3.93” at the lower edge (13.75 ins x 11 ins); “Glassware Still life”- pastel; signed and dated 1985 lower right (10 ins x 12.75 ins); “Woman in Fur-lined Coat”- pastel; signed, dated 1985 and inscribed “2-11-7-85P” at the lower edge (12.5 ins x 9.75 ins); all unframed

assorted media on paper (5)

“Joe” (ink on paper, signed, titled and dated 1962 in the lower margin - 9.25 x 7.25 ins); “Veronica Tennant” (ink on paper, signed, titled and dated 1976 in the lower margin - 10.5 x 8 ins); “After Degas” (charcoal on paper, signed, titled and dated 1966 in the lower margin - 9.25 x 7 ins); “The Tuning Fork/Wendy” (charcoal on paper, signed, titled and dated 1963 in the lower margin - 9.25 x 7.25 ins); “Sleepy Cat” (charcoal on paper, signed, titled and dated 1966 in the lower margin - 9.25 x 7 ins); unframed

gouache

signed and dated 2003 lower left

8 × 10.5 in (20.3 × 26.7 cm) (sheet)

ink drawing

signed and dated 1963 lower right

9.25 × 14 in (23.5 × 35.6 cm) (sight)

acrylic and watercolour on paper

signed and dated 1976 lower right; signed, dated 1976 and inscribed “Toronto” on the reverse; unframed

30 × 22 in (76.2 × 55.9 cm) (subject)

oil on paper

signed and dated “4-63” upper right; unframed

40 × 30 in (101.6 × 76.2 cm) (sheet)

colour lithograph

signed and numbered 9/44 in the lower margin

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

pair of Sampson Matthews silkscreens

both signed within the plate and inscribed “Supervised by AJ Casson” in the lower right; condition noted: both artworks appear to have been trimmed and loss of support is present at all corners

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

Set of 4 Sampson Matthews Silkscreens

“Summer’s Store”- Arthur John Ensor, signed within the plate and inscribed “Supervised by AJ Casson” in the lower right (19.75 ins x 29 ins); “Winter Morning”- Thoreau MacDonald, signed with initials within the plate and inscribed “Supervised by AJ Casson” in the lower right (20.25 ins x 27 ins); “Ice Cutting”- Sarah Robertson, signed within the plate, numbered 239/247 and inscribed “Supervised by AJ Casson” in the lower right (20.75 ins x 24.75 ins); “Sugar Time- Quebec”- Albert Edward Cloutier, signed and dated 1945 within the plate and inscribed “Supervised by AJ Casson” in the lower right (20 ins x 27 ins); condition noted: all four works appear to have wear on the corners of the board resulting in loss which impacts the image layer

ink on paper

dated on the gallery label

29 × 22.5 in (73.7 × 57.1 cm)

etching

signed and titled in pencil in the lower margin

7.75 × 3.25 in (19.7 × 8.3 cm) (plate size)

colour silkscreen

signed lower right within the plate

10 × 8.25 in (25.4 × 21.0 cm) (sight)

linocut

signed lower right

7 × 5.5 in (17.8 × 14.0 cm) (plate size)

aquatint

signed and titled in pencil in the lower margin

7 × 4.75 in (17.8 × 12.1 cm) (plate size)

blockprint

signed and numbered 31/35 in the lower margin

11 × 3.5 in (27.9 × 8.9 cm) (subject)