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

colour serigraph

signed, titled, dated December 1992 and numbered 50/65 in the lower margin

17.25 × 33 in (43.8 × 83.8 cm) (sight)

colour serigraph

signed, dated 1993 and numbered 63/70 in the lower margin

14 × 19.5 in (35.6 × 49.5 cm) (sight)

colour etching and aquatint

signed, titled, dated 1997 and numbered 6/75 in the lower margin

32 × 20 in (81.3 × 50.8 cm) (plate size)

colour silkscreen

signed, titled, dated 1975 and numbered 57/60 in the lower margin

23.5 × 38 in (59.7 × 96.5 cm) (sheet)

colour silkscreen

signed, dated 1965, numbered 100/100 and inscribed “Toronto” lower right

26 × 20 in (66.0 × 50.8 cm)

mixed media and collage

signed and dated 1980 lower right

16.5 × 13.5 in (41.9 × 34.3 cm) (sight)

colour offset lithograph

printed on both sides; printed “Copyright 1968 The Letter Edged in Black Press Inc.” lower right corner (recto) and lower left corner (verso); unframed

19.25 × 14 in (48.9 × 35.6 cm)

colour lithograph

signed, titled and numbered “hors commerce 11/111” in the lower margin; unframed

27 × 36 in (68.6 × 91.4 cm) (sheet)

colour silkscreen

signed, titled, dated 1983 and numbered 5/40 lower right; unframed

23.75 × 37.75 in (60.3 × 95.9 cm) (sheet)

monoprint

signed, titled and dated 1999 at the lower edge; unframed

22.5 × 30 in (57.1 × 76.2 cm) (sheet)

oil pastel and gouache on paper

signed and dated 2003 lower right

30 × 43.5 in (76.2 × 110.5 cm) (sheet)

colour serigraph

signed and numbered 55/80 in the lower margin

20.25 × 20 in (51.4 × 50.8 cm) (sight)

mixed media on paper

signed and dated 1976 lower right

22.5 × 30 in (57.1 × 76.2 cm) (sheet)

relief print on laminated print

signed, titled, dated 1963 and numbered 18/30 in the lower margin; condition noted

22 × 30 in (55.9 × 76.2 cm) (sheet)

ink and watercolour on paper

signed upper left, dated “09 May 2001” lower right

8.5 × 11 in (21.6 × 27.9 cm) (sheet)

ink drawing

signed and dated 1957 lower right

7.75 × 8.5 in (19.7 × 21.6 cm) (sheet)

black ink on paper

signed with initials and dated 1994 lower right

21.25 × 14.5 in (54.0 × 36.8 cm) (sheet)

mixed media on paper

signed and dated 1989 lower right

34 × 47.5 in (86.4 × 120.7 cm) (sheet)

black ink and coloured paint on paper

signed and dated 1993 lower right

17.75 × 23.75 in (45.1 × 60.3 cm)

colour silkscreen

signed, titled, dated 1984 and numbered 9/18 along the lower edge

21.5 × 28 in (54.6 × 71.1 cm) (sight)

serigraph

signed and numbered 79/200 in the lower margin

24 × 24 in (61.0 × 61.0 cm) (image)

india ink on paper

30 × 44 in (76.2 × 111.8 cm) (sheet)

colour lithograph

signed and numbered 8/100 along the lower edge

28.75 × 21 in (73.0 × 53.3 cm)

colour lithograph

signed, titled, dated 1977 and numbered 30/30 in the lower margin

30 × 18 in (76.2 × 45.7 cm) (subject)

colour serigraph

signed, dated 1990 and numbered 15/70

30.25 × 19.25 in (76.8 × 48.9 cm) (sight)

colour serigraph

signed, titled, dated December 1990 and numbered 8/70 in the lower margin

14 × 30.25 in (35.6 × 76.8 cm) (sight)

serigraph

signed, titled, numbered 36/50 and dated “June 78” in the lower margin

13 × 16 in (33.0 × 40.6 cm) (sight)

colour serigraph

signed, dated 1973 and numbered 30/43 in the lower margin

9 × 10 in (22.9 × 25.4 cm)

colour etching and aquatint

signed, titled, dated 1980 and numbered 29/45 in the lower margin; unframed

38.5 × 30 in (97.8 × 76.2 cm)

watercolour

signed lower right; titled and dated “March 7, 1987” lower left; sold together with the book “Toni Onley: A Silent Thunder by Roger H. Boulet

10 × 14.5 in (25.4 × 36.8 cm)

colour lithograph

signed, titled, dated 1991 and inscribed “Working Proof” in the lower margin

15.5 × 19.5 in (39.4 × 49.5 cm)

watercolour

signed, titled and dated 1984 lower left

32.75 × 19.25 in (83.2 × 48.9 cm) (sight)

watercolour

signed, titled and dated 1986 lower left

22.75 × 16.5 in (57.8 × 41.9 cm) (sight)

colour etching

signed, titled, dated 1982 and numbered 10/20 in the lower margin; unframed

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

ink drawing

signed and dated “12.8.56” upper right; within a frame created by William Kurelek (a Greenwich Gallery label signed by Kurelek on the reverse)

12.5 × 10.75 in (31.8 × 27.3 cm) (sight)

woodblock

signed and numbered 100/100 in the lower margin

5 × 6 in (12.7 × 15.2 cm) (sight)

pencil drawing

signed and dated 1964 lower left

12 × 20.75 in (30.5 × 52.7 cm)

watercolour

signed lower right; dated “040425” (April 4, 2004) and inscribed “From Caroline’s Road, Co. Mayo” on the reverse; unframed

9 × 12.25 in (22.9 × 31.1 cm)

graphite drawing

signed and dated 1976 lower right

12.75 × 18.75 in (32.4 × 47.6 cm) (sight)

watercolour

signed lower right; titled on a label on the reverse

14.5 × 19.5 in (36.8 × 49.5 cm) (sight)

colour lithograph

12.25 × 7.75 in (31.1 × 19.7 cm) (plate size)

lithograph

signed and dated 1969 lower left, numbered “115-200” lower right; unframed

14 × 20 in (35.6 × 50.8 cm) (sheet)

etching

signed, dated 1960 and numbered 29/35 in the lower margin

4 × 6.25 in (10.2 × 15.9 cm) (plate size)

lithograph

signed, dated 1971 and numbered “84-123” at the lower edge; unframed

14 × 20 in (35.6 × 50.8 cm)

colour serigraph

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

12.5 × 16.25 in (31.8 × 41.3 cm) (sight)

etching

signed, titled, dated 1989 and numbered 2/20 in the lower margin

10 × 8 in (25.4 × 20.3 cm) (sheet)

colour serigraph

signed, titled and numbered 1/50 in the lower margin

10.75 × 15 in (27.3 × 38.1 cm) (sight)

woodblock

signed, titled, dated 1937 and numbered 25/50 in the lower margin

14 × 11 in (35.6 × 27.9 cm) (plate size)

ink and wash on paper

signed lower right

3.5 × 10 in (8.9 × 25.4 cm) (sight)

mixed media on paper

signed lower centre

17 × 23 in (43.2 × 58.4 cm) (sight)

watercolour

signed and dated 1966 lower right; typed title on the artist’s label on reverse of framing

5.5 × 7 in (14.0 × 17.8 cm)

mixed media on paper

signed with initials lower right

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

watercolour

signed lower right

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

watercolour

signed lower right; titled on a label on the reverse

10.75 × 15 in (27.3 × 38.1 cm)

pastel on paper

signed lower right

13 × 10.5 in (33.0 × 26.7 cm) (sight)

colour etching

signed lower right

14.5 × 21 in (36.8 × 53.3 cm) (plate size)

pastel on paper

signed lower left

12 × 7.5 in (30.5 × 19.1 cm) (sight)

watercolour

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

9.75 × 13 in (24.8 × 33.0 cm) (sight)

watercolour

signed lower right

21.5 × 30 in (54.6 × 76.2 cm)

watercolour

signed lower left

9.5 × 14 in (24.1 × 35.6 cm) (sight)

watercolour

signed lower right

17.5 × 12.5 in (44.5 × 31.8 cm) (sight)

watercolour

signed and dated 1899 lower left (not visible when framed)

6 × 6 in (15.2 × 15.2 cm) (diameter)

watercolour

signed lower right; artwork is glued within its original (non-archival) matting and requires re-framing (paper below the matting shows areas of tearing and is brittle towards the edges - this work is sold “as is” and not subject to return); unframed

20 × 13.75 in (50.8 × 34.9 cm) (sight)

mixed media on paper

signed lower right

16.25 × 13.25 in (41.3 × 33.7 cm) (sight)

charcoal

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

15.25 × 11.5 in (38.7 × 29.2 cm) (sight)

three prints

“Arctic #2” (aquatint, signed and titled in the lower margin; attached to the cover of a card which is signed and inscribed “Love to you” inside by the artist); “Arctic Landscape” (aquatint); “Fool’s Paradise” (lithograph; signed in the lower right margin; a label on the reverse notes that the work is a reprint of the 1940s print); each unframed

4 × 5 in (10.2 × 12.7 cm) (each subject)

three prints

“Iceberg #4” (aquatint; signed and titled in the lower margin, mounted to the cover of a Christmas card which is inscribed and signed by the artist inside); “Fool’s Paradise” (lithograph; mounted within a Christmas card which is signed, inscribed and addressed by the artist); “Holy Family Scene” (screenprint on the cover of an unused card); each unframed

4 × 5 in (10.2 × 12.7 cm) (each subject)

watercolour

signed and dated 1952 lower right; unframed (matted and shrink-wrapped)

21.5 × 29 in (54.6 × 73.7 cm) (sight)

colour etching and aquatint

signed and titled in the lower margin

4 × 5.25 in (10.2 × 13.3 cm) (plate size)

etching

signed and stamped in the lower margin

6.25 × 7.75 in (15.9 × 19.7 cm) (plate size)

two pencil sketches

“Horses and Farmers at Work”: signed lower right (9 ins x 12 ins); “Donkey”: unsigned (9.5 ins x 12.5 ins); each unframed

9.5 × 12.5 in (24.1 × 31.8 cm) (largest)

colour etching

signed and dated in the lower margin

7 × 8.25 in (17.8 × 21.0 cm) (plate size)

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 191/300 and dated 77 in the lower margin, within a slip cover), all contained within the original slipcover

12.5 × 12.25 × 2 in (31.8 × 31.1 × 5.1 cm)

eight books

“Impressionism in Canada: A Journey of Rediscovery” (A.K. Prakash, Stuttgart, 2015); “Frederick H. Varley” (Peter Varley, Toronto, 1983); “Helen McNicoll: A Canadian Impressionist” (Natalie Luckyj, Art Gallery of Ontario, 1999); “The Group of Seven in Western Canada” (ed. Catharine Mastin, the Glenbow Museum, 2002); “Tom Forrestall: Paintings, Drawings Writings” (Tom Smart, Toronto, 2008); “Celebrating Life: The Art of Doris McCarthy” (The McMichael Canadian Art Collection, Kleinburg, 1999); “A Terrible Beauty: The Art of Canada at War” (Heather Robertson, Toronto, 1977); “Modern Colours: The Art of Randolph Stanley Hewton” (Victoria Baker, Art Gallery of Hamilton, 2002)

twelve books and catalogues

“Jack Chambers: A Retrospective” (Art Gallery of Ontario/Vancouver Art Gallery, 1970, Condition Note: front cover has a tear/missing piece at upper centre edge); “David Milne: Painting Place” (Rosemarie L. Tovell, National Gallery of Canada, Ottawa, 1976); “William Perehudoff” (Nikola Rukaj Gallery, Toronto, 2008); “E.J. Hughes 1931-1982: A Retrospective Exhibition” (Surrey Art Gallery, 1983); “Pictures from the Douglas M. Duncan Collection” (Frances Duncan Barwick, University of Toronto Press, Toronto/Buffalo, 1975); “A History of the Royal Canadian Academy of Arts 1880-1980” (Rebecca Sisler, Clarke, Irwin & Company Ltd., Toronto/Vancouver, 1980); “Arthur Shilling: The Final Works” (Art Gallery of Peterborough, 2017); “The Ojibway Dream” (Arthur Shilling, Tundra Books, Montréal, 1986); Lasting Impressions: Celebrated Works from the Art Gallery of Hamilton” (ed. Tobi Bruce, Art Gallery of Hamilton, 2005); “The Art of Robert Bateman” (Ramsay Derry, Madison Press Books, Canada, 1981); “Homage to Marc Chagall: Special Issue of XX Siécle” (ed. G. di San Lazzaro, Tudor Publishing Co., New York); “The Colophon: A book Collector’s Quarterly” (Part Five; New York, 1931; Note: David Milne etching is NOT INCLUDED with this book)

eight books

“A Concise History of Canadian Painting” (Dennis Reid, Oxford University Press, 1973); “Early Painters and Engravers in Canada” (J. Russell Harper, University of Toronto Press, 1970); “The Public Archives of Canada: Catalogue of Pictures” (Part 1, James F. Kenney, The Mortimer Company Limited, Ottawa, 1923); “Krieghoff” (J. Russell Harper, University of Toronto Press, Toronto/Buffalo/London, 1979, signed by the author); “Lemieux” (Guy Robert, translated to English by John David Allan, Gage Publishing, Toronto/Vancouver/Calgary/Montreal, 1975, signed by Guy Robert); “L’Estampe au Québec, 1900-1950” (Denis Martin, Musée du Québec, 1988); “Lords of the Stone: An Antropology of Eskimo Suculpture” (Alistair Macduff and George M. Galpin, Whitecap Books, North Vancouver, 1982); “Sculpture of the Eskimo” (George Swinton, McClelland & Stewart, Toronto, 1972)

book with lithograph

Paul Duval, Roberts Gallery, 1975; signed by the author and artist and numbered 104/325 on the back Edition Notice page; “Sunlit Isle”- signed and numbered 104/300 in the lower margin, titled on protective sheet, enclosed in hard cover; unframed (11.75 x 11.75 ins)

book

Hugues de Jouvancourt (Translation and Adaptation by Nancy Côté), Editions la Fregate, Montreal, 1971, in its original slipcover

12.25 × 10.75 × 2 in (31.1 × 27.3 × 5.1 cm) (overall)

book

Hugues de Jouvancourt (Translation and Adaptation by Nancy Côté), Montreal, 1970, in its original slipcase

12.5 × 10.5 × 1.75 in (31.8 × 26.7 × 4.4 cm) (overall)

book

Montreal, 1978; Lorne Bouchard, “Portrait of Maurice Cullen”, colour lithograph, numbered 154/160, contained within the volume

11.75 × 10.5 × 1.5 in (29.8 × 26.7 × 3.8 cm)

six books

“The Tranquility and the Turbulence: The Life and Work of Walter J. Phillips” (Roger Boulet, M.B. Loates Publishing, 1981); “Paul Kane’s Frontier” (J. Russell Harper, The National Gallery of Canada, 1971); “Miller Brittain: When the Stars Threw Down Their Spears” (Tom Smart, Beaverbrook Art Gallery, 2007); “Krieghoff” (J. Russell Harper, Key Porter Books, 1999); “The Tangled Garden: The Art of J.E.H. MacDonald”- signed by the author on title page (Paul Duval, Cerebrus/ Prentice-Hall, 1978); “Tom Thomson: The Silence and the Storm”- signed by the authors and dated 1978 on front cover page (David Silcox and Harold Town, McClelland and Stewart, 1977)

six books

“Christopher Pratt: Personal Reflections on a Life in Art” - signed by the artist on the title page (Christopher Pratt and David Silcox, Key Porter Books, 1995); “Christopher Pratt”- signed by the artist and authors on front cover page (David P. Silcox and Meriké Weiler, Prentice-Hall Canada Inc., 1982); “The Group of Seven” (Peter Mellen, McClelland and Stewart Limited, 1970); “Gershon Iskowitz: Painter of Light”- signed by the artist on title page, signed by the author on inside title page (Adele Freedman, Merritt Publishing Company Limited, 1982); “Ken Danby”- signed by the author on front title page (Paul Duval, Clarke, Irwin and Company Limited, 1976); “David Milne” (Ed. Ian M. Thom, Douglas and McIntyre, 1991)

two books

G. Blair Laing, Memoirs of an Art Dealer (Toronto, McClelland & Stewart, 1979); G. Blair Laing, Memoirs of an Art Dealer 2 (Toronto, McClelland & Stewart, 1982), signed by the author on the title page

leather bound book

Volume Two: Abbot Mill Press, Toronto, 1990, First Edition; includes 51 signed and numbered colour lithographs, numbered AP 1/60; housed in a grey suede fold-over box

14 × 15.25 in (35.6 × 38.7 cm) (overall)

folio of seven colour serigraphs

North Shore; King Side Road; Magnetawan; School House; Winter Sun; Rapids; Farm House- 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)

book within a portfolio with 21 prints

“Le Saumon”, written by Roderick Haig-Brown (with David Denbigh, Robert R. Reid and L.H. Legeault; contained within the original portfolio which includes five unsigned prints by Bill Reid (”Le Patrimoine”); five unsigned lithographs by J. Stewart and John Miller (”L’Antlantique”); five unsigned prints by David Denbigh (”Le Pacifique”); four unsigned prints by Rudy Kovach & two unsigned prints by David Denbigh (”Le Cycle); the collection housed in a cloth-covered drop-back box, with wooden sides and a replica of Bill Reid’s sculpture “Haida Salmon” in simulated argilite inset on the front; within the original slipcover

17 × 22 in (43.2 × 55.9 cm) (each sheet)

five catalogues

includes catalogues for 1935, 1936, 1937, 1938, 1939

8 × 5.5 in (20.3 × 14.0 cm) (each)

five catalogues

includes catalogues for 1931, 1932, 1933, 1934, 1935

8 × 5.5 in (20.3 × 14.0 cm) (each)

four books

“Embracing Canada: Landscapes from Krieghoff to the Group of Seven” (Vancouver Art Gallery, 2015); “The Urban Prairie” (Mendel Art Gallery, Saskatoon, 1993); “Carl Rungius: Artist & Sportsman” (Glenbow Museum, 2000); “The Art of Glen Loates”, Paul Duval (Scarborough, 1977, signed by Paul Duval and Glen Loates on title page)

five books

“The Art Gallery of Ontario Catalogue of the 6th Loan Exhibition of British and Foreign Paintings” (1920); “Catalogue of the 20th Annual Exhibition of the Society of Canadian Painter-Etchers and Engravers” (1936); “National Gallery of Canada Exhibition of Contemporary Canadian Painting” (1936); “Painting in Canada” (Canadian Government Pavillion, Expo 67, 1967); “Art Gallery of Toronto Catalogue of Inaugural Exhibition” (1926)

8 × 11 in (20.3 × 27.9 cm) (largest)

five exhibition catalogues

includes catalogues for 1913, 1951, 1952, 1953, 1967

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

six exhibition catalogues

includes catalogues for 1926, 1937, 1959, 1956, 1960, 1966

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

three books

“Colville” (David Burnett, Art Gallery of Ontario/McClelland and Stewart Limited, Toronto, 1983); “Charles Comfort (Canadian Artists 2)” (Margaret Gray, Margaret Rand and Lois Steen, Gage Publishing, Agincourt, 1976); “Varley” (Peter Varley, Key Porter Books, Toronto, 1983)

five catalogues

includes catalogues for 1945, 1947, 1961, 1966, 1967

8.5 × 9.5 in (21.6 × 24.1 cm) ((largest piece))

five catalogues

includes catalogues for 1923, 1954, 1955, 1956, 1963

8.5 × 9.5 in (21.6 × 24.1 cm) ((largest piece))

book

M.B. Loates Publishing, 40 plates signed and numbered 18/60; housed in its original case

22 × 28 in (55.9 × 71.1 cm) (overall)

book

with introduction by Paul Duval, Cerebrus, 1979

18.5 × 23 in (47.0 × 58.4 cm) (overall)

book

Paul Duval, Toronto, 1977; includes lithograph “Bison” (signed and numbered 270/300 in the lower margin); in original wooden case with key

15.5 × 20.5 × 3 in (39.4 × 52.1 × 7.6 cm) (overall)

seven reports

includes reports from 1950-1, 1951-2, 1952-3, 1954-55, 1955-56, 1956-57, 1957-58

9 × 6 in (22.9 × 15.2 cm) (each)

seven reports

includes reports from 1958-59, 1959-60, 1961-62, 1962-63, 1964-65, 1965-66; also includes a copy of the 1952 Royal Canadian Academy of Arts Constitution and By-Laws

9 × 6 in (22.9 × 15.2 cm) (each)

seven reports

includes reports for 1930, 1932, 1934, 1935, 1936, 1938, 1939

9 × 6 in (22.9 × 15.2 cm) (each)

seven reports

includes reports for 1940-41, 1941-42, 1942-43, 1946-47, 1947-48, 1948-49, 1949-50

9 × 6 in (22.9 × 15.2 cm) (each)

book

Anny Scoones, with illustrations by Molly Lamb Bobak, North Saanich, B.C., 2000; signed by Anny Scoones and Molly Lamb Bobak on inside front cover

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

book

Andy Warhol and Pat Hackett, New York, 1983; signed by Andy Warhol on inside front cover

9.25 × 6 × 1 in (23.5 × 15.2 × 2.5 cm) (overall)

book

Tom Forrestall and Alden Nowlan, University Press of New Brunswick, 1974; signed on title page and inscribed on inside cover

13 × 10 × 1 in (33.0 × 25.4 × 2.5 cm) (overall)

mixed media on paper

also with a book containing three lithographs signed, titled and dated 1982 in the lower margin; sold together with “Dear M: Letters from a Gentleman of Excess” (Jack Pollock, Toronto, 1989), signed, dated 1989 and numbered 82/100 on the titled page, presented within the original slipcase and three colour lithographs, “Lau Paradou”, “Cassis” and “Lacoste” (each signed, titled, dated 1989 and numbered 82/100, each sheet measuring 5.5 ins x 8.5 ins)

8.5 × 5.75 in (21.6 × 14.6 cm) (subject)

colour photolithograph

inscribed “W. Kurelek” and initialed by Jean Kurelek in the lower right margin; numbered 73/225 in the lower left margin

12 × 9.5 in (30.5 × 24.1 cm)

colour lithograph

signed and numbered 186/300 in the lower margin

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

colour lithograph

signed and numbered 186/300 in the lower margin

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

colour lithograph

signed and numbered “167/200” in the margin

10 × 8 in (25.4 × 20.3 cm) (sight)

two silkscreen prints

Tulips (signed in the plate lower right, 7 x 5.75 ins (sheet)), “Wagon Road to House” (signed in pencil lower right, 10.5 ins x 9 ins (image))

three colour serigraphs

each signed with initials, titled and numbered: “Picnic Island” AP 35/60; “Winter Sun” AP 37/60; “Sun After Rain” AP 36/60; each unframed

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

three colour serigraphs

each signed with initials, titled and numbered: “Autumn Afternoon” AP 37/60; “Birch Island” AP 34/60; “Haliburton” AP 36/60; each unframed

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

lithograph

signed in the lower margin

10.5 × 13.5 in (26.7 × 34.3 cm) (subject)

pair of Sampson Matthews prints

“Auction Sale” by York Wilson, signed lower right within the plate; “A Caledon Farm in May”by Paraskeva Clark; both unframed (condition noted: tears, water damage, missing corners present within both works, artworks sold “as is” and not subject to return)

30 × 40 in (76.2 × 101.6 cm)

colour photolithograph

signed, titled and numbered 919/950 in the lower margin

18.75 × 27.75 in (47.6 × 70.5 cm)

colour photolithograph

signed, titled and numbered 911/950 in the lower margin

19.5 × 27.25 in (49.5 × 69.2 cm) (sight)

reproduction print

titled, numbered “495/950M” and inscribed “By: Clarence Gagnon” in the lower margin

19.25 × 23 in (48.9 × 58.4 cm) (sight)

lithograph

signed, dated 1978 and numbered 70/100 in the lower margin

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

colour serigraph

signed, dated 1978 and numbered 9/100 in the lower margin

15 × 21.75 in (38.1 × 55.2 cm) (subject)

five colour serigraphs

a portfolio containing five serigraphs printed in colours (”The Dawn”, “Shaman Conjuring Speech”, “Composition with Loons”, “Young Gulls Watching” and “Shaman and Apprentice”), each signed in pencil, number 90 in an edition of 350, including an edition of publication “The Art of Norval Morrisseau” by Lister Sinclair and Jack Pollock (signed by Lister and Pollock and numbered 90/350 in the reverse), published by Methuen, Toronto/New York, 1979, contained in a wooden case with calfskin straps

24 × 18 in (61.0 × 45.7 cm) (each sheet)

hand coloured etching

signed, titled, dated 1981 and numbered 3/275 in the lower margin

9 × 10.75 in (22.9 × 27.3 cm) (sight)

colour serigraph

signed, titled and numbered 54/54 in the lower margin; unframed (shrinkwrapped)

20 × 24 in (50.8 × 61.0 cm) (sight)

stencil

signed in syllabics, dated 1963 and numbered 14/40 towards the lower edge; unframed

15.75 × 19.25 in (40.0 × 48.9 cm) (sheet)

colour screenprint

signed, titled and numbered 14/98 in the lower margin

28.5 × 23.75 in (72.4 × 60.3 cm)

colour silkscreen

signed, titled and numbered 293/500 in the lower margin

18.5 × 24 in (47.0 × 61.0 cm) (sight)

colour lithograph

signed, titled, numbered 12/50 and dated 1989 in the lower margin

8.5 × 11 in (21.6 × 27.9 cm) (sight)

linocut

signed twice (once in syllabics) and titled at the lower edge; unframed

6 × 9.25 in (15.2 × 23.5 cm) (sheet)

colour serigraph

signed, titled and numbered 34/56 in the lower margin

29 × 20 in (73.7 × 50.8 cm) (sight)

colour screenprint

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

6 × 8.5 in (15.2 × 21.6 cm) (sight)

colour etching

signed, titled, dated 1979 and inscribed “A/P (Unique)” in the lower margin

19 × 24.5 in (48.3 × 62.2 cm) (sight)

watercolour

signed and titled lower right

9.25 × 13.25 in (23.5 × 33.7 cm)

oil

signed and dated 1955 lower right

9.25 × 7.25 in (23.5 × 18.4 cm) (sight)

ink drawing

signed, titled, dated “5.5.66” and inscribed “Waterloo County” lower right

9.75 × 20 in (24.8 × 50.8 cm)

silkscreen

signed, titled, dated 1993 and numbered 89/100 in the lower margin

4 × 12.75 in (10.2 × 32.4 cm) (image)

watercolour and gouache on paper

signed and dated 1980 lower left

13.5 × 20.5 in (34.3 × 52.1 cm) (sight)

watercolour

signed and dated 1978 lower right

22 × 29.5 in (55.9 × 74.9 cm) (sight)

watercolour

signed and dated 1928 lower right

10 × 12 in (25.4 × 30.5 cm) (sight)

etching

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

24 × 17.75 in (61.0 × 45.1 cm) (sight)

lithograph in colours

signed, titled and numbered 116/216 in the lower margin

16 × 9.75 in (40.6 × 24.8 cm) (sight)

colour silkscreen

signed, titled and numbered 77/100 in the lower margin; unframed

25 × 38 in (63.5 × 96.5 cm) (sheet)

colour serigraph

signed, dated 1970 and inscribed “Artist’s Proof #2” in the lower margin; unframed

40.5 × 28.5 in (102.9 × 72.4 cm) (sheet)

colour lithograph

signed and numbered 96/150; unframed

36 × 25 in (91.4 × 63.5 cm) (sheet)

gouache on paper

6.75 × 6.5 in (17.1 × 16.5 cm) (sheet)

colour serigraph

signed, dated 1983, and editioned “19/20” in the lower margin

29 × 22 in (73.7 × 55.9 cm) (sheet)

pastel on paper

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

30 × 44 in (76.2 × 111.8 cm) (sheet)

mixed media on paper

signed lower right

10.5 × 8.25 in (26.7 × 21.0 cm) (sheet)

acrylic on paper

signed and dated 2004 lower right; titled lower left

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

colour etching

signed, titled, dated 1985 and numbered 23/70 in the lower margin

29.25 × 40.25 in (74.3 × 102.2 cm) (sheet)

colour lithograph

signed, dated 1978 and numbered 18/100

15.5 × 22 in (39.4 × 55.9 cm) (subject)

colour serigraph

signed, titled, dated 1999 and numbered 63/135 in the lower margin

19.5 × 23.5 in (49.5 × 59.7 cm) (subject)

serigraph

signed, titled, dated 1969 and numbered 4/10 in the lower margin

32 × 19 in (81.3 × 48.3 cm) (oval)

colour etching

signed, titled and inscribed “Etat 12” in the lower margin; titled and dated 1966 on the reverse

6.5 × 3.75 in (16.5 × 9.5 cm) (plate size)

aquatint

signed, titled and numbered 12/30 in the lower margin

5.5 × 7.25 in (14.0 × 18.4 cm) (sight)

graphite drawing

signed indistinctly and dated 1965 lower right

10.5 × 8 in (26.7 × 20.3 cm) (sight)

etching in colours

signed, titled and numbered 15/20 in the lower margin

14 × 16 in (35.6 × 40.6 cm) (sight)

lithograph

signed, titled indistinctly, numbered 14/41 and dated 1977 in the lower margin; unframed

15 × 29 in (38.1 × 73.7 cm) (sheet)

pen and ink drawing

signed and dated 1977 lower left

8.75 × 11.5 in (22.2 × 29.2 cm) (sight)

colour etching

signed and numbered 14/30 in the lower margin

15.5 × 19.25 in (39.4 × 48.9 cm) (plate size)

mixed media collage

signed, titled and dated 1986 at the lower edge

50 × 37.25 in (127.0 × 94.6 cm)

mixed media collage

signed, titled and dated 1991 at the lower edge

11.5 × 11.75 in (29.2 × 29.8 cm) (sheet)

colour serigraph

signed, titled, dated 1989 and numbered 1/1 in the lower margin

8.5 × 8 in (21.6 × 20.3 cm) (subject)

watercolour

signed lower left

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

charcoal on paper

signed lower left

10.25 × 13.5 in (26.0 × 34.3 cm) (sight)

pastel

signed and dated 1914 lower right

8.5 × 9.25 in (21.6 × 23.5 cm) (sheet)

watercolour

signed and dated 1923 lower right

9.5 × 13 in (24.1 × 33.0 cm) (sight)

watercolour

signed lower left

8.5 × 13 in (21.6 × 33.0 cm) (sight)

watercolour

signed lower right

13.25 × 20.25 in (33.7 × 51.4 cm) (sight)

pencil sketch

stamped “Estate of Paul Caron” lower right

4.5 × 7.75 in (11.4 × 19.7 cm) (sight)

watercolour

signed lower right; titled on the reverse

7 × 9 in (17.8 × 22.9 cm)

watercolour

signed, titled indistinctly and dated 1984 lower right

13.75 × 19.75 in (34.9 × 50.2 cm) (sight)

watercolour

signed, dated “25th Dec 1908” and inscribed “To wish Miss Bertha Cochrane a very Happy Christmas” lower right

9.75 × 5.25 in (24.8 × 13.3 cm) (sight)

watercolour

signed and titled lower right; unframed

22.5 × 30 in (57.1 × 76.2 cm) (sheet)

mixed media on paper

signed and dated 1980 lower left; signed and titled on the reverse of the framing

22 × 24 in (55.9 × 61.0 cm) (sight)

charcoal

titled on an exhibition label

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

pastel

signed lower right

20 × 24 in (50.8 × 61.0 cm)

watercolour

signed lower right

15 × 19 in (38.1 × 48.3 cm) (sight)

watercolour

signed lower right; unframed

8.5 × 15.5 in (21.6 × 39.4 cm) (sheet)

watercolour

signed and dated 1946 lower right

11.5 × 17.5 in (29.2 × 44.5 cm) (sight)

etching

signed and titled in the lower margin

7.75 × 9.75 in (19.7 × 24.8 cm) (plate size)

etching

signed in the lower margin

13.25 × 8.5 in (33.7 × 21.6 cm)

watercolour on paper

signed lower right; titled “St. Gudulas [sic] Cathedral, Brussels” on the reverse; unframed

27.25 × 18 in (69.2 × 45.7 cm) (card)

watercolour

signed lower right; sold together with “Homes and Haunts of John Ruskin” by E.T. Cook, within which this artwork is reproduced on page 199

11.25 × 15.75 in (28.6 × 40.0 cm) (sight)

etching

signed and titled in the lower margin

10 × 7 in (25.4 × 17.8 cm) (plate size)

etching

signed and numbered 55/75 in the lower margin

10.5 × 5 in (26.7 × 12.7 cm) (plate size)

etching

signed and numbered 63/75 in the lower margin; unframed (matted)

11.75 × 8.5 in (29.8 × 21.6 cm) (plate size)

etching

signed and inscribed “no 12” in the lower margin

7 × 6 in (17.8 × 15.2 cm) (plate size)

watercolour

signed and dated 1978 upper left

16 × 24.25 in (40.6 × 61.6 cm)

etching

signed, titled, dated 1975 and numbered 6/10

8 × 9.75 in (20.3 × 24.8 cm) (sight)

photolithographic reproduction

signed and numbered 538/575 in the lower margin

18.75 × 25 in (47.6 × 63.5 cm) (sight)

hand-coloured aquatint

blindstamp for Edition Sagot Paris (publisher) lower right

10 × 12 in (25.4 × 30.5 cm) (subject)

etching

signed, titled, numbered 2/7 and inscribed “10” in the lower margin

19.5 × 11.75 in (49.5 × 29.8 cm) (plate size)

watercolour

14 × 17 in (35.6 × 43.2 cm)