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

mixed media on board

signed lower right

11.5 × 11 in (29.2 × 27.9 cm)

oil on canvas board

signed lower left

12 × 16 in (30.5 × 40.6 cm)

oil on canvas

signed lower right; signed and titled on the reverse

24 × 30 in (61.0 × 76.2 cm)

oil on canvas

signed lower right

25 × 34 in (63.5 × 86.4 cm)

patinated bronze with wall mount

signed, dated 2009 and numbered 3/10

6 × 6.5 × 3 in (15.2 × 16.5 × 7.6 cm) (overall)

watercolour on paper

signed and dated /70 lower right; signed, titled and dated on the reverse

8 × 5.75 in (20.3 × 14.6 cm)

oil on board

signed lower left; signed and titled on the reverse

12 × 18 in (30.5 × 45.7 cm)

oil on canvas

signed lower right; signed and titled on the reverse

12 × 15.75 in (30.5 × 40.0 cm)

oil on panel

signed and dated 1941 lower right

7 × 5.5 in (17.8 × 14.0 cm)

oil on canvas board

signed lower right; titled on the reverse

18 × 24 in (45.7 × 61.0 cm)

oil on canvas

signed lower right; titled indistinctly on the reverse

9.75 × 12.75 in (24.8 × 32.4 cm)

oil on board

signed lower right; also signed and titled on the reverse

20 × 24 in (50.8 × 61.0 cm)

oil on masonite

signed and dated 1979 lower right; signed and dated on the reverse

8 × 10 in (20.3 × 25.4 cm)

oil on canvas board

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

20 × 24 in (50.8 × 61.0 cm)

oil on board

signed lower right

9.25 × 9.25 in (23.5 × 23.5 cm)

colour lithograph

signed lower right and numbered 59/75 in pencil lower left

22.5 × 16.75 in (57.1 × 42.5 cm) (sheet )

bronze on a wooden base

stamped signature and stamped edition of “0”

4.75 × 2.5 × 2.25 in (12.1 × 6.3 × 5.7 cm) (overall)

ink and watercolour

signed land dated ‘9 lower left

16.5 × 13.75 in (41.9 × 34.9 cm)

mixed media on board

titled on a gallery label on the reverse

24 × 18 in (61.0 × 45.7 cm)

mixed media on canvas

signed and dated “26-1-2000” lower right; signed, titled and dated on the reverse

16 × 20 in (40.6 × 50.8 cm)

watercolour

signed and dated 1971 lower left

17.5 × 23 in (44.5 × 58.4 cm) (sight )

oil on plexiglass

signed on the reverse; unframed

30 × 29 in (76.2 × 73.7 cm)

silkscreen

signed, titled and numbered 23/30 in the lower margin

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

acrylic on canvas

signed, titled and dated 2015 on the reverse; unframed

20 × 20 in (50.8 × 50.8 cm)

ink on paper

signed and dated 1994 lower right

18 × 23.75 in (45.7 × 60.3 cm)

acrylic on board

signed and dated 1964 lower right; signed, titled and dated on the reverse

32 × 24.75 in (81.3 × 62.9 cm)

colour silkscreen

signed, titled, dated 1973 and numbered 7/80 lower right; unframed

28 × 38 in (71.1 × 96.5 cm) (sheet)

colour lithograph

signed, titled, dated 1953 and numbered 19/65 in pencil in the lower margin

14 × 10 in (35.6 × 25.4 cm) (sight)

colour serigraph

signed, titled, dated 1977 and numbered 33/75

28 × 39.75 in (71.1 × 101.0 cm) (sheet)

ink on paper

inscribed “z-99” lower left

17.75 × 24 in (45.1 × 61.0 cm)

gouache on paper

signed and dated 1963 lower centre

23 × 19.5 in (58.4 × 49.5 cm) (sheet)

oil on canvas

signed lower left; titled on the reverse

40 × 30 in (101.6 × 76.2 cm)

oil on photograph

6 × 4 in (15.2 × 10.2 cm) (sheet)

pair of lithographs

“John Lennon” - signed, dated 1969 and numbered “151/180” lower left; “Yoko Ono”- signed and dated 1969 lower right, numbered “112/180” lower left; each unframed

20 × 14 in (50.8 × 35.6 cm) (each sheet)

acrylic on canvas

signed, titled and dated 1985 on the reverse

89 × 52 in (226.1 × 132.1 cm)

oil on board

signed and dated 1955 lower right; signed, titled and inscribed “Toronto-1955” on the reverse; unframed

25 × 32.15 in (63.5 × 81.7 cm)

mixed media and collage on card

signed and dated 1967 lower right

11.25 × 8.5 in (28.6 × 21.6 cm) (card)

colour lithograph

signed lower right; numbered 41/75 lower left; catalogue raisonné number 1967.02EST.LI

29.25 × 45.25 in (74.3 × 114.9 cm) (sight)

etching

signed, dated 1958 and numbered “épreuve d’artiste 3/5” in the lower margin

5 × 4 in (12.7 × 10.2 cm) (plate size)

bronze sculpture

14 × 8.5 × 6.5 in (35.6 × 21.6 × 16.5 cm) (including base)

bronze and stone sculpture

signed

5 × 10.25 × 5.25 in (12.7 × 26.0 × 13.3 cm) (overall)

acrylic on canvas

signed, titled and dated 2015 on the reverse; unframed

20 × 20 in (50.8 × 50.8 cm)

mixed media on aluminum

with detachable pole; signed, titled and dated on the reverse

24 × 24 in (61.0 × 61.0 cm)

oil on canvas

signed lower right

9 × 14 in (22.9 × 35.6 cm)

oil on canvas

signed and dated 1859 lower right

27 × 34.75 in (68.6 × 88.3 cm)

oil on canvas board

signed lower left

12 × 16 in (30.5 × 40.6 cm)

oil on canvas

signed lower right; Condition Noted

24 × 30 in (61.0 × 76.2 cm)

watercolour on paper

signed and dated /70 lower right; signed, titled and dated on the reverse

8 × 5.75 in (20.3 × 14.6 cm)

oil on board

signed with initials lower right; titled on the artist label on the verse

10 × 9 in (25.4 × 22.9 cm)

oil on board

signed lower right; signed, titled and inscribed “III. 82” on a label affixed to the reverse

16 × 12 in (40.6 × 30.5 cm)

watercolour

signed lower right; signed and inscribed on the reverse of the framing: “This watercolour was given to me by Mrs. George Horne Russell as a form of ‘thank you’ for driving her to St. Andrews, N.B., about 1923” by Douglas H. Allan

6.5 × 9.75 in (16.5 × 24.8 cm)

watercolour

signed and dated 1937 lower left

13.5 × 9.5 in (34.3 × 24.1 cm) (sight)

oil on unstretched canvas

signed on the reverse; this lot is from a series of eight works as part of a project for a Montreal hotel

72 × 36 in (182.9 × 91.4 cm)

oil on board

signed lower right; signed and titled on the reverse

11.75 × 17.75 in (29.8 × 45.1 cm)

oil on canvas

signed and dated 1904 lower left

16 × 29 in (40.6 × 73.7 cm)

colour stonecut

signed, titled, dated “Dorset 1985” and numbered 5/50 in pencil in the lower margin

22 × 25 in (55.9 × 63.5 cm) (sight )

stonecut

inscribed with artist’s name, titled, dated 1959, numbered 48/50 and inscribed “Cape Dorset, Baffin Island” in the lower margin

9 × 19 in (22.9 × 48.3 cm) (subject)

stonecut

inscribed with artist’s name, titled, dated 1960, numbered 20/50 and inscribed “Cape Dorset, Baffin Island” in the lower margin

11 × 20 in (27.9 × 50.8 cm) (sight)

acrylic on canvas board

signed lower left; signed and titled on the reverse

24 × 20 in (61.0 × 50.8 cm)

stone sculpture

6 × 3 × 3 in (15.2 × 7.6 × 7.6 cm) (overall)

stone sculpture

signed in Roman “Kavava Ashoona” on the underside

14.5 × 10 × 2 in (36.8 × 25.4 × 5.1 cm) (overall)

mixed media on paper

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

15 × 12 in (38.1 × 30.5 cm) (sheet)

etching

signed, dated 1975, titled and numbered 4/10 in the lower margin; unframed (matted)

12.5 × 7.75 in (31.8 × 19.7 cm) (plate size)

mixed media on paper

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

15 × 12 in (38.1 × 30.5 cm) (sheet)

mixed media on paper

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

15 × 12 in (38.1 × 30.5 cm) (sheet)

acrylic on paper

signed and dated 1969 lower right

17 × 23.25 in (43.2 × 59.1 cm) (sight )

stone

inscribed with disc number “E9-822” on the underside of the left foot

5.5 × 9.75 × 4.75 in (14.0 × 24.8 × 12.1 cm) (overall)

stone

inscribed with syllabics on the underside

12 × 7 × 6.5 in (30.5 × 17.8 × 16.5 cm) (overall)

colour silkscreen print

signed, titled and numbered 26/160 in the lower margin

31.5 × 12.5 in (80.0 × 31.8 cm) (image)

stonecut and stencil

inscribed with artist’s name, titled, numbered 22/50 and inscribed “Dorset 1976” in the lower margin

24.5 × 34 in (62.2 × 86.4 cm)

stonecut

signed, titled, dated 1990 and numberd 5/50 in the margin

25.75 × 19.5 in (65.4 × 49.5 cm) (sight)

stone

disc number E5-595 and inscribed in syllabics on the underside; Condition Noted: repaired, some chips remain

3.25 × 2 × 5.5 in (8.3 × 5.1 × 14.0 cm) (overall)

lithograph

inscribed with artist’s name, titled, numbered 13/50 and inscribed “Dorset 1976” in the lower margin

12.75 × 18.75 in (32.4 × 47.6 cm)

stonecut and stencil

inscribed with artist’s name, titled, numbered 42/50 and inscribed “Dorset 1978” in the lower margin

24 × 35.5 in (61.0 × 90.2 cm)

silkscreen

signed and dated “29-11-82” lower right

18.5 × 24 in (47.0 × 61.0 cm) (sight)

stone

inscribed with syllabics on the underside

9 × 4 × 10.5 in (22.9 × 10.2 × 26.7 cm) (overall)

stone; bone

original igloo sticker tag intact on base; Condition Noted: Base is cracked and taped; tail is repaired

2.5 × 2.75 × 11.5 in (6.3 × 7.0 × 29.2 cm) (overall)

stone; segments glued to base

inscribed in Roman “Kanatsia” with disc number E5-202 on the underside

4.25 × 4 × 4 in (10.8 × 10.2 × 10.2 cm) (overall)

two argillite pendants and one brooch

Pat Dixon - “Eagle” (argillite, signed, titled and dated “6/84” on the reverse; a metal loop present through a hole in the upper centre; 2 ins x 1.25 ins); sold together with “Beaver” (argillite pendant; signed indistinctly, dated 1973, titled, inscribed to a previous owner and “Haida, BC, Canada” on the reverse; 1.5 ins x 1.5 ins); and “Killer Whale” (metal brooch, etched initials “PS” on the reverse; 2 ins x 1.75 ins overall)

2 × 1.25 in (5.1 × 3.2 cm) (Eagle)

three colour serigraphs

each signed with initials, titled and numbered: “Birch Island” AP 33/60; “Summer Storm” AP 38/60; “Grey October Morning” AP 39/60; each unframed

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

three colour serigraphs

each signed with initials, titled and numbered: “Rock Cluster Madawaska River, 1963” AP 39/60; “On the York River” AP 37/60; “Pink Town House” AP 36/60; each unframed

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

book with four prints

“Prelude”; “Autumn Afternoon”; “Grey Day”; “General Store”; each signed with initials, titled and numbered 17/60 in pencil in the lower margin; housed in portfolio box with cover page

19.25 × 21.5 in (48.9 × 54.6 cm) (each sheet)

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 43/75 in pencil 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 )

no-medium

“Impressionism in Canada: A Journey of Rediscovery” (A.K. Prakash, Arnoldsche Art Publishers, Stuttgart, 2015); “Architects & Artisans: Canadian Art 1890-1918” (Charles C. Hill, National Gallery Artistsof Canada, Ottawa, 2013); “Painting in Canada: A History” (John Russell Harper, University of Toronto Press, Toronto, 1966); “Treasures of The National Gallery of Canada” (David Franklin, National Gallery of Canada, Ottawa, 2003); “Canadian Art - Volumes 1 A-F and II G-K” (Charles C. Hill and Pierre B. Landry, National Gallery of Canada, Ottawa, 1988-1994); “The National Gallery of Canada” (Jean Sutherland Boggs, Oxford University Press, Toronto, 1971); “Index to Art in Canada to 1930” (Electronic resource, National Gallery of Canada, Ottawa); “A Place for Art: The Architecture of the National Gallery of Canada” (Witold Rybczynski, National Gallery of Canada, Ottawa, 1993); “The Contemporary Arts Society: Montréal, 1939-1948 = La Société d’art Contemporain: Montréal, 1939-1948” (Edmonton Art Gallery, Edmonton, c. 1980); “The Flat Side of the Landscape: The Emma Lake Artists’ Workshops” (John O’Brian, Mendel Art Gallery, Saskatoon, 1989); “Canadian Art: It’s Origin & Development” (William G. Colgate, The Ryerson Press, Toronto, c. 1943); “Saskatchewan: Art and Artists” (Terry Fenton and Wayne Morgan, Regina, s.n., 1971); “Our Own Country Canada: Being An Account of the National Aspirations of the Principal Landscape Artists in Montreal and Toronto 1860-1890” (Dennis Reid, National Gallery of Canada, Ottawa, 1979); “The True North: Canadian Landscape Painting 1896-1939” (Barbican Art Gallery, Lund Humphries, London, 1991); “Abstraction West: Emma Lake and after = Abstraction dans l’ouest le lac et après” (Terry Fenton, National Gallery of Canada Journal No. 11, 1 March 1976)

no-medium

“The Tranquility and the Turbulence” (Roger Boulet, M.B. Loates, Markham, Ont., c.1981); “The Group of Seven: Art for A Nation” (Charles C. Hill, National Gallery of Canada, Ottawa, 1995); “John Lyman, 1886-1967” (Louise Dompierre, Agnes Etherington Art Centre, Kingston, Ont., c.1986); “André Biéler: An Artist’s Life and Times (Frances K. Smith, Firefly Books, Toronto, 2006); “The Art of Tom Thomson” (Joan Murray, AGO, Toronto, 1971); “David Milne: Painting Place = David Milne: un coin pour peindr” (Rosemarie L. Tovell, National Gallery of Canada, Ottawa, 1976); “Emily Carr” (Doris Shadbolt, Douglas & McIntyre, Toronto, 1990); “J.W. Morrice” (Lucie Dorais, National Gallery of Canada, Ottawa, 1985); “C.W. Jefferys” (Robert H. Stacey, National Gallery of Canada, Ottawa, 1985); “Bertram Brooker, 1885-1955” (Dennis Reid, National Gallery of Canada, Ottawa, 1979); “Jock Macdonald, 1897-1960” (Joyce Zemans, National Gallery of Canadam Ottawa, 1985); “Philip Surrey” (Jacques de Roussan, Lidec, Montreal, 1968); “Jock Macdonald: The Inner Landscape” A Retrospective Exhibition” (Joyce Zemans, Art Gallery of Ontario, Toronto, 1981); “Jock Macdonald: Retrospective Exhibition” (National Hallery of Canada, Ottawa, 1969); “Walter J. Phillips: A Selection of His Works and Thoughts = un choix de son oeuvre et de ses réflexions” (Michael J. Gribbon, National Gallery of Canada for the Corporation of the National Museums of Canada, Ottawa, 1978)

silkscreen

signed lower right; Sampson-Matthews label affixed to the reverse; condition noted along top edge

30 × 40 in (76.2 × 101.6 cm)

no-medium

includes October-November 1943, November 1946, Spring-Summer 1948, Christmas-New Year 1949-50, October 1951, Spring 1952, New Year 1955, Summer 1955, Winter 1956, Spring 1956, Autumn 1958, Spring 1957

10 × 7.5 in (25.4 × 19.1 cm) (each)

no-medium

“Barker Fairley” (Paul Duval, Marianne Friedland Gallery Limited, 1980) signed by Barker Fairley and author on inside page, includes 2 unframed lithographs - each signed and numbered 171/300 (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)

no-medium

“Garry Neill Kennedy: Printed Matter, 1971-2009 = imprimés, 1971-2009” (Peter Trepanier, National Gallery of Canada, Ottawa, 2012); “FitzGerald as Printmaker: A Catalogue Raisonné of the First Complete Exhibition of His Printed Works” (Helen Coy, University of Manitoba Press, Winnipeg, 1982); “In Seclusion with Nature: The Later Work of L. LeMoine Fitzgerald, 1942-1956” (Michael Parke-Taylor, Winnipeg Art Gallery, Winnipeg, 1989); “Beauty in a Common Thing: Drawings and Prints by L.L. Fitzgerald” (Christine Lalonde, National Gallery of Canada, Ottawa, 2004); “Lionel LeMoine Fitzgerald, 1890-1956: The Development of An Artist” (The Winnipeg Art Gallery, Winnipeg, 1978); “Caroline and Frank Armington: Canadian Painter-Etchers in Paris” (Janet Braide and Nancy Parke-Taylor, Region of Peel Art Gallery, Brampton, Ont., 1989); “Franklin Carmichael: prints = gravures” (McMichael Canadian Collection, Kleinburg, Ont., 1984); “The Prints of Edwin Holgate = Les gravures d’Edwin Holgate” (Ian M, Thom, The Gallery, Kleinburg, Ont., 1989); “A New Class of Art: The Artists’s Print in Canadian Art, 1877-1920” (Rosemarie L. Tovell, National Gallery of Canada, Ottawa, 1996); “The Wood Engravings of Laurence Hyde” (Patyricia Ainslie, The Museum, Calgary, C. 1986); “Margaret Shelton: Block Prints, 1936-1984” (Patricia Ainslie, Glenbow Museum, Calgary, 1984); “Cecil Buller: Modernist Printmaker = graveur moderniste” (Patricia Ainslie, Glenbow Museum, Calgary, c. 1989); “Walter J. Phillips, R.C.A.: Woodcuts and Watercolours” (Masters Gallery, Calgary, 1991); “Printmaking in British Columbia, 1889-1983 / Art Gallery of Greater Victoria: October 6 to November 27, 1983: (Art Gallery of Greater Victoria, Victoria, 1983); “Images of the Land: Canadian Block Prints, 1919-1945” (Patricia Ainslie, Glenbow Museum, Calgary, c. 1984)

no-medium

“Watercolour Painting in Saskatchewan 1905-1980” (Mendel Art Gallery, Saskatoon, 1981); “Seven Saskatchewan Folk Artists: From the Permanent Collections of the Mendel Art Gallery and Saskatchewan Arts Board” (Ann Harbuz, Medndel Art Gallery, The Gallery, Saskatoon, 1983); “Tradition and Innovation: Saskatoon Art and the 1950s (Dan Ring, Mendel Art Gallery, The Gallery, Saskatoon, 1987); “From Regionalism to Abstraction: Mashel Teitelbaum and Saskatchewan Art in the 1940s” (Dan Ring, Matthew Teitelbaum, Mendel Art Gallery, Saskatoon, 1991); “Robert Ayre: The Critic and the Collection” (The Gallery, Montreal, 1992); “A Boundless Horizon: Visual Records of Exploration and Settlement in the Manitoba Region, 1624-1824 / The Winnipeg Art Gallery, September 15-October 30, 1983” (Virginia G. Berry, The Gallery, Winnipeg, c. 1983); “Modernism in Quebec Art, 1916-1946” (Jean-René Ostiguy, National Gallery of Canada, Ottawa, 1982); “Discerning Tastes: Montreal Collectors, 1880-1920” (Janet M. Brooke, Montreal Museum of Fine Arts, Montreal, c. 1989); “Achieving the Modern: Canadian Abstract Painting and Design in the 1950s” (Robert Stacey, WAG, Winnipeg, 1993); “The Winnipeg School of Art: The Early Years” (Marilyn Baker, University of Manitoba Press, Winnipeg, 1984); “White Winds of Dawn” (Frances Beatrice Taylor, J.E.H. MacDonald illus., McClelland & Stewart, Toronto, 1924); “Fires of Driftwood” (Isabel Ecclestone Mackay, J.E.H. MacDonald illus., McClelland & Stewart, Toronto, 1922); “Thorn Apple Tree” (Grace Campbell, Wm. Collins Sons & Co., Toronto, 1942); “The Downfall of Temlaham” (Marius Barbeau, The MacMillan Company of Canada, Toronto, 1929); “Cities of Canada: Reproductions from the Seagram Collection of Paintings” (Distillers Corporation-Seagrams Ltd., House of Seagram, Montreal, 1953); “Art Plastic Designed for Living” (Andrea DiNoto, Abbeville Press, New York, 1984); “The Lost Craft of Ornamented Architecture: Canadian Architectural Drawings, 1850-1930” (Jean B. Weir, Dalhousie University, Halifax, 1983); “Canadian Centre for Architecture: Building and Gardens” (Larry Richards, Canadian Centre for Architecture, Montreal, 1989)

2 drawings

Red Fox in Vaughan: pencil drawing, initialed to the right, signed lower left (4 ins x 6.75 ins, sight); Stawberry Roam: mixed media drawing, initialed and titled lower right (5 ins x 7 ins, sight)

5 × 7 in (12.7 × 17.8 cm) ((largest piece))

woodblock

signed and titled in the lower margin

5 × 7 in (12.7 × 17.8 cm) (subject)

three colour serigraphs

Vaughan Grayson, “Rattle Snake Point, Kalamalka Lake, B.C.” (signed, titled and dated 1950, image 10 x 11.75 inches); Jean Hunter, “Luscar Mountain, Alberta” (signed, and titled, image 10 x 12 inches); Weber, “Mt. Begbi, Revelstoke, B.C.” (signed, titled and dated 1957, image 7 x 9.75 inches), each unframed

10 × 12 in (25.4 × 30.5 cm) (largest )

watercolour

signed lower left

10.5 × 8 in (26.7 × 20.3 cm)

nine books

“Peter Harris, A Tribute” - Roberts Gallery, 1995; “Emily Carr” - Vancouver Art Gallery, 1971; “The Art of Tom Thomson” Joan Murray, The Art Gallery of Ontario, 1971); “E.B. Cox: A Life in Sculpture”- Gary Michael Dault, The Boston Mills Press, 1999 (signed by the artist); “People in Struggle: The Life and Art of Bill Stapleton” - c.H. Gervais, Penumbra Press, 1992 (signed by the artist); “Lemieux” - Guy Robert, Gage Publishing, 1978 (signed by the artist); “Tom Thomson: The Silence and the Storm” - Harold Town and David P. Silcox, McClelland and Stewart Limited, 1977; “Emily Carr: An Introduction to her Life and Art” - Anne Newlands, Firefly Books, 1996; “The Best Contemporary Canadian Art” - Joan Murray, Hurtig Publishers, 1997

bronze

signed indistinctly, dated 1970 and numbered 2/7

9.75 × 6 × 4.75 in (24.8 × 15.2 × 12.1 cm) (including base)

eleven exhibition catalogues

includes 1913, 1918, 1921, 1922, 1923, 1924, 1925, 1926, 1927, 1928 and 1929

no-medium

portfolio of 18 limited edition prints, numbered 80/200, including: “Apple Tree, Hanover, 1930”, “Fall in Hanover, 1929”, “Garden Plants, Hanover, 1929”, “Factory, Hanover, 1929”, “Hanover Winter Afternoon, 1928”, “Winter Spruce, 1928”, “Lillian, 1927”, “The Hills, Hanover, 1927”, “the Durham Road, Hanover, 1927”, “Hanover Factories, 1927”, “Composition No.1, Hanover, 1925”, “Composition No.2, Hanover, 1925”, “By A Lake, Hanover, 1925”, “Ploughed Fields, Hanover, 1925”, “Winter, Hanover, 1924”, “Near Hanover, 1924”, and “Factories, Saugeen River, Hanover, 1924”

12 × 9 in (30.5 × 22.9 cm) (each)

book

Paul Duval, Cerebrus Publishing Company, 1980; signed by A.J. Casson on title page

14 × 17 × 1.5 in (35.6 × 43.2 × 3.8 cm) (overall)

10 volumes

E. Bénézit, “Dictionnaire Critique et Documentaire des Peintres, Sculpteurs, Dessinateurs et graveurs”, Librairie Gründ, Paris, 1976, Volumes 1-10.

book

M.B. Loates, Toronto, 1981; signed by the author and numbered 6/150 in pencil on the title page; housed in a linen and leather slipcase

watercolour

signed lower right; titled on a gallery label verso

23.25 × 17.75 in (59.1 × 45.1 cm) (sight )

watercolour

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

24 × 18 in (61.0 × 45.7 cm) (sight )

oil on board

signed lower right; also signed and titled on the reverse

4.25 × 6.25 in (10.8 × 15.9 cm)

oil on canvas

signed (incised) lower right; unframed

18 × 24 in (45.7 × 61.0 cm)

oil on board

signed and dated 1953 lower right; unframed

20 × 24 in (50.8 × 61.0 cm)

oil on board

signed lower left; signed and titled on the reverse

18 × 30 in (45.7 × 76.2 cm)

acrylic

signed and dated 1976 lower right

19.5 × 14.5 in (49.5 × 36.8 cm)

watercolour

signed lower right

7.25 × 8.75 in (18.4 × 22.2 cm) (sight)

three oils on canvas

titled and dated 2002 on a gallery label on the reverse of one of the canvases

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

mixed media on paper

signed lower right

11 × 14 in (27.9 × 35.6 cm) (sight)

oil on canvas

signed and dated 1916 lower right

18 × 22 in (45.7 × 55.9 cm)

watercolour

signed lower right

19.75 × 24.75 in (50.2 × 62.9 cm)

pen and pencil sketch

initialed lower left

7.5 × 11.25 in (19.1 × 28.6 cm) (sheet)

oil on board

titled on a gallery label on the reverse

8.75 × 6.75 in (22.2 × 17.1 cm)

oil on board

signed lower right; also signed, titled and dated indistinctly on the reverse

7 × 5 in (17.8 × 12.7 cm)

oil on board

signed lower right

20 × 16 in (50.8 × 40.6 cm)

bronze pendant

signed with an etched initial lower left; sold together with “Medals” (Dora de Pédery Hunt & Elizabeth Frey, Toronto, 1973, signed by the artist)

2 × 2 × 0.25 in (5.1 × 5.1 × 0.6 cm)

oil on canvas

signed lower right; signed and titled on the reverse

24 × 30 in (61.0 × 76.2 cm)

oil on masonite

signed and dated 1975 lower right

20 × 24 in (50.8 × 61.0 cm)

oil on canvas

signed and dated 1999 lower right; signed, titled and dated on the reverse; unframed (however, stretched and wired)

36 × 48 in (91.4 × 121.9 cm)

oil on canvas

signed lower right; signed, titled and dated 2003 on the reverse; unframed

22 × 28 in (55.9 × 71.1 cm)

mixed media

Full listing in catalogue details

acrylic on paper

signed lower left; signed and titled on the reverse

16 × 20 in (40.6 × 50.8 cm) (subject)

colour lithograph

signed and numbered 7/125 in pencil in the lower margin

22.25 × 18.25 in (56.5 × 46.4 cm) (sheet)

colour lithograph

signed and numbered 22/280 in pencil in the lower margin; signed and titled within the print

24.25 × 20 in (61.6 × 50.8 cm) (sight )

acrylic on paper

signed, dated 1979 and titled in the lower margin

16.5 × 23 in (41.9 × 58.4 cm) (image)

oil on board

signed lower left; signed and titled on the reverse

10 × 8 in (25.4 × 20.3 cm)

oil on board

signed lower right; signed, titled and dated 2014 on the reverse

18 × 24 in (45.7 × 61.0 cm)

oil on board

signed lower right

12 × 16 in (30.5 × 40.6 cm)

watercolour

signed and dated 1954 lower right

13.25 × 11.75 in (33.7 × 29.8 cm) (sight )

watercolour

signed and dated 1954 lower left; also signed, titled and dated January 1954 to a label affixed to the reverse

15 × 13 in (38.1 × 33.0 cm)

oil on canvas board

signed and dated 1961 lower right; titled and “Near Belly Buttes Blood Reserve” on the reverse; a card on the reverse of the framing identifies the subject as Chief Flying Cloud

20 × 16 in (50.8 × 40.6 cm)

pastel on paper

signed lower right

17.25 × 14.25 in (43.8 × 36.2 cm) (sight )

oil on board

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

8 × 10 in (20.3 × 25.4 cm)

coloured lithograph

8.25 × 11.25 in (21.0 × 28.6 cm) (sheet)

oil on board

signed with estate stamp lower right

8 × 10 in (20.3 × 25.4 cm)

watercolour

signed lower right; signed, titled and dated “September 1929” on the reverse of the framing

6.5 × 4.5 in (16.5 × 11.4 cm)

oil on board

signed and titled on the reverse

10 × 11 in (25.4 × 27.9 cm)

gouache on paper

indistinctly signed and dated lower left

9.5 × 11.25 in (24.1 × 28.6 cm) (sight )

oil on card

signed lower right; titled on the reverse and inscribed with the title and “April 28, 1875” on a card attached to the reverse

5 × 7.5 in (12.7 × 19.1 cm)

mixed media drawing

5 × 6.75 in (12.7 × 17.1 cm) (sight )

mixed media drawing

titled in pencil within the margin

4.75 × 6.75 in (12.1 × 17.1 cm) (sight )

mixed media on panel

signed, titled and dated 2008 on the reverse; unframed

48 × 36 in (121.9 × 91.4 cm)

acrylic on canvas

signed lower left; titled on the reverse

15.75 × 19.75 in (40.0 × 50.2 cm)

colour lithograph

signed and numbered 33/930 in the margin

16.25 × 19.5 in (41.3 × 49.5 cm) (subject)

oil on board

signed and dated 1974 lower left

24 × 20 in (61.0 × 50.8 cm)

ceramic sculpture

5.75 × 11.25 × 4.5 in (14.6 × 28.6 × 11.4 cm) (overall)

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 1972 on the reverse

8 × 10 in (20.3 × 25.4 cm)

gouache and etchings

eleven works including: -“Untitled Abstract” (gouache on paper, signed, dated “81-5” and inscribed “To Jack - Love & Prayers” in pencil in the lower margin; also signed on the reverse, 8.75 x 6 inches); -“Bat #1” (etching, signed, titled, dated ‘68 and numbered AP, sheet 7.5 x 5 inches);” -Bat #2” (etching, signed, dated ‘68 and numbered 16/50 in pencil in the lower margin, sheet 11 x 7.75 inches); -“Bat #3” (etching, signed, titled, dated ‘68 and numbered AP in pencil in the lower margin, sheet 8 x 5 inches); -“Mouse Skull” (etching, signed, titled and dated ‘68 in pencil in the lower margin, sheet 8.75 x 6.75 inches); -“Prophet Emerging” (etching, signed, titled, dated ‘68 and numbered 38/40 in pencil in the lower margin, sheet 7 x 9 inches); -“Mole #3” (etching, signed, titled, dated ‘68 and numbered 25/50 in pencil in the lower margin, sheet 7.5 x 10.25 inches); -“Crow Claws” (etching, signed, titled, dated ‘68 and numbered 14/25 in pencil in the lower margin, sheet 12.5 x 11 inches); -“Landscape 67” (etching, signed, titled, dated ‘67 and numbered 73/100 in pencil in the lower margin, sheet 11 x 19.75 inches); -“Shell Ensemble” (etching, signed, titled, dated ‘83 and numbered 12/100 in pencil in the lower margin, sheet 11.5 x 18.5 inches); -“Paul Fournier” (signed, titled, dated ‘67 and numbered 21/35 in pencil in the lower margin, sheet 13.5 x 19 inches); all unframed

13.5 × 19 in (34.3 × 48.3 cm) (largest )

lithograph

signed, dated 1971 and numbered “113-160” lower right; unframed

20 × 14 in (50.8 × 35.6 cm)

oil on canvas

signed lower right; signed and titled on the stretcher; a preparatory pencil sketch is included with this work

12 × 9 in (30.5 × 22.9 cm)

etching

unsigned

6.5 × 4 in (16.5 × 10.2 cm) (plate size)

aquatint on zinc

signed and numbered 2/10 in the lower margin

6.25 × 4.25 in (15.9 × 10.8 cm) (subject)

six linocuts framed together

each signed lower right in pencil in the margin; the six works displayed in a single frame

6.25 × 7.5 in (15.9 × 19.1 cm) (each )

etching

signed, titled, dated 1964 and numbered 4/10 in the lower margin

11.5 × 10 in (29.2 × 25.4 cm) (plate size)

mixed media on paper

initialed and dated 79 to the right; titled lower right

6.25 × 8 in (15.9 × 20.3 cm) (sight)

woodblock print

signed and titled in the lower margin

2.75 × 3.75 in (7.0 × 9.5 cm) (subject)

graphite drawing

signed and dated “October 11, 1915” lower left

12 × 9.5 in (30.5 × 24.1 cm)

two pencil sketches on paper

“Team of Horses” (pencil on paper, 5.75 x 7.25 ins); “House by a Pond” (pencil on paper, signed lower right, sight 8.25 x 10.5 inches)

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

pencil on paper

initialed lower left; titled on a label on the reverse

2.5 × 3 in (6.3 × 7.6 cm) (sight )

pair of woodcuts

“Coyotes” (woodcut, signed with initials and titled in pencil in the margin, sight 4.25 x 5 inches); “Mountain Cloud” (woodcut, signed with initials and titled in pencil in the margin, sight 4.75 x 4.5 inches)

4.25 × 5 in (10.8 × 12.7 cm) (largest )

woodcut

“Anemones” (ink and watercolour on paper, signed with initials and titled in pencil in the lower margin, 5.25 x 5 inches); “Mountain Cloud” (woodcut on paper, signed with initials and titled in pencil in the lower margin, sight 5 x 5.5 inches)

5 × 5.5 in (12.7 × 14.0 cm) (largest )

two etchings

“Yonge St. Slip”: signed and titled in the lower margin (9 ins x 3.5 ins); “Ridge Road”: signed and titled in the lower margin (8.25 ins x 4.5 ins)

9 × 3.5 in (22.9 × 8.9 cm) ((largest piece))

two watercolours

Shipyard: signed on the reverse, 7.5 ins x 11 ins (sheet); Construction Site: signed and dated 1946 lower left, 14 ins x 20 ins (sheet); each unframed

14 × 20 in (35.6 × 50.8 cm) ((largest piece))

woodblock print

signed, dated 1931 and numbered 5/50 in pencil in the lower margin

6 × 6 in (15.2 × 15.2 cm) (image)

etching

signed, titled, dated 1976 and numbered 75/90 in the lower margin

15.8 × 18 in (40.1 × 45.7 cm) (plate size)

etching

signed lower right; unframed (matted)

7 × 3.75 in (17.8 × 9.5 cm) (plate size)

ink drawing

signed and dated 1969 lower right

10 × 14.5 in (25.4 × 36.8 cm)

aquatint on zinc

signed and numbered 3/15 in the lower margin

7 × 8.75 in (17.8 × 22.2 cm) (subject)

pair of posters

“New Town: Enigmas” (Mazelow Gallery, April 12-May 10, 1969, signed and dated “1-10-To-25-10-1969” upper left - sheet size 36 ins x 23.5 ins); sold together with “Florence Vale: Recent Drawings & Collage” (Mazelow Gallery, Toronto - sheet size 25 ins x 17 ins); both unframed

36 × 23.5 in (91.4 × 59.7 cm) (sheet)

watercolour

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

20 × 12 in (50.8 × 30.5 cm) (sight)

ink drawing

signed lower right

10.5 × 7 in (26.7 × 17.8 cm) (sight)

etching

signed in the lower right margin

12.5 × 7.25 in (31.8 × 18.4 cm) (plate size)

colour lithograph

signed within plate upper right; unframed

15.75 × 14.75 in (40.0 × 37.5 cm) (sheet)

oil on board; mixed media

“Seated Figure” (signed and dated 1967 on the reverse, 7 x 4.75 ins); “Selection of Five Prints” (three signed, largest 8.5 x 4.75 ins); all unframed

8.5 × 4.75 in (21.6 × 12.1 cm) (largest )

colour etching

signed, titled, dated 1979 and numbered 163/200 in the lower margin

20 × 17 in (50.8 × 43.2 cm) (plate size)

oil on board

signed lower left; signed, titled and dated 2004 on the reverse

8 × 10 in (20.3 × 25.4 cm)

oil on board

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

9 × 12 in (22.9 × 30.5 cm)

oil on board

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

5 × 7 in (12.7 × 17.8 cm)

reproduction print

titled, numbered “123/250M” and inscribed “By: A.J. Casson” in the lower margin

18.5 × 22.25 in (47.0 × 56.5 cm)

acrylic on paper

signed lower right; titled on the reverse of the framing

18 × 14 in (45.7 × 35.6 cm) (sight)

colour silkscreen

signed, titled and numbered 91/200 in the lower margin

22.75 × 15.25 in (57.8 × 38.7 cm) (sight)

acrylic on paper

signed and dated 1980 lower right

19 × 14.5 in (48.3 × 36.8 cm) (sight)

mixed media on aluminum

with detachable pole; signed, titled and dated 2004 on the reverse

24 × 24 in (61.0 × 61.0 cm)