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

watercolour on card

signed lower right

4.25 × 6.25 in (10.8 × 15.9 cm)

watercolour on card

signed lower right

4.25 × 6.25 in (10.8 × 15.9 cm)

colour silkscreen

signed, numbered 66/70 and dated 1993 in the lower margin

13 × 21 in (33.0 × 53.3 cm) (image)

colour etching and aquatint

signed, titled, dated 1993 and numbered 14/75 in pencil in the lower margin

15 × 12 in (38.1 × 30.5 cm)

colour woodcut

signed in the lower right margin; titled and numbered 203 in the lower margin (covered by the matting when framed)

6.75 × 6.5 in (17.1 × 16.5 cm)

drypoint etching

This work is contained within “The Colophon: A Book Collectors' Quarterly, Part V”, Colophon Ltd., Edited by Elmer Adler, Burton Emmett, and John T. Winterich, New York, 1931 signed within the margin

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

watercolour

signed lower left; titled on the reverse

5.5 × 5.25 in (14.0 × 13.3 cm)

colour etching and aquatint

signed, titled, dated 1985 and numbered 41/50 in the lower margin

19.75 × 15.75 in (50.2 × 40.0 cm) (plate size)

ink on paper

signed with initials and titled and inscribed in Ukrainian; titled in English and inscribed “Slide #92” on the reverse

23.25 × 14.5 in (59.1 × 36.8 cm) (sheet )

watercolour

signed lower right; titled on gallery label on the reverse

4.75 × 6.75 in (12.1 × 17.1 cm)

watercolour

signed lower right; unframed

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

two colour lithographs

“Conception Bay Waterfall” (signed, titled, dated 1992 lower right and numbered 16/20 in pencil in the lower margin, 19.5 x 27.25 inches); “Change Islands, Summer” (signed, titled, dated 1992 lower right and numbered 14/30 in pencil in the lower margin, 17.75 x 23.5 inches)

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

watercolour

signed and dated 1958 lower centre

19.5 × 25.5 in (49.5 × 64.8 cm) (sight)

pastel

signed lower left

12 × 9.5 in (30.5 × 24.1 cm) (sight )

colour woodcut

signed in pencil in the lower margin

4.25 × 4.25 in (10.8 × 10.8 cm) (sight )

etching and aquatint

signed and numbered 98 in pencil in the lower margin

12.75 × 10.5 in (32.4 × 26.7 cm) (sight )

two charcoal drawings

“Reclining Figure” (charcoal on paper, signed lower left, sight 5.25 x 9.75 inches); “Portrait of a Man” (charcoal on paper, signed and dated 1943 to the right, sight 15 x 12.75 inches)

15 × 12.75 in (38.1 × 32.4 cm) (largest )

graphite on paper

with various sketches on the reverse; sold with a copy of “Berryman Street Boy” (Paul Duval, Von Lotz Publishing Inc., Whitby, Ontario, 2000)

15 × 11 in (38.1 × 27.9 cm)

two pencil sketches on paper

“Nude” (double-sided pencil on paper, 14.5 x 10.5 inches); “Portrait of a Man” (pencil on paper, 15 x 14 inches, unframed)

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

engraving

6.75 × 4 in (17.1 × 10.2 cm) (sight )

lithograph in colours

printed to the edges and without margins (not signed or numbered). Printed by Mourlot, Paris. Published by Verve.

13.75 × 10.25 in (34.9 × 26.0 cm)

etching and aquatint with hand colouring

signed, titled, dated 1993 and numbered 3/75 in pencil in the margin

15.75 × 13.25 in (40.0 × 33.7 cm) (plate size)

screenprint

signed and numbered 163/200 in pen on the reverse

20.75 × 20.75 in (52.7 × 52.7 cm)

ink on card

signed lower right; inscribed 54/231 on the reverse

6.75 × 4.75 in (17.1 × 12.1 cm)

gouache on paper

signed and dated 1979 lower right; titled lower left

14 × 10 in (35.6 × 25.4 cm) (subject)

colour silkscreen

signed, titled, dated “1/70” and numbered 77/125 in pencil in the lower margin

21.25 × 21 in (54.0 × 53.3 cm) (sheet sight )

colour pochoir print

reproduction of signature, title, date of “4/IX/1940” and inscription “Palma de majorque” on the reverse

14 × 17 in (35.6 × 43.2 cm)

ink and watercolour

signed and dated 1982 lower right; titled lower left

12.75 × 17.5 in (32.4 × 44.5 cm) (sight )

acrylic on card

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

5.75 × 5.75 in (14.6 × 14.6 cm)

monoprint

signed and dated lower right

42 × 55 in (106.7 × 139.7 cm) (sight )

ink on paper

signed and dated 1951 lower right; titled to label on the reverse

12.75 × 19.75 in (32.4 × 50.2 cm) (sight )

ink on paper

signed and dated “24/4/69” lower left

5.25 × 8.25 in (13.3 × 21.0 cm)

watercolour

initialed and dated 2002 lower left

19 × 14.5 in (48.3 × 36.8 cm)

ink on paper

35.75 × 24 in (90.8 × 61.0 cm)

gouache on paper

signed and dated 1971 lower left

5 × 7 in (12.7 × 17.8 cm)

coloured ink and collage

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

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

colour etching

signed, titled, dated 1982 and numbered 13/30

36.5 × 30 in (92.7 × 76.2 cm) (sheet)

colour serigraph

signed and numbered 103/150 in pencil in the lower margin; titled to gallery label on the reverse

32.5 × 29 in (82.5 × 73.7 cm) (sheet sight )

colour serigraph

signed in pencil in the lower margin; titled to gallery label on the reverse

27.25 × 27.25 in (69.2 × 69.2 cm) (sheet )

colour lithograph

signed, titled, dated 1979 and numbered 35/150 in the lower margin; unframed (shrinkwrapped)

16 × 20 in (40.6 × 50.8 cm) (sheet)

watercolour

signed lower left; signed and titled on the reverse

7.5 × 10 in (19.1 × 25.4 cm)

silkscreen

Sampson Matthews; unframed

30 × 40 in (76.2 × 101.6 cm) (sheet)

silkscreen

Sampson Matthews; artist name, title and “Issued by the National Gallery of Canada” printed in the margin; a Sampson Matthews label on the reverse, unframed

30 × 40 in (76.2 × 101.6 cm) (card)

silkscreen

Sampson Matthews; artist name, title and “Issued by the National Gallery of Canada” printed in the margin; a Sampson Matthews label on the reverse, unframed

19.75 × 27 in (50.2 × 68.6 cm) (card)

mixed media on paper

signed and titled lower right

9.75 × 7.75 in (24.8 × 19.7 cm) (sheet )

colour silkscreen

15 × 20 in (38.1 × 50.8 cm) (sight)

three pencil sketches

“Baie de Fundy” (signed and titled in the lower margin, sight 5.25 x 6.25 inches); “Landscape with Trees” (signed and indistinctly titled in the lower margin, sight 3.75 x 7 inches); “Landscape with Lake” (signed lower right, sight 3.75 x 7 inches)

5.25 × 6.25 in (13.3 × 15.9 cm) (largest )

watercolour and marker

signed lower right; dated “51224” (February 24, 1951) on the reverse; inscribed “Riding at St. Tropez” on the reverse of the original matting included with this lot; sketching in marker visible within the composition; unframed

15 × 22 in (38.1 × 55.9 cm)

pencil sketch on paper

unsigned

10 × 14 in (25.4 × 35.6 cm) (sight)

etching

signed and titled in the lower margin

8.25 × 6.25 in (21.0 × 15.9 cm) (plate size)

etching

signed and titled in the lower margin

9 × 7.5 in (22.9 × 19.1 cm) (plate size)

pencil on paper

signed on the reverse

8.75 × 12.25 in (22.2 × 31.1 cm) (sheet )

pencil sketch on paper

unsigned

8 × 10 in (20.3 × 25.4 cm) (sight)

watercolour

unsigned (trimmed); unframed

6 × 9.75 in (15.2 × 24.8 cm) (sheet)

watercolour

unsigned; unframed

4.75 × 11.25 in (12.1 × 28.6 cm) (sheet)

pencil drawing

initialed lower right

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

etching

signed, titled and dated 1924 in the plate

8.25 × 11.25 in (21.0 × 28.6 cm) (plate size)

watercolour

signed lower right; titled lower left; inscribed “ Foggy Day on the Thames” top right

7 × 9.75 in (17.8 × 24.8 cm) (sight)

pastel

signed, titled and dated on a Roberts Gallery label affixed to the reverse

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

six etchings

Western University (signed and titled, 7 ins x 5.5 ins plate size); Lower Town, Quebec “No. 5” (signed, 8.25 ins x 6 ins plate size); Timber Line, Banff (signed, titled, dated 1924 and numbered 1/50, 7 ins x 6.25 ins); St. Anne de Beaupré (signed, titled and numbered 39/50, 11 ins x 8 ins); sold together with two additional signed, untitled etchings (3 ins x 3 ins; 4 ins x 5 ins)

10.75 × 8 in (27.3 × 20.3 cm) (largest (subject))

colour lithograph

signed and numbered 160/554 in the lower right margin; unframed

22 × 23.5 in (55.9 × 59.7 cm) (image)

no-medium

“The Client”; “Ice Hummocks”; “Thunderheads”; “North Channel”; “Mill Lake”; “Village Mosaic”; “Aftermath”; 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 )

laid on card

unframed

15.25 × 15.75 in (38.7 × 40.0 cm) (card)

colour lithograph

signed and numbered 186/300 in the lower margin

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

five colour lithographs

“Les Arbres” (colour lithograph, signed, dated 1993 and inscribed “EA 2/10” in pencil in the lower margin, 23.75 x 19.75 inches (sheet)); “Country Road” (colour lithograph, signed with initials, dated 1994, inscribed “EA 16/25” in pencil in the lower margin, 25 x 18.75 inches (sheet)); “Still-Life with Jug and Apple” (colour lithograph, signed with initials, dated 1994, inscribed “EA 16/25” in pencil in the lower margin, 18.75 x 25 inches (sheet); “Les Arbres” (colour lithograph, signed with initials, dated 1994, inscribed “EA 17/25” in pencil in the lower margin, 18.75 x 25 inches (sheet)); “Copse of Trees” (colour lithograph, signed with initials, dated 1994, inscribed “EA 17/25” in pencil in the lower margin, 25 x 18.75 inches (sheet)); each unframed

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

four colour serigraphs

each signed with initials, titled and numbered: “Early Snow” AP 37/60; “Mill House” AP 34/60; “Haliburton” AP 35/60; “Autumn Decorations” AP 38/60; each unframed

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

gelatin silver print

signed and autographed by the sitter in black ink in the lower margin; with studio stamp on the reverse

16.75 × 13.5 in (42.5 × 34.3 cm) (plate/sheet)

books

“The First One Hundred Years” (Edward J. Nicholson, Brigdens Limited, 1970); “Art, the Art Community and the Law: A legal and business guide for artists, collectors, gallery owners and curators” (Stephen B. Smart, with Mary Baxter, International Self Counsel Press Ltd., Canada, 1994); “E. Grace Coombs Artist” (Lorne Pierce, The Ryerson Press, Toronto, 1949); “Hot Art: Chasing Thieves and Detectives through the Secret World of Stolen Art” (Joshua Knelman, Douglas & McIntyre, Vancouver, 2011); “Art Fakes in America: The Lively Business of Making, Buying and Selling Fraudulent Art from Colonial Times to the Present, with Advice on Avoiding Swindles” (David L. Goodrich, The Viking Press, New York, 1973); “Leonard and Reva Brooks: Artists in Exile in San Miguel de Allende” (John Virtue, McGill Queen’s University Press, Montreal & Kingston, 2001); “Tom Thomson: Design for a Canadian Hero” (Joan Murray, Dundurn Press, Toronto, 1998); “Jewish Life in Canada” (William Kurelek & Abraham Arnold, Hurtig Publishers, Edmonton, 1976); “E.J. Hughes” (Ian M. Thom, Vancouver Art Gallery, Douglas & McIntyre, Vancouver/Toronto,2002); “William Kurelek: The Messenger” (Tobi Bruce, Mary Jo Hughes, Andrew Kear, Art Gallery of Greater Victoria, Art Gallery of Hamilton, Winnipeg Art Gallery, 2011); “Lawren Harris” (Bess Harris and R.G.P. Colgrove, Macmillan Company of Canada Limited, Toronto, 1969)

colour silkscreen

Markgraf reproduction embossed stamp lower left; unframed

26 × 31 in (66.0 × 78.7 cm) (sheet)

colour screenprint

unframed

24.5 × 16 in (62.2 × 40.6 cm) (sheet)

colour screenprint

unframed

26 × 17 in (66.0 × 43.2 cm) (sheet)

silkscreen

Sampson Matthews; unframed

19.75 × 28.5 in (50.2 × 72.4 cm) (sheet)

woodblock

signed and titled in the lower margin

2.5 × 3.75 in (6.3 × 9.5 cm) (subject)

gouache; etching

“Design for Christmas Card” - gouache, signed lower left, titled on label on the reverse, 5.75 x 5.25 ins (Exhibited: Canadian Society of Graphic Art, Seventh Annual Exhibition, Toronto, 1930) Sold together with: “Timber Line” - etching, signed, titled and numbered “no 18” in the lower margin, 11.5 x 8.25 ins sheet size, unframed

11.5 × 8.25 in (29.2 × 21.0 cm) (largest )

woodblock

signed, titled and numbered 28/275 on card support

7 × 9.25 in (17.8 × 23.5 cm) (image)

silkscreen

Sampson Matthews; unframed

30 × 40 in (76.2 × 101.6 cm) (sheet)

silkscreen

signed lower left; Sampson Matthews label on the reverse

29.25 × 39.75 in (74.3 × 101.0 cm)

silkscreen

Sampson-Matthews label on the reverse; condition noted as the work has been trimmed

19.75 × 26.5 in (50.2 × 67.3 cm)

etching

an illustrated poem/prayer by Sabine Baring-Gould (British, 1834-1924), illustrated by Frank Armington; inscribed within the plate “Sabine Baring-Gould” and “Etched by Frank Armington, 1911”

13.25 × 10.5 in (33.7 × 26.7 cm)

two etchings

“Street Scene” (signed in the lower margin, etching, 9 x 6.5 ins. [plate size]); “Street Scene with Tudor Building” (signed lower margin, etching, 7.75 x 10.75 ins. [plate size])

7.75 × 10.75 in (19.7 × 27.3 cm) ((largest piece))

colour pochoir print

reproduction of signature, title, date of “4/V/1940” and inscription “Palma de majorque” on the reverse

17 × 13.75 in (43.2 × 34.9 cm) (sight)

colour lithograph

signed and numbered 21/200 in the lower margin; inscribed “Lithographie de Braque, Oiseause au ciel” on the reverse

11.5 × 9.5 in (29.2 × 24.1 cm)

etching

signed, titled, inscribed “epreuve d’etat no. 6” and dated 1961 in pencil in the lower margin

19.5 × 12.5 in (49.5 × 31.8 cm)

oil on paper

signed lower left

30 × 22.75 in (76.2 × 57.8 cm)

colour lithograph

signed, titled and numbered 5/75 in the lower margin; unframed

27 × 36 in (68.6 × 91.4 cm) (sheet)

watercolour

signed with initial and dated 2002 lower left, numbered “29” lower right

19 × 14.5 in (48.3 × 36.8 cm)

mixed media print

signed lower right; unframed

15.25 × 11.75 in (38.7 × 29.8 cm) (sheet)

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)

colour etching

signed, titled, dated 1958 and numbered 9/15 in the lower margin

11.5 × 9.25 in (29.2 × 23.5 cm) (subject)

etching

signed and numbered 11/18 in the lower margin

17.25 × 12.5 in (43.8 × 31.8 cm) (subject)

lithograph

“Man in Glasses” (watercolour, signed and dated 1985 lower right, 12.25 x 16.25 inches); “Boat on the Water” (watercolour, signed lower right, 18.75 x 24 inches); “Self-Portrait Exhibition Poster” (colour lithograph, signed and numbered 39/50, inscribed “Telford Fenton/ landscapes, portraits, oil and watercolour/ Ten Mile House, 555 York, Hamilton/ November 30 to December 8 inclusive, open 11-9”, 24.5 x 16.5 inches); unframed

24.5 × 16.5 in (62.2 × 41.9 cm) (largest sheet)

colour lithograph

signed, titled, dated 1976 and numbered 2/100 in the lower margin

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

colour lithograph

Twin Editions, New York label on reverse; unframed

21.5 × 29 in (54.6 × 73.7 cm) (sheet)

lithograph

signed twice, titled, dated 1970 and 1972 and numbered 133/150 in the lower margin; unframed

21.5 × 31.25 in (54.6 × 79.4 cm) (sheet)

colour silkscreen

signed and dated “’13” lower right; unnumbered edition; unframed (shrinkwrapped)

38 × 25 in (96.5 × 63.5 cm) (sheet)

aquatint on zinc

signed with initials and inscribed “Working Proof” in the lower margin

12.75 × 8.75 in (32.4 × 22.2 cm) (subject)

colour lithograph

signed, titled and numbered “HC 6/25” in the lower margin; unframed

21.75 × 24 in (55.2 × 61.0 cm) (sheet)

ink and coloured pencil drawing

inscribed with syllabics lower right

21 × 26 in (53.3 × 66.0 cm) (sheet)

three stonecuts

“Faces” (stonecut, signed, titled, dated 1976 and inscribed 7/50 in pencil in the lower margin, 22.5 x 33 inches sight); “Woman Sewing Kamiks” (stonecut, signed, titled, dated 1976 and numbered 27/50 in pencil in the lower margin, 24 x 31.75 inches sight); “Young Bears at Play” (stonecut; signed, titled, dated 1978 and numbered 39/50 in pencil in the lower margin, 11.75 x 33 inches sight)

24 × 31.75 in (61.0 × 80.6 cm) (largest )

two stonecut and stencil prints

“Owl and Wolves with Ulus” (signed in syllabics, titled, dated 1979 and inscribed 35/50 in pencil in the lower margin, 15.75 x 20 inches sight); “Five Faces” (signed in syllabics, titled, dated 1977 and inscribed 27/50 in pencil in the lower margin, 21.5 x 26 inches sight)

21 × 26 in (53.3 × 66.0 cm) (largest )

mixed media on paper

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

15 × 12 in (38.1 × 30.5 cm) (sheet)

mixed media print

signed lower right; unframed

15 × 12 in (38.1 × 30.5 cm) (sheet)

colour serigraph

signed, titled “Gathering Looms” and numbered 126/160 at the lower edge

12 × 19 in (30.5 × 48.3 cm) (sight)

mixed media on paper

each signed lower right; titled lower left; each unframed

15 × 12 in (38.1 × 30.5 cm) (each sheet)

no-medium

Lister Sinclair and Jack Pollock, Methuen, Toronto, New York, London, Sydney, 1979; signed by Norval Morrisseau and inscribed on the title-page “To Tom Crank - all the best, Jack Pollock”

colour litthograph

signed, titled, dated 1988 and numbered 158/313

20 × 26 in (50.8 × 66.0 cm) (sheet)

three colour serigraphs

each signed with initials, titled and numbered: “Annables General Store” AP 38/60; “Village Store” AP 37/60; “Sunshine After Rain” AP 36/60; each unframed

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

book

M.B. Loates Publishing, Toronto, 1979; each print signed with initials and numbered 30/50 in pencil in the margin; signed by A.J. Casson and numbered 30/50 on the title page; housed in original linen case

books and drawings

“The Group of Seven” (Dennis Reid, The National Gallery of Canada, The Montreal Museum of Fine Arts, Toronto, Montreal, 1970); “From the Forest to the Sea: Emily Carr in British Columbia” (Sarah Milroy, Goose Lane Editions, Toronto, 2015); “F.H. Varley: Portraits into the Light (Katerina Atanassova, Dundurn Press, Toronto, 2007); “The Tangled Garden: The Art of J.E.H. MacDonald” (Paul Duval, Cerebus/Prentice Art, Scarborough, 1978); Edward D. Nares, “Grand Falls”, pencil on paper laid down on paper, signed, titled and dated “July 2nd, 1867” in pencil lower left, 5.5 x 8.5 inches, was to accompany 86th limited edition copy of “Memoir of an Art Dealer 2” by G. Blair Laing); Francis A. Grant, “Near Montmorenci, Summer 1852”, ink on paper laid down on paper, signed and titled, 8 x 11 inches, was to accompany 87th limited edition copy of “Memoir of an Art Dealer 2” by G. Blair Laing

thirteen exhibition catalogues

includes 1930, 1931, 1932, 1933, 1934, 1935, 1936, 1937, 1938, 1939, 1949, 1947 and 1954

9 books

“lithographies gravures, livres” by Galerie Maeght Lelong, 1985; “Catalogue des Lithographies et Eaux-fortes originals” edited by Maeght, 1971; “Florilege des Amours de Ronsard par Henri Matisse”, by Albert Skira, 1948; “Kathe Kollwitz Grafik Teckningar Skulpturer,” by Käthe Kollwitz, 1967; “Franz Marc: 1880-1916” by Mark Rosenthal, 1980; “The Print in Germany 1880-1933,” Frances Carey and Anthony Griffiths, 1984; “Edouard Manet Graphic Works a Definitive Catalogue Raisonne,” by Jean C. Harris,1970; “Kathe Kollwitz”- exhibition catalogue, National Gallery of Canada, 1962; “Kathe Kollwitz: Drawings” by Herbert Bittner, New Yor, 1959

no-medium

“Tom Thomson: The Silence and the Storm” signed by the authors on the title page - (Harold Town and David P. Silcox, McLelland and Stewart, 1977); “Edward S. Curtis: Above the Medicine Line” (Rodger D. Touchie, Heritage House Publishing, 2010); “History in their Blood: Nicholas de Grandmaison” (Hugh A. Dempsey, Douglas & McIntyre Ltd., 1982); “People of the Willow: The Padlimiut Tribe of the Caribou Eskimo” (Winifred Petchey Marsh, Anglican Book Centre, 1983); “Arctic Artist: The Journal and Paintings of George Back, Midshipman with Franklin, 1819-1822” (edited by C. Stuart Houston, McGill-Queen’s University Press, 1994); “Arctic Vision: Art of the Canadian Inuit” (exhibition catalogue, Canadian Arctic Producers, 1984); “Paul Kane: 1810-1871” (exhibition catalogue, National Gallery of Canada, 1971); “Eskimo Sculpture” (Jorgen Meldgaard, London Methuen & Co. Ltd., 1960); “The Drawings of Jasper Johns” (exhibition pamphlet for Hayward Gallery and South Bank Centre London, 1990); “Northwest Coast Gallery” (ROM pamphlet, 1976); 14 pamphlets on Inuit artists (Canadian Arctic Producers Co-operative Ltd. - Nouveya Ipellie, Pangnirtung, Clyde River, Mark Uqayuittaq, Igloolik, Davie Atchealak, Marie Kuunnuaq, George Arluk, Elisapee Ishuluktak, Mark Uqayuittaq, Gjoa Haven, Matthew Aqiggaaq, Holman, Sanikiluaq Belcher Islands)

five catalogues/books

“Catalogue of the Fiftieth Annual Exhibition of The Ontario Society of Artists, 1922”; “Painters of Quebec” (Marius Barbeau, Canadian Art Series, Ryerson Press, Toronto, 1945); “The Rebel Princess, Watercolour by HRH The Princess Louise” (The Bermuda National Gallery, Bermuda, January 24-April 11, 1998); “Nicholas Hornyansky Retrospective 1926-1965”; “Côté The Wood Carver” (Marius Barbeau, Canadian Art Series, Ryerson Press, Toronto, 1943)

book with two prints

Paul Duval, “Leo Mol”, Loch Gallery, Winnipeg, 1982; signed by the author and artist on the frontispage, with inscription from Leo Mol; includes “Judy” (etching, signed, titled and numbered 118/165 in pencil in the lower margin, 11.5 x 9 inches sheet size); “Lora” (etching, signed, titled and numbered 118/165 in pencil in the lower margin, 11.5 x 9 inches); both in original case; both unframed

three books

“Celebrating Life: The Art of Doris McCarthy” (The McMichael Canadian Art Collection, Canada, 2002 - reprint of the 1999 publication); “Doris McCarthy: Feast of Incarnation Paintings 1929-1989” (the Gallery/Stratford, 1991); “Doris McCarthy: The View from Here” (Art Gallery of Mississauga, 1999)

no-medium

“Betty Goodwin: Signs of Life” (Jessica Bradley, Art Gallery of Windsor/National Gallery of Canada, Windsor, 1995; signed by Betty Goodwin on the titlepage); “The Art of Betty Goodwin” (Jessica Bradley and Matthew Teitelbaum, Douglas & McIntyre/ Art Gallery of Ontario, Vancouver and Toronto, 1998; signed by Betty Goodwin, Jessica Bradley, Matthew Teitelbaum and Anne Michaels on the titlepage)

eight books

“Bill Reid” (Doris Shadbolt, Douglas & McIntyre, Vancouver and Toronto, 1998); “Kurelek Country” (William Kurelek, Houghton Mifflin Co., Boston, 1975); “Bellefleur: The Fervour of the Quest” (Guy Robert, Éditions Iconia, Montreal, 1988); “Canadian Art: Selected Masters from Private Collections” (A.K. Prakash, Vincent Fortier Publishing, Ottawa and Toronto, 2003); “Sorel Etrog: One Decade” (Art Gallery of Ontario, Toronto, 1968); “William Kurelek: The Polish Canadians” (Tundra Books, Montreal, 1981); “Canadian Watercolours and Drawings in the Royal Ontario Museum” (Mary Allodi, Royal Ontario Museum, Toronto, 1974)

four colour serigraphs

“Coppice” (colour serigraph, signed, titled and numbered 62/90 in pencil in the lower margin, 13.5 x 17.5 inches); “Creek” (signed, titled and numbered 7/34 in pencil in the lower margin, 13.5 x 17.5 inches); “Kwakiutl” (signed, titled and numbered 55/85 in pencil in the lower margin, sheet 19 x 22 inches, unframed); “Watchers” (signed, titled and numbered 41/95 in pencil in the lower margin, sheet 19 x 22 inches, unframed)

19 × 22 in (48.3 × 55.9 cm) (largest)

offset colour lithograph

signed and numbered 98/110 lower middle; from the “Toronto 20” 1965 portfolio of 20 prints

26 × 19.75 in (66.0 × 50.2 cm)

mixed media print

signed, dated 1965 and numbered 98/100 in pencil in the lower margin; from the “Toronto 20” 1965 portfolio of 20 prints

25.75 × 19.5 in (65.4 × 49.5 cm)

colour lithograph

signed in pencil and inscribed AP (Artist Proof) in the lower margin

28 × 21.75 in (71.1 × 55.2 cm)

three mixed media and pencil works on paper; each mounted to card

“Portrait of a Child Sitting” (signed, dated 1972, 11.75 x 18 inches); “Young Boy in a Parka” (signed, dated 1971, 18 x 12 inches) and “Portrait of a Girl” (signed, dated 1972, 11 x 8.25 inches)

18 × 12 in (45.7 × 30.5 cm) (largest )

lithograph

signed, dated 1972 and numbered 133/150 in the lower margin; signed, titled and dated 1956 within the plate; unframed

31.25 × 21.5 in (79.4 × 54.6 cm) (sheet)

lithograph laid down on card

signed and dated 1971 upper left; signed, dated 1972 and numbered 133/150 lower right; unframed

21.5 × 32.25 in (54.6 × 81.9 cm) (sheet)

conté

“Portrait of a Man” (conté, signed lower right and numbered 18/20 lower left, 22.5 x 30 inches); “Portrait of a Nude Man” (conté on paper, signed and dated 1991 lower right, 26 x 40 inches); unframed

26 × 40 in (66.0 × 101.6 cm) (largest )

poster

exhibition poster printed by Mourlot Imprimeur, Paris, unframed

30.5 × 20.5 in (77.5 × 52.1 cm) (sheet)

etching

10 × 7.75 in (25.4 × 19.7 cm) (image)

etching

“Le chasseur de papillons” (etching, signed, titled and inscribed “epreuve d’artiste” in pencil in the lower margin, sheet 15 x 11.5 inches); “Untitled - Reflective Figures (etching, 10 x 7.75 inches)

15 × 11.5 in (38.1 × 29.2 cm) (largest )

colour silkscreen

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

13.5 × 14.75 in (34.3 × 37.5 cm) (sheet)

etching

signed, titled and numbered 19/25; inscribed “To Cindy and Peter, From Ted and Phyll” in the lower margin

9 × 12 in (22.9 × 30.5 cm) (plate size)

lithograph

signed and numbered 2/14 in the lower margin

13.5 × 17 in (34.3 × 43.2 cm) (plate size)

colour silkscreen

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

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

lithograph

signed, dated 1972 and numbered 136/150 in the lower margin; unframed

21.5 × 24.5 in (54.6 × 62.2 cm) (sheet)

lithograph

signed and numbered 5/7 in the lower margin

9 × 7 in (22.9 × 17.8 cm)

colour woodcut

signed, titled, dated 1979 and numbered 30/35 in pencil in the margin

23.5 × 18 in (59.7 × 45.7 cm) (image)

sampson-matthews silkscreen

condition noted: damage to image layer at lower edges of the artwork; unframed

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

sampson-matthews silkscreen

artist name, title and “Issued by the National Gallery of Canada, Ottawa” printed in the margin; a Sampson Matthews label on the reverse

29.75 × 40.25 in (75.6 × 102.2 cm)

watercolour on board

unsigned; unframed

7.25 × 10.5 in (18.4 × 26.7 cm) (board)

watercolour

signed and dated 1961 lower left

9 × 11.5 in (22.9 × 29.2 cm) (sight )

sampson-matthews silkscreen

artist name, title and “Issued by the National Gallery of Canada, Ottawa” printed lower right; a Sampson Matthews label on the reverse

29.75 × 40.25 in (75.6 × 102.2 cm)

watercolour and graphite on paper

signed lower right; titled on a label affixed to the reverse

7.5 × 9.5 in (19.1 × 24.1 cm)

colour woodcut

signed and titled in the lower margin

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

colour lithograph

11.5 × 9.5 in (29.2 × 24.1 cm) (sight)

pastel

signed lower right

14 × 13 in (35.6 × 33.0 cm)

etching

5.75 × 4.5 in (14.6 × 11.4 cm) (image)

watercolour

signed lower left

8 × 15 in (20.3 × 38.1 cm) (sight)

etching

signed, titled and dated 1929 in the lower margin

3 × 3.5 in (7.6 × 8.9 cm) (plate size)

pair of woodblock prints

“Aurore boréale”- signed with initials within the plate, signed and titled within the margin of the plate; unframed, affixed to support (7 x 8 ins); “Sur le St. Maurice, 21 avril 1936”-signed with initials within the plate, signed, titled and dated “21 avril 1936” in the lower margin; unframed, affixed to support (10.5 x 13 ins)

engraving

inscribed “Homer Watson - Engr. FH. Imp. O.C.A.” and dated “Dec. 8.1967” in the lower margin

11.75 × 16 in (29.8 × 40.6 cm)

pair of watercolours

each signed with initials

4 × 5 in (10.2 × 12.7 cm) (sight)

etching in colours

signed and numbered 24/25 in the lower margin

22 × 23.5 in (55.9 × 59.7 cm) (sheet)

watercolour

signed and dated lower left, unframed

10.75 × 14.75 in (27.3 × 37.5 cm) (sight)

three works on paper

Redgrave, William, “Reclining Nude” (signed lower right, brush and ink on buff paper, 11 x 18 ins., framed); -sold together with 2 unidentified works: “Women Centaurs” (colour screenprint, sheet 19.75 x 25.5 ins., unframed); “Jewish Synagogue, Stockholm” (titled, graphite on paper, 13 x 15 ins., unframed)

19.75 × 25.5 in (50.2 × 64.8 cm) ((largest piece))

charcoal

signed lower left

23 × 16 in (58.4 × 40.6 cm) (sight)

colour etching

signed, titled and dated 1995 in the lower margin

11.5 × 3.5 in (29.2 × 8.9 cm) (subject)

colour etching

signed, titled and numbered 180/250 in the lower margin

13.5 × 3.5 in (34.3 × 8.9 cm) (subject)

etching

signed, dated 1913 and inscribed “Special print for my dear Carrie from Frank” in pencil in the lower margin; signed, titled and dated within the print top left; with Janet Braide and Nancy Parke-Taylor, “Caroline and Frank Armington: Canadian painter-etchers in Paris”, Art Gallery of Peel, Brampton, Ontario, 1990.

9.25 × 7 in (23.5 × 17.8 cm) (sight )

coloured ink and collage

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

17.25 × 14.25 in (43.8 × 36.2 cm)