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

colour silkscreen

10.75 × 11.75 in (27.3 × 29.8 cm) (image)

acrylic on paper

signed lower right; titled and dated 1980 to a label on the reverse

18.5 × 25.25 in (47.0 × 64.1 cm) (sight)

watercolour on paper

signed and dated 1969 lower right; titled to a label on the reverse

18.5 × 24 in (47.0 × 61.0 cm) (sight)

sampson-matthews silkscreen

unframed

30 × 40 in (76.2 × 101.6 cm) (sheet)

colour screenprint

signed, titled, numbered V/X (épreuve d'artiste) and dated 1967 in the lower margin

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

watercolour

signed and dated “Dec. 1981” lower right

19.5 × 26.25 in (49.5 × 66.7 cm)

oil on paper

signed and dated 2000 lower left; unframed

30 × 22.5 in (76.2 × 57.1 cm)

colour serigraph

signed and dated 1970 upper right, numbered 185/200 upper left; unframed

28.5 × 40.75 in (72.4 × 103.5 cm) (sheet)

watercolour

signed lower right

19.5 × 29 in (49.5 × 73.7 cm) (sight)

two lithographs

“Bird of the Myth” (signed, titled and inscribed “100 C.” in the lower margin, 25 x 38.25 inches (sight)); “Winter Birds” (signed, titled, dated 1990 and numbered 86/90 in the lower margin, 20.25 x 31 inches (sight))

25 × 38.25 in (63.5 × 97.2 cm) (largest)

watercolour on card

signed lower right; titled on the reverse

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

colour woodcut

signed in the lower right margin; unframed

6.5 × 9.5 in (16.5 × 24.1 cm)

colour lithograph

signed and numbered 124/300 in the lower margin

15.25 × 12.5 in (38.7 × 31.8 cm) (sight)

colour lithograph

signed and numbered 116/300 in the lower margin

13.25 × 10.5 in (33.7 × 26.7 cm) (sight)

colour lithograph

signed and numbered 238/300 in the lower margin

13.25 × 8.25 in (33.7 × 21.0 cm) (sight)

colour lithograph

signed and dated 1987 lower left; numbered 170/200 lower right; unframed

36 × 29.5 in (91.4 × 74.9 cm) (sheet)

pencil drawing

signed, titled and dated 1985 in the lower margin

22 × 13 in (55.9 × 33.0 cm) (subject)

pencil drawing

22.5 × 16 in (57.1 × 40.6 cm) (sheet)

mixed media on paper

signed and dated 1972 upper right

25.25 × 19.25 in (64.1 × 48.9 cm)

pastel on paper

signed lower right

12.25 × 7.25 in (31.1 × 18.4 cm)

gouache on paper

signed and dated ‘61 lower right; titled and dated to the paper backing on the reverse

18.75 × 24.75 in (47.6 × 62.9 cm) (sight)

colour silkscreen

numbered 264/300 within the lower left margin; titled, dated and numbered to a label on the reverse

8.75 × 13 in (22.2 × 33.0 cm) (image)

ten watercolours

each work signed and dated 1970; within a portfolio with a hand-painted cover page

16.25 × 13 in (41.3 × 33.0 cm) (each sheet)

colour etching

signed, titled, dated 1981, numbered 50/50 and inscribed “Nova Scotia” in the lower margin

23.75 × 35.25 in (60.3 × 89.5 cm) (plate size)

colour lithograph

signed, titled, dated 1993 and inscribed “Original drawing made in 1947 at Alert Bay - When Chief Bill Scow (sic) took me to Gwayasdums in his fish boat”; unframed

30.25 × 22.5 in (76.8 × 57.1 cm) (sheet)

mixed media on paper

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

11.5 × 15.5 in (29.2 × 39.4 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) (sheet)

tempera

signed in the lower right margin; signed, titled and dated “circa 1970” on a label affixed to the reverse of the framing

14.25 × 9.25 in (36.2 × 23.5 cm) (subject)

acrylic and collage on paper

signed and dated 1957 lower right; inscribed “P57.7” (inventory number), “Helen Ronald” and stamped “The William Ronald Corporation” on the reverse; unframed

20 × 26 in (50.8 × 66.0 cm) (sheet)

mixed media on paper

signed and dated 1997 lower centre; signed, titled and dated 1997 on the reverse; unframed

22.5 × 30 in (57.1 × 76.2 cm) (sheet)

screenprint

signed, titled, dated 1999 and numbered 10/50 in pencil in the lower margin

27.5 × 35.5 in (69.8 × 90.2 cm) (sight)

colour woodcut

signed in the lower right margin; unframed

7.5 × 9.25 in (19.1 × 23.5 cm) (plate size)

no-medium

“The Salmon” written by Roderick Haig-Brown (with David Denbigh, Robert H. Reid and L.H. Legeault; contained within the original portfolio which includes five unsigned prints by Bill Reid (”The Legacy”); five unsigned lithographs by J. Stewart and John Miller (”The Atlantic”); five unsigned prints by David Denbigh (”The Pacific”); four unsigned prints by Rudy Kovach & two unsigned prints by David Denbigh (”The 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 )

folio of seven colour lithographs

each signed with initials, titled and numbered AP 34/75 in the lower margin; housed in a card portfolio box with cover page; each unframed: “The Client”; “Ice Hummocks”; “Thunderheads”; “North Channel”; “Mill Lake”; “Village Mosaic”; “Aftermath”;

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

ten books

- “Landscape into Art” (Kenneth Clark, John Murray, London, 1949); - “Old Manors, Old Houses” (Historic Monuments Commission of the Province of Quebec, L.A. Proulx, 1927); - “L’Ile D’Orleans” (Historic Monuments Commission of the Province of Quebec, L.A. Proulx, 1928); - “Sigmund Samuel Collection: Canadiana and Americana” (Ryerson Press, Toronto, 1948); - “Art et non finito” (Guy Robert, Editions France-Amerique, Montreal, 1984, signed by the author on the title page); - “100 Masters: Only in Canada” (Stephen Borys, Winnipeg Art Gallery, 2013); - “Caroline and Frank Armington” (Janet Braide and Nancy Parke-Taylor, Art Gallery of Peel, 1990); - “150 Years of Art in Manitoba” (The Winnipeg Art Gallery, Winnipeg, 1970); - “The Face of Early Canada” (F. St. George Spendlove, The Ryerson Press, Toronto, 1958); - “W.H. Coverdale Collection of Canadiana” (Canadian Government Publishing Centre, 1983)

twelve books

- “The J. Paul Getty Museum” (The J. Paul Getty Museum, Los Angeles, 2007); - “The Art of London 1830-1980)” (Nancy Geddes Poole, Blackpool Press, London, Canada, 1984 - signed by the author on the title page); - “The Judgment of Paris” (Ross King, Walker & Co., New York, 2006); - “Hot Art: Chasing Thieves and Detectives through the Secret World of Stolen Art” (Joshua Knelman, Douglas & McIntyre, Vancouver/Toronto, 2011); - “Around and Abouth Marius Barbeau” (Lynda Jessup, Andrew Nurse and Gordon E. Smith (ed.), Canadian Museum of Civilization Corp., Gatineau, 2008); - “Painters in Paradise: The Masterworks Bermuda Collection” (Guildhall Art Gallery, London, 2005); - “The Courtauld Collection: Masterpieces of Impressionism and Post-Impressionism” (Art Gallery of Ontario, Toronto, 1998); - “Great French Paintings from the Clark: Barbizon through Impressionism” (Montreal Museum of Fine Arts, Sterling and Francine Clark Art Institute, 2011); -”The Louvre: European Paintings” (Editions Scala, Paris 1993); - “Masterpieces from the Guggenheim” (Guggenheim Museum, New York, 1992); - “Right Under the Sun: Landscape in Provenance, From Classicism to Modernism 1750-1920” (The Montreal Museum of Fine Arts, Snoeck, Montreal, 2005); - “World Impressionism: The International Movement, 1860-1920” (Norma Broude (ed.), Harry N. Abrams Inc., New York, 1990)

no-medium

- “The Art of Mary Pratt: The Substance of Light” (Tom Smart; Goose Lane Editions and The Beaverbrook Art Gallery, 1995) - “E. Grace Coombs” (Lorne Pierce; The Ryerson Press, 1949) (signed by E. Grace Coombs and James Lawson on title page) - “A Personal Calligraphy” (Mary Pratt; Goose Lanes Editions, 2000) - “A Fool in Paradise: An Artist’s Early Life” (Doris McCarthy; Macfarlane, Walter and Ross, 1991) (first edition; signed by the artist on title page) - “Doris McCarthy: My Life” (Doris McCarthy and Charis Wahl; Second Story Press, 2006) - “Anne Savage: The Story of a Canadian Painter” (Anne McDougall; Harvest House Ltd., 1977)

six books

-“A.J. Casson: His Life and Works, A Tribute” (Paul Duval, Cerebrus/Prentice-Hall, Toronto, 1980), signed by A.J. Casson on the title page; - “The Tangled Garden: The Art of J.E.H. MacDonald” (Paul Duval, Cerebrus/Prentice-Hall, Toronto, 1978); - “Frederick H. Varley” (Peter Varley, Key Porter Books, Toronto, 1983), signed by the author; - “F.H. Varley: Portraits into the Light” (Katerina Atanassova, Dundurn Press, Toronto, 2007); - “F.H. Varley: A Centennial Exhibition” (The Edmonton Art Gallery, 1981); - “The Group of Seven in Western Canada” (Catharine M. Mastin (ed.), Key Porter Books, Toronto, 2002, 2008)

mixed media on paper

signed lower right

11 × 8.5 in (27.9 × 21.6 cm) (sheet)

colour serigraph; book

-”The Last Horizon: Ted Harrison” (Merritt Publishing Co. Ltd., Toronto and Vancouver, 1980 - signed and numbered A.P. 12/25) -including ”Family” (colour serigraph, signed, dated 1981 and numbered A.P. 12/20 in the lower margin - 13 x 10.75 ins. [sheet], unframed);

13 × 10.75 in (33.0 × 27.3 cm) (sheet)

stonecut

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

7.5 × 9.5 in (19.1 × 24.1 cm) (sight)

stonecut

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

4.5 × 6.5 in (11.4 × 16.5 cm) (sight)

stonecut

signed, titled, dated 1973, numbered 26/50 and inscribed “Cape Dorset” in the lower margin

21 × 31.25 in (53.3 × 79.4 cm) (sight)

pair of woodblock prints

each signed and titled within the margin of the plate; each unframed (affixed to supports)

7.5 × 8.5 in (19.1 × 21.6 cm) (largest)

pair of woodblock prints

each signed and titled within the margin of the plate; each unframed (affixed to supports)

7.5 × 8.25 in (19.1 × 21.0 cm) (largest)

colour woodblock

signed, titled and dated “21 avril 1936” in the lower margin

10.5 × 13 in (26.7 × 33.0 cm) (image)

mixed media on Arches paper

signed lower right; unframed

30.5 × 22.5 in (77.5 × 57.1 cm) (sheet)

mixed media on Arches paper

signed lower right and titled within the upper right composition; unframed

30.5 × 22.75 in (77.5 × 57.8 cm)

portfolio of three lithographs

-“Seascape” (lithograph, 16 x18 ins. [sheet], signed and numbered 76/100 in the lower margin); -“Three Apples” (lithograph, 16 x18 ins. [sheet], signed and numbered 76/100 in the lower margin); -“Two Apples on Plate” (lithograph, 16 x18 ins. [sheet], signed and numbered 76/100 in the lower margin); in a portfolio sleeve, all unframed

16 × 18 in (40.6 × 45.7 cm) (each sheet)

watercolour and ink on paper

signed and dated 1951 lower right

12.5 × 22.5 in (31.8 × 57.1 cm)

lithograph

signed and dated “4.3.57” upper left

9.75 × 6.25 in (24.8 × 15.9 cm) (sight)

three watercolours

- “Arctic Three-toed Woodpecker” (watercolour on paper, signed, titled and dated “June 11, 1937” lower right, 6.75 x 5.5 inches (sight)); - “Eared Grebe” (watercolour on paper. signed, titled and dated “July 8, 1934” lower right, 8.5 x 6.25 inches (sight)); - “Woodcock” (signed, titled and dated “October 1951” lower right, 12.5 x 9.5 inches (sight))

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

three colour serigraphs

each signed by the estate of the artist, titled and numbered AP 18/60 in the lower margin, Northern Church; Snow Laden Spruce; White Forest; each unframed

27.5 × 32 in (69.8 × 81.3 cm) (each sheet)

watercolour

signed lower right; titled on the reverse

13 × 19.5 in (33.0 × 49.5 cm)

woodblock print

signed and titled in the lower margin

7.5 × 7.5 in (19.1 × 19.1 cm) (sight )

woodblock

signed and titled in the lower margin

7.5 × 7.5 in (19.1 × 19.1 cm) (sight)

pastel

signed lower right; titled and dated “Feb 2/84” on the reverse

11.5 × 14.5 in (29.2 × 36.8 cm) (sight )

watercolour on paper

signed lower left: inscribed “Painted by Mr. Edson” and indistinctly with the name of the original owner on a piece of the original frame backing (which is attached to the reverse)

20.25 × 27 in (51.4 × 68.6 cm)

watercolour

unsigned; unframed

6.75 × 10 in (17.1 × 25.4 cm) (sheet)

oil on canvas

signed (incised) lower right; titled on the reverse; unframed

4 × 5.75 in (10.2 × 14.6 cm) (board)

watercolour

unsigned; unframed

9.75 × 8.25 in (24.8 × 21.0 cm) (board)

3 etchings

“Houses on the Hill, Beaupré, P.Q.” (3 x 4.5 ins. [plate] signed and titled in the lower margin); “Rivière Blanche, P.Q.” (3 x 4.75 ins. [plate] signed and titled in the lower margin); “Near St. Joachim, P.Q.” (3.5 x 4.5 ins. [plate] signed and titled in the lower margin); all three framed together

3.5 × 4.5 in (8.9 × 11.4 cm) (plate size (largest))

colour etching

signed, titled and numbered 97/150 in the lower margin

8 × 6.75 in (20.3 × 17.1 cm) (plate size)

pencil

signed, titled and dated 1921 along the lower edge

10.75 × 8.25 in (27.3 × 21.0 cm) (sight)

lithograph

signed and titled in the lower margin

9 × 7.75 in (22.9 × 19.7 cm) (subject)

etching

signed and titled in the lower margin

8 × 8.75 in (20.3 × 22.2 cm) (plate size)

etching

signed and titled in the lower margin

8 × 5 in (20.3 × 12.7 cm) (plate size)

etching

signed and titled in the lower margin

7 × 9 in (17.8 × 22.9 cm) (plate size)

pencil drawing

14 × 10 in (35.6 × 25.4 cm) (sight)

twelve photogravures

“Mustatem Montiapec, Cree Indian, Calgary” “A Cree Family at Home” “A Cree Family and Travois Ready for a Journey, Calgary” “Blackfoot Camp, Near Gleichen” “Young Blackfoot Brave, Near Gleichen” “Pasqapita, Cree Indian and Tepee, Calgary” “Blackfoot Soldier Clan Dance, Near Gleichen” “Blackfoot Festival, Near Gleichen” “A Frosty Morning Blackfoot Camp, Near Gleichen” “Squaw Spectators, Soldier Clan Dance, Near Gleichen” “Blackfoot Brave, Near Gleichen” “Siwash Indians, Fraser River” each with a type-set title and “Canadian Pacific Railway” within the plate; each unframed

9.75 × 11.75 in (24.8 × 29.8 cm) (each sheet)

nine watercolours on paper

“Broom & Wild Roses, Victoria B.C.” (numbered “1” in the upper margin; sheet size - 4 ins x 2.5 ins) “Beacon Hill, Victoria, B.C.” (numbered indistinctly in the upper margin; sheet size - 3.25 ins x 2.75 ins) “Mt. Baker from Oak Bay, Victoria, B.C.” (numbered “3” in the upper margin; sheet size - 3 ins x 3.5 ins) “The Olympics from Victoria, B.C.” (numbered indistinctly in the upper margin; sheet size - 3.25 ins x 2.75 ins) “The Olympics from Victoria, B.C.” (numbered “6” in the upper margin; sheet size - 4 ins x 2.75 ins) “The Olympics from Victoria, B.C.” (sheet size - 3.5 ins x 2.75 ins) “Beacon Hill, Victoria, B.C.” (sheet size - 3 ins x 3.5 ins) “Mt. Baker from Victoria, B.C.” (sheet size - 2.75 ins x 3.5 ins) “The Olympics from Victoria, B.C.” (sheet size - 3.5 ins x 2.75 ins) each signed with the initials “E.F.” in the lower right subject and titled in the lower margin; all unframed

book and serigraph

“Charles Pachter” (Bogomila Welsh-Ovcharov, McClelland & Stewart, 1992); signed by Bogomila Welsh-Ovcharov, Margaret Atwood and Charles Pachter on the frontispiece; sold together with “The Ascent” (serigraph on paper, signed, dated 1992 and numbered 27/150 in the lower margin, 11.5 x 9.5 ins); housed in folder; all in original slipcase

11.5 × 9.5 in (29.2 × 24.1 cm)

two oblong folios

Contains 347 black and white illustrations by the artist. Random House/Maecenas Press, New York (1970); First Edition; folios contained within original clamshell box

17.5 × 12.5 in (44.5 × 31.8 cm)

ink on paper

signed and dated 1958 lower right

9 × 11 in (22.9 × 27.9 cm) (sight)

three colour serigraphs

each signed by the estate of the artist, titled and numbered in the lower margin “White Pine” (numbered AP 18/60); “Above La Cloche” (numbered AP 19/60); “Northern Church” (numbered AP 19/60); each unframed

27.5 × 32 in (69.8 × 81.3 cm) (each sheet)

three lithographs

-”Landscape” (lithograph, signed lower right and numbered 88/100 lower left) -”Ice Skaters” (lithograph, signed lower right and numbered 88/100 lower left) -”Six Girls at the Lake” (lithograph, signed lower right and numbered 88/100 lower left)

14.25 × 21.5 in (36.2 × 54.6 cm) (each sheet - sight)

pastel and watercolour

signed and titled in the lower margin

18.75 × 24 in (47.6 × 61.0 cm) (sight)

pastel on paper

signed and indistinctly dated lower right

18.75 × 24.5 in (47.6 × 62.2 cm) (sight)

acrylic on paper

signed and dated ‘76 lower right; titled and dated to a label on the reverse

14 × 10.25 in (35.6 × 26.0 cm) (sight)

watercolour

signed lower right

19 × 26 in (48.3 × 66.0 cm)

six books

- ”Painting Place: The Life and Work of David B. Milne” (David P. Silcox, University of Toronto Press, Toronto, 1996); - “Reflections in a Quiet Pool: The Prints of David Milne” (Rosemarie Tovell, National Gallery of Canada, Ottawa, 1980); - “Jock Macdonald” (Joyce Zemans, Canadian Artist Series, National Gallery of Canada, Ottawa, 1985); - “Paul-Émile Borduas” (François-Marc Gagnon, Canadian Artist Series, National Gallery of Canada, Ottawa, 1976); - “The Logic of Ecstasy: Canadian Mystical Painting, 1920-1940” (Ann Davis, University of Toronto Press, Toronto, 1992); - “Alex Colville: Diary of a War Artist” (Graham Metson and Cheryl Lean [compiled], Nimbus Publishing Ltd., Halifax, 1981)

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” (print, signed, titled and numbered 117/165 in pencil in the lower margin, 11.5 x 9 inches sheet size); “Lora” (print, signed, titled and numbered 117/165 in pencil in the lower margin, 11.5 x 9 inches); both in original case; both unframed

three books

“Indelible Miro: Aquatints, Drawings, Drypoints, Etchings, Lithographs, Book Illustrations, Posters” by Yvon Taillandier, 1972; “Picasso’s Posters,” compiled by Christopher Czwiklitzer, 1970/71; “Verve: The Ultimate Review of Art ad Literature (1937-1960)” by Michel Anthonioz,1987.

nine books

“Reflected Lights: Frank Panabaker - His Story in Words and Pictures” (Frank Panabaker, The Ryerson Press, Toronto, 1957); “Firestone Art Collection” (Ontario Heritage Foundation, McGraw-Hill Ryerson, Limited, Canada, 1978); “Atma Buddhi Manas: The Later Work of Lawren S. Harris” (Dennis Reid, Art Gallery of Ontario, Toronto, 1985); “David Milne” (ed. Ian Thom, Douglas & McIntyre, 1991); “The McMichael Canadian Collection” (McMichael Canadian Collection, Kleinburg, 1979); “A.J. Casson (Canadian Artists 1)” (Margaret Gray, Margaret Rand, Lois Steen, Gage Publishing, 1976); “A to Z of Canadian Art, Artists & Art Terms” (Blake McKendry, Kingston, 1997); “The History of Painting in Canada: Toward a People’s Art” (Barry Lord, NC Press, Toronto, 1974); “Contemporary Canadian Painting” (William Withrow, McLelland and Stewart Limited, Toronto, 1972)

nine books

- “Sorel Etrog: Sculpture” (William J. Withrow, Wilfeld Publishing Ltd., Toronto, 1967); - “Marc-Aurèle Fortin: un maître inconnu” (René Buisson, Musée Marc-Aurèle Fortin, Montreal, 1995); - “Leonard Hutchinson, People’s Artist: Ten Years of Struggle, 1930-1940” (Lynn Hutchinson Brown [ed.] N.C. Press, Toronto, 1974, signed by the artist on the title page) - “Etched in Stone: The Life and Prints of Ernst Neumann” (Brian I. Oickle, Montreal Print Collectors Society, 2004, signed by the author on the title page); - “Hall’s Dictionary of Subjects & Symbols in Art” (James Hall, John Murray Ltd., London, 1975); -”Beyond the Pines: Homer Watson and the Contemporary Canadian Landscape” (Art Gallery of Mississauga, 2015); - “Ozias Leduc: Signatures” (Paul Gladu, Broquet Editions, Ottawa, 1989); - “Ozias Leduc: Symbolist and Religious Painting” (National Gallery of Canada, Ottawa, 1974); - “The Restorer’s Handbook of Easel Painting” (Gilberte Emile-Mâle, Van Nostrand Reinhold, 1976)

no-medium

- “Notebooks” (Thoreau MacDonald; Penumbra Press, 1980) - “Thoreau’s Tales” (David McCabe, Thoreau MacDonald and Susan MacDonald; The Woodchuck Press, 2002) - “The Ryerson Poetry Chap-Books; The Sea is Our Doorway” (Michael Harrington; Cover design by J.E.H. and Thoreau MacDonald; The Ryerson Press, Toronto, 1947) (Chap-Book Number 124) - “Hurt not the Earth” (E. Newton-White, drawings by Thoreau MacDonald; The Ryerson Press, Toronto, 1958) - “A Canadian Nation” (Lorne Pierce, Designed by Thoreau MacDonald; The Ryerson Press, 1960) - “The Woodcarver’s Wife” (Marjorie L. C. Pickthall with decorations by J.E.H. MacDonald; McClelland and Stewart, Toronto, 1922) - “A Word to Us All” (J.E.H. MacDonald with a note by Robert Stacey; McBurnie Cutler Editions, Toronto, 1996) (limited edition keepsake on the occasion of the publication of “J.E.H. MacDonald: Designer”; No. 434 of 500 copies) (signed by Robert Stacey on title page) - “The Rocking Chair and Other Poems” (A.M. Klein with drawings by Thoreau MacDonald; The Ryerson Press, Toronto, 1966) - “The Group of Seven: Thoreau MacDonald” (Canadian Art Series; The Ryerson Press, Toronto, 1944 - “South of North: Images of Canada” (Richard Outram, drawings by Thoreau MacDonald; The Porcupine’s Quill, Erin) (signed and inscribed by Rosemary Kilbourn - “The Songs of Wade Hemsworth” (illustrations by Thoreau MacDonald; Penumbra Press, Waterloo, 1990)

two watercolours

signed and dated 1916 lower right, watercolour on paper, mounted to card, titled on gallery label on the reverse, 7.25 x 5.25 inches (sight); signed and dated 1917 lower right, watercolour on paper, titled on gallery label on the reverse, 8.5 x 6.5 inches (sight)

8.5 × 6.5 in (21.6 × 16.5 cm) (largest sight)

watercolour

signed lower right

12.5 × 16 in (31.8 × 40.6 cm) (sight)

watercolour

signed lower right

9.25 × 13.75 in (23.5 × 34.9 cm)

gelatin silver print

signed by the artist and sitters in the lower margin

6.75 × 5 in (17.1 × 12.7 cm) (plate size)

lithograph

signed, dated 1969 and numbered “49-250”; unframed

14 × 20 in (35.6 × 50.8 cm)

photolithograph

signed and dated 1974 lower left

15.5 × 22.25 in (39.4 × 56.5 cm)

stonecut

signed, titled, dated 1970, numbered and inscribed “Cape Dorset” in the lower margin

20 × 32 in (50.8 × 81.3 cm) (sight)

mixed media on paper

signed lower right

20 × 19.5 in (50.8 × 49.5 cm) (sheet)

no-medium

- “Canadian Impressionism” (McClelland & Stewart Inc., 1990) (signed by the author on the title page) (in original box) - “Berryman Street Boy, Growing Up in Yorkville”, volume 238/760 (Von Lotz Publishing Inc.; Sommerville Publishing, 2000) (signed by the author on the title page)

watercolour on paper

signed and dated 1980 lower right

61.25 × 35.5 in (155.6 × 90.2 cm) (sight)

mixed media on paper

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

15 × 12 in (38.1 × 30.5 cm) (sheet)

charcoal

signed and dated 1961 lower right; unframed

19 × 11.75 in (48.3 × 29.8 cm) (sheet)

oil on paper

signed and dated 2000 lower left; unframed

30 × 22.5 in (76.2 × 57.1 cm) (sheet)

ink and wash

two works: each signed and dated 1966

8 × 12 in (20.3 × 30.5 cm) (each (sight))

seven books

- “Joe Norris: Painted Visions of Nova Scotia” (Bernard Riordon, Goose Lane Ed., Art Gallery of Nova Scotia, 2000); - “The Cremation of Sam McGee” (Robert W. Service, Ted Harrison [illustrations], Kids Can Press, Toronto, 1986); - “Wake of the Great Sealers: Prints and Drawings by David Blackwood” (Farley Mowat, McLelland and Stewart Ltd., Toronto, 1973); - “J.W. Beatty 1869-1941” (Dorothy M. Farr, Agnes Etherington Art Centre, Queen’s University, Kingston, 1981); - “Tom Thomson: The Silence and the Storm” (Harold Town and David P. Silcox, McClelland & Stewart Ltd., Toronto, 1977); - “Canadian Water Colour Painting” (Paul Duval, Burns and MacEachern, Toronto, 1954 - signed by the author on the title page); - “Portrait of a Period: A Collection of Notman Photographs: 1856-1915” (J. Russell; Harper and Stanley Triggs [ed.], McGill University Press, Montreal, 1967)

eight books

- “A Concise History of Canadian Painting: Second Ediiton” (Dennis Reid, Oxford University Press, Don Mills, 1988); - “Breaking Barriers: Eric Brown and the National Gallery” (F. Maud Brown, The Society for Art Publications, 1964); - “Passionate Spirits: A History of the Royal Canadian Academy of Arts. 1880-1980” (Rebecca Sisler, Clarke, Irwin & Co. Ltd., Toronto/Vancouver, 1980); - “Canadian Art in the Twentieth Century” (Joan Murphy, Dundurn Press, Toronto and Oxford, 1999);- “Clarence Gagnon, 1881-1942: Dreaming the Landscape” (Hélène Sicotte and Michèle Grandbois, Musée national des beaux-arts du Québec, 2006);- “Canadian Art: From its Beginnings to 2000” (Anne Newlands, Firefly Books, Williowdale, 2000);- “The Development of Canadian Art” (R.H. Hubbard, Trustees of the National Gallery of Canada, Ottawa, 1964); - “The Great Adventure: 100 Years at The Arts & Letters Club” (Margaret McBurney, Arts and Letters Club, Toronto, 2007)

books and publications

- “William G. R. Hind: The Pictou Sketchbook, Le Carnet Pictou” (Catherine M. Mastin, Art Gallery of Windsor, Windsor, 1990); - “Charlevoix County, 1930” (Jori Smith, Penumbra Press, 1998); - “E. J. Hughes: 1931-1982” (Surrey Art Gallery, Surrey, 1983); - “The Privileged Few: The Grange & its People in Nineteenth Century Toronto” (John Lownsbrough, Art Gallery of Ontario, Toronto, 1980); - “The Canadian Embassy, Washington, D.C.” - “Augustus John: The Marchesa Casati” (Art Gallery of Ontario Collection in Focus, Number Four, 1987); - “Frances Anne Hopkins 1838-1919: Canadian Scenery” (Janet E. Clark and Robert Stacey, Thunderbay Art Gallery, Thunderbay, 1990); - “Ozias Leduc: An Art of Love and Reverie” (Montreal Museum of Fine Arts, Musée du Québec, Montreal, 1996); - “Expanding Horizons: Painting and Photography of American and Canadian Landscape 1860-1918” (Montreal Museum of Fine Arts/Somohy Art Publishers, Montreal, 2009); - “The Mountains and the Sky” (Lorne E. Render, Glenbow-Alberta Institute, McClelland & Stewart West, 1974)

eleven books

- “Povungnituk 1975” (La Fédération des Coopératives du Nouveau Québec, Montreal, 1975); - “Povungnituk 1976” (La Fédération des Coopératives du Nouveau Québec, Montreal, 1976); - “Povungnituk 1980” (La Fédération des Coopératives du Nouveau Québec, Montreal, 1980); - ”Arctic Quebec 1972” (La Fédération des Coopératives du Nouveau Québec, Montreal, 1972); - ”Arctic Quebec 1973” (La Fédération des Coopératives du Nouveau Québec, Montreal, 1973); - ”Arctic Quebec 1974” (La Fédération des Coopératives du Nouveau Québec, Montreal, 1974); - ”Inoucdjouac 1976” (La Fédération des Coopératives du Nouveau Québec, Montreal, 1976); - ”Canadian Eskimo Artifacts” (Canadian Arctic Producers, Ottawa, 1973); - ”Jessie Oonark: A Retrospective” (Jean Blodgett and Marie Bouchard, Winnipeg Art Gallery, 1986); - ”Kenojuak” (Jean Blodgett, Firefly Books, Toronto, 1985); - ”Eskimo” (Edmund Carpenter, Frederick Varley and Robert Flaherty, University of Toronto Press, Toronto, 1959)

seven books

- “The Sacred Scrolls of the Southern Ojibway” (Selwyn Dewdney, University of Toronto Press, Toronto & Buffalo, 1975); - “Tales from the Smokehouse” (Herbert T. Schwarz, illustrated by Daphne Odjig, Hurtig Publishers, Edmonton, 1974); - “Images: Stone: B.C.” (Wilson Duff, Oxford University Press, Toronto, 1975); - “Rock Drawings of the MicMac Indians” (Marion Robertson, Nova Scotia Museum, Halifax, 1973); - “Norval Morrisseau and the Emergence of the Image Makers” (Elizabeth McLuhan and Tom Hill, Art Gallery of Ontario, Toronto, 1984); - “Stones, Bones and Skin: Ritual and Shamanic Art” (ArtsCanada, Dec. 1973/ Jan. 1974); - “The Spirit Sings: Artistic Traditions of Canada’s First People” (Glenbow Museum, McClelland and Stewart, Toronto, 1987)

sixteen books

- “An Evening with Members of the Group of Seven” (Ontario Society for Education through Art, Toronto, 1965); - “National Gallery of Canada, Bulletin” (23/1974, Ottawa); - “Saguenay” (Blodwen Davies, McLelland Stewart Ltd., Toronto, 1930); - “Silver Light” (Theresa E. and Don W. Thomson, Ryerson Press, Toronto, 1955) -signed and inscribed by the author on the title page); - “Atma Buddhi Manas: The Later Work of Lawren S. Harris” (Dennis Reid, Art Gallery of Ontario, Toronto, 1985); - “J.E.H. MacDonald: A Biography & Catalogue of his Work” (E.R. Hunter, Ryerson Press, Toronto, 1940); - “The Group of Seven and Tom Thomson” (Anne Newlands, Firefly Books, Willowdale, 1995); - “The Group of Seven: Revelations by Members of The Arts and Letter Club” (Toronto); - “Flowers: J.E.H. MacDonald, Tom Thomson and the Group of Seven” (Joan Murray, McArthur and Co., Toronto, 2002); - “F.H. Varley” (Edmonton Art Gallery, Edmonton, 1981); - “Tom Thomson: The Last Spring” (Joan Murray, Dundurn Press, Toronto, Oxford, 1994); - “J.E.H. MacDonald” (Bruce Whiteman, Quarry Press, Kingston, 1995); - “Tom Thomson: The Jack Pine” (Dennis Reid, National Gallery of Canada, Ottawa, 1975); - “A Hiker’s Guide to the Rocky Mountain Art of Lawren Harris” (Lisa Christensen, Fifth House Ltd., Calgary, 2000) -signed by the author on the title page; - “Seven Years with the Group of Seven” (Joyce Putnam, Quarry Press, Kingston, 1991); - “Tom Thomson: The Silence and the Storm” (Harold Town and David P. Silcox, McClelland and Stewart Ltd., Toronto, 1977) -signed by the authors on the title page

seven books

- “Images, Stone, B.C.: Thirty Centuries of Northwest Coast Indian Sculpture” (Wilson Duff, Oxford University Press, Toronto, 1975) -signed by Doris de Pedery-Hunt on the first page; - “1960 Povungnituk 1970” (La Fédération des Coopératives du Nouveau Québec, Levis, 1960); - “Out of Tradition” (Abraham Anghik and David Ruben Piqtoukun, Winnipeg Art Gallery, Winnipeg, 1989) -signed by the artists on the title page; - “Eskimo Sculpture” (Jorgen Meldgaard, Methuen & Co., London, 1960); - “Pitseolak: Pictures out of my Life” (Dorothy Eber, Oxford University Press, Toronto) -signed in syllabics by the artist on the first page; - “Fire into Ice: Adventures in Glass Making” (James Houston, Tundra Books, Toronto, 1998); - “The Inuit Imagination: Arctic Myth and Sculpture” (Harold Seidelman and James Turner, Douglas and McIntyre, Vancouver and Toronto, 1993)

eight books

- “Pictographs: The Graphic Art of James Simon Mishibinijima” (The Porcupine’s Quill, Erin, Ontario, 1987); - “Raven’s Cry” (Christie Harris, Bill Reid [illustrations], Douglas & McIntyre, Vancouver and Toronto, 1992); - “The Elders are Watching” (Dave Bouchard, Roy Henry Vickers [illustrations], Eagle Dancer, Tofino, 1990); - “The Sound of the Drum: The Sacred Art of the Anishnabec” (Mary E. Southcott, Boston Mills Press, 1985 - signed by the author on the title page); - “Cedar” (Hilary Stewart, Douglas & McIntyre, Vancouver & Toronto, 1984); - “Norval Morrisseau and the Emergence of the Image Makers” (Elizabeth McLuhan and Tom Hill, Art Gallery of Ontario, Toronto, 1984); - “A Cree Life: The Art of Allen Sapp” (John Anson Warner, Thecla Bradshaw, J.J. Douglas Ltd., Vancouver, 1977 - signed by the artist on the title page); - “Norval Morrisseau” (Key Porter Books, Toronto, 1997)