From the Collection of Paul Duval (Online Auction)

oil on canvas board

signed, titled and inscribed “Painted in Studio #1 of the Studio Building in 1961” on the reverse; unframed

24 × 18 in (61.0 × 45.7 cm)

acrylic on canvas

titled on tape on the reverse; sold together with a copy of “Graham Fowler, Recent Works, 2 May - 9 June 1985” (Paul Duval, Art Gallery of Nova Scotia, Halifax, 1985, signed by Graham Fowler on the titlepage)

36 × 46 in (91.4 × 116.8 cm)

oil on canvas

signed and dated 1982 lower right; signed and titled on the reverse; sold with a copy of the publication “Rudolf Stüssi” (Paul Duval, Benteli Verlags AG, Wabrn-Bern, Switzerland, 1999; inscribed “For Paul, A true inspiration for any artist and a great friend, Rudolf Stussi, Jan. 2005” on the title page)

40 × 30 in (101.6 × 76.2 cm)

conte on paper

signed and dated 1948 lower right; inscribed “To Paul Duval with Compliments of the Artist March 1952” lower left

9.25 × 14 in (23.5 × 35.6 cm) (sight )

oil on canvas

dated “June 1974” on the reverse; unframed

10 × 8 in (25.4 × 20.3 cm)

bronze on a wooden base

signed, dated 1967 and numbered 2/10 (incised) on the reverse; titled on a label affixed to the wooden base; sold with a copy of “A Retrospective Exhibition of the Works of Leo Mol” (Mendel Art Gallery, The Saskatoon Gallery and Conservatory Corporation, Saskatoon, 1975)

22 × 13 × 7 in (55.9 × 33.0 × 17.8 cm) (overall )

book with two lithographs

Paul Duval, “Barker Fairley”, Marianne Friedland Gallery Limited, 1980; signed by Barker Fairley and Paul Duval on inside front page; includes 2 untitled lithographs (each signed and numbered AP 10/25, each 11.5 ins x 11 ins (sheet size)); enclosed in front pages; in original case; each unframed

11.5 × 11 in (29.2 × 27.9 cm) (sheet size)

ten books

“The Group of Seven” (Thoreau MacDonald, 1944); “Hundreds and Thousands: The Journals of Emily Carr” (Emily Carr, 1966); “Lawren S. Harris: Urban Scenes and Wilderness Landscapes 1906-1930” (Art Gallery of Ontario, 1978); “Light for a Cold Land: Lawren Harris’s Work and Life - An Interpretation” (Peter Larisey, 1993); “The McMichael Conservation Collection” (Paul Duval, n.d.); “The Group of Seven: Art for a Nation” (Charles C. Hill, 1995); “Canadian Painters” (Phaidon Press, 1945); “Tom Thomson: The Silence and the Storm” (David Silcox and Harold Town, 1989); “The Group of Seven” (Dennis Reid, 1970); “Lawren Harris” (Macmillan Company of Canada, 1969); “The Tangled Garden: The Art of J.E.H. MacDonald” (Paul Duval, proof edition with 16 pages of text and illustrations)

six books

“J.E.H. MacDonald” (Albert H. Robson, 1946); “Clarence Gagnon” (Albert H. Robson, 1945); “Paul Kane” (Albert H. Robson, 1938); “J.E.H. MacDonald” (Albert H. Robson, 1937); “Cornelius Krieghoff” (Marius Barbeau, 1948); “C.W. Jefferys” (William Colgate, 1948; signed by the artist on the frontispage); “James Wilson Morrice” (Donald W. Buchanan, 1947); “Henri Julien” (Marius Barbeau, 1941, signed by Paul Duval on the cover); “Paddle and Palette: The Story of Tom Thomson” (Blodwen Davies, 1930); “Côte: The Wood Carver” (Marius Barbeau, 1943); “J.W. Beatty” (Dorothy Hoover, 1948); “Maurice Cullen” (William R. Watson, 1931)

four books

“Horatio Walker” (F. Newlin Price, 1928); “Braves and Buffalo: Watercolours of Alfred. J. Miller” (University of Toronto Press, 1973); “Paul Peel” (Victoria Baker, 1986); “Canadian Watercolours and Drawings in the Royal Ontario Museum” (Mary Allodi, 1974)

acrylic on canvas

signed and dated 1972 lower right

32 × 27 in (81.3 × 68.6 cm)

ink and graphite drawing

signed and dated 1951 lower left; sold with a copy of “René Marcil Drawings 1947-1980” (Paul Duval, Stanton Press, Toronto, 1981)

16.5 × 16 in (41.9 × 40.6 cm)

bronze on alabaster

signed and dated 1990 (incised)

19 × 7 × 6.6 in (48.3 × 17.8 × 16.8 cm) (overall )

oil on canvas

titled and dated on a gallery label on the reverse

15 × 18 in (38.1 × 45.7 cm)

oil on canvas

signed lower left

14 × 10 in (35.6 × 25.4 cm)

oil on canvas

signed lower right; titled and dated “January 1975” on the reverse; unframed

16 × 18 in (40.6 × 45.7 cm)

nine books

“Scottie Wilson: The Canadian Drawings” (Helen Marzolf, 1989); “R. Tait McKenzie: The Sculptor of Athletes” (Andrew J. Kozar, 1975); Two copies of “Glorious Visions: Peter Haworth, Studies for Stained Glass Windows” (The Art Gallery of Windsor, 1985); “History of the Book in Canada, Volume One Beginnings to 1840” (Patricia Lockhart Fleming, 2004); “A Splendid Harvest: Germanic Folk and Decorative Arts in Canada” (Michael Bird & Terry Kobayashi, 1981); “Toronto, We Love You...’ The Brunswick House’” (Heritage Press Company Limited, n.d., inscriptions from Deborah J. Godin and Robert McInnis); “A Collection of Cartoons” (Duncan MacPherson, n.d.); Macpherson’s Canada” (Toronto Daily Star, 1969); sold with J.E.H. MacDonald “beaver Pond, Algoma” reproduction print

book with lithograph and letter

Paul Duval, “A.J. Casson”, Roberts Gallery, 1975; signed by the author and artist and numbered 5/325 on the Edition Notice page; includes “Sunlit Isle” (signed and numbered 5/325 in the lower margin, titled on protective sheet, 11.75 x 11.75 ins (sheet size)); enclosed in hard cover; with letter from A.J. Casson to Paul Duval (dated August 4th, 1975 and signed by A.J. Casson)

11.75 × 11.75 in (29.8 × 29.8 cm) (sheet size)

six books

“Clarence A. Gagnon” (Albert H. Robson, 1938); “Côté: The Wood Carver” (Marius Barbeau, 1943); “James Wilson Morrice” (Donald W. Buchanan, 1947) - 2 copies; “Maurice Cullen” (William R. Watson, 1931); “J.E.H. MacDonald” (E.R. Hunter, 1940)

four colour serigraphs

“Northern Church” (titled and numbered AP 60/60 in the lower margin); “White Pine” (titled and numbered AP 57/60 in the lower margin); “Snow Laden House” (titled and numbered AP 60/60 in the lower margin); “White Forest” (signed, titled and numbered AP 1/60 in the lower margin); each unframed

27.5 × 31.75 in (69.8 × 80.6 cm)

four graphite drawings and book

“Fruit Vendor” (signed and dated 1990 lower right, 5.75 ins x 8 ins); “Shopkeeper” (signed lower right, 7.75 ins x 5.25 ins); “Woman with Fruit Baskets” (signed and dated 1990 lower left adhered to reverse of matting, 8 ins x 5.75 ins); “Profile of a Man” (signed and dated 1976 lower right, 8 ins x 5.25 ins); each unframed (laid down and matted); sold with a copy of “Aba Bayefsky in Kensington Market” (Paul Duval [introduction] and Ben Lappin (A Memoir),Mosaic Press, Oakville, 1991, signed and dated by the artist on the titlepage)

8 × 5.75 in (20.3 × 14.6 cm) (largest sheet)

brush and ink

signed lower left; signed and titled on the reverse

12.4 × 16.75 in (31.5 × 42.5 cm) (sight )

oil on canvas

signed lower left; dated “July 1974” on the reverse; unframed

26 × 22 in (66.0 × 55.9 cm)

twenty-two catalogues

“Fred Ross: Recent Paintings and Drawings” (Galerie Dresdnere, 1973); “New Images from Canada” (Banfer Gallery, 1963;) “An Exhibition of Arctic Paintings by Doris McCarthy” (The Robertson Galleries, n.d. (invitation)); “Knowles- Perehudoff” (Waddington Fine Arts, 1969 (invitation)); “Two Artists from Saskatoon: Dorothy Knowles and Otto Rogers” (The Winnipeg Art Gallery, 1969); “Dorothy Knowles: Recent Landscapes” (David Mirvish Gallery, 1965); “Peter Harris, 1932-1993: A Tribute” (Roberts Gallery, 1995); “The CIL Collection: On Tour since 1962” (CIL Collection, 1984;) “A View of One’s Own” (Canadian Women Artists: 1890-1960”- Masters Gallery Ltd., 1994); “Barry McCarthy: The Inner Atlantic” (The Kitchener-Waterloo Art Gallery, 1995); “Karen Kulyk: Two Decades, 1972-1992” (Kitchener-Waterloo Art Gallery, 1993); “Esther Warkov: The Recent Years” (The Winnipeg Art Gallery, 1972); “Esther Warkov” (Beaverbrook Art Gallery, 1970-71); “Hidden City: A Painted Trilogy by Rudolf Stüssi” (Galerie Rochon, 1995, signed by the artist); “F.H. Varley: Paintings 1915-1954” (The Art Gallery of Toronto, 1954); “Canadian Abstract Exhibition” (Oshawa YWCA, 1952); “L.L. FitzGerald: 1890-1956, A Memorial Exhibition” (National Gallery of Canada, 1958); “Contemporary Art from the City’s Collection” (The Market Gallery, 1985); “The Samuel E. Weir Collection and Library of Art” (Guide to exhibits, 1992); “The Art Gallery of Hamilton: Seventy- Five Years (1914-1989)” (The Art Gallery of Hamilton, 1989 with accompanying exhibition listing and inscribed curator business card); “The Art Gallery of Hamilton: Exhibitions and Collections” (The Art Gallery of Hamilton, 1991); “Robert Tait McKenzie: Physical Education’s Man of the Century” (James Day, Simon Fraser University, n.d.); “Canada 101 Edinburgh International Festival” (Edinburgh Festival Society, 1968)

twenty-five catalogues

“Shadbolt” (Laurel Gallery, 1949, inscription from the artist); “J.E.H. MacDonald, Memorial Exhibition” (Dominion Gallery, n.d., note from Max Stern); “Centennial Exhibition of Canadian Paintings” (The Board of Education for the City of Toronto, March 1967); “André Masson” (Galerie Louise Leiris, 1973); “Maurice Cullen 1866-1934” (The National Gallery of Canada, 1956); “Memorial Exhibition of Paintings by Mary Heister Reid” (The Art Gallery of Toronto, 1922); “Albert H. Robinson, The Painter’s Painter” (Thomas R. Lee, 1956); “Jock Macdonald” (Roberts Gallery, 1962); “G. Roberts” (Jacques de Tonnancour, 1944); “The Collection of Mr. and Mrs. Charles S. Band” (The Art Gallery of Toronto, 1963); “Alexandra Luke” (The Robert McLaughlin Gallery, n.d.); “Château de Ramesay” (The Antiquarian and Numismatic Society of Montreal, 1944); “Memorial Exhibition Pegi Nicol MacLeod 1904-1949” (The National Gallery of Canada, 1949); “Catalogue of Memorial Exhibitions of the Work of Clarence Gagnon, J.W. Beatty” (The Art Gallery of Toronto, 1942); “Early Glass Houses of Nova Scotia” (Lorne Pierce, 1958); “Albert H. Robinson” (The Art Gallery of Hamilton, 1955); “A Century of Canadian Art” (The Tate Gallery, 1939); “Lawren Harris Paintings 1910-1948” (Art Gallery of Toronto, 1948); “O’Keefe’s Art Awards 1950” (The Art Gallery of Toronto, 1950); “89th Annual Exhibition 1968” (Royal Canadian Academy of Arts, 1968); “H.S. Southam Collection” (The Art Gallery of Hamilton, 1966); “Modernist Canadian Prints” (Associated American Artists, 1986); “Peter Aspell” (La Galerie de Poche, 1988); “Painters Eleven” (The Park Gallery, 1957); “Robert Harris 1849-1919” (Confederation Art Gallery and Museum, 1967)

magazines

“Here and Now Canadian Art Quarterly Magazine” (Vol.1. No.3., 1949); “The Educational Record of the Province of Quebec” (Vol. LXXX, No,3., 1954); “Arts Yearbook 4 Directory” (Directory of Museums and Galleries, n.d.); photocopy of “The Studio: An Illustrated Magazine of Fine & Applied Art, Vol. 59., No. 245, 1913”; “The Studio: Special Canadian Issue, April 1945”; “The Studio: The Fine Arts/ Home Decoration and Design Vol. 114, No. 533, August 1937”; “1967 Editorial Cartoons Macpherson” (Toronto Star Syndicate, 1967); “The Beaver” (Hudson’s Bay Company, 1971); “Canadian Review of Music and Art, Vol. 3, No. 304., 1944) - 2 copies; “Lamps” (Bertram Brooker, Spring 1938); “Artscanada: The Eskimo World” (December 1971); “Artscanada: Modes of representational art” (December 1976); “Canadian Art Magazine, Vol. XX, No. 2, March/April 1963”; “Peering Through the Varnish” (Nathan Stolow, reprinted from Canadian Art, Summer 1959); “Canadian Art Magazine, Vol, XVI., No,2., May 1959”; “Canadian Art Magazine, Vol, XIX., Vol. 6., December 1962

ink and wash

signed and inscribed “To Paul Duval, a friend and real critic”; unframed

24.75 × 19 in (62.9 × 48.3 cm) (sheet)

watercolour

signed lower left; titled and dated “Jan 1981” on the reverse; unframed (matted)

8.5 × 6.25 in (21.6 × 15.9 cm) (sheet)

oil on canvas

titled and dated “Feb. 1974” on the reverse; unframed

14 × 12 in (35.6 × 30.5 cm)

two black and white photographs; six silver gelatin prints

each unframed; condition noted - some creasing/bending present on each (sold “as is” and not subject to return): “Contact sheet of six photographs of Lawren and Bess Harris” (black and white photograph, overall 8.5 x 6.25 inches); “Portrait of a Woman” (silver gelatin print, image size 17.75 x 17.75 inches); “Gordon Smith, circa 1953” (silver gelatin print, image size 17.75 x 17.75 inches); “Lawren and Bess Harris, circa 1953” (silver gelatin print, image size 17.75 x 17.75 inches); “Portrait of a Woman Lying on the Sand” (silver gelatin print, image size 17.75 x 17.75 inches); “Portrait of a Woman” (silver gelatin print, image size 17.75 x 17.75 inches); “B.C. Binning at the BC Hydro Building, Vancouver” (silver gelatin print, image size 17.75 x 17.75 inches); “Portrait of Vincent Price” (silver gelatin print, image size 13.75 x 13.75 inches) - two copies; sold together with “Portrait of A.J. Casson painting ‘Tank Manoeuvres, Camp Borden, 1943’” (black and white photograph, signed by A.J. Casson on the reverse, 10.25 x 8 inches);

17.75 × 17.75 in (45.1 × 45.1 cm) (largest )

four photographs; nine silver gelatin prints

possibly by Paul Duval and from his personal collection; each unframed; condition noted - some creasing/bending present on each (sold “as is” and not subject to return): “Portrait of Gordon Smith” (black and white photograph, 2.25 x 2.25 inches overall); “Portrait of Vincent Price” (black and white photograph, 3.5 x 3.5 inches overall); “Portrait of Antoni Tàpies” (silver gelatin print, image size 13.75 x 13.75 inches); “View from the Studio Building” (silver gelatin print, image size 13.75 x 13.75 inches); “Portrait of Vincent Price” (silver gelatin print, image size 13.75 x 13.75 inches); “Children Walking Hand in Hand” (colour photograph, 20 x 20 inches); “Portrait of a Woman Lying on the Sand” (silver gelatin print, image size `17.75 x 17.75 inches); “Portrait of a Woman” (silver gelatin print, image size 17.5 x 23.25 inches); “Portrait of Lawren Harris” (silver gelatin print, image size 17.75 x 17.75 inches); “Portrait of a Woman in front of a monument” (silver gelatin print, image size 17.75 x 17.75 inches); “Portrait of Vincent Price” (silver gelatin print, image size 17.75 x 17.75 inches); “B.C. Binning at the BC Hydro Building, Vancouver” (silver gelatin print, image size 17.75 x 17.75 inches); sold together with “Portrait of A.J. Casson and his daughter, Margaret, in front of ‘Early Snow’” (black and white photograph, inscribed “Early Snow - A.J. Casson, R.C.A., O.S.A., / Winner - Rolph, Clark, Stone Ltd. Award, Best Picture in Show”on the reverse; 8 x 10 inches overall)

20 × 20 in (50.8 × 50.8 cm) (largest )

various media

“Ontario Architecture” (The Art Gallery of Toronto, 1963); “Documents in Canadian Art” (Douglas Fetherling, 1987); “Art and Philistia: Some Sidelights on Aesthetic Taste in Montreal and Toronto, 1880-1910” (G. Campbell McInnes, 1937); “Cities of Canada” (The House of Seagram, 1953); “Plan of Metropolitan Toronto Water Supply System, July 1985”; “Toronto Illustrated” (Grip Limited, n.d.); “Reva Books Fotografias” (Instutito Nacional de Bellas Artes, 1970); “Recording Toronto” (Toronto Public Libraries, 1960); “Industrial Images” (Rosemary Donegan, 1987); “From the Shadows: A Portrayal of Toronto in the ‘30s and ‘40s” (City of Toronto Archives, 1985); “Jesse Ketchum School 150 Years” (Jesse Ketchum Public School, 1982); “Building Canada: An Architectural History of Canadian Life” (Alan Gowans, 1966); “Early Photography in Canada” (Ralph Greenhill, 1965); “William Notman: The Stamp of a Studio” (Stanley G. Triggs, 1985)

books

“Women of Canada: Their Life and Work” (National Council of Women in Canada, 1900); “The Fine Arts in Canada” (Newton MacTavish, 1925); “Toronto of Old” (Henry Scadding, 1966); “The Art & Craft of Drawing” (Vernon Blake, 1927; signed by Bertram Brooker and dated “Sept. 27” on the frontispiece); “Canadian Art its origin & development” (William Colgate, 1943); “The Year Book of Canadian Art 1913” (The Arts & Letters Club of Toronto 1913”; “Algonquin Story” (Audrey Sanders, 1963, with accompanying maps all housed in slipcase); “William Blair Bruce: Letters Home” (Joan Murray, 1982); “A Canadian Art Movement” (F.B. Housser, 1974); “Ars Longa” (Newton MacTavish, 1973); “Breaking Barriers” (Maud Brown, 1964); “A Study of Tom Thomson” (Blodwen Davies, 1935, signed by the author and signed by Bertram Brooker on inside cover); “The Yearbook of Canadian Art 1913” (Arts and Letters Club of Toronto, 1913); “Daffodils in Winter: Pagi Nicol MacLeod 1904-1949” (Joan Murray, 1984); “Pause A Sketchbook” (Emily Carr, 1953); “A Catalogue of The Sigmund Samuel Collection: Canadiana and Americana” (Charles W. Jefferys, 1948)

twenty books and periodicals

“Helen McNicoll 1879-1915” (Morris Gallery, 1974); “David Milne” (Alan Jarvis, 1962); “Daffodils in Winter: The Life and Letters of Pegi Nicol MacLeod, 1904-1949” (Joan Murray, 1984); “Emily Carr A Biography” (Maria Tippet, 1979); “Anne Savage: The Story of a Canadian Painter” (Anne McDougall, 1977); “A.Y. Jackson: Paintings 1902-1953” (The Art Gallery of Toronto, 1953); “J.E.H. MacDonald, R.C.A., 1973-1932” (The Art Gallery of Toronto, 1965); “Lawren Harris: Paintings 1910-1948” (The Art Gallery of Toronto, 1848); “Lemoine FitzGerald” (Morris Gallery, 1973); “The Group of Seven Why Not Eight or Nine or Ten: Revelations by Members of The Arts and Letters Club” (The Arts and Letters Club of Toronto, n.d., signed by Ray Cattell on the titlepage); “F.H. Varley: Paintings 1915-1954” (The Art Gallery of Toronto, 1954); “The McMichael Conservation Collection” (Paul Duval, 1967); “F.H. Varley” (The Edmonton Art Gallery, 1981); “The Group of Seven: Canadian Landscape Painters” (McMichael Canadian Collection, 1977); “The Tangled Garden: The Art of J.E.H. MacDonald” (Paul Duval, n.d.); “Reflections in a Quiet Pool: The Prints of David Milne” (Rosemarie L. Tovell, 1980); “Canadian Painting in the Thirties” (Charles C. Hill, 1975; with inscribed stationery from the author); “Helen McNicoll: A Canadian Impressionist” (Natalie Luckyj, 1999); “Canadian Impressionsim” (Paul Duval, 1990); “The Story of the Group of Seven” (Dr. A.Y. Jackson, June 1956)

book with lithograph

“A.J. Casson: My Favourite Watercolours 1919 to 1957” (Paul Duval, Cerebus/Prentice Hall, Toronto, 1982); includes A.J. Casson “Sunlit Isle” (lithograph, signed and numbered 23/25 in pencil in the lower margin, titled on the plastic cover sheet, 8 1/4 x 10 1/4 inches (plate size)); presented within the original slipcase; unframed

8.75 × 10.25 in (22.2 × 26.0 cm) (plate size)

three colour serigraphs

”Alone La Cloche” (titled and numbered AP 60/60 in the lower margin); ”Northern Church” (titled and numbered AP 57/60 in the lower margin); ”White Forest” (titled and numbered AP 60/60 in the lower margin); each unframed

27.5 × 31.75 in (69.8 × 80.6 cm) (sheet)

watercolour with signed photograph

signed and dated 1982 lower right, titled upper right, inscribed “For my friend Paul Duval” and dated 1999 lower right; this lot is accompanied by a signed photograph inscribed “The drawing with this photo is an original work in preparation for the painting Bald Eagle, presented to Pres. R. Reagan in 1982...For my friend Paul Duval”; both unframed

9 × 11.5 in (22.9 × 29.2 cm) (sheet)

folio of nine prints

each signed, numbered 2/18 and dated 1975 in the lower margin; each unframed, housed in embossed folio cover and wood case, dedicated to Paul Duval and dated “January 12, 1976” by the artist; four exhibition catalogues on Cetin accompany this lot

16.25 × 12 in (41.3 × 30.5 cm) (each sheet)

pencil

signed, titled and dated 1981 in the lower margin

17.5 × 15 in (44.5 × 38.1 cm)

alabaster sculpture

inscribed “LAR 82” on the underside

17 × 21 × 4.5 in (43.2 × 53.3 × 11.4 cm) (overall)

oil on canvas

signed lower right; dated “Sept 1973” on the reverse; unframed

42 × 48 in (106.7 × 121.9 cm)

aluminum sculpture in two parts and book

signed, titled and dated 1983 (incised); inscribed “AP 2” and “to Paul fondly, Kosso” (two pieces); sold with a copy of “Kosso 1964-1984” (Kosso Eloul, McClelland and Stewart, Toronto, 1984)

10.5 × 23 × 9 in (26.7 × 58.4 × 22.9 cm) (overall )

graphite on paper

signed, titled and dated 1983 in the lower margin; sold with a copy of “Michael Thompson, Recent Works November 3-21, 1984” (Gallery Moos Limited, Toronto, 1984)

23 × 26 in (58.4 × 66.0 cm) (subject )

ink on paper

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

19 × 11 in (48.3 × 27.9 cm) (sight )

book with lithograph

Paul Duval, “Eric Freifeld”, Yaneff Gallery, Toronto, 1977; includes “Pembroke Street” (lithograph, signed, titled, dated 1977 and numbered 25/25 in the lower margin, 11.75 x 13.25 ins (sheet size)); enclosed in hard cover; unframed

11.75 × 13.25 in (29.8 × 33.7 cm) (sheet size)

eleven books and magazines

“Canada: A Year of the Land” (National Film Board, 1967, housed in slipcase); “Between Friends/ Entre Amis” (National Film Board of Canada, 1976, housed in slipcase); “The Canadian Poster Book: 100 Years of the Poster In Canada” (Robert Stacey, 1979) “A Man and his Music: An Anthology of the Musical Career of the Most Exciting Entertainer of our Time” (Records housed in unopened information slipcase); “Sam Snead’s Quick Way to Better Golf” (Sun Dial Press, 1938) “Ces visages qui sont un pays: recueillis par des photographes du Canada” (National Film Bureau, 1968); “13th Annual of Advertising and Editorial Art” (Art Directors Club Toronto, 1961); “Hamilton’s Movie: Bilitis” (Swan Productions, 1977); “Portraits: The Portrait in Contemporary photography” (Peter Weiermaier, 1994); “The Nude in Photography” (Arthur Goldsmith, 1975); “Perfect Nude Photography” (Michael Gnade, 1984); “Brigitte Bardot and the Lolita Syndrome (Simone de Beauvoir, 1960)

eleven books

“Painters’ Idiom” (R.W. Alston, 1954); “Infernal Methods: A Study of William Blake’s Techniques” (Raymond Lister, 1975); ”The Human Figure” (J.H. Vanderpoel, 1915); “The Illustrator’s Handbook” (Stan Smith and Professor H.F. Ten Holt, 1984); “The Designer’s Handbooks” (Stan Smith and Professor H.F. Ten Holt, 1984); “The North Light Handbook of Artists’ Materials” (Ian Hebblewhite, 1986); “Painting with Acrylics” (José Gutiérrez, n.d.); “The Mastery of Alla Prima Painting” (Frederic Taubes, 1980); “The Art of Sumi-E: Appreciation Techniques and Application” (Shozo Sate, 1984); “Painting Techniques: The Methods and Materials of Painting” (Ludvik Losos, 1987; “Lithography: A Complete Guide” (Mary Ann Wenniger, 1983)

eleven books

“Illumination for Modern Calligraphers” (Christopher Jarman, 1988); “Mosaics” (Robert Williamson, 1963); “The Secret Formulas and Techniques of the Masters” (Jacques MaRoger, 1948); “Artist’ Pigments c. 1600-1835” (R.D. Harley, 1970); “Sculptural Handwriting” (Vojtēch Volavka, 1955); “The 26 Letters: A History of the Alphabet from its Beginnings to the Present” (Oscar Ogg, 1983); “Oil Painting: Traditional and New” (Leonard Brooks, 1959); “Techniques of Drawing and Painting Wildlife” (Fredric Sweney, 1959); “Lithography and Silkscreen: Art and Technique” (Fritz Eichenberg, 1978); “Wax as an Art Form” (Thelma R. Newman, 1966); “Painting and Printmaking with Rollers” (F.H. Stonham, 1972)

oil on canvas

signed lower left; titled and dated “April 1974” on the reverse

21 × 25.5 in (53.3 × 64.8 cm)

oil on canvas

16 × 20 in (40.6 × 50.8 cm)

colour etching

signed and inscribed “To Paul Duval in Gratitude” in the lower margin; unframed

47.5 × 31.25 in (120.7 × 79.4 cm) (sheet)

colour etching

signed, titled and numbered 14/35 in the lower margin

14 × 19.75 in (35.6 × 50.2 cm) (plate size)

sixteen books

“Practical Notes on Etching” (R.S. Chattock, 1883); “Monoprints for the artist” (Roger Marsh, 1969); “Printmakers at Riverside” (The Kitchener-Waterloo Art Gallery and Anne McPherson, 1995); “Walter J. Phillips” (Associated American Artists, 1988); “Etching Methods and Materials: A Description of a New and Simplified Technique” (Wilson Silsby, 1943); “Silkscreen Techniques” (J.I. Biegeleisen and Max Arthur Cohn, 1958); “Curatorial Care of Works of Art on Paper” (Anne F. Clapp, 1987); “A Complete Course of Lithography” (Alois Senefelder, 1977); “New Ways of Gravure” (Stanley William Hayter, 1981); “The Prints of Carl Schaefer” (Andrew J. Oko, n.d.); “Leonard Hutchinson, People’s Artist: Ten Years of Struggle, 1930-1940” (Lynn Hutchinson Brown, 1975); “The Society of Canadian Painter-Etchers and Engravers in Retrospect” (Art Gallery of Hamilton, 1981); “Images of the Land Canadian Block Prints 1919-1945” (Patricia Ainslie, 1984); “Reflections in a Quiet Pool: The Prints of David Milne” (National Gallery of Canada, 1980); “Canadian Drawings and Prints” (Paul Duval, 1952); “The Tranquility and the Turbulence” (Roger H. Boulet, 1981); sold with “A Folio of Original Reproductions” (including Aba Bayefsky, W.J.B. Newcombe, J.A. Hall C. F. Schaefer, W.A. Ogilvie) and J.E.H. MacDonald “Beaver Pond, Algoma” reproduction

fourteen books and catalogues

“Art Gallery of Ontario, the canadian collection” (Art Gallery of Ontario, 1970); “The Act of Transformation” (The Canadian Clay and Glass Gallery, 1992); “Victorian Painting in the Beaverbrook Art Gallery” (Kim Sloan, 1989); “Everyman’s Canada: Paintings and Drawings from the McCord Museum of McGill University” (The National Gallery of Canada, 1962); “Art Gallery of Hamilton Handbook, Art Gallery of Hamilton, 1964); “Eightytwenty, 100 Years of the Nova Scotia College of Art and Design” (Robert Stacey and Liz Wylie, 1988); “Contemporary Outdoor Sculpture at the Guild” (Sorel Etrog, 1982); “Vincent Massey Bequest The Canadian Paintings” (National Gallery of Canada, 1968); “The Hart House Collection of Canadian Paintings” (Jeremy Adamson, 1969); “Toronto in Print: A Celebration of 200 Years of the Printing Press in Toronto, 1798-1998” (University of Toronto 1998); “In Honour of Our Friends, A Celebration of Gifts to the Thomas Fisher Rare Book Library 1995-1998” (University of Toronto, 1999); “Cooper & Beatty Designers with Type: An Exhibition” (University of Toronto, 1996); “Un autre XIX siècle Peintures et sculptures de la collection de M. et Mme Joseph M. Tanenbaum” (National Gallery of Canada, 1978); “Artwork on Toronto” (Blantye Books, 1984); with J.E.H. MacDonald “Beaver Pond, Algoma” reproduction print

reference books and journals

“Newlyn Society of Artists” (Goldfish Contemporary Fine Art, 2006); “Masters of Graphic Art: Goya to Henry Moore” (Fischer Fine Art Limited, 1974); “Universe of Art II” (Fischer Fine Art Limited, 1972); “Art News: 150 Years of Photography” (Art News, April 1989); “Art in America: Guide to Museums, Galleries, Artists: Source to the U.S. Art World” (Art in America, 1998-1999); “Vlaminck au musée du Luxembourg” (Beaux Arts éditions, 2008); “Artscanada” (Spring 1972); “Art News Annual” (Volume XLIV, 1945); “The Burlington Magazine” (November 1972)

forty catalogues

“Collection 2003-2004” (Galerie Lacroix, 2003); “Charles Comfort Paintings and Watercolours of the 1920s and ‘30s” (Laing Galleries, 1969); “Alan C. Collier” (Robert McLaughlin Gallery, 1971): “Fritz Brandtner 1896-1969” (Sir George Williams University, 1971-2); “Walter Bachinski” (Mount Saint Vincent University, 1972); “Bertram Brooker 1888-1955” (The Morris Gallery, 1971); Borduas et les automatistes Montreal 1942-1955” (Museè des Quèbec, 1971); “Jack Bush The Decade of Discovery 1952-1962” (Miriam Shiell Fine Art, 1996); “William Blair Bruce 1859-1906” (The Robert McLaughlin Gallery, 1975); Four copies of “Borduas and Other Rebels” (Galerie Dresdnere, 1988); “Canadian Art 70, Vol. XVII, No. 5., September 1960”; “Aba Bayefsky Paintings, Drawings and Graphics, 2006 exhibition poster”; “William Henry Clapp” (Lake Gallery, n.d.); “Jack Bush: Paintings and Drawings 1955-1976” (Arts Council of Great Britain, 1980); “Caroline and Frank Armington” (Montreal Print Collections Society, n.d.); “Francois Beaudry Dominion Galerie Invitation, 1990” Six copies of “Bachinski: A Decade” (Kitchener-Waterloo Art Gallery, 1976); “Marcel Barbeau works from 1957-1989” (Kaspar Gallery, 1989); “Chester’s Barn” (Lindee Climo, 1983); “Casson Retrospective” (McMaster University Art Gallery, 1971); “Alex Colville” (Marlborough Fine Art, 1970); “A.J. Casson” (Gray, Rand, Steen, 1976); “Alex Colville” (Fisher Fine Art Limited, n.d.); “Alex Colville” (Banfer Gallery, 1963); “The Stuff Dreams Are Made of: The Art and Design of Frederick and Louise Coates” (University of Toronto Library, 1997); “Paul-Emile Borduas 1905-1960” (The Montreal Museum of Fine Arts, 1962); Four copies of “François Beaudry” (Galerie Dominion, 1990); Three copies of “Miller Brittain Retrospective” (Galerie Dresdnere, 1975);

thirty catalogues

“Canadian Group of Painters” (The Art Gallery of Toronto 1947, The Art Association, Montreal, 1948); “81st Annual Spring Exhibition” (Montreal Museum of Fine Arts, 1964); “Catalogue of an Exhibition” (Art Gallery of Toronto, 1930); “Catalogue of an Exhibition of Paintings by Canadian Group of Painters” (Art Gallery of Toronto, 1933); “An Exhibition of Paintings by the Canadian Group of Painters” (Art Gallery of Toronto, 1936); “Canadian Group of Painters” (Art Gallery of Toronto, Vancouver Art Gallery, 1956-1957); “Canadian Group of Painters” (Art Gallery of Toronto, 1937, Art Association of Montreal, 1938); “Royal Canadian Academy of Arts: 76th Annual Exhibition” (Art Gallery of Toronto, 1955-1956); “Canadian Group of Painters” (Montreal Museum of Fine Arts, Norman Mackenzie Art Gallery, 1967); “Catalogue of the 58th Annual Exhibition of the Ontario Society of Artists” (Art Gallery of Toronto, 1930); “Exhibition of Canadian Painting” (National Gallery of Canada, 1953); “Ontario Society of Artists: 83rd Annual Exhibition” (Art Gallery of Toronto, 1955); “Exhibition of the Canadian Group of Painters” (Art Gallery of Toronto, 1954, traveled) - 4 copies; “Royal Canadian Academy of Arts: 83rd Annual Exhibition” (Art Gallery of Toronto, 1963, traveled); “Royal Canadian Academy of Arts: 75th Annual Exhibition” (Montreal Museum of Fine Arts, 1954); “90th Annual Exhibition of the Ontario Society of Artists” (Art Gallery of Toronto, 1962); “5th Biennial Exhibition of Canadian Painting” (National Gallery of Canada, 1963); “46th Annual Exhibition of the Canadian Society of Painters in Water Colour (London Library and Art Museum, 1971, traveled); “Ontario Society of Artists” (1996); “Canadian Group of Painters” (Art Gallery of Toronto, 1959) - 2 copies; “Canadian Group of Painters” (Vancouver Art Gallery of Toronto, 1961); “Canadian Group of Painters” (Montreal Museum of Fine Arts, 1963-64); “Canadian Group of Painters” (Art Gallery of Greater Victoria, Agnes Etherington Art Centre, 1965); “Canadian Group of Painters” (Montreal Museum of Fine Arts, 1960); “Canadian Group of Painters” (Art Gallery of Toronto, 1962)

books and catalogues

“Ray Mead: New Paintings” (Waddington and Shiell Galleries Ltd., 1988); “John Meredith: A Retrospective” (Kaspar Gallery, 1991); “John Meredith: New Paintings” (The Isaacs Gallery, 1980); “Origins of Abstraction in Ontario: The Abstracts at Home Show 1953” (The Robert McLaughlin Gallery, 1992); “A Disquisition on Abstract Painting” (Rous and Mann, 1954); “Alexandra Luke” (The Robert McLaughlin Gallery, n.d.); “Tom Hodgson: Creativity Is Change” (Merton Gallery, n.d., signed by Tom Hodgson on inside cover); “Alfred Pellan” (The National Gallery of Canada, 1960); “Jock MacDonald: The Inner Landscape: A Retrospective Exhibition” (The Art Gallery of Ontario, 1981); “G. Iskowitz: An Exhibition of Rare Paintings from the 1960’s and 1970’s” (Miriam Shiell, 2008); “Gershon Iskowitz: Paintings from the 1980’s” (Miriam Shiell, 2006); “The Cahén Archives” (collection of publications on Oscar Cahén bound by the artists estate, 2006 with a note writted to to Paul Duval, signed by Michael Cahén);

colour lithograph

signed, titled, dated 1977, numbered 10/100 and inscribed “For Paul Duval, friendly Dec. 20th 1977” in the lower margin; unframed

23.25 × 30.25 in (59.1 × 76.8 cm) (sheet)

oil on card

signed and dated 1986 upper right; titled on a gallery label on the reverse

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

oil on board

signed lower right

16.75 × 17 in (42.5 × 43.2 cm)

graphite

signed and dated 1984 lower right; titled on the reverse

22.5 × 30 in (57.1 × 76.2 cm) (sheet)

oil on canvas

signed lower left; dated “March 1974” on the reverse; unframed

11 × 14 in (27.9 × 35.6 cm)

fourteen books

“Paul-Émile Borduas” (François-Marc Gagnon, 1988); “Great Canadian Painting: A Century of Art” (Elizabeth Kilbourn, 1966); “Visions of Light and Air: Canadian Impressionism, 1885-1920” (Musée du Québec, Québec, 1995); “Home Truths: A Celebration of Family Life by Canada’s Best-Loved Painters” (Joan Murray, 1997); “Impressionism in Canada: 1895-1935” (Art Gallery of Ontario, 1974); “The McMichael Conservation Collection” (Paul Duval, 1970; possible working copy with notations by author within text); “The Tangled Garden” (Paul Duval, 1978, signed and inscribed by Paul Duval to Alfred and Margaret Casson on inside cover with accompanying note on editorial corrections); “Three Hundred Years of Canadian Art - An Exhibition Arranged in Celebration of the Centenery” (National Gallery of Canada, 1967); “Georgian Canada: Conflict and Culture 1745-1820” (Donald Blake Webster, 1984); “Lasting Impressions: Celebrated Works from the Art Gallery of Hamilton” (Art Gallery of Hamilton, 2005); “The Arts of French Canada 1613-1870” (The Detroit Institute of Arts, 1946); “A People’s Art: Primitive, Naïve, Provincial, and Folk Painting in Canada” (J. Russell Harper, 1974); “Fortin” (Guy Robert, 1982, inscribed and signed by the author on the inside cover page)

reference books and catalogues

“Ontario Now: A Survey of Contemporary Art” (The Art Gallery of Hamilton, 1976); “Twentieth Annual Exhibition of Contemporary Canadian Art” (The Art Gallery of Hamilton, October 1969); “The Hart House Collection of Canadian Paintings” (Jeremy Adamson, 1969); “The Tom Thomson Memorial Gallery and Museum of Fine Art” (Owen Sound, 1978); “Somewhere Beyond the Sea” (Masterworks Museum of Bermuda, 2008); “The Samuel E. Weir Collection” (The Weir Library of Art, 1985); “The Fourth Biennial Exhibition of Canadian Art 1961” (The National Gallery, 1961); “Collector’s Canada” (Dennis Reid, 1988); “Crownlife/Crownx Canadian Collection” (Toronto, 1987); “Borduas, Riopelle e la giovane pitura canadese: (Galleria Levi, 1962); “Ontario Society of Artists 75th Annual Spring Exhibition”; “Exposition Mini Parent 33 Dessigns La Librairie Tranquille crd” (Montreal, 1948); “Painters Eleven” (”The Park Gallery, 1957); with exhibition poster; “14th Annual Winter Exhibition” (Art Gallery of Hamilton, 1963); “Permanent Collection 1961-1985” (Art Gallery of Northumberland, 1977); “The 22nd Annual Exhibition of Contemporary Canadian Art” (The Art Gallery of Hamilton, Octoner 1971); “Twentieth Annual Exhibition of Contemporary Canadian Art” (The Art Gallery of Hamilton, October 1969); “Some Paintings Drawings and Prints from the Douglas Duncan Collection” (Province of Ontario Council for the Arts, n.d.); “ The R.C.A. Exhibition” (The Winnipeg Art Gallery, 1980); “A Collector’s Choice of Canadian Art” (The Bram Garber Collection, 1981); “Canadian Group of Painters” (1962); “Some artists who have lived and worked in Hamilton” (T.R. MacDonald. 1967); “The Art Gallery of Hamilton Twenty-First Annual Exhibition, 1970” “Seventh Biennal of Canadian Painting” (The National Gallery of Canada, 1968); “Ontario Society of Artists: 100 Years 1872-1972” (Art Gallery of Ontario, 1972); “History of The Royal Canadian Academy of Arts” (Hugh G. Jones, 1934); “Documentary Catalogue 1952-1992: (Colour and Form Society, 1992); “One Hundred Years of Canadian Painting” (Laing Galleries, 1959); “A Checklist of the Permanent Collection to December 3, 1971” (The Art Gallery of Windsor, 1971)

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 151/165 in pencil in the lower margin, 11.5 x 9 inches sheet size); “Lora” (print, signed, titled and numbered 151/165 in pencil in the lower margin, 11.5 x 9 inches); both in original case; both unframed

11.5 × 9 in (29.2 × 22.9 cm)

five books

“Singing Songs to the Spirit” (Heritage Stamp Collection, Canada Post, 1980); “Eskimo - Plastik” (Henry Schaefer-Simmern, 1968); “Indian Painting” (Philip S. Rawson, 1961); “Early Indian Village Churches” (John Veillette, Gary White, 1977); “Indian Art in America” (Frederick J. Dockstader, 1961)

five books

“The Canadian Forum, Vol. I” (1920 - 1921); “The Canadian Forum, Vol. II” (Oct. 1921 - Sept. 1922); “The Canadian Forum, Vol. IV” (Oct. 1923 - Sept. 1924); “The Canadian Forum, Vol. V” (Oct. 1924 - Sept. 1925); “The Canadian Forum, Vol. VI” (Oct. 1925 - Sept. 1926)

oil on canvas

signed to the lower left; dated “Nov 1973” on the reverse

30 × 30 in (76.2 × 76.2 cm)

colour lithograph

signed, titled and numbered “HC 2/25” in the lower margin; unframed

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

watercolour

signed “N. Droy” lower left, also signed faintly lower right

9.75 × 7 in (24.8 × 17.8 cm) (sheet)

colour lithograph and book

signed, titled and dated 1974, inscribed “Paris” and numbered 15/25 in the lower margin; unframed; sold with a copy of “Telesforas Valius” (Romas Viesulas, forward by Paul Duval, Tav Publishing, Toronto, 1984, inscribed “In gratitude for enriching this volume by your sensitivity and insight displayed in the forward. Sincerely, Aldona Valius” on the inside frontispage)

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

bronze on alabaster

signed and dated 1990 (incised)

14 × 5.75 × 5.75 in (35.6 × 14.6 × 14.6 cm) (overall)

books

“Fred Ross” (Galerie Dresdnere, Toronto, 1973); “Christine Pflug” (Sarnia Public Library and Art Gallery, 1971); “Christine Pflug” (The Winnipeg Art Gallery, 1966); “John Hall’s Imitations of Life” (Nancy Tousley, 1989); “Michael Thompson” (Gallery Moos, 1988); “Four Ontario Realists” (The Art Gallery of Brant, 1976); “Ivan Zadok Bray: Poetry and Truth” (Goldfish Contemporary Fine Art); “Tom Forrestall” (Beaverbrook Art Gallery, 1972); “Ken Danby” (Gallery Moos, 1967) - 2 copies; “Ivan Eyre” (Mira Godard Gallery, 1978); “Danby” (Gallery Moos, 1979) - 2 copies; “Ken Danby” (Gallery Moos, 1989) - 4 copies; “Ken Danby: The Graphic Work” (Art Gallery of Hamilton, 1989); “Valerie Palmer” (Loch Gallery, 2012); “Barry McCarthy: The Inner Atlantic” (The Kitchener-Waterloo Art Gallery, 1995, one signed by the artist) - 2 copies; “Christine Pflug” (The Winnipeg Art Gallery, 1974); “Christopher Pratt” (Galerie Godard Lefort, 1970); “Hugh Mackenzie” (Morris Gallery, 1979); “Richard Robertson: Works on Paper” (The Nickle Arts Museum of the University of Calgary, 1982); “Aspects of Realism” (Rothmans, 1976); “D.P. Brown, Ken Danby, Tom Forrestall, Christopher Pratt” (Pierre Boutin, 1974) - 2 copies

book with colour serigraph

Paul Duval, “Ken Danby”, Gallery Moos Limited, Toronto, 1974; includes “Looking In” (colour serigraph (20 colours), signed, dated 1974 and numbered 6/25 in pencil in the lower margin, 11.75 ins x 11.75 (sheet)); presented within the original slipcase; unframed

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

catalogues and journals

“47th Annual Water Color and Print Exhibition” (Pennsylvania Academy of Fine Arts, 1949); “Paintings and Prints” (University of New Brunswick, 1954) - 4 copies; “Paintings by Old and Modern Masters” (University of New Brunswick, 1955) - 4 copies; “Constitution and By-Laws” (Royal Canadian Academy of Arts, 1952); “Maurice Cullen” (Romain Gour, 1952); “Albert H. Robinson: The Painter’s Painter” (Thomas R. Lee, 1956); “Henri Masson”; “First Biennial Exhibition of Canadian Painting” (National Gallery of Canada, 1955); “Exhibition of Contemporary British Painting” (National Gallery of Canada, 1935); “Exhibition of Canadian Art, New York World’s Fair” (National Gallery of Canada, 1939); “Paintings from the Collection of John A. MacAulay” (National Gallery of Canada, 1954); “Canadian Water Colours” (National Gallery of Canada, 1948); “Arthur Lismer” (E.R. Hunter, 1946); “Canadian Review of Music and Art” (Vol. 3 - No. 5 ,6; 1944); “Canadian Review of Music and Art” (Vol. 5 - No. 4 ,5; 1946); “Canadian Review of Music and Art” (Vol. 5 - No. 6 ,7; 1947); “Canadian Art” (Vol. VIII - No. 3, 1951); “Canadian Art” (Vol. XII - No. 1, 1954); “Canadian Art” (Vol. XII - No. 3, 1955); “The Diary of Daniel Fowler” (Thomas R. Lee, 1843); “Maritime Art” (Vol. 1 - No. 4, 1941); “Maritime Art” (Vol. 2 - No. 2, 1941); “Maritime Art” (Vol. 2 - No. 5, 1942); “Maritime Art” (Vol. 2 - No. 4, 1942); “The Canadian Graphic Art Year Books” (Ryerson Press, 1931)

books

“Emily Carr: Her Paintings and Sketches” (Oxford University Press, 1945); “Emily Carr, a centennial exhibition” (The Vancouver Art Gallery, 1971); “Dennis Burton Retrospective” (The Robert McLaughlin Gallery, 1977, signed by the artist on the frontispage); “Borduas 1905-1960” (Stedelijk museum amsterdam, 1961); “Fritz Brandtner: 1896-1969” (Kastel Gallery, 1969); “Artist at War” (Charles Comfort, 1956); “E. Grace Coombs Artist” (Lorne Pierce, 1949); “Jack Chambers Retrospective” (London Regional Art Gallery, 1988); “The Brave New World of Fritz Brandtner” (Agnes Etherington Art Centre, 1982); “The Life and Work of Alexander Bercovitch” (Robert Adams, 1988, signed by the author on the frontispage); “Frederic Marlett Bell-Smith (1846-1923)” (Roger Boulet, 1977); “Paul-Émile Borduas Writings 1942-1958” (François Marc-Gagnon, 1978); “Walter Bachinski” (Galerie de Bellefeuille, 1996, signed by the artist on the frontispiece); “Colville” (David Burnett, 1983); “Andre Bieler: An Artist’s Life and Times” (Frances K. Smith, 1980)

eight books

“Rody Kenny Courtice: The Pattern of Her Times” (Linda Jansma, 2006); “Canvas of War: Painting the Canadian Experience 1914-1945” (Dean F. Oliver, Laura Brandon, 2000); “The Art of Alex Colville” (Helen J. Dow, 1972); “Aspects of Realism” (Rothmans, 1976); “Four Decades: The Canadian Group of Painters and their contemporaries 1930-1970” (Paul Duval, 1972); “High Realism in Canada” (Paul Duval, 1974); “Ivan on Eyre: The Paintings” (Pavilion Gallery, 2004); “York Wilson” (Paul Duval, 1978)

two works on paper

“Mountain Study” (oil on paper laid on card, signed lower left, 9 x 7 ins); sold with “Victoria Park” (watercolour, unsigned, titled and dated “July 6th -97” lower right, 4.5 x 6.5 ins); each unframed

9 × 7 in (22.9 × 17.8 cm) (largest )

oils on artist board

“Still Life” (signed lower left, 9 x 11 ins); “River Landscape” (signed lower left, 6 x 8 ins); “Cottage Landscape” (signed lower left, 5 x 7 ins); “Mountain Landscape” (signed and titled (indistinctly) on the reverse (6 x 8 ins); each unframed

9 × 11 in (22.9 × 27.9 cm) (largest )

oil on canvas board

bears initials “F.M.B” lower right; unframed

5.5 × 4 in (14.0 × 10.2 cm)

catalogues

including 1931, 1937, 1938 and 1939 publications

books and a reproduction print

“Henry Wanton Jones” (Galerie Kastel Inc., 1994); “Gordon Smith New Paintings” (Equinox Gallery, 1996); “E.J. Hughes” (Galerie Dominion, 1991); E.J. Hughes” (The Vancouver Art Gallery, 1967); “Toni Onley, a partial retrospective, September 18, 1967” (Memorial University Art Gallery, 1967); “The House of Heydenryk” (New York, n.d.); “Toni Onley (Canada)” (Commonwealth Institute Art Gallery, 1965); “The McMichael Conservation Collection” (Paul Duval, 1967); Carl Beam: The Columbus Bus” (The Power Plant, 1992); “Sentimental Bodies: Régine Lhéritier” (Odon Wagner Gallery, 2001); “Renoir à Riopelle” (Galerie Claude Lafitte, 1989); “Hagan: The Mind and the Hand” (Grimsby Public Library and Art Gallery, 1976; inscription to Paul Duval from Fred Hagan on the inside front cover; includes letter from Dennis Burton on Fred Hagan); sold with J.E.H. MacDonald “Beaver Pond, Algoma” reproduction print

fifteen books and one transparency

“The Gallery of Canadian Art: Tom Thomson” (R.H. Hubbard, 1962); “Tom Thomson: The Algonquin Years” (Ottelyn Addison in collaboration with Elizabeth Harwood, 1975); “J.E.H. MacDonald Sketchbook, 1915-1922” (Hunter Bishop, 1979); “A.J. Casson” (Paul Duval, 1951); “J.E.H. MacDonald, R.C.A., 1873-1932” (Art Gallery of Toronto, 1965); “The McMichael Conservation Collection” (Paul Duval, 1967); “The McMichael Canadian Collection” (Paul Duval, n.d.); “The Art of Tom Thomson” (Joan Murray, 1971); “Aurora: The Mysterious Northern Lights” (Candace Savage, 1994); “Lawren Stewart Harris A Painter’s Progress” (The Americas Society, 2000); “Lawren Harris North by West: The Arctic and Rocky Mountain, Paintings of Lawren Harris 1924-1931” (Glenbow Museum, 1991); “F.H. Varley: A Centennial Exhibition” (Christopher Varley, 1981); “Lawren S. Harris: Urban Scenes and Wilderness Landscapes 1906-1930” (Jeremy Adamson, 1978); “The Cartoons of Arthur Lismer” (Ian M. Thom, 1985); “Bright Land: A Warm Look at Arthur Lismer” (Lois Darroch, 1981); “Frederick H. Varley” (Peter Varley, 1983); with Tom Thomson “Northern Lights” transparency

eighteen books

“The Crossing Point: Selected Talks and Writings” (M.C. Richards, 1966); “The Conservation of Antiquities and Works of Art” (H.J. Plenderleith, 1956); “Calligraphy Now: New Light on Traditional Letters” (Margaret Shepherd, 1984); “The Artist’s Handbook of Materials and Techniques” (Ralph Mayer, 1981); “Artists’ Techniques” (Dr. Kurt Herberts, 1958); “The Artist’s Methods and Materials” (Maria Bazzi, 1960); “The Artist’s Studio Handbooks” (Richard Seddon, 1984); “Glossary of Print Techniques” (National Gallery of Canada, n.d.); “Handbook for Museum Curators Part B” (The Museums Association, 1954); “Paper Sculpture” (Paul McPharlin, 1944); “Paper Making as an Artistic Craft” (John Mason, 1959); “Methods and Techniques for Gouache Painting” (Arnold Blanch, 1946); “A Book of Sample Scripts” (Edward Johnston, 1983); “Paint and Painting” (The Tate Gallery, 1982); “Enameling Principles & Practice” (Kenneth F. Bates, 1951); “Painting the Figure in Watercolour” (Herb olsen, 1958); “The Complete Printmaker” (John Ross, Clare Romano, 1972); “Handbook of Type and Lettering” (Hildegard Korger, 1992)

watercolour

signed and dated 1984 lower right; unframed

21.75 × 29 in (55.2 × 73.7 cm) (sheet)

oil on canvas

signed lower left; dated “Dec 1973” on the reverse

32 × 40 in (81.3 × 101.6 cm)

fifteen catalogues

Phillips - Russian Art, April 1990; Phillips - Modern British and Irish Paintings, Drawings and Sculpture, November 1998; Sotheby’s London - Post War and Contemporary Art, June 1989; Sotheby’s New York - Contemporary Art, Part II, May 1989; Sotheby’s New York - Impressionist and Modern Paintings and Sculpture, Part I, May 1989; Sotheby Parke Bernet Inc - American Paintings, April 1977; Sotheby’s New York - Impressionist and Modern Art, Part II, November 1995; Sotheby’s New York - Impressionist and Modern Paintings and Sculpture, Part II; Sotheby’s London - Impressionist and Modern Drawings and Watercolours, December 1990; Sotheby’s New York - Impressionist and Modern Paintings, Drawings and Sculpture, February 1989; Sotheby Parke Bernet Inc.- Rosensaft Collection, March 1976; Parke Bernet Galleries - Various Owners Paintings, November 1968; Sotheby’s - Important Old Master Engravings, Etchings and Woodcuts, May 1981; Sotheby & Co - Impressionist and Modern Paintings and Sculpture, Watercolours and Drawings, April 1974; Sotheby’s New York - Important Old Master Paintings, January 1996

eleven journals

“Rare Treasures of the Art World”- The UNESCO Courier, January 1957; “Menace of the Art Thieves”- The UNESCO Courier, November 1965; “Revue d’art”- L’Oeil, number 34, October 1957; “Lucas Cranach à Bâle”- L’Oeil, number 227, June 1974; “Décor et architecture, Retour de Chine, Le gothique à Valence, number 234-235, January 1975; “L’Oeil”- number 223, February 1974; “L’Oeil”- number 217-218, August-September 1973; “L’Oeil”- number 209, May 1972; “L’Oeil”- number 230, September 1974; “The Connoisseur”- Volume 164, number 659, January 1967; “Demeurs & Chateaux”- number 39 march/April 1987;

fourteen catalogues

six Sotheby’s auction catalogues including April 1979, November 1988, May & November 1995, 2005 & 2009; two Sotheby Parke Bernet auction catalogues including 1974, 1973; Sotheby & Co: The Rene Fribourg Collection Vol 1. and Vol. 2, 1964; Sotheby’s Belgravia 1981; Swann 2005; Phillips 1990; Christie’s 1993;

watercolour heightened with white

bears initials “F.M.B” lower right; unframed

5 × 7 in (12.7 × 17.8 cm) (sheet)

oil on board

signed lower right; titled indistinctly on the reverse (scratched out); unframed

11.25 × 8.75 in (28.6 × 22.2 cm)

graphite

signed and dated 1984 lower right; titled on the reverse

22.5 × 30 in (57.1 × 76.2 cm) (sheet)

two works on paper

“Nude Reclining” (black marker on paper, initialed lower left; sight 10.5 x 13.25 inches); “Standing Nude” (graphite on paper, sight 13.5 x 10.25 inches)

acrylic on canvas

dated “July 1973” on the reverse; unframed

60 × 48 in (152.4 × 121.9 cm)

acrylic on canvas

dated “July 1973” on the reverse; unframed

50 × 59.75 in (127.0 × 151.8 cm)

graphite

signed and dated “March 1976” lower right; titled on a gallery label on the reverse

13.75 × 10.5 in (34.9 × 26.7 cm) (sheet)

graphite

signed, titled and dated 1980 in the lower margin; titled on a gallery label on the reverse

10 × 8 in (25.4 × 20.3 cm) (subject )

lithograph

signed, dated 1957 and numbered 15/35 in the lower margin; unframed

25.75 × 19.75 in (65.4 × 50.2 cm) (sheet)

eight books and periodicals

“Vancouver International Festival: The Arts in French Canada” (Vancouver Art Gallery, 1959); “The National Gallery of Canada Bulletin” (The National Gallery of Canada, May 1963); “Canadian Art Magazine” (Maclean Hunter Printing, Spring 1965); “Trends in Canadian Art” (John Alford, University of Toronto Quarterly, January 1945); “The Development of Painting in Canada” (The Ryerson Press, 1965); “Here and Now: A Canadian Quarterly Magazine of Literature and Art” (Catherine Harmon, Vol 11. No. 4, June 1949); “Here and Now: A Canadian Quarterly Magazine of Literature and Art” (Catherine Harmon, Vol. 1., No. 3., January 1949); “Memoirs of An Art Dealer Vol. 1” (G. Blair Laing, 1979, inscribed “To my old friend, Paul Duval. With best wishes, G. Blair Laing” on the frontispage); sold with J.E.H. MacDonald “Beaver Pond, Algoma” reproduction print

books

“Ceramics for the Potter” (Ruth M. Home, 1952); “Sculpture Inside and Out” (Malvina Hoffman, 1939); “Maryon Kantaroff: Sculpture and Reliefs” (Galerie Dresdnere, Galerie Martal, 1974); “Andreas Drenters” (Chandler Kirwin and Meaghan Clarke, 1994); “Leo Mol: Sculptures 1952-1979” (McMichael Canadian Collection, 1980); “A Retrospective Exhibition of the Works of Leo Mol” (Mendel Art Gallery, 1975, signed by the artist); “Highly Important Nineteenth and Twentieth Century Sculpture” (Parke-Bernet Galleries, 1972); “Masks: The Many Faces of Man” (Royal Ontario Museum, 1959 - 2 copies); “Robert Murray: A Sculpture Exhibition” (Dayton Art Institute and the Columbus Museum of Art, 1979); “Judy Raymer Ivkoff” (Paul Duvall, 2010); “Root Force: Judy Raymer Ivkoff” (Engine Gallery, 2011); “Wood” (London Public Library and Art Museum, 1974); “Large Format Works in Clay” (Burlington Cultural Centre, 1985); “Against the Grain: Joe Fafard Field Project” (MacLaren Art Centre, 1997) - 6 copies; “Leo Mol Sculpture Garden” (1992 - 2 copies); “Leo Mol” (Loch Mayberry Fine Art, 1992); “Folk Carvings by Robert McTavish” (Isaacs Gallery, n.d.);

books

“Mammals in Profile” (Randolph S. Peterson, 1975) - 2 copies; “Art on the Wing” (Joan Winearls, 1999); “Notebooks” (Thoreau MacDonald, 1980); “The Condor” (Harry Harris, September-October 1926); “Birds and Animals drawings by Thoreau MacDonald, 2nd Series” (Thoreau MacDonald, 1973, signed by the artist); “Birds and Animals drawings by Thoreau MacDonald” (Thoreau MacDonald, 1968, signed by the artist); “Woods and Fields 70 drawings by Thoreau MacDonald” (Thoreau MacDonald,1951); “Animals in Art” (Royal Ontario Museum, 1975); “Paintings from the Wild” (Clarence Tilenius, 1980)

books

“Alfred Pellan” (National Gallery of Canada, Montreal Museum of Fine Arts, Le Musée de la Province de Québec, Art Gallery of Toronto, 1960); “Pellan” (Donald Buchanan, 1962); “Jean McEwen” (cette étude a paru dans cimaise, 1965); “Riopelle: Sculpture, Paintings” (Pierre Matisse Gallery, 1963); “Riopelle: Paintings from the Fifties” (Pierre Matisse Gallery, 1989); “Riopelle: Sculpture, Paintings, Aquarelle” (Pierre Matisse Gallery, 1965); “Jean-Paul Riopelle” (Galerie Claude Lafitte, 1987); “Riopelle: Les oies sauvages” (Pierre Matisse Gallery, 1985); “Riopelle” (The National Gallery of Canada, The Montreal Museum of Fine Arts, The Art Gallery of Toronto, 1962); “Jean-Paul Riopelle” (Galerie Claude Lafitte, 1989); “Jean-Paul Riopelle” (Mourlot, Paris); “The Automatistes: Then and Now” (Galerie Dresdnere, 1986); “Philip Surrey: La peintre dans la ville” (Musee d’art Contemporain, Montreal, 1971, signed by the artist on the title page); “Rita Letendre” (Palm Springs Desert Museum); “Adrien Hébert: Thirty Years of His Art” (The National Gallery of Canada, Ottawa, 1971); “Quebec Artists: Then and Now“ (Roberts Gallery, 2008); “Marcelle Ferron” (Édition Simon Blais, 2008); “Clarence Gagnon” (René Boissay, 1988); “Riopelle” (par Pierre Schneider, 1972); “Pellan” (Germain Lefebvre,1973)

books

“Milne” (Alan Jarvis, 1962); “David Milne” (Galerie Godard Lefort, 1971); “W.P. Weston” (Heffel Gallery Limited, 1991); “E. Lindner” (Banfer Gallery, 1965); “Lyman” (Paul Dumas, 1944); “Jack Bush The Early Years” (Miriam Shiell Fine Art, 2004); “M. Cullen” (The Art Gallery of Hamilton, 1956); “Jock Macdonald” (Roberts Gallery, 1962); “Catalogue of Memorial Exhibitions of the Work of Clarence Gagnon, J.W. Beatty” (The Art Gallery of Toronto, 1942 - 2 copies; “E. Lindner A Retrospective Exhibition” (Mendel Art Gallery, n.d.); “Lyman” (Dominion Gallery, n.d.); “E. Lindner Drawings 1869-1972” (The Saskatoon Gallery and Conservatory Corporation, n.d.); “John Lyman 1886-1967” (Louis Dompierre, 1986); “Jock Macdonald Retrospective 1969-1970” (The National Gallery of Canada, 1968-69); “Arthur Shilling” (Thunder Bay National Exhibition Centre and Centre for Indian Art, 1986); “L.A.C. Panton 1894-1954” (The Hart House Art Gallery, University of Toronto, 1974); “Towards a Lyrical Abstraction: The Art of L.A.C. Panton” (Christine Boyanoski, 1990); “Barry McCarthy: The Inner Atlantic” (The Kitchener-Waterloo Art Gallery, 1995); “Doris McCarthy, Feast of Incarnation Paintings 1929-1989” (Stratford Gallery, 1991); “Stanley Royle 1888-1961” (Patrick Condon Laurette, 1989); “G. Roberts” (James Borcoman, 969)

books and periodicals

“Contemporary Art of 79 Countries” (International Business Machines Corporation Collection, 1939); “Contemporary Art of the Western Hemisphere” (International Business Machines Corporation, 1941); “Prize Award Winners, 1908-1965 Spring Exhibitions” (Montreal Museum of Fine Arts, 1967); “L’Exposition d’art de L’Ontario à l’occasion du centenaire” (Province of Ontario Council for the Arts, 1972); “Lumière et atmosphère L’Impressionnisme au Canada, 1885-1920” (Musée du Québec, 1995); “Four Ontario Realists” (Art Gallery of Brant, 1976); “The Art Gallery of Toronto: Painting and Sculpture” (Art Gallery of Toronto, 1959); “Canada: Face to Face” (The Sarnia Public Library and Art Gallery, n.d.); “7 West Coast Painters” (University of British Columbia, 1959); “Canadian Art Magazine Vol. VI. Number 2” (Robert Ayre, Christmas 1948); “Heritage de France 1610-1760” (The Art Gallery of Toronto, 1961); “Sedna: The Spirit of the Sea” (Feheley Fine Arts, n.d.); “Buried Treasure: The Art Collection of Wilfred Laurier University” (Wilfred Laurier Univeesity, 1987); “Toronto Dominion Bank 115th Annual Report 1970”; “Tamara Jaworska” (Paul Duval, 1981); “The National Gallery of Canada: Catalogue of Paintings and Sculpture, Volume 1: Older Schools” (R.H. Hubbard, 1957)

books

“Thunderbird Park” (The British Columbia Government Travel Bureau, n.d; “Songs of Sea and Sky, Songs of Haida Gwaii: Haida Argillite Sculpture” (Masters Gallery Ltd., 2005); “Totem Poles Volume 1” (Marius Barbeau, National Museum of Canada, 1964); “Totem Poles Volume 2” (Marius Barbeau, National Museum of Canada, 1964); “Haida Carvers in Argillite (Marius Barbeau, National Museum of Canada, 1957); “Tsimsyan Myths: Illustrated” (Marius Barbeau, National Museum of Canada, 1961, signed by the author on inside cover page); “Medicine Men on the North Pacific Coast” (Marius Barbeau. National Museum of Canada, 1958); “The Eskimo Art Collection of The Toronto-Dominion Bank” (TD Bank, 1967 with a secondary pamphlet of the TD collection); “Masterpieces of Indian and Eskimo Art from Canada” (National Gallery of Canada, 1970); “Portraits of the Indians” (Glenbow, 1975;) “Genous: First Peoples Art of Canada”- (June 1999); “Art of the Great Lakes Indians” (Flint Institute of Art, 1973); “DYN: The Review of Modern Art” (editorial, 1943); “North American Indian Mythology” (Cottie Burland, 1965); “Kenojuak” (Jean Blodgett, 1985); “From the Heart: From the Art in Canada” (National Museum of Man, 1983)

oil on canvas

signed lower left; signed, titled and dated 1991 on the reverse; Condition Noted: a long horizontal scratch present on the lower half of the painting, sold “as is” and not subject to return (full condition report available upon request)

26.5 × 20.75 in (67.3 × 52.7 cm)

oil on canvas

signed lower left; signed, titled and dated 1991 on the reverse

24 × 24 in (61.0 × 61.0 cm)

oil on canvas

signed and dated 1980 on the stretcher; unframed

42 × 60 in (106.7 × 152.4 cm)

books

“C.M. Manly, A.R.C.A. 1855-1924” (The Cobourg Art Gallery, 1973) - 4 copies; “Canadian Portraits of the 18th and 19th Centuries” (The National Gallery of Canada, 1959, signed by Paul Duval on the frontispage); “Daniel Fowler 1810-1894” (Agnes Etherington Art Centre, 1964); “A Century of Colonial Painting: The Seven Years War to Confederation” (The National Gallery of Canada, 1964) - 2 copies; “Nature’s Grandest Scene: 19th Century Views of Niagara Falls” (Wunderlich & Company, 1986); “Edmond Morris Frontier Artist” (Jean S. McGill, 1984); “George Reid: A Biography” (Muriel Miller, 1987); “G.A. Reid Canadian Artist” (Muriel Miller Miner, 1946, inscribed by G.A. Reid and Mary Wrinch Reid); “W.J. Wood Paintings and Graphics” (Christine Boyanoski and John Hartman, 1983); “Nine Watercolour Paintings by George Heriot (1766-1844) in the Collection of Willistead Art Gallery of Windsor” (Kenneth Saltmarche, 1967); “Antoine Plamondon and Théophile Hamel: Two Painters of Quebec” (The National Gallery of Canada, n.d.); “Homer Watson: Paintings and Drawings” (The National Gallery of Canada, 1963); “The Group of Seven Fiftieth Anniversary 1920-1970” (Globe Envelopes Products Limited, 1970); “Lawren Harris Retrospective Exhibition 1963” (National Gallery of Canada, 1963); “An Evening with members of the Group of Seven” (Ontario Society of Education, 1965); “Catalogue of Inaugural Exhibition” (The Art Gallery of Toronto, 1926); “Early Canadian Portraits” (The National Gallery of Canada, 1969); “Miller G. Brittain Drawings and Pastels: c.1930-1967” (Creative Art Centre, University of New Brunswick, 1967, inscribed ‘Mr. Paul Duval” on the cover); “The North West Passage 1534-1859” (Toronto Public Library 1963); “J. Harlow White” (Agnes Etherington Art Centre, 1975); “Frances Anne Hopkins 1838-1919: Canadian Scenery” (Thunder Bay Art Gallery, 1990); “Sympathetic Realism: George A. Reid and the Academic Tradition” (Christine Boyanoski, 1986); “Horatio Walker” (David Karel, 1987); “A Portfolio of Canadian Art” (Eric Brown, 1926)

books

“Against the Grain Fafard Field Project” (Maclaren Art Centre, 1996); “An Anthology of Canadian Art” (Robert H. Hubbard, 1960); “Three Hundred Years of Canadian Art” (The National Gallery of Canada, 1967); “Catalogue of the National Gallery of Canada: Canadian Art, Volume One/A-F” (National Gallery of Canada, 1988); “Canadian Landscape Painting, 1670-1930” (R.H. Hubbard, 1973); “Winnipeg West: Painting and Sculpture in Western Canada 1945-1970” (Christopher Varley, 1983); “The Canadian Earth: Landscape Paintings by The Group of Seven” (Roger Boulet, 1982); “Canadian Painters: From Paul Kane to the Group of Seven” (Phaidon Press, n.d.); “Great Canadian Painting: A Century of Art” (Elizabeth Kilbourn, 1966); “The Arts in Canada: A Stock-taking at Mid-century” (Malcolm Ross, 1958); “Painting in Canada: A History” (J. Russell Harper, 1966); “Call them Canadians” (National Film Board of Canada, 1968); “Contemporary Canadian Painting” (William Withrow, 1972);

books

“The Tom Thomson Mystery” (William T. Little, 1970); “Emily Carr & Her Dogs” (Douglas & McIntyre, 1997); “Aspects of Realism” (Rothmans, 1976); “The National Gallery of Canada Catalogue of Paintings and Sculpture, Vol. II” (R.H. Hubbard, 1959); “The MacCallum-Jackman Donations” (The National Gallery of Canada, 1969); “Canadian Art Today” (New York Graphic Society Ltd., 1970); “In Search of Form: Jack Shadbolt” (McLelland & Stewart Ltd., 1968); “Pictures from the Douglas M. Duncan Collection” (Frances Duncan Barwick, 1975); “The McMichael Canadian Collection” (The McMichael Canadian Collection, 1979); “Handbook” (Art Gallery of Ontario, 1974); “The Collection” (Sarnia Public Library and Art Gallery, 1981); “British Columbia Women Artists 1885-1985” (Art Gallery of Greater Victoria, 1985); “Robert Murray: Sculpture and Working Models” (Art Gallery of Greater Victoria, 1983); “Robert G. Kremp’s Paintings and Drawings of Rural Ontario” (Blue Mountain Foundation for the Arts, 1983, signed by the artist); “By a Lady: Celebrating Three Centuries of Art by Canadian Women” (Maria Tippett, 1992); “The National Gallery of Canada” (Jean Sutherland Boggs, 1971)

oil on canvas

signed upper right; titled and dated “Sept. 1974” on the reverse; unframed

32 × 40 in (81.3 × 101.6 cm)

three watercolours

each signed lower right; all unframed

6.25 × 9.25 in (15.9 × 23.5 cm) ((largest piece))

watercolour and book

signed “N. Droy” lower right; sold with a copy of “Berryman Street Boy” (Paul Duval, Von Lotz Publishing Inc., Whitby, Ontario, 2000)

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

oil on canvas

signed and dated 1979 lower right; signed, titled and dated on the reverse; unframed

22 × 26 in (55.9 × 66.0 cm)

bronze on alabaster

signed and dated 1990 (incised)

12 × 7.75 × 7.75 in (30.5 × 19.7 × 19.7 cm) (overall)

oil on card

signed and dated 1985 upper right; titled on a gallery label on the reverse

12 × 8.5 in (30.5 × 21.6 cm)

oil on canvas

signed upper right; dated “Feb. 1974” on the reverse; unframed

24 × 18 in (61.0 × 45.7 cm)

books

“Canadian Art at Auction: 1975-80” (Sotheby Parke Bernet Inc., 1980); “The National Gallery of Canada Catalogue of Paintings and Sculpture, Vol. III: Canadian School” (R.H. Hubbard, 1960); “A Collection of Drawings and Watercolours by the Canadian Artist William George Richardson Hind” (Sotheby’s at Simpson’s, October 1967); “Check List of The War Collections” (R.F. Wodehouse, 1968); “A Dictionary of Canadian Artists, Vol. 1” (Colin. MacDonald, 1967); “A Dictionary of Canadian Artists, Vol. 2” (Colin. MacDonald, 1968); “A Dictionary of Canadian Artists, Vol. 3” (Colin. MacDonald, 1971); “A Dictionary of Canadian Artists, Vol. 4” (Colin. MacDonald, 1974); “Sotheby’s Catalogue of Pacific Northwest Coast Art” (1977); “Who’s Who in Ontario Art” (Ontario Library Review, 1947); “Who’s Who in Ontario Art” (Ontario Library Review, 1948) - 3 copies; “Who’s Who in Ontario Art” (Ontario Library Review, 1949) - 4 copies: “Who’s Who in Ontario Art” (Ontario Library Review, 1950) - 3 copies; “Who’s Who in Ontario Art” (Ontario Library Review, 1951) - 3 copies; “Who’s Who in Ontario Art” (Ontario Library Review, 1952); “Who’s Who in Ontario Art” (Ontario Library Review, 1954) - 2 copies

catalogues

Sotheby Parke Bernet - Canadian Art at Auction, 1968-1975 - 4 copies; Sotheby Parke Bernet - Canadian Art at Auction, 1975-1980; Sotheby’s Toronto - Canadian Art, Nov. 1981; Sotheby’s Toronto - Canadian Art, Nov. 1983; Sotheby’s Toronto - Important Canadian Art, Nov. 2012; Sotheby’s Toronto - Decorative Works of Art and Paintings, March 1982; Heffel Fine Art - Fine Canadian Art, May 2002;

catalogues

Bonham’s - Antiquities, April 1994 Canadian and European Art, June 2008 Richard Green - Old Master and Impressionist Paintings, 1986 Modern British Paintings, 1986 Modern British Paintings, 1987 Modern British Paintings, 1988 Exhibition of Modern British Paintings, 1995 Heffel - Two copies Canadian Art and International Art, November 1995 Fine Canadian Art, November 1996 Fine Canadian Art, November 1997 Fine Canadian Art, November 1998 Fine Canadian Art, November 1999 Fine Canadian Art, November 2001 Fine Canadian Art, May 2002 Fine Canadian and Irish Art, November 2003 Fine Canadian Art, May 2004 Fine Canadian Art, November 2005 Fine Canadian Art, November 2006 Fine Canadian Art, May 2007 Fine Canadian Art and Canadian Post-War & Contemporary Art, November 2008 Fine Canadian Art and Canadian Post-War & Contemporary Art, November 2009 Fine Canadian Art and Canadian Post-War & Contemporary Art, May 2010 Canadian Post-War & Contemporary Art and Fine Canadian Art, November 2010 Canadian Post-War & Contemporary Art, May 2011 Canadian Post-War & Contemporary Art, November 2008 Canadian Post-War & Contemporary Art, November 2012 Fine Canadian Art, May 1999 Fine Canadian Art, May 2000 Fine Canadian Art, November 2000 Fine Canadian Art, May 2001 Fine Canadian Art, May 2003 Fine Canadian Art, November 2003 Fine Canadian Art, November 2004 Fine Canadian Art, May 2005 Fine Canadian Art, May 2006 Fine Canadian Art, November 2008 Fine Canadian Art, May 2011 Fine Canadian Art, November 2012 Joyner Fine Art - Canadian Art, May 1986 Collection of the late Lawrence T. Porter, November 1987 Canadian Art, May 1987 Canadian Art, November 1987 Canadian Art, May 1988 Canadian Art, November 1988 Canadian Art, May 1990 Canadian Art, May 1991 Canadian Art, November 1991 Canadian Art, May 1992 Canadian Art, November 1993 Canadian Art, May 1994 Canadian Art, May 1996 Canadian Art, November 1998 Canadian Art, June 1999 Canadian Art, December 1999 Canadian Art, May 2000 Canadian Art, November 2000 Canadian Art, May 2001 Canadian Art, December 2001 Canadian Art, May 2002 Canadian Art, December 2003 Joyner Waddington’s - Canadian Art, June 2003 Canadian Art, June 2004 Canadian Art, November 2004 Canadian Art, June 2005 Canadian Art, December 2005 Canadian Art, November 2006 Canadian Art, May 2007 Canadian Art, November 2007 Canadian Art, May 2008 Canadian Art, November 2008 Canadian Art, May 2009 Canadian Art, November 2009 Canadian Art, June 2010 Canadian Art, November 2010 Canadian Art, May 2011 Canadian Fine Art, November 2011 Canadian Fine Art, May 2012 Canadian Fine Art Auction Highlights, 2000-2012 David Messum - Collection of paintings by the artists of the Newlyn School and other related works, Spring 1990 Spring 1989 British Impression: The Progress of Impressionism 1880-1940 Atelier 2006 - 2 copies Atelier 2009 Atelier 2010 Ritchie’s - Canadian Art Auction, December 1991 Canadian Art Auction, June 1992 Canadian Art Auction, November 1992 Canadian Art Auction, June 1992, Afternoon Session Canadian Art Auction, June 1992 Decorative Art, September 1992 Canadian Art Auction, June 1993 Canadian Art, November 1993 Canadian Art, May 1994 Canadian Art, November 1994 Canadian Art, May 1995 Canadian Art, December 1995 Canadian Art, May 1996 Canadian Art, December 1996 Canadian Art (Estate of Dr. Max Stern, Montreal), June 2002 Canadian Art, March 2003 Canadian Art, March 2004 Painters Eleven & Their Contemporaries, June 1997 Canadian Art, September 1997 European & American Art, November 1994 European & American Art, May 1995 European & American Art, May 1996 European & American Art, December 1996 European & American Art, June 1997 Fine Jewellery, Decorative Art and Canadian Art, May 1991 Fine Jewellery, Decorative Art and Canadian Art, February, March 2001 European & American Art, December 2004 D&J Ritchie - Canadian Art, December 1988 Canadian Art, December 1989 Canadian Art, June 1990 Sotheby’s - Sotheby’s at Simpson’s - Canadian Drawings Part 5, October 1967 Sotheby’s & Co. (Canada) - Canadian Paintings, Drawings, Watercolours and Prints, October 1968 - 2 copies Impressionist and Modern Watercolours and Drawings, April 1975 Important Impressionist and Modern Drawings and Watercolours, December 1976 Highly Important French Furniture, Decorations, Porcelain, Works of Art & Gold Boxes, February 1978 Important Inuit and Indian Art and Artifacts, July 1981 Sotheby’s at Scone Palace, Perth, April 1980 Sotheby’s at Scone Palace, Perth, April 1982 Sotheby’s at Gleneagles Hotel, August 1980 Important Latin American Paintings, Drawings and Sculpture, November 1984, New York Latin American Art, November 1989 Canadian Art, May 1981 Canadian Art, November 1982 Canadian Art, June 1982 Canadian Art, May 1984 Important Canadian Art, November 1986 Important Canadian Art, November 1987 Important Canadian Art, November 1988 Important Canadian Art, November 1989 Important Canadian Art, May 1990 Important Canadian Art, October 1990 Important Canadian Art, May 1991 Important Canadian Art, November 1991 Important Canadian Art, May 1992 Important Canadian Art, November 1992 Important Canadian Art, May 1993 Important Canadian Art, November 1993 Important Canadian Art, May 1994 Important Canadian Art, September 1994 Important Canadian Art, November 1994 Important Canadian Art, May 1995 Important Canadian Art, November 1995 Important Canadian Art, December 1995 Important Canadian Art, May 1996 Important Canadian Art, November 1996 Important Canadian Art, December 1997 - 2 copies Important Canadian Art, June 1998 Important Canadian Art, December 1998 Important Canadian Art, June 1999 Important Canadian Art, November 1999 Important Canadian Art, May 2000 Important Canadian Art, November 2000 Important Canadian Art, May 2001 Important Canadian Art, February 2002 Important Canadian Art, May 2003 Important Canadian Art, November 2003 Important Canadian Art, November 2004 Important Canadian Art, May 2004 Important Canadian Art, May 2005 Important Canadian Art, November 2005 Important Canadian Art, May 2006 Important Canadian Art, November 2006 Important Canadian Art, May 2007 Important Canadian Art, November 2007 Important Canadian Art, May 2008 Important Canadian Art, November 2008 Important Canadian Art, May 2009 Important Canadian Art, December 2009 Important Canadian Art, November 2011 Important Canadian Art and Fine Jewellery, November 1984 Important Canadian Art and Fine Jewellery, May 1985 Important Canadian Art and Fine Jewellery, June 1986 Important Canadian Art, May 1989 Sale of Contemporary Art 1945-1976, December 1976 Nineteenth and Twentieth Century Paintings, Drawings and Sculpture (from the Collection of Monsieur Alfred Daber of Paris), April 1981 Decorative Works of Art and Paintings, October 1981 Decorative Works of Art and Paintings and Canadiana, June 1982 Waddington’s - Canadian Fine Art, June 1982 December 1983 May 1987 November 1989 Fall 1993 Spring 1994 Fall 1994 Spring 1995 Fall 1995 November 1996 Inuit & Native Arts, December 1988 Inuit Arts, November 1990 MISC. Toronto International Art Fair, 2001 Maynard’s - Canadian Fine Art, June 1995 Reeve, Mackay & Associates - Important Fine Art & Decorative Art, May 1997 Fraser Ltd. - October 1989 Fraser-Pinney’s, November 1991 Gardner Auctions - Collections of the Late Joseph H. Bauer, June 1965

exhibition catalogues

“Fred Ross” (Galerie Dresdnere, 1973); “Hans Hofmann: Drawings” (André Emmerich Gallery, 1977); “A Few Reflections from 1984” (Auu Bowman, 1984); “More Reflections (Auu Bowman, 1986); “Graham Fowler” (Douglas Udell Gallery, 1995); “Vicky Marshall” (Heffel Gallery Ltd, 1998); “Mind Over Matter (Jacquie Jacobs, n.d.); “Bruce St. Clair: Paintings a Ten Year Survey” (Aggregation Gallery, 1977); “Jack B. Yeats Paintings” (The Waddington Galleries, 1961); “Mark Lang” (Gallerie de Bellefeuille, 2010); “Jennifer Hornyak” (Galerie de Bellefeuille, 2009); “An Open Window: New Paintings by Tracy Ziegler” (Odon Wagner, 2007); “Jack Humphrey: A Retrospective Exhibition” (Galerie Dresdnere, 1974); “Pierre Gauvreau” (Gallery Gevik, 2009); “Louis de Niverville: 50 Years of Louis de Niverville (1957-2007)” (Ingram Gallery, 2007); “Louis de Niverville Retrospective” (The Robert McLaughlin Gallery, Oshawa, 1978 (Dedicated to Paul and signed by Joan Murray)); “Kim Ondaatje: Paintings and Prints” (London Public Library and Art Museum, 1972); “Liz LePage” (The Kitchener-Waterloo Art Gallery, 1996); “Carl Schaefer: Retrospective Exhibition: Paintings from 1926 to 1969” (Art Gallery of Windsor (travelling), 1970, with accompanying note from the artist to Paul Duval); “John Newman” (Art Gallery, Erindale College, University of Toronto (travelling exhibition), 1973); “40 Years of Jack Nichols 1941-1981” (The Sarnia Public Library and Art Gallery, 1982); “John Boyle: A Retrospective” (London Regional Art and Historical Museums, 1991); “Jennifer Hornyak” (Galerie Claude Lafitte, 1987); “Treacy Ziegler: The Lights of Passage” (Odon Wagner Gallery, n.d. (3 copies)); “Barry McCarthy: The Inner Atlantic” (The Kitchener-Waterloo Art Gallery, 1995)

four colour serigraphs

”White Forest” (titled and numbered AP 57/60 in the lower margin); ”Alone La Cloche” (titled and numbered AP 57/60 in the lower margin, small tear present at lower left edge); ”White Pine” (titled and numbered AP 60/60 in the lower margin); ”Snow Laden Spruce” (titled and numbered AP 57/60 in the lower margin); each unframed

27.5 × 31.75 in (69.8 × 80.6 cm) (sheet)

acrylic on canvas

signed upper left; titled and dated “Sept. 1973” on the reverse; unframed

24 × 24 in (61.0 × 61.0 cm)

oil on canvas

16 × 20 in (40.6 × 50.8 cm)