Works on Paper, Books & Tapestries

four serigraphs; four etchings

- K.M. Graham, “For Jack” (signed, titled, dated 1983 and numbered 75/90); - Joseph Drapell, “Heart” (signed, titled, dated 1984 and numbered 75/90); - Dan Christensen, “One for Jack” (signed, titled, dated 1984 and numbered 75/90); - Friedel Dzubas, “Fugue” (signed, titled and numbered 75/90); - Darryl Hughto, “Grotto” (signed, titled, dated 1984 and numbered 75/90); - Michael Steiner “Untitled” (signed and numbered 75/90); - Dorothy Knowles, ”Summer Day” (signed, titled, dated 1984 and numbered 75/90); - William Perehudoff, “Jack’s Dance” (signed, titled, dated 1984 and numbered 75/90); all measuring approximately 22 ins x 30 ins [sheet], each unframed

22 × 30 in (55.9 × 76.2 cm) (each sheet)

oil on card

signed and dated 1964 lower left

8.38 × 6.5 in (21.3 × 16.5 cm)

watercolour

signed lower right

8.75 × 10.25 in (22.2 × 26.0 cm) (sight)

ink on paper

initialed lower right; titled and dated 2010 to a gallery label on the reverse

18.75 × 28 in (47.6 × 71.1 cm) (sheet)

c print

titled on a label on the glass lower right

32 × 64 in (81.3 × 162.6 cm) (image)

acrylic and collage on paper

signed and dated 1989 lower right; titled on a gallery label on the reverse Please note: there is a small crack in the glass at the lower left corner of the framing

11 × 60 in (27.9 × 152.4 cm) (sheet)

mixed media on paper

signed, titled and dated “July 21, 1986” at lower edge; unframed

30 × 44 in (76.2 × 111.8 cm) (sheet)

watercolour

signed and dated 1964 lower left

18 × 24 in (45.7 × 61.0 cm)

colour lithograph

signed and numbered 178/200 within the lower margin; unframed

11.6 × 14.6 in (29.5 × 37.1 cm) (image)

mixed media on paper

signed, titled and dated 1974 lower right; unframed

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

two serigraphs

“Snow Moon” (signed, titled, dated 1990 and numbered 16/185 in the lower margin; 22.5 x 29.25 inches [sheet]); “Juneau” (signed, titled, dated 1988 and numbered 44/165 in the lower margin; 29.25 x 22.5 inches [sheet]); both unframed

22.5 × 29.25 in (57.1 × 74.3 cm) (each sheet)

c print

titled on a label on the glass lower right

32 × 32 in (81.3 × 81.3 cm) (image)

eight offset lithographs

- “Does He?” - signed with initials and numbered 8/150 in the margin(19.5 x 12 in.)(sheet); - “Young Italian Men” - signed with initials and numbered 5/150 in the margin (19.5 x 12 in.) (sheet); - “I Dream” - singed with initials and numbered 4/150 in the margin (19.5 x 12 in.) (sheet); - “#4” - signed with initials and numbered 3/150 in the margin (12 x 19.5 in.) (sheet); - “#7” - signed with initials and numbered 19/150 in the margin(12 x 19.5 in.) (sheet); - “#8” - signed with initials and numbered 20/150 in the margin (12 x 19.5 in.) (sheet); - “#14” - signed with initials and numbered 24/150 in the margin (12 x 19.5 in.) (sheet); - “#15” - signed with initials and numbered 16/150 in the margin (12 x 19.5 in.) (sheet); Issued by Corkin Gallery; each unframed

19.5 × 12 in (49.5 × 30.5 cm) (largest sheet)

Book and c-print

Published by Edward Burtynsky, 2010, signed on title page; “Shipbreaking #10 Field Proof, Chittagong, Bangladesh, 2000”- chromogenic print from a Type 55 Polaroid, signed and numbered 87/100 on the reverse

13 × 15 in (33.0 × 38.1 cm) (sheet)

colour lithograph

signed and numbered 146/200 in the lower margin

20.5 × 16.75 in (52.1 × 42.5 cm) (subject)

colour lithograph

signed and inscribed A/P in the lower margin; unframed (matted)

18.5 × 16 in (47.0 × 40.6 cm) (subject)

colour screenprint

signed, dated 2015 and numbered 37/450 in the lower margin; unframed

24 × 18 in (61.0 × 45.7 cm) (sheet)

colour screenprint

signed, dated 2009 and numbered 43/75 in the lower margin; unframed

18 × 18 in (45.7 × 45.7 cm) (sheet)

cibachrome

signed, titled and numbered 1/10 on the matting

13 × 19.25 in (33.0 × 48.9 cm) (sight)

photolithograph

titled lower left; signed lower right

20.25 × 19.25 in (51.4 × 48.9 cm) (sight)

screenprint

signed, titled, dated 1976 and numbered 11/70 in the lower margin

19 × 25 in (48.3 × 63.5 cm)

colour lithograph

signed, dated 1973 and numbered 75/75 in the lower margin; titled, dated and numbered to the gallery label on the reverse

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

etching

signed, titled and numbered 8/35b in the lower margin

22 × 28 in (55.9 × 71.1 cm) (sheet)

ektacolour

signed, titled, dated 1978 and numbered 1/10 in the lower margin

5.5 × 16.5 in (14.0 × 41.9 cm) (subject)

etching

signed and inscribed “Artist Proof” in the lower margin

13 × 10.75 in (33.0 × 27.3 cm) (plate size)

watercolour

signed and dated 1892 lower right; titled on a label on the reverse

13 × 17 in (33.0 × 43.2 cm) (sight)

watercolour and pencil sketches

signed on the inside cover; containing approximately 22 sketches

5 × 7.25 × 0.25 in (12.7 × 18.4 × 0.6 cm) (overall)

watercolour

signed and dated 1953 lower right

13 × 19.5 in (33.0 × 49.5 cm) (sight)

two works on paper

- “Lemon on the Rock” (mixed media on paper - 16 x 12 ins. [sheet]); - ”Georgian Exchange” (pastel on paper, signed and dated 1993 lower middle right - 22 x 30 ins. [sheet])

22 × 30 in (55.9 × 76.2 cm) (sheet (largest))

colour serigraphs

- “November Oaks” (titled in the lower margin - 24 x 29 ins. [subject]); - “Before the Storms - The St. Ives Suite #3” (signed, titled, dated 1990 and numbered A.P. 22/35 in the lower margin - 24.75 x 27.75 ins. [subject]); - “Surf at Porthmeor - The St. Ives Suite #4” (signed, titled, dated 1990 and numbered A.P. 22/55 in the lower margin - 25 x 27.75 ins. [subject])

24 × 29 in (61.0 × 73.7 cm) (subject (largest))

three works on paper

- “Coast with Hills” (watercolour, signed and dated 1953 lower right - 15 x 22 ins. [sheet]); - “Military Base” (watercolour, signed and dated 1944 lower right - 14 x 17.75 ins. [sheet]; - “Casa de Mendoza, San Miguel de Allende, Mexico” (ink drawing, signed, titled and dated 1946 lower right - 9.75 x 10.25 ins. [sheet]); each unframed

15 × 22 in (38.1 × 55.9 cm) (largest sheet)

mixed media on paper laid down on card

signed and dated 1958 lower right; titled on the reverse

27 × 36 in (68.6 × 91.4 cm)

two lithographs

- “Religious Figure with Congregation”- signed and numbered 9/44 in the lower margin (13 ins x 17 ins [sight]); - “Model in Studio”- signed and numbered 9/44 in the lower margin (22 ins x 19 ins [sheet])

colour aquatint

signed lower right by the artist and inscribed Edward King lower left

14.75 × 10.75 in (37.5 × 27.3 cm) (plate size)

pair of silkscreens on veneer

each unframed (matted)

10 × 11.25 in (25.4 × 28.6 cm) (each sight)

two colour etchings

-“A Village in Winter” - etching; signed and titled indistinctly in the lower margin; plate size 3.25 ins x 3.25 ins -”The Lagoon, Venice” - colour etching; signed, titled and inscribed “No. 23” in the lower margin; plate size 4 ins x 6 ins

4 × 6 in (10.2 × 15.2 cm) (largest plate)

etching

signed and titled in the lower margin

12.75 × 16.75 in (32.4 × 42.5 cm) (plate size)

lithograph

signed and numbered 9/44 in the lower margin

16.5 × 19.75 in (41.9 × 50.2 cm) (sight)

aquatint

artist’s seal printed lower left; signed lower margin

7.5 × 9.5 in (19.1 × 24.1 cm) (plate size)

watercolour

signed lower right

11 × 14.25 in (27.9 × 36.2 cm) (sight)

coloured chalk

sold together with “Horses in Stream” - colour photolithographic reproduction (“Reproduced from the Private Collection of the Royal Bank of Canada”; sheet size 20.5 ins x 26 ins, rolled and within a mailing tube addressed to the artist - sold “as is” and not subject to return)

14.5 × 9 in (36.8 × 22.9 cm) (sight)

pencil

signed lower right; titled “Stirling” lower left; a copy of a photograph of Mill Street, Stirling affixed to the reverse

8 × 11.25 in (20.3 × 28.6 cm) (sight)

watercolour

signed lower right; condition noted: artwork has slipped in mat

20.75 × 14.75 in (52.7 × 37.5 cm) (sight)

three pencil drawings

- “Horse” (5.5 x 5.75 ins. [sight]); - “Woman in Profile” (6.5 x 5 ins. [sight]); - “Country House” (5.75 x 4.5 ins. [sight])

5.5 × 5.75 in (14.0 × 14.6 cm) (largest (sight))

linocut

signed and numbered 11/100 in the lower margin; a certificate of authenticity from The Robert McLaughlin Gallery accompanies this work noting that the plate for this work was completed in 1930 and then printed in 1998

5 × 7 in (12.7 × 17.8 cm) (sight)

etching

signed and titled in the lower margin

6.25 × 4.25 in (15.9 × 10.8 cm) (plate size)

etching

signed and numbered 48/100 in the lower margin

13.25 × 10.5 in (33.7 × 26.7 cm) (plate size)

colour serigraph

signed lower right and numbered 244/350 lower left in the margin

20.5 × 27 in (52.1 × 68.6 cm) (image)

oil on paper

signed and dated 1988 lower right; titled and dated in pencil on the reverse of the frame

39.5 × 27 in (100.3 × 68.6 cm) (sight)

pastel

signed and dated 1990 lower left

29 × 21 in (73.7 × 53.3 cm)

ink on paper

signed lower right

29.25 × 39.25 in (74.3 × 99.7 cm) (sight)

conte on paper

signed lower right; titled and dated 1987 to two gallery labels on the reverse

31.5 × 23 in (80.0 × 58.4 cm) (sight)

watercolour

signed and dated 1986 lower right

22.5 × 57 in (57.1 × 144.8 cm) (sight)

watercolour

signed and dated 1986 lower right

27.5 × 37.75 in (69.8 × 95.9 cm) (sight)

watercolour

signed and dated 1987 lower right

37.5 × 56 in (95.3 × 142.2 cm) (sight)

colour serigraph

signed and dated 1971 lower left; numbered 85/99 lower right; unframed

40 × 28.5 in (101.6 × 72.4 cm) (sheet)

colour serigraph

signed, dated 1970 and numbered 187/200 in the lower margin; unframed

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

colour screenprint

signed, titled, dated 1989 and numbered 50/60 in the lower margin

18 × 26 in (45.7 × 66.0 cm) (subject)

book

text “Lumière Boréale” by Paul Auster, published for Riopelle exhibition at Galerie Maeght in March 1976; housed in original slipcover

15 × 33 in (38.1 × 83.8 cm) (largest sheet)

mixed media print

signed lower right

15 × 12 in (38.1 × 30.5 cm)

six works on paper; two oils on masonite

- “Abstraction” (mixed media on paper - 18 x 24 ins.); - “Abstraction” (mixed media on paper - 18 x 24 ins.); - “Lakeside Tree” (mixed media on paper, signed lower right - 24 x 36 ins.); - “Thistles” (ink on paper, signed lower right - 18 x 24 ins.); - “Mountain” (pen and ink on paper, signed lower right - 18 x 24 ins.); - “Bird Study” (pencil on paper, signed lower right - 19.25 x 25.25 ins.); - “Ideal Woman” (oil on masonite, titled on the reverse - 48 x 24 ins.); - “Figure in White” (oil on masonite, 48 x 24 ins.) each unframed

48 × 24 in (121.9 × 61.0 cm) (largest )

book with lithograph

McClelland and Stewart Limited, Toronto, 1964. Contains an original lithograph bound within, signed, dated 1964 and numbered “13/175” by Harold Town; Volume signed and numbered 13/175; housed in the original slipcase

Sampson Matthews silkscreen

23.25 × 34.5 in (59.1 × 87.6 cm) (sight)

watercolour; etching

- “The Martyr, Mocked and Mourned”- signed, dated 1990 and inscribed “Firenze” at the lower edge (29.5 ins x 21.75 ins [sight]) - “Fool in the Morning Garden”- signed, titled, dated 1980 and inscribed “E.A.” and “For Moya” in the lower margin (13.75 x 20.25 [sight])

29.5 × 21.75 in (74.9 × 55.2 cm) (largest)

book with serigraph

- “Jack Chambers” - signed and numbered “138” on the inside title page (Nancy Poole - numbered 138/300); - “Daffodils” (colour serigraph, signed, dated 1977 and numbered 138/300 in the lower margin, 11.75 x 11.5 ins. [sheet]) unframed, housed in folder; all in the original slipcase

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

134 magazines

ArtsCanada: 1965 - 2001 (56 issues); Canadian Art Magazine: 1984-2020 (78 issues)

mixed media tapestry

55 × 116 in (139.7 × 294.6 cm)

double-sided mixed media tapestry

39 × 70 in (99.1 × 177.8 cm)

no-medium

double-sided mixed media tapestry in three parts

70 × 76.5 in (177.8 × 194.3 cm)

mixed media tapestry

signed with appliqués lower right Please note: a composite image is pictured for this lot

52 × 298 in (132.1 × 756.9 cm) (overall )

nine books

- “Note Books: Thoreau MacDonald” (Thoreau MacDonald, Penumbra Press, 1980); - “Reflections in a Quiet Pool: The Prints of David Milne” (Rosmarie L. Tovell, National Galery of Canada, 19800; - “With Minimal Means: John Hartman Prints 1985-1995” (Kim Ness, McMaster Museum of Art, 1995); - “Machine Age Modernism: Prints from the Daniel Cowin Collection” (Jay A. Clarke and Johnathan Black, Yale University Press, 2015); - “Thoreau MacDonald: A Catalogue of Design and Illustration” (Margaret E. Edison, University of Toronto Press, 1973); - “A New Class of Art: The Artist’s Print in Canadian Art, 1877-1920” (Rosemarie L. Tovell, National Gallery of Canada, 1996); - “Printmaking in Canada: The Earliest Views and Portraits” (Mary Allodi, Royal Ontario, Museum, 1980); - “The World of William Notman: The Nineteenth Century Through a Master Lens” (Roger Hall, Gordon Dodds, Stanley Triggs, McClelland and Stewart, 1993); - “The Tranquility and The Turbulence: The Life and Work of Walter Phillips” (Roger Boulet, M.B. Loates, 1981)

eleven books

- “Jock MacDonald: The Inner Landscape Retrospective Exhibition” (Joyce Zemans, Art Gallery of Ontario, 1981); - “Jack Bush: A Retrospective” (Art Gallery of Ontario, 1976); - “Riopelle Mémoires d’ateliers” [French text] (Yseult Riopelle and Gilles Daigneault, 2010); - Paul-Emile Borduas: A Critical Biography” (François-Marc Gagnon, McGill-Queens University Press, 2013); - “16 Quebec Painters in their Milieu” (McClelland and Stewart, 1978); - “In Search of Form: Jack Shadbolt” - signed by the artist on the title page (Jack Shadbolt, McClelland and Stewart, 1968); - “Greg Curnoe” (Pierre Théberge, National Gallery of Canada, 1982); - “Paterson Ewen: Paintings 1971-1987 Phenomena” - signed by the author on the title page (Phillip Monk, Art Gallery of Ontario, 1987); - “Gershon Iskowitz: Painter of Light” (Adele Freedman, Merritt Publishing, 1982); - “Marcelle Ferron: Monograph” (Edition Simon Blais, 2008); - “Jack Bush” (Ed. Karen Wilkin, McClelland and Stewart, 1984)

twelve books

- “Four Decades: The Canadian Group of Painters and their Contemporaries - 1930 - 1970” - housed in original slipcase (Paul Duval, Clarke Irwin, 1972); - “Canadian Art in the Twentieth Century” (Joan Murray, Dundurn Press, 1999); - “Art for Enlightenment: A History of Art in Toronto Schools” (Rebecca Sisler, Toronto Board of Education, 1993); - “Toronto in Art: 150 Years Through Artist’s Eyes” (Edith G. Firth, Fitzhenry and Whiteside, 1983); - “The Ontario Collection”- signed by the author on the title page (Fern Bayer, Fitzhenry and Whiteside, 1984); - “Visions: Contemporary Art in Canada” (Eds. Robert Bringhurst, Geoffrey James, Russell Keziere and Doris Shadbolt, Douglas and McIntyre, 1983); - “Jewish Painters of Montreal: Witnesses of Their Time 1930-1948” (Esther Trépanier, Led éditions de l’Homme, 2008); - “The Ontario Community Colellects: A Survey of Canadian Painting from 1766 to the Present” (William C. Forsey, Art Gallery of Ontario, 1975); - “A Consise History of Painting: Third Edition” (Dennis Reid, Oxford University Press, 2011); - “Three hundred Years of Canadian Art” (R.H. Hubbard and J.R. Ostiguy, National Gallery of Canada, 1967); - “Modern Painting in Canada: Major Movements in Twentieth Century Canadian Art” (Terry Fenton and Karen Wilken, The Edmonton Art Gallery, 1978); - “Contemporary Canadian Art” (David Burnett and Marilyn Schiff, Art Gallery of Ontario, 1983);

seven books

- “A.Y.’s Canada” (Naomi Jackson Groves, Clarke Irwin and Company Limited, 1968); - “A.Y. Jackson: The Life of a Landscape Painter” (Wayne Larsen, Dundurn Press, 2009); - “A.Y. Jackson: The Arctic, 1927”- housed in original slipcase (Introduction by Naomi Jackson Groves, Penumbra Press, 1982); - “A.J. Casson: My Favourite Watercolours, 1919 to 1957” (Forward by Paul Duval, Cerebrus, Prentice Hall, 1982); - “A.J. Casson” (Paul Duval, Ryerson Press, 1951); - “Tom Thomson: The Silence and the Storm”- signed and dated 1977 by the authors on inside frontspiece (Harold Town and David P. Silcox, McClelland and Stewart, 1977); - “The Art of Tom Thomson” (Joan Murray, Art Gallery of Ontario, 1971)

eight books

- “Canadian Painting in the Thirties” (Charles C. Hill, National Gallery of Canada, 1975); - “A Terrible Beauty: The Art of Canada at War” (Heather Robertson, The Robert McLaughlin Gallery, 1977); - “Canvas of War: Painting the Canadian Experience 1914-1945” (Dean F. Oliver and Laura Brandon, Canadian War Museum, 2000); - “Embracing Canada: Landscapes from Krieghoff to the Group of Seven” (Ed. Ian Thom, Vancouver Art Gallery, 2015); - “Art Gallery of Ontario: The Canadian Collection” (McGraw-Hill Company of Canada Limited, 1970); - “Sky Painter: The Story of Robert Newton Hurley” (Jean Swanson, Prairie Books, 1973); - “Carl Schaefer” (margaret Gray, Margaret Rand and Lois Steen, Gage Publishing, 1977); - “F.H. Varley: A Centennial Exhibition” (Christopher Varley, The Edmonton Art Gallery, 1981)

eight books

- “The Group of Seven and Tom Thomson” (David P. Silcox, Firefly Books, 2003); - “F.H. Varley: A Centennial Exhibition” (Christopher Varley, The Edmonton Art Gallery, 1981); - “The Group of Seven: In Western Canada” (Ed. Catherine Mastin, The Glenbow Museum, 2002); - “The Canadian Earth: Landscape Paintings by the Group of Seven” (Roger Boulet, Cerebrus Prentice Hall, 1982); - “Frederick H. Varley” (Peter Varley, Key Porter Books, 1983); - “The Best of the Group of Seven” (Joan Murray, Robert McLaughlin Gallery, 1984); - “A Story og the Group of Seven: Canada’s Great Landscape Painters” (Harry Hunkin, Paul Harris Publishing, 1979); “The Group of Seven” - housed in original slipcase (Peter Mellen, McClelland and Stewart, 1970)

seventeen books

Full listing in cataloguing details

four books and portfolios

- “15 dessins de Léon Bellefleur” (numbered 159/300 - éditions Erta Montréal, Montréal, 1954); - “Le Pain Quotidien” (Michel Beaulieu, illustrations by Jean McEwen, Esterel, Montreal, 1965); - “A Portfolio of Canadian Paintings” (The National Gallery of Canada, Ottawa, 1950); - “Cities of Canada: Reproductions from the Seagram Collection of Paintings” (The House of Seagram, Montreal, 1953)

9 books

- “Tom Thomson The Silence and the Storm” (Harold Town & David Silcox, McClelland and Stewart, Toronto, 1977); signedn by authors; housed in original case; - “Bright Land, A Warm Look at Arthur Lismer” (Lois Darroch, Merritt Publishing, Toronto/Vancouver, 1981); housed in original case; - “A Border of Beauty: Arthur Lismer’s Pen and Pencil” (Marjorie Lismer Bridges, Red Rock Publishing, Toronto, 1977); - “September Gale: A Study of Arthur Lismer” (John A. B. McLeish, J.M. Dent & Sons, Toronto/Vancouver, 1955); signed by the artist - “Frederick H. Varley” (Peter Varley, Key Porter Books, Toronto, 1983); - “F.H. Varley Portraits into the Light” (Katerina Atanassova, Dundurn Press, Toronto, 2007); - “F.H. Varley” (Christopher Varley, The Edmonton Art Gallery, 1981); - “Edwin Holgate” (Rosalind Pepall & Brian Foss, The Montreal Museum of Fine Arts, Montreal, 2005); - “Lionel Lemoine Fitzgerald The Development of an Artist” (The Winnipeg Art Gallery, Winnipeg, 1978-79)

book with 3 silkscreens

Jack Pollock, Toronto, 1980, numbered 57 on the insdie backspiece page, presented within the original slipcase and three untitled cundeer olour silkscreens, (each signed, dated 1980 and numbered 57/65, each sheet measuring 7 ins x 9 ins)

7 × 9 in (17.8 × 22.9 cm) (each sheet)

three books

- “Tom Thomson: The Silence and the Storm” (Harold Town and David Silcox, McClelland & Stewart, Toronto, 1977) - signed by Harold Town on the first page; - “The Tangled Garden: The Art of J.E.H. MacDonald” (Paul Duval, Cerebrus/Prentice-Hall, Scarborough, 1978); - “A.J. Casson: His Life and Works, A Tribute” (Paul Duval, Cerebrus/Prentice-Hall, Toronto, 1980)

5 books

- “Canadian Art: The Vital Decades” (Paul Duval, Samposn Matthews Limited, Toronto, 1970); - “The Group of Seven” (Peter Millen, McClelland and Stewart, Toronto, 1970); - “The Group of Seven Art for a Nation” (Charles C. Hill, National Gallery of Canada, Ottawa, 1995); - “Northern Lights, Masterpieces of Tom Thomson and the Group of Seven” (Joan Murray, Key Porter Books, Toronto, 1994)’ - “Tranquility and Turbulence: The Life and Work of Walter J. Phillips” (Roger H. Boulet, M.B. Loates Publishing, Ontario, 1981)

6 books

- “Ken Danby” (Paul Duval, Clarke, Irwin & Co., Toronto/Vancouver, 1976); - “Danby: Images of Sport” (Hubert de Santana, Amberly House Limited, 1978); - “Ken Danby: The Graphic Work” (Art Gallery of Hamilton, Hamilton, 1980); - “Ken Danvby: The New Decade” (Paul Duval, Stoddart Publishing, 1984); - “Ken Danby” (Gallery Moos, Toronto, 1967); - “Paul Kane’s Frontier” (J. Russell Harper, University of Toronto Press, Toronto, 1971); - “Krieghoff, Images of Canada” (Dennis Reid, Douglas and McIntyre, 1999)

nine books

Full catalogue listing in details

six books

- “The Illuminated Life of Maud Lewis” (Lance Woolaver, Art Gallery of Nova Scotia, 1996); - “Colville” (David Burnett, McClelland and Stewart, 1983); - “Christopher Pratt: All My Own Work” (Josée Drouin- Brisbois, National Gallery of Canada, 2005); - “The Inner Ocean: Paintings and Drawings by Ron Bolt” (Ed. David Bolt, Merrit Publishing, 1979); - “Wake of the Great Sealers: Prints and Drawing by David Blackwood” (Farley Mowat, McClelland and Stewart, 1973); - “Impressions and Sketches of a Field Artist: Wild Flowers of Canada” (Molly Lamb Bobak, Pagurian Press Limited, 1978)

eleven books

- “Reflected Lights: His Story in Words and Pictures” (Frank Panabaker, Ryerson Press, 1957); - “Robert Harris 1849-1919 An Unconventional Biography” (Moncrieff Williamson, McClelland and Stewart, 1970) housed in original slipcase; - “A Speaking Likeness” (Joseph Plaskett, Ronsdale Press, 1999); - David Milne” (Ed. Ian Thom, Vancouver Art Gallery, 1991); - Miller Brittain: When the Stars Threw Down Their Spears” (Tom Smart, Beaverbrook Art Gallery, 2007); - “André Biéler: An Artist’s Life and Time” (Frances K. Smith, Firefly Books, 2006); - “Owen Staples: Painter of Canada’s Past” (Rod Staples with Ian Galt, Hogarth Productions, 1994); - “harold Town: Silent Stars, Sound Stars, Film Stars” (Harold Town, McClelland and Stewart, 1971); - “Charles Pachter” - signed and dated “Nov/05” by the artist on title page (Bogomila Welsh-Ovcharov, McClelland and Stewart, 1992); - “Barker Fairley: Portraits” (Ed. Gary Michael Dault, Methuen, 1981); - “André Biéler: An Artist’s Life and Time” - signed by the artist and author and numbered 144 on inside cover, housed in original slip case. Please note “Mon voisin”- colour woodblock is not included with this book (Frances K. Smith, Merritt Publishing, 1980

sixteen books

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fifteen books

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seventeen books

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eleven books

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eleven books

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fifteen books

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fourteen books

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twenty books

Full listing in cataloguing details

periodicals and books

Full listing in cataloguing details

periodicals and books

Full listing in cataloguing details

periodicals and books

Full listing in cataloguing details

nine books

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eleven books

Full catalogue listing in details

twelve books

Full catalogue listing in details

fifteen books

Full catalogue listing in details

three books

- “A.Y’s Canada” (Noami Jackson Groves, Clarke, Irwin & Company, Toronto/Vancouver, 1968); signed by the artist and author; - “Tom Thomson: The Silence and the Storm” (Harold Town and David P. Silcox, McClelland and Stewart; Toronto; 1977); signed by the artist and author; - “Memoirs of an Art Dealer 2” (G. Blair Laing, McClelland and Stewart, Toronto, 1982); signed by the author

nine books

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ten books

- “Frederick Simpson Coburn” (Gerald Stevens, The Ryerson Press, 1958); - “Duveen” (S.N. Behrman, Random House, 1952) with dust jacket; - “Duveen” (S.N. Behrman, Random House, 1953); - “Secrets of an Art Dealer” (James Henry Duveen, E.P. Dutton and Co., Inc., 1938); - “Horation Walker” (F. Newlin Price, Louise Carrier and Co., 1928); - “Inspirational: The Colelction of H.S. Southam, Art Gallery of Hamilton, 2009); - “James Tissot: Catalogue Raisonné of his Prints” (Michael Justin Wentworth, Minneapolis Institute of Arts, 1978); - “The Ontario Collection” (Fern Bayer, Fitzhenry and Whiteside, 1984); - “Andre Bieler: An Artist’s Life and Times” (Frances K. Smith, Merritt Publishing Company Limited, 1980) signed and dated October 8, 1980 by the author and artist on the title page; - “Jewish Painters of Montreal: Witnesses of their Time, 1930-1948” (Esther Trépanier, Les Editions de l’Homme, 2008)

eleven books

- “Visions of light and Air: Canadian Impressionism, 1885-1920” (Eds. Robert Stacey and Elizabeth Ferrer, University of Washington Press, 1995); - “A Collector’s Vision: J.S. McLean and Modern Painting in Canada” (Anna Hudson, Art Gallery of Ontario, 1999); - “Emily Carr in France” (Ian M. Thom, Vancouver Art Gallery, 1999); - “Emily Carr: A Centennial Exhibition Celebrating the Hundredth Anniversary of her Birth” (Vancouver Art Gallery, 1971) - “Carl Schaefer: Canadian Artists 3”- (Margaret Gray, Margaret Rand, Lois Steen, Gage Publishing, 1977) signed and dated “26. XI. 77” by the artist on the inside cover page; - “The Collection: Sarnia Public Library and Art Gallery” (Sheryl Taylor, 1981); - “Impressionism in Canada, 1895-1935” (Joan Murray, Art Gallery of Ontario, 1973); - “Artists In Canada: A Union List of Artists’ Files, Occasional Paper No. 3” (National Gallery of Canada, 1999); - “Lasting Impressions: Celebrated Works from the Art Gallery of Hamilton” (Ed. Tobi Bruce, Art Gallery of Hamilton, 2005); - “Toronto in Art: 150 Years Through Artists’ Eyes” (Edith G. Firth, Fitzhenry and Whiteside, 1983); - “Canadian Impressionism” (Paul Duval, McClelland and Stewart, 1990)

ten books

- “Masters Gallery Ltd.: Celebrating Thirty Years 1976-2006” (Rod Green, Calgary, 2006); - “The Restoration of Paintings” (Knut Nicolaus, Könemann, 1998); - “Canadian Landscape: As Pictured by F.H. Brigden” (J.E. Middleton, The Ryerson Press, 1944); - “The Collection, London, Ontario” (Tom Smart, London Regional Art and Historical Museums, 1990); - “Towards a Lyrical Abstraction: The Art of L.A.C. Panton” (Christine Boyanski, The Art Gallery of Ontario, 1990); - “Anne Savage” (Janet Braide, The Montreal Museum of Fine Arts, 1979); - “Louis Icart: The Complete Etchings” (William R. Holland, Clifford P. Catania, Nathan D. Isen, Schiffer Publishing, 1998); - “Expressions of Will: The Art of Prudence Heward” (Natalie Luckyj, Agnes Etherington Art Centre, 1986); - “André Bourgault: Sculpteur” (Angéline Saint-Pierre, Aint-Jean-Port-Joli, 1996); - “A.J. Casson: An Artist’s Life” (Christopher E. Jackson, McMichael Canadian Art Collection, 1999)

giclée print

signed and numbered 44/200 in the lower margin; typed title on a label on the reverse

10 × 10 in (25.4 × 25.4 cm) (sight)

exhibition pamphlets and booklets

Including texts on: -Emily Carr -William Kurelek -Henri Masson -Horatio Walker -The Group of Seven -Tom Thomson -Helen McNicoll and others

bound and unbound volumes

Full Details in Cataloguing Notes below This lot is sold “as is” and not subject to return.

seven books

- “Laura Muntz Lyall: Impressionism of Women and Childhood” (Joan Murray, McGill-Queens University Press, 2012); - “Quiet Harmony: The Art of Mary Hiester Reid” (Brian Foss and Janice Anderson, Art Gallery of Ontario, 2000); - “The Nude in Canadian Painting” (Jerrold Morris, New Press, 1972); - “Sympathetic Realism: George A. Reid and the Academic Tradition” (Christine Boyanoski, Art Gallery of Ontario, 1986); - “Emily Carr:” New Perspectives on a Canadian Icon” (National Gallery of Canada, 2006); - “Canadian Impressionism” (Paul Duval, McClelland and Stewart, 1990); - “A Collection of works by Florence Helena McGillivray”- signed and numbered 422 on inside sponsor page (W.C. Allen Friesen Press, 2016)