SPRING 2025
FINE ART
MONDAY, MONDAY, JUNE JUNE 22 77 PM PM MT MT www.hodginsauction.com www.hodginsauction.com
HODGINS ART AUCTIONS LTD. 4115-7005 Fairmount Dr SE Calgary, AB T2H 0J1
CONTACT Email: art@hodginsauction.com Phone: (403) 252-4362
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Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
SPRING 2025
FINE ART MONDAY, JUNE 2 7 PM MT www.hodginsauction.com
Bidding starts to close on Monday, June 2 at 7 p.m. MT (staggered soft close)
Showroom Previews Friday, May 30 - Monday, June 2 Open daily from 12 - 4 PM
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TERMS & CONDITIONS Participation in any auction on the Hodgins Halls Auction Group bidding website (the “Site”) is subject to the Auction Terms and Conditions. Hodgins Halls Auction Group (Hodgins Art Auctions Ltd. and/or Hall’s Auction Services Ltd.), the “Auctioneer,” reserves the right to periodically modify the Terms and Conditions and it is your responsibility to review any changes prior to each use of the Site. By using the Site, you agree in advance to accept any such changes. 1. To participate in any auction, you are required to register on our Site. All registration information you provide shall be current, complete, and accurate. Bidders must be 18 years of age or older. You will be suspended or permanently banned from the Site if you provide false information when registering, such as a false name, fraudulent contact information, or a stolen credit card. 2. The Auctioneer reserves the right to pause, suspend, delay, or restart any auction in the event of internet outage. 3. Auction purchases are subject to a 20% Buyer’s Premium on the bid price. 4. Although the Auctioneer takes great care and diligence in the cataloguing of lots offered for auction, all property is sold “as is”. All parties bidding at the sale shall be held to have informed themselves as to the condition, identity, and authenticity of lots, and are not entitled to make any objections after the sale on any grounds whatsoever. All items are sold on an as-is-where-is basis and no guarantee is given as to their condition or suitability for any purpose. The Auctioneer does not include condition notes in the description of the lots. Please use the photographs as a guide to condition. If you have any questions or concerns, the Auctioneer will provide condition reports upon request. Bidders can inspect auction lots in person during the scheduled preview times. Take this opportunity to determine the condition, size and whether any item may have been repaired or restored. By placing a bid online, you agree that you have either inspected the respective lot or have waived your right to do so. 5. All items offered for auction are subject to a start price which the Auctioneer will not sell below. 6. The auctioneer reserves the right to refuse admission to the sale, to refuse to approve the registration of any online bidder, or to refuse to recognize any or all bids from any particular person or persons at any auction. If the auctioneer decides that any opening bid is below the value of the lot offered, he may reject the same and withdraw the lot from sale, and if, having acknowledged an opening bid, he decides that any advance thereafter is insufficient, he may reject the advance. 7. The highest bid accepted at the lot closing will be the winning bid. The close of a successfully bid lot signifies the acceptance of a contract with the Auctioneer, selling as agent for the consignor. 8. The security of your account username and password is your sole responsibility, and you are responsible for any bids placed under your bidding account. Once you place a bid, and if you win, you are obligated to buy the lot. Placing a bid on our Site, winning the lot, then not paying for the purchase may result in prosecution, suspension, or permanent ban from registering for future auctions.
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Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close 9. Online auctions begin and end at a predetermined date and time. If an item receives a bid during the final two minutes of the count-down clock there will be an automatic bidding extension: the bidding clock will be extended by two minutes - for that item alone. The time extensions continue until there is a twominute period during which no bidding takes place on the lot. 10. Credit card transactions may be limited to $ 5,000. 11. If the purchaser fails to pay for any lot within seven (7) days from the date of the auction sale, the Auctioneer may, without limitation of the rights of the Auctioneer against the buyer, resell any of the articles affected and in such case the original buyer shall be responsible to the Auctioneer for; (a) any deficiency in price between the re-sale amount and the amount to have been paid by the original buyer; (b) any reasonable charge by the Auctioneer for the storage of such articles until payment and removal by the subsequent buyer; (c) the amount of commission to which the Auctioneer would have earned had payment been made in full by the original buyer. 12. All auction purchases are subject to Goods and Services Tax (GST) on the bid price and Buyer’s Premium unless specifically stated otherwise. Harmonized Sales Tax (HST) in rates applicable to the purchasing province will apply unless the purchaser takes legal possession of purchases within Alberta. If a purchaser from an HST eligible province arranges their own shipping, then the legal delivery is deemed to have occurred within Alberta and only GST shall apply. 13. Neither the Auctioneer, nor its employees, nor its agents, shall be liable for any loss or damage of any kind to the lots after the expiration of seven (7) days from the date of the sale, whether caused by negligence or otherwise, while any lot is in or under the respective custody or control of the Auctioneer. It is the responsibility of the buyer to make all arrangements for insuring, packing, and removing the property purchased and any assistance by the Auctioneer, or the employees of, agents or contractors in packing and removal shall be rendered as a courtesy and without any liability to them. The auctioneer shall not be liable for any damage to glass or frames and shall not be liable for any errors or omissions or damage caused by packers and shippers, notwithstanding the fact that the Auctioneer may have recommended such shippers or packers to the purchaser. 14. The buyer will comply with all laws, statutes, ordinances and regulations regarding bidding, purchase and transport of lots. The amount and/or type of alcoholic beverages purchased and taken into another province, state or country may be limited or entirely prohibited. The buyer is responsible for compliance with all applicable tax laws, duties and exportation and importation requirements. Each buyer represents and warrants that he or she will ensure that any purchased lots to be shipped will not be delivered to or received by any persons less than 18 years of age. 15. The purchaser(s) acknowledges that certain properties of Canadian cultural import may be subject to the provisions of Cultural Property Import and Export Act of Canada. 16. On no account is a consignor of any auction good allowed to bid on his or her own merchandise. 17. As a result of your participation in our online auction, or by inclusion on our mailing and e-mail notification list, we may have collected some or all the following personal information: name, address, postal/zip code, telephone number, e-mail address, and credit card information. This information will only be used by the Auctioneer to provide you with information regarding our products and services, namely upcoming auctions, and events. The Auctioneer does not sell or rent this information. 18. This agreement comprises the entirety of the contract between the Auctioneer and the buyer. The Auctioneer shall not be held liable in respect of any representations not made in writing herein. This agreement shall be governed in accordance with the laws of the Province of Alberta. In the event of a dispute hereunder, the Buyer agrees to submit to the exclusive jurisdiction of the provincial courts and the federal courts sitting in the Province of Alberta.
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1 Horace Champagne Canadian PSA, PSC [b. 1937] MAGICAL MORNING MISTS (LAKE O’HARA, YOHO NAT. PK., BRITISH COLUMBIA); 2006 pastel on paper 20 x 16 in. (50.8 x 40.6 cm) signed lower right; signed, titled and dated on the artist’s certificate verso
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$ 1,500 / 2,500
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
2 Alan Caswell Collier Canadian OSA, RCA [1911-1990] CRAWFORD BAY, KOOTENAY LAKE, B.C., NORTH OF BOSWELL oil on board 12 x 16 in. (30.5 x 40.6 cm) signed lower right; signed and titled verso
$ 2,500 / 3,500
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3 Min Ma Chinese/Canadian [b. 1955] LAKE LOUISE acrylic on canvas 18 x 24 in. (45.7 x 61 cm) signed lower right; signed and titled verso
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$ 1,000 / 1,500
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
4 Annora Brown Canadian ASA, CPE [1899-1987] ALBERTA WILD ROSES gouache and watercolour on paper 10 x 14 in. (25.4 x 35.6 cm) signed lower right; inscribed on the backing “To Ester from Roland / Xmas 1965” Provenance: Estate of Roland Gissing, by descent; E. R. Lamm Art Dealer, Calgary AB (label verso)
$ 700 / 1,000
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5 Joe Fafard Canadian OC, RCA [1942-2019] TWO COLTS; 2001 patinated bronze 5 x 7.5 x 3.25 in. (12.7 x 19.1 x 8.3 cm) signed and dated in the cast; inscribed “4” and “5” along the edge of the base
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$ 3,000 / 4,000
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
6 Janet Mitchell Canadian ASA, CSPWC, RCA [1912-1998] AN ARRAY OF FIGURES AND BIRDS; 1964 mixed media on paper 15 x 22 in. (38.1 x 55.9 cm) signed and dated lower right
$ 1,500 / 2,000
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7 Isabel Stadelbauer Canadian ASA [1909-2004] CANMORE ROOFS watercolour on paper 13.75 x 15.5 in. (34.9 x 39.4 cm) signed lower left; titled verso
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$ 600 / 900
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
8 Isabel Stadelbauer Canadian ASA [1909-2004] HILLSIDE ROOFS, RIVERSIDE; 1941 watercolour on paper 10.25 x 14.25 in. (26 x 36.2 cm) signed lower right; signed, titled and dated verso
$ 500 / 700
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9 Ted Godwin Canadian ASA, OC, R5, RCA [1933-2013] SHEEP oil on wood panel 24 x 30 in. (61 x 76.2 cm) signed and titled verso
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$ 5,000 / 7,000
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
10 Jason Carter Canadian, Cree [20th/21st century] WISTFUL WOLF; 2022 acrylic on canvas (gallery-wrapped) 24 x 12 in. (61 x 30.5 cm) signed and dated lower right along the side; signed and dated verso Provenance: Carter-Ryan Gallery, Canmore AB
$ 700 / 1,000
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11 Victor Cicansky Canadian OC, RCA [1935-2025] JAR OF MIXED PICKLES; 2018 glazed clay 7.5 x 4.75 x 4.75 in. (19.1 x 12.1 x 12.1 cm) signed and dated on the underside
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$ 1,200 / 1,600
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
12 Victor Cicansky Canadian OC, RCA [1935-2025] JAR OF HOT PEPPERS; 2020 glazed clay 5.25 x 3.25 x 3.25 in. (13.3 x 8.3 x 8.3 cm) signed and dated on the underside
$ 800 / 1,200
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13 Robert Genn Canadian FCA [1936-2014] SARA AT RETREAT COVE acrylic on canvas 30 x 34 in. (76.2 x 86.4 cm) signed lower right; signed and titled verso Provenance: The Sheck Gallery of Fine Art, Calgary AB (label verso)
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$ 3,000 / 4,000
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
14 Nick Rooney Canadian [b. 1989] RESTRAINT; 2021 oil on canvas 22 x 28 in (55.9 x 71.1 cm) signed, titled and dated verso Provenance: Loch Gallery, Calgary AB
$ 900 / 1,200
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15 Alan Caswell Collier Canadian OSA, RCA [1911-1990] LONG MARSH CREEK, NEAR WATERSIDE N.B. oil on board 12 x 16 in. (30.5 x 40.6 cm) signed lower right; signed and titled verso Provenance: N. Gibson Consultants, Calgary AB (label verso)
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$ 2,500 / 3,500
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
16 Rod Charlesworth Canadian [b. 1955] ATHABASCA SUMMER; 2013 oil on canvas 30 x 36 in. (76.2 x 91.4 cm) signed upper right; signed and titled verso Provenance: Canada House Gallery, Banff AB (label verso)
$ 2,000 / 3,000
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17 Brent Heighton Canadian [b. 1954] CHANGING SEASONS acrylic on canvas 30 x 30 in. (76.2 x 76.2 cm) signed lower right; titled verso
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$ 1,200 / 1,600
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
18 William (Bill) Duma Canadian ASA, RCA [b. 1936] LAST LIGHT acrylic on canvas 18 x 24 in. (45.7 x 61 cm) signed lower left; titled verso Provenance: Wallace Galleries, Calgary AB (label verso)
$ 900 / 1,200
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19 Ted Raftery Canadian [b. 1938] EVENING AT JENSENS; 1980 oil on canvas 24 x 30 in. (61 x 76.2 cm) signed lower right; signed, titled and dated on the stretcher verso Provenance: Gainsborough Galleries, Calgary AB
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$ 1,000 / 1,500
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
20 Georgia Jarvis Canadian [1944-1990] HOME FOR THE DAY oil on masonite 24 x 36 in. (61 x 91.4 cm) signed lower right; signed and titled verso Provenance: Koyman Galleries, Ottawa ON; The original purchaser acquired this work because it reminded him of time spent in Alberta as an RCMP officer. The work passed to the consignor by descent and has been in a single family collection. $ 4,000 / 6,000
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21 Duncan Mackinnon Crockford Canadian [1920-1991] OLD TIME HARVEST LOOKING WEST ON THE OLD COACH ROAD, WEST OF CALGARY oil on canvas 24 x 30 in (61 x 76.2 cm) signed lower left; titled on the stretcher verso
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$ 1,200 / 1,800
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
22 Roland Gissing Canadian ASA [1895-1967] HILLS NEAR DEWINTON; 1960 oil on canvas 18 x 24 in. (45.7 x 61 cm) signed lower right; titled on the artist’s label verso
$ 1,500 / 2,000
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23 Robert F. M. McInnis Canadian [b. 1942] DRY FIELDS; 1981 oil on canvas 24 x 30 in. (61 x 76.2 cm) signed and dated lower centre; signed, titled and dated verso
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$ 1,000 / 1,500
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
24 William H. (Bill) Webb Canadian [b. 1940] WINTER LANDSCAPE; 1992 acrylic on canvas 45 x 60 in. (114.3 x 152.4 cm) signed, titled and dated verso
$ 3,000 / 5,000
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Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
25 Ted Raftery Canadian [b. 1938] BREAK IN THE TREES (ABOVE THE FOG); 1985 oil on canvas 20 x 24 in. (50.8 x 61 cm) signed and dated lower left; signed and titled verso Provenance: Gainsborough Galleries, Calgary AB Note attached verso reads: “Break in the Trees I climbed higher until I was above the valley fog. Through a break in the trees I sketched with cold, numb hands, this mountain face with the sun just catching its higher ridges. Ted Raftery Commentary” $ 800 / 1,200
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26 Alan Caswell Collier Canadian OSA, RCA [1911-1990] ABOVE CAMERON LAKE, WATERTON NAT. PARK, ALBERTA oil on board 12 x 16 in. (30.5 x 40.6 cm) signed lower right; signed and titled verso
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$ 2,500 / 3,500
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
27 Lawrence Nickle Canadian [1931-2014] VIEW OVER GORGES OF ATHABASCA AND ANDROMEDA GLACIERS, ALBERTA; 1974 oil on wood panel 10 x 12 in. (25.4 x 30.5 cm) signed lower right; signed, titled and dated “May 74” verso Provenance: McCready Galleries, Toronto ON
$ 400 / 600
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28 Roger D. Arndt Canadian [b. 1959] SUNSHINE SLOPES; 2008 oil on wood panel 24 x 18 in. (61 x 45.7 cm) signed lower left; signed, titled and dated verso
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$ 1,000 / 1,500
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
29 Georgia Jarvis Canadian [1944-1990] A PAUSE AT THE RIVER oil on masonite 24 x 38 in. (61 x 96.5 cm) signed lower right; signed and titled verso Provenance: Acquired directly from Georgia Jarvis at her Springbank home by the original purchaser, and passed by descent to family. $ 5,000 / 7,000
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30 Mathew Wong Canadian [b. 1948] CHINOOK SUN oil on canvas 20 x 36 in. (50.8 x 91.4 cm) signed lower right; titled on the framing verso
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$ 1,000 / 1,500
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
31 Georgia Jarvis Canadian [1944-1990] FREEZING UP oil on masonite 10 x 12 in. (25.4 x 30.5 cm) signed lower right; signed and titled verso Provenance: Acquired directly from Georgia Jarvis at her Springbank home by the original purchaser, and passed by descent to family. $ 1,000 / 1,500
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32 William (Bill) Duma Canadian ASA, RCA [b. 1936] KANANASKIS COUNTRY acrylic on canvas 18 x 24 in. (45.7 x 61 cm) signed lower right; signed and titled on the stretcher verso
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$ 900 / 1,200
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
33 Rod Charlesworth Canadian [b. 1955] PACIFIC SUNSET oil on canvas 24 x 48 in. (61 x 121.9 cm) signed upper right; signed and titled verso
$ 2,000 / 3,000
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34 Robert E. Wood Canadian [b. 1971] MOUNTAIN PARADISE (GIANT STEPS); 1997 oil on masonite 30 x 40 in. (76.2 x 101.6 cm) signed lower left; signed, titled and dated verso Provenance: Gainsborough Galleries, Calgary AB
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$ 1,500 / 2,000
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
35 David Allen Thauberger Canadian OC, RCA [b. 1948] BLUE, BLUE DAY; 2000 acrylic on canvas 56 x 43 in. (142.2 x 109.2 cm) signed, titled and dated verso
$ 5,000 / 7,000
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36 Illingworth Holey (Buck) Kerr Canadian ASA, BCSA, FCA, RCA [1905-1989] MOUNTAIN NOCTURNE; 1986 oil on board 12 x 16 in. (30.5 x 40.6 cm) monogrammed lower left; signed, titled and dated verso
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$ 3,000 / 5,000
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
37 William (Bill) Duma Canadian ASA, RCA [b. 1936] NIGHTFALL acrylic on board 12 x 16 in. (30.5 x 40.6 cm) signed lower right; signed and titled verso
$ 500 / 800
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38 Mary Spice Kerr Canadian [1905-1982] BURNED TREES - STORM MOUNTAIN NO.2; 1972 oil on board 12 x 16 in. (30.5 x 40.6 cm) initialed lower left; signed, titled and dated verso
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$ 400 / 700
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
39 Ted Godwin Canadian ASA, OC, R5, RCA [1933-2013] BRIGHT WATERS, KENAUK oil on canvas 45 x 64 in. (114.3 x 162.6 cm) signed and titled on the stretcher corner verso Provenance: Collection of Ted and Phyllis Godwin, Calgary AB
$ 14,000 / 18,000
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40 Hubert Nanzer Swiss/Canadian [1948-2018] GRASSI LAKES, ABOVE CANMORE; 2009-2010 oil on canvas (gallery-wrapped) 44 x 44 in. (111.8 x 111.8 cm) signed lower right; signed, titled and dated verso
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$ 2,000 / 3,000
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
41 Neil Hamelin Canadian [20th/21st century] THREE SISTERS AND MOUNT LAWRENCE GRASSI FROM POLICEMAN’S CREEK; 2021 oil on board 33 x 60 in. (83.8 x 152.4 cm) signed lower left; signed and dated verso
$ 4,000 / 6,000
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42 Brian Atyeo Canadian ASA, CSPWC, OSA (b. 1950] MOUNTAIN MOSAIC acrylic on masonite 18 x 24 in. (45.7 x 61 cm) signed lower right; titled verso
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$ 700 / 900
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
43 Roland Gissing Canadian ASA [1895-1967] CLOUD SHADOWS oil on board 12 x 16 in. (30.5 x 40.6 cm) signed lower right; titled on the labels verso Provenance: Canadian Art Galleries, Calgary AB; N. Gibson Consultants, Calgary AB
$ 800 / 1,200
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44 Duncan Mackinnon Crockford Canadian [1920-1991] UPPER SPRAY LAKES, NR. CANMORE, ALBERTA; 1983 oil on canvas 16 x 20 in. (40.6 x 50.8 cm) signed and dated lower right; titled on the stretcher verso
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$ 800 / 1,200
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
45 Roland Gissing Canadian ASA [1895-1967] MOUNTAIN LANDSCAPE oil on board 14 x 18 in. (35.6 x 45.7 cm) signed lower right and verso; signed verso by Ester Gissing (wife of the artist) and inscribed “Original Oil by Roland Gissing” Provenance: Estate of the Roland Gissing, by descent.
$ 1,000 / 1,500
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46 Terry Watkinson Canadian [b. 1940] SHORELINE REFLECTIONS AT DUSK oil on canvas 22 x 28 in. (55.9 x 71.1 cm) signed lower right
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$ 900 / 1,200
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
47 Duncan Mackinnon Crockford Canadian [1920-1991] MT. LEFROY AND MT. YUKNESS AND LAKE O’HARA, B.C.; 1988 oil on canvas 12 x 16 in. (30.5 x 40.6 cm) signed and dated lower left; titled, dated “August 16th, 1988” and initialed on the stretcher verso
$ 600 / 800
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48 Roland Gissing Canadian ASA [1895-1967] BOW LAKE AND CROWFOOT GLACIER pastel on paper 17 x 23 in. (43.2 x 58.4 cm) signed lower right by Ester Gissing (wife of the artist) and inscribed “Original Pastel by Roland Gissing” Provenance: Estate of Roland Gissing, by descent.
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$ 1,200 / 1,600
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
49 Orestes Nicholas (Rick) Grandmaison Canadian [1932-1985] STORM BREAK (B.C.); 1978 oil on masonite 14 x 18 in. (35.6 x 45.7 cm) signed lower left; signed and titled verso (ON 2923)
$ 800 / 1,200
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50 Henry George Glyde Canadian ASA, CSGA, FCA, RCA [1906-1998] MASSIVE RANGE, NR. BANFF, ALBERTA oil on canvas 18 x 24 in. (45.7 x 61 cm) signed lower left; signed and titled verso
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$ 5,000 / 7,000
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
51 Isabel Stadelbauer Canadian ASA [1909-2004] THE LOOP, BANFF; 1941 watercolour on paper 9.75 x 13.5 in. (24.8 x 34.3 cm) signed lower right; signed, titled and dated verso
$ 500 / 700
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52 Annora Brown Canadian ASA, CPE [1899-1987] FERN AND SAXIFRAGE gouache and watercolour on paper 20.25 x 13.5 in. (51.4 x 34.3 cm) signed lower right; titled on the gallery label verso Provenance: Canadian Art Galleries, Calgary AB; former collection of Mary Belle Barclay, Calgary AB
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$ 800 / 1,200
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
53 Margaret Dorothy Shelton Canadian ASA, CPE, CSGA [1915-1984] AUTUMN IN THE ROCKIES; 1981 watercolour on paper 13.25 x 19.5 in. (33.7 x 49.5 cm) signed and dated lower right
$ 500 / 700
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54 William Beverley Herbert Canadian ASA [1916-2002] HIGH ROCKIES oil on canvas 16 x 20 in. (40.6 x 50.8 cm) signed lower left Provenance: Estate of Roland Gissing, by descent; This work was acquired by the Gissings directly from the artist. Roland and Ester Gissing were good friends with Bev and Barbara Herbert for many years. The group would often go on sketching trips together, and while the men sketched, the women would visit (and sometimes sketch as well). $ 500 / 800
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55 Bernard Middleton Canadian ASA, CSPWC [1909-1996] BRUSSELS PEAK, BANFF-JASPER HIGHWAY; 1930s watercolour on paper 11 x 15.25 in. (27.9 x 38.7) signed lower left; titled and dated on the label and old backing paper verso Provenance: The Collectors’ Gallery of Art, Calgary AB
$ 500 / 800
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56 Simon H. Camping Canadian [1928-2018] SPRING - DOLOMITE PASS acrylic on paper 11 x 21.5 in. (27.9 x 54.6 cm) signed lower left; titled on the gallery label verso Provenance: Diana Paul Gallery, Calgary AB
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$ 800 / 1,200
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
57 Alfred Crocker Leighton Canadian ASA, CSPWC, RBA, RCA [1901-1965] BOW PASS IN AUGUST; 1951 watercolour on paper 12.5 x 16.5 in. (31.8 x 41.9 cm) signed lower left; A. C. Leighton inventory stamp verso (Glenbow Alberta Institute, Calgary AB, No. 10); titled on a brass plaque Provenance: Masters Gallery, Calgary AB (label verso); Estate of Carolyn Tavender, Calgary AB, by descent to family $ 1,200 / 1,600
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58 Stanley Morel Cosgrove Canadian CGP, RCA [1911-2002] PORTRAIT OF A WOMAN oil on board 12 x 10 in. (30.5 x 25.4 cm) signed lower right
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$ 1,000 / 1,500
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
59 Maxwell Bennett Bates Canadian ASA, CGP, CSGA, CSPWC, RCA [1906-1980] WHISPERING FIGURES; 1960 oil on board 22 x 18 in. (55.9 x 45.7 cm) signed and dated lower right Provenance: Estate of Carolyn Tavender, Calgary AB, by descent to family
$ 4,000 / 6,000
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60 John Harold Thomas Snow Canadian ASA, CSGA, RCA [1911-2004] PORTRAIT WITH MIRROR oil on masonite 26 x 20 in. (66 x 50.8 cm) signed verso
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$ 1,000 / 1,500
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
61 William Lewy Leroy (Roy) Stevenson Canadian ASA [1905-1966] OCTOBER oil on masonite 12 x 14 in. (30.5 x 40.6 cm) signed lower right; titled verso Provenance: Canadian Art Galleries, Calgary AB (label verso)
$ 750 / 1,000
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62 Raymond Caouette Canadian [b. 1958] REVES EN DECEMBRE oil on canvas 30 x 36 in. (76.2 x 91.4 cm) signed lower right; signed and titled verso
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$ 800 / 1,200
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
63 Horace Champagne Canadian PSA, PSC [b. 1937] TOUCHES OF SUNLIGHT (THURSO, QUEBEC); 1983 pastel on paper 12 x 15 in. (30.5 x 38.1 cm) signed lower right; titled and dated verso Provenance: Kaspar Gallery, Toronto ON
$ 600 / 900
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64 Horace Champagne Canadian PSA, PSC [b. 1937] SNOW LADEN BRANCHES (AVE. STE-GENEVIEVE, VIEUX QUEBEC); 2010 pastel on paper 8 x 10 in. (20.3 x 25.4 cm) signed lower right; signed, titled and dated on the artist’s certificate verso
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$ 800 / 1,200
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65 Serge Brunoni Canadian [1938-2020] UN CERTAIN SOUVENIR! oil on canvas 24 x 30 in. (61 x 76.2 cm) signed lower right; signed and titled verso
$ 1,200 / 1,600
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66 Alejandro Rabazo Spanish/Canadian CSPWC, OSA [20th/21st century] TORONTO CITYSCAPE - AT KING & JARVIS, LOOKING TOWARDS ST. JAMES CATHEDRAL watercolour on paper 29 x 21.5 in. (73.7 x 54.6 cm) signed lower right
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$ 700 / 900
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67 Antoine Bittar Canadian [b. 1957] JANUARY AFTERNOON IN QUEBEC CITY oil on canvas 24 x 30 in. (61 x 76.2 cm) signed lower right; signed and titled on the stretcher verso
$ 1,500 / 2,000
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68 Horace Champagne Canadian PSA, PSC [b. 1937] MELANGE DES COULEURS A MAREE BASSE (ST. IRENEE, QUEBEC); 1998 pastel on paper 15 x 12 in. (38.1 x 30.5 cm) signed lower left; signed, titled and dated “Aug 13 1998” verso
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$ 700 / 1,000
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69 Richard (Dick) Ferrier Canadian [1929-2002] NORTH OF WILNO oil on board 12 x 16 in. (30.5 x 40.6 cm) signed lower right; titled on the artist’s label verso Provenance: Downstairs Gallery, Edmonton AB
$ 300 / 500
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70 Thomas Keith (Tom) Roberts Canadian OSA, RCA [1908-1998] AUTUMN, LAC MEGANTIC oil on board 8 x 10 in. (20.3 x 25.4 cm) signed lower right; titled on the artist’s label verso Provenance: The Fine Art Galleries, T. Eaton Co. Canada; Loch Gallery, Winnipeg AB (labels verso);
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$ 300 / 500
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71 Thomas Keith (Tom) Roberts Canadian OSA, RCA [1908-1998] HAY HARVEST - HOCKLEY VALLEY oil on board 10.5 x 13.75 in. (26.7 x 34.9 cm) signed lower left Provenance: The Fine Art Galleries, T. Eaton Co., Canada
$ 400 / 600
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72 John Douglas Lawley Canadian [1906-1971] FARM AT FOOT OF MOUNT MANSFIELD, VERMONT; 1955 oil on board 16 x 20 in. (40.6 x 50.8 cm) signed lower right; signed, titled and dated verso
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$ 500 / 700
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73 Bruno Cote Canadian [1940-2010] LA PLACE A GUSTAVE, ST-SIMEON; 1978 oil on masonite 20 x 24 in. (50.8 x 61 cm) signed lower right; signed and titled verso
$ 2,500 / 3,500
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74 Mario Mauro Canadian [1920-1984] 5E RANG ST. FLORIAN; 1977 oil on masonite 10 x 12 in. (25.4 x 30.5 cm) signed lower right; signed, titled and dated verso
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$ 300 / 500
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75 Gordon Edward Pfeiffer Canadian [1899-1983] WINTER SLEIGH RIDE, QUEBEC TOWNSHIPS oil on canvas laid on board 10 x 12 in. (25.4 x 30.5 cm) signed lower right
$ 500 / 800
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76 Isabel Grace McLaughlin Canadian CGP, OSA [1903-2002] A RAINY FALL DAY AT COWANSVILLE, P. QUE.; 1937 oil on wood panel 13 x 16.25 in. (33 x 41.3 cm) signed, titled and dated verso; estate stamped (Inv. #129) Provenance: Masters Gallery, Calgary AB (label verso) Isabel McLaughlin studied at the Ontario College of Art (under Arthur Lismer and Yvonne McKague Housser), as well as at the Art Students League of New York and at the Scandinavian Academy (Paris). She held her first solo show in 1933 at the Art Gallery of Toronto, the same year she became one of the founding members of the Canadian Group of Painters. She exhibited regularly with the group, and in 1939 became its first female president. $ 1,000 / 1,500
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77 John William Beatty Canadian RCA [1869-1941] ONTARIO LANDSCAPE WITH ACTIVE SKIES oil on wood panel 8.5 x 10.5 in. (21.6 x 26.7 cm) signed lower left; artist’s studio label verso
$ 3,000 / 5,000
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78 Charles William Jefferys Canadian CSGA, CSPWC, OSA, RCA [1869-1951] SPRING AT BOBCAYGEON oil on board 10 x 13.75 in. (25.4 x 34.9 cm) signed lower left; titled verso Provenance: Former collection of Dr. Robert Hevenor, Toronto/Tillsonburg ON
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$ 800 / 1,200
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79 Berthe des Clayes Canadian [1877-1968] A BOY AND HIS HORSE AT THE STREAM oil on canvas 20 x 25 in. (50.8 x 63.5 cm) signed lower right
$ 2,000 / 3,000
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80 Clarence Alphonse Gagnon Canadian RCA [1881-1942] AUTUMN MOONRISE, BAIE-ST-PAUL; ca 1923 oil on wood panel 6.25 x 9.25 in. (15.9 x 23.5 cm) Certified verso by Lucile Rodier Gagnon, wife of the artist (Paris, 1946; no. 196). Clarence Gagnon was born in a small village in Rural Quebec and began his formal art education under William Brymner at the Montreal Association of Art. Like many Canadian artists of his time, Gagnon travelled to Paris in 1904 to continue his studies. Here, he attended the Académie Julien and became immersed in the artistic community, gaining recognition for his work at the St. Louis Art Exhibition, and at the Salon de la Société des Artistes Francais. While in Paris, Gagnon painted with James Wilson Morrice and became influenced by his plein-air sketching techniques. Upon his return to Quebec in 1908, he settled in Baie-St-Paul along the St. Lawrence River, though he would go on to spend much of his life living and working in France. It is in the Laurentians where he produced most of his plein-air sketches. Where his Group of Seven contemporaries are best known for their bold, rugged depictions of the Canadian wilderness, Gagnon is recognized for gentle and idyllic scenes that reflect his affection for his homeland. $ 9,000 / 12,000
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81 Robert Wakeham Pilot Canadian OSA, RCA [1898-1967] MARCH REFLECTIONS, P.Q. oil on panel 6 x 7 in. (15.2 x 17.8 cm) Provenance: Masters Gallery, Calgary AB; former collection of Bill and Nancy Schwarz, Cambridge ON; Continental Galleries, Montreal QC $ 4,000 / 6,000
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82 Maurice Galbraith Cullen Canadian RCA [1866 - 1934] MOUNT GIROUARD, NEAR BANFF; ca 1929 oil on wood panel 8.75 x 6.25 in. (22.2 x 15.9 cm) monogrammed lower right; titled on the labels verso Provenance: Masters Gallery, Calgary AB (label verso); Edlinton’s Limited Fine Art Dealers and Frame Makers, Montreal QC (sticker verso). Given as a gift by Cullen to Mr. and Mrs. James Beattie (Chambly QC) in 1934 as a wedding gift. The Beatties were neighbours of Cullen. Exhibited: The Whyte Museum of the Canadian Rockies (Banff AB): “Exquisite Passage”, June 20 - August 27, 1993 (label verso). $ 6,000 / 8,000
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83 Frederic Marlett Bell-Smith Canadian OSA, RCA [1846-1923] LAKE LOUISE oil on board 12 x 18 in. (30.5 x 45.7 cm) signed lower right
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$ 2,000 / 4,000
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84 Frederick Henry Brigden Canadian CSPWC, OSA, RCA [1871-1956] SEVENTY SEVEN FOOT FALLS (NORTH OF OXTONGUE RIVER, ALGONQUIN, ONT.) watercolour on illustration board 11.5 x 8.5 in. (29.2 x 21.6 cm) signed lower left; titled on the gallery label verso Provenance: Agghazy Gallery, Calgary AB
$ 600 / 800
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85 Alexander Young Jackson Canadian CGP, G7, OSA, RCA [1882-1974] GO HOME BAY; ca 1931 oil on wood panel 8.5 x 10.5 in. (21.6 x 26.7 cm) signed lower left; signed verso; inscribed verso “O.S.A. / Little Picture Show / Title: Go Home Bay / Price: $40.00” Exhibited: Art Gallery of Toronto, Ontario Society of Artists: Little Pictures by Members of the Ontario Society of Artists, November 1931, cat. no. 202 It was in the early fall of 1913, after a summer of exploring and painting the splendours of Georgian Bay, that A.Y. Jackson received a surprise visit from Dr. James MacCallum. He had approached Jackson’s camp on the beach of Portage Island in his motorboat and, when they were introduced, Jackson recognized MacCallum as a friend of his colleague, Lawren Harris. MacCallum asked Jackson to show him some paintings (which impressed the patron), and then to show him his living quarters: an old, draughty bathing shack (much less impressive). Finding that Jackson was planning to stay in the area until October, MacCallum offered the artist an opportunity to continue his stay in more comfortable quarters at his cottage, just north of Portage Island, at Go Home Bay. Jackson accepted, and when he mentioned that he might head to the United States for the winter, MacCallum made him another proposition, in an effort to keep Canadian artists in Canada: “If I would take a studio in the building he and Harris were having erected, he would guarantee my expenses for a year. Of course, I accepted.” Go Home Bay provided Jackson with many opportunities to camp, fish, and most importantly sketch. “Padding around the islands and exploring intricate channels and bays that cut into the mainland provided me with much material”, he wrote. Often, MacCallum and his family would join Jackson on these expeditions in their own canoes. The area was replete with inspiring scenery in all seasons, and though the climate could be harsh, with rough winds, rocky shores, and stormy nights, Jackson loved it: “Go Home Bay and the outer islands are filled for me with happy memories of good friends and of efforts, more or less successful, that I made to portray its ever-varying moods.” In 1931, when Jackson included this panel in the O.S.A.’s Little Pictures Show, he was a well established exhibitor of the Group and on the precipice of a new phase of his career: the Group of Seven would hold their final exhibition together that same year, and would formally disband in 1933. Jackson would go on to become a signature member of the newly formed Canadian Group of Painters, and his distinguished career would extend for years beyond the Group. His commitment to capturing the Canadian landscape was unfaltering, and Jackson would return to Go Home Bay for years to come, making his last trip in 1967. In this work, from a spot amongst the rocks, on a shore within Go Home Bay, Jackson captures the natural debris and the incoming tide, as the pines -- now synonymous with the Group and Tom Thomson -- are swept by the wind against a cloudy sky. Reference: 1. A.Y. Jackson, “A Painter’s Country”, 1958, pp. 30, 91
$ 25,000 / 35,000
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86 Francis Hans (Franz) Johnston Canadian CSPWC, G7, OSA, RCA [1888-1949] HAZY DAY (GEORGIAN BAY) oil on board 16 x 12 in. (40.6 x 30.5 cm) signed lower left; signed and titled verso Provenance: Galerie Clarence Gagnon, Montreal QC (certificate verso); Kaspar Gallery, Toronto ON; Canadian Art Clinic, Identification Forms (No. 146), Mr. G. R. Lang, Toronto ON (label verso) $ 6,000 / 8,000
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87 Gutzon Borglum American [1867-1941] CALIFORNIA OAK TREES; 1896 oil on canvas laid on board 35 x 25 in. (88.9 x 63.5 cm) signed and dated lower right; titled on a brass plaque Provenance: A frame mounted plaque reads “PRESENTED TO / THE RANCHMENS CLUB / BY / VARIAN S. GREEN / IN MEMORY OF / F.J. GREEN / 1965”. Full additional details of provenance to be provided to the successful purchaser. Note: Gutzon Borglum was an American artist, who is best known for his colossal sculpture of the faces of four US presidents on Mount Rushmore in South Dakota. $ 2,000 / 3,000
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88 Frederick Arthur Verner Canadian OSA, RCA [1836-1928] BUFFALO BULL; 1910 watercolour on paper 6.75 x 9.75 in. (17.1 x 24.8 cm) signed and dated lower right; titled verso and inscribed “6493 / 2 / 10106” Provenance: Alex Fraser Galleries, Vancouver BC; Masters Gallery, Calgary AB (labels verso) One of the very few painters of his era born in Ontario, Verner is known for his interpretations of Indigenous life in early Canada and nostalgic scenes of bison roaming the West. After attending art school in London as a young man, he spent several years in the British Army before returning to Canada in 1862. In Toronto, Verner began his career as a photograph colourist, exhibiting his paintings, sketches, and colourized photographs to modest acclaim. Notably, he became interested in painting portraits of Indigenous subjects, based on photographs he had taken—an interest that would guide his artistic pursuits for the rest of his life. Verner began studying and painting the majestic “buffalo” (now more accurately known as the plains bison) early in his career, inspired by the artist Paul Kane and his travels across the Canadian West. His initial depictions were based on works by artists he admired, such as William Jacob Hays and John Mix Stanley. Records of Verner’s own travels westward are inconclusive, and there is only one confirmed account of him journeying to the prairies—his attendance at the 1873 signing of Treaty No. 3 at Lake of the Woods. “Probably he never saw [a buffalo] outside of captivity,” writes Joan Murray. “Already in 1860 the buffalo had virtually disappeared from the area of present Manitoba.” Verner visited zoos and wild west shows in Canada, New York, and London, where he made sketches that would serve as references for the rest of his career. Despite this, he remained deeply focused on the buffalo as a recurring subject, fascinated by the majesty of the animal. Verner settled permanently in England in 1880 and made his final trip to Canada in 1909. “Buffalo Bull”, painted in 1910, was almost certainly based on an earlier sketch. These later works are imbued with a quiet, solitary melancholy. Verner had firmly attached himself to the buffalo, and in many ways, his paintings reflect the arc of his own life. In 1910 he was 74, and a new generation of Canadian artists—fresh from the Paris academies—was beginning to emerge. His wife had died in 1906, and there is no record that they had children. The buffalo, too, had dwindled nearly to extinction. Here, the bull and its distant companion gaze back at us with a calm, haunting solitude. Reference: Joan Murray, “The Last Buffalo: The Work of Frederick Arthur Verner, Painter of the Northwest”, 1984, pp. 54, 66,103
$ 2,000 / 4,000
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89 Bertram Richard Brooker Canadian CGP, CSGA,CSPWC, OSA, RCA [1888-1955] ABSTRACT TREE TRUNKS AND HOUSE oil on board 11.5 x 15 in. (29.2 x 38.1 cm) Provenance: Heffel (November 2011), from a private collection (Vancouver BC), acquired directly from the artist. $ 1,500 / 2,000
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90 David Brown Milne Canadian CSPWC, CGP, CSGA [1882-1953] SPORTS ARENA (BANCROFT); 1951 watercolour on paper 14.25 x 21.5 in. (36.2 x 54.6 cm) titled and dated verso; inscribed on the gallery label verso: “Nov 10/69 This W.C. was viewed by David Milne Jr. / He said it was Bancroft / ‘Sports Arena’ written on back in his father’s hand writing” and “Early Feb. 1951 this date is written on the back of the watercolour in Douglas Duncan’s hand writing” Reference: David Milne Jr. and David P. Silcox, “David B. Milne: Catalogue Raisonné of the Paintings” Volume 2: 19291953, cat. no. 503.2 Provenance: Douglas Duncan, Picture Loan Society; Kelly Galleries, Vancouver BC, 1954; Roberts Gallery, Toronto ON, 1969 (label verso); Art Emporium, Vancouver BC, 1977; Masters Gallery, Calgary AB, 1991 (label verso); Estate of Carolyn Tavender, Calgary AB, by descent to family Exhibited: Canadian Society of Painters in Watercolour (Toronto ON), 1952; Nickle Arts Museum (Calgary AB), “Sight and Site: Location and the Work of David B. Milne”, August 8 - November 2, 1997 (label verso)
From the late 1940s until he stopped painting in 1952, David Milne focused much of his final artistic effort on the landscapes surrounding Baptiste Lake and Bancroft, Ontario. Milne had spent much of his life moving from place to place, seeking inspiration from natural surroundings and often solitude in which to paint. In the late 1930s, after a separation from his first wife, Milne and his second wife, Kathleen, moved from Toronto to Uxbridge, Ontario. Their son, David Milne Jr., was born there shortly afterward, and life was busy, though Milne still painted regularly. By 1947, however, Uxbridge had lost its artistic appeal for Milne, and he was restless and uninspired. In the fall of that year, he embarked on a solo, month-long trip to Baptiste Lake, near the southeastern edge of Algonquin Park, to concentrate on his work. He found a spot near the water where he enjoyed camping, and shortly thereafter, he bought the land from the government for the grand sum of ten dollars.¹ Working independently and without assistance, Milne built himself a log cabin on this land, taking a short break from painting to do so. Once the cabin was complete, he resumed his artistic practice in 1949 and painted there for the remainder of his life. Here, he could live in solitude and focus on his work, with his wife and son joining him periodically. (cont.)
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The small town of Bancroft, Ontario, located approximately 15 kilometers from Baptiste Lake, is the location of the scene depicted in this work “Sports Arena, Bancroft”. Like Milne’s cabin, it was also built in 1948, on the west side of the York River, which runs through the town. The Bancroft Arena was the first covered sports facility in the community, and though it was demolished in 1970, it was still relatively new when Milne painted it in 1951. It served as a community hub for “broomball, figure skating, racing tournaments, and free skating every Sunday.”² As in most Canadian towns, however, hockey remained the main attraction. Milne’s work at this stage of his life holds a loose and confident elegance, forged over 40 years of painting. As David Silcox wrote: “There was one common aspect to these last paintings. Milne would prepare carefully, map out in his mind the sequence of the work, charge his various brushes with the exact amount of pigment and then, in the manner of the Zen masters, would paint the work in a few minutes.”¹ The entire Milne family moved to Bancroft in 1952, as the artist’s health began to deteriorate. After a series of strokes, David Milne passed away there a year later, in December 1953, at the age of 71. References: 1. David Silcox, David Milne: An Introduction to His Life and Art, pp. 58-59 2. Orland and Syliva French, “North of 7...and Proud of It!: A parade of Memories from North Hastings,” 2003, p. 185
$ 15,000 / 20,000
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91 Frederic Marlett Bell-Smith Canadian OSA, RCA [1846-1923] THE TOWER OF LONDON (VIEW FROM THE THAMES) watercolour on paper 7 x 10.5 in. (17.8 x 26.7 cm) signed lower right Provenance: Masters Gallery, Calgary AB; Loch Gallery, Winnipeg MB
$ 1,000 / 1,500
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92 Alfred Crocker Leighton Canadian ASA, CSPWC, RBA, RCA [1901-1965] TOP OF THE TOWN - DORCHESTER watercolour on paper 12 x 15.75 in. (30.5 x 40 cm) signed lower left; titled on the matting
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$ 500 / 700
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93 Alfred Crocker Leighton Canadian ASA, CSPWC, RBA, RCA [1901-1965] THE CHURCH - KENTON - MIDDLESEX watercolour on paper 11.75 x 15.75 in. (29.8 X 40 cm) signed lower left; titled on the matting
$ 500 / 700
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94 Roland Gissing Canadian ASA [1895-1967] SHIP INN oil on canvas 64 x 60.5 in. (162.6 x 153.7 cm) signed lower left; titled on a label verso
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$ 3,000 / 5,000
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95 Roland Gissing Canadian ASA [1895-1967] WHITE HORSE INN oil on canvas 64.5 x 69 in. (163.4 x 175.3 cm) signed lower right; titled on a label verso
$ 3,000 / 5,000
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96 Ernest Lindner Canadian CPE, CSGA, FCA, OC, RCA [1897-1988] BC ROOTS; 1977 watercolour on paper 29.5 x 21 in. (74.9 x 53.3 cm) signed and dated lower left; titled on the backing board
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$ 3,000 / 5,000
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97 Hans Herold Canadian [1925-2011] SUNSET IN THE PRAIRIES; 1968 oil on canvas board 18 x 24 in. (45.7 x 61 cm) signed and dated lower right; signed and titled verso
$ 400 / 600
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98 Augustus Frederick Lafosse Kenderdine Canadian [1870-1947] A VIEW OF THE LAKE THROUGH THE TREES charcoal on paper 15.5 x 19.5 in. (39.4 x 49.5 cm) initialed lower right Exhibited: Norman MacKenzie Art Gallery (Regina SK), “Regina Collects”, September 7 - October 21, 1984 (label verso). Illustrated on page 27 of the exhibition catalogue. $ 1,000 / 1,500
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99 Luke Orton Lindoe Canadian ASA, CSPWC, RCA [1913-2001] PONY HEAD; 1980 ceramic on a wooden base 11.5 x 17 x 9 in. (29.2 x 43.2 x 22.9 cm), excluding base overall size: 14 x 17 x 10.5 in. (35.6 x 43.2 x 26.7 cm) signed and dated
$ 1,000 / 1,500
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100 Robert Newton Hurley Canadian [1894-1980] A PRAIRIE NOCTURNE; 1958 watercolour on paperboard 9 x 13 in. (22.9 x 33 cm) signed and dated lower right
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$ 700 / 900
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101 Reta Madeline Cowley Canadian CSPWC [1910-2004] LAKE, TREES AND MOUNTAINS; 1940s watercolour on paper 10 x 13.75 in. (25.4 x 34.9 cm) signed “Reta Summers” lower left Provenance: The Gallery / art placement, Saskatoon SK (label verso) Note: Born Reta Madeline Summers, the artist adopted the surname Cowley in 1945 upon marrying Fred Cowley. This work dates to the first half of the 1940s. $ 300 / 500
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102 Rebecca Perehudoff Canadian [b. 1953] DRUMHELLER watercolour on paper 21.5 x 29.25 in. (54.6 x 74.3 cm) signed lower left
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$ 400 / 500
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103 Joe Fafard Canadian OC, RCA [1942-2019] SINGLE MOM; 1997 patinated bronze; ed. #1/10 1 x 3.5 x 2 in. (2.54 x 8.9 x 5.1 cm) initialed, dated and editioned in the cast Provenance: Mayberry Fine Art, Winnipeg MB
$ 700 / 1,000
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104 Victor Cicansky Canadian OC, RCA [1935-2025] JAR OF PICKLES; 1999 glazed clay 4.25 x 3.5 x 3.5 in. (10.8 x 8.9 x 8.9 cm) signed and dated on the underside Provenance: Douglas Udell Gallery, Edmonton AB
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$ 700 / 1,000
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105 Victor Cicansky Canadian OC, RCA [1935-2025] JAR OF BLUEBERRIES; 2019 glazed clay 4 x 3.5 x 3.5 in. (10.1 x 8.9 x 8.9 cm) signed and dated on the underside
$ 700 / 1,000
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106 Victor Cicansky Canadian OC, RCA [1935-2025] JAR OF OLIVES; 2020 glazed clay 4.5 x 4 x 4 in. (11.4 x 10.2 x 10.2 cm) signed and dated on the underside
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$ 800 / 1,200
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107 Arthur Fortescue (Art) McKay Canadian R5 [1926-2000] UNTITLED; YELLOW & BROWN ABSTRACT; 1959 oil on canvas 45 x 55.5 in. (114.3 x 141 cm) Provenance: Collection of Ted and Phyllis Godwin, Calgary AB Exhibited: The Mackenzie Art Gallery (Regina SK), “Arthur F. McKay. A Critical Retrospective”, February 7 - May 11, 1997. A copy of the exhibition catalogue accompanies this painting. $ 7,000 / 10,000
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108 Ernest Lindner Canadian CPE, CSGA, FCA, OC, RCA [1897-1988] EMMA LAKE; 1946 watercolour on paper 21 x 27.5 in. (53.3 x 69.9 cm) signed and dated lower left; titled on the exhibition label verso Provenance: Collection of James E. Lanigan (Calgary AB), noted art collector and historian specializing in early Saskatchewan art; Masters Gallery (Calgary AB) label verso Exhibited: The Mackenzie Art Gallery (Regina SK), “The Permanent Collection: Walking with Saskatchewan”, June 8, 2019 to March 14, 2020 (label verso). $ 3,000 / 5,000
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109 Wynona Croft Mulcaster Canadian FCA [1915-2016] BIG SKY; 1989 watercolour on paper 25 x 19.25 in. (63.5 x 48.9 cm) signed and dated lower right
$ 500 / 800
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110 Joe Fafard Canadian OC, RCA [1942-2019] SIGNAC; 1990 patinated bronze; ed. #10/10 8.5 x 9.5 x 3.5 in. (21.6 x 24.1 x 8.9 cm) signed, titled and editioned in the cast; inscribed with the foundry mark “JA/PL’, for Julienne Atelier and Pierre l’Héritier Provenance: Susan Whitney Gallery, Regina SK
$ 4,000 / 6,000
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111 Takao Tanabe Canadian OC, RCA [b. 1926] THE LAND 2/80; 1980 acrylic on canvas 28 x 43 in. (71.1 x 109.2 cm) signed lower right; signed, titled and dated verso Provenance: Estate of Carolyn Tavender, Calgary AB, by descent to family Born in the small fishing village of Seal Cove, British Columbia, Takao Tanabe’s decades-long distinguished career has established him as one of Canada’s most important contemporary painters. He was one of seven children born to Japanese immigrants. His father operated a commercial fishing boat and his mother worked in the local cannery, before the family moved to Vancouver in 1937. In 1942, at the height of World War II tensions, the Tanabe family was interned, along with 22,000 Japanese-Canadians. Following the war, Takao Tanabe spent several years as an indentured labourer before applying (and being accepted) to the Winnipeg School of Art, from which he graduated in 1949. He continued his studies at the Brooklyn School of Art (New York); Central School of Arts and Crafts (London); and later studied Sumi-e and calligraphy at Tokyo University. Takao Tanabe began experimenting with abstraction early in his art education (inspired by instructors Joseph Plaskett and Hans Hofmann). During the 1950s and 1960s, his work progressed through various forms of abstraction, and he began to achieve financial and critical success. In 1971, while living in New York, Tanabe was invited to teach at the Banff School of Fine Arts, as a summer instructor. In 1973, he became head of the Art Department and Artistin-Residence. He remained at The Banff School of Fine Arts until 1980, when he moved to Vancouver Island. During his Banff decade, Takao Tanabe focused intently on the prairie landscape, the vastness of which he experienced during his road trip there from New York. He began his celebrated series of minimalist prairie landscapes, now recognized as one of his most significant bodies of work. “The Land”, painted in 1980, is a quintessential example of Tanabe’s prairie scenes. The artist strips away nonessential details to create a serene composition that rewards prolonged, contemplative viewing. “I am a Minimalist type of painter,” he noted in 2014. “But I avoid the manmade stuff, which is the railway lines, the telephone poles, the grain elevators, and cows... It’s stripped-down human intervention to the basic.” $ 15,000 / 20,000
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112 Marion Florence Nicoll Canadian ASA, RCA [1909-1985] SELF PORTRAIT; 1959 oil on canvas 30.25 x 24.25 in. (76.8 x 61.6 cm) signed and dated lower left; signed, titled and dated “Dec 10 -’58” verso; inscribed “W. Barnet / Spring ‘59 / Class Show” and “Can. Customs/ Tariff Item / NO. 695A” verso Provenance: Estate of Carolyn Tavender, Calgary AB, by descent to family Exhibited: The Glenbow Museum, Calgary AB, “Marion Nicoll: Art and Influences”, April 5, 1986 - June 9, 1986; and toured to the Edmonton Art Gallery, Edmonton AB, August 23 - October 26, 1986 Illustrated on page 28 of the exhibition catalogue for “Marion Nicoll: Art and Influences”. A copy of the exhibition catalogue is included with this painting. Illustrated on page 65 of “Marion Nicoll: Life & Work” (Catharine Mastin, 2022)
To fully contextualize Marion Nicoll’s vibrant Self Portrait, painted in New York City in 1959, it is helpful to understand the artistic transformation she was undergoing at the time. While today we recognize Nicoll as a powerful force in Canadian modernism, her journey toward pure abstraction began only two years earlier, in 1957, when she was 46 years old. That year, along with several colleagues from the Provincial Institute of Technology’s art department, Nicoll attended the renowned Emma Lake workshop, led by American abstractionist Will Barnet. Until this point, Nicoll’s experience in the fine art world had been somewhat limited by gendered barriers, despite her strong drive to paint. She was a prolific artist and had recently begun experimenting with automatic painting. The Calgary art scene at the time, however, was thoroughly traditional. Despite being classically trained in the fine arts, Nicoll was the only female instructor at the Tech for most of her career. She had been hired to lead the School of Crafts, a role in which she excelled, but she was first and foremost, a painter. Having taught since 1933, by 1957 Nicoll was feeling uninspired, yet hopeful for a new spark. Barnet’s workshop at Emma Lake changed everything. Initially intended to focus on printmaking, the course pivoted to watercolour when supplies failed to arrive. Barnet emphasized the importance of pure form and colour, teaching students how to distill what they saw - abstracting the visual world into something more essential. Nicoll responded almost immediately. After the workshop, inspired by her progress, she made the pivotal decision to follow Barnet to New York City to continue her studies at the Art Students League of New York. During the 1957–58 academic year, she arranged a self-financed leave from the Tech and, together with her husband, Jim Nicoll, arrived in New York in the late summer of 1958. (cont.)
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Marion and Jim Nicoll in New York City, 1958-1959 Courtesy of the Glenbow Library and Archives, Archives and Special Collections, University of Calgary Trudy Carlyle Fonds: CA ACU GBA F0480
If Nicoll had flourished at Emma Lake, she thrived in New York. Far from the conservative Alberta art scene and the constraints of her teaching position, she was able to devote herself entirely to her work. From September 1958 to April 1959, she maintained rigorous studio hours and, alongside Jim, immersed herself in everything New York had to offer. The Barnets introduced the Nicolls to central figures in the art world; they attended exhibitions, theatre, opera, and ballet - fully engaging in the city’s cultural life, which fueled her creativity. “Painting is my whole obsession,” she wrote to her Calgarian friend Trudy Carlyle in December 1958. “Everything else takes place around it….I teem with things to say in paint. [And] Trudi, I’m making great big strides – you wouldn’t recognize the work I’m doing.”1 With this journey from 1957 to 1959 in mind, Nicoll’s Self Portrait can be seen in a new light. Likely begun in the winter of 1958 and completed in the spring of 1959, the painting is anchored by a central cluster of fragmented, angular forms - deep olive greens stacked with wheaty yellows and vermillion reds - flanked by large expanses of colour. In under two years, Nicoll’s trajectory had transformed: she had expanded her horizons, and both her life and artistic practice were irrevocably changed. In “Self Portrait”, as she first learned at Emma Lake, she distills herself into pure form and colour - fragmented pieces that fit together yet seem poised to spill out of the frame. Marion Nicoll would notably return to this self portrait 20 years later in 1979, in an edition of clay prints that were included with Brooks Joyner’s book “Marion Nicoll: RCA”. By then, Nicoll was constrained by her arthritis, no longer able to paint, but an avid printmaker. The similarities are striking, and as Catharine Mastin writes in her biography on Nicoll: “Like many of her prints, [Self Portrait, 1979] was an extension of her painting practice - this one following the oil painting ‘Self Portrait’, which she created in 1959. It was no coincidence that she chose to bookend her practice with these two images to close two decades of her feminist journey.”2 References: 1. Marion Nicoll, letter to Trudy Carlyle, December 26, 1958, Trudy Carlyle Fonds, Glenbow Archives, University of Calgary, CA ACU GBA F0480-S0006-FL0001. 2. Catharine Mastin, Marion Nicoll: Life and Work (Toronto: Art Canada Institute, 2022).
$ 20,000 / 30,000
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113 Marion Nicoll, Limited Edition Book and Clay Print MARION NICOLL R.C.A. By: J. Brooks Joyner First Limited Collector’s Edition; 157pp. signed by Marion Nicoll and editioned #50/200 Publisher: Western Emerging Arts Ltd. / Masters Gallery, Calgary; 1979 Printed on Carlyle Japan Antique finish and containing numerous colour and black & white photographs; blue leatherette with gilt to spine and front cover in matching slipcase. Includes the original clay print specially executed for this volume by Marion Nicoll (in separate blue leatherette folder): Marion Florence Nicoll Canadian ASA, RCA [1909-1985] SELF PORTRAIT; 1979 colour clay print on paper; ed. #50/200 10 x 8 in. (25.4 x 20.3 cm) signed, titled, dated and editioned in pencil
$ 400 / 600
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114 Ronald John Spickett Canadian ASA, RCA [1926-2018] UNTITLED, ASPECT OF THE TOSSED FIGURE SERIES; ca 1967 oil on canvas 36 x 26 in. (91.4 x 66 cm) inscribed K597 verso Provenance: Estate of Carolyn Tavender, Calgary AB, by descent to family
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$ 1,000 / 2,000
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115 Herbert Johannes Joseph Siebner Canadian BCSA, CPE, CSGA, RCA [1925-2003] FACE OF HOPE; 1992 acrylic on canvas 14 x 11 in. (35.6 x 27.9 cm) signed lower right; signed, titled and dated verso Provenance: Acquired directly from the artist at his Victoria studio.
$ 600 / 900
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116 Ted Godwin Canadian ASA, OC, R5, RCA [1933-2013] IN THE GARDEN OF THE FOUR PILLARS; 1994 acrylic on canvas 66 x 56 in. (167.6 x 142.2 cm) signed on the stretcher corner and titled on the stretcher bar verso; dated on the gallery label verso Provenance: Collection of Ted and Phyllis Godwin, Calgary AB; Bau-Xi Gallery, Vancouver/Toronto
$ 5,000 / 7,000
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117 Amy Dryer Canadian [b. 1979] OPEN SKIES; 2009 oil on canvas 48 x 96 in. (121.9 x 243.8 cm) signed and dated lower right; signed, titled and dated verso
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$ 2,000 / 4,000
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118 Herbert Johannes Joseph Siebner Canadian BCSA, CPE, CSGA, RCA [1925-2003] VAN GOGH IN LOVE; 1990 mixed media on canvas 14 x 18 in. (35.6 x 45.7 cm) signed lower left; signed, titled and dated verso Provenance: Acquired directly from the artist at his Victoria studio.
$ 800 / 1,200
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119 Herbert Johannes Joseph Siebner Canadian BCSA, CPE, CSGA, RCA [1925-2003] AND VAN GOGH NEVER HAD A SAILBOAT; 1989 acrylic on canvas 12 x 16 in. (30.5 x 40.6 cm) signed lower left; signed, titled and dated verso Provenance: Acquired directly from the artist at his Victoria studio.
$ 700 / 1,000
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120 Rene Marcil Canadian [1917-1993] L’HUBLOT (THE PORTHOLE) #13 oil on canvas 29 x 39.5 in. (73.7 x 100.3 cm) signed lower right; titled on the exhibition/inventory label verso Provenance: Private collection, Palm Desert CA; Edenhurst Gallery, Palm Desert CA (acquired ca 2003); Private collection, Spokane WA Note: Additionally titled “Composition #3” on a label remnant verso; framing label verso from The House of Heydenryk, New York NY René Marcil was born in Montreal (Quebec) and died in Toronto (Ontario), though he spent most of his professional career outside of Canada. Marcil was initially trained at l’École des beaux-arts (Montreal), before entering the world of advertising and commercial illustration. He gained early recognition as both an exhibiting painter and a commercial illustrator, a field in which he rose to prominence. His commercial work was defined by polished and elegant fashion illustrations, produced for major retailers such as Eaton’s (Montreal) and Lord & Taylor (New York City), and his fashion interpretations were essential to the launch of Christian Dior’s “New Look” campaign following the Second World War. In the early 1950s, Marcil moved to Paris to enroll at the Académie de la Grande Chaumière. There, he was exposed to the flourishing Lyrical Abstraction and Neoplasticist movements, and he became deeply engaged in the city’s social and artistic circles. He remained in Europe, where he focused on his non-commercial art, spending time in London and the south of France. His works of the era are noted for their bright vivid colours and geometric forms, and showcase the artist’s casual and painterly approach -- a fascinating interplay between the abstract and expressive. $ 7,000 / 10,000
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121 Jean Xceron Greek/American [1890-1967] UNTITLED, ABSTRACT COMPOSITION; 1955 oil on canvas 16 x 13 in. (40.6 x 33 cm) initialed and dated lower right Jean Xceron, born Yiannis Xirocostas, in the village of Isaris, Greece, is noted as one of the key figures in the development of abstraction in the United States. Xceron moved to the United States at 14 years of age, eventually settling in New York City as a young man. Like many young artists at the time, Xceron’s trajectory was affected greatly by the 1913 New York Armory Show, which introduced the modern art of Paris to the United States. He moved to Paris in the late 1920s, where he resided for ten years, falling in step with the modern European art movements of the time and writing reviews of the latest art world happenings for newspapers in Paris and the United States. Xceron returned to America an entirely abstract artist. Jean Xceron was employed by the Guggenheim Museum as a registrar and security guard in 1939, and he would keep his post there for the remainder of his life. As modern art progressed into the 1940s and 1950s, Xceron was exposed to major stylistic movements, and took influence from Cubism, De Stijl, Dada and the Abstract Expressionists. He exhibited widely, and is noted for his deep commitment to painting. Xceron’s work is collected internationally, and can be found in numerous public collections, including the Metropolitan Museum of Art and the Smithsonian Institution. $ 1,500 / 2,000
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122 Christopher Langstroth Canadian [b. 1959] OUT OF THE BLUE; 2016 acrylic on canvas (gallery-wrapped) 52 x 48 in. (132.1 x 121.9 cm) initialed lower centre; signed, titled and dated verso
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$ 1,000 / 2,000
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123 Christopher Pratt Canadian OC, RCA [1935-2022] BREAKWATER; 1976 colour serigraph on paper ed. #44/55 20 x 28 in. (50.8 x 71.1 cm) signed, titled, dated and editioned in pencil Provenance: Estate of Carolyn Tavender, Calgary AB, by descent to family
$ 3,000 / 5,000
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124 Christopher Pratt, Limited Edition Book Canadian OC, RCA [1935-2022] CHRISTOPHER PRATT David Silcox & Merike Weiler Publisher: Quintus Press, Toronto, Ontario (1981) signed by Christopher Pratt, David Silcox and Merike Weiler; edition of 279 Book details: (pp. 209) Oblong folio in quarter Oasis Niger goatskin and Bolton natural finish linen boards, matching slipcase. Extensively illustrated with two tipped-in plates loosely inserted. Each of the 279 books printed included one of three original colour serigraphs from the series “Land Across Water” (one third of the total limited edition for each print). This book includes (as issued): “Labrador Sea”; 1980 colour serigraph on paper; ed. #64/93 image size: 8 x 10 in. (20.3 x 25.4 cm) sheet size: 11.375 x 13 in. (28.9 x 33 cm) signed, titled, dated and editioned Provenance: Estate of Carolyn Tavender, Calgary AB, by descent to family
$ 2,000 / 3,000
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125 Christopher Pratt Canadian OC, RCA [1935-2022] WALL FACING WEST; 1980 colour serigraph on paper ed. #42/50 14.5 x 32 in. (36.8 x 81.3 cm) signed, titled, dated and editioned in pencil Provenance: Estate of Carolyn Tavender, Calgary AB, by descent to family
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$ 3,000 / 5,000
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126 Marion Florence Nicoll Canadian ASA, RCA [1909-1985] PRAIRIE FARM; 1970 colour cardboard clay print on paper; ed. #20/30 11 x 19.25 in. (27.9 x 48.9 cm) signed, titled, dated and editioned in pencil Provenance: Estate of Carolyn Tavender, Calgary AB, by descent to family
$ 900 / 1,200
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127 Marion Florence Nicoll Canadian ASA, RCA [1909-1985] JANUARY ‘68; 1969 colour woodcut on paper; ed. #42/50 14.25 x 11.5 in. (36.2 x 29.2 cm) signed, titled, dated and editioned in pencil; monogrammed and dated in the block Provenance: Estate of Carolyn Tavender, Calgary AB, by descent to family Note: This work was selected as the front cover of “A History of Art In Alberta: 1905-1970” (Nancy Townshend: Bayeux Arts Inc; 2005). There is an additional full-page colour illustration on page 167 of the book. $ 900 / 1,200
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128 Alfred Joseph Casson Canadian CGP, CSPWC, G7, OSA, RCA [1898-1992] FOREST EDGE colour etching on paper; ed. #82/150 8.5 x 11.25 in. (21.6 x 28.6 cm) signed in pencil by Casson, titled and editioned; publisher’s certificate attached
$ 700 / 900
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129 David Brown Milne Canadian CSPWC, CGP, CSGA [1882-1953] PAINTING PLACE; 1931 two colour drypoint etching on paper 4.75 x 6.75 in. (12.1 x 17.1 cm) signed in pencil in the margin; initialed in the plate Provenance: Masters Gallery, Calgary AB (label verso)
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$ 800 / 1,200
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130 James Edward Hervey MacDonald Canadian G7, OSA, RCA [1873-1932] A GLACIAL LAKE, ROCKY MOUNTAINS; 1925 lithograph on paper; ed. #67/100 5.5 x 6.75 in. (14 x 17.1 cm) signed in pencil lower right Note: This piece is from the folio titled “Canadian Drawings: A Portfolio of Prints by Members of the Group of Seven”, published in 1925 by Rous & Mann Limited, Toronto. Each of the zinc plate lithographs is printed on a sheet measuring 15.25 x 11.25 in. A copy of the justification page is attached verso. $ 500 / 700
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131 Marion Florence Nicoll (2) Canadian ASA, RCA [1909-1985] 1) EARLY MORNING, SUNSHINE LODGE; 1947 woodcut on paper 4 x 4.75 in. (10.2 x 12.1 cm) signed, titled and dated in the margin 2) CHINOOK woodcut on paper 3.75 x 4.75 in. (9.5 x 12.1 cm) signed, titled and dated in the margin Lot of Two
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$ 300 / 500
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132 Joe Fafard Canadian [1942-2019] SAVANNAH; 1989 relief print on paper; ed. #19/20 10.25 x 12.75 in. (26 x 32.4 cm) signed, titled, dated and editioned in pencil Provenance: Susan Whitney Gallery, Regina SK (label verso)
$ 750 / 1,000
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133 Marion Florence Nicoll Canadian ASA, RCA [1909-1985] EXPANDING WHITE; 1961 colour clay print on J-cloth; ed. of 14 7.75 x 10.75 in. (19.7 x 27.3 cm) signed, titled, dated and editioned (illegibly); monogrammed in the print Provenance: Estate of Carolyn Tavender, Calgary AB, by descent to family
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$ 900 / 1,200
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134 Walter Joseph Phillips Canadian ASA, CPE, CSPWC, MSA, RCA [1884-1963] SOFT MAPLE; 1930 colour woodcut on paper; ed. #54 4 x 4.25 in. (10.3 x 10.8 cm) signed in pencil; monogrammed in the block (MBL135) Note: This work was produced as the Christmas greeting of 1930. It is illustrated on page 338 of “Walter J. Phillips: The Complete Graphic Works” (Roger Boulet; M.B. Loates Publishing Co. Ltd.; 1981) and on page 90 of “The Tranquility and the Turbulence: The Life and Work of Walter J. Phillips” (Roger Boulet; M. B. Loates Publishing; 1981). Provenance: Agghazy Gallery, Calgary AB (label verso)
$ 700 / 1,000
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135 Walter Joseph Phillips Canadian ASA, CPE, CSPWC, MSA, RCA [1884-1963] YORK BOAT ON LAKE WINNIPEG; 1930 colour woodcut on paper; ed. #1/150 10.25 x 13.75 in. (26 x 34.9 cm) signed, titled and editioned in pencil, with personal inscription; monogrammed in the block (MBL133) Note: This work is Illustrated on pages 6, 113 and 133 of “The Tranquility and the Turbulence: The Life and Work of Walter J. Phillips” (Roger Boulet; M.B. Loates Publishing Co. Ltd.; 1981); on page 10 of “Walter J. Phillips: The Complete Graphic Works” (Roger Boulet; M.B. Loates Publishing Co. Ltd.; 1981 ); and on page 137 of “Images of the Land - Canadian Block Prints 1919-1945” (Patricia Ainslie, Glenbow Museum; 1984).
This iconic, if not master work, by W.J. Phillips is found in many public collections, with at least 14 of the 150 impressions so documented, (i.e., the National Gallery of Canada, the Winnipeg Art Gallery, and the Glenbow Museum each have two copies). The York boat was an inland boat developed by the Hudson’s Bay Company for the purpose of competing with the Northwest Company and its skilled crew of French-Canadian canoe builders. The HBC’s men were Orkneymen, equally skilled boat builders, who instead based their designs on the Viking longboats of their heritage. These sturdy, flat-bottomed boats allowed for the efficient transportation of furs and cargo. They were preferred to canoes due to their greater capacity, improved stability on rough water, and performance on rock and ice. A York boat crew consisted of 6 to 8 “tripmen” who often rowed for up to 16 hours a day. When the water was shallow, the boats were poled. In swift water, the boats were “tracked” – or pulled using two ropes towed by the crew along a riverbank. Parts of the journey involved bushwhacking, and using a roller system to portage the vessel. A mast and square sail would be assembled for open water, the sail serving as a tent at night. The York boat was named for its ultimate destination, the Hudson’s Bay Company’s York Factory. The boats, which needed replacing after 3 years of use, operated for over a century, with the final brigade arriving at York Factory in the early 1870s. The advent of the railway was a key factor in their decline.
$ 12,000 / 16,000
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136 Walter Joseph Phillips Canadian ASA, CPE, CSPWC, MSA, RCA [1884-1963] RUSHING RIVER, LAKE OF THE WOODS; 1920 colour woodcut on paper; ed. of 50 6.5 x 7 in. (16.5 x 17.8 cm) signed and editioned in pencil; monogrammed and dated in the block (MBL52) Note: This print is illustrated on page 169 of “Walter J. Phillips: The Complete Graphic Works” (Roger Boulet; M.B. Loates Publishing Co. Ltd.; 1981), and listed on page 223 of “The Tranquility and the Turbulence: The Life and Work of Walter J. Phillips” (Roger Boulet; M.B. Loates Publishing Co. Ltd.; 1981). $ 3,000 / 4,000
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137 Walter Joseph Phillips, Limited Edition Book Canadian ASA, CPE, CSPWC, MSA, RCA [1884-1963] WALTER J. PHILLIPS: THE COMPLETE GRAPHIC WORKS Walter J. Phillips & Roger H. Boulet Publisher: M. B. Loates Publishing Co. Limited, Markham, Ontario (1981) signed by Roger Boulet; edition of 150; ed. #X (proof) Book details: (pp. 570) Thick, oblong folio in original quarter leather, linen cloth covered boards, patterned endpapers and matching slipcase. Extensively illustrated in colour & b/w (over 250 original, full-size reproductions). Includes the original colour woodcut in the sleeve as issued: “Margaret with a Doll”; 1927 colour woodcut on paper; (2nd state) image size: 6.5 x 2.5 in. (16.5 x 6.4 cm) sheet size: 8 x 4 in. (20.3 x 10.2 cm) editioned in pencil and signed by Gladys K. O. Phillips Note: This image was originally created in 1927 as a rare commission requested by the artist’s close friends, Cragg and Jessie Walston, and depicts their young daughter. The Walstons planned to use the blocks Phillips carved to created personal Christmas cards (first state). The blocks were later retrieved and special permission was obtained from the Phillips family to print the work for exclusive inclusion in this book. Provenance: Estate of Carolyn Tavender, Calgary AB, by descent to family
$ 2,500 / 3,500
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138 Walter Joseph Phillips Canadian ASA, CPE, CSPWC, MSA, RCA [1884-1963] WINNIPEG STREET, SNOWBOUND; 1927 colour woodcut on paper; ed. #220 (of 250) 4.25 x 6.25 in. (10.9 x 16 cm) signed and editioned in pencil; monogrammed in the block (MBL104) Provenance: Loch & Mayberry Fine Art, Winnipeg MB (label verso) Note: This is the seventh print in the portfolio “Ten Canadian Colour Prints”. It is illustrated on page 277 of “Walter J. Phillips: The Complete Graphic Works” (Roger Boulet; M. B. Loates Publishing; 1981). $ 800 / 1,200
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139 Walter Joseph Phillips Canadian ASA, CPE, CSPWC, MSA, RCA [1884-1963] WYLYE VALE; 1924 colour woodcut on paper 3 x 3.75 in. (7.6 x 9.8 cm) signed and titled “The Wylie Valley” (MBL78) Note: This work is illustrated on page 74 of “The Tranquility and the Turbulence: The Life and Work of Walter J. Phillips” (Roger Boulet; M. B. Loates Publishing; 1981). $ 400 / 600
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140 Margaret Dorothy Shelton Canadian ASA, CPE, CSGA [1915-1984] BOW FALLS, BANFF; 1972 (1979) linocut and woodcut in 8 colours on paper; ed. #33/100 7 x 11.5 in. (17.8 x 29.2 cm) signed, titled, dated and editioned in pencil Note: Alternately titled “Bow Falls at Banff”. This work was produced using 6 linoleum blocks and two wood blocks (one fir, one hardwood). It is illustrated on page 32 of “Margaret Shelton Block Prints 1936-1984” (Patricia Ainslie; Glenbow Museum; 1984). $ 700 / 1,000
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141 Margaret Dorothy Shelton Canadian ASA, CPE, CSGA [1915-1984] MOUNT LOUIS, BANFF; 1943 (1979) linocut in three colours on paper; ed. #190/200 3.75 x 5 in. (9.5 x 12.7 cm) signed, titled “Mt Louis”, dated and editioned in pencil
$ 400 / 500
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142 Margaret Dorothy Shelton Canadian ASA, CPE, CSGA [1915-1984] BANFF SPRINGS GOLF CLUBHOUSE; 1938 hand-coloured linocut on paper 4.25 x 5.5 in. (10.8 x 14 cm) signed in the block
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$ 600 / 800
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143 Margaret Dorothy Shelton Canadian ASA, CPE, CSGA [1915-1984] ST. GEORGES, BANFF; 1944 (1978) linocut in six colours on paper; ed. #169/200 4.5 x 5.75 in. (11.4 x 14.6 cm) signed, titled “St. Georges Church Banff”, dated and editioned in pencil
$ 600 / 800
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144 Barbara Harvey Leighton Canadian ASA, CPE [1911-1986] BOW LAKE colour woodcut on paper; ed. #58/100 11.5 x 14.5 in. (29.2 x 36.8 cm) signed, titled and editioned in pencil
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$ 500 / 700
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145 Barbara Harvey Leighton Canadian ASA, CPE [1911-1986] LAKE LOUISE colour woodcut on paper; ed. #26/100 10.75 x 13.5 in. (27.3 x 34.3 cm) signed, titled and editioned in pencil
$ 500 / 700
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146 Illingworth Holey (Buck) Kerr Canadian ASA, BCSA, FCA, RCA [1905-1989] O’HARA NIGHT colour serigraph on paper; ed. #109/150 12 x 16 in. (30.5 x 40.6 cm) signed, titled and editioned in pencil
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$ 500 / 700
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147 Barbara Harvey Leighton Canadian ASA, CPE [1911-1986] THE TOWERS, GLORIA LAKE colour woodcut on paper; ed. #45/100 12 x 14.5 in. (30.5 x 36.8 cm) signed, titled and editioned in pencil
$ 500 / 700
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148 Barbara Harvey Leighton Canadian ASA, CPE [1911-1986] EMERALD LAKE colour woodcut on paper; 2nd ed.; ed. #4/100 11.5 x 14.5 in. (29.2 x 36.8 cm) signed, titled and editioned in pencil
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$ 500 / 700
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149 Ken Lonechild Canadian, Cree [1960-2017] GETTING READY FOR THE HUNT acrylic on canvas 22 x 28 in. (55.9 x 71.1 cm) signed lower left; signed and titled verso Note: There is a newspaper article attached verso that includes a photograph of the artist with this painting. $ 1,200 / 1,500
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150 Ken Lonechild Canadian, Cree [1960-2017] EVERYONE COMES TO SEE THE BIG GAME; 1993 acrylic on canvas 24 x 30 in. (61 x 76.2 cm) signed lower left; signed and titled on the inside of the stretcher bar verso
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$ 1,200 / 1,500
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151 Alex Simeon Janvier Canadian, Denesuline/Saulteaux OC, RCA [1935-2024] LADIES BEST DRESS; 1980 acrylic on canvas (gallery-wrapped) 16 x 20 in. (40.6 x 50.8 cm) signed lower left; titled and dated on the artist’s label verso (CLW-37) Provenance: Gallery Moos, Toronto ON (label verso)
$ 7,000 / 9,000
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152 Alex Simeon Janvier Canadian, Denesuline/Saulteaux OC, RCA [1935-2024] LADIES TRADITIONAL DANCE; 1980 acrylic on canvas (gallery-wrapped) 20 x 24 in. (50.8 x 61 cm) signed lower right; titled and dated on the artist’s label verso (CLW-33) Provenance: Gallery Moos, Toronto ON (label verso)
$ 9,000 / 12,000
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153 Allen Sapp Canadian, Cree OC, RCA [1928-2015] ALMOST HOME WITH A LOAD acrylic on canvas laid over wood panel 5 x 7 in. (12.7 x 17.8 cm) signed lower right; titled on the backing board
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$ 800 / 1,200
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154 Allen Sapp Canadian, Cree OC, RCA [1928-2015] MEN JUST GOT IN; 1979 acrylic on canvas 16 x 20 in. (40.6 x 50.8 cm) signed lower right; titled and dated on the artist’s label verso (AO-476)
$ 2,000 / 3,000
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155 Allen Sapp Canadian, Cree OC, RCA [1928-2015] NICE EVINING (sic) TO PLAY HOCKEY; 2003 acrylic on canvas 24 x 30 in. (61 x 76.2 cm) signed lower right; titled verso
180 HODGINS ART AUCTIONS LTD.
$ 4,000 / 6,000
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156 Michael Lonechild Canadian, Cree [b. 1955] ONLY HORSE POWER IN THOSE DAYS acrylic on canvas 24 x 36 in. (61 x 91.4 cm) signed lower right; signed and titled on the stretcher verso
$ 1,200 / 1,500
HODGINSAUCTION.COM 181
157 Allen Sapp Canadian, Cree OC, RCA [1928-2015] NICE EVENING; 1980 acrylic on canvas 18 x 24 in. (45.7 x 61 cm) signed lower right; titled and dated on the artist’s label verso (AU 303)
182 HODGINS ART AUCTIONS LTD.
$ 3,000 / 4,000
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158 Michael Lonechild Canadian, Cree [b. 1955] GETTING TOO COLD TO FISH acrylic on canvas 16 x 20 in. (40.6 x 50.8 cm) signed lower right; titled on the stretcher verso Provenance: Acquired by the consignors directly from the artist in Carlyle SK, circa 1985.
$ 600 / 900
HODGINSAUCTION.COM 183
159 Bern Will Brown Canadian [1920-2014] HARNESSING UP (COLVILLE LAKE, NWT); 1980 oil on masonite 14 x 12 in. (35.6 x 30.5 cm) signed, dated “Mar. 14, 1980” and inscribed “Colville Lake NWT” lower left; signed, titled and dated verso Provenance: Gainsborough Galleries, Calgary AB (label verso)
184 HODGINS ART AUCTIONS LTD.
$ 300 / 500
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160 Ken Lonechild Canadian, Cree [1960-2017] FOUND THE MARE & COLT; 1995 acrylic on canvas 16 x 20 in. (40.6 x 50.8 cm) signed lower left; signed, titled and dated verso
$ 600 / 900
HODGINSAUCTION.COM 185
161 Carl Clemens Moritz Rungius American [1869-1959] THE STRANGER; 1926 etching with drypoint on paper; ed. of 75 7.75 x 10.75 in. (19.7 x 27.3 cm) signed in the margin lower right Note: This print is illustrated on page 76 and 117 (Plate 14) of “Carl Rungius: The Complete Prints” (Donald E. Crouch; Mountain Press Publishing Company; 1989) $ 2,000 / 3,000
186 HODGINS ART AUCTIONS LTD.
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162 Carl Clemens Moritz Rungius American [1869-1959] MORNING MIST; 1925 etching with drypoint on paper; ed. AP 6.25 x 8.5 in. (15.9 x 21.6 cm) signed in the margin lower right Provenance: Harlow, McDonald & Company, New York NY (label verso). Note: This print is illustrated on page 113 (Plate 12) of “Carl Rungius: The Complete Prints” (Donald E. Crouch; Mountain Press Publishing Company; 1989). Aside from the proofs, this work was issued in an edition of 100. $ 2,000 / 3,000
HODGINSAUCTION.COM 187
188 HODGINS ART AUCTIONS LTD.
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163 Roland Gissing Canadian ASA [1895-1967] DITCHED; 1925 watercolour, ink and gouache on paper 8.5 x 10 in. (21.6 x 25.4 cm) signed and dated lower right; titled on the matting and below the image in the margin English-born Roland Gissing arrived in Calgary in 1913, as an 18-year-old drawn by the lure of the “Wild West” and cowboy culture. He spent 10 years working as a ranch hand, covering a distance between Peace River and Mexico, while sketching and drawing as a pastime. Gissing made the decision to become a professional artist in 1923 and began forging connections within the Calgary art community, including with R. L. Harvey (who oversaw the Calgary Exhibition & Stampede Art Department) and Leonard Richmond (a CPR painter and influential art instructor). Gissing received some formal instruction and his body of work soon impressed Ernie Richardson (of the Calgary Stampede & Exhibition), who granted Gissing a one-man show of his pastel and watercolour works - the artist’s chosen medium at the time. The 1929 show was received with such enthusiasm that a second exhibition was held later that year, hosted by art dealer Jack Booth. Early works such as this one are rare, and the subject matter comes from Gissing’s genuine love for and experience with ranch life. Gissing remained a working cowboy throughout his life, though his art career moved to landscapes in oil beginning in the 1930s. He would occasionally return to cowboy subject matter. $ 700 / 1,000
HODGINSAUCTION.COM 189
164 Donald John (Don) Begg Canadian [b. 1945] FREE REINS; 1989 bronze; ed. #32/100 8.25 x 12 x 4.25 in. (21 x 30.5 x 10.8 cm), excluding base signed, dated and editioned in the cast; titled on the artist’s plaque Note: This bronze was commissioned by the Ranchmen’s Club in honour of the club’s centenary (1891-1991). $ 500 / 700
190 HODGINS ART AUCTIONS LTD.
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165 Charles A. (Charlie) Beil Canadian OC [1894-1976] GRAZING HORSE; 1950 (1978) bronze; ed. #20/39 9.25 x 11.5 x 4.5 in. (23.5 x 29.2 x 11.4 cm) signed and dated in the cast; inscribed “O. E. Beil-78” in the cast Note: This work is an authorized posthumous casting, created under the supervision of the artist’s estate. $ 600 / 900
HODGINSAUCTION.COM 191
166 Robert (Bob) Macfie Scriver American [1914-1999] A TWISTER; 1970 bronze; ed. #2 19.75 x 20.5 x 10 in. (50.2 x 52.1 x 25.4 cm) signed, titled, dated and editioned in the cast
192 HODGINS ART AUCTIONS LTD.
$ 2,000 / 3,000
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167 Jack King American [1920-1988] HORSES GRAZING oil on masonite 8 x 10 in. (20.3 x 25.4 cm) signed lower right
$ 1,500 / 2,000
HODGINSAUCTION.COM 193
168 Roland Gissing Canadian ASA [1895-1967] SOUTHERN ALBERTA LANDSCAPE WITH FOAL AND BISON SKULL watercolour on illustration board 7.5 x 10.75 in. (19.1 x 27.3 cm) inscribed “To Penny / Xmas 1963” verso Gissing gifted this work to Lloyd C. (Penny) Laverick and his wife Jessie. Gissing and Laverick, both members of the Calgary Sketch Club, were long-time sketching partners. Their frequent outings, often including artist Matt Lindstrom, took them to remote areas of the foothills. This work was later returned to Gissing’s Estate. Provenance: Estate of Roland Gissing, by descent; Former collection of Lloyd C. (Penny) and Jessie Laverick. $ 500 / 700
194 HODGINS ART AUCTIONS LTD.
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169 Roland Gissing Canadian ASA [1895-1967] DESERT COW CAMP watercolour on illustration board 9.25 x 14.25 in. (23.5 x 36.2 cm) signed lower right; titled verso and on the matting Provenance: Estate of the Roland Gissing, by descent.
$ 600 / 900
HODGINSAUCTION.COM 195
170 Henri de Groot Canadian [b. 1948] ENCAMPMENT oil on board 11 x 12.5 in. (27.9 x 31.8 cm) signed lower right
196 HODGINS ART AUCTIONS LTD.
$ 600 / 900
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171 Jack King American [1920-1988] DEER IN A SUBALPINE FOREST oil on paperboard 10.5 x 14.5 in. (26.7 x 36.8 cm) signed lower right
$ 1,000 / 1,500
HODGINSAUCTION.COM 197
172 Harley Brown Canadian CAA, NAWA, NWR, OPA [b. 1939] TOM S. PEIGAN gouache and watercolour on paper 11.5 x 9.5 in. (29.2 x 24.1 cm) signed and titled lower right
198 HODGINS ART AUCTIONS LTD.
$ 400 / 500
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173 Vilem Zach Canadian [b. 1946] OUR LAND-OUR FUTURE (THE ALBERTA FARM FAMILY) bronze; ed. #6/25 14.5 x 9.5 x 9.75 in. (36.8 x 24.1 x 24.8 cm), excluding base signed and editioned in the cast Note: Created to celebrate the centennial of the Calgary Agriculture Exhibition (1886-1986), and dedicated to Alberta’s farm families, the monumental version of this bronze is located on the Calgary Stampede grounds. The commemorative plaque reads: “With hope and apprehension they survey their new land, brought from afar by its lure. We depend on the farm family’s stewardship of our most precious renewable resource.” $ 1,500 / 2,000
HODGINSAUCTION.COM 199
174 Steve Hoar Canadian (20th/21st century) THE SCOUT bronze; ed. #2/20 18.75 x 16.5 x 10.25 in. (47.6 x 41.9 x 26 cm) signed, titled and editioned in the cast
200 HODGINS ART AUCTIONS LTD.
$ 600 / 900
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175 Donald John (Don) Begg and Shirley Stephens-Begg Canadian [b. 1945] / Canadian [20th/21st century] PATINA AND ROSS; 1998 bronze; ed. #9/12 41.5 x 40 x 25 in. (105.4 x 101.6 x 63.5 cm) signed, dated and editioned in the cast Note: The book depicted features an illustration and poem by the late Calgary artist Doug Stephens, Shirley’s father. Don and Shirley Begg have worked together for more than 55 years, based out of Studio West Bronze Foundry and Art Gallery (Cochrane AB). Their public commissions can be found across Canada; internationally, in the United States, Germany and France; and in numerous private and corporate collections. $ 3,000 / 5,000
HODGINSAUCTION.COM 201
176 Roland Gissing Canadian ASA [1895-1967] THE DAY HERD; 1925 ink and wash on paper 8.5 x 12 in. (21.6 x 30.5 cm) signed and dated lower right; titled lower centre Provenance: Estate of Roland Gissing, by descent.
202 HODGINS ART AUCTIONS LTD.
$ 500 / 700
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177 Robert (Bob) Macfie Scriver American [1914-1999] BULLRIDER’S BEST FRIEND; 1971 bronze 11.25 x 19.5 x 15 in. (28.6 x 49.5 x 38.1 cm) signed, titled and dated in the cast
$ 2,000 / 3,000
HODGINSAUCTION.COM 203
178 Robert (Bob) Macfie Scriver American [1914-1999] RE-RIDE; 1968 bronze; ed. of 6 21.5 x 20.25 x 18 in. (54.6 x 51.4 x 45.7 cm) signed, titled and dated in the cast
204 HODGINS ART AUCTIONS LTD.
$ 2,000 / 3,000
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179 Jack King American [1920-1988] SUMMER LANDSCAPE WITH TREES AND HILLS oil on masonite 16 x 20 in. (40.6 x 50.8 cm) signed lower right
$ 1,500 / 2,000
HODGINSAUCTION.COM 205
180 Bonnie Marris American [b. 1951] PRONGHORNS oil on masonite 20 x 27.5 in. (50.8 x 69.9 cm) signed lower left Provenance: Heritage Fine Arts Gallery, Scottsdale AZ (label verso)
206 HODGINS ART AUCTIONS LTD.
$ 3,000 / 5,000
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181 Paul Mann American [b. 1955] RIDER WITH PACKHORSE; 1983 oil on canvas 24 x 30 in. (61 x 76.2 cm) signed lower right
$ 1,000 / 1,500
HODGINSAUCTION.COM 207
182 Ernest Tonk American [1889-1968] COWS AND COTTONWOODS oil on board 23.75 x 29.75 in. (60.3 x 75.6 cm) signed lower right; titled verso Provenance: Gainsborough Galleries, Calgary AB
208 HODGINS ART AUCTIONS LTD.
$ 1,000 / 1,500
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183 Richard Audley Freeman Canadian [1932-1991] LAST FENCE; 1979 oil on masonite 18 x 24 in. (45.7 x 61 cm) signed lower right; titled and dated verso Provenance: Harrison Galleries, Vancouver BC (label verso)
$ 750 / 1,000
HODGINSAUCTION.COM 209
184 John Ralph Schnurrenberger Canadian [b. 1940] HEELING CALVES AT BIG MEADOW oil on canvas 18 x 24 in. (45.7 x 61 cm) signed lower right; signed and titled verso Provenance: LaFlamme Galleries, Calgary AB
210 HODGINS ART AUCTIONS LTD.
$ 900 / 1,200
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185 Richard A. (Dick) Heichberger American NWS [b. 1945] TRAPPER LEADING HORSE oil on masonite 12 x 23.75 in. (30.5 x 60.3 cm) signed lower left
$ 600 / 900
HODGINSAUCTION.COM 211
186 Mark Hobson Canadian [b. 1953] THE DESCENT; 2002 oil on canvas 36 x 30 in. (91.4 x 76.2 cm) signed and dated lower right; titled on the backing paper and label verso Provenance: Western Art Auction, Calgary Exhibition & Stampede (2003)
212 HODGINS ART AUCTIONS LTD.
$ 800 / 1,200
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187 Georgia Jarvis Canadian [1944-1990] FOOTHILLS HARVEST oil on masonite 18 x 24 in. (45.7 x 61 cm) signed lower right; signed and titled verso Provenance: Acquired directly from Georgia Jarvis at her Springbank home by the original purchaser, and passed by descent to family. $ 2,000 / 3,000
HODGINSAUCTION.COM 213
188 Roland Gissing Canadian ASA [1895-1967] HARVEST NEAR COCHRANE oil on canvas 22 x 30 in. (55.9 x 76.2 cm) signed lower right; titled on the artist’s labels verso Note: This is an earlier work by Gissing, likely from the mid to late 1940s.
214 HODGINS ART AUCTIONS LTD.
$ 2,000 / 3,000
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189 Duncan Mackinnon Crockford Canadian [1920-1991] THE FLIGHT SOUTH, SCENE NR. BROOKS, ALTA.; 1984 oil on canvas 24 x 30 in (61 x 76.2 cm) signed and dated lower right; titled on the stretcher verso Provenance: Gainsborough Galleries, Calgary AB
$ 1,200 / 1,800
HODGINSAUCTION.COM 215
190 George A. Buytendorp Canadian MSA [1923-2014] AT LAKE OF THE WOODS oil on masonite 14 x 20 in. (35.6 x 50.8 cm) signed lower left ; titled on the artist’s label verso
216 HODGINS ART AUCTIONS LTD.
$ 500 / 800
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191 George A. Horvath Canadian [b. 1933] KANANASKIS SUNSET; 1982 oil on canvas 14 x 18 in. (35.6 x 45.7 cm) signed and dated lower left; signed, titled and dated verso
$ 300 / 500
HODGINSAUCTION.COM 217
192 Duncan Mackinnon Crockford Canadian [1920-1991] CASTLE MOUNTAIN AND BOW RIVER, WEST OF BANFF, ALBERTA; 1983 oil on canvas 16 x 20 in. (40.6 x 50.8 cm) signed and dated lower left; titled on the stretcher verso
218 HODGINS ART AUCTIONS LTD.
$ 800 / 1,200
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193 Mannie Gonsalves Canadian FCA [1926-2012] FOOTHILLS oil on masonite 16 x 20 in. (40.6 x 50.8 cm) signed lower right; titled verso
$ 300 / 500
HODGINSAUCTION.COM 219
194 George A. Horvath Canadian [b. 1933] HARVEST LANDSCAPE; 1983 oil on canvas 18 x 24 in. (45.7 x 61 cm) signed and dated lower right; titled on the stretcher verso
220 HODGINS ART AUCTIONS LTD.
$ 600 / 800
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195 Ted Raftery Canadian [b. 1938] A BREAK IN THE STORM (MT SMUTTS); 1982 oil on canvas 20 x 24 in. (50.8 x 61 cm) signed and dated lower left; signed, titled and dated verso
$ 800 / 1,200
HODGINSAUCTION.COM 221
196 William (Bill) Duma Canadian ASA, RCA [b. 1936] TREE PATTERNS; 2005 acrylic on board 12 x 16 in. (30.5 x 40.6 cm) signed lower left; signed, titled and dated verso Provenance: Wallace Galleries, Calgary AB, from the “Winter Light” exhibition (October 29-November 10, 2005) $ 500 / 800
222 HODGINS ART AUCTIONS LTD.
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197 Hubert Nanzer Swiss/Canadian [1948-2018] THE THREE SISTERS, CANMORE AB; 1999 oil on canvas 30 x 40 in. (76.2 x 101.6 cm) signed lower right; signed, titled and dated verso
$ 1,500 / 2,000
HODGINSAUCTION.COM 223
198 Roger D. Arndt Canadian [b. 1959] AUTUMN VARIATIONS; 2001 oil on wood panel 18 x 36 in. (45.7 x 91.4 cm) signed lower left; signed, titled and dated verso
224 HODGINS ART AUCTIONS LTD.
$ 1,200 / 1,600
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199 Curtis Golomb Canadian [b. 1953] ASPEN SHORE watercolour on paper 15.5 x 39 in. (39.4 x 99.1 cm) signed and titled lower left
$ 500 / 700
HODGINSAUCTION.COM 225
200 Brian Atyeo Canadian ASA, CSPWC, OSA [b. 1950] AUTUMN LANDSCAPE, DUSK watercolour on paper 21.5 x 28.5 in. (54.6 x 71.3 cm) signed lower right
226 HODGINS ART AUCTIONS LTD.
$ 500 / 700
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201 Karin Richter Canadian ASA, CSPWC, SCA [b. 1950] BOW FALLS VISTA pastel on suedeboard 12 x 16 in. (30.5 x 40.6 cm) signed lower right; signed and titled on the backing paper
$ 400 / 500
HODGINSAUCTION.COM 227
202 Lissi Legge Canadian FCA, SCA [b. 1949] SHAPED BY FALL oil on canvas 36 x 48 in. (91.4 x 121.9 cm) signed lower right; signed and titled verso
228 HODGINS ART AUCTIONS LTD.
$ 1,000 / 1,500
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203 Brian Atyeo Canadian ASA, CSPWC, OSA (b. 1950] WESTWARD; 2007 acrylic on canvas 12 x 16 in. (33 x 40.6 cm) signed lower right; signed, titled and dated verso
$ 300 / 500
HODGINSAUCTION.COM 229
204 William (Bill) Duma Canadian ASA, RCA [b. 1936] REFLECTIONS; 2001 acrylic on board 12 x 16 in. (30.5 x 40.6 cm) signed lower left; signed, titled and dated verso
230 HODGINS ART AUCTIONS LTD.
$ 500 / 800
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205 Rod Charlesworth Canadian [b. 1955] EVENING VEIL - PILLAR LK. oil on canvas 48 x 48 in. (121.9 x 121.9 cm) signed lower right; signed and titled verso
$ 3500 / 4500
HODGINSAUCTION.COM 231
206 Errol Brimacombe Canadian [b. 1947] AUTUMN SENTINELS oil on cradled panel 40 x 60 in. (101.6 x 152.4 cm) signed lower right
232 HODGINS ART AUCTIONS LTD.
$ 800 / 1,200
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207 Alan Caswell Collier Canadian OSA, RCA [1911-1990] AUTUMN, TESLIN LAKE oil on canvas board 18 x 24 in. (45.7 x 61 cm) signed lower right; titled on the artist’s labels verso Provenance: Kensington Fine Art Gallery, Calgary AB
$ 4,000 / 6,000
HODGINSAUCTION.COM 233
208 Terry Watkinson Canadian [b. 1940] CALM WATERS oil on canvas 24 x 30 in. (61 x 76.2 cm) signed lower right
234 HODGINS ART AUCTIONS LTD.
$ 1,000 / 1,500
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209 Colin D. Graham Canadian RCA [1915-2010] TWILIGHT oil on canvas 11 x 14 in. (27.9 x 35.6 cm) signed lower left; signed and titled verso
$ 300 / 500
HODGINSAUCTION.COM 235
210 Robert Genn Canadian FCA [1936-2014] HAZLEMERE CREEK; 1975 acrylic on wood panel 8 x 10 in. (20.3 x 25.4 cm) signed lower right; signed, titled and dated verso Provenance: Humberston Edwards Fine Art, West Vancouver BC (label verso)
236 HODGINS ART AUCTIONS LTD.
$ 800 / 1,200
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211 Alan Caswell Collier Canadian OSA, RCA [1911-1990] IN THE CARIBOO oil on panel 12 x 16 in. (30.5 x 40.6 cm) signed lower right; titled on artist’s label verso Provenance: Roberts Gallery Ltd., Toronto ON; Galerie Walter Klinkhoff, Montreal QC (labels verso)
$ 2,500 / 3,500
HODGINSAUCTION.COM 237
212 Perry Haddock Canadian FCA [b. 1946] COSTA GLORIA (NEAR TOFINO, PACIFIC RIM NATIONAL PARK) acrylic on canvas 22 x 28 in. (55.9 x 71.1 cm) signed lower right; signed and titled verso
238 HODGINS ART AUCTIONS LTD.
$ 900 / 1,200
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213 Alan Bateman Canadian [b. 1965] CANOE AT SHORE acrylic on masonite 24 x 34 in. (61 x 86.4 cm) signed lower right
$ 1,000 / 1,500
HODGINSAUCTION.COM 239
214 Roland Gissing Canadian ASA [1895-1967] AFTERNOON SUN oil on board 12 x 16 in. (30.5 x 40.6 cm) signed lower right; titled verso and on the artist’s label Provenance: Alex Fraser Gallery, Vancouver BC (label verso); Family of Roland Gissing, Calgary AB
240 HODGINS ART AUCTIONS LTD.
$ 600 / 800
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215 John Adrian Darley Dingle Canadian OSA, RCA [1911-1974] BACK AND FORTH FOG (NOVA SCOTIA) acrylic on board 10 x 16 in. (25.4 x 40.6 cm) signed lower right; titled on the artist’s label verso Provenance: Kensington Fine Art Gallery, Calgary AB
$ 500 / 700
HODGINSAUCTION.COM 241
216 Anthony D. Blake New Zealand [b. 1951] HEAVY WEATHER; 1982 mixed media on masonite 24 x 30 in. (61 x 76.2 cm) signed and dated lower right; signed, titled and dated verso Provenance: Gainsborough Galleries, Calgary AB (label verso)
242 HODGINS ART AUCTIONS LTD.
$ 1,000 / 1,500
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217 Peter Shostak Canadian [b. 1943] CHECKING MY CRAB TRAP; 1983 oil on canvas 8 x 10 in. (20.3 x 25.4 cm) signed and dated lower right
$ 400 / 700
HODGINSAUCTION.COM 243
218 Ron Hedrick Canadian [b. 1942] BEACH STROLL oil on canvas 24 x 30 in. (61 x 76.2 cm) signed lower left
244 HODGINS ART AUCTIONS LTD.
$ 1,200 / 1,600
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219 Barbara Engel Canadian [20th/21st century] GOLDEN LIGHT AT MORAINE LAKE oil on canvas (gallery-wrapped) 30 x 24 in. (76.2 x 61 cm) signed lower left; titled on the stretcher verso
$ 800 / 1,000
HODGINSAUCTION.COM 245
220 Sharon Lynn Williams Canadian ASA, FCA, IPAP [b. 1954] CLEARING WEATHER - LAKE O’HARA; 2011 oil on board 9 x 12 in. (22.9 x 30.5 cm) signed lower right; signed, titled and dated verso
246 HODGINS ART AUCTIONS LTD.
$ 300 / 500
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221 Wendy J. Bradley Canadian [20th/21st century] LAKE O’HARA SUMMER; 2014 oil on board 12 x 16 in. (30.5 x 40.6 cm) signed lower left; signed, titled and dated verso Provenance: Canada House Gallery, Banff AB
$ 400 / 600
HODGINSAUCTION.COM 247
222 Jonn Einerssen Canadian [b. 1949] HOPE, FAITH + CHARITY oil on canvas laid on board (diptych) left panel: 14 x 11 in. (35.6 x 27.9 cm) right panel:14 x 24 in. (35.6 x 61 cm) overall size: 14 x 35 in. (35.6 x 88.9 cm) signed lower right on the right panel; signed and titled on the backing paper Provenance: Gallery 421, Kelowna BC (label verso)
248 HODGINS ART AUCTIONS LTD.
$ 600 / 800
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223 Serge Dube Canadian [b. 1958] COASTAL COLOURS acrylic on canvas (gallery-wrapped) 14 x 48 in. (35.6 x 121.9 cm) signed lower right and verso
$ 700 / 900
HODGINSAUCTION.COM 249
224 K. Neil Swanson Canadian [20th/21st century] SMOKE SIGNALS; 2004 oil on masonite 20 x 16 in. (50.8 x 40.6 cm) signed, titled and dated verso
250 HODGINS ART AUCTIONS LTD.
$ 700 / 900
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225 Robert Roy Canadian [b. 1957] LES ENFANTS ONT L’INSTINCT DU BONHEUR oil on canvas 36 x 24 in. (91.4 x 61 cm) signed lower right; signed and titled verso
$ 1,000 / 1,500
HODGINSAUCTION.COM 251
226 Robert Roy Canadian [b. 1957] A DOS DE CHEVAL oil on board 36 x 30 in. (91.4 x 76.2 cm) signed lower right; signed and titled verso
252 HODGINS ART AUCTIONS LTD.
$ 1,000 / 1,500
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227 Pauline Thibodeau Paquin Canadian [b. 1952] FUN LIFE oil on masonite 10 x 12 in. (25.4 x 30.5 cm) signed lower right; titled verso
$ 500 / 800
HODGINSAUCTION.COM 253
228 Francine Gravel Canadian ASA [b. 1944] TRIANGLE CONCERTO; 1996 oil on canvas (diptych) each panel: 20 x 6 in. (50.8 x 15.2 cm) overall size: 20 x 12 in. (50.8 x 30.5 cm) signed and dated lower right; signed, titled and dated verso
254 HODGINS ART AUCTIONS LTD.
$ 500 / 700
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229 William (Bill) Duma Canadian ASA, RCA [b. 1936] STILL LIFE WITH FLOWERS AND BOOKSHELF acrylic on board 16 x 12 in. (40.6 x 30.5 cm) signed lower left and verso
$ 500 / 800
HODGINSAUCTION.COM 255
230 Francine Gravel Canadian ASA [b. 1944] BOLERO; 2002 oil on canvas (gallery-wrapped) 30 x 48 in. (76.2 x 121.9 cm) signed lower right; signed, titled and dated verso
256 HODGINS ART AUCTIONS LTD.
$ 900 / 1,200
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231 Jean-Guy Desrosiers Canadian [b. 1934] BATEAU SUR LA NEIGE oil on masonite 12 x 30 in. (30.5 x 76.2 cm) signed lower right; titled verso
$ 300 / 500
HODGINSAUCTION.COM 257
232 Jean-Guy Desrosiers Canadian [b. 1934] L’ETE, UN SOIR (CHARLEVOIX) oil on hardboard 12 x 30 in. (30.5 x 76.2 cm) signed lower right; titled verso
258 HODGINS ART AUCTIONS LTD.
$ 300 / 500
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233 Nixie Barton Canadian [b. 1958] STILL LIFE AND TREES; 1994 acrylic on canvas (gallery-wrapped) 36 x 36 in. (91.4 x 91.4 cm) signed and dated lower right
$ 700 / 1,000
HODGINSAUCTION.COM 259
234 James Stanford (Stan) Perrott Canadian ASA, CPE [1917-2001] THE ARTIST’S GARDEN, BRAGG CREEK watercolour on paper 21 x 29 in. (53.3 x 73.7 cm) signed lower right
260 HODGINS ART AUCTIONS LTD.
$ 500 / 700
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235 Gabor L. Nagy Canadian [b. 1945] FACING THE SUN; 2012 oil on canvas (gallery-wrapped) 30 x 40 in. (76.2 x 101.6 cm) signed lower right; signed, titled and dated verso
$ 1,000 / 1,500
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236 Neil Patterson Canadian ASA, FCA, OPA [b. 1947] TWO BOUQUETS oil on wood panel 8 x 10 in. (20.3 x 25.4 cm) signed lower right; titled verso
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$ 300 / 500
Spring 2025: Fine Art Monday, June 2 at 7 PM MT Staggered Soft Close
237 Leslie Wainwright British/Canadian [1936-1997] WINDOW WITH PORTUGUESE TILES; 1992 acrylic on canvas 24 x 30 in. (61 x 76.2 cm) signed lower right; signed, titled and dated verso Provenance: Art Mode Gallery, Calgary AB
$ 600 / 900
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