HODGINSAUCTION.COM

SPRING 2020

Monday, June 22 @ 7 p.m. - Online Auction METHODS OF BIDDING: ELECTRONIC PRE-BIDDING. You can place your maximum bids through the online catalogue at any time prior to the auction - type in your maximum bid amount and click “Place Bid”. The software will administer your bid up to your maximum, in competition with other bidders. ELECTRONIC REAL-TIME BIDDING. Register early as pre-approval is required. Log in at sale time and bid in real-time as the auction is closing. ABSENTEE BIDDING. If you do not wish to bid electronically, you can submit an Absentee Bid Form. We will enter your maximum bids into our software where they will be placed into competition against other bidders. Absentee bids appear as “Floor Bidder” in the bidding history. NOTE. Lots begin to close sequentially in 20 second intervals. Each lot displays a countdown clock. A 2 minute bidding extension is added to the clock if a bid is placed in the final 2 minutes. The extended bidding on one lot does not affect the closing time of other lots. Late active bidding can extend the closing of an individual lot for an extended time. 4 | Michael O’Toole All bids are time-stamped. In the event of a tie (identical bids), the earliest placed bid wins. Canadian FCA [b. 1963] LATE OCTOBER (BANFF) The Terms and Conditions of the auction can be found within the online catalogue. acrylic on canvas 20 x 24 in. (50.8 x 61 cm) signed lower left; signed & titled verso $ 1,000 / 1,500

5 | William (Bill) Duma 1 | James McLaren (Jim) Nicoll Canadian ASA, RCA [b. 1936] Canadian ASA, CPE [1892-1986] SUMMER STREAM BRIDGE OVER ; ca 1934 acrylic on board watercolour on paper 12 x 16 in. (30.5 x 40.6 cm) 11.5 x 10.5 in. (29.2 x 26.7 cm) signed lower right; signed & titled verso signed lower centre; signed & titled verso $ 600 / 800 $ 600 / 800

2 | Robert Genn Canadian FCA [1936-2014] 3 | Claudette Castonguay CANADIAN TRI-COLOUR; 1980 Canadian [b. 1949] 6 | Robert Genn oil on canvas EN APRES-MIDI, CHEZ ARIANE; 1999 Canadian FCA [1936-2014] 12 x 16 in. (30.5 x 40.6 cm) acrylic on canvas SARA AT THE OMEY BIGHT (CONNEMARA) signed lower right; signed, titled & dated verso 36 x 16 in. (91.4 x 40.6 cm) acrylic on canvas Provenance: Estate of Bill and Peggy Code, signed & dated lower left; titled on the 20 x 24 in. (50.8 x 61 cm) AB; Gainsborough Galleries, Calgary AB stretcher verso signed lower right; signed & titled verso $ 1,500 / 2,000 $ 900 / 1,200 $ 2,500 / 3,500 12 | Horace Champagne 7 | Illingworth Holey (Buck) Kerr 9 | William Lewy Leroy Stevenson Canadian PSA, PSC [b. 1937] Canadian ASA [1905-1966] Canadian ASA, BCSA, FCA, RCA [1905-1989] SNOWY WALK BY CORNELIUS KRIEGHOFF’S TANGLED TREES PEPSI MOON; 1981 STUDIO (GRAND-ALLEE, CITY); oil on canvas, laid on board oil on board 1988 13 x 16 in. (33 x 40.6 cm) 16 x 20 in. (40.6 x 50.8 cm) pastel on paper monogrammed lower right; signed, titled & signed lower right dated verso Provenance: Estate of Bill and Peggy Code, 30 x 40 in. (76.2 x 101.6 cm) signed lower right; signed, titled & dated on Provenance: Estate of Bill and Peggy Code, Calgary AB the artist’s label verso Calgary AB $ 700 / 1,000 $ 3,500 / 4,500 $ 2,500 / 3,500

13 | Thomas Keith (Tom) Roberts 10 | Claude Langevin Canadian OSA, RCA [1908-1998] Canadian [b. 1942] SHADOWS ON THE SCHOOL HOUSE DEBUT DE TEMPETE (HEAVY SNOW IN THE oil on masonite LAURENTIDES) 16 x 24 in. (40.6 x 61 cm) oil on canvas signed lower left; signed, titled & dated verso 24 x 30 in. (61 x 76.2 cm) $ 1,000 / 1,500 signed lower left; signed & titled verso $ 2,000 / 2,500

8 | Allen Sapp Canadian RCA [1928-2015] THE LITTLE BOY CAME TO WATCH THE GAME; 1982 acrylic on canvas 20 x 24 in. (50.8 x 61 cm) signed lower right; titled & dated on the artist’s label verso (AZ-303) Provenance: This work originally came through 11 | Illingworth Holey (Buck) Kerr Assiniboia Gallery (Regina SK) to the corporate Canadian ASA, BCSA, FCA, RCA [1905-1989] 14 | Mary Evelyn Wrinch collection of UNICEF . It was then AUGUST AFTERNOON; 1981 Canadian CPE, OSA, RCA [1877-1969] gifted to the consignor, who was involved oil on canvas SUNLIGHT ON THE HILLS for many years with the company’s greeting 24 x 32 in. (61 x 81.3 cm) oil on board card program. During the 1980s and 1990s, monogrammed lower right; signed, titled & 10 x 12 in. (25.4 x 30.5 cm) Sapp had a relationship with UNICEF Canada, dated on the stretcher verso signed lower right; titled on a label verso allowing the company to reproduce several of Provenance: Estate of Bill and Peggy Code, Exhibited: Small Picture Exhibition OSA, Avon his works as Christmas cards. Calgary AB House, Simpsons $ 3,000 / 5,000 $ 7,000 / 9,000 $ 1,500 / 2,500 19 | Henri Leopold Masson 15 | Berthe Des Clayes Canadian CGP, CSPWC, RCA [1907-1996] 17 | Clarence Alphonse Gagnon FISHING VILLAGE Canadian [1877-1968] Canadian RCA [1881-1942] oil on canvas LE PONT COUVERT IGLOO; ca 1928 18 x 24 in. (45.7 x 61 cm) pastel on paper gouache on paper laid on panel 7.75 x 9.25 in. (19.7 x 23.5 cm) signed lower right 5.25 x 6.25 in. (13.3 x 15.9 cm) Provenance: Estate of Bill and Peggy Code, signed lower right; titled on the gallery label Certified verso by Lucile Rodier Gagnon, wife of Calgary AB verso the artist (, 1946; no. 666). $ 1,500 / 2,500 Provenance: Galerie d’Art Michel Bigue, St- Provenance: Walter Klinkhoff Gallery, Sauveur QC QC; Masters Gallery, Calgary AB $ 800 / 1,200 Note: This gouache is a study for the composition appearing on page 90 of “Le Grand Silence Blanc, Roman Vecu d’Alaska” (Louis Frederic Rouquette & Clarence Gagnon; Paris Editions Mornay; 1928) $ 5,000 / 7,000

20 | Frederic Marlett Bell-Smith Canadian OSA, RCA [1846-1923] MOUNTAIN LAKE AND SNOW-CAPPED RIDGE watercolour and gouache on paper 11.75 x 18 in. (29.8 x 45.7 cm) signed lower left $ 2,000 / 2,500

21 | Carl Fellman Schaefer Canadian CGP, CSGA, CSPWC, RCA [1903-1995] BARNS AND ORCHARD ON JOHN VOELZING’S FARM, HANOVER; 1935 watercolour on paper 15.5 x 22.5 in. (39.4 x 57.2 cm) 16 | Charles Ernest de Belle 18 | William Kurelek signed & dated lower right; signed, titled & Canadian RCA [1873-1939] Canadian RCA [1927-1977] dated verso GIRLS IN FLOWING WHITE GOWNS SKETCH FOR “THE EGG THIEF”; 1975 Exhibited: “Carl Schaefer in Hanover”, The pastel on paper pen and ink wash on paper board laid on Art Gallery (1980) 28 x 22 in. (71.1 x 55.9 cm) masonite Note: Other examples of Schaefer’s Voelzing monogrammed lower right 20 x 14.5 in. (50.8 x 36.8 cm) Farm paintings appear in the collections of the Provenance: Walter Klinkhoff Gallery, Montreal monogrammed & dated lower right; titled & National Gallery of Canada (Acc. No. 4609) and QC dated verso the Art Gallery (Acc. No. G-78-2). $ 3,000 / 5,000 $ 3,000 / 4,000 $ 3,000 / 4,000 22 | Homer Ransford Watson Canadian OSA, RCA [1855-1936] SKETCH AT BRAY, BERKS. ENG oil on board 6.5 x 9.25 in. (16.5 x 23.5 cm) initialed lower left; titled verso Provenance: Estate of Bill and Peggy Code, Calgary AB $ 1,000 / 2,000

25 | Henry George Glyde Canadian ASA, CSGA, FCA, RCA [1906-1998] SOUTHERN TOWN oil on canvas 18 x 24 in. (45.7 x 61 cm) signed lower right; signed & titled verso Estate of Bill and Peggy Code, Calgary AB $ 6,000 / 8,000 23 | William Lewy Leroy Stevenson 26 | Ted Godwin Canadian ASA [1905-1966] Canadian ASA, R5, RCA [1933-2013] CHURCH SPIRE STILL FALL (KENAUK SERIES); 2001 oil on board oil on canvas 10.75 x 14 in. (27.3 x 35.6 cm) 47 x 64 in. (119.4 x 162.6 cm) initialed lower right signed & titled on the stretcher verso Provenance: Estate of Bill and Peggy Code, Provenance: Estate of Bill and Peggy Calgary AB; former collection of artist Max Code, Calgary AB; Wallace Galleries, Bates Calgary AB $ 700 / 1,000 Reference: “Lower Bow: A Celebration of Wilderness, Art and Fishing” (Ted Godwin & Geoffrey Simmins; Hard Art Moving and Storage Co. Ltd.; 1991) Streams and waterways feature prominently in Ted Godwin’s paintings. As a mature artist, it would seem that the subject held particular significance for the artist, who identified as a Buddhist. Godwin grew up on the banks of the Elbow River in Calgary, walking and fly fishing the river with his father. Both his parents’ ashes were later scattered over the Bow River. In his book (page 11), Godwin wrote: “In retrospect, most of the time I spent growing up was streamside, although this memory lay dormant for a long time. Old memories now merge with new and the only constant is the current of the dark stream that flows through my life. It seems to me that the images and rhythms of streamside have formed an integral part of whatever it is that is Ted.” 24 | Roland Gissing Ted Godwin was the youngest member of the Regina Five, a name given to the avant-garde Canadian ASA [1895-1967] group of artists when they were featured in the National Gallery of Canada’s 1961 touring WINTER SUNSET exhibition “Five Painters from Regina”. Initially recognized for his abstract expressionist works, oil on canvas laid on board and his formalist “Tartan” series, Godwin’s later works, by comparison, appear representational. 12 x 16 in. (30.5 x 40.6 cm) Beneath the surface of their representational framework, Godwin’s streambank paintings are signed lower right; titled verso and on the rooted in abstraction. Whether of his beloved Bow River, the waterways of Central and Eastern gallery label Canada, or the National Parks of the North, these works are all gesturally bold, colourful and Provenance: Estate of Raymond Rougeau, highly patterned. Here, Godwin explores the visual elements from the low perspective of a fly Brooks AB; Gainsborough Galleries, Calgary AB fisherman, accentuating the interplay between tangled shrubs, trees, rocks and water. $ 800 / 1,000 $ 12,000 / 15,000 29 | Roland Gissing 27 | Orestes Nicholas (Rick) Grandmaison 30 | Illingworth Holey (Buck) Kerr Canadian [1932-1985] Canadian ASA [1895-1967] WATERFOWL LAKE; 1965 Canadian ASA, BCSA, FCA, RCA [1905-1989] COMING HOME; 1983 QU’APPELLE VALLEY NOCTURNE; 1981 oil on board oil on board 12 x 16 in. (30.5 x 40.6 cm) oil on board 14 x 18 in. (35.6 x 45.7 cm) 16 x 20 in. (40.6 x 50.8 cm) signed lower left; signed, titled & dated verso signed lower right; signed, titled & dated verso Provenance: Estate of Raymond Rougeau, monogrammed lower left; signed, titled & Provenance: Masters Gallery, Calgary AB dated verso $ 1,200 / 1,600 Brooks AB; Gainsborough Galleries, Calgary AB $ 800 / 1,000 Provenance: Lefebvre Galleries, Edmonton AB $ 3,500 / 4,500

28 | Orestes Nicholas (Rick) Grandmaison Canadian [1932-1985] THE HOMESTEAD LATE AUTUMN; 1981 oil on board 22 x 30 in. (55.9 x 76.2 cm) signed lower left; signed, titled & dated verso $ 1,500 / 2,500

31 | James Edward Hervey MacDonald Canadian G7, OSA, RCA [1873-1932] CLIFFS AND MOUNTAIN LAKE; 1927 oil on board 8.5 x 10.5 in. (21.6 x 26.7 cm) signed & dated lower right Provenance: Former collection of Thoreau MacDonald (son of the artist), ON; Former collection of Dr. Max Grinstein, Calgary AB; Kensington Fine Art Gallery, Calgary AB; Masters Gallery, Calgary AB Reference: “The Lake O’Hara Art of J.E.H. MacDonald and Hiker’s Guide” by Lisa Christensen (Fifth House Books; 2003) J. E. H. MacDonald made seven trips to the Canadian Rockies, visiting every summer between 1924 and 1930. He gained much inspiration from the majesty of the mountains, typically painting in the area of Lake O’Hara in Yoho National Park. MacDonald headed west by train, disembarking at Wapta Station, near the current location of West Louise Lodge. As was typical, he then travelled by pack horse with his gear and supplies. The location of this intimate scene is Ross Lake, a mountain gem cradled within the cliffs of Narao Peak. It is located on the Great Divide, in the valley below O’Hara (at a distance of about 11 km). MacDonald would have taken the time, at the beginning or end of his trip, to stop and paint in this area. This work is one of only approximately 10 known examples painted by Macdonald outside of Lake O’Hara proper. Another example depicting this location, titled “Near Ross Lake”, is found in the collection of the Museum of (55.A.23). We thank Lisa Christensen for her assistance in determining the location of this scene and for the historical context. $ 40,000 / 60,000 32 | Illingworth Holey (Buck) Kerr Canadian ASA, BCSA, FCA, RCA [1905-1989] END OF SNOW; 1980 oil on canvas 18 x 24 in. (45.7 x 61 cm) monogrammed lower left; signed, titled & 35 | Molly Lamb Bobak dated on the stretcher verso Canadian RCA [1922-2014] Provenance: Gold Design Fine Arts, Calgary AB INTERSECTION (); ca 1973 $ 4,000 / 6,000 oil on masonite 16 x 24 in. (40.6 x 61 cm) signed lower right; titled on the gallery label verso Provenance: Canadian Fine Arts, Toronto ON Exhibited: “People and Places of ” (Gallery 78; 2018), in a non-commercial retrospective exhibition of Bruno and ’s work. Note: Molly Lamb Bobak was often drawn to urban scenes, here depicting the hustle and bustle of life on a busy city street. There is a strong sense of rhythm and movement in this work, accentuated by her loose brush work and selective placement of bold colour into the otherwise muted panel. Her technique achieves the objective of capturing the mood and impressions of the moment, rather than the details of the scene. $ 7,000 / 9,000

33 | Georgia Jarvis Canadian [1944-1990] WARM WINTER oil on masonite 20 x 30 in. (61 x 91.4 cm) signed lower right; signed & titled verso $ 2,000 / 3,000

36 | Molly Lamb Bobak Canadian RCA [1922-2014] ENGLISH BEACH; ca 1975 oil on canvas 22 x 30 in. (55.9 x 76.2 cm) signed lower right; titled verso Provenance: Galerie Eric Klinkhoff, Montreal QC 34 | Roland Gissing Born and raised in the area, Molly Joan Lamb studied at the of Art Canadian ASA [1895-1967] (1938-41) before enlisting with the Canadian Women’s Army Corp. in 1942. She became Canada’s EVENING SHADOWS; ca 1940 first female official three years later, meeting fellow artist during her time in oil on canvas London, . After marrying, the Bobaks returned to Vancouver for a number of years, before 16 x 20 in. (40.6 x 50.8 cm) Bruno Bobak accepted a teaching position at the University of New Brunswick in , where signed lower left; titled on the artist’s and the couple settled and lived for over 50 years. Molly Lamb Bobak went on to have a long teaching gallery labels verso and exhibition career and was honored with a travelling retrospective of her work in 1992. Her work Provenance: Estate of Raymond Rougeau, can be found in many public collections, including the National Gallery of Canada, the Canadian War Brooks AB; Gainsborough Galleries, Calgary AB Museum, the , and the Montreal Museum of Fine Arts. $ 1,500 / 2,000 $ 10,000 / 15,000 37 | Lionel LeMoine FitzGerald Canadian CGP, G7, MSA [1890-1956] WINNIPEG; 1925 oil on canvas, laid on wood panel 39 | Maurice Galbraith Cullen 6 x 8.25 in. (15.2 x 21 cm) Canadian RCA [1866 - 1934] initialed lower left; signed and estate stamped on the old backing BRITTANY COAST; 1902 verso oil on canvas Provenance: Estate of the Artist; The Morris Gallery, Toronto ON; 15 x 18.25 in. (38.1 x 46.4 cm) Brock Galleries, Penticton BC; Loch Gallery, Winnipeg MB signed & dated lower right $ 5,000 / 7,000 Provenance: Walter Klinkhoff Gallery, Montreal QC (Cullen Inv. No. 154); Canadian Fine Arts, Toronto ON; Masters Gallery, Calgary AB Maurice Galbraith Cullen was born in St. John’s, Newfoundland and moved with his family to Montreal as a boy. At age fourteen, while working as a sales clerk, he began his formal art education, training at the Institut National des Beaux-Arts et Sciences, and privately with sculptor Louis-Philippe Hebert. In 1887, an inheritance from his mother allowed Cullen to move to to further his studies. In Paris, he trained at the Ecole des Beaux-Arts and at the Academies Julian and Colarossi. Here, Cullen was taught in the traditional French academic style of painting, though he was drawn to Impressionism and the Barbizon School. While in France, he met several fellow Canadian artists, including James Wilson Morrice and , who became his sketching partners. During these years, Cullen spent his summers in the French countryside and sketching the Brittany Coast, often in the company of Morrice. Cullen exhibited at the Paris Salon and become an associate of the Société Nationale des Beaux-arts. Cullen returned to Montreal in 1895 and opened a studio, soon exhibiting with the Royal Canadian Academy and the Art Association of Montreal. In 1900, Cullen embarked on his last major painting trip overseas. He spent the following two years painting at numerous locations, including Brittany, Venice, Florence, Southern France and North Africa. This work dates from this time period, and depicts a coastal scene in Brittany, an area Cullen enjoyed revisiting. Brittany was an important artistic centre, drawing artists from around the world, who appreciated the area for its rugged scenery, traditional customs and artistic camaraderie. $ 12,000 / 16,000

38 | James Wilson Morrice (attribution) Canadian RCA [1865-1924] MARKET SQUARE, PARIS; ca 1900 oil on panel 5.5 x 6.5 in. (14 x 16.5 cm) bears signature lower right and verso Provenance: Arthur Leggett Fine Art and Antiques, Toronto ON; Jerrold Morris Gallery, Toronto ON; Masters Gallery, Calgary AB; Private collection; Calgary AB; Former collection of A. K. Prakash, Toronto ON; Private collection, Winnipeg MB Exhibited: “Canadian Artists in Paris and the French Influence”, , Calgary AB (October 16, 1999-January 3, 2000. $ 6,000 / 9,000 40 | David Brown Milne Canadian CSPWC, CGP, CSGA [1882-1953] COLUMBINE; 1943 watercolour on paper 14.5 x 17.25 in. (36.8 x 43.8 cm) Exhibited: Hart House Ajax, University of Toronto (March 1947); “Thirty Paintings by David Milne”, National Gallery of Canada, Ottawa (May 2-13, 1947) Provenance: Former collection of the late J. R. Shaw, Calgary AB; Masters Gallery, Calgary AB; Douglas Udell Gallery, Edmonton AB Literature: “Painting Place: The Life and Work of David B. Milne” (David P. Silcox; University of Toronto Press; 1996); “David Milne” (Ian M. Thom; Douglas & McIntyre Ltd.; 1991) In 1937, after taking a 12 year break from the medium, David Milne once again began to work in watercolours, and they would dominate his body of work during the final years of his career. Milne reduced his scenes with delicate precision, guided by what he described as “aesthetic emotion’. Where his contemporaries were bold and expressive, drawing strength and influence from the Group, Milne’s work was quiet and introspective - almost austere - and defied categorization. Often described as reclusive, for Milne, art and life were integrally interconnected, and he compulsively viewed the natural world around him from the lens of an artist. Though Milne had gained a love of nature at an early age, the subjects of his paintings were secondary to his artistic impression, and to the works themselves. David Milne was incredibly insightful and adept at expressing his internal process, which we glimpse in this 1936 quote: “Do you like flowers? So do I, but I never paint them. I didn’t even see the hepaticas. I saw, instead, an arrangement of the lines, spaces, hues, values and relations that I habitually use. That is, I saw one of my own pictures, a little different from ones done before, changed slightly, very slightly, by what I saw before me.’” $ 15,000 / 20,000 41 | Cornelius David Krieghoff Canadian [1815-1872] CAUGHNAWAGA INDIANS AT MOUNT ROYAL; ca 1848 oil on canvas 15.75 x 22.5 in. (40 x 57.2 cm) signed lower right; titled within the frame and on a label verso Exhibited: National Gallery of Canada, Ottawa ON (1934) Provenance: Former collection of C. Jackson Booth (Ottawa ON), Former collection of Leslie Lewis (London); Private collection Winnipeg MB

Krieghoff remains one of the best known and admired of the early Canadian painters, active before and during the early years of Confederation. As a genre painter, Krieghoff’s focus was on the everyday life of the habitants and Indigenous people of Lower Canada. His sketches of the Caughnawaga date as far back as 1844. These tightly composed early scenes differ in tone from a style favoured by the artist later, when he became more interested in painting landscape and subjects were placed within a broader scene. Here, there is an interesting parallel in how the four Caughnawaga have casually stopped to chat, in much the same manner as would have been common for a group of habitants crossing paths while going about their daily routines. Krieghoff painted several versions of this scene between 1844 and 1850. A very similar work, depicting a small group of Caughnawaga in a snow-covered scene along the southern shore of the St. Lawrence, is illustrated on page 50 of “Krieghoff” (J. Russell Harper; University of Toronto Press; 1979). In comparing these different examples, the viewer can see that Krieghoff has rearranged and modified the visual elements. In all scenes, two groups meet on the plains in an everyday encounter. The man, is either wearing snowshoes or carrying them on his back, while his wife carries a basket or papoose on her back. The other women appear in varied details: wearing colourful shawls, a beaver hat or a Hudson’s Bay blanket. They may carry a basket, a red bag, or moccasins. The distant background images similarly vary - here, there are two figures near a small cabin, while the peak of Mount Royal appears in the horizon. In another similar scene, that was issued as a chromolithograph from the period, two figures pull sleds. A black and white dog also makes an appearance in the canvases. On page 47 of his book, Harper postulates that its image was borrowed from Coke Smyth’s “Moose Hunter” (“Sketches in the , no. XXIX). Hunter notes (pp. 49/52) that Krieghoff, in addition to any personal experiences, relied on several sources for these types of works: Smyth’s aforementioned book of prints (images that were based on what Smyth felt to be characteristic Canadian subjects following his 1838 tour); and engravings from the book “Canadian Scenery (based on sketches by W. H. Bartlett). Cornelius Krieghoff’s images are reminiscent of a bygone era, offering an idealized view of life during the formative days of the country’s history. His legacy lies in a body of work that chronicled the way of life of the early settlers and Canada’s Indigenous peoples, and helped to create the iconography of French Canada. $ 60,000 / 80,000 42 | Maxwell Bennett Bates Canadian ASA, CGP, CSGA, CSPWC, RCA [1906-1980] GLOUCESTER ROAD, LONDON; ca 1959 oil on masonite 24 x 30 in. (61 x 76.2 cm) signed lower left; titled on the exhibition label verso Exhibition: Royal Canadian Academy of Arts Provenance: Estate of Bill and Peggy Code, Calgary AB London played an important role in shaping Max Bates’ career. Bates first visited London as a youngster in 1912, on an extended trip with his family. Later, when he felt rejected in Alberta, and confined by the traditional local art scene, Bates travelled to London in 1930/31. This marked the beginning of a transformative 15 year absence from Calgary. While in London, Bates grew and flourished as an artist. He reportedly took in two thousand art exhibitions; he exhibited regularly; he became a member of the Twenties Group (1932- 1939), an association of prominent Expressionists and Surrealists; and his work was included along with many of the great masters in the politically important Artists International Association Exhibition of 1937. Following this period, Bates enlisted with the British Territorial Army and spent five years as a prisoner of war, leaving a forever- changed Europe for Calgary in 1946. Bates returned to Europe once again during 1958/1959, with his wife Charlotte, visiting a number of sites he had seen prior to the War, including some in London. During this trip, Bates sketched and took notes for paintings that he would develop upon his return home. $ 5,000 / 7,000

43 | James Henderson Canadian [1871-1951] SIOUX WARRIOR oil on board 24 x 17.75 in. (61 x 45.1 cm) signed lower right; titled on a plaque and on the gallery label Provenance: Former collection of Alex Fraser, Vancouver BC; Masters Gallery, Calgary AB Literature: “James Henderson: Wicite Owapa Wicasa, The Man who Paints the Old Men” (Dan Ring, James Lanigan and Neal Mcleod; Mendel Art Gallery; 2010) James Henderson is a pioneering figure in the history of art in . He was one of the first professionally trained artists to settle in Saskatchewan, having been born in Glasgow, Scotland, and trained at the Glasgow School of Art. Henderson had been working as a commercial artist in London, and after first coming to Regina, he settled in Fort Qu’Appele. Henderson was fascinated by the landscape of the Qu’Appelle Valley and by the Indigenous peoples of the Canadian West. In 1924, Henderson is known to have exhibited a portrait titled “Sioux Indian” at the British Empire Exhibition (Wembley, London), followed by “Weasel Calf, Blackfoot Chief” the next year. Also in 1925, Henderson exhibited three portraits (along with several landscapes) in the exhibition “Artists of Saskatchewan”, at the University of Toronto’s Hart House. Following this success, he was commissioned by the University of Saskatchewan to paint twelve portraits representing the tribes of Saskatchewan and Alberta. During the following years, Henderson’s portraits were exhibited broadly, including several times at the National Gallery of Canada. Henderson’s historically important portraits can be found in numerous public collections, including: Mendel Art Gallery (Saskatoon); McKenzie Art Gallery (Regina); (Edmonton); Glenbow Museum (Calgary); Art Gallery of Greater Victoria; and National Gallery of Canada (Ottawa) $ 6,000 / 9,000 44 | Nicholas de Grandmaison Canadian RCA [1892-1978] PORTRAIT IN PROFILE pastel on sandpaper 17.75 x 13.75 in. (45.1 x 34.9 cm) signed lower left Literature: History in Their Blood: The Indian Portraits of Nicholas de Grandmaison (Hugh A. Dempsey; Douglas & McIntryre Ltd.; 1982); “Drawn from the Past: Nicholas de Grandmaison” (Gordon Snyder; Snyder Fine Arts; 2007) $ 12,000 / 15,000

45 | Frederick Arthur Verner Canadian OSA, RCA [1836-1928] INDIAN MAIDEN; 1874 oil on canvas 21.25 x 17.25 in. (54 x 43.8 cm) signed & dated lower right Provenance: Masters Gallery, Calgary AB Reference: “The Last Buffalo: The Story of Frederick Arthur Verner, Painter of the Canadian West” (Joan Murray; Pagurian Corporation; 1984) Verner’s vision of the Canadian West and Indigenous life were well-received and appreciated by the Canadian and English public of the day. Verner exhibited widely during his long career: with the Royal Canadian Academy from its founding in 1880 until his death in 1928; with the Ontario Society of Artists (1872-1922); and with the Art Association on Montreal (1872-1922); and he exhibited regularly overseas. Verner was one of very few painters of the era born in Ontario, and one of the first to attend and record a decisive historical event - the North- West Angle Treaty of 1873 (Indian Treaty No. 3) which determined for Canada the disposition of 142,000 square km, and structured the settlement of the Canadian West. Verner would have departed for the West in the spring of 1873. The extent of his travels is unknown, though it is recorded that in September of that year he travelled through Winnipeg to Lake of the Woods, where he witnessed and recorded the signing of the Treaty. In October, he travelled East to Rainy River, Fort Frances, then to Island Portage on the Winnipeg River. It was during this trip that Verner developed the extensive sketches that formed the foundation and cornerstone for his works, and he would return to these regularly over the years. Verner’s portraits are very few in number, and certainly follow in the spirit of the work of , with whom Verner had developed a friendship. According to Joan Murray (on page 37 of her book), “family legend speaks of twelve portraits”, and that “these portraits may have been commissioned by the government or perhaps they were meant to lead to such commissions”. Verner strove for accuracy in his depictions, referring back to sketches of Indigenous clothing, jewellery, ornaments and objects that he studied to improve himself as a painter. His attention to these details is evident in this portrait, in the necklaces, beading, feather and fringe worn by the subject. In 1874, Verner devoted himself to developing larger canvases from the sketches he had made the previous year. A half length portrait (“Ojibway Belle at Fort Frances”) was exhibited at the OSA in 1874, to critical praise. Known to return to his motifs, this portrait - “Indian Maiden” - of this same year, seems to be another version of that work. A later example, from 1990, titled “Indian Woman (Ojibway Tribe)”, is illustrated on pp. 16-17 of Murray’s book. $ 20,000 / 30,000 46 | Harley Brown Canadian CAA, NAWA, NWR, OPA [b. 1939] ONE GUN, BLACKFOOT pastel on paper 23.5 x 18 in. (59.7 x 45.7 cm) signed & titled lower left Note: One Gun [1884-1973] was an honoured member of the Siksika tribe, serving for many years on the band council, as well as in several secret societies. He was a regular participant in the , since its inception in 1912. $ 1,000 / 1,500

48 | Cornelius David Krieghoff Canadian [1815-1872] THE MOCCASIN SELLER; ca 1850 oil on canvas 11 x 8 in. (27.9 x 20.3 cm) signed lower right Provenance: Kennedy Galleries, New York NY; Former collection of Nathan Coming, Massachusetts; Former collection of George Whitney, Philadelphia PA; Private collection, Texas; Masters Gallery, Calgary AB; Private collection, Calgary AB Exhibited: 39th Annual Exhibition of Pennsylvania Academy of Arts, “Pennsylvania Academy of Arts” (1862) Note: This work is Illustrated in “The Kennedy Quarterly, vol. X, no. 1, June 1970” (Kennedy Galleries, New York; 1970). Dutch-born Krieghoff travelled extensively before settling in Canada some time around 1846 47 | Cornelius David Krieghoff when he opened his Montreal studio. He later moved his family to in 1853. Inspired Canadian [1815-1872] by the common scenes around him, he was one of the first artists to depict the everyday SNOWSHOERS experience in mid-19th century Quebec, which he did in the romanticized fashion of the era. watercolour on paper Known for his genre scenes, and portraits of habitants and Indigenous subjects, Krieghoff was 5 x 6.5 in. (12.7 x 16.5 cm) rarely interested in painting “Indian” portraits of the type that focused on the individual subject, signed lower right; titled on the gallery labels on his/her distinct characteristics or feelings. Instead, his images are representational and verso emblematic of a culture, a time, and a way of life. While not very successful during his Montreal Provenance: G. Blair Laing Ltd., Toronto ON; years, his single-figure portraits became very popular with his affluent patrons, and were also Galerie Walter Klinkhoff, Montreal QC; Peter accessible to buyers of more modest means. Krieghoff’s favoured motifs included basket sellers, Ohler Fine Arts, Vancouver BC moccasin sellers, hunters and trappers - familiar images of the Quebec countryside. $ 3,000 / 5,000 $ 15,000 / 20,000 49 | Clifton Ray (C. R.) Cheek American [1937-2019] THE AVENGERS 52 | Claude A. Simard bronze; ed. #25/25 Canadian RCA [1943-2014] 18 x 47 x 18 in. (45.7 x 119.4 x 45.7 cm), SUMMER; 1992 51 | Allen Sapp oil on canvas excluding base Canadian RCA [1928-2015] signed & editioned in the cast 36 x 51.75 in. (91.4 x 131.4 cm) AS LONG AS HE GETS AT LEAST ONE; 1983 signed & dated lower right; signed, titled & Provenance: Estate of Bill and Peggy Code, acrylic on canvas Calgary AB dated verso Note: Born in Kentucky in 1937, Cheek moved 10 x 12 in. (25.4 x 30.5 cm) $ 6,000 / 8,000 to Montana after serving in the U.S. Navy signed lower right; titled & dated on the artist’s (1958-1963). He took on ranching jobs, while label verso (AZ-325) maintaining his interest in art, and participated $ 1,500 / 2,500 in many art shows over the years. He was self-taught, and won his first art award at the young age of 12. Cheek was keenly interested in pioneer traditions and “Indian” life in the Old West. His early works consisted of pen and ink drawings followed by watercolors and oil paintings. In the 1970s, Cheek developed an interest in sculpting; his works - in clay, polyform, wax and wood - formed the basis for his highly recognized and acclaimed bronzes. These bronzes are found in private and public collections around the world. $ 3,000 / 5,000

53 | Pegi Nicol MacLeod Canadian CGP, CSPWC [1904-1949] CARL SCHURZ PARK, MANHATTAN; ca 1945 oil on wood panel 24.5 x 22.5 in. (62.2 x 57.2 cm) Provenance: Masters Gallery, Calgary AB Ontario born Margaret Kathleen Nichol studied art at the Ottawa Art Association (under Franklin Brownell), then at the École des Beaux-arts in Montréal. She worked in Ottawa and Toronto before moving to New York in 1937 after marrying Norman MacLeod, who had accepted a 50 | Alex Simeon Janvier position there. During her New York years, Pegi Nicol MacLeod painted scenes of bustling city Canadian RCA [b. 1935] life, as well as portraits of her young daughter. She returned to Canada every summer, notably THE MOVER OF MOUNTAINS to Fredericton, the home of her husband, where she taught art courses at the University of acrylic on paper New Brunswick, and helped found the Observatory Art Centre. Pegi Nicol MacLeod produced an 30.25 x 22.75 in. (76.8 x 57.8 cm) accomplished body of work during her short life, and is recognized for a dynamic, modernist style signed lower right that expressed what she referred to as her “kaleidoscopic vision”. The National Gallery of Canada Provenance: Wallace Galleries, Calgary AB held a retrospective of Pegi Nicol MacLeod’s works shortly after her death. $ 3,000 / 4,000 $ 6,000 / 9,000 57 | Pegi Nicol MacLeod 54 | Frederic Marlett Bell-Smith Canadian CGP, CSPWC [1904-1949] Canadian OSA, RCA [1846-1923] TWO CHILDREN; ca 1942 HOLBORN STAPLE INN, ON RIGHT oil on canvas (LONDON); 1920 14 x 22 in. (35.6 x 55.9 cm) watercolour on paper signed lower left 9.25 x 13 in. (23.5 x 33 cm) Provenance: Former collection of Jane signed & dated lower left; titled on the old MacLeod (daughter of the artist); Former backing attached verso collection of Chris Varley, Toronto ON; Masters Provenance: Kaspar Gallery, Toronto ON Gallery, Calgary AB $ 4,000 / 6,000 $ 2,500 / 3,500 56 | Dorothea Sharp British RBA, ROI, SWA [1874-1955] STILL LIFE - FLOWERS IN A GLASS JUG oil on canvas 20.25 x 16 in. (51.4 x 40.6 cm) signed lower left $ 2,000 / 4,000

58 | Janet Mitchell Canadian ASA, CSPWC, RCA 55 | Elizabeth Adela Stanhope-Forbes [1912-1998] Canadian [1859-1912] CLOWNS; 1952 THE OPEN BOOK oil on canvas watercolour and gouache over pencil on 26 x 30 in. (66 x 76.2 cm) paper signed & dated lower right 24 x 18 in. (61 x 45.7 cm) Exhibited: The Muttart Public Art Gallery (Calgary), “Janet Mitchell Retrospective: a Celebration” signed lower right (Touring Exhibition: August 28-October 14, 1995) Provenance: Masters Gallery, Calgary AB; Provenance: Estate of Bill and Peggy Code, Calgary AB; Masters Gallery, Calgary AB (acquired from Sotheby’s London: “Victorian and Edwardian the personal collection of Janet Mitchell) Art”, July 15, 2008 ( Lot 105) Note: This work appears in a full page illustration on page 51 of “Janet Mitchell: Life and Art”; Note: Attached verso is a hand written note by Peggy Armstrong (Paulson); Hyperion Press Ltd.; 1990. the artist, quoting the second verse of Henry On pp. 45-46 of her book, the author comments on Mitchell’s experimentation and evolving Wadsworth Longfellow’s 1857 poem “The imagery, stating: Fiftieth Birthday of Agassiz”. It reads: “One remarkable feature of Mitchell’s early work is the periodic appearance of a painting that “The Open Book. seems to be a foreshadowing of an idea that she explores more fully at a later stage. It is as if she And Nature, the old nurse, took stores and records visual ideas until she has reached a point in her development at which she is The child upon her knee, ready to use them....Clowns (1952) is quite a different kind of painting, but the mask-like faces Saying: ‘Here is a story-book seem to present a starting point for a number of paintings of figures that developed from the Thy Father has written for thee.’” grass series.” $ 15,000 / 20,000 $ 4,000 / 6,000 59 | Illingworth Holey (Buck) Kerr Canadian ASA, BCSA, FCA, RCA [1905-1989] FERTILITY RITE; 1982 oil on board 14 x 18 in. (35.6 x 45.7 cm) monogrammed lower centre; signed, titled & dated verso Provenance: Estate of Bill and Peggy Code, Calgary AB $ 2,500 / 3,500

61 | Jean Albert McEwen Canadian AANFM, RCA [1923-1999] ABSTRACT COMPOSITION; 1962 oil on canvas 30 x 30 in. (76.2 x 76.2 cm) signed & dated lower right and verso Provenance: Wallack Galleries, Ottawa ON (label remnants verso) Jean McEwen was born in Montreal to a Scottish father and French Canadian mother. A true renaissance man, he completed a Pharmacy degree at the University of Montreal, while also pursuing his interest in painting and poetry (his poetry was published and his first submission to the Spring Salon of the Montreal Museum of Arts was accepted and well-received). McEwen soon developed a friendship with Paul-Emile Borduas, who inspired his early experimentation. In 1951, McEwen held his first one-man show at Galerie Agnes Lefort, to favorable reviews. Shortly afterward, having made the decision to pursue a career as an artist, he left for Paris. The following two years (1951-1953), were immersive ones. During this time, McEwen’s associates included American artist Sam Francis, French painter Georges Mathieu and fellow Quebecer Jean-Paul Riopelle (a connection facilitated by Borduas). McEwen exhibited with Riopelle and Francis at Galerie du Dragon, painted in Brittany, and travelled to Italy, Holland and Spain to view the works of the Masters. Upon his return to Montreal, McEwen began to define himself as an artist, progressively distinguishing his work from that of earlier influences. In 1956, he became a member of the newly-founded Association des Artistes Non Figuratifs de Montréal, becoming president of the association in 1960. McEwen was maturing as an artist and now exhibiting more broadly. Solo shows at Gallery Moos (Toronto) in 1961 and 1962, provided the impetus for a New York solo show the following year at the Martha Jackson Gallery, then for several other International 60 | Fernand Toupin exhibitions. In 1966, McEwen’s work was featured in a joint touring exhibition (with Harold Town) Canadian AANFM, RCA [1930-2009] of the National Gallery of Canada, and he was also included in the National Gallery’s Canadian ABSTRACT COMPOSITION; 1963 Centennial show the following year. oil on canvas 14 x 11 in. (35.6 x 27.9 cm) The 1960s were a pivotal time in McEwen’s career. This piece, created in 1962, exemplifies his signed & titled lower right and verso work from this time period. It features a strong vertical column, which anchors the composition Provenance: Masters Gallery, Calgary AB and creates structure. His use of colour contrast - the yellow symmetrical plains, against the Note: Fernand Toupin was one of the original strong focal red, and burnt umber - adds drama and depth to the composition, while illuminating signatories of the “Manifeste des ” a dappled effect, and accentuating the texture of the pigment layers. in 1955. The Plasticiens, were a non-figurative, Jean McEwen is one of Canada’s most influential abstract painters, with a career spanning over avant-garde group, that rejected the 50 years. The Montreal Museum of Fine Arts presented major retrospectives of McEwen’s work spontaneous abstraction of the Automatistes, in 1973 and 1987. His work can be found in numerous public collections including the National in favour of more orderly and constructed Gallery of Canada (Ottawa), the Museum of Modern Art (New York) and the Montreal Museum of abstraction. Fine Arts. $ 1,000 / 2,000 $ 20,000 / 30,000 62 | Robert Genn Canadian FCA [1936-2014] LAST LIGHT (BRITTANY); 1980 oil on canvas 12 x 16 in. (30.5 x 40.6 cm) signed lower right; signed, titled & dated verso Provenance: Estate of Bill and Peggy Code, Calgary AB; David Edwards Gallery, Bragg Creek AB $ 1,200 / 1,500

64 | Henry George Glyde Canadian ASA, CSGA, FCA, RCA [1906-1998] CASTLE MOUNTAIN oil on board 16 x 20 in. (40.6 x 50.8 cm) signed lower right; signed & titled verso Provenance: Estate of Bill and Peggy Code, Calgary AB; Kensington Fine Art Gallery, Calgary AB $ 5,000 / 7,000

63 | Robert Genn Canadian FCA [1936-2014] SALAL JOE OF BARKLEY SOUND oil on canvas 24 x 30 in. (61 x 76.2 cm) signed lower right; signed & dated verso Provenance: Estate of Bill and Peggy Code, 65 | Orestes Nicholas (Rick) Grandmaison Calgary AB; Gainsborough Galleries, Calgary AB Canadian [1932-1985] Note: This work appears on page 121 of BEFORE THE STORM; 1982 66 | Richard Audley (Dick) Freeman “Robert Genn: In Praise of Painting” (Robert oil on canvas Canadian [1932-1991] Genn; Merritt Publishing; 1981). It was used 22 x 30 in. (55.9 x 76.2 cm) EASY DOES IT; 1989 as an examplar of a painting where Genn’s signed lower right; signed, titled & dated verso oil on canvas technique’s included toning down by glazing Provenance: Private collection, Calgary AB; 20 x 30 in. (50.8 x 76.2 cm) and later wiping out selected areas of the Former collection of Tara de Grandmaison signed lower right; titled & dated on the canvas. A copy of the book accompanies this (daughter of the artist); Formerly from the stretcher verso painting. Estate of Dr. Howard Freeze, Calgary AB Provenance: West End Gallery, Edmonton AB $ 3,000 / 5,000 $ 2,000 / 3,000 $ 1,200 / 1,800 69 | Orestes Nicholas (Rick) Grandmaison 67 | Peter Maxwell Ewart Canadian [1932-1985] Canadian [1918-2001] AFTERNOON RETURN; 1973 70 | Walter Joseph Phillips FOOTHILLS COUNTRY; 1968 Canadian ASA, CPE, CSPWC, MSA, RCA oil on canvas oil on masonite [1884-1963] 36 x 43 in. (91.4 x 109.2 cm) 14 x 18 in. (35.6 x 45.7 cm) NORMAN BAY (N0. 2); 1923 signed & dated lower left, signed, titled & signed lower right; titled & dated on a plaque dated verso and on the cardboard backing colour woodcut on paper; ed. #30/100 $ 2,000 / 2,500 Provenance: Estate of Bill and Peggy Code, 8.75 x 9.75 in. (22.2 x 24.8 cm) Calgary AB; Former collection of Tara de signed, titled & editioned in pencil; Grandmaison (daughter of the artist) monogrammed & dated in the block $ 1,200 / 1,600 MBL72 $ 1,500 / 2,000

68 | Roland Gissing 71 | Walter Joseph Phillips Canadian ASA [1895-1967] Canadian ASA, CPE, CSPWC, MSA, RCA [1884-1963] THE BUGABOO SPIRES MOUNT SCHAEFFER; 1927 oil on canvas colour woodcut on paper; ed. #92/100 34 x 44 in. (86.4 x 111.8 cm) 8.75 x 10 in. (22.2 x 25.4 cm) signed lower right; titled on the artist’s label verso signed, titled & editioned in pencil; signed in the block Provenance: Lamm Art Gallery, Calgary AB MBL97 Note: This painting is accompanied by a copy of the book: “Roland $ 1,500 / 2,500 Gissing: The Peoples’ Painter” (Max Foran & Nonie Houlton; The Press; 1988). $ 5,000 / 7,000 74 | Walter Joseph Phillips 72 | Walter Joseph Phillips Canadian ASA, CPE, CSPWC, MSA, RCA 76 | Walter Joseph Phillips Canadian ASA, CPE, CSPWC, MSA, RCA [1884-1963] Canadian ASA, CPE, CSPWC, MSA, RCA [1884-1963] JOHN; 1928 [1884-1963] THE FIELD BARN; 1925 colour woodcut on paper; ed. #259 (of WINTER WOODS; 1926 colour woodcut on paper; ed. of 100 300) colour woodcut on paper 9 x 10 in. (22.9 x 25.4 cm) 7 x 8.5 in. (17.8 x 21.6 cm) 3.25 x 3.75 in. (8.3 x 9.5 cm) signed & titled in pencil; monogrammed in the signed & editioned; monogrammed in the signed in pencil; monogrammed in the block block block Reference: MBL93 MBL81 Reference: MBL115 Note: This print was re-issued as the fourth Note: This work is illustrated on page 77 of Note: This is the third of seven prints in “The print in the “Winter Woodcuts” portfolio “The Tranquility and the Turbulence: The Life Canadian Scene” portfolio, printed on Goyu of 1936. It is illustrated on page 72 of “The and Work of Walter J. Phillips” (Roger Boulet; paper from six cherry wood blocks. The subject Tranquility and the Turbulence: The Life and M. B. Loates Publishing; 1981). is the artist’s son, and the sketch was produced Work of Walter J. Phillips” (Roger Boulet; M. B. $ 700 / 1,000 on one of the family’s trips to Muskoka Lake. Loates Publishing Ltd.; 1981). This work is illustrated on page 84 of “The $ 750 / 1,000 Tranquility and the Turbulence: The Life and Work of Walter J. Phillips” (Roger Boulet; M. B. Loates Publishing; 1981). $ 800 / 1,200

73 | Walter Joseph Phillips Canadian ASA, CPE, CSPWC, MSA, RCA [1884-1963] SUMMER; 1925 colour woodcut on paper 5.5 x 7 in. (14 x 17.8 cm) 77 | Horace Champagne signed in pencil; monogrammed & dated in the Canadian PSA, PSC [b. 1937] block 75 | Walter Joseph Phillips MBL79 Canadian ASA, CPE, CSPWC, MSA, RCA ST. FIDEL, QUEBEC (ONE OF A. Y. Note: This print was produced for inclusion [1884-1963] JACKSON’S FAVORITES ON THE ST. in “The Original Colour Print Magazine”, LARIVIERE, ; 1938 LAWRENCE RIVER); 1986 (London, 1925), and was distributed with colour woodcut on paper pastel on paper the publication, in an edition of 500. It is 4.25 x 4.5 in. (11.1 x 11.6 cm) 30 x 40 in. (76.2 x 101.6 cm) illustrated on page 75 of “The Tranquility and signed in pencil; monogrammed in the block signed lower right; titled & dated verso and on the Turbulence: The Life and Work of Walter J. MBL223 the gallery label Phillips” (Roger Boulet; M. B. Loates Publishing; Note: This work was produced as the Christmas Provenance: Estate of Bill and Peggy Code, 1981). greeting of 1938. Calgary AB; Masters Gallery, Calgary AB $ 800 / 1,000 $ 800 / 1,200 $ 3,500 / 4,500 81 | Neil Patterson Canadian ASA, FCA, OPA [b.1947] A LITTLE BIT OF HEAVEN oil on wood panel 18 x 24 in. (45.7 x 61 cm) signed lower right; titled verso $ 1,000 / 1,500

78 | Roland Gissing Canadian ASA [1895-1967] WINTER LANDSCAPE oil on canvas 18 x 24 in. (45.7 x 61 cm) signed lower right; titled on the gallery label verso Provenance: Estate of Raymond Rougeau, Brooks AB; Gainsborough Galleries, Calgary AB $ 1,750 / 2,250 82 | Roland Gissing Canadian ASA [1895-1967] COLUMBIA VALLEY, B.C.; 1954 oil on canvas 22 x 30 in. (55.9 x 76.2 cm) signed lower right; signed, titled & dated on the artist’s label verso $ 2,000 / 3,000

79 | Illingworth Holey (Buck) Kerr 80 | Duncan Mackinnon Crockford Canadian ASA, BCSA, FCA, RCA [1905-1989] Canadian [1920-1991] MORMON LAKE, EVENING LIGHT; 1981 SCENE NR SUNSHINE VALLEY IN THE 83 | David Pugh oil on board KOOTENAY, B.C.; 1987 Canadian [1946-1994] 12 x 16 in. (30.5 x 40.6 cm) oil on canvas NEW MOON; 1986 monogrammed lower right; signed, titled & 24 x 30 in. (61 x 76.2 cm) oil on canvas dated verso signed & dated lower right; titled on the 50 x 40 in. (127 x 101.6 cm) Provenance: Aggasiz Galleries, Winnipeg MB stretcher verso signed, titled & dated verso $ 2,000 / 3,000 $ 2,000 / 3,000 $ 2,000 / 3,000 84 | Illingworth Holey (Buck) Kerr Canadian ASA, BCSA, FCA, RCA [1905-1989] CHANNEL ICE, ELBOW RIVER FOREST RESERVE; 1983 oil on canvas 36 x 48 in. (91.4 x 121.9 cm) monogrammed lower left; signed, titled & dated on the stretcher verso Provenance: Estate of Bill and Peggy Code, Calgary AB Reference: “: Fifty Years a Painter” (Alberta College of Art; 1973). Kerr, who was born and raised in Lumsden, Saskatchewan, received his first encouragement and instruction in the arts from his mother, a watercolour artist. As a budding artist, he won numerous first prize awards at his first show (in 1919) at the Regina Exhibition. In 1923, Kerr headed to Toronto to obtain a formal art education at the Ontario College of Art, where his instructors included , J. E. H. MacDonald, , and William Beatty. While the Group of Seven’s approach was not expressly taught at OCA, Kerr was exposed to the ideals of the Group through his attendance at various exhibitions and studios. Kerr returned to his prairie home, embracing the ideal of creating a uniquely Canadian expression of landscape, and his focus over his decades long career remained on the Prairies - namely Saskatchewan and Alberta. In 1947 Kerr moved to Calgary to head the Art Department of the Provincial Institute of Technology and Art (now Alberta University of the Arts and SAIT). Under his 20-year tenure, Kerr lay the foundation for art instruction in Alberta and had far-reaching influence as an instructor and mentor. Kerr was only able to fully dedicate himself to his art following his retirement from the Institute. During these years he often painted in the the foothills and natural areas outside Calgary. The proximity to the mountains, foothills and prairie gave him ample opportunity to continuing exploring the “answer to Western space with its vast scale, its power of mood rather than tangible forms”. In 1973, Kerr was awarded an honorary doctorate from the University of Calgary. In 1975, a retrospective of his work was held at the gallery of the Alberta College of Art (later renamed the Illingworth Kerr Gallery). This exhibition subsequently toured to Regina and Saskatoon. In 1983, he was named to the Order of Canada. In 1985, a major retrospective of Kerr’s work “Harvest of the Spirit” debuted at the Edmonton Art Gallery before continuing on to nine Canadian cities. Kerr remains unmatched in his contributions to the modern expression of the prairie and foothills landscape. $ 10,000 / 15,000 85 | Yvonne McKague Housser 87 | Leo Mol 89 | Harold Barling Town Canadian CGP, OSA, RCA [1898-1996] Canadian MSA, RCA, SSC [1915-2009] Canadian RCA [1924-1991] THE SISTERS, TOBAGO DAYDREAM; 1982 MUSCLEMAN; 1984 oil on board bronze; ed. #1/15 oil on canvas 38 x 24 in. (96.5 x 61 cm) 12.75 x 8.5 x 7 in. (32.4 x 21.6 x 17.8 cm) 48 x 30 in. (121.9 x 76.2 cm) signed lower right; titled on the gallery and signed, dated & editioned in the cast signed & dated verso; titled on the artist’s and exhibition labels verso Provenance: Estate of Bill and Peggy Code, gallery labels verso Provenance: Laing Galleries, Toronto ON Calgary AB Provenance: Drabinsky Gallery, Toronto ON; Exhibited: Montreal Museum of Fine Art; $ 3,000 / 5,000 Masters Gallery, Calgary AB Canadian Group of Painters (Toronto/ Note: This work is illustrated on page 177 of Vancouver 1956-57, no. 35); Royal Canadian “Harold Town” (Iris Nowell; Figure 1 Publishing; Academy of Arts (1959) 2014). $ 3,000 / 5,000 Harold Town was a founding member of the Abstract Expressionist group , a term coined by Town for the group’s first show at Roberts Gallery in 1954. Town went on to explore a variety of media and styles during his accomplished career. In “Harold Town, Life and Work” (Art Canada Institute; 2014) author Gerta Moray likens the re-introduction in 1980 of figurative imagery to Town’s paintings, to a rejection of modern abstraction, “a move that had parallels to the ‘return to painting’ that burst upon the international art scene between 1978 and 1981.” Of this series, she says “Town continued this absurdist figurative vein in another late painting series, the Musclemen (1981–84), which reflected ironically on the 86 | Arthur Lismer masculine ideal in popular culture.” Canadian CGP, CSGA, CSPWC, G7, OSA, RCA $ 4,000 / 6,000 [1885-1969] ESTHER LISMER RECLINING - YELLOW COAT; ca 1918 oil on board 88 | Kim Dorland 12 x 16 in. (30.5 x 40.6 cm) Canadian [b. 1974] initialed lower right LORI, WINDOW; 2014 Provenance: Masters Gallery, Calgary AB; oil on canvas over cradled panel Former Collection of Marjorie Lismer (daughter 16 x 12 in. (40.6 x 30.5 cm) of the artist), and by descent through the signed & dated on the upper panel; signed, family titled & dated verso $ 8,000 / 12,000 $ 3,000 / 5,000 90 | 91 | Katie Ohe 92 | Katie Ohe Canadian ASA, RCA [b. 1937] Canadian ASA, RCA [b. 1937] Canadian ASA, RCA [b. 1937] ABSTRACT FIGURE; 1960s ABSTRACT FIGURE; 1960s ABSTRACT FIGURE; 1960s clay and wood clay and wood clay and wood height: 10 in. (25.4 cm) height: 9.75 in. (24.8 cm) height: 9.75 in. (24.8 cm) signed signed signed Provenance: Formerly from the estate Ralph Provenance: Formerly from the estate Ralph Provenance: Formerly from the estate Ralph and Marion Hersh (Tucson, Arizona) and by and Marion Hersh (Tucson, Arizona) and by and Marion Hersh (Tucson, Arizona) and by descent to the current consignor. descent to the current consignor. descent to the current consignor. $ 1,000 / 2,000 $ 1,000 / 2,000 $ 1,000 / 2,000 Note: A major retrospective of Katie Ohe’s work is currently running at the Esker Foundation in Calgary (January 25-September 6, 2020).

95 | Nicola Prinsen Canadian [b. 1955] 93 | Danielle Lanteigne 94 | Alan Reynolds FETCH; 2005 Canadian [b. 1958] Canadian [b. 1947] bronze; ed. #8/9 MARGUERITE SUR TABLE NOIRE; 2002 LIEF’S PAGE; 1982 14 x 33 x 17 in. (35.6 x 83.8 x 43.2 cm) acrylic on canvas welded steel (unique) signed & editioned in the cast; titled & dated 40 x 40 in. (101.6 x 101.6 cm) 11 x 19 x 12.5 in. (27.9 x 48.3 x 31.8 cm) on the gallery label signed lower right; signed, titled & dated verso initialed & dated Provenance: Canada House Gallery, Banff AB $ 2,000 / 3,000 $ 1,000 / 2,000 $ 2,000 / 3,000 99 | Roland Gissing 96 | Alfred Crocker Leighton 98 | William H. (Bill) Webb Canadian ASA [1895-1967] Canadian ASA, CSPWC, RBA, RCA [1901-1965] Canadian [b. 1940] CROWSNEST PASS, CANADIAN ROCKY KOOTENAY RIVER COLD DAY; 1984 oil on canvas MOUNTAINS acrylic on canvas watercolour on paper 18 x 24 in. (45.7 x 61 cm) 48 x 60 in. (121.9 x 152.4 cm) signed lower right; titled on the stretcher verso 10.25 x 13.25 in. (26 x 33.7 cm) signed, titled & dated verso and on the gallery label signed lower right $ 2,000 / 3,000 Provenance: Estate of Raymond Rougeau, Provenance: This piece was purchased directly Brooks AB; Gainsborough Galleries, Calgary AB from A. C. Leighton in the 1940s $ 1,750 / 2,250 $ 800 / 1,200

100 | Roland Gissing 97 | Ted Raftery Canadian ASA [1895-1967] Canadian [b. 1938] GHOST RIVER VALLEY LOGGING ROAD IN WINTER (MUD LAKE ROAD); 1982 oil on canvas oil on canvas 20 x 30 in. (50.8 x 76.2 cm) 30 x 36 in. (76.2 x 91.4 cm) signed lower right; titled on the artist’s label verso signed & dated lower right; signed, titled & dated verso, with a sketch Provenance: The Collector’s Gallery, Calgary AB verso identifying the depicted mountains as Mt Murray, Mt French, Mt Note: This is an early work by the Gissing, likely dating from the late Robertson and Mt Sir Douglas 1930s or early 1940s. $ 2,000 / 3,000 $ 2,000 / 2,500 103 | Maurice Galbraith Cullen, Limited Edition Book Canadian RCA [1866 - 1934] MAURICE CULLEN Hughes De Jouvancourt; Editions La Fregate; Montreal; 1978; 128 pp.; first limited edition; ed. #43/160 Square quarto in original patterned fabric and silver lettered spine label with grey endpapers and brown slipcase; colour and black & white illustrations throughout; contains two colour serigraphs by Lorne Holland Bouchard and the 106 | Alexander Young Jackson, Limited original publisher’s advertisement card Edition Book $ 1,200 / 1,600 Canadian CGP, G7, OSA, RCA [1882-1974] 101 | Clarence Alphonse Gagnon, Limited A PAINTER’S COUNTRY. THE Edition Book AUTOBIOGRAPHY OF A.Y. JACKSON Canadian RCA [1881-1942] Alexander Young Jackson, Forward by The Rt. LE GRAND SILENCE BLANCE (Roman vecu Hon. Vincent Massey; Clarke, Irwin & Company Ltd.; Toronto; 1958; 170 pp.; limited signed d’Alaska) edition; ed. #319/1000 L.F. Rouquette; Art by Clarence A. Gagnon; Bound in gilt lettered 1/4 red leather and red Editions Mornay; Paris; 1928; 238 pp.; first boards, illustrated with tipped in colour plates; edition; ed. #284/680 signed by the artist Original wrappers bound in a near contemporary French designer binding by 104 | Clarence Alphonse Gagnon, Limited $ 350 / 450 George Huser, signed on the bottom of the Edition Book spine; printed on Rives paper Canadian RCA [1881-1942] $ 3,000 / 3,500 CLARENCE GAGNON Hughes De Jouvancourt; Editions La Fregate; Montreal; 1970; 141 pp.; first limited edition; ed. of 200 Quarto in red cloth, in brown slipcase; tipped- in colour plates and black & white illustrations throughout $ 500 / 700

105 | , Limited Edition Book 107 | Emily Carr, Signed First Editon Art Canadian OSA [1877-1917] Book A STUDY OF TOM THOMSON. THE STORY Canadian BCSFA, CGP [1871-1945] 102 | Clarence Alphonse Gagnon, Limited OF A MAN WHO LOOKED FOR BEAUTY KLEE WYCK Edition Book AND FOR TRUTH IN THE WILDERNESS Emily Carr; Foreword by Ira Dilworth; signed & Canadian RCA [1881-1942] Blodwen Davies; signed & numbered by the dated (1942) by the author; Oxford University MARIA CHAPDELAINE author on the limitation page; Discus Press; Press; London, Toronto, New York; 1941; Louise Hemon; Artwork by Clarence A. Gagnon; Toronto; 1935; 133 pp.; limited signed edition; 155pp.; signed 1st edition Editions Mornay; Paris; 1933; 206 pp.; first ed. #131/450 Octavo, illustrated dust jacket over orange cloth edition, ed. #1850/1900 Green cloth covered boards with gilt lettering boards with titles in gilt and black. Original soft birch wrappers bound into green on the spine; black & white illustrations; four Note: Books signed by Carr, especially those Moroccan leather cover; printed on Rives paper tipped in colour plates dated near publication, are exceedingly scarce. $ 2,000 / 2,500 $ 500 / 700 $ 2,500 / 3,000 108 | Walter Joseph Phillips, Limited Edition Book Canadian ASA, CPE, CSPWC, MSA, RCA 111 | David Brown Milne [1884-1963] Canadian CSPWC, CGP, CSGA [1882-1953] WALTER J. PHILLIPS: THE COMPLETE PAINTING PLACE; 1931 GRAPHIC WORKS two colour drypoint etching on paper Walter J. Phillips & Roger H. Boulet; M. B. 4.75 x 6.75 in. (12.1 x 17.1 cm) Loates Publishing Limited; 1981 signed in pencil; signed in the plate First edition. 570,[7]pp. + 1 leafpp. Note: Contained in “The Colophon: A Book Very heavy, thick oblong folio, bound in quarter Collectors’ Quarterly, Part V”. New York: leather with linen cloth-covered boards, Colophon Ltd., 1931. deckled edges and patterned endpapers; in $ 1,200 / 1,600 matching linen slipcase with leather-trimmed edges, with extensive colour and b & w illustrations; with the original shipping box; 110 | Walter Joseph Phillips, Limited signed by Roger Boulet on a tipped-in card on Edition Book prelim. page and numbered as copy “V” of the Canadian ASA, CPE, CSPWC, MSA, RCA [1884- presentation issue; includes the original colour 1963] woodcut “Margaret with a Doll” (1927; 2nd DREAMS OF FORT GARRY - An Epic Poem state), signed by Gladys Phillips; limited to 177 on the Life and Times of the Early Settlers copies of Western Canada, Complete with $ 3,000 / 4,000 Glossary and Historical Notes Robert Watson and Walter J. Phillips; Stovel Company Limited; Winnipeg; 1931; pp. 63; ed. #936/968. First printing; slim 8 vo; tan paper boards in original black slipcase; signed by the author and artist; illustrated with 20 woodcuts by Phillips $ 600 / 900

109 | Walter Joseph Phillips & Claude 109 | Walter Joseph Phillips 109 | Claude Flight Flight, Magazine with Prints Canadian ASA, CPE, CSPWC, MSA, RCA British [1881-1955] THE ORIGINAL COLOUR PRINT MAGAZINE [1884-1963] INTO THE SEA; 1925 William Giles, editor; The Original Colour Print SUMMER; 1925 woodcut on paper; ed. #43/500 Society; London; 1924-25; 89 pp.; ed #43 of colour woodcut on paper; ed. #43/500 5.5 x 4.25 in. (14 x 10.8 cm) 500 5.5 x 7 in. (14 x 17.8 cm) Coppel CF, A3 Tipped-in plates throughout; illustrations; signed in pencil; monogrammed & dated in the $ 2,500 / 3,000 original printed wrappers; includes two block notable prints: MBL79 116 | Georgia Jarvis Canadian [1944-1990] 112 | , Limited Edition Book FALL STREAM and Clay Print oil on masonite MARION NICOLL R.C.A. 16 x 24 in. (40.6 x 61 cm) By: J. Brooks Joyner signed lower right; titled verso First Limited Collector’s Edition; 157pp. signed 114 | Jack Leonard Shadbolt, First Edition $ 1,200 / 1,500 by Marion Nicoll and editioned IV Art Book Publisher: Western Emerging Arts Ltd./Masters Canadian BCSA, CGP, CSGA, CSPWC, RCA [1909- Gallery, Calgary; 1979 1998] Printed on Carlyle Japan Antique finish and IN SEARCH OF FORM containing numerous colour and black & white ; McClelland and Stewart Ltd.; photographs; blue leatherette with gilt to spine Toronto/Montreal; 1968; 240 pp.; first edition and front cover in matching slipcase. Includes Quarto in original mustard yellow cloth with gilt the original clay print (framed) specially executed for this volume by Marion Nicoll, lettering to spine and gilt decoration stamped along with the separate blue leatherette folder: to the front board; illustrated endpapers; black & white illustrations throughout as well Marion Florence Nicoll as several colour plates; signed copy with Canadian ASA, RCA [1909-1985] dedication to Ron MacDonald. SELF PORTRAIT; 1979 Note: Accompanied by a conte portrait by colour clay print on paper; ed. #61/200 Shadbolt, and a hand-written letter. 10 x 8 in. (25.4 x 20.3 cm) $ 500 / 700 signed, titled, dated & editioned $ 500 / 600 117 | Karl E. Wood Canadian [1944-1990] CHEPHREN LAKE, JASPER NAT’L PARK oil on canvas 20 x 30 in. (50.8 x 76.2 cm) signed lower right; titled on the stretcher verso $ 800 / 1,200

113 | Janet Mitchell, Limited Edition Book and Prints Canadian ASA, CSPWC, RCA [1912-1998] JANET MITCHELL: LIFE AND ART Collector’s Edition; ed. #106/130 Artwork by Janet Mitchell; Written by Peggy Armstrong; Preface by Joan Murray Hyperion, Winnipeg; 1990; 144pp. 115 | Norval Morrisseau, Limited Edition Issued with no dust jacket. Bound in blue Art Book leather with facsimile signature of the artist in Canadian RCA [1931-2007] silver on the front cover. Signed by the artist. NORVAL MORRISSEAU This copy includes the two signed linocut Lister Sinclair & Jack Pollock; Editions France- prints, as originally issued: Amerique; Montreal; 1979; 201 pp.; ed. #150/300 118 | Neil Patterson BLUE BOY / BROWN COW Oblong quarto, brown lettered cream cloth Canadian ASA, FCA, OPA [b. 1947] linocut on paper; ed. #106/145 (2) boards with blind-stamp to front; illustrated CHINOOK LIGHT each 8 x 5 in. (20.3 x 12.7 cm); sheet size endpapers; over 130 colour reproductions oil on board 10 x 7 in. (25.4 x 17.8 cm) throughout the text; signed by Morrisseau on 16 x 20 in. (40.6 x 50.8 cm) each signed, titled & editioned the title page signed lower right; titled verso $ 300 / 400 $ 400 / 500 $ 800 / 1,200 125 | Janet Mitchell Canadian ASA, CSPWC, RCA [1912-1998] FARM IN THE FOOTHILLS 122 | Nicholas Hornyansky watercolour on paper Canadian CPA, CSGA, OSA, RCA [1896-1965] 119 | Antoine Bittar 14 x 21 in. (35.6 x 53.3 cm) Canadian [b. 1957] AUTUMN MORNING, BOBCAYGEON signed lower right; titled on the backing verso TOWARDS THE MOSQUE - MOROCCO; oil on wood panel Provenance: Estate of Bill and Peggy Code, 1988 10 x 12 in. (25.4 x 30.5 cm) Calgary AB oil on canvas signed & titled verso $ 700 / 1,000 Provenance: The Lionel Clarke Galleries, 24 x 18 in. (61 x 45.7 cm) Markham ON signed lower left; signed, titled & dated verso $ 300 / 400 $ 800 / 1,000

126 | Irene E. McCaugherty Canadian ASA [1914-1996] 120 | Arto Yuzbasiyan 123 | Georgia Jarvis WINTER FUN; 1994 Canadian [b. 1948] Canadian [1944-1990] mixed media on paper STILL STANDING WINTER CABIN 14.25 x 21.25 in. (36.2 x 54 cm) oil on wood panel oil on masonite signed, titled & dated lower right 8 x 10 in. (20.3 x 25.4 cm) 16 x 24 in. (40.6 x 61 cm) $ 750 / 1,000 signed lower right; titled verso signed lower right Provenance: Estate of Bill and Peggy Code, $ 1,200 / 1,500 Calgary AB $ 700 / 1,000

124 | Janet Mitchell 127 | Don Frache Canadian ASA, CSPWC, RCA [1912-1998] Canadian [1919-1994] 121 | William Parsons LOOKING FOR SOMETHING TO DO BARN AND STOOKS; 1977 Canadian OIP [1909-1982] watercolour on paper watercolour on paper OCTOBER CASCADE, ALGOMA 14 x 21 in. (35.6 x 53.3 cm) 20 x 27.75 in. (50.8 x 70.5 cm) oil on board signed lower right; titled on the backing verso signed & dated lower left 14 x 18 in. (35.6 x 45.7 cm) Provenance: Estate of Bill and Peggy Code, Provenance: Estate of Bill and Peggy Code, signed lower right; signed & titled verso Calgary AB Calgary AB $ 500 / 700 $ 700 / 1,000 $ 300 / 500 130 | Ernva Willard Code Canadian [1900-1989] MOUNTAIN VILLAGE / AT THE WOODPILE (verso) oil on wood-panel (double-sided) 12 x 15 in. (30.5 x 40.6 cm) signed lower right Provenance: Estate of Bill and Peggy Code, Calgary AB; The Collector’s Gallery, Calgary AB Note: Ernva Willard trained in Toronto, at 132 | Francois de Blois 128 | Karl E. Wood the Ontario College of Art, before moving to Canadian/American [1829-1913] Canadian [1944-1990] Vancouver with her husband. She was active STILL LIFE - ROSES AND CHINOISERIE BOX FOREST INTERIOR (1920s-1940s) with local art groups and oil on wood panel oil on board exhibited with both the B.C. Society of Artists 18 x 13.75 in. (45.7 x 34.9 cm) 16 x 12 in. (40.6 x 30.5 cm) and the Seattle Art Museum before returning signed lower right signed lower left to Toronto. $ 700 / 900 $ 300 / 400 $ 400 / 600

129 | Lawrence Washburn 131 | Neil Patterson Canadian [b. 1940] Canadian ASA, FCA, OPA [b.1947] CROSSFIELD FARM; 1982 LUPINS & COLUMBINES 133 | Danielle Lanteigne oil on board oil on board Canadian [b. 1958] 12 x 16 in. (30.5 x 40.6 cm) 16 x 20 in. (40.6 x 50.8 cm) IRIS; 2017 signed lower right; signed, titled & dated verso signed verso and on the gallery label acrylic on canvas (gallery-wrapped) Provenance: Estate of Bill and Peggy Code, Provenance: Estate of Bill and Peggy Code, 30 x 15 in. (76.2 x 38.1 cm) Calgary AB Calgary AB; Masters Gallery, Calgary AB signed lower right; signed, titled & dated verso $ 300 / 500 $ 800 / 1,200 $ 600 / 800 134 | Roland Gissing Canadian ASA [1895-1967] 140 | Karl E. Wood LAKE WINDERMERE 137 | Jean-Guy Desrosiers Canadian [1944-1990] oil on board Canadian [b. 1934] ANOTHER YEAR - LITTLE FORT, B.C. 12 x 16 in. (30.5 x 40.6 cm) RUE DU PARLOIR (HAUTE VILLE, QUEBEC, oil on board signed lower right; titled verso and on the TOUT PRES DE LA RUE DES URSULINES) 8 x 10 in. (20.3 x 25.4 cm) gallery label oil on masonite signed lower right; titled on the artist’s label Provenance: Estate of Raymond Rougeau, 10 x 12 in. (25.4 x 30.5 in.) verso Brooks AB; Gainsborough Galleries, Calgary AB signed lower left; titled verso $ 300 / 400 $ 800 / 1,000 $ 300 / 400

141 | Armand Paquette 135 | Geza (Gordon) Marich 138 | Karl E. Wood Canadian [b. 1930] Hungarian/Canadian OIP [1913-1985] Canadian [1944-1990] SEPIA DAY (NEW DUNDEE, ONT.); 1975 AUTUMN SCENE WITH LAKESIDE CABIN LECKIE RANGE (N. OF BRALORNE, B.C.) watercolour on paper AND MOUNTAIN BACKDROP oil on canvas 14 x 20.5 in. (35.6 x 52.1 cm) 24 x 36 in. (61 x 91.4 cm) 16 x 20 in. (40.6 x 50.8 cm) signed & dated lower right; titled & dated on signed lower right signed lower left; titled on a label verso the artist’s studio label verso Provenance: Georgian Galleries, Vancouver BC $ 500 / 700 Provenance: Estate of Bill and Peggy Code, $ 500 / 700 Calgary AB $ 300 / 500

139 | Horace Champagne 136 | Duncan Mackinnon Crockford Canadian PSA, PSC [b. 1937] Canadian [1920-1991] JOLUE SNACK BAR (RUE DE MENTANA & ACREAGE OFF 12 MILE COULEE ROAD, AVE. DULUTH E.) 142 | Min Ma BEARSPAW; 1970 pastel on paper Chinese/Canadian [b. 1955] oil on canvas 11 x 14 in. (27.9 x 35.6 cm) PRAIRIE SUNSET 16 x 20 in. (40.6 x 50.8 cm) signed lower right; titled on the backing verso acrylic on canvas signed & dated lower left; titled on the Provenance: Estate of Bill and Peggy Code, 24 x 30 in. (61 x 76.2 cm) stretcher verso Calgary AB signed lower right; signed & titled verso $ 700 / 900 $ 700 / 1,000 $ 1,000 / 1,500 143 | Ernest Luthi 145 | George A. Horvath Canadian [1906-1983] 148 | Michael Lonechild Canadian [b. 1933] Canadian [b. 1955] PRAIRIE SUNSET AT DAVIDSON HARVEST FIELDS; 1976 acrylic on board SKATING LESSON oil on canvas acrylic on canvas 8.5 x 11.25 in. (21.6 x 28.6 cm) 14 x 18 in. (35.6 x 45.7 cm) signed lower right; bears title on old backing 8 x 10 in. (20.3 x 25.4 cm) signed & dated lower left; titled on the signed lower right; signed & titled verso paper verso stretcher verso and on the gallery label $ 400 / 500 Provenance: Estate of Raymond Rougeau, $ 300 / 500 Brooks AB; Gainsborough Galleries, Calgary AB $ 500 / 700

149 | Richard Audley (Dick) Freeman Canadian [1932-1991] CHOW TIME; 1984 oil on canvas 146 | Janet Mitchell 20 x 30 in. (50.8 x 76.2 cm) Canadian ASA, CSPWC, RCA [1912-1998] signed lower right; titled & dated on the SKATERS ON THE POND; 1989 stretcher verso watercolour on paper $ 1,200 / 1,800 10 x 14 in. (25.4 x 35.6 cm) signed verso, on a second painting Note: This work was produced for a Childreach card of the same year. $ 400 / 600

144 | Kathleen Frances Daly Pepper (2) Canadian OSA, RCA [1898-1994] SAWBACK RIDGE & THE BOW, NEAR CANMORE; 1944/1945 150 | Jay Contway charcoal on paper American [1935-2019] 11.75 x 14.25 in. (29.8 x 36.2 cm) CHIEF JOSEPH (NEZ-PERCE, 1840-1904); signed & dated lower right; titled & dated verso 147 | Michael Lonechild 1986 sold with: Canadian [b. 1955] bronze; ed. #5/50 BANFF HIGHWAY (double sided) JUST GETTING THERE 12 x 10 x 5 in. (30.5 x 25.4 x 12.7 cm), 11.75 x 14.25 in. (29.8 x 36.2 cm) acrylic on canvas excluding base one side signed & dated lower right; second 9 x 12 in. (22.9 x 30.5 cm) signed, titled, dated & editioned in the cast side signed lower right & titled lower left signed lower right; signed & titled on the Provenance: Estate of Bill and Peggy Code, $ 300 / 500 stretcher verso Calgary AB Lot of Two $ 300 / 500 $ 600 / 900 156 | Chris MacClure Canadian [b. 1943] WINTER LIGHT oil on canvas 153 | Gina McDougall Cohoe 20 x 40 in. (50.8 x 101.6 cm) Canadian [1927-2014] signed lower right; signed & titled verso HIS DOMAIN; 1993 $ 700 / 900 bronze; ed. #1/14 11.25 x 10.5 x 6.75 in. (28.6 x 26.7 x 17.1 cm) signed, titled, dated & editioned in the cast Note: This work appears to have been commissioned for the Oilmen’s Alpine Club, and was used as a presentation trophy. $ 600 / 800 151 | Clifton Ray (C. R.) Cheek American [1937-2019] LIGHTING UP bronze; ed. #4/25 14.25 x 11 x 5 in. (36.2 x 27.9 x 12.7 cm), excluding base signed & editioned in the cast; titled on the artist’s plaque Provenance: Estate of Bill and Peggy Code, Calgary AB 157 | Hans Herold $ 800 / 1,200 Canadian [1925-2011] FOREST ALONG OLD ROAD TO WASKESIU; 1975 oil on canvas 16 x 20 in. (40.6 x 50.8 cm) 154 | Lorenzo Fracchetti signed & dated lower left; titled on the Canadian [b. 1948] stretcher verso SLED DOGS; 1980 $ 300 / 500 oil on canvas 24 x 20 in. (61 x 50.8 cm) signed & dated lower right $ 600 / 800

152 | Gina McDougall Cohoe Canadian [1927-2014] BUFFALO RIDER; 1975 158 | Scott Addis bronze 155 | Steven Joseph (Steve) Kiss American/Canadian [b. 1963] 11.75 x 10.25 x 4.25 in. (29.8 x 26 x 10.8 Canadian [b. 1933] SUNSET - CHICOUTIMI; 2008 cm) SOUTH OF RED DEER LAKE; 1983 oil on canvas signed, dated & numbered in the cast acrylic on board 12 x 16 in. (30.5 x 40.6 cm) Note: This work was produced for the Calgary 16 x 20 in. (40.6 x 50.8 cm) signed lower right; signed, titled & dated on Stampede, and is numbered 3 (total edition signed & dated lower right; signed, titled & the stretcher verso unknown). dated verso Provenance: Diana Paul Galleries, Calgary AB $ 500 / 700 $ 500 / 700 $ 400 / 600 162 | Robert F. M. McInnis Canadian [b. 1942] TURNER VALLEY ROAD; 1980 oil on canvas (diptych) each panel: 13.25 x 15.25 in. (33.7 x 38.7 cm) 159 | Horace Champagne overall size: 13.25 x 30.5 in. (33.7 x 77.5 cm) Canadian PSA, PSC [b. 1937] signed & dated lower left on the right panel; THE FARM WITH THE TURQUOISE ROOF signed, titled & dated on the masonite backing pastel on paper verso 8 x 11 in. (20.3 x 27.9 cm) Provenance: Estate of Bill and Peggy Code, Calgary AB signed lower left; titled on the backing verso Provenance: Estate of Bill and Peggy Code, $ 800 / 1,200 Calgary AB $ 600 / 900 165 | Robert K. Spaith Canadian ASA [b. 1951] PRAIRIE PIROUETTE; early 1980s bronze; ed. #8/21 15.5 x 9.75 x 12 in. (39.4 x 24.8 x 30.5 cm), excluding base signed, editioned & inscribed “Trophy” in the cast Note: This bronze is from an edition presented as a dance competition trophy. $ 800 / 1,200

160 | Janet Mitchell Canadian ASA, CSPWC, RCA [1912-1998] 163 | John Davenall Turner RAIN IN THE MOUNTAINS Canadian ASA [1900-1980] watercolour on paper SPRINGBANK FARM; 1972 13 x 17 in. (33 x 43.2 cm) 10.5 x 13.25 in. (26.7 x 33.7 cm) signed & dated lower right; titled on a label signed lower right; titled & dated verso verso Provenance: Estate of Bill and Peggy Code, $ 600 / 800 Calgary AB $ 300 / 400

161 | Catherine Perehudoff 166 | Jay Contway Canadian [b. 1958] American [1935-2019] HONEYMOON LAKE; 1988 MONTANA MAN-HUNTER 1884; 1984 watercolour on paper 164 | Richard Audley (Dick) Freeman bronze; ed. #11/35 15 x 22.75 in. (38.1 x 57.8 cm) Canadian [1932-1991] 14.25 x 12 x 6.25 in. (36.2 x 30.5 x 15.9 signed & dated lower right; titled on the gallery OUT OF THE WOODS; 1983 cm), excluding base label verso oil on masonite signed, titled, dated & editioned in the cast Provenance: Art Rental and Sales Gallery of the 12 x 24 in. (30.5 x 61 cm) Provenance: Estate of Bill and Peggy Code, Art Gallery of Ontario, Toronto ON signed lower right; titled & dated verso Calgary AB $ 400 / 600 $ 600 / 900 $ 800 / 1,000 172 | Margaret Dorothy Shelton Canadian ASA, CPE, CSGA [1915-1984] HECTOR LAKE; 1948 watercolour on paper 10 x 14.25 in. (25.4 x 36.2 cm) 169 | Vilem Zach signed & dated lower right; titled on the gallery Canadian [b. 1946] label verso 167 | Jay Contway JAKE RABBIT Provenance: The Collector’s Gallery, Calgary AB American [1935-2019] pastel on paper $ 600 / 800 MORNING STAR, CHEYENNE; 1985 15.25 x 13.5 (38.7 x 34.3 cm) bronze; ed. #8/50 signed lower right; titled lower left 11.25 x 11 x 5.75 in. (28.6 x 27.9 x 14.6 Provenance: Lamm Art Gallery, Calgary AB cm), excluding base $ 300 / 500 signed, titled, dated & editioned in the cast Provenance: Estate of Bill and Peggy Code, Calgary AB $ 600 / 900

173 | Illingworth Holey (Buck) Kerr 170 | Vilem Zach Canadian ASA, BCSA, FCA, RCA [1905-1989] Canadian [b. 1946] O’HARA NIGHT CODY colour serigraph on paper; ed. #102/150 pastel on paper 12 x 16 in. (30.5 x 40.6 cm) 13.5 x 17.5 in. (34.3 x 44.5 cm) signed, titled & editioned in pencil signed lower right; titled lower left $ 400 / 600 $ 300 / 500

168 | Rich Roenisch Canadian [20th/21st century] ROLLIN’ A SMOKE bronze; ed. #4/60 171 | Joane Cardinal-Schubert 11.5 x 5 x 4.5 in. (29.2 x 12.7 x 11.4 cm), Canadian ASA, RCA [1942-2009] excluding base GRASSY LAKES (CEREMONY); 1983 174 | Illingworth Holey (Buck) Kerr signed, titled & editioned in the cast, with mixed media on paper Canadian ASA, BCSA, FCA, RCA [1905-1989] stamped foundry mark “Studio West Ltd. 22.25 x 30 in. (56.5 x 76.2 cm) TURNER VALLEY NOCTURNE Cochrane” signed & dated lower right; titled indistinctly colour serigraph on paper; ed. #98/150 Provenance: Estate of Bill and Peggy Code, lower centre; titled verso and on the gallery 12 x 16 in. (30.5 x 40.6 cm) Calgary AB label signed, titled & editioned in pencil $ 400 / 500 $ 1,000 / 1,500 $ 400 / 600 178 | Karin Richter 175 | Barbara Harvey Leighton Canadian ASA, CSPWC, PAC, SCA [b. 1950] Canadian ASA, CPE [1911-1986] FOREST FLOOR (HAIDA GWAII) MORAINE LAKE pastel on suedeboard colour woodcut on paper; ed. #95/100 22 x 30 in. (55.9 x 76.2 cm) 9.75 x 12.75 in. (24.8 x 32.4 cm)) signed lower left; titled on the backing verso signed, titled & editioned in pencil Provenance: Galleries, Calgary AB $ 800 / 1,200 $ 600 / 800

181 | Frederick Arthur Verner Canadian OSA, RCA [1836-1928] BURNHAM BEECH WOODS SCENE; 1898 watercolour on paper 19 x 12.25 in. (48.3 x 31.1 cm) signed & dated lower right $ 800 / 1,200

179 | Farquhar McGillivray Strachan Stewart Knowles 176 | Barbara Harvey Leighton Canadian OSA, RCA [1859-1932] Canadian ASA, CPE [1911-1986] OXEN, ILE D’ORLEANS MOUNT ASSINIBOINE oil on panel colour woodcut on paper; ed. #97/100 7.5 x 5.5 in. (19.1 x 14 cm) 11 x 14.5 in. (27.9 x 36.8 cm) signed lower left signed, titled & editioned in pencil Provenance: Continental Galleries, Montreal Provenance: Canadian Art Galleries, Calgary AB QC; Walter Klinkhoff Gallery, Montreal QC; $ 600 / 800 Masters Gallery, Calgary AB $ 600 / 900

180 | Paul Archibald Caron 182 | Wyatt Eaton 177 | Barbara Harvey Leighton Canadian RCA [1874-1941] Canadian/American [1849-1896] Canadian ASA, CPE [1911-1986] TWO SLEIGHS PASSING ON A QUEBEC PORTRAIT OF A YOUNG BOY; 1892 LAKE LOUISE STREET oil on wood panel colour woodcut on paper; ed. #47/100 watercolour on paper 8 x 6 in. (20.3 x 15.2 cm) 10.75 x 13.5 in. (27.3 x 34.3 cm) 8 x 10.25 in. (20.3 x 26 cm) signed & dated upper left signed, titled & editioned in pencil signed lower right Provenance: Masters Gallery, Calgary AB $ 600 / 800 $ 600 / 800 $ 750 / 1,000 187 | John Howard Gould 183 | Beatrice Hagarty Robertson Canadian CSGA, RCA [1929-2009] Canadian [1879-1962] MOVIE EXTRA, SAMURAI YOUNG GIRL WITH FLOWERS mixed media on paper oil on canvas laid on board 31 x 23 in. (78.7 x 58.4 cm) 17 x 12 in. (43.2 x 30.5 cm) signed lower right signed lower left; titled on a plaque $ 800 / 1,000 $ 400 / 600 185 | Robert F. M. McInnis (2) Canadian [b. 1942] LISA’S LETTER; 1992 oil on canvas 24 x 24 in. (61 x 61 cm) signed & dated lower right sold with: SKETCH FOR LISA’S LETTER; 1992 gouache on paper 13.5 x 10 in. (34.3 x 25.4 cm) signed & dated lower left; titled upper right $ 1,000 / 1,250 Lot of Two

186 | Robert F. M. McInnis 184 | Lillian Freiman Canadian [b. 1942] Canadian [1908-1986] SELF PORTRAIT IN BLUE AND YELLOW 188 | John Howard Gould BRITTANY WOMAN; 1925 OCHRE; 1986 Canadian CSGA, OSA, RCA [1929-2010] gouache and conte on paper oil on canvas PORTRAIT OF A SEATED MAN 21.5 x 19.5 in. (54.6 x 49.5 cm) 20 x 16 in. (50.8 x 40.6 cm) pencil and conte on paper Provenance: Estate of the Artist (Inv. no. 40); signed & dated lower centre; signed, titled & 23 x 17 in. (58.4 x 43.2 cm) Masters Gallery, Calgary dated verso signed lower right $ 500 / 700 $ 700 / 1,000 $ 600 / 800 189 | William Kurelek Canadian RCA [1927-1977] BREAKAWAY; 1976 195 | Walter Joseph Phillips colour halftone lithograph on paper; ed. Canadian ASA, CPE, CSPWC, MSA, RCA [1884- #169/950 1963] 12 x 29.75 in. (30.5 x 75.6 cm) STOCKTON, MANITOBA; 1932 signed & editioned in pencil; monogrammed wood engraving on paper; ed. #45/50 and dated in the print 3.75 x 7 in. (9.5 x 17.8 cm) Provenance: Estate of Bill and Peggy Code, signed & editioned in pencil Calgary AB MBL186 $ 1,000 / 1,500 192 | John Harold Thomas Snow Provenance: Douglas Udell Gallery, Edmonton/ Canadian ASA, CSGA, RCA [1911-2004] Vancouver CINERARIA; 1951 Note: This engraving was originally produced woodcut on paper; ed. #21/50 in 1932, in an edition of 50. In 1956, Phillips 12.5 x 11.25 in. (31.8 x 28.6 cm) reissued the work as the Christmas greeting for signed, titled, dated & editioned in pencil that year. It is illustrated on page 226 of “The $ 300 / 400 Tranquility and the Turbulence: The Life and Work of Walter J. Phillips” (Roger Boulet; M. B. Loates Publishing; 1981). $ 500 / 700

190 | Maxwell Bennett Bates Canadian ASA, CGP, CSGA, CSPWC, RCA [1906- 1980] CHILDREN; 1957 colour lithograph on paper; ed. #3/15 17.75 x 14 in. (45.1 x 35.6 cm) signed, titled, dated & editioned in pencil $ 400 / 600 193 | Nicholas Hornyansky Canadian CPE, CSGA, OSA, RCA [1896-1965] THE MASKS AND THEIR MAKER aquatint on paper 9.5 x 7.75 in. (24.1 x 19.7 cm) signed & titled in pencil $ 400 / 500

196 | Walter Joseph Phillips Canadian ASA, CPE, CSPWC, MSA, RCA [1884-1963] 191 | John Harold Thomas Snow LAKE MACARTHUR, CANADIAN ROCKIES; Canadian ASA, CSGA, RCA [1911-2004] 1931 CAFE; 1950 colour woodcut on paper; ed. 54 (of 200) woodcut on paper; ed. #39/50 7.5 x 9.25 in. (19.1 x 23.5 cm) 14 x 11.25 in. (35.6 x 28.6 cm) 194 | Jack Lee Cowin signed in pencil; initialed in the block; signed, titled, dated & editioned in pencil American/Canadian [1947-2014] numbered on the bottom left corner of the Note: This work is illustrated on page 65 of FALL/RAINBOW; 1996 paper “The Art of John Snow” (Elizabeth Herbert; hand-coloured etching on paper; ed. MBL151 University of Calgary Press; 2011) and on page #5/25 Provenance: Agghazy Gallery, Calgary AB 106 of “A History of Art in Alberta 1905-1970” 5 x 7.25 in. (12.7 x 18.4 cm) Note: This print was the third issued in Phillips’ (Nancy Townshend; Bayeux Arts; 2005). signed, titled, dated & editioned in pencil Ten Woodcuts Portfolio. $ 300 / 400 $ 300 / 500 $ 700 / 1,000 197 | Illingworth Holey (Buck) Kerr Canadian ASA, BCSA, FCA, RCA [1905-1989] 201 | Ted Godwin Canadian ASA, R5, RCA [1933-2013] 10 BLOCK PRINTS, FOLIO I: LONDON SERIES MAGPIES, WINTER SUN / CARIBOU TREK / mixed media on paper FROM MY WINDOW / PRONGHORN DOES 19 x 25 in. (48.3 x 63.5 cm) / COUGAR / CHICKENS IN THE SNOW / signed & titled lower right MULE DEER / GOLDEN EYES / AFTERNOON $ 300 / 500 OF A FAWN 199 | Don Kottmann colour linocut on paper (10); ed. # 70/100 American/Canadian [b. 1946] various sizes; in the original folio as issued SEDIMNET W.A.; 2014 each signed, titled & editioned in pencil acrylic on canvas $ 750 / 1,000 84.5 x 71 in. (214.6 x 180.3 cm) signed, titled & dated verso Note: Don Kottmann received his MFA from the University of Washington, Seattle. He has exhibited widely in the US, nationally, and internationally as a representative of Canada. Kottmann is a 2014 recipient of a Joan Mitchell Painting Grant. He has taught at several US institutions, and currently holds a teaching position at the Alberta University of the Arts. $ 3,000 / 5,000

202 | Ted Godwin Canadian ASA, R5, RCA [1933-2013] DYING ORCHID mixed media on paper 18.25 x 23.75 in. (46.4 x 60.3 cm) signed & titled lower right $ 300 / 500

200 | Cindy Delpart 198 | Marion Florence Nicoll Canadian [20th/21st century] Canadian ASA, RCA [1909-1985] AN INDELIBLE MOMENT 203 | Edward Michell LITTLE INDIAN GIRL III; 1978 acrylic on canvas (gallery-wrapped) Canadian [20th/21st century] colour cardboard print on paper; ed. 72 x 108 in. (182.9 x 274.3 cm) LIKENESS; 2004 #22/90 signed lower right; titled on the gallery label mixed media on board 18 x 10.5 in. (45.7 x 26.7 cm) verso 16 x 20 in. (40.6 x 50.8 cm) signed, titled, dated & editioned in pencil Provenance: Masters Gallery, Calgary AB signed lower right; signed, titled & dated verso $ 800 / 1,000 $ 2,000 / 3,000 $ 500 / 700 208 | John Michael Anthony Koerner (Korner) Canadian BCSA, CGP, FCA, RCA [1913-2014] GALAXY; 1960 mixed media on canvas 38 x 51 in. (96.5 x 129.5 cm) signed & dated lower right; signed & titled 204 | Toller Cranston on the stretcher; titled & dated on the artist’s Canadian [1949-2015] label verso PIERROT; 1998 $ 1,000 / 1,500 oil on canvas 36 x 30 in. (91.4 x 76.2 cm) signed & dated lower left $ 1,000 / 1,500

206 | Simon Hughes Canadian [b. 1973] HIGH-RISE OFFICE TOWER, VANCOUVER; 2004 mixed media and collage on paper 26.75 x 16 in. (67.9 x 40.6 cm) signed, titled & dated verso Provenance: Mayberry Fine Art, Winnipeg MB $ 500 / 700

209 | Maureen Enns Canadian ASA [b. 1943] DEVIL’S HEAD SANCTUARY; 2006 mixed media on canvas (gallery-wrapped) 48 x 60 in. (121.9 x 152.4 cm) signed, titled & dated on the stretcher verso $ 2,000 / 3,000

205 | Sir Anthony Hopkins Welsh/American [b. 1937] DOUBLE FEATURE; 2012 ink on paper 11 x 17 in. (27.9 x 43.2 cm) signed & dated lower right Provenance: Margam Fine Art, Sherman Oaks, CA 207 | Joro Petkov Note: This item is accompanied by an artist Canadian [b. 1960] 210 | Rand Heidinger signed copy of Aaron Tucker’s book “Anthony DISTANT BLUE Canadian [b. 1964] Hopkins DreamScapes” (Margam Fine Art oil on canvas UNTITLED LLC; 2014); a full page illustration of this work 30 x 40 in. (76.2 x 101.6 cm) lacquer paint on polymer appears on page 53. signed lower right; titled verso 48 x 60 in. (121.9 x 152.4 cm) $ 2,000 / 3,000 $ 800 / 1,200 $ 2,000 / 3,000 213 | Barbara Engel Canadian [20th/21st century] AT THE BACK OF BEYOND, JASPER, ALBERTA oil on canvas (gallery-wrapped) 30 x 40 in. (76.2 x 101.6 cm) 216 | Lissi Legge signed lower left Canadian FCA, SCA [b. 1949] $ 700 / 1,000 WITHOUT END oil on masonite 211 | France Jodoin 12 x 12 in. (30.5 x 30.5 in.) Canadian [b. 1961] signed lower right; signed & titled verso SUMMER - INDOLENCE; 2009 $ 400 / 500 oil on canvas (gallery-wrapped) 60 x 48 in. (152.4 x 121.9 cm) signed, titled & dated verso Provenance: The Weiss Gallery, Calgary AB $ 2,000 / 3,000

214 | Chris MacClure Canadian [b. 1943] RED CANOE oil on board 13.75 x 10 in. (34.9 x 25.4 cm) signed lower right; signed, titled & dated verso $ 300 / 400

217 | Ernest Luthi (2) Canadian [1906-1983] A QU’APPELLE LAKE pastel on paper 5.75 x 7.75 in. (14.6 x 19.7 cm) 212 | Dieter Schlatter signed lower right Swiss/Canadian [b. 1958] 215 | Neil Patterson sold with: EVEN TOUGH GUYS GET THE BLUES Canadian ASA, FCA, OPA [b.1947] PUNNICHY, SASK. oil and photo transfer on cradled panel THE CLEARING watercolour on paper 20 x 20 in. (50.8 x 50.8 cm) oil on wood panel 5 x 7.5 in. (12.7 x 19.1 cm) signed lower right; signed & titled verso 9 x 12 in. (22.9 x 30.5 cm) signed lower right; titled lower centre Provenance: Canada House Gallery, Banff AB signed lower right; titled verso $ 400 / 500 $ 900 / 1,200 $ 400 / 600 Lot of Two Index of Artists Addis, Scott 158 Jackson, Alexander Young 106 Reynolds, Alan 94 Janvier, Alex Simeon 50 Richter, Karin 178 Bates, Maxwell Bennett 42, 190 Jarvis, Georgia 33, 116, 123 Roberts, Thomas Keith (Tom) 13 Bell-Smith, Frederic Marlett 20, 54 Jodoin, France 211 Robertson, Beatrice Hagarty 183 Bittar, Antoine 119 Roenisch, Rich 168 Bobak, Molly Lamb 35, 36 Kerr, Illingworth Holey (Buck) 7, 11 Brown, Harley 46 30, 32, 59, 79, 84, 173, 174, 197 Sapp, Allen 8, 51 Kiss, Steven Joseph (Steve) 155 Schaefer, Carl Fellman 21 Cardinal-Schubert, Joane 171 Knowles, Farquhar McGillivray 179 Schlatter, Dieter 212 Caron, Paul Archibald 180 Koerner, John Michael Anthony 208 Shadbolt, Jack Leonard 114 Carr, Emily 107 Kottmann, Don 199 Sharp, Dorothea 56 Castonguay, Claudette 3 Krieghoff, Cornelius David 41, 47, 48 Shelton, Margaret Dorothy 172 Champagne, Horace 12, 77, 139, 159 Kurelek, William 18, 189 Simard, Claude A. 52 Cheek, Clifton Ray (C. R.) 49, 151 Snow, John 191, 192 Code, Ernva Willard 130 Langevin, Claude 10 Spaith, Robert K. 165 Cohoe, Gina McDougall 152, 153 Lanteigne, Danielle 93, 133 Stanhope-Forbes, Elizabeth Adela 55 Contway, Jay 150, 166, 167 Legge, Lissi 216 Stevenson, William Lewy Leroy 9, 23 Cowin, Jack Lee 194 Leighton, Alfred Crocker 96 Cranston, Toller 204 Leighton, Barbara Harvey 175, 176, 177 Thomson, Tom 105 Crockford, Duncan Mackinnon 80, 136 Lismer, Arthur 86 Toupin, Fernand 60 Cullen, Maurice Galbraith 39, 103 Lonechild, Michael 147, 148 Town, Harold Barling 89 Luthi, Ernest 143, 217 Turner, John Davenall 163 de Belle, Charles Ernest 16 de Blois, Francois 132 Ma, Min 142 Verner, Frederick Arthur 45, 181 de Grandmaison, Nicholas 44 MacClure, Chris 156, 214 Delpart, Cindy 200 MacDonald, JEH 31 Washburn, Lawrence 129 Des Clayes, Berthe 15 MacLeodPegi Nicol 53, 57 Watson, Homer Ransford 22 Desrosiers, Jean-Guy 137 Marich, Geza (Gordon) 135 Webb, William H. (Bill) 98 Dorland, Kim 88 Masson, Henri Leopold 19 Wood, Karl E. 117, 128, 138, 140 Duma, William (Bill) 5 McCaugherty, Irene E. 126 Wrinch, Mary Evelyn 14 McEwen, Jean Albert 61 Eaton, Wyatt 182 McInnis, Robert F. M. 162, 185, 186 Yuzbasiyan, Arto 120 Engel, Barbara 213 Michell, Edward 203 ach, Vilem 169, 170 Enns, Maureen 209 Milne, David Brown 40, 111 Z Ewart, Peter Maxwell 67 Mitchell, Janet 58, 113, 124, 125, 146, 160 Mol, Leo 87 FitzGerald, Lionel LeMoine 37 Morrice (attribution), James Wilson 38 Flight, Claude 109 Morrisseau, Norval 115 Fracchetti, Lorenzo 154 Frache, Don 127 Nicoll, James McLaren (Jim) 1 Freeman, Richard Audley 66, 149, 164 Nicoll, Marion Florence 112, 198 Freiman, Lillian 184 Ohe, Katie 90, 91, 92 Gagnon, Clarence 17, 101, 102, 104 O’Toole, Michael 4 Genn, Robert 2, 6, 62, 63 Gissing, Roland 24, 29, 34, 68 Paquette, Armand 141 78, 82, 99, 100, 134 Parsons, 121 Glyde, Henry George 25, 64 Patterson, Neil 81, 118, 131, 215 Godwin, Ted 26, 201, 202 Pepper, Kathleen Frances Daly 144 Gould, John Howard 187, 188 Perehudoff, Catherine 161 Grandmaison, O.N. (Rick) 27, 28, 65, 69 Petkov, Joro 207 Phillips, Walter Joseph 70, 71, 72 Heidinger, Rand 210 73, 74, 75, 76, 108, 109, 110, 195, 196 Henderson, James 43 Prinsen, Nicola 95 Herold, Hans 157 Pugh, David 83 Hopkins, Sir Anthony 205 Raftery, Ted 97 Hornyansky, Nicholas 122, 193 Horvath, George A. 145 Housser, Yvonne McKague 85 Hughes, Simon 206