SPRING 2019

LIVE SESSION Monday, May 27 - 7 p.m. ONLINE SESSION Wednesday, May 29 - 7 p.m. HODGINSAUCTION.COM

SPRING 2019 AUCTION

LIVE SESSION Lots # 1 - 126 Monday, May 27 @ 7 p.m. MT (with webcast and real-time bidding)

ONLINE SESSION Lots # 200 - 379 Wednesday, May 29 @ 7 p.m. MT (staggered soft close)

PREVIEW Saturday, May 25 Noon - 4 p.m. Sunday, May 26 Noon - 4 p.m. Monday, May 27 10 a.m. - 2 p.m.

Preview and Auction to be held at:

Hodgins Art Auctions Ltd. 4115-7005 Fairmount Drive SE Calgary AB T2H 0J1 Tel: 403-252-4362 Fax: 403-259-3682 Email: [email protected] HODGINSAUCTION.COM TERMS AND CONDITIONS OF SALE

1. A buyer’s premium of 17% (20% for credit card payments) responsibility therefor, (b) will thereupon pay the full purchase will be charged on the hammer price on all lots, subject to invoice price therefore or such part as we may require. All property must deadline. be removed at the purchaser’s expense not later than seven (7) days following its sale, after which date the purchaser shall be 2. Goods and Services Tax (GST) of 5% will be charged on the responsible for all storage charges until the date the lot is removed hammer price and buyer’s premium on all lots. Harmonized Sales from the offi ces of Hodgins Art Auctions Ltd. Tax (HST) in rates applicable to the purchasing province will apply unless the purchaser takes legal possession of purchases 10. Payment in full must be made within three days by cash, within Alberta. If a purchaser from an HST eligible province certifi ed cheque, Visa, Mastercard, bank draft or wire/email arranges their own shipping then the legal delivery is deemed to transfer unless other arrangements have been made with the have occurred within Alberta and only GST shall apply. auctioneer. Credit card transactions may be limited to $ 5,000. If the purchaser fails to pay for any lot within seven (7) days from 3. Although Hodgins Art Auctions takes great care and diligence the date of the auction sale, Hodgins Art Auctions Ltd. may, in cataloguing of lots off ered for auction, all property is sold “as without limitation of rights of Hodgins Art Auctions Ltd. against is” and neither we nor the Consignor make any warranties or the buyer, resell any of the articles aff ected and in such case the representations as to the correctness of the catalogue entry or original buyer shall be responsible to Hodgins Art Auctions Ltd. other descriptions contained therein, of the physical condition, for; (a) any defi ciency in price between the re-sale amount and the size, authenticity, or quality. Prospective bidders should inspect amount to have been paid by the original buyer; (b) any the property before bidding to determine the condition, size, and reasonable charge by Hodgins Art Auctions Ltd. for the storage of whether the purchaser acquires any reproduction rights in the such articles until payment and removal by the subsequent buyer; property. All photographic representations and other illustrations (c) the amount of commission which Hodgins Art Auctions Ltd. are presented for guidance and are not to be relied upon in terms would have earned had payment been made in full by the original of tone or colour or to reveal any imperfections in the lot. buyer. 4. Notwithstanding the preceding condition, if within twenty-one 11. Neither Hodgins Art Auctions Ltd. nor its employees nor its (21) days of the sale of any lot, the purchaser can provide to us in agents shall be liable for any loss or damage of kind to the lots writing, the opinion of two acknowledged experts that the art, as after the expiration of seven (7) days from the date of the sale, outlined in the glossary, is in eff ect inaccurately described in the whether caused by negligence or otherwise, while any lot is in or catalogue and within fourteen (14) days after such notice the under the respective custody or control of Hodgins Art Auctions purchaser returns the lot to us in the same condition as when sold, Ltd. we as agent for the Consignor will rescind the sale and refund the purchase price. Due to both time constraints and changing 12. It is the responsibility of the buyer to make all arrangements scholarly opinion 19th century and earlier works of art are not for insuring, packing and removing the property purchased and subject to the provisions as outlined. any assistance by Hodgins Art Auctions Ltd. or the employees of, agents or contractors in packing and removal shall be rendered as 5. We reserve the right to withdraw any property before sale. a courtesy and without any liability to them. Hodgins Art 6. Unless otherwise announced by the auctioneer, all bids are per Auctions Ltd. shall not be liable for any damage to glass or frames lot as numbered in the catalogue. and shall not be liable for any errors or omissions or damage caused by packers and shippers, notwithstanding the fact that 7. The auctioneer reserves the right to refuse admission to the Hodgins Art Auctions Ltd. may have recommended such shippers sale, to refuse to approve the registration of any online bidder, or or packers to the purchaser. to refuse to recognize any or all bids from any particular person or persons at any auction. If the auctioneer decides that any opening 13. The purchaser(s) acknowledges that certain properties of bid is below the value of the lot off ered, he may reject the same Canadian cultural import may be subject to the provisions of and withdraw the lot from sale, and if, having acknowledged an Cultural Property Import and Export Act of Canada. opening bid, he decides that any advance thereafter is insuffi cient, 14. Persons attending the previews and sales, or during removal he may reject the advance. of goods assume all risks to person and property and specifi cally 8. The highest bidder acknowledged by the auctioneer will be the releases Hodgins Art Auctions Ltd. from liability. Hodgins Art purchaser. In the event of a dispute between bidders, or in the Auctions Ltd. shall not be held liable by reason of any defect in or event of doubt on our part as to the validity of any bid, the condition of the premises on which the auction sale is being held. auctioneer will have the fi nal discretion either to determine the 15. This agreement comprises the entirety of the contract between successful bidder or to reoff er and resell the article in dispute. In Hodgins Art Auctions Ltd. and the buyer. Hodgins Art Auctions any dispute arises after the sale, our sales record is conclusive. Ltd. shall not be held liable in respect of any representations not 9. On the fall of the auctioneer’s hammer, or at the close of online made in writing herein. This agreement shall be governed in bidding, title to the off ered lot will pass to the highest bidder accordance with the laws of the Province of Alberta. In the event acknowledged by the auctioneer, subject to the conditions set of a dispute hereunder, the Buyer agrees to submit to the exclusive forth herein, and such bidder thereupon (a) assumes full risk and jurisdiction of the provincial courts and the federal courts sitting in the Province of Alberta. WAYS TO BID - A GUIDE FOR PROSPECTIVE BIDDERS

TRADITIONAL BIDDING IN PERSON Register in-house, obtain your bid card, and attend the auction. ABSENTEE BIDDING Complete the Absentee/Phone Bid Form (found online or at the end of the catalogue) list your maximum bids, and return the form to us by fax or email. Alternately, complete the form at the preview and submit it in person. Please read the Guide to Absentee Bidding prior to completing the form. A staff member will adminster your bids during the auction, bidding only up to your instructed maximum against competing bids. TELEPHONE BIDDING Complete the Absentee/Phone Bid Form, writing “PHONE” in the Maximum Bid column. Submit the form to us, as with absentee bidding. A staff member will call you during the auction shortly before your desired lot(s). This representative will relay information and your bids during the sale. You should provide a backup phone number and/or a backup Absentee Bid in case we are unable to reach you. ELECTRONIC BIDDING Our live auctions feature a WEBCAST. This means that during the live auction prospective bidders can listen to real-time audio. Also, bidders can place their bids electronically. There are two ways to do this, but fi rst you must create a user account (or log in to your existing account) And register for the auction. When you register to bid through our Web Catalogue you will receive a confi rmation email. Approximately one half hour prior to the auction a “Bid Live” button will appear in the Web Catalogue.

ELECTRONIC PRE-BIDDING An Electronic Pre-bid is similar to an Absentee Maximum Bid, but it is adminstered by the software. Simply click into the lot detail page, fi ll in your maximum bid, and click on the “Place Bid” button. You will be asked to confi rm your bid, and once you do so it takes eff ect immediately. This is a contractually binding bid. The current winning pre-bid will appear online prior to the live auction (this is not necessarily the winning bidder’s maximum bid).

ELECTRONIC REAL-TIME BIDDING (DURING THE AUCTION) Live auctions are held in our showroom with an auctioneer and bidders in attendance, but you can be at a computer anywhere to bid live. Our clerk relays all electonic bids to the auctioneer during the live auction. NOTE: the auctioneer needs to acknowledge electronic bids before they are offi cially accepted. In the event of a tie between an electronic bidder and a fl oor bidder, the fl oor bid will take precedence. We recommend that you bid quickly and use a desktop or laptop computer. Bids placed during “fair warning” status are not guaranteed to be accepted. As long as you are registered and logged on you will be able to listen to the auctioneer and bid in real-time during the auction. If you choose this option please register early. We WILL NOT be able to off er assistance during the auction.

NOTE: Electronic bidding accounts need to be pre-approved by Hodgins Art Auctions Ltd. and are subject to additional verifi cation. Register early.

BIDDING INCREMENTS Bidding typically starts below the low estimate and advances in the following bid increments: up to $ 200 $ 10 $ 5,000 - $ 10,000 $ 500 $ 200 - $ 300 $ 20 $ 10,000 - $ 20,000 $ 1,000 $ 300 - $ 500 $ 25 $ 20,000 - $ 50,000 $ 2,500 $ 500 - $ 1,000 $ 50 $ 50,000 - $ 100,000 $ 5,000 $ 1,000 - $ 2,000 $ 100 $ 100,000 + $ 10,000 $ 2,000 - $ 5,000 $ 250 A GUIDE FOR PROSPECTIVE BIDDERS

BUYER’S PREMIUM A buyer’s premium of 17% will be charged on the hammer price on all lots (20% for credit card payments).

GOODS AND SERVICES TAX GST of 5% will be charged on the hammer price and buyer’s premium on all lots.

HARMONIZED SALES TAX HST rates applicable to the purchasing province will apply unless the purchaser takes legal possession of purchases within Aberta. If a purchaser from an HST eligible province arranges their own shipping then the legal delivery is deemed to have occured within Alberta and only GST shall apply.

REGISTRATION All bidders need to provide the requested registration information with no exceptions.

RESERVES A reserve is the confi dential minimum price agreed upon between the consignor and Hodgins Art Auctions, below which the lot cannot be sold. In no case do we permit a reserve to exceed the low estimate. Hodgins, as agent for the seller, protects reserves.

MINIMUM BIDS Hodgins Art Auctions Ltd. sets a “minumum bid” for all electronic bidding. A bidder will not be able to submit a bid below this predetermined amount.

ESTIMATES Hodgins’ catalogues provide detailed descriptions and pre-auction estimates for each lot included in the sale. These estimates are guides for prospective bidders and should not be relied upon as representations or predictions of actual selling prices. Estimates are determined in advance of the sale date and are subject to revision. Please contact our offi ces if you have any questions.

BIDDING If your bid is successful at the auction, your bidder number will be called out by the auctioneer, or, in the case of an online auction, your bid will display as “winning”. You will not be permitted to take delivery of your purchases until payment has been made.

ABSENTEE / PHONE / ELECTRONIC BIDS Refer to the “Guide for Prospective Bidders” and the “Guide for Absentee Bidders”.

REMOVAL OF PURCHASED LOTS / SHIPPING Purchased lots may be picked up from 9 AM - 5 PM Monday-Friday from our offi ces. Please make arrangements to pick up your purchases no later than 72 hours after the end of the auction. Items left beyond seven days may be moved to long term storage, at an additional fee, and will require 24 hours notice to pick up. If designating ANY third-party to pick up items on your behalf we require notifi cation by phone or email. Under no circumstances will purchases be released without prior authorization.

Packing & shipping costs will need to be covered under a separate invoice. The processing of sold lots will be handled in the same order as payment is received. We have been contracting packaging and shipping through third-party providers. Information will be provided with your invoice or by contacting our offi ces. MONDAY, MAY 27 at 7 p.m. Lots # 1 - 126

4 | Tinyan (Tin Yan Chan) Canadian FCA [b. 1942] BEYOND THE LAKE oil on canvas 18 x 24 in. (45.7 x 61 cm) signed lower right; titled verso $ 1,000 / 1,500

1 | Alan Caswell Collier Canadian OSA, RCA [1911-1990] BOW RIVER & CASTLE MT. watercolour on paper 15 x 22 in. (38.1 x 55.9 cm) signed lower right; titled on the artist’s and gallery labels verso Provenance: Roberts Gallery, Toronto ON $ 2,000 / 3,000

5 | Gaston Rebry Canadian [1933-2007] BROUSAILLE D’HIVER; 1995 oil on canvas 18 x 24 in. (45.7 x 61 cm) signed lower right; signed, titled & dated verso $ 1,500 / 2,000

2 | Horace Champagne 3 | George Douglas Pepper Canadian PSA, PSC [b. 1937] Canadian CGP, CSPWC, OSA, RCA [1903-1962] SEPTEMBER SURPRISE (LAKE O’HARA, FAST WATER AT KANANASIS (sic) YOHO NAT. PK, BRITISH COLUMBIA); oil on board 6 | Cameron Bird 1997 15 x 18 in. (38.1 x 45.7 cm) Canadian [b. 1971] pastel on paper signed lower right; signed & dated on the artist’s OCTOBER BASIN 24 x 18 in. (61 x 45.7 cm) and exhibition labels verso oil on canvas signed lower right; signed, titled & dated on the Exhibited: Art Gallery of Toronto, Women’s 24 x 30 in. (61 x 76.2 cm) artist’s certifi cate verso Committee signed lower right; titled verso Provenance: Masters Gallery, Calgary AB Provenance: The Collector’s Gallery, Calgary AB Provenance: Artym Galleries, Invermere BC $ 2,000 / 3,000 $ 3,000 / 4,000 $ 2,000 / 2,500 7 | Joice M. Hall Canadian RCA [b. 1943] REESOR LAKE I (#5 CYPRESS HILL SERIES); 1994 oil on tin, laminated onto wood panel 8 x 70 in. (20.3 x 177.8 cm) signed & dated lower right; signed, titled & dated verso Provenance: Atelier Gallery, Vancouver BC $ 1,500 / 2,000

8 | Tinyan (Tin Yan Chan) 10 | Roger D. Arndt 12 | Ron Hedrick Canadian FCA [b. 1942] Canadian [b. 1959] Canadian [b. 1942] EARLY SNOWFALL DREAMSCAPE; 1994 PEMBERTON, B.C. oil on canvas oil on prepared panel oil on canvas 24 x 30 in. (61 x 76.2 cm) 12 x 36 in. (30.5 x 91.4 cm) 30 x 40 in. (76.2 x 101.6 cm) signed lower right signed lower right; signed, titled & dated verso signed lower right Provenance: The Corner Gallery, Canmore AB Provenance: Canada House Gallery, Banff AB $ 1,500 / 2,000 $ 1,500 / 2,000 $ 1,500 / 2,000

9 | Rod Charlesworth 11 | Neil Patterson 13 | Georgia Jarvis Canadian [b. 1955] Canadian ASA, FCA, OPA [b. 1947] Canadian [1944-1990] SLIDING AT DUSK GOLDEN HOUR MT. ASSINIBOINE; 1987 oil on canvas oil on canvas oil on masonite 30 x 36 in. (76.2 x 91.4 cm) 30 x 40 in. (76.2 x 101.6 cm) 20 x 30 in. (50.8 x 76.2 cm) signed lower left; signed & titled verso signed lower right; titled verso signed & dated lower right; signed & titled verso $ 2,500 / 3,500 $ 2,500 / 3,500 $ 2,500 / 3,500 17 | Pauline Thibodeau Paquin Canadian [b. 1952] AU TOUT DEBUT; 1985 acrylic on masonite 20 x 24 in. (25.4 x 61 cm) signed lower right; signed, titled & dated verso $ 1,000 / 1,500

14 | Janet Mitchell Canadian ASA, CSPWC, RCA [1912-1998] JUST ANOTHER ORDINARY DAY; 1992 18 | Pauline Thibodeau Paquin acrylic on canvas Canadian [b. 1952] 36 x 40 in. (91.4 x 101.6 cm) JOIE ET DECEPTION; 1985 signed & dated lower right; titled verso acrylic on canvas Provenance: Masters Gallery, Calgary AB 24 x 36 in. (61 x 91.4 cm) $ 7,000 / 10,000 signed lower right; signed, titled & dated verso $ 1,500 / 2,000

15 | Janet Mitchell 16 | Rod Charlesworth 19 | Louise Lecor Kirouac Canadian ASA, CSPWC, RCA [1912-1998] Canadian [b. 1955] Canadian [b. 1939] CAROUSELS LIKE THEY USED TO BE; ESPOSITO DANS LA VALLEE, HARRINGTON, QC 1986 oil on board acrylic on canvas watercolour on paper 18 x 24 in. (45.7 x 61 cm) 24 x 30 in. (61 x 76.2 cm) 22 x 30 in. (55.9 x 76.2 cm) signed lower right signed lower right; signed & titled verso signed & dated lower right; titled verso and on the Provenance: Canada House Gallery, Banff AB $ 1,200 / 1,500 gallery label $ 1,200 / 1,600 Provenance: Masters Gallery, Calgary AB $ 2,000 / 3,000 21 | Maxwell Bennett Bates Canadian ASA, CGP, CSGA, CSPWC, RCA [1906-1980] LANDSCAPE; 1962 oil on masonite 16 x 20 in. (40.6 x 50.8 cm) signed & dated Provenance: Masters Gallery, Calgary, formerly from the collection of Jim Millard (artist), Calgary AB In a 1972 interview with Terry Guernsey, in preparation for the exhibition organized by the Vancouver Art Gallery, Bates commented: “I’ve always done landscapes, always enjoyed it very much. I get a great deal of satisfaction from doing it…I’m very pleased that landscape painting is becoming popular again.” (p. 23 “Max Bates in Retrospect 1921-1971”. By the 1950s, Bates had achieved a maturity in his art. He was elected into the Canadian Group of Painters in 1957, and in 1960, the Norman MacKenzie Art Gallery had organized a touring retrospective of his work. Bates likely painted this work prior to leaving Calgary, with his wife Charlotte, for Victoria in June of 1962. Nancy Townsend writes, on pg. 15 of “Maxwell Bates: Landscapes/Paysages 20 | Canadian Pacifi c Vintage Poster 1948-1978” (Medicine Hat Museum and Art Gallery; 1982): READY MADE FARMS IN WESTERN CANADA; ca 1920 By the mid to late 1950’s, Bates arrived at a personal style for his colour lithograph on paper landscapes. By subtly introducing the qualities of simplicity and contrasts 39 x 23.5 in. (99.1 x 59.7 cm) into the aesthetic ordering and arrangement of his paintings of this time, Printed by David Allen & Sons Ltd.; London Bates transcended his adopted Post-Impressionist-cum-Fauvist tradition Reference: p. 35 “Posters of the Canadian Pacifi c” (Marc Choko and David and began to contribute uniquely to the Canadian landscape tradition. Jones; Firefl y Books Ltd.; 2004) In 1955, Bates noted ‘Beyond the city street lies the prairie under an 1910 saw the inauguration of the CPR’s Exhibits Branch of the immense sky. Here the man is insignifi cant’ Department of Immigration and Colonization. A key purpose was to advertise As a painter of landscapes, he responded to the broad prairies and infi nite the considerable arable railway land still available to prospective settlers in sky with correspondingly simplifi ed, contrasting shapes and, at his best, a Western Canada. Following the First World War, citizens of the United reduced palette. Kingdom became the focus of this campaign, with the British and Canadian $ 3,000 / 5,000 governments working together to appeal to families. For its part, the Canadian Pacifi c off ered to bring British families to Canada for $15 per person (children for free). During the fi rst year of the program (1923) fi ve hundred families were relocated in this way, with a further one thousand the following year. Similar campaigns were undertaken in other Nordic and Western European countries whose citizens were thought to be adaptable to the harsh climate of the West. $ 1,000 / 2,000 25 | Illingworth Holey (Buck) Kerr Canadian ASA, BCSA, FCA, RCA [1905-1989] MOUNTAIN MUSKEG NO. 3; 1985 oil on board 12 x 16 in. (30.5 x 40.6 cm) monogrammed lower centre; signed, titled & dated verso $ 2,500 / 3,500

22 | Henry George Glyde Canadian ASA, CSGA, FCA, RCA [1906-1998] EAST OF BANFF (ABOUT 12 MINS); 1979 oil on board 10 x 12 in. (25.4 x 30.5 cm) signed lower right; signed, titled & dated verso 26 | Roland Gissing Provenance: Lefebvre Galleries, Edmonton AB Canadian ASA [1895-1967] $ 3,000 / 4,000 ROCKY MOUNTAIN AND BOW RIVER SCENE; 1940s oil on canvas 24 x 27 in. (61 x 68.6 cm) signed lower right $ 2,500 / 3,500

27 | Doris Jean McCarthy Canadian CSPWC, FCA, OSA, RCA [1910-1920] MOUNT HARDISTY FROM WHISTLERS 23 | William Lewy Leroy Stevenson 24 | William Lewy Leroy Stevenson MOUNTAIN (JASPER NATIONAL PARK); Canadian ASA [1905-1966] Canadian ASA [1905-1966] 1980 STEM OF A SPRUCE TWIN LAKES watercolour on paper oil on masonite oil on board 14 x 21 in. (35.6 x 53.3 cm) 16 x 20 in. (40.6 x 50.8 cm) 16 x 19 in. (40.6 x 48.3 cm) signed lower right signed & titled verso signed lower right; titled verso Provenance: Aggregation Gallery, Toronto ON $ 1,200 / 1,800 $ 1,200 / 1,800 $ 2,000 / 3,000 28 | Joe Fafard Canadian [1942-2019] RUDY V; 1995 painted & powder coated laser-cut steel; ed. #3/5 13 x 25.25 x 7 in. (33 x 64.1 x 17.8 cm) signed, titled, dated & editioned Literature: “Joe Fafard” (Terrence Heath; Douglas & McIntyre; 2008) During the 1990’s Fafard grew more interested in experimentation and innovation. He became fascinated by relief sculpture, and fl at forms. During this time, Fafard created a number of laser-cut steel pieces that were an extension of his “drawing in space” work, where free-standing fi gures of cows and horses were cut out and manipulated using a three-dimensional approach, ultimately resembling a line drawing. The resulting eff ect seemed to integrate elements of both printmaking and sculpture. The Montreal Museum of Fine Arts mounted an extensive retrospective of Joe Fafard’s work in 1996. In 2007, Fafard was again honoured with a retrospective exhibition organized by the MacKenzie Art Gallery and the National Gallery of Canada. The artist passed away recently, leaving behind an important body of work that spans more than half a century. Fafard’s focus on prairie imagery, and success on a national and international stage, has been instrumental in raising Saskatchewan’s artistic profi le. $ 6,000 / 8,000 29 | Kenneth Edison (Ken) Danby 32 | Richard Audley (Dick) Freeman Canadian RCA [1940-2007] Canadian [1932-1991] DENIM COWBOY (STUDY FOR TRAIL); 33 | Orestes Nicholas (Rick) Grandmaison COMIN’ ROUND THE MOUNTAIN Canadian [1932-1985] 2000 oil on masonite CHOW TIME #2 watercolour 18 x 24 in. (45.7 x 61 cm) oil on masonite 6.5 x 8.75 in. (16.5 x 22.2 cm) signed lower right; titled verso signed & dated lower right; titled on a label verso; 20 x 24 in. (50.8 x 61 cm) $ 1,000 / 1,500 signed lower right; signed & titled verso personal inscription on the backing verso (73-M-35) $ 1,000 / 1,500 $ 1,500 / 2,000

30 | Georgia Jarvis Canadian [1944-1990] MISTY MORNING oil on masonite 20 x 30 in. (50.8 x 76.2 cm) signed lower right; signed & titled verso $ 2,000 / 3,000

34 | Jack King American [1920-1988] HORSES IN A CORRAL oil on masonite 31 | Jack King American [1920-1988] 16 x 20 in. (40.6 x 50.8 cm) signed lower left NATIVE AMERICAN RIDING PARTY $ 4,000 / 6,000 mixed media on paper 11 x 18.75 in. (27.9 x 47.6 cm) signed lower right $ 1,500 / 2,500 35 | Nicholas de Grandmaison Canadian RCA [1892-1978] CHIEF BODIE pastel on paper 36 | Nicholas de Grandmaison 22.5 x 17.5 in. (57.2 x 44.5 cm) Canadian RCA [1892-1978] signed lower left PORTRAIT OF AN ELDER Literature: History in Their Blood: The Indian Portraits of Nicholas de pastel on paper Grandmaison (Hugh A. Dempsey; Douglas & McIntryre Ltd.; 1982); “Drawn 19.5 x 13.75 in. (49.5 x 34.9 cm) from the Past: Nicholas de Grandmaison” (Gordon Snyder; Snyder Fine Arts; signed lower right 2007) Following an infl uential trip to The Pas, Northern Manitoba in 1930, Nicholas Chief Bodie (Nina-Stromi), a Kanai (Blood) of Standoff , Alberta, was born de Grandmaison dedicated his career to recording the faces of the First in 1879. He also went by the names “Favourite Child” and “Many Beaver Nations communities across the Prairies: from the Cree of Manitoba and People”, receiving the name Chief Bodie when he reached maturity. He was Saskatchewan, to the Blackfoot, Sarcee, Peigan, Stoney, and Blood Tribes a member of the Horn Society, the leading religious organization of his tribe, of Southern Alberta that he would come to know so well. De Grandmaison as well as of several other secret societies. Few portraits exist of Chief Bodie, recognized that these were a People in transition, whose traditional way of with a notable example in the collection of the University of Lethbridge Art life was being threatened. He felt a strong affi nity with them, perhaps as a Gallery. result of his personal experiences with cultural destruction during the Russian $ 15,000 / 20,000 Civil War. Nicholas de Grandmaison was particularly drawn to the weathered, expressive faces of the older community members - those faces most marked by experience. De Grandmaison believed that it was they who had “lived enough and suff ered enough to have interesting faces”. Nicholas de Grandmaison has received many honours for his important historical and artistic contributions: He was inducted into the Royal Canadian Academy, granted the Order of Canada, and awarded an honourary degree from the University of Calgary. Though, perhaps the most meaningful tribute came in 1959, when he was made an Honorary Chief of the Peigan Nation and given the Blackfoot name of Eenuk-Sahpo’p (Little Plume). $ 15,000 / 20,000 37 | Walter Joseph Phillips Canadian ASA, CPE, CSPWC, MSA, RCA [1884-1963] MOUNTAIN TORRENT; 1926 colour woodcut on paper; ed. #80/100 8.75 x 12 in. (22.2 x 30.5 cm) signed, titled & editioned in pencil; monogrammed & dated in the block MBL89 Illustrated p. 205 “Walter J. Phillips: The Complete Graphic Works” (Roger Boulet; M. B. Loates Publishing Ltd.; 1981). W. J. Phillips fi rst travelled to the Rocky Mountains in 1926. He returned periodically before moving to Banff in 1940 to embark on what would become a 20 year teaching career at the Banff Summer School. During his fi rst trip to the Rockies, Phillips stayed at a CPR bungalow near Lake O’Hara, and also camped in the area. The cool, damp weather did not deter him and his artist companions from fi nding remote mountain sketching grounds; Phillips writes of scaling a “nearly perpendicular mountain”, climbing “steep trails”, often encountering snow”. On one such trip to the Opabin plateau, Phillips describes the visual rewards: “There were delightful views on that plateau without number. Mountain and meadow were at variance, the latter indescribably warm in tone, golden and dappled with fl owers, the mountains were invariably cool. Streams, broad and quiet in one place, rushing noisily over a declivity in another - a string of lakes and cascades, and tumbled rocks, and stunted larch that were then yellow, gave infi nite interest and variety to the foregrounds. The debris from broken bastions formed screens that trespassed on the edges of the meadow, and above them rose mighty walls of rock. Reference: pages 93-96 “The Tranquility and the Turbulence: The Life and Work of Walter J. Phillips” (Roger Boulet; M. B. Loates Publishing Ltd.; 1981) $ 6,000 / 8,000 38 | Walter Joseph Phillips Canadian ASA, CPE, CSPWC, MSA, RCA [1884-1963] HNAUSA; 1934 colour woodcut on paper; ed. #29/50 11.75 x 17.25 in. (29.8 x 43.8 cm) signed, titled & editioned MBL202 This woodcut is illustrated on p. 139 of “The Tranquility and the Turbulence: The Life and Work of Walter J. Phillips” (Roger Boulet; M.B. Loates Publishing Ltd.; 1981). Phillips also produced a watercolour of the same title, which is reproduced, opposite the print, on p. 138. In 1928, the Hudson Bay Company commissioned Phillips to produce drawings of York boats. This undertaking had the added eff ect of rekindling in Phillips his interest in some of the lakeside villages of Manitoba. He began to sketch them, later using these sketches to produce watercolours and woodcuts. On one such sketching trip that began in Gimli, Phillips describes his impressions of this scene (pp. 114-15): One day, dodging the raindrops, we drove north. We reached Hnausa, an inconsiderable hamlet, and left the highroad seeking the lake. We came upon it suddenly, and stopped by a gushing spring just short of a long angular pier. The plank causeway, relieved by occasional bollards, made straight for the horizon, changing its mind after 50 yards and turning to the right like a bending arm. There was a shack at the point where it ended abruptly. This breakwater embraced a handsome lake steamer, a pure white craft with the high super-structure common to its kind, and seeming top-heavy to those who are accustomed to go down to the sea, instead of to the lake, in ships. There was no sign of life either on the boat or on the pier. In fact the prospect was singularly lonely. The scene was an extraordinarily good arrangement, considered pictorially. Its beauty was apparent to the whole party, not all of whom were artists...the pathos of the scene was overwhelming. It was such a little boat, such a vast and empty setting.” $ 5,000 / 7,000 39 | Maxwell Bennett Bates Canadian ASA, CGP, CSGA, CSPWC, RCA [1906-1980] HOUSES IN APRIL; ca 1948/49 oil on board 20 x 16 in. (50.8 x 40.6 cm) signed lower right; titled on the label verso inscribed verso by Bates’ close friend and colleague, John Snow: “painted about 1948 or /9” Exhibited: Calgary Allied Arts Council, Women’s Committee Literature: “Maxwell Bates: A Canadian Expressionist” (Michael Morris, David Silcox & Robin Skelton; The Edmonton Art Gallery; 2004); “Maxwell Bates: Landscapes/Paysages 1948-1978” (Nancy Townsend; Medicine Hat Museum and Art Gallery; 1982). In January of 1946, Max Bates returned to Calgary after a 15 year transformative absence. During those years abroad Bates was immersed in the contemporary art scene in England; he exhibited extensively; he travelled the continent visiting museums and sketching; he joined the British Territorial Army at the outset of WWII; and, ultimately, was a prisoner of war for 5 years. The period that immediately followed, from 1946 to 1949, was a period of post-war adjustment, stability, reestablishment, and a time of reconnection with the Calgary arts community, which was now more progressive and accepting. Bates connected with old friends (particularly W. L. Stevenson and John Snow), and made new ones (like Jock MacDonald, the new director of the Provincial Institute of Technology and Art). He joined the Calgary Group of Artists, the Canadian Society of Graphic Art, and the Alberta Society of Artists. This was a busy time, marked by support and encouragement. Even though Bates had rejoined his father’s architectural fi rm, and this would become his primary profession until 1961, he continued to paint extensively. He had his fi rst Canadian solo exhibition in 1947, at Canadian Art Galleries, followed by a show in Vancouver and Saskatoon. He taught evening classes in life drawing, and children’s art classes at the Institute. Bates again left Calgary, briefl y, during late 1949 and 1950 to marry his fi rst wife, Mae, in her native New York, and to study at the Brooklyn Museum of Art. This work, painted during those post-war years in Calgary, depicts a street scene from the Connaught neighbourhood in which Bates grew up, and where he once again lived during this time. The view is to the north of Bates’ home, and while the houses have recently been torn down, the top right quadrant appears to show part of the old Wesley United Church, now home to the Calgary Opera. $ 3,000 / 5,000 44 | Sheila Kernan 40 | Neil Patterson Canadian ASA [b. 1983] Canadian ASA, FCA, OPA [b. 1947] ART OF THE DEAL; 2015 MOONLIGHT RANCH oil on canvas over wood panel oil on masonite (gallery-wrapped) 24 x 30 in. (61 x 76.2 cm) 36 x 48 in. (91.4 x 121.9 cm) signed lower right; titled verso signed lower right; signed, titled & dated verso $ 1,500 / 2,500 Provenance: Corporate Collection, Calgary AB Note: Sheila Kernan worked on this piece on site, at the Banff Springs Hotel, during a 2015 43 | Anne Meredith Barry conference of the Independent Power Producers Canadian RCA [1932-2003] Society of Alberta. The piece was subsequently CAPE BROYLE WATERFALL (ST. auctioned off , with the proceeds going to charity. MICHAEL’S NEWFOUNDLAND); 1993 $ 1,500 / 2,000 mixed media on paper 30 x 22 in. (76.2 x 55.9 cm) signed & dated lower right; titled on the gallery label verso 41 | Rod Charlesworth Provenance: Masters Gallery, Calgary AB Canadian [b. 1955] $ 2,000 / 2,500 AUTUMN SNOW, BOW RIVER; 1992 oil on masonite 30 x 48 in. (76.2 x 121.9 cm) signed lower right; signed & titled verso Provenance: Hambleton Galleries, Kelowna BC $ 2,500 / 3,500

42 | Claude Tremblay Canadian [b. 1954] 45 | Ted Harrison QUE CES CHEMINS NOUS SOIENT Canadian RCA [1926-2015] BONS ET HEUREUX SILENT WONDER; 1982 acrylic on canvas acrylic on canvas 60 x 48 in. (152.4 x 121.9 cm) 24 x 36 in. (61 x 91.4 cm) signed lower right; signed & titled verso signed lower right; signed, titled & dated verso $ 1,500 / 2,000 $ 12,000 / 15,000 46 | Alfred Joseph Casson Canadian CGP, CSPWC, G7, OSA, RCA [1898-1992] OTTER LAKE (HALIBURTON); 1937 oil on board 9.5 x 11.25 in. (24.1 x 28.6 cm) signed lower right; signed, titled & dated verso and on the artist’s label Provenance: Roberts Gallery, Toronto ON; Collection Claude Courcy, Montreal QC; Peter Ohler Fine Arts, Vancouver BC Toronto born A.J. Casson received his early artistic training at Hamilton Technical School, subsequently apprenticing at the Laidlaw Lithography Company. When his family moved back to Toronto, in 1915, he worked as a free lance designer while attending evening art classes at Central Technical School. His work was fi rst exhibited publicly in 1917, at the Canadian National Exhibition. In 1919, Casson accepted a position at the prominent Toronto fi rm Rous and Mann Publishing, as Franklin Carmichael’s assistant. Carmichael, who became his greatest infl uence, encouraged the young artist, took him on sketching trips, and introduced him to the Arts and Letters Club. Casson soon became an invited contributor to the Group of Seven shows and, in 1926, he was invited to join the Group, replacing Franz Johnston who had only exhibited in the Group’s fi rst exhibition. That same year, Casson became an associate member of the Royal Canadian Academy, and left Rous & Mann for the Sampson Matthews Company. Casson, who had a strong sense of design and leadership, eventually became Art Director and Vice President. While he continued to paint extensively, Casson only became a full-time artist upon his retirement from the fi rm in 1957.

A. J. Casson’s design and illustration background is evident in his work, and integral to his evolution as an artist and to the development of his distinct artistic style. His works are amongst the most recognizable and beloved of Canadian collectors. Casson is particularly identifi ed with his Ontario landscapes, noted for their graceful and streamlined composition, and for his carefully considered manipulation of pattern, light and colour. A. J. Casson was a passionate and avid promoter of Canadian art, and was very active in the artistic community over his long and distinguished career. He served as president of the Royal Canadian Academy of Arts (1948-52), president of the Ontario Society of Artists (1941-44) and sat on several boards including what is now the Art Gallery of Ontario (1955-59). He was also instrumental in founding the Canadian Group of Painters, the Canadian Society of Painters in Watercolour, and in instigating the WWII war artist’s program. $ 30,000 / 40,000 47 | Walter Joseph Phillips Canadian ASA, CPE, CSPWC, MSA, RCA [1884-1963] THE BATWING SAIL; 1925 colour woodcut on paper; ed. #54/150 7 x 7.5 in. (17.9 x 19 cm) signed, titled & editioned in pencil; monogrammed & dated in the block MBL77 In 1924 and 1925 (before and after a one year leave back to England), the Phillips family spent several memorable months in Muskoka. Phillips fondly recalls the west facing view and his many evenings spent observing the sky and lake: “To be enjoyed a sunset should be viewed from the depths of an easy-chair set on the screened porch of one’s home. In those circumstances the mind may be attuned to the evening splendour in tranquility and peace”. Reference: p. 73 “The Tranquility and the Turbulence: The Life and Work of Walter J. Phillips” (Roger Boulet; M. B. Loates Publishing Ltd.; 1981). This work is illustrated on page 222 of “Walter J. Phillips: The Complete Graphic Works” (Roger Boulet; M. B. Loates Publishing Ltd.; 1981). $ 2,500 / 3,500

48 | Walter Joseph Phillips Canadian ASA, CPE, CSPWC, MSA, RCA [1884-1963] POPLAR BAY, LAKE OF THE WOODS; 1930 colour woodcut on paper; ed. #98/100 9.5 x 13.25 in. (24.1 x 33.7 cm) signed, titled & editioned in pencil; monogrammed & dated in the block MBL136 A 1928 commission by the Hudson’s Bay Company, to produce paintings of York boats, invariably led Phiilips to Lake Winnipeg and Lake of the Woods. The fi rst recorded sailing of the York boat on Lake of the Woods dates back to 1845 when the Hudson’s Bay Company developed the ship to to assist with the fur trade. These vessels were preferred to canoes due to their greater capacity, improved stability on rough water, and performance on rock and ice. A mast and square sail would be assembled for open water when conditions were favourable. This rare work combines the striking image of two York Boats, set against the majestic landscape of Lake of the Woods, a favoured painting ground for Phillips, who had spent many summers by the lake with his young family. $ 5,000 / 7,000 52 | Robert Genn 53 | Henri Leopold Masson 49 | Maurice de Vlaminck Canadian FCA [1936-2014] Canadian CGP, CSPWC, RCA [1907-1996] French [1876-1958] SARA, SUN SPARKLE DUET PAYSAGE oil on canvas oil on canvas ink on paper 24 x 30 in. (61 x 76.2 cm) 22 x 28 in. (55.9 x 71.1 cm) 9.5 x 11.25 in. (24.1 x 28.6 cm) signed lower left; signed & titled verso signed lower left; titled on the stretcher verso signed lower right Note: The subject of this painting is Sara Genn, $ 2,500 / 3,500 Provenance: Inter-Continental Art Agency Ltd., daughter of the artist, now a accomplished artist in Vancouver BC (acquired by the consignor in 1980, her own right. and accompanied by a copy of the purchase $ 2,500 / 3,500 documents and certifi cate) $ 1,500 / 2,000

50 | Ron Hedrick Canadian [b. 1942] WADERS oil on canvas 40 x 30 in. (101.6 x 76.2 cm) signed lower left; titled verso $ 1,500 / 2,000

54 | Sybil Andrews British/Canadian CPE [1898-1992] FATHER FORGIVE THEM: STATION XI; 1964 colour linocut in four colours on paper; ed. #2/60 51 | Kal Gajoum 12.5 x 14.5 in. (31.8 x 36.8 cm) Lybian/Canadian [b. 1968] signed, titled & editioned in pencil lower left CLOCK TOWER; 2005 Reference: Coppel SA66; White71 oil on canvas Note: Illustrated p. 67 “Sybil Andrews” (Glenbow-Alberta Institute; 1982); p. 123 “Linocuts of the 36 x 24 in. (91.4 x 61 cm) Machine Age: Claude Flight and the Grosvenor School” (Stephen Coppel; Scholar Press; 1995); p. 120 signed & dated lower left; titled verso “Sybil Andrews Linocuts: A Complete Catalogue” (Hana Leaper; Lund Humphries; 2015). Printed from Provenance: Gainsborough Galleries, Calgary AB 4 blocks on cream oriental laid paper: brown, viridian, alizarin purple, burnt umber. $ 2,000 / 3,000 $ 2,500 / 3,500 55 | Sybil Andrews British/Canadian CPE [1898-1992] RACING; 1934 linocut in four colours on paper; ed. #22/60 10 x 12.5 in. (25.4 x 31.8 cm) signed, titled & dated in pencil lower left Collections of the MOMA and Metropolitan Museum of Art (New York); Chicago Art Institute; Glenbow Museum (Calgary) Provenance: The Redfern Gallery, London, England; Masters Gallery, Calgary AB (labels verso) Reference: White 32; Coppel SA32; Leaper 34 Illustrated cover and p. 57 “Sybil Andrews” (Peter White; Glenbow-Alberta Institute; 1982); p. 79 “Sybil Andrews Linocuts: A Complete Catalogue” (Hana Leaper & Osborne Samuel; Lund Humphries; 2015); pp. 20-21 and back end paper “Sybil Andrews and the Grosvenor School Linocuts” (Hana Leaper; Osborne Samuel Ltd.; 2015) Sybil Andrews was born in the small town of Bury St. Edmunds in Suff olk, England. She spent her childhood drawing and painting, though did not have the means to continue onto art school after high school; instead, she apprenticed as a welder, and went on to work at the Standard Motor Company, welding airplane parts during World War I – all the while, teaching herself art through correspondence. After the war, Andrews met Cyril Power, an architect and hopeful artist, who initially took on the role of mentor and sketching partner. The two would go on to become close friends and long-term associates, exhibiting together for the fi rst time in 1921. In 1922, with the aid of a small inheritance, Sybil Andrews was able to enroll in the Heatherley School of Fine Art. Then, in 1925, Andrews fatefully took the position of school secretary at the newly formed Grosvenor School of Modern Art; this arrangement allowed her to earn a living and some free tuition. Andrews soon began to attend Claude Flight’s classes in linoleum-cut printing. Flight, infl uenced by Futurism, Cubism and Vorticism, brought to the school an innovative approach to art, and new printing techniques; these would provide Andrews with her ideal artistic vehicle. Sybil Andrews’ dynamic and modernist linocut prints are characteristic of the golden age of design in the 1920s and 1930s. The Grosvenor School linocuts were prints for a new era, refl ecting the speed, movement, and hustle-bustle of a rapidly changing world. Strong colour, simplifi cation of form, the use of geometric and decorative patterning, and expressive rhythm were hallmarks of the genre. In “Racing”, Andrews eff ectively uses repetitive motif and geometric manipulation to capture a sense of speed – the horses heads blend into the track, the reigns into the arms of the riders. The stylized horses, sweeping rhythm and colour palette suggest that this piece relates to the collaborative work “Epsom Summer Meeting” produced in 1933 by “Andrew Power” (commissioned by London Transport to promote the derby and racecourse as a destination). Founded in 1780 by the 12th Earl of Derby, and the original “Derby”, it is England’s oldest, richest, and most prestigious of the racing Classics. This important work can be found in many public collections including: The Museum of Modern Art, NY (235.2006); The Met, NY (2005.470.5); The Art Institute of Chicago (1985.969); and Glenbow Museum (80.19.2) $ 20,000 / 30,000 56 | Roy Leadbeater Canadian [1928-2017] LIGHT FIXTURE welded steel height: 12 in. (30.5 cm); diameter: 64 in. (162.6 cm) Provenance: Commissioned from the artist by Mary Burton, Calgary AB, by descent to the current owner $ 1,500 / 2,500

57 | Katie Ohe 58 | Katie Ohe Canadian ASA, RCA [b. 1937] Canadian ASA, RCA [b. 1937] FULDA TABLE; 1992 THE SPECTATORS aluminum and glass cast concrete 18.5 x 54 x 38 in. (47 x 137.2 x 96.5 cm) 39.75 x 33 x 30 in. (101 x 83.8 x 76.2 cm) Provenance: Commissioned from the artist by Mary Burton, Calgary AB, by descent to the Provenance: Estate of Mary Burton, Calgary AB, by descent to current owner the current owner $ 3,000 / 5,000 $ 3,000 / 5,000 59 | Arthur Horsfall 63 | Steven Nederveen Canadian MSA, RCA [1914-1994] Canadian [b. 1971] UNTITLED COMPOSITION (1028-A) BIG SKY REFLECTED oil on canvas mixed media and resin on constructed panel; 48 x 48 in. (121.9 x 121.9 cm) 2015 signed upper right; signed verso and inscribed 61 | Victor Vasarely 30 x 30 in. (76.2 x 76.2 cm) with inventory number Hungarian/French [1906-1997] signed, titled & dated verso COMPOSITION II; 1968 Provenance: Canada House Gallery, Banff AB Arthur Horsfall was an artist and $ 2,000 / 3,000 commercial illustrator born in Winnipeg, collage on paper Manitoba. He studied at the Winnipeg School of 11 x 7 in. (27.9 x 17.8 cm) Art with L.L. Fitzgerald and Joe Plaskett, and also signed lower right; titled & dated on the gallery participated in summer workshops at Emma Lake label verso (No. 529) with Kenneth Lochhead and Roy Kiyooka. Arthur Provenance: Inter-Continental Art Agency Ltd., Horsfall was a member of the 1970’s Subway Vancouver BC (acquired by the consignor in Group of Artists, an underground, contemporary 1981, and accompanied by a copy of the purchase art movement in Winnipeg. documents) $ 1,000 / 2,000 $ 3,000 / 4,000

60 | Peter Lik Australian/American AIPP, PPA [b. 1959] GHOST (ANTELOPE CANYON, ARIZONA); 2006 photographic print; ed. #747/950 62 | Herbert Franklin (Frank) Palmer 64 | Jonathan Forrest 26 x 39 in. (66 x 99.1 cm) Canadian ASA, CSPWC, RCA [1921-1990] Canadian [b. 1962] signed & editioned lower right SHORE SWITCHBACK; 2006 Note: This work was exhibited at the Smithsonian oil on canvas acrylic on canvas Museum of Natural History (Washington, D.C.) in 40 x 30 in. (101.6 x 76.2 cm) 88 x 66 in. (223.5 x 167.6 cm) 2011 after winning the 2010 Windland Smith Rice signed lower left; signed & titled on the stretcher signed, titled & dated verso International Award for nature photography. verso Provenance: Newzones Gallery, Calgary AB $ 1,500 / 2,500 $ 1,000 / 1,500 $ 4,000 / 6,000 67 | Nicola Prinsen Canadian [b. 1955] FETCH; 2005 bronze; ed. #8/9 14 x 33 x 17 in. (35.6 x 83.8 x 43.2 cm) signed & editioned in the cast; titled & dated on 66 | Nicola Prinsen the gallery label Canadian [b. 1955] Provenance: Canada House Gallery, Banff AB SNOWBOARD’N BEAVER; 2007 65 | Les Thomas $ 2,500 / 3,500 Canadian [b. 1962] bronze; ed. #1/9 HARE (AP #015-1220); 2015 19 x 22 x 10.5 in. (48.3 x 55.9 x 26.7 cm) oil on canvas (gallery-wrapped) signed & editioned in the cast; titled & dated on 24 x 24 in. (61 x 61 cm) the gallery label Provenance: Canada House Gallery, Banff AB signed, titled & dated on the stretcher verso Provenance: Canada House Gallery, Banff AB $ 2,500 / 3,500 $ 2,000 / 2,500

68 | Norval Morrisseau 69 | Les Thomas Canadian RCA [1931-2007] Canadian [b. 1962] BEAR, OWL AND BIRD ;1971 MOOSE (AP #03-2224); 2003 acrylic on card oil and wax on panel 22.5 x 28.5 in. (57.2 x 72.4 cm) 48 x 48 in. (121.9 x 121.9 cm) signed in syllabics centre right; signed in Roman and dated lower right signed, titled & dated verso $ 2,000 / 3,000 Provenance: Canada House Gallery, Banff AB $ 5,000 / 7,000 70 | Rita Letendre Canadian RCA [b. 1928] ABSTRACT COMPOSITION; 1959 gouache on paper 9.5 x 7 in. (24.1 x 17.8 cm) signed & dated lower right Provenance: Galerie Simon Blais, Montreal QC; Masters Gallery, Calgary AB 71 | Marcelle Ferron Canadian AUTO, CAS, QMG, RCA [1924-2001] Rita Letendre is one of Canada’s most distinguished, living abstract artists. ABSTRACT COMPOSITION; ca 1993 She began her artistic training in the academic and traditional atmosphere of oil and ink on paper the Ecole des Beaux Arts in Montreal, quickly changing her path following a 8.75 x 5.5 in. (22.2 x 14 cm) viewing, in 1950, of the art show “L’Exposition des Rebelles”. After leaving signed verso; inscribed “circa 1993” the conservative Ecole, Rita Letendre began showing small abstract works. Provenance: Ingram Gallery, Toronto ON In 1954, she was selected to participate in the fi nal Automatiste exhibition coordinated by Paul-Emile Borduas, “La Matiere Chante”. Soon after, she Marcelle Ferron initially studied at the Ecole du Meuble (Montreal) and the participated in a touring exhibition with the Plasticiens, and had her fi rst solo Ecole des Beaux-arts (Quebec), though this education became show at L’Echourie in Montreal. This was the beginning of a very long and progressively dissonant with her modernist sensibility. Ferron became a productive career. member of Paul-Émile Borduas’s Automatiste art movement, signing the Refus Global manifesto in 1948. She began to achieve prominence while The 1950s were a formative period for Letendre, during which she was living in Paris (1953-1966). In 1963, she began to study glass making and infl uenced not only by the Automatistes, but by Eastern philosophy and the stained glass techniques. She devoted herself to this art form for many years, and did not return to painting again for quite some time. American Abstract Expressionists. Her work transformed over the decades, from these early gestural works, to vibrant geometrical compositions, and Marcelle Ferron exhibited broadly throughout her prolifi c and decorated canvases characterized by vigorous brushwork and contrast. In 2017 Rita career, both in Canada and internationally. In 1970, The Musee d’Art Letendre was honoured with an exhibition at the Art Gallery of Ontario, “Fire Contemporain de Montreal staged a retrospective of her work, subsequently and Light” which showcased work spanning her 70 year career. shown in Paris at the Canadian Cultural Centre in 1972. $ 1,500 / 2,500 $ 2,000 / 3,000 72 | Jean-Paul Jerome Canadian RCA [1928-2004] LA MURAILLE D’EAU; 1976 acrylic on canvas 7.5 x 10.75 in. (19.1 x 27.3 cm) signed & dated lower right; signed, titled & dated on the backing verso Jean-Paul Jerome studied at the Ecole des Beaux- Arts de Montreal, under Stanley Cosgrove. By the early 1950s he had shifted towards abstraction, and in 1955 he became one of the original founders of the Plasticien Movement, an avant-garde movement based in geometrical abstraction. After a sojourn in Paris, Jerome returned to the Ecole as an instructor, leaving in 1973 to devote himself fully to his art. $ 1,000 / 1,500

73 | Marcelle Ferron Canadian AUTO, CAS, QMG, RCA [1924-2001] ABSTRACT COMPOSITION; ca 1993 oil and ink on paper 6.25 x 5..25 in. (15.9 x 13.3 cm) inscribed “circa 1993” Provenance: Ingram Gallery, Toronto ON Marcelle Ferron initially studied at the Ecole du Meuble (Montreal) and the Ecole des Beaux-arts (Quebec), though this education became progressively dissonant with her modernist sensibility. Ferron became a member of Paul- Émile Borduas’s Automatiste art movement, signing the Refus Global manifesto in 1948. She began to achieve prominence while living in Paris (1953-1966). In 1963, she began to study glass making and stained glass techniques. She devoted herself to this art form for many years, and did not return to painting again for quite some time.

Marcelle Ferron exhibited broadly throughout her prolifi c and decorated career, both in Canada and internationally. In 1970, The Musee d’Art Contemporain de Montreal staged a retrospective of her work, subsequently shown in Paris at the Canadian Cultural Centre in 1972. $ 2,000 / 3,000 74 | Maurice Galbraith Cullen Canadian RCA [1866 - 1934] BEND IN THE RIVER, PIEDMONT; 1924 oil on wood panel 10.5 x 13.75 in. (26.7 x 34.9 cm) signed lower right; signed, titled & dated verso Provenance: Walter Klinkhoff Gallery, Montreal QC (inventory label verso - no. 1420); The Watson Art Galleries, Montreal QC (1925 exhibition label verso - no. 35) Maurice Galbraith Cullen was born in St. John’s, Newfoundland, moving with his family to Montreal as a young boy - it would be the city he would call home. At age fourteen, while working as a clerk, he began to study art at the Institut National des Beaux-Arts et Sciences, and privately with sculptor Louis-Philippe Hebert. In 1989, an inheritance from his mother allowed Cullen to moved to France to further his studies. He trained at the Ecole des Beaux- Arts and at the Academies Julian and Colarossi. He was quickly drawn to impressionism and decided to focus on painting. While in France, he met several fellow Canadian artists, including James Wilson Morrice and William Brymner, who became his sketching parthers. Cullen exhibited at the Paris Salon and become an associate of the Société Nationale des Beaux-arts, before returning to Montreal in 1895. Although he exhibited regularly, his paintings did not sell well in Montreal during these early years. The art collectors of the time still preferred the somber 18th and 19th century works by Dutch and British artists. Things improved somewhat following his election into the Royal Canadian Academy (as an associate in 1899 and a full member in 1907). Cullen infl uenced many artists, teaching privately at his Beaver Hall Square studio, and at the Art Association of Montreal, where he taught outdoor studio classes every summer between 1911 and 1923. He also took his students on periodic sketching trips. Cullen was a regular contributor to exhibitions of the Royal Canadian Academy and the Art Association. It was through these exhibitions that he became known to the prominent Montreal art dealer William Watson, who beginning in 1923 held annual exhibitions of Cullen’s work. From this point on, Cullen concentrated on the Laurentian landscape. Considered the father or Impressionism in Canada, Cullen bent the light fi lled, loosely painted French Impressonist techniques to accommodate the demands of the uniquely Canadian landscape and his own style. Cullen, who often painted outdoors, was a careful observer of nature, continually watching the ice and snow on the Laurentian rivers, and noting the transient eff ects of time of day, weather and even season. It is in these Laurentian winter scenes that we see Cullen’s mastery of the eff ects of light upon snow; his use of complementary colour and texture; his ability to capture atmosphere. In an early exhibition publication, William Watson says of Cullen’s work: “In deep winter under a canopy of snow, where the woods are a silhouette of black against a shimmer of radiant light, Cullen paints his poem to the glory of the Laurentian winter. In his pictures one feels the very mood of hushed solitude, the exquisite silence of the snow-enshrouded world.” $ 10,000 / 15,000 78 | Isabel Grace McLaughlin Canadian CGP, OSA [1903-2002] A RAINY FALL DAY AT COWANSVILLE, P. QUE.; 1937 77 | James Henderson oil on wood panel Canadian [1871-1951] 13 x 16.25 in. (33 x 41.3 cm) SUNSET, QU’APPELLE VALLEY signed, titled & dated verso; estate stamped oil on canvas (Inv. #129) 75 | William Goodridge Roberts 12.25 x 12.25 in. (31.1 x 31.1 cm) Provenance: Masters Gallery, Calgary AB Canadian CGP, CSGA, CSPWC, RCA [1904-1974] signed lower right GLADIOLA AND FRUIT; 1949 Provenance: Masters Gallery, Calgary AB Isabel McLaughlin studied at the Ontario College oil on masonite $ 3,000 / 5,000 of Art (under Arthur Lismer and Yvonne McKague Housser), as well as at the Art Students League 20 x 16 in. (50.8 x 40.6 cm) (New York) and at the Scandinavian Academy signed lower right; titled and dated on labels verso (Paris). She held her fi rst solo show in 1933 at the Provenance: Dominion Gallery, Montreal QC Art Gallery of Toronto, the same year she became $ 4,000 / 6,000 one of the founding members of the Canadian Group of Painters. She exhibited regularly with the group, and in 1939 became its fi rst female president. $ 1,500 / 2,500

79 | 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) Certifi ed 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 76 | William Brymner travelled to Paris in 1904 to continue his studies. Here, he attended the Academie Julien and became Canadian RCA [1855-1925] immersed in the artistic community, gaining recognition for his work at the St. Louis Art Exhibition, SUMMER LANDSCAPE AND GRAZING and at the Salon de la Societe des Artistes Francais. While in Paris, Gagnon painted with James Wilson SHEEP; 1891 Morrice and became infl uenced by his plein-air sketching techniques. Upon his return to Quebec in oil on canvas (relined) 1908, he settled in Baie-St-Paul along the St. Lawrence River, though he would go on to spend much 14.25 x 20.5 in. (36.2 x 52.1 cm) of his life living and working in France. It is in the Laurentians where he produced most of his plein-air signed & dated lower left sketches. Where his Group of Seven contemporaries are best known for their bold, rugged depictions of Provenance: Galerie Walter Klinkhoff , Montreal the Canadian wilderness, Gagnon is recognized for gentle and idyllic scenes that refl ect his aff ection for QC his homeland. $ 2,000 / 3,000 $ 10,000 / 15,000 80 | Raphael Montpetit 83 | Henri Leopold Masson Canadian CGP, CSPWC, RCA [1907-1996] 84 | Horace Champagne Canadian [b. 1980] Canadian PSA, PSC [b. 1937] LORSQUE LE CIEL N’ILLUMINE QUE MASHAM, QUE. oil on canvas WINTER REFLECTIONS (RUE ST-LOUIS, LUI-MEME; 2001 OLD QUEBEC CITY); 1999 oil on canvas 28 x 36 in. (71.1 x 91.4 cm) signed lower left; signed & titled on the stretcher pastel on paper 24 x 30 in. (61 x 76.2 cm) verso 16 x 20 in. (40.6 x 50.8 cm) signed lower left; signed, titled & dated verso $ 3,500 / 4,500 signed lower left; signed, titled & dated on the Provenance: Hollander York Gallery, Toronto ON artist’s certifi cate verso $ 1,000 / 1,500 Provenance: Masters Gallery, Calgary AB $ 1,500 / 2,500

81 | Kal Gajoum Lybian/Canadian [b. 1968] SNOWY CITY; 2005 oil on canvas 36 x 24 in. (91.4 x 61 cm) signed & dated lower left; titled verso Provenance: Gainsborough Galleries, Calgary AB $ 2,000 / 3,000

82 | Robert Lemay 85 | Horace Champagne Canadian [b. 1961] Canadian PSA, PSC [b. 1937] MARIGOLDS IN SUMMER; 1991 SUNDAY, TOBOGGANING IN OLD QUEBEC oil on canvas pastel on paper 64 x 45 in. (162.6 x 114.3 cm) 18 x 24 in. (45.7 x 61 cm) signed & dated lower left; signed, titled & dated signed lower right; titled on the gallery label verso verso Provenance: Masters Gallery, Calgary AB $ 2,000 / 3,000 $ 2,000 / 3,000 86 | Rita Mount Canadian RCA [1888-1967] GASPE HARBOUR oil on board 9 x 11 in. (22.9 x 27.9 cm) signed lower left and verso Provenance: Masters Gallery, Calgary AB Rita Mount was born in 1888 in Montreal, and began her artistic studies at age 10. While taking summer classes with Maurice Cullen, the promising student earned herself a two year scholarship at the Art Association of Montréal (where she studied under William Brymner). She trained internationally, at the Cercle Internationale des Beaux-Arts (Paris), and at the Art Students League in New York state, where she additionally took private classed from John Fabian Carlson. Rita Mount travelled extensively seeking inspiration - driving west to Banff in 1934, then to Victoria and Wyoming in 1937. She visited Cape Breton Island, Nova Scotia, and the Gaspe region several times. Rita Mount gained notoriety for her marine paintings, which were the subject of a solo exhibition at the Art Association of Montreal in 1934. She exhibited regularly with the Association, the Royal Canadian Academy, the Musee National des Beaux-arts du Quebec, and commercially, on a national and international level. $ 1,500 / 2,500

87 | Yvonne McKague Housser Canadian CGP, FCA, OSA, RCA [1898-1996] WINTER LANDSCAPE (AUTUMN LANDSCAPE verso) oil on board (double-sided) 12 x 16 in. (30.5 x 40.6 cm) monogrammed lower right Provenance: Masters Gallery, Calgary AB Toronto born artist Yvonne McKague Housser trained at the Ontario College of Art from 1913- 1918. Over the years, she continued to develop her craft, studying abroad in France, Austria, the United States and Mexico. After graduating from the OCA, the decorated student stayed on at the College, initially as an assistant to Arthur Lismer and F. H. Varley, then as an instructor, teaching a wide variety of courses. She became a highly regarded instructor in her own right, and was instrumental in the founding of Toronto’s Art Students’ League in 1926, becoming its principal advisor. Housser exhibited in three Group of Seven Shows (in 1928, 1930 and 1931); she additionally exhib- ited with the RCA, the OCA, and in numerous national exhibitions, including at the National Gallery and the Montreal Museum of Fine Arts. Housser was very involved with the arts community, as a founding member of the Canadian Group of Painters and Federation of Canadian Artists, and was a member of the Royal Canadian Academy and Ontario Society of Artists. Known primarily for her lively Ontario landscapes, and for her affi liation with the Group of Seven, Housser’s work evolved, moving toward semi-abstraction and abstract expressionism. $ 3,000 / 5,000 90 | Horace Champagne 89 | Horace Champagne Canadian PSA, PSC [b. 1937] Canadian PSA, PSC [b. 1937] THE MAGIC OF CHRISTMASTIME IN LA DOUCEUR DE QUEBEC, RUE OLD QUEBEC (RUE STE-ANNE, OLD STE-GENEVIEVE, VIEUX QUEBEC (A QUEBEC); 1993 SOFT, QUIET MOOD IN OLD QUEBEC); pastel on paper 1990 19.5 x 25.5 in. (49.5 x 64.8 cm) pastel on paper 88 | Pauline Thibodeau Paquin signed lower left; signed, titled & dated on the Canadian [b. 1952] 16 x 20 in. (40.6 x 50.8 cm) artist’s certifi cate verso A MARELLE; 2004 signed lower right; signed, titled & dated on the Provenance: Masters Gallery, Calgary AB artist’s labels verso acrylic on canvas $ 2,000 / 3,000 $ 1,500 / 2,500 24 x 20 in. (61 x 25.4 cm) signed lower right; signed, titled & dated verso $ 1,000 / 1,500

91 | James Edward Hervey MacDonald Canadian G7, OSA, RCA [1873-1932] NEAR HIGH PARK; 1909 oil on board 6.5 x 9.5 in. (16.5 x 24.1 cm) signed, titled & dated verso Provenance: Roberts Gallery, Toronto ON As early as 1896, J. E. H. MacDonald began exploring the vast 400 acre High Park located in Toronto’s West End. The park, with its rich natural reserve, served as a prime location for the artist to observe and record, with subject matter that included dense forest, grassland, an abundance of native species, and the impressive Grenadier pond. This area held a sentimental history for MacDonald as well. Following his honeymoon in 1899, MacDonald and his new wife rented a cottage nearby on Quebec Avenue, two years later building a family home on the same street. It was here that his son, artist Thoreau MacDonald, was born. From his home on Quebec Ave, MacDonald would walk to the park, sketch book and paints in hand. In 1907, upon returning from a trip to England, MacDonald became head designer of Grip Limited, the same year that Tom Thomson joined the fi rm. The two artists spent much time together discussing materials, techniques, and locations. MacDonald’s and Thompson’s works from this formative period share similarities, as both artists were seeking to defi ne their personal style. In 1911, MacDonald exhibited a number of sketches, many painted in High Park. The show was so well received that MacDonald left his job at Grip to freelance, so that he could spend more time on his painting. In response to the exhibition, Lawren Harris was struck by the particularly Canadian subject matter and technique. A. Y. Jackson, who met MacDonald around this time, would later write that MacDonald “was probably the fi rst to dream of a school of painting in Canada that would realize the wealth of motifs we had around us”. (p. 29 “A Painter’s Country, The Autobiography of A.Y. Jackson”; Clarke, Irwin & Company Ltd.; 1958”. There is no doubt that the early years that J. E. H. MacDonald spent sketching in and around High Park had a profound eff ect on the artist;s development; this early work helped him to forge the connection between art and the land, a connection that would go on to defi ne Canadian art. $ 12,000 / 16,000 95 | Allen Sapp 98 | Doris Jean McCarthy Canadian CSPWC, FCA, OSA, RCA [1910-2010] Canadian RCA [1928-2015] MY MOTHER IS WASHING THE CLOUDY RIDGE RANCH - ALBERTA; CLOTHES 2003 acrylic on canvas watercolour on paper 24 x 36 in. (61 x 91.4 cm) 15 x 22 in. (38.1 x 55.9 cm) signed lower right; titled on the gallery label verso signed lower right Provenance: Wynick/Tuck Gallery, Toronto ON Provenance: Estate of the artist. $ 2,500 / 3.500 Doris McCarthy travelled extensively, well into her 90s. Refl ecting late in life on her travels and 92 | Allen Sapp inspirations McCarthy said: Canadian RCA [1928-2015] “It is always the natural world around me that GATHERING SNOW TO MELT drives me to paint. I grew up loving wild country acrylic on canvas and believing that wilderness was beautiful...I 20 x 16 in. (50.8 x 40.6 cm) travel to rural places in Canada and overseas, as signed lower right; bears title verso well as to the sea, the mountains, the prairies, Provenance: Estate of the artist. the badlands, and the high Arctic or Antarctic $ 2,000 / 3.000 to get my inspiration, and especially to get the detachment from the normal responsibilities and distractions of my daily life in the city.” Doris McCarthy was a guest at the Cloudy Ridge Ranch in 2003, painting daily en plein air, 96 | Duncan Mackinnon Crockford sometimes going so far as to move farmyard Canadian [1920-1991] bjects to prepare the scene she wanted. The ranch HARVEST TIME, CAROLINE, ALTA; 1963 is located near Waterton Lakes National Park, 93 | Ted Raftery oil on canvas where the landscape has been recently transformed Canadian [b. 1938] 22 x 30 in. (55.9 x 76.2 cm) by wildfi res. EVENING signed & dated lower right; titled & dated on the $ 2,000 / 3,000 oil on canvas stretcher verso Provenance: Gainsborough Galleries, Calgary AB 15 x 36 in. (38.1 x 91.4 cm) signed & titled verso $ 2,000 / 3,000 $ 1,200 / 1,600

97 | Roland Gissing 94 | Nicolas N. de Grandmaison Canadian ASA [1895-1967] 99 | Richard Audley (Dick) Freeman Canadian [b. 1938] AUTUMN IN THE FOOTHILLS; 1963 Canadian [1932-1991] VANCOUVER IMPRESSION oil on canvas ON THE TRAIL oil on canvas 22 x 30 in. (55.9 x 76.2 cm) oil on canvas 24 x 32 in. (61 x 81.3 cm) signed lower right; signed, titled & dated on the 16 x 24 in. (40.6 x 61 cm) signed lower left; signed & titled verso artist’s label verso signed lower right; titled on the stretcher verso $ 1,000 / 1,500 $ 2,500 / 3,500 $ 1,000 / 1,500 101 | Ronald M. (Ron) Herron American [20th/21st century] BACHELOR PARTY; 1993 bronze (coff ee table); ed. A/P 102 | Mark Totan size of bronze: 16 x 29 x 21.5 in. (40.6 x 73.7 Canadian, Igloolik [b. 1953] x 54.6 cm) LOON; 2001 overall size: 18.5 x 38.5 x 24 (47 x 97.8 x 61 stone cm) 16 x 19.5 x 7.5 in. (40.6 x 49.5 x 19.1 cm) 100 | Robert Ball signed, titled, dated & editioned in the cast; signed in Roman and syllabics, titled & dated American [20th/21st century] impressed with the foundy mark. OUTFOXED $ 1,500 / 2,000 Note: Produced as an edition of 30. bronze; ed. #15/27 $ 1,000 / 1,500 25.5 x 28.25 x 13 in. (64.8 x 71.8 x 33 cm), excluding base signed & editioned in the cast; titled on the artist’s plaque $ 1,500 / 2,500

104 | Nuna Parr Canadian, Kinngait (Cape Dorset) [b. 1949] DANCING BEAR serpentine 15 x 11.5 x 6.75 in. (38.1 x 29.2 x 17.1 cm) signed in Roman; with igloo card Note: Nuna Parr was born near Cape Dorset, and raised by his adoptive parents, Parr and Eleeshushe, early graphic artists. The family moved to Cape 103 | Steve Hoar Dorset in 1960, and Nuna began carving in the 1960s while still in school. He Canadian (20th/21st century) favoured animals, particular bears in expressive poses, and developed great ROLLING THUNDER skill in working with the natural grain of the stone. Nuna Parr is Canada’s bronze; ed. #4/20 most accomplished and recognized living Inuit artist. He is particularly 16 x 30 x 14 in. (40.6 x 76.2 x 35.6 cm), excluding base acclaimed for his dancing bears, which are characterized by their natural signed & editioned; titled on artist’s plaque movement and rounded form. $ 3,000 / 5,000 $ 4,000 / 6,000 105 | Mark Totan Canadian, Igloolik [b. 1953] MOTHER BEAR AND CUBS alabaster largest 5.75 x 8.5 x 6.5 in. (14.6 x 21.6 16.5 cm) each piece signed in Roman $ 1,000 / 1,500 106 | Johnny Inukpuk 107 | Mark Totan Canadian, Inukjuak (Port Harrison) RCA [1911-2007] Canadian, Igloolik [b. 1953] MOTHER HOLDING BABY; 1976 EAGLE; 2000 serpentine steatite 11.5 x 9 x 5.5 in. (29.2 x 22.9 x 14 cm) 22.5 x 18.5 x 7.5 in. (57.2 x 47 x 19.1 cm) dated & inscribed “5-45487 signed in Roman and syllabics & dated $ 1,500 / 2,000 $ 1,500 / 2,000

108 | Noo Atsiaq Canadian Frobisher Bay/Cape Dorset [1986-2013] DANCING BEAR; 2011 serpentine 18.5 x 14 x 10.5 in. (47 x 35.6 x 26.7 cm) 109 | Pauta Saila Canadian, Kinngait (Cape Dorset) RCA [1916-2009] signed in Roman and syllabics & dated; with igloo card Note: Noo Atsiaq was born in Iqaluit. He began to carve when he was about DANCING BEAR 10 years old, learning from his father, grandfather and others in the stone with bone inlays community. He later moved to Cape Dorset to focus on his carving, where he 10.5 x 8 x 4.25 in. (26.7 x 20.3 x 10.8 cm) apprenticed with artist Nuna Parr for a number of years. signed “Pauta” and faintly in syllabics $ 2,500 / 3,500 $ 4,000 / 6,000 111 | Christopher Pratt Canadian RCA [b. 1935] 110 | Walter Joseph Phillips OCEAN RACER; 1975 Canadian ASA, CPE, CSPWC, MSA, RCA [1884-1963] colour serigraph on paper; ed. #29/50 VENUS AND THE PRIEST; 1930 15 x 24.25 in. (38.1 x 62.2 cm) colour woodcut on paper; ed. #8/100 signed, titled, dated & editioned in pencil 13 x 19 in. (33 x 48.3 cm) Provenance: Marlborough Godard Gallery, Toronto ON signed, titled & editioned in pencil; monogrammed in the block $ 2,500 / 3,500 MBL130 In 1927, Phillips headed to the West Coast with the goal of sketching, and visiting his sister in Alert Bay. During this trip, he traveled with his brother- in-law, by boat, to several Siwash and Kwakiutl communities. His sketches of the villages, totems and zunuks provided Philips with inspiration for years to come. Reference: pages 97-101 “The Life and Work of W. J. Phillips” (Boulet; M. B. Loates Publishing Ltd.; 1981) $ 2,000 / 3,000

112 | John H. Burrow 113 | Hilton MacDonald Hassell 114 | Mary Frances Pratt American/Canadian [b. 1955] Canadian OSA, RCA [1910-1980] Canadian RCA [1935-2018] AFTER THE RAIN - SQUAMISH SHORE VILLAGE OF PROSPECT HARBOUR, RED AND GREEN LEAVES (PAINTED oil on masonite N.S.; 1979 NETTLE); 1977 30 x 45.5 in. (76.2 x cm) acrylic on board watercolour signed lower left; signed & titled verso 14 x 20 in. (35.6 x x 50.8 cm) 12.25 x 9.75 (31.1 x 24.8 cm) $ 2,000 / 3,000 signed lower right; signed, titled & dated on the signed & dated lower right artist’s label verso $ 1,000 / 1,500 $ 1,200 / 1,800 119 | William H. (Bill) Webb 115 | Roger D. Arndt Canadian [b. 1940] Canadian [b. 1959] WINTER STUDY, NORTH OF THE AMBIENT LIGHT; 2003 EDGERTON; 1995 oil on prepared panel acrylic on canvas 40 x 30 in. (101.6 x 76.2 cm) 20 x 24 in. (50.8 x 61 cm) signed lower left; signed, titled & dated verso signed lower right; signed, titled & dated verso Provenance: Canada House Gallery, Banff AB 118 | Min Ma $ 1,200 / 1,500 $ 3,500 / 4,500 Chinese/Canadian [b. 1955] SUMMER CREEK acrylic on canvas 30 x 24 in. (76.2 x 61 cm) signed lower right; signed & titled verso $ 1,500 / 2,000

116 | Robert Roy Canadian [b. 1957] IL Y A DES COULEURS QUI APAISENT oil on canvas 36 x 36 in. (91.4 x 91.4 cm) signed lower right; signed & titled verso $ 1,000 / 1,500

117 | Tinyan (Tin Yan Chan) Canadian FCA [b. 1942] 120 | Rod Charlesworth LAKE IN WINTER Canadian [b. 1955] oil on canvas SEPTEMBER HUES, WASKESIU 18 x 24 in. (45.7 x 61 cm) oil on canvas signed lower right; titled verso 24 x 30 in. (61 x 76.2 cm) Provenance: Gainsborough Galleries, Calgary AB signed lower right; signed & titled verso $ 1,000 / 1,500 $ 2,000 / 2,500 121 | Claude A. Simard Canadian RCA [1943-2014] PAVOTS EN PROVENCE oil on canvas 12 x 24 in. (30.5 x 61 cm) signed & dated lower right; signed, titled & dated verso $ 1,000 / 1,500

125 | Hubert Nanzer Swiss/Canadian [1948-2018] CONSOLATION LAKE, NEAR LK 124 | Dominik J. Modlinski MORAINE; 2008-2009 Canadian ASA, CSPWC [b. 1970] oil on canvas (gallery-wrapped) ALPINE HEIGHTS; 2014 60 x 40 in. (152.4 x 101.6 cm) oil on canvas (gallery-wrapped) signed lower right; signed, titled & dated verso 122 | Keith Thomson 48 x 24 in. (121.9 x 61 cm) $ 3,500 / 4,500 Canadian ASA [b. 1934] signed lower right; signed, titled & dated on the COOL RUNNING stretcher verso watercolour on paper Provenance: Canada House Gallery, Banff AB $ 1,500 / 2,500 19.25 x 27.25 in. (48.9 x 69.2 cm) signed lower right Provenance: Masters Gallery, Calgary AB $ 1,200 / 1,800

126 | Ernestine Tahedl 123 | Tinyan (Tin Yan Chan) Canadian OSA, RCA [b. 1940] Canadian FCA [b. 1942] RIVER BEND DIPTYCH ARTIST’S GARDEN acrylic on canvas oil on canvas each panel: 53.25 x 48 in. (135.3 x 121.9) 18 x 24 in. (45.7 x 61 cm) overall: 53.25 x 96 in. (135.3 x 243.8 cm) signed lower right; signed & titled verso each panel signed & dated; right panel signed & titled on the artist’s tag $ 1,000 / 1,500 $ 2,000 / 4,000 SPRING 2019 ONLINE SESSION

Lots # 200 - 379 Bidding closes Wednesday, May 27 @ 7 p.m. MT (staggered soft close) QUESTIONS ABOUT OUR ONLINE AUCTIONS? WHAT IS AN ONLINE AUCTION? An online auction is similar to our live auctions except that it is conducted entirely over the internet. In eff ect, the software system is taking the place of the auctioneer in controlling the bidding and closing the lots being sold. WHEN DOES THE ONLINE AUCTION END? The auction begins closing at the time indicated in the auction catalogue, generally 8 p.m. MT on the date specifi ed. The lots will close sequentially in 20 seconds intervals. WHAT IS THE AUTOMATIC BIDDING EXTENSION? Bidding will extend for 2 minutes if a bid is submitted on the lot within the last 2 minutes on the bidding clock. These time extensions will continue until there is a 2 minute period during which no bidding takes place on the lot. Subsequent lots will continue closing during this time. HOW DO I SET UP AN ONLINE BIDDING ACCOUNT? Go to the bidder registration link in the web catalogue for the auction. If you have previously registered you can enter your username and password and proceed with registering for the auction. If this is your fi rst time registering you will be asked to create a user account, provide personal information and a Visa or Mastercard number in order to complete the registration. HOW DO I BID? Each lot in the auction has a clearly marked bidding window. Once you are registered for the auction there are two ways to bid: 1.) You simply indicate the maximum amount you wish to bid in the window where indicated and click on the “Place Bid” button. You will be taken to a confi rmation screen that will ask you to either “Confi rm Bid” or “Cancel Bid”. If you have not yet logged in you will be asked to do so in order to confi rm your bid. Please note that by confi rming your bid you are entering into a legally binding contract with the auction house to pay for your successful bids plus the applicable buyer’s premium and taxes. 2.) Bid in real time as each lot is closing just like our live auctions. You will be required to bid, and confi rm your bid, for each increment that you are advancing. HOW MUCH SHOULD I BID? It’s entirely up to you. The simplest way is to always indicate your maximum bid - the amount to which you would bid if you were attending an auction in person. The bid submitted is similar to the live auction’s absentee bid. In eff ect, the software will hold your bid in confi dence and will bid on your behalf against competing bids (according to the published increments) up to your maximum. For example, if the current winning bid on a lot is $300 and you are prepared to bid up to $550, our software system will accept & implement your fi rst bid at $ 325. If another bidder then bids $ 350, our system will automatically submit a bid of $ 375 on your behalf. If there is no additional bidding, then you will be successful at the $375 hammer price. CAN I PLACE AN ABSENTEE BID? Yes, we are pleased to accept absentee bidding by telephone or fax if you are uncomfortable with or unable to bid by your computer. Please call us during regular business hours to arrange absentee bidding. Absentee bids will generally be accepted until Noon MT the day of the sale. When the sale closes outside of a regular work day, absentee bids will be accepted until 4 p.m. the last work day prior to the auction closing. HOW CAN I SEE ALL MY BIDS? Log in to your bidder’s account by entering your username and password. You will see a toolbox that contains your current bids, your bid history, and your bidder information. DO I NEED TO REFRESH MY WEB BROWSER DURING BIDDING? No, use the LIVE CATALOGUE to watch the sale as it is closing. This catalogue always has the latest bidding and time data. I AM THE WINNING BIDDER. WHAT DO I DO NOW? Congratulations! The morning after the auction we will send you an electronic invoice for your successful purchasers. HOW DO I COMPLETE PAYMENT FOR MY PURCHASES? According to the terms and conditions of the auction, bids left online or through any other means of absentee bidding will be processed according to the credit card information provided at the time of bidding. If alternate payment arrangements are desired this must occur by the deadline for alternate payment. The deadline is provided with your invoice (and is typically three business days following the auction). Once payments are processed an electronic receipt will be sent by email. HOW DO I PICK UP MY PURCHASES? The purchaser, or approved designate, shall collect the purchased lots from our offi ces within three days of the auction sale. Please notify us if you are appointing any other person to pick up on your behalf. After this time period, the purchaser shall be responsible for all storage charges as per the terms and conditions of the auction, until the date the lot(s) are removed. Offi ce hours are Monday through Friday from 9 a.m. to 5 p.m. CAN YOU SHIP MY PURCHASES TO ME? Yes. We contract the packing, shipping & insuring through third-party providers. There are various options available depending on the specifi c circumstances of your purchases and location. Information will be provided with your invoice and is available on our website. SPRING 2019 ONLINE SESSION - Bidding closes Wednesday, May 29 @ 7 p.m. MT (staggered soft close) Complete artwork details available online HODGINSAUCTION.COM

200 | William (Bill) Duma 205 | Roland Gissing oil $ 600 / 800 oil $ 700 / 900 210 | Arthur Lismer lithograph $ 600 / 800

214 | FritzBrandtner linocut $ 600 / 800

206 | Karl E. Wood 201 | William (Bill) Duma oil $ 600 / 800 acrylic $ 700 / 900

211 | J. E. H. MacDonald lithograph $ 600 / 800

215 | Carl Fellman Schaefer lithographs (12) $ 250 / 350

202 | Min Ma 207 | Duncan Crockford acrylic $ 200 / 300 oil $ 500 / 700

212 | J. E. H. MacDonald lithograph $ 600 / 800 216 | Carl Fellman Schaefer lithographs (12) $ 250 / 350 203 | Mary Spice Kerr 208 | Lawren Stewart Harris oil $ 500 / 700 lithograph $ 600 / 800

204 | Roland Gissing 209 | Lawren Stewart Harris 213 | Frederick Varley 217 | Walter Joseph Phillips oil $ 1,000 / 1,500 lithograph $ 600 / 800 lithograph $ 500 / 700 colour woodcut $ 600 / 900 SPRING 2019 ONLINE SESSION - Bidding closes Wednesday, May 29 @ 7 p.m. MT (staggered soft close) Complete artwork details available online HODGINSAUCTION.COM

218 | Walter Joseph Phillips 223 | Margaret Shelton colour woodcut $ 800 / 1,200 linocut & woodcut $ 500 / 700 228 | William (Bill) Duma 233 | Bev Rodin (Hagan) acrylic $ 600 / 800 watercolour $ 300 / 500

224 | Barbara Harvey Leighton 219 | Barbara Harvey Leighton colour woodcut $ 500 / 700 234 | Kelsey Raymond 229 | Vojtech (Voita) Matousek colour woodcut $ 500 / 700 oil $ 750 / 1,000 watercolour $ 250 / 350

225 | Margaret Shelton linocut $ 400 / 600 220 | Barbara Harvey Leighton colour woodcut $ 500 / 700 230 | June Montgomery watercolour $ 250 / 350

235 | Momcilo (Momo) Simic oil $ 600 / 900 226 | Margaret Shelton linocut $ 300 / 400

221 | Margaret Shelton watercolour $ 400 / 600 231 | Claude Simard oil $ 750 / 1,000

222 | Margaret Shelton 227 | Caroline Armington 232 | Helmut Langeder 236 | Greg Metz linocut $ 400 / 600 etching & drypoint $ 150 / 250 oil $ 500 / 700 steel $ 900 / 1,200 SPRING 2019 ONLINE SESSION - Bidding closes Wednesday, May 29 @ 7 p.m. MT (staggered soft close) Complete artwork details available online HODGINSAUCTION.COM

248 | Marion Florence Nicoll clayprint $ 750 / 1,000 241 | John Barney Weaver bronze $ 600 / 800 245 | Victor Vasarely colour serigraph $ 500 / 700 237 | Greg Metz steel $ 900 / 1,200

242 | Fred Spina 249 | Chris Flodberg acrylic $ 400 / 600 acylic $ 1,000 / 1,500

238 | Sergio Abramov (Bramo) acrylic $ 1,000 / 2,000

246 | Victor Vasarely colour serigraph $ 600 / 900

243 | Jack Shadbolt 239 | Alexandra Haeseker acrylic on lithograph $ 500 / 700 watercolour $ 750 / 1,000 250 | Nikol Haskova acrylic $ 900 / 1,200

240 | Bill Brownridge 244 | Rand Heidinger 247 | Kenneth C. Samuelson 251 | Teresa Posyniak acrylic $ 900 / 1,200 lacquer / polymer $ 1,000 / 1,500 colour serigraph $ 300 / 500 encaustic $ 600 / 900 SPRING 2019 ONLINE SESSION - Bidding closes Wednesday, May 29 @ 7 p.m. MT (staggered soft close) Complete artwork details available online HODGINSAUCTION.COM

266 | F. M. Bell-Smith 252 | John Snow 256 | William (Bill) Duma 261 | Dominik J. Modlinski watercolour $ 500 / 700 colour lithograph $ 300 / 400 acrylic $ 700 / 900 oil $ 500 / 700

262 | Rod Charlesworth 257 | William (Bill) Duma oil $ 800 / 1,200 acrylic $ 700 / 900 253 | Jeff Nachtigall 267 | F. M. Bell-Smith acrylic & latex $ 600 / 900 watercolour $ 750 / 1,000

263 | Louise Lecor Kirouac 258 | Randolph T. Parker oil $ 900 / 1,200 acrylic $ 900 / 1,200 268 | F. M. Bell-Smith oil $ 800 / 1,200 254 | Jeff Nachtigall acrylic & latex $ 600 / 900

264 | Roland Gissing 259 | Tinyan (Tin Yan Chan) oil $ 700 / 900 oil $ 400 / 600

255 | Ronald John Spickett 260 | Neil Patterson 265 | Chris MacClure 269 | William Bruce ink & wash $ 500 / 700 oil $ 900 / 1,200 acrylic $ 300 / 400 oil $ 700 / 1,000 SPRING 2019 ONLINE SESSION - Bidding closes Wednesday, May 29 @ 7 p.m. MT (staggered soft close) Complete artwork details available online HODGINSAUCTION.COM

282 | Thomas Harold Beament oil $ 600 / 800 274 | Tom Wood 278 | Naomi Jackson Groves oil $ 500 / 700 oil $ 600 / 900

270 | Charles Manly watercolour $ 700 / 1,000

275 | Paul Zeigler (2) watercolour $ 500 / 700 283 | Torquil Reed oil $ 400 / 600

279 | Lillian Freiman 271 | Farquhar M. Knowles watercolour $ 800 / 1,200 oil $ 400 / 600

276 | Frederic Waistell Jopling watercolour $ 300 / 400

284 | Joseph Francis Plaskett oil $ 500 / 700 280 | Joachim George Gauthier 272 | Farquhar M. Knowles oil $ 900 / 1,200 oil $ 400 / 600

273 | Charles M. Manly 277 | Marmaduke Matthews 281 | Thomas Harold Beament 285 | Duncan Crockford watercolour $ 300 / 500 watercolour $ 300 / 400 oil $ 600 / 800 oil $ 900 / 1,200 SPRING 2019 ONLINE SESSION - Bidding closes Wednesday, May 29 @ 7 p.m. MT (staggered soft close) Complete artwork details available online HODGINSAUCTION.COM

291 | Karl E. Wood 296 | IllingworthKerr oil $ 750 / 1,000 mixed media $ 600 / 800 286 | Peter Ewart 300 | Claude Simard oil $ 800 / 1,200 oil $ 750 / 1,000

301 | Ken Gillespie oil $ 750 / 1,000 287 | Karl E. Wood oil $ 400 / 600 297 | Jack Lee Cowin hand-coloured etching 700 / 900 292 | Chris MacClure acrylic $ 200 / 300

302 | Neil Patterson 288 | Ron Simpkins 293 | Allen Smutylo oil $ 900 / 1,200 oil $ 600 / 900 colour etching $ 250 / 350

294 | Allen Smutylo colour etching $ 500 / 700 289 | Andrew Kiss 298 | Janet Mitchell 303 | Pauline Paquin oil $ 400 / 500 watercolour $ 700 / 900 oil $ 400 / 600

290 | Roland Gissing 295 | Page Ough 299 | Janet Mitchell 304 | Chris MacClure oil $ 900 / 1,200 acrylic $ 900 / 1,200 watercolour $ 700 / 900 acrylic $ 400 / 600 SPRING 2019 ONLINE SESSION - Bidding closes Wednesday, May 29 @ 7 p.m. MT (staggered soft close) Complete artwork details available online HODGINSAUCTION.COM

305 | Lissi Legge 312 | Janet Mitchell 317 | O. N. Grandmaison oil $ 700 / 1,000 watercolour $ 700 / 900 pastel $ 300 / 500

313 | Irene E. McCaugherty mixed media $ 700 / 900

306 | Heather C. Hardie pastel $ 300 / 500

314 | Irene E. McCaugherty 318 | Ernest Luthi mixed media $ 700 / 900 pastel $ 500 / 700

307 | K. Neil Swanson acrylic $ 800 / 1,200

319 | Joe Fafard colour serigraph $ 300 / 500 315 | William Kurelek 310 | Alex Fong 308 | Barbara Engel colour lithograph $ 500 / 700 oil $ 600 / 800 mixed media $ 400 / 500

309 | Andre Bertounesque 311 | Janet Mitchell 316 | N. N. de Grandmaison 320 | Charles A. (Charlie) Beil oil $ 200 / 300 watercolour $ 800 / 1,000 pastel $ 800 / 1,100 bronze $ 600 / 800 SPRING 2019 ONLINE SESSION - Bidding closes Wednesday, May 29 @ 7 p.m. MT (staggered soft close) Complete artwork details available online HODGINSAUCTION.COM

327 | Ken Lonechild 332 | Leonard James Gibbs oil $ 600 / 900 watercolour $ 300 / 500

324 | Paul Van Ginkel 321 | Peter Rice-Jones mixed media $ 700 / 900 333 | Leonard James Gibbs bronze $ 600 / 800 328 | Richard (Dick) Freeman watercolour $ 300 / 500 oil $ 1,000 / 1,500

329 | Patrick Douglass Cox pencil $ 500 / 700 334 | Geza (Gordon) Marich oil $ 500 / 800

322 | David Wong 325 | Paul Van Ginkel jade $ 900 / 1,200 mixed media $ 700 / 900 335 | Lissi Legge oil $ 400 / 500

330 | Patrick Douglass Cox pencil $ 300 / 500

323 | Ron Rains 326 | Edmund Morris 331 | Patrick Douglass Cox 336 | Roland Palmaerts bronze $ 300 / 500 gouache $ 750 / 1,000 pencil $ 200 / 300 acrylic $ 750 / 1,000 SPRING 2019 ONLINE SESSION - Bidding closes Wednesday, May 29 @ 7 p.m. MT (staggered soft close) Complete artwork details available online HODGINSAUCTION.COM

345 | Robert F. M. McInnis 337 | Roland Palmaerts oil $ 300 / 500 acrylic $ 400 / 600

341 | Doug Williamson oil $ 300 / 500

350 | Reginald L/ Harvey oil (2) $ 400 / 600

346 | Robert F. M. McInnis 338 | Greg Pyra oil $ 300 / 500 oil $ 800 / 1,200

351 | Mario Moczorodynski 347 | Valerie Hinz oil $ 600 / 800 342 | Xie Qiu Wa oil $ 600 / 800 oil $ 900 / 1,200

348 | Armand Frederick Vallee oil $ 300 / 500 339 | Andrew Kiss 352 | Lawrence Nickle oil $ 400 / 500 343 | Doug Williamson oil $ 300 / 500 oil $ 900 / 1,200

340 | Doug Williamson 344 | Joseph Ferenc (Joe) Acs 349 | K. Neil Swanson 353 | Steven Joseph Kiss oil $ 300 / 400 acrylic $ 600 / 900 acrylic $ 900 / 1,200 watercolour $ 250 / 350 SPRING 2019 ONLINE SESSION - Bidding closes Wednesday, May 29 @ 7 p.m. MT (staggered soft close) Complete artwork details available online HODGINSAUCTION.COM

354 | Sylvain Voyer 359 | William (Bill) Duma 364 | Allen Sapp acrylic $ 200 / 250 oil $ 600 / 800 acrylic $ 1,200 / 1,800 368 | Susan Hubley acrylic $ 600 / 800

355 | David John More 365 | Allen Sapp oil $ 350 / 450 360 | Horace Champagne acrylic $ 1,200 / 1,800 pastel $ 700 / 900

356 | Ted Raftery oil $ 750 / 1,000 361 | Peter Shostak 369 | Greg Pyra oil $ 800 / 1,200 366 | Nixie Barton oil $ 800 / 1,200 acrylic $ 500 / 700

362 | Peter Shostak 357 | William Beverley Hebert oil $ 800 / 1,200 conte $ 200 / 400

358 | William (Bill) Duma 363 | Shannon Norberg 367 | Louise Larouche 370 | William L. L. Stevenson acrylic $ 700 / 900 encaustic $ 400 / 600 oil $ 700 / 1,000 oil $ 800 / 1,000 SPRING 2019 ONLINE SESSION - Bidding closes Wednesday, May 29 @ 7 p.m. MT (staggered soft close) Complete artwork details available online HODGINSAUCTION.COM

377 | Rino Friio oil $ 500 / 700

371 | William L. L. Stevenson oil $ 800 / 1,000

378 | Jim Nicoll ink & pen $ 400 / 500

374 | Alex Fong watercolour $ 350 / 450 372 | John Snow colour lithograph $ 250 / 350

379 | Annora Brown watercolour (2) $ 300 / 400 376 | Brian Hall blown glass $ 600 / 900

373 | Dirk Van Wyk watercolour $ 350 / 450

375 | Lissi Legge oil $ 400 / 500 NOTES INDEX OF ARTISTS A Freeman, Richard 32, 99, 328 L Abramov (Bramo), Sergio 238 Freiman, Lillian 279Langeder, Helmut 232 Acs, Joseph Ferenc (Joe) 344 Friio, Rino 377 Larouche, Louise 367 Andrews, Sybil 54, 55 Leadbeater, Roy 56 Armington, Caroline Helena 227 G Legge, Lissi 305, 335, 375 Arndt, Roger D. 10, 115 Gagnon, Clarence Alphonse 79 Leighton, Barbara 219, 220, 224 Atsiaq, Noo 108 Gajoum, Kal 51, 81 Lemay, Robert 82 Gauthier, Joachim George 280 Letendre, Rita 70 Genn, Robert 52Lik, Peter 60 B Gibbs, Leonard James (Len) 332, 333 Lismer, Arthur 210 Ball, Robert 100Gillespie, Ken 301Lonechild, Ken 327 Barry, Anne Meredith 43Gissing, Roland 26, 97, 204 Luthi, Ernest 318 Barton, Nixie 366 205, 264, 290 Bates, Maxwell Bennett 21, 39 Glyde, Henry George 22M Beament, Thomas Harold 281, 282 Grandmaison, Orestes Nicholas 33, 317 Ma, Min 118, 202 Beil, Charles A. (Charlie) 320 Groves, Naomi Jackson 278 MacClure, Chris 265, 292, 304 Bell-Smith, F.M. 266, 267, 268 MacDonald, J. E. H. 91, 211, 212 Bertounesque, Andre 309H Manly, Charles MacDonald 270, 273 Bird, Cameron 6Haeseker, Alexandra (Sandy) 239 Marich, Geza (Gordon) 334 Brandtner, Fritz 214Hall, Brian 376Masson, Henri Leopold 53, 83 Brown, Annora 379Hall, Joice M. 7Matousek, Vojtech (Voita) 229 Brownridge, Wil- Hardie, Heather C. 306Matthews, Marmaduke 277 liam Roy (Bill) 240Harris, Lawren Stewart 208, 209 McCarthy, Doris Jean 27, 98 Bruce, William 269Harrison, Ted 45McCaugherty, Irene E. 313, 314 Brymner, William 76Harvey, Reginald Llewellyn 350 McInnis, Robert F. M. 345, 346 Burrow, John H. 112 Haskova, Nikol 250McLaughlin, Isabel Grace 78 Hassell, Hilton MacDonald 113 Metz, Greg 236, 237 Hebert, William Beverley 357 Mitchell, Janet 14, 15, 298 C Hedrick, Ron 12, 50 299, 311, 312 Canadian Pacifi c Poster 20 Heidinger, Rand 244Moczorodynski, Mario 351 Casson, Alfred Joseph 46Henderson, James 77Modlinski, Dominik J. 124, 261 Champagne, Horace 2, 84, 85 Herron, Ronald M. (Ron) 101 Montgomery, June 230 89, 90, 360 Hinz, Valerie 347Montpetit, Raphael 80 Charlesworth, Rod 9 , 16, 41, 120, 262 Hoar, Steve 103More, David John 355 Collier, Alan Caswell 1Horsfall, Arthur 59Morris, Edmund Montague 326 Cowin, Jack Lee 297Housser, Yvonne McKague 87 Morrisseau, Norval 68 Cox, Patrick Douglass 329, 330, 331 Hubley, Susan 368 Mount, Rita 86 Crockford, Duncan 96, 207, 285 Cullen, Maurice Galbraith 74 I N Danby, Kenneth Edison (Ken) 29 Inukpuk, Johnny 106 Nachtigall, Jeff 253, 254 Nanzer, Hubert 125 D J Nederveen, Steven 63 de Grandmaison, Nicholas 35, 36 Jarvis, Georgia 13, 30 Nickle, Lawrence 352 de Grandmaison, Nicolas N. 94, 316 Jerome, Jean-Paul 72Nicoll, James McLaren (Jim) 378 Duma, William (Bill) 200, 201, 228 Jopling, Frederic Waistell 276 Nicoll, Marion Florence 248 256, 257, 358, 359 Norberg, Shannon 363 K E Kernan, Sheila 44O Engel, Barbara 308Kerr, Illingworth Holey 25, 296 Ohe, Katie 57, 58 Ewart, Peter 286 Kerr, Mary Spice 203Ough, Page 295 King, Jack 31, 34 F Kirouac, Louise Lecor 19, 263 Fafard, Joe 28, 319 Kiss, Andrew 289, 39 Ferron, Marcelle 71, 73 Kiss, Steven Joseph (Steve) 353 Flodberg, Chris 249Knowles, Farquhar 271, 272 Fong, Alex 310, 374 Kurelek, William 315 Forrest, Jonathan 64 INDEX OF ARTISTS - Continued P S V Palmaerts, Roland 336, 337 Saila, Pauta 109Vallee, Armand Frederick 348 Palmer, Frank 62Samuelson, Kenneth C. 247 Van Ginkel, Paul 324, 325 Paquin, Pauline 17, 18, 88, 303 Sapp, Allen 92, 95, 364, 365 Van Wyk, Dirk 373 Parker, Randolph T. 258Schaefer, Carl Fellman 215, 216 Varley, Frederick Horsman 213 Parr, Nuna 104Shadbolt, Jack 243Vasarely, Victor 61, 245, 246 Patterson, Neil 11, 40, 260, 302 Shelton, Margaret 221, 222 Vlaminck, Maurice de 49 Pepper, George Douglas 3 223, 225, 226 Voyer, Sylvain 354 Phillips, Walter Joseph 37, 38 Shostak, Peter 361, 362 47, 48, 110, 217, 218 Simard, Claude 231, 300 W Plaskett, Joseph Francis 284 Simard, Claude A. 121Wa, Xie Qiu 342 Posyniak, Teresa 251Simic, Momcilo (Momo) 235 Weaver, John Barney 241 Pratt, Christopher 111Simpkins, Ron 288Webb, William H. (Bill) 119 Pratt, Mary Frances 114Smutylo, Allen 293, 394 Williamson, Doug 340, 341, 343 Prinsen, Nicola 66, 67 Snow, John Harold Thomas 252, 373 Wong, David 322 Pyra, Greg 338, 369 Spickett, Ronald John 255 Wood, Karl E. 206, 287, 291 Spina, Fred 242Wood, Tom 274 R Stevenson, William L. L. 23, 24 Raftery, Ted 93, 356 370, 371 Z Rains, Ron 323Swanson, K. Neil 307, 349 Zeigler, Paul 275 Raymond, Kelsey 234 Rebry, Gaston 5T Reed, Torquil 283Tahedl, Ernestine 126 Rice-Jones, Peter 321Thomas, Les 65, 69 Roberts, William Goodridge 75 Thomson, Keith 122 Rodin, Bev 233Tinyan 4, 8, 117, 123, 259 Roy, Robert 116 Totan, Mark 102, 105, 107 Tremblay, Claude 42 GUIDE TO ABSENTEE BIDDING Absentee Bids: If you are unable to attend the auction in person, and wish to place bids, you may instruct Hodgins Art Auctions to bid on your behalf. Our bid administrator will then try to purchase the lot(s) of your choice for the lowest price possible, and never for more than the top amount you indicate. Hodgins will only open bidding with an absentee bid when there are multiple bids for the same lot or, if necessary, at the minimum bid. Please note, Hodgins off ers this complimentary service to clients who are unable to attend the sale or bid electronically, and although we make every eff ort at accuracy, Hodgins will not be responsible for omissions in the execution of bids. Bids accepted until Noon (local time - MT) day of sale. Bids received after this time are not guaranteed to be implemented. Placing Absentee Bids: To place bids, please use the “Absentee Bid Form” that follows this guide. Be sure to accurately record lot numbers, descriptions and your “Maximum Bid”, the amount up to which you would bid if you were attending the auction in person. “Buy” or “Unlimited” bids will not be accepted. Bids that do not adhere to the published schedule will be bumped down to the nearest increment.

PLEASE ADHERE TO THE SCHEDULE OF INCREMENTS PROVIDED BELOW. Please place your bids as early as possible. In the event of identical absentee bids, the earliest received will take precedence. Please note that there may be circumstances where another bid is accepted by the auctioneer at your “Maximum Bid” due to the incremental nature of the bidding and given that bidding can be active and come through multiple channels.

Telephone Bids: Telephone bids must be pre-arranged and are limited by physical resources. To register for a telephone bid please fi ll out the “Absentee Bid Form” indicating PHONE in the “Maximum Bid” column. You may wish to consider leaving a back-up absentee bid amount in the event that there is trouble reaching you by phone. Please make sure to provide the phone number that you can best be reached at on the evening of the auction.

Buyer’s Premium: The “Maximum Bid” you indicate on your “Absentee Bid Form” refers to the hammer price, exclusive of buyer’s premium and G.S.T.

Successful Bids: Successful bidders will be notifi ed by email and invoiced following the sale.

Selling Prices: Selling prices will be posted to our website the day following the auction. Please consult our website prior to phoning our offi ces for results.

BIDDING INCREMENTS Bidding typically advances in the following bid increments: up to $ 200 $ 10 $ 5,000 - $ 10,000 $ 500 $ 200 - $ 300 $ 20 $ 10,000 - $ 20,000 $ 1,000 $ 300 - $ 500 $ 25 $ 20,000 - $ 50,000 $ 2,500 $ 500 - $ 1,000 $ 50 $ 50,000 - $ 100,000 $ 5,000 $ 1,000 - $ 2,000 $ 100 $ 100,000 + $ 10,000 $ 2,000 - $ 5,000 $ 250

Hodgins Art Auctions Ltd. 4115-7005 Fairmount Drive SE Calgary AB T2H 0J1 Tel: 403-252-4362 Fax: 403-259-3682 Email: [email protected] Website: www.hodginsauction.com ABSENTEE / PHONE BID FORM IMPORTANT: Fax available until Noon M.T. day of sale AUCTION DATE: ______I wish to place the following bid(s). These bids will be executed by Hodgins Auction Services Ltd. up to, but not exceeding, the “Maximum Bid(s)” indicated below. Each bid is PER LOT, as indicated, and all bids are subject to the “Terms and Conditions of Sale” as printed in the catalogue of the sale and posted online. A BUYER’S PREMIUM will be added to the hammer price as part of the total purchase price. GST of 5% will be charged on the hammer price and buyer’s premium on all lots. Lot # Description (Artist’s name / Title) Maximum Bid

Name Today’s Date

Mailing Address Telephone # 1

Telephone # 2

Email Address Fax #

VISA or Mastercard Account # Expiry Date 3 Digit CSC I have read and accept the Terms and Conditions of Sale, and I am bidding in accordance with them.

Signature Please charge any successful purchase above to my credit card and send me the receipt. Fax completed form to Hodgins Art Auctions Ltd. at 403-259-3682. Hodgins Art Auctions Ltd. 4115-7005 Fairmount Drive SE Calgary AB T2H 0J1 Tel: 403-252-4362 Fax: 403-259-3682 Email: [email protected] Website: www.hodginsauction.com

Spring 2019

LIVE SESSION SHOWROOM PREVIEW Monday, May 27 @ 7 p.m. Saturday, May 25 Noon - 4 p.m. Sunday, May 26 Noon - 4 p.m. ONLINE SESSION Monday, May 27 10 a.m. - 2 p.m. Wednesday, May 29 @ 7 p.m.

Online Preview, Webcast & Electronic Bidding Available HODGINSAUCTION.COM Hodgins Art Auctions Ltd. 4115-7005 Fairmount Drive SE Calgary AB T2H 0J1 403-252-4362 [email protected] www.hodginsauction.com