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1 | James McLaren (Jim) NicollCanadian ASA, CPE [1892-1986]BRIDGE OVER THE BOW; ca 1934watercolour on paper11.5 x 10.5 in. (29.2 x 26.7 cm)signed lower centre; signed & titled verso

$ 600 / 800

2 | Robert GennCanadian FCA [1936-2014]CANADIAN TRI-COLOUR; 1980oil on canvas12 x 16 in. (30.5 x 40.6 cm)signed lower right; signed, titled & dated versoProvenance: Estate of Bill and Peggy Code, Calgary AB; Gainsborough Galleries, Calgary AB

$ 1,500 / 2,000

4 | Michael O’TooleCanadian FCA [b. 1963]LATE OCTOBER (BANFF)acrylic on canvas20 x 24 in. (50.8 x 61 cm)signed lower left; signed & titled verso

$ 1,000 / 1,500

6 | Robert GennCanadian FCA [1936-2014]SARA AT THE OMEY BIGHT (CONNEMARA)acrylic on canvas20 x 24 in. (50.8 x 61 cm)signed lower right; signed & titled verso

$ 2,500 / 3,500

5 | William (Bill) DumaCanadian ASA, RCA [b. 1936]SUMMER STREAMacrylic on board12 x 16 in. (30.5 x 40.6 cm)signed lower right; signed & titled verso

$ 600 / 800

3 | Claudette CastonguayCanadian [b. 1949]EN APRES-MIDI, CHEZ ARIANE; 1999acrylic on canvas36 x 16 in. (91.4 x 40.6 cm)signed & dated lower left; titled on the stretcher verso

$ 900 / 1,200

Monday, June 22 @ 7 p.m. - Online AuctionMETHODS OF BIDDING:

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NOTE. Lots begin to close sequentially in 20 second intervals. Each lot displays a countdown clock. A 2 minute bidding extension is added to the clock if a bid is placed in the final 2 minutes. The extended bidding on one lot does not affect the closing time of other lots. Late active bidding can extend the closing of an individual lot for an extended time.

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7 | Illingworth Holey (Buck) KerrCanadian ASA, BCSA, FCA, RCA [1905-1989]PEPSI MOON; 1981oil on board16 x 20 in. (40.6 x 50.8 cm)monogrammed lower right; signed, titled & dated versoProvenance: Estate of Bill and Peggy Code, Calgary AB

$ 3,500 / 4,500

9 | William Lewy Leroy StevensonCanadian ASA [1905-1966]TANGLED TREESoil on canvas, laid on board13 x 16 in. (33 x 40.6 cm)signed lower rightProvenance: Estate of Bill and Peggy Code, Calgary AB

$ 700 / 1,000

12 | Horace ChampagneCanadian PSA, PSC [b. 1937]SNOWY WALK BY CORNELIUS KRIEGHOFF’S STUDIO (GRAND-ALLEE, QUEBEC CITY); 1988pastel on paper30 x 40 in. (76.2 x 101.6 cm)signed lower right; signed, titled & dated on the artist’s label verso

$ 2,500 / 3,500

14 | Mary Evelyn WrinchCanadian CPE, OSA, RCA [1877-1969]SUNLIGHT ON THE HILLSoil on board10 x 12 in. (25.4 x 30.5 cm)signed lower right; titled on a label versoExhibited: Small Picture Exhibition OSA, Avon House, Simpsons

$ 1,500 / 2,500

11 | Illingworth Holey (Buck) KerrCanadian ASA, BCSA, FCA, RCA [1905-1989]AUGUST AFTERNOON; 1981oil on canvas24 x 32 in. (61 x 81.3 cm)monogrammed lower right; signed, titled & dated on the stretcher versoProvenance: Estate of Bill and Peggy Code, Calgary AB

$ 7,000 / 9,000

8 | Allen SappCanadian RCA [1928-2015]THE LITTLE BOY CAME TO WATCH THE GAME; 1982acrylic on canvas20 x 24 in. (50.8 x 61 cm)signed lower right; titled & dated on the artist’s label verso(AZ-303)Provenance: This work originally came through Assiniboia Gallery (Regina SK) to the corporate collection of UNICEF Canada. It was then gifted to the consignor, who was involved for many years with the company’s greeting card program. During the 1980s and 1990s, Sapp had a relationship with UNICEF Canada, allowing the company to reproduce several of his works as Christmas cards.

$ 3,000 / 5,000

10 | Claude LangevinCanadian [b. 1942]DEBUT DE TEMPETE (HEAVY SNOW IN THE LAURENTIDES)oil on canvas24 x 30 in. (61 x 76.2 cm)signed lower left; signed & titled verso

$ 2,000 / 2,500

13 | Thomas Keith (Tom) RobertsCanadian OSA, RCA [1908-1998]SHADOWS ON THE SCHOOL HOUSEoil on masonite16 x 24 in. (40.6 x 61 cm)signed lower left; signed, titled & dated verso

$ 1,000 / 1,500

15 | Berthe Des ClayesCanadian [1877-1968]LE PONT COUVERTpastel on paper7.75 x 9.25 in. (19.7 x 23.5 cm)signed lower right; titled on the gallery label versoProvenance: Galerie d’Art Michel Bigue, St-Sauveur QC

$ 800 / 1,200

17 | Clarence Alphonse GagnonCanadian RCA [1881-1942]IGLOO; ca 1928gouache on paper laid on panel5.25 x 6.25 in. (13.3 x 15.9 cm)Certified verso by Lucile Rodier Gagnon, wife of the artist (Paris, 1946; no. 666).Provenance: Walter Klinkhoff Gallery, Montreal QC; Masters Gallery, Calgary ABNote: This gouache is a study for the composition appearing on page 90 of “Le Grand Silence Blanc, Roman Vecu d’Alaska” (Louis Frederic Rouquette & Clarence Gagnon; Paris Editions Mornay; 1928)

$ 5,000 / 7,000

19 | Henri Leopold MassonCanadian CGP, CSPWC, RCA [1907-1996]FISHING VILLAGEoil on canvas18 x 24 in. (45.7 x 61 cm)signed lower rightProvenance: Estate of Bill and Peggy Code, Calgary AB

$ 1,500 / 2,500

21 | Carl Fellman SchaeferCanadian CGP, CSGA, CSPWC, RCA [1903-1995]BARNS AND ORCHARD ON JOHN VOELZING’S FARM, HANOVER; 1935watercolour on paper15.5 x 22.5 in. (39.4 x 57.2 cm)signed & dated lower right; signed, titled & dated versoExhibited: “Carl Schaefer in Hanover”, The Edmonton Art Gallery (1980)Note: Other examples of Schaefer’s Voelzing Farm paintings appear in the collections of the National Gallery of Canada (Acc. No. 4609) and the Winnipeg Art Gallery (Acc. No. G-78-2).

$ 3,000 / 4,000

18 | William KurelekCanadian RCA [1927-1977]SKETCH FOR “THE EGG THIEF”; 1975pen and ink wash on paper board laid on masonite20 x 14.5 in. (50.8 x 36.8 cm)monogrammed & dated lower right; titled & dated verso

$ 3,000 / 4,000

16 | Charles Ernest de BelleCanadian RCA [1873-1939]GIRLS IN FLOWING WHITE GOWNSpastel on paper28 x 22 in. (71.1 x 55.9 cm)monogrammed lower rightProvenance: Walter Klinkhoff Gallery, Montreal QC

$ 3,000 / 5,000

20 | Frederic Marlett Bell-SmithCanadian OSA, RCA [1846-1923]MOUNTAIN LAKE AND SNOW-CAPPED RIDGEwatercolour and gouache on paper11.75 x 18 in. (29.8 x 45.7 cm)signed lower left

$ 2,000 / 2,500

26 | Ted GodwinCanadian ASA, R5, RCA [1933-2013]STILL FALL (KENAUK SERIES); 2001oil on canvas47 x 64 in. (119.4 x 162.6 cm)signed & titled on the stretcher versoProvenance: Estate of Bill and Peggy Code, Calgary AB; Wallace Galleries, Calgary ABReference: “Lower Bow: A Celebration of Wilderness, Art and Fishing” (Ted Godwin & Geoffrey Simmins; Hard Art Moving and Storage Co. Ltd.; 1991)Streams and waterways feature prominently in Ted Godwin’s paintings. As a mature artist, it would seem that the subject held particular significance for the artist, who identified as a Buddhist. Godwin grew up on the banks of the Elbow River in Calgary, walking and fly fishing the river with his father. Both his parents’ ashes were later scattered over the Bow River. In his book (page 11), Godwin wrote: “In retrospect, most of the time I spent growing up was streamside, although this memory lay dormant for a long time. Old memories now merge with new and the only constant is the current of the dark stream that flows through my life. It seems to me that the images and rhythms of streamside have formed an integral part of whatever it is that is Ted.”Ted Godwin was the youngest member of the Regina Five, a name given to the avant-garde group of artists when they were featured in the National Gallery of Canada’s 1961 touring exhibition “Five Painters from Regina”. Initially recognized for his abstract expressionist works, and his formalist “Tartan” series, Godwin’s later works, by comparison, appear representational. Beneath the surface of their representational framework, Godwin’s streambank paintings are rooted in abstraction. Whether of his beloved Bow River, the waterways of Central and Eastern Canada, or the National Parks of the North, these works are all gesturally bold, colourful and highly patterned. Here, Godwin explores the visual elements from the low perspective of a fly fisherman, accentuating the interplay between tangled shrubs, trees, rocks and water.

$ 12,000 / 15,000

22 | Homer Ransford WatsonCanadian OSA, RCA [1855-1936]SKETCH AT BRAY, BERKS. ENGoil on board6.5 x 9.25 in. (16.5 x 23.5 cm)initialed lower left; titled versoProvenance: Estate of Bill and Peggy Code, Calgary AB

$ 1,000 / 2,000

25 | Henry George GlydeCanadian ASA, CSGA, FCA, RCA [1906-1998]SOUTHERN ALBERTA TOWNoil on canvas18 x 24 in. (45.7 x 61 cm)signed lower right; signed & titled versoEstate of Bill and Peggy Code, Calgary AB

$ 6,000 / 8,000

24 | Roland GissingCanadian ASA [1895-1967]WINTER SUNSEToil on canvas laid on board12 x 16 in. (30.5 x 40.6 cm)signed lower right; titled verso and on the gallery labelProvenance: Estate of Raymond Rougeau, Brooks AB; Gainsborough Galleries, Calgary AB

$ 800 / 1,000

23 | William Lewy Leroy StevensonCanadian ASA [1905-1966]CHURCH SPIREoil on board10.75 x 14 in. (27.3 x 35.6 cm)initialed lower rightProvenance: Estate of Bill and Peggy Code, Calgary AB; former collection of artist Max Bates

$ 700 / 1,000

27 | Orestes Nicholas (Rick) GrandmaisonCanadian [1932-1985]COMING HOME; 1983oil on board14 x 18 in. (35.6 x 45.7 cm)signed lower left; signed, titled & dated versoProvenance: Masters Gallery, Calgary AB

$ 1,200 / 1,600

30 | Illingworth Holey (Buck) KerrCanadian ASA, BCSA, FCA, RCA [1905-1989]QU’APPELLE VALLEY NOCTURNE; 1981oil on board16 x 20 in. (40.6 x 50.8 cm)monogrammed lower left; signed, titled & dated versoProvenance: Lefebvre Galleries, Edmonton AB

$ 3,500 / 4,500

31 | James Edward Hervey MacDonaldCanadian G7, OSA, RCA [1873-1932]CLIFFS AND MOUNTAIN LAKE; 1927oil on board8.5 x 10.5 in. (21.6 x 26.7 cm)signed & dated lower rightProvenance: Former collection of Thoreau MacDonald (son of the artist), Toronto ON; Former collection of Dr. Max Grinstein, Calgary AB; Kensington Fine Art Gallery, Calgary AB; Masters Gallery, Calgary ABReference: “The Lake O’Hara Art of J.E.H. MacDonald and Hiker’s Guide” by Lisa Christensen (Fifth House Books; 2003)J. E. H. MacDonald made seven trips to the Canadian Rockies, visiting every summer between 1924 and 1930. He gained much inspiration from the majesty of the mountains, typically painting in the area of Lake O’Hara in Yoho National Park. MacDonald headed west by train, disembarking at Wapta Station, near the current location of West Louise Lodge. As was typical, he then travelled by pack horse with his gear and supplies. The location of this intimate scene is Ross Lake, a mountain gem cradled within the cliffs of Narao Peak. It is located on the Great Divide, in the valley below O’Hara (at a distance of about 11 km). MacDonald would have taken the time, at the beginning or end of his trip, to stop and paint in this area. This work is one of only approximately 10 known examples painted by Macdonald outside of Lake O’Hara proper. Another example depicting this location, titled “Near Ross Lake”, is found in the collection of the Museum of London (55.A.23).We thank Lisa Christensen for her assistance in determining the location of this scene and for the historical context.

$ 40,000 / 60,000

29 | Roland GissingCanadian ASA [1895-1967]WATERFOWL LAKE; 1965oil on board12 x 16 in. (30.5 x 40.6 cm)signed lower right; signed, titled & dated versoProvenance: Estate of Raymond Rougeau, Brooks AB; Gainsborough Galleries, Calgary AB

$ 800 / 1,000

28 | Orestes Nicholas (Rick) GrandmaisonCanadian [1932-1985]THE HOMESTEAD LATE AUTUMN; 1981oil on board22 x 30 in. (55.9 x 76.2 cm)signed lower left; signed, titled & dated verso

$ 1,500 / 2,500

32 | Illingworth Holey (Buck) KerrCanadian ASA, BCSA, FCA, RCA [1905-1989]END OF SNOW; 1980oil on canvas18 x 24 in. (45.7 x 61 cm)monogrammed lower left; signed, titled & dated on the stretcher versoProvenance: Gold Design Fine Arts, Calgary AB

$ 4,000 / 6,000

35 | Molly Lamb BobakCanadian RCA [1922-2014]INTERSECTION (OTTAWA); ca 1973oil on masonite16 x 24 in. (40.6 x 61 cm)signed lower right; titled on the gallery label versoProvenance: Canadian Fine Arts, Toronto ONExhibited: “People and Places of New Brunswick” (Gallery 78; 2018), in a non-commercial retrospective exhibition of Bruno and Molly Bobak’s work.Note: Molly Lamb Bobak was often drawn to urban scenes, here depicting the hustle and bustle of life on a busy city street. There is a strong sense of rhythm and movement in this work, accentuated by her loose brush work and selective placement of bold colour into the otherwise muted panel. Her technique achieves the objective of capturing the mood and impressions of the moment, rather than the details of the scene.

$ 7,000 / 9,000

36 | Molly Lamb BobakCanadian RCA [1922-2014]ENGLISH BEACH; ca 1975oil on canvas22 x 30 in. (55.9 x 76.2 cm)signed lower right; titled versoProvenance: Galerie Eric Klinkhoff, Montreal QCBorn and raised in the Vancouver area, Molly Joan Lamb studied at the Vancouver School of Art (1938-41) before enlisting with the Canadian Women’s Army Corp. in 1942. She became Canada’s first female official war artist three years later, meeting fellow artist Bruno Bobak during her time in London, England. After marrying, the Bobaks returned to Vancouver for a number of years, before Bruno Bobak accepted a teaching position at the University of New Brunswick in Fredericton, where the couple settled and lived for over 50 years. Molly Lamb Bobak went on to have a long teaching and exhibition career and was honored with a travelling retrospective of her work in 1992. Her work can be found in many public collections, including the National Gallery of Canada, the Canadian War Museum, the Art Gallery of Ontario, and the Montreal Museum of Fine Arts.

$ 10,000 / 15,000

34 | Roland GissingCanadian ASA [1895-1967]EVENING SHADOWS; ca 1940oil on canvas16 x 20 in. (40.6 x 50.8 cm)signed lower left; titled on the artist’s and gallery labels versoProvenance: Estate of Raymond Rougeau, Brooks AB; Gainsborough Galleries, Calgary AB

$ 1,500 / 2,000

33 | Georgia JarvisCanadian [1944-1990]WARM WINTERoil on masonite20 x 30 in. (61 x 91.4 cm)signed lower right; signed & titled verso

$ 2,000 / 3,000

37 | Lionel LeMoine FitzGeraldCanadian CGP, G7, MSA [1890-1956]WINNIPEG; 1925oil on canvas, laid on wood panel6 x 8.25 in. (15.2 x 21 cm)initialed lower left; signed and estate stamped on the old backing verso Provenance: Estate of the Artist; The Morris Gallery, Toronto ON; Brock Galleries, Penticton BC; Loch Gallery, Winnipeg MB

$ 5,000 / 7,000

39 | Maurice Galbraith CullenCanadian RCA [1866 - 1934]BRITTANY COAST; 1902oil on canvas15 x 18.25 in. (38.1 x 46.4 cm)signed & dated lower rightProvenance: Walter Klinkhoff Gallery, Montreal QC (Cullen Inv. No. 154); Canadian Fine Arts, Toronto ON; Masters Gallery, Calgary ABMaurice Galbraith Cullen was born in St. John’s, Newfoundland and moved with his family to Montreal as a boy. At age fourteen, while working as a sales clerk, he began his formal art education, training at the Institut National des Beaux-Arts et Sciences, and privately with sculptor Louis-Philippe Hebert. In 1887, an inheritance from his mother allowed Cullen to move to France to further his studies. In Paris, he trained at the Ecole des Beaux-Arts and at the Academies Julian and Colarossi. Here, Cullen was taught in the traditional French academic style of painting, though he was drawn to Impressionism and the Barbizon School. While in France, he met several fellow Canadian artists, including James Wilson Morrice and William Brymner, who became his sketching partners. During these years, Cullen spent his summers in the French countryside and sketching the Brittany Coast, often in the company of Morrice. Cullen exhibited at the Paris Salon and become an associate of the Société Nationale des Beaux-arts. Cullen returned to Montreal in 1895 and opened a studio, soon exhibiting with the Royal Canadian Academy and the Art Association of Montreal. In 1900, Cullen embarked on his last major painting trip overseas. He spent the following two years painting at numerous locations, including Brittany, Venice, Florence, Southern France and North Africa. This work dates from this time period, and depicts a coastal scene in Brittany, an area Cullen enjoyed revisiting. Brittany was an important artistic centre, drawing artists from around the world, who appreciated the area for its rugged scenery, traditional customs and artistic camaraderie.

$ 12,000 / 16,000

38 | James Wilson Morrice (attribution)Canadian RCA [1865-1924]MARKET SQUARE, PARIS; ca 1900oil on panel5.5 x 6.5 in. (14 x 16.5 cm)bears signature lower right and versoProvenance: Arthur Leggett Fine Art and Antiques, Toronto ON; Jerrold Morris Gallery, Toronto ON; Masters Gallery, Calgary AB; Private collection; Calgary AB; Former collection of A. K. Prakash, Toronto ON; Private collection, Winnipeg MBExhibited: “Canadian Artists in Paris and the French Influence”, Glenbow Museum, Calgary AB (October 16, 1999-January 3, 2000.

$ 6,000 / 9,000

40 | David Brown MilneCanadian CSPWC, CGP, CSGA [1882-1953]COLUMBINE; 1943watercolour on paper14.5 x 17.25 in. (36.8 x 43.8 cm)Exhibited: Hart House Ajax, University of Toronto (March 1947); “Thirty Paintings by David Milne”, National Gallery of Canada, Ottawa (May 2-13, 1947)Provenance: Former collection of the late J. R. Shaw, Calgary AB; Masters Gallery, Calgary AB; Douglas Udell Gallery, Edmonton ABLiterature: “Painting Place: The Life and Work of David B. Milne” (David P. Silcox; University of Toronto Press; 1996); “David Milne” (Ian M. Thom; Douglas & McIntyre Ltd.; 1991)In 1937, after taking a 12 year break from the medium, David Milne once again began to work in watercolours, and they would dominate his body of work during the final years of his career. Milne reduced his scenes with delicate precision, guided by what he described as “aesthetic emotion’. Where his Group of Seven contemporaries were bold and expressive, drawing strength and influence from the Group, Milne’s work was quiet and introspective - almost austere - and defied categorization. Often described as reclusive, for Milne, art and life were integrally interconnected, and he compulsively viewed the natural world around him from the lens of an artist. Though Milne had gained a love of nature at an early age, the subjects of his paintings were secondary to his artistic impression, and to the works themselves. David Milne was incredibly insightful and adept at expressing his internal process, which we glimpse in this 1936 quote: “Do you like flowers? So do I, but I never paint them. I didn’t even see the hepaticas. I saw, instead, an arrangement of the lines, spaces, hues, values and relations that I habitually use. That is, I saw one of my own pictures, a little different from ones done before, changed slightly, very slightly, by what I saw before me.’”

$ 15,000 / 20,000

41 | Cornelius David KrieghoffCanadian [1815-1872]CAUGHNAWAGA INDIANS AT MOUNT ROYAL; ca 1848oil on canvas15.75 x 22.5 in. (40 x 57.2 cm)signed lower right; titled within the frame and on a label versoExhibited: National Gallery of Canada, Ottawa ON (1934) Provenance: Former collection of C. Jackson Booth (Ottawa ON), Former collection of Leslie Lewis (London); Private collection Winnipeg MB Krieghoff remains one of the best known and admired of the early Canadian painters, active before and during the early years of Confederation. As a genre painter, Krieghoff’s focus was on the everyday life of the habitants and Indigenous people of Lower Canada. His sketches of the Caughnawaga date as far back as 1844. These tightly composed early scenes differ in tone from a style favoured by the artist later, when he became more interested in painting landscape and subjects were placed within a broader scene. Here, there is an interesting parallel in how the four Caughnawaga have casually stopped to chat, in much the same manner as would have been common for a group of habitants crossing paths while going about their daily routines. Krieghoff painted several versions of this scene between 1844 and 1850. A very similar work, depicting a small group of Caughnawaga in a snow-covered scene along the southern shore of the St. Lawrence, is illustrated on page 50 of “Krieghoff” (J. Russell Harper; University of Toronto Press; 1979). In comparing these different examples, the viewer can see that Krieghoff has rearranged and modified the visual elements. In all scenes, two groups meet on the plains in an everyday encounter. The man, is either wearing snowshoes or carrying them on his back, while his wife carries a basket or papoose on her back. The other women appear in varied details: wearing colourful shawls, a beaver hat or a Hudson’s Bay blanket. They may carry a basket, a red bag, or moccasins. The distant background images similarly vary - here, there are two figures near a small cabin, while the peak of Mount Royal appears in the horizon. In another similar scene, that was issued as a chromolithograph from the period, two figures pull sleds. A black and white dog also makes an appearance in the canvases. On page 47 of his book, Harper postulates that its image was borrowed from Coke Smyth’s “Moose Hunter” (“Sketches in the Canadas, no. XXIX). Hunter notes (pp. 49/52) that Krieghoff, in addition to any personal experiences, relied on several sources for these types of works: Smyth’s aforementioned book of prints (images that were based on what Smyth felt to be characteristic Canadian subjects following his 1838 tour); and engravings from the book “Canadian Scenery (based on sketches by W. H. Bartlett).Cornelius Krieghoff’s images are reminiscent of a bygone era, offering an idealized view of life during the formative days of the country’s history. His legacy lies in a body of work that chronicled the way of life of the early settlers and Canada’s Indigenous peoples, and helped to create the iconography of French Canada.

$ 60,000 / 80,000

42 | Maxwell Bennett BatesCanadian ASA, CGP, CSGA, CSPWC, RCA [1906-1980]GLOUCESTER ROAD, LONDON; ca 1959oil on masonite24 x 30 in. (61 x 76.2 cm)signed lower left; titled on the exhibition label versoExhibition: Royal Canadian Academy of ArtsProvenance: Estate of Bill and Peggy Code, Calgary ABLondon played an important role in shaping Max Bates’ career. Bates first visited London as a youngster in 1912, on an extended trip with his family. Later, when he felt rejected in Alberta, and confined by the traditional local art scene, Bates travelled to London in 1930/31. This marked the beginning of a transformative 15 year absence from Calgary. While in London, Bates grew and flourished as an artist. He reportedly took in two thousand art exhibitions; he exhibited regularly; he became a member of the Twenties Group (1932-1939), an association of prominent Expressionists and Surrealists; and his work was included along with many of the great masters in the politically important Artists International Association Exhibition of 1937. Following this period, Bates enlisted with the British Territorial Army and spent five years as a prisoner of war, leaving a forever-changed Europe for Calgary in 1946.Bates returned to Europe once again during 1958/1959, with his wife Charlotte, visiting a number of sites he had seen prior to the War, including some in London. During this trip, Bates sketched and took notes for paintings that he would develop upon his return home.

$ 5,000 / 7,000

43 | James HendersonCanadian [1871-1951]SIOUX WARRIORoil on board24 x 17.75 in. (61 x 45.1 cm)signed lower right; titled on a plaque and on the gallery labelProvenance: Former collection of Alex Fraser, Vancouver BC; Masters Gallery, Calgary ABLiterature: “James Henderson: Wicite Owapa Wicasa, The Man who Paints the Old Men” (Dan Ring, James Lanigan and Neal Mcleod; Mendel Art Gallery; 2010)James Henderson is a pioneering figure in the history of art in Saskatchewan. He was one of the first professionally trained artists to settle in Saskatchewan, having been born in Glasgow, Scotland, and trained at the Glasgow School of Art. Henderson had been working as a commercial artist in London, and after first coming to Regina, he settled in Fort Qu’Appele. Henderson was fascinated by the landscape of the Qu’Appelle Valley and by the Indigenous peoples of the Canadian West. In 1924, Henderson is known to have exhibited a portrait titled “Sioux Indian” at the British Empire Exhibition (Wembley, London), followed by “Weasel Calf, Blackfoot Chief” the next year. Also in 1925, Henderson exhibited three portraits (along with several landscapes) in the exhibition “Artists of Saskatchewan”, at the University of Toronto’s Hart House. Following this success, he was commissioned by the University of Saskatchewan to paint twelve portraits representing the tribes of Saskatchewan and Alberta. During the following years, Henderson’s portraits were exhibited broadly, including several times at the National Gallery of Canada. Henderson’s historically important portraits can be found in numerous public collections, including: Mendel Art Gallery (Saskatoon); McKenzie Art Gallery (Regina); Art Gallery of Alberta (Edmonton); Glenbow Museum (Calgary); Art Gallery of Greater Victoria; and National Gallery of Canada (Ottawa)

$ 6,000 / 9,000

44 | Nicholas de GrandmaisonCanadian RCA [1892-1978]PORTRAIT IN PROFILEpastel on sandpaper17.75 x 13.75 in. (45.1 x 34.9 cm)signed lower leftLiterature: History in Their Blood: The Indian Portraits of Nicholas de Grandmaison (Hugh A. Dempsey; Douglas & McIntryre Ltd.; 1982); “Drawn from the Past: Nicholas de Grandmaison” (Gordon Snyder; Snyder Fine Arts; 2007)

$ 12,000 / 15,000

45 | Frederick Arthur VernerCanadian OSA, RCA [1836-1928]INDIAN MAIDEN; 1874oil on canvas21.25 x 17.25 in. (54 x 43.8 cm)signed & dated lower rightProvenance: Masters Gallery, Calgary ABReference: “The Last Buffalo: The Story of Frederick Arthur Verner, Painter of the Canadian West” (Joan Murray; Pagurian Corporation; 1984)

Verner’s vision of the Canadian West and Indigenous life were well-received and appreciated by the Canadian and English public of the day. Verner exhibited widely during his long career: with the Royal Canadian Academy from its founding in 1880 until his death in 1928; with the Ontario Society of Artists (1872-1922); and with the Art Association on Montreal (1872-1922); and he exhibited regularly overseas.Verner was one of very few painters of the era born in Ontario, and one of the first to attend and record a decisive historical event - the North-West Angle Treaty of 1873 (Indian Treaty No. 3) which determined for Canada the disposition of 142,000 square km, and structured the settlement of the Canadian West. Verner would have departed for the West in the spring of 1873. The extent of his travels is unknown, though it is recorded that in September of that year he travelled through Winnipeg to Lake of the Woods, where he witnessed and recorded the signing of the Treaty. In October, he travelled East to Rainy River, Fort Frances, then to Island Portage on the Winnipeg River. It was during this trip that Verner developed the extensive sketches that formed the foundation and cornerstone for his works, and he would return to these regularly over the years.Verner’s portraits are very few in number, and certainly follow in the spirit of the work of Paul Kane, with whom Verner had developed a friendship. According to Joan Murray (on page 37 of her book), “family legend speaks of twelve portraits”, and that “these portraits may have been commissioned by the government or perhaps they were meant to lead to such commissions”. Verner strove for accuracy in his depictions, referring back to sketches of Indigenous clothing, jewellery, ornaments and objects that he studied to improve himself as a painter. His attention to these details is evident in this portrait, in the necklaces, beading, feather and fringe worn by the subject.In 1874, Verner devoted himself to developing larger canvases from the sketches he had made the previous year. A half length portrait (“Ojibway Belle at Fort Frances”) was exhibited at the OSA in 1874, to critical praise. Known to return to his motifs, this portrait - “Indian Maiden” - of this same year, seems to be another version of that work. A later example, from 1990, titled “Indian Woman (Ojibway Tribe)”, is illustrated on pp. 16-17 of Murray’s book.

$ 20,000 / 30,000

47 | Cornelius David KrieghoffCanadian [1815-1872]SNOWSHOERSwatercolour on paper5 x 6.5 in. (12.7 x 16.5 cm)signed lower right; titled on the gallery labels versoProvenance: G. Blair Laing Ltd., Toronto ON; Galerie Walter Klinkhoff, Montreal QC; Peter Ohler Fine Arts, Vancouver BC

$ 3,000 / 5,000

46 | Harley BrownCanadian CAA, NAWA, NWR, OPA [b. 1939]ONE GUN, BLACKFOOTpastel on paper23.5 x 18 in. (59.7 x 45.7 cm)signed & titled lower leftNote: One Gun [1884-1973] was an honoured member of the Siksika tribe, serving for many years on the band council, as well as in several secret societies. He was a regular participant in the Calgary Stampede, since its inception in 1912.

$ 1,000 / 1,500

48 | Cornelius David KrieghoffCanadian [1815-1872]THE MOCCASIN SELLER; ca 1850oil on canvas11 x 8 in. (27.9 x 20.3 cm)signed lower rightProvenance: Kennedy Galleries, New York NY; Former collection of Nathan Coming, Massachusetts; Former collection of George Whitney, Philadelphia PA; Private collection, Texas; Masters Gallery, Calgary AB; Private collection, Calgary ABExhibited: 39th Annual Exhibition of Pennsylvania Academy of Arts, “Pennsylvania Academy of Arts” (1862)Note: This work is Illustrated in “The Kennedy Quarterly, vol. X, no. 1, June 1970” (Kennedy Galleries, New York; 1970). Dutch-born Krieghoff travelled extensively before settling in Canada some time around 1846 when he opened his Montreal studio. He later moved his family to Quebec City in 1853. Inspired by the common scenes around him, he was one of the first artists to depict the everyday experience in mid-19th century Quebec, which he did in the romanticized fashion of the era. Known for his genre scenes, and portraits of habitants and Indigenous subjects, Krieghoff was rarely interested in painting “Indian” portraits of the type that focused on the individual subject, on his/her distinct characteristics or feelings. Instead, his images are representational and emblematic of a culture, a time, and a way of life. While not very successful during his Montreal years, his single-figure portraits became very popular with his affluent patrons, and were also accessible to buyers of more modest means. Krieghoff’s favoured motifs included basket sellers, moccasin sellers, hunters and trappers - familiar images of the Quebec countryside.

$ 15,000 / 20,000

49 | Clifton Ray (C. R.) CheekAmerican [1937-2019]THE AVENGERSbronze; ed. #25/2518 x 47 x 18 in. (45.7 x 119.4 x 45.7 cm), excluding base signed & editioned in the castProvenance: Estate of Bill and Peggy Code, Calgary ABNote: Born in Kentucky in 1937, Cheek moved to Montana after serving in the U.S. Navy (1958-1963). He took on ranching jobs, while maintaining his interest in art, and participated in many art shows over the years. He was self-taught, and won his first art award at the young age of 12. Cheek was keenly interested in pioneer traditions and “Indian” life in the Old West. His early works consisted of pen and ink drawings followed by watercolors and oil paintings. In the 1970s, Cheek developed an interest in sculpting; his works - in clay, polyform, wax and wood - formed the basis for his highly recognized and acclaimed bronzes. These bronzes are found in private and public collections around the world.

$ 3,000 / 5,000

51 | Allen SappCanadian RCA [1928-2015]AS LONG AS HE GETS AT LEAST ONE; 1983acrylic on canvas10 x 12 in. (25.4 x 30.5 cm)signed lower right; titled & dated on the artist’s label verso (AZ-325)

$ 1,500 / 2,500

53 | Pegi Nicol MacLeodCanadian CGP, CSPWC [1904-1949]CARL SCHURZ PARK, MANHATTAN; ca 1945oil on wood panel24.5 x 22.5 in. (62.2 x 57.2 cm)Provenance: Masters Gallery, Calgary ABOntario born Margaret Kathleen Nichol studied art at the Ottawa Art Association (under Franklin Brownell), then at the École des Beaux-arts in Montréal. She worked in Ottawa and Toronto before moving to New York in 1937 after marrying Norman MacLeod, who had accepted a position there. During her New York years, Pegi Nicol MacLeod painted scenes of bustling city life, as well as portraits of her young daughter. She returned to Canada every summer, notably to Fredericton, the home of her husband, where she taught art courses at the University of New Brunswick, and helped found the Observatory Art Centre. Pegi Nicol MacLeod produced an accomplished body of work during her short life, and is recognized for a dynamic, modernist style that expressed what she referred to as her “kaleidoscopic vision”. The National Gallery of Canada held a retrospective of Pegi Nicol MacLeod’s works shortly after her death.

$ 6,000 / 9,000

50 | Alex Simeon JanvierCanadian RCA [b. 1935]THE MOVER OF MOUNTAINSacrylic on paper30.25 x 22.75 in. (76.8 x 57.8 cm)signed lower rightProvenance: Wallace Galleries, Calgary AB

$ 3,000 / 4,000

52 | Claude A. SimardCanadian RCA [1943-2014]SUMMER; 1992oil on canvas36 x 51.75 in. (91.4 x 131.4 cm)signed & dated lower right; signed, titled & dated verso

$ 6,000 / 8,000

54 | Frederic Marlett Bell-SmithCanadian OSA, RCA [1846-1923]HOLBORN STAPLE INN, ON RIGHT (LONDON); 1920watercolour on paper9.25 x 13 in. (23.5 x 33 cm)signed & dated lower left; titled on the old backing attached versoProvenance: Kaspar Gallery, Toronto ON

$ 2,500 / 3,500 56 | Dorothea SharpBritish RBA, ROI, SWA [1874-1955]STILL LIFE - FLOWERS IN A GLASS JUGoil on canvas20.25 x 16 in. (51.4 x 40.6 cm)signed lower left

$ 2,000 / 4,000

57 | Pegi Nicol MacLeodCanadian CGP, CSPWC [1904-1949]TWO CHILDREN; ca 1942oil on canvas14 x 22 in. (35.6 x 55.9 cm)signed lower leftProvenance: Former collection of Jane MacLeod (daughter of the artist); Former collection of Chris Varley, Toronto ON; Masters Gallery, Calgary AB

$ 4,000 / 6,000

58 | Janet MitchellCanadian ASA, CSPWC, RCA [1912-1998]CLOWNS; 1952oil on canvas26 x 30 in. (66 x 76.2 cm)signed & dated lower right Exhibited: The Muttart Public Art Gallery (Calgary), “Janet Mitchell Retrospective: a Celebration” (Touring Exhibition: August 28-October 14, 1995)Provenance: Estate of Bill and Peggy Code, Calgary AB; Masters Gallery, Calgary AB (acquired from the personal collection of Janet Mitchell) Note: This work appears in a full page illustration on page 51 of “Janet Mitchell: Life and Art”; Peggy Armstrong (Paulson); Hyperion Press Ltd.; 1990.On pp. 45-46 of her book, the author comments on Mitchell’s experimentation and evolving imagery, stating:“One remarkable feature of Mitchell’s early work is the periodic appearance of a painting that seems to be a foreshadowing of an idea that she explores more fully at a later stage. It is as if she stores and records visual ideas until she has reached a point in her development at which she is ready to use them....Clowns (1952) is quite a different kind of painting, but the mask-like faces seem to present a starting point for a number of paintings of figures that developed from the grass series.”

$ 4,000 / 6,000

55 | Elizabeth Adela Stanhope-ForbesCanadian [1859-1912]THE OPEN BOOKwatercolour and gouache over pencil on paper24 x 18 in. (61 x 45.7 cm)signed lower rightProvenance: Masters Gallery, Calgary AB; Sotheby’s London: “Victorian and Edwardian Art”, July 15, 2008 ( Lot 105)Note: Attached verso is a hand written note by the artist, quoting the second verse of Henry Wadsworth Longfellow’s 1857 poem “The Fiftieth Birthday of Agassiz”. It reads: “The Open Book. And Nature, the old nurse, tookThe child upon her knee,Saying: ‘Here is a story-bookThy Father has written for thee.’”

$ 15,000 / 20,000

59 | Illingworth Holey (Buck) KerrCanadian ASA, BCSA, FCA, RCA [1905-1989]FERTILITY RITE; 1982oil on board14 x 18 in. (35.6 x 45.7 cm)monogrammed lower centre; signed, titled & dated versoProvenance: Estate of Bill and Peggy Code, Calgary AB

$ 2,500 / 3,500

61 | Jean Albert McEwenCanadian AANFM, RCA [1923-1999]ABSTRACT COMPOSITION; 1962oil on canvas30 x 30 in. (76.2 x 76.2 cm)signed & dated lower right and versoProvenance: Wallack Galleries, Ottawa ON (label remnants verso)Jean McEwen was born in Montreal to a Scottish father and French Canadian mother. A true renaissance man, he completed a Pharmacy degree at the University of Montreal, while also pursuing his interest in painting and poetry (his poetry was published and his first submission to the Spring Salon of the Montreal Museum of Arts was accepted and well-received). McEwen soon developed a friendship with Paul-Emile Borduas, who inspired his early experimentation. In 1951, McEwen held his first one-man show at Galerie Agnes Lefort, to favorable reviews. Shortly afterward, having made the decision to pursue a career as an artist, he left for Paris. The following two years (1951-1953), were immersive ones. During this time, McEwen’s associates included American artist Sam Francis, French painter Georges Mathieu and fellow Quebecer Jean-Paul Riopelle (a connection facilitated by Borduas). McEwen exhibited with Riopelle and Francis at Galerie du Dragon, painted in Brittany, and travelled to Italy, Holland and Spain to view the works of the Masters. Upon his return to Montreal, McEwen began to define himself as an artist, progressively distinguishing his work from that of earlier influences. In 1956, he became a member of the newly-founded Association des Artistes Non Figuratifs de Montréal, becoming president of the association in 1960. McEwen was maturing as an artist and now exhibiting more broadly. Solo shows at Gallery Moos (Toronto) in 1961 and 1962, provided the impetus for a New York solo show the following year at the Martha Jackson Gallery, then for several other International exhibitions. In 1966, McEwen’s work was featured in a joint touring exhibition (with Harold Town) of the National Gallery of Canada, and he was also included in the National Gallery’s Canadian Centennial show the following year. The 1960s were a pivotal time in McEwen’s career. This piece, created in 1962, exemplifies his work from this time period. It features a strong vertical column, which anchors the composition and creates structure. His use of colour contrast - the yellow symmetrical plains, against the strong focal red, and burnt umber - adds drama and depth to the composition, while illuminating a dappled effect, and accentuating the texture of the pigment layers. Jean McEwen is one of Canada’s most influential abstract painters, with a career spanning over 50 years. The Montreal Museum of Fine Arts presented major retrospectives of McEwen’s work in 1973 and 1987. His work can be found in numerous public collections including the National Gallery of Canada (Ottawa), the Museum of Modern Art (New York) and the Montreal Museum of Fine Arts.

$ 20,000 / 30,000

60 | Fernand ToupinCanadian AANFM, RCA [1930-2009]ABSTRACT COMPOSITION; 1963oil on canvas14 x 11 in. (35.6 x 27.9 cm)signed & titled lower right and versoProvenance: Masters Gallery, Calgary ABNote: Fernand Toupin was one of the original signatories of the “Manifeste des Plasticiens” in 1955. The Plasticiens, were a non-figurative, avant-garde group, that rejected the spontaneous abstraction of the Automatistes, in favour of more orderly and constructed abstraction.

$ 1,000 / 2,000

62 | Robert GennCanadian FCA [1936-2014]LAST LIGHT (BRITTANY); 1980oil on canvas12 x 16 in. (30.5 x 40.6 cm)signed lower right; signed, titled & dated versoProvenance: Estate of Bill and Peggy Code, Calgary AB; David Edwards Gallery, Bragg Creek AB

$ 1,200 / 1,500

64 | Henry George GlydeCanadian ASA, CSGA, FCA, RCA [1906-1998]CASTLE MOUNTAINoil on board16 x 20 in. (40.6 x 50.8 cm)signed lower right; signed & titled versoProvenance: Estate of Bill and Peggy Code, Calgary AB; Kensington Fine Art Gallery, Calgary AB

$ 5,000 / 7,000

66 | Richard Audley (Dick) FreemanCanadian [1932-1991]EASY DOES IT; 1989oil on canvas20 x 30 in. (50.8 x 76.2 cm)signed lower right; titled & dated on the stretcher versoProvenance: West End Gallery, Edmonton AB

$ 1,200 / 1,800

63 | Robert GennCanadian FCA [1936-2014]SALAL JOE OF BARKLEY SOUNDoil on canvas24 x 30 in. (61 x 76.2 cm)signed lower right; signed & dated verso Provenance: Estate of Bill and Peggy Code, Calgary AB; Gainsborough Galleries, Calgary ABNote: This work appears on page 121 of “Robert Genn: In Praise of Painting” (Robert Genn; Merritt Publishing; 1981). It was used as an examplar of a painting where Genn’s technique’s included toning down by glazing and later wiping out selected areas of the canvas. A copy of the book accompanies this painting.

$ 3,000 / 5,000

65 | Orestes Nicholas (Rick) GrandmaisonCanadian [1932-1985]BEFORE THE STORM; 1982oil on canvas22 x 30 in. (55.9 x 76.2 cm)signed lower right; signed, titled & dated versoProvenance: Private collection, Calgary AB; Former collection of Tara de Grandmaison (daughter of the artist); Formerly from the Estate of Dr. Howard Freeze, Calgary AB

$ 2,000 / 3,000

69 | Orestes Nicholas (Rick) GrandmaisonCanadian [1932-1985]AFTERNOON RETURN; 1973oil on masonite14 x 18 in. (35.6 x 45.7 cm)signed & dated lower left, signed, titled & dated verso and on the cardboard backingProvenance: Estate of Bill and Peggy Code, Calgary AB; Former collection of Tara de Grandmaison (daughter of the artist)

$ 1,200 / 1,600

70 | Walter Joseph PhillipsCanadian ASA, CPE, CSPWC, MSA, RCA [1884-1963]NORMAN BAY (N0. 2); 1923colour woodcut on paper; ed. #30/1008.75 x 9.75 in. (22.2 x 24.8 cm)signed, titled & editioned in pencil; monogrammed & dated in the blockMBL72

$ 1,500 / 2,000

71 | Walter Joseph PhillipsCanadian ASA, CPE, CSPWC, MSA, RCA [1884-1963]MOUNT SCHAEFFER; 1927colour woodcut on paper; ed. #92/1008.75 x 10 in. (22.2 x 25.4 cm)signed, titled & editioned in pencil; signed in the blockMBL97

$ 1,500 / 2,500

68 | Roland GissingCanadian ASA [1895-1967]THE BUGABOO SPIRESoil on canvas34 x 44 in. (86.4 x 111.8 cm)signed lower right; titled on the artist’s label versoProvenance: Lamm Art Gallery, Calgary ABNote: This painting is accompanied by a copy of the book: “Roland Gissing: The Peoples’ Painter” (Max Foran & Nonie Houlton; The University of Calgary Press; 1988).

$ 5,000 / 7,000

67 | Peter Maxwell EwartCanadian [1918-2001]FOOTHILLS COUNTRY; 1968oil on canvas36 x 43 in. (91.4 x 109.2 cm)signed lower right; titled & dated on a plaque

$ 2,000 / 2,500

72 | Walter Joseph PhillipsCanadian ASA, CPE, CSPWC, MSA, RCA [1884-1963]THE FIELD BARN; 1925colour woodcut on paper; ed. of 1009 x 10 in. (22.9 x 25.4 cm)signed & titled in pencil; monogrammed in the blockMBL81Note: This work is illustrated on page 77 of “The Tranquility and the Turbulence: The Life and Work of Walter J. Phillips” (Roger Boulet; M. B. Loates Publishing; 1981).

$ 700 / 1,000

74 | Walter Joseph PhillipsCanadian ASA, CPE, CSPWC, MSA, RCA [1884-1963]JOHN; 1928colour woodcut on paper; ed. #259 (of 300)7 x 8.5 in. (17.8 x 21.6 cm)signed & editioned; monogrammed in the blockReference: MBL115Note: This is the third of seven prints in “The Canadian Scene” portfolio, printed on Goyu paper from six cherry wood blocks. The subject is the artist’s son, and the sketch was produced on one of the family’s trips to Muskoka Lake. This work is illustrated on page 84 of “The Tranquility and the Turbulence: The Life and Work of Walter J. Phillips” (Roger Boulet; M. B. Loates Publishing; 1981).

$ 800 / 1,200

76 | Walter Joseph PhillipsCanadian ASA, CPE, CSPWC, MSA, RCA [1884-1963]WINTER WOODS; 1926colour woodcut on paper3.25 x 3.75 in. (8.3 x 9.5 cm)signed in pencil; monogrammed in the blockReference: MBL93Note: This print was re-issued as the fourth print in the “Winter Woodcuts” portfolio of 1936. It is illustrated on page 72 of “The Tranquility and the Turbulence: The Life and Work of Walter J. Phillips” (Roger Boulet; M. B. Loates Publishing Ltd.; 1981).

$ 750 / 1,000

77 | Horace ChampagneCanadian PSA, PSC [b. 1937]ST. FIDEL, QUEBEC (ONE OF A. Y. JACKSON’S FAVORITES ON THE ST. LAWRENCE RIVER); 1986pastel on paper30 x 40 in. (76.2 x 101.6 cm)signed lower right; titled & dated verso and on the gallery labelProvenance: Estate of Bill and Peggy Code, Calgary AB; Masters Gallery, Calgary AB

$ 3,500 / 4,500

75 | Walter Joseph PhillipsCanadian ASA, CPE, CSPWC, MSA, RCA [1884-1963]LARIVIERE, MANITOBA; 1938colour woodcut on paper4.25 x 4.5 in. (11.1 x 11.6 cm)signed in pencil; monogrammed in the blockMBL223Note: This work was produced as the Christmas greeting of 1938.

$ 800 / 1,200

73 | Walter Joseph PhillipsCanadian ASA, CPE, CSPWC, MSA, RCA [1884-1963]SUMMER; 1925colour woodcut on paper5.5 x 7 in. (14 x 17.8 cm)signed in pencil; monogrammed & dated in the blockMBL79Note: This print was produced for inclusion in “The Original Colour Print Magazine”, (London, 1925), and was distributed with the publication, in an edition of 500. It is illustrated on page 75 of “The Tranquility and the Turbulence: The Life and Work of Walter J. Phillips” (Roger Boulet; M. B. Loates Publishing; 1981).

$ 800 / 1,000

81 | Neil PattersonCanadian ASA, FCA, OPA [b.1947]A LITTLE BIT OF HEAVENoil on wood panel18 x 24 in. (45.7 x 61 cm)signed lower right; titled verso

$ 1,000 / 1,500

80 | Duncan Mackinnon CrockfordCanadian [1920-1991]SCENE NR SUNSHINE VALLEY IN THE KOOTENAY, B.C.; 1987oil on canvas24 x 30 in. (61 x 76.2 cm)signed & dated lower right; titled on the stretcher verso

$ 2,000 / 3,000

83 | David PughCanadian [1946-1994]NEW MOON; 1986oil on canvas50 x 40 in. (127 x 101.6 cm)signed, titled & dated verso

$ 2,000 / 3,000

79 | Illingworth Holey (Buck) KerrCanadian ASA, BCSA, FCA, RCA [1905-1989]MORMON LAKE, EVENING LIGHT; 1981oil on board12 x 16 in. (30.5 x 40.6 cm)monogrammed lower right; signed, titled & dated versoProvenance: Aggasiz Galleries, Winnipeg MB

$ 2,000 / 3,000

78 | Roland GissingCanadian ASA [1895-1967]WINTER LANDSCAPEoil on canvas18 x 24 in. (45.7 x 61 cm)signed lower right; titled on the gallery label verso Provenance: Estate of Raymond Rougeau, Brooks AB; Gainsborough Galleries, Calgary AB

$ 1,750 / 2,250 82 | Roland GissingCanadian ASA [1895-1967]COLUMBIA VALLEY, B.C.; 1954oil on canvas22 x 30 in. (55.9 x 76.2 cm)signed lower right; signed, titled & dated on the artist’s label verso

$ 2,000 / 3,000

84 | Illingworth Holey (Buck) KerrCanadian ASA, BCSA, FCA, RCA [1905-1989]CHANNEL ICE, ELBOW RIVER FOREST RESERVE; 1983oil on canvas36 x 48 in. (91.4 x 121.9 cm)monogrammed lower left; signed, titled & dated on the stretcher versoProvenance: Estate of Bill and Peggy Code, Calgary ABReference: “Illingworth Kerr: Fifty Years a Painter” (Alberta College of Art; 1973).Kerr, who was born and raised in Lumsden, Saskatchewan, received his first encouragement and instruction in the arts from his mother, a watercolour artist. As a budding artist, he won numerous first prize awards at his first show (in 1919) at the Regina Exhibition. In 1923, Kerr headed to Toronto to obtain a formal art education at the Ontario College of Art, where his instructors included Arthur Lismer, J. E. H. MacDonald, Frederick Varley, and William Beatty. While the Group of Seven’s approach was not expressly taught at OCA, Kerr was exposed to the ideals of the Group through his attendance at various exhibitions and studios. Kerr returned to his prairie home, embracing the ideal of creating a uniquely Canadian expression of landscape, and his focus over his decades long career remained on the Prairies - namely Saskatchewan and Alberta.In 1947 Kerr moved to Calgary to head the Art Department of the Provincial Institute of Technology and Art (now Alberta University of the Arts and SAIT). Under his 20-year tenure, Kerr lay the foundation for art instruction in Alberta and had far-reaching influence as an instructor and mentor. Kerr was only able to fully dedicate himself to his art following his retirement from the Institute. During these years he often painted in the the foothills and natural areas outside Calgary. The proximity to the mountains, foothills and prairie gave him ample opportunity to continuing exploring the “answer to Western space with its vast scale, its power of mood rather than tangible forms”. In 1973, Kerr was awarded an honorary doctorate from the University of Calgary. In 1975, a retrospective of his work was held at the gallery of the Alberta College of Art (later renamed the Illingworth Kerr Gallery). This exhibition subsequently toured to Regina and Saskatoon. In 1983, he was named to the Order of Canada. In 1985, a major retrospective of Kerr’s work “Harvest of the Spirit” debuted at the Edmonton Art Gallery before continuing on to nine Canadian cities. Kerr remains unmatched in his contributions to the modern expression of the prairie and foothills landscape.

$ 10,000 / 15,000

87 | Leo MolCanadian MSA, RCA, SSC [1915-2009]DAYDREAM; 1982bronze; ed. #1/1512.75 x 8.5 x 7 in. (32.4 x 21.6 x 17.8 cm)signed, dated & editioned in the castProvenance: Estate of Bill and Peggy Code, Calgary AB

$ 3,000 / 5,000

89 | Harold Barling TownCanadian RCA [1924-1991]MUSCLEMAN; 1984oil on canvas48 x 30 in. (121.9 x 76.2 cm)signed & dated verso; titled on the artist’s and gallery labels verso Provenance: Drabinsky Gallery, Toronto ON; Masters Gallery, Calgary ABNote: This work is illustrated on page 177 of “Harold Town” (Iris Nowell; Figure 1 Publishing; 2014).Harold Town was a founding member of the Abstract Expressionist group Painters Eleven, a term coined by Town for the group’s first show at Roberts Gallery in 1954. Town went on to explore a variety of media and styles during his accomplished career. In “Harold Town, Life and Work” (Art Canada Institute; 2014) author Gerta Moray likens the re-introduction in 1980 of figurative imagery to Town’s paintings, to a rejection of modern abstraction, “a move that had parallels to the ‘return to painting’ that burst upon the international art scene between 1978 and 1981.” Of this series, she says “Town continued this absurdist figurative vein in another late painting series, the Musclemen (1981–84), which reflected ironically on the masculine ideal in popular culture.”

$ 4,000 / 6,000

88 | Kim DorlandCanadian [b. 1974]LORI, WINDOW; 2014oil on canvas over cradled panel16 x 12 in. (40.6 x 30.5 cm)signed & dated on the upper panel; signed, titled & dated verso

$ 3,000 / 5,000

86 | Arthur LismerCanadian CGP, CSGA, CSPWC, G7, OSA, RCA [1885-1969]ESTHER LISMER RECLINING - YELLOW COAT; ca 1918oil on board12 x 16 in. (30.5 x 40.6 cm)initialed lower rightProvenance: Masters Gallery, Calgary AB; Former Collection of Marjorie Lismer (daughter of the artist), and by descent through the family

$ 8,000 / 12,000

85 | Yvonne McKague HousserCanadian CGP, OSA, RCA [1898-1996]THE SISTERS, TOBAGOoil on board38 x 24 in. (96.5 x 61 cm)signed lower right; titled on the gallery and exhibition labels versoProvenance: Laing Galleries, Toronto ONExhibited: Montreal Museum of Fine Art; Canadian Group of Painters (Toronto/Vancouver 1956-57, no. 35); Royal Canadian Academy of Arts (1959)

$ 3,000 / 5,000

92 | Katie OheCanadian ASA, RCA [b. 1937]ABSTRACT FIGURE; 1960sclay and woodheight: 9.75 in. (24.8 cm)signedProvenance: Formerly from the estate Ralph and Marion Hersh (Tucson, Arizona) and by descent to the current consignor.

$ 1,000 / 2,000

91 | Katie OheCanadian ASA, RCA [b. 1937]ABSTRACT FIGURE; 1960sclay and woodheight: 9.75 in. (24.8 cm)signedProvenance: Formerly from the estate Ralph and Marion Hersh (Tucson, Arizona) and by descent to the current consignor.

$ 1,000 / 2,000

90 | Katie OheCanadian ASA, RCA [b. 1937]ABSTRACT FIGURE; 1960sclay and woodheight: 10 in. (25.4 cm)signedProvenance: Formerly from the estate Ralph and Marion Hersh (Tucson, Arizona) and by descent to the current consignor.

$ 1,000 / 2,000Note: A major retrospective of Katie Ohe’s work is currently running at the Esker Foundation in Calgary (January 25-September 6, 2020).

93 | Danielle LanteigneCanadian [b. 1958]MARGUERITE SUR TABLE NOIRE; 2002acrylic on canvas40 x 40 in. (101.6 x 101.6 cm)signed lower right; signed, titled & dated verso

$ 2,000 / 3,000

94 | Alan ReynoldsCanadian [b. 1947]LIEF’S PAGE; 1982welded steel (unique)11 x 19 x 12.5 in. (27.9 x 48.3 x 31.8 cm)initialed & dated

$ 1,000 / 2,000

95 | Nicola PrinsenCanadian [b. 1955]FETCH; 2005bronze; ed. #8/914 x 33 x 17 in. (35.6 x 83.8 x 43.2 cm)signed & editioned in the cast; titled & dated on the gallery labelProvenance: Canada House Gallery, Banff AB

$ 2,000 / 3,000

96 | Alfred Crocker LeightonCanadian ASA, CSPWC, RBA, RCA [1901-1965]CROWSNEST PASS, CANADIAN ROCKY MOUNTAINSwatercolour on paper10.25 x 13.25 in. (26 x 33.7 cm)signed lower rightProvenance: This piece was purchased directly from A. C. Leighton in the 1940s

$ 800 / 1,200

100 | Roland GissingCanadian ASA [1895-1967]GHOST RIVER VALLEY oil on canvas20 x 30 in. (50.8 x 76.2 cm)signed lower right; titled on the artist’s label versoProvenance: The Collector’s Gallery, Calgary ABNote: This is an early work by the Gissing, likely dating from the late 1930s or early 1940s.

$ 2,000 / 2,500

98 | William H. (Bill) WebbCanadian [b. 1940]COLD DAY; 1984acrylic on canvas48 x 60 in. (121.9 x 152.4 cm)signed, titled & dated verso

$ 2,000 / 3,000

97 | Ted RafteryCanadian [b. 1938]LOGGING ROAD IN WINTER (MUD LAKE ROAD); 1982oil on canvas30 x 36 in. (76.2 x 91.4 cm)signed & dated lower right; signed, titled & dated verso, with a sketch verso identifying the depicted mountains as Mt Murray, Mt French, Mt Robertson and Mt Sir Douglas

$ 2,000 / 3,000

99 | Roland GissingCanadian ASA [1895-1967]KOOTENAY RIVERoil on canvas18 x 24 in. (45.7 x 61 cm)signed lower right; titled on the stretcher verso and on the gallery label Provenance: Estate of Raymond Rougeau, Brooks AB; Gainsborough Galleries, Calgary AB

$ 1,750 / 2,250

101 | Clarence Alphonse Gagnon, Limited Edition BookCanadian RCA [1881-1942]LE GRAND SILENCE BLANCE (Roman vecu d’Alaska)L.F. Rouquette; Art by Clarence A. Gagnon; Editions Mornay; Paris; 1928; 238 pp.; first edition; ed. #284/680Original wrappers bound in a near contemporary French designer binding by George Huser, signed on the bottom of the spine; printed on Rives paper

$ 3,000 / 3,500

106 | Alexander Young Jackson, Limited Edition BookCanadian CGP, G7, OSA, RCA [1882-1974]A PAINTER’S COUNTRY. THE AUTOBIOGRAPHY OF A.Y. JACKSONAlexander Young Jackson, Forward by The Rt. Hon. Vincent Massey; Clarke, Irwin & Company Ltd.; Toronto; 1958; 170 pp.; limited signed edition; ed. #319/1000Bound in gilt lettered 1/4 red leather and red boards, illustrated with tipped in colour plates; signed by the artist

$ 350 / 450

107 | Emily Carr, Signed First Editon Art BookCanadian BCSFA, CGP [1871-1945]KLEE WYCKEmily Carr; Foreword by Ira Dilworth; signed & dated (1942) by the author; Oxford University Press; London, Toronto, New York; 1941; 155pp.; signed 1st editionOctavo, illustrated dust jacket over orange cloth boards with titles in gilt and black.Note: Books signed by Carr, especially those dated near publication, are exceedingly scarce.

$ 2,500 / 3,000

104 | Clarence Alphonse Gagnon, Limited Edition BookCanadian RCA [1881-1942]CLARENCE GAGNONHughes De Jouvancourt; Editions La Fregate; Montreal; 1970; 141 pp.; first limited edition; ed. of 200Quarto in red cloth, in brown slipcase; tipped-in colour plates and black & white illustrations throughout

$ 500 / 700

103 | Maurice Galbraith Cullen, Limited Edition BookCanadian RCA [1866 - 1934]MAURICE CULLENHughes De Jouvancourt; Editions La Fregate; Montreal; 1978; 128 pp.; first limited edition; ed. #43/160Square quarto in original patterned fabric and silver lettered spine label with grey endpapers and brown slipcase; colour and black & white illustrations throughout; contains two colour serigraphs by Lorne Holland Bouchard and the original publisher’s advertisement card

$ 1,200 / 1,600

102 | Clarence Alphonse Gagnon, Limited Edition BookCanadian RCA [1881-1942]MARIA CHAPDELAINELouise Hemon; Artwork by Clarence A. Gagnon; Editions Mornay; Paris; 1933; 206 pp.; first edition, ed. #1850/1900Original soft birch wrappers bound into green Moroccan leather cover; printed on Rives paper

$ 2,000 / 2,500

105 | Tom Thomson, Limited Edition BookCanadian OSA [1877-1917]A STUDY OF TOM THOMSON. THE STORY OF A MAN WHO LOOKED FOR BEAUTY AND FOR TRUTH IN THE WILDERNESSBlodwen Davies; signed & numbered by the author on the limitation page; Discus Press; Toronto; 1935; 133 pp.; limited signed edition; ed. #131/450Green cloth covered boards with gilt lettering on the spine; black & white illustrations; four tipped in colour plates

$ 500 / 700

108 | Walter Joseph Phillips, Limited Edition BookCanadian ASA, CPE, CSPWC, MSA, RCA [1884-1963]WALTER J. PHILLIPS: THE COMPLETE GRAPHIC WORKSWalter J. Phillips & Roger H. Boulet; M. B. Loates Publishing Limited; 1981First edition. 570,[7]pp. + 1 leafpp.Very heavy, thick oblong folio, bound in quarter leather with linen cloth-covered boards, deckled edges and patterned endpapers; in matching linen slipcase with leather-trimmed edges, with extensive colour and b & w illustrations; with the original shipping box; signed by Roger Boulet on a tipped-in card on prelim. page and numbered as copy “V” of the presentation issue; includes the original colour woodcut “Margaret with a Doll” (1927; 2nd state), signed by Gladys Phillips; limited to 177 copies

$ 3,000 / 4,000

110 | Walter Joseph Phillips, Limited Edition BookCanadian ASA, CPE, CSPWC, MSA, RCA [1884-1963]DREAMS OF FORT GARRY - An Epic Poem on the Life and Times of the Early Settlers of Western Canada, Complete with Glossary and Historical NotesRobert Watson and Walter J. Phillips; Stovel Company Limited; Winnipeg; 1931; pp. 63; ed. #936/968.First printing; slim 8 vo; tan paper boards in original black slipcase; signed by the author and artist; illustrated with 20 woodcuts by Phillips

$ 600 / 900

111 | David Brown MilneCanadian CSPWC, CGP, CSGA [1882-1953] PAINTING PLACE; 1931 two colour drypoint etching on paper 4.75 x 6.75 in. (12.1 x 17.1 cm) signed in pencil; signed in the plate Note: Contained in “The Colophon: A Book Collectors’ Quarterly, Part V”. New York: Colophon Ltd., 1931.

$ 1,200 / 1,600

109 | Walter Joseph Phillips & Claude Flight, Magazine with PrintsTHE ORIGINAL COLOUR PRINT MAGAZINEWilliam Giles, editor; The Original Colour Print Society; London; 1924-25; 89 pp.; ed #43 of 500Tipped-in plates throughout; illustrations; original printed wrappers; includes two notable prints:

109 | Walter Joseph PhillipsCanadian ASA, CPE, CSPWC, MSA, RCA [1884-1963]SUMMER; 1925colour woodcut on paper; ed. #43/5005.5 x 7 in. (14 x 17.8 cm)signed in pencil; monogrammed & dated in the blockMBL79

109 | Claude FlightBritish [1881-1955]INTO THE SEA; 1925woodcut on paper; ed. #43/5005.5 x 4.25 in. (14 x 10.8 cm)Coppel CF, A3

$ 2,500 / 3,000

112 | Marion Nicoll, Limited Edition Book and Clay PrintMARION NICOLL R.C.A.By: J. Brooks JoynerFirst Limited Collector’s Edition; 157pp. signed by Marion Nicoll and editioned IVPublisher: Western Emerging Arts Ltd./Masters Gallery, Calgary; 1979Printed on Carlyle Japan Antique finish and containing numerous colour and black & white photographs; blue leatherette with gilt to spine and front cover in matching slipcase. Includes the original clay print (framed) specially executed for this volume by Marion Nicoll, along with the separate blue leatherette folder:

Marion Florence NicollCanadian ASA, RCA [1909-1985]SELF PORTRAIT; 1979colour clay print on paper; ed. #61/20010 x 8 in. (25.4 x 20.3 cm)signed, titled, dated & editioned

$ 500 / 600

116 | Georgia JarvisCanadian [1944-1990]FALL STREAMoil on masonite16 x 24 in. (40.6 x 61 cm)signed lower right; titled verso

$ 1,200 / 1,500

118 | Neil PattersonCanadian ASA, FCA, OPA [b. 1947]CHINOOK LIGHToil on board16 x 20 in. (40.6 x 50.8 cm)signed lower right; titled verso

$ 800 / 1,200

115 | Norval Morrisseau, Limited Edition Art BookCanadian RCA [1931-2007]NORVAL MORRISSEAULister Sinclair & Jack Pollock; Editions France-Amerique; Montreal; 1979; 201 pp.; ed. #150/300Oblong quarto, brown lettered cream cloth boards with blind-stamp to front; illustrated endpapers; over 130 colour reproductions throughout the text; signed by Morrisseau on the title page

$ 400 / 500

113 | Janet Mitchell, Limited Edition Book and PrintsCanadian ASA, CSPWC, RCA [1912-1998]JANET MITCHELL: LIFE AND ARTCollector’s Edition; ed. #106/130Artwork by Janet Mitchell; Written by Peggy Armstrong; Preface by Joan Murray Hyperion, Winnipeg; 1990; 144pp. Issued with no dust jacket. Bound in blue leather with facsimile signature of the artist in silver on the front cover. Signed by the artist. This copy includes the two signed linocut prints, as originally issued:

BLUE BOY / BROWN COWlinocut on paper; ed. #106/145 (2) each 8 x 5 in. (20.3 x 12.7 cm); sheet size 10 x 7 in. (25.4 x 17.8 cm) each signed, titled & editioned

$ 300 / 400

117 | Karl E. WoodCanadian [1944-1990]CHEPHREN LAKE, JASPER NAT’L PARKoil on canvas20 x 30 in. (50.8 x 76.2 cm)signed lower right; titled on the stretcher verso

$ 800 / 1,200

114 | Jack Leonard Shadbolt, First Edition Art BookCanadian BCSA, CGP, CSGA, CSPWC, RCA [1909-1998]IN SEARCH OF FORMJack Shadbolt; McClelland and Stewart Ltd.; Toronto/Montreal; 1968; 240 pp.; first editionQuarto in original mustard yellow cloth with gilt lettering to spine and gilt decoration stamped to the front board; illustrated endpapers; black & white illustrations throughout as well as several colour plates; signed copy with dedication to Ron MacDonald. Note: Accompanied by a conte portrait by Shadbolt, and a hand-written letter.

$ 500 / 700

119 | Antoine BittarCanadian [b. 1957]TOWARDS THE MOSQUE - MOROCCO; 1988oil on canvas24 x 18 in. (61 x 45.7 cm)signed lower left; signed, titled & dated verso

$ 800 / 1,000

122 | Nicholas HornyanskyCanadian CPA, CSGA, OSA, RCA [1896-1965]AUTUMN MORNING, BOBCAYGEONoil on wood panel10 x 12 in. (25.4 x 30.5 cm)signed & titled versoProvenance: The Lionel Clarke Galleries, Markham ON

$ 300 / 400

125 | Janet MitchellCanadian ASA, CSPWC, RCA [1912-1998]FARM IN THE FOOTHILLSwatercolour on paper14 x 21 in. (35.6 x 53.3 cm)signed lower right; titled on the backing versoProvenance: Estate of Bill and Peggy Code, Calgary AB

$ 700 / 1,000

127 | Don FracheCanadian [1919-1994]BARN AND STOOKS; 1977 watercolour on paper20 x 27.75 in. (50.8 x 70.5 cm)signed & dated lower leftProvenance: Estate of Bill and Peggy Code, Calgary AB

$ 300 / 500

124 | Janet MitchellCanadian ASA, CSPWC, RCA [1912-1998]LOOKING FOR SOMETHING TO DOwatercolour on paper14 x 21 in. (35.6 x 53.3 cm)signed lower right; titled on the backing versoProvenance: Estate of Bill and Peggy Code, Calgary AB

$ 700 / 1,000

121 | William ParsonsCanadian OIP [1909-1982]OCTOBER CASCADE, ALGOMAoil on board14 x 18 in. (35.6 x 45.7 cm)signed lower right; signed & titled verso

$ 500 / 700

120 | Arto YuzbasiyanCanadian [b. 1948]STILL STANDINGoil on wood panel8 x 10 in. (20.3 x 25.4 cm)signed lower right; titled versoProvenance: Estate of Bill and Peggy Code, Calgary AB

$ 700 / 1,000

123 | Georgia JarvisCanadian [1944-1990]WINTER CABINoil on masonite16 x 24 in. (40.6 x 61 cm)signed lower right

$ 1,200 / 1,500

126 | Irene E. McCaughertyCanadian ASA [1914-1996]WINTER FUN; 1994mixed media on paper14.25 x 21.25 in. (36.2 x 54 cm)signed, titled & dated lower right

$ 750 / 1,000

128 | Karl E. WoodCanadian [1944-1990]FOREST INTERIORoil on board16 x 12 in. (40.6 x 30.5 cm)signed lower left

$ 300 / 400

132 | Francois de BloisCanadian/American [1829-1913]STILL LIFE - ROSES AND CHINOISERIE BOXoil on wood panel18 x 13.75 in. (45.7 x 34.9 cm)signed lower right

$ 700 / 900

133 | Danielle LanteigneCanadian [b. 1958]IRIS; 2017acrylic on canvas (gallery-wrapped)30 x 15 in. (76.2 x 38.1 cm)signed lower right; signed, titled & dated verso

$ 600 / 800

130 | Ernva Willard CodeCanadian [1900-1989]MOUNTAIN VILLAGE / AT THE WOODPILE (verso)oil on wood-panel (double-sided)12 x 15 in. (30.5 x 40.6 cm)signed lower rightProvenance: Estate of Bill and Peggy Code, Calgary AB; The Collector’s Gallery, Calgary ABNote: Ernva Willard trained in Toronto, at the Ontario College of Art, before moving to Vancouver with her husband. She was active (1920s-1940s) with local art groups and exhibited with both the B.C. Society of Artists and the Seattle Art Museum before returning to Toronto.

$ 400 / 600

129 | Lawrence WashburnCanadian [b. 1940]CROSSFIELD FARM; 1982oil on board12 x 16 in. (30.5 x 40.6 cm)signed lower right; signed, titled & dated versoProvenance: Estate of Bill and Peggy Code, Calgary AB

$ 300 / 500

131 | Neil PattersonCanadian ASA, FCA, OPA [b.1947]LUPINS & COLUMBINESoil on board16 x 20 in. (40.6 x 50.8 cm)signed verso and on the gallery labelProvenance: Estate of Bill and Peggy Code, Calgary AB; Masters Gallery, Calgary AB

$ 800 / 1,200

134 | Roland GissingCanadian ASA [1895-1967]LAKE WINDERMEREoil on board12 x 16 in. (30.5 x 40.6 cm)signed lower right; titled verso and on the gallery labelProvenance: Estate of Raymond Rougeau, Brooks AB; Gainsborough Galleries, Calgary AB

$ 800 / 1,000

137 | Jean-Guy DesrosiersCanadian [b. 1934]RUE DU PARLOIR (HAUTE VILLE, QUEBEC, TOUT PRES DE LA RUE DES URSULINES)oil on masonite10 x 12 in. (25.4 x 30.5 in.)signed lower left; titled verso

$ 300 / 400

140 | Karl E. WoodCanadian [1944-1990]ANOTHER YEAR - LITTLE FORT, B.C. oil on board8 x 10 in. (20.3 x 25.4 cm)signed lower right; titled on the artist’s label verso

$ 300 / 400

142 | Min MaChinese/Canadian [b. 1955]PRAIRIE SUNSETacrylic on canvas24 x 30 in. (61 x 76.2 cm)signed lower right; signed & titled verso

$ 1,000 / 1,500

139 | Horace ChampagneCanadian PSA, PSC [b. 1937]JOLUE SNACK BAR (RUE DE MENTANA & AVE. DULUTH E.)pastel on paper11 x 14 in. (27.9 x 35.6 cm)signed lower right; titled on the backing versoProvenance: Estate of Bill and Peggy Code, Calgary AB

$ 700 / 1,000

136 | Duncan Mackinnon CrockfordCanadian [1920-1991]ACREAGE OFF 12 MILE COULEE ROAD, BEARSPAW; 1970oil on canvas16 x 20 in. (40.6 x 50.8 cm)signed & dated lower left; titled on the stretcher verso

$ 700 / 900

135 | Geza (Gordon) MarichHungarian/Canadian OIP [1913-1985]AUTUMN SCENE WITH LAKESIDE CABIN AND MOUNTAIN BACKDROP24 x 36 in. (61 x 91.4 cm)signed lower rightProvenance: Georgian Galleries, Vancouver BC

$ 500 / 700

138 | Karl E. WoodCanadian [1944-1990]LECKIE RANGE (N. OF BRALORNE, B.C.)oil on canvas16 x 20 in. (40.6 x 50.8 cm)signed lower left; titled on a label verso

$ 500 / 700

141 | Armand PaquetteCanadian [b. 1930]SEPIA DAY (NEW DUNDEE, ONT.); 1975watercolour on paper14 x 20.5 in. (35.6 x 52.1 cm)signed & dated lower right; titled & dated on the artist’s studio label versoProvenance: Estate of Bill and Peggy Code, Calgary AB

$ 300 / 500

143 | Ernest LuthiCanadian [1906-1983]PRAIRIE SUNSET AT DAVIDSONacrylic on board8.5 x 11.25 in. (21.6 x 28.6 cm)signed lower right; bears title on old backing paper verso

$ 400 / 500

145 | George A. HorvathCanadian [b. 1933]HARVEST FIELDS; 1976oil on canvas14 x 18 in. (35.6 x 45.7 cm)signed & dated lower left; titled on the stretcher verso and on the gallery labelProvenance: Estate of Raymond Rougeau, Brooks AB; Gainsborough Galleries, Calgary AB

$ 500 / 700

148 | Michael LonechildCanadian [b. 1955]SKATING LESSONacrylic on canvas8 x 10 in. (20.3 x 25.4 cm)signed lower right; signed & titled verso

$ 300 / 500

150 | Jay ContwayAmerican [1935-2019]CHIEF JOSEPH (NEZ-PERCE, 1840-1904); 1986bronze; ed. #5/5012 x 10 x 5 in. (30.5 x 25.4 x 12.7 cm), excluding basesigned, titled, dated & editioned in the cast Provenance: Estate of Bill and Peggy Code, Calgary AB

$ 600 / 900

147 | Michael LonechildCanadian [b. 1955]JUST GETTING THERE acrylic on canvas9 x 12 in. (22.9 x 30.5 cm)signed lower right; signed & titled on the stretcher verso

$ 300 / 500

144 | Kathleen Frances Daly Pepper (2)Canadian OSA, RCA [1898-1994]SAWBACK RIDGE & THE BOW, NEAR CANMORE; 1944/1945charcoal on paper11.75 x 14.25 in. (29.8 x 36.2 cm)signed & dated lower right; titled & dated versosold with:BANFF HIGHWAY (double sided)11.75 x 14.25 in. (29.8 x 36.2 cm)one side signed & dated lower right; second side signed lower right & titled lower left

$ 300 / 500Lot of Two

146 | Janet MitchellCanadian ASA, CSPWC, RCA [1912-1998]SKATERS ON THE POND; 1989watercolour on paper10 x 14 in. (25.4 x 35.6 cm)signed verso, on a second paintingNote: This work was produced for a Childreach card of the same year.

$ 400 / 600

149 | Richard Audley (Dick) FreemanCanadian [1932-1991]CHOW TIME; 1984oil on canvas20 x 30 in. (50.8 x 76.2 cm)signed lower right; titled & dated on the stretcher verso

$ 1,200 / 1,800

151 | Clifton Ray (C. R.) CheekAmerican [1937-2019]LIGHTING UPbronze; ed. #4/2514.25 x 11 x 5 in. (36.2 x 27.9 x 12.7 cm), excluding basesigned & editioned in the cast; titled on the artist’s plaqueProvenance: Estate of Bill and Peggy Code, Calgary AB

$ 800 / 1,200

156 | Chris MacClureCanadian [b. 1943]WINTER LIGHToil on canvas20 x 40 in. (50.8 x 101.6 cm)signed lower right; signed & titled verso

$ 700 / 900

158 | Scott AddisAmerican/Canadian [b. 1963]SUNSET - CHICOUTIMI; 2008oil on canvas12 x 16 in. (30.5 x 40.6 cm)signed lower right; signed, titled & dated on the stretcher versoProvenance: Diana Paul Galleries, Calgary AB

$ 400 / 600

155 | Steven Joseph (Steve) KissCanadian [b. 1933]SOUTH OF RED DEER LAKE; 1983acrylic on board16 x 20 in. (40.6 x 50.8 cm)signed & dated lower right; signed, titled & dated verso

$ 500 / 700

153 | Gina McDougall CohoeCanadian [1927-2014]HIS DOMAIN; 1993bronze; ed. #1/1411.25 x 10.5 x 6.75 in. (28.6 x 26.7 x 17.1 cm)signed, titled, dated & editioned in the castNote: This work appears to have been commissioned for the Oilmen’s Alpine Club, and was used as a presentation trophy.

$ 600 / 800

152 | Gina McDougall CohoeCanadian [1927-2014]BUFFALO RIDER; 1975bronze11.75 x 10.25 x 4.25 in. (29.8 x 26 x 10.8 cm)signed, dated & numbered in the castNote: This work was produced for the Calgary Stampede, and is numbered 3 (total edition unknown).

$ 500 / 700

154 | Lorenzo FracchettiCanadian [b. 1948]SLED DOGS; 1980oil on canvas24 x 20 in. (61 x 50.8 cm)signed & dated lower right

$ 600 / 800

157 | Hans HeroldCanadian [1925-2011]FOREST ALONG OLD ROAD TO WASKESIU; 1975oil on canvas16 x 20 in. (40.6 x 50.8 cm)signed & dated lower left; titled on the stretcher verso

$ 300 / 500

159 | Horace ChampagneCanadian PSA, PSC [b. 1937]THE FARM WITH THE TURQUOISE ROOFpastel on paper8 x 11 in. (20.3 x 27.9 cm)signed lower left; titled on the backing versoProvenance: Estate of Bill and Peggy Code, Calgary AB

$ 600 / 900

162 | Robert F. M. McInnisCanadian [b. 1942]TURNER VALLEY ROAD; 1980oil on canvas (diptych)each panel: 13.25 x 15.25 in. (33.7 x 38.7 cm)overall size: 13.25 x 30.5 in. (33.7 x 77.5 cm)signed & dated lower left on the right panel; signed, titled & dated on the masonite backing verso Provenance: Estate of Bill and Peggy Code, Calgary AB

$ 800 / 1,200

165 | Robert K. SpaithCanadian ASA [b. 1951]PRAIRIE PIROUETTE; early 1980sbronze; ed. #8/2115.5 x 9.75 x 12 in. (39.4 x 24.8 x 30.5 cm), excluding basesigned, editioned & inscribed “Trophy” in the castNote: This bronze is from an edition presented as a dance competition trophy.

$ 800 / 1,200

166 | Jay ContwayAmerican [1935-2019]MONTANA MAN-HUNTER 1884; 1984bronze; ed. #11/3514.25 x 12 x 6.25 in. (36.2 x 30.5 x 15.9 cm), excluding basesigned, titled, dated & editioned in the castProvenance: Estate of Bill and Peggy Code, Calgary AB

$ 800 / 1,000

164 | Richard Audley (Dick) FreemanCanadian [1932-1991]OUT OF THE WOODS; 1983oil on masonite12 x 24 in. (30.5 x 61 cm)signed lower right; titled & dated verso

$ 600 / 900

161 | Catherine PerehudoffCanadian [b. 1958]HONEYMOON LAKE; 1988watercolour on paper15 x 22.75 in. (38.1 x 57.8 cm)signed & dated lower right; titled on the gallery label versoProvenance: Art Rental and Sales Gallery of the Art Gallery of Ontario, Toronto ON

$ 400 / 600

160 | Janet MitchellCanadian ASA, CSPWC, RCA [1912-1998]RAIN IN THE MOUNTAINSwatercolour on paper13 x 17 in. (33 x 43.2 cm)signed & dated lower right; titled on a label verso

$ 600 / 800

163 | John Davenall TurnerCanadian ASA [1900-1980]SPRINGBANK FARM; 197210.5 x 13.25 in. (26.7 x 33.7 cm)signed lower right; titled & dated versoProvenance: Estate of Bill and Peggy Code, Calgary AB

$ 300 / 400

167 | Jay ContwayAmerican [1935-2019]MORNING STAR, CHEYENNE; 1985bronze; ed. #8/5011.25 x 11 x 5.75 in. (28.6 x 27.9 x 14.6 cm), excluding basesigned, titled, dated & editioned in the castProvenance: Estate of Bill and Peggy Code, Calgary AB

$ 600 / 900

168 | Rich RoenischCanadian [20th/21st century]ROLLIN’ A SMOKEbronze; ed. #4/6011.5 x 5 x 4.5 in. (29.2 x 12.7 x 11.4 cm), excluding basesigned, titled & editioned in the cast, with stamped foundry mark “Studio West Ltd. Cochrane”Provenance: Estate of Bill and Peggy Code, Calgary AB

$ 400 / 500

169 | Vilem ZachCanadian [b. 1946]JAKE RABBITpastel on paper15.25 x 13.5 (38.7 x 34.3 cm)signed lower right; titled lower leftProvenance: Lamm Art Gallery, Calgary AB

$ 300 / 500

170 | Vilem ZachCanadian [b. 1946]CODYpastel on paper13.5 x 17.5 in. (34.3 x 44.5 cm)signed lower right; titled lower left

$ 300 / 500

172 | Margaret Dorothy SheltonCanadian ASA, CPE, CSGA [1915-1984]HECTOR LAKE; 1948watercolour on paper10 x 14.25 in. (25.4 x 36.2 cm)signed & dated lower right; titled on the gallery label versoProvenance: The Collector’s Gallery, Calgary AB

$ 600 / 800

171 | Joane Cardinal-SchubertCanadian ASA, RCA [1942-2009]GRASSY LAKES (CEREMONY); 1983mixed media on paper22.25 x 30 in. (56.5 x 76.2 cm)signed & dated lower right; titled indistinctly lower centre; titled verso and on the gallery label

$ 1,000 / 1,500

173 | Illingworth Holey (Buck) KerrCanadian ASA, BCSA, FCA, RCA [1905-1989]O’HARA NIGHTcolour serigraph on paper; ed. #102/15012 x 16 in. (30.5 x 40.6 cm)signed, titled & editioned in pencil

$ 400 / 600

174 | Illingworth Holey (Buck) KerrCanadian ASA, BCSA, FCA, RCA [1905-1989]TURNER VALLEY NOCTURNEcolour serigraph on paper; ed. #98/15012 x 16 in. (30.5 x 40.6 cm)signed, titled & editioned in pencil

$ 400 / 600

175 | Barbara Harvey LeightonCanadian ASA, CPE [1911-1986]MORAINE LAKEcolour woodcut on paper; ed. #95/1009.75 x 12.75 in. (24.8 x 32.4 cm))signed, titled & editioned in pencilProvenance: Canadian Art Galleries, Calgary AB

$ 600 / 800

176 | Barbara Harvey LeightonCanadian ASA, CPE [1911-1986]MOUNT ASSINIBOINEcolour woodcut on paper; ed. #97/10011 x 14.5 in. (27.9 x 36.8 cm)signed, titled & editioned in pencilProvenance: Canadian Art Galleries, Calgary AB

$ 600 / 800

177 | Barbara Harvey LeightonCanadian ASA, CPE [1911-1986]LAKE LOUISEcolour woodcut on paper; ed. #47/10010.75 x 13.5 in. (27.3 x 34.3 cm)signed, titled & editioned in pencil

$ 600 / 800

178 | Karin RichterCanadian ASA, CSPWC, PAC, SCA [b. 1950]FOREST FLOOR (HAIDA GWAII)pastel on suedeboard22 x 30 in. (55.9 x 76.2 cm)signed lower left; titled on the backing verso

$ 800 / 1,200

179 | Farquhar McGillivray Strachan Stewart KnowlesCanadian OSA, RCA [1859-1932]OXEN, ILE D’ORLEANSoil on panel7.5 x 5.5 in. (19.1 x 14 cm)signed lower leftProvenance: Continental Galleries, Montreal QC; Walter Klinkhoff Gallery, Montreal QC; Masters Gallery, Calgary AB

$ 600 / 900

180 | Paul Archibald CaronCanadian RCA [1874-1941]TWO SLEIGHS PASSING ON A QUEBEC STREETwatercolour on paper8 x 10.25 in. (20.3 x 26 cm)signed lower right

$ 600 / 800

181 | Frederick Arthur VernerCanadian OSA, RCA [1836-1928]BURNHAM BEECH WOODS SCENE; 1898watercolour on paper19 x 12.25 in. (48.3 x 31.1 cm)signed & dated lower right

$ 800 / 1,200

182 | Wyatt EatonCanadian/American [1849-1896]PORTRAIT OF A YOUNG BOY; 1892oil on wood panel8 x 6 in. (20.3 x 15.2 cm)signed & dated upper leftProvenance: Masters Gallery, Calgary AB

$ 750 / 1,000

183 | Beatrice Hagarty RobertsonCanadian [1879-1962]YOUNG GIRL WITH FLOWERSoil on canvas laid on board17 x 12 in. (43.2 x 30.5 cm)signed lower left; titled on a plaque

$ 400 / 600

184 | Lillian FreimanCanadian [1908-1986]BRITTANY WOMAN; 1925gouache and conte on paper21.5 x 19.5 in. (54.6 x 49.5 cm)Provenance: Estate of the Artist (Inv. no. 40); Masters Gallery, Calgary

$ 500 / 700

185 | Robert F. M. McInnis (2)Canadian [b. 1942]LISA’S LETTER; 1992oil on canvas24 x 24 in. (61 x 61 cm)signed & dated lower rightsold with:SKETCH FOR LISA’S LETTER; 1992gouache on paper13.5 x 10 in. (34.3 x 25.4 cm)signed & dated lower left; titled upper right

$ 1,000 / 1,250 Lot of Two

186 | Robert F. M. McInnisCanadian [b. 1942]SELF PORTRAIT IN BLUE AND YELLOW OCHRE; 1986oil on canvas20 x 16 in. (50.8 x 40.6 cm)signed & dated lower centre; signed, titled & dated verso

$ 700 / 1,000

187 | John Howard GouldCanadian CSGA, RCA [1929-2009]MOVIE EXTRA, SAMURAImixed media on paper31 x 23 in. (78.7 x 58.4 cm)signed lower right

$ 800 / 1,000

188 | John Howard GouldCanadian CSGA, OSA, RCA [1929-2010]PORTRAIT OF A SEATED MANpencil and conte on paper23 x 17 in. (58.4 x 43.2 cm)signed lower right

$ 600 / 800

189 | William KurelekCanadian RCA [1927-1977]BREAKAWAY; 1976colour halftone lithograph on paper; ed. #169/95012 x 29.75 in. (30.5 x 75.6 cm)signed & editioned in pencil; monogrammed and dated in the printProvenance: Estate of Bill and Peggy Code, Calgary AB

$ 1,000 / 1,500

190 | Maxwell Bennett BatesCanadian ASA, CGP, CSGA, CSPWC, RCA [1906-1980]CHILDREN; 1957colour lithograph on paper; ed. #3/1517.75 x 14 in. (45.1 x 35.6 cm)signed, titled, dated & editioned in pencil

$ 400 / 600

191 | John Harold Thomas SnowCanadian ASA, CSGA, RCA [1911-2004]CAFE; 1950woodcut on paper; ed. #39/5014 x 11.25 in. (35.6 x 28.6 cm)signed, titled, dated & editioned in pencilNote: This work is illustrated on page 65 of “The Art of John Snow” (Elizabeth Herbert; University of Calgary Press; 2011) and on page 106 of “A History of Art in Alberta 1905-1970” (Nancy Townshend; Bayeux Arts; 2005).

$ 300 / 400

192 | John Harold Thomas SnowCanadian ASA, CSGA, RCA [1911-2004]CINERARIA; 1951woodcut on paper; ed. #21/5012.5 x 11.25 in. (31.8 x 28.6 cm)signed, titled, dated & editioned in pencil

$ 300 / 400

193 | Nicholas HornyanskyCanadian CPE, CSGA, OSA, RCA [1896-1965]THE MASKS AND THEIR MAKERaquatint on paper9.5 x 7.75 in. (24.1 x 19.7 cm)signed & titled in pencil

$ 400 / 500

195 | Walter Joseph PhillipsCanadian ASA, CPE, CSPWC, MSA, RCA [1884-1963]STOCKTON, MANITOBA; 1932wood engraving on paper; ed. #45/503.75 x 7 in. (9.5 x 17.8 cm)signed & editioned in pencilMBL186Provenance: Douglas Udell Gallery, Edmonton/VancouverNote: This engraving was originally produced in 1932, in an edition of 50. In 1956, Phillips reissued the work as the Christmas greeting for that year. It is illustrated on page 226 of “The Tranquility and the Turbulence: The Life and Work of Walter J. Phillips” (Roger Boulet; M. B. Loates Publishing; 1981).

$ 500 / 700

196 | Walter Joseph PhillipsCanadian ASA, CPE, CSPWC, MSA, RCA [1884-1963]LAKE MACARTHUR, CANADIAN ROCKIES; 1931colour woodcut on paper; ed. 54 (of 200)7.5 x 9.25 in. (19.1 x 23.5 cm)signed in pencil; initialed in the block; numbered on the bottom left corner of the paperMBL151Provenance: Agghazy Gallery, Calgary ABNote: This print was the third issued in Phillips’ Ten Woodcuts Portfolio.

$ 700 / 1,000

194 | Jack Lee CowinAmerican/Canadian [1947-2014]FALL/RAINBOW; 1996hand-coloured etching on paper; ed. #5/255 x 7.25 in. (12.7 x 18.4 cm)signed, titled, dated & editioned in pencil

$ 300 / 500

197 | Illingworth Holey (Buck) KerrCanadian ASA, BCSA, FCA, RCA [1905-1989]10 BLOCK PRINTS, FOLIO I:MAGPIES, WINTER SUN / CARIBOU TREK / FROM MY WINDOW / PRONGHORN DOES / COUGAR / CHICKENS IN THE SNOW / MULE DEER / GOLDEN EYES / AFTERNOON OF A FAWNcolour linocut on paper (10); ed. # 70/100various sizes; in the original folio as issuedeach signed, titled & editioned in pencil

$ 750 / 1,000

198 | Marion Florence NicollCanadian ASA, RCA [1909-1985]LITTLE INDIAN GIRL III; 1978colour cardboard print on paper; ed. #22/9018 x 10.5 in. (45.7 x 26.7 cm)signed, titled, dated & editioned in pencil

$ 800 / 1,000

199 | Don KottmannAmerican/Canadian [b. 1946]SEDIMNET W.A.; 2014acrylic on canvas84.5 x 71 in. (214.6 x 180.3 cm)signed, titled & dated versoNote: Don Kottmann received his MFA from the University of Washington, Seattle. He has exhibited widely in the US, nationally, and internationally as a representative of Canada. Kottmann is a 2014 recipient of a Joan Mitchell Painting Grant. He has taught at several US institutions, and currently holds a teaching position at the Alberta University of the Arts.

$ 3,000 / 5,000

200 | Cindy DelpartCanadian [20th/21st century]AN INDELIBLE MOMENTacrylic on canvas (gallery-wrapped)72 x 108 in. (182.9 x 274.3 cm)signed lower right; titled on the gallery label versoProvenance: Masters Gallery, Calgary AB

$ 2,000 / 3,000

201 | Ted GodwinCanadian ASA, R5, RCA [1933-2013]LONDON SERIESmixed media on paper19 x 25 in. (48.3 x 63.5 cm)signed & titled lower right

$ 300 / 500

202 | Ted GodwinCanadian ASA, R5, RCA [1933-2013]DYING ORCHIDmixed media on paper18.25 x 23.75 in. (46.4 x 60.3 cm)signed & titled lower right

$ 300 / 500

203 | Edward MichellCanadian [20th/21st century]LIKENESS; 2004mixed media on board16 x 20 in. (40.6 x 50.8 cm)signed lower right; signed, titled & dated verso

$ 500 / 700

204 | Toller CranstonCanadian [1949-2015]PIERROT; 1998oil on canvas36 x 30 in. (91.4 x 76.2 cm)signed & dated lower left

$ 1,000 / 1,500

205 | Sir Anthony HopkinsWelsh/American [b. 1937]DOUBLE FEATURE; 2012ink on paper11 x 17 in. (27.9 x 43.2 cm)signed & dated lower rightProvenance: Margam Fine Art, Sherman Oaks, CANote: This item is accompanied by an artist signed copy of Aaron Tucker’s book “Anthony Hopkins DreamScapes” (Margam Fine Art LLC; 2014); a full page illustration of this work appears on page 53.

$ 2,000 / 3,000

206 | Simon HughesCanadian [b. 1973]HIGH-RISE OFFICE TOWER, VANCOUVER; 2004mixed media and collage on paper26.75 x 16 in. (67.9 x 40.6 cm)signed, titled & dated versoProvenance: Mayberry Fine Art, Winnipeg MB

$ 500 / 700

207 | Joro PetkovCanadian [b. 1960]DISTANT BLUEoil on canvas30 x 40 in. (76.2 x 101.6 cm)signed lower right; titled verso

$ 800 / 1,200

208 | John Michael Anthony Koerner (Korner)Canadian BCSA, CGP, FCA, RCA [1913-2014]GALAXY; 1960mixed media on canvas38 x 51 in. (96.5 x 129.5 cm)signed & dated lower right; signed & titled on the stretcher; titled & dated on the artist’s label verso

$ 1,000 / 1,500

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

$ 2,000 / 3,000

210 | Rand HeidingerCanadian [b. 1964]UNTITLEDlacquer paint on polymer48 x 60 in. (121.9 x 152.4 cm)

$ 2,000 / 3,000

211 | France JodoinCanadian [b. 1961]SUMMER - INDOLENCE; 2009oil on canvas (gallery-wrapped)60 x 48 in. (152.4 x 121.9 cm)signed, titled & dated versoProvenance: The Weiss Gallery, Calgary AB

$ 2,000 / 3,000

212 | Dieter SchlatterSwiss/Canadian [b. 1958]EVEN TOUGH GUYS GET THE BLUESoil and photo transfer on cradled panel20 x 20 in. (50.8 x 50.8 cm)signed lower right; signed & titled versoProvenance: Canada House Gallery, Banff AB

$ 900 / 1,200

213 | Barbara EngelCanadian [20th/21st century]AT THE BACK OF BEYOND, JASPER, ALBERTAoil on canvas (gallery-wrapped)30 x 40 in. (76.2 x 101.6 cm)signed lower left

$ 700 / 1,000

217 | Ernest Luthi (2)Canadian [1906-1983]A QU’APPELLE LAKEpastel on paper5.75 x 7.75 in. (14.6 x 19.7 cm)signed lower rightsold with:PUNNICHY, SASK.watercolour on paper5 x 7.5 in. (12.7 x 19.1 cm)signed lower right; titled lower centre

$ 400 / 500Lot of Two

214 | Chris MacClureCanadian [b. 1943]RED CANOEoil on board13.75 x 10 in. (34.9 x 25.4 cm)signed lower right; signed, titled & dated verso

$ 300 / 400

215 | Neil PattersonCanadian ASA, FCA, OPA [b.1947]THE CLEARINGoil on wood panel9 x 12 in. (22.9 x 30.5 cm)signed lower right; titled verso

$ 400 / 600

216 | Lissi LeggeCanadian FCA, SCA [b. 1949]WITHOUT ENDoil on masonite12 x 12 in. (30.5 x 30.5 in.)signed lower right; signed & titled verso

$ 400 / 500

Index of ArtistsAddis, Scott 158

Bates, Maxwell Bennett 42, 190 Bell-Smith, Frederic Marlett 20, 54 Bittar, Antoine 119 Bobak, Molly Lamb 35, 36 Brown, Harley 46

Cardinal-Schubert, Joane 171 Caron, Paul Archibald 180 Carr, Emily 107 Castonguay, Claudette 3 Champagne, Horace 12, 77, 139, 159 Cheek, Clifton Ray (C. R.) 49, 151 Code, Ernva Willard 130 Cohoe, Gina McDougall 152, 153 Contway, Jay 150, 166, 167 Cowin, Jack Lee 194 Cranston, Toller 204 Crockford, Duncan Mackinnon 80, 136 Cullen, Maurice Galbraith 39, 103

de Belle, Charles Ernest 16 de Blois, Francois 132 de Grandmaison, Nicholas 44 Delpart, Cindy 200 Des Clayes, Berthe 15 Desrosiers, Jean-Guy 137 Dorland, Kim 88 Duma, William (Bill) 5

Eaton, Wyatt 182 Engel, Barbara 213 Enns, Maureen 209 Ewart, Peter Maxwell 67

FitzGerald, Lionel LeMoine 37 Flight, Claude 109 Fracchetti, Lorenzo 154 Frache, Don 127 Freeman, Richard Audley 66, 149, 164 Freiman, Lillian 184

Gagnon, Clarence 17, 101, 102, 104 Genn, Robert 2, 6, 62, 63 Gissing, Roland 24, 29, 34, 68 78, 82, 99, 100, 134 Glyde, Henry George 25, 64 Godwin, Ted 26, 201, 202 Gould, John Howard 187, 188 Grandmaison, O.N. (Rick) 27, 28, 65, 69

Heidinger, Rand 210 Henderson, James 43 Herold, Hans 157 Hopkins, Sir Anthony 205 Hornyansky, Nicholas 122, 193 Horvath, George A. 145 Housser, Yvonne McKague 85 Hughes, Simon 206

Jackson, Alexander Young 106 Janvier, Alex Simeon 50 Jarvis, Georgia 33, 116, 123 Jodoin, France 211

Kerr, Illingworth Holey (Buck) 7, 11 30, 32, 59, 79, 84, 173, 174, 197 Kiss, Steven Joseph (Steve) 155 Knowles, Farquhar McGillivray 179 Koerner, John Michael Anthony 208 Kottmann, Don 199 Krieghoff, Cornelius David 41, 47, 48 Kurelek, William 18, 189

Langevin, Claude 10 Lanteigne, Danielle 93, 133 Legge, Lissi 216 Leighton, Alfred Crocker 96 Leighton, Barbara Harvey 175, 176, 177 Lismer, Arthur 86 Lonechild, Michael 147, 148 Luthi, Ernest 143, 217

Ma, Min 142 MacClure, Chris 156, 214 MacDonald, JEH 31 MacLeodPegi Nicol 53, 57 Marich, Geza (Gordon) 135 Masson, Henri Leopold 19 McCaugherty, Irene E. 126 McEwen, Jean Albert 61 McInnis, Robert F. M. 162, 185, 186 Michell, Edward 203 Milne, David Brown 40, 111 Mitchell, Janet 58, 113, 124, 125, 146, 160 Mol, Leo 87 Morrice (attribution), James Wilson 38 Morrisseau, Norval 115

Nicoll, James McLaren (Jim) 1 Nicoll, Marion Florence 112, 198

Ohe, Katie 90, 91, 92 O’Toole, Michael 4

Paquette, Armand 141 Parsons, 121 Patterson, Neil 81, 118, 131, 215 Pepper, Kathleen Frances Daly 144 Perehudoff, Catherine 161 Petkov, Joro 207 Phillips, Walter Joseph 70, 71, 72 73, 74, 75, 76, 108, 109, 110, 195, 196 Prinsen, Nicola 95 Pugh, David 83 Raftery, Ted 97

Reynolds, Alan 94 Richter, Karin 178 Roberts, Thomas Keith (Tom) 13 Robertson, Beatrice Hagarty 183 Roenisch, Rich 168

Sapp, Allen 8, 51 Schaefer, Carl Fellman 21 Schlatter, Dieter 212 Shadbolt, Jack Leonard 114 Sharp, Dorothea 56 Shelton, Margaret Dorothy 172 Simard, Claude A. 52 Snow, John 191, 192 Spaith, Robert K. 165 Stanhope-Forbes, Elizabeth Adela 55 Stevenson, William Lewy Leroy 9, 23

Thomson, Tom 105 Toupin, Fernand 60 Town, Harold Barling 89 Turner, John Davenall 163

Verner, Frederick Arthur 45, 181

Washburn, Lawrence 129 Watson, Homer Ransford 22 Webb, William H. (Bill) 98 Wood, Karl E. 117, 128, 138, 140 Wrinch, Mary Evelyn 14

Yuzbasiyan, Arto 120

Zach, Vilem 169, 170