Le Masque 184 JEAN~PAUL RIOPELLE HEFFEL FINE ART AUCTION HOUSE 165

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1 HEFFEL FINE ART AUCTION HOUSE JEAN~PAUL RIOPELLE OC QMG RCA SCA 1923 ~ 2002 Le Masque oil on canvas board, signed, circa x 20 in, 61 x 50.8 cm Galerie Clarence Gagnon, Montreal Private Collection, Ontario 184 Le Masque is a classic example of Riopelle s development in the use of line and the loose, though evident, depiction of shapes. In this painting, the use of white pigment is striking, and Riopelle creates a rectangular frame like effect to outline the coloured, central action of red and green shades. The use of the diagonal black line slices the painting into two separate triangular shapes, highlighting the evolution of Riopelle s style in a geometrical direction. This work will be included in Yseult Riopelle s forthcoming catalogue raisonné on the artist s work. ESTIMATE: $30,000 ~ 40,000

2 HEFFEL FINE ART AUCTION HOUSE LAWREN STEWART HARRIS ALC BCSFA CGP FCA G7 OSA RPS 1885 ~ 1970 LSH #128 oil on board, signed and on verso signed, titled, dated 1958 and stamped Lawren Harris LSH Holdings Ltd /4 x 24 in, 76.8 x 61 cm Estate of the Artist Private Collection, Vancouver LITERATURE: Bess Harris and R.G.P. Colgrove, Lawren Harris, 1969, the larger version of this work reproduced page Dennis Reid, Atma Buddhi Manas: The Later Work of Lawren S. Harris, Art Gallery of Ontario, 1985, page 56, the larger version of this work reproduced page 98, catalogue #75 The early part of 1958 found Harris in a surge of inventive work. Harris s abstract work was a creative revolution, a visionary reflection of his profound spiritual beliefs. In this work, the central flame~like yellow forms surrounded by white seem to glow, hovering over the rich blue background. Dennis Reid writes that the work of the fifties had introduced a somewhat more atmospheric space, and as we noted earlier, a more highly developed sense of colour The sense of palpable light is almost hypnotic. ESTIMATE: $60,000 ~ 80,000

3 HEFFEL FINE ART AUCTION HOUSE 167 reproduced page 15 Dennis Reid, Atma Buddhi Manas: The Later Work of Lawren S. Harris, 1985, the canvas entitled Abstraction (Involvement 2), and dated circa 1939 in the collection of the National Gallery, reproduced page 32 and three preliminary drawings for this canvas reproduced page 76 Peter Larisey, Light for a Cold Land: Lawren Harris s Work and Life ~ An Interpretation, 1993, page 144, the canvas entitled Abstraction (Involvement 2), dated circa 1938 ~ 1939 reproduced page 116 and preliminary drawings for the canvas entitled Involvement 2 Santa Fe (Drawing 96) and (Drawing 97) reproduced pages 142 and 143 Pierre Landry, Canadian Art: Catalogue of the National Gallery of Canada, Volume 2 / G~K, 1994, the canvas entitled Abstraction dated 1939 reproduced page 100 EXHIBITED: Mira Godard Gallery, Toronto From 1938 to 1940 Harris was living in Sante Fe, New Mexico, and was one of the founding members of the Transcendental Painting Group there, along with American painters such as Raymond Jonson, Bill Lumpkins and Emil Bisstram. At the time, Bisstram was giving painting classes in which one of the central concepts was the principle of dynamic symmetry, which involved using geometry and proportion to reveal a sense of the underlying structure of form. One of the principal characteristics of Harris s work in Sante Fe was the use of geometry. In this transcendent painting, Harris employs dynamic symmetry through the use of a grid or trellis form over which free~standing forms float. Importantly, this work is closely related to the canvas in the collection of the National Gallery entitled Abstraction. ESTIMATE: $15,000 ~ 20, LAWREN STEWART HARRIS ALC BCSFA CGP FCA G7 OSA RPS 1885 ~ 1970 Abstract Painting #201 oil on board, on verso inscribed F 97 / VIII / LSH Holdings #201, circa /4 x 16 1/2 in, 65.4 x 41.9 cm Estate of the Artist, Vancouver Private Collection, California LITERATURE: Bess Harris and R.G.P. Colgrove, Lawren Harris, 1969, the canvas entitled Abstraction, dated 1938 in the collection of the National Gallery, 186

4 HEFFEL FINE ART AUCTION HOUSE JEAN PAUL LEMIEUX CC QMG RCA 1904 ~ 1990 L heure du train oil on board, signed and dated 1966 and on verso signed, titled and dated 18 1/2 x 36 1/2 in, 47 x 92.7 cm Mira Godard Gallery, Toronto Private Collection, Montreal LITERATURE: John R. Porter, Pierre Théberge, Anne Sophie Lemieux and Madeleine Lacerte, Homage to Jean Paul Lemieux, National Gallery of Canada, 2004, reproduced catalogue #42 EXHIBITED: National Gallery of Canada, Ottawa, Homage to Jean Paul Lemieux, October 2004 ~ September 2005, traveling to Musée nationale des beaux~arts du Québec and McMichael Canadian Art Collection, Kleinburg, catalogue #42 Lemieux wrote, I have often traveled by train, because it gives us the time to see the landscape coming, to let it appear, spread over, and disappear. L heure du train is the time of the train arrival. A car is rushing towards the tiny red station to be on time, and, in the opposite direction the train is emerging out of the horizon, slowing down and stopping near the station (notice the smoke rising vertically above the engine). The situation depicted in L heure du train seems simple. But here Lemieux condenses one moment, one instant of time, and it is the moment of an encounter 187 between visitors from abroad and local people, some of whom can be seen detaching themselves from the white background. It is because of this specific theme of the encounter, the mitsein (to be with), that Lemieux felt the need to convey such a huge expanse of space. The encounter has to take place somewhere. Time is not separated from space and time is infinite. Lemieux has perfectly understood that any determined moment of time ~ as the moment of an encounter ~ is possible only by imposing limitations on the unique time that serves as its foundation. Everything in this painting could be perceived as the limitations that make the event depicted meaningful. The snow, here painted in rather heavy impasto as if the road had to be literally carved into it, covers everything in the landscape and affirms pure space, just bracketed on each side by the dark spot of forested hills. The meeting of the visitors and their people feels more important than this entire void, so much so that they seem frail and vulnerable in such an expanse of snow. The eye is attracted to the right corner of the painting, precisely because we have so little to see elsewhere. In Lemieux s paintings, this is often where a person is seen facing the onlooker. Here, we don t need this ~ the event takes the stage. Coherent with this junction of time and space is the special illumination that permeates the whole scene. Certainly, the sky is overcast as it often is in winter in Canada. But the promise of a faint glow of the sun seems to be expected. Lemieux is a painter of atmosphere, and he depicted here precisely the light one could expect towards the end of winter. Notice the reflection of the car which rushes towards the station on the road, as if the snow had melted there. This need to define a precise type of illumination goes with the need to depict a specific moment in time. I do not think Lemieux is describing a particular place in Quebec here.

5 HEFFEL FINE ART AUCTION HOUSE 169 The same remark applies to other train pictures by Lemieux, such as Le train de midi, 1956 at the National Gallery of Canada or Le rapide, 1968 at the Musée nationale des beaux~arts du Québec. His approach transcends mere regionalism and could be qualified as metaphysical. You cannot escape, looking at L heure du train ~ a masterpiece really ~ thinking about time and space and their correlation to the meaning of an event. All this is in a very abstract way, so much so that the painting could be situated in any northern location ~ illustrated by the warm reception Lemieux s paintings received in Russia. It is this appeal to a broader experience that makes Lemieux a universal painter able to reach a large public and to create endless cause for reflection. We thank François~Marc Gagnon of the Gail and Stephen A. Jarislowsky Institute of Studies in Canadian Art, Concordia University, for contributing the above essay. ESTIMATE: $250,000 ~ 300, RONALD LANGLEY BLOORE FCA RCA 1925 ~ Whiteline Painting #1 oil on board, signed and on verso signed, dated December 31/1961 ~ January 1/1962, inscribed Regina and numbered VE 1 ~ /2 x 59 in, 64.8 x cm Mrs. Marnie Mackenzie, Montreal Mrs. R.G.N. Laidlaw, Toronto Private Collection, Kingston 188 LITERATURE: Naomi Jackson Groves, Five Painters from Regina, Canadian Art, March/April 1962, page 101 Canadian Painters 1939 ~ 1963, Tate Gallery, London, 1964, catalogue #94 R.L. Bloore, Sixteen Years: 1958 ~ 1974, Art Gallery of Windsor, 1975, catalogue #19 EXHIBITED: Here and Now Gallery, Toronto, 1961 Tate Gallery, London, Canadian Painters 1939 ~ 1963, 1964 Art Gallery of Windsor, R.L. Bloore, Sixteen Years: 1958 ~ 1974, 1975 Bloore, not unlike other innovative artists, has often stated that his paintings have rarely been well appreciated until long after they were first seen, notwithstanding the positive critical reviews he has garnered throughout his long career. Whiteline Painting #1 is a rare work, executed about a year before he received the Canada Council Senior Fellowship which financed his exploration of Greece, Egypt and Turkey. Painted even before his exposure to the clear, white light and architecture of the Mediterranean Near East, this work contains the cross, star and wheel patterns, here embedded in a grid of parallel lines, which would be sustained and reinvented in his Byzantine Lights series. Groves wrote eloquently about Bloore s painting: His colours are the ultimate in restriction, but his textures are gloriously sensuous, as if soft butter were spread smooth and luscious in huge circles, then lightly incised with the edge of the knife. Although this work was exhibited in 1961, it bears the dates 1961 ~ 1962 on verso. Bloore likely reworked the painting following this exhibition, and then altered the dates. ESTIMATE: $5,000 ~ 7,000

6 HEFFEL FINE ART AUCTION HOUSE PAUL~ÉMILE BORDUAS CAS QMG RCA 1905 ~ 1960 Composition abstraite gouache on paper, signed and dated /4 x 9 1/4 in, 28.6 x 23.5 cm A wedding gift from the Artist to Gabriel Filion, the father of the present Private Collection, Montreal 189 Publishing the manifesto Refus global (Total Refusal) in 1948 was not a simple affair in the Province of Quebec. Borduas lost his job at the École du meuble (where he had taught since 1935) because of that publication, and then had only his painting to make a living for his family. He had the idea of organizing a watercolour show at his studio at Saint~Hilaire in November of His friend Robert Élie did the same in his own apartment in Montreal in December of the same year, and these exhibitions were a real success. Often more cheerful than his paintings of 1949, the 1950 and 1951 watercolours (the term is generic, as in many of them gouache was also used) seem to announce a rebirth of creative

7 HEFFEL FINE ART AUCTION HOUSE 171 energy. Their hidden motif is often, as in Composition abstraite, some arborescent or plant~like growth. One could almost interpret the bright patches of red, green and white as flowers. They all had titles when presented, but the fact that this one remained without title is probably because it was never exhibited, but was given to the painter Gabriel Filion as a wedding gift. We thank François~Marc Gagnon of the Gail and Stephen A. Jarislowsky Institute of Studies in Canadian Art, Concordia University, for contributing the above essay. ESTIMATE: $9,000 ~ 12, JEAN~PAUL JÉRÔME AANFM 1928 ~ Fonds marins acrylic on linen, signed and dated 1975 and on verso signed, titled and dated 13 x 22 in, 33 x 55.9 cm Private Collection, Montreal Jérôme was one of the founding members of the influential Plasticien movement in Quebec, and his work has been acquired by important public and private collections. This 1975 painting is a great example of the energetic rigour which characterized his oeuvre. ESTIMATE: $4,000 ~ 6, LÉON BELLEFLEUR QMG 1910 ~ 2007 Souvenirs de Mont St~Michel oil on canvas, signed and dated 1965 and on verso signed, titled and dated 25 3/4 x 21 1/4 in, 65.4 x 54 cm Private Collection, Montreal ESTIMATE: $12,000 ~ 15,

8 HEFFEL FINE ART AUCTION HOUSE JEAN PAUL LEMIEUX CC QMG RCA 1904 ~ 1990 Les Brûlés oil on canvas, signed and dated 1958 and on verso signed, titled and inscribed $250 / 2008 Dickson Sillery, P.Q. 12 x 38 in, 30.5 x 96.5 cm Private Collection, Ontario In 1959, the National Film Board created a series of eight films for television on the colonization of Abitibi, also titled Les Brûlés. The series was based on a novel published in 1947 by the journalist and novelist Hervé Biron, Nuages sur les brûlés, describing the colonization of Abitibi~Témiscamingue in northwestern Quebec near the border of Ontario. The term grand~brûlé in French~Canadian means a piece of land where fire had occurred but where the trees have not sprouted again. It is an inherent part of the landscape of the North, where some localities bear the name of Grand~Brûlé. For the new settlers they were an ominous sign of difficulties ahead, since all these burnt tree trunks were a sure sign of the poverty of the soil. As is often the case with Lemieux, however, what could have been regionalist subject matter or a reflection on one aspect of Quebec s history of colonization is transformed in a stark landscape under a bleak sky. Lemieux always tries to escape from the particular, and to reach the universal. His is an experience of the North, but the landscape he creates shows the strangeness of Nature, its non~human character, its foreignness to our own world, and as such reaches a universal level. The unusual horizontal format of the painting was imposed on Lemieux by the very horizontality of the landscape that struck him on his way back to Canada from a trip to France from 1955 to The relatively low horizon adds to the somber effect of the painting, which could be read today as symbolic of an ecological disaster. The tree trunks receding to infinity, the snow~covered land and the steel~grey sky with faint traces of whitish clouds create a surprising and unforgettable image of the North, but show at the same time the unforgiving hostility and aloofness of Nature to Man. 192 We thank François~Marc Gagnon of the Gail and Stephen A. Jarislowsky Institute of Studies in Canadian Art, Concordia University, for contributing the above essay. ESTIMATE: $40,000 ~ 50, PAUL~ÉMILE BORDUAS CAS QMG RCA 1905 ~ 1960 Le Refus Global book, editioned 182/ /8 x 7 1/4 in, 21.9 x 18.4 cm A gift from Bruno Cormier to the Consignor s husband The Refus Global was a revolutionary document, not only aesthetically but also socially and politically; after its publication, Borduas was fired from the teaching position he had held since 1937 at the École du meuble in Montreal. This book is a first edition copy of this historic artistic manifesto, launched in Montreal on August 9, In addition to the main text by Paul~ Émile Borduas, this document, mimeographed by a 193

9 HEFFEL FINE ART AUCTION HOUSE 173 small local press, contains essays, two plays, drawings and photographs, all the contributions of its fifteen other signatories, namely Magdeleine Arbour, Marcel Barbeau, Bruno Cormier, Claude Gauvreau, Pierre Gauvreau, Muriel Guilbault, Marcelle Ferron, Fernand Leduc, Thérèse Leduc, Jean~Paul Mousseau, Maurice Perron, Louise Renaud, Françoise Riopelle, Jean~Paul Riopelle and Françoise Sullivan. Included with this Lot is the limited editioned pamphlet entitled Projections libérantes by Paul~Émile Borduas published in ESTIMATE: $4,000 ~ 6, MARC~AURÈLE FORTIN ARCA 1888 ~ 1970 Paysage à Sainte~Rose oil on board, signed 11 1/4 x 7 1/2 in, 28.6 x 19 cm Private Collection, Quebec ESTIMATE: $13,000 ~ 16, WILLIAM GOODRIDGE ROBERTS CAS CGP CSGA CSPWC OC OSA RCA 1904 ~ 1974 Grasses in White Jug oil on board, signed and on verso titled on the Roberts Gallery label 24 x 20 in, 61 x 50.8 cm Roberts Gallery, Toronto Private Collection, Toronto ESTIMATE: $12,000 ~ 16,000

10 HEFFEL FINE ART AUCTION HOUSE JACK LEONARD SHADBOLT BCSFA CGP CSPWC OC RCA 1909 ~ 1998 Storm Warning acrylic on canvas, signed and dated 1986 and on verso titled 67 x 49 in, x cm Bau~Xi Gallery, Vancouver Sold sale of Fine Canadian Art, Heffel Fine Art Auction House, November 5, 1998, lot 98 Private Collection, Vancouver LITERATURE: Marjorie M. Halpin, Jack Shadbolt and the Coastal Indian Image, UBC Museum of Anthropology, 1986, reproduced full page colour page 41 and related painting Elegy for an Island reproduced page 40 Scott Watson, Jack Shadbolt, 1990, page 219, reproduced full page colour page 226 and a related watercolour entitled Night Trees reproduced page EXHIBITED: UBC Museum of Anthropology, Vancouver, Jack Shadbolt and the Coastal Indian Image, 1986, listed page 50 In late 1984, the Nuu~chah~nulth people of the west coast of Vancouver Island opposed the logging of Meares Island, which was one of their traditional territories. Their struggle to save the island inspired this work, and Shadbolt remarked that it was an unusually direct political statement for me since my very early days as a young artist. A precursor to this work is the 1985 painting Elegy for an Island with its giant double~headed Kwagiutl eagle with mask form hovering over the logged landscape. In Storm Warning, Shadbolt uses a similar background, but instead of the eagle form, uses an abstract configuration over the landscape. This configuration has its source in a 1948 watercolour 38 years previous entitled Night Trees. In Storm Warning, Shadbolt has made some of the key forms from this work stronger and more hard edged. It is interesting that Shadbolt drew this image from a time in which he was being compared to Emily Carr, in that he was considered to have assimilated the formal qualities of West Coast native art into his personal

11 HEFFEL FINE ART AUCTION HOUSE 175 expression. Shadbolt had a deep response to native spiritual and historic presence in BC throughout his career, clearly demonstrated in the 1986 exhibition Jack Shadbolt and the Coastal Indian Image, which took place at Vancouver s Museum of Anthropology at UBC, in which the works exhibited, including this painting, covered a 38~year span. The configuration in the sky appears to contain an abstracted native mask, and the scattered, jagged fragments could be parts of machines. The impression is warlike and threatening, and the abstract forms could be seen to be symbolic of the struggle between the destruction wreaked upon the landscape by modern technological society and the anger of the spirits of the land and the people trying to protect it. In Storm Warning, Shadbolt merges the mythological realm of primitivism and the events of 1984 to form a powerful statement about the need to protect nature, a statement that could not be more timely than today with our current concerns about the environment and global warming. The importance of this work is recognized by its inclusion in two important publications on Shadbolt s work by Watson and Halprin. ESTIMATE: $35,000 ~ 45, YVES GAUCHER ARCA 1934 ~ Square Dance, Crazy Greys acrylic on canvas, on verso signed, titled and dated x 40 in, x cm Martha Jackson Gallery, New York; Private Collection, Montreal Jazz music was a critical source of inspiration for Yves Gaucher. This piece is a very good example of his early work that was influenced by a concert he attended in Paris in 1962, which included music by Edgard Varèse, Pierre Boulez, and Anton Webern. A print series entitled En hommage à Webern emerged from this experience, and was followed by large~scale canvases. Nasgaard writes, Gaucher s first important paintings to emerge out of the Weberns were the kinetically rhythmic diamond~shaped Square Dances in ESTIMATE: $12,000 ~ 15,000

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13 HEFFEL FINE ART AUCTION HOUSE MARC~AURÈLE FORTIN ARCA 1888 ~ 1970 Vue du Mont~Royal est watercolour on paper, signed, circa x 13 in, 48.3 x 33 cm Galerie Walter Klinkhoff Inc., Montreal Private Collection, Montreal EXHIBITED: Galerie Walter Klinkhoff Inc., Montreal, Retrospective Exhibition, September 2006, catalogue #50 Born in Sainte~Rose, a little village outside of Montreal, Fortin lived in Montreal from 1912 to 1920, when he returned to his birthplace. However, he continued to travel back and forth to Montreal, keeping a room in the eastern part of the city, and port scenes and views such as this fine, layered view over Montreal were favourite subjects. Typical of his work, he uses the motif of a large foreground tree with a sparse pattern of leaves which acts as a transparent screen. ESTIMATE: $20,000 ~ 25, MOLLY JOAN LAMB BOBAK BCSFA CGP CPE CSGA CSPWC RCA 1922 ~ Shediac, NB oil on board, signed and on verso signed and titled 40 x 60 in, x cm Galerie Walter Klinkhoff Inc., Montreal By descent to the present Private Collection, Montreal Bobak studied at the Vancouver School of Art under Jack Shadbolt and Charles H. Scott, and went on to teach there from 1947 to 1950, after her return from a stint as an official war artist in World War II. In 1960, she moved to New Brunswick, settling in Fredericton, and became an instructor at the University of New Brunswick. ESTIMATE: $10,000 ~ 15, SAMUEL BORENSTEIN CAS 1908 ~ 1969 Still Life oil on canvas, signed 28 x 22 in, 71.1 x 55.9 cm Private Collection, Montreal ESTIMATE: $15,000 ~ 20,

14 HEFFEL FINE ART AUCTION HOUSE A.Y. (ALEXANDER YOUNG) JACKSON ALC CGP G7 OSA RCA RSA 1882 ~ 1974 Gatineau, Back Road oil on canvas, signed and on verso certified by Naomi Jackson Groves Inventory #1901, circa /4 x 32 in, 66.7 x 81.3 cm Private Collection, Montreal Jackson s rural villages and landscapes of Quebec are icons of Canadian painting and the Group of Seven s love of the land. After 1947, Jackson left his usual lower St. Lawrence River haunts in Quebec to concentrate on the countryside around Ottawa, making numerous sketching trips to the 201 Gatineau region ~ an area that grew in importance for him. After 40 years in the Studio Building in Toronto, its sale by Lawren Harris precipitated Jackson s departure. He had friends in Ottawa such as painter Maurice Haycock and Hugh Keenleyside, Deputy Minister of the Department of Resources, and his feeling of identity with this area resulted in his purchasing land and building a studio in nearby Manotick next to the property of his niece, Constance Hamilton. The device of the road passing through the landscape is one that Jackson often used, and in this superb work it emphasizes the rolling, rising land, pulling the eye up into the blue sky. Gatineau, Back Road is a richly coloured, alluring painting with a dreamy atmosphere created by the shadows of the trees rippling across the road and the sunlight warming the green and glowing land. ESTIMATE: $60,000 ~ 80,000

15 HEFFEL FINE ART AUCTION HOUSE A.J. (ALFRED JOSEPH) CASSON CGP CSPWC G7 POSA PRCA 1898 ~ 1992 Farm House in the Hills watercolour on paper, signed, circa /2 x 10 1/2 in, 24.1 x 26.7 cm Private Collection, Toronto ESTIMATE: $18,000 ~ 22, SAMUEL BORENSTEIN CAS 1908 ~ 1969 Summer oil on canvas, signed and dated 1958 and on verso signed and inscribed Montreal, PQ 20 1/4 x 32 in, 51.4 x 81.3 cm Private Collection, Montreal LITERATURE: Guy Gogeval and Loren Lerner, Sam Borenstein, Montreal Museum of Fine Arts, 2005, page 57, reproduced plate 30 EXHIBITED: Montreal Museum of Fine Arts, Sam Borenstein, June 29 ~ September 18, 2005, catalogue #24 Increasingly visible in Sam Borenstein s works are landscape configurations which move away from representational forms. Instead, the artist uses the texture and colour of paint as the primary vehicle for expressing sensations. In his painting Summer, the season is captured through animated strokes of blue and red paint which emulate waves of heat rising from the soil. ESTIMATE: $25,000 ~ 30, ALBERT HENRY ROBINSON CGP RCA 1881 ~ 1956 Spring, La Malbaie oil on board, on verso titled on a gallery label, /2 x 10 1/2 in, 21.6 x 26.7 cm Galerie Walter Klinkhoff Inc., Montreal By descent to the present Private Collection, Montreal ESTIMATE: $8,000 ~ 10,

16 HEFFEL FINE ART AUCTION HOUSE SIR FREDERICK GRANT BANTING 1891 ~ 1941 Cobalt oil on panel, signed and on verso signed, titled, dated October 1932 and inscribed to Dr. & Mrs. Klotz, F.G. Banting 8 1/2 x 10 1/2 in, 21.6 x 26.7 cm Dr. & Mrs. Oscar Klotz, Toronto Private Collection, Kelowna A.Y. (ALEXANDER YOUNG) JACKSON ALC CGP G7 OSA RCA RSA 1882 ~ 1974 verso 205 Caribou Country, Ranch on the Fraser River / Pincher Creek, Alberta (verso) double~sided oil on board, signed and on verso initialed, titled, dated 1949 and inscribed J.W. Jeffrey 10 1/2 x 13 1/2 in, 26.7 x 34.3 cm Dr. Jeffrey, Ottawa Private Collection, Ontario, 1953 ESTIMATE: $12,000 ~ 15,000 EXHIBITED: Hart House, University of Toronto, Exhibition of Paintings by the Late Sir Frederick Banting, February 13 ~ March 1, 1943 This Lot is accompanied by an article based on A.Y. Jackson s talk on his memories of Dr. Banting to a group of doctors which was printed in the 1965 edition of The Canadian Medical Association Journal, as well as a copy of a letter from Jackson about it and an article on Banting in the December 1971 Journal of the American Medical Association. ESTIMATE: $20,000 ~ 25,000

17 HEFFEL FINE ART AUCTION HOUSE J.E.H. (JAMES EDWARD HERVEY) MACDONALD ALC CGP G7 OSA RCA 1873 ~ 1932 Mattawa, Ontario oil on board, initialed and dated 1913 and on verso signed, titled, dated, inscribed with L.S. Harris 1913 and monogrammed 8 x 10 in, 20.3 x 25.4 cm Kaspar Gallery, Toronto Private Collection, Toronto ESTIMATE: $15,000 ~ 20, A.Y. (ALEXANDER YOUNG) JACKSON ALC CGP G7 OSA RCA RSA 1882 ~ 1974 Miners Houses, Canmore oil on panel laid down on board, titled and dated September 10 1/2 x 13 1/4 in, 26.7 x 33.7 cm Acquired directly from the Artist by a Private Collection, Quebec By descent to the present Private Collection, Quebec ESTIMATE: $15,000 ~ 20, FRANK (FRANZ) HANS JOHNSTON ARCA CSPWC G7 OSA 1888 ~ 1949 A Sunny Corner oil on board, signed and on verso signed and titled 12 x 14 in, 30.5 x 35.6 cm Fine Art Galleries, T. Eaton Co., Toronto Private Collection, Montreal ESTIMATE: $6,000 ~ 8,

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19 HEFFEL FINE ART AUCTION HOUSE MARC~AURÈLE FORTIN ARCA 1888 ~ 1970 Toits de Montréal oil on canvas laid down on board, on verso inscribed with Galerie l Art Français Inventory #75003 and certified by Galerie l Art Français, /2 x 13 in, 24.1 x 33 cm Galerie l Art Français Ltée, Montreal Private Collection, Montreal LITERATURE: Guy Robert, Marc~Aurèle Fortin: L homme et l oeuvre, 1976, reproduced page 249 ESTIMATE: $8,000 ~ 10, LAWREN STEWART HARRIS ALC BCSFA CGP FCA G7 OSA RPS 1885 ~ 1970 II Sketch oil on board, signed and on verso signed and titled, circa x 10 in, 20.3 x 25.4 cm Private Collection, Toronto ESTIMATE: $20,000 ~ 30, A.Y. (ALEXANDER YOUNG) JACKSON ALC CGP G7 OSA RCA RSA 1882 ~ 1974 Red House in Winter oil on board laid down on panel, signed 10 1/2 x 13 1/2 in, 26.7 x 34.3 cm Private Collection, Ontario ESTIMATE: $20,000 ~ 25, A.Y. (ALEXANDER YOUNG) JACKSON ALC CGP G7 OSA RCA RSA 1882 ~ 1974 West Templeton, Quebec oil on panel, signed and on verso signed, titled, dated November 3, 1967 and inscribed To Eleanor Bourque, with the compliments of A.Y. Jackson 10 1/2 x 13 1/2 in, 26.7 x 34.3 cm Private Collection, Toronto ESTIMATE: $15,000 ~ 20, NORA FRANCES ELIZABETH COLLYER BHHG FCA 1898 ~ 1979 Road to Baker Pond, Eastern Townships oil on canvas board, signed and on verso titled 12 x 16 in, 30.5 x 40.6 cm By descent from the Artist to the present Private Collection, Ontario ESTIMATE: $9,000 ~ 12, KATHLEEN MOIR MORRIS ARCA BHHG 1893 ~ 1986 Farmhouse in the Country oil on panel 10 1/4 x 14 in, 26 x 35.6 cm Morris~Stethem Collection, Montreal Private Collection, Toronto The painting is accompanied by a photocertificate of authenticity from Galerie Walter Klinkhoff. ESTIMATE: $12,000 ~ 16,000

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