APRIL 2009 ONLINE SALE CATALOGUE - Heffel · APRIL 2009 ONLINE SALE CATALOGUE Page: 1 of 24. 001 HANS (JEAN) ARP Fruit préadamite 1887 - 1966 French bronze sculpture with brown patina

APRIL 2009 ONLINE SALE CATALOGUE

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Page: 1 of 24APRIL 2009 ONLINE SALE CATALOGUE

001

HANS (JEAN) ARP

Fruit préadamite

1887 - 1966 French

bronze sculpture with brown patina

11 1/2 x 10 x 7 1/2 inches 29.5 x 23.5 x 17 centimeterssigned with monogram, editioned 5/5 and stamped Susse Fondeur Paris

Provenance: Mrs. Marguerite ArpEdouard Loeb, 53 Rue de Rennes, Paris, was entrusted for sale to Edouard Loeb by Mrs. Marguerite Arp in December 1973Waddington Galleries, MontrealPrivate Collection, Montreal

Exhibited: The Israel Museum, Jerusalem, Dada, Surrealism and Beyond, February - June 2007, another cast from the edition, catalogue #B99.1990

Literature: Carola Giedion Welcker, Hans Arp, 1957, catalogue raisonné #51Jean Arp, Dadaland, 1948, quoted in Hans Richter, Dada, Art and Anti-Art, 1964, page 25W.S. Rubin, Dada, Surrealism, and their Heritage, The Museum of Modern Art, New York, 1968, page 40Eduard Trier, Jean Arp, Sculpture 1957 - 1966, Catalogue of his Late Sculpture, 1968Harold Rosenberg, “Pro-Art Dada: Jean Arp”, The De-definition of Art, 1972, page 78Ruth Apter-Gabriel, editor, The Arthur and Madeleine Chalette Lejwa Collection in the Israel Museum, Jerusalem, 2005, another cast from the edition referenced, accession #B99.1990

Arp is associated with the very beginning of the Dada movement at Cabaret Voltaire, Zurich, in 1916. However, his work never seems to have had the abrasive quality of the early anti-art declarations of Tristan Tzara, or the flat rejection by Picabia of painting as such, or the ironic detachment of Marcel Duchamp. His work always had a playful quality, a humor and a gentleness that seems foreign to these masters. Arp was to Dadaism what Miró was to Surrealism: an eminent participant for sure, but too personal to really fit into a movement. And with time, neither Miró or Arp changed their basic attitude. In the case of Arp, you could say that he remained what he had always been, a free mind, a whimsical inventor of new forms and a creator of a nature parallel to the one we know. But by insisting too much on the playfulness, not to mention the childish fantasy of Arp, there is a danger in losing the real meaning of his contribution to modern art. Arp was first attracted to Cubism, but he was also one of the first to feel the need for something else. In a time when the human form and more generally the living form, was negated or destroyed during World War I in the name of reason, truth or order, (precisely the values claimed by the Cubists) he felt the need to express exactly the opposite. Revolted by the butchery of the War, he wrote in 1948 that, “we in Zurich devoted ourselves to the arts. While the guns rumbled in the distance, we sang, painted, made collages and wrote poems with all our might. We were seeking an art based on fundamentals, to cure the madness of the age, and a new order of things that would restore a balance between heaven and hell. We had a dim premonition that power-mad gangsters would one day use art itself as a way of deadening men’s minds.” Organic forms were to replace nicely constructed geometric space. Forms of life were to become the principal source of inspiration, instead of the clever scaffolding of elements seen from different angles. Freedom of inspiration - giving the same importance to a moustache, a cloud or a breast was to be preferred to the traditions maintained by the Cubists, who were still painting still life, portraits and landscapes. It is this rejection of the destroying power of reason, tragically illustrated by the War, that made Arp a Dadaist to start with, and the introducer of biomorphism to modern art. As William S. Rubin, then director of the Museum of Modern Art, New York, has stated, Arp’s adoption of a “new curvilinear, organic morphology” influenced the whole Surrealist movement. He commented, “From that point on, biomorphism would be the nearest thing to a common form-language for the painter-poets of the Surrealist generations.” This sculpture is of the post-Dada period of Arp’s work. It belongs to what he called his “concretions”, as if the forbidden fruit of Fruit préadamite, 1938, was the result of a long mental process similar to sedimentation or stalagmite formation. It has nothing however, of the nature of a found natural object, like the Surrealists used to collect, and it is a sculpture on its own terms. Fruit préadamite belongs to the type of sculpture in which “a torso [...could] be a leg, a vegetable [could turn] into animal, a star that might be a starfish, buds that are breasts.” It is not surprising that it could be of another race than Adam, and could even belong to what the seventeenth century French writer, Isaac La Peyrère called the Preadamite races. He argued that the existence of these races explained Cain’s life after Abel’s murder, which, in the Genesis account, involved the taking of a wife and the building of a city. When looking at Arp’s Fruit préadamite, there is no need, however, to refer to this type of erudition. One has a delightful multi-meaning object, the parts of which could be read differently, depending on the connections one makes mentally when handling it. We thank François-Marc Gagnon of the Gail and

Starting Bid: $60,000 CDN


$100,000 ~ $150,000 CDNPreview at: Heffel Fine Art Inc. Toronto

Estimate:


002

HANS (JEAN) ARP

Regard nocturne (Nächtlicher Blick)

1887 - 1966 French

bronze sculpture with rich brown patina

11 1/8 x 7 1/4 x 7 1/4 inches 29 x 22 x 19 centimeters


Estimate:

Provenance: Flair Gallery, CincinnatiEstate of Janet Kohlmeyer, New Orleans (acquired from the above in 1968)Sold sale of Impressionist and Modern Paintings and Sculpture (Part II), Christie's New York, May 9, 1991, lot 264Private Collection, Montreal

Exhibited: New Orleans Museum of Art, New Orleans Collects, November 14, 1971 - January 9, 1972, catalogue #71 reproduced

Literature: Eduard Trier, Jean Arp, Sculpture 1957 - 1966, Catalogue of his Late Sculpture, 1968, reproduced page 124, catalogue #315The New Orleans Museum of Art, New Orleans Collects, 1971, catalogue #71, reproduced page 14

Arp is associated with the very beginning of the Dada movement at Cabaret Voltaire, Zurich, in 1916. However, his work never seems to have had the abrasive quality of the early anti-art declarations of Tristan Tzara, or the flat rejection by Picabia of painting as such, or the ironic detachment of Marcel Duchamp. His work always had a playful quality, a humor and a gentleness that seems foreign to these masters. Arp was to Dadaism what Miró was to Surrealism: an eminent participant for sure, but too personal to really fit into a movement. And with time, neither Miró or Arp changed their basic attitude. In the case of Arp, you could say that he remained what he had always been, a free mind, a whimsical inventor of new forms and a creator of a nature parallel to the one we know. But by insisting too much on the playfulness, not to mention the childish fantasy of Arp, there is a danger in losing the real meaning of his contribution to modern art. Arp was first attracted to Cubism, but he was also one of the first to feel the need for something else. In a time when the human form and more generally the living form, was negated or destroyed during World War I in the name of reason, truth or order, (precisely the values claimed by the Cubists) he felt the need to express exactly the opposite. Revolted by the butchery of the War, he wrote in 1948 that, “we in Zurich devoted ourselves to the arts. While the guns rumbled in the distance, we sang, painted, made collages and wrote poems with all our might. We were seeking an art based on fundamentals, to cure the madness of the age, and a new order of things that would restore a balance between heaven and hell. We had a dim premonition that power-mad gangsters would one day use art itself as a way of deadening men’s minds.” Organic forms were to replace nicely constructed geometric space. Forms of life were to become the principal source of inspiration, instead of the clever scaffolding of elements seen from different angles. Freedom of inspiration - giving the same importance to a moustache, a cloud or a breast was to be preferred to the traditions maintained by the Cubists, who were still painting still life, portraits and landscapes. It is this rejection of the destroying power of reason, tragically illustrated by the War, that made Arp a Dadaist to start with, and the introducer of biomorphism to modern art. As William S. Rubin, then director of the Museum of Modern Art, New York, has stated, Arp’s adoption of a “new curvilinear, organic morphology” influenced the whole Surrealist movement. He commented, “From that point on, biomorphism would be the nearest thing to a common form-language for the painter-poets of the Surrealist generations.” This sculpture is from the post-Dada period of Arp’s work. It belongs to what he called his “concretions”, as if the head shape of Regard nocturne, 1964 was the result of a long mental process similar to sedimentation or stalagmite formation. It has nothing however, of the nature of a found natural object, like the Surrealists used to collect and is a sculpture on its own terms. Regard nocturne very efficiently translates the sensation we have when looking into the dark and groping to find our way. At that moment we do not have two eyes and a mouth, but just this gaping aperture, slightly worried, which we could call desire. 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.This work is accompanied by a photo~certificate from the artist dated Meudon, October 30, 1964, which states: “Je, soussigné Jean Arp certifie que la sculpture reproduite au verso et s’intitulant ‘Nächtlicher blick’ en le no. 2 d’une édition de 5 bronzes. Meudon F64, Arp.”This work is registered in the Foundation archives, confirmation by Chiara Jaeger, Foundation Arp, March, 2009.



003

LYNN CHADWICK

Maquette VIII, High Wind

1914 - 2003 British

silver sculpture

7 1/8 x 2 x 3 inches 18.1 x 5.1 x 7.6 centimeterseditioned 7/20 and stamped with the artist's studio stamp and catalogue #C32A


Estimate:

Provenance: Private Collection, TorontoExhibited:Literature: Dennis Farr and Eva Chadwick, Lynn Chadwick, Sculptor: With a Complete

Illustrated Catalogue 1947 - 1996, 1997, reproduced page 364, catalogue #C32A

The base of the sculpture measures 6 x 4 1/4 inches.


004

LYNN CHADWICK

Sitting Couple

1914 - 2003 British

bronze sculpture

4 3/4 x 7 1/2 x 8 inches 12.1 x 19 x 20.3 centimeterseditioned 8/9 and stamped catalogue #C4


Estimate:


Illustrated Catalogue 1947 - 1996, 1997, reproduced page 336, catalogue #C4


005

LYNN CHADWICK

Sitting Woman

1914 - 2003 British

bronze sculpture

4 1/4 x 5 1/4 x 5 inches 10.8 x 13.3 x 12.7 centimeterseditioned 4/9 and stamped with the artist's studio stamp and catalogue #C86


Estimate:


Illustrated Catalogue 1947 - 1996, 1997, reproduced page 383, catalogue #C86



006

HENRY MOORE

Bone Head

1898 - 1986 British

bronze sculpture with deep brown patina

5 1/4 x 3 1/4 x 2 1/2 inches 13.3 x 8.3 x 6.3 centimeterssigned and editioned 2/9


Estimate:

Provenance: Dominion Gallery, Montreal, inventory #C8036Private Collection, Montreal

Exhibited:Literature: Alan Bowness, editor, Henry Moore: Complete Sculpture 1980 - 1986, Volume 6,

1999, reproduced page 57, plate #56 and catalogue #891

This work was cast by Fiorini foundry in London in 1983.


007

HENRY MOORE

Dog's Head

1898 - 1986 British

bronze sculpture



Estimate:

Provenance: Dominion Gallery, Montreal, inventory #F7818Private Collection, Montreal

Exhibited: Galerie Bayeler, Basel, Henry Moore: Sculpture and Drawings, The Last Ten Years, 1982, another cast, catalogue #10

Literature: Alan Bowness, editor, Henry Moore: Complete Sculpture 1980 - 1986, Volume 6, 1999, plate #50 and catalogue #800

This work was cast by Fiorini foundry in 1980 in London.


008

HENRY MOORE

Girl and Dwarf

1898 - 1986 British

bronze sculpture with brown patina

6x 6 x 3 3/8 inches 14.6 x 15.2 x 8.3 centimeterssigned and editioned 1/7


Estimate:

Provenance: Private Collection, MontrealExhibited:Literature:




009

HENRY MOORE

Heads, Figures and Ideas

1898 - 1986 British

book

11 3/4 x 9 3/4 inches 29.8 x 24.8 centimeterssigned and inscribed "For George J. Rosengarten. 1984 from Henry Moore"


Estimate:

Provenance: George J. RosengartenPrivate Collection, Vancouver

Exhibited:Literature:

This is a hard cover book designed by Henry Moore done in collaboration with George Rainbird in London, 1958. It was printed at Curwen Press, with illustrated paper-covered boards and a linen spine. The book consists of sketches, mainly black and white, but some in monochrome, with 65 facsimile message comments. This book includes a stone lithograph made by Moore especially for the book on handmade paper watermarked with the artist's signature.

Starting Bid: $700 CDN

010

HENRY MOORE

Heads, Figures and Ideas

1898 - 1986 British

book

11 3/4 x 9 3/4 inches 29.8 x 24.8 centimeters

$500 ~ $1,000 CDNPreview at: Heffel Fine Art Auction House Vancouver

Estimate:

Provenance: Private Collection, VancouverExhibited:Literature:

This is a hard cover book designed by Henry Moore done in collaboration with George Rainbird in London, 1958. It was printed at Curwen Press, with illustrated paper-covered boards and a linen spine. The book consists of sketches, mainly black and white, but some in monochrome, with 65 facsimile message comments. This book includes a stone lithograph made by Moore especially for the book.



011

HENRY MOORE

Maquette No. 2

1898 - 1986 British

bronze relief sculpture

13 x 17 1/2 x 1 inches 33 x 44.4 x 2.5 centimeterssigned


Estimate:

Provenance: Private CollectionSale of Sotheby's London, Impressionists and Modern Paintings, Drawings, Watercolours and Sculpture, October 19, 1988, lot 368George J. Rosengarten, OCPrivate Collection, Vancouver

Exhibited:Literature: Alan Bowness, editor, Henry Moore: Complete Sculpture 1955 - 1964, Volume 3,

1965, reproduced page 20, plate #10b and catalogue #366

This work is mounted on a metal and wood backing that measures 17 x 22 x 3/4".This work was cast by Fiorini foundry in London in 1955. Although Lund Humphries's records show the edition is ten + one, the edition was never completed and is actually five + one. One of the casts is in the collection of the Henry Moore Foundation together with two duplicate casts, and another is with the Art Gallery of Ontario.One of Moore's famous works is the 1955 brick relief on the facade of the Bouwcentrum Building Center in Rotterdam. Dutch architect J.W.C. Boks commissioned Moore to do the design for the brick wall. Moore created this work in addition to eight other different macquettes for this project.This lot is accompanied by a copy of a letter to Sotheby's from George Rosengarten regarding payment for the work.


012

HENRY MOORE

Relief: 3/4 Mother and Child Reclining

1898 - 1986 British

bronze relief sculpture

7 x 16 1/2 x 3/4 inches 17.8 x 41.9 x 1.9 centimeterssigned and editioned 5/9


Estimate:

Provenance: Raymond Spence Company LimitedGeorge J. Rosengarten OC, 1985Private Collection, Vancouver

Exhibited: The Beaverbrook Art Gallery, Fredericton, 40 Years of British Sculpture, September - November 1941

Literature: Alan Bowness, editor, Henry Moore: Complete Sculpture 1974 - 1980, Volume 5, 1983, reproduced page 35, catalogue #728

This work was cast by the Morris Singer Foundry in 1977. The work is accompanied by a copy of the loan agreement with the Beaverbrook Art Gallery.



013

HENRY MOORE

Seated Figure: Armless

1898 - 1986 British

bronze sculpture with green patina

17 1/2 x 5 1/2 x 7 inches 44.4 x 14 x 17.8 centimeters


Estimate:

Provenance: Dominion Gallery, MontrealGeorge J. Rosengarten OCPrivate Collection, Vancouver

Exhibited: Virginia Museum of Fine Arts, Richmond, Henry Moore, 1965, another cast, catalogue #102Stamford Museum and Nature Center, Five British Sculptors: Armitage, Butler, Chadwick, Hepworth and Moore, 1966, another cast Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, DC, Henry Moore: The Hirshhorn Museum and Sculpture Garden Collection, 1978, another cast, catalogue #30Meridian House International, Washington, DC, Henry Moore: A New Dimension, 1983, another castPushkin Museum of Fine Art, Moscow, Henry Moore in the Soviet Union, June - December 1991, another cast, catalogue #75

Literature: Alan Bowness, editor, Henry Moore: Complete Sculpture 1955 - 1964, Volume 3, 1965, reproduced page 25, plates #18 and #19, catalogue #398Robert Melville, Henry Moore Sculpture and Drawings 1921 - 1969, 1971, reproduced pages 500 and 501Alan Wilkinson, Henry Moore Remembered, 1987, the plaster maquette for this sculpture entitled Seated Figure: Armless, reproduced page 168, catalogue #118John Hedgecoe, Henry Moore, A Monumental Vison, 1998, reproduced page 221, catalogue #364

Seated Figure: Armless is one of Henry Moore’s canonical sculptures, in that it exemplifies Moore’s great skill as an artist and represents his favourite subject matter of women. Moore’s interest in natural forms is evident in the organic qualities that resonate from his sculptures and characterize his work. It was the living form of the female body that continued to reappear in his sculptures. This living element was integral to Moore and he often spoke of the moment when the maquette he was creating came to life; if this did not happen he would usually put the work aside. Moore became enamoured with the human figure because of both its complexity and subtlety, and the difficulty that ensued in capturing its essence. Throughout his career, Moore repeatedly returned to certain forms, reinventing them with a renewed vision. Starting in 1952 until his death in 1986, Moore made numerous versions of this seated figure, which is the maternal body of a fully mature woman. A widely held interpretation of Moore’s seated female figures is that they were representations of his mother. This figure is a timeless feminine body, a body that references both antiquity and the modern, despite being made over half a century ago. The erect frontal position of the figure references the rigid seated pose of ancient Egyptian sculpture, while the abstract pared-down aesthetic of the body references ideas of modernity. The hard material qualities of bronze are contrasted with Moore’s delicate handling of the metal, as in the fine lines of the curvaceous skirt. These juxtapositions are suggestive of the strength of, and his great reverence for, the female body. Moore often created his sculptures in several different materials and sizes, beginning with the maquette. John Hedgecoe states that Moore “considered his maquettes to be the most immediate form of his work; they are, for obvious reasons, the closest to his original conceptions.” The original plaster maquette for this work is in the collection of the Art Gallery of Ontario, accession #73/86, AGOID 6119, and was a gift from the artist in 1974.This work is from an edition of 10 and is accompanied by a copy of the letter of authenticity from Max Stern, the owner of the Dominion Gallery.



014

HENRY MOORE

Three Piece Reclining Figure

1898 - 1986 British

bronze sculpture with deep brown patina



Estimate:

Provenance: Loranger Gallery, TorontoPrivate Collection, Montreal




101

KAREL APPEL

Abstract

1921 - 2006 Dutch

gouache on paper

11 x 14 3/4 inches 27.9 x 37.5 centimeterssigned and dated 1977

$12,000 ~ $16,000 CDNPreview at: Heffel Gallery Montreal

Estimate:

Provenance: Damkjar-Burton Gallery, HamiltonPrivate Collection, Quebec



102

KAREL APPEL

Abstract

1921 - 2006 Dutch

mixed media on paper

19 3/4 x 25 1/2 inches 50.2 x 64.8 centimeterssigned and dated 1958


Estimate:

Provenance: Joe Wolpie Gallery, Cape TownPrivate Collection, Toronto


Please note: this work is unframed.



103

EDOUARD LÉON CORTÈS

L'Arc de Triomphe

1882 - 1969 French

oil on canvas

13 x 18 inches 33 x 45.7 centimeterssigned and on verso signed and titled

$20,000 ~ $30,000 CDNPreview at: Heffel Fine Art Auction House Vancouver

Estimate:

Provenance: Haynes Art Gallery, TorontoPrivate Collection, TorontoBy descent to the present Private Collection, Vancouver


Cortès was born in Lagny, France on April 26, 1882. He was a visionary artist whose subject matter was based on the city of Paris. Cortès was attuned to the culture and artistic climate of Paris, and visitors were fascinated by his work because he was able to capture its ephemeral moods. The results were charming Parisian street and monument scenes that are still as popular with current collectors as they were in the early part of the century. Cortès’s paintings express the timeless romance and charm of old Paris. This is conveyed through the use of bold brush-strokes and an exquisite colour palette. The viewer’s eye is often caught by fascinating details such as the play of light on wet pavement, shadows on streets and glowing windows and street lamps. It is not uncommon to find an array of colour tones in the work of Cortès ranging from soft grey hues and ambers to vivid reds, yellows and oranges. In L'Arc de Triomphe, the vividness of a child’s cloak and the autumn leaves are details that enhance the beauty of this composition. The light from the streetcar and an overcast atmosphere reveals the season and even, perhaps, the specific time of day. An active member of the prestigious Societé des Artistes Français, Cortès exhibited his works annually in Paris at the Society’s best salons: the Salon des indépendants, and the Salon de l’hiver.


104

ZHANG DAQIAN (YUAN)

Peony

1899 - 1983 Chinese

ink and colour on paper

19 1/2 x 26 1/4 inches 49.5 x 66.7 centimeterssigned Yuan, inscribed and stamped with five seals


Estimate:


Born to a family of artists in Sichuan, China, Zhang Daqian began to draw with his mother at the age of nine. In 1917, Zhang went to Japan to learn commercial weaving, textile dyeing and painting in Kyoto. After two years Zhang returned to Shanghai to teach at a Christian school. There he began to study under Zeng Xi and changed his given name to Yuan. In 1919 he became a Buddhist in Songjiang taking the Buddhist name of Daqian, but three months later resumed his secular life and married Zeng Zhengrong. He then studied calligraphy under Li Ruiqing in Shanghai. In 1925, Zhang had his first solo exhibition at Ningbo Guild House in Shanghai. In 1935 Zhang was invited to be professor of Chinese paintings at the Department of Fine Arts at the Central University.Zhang was one of the best-known and most prodigious Chinese artists of the twentieth century. A staunch supporter of the Kuomintang, he left China in 1948 and moved to Mogi das Cruzes, Brazil, and then to Carmel, California, before finally settling in Taipei, Taiwan.



105

ALFRED DE BREANSKI SR.

On the Lulugy, North Wales

1852 - 1928 British

oil on canvas

19 3/4 x 33 3/4 inches 50.2 x 85.7 centimeterssigned and dated 1871 and on verso inscribed on a label "F.R. Registration No. 6738"


Estimate:


Alfred de Breanski senior was born near London in 1852. He specialized in Scottish and Welsh mountain landscapes, and in particular highland lochs at sunset. He exhibited at the Royal Academy from 1872 - 1890, as well as at the Society of British Artists. Two of his sons, Arthur de Breanski and Alfred Fontville de Breanski, also became artists.


106

HENRI FANTIN-LATOUR

Les baigneuses

1836 - 1904 French

oil on paper laid down on canvas

10 x 14 inches 25.4 x 35.6 centimeterssigned and on verso inscribed "4717"


Estimate:

Provenance: Gustave Tempelaere, Paris (stamp on verso)W. Scott and Sons, MontrealBy descent to the present Private Collection, Victoria


Fantin-Latour was born in Grenoble, France in 1836. He studied at the École des beaux-arts in Paris and became well known for his group portraits and studies of flowers. He was deeply involved in the French art scene and was well acquainted with respected and progressive artists such as Manet and Delacroix. A romantic and a music lover, he spent much of his later years creating lithographs that illustrated the works of composers such as Wagner, Berlioz and Schumann. This painting will be included in the forthcoming catalogue raisonné of Fantin-Latour’s paintings and pastels by Galerie Brame & Lorenceau.



107

LIN FENGMIAN

Chrysanthemums

1900 - 1991 Chinese


26 7/8 x 26 1/2 inches 68.3 x 67.3 centimeterssigned and with the seal of the artist


Estimate:

Provenance: Cape of Good Hope Gallery, TaiwanPrivate Collection, Vancouver


Lin Fengmian was a native of Meizhou in Guangdong Province. He spent the early part of his career in Europe, moving to Paris in 1920 to study painting at the École des beaux-arts in Paris. Lin returned to China in 1925 to become the principal of the Beiping State Vocational School. In 1928 Lin helped found the Hangzhou National College of Art, to promote fine arts education to replace religion in a war-torn China. Lin's works and life met with great tragedy. Many of his early works were destroyed by Japanese soldiers during the Sino-Japanese War and many of his later works were destroyed during the Cultural Revolution. After being heavily criticized and denounced by the Gang of Four, Lin destroyed his own works, however, he still ended up being imprisoned for over four years. In 1977, Lin was granted travel papers under the pretext of going to Brazil to visit his family. He moved to Hong Kong without enough money to travel to Brazil, so he remained there until his death. During this time he began to re-create many of his destroyed works. Lin was an unconventional master and was one of the leading figures in assimilating Western painting styles into Chinese painting.


108

HUANG JUNBI

Spring Morning After Rain

1898 - 1991 Chinese


23 1/4 x 48 1/4 inches 59 x 122.5 centimeterssigned with three seals of the artist and inscribed "painted in the artist's 84th year on a summer day"


Estimate:



Born in Guangzhou in 1898, Huang Junbi left mainland China and moved to Taiwan in 1949. He soon became an acclaimed painter and exerted a great deal of influence on the art scene there. Huang founded the fine arts department of the National Taiwan Normal University.



109

LI KERAN

Water Buffalo

1907 - 1989 Chinese

scroll, ink and colour on paper

28 x 18 inches 71.1 x 45.7 centimeters

signed Li Keran at Beijing, inscribed "Mountain green again after heavy rain, painted for Lady Jiang Zhen" and stamped Shiniu Tang and with two other seals of the artist


Estimate:



A prominent figure in twentieth century Chinese art, Li Keran developed a personal style of landscape painting that emulated both ancient and contemporary masters. At 13, Li began to study painting and entered the Shanghai Art College in 1923. There, Li studied both traditional Chinese painting and Western art. After the Sino-Japanese war Li began to experiment with figure painting in ink and wash, and began to paint water buffalo. His innovative technique of splashed ink brought new significance to traditional subject matter. In Water Buffalo, Li has depicted the charming interaction between the young herding boy and the hard working buffalo.


111

BEN NICHOLSON

Sculptured Forms One

1894 - 1982 British

ink wash on paper

15 3/4 x 20 1/2 inches 40 x 52.1 centimeterson verso signed, titled and dated March 13, 1978


Estimate:

Provenance: Private Collection, EnglandWaddington Galleries, LondonPrivate Collection, Toronto

Exhibited: Waddington and Tooth Galleries, London, Ben Nicholson: Recent Paintings on Paper, 1978, catalogue #20Odakyu Museum, Tokyo, Ben Nicholson, September 30 - October 18, 1992, traveling in 1992 - 1993 to Shizuoka Prefectural Museum of Art; Hakone Open-Air Museum; Museum of Art, Kintetsu, Osaka; The Museum of Modern Art, Gunma, catalogue #83

Literature: Ben Nicholson: Recent Paintings on Paper, Waddington and Tooth Galleries, 1978, catalogue #20, unpaginatedBen Nicholson, Odakyu Museum, 1992 - 1993, reproduced, catalogue #83Norbert Lynton, Ben Nicholson, 1993, reproduced page 406, plate #399



112

JULIAN ONDERDONK

Fishing on the River Bank

1882 - 1922 American

oil on canvas

16 x 20 inches 40.6 x 50.8 centimeterssigned


Estimate:

Provenance: Private Collection, TorontoExhibited:Literature:


113

LE PHO

Fleurs

1907 - 2001 French

oil on silk laid on woven paper

35 1/2 x 23 1/2 inches 90.2 x 59.7 centimeterssigned


Estimate:

Provenance: Acquired directly from the Artist in Paris in the 1950s by the present Private Collection, Montreal



114

THEODULE AUGUSTIN RIBOT

L'office

1823 - 1891 French

oil on panel

12 1/8 x 15 5/8 inches 30.8 x 39.7 centimeterssigned and on verso inscribed "0/2500"


Estimate:

Provenance: By descent to the present Private Collection, VictoriaExhibited:Literature:



115

YEVGENY RUKHIN

Red Table

1943 - 1976 Russian

mixed media and wood on canvas

39 x 38 1/4 inches 99 x 97.1 centimeterssigned in Cyrillic and dated 1971


Estimate:

Provenance: Acquired directly from the Artist in 1972 by the present Private Collection, OntarioExhibited:Literature:

Rukhin was an active dissident, exhibiting his art at a time when it was illegal to do so as an unofficial artist. He was arrested after the First Autumn Open-Air Exhibition in Moscow in 1974 and two years later died at the age of 32 in a mysterious fire at his Leningrad studio.


116

YEVGENY RUKHIN

St. Cyril

1943 - 1976 Russian

mixed media and wood on canvas

27 1/2 x 26 inches 69.8 x 66 centimeterssigned in Cyrillic and dated 1973


Estimate:


Please note: this work is unframed.



117

BORIS SVESHNIKOV

Landscape with Figure

1927 - 1998 Russian

oil on canvas

29 x 29 inches 73.7 x 73.7 centimeterssigned in Cyrillic and on verso inscribed "First List" in Russian


Estimate:


Boris Sveshnikov was one of the leading anti-establishment artists of the USSR, and one of many who was sent to the Gulag for anti-Soviet propaganda. Sveshnikov's imprisonment began when he was just 19 years old and lasted eight years. During his confinement he never stopped drawing and painting in watercolour. After his release, his style gradually changed and he started to incorporate elements of Pointillism into his technique and the subject of his paintings became more surrealistic.


118

THEO TOBIASSE

Deux âmes et la douceurs d'Israel

1927 - Israeli

oil on canvas

39 1/2 x 31 3/4 inches 100.3 x 80.6 centimeterssigned, titled and dated 1969


Estimate:

Provenance: Acquired directly from the Artist by the present Private Collection, MontrealExhibited:Literature:



119

THEO TOBIASSE

L'homme de Pourim

1927 - Israeli

oil on canvas

31 3/4 x 39 1/2 inches 80.6 x 100.3 centimeterssigned, titled and dated 1974


Estimate:



120

THEO TOBIASSE

Les quatres enfants du Midrach

1927 - Israeli

oil on canvas

51 1/2 x 64 inches 130.8 x 162.5 centimeterssigned, titled and editioned 1966 and on verso signed and titled


Estimate:



121

JESUS URBIETA

Sin título

1959 - 1997 Mexican

oil and sand on canvas

39 1/2 x 36 inches 100.3 x 91.4 centimeterssigned and dated 1986


Estimate:

Provenance: Acquired directly from the Artist, Mexico CityPrivate Collection, Vancouver




201

GEORGE HENDRIK BREITNER

Chrysanten in een Keulse Pot

1857 - 1923 Dutch

watercolour and gouache on paper

20 1/8 x 13 inches 51.1 x 33 centimeterssigned and on verso inscribed indistinctly


Estimate:

Provenance: By descent to the present Private Collection, VancouverExhibited:Literature:


202

JOHN FORD CLYMER

Indians with their Guns

OSA RCA 1907 - 1989 American

gouache on paper

7 1/4 x 6 3/4 inches 18.4 x 17.1 centimeterssigned


Estimate:

Provenance: A gift from the Artist to Joachim Gauthier, OntarioBy descent to the present Private Collection, Ontario


John Ford Clymer worked as an illustrator for Sampson Matthews Ltd. He was a close friend and associate of Joachim Gauthier both professionally and personally. Gauthier was an artist in his own right and was a member of the RCA and the OSA.


203

JEAN DUBUFFET

Villa 6 M100

1901 - 1985 French

marker and crayon on paper

10 3/4 x 8 1/4 inches 27.3 x 21 centimetersinitialed and dated 1966 and on verso titled, dated April 18 and inscribed "7196"


Estimate:

Provenance: Galerie Beyeler, BaselArtel Galerie, GenèvePrivate Collection, Vancouver

Exhibited: Kunstmuseum Basel, Ausstellung Jean Dubuffet: Zeichnungen, Aquarelle, Gouachen, Collagen, June - August 1970, catalogue #169

Literature:



204

CARDINAL MICHELE FEDERICO

Coast of Capri

1884 - 1966 Italian

oil on canvas



Estimate:

Provenance: Private Collection, TorontoBy descent to the present Private Collection, Vancouver



205

CARDINAL MICHELE FEDERICO

The Monacone Rock, Capri

1884 - 1966 Italian

oil on canvas



Estimate:

Provenance: Private Collection, TorontoBy descent to present Private Collection, Vancouver



206

WILLIAM RUSSELL FLINT

In the Country of Beuoye, Alice la Beale Pilgrim and Sir Alisander

1880 - 1969 British

watercolour on paper

11 1/2 x 8 3/4 inches 29.2 x 22.2 centimeterssigned and on verso signed, titled and inscribed "Le Morte D'Arthur, Book X, Chapter XXXIX"


Estimate:

Provenance: Private Collection, VictoriaExhibited:Literature:



207

NANCY GRAVES

Approaches the Limit II


lithograph and etching

48 x 31 5/8 inches 121.9 x 80.3 centimeterssigned, editioned 4/30 and dated 1981


Estimate:

Provenance: Evelyn Aimis Gallery, TorontoPrivate Collection, Ontario

Exhibited:Literature: Thomas Padon, Nancy Graves: Excavations in Print, reproduced page 77, catalogue

#26

Typical of the graphic works by Nancy Graves published by Tyler Graphics, this work was produced using 14 colours from 13 aluminum plates for the lithography and one magnesium plate for the etching.


208

BIRGE HARRISON

Trees in Mist


oil on canvas mounted on board

30 x 24 inches 76.2 x 61 centimeterssigned


Estimate:

Provenance: Private Collection, CalgaryExhibited:Literature:


209

JOY LAVILLE

Woman in Chair

1923 - British

mixed media on paper

36 x 44 1/2 inches 91.4 x 113 centimeterssigned and dated 1988


Estimate:

Provenance: Acquired directly from the Artist, Mexico CityPrivate Collection, Vancouver




210

JACK LEVINE

The General

1915 - American

etching and aquatint

14 3/4 x 17 1/2 inches 37.5 x 44.4 centimeterssigned and editioned 52/100


Estimate:

Provenance: Vincent Price CollectionJ. Ron Longstaffe Collection, Vancouver



211

PAOLO MEI

The Quarrel

1899 - Italian

oil on board

19 x 12 1/2 inches 48.3 x 31.7 centimeterssigned


Estimate:



212

MANUEL ROBBE

Bicyclers

1872 - 1936 French

gouache on paper

11 1/2 x 8 1/4 inches 29.2 x 21 centimetersinitialed


Estimate:

Provenance: Galerie Michael, Los AngelesPrivate Collection, Ontario


This work is accompanied by a certificate of authenticity from Galerie Michael.



213

ROWLAND WHEELWRIGHT

Beach Scene

1870 - 1955 British

oil on canvas

16 1/8 x 24 1/8 inches 41 x 61.3 centimeterssigned


Estimate:



214

ZAO WOU-KI

Hortensias

1921 - French

colour lithograph on paper board

17 x 22 3/4 inches 43.2 x 57.8 centimeterssigned, editioned Artist's Proof and dated 1953


Estimate:

Provenance: Private Collection, MontrealExhibited:Literature: Jorgen Agerup, editor, Zao Wou-Ki, The Graphic Work, A Catalogue Raisonné 1937 -

1995, 1995, reproduced page 82

This lithograph was produced in an edition of 95.


215

ZAO WOU-KI

Sans titre

1921 - French

lithograph

12 1/4 x 9 1/2 inches 31.1 x 24.1 centimeterssigned and editioned 50/50


Estimate:

Provenance: Private Collection, MontrealExhibited:Literature:



216

VLADIMIR YAKOVLEV

Heroic Face

1934 - 1998 Russian

gouache on paper

28 x 24 inches 71.1 x 61 centimeterssigned and dated 1973


Estimate:


Vladimir Yakovlev was born in a small town east of Moscow and became one of the social outcast artists of the Khrushchev era. When he was 18 he lost 50 percent of his vision and subsequently suffered from a series of mental breakdowns and was thereby categorized as a social outcast. Ironically, this allowed him a certain amount of artistic freedom. His art can be categorized in three separate groupings: flowers, portraits and abstracts. The portraits are often autobiographical in their depiction of sad, lonely figures; the flower paintings usually depict a solitary fragile flower against a plain background.


217

VLADIMIR YAKOVLEV

Sad Clown

1934 - 1998 Russian

gouache on paper

34 x 24 inches 86.3 x 61 centimeterssigned and dated 1973


Estimate:




Documents

APRIL 2009 ONLINE SALE CATALOGUE - Heffel · APRIL 2009 ONLINE SALE CATALOGUE Page: 1 of 24. 001 HANS (JEAN) ARP Fruit préadamite 1887 - 1966 French bronze sculpture with brown patina