WORK 22 X 17.75 INCHES - FRAME 31.75 X 28 INCHES SERIGRAPH 1975- 3/70 Painter, draughtsman, engraver and muralist, Alex Colville always remained aloof from the formal trends that characterized the 20th century. Drawing his inspiration from the world around him, from the most repetitive gestures of everyday life, he placed his unsettling juxtapositions of figures, objects and animals in an ambiguous atmosphere of disquieting tranquillity, as though time were suspended. His compositions are rigorously constructed according to a precise geometry and executed with a technique that consists of minuscule dabs of paint applied meticulously dot by dot. Born in Toronto, Colville moved as a boy to Amherst, Nova Scotia with his family. After his studies at Mount Allison University, he served in the army from 1942 to 1946, working as a military artist from 1944 to 1946. He then taught at university, but left in 1963 to devote himself completely to painting. In the 1950s, his approach became associated with that of certain American artists, such as Andrew Wyeth, who are considered regionalists. His paintings are characterized by a latent anxiety; an example is Child and Dog, in which the juxtaposition of a blond child and a large black dog with pronounced claws creates a feeling of unease. Nearly a third of Colville's works involve animals, particularly domestic animals; Hound in Field is a perfect illustration of this affinity. The famous image of a couple crossing the Straits of Northumberland, To Prince Edward Island, reveals a number of themes that recur in Colville's work: means of transportation, the sea, the relationship between a couple; but he also uses the woman with the binoculars to illustrate the power inherent in a gaze, the dynamic that exists between the person looking and the person being looked at, who in turn is looking back at the gazer. Over his long career, Colville's fame grew and he received many honours. Major retrospectives of his work were held at the Art Gallery of Ontario in 1983 and the Montreal Museum of Fine Arts in 1994. He was made a Companion of the Order of Canada in 1982, and won a Governor General's Visual and Media Arts Award in 2003.

WORK 22 INCHES DIAMETER - FRAME: 28 X 28 INCHES - SERIGRAPH 64/70 - SIGNED & TITLED. Painter, draughtsman, engraver and muralist, Alex Colville always remained aloof from the formal trends that characterized the 20th century. Drawing his inspiration from the world around him, from the most repetitive gestures of everyday life, he placed his unsettling juxtapositions of figures, objects and animals in an ambiguous atmosphere of disquieting tranquillity, as though time were suspended. His compositions are rigorously constructed according to a precise geometry and executed with a technique that consists of minuscule dabs of paint applied meticulously dot by dot. Born in Toronto, Colville moved as a boy to Amherst, Nova Scotia with his family. After his studies at Mount Allison University, he served in the army from 1942 to 1946, working as a military artist from 1944 to 1946. He then taught at university, but left in 1963 to devote himself completely to painting. In the 1950s, his approach became associated with that of certain American artists, such as Andrew Wyeth, who are considered regionalists. His paintings are characterized by a latent anxiety; an example is Child and Dog, in which the juxtaposition of a blond child and a large black dog with pronounced claws creates a feeling of unease. Nearly a third of Colville's works involve animals, particularly domestic animals; Hound in Field is a perfect illustration of this affinity. The famous image of a couple crossing the Straits of Northumberland, To Prince Edward Island, reveals a number of themes that recur in Colville's work: means of transportation, the sea, the relationship between a couple; but he also uses the woman with the binoculars to illustrate the power inherent in a gaze, the dynamic that exists between the person looking and the person being looked at, who in turn is looking back at the gazer. Over his long career, Colville's fame grew and he received many honours. Major retrospectives of his work were held at the Art Gallery of Ontario in 1983 and the Montreal Museum of Fine Arts in 1994. He was made a Companion of the Order of Canada in 1982, and won a Governor General's Visual and Media Arts Award in 2003.

WORK 23.5 X 19 INCHES - FRAME 28 X 23.75 INCHES Joseph Plaskett was born in 1918 in New Westminster. His works are in public art gallery collections from Prince Edward Island to Vancouver Island, including the National Gallery of Canada, the Beaverbrook Art Gallery, the Winnipeg Art Gallery, the Vancouver Art Gallery and the Art Gallery of Greater Victoria. He was appointed an Officer of the Order of Canada in 2001 for his excellence in the field of visual art. His autobiography A Speaking Likeness (Ronsdale Press) was published in 1999. The Plaskett Gallery, at New Westminster’s Massey Theatre, is named in his honour.

WORK 18.5 X 23.5 INCHES - FRAME 19.5 X 24.75 INCHES Joseph Plaskett was born in 1918 in New Westminster. His works are in public art gallery collections from Prince Edward Island to Vancouver Island, including the National Gallery of Canada, the Beaverbrook Art Gallery, the Winnipeg Art Gallery, the Vancouver Art Gallery and the Art Gallery of Greater Victoria. He was appointed an Officer of the Order of Canada in 2001 for his excellence in the field of visual art. His autobiography A Speaking Likeness (Ronsdale Press) was published in 1999. The Plaskett Gallery, at New Westminster’s Massey Theatre, is named in his honour.

13.5" X 16" WORK & 21.5" X 28.5" FRAMED Miller Brittain was an outstanding draughtsman, a painter, watercolourist and muralist. He was one of the few Canadian artists creating social satire in the 1930s; his crowded scenes of everyday life reflect a sympathy for humanity and an ability to express character through gesture. Brittain took art classes with Elizabeth Russell Holt in Saint John, New Brunswick, and studied under Harry Wickey at the Art Students League of New York. There, he was introduced to the work of Rembrandt, Goya and Hogarth, as well as that of Kenneth Hayes Miller, the American social realists, and the Ash Can School, whose members depicted gritty urban scenes. In 1932, Brittain returned to Saint John and worked at various construction and office jobs. He soon established a studio on the waterfront; this became a meeting place for the artistic community. Later, he would rent a studio next door to Jack Humphrey. During the 1930s, he became active with the Oxford Group, a Christian group that took an interest in social issues and workers' rights. Brittain attended the landmark Kingston Conference in 1941. After fighting with the Canadian Air Force in World War II, and working for two years as an official war artist, Brittain returned to Saint John in 1946. He held his first important solo exhibition in 1949 at the New Brunswick Museum, and his first solo show in New York the following year. During the 1930s, Brittain moved from single portraits to large groups of ordinary people and urban landscapes that show a humanist approach. Master McCullough (1939) exemplifies his interest in the portraits of the Italian Renaissance and the work of Hayes Miller. Longshoremen (1940) shows a crowd of massive figures that fill the frame, borrowing from German Renaissance compositions. Later, Brittain became more interested in the psychological; his post-war work includes biblical imagery and subjects related to the unconscious. He experimented with abstraction and Surrealism, creating mysterious and colourful forms based on humans, animals, plants, and celestial bodies. Brittain was a founding member of the Federation of Canadian Artists, and a member of the Canadian Society of Graphic Artists and Contemporary Arts Society. Among his honours was the Canadian Centennial Medal, awarded posthumously.

CYCLONE WIND N.W SEPT 12. 1900 - WORK 25.5 X 16 INCHES - FRAME 36 X 26.5 INCHES DOUGLAS, WILLIAM BLOOMFIELD (1822-1906), naval officer and public servant, was born on 25 September 1822 in Aberystwyth, Wales. His uncle married a sister of Sir James Brooke, first rajah of Sarawak. In January 1842 he entered the navy and became a captain's steward on H.M.S. Wolverene before resigning in September at Hong Kong. He then won distinction fighting pirates with Brooke in Sarawak in 1843-44. Other records show he went out to Borneo and served on board the Royalist, in the service of the Raja of Sarawak.He also claimed to have served in a steam frigate in the Indian Navy. Captain W. Bloomfield Douglas was appointed Resident of the Northern Territory of South Australia, as it was then called. He had held various appointments in South Australia for nearly 20 years, such as Harbormaster, Collector of Customs, and President of the Marine Board. He was also Govenor of Calcutta. Government Representative: Darwin, Resident of Selangor. IN CANADA: His wife died in 1887 and he returned to England. His next move was to Canada where in 1893 he was employed by the tidal service of the Department of Marine and Fisheries. In 1895 he sat on an inquiry into pilotage dues in St John and in April 1897, giving his age as 65, became an examiner in the Department of Marine and Fisheries. On 31 January 1899 Douglas married Annie Maude, daughter of Ronald McDonald, collector of customs, Sydney, Nova Scotia. In 1900-03 he was a departmental inspector at Halifax and served again as an examiner before he died on 5 March 1906. the Halifax newspapers gave the 'captain' favourable obituaries.  Douglas had had eight children by his first wife, one by his second, and six by his third.

FRAME 23 X 6 - EACH TILE 4.75 X 4.75 - MONTAGE MADE BY ANDRE LAPOINTE

MIXED MEDIA ON WOOD - TITLED TRANSPHENOMENAL TRANCE - WORK 16 X 16 INCHES - FRAME 17 X 17 INCHES

WORK 20 X 16 INCHES - FRAME 28.5 X 24.5 INCHES - ON CANVAS René Hébert is a Canadian artist born in 1932. He is known for his postwar and contemporary paintings. René Hébert’s paintings are featured in the collection of collectionArtNB, which is a public art gallery in New Brunswick, Canada. Some of his notable works include: 1. After the Storm (1975) 2. Quai - Côte Sainte-Anne (1978) 3. Far end of the bay, Saint-Édouard, NB (1978) 4. Exploration (1979) 5. Fall Scene (1980)

WORK 20 X 16 - FRAME 20.5 X 21.5 INCHES - ON CANVAS René Hébert is a Canadian artist born in 1932. He is known for his postwar and contemporary paintings. René Hébert’s paintings are featured in the collection of collectionArtNB, which is a public art gallery in New Brunswick, Canada. Some of his notable works include: 1. After the Storm (1975) 2. Quai - Côte Sainte-Anne (1978) 3. Far end of the bay, Saint-Édouard, NB (1978) 4. Exploration (1979) 5. Fall Scene (1980)

40 X 30 INCHES - SIGNED ON THE BACK 1994 - LARGE STRETCHED CANVAS Guy Duguay was born in 1955, in Dieppe, New Brunswick.In 1978, He completed a Bachelor’s degree in visual arts at Université de Moncton, in New Brunswick. He pursued his training through workshops in mime with Scott MacIsaac (1982), in film arts with Robert Frank (1983) and Jean-Pierre Lefevbre (1983), in film editing at the National Film Board (1983), and in video (1984). In 1983, he trained in the use of the Telidon system in Kanata, Ontario. In 1988, he worked alongside sculptor Henri Murail in Sallertaine, France. He worked in drawing for the National Film Board’s production of an animation film by Anne-Marie Sirois (1986), and as an extra in several film features, including Herménégilde Chiasson’s Le Grand Jack (1986) and Madame LaTour (1987). He was graphic designer on the Telidon system for Université de Moncton, the Conseil économique du Nouveau-Brunswick and the Bedford Institute of Oceanography in Dartmouth, Nova Scotia. Duguay was extremely active in the visual arts scene in Moncton, as president of Galerie Sans Nom (Aberdeen Cultural Centre, 1991) and president of Imago printmaking studio (Aberdeen Cultural Centre, 1994-1995). He was a member of Galerie 12 (Aberdeen Cultural Centre), of Galerie Sans Nom, of Imago Printmaking Studio and of Coopérative Solarium. He led a number of visual arts workshops for children and taught ceramics. He was a frequent contributor to Art en boîte (1988-1996) a fund-raiser for Imago. In 1989 he represented New Brunswick at the First Francophone Games, in Morocco. During his short artistic career, Duguay was part of over 60 exhibitions, including several traveling shows. His work was shown in the Maritimes and elsewhere in Canada, In France and in Germany. His group exhibitions included Danse macabre (Beaverbrook Art Gallery, Fredericton, 1991) showing miniature books by Nancy Morin, Yvon Gallant and himself, La mer à voir, including his installation School de poissons (Galerie d’art de l’Université de Moncton, 1991), and Eau, infinité des possibles, with his work //D//, organized by Galerie Occurrence to celebrate the fifth anniversary of Montreal’s Vieux-Port (1994). He was also a noted participant in the exhibitions Atelier mille feuilles (1994-1996) and Anecdotes and Enigmas (Beaverbrook Art Gallery, Fredericton, New Brunswick, 1994-1995) His solo exhibitions included Hommage à la vache (Sallertaine, France, 1988), the performance Screaming Blades/Brindilles hurlantes in front of the Galerie d’art de l’Université de Moncton (1995), and Sticks and Stones (Acacia Gallery of Canadian Art, Gagetown, Nouveau-Brunswick, 1994) that showed “paint-less paintings” using sand, wood, rock and bone stitched or fastened to the canvas. In 1995, an exhibition honoring his work entitled L’art Duguay presented 123 of his paintings, prints and ceramic pieces at the Aberdeen Cultural Centre. Duguay received grants from the Province of New Brunswick in 1992, and the Canada Arts Council in 1993. His art works are part of the collections of the Fédération des Caisses populaires acadiennes, of the Canadian Council Art Bank, of the New Brunswick Art Bank, of Loto-Québec, of the Galerie d’art Louise-et-Reuben-Cohen of the Université de Moncton, of the Toronto-Dominion Bank, and of several private collections. An influential artist in the Acadian community, the painter, drawer, sculptor, ceramist, printmaker and graphic designer Guy Duguay died in 1996.

WORK 48 X 48 INCHES Roger Vautour Vautour is a painter and engraver of the first generation of artists who graduated in visual arts at the Université de Moncton, where he is currently an instructor. He earned his MA from the Université du Québec à Montreal in 1984 and later played a significant role in the founding of Galerie 12 in Moncton. His work has been displayed in solo exhibits in Montreal, Quebec City, and in many locations in New Brunswick as well as in group exhibitions in Paris and New Orleans. Some of his work can be found in prestigious Quebec and New Brunswick collections.

WORK 11.5 X 9.5 INCHES - FRAME 20.75 X 18.75 INCHES - ON ARTIST BOARD René Hébert is a Canadian artist born in 1932. He is known for his postwar and contemporary paintings. René Hébert’s paintings are featured in the collection of collectionArtNB, which is a public art gallery in New Brunswick, Canada. Some of his notable works include: 1. After the Storm (1975) 2. Quai - Côte Sainte-Anne (1978) 3. Far end of the bay, Saint-Édouard, NB (1978) 4. Exploration (1979) 5. Fall Scene (1980)

17.5" X 13.5" WORK & 22" X 18" FRAMED Léo B. LeBlanc,Acadian artist (September 15th, 1914 - May 14th, 1986) Born in Moncton New Brunswick, In 1918, the LeBlanc family settled on a farm in Notre-Dame in Kent County. After primary school, Léo took on many jobs before giving most of his time to painting. He started by working on his father's farmland, and then, like many other Acadians before him, he went to work in the bush. In 1972, Léo began to paint. Léo LeBlanc's paintings, just like the artist's life itself, is disarming in its simplicity. Little white houses with black roofs, small little people, a few animals, mostly horses, cows and dogs, a few trucks and tractors: these are what populate his landscapes, often squashed under the low sky of the Cocagne area. In spite of this simplicity of style, Léo was able to capture the soul of the ordinary Acadian people who lived and still live in this corner of the world. Despite Léo LeBlanc's short painting career, a career which lasted only thirteen years, he achieved a certain celebrity which could be the envy of many professional artists. He was interviewed on radio and television. Articles were published on this artist-farmer in newspapers and magazines as well-known as Vie des Arts ("Art Life"). His work has been shown across Canada, from British Columbia to Nova Scotia. Some of his work is part of the Canada Council collection and is found at the Confederation Centre in Charlottetown, Prince Edward Island and at the Musée des beaux-arts ("Museum of Fine Arts") in Sherbrooke, Québec. One of his winter scenes was acquired by the Musée d'art naïf ("Museum of Folk Art") d'île-de-France in Paris. Léo LeBlanc, painter of the simple and the serene, was a folk artist who knew how to allow himself to be loved and touched by all those who had the pleasure of knowing him.

WORK 15.5 X 15.5 - FRAME 20.25 X 20.25 Yvon Gallant was born in 1950 in Moncton (New Brunswick). One of Université de Moncton’s first graduates in Visual Arts, he was awarded a Bachelor’s degree in 1976. He has taught silk-screen printing in the Visual Arts Department at Université de Moncton and worked for the National Film Board to produce, among other projects, 33 illustrations for the movie La reconnaissance du chien, in collaboration with Viola Léger and Robert Melanson. He served as Managing Director of Galerie Sans Nom in Moncton (1984-1985) and was Curator of the postal art exhibition Exposition d’art postal (1987). Gallant has shown his work in over 80 solo and group exhibitions in the Atlantic Region, across Canada and beyond. He has often worked in cooperation with other Moncton artists, notably with Nancy Morin, in an exhibition/performance entitled Travaux Monc/treal Works (1989) which concluded on six works by the two artists being torn into 36 pieces. The torn pieces were mixed up and entrusted to various persons for a period of 10 years, the intention being to reassemble the works for an exhibition in the year 2000. In 1994, a retrospective exhibition entitled Yvon Gallant : d’après une histoire vraie, showing over 70 of the artist’s paintings, was organised by Terry Graff, while he was Director of the Confederation Centre Art Gallery and Museum, in Charlottetown (P.E.I). Graff’s 1995 monographic publication on the artist was based on the retrospective. Gallant has been awarded several grants and prizes by the Canada Council for the Arts, the New Brunswick Arts Council and the Province of New Brunswick, including the Miller Britain Prize for excellence in the visual arts, in 1992. He also received a grant under New Brunswick’s Creation Grants program in 1995. A proud Monctonian, the painter and printmaker draws much of his subject matter from his city and the surrounding area. His work is brimming with the day-to-day realities of his friends and the people in his immediate sphere. Yvon Gallant was elected a member of the Royal Canadian Academy of Art in 2005.

20 X 16 INCHES - STRETCHED ON CANVAS Yvon Gallant was born in 1950 in Moncton (New Brunswick). One of Université de Moncton’s first graduates in Visual Arts, he was awarded a Bachelor’s degree in 1976. He has taught silk-screen printing in the Visual Arts Department at Université de Moncton and worked for the National Film Board to produce, among other projects, 33 illustrations for the movie La reconnaissance du chien, in collaboration with Viola Léger and Robert Melanson. He served as Managing Director of Galerie Sans Nom in Moncton (1984-1985) and was Curator of the postal art exhibition Exposition d’art postal (1987). Gallant has shown his work in over 80 solo and group exhibitions in the Atlantic Region, across Canada and beyond. He has often worked in cooperation with other Moncton artists, notably with Nancy Morin, in an exhibition/performance entitled Travaux Monc/treal Works (1989) which concluded on six works by the two artists being torn into 36 pieces. The torn pieces were mixed up and entrusted to various persons for a period of 10 years, the intention being to reassemble the works for an exhibition in the year 2000. In 1994, a retrospective exhibition entitled Yvon Gallant : d’après une histoire vraie, showing over 70 of the artist’s paintings, was organised by Terry Graff, while he was Director of the Confederation Centre Art Gallery and Museum, in Charlottetown (P.E.I). Graff’s 1995 monographic publication on the artist was based on the retrospective. Gallant has been awarded several grants and prizes by the Canada Council for the Arts, the New Brunswick Arts Council and the Province of New Brunswick, including the Miller Britain Prize for excellence in the visual arts, in 1992. He also received a grant under New Brunswick’s Creation Grants program in 1995. A proud Monctonian, the painter and printmaker draws much of his subject matter from his city and the surrounding area. His work is brimming with the day-to-day realities of his friends and the people in his immediate sphere. Yvon Gallant was elected a member of the Royal Canadian Academy of Art in 2005.

AQUARELLE - WORK 12 X 17.75 - FRAME 20.75 X 26.75 CLAUDE PICARD -1932-2012 Auteur de plusieurs dessins, peintures et murales extérieures ou religieuses, exposées au Nouveau-Brunswick, au Canada et en France, Claude Picard a consacré sa vie à son art dans la ville d'Edmundston au N.-B. Claude Picard was born in 1932 in Edmundston, New Brunswick. In 1946, when he was only 14, he won a national award in an artistic competition. He then undertook a three-year study trip in Europe from 1956-1959. Mr. Picard depicts landscapes of his region, and also portraits, murals and historical paintings. Some of his portraits are at the Senate of Canada and the National Library of Canada in Ottawa, at the Legislative Assembly of New Brunswick in Fredericton, at the University of Moncton, and at the New Brunswick Museum in Saint John. From an “Acadian perspective’, Claude is undoubtedly best known for the six stunning historical scenes (best known as his ‘Deportation Series’) which he painted of the Grand Pré area for Parks Canada, each depicting typical Acadian scenes

32" ACROSS 26" HIGH FRAMED & 24.5" X 19" WORK ON PAPER Roméo Savoie was born in Moncton, New Brunswick, in 1928. He was granted a master’s degree in plastic arts by the Université du Québec à Montréal (1988), a bachelor’s in architecture by the École des beaux-arts de Montréal (1956), and a bachelor’s of art by the Collège Saint-Joseph in Memramcook (1950). After earning his degree in architecture, he worked until 1959 with several architectural firms in Montreal. Between 1959 and 1964 and again between 1965 and 1970, he worked in New Brunswick, on his own and in cooperation with other architects. Over the 1959-1970 period, he was responsible, singly or in collaboration, for the construction of about fifty buildings. In late 1964 and 1965, a study trip brought him to 14 European countries. It was his opportunity to visit famed architectural and urban projects as well as the largest museums in Europe. He settled in Carvajal, Spain, for three months, to practice painting. When he received positive reviews and encouragement from a French painter, an art that had been a spare time activity for him now became a passion. In November 1970, he began a two-year stay in Aix-en-Provence, France, where he gave himself entirely to painting. From that period on, his career as an architect faded into the background and his new passion filled his life. Between 1973 and 1981, he taught part time in the Visual Arts Department at the Université de Moncton. He also taught adults, gave private lessons and led art workshops for children. His involvement in the development of infrastructures in Acadie has not gone unnoticed. He was a participant in the establishment of several art galleries, including Galerie Sans Nom and Galerie12, both in Moncton. He curated the retrospective exhibition Les arts visuels en Acadie, held in Bouctouche as part of the 1994 Acadian World Congress. This exhibition was the largest visual arts show ever presented in Acadie, with 230 works that covered painting, printmaking, photography and ceramics in Acadie. He was the curator for an anniversary collection gathered by the Caisses populaires acadiennes, and coordinated, designed and co-directed, with Herménégilde Chiasson, the exhibition Évangéline, mythe ou réalité at the Festival international des arts contemporains in La Rochelle, France. Since 1971, Savoie has exhibited his own work in more than 30 solo shows and as many group shows. His exhibitions have been very successful, especially after 1982. In addition, he has participated in performance art, designed sets for the theatre and published six volumes of poetry. Savoie has received a number of grants from the Canada Council for the Arts and from the provinces of New Brunswick and Quebec. He received the Miller Britain Prize in 1994, and the Strathbutler Award for excellence in visual arts, in 1988. He was also the winner of the Éloize as Visual Artist of the Year in 1988, awarded by the Académie des arts et des lettres de l’Atlantique. Over the summer of 1997, he created in situ at the Galerie d’art de l’Université de Moncton, a mural painting on the theme of Evangeline, marking the 150th anniversary of the publication of Henry Wadsworth Longfellow’s poem. Since 1998, Roméo Savoie has had a constant stream of solo exhibitions, especially in Moncton and the Southeast region of New Brunswick; numerous group shows have also featured his work, in New Brunswick and elsewhere in Canada, in the Caribbean, in Brussels and in Paris. In 1999, the Université de Moncton awarded him an Honorary Doctorate in visual arts, in recognition of his successful career as a painter. In 2001, the Festival des arts visuels en Atlantique, held annually in Caraquet, chose him as their patron of honour. He was also selected in the Parks Canada competition to create a commemorative monument celebrating the 400th year of Acadian settlement, at the international historical site of Ste-Croix Island, located between New Brunswick and Maine. Works by Roméo Savoie are found in the Canada Council and New Brunswick Art Banks, at the Musée d’art contemporain de Montréal, at the Musée national des beaux-arts du Québec, at the Canadian Cultural Centre in Paris, in the collections of the Université de Moncton, the University of New Brunswick, the Royal Bank of Canada, the Bank of Montreal, the National Bank of Canada, the Fédération des Caisses populaires acadiennes, the Caisse populaire Beauséjour, in Moncton, Assomption Vie, in Moncton, and Groupe SNC-Lavalin, in Montreal.

WORK 13.5 X 10.5 - FRAME 22 X 18.25 - MIX MEDIA ON PAPER Roméo Savoie was born in Moncton, New Brunswick, in 1928. He was granted a master’s degree in plastic arts by the Université du Québec à Montréal (1988), a bachelor’s in architecture by the École des beaux-arts de Montréal (1956), and a bachelor’s of art by the Collège Saint-Joseph in Memramcook (1950). After earning his degree in architecture, he worked until 1959 with several architectural firms in Montreal. Between 1959 and 1964 and again between 1965 and 1970, he worked in New Brunswick, on his own and in cooperation with other architects. Over the 1959-1970 period, he was responsible, singly or in collaboration, for the construction of about fifty buildings. In late 1964 and 1965, a study trip brought him to 14 European countries. It was his opportunity to visit famed architectural and urban projects as well as the largest museums in Europe. He settled in Carvajal, Spain, for three months, to practice painting. When he received positive reviews and encouragement from a French painter, an art that had been a spare time activity for him now became a passion. In November 1970, he began a two-year stay in Aix-en-Provence, France, where he gave himself entirely to painting. From that period on, his career as an architect faded into the background and his new passion filled his life. Between 1973 and 1981, he taught part time in the Visual Arts Department at the Université de Moncton. He also taught adults, gave private lessons and led art workshops for children. His involvement in the development of infrastructures in Acadie has not gone unnoticed. He was a participant in the establishment of several art galleries, including Galerie Sans Nom and Galerie12, both in Moncton. He curated the retrospective exhibition Les arts visuels en Acadie, held in Bouctouche as part of the 1994 Acadian World Congress. This exhibition was the largest visual arts show ever presented in Acadie, with 230 works that covered painting, printmaking, photography and ceramics in Acadie. He was the curator for an anniversary collection gathered by the Caisses populaires acadiennes, and coordinated, designed and co-directed, with Herménégilde Chiasson, the exhibition Évangéline, mythe ou réalité at the Festival international des arts contemporains in La Rochelle, France. Since 1971, Savoie has exhibited his own work in more than 30 solo shows and as many group shows. His exhibitions have been very successful, especially after 1982. In addition, he has participated in performance art, designed sets for the theatre and published six volumes of poetry. Savoie has received a number of grants from the Canada Council for the Arts and from the provinces of New Brunswick and Quebec. He received the Miller Britain Prize in 1994, and the Strathbutler Award for excellence in visual arts, in 1988. He was also the winner of the Éloize as Visual Artist of the Year in 1988, awarded by the Académie des arts et des lettres de l’Atlantique. Over the summer of 1997, he created in situ at the Galerie d’art de l’Université de Moncton, a mural painting on the theme of Evangeline, marking the 150th anniversary of the publication of Henry Wadsworth Longfellow’s poem. Since 1998, Roméo Savoie has had a constant stream of solo exhibitions, especially in Moncton and the Southeast region of New Brunswick; numerous group shows have also featured his work, in New Brunswick and elsewhere in Canada, in the Caribbean, in Brussels and in Paris. In 1999, the Université de Moncton awarded him an Honorary Doctorate in visual arts, in recognition of his successful career as a painter. In 2001, the Festival des arts visuels en Atlantique, held annually in Caraquet, chose him as their patron of honour. He was also selected in the Parks Canada competition to create a commemorative monument celebrating the 400th year of Acadian settlement, at the international historical site of Ste-Croix Island, located between New Brunswick and Maine. Works by Roméo Savoie are found in the Canada Council and New Brunswick Art Banks, at the Musée d’art contemporain de Montréal, at the Musée national des beaux-arts du Québec, at the Canadian Cultural Centre in Paris, in the collections of the Université de Moncton, the University of New Brunswick, the Royal Bank of Canada, the Bank of Montreal, the National Bank of Canada, the Fédération des Caisses populaires acadiennes, the Caisse populaire Beauséjour, in Moncton, Assomption Vie, in Moncton, and Groupe SNC-Lavalin, in Montreal.

WORK 11 X 7.25 - FRAME 17.75 X 14.25 Roméo Savoie was born in Moncton, New Brunswick, in 1928. He was granted a master’s degree in plastic arts by the Université du Québec à Montréal (1988), a bachelor’s in architecture by the École des beaux-arts de Montréal (1956), and a bachelor’s of art by the Collège Saint-Joseph in Memramcook (1950). After earning his degree in architecture, he worked until 1959 with several architectural firms in Montreal. Between 1959 and 1964 and again between 1965 and 1970, he worked in New Brunswick, on his own and in cooperation with other architects. Over the 1959-1970 period, he was responsible, singly or in collaboration, for the construction of about fifty buildings. In late 1964 and 1965, a study trip brought him to 14 European countries. It was his opportunity to visit famed architectural and urban projects as well as the largest museums in Europe. He settled in Carvajal, Spain, for three months, to practice painting. When he received positive reviews and encouragement from a French painter, an art that had been a spare time activity for him now became a passion. In November 1970, he began a two-year stay in Aix-en-Provence, France, where he gave himself entirely to painting. From that period on, his career as an architect faded into the background and his new passion filled his life. Between 1973 and 1981, he taught part time in the Visual Arts Department at the Université de Moncton. He also taught adults, gave private lessons and led art workshops for children. His involvement in the development of infrastructures in Acadie has not gone unnoticed. He was a participant in the establishment of several art galleries, including Galerie Sans Nom and Galerie12, both in Moncton. He curated the retrospective exhibition Les arts visuels en Acadie, held in Bouctouche as part of the 1994 Acadian World Congress. This exhibition was the largest visual arts show ever presented in Acadie, with 230 works that covered painting, printmaking, photography and ceramics in Acadie. He was the curator for an anniversary collection gathered by the Caisses populaires acadiennes, and coordinated, designed and co-directed, with Herménégilde Chiasson, the exhibition Évangéline, mythe ou réalité at the Festival international des arts contemporains in La Rochelle, France. Since 1971, Savoie has exhibited his own work in more than 30 solo shows and as many group shows. His exhibitions have been very successful, especially after 1982. In addition, he has participated in performance art, designed sets for the theatre and published six volumes of poetry. Savoie has received a number of grants from the Canada Council for the Arts and from the provinces of New Brunswick and Quebec. He received the Miller Britain Prize in 1994, and the Strathbutler Award for excellence in visual arts, in 1988. He was also the winner of the Éloize as Visual Artist of the Year in 1988, awarded by the Académie des arts et des lettres de l’Atlantique. Over the summer of 1997, he created in situ at the Galerie d’art de l’Université de Moncton, a mural painting on the theme of Evangeline, marking the 150th anniversary of the publication of Henry Wadsworth Longfellow’s poem. Since 1998, Roméo Savoie has had a constant stream of solo exhibitions, especially in Moncton and the Southeast region of New Brunswick; numerous group shows have also featured his work, in New Brunswick and elsewhere in Canada, in the Caribbean, in Brussels and in Paris. In 1999, the Université de Moncton awarded him an Honorary Doctorate in visual arts, in recognition of his successful career as a painter. In 2001, the Festival des arts visuels en Atlantique, held annually in Caraquet, chose him as their patron of honour. He was also selected in the Parks Canada competition to create a commemorative monument celebrating the 400th year of Acadian settlement, at the international historical site of Ste-Croix Island, located between New Brunswick and Maine. Works by Roméo Savoie are found in the Canada Council and New Brunswick Art Banks, at the Musée d’art contemporain de Montréal, at the Musée national des beaux-arts du Québec, at the Canadian Cultural Centre in Paris, in the collections of the Université de Moncton, the University of New Brunswick, the Royal Bank of Canada, the Bank of Montreal, the National Bank of Canada, the Fédération des Caisses populaires acadiennes, the Caisse populaire Beauséjour, in Moncton, Assomption Vie, in Moncton, and Groupe SNC-Lavalin, in Montreal.

WORK 18.5 X 26.35 - FRAME 34.25 X 28.25 Francis Coutellier was born in 1945 in Namur, Belgium. After studying art at Maredsous (1960-1963), he pursued his studies in painting and ceramics at the École nationale supérieure d’architecture et des arts visuels in Brussels (1963-1965, 1966-1967). In 1979, he was granted a Master’s degree in Photography by the State University of New York, in Buffalo. From 1969 to 2006, he was a professor in the Visual Arts Department at Université de Moncton, New Brunswick, where he taught ceramics, painting, drawing and photography. He was president of Galerie Sans Nom (Aberdeen Cultural Centre), of the Board of directors of the Aberdeen Cultural Centre and was Head of the Visual Arts Department at Université de Moncton for several years. ARTISTE: D’origine belge, Francis Coutellier a fait carrière à Moncton à titre d’artiste et professeur à l’Université de Moncton. Il a exposé dans plusieurs pays et compte une quantité considérable de photographies, de peintures, d’estampes, de sculptures, de livres et de tapisseries.

WORK 11 X 15 - FRAME 18 X 22 - NUMBERED EDITION 2/10

WORK 22 X 12 - UNFRAMED Herménégilde Chiasson, OC, ONB, artist, poet, playwright, film director, lieutenant-governor of New Brunswick (born 7 April 1946 in Saint-Simon, NB). Herménégilde Chiasson, OC, ONB, artist, poet, playwright, film director, lieutenant-governor of New Brunswick (born 7 April 1946 in Saint-Simon, NB). An Officer of the Order of Canada, winner of the Governor General’s Literary Award, and New Brunswick's 29th lieutenant-governor, Chiasson is considered the father of Acadian modernism and is one of Canada's foremost advocates of Acadian culture and the arts. He is also notable for his insistence upon Acadian culture being a living culture rather than a persecuted and exiled one. Education and Early Career Of Acadian descent, Chiasson was born and educated in Saint-Simon, New Brunswick. He earned a BA from the Université de Moncton in 1967, a BFA from Mount Allison University in 1972, a master’s degree in aesthetics from the Université de Paris 1 in 1976, an MFA from the State University of New York in 1981, and a doctorate at the Sorbonne in Paris in 1983. Chiasson has actively pursued a career in the Canadian arts both during and following his graduation from five degree programs. His first placement was as the director of the Galerie d'art de l'Université de Moncton in 1974, and he assumed the position of president at Galerie Sans Nom in 1980. From that time onward, Chiasson began to found and chair arts organizations, including Éditions Perce-Neige in 1984, the Aberdeen co-operative in 1985, the Imago workshop in 1987, and Productions du Phare-Est in 1988. In 1994, Chiasson assumed the position of curator of the Marion McCain exhibit at the Beaverbrook Art Gallery, and he served as president of the Association acadienne des artistes professionnel.le.s du Nouveau-Brunswick from 1993 to 1995. Chiasson was also employed by Radio-Canada as a director, playwright, journalist and researcher intermittently from 1968 to 1985, and served as a member of the teaching staff at the Université de Moncton's fine arts department from 1988 to 2003. Education and Early Career Of Acadian descent, Chiasson was born and educated in Saint-Simon, New Brunswick. He earned a BA from the Université de Moncton in 1967, a BFA from Mount Allison University in 1972, a master’s degree in aesthetics from the Université de Paris 1 in 1976, an MFA from the State University of New York in 1981, and a doctorate at the Sorbonne in Paris in 1983. Chiasson has actively pursued a career in the Canadian arts both during and following his graduation from five degree programs. His first placement was as the director of the Galerie d'art de l'Université de Moncton in 1974, and he assumed the position of president at Galerie Sans Nom in 1980. From that time onward, Chiasson began to found and chair arts organizations, including Éditions Perce-Neige in 1984, the Aberdeen co-operative in 1985, the Imago workshop in 1987, and Productions du Phare-Est in 1988. In 1994, Chiasson assumed the position of curator of the Marion McCain exhibit at the Beaverbrook Art Gallery, and he served as president of the Association acadienne des artistes professionnel.le.s du Nouveau-Brunswick from 1993 to 1995. Chiasson was also employed by Radio-Canada as a director, playwright, journalist and researcher intermittently from 1968 to 1985, and served as a member of the teaching staff at the Université de Moncton's fine arts department from 1988 to 2003.

WORK 24 X 16.5 - FRAME 32 X 23.5 Herménégilde Chiasson, OC, ONB, artist, poet, playwright, film director, lieutenant-governor of New Brunswick (born 7 April 1946 in Saint-Simon, NB). Herménégilde Chiasson, OC, ONB, artist, poet, playwright, film director, lieutenant-governor of New Brunswick (born 7 April 1946 in Saint-Simon, NB). An Officer of the Order of Canada, winner of the Governor General’s Literary Award, and New Brunswick's 29th lieutenant-governor, Chiasson is considered the father of Acadian modernism and is one of Canada's foremost advocates of Acadian culture and the arts. He is also notable for his insistence upon Acadian culture being a living culture rather than a persecuted and exiled one. Education and Early Career Of Acadian descent, Chiasson was born and educated in Saint-Simon, New Brunswick. He earned a BA from the Université de Moncton in 1967, a BFA from Mount Allison University in 1972, a master’s degree in aesthetics from the Université de Paris 1 in 1976, an MFA from the State University of New York in 1981, and a doctorate at the Sorbonne in Paris in 1983. Chiasson has actively pursued a career in the Canadian arts both during and following his graduation from five degree programs. His first placement was as the director of the Galerie d'art de l'Université de Moncton in 1974, and he assumed the position of president at Galerie Sans Nom in 1980. From that time onward, Chiasson began to found and chair arts organizations, including Éditions Perce-Neige in 1984, the Aberdeen co-operative in 1985, the Imago workshop in 1987, and Productions du Phare-Est in 1988. In 1994, Chiasson assumed the position of curator of the Marion McCain exhibit at the Beaverbrook Art Gallery, and he served as president of the Association acadienne des artistes professionnel.le.s du Nouveau-Brunswick from 1993 to 1995. Chiasson was also employed by Radio-Canada as a director, playwright, journalist and researcher intermittently from 1968 to 1985, and served as a member of the teaching staff at the Université de Moncton's fine arts department from 1988 to 2003. Education and Early Career Of Acadian descent, Chiasson was born and educated in Saint-Simon, New Brunswick. He earned a BA from the Université de Moncton in 1967, a BFA from Mount Allison University in 1972, a master’s degree in aesthetics from the Université de Paris 1 in 1976, an MFA from the State University of New York in 1981, and a doctorate at the Sorbonne in Paris in 1983. Chiasson has actively pursued a career in the Canadian arts both during and following his graduation from five degree programs. His first placement was as the director of the Galerie d'art de l'Université de Moncton in 1974, and he assumed the position of president at Galerie Sans Nom in 1980. From that time onward, Chiasson began to found and chair arts organizations, including Éditions Perce-Neige in 1984, the Aberdeen co-operative in 1985, the Imago workshop in 1987, and Productions du Phare-Est in 1988. In 1994, Chiasson assumed the position of curator of the Marion McCain exhibit at the Beaverbrook Art Gallery, and he served as president of the Association acadienne des artistes professionnel.le.s du Nouveau-Brunswick from 1993 to 1995. Chiasson was also employed by Radio-Canada as a director, playwright, journalist and researcher intermittently from 1968 to 1985, and served as a member of the teaching staff at the Université de Moncton's fine arts department from 1988 to 2003.

WORK 14 X 11 INCHES - FRAME 14.25 X 11.25 INCHES -CANYON No 8 ENCRE ET PASTEL AQUARELLE 1996 Claude Roussel was born in 1930 in Edmundston, New Brunswick. He was ten years old when he began sculpting wood, and he had his first exhibition at the young age of 17. From 1950 to 1956, he studied visual arts at the École des beaux-arts de Montréal where he received diplomas in sculpture and art education. In 1961, the Canada Council for the Arts awarded him a grant to travel and study in Europe, especially architectural decoration in England, France and Italy. After completing his education, he was an art education teacher in the francophone schools of the Edmundston area, a first for the public school system in New Brunswick. Between 1959 and 1961, he was Assistant Curator at the Beaverbrook Art Gallery in Fredericton, during which time he also sculpted his first major work, Les deux castors (1959). The Province of New Brunswick presented this piece to Lord Beaverbrook as a gift for his 80th birthday. In 1963, Roussel became the founding professor of the Visual Arts Department at Université de Moncton, where he taught until his retirement in 1992. He directed the university’s Visual Arts Department from 1963 to 1971 and again between 1976 and 1979. He was deeply involved in the advancement of the arts in Acadie and at the Université de Moncton particularly. His efforts led to the establishment of an art gallery at Université de Moncton and he organized the exhibitions Sélection 65 and Sélection 67, showing works by Acadian artists. He is a former member of the Maritimes Education Foundation and former board member of the Beaverbrook Art Gallery and the Jack Chambers Memorial Foundation. Until 1991 he chaired the Louise Reuben Cohen Purchase Fund of the Galerie d’art de l’Université de Moncton. A very prolific artist, he participated in over 115 exhibitions including at least 40 solo showings and several traveling exhibits. Throughout his career he has created more than 30 works of monumental sculpture. Several of his works are part of private and public collections including Dyna Bolts/Énerloizes (1988), part of the permanent collection of the Sculpture Garden at the Seoul Olympic Park in South Korea; the Monument to Clément Cormier (1990) honouring the founder of the Université de Moncton, and the Moncton 100 Monument celebrating the centennial year of the City of Moncton. His sculptures also grace public buildings, churches and university campuses across New Brunswick and Quebec. Roussel has received numerous prizes, awards and distinctions: the Allied Arts Medal of the Royal Architectural Institute of Canada (1964), the Canadian Centennial Medal(1967), Chevalier de la Pléiade de l'Ordre de la Francophonie (1972), Olympic Symposium (1976), Queen’s Commemorative Medal (1977), medal of the Ordre de la Pléiade (1982), Order of Canada (1984), Canada 125 Medal (1992), first place in the Marion McCain Exhibition competition (Beaverbrook Art Gallery, Fredericton, 1989). He was also the recipient of the Current Award for his contribution to Visual Arts Education in New Brunswick. The Canada Council for the Arts awarded him grants in 1961, 1963 and 1965. In 1987, he was the subject of a book by Herménégilde Chiasson and Patrick Condon Laurette, Claude Roussel, sculpteur (Éditions d’Acadie). Since his retirement, Roussel’s time has been entirely dedicated to creative production. In 1993, an exhibition entitled Roussel en Relief covered four periods in the artist’s career, with over 80 relief works on exhibit. More recently the exhibition Sélection 1997, organized to highlight the 30th anniversary of Sélection 67, showed works by five of the nine artists represented in the original event, including Roussel. Beyond his art, through his commitment to teaching and writing, Claude Roussel has made an invaluable contribution to the development of visual arts in Acadie that continues to this day.

WORK 25 X 14.75 INCHES - FRAME 25.75 X 15.75 INCHES - SERIGRAPH Roméo Savoie was born in Moncton, New Brunswick, in 1928. He was granted a master’s degree in plastic arts by the Université du Québec à Montréal (1988), a bachelor’s in architecture by the École des beaux-arts de Montréal (1956), and a bachelor’s of art by the Collège Saint-Joseph in Memramcook (1950). After earning his degree in architecture, he worked until 1959 with several architectural firms in Montreal. Between 1959 and 1964 and again between 1965 and 1970, he worked in New Brunswick, on his own and in cooperation with other architects. Over the 1959-1970 period, he was responsible, singly or in collaboration, for the construction of about fifty buildings. In late 1964 and 1965, a study trip brought him to 14 European countries. It was his opportunity to visit famed architectural and urban projects as well as the largest museums in Europe. He settled in Carvajal, Spain, for three months, to practice painting. When he received positive reviews and encouragement from a French painter, an art that had been a spare time activity for him now became a passion. In November 1970, he began a two-year stay in Aix-en-Provence, France, where he gave himself entirely to painting. From that period on, his career as an architect faded into the background and his new passion filled his life. Between 1973 and 1981, he taught part time in the Visual Arts Department at the Université de Moncton. He also taught adults, gave private lessons and led art workshops for children. His involvement in the development of infrastructures in Acadie has not gone unnoticed. He was a participant in the establishment of several art galleries, including Galerie Sans Nom and Galerie12, both in Moncton. He curated the retrospective exhibition Les arts visuels en Acadie, held in Bouctouche as part of the 1994 Acadian World Congress. This exhibition was the largest visual arts show ever presented in Acadie, with 230 works that covered painting, printmaking, photography and ceramics in Acadie. He was the curator for an anniversary collection gathered by the Caisses populaires acadiennes, and coordinated, designed and co-directed, with Herménégilde Chiasson, the exhibition Évangéline, mythe ou réalité at the Festival international des arts contemporains in La Rochelle, France. Since 1971, Savoie has exhibited his own work in more than 30 solo shows and as many group shows. His exhibitions have been very successful, especially after 1982. In addition, he has participated in performance art, designed sets for the theatre and published six volumes of poetry. Savoie has received a number of grants from the Canada Council for the Arts and from the provinces of New Brunswick and Quebec. He received the Miller Britain Prize in 1994, and the Strathbutler Award for excellence in visual arts, in 1988. He was also the winner of the Éloize as Visual Artist of the Year in 1988, awarded by the Académie des arts et des lettres de l’Atlantique. Over the summer of 1997, he created in situ at the Galerie d’art de l’Université de Moncton, a mural painting on the theme of Evangeline, marking the 150th anniversary of the publication of Henry Wadsworth Longfellow’s poem. Since 1998, Roméo Savoie has had a constant stream of solo exhibitions, especially in Moncton and the Southeast region of New Brunswick; numerous group shows have also featured his work, in New Brunswick and elsewhere in Canada, in the Caribbean, in Brussels and in Paris. In 1999, the Université de Moncton awarded him an Honorary Doctorate in visual arts, in recognition of his successful career as a painter. In 2001, the Festival des arts visuels en Atlantique, held annually in Caraquet, chose him as their patron of honour. He was also selected in the Parks Canada competition to create a commemorative monument celebrating the 400th year of Acadian settlement, at the international historical site of Ste-Croix Island, located between New Brunswick and Maine. Works by Roméo Savoie are found in the Canada Council and New Brunswick Art Banks, at the Musée d’art contemporain de Montréal, at the Musée national des beaux-arts du Québec, at the Canadian Cultural Centre in Paris, in the collections of the Université de Moncton, the University of New Brunswick, the Royal Bank of Canada, the Bank of Montreal, the National Bank of Canada, the Fédération des Caisses populaires acadiennes, the Caisse populaire Beauséjour, in Moncton, Assomption Vie, in Moncton, and Groupe SNC-Lavalin, in Montreal.

WORK 5.5 X 8.5 INCHES - FRAME 12.5 X 16 INCHES Following a career as an art technician at Université de Moncton’s art gallery, during which he pursued his own work, Paul Édouard Bourque continues to produce a body of work that explores identity and the human figure. His commitment to excellence is recognized through many solo and group exhibitions in New Brunswick and elsewhere.

HAND 8 X 7 - FRAME 12.5 X 16 INCHES - CUT OUT HAND IN SHADOW FRAME Following a career as an art technician at Université de Moncton’s art gallery, during which he pursued his own work, Paul Édouard Bourque continues to produce a body of work that explores identity and the human figure. His commitment to excellence is recognized through many solo and group exhibitions in New Brunswick and elsewhere.

WORK 6.5 X 5 INCHES - FRAME 13.75 X 11.75 INCHES Mario Doucette is an Acadian artist from Moncton, New Brunswick. He is a painter, but he also works with video, digital animation, performance and Super8 film. In 2004, after a residency in the French village of Brouage, he created Histoires, a series of works combining drawing and painting that reflects on the effects of colonialism. He has been featured in many exhibitions in several Canadian museums and galleries, notably at Toronto’s Royal Ontario Museum where he was a Sobey Art Award finalist in 2008. He recently contributed work to the Oh Canada exhibition presented at MASS MoCA (USA), in the Galerie de l’UQAM (Montreal) exhibition The Painting Project and in the National Gallery of Canada (Ottawa) exhibition Shine a Light: Canadian Biennial 2014, and the virtual exhibition 150 Years | 150 Works: Canadian Art as Historical Act. His work can be found in the collections of the National Gallery of Canada, the Montreal Museum of Fine Arts, and the Art Gallery of Nova Scotia.

33 X 28.5 ACRYLIC ON WOOD Jennifer Bélanger is interested in the accidental observer, and the ordinary and daily as matter for art. Sometimes she thinks art ruined her life. She has a BFA from Université de Moncton and an MFA from the Nova Scotia College of Art and Design. She has worked as the program coordinator at Galerie Sans Nom and was director of Imago artist-run print studio from 2000 to 2019. She has curated several projects in Acadie and is currently an associate professor in the Fine Arts department (printmaking) at the Université de Moncton.

14 X 6 X 5.5 INCHES TALL Amateur Savoie (1896- 1983, Neguac, NB) was New Brunswick's most famous decoy carver. Known as, "Mat," Savoie was a self-taught barber, cobbler, and important Canadian folk artist who worked along the shores of Tabusintac, New Brunswick.

11 X 3 X 4.75 INCHES TALL - BLUE WINGED TEAL 1959 - HALF BODY - PURCHASED FROM PETER SEITL BACK IN THE DAY - EXTREMELY RARE Amateur Savoie (1896- 1983, Neguac, NB) was New Brunswick's most famous decoy carver. Known as, "Mat," Savoie was a self-taught barber, cobbler, and important Canadian folk artist who worked along the shores of Tabusintac, New Brunswick.

13.5 X 2.5 X 4.75 INCHES TALL - GOLDEN EYE FEMALE - HALF BODY Amateur Savoie (1896- 1983, Neguac, NB) was New Brunswick's most famous decoy carver. Known as, "Mat," Savoie was a self-taught barber, cobbler, and important Canadian folk artist who worked along the shores of Tabusintac, New Brunswick.

12.75 X 3 X 5.25 INCHES TALL - HALF BODY Amateur Savoie (1896- 1983, Neguac, NB) was New Brunswick's most famous decoy carver. Known as, "Mat," Savoie was a self-taught barber, cobbler, and important Canadian folk artist who worked along the shores of Tabusintac, New Brunswick.

20.25 X 9 X 8 INCHES TALL Amateur Savoie (1896- 1983, Neguac, NB) was New Brunswick's most famous decoy carver. Known as, "Mat," Savoie was a self-taught barber, cobbler, and important Canadian folk artist who worked along the shores of Tabusintac, New Brunswick.

11 X 2.75 X 4.5 INCHES TALL Amateur Savoie (1896- 1983, Neguac, NB) was New Brunswick's most famous decoy carver. Known as, "Mat," Savoie was a self-taught barber, cobbler, and important Canadian folk artist who worked along the shores of Tabusintac, New Brunswick.

15 X 6.5 X 6 INCHES DEPTH Serge A Savoie is the son of Amateur Savoie and only started carving seriously in 1984, a year after his father's passing.

11.5 X 5 X 4.5 INCHES DEPTH - MADE TO COMMEMORATE THE 1ST ATLANTIC WATERFRONT CELEBRATION SACKVILLE 1990 - IT HAS A REPAIR ON THE BEAK Serge A Savoie is the son of Amateur Savoie and only started carving seriously in 1984, a year after his father's passing.

13.5 X 4.5 X 5.25 INCHES DEPTH Serge A Savoie is the son of Amateur Savoie and only started carving seriously in 1984, a year after his father's passing.

SIGNED - FREDERICTON NB WOODEN CARVED DECOY - MEASURES 9 X 3.5 X 7.5 INCHES TALL

EARLY 1900'S DUCK DECOY WITH CUSTOM PRIMITIVE STAND ADDED: 18.5 X 6 X 16 INCHES TALL - ONLY DECOY: 18.5 X 6 X 6.75 INCHES TALL

19 X 9 X 7.5 INCHES TALL

SIGNED - FREDERICTON NB WOODEN CARVED DECOY WITH ORIGINAL 1996 $135.00 PRICE TAG - MEASURES 14 X 7 X 6.5 INCHES TALL

10 INCHES TALL X 10 DIAMETER - WITH ORIGINAL PAINT & COPPER NAILS - CIRCA 1910

7 X 15.5 X 4 INCHES DEPTH

9.75 X 19 X 4 INCHES DEPTH

7.75 X 13 X 4 INCHES DEPTH

4.5 X 3.25 X 3.25 INCHES TALL - BOUGHT AT A KEVIN BOND AUCTION COMES WITH HANDWRITTEN NOTE

ONE OF THEM BEARS THE PEI POTTERY STAMP - BOTH HAVE CHIPS ON BASE - THE SPOUTS AND HANDLES ARE GOOD - 8 DIAMETER BY 11 INCHES TALL

OIL ON BOARD COMING FROM A NOVA SCOTIA COLLECTION - WORK 22 X 10.5 - FRAME 27 X 15.5 INCHES

FRAME & WORK - 16 X 13 X 2 INCHES DEEP - ACRYLIC ON MASONITE, FOUND + RECYCLED OBJECTS - 2006 - THIS IS A PAINTING OF THE HOUSE I GREW UP IN AND REMEMBER MOST. EVERY FALL WE WOULD GO TO THE SHORE AND LOAD UP THE TRUCK WITH SEAWEED TO BANK THE HOUSE FOR THE WINTER Paul McFadden is a painter and sculptor. He makes painted applied relief carvings of New Brunswick life and buildings. His work is full of colour and energy and above all humour. McFadden has been shown in a number of galleries across Canada and is in many private collections. His mother is the painter Beatrice McFadden.

WORK: 15.75 X 12 FRAME: 17.25 X 13.25 OIL ON CANVAS

19.5 X 4 X 4.75

13 X 6 X 4.25

WORK 24 X 24 X 4 INCHES DEPTH - FRAME 27 X 27 -

WORK 16 X 20

38" ACROSS X 50" HIGH Paul McFadden is a painter and sculptor. He makes painted applied relief carvings of New Brunswick life and buildings. His work is full of colour and energy and above all humour. McFadden has been shown in a number of galleries across Canada and is in many private collections. His mother is the painter Beatrice McFadden.

44 INCHES TALL - STAND 17.5 X 10.5

WOOD AND RECYCLED MATERIALS - 23.5 X 3 X 20 INCHES TALL Paul McFadden is a painter and sculptor. He makes painted applied relief carvings of New Brunswick life and buildings. His work is full of colour and energy and above all humour. McFadden has been shown in a number of galleries across Canada and is in many private collections. His mother is the painter Beatrice McFadden.

SUMMER HOUNDER 20 X 2.5 X 11 | CHINA ROCKFISH 17 X 3.5 X 9 Paul McFadden is a painter and sculptor. He makes painted applied relief carvings of New Brunswick life and buildings. His work is full of colour and energy and above all humour. McFadden has been shown in a number of galleries across Canada and is in many private collections. His mother is the painter Beatrice McFadden.

9.5 X 7 X 3.5

24 X 12 X 2 INCHES - WALL HANGING

6.75 X 4.75 X 1.5 INCHES TALL Paul McFadden is a painter and sculptor. He makes painted applied relief carvings of New Brunswick life and buildings. His work is full of colour and energy and above all humour. McFadden has been shown in a number of galleries across Canada and is in many private collections. His mother is the painter Beatrice McFadden.

WORK 6.5 X 4.5 INCHES - FRAME: 7 X 9 INCHES - ACRYLIC ON ARTIST BOARD Beatrice McFadden Born in 1932, Beatrice McFadden. Painter. Shediac Bridge, New Brunswick. Active 1990’s . Beatrice McFadden is a naive artist. She was born and raised on a farm in New Brunswick and her childhood memories are what she paints. Beatrice McFadden often paints children – children playing and growing up on the farm. And playing hockey. And picking blueberries. And sliding. A big influence on her work has been her son the painter and sculptor Paul McFadden.

WORK: 6.5 X 4.75 - FRAME: 8.25 X 6.25 INCHES Fred Trask Born: 1946 Fred Trask. Painter. Digby, Nova Scotia. Active since the 1970’s. Fred Trask almost always paints a story. He paints on ‘as found’ materials and surfaces and objects with acrylic paint. His work is naive, primitive and quite sophisticated. He often paints rooms, rooms with tongue and groove flooring and walls and windows with a view. He signs his work on the front and the back and uses a red stamp with his name and mark.

WORK 6.5 X 4.5 - FRAME 8 X 6 INCHES Fred Trask Born: 1946 Fred Trask. Painter. Digby, Nova Scotia. Active since the 1970’s. Fred Trask almost always paints a story. He paints on ‘as found’ materials and surfaces and objects with acrylic paint. His work is naive, primitive and quite sophisticated. He often paints rooms, rooms with tongue and groove flooring and walls and windows with a view. He signs his work on the front and the back and uses a red stamp with his name and mark.

12 X 9 INCHES ACRYLIC ON ARTIST BOARD Hika Wagner. Painter. Weymouth, Nova Scotia. Active since the 1990’s. Born in 1976, Hika began painting in her teens. She worked with ‘as found’ materials and colors in the beginning and now paints on panels with acrylic colors. She is widely collected now for her charming and very sophisticated impressions of the world around her. Her paintings are full of movement and stories. As well as Polka Dots and birds.

12 X 9 INCHES ACRYLIC ON ARTIST BOARD Hika Wagner. Painter. Weymouth, Nova Scotia. Active since the 1990’s. Born in 1976, Hika began painting in her teens. She worked with ‘as found’ materials and colors in the beginning and now paints on panels with acrylic colors. She is widely collected now for her charming and very sophisticated impressions of the world around her. Her paintings are full of movement and stories. As well as Polka Dots and birds.

VERTICAL WORK 2.5 X 8.5 - FRAME 10 X 4 INCHES | HORIZONTAL WORK 4.5 X 3.5 - FRAME: 6 X 5 INCHES Fred Trask Born: 1946 Fred Trask. Painter. Digby, Nova Scotia. Active since the 1970’s. Fred Trask almost always paints a story. He paints on ‘as found’ materials and surfaces and objects with acrylic paint. His work is naive, primitive and quite sophisticated. He often paints rooms, rooms with tongue and groove flooring and walls and windows with a view. He signs his work on the front and the back and uses a red stamp with his name and mark.

27.25 X 10 X 9.5 INCHES DEPTH

49.5 INCHES TALL X 5.5 X 1.5 INCHES DEPTH Paul Ouellet est auteur et artiste en arts visuels. Il a passé le plus clair de sa carrière comme professeur d’arts plastiques auprès des jeunes en difficulté, avec pour apprentissages complémentaires le jeu d’échec et la fabrication artisanale de canots de bois. Instigateur de nombreux projets culturels dans sa région, il est récipiendaire du Prix littéraire de l’Abitibi-Témiscamingue en 1994 et 1995. Il reçoit en 2005 le Prix littéraire Radio-Canada pour son récit « Moi enfant ». Acolyte de Pelerin depuis toujours, ils ont même été colocataires à l’époque déjantée des Beaux-arts. Paul Ouellet is an author and visual artist. He spent most of his career as a visual arts teacher for young people in difficulty, with additional learning in the game of chess and the crafting of wooden canoes. Instigator of numerous cultural projects in his region, he was the recipient of the Abitibi-Témiscamingue Literary Prize in 1994 and 1995. In 2005, he received the Radio-Canada Literary Prize for his story “Moi enfant”. A lifelong acolyte of Pelerin, they were even roommates during the crazy era of the Beaux-Arts.

36.5 INCHES LONG - HANDLE 5 INCHES - MADE BY R. SWINEMAR KGF A PRISONER OF WAR - HANDLE HAS BEEN REGLUED

23.5 X 6.25 X 25 INCHES

PINE FRAMED WITH NICE DOME CANOPY COMPLETELY ORIGINAL CONDITION - 38 X 21.5 X 21.5 INCHES TALL WITH NICE ORIGINAL PATINA

UNIQUE COLLECTION INCLUDING 3 UNIQUE MOLDS & 1 STAMP

18.75 X 12.5 X 5 INCHES TALL

20 INCH DIAMETER TOP X 28.75 INCHES TALL

INCHES DIAMETER X 9 INCHES TALL - WITH ORIGINAL $225.00 TAG

HIGHLY DETAILED HAND CARVED FOLK ART BOAT - ONE OF THE SAILS NEED TO BE RE ATTACHED - THE HEAD SAIL WILL NEED TO BE RECONNECTED IT REMAINS ATTACHED IN ONE OF THE THREE HOLES - 24 X 8.5 X 17.5

7 X 5 X 1.5 INCH DEPTH

MADE IN QUEBEC BY THE CATHOLIC ORDER OF SISTERS TO PRODUCE FUNDS FOR THEIR MISSION - MADE WITH RECYCLED POSTAGE STAMPS & WATERCOLOR PAINT - HAS NICE HAND WRITTEN NOTE

WORK 8.25 X 13.25 - FRAME 10 X 15.25 INCHES

10 X 6 X 3.5 INCHES DEPTH

11.5 X 4 X 2.25 INCHES DEPTH - POSSIBLY CONTINENTAL

63 X 32 INCHES - SMALL WEAR PATCH 2 X 2 INCHES - BORDER IN GOOD CONDITION

54 X 30 INCHES - GOOD CONDITION WITH NICE TIGHT BORDER

53 X 34 INCHES - GOOD CONDITION NICE TIGHT BORDER

36 X 23 INCHES - GOOD CONDITION

40 X 23 INCHES

40 X 23.5 INCHES

40 X 27.5 INCHES

SMALLER SIZE - SHOULDER TO SHOULDER 17 INCHES - INSEAM 23 INCHES - ARM LENGTH 19 INCHES - BACK LENGTH 31 INCHES

LARGER SIZE - SHOULDER TO SHOULDER 18 INCHES - INSEAM 30 INCHES - BACK LENGTH 41 INCHES - ARM LENGTH 23 INCHES

SHOULDER TO SHOULDER: 11.25 INCHES - INSEAM 11.5 INCHES - ARM LENGTH 13 INCHES - BACK LENGTH 18 INCHES

WORK 30.5 X 22.5 - FRAME 32 X 24 - 2 LIGHT STAINS ONE MEASURING 4 X 2 INCHES - THE OTHER 2.5 X 1 INCH

WORK 7.25 X 5.5 INCHES - FRAME 14.5 X 11.5 INCHES Bill Reid (1920-1998) was an acclaimed master goldsmith, carver, sculptor, writer, broadcaster, mentor and community activist. Reid was born in Victoria, BC to a Haida mother and an American father with Scottish German roots, and only began exploring his Haida roots at the age of 23. This journey of discovery lasted a lifetime and shaped Reid's artistic career. The Bill Reid Gallery of Northwest Coast Art was created in 2008 to honour his legacy and celebrate the diverse indigenous cultures of the Northwest Coast. Bill Reid infused Haida traditions with his own modernist aesthetic to create both exquisitely small as well as monumental work that captured the public's imagination, and introduced a timeless vocabulary to the modern world.

10.5 X 6.75 X 2.25 DEPTH - CIRCA 1900

8.5 X 6 X 1.5 INCHES DEPTH - WALL HANGING -

9 X 6.25

24 X 4 X 3 INCHES TALL

4.5 X 3.5 INCHES DIAMETER Erica Deichmann was born in Wisconsin of Danish parents. She met her husband-to-be, Kjeld, in western Canada. Together as a young married couple in the early 1930s, they settled in New Brunswick, a brave choice in an era of Depression, made even more courageous by a decision to pursue careers together in the art of pottery. For two years, Kjeld and Erica Deichmann studied pottery and pottery glazing in Denmark before returning to their tiny farm in Moss Glen on the Kingston Peninsula, with the sweep of the Kennebecasis before them. They fired up their first home-made kiln in 1935: hope had triumphed over improbability. The pottery they made together became the perfect blending of two creative instincts. The shapes were his - bold, innovative, future-looking; the glazes were hers - experimental, brightly provocative, searching. They attracted attention. Other artists came to see and to talk, a unique cultural centre blossomed. Tourists came to browse, admire, and to buy and governments began to pay attention. The Deichmann pottery was modern and dynamic, some said; perhaps Danish modern, thought others. They exhibited at the Paris World Fair in 1937; the Glasgow Exhibition, the New York World's Fair. Their pieces appeared in leading galleries in Canada, the United States, in Europe. They began doing lecture-demonstrations in other provinces, in New England, at the Rockefeller Center in New York. By the 1950s, they had achieved national and international recognition for their work, periodicals wrote about Modernism in the Maritimes, and the National Film Board told their story on film. Awards flowed: best pottery, best glazes, the Canadian National Exhibition, the Canadian Handicrafts Guild. And in the years following Kjeld's death in 1963, Erica continued to be honored for their work with membership in the Royal Canadian Academy and the Order of Canada.

3.5 DEPTH X 3 INCHES TALL X 3 INCHES WIDE Erica Deichmann was born in Wisconsin of Danish parents. She met her husband-to-be, Kjeld, in western Canada. Together as a young married couple in the early 1930s, they settled in New Brunswick, a brave choice in an era of Depression, made even more courageous by a decision to pursue careers together in the art of pottery. For two years, Kjeld and Erica Deichmann studied pottery and pottery glazing in Denmark before returning to their tiny farm in Moss Glen on the Kingston Peninsula, with the sweep of the Kennebecasis before them. They fired up their first home-made kiln in 1935: hope had triumphed over improbability. The pottery they made together became the perfect blending of two creative instincts. The shapes were his - bold, innovative, future-looking; the glazes were hers - experimental, brightly provocative, searching. They attracted attention. Other artists came to see and to talk, a unique cultural centre blossomed. Tourists came to browse, admire, and to buy and governments began to pay attention. The Deichmann pottery was modern and dynamic, some said; perhaps Danish modern, thought others. They exhibited at the Paris World Fair in 1937; the Glasgow Exhibition, the New York World's Fair. Their pieces appeared in leading galleries in Canada, the United States, in Europe. They began doing lecture-demonstrations in other provinces, in New England, at the Rockefeller Center in New York. By the 1950s, they had achieved national and international recognition for their work, periodicals wrote about Modernism in the Maritimes, and the National Film Board told their story on film. Awards flowed: best pottery, best glazes, the Canadian National Exhibition, the Canadian Handicrafts Guild. And in the years following Kjeld's death in 1963, Erica continued to be honored for their work with membership in the Royal Canadian Academy and the Order of Canada.

8 INCHES TALL X 5.5 DIAMETER

6.5 INCHES TALL X 4 DIAMETER

5 X 3.5 X 1.5 INCHES DEPTH Erica Deichmann was born in Wisconsin of Danish parents. She met her husband-to-be, Kjeld, in western Canada. Together as a young married couple in the early 1930s, they settled in New Brunswick, a brave choice in an era of Depression, made even more courageous by a decision to pursue careers together in the art of pottery. For two years, Kjeld and Erica Deichmann studied pottery and pottery glazing in Denmark before returning to their tiny farm in Moss Glen on the Kingston Peninsula, with the sweep of the Kennebecasis before them. They fired up their first home-made kiln in 1935: hope had triumphed over improbability. The pottery they made together became the perfect blending of two creative instincts. The shapes were his - bold, innovative, future-looking; the glazes were hers - experimental, brightly provocative, searching. They attracted attention. Other artists came to see and to talk, a unique cultural centre blossomed. Tourists came to browse, admire, and to buy and governments began to pay attention. The Deichmann pottery was modern and dynamic, some said; perhaps Danish modern, thought others. They exhibited at the Paris World Fair in 1937; the Glasgow Exhibition, the New York World's Fair. Their pieces appeared in leading galleries in Canada, the United States, in Europe. They began doing lecture-demonstrations in other provinces, in New England, at the Rockefeller Center in New York. By the 1950s, they had achieved national and international recognition for their work, periodicals wrote about Modernism in the Maritimes, and the National Film Board told their story on film. Awards flowed: best pottery, best glazes, the Canadian National Exhibition, the Canadian Handicrafts Guild. And in the years following Kjeld's death in 1963, Erica continued to be honored for their work with membership in the Royal Canadian Academy and the Order of Canada.

4 X 3 INCHES Erica Deichmann was born in Wisconsin of Danish parents. She met her husband-to-be, Kjeld, in western Canada. Together as a young married couple in the early 1930s, they settled in New Brunswick, a brave choice in an era of Depression, made even more courageous by a decision to pursue careers together in the art of pottery. For two years, Kjeld and Erica Deichmann studied pottery and pottery glazing in Denmark before returning to their tiny farm in Moss Glen on the Kingston Peninsula, with the sweep of the Kennebecasis before them. They fired up their first home-made kiln in 1935: hope had triumphed over improbability. The pottery they made together became the perfect blending of two creative instincts. The shapes were his - bold, innovative, future-looking; the glazes were hers - experimental, brightly provocative, searching. They attracted attention. Other artists came to see and to talk, a unique cultural centre blossomed. Tourists came to browse, admire, and to buy and governments began to pay attention. The Deichmann pottery was modern and dynamic, some said; perhaps Danish modern, thought others. They exhibited at the Paris World Fair in 1937; the Glasgow Exhibition, the New York World's Fair. Their pieces appeared in leading galleries in Canada, the United States, in Europe. They began doing lecture-demonstrations in other provinces, in New England, at the Rockefeller Center in New York. By the 1950s, they had achieved national and international recognition for their work, periodicals wrote about Modernism in the Maritimes, and the National Film Board told their story on film. Awards flowed: best pottery, best glazes, the Canadian National Exhibition, the Canadian Handicrafts Guild. And in the years following Kjeld's death in 1963, Erica continued to be honored for their work with membership in the Royal Canadian Academy and the Order of Canada.

6.25 INCHES TALL X 4.25 DIAMETER Martin L. (Marty) Demaine (born 1942[1]) is an artist and mathematician, the Angelika and Barton Weller artist in residence at the Massachusetts Institute of Technology.[2] Demaine attended Medford High School in Medford, Massachusetts.[3] After studying glassblowing in England, he began his artistic career by blowing art glass in New Brunswick in the early 1970s.[4] The Demaine Studio, located in Miramichi Bay and later at Opus Village in Mactaquac, was the first one-man glass studio in Canada,[5] part of the international studio glass movement. Demaine’s pieces from this period are represented in the permanent collections of half a dozen major museums[6] including the Canadian Museum of Civilization[7] and the National Gallery of Canada. Since joining MIT, Demaine has begun blowing glass again, as an instructor at the MIT Glass Lab;[8] his newer work features innovative glassblowing techniques intended as a puzzle to his fellow glassblowers.

6.5 INCHES TALL X 8.25 DIAMETER

4 DIAMETER X 6 INCHES TALL

4 DIAMETER X 6 INCHES TALL

5.5 INCHES TALL X 5 DIAMETER

5 INCHES TALL X 4.75 DIAMETER

3.5 INCHES TALL EACH - 1 HAS TIGHT HAIRLINE Erica & Kjeld Deichmann were Canada's first official studio potters who made a living by selling their work. Although many potters since have become full-fledged professionals, the Deichmanns were the pathfinders. Their careers span a critical period - from 1935 until Kjeld's death in 1963 - that represents a turning point in the history of crafts in Canada. It was the point at which the traditional crafts gave birth to the crafts as an artistic endeavour.

4.25 INCHES TALL X 3.78 DIAMETER WITH HAIRLINE Erica & Kjeld Deichmann were Canada's first official studio potters who made a living by selling their work. Although many potters since have become full-fledged professionals, the Deichmanns were the pathfinders. Their careers span a critical period - from 1935 until Kjeld's death in 1963 - that represents a turning point in the history of crafts in Canada. It was the point at which the traditional crafts gave birth to the crafts as an artistic endeavour.

13 INCHES TALL X 6.5 DIAMETER

7.75 INCHES TALL X 3 DIAMETER

2.75 INCHES TALL Erica & Kjeld Deichmann were Canada's first official studio potters who made a living by selling their work. Although many potters since have become full-fledged professionals, the Deichmanns were the pathfinders. Their careers span a critical period - from 1935 until Kjeld's death in 1963 - that represents a turning point in the history of crafts in Canada. It was the point at which the traditional crafts gave birth to the crafts as an artistic endeavour.

3 INCHES TALL Erica & Kjeld Deichmann were Canada's first official studio potters who made a living by selling their work. Although many potters since have become full-fledged professionals, the Deichmanns were the pathfinders. Their careers span a critical period - from 1935 until Kjeld's death in 1963 - that represents a turning point in the history of crafts in Canada. It was the point at which the traditional crafts gave birth to the crafts as an artistic endeavour.

9.5 INCHES TALL X 3.25 DIAMETER

14.5 INCHES TALL X 3.5 DIAMETER

2.25 INCHES TALL Erica & Kjeld Deichmann were Canada's first official studio potters who made a living by selling their work. Although many potters since have become full-fledged professionals, the Deichmanns were the pathfinders. Their careers span a critical period - from 1935 until Kjeld's death in 1963 - that represents a turning point in the history of crafts in Canada. It was the point at which the traditional crafts gave birth to the crafts as an artistic endeavour.

2 INCHES TALL Erica & Kjeld Deichmann were Canada's first official studio potters who made a living by selling their work. Although many potters since have become full-fledged professionals, the Deichmanns were the pathfinders. Their careers span a critical period - from 1935 until Kjeld's death in 1963 - that represents a turning point in the history of crafts in Canada. It was the point at which the traditional crafts gave birth to the crafts as an artistic endeavour.

8.25 INCHES TALL X 9 DIAMETER

7.25 INCHES TALL X 7.75 DIAMETER

PEI POTTER - MEASURES 5 X 6.5 X 4.25 INCHES TALL & 2.5 X 3.5 X 3.25 INCHES TALL

PEI POTTER - ONE APPEARS TO BE DATED 1978 - MEASURES 6 X 8.25 X 5.75 INCHES TALL &

7 X 8 INCHES DIAMETER

6.5 INCHES TALL X 4.5 DEPTH

2.75 X 2.75 INCHES

3 X 3 INCHES

15 DIAMETER X 8 INCHES TALL - GREAT COLORS & DETAIL

5 DIAMETER X 2.5 TALL

12.25 INCHES TALL X 3.5 DIAMETER

3.5 INCHES TALL X 7 INCHES DIAMETER Erica & Kjeld Deichmann were Canada's first official studio potters who made a living by selling their work. Although many potters since have become full-fledged professionals, the Deichmanns were the pathfinders. Their careers span a critical period - from 1935 until Kjeld's death in 1963 - that represents a turning point in the history of crafts in Canada. It was the point at which the traditional crafts gave birth to the crafts as an artistic endeavour.

STRETCHED ON CANVAS - 30 X 40 INCHES Gerard Collins (b. 1957, Saint John, New Brunswick, Canada) is known for his deft and witty explorations of everyday life. Collins’s style is steeped in art historical references incorporated into his paintings of landscapes, flowers, studio interiors, portraits, and anthropomorphized animals. He is one of Canada’s most prolific contemporary painters. Collins often works in series - setting himself up for work that includes challenges, time frames, boundaries, restrictions, and social endeavors. Collins did his Foundation Year at St. Martin's School of Art (London, England), and his BFA at the Nova Scotia College of Art and Design (Halifax, Nova Scotia, Canada). As part of his studio degree, he studied with Gerhard Richter at the Dusseldorf Staatliche Kunstakademie (Dusseldorf, West Germany). Collins has received numerous grants from both ArtsNB and the Canada Council for the Arts, as well as the New Brunswick Creation Grant, the Strathbutler Award, a Sheila Hugh Mackay Foundation Award, and New Brunswick’s 2005 Miller Brittain Award (now known as the Lieutenant Governor’s Award for Excellence in the Visual Arts). Collins’s work can be found in museums and in private and corporate collections, including the National Gallery of Canada, Beaverbrook Art Gallery, Owens Art Gallery, Art Gallery of Nova Scotia, New Brunswick Museum, University of New Brunswick, Mount St. Vincent University, Department of Foreign Affairs and International Trade, Canada Council Art Bank, and the New Brunswick Art Bank.

STRETCHED ON CANVAS - 20 X 20 INCHES Gerard Collins (b. 1957, Saint John, New Brunswick, Canada) is known for his deft and witty explorations of everyday life. Collins’s style is steeped in art historical references incorporated into his paintings of landscapes, flowers, studio interiors, portraits, and anthropomorphized animals. He is one of Canada’s most prolific contemporary painters. Collins often works in series - setting himself up for work that includes challenges, time frames, boundaries, restrictions, and social endeavors. Collins did his Foundation Year at St. Martin's School of Art (London, England), and his BFA at the Nova Scotia College of Art and Design (Halifax, Nova Scotia, Canada). As part of his studio degree, he studied with Gerhard Richter at the Dusseldorf Staatliche Kunstakademie (Dusseldorf, West Germany). Collins has received numerous grants from both ArtsNB and the Canada Council for the Arts, as well as the New Brunswick Creation Grant, the Strathbutler Award, a Sheila Hugh Mackay Foundation Award, and New Brunswick’s 2005 Miller Brittain Award (now known as the Lieutenant Governor’s Award for Excellence in the Visual Arts). Collins’s work can be found in museums and in private and corporate collections, including the National Gallery of Canada, Beaverbrook Art Gallery, Owens Art Gallery, Art Gallery of Nova Scotia, New Brunswick Museum, University of New Brunswick, Mount St. Vincent University, Department of Foreign Affairs and International Trade, Canada Council Art Bank, and the New Brunswick Art Bank.

WORK 10.5 X 16.5 - FRAME 17.75 X 25.25 Fred Ross was born in 1927 in Saint John, New Brunswick. In 1944, he began his art studies with Ted Campbell at the Saint John Vocational School and in 1946 painted a large mural there of the school's annual picnic. Following studies in Mexico in 1949 with Pablo O'Higgins at Taxco, Ross returned to Saint John. In 1950, he briefly visited Mexico again, and met Diego Rivera. In 1970, he resigned his position as Supervisor of Art at the Saint John Vocational School where he had been teaching since the 1950s, to devote his time fully to painting. His work was displayed at the National Gallery in Ottawa and he was the first New Brunswicker to have an exhibit in the art gallery of the Canadian Embassy in Washington, D.C. Since 1949 his work was exhibited in more than 80 solo and group exhibitions. It was the 1993 Beaverbrook Art Gallery retrospective, The Art of Fred Ross - A Timeless Humanism, that secured his reputation nationally. He was the recipient of Canada Council grants and in 1986 was honored by the University of New Brunswick with the Degree of LL.D. In 1990 he was elected to the Royal Canadian Academy of Arts. In 2002 he was made a Member of the Order of Canada and praised for his contribution to the "rich social realist tradition of Saint John artists with his vision of Atlantic Canada and its people."He was also inducted into the Order of New Brunswick in 2008 for his "numerous achievements and immense contribution to New Brunswick’s cultural identity and to the province and Canada's art world." Fred Ross passed away in 2014. His legacy lives on in his work that is represented in countless private, corporate and important public collections, including the National Gallery of Canada.

WORK 6 X 5 INCHES - FRAME 14.5 X 13.75 Born in Saint John, New Brunswick, Canada in 1950 -- of Lithuanian ancestry. Herzl Kashetsky's work in the early 1980s tended to reflect subjects common to the magic realist school, especially still life, focusing on every day objects with an intensity that inevitably invests them with new and deeper meaning. In 1997 he received the New Brunswick Red Cross Humanitarian Award, and a best picture award at the 53rd annual exhibition of the Canadian Society of Painters in Watercolour.

WORK 12.75 X 17.25 INCHES - FRAME 19.25 X 24.25 INCHES - BEAUTIFULLY FRAME 1920-2014, Molly Lamb Bobak was a Canadian teacher, writer, printmaker and painter working in oils and watercolours. Molly is best described as a painter of modern life. Her favourite subjects were vibrant crowd scenes, domestic interiors, and fresh flowers. Born into an unusual but stimulating cultured family, she trained at the Vancouver School of Art and, in 1945, became the only woman to be appointed as an official Canadian war artist. Later that year she married fellow painter Bruno Bobak and, in 1961, the couple settled in Fredericton. A professional artist and teacher, she occupies a secure position as a popular painter with works in major collections across Canada.

WORK 19.5 X 13 - FRAME 26.25 X 20.25 Born in Poland in 1923, Bruno Bobak immigrated to Canada in 1927. At the age of thirteen he began Saturday morning art classes in Toronto under Arthur Lismer and later studied at the Central Technical School. In 1942, he joined the army and was shortly thereafter appointed as an official war artist. He and his wife, fellow artsit, Molly Lamb Bobak, settled in Ottawa after the war, where Bruno worked as an artist. They moved to Vancouver in 1948 where he taught at the Vancouver School of Art. In 1960, he and Molly moved again to Fredericton, New Brunswick, where they would remain until Bruno's death in 2012. He was first a resident artist at the University of New Brunswick, then from 1962, Director of the University of New Brunswick Art Centre. Bruno Bobak was a member of the Canadian Group of Painters, Society of Canadian Painter-Etchers and Engravers, Canadian Society of Graphic Art, Canadian Society of Painters in Watercolour, British Columbia Society of Artists and the Royal Canadian Academy. Bruno Bobak participated in more than two hundred and fifty group exhibitions and has had more than eighty solo exhibitions.

WORK 18.25 X 12.75 - FRAME 25.25 X 20.25 INCHES - BEAUTIFULLY FRAMED Born in Poland in 1923, Bruno Bobak immigrated to Canada in 1927. At the age of thirteen he began Saturday morning art classes in Toronto under Arthur Lismer and later studied at the Central Technical School. In 1942, he joined the army and was shortly thereafter appointed as an official war artist. He and his wife, fellow artsit, Molly Lamb Bobak, settled in Ottawa after the war, where Bruno worked as an artist. They moved to Vancouver in 1948 where he taught at the Vancouver School of Art. In 1960, he and Molly moved again to Fredericton, New Brunswick, where they would remain until Bruno's death in 2012. He was first a resident artist at the University of New Brunswick, then from 1962, Director of the University of New Brunswick Art Centre. Bruno Bobak was a member of the Canadian Group of Painters, Society of Canadian Painter-Etchers and Engravers, Canadian Society of Graphic Art, Canadian Society of Painters in Watercolour, British Columbia Society of Artists and the Royal Canadian Academy. Bruno Bobak participated in more than two hundred and fifty group exhibitions and has had more than eighty solo exhibitions.

WORK 20 X 13.25 - FRAME 25.5 X 19.75 INCHES Born in Poland in 1923, Bruno Bobak immigrated to Canada in 1927. At the age of thirteen he began Saturday morning art classes in Toronto under Arthur Lismer and later studied at the Central Technical School. In 1942, he joined the army and was shortly thereafter appointed as an official war artist. He and his wife, fellow artsit, Molly Lamb Bobak, settled in Ottawa after the war, where Bruno worked as an artist. They moved to Vancouver in 1948 where he taught at the Vancouver School of Art. In 1960, he and Molly moved again to Fredericton, New Brunswick, where they would remain until Bruno's death in 2012. He was first a resident artist at the University of New Brunswick, then from 1962, Director of the University of New Brunswick Art Centre. Bruno Bobak was a member of the Canadian Group of Painters, Society of Canadian Painter-Etchers and Engravers, Canadian Society of Graphic Art, Canadian Society of Painters in Watercolour, British Columbia Society of Artists and the Royal Canadian Academy. Bruno Bobak participated in more than two hundred and fifty group exhibitions and has had more than eighty solo exhibitions.

DONE BY CANADAS MOST DESIRABLE MINIATURE WATER COLORIST IN HAND CRAVED FRAME WITH NOTE ON BACK - TOTAL MEASURES 2.75 INCHES BY 2.5 INCHES Willard Morse Mitchell (February 14, 1879 - June 15, 1955) was a Canadian artist and architect best known for his miniature watercolour paintings. They were mostly nature scenes. He was born in Saint John, New Brunswick, being the youngest of six children. He attended Rothesay Collegiate and later studied art and architecture in Saint John. He was married in 1904 and that year he moved to Amherst, Nova Scotia. For nearly two decades, he worked as an architect and made paintings in Amherst. He moved to Belleville, Ontario in 1923 and in 1927 he removed to Montreal where he focused exclusively on the sale of his art as souvenir pieces. He died in Montreal in 1955. He is noted for painting very small pieces of art, often no more than 150 square centimetres in size. Many of his latter works depict scenes from rural Quebec. He made his own hand-carved frames and printed paper backings for his pieces that told the story behind the scene depicted; thus he made several versions of the same picture. Mitchell would copy his most popular scenes using carbon paper on top of watercolour paper, making each scene appear as an original.

THE LITTLE HABITANT TEA ROOM AT ST GENEVIEVE P.Q. - CANADA NEAR MONTREAL - IN ORIGINAL HAND CARVED FRAME - TOTAL MEASURES 2.75 INCHES BY 2.5 INCHES Willard Morse Mitchell (February 14, 1879 - June 15, 1955) was a Canadian artist and architect best known for his miniature watercolour paintings. They were mostly nature scenes. He was born in Saint John, New Brunswick, being the youngest of six children. He attended Rothesay Collegiate and later studied art and architecture in Saint John. He was married in 1904 and that year he moved to Amherst, Nova Scotia. For nearly two decades, he worked as an architect and made paintings in Amherst. He moved to Belleville, Ontario in 1923 and in 1927 he removed to Montreal where he focused exclusively on the sale of his art as souvenir pieces. He died in Montreal in 1955. He is noted for painting very small pieces of art, often no more than 150 square centimetres in size. Many of his latter works depict scenes from rural Quebec. He made his own hand-carved frames and printed paper backings for his pieces that told the story behind the scene depicted; thus he made several versions of the same picture. Mitchell would copy his most popular scenes using carbon paper on top of watercolour paper, making each scene appear as an original.

WORK 11.25 X 7.25 INCHES - FRAME: 16.75 X 13.75 INCHES - PARTNER OF JOSEPH PLASKETT

WORK 6 X 5 INCHES - FRAME 13 X 11 INCHES - NUMBERED EDITION 18/80 - NEW FRAME Joseph Plaskett was born in 1918 in New Westminster. His works are in public art gallery collections from Prince Edward Island to Vancouver Island, including the National Gallery of Canada, the Beaverbrook Art Gallery, the Winnipeg Art Gallery, the Vancouver Art Gallery and the Art Gallery of Greater Victoria. He was appointed an Officer of the Order of Canada in 2001 for his excellence in the field of visual art. His autobiography A Speaking Likeness (Ronsdale Press) was published in 1999. The Plaskett Gallery, at New Westminster’s Massey Theatre, is named in his honour.

WORK 29.5 X 21.5 INCHES - FRAME 36 X 28 INCHES - OIL OVER ACRYLIC ON CANVAS Marjory Eileen Rogers was born in Woodstock NB in March 1926. Marjory spent a lot of her summers on her grandfather's farm in Northampton, downriver from Woodstock, where she enjoyed looking after animals. It was in her formative years that she developed a love of art, learning to paint, draw and carve. Marjory received her Bachelor of Fine Arts from Mount Allison University in 1951 (this was the only Fine Arts degree in Canada at the time), and in her years of study she worked among the country’s finest artists, being a student assistant with the UNB Summer School to Pegi Nicol MacLeod and taught by Lawren Harris, Alex Colville, and the like. She also showed great promise, as she won the O’Keefe Award in a national competition for young artists, and her vision and talent have carried themselves throughout her career.

WORK 9.5 X 7.5 INCHES - FRAME 17 X 15 INCHES - THERE'S WATER DAMAGE ON MATTING - THE WATERCOLOR IS FINE As a young woman Campbell studied at the School Fine Arts, North Adelaide, and at the Regent St. Polytechnic, London. On completing her studies, she spent nine years working as an illustrator in England and Europe. While working in Italy she met Canadian artist Ted Campbell; they married and moved to Saint John, New Brunswick in the 1950s. Campbell often took an experimental approach to her painting but also created realistic landscapes in watercolour, semi-surrealist and abstract works. Rosamond and Ted Campbell moved to San Miguel de Allende, Mexico, in the 1970s.

WORK 7.5 X 11.5 INCHES - FRAME 18.75 X 14.75 Joseph Kashetsky was a Canadian Postwar & Contemporary artist who was born in 1941.

WORK 21 X 14 INCHES - FRAME 28.5 X 22.5 INCHES

OIL ON CANVAS - WORK 40 X 22 - FRAME 47.5 X 29.5 INCHES - BRETAGNE FRANCE, RETOUR DE LA NECHE AU CREPUSCULE

VERY NICE ALMOST 3D LIKE WORK WITH MANY RAISED ACCENTS INCLUDING LOG ROLLERS PAINT APPLIED BY PALETTE KNIFE SOME AREAS OF THE WORK MEASURING .75 INCHES IN DEPTH

WATERCOLOR - WORK 14.25 X 10.25 - FRAME 25.25 X 22.25 Toni Onley OC (November 20, 1928 – March 2, 2004) was a Manx-Canadian painter noted for his landscapes and abstract works. Born in Douglas on the Isle of Man, he moved to Canada in 1948, and lived in Brantford, Ontario. Later he moved to Vancouver and finally, Victoria, BC.[1] Among his works are many watercolours depicting the northern Canadian landscape. Onley created landscapes in the Canadian tradition, influenced by Oriental art. Icebergs, trees, water and coasts are the prominent features in these artworks. He also painted abstractly, particularly during the 1960s, when he produced his Polar series. He was made an Officer of the Order of Canada in 1999. He was made an associate member of the Royal Canadian Academy of Arts (1963).[2] He died at the age of 76 in a plane crash on the Fraser River near Maple Ridge, British Columbia while practising take-offs and landings in a Lake LA-4-200 Buccaneer amphibious plane.

WORK 25.75 X 19.75 - FRAME 26.25 X 20.5 INCHES Gordon Appelbe Smith CM RCA (June 18, 1919 – January 18, 2020) was an English-born Canadian artist, known for expanding the dialogue between abstraction and representation, working with mediums such as painting, printmaking, and sculpting. Smith taught with contemporaries Bruno Bobak, B.C. Binning and Jack Shadbolt at the Vancouver School of Art (now Emily Carr University of Art and Design) for 10 years, then for 26 years at the University of British Columbia before retiring in 1982 to paint full-time.

WORK 19.5 X 18.5 - FRAME 27 X 22.5 DATED 1993 Stanley Cosgrove RCA (December 23, 1911 – April 28, 2002) was a Canadian painter, draughtsperson and muralist. His landscapes are praised for their serenity.

WORK 14 X 18 - FRAME 22 X 26 - DATED 1993 Stanley Cosgrove RCA (December 23, 1911 – April 28, 2002) was a Canadian painter, draughtsperson and muralist. His landscapes are praised for their serenity.

WORK 16 X 20 - FRAME 31.5 X 27.5 INCHES

WORK 11.5 X 20.5 - FRAME 16.5 X 25.5 INCHES

WORK 24 X 21 - FRAME 33 X 29

WORK 16 X 20 - FRAME 28 X 24 INCHES

WORK 24 X 17.25 - FRAME 29.5 X 22.5 INCHES

WORK 23.25 X 15.25 FRAME 32 X 24

WORK 11.5 X 8.5 INCHES - FRAME 18.75 X 15.75 - OIL ON ARTIST BOARD

WORK 12.5 X 9.5 - FRAME 18.5 X 15.5

WORK 5.5 X 3.5 - FRAME 11.75 X 9.75 INCHES X 2

WORK 15 X 11 - FRAME 24.25 X 20.75 INCHES

WORK 20 X 16 INCHES - FRAME 27.75 X 24 INCHES

WORK 18 X 12 INCHES - FRAME 26.5 X 21.5

WORK 13.5 X 21 - FRAME 18.25 X 26 - BEAUTIFUL WORK IN VINTAGE FRAME WITH MONTREAL REN-WIL ORIGINAL INC TAG

WORK 10 X 10 INCHES

WORK 29 X 13 INCHES - FRAME 21 X 25.25 INCHES

WORK 36 X 24 INCHES - FRAME 44 X 32 INCHES- OIL ON CANVAS

WORK 22.5 X 17.5 - FRAME 24.5 X 30.5

WORK 18.5 X 24 - FRAME 24.25 X 30 INCHES - ANTIQUE LARGE PHOTOGRAPH WITH WATERCOLOR ACCENTS - REPRESENTING A RESORT THAT WAS APPARENTLY IN ONTARIO - SOME FADING, NICELY FRAMED

VASE HAND PAINTED BY PAUL MCFADDEN - CAT CARVING TITLED "PICATSSO" 1967 - CAT 12.5 INCHES TALL X 5 X 5 INCHES DEPTH - VASE 8.5 INCHES TALL X 4 INCHES DIAMETER Paul McFadden is a painter and sculptor. He makes painted applied relief carvings of New Brunswick life and buildings. His work is full of colour and energy and above all humour. McFadden has been shown in a number of galleries across Canada and is in many private collections. His mother is the painter Beatrice McFadden.

ENVELOPE : 7.5 X 4.5 Painter, draughtsman, engraver and muralist, Alex Colville always remained aloof from the formal trends that characterized the 20th century. Drawing his inspiration from the world around him, from the most repetitive gestures of everyday life, he placed his unsettling juxtapositions of figures, objects and animals in an ambiguous atmosphere of disquieting tranquillity, as though time were suspended. His compositions are rigorously constructed according to a precise geometry and executed with a technique that consists of minuscule dabs of paint applied meticulously dot by dot. Born in Toronto, Colville moved as a boy to Amherst, Nova Scotia with his family. After his studies at Mount Allison University, he served in the army from 1942 to 1946, working as a military artist from 1944 to 1946. He then taught at university, but left in 1963 to devote himself completely to painting. In the 1950s, his approach became associated with that of certain American artists, such as Andrew Wyeth, who are considered regionalists. His paintings are characterized by a latent anxiety; an example is Child and Dog, in which the juxtaposition of a blond child and a large black dog with pronounced claws creates a feeling of unease. Nearly a third of Colville's works involve animals, particularly domestic animals; Hound in Field is a perfect illustration of this affinity. The famous image of a couple crossing the Straits of Northumberland, To Prince Edward Island, reveals a number of themes that recur in Colville's work: means of transportation, the sea, the relationship between a couple; but he also uses the woman with the binoculars to illustrate the power inherent in a gaze, the dynamic that exists between the person looking and the person being looked at, who in turn is looking back at the gazer. Over his long career, Colville's fame grew and he received many honours. Major retrospectives of his work were held at the Art Gallery of Ontario in 1983 and the Montreal Museum of Fine Arts in 1994. He was made a Companion of the Order of Canada in 1982, and won a Governor General's Visual and Media Arts Award in 2003.

WORK: 11.5 X 9.25 INCHES - FRAME: 17.5 X 15.25 - SOME AGE STAINS AS EXPECTED ON AN OLD MAP

WORK 7.75 X 5 INCHES - FRAME 13 X 11 INCHES HAND TINTED COLORED ENGRAVING

WORK 7.25 X 5 INCHES - FRAME 14.5 X 12.5 INCHES - LONDON PUBLISHED BY THOMAS KELLY , 17, PATERNOSTER ROW 1835 - NEW FRAME

WORK 8 X 6 INCHES - FRAME 13.75 X 11.75 HALIFAX 1845 ENGRAVING BY W.H BARLETT SOME FOXING - NEW FRAME

WORK 15 INCH DIAMETER - FRAME 18.75 X 20.75 INCHES

WORK 18 X 14 INCHES UNFRAMED - SIGNED LOWER RIGHT - TITLED: EARLY SPRING WOODS

119" X 79" - CLEAN - FINE QUALITY HAND KNOTTED PERSIAN WOOL RUG WITH BEAUTIFUL ORNATE MEDALLION DESIGN AND DESIRABLE COLORS

75" X 115" - CLEAN - GORGEOUS HAND KNOTTED PERSIAN WOOL RUG OF THE FINEST WORKMENSHIP & FROM THE CITY OF ART - WITH A BEAUTIFUL COLOR COMBINATION AND ORNATE PATTERN.

73" X 115" - CLEAN - DESIRABLE HAND KNOTTED ROOM SIZE RUG - BEAUTIFUL PATTERN AND COLOR COMBINATION

55" X 80" - CLEAN WITH AMAZING ORNATE PATTERN AND BEAUTIFUL COLOR COMBINATION

52" X 83" - DESIRABLE NEUTRAL COLOR PALETTE AND BEAUTIFUL ORNATE DESIGN

48" X 89" - CLEAN WITH NICE BRIGHT COLORS AND INTRICATE DESIGN

54" X 84" - CLEAN - BEAUTIFUL ORNATE PATTERN WITH NICE COLOR COMBINATIONS

52" X 80" - CLEAN WITH UNUSAL PATTERN AND COLOR COMBINATION

54" X 92" - CLEAN WITH A BEAUTIFUL PATTERN AND NICE NEUTRAL COLOR COMBINATION

45" X 77" - CLEAN WITH NICE RICH COLORS AND GREAT DETAILED DESIGN