The items up for auction are from the Estate of Bob and Marnie Boldt. Bob graduated from Queens University as a Chemical Engineer and worked at Dow Chemical for 35 years in various roles and retired as the Senior Vice President of Dow Chemical in Sarnia. He was a Specialist for the Ministry of Labour, Ministry of Environment of Ontario, and a regular guest speaker at the University of Toronto. Bob was instrumental in creating the Responsible Care Program, a U.N recognized sustainability initiative for the Canadian Chemical Producers Association (CCPA). This is a global initiative for all chemical producers around the world (78 Countries, 96 of the 100 largest chemical producers in the world). Responsible Care covers all aspects of a company’s business, their employees, the communities, and the environment, over the entire life cycle of its products. Bob went on, after retirement to work for UNEP (United Nations Environmental Programme). In this role, Bob travelled the world, helping countries and corporations ensure that chemicals were contained in a safe manner to ensure that they were not polluting the air, or poisoning people and the environment. He and Marnie hosted many international dignitaries in their Lakeshore Road home. Marnie was a graduate of Western University and descendant from the affluent Huggett family. Several of the antique pieces in this auction Marnie has inherited from her family. She and Bob travelled the world together picking up treasures from all over the globe. Marnie was a very talented artist herself, creating oil paintings of animals, people, and landscapes. She loved art and loved to collect fine art pieces. Together, Bob and Marnie travelled all over the world. It is easier to list the places they didn’t travel to as the list of destinations was far too great. They loved history and grand adventures. Their greatest accomplishment was the legacy of love they left with their children and grandchildren.

- Thursday, June 6, 2024, at 5-7 pm - Saturday, June 8, 2024, at 11 am - 2 pm

at 8 pm

All shipping and handling costs are the responsibility of the winning bidder. No shipping on furniture. Some smaller lots can be shipped. See lot for details. Items for shipping are taken to a third-party shipper. There is a minimum of $10 per lot charge to pack items from house to take to 3rd party shipper, Spark Business Solutions, Sarnia (519-542-7877). Any winning bidder who wants their items shipped must pay by e-transfer. E-transfer email is accounting@greatwestteam.com Full details in Terms & Conditions

Framed 15.5"×17.5" "As an artist he is a humanist realist whose paintings are characterized by a spirit of ordered freedom and technical conservatism. For him, the visible world is the valid point of departure for a work of art. This does not mean that his purpose is to imitate nature, but rather to recreate it, remolding and harmonizing it to agree with his own idiomatic mannerisms and his own personal concepts. He envisages his world as being inexhaustibly inspiring and meaningful." (Charles Comfort, writing about himself, 1974) Charles Comfort was a commercial artist, landscape and portrait painter, printmaker, muralist, teacher and arts administrator. His watercolour and oil paintings include a number of very powerful, symbolic portraits, as well as ordered landscapes. Comfort held a strong belief in the importance of art in society; he played a significant role in Canada's War Art program and in the establishment of the Canada Council for the Arts. Charles Comfort spent the first part of his career working primarily as a commercial artist. From the age of 14, he apprenticed at Brigdens Limited, Winnipeg, and took art classes at high school and the Winnipeg School of Art. He later studied at the New York Art Students League under Robert Henri and Euphrasius Tucker. With Brigdens, he was briefly transferred to Toronto in 1919. There, he joined the Arts and Letters Club, taking life classes and meeting members of the Group of Seven. The Group's inaugural 1920 exhibition had a profound impact on Comfort's landscape work. Returning to Winnipeg, Comfort exhibited his watercolours for the first time in 1922, including in a two-man show at the Winnipeg Art Gallery. He took painting trips to the country and met LeMoine FitzGerald and W. J. Phillips. In 1925, he moved to Toronto, where he met Will Ogilvie and made his first serious attempts at oil painting. The 1927 exhibition of the Société Anonyme at the Art Gallery of Toronto left a strong impression on Comfort, who was especially inspired by Joseph Stella's futurist Brooklyn Bridge, among others. In 1932, he was commissioned to create his first of many murals, for Toronto's North American Life Building, and he later taught mural-painting at the Ontario College of Art. In 1933, he met the American Precisionist Charles Sheeler. In 1936, Comfort obtained a studio next to that of A. Y. Jackson in the celebrated Studio Building. The same year, he was appointed Associate Professor at the University of Toronto to teach historical painting techniques, and later various studio courses; he remained there for 25 years. Comfort served as an official war artist in World War II, contributing an important body of work. Louise (1927), a portrait of Comfort's wife, marks the artist's first major foray into portrait work. The highly simplified, precise forms of Tadoussac (1935) reveal the influence of Sheeler. One of the organizers of the 1941 Kingston Conference, Comfort was a founding member of the Federation of Canadian Artists and contributed to the 1951 Massey Report, which lead to the founding of the Canada Council. He served on the Board of Directors and numerous committees at the Art Gallery of Toronto, and was Director of the National Gallery of Canada from 1959 until 1965. Comfort was a founding member of the Canadian Society of Graphic Art, Canadian Society of Painters in Water Colour, and Canadian Group of Painters, and held executive positions in a number of art organizations. He received an honorary doctorate from Mount Allison University in 1958, and was honoured with the Medaglio al Merito Culturale and Canadian Centennial Medal. He was appointed Officer of the Order of Canada in 1972. Web Source: https://www.gallery.ca/collection/artist/charles-f-comfort

Framed 20"×25" Born in Lachine, Quebec, Hassell studied at the Ontario College of Art, Toronto under J. W. Beatty, J.E.H. MacDonald and F.H. Johnston; and under Hayward Veal at the Heatherley School of Art, London, England. He worked at Brigden’s Limited until 1955 when he turned to painting full-time. He also did work for other firms including art editing for MacLean’s Magazine. Working in oil, watercolour and acrylic, his subjects include figures, portraits, landscape and coastal scenes. He traveled and painted in Spain, Ireland (1965), Sussex in England, Massachusetts, Newfoundland, Nova Scotia, Manitoba, Steveston, British Columbia and the Canadian Arctic. His work was noted by the Port Credit Weekly as follows, "Many of the paintings… are the result of a trip to Ireland this spring… In Ireland… he found the farms, the bogs and the cozy, intimate seaports a source of inspiration… Hassell whose choice of subject is wide, obviously delights in water, sea coasts, shorelines, harbours and coves… In Newfoundland, the country reminds him in many ways of Ireland, he painted the flakes, the wooden-shelf-like platforms which the fishermen build to dry the fish in the sun." Hassell exhibited with the RCA between 1936-1966, the MMFA in 1960 and 1961, and at the Memorial University Art Gallery, St. John's Newfoundland in 1965. His winter landscapes have been reproduced for Christmas cards. He lived in Port Credit, Ontario and was a member of the Ontario Society of Artists. Source: "A Dictionary of Canadian Artists, Volume II" , compiled by Colin S. MacDonald, Canadian Paperbacks Publishing Ltd, Ottawa, 1979 Web Source: https://cowleyabbott.ca/artist/hilton_macdonald_hassell

Born in Toronto, Alan Collier studied under J.E.H. MacDonald, and Franklin Carmichael at the Ontario College of Art (1929-33). Following graduation, he travelled across the country on a relief gang, and worked as a miner to earn enough money to study at the Art Students’ League in New York City. During his studies, he returned to mining from time to time to enable him to continue with his education. In 1937 he studied at the Art Students’ League, New York, under Howard Trafton, 1937-9 and while there he worked as a commercial artist making illustrations for advertising until 1942. He joined the Canadian Army in 1943. He returned to Toronto after the war to continue his advertising art career, but concentrated more and more on painting. Early In his painting he was influenced by the work of J. W. Beatty, J. E. H. MacDonald, and Frank Carmichael. Over the years he made trips to British Columbia and many other parts of Canada travelling by trailer with his wife and son, three months of the summer. One year, however, he returned to the selenite mines where he had worked, and painted a series of canvases from the miner’s point of view. In 1951 his background in mining became the inspiration for a series of paintings depicting the underground work environment, an interest that spanned several years. He also made annual road trips with his family to paint Canadian landscape. Reviewing his work in 1961, Globe and Mail critic Colin Sabiston wrote, "Technically, Mr. Collier has reached a new peak of achievement, especially in his paintings. The drawings are in clean-cut lines . . . The paintings, on the other hand are redolent of rich colour . . ." He received a commission from Standard Oil in 1963 to paint landscapes along the Trans-Canada Highway. Collier’s media include oils, watercolours, pyroxylin and acrylic polymer emulsion. His compositions are masterful in their simplicity. A muralist as well, he decorated the foyer of the Toronto agency of The Bank of Canada, and two murals in the Ryerson Institute of Technology, Toronto. His portraits include personalities in business and educational fields. He considered his finest portrait that of his wife Ruth. He exhibited at the Roberts Galley in the early spring of each year of 1961, 1963 and 1965. He is represented at the National Gallery of Canada, the Art Gallery of Ontario, and the Hamilton Art Gallery. Collier was elected a member of the Ontario Society of Artists in 1952. He taught advertising art at the Ontario College of Art from 1955 to 1967 at which time he devoted himself to painting on a full-time basis. He died in Toronto at the age of 79. Source: "A Dictionary of Canadian Artists, Volume I: A-F", compiled by Colin S. MacDonald, Canadian Paperbacks Publishing Ltd, Ottawa, 1977 Web Source: https://cowleyabbott.ca/artist/alan_caswell_collier

Framed 22"x 18" Toronto-based artist York Wilson became known for his large-scale murals during the 1950s, and developed his characteristic lyrical semi-abstract style by 1958. He worked in many mediums including lithography, serigraphy, watercolour, acrylic, oil, gouache, ink and charcoal, and also created tapestry designs, poetry illustrations, and small-scale abstract collages from brilliantly coloured papers. He periodically maintained studios in Paris, New York, and Toronto. Ronald York Wilson was born in Toronto, in 1907. Following two years of formal education in art at Central Technical School in Toronto, Wilson began a career as a commercial artist at Brigdens Ltd., where Charles Comfort and Will Ogilvie had an influence on his first paintings. He took night classes at the Ontario College of Art, and later at the Detroit Institute of Art. In 1927, Wilson began working in Detroit where he learned illustration and lettering and was also exposed to museums and books about fine art. However, he lost his job due to the Depression and returned to Canada in 1930. He married his wife Lela in Toronto, in 1932. Wilson’s independent paintings from the early 1930s to the mid 1950s were representational and satirical, and depicted subjects such as theatrical, burlesque and urban scenes, including his social realist painting Welfare Worker, 1941. He also participated in Toronto’s art scene, and became President of the Ontario Society of Artists from 1946-48, and was elected a full member of the Royal Canadian Academy in 1949, duly submitting a diploma painting, Dancing Class, an expressive figurative work, which was deposited at the National Gallery of Canada in 1950. In 1949, Wilson’s first six-month sojourn in Mexico at the artist’s colony of San Miguel de Allende became the impetus that changed his life. At age 42, he abandoned his lucrative career in commercial art (where he was known as Ron Wilson), and began working as an independent artist, initially signing his paintings R. York Wilson, and later, York Wilson. He also became an innovator in the use of new synthetic paints. While in Mexico in the early 50s he met renowned muralist David Alfaro Siqueiros who was already experimenting with industrial paint for outdoor murals. Siqueiros taught Wilson how to use pyroxylin (duco), an industrial material typically used as a car finish. For his Redpath Library mural at McGill University (1953), Wilson found a way to eliminate the gloss finish of pyroxylin by mixing sand with the paint. Wilson’s new career met with early success. His large scale, semi-cubist painting Toluca Market, 1951, inspired by the modernist social realism of Mexican muralists and painted in pyroxylin using a limited palette of white, black and earth colours, was exhibited with Ontario Society of Artists and won a J.W.L. Forster Award in 1951. In 1952, his painting, Margaritones was chosen to represent Canada at the prestigious Carnegie International Biennial Exhibition in Pittsburgh. It depicted a Mexican theme of textiles, baskets and flower textures painted with a similar palette of dark earth colours arranged within an abstract composition. In 1955 Wilson returned to Mexico to study another synthetic paint – vinyl acetate – as it was more flexible than pyroxylin (duco) and had a flat, matte finish. Back in Toronto, Wilson worked closely with scientists at Imperial Oil to create (poly)vinyl acetate (PVA), a durable, fluid synthetic paint which he used almost exclusively for his murals including his Imperial Oil commission, The History of Oil, 1957-58, in Toronto. Wilson received a glowing letter of praise from his colleague Lawren Harris for the accomplishment of this work. Wilson lived a nomadic way of life from 1949 to the late 1960s, travelling extensively in Europe, the Middle East, and Asia. Commenting on his world travels, Wilson explained, "Being abroad, I was more able to find myself as a person. I also found that I could explore the new concepts I had in mind much better when applied to a new locale…Travel for me has never been an escape, but rather a reaching into the creative unknown." Another of Wilson’s major murals The Seven Lively Arts, was completed in 1960 for the O’Keefe Centre for the Performing Arts, Toronto. At the time it was the largest mural ever undertaken in Canada, measuring 30.4 by 5 meters. Restored in 1987, it remains a focal point of the lobby. Wilson’s brightly hued composition portrays the themes of dance, drama, painting, sculpture, literature, music and architecture in a decorative cubist or lyrical abstract style, and includes symbols from ancient through to modern arts. The mural received notoriety as Wilson had to fight a legal battle against the International Brotherhood of Painters, Decorators and Paperhangers of America, eventually winning the right to complete the mural as an independent artist without joining their union. He received financial support from the Royal Canadian Academy, the Ontario Society of Artists, the Canadian Group of Painters and the Sculpture Society of Canada, who paid half of his legal costs. Wilson’s painting of the 1960s was primarily abstract, and characterized by a complex manipulation of layers of texture, organic form, shape and colour. Art historian Paul Duval described a typical work, La Seine, 1963, is characteristic of this period, with its vigorous knife work, textural depths and broken colours accented with emergent jewel-like patches of pure hue. During this period and throughout his career, Wilson also made representational studies of the female nude, laying several figures close together on the page. Wilson’s ‘Geometric’ series of the late 1960s are a distinct body of work, distinguished by their striped hard-edge compositions, rhythmic design and bold colour. They were subconsciously inspired by the constructivist paintings of his friend Luc Peire, in Paris. As Wilson commented in 1973, "My geometric period was the result of two dreams…The result was that from July 1966 until sometime in 1971, I was unable to paint any other style… It is because of experiences like this that it is difficult to understand the creative process. In 1981, Wilson was honoured by a commission for a self-portrait from the Uffizi Gallery, Florence, for an exhibition in their gallery of twentieth century self-portraits. York Wilson died in Toronto in 1984, at the age of seventy-six. Web Source: https://www.shelleylambefineart.com/york-wilson.html

Signed and Framed 24"×20" Arbuckle was a painter of tremendous merit who composed in a distinct and original style. His paintings are strong and original representations of the Canadian landscape and cityscape. The recipient of several awards, Arbuckle was, for many years, an instructor at the Ontario College of Art. Born in Toronto, Ontario, Canadian artist George Franklin Arbuckle attended the Ontario College of Art from 1927 to 1930 where he studied under J.W. Beatty, F.S. Challener, J.E.H. MacDonald and others. In 1930, he left to establish his own studio and earned a living selling his paintings and teaching art classes. During World War II, Arbuckle decided to work as a commercial artist. He was employed by Bomac Engravers for several years in Ottawa and Montreal and returned to freelance work in 1944 During the war, he worked for the engraving firm Bomac, in Toronto in 1940 and 1941 and in Montréal from 1941 to 1944. His reputation as an illustrator was based on the knowledge of historical subjects that he depicted in series for Hudson’s Bay Company and commissions for Labatt Brewery, Distillers Corporation and Dow Chemicals. Arbuckle’s landscape paintings and busy cityscapes were reproduced on the covers of Maclean’s magazine, and he showed his work in important exhibitions in Canada and abroad. He also produced murals and tapestries for clients, including the Château Champlain Hotel, in Montréal. Arbuckle was elected to the Ontario Society of Artists in 1933 and to the Association of the Royal Canadian Academy of Arts in 1936, finally becoming a full member in 1943. He spent most of his life in his native Toronto, with an interlude in Montreal from 1940 to 1958. His wife was fellow artist, Frances Ann Johnston and his father-in-law, Frank Johnston, was a founding member of the Group of Seven. Web Source: https://www.canadianfineartonline.com/artists/franklin-arbuckle/

"October Gold near Combermere, Madawaska River ON" Framed 21"×17.5" Born in Durham, Ontario, he graduated from the University of Western Ontario with his Bachelor of Arts in 1928. He became interested in art during his school years and studied with Eva Bradshaw at the Beal Technical School, London, Ontario; at the Art Students' League. On his return to Canada he worked as a commercial artist for ten years before devoting most of his time to fine art. He travelled to England and Scotland in 1922 through the auspices of Canadian Authors' Association in recognition for his illustrations for the book "Life in Japan". He has done landscapes in Northern Ontario, Newfoundland, Nova Scotia, New England, and in the Canadian West. He has also done harbour subjects in France and England. A figure and portrait painter as well, he has completed many portraits of educationalists of which the following are only a few: Dr. Walter Sage, University of British Columbia, and his father Dr. G.B. Sage; Bishop Maurice Scotland Baldwin; Dr. H.R. Kingston, dean of arts and science and principal of University College, University of Western Ontario; The Rt. Reverend C.A. Seager, Bishop and one time Provost of Trinity College, University of Toronto; Dr. Sherwood Fox former president, University of Western Ontario; Mr. John Gilchrist, former Principal of Blenheim District High School. Clare Bice is author-illustrator of the following children's books: "Jory's Cove" , 1941; "Across Canada" , 1948 (also a Norwegian Edition in 1960); "The Great Island" , 1954; "A Dog for Davies Hill", 1957 (Swedish Edition, 1964) (Special Edition, 1958); "The Hurricane Treasure" , 1965. He has illustrated many children's books published in Canada and the United States. He toured Canada to gather authentic scenes, characters, and dialogues for his book “Across Canada" and he has travelled to Newfoundland to collect material for hi book “The Great Island" during which he also made sketches of that country. From 1940, he had been Curator at the Art Gallery and Museum of London, Ontario, excepting his service with the Canadian Army during the Second World War, 1942-45. He received a fellowship in 1953-4 to travel in France and to become more fully acquainted with art galleries and museums of Europe. He was awarded a Canada Council Senior Arts Fellowship 1962-3. He organized a showing of three views on painting in Canada, ten canvases dedicated to traditional or realistic art by members of Painters Eleven and eleven canvases made up of points of view between these two extremes. He made the following statement in connection with the show in “Canadian Art", “It is time reason and maturity were substituted for issues and prejudices and international fashion in our evolution of Canadian art." He has given talks to many groups and judges numerous exhibitions. He taught at the following center's: Doon School of Art, Summer Schools at Queen's University, Mount Allison University of Western Ontario. He has written several articles for “Canadian Art" magazine. He is a member is the Ontario Society of Artists, Royal Canadian Academy (ARCA 1940) (RCA 1964); Hon. L.L.D. University of Western Ontario, 1962. Source: "A Dictionary of Canadian Artists, Volume I: A-F", compiled by Colin S. MacDonald, Canadian Paperbacks Publishing Ltd, Ottawa, 1977 Web Source: https://cowleyabbott.ca/artist/clare_bice

Framed 29"×26" Born in Durham, Ontario, he graduated from the University of Western Ontario with his Bachelor of Arts in 1928. He became interested in art during his school years and studied with Eva Bradshaw at the Beal Technical School, London, Ontario; at the Art Students' League. On his return to Canada he worked as a commercial artist for ten years before devoting most of his time to fine art. He travelled to England and Scotland in 1922 through the auspices of Canadian Authors' Association in recognition for his illustrations for the book "Life in Japan". He has done landscapes in Northern Ontario, Newfoundland, Nova Scotia, New England, and in the Canadian West. He has also done harbour subjects in France and England. A figure and portrait painter as well, he has completed many portraits of educationalists of which the following are only a few: Dr. Walter Sage, University of British Columbia, and his father Dr. G.B. Sage; Bishop Maurice Scotland Baldwin; Dr. H.R. Kingston, dean of arts and science and principal of University College, University of Western Ontario; The Rt. Reverend C.A. Seager, Bishop and one time Provost of Trinity College, University of Toronto; Dr. Sherwood Fox former president, University of Western Ontario; Mr. John Gilchrist, former Principal of Blenheim District High School. Clare Bice is author-illustrator of the following children's books: "Jory's Cove" , 1941; "Across Canada" , 1948 (also a Norwegian Edition in 1960); "The Great Island" , 1954; "A Dog for Davies Hill", 1957 (Swedish Edition, 1964) (Special Edition, 1958); "The Hurricane Treasure" , 1965. He has illustrated many children's books published in Canada and the United States. He toured Canada to gather authentic scenes, characters, and dialogues for his book "Across Canada" and he has travelled to Newfoundland to collect material for hi book “The Great Island" during which he also made sketches of that country. From 1940, he had been Curator at the Art Gallery and Museum of London, Ontario, excepting his service with the Canadian Army during the Second World War, 1942-45. He received a fellowship in 1953-4 to travel in France and to become more fully acquainted with art galleries and museums of Europe. He was awarded a Canada Council Senior Arts Fellowship 1962-3. He organized a showing of three views on painting in Canada, ten canvases dedicated to traditional or realistic art by members of Painters Eleven and eleven canvases made up of points of view between these two extremes. He made the following statement in connection with the show in “Canadian Art", “It is time reason and maturity were substituted for issues and prejudices and international fashion in our evolution of Canadian art." He has given talks to many groups and judges numerous exhibitions. He taught at the following center's: Doon School of Art, Summer Schools at Queen's University, Mount Allison University of Western Ontario. He has written several articles for “Canadian Art" magazine. He is a member is the Ontario Society of Artists, Royal Canadian Academy (ARCA 1940) (RCA 1964); Hon. L.L.D. University of Western Ontario, 1962. Source: "A Dictionary of Canadian Artists, Volume I: A-F", compiled by Colin S. MacDonald, Canadian Paperbacks Publishing Ltd, Ottawa, 1977 Web Source: https://cowleyabbott.ca/artist/clare_bice

Framed 15"×13" John began an accelerated self-guided study of art in the late 1990s. Within two years he was showing his work in regional art festivals and teaching from his home studio. The demand for his work in local markets encouraged him to participate on a national level. His entry in the first Pastel Journal magazine competition won the first place award for landscape. He has since won another first place and seven finalist awards in the popular annual contest. In 2000 he was given Signature status in the prestigious Pastel Society of America on his first application for membership. He was elected a Master Pastelist in 2005. He is also a Master Pastelist and a founding member of the MidAmerica Pastel Society. Other memberships include: The American Artists Professional League, where he is a Signature Member and Full Membership in Allied Artists of America. His works have been shown in these organizations as well as the Hudson Valley Art Association, Salmagundi Club, Pastel Society of the West Coast, Degas Pastel Society, Oil Painters of America. National Park Academy of the Arts, Bone Creek Museum of Agrarian Art, Albrecht-Kemper Museum of Art, Connecticut Academy of Fine Art, the Hermitage Foundation Museum and the Butler Institute of American Art. John was born in Kansas and has fond memories of idyllic childhood summers on the farm. He regularly travels back to his home state and the Southwest to paint en plein air and gather reference photos for his studio paintings. His Midwest and Western portfolios are supplemented with paintings of Maine and its islands. Annual visits to Monhegan Island yield paintings of scenery that has remained virtually unchanged for over a century. Many of his favorite artists have painted there, including George Bellows, Edward Redfield, Rockwell Kent and, of course, the Wyeths. Web Source: https://www.johnroush.com/about

Framed 15"×13" John began an accelerated self-guided study of art in the late 1990s. Within two years he was showing his work in regional art festivals and teaching from his home studio. The demand for his work in local markets encouraged him to participate on a national level. His entry in the first Pastel Journal magazine competition won the first place award for landscape. He has since won another first place and seven finalist awards in the popular annual contest. In 2000 he was given Signature status in the prestigious Pastel Society of America on his first application for membership. He was elected a Master Pastelist in 2005. He is also a Master Pastelist and a founding member of the MidAmerica Pastel Society. Other memberships include: The American Artists Professional League, where he is a Signature Member and Full Membership in Allied Artists of America. His works have been shown in these organizations as well as the Hudson Valley Art Association, Salmagundi Club, Pastel Society of the West Coast, Degas Pastel Society, Oil Painters of America. National Park Academy of the Arts, Bone Creek Museum of Agrarian Art, Albrecht-Kemper Museum of Art, Connecticut Academy of Fine Art, the Hermitage Foundation Museum and the Butler Institute of American Art. John was born in Kansas and has fond memories of idyllic childhood summers on the farm. He regularly travels back to his home state and the Southwest to paint en plein air and gather reference photos for his studio paintings. His Midwest and Western portfolios are supplemented with paintings of Maine and its islands. Annual visits to Monhegan Island yield paintings of scenery that has remained virtually unchanged for over a century. Many of his favorite artists have painted there, including George Bellows, Edward Redfield, Rockwell Kent and, of course, the Wyeths. Web Source: https://www.johnroush.com/about

Born in Stutterheim-Cape Province, South Africa, 1901 / Died in Toronto, August 30, 1989 A founding member of the Canadian Group of Painters, Will Ogilvie was the first official Canadian war artist, and was awarded the M.B.E. (Military) for his service. His symbolic and formal paintings were considered by other war artists, such as Alex Colville and Charles Comfort, to be among the best of the genre. Born in South Africa in 1901, Ogilvie studied in Johannesburg under Erich Mayer from 1921 to 1924. One year later, he immigrated to America, and soon after began his studies at New York’s Art Students League (1927–1930) under Kimon Nicolaïdes, whose lessons gave Ogilvie a strong foundation for his war pieces. He also worked as a commercial artist. Returning to South Africa in 1931, he painted scenes that reflected his interest in figure study (African Day, 1931). In 1932, he teamed up with Charles Comfort and Harold Ayres to open an office in Toronto, where he worked on various art commissions. He joined the Canadian Army in 1940 and was commissioned as an Official War Artist two years later. After the war, Ogilvie taught at the Ontario College of Art (1947–1957), then as a lecturer at the University of Toronto (1960–1969). In 1979, he was made a Member of the Order of Canada. He continued to exhibit with the Canadian Society of Painters in Watercolour and the Canadian Group of Painters until his death in 1989. His war paintings are held in the Canadian War Museum and his work can also be found in the collections of the Edmonton Art Gallery, the Winnipeg Art Gallery, the Hart House at the University of Toronto and the National Gallery of Canada. Web Source: https://www.gallery.ca/collection/artist/will-ogilvie https://www.robertsgallery.net/gallery-artist/will-oglivie/

Framed 24"×20" Born in Winnipeg in 1909, Winter received his art training under LeMoine FitzGerald at the Winnipeg School of Art. He moved to Toronto in 1937 where he established the advertising firm of Wookie, Winter and Bush. He exhibited his work widely, including 19 exhibitions at Roberts Gallery, Toronto beginning in 1959. He was a member of the Royal Canadian Academy and the Ontario Society of Artists. Today, classified as a Canadian post-war modernist, he is best known for his paintings of children. His work is housed in museum collections across Canada and abroad, including the National Gallery of Canada and the Art Gallery of Ontario. He died in England in 1996. Web Source : https://www.shelleylambefineart.com/york-wilson.html

Ornate Frame 32"×44" with light The artist, Hyun Bo Yoo was born on May 12, 1946 in Seoul, Korea. He moved to the United States in 1977 with his wife and son. Hyun Bo Yoo was represented by Arnot Gallery for many years. He resided in Pine Run Michigan, Creskill New Jersey, Vero Beach Florida and Savannah Georgia. He and his wife died in a fatal and tragic fire around 2010 / 2011, exact date unknown. Hyun Bo Yoo was survived by his son who opened a Tattoo Parlor. 1968 graduated from the Solader National College for the Arts in Korea. Web Source: https://www.invaluable.com/artist/hyun-bo-yoo-8uo5r062a1/#ARTIST_DETAIL_INFO

Framed 32.5" x 23" https://www.inuitartzone.com/search?type=product&q=ANDREW+QAPPIK https://www.inuitartzone.com/collections/pangnirtung-prints-panniqtuuq-prints-nunavut

Framed 32"×24" William Griffith Roberts 1921-2001 Born in Nelson, B.C., he received his early education there and entered the Vancouver School of Art where he studied for six months. Throughout his early years he had been interested in cartoons much inspired by the creators of "Maggie and Jiggs", "The Captain and the Kids?, “Happy Hooligan? and “Little Orphan Annie?. He sold his cartoons to local papers in the Vancouver area. He enlisted in the R.C.A.F. and served overseas as an Air Gunner and still contributed cartoons to the Vancouver Sun and the Airforce paper Wings Abroad (1941-45). It was during his service overseas that he first saw English water colours and in his spare time he continued to paint and improve his technique. Following the war, he worked briefly for the Vancouver Sun as an editorial cartoonist but politics was not a burning interest with him and he did not share the same views with the publisher. He moved to Toronto in search of opportunities and enrolled in the Ontario College of Art but found classes crowded and instructors on short supply. He left the College to make his own way. During those early years he did every conceivable job – washing cars, washing dishes, etc., in his struggle just to make ends meet. He kept working at his art and his cartoons, establishing himself in the field of commercial art. In his painting he experienced his first success in 1950 with the sale of “Banks’ Lunch?, a water-colour exhibited at the Ontario Society of Artists annual show and sold on opening night. By now he was married with a family. In 1952 he took his family on an extended trip to England where he toured the coastlines painting in water colours then went on to France and northern Spain. After a year abroad Roberts and his family returned to Toronto where he resumed his art career. He was elected member of The Canadian Society of Painters in Water Colour in 1954; member of the O.S.A. in 1956; A.R.C.A in 1957. Exhibiting with these societies gave him access to a larger audience. By now he had gained considerable experience as a painter and joined the staff of the Ontario College of Art where he continued to teach for the next nine years (1957-66). During that period he was for a year Resident Artist at the University of Western Ontario (1963-64) with his studio on the lower floor of the McIntosh Memorial Art Gallery. At the end of his term he had completed 20 major paintings, 100 water colours, nine tempera paintings and numerous drawings. He was now living in a 105-year-old house in the little town of Milton, 40 miles west of Toronto with his wife and two daughters. In cold weather he still went out to paint his subjects. By mixing alcohol with his water colours he kept his paints from freezing. Returning to his studio he then tacked each painting up on his studio wall to give it “the test of time?. He destroys up to 75% of his production in the process of keeping the best. His oil paintings are done either from memory or from meticulous ink sketches. Web Source: https://www.robertsgallery.net/gallery-artist/william-roberts/?r=1#bio

Framed 36"×28" Robert Gallon was a landscape and coastal painter. He exhibited from 1868 to 1903 in London, at the Royal Academy (32 works) from 1873 to1903 and at the British Institution (27 pictures). Titles were generally landscapes in England, Wales and Scotland. Gallon painted in a realistic style similar to Benjamin Williams Leader and George Vicat Cole. A clean fluency of manipulation is a hallmark of Gallon’s technique, the brush indicating form with a very smoothly controlled line. The atmosphere of his pictures was most characteristic, with richly coloured skies and filtered warm sunlight touching every corner of the canvas. Many of these fluently detailed pictures have added immediacy from having been painted entirely on the spot. Web Source: https://haynesfineart.com/artists/robert-gallon-uk

Framed 23"×19" Highly regarded Canadian artist Karl E. Wood was born in 1944 in Winnipeg and began his artistic career in Vancouver in 1964. He lived with his wife Marie and sons Robert and James in Westbank, B.C. from 1972-1984 and then moved to the Ghost River region near Cochrane, Alberta. Karl’s home was close to the mountains he loved and allowed him to pursue his pleasures… hiking, pack trips, fishing, and of course outdoor painting on location, which he regarded as very important to an artist. He portrayed the landscape as he saw it – strong, stark, and realistic. His favored seasons were early spring, fall and winter, which he depicted with great character in rich earth tones and minimalist shades of grey. Web Source: https://koymangalleries.com/artist/karl-e-wood-1944-1990/#bio

Queen of Wands (1992). Framed 28"×32 Canadian Artist Biography: Canadian artist Garth Speight’s Vatican success By Angela Bianchi Rome – "Art functions with chaos and confusion, that’s why I live in Italy," says Garth Speight, one of Canada’s brightest and most talented painters. At age 39, he’s captured the attention and admiration of the Canadian and Italian art community, has had two successful Biblical series, but foremost, he’s the first Canadian to have two paintings acquired by the Vatican for their modern art collection. But to achieve all this he had to leave Canada, says Speight. "Trudeau said, if you don’t like this country, get out," he laughs. So Speight, a university arts major, hopped on a plane and came to Italy. That was 10 years ago and he has no regrets. Speight works in the fresco and gold leaf technique for his portraits and landscape paintings. His work has a Medieval-Byzantine flavour and his style resembles that of turn-of-the-century Austrian painter, Gustav Klimt, an artist Speight says, had the greatest influence on him. Speight’s landscape paintings are brighter and richer in colour opposed to the solemness of his religious works. The reason for this, says Speight, is the advantage of working in Rome, "where colours seem brighter because of the lack of industrial pollution." The painter also suffers from eye astigmatism that makes him see objects taller and thinner than they actually are – and that’s how he paints them. "Canadians always wait for others to give a seal of approval before they take notice, but what they don’t realise is, when a Canadian makes a name for himself abroad, he usually doesn’t go home," comments Speight. That is just his case. After years of gallery exhibitions and art shows in Canada, Speight got fed up of the stagnant Toronto art scene, with, as he puts it, "their snobbish-faddish galleries." Speight, one of the few Canadian artists who can earn a living from his art without depending on government grants, praises the Italian art-buying public. "Italians like quality work, unlike the Americans who go for the expensive wallpaper at Piazza Navona," he says. He notes a wide gap between the European and North American cultures. “Go to a barbershop in Italy and you’ll see an oil painting on the wall. Go to one in Toronto, and you’re likely to see Miss January or the police gazette on the wall,"??? he adds. Settle in Rome with his wife and daughter, Speight is presently working on a series on Italian landscapes, “to capture them in their un-renovated state, before they loose their character," he says. Source - https://www.angelabianchi.ca/styled-4/styled-7/#:~:text=At%20age%2039%2C%20he's%20captured,for%20their%20modern%20art%20collection. Other information about the artist: https://www.turismoroma.it/en/node/38350 The brush smoothly slides over the canvas, the touches are fast, the colour is vivid and full-bodied. White, red, blue, gold and silver. And a lot of heart. That of Garth Speight which gives life to a triumphant nature of water lilies, irises, wildflowers, woods and birds. A wonderful garden that materializes in the 50 paintings that "knead" the soul of the Canadian artist, made of boundless landscapes, with the Roman one of Villa Torlonia and the Casina delle Civette, the small architectural jewel which extraordinary multi-colored windows interact deeply and complete the paintings on display. Every flower, every forest, every bird is a "window" open to the explosive and colourful universe of the artist and his particular and intimate interpretation of nature that does not stop at the brushstroke, but overflows from the canvas to form a small self-sufficient world: its creation becomes one with the frame that Speight personally carves. Garth Speight has been living and working in Canada and Italy for over 40 years. His works are exhibited in private and public collections in Canada, Australia, Africa, China, USA and Europe. The exhibition is enriched by a series of educational workshops on vegetable prints for adults and children, kokedama and micro-gardens.

17"×20"

Signed

Soapstone on base

Artist Pea Michael

Carving

Pings

Dish 4.5" x 2.5"

Measures 3" x 2"

University of British Columbia Plate

With Key

36" x 16"x 68" tall Contents not included

Lighted

Made western Germany

45" wide × 80" tall

Excellent condition. Approx 67" long 27" deep

53"x 37.5"x 30" tall

28"×15"×21"

x 7" Eskimo standing with seal

26"×26"×16"

38"×28"×14" deep plus mirror

On castors

Each has a nice ping

Includes key

Includes table with pull out leaves & 4 side Chairs

Some imperfections

Matches #2816

21"×23"×21" tall

38" tall original stiffel shades

85" long

20"×50×17' tall on castors

67" tall

Bowl is 11.5" x 9.5" tall

Sugar & Candleholders

Some Spoons Sterling Silver

64"×19"x73" tall. Contents not included

one has a nick on base

21"x 50"x 17" tall

& 4 Side Chairs table is 82" long with 18" centre leaf in 42"wide 29" tall

16"×30"

46"×16"×69" tall

wide

38"×15"×31" tall

42"×24"×32" tall

Largest measures 19"×12"