A few examples of appraisal values for
WINNIPEG

• English Engineer's Transit, E.R. Watts,
  English Engineer's Transit, E.R. Watts, London, Eng. Ottawa & Winnipeg, signed on the silvered compass dial height 11.25 in — 28.6 cm
• SELENITE & YELLOW FLUORITE MINERAL SPECIMENS
  SELENITE & YELLOW FLUORITE MINERAL SPECIMENS Comprising an attractive mass of yellow-tinged Selenite (Gypsum) crystals, from Winnipeg, Manitoba, 3 7/8 in. H.; and a large honey-yellow Fluorite crystal mingled with a few small purple fluorite crystals and some calcite, Saint Eulalia, Chihuahua, Mexico, 5 1/8 x 5 3/4 x 4 in.
• Photograph Album of a Family of Travelling
  Photograph Album of a Family of Travelling Acrobats, 1939-1943 56 gelatin silver prints, with captions, of 'Ruth, Audrey and Johnny' practising, and the family at various locations including Vancouver, BC, Winnipeg, MB and Laclu, ON. album 8 x 11.5 in — 20.3 x 29.2 cm
• Louis Riel Carte de Visite, Hall-Lowe
  Louis Riel Carte de Visite, Hall-Lowe Studio, Winnipeg, 1870, Canadian signed albumin print on studio card, after the portrait by John Harrington Noverre, Toronto 3.5 x 2.5 in — 8.9 x 6.4 cm
• NALENIK TEMELA (1939-2003) KIMMIRUT,
  NALENIK TEMELA (1939-2003) KIMMIRUT, LAKE HARBOURNalenik Temela (1939-2003), male, Kimmirut (Lake Harbour), Narwhal, 1979, dated and signed in syllabics. Nalenik was one of the most important Lake Harbour artists, prolific and represented in numerous exhibitions in Canada and internationally; his works can be found in several collections including the Winnipeg Art Gallery and the TD Bank Collection in Toronto.12" height x 17" width x 4" depth. Bidders living outside of Canada are cautioned to proceed with care before bidding on this lot as it cannot be shipped outside of Canada in most cases. This item contains material that may be protected under CITES (Convention on International Trade in Endangered Species). It is the bidder's sole responsibility to be aware of legal restrictions on export or import of this item before bidding. Inability to ship to desired destination will not be a ground for invalidating a sale.
• CHRISTINE AALUK SIVANERTOK (B. 1938-)
  CHRISTINE AALUK SIVANERTOK (B. 1938-) REPULSE BAYChristine Aaluk Sivanertok (1938-), female, Naujaat (Repulse Bay), Nunavut, 'Owl and Chick', c. early 1970s. Signed in syllabics. A well-respected Repulse Bay artist who began carving in the early 1960s. Aaluk has been represented in a number of exhibitions; her works are illustrated in several publications including various Winnipeg Art Gallery catalogues and George Swinton’s 'Sculpture of the Inuit' (1972/92). 10" height x 5" width x 8" depth.
• WILLIAM WINTER, R.C.A., O.S.A. (1909-1996)William
  WILLIAM WINTER, R.C.A., O.S.A. (1909-1996)William Winter, R.C.A., O.S.A., oil on board, "Country Road", signed B/R and verso, dated 1987. Galerie Walter Klinkhoff label verso. 12" x 16". William Winter, born in Winnipeg, studied under Group of Seven artists Frank Johnston and Lionel LeMoine Fitzgerald at the Winnipeg school of Art (1923-1929). Winter enjoyed a successful career as a commercial artist, but in 1955 left that career to become an independent artist, depositing his R.C.A. diploma painting with the National Gallery entitled "Street Scene". This painting "Country Road” is emblematic of his love of children and their everyday carefree lives.
• MANITOBA UKRAINIAN TWO-PIECE CUPBOARD,
  MANITOBA UKRAINIAN TWO-PIECE CUPBOARD, 1900-20A Manitoba Ukrainian two-piece cupboard in red, white and green painted surface, picked from a farm near Winnipegosis. The upper section has two glazed doors over a drawer adorned with two diamond panels and rosettes above a high arched pie shelf. The lower section has a similar drawer over two raised panel doors in green and red with a white diamond panel in the centre, each having a carved red rosette. The shaped bottom rail is adorned with similar diamond motifs and a centred white rosette while both upper and lower sections are flanked by white flat columns with red spear heads. Original slide catch hardware. 1900-1920. H: 83.5"; W/L: 41"; D/P: 18.5". FRANCAIS: Armoire deux corps ukrainienne du Manitoba, peinte en rouge, blanc et vert provenant d'une ferme près de Winnipegosis. La partie supérieure a deux portes vitrées surmontant un tiroir mouluré, orné de deux losanges et d’une rosette au-dessus de la tablette centrale. La partie inférieure a un tiroir similaire surmontant deux portes à panneau soulevé à losange central appliqué orné d'une rosace sculptée. La traverse inférieure chantournée est ornée de motifs similaires, flanqués de colonnes avec des pointes de flèches. Loquet d'origine. 1900-1920.
• FIVE FINELY CARVED BIRDS & DUCKS, DAVID
  FIVE FINELY CARVED BIRDS & DUCKS, DAVID JACOB EPPA group of five finely carved and hand painted ducks & birds signed by "EPP" for David Jacob Epp (1905-1990), mid 20th century: Downy woodpecker, King eider duck, Kingfisher, Common loon and Green wing teal. Epp was born in Neider Choritza, Russia. He emigrated to Canada in 1923, and settled in Winkler, Manitoba. After living in Langham, Saskatchewan from 1930, he moved and settled in Winnipeg in 1946. The carving was done by him and the painting done by his wife. His earliest carving is of a pair of European Grouse done in at least 1956, or before. From that time on, they concentrated on native North American bird species. The Manitoba Crafts Museum and Library has a couple of carvings in their collection including a life sized wood duck. His carvings are mostly labeled "EPP" and the common name of the bird" in India ink on the hand carved 'driftwood' base. Smallest (plus petit), 4" x 3.5", largest (plus gros), 7" x 4". FRANCAIS: Lot de cinq oiseaux & canards finement sculptés, et peints à la main signés "EPP", milieu du 20ème siècle: pic mineur, canard eider, martin pêcheur, huard et sarcelle.
• FIVE ANTIQUE PRESERVE JARS - CAN SHIP
  FIVE ANTIQUE PRESERVE JARS - CAN SHIP UPS112Two small preserve jars both embossed with a crown and the word CROWN. One a light aquamarine colour piece, also embossed on the back side with a large E inside a diamond shape, and the words TORONTO AND WINNIPEG below. The other a faint mauve colour. Both in excellent condition with lids and tin closures. Both 5 1/2" high. AND: A half gallon preserve jar with the written word GEM embossed on the front. The word WALLACEBURG embossed above that. Clear glass. Nice overall condition. Measuring, 9" high x 4 1/4" wide. AND: Two preserve jars; one embossed with diamond shape. The other embossed with the word BEST. The latter has the number '3' embossed at the base. Both jars in excellent condition with original glass tops and tin closures. "Diamond" is 7 1/4" high. "Best" is 5 1/2" high.
• DE LAVAL CREAM SEPARATOR TIN LITHOGRAPH
  DE LAVAL CREAM SEPARATOR TIN LITHOGRAPH SIGN.De Laval Cream Separator Tin Lithograph Sign. Red version with original frame. Sign Depicts Milk Maid in central oval, flanked by panels of Cows from Holland, Scotland, Friesian, Island of Guernsey. "Montreal, Winnipeg, San Francisco, Seattle, New York and Chicago". "Save $10 to $15 Per Cow Every Year of Use, 1,250,000 in use". "The Da Laval Separator Company General Offices 165 Broadway New York - 20 E. Madison Street Chicago". 40-1/2"h. x 29-1/2"w. overall. Very good with minor wear, frame has losses. Condition: Very good with minor fading and wear, frame has losses.
• INUIT TRIBAL SOAPSTONE/REGIONAL STONE
  INUIT TRIBAL SOAPSTONE/REGIONAL STONE SCULPTURE, FISHER...Dark green carving with incised images of Native Inuits hunting, fishing. Artist signed. This striking polished dark green soapstone was hand carved by Inuit artist George Arlook (Arluk) George Arluk, ?? Eskimo Point / Arviat (1949) — E3-1049. Incised images to one side depicting stylized dogs pulling a sled while nearby fishermen bring in their catch. The other side has images depicting a hunt with stylized birds and other fauna. Artist signed. Alternative Names: Arluk Arluk, George Arluk, Aiyarani Arluk, Arloo Arluk, Arlook Arluk, Arlu Arluk, Arlooq Arluk George Arluk was born in Winnipeg, Manitoba#Sculpture #InuitArt #NativeArt #NativeCanadians #Soapstone #Serpentine #Serpentinite #GeorgeArluk #GeorgeArlook Artist: George Arlook (Arluk) Issued: c. 1990 Dimensions: 5.5"H x 3.5"L x 2.75"W Country of Origin: Canada
• 1900S ARCHITECTURAL ETCHINGS BY J. PENNELL,
  1900S ARCHITECTURAL ETCHINGS BY J. PENNELL, R. LOGANJoseph Pennell (American, 1860-1926). "Stock Exchange" etching, ca. 1904. Hand signed in pencil at lower center. Hand titled in pencil at lower right. AND Robert Fulton Logan (Canadian-American, 1889-1959). "Church of Notre Dame, Dijon" etching w/ drypoint, 1926. Hand signed and numbered 17/100 in pencil below. A stunning etching of the New York Stock Exchange on Wall Street with many people in the street surrounded by tall buildings created by Joseph Pennell. According to the Metropolitan Museum of Art (where one may also find "The Stock Exchange" etching - accession number 24.90.1339) Pennell printed 90 proofs before destroying the plate for this composition. One of the best known and respected American artists from the etching revival period, Pennell was an etcher, lithographer, illustrator, as well as an author. Size of Pennell (w/o matte): 12.25" L x 7.75" W (31.1 cm x 19.7 cm) Joining Pennell's etching is an etching w/ drypoint by Canadian-born Robert Logan. Logan created this etching of the Church of Notre-Dame in Dijon, France in 1926. By employing both etching and drypoint techniques, Fulton could depict both the rain on the upper right as well as the dramatic shafts of light gracing the side view of the church. Widely regarded as a Gothic masterpiece, The Church of Notre-Dame in Dijon, France was begun ca. 1230. Hundreds of years later, between 1865 and 1884, Parisian architect Jean Charles Laisne restored the church, returning it to its original splendor by removing later additions, re-establishing the tower at the crossing as a lantern tower, and recreating damaged sculpture. Notre Dame, Dijn is among Robert Fulton Logan's greatest and largest etchings. It was both printed and published in Paris in a single signed limited edition of 100 impressions in 1926. Logan's extensive drypointing in the foreground to create dramatic depth and shadow as well as his skillful architectural etching makes this composition stand out as a masterwork. Size of Logan (image w/o margins): 18.625" L x 10" W (47.3 cm x 25.4 cm) Born in Philadelphia, Joseph Pennell trained at the Pennsylvania Academy of Fine Arts and at the Pennsylvania School of Industrial Art, and later he taught at the National Academy and the Art Students League in New York City. From 1883, Pennell spent most of his time in Europe, until 1917 when he moved back permanently to the United States. Over his distinguished and prolific career, he won many medals and awards in the United States and in Europe, and he is considered one of the great etching innovators of the time. Among his achievements, Pennell illustrated and authored many books, contributed to leading magazines, and was one of the founders of the Philadelphia Society of Etchers. Robert Fulton Logan is widely respected as one of America's greatest architectural etchers of the early twentieth century, however he was actually a Canadian expatriate, living first in France and later in the United States. Logan began his artistic training under Frank Armington in Winnipeg. When he was 16, Logan enrolled at the Boston Museum of Fine Arts where he studied painting under Edmund Tarbell and etching under Frank Benson. Following this, he completed his artistic education at the Chicago Art Institute. Logan traveled to France during WWI as an officer of the US Navy. After the war, he became a director at the Bellevue Art Training Center in Paris and taught art classes at the Louvre. Logan would live and work in Paris nearly 20 years. Over the course of his career, Robert Fulton Logan created more than 100 architectural etchings of locations in France, Germany and Holland. His first significant solo exhibition was held at the American Chamber of Commerce, Paris in 1922. Following this, he had annual exhibitions at the Galerie Marcel Guiot. Upon returning to the US in 1934, Logan became the Chairman of the Department of Art at Connecticut College, where he remained until he retired in 1954. Logan was member of the Chicago Society of Etchers, the National Arts Club, and the Societe Internationale De La Gravure Originale en Noir. His etchings may be found in the esteemed collections of the British Museum, the Winnipeg Art Gallery, Cambridge University, the Bibliotheque Nationale in Paris, the Museum of Luxembourg, the Metropolitan Museum in New York City, the Library of Congress in Washington DC, and the Smithsonian Museum. Provenance: The William F. Draper Collection, New York City, USA, acquired via descent from the late William Franklin Draper (1912-2003) All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. PLEASE NOTE: Due to recent increases of shipments being seized by Australian & German customs (even for items with pre-UNESCO provenance), we will no longer ship most antiquities and ancient Chinese art to Australia & Germany. For categories of items that are acceptable to ship to Australia or Germany, please contact us directly or work with your local customs brokerage firm. Display stands not described as included/custom in the item description are for photography purposes only and will not be included with the item upon shipping. #169753 Condition: Pennell's "Stock Exchange" is set in a matte which is stamped "Made in France". The matte has normal stains and tears commensurate with age. The etching could probably be removed from the matte if desired. The etching is hand signed in pencil at the lower center and titled in pencil at the lower right. It shows normal toning and slight stains. The Robert Logan etching w/ drypoint of the Church of Notre-Dame in Dijon, France shows expected toning and has a few tears/losses to the peripheries. It is hand signed and numbered 17/100 below. Remnants of a label reading "Made in France" on the verso. Old tape on upper edge of verso with "George" handwritten in cursive below.
• IKSIKTAARYUK STENCIL - "AN ANCIENT WAY
  IKSIKTAARYUK STENCIL - "AN ANCIENT WAY OF DANCING" 1971...**First Time At Auction** Luke Iksiktaaryuk (Inuit, 1909-1977). "An Ancient Way of Dancing" limited edition stone cut and stencil on paper, Baker Lake, 1971. Edition 13 of 28. Signature, title, edition number, and date handwritten in pencil below the image. A fabulous and impressively sizeable stone cut and stencil composition by Inuit artist Luke Iksiktaaryuk (also Ikseektaryuk and Ikseetaryuk - disk number E2-45). Published in "Arts of the Eskimo: Prints" with the following description, "Inside the large community snowhouse the women have gathered to perform a dance. The man in the centre - or is it a boy? - will call out partners in turn. Two-dimensionality is carefully respected and the artist is intent on utmost graphic clarity." An outstanding artwork by Iksiktaaryuk presenting with vivid imagery and vibrant color, mounted in an attractive frame under glass. Size (sight view): 38.625" L x 24.25" W (98.1 cm x 61.6 cm) Size (frame): 40.5" L x 26.25" W (102.9 cm x 66.7 cm) Iksiktaaryuk's art has been collected by Canadian Guild of Crafts Quebec; Canadian Museum of Civilization, Dennos Museum Center, Northwestern Michigan College; Agnes Etherington Art Centre, Queen's University, Kingston; Art Gallery of Ontario, Toronto; Canadian Guild of Crafts Quebec, Montreal; Canadian Museum of Civilization, Hull; Clifford E. Lee Collection, University of Alberta, Edmonton; Dennos Museum Center, Northwestern Michigan College, Traverse City; Edmonton Art Gallery, Edmonton; Eskimo Museum, Churchill; Glenbow Museum, Calgary; Inuit Cultural Institute, Rankin Inlet; Klamer Family Collection, Art Gallery of Ontario, Toronto; McMichael Canadian Art Collection, Kleinburg; Mendel Art Gallery, Saskatoon; Musee des beaux-arts de Montreal, Montreal; National Gallery of Canada, Ottawa; Owens Art Gallery, Mount Allison University, Sackville; Prince of Wales Northern Heritage Centre, Yellowknife; Sarick Collection, Art Gallery of Ontario, Toronto; Simon Fraser Gallery, Simon Fraser University, Burnaby; University of Alberta, Edmonton; Williamson Collection, Art Gallery of Ontario, Toronto; Winnipeg Art Gallery, Winnipeg Iksiktaaryuk's "The Ancient Way of Dancing" hammered for $3600 at Waddington's, lot #69, September 16, 2020. Provenance: private Greenwood Village, Colorado, USA collection All items legal to buy/sell under U.S. Statute covering cultural patrimony Code 2600, CHAPTER 14, and are guaranteed to be as described or your money back. A Certificate of Authenticity will accompany all winning bids. We ship worldwide and handle all shipping in-house for your convenience. #178625 Condition: Signature, title, edition number, and date handwritten in pencil below the image. Mounted in attractive frame under glass. Has not been examined outside the frame. Expected age wear with normal crease marks. Imagery and color are vivid. Fit with old suspension wire which we would recommend replacing.
• Y RARE AND IMPORTANT FRENCH GOTHIC IVORY
  Y RARE AND IMPORTANT FRENCH GOTHIC IVORY COMPOSITE CASKET CIRCA 1330 the panels intricately carved in bas-relief to include scenes from the Medieval tales Queste del Saint Graal and Tristan & Isolde, with later brass brackets, straps and handle25cm wide, 11cm high, 13cm deepProvenance: Property from Tornaveen House, AberdeenshireCurrently only eight other complete secular ivory coffrets like the present one are known. These so-called composite caskets are mostly in important museum collections around the world.[1] With all panels intricately carved in bas-relief, the high quality of the workmanship is immediately visible, while a closer look reveals the richness of the motifs. It gives us a beautiful insight into the medieval fascination with the concept of courtly love.The present example likely originated in a workshop in Paris around 1330, due to the similarities with the existing ones. The exact meaning behind the iconological programs of these caskets has long been a subject for discussion between scholars.One thing the panels on all these caskets have in common is the link to medieval courtly literature, tales of love usually between knights and noble ladies emphasising nobility and chivalry, popular in Europe since around the time of the First Crusade in 1099. On this coffret, the two main tales the panels relate to are most likely Tristan and Isolde, and the Queste del saint grail.[2]The two panels on the right side probably refer to the famous medieval romance, Tristan and Isolde. This tale, based on a Celtic legend, centres around the young knight Tristan, who travels to Ireland to ask for the hand of princess Isolde on behalf of his uncle King Mark of Cornwall. After slaying a dragon there, the princess agrees to marry King Mark. On the journey back Tristan and Isolde drink the love potion prepared by the queen for her daughter and King Mark and fall for each other. The main part of the romance is focussed on King Mark trying to prove their secret love affair and punishing them.Although this legend has been retold many times, one of the most popular ones is the version by Béroul, a Norman or Breton poet of the 12th century. According to his account, King Mark asks King Arthur to try his wife Isolde at court for her unfaithfulness. To have Isolde exonerated from the charges, she and Tristan concoct a clever ruse. Tristan disguises himself convincingly as a poor leper, begging for alms on the banks of the river Malpas. When the royal party arrives, he carries her across the river, so Isolde can truthfully swear in front of the court that “no man ever came between my thighs except the leper who carried me on his back across the ford and my husband, King Mark”. This oath was seemingly so convincing, that everyone hearing it applauded it, and King Arthur made Mark promise to never slander her again.The front left panel shows Tristan carrying Isolde across the river, her headdress clearly indicating she is a married woman. After Isolde is safe, Tristan dresses up as the Black Knight and joins the jousting, a scene represented on the left end panel of the casket.The carvings on the front right and right end panel allude to another preeminent story, the Queste del saint grail, the story of the fabled Holy Grail, part of the Arthurian Legend. It begins at King Arthur’s court with a gathering of the well-known Knights of the Round Table. Just before dinner a sword in a stone appears miraculously floating in the river below the castle. Lancelot’s claims that whoever tries to remove the weapon will be gravely wounded does not deter his companions eager for adventure. Only the recently arrived Galahad can withdraw the sword, which he uses to achieve the quest for the grail.The carving next to the lock on the right of a man presenting his arm with severed hand to a king and queen probably relates to this, he having failed to retrieve the sword and receiving this grisly injury in trying so. The sword over the altar on the right end panel possibly refers to the divine and miraculous nature of the weapon Galahad obtained. The scene on the right end could either show the appearance of the grail just after Arthur, Galahad, and the knights of the Round Table sit down to eat, or when Galahad and his companions finally encounter the grail at the end of the story, or a conflation of the two. That the figure in the middle of the right end panel lacks a crown suggests that he is Galahad and not Arthur. The lions shown on the lid support this identification, as the grail castle was guarded by lions and surrounded by water.The wild men presented in intricate detail fighting to conquer a castle on the lid, and again defeated and in chains on the back panel, are a very popular motif in medieval imagery, ubiquitously represented in art of the highest quality from the early 14th century and continuing well into the sixteenth century[3]. Wild men represented the opposite of accepted standards of society, subliminally implying chaos, insanity and ungodliness. Especially in the 14th century the wild men seem to take on an erotic role, seen storming the Castle of Love in several artworks, one of the most common allegorical scenes in which the winning of a lady’s heart is depicted as the siege of a castle[4]. The carving on this coffret actually is reminiscent of the so-called Academy Casket (see image 1), now lost.[5]Unusual on this panel is the wild man wearing a crown. There are some wild men wearing crowns in 15th century German tapestries (image 2), but we don’t have an explanation why the carver added one in this case.The overall iconography of this casket seems to confirm the general notion that they were made as courting or wedding gifts for noble ladies, personalised to the commissioner’s preferences, as all the panels include notions of love and chivalry, to perhaps represent wishes for the future relationship especially important to the suitor. These very personal meanings have been lost to time, yet make this coffret extraordinarily intriguing.Another element making this casket so significant is the impeccable provenance. We can trace it all the way back to the beginning of the 17th century, as it is mentioned in the family genealogy of the Baird family of Auchmedden[6] in relation to Thomas Baird[7]. According to this text, he became a friar of a monastery in Besançon, Burgundy, in 1615. Letters from his uncle Andrew, who was staying close by in France, to his father Gilbert mention him to be hard of learning and ‘incapable of any of the sciences’. His saving grace was said to being excellent at mechanics, having made ‘an oblong, small chest of ivory 10 inches long, 5 broad, and 4 high, delicately carved in bas-relief, with the chisel, upon the top and sides into figures of knight-errants, distrest [sic] damsels, and enchanted castles, taken from some of the old romances which were so much in vogue in that age’.None of the letters later on in the genealogy indicate as to why the author thinks the casket was made by Thomas Baird, and not just sent over to his family as a gift. We don’t know if it was Thomas himself trying to make up for his shortcomings as a scholar by telling his family he was the talented maker, or if this is down to family lore evolving over the centuries. The casket would have already been nearly 300 years old at the time of Thomas’ acquisition.A footnote in the genealogy places the casket in the editor W. N. Fraser’s possession in 1870, which gives us the firm link to the present-day vendors, who are descendants by marriage of the Baird family.[1] Metropolitan Museum of Art, New York, 17.190.173, 1988, 16; British Museum, London, Dalton 386; Victoria and Albert Museum, London, 146.1866; Walters Museum, Baltimore, 71.264; Barber Institute of Fine Arts, Birmingham; Bargello, Florence, 123 c.; Cathedral Treasury, Krakow; Winnipeg Art Gallery[2] Thanks to Paula Mae Carns for identifying the various iconography[3] Timothy Husband, Metropolitan Museum of Art, Gloria Gilmore-HouseMetropolitan Museum of Art, 1980, p. 4[4] Timothy Husband, Metropolitan Museum of Art, Gloria Gilmore-HouseMetropolitan Museum of Art, 1980, p. 73[5] The location of all panels from this dismantled casket is unknown, apart from the back panel which is now in the Metropolitan Museum of Art in New York (2003.131.2). This casket is known from an eighteenth- century engraving (see Lévesque de Ravalière).[6] Genealogical collections concerning the sir-name of Baird, and the families of Auchmedden, Newbyth, and Sauchton Hall in particular : with copies of old letters and papers worth preserving, and account of several transactions in this country during the last two centuries: Baird, William, 1700 or 1701-1777, edited by W. N. F. Fraser, London 1870, page 21[7] The exact dates for Thomas Baird are unknown, however he is known to be the third son of Gilbert Baird (1551-1620), and he resided in France from at least 1609.Note: Please be aware that this lot contains material which may be subject to import/export restrictions, especially outside the EU, due to CITES regulations. Please note it is the buyer's sole responsibility to obtain any relevant export or import licence. For more information visit https://www.defra.gov.uk/ahvla-en/imports-exports/cites/
• 4 FIRST NATIONS, POLYCHROME WARRIOR
  4 FIRST NATIONS, POLYCHROME WARRIOR ANIMAL MASKS Native American, First Nations, Canada, group of four Shaman animal and warrior polychrome masks, artists included Andy Tsu-Ech Wesley (b. 1961), Emil Thibert (Winnipeg Manitoba b. 1962), and David Mungo Knox (Canadian Kwakiulth First Nations), all masks signed. Approx. h. 12", w. 14.5", d. 8.25" (largest).
• WATERFOWL OF NORTH AMERICAN: FOLIO OF
  WATERFOWL OF NORTH AMERICAN: FOLIO OF 44 PRINTSWATERFOWL OF NORTH AMERICAN: FOLIO OF 44 COLOR PRINTS by Ducks Unlimited, 1987, 50th Anniversary edition, 1058/1250, published in Winnipeg, Canada. Leather bound hardcover, includes hard case, 19.75" x 25.5" x 3" overall.
• MULTICOLOR THEO AND SUSAN HARLANDER
  MULTICOLOR THEO AND SUSAN HARLANDER POTTERY VASETheo and Susan Harlander ceramic vase. Hand decorated with vertical scenes down the top two-thirds.. Signed on the bottom. Very good condition with some flaking around the top edge. 10.75" H x 4.5" W. Examine all photos closely. Contact AAG for more detailed information if needed. AAG is not responsible for any errors or omissions to any lots. All sales are final and sold as is. In house shipping is not available on this lot, please contact one of our third party shippers for a quote. According to Winnipeg Art Gallery, German immigrants Theo and Susan Harlander established the Brooklin Pottery studio in 1952 in Brooklin, Ontario, introducing a continental approach to the field of Canadian studio production. They specialized in custom-ordered household items. Theo would throw the pieces on the wheel and Susan decorated them with freehand sgraffito patterns, designs incised or scratched through the slip or glaze to the earthenware ground. The incised designs on Harlander pieces wrap effortlessly around the vessel form, displaying Susan’s exceptional understanding of design aesthetics. The Harlanders added new breadth to early Canadian studio pottery, introducing a distinct modernist, design-centric style that contrasted with the more common yet well-executed functional wares (such as those influenced by Bernard Leach and the early British studio pottery movement) made during this time period. (#957)
• HARLANDER MODERERNIST GEOMETRIC VASETheo
  HARLANDER MODERERNIST GEOMETRIC VASETheo and Susan Harlander ceramic vase, hand decorated with geometric design. Signed on the bottom. Very good condition. 7" H x 6" W. Examine all photos closely. Contact AAG for more detailed information if needed. AAG is not responsible for any errors or omissions to any lots. All sales are final and sold as is. In house shipping is not available on this lot, please contact one of our third party shippers for a quote. According to Winnipeg Art Gallery, German immigrants Theo and Susan Harlander established the Brooklin Pottery studio in 1952 in Brooklin, Ontario, introducing a continental approach to the field of Canadian studio production. They specialized in custom-ordered household items. Theo would throw the pieces on the wheel and Susan decorated them with freehand sgraffito patterns, designs incised or scratched through the slip or glaze to the earthenware ground. The incised designs on Harlander pieces wrap effortlessly around the vessel form, displaying Susan’s exceptional understanding of design aesthetics. The Harlanders added new breadth to early Canadian studio pottery, introducing a distinct modernist, design-centric style that contrasted with the more common yet well-executed functional wares (such as those influenced by Bernard Leach and the early British studio pottery movement) made during this time period. (#880)
• 4 PC. HARLANDER/LORENZEN CANADIAN POTTERYVase
  4 PC. HARLANDER/LORENZEN CANADIAN POTTERYVase and 2 plates by Theo and Susan Harlander. Larger plate is shown in 'Form & Fantasy', Ceramics by Theo & Susan Harlander (Book Included in lot). Vase is 15" H with chip to inside rim. Two plates are 7.75" (Chip) and 11.75" W. This lot also includes a Ernst & Alma Lorenzen ceramic footed tray with heavy restoration. Tray is 10" x 12". All are signed on bottom. Examine all photos closely. Contact AAG for more detailed information if needed. AAG is not responsible for any errors or omissions to any lots. All sales are final and sold as is. In house shipping is not available on this lot, please contact one of our third party shippers for a quote. According to Winnipeg Art Gallery, German immigrants Theo and Susan Harlander established the Brooklin Pottery studio in 1952 in Brooklin, Ontario, introducing a continental approach to the field of Canadian studio production. They specialized in custom-ordered household items. Theo would throw the pieces on the wheel and Susan decorated them with freehand sgraffito patterns, designs incised or scratched through the slip or glaze to the earthenware ground. The incised designs on Harlander pieces wrap effortlessly around the vessel form, displaying Susan’s exceptional understanding of design aesthetics. The Harlanders added new breadth to early Canadian studio pottery, introducing a distinct modernist, design-centric style that contrasted with the more common yet well-executed functional wares (such as those influenced by Bernard Leach and the early British studio pottery movement) made during this time period. Ernst (1911-1990) & Alma (1916-1998) Lorenzen, from Nova Scotia, are known for their pottery and more specifically their mushrooms. The New York Times featured an article on the Lorenzen's and their mushrooms in 1985. Through the years they have become internationally recognized. (#979, 981, 980, 1141)
• 2 PIECES OF THEO AND SUSAN HARLANDER
  2 PIECES OF THEO AND SUSAN HARLANDER POTTERYTheo and Susan Harlander ceramic footed bowl and vase. Hand decorated with figural designs, signed on the bottom. Very good condition with some minor chips. Bowl 6.5" H x 8" W, vase 6.75" H. Examine all photos closely. Contact AAG for more detailed information if needed. AAG is not responsible for any errors or omissions to any lots. All sales are final and sold as is. In house shipping is not available on this lot, please contact one of our third party shippers for a quote. According to Winnipeg Art Gallery, German immigrants Theo and Susan Harlander established the Brooklin Pottery studio in 1952 in Brooklin, Ontario, introducing a continental approach to the field of Canadian studio production. They specialized in custom-ordered household items. Theo would throw the pieces on the wheel and Susan decorated them with freehand sgraffito patterns, designs incised or scratched through the slip or glaze to the earthenware ground. The incised designs on Harlander pieces wrap effortlessly around the vessel form, displaying Susan’s exceptional understanding of design aesthetics. The Harlanders added new breadth to early Canadian studio pottery, introducing a distinct modernist, design-centric style that contrasted with the more common yet well-executed functional wares (such as those influenced by Bernard Leach and the early British studio pottery movement) made during this time period. (#977)
• THEO & SUSAN HARLANDER CERAMIC BOWLTheo
  THEO & SUSAN HARLANDER CERAMIC BOWLTheo and Susan Harlander ceramic bowl. Hand decorated depicting a hunting scene. Signed on the bottom. Very good condition. 4.25" H x 8.75" W. Examine all photos closely. Contact AAG for more detailed information if needed. AAG is not responsible for any errors or omissions to any lots. All sales are final and sold as is. In house shipping is not available on this lot, please contact one of our third party shippers for a quote. According to Winnipeg Art Gallery, German immigrants Theo and Susan Harlander established the Brooklin Pottery studio in 1952 in Brooklin, Ontario, introducing a continental approach to the field of Canadian studio production. They specialized in custom-ordered household items. Theo would throw the pieces on the wheel and Susan decorated them with freehand sgraffito patterns, designs incised or scratched through the slip or glaze to the earthenware ground. The incised designs on Harlander pieces wrap effortlessly around the vessel form, displaying Susan’s exceptional understanding of design aesthetics. The Harlanders added new breadth to early Canadian studio pottery, introducing a distinct modernist, design-centric style that contrasted with the more common yet well-executed functional wares (such as those influenced by Bernard Leach and the early British studio pottery movement) made during this time period. (#1089)
• PALLISER, WINNIPEG, CANADA, CONTEMPORARY
  PALLISER, WINNIPEG, CANADA, CONTEMPORARY FOREST GREEN LEATHER RECLINER AND OTTOMAN, "NEWPORT OAK" BENTWOOD SUPPORTS OVER CIRCULAR BA...Palliser, Winnipeg, Canada, contemporary forest green leather recliner and ottoman, "Newport oak" bentwood supports over circular base, wear consistent with age and use repairs to leather, small scuffs, etc., chair: 39" h. x 35" w. x 32" d.; ottoman: 17 3/4" h. x 34" w. x 17" d.
• DANCE WAND. EARLY 20TH CENTURY. CLOTH
  DANCE WAND. EARLY 20TH CENTURY. CLOTH WRAPPEDwooden handle. With two hand sewn bands of tri colored beads, leather fringe. And a braided cloth handle. The top has two carved horn points with beaded leather wrap in the style of a tomahawk. 28 1/2" x 7 3/4" One point is loose. an old hand written note reads this tomahawk belonged to chief crowfoot Winnipeg Canada.
• CANADIAN MILITARY SCOUT PINS, EARLY
  CANADIAN MILITARY SCOUT PINS, EARLY 20TH C. Twenty-two (22) early 20th century Canadian metal pins mounted on a leather belt including Overseas Battalion 198 Canadian Buffs, New Ontario 94, Bantams Overseas 216, Niagra Rangers 176, Wentworth 129, and Winnipeg Rifles 203 (among others). Belt: 34.5" L x 3" W.
• Winnipeg Canoe Club Presentation Cigar
  Winnipeg Canoe Club Presentation Cigar Box to R. Frank Wilson, 1934 presented 'On His Departure to Toronto, January, 1934' 1.9 x 6.2 x 3.7 in — 4.7 x 15.7 x 9.3 cm
• CASED TROUGHTON & SIMMS BRASS TRANSIT
  CASED TROUGHTON & SIMMS BRASS TRANSIT SCOPE LONDON, 19TH CENTURY CASE HEIGHT 5.5”. WIDTH 12.5”. DEPTH 8.5”.CASED TROUGHTON & SIMMS BRASS TRANSIT SCOPE, London, 19th Century, Marked "Troughton & Simms, London". Retail label "Hughes Owens Co. Limited Winnipeg" on case interior. Dimensions: Case height 5.5". Width 12.5". Depth 8.5".
• Ryland Warriner Green (American/New
  Ryland Warriner Green (American/New Orleans b. 1934 active Newcomb College 1960-62 1964-69) "Seascape at Dusk" "Shells and Tall Grass by the Shore" and "Shells and Rocks on the Beach" watercolors all signed lower right sight 11 in. x 15 in. 17 in. x 22 1/2 in. and 11 in. x 15 in. respectively framed. Note: Upon receiving his M.F.A. degree from Newcomb College Ryland Greene joined the faculty at the University of Manitoba School of Art in Winnipeg Canada. When New Orleans artist and teacher Ida Kohlmeyer went on sabbatical from Newcomb College in 1964 Greene was invited back to the school as a teacher. While in New Orleans Greene's artistic career flourished and he exhibited at the Orleans Gallery Newcomb Gallery Lowe Art Gallery in Miami and won an award from Florida's Society of Four Arts. Reference: Bonner Judith H. Newcomb Centennial 1886-1986: An Exhibition of Art by the Art Faculty New Orleans: Newcomb Gallery in association with New Orleans Museum of Art 1987 p. 29.
• (SIGNED) SZYK ARTHUR. "VISUAL HISTORY
  (SIGNED) SZYK ARTHUR. "VISUAL HISTORY OF NATIONS SERIES" - EIGHT SIGNED PIECES Winnipeg K. Bilaski 1940's. 11 1/2 x 10 in. Eight heliochrome lithographs: History of Flight Canada China France Britain Israel Switzerland U.S.S.R. All signed lower right. Intended as title pages and frontispieces for international stamp albums.
• Lot of 6 vintage Native American Indian
  Lot of 6 vintage Native American Indian themed letter openers. Including souvenirs from Niagara Falls, Winnipeg Canada, Lake Louise and Montreal Canada. Some paint losses. Longest letter opener is 7 1/2". Estimate $40-50