WORK 4.75 X 4.75 INCHES - ORIGINAL SILKSCREEN - SIGNED - ARTIST PROOF #40 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 29.75 X 21.75 INCHES - FRAME 38.25 X 30.25 INCHES - VERY RARE SERIGRAPH AS COLVILLE HIMSELF MARKED "SPOIL" ONTO THE WORK; BEFORE COMPLETING HE WASN'T COMPLETELY SATISFIED WITH THE PROCESS AND PERSONALLY - CANCELLED IT. IT WAS ACQUIRED DIRECTLY FROM T 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 21.25 X 17.25 INCHES - FRAME 28.25 X 20.25 INCHES - VERY RARE & UNIQUE SERIGRAPH AS COLVILLE HIMSELF HAS MARKED THE X ACROSS THE WORK; BEFORE COMPLETING HE WASN'T COMPLETELY SATISFIED WITH THE PROCESS AND PERSONALLY CROSSED IT OFF - CANCELLED IT. IT WAS AQUIRED DIRECTLY FROM THE ARTIST IN THE PROCESS BY A COLLEAGUE. MAKING THIS EXTREMELY RARE & A 1/1 About the Artist: 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.

WATERCOLOR - WORK 9 X 6 INCHES - FRAME 15 X 12 INCHES - ORIGINALLY PURCHASED THROUGH GALLERY 78 (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.

WATERCOLOR WORK 18 X 12.5 INCHES FRAME 25.5 X 20 INCHES COMES FRESH TO THE MARKET FROM A FAMILY WHO WERE PERSONAL FRIENDS OF JACK'S ON A DRIVE TO SAINT ANDREW'S, NB JACK SAW BEAUTIFUL POPPIES ALONG SIDE OF THE ROAD, WHICH WERE THE INSPIRATION FOR THIS PAINTING. JACK HUMPHREY A painter, watercolourist, draughtsman and printmaker, Jack Humphrey brought a modernist approach to both figurative and abstract work inspired by his native Saint John. With particular attention to form, composition and colour, he created cityscapes and harbour scenes that convey the natural disorder of buildings, streets and boats. His portraits of working class children are moody character studies that convey both the hardships of the Depression, and the resilience and hopefulness of youth. In the 1920s, Humphrey studied under Philip Hale at Boston's Museum of Fine Arts, and under Charles Hawthorne at New York's National Academy of Design. He took additional summer classes under Hawthorne at his Cape Cod School of Art. After completing his formal studies in 1929, Humphrey spent a year in Europe. In Paris, he sketched at the Grande Chaumière and took classes from Cubist painter André Lhote. In Munich, he spent ten weeks studying under Hans Hofmann. He then went on to Italy, Cologne, the Netherlands and Belgium. Humphrey returned to Saint John in the summer of 1930, several months into the Depression, and started painting the city and its inhabitants, creating still lifes, and doing field sketches in the region. In 1933, he spent several months in Vancouver, Toronto and Montreal, exhibiting with the Canadian Group of Painters at the Art Gallery of Toronto, and befriending John Lyman, Jori Smith and Jean Palardy. By the mid-1930s, Humphrey was achieving recognition outside New Brunswick. In 1938, he travelled to Mexico, where he made over 100 watercolours and drawings, which he exhibited the following year at Toronto's Picture Loan Society. During the war, he was commissioned as an unofficial war artist to paint portraits of soldiers. In 1952, Humphrey returned to France on a fellowship, spending a year in Paris and two months in Brittany. Humphrey's work from the 1930s shows that he was already concerned with formal organization and colour. The experimentation of his early work is evident in the drawing Still-life with Oil Lamp (1930). Edith White (1939) demonstrates the naturalism and textured brushwork that is typical of his portraits of children. In Shore of Night (1958), the artist moves towards more abstraction, with a new palette of primary colours with black accents. Humphrey was a member of the Canadian Group of Painters, Eastern Group of Painters, Contemporary Arts Society, Canadian Society of Painters in Water Colour, Canadian Society of Graphic Arts, and International Association of Plastic Arts, and a Fellow of the International Institute of Arts and Letters. He was awarded an honorary doctorate from the University of New Brunswick in 1951.

MIX MEDIA - WORK 19 X 27 INCHES - FRAME 30.5 X 39.5 INCHES INCLUDES A LETTER BY FRED ROSS STATING "I HAVE PUT A GREAT DEAL MORE WORK ON THE PAINTING" SIGNED & DATED APRIL 20TH, 1963. 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.

DETAILED BLACK PENCIL SKETCH - WORK 10 X 16 INCHES - FRAMED 18.25 X 24 - WITH ORIGINAL CELIA TOOMIK RED & WHITE LABEL TITLED "FEMALE NUDE" - CURRENT OWNER HAD PURCHASED AT A TIM ISAAC AUCTION About the artist: 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.

WATERCOLOR - WORK 17.25 X 14.25 INCHES - FRAME 26.85 X 23.75 INCHES - GALLERY 1 LABEL ON BACK. ARTIST: TOM DE VANY FORRESTALL, Born in Middleton, Nova Scotia, he grew up there and in Dartmouth. His early interest in art was stimulated by books on art. When his family moved to Dartmouth, he attended Saturday Morning Classes at the NSCA in Halifax. Following high school, he began art studies at Mount Allison University, Sackville, N.B. (1954), under Lawren P. Harris and Alex Colville, and graduated in 1958 with his B.F.A degree. Under these top Canadian artists, he developed his natural abilities and emerged as a skilful painter who was awaiting an opportunity to develop his ideas. He married fellow student Natalie LeBlanc of Atholville, N.B. Having been a scholarship student, he was awarded a Canada Council grant for study and travel in Europe. When he and Natalie returned to Canada, they settled in Fredericton, where he worked for a year as assistant curator of the Beaverbrook Art Gallery; then as an editorial cartoonist for the “Fredericton Daily Gleaner”, and designer for UNB Press. One of Forrestall’s patrons, Brigadier Michael Wardell, made it possible for him to buy a converted building, formerly an old bakery. There, he conducted art classes one night a week. With the income now from his jobs and his teaching, he was able to devote more of his time to painting. It was not long before he adopted the tried and true medium of egg tempera as well as acrylics. By 1963, he was experimenting with panels of shapes other than the traditional rectangle. In 1965, he held his first solo shows at Roberts Gallery, Toronto. During this period, he painted remarkable scenes which were described by artist and teacher, Dr. Donald C. MacKay as follows, “His paintings, many inspired by the rural tranquility of the Maritimes, frequently reflect nostalgic qualities often inherent in their subjects, yet emphasized so that he shares his intimate experience with the viewer. His preferred medium, egg tempera, is ideally suitable for this expression and the diverse forms of frames are designed to encourage participation and thus enhance this special relationship.”

ACRYLIC ON PANEL - WORK 34.25 X 15.25 INCHES - FRAME 37.5 X 18.5 INCHES - WORK TITLE: Transient Transient The zeppelin Hindenburg passed over the Sackville area twice in 1936 [the year before the famous fire]. The painting shows how it might have looked as it crossed the Memramcook River near Dorchester Island. Crossing the landscape, the Hindenburg was a transient. Also, airships were a transient technology. The sightings were reported in the Sackville Tribune on June 25, 1936 and August 10, 1936. Because airships flew quite slowly [about 60 knots] they were very sensitive to headwinds and the flight path was probably chosen to take advantage of a favorable weather pattern. It was customary for airships to fly their national flag at the stern or have it painted on the fin. The German government wanted to have huge flags painted on the sides of the Hindenburg, but the Zeppelin management [who were not Nazi sympathizers] refused. The painting was in the exhibition "Artflight 94" at the National Aviation Museum in Ottawa. Glenn Adams - Artist Biography Born in Montreal, Glenn Adams intertwined two professions throughout his lifetime: engineering and painting. A graduate of McGill University (B.Sc. 1949, Ph.D. 1953), he initially worked in the aircraft industry while also pursuing his passion for art. His artistic development was significantly shaped by an art workshop in 1960 and a year of study at Mount Allison University in 1962-63, where he was deeply influenced by renowned Canadian artists Alex Colville and Lawren P. Harris. Adams’ background in engineering was evident in the meticulous attention to color, detail, and structure that characterized his work. His art seamlessly combined technical precision with an artistic sensibility, making his pieces distinctive and impactful. After moving permanently to Sackville in 1974, Adams became an active supporter of the local art scene, contributing to organizations such as the Sackville Art Association, Struts Gallery, and Faucet Media Arts Centre. His work reached a wide audience, with exhibitions in cities like Montreal, Toronto, Calgary, and New York. Glenn Adams’ artwork is part of the permanent collections of several prestigious institutions, including the Art Gallery of Nova Scotia, the Owens Art Gallery, the Beaverbrook Art Gallery, the Montreal Museum of Fine Arts, and the Canada Council Art Bank. His legacy endures through his art, which reflects a unique blend of engineering precision and creative expression.

WATERCOLOR - WORK 14.5 X 10.5 INCHES - FRAME 21.25 X 17.25 INCHES About the artist: David McKay chose to give up his employment as a structural technologist in 1972, to become a full time artist. Since that time he has shown his artwork in over one hundred exhibitions in galleries in Canada, the USA and Europe. McKay is an elected member of the Royal Canadian Academy of Arts (RCA) and also an elected member of The Society of Canadian Artists (SCA). David served a four year term on the Board of Directors of the Canada Council for the Arts. Over the past four decades, McKay has been included in exhibitions at the Montreal Olympics, the Canadian Cultural Centre in France and the National Gallery in Canada. Numerous magazine and newspaper articles as well as radio and television programs have featured McKay's work including Bravo Television and CBC Television and Radio ... each have featured David McKay on their national networks. David McKay is included in dozens of public art collections and a few selected ones are listed below. The Beaverbrook Art Gallery, Fredericton, New Brunswick, Canada Esso Resource Centre, Calgary, Alberta, Canada University of New Brunswick, both Fredericton and Saint John campuses, New Brunswick, Canada Royal Bank Building, Ottawa, Ontario, Canada Confederation Art Gallery, Charlottetown, Prince Edward Island, Canada, Mount Allison University, Sackville, New Brunswick, Canada, Irving Oil Limited, Saint John, New Brunswick, Canada, McCain Foods, Toronto, Ontario, Canada, His Royal Highness Prince Andrew, England.

INK & PASTEL - WORK 26 X 20 INCHES - FRAME 33.25 X 26.25 INCHES 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.

WATERCOLOR - WORK 19 X 13.5 INCHES - FRAME 29.5 X 25 INCHES - GREAT COLORS - BACKSIDE WITH GREAT ARTIST INFO & LABELS Tom Forrestall (b.1936) From the early 1970s one of the most prominent of Halifax-based artists has been painter Tom Forrestall, a pillar of Atlantic Realism and a student of Alex Colville (1920–2013). Forrestall won critical and wide public recognition in the 1960s as part of renewed interest in realist painting. His work was shown across Canada, as well as in New York and in Europe, where he had several touring exhibitions. In the mid-1960s Forrestall began to paint images on a variety of forms such as circles, polygons, and triangles. These shaped paintings reflected his assertion that the rectangle is just one shape among many. A parallel approach was to use multiple images in the shaped forms, creating diptychs, triptychs, and more. Tom Forrestall was born in Nova Scotia’s Annapolis Valley in 1936, near what is now Middleton. When he was six, his family moved to Dartmouth and remained there for nine years. At eleven years old, Forrestall began taking Saturday classes at the Nova Scotia College of Art. In 1954 he began his studies at Mount Allison University, graduating four years later. His teachers there were Alex Colville, Lawren P. Harris (1910–1994), and Ted Pulford (1914–1994). Studies with Colville introduced Forrestall to the technique of egg tempera painting, and by the late 1960s it had become his preferred medium. Egg tempera is made by suspending powdered pigment in egg yolk. It dries quickly, and successful use of it requires a meticulous approach with small brushes—a style well suited to realism. The paint is durable, doesn’t fade, and can be buffed and varnished to achieve seeming depth. After graduating from Mount Allison, Forrestall moved to Fredericton, where he was briefly the assistant curator at the Beaverbrook Art Gallery. In 1971 the Beaverbrook Art Gallery organized his first touring exhibition, which travelled across Canada and the United States. Many followed, most recently Tom Forrestall: Paintings, Drawings, Writings, organized by the Art Gallery of Nova Scotia in 2008. In 1972 Forrestall moved back to Dartmouth, where he still lives. Active in his community, he served on the boards of directors of both the Art Gallery of Nova Scotia and the Nova Scotia College of Art and Design. His work can be found in major public and private collections across Canada, including those of the National Gallery of Canada, the Art Gallery of Ontario, the Musée d’art contemporain de Montréal, the Art Gallery of Nova Scotia, and the Beaverbrook Art Gallery, among others.

WATERCOLOR - WORK 8 X 4.75 INCHES - FRAME 14.75 X 10.5 INCHES - PROFESSIONALLY RE FRAMED WITH ORIGINAL CASSEL GALLERIES LABEL. 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.

OIL ON CANVAS - WORK 39.5 X 23 INCHES - STRETCHED ON WOODEN FRAME ARTIST: GERARD COLLINS WAS BORN IN SAINT JOHN, NB. HE IS CONSIDERED ONE OF THE FINEST CONTEMPORARY PAINTERS IN THE REGION. GERARD COLLINS' WORK CAN BE FOUND IN MANY IMPORTANT COLLECTIONS INCLUDING THE NATIONAL GALLERY OF CANADA, THE NEW BRUNSWICK MUSEUM, THE BEAVERBROOK ART GALLERY, THE ART GALLERY OF NOVA SCOTIA, THE UNIVERSITY OF NEW BRUNSWICK AND MANY MORE.

OIL ON CANVAS - WORK 26.25 X 16.25 INCHES - FRAME 33.5 X 23.5 INCHES - COMING FROM A PROMINENT FREDERICTON COLLECTION BELIEVED TO BE VIEW OF HAMPTON NB - CONDITION: WORK SHOWS WELL WITH A FEW PATCHES ON THE BACK. John C. Miles (1837-1911) John Christopher Miles was considered a talented artist by his 19th century peers, though only a few signed examples of his work can be found and little is known of his background. Born in St. John, New Brunswick, Canada, in 1837, Miles began his formal education at the Lowell Institute in Boston before studying privately with Benjamin Champney (1817-1907). He lived just north of Boston in Malden, Massachusetts, but kept a studio in the city, and joined and exhibited with the Boston Art Club for many years beginning in 1874. Like his mentor, Miles was drawn to the White Mountains of New Hampshire and these pastoral landscapes were shown at the Boston Art Club before the artist moved home to New Brunswick around 1877. There he ran the St. John Academy of Art from 1885 to 1896, and became an associate member of the Royal Canadian Academy. Miles passed away in St. John in 1911. Today his work can be found in the collections of the McCord Museum in Montreal, Canada, and the New Brunswick Museum in St. John.

OIL ON BOARD - WORK 5.25 X 8.25 INCHES - FRAME 6.5 X 9.5 INCHES - MARKET SLIP ST JOHN NB - ORIGINAL LABEL -ORIGINAL PRICE TAG - PASSED DOWN THROUGH THE FAMILY - SIGNED LOWER RIGHT. JOHN HAMMOND A great admirer of the painters of the French Barbizon and Dutch Hague schools, Canadian painter John Hammond was best known for his landscapes and marines (or paysages de mer – landscapes of the sea) depicting the Bay of Fundy. Hammond was born in Montreal. By the age of nine, he was working with his father as a marble cutter. In 1866, he travelled with his brother to England and New Zealand to prospect for gold. En route, he became a Plymouth Brethren. While travelling, Hammond noted that the scenery was “magnificent” but that the prospecting was not. Upon his return to Montreal in 1870, he began working for the Notman Studio. He travelled to British Columbia with the Transcontinental Railway Survey in 1871 and seven years later set up a Notman studio in Saint John, New Brunswick. There he became the principal of the Owens Art Institution. It was subsequently moved to Mount Allison Ladies College in Sackville in 1893, where Hammond lived for the rest of his life. Although in the 1880s, he sketched in Europe, his principle inspiration came from the landscape of New Brunswick, as seen in works such as Herring Fishing, Bay of Fundy (1894). Admired by Sir William Van Horne, Hammond painted for the Canadian Pacific Railway in the Rockies in 1892. His painting, Canton, China (1900), was done during a 1900–1901 visit to China and Japan to promote the company’s steamship line. Hammond was an elected member of the Royal Canadian Academy of Arts.

WATERCOLOR - WORK 6 X 5 INCHES - FRAME 11 X 10 INCHES - WITH GALLERY 78 TAG 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 9 X 20 INCHES - FRAME 16 X 28.5 INCHES Cathy Ross was born in Saint John, New Brunswick Canada. She studied at Mount Allison University and the Nova Scotia College of Art and Design, graduating with a Bachelor of Fine Arts degree. In 1983 she was awarded a scholarship to study at the Banff School of fine Arts. In both 1981 and 1983 Cathy was the recipient of Elizabeth T. Greenshields Foundation grants. In her professional career she has exhibited in many solo and group exhibitions in Canada and the US. Her work is represented in collections across Canada, including: Memorial University, NFLD; New Brunswick Museum, Saint John NB; The Canada Council Art Bank, Ottawa; Banff Centre, Alberta; Dofasco Inc., Hamilton; and the Burnaby Art Centre, Burnaby BC. Cathy lives and works in Waterloo, Ontario and Saint Andrews, New Brunswick.

INK & PASTEL - WORK 15 X 20.5 INCHES - FRAME 24 X 29.5 INCHES 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.

WATERCOLOR - WORK 13.25 X 4.5 INCHES - FRAME 21 X 12.25 INCHES About the artist: David McKay chose to give up his employment as a structural technologist in 1972, to become a full time artist. Since that time he has shown his artwork in over one hundred exhibitions in galleries in Canada, the USA and Europe. McKay is an elected member of the Royal Canadian Academy of Arts (RCA) and also an elected member of The Society of Canadian Artists (SCA). David served a four year term on the Board of Directors of the Canada Council for the Arts. Over the past four decades, McKay has been included in exhibitions at the Montreal Olympics, the Canadian Cultural Centre in France and the National Gallery in Canada. Numerous magazine and newspaper articles as well as radio and television programs have featured McKay's work including Bravo Television and CBC Television and Radio ... each have featured David McKay on their national networks. David McKay is included in dozens of public art collections and a few selected ones are listed below. The Beaverbrook Art Gallery, Fredericton, New Brunswick, Canada Esso Resource Centre, Calgary, Alberta, Canada University of New Brunswick, both Fredericton and Saint John campuses, New Brunswick, Canada Royal Bank Building, Ottawa, Ontario, Canada Confederation Art Gallery, Charlottetown, Prince Edward Island, Canada, Mount Allison University, Sackville, New Brunswick, Canada, Irving Oil Limited, Saint John, New Brunswick, Canada, McCain Foods, Toronto, Ontario, Canada, His Royal Highness Prince Andrew, England.

ACRYLIC ON PANEL - WORK 17 X 10 INCHES - FRAME 19.75 X 12.75 INCHES - WITH ORIGINAL LABEL & PRICE TAG $1450.00 Glenn Adams - Artist Biography Born in Montreal, Glenn Adams intertwined two professions throughout his lifetime: engineering and painting. A graduate of McGill University (B.Sc. 1949, Ph.D. 1953), he initially worked in the aircraft industry while also pursuing his passion for art. His artistic development was significantly shaped by an art workshop in 1960 and a year of study at Mount Allison University in 1962-63, where he was deeply influenced by renowned Canadian artists Alex Colville and Lawren P. Harris. Adams’ background in engineering was evident in the meticulous attention to color, detail, and structure that characterized his work. His art seamlessly combined technical precision with an artistic sensibility, making his pieces distinctive and impactful. After moving permanently to Sackville in 1974, Adams became an active supporter of the local art scene, contributing to organizations such as the Sackville Art Association, Struts Gallery, and Faucet Media Arts Centre. His work reached a wide audience, with exhibitions in cities like Montreal, Toronto, Calgary, and New York. Glenn Adams’ artwork is part of the permanent collections of several prestigious institutions, including the Art Gallery of Nova Scotia, the Owens Art Gallery, the Beaverbrook Art Gallery, the Montreal Museum of Fine Arts, and the Canada Council Art Bank. His legacy endures through his art, which reflects a unique blend of engineering precision and creative expression.

WATERCOLOR - WORK 9 X 5.5 INCHES - FRAME 14.5 X 11 INCHES - UNIQUE SUBJECT OF AN AIRSHIP OF THE EARLY 1900'S Glenn Adams - Artist Biography Born in Montreal, Glenn Adams intertwined two professions throughout his lifetime: engineering and painting. A graduate of McGill University (B.Sc. 1949, Ph.D. 1953), he initially worked in the aircraft industry while also pursuing his passion for art. His artistic development was significantly shaped by an art workshop in 1960 and a year of study at Mount Allison University in 1962-63, where he was deeply influenced by renowned Canadian artists Alex Colville and Lawren P. Harris. Adams’ background in engineering was evident in the meticulous attention to color, detail, and structure that characterized his work. His art seamlessly combined technical precision with an artistic sensibility, making his pieces distinctive and impactful. After moving permanently to Sackville in 1974, Adams became an active supporter of the local art scene, contributing to organizations such as the Sackville Art Association, Struts Gallery, and Faucet Media Arts Centre. His work reached a wide audience, with exhibitions in cities like Montreal, Toronto, Calgary, and New York. Glenn Adams’ artwork is part of the permanent collections of several prestigious institutions, including the Art Gallery of Nova Scotia, the Owens Art Gallery, the Beaverbrook Art Gallery, the Montreal Museum of Fine Arts, and the Canada Council Art Bank. His legacy endures through his art, which reflects a unique blend of engineering precision and creative expression.

MIXED MEDIA - WORK 10 X 8 INCHES - FRAME 16.25 X 14.25 INCHES Born Kentville N.S. 1957-,about 8 Generation Canadian of Scottish and French descent.Canadian Folklore Painter/Dealer,with a passion for Canadian Folk Art and Native Artifacts.Award winning artist.Each image attempts to define and bring forth the Spirit of Canada through the artist's interpretation of Canadian and Native folklore.Brian's inspiration derives from Canada's wonderful history,the life of our Aboriginal people,the Hudson Bay and the wonderful work done by Sir Wilfred Grenfell,etc."I was very lucky years ago to find my true Voice as a painter".

WORK 2 X 1.5 INCHES X FRAME 2.75 X 2.25 INCHES - ORIGINAL HAND CARVED FRAME WITH HAND WRITTEN BACK 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 2 X 1.5 INCHES X FRAME 2.75 X 2.25 INCHES - ORIGINAL HAND CARVED FRAME WITH HAND WRITTEN BACK 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 2 X 1.5 INCHES X FRAME 2.75 X 2.25 INCHES - ORIGINAL HAND CARVED FRAME WITH NOTE ON BACK 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.

PASTEL - TITLED: MENACE IN A DARK PART OF THE FOREST - WORK 21.25 x 29 INCHES - FRAME 30 X 38 INCHES - A VERY DETAILED WORK - PROFESSIONALLY FRAMED BY MARIO'S PICTURE FRAMING. MURRAY IS A COLORFUL CHARACTER IN GERRY'S WORLD! ARTIST: GERARD COLLINS WAS BORN IN SAINT JOHN, NB. HE IS CONSIDERED ONE OF THE FINEST CONTEMPORARY PAINTERS IN THE REGION. GERARD COLLINS' WORK CAN BE FOUND IN MANY IMPORTANT COLLECTIONS INCLUDING THE NATIONAL GALLERY OF CANADA, THE NEW BRUNSWICK MUSEUM, THE BEAVERBROOK ART GALLERY, THE ART GALLERY OF NOVA SCOTIA, THE UNIVERSITY OF NEW BRUNSWICK AND MANY MORE

OIL ON CANVAS - WORK 30 X 33 INCHES - STRETCHED ARTIST: GERARD COLLINS WAS BORN IN SAINT JOHN, NB. HE IS CONSIDERED ONE OF THE FINEST CONTEMPORARY PAINTERS IN THE REGION. GERARD COLLINS' WORK CAN BE FOUND IN MANY IMPORTANT COLLECTIONS INCLUDING THE NATIONAL GALLERY OF CANADA, THE NEW BRUNSWICK MUSEUM, THE BEAVERBROOK ART GALLERY, THE ART GALLERY OF NOVA SCOTIA, THE UNIVERSITY OF NEW BRUNSWICK AND MANY MORE.

WATERCOLOR - WORK 8.75 X 5.75 INCHES - FRAME 15 X 12.5 INCHES - JOY OF FRAMING - FREDERICTON LABEL About the artist: Peter Sabat has exhibited his paintings and films throughout Canada, the United States and Europe. He studied painting and film at the Ontario College of Art and Design in Toronto. Between 1997-2004, Sabat resided in Berlin, Germany, collaborating with artists and composers on films, operas, and art projects. His films with composer Walter Zimmermann have been presented at the International Film Festival Rotterdam, the Kunstmuseum Bonn, KNM Berlin's HouseMusik, and the Goethe-Institut. Other projects have been produced in association with composers Wolfgang von Schweinitz, Thomas Meadowcroft and Marc Sabat. His works have also been shown at the MaerzMusik festival and the Deutsche Kinemathek in Berlin, the Bayerische Staatsoper in Munich, the Centre Georges Pompidou in Paris, and the Art Institute of Chicago. "AUTOMAT," a video/music collaboration with brother Marc Sabat, was featured at Carnegie Hall, New York, as part of the "Berlin in Lights" festival in 2007. His new series of paintings, "California Elegies I" and "Smoke (after Piranesi)," were presented in December 2011. His latest film is "A Place On Earth" (2011/14). He lives in California. BORN 1970 Kitchener, Ontario, Canada.

WATERCOLOR - WORK 13.5 X 9.75 INCHES - FRAME 20.75 X 16.75 INCHES About the artist: Peter Sabat has exhibited his paintings and films throughout Canada, the United States and Europe. He studied painting and film at the Ontario College of Art and Design in Toronto. Between 1997-2004, Sabat resided in Berlin, Germany, collaborating with artists and composers on films, operas, and art projects. His films with composer Walter Zimmermann have been presented at the International Film Festival Rotterdam, the Kunstmuseum Bonn, KNM Berlin's HouseMusik, and the Goethe-Institut. Other projects have been produced in association with composers Wolfgang von Schweinitz, Thomas Meadowcroft and Marc Sabat. His works have also been shown at the MaerzMusik festival and the Deutsche Kinemathek in Berlin, the Bayerische Staatsoper in Munich, the Centre Georges Pompidou in Paris, and the Art Institute of Chicago. "AUTOMAT," a video/music collaboration with brother Marc Sabat, was featured at Carnegie Hall, New York, as part of the "Berlin in Lights" festival in 2007. His new series of paintings, "California Elegies I" and "Smoke (after Piranesi)," were presented in December 2011. His latest film is "A Place On Earth" (2011/14). He lives in California. BORN 1970 Kitchener, Ontario, Canada.

WATERCOLOR - WORK 18.5 X 11.5 INCHES - FRAME 26.5 X 19.5 INCHES - GALLERY ONE LABEL Well-known for landscape work, Barbara Safran de Niverville currently explores the vigour of plants within compromised environments. A recipient of the Alumni Award from Lesley University College of Art and Design in Boston and a Sheila Hugh MacKay Scholarship, Barbara recently completed her Master of Fine Arts at the Lesley University College.

WATERCOLOR - WORK 22.5 X 15 INCHES - FRAME 32 X 24 INCHES Norman Redmond Cody was a Canadian artist who was born in 1914. His works can be found at the Collection Art NB

WORK 9.75 X 6 INCHES - FRAME 17.25 X 14.25 INCHES - BOUGHT AT TIM ISAACS AUCTION - FAINT HJ (J.H) MONOGRAM , LOWER LEFT CORNER JOHN HAMMOND A great admirer of the painters of the French Barbizon and Dutch Hague schools, Canadian painter John Hammond was best known for his landscapes and marines (or paysages de mer – landscapes of the sea) depicting the Bay of Fundy. Hammond was born in Montreal. By the age of nine, he was working with his father as a marble cutter. In 1866, he travelled with his brother to England and New Zealand to prospect for gold. En route, he became a Plymouth Brethren. While travelling, Hammond noted that the scenery was “magnificent” but that the prospecting was not. Upon his return to Montreal in 1870, he began working for the Notman Studio. He travelled to British Columbia with the Transcontinental Railway Survey in 1871 and seven years later set up a Notman studio in Saint John, New Brunswick. There he became the principal of the Owens Art Institution. It was subsequently moved to Mount Allison Ladies College in Sackville in 1893, where Hammond lived for the rest of his life. Although in the 1880s, he sketched in Europe, his principle inspiration came from the landscape of New Brunswick, as seen in works such as Herring Fishing, Bay of Fundy (1894). Admired by Sir William Van Horne, Hammond painted for the Canadian Pacific Railway in the Rockies in 1892. His painting, Canton, China (1900), was done during a 1900–1901 visit to China and Japan to promote the company’s steamship line. Hammond was an elected member of the Royal Canadian Academy of Arts.

WORK 9.5 X 5.5 INCHES - FRAME 17 X 13 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.

OIL ON BOARD - WORK 8.5 X 6.5 INCHES - FRAME 11.5 X 9.5 INCHES William E. deGarthe (1907-1983) was born in Finland but immigrated to Canada in 1926. He studied art in Europe, at the Montreal Museum of Fine Art, and under Stanley Royle at Mount Allison University, in Sackville, NB. He then taught at the former Nova Scotia College of Art and owned deGarthe Advertising Art in Halifax. For many years, deGarthe spent each spring and summer at Peggy's Cove, where he painted marine scenes that included residents of the village and other nearby coastal communities. Hundreds of his paintings hang in homes, offices and galleries around the world. He was also interested in sculpture, and in the 1970s embarked upon a ten-year project of carving a lasting monument to Canadian fishermen, their wives and children, using as his canvas a 100-foot-long granite outcropping on his Peggy's Cove property. Unfortunately, he had reached only the halfway point at the time of his death. In 1977, deGarthe formally gifted a collection of representative paintings, spanning forty years' work, to the Province of Nova Scotia in appreciation of what the province meant to him as an artist. The paintings have a special significance, since they depict traditional Maritime fishing methods that have passed from use; as deGarthe observed, "Over the years, I have purposely held back on selling these paintings that portray an era in the province's history that no longer exists." His gift is on permanent display at the Public Archives Building in Halifax.

OIL ON BOARD - WORK 16 X 20 INCHES - FRAME 27 X 23 INCHES About the artist: Gordon Roache died June 10,2016. Leaving a legacy in paintings that captured the landscapes and figures of the city of his birth. “He really saw the struggles of the homeless and poor and impoverished of the city and he painted them, he was a very compassionate soul,” recalled his stepdaughter Tanya Isaac. “He’d go around town, sit on a bench or a stair and sketch. He basically painted the city and the people in it — that’s what his love was,” she said. Roache’s “warts and all” approach at his easel sometimes left rubble or dishevelment in a painting, and that was “off-putting” to some who preferred a rosier picture, Isaac said. “He painted the homeless and the down-and-out because of his compassion for human beings,” she said. “He had a real love for those who were struggling.” “The children from the poor families don’t know they are poor,” Roache is quoted on the website ucanbuyart.com. He is remembered by Isaac as a “peaceful, compassionate, generous soul.” Roache attended St. Mary’s University and studied with artists Julius Zarand and Ruth Wainwright. Like many artists, he had a day job to support a family, working at the HMC Dockyard for over 30 years, and painted throughout those years, Isaac said. Roache found it difficult to promote himself and his work, and his wife Jovanna, a poet in her own right, became his devoted publicist. “He didn’t like to speak about himself or talk about himself. She was really the wind beneath his wings, as they say,” Isaac said. Jovanna Roache died in 2015. In her mother’s papers, Isaac found some of the paintings Gordon Roache created for his wife on special occasions — like the Santa he stayed up all night on Christmas Eve to create in time for Christmas Day. “He loved her so much,” she said. With the help of family, a big Victorian home on Lady Hammond Drive was turned into the Burning Candle Gallery. Bigger shows followed, at places like the Lord Nelson Hotel’s Georgian Room, and the Art Gallery of Nova Scotia. “The invitations were collectors’ items in their own right,” Isaac recalled. “Opening night would be swamped with people.” Roache received many commissions. He hesitated in doing faces for fear of disappointing people, she remembered. His paintings are held in private and public collections around the world, including the National Gallery of Canada, and some of them may have a secret little something extra, Isaac said. “When my father was putting frames on the paintings, sometimes there’d be a little gap. He’d put one of his paintbrushes inside to fill the gap, but you’d never know unless you took the painting out of the frame,” she said. “It’s like a little treasure that you don’t know you have.” The quiet artist had his own hardships — he was plagued for much of his life with insomnia, and often burned the midnight oil at his easel, Isaac said. “He loved Van Gogh. I think he identified very much with Van Gogh because he struggled,” she said. “Whenever I hear (the Don McLean song) Starry Starry Night, I think of my father.” In 1986, Tundra Books produced Halifax ABC, a book created with a series of 26 of Roache’s paintings, showcasing his trademark style — lots of acrylics, generous brushstrokes, bright and dark colours in his early work, and more subdued tones later. The importance of family was reflected in his work; he created paintings for his granddaughter Julia, and his limited edition print, Rene Looking Out The Window shows son Rene as a toddler, looking out on a snowy night scene. He was generous to local causes; his paintings were often donated to help raise funds for Hope Cottage and IWK. “He really was beloved by so many people, he cared so much about this city and the historic sites of this city,” Isaac said. Gordon Roache was 78. Sources: Chronical Herald

25 INCHES TALL Henry C. Purdy (b. 1937), born in Nova Scotia, is a professional visual artist who has been working on Prince Edward Island for more than 50 years. He was elected into the Royal Canadian Academy of Arts in 1978. He was awarded the Royal Society of Arts Medal in 1981 for his contribution to the Fine Arts in the Atlantic region. Purdy is a past member of the Canada Council. He has served on the Board of the Canadian Conference of the Arts, as PEI’s representative. Purdy has served on the Board of the Confederation Centre of the Arts in Charlottetown. Purdy's Lady Slipper design for a $350.gold coin for the Royal Canadian Mint was selected and minted in 1999. Purdy has been granted numerous awards. Purdy was appointed as a Member of the Order of Canada in 2001. He was presented with the Queen’s Golden Jubilee Medal in 2002.

40 X 72 INCHES - WOVEN WALL HANGING IN WOOL AND EMBROIDERY SILKS Charlotte Lindgren RCA (1 February 1931 – 19 April 2023) was a Canadian sculptor-weaver, installation artist, photographer and curator. Lindgren gained worldwide fame for innovative weaving due to the response to her distinctive installation Aedicule in the 1967 International Biennial of Tapestry in Lausanne, Switzerland. Her architectural textile works — usually large — are single woven planes that transform into three-dimensional forms. They explore the interplay between positive and negative spaces, allowing for dramatic shadows and movement. Lindgren represented Canada abroad many times, and in 2002 was awarded the Queen Elizabeth II's Golden Jubilee Medal. She lived in Winnipeg from 1956 to 1963, then in 1964 moved to Halifax and afterwards to Cape Breton. Lindgren's work differs from traditional weaving in its use of materials and the way it approaches three-dimensional form. While a standard loom has four harnesses, Lindgren used one made to her own specifications — with 16 harnesses and two back tension beams. When weaving, her process involves testing what the possibilities could be when not as restricted by the traditional loom. Along with black wool chosen for its visual clarity, she might use monkey hair, and lead wire and plastic that reflected currents in 20th century modernism. In 1965, Carol Fraser wrote about the experimentation visible in each work by Lindgren.

18 X 2.75 X 6.5 INCHES - HALF BODY DECOY 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.

23.5 X 3 X 7 INCHES - HALF BODY WOODEN DECOY 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.

15.25 X 2.75 X 4.75 INCHES - HALF BODY WOODEN DECOY 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.

14.5 X 2.25 X 6.5 INCHES - HALF BODY WOODEN DECOY 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 6.5 X 6.25 INCHES TALL - SPECIAL EDITION OF 10 ANNIVERSARIE DU CENTRE MARIN - THIS WAS THE 1ST DUCK MADE WITH REVERSE FEATHERS BY MISTAKE - FULL BODY WOODEN DECOY. Serge A Savoie is the son of Amateur Savoie and only started carving seriously in 1984, a year after his father's passing.

15 X 6 X 6.25 INCHES TALL FULL BODY WOODEN DECOY Serge A Savoie is the son of Amateur Savoie and only started carving seriously in 1984, a year after his father's passing.

13 X 5 X 6.5 INCHES TALL - FULL BODY WOODEN DECOY Serge A Savoie is the son of Amateur Savoie and only started carving seriously in 1984, a year after his father's passing.

42.5 X 8 X 9.5 INCHES - FULL BODY WOODEN DECOY - WITH FEATHER STAMP - UN SIGNED - ACQUIRED FROM A PROMINENT FAMILY OF HUNTERS WHO ACQUIRED THEM DIRECTLY FROM AMATEUR AT THE TIME MADE - AMATEUR MADE LOTS OF WORKING DECOYS FOR THE FAMILY. 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.

26 X 9.25 X 9.25 INCHES - FULL BODY WOODEN DECOY - UN SIGNED - ACQUIRED FROM A PROMINENT FAMILY OF HUNTERS WHO ACQUIRED THEM DIRECTLY FROM AMATEUR AT THE TIME MADE - AMAYEUR MADE LOTS OF WORKING DECOYS FOR THE FAMILY. 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.

35 X 10.25 X 9.75 INCHES TALL - LARGEST WOODEN LOON WE HAVE SEEN & WITH GREAT DETAIL!

13 X 5 X 6.5 INCHES TALL

15 X 6 X 7.25 INCHES TALL

OIL ON BOARD - WORK - 16 X 12 INCHES - UNFRAMED - COMES FRESH TO THE MARKET FROM A NOVA SCOTIA ESTATE. THEIR FATHER HAD ACQUIRED IT DIRECTLY FROM EVERETT. About the artist: Everett Lewis (1893-1980) - Husband of Nova Scotia's most popular Folk Artist Maud Lewis, Everett worked as a fish peddler and night watchman at the Marshalltown Poor Farm. As Maud got older and her physical condition deteriorated and her hands got worse, her popularity grew and demands on her to produce work were at their greatest. to facilitate productivity, Everett got her to draw oxen on cardboard and cut out templates for her to use in her paintings. Later he made his own horse templates and began to paint. Some of his own work is part of the collection in the Gallery of Nova Scotia. Maude and Everett's small one room house in Digby was reconstructed and installed inside the Art Gallery of Nova Scotia in Halifax. Refuted to be a miser and a very practical man, Everett developed the ability to fold a five dollar bill into a flat one inch square which was the price of a Lewis painting. He kept it hidden in Mason jars. Then U.S. President Richard Nixon and Prime Minister Robert Stanfield were among those who visited their home to buy a painting done by Maud. Everett continued to live in their little house after Maud's death in 1970. He was killed in 1980 in a scuffle with an intruder who broke into the house and tried to rob him.

LATEX & MARKER ON MASONITE - WORK 27.5 X 43.5 INCHES - FRAME 30.25 X 46.25 INCHES - JOSEPH SLEEPS TOP SELLER WERE HIS CATS! Joseph Sleep was born at sea “somewhere between England and Canada”, and the year is also not quite clear – could be 1914, 1916 or 1918 but the 1914 date of birth is generally accepted. Joe would describe himself as a jack-of-all-trades. He held a great many jobs in his early youth mainly as a fisherman, and then worked throughout most of his adult like as a “carney” for the Halifax based, traveling circus Bill Lynch Shows, In 1973 he had heart trouble and spent time convalescing at the Halifax Infirmary. It was at the hospital that the nursing staff provided Joe with paper and supplies to draw posters, and this is what started him on his career as a painter. He was not eligible for an old age pension due to an unsympathetic bureaucracy’s reaction to his lack of an official birth certificate so he came to depend on selling his pictures as his sole source of income. In the catalogue for his 1981 retrospective exhibit at the Art Gallery of Nova Scotia, guest curator Bruce Ferguson states: “For Joe Sleep painting was not an aesthetic preoccupation, but one largely determined by public demand and distribution as his studio sign proudly demonstrates. By relying entirely on popular image sources and bright colours for immediate impact in the studio sign and in his Xeroxed handbills advertising his wares, he effectively attracted his clientele. Importantly his prior marginal social status was raised considerably by this form of exchange, which would ordinarily be denied to a person of his background and limited education. By servicing the public with delightful pictures, Joe Sleep was able to provide himself with a viable economic source, and to maintain his self-respect within the community. Originally introduced to art through colouring books given to him by nurses in the hospital, Joe Sleep gradually developed an inventory of stenciled images which could be reused to create simple and complex picture patterns. Joe Sleep would trace images from colouring books, magazines, or book illustrations per se, sometimes enlarging the size by a simple system of scaling and then he would make a hard cardboard stencil which could be used indefinitely. The inventory was revised and expanded according to customer demands and Joe Sleep’s own interest in significant images from his memory. Even his few human figures which especially look hand-drawn are stenciled images, as is the case with the greatest majority of his works. The unusual dimension of customer reaction is best illustrated by the preponderance of cat images in his works and is best summed up in the artist’s own words “My cat is my best seller”. A similar accommodation to economics was his 13 ½” x 13 ½” format paintings, hung on the fence of the Public gardens in Halifax, purposefully designed to fit in the suitcases of tourists.” Joe Sleep lived and worked out of a modest studio at 1671 Argyle Street until 1971 when ill health, and economic decline forced him to the street. It is said that a group of art students from the University took him in and gave him a place to stay in a janitors room at the art school for the last months of his life. He died in 1978. In the 1981 catalogue, Harold Pearse, Associate Professor, Nova Scotia College of Art and Design concludes “Joe was full of paradoxes. At one minute he would be the convalescent saying his painting ”helps to pass the time”; at the next, the entrepreneur promoting his product, and the next, the artist making decisions about pictorial problems. His life was full of hard work, hard times, little money, bouts with alcohol and poor health, yet his paintings were joyful representation of flowers, fish, birds, animals, boats, and buildings. Joe lived on the fringes of society, yet unknowingly contributed to the visual heritage of the province. He could be a gentle old man who loved children, or a derelict wino, obnoxious and crude. He could be childlike and dependent, or worldly-wise and philosophical. He could tell a story about how he worked with elephants on the Bill Lynch shows (could it really have been for thirty-two years?) and shortly after wonder what colour to paint an elephant’s eye because he had never seen one. In spite of, or more likely because of these contradictions and paradoxes, Joe was much more than a colourful illiterate street character. He was a friend to have a beer with, to paint a house with, and the father I never got close enough to before it was too late. There was a depth not always fathomable. He was a person with his own strengths, weaknesses, joys, fears, doubts and hopes. His painting gave him pleasure, a means of expression, and most important it gave him dignity. “Well, I’m not sorry about it. I enjoyed every bit of it, and if weren’t for Ken and Harold, I’d still be down on Kent street paintin’ the shit-house door or something”

OIL ON BOARD - WORK 19.25 X 13.25 INCHES - FRAME 24 X 18 INCHES - Title of painting: Bouctouche Train at Notre Dame Station 3 miles from home. Where painted: At home south side Cocagne, NB, Oil Varnish record: Dec 18, 1976. Artis: Leo B Leblanc. Address: RR1 Cocagne NB. Art society affiliations: Moncton Art Society. Exhibition record: Art Bank Ottawa. Art Bank Fredericton NB. Prices won: Olympic Montréal 1976. About the Artist: 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 8.75 X 6 INCHES - FRAME 13 X 9.5 INCHES - IMPORTANT POLITICAL WORK BY LEO B LEBLANC OF QUEEN ELIZABETH SIGNS CANADA'S CONSTITUTIONAL PROCLAMATION IN OTTAWA ON APRIL 17, 1982 AS PRIME MINISTER PIERRE TRUDEAU LOOKS ON - COMES WITH PROVENANCE FROM THE ESTATE AS WELL AS THE ORGINAL INSPERATION NEWS PAPER PHOTO AND A SECOUND CLIPPING HE USESD AS THE COLOR PALETTE. About the Artist: 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.

ACRYLIC/ MASONITE/ GLUE / FOUND OBJECTS / RECYCLED WOOD - WORK 12 X 16 INCHES - - COMES WITH GREAT LETTER & MEMORIES FROM PAUL THAT READS: "This Painting brings back a lot of nice memories for me I remember this old beach house very well. I spent a lot of time there during the early 60’s. I remember it was about the time the beach boys came out. I used to collect bottles around the beach and I would look at the girls in bikinis. I remembe the song “yellow polka dot Bikini” very well. There was a dance hall + juke box under the beach house and I used to watch them dance, the Jive was very pupular. One of my friends, Maurice was very good at Jive dancing. He also took my first girlfriend away from me. The beach house was torn down in the 1980’s and a new fancy one built. I don’t like it!" -Paul McFadden About the artist: 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 7 X 5 INCHES - 3D WOODEN CARVED WALL HANGING About the artist: 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.

42.5 X 9.5 X 9.5 INCHES DEEP Bradford Naugler (born 1948) began carving and painting in 1989, after working in the woods, and as a labourer and house painter. He is well known for his carvings of peacocks, roosters, seagulls, bears and small to life-size human figures, and the red and black checkerboard frames on his paintings. He has also carved mermaids, deer, bobcats and a number of other animals. Bradford Naugler's work includes a commission for the Confederation Gallery in Prince Edward Island, for whom he did life sized carvings of the ten fathers of confederation. He is featured in the 1994 National Film Board production, "Folk Art Found Me", and has also been featured in a number of television shows. His work toured the British Isles as part of the Canadian Cultural Heritage Exhibition (1989) and is included in the collection of the Art Gallery of Nova Scotia and in collections throughout North America and Europe. His six foot carved "Black Bear" was donated to the Canadiana Fund, and is now located at the official residence in Ottawa. Bradford has participated in all of the Nova Scotia Folk Art Society festivals, and the 1992 festival poster featured one of Bradford's well known carved roosters. Bradford's artwork has twice been featured on the poster for the Nova Scotia Folk Art Festival.

WORK 29.75 X 20.75 X 5 INCHES - HORNS HAVE BEEN RE GLUED - DATED 2019 Bradford Naugler (born 1948) began carving and painting in 1989, after working in the woods, and as a labourer and house painter. He is well known for his carvings of peacocks, roosters, seagulls, bears and small to life-size human figures, and the red and black checkerboard frames on his paintings. He has also carved mermaids, deer, bobcats and a number of other animals. Bradford Naugler's work includes a commission for the Confederation Gallery in Prince Edward Island, for whom he did life sized carvings of the ten fathers of confederation. He is featured in the 1994 National Film Board production, "Folk Art Found Me", and has also been featured in a number of television shows. His work toured the British Isles as part of the Canadian Cultural Heritage Exhibition (1989) and is included in the collection of the Art Gallery of Nova Scotia and in collections throughout North America and Europe. His six foot carved "Black Bear" was donated to the Canadiana Fund, and is now located at the official residence in Ottawa. Bradford has participated in all of the Nova Scotia Folk Art Society festivals, and the 1992 festival poster featured one of Bradford's well known carved roosters. Bradford's artwork has twice been featured on the poster for the Nova Scotia Folk Art Festival.

16 X 11.5 X 9.5 INCHES - WOODEN AND FOUND OBJECTS - INCLUDING CHAINSAW BLADE FOR TEETH

22.5 X 6.5 X 17 - UNSIGNED - BOUGHT DIRECTLY FROM THE LATE ARTISTS WIFE BRIAN FANCY (1951 - 2015) Brian Fancy was born in Caledonia, Nova Scotia in 1951 and moved to Liverpool at 15 years of age. Brian was a transport truck driver, a very talented folk artist, carpenter and contractor. He carved people, birds, beavers, bears, dogs, cats and other animals. His wife Carolyn helped Brian by painting his birds and figures. A common theme with the Nova Scotia folk artists has always been the Canadian Mountie. Brian Fancy s Mounties are always standing at full attention in their bright red serge tunics complete with a high neck collar, stetson hat and yellow stripe breeches. They look straight at you with their piercing eyes.

WOODEN DUCK - 29.5 INCHES TALL Ted Evans: Born: 1950' ish | Died: 2016 Ted Evans. Sculptor. Woodcarver. Painter. Amherst, Nova Scotia. Active since the 1990’s. (And long before that). Ted Evans is one of the better known Canadian folk artists. He works with ‘as found’ materials when it feels right (if you leave something lying around it is likely to end up in one of his works) and he will mix media with skill and insight. His pallet is Maritime primary colors and there is always more in his art than we see at first look. Both his paintings and his carvings are full of motion and energy. Many of his paintings and carvings are influenced by his early career in music. (See his Talking Heads sculpture below.) Works by Ted Evans are in many collections in Europe, North America and Asia.

WOODEN FISH ON STAND - 8 X 7.75 X 3.5 INCHES DEEP Craig Naugler Born: 1973 Craig Naugler. Sculptor. Woodcarver. Bridgewater, Nova Scotia. Active 1990’s . Craig Naugler, the son of artist Bradford Naugler, is an artist in his own right. While he is not creating right now due to a back injury, Craig Naugler has occupied a corner of Bradford Naugler’s studio and Gallery for some years.

PAINTING ON BOARD WITH RAISED CHIEF HEAD, STAR, SUN MADE WITH CLOTHES PINS - WORK 19.5 X 15.5 INCHES - FRAME 22.75 X 19 INCHES About the artist: EDDIE MANDAGGIO (1927 - 2020) Eddie Mandaggio worked in northern Manitoba and Ontario as a trapper and as a hunting and fishing guide. After moving to Nova Scotia in 1951, he worked on the railroad and in lumber camps. Eddie began carving in the early 1970's, and later started painting. His work, which consists primarily of animals and birds, includes a life size carved self portrait. He has been the subject of numerous articles about folk art, and is also featured in "Folk Art Found Me", a National Film Board of Canada production released in 1994. Eddie was not been active after 2003, and his work is becoming increasingly difficult to find.

PAINTING ON BOARD - WORK 20 X 16 INCHES - FRAME 23.5 X 19.25 INCHES - A SIGNED PAINITNG NEVER SEEN BY ONE OF NEW BRUNSWICK TOP CARVERS! Robert Jardine is a talented New Brunswick sculptor & wood carver. Robert Jardine skill was endless and had the ability to carve almost anything, you can find duck decoys, animals, birds and crooked knives bearing his mark R.E.J.. His work rarely shows up on the market & is highly sought after among knowledgeable collectors.

5.5 X 11.5 X 10.25 INCHES TALL - THIS YEARS POSTER ARTIST FOR THE LUNENBURG FOLK ART FESTIVAL. Wilfred Saulnier - Artist Bio Wilfred Saulnier is a skilled wood carver based on Burns Hill Road in Deep Brook. With a lifelong passion for working with wood, Wilfred has spent years honing his craft. His early career included time at AF Theriault Ship Builders, where he developed his hands-on skills. Wilfred’s artistic inspiration comes naturally, often guided by the inherent beauty of the wood itself. He describes his creative process as intuitive, allowing the material to reveal the potential of each piece. Over the years, his techniques have evolved, becoming more fluid and instinctual with each new creation. His work has gained recognition in the local community, including two notable pieces: one created for the Metis Nation of the Eastern Woodlands and an African mask donated to the Yarmouth African Society, which was featured in the Yarmouth Vanguard. Driven by a deep love for his craft, Wilfred continues to create unique and meaningful works of art, celebrating the natural beauty of wood.

10 X 8.5 X 10 INCHES DEPTH -THIS YEARS POSTER ARTIST FOR THE LUNENBURG FOLK ART FESTIVAL Wilfred Saulnier - Artist Bio Wilfred Saulnier is a skilled wood carver based on Burns Hill Road in Deep Brook. With a lifelong passion for working with wood, Wilfred has spent years honing his craft. His early career included time at AF Theriault Ship Builders, where he developed his hands-on skills. Wilfred’s artistic inspiration comes naturally, often guided by the inherent beauty of the wood itself. He describes his creative process as intuitive, allowing the material to reveal the potential of each piece. Over the years, his techniques have evolved, becoming more fluid and instinctual with each new creation. His work has gained recognition in the local community, including two notable pieces: one created for the Metis Nation of the Eastern Woodlands and an African mask donated to the Yarmouth African Society, which was featured in the Yarmouth Vanguard. Driven by a deep love for his craft, Wilfred continues to create unique and meaningful works of art, celebrating the natural beauty of wood.

9.5 X 10.5 X 4.25 INCHES DEPTH Eddie Conrad - Artist Bio Eddie Conrad is a folk artist based in Bridgewater, Nova Scotia. His early years were spent fishing out of Lunenburg, starting at the age of thirteen. After leaving the fishing industry, Eddie worked in a fish plant for several years before embarking on a thirty-five-year career with Bridgestone-Firestone, eventually retiring. Eddie’s journey into folk art began in 1991 after a back injury led him to search for a creative outlet during his recovery. On April 13th of that year, he carved his first owl, sparking a passion for carving that he pursued intermittently as time allowed. After the passing of his wife, Eddie placed a few pieces in a consignment store in New Germany. There, his work caught the attention of collector Lee McClair, who introduced him to the Nova Scotia Folk Art Society. Eddie’s body of work now includes a variety of carvings, each reflecting his distinctive folk art style. His talent has gained recognition through his participation in the NS Folk Art Show, where his pieces continue to captivate audiences.

9.5 WIDTH X 3.25 TALL X 2 DEPTH Jodi Isenor (Crooked Tail Folk Art) has always been intrigued by folk art since he was a child. In 2018, he did his first piece & in the last 2-3 years hasn’t stopped. Hundreds of pieces have been created, with some being sold around North America. Jodi’s work can also be found at Freya & Thor’s Art Gallery in Cheticamp, NS, Rhubarb Restaurant in Indian Harbour, Skwirl Contemporary Fine Art Gallery in Ontario & at the Lunenburg Folk Art Festival!

9.5 WIDTH X 10 TALL X 5.5 DEPTH STACY DEBUTED AT THIS YEARS NOVA SCOTIA FOLK ART FESTIVAL

9.5 X 3 X 5.25 INCHES DEEP

PAINTING ON BOARD - WORK 14 X 11 INCHES - FRAME 15.5 X 12.5 INCHES - ACRYLIC ON MASONITE 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.

PAINTING ON BOARD IN ORIGINAL PAINTED FRAME - WORK 7 X 5 INCHES - FRAME 9 X 7 INCHES 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 20 X 16 INCHES - STRETCHED ON CANVAS About the artist: 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.

WORK 20 X 16 INCHES - STRETCHED ON CANVAS About the artist: 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.

WORK 20 X 16 INCHES - ACRYLIC ON CANVAS - DATED 2022 ALTERNATIVE REALITY 1755 Histoire alternative - Pierre Martin – Naïve Painter and Storyteller Initially an art collector, Pierre Martin transitioned into becoming a naïve painter. With a background as a corporate executive, he found inspiration in the works of artists like Bradford Naugler, Yvon Gallant, Arthur Villeneuve, and Maud Lewis. Although Pierre pursued extensive university studies in fields other than art, he has led several businesses. Now, he dedicates himself to creating one painting each month. Pierre Martin is also the host of the Pierre Martin Folk Art podcast, where he shares stories linked to his artworks. His podcast is available on platforms such as YouTube and Spotify, and it has been recognized as one of the "Top 5 Arts Podcasts of 2024." His artwork has been featured in several significant exhibitions, including "The Enchanted Forest" at Moncton Public Library (2024), "Prelude: Journey into the Enchanted Forest" at Galerie Sans Nom (2023), "Chartreuse" at Queen Gallery in Fredericton (2022), and "The World Imagined by Pierre Martin" at Dieppe Arts and Culture Centre (2021). His public art installation Accent was displayed in Downtown Moncton (2024). Through his podcast and exhibitions, Pierre brings together storytelling and visual art, engaging audiences with his unique narratives and vibrant creations.

PENCIL SKETCH - WORK 14.5 X 8.5 INCHES - FRAME 21.5 X 16 INCHES - LOGING CAMP SEPTEMBER 25, 1977 - NICELY FRAMED About the Artist: 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 20.25 X 19.5 INCHES - FRAME 23.75 X 22.75 INCHES 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.

WORK 24 X 36 - STRETCHED ON BOARD 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.

ASTONISHING ATTENTION TO DETAIL - MADE FROM WOODEN & METAL PARTS - 12 X 4 X 3.75 INCHES - 1792 PARTS MADE OVER 285 HOURS Glenn Adams - Artist Biography Born in Montreal, Glenn Adams intertwined two professions throughout his lifetime: engineering and painting. A graduate of McGill University (B.Sc. 1949, Ph.D. 1953), he initially worked in the aircraft industry while also pursuing his passion for art. His artistic development was significantly shaped by an art workshop in 1960 and a year of study at Mount Allison University in 1962-63, where he was deeply influenced by renowned Canadian artists Alex Colville and Lawren P. Harris. Adams’ background in engineering was evident in the meticulous attention to color, detail, and structure that characterized his work. His art seamlessly combined technical precision with an artistic sensibility, making his pieces distinctive and impactful. After moving permanently to Sackville in 1974, Adams became an active supporter of the local art scene, contributing to organizations such as the Sackville Art Association, Struts Gallery, and Faucet Media Arts Centre. His work reached a wide audience, with exhibitions in cities like Montreal, Toronto, Calgary, and New York. Glenn Adams’ artwork is part of the permanent collections of several prestigious institutions, including the Art Gallery of Nova Scotia, the Owens Art Gallery, the Beaverbrook Art Gallery, the Montreal Museum of Fine Arts, and the Canada Council Art Bank. His legacy endures through his art, which reflects a unique blend of engineering precision and creative expression.

ASTONISHING CRAFTSMANSHIP - MADE WITH METAL PARTS - 12 X 2.75 X 3.25 INCHES -SCALE 1/3 INCHES - JULY 1946 - 215 HOURS, 1594 PARTS GN ADAMS. Glenn Adams - Artist Biography Born in Montreal, Glenn Adams intertwined two professions throughout his lifetime: engineering and painting. A graduate of McGill University (B.Sc. 1949, Ph.D. 1953), he initially worked in the aircraft industry while also pursuing his passion for art. His artistic development was significantly shaped by an art workshop in 1960 and a year of study at Mount Allison University in 1962-63, where he was deeply influenced by renowned Canadian artists Alex Colville and Lawren P. Harris. Adams’ background in engineering was evident in the meticulous attention to color, detail, and structure that characterized his work. His art seamlessly combined technical precision with an artistic sensibility, making his pieces distinctive and impactful. After moving permanently to Sackville in 1974, Adams became an active supporter of the local art scene, contributing to organizations such as the Sackville Art Association, Struts Gallery, and Faucet Media Arts Centre. His work reached a wide audience, with exhibitions in cities like Montreal, Toronto, Calgary, and New York. Glenn Adams’ artwork is part of the permanent collections of several prestigious institutions, including the Art Gallery of Nova Scotia, the Owens Art Gallery, the Beaverbrook Art Gallery, the Montreal Museum of Fine Arts, and the Canada Council Art Bank. His legacy endures through his art, which reflects a unique blend of engineering precision and creative expression.

WOODEN & METAL PARTS - 7.75 X 2.25 X 2.25 INCHES - 3/8" = 1' 0" AUG - OCT 1949 - 112 PARTS 25 HOURS Glenn Adams - Artist Biography Born in Montreal, Glenn Adams intertwined two professions throughout his lifetime: engineering and painting. A graduate of McGill University (B.Sc. 1949, Ph.D. 1953), he initially worked in the aircraft industry while also pursuing his passion for art. His artistic development was significantly shaped by an art workshop in 1960 and a year of study at Mount Allison University in 1962-63, where he was deeply influenced by renowned Canadian artists Alex Colville and Lawren P. Harris. Adams’ background in engineering was evident in the meticulous attention to color, detail, and structure that characterized his work. His art seamlessly combined technical precision with an artistic sensibility, making his pieces distinctive and impactful. After moving permanently to Sackville in 1974, Adams became an active supporter of the local art scene, contributing to organizations such as the Sackville Art Association, Struts Gallery, and Faucet Media Arts Centre. His work reached a wide audience, with exhibitions in cities like Montreal, Toronto, Calgary, and New York. Glenn Adams’ artwork is part of the permanent collections of several prestigious institutions, including the Art Gallery of Nova Scotia, the Owens Art Gallery, the Beaverbrook Art Gallery, the Montreal Museum of Fine Arts, and the Canada Council Art Bank. His legacy endures through his art, which reflects a unique blend of engineering precision and creative expression.

WOODEN MODEL - 14 X 2 X 3 INCHES - 1" = 50' - 920 PARTS Glenn Adams - Artist Biography Born in Montreal, Glenn Adams intertwined two professions throughout his lifetime: engineering and painting. A graduate of McGill University (B.Sc. 1949, Ph.D. 1953), he initially worked in the aircraft industry while also pursuing his passion for art. His artistic development was significantly shaped by an art workshop in 1960 and a year of study at Mount Allison University in 1962-63, where he was deeply influenced by renowned Canadian artists Alex Colville and Lawren P. Harris. Adams’ background in engineering was evident in the meticulous attention to color, detail, and structure that characterized his work. His art seamlessly combined technical precision with an artistic sensibility, making his pieces distinctive and impactful. After moving permanently to Sackville in 1974, Adams became an active supporter of the local art scene, contributing to organizations such as the Sackville Art Association, Struts Gallery, and Faucet Media Arts Centre. His work reached a wide audience, with exhibitions in cities like Montreal, Toronto, Calgary, and New York. Glenn Adams’ artwork is part of the permanent collections of several prestigious institutions, including the Art Gallery of Nova Scotia, the Owens Art Gallery, the Beaverbrook Art Gallery, the Montreal Museum of Fine Arts, and the Canada Council Art Bank. His legacy endures through his art, which reflects a unique blend of engineering precision and creative expression.

6 X 4.25 X 3.5 INCHES TALL - PASSED DOWN THROUGH A PROMINENT WOODSTOCK NB FAMILY. GOOD HONEST BOX IN GOOD CONDITION - MINIMAL QUILL LOSS - ON ONE END OF THE LID THERE'S A 2 IN SEPARATION OF FROM THE BAND - HOWEVER BOX IS SOLID AND HANDLES NICELY - LID OPENS & CLOSES EASY Mi’kmaq in the Nova Scotia/ New Brusnwick region of Canada have used dyed porcupine quills as decorative ornamentation for hundreds of years, practicing this art long before their contact with Europeans. Explorers and fishermen who first encountered Mi’kmaq recorded observations of decorative quillwork, such as in this sailor’s account written in 1606: “…the maids and women do make matachias (bracelets) with the quills or bristles of the porcupine, which they dye black, white and red colours, as lively as possible may be.” (Whitehead, 1982)* Given that there are 20,000-30,000 quills on a single porcupine (yes, somebody counted them), they were an abundant source of raw material for handicrafts. Not long after white people started living and trading among them, Mi’kmaq people turned their craftsmanship skills to making objects to sell to Europeans. They had traditionally used techniques such as stitchery, loom weaving, wrapping and plaiting of porcupine quills to decorate objects for their own use. They also decorated their birch bark canoes with porcupine quills, so inserting quills into birch bark to make decorative designs was another technique within their traditional repertoire. By the mid-1700s, when the souvenir industry was in full swing, the bark insertion technique had become the Mi’kmaq’s dominant form of quill ornamentation. Birch bark boxes decorated with geometric mosaics of dyed porcupine quills were a staple of the Mi’kmaq’s trade with French and English settlers. European entrepreneurs began buying up these crafts, and ships’ captains would resell them at their ports of call. By the early 1800s, the sale of quillwork and other Indian crafts in Great Britain had become lucrative enough that their importation was taxed by the British government. As the fur trade declined throughout the early 19th century, quill work became a primary source of Mi’kmaq’s income. This explains their motivation to adapt quickly to European tastes, which during the Victorian era included fancifying even everyday household items such as tea cozies, straight-edge razor cases, comb boxes and napkin rings. Sometime around 1840, a European fad for furniture inset with panels of quilled birch bark emerged. Mi’kmaq women began to add chair bottoms made of birch bark ornamented with dyed porcupine quills to their wares. In 1851, the Nova Scotia Industrial Exhibition offered a prize for “the best quill work chair bottoms.”

4'' DIAMETER BY 3'' TALL - UNIQUE DESIGNED QUILL BOX WITH SWEET GRASS ACCENTS & PINE BOTTOM. HAND WRITTEN IN PENCIL ON THE BOTTOM "MADE BY INDIANS OF NOVA SCOTIA CAD" CONDITION: BOX IS GOOD AND SOLID WITH LIGHT QUILL LOSS. Mi’kmaq in the Nova Scotia/ New Brusnwick region of Canada have used dyed porcupine quills as decorative ornamentation for hundreds of years, practicing this art long before their contact with Europeans. Explorers and fishermen who first encountered Mi’kmaq recorded observations of decorative quillwork, such as in this sailor’s account written in 1606: “…the maids and women do make matachias (bracelets) with the quills or bristles of the porcupine, which they dye black, white and red colours, as lively as possible may be.” (Whitehead, 1982)* Given that there are 20,000-30,000 quills on a single porcupine (yes, somebody counted them), they were an abundant source of raw material for handicrafts. Not long after white people started living and trading among them, Mi’kmaq people turned their craftsmanship skills to making objects to sell to Europeans. They had traditionally used techniques such as stitchery, loom weaving, wrapping and plaiting of porcupine quills to decorate objects for their own use. They also decorated their birch bark canoes with porcupine quills, so inserting quills into birch bark to make decorative designs was another technique within their traditional repertoire. By the mid-1700s, when the souvenir industry was in full swing, the bark insertion technique had become the Mi’kmaq’s dominant form of quill ornamentation. Birch bark boxes decorated with geometric mosaics of dyed porcupine quills were a staple of the Mi’kmaq’s trade with French and English settlers. European entrepreneurs began buying up these crafts, and ships’ captains would resell them at their ports of call. By the early 1800s, the sale of quillwork and other Indian crafts in Great Britain had become lucrative enough that their importation was taxed by the British government. As the fur trade declined throughout the early 19th century, quill work became a primary source of Mi’kmaq’s income. This explains their motivation to adapt quickly to European tastes, which during the Victorian era included fancifying even everyday household items such as tea cozies, straight-edge razor cases, comb boxes and napkin rings. Sometime around 1840, a European fad for furniture inset with panels of quilled birch bark emerged. Mi’kmaq women began to add chair bottoms made of birch bark ornamented with dyed porcupine quills to their wares. In 1851, the Nova Scotia Industrial Exhibition offered a prize for “the best quill work chair bottoms.”

5.5 X 4.25 X 3.5 INCHES HEIGHT CONDITION - BOX & FORUM IS IN SOLID CONDITION - SOME QUILL LOSS TO THE LID. Mi’kmaq in the Nova Scotia/ New Brusnwick region of Canada have used dyed porcupine quills as decorative ornamentation for hundreds of years, practicing this art long before their contact with Europeans. Explorers and fishermen who first encountered Mi’kmaq recorded observations of decorative quillwork, such as in this sailor’s account written in 1606: “…the maids and women do make matachias (bracelets) with the quills or bristles of the porcupine, which they dye black, white and red colours, as lively as possible may be.” (Whitehead, 1982)* Given that there are 20,000-30,000 quills on a single porcupine (yes, somebody counted them), they were an abundant source of raw material for handicrafts. Not long after white people started living and trading among them, Mi’kmaq people turned their craftsmanship skills to making objects to sell to Europeans. They had traditionally used techniques such as stitchery, loom weaving, wrapping and plaiting of porcupine quills to decorate objects for their own use. They also decorated their birch bark canoes with porcupine quills, so inserting quills into birch bark to make decorative designs was another technique within their traditional repertoire. By the mid-1700s, when the souvenir industry was in full swing, the bark insertion technique had become the Mi’kmaq’s dominant form of quill ornamentation. Birch bark boxes decorated with geometric mosaics of dyed porcupine quills were a staple of the Mi’kmaq’s trade with French and English settlers. European entrepreneurs began buying up these crafts, and ships’ captains would resell them at their ports of call. By the early 1800s, the sale of quillwork and other Indian crafts in Great Britain had become lucrative enough that their importation was taxed by the British government. As the fur trade declined throughout the early 19th century, quill work became a primary source of Mi’kmaq’s income. This explains their motivation to adapt quickly to European tastes, which during the Victorian era included fancifying even everyday household items such as tea cozies, straight-edge razor cases, comb boxes and napkin rings. Sometime around 1840, a European fad for furniture inset with panels of quilled birch bark emerged. Mi’kmaq women began to add chair bottoms made of birch bark ornamented with dyed porcupine quills to their wares. In 1851, the Nova Scotia Industrial Exhibition offered a prize for “the best quill work chair bottoms.”

16.5 WIDEST X 9 X 4.75 INCHES DEEP

13.5 X 9 INCHES - CIRCA 1919 ASSINIBOINE SASKATCHEWAN EMBROIDERED GLOVES

APPROXIMATE SIZE: MEDIUM

11 X 7 X 8 INCHES

13 INCHES RADIUS X 10.25 INCHES TALL - GREAT CONDITION - COLOR & SHAPE

3.25 X 2.25 X 3 INCHES - BIRCH BARK - PORCUPINE QUILLS

6 X 6 X 3.25 INCHES - WRITTEN INSIDE THE LID "MADE BY A MICMAC INDIAN LOUIS JEREMY"

13 X 8.5 X 3.5 INCHES DEPTH

WORK 20 X 24 INCHES - VERY LARGE WORK BY THE ARTIST

16 X 2 X 2.5 DEPTH SIGNED V. LOVEYS

6.25 X 10 INCHES

7 X 7 X 1.5 INCHES DEEP

10 X 7.25 X 3 INCHES DEEP

42 X 43 X 11 INCHES DEEP

10.25 X 8.5 INCHES

SCULPTURE OUT OF MARBLE - SCULPTURE 13 X 8 X 8.5'' - WOODEN BASE 9.75 X 9.75 INCHES - TOTAL HEIGHT 28.5'' Marie Hélène Allain was born in 1939 in Sainte-Marie-de-Kent, New Brunswick, Canada. At the age of ten, she began taking art classes with Jeanne Léger, a local artist. After completing grade twelve, she entered the convent of the Religious of Our Lady of the Sacred Heart at the age of sixteen where she completed her novitiate. She took her temporary vows in 1958 and her final vows in 1961. Fortunately, her religious community strongly encouraged her to develop her skills in the field of visual arts. In 1958-1959, she studied at the École normale and received her teaching certificate from the New Brunswick Department of Education. She then completed a Bachelor of Arts degree at Collège Notre-Dame d'Acadie (1966). Wishing to pursue her studies in visual arts, she took non-credit summer courses in visual arts at Collège Notre-Dame d'Acadie in Moncton and at Queen's University in Kingston, Ontario. In 1967, she entered the École des Beaux-Arts in Montréal. It was there that she discovered sculpture, which later became a passion. In 1971, she completed her bachelor's degree in plastic arts, with a major in sculpture, at the Université du Québec à Montréal (UQAM). In 1978, Marie Hélène Allain did an eight-month internship in Europe, including six months of sculpture training in Pietrasanta (Italy) and two months visiting European art centers. In 1987, she followed a five-month internship in Montreal devoted to various artistic activities, and in 1990, she perfected her skills for a year in France. She also participated twice (1990 and 1992) in the International Sculpture Conference. After completing her second bachelor's degree, she divided her time between teaching and creating. For three years, she taught artistic expression part-time in Kent County public schools. She then taught, still part-time, courses in sculpture and didactics in artistic expression at the Faculty of Education and at the Université de Moncton's Continuing Education program until 1979. Afterwards, she devoted herself entirely to sculpture, except for a few years during which she resumed teaching at the Université du Québec in Montréal (1987) and teaching sculpture in the Visual Arts Department at the Université de Moncton (1988-1989). Although she has been exhibiting since 1972, it was not until 1976 that she had her first solo exhibition at the Galerie d'art de l'Université de Moncton. In all, she participated in more than 50 exhibitions, including more than 20 solo shows and a few travelling exhibitions in Canada, France, Italy and the United States. Among her accomplishments, we can note her participation in the 3rd Jeux de la Francophonie in Madagascar in 1997, in the Louisiana Artists Exchange in 1992 and the traveling exhibition in 2003 of the Strathbutler Award recipients (1996 to 2000). Her sculptures are included in several public and private collections. Over the years, she has created a number of commissioned works, including those for the Market Square (1983) in Saint John, the Beaverbrook Art Gallery (1985) in Fredericton, the Mère-Marie-Anne Pavilion in Moncton (1986), the Restigouche Gallery (1984), and the Dr. Georges-L.-Dumont Hospital Oncology Centre (1994) in Moncton. She also directed the public prize, entitled La vague, awarded by the Festival international du cinéma francophone en Acadie (FICFA), for four years, from 1993 to 1997. In all, her artistic production already includes more than 180 works. Her main objective is to bring inert matter to life and to study the symbolism of stone in assembly with several other materials. She even claims that sculpture is her vocation. Marie Hélène Allain has received grants from the Canada Council for the Arts and, on several occasions, from the New Brunswick Arts Board. In 1996, she received the Strathbutler Award for excellence in the visual arts in New Brunswick. She was also one of the three main organizers of the Exhibition/Retrospective of Visual Arts in Acadia at the Congrès Mondial Acadien in 1999. It was then "the largest visual arts exhibition in Acadia" where, in all, more than 230 works covering the history of Acadian painting, sculpture, engraving, photography and ceramics and regrouping about 120 artists, were exhibited. Marie Hélène Allain also won the gold medal in the sculpture category at the third Jeux de la Francophonie held in Madagascar in 1997, with her work Danser sa liberté. In 1994, Marie-Hélène Allain was the subject of a book entitled Marie-Hélène Allain: La symbolique de la pierre / The Symbolism of Stone written by Carolle Gagnon and published by Éditions d'Acadie. In addition, Marie Hélène won an Éloizes award for artist of the year in visual arts in 2001. The director Rodolphe Caron dedicated the documentary Marie Hélène Allain en dialogue avec la pierre to her in 2008, co-produced by the National Film Board of Canada and Productions Appalaches. The Sheila Hugh Mackay Foundation, whose mission is to promote and support the creation, development and understanding of the visual arts, recently launched the Marie Helène Allain Fellowship to encourage creative exploration and innovation among mid-career artists. The Société culturelle Kent-Sud honored her in 2018 at the opening of the Marie Helene Allain Art Gallery at the Cultural Centre located in Bouctouche, New Brunswick. In 2019, Marie Hélène is one of three recipients of the Lieutenant Governor's Awards for Excellence in the Arts, in the visual arts category.

WORK 23.5 X 23.5 INCHES - FRAMED 26 X 26 INCHES TITLE: MULTIPLE #2 1973 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.

ACRYLIC ON CANVAS - WORK 23.5 X 19.5 INCHES - FRAME 29.8 X 25.6 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)

MIXED MEDIA ON CANVAS - WORK 36 X 30 INCHES 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 23.5 X 11.5 INCHES - FRAME 25.25 X 13.25 INCHES 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.

FRAME 50.25 X 25.5 INCHES - CEMENT ADHESIVE WITH ACRYLIC PAINT DATED 2001 About the artist: As an artist, I am driven by a deep concern for the environment and a passion for storytelling. I use recycled wine corks and resins as my primary medium, transforming everyday waste into vibrant artworks that raise awareness about our impact on the planet.My work often employs vibrant colors and layered resin to create visually captivating scenes. Whether it's a fish morphing into a boat, a lobster with ethernet antennae, or two birds battling over a plastic cork, each piece carries a symbolic message about our relationship with nature, technology, and sustainability.The inclusion of historical and personal elements, like photos of Aboriginal Australians and Acadian Ancestors, adds depth and personal connection to my art. It underscores the interconnectedness of environmental issues with cultural heritage and human experiences across continents.Through my unique use of materials and symbolic narratives, I strive to spark conversation and encourage viewers to reflect on their own consumption habits and environmental responsibility. I believe that art has the power to inspire change, and I hope my work can contribute to a more sustainable future.En tant qu'artiste, je suis profondément préoccupé par l'environnement et passionné par l'art de raconter des histoires. J'utilise principalement des bouchons de vin recyclés et de la résine comme médium, transformant les déchets quotidiens en œuvres d'art vibrantes qui sensibilisent à notre impact sur la planète.Mon travail utilise souvent des couleurs vives et de la résine en couches pour créer des scènes visuellement captivantes. Qu'il s'agisse d'un poisson se transformant en bateau, d'un homard (Ohm-Art) à antennes Ethernet ou de deux oiseaux se disputant un bouchon en plastique, chaque pièce porte un message symbolique sur notre relation avec la nature, la technologie et la durabilité.L'inclusion d'éléments historiques et personnels, comme des photos d'Australiens indigènes et d'ancêtres acadiens, ajoute de la profondeur et un lien personnel à mon art. Elle souligne l'interconnexion des questions environnementales avec le patrimoine culturel et les expériences humaines à travers les continents.Grâce à mon utilisation unique de matériaux et de récits symboliques, je m'efforce de susciter le dialogue et d'encourager les spectateurs à réfléchir à leurs propres habitudes de consommation et à leur responsabilité envers l'environnement. Je crois que l'art a le pouvoir d'inspirer le changement, et j'espère que mon travail pourra contribuer à un avenir plus durable. Paul André Babin

ACRYLIC ON CANVAS - WORK 30 X 15 X 1.75 INCHES - STRETCHED ARTIST: 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.

ACRYLIC ON CANVAS - WORK 24 X 30 INCHES - STRETCHED ARTIST: 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.

ORIGINAL LAMINATED WORKS BY YVON GALLANT, ROMEO SAVOIE, HERMÉNÉGILDE CHIASSON, FRANCIS COUTELLIER, NANCY MORIN AND C GAUVIN - EACH MENU MEASURES 10.5 X 15.25 INCHES

WORK 6.75 X 6.75 INCHES - FRAME 12 X 12 INCHES - NICELY FRAME 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.

26 X 19.75 - UNFRAMED 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.

26 X 19.75 - UNFRAMED 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.

19.75 X 13 - UNFRAMED 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.

19.75 X 13 - UNFRAMED 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.

TITLED: I NEVER PROMISED YOU A RARE GARDEN -WORK 16 X 12 INCHES - FRAME 24 X 20 INCHES Herménégilde Chiasson OC 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.

WORK 15 X 21 INCHES - 21 X 27 INCHES Jacques Arsenault is a meticulous artist internationally recognized for his wood engravings and lithographs, Jacques Arseneault was one of the first artists to have a studio at the Aberdeen Cultural Centre in 1981. Cofounder of the Imago prints workshop and member of Gallery 12, he taught at the University of Moncton during the day and then returned to his studio to create – a routine he maintained until the early 2000s. Since then, he has occupied his own studio in downtown Moncton. His works have been exhibited in Canada, the United States, France and China.

PAINTING ON ARIST BOARD - WORK 12 X 9 - FRAME 16.5 X 13.5 INCHES 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

WORK 20 X 18 INCHES - FRAME 23 X 21 INCHES

PURCHASED IN THE MID 80'S AT A MONTREAL CHRISTMAS SHOW - A TRUE MASTERPIECE OF DESIGN & STYLE - SIZE 8.5

SIZE 6.25

MADE OF STERLING SILVER & LABRADORITE STONE - CHAIN 19 INCHES

PURCHASED IN THE 1970'S FROM ORGACH JEWELLERS ST CATHERINES ST - MONTREAL - BELIEVED TO BE 100+ YEAR OLD - HIGHLY DETAILED CAMEO PENDANTS WIT INDIAN GODDESS - PENDANT 2.25''

7'' TALL - CURRENT OWNER PURCHASED IT FROM CHRISTIES $600.00

WRITTEN ON TH EBACK 'RELINED IN 1909" - WORK 23 X 27 INCHES - FRAME 24.25 X 28.25 INCHES - FOUND IN LUNENBERG COUNTY - CONDITION - LOOKS LIKE WHEN IT WAS RELINED IN 1909 A REPAIR WAS DONE TO THE CANVASE - SEE ADDITIONAL PHOTOS

OIL ON CANVAS - TITLED: SAILING SHIPS AND WHARF WORK : 18 X 12 INCHES - FRAME 25 X 18.5 INCHES - COMES WITH APPRAISAL. Charles-Louis Verboeckhoven (5 February 1802, Comines-Warneton - 25 September 1889, Brussels) was a Belgian marine painter in the Romantic style. His first names are often given as Louis-Charles. Biography His father, Barthélemy Verboeckhoven, was a sculptor and his older brother, Eugène, was an animal painter, both of whom provided his first artistic training. In 1815, the family moved to Ghent, where he developed an interest in marine painting and came under the influence of Frans Balthasar Solvyns. In 1827, along with his father and brother, he established himself in Brussels and, that same year, exhibited two paintings ("Angry Sea" and "Calm Sea") at the local Salon. His work enjoyed immediate popularity. In 1830, however, he turned from painting, becoming involved in the political events that led to the independence of Belgium. He and Eugène both joined the "Korps Jagers van Chasteler" (named after Johann Gabriel Chasteler de Courcelles) and participated in several military actions during the Revolution. Afterward, his life was essentially a round of exhibitions, including the "Triennial Salons" of Brussels, Ghent and Antwerp and smaller salons in the provinces; punctuated by frequent trips to the coasts of the Netherlands, France and England. By 1837, he appears to have been living in Antwerp. Later, he concentrated on selling his paintings abroad. After 1842, he used brighter colors and his style became more realistic. Very often, the foreground figures were provided by his brother, who reportedly performed the same service for several well-known landscape painters. Many of his works are set in small harbors along the Scheldt, which have since disappeared and cannot be identified with any certainty. Toward the end of his career, he was appointed a member of the Rijksakademie. His son, Louis (1827-1884), was also a painter.

OIL ON CANVAS - TITLED: SAIL BOATS ON NEAPOLITAN LAKE - WORK 23.5 X 16 INCHES - FRAME 18 X 10 INCHES - COMES WITH APPRAISAL. Thomas Charles Leeson Rowbotham (1823 in Dublin – 30 June 1875 in Percy Lodge, Camden Hill, Kensington), was an Irish watercolour, landscape and marine artist and lithographer. He was the son of the watercolour artist, Thomas Leeson Scrase Rowbotham (1783–1853). He was trained by his father and first did serious works in 1847 on a sketching trip to Wales. His work was exhibited at the Royal Academy and Suffolk Street Gallery and other prestigious galleries of the time and he was elected an associate of the Royal Institute of Painters in Water Colours in 1848 and a full member in 1851. He succeeded his father as Professor of Drawing at the Royal Naval School, New Cross in Greenwich. They collaborated on The Art of Landscape Painting in Water Colours, and he provided the illustrations for his father's work, The Art of Sketching from Nature.

OIL ON CANVAS - WORK 12 X 18 INCHES - FRAME 19 X 13 INCHES - COMES WITH APPRAISAL. Thomas Bush Hardy (1842, Sheffield – 1897, Maida Vale, London) was a British marine painter and watercolourist. Hardy was born in Sheffield, Yorkshire on 3 May 1842. As a young man he travelled in the Netherlands and Italy. In 1884 Hardy was elected a Member of the Royal Society of British Artists. He exhibited with the Society and also at the Royal Academy. His paintings feature coastal scenes in England and the Netherlands,the French Channel ports and the Venetian Lagoon. He died on 15 December 1897 in Maida Vale, London and was buried on the eastern side of Highgate Cemetery. His grave has no headstone or marker. Hardy had nine children. His son Dudley Hardy was a painter, illustrator and poster designer. His daughter Dorothy received an MBE after working as a nurse in the First World War.

CASE 23.5'' X 19.5'' X 4.75'' DEEP - SIGNED ON BACK - & WRITTEN "…. KIDSON - W.D. LAWRENCE S MAITLAND N.S."

WORK 10 X 15.25 - FRAME 11 X 17 INCHES

WORK 10 X 10.5 - FRAME 11.25 X 12 INCHES

24 X 20 X 39 INCHES - SEAT HEIGHT 17.75

WORK 4 X 3 INCHES - FRAME 13 X 12.25 INCHES - BOUGHT IN BOWMANVILLE ANTIQUE SHOW 30+ YEARS AGO

WORK 9.5 X 11.45 - FRAME 20 X 22.5 - BOUGHT IN BOWMANVILLE ANTIQUE SHOW 30+ YEARS AGO

WORK 12.5 X 16.5 INCHES - FRAME 22.5 X 26.25 INCHES

WORK 21 X 20.5 INCHES - FRAME 28 X 27.5 - APPEARS TO BE PAINTED ON LINENS OR SIMILAR FABRIC

ACRYLIC ON ARTIST BOARD - WORK 13.5 X 9.5 INCHES - FRAME 17 X 13 INCHES Jeanne Marie Leger Born 16 Jan 1895 in Sainte-Marie-de-Kent, Saint Mary, Kent, New Brunswick, Canada. A noted artist who studied in Paris. She taught in Moncton, Massachusetts, and Rhode Island. She painted in water colors, and mainly in oils, did leather tooling, painted china and glassware as well as fabric. Her works appear in many hundreds of private collections in New England and New Brunswick as she was generous with individuals and always donated paintings for Catholic Church charity raffles and auctions. She was also known to donate a painting to customs officers at the US/Canada to overlook a few cartons of cigarettes that had found their way into the trunk of her car. The McCord Museum in Moncton has a few examples of her paintings in its collection, although many were destroyed in a fire.

24.5'' X 18.5'' - FRAME 32.5'' X 26''

WORK 25.25 X 9 INCHES - FRAME 27 X 10.45 FOR EACH ONE - PAINTED FOR A STORE IN LUNENBURG 30+ YEARS AGO

WORK 36'' X 24'' - FRAME 40.25'' X 28.25''

WORK 16'' X 12'' - FRAMED 19.5'' X 15.5'' - JAMES COFFIN, FROM DOYLESTOWN, PENNSYLVANIA, U.S.A.. STUDIED UNDER CHARLES SHEELER (1883-1965)

103 INCHES X 144 INCHES - GREAT CONDITION WITH NICE RICH COLORS

114 X 159 INCHES - CLEAN - SOME LITGHT COLOR BLEED - SEE ADDITIONAL PICS

110 X 54 INCHES - UNIQUE RICH TONES

58 X 75 INCHES - GREAT CONDITION

78 X 62 INCHES - GREAT CONDITION

89.5 X 33.5 INCHES - GREAT CONDITION

38 X 87 INCHES - GREAT CONDITION

88 X 41 INCHES - GREAT CONDITION

81 X 48 INCHES - GREAT CONDITION

72 X 46 INCHES - GREAT CONDITION

WORK 35.5 X 29.5 INCHES - FRAME 38.75 X 32.5 INCHES Born in 1971 in Repentigny, Miguel Forest lives and works in Sainte-Hélène-de-Kamouraska. Since 1995, he has participated in over twenty solo exhibitions and around forty collective art shows. "I am interested in the links that human beings have with their territory. This questioning also concerns the relationships that are established between nature and culture, how they influence and nourish each other. If I favor the theme of space, the passage of time, inseparable from that of space, also challenges me and feeds my interest in history. Through my works, I therefore offer a portrait of the natural and cultural landscape of Quebec understood in an expanded form: the rigorous character of the territories that are still wild and subject to the forces of the elements and the seasons, the luminous immensity of the St. Lawrence river and the beauty of certain inhabited areas. Realism is my preferred way of communicating ideas and emotions. I want to produce strong, gestural images, whose compositional structure is simple, stripped down, while being visually striking."

WORK 23 X 16 - FRAME 32 X 25 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.

OIL ON BOARD - WORK 24 X 16 - FRAME 29.25 X 21 - GALLERY ONE LABEL ON BACK ARTIST: Alfred Ernest Whitehead was born in 1887 in England. He immigrated to Canada and became a choirmaster, an organist, a teacher and a composer. In his adult life he taught at Mount Allison University as well as McGill University. Whitehead was a community and church leader while he lived in Montreal. Ill health forced him to retire to become the head of Mount Allison University’s Music Department from 1947-1953. When he retired from the university he moved to Amherst, Nova Scotia, where he resumed his organist and choirmaster activities at Trinity United Church until 1971. Whitehead was a distinguished recitalist as well as a prolific composer. In addition, he was a painter, and just before his death in early 1974 he completed the third edition of his book “The Squared-Circle Cancellations of Canada”.

WORK 16.5 X 11.5 INCHES - FRAME 23 X 19 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.

WORK 22 X 18.5 - FRAME 30 X 27.5 Rolfe Edmund Pryne is a Postwar & Contemporary artist.

OIL ON ANTIQUE PINE BOARD - THE TOP OF AN OLD BLANKET BOX - WORK 36.5 X 19 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 24.5'' X 16'' - FRAME 31.75'' X 22.75'' - NEWLY & PROFESSIONALLY FRAMED John Boyle was born in London, Ontario in 1941. A self-taught artist, he has produced a major body of work that spans a career of five decades. First active in London in the 1960's, he was included in the acclaimed National Gallery of Canada exhibition, The Heart of London. Boyle very quickly developed a distinctive vision which has remained consistent throughout his career. A figurative painter and strong Canadian nationalist, Boyle chooses both Canadian heroes such as Tom Thomson, William Lyon McKenzie and Marshall McLuhan, as well as ordinary Canadians and incorporates them in a background which holds reference to his own life in London, St. Catherine's, Owen Sound, Europe and Japan. Strong colour, richly patterned areas and figures spaced randomly throughout the painting emphasize the direct response of the artist to his world. Boyle has experimented with different materials – pen and ink, oil, acrylic, watercolour, enamelled steel (as seen in his Queen Street subway commission) and bronze, adapting the various media to a variety of shaped canvases and board. The artist has exhibited extensively in solo and group exhibitions in both private and public galleries – most recently at the National Gallery of Canada in a catalogued exhibition entitled, The '60’s in Canada. John Boyle's work is represented in the National Gallery of Canada, the Beaverbrook Art Gallery, N.B. Confederation Centre, P.E.I., Art Gallery of Ontario, Hamilton Art Gallery, the Montreal Museum of Fine Arts, London Regional Gallery and the McMichael Canadian Collection.

WORK 22 X 17.5 INCHES - 29.25 X 23.25 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 20 X 13.5 - FRAME 26 X 20 INCHES

WORK 32 X 26 INCHES - FRAME 32.5 X 26.5 INCHES

WORK 6.5 X 8.5 - FRAME 12.5 X 15 INCHES An emerging artist, Stephen Williams graduated from Mount Allison University with a Bachelor of Fine Arts. Using painting as a medium to represent images from personal experience, his paintings are tied directly to his everyday life, with many images working in relation to each other. His work can be found in several collections in Canada and elsewhere.

WORK 8 X 8 INCHES - FRAME 14 X 14 INCHES An emerging artist, Stephen Williams graduated from Mount Allison University with a Bachelor of Fine Arts. Using painting as a medium to represent images from personal experience, his paintings are tied directly to his everyday life, with many images working in relation to each other. His work can be found in several collections in Canada and elsewhere.

WORK 23.5 X 39.5 INCHES - FRAME 29 X 45 INCHES

WORK 23.25 X 35.5 INCHES - FRAME 29 X 41 INCHES

10 X 10 X 1.75 INCHES - ON CANVAS WITH STRETCHED FRAME About the artist: Shirley St Pierre is an artist who wholeheartedly embraces her creative journey in retirement. Passionate about the transformative power of art, she primarily works with acrylics, blending in natural materials to enhance the tactile quality of her pieces. Drawing from her Dutch heritage, Shirley explores vibrant colors and abstract forms, inspired by the rich artistic traditions of the Netherlands and the innovative spirit of its artists. With a commitment to open-minded exploration, Shirley eagerly experiments with new techniques and styles, allowing her creativity to evolve. Her artistic voyage intertwines the simplicity of life's pleasures with the endless possibilities of abstract expression, inviting viewers to connect deeply with the emotions and beauty captured in her work.

12 X 12 X 1.75 INCHES - ON CANVAS WITH STRETCHED FRAME About the artist: Shirley St Pierre is an artist who wholeheartedly embraces her creative journey in retirement. Passionate about the transformative power of art, she primarily works with acrylics, blending in natural materials to enhance the tactile quality of her pieces. Drawing from her Dutch heritage, Shirley explores vibrant colors and abstract forms, inspired by the rich artistic traditions of the Netherlands and the innovative spirit of its artists. With a commitment to open-minded exploration, Shirley eagerly experiments with new techniques and styles, allowing her creativity to evolve. Her artistic voyage intertwines the simplicity of life's pleasures with the endless possibilities of abstract expression, inviting viewers to connect deeply with the emotions and beauty captured in her work.

ACRYLIC ON WOOD - 23.25 X 5.75 X 1.5 INCHES DEEP About the artist: 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.

ACRYLIC ON WOOD - 9.75 X 3.5 X 0.5 INCH DEEP About the artist: 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.

6.25'' TALL - APPEARS TO BE DATED 1975 Martin L. (Marty) Demaine (born 1942 is an artist and mathematician, the Angelika and Barton Weller artist in residence at the Massachusetts Institute of Technology. Demaine attended Medford High School in Medford, Massachusetts. After studying glassblowing in England, he began his artistic career by blowing art glass in New Brunswick in the early 1970s. The Demaine Studio, located in Miramichi Bay and later at Opus Village in Mactaquac, was the first one-man glass studio in Canada, 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 including the Canadian Museum of Civilization and the National Gallery of Canada. Since joining MIT, Demaine has begun blowing glass again, as an instructor at the MIT Glass Lab; his newer work features innovative glassblowing techniques intended as a puzzle to his fellow glassblowers.

6'' TALL - APPEARS TO BE DATE 1976 Martin L. (Marty) Demaine (born 1942 is an artist and mathematician, the Angelika and Barton Weller artist in residence at the Massachusetts Institute of Technology. Demaine attended Medford High School in Medford, Massachusetts. After studying glassblowing in England, he began his artistic career by blowing art glass in New Brunswick in the early 1970s. The Demaine Studio, located in Miramichi Bay and later at Opus Village in Mactaquac, was the first one-man glass studio in Canada, 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 including the Canadian Museum of Civilization and the National Gallery of Canada. Since joining MIT, Demaine has begun blowing glass again, as an instructor at the MIT Glass Lab; his newer work features innovative glassblowing techniques intended as a puzzle to his fellow glassblowers.

4.25'' TALL Martin L. (Marty) Demaine (born 1942 is an artist and mathematician, the Angelika and Barton Weller artist in residence at the Massachusetts Institute of Technology. Demaine attended Medford High School in Medford, Massachusetts. After studying glassblowing in England, he began his artistic career by blowing art glass in New Brunswick in the early 1970s. The Demaine Studio, located in Miramichi Bay and later at Opus Village in Mactaquac, was the first one-man glass studio in Canada, 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 including the Canadian Museum of Civilization and the National Gallery of Canada. Since joining MIT, Demaine has begun blowing glass again, as an instructor at the MIT Glass Lab; his newer work features innovative glassblowing techniques intended as a puzzle to his fellow glassblowers.

6'' TALL Martin L. (Marty) Demaine (born 1942 is an artist and mathematician, the Angelika and Barton Weller artist in residence at the Massachusetts Institute of Technology. Demaine attended Medford High School in Medford, Massachusetts. After studying glassblowing in England, he began his artistic career by blowing art glass in New Brunswick in the early 1970s. The Demaine Studio, located in Miramichi Bay and later at Opus Village in Mactaquac, was the first one-man glass studio in Canada, 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 including the Canadian Museum of Civilization and the National Gallery of Canada. Since joining MIT, Demaine has begun blowing glass again, as an instructor at the MIT Glass Lab; his newer work features innovative glassblowing techniques intended as a puzzle to his fellow glassblowers.

9.25'' TALL Martin L. (Marty) Demaine (born 1942 is an artist and mathematician, the Angelika and Barton Weller artist in residence at the Massachusetts Institute of Technology. Demaine attended Medford High School in Medford, Massachusetts. After studying glassblowing in England, he began his artistic career by blowing art glass in New Brunswick in the early 1970s. The Demaine Studio, located in Miramichi Bay and later at Opus Village in Mactaquac, was the first one-man glass studio in Canada, 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 including the Canadian Museum of Civilization and the National Gallery of Canada. Since joining MIT, Demaine has begun blowing glass again, as an instructor at the MIT Glass Lab; his newer work features innovative glassblowing techniques intended as a puzzle to his fellow glassblowers.

11.75'' TALL

4'' TALL

4.25'' TALL

9.25'' DIAMETER

5.75'' TALL

5.25'' TALL Métis artist Michael Robinson (1948-2010) was a major artist in the art glass movement in Canada in the 1970s. He signed his hand blown pieces two rivers which was the name of his art studio.

7.5 X 3.25 DIAMETER Ernst Lorenzen was a Danish-born potter who married Alma Goguen in Dieppe, New Brunswick in 1940. Five years later, the couple started a new hobby of ceramics, with Ernst operating the wheel and Alma sculpting. In 1949, the Lorenzens moved to Lantz, Nova Scotia and brought Lorenzen Pottery with them. The Lorenzens would continue their ceramic mushroom project for over 40 years and created over 200 unique ceramic mushroom sculptures. Their ceramic objects remained relatively obscure outside of Nova Scotia until Joyce Barkhouse published a piece in the New York Times in 1985 drawing attention to their work. Today, Lorenzen Mushrooms are owned and housed in both private collections and public institutions, such as the Museum of Natural History in Halifax and Dalhousie University’s McCulloch Museum.

WORK 21 X 8 X 1.5 INCHES DEPTH Originally from Manitoba, Tim Isaac has made his home on the Bay of Fundy in New Brunswick. The rugged shore and wild energy of the coast drew him here and continues to inspire his work. He’s a prolific and accomplished Raku potter, known for his originality and unique style. Tim has also collaborated extensively with artist Karin Bach over the years, producing the popular ‘Fish by Fire’ line of work. He is not only a potter but sings and plays the cello in the iconic roots duo “Isaac & Blewett” as well as pop duo “Lovestorm”.

8.5 X 7 X 2.5 INCHES TALL Originally from Manitoba, Tim Isaac has made his home on the Bay of Fundy in New Brunswick. The rugged shore and wild energy of the coast drew him here and continues to inspire his work. He’s a prolific and accomplished Raku potter, known for his originality and unique style. Tim has also collaborated extensively with artist Karin Bach over the years, producing the popular ‘Fish by Fire’ line of work. He is not only a potter but sings and plays the cello in the iconic roots duo “Isaac & Blewett” as well as pop duo “Lovestorm”.

5 X 4 X 3 INCHES TALL Strawberry Hill Werkshop was the creation of Peter and Liz Powlowski. A Westfort boy, Peter met Elizabeth at art school in the UK, where they found they were both inspired by traditional folk sculptures from around the world. Together, they worked in Mexico for several years to get inspiration, study techniques, and hone their craft. They returned to Northern Ontario and the banks of Strawberry Creek, Kamanistiqua. In 1967, Strawberry Hill Werkshop was born, and the local art scene would never be the same, with some of their pieces finding their way into the hands of eager collectors around the world.

5.5 X 2.25 X 2 INCHES TALL Strawberry Hill Werkshop was the creation of Peter and Liz Powlowski. A Westfort boy, Peter met Elizabeth at art school in the UK, where they found they were both inspired by traditional folk sculptures from around the world. Together, they worked in Mexico for several years to get inspiration, study techniques, and hone their craft. They returned to Northern Ontario and the banks of Strawberry Creek, Kamanistiqua. In 1967, Strawberry Hill Werkshop was born, and the local art scene would never be the same, with some of their pieces finding their way into the hands of eager collectors around the world.

11 X 5.5 INCHES Anne-Marie Sirois was born in 1958 in Saint-Basile, New Brunswick. She completed a Bachelor’s degree in visual arts at the Université de Moncton (New Brunswick) in 1981. Her passion for animated film led her to take professional training workshops given by Pierre Veilleux of the Montreal bureau of the National Film Board. This was where she created her first animation film, Les joies de Noël, in 1985. A second animation film, L’avertissement, produced by Coopérative Cinémarévie in Edmundston, New Brunswick, was released early in 1986. Following a training period in animation in Marly-le-Roi (France) in the summer of 1986, Sirois created Maille Maille, at the Moncton office of the National Film Board. This animation film received an award of excellence at the Atlantic Film and Video Festival in Halifax, Nova Scotia, (1987), and a Silver Apple Award at the National Educational Film and Video Festival in Oakland, California (1989). She was a participant in several other animated films including Jours de plaine (1990) and T.V. Tango (1992). In 1996, she travelled to Croatia to present her film Animastress (1994) at the Zagreb World Festival of Animated Films. Based on a song by Acadian band Zéroo Celsius, Joséphine won the prize for best Acadian film at the 2000 International Francophone Film Festival in Acadia (FICFA) in Moncton. The following November, Sirois was recipient of the Éloizes Award for artist of the year in the film-video-television category, given by the Acadian Association of New Brunswick Professional Artists (AAAPNB). In 2003, she completed her first experimental animated film, PSSST, in partnership with Acadian percussionist Michel Deschênes. Sirois also works as illustrator and writer and has published three tales. She brought Le petit Chaperon mauve (1995) to Picardy, in France, on a tour of school visits. Her second tale, Rose Neige et les six nains, was published in 2000, and a third, Ma Gribouille tigrée, in 2005. In the spring of 1995, Anne-Marie Sirois began making sculptures with clothes irons, and has shown them in several New Brunswick galleries and in Montreal. She transforms these utilitarian objects through a variety of pointed interventions. Her fertile imagination serves the artist well in bringing forth an unusual, poetic and playful universe, rife with humour and whimsy.

4 INCHES DIAMETER Anne-Marie Sirois was born in 1958 in Saint-Basile, New Brunswick. She completed a Bachelor’s degree in visual arts at the Université de Moncton (New Brunswick) in 1981. Her passion for animated film led her to take professional training workshops given by Pierre Veilleux of the Montreal bureau of the National Film Board. This was where she created her first animation film, Les joies de Noël, in 1985. A second animation film, L’avertissement, produced by Coopérative Cinémarévie in Edmundston, New Brunswick, was released early in 1986. Following a training period in animation in Marly-le-Roi (France) in the summer of 1986, Sirois created Maille Maille, at the Moncton office of the National Film Board. This animation film received an award of excellence at the Atlantic Film and Video Festival in Halifax, Nova Scotia, (1987), and a Silver Apple Award at the National Educational Film and Video Festival in Oakland, California (1989). She was a participant in several other animated films including Jours de plaine (1990) and T.V. Tango (1992). In 1996, she travelled to Croatia to present her film Animastress (1994) at the Zagreb World Festival of Animated Films. Based on a song by Acadian band Zéroo Celsius, Joséphine won the prize for best Acadian film at the 2000 International Francophone Film Festival in Acadia (FICFA) in Moncton. The following November, Sirois was recipient of the Éloizes Award for artist of the year in the film-video-television category, given by the Acadian Association of New Brunswick Professional Artists (AAAPNB). In 2003, she completed her first experimental animated film, PSSST, in partnership with Acadian percussionist Michel Deschênes. Sirois also works as illustrator and writer and has published three tales. She brought Le petit Chaperon mauve (1995) to Picardy, in France, on a tour of school visits. Her second tale, Rose Neige et les six nains, was published in 2000, and a third, Ma Gribouille tigrée, in 2005. In the spring of 1995, Anne-Marie Sirois began making sculptures with clothes irons, and has shown them in several New Brunswick galleries and in Montreal. She transforms these utilitarian objects through a variety of pointed interventions. Her fertile imagination serves the artist well in bringing forth an unusual, poetic and playful universe, rife with humour and whimsy.

3 INCHES X 4.5 DIAMETER Peter Powning RCA is a Canadian artist and sculptor working in ceramics, metals, and glass. Since 1970, he has explored a wide range of artistic forms while working concurrently as an activist and arts advocate Since 1970, Peter Powning has lived and worked as an artist in the hills of southern New Brunswick. His life is characterized by intense periods of work preparing for exhibitions and commissions, punctuated by periodic travel. While Powning’s award-winning work is shown internationally, it is imbued with qualities distilled from a life lived close to the silence, space and seasonal rhythms of his home, the fields, forests and shorelines of Canada’s east coast. Peter Powning is married to author Beth Powning.

JEAN PAUL LEMIEUX - SIX EXAMPLES EN COULEURS - SHEET 18 X 15 INCHES EACH ONE Jean Paul Lemieux (1904–1990), painter, illustrator, critic, and teacher, is one of the most significant artists in the history of Canadian modernity. While Lemieux evolved on the margins of the principal art movements of his time, his oeuvre belongs with the great figurative exploration of the twentieth century. Born in Quebec City, he chose to pursue his artistic and teaching career in his native city. His art and his thought radiated outward from that centre for more than half a century.

WORK 24 X 18 INCHES - FRAME 21 X 27 INCHES RAYMOND MARTIN Raymond Martin was born in 1958 in Alma, Quebec. In 1981, he earned a Bachelor’s degree in Psychology at the University of Ottawa (Ontario) and moved to Moncton, New Brunswick. In 1986, he was awarded a Master’s degree in Psychology by the Université de Moncton. He has been a painter for many years, and has built a professional practice in psychology. While he was studying psychology, Martin developed a taste for paintings of all eras and various artistic movements. He became seriously interested in the lives of artists, their works and their painting techniques. A self-taught artist, Martin uses a unique technique. He first applies several layers of oil paint to the canvas, then he traces outlines using a sharpened chopstick. When the paint is dry, he paints the forms with various colours. Since 1985, his work has been exhibited at Galerie Colline, in Edmundston, New Brunswick, Gallery ConneXion, in Fredericton, New Brunswick, the Galerie d’art Louise-et-Reuben-Cohen of the Université de Moncton, and Galerie Langage Plus in Alma, Québec. In 1994, he represented New Brunswick at the 2nd Francophone Games held in Paris. His works hang in the collections of the Canada Council Art Bank, the New Brunswick Art Bank, the Fédération des Caisses populaires acadiennes in Caraquet, New Brunswick and the Galerie Louise-et-Reuben-Cohen of the Université de Moncton, as well as several private collections.

23.5 X 19.75 INCHES - COMMEMORATIVE SHEET OF STAMPS ISSUED FOR THE 1984 CANADA DAY BY JEAN PAUL LEMIEUX AS PART OF THE CELEBRATIONS MARKING 450TH ANNIVERSARY OF JACQUES CARTIER'S ARRIVAL IN CANADA. Jean Paul Lemieux (1904–1990), painter, illustrator, critic, and teacher, is one of the most significant artists in the history of Canadian modernity. While Lemieux evolved on the margins of the principal art movements of his time, his oeuvre belongs with the great figurative exploration of the twentieth century. Born in Quebec City, he chose to pursue his artistic and teaching career in his native city. His art and his thought radiated outward from that centre for more than half a century.

DERRIERE LE MIROIR PAGE 4 & 5 - UNFRAMED - 11 X 15.25 INCHES Jean Paul Riopelle (1923–2002) is one of Canada’s most significant artists of the twentieth century. Attracted to painting from a young age, in 1943 he enrolled in the art program at Montreal’s École du meuble, where he met the painter Paul-Émile Borduas (1905–1960). The encounter was life changing for Riopelle, who went on to join the Automatistes, an influential group of Québécois artists, and to be a signatory of their landmark 1948 manifesto, Refus global. He later settled in Paris, where he became the most famous Canadian painter in Europe and the rest of the world. Stylistically linked to many of the most important art movements of his time, Riopelle’s legacy is his large and diverse body of work, expressing both abstraction and figuration in imaginative and surprising ways.

L' HOMMAGE A ROSA LUXEMBURG BOOK - 19 X 12 INCHES Jean Paul Riopelle (1923–2002) is one of Canada’s most significant artists of the twentieth century. Attracted to painting from a young age, in 1943 he enrolled in the art program at Montreal’s École du meuble, where he met the painter Paul-Émile Borduas (1905–1960). The encounter was life changing for Riopelle, who went on to join the Automatistes, an influential group of Québécois artists, and to be a signatory of their landmark 1948 manifesto, Refus global. He later settled in Paris, where he became the most famous Canadian painter in Europe and the rest of the world. Stylistically linked to many of the most important art movements of his time, Riopelle’s legacy is his large and diverse body of work, expressing both abstraction and figuration in imaginative and surprising ways.

LA REPRODUCTION DU LIVRE INTERNATIONAL DE LA PAIX - 13.25 X 18 X 1.75 DEPTH

WORK 22 X 29.5 INCHES Bruno Côté was a contemporary Canadian painter best known for his expressive depictions of forested and mountainous landscapes. Working in a style within the tradition of Group of Seven painters like Frederick Horsman Varley and Arthur Lismer, his work is characterized by its bright use of color and stylized brushstrokes applied to a realist tradition. One such example, Beginning of Winter at the Camp, depicts a small wooden cabin nestled among snow and bare trees, with warm blues livening the shadows of the scene. Born on August 10, 1940 in Quebec City, Canada, Côté worked for his family’s publicity business before dedicating himself to his artistic career. Today, his works are held in the collections of the Musée D’Art Contemporain de Montréal, the American Embassy in Ottawa, and John Hopkins University in Baltimore, among others. Côté died at the age of 69 on June 30, 2010 in Baie-Saint-Paul, Canada.

14 X 11 - UNFRAMED - PAPER SLIGHTLY UNEVEN POSSIBLY 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 12.25 X 12.25 - MATTING 18 X 18 INCHES 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 19.5 X 15.5 INCHES - FRAME 30.75 X 26.75 INCHES Wallace Robinson MacAskill (1887–25 January 1956), better known as W. R. MacAskill, was a Canadian photographer known for his seascapes and depictions of ships. He is particularly recognized for his photographs of the Bluenose, two of which were used on the Bluenose postage stamp in 1929. MacAskill was born and raised in the seaside town of St. Peter's, Nova Scotia, where he learned to sail as a young child. At 17, he moved to New York to attend the Wade School of Photography. After graduating in 1907, he moved back to St. Peters' and opened a photography studio. He would later work in Glace Bay and in Halifax. Alongside his photography career, MacAskill took part in recreational sailing and yacht racing. In 1924, his work was exhibited at the Royal Photographic Society. In 1926, he married Elva Abriel, who was also a professional photographer. MacAskill published two books of photography: Out of Halifax in 1937 and Lure of the Sea in 1951. He was elected a fellow of the Photographers Society of America in 1954, and ran a photography studio in Halifax until his death from cerebral hemorrhage in 1956. MacAskill's wife, Elva (1891-1968) continued to run the studio until eight years after his death. MacAskill's photographs are held in the collections of the National Gallery of Canada, the McCord Museum, and the Cape Breton University Art Gallery. The house in which he was born, now known as the MacAskill House, is recognized by Nova Scotia's Heritage Property Act and houses a museum dedicated to his work.

UNFRAMED WORK - 25'' X 18'' John Boyle was born in London, Ontario in 1941. A self-taught artist, he has produced a major body of work that spans a career of five decades. First active in London in the 1960's, he was included in the acclaimed National Gallery of Canada exhibition, The Heart of London. Boyle very quickly developed a distinctive vision which has remained consistent throughout his career. A figurative painter and strong Canadian nationalist, Boyle chooses both Canadian heroes such as Tom Thomson, William Lyon McKenzie and Marshall McLuhan, as well as ordinary Canadians and incorporates them in a background which holds reference to his own life in London, St. Catherine's, Owen Sound, Europe and Japan. Strong colour, richly patterned areas and figures spaced randomly throughout the painting emphasize the direct response of the artist to his world. Boyle has experimented with different materials – pen and ink, oil, acrylic, watercolour, enamelled steel (as seen in his Queen Street subway commission) and bronze, adapting the various media to a variety of shaped canvases and board. The artist has exhibited extensively in solo and group exhibitions in both private and public galleries – most recently at the National Gallery of Canada in a catalogued exhibition entitled, The '60’s in Canada. John Boyle's work is represented in the National Gallery of Canada, the Beaverbrook Art Gallery, N.B. Confederation Centre, P.E.I., Art Gallery of Ontario, Hamilton Art Gallery, the Montreal Museum of Fine Arts, London Regional Gallery and the McMichael Canadian Collection.

12.5" X 10.75" FRAMED & 10.5" X 7.5" WORK WATERCOLOUR & GOUACHE ON PAPER Michael Khoury (b.1950) is a Lebanese/Canadian visual artist and photographer. After receiving a BA from The University of New Brunswick, he entered the fashion industry, successfully running three retail fashion stores for over 20 years. In 1983 Khoury began attending the workshops of renowned photographer Freeman Patterson and continued this for four years. Photography eventually led him back to his love for painting which he explored at a young age. He went on to study for three years with the late Canadian artist Molly Lamb Bobak where he received private lessons, encouragement and guidance. Here he developed his personal style in painting while continuing his photography practice. Michael has painted abroad in Paris during an eight month period and occasionally travels to his studio in Lebanon. He has exhibited throughout Canada and internationally including Kastel Gallery (Montreal); Hollander York Gallery (Toronto); Aitken Bicentennial Exhibition Centre; (Saint John, NB); The Beaverbrook Art Gallery (Fredericton). His work has been collected both publicly and privately including the government of Togo, Africa, The Dr. Everett Chalmers Hospital and The University of New Brunswick. Khoury lives and works on his art in Fredericton, New Brunswick.

WORK 5.5 X 9 - UNFRAMED - MATTING 12.25 X 16.25 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 16 X 12 INCHES - FRAME 24 X 20 INCHES - ACRYLIC ON CANVAS

WORK 23.5 X 17.25 - FRAME 26.5 X 20.75

WORK 13 X 11.25 INCHES - FRAME 19 X 17.75 INCHES - CHARCOAL SKETCH - OCT 15, 2003

PENCIL DRAWING - WORK 7.5 X 9.5 INCHES - FRAME 13 X 16 INCHES About the artist: Peter Sabat has exhibited his paintings and films throughout Canada, the United States and Europe. He studied painting and film at the Ontario College of Art and Design in Toronto. Between 1997-2004, Sabat resided in Berlin, Germany, collaborating with artists and composers on films, operas, and art projects. His films with composer Walter Zimmermann have been presented at the International Film Festival Rotterdam, the Kunstmuseum Bonn, KNM Berlin's HouseMusik, and the Goethe-Institut. Other projects have been produced in association with composers Wolfgang von Schweinitz, Thomas Meadowcroft and Marc Sabat. His works have also been shown at the MaerzMusik festival and the Deutsche Kinemathek in Berlin, the Bayerische Staatsoper in Munich, the Centre Georges Pompidou in Paris, and the Art Institute of Chicago. "AUTOMAT," a video/music collaboration with brother Marc Sabat, was featured at Carnegie Hall, New York, as part of the "Berlin in Lights" festival in 2007. His new series of paintings, "California Elegies I" and "Smoke (after Piranesi)," were presented in December 2011. His latest film is "A Place On Earth" (2011/14). He lives in California. BORN 1970 Kitchener, Ontario, Canada

WORK 12 X 12 INCHES - FRAME 20.25 X 20.25

WORK 15.25 X 19 INCHES - FRAME 21.25 X 17.5 INCHES

WORK 15 X 18 INCHES - FRAME 20.25 X 23.25 INCHES

WORK 19 X 25 INCHES - FRAME 26 X 32 INCHES NICELY FRAMED

WORK 11 X 17 - FRAME 20.25 X 26.80 Pavel Skalnik (Czech, 1941).

WORK 10 X 8 INCHES - FRAME 13 X 16 INCHES

WORK 40.5 X 21.5 INCHES - FRAME 43 X 24