A small Canadian Inuit carved stone seal figure, executed in a dark polished stone with an elongated body, gently arched neck, and incised linear detailing to the back, flippers, and tail. The underside retains a paper label reading “CARVING NUMBER 73-16 1554” together with a historic igloo certification sticker marked “NS17” and “eskimo art esquimau." A modest and appealing Arctic animal carving with good shelf presence. Surface wear, scattered scuffs, and minor chips to the flipper tips and extremities.

A Canadian Inuit carved stone fish sculpture, likely representing an Arctic char, worked in grey stone with a smoothly rounded body, raised dorsal fin, incised gill and fin detailing, and an openwork tail support carved from the same piece. The underside bears a faint incised signature including the surname element “ISAPIK (?),” though the inscription is not sufficiently legible to support a secure artist attribution. A compact and appealing wildlife carving with a strong horizontal silhouette and restrained surface finishing. Surface wear, scattered scratches, visible stone lines across the head and body, and minor edge nicking to the tail fin.

A Canadian Inuit carved stone muskox figure, worked in a dark green-gray stone with a compact, stylized body, rounded hump, and a contrasting band of incised rough-textured coat encircling the lower half. The carving is notable for its reductive silhouette and effective contrast between the smoothly polished upper body and the shaggy treatment of the fleece, a familiar visual language in Inuit muskox sculpture. The underside bears a faint incised signature that is not sufficiently legible to support a secure artist attribution. A small but appealing northern animal carving with strong decorative presence. Light surface wear and scuffing; underside with old felt pads.

A Canadian Inuit bone shaman carving by Lasaloosie Eshulutak, Pangnirtung, dated October 1987 by the original NS.15 certification tag. Carved in a pale porous bone, likely whalebone, the figure is rendered in a strongly reduced and sculptural form, with an elongated head, compact body, and two rear upturned projections that give the composition a transformational, spirit-like character consistent with Pangnirtung shamanic imagery. The lot retains its original hanging certification tag reading “LASALOOSIE ESHULUTAK / PANGNIRTUNG / OCT. 87 / SHAMAN / 8710-576” together with an underside carving-number label. A visually striking late-20th-century Inuit carving with good presence.

A Canadian Inuit carved stone seal by Sarah Mickiyuk, labeled to the underside “SANIKILUAQ, NWT” and dated Oct/82. Carved in a pale green-gray stone with attractive natural veining, the figure is modeled in a long reclining pose with uplifted head, lightly articulated flippers, and a smoothly contoured body that emphasizes the seal’s mass and glide. The underside retains its original paper identification label reading “Sarah Mickiyuk / SANIKILUAQ, NWT / Oct/82 / seal / 827-2248,” together with a faint scratched inscription and later green felt pads. A well-scaled and appealing Sanikiluaq animal carving with strong shelf presence. No visible major cracks or repairs.

A mixed Canadian Arctic decorative group comprising five pieces: a small mottled green stone seal retaining an igloo “eskimo art” authenticity sticker; a round SIKU genuine soapstone lidded box with incised decoration of a kayak hunter; a square polar bear souvenir plaque with Made in Canada sticker; a black polished standing figure of an Inuit hunter with separate pale spear; and a pale molded walrus figure. An accessible and varied shelf group with folk and souvenir appeal.

A Canadian Inuit carved stone waterfowl by Henry Anautak, dated 1983, worked in a gray stone with a compact rounded body, folded wings, and a simplified head with incised eye and facial detailing. The underside appears to be inscribed “Henry / Anautak / 83” above “CANADA.” The carving has a strong decoy-like silhouette and a restrained treatment that emphasizes mass and contour over detailed plumage. A modest signed Inuit bird carving of appealing cabinet scale. Minor edge rubbing consistent with age and handling.

A Canadian Inuit bone carving of a basking seal reclining on an irregular ice-floe base, worked in a pale porous bone, likely whalebone, with a compact rounded body, lightly indicated foreflippers, and a raised head turned upward. The underside retains an old igloo authenticity tag. The carving has a strong textural presence, with the open cellular surface of the bone used effectively to suggest the roughness of ice and the natural character of the material. A small but appealing Arctic animal carving with good cabinet scale. General light wear.

Assembled group of four Canadian carved and engraved soapstone wall pieces, later 20th century, comprising a square plaque with flying geese, bearing an indistinct incised signature; a leather-mounted multi-panel hanging with Arctic bird and hunting/fishing vignettes, retaining a “GENUINE SOAP STONE” sticker to the reverse; a small rectangular plaque with a parka-clad figure, incised “DIMU” to the reverse; and a larger square plaque with a faintly engraved Arctic scene. Some visible wear.

A framed Canadian Inuit stonecut print in colours by Pitseolak Ashoona (1904–1983), Kinngait (Cape Dorset), titled Women Collecting Kelp and dated 1967. The composition depicts two women gathering kelp, one carrying a pole with suspended bundles and the other holding a long implement, in Pitseolak’s characteristically bold and highly legible graphic language. Printed in dark olive-black with a blue hatched ground, the work retains a visible syllabic signature and red Cape Dorset print mark at lower right; the provided note identifies the impression as edition 3/50. Not examined out of frame.

A framed Canadian Inuit stonecut and stencil print by Ulayu Pingwartok (1904–1978), Kinngait (Cape Dorset), titled Woman Sewing Kamiks. The composition depicts a seated woman in profile, intent on the traditional work of kamik-making, reduced to a bold and highly legible silhouette in dark grey-black against a pale ground. The sheet bears a visible syllabic signature and red Cape Dorset chop at upper right and corresponds to the documented 1976 image released in the 1977 Cape Dorset print collection, Dorset ID 77-62. Presented in a later dark wood frame with matting under glass.

Description: Original oil sketch by Canadian artist Meredith Evans (1919–1996), depicting a quiet rural landscape with weathered farm buildings, split-rail fencing, and softly rendered foothills beyond. The composition is handled in Evans’s characteristic light, atmospheric manner, with a restrained prairie palette and a strong sense of place. The lower left inscription appears to read: “The Sentinel / Granada Alta 1971 / Meredith Evans Oil Sketch.” Presented under specialty non-reflective glass in a simple frame. Born in London, England, Evans came to Edmonton as a child and became known as an Alberta painter with a particular affinity for regional landscape subjects. He worked in oils and line-and-wash, and was associated with both the Alberta Society of Artists and the Federation of Canadian Artists. His work is represented in Alberta collections and has appeared regularly in the Canadian market. Dimensions Framed: 26 x 21 in. Visible image: about 18 x 13 in.

Signed oil on board landscape by Crane Thomas, depicting a quiet woodland edge with leafless trees, a pale path or clearing, and a reflective body of water in the foreground. The composition is handled in a loose, painterly manner, with broken, textured brushwork and a soft palette of rose, cream, ochre, blue, and grey that gives the scene a luminous, reflective quality. The image has a strong atmospheric effect, with the mirrored treeline and water surface becoming as important as the wooded bank itself. Signature appears upper left. Presented in a moulded frame with matting. The framed size is 22 x 18 in., with the visible image 16 x 12 in. Artist Note: Crane Thomas was a Canadian painter (1949–2005) whose work appears in auction records primarily as landscape painting, including Alberta subjects such as Big Hill Springs, Inglewood Bird Sanctuary, Bow River, and Seba Beach Road. The Art Gallery of Grande Prairie also lists Seba Beach Road, 1980, an oil on masonite, in its permanent collection. That surviving record places him within a regional Canadian landscape tradition, and this work fits well within that sensibility through its focus on light, reflection, and a familiar natural setting.

Signed and dated 1975 landscape painting on canvas board by Alberta artist Rose Leonard. The composition depicts a luminous prairie hayfield in autumnal light, with sheaves scattered across an open field, stands of slender trees at left, and a wide Alberta sky with soft drifting clouds above. Executed in a warm palette of gold, rose, mauve, and violet, the painting reflects Leonard’s preference for scenic and natural subjects and carries a distinctly regional Western Canadian character. Signed lower right “Rose Leonard ’75.” Housed in a substantial decorative frame. Frame 36 x 30 in.; support size 22 x 28 in. Artist Note: Rose Leonard, also known as Rose Leonard-Davies, was an Alberta painter born near St. Paul in 1916. Archival sources identify her as a self-taught artist active in Alberta. Rose Leonard (1916–2005), also recorded as Rose Leonard-Davies / Davies, Rose Leonard. Her obituary says she was born north of St. Paul, Alberta, worked professionally as Rose Leonard, and was known for floral, scenic, and wildlife subjects.

Signed “Orletsky 1990” lower right, this landscape painting depicts a weathered prairie cabin set beyond sunlit grasses, with a stand of wind-shaped pines in the foreground and dark evergreens rising behind. The composition has a distinctly Western Canadian feel, balancing warm ochres and golds against cooler blue-grey shadows and sky. The subject is handled in a soft, atmospheric manner, with the homestead partly absorbed into the surrounding land, giving the picture a reflective, nostalgic quality. Framed size 29 x 23 in.; artwork size 24 x 18 in. Artist Note: Terry Orletsky is a landscape painter who has written that his roots are in the prairies of Alberta and the Canadian Rockies. In published artist statements, he cites Turner and Monet as influences and describes his landscapes as focused on movement, atmosphere, grain, trees, skies, and occasional farm buildings. His public portfolio includes closely related prairie subjects such as Prairie Sky, Prairie Farm, Prairie Granary, and Demchuk’s Farm Revisited.

Signed and dated 1981 lower left, this landscape painting depicts a long country road receding toward a prairie homestead, with telephone poles, open harvested fields, haystacks, and a small working farmstead set under a broad blue sky. The composition is built around strong linear perspective, drawing the eye down the rutted road toward the distant buildings and giving the scene a distinctly rural Western Canadian character. Warm ochres, golds, and earth tones dominate the foreground and fields, contrasted by cooler blues in the sky and softer greens around the farm. The painting has a straightforward, nostalgic appeal, capturing the quiet openness of the countryside and the order of an agricultural landscape. Signed lower left Wendy Rasmusson ’81. Oil on canvas. Painting 20 x 16 in.; framed 25 x 21 in.

Signed and dated 1978, this Alberta regional landscape depicts the railway approach to Gibbons, with grain elevators at left, a freestanding water tower at right, and tracks drawing the eye into the distance beneath an open prairie sky. Painted in a restrained, realistic manner, the work has a strong sense of local place and prairie infrastructure, balancing the geometry of the elevators and rails against the softer field grasses and clouds. Verso with artist label identifying Shirley Washington, Edmonton. Sight size 12 x 8 in.; framed 17 x 14 in. The subject is well chosen historically. The Alberta Railway Museum identifies the Gibbons water tank as a 1919 structure later acquired by the museum, and notes that a diorama was made to show its original location in Gibbons. The museum’s historical notes also describe a water tower situated opposite a grain elevator on the line, which fits this composition closely.

Watercolour landscape depicting The Three Sisters in the Alberta Rockies, showing the familiar trio of mountain peaks rising beyond golden foreground meadows, a dark tree line, and a band of green foothills. The composition is handled in a clean, decorative manner with soft washes of blue, violet, ochre, and green, capturing the contrast between open prairie light and the cooler mass of the mountains. Signed lower right Turner; the first initial is faint and appears to read E. Housed in a simple glass-front presentation. Verso with Evergreen Gallery, King Street Mall, Spruce Grove, AB label. Sheet size 16 x 12 in.

Artist-signed limited-edition colour print on paper, numbered 18/450, titled Country Roads . The composition shows a rural road winding through fenced fields and dense tree lines beneath a broad prairie sky, with fresh greens, ochres, and mauves giving the scene a distinctly Western Canadian character. Nicely presented under glass in a silver-toned frame. Image size 28 x 20 in.; framed size 32 x 24 in. Artist Note: Keith Thomson is a Canadian painter born in 1934 in southern Saskatchewan. He studied Commercial Art at the Alberta College of Art and Design, worked first as a commercial artist, and then taught at the college for 25 years, including a period as Head Program Coordinator of the Visual Communications program, before turning to painting full-time.

Signed landscape painting on board depicting a shaded woodland stream or marshy watercourse bordered by dense foliage and tall grasses. The composition is handled in a loose, richly textured manner, with broken brushwork and deep green, ochre, brown, and amber tones creating a strong sense of filtered light and undergrowth. The intimate scale and close-cropped viewpoint give the work a quiet, immersive character, focusing on reflection, shadow, and the movement of light across the water. Signed lower left. Art 12 x 9 in.; framed approximately 20 x 17 in.

Artist-signed limited-edition colour print on paper, numbered 30/450, titled The Stand . The composition features a stand of autumn aspens rising above a winding foreground path, with darker conifers behind and warm tones of ochre, rust, olive, and soft green throughout. The vertical format suits the subject especially well, emphasizing the tall pale trunks and layered fall foliage. Presented under glass in a silver-toned frame. Image size 28 x 20 in.; framed size 32 x 24 in. Artist Note: Keith Thomson is a Canadian artist born in 1934 who studied at the Alberta College of Art and later taught there in the Visual Communications program, including watercolour painting and silk screening, before moving into full-time painting. He is well known for Western Canadian landscape imagery, particularly prairie, foothill, and autumn subjects.

Signed lower right Terraleen, this landscape painting depicts a Rocky Mountain peak rising above a belt of conifers and autumn-toned foreground marsh or lakeshore. The composition is handled in a soft, atmospheric palette of mauve, grey, ochre, and muted green, with the mountain mass and cloud cover painted in a loose, blended manner that gives the scene a calm, luminous quality. A decorative and saleable Western Canadian mountain subject with strong wall presence. Art 20 x 16 in.; framed 24 x 20 in. Artist Note: The signature aligns with Terraleen Hrycun / Terry Hrycun. Public artist profiles identify her as an Alberta-based painter in Redwater, Alberta, with earlier training in Whitehorse, Yukon, including study under Lillas Farley, the Whitehorse Vocational Fine Arts program under Ted Harrison, and further fine arts study in 1976. Her own website is titled “Terry Hrycun’s Oil Paintings.”

Artist-signed limited-edition colour print on paper, numbered 62/450, titled First Snowfall, dated 1989. The composition presents a wide prairie and foothill landscape at the onset of winter, with pale snow settling among shrubs and low brush in tones of mauve, rose, violet, grey, and muted green, punctuated by dark spruce and leafless poplars beneath a cool overcast sky. The panoramic format and restrained palette suit the subject especially well, giving the scene a quiet seasonal atmosphere typical of Thomson’s Western Canadian landscape imagery. Presented under glass in a silver-tone frame. Approximate image size 28 x 20 in.; framed size 32 x 24 in. Artist Note: Keith Thomson is a Canadian artist born in 1934 in Saskatchewan. He studied at what is now the Alberta University of the Arts / Alberta College of Art, taught there for 25 years, including as Head Program Coordinator of the Visual Communications program, and later painted full-time. He is especially known for prairie, foothill, and seasonal Western Canadian landscapes.

Signed lower right Legault, this textured landscape painting depicts a snow-covered rural homestead with a red-roofed farmhouse, leafless trees, and a figure moving along a winter road. The composition uses a cool blue-white palette for the snow and sky, balanced by warm browns and reds in the architecture and brush, giving the scene a strong decorative winter character. The handling is more textured than a flat reproduction and reads as an original painted work on canvas. A saleable traditional Canadian winter subject. Canvas approximately 20 x 24 in.; framed 27 x 31 in.

Signed and dated ’83 lower right, this mountain landscape depicts a frozen or partially frozen alpine lake beneath steep snow-covered peaks, with sparse foreground birches and dark evergreen slopes receding into the valley. The palette is cool and restrained, dominated by whites, greys, and blue-greys, with small touches of warm earth and muted green breaking the winter atmosphere. The composition has a quiet, decorative Rocky Mountain character and good wall presence at a useful medium size. Frame 20 x 24 in.

Signed lower right T. Hrycun, this Rocky Mountain landscape shows a stark snowbound massif rising from a pale, wind-swept foreground beneath a clear blue sky. The composition is simplified and sculptural, focusing on the angular planes of the rock face and the contrast between warm ochre stone and cool blue-white snow. The restrained palette and open space give the work a quiet, modern western character. Verso inscribed “The Rock.” Art approximately 16 x 12 in.; framed 21 x 17 in. Artist Note: Terraleen Hrycun is an Alberta artist whose biography states that she grew up in Whitehorse, Yukon, studied under Lillas Farley, attended the Whitehorse Vocational Fine Arts program under Ted Harrison, and later studied Fine Arts at Okanagan College in 1976.

Artist-signed serigraph on paper, dated 1981 and numbered 3/500, depicting a dramatic close architectural view of Edmonton’s Hotel Macdonald. Executed in a crisp black-and-white graphic manner, the composition emphasizes the building’s steep gables, stone masonry, and window rhythm, giving the historic château-style landmark a strong sculptural presence. Presented under glass in a blue-grey mat and silver-toned frame. Image 17 x 11 in.; framed 22 x 16 in.

Framed black-and-white archival photographic reproduction showing Emerald Lake Lodge in the Canadian Rockies, with the caption strip verso reading “Emerald Lake Lodge, Circa 1912.” The image is presented under glass and bears an embossed lower-right stamp reading “Provincial Archives … For Research Only,” indicating it is an archive-issued reproduction rather than a period-original photograph. Verso with Nordraft Framing, Edmonton stamp. The lodge itself was established in 1902 by the Canadian Pacific Railway, so a circa-1912 view fits the site’s early resort history. Framed 18 x 20 in.; image 10.5 x 13.5 in.

Original photograph mounted and framed; printed caption reads '38 Jasper Ave., Edmonton, N.W.T. (1899)' and credit 'C.W. Mathers, Edmonton, N.W.T.' Lower right bears later copyright stamp to E. Brown. Trim/frame approx. 60 × 73 cm; image sight 59 × 46 cm. Context: C.W. Mathers (ca. 1868–1950) was among Edmonton’s earliest studio photographers; Jasper Ave. views from 1898–1900. Strong historical interest.

hand‑coloured photographic print mounted to mat; verso bears 1930s HBC printed label/edition stamp (seen on similar sets). Sight ~49 × 39 cm; frame 74 × 64 cm. Context: Period souvenir/commemorative issue circulated via HBC stores in the 1930s, derived from Mathers’ late‑1890s negatives; some examples show E. Brown copyright.

Signed, titled, dated 1986, and numbered 69/160 along the lower margin, this Northwest Coast print depicts two salmon arranged in a circular, interlocking design in black, white, and vivid red. The composition is strongly graphic and emblematic, with flowing formline structure and a balanced rotational movement that suits the spawning theme especially well. The title Natural Spawning Grounds and the edition number match a recent Kastner listing for the same work, confirming the attribution and subject. Presented under glass in a square frame. Art 13 x 13 in.; framed 18.5 x 18.5 in. Floyd Joseph, also known as Tyee, is a Coast Salish artist and hereditary chief of the Squamish Nation, born in 1953 at Capilano on Burrard Inlet. Gallery and museum sources describe him as an internationally recognized artist whose work includes prints, carving, and design grounded in Squamish visual traditions.

A grouped lot of tree framed works on paper. The first is a detailed black-and-white Indigenous family scene, likely by Ollie Anderson, showing an elder woman, a male figure in profile, children, a teepee, and a raven overhead. The reverse bears a presentation inscription reading, “To Elenor / Thank You / So much for / all you’ve done / for us. / Ollie / and kids.” A 1990 profile in Alberta Native News identifies Ollie Anderson as a Métis artist whose practice included ink, pencil, watercolor, air brush, and chalks, and notes that her work often drew on Native history and culture, which fits this image closely

Brightly coloured abstract painting on canvas by Ulrike (Uli) Rossier, centred on a dense field of looping, interlocking linear forms in saturated red, yellow, green, and touches of blue. The composition has a lively all-over structure, with rhythmic mark-making and layered pattern creating a sense of movement and visual vibration across the surface. The work fits Rossier’s characteristic approach to playful, shape-driven abstraction and her interest in colour relationships and repeating forms. Framed 25 x 29 in.; visible art 16 x 20 in. Artist Note: Ulrike “Uli” Rossier was born in West Germany and came to Canada at age 23. Edmonton arts sources describe her as a prolific painter with a highly distinctive style, known for richly coloured works built from playful designs, patterns, and abstracted references to nature, the seasons, and mood. She has exhibited widely through the Nina Haggerty Centre for the Arts, was named the Nina’s 2021 Artist of the Year, and her work is represented in the Alberta Foundation for the Arts collection.

A grouped lot of four Northwest Coast and Woodland-inspired reproduction works, comprising: Benjamin Chee Chee, Dancing Goose; Bill Reid, Haida Raven – XUUYA; Bill Reid, Haida Salmon – SKAAGI; and Daphne Odjig, Comforting. The lot includes a mix of framed and matted examples, generally in modest display sizes, and brings together three major Indigenous Canadian artists whose imagery has remained widely collected in print form. Benjamin Chee Chee is especially known for his distilled, elegant bird designs, Bill Reid for his foundational role in modern Haida art, and Daphne Odjig for her importance as one of Canada’s leading Indigenous painters and printmakers.

Signed lower right Esther Loree, this small acrylic landscape depicts a lone wind-bent tree across an open, rolling horizon under a broad, light-filled sky. The composition is atmospheric and expressive rather than strictly topographical, using soft veils of mauve, violet, blue, ochre, and grey to suggest movement, weather, and fading light. The verso is inscribed “Tossed About / acrylic / by Esther Loree / $40.00,” which gives the work its title and confirms the medium. Framed approximately 21 x 18 in.; visible art approximately 12 x 9 in.

A pair of Canadian glazed pottery pitchers by Medalta Potteries, Redcliff, Alberta, each with circular factory stamp to the underside. The lot comprises a larger buff-bodied serving pitcher with mottled brown, bark-like glaze and an angular applied handle, together with a smaller cream-bodied milk or cream jug with dark brown rim wash and loop handle. Though by the same Redcliff pottery, the differing forms and glaze treatments indicate an associated lot rather than an original matched pair. Circa 1966–1986. Good visual condition overall, with minor underside wear and manufacturing irregularities; no chips, cracks, or repairs observed

A Canadian glazed stoneware bowl by Medalta Potteries, Redcliff, Alberta, with circular factory stamp to the underside. The bowl is formed with a rolled rim, deep rounded body, and molded fluted sides, finished in a buff glaze with dark brown banding at the rim and shoulder. A practical later-20th-century Alberta pottery form with strong regional collecting interest and useful decorative presence. Good visual condition overall, with light underside wear and minor manufacturing irregularities; no chips, cracks, or repairs observed

A handmade studio pottery bowl in a low open form, executed in red clay with a mottled brown glaze and unglazed underside, the base incised with a single “S” mark. The bowl has a simple, functional silhouette and an earthy later-20th-century studio pottery character, with a small Edmonton Journal paper label retained to the interior base.

A hand-finished studio pottery vase of baluster form with short flared neck, the underside incised with a mark reading approximately “Scott / Fredericton / N.B.” The vase is decorated in a vivid cobalt-blue glaze with red running panels and irregular metallic, crawl-like surface effects, giving the piece a strong late-20th-century studio pottery character and notable display presence. Best catalogued conservatively as an unidentified Fredericton, New Brunswick studio pottery example rather than assigned to a fully documented maker. Good visual condition overall, with light underside wear and original firing irregularities; no chips, cracks, or repairs observed in the provided photographs.

A hand-thrown studio pottery vase of baluster form with flared rim, incised “MP” mark and “#16” to the underside. The vase is finished in a speckled grey-beige glaze over a textured clay body, with incised stylized foliate decoration and horizontal banding to the shoulder and mid-body, the lower register left more rugged and earthy in effect. The overall design reads as later-20th-century Canadian studio pottery, with a strong handmade character and restrained decorative surface. Good visual condition overall, with light footrim wear, minor firing irregularities, and no chips, cracks, or repairs observed

A hand-thrown studio pottery vase or small jar of shouldered form with broad flared rim, the underside incised “MP.” The piece is finished in a warm mottled brown glaze with darker brown to nearly black concentration at the rim and neck, and is further ornamented with a single abstract relief panel to the body, giving it a strong later-20th-century studio pottery character. Good visual condition overall, with a small rim chip, light general wear, and no cracks or repairs observed.