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Sam Borenstein (1908-1969)
Montreal West Winter, 1961
Galerie Alan Klinkhoff - Sam Borenstein (1908-1969)
SAM BORENSTEIN (1908-1969)
Montreal West Winter, 1961
Oil on canvas 18" x 32"
Signed, l.r. `Borenstein`.
Titled : `montreal west`
Signed and dated: `sam borenstein / 1961`
Inscribed by hand: `street scene`
Estate of the artist, Montreal.
Sam Borenstein / Sam Borenstein, Montreal Museum of Fine Arts (June 29 - September 18, 2005), The Justina M. Barnicke Gallery, Hart House, University of Toronto, Ontario (October 6 - November 3, 2005), The Owens Art Gallery, Mount Allison University, Sackville, New Brunswick (January 13 - February 25, 2006);

Sam Borenstein and the Colours of Montreal, Yeshiva University Museum, New York, New York 2011.
Sam Borenstein, Montreal Museum of Fine Arts, 2005, Illustrated on page 75.
  More about this painting  
Borenstein seems to have had heightened senses.

He marvelled at the shapes formed by clouds, at the menacing atmosphere preceding a summer storm, at the power and choreography of the winter wind. He marvelled at the dry burning heat of the August sun, at the cacophony of squawk- ing chickens, at the intoxicating fragrance of wildflowers. It was as though all his perceptions, sight, sound, touch, taste, and smell were tuned to a heightened level.

In Montreal West in Winter, Borenstein pictures an infinity of colours in snow. It makes me think of the Inuit who have at least twenty-five words to describe snow when I look at the millions of colours in this winter scene.

It is a thought Borenstein had a sixth- sense or x-ray vision.

In Montreal West in Winter he makes vis- ible the life force in trees, the heat emanat- ing from them, the sap running through them, and he paints an aura or halo of red around them.

The blowing wind in the trees, is captured in this painting through motion-blur and through the multiplying of the branches. Iím reminded of the Lascaux cave drawings where the running bison is depicted through a multiplication of its legs in all their positions.

For Borenstein, painting was more than his profession, it was his calling, his solace, his meditation. When he painted, he made the subject his, he became one with the subject.

Borenstein saw and expressed the sacredness of life, and its mysterious and awesome beauty.

I see his paintings as ĎOdes to Life.í To this day, the odour of oil paint for me, is a fragrance rather than an odour. It is a nostalgic and enchanting aroma, that brings me back to my childhood, when I was the daughter of the artist.

Joyce Borenstein
From Lawren Harris & Canadian Masters, Alan Klinkhoff Gallery, 2017
Sam Borenstein Biography

Borenstein died prematurely in 1969, largely unappreciated in Canada, but his legacy has grown formidably in years since. We paid hommage to him with a non-selling retrospective exhibition in 1978. Borensteinís daughter, Joyce, produced an outstanding documentary called ďThe Colours of My FatherĒ (1993), which was nominated for an Academy Award in Hollywood. Borenstein has subsequently been celebrated with a one man retrospective at the Montreal Museum of Fine Arts (2005-2006), an exhibition that traveled to three provinces and included stops in Toronto and Sackville, New Brunswick. His paintings also featured prominently in theJewish Painters of Montreal exhibition (McCord Museum/Musee national des beaux-arts du Quebec) in 2008. Most recently, he was also honoured with a solo retrospective at the Yeshiva University Museum (2011) in New York City.

Recently a street in one of Montrealís residential developments has been named after Borenstein. Place Sam-Borenstein is in the borough of Ville St. Laurent. It is the latest addition to the legacy of one of Canadaís great artists.

The market for Borenstein paintings has grown rapidly over the last ten years and those fortunate enough to have acquired them in the 1950s or 60s have seen handsome returns.

Sam Borenstein remembered by Walter Klinkhoff

Throughout my career as art dealer I have been an admirer and enthusiastic supporter of the work of Sam Borenstein. It was a struggle against many odds. My efforts may have helped but it is his work which cannot be overlooked. I noticed it early on and once asked Mr. Watson as I was then calling him: "Donít you think Borenstein is a very good artist?" "No," he replied emphatically, "he is a great artist." He always had some of his paintings in his gallery and told me that two he had at home were among his favourites. At that time in the mid-fifties, the great van Wisselingh firm of Amsterdam held yearly exhibitions at Watsonís, showing Van Goghs, Renoirs and generally great paintings. One of the partners, Mr. de Jong, once challenged me: "Do you know who Canadaís best painter is?" When I hesitated, he said: "Sam Borenstein, no doubt about it." We held two exhibitions during his life-time. The second was rather successful, the first one just moderately so.

Before the opening of the second exhibition I had a telephone call from Mr. MacAulay of Winnipeg who had the finest collection in Canada. He asked me to mark the three best Borensteins sold for him, he was buying them. He had seen one of Borensteinís paintings in Winnipeg and admired it. On the first day of the show Peter Bronfman came in. One of the paintings I had marked sold for MacAulay was the one he would love to own, no other appealed to him as much. I decided to let him have it and marked another, equally good one for Mr. MacAulay. After several months of not having been paid by Peter, I started following up my statements with telephone calls, until one day a chauffeur brought back the Borenstein and left it in my hallway. I furiously telephoned Peter and told him that I found this unacceptable and that the painting would be returned to him promptly. Although he told me he would never do business with me again, and was as good as his word in the regard, he also told me that his wife had not liked the painting when he brought it home. Years later they divorced. Peter told me that Diane, who went to live in Israel, only wanted to take the Borenstein with her. She had gotten to like it!

A client of ours came in during the show and, seeing a very large Borenstein sold for $1,000, he asked in astonishment if this could really be so. When I confirmed this, he exclaimed that he now was no longer the only one who had paid this high price. He had once been to Samís house with the intention of buying a painting and knew that there were a great many in his basement. This man was Lou Ritchie and he found that Sam had taken only three to his living room and told him he could pick one. Lou demurred and asked to look at the ones in the basement but Sam told him they were not for sale. Lou insisted and after a short heated discussion Sam had opened the door and had asked him to get out. He had never before or since been thrown out of a house. Anyway, Lou was a nice person with a particular understanding for artists. He telephoned the next day and asked Sam the price of one of the paintings he had seen. Sam had not yet forgiven the provocation. The painting in question was normally selling for much less, but Sam had said: "For you it is $1,000", and Lou had paid it. Later he bought many more.

I do not know why but one of the biggest detractors of Borensteinís art was Max Stern of the Dominion Gallery. He could have been a great help to the artistís career, but he always ran down Samís work, calling him untutored and undisciplined and more in that vein. Maybe it was because his neighbour Watson featured Borenstein and admired his work. Perhaps he realized that he could not control the man nor the prices and for this reason he relentlessly knocked the work. Borenstein will be remembered as much as Max Stern.

Reminicences of an Art Dealer, Walter H. Klinkhoff (1993). Limited edition memoirs available for purchase

© Copyright Galerie Walter Klinkhoff Inc.

Sam Borenstein, Art Gallery of Hamiton

A few words may serve to introduce this show even though the pictures speak for themselves quite eloquently. Sam Borenstein was a personality, a character, difficult and abrasive at times, uncompromisingly honest, and nowhere more so than in his art. Into this he poured his energy, without compromising to an insensitive public, making virtually no effort to sell his work. Never would he bring me any of his paintings. I would have to go to his house, where he would reluctantly allow me a limited choice of two or three out of a total number of five. It would be useless to plead to see more: "Take two of these or none".

If some recognition and success is being accorded to Sam Borenstein, as witnessed by this show, it happens posthumously, and has been slow in coming.

Observant people, capable of judging for themselves or willing to accept advice, have of course bought his paintings in the past. I had two one-man shows in my gallery while Sam Borenstein was alive, and another after his death, selling most of the pictures.

I first saw his work in Watson's Art Gallery and vividly remember a short conversation with Mr. William Watson in front of one of Sam Borenstein's paintings. I had remarked that it seemed to me that this was the work of a good painter. In a loud voice and with a stern face Mr. Watson replied: "No", and after quite a long pause, "a great painter".

Mr. Peter Eilers, a partner in the renowned firm of art dealers, Van Wisselingh of Amsterdam, had the highest regard for Sam Borenstein as an artist. He often said that had Sam Borenstein lived in Paris, he would have won acclaim as a world renowned artist.

A measure of the quality of Sam Borenstein's paintings is that they do not "fit in" or "blend" with furniture. In fact, they do violence to them, overpower them. Visualize a Borenstein canvas hanging next to a Vlaminck or fauve Derain, for instance, and it would comfortably hold its own. To compromise with the limited capacity for understanding by his public was totally unacceptable to this artist; and to the end of his days he painted in his personal style truly expressionistic pictures, lively in colour and texture, pictures one cannot overlook.

Walter H. Klinkhoff

Introduction to "Sam Borenstein" exhibition catalogue, Art Gallery of Hamilton, September, 1984.

© Copyright Art Gallery of Hamilton and Galerie Walter Klinkhoff Inc.

Sam Borenstein exhibitions at Klinkhoff

Sam Borenstien
Exhibition & Sale of Recent Paintings

Sam Borenstein
Exhibition & sale of Recent Paintings

Sam Borenstein
Retrospective Exhibition

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Sam Borenstein paintings sold
  Sam Borenstein  - Galerie Alan Klinkhoff  
Sam Borenstein (1908-1969)
Baie-Saint-Paul, 1965
Oil on masonite 12" x 16" (Sold)
Detailed view
  Sam Borenstein  - Galerie Alan Klinkhoff  
Sam Borenstein (1908-1969)
Dorval Village, 1963
Oil on canvas 19" x 31" (Sold)
Detailed view
  Sam Borenstein  - Galerie Alan Klinkhoff  
Sam Borenstein (1908-1969)
Summer in Sainte-Lucie, Quebec, 1960
Oil on canvas 24" x 40" (Sold)
Detailed view
  Sam Borenstein  - Galerie Alan Klinkhoff  
Sam Borenstein (1908-1969)
Lansdowne Ridge, Westmount, 1960
Oil on canvas 18" x 40" (Sold)
Detailed view
  Sam Borenstein  - Galerie Alan Klinkhoff  
Sam Borenstein (1908-1969)
Flowers in a Bowl, August 2, 1961
Oil on canvas 27" x 31" (Sold)
Detailed view
  Sam Borenstein  - Galerie Alan Klinkhoff  
Sam Borenstein (1908-1969)
The Pink Bouquet, August 13, 1960
Oil on canvas 30" x 24" (Sold)
Detailed view
  Sam Borenstein  - Galerie Alan Klinkhoff  
Sam Borenstein (1908-1969)
Still Life, ca. 1957
Oil on canvas 29 1/2" x 24" (Sold)
Detailed view
  Sam Borenstein  - Galerie Alan Klinkhoff  
Sam Borenstein (1908-1969)
Still Life, July 19, 1963
Oil on canvas 24" x 20 1/2" (Sold)
Detailed view
  Sam Borenstein  - Galerie Alan Klinkhoff  
Sam Borenstein (1908-1969)
Sunflowers # 4, 1967
Oil on masonite 48" x 36" (Sold)
Detailed view
  Sam Borenstein  - Galerie Alan Klinkhoff  
Sam Borenstein (1908-1969)
Still Life with Lupins, 1961
Oil on canvas 28" x 35" (Sold)
Detailed view
  Sam Borenstein  - Galerie Alan Klinkhoff  
Sam Borenstein (1908-1969)
Still life of Flowers
Oil on canvas 26" x 20" (Sold)
Detailed view
  Sam Borenstein  - Galerie Alan Klinkhoff  
Sam Borenstein (1908-1969)
St. Joseph Shrine, 1943
Oil on canvas 20" x 24" (Sold)
Detailed view
  Sam Borenstein  - Galerie Alan Klinkhoff  
Sam Borenstein (1908-1969)
Still Life of Flowers, 1963
Oil on canvas 24 1/2" x 20 3/4" (Sold)
Detailed view
  Sam Borenstein  - Galerie Alan Klinkhoff  
Sam Borenstein (1908-1969)
Street in Cartierville, Quebec, 1962
Oil on canvas 24" x 48" (Sold)
Detailed view
  Sam Borenstein  - Galerie Alan Klinkhoff  
Sam Borenstein (1908-1969)
View of Montreal and the St. Lawrence River
Oil on canvas (Sold)
Detailed view
  Sam Borenstein  - Galerie Alan Klinkhoff  
Sam Borenstein (1908-1969)
The Sunflowers
Oil on canvas 35" x 23" (Sold)
Detailed view
  Sam Borenstein  - Galerie Alan Klinkhoff  
Sam Borenstein (1908-1969)
St. Agathe in Winter, 1967
Oil on masonite 12" x 24" (Sold)
Detailed view
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© Copyright Galerie Alan Klinkhoff Inc. 2017