• Lemieux's Iconic Dufferin Terrace Scene in Quebec City

    By François-Marc Gagnon, PhD., OC.

    The Dufferin Terrace in Quebec City is a well known tourist attraction. Named after Lord Dufferin who was Governor of Canada from 1872 to 1878 it was built in 1838. From there, people have a breathtaking view of the Saint-Lawrence River, of the Île d’Orléans, and of the Traverse Québec-Lévis. The Château Frontenac is adjacent to it.

  • Blog
    January 10, 2018

    A Record Breaking Year: Our Canadian Art Sales in 2017

    Year in Review: 2017 at a Glance
    Craig, Alan, Helen and Jonathan Klinkhoff

    Reflecting on this past year at Alan Klinkhoff Gallery and Klinkhoff.ca, there are, for us, obvious highlights. One was the outstanding collection of Lawren Harris paintings we successfully offered for sale on behalf of an important private collector. We cannot over emphasise our gratitude to the owners of this extraordinary Harris collection, the family which allowed us to present for sale such fine examples of Canadian art. We were proud to show them in our Montreal and Toronto galleries as well as on Klinkhoff.ca, a platform in which we have invested heavily in both financial and human resources to offer a stimulating and informative visit.

  • Kurelek

    2. The First Snowfall

    Willam behaved like children all over the world at the first snowfall.

    He became giddy with excitement and held his mouth open to catch the first big, juicy flakes, slowly spiraling downward.


  • A pioneer female artist's portraits and Montreal family ties

    "Not surprisingly, her [Laura Muntz Lyall] paintings were consistently in demand by patrons in Canada, and, despite the number of talented artists who then portrayed women and children, she was considered the most important painter of children at the time" 

    — Joan Murray

  • John Little

    This exhibition will be the first authorized tribute to Little's career, and the opening in Toronto will mark the first time an important presentation of his work will be seen in that city. Although he has always preferred to remain out of the limelight, we are grateful for his encouragement and support behind the scenes. In a letter titled "ENDORSEMENT", he wrote in what is his characteristically modest fashion:

  • Welcome to a new Klinkhoff.ca: Our Industry Leading Canadian Art Website

    Alan Klinkhoff Gallery is proud to introduce a new version of our industry-leading website Klinkhoff.ca. This state of the art web platform was developed to provide our growing online audience with a more convenient buying experience while also allowing us to better share our family's 70-year tradition of expertise in Canadian art.


  • Blog
    September 5, 2017

    Welcome to a new Klinkhoff.ca


    Alan Klinkhoff Gallery is proud to introduce a new version of our industry-leading website klinkhoff.ca. This state of the art web platform was developed to provide our growing online audience with a more convenient buying experience while also allowing us to better share our family's 70-year tradition of expertise in Canadian art.

  • "Norman Leibovitch devoted his life to painting. Now his work is deteriorating inside two dimly lit storage units, in danger of perishing."

     Article by Wayne Larsen

  • John Little


    In November,  2017, Alan Klinkhoff Gallery will celebrate John Little's 65 year contribution to Canadian painting with an exhibition in his honour. John Little: City Life, 1951... will be featured at our galleries in Montreal and Toronto. If you have paintings by John Little that you wish to submit for consideration and possible inclusion in this exhibition or the catalogue, we encourage you to send photographs and details to us at info@klinkhoff.ca.

  • In November 2017, at our galleries in Montreal and Toronto we shall celebrate John Little’s 65 year contribution to Canadian painting . John Little is the leading Canadian urban artist of his day. Although Montreal and Quebec City are his painting places, his message is relevant to urban areas in North America of his day.

  • Blog
    April 22, 2017

    LCC Graduate Exhibition 2017

    LCC Graduate Exhibition 2017

    Thanks to the generosity of the Klinkhoff family, we eighteen LCC graduates had the immense privilege of displaying our art at the prestigious Klinkhoff Gallery for a few days. Displaying our work has given us the opportunity to showcase our individual pieces, but also to highlight the importance of being involved in the arts throughout high school.


  • Featured Painting: Lawren Harris, Spring in the Outskirts, 1922

    In 1918, while recovering from his recent nervous breakdown, Lawren Harris began to focus on a new architectural subject: recently constructed houses in Toronto’s unplanned, blue-collar suburbs. Located just outside city limits, these unregulated settlements were widely known as “shacktowns.” In 1920, one art critic described the artist as the “first man in Canada . . . to glorify shacks.” A favorite suburban area for Harris was Earlscourt, a rural neighbourhood that had been under incremental development since 1906.

  • Featured Painting: Lawren Harris, A Row of Houses, Wellington Street

    A Row of Houses, Wellington Street is Lawren Harris’ first major canvas depicting downtown Toronto housing. Signed and dated “L S H ’10” on the face of the picture, a faint inscription on the back of the original stretcher, retained and now attached to the current one reads “Street Painting I.” The site can be identified. On the city’s 1880 fire insurance map, the row of six adjoined, two-and-half story brick dwellings was named “St Catharine’s Terrace” and was located on the north side of Wellington Street West between Dorset and John Streets.

  • Featured Painting: Lawren Harris Maligne Lake, Jasper Park, 1924

    In 1924 Lawren Harris and A.Y. Jackson spent August and early September sketching in Jasper Park in the Rocky Mountains. They first walked from Jasper Lodge to Maligne Lake. By horse they went on to the Colin Range, before hiking over the Shovel Pass to the Athabaska and Tonquin valleys. “We camped at the south end of Maligne Lake on a wide delta of gravel,” Jackson wrote in the January 1925 issue of The Canadian Forum. “Round about were vast piles of crumbling mountains that crowded in the cold green, silt-coloured water of the lake… we decided that mountains have to be roughly handled – big rhythms running across and in, paintings built up architecturally, forms considered as abstract in determining their relationship and the creative faculty given free rein.” While the mountains weren’t to Jackson’s taste, this trip initiated Harris’ lifelong love of the mountains.

  • Featured Painting: Lawren Harris Morning Sun Over Hill, Lake Superior (Lake Superior Sketch XXVII) 1922

    In the fall of 1921 Lawren Harris and A.Y. Jackson painted in Algoma then travelled on to Rossport on the north shore of Lake Superior. In the autumns of 1922 and 1923 the two artists returned to Lake Superior, painting at Port Coldwell in 1922 and at Port Munro and Pike Lake in 1923. The artists probably didn’t return to Lake Superior in 1924 as they were painting in Jasper Park and Jackson had to return to Toronto to teach at the Ontario College of Art but they returned to Port Coldwell the following year.

  • Featured Painting: Lawren Harris, Rock and Hill (Lake Superior Sketch CXXXII) 1922

    As Rocks and Hill Rock and Hill may depict the same hillock as Morning Sun over Hill, Lake Superior, though here the light is clear, the foreground rocks more assertive and the lighter colours are darkly outlined asserting their sculptural form. The naked trunks reach up to the top of the frame, creating a vertical and horizontal rhythm. Water, is glimpsed centre left where the clouds are painted with Harris’ characteristic stylization.

  • Algoma (Beaver Swamp), 1920

    In May 1918, following his discharge from the army, Lawren Harris travelled to Manitoulin Island and up the Algoma Central Railway with Dr. James MacCallum, co-financier of the Studio Building. They returned to Algoma in the fall of 1918 with Frank Johnston and J.E.H. MacDonald and, in the fall of 1919, they were joined by A.Y. Jackson. Algoma offered numerous opportunities to paint in a land of varying topography and colour and Harris returned to paint at Mongoose Lake in Algoma in the spring and fall of 1920.

  • Algoma Sketch XLIII c. 1920-1921

    Harris painted in Algoma every year from 1918 to 1921, new travelling arrangements being made in 1919. "The Algoma Central converted an old box-car into suitable living quarters, put in a few windows, four bunks, a stove, water tanks, sink, cupboard, two benches, and a table. We carried a one-man handcar inside for use up and down the tracks - two of us could manage to ride on it - and a canoe for use on the lakes and rivers. A freight train would haul us up the line, and leave the box-car on a siding at Batchewana or in the Algoma Canyon for a week or ten days. Then, on instructions, another freight would pick us up and haul us to another siding."

  • Featured Painting: Lawren Harris, Mountain Sketch (Lake and Mountain) c. 1928

    From correspondence, we know Harris painted around Banff in 1926 and around Lake Louise in 1928, yet there is little contemporary documentation about Harris’ trips to the Rockies after 1924. Nonetheless, it is clear from the volume of mountain paintings he exhibited in the late twenties that he frequently returned there to paint. Some of his strongest mountain canvases date from the end of the decade, including Mountains and Lake (fig. 1) exhibited in the April 1930 exhibition of the Group of Seven titled Mountain in Snow. It was subsequently shown in the Annual Exhibition of Canadian Art at the National Gallery of Canada in January 1931 as Lake and Mountain.


    The first subjects Lawren Harris painted following his return from Germany in 1908 were street scenes in the older areas of Toronto. Harris explained that in his painting of Georgian houses, A Row of Houses, Wellington Street of 1910, “the endeavor was to depict the clear, hard sunlight of a Canadian noon in winter. An attempt was also made to suggest the spirit of old York.” But old York was in a constant process of transition as the descendants of early settlers had abandoned the area for more salubrious districts further north and immigrants and light industry moved in, becoming new residents of an often hastily built shack town. The human drama of urban change is revealed in the peeling plaster, isolated figures and touches of colour in Harris’ paintings of the downtown Ward and later of Earlscourt and Gerrard Street East.

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