Posts by Nadine Di Monte

  • Blog
    November 11, 2018

    Commemorating Canada’s “Forgotten Victory” in WWI

    "Study for 'The Canadians Opposite Lens'", c. 1917-8 by Augustus John
    Frank H. Johnston, Summer, Kenora, c. 1921, A.Y. Jackson, Port Joli, Que., c. 1927, and Augustus John’s, Study for “The Canadians Opposite Lens,” c. 1917-18 hung on the walls of Alan Klinkhoff Gallery in Toronto.   All three men were commissioned war artists in World War I.

    Celebrating the centenary of the Armistice, we reflect on Canada’s involvement in the recapture of Hill 70 and the subsidiary attacks on the French city of Lens during World War I. Alan Klinkhoff Gallery is proud to have facilitated the sale of an ink sketch by Augustus John for his larger mural, now in the Canadian War Museum, The Canadian Opposite Lens.

     

    Deemed Canada’s “forgotten victory,” the Battle of Hill 70 was the first to be planned and carried out almost exclusively by Canadians, a rarity for the first world war.  As with Vimy Ridge, soldiers from across Canada participated in the action and were largely successful in their efforts. The victory, however, came at a substantial cost. In total, the number of casualties for the Canadian Expeditionary Force during the Battle of Hill 70 and the subsequent efforts in Lens was 9,198 killed, wounded, or missing.


    Six Victoria Crosses, the highest award for military valour, were awarded to Canadians who fought at Hill 70 and Lens. A monument dedicated to the Canadian Corps that achieved victory at the Battle of Hill 70 was opened to the public in August 2017 Loos-en-Gohelle, France.

  • Blog
    August 16, 2018

    Fine Art and Floor Tiles

    FRITZ BRANDTNER'S "FACTORY WORKER (MACHINE SHOP)", C. 1938/9
    Friedrich Wilhelm (Fritz) Brandtner (1896-1969) "Factory Worker (The Machine Shop)", c. 1938/9 Oil on linoleum panel, 12 x 12 in

     A look at a carved and painted linoleum panel by Fritz Brandtner and how this support served to complement the artist’s abstract and Cubist aesthetic as well as his interest in depicting modern industry.  Introductory text by Jonathan Klinkhoff.

  • Careful draughtsmanship and a profound knowledge of the clean modernist aesthetic led Edwin Holgate to be a central figure in the development of Canadian art in the 1920s and 1930s and to be what the National Gallery calls "instrumental in the revival of woodblock printing."  Holgate recognized the capacity of wood engravings to represent splendid, three-dimensional forms.  Nude by a Lake exhibits a judicious balance of detailed and broadly treated volumes and shows the precision possible in wood engraving.   

     

     Edwin Holgate, R.C.A. (1892-1977), Nude by a Lake, c. 1933

  • Edwin Holgate, La Malbaie (Murray Bay), 1926

    Alan Klinkhoff Gallery is pleased to share with fellow art enthusiasts our research into a particularly fine Edwin Holgate painting and accompanying drawing, which we offered for sale. 

  • 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

  • Blog
    September 21, 2017

    Arthur Lismer in Bon Echo

    An extraordinary early and Group period work by Arthur Lismer that depicts the Bon Echo Rock on Mazinaw Lake.  In size and immediacy, the quickly executed sketch entitled, Bon Echo, c. 1921-22, is a descriptive and emotional testament to the grandeur and natural beauty of the Bon Echo Rock.

     

    Arthur Lismer, Bon Echo, c. 1921-22

    Arthur Lismer, C.C., LL.D., R.C.A., O.S.A. (1885-1969), Bon Echo, c. 1921-22 
    Oil on panel, 9 x 12 in (22.9 x 30.5 cm)
    SOLD.