• Supreme Riopelle Mosaic a Kaleidoscope of Colour

    Landing is the finest Jean Paul Riopelle painting our family has had the pleasure of offering for sale over the soon to be 70 years we have been active in the art business.  Its kaleidoscope of color and geometry of brushwork in this most elegant and rare format result in offering the greatest of visual pleasure.

  • Craig Klinkhoff standing next to Marc-Aurèle Fortin's Landscape, Ahuntsic at the National Gallery of Canada, April 2018.

    Serving as fine art dealers and advisors, we continue to develop some of Canada’s most prominent public collections. Paintings sold by the Klinkhoff family are on the walls of  numerous major Canadian museums, including the National Gallery of Canada, Le Musée national des beaux-arts du Québec (Quebec Museum), the Montreal Museum of Fine Arts, the Art Gallery of Ontario, the McMichael Collection, The Art Gallery of Hamilton, and the Beaverbrook Art Gallery to name a selection.

  • Blog
    September 27, 2018

    Emily Carr's "Totems, Tanoo", 1912: Unseen and Unpublished

    — Until Now
    Totems, Tanoo 1912

    Unpublished and not seen in public since acquired from Carr by Dr. Max Stern of the Dominion Gallery in August 1944, Totems, Tanoo is in exceptional condition, its colour and vivacity as fresh as the day Carr painted it.

  • "Indian Grave Houses," 1926: One of Holgate's Greatest Achievements

    Alan Klinkhoff on the most important Edwin Holgate canvas that one will ever have the opportunity to purchase.  Indian Grave Houses, 1926, is one of only two known major canvases of the Skeena River painted by Holgate after his legendary trip to the area with A.Y. Jackson and Marius Barbeau.  The other canvas has been in the collection of the National Gallery of Canada since 1939, making this an extraordinary opportunity to own this extensively celerated masterpiece, the only known work of its type that is still owned privately.  Alan also reflects on his memories of Edwin Holgate. 

  • Edwin Holgate

    Indian Grave Houses, prompts many memories of the man Edwin Holgate and encourages study to appreciate its importance in the annals of Canadian art history, especially linking the Group of Seven, Canadian art of western Canada and of course the “discovery” of Emily Carr and her subsequent return to painting after a hiatus of a dozen years. 

    As fine as are Holgate’s best nudes, figures and landscapes which are primarily of Quebec province, in our opinion the most historically important Edwin Holgate paintings are Indian Grave Houses and Totem Poles, Gitsegukla, the latter in Canada’s National Gallery (NGC, 4426). The two have been exhibited side by side on a few occasions, most recently in The Beaver Hall Group: 1920s Modernism in Montreal

    Indian Grave Houses was sold in an exhibition, Edwin Holgate, Twenty-Five Years of Painting at Dominion Gallery in Montreal in the fall of 1946 and has remained, until now, in the family of the buyer of this period.

    A read of the documentation prepared for us by Dr. Brian Foss will, we believe, lead others to our conclusion that  Indian Grave Houses is the finest and most important Edwin Holgate composition one will ever have the opportunity to purchase.

  • Lilas Canadien (Lilacs), 1897

    The exquisite Suzor-Coté, Lilas Canadien, painted shortly before Suzor returned to pursue his studies in Paris, demonstrates the aesthetic effect of technique the artist learned from one of his masters in Paris, the important Barbizon painter Henri Harpignies.

  • Alan Klinkhoff comments on a superb 19th watercolour by James Duncan.

  • Blog
    August 16, 2018

    Fine Art and Floor Tiles

    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.

  • Available for sale: Marc-Aurèle Fortin, Lafresnière, First Snow, c. 1923-1930, oil on canvas, 39 x 48 in.


    First Snow, Lafresnière beautifully illustrates that brief time of year when the leaves are still a wonderful array of reds and oranges and yet, a soft, glistening layer of the first snow lightly covers the ground and rooftops. This brief moment of transition between the fall and the winter is perhaps the best subject matter for Fortin, a virtuosic colourist, as it implored him to broaden his palette and marry the reds of the fall with the blues of the winter. 

  • Fritz Brandtner's Social Realism


    In a society ravaged by the Great Depression and war, Fritz Brandtner sought to address contemporary social issues like poverty and health care in this important cubist-inspired composition.

  • 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. 

  • 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.

  • 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)
  • "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

  • 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.

  • Featured Painting: LAWREN S. HARRIS, Snow Laden Trees, c. 1916. By Charles C. Hill

    When Lawren Harris returned to Toronto in 1908 following his studies in Germany, he painted the streets of the older areas of the city in an increasingly impressionist palette as well as landscapes of northern Ontario and the Laurentians. In January 1914, he and J.E.H. MacDonald travelled to Buffalo, New York, to see an exhibition of Scandinavian painting. It was the decorative landscapes of the Swedes and Norwegians that impressed Harris the most and provided him with a visual language to interpret the Canadian landscape. As MacDonald later wrote, “Except in minor points, the pictures might all have been Canadian, and we felt, ‘This is what we want to do with Canada.’” In March 1914 Harris exhibited Morning Sun, Winter (private collection), the first of a series of paintings of snow laden fir trees that would preoccupy him until 1919.

  • Blog
    March 30, 2017

    Harris Mountain Forms

    Harris Mountain Forms

    It is not clear which of the two canvases, both identical in size, was shown in the April 1930 Group of Seven exhibition as Mountains, Moraine Lake, Alberta but they differ considerably. In both canvases the mountains, identified by Lisa Christensen, author of A Hiker’s Guide to the Rocky Mountain Art of Lawren Harris, as The Ten Peaks above Moraine Lake, occupy the centre of the composition and rise from the water in the foreground. Clouds play above the snowy, cupped peaks. 

  • Harris Sun, Fog & Ice, Smith Sound
    LAWREN S. HARRIS, C.C., LL.D. (1885-1970) Sun, Fog and Ice, Smith Sound (Arctic Painting IV) 1931 Oil on canvas 40 x 50 in. (101.6 x 127 cm.) Inscriptions: verso: top stretcher bar: in ink, by artist, “SUN, FOG AND ICE / SMITH 3865SOUND” / LAWREN HARRIS / 25 SEVERN ST. / TORONTO; u.l., in ink on printed label, by Doris Mills, DEPARTMENT OF GRAPHIC ART / Title Sun, Fog and Ice, Smith Sound 40 x 50 / Artist’s Name Lawren Harris / Address [crossed out], Arctic Paintings IV (in graphite) VAULT; u.l. corner, torn printed label, MONTR…OF FINE ARTS; top centre, in ink on torn label, 750; t.c., stamped, WALTER KLINKHOFF GALLERY / 1200 SHERBROOKE ST. W. MONTREAL; centre cross bar, u.c., in white chalk, 72; right stretcher bar, u.r., in ink, ROLAND DUMAIS, ARCHITECTE, MONTREAL Provenance: artist; Fine Art Galleries T. Eaton Co. College Street, Toronto, 1953; private collection, Toronto. Roland Dumais, Montreal; Montreal, Christie’s in Canada, 14...
  • Beware Vendors of Art Without Expertise

    Beware of vendors who offer works of art without the current expertise and use only old labels of reputable galleries to support authenticity. NB. It appears that there is a fellow working primarily but not exclusively in the Toronto area who is affixing labels purportedly of reputable art galleries to endorse the authorship of paintings, sometimes unsigned or recently purchased, as “attributions” or in the “style of,” in minor auction sales. The labels may not be real. Some may have been real but are clearly “doctored,” with new typing to replace erased earlier typing. The problems of buying with only old labels as “proof” of authenticity are threefold.

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