Alan Klinkhoff Gallery is pleased to present for your purchase an outstanding selection and variety of fine works of quality. Each is available for your immediate purchase at a fixed price, one which, most importantly, is a fair price.
We are proud to offer our artwork with unparalleled transparency, the price posted on our site until the work is purchased. We are delighted that an ever increasing number of collectors, buyers and sellers, are expressing confidence in our expertise and the process we offer. It is our experience that this transparency simplifies the purchase process while cementing confidence and trust among sellers, consignors and buyers.
This collection includes a number of works of art sold by our original family art gallery, Walter Klinkhoff Gallery, to a couple, preferred clients, more than a half century ago, a group of pictures the gallery sold to a discerning corporate client at around the same time, others last sold by Dominion and Gilles Corbeil galleries also more than 50 years ago. The Tom Thomson may have been last purchased in the 1930s. We also offer a pair of Morrices that in fact have never previously been for sale. We have said to collectors that the opportunity to acquire fine works of art is a generational opportunity. Here is the evidence. The bargain is the opportunity to make their purchase at a fair price.
Should you wish any additional information we invite your inquiries by telephone to either of the galleries or by email, if you prefer. We direct you to more excellent works of art available in our galleries. Please note that clicking on any of the images unveils more photos and an option of a view of the work in a room in order to show scale. We encourage your purchases.
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Tom ThomsonRiver in Spring (Spring Break-up or Spring Ice), 1916 (Spring)Oil on composite wood-pulp board8 1/2 x 10 1/2 inTom Thomson was one of Canada’s greatest painters but, like many Toronto artists of his generation, he began working as a graphic artist, producing illustrations and commercial designs. It was only in 1911, at the encouragement of fellow designer J.E.H. MacDonald, that he began to paint, producing oil sketches on small panels, favouring landscapes as his principal subject. In May 1912 he made his first trip to Algonquin Park and over the next five years he would routinely stay in the park from late winter...
21.6 x 26.7 cmSoldTom Thomson was one of Canada’s greatest painters but, like many Toronto artists of his generation, he began working as a graphic artist, producing illustrations and commercial designs. It was only in 1911, at the encouragement of fellow designer J.E.H. MacDonald, that he began to paint, producing oil sketches on small panels, favouring landscapes as his principal subject. In May 1912 he made his first trip to Algonquin Park and over the next five years he would routinely stay in the park from late winter...
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Fine Paintings from a Toronto Collection
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Marc-Aurèle FortinEtude (Laval-des-Rapides), 1921 (circa)Oil on cardboard13 3/4 x 16 7/8 in“By the end of the 1920s, Fortin was well on his way to becoming one of the artists instrumental in setting the markers of modernism in the arts as it was taking shape in Quebec”,[1] Professor Esther Trépanier, of the Department of Art History at University of Quebec at Montreal (UQAM), wrote in 2006. Assisted in her research by Mme. Kathleen Vézina, a doctoral student at UQAM, Professor Trépanier provided important original research in an essay to accompany a fine collection of M.A. Fortin artwork...
34.9 x 42.9 cmCAD 55,000“By the end of the 1920s, Fortin was well on his way to becoming one of the artists instrumental in setting the markers of modernism in the arts as it was taking shape in Quebec”,[1] Professor Esther Trépanier, of the Department of Art History at University of Quebec at Montreal (UQAM), wrote in 2006. Assisted in her research by Mme. Kathleen Vézina, a doctoral student at UQAM, Professor Trépanier provided important original research in an essay to accompany a fine collection of M.A. Fortin artwork...
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Fine Paintings from a Toronto Collection
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H. Mabel MayEarly Evening, Hudson Heights, 1919Oil on panel6 1/2 x 8 3/4 in
16.5 x 22.2 cmCAD 7,500 -
Sarah RobertsonOld Vermont HouseOil on panel12 x 14 in
30.5 x 35.6 cmSold -
Nora CollyerHouse, Magog - Back Road to Orford, 1962Oil on panel12 x 14 in
30.5 x 35.6 cmSold -
Kathleen M. MorrisHitching Posts, Berthierville, 1925 (circa)Oil on panel10 x 13 1/2 in
25.4 x 34.3 cmSold
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Anne SavageLake WonishOil on panel8 1/2 x 10 1/2 in
21.6 x 26.7 cmCAD 11,500 -
John Young JohnstoneChâteau-Richer Church, P.Q., 1920Oil on cardboard10 1/2 x 9 3/4 in
26.7 x 24.8 cmCAD 25,000 -
Franklin ArbuckleMarch near Cap aux Corbeaux, Baie St. Paul CountryOil on canvas board12 x 16 in
30.5 x 40.6 cmSold -
Maurice CullenChicoutimi Falls, 1920 (circa)Oil on panel12 x 16 in
30.5 x 40.6 cmCAD 18,500
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Property from Various Private Collections
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Ozias LeducPortrait de Pierre Préfontaine, 1916 (circa)Oil on canvas22 x 16 inThis portrait of a man sitting on a park bench represents Pierre Préfontaine (1842–1897). When the painter, Ozias Leduc, received the commission for this painting, the subject had been deceased for over 15 years. It was his daughter, Anne-Marie (1879–1959), who met with the artist and provided the photo of her father. Leduc often used photographs in his work as a painter. When he first built his studio in the early 1890s, he integrated a small space to use as a darkroom. He took the...
55.9 x 40.6 cmCAD 95,000This portrait of a man sitting on a park bench represents Pierre Préfontaine (1842–1897). When the painter, Ozias Leduc, received the commission for this painting, the subject had been deceased for over 15 years. It was his daughter, Anne-Marie (1879–1959), who met with the artist and provided the photo of her father. Leduc often used photographs in his work as a painter. When he first built his studio in the early 1890s, he integrated a small space to use as a darkroom. He took the...
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Claude A. SimardTournesols et pavots, 1990Acrylic on canvas24 x 18 in
61 x 45.7 cmSold -
Claude A. SimardWhite Geese, Cap Tourmente , 2014Acrylic on canvas24 x 36 in
61 x 91.4 cmSold -
Claude A. SimardSummer Garden , 1995Acrylic on canvas12 x 24 in
30.5 x 61 cmCAD 4,000 -
Claude A. SimardOrange Tulips, 2004Acrylic and collage on canvas24 x 12 in
61 x 30.5 cmSold
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Claude A. SimardPas déjà l’hiver!, 1998Acrylic on canvas18 x 24 inClaude A. Simard, RCA, was an artist of great talent. Unabashedly, he was a painter of beauty and joy, found in numerous forms. Their gardens, first le Jardin du Bon Accueil at their home in St-Foy and then also at the home on Lac St-Joseph provided important sources of composition. Not the most ardent fan of winter, Claude brought his interest in flowers indoors where he painted a strong body of still life. He was born in Quebec City in 1943. He graduated in 1966...
45.7 x 61 cmCAD 8,000Claude A. Simard, RCA, was an artist of great talent. Unabashedly, he was a painter of beauty and joy, found in numerous forms. Their gardens, first le Jardin du Bon Accueil at their home in St-Foy and then also at the home on Lac St-Joseph provided important sources of composition. Not the most ardent fan of winter, Claude brought his interest in flowers indoors where he painted a strong body of still life. He was born in Quebec City in 1943. He graduated in 1966...
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John LittleUn matin de mai, Parc Lafontaine, Montreal, 1960Oil on canvas24 x 30 in
61 x 76.2 cmCAD 45,000 -
John LittleA Boy's Christmas in Griffintown with the Father Boyle Officiating, 1978Oil on canvas8 x 10 in
20.3 x 25.4 cmCAD 18,000 -
Philip SurreyTwo Girls IIOil on panel7 7/8 x 5 7/8 in
20 x 15 cmSold -
Philip SurreyTwo Girls, 1967Oil on canvas20 x 16 in
50.8 x 40.6 cmCAD 45,000
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Property of a Distinguished Family, Westmount, Quebec
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James Wilson MorriceVillage Lane, circa 1895Oil on canvas11 x 9 in
27.9 x 22.9 cmCAD 30,000 -
Frederick W. HutchisonHorse Sleigh, CharlevoixOil on canvas30 1/4 x 36 1/4 in
77 x 92 cmCAD 40,000 -
A.Y. JacksonOld Barn, Laurentians, 1964 (February 28)Oil on panel10 1/2 x 13 1/2 in
26.7 x 34.3 cmSold -
Albert H. RobinsonUnloading Bricks in Harbor, Montreal, P.Q., 1908Oil on canvas12 1/4 x 16 7/8 in
31 x 43 cmCAD 20,000
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A.Y. JacksonDiamond Lake, Combermere, 1964 (circa)Oil on canvas20 1/4 x 26 1/8 inThe importance of A.Y. Jackson’s contribution to art in Canada painted throughout his career can never be overstated. There is not likely any artist more synonymous with Canadian art than Alexander Young Jackson. According to Lawren Harris, Jackson was, “The real force and inspiration that led [the Group of Seven] into a modern conception which suited this country” [...] “the one era of creative art that has the greatest significance for Canada” [1]. In the annals of Canadian art of his generation, and prior to...
51.5 x 66.5 cmCAD 50,000The importance of A.Y. Jackson’s contribution to art in Canada painted throughout his career can never be overstated. There is not likely any artist more synonymous with Canadian art than Alexander Young Jackson. According to Lawren Harris, Jackson was, “The real force and inspiration that led [the Group of Seven] into a modern conception which suited this country” [...] “the one era of creative art that has the greatest significance for Canada” [1]. In the annals of Canadian art of his generation, and prior to...
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Lorne BouchardFloral with Brown Jug, 1973 (June 1)Oil on gesso illustration board6 1/2 x 4 1/2 in
16.5 x 11.4 cmCAD 1,200 -
Lorne BouchardFloral in YellowsOil on board6 1/2 x 4 1/2 in
16.5 x 11.4 cmSold -
Lorne BouchardFloral Arrangement, 1973 (August)Oil on board6 1/2 x 4 1/2 in
16.5 x 11.4 cmSold
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James Wilson MorriceLe Lion de Belfort, Paris, 1892-1894 (circa)Oil on wood3 3/4 x 6 1/8 inThe title written on the back, “Place Belfort / Paris”, is a simplification for Place Denfert-Rochereau, dominated by Le Lion de Belfort. It is a scaled down (1/3rd) copy by Auguste Bartholdi of his red sandstone lion carved from a site overlooking Belfort, near the German border. The lion raises its head in defiance, having just stopped an arrow with its paw, commemorating the French Resistance during the Franco-German war of 1870. Both monuments were inaugurated in 1880, while Bartholdi was also working on the...
9.7 x 15.5 cmSoldThe title written on the back, “Place Belfort / Paris”, is a simplification for Place Denfert-Rochereau, dominated by Le Lion de Belfort. It is a scaled down (1/3rd) copy by Auguste Bartholdi of his red sandstone lion carved from a site overlooking Belfort, near the German border. The lion raises its head in defiance, having just stopped an arrow with its paw, commemorating the French Resistance during the Franco-German war of 1870. Both monuments were inaugurated in 1880, while Bartholdi was also working on the...
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Jean PalardyMaison a pis sec, St. Urbain, 1937Oil on panel3 1/8 x 4 7/8 in
7.9 x 12.4 cmSold -
Randolph S. HewtonAutumn Scene, 1925 (circa)Oil on canvas20 1/8 x 24 1/8 in
51 x 61 cmCAD 9,500 -
Joseph-Charles FranchèreAutumn LandscapeOil on canvas laid down on a board11 3/8 x 14 1/8 in
29 x 36 cmCAD 2,000 -
Goodridge RobertsStill Life with Red TableclothOil on panel16 x 20 in
40.6 x 50.8 cmCAD 7,500
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A.Y. JacksonCap Tourmente, P.Q., 1964 (June)Oil on panel10 1/2 x 13 1/2 inThe importance of A.Y. Jackson’s contribution to art in Canada painted throughout his career can never be overstated. There is not likely any artist more synonymous with Canadian art than Alexander Young Jackson. According to Lawren Harris, Jackson was, “The real force and inspiration that led [the Group of Seven] into a modern conception which suited this country” [...] “the one era of creative art that has the greatest significance for Canada” [1]. In the annals of Canadian art of his generation, and prior to...
26.7 x 34.3 cmCAD 25,000The importance of A.Y. Jackson’s contribution to art in Canada painted throughout his career can never be overstated. There is not likely any artist more synonymous with Canadian art than Alexander Young Jackson. According to Lawren Harris, Jackson was, “The real force and inspiration that led [the Group of Seven] into a modern conception which suited this country” [...] “the one era of creative art that has the greatest significance for Canada” [1]. In the annals of Canadian art of his generation, and prior to...
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Property of a Corporate Collection
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Edwin HolgateShipbuilding, Sorel, 1942Oil on hardboard24 x 20 inThe National Gallery of Canada describes Edwin Holgate: “A central figure in the development of modern art in Canada, Holgate forged his own path balancing traditional and modern stylistic approaches.” Shipbuilding Sorel is an outstanding example of the best of modernism demonstrated by Holgate’s painting. Holgate was a founding member of Montreal’s Beaver Hall Group, a later member of the Group of Seven, the Canadian Group of Painters and Montreal’s Pen and Pencil Club. In his capacity as an Official War Artist with the Air...
61 x 50.8 cmSoldThe National Gallery of Canada describes Edwin Holgate: “A central figure in the development of modern art in Canada, Holgate forged his own path balancing traditional and modern stylistic approaches.” Shipbuilding Sorel is an outstanding example of the best of modernism demonstrated by Holgate’s painting. Holgate was a founding member of Montreal’s Beaver Hall Group, a later member of the Group of Seven, the Canadian Group of Painters and Montreal’s Pen and Pencil Club. In his capacity as an Official War Artist with the Air...
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John LittleLe Quai, La Malbaie, Qué., en avril, 1970Oil on canvas
12 x 16 in
30.5 x 40.6 cmSold -
John LittlePort Authority Building, Rue des Commissaires, Montreal, 1968Oil on panel10 x 14 in
25.4 x 35.6 cmCAD 12,000 -
John LittleRue St. Nicholas [sic], Montreal, 1969Oil on canvas16 x 20 in
40.6 x 50.8 cmCAD 25,000
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Property of a Montreal Collector
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Philip SurreyLe Café La Bohème, 1972Oil on canvas18 x 24 inCafé la Bohème was one of Montreal’s famous jazz clubs. Jazz fans will recall some of the other iconic clubs, Rockhead’s Paradise, Biddles and the Black Bottom. Surrey painted a number of compositions of bars, taverns and clubs. What is of particular note in this composition is that there is no engagement among the patrons, one to another. That is to say, even in this vignette of perhaps 8 tables, there is no eye contact, many simply looking …. somewhere. Even in the most intimate...
45.7 x 61 cmSoldCafé la Bohème was one of Montreal’s famous jazz clubs. Jazz fans will recall some of the other iconic clubs, Rockhead’s Paradise, Biddles and the Black Bottom. Surrey painted a number of compositions of bars, taverns and clubs. What is of particular note in this composition is that there is no engagement among the patrons, one to another. That is to say, even in this vignette of perhaps 8 tables, there is no eye contact, many simply looking …. somewhere. Even in the most intimate...
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Paintings from friends of the James Wilson Morrice family
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James Wilson MorriceStreet Scene, Brittany (Concarneau), 1909 (circa)Oil on wood panel4 7/8 x 6 1/8 in
12.3 x 15.4 cmSold -
James Wilson MorriceSouth Portal of Saint-Jacques de Dieppe, 1909 (circa)Oil on wood panel6 1/8 x 4 7/8 in
15.3 x 12.3 cmCAD 115,000 -
James Wilson MorriceSailing Vessels in Estuary, 1913 (circa)Oil on wood panel4 7/8 x 6 1/8 in
12.3 x 15.5 cmSold
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Property of a Calgary Collector
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Edwin HolgateQuebec Village in Winter (Winter Landscape), 1930 (circa)Oil on panel8 1/4 x 10 1/4 in
21 x 25.9 cmCAD 35,000 -
Molly Lamb BobakTown Crier Competition, 1991Oil on canvas12 x 16 in
30.5 x 40.6 cmCAD 32,000 -
Goodridge RobertsStill life with Fruit and FlowersOil on canvas12 x 16 in
30.5 x 40.6 cmCAD 18,000
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Property of an Important Estate, Bromont, Quebec
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Paintings from the Estate of the Late Grant Munro
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Property from Various Private Collections
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Jean DallaireHead, 1953 (15 March)Oil on canvas24 x 18 inThis important work was painted when Dallaire was only 7 months into his job at the National Film Board in Ottawa. He considered the day job as a necessity to earn a livelihood in order to support his young family but was anxiously looking for the freedom to paint full time. Guy Robert in Dallaire ou l’oeil panique aptly describes Dallaire's circumstances and his efforts, seemingly in desperation, to find financial support to allow him to dedicate more time to his own art. [1] Unable...
61 x 45.7 cmSoldThis important work was painted when Dallaire was only 7 months into his job at the National Film Board in Ottawa. He considered the day job as a necessity to earn a livelihood in order to support his young family but was anxiously looking for the freedom to paint full time. Guy Robert in Dallaire ou l’oeil panique aptly describes Dallaire's circumstances and his efforts, seemingly in desperation, to find financial support to allow him to dedicate more time to his own art. [1] Unable...
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James Wilson MorriceLandscape, 1909 (circa)Oil on wood panel
4 7/8 x 6 inParis, Venice, Brittany, then exotic places in North Africa or the West Indies: these were “painting places”, what we expect to see. Often a town, big or small, but never far from the water; so such a simple, pure landscape is rather rare, except for the early years of his career. In spite of its small dimensions, the view encompasses a wide panorama, made even wider by the importance given to the sky and the clouds. We are in a grassy meadow; the path (or...
12.4 x 15.2 cmCAD 45,000Paris, Venice, Brittany, then exotic places in North Africa or the West Indies: these were “painting places”, what we expect to see. Often a town, big or small, but never far from the water; so such a simple, pure landscape is rather rare, except for the early years of his career. In spite of its small dimensions, the view encompasses a wide panorama, made even wider by the importance given to the sky and the clouds. We are in a grassy meadow; the path (or...
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John LittleRue Pontiac coin Bienville, Montreal, 1973Oil on canvas18 x 24 in
45.7 x 61 cmCAD 22,500 -
John Young JohnstoneBeaupré, Québec, 1920 (circa)Oil on board9 x 12 1/2 in
22.9 x 31.8 cmCAD 12,000 -
Frederick B. TaylorWelder on a Section Fan of a Kiln, Canadian Allis Chalmers, Lachine, Quebec, 1944 (November 21)Oil on wood7 7/8 x 6 3/8 in
20 x 16.2 cmCAD 8,000 -
Frederick H. VarleyRed October, 1950Oil on board11 3/4 x 15 in
29.8 x 38.1 cmCAD 47,500
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Jean DallaireÔ REDOUTABLE FEMELLE!, 1954Oil on canvas board
20 x 16 inDallaire is the most intriguing of artists, one who is a brilliant colorist and who defies any one particular “ism” but spans many in his career. In the case of Ô REDOUTABLE FEMELLE!, he is a bit of a sorcerer, mixing the world of surrealism somewhere between Salvador Dalí, Paul Delvaux and René Magritte. Ô REDOUTABLE FEMELLE!, was exhibited at Dominion Gallery alongside of Anouk, also of 1954, which Dr. & Mrs. Max Stern donated to the Montreal Museum of Fine Arts and where because...
50.8 x 40.6 cmSoldDallaire is the most intriguing of artists, one who is a brilliant colorist and who defies any one particular “ism” but spans many in his career. In the case of Ô REDOUTABLE FEMELLE!, he is a bit of a sorcerer, mixing the world of surrealism somewhere between Salvador Dalí, Paul Delvaux and René Magritte. Ô REDOUTABLE FEMELLE!, was exhibited at Dominion Gallery alongside of Anouk, also of 1954, which Dr. & Mrs. Max Stern donated to the Montreal Museum of Fine Arts and where because...
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Eric RiordonAutumn, St-Sauveur, QuebecOil on canvas mounted on masonite6 x 8 in
15.2 x 20.3 cmSold -
John KasynBackyard with Winter Woods, Palmerston Avenue, 1974Watercolour6 x 9 in
15.2 x 22.9 cmCAD 2,500 -
Lorne BouchardBend of the River, Autumnoil on panel6 1/8 x 9 1/2 in
15.6 x 24.1 cmSold -
Albert CloutierPort of MontrealOil on board17 3/4 x 21 5/8 in
45 x 55 cmCAD 1,500
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Clarence A. GagnonLe rang de la Goudronnerie, 1923 (circa)Oil on panel4 3/4 x 7 1/4 in
12.1 x 18.4 cmSold -
Frederick B. TaylorMiners Going to Work, 6:30am (Noranda), 1945 (January)Oil on canvas20 x 16 in
50.8 x 40.6 cmSold -
Clarence A. GagnonMisty Morning, Canada (After Snowfall), 1919-1920Oil on panel6 1/4 x 9 1/4 in
15.9 x 23.5 cmSold -
Marc-Aurèle Suzor-CotéThe Valley of Nicolet River, Arthabaska, Québec, 1910 (circa)Oil on board5 1/4 x 8 1/2 in
13.3 x 21.6 cmSold
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