Canadian Art sales and other fall musings

Jeanne Rhéaume's poignant fauve composition, "University of Montreal in Autumn", 1947, an exciting new addition to Klinkhoff's ongoing private sale of Important Canadian Art.

Jeanne Rhéaume's poignant fauve composition, "University of Montreal in Autumn", 1947, an exciting new addition to Klinkhoff's ongoing private sale of Important Canadian Art.

We are delighted and proud to be hosting our first solo exhibition for Laurie Campbell who we have known for several years but only recently begun showing her paintings. Although Laurie’s painting place is a familiar one which has inspired any number of predecessors and contemporaries one must acknowledge that she has her own individual take on the urban scene. We invite you to browse her exhibition and encourage you to make a purchase. Our Toronto colleagues, Roberts Gallery, have successfully offered Laurie an important window among their astute clientele.

Concurrent with Laurie Campbell’s exhibition, we are featuring an exhibition and sale of important historical Canadian paintings. Collectors will be well served to purchase from among this fine vetted collection. We continue to add works of art as we purchase them. As I write this on November 5 we are about to add a fauve Jeanne Rhéaume of 1947 and a Miller Brittain of 1948, both just in!

If you have not spent any time scrolling around our site, we invite you to peruse insideART, which represents our latest effort to better communicate with our nationwide audience. Continuing in this vein, you can now follow us at your leisure on Facebook and Twitter.

Also, if you are inclined, in consideration of some of the historical sculpture being offered in the Canadian market place, it might be informative to read the newsletter we drafted up and published here about authenticity and sculpture. Most importantly for you the art buyer of sculpture, if someone is offering you a work in bronze by a deceased artist, ask them to tell you when the specific work was cast. One of the issues is of course whether or not it is cast during the lifetime of the art. However a description of a work being ”posthumous” does not go far in telling you whether the estate did authorize the work or whether it is done three weeks ago, fully 70 years after the demise of the artist when copyright is in the public domain, and from what may or may not be a legitimate plaster. Beware!

Finally, but not the least in importance, go see the Automatiste exhibition at the Varley Art Gallery in Unionville, Ontario. The selection of paintings is as outstanding as is the catalogue written by Roald Naasgard, a catalogue which is already a significant document serving to increase the understanding and appreciation of the importance of this group of artists.

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