Canadian Furniture

Displayed on a custom made metal stand designed especially for this boat, this is a typical model dugout canoe carved by the Nootka or Makah Indian tribe of the Pacific Northwest...

Circa 1970 Pair Mid Century Lucite table lamps with lamp shades Measure: H63 x D15.5 x W15.5 cm (Base) Shades diameter 38cm.  

Nice pair of midcentury nightstands made by the French-Canadian manufacturer R.S. Furniture. Teak veneer exterior. Two drawers with sculpted pulls on each piece. Additionally, each s...

A Inuit carved dark green soapstone seal hunter. The sculpture is signed on the bottom by an unidentified artist. The sculpture doesn't have the han...

This mid-century era molded fiberglass wall sculpture is unsigned, but presumed to have been made in Canada in approximately 1960 in a Neoclassical Revival style. The relief depicts ...

This large metal mid-century sculpture is unsigned, but presumed to have been made in Canada in approximately 1965 in a Brutalist style. The sculpture is done entirely of scrap metal...

Large signed Lotte & Gunnar Bostlund table lamp, tribal pattern from the 1960s. The lamp is hand painted in geometric patterns on a glazed stoneware, Original shade, harp and finia...

Large Inuit soapstone sculpture of a walrus with tusks, the soapstone is in a large-scale size and quite heavy, the tusks are made from a wal...

This massive TOTEM pole is an incredible example of outsider Folk Art. The pole was carved by Lair Forster in Ottawa in 1938 and is an eccentric interpretation of one of the iconic Thunderbird TOTEM Poles of Alert Bay. The painting on the wings is bold in yellow and red, and the designs are fascinating and recall modernist paintings of the period. The eyes of the thunderbird...

A very handsome patinated plaster bust of a young man, most likely a commissioned piece bearing the sitters initials J.D.F. signed on the reverse with impressed signature and dated 0...

This rare sofa was designed by Luigi Tiengo and produced by the Canadian manufacturer Cimon in 1963. The sculptural shape of the elongated arms, the winged back and the slightly incl...

An Inuit green seal. The piece has a signature: "Kilabuk".

A well-known Canadian sculptor, Alice Winant (nee Czitron) Quebec, Canada/ Romania 1928-1989, unique sterling 925 sculpture of an old bearded fisherman si...

This quite large and substantial studio art pottery vase was done by Theo and Susan Harlander of Brooklin Ontario Canada in circa 1965 in the period Mid-Century Modern style. This art pottery vase is done in muted pastel glazes on a cream ground and decorated with stylized people, horses and birds using...

High end vintage corner cabinet built along the neoclassical style with fluted edges. Excellent for a built in project. Ideal for books and disp...

Watercolor on paper by John Francis Williams Canadian, circa 1960.

Inuit soapstone sculpture of a face wrapped in a parka hood, the head is carved, so it appears to be movable or separate from the parka hood....

A large dark green marble dated 1957 by the Canadian artist Stanley Lewis. It is inscribed on the base Lewis 57. Depicts a face carved into the sides. The piece is quite large and he...

Artist: Rolph Scarletti (Canadian, 1889 – 1984) Object: Modernist Abstract Composition Period: Ca. 1950’s Medium: Guache on paper, framed Dimensions (unframed): Height: 9-1/3” Width: 12” Dimensions (framed): Height: 22-3/4”” Width: 25-3/4” Rolph Scarlett (Canadian, 1889 – 1984) was a consummate explorer of twentieth-century abstract painting. Never afraid of trying new styles, curious and opinionated, constantly engaged with the world around him while steadfastly aware that he was on his own path and his alone, Scarlett more than once proved to be at the artistic zeitgeist of the eras in which he lived. Exposed very early on to the work of Paul Klee through a chance meeting in Europe with the artist himself, Scarlett took up abstraction with a fervor that never diminished during his long and impressive career. To create something that had never existed before: this was Scarlett’s great cause. And that is what is most obvious when you look at Scarlett’s work—you have never seen anything quite like it. Scarlett was Canadian-born, came of age in the Midwest, and spent few important years in Hollywood, where he designed stage sets. His work from this early period echoes Klee’s use of color, his confidence in naïve, primitive forms, and his blend of abstraction and figuration. In its flat spatial qualities it prefigures the Indian Space painting of the 1940s by a decade. He moved to New York in 1933 and eventually found his first great patron at the Museum of Non-Objective Painting, directed by Baroness Hilla Rebay and art patron Solomon R. Guggenheim. Guggenheim would collect over 60 works by Scarlett for his collection, more than any other artist outside of Vasily Kandinsky and Rudolf Bauer. As a frequent exhibitor and lecturer at the Museum of Non-Objective Painting (MNOP), Scarlett honed his sensitive feel for bodies in space and capitalized on his trademark use of bright, vivacious colors into accomplished, perfectly harmonized geometric works. However, Scarlett soon morphed these hard-edged forms into a nuanced expressionistic abstraction which, at its best, seems to be populated by dancing forms that animate the canvases. Along this way he was advised by Rudolf Bauer, the German expatriate and one of the originators of non-objective painting in the teens. Bauer had the idea for the Museum, and Rebay, his champion, had found in Solomon Guggenheim a patron for manifesting it. When Bauer emigrated just before World War II, he wanted to meet Scarlett. The two became friends, and Bauer advised Scarlett on his work over the course of many years. Even in a 1979 interview, Scarlett began to tear up as he recalled his first meeting with Bauer, a man whose work he "worshipped," describing that, "It was a touching moment for me, I’ll tell you." Scarlett and Rebay also had a close, important relationship, one in which he bore the brunt of her sometimes condescending, if motherly, critiques and admonitions with tolerance and gratefulness. Eventually, though, he had to push back. In a letter from 1951 he writes, "I have noticed with growing amazement that during the past three years you have accepted less and less of my work—and, that same work, which you rejected has been accepted and shown in the best and largest shows all over this country." This period—the late 1940s to the early 1950s—did in fact correspond to Scarlett’s most critical success, and to a return to the fanciful forms and characters of his pre-war work. At the same time, he found his own rhythm and complexity using a drip style similar to, though denser and more opaque than, the one made famous by Jackson Pollock, who had worked for many years at the MNOP and with whom he shared common influences. In 1949 he had a very well received solo show in 1949 at the Jacques Seligmann Gallery, reviewed very favorably in The New York Times: "The impression made by these paintings is one of originality and strength." He was also included in a juried show "American Painting Today" at the Metropolitan Museum of Art in 1950 and in the Whitney Annual of 1951. The curator for the Whitney show in fact bypassed a selection of Scarlett’s careful geometrics in favor of a new "lyrical" drip painting—one which he describes as having had "a helluva good time" making. Rebay articulated her loss of control over Scarlett very keenly in one of her last official letters to him: "So your way ended in the horrid jungle it is in now; even a Mr. Pollock’s smearage was not bad enough for you to have a try at; and betraying yourself, you betrayed art and my faith in you, and my present disgrace by my failure to foresee such an outrageous possibility—since you even paint objectively now." Yet, despite the fact that he was moving in his own direction when the change in leadership took place at the Museum of Non-Objective Painting and Rebay was forced out as director, Scarlett was hit hard. He understood this change rightly as a betrayal by the establishment. Scarlett was a unique individual and soul, and was affected personally and philosophically by the idea that the movement with which Scarlett had aligned his talents seemed to disappear overnight, and his life’s work rendered valueless. Without the Museum’s support, Scarlett decided eventually to move to the artists’ community of Shady, New York, just outside of Woodstock. He had occasional shows throughout the years, but mostly settled down to regional obscurity. He began making jewelry, which had been his first trade, and it was following a show of his jewelry in 1975 at the Jaro Gallery, that he was rediscovered by Samuel Esses, and his wife Sandy. Samuel Esses was a successful businessman and an avid collector. He always sought out that which was unusual and, like Scarlett, was ahead of his time in many ways. For example, in 1979, Sam became enthralled with the early graffiti appearing on the New York subway trains. With the sole goal of preserving these groundbreaking yet short lived works of art he was inspired to create "The Esses Studio," a painting warehouse and workshop for graffiti artists to work in a studio, collaborate, and paint on canvas. The biggest names of graffiti writing participated—Futura, Crash, Dondi, Zephyr, and Daze to name a few. The project was well received and provided critical validation at an important time for this alternative form of abstraction to be recognized by the established art world. The success of the "Esses Studio" helped fuel an alternative fire that would propel gallerists and curators to acknowledge other street artists and provide a foundation of acceptance for the early careers of Keith Haring and Jean-Michel Basquiat. It is not a stretch to say that what Esses saw in the graffiti art of the 1970s was very similar to what he saw in 1950s-era Scarletts—something raw, honest, and melding many twentieth century influences into one unique form. Inspired by the importance of the collection and the passion of the collector, Weinstein Gallery...

This original painting was done by the Canadian artist, Manly E. MacDonald in circa 1960 in his semi-impressionistic style. The painting is done on canvas artist's board and is a Can...

This Mid-Century Modern art pottery bowl was produced in approximately 1965 by Hand Decor of British Columbia Canada, and designed by Herta Gerz. The bowl i...

Fantastic Paul Evans inspired Brutalist walnut credenza. Wonderfully carved walnut doors and drawers create a chunky Brutalist look. The doors on either end open to reveal a bank of ...

Pair of Orthoconic Cephalopods towers or fossilized squid specimens carefully cut from stone and polished to reveal these remarkable organic sculptures.

We are delighted to offer for sale this lovely pair of very small original Andre Bourgault statues hand carved and stamped Please note the delivery fee listed is just a guide, it ...

A super handsome and sophisticated pair of night stands made by Rougier. They feature well made laminate cases, with beautiful rosewood drawers, and brass plinth bases. Very much in ...

Studio Pottery Mid-Century Modern plate by Theo and Susan Harlander of Brooklin Pottery, Brooklin, Ontario. This bowl was designed with a whimsical cu...

This circa 1940 swivel leather and metal stool could have been used by a dentist or doctor's office. It can be rotated to raise or lower the green leather seat.

This rare Classic Mid-Century Modern sofa was designed by Luigi Tiengo and produced by the Canadian manufacturer Cimon in 1963. The sculptural shape of the elongated arms, the winged...

This is a very rare one of a kind automotive collector item. Cantilevered cast iron sign for Brighton Garage. Two-sided, electrified sign with its lettering reverse-painted on glass...

This very unique and functional table lamp is unsigned, but presumed to have been homemade in Canada in approximately 1965 in the period midcentury style. The lamp features a figural cast iron canon...

Large soapstone puffin bird sculpture, simplistic in design, wings tucked in, standing with legs together and the head slightly cocked to one side. The soapstone puffin measures 9&qu...

Standing on a trefoil base, and scrolling foot, the plate-glass circular top stands on three curved supports carved as stylised feathers, braced at the top by an annular band. This is a highly unusual form but has much in common with other Pistono pieces we have seen. Louis Pistono...

A petite dining table in birch from the Contemporary Line of the Imperial Furniture Company, circa 1950s. Perfect for a smaller space with the ability to expand to 62" long when the ...

This quite large and substantial studio art pottery vase was done by Theo and Susan Harlander of Brooklin Ontario Canada in circa 1965 in the ...

Bulbous form cream white satin glazed ceramic table lamp by Lotte and Gunnar Bostlund. Circa 1960. Measures 29 inches high to top of finial / 21 inches high to top of socket. Look a...

This solid 14-karat yellow gold Queen's Plate Stakes horse racing trophy was made by renowned Danish Canadian silversmith, Carl Poul Petersen for...

Funny little piece of furniture in painted maple, with a "guillotine" door. Origin North America, Canada or USA, circa 1950./1960 Small paint losses.

Danish Modern Bostlund Hand Painted Glazed Stoneware Table Lamp with original Cream Jute Shade. Featuring a hand-painted glazed pottery form with geometric patterns referencing indig...

Elegant Handmade Mid-Century Modern Craftsman wall mirror or wall mounted sculpture in an oval sunburst form by the French Canadian artist, Bel...

A small warrior spirit mask Northwest Coast Carved and polychrome decorated mask with horse hair, Hand carved by Charlie Mickey (1910-1988), Hesquiah...

Adam Sherriff Scott was born in Perth, Scotland and began his art education in 1903 at the Edinburgh School of Art. He was awarded the Allen-Fraser Scholarship to continue his studies for four years at the Allen-Fraser institute, which was a finishing school for talented young artists, and studied under George Harcourt A.R.A. After this, he continued his studies at the Slade School under Henry Tonks as well as at the National Gallery and the Tate Gallery. In 1912, he moved to Canada. He worked for an American who commissioned him to paint large scenes of the Canadian West to sell to real estate agents. Scott moved to Montreal in 1915 He became a member of the Beaver Hall...

Dazzling Mid-Century Modern Huber curved back sofa (R. Huber & Co., Canada, 1968). We love the swooping thick teak band that surrounds the top edge-very handsome. The legs are also q...

Set of 3 midcentury Danish modern rosewood and smoked glass side tables by interior form. Listing includes polished metal joinery, nesting form, smoked glass tops, solid wood constru...

Modernist mahogany King size headboard from the Viscount collection made by Gibbard Furniture Company of Canada in March 1956. Only 50 hea...

Curling Bonspiel trophy stand-up ashtray, early 1960s, The stand is maple with two curling brooms holding the top ashtray with the base mounted on a turned base and centered by a curling stone. The stand is made of maple, with a black glass ashtray...

Good 20th century brass five-light chandelier with scrolled arms, the turned center shaft with large ball pediment with suspended ring. Recently polished and rewired. Measures: 16...

David Paterson art glass vase.

This unique and whimsical pottery bird sculpture was made by Theo and Susan Harlander of the Brooklin Pottery company of Canada in approximately 1965 ...

This set of seven Folk Art wooden box letters were made in Canada is circa 1965 and were once mounted on a carnival sign for either a ride or an at...

Vibrant and brilliant examples of Art Deco sculptural plaques, this pair was created by Valentin Shabaeff, a Russian-born artist who settled in Montreal, Canada. He became known for ...

only an "O" "l" x 2 left Two sets of custom-made metal letters made for the Wilkinson steel plant in Vancouver for a new office in 1950. The company ...

A special edition of a couch designed by Adrian Pearsall for Cimons, Canada and displayed at Habitat 67 for Expo 67, Montreal, Canada. The sofa features two Ro...

Pair of large Trophy quality Moose Antlers mounted on premium tanned buck hide and custom wood plaque. Origin, Nova Scotia (Private Collection 1/6)...

Canadian artist Frank Panabaker (1904–1992) original oil painting on Masonite of Scottish castle Dunderave. Painted in 1959. Actual canvas size 15 inches by 19 inches. Frank Shir...

Pure handmade. Fantastic work. Copper cutout and with the Hammer blow technique to an artistic object sculpted. A real eye-catcher of a talented metal artist. After all these ...

Paul Vanier Beaulieu (Canada 1910-1996) Medium: Ink and pencil Size Without frame: 12" high x 9.5" wide With frame: 21.5" high x 17.25" wide Born in Montreal, Quebec, in 1910,...

Elegant midcentury wall mirror in modern neoclassical spirit by French Canadian artist, Bela. The wall-mounted sculpture / mirror features a s...

Provenance from Estate of the son of Thomas Garside, who was a very closed friend of Sherriff-Scott. .