Canadian Furniture

Great piece of mid century lighting history. Made in Oak Ridges, Ontario and made famous in North American and Europe. Rare Lotte and Gunnar Bostlund table lamps with tribal hand p...

Original Jacques Guillon Cord Chair Black 1950s

A nice set of holophane pendant lights in rare 12” diameter ribbed glass shade. These are in excellent condition currently on 20 inch pipe … can be adjusted to desired lenght .

aluminum animal sculptures were originally a playground spring ride located throughout parks.Stamped PARIS.. Spring is not included. It's more sculptural and part of Americana histo...

Modernist lounge chair designed by Canadian designer Russel Spanner circa 1950s From the "Ruspan" series Ebony black finished birch frame with perched armrests and a woven webbed sea...

Well constructed blonde oak barrister in good condition with brass knobs and sound mechanism. Dismantles easily on raised base, nice size. Shows beautifu...

Jean Nerfin Oil on Canvas Canadian, born 1922 Landscape in the Mid-Century Modern Paris School style. Painting in nice original condition! Signed and dated bottom right corner.

Mid-Century Modern Herman Miller Style Sideboard / Credenza / Cabinet, Burlwood Mid-century cabinet with all original hardware and wood from the time...

Curved front Figured Walnut Credenza by Deilcraft. 1950’s sleek cabinet on high tapered legs with 3 sliding doors. 2 cabinets with shelves and one with a drawer. Tons of storage. .Cl...

Ceramic Relief sculpture of a bird by Charles Sucsan.

An off-white ceramic table lamp, dating from the late 1950s, attributed to Lotte & Gunnar Bostlund. The tall, vintage earth tone lamp features a creamy...

Original vintage travel advertising poster for The Empress A Canadian Pacific Hotel Victoria B.C. In Canada's Evergreen Playground featuring colourful artwork by the Canadian artist Peter Maxwell Ewart (1918-2001) showing a view of the historic Empress Hotel...

Original vintage train travel poster - Enjoy Summer in Canada Go Canadian National The Railway to Everywhere in Canada. Fun and colourful ...

Vintage One of a kind 1950s handmade metal Robot ashtray with articulating arms, pullout drawer and ash tray that comes out to be cleaned. On a hard plasti...

(1933-1988) This finely crafted wood totem pole is by Ditidaht/Nuu-Chah-Nulth master carver Raymond Williams, the father of the current generation of William's carvers. The carved totem pole features and eagle, frog, and an orca. Signed on back. Also marked "hand carved Indian made from the Ye Olde Curiosity Shoppe, Seattle, WA 1899." 19"H x 5" Raymond Williams was the son of Sam Williams...

Original vintage travel poster - Visit Newfoundland Canada's Newest Playground - featuring a colourful view of sailing boats anchored in a harbour with sea...

1952 designed Russell Spanner Catalina Series Server, Cabinet, Dresser for Ruspan of Toronto, Canada. Featuring a rectangular black lacquered Maple form, on 4 splayed legs, 2 sliding doors with black interior, and 3 overlapping drawers. Solid. Classic. Early Modernism...

Rare Bauhaus inspired mid-century folding chairs in excellent condition. Originally used in 1st class compartments as lounge chairs that could be folded and tucked away (as demonstra...

Ditidaht First Nation TOTEM by Rick Williams the brother of John T. Williams partnered with other Native carvers to create at tribute to John in the form...

Ink on Paper of Nudes "Réflexion dans un Mirror" by Boris Vansier With Original Sticker Gallery Agnès Lefort Boris Vansier spent his youth in Geneva and left for the United States in 1946, settling first in New York where he took classes at Adelphi University then in Los Angeles where he attended the prestigious Chouinard Art Institute. In 1948, after a brief return to Switzerland, Vansier moved to Montreal where he met gallerist Henry Kleemann, who offered him his first exhibition at the Kleemann Gallery in New York. In 1954, he left Canada to settle in France, first in Cannes until 1956, then in Paris during the 1960s where he befriended New Realist artists including Arman, David Lan-Bar, Raymond Hains...

Original vintage air travel poster - Montreal the Paris of North America Fly TCA Trans-Canada Air Lines - featuring a great illustration depicting a city view showing people at a covered terrace restaurant with a carriage and a policeman on a horse by the trees and buildings and a hill in the distance, all lit up by a decorative street light...

Elegant mahogany and brass nine drawer long dresser (with mirror) from the Viscount collection made by Gibbard Furniture Company of Canada in March 1956. Only 60 were made. The V...

This pair of modernist bedside tables is from the Pacesetter Collection from Canadian furniture manufacturer, Gibbard, circa 1955/1956. Each has an open cupboard and single drawer...

Original vintage travel poster for Ireland Trans-Canada Air Lines featuring a scenic image of two tourists in the foreground, the lady smiling with her hand on the man's shoulder, lo...

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

Original vintage travel poster for Barbados Trinidad Fly TCA Trans-Canada Airlines featuring a fun design depicting a smiling hat seller wearing a blue and ...

Mid Century Modern pendant lights, salvaged from the Blue Bonnet horse racing track in Montreal, Quebec. The lights feature nickel-plated stems and distinct milk glass shades. Re-wir...

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...

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

This rare set of Mid-Century Modern dining chairs by Jacques Guillon features black lacquered wooden frames with rope cord seat and back. Stylish vintage design makes these unique st...

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...

Each gently pierced brass plated shade are 14 inches high by 6.75 inches diameter for the lower portion. Supportive rods is made of brass. Under...

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 ...

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 ...

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...

Commodious bedroom dresser in the form of a chest on chest from the Modern line of Canadian furniture maker, Gibbard, and designed by Wesley T. Griffin. Advertised as the ultimate in...

George III style mahogany table with fret-carved gallery , raised on reeded and turned pedestal and tripod legs. stamped HG Plomer. ...

Classic Art Deco Style Garden Bench manufactured by TORONTO FABRICATING CO. (signed in the heavy cast aluminum) Arm Height 28", This classic Deco style bench was originally designed and used at the 1939 NY Worlds Fair...