Montreal

Judith Berry was born in London, Ontario and grew up in Saskatoon, Saskatchewan. She studied at the Nova Scotia College of Art and Design in Halifax and spent one year in the Studio ...

What happens when the digital and analog duke it out? Who would win in this match: the printing press versus a high-speed internet connection? Or do we have to choose? What happens w...

Robbie Cornelissen is one of the leading contemporary draughtsmen in the Netherlands. Cornelissen has established a reputation for the monumental, architectural drawings that he has ...

Robbie Cornelissen is one of the leading contemporary draughtsmen in the Netherlands. Cornelissen has established a reputation for the monumental, architectural drawings that he has ...

Nicholas Crombach has a BFA from OCAD University with a major in Sculpture and Installation. In 2016-17 he participated in a year-long studio residency at The Florence Trust in Londo...

Nicholas Crombach is currently an artist in residence at The Florence Trust in London, UK. Crombach graduated from OCAD University’s Sculpture and Installation program in 2012. He h...

Four years ago, I stumbled upon the site of a log-home developer on the traditional territory of the We Wai Kai Nation, my reserve on northeastern Vancouver Island. I found it comica...

Interaction with one of Lamontagne’s works is, simply put, a surreal experience. By using one of several points of entrance, viewers are permitted to experience multiple views of com...

It is the luminous colours of Michel Piquette’s works that first catch the eye. His chromatic circles that stir up vision take root in an aesthetic tradition a few decades old alread...

Holly King creates large format photographic landscapes in her studio with sculptural props and painted backdrops. She is interested in the tension between artifice and constructed r...

Text by Nancy Webb It’s Saturday night and Karine Payette is in her studio. We meander into a conversation about the dog she used to have and her soft spot for German shepherds, an intensely obedient and loyal breed in a deceivingly wolf-like package. Payette’s most recent series of photographs, sculptures and video work seem to speak directly to this preoccupation with the multifaceted nature of human-animal relationships—the dialogues of control, intimacy, violence and domestication that subtly take place on an interspecies level. Her workspace is part laboratory, part prop closet—a bowl of fur sits not far from her computer. Somehow in this bright, open, chemical-clean scented room, Payette conjures wildness. We are taken to a strange place, the borderlands of interspecies mingling. At one extreme of the animal-human dynamics scale is the stalwart compliance of a professionally trained German shepherd who responds to commands with robotic precision. Here, power is comfortably held by an off-screen voice, animality pacified by a set of linguistic prompts. At the other end of the scale is a sculpture of a human figure clad in red, sharing a languorous kiss with a wolf. The story of Little Red Riding Hood is immediately called to mind, except that here our hooded protagonist seems to have bailed on grandmother’s orders, instead opting for a forest floor make-out with her canine stalker. This taboo mise-en-scène is a brazen inquiry into the boundaries we maintain with our animal counterparts. Its scale and three-dimensionality contribute to a feeling of immersion that the artist has been courting with her work for the past several years. It feels as though you’ve just walked in on something: you are implicated and your discomfort is like an invisible mist that coats these inanimate beings. Elsewhere in Payette’s suite of anthropomorphic works, the demarcation between species grows even fainter. A photographic series depicts the slow encroachment of fur, scales and feathers on human skin—a striking process of contamination facilitated by touch. The fusion of flesh, charcoal cat fur and a pale silky dress...

In Jessica Houston’s Afterward, Silence (Franklin’s Crewmen’s Grave, Beechey Island) a single pale gravestone stands on an otherwise desolate ashen shore – a relic of Sir John Frankl...

By Sophie Lynch In Hyperobjects, Nova Scotia-based artist Colleen Wolstenholme presents works that developed from her earlier drawings of brain cell patterns and her interest in t...

In Jessica Houston’s Afterward, Silence (Franklin’s Crewmen’s Grave, Beechey Island) a single pale gravestone stands on an otherwise desolate ashen shore – a relic of Sir John Frankl...

Text by Marsha Taichman Holly King’s photographs draw from memories of landscapes, and reference film, art and literature. Her images are cinematic ...

Text by Amber Berson Canadian photographer Holly King’s Mangrove series is an investigation into the artist’s own subconscious. The photographs border on the uncanny, although never uncomfortably so. Instead, her preternatural compositions engage the viewer’s curiosity – the viewer is not sure how to approach, and yet is drawn to do so. At times the images are reflective, occasionally disquieting and always thought provoking. The twisted roots of the mangrove forests that form the base of this series provide an entry point for an investigation into the shadowy parts of the artist’s imagination. The differences between what we know to be real and what we perceive as real are often slight. The work of Holly King stems from an attempt to prevail over the uncharted territory of both her imagination and that which is perceived as true. In her creations, King endeavours to understand her subconscious mindscape as manifested through photographs recalling actual landscapes. This new series, stemming from earlier pieces also focused on roots, reflects King’s interest in drawing, in the linear subject and in geometric abstraction. It is a move away from previous series – despite the photographic medium in which King works, her oeuvre has contained a certain painterly quality. These new photographs tend to melt into themselves, drawing the viewer in and letting the imagination drift. The Mangrove series causes the viewer to approach with at a slower pace, to investigate deeply into the darker nooks and crannies and to attempt to find reason within a work that so clearly plays with our understanding of real and imaginary. Nothing is incidental in King’s photographs...

Karine Giboulo creates colourful miniature worlds in which depictions of reality and flights of fantasy mingle. Her intricate sculpted scenes use pathos and humour to comment on the ...

Michel Piquette: chromatic cities By Anaïs Castro It is the luminous colours of Michel Piquette’s works that first catch the eye. His chromatic circles...

My work emerges from research on memory and the remembrance of landscape, where vaporous atmospheres of evanescent recollections are illustrated. My work thus, contains ghostly and e...

It is the luminous colours of Michel Piquette’s works that first catch the eye. His chromatic circles that stir up vision take root in an aesthetic tradition a few decades old alread...

In 1914, a group of intrepid young men set forth into the northern wilderness with the ambition to document the uncharted territory of the Canadian collective unconscious. Their medium was that of sketchbooks and paint, and with these they rendered a vast and previously unknowable landscape into a tangible national identity. One could call their distinct style picturesque, as it cohered to many of the attributes prescribed by 18th century thinker William Gilpen – for capturing nature so as to make it both palatable and empowering for the viewer. During the romantic period in Europe, certain visual tropes emphasized the beauty of the natural landscape despite the rapid advancements of industrialism. As such, the picturesque, when applied properly, enabled the viewer to apprehend and revel in the vastness of change and opportunity with which they were presently confronted. It is at a similar juncture that we contemplate the works of contemporary sculptor and installation artist Shayne Dark, who’s large scale arborescent schemes present a striking encapsulation of both the magnitude as well as the limits of our natural resources. In an age where the re-assessment of our modes of production and consumption has become a main constituent of our identity, his work serves as a potent reminder of this position’s precarity. One piece resembling a cluster of branches, for example, balances in a tenuous fashion, relying on the equal distribution of weight among all its parts to stay upright. In another work, the boughs extend upwards from a base so small it threatens to tip over. As opposed to the romantic and idealized conceptions of a nature as realized in the compositions of the Group of Seven, Dark, by working in the industrial material of hot forged steel, acknowledges the imprint of the human hand on our surroundings. As art critic and theorist Rosalind Krauss...

French pair of bronze girandoles candelabras with clear and amethyst crystals. Rare beautiful pair. Dimensions: 17.5” H x 12” W x 12” D Base diameter 5”.

Thomas Hilton Garside, 1906 – 1987, Canadian Mixed media on papaer 5 x 7 in (sight) Signed lower right framed For our US customers: 1) The artwork is shipped from Montreal, Canada;...

Richard Montpetit, Canadian, b. 1950 Oil on panel , 2002 6 x 8 in Signed lower right Provenance Roberts Gallery (Toronto) label verso framed For our US customers: 1) The artwork is...

Louis XVI style commode dresser, marble-top with bronze frieze, pale golden wood, with bronze frieze mounts. Dimensions: 47.5 in. W x 21 in. D x 33....

Jean-Paul Riopelle, 1923-2002, Canadian Clocher caché, 1989 Lithograph on Japan paper 30 x 22 in INSCRIPTIONS signed and numbered in pencil Catalogue raisonné reference: Y. Riopelle ...

Empire style marble-top nightstand or console. One drawer and lower ledge, gilt bronze details and neoclassical columns.

Louis XVI style transition cabinet or nightstand with marble top, bronze gallery. Table de salon, it is a marvellous accent for the living room or as a...

“Sea Sprites” is an original, one-of-a-kind, pink, purple, orange, gray, white, blue, yellow, contemporary, acrylic on canvas, abstract painting. Vibrant pops of color work in harmon...

Modern abstract, oil on canvas painting, titled “Summertime III” by Michelle Hénault, a conceptual fine artist. Signed on front bottom right, also, signed, dated and titled on back; measuring approximate 30" H x 36" W x 1.5” D. Gallery wrapped, finished sides, dated circa 2019. Michelle Hénault is a Conceptual Fine Artist, born in Lachute, Quebec, living and working in Montreal since 1991. She completed a Bachelor degree in Fine Arts at UQAM in 1998. After exploring sculpture and photography, she dedicated herself to oil painting. She has exhibited in numerous solo and group shows over the last fifteen years. In 2010, she moved to Scotland with her partner for two years. Since returning to Montreal, she has devoted her time to oil painting and her work has flourished. Inspired by her many travels, her work explores landscapes as a contemplative territory. The desire to revisit past voyages through painting and to recapture the sentiments she experienced in various places was her primary motivation for producing these landscapes. "For the last fifteen years I have explored the reconstruction of landscapes in my painting. My practice is concerned with our relation to land as the memory of place. A land can be occupied, shared, transformed and dreamed, idealized. The land, as homeland or an idyllic land to travel to, where the memory is presupposed. Through my art, I explore that memory of travel, the journeys I made and the ones I dreamed. When contemplating a landscape and experiencing the change of light or atmosphere we realize the passage of time. As explorers from bygone eras, seeking unknown lands, my work proposes a return to the essential…that the French call ‘le bapteme de la solitude’. It is a unique sensation, and it has nothing to do with loneliness, for loneliness presupposes memory. Here, in this wholly mineral landscape lighted by stars like flares, even memory disappears; nothing is left but your own breathing and the sound of your heat beating. A strange, and by no means pleasant, process of reintegration begins inside you, and you have the choice of fighting against it, and insisting on remaining the person you have always been, or letting it take its course. For no one...

Albert Rousseau, Canadian, 1908 - 1982 Oil on panel 12 x 16 in / 32 x 41 cm Signed lower right; titled verso Framed

Modern abstract, oil on canvas painting; titled “Les Poissons 2/The Fish 2” by Michelle Hénault, a conceptual fine artist. Signed on front bottom right, also, signed, dated and titled on back; measuring approx. 24" H x 18" W x 1.5” D. Gallery wrapped, finished sides; circa dated 2014. Michelle Hénault is a Conceptual Fine Artist, born in Lachute, Quebec, living and working in Montreal since 1991. She completed a Bachelor degree in Fine Arts at UQAM in 1998. After exploring sculpture...

Modern abstract, oil on canvas painting, titled “Les Poissons 1/The Fish 1” by Michelle Hénault, a conceptual fine artist. Signed on front bottom right, also, signed, dated and titled on back, measuring approximate 24" H x 18" W x 1.5” D. Gallery wrapped, finished sides; circa dated 2014. Michelle Hénault is a Conceptual Fine Artist, born in Lachute, Quebec, living and working in Montreal since 1991. She completed a Bachelor degree in Fine Arts at UQAM in 1998. After exploring sculpture...

Modern abstract, oil on canvas painting; titled “Terre Inconnue 2/Unknown Land 2” by Michelle Hénault, a conceptual fine artist. Signed on front bottom right, also, signed, dated and...

Pair of large black marble urns (marquino negro).

Modern abstract, mixed-media on aluminum painting; titled “The Warm Winds of Nowhere” by Maria Astadjov, a conceptual fine artist. Signed on front bottom right; measuring approximate...

Charcoal on paper mounted on wood panel; titled: Brothers; approx. size: 30" x 56" 1.5" artist signed Pierre Fortin and dated 2020 on the back. Pierre F...

Charcoal on Paper mounted on Wood Panel; titled: MSM Delirium; approx size: 48" x 48" x 1.5" deep; Artist Pierre Fortin Signed and Dated 2020 on the back...

Abstract acrylic on canvas painting. Signed: Alexander Hecht, titled “She Presumed” and dated 2009, backside of the canvas, canvas size 33" x 24" x 1.50" profile. Alexander's artwork...

Joseph Giunta, 1911-2001, Canadian Paysage Laurentides Oil on board 10 x 12 in (picture) Signed lower right ; titled, signed and inscribed on the artist label verso framed

This work is signed, dated and titled "PLUM 2017 Cliffs by the Beach” verso of the canvas and signed PLUM on recto; canvas size - 11" high x 14” wide x.50" profile; framed size- 13” ...

This work is signed: K PALMER on lower right corner, recto of the canvas; canvas size 40"; x 36” x 1.5" profile. Kevin Palmer’s abstract approach to painting is influenced by his tra...

Marc-Aurèle Fortin, 1888-1970, Canadian Le pont du Havre en construction, c. 1940 Etching 8 x 11 in INSCRIPTIONS Numbered and titled Lower left “Le pont du Havre en construction”; in...

Jean-Paul Riopelle, 1923-2002, Canadian Auprès de mon lac n6 1985 Lithograph on Japan paper 20 ½ x 26 ¾ in 52 x 68 cm Signed and numbered in pencil (edition of 75) Catalogue raisonn...

Jean-Paul Riopelle, 1923-2002, Canadian Auprès de mon lac n5 1985 Lithograph on Japan paper 20 ½ x 26 ¾ in 52 x 68 cm Signed and numbered in pencil (edition of 75) Catalogue raiso...

Jean-Paul Riopelle, 1923-2002, Canadian untitled, from the portfolio «Les Mouches à Marier» , n3 1985 Etching 19 1/2 x 26 in 50 x 66,3 cm (papier); 38 x 47,5 cm (image) Signed lower ...

Jean-Paul Riopelle, 1923-2002, Canadian Le Clocher, 1989 Lithograph on Japan paper 22.4 x 30.3 in signed and numbered in pencil Catalogue raisonné reference: Y. Riopelle n° Yseult Ri...

Chantale Jean, b.1958, Canadian Acrylic on canvas 30 x 36 in signed on the lower left, signed, titled, and dated on the reverse, certificate of authenticity on the reverse framed

Simply Beautiful! Finely detailed Vintage Blue Sapphire and Diamond Gold Statement Cocktail Ring. Centering a securely nestled Hand set 2.50 Carat Oval Sapphire. Exquisitely surround...

Jean-Paul Riopelle, 1923-2002, Canadian Autres mouches no 4, 1985 Lithograph on Japan paper 20 1/2 x 26 3/4 in Signed and numbered in pencil, edition of 75 Catalogue raisonné referen...

Jean-Paul Riopelle, 1923-2002, Canadian Autres mouches no 2, 1985 Lithograph on Japan paper 20 1/2 x 26 3/4 in Signed and numbered in pencil, edition of 75 Catalogue raisonné referen...

Dorothy Knowles, Canadian, b. 1927 Watercolour, 1982 30 x 22 1/2 in 76.2 x 56.2cm signed and dated ‘D.Knowles.82.’ (lower right) PROVENANCE Property from the Collection of Theo Waddington, London, UK framed For our US customers: 1) The artwork is shipped from Montreal, Canada; 2) Please note that the Canadian artwork is duty free under the current USMCA (NAFTA) agreement; 3) We can ship via USPS which should be zero import and clearance fees for the receiver; Dorothy Knowles Biography (1927 - 2023) RCA Dorothy Elsie Knowles was born on April 7, 1927 in Unity, Saskatchewan. She grew up on a farm overlooking a Prairie valley and initially had no plans to become a painter, studying biology at the University of Saskatchewan in Saskatoon between 1944 and 1948. At the time of her graduation, a friend persuaded her to enroll in a six-week summer course given by the University of Saskatchewan at Emma Lake. The course was led by Reta Cowley from Saskatoon and James Frederick Finley from the Ontario College of Art and under their guidance young Dorothy found a proclivity for art. Upon her return to Saskatoon she continued to study painting under Eli Bornstein...

Jean-Paul Riopelle, 1923-2002, Canadian Auprès de mon lac n4 1985 Lithograph on Japan paper 20 ½ x 26 ¾ in 52 x 68 cm Signed and numbered in pencil (edition of 75) Catalogue raiso...

Albert Rousseau, 1908 - 1982, Canadian Oil on masonite 18 x 24 in 46 x 61 cm Signed lower right ; Titled on the reverse framed

For the exhibition Panorama of the Anthropocene, Oli Sorenson presents an array of works created in a hybrid style that evokes the square layout of Instagram, the pixelated landscape...

La Métacrise was created as a prelude to the Metamonument project, which is a constellation of physical and virtual works to be presented in January 2026. Building on previous exhibi...

La Métacrise was created as a prelude to the Metamonument project, which is a constellation of physical and virtual works to be presented in January 2026. Building on previous exhibi...

La Métacrise was created as a prelude to the Metamonument project, which is a constellation of physical and virtual works to be presented in January 2026. Building on previous exhibi...

La Métacrise was created as a prelude to the Metamonument project, which is a constellation of physical and virtual works to be presented in January 2026. Building on previous exhibi...

La Métacrise was created as a prelude to the Metamonument project, which is a constellation of physical and virtual works to be presented in January 2026. Building on previous exhibi...