Montreal

Ce qu’il crée, c’est complexe, recherché et c’est beau. C’est original. :: Painting :: Contemporary :: This piece comes with an official certificate of authenticity signed ...

His principle is to create something new and different...... He captures the beauty....... :: Painting :: Contemporary :: This piece comes with an official certificate of authenti...

Réputé pour être toujours mystérieux, on aime l’ambiance énigmatique qu’on retrouve dans chacune de ses créations..... :: Painting :: Contemporary :: This piece comes with ...

Inspired by Xavier Dolan's movie "Mommy", this painting discusses the sitgmatization of mental illness, and how it can overshadow one's identity in today's society. Shipping WORLD...

Une maitrise des couleurs et un esprit créatif comme lui, on n’en voit pas à tous les coins de rue! :: Painting :: Contemporary :: This piece comes with an official certificate o...

Messages in a Bottle Text by Cameron Skene “Metaphysics is a dark ocean without shores or lighthouse, strewn with many a philosophic wreck.” - Immanuel Kant A recent online story i...

Messages in a Bottle Text by Cameron Skene “Metaphysics is a dark ocean without shores or lighthouse, strewn with many a philosophic wreck.” - Immanuel Kant A recent online story i...

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...

"Face of fear" by Ala Ilescu 24 x 36 x 1.5 inch Modern, abstract painting. This is how I see that looks the Fear. To me it's the Fear of someone that I love to hurt me. Vertical po...

This painting depicts relentless effort and hope in situations of self-doubt, and in the doubt of others. Shipping WORLDWIDE! By default unstretched, rolled in a tube. If you w...

It is within the locality of the dream where we are at once sentient of ourselves within a multitude of reflections. The momentary awareness of self reveals transitions between those...

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 Sevan Injejikian Nestled between artistic innovation and scientific discovery, Laurent Lamarche’s work explores the boundaries between art and science, nature and artifice, and fact and fiction. Lamarche crumples, heats, sculpts, scans, crops, and projects recuperated plastic – his material of choice – to create images and sculptures that are at once ambiguous and evocative. Lamarche’s manipulation of plastic as a medium retains a sense of play. The resulting works include an oversized sculpture...

When does a line on a page become figurative? The series of drawings by Mexican artist Renato Garza Cervera entitled Mareas Humanas (Conflictos II) / Human Tides (Conflicts II) satis...

When does a line on a page become figurative? The series of drawings by Mexican artist Renato Garza Cervera entitled Mareas Humanas (Conflictos II) / Human Tides (Conflicts II) sati...

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...

French Regence style commode or chest of drawers, marble-top, 19th century. Diamond-shape parquetry veneer, four front drawers. Carved edges, red Languedoc marble top. Gilt bronze ha...

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...

Laurent Lamarche’s objects strike a scientific chord in contrast to an art world overwrought with digital spectacles and ominous critique. Lamarche’s work bares a rigorous formalism ...

Fernand Toupin, Canadian, 1930-2009 L'Ile Noire, 1975 Oil on board 11 x 16 in 27.9 x 40.6 cm Signed and dated ’75 lower right framed For our US customers: 1) The artwork is shipped ...

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...

The title "Interventions On The Imaginary" is a clear reference to Marcia Crosby’s essay, "The Construction of the Imaginary Indian", and situates itself within the realm of remix cu...

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, yet it is not always manipulated. King’s process often involves the use of maquettes – not digital manipulation of the images – creating an eerily surreal image that seem both familiar and strange. Her photos go beyond setting up the angle and vantage point of the shot; they force us to try to see things as the artist does by their very nature. In her own way, King follows in the footsteps of other notable Canadian landscape artists...

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...

Marble Bust of a Young Man, Carrara Marble.

Patrick Beaulieu’s multi-disciplined practice creates finely tuned and subtle gestures that aim to re-focus our attention on the physical world that we see and experience. In convers...

Patrick Beaulieu’s multi-disciplined practice creates finely tuned and subtle gestures that aim to re-focus our attention on the physical world that we see and experience. In convers...

Text by Michelle Cantin-Reid The common object reconstructed through skilful assembly and technique; casted, welded, and chased metal forms; almost perfect doppelgangers of the originals, this is how Zeke Moores’ work appears. Upon closer consideration, the materiality of these pieces comes to light. Deceivingly close to the real thing, they greatly diverge from the original. From chromed steel Trashcans to the reconstructed Port-O-Potty made from cast aluminum and nickel-plated steel, Moores uses metalsmithing techniques to render his sculptures, usurping of the traditional modes of mass production as well as the disposable materiality that we associate with these objects. In his work, mechanised assembly line production and objects made to be thrown out or forgotten become a craftsman’s labour of love. As the disposable dejected everyday object is taken from the street and placed into the gallery, our use and imposition of a hierarchy on objects becomes apparent. However, it also speaks of the amount of work no longer done by people or often done by a series of anonymous workers in a repetitive but carefully choreographed dance with machines. We approach very differently a practical or a mass-produced object and one that is crafted. These works also celebrate those objects designed for practical but not specifically aesthetic purposes. The imposition of a new materiality gives them durability and in the case of bronze casts or chrome plating a superficial prestige. Sitting in a gallery contemplated and beheld, the cast bronze Barrier is not unlike a monument or a statue. Though, these nobler materials are not wherein the beauty lies. Happy Meal...

Holly King’s photographs draw from memories of landscapes, and reference film, art and literature. Her images are cinematic and striking, seemingly rea...

French Emprie Period pair of bronze candleholders, neoclassical A rare collector quality pair of French First Empire candleholders. A classical bi...

French Louis XVI Style Commode dresser, Bronze mounts, four drawers.

Armand Tatossian, Canadian, 1948 – 2012 Montreal winter Oil on canvas 20 x 24 in Signed lower right; signed and titled verso framed (new gallery frame, black matte finish, float moun...

Chinese side table Dimensions: 18" W x 18" D x 20" H.

French, pair of silvered bronze Louis XV style candlesticks. Typical of the Rocaille style, also known as Baroque or Rococo style which reached its zenith in the 18th century, durin...

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 ...

Jacques Hurtubise, Canadian, 1939-2014 Eulalie, 1966 Serigraph 26 x 22 in titled and numbered (ed of 100) lower left; Signed and dated 66 lower right.

Neoclassical style black lacquered X-crossed leg table. Lovely black lacquer side table in the chic spirit of Hollywood Regency, elegant X-legs. Price ...

Modern abstract, oil on canvas painting, titled “Mer inconnue I” 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 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 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...

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...

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...

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 “Terre Inconnue 2/Unknown Land 2” by Michelle Hénault, a conceptual fine artist. Signed on front bottom right, also, signed, dated and...

Modern oil on canvas painting, titled “Don’t Forget About Me” by Benjamin Rankin, a conceptual fine artist, signed on front bottom right; measuring approximate 80" H x 64" W x 2” D. ...

Modern abstract, oil on canvas painting, titled “Malte/Malta” by Michelle Hénault, a conceptual fine artist. Signed on front bottom right, also, signed, dated and titled on back; mea...

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...

Modern abstract, mixed-media paintings; titled “Saddened By the Distance” by Maria Astadjov, a conceptual fine artist; two panels of mixed-media on Alum...

Modern abstract, mixed-media painting; titled “The Taste of Tears” by Maria Astadjov, a conceptual Fine artist; mixed-media on Aluminum; Signed on front...

Charcoal on paper mounted on wood panel, titled: Social engineers, approximate size: 48" x 56" x 1.5" deep. Signed Pierre Fortin and dated 2020 on the ba...

Charcoal on paper mounted on wood panel; titled: Entitlement; 30" x 56" x 1.5" deep; Artist Signed and Dated 2020 on the back. Pierre Fortin a Concept...

Charcoal on paper mounted on wood titled: Propaganda; Panel 48" x 48" x 1.5" deep. Signed Pierre Fortin and dated 2020 on the back of the canvas. Pierre Fortin a Conceptual Artist Fine Artist, born in Montreal, Quebec. Fortin's career spans over 30 years designing and creating for a wide range of nationally and internationally recognized corporations, magazines and publishers. His work has been featured in Catapult Magazine, American Illustration and Communication Arts. Fortin's worked in the video game and theme park industry. His work included mural creation for Universal Studios to being commissioned by Sports Illustrated, The Atlantic Monthly, Forbes, Business Week and Time magazine... He has also created designs of sculptures and props for the Beijing Cube Water Park. The water park won a WWA Industry Innovation Award. Pierre also collaborated in the design of the Dollywood Mystery Mine, in Pigeon Forge...

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...

Abstract acrylic on canvas painting. Signed: Alexander Hecht, titled “Happy Camper” and dated 2012, backside of the canvas, canvas size 60" x 36" x 1.75" profile. Alexander's artwork...

Striking and beautifully handcrafted large retro art glass vase, black and orange heavy glass tapered shape with gorgeous and rare orange swirl de...

This work is signed, dated and titled "PLUM 2008 New Bike” verso of the canvas and signed PLUM on recto; canvas size - 48" x 36” x .75" profile. Andrew Plum was born in Lancashire, E...

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...

Jean-Paul Riopelle, 1923-2002, Canadian Autres mouches no 3, 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...