ADDITION

ADDITION Art, Design, Furniture & Objects

Yves Gaucher (1934–2000). Three zones, one held tension. Ochre-brown at the margin, a dense near-black at centre, a deep...
09/03/2026

Yves Gaucher (1934–2000). Three zones, one held tension. Ochre-brown at the margin, a dense near-black at centre, a deep, saturated burgundy across the field. Gaucher tilts the boundary between the dark centre and the burgundy just enough to unsettle the balance.

Rather than bright primaries, Gaucher works in a highly sophisticated palette that produces a low-frequency optical vibration, the tones interacting dynamically along their razor-thin edges.

Painted in 1987, the work is a late synthesis of two poles in Gaucher's career: the hard-edge precision of his Les Plasticiens years and the meditative restraint of his landmark Grey on Grey series, the subject of retrospectives at the National Gallery of Canada and the Musée d'art contemporain de Montréal. Few Canadian painters moved between those registers with this much control.

Gaucher represented Canada at the Venice Biennale in 1966, was named an Officer of the Order of Canada, and received the Prix Paul-Émile-Borduas, Quebec's highest honour in the visual arts. His work is held in the permanent collections of the National Gallery of Canada, MoMA, the AGO, and SFMOMA, among others.

On view by appointment, ADDITION.

Featured: Yves Gaucher, C.D.R. Rouge I, 1987. Acrylic on canvas, 36 × 52 in. (91.4 × 132.1 cm). Signed, titled, and dated on the reverse.

Marcus Bowcott's Full-Weld Wrath reads like industrial paganism. The top register gives us an idyllic Pacific Northwest ...
08/25/2026

Marcus Bowcott's Full-Weld Wrath reads like industrial paganism. The top register gives us an idyllic Pacific Northwest landscape; the bottom smacks us in the face with a wrecked, "DIVINECHASTISEMENT", branded derby truck presented like a sacred relic. It captures the tension of British Columbia's landscape, where pristine nature constantly meets heavy machinery and the ritual of the demolition derby. The piece is part of Bowcott's larger series exploring the seven sins and seven virtues.

Currently glowing at Point Grey Rd & Trafalgar St, this is one of 20 bus shelter installations across Vancouver (Aug 3–Sept 13) for the city-wide 20 Faces public art exhibition.

Where to See It:

On View in Hope: The original will be on display at the Hope Art Gallery, 349 Fort St. + Almsgiving Hope Cinema & Performance House, for Virtues & Sins in Hope (Sept 1–27), presented by the Hope & District Arts Council. Opening Reception: Sept 5, 12–2 PM.

Acquire Online: Available for purchase directly through ADDITION's website. No trip to Hope required.
Marcus Bowcott, Full-Weld Wrath, 2026
Oil on mylar | 36 × 24 in
Commissioned by the City of Vancouver Public Art Program

🔗 Link in bio to acquire available works online.
📩 DM us for inquiries.

We are, above all, stewards of the art we choose to live with; we serve as temporary guardians of objects that quietly e...
08/14/2026

We are, above all, stewards of the art we choose to live with; we serve as temporary guardians of objects that quietly enrich, reflect, and shape our daily environments.

Operating by appointment within Arthur Erickson’s iconic Waterfall Building, ADDITION functions as a living canvas: a space where brutalist West Coast Modernism meets a highly considered dialogue of material intelligence, fine art, and human history.

Every work on view is available for acquisition, bringing museum-calibre post-war Canadian masters into conversation with dynamic contemporary voices. Bold, expressive canvases by Harold Klunder, Herbert Siebner, and Erik Olson hang alongside Jeremy Hof’s dense acrylic strata and Tim Gardner’s hyper-realistic snapshot watercolours. Nearby are Bill Baker’s site-specific Cartagena works; these hard-edged charcoal and oil pastels on paper echo the spatial purity of Luis Barragán.

The room’s raw concrete planes are punctuated by Ben McLeod's brutalist bronzes and studio ceramics from Wayne Ngan, Glenn Lewis, and Tyler James Goin, interwoven with iconic design furnishings, antiques, and an ever-shifting collection of curiosities.

More than a gallery, ADDITION serves as our physical studio for art curation, spatial storytelling, and interior design. We collaborate with collectors, architects, and designers to build cohesive collections and shape spaces where art, object, and architecture naturally coexist. Grounded in this practice, we are always on the lookout to activate distinct, compelling spaces across the Greater Vancouver mainland.

DM us for a private viewing or to inquire about specific works currently on view.

There is a quiet, kinetic gravity in Jennifer Latour’s Shapeshifters, a delicate standing architecture that echoes Alexa...
08/12/2026

There is a quiet, kinetic gravity in Jennifer Latour’s Shapeshifters, a delicate standing architecture that echoes Alexander Calder’s mobiles. Where Calder sought tension in forged iron, Latour captures a quiet, living poise that exists only for a breath before fading.

Realized during an artist residency in Turkey, Shapeshifter No. 18 and No. 16 trace a poetic alchemy of physical form. Using techniques honed over two decades as a cinematic special effects artist, Latour carves, splices, and suspends distinct botanical species along single, impossible axes, locking tropical leaves, calla lilies, and tender stems in a fleeting equilibrium.

Offered exclusively through ADDITION in limited editions of 7. Each museum-quality archival pigment print is mounted to Dibond, creating an incredibly durable, frameless finish with a UV-protected, wipeable surface that eliminates the need for glass. Available in four scalable formats up to 60 x 48 inches.

For available edition numbers and the complete portfolio catalogue, please send a direct message or visit the link in bio.

Unframed prints start at $1,800.

Featured:
Jennifer Latour, Shapeshifter No. 16, 2025
Jennifer Latour, Shapeshifter No. 18, 2025

A defining force in Canadian abstraction. Arthur Fortescue (Art) McKay (1926–2000) executed Mandala in 1967, presenting ...
08/09/2026

A defining force in Canadian abstraction. Arthur Fortescue (Art) McKay (1926–2000) executed Mandala in 1967, presenting a rare acquisition opportunity from one of the most influential voices in 20th-century Canadian art history.

Mandala demonstrates McKay at the height of his career. Rather than traditional brushwork, he used a subtractive technique with industrial enamel on masonite hardboard, dragging blades through wet layers to carve out a dense, wheel-like disk of metallic bronze, brown, and black. Grounded in Zen Buddhist philosophy, the central form serves as a meditative focal point, embodying what McKay called a state of "tranquil imbalance." While many of his circular compositions rest on neutral grounds, this panel’s rich blue backdrop creates a striking, luminous contrast.

A core member of the historic Regina Five, catalyzed by the National Gallery of Canada’s landmark 1961 exhibition; McKay was instrumental in shaping modernism in Western Canada. As coordinator of the influential Emma Lake Artists’ Workshops, he brought international giants like Barnett Newman and Will Barnet to Saskatchewan. His groundbreaking work caught the eye of legendary American critic Clement Greenberg, who selected McKay for the seminal 1964 Post-Painterly Abstraction exhibition at LACMA.

With major works permanently housed in institutions like the National Gallery of Canada, Remai Modern, Vancouver Art Gallery, and the Montreal Museum of Fine Arts, McKay’s impact is permanently etched into Canadian art history.

This work and many others of this calibre are now housed online in our private viewing room. DM us to receive access.

Featured:
Arthur Fortescue (Art) McKay (Canadian, 1926–2000)
Mandala, 1967
Enamel on masonite panel
Panel: 48 × 48 in.
Framed: 50.5 × 50.5 in.
Signed and dated "A.F. MCKAY / 67" on reverse

Few figures loom larger over 20th-century abstraction than Jean-Paul Riopelle (1923–2002). As a co-founder of Les Automa...
07/31/2026

Few figures loom larger over 20th-century abstraction than Jean-Paul Riopelle (1923–2002). As a co-founder of Les Automatistes, co-signatory of the revolutionary 1948 Refus Global manifesto, and a defining force in the post-war School of Paris, Riopelle stands as a towering figure in modern art. The only Canadian artist invited by André Breton and Marcel Duchamp to join the landmark 1947 Exposition Internationale du Surréalisme, he went on to represent Canada at the Venice Biennale in 1954 and 1962. Today, his works anchor permanent collections globally, including MoMA and the Solomon R. Guggenheim Museum in New York, the Centre Pompidou in Paris, and the National Gallery of Canada in Ottawa.

Created during his acclaimed middle period in France, this original c.1970 colour lithograph is a masterclass in Lyrical Abstraction. The composition centers on a dense, textured lattice of deep charcoal and near-black linework integrated within a singular, complex field of muted olive-sage, translating the raw kinetic energy of nature and foliage into pure abstract form.

Unlike smaller lithographs produced as publication or book inserts, this work was executed as a full-scale, standalone fine art impression on fine wove paper. Hand-signed "Riopelle " in pencil, it carries the prized designation H.C. (Hors Commerce), marking it as part of an exclusive reserve pulled directly alongside the commercial edition for the artist, publisher, or master printer.

DM us for the access code to our new Private Viewing Room, or to receive additional information on this work.

Featured:
Jean-Paul Riopelle (Canadian, 1923–2002)
Untitled, c. 1970
Original colour lithograph on fine wove paper
Hand-signed "Riopelle" in pencil, lower right
Marked H.C. (Hors Commerce) in pencil, lower left
Image: 39 × 26.5 in. (99.1 × 67.3 cm)
Frame: 50.5 × 38.5 in. (128.3 × 97.8 cm)

The ongoing warmth and feedback surrounding Dialogue of Lineage at Fells House has been incredible, and hearing how the ...
07/29/2026

The ongoing warmth and feedback surrounding Dialogue of Lineage at Fells House has been incredible, and hearing how the curation resonated has meant a lot. Thank you to everyone who visited, and to those who continue to reach out.

The show was a study in continuity. D’Arcy Jones’s 2025 continuation approached Ron Thom’s 1959 original with total reverence, responding to its materials, details, and rhythm. Curating the interior meant adding another layer to that conversation: placing 20th-century historical works alongside contemporary art so the objects, the atmosphere, and the architecture felt as if they belonged to the same lineage.

That same philosophy carries into private residential and commercial spaces. ADDITION works directly with clients and architects to curate art, objects, and spatial details that respect the built environment and the people who inhabit it.

Now accepting select residential and commercial projects.

To discuss an upcoming project, reach out to [email protected].

RITA LETENDRE, O.C., O.Q., R.C.A. (1928–2021)Consigned from a private collection thoughtfully built over twenty years ar...
07/26/2026

RITA LETENDRE, O.C., O.Q., R.C.A. (1928–2021)
Consigned from a private collection thoughtfully built over twenty years around works of pivotal significance in Canadian art history, Untitled (Vibration) (c. 1972–1978) captures the artist at the height of her signature airbrush period.
In 1971, Letendre introduced the spray gun to her studio practice, stripping away surface texture to allow color and light to exist in pure, radiant suspension. In this composition, a seamless sfumato shifts from earth brown to warm amber, sliced by a central spine of yellow, dark brown, and pale sage vectors framed by deep forest green gradients. The placement of cool cobalt vertical bands over the warm background generates a vibrating simultaneous contrast, giving the canvas its distinct optical pulse.
For Letendre, these arrow-like vectors and vibrating lines represented raw energy, speed, and spiritual force. Rooted in both her Abenaki heritage and her early work with Les Automatistes and Les Plasticiens, she translated these forces into hard-edge precision. Measuring 40 inches in height, this vertical format echoes her major civic mural commissions of the decade, such as her famous 1971 Toronto mural Sunrise, creating an impression of infinite momentum reaching toward the sky.
As one of Canada’s most vital non-objective painters, Letendre shattered boundaries for women and Indigenous artists in 20th-century art. Her market strength is anchored by major secondary market milestones, including Reflet d'Eden (1961), which set her artist record at over $450,000 CAD. Today, her work is held in leading institutional collections nationwide, including the National Gallery of Canada, the Art Gallery of Ontario, the Musée des beaux-arts de Montréal, and the Vancouver Art Gallery.
Rita Letendre, O.C., O.Q., R.C.A. (Canadian, 1928–2021)
Untitled (Vibration), c. 1972–1978
Acrylic on canvas
Canvas: 40 × 15.25 in. (101.6 × 38.7 cm)
Framed: 41.75 × 16.75 in. (106.0 × 42.5 cm)
Now available.
📩 DM us for the access code to our new private viewing room, or email the gallery directly for pricing and acquisition details.

Takao Tanabe, OC, OBC | Cut Corners Series (c. 1968–1970)Executed across Vancouver, Philadelphia, and New York, Tanabe’s...
07/24/2026

Takao Tanabe, OC, OBC | Cut Corners Series (c. 1968–1970)

Executed across Vancouver, Philadelphia, and New York, Tanabe’s 7-part Cut Corners Series represents a pivotal chapter in post-war hard-edge abstraction. By replacing traditional rectangular borders with 45° diagonal chamfers and stepped polygonal silhouettes, Tanabe transformed flat planes of screenprint ink into floating, three-dimensional spatial environments.

Hand-pulled in tiny micro-runs of only 15 to 20 impressions, works from the Cut Corners Series are exceptionally scarce. While individual sheets reside in major public collections globally, including the Tate Modern, the National Gallery of Canada, and the Vancouver Art Gallery. Acquiring an intact, complete suite of all 7 on the secondary market is virtually unheard of. All seven sheets remain in pristine condition with full original ink saturation, presented in uniform archival framing.

Currently on view at Audain Art Museum in Whistler, Takao Tanabe: Inside Passage presents works in collaboration with the National Gallery of Canada and the Art Gallery of Greater Victoria. Marking Tanabe's 100th birthday, this landmark retrospective features over 60 paintings spanning seven decades, displaying his iconic coastal and prairie landscapes alongside his hard-edge works, offering a renewed national spotlight on the full breadth of his creative range.

Featured:
Takao Tanabe, OC, OBC (Canadian, b. 1926)
Cut Corners Series (Complete Hard-Edge Suite of 7 Works), c. 1968–1970
Screenprints / Serigraphs on heavy woven paper
Inscriptions: Each individually pencil-signed, dated, and editioned in lower margin
Editions: Micro-editions of 15 and 20
Dimensions: Framed 23.5 x 23.5 in | Work image size 18 x 18 in (Uniformly framed suite of 7 works)
Condition: Pristine

ADDITION's private viewing is now live. DM us to receive the access code.

Chief Beau Dick (Walas G̱wa̱ʼya̱m, Kwakwaka'wakw, 1955–2017)Revered Kwakwaka'wakw hereditary chief, cultural guardian, a...
07/22/2026

Chief Beau Dick (Walas G̱wa̱ʼya̱m, Kwakwaka'wakw, 1955–2017)

Revered Kwakwaka'wakw hereditary chief, cultural guardian, and master carver, Chief Beau Dick (Walas G̱wa̱ʼya̱m) fundamentally redefined contemporary art by bringing the full spiritual authority of Kwakwaka'wakw ceremonial life onto the world stage, culminating in his landmark presentation at documenta 14 in Athens and Kassel.

Masterfully carved in 1998, Kingfisher Mask captures the rare qualities that set Dick’s work apart. Rather than flattening forms into polished decoration, Dick carved living entities with monumental presence. In profile, the bird’s articulate open beak and sweeping crest fins project a sense of immediate movement and voice.

Rendered in cedar with a refined palette of slate grey, black, and natural wood, the sculpture is accented with a crown of hand-cut abalone shell inlays and a lush, tactile fringe of shredded red cedar bark. The result is a work of extraordinary sculptural restraint, carrying the living presence and ancestral dignity that defined his legacy.

Artwork Details:
Chief Beau Dick (Walas G̱wa̱ʼya̱m, Kwakwaka'wakw, 1955–2017)
Kingfisher Mask, 1998
Carved red cedar, acrylic paint, shredded red cedar bark, and abalone shell inlay
Hand-signed, titled, and dated on verso
27 × 11.5 × 10 in. (68.6 × 29.2 × 25.4 cm)

🔒 PRIVATE VIEWING ROOM NOW LIVE

This masterwork is now featured in our newly launched online Private Viewing Room. This archive houses ADDITION’s most significant secondary-market acquisitions, featuring museum-calibre fine art and rare, unlisted design pieces.

📩 Direct message (DM) us to receive your private access code.

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