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26727 Consignor Auction Catalogue Template
Auction of Important Canadian & International Art September 24, 2020 AUCTION OF IMPORTANT CANADIAN & INTERNATIONAL ART LIVE AUCTION THURSDAY, SEPTEMBER 24TH AT 7:00 PM ROYAL ONTARIO MUSEUM 100 Queen’s Park (Queen’s Park at Bloor Street) Toronto, Ontario ON VIEW Please note: Viewings will be by appointment. Please contact our team or visit our website to arrange a viewing. COWLEY ABBOTT GALLERY 326 Dundas Street West, Toronto, Ontario JULY 8TH - SEPTEMBER 4TH Monday to Friday: 9:00 am to 5:00 pm SEPTEMBER 8TH - 24TH Monday to Friday: 9:00 am to 5:00 pm Saturdays: 11:00 am to 5:00 pm Sunday, September 20th: 11:00 am to 5:00 pm 326 Dundas Street West (across the street from the Art Gallery of Ontario) Toronto, Ontario M5T 1G5 416-479-9703 | 1-866-931-8415 (toll free) | [email protected] 2 COWLEY ABBOTT | September Auction 2020 Cowley Abbott Fine Art was founded as Consignor Canadian Fine Art in August 2013 as an innovative partnership within the Canadian Art industry between Rob Cowley, Lydia Abbott and Ryan Mayberry. In response to the changing landscape of the Canadian art market and art collecting practices, the frm acts to bridge the services of a retail gallery and auction business, specializing in consultation, valuation and professional presentation of Canadian art. Cowley Abbott has rapidly grown to be a leader in today’s competitive Canadian auction industry, holding semi-annual live auctions, as well as monthly online Canadian and International art auctions. Our frm also ofers services for private sales, charity auctions and formal appraisal services, including insurance, probate and donation. -
The Group of Seven, AJM Smith and FR Scott Alexandra M. Roza
Towards a Modern Canadian Art 1910-1936: The Group of Seven, A.J.M. Smith and F.R. Scott Alexandra M. Roza Department of English McGill University. Montreal August 1997 A Thesis subrnitted to the Facdty of Graduate Studies and Researçh in partial fiilfiliment of the requirements of the degree of Master of Arts. O Alexandra Roza, 1997 National Library BiMiotheque nationale du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. rue Wellingtocl Ottawa ON KIA ON4 OttawaON K1AW Canada Canada The author has granted a non- L'auteur a accordé une licence non exclusive licence aliowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or seii reproduire, prêter, distnibuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/nim, de reproduction sur papier ou sur format électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or othewise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. iii During the 19 los, there was an increasing concerted effort on the part of Canadian artists to create art and literature which would afhn Canada's sense of nationhood and modernity. Although in agreement that Canada desperately required its own culture, the Canadian artistic community was divided on what Canadian culture ought to be- For the majority of Canadian painters, wrïters, critics and readers, the fbture of the Canadian arts, especially poetry and painting, lay in Canada's past. -
Towards a Genealogy of Women Artists' Groups in Canada
STRATE= SPACES: Towards a Genealogy of Women Artists' Groups in Canada Maura Lesley Broadhurst A Thesis in The Department of Art History Presented in Partial Fdfihent of the Requirements for the Degree of Masta of Arts at Concordia University Montreal, Quebec, Canada @3Maura Broadhursî, 1997 National Library Bibliothèque nationale 1*1 of Canada du Canada Acquisitions and Acquisitions et Bibliogaphic Services setvices bibliographiques 395 Wellington Street 395, rue Wellington Ottawa ON K1A ON4 Ottawa ON KtA ON4 Canada Canada Yom file Vmreférence Our Ne Notre raWrence The author has granted a non- L'auteur a accordé une licence non exclusive licence aIlowing the exclusive permettant à la National Library of Canada to Bibliothèque nationale du Canada de reproduce, loan, distribute or sel1 reproduire, prêter, distribuer ou copies of this thesis in microform, vendre des copies de cette thèse sous paper or electronic formats. la forme de microfiche/fïlm, de reproduction sur papier ou sur fonnat électronique. The author retains ownership of the L'auteur conserve la propriété du copyright in this thesis. Neither the droit d'auteur qui protège cette thèse. thesis nor substantial extracts fiom it Ni la thèse ni des extraits substantiels may be printed or otherwise de celle-ci ne doivent être imprimés reproduced without the author's ou autrement reproduits sans son permission. autorisation. iii ABSTRACT Strategic Spaces: Towards a Genealogy of Women Rets' Spaces in Canada As part of an alternative to canonid Canadian art history, this thesis looks at the histories of women artists' spaces in Canada Overlooked by predominant texts addressing Canadian art history, these spaces have provided a physical place where many Canadian women artists have gathered to train, exhibit, and s~ppoaeach other as professional artists throughout the twentieth-century. -
Doreen Walker Fonds
Doreen Walker fonds Compiled by Alan Doyle (2002) University of British Columbia Archives Table of Contents Fonds Description o Title / Dates of Creation / Physical Description o Biographical Sketch o Scope and Content o Note Series Descriptions o Canadian Artists o Records Relating to Dear Nan: Letters to Emily Carr, Nan Cheney, and Humphrey Toms o Photographs File List Catalogue entry (UBC Library catalogue) Fonds Description Doreen Walker fonds. – 1660-1990 [predominant 1920-1985]. 1.2 m of textual records. 90 photographs. Biographical Sketch Doreen Elizabeth Walker was born in Vancouver in 1920. She received a Bachelor of Arts degree from the University of British Columbia in 1942, and, upon returning to school, was awarded a Master of Arts degree by the University in 1969. The title of her Graduate thesis was "The Treatment of Nature in Canadian Art Since the Time of the Group of Seven". She subsequently became a senior instructor in the Fine Arts Department at UBC and worked there until her retirement in 1985. Walker compiled and edited over 200 letters between the triumvirate of Nan Cheney, Humphrey Toms, and the noted Canadian artist Emily Carr, producing the book Dear Nan: Letters to Emily Carr, Nan Cheney, and Humphrey Toms in 1990. Her relationship with Cheney, dating back to at least 1980, was certainly more than professional, and correspondence and photographs illustrate the shared friendship. Doreen Walker died on 13 March 2014. Scope and Content The fonds consists of hand-written notes as well as published articles relating to artists in Canada between the early 17th century and the late 20th century. -
PEGI NICOL Macleod: a MARITIME ARTIST
]. Russell Harper PEGI NICOL MacLEOD: A MARITIME ARTIST 1 PEGI NzcoL MAcLEoD , artist and enthusiast extraordinary, first knew the Maritimes in 1940 when she went to Fredericton, N.B. There she met a few local people who understood and appreciated her dynamic love for painting and who were willing to help promote a cause. In New Brunswick during successive summer visits, she implanted an interest in creative painting and a love of art which has blossomed into a rich and living fullness. The story of Pegi Nicol, her activities, the way in which others co-operated with her and responded to her teaching, is a wonderful tale of what can be accomplished with the most meagre of resources. She brought into the Maritimes not any material things but rather those of the mind, and with them a real vision and freshness of spirit, a buoyancy of one older in years but with the outlook of the university generation, the age group with whom she primarily worked. Pegi had the exuberance of perennial youth; it broke forth in her own paint ing. She exhibited her then most recent works at Acadia University in February, 1946, and found that they "offended the old, delighted the young". Two years later in Winnipeg she put on view some New York street vistas and studies of life in a great metropolis. Joe Plaskett, the principal of the art school there who sponsored the exhibition, said that in Winnipeg the paintings were "Fun for students, unfixed people, the best they have seen, but fury to the older folks". -
CARL SCHAEFER: the PAINTINGS of the 1930'S by Peggy Johnston B.A., Carleton University, 1973
CARL SCHAEFER: THE PAINTINGS OF THE 1930'S by Peggy Johnston B.A., Carleton University, 1973 A Thesis Submitted in Partial Fulfillment of the Requirements for the Degree of Master of Arts xn The Faculty of Graduate Studies (Department of Fine Arts) We accept this thesis as conforming to the required standard The University of British Columbia October, 1980 (c) Peggy Johnston, 1980 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the Head of my Department or by his representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of P/N& A£f5 The University of British Columbia 2075 Wesbrook Place Vancouver, Canada V6T 1W5 Date . ABSTRACT Carl Schaefer is a Canadian painter who has worked in Toronto and southwestern Ontario since the late twenties. His style developed from the landscape tradition established by the Group of Seven; yet he evolved a distinct style in the thirties, largely affected by the medium of watercolour and a personal approach to a familiar countryside. This thesis, entitled Carl Schaefer: the Paintings of the 1930's, is a study of Carl Schaefer's work and the artistic environment in which he painted during the decade of the 1930's as a means of showing the development of what is considered his mature style and of establishing him as one of the distinguished painters of the period. -
The Studio Building, 25 Severn Street, Toronto, Ontario
RAPPORT I REPORT THE STUDIO BUILDING, 25 SEVERN STREET, TORONTO, ONTARIO ANDREW WALDRON is an architectural historian >ANDREW WALDRON in the Historical Services Branch of the National Historic Sites Directorate at Parks Canada (Gatineau). He has written on a variety of topics [industrial sites, cultural landscapes, historic districts, modern architecture) for the Federal he Studio Building was designated Heritage Buildings Review Office and the Histor ic Ta national historic site of Canada in Sites and Monuments Board of Canada. He has 2004. The reasons for designation are: it is the earliest purpose-built artist studio in been a member of the Society for the Study Canada representing the visions of a young of Architecture in Canada [SSAC] since 1995 generation of Canadian artists who would and is currently a vice-president on the SSAC's have a professional venue and gathering Executive Board. place to develop a distinctly Canadian art; it is directly associated with the Group of Seven and painter Tom Thomson; it is an example of early twentieth-century mod ern architecture in Canada that rejected ornamentation and drew on industrial design; and it is an important studio for many notable Canadian artists since 1913. INTRODUCTION Toronto architect Eden Smith designed the Studio Building in 1913 for world renowned painter Lawren Harris and Canadian art patron Dr. James MacCallum, as a purpose-built artist studio. It drew on modern ideas in its originality-it was one of the first purpose-built studio spaces in North America-and its functionality as a "warehouse" design. It was a building that emphasized function over stylistic appear ance. -
The Prints of Carl Schaefer Andrew J
Document generated on 10/01/2021 11:53 a.m. RACAR : Revue d'art canadienne Canadian Art Review The Prints of Carl Schaefer Andrew J. Oko Volume 10, Number 2, 1983 URI: https://id.erudit.org/iderudit/1074294ar DOI: https://doi.org/10.7202/1074294ar See table of contents Publisher(s) UAAC-AAUC (University Art Association of Canada | Association d'art des universités du Canada) ISSN 0315-9906 (print) 1918-4778 (digital) Explore this journal Cite this article Oko, A. J. (1983). The Prints of Carl Schaefer. RACAR : Revue d'art canadienne / Canadian Art Review, 10(2), 171–198. https://doi.org/10.7202/1074294ar Tous droits réservés © UAAC-AAUC (University Art Association of Canada | This document is protected by copyright law. Use of the services of Érudit Association d'art des universités du Canada), 1983 (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ COLLECTIONS The Peints of Cari Schaefer* ANDREW J. OKO Art Gallery of Hamilton Cari Schaefer is a prominent Canadian artist who is father, a tailor who ran a shop in town. From this fam particularly well known for his paintings of rural ily background of European héritage and pioneering southwestern Ontario, a subject matter which has been in Canada, Schaefer received a reverence and under- the focus for most of his attention sincc the early 1930s standing of the past, a sense of tradition which had at when he was first attaining artistic maturity. -
31385043686920D.Pdf
NEWTON MacTAVISH COLLECTION FINDING AID canpiled by Leslie A. Smith PatriciaE. Stone NORTH YORK PUBLIC LIBRARY CANADIANA COLLECTION August 1980 TABLE OF CONI'ENTS pages Newt:on McF'aul .t-1a.c'l.1avish .••••••••••••••••••••••••••••••••••••••••••••••• ii General Description of the Newton MacTavish Papers ••••••••.••••••••••• iii l'k>tes on tile Finding A.i.d. • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • • ••••••• iv Series I : Artists' Papers ••••••••••••••••••••••••••••••••••••••••••••••• 1 Glossary of Artists Represented in the MacTavish Collection •••••••••••• 27 Index t:o Series I : Artists' Papers ••••••••••••••••••••••••••••••••••••• 31 Series II: Writers' Papers ••••••••••••••••••••••••••••••••••••••••••••• 34 t\~ Lt Glossary of Artists Represented in the MacTavish Collection •••••••••••• 76 Index tx) Series II: Writers' Papers ••••••••••••••••.••••••••••••••••••• 86 ii NEW.ION McFAIJL MacTAVISH Newton McFaul Ma.cTavish, a major supporter of Canadian art and literature for over thirty years, was born in Staffa, Ontario, on the 17th of February 1875. He studied English Literature at McGill University, and later received an honorary M.A. (1924) and an honorary Litt. D. (1928) from Acadia University, Nova Scotia, for 11distinction in literary and pictorial criticism". He began his literary life in 1898 as a journalist on the staff of the 'Ibronto Globe, holding the post of Montreal correspondent and business representative for the paper from 1903 to 1906. In 1906 he succeeded Jolm Cooper as editor of The Canadian Magazine, a position he retained nntil 1926 when he becarre a member of the Canadian Civil Service Comnission. This post he occupied until 1932. MacTavish was one of the founders of the Arts and Letters Club, an active member of the Canadian Authors' Association, and an elected lay rrerr.ber of the ·Canadian .Art Club.