Download (6MB)

Total Page:16

File Type:pdf, Size:1020Kb

Download (6MB) LE PAYSAGE INDUSTRIEL A THE INDUSTRIAL LANDSCAPE I rosemary donegan LE PAYSAGE INDUSTRIEL A THE INDUSTRIAL LANDSCAPE Art Gallery of Sudbury/Galerie d'art de Sudbury-1998 Canadian Cataloguing in Publication Data Donnees de catalogage avant publication (Canada) Donegan, Ro emary Donegan, Rosemary Sudbury: The Industrial Landscape I Le paysage industriel a Sudbury Sudbury: The Indu trial Landscape I Le paysage industriel a udbury Catalogue of an exhibition held at the Art Gallery of Sudbury, Catalogue d'une exposition tenue a la Galerie d'art de Sudbury, July 30- eptember 20, 1998. du 30 juillet au 20 septembre 1998. Includes bibliographical references. Comprend des references bibliographiques. Text in Engli h and French. Texte en anglais et en franc;ais. ISB 0-9684003-0-2 ISBN 0-9684003-0-2 1. Sudbury ( nt.)-In Art-Exhibitions. 2. Industrie in art­ I. udbury (Ont.) clans !'art-Expositions. 2. Industries clans Exhibitions. 3. Landscape painting, Canadian-Exhibition . 4. Painting, !'art-Expositions. 3. Peinture de paysages canadienne-Expositions. Canadian- xhibitions. 5. Painting, Modern-20th century-Canada­ 4. Peinture canadienne-Exposition . 5. Peinture-20• siecle-Canada­ Exhibitions. 1. Art Gallery of Sudbury. 11 Title. m. Title: Paysage industriel a Expositions. 1. Galerie d'art de Sudbury. JI. Titre. m. Titre: Paysage industriel a Sudbury. Sudbury. 7 58'. l 7 I 3 I 33 '0 747 I 3 I 33 c98-900739-1 F Curator: Ro emary Donegan Commissaire : Rosemary Donegan Editor: Dinah Forbes Redactrice: Dinah Forbes Translation: Maurice Arcand Tr aduction: Maurice Arcand Exhibition and catalogue coordination: Pierre Arpin Coordination de !'exposition et du catalogue: Pierre Arpin Cover illustration: Charles Comfort The Romance of Nickel 1937 CEuvrede la page couverture: Charles Comfort La legende du nickel 1937 © The E tate of Louise Irine Comfort, National Gallery of Canada, Ottawa, © La uccession de Mme Louise Irine Comfort, Musee des beaux-arts du Canada, Loan from Natural Resources Canada, Ottawa Ottawa, Pret de Ressources naturelles du Canada, Ottawa Book de ign: TonyJurgilas, RGD, To ny Jurgila Design Inc. Conception du livre: To ny Jurgilas, RGD, To ny Jurgilas Design Inc. Copyright/Droits d'auteur © Sudbury, 1998 ,.. Printed in Canada/Imprime au Canada Rosemary Donegan and/et Art Gallery of Sudbury/Galerie d'art de Sudbury 453 Ramsey, udbury, Ontario, C ADA P3E 2Z7 All rights reserved/Taus droits reserves artgallery ofa sudbury galerie d'art de sudbury messages from the exhibition sponsors I mots des commanditaires de I' exposition •REDPATH I'm per onally delighted that we have the opportunity to upport uch an ince udbury i a very important mining area for]. Redpath Limited, we important exhibition. TD ha been a part of the Sudbury community ince the are proud to be a corporate pon or of the Industrial Land cape exhibition. The very beginningof thi centuryand we are very proud of our roo . It is an honour art exhibited here truly represen the mining ector. to a si t with thi tribute to the many individual who have contributed to our mining and indu trial heritage. Pui que udbury e t une zone miniere tres importante pour]. Redpath Limited, nous omme fier d'etre un commanditaire de ]'expo ition du pay age Je suis per onnellement ravi que notre in titution peut appuyer ce projet industriel. Le reuvresd'art expo ees ici refletentde fa�onreelle l'industrie miniere. d'exposition qui est si important pour notre communaute. TD est une composante importante de la communaute udburoi e depui le debut du iecle et nous ommes Robert S. Brown-Pre ident/President tres fiers de nos racine . 'e tun honneur de participer a cet hommage a tou le individus qui ont construit notre patrimoine minier et industriel. Gary Welland-VicePresident/Vice-president ....NICKEL CITY STEEL LIMITED .a• on. �lI�� �B. 1 a member of the mining community for more than 2 5 years, ickel City MontpellierGroup Inc. i very plea ed to be a part of the Art Gallery of udbury teel Limited i proud to be a partner in the pre entation of the Sudbury:The and proud to be a ponsor of the Industrial Landscape exhibition. We hope Industrial Land cape exhibition. We are plea ed to support the Art allery of e eryone will take advantage and view the creations of the talented arti ts. We Sudbury in its effor to rai e community awareness of our heritage and hi tory. would like to congratulate and thank all the volunteer and staffwho make it all We hope that many udburians and vi itor to the region will be able to benefit pas ible. from thi special project. Montpellier Group Inc. nous omme fier de nou a ocier a la presentation titre de membre de l'indu trie miniere a udbury pour plus de vingt-cinq de ]'expo ition ur le paysage indu triel. ou e perons que de nombreux vi iteur ans, ickel City tee! Limited e t fiere de participer dan la pre entation de pourront voir !'expositionet temoigner de reali ation de arti te . ou desirons l'expo ition Le pay age indu triel a udbury. ou appuyon la Galerie d'art de remercier et feliciter taus ceux qui om participera la realisationde cette expo ition. udbury clans e efforts d'accroitre notre comprehension de notre histoire et de notre patrimoine. ous e perons que de nombreux residents et visiteur a la Maggie D. Montpellier-Marketing Director/Directrice du marketing region sauront profiterde cette exposition. erio Gregorini-President/President other exhibition sponsors I auhes commanditaires de I' exposition CHESS CONTROLS '""· A • HATCH - We would al o like to thank the following supporter ou aimerions aus i remercier le organismes suivant pour leur appui: 1nco MCTV �be �ubburp$tar � myo(jwlede qJ)1 SUDBURY Canadian Patrimoine • ••• Heritage canadlen The grey lady of Coppercliff rose La dame gris de Coppercliff se dressait 574 feet above the smelter sheds, 574 pieds au-dessus des batiments de la fonderie, her faceto the weather le visage expose aux intemperies, her hair blowing in the wind; la chevelure au vent; I was impressed. c'etait tres impressionnant. 1 Charles Comfort, 19351 Charles Comfort, 1935 Charles Comfort, 111elw·Stacks, CopperC/iff!Chemi11ies de fo11derie a CopperCliff. 1936 photo: ational Gallery of Canada, Ottawa/Musee des beaux-arts du Canada, Ottawa table of contents table des matieres Director's Foreword ................................................................... 3 illustrations............................................................................... 19 Ackn.owledgements.................................................................... 4 Avant-propos du directeur ....................................................... 31 Sudbury: The Industrial Landscape .......................................... 5 Remerciements ......................................................................... 32 Sym bolic Sudbury: The Industrial Landscape .......................... 5 Le paysage industriel a Sudbury .............................................. 3 3 The Group of Seven and the Sudbury Basin ............................ 7 Sudbury: symbole du paysage industriel.................................. 33 The Corporate Image ................................................................ 7 Le Groupe des Sept et le bassin de Sudbury........................... 3 5 The Local Community, or 1,'image corporative .................................................................. 36 WhichWay is the Wind Blowing To day? ............................... 10 La collectivite locale : The Union in the Community ................................................ 11 clans quelle direction le vent souffie-t-il aujourd'hui? ............ 38 Subduing the Earth .................................................................. 1 2 Le syndicat et la collectivite ..................................................... 40 Conclusion . .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. ... .. .. I 3 Assujettir la Te rre ..................................................................... 41 Endnotes................................................................................... 14 Conclusion ............................................................................... 42 List of Works............................................................................ 1 5 Notes ........................................................................................ 43 Copyright . .. .. ... .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. .. 1 7 Catalogue ................................................................................. 44 Illustrations............................................................................... 19 Droits d'auteur ......................................................................... 46 directors foreword realization of this exhibition project. In her acknowledgements, Rosemary Donegan offersher thanks. Wewould al o like to extend Whoever has travelledin the Sudbury region understandsto what our thanks to all those who contributedto this exhibitionincluding extent the landscape can inscribe itselfin the imagination. This is a all the lender . We are gratefulto the Canada Council for the Arts hard, rocky,unforgiving landscape, one that was formed, according to who fundedthe original research portionof this project. We would current thinking,by the impact of a meteorite approximatelytwo billion also like to single out the ational Gallery of Canada and Mine years ago. Thi collision also created a geological formation which Mill Local 598 fortheir very important contributionto
Recommended publications
  • CV Photo/Ciel Variable, Montreal, No
    A N G E L A G R A U E R H O L Z Recognition and Awards (Visual Arts) 2018 Honorary Doctorate Emily Carr University of Art + Design, Vancouver 2017 150 Years of Photography / Canada 150 Commemorative Collection, 2017 Canada Post, Ottawa 2015 Recipient of the Scotiabank Photography Award, Toronto 2014 Recipient of the Governor General Award in Visual and Media Arts, Canada Council for the Arts, Ottawa 2013 Shortlisted for the Scotiabank Photography Award, Toronto 2006 Awarded the Prix Paul-Émile Borduas, Government of Quebec, Quebec Solo exhibitions 2019 The Empty S(h)elf – First iteration, Artexte, Montreal The Book is the Book, installation at the Madras Literary Society (library), 2019 Chennai Photo Biennale, Chennai Angela Grauerholz: Écrins, écrans, McIntosh Gallery, Western University, London, ON 2018 Scotiabank Contact Festival / Olga Korper Gallery, Toronto Art 45, Montréal 2016 Angela Grauerholz (Scotiabank Photography Award), Ryerson Image Centre, Toronto Angela Grauerholz/Écrins, écrans, Canadian Cultural Centre/Centre culturel canadien, Paris 2014 Olga Korper Gallery, Toronto 2012 Art 45, Montreal 2011 Olga Korper Gallery, Toronto Angela Grauerholz: The inexhaustible image…épuiser l’image, University of Toronto Art Centre (UTAC), Toronto 2010 Angela Grauerholz: The inexhaustible image…épuiser l’image, National Gallery of Canada/Musée des beaux-arts du Canada, Canadian Museum of Contemporary Photography/Musée canadien de la photographie contemporaine (CMCP), Ottawa (book/catalogue) McMaster Museum of Art, McMaster University,
    [Show full text]
  • U:\CAC\Journal\Vol 34\Web Version\Vol 34 Pg 29-38.Wpd
    A Technical and Scientific Study of Two A.Y. Jackson Paintboxes Barbara Klempan, Marie-Claude Corbeil, Jennifer Poulin and Philip Cook Journal of the Canadian Association for Conservation (J. CAC), Volume 34 © Canadian Association for Conservation, 2009 This article: © Barbara Klempan, Queen’s University, and the Canadian Conservation Institute (http://www.cci-icc.gc.ca/copyright_e.aspx) of the Department of Canadian Heritage, 2009. Reproduced with the permission of the copyright owners. J. CAC is a peer reviewed journal published annually by the Canadian Association for Conservation of Cultural Property (CAC); http://www.cac-accr.ca/. The views expressed in this publication are those of the individual authors, and are not necessarily those of the editors or of CAC. Journal de l'Association canadienne pour la conservation et la restauration (J. ACCR), Volume 34 © l'Association canadienne pour la conservation et la restauration, 2009 Cet article : © Barbara Klempan, Queen’s University, et l’Institut canadien de conservation (http://www.cci-icc.gc.ca/copyright_f.aspx), Ministère du Patrimoine canadien, 2009. Reproduit avec la permission de ceux et celles qui détiennent les droits d’auteur. Le Journal de l’ACCR est une revue arbitrée qui est publiée annuellement par l'Association canadienne pour la conservation et la restauration des biens culturels (ACCR); http://www.cac-accr.ca. Les opinions exprimées dans la présente publication sont celles des auteurs et ne reflètent pas nécessairement celles de la rédaction ou de l'ACCR. 29 A Technical and Scientific Study of Two A.Y. Jackson Paintboxes Barbara Klempana, Marie-Claude Corbeilb, Jennifer Poulinb and Philip Cookb a Art Conservation Program, Queen’s University, Kingston, Ontario K7L 3N6, Canada; [email protected] b Analytical Research Laboratory, Canadian Conservation Institute, Department of Canadian Heritage, 1030 Innes Road, Ottawa, Ontario K1A 0M5, Canada; [email protected]; [email protected] Two paintboxes that once belonged to Canadian artist A.Y.
    [Show full text]
  • MELANIE AUTHIER 1980 Born in Montreal, Quebec, Canada
    MELANIE AUTHIER 1980 Born in Montreal, Quebec, Canada Currently lives and works in Ottawa, Ontario, Canada Education 2006 Master of Fine Arts, University of Guelph, ON, Canada 2002 Bachelor of Fine Arts (Major in Studio Arts, Minor in Women in the Fine Arts), Concordia University, Montreal, QC, Canada Forthcoming 2020 This Sacred Vessel, Arsenal Contemporary, New York, NY, USA (group exhibition) (February 6 – March 1) 2020 Catalogue release for Melanie Authier: Grisailles, Rodman Hall Art Centre, Brock University, St. Catharines, ON (essays by Jonathan Shaughnessy and Marcie Bronson) Selected Solo Exhibitions 2018 Amplitude of the Infinite, Georgia Scherman Projects, Toronto, ON, Canada 2016-18 Contrarieties & Counterpoints: Recent Paintings by Melanie Authier, curated by Robert Enright, travelling: Ottawa Art Gallery, Ottawa, ON; Thames Art Gallery, Chatham, ON; Ottawa Art Gallery, ON; Art Gallery of Guelph, ON; Kenderline Art Gallery, Saskatoon, SK; Galerie de l’UQAM, Montreal, QC; MSVU Art Gallery, Halifax, NS; and Musee Regional de Rimouski, Rimouski, QC, Canada (publication) 2014 Melanie Authier: Figments & Foils, Georgia Scherman Projects, Toronto, ON, Canada 2013 Melanie Authier: Grisailles, Rodman Hall Art Centre, Brock University, St. Catharines, ON, Canada (catalogue) Melanie Authier: Vault/Shield/Buttress/Basin, Anna Leonowens Gallery, Nova Scotia College of Art and Design, Halifax, NS, Canada Melanie Authier: Jostling Pictorial Oppositions, Georgia Scherman Projects, Toronto, ON, Canada 2010 The Ribbon and the Lightning Rod,
    [Show full text]
  • ICA Boston, Boston, MA*
    GEOFFREY FARMER Born: 1967, Vancouver, British Columbia Lives and works in Vancouver, British Columbia EDUCATION 1992 Emily Carr Institute of Art and Design, Vancouver, British Columbia 1990-1991 San Francisco Art Institute, San Francisco, California AWARDS AND RESIDENCIES 2015 The Watermill Center Residency, Watermill, NY 2014 Edinburgh Printmakers, Artist in Residence, Edinburgh 2013 Gershon Iskowitz Prize 2011 Hnatyshyn Foundation Visual Arts Award Kadist Art Foundation 2010 God’s Dice, Artist in Residence, The Banff Centre, Banff, Alberta SOLO EXHIBITIONS (*publication/catalogue) 2018 Casey Kaplan, New York, NY (forthcoming) 2017 The Care With Which The Rain Is Wrong, Schinkel Pavillion, Berlin Geoffrey Farmer & Gareth Moore. A Dark Switch Yawning, Neptune Skeletons Thronging, Black Bucket Prolonging, World Turtle Longing, Sink Plug Wronging, Salzburger Kunstverein, Salzburg, Austria The Kitchen, Catriona Jeffries, Vancouver Canadian Pavilion, Venice Biennale, Venice 2016 ICA Boston, Boston, MA* 2015 How Do I Fit This Ghost In My Mouth?, Vancouver Art Gallery, Vancouver * 2014 Cut nothing, cut parts, cut the whole, cut the order of time, Casey Kaplan, New York, NY Every day needs an urgent whistle blown into it, Art Gallery of Ontario, Toronto Let’s Make the Water Turn Black, Kunstverein Hamburg, Hamburg; Pérez Art Museum Miami, Miami, FL* The Grass and Banana go for a walk, Catriona Jeffries, Vancouver 2013/2014 Let’s Make the Water Turn Black, Migros Museum, Zurich, Switzerland; Nottingham Contemporary, Nottingham* 2013 The Surgeon
    [Show full text]
  • Canadian Women Artists History Initiative
    IMAGINING HISTORY: THE SECOND CONFERENCE OF THE CANADIAN WOMEN ARTISTS HISTORY INITIATIVE MAY 3-5, 2012 Concordia University, Montreal Conference Program 2012 Thursday 3 May 16h00 - 16h30 Registration (outside MB S2.210) 16h30 - 18h15 Welcoming Remarks (MB S2.210) Catherine MacKenzie (Department of Art History, Concordia University) Kristina Huneault (Department of Art History, Concordia University) Keynote address Individual Lives, Collective Histories: Representing Women Artists in the Twenty- First Century Mary Sheriff, W.R. Kenan, Jr. Distinguished Professor University of North Carolina at Chapel Hill 18h15 - 19h30 Reception (EV 3.741) Friday 4 May 08h30 - 16h00 Registration (EV 3.725 Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art) 09h00 - 10h30: BLOCK A STRAND ONE: METHOD Retelling Feminism I: Theory and Narrative (EV 1.605) Moderator: Susan Cahill (Nipissing University) Ordinary Affects: Folk Art, Maud Lewis and the Social Aesthetics of the Everyday, Erin Morton (University of New Brunswick) Are We There Yet? Critical Thoughts on Feminist Art History in Canada, Kristy A. Holmes (Lakehead University) Gendering the Artistic Field: The Case of Emily Carr, Andrew Nurse (Mount Allison University) STRAND TWO: HISTORY By Album, Print and Brush: Early Canadiana (EV 3.760) Moderator: Anna Hudson (York University) Louise Amélie Panet (1789-1862), Caricature and Visual Satire in Lower Canada, Dominic Hardy (L’Université du Québec à Montréal) Decoding a Victorian Woman’s Album: A Case Study in the Reading of Autobiography,
    [Show full text]
  • North As Nature: an Ecocritical Analysis of Royal Canadian Air Force Photography and Leslie Reid’S Mapping Time
    North as Nature: An Ecocritical Analysis of Royal Canadian Air Force Photography and Leslie Reid’s Mapping Time by Hannah Keating A thesis submitted to the Faculty of Graduate and Postdoctoral Affairs in partial fulfilment of the requirements for the degree of Master of Arts in Art History Carleton University Ottawa, Ontario © 2016 Hannah Keating Abstract A semiotic analysis of visual narratives, this thesis explores representations of Arctic landscape to uncover discourses of North and Nature. In the mid-twentieth century, the Royal Canadian Air Force (RCAF) was tasked with photographing the Canadian Arctic to construct accurate maps of the region. And, following a residency with the Canadian Forces Artists Program in 2013, contemporary artist Leslie Reid began an ongoing series of paintings and photo-mosaics: Mapping Time. This trans historical thesis is dedicated to an ecologically sensitive approach and considers how aerial photographs of the RCAF not only represent space, but also construct narratives of Canadian sovereignty and contribute to an idea of North as Nature. Integrating examples of RCAF photographs into her photomontages, Reid asks viewers to contemplate the history of Arctic mapping and her paintings welcome a critical approach to representations of place, space, and landscape. ii Acknowledgments I would first like to thank my thesis supervisor Dr. Carol Payne of the Art History Department, Carleton University. Always thoughtful in her critiques, generous in her encouragement, and honest with her advice, Prof. Payne was a supportive advisor throughout the project. Her confidence in my abilities as a writer and researcher helped me to pursue my topic with enthusiasm.
    [Show full text]
  • Creative Spaces Case Study Series Ottawa Art Gallery
    Creative Spaces Case Study Series Ottawa Art Gallery This Creative Spaces Case Study Series is supported by: Table of Contents Introduction 3 ArtsBuild Ontario 3 Ottawa Art Gallery 4 Interviewees 4 Vision and Mandate 4 Historical Background 4 OAG Expansion and Arts Court Redevelopment 4 Project Summary 5 The “What” 5 What is the operational model of the Ottawa Art Gallery? 5 What was the Ottawa Art Gallery building and creating? 5 What type of involvement did partners have in the project? 6 The “Why” 7 Why did the Ottawa Art Gallery take on this capital project? 7 Why did the Ottawa Art Gallery decide to implement a 3P Partnership? 8 Why did the OAG choose to consult their users? 8 The “Who” 8 Who does the space serve? 8 Who led the project within the OAG? 9 Who were the partners in the project? 9 Who was hired to support this project? 10 Who was contracted for this project? 10 Who opposed the project? 11 The “How” 11 How did the project move from concept to construction? 11 How was a construction plan formed? 12 How was accessibility and inclusion incorporated into the project? 13 How was energy efficiency and the environment incorporated? 13 1 | P a g e How were day-to-day operations impacted? 14 How were programs managed during construction? 14 How was the project funded? 15 The “Ongoing” 16 How did the Ottawa Art Gallery project new financials? 16 How is the Ottawa Art Gallery accounting for increases in expenses? 16 How has staffing evolved? 17 How is the Ottawa Art Gallery being maintained? 17 What lessons were learned in the first 90 days? 17 What lessons were learned in the first year? 18 Case Study Summary 18 Resources 19 2 | P a g e Introduction These in-depth case studies will serve as a resource for arts and heritage organizations embarking on a capital project to learn from the successes and challenges of others in the sector.
    [Show full text]
  • Canadian, Impressionist & Modern
    CanAdiAn, impressionist & modern Art Sale Wednesday, May 30, 2018 · 7 PM · toronto Canadian, impressionist & modern art auCtion Wednesday, May 30, 2018 4 PM Post-War & Contemporary Art 7 PM Canadian, Impressionist & Modern Art Design Exchange The Historic Trading Floor (2nd floor) 234 Bay Street, Toronto Located within TD Centre previews Heffel Gallery, Calgary 888 4th Ave SW, Unit 609 Friday, April 13 through Saturday, April 14, 10 am to 6 pm Heffel Gallery, Vancouver 2247 Granville Street Saturday, May 5 through Tuesday, May 8, 11 am to 6 pm Galerie Heffel, Montreal 1840 rue Sherbrooke Ouest Thursday, May 17 through Saturday, May 19, 11 am to 6 pm Design Exchange, Toronto The Exhibition Hall (3rd floor), 234 Bay Street Located within TD Centre Saturday, May 26 through Tuesday, May 29, 10 am to 6 pm Wednesday, May 30, 10 am to noon Heffel Gallery Limited Heffel.com Departments Additionally herein refered to as “Heffel” Fine Canadian art or “Auction House” [email protected] toronto appraisals 13 Hazelton Avenue, Toronto, Ontario M5R 2E1 [email protected] Telephone 416-961-6505, Fax 416-961-4245 E–mail: [email protected], Internet: www.heffel.com absentee and telephone bidding [email protected] ottawa 451 Daly Avenue, Ottawa, Ontario K1N 6H6 shipping Telephone 613-230-6505, Fax 613-230-8884 [email protected] montreal subsCriptions 1840 rue Sherbrooke Ouest, Montreal, Quebec H3H 1E4 [email protected] Telephone 514-939-6505, Fax 514-939-1100 vanCouver Catalogue subsCriptions 2247 Granville Street, Vancouver, British Columbia V6H 3G1 Heffel Gallery Limited regularly publishes a variety of materials Telephone 604-732-6505, Fax 604-732-4245 beneficial to the art collector.
    [Show full text]
  • Expropriate Somerset House, Says Heritage Ottawa
    Dedicated to Preserving Our Built Heritage May 2019 Volume 46, No. 2 Expropriate Somerset House, HERITAGE OTTAWA 2 018 says Heritage Ottawa WALKING By David B. Flemming TOURS My first memories of Somerset House date back to the late 1960’s when it was known as The Ritz Hotel. The main floor tavern and the basement www.heritageottawa.org “ladies & escorts’’ section was a welcome gathering place for my Join our experienced guides for walks through some of Ottawa’s most friends and colleagues for lunch, after interesting areas like Lindenlea and work or on special occasions. Food the Civic Hospital Neighbourhood. was served in a small restaurant off Our program offers a number of new the rear of the tavern where one could tours as well as returning favourites. enjoy a cheap yet hearty meal. Information about the 2019 tours, the knowledgeable guides, and meeting When I returned to Ottawa in locations is available on our website 2000 after a 25 years absence, it was at heritageottawa.org known as Somerset House with the Walking Tours are $5 for members Lockmaster Tavern on the ground Somerset House in 1900 when Bank and $10 for non-members. floor and the Duke of Somerset pub and Somerset was a happening place. located in the basement replacing our Visit our website and beloved “downstairs at the Ritz.’’ Victorian Italianate style with its then mark your calendars! red brick walls, contrasting stone When the business finally closed in banding, brick corbelling and large heritageottawa.org/heritage- 2003, I was president of Heritage ottawa-walking-tours display windows.
    [Show full text]
  • CONSIGNOR CANADIAN FINE ART Auction of Important Canadian Art November 19–28, 2014
    CONSIGNOR CANADIAN FINE ART Auction of Important Canadian Art November 19–28, 2014 FALL AUCTION OF IMPORTANT CANADIAN ART Online Auction All bidding takes place on Consignor.ca BIDDING OPEN: Wednesday, November 19th at 10:00 am EST to Friday, November 28th, 2014 beginning at 2:00 pm EST ON VIEW: November 3rd – November 22nd Monday to Friday: 9:00 am to 5:00 pm Saturdays: 11:00 am to 4:00 pm November 23rd – 28th Sunday, November 23rd: 11:00 am to 4:00 pm Monday, November 24th – Friday, November 28th: 9:00 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] Consignor Canadian Fine Art presents a new partnership within the Canadian art industry. The venture bridges the services of the retail gallery and auction businesses in Canada with a team of industry professionals who specialize in consultation, valuation, and professional presentation of Canadian art and have unparalleled reputations in providing exceptional service to the specialized clientele. Mayberry Fine Art partner Ryan Mayberry and auction industry veterans Rob Cowley and Lydia Abbott act as the principals of Consignor Canadian Fine Art, a hybridized business born in response to the changing landscape of the Canadian art industry. Apart from the sales of artwork through auction and private means, Consignor Canadian Fine Art also provides professional appraisal and consultation services, serving our clientele through a wide range of purposes, including insurance,
    [Show full text]
  • 26727 Consignor Auction Catalogue Template
    CONSIGNOR CANADIAN FINE ART AUCTIONEERS & APPRAISERS Auction of Important Canadian Art May 29, 2018 SPRING AUCTION OF IMPORTANT CANADIAN ART LIVE AUCTION TUESDAY, MAY 29TH AT 7:00 PM GARDINER MUSEUM 111 Queen’s Park (Queen’s Park at Bloor Street) Toronto, Ontario Yorkville Anenue Bedford Rd. Bedford AVENUE RD. AVENUE Cumberland Street ST. GEORGE ST. ST. BLOOR STREET WEST ROYAL GARDINER ONTARIO MUSEUM MUSEUM QUEENS PARK Charles Street West ON VIEW CONSIGNOR GALLERY 326 Dundas Street West, Toronto, Ontario MAY 1ST TO 26TH Monday to Friday: 9:00 am to 5:00 pm Saturdays: 11:00 am to 5:00 pm MAY 27TH TO 29TH Sunday, May 27th: 11:00 am to 5:00 pm Monday, May 28th: 9:00 am to 5:00 pm Tuesday, May 29 th: 9:00 am to 1:00 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] 4 CONSIGNOR CANADIAN FINE ART | Spring Auction 2018 Rob Cowley President Canadian Art Specialist 416-479-9703 Consignor Canadian Fine Art presents an innovative partnership [email protected] within the Canadian art industry. Te venture acts to bridge the services of the retail gallery and auction businesses in Canada with a team of art industry professionals who not only specialize in consultation, valuation, and professional presentation of Canadian art, but who also have unparalleled reputations in providing exceptional service to the specialized clientele. Mayberry Fine Art partner Ryan Mayberry and auction industry veterans Rob Cowley Lydia Abbott and Lydia Abbott act as the principals of Consignor Canadian Vice President Fine Art, a hybridized business born in response to the changing Canadian Art Specialist landscape of the Canadian art industry.
    [Show full text]
  • Growing a Culture: an Artistic History of Ottawa
    Growing a Culture: An Artistic History of Ottawa Lecture Two ART The Studio Club which, "Eva Major-Marothy speculates that the Studio Club may have formed the core of the 'Ottawa Group' which held an exhibition at Hart House in Toronto in January 1924. ( Group of Seven, 1920). This Group included Paul Alfred, Harold Beament, Frank Hennessey, Florence McGillivray, Graham Norwell, Yoshida Sekido, and David Milne, in one of his few incarnations as an 'Ottawa' painter. This 'Group' was intended to be Ottawa’s equivalent to Toronto’s Group of Seven and Montreal’s Beaver Hall Hill Group; it wanted 'to keep alive a healthy interest in art, modern Canadian art in particular.' Soon after the exhibition, Beament and Norwell left for Europe and Milne returned to New York, while the others carried on, individually or in conjunction with the activities of the Art Association.'' (pg 23, History of Art and Artists of Ottawa and Surroundings, 1790-1970: Part II, 1880-1945,The Ottawa Art Gallery, 1995). Paul Alfred Paul Alfred (pseudonym of Alfred Ernest Meister) (1892-1959), was born at Hanley, Staffordshire, England, to Mr. and Mrs. John E. Meister. He was educated at Hanley's Northwood National School from 1896 to 1906, and the Polytechnic School of Art at Hanley between 1902 and 1906. Thereafter, he emigrated to Canada. In 1920, Alfred returned to England where he studied at the Chelsea Polytechnic in London. Upon completion of his degree, he returned to Canada where he became employed as a publicity artist for the Natural Resources Branch of the Department of the Interior from 1921 to 1931.
    [Show full text]