History of Art Libraries in Canada Histoire des bibliothèques d’art au Canada www.arliscanada.ca/hal Sponsored by / Commandité par: ESSAYS IN THE HISTORY OF ART LIBRARIANSHIP IN CANADA National Gallery of Canada Library and Archives Musée des beaux-arts du Canada Bibliothèque et Archives ESSAIS SUR L’HISTOIRE DE LA BIBLIOTHÉCONOMIE D’ART AU CANADA ARLIS/NA ESSAYS IN THE HISTORY OF ART LIBRARIANSHIP IN CANADA ESSAIS SUR L’HISTOIRE DE LA BIBLIOTHÉCONOMIE D’ART AU CANADA Table of Contents Table des matières Introduction Reflections Through the Looking Glass: Murray Waddington The Story of the Fine Arts Library at the University of British Columbia Introduction Diana Cooper, Peggy McBride Murray Waddington Traduit par Denise Loiselle A Library for Artists: The Early Years of The Banff Centre Library ARLIS/Canada: James Rout The First Ten Years Jonathan Franklin The Whyte Museum of the Canadian Rockies Bob Foley ARLIS/Canada : les dix premières années The Alberta College of Art + Design: Jonathan Franklin Luke Lindoe Library Traduit par Denise Loiselle Christine Sammon A History of the Canadian Art Libraries Section The Architecture/Fine Arts Library, Fort Garry (CARLIS) Campus, University of Manitoba Melva J. Dwyer Liv Valmestad Hidden Collections: Held in Trust: The Invisible World of English Canadian Book The National Gallery of Canada Library Illustration and Design and Archives Randall Speller Jo Nordley Beglo L’histoire du livre d’artiste au Québec Pour le compte des Canadiens : Sylvie Alix La Bibliothèque et les Archives du Musée des beaux-arts du Canada A History of the Artist's Book in Québec Jo Nordley Beglo Sylvie Alix Traduit par Denise Loiselle Translated by Mark Dobbie “So Hopefully and Imaginatively Founded”: The Vancouver Art Gallery and the Machinery The CCA Library to 1998 of Happiness Rosemary Haddad Cheryl Siegel Le Centre d’information Artexte : Qui était qui : un mandat, et un parcours, atypiques Biographies de bibliothécaires canadiens Danielle Léger et canadiennes Steven C. McNeil From Ladies’ College to Department of Fine Arts: Traduit par Denise Loiselle The History of Fine Arts Education at Mount Allison University Chronology: Ilga Leja History of Art Libraries in Canada Jo Nordley Beglo “No Closed Books, No Closed Doors. And No Closed Minds”: Contributors: A History of the Nova Scotia College of Art Essays in the History of Art Librarianship in Canada and Design (NSCAD University) Library Ilga Leja Collaborateurs : Essais sur l’histoire de la bibliothéconomie Who Was Who: d’art au Canada Biographies of Canadian Art Librarians Steven C. McNeil © 2006 ARLIS/Canada Design and Production Aubut & Nadeau, Ottawa, ON www.an-design.ca INTRODUCTION Murray Waddington It has been a privilege for the Library and Archives of the By design, the scope of these essays in the history of art National Gallery of Canada to provide support for the librarianship in Canada is broad and inclusive. The authors development of this website, thereby helping to ensure that are dedicated colleagues from Vancouver to Halifax. Their these stories of the history of art librarianship in Canada are essays present research on the progress of our profession, captured and shared. Resource-sharing and national outreach the materials that comprise our collections, and the develop- are key activities that support the mandate of the National ment of our libraries. In presenting the stories of distinguished Gallery, and of its Library and Archives. institutions, collections and personalities, the essays highlight significant achievements within a specifically Canadian context. The origin of the project can be traced to the 1999 ARLIS/NA I would like to recognize in particular the contribution of the conference in Vancouver, where Jo Beglo, Ilga Leja, Melva late Diana Cooper, who sadly is not able see her work come Dwyer and Daphne Dufresne presented papers in a session to completion. focussed on the history of Canada’s art libraries. At the October 1999 meeting of ARLIS/Canada, held at the National When reading the biographies prepared for the Who Was Gallery, Jo Beglo proposed the endeavour as a national Who section of this compendium, I was reminded that those project and agreed to serve as its general editor, collaborat- of us currently working in the field of art librarianship are ing with art librarians across the country. An editorial group members of what are but the second and third generations meeting was held at the National Gallery in June 2000, of the profession in Canada. It is remarkable to think that attended by Jo Beglo, Bob Foley, Rosemary Haddad, Jill our specialization came of age only in the mid-twentieth Patrick, Murray Waddington, and Kathy Zimon. The struc- century, has accomplished so much, and has consolidated ture and stylistic approach to the project were determined its identity in so short a span of time. These beginnings are at that meeting, and the initial call for papers was issued in represented here by the biographies of our late colleagues September 2000. Peter Anthony, Jacqueline Hunter, Evelyn de Rostaing McMann, Marketa Newman, Sybille Pantazzi, and Alan We originally had hoped to publish the essays and biographies Suddon. These individuals were our mentors, remembered found here in the Occasional Papers series of the National with respect and warmth by so many of us who knew them, Gallery Library and Archives, but the significant production worked with them, and now live with their legacies in our costs that this would have entailed prompted us to seek an respective institutions. alternative. We appreciate that the use of an Internet site for the project will have the advantage of increasing visibility and I was acquainted with each of the librarians honoured by these access to this material, as it brings together for the first time biographies, and I had the welcome opportunity of working information that has been mined from art library collections closely with Marketa Newman, Jacqueline Hunter and Alan and institutional archives across the country. This website Suddon, individuals who had remarkable and lasting effect on will allow for enrichment of the project with additional their colleagues and institutions. Each one encouraged and contributions in the future. inspired me. Each one helped to ensure that I would have the stimulating and fulfilling career that I embarked upon almost Undoubtedly there will be additions to this record over time, forty years ago, an experience that has been enriched as well as other aspects of our history are narrated, new enter- by many of the distinguished essayists represented here with prise and achievements are celebrated, and individuals are whom I have had the good fortune to be associated. honoured. The colleagues whose records of our history appear here are Murray Waddington to be thanked for their effort, and Jo Beglo, Bibliographer, Chief National Gallery, is to be saluted for her commitment to the Library, Archives and Research Fellowship Program realization of this project and for the coordination of the National Gallery of Canada initiative on behalf of ARLIS/Canada. We are indebted as well April 2006 to James Rout, Managing Librarian, Paul D. Fleck Library and Archives, The Banff Centre, for hosting the website. © 2006 ARLIS/Canada INTRODUCTION Murray Waddington Traduit par Denise Loiselle Ce fut un privilège pour la Bibliothèque et les Archives du Ce site favorisera en outre l’enrichissement du recueil par Musée des beaux-arts du Canada d’appuyer le développe- l’ajout de contributions à venir. ment de ce site web, grâce auquel tous ces textes portant Les auteurs de ces textes sur l’histoire de la bibliothéconomie sur l’histoire de la bibliothéconomie d’art au Canada ont pu d’art au Canada sont des collègues dévoués d’un peu partout être recueillis et partagés. Le partage des ressources et le au pays, de Vancouver à Halifax. Leurs textes, d’une vaste rayonnement national, rappelons-le, font partie des activités- portée, présentent la recherche effectuée sur les progrès de clés définies dans le mandat du Musée des beaux-arts et de la notre profession, sur le matériel qui compose nos collections Bibliothèque et des Archives. et sur le développement de nos bibliothèques. En présen- Ce projet a été conçu en 1999 lors du congrès annuel tant l’histoire d’institutions distinguées, de collections et de d’ARLIS/NA, à Vancouver, lorsque Jo Beglo, Ilga Leja, personnalités remarquables, ils mettent en lumière des projets Melva Dywer et Daphne Dufresne ont présenté des exposés d’importance réalisés dans un contexte proprement canadien. au cours d’une session axée sur l’histoire des bibliothèques Je voudrais attirer l’attention en particulier sur la contribution d’art au Canada. En octobre de la même année, à la réunion de la regrettée Diana Cooper. Il est malheureux qu’elle ne d’ARLIS/Canada qui a eu lieu au Musée des beaux-arts, puisse voir son travail achevé. Jo Beglo a proposé de donner à ce projet une envergure En lisant les biographies de la section Qui était qui de ce nationale et, par ailleurs, elle a consenti à servir de rédac- recueil, je me suis rappelé que ceux d’entre nous qui trice générale, en collaboration avec les bibliothécaires d’art travaillent dans le domaine de la bibliothéconomie d’art à travers le pays. La structure du projet et sa conception font partie d’une profession dont les membres actuels ne stylistique ont été déterminées lors de la réunion d’un groupe représentent que la deuxième ou troisième génération au de rédaction, tenue au Musée des beaux-arts en juin 2000, à Canada. Il est tout à fait remarquable que notre spécialisa- laquelle participaient Jo Beglo, Bob Foley, Rosemary Haddad, tion, qui n’est parvenue à maturité qu’au milieu du XXe siècle, Jill Patrick, Murray Waddington et Kathy Zimon.