Showing 222 results

Authority record

Williamson, Elizabeth Fraser

  • http://viaf.org/viaf/33397297
  • Person
  • 1914-2000

Elizabeth Fraser Williamson (1914-2000) was a sculptor and educator who worked as artist in residence for many years at the Guild Inn, Scarborough.

Varley, Frederick Horsman

  • http://viaf.org/viaf/79427452
  • Person
  • 1881-1969

Frederick Horsman Varley, painter, was born in Sheffield, England in 1881. He studied at the Sheffield School of Art 1892–1900, and at the Koninklijk Akademie voor Shone Kunsten (Académie royale des beaux-arts) in Antwerp for the following two years. After working as an illustrator and art teacher in England, he immigrated to Canada and obtained work as a commercial illustrator in Toronto in 1912, the same year he first exhibited his art work at the Canadian National Exhibition. In 1914, Varley joined Tom Thomson, A.Y. Jackson and Arthur Lismer on sketching trip to Algonquin Park in Ontario. Some of his most famous works resulted from his association with these artists. He participated in the War Art program after the war in 1918 and was a founding member of the Group of Seven in 1920. Although he painted numerous landscapes, his interest lay more in portraiture, which he pursued during the 1920s. Varley moved to Vancouver in 1926 to teach at the School of Decorative and Applied Arts. His landscapes from this period are marked by fine draftsmanship, exotic colour and unusual vantage points. In 1933 he and J.W.G. Macdonald opened their own school, the British Columbia College of Arts, which closed in 1935. Varley lived subsequently in Ottawa and Montreal, returning in 1944 to Toronto. The Art Gallery of Ontario held a retrospective of his work in 1954. He died in Toronto in 1969. Varley was a member of the Arts and Letters Club, Toronto. His work is in numerous Canadian public collections.

Van Horne, William Cornelius, Sir

  • http://viaf.org/viaf/49308940
  • Person
  • 1843-1915

Sir William Cornelius Van Horne (1843-1915), principal builder of the Canadian Pacific Railway and prominent businessman, was an important collector of paintings and Japanese ceramics and an accomplished amateur painter. Born in Illinois, he worked for American railway companies in various capacities until 1882, when he was appointed general manager of Canadian Pacific Railway, the construction of which was completed under his direction. In 1888, Van Horne was elected president of the company, and in 1899, he became president of its board of directors. He retired from active work in the company in 1910. Van Horne incorporated the Cuba Company in 1900 following a visit to that country; under its operations he built and operated a railway, sugar plantations and hotels. In North America, Van Horne was executive or director of more than 40 companies, and was considered one of Canada’s most successful businessmen. William Van Horne married Lucy Adaline, daughter of Erastus Hurd of Galesburg, Illinois, in 1867. They had 3 children: Adaline (1868-1941), William (1871-1876), and Richard Benedict (1877-1931). The family lived principally in Montreal, and also had residences in St. Andrews, New Brunswick, and in Cuba. Van Horne was knighted (KCMG) in 1894. Sir William’s art collection is considered to have been the most prominent pre-First World War collection in Montreal. It contained Old Master and 19th-century European paintings and Japanese ceramics, and also featured ship models and European decorative arts. Van Horne lent regularly to the Montreal Art Association (precursor to the Montreal Museum of Fine Arts) from 1887 to 1912. His reputation as a collector resulted in his appointment to the consultative committee of the Burlington Magazine in London from 1905 until his death in 1915. Following Sir William’s death, the bulk of his ceramics collection was left to the Royal Ontario Museum in Toronto and the art collection passed to the joint ownership of Lady Van Horne and her children Adaline and Richard Benedict, according to terms of Sir William’s will. Lady Van Horne died in 1929. Under the terms of her will, a portion of the art collection went to the Montreal Museum of Fine Arts and the rest was shared among her children. Richard Benedict Van Horne died in 1931. His widow, Edith Molson, had no claim to any share in the remains of the art collection; subsequently she married R. Randolph Bruce. A fire at the Van Horne mansion in 1935 did not damage any paintings. Adaline Van Horne, who had been managing the collection through the 1930s, died unmarried and childless in 1941. Ownership of the collection then passed to Richard Benedict and Edith’s son William C.C. Van Horne (1907–1946) and his wife Margaret (d.1987), familiarly known as “Billie” (née Hannon). When William died, leaving no heir, ownership of the collection remained with his wife. Margaret Van Horne managed the art collection for over forty years, corresponding with art dealers and conservators in order to achieve optimal values for paintings. Numerous paintings were sold in several different auction sales over the course of this time. She continued to live in the Van Horne mansion until 1972. The house was demolished the following year to great protest in the architectural conservation community. When Margaret Van Horne died in 1987, the remainder of the collection passed to her brother Matthew Hannon. Upon Matthew Hannon’s death in 1988, the remainder of the art collection passed to his heirs.

Wrinch, Mary E.

  • Wikidata Q42662240
  • Person
  • 1877-1969

Mary E. Wrinch (Kirby-le-Soken Essex, England, 1877 - Toronto, Ontario, 1969) was a Canadian painter and printmaker.

Zuck, Tim

  • http://viaf.org/viaf/96261722
  • Person
  • 1947-2022

Timothy Melvin Zuck, Canadian artist and educator, was born in 1947 in Erie, Pennsylvania. He attended Wilmington College from 1966-1967 and 1968-1969. There he majored in philosophy and psychology and took a few courses in art history and sculpture. In 1967-1968, Zuck joined his parents on a year-long mission to India, where he studied at Madras Christian College. Zuck received his Bachelor of Fine Arts from the Nova Scotia College of Art and Design (NSCAD) in 1971. While at NSCAD, he did performance, film, photographic and other process-oriented and conceptual projects. In Halifax Zuck met and married Robyn Randell. He then earned his Master of Fine Arts from the California Institute of the Arts in Valencia, California in 1972. After completing his graduate studies, Zuck returned to NSCAD in late 1972, where he was Assistant Professor until 1979. While teaching at NSCAD, he continued to work on his conceptual projects. In 1975, Zuck began to focus on painting, in which he had no formal training. In 1979, he resigned from NSCAD and began to paint full-time in Purcell’s Cove, near Halifax, Nova Scotia. Zuck became a Canadian citizen in 1983. The Zucks moved from Purcell’s Cove to Kingston, Ontario, where they lived from 1982-1984 and then lived for three years in downtown Toronto, where their daughter, Anna, was born in 1985. They then moved to Midland, Ontario. In addition to taking part in many artist expeditions, Zuck won a poster competition for the XV Olympic Winter Games in 1988 in Calgary, Alberta. He moved to Calgary in 2002 to teach at the Alberta College of Art and Design. Tim Zuck is represented by the Sable-Castelli Gallery in Toronto, Ontario and the Paul Kuhn Gallery in Calgary, Alberta. His work has been included in numerous group and solo exhibitions in Canada, the United States and Europe, and may be found in the collections of numerous Canadian galleries and museums.

Gale, Peggy

  • http://viaf.org/viaf/94295778
  • Person
  • 1944-

Peggy Gale (b.1944) is an independent curator, critic, and writer based in Toronto who specializes in contemporary time-based and media art. Gale studied at the Università degli Studi (Florence, Italy, 1965-66) and graduated from the University of Toronto with an honours BA in 1967. She then worked at the Art Gallery of Ontario from 1967 to 1974, first in the Audio Visual Library and then as an Education Officer, where she was responsible for originating and coordinating all lectures, concerts, films, and performance events. She served as the Assistant Film and Video Officer at the Canada Council (1974-75), returning to Toronto to act as the Video/Film director at Art Metropole from 1975 to 79. From 1980 to 1982, Gale served as the executive director of A Space. She returned to Art Metropole as Special Projects Coordinator from 1985 to 1987, and again in 2001-02 as Acting Director. As an art writer, Gale was a regular contributor to Parachute magazine (Montreal) and has been writing for Canadian Art since 1986. She has edited three books in the “By Artists” series published by Art Metropole, in addition to Video re/View: The (best) Source for Critical Writings on Canadian Artists' Video in collaboration with Lisa Steele (1996). Gale’s work as an independent curator includes Videoscape (1974), a monumental exhibition of video art at the AGO and the first of its kind in Canada. Other notable curatorial projects include: InVideo (Dalhousie Art Gallery 1977, Art Gallery of Ontario 1978, Winnipeg Art Gallery 1978), OKanada (curator of performance art, Berlin 1983), Electronic Landscapes (National Gallery of Canada 1989), Northern Lights (The Canadian Embassy in Tokyo 1991) co-curated with Akihiko Morishita, Ecstatic Memory (Art Gallery of Ontario 1996-97), and the Biennale de Montréal (2014), co-curated with Gregory Burke. Gale is married to the artist Michael Snow.

Lake, Suzy

  • http://viaf.org/viaf/16235838
  • Person
  • 1947-

Suzy Lake (born Detroit, Michigan, 1947) is a visual artist and educator whose work uses photoconceptual, performance and video strategies to examine and critique ideals of the body, gender and identity. She immigrated to Montreal in 1968, following the 1967 Detroit riots, and became a founding member of the artist-run centre Véhicule. Lake’s career has been based in Toronto since the late 1970s. She has taught at the University of Guelph since 1988. Her work is in numerous major public collections including those of the National Gallery of Canada, Art Gallery of Ontario, Winnipeg Art Gallery and Montreal Museum of Fine Art.

Jones, Laura

  • http://viaf.org/viaf/316918043
  • Person
  • 1948-

Laura Jones is a photographer, writer and activist based for much of her career in Toronto.

Baldwin Street Gallery

  • http://viaf.org/viaf/146003608
  • Corporate body
  • 1969-1978

The Baldwin Street Gallery of Photography, also known as Baldwin Street Gallery, was Canada's first independent photography gallery and was founded by John F. Phillips (1945-2010) and Laura Jones (1948-) in June, 1969. Its first location was at 23 Baldwin St. in Toronto, a house Phillips and Jones rented after immigrating to Canada from the United States during the Vietnam War. In 1968, Phillips and Jones had opened their home as an informal daycare and photography school for neighbourhood children, called the Baldwin Street Club. The couple were volunteers of the Company of Young Canadians which funded the educational project alongside the National Film Board. After a year and a half, the club became a gallery for the exhibition of independent photography, though they continued to teach children's photography courses throughout the lifespan of Baldwin Street Gallery. Jones and Phillips ran the Gallery on the first floor of the house, lived on the second floor, and offered a women's only darkroom in the basement in response to the number of men's only darkrooms in Toronto.
Jones and Phillips dedicated much of their own photography towards documenting the everyday lives of those who lived on Baldwin Street, which at the time was comprised largely of immigrants such as themselves. Notably, the couple photographed and were involved with the 1970 Hydro Block Protests during which the community successfully blocked a proposal for an 18 story hydro transformer station to be built on Baldwin Street. The Gallery was an extension of their own socially concerned photography, and was dedicated to supporting and exhibiting the work of documentary photographers that served to further honest expression, rather than to profit or exploit. The Gallery curated photography exhibits of primarily Canadian photographers such as Barbara Astman, Pamela Harris, Jeremy Taylor, and Marian Bancroft though it also featured travelling exhibits from American photographers such as Barbara Morgan and Nikolaus Walter. In addition to being a key space for exhibition, the Gallery also became an essential meeting place for photographers, a center that carried information about the photography field at large, a bookstore and library, and an informal photography school offering educational workshops and courses.
In 1972, after Phillips began teaching photography full-time at York University and left his role as co-director, the Gallery was run co-operatively run by the Women in Photography Co-op, comprised of June Greenberg, Judy Holman, Laura Jones, Pamela Harris, Liz Maunsell, Lynn Murray, Linda Rosenbaum, and Lisa Steele. Frustrated by sexism in the photography industry and the lack of representation of women photographers, the Women in Photography Co-op curated the exhibit "Photographs of Women by Women" for the University of Toronto's Festival of Women. In response to a call-out for photographs by women about women, the Co-op received over 1,500 photographs from women in Canada and the United States of which they selected 230 for the exhibit.
In 1973, with many of the members of the Co-op pursuing other projects, the Gallery was run primarily by Laura Jones with occasional assistance from other members. In 1974, the landlord of 23 Baldwin Street sold the property and served Jones and Phillips an eviction notice which forced the gallery to close. The gallery continued to function in various pop-up locations and in 1978 was situated at 38 Baldwin Street for a year. After the final closure of the Gallery, due to economic pressure, its emphasis shifted towards the creation of photography exhibitions for other galleries and institutions and the sale of photographs for publication.

Boulton Family

  • Family

D’Arcy Boulton, Jr. (1785–1846) and his wife, Sarah Anne (née Robinson), (1789–1863) built the Grange House in 1817 and lived there with their eight children John Andrew (1810?-1830), William Henry (1812-1874), D’Arcy Edward (1814-1885), Beverley Robert (?-1840), Mary Sayer (1816-1837), Emma Robinson (1818-1890), Sarah Ann (1824?-1906), and John (1829-1882).

Both sides of the family were members of the powerful elite in Upper Canada - Sarah Anne’s brother was Chief Justice John Beverley Robinson, the leader of the Family Compact, and Boultons and their friends enjoyed influence, favourable business dealings, and Crown appointments.

D’Arcy had trained as a lawyer but worked as a merchant with his brother-in-law, Peter Robinson. Once settled in The Grange he retired and became a landowner. He also held minor government positions.

Their eldest surviving son, William (1812–1874), continued to live in the house. He also trained and practised as a lawyer. William was also an alderman, was appointed mayor of Toronto four times and was a member of parliament.

In 1846, William married Harriet Dixon (1825–1909), a Bostonian from a wealthy family. They had no children. After William’s death, Harriet married scholar and political writer Goldwin Smith (1823–1910). Harriet left the Grange House to the Art Museum of Toronto (now the Art Gallery of Ontario) in her will.

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