art - Bishop`s University

Bishop's University
Collection
An Art Conrpendiunr
La collection de
l'Universite Bishop's
un abrege de I'art
~
UNIVERSITE
BISHOP'S
UNIVERSITY
An exhibition organized by the
Art Gallery of Bishop's University,
Lennoxville, Quebec
December 2, 1998 - January 17, 1999
Photography:
Fran~ois
Lafrance
Design: VisImage
Printing: MJB litho inc.
Translation: Alphonse Saumier
The production of this catalogue was made possible
through the generosity of the Belanger/Gardner Foundation
and the Bishop's University Foundation.
Printed in Canada
ISBN 0-92-0917-15-1
Bishop's University, Lennoxville, 1998
Une exposition organisee par la
Galerie d'art de l'Universite Bishop's,
Lennoxville, Quebec
du 2 decembre 1998 au 1 7 janvier 1999
Photographie : Fran~ois Lafrance
Conception: Vislmage
Impression: MJB litho inc.
Traduction: Alphonse Saumier
a
Ce cataloque a ete realise grace la generosite
de la Fondation Belanger/Gardner et
de la Fondation de l'Universite Bishop's.
Imprime au Canada
ISBN 0-92-0917-15-1
Universite Bishop's, Lennoxville, 1998
Preface
Over its long existence and with the support of generous alumni and
friends, Bishop's University has acquired an important and diversified
art collection. This collection is currently displayed in several buildings
and locations throughout the campus, to be seen and appreciated by
Bishop's students, staff and faculty. To quote the late Robert Ayre, a
respected Montreal journalist and art critic, who wrote in 1966, while
referring to Sir George William's art collection: A university should have
an art collection as it has a library, and while I can see the students of ...
[the] Fine Arts department using the pictures and sculptures as books are
used for working texts and reference works, the galleries are not intended as an adjunct to the art school. They are for the students and teachers of all faculties, to help provide a climate they can grow in as whole
men and women."
Bishop's Art Collection has provided our students with an ambiance
which, continously, by its visible presence, has served to enrich and educate them. The University community, today as in the past, strongly supports and encourages both the collection and exhibition policies of the
Art Collection Committee. We also wish to express our gratitude to the
II
Preface
Grace ala generosite de ses anciens et d'amis, l'Universite Bishop's a acquis
au cours de son existence une collection d'oeuvres d'art aussi variee
qu'importante. Les etudiants, Ie personnel et Ie corps professoral de
I'universite peuvent admirer et apprecier ces oeuvres disseminees dans divers
lieux du campus. Le respecte joumaliste et critique d'art montrealais, Robert
Ayre n'a-t-il pas dit en 1966, au sujet de la collection de Sir George William's
College: « Une universite se doit de posseder une collection d'oeuvres d'art
comme elle se doit d'avoir une bibliotheque, et si je con~ois que les etudiants
de departement des beaux-arts ... utilisent les tableaux et les sculptures de
la meme fa~on que les Iivres servent de textes de travail et de sources de
references, la collection n'est pas uniquement destinee it etre Ie complement
de I'ecole d'art. Elle est la pour les etudiants et les professeurs de toutes les
facultes afin d'aider it creer un climat propice a leur epanouissement en tant
que femmes et hommes jouissant d'une formation complete. »
La collection d'art de Bishop's foumit a nos etudiants une ambiance qui,
de fa~on soutenue en raison de sa visibilite, sert ales enrichir et ales eduquer.
La communaute universitaire, aujourd'hui comme hier, soutient et encourage
fortement la politique de collection et d'exposition du comite de la collection.
[3 ]
persons involved with the Committee over the years for their commitment and dedication to making Bishop's collection an integral part of
the University's life and for their contribution to the furthering of knowledge and appreciation of art in the Eastern Townships.
The generosity of individuals in making the University collection
what it is today is duly recorded in the pages of the exhibition catalogue.
We are grateful to the trustees of the Belanger/Gardner Foundation and
to those of the Bishop's University Foundation for much of the financial
support which has made this exhibition and its catalogue possible.
Janyne M. Hodder
Principal and Vice-chancellor
L'engagement et Ie devouement des personnes qui se sont impliquees au
cours des ans dans Ie comite, en vue de faire de la collection une partie
integrale de la vie universitaire, et leur contribution I'avancement de la
connaissance et de I'appreciation de I'art dans les Cantons de l'Est, meritent
notre gratitude.
La generosite des individus qui ont fait de la collection ce qu'elle est
aujourd'hui est bien en evidence dans les pages du catalogue d'exposition.
Nous sommes reconnaissant aux fiduciaires de la Fondation
Belanger/Gardner et de la Fondation de l'Universite Bishop's pour une bonne
part du financement qui a permis la realisation de I'exposition et de son
catalogue.
a
Janyne M. Hodder
Principale et vice-chancelliere
[4 ]
Acknowledgments
The presentation of this exhibition could not have been realized without the support and dedication of numerous individuals. First, I wish to
extend my sincere appreciation to Janyne M. Hodder, Principal and Vicechancellor of Bishop's University, for her continuing interest and personal commitment to the project. Secondly, we are deeply grateful to the
Belanger/Gardner Foundation and the Bishop's University Foundation
for their financial support. In addition, we have relied upon the encouragement and assistance of many other persons representing the
University. In this regard I am specially indebted to Sylvie Cote and Rina
Kampeas of the Eastern Townships Research Centre; to Anna M. Grant,
Bishop's University Archivist; to Pam McPhail, Director of Development;
to Ann Montgomery, Bishop's Registrar and Chairperson of the Art
Collection COmmitte; to Dr. Garry Retzleff, its first Chair and long-standing member; to Bruce Stevenson, Director of Alumni and Public
Relations; and to David Young of Building & Grounds.
I wish also to take this opportunity to gratefully acknowledge the
efforts of all those individuals who contributed both their time and
expertise to the production of this publication. I am especially indebted
Remerciements
Cette exposition n'aurait pu etre realisee sans I'apport et Ie devouement de
nombreuses personnes. Tout d'abord, rna sincere appreciation va a Janyne
M. Hodder, principale et vice-chancelliere de l'Universite Bishop's, pour son
interet soutenu et son implication personnelle dans Ie projet. Nous sommes
particulierement redevables
la Fondation Belanger/Gardner et
la
Fondation de l'Universite Bishop's pour leur appui financier. En plus, nous
avons pu compter sur I'aide et I'encouragement de plusieurs autres
personnes de la communaute universitaire dont Sylvie Cote et Rina Kampeas
du Centre de recherche des Cantons de l'Est, Anna M. Grant, archiviste de
I'universite, Pam McPhail, directrice du service de la planification et des dons,
Ann Mon'tgomery, registraire de Bishop's et presidente du Comite de la
collection d'art, Garry Retzleff, son premier president et membre de longue
date, Bruce Stevenson, directeur du service relations publiques, et David
Young, du service des batiments et terrains.
Je tiens aussi remercier les nombreuses personnes qui ont participe la
production du catalogue et plus particulierement I'archiviste de la collection,
Francine Godbout, pour son expertise et son appui inconditionnel, notre
traducteur benevole, Alphonse Saumier, et de deux professionnels dont Ie
a
a
a
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[5 )
to Francine Godbout, Registrar of the art collection, for her expertise and
unfailling commitment; to Alphonse Saumier, who volunteered his services as translator; to our designer, Tim Doherty, and our photographer,
Fran~ois Lafrance, for their capable professional assistance. I am also
most grateful to the many individuals at Bishop's University who graciously consented to part for a while with works that, before their loan
to the exhibition, occupied important places in private offices, reception
rooms and other public areas in the University.
Finally, my personal appreciation must be extended to Gaetane Vema,
Coordinator of Bishop's Art Gallery, for her enthusiastic and supportive
response to the project and to her dedicated group of volunteers student
assistants for the collaborative spirit with which they approched the presentation of the exhibition.
M.N.S.
secours nous a ete precieux, notre concepteur, Tim Doherty et notre
photographe, Fran~ois Lafrance. Je suis aussi tres reconnaissante aux
nombreuses personnes de l'Universite Bishop's qui ont gracieusement
consenti a se departir pour un certain temps des oeuvres qui occupaient,
avant leur pret a I' exposition, des espaces de choix dans les bureaux, les salles
de reunion et autres lieux publics dans I'universite.
Enfin, mes sinceres remerciments s'addressent a Gaetane Verna,
coordinatrice de la Galerie d'art de Bishop's, pour son accueil chaleureux et
son assistance experte, ainsi qu'a son devoue groupe d'etudiants benevoles
qui ont travaille a la presentation de I'exposition dans un grand esprit de
collaboration.
M.N.S.
[6 ]
Foreword
The first recorded donation to the Bishop's University Art Collection was
made in 1848, a portrait of the Reverend Jasper H. Nicolls, first Principal
of Bishop's. Now, in 1998, the collection comprises over 240 works including paintings, drawings, prints and engravings, and sculptures.
The works collected in this exhibition are a representative sample of
the collection. When they are not exhibited in the Art Gallery, these
pieces are displayed in the halls of our buildings, in our public meeting
rooms, and in the offices of faculty and staff. This is a university collection, and it has always been deemed important that it should be accessible to students, faculty and staff - for their enjoyment as well as a teaching resource. Dr. Christopher Nicholl, a former Principal, told the Art
Collection Committee in 1985: "I believe strongly that the function of
the University's art collection is to provide an ambiance which educates
as many students as possible, continuously, by its visible presence." This
principle is still important, and as far as possible the collection has been
kept on public display on campus.
Since the creation, in 1985, of the Art Collection Committee, several
members of Bishop's and the Townships communities have given much
of their time and expertise to supervise the development, conservation
Avant-propos
Le premier don a la collection d'art de Bishop's, un portrait du reverend
Jasper H. Nicolls, premier principal de I'universite, est re~u en 1848.
Aujourd'hui, en 1998, la collection com porte plus de 240 oeuvres, tableaux,
dessins, gravures, estampes et sculptures.
Les oeuvres presentees dans I'exposition sont un echantillon de la
collection. En autre temps, ces oeuvres oment les murs de nos edifices, dans
les lieux publics, les salles de reunions, et les bureaux du personnel et du
corps enseignant. II s'agit bien d'une collection universitaire et iI a toujours
ete considere important qu'elle soit accessible, tant comme ressource
pedagogique que pour Ie plaisir des etudiants, enseignants et employes. En
1985, Christopher Nicholl, alors principal, confiait au comite de la collection:
« j'ai la ferme conviction que la fonction d'une collection universitaire est de
creer une ambiance qui eduque Ie plus grand nombre d'etudiants de fa~on
soutenue par sa presence visible. » Ce principe vaut toujours et, en autant
que possible, la collection est toujours exposee au public sur Ie campus.
Oepuis la formation du comite de la collection en 1985, plusieurs
membres de la communaute universitaire et des Cantons de l'Est ont
contribue temps et expertise au developpement, a la conservation et a
[7 ]
and exhibition of the works of art in the collection. I take this opportunity to acknowledge, in particular, the important contribution of Dr.
Garry Retzleff, Dr. Christopher Nicholl, Ms. Christine Ljungkull, Ms.
Monique Nadeau-Saumier and Mr. William Curran, my predecessors as
Chairpersons of the Art Collection Committee.
Our collection, in common with many others, relies on donors to augment the small budget available for art purchases. Over the last ten years,
Bishop's University has been the grateful beneficiary of a number of significant donations. Hoping not to slight anyone by omission, I would
like to acknowledge the particularly valuable contributions made by the
following individuals: Mr. Mark Armitage, Mr. Eric Boothroyd, Dr.
Howard Brown, Dr. Adele Ernstrom, Mr. F.O. Lajoie, Dr. David Lank, Mr.
Louis Muhlstock, Mr. Martin O'Hara, Mr. Guy Pellerin, Mrs. Monique
Cholette-Scowen and Mr. Philip Scowen, Mr. David D. Smith, Dr. Claude
Treil, Mrne Monique Voyer, Mrs. Elizabeth Whalley and Mr. Herbert
Wittaker. To them, and to all others who have been interested in and
supportive of the Bishop's Art Collection over the years, our heartfelt
thanks.
Ann Montgomery
Chair, Art Collection Committee
I'exposition des oeuvres de la collection. Je profite de I'occasion pour signaler
de fa~on particuliere I'important apport des Garry Retzleff, Christopher
Nicholl, Christine Ljungkull, Monique Nadeau-Saumier et William Curran,
qui m'ont precedee ala presidence du comite.
Notre collection, comme c'est Ie cas de bien d'autres, compte sur les
donateurs pour augmenter Ie maigre budget disponible pour I'acquisition
d'oeuvres d'art. Au cours de la derniere decennie, l'Universite Bishop's a ete
la reconnaissante beneficiaire de dons importants. En esperant n'offenser
personne par omission, je voudrais signaler les contributions de grande valeur
des personnes suivantes : Mark Armitage, Eric Boothroyd, Howard Brown,
Adele Ernstrom, F.O. Lajoie, David Lank, Louis Muhlstock, Martin O'Hara,
Guy Pellerin, Monique Cholette-Scowen et Philip Scowen, David D. Smith,
Claude Treil, Monique Voyer, Elizabeth Whalley et Herbert Wittaker. Nos
sinceres remerciements s'adressent a eux et a tous les autres qui se sont
interesses a la collection d'art de Bishop's et qui ont appuye son
developpement au cours des ans.
Ann Montgomery
Presidente du comite de la collection
[8 ]
The Art Collection as a Pedagogical Tool
By deciding to collect, a university is led to undertake the kind of activities proper to a museum: acquisition, conservation, documentation and
exhibition, as well as the necessary research on the artists and their
works. Besides enlivening the intellectual environment, these activities
also help in promoting a dynamic image of the university.
The Art Collection Committee oversees the collection's development.
Donations and bequests are the main source of new additions.
Occasionally, some works may be purchased thanks to a special fund set
up by Bishop's Alumni. A set of guidelines helps the Committee decide
on eventual acquisitions, to insure that these are consistent with the collection's special character and correspond to the desired growth objectives. The latter include ancient works related to the Eastern Townships,
notably portraits and landscapes, that will enrich the current selection
of nineteenth and twentieth century pieces; contemporary Canadian art,
and engravings by either Canadian or foreign artists of international reputation, from the sixteenth century to the present. The artistic value and
the physical state of the work, its interest as regards the collection's
growth objectives, and the legal ownership of the piece are the most
important acquisition criteria.
La collection comme outil pedagogique
Le fait de collectionner entralne I'universite a pratiquer les memes activites
qu'un musee : acquerir, conserver, documenter, exposer, diffuser, ainsi que
fa ire de la recherche sur les artistes et les oeuvres. Toutes ces fonctions servent
a enrichir I'environnement intellectuel de I'universite et contribuent a sa
visibilite.
Le developpement de la collection est sous la responsabilite d'un comite.
Les moyens d'acquisition asa disposition sont Ie don, Ie legs et, a I'occasion,
I'achat grace au fonds institue par l'Association des anciens de Bishop's. Une
procedure d'acquisition a ete mise sur pied afin de permettre au comite de
la collection de poursuivre la mission et les objectifs qu'i1 s'est fixe et de
respecter les axes de developpement de la collection. Ces derniers
concernent des oeuvres anciennes ayant trait aux Cantons de l'Est,
specialement des portraits et des paysages qui completent et elargissent
I'actuelle collection d'oeuvres des XIXe et XXe siecles; les oeuvres d'art
contemporain canadien et les estampes d'artistes canadiens ou de reputation
internationale, du XVle siecle a nos jours. La qualite et I'etat de I'oeuvre, sa
pertinence par rapport aux axes de developpement de la collection et Ie titre
legal de propriete sont les criteres d'acquisition les plus importants.
L'eveil aux arts visuels se fait d'abord en mettant en contact Ie milieu
[9 ]
The display of paintings and other pieces of art at several locations on
campus affords a first contact with the collection. Access to further information on the works and their authors may later complement the visual experience. The most immediate source of information is the vignette,
containing a brief description of the work. More knowledge on the pieces
and the artists may be obtained from the files available on request and
from the collection's computerized catalogue.
The Art Collection features a variety of types and media (oil on canvas,
works on paper, sculptures, livres d'artiste), of well-known artists (A. Y.
Jackson, L.P. Harris, Hogarth, Piranesi), of periods (from the Renaissance
to the twentieth century), of cultures (Inuit, Mrican, Italian), and of genres (animal art, portrait, decorative arts, textile art). Female artists are also
well represented (Charlotte Schreiber, Lilias T. Newton, Marcelle Ferron,
Monique Voyer, Doreen Lindsay). Such a diversity is a real asset, since
the artistic, anthropological and social aspects of the collection provide
a pedagogical alternative for many disciplines.
Every work of art is a meaningful witness of its time, and we have an
obligation to preserve it in the best possible conditions for the benefit of
future generations. In order to protect the integrity of the works as long
as pOSSible, certain conservation measures have been taken.
universitaire avec les oeuvres, lesquelles sont exposees a differents endroits
sur Ie campus et, ensuite, par I'acces a la documentation qui les concerne.
La premiere source d'information est la vignette, avec ses renseignements
sommaires sur I'artiste et I'oeuvre. Ensuite, les personnes desirant effectuer
une recherche plus complete peuvent consulter des dossiers sur les artistes et
les oeuvres, ainsi que I'inventaire informatise de la collection.
La collection possede plusieurs categories d' oeuvres (huiles sur toile,
oeuvres sur papier, sculptures, Iivres d'artiste), une variete d'artistes connus
(A.Y. Jackson, L.P. Harris, Hogarth, Piranese), de periodes (de la Renaissance
au XXe siecle), de cultures (inuit, africaine, italienne), et de genres (art
animalier, portrait, art textile). Les femmes artistes sont aussi bien
representees (Charlotte Schreiber, Lilias T. Newton, Marcelle Ferron, Monique
Voyer, Doreen Lindsay). Cette diversite est un atout important parce qu'elle
procure a plusieurs disciplines une alternative pedagogique. Ainsi, on peut
puiser dans la collection pour y trouver un interet autant sur Ie plan artistique
qu'anthropologique ou social.
Les oeuvres d'art etant des temoins significatifs de leur epoque, iI est
imperatif de les conserver dans Ie meilleur etat possible pour Ie benefice des
generations futures. Pour cette raison, des mesures de conservation
preventive ont ete mises en place.
[10 ]
Exhibitions such as this one and loans to museums, large and small,
serve to highlight the value of the art collection. In the past, pieces from
the collection have been loaned to the Musee du Quebec, the MarsH
Museum in St-Lambert, the Musee des beaux-arts de Sherbrooke and several art galleries.
Bishop's Art Collection is a source of reference and of potentially
enriching experiences for the entire university community. It is our hope
that it may act as a catalyst for study and research, and not merely exist
for decOJ;ative or speculative purposes.
Francine Godbout
Art Collection Registrar
Enfin, la collection est mise en valeur par des expositions comme celle-ci
ou par des prets d'oeuvres a de petits et grands musees. Par Ie passe, des
oeuvres ont ete pretees, entre autres, au Musee du Quebec, au Musee Marsil
de St-Lambert, au Musee des beaux-arts de Sherbrooke et a des galeries
d'art.
En conclusion, la collection est une source de references et d' experiences
pour toute la communaute universitaire, qui peut, de plus, servir de
catalyseur pour I'etude et la recherche plutot qu'a des fins simplement
decoratives ou speculatives.
Francine Godbout
Archiviste de collections
[11 ]
Bishop's University Collection, An Art Compendium
The problem of giving our small collection ofgood paintings and prints more
exposure to the undergraduates is one which has bothered me for several years.
I vividly remember the pleasure of "living" with the Hart House collection when
I was a graduate student at the University of Toronto, and I would like to provide our undergraduates with the same continuous exposure.
-Excerpt from a letter written in 1982
by Dr. Christopher H.1. Nicholl,
Principal of Bishop's University, 197~1986
The "small collection" that Principal Nicholl referred to in 1982 has
grown to number some 240 works: paintings, drawings, prints, sculptures, and works in mixed media. As illustrated by the thirty-seven works
featured in this exhibition, Bishop's collection, acquired over the span
of the life of an institution which recently celebrated its sesquicentennial, is an art compendium of great quality and diversity.
In the early years of the fledging institution, the art acquisitions consisted mainly of portraits of important persons actively involved in
La collection de l'Universite Bishop's, un abrege de I' art
a
Oepuis plusieurs annees, je me preoccupe du probleme de donner notre petite
collection de tableaux et de gravures de qua lite une plus grande visibilite pour
nos· etudiants. j'ai un vif souvenir du plaisir de «vivre» en compagnie de la
collection du Hart House quand j'etais etudiant diplome de l'Universite de
Toronto, et j'aimerais que nos etudiants puissent profiter de fa~on soutenue d'une
experience semblable.
.
Extrait d'une lettre ecrite en 1982 par
Christopher H. I. Nicholl, principal de l'Universite Bishop's,
1976-1986.
La «petite collection» dont iI est question dans la lettre du principal Nicholl
comprend aujourd'hui quelque deux cent quarante tableaux, dessins,
gravures, sculptures et oeuvres de techniques mixtes. Les trente-sept oeuvres
presentees dans cette exposition constituent un echantillon adequat de la
qualite et de la diversite de cet abrege de I'art, terme qui decrit bien une
collection acquise au cours de I'existence d'une universite qui celebrait
recemment son cent cinquantieme anniversaire.
[13 ]
Bishop's University following its foundation in 1843. The first-known
mention of the earliest portrait in Bishop's Art Collection is found in a
letter written on july 19, 1848, by Kate Mountain, daughter of George
jehoshaphat Mountain, third Anglican Bishop of Quebec and one of the
founders of Bishop's College. Writing from Quebec City, Kate informs
her sister, Harriet, wife of the College's first Principal, jasper Hume
Nicolls, that:
Jasper's likeness has come. It is very nice, rather fatter than he is but the
expression is very like and certainly not unflattering. 1
Thus we learn that jasper Nicolls' portrait was painted in Quebec City in
1848, presumably during one of his many visits there to confer with his
father-in-law and mentor, the Anglican Bishop of Quebec. jasper Nicolls
is shown in a three-quarter view, hands joined on his lap, an open book
at his elbow. He is looking directly at the viewer with a shy and gentle
expression. The movement of the picture is toward the right where the
curtain framing his head opens to reveal a view of the Arts Building,
erected in 1845, across the river in the distance. This image of Bishop's
University's first campus was obviously copied from Bishop's College,
Lennoxville, 1846, a lithography by Day &. Hague, after a drawing by
Aux debuts de I'institution naissante, les oeuvres acquises consistaient
surtout de portraits des personnes ayant participe it sa fondation en 1843.
La premiere mention connue touchant Ie plus ancien portrait it faire partie
. de la collection d'art de Bishop's se trouve dans une lettre ecrite Ie 19 juillet
1848 par Kate Mountain, fille de George Jehoshaphat Mountain, troisieme
eveque anglican de Quebec et I'un des fondateurs de Bishop's College.
Ecrivant depuis la ville de Quebec, Kate apprend sa soeur Harriet, epouse
de Jasper Hume Nicolls, premier principal du college, que Ie portrait de Jasper
est arrive. 11 est tres beau, un peu plus gras que Ie fait mais I'expression est bien
juste et assez flatteuse. 1 On apprend done que Ie portrait de Jasper Nicolls fut
realise it Quebec en 1848, sans doute it I'occasion d'une de ses nombreuses
visites chez son beau-pere et protecteur, I'eveque anglican de Quebec.
L'oeuvre presente Jasper Nicolls de trois quarts, les mains jointes sur ses
genoux, un livre ouvert pres de son coude. II regarde Ie spectateur avec une
expression douce et timide. Le mouvement du tableau est vers la droite ou
Ie rideau qui encadre sa tete s'ouvre pour laisser voir, au loin de I'autre cote
de la riviere, Ie Pavilion des Arts erige en 1845. Cette representation du
premier campus de Bishop's est une copie evidente de la lithographie Bishop's
College, Lennoxville, 1846, de Day & Hague, d'apres un dessin de T. Picken,
publiee it I'origine dans Songs of the Wilderness, un recueil de poemes de
a
[14 ]
T. Picken, which was originally published in Songs of the Wilderness: Being
a Collection of Poems by Bishop GeorgeJ. Mountain in 1846. We do not
know the painter of Principal Nicolls' portrait, except that he was working in Quebec City in 1848. However, stylistic and formal characteristics
of the painting bring to mind the work of Antoine-Sebastien Plamondon
(1804-1896), who was then at the peak of his career as the painter of
Quebec's social and ecclesiastical elite. Further research may eventually
lead to a positive indentification of Plamondon as the artist who left us
this sensitive portrait of the University's first Principal. Among other portraits of the founding fathers, a half-Ienght portrait of the Rev. George
Jehoshaphat Mountain and a large painting representing the Rev. Lucius
Doolittle, both by unknown artists, were probably painted shortly after
that of Jasper Nicolls.
By the middle of the 19th century, the art of the portraitist was challenged by the revolutionary medium of photography. With the arrival
in Montreal, in 1856, of photographer William Notman, these two forms
of art would soon merge to produce portrait photographs that looked
like original paintings. The giveaway Signature of both the photographer and of the artist who coloured the print is, to the untrained eye, the
only indication that the portrait is a photograph. Three works in Bishop's
I'eveque George j. Mountain. On ne connait pas I'auteur du portrait du
principal Nicolls, sauf qu'il travaillait Quebec en 1848. Toutefois, les
caracteristiques stylistiques et formelles du tableau s'apparentes a celles
utilisees par Ie peintre Antoine-Sebastien Plamondon (1804-1896) qui, a
cette epoque, etait au sommet de sa carriere en tant que portraitiste de I'elite
socia Ie et ecclesiastique de Quebec. Des recherches plus poussees pourraient
eventuellement identifier positivement Plamondon comme I'artiste qui nous
a laisse cet attrayant portrait du premier principal de I'universite. Au nombre
des autres portraits des fondateurs, un portrait en buste du reverend George
jehoshaphat Mountain et un grand tableau representant Ie reverend Lucius
Doolittle, tous deux par des artistes inconnus, ont probablement ete realises
peu apres celui de jasper Nicolls.
Vers Ie milieu du XIXe, la photographie va rivaliser I'art du portrait. Apres
I'arrivee Montreal du photographe William Notman en 1856, les deux
techniques se marient pour creer des portraits photographiques ayant
I'apparence de tableaux originaux. Pour Ie non-initie, la double signature, du
photographe et de I'artiste qui colorait Ie cliche, peut seule reveler que Ie
portrait est une photo. Trois oeuvres dans la collection de Bishop's offrent
d'excellents exemples de cette forme nouvelle de representation qui fut, pour
un temps, tres populaire. Un petit portrait ovale de I'honorable Edward
a
a
[ 15 ]
Art Collection present excellent examples of this innovative and, for a
short while, extremely popular form of representation. A small oval portrait of Hon. Edward Bowen, Bishop's second Chancellor (1856-1858),
by Notman/Fraser looks like a watercolour drawing but is actually a photographic print hand-coloured by John A. Fraser (1838-1898), one of the
best artists employed by Notman. Fraser's technique was to overlay the
watercolours on the pale photographic image while not denying the
lines and tones of the photograph. 2 Notman Studio also produced more
elaborate versions where a full disguise of the photographic base was
attempted: the scale of the image imitated that of a half-length life-size
portrait painting; the enlarged photographic print was adhered to a
stretched canvas and several layers of opaque oil colour were then
added. 3 The 1862 portrait of Hon. J.5. McCord, third Chancellor of the
University (1858-65), by Notman/Fraser and that, a few years later, of
the fourth Chancellor, Hon. Edward Hale (1865-1875), this time by
Notman/Sandham, are among the few full-scale oil painted photographs
that have survived intact to this day. These two portraits are today displayed in Bishop's Old Library, a testimony to the degree of sophistication attained by photographer and artist in their manipulation of a phOtographic image into a fully developed artistic medium.
Bowen, second chancelier de Bishop's (1856-1858), par Notman/Fraser
donne I'impression d'un dessin I'aquarelle, mais en realite, iI s'agit d'un
cliche photographique colore la main par John A. Fraser (1838-1898). La
technique de Fraser, I'un des meilleurs artistes au service de Notman,
consistait apeindre aI'aquarelle la pale image photographique sans renoncer
aux lignes et aux tons de la photographie. 2 Le studio Notman a aussi produit
des versions plus elaborees pour lesquelles on tentait de cacher entierement
Ie support photographique : Ie format de I'image imite celui des peintures
de portrait en buste, I' epreuve photographique est maintenue une toile
tendue et plusieurs couches de peinture opaque a I'huile y sont appliquees.3
Le portrait de I'honorable J.S. McCord, troisieme chancelier de I'universite
(1858-1865), realise en 1862 par Notman/Fraser et celui du quatrieme
chancelier, I'honorable Edward Hale (1865-1875), realise quelques annees
plus tard, cette fois par Notman/Sandham, sont parmi les rares exemples de
ces photographies de grandeur nature peintes I'huile qui ont subsiste
intactes jusqu'a nos jours. Ces deux portraits ornent aujourd'hui les murs de
I'ancienne bibliotheque de Bishop's, temoignages du degre de
perfectionnement atteint par Ie photographe et I'artiste dans la
transformation d'un cliche photographique en une oeuvre empruntant une
technique artistique des plus developpee.
a
a
a
a
[16 ]
More traditional artists were sceptical of this new form of art, even
though they often relied on photographic sources to supplement the
necessary sittings. Such an artist was Robert Harris, R.C.A., (1849-1919)
who, according to his biographer:
... never enjoyed working from the photographs, although he would make
use of them as an aid to memory. 4
Two of the best portraits in Bishop's Art Collection are by Harris. The first
is of Bishop l.W. Williams, Headmaster at Bishop's College from 1857 to
1863, the. year he was elected Bishop of Quebec following the death of
Bishop Mountain. Robert Harris finished the portrait of Rev. Williams in
1889 and personally delivered the painting to Lennoxville in time for
Convocation. s During his visit to the University, Harris probably met
Richard W. Heneker, a longtime Bishop's Chancellor, 1878-1900, whose
portrait he painted in 1900. The impressionistic treatment of the blue
satin lining of the Chancellor's robe is an indication of the flamboyant
approach that Harris liked to use in some of his more important commissions.
Bishop's art collection grew piecemeal during the second half of the
19th century to include topogrophical renditions of the University cam-
Les artistes plus traditionnels consideraient cette nouvelle forme d'art d'un
oeil plutot sceptique meme s'its avaient parfois recours la photographie
pour suppleer aux seances de pose. Selon I'auteur de sa biographie, Robert
Harris, A.R.C., (1849-1919) etait un de ces artistes qui:
a
... n'a jamais aime travailler depuis des photos, bien qu'i/ pouvait s'en servir comme
aide-memoire. 4
Deux des meilleurs portraits de la collection de Bishop's sont de Harris. Le
premier est celui de I'eveque J. W. Williams, principal du Bishop's College de
1857 a 1863, annee ou it fut nomme eveque de Quebec apres Ie deces de
Mountain. Robert Harris a termine Ie portrait du reverend Williams en 1889
et I'a livre en personne Lennoxville en temps pour la ceremonie de remise
des diplomes de la meme annee. 5 C'est probablement I'occasion de cette
visite a I'universite que Harris aurait rencontre Richard W. Heneker, chancelier de Bishop's durant deux decennies, de 1878 1900, annee ou Heneker
posa pour Harris. La touche impressionniste de la doublure de satin bleu de
la toge du chancelier est caracteristique de I'approche flamboyante
qu'affectionnait Harris pour ses commandes les plus importantes.
Au cours de la deuxieme moitie du XIXe siecle, la collection d'art de
Bishop's s'est accrue piece par piece pour inclure des reproductions
a
a
a
[ 17]
pus, of which the earliest is a watercolour by William Hatton from 1860.
Perhaps the most remarkable acquisition during this period is the large
canvas of the St. Francis River painted in 1887 by William Milroy
(act. 1887-1897), an interesting, though somewhat naive artist from
London Ontario, who may have been connected with a sister institution
there, the Anglican Huron College (now part of Western University).
Early in this century, several members of the Bishop's community, faculty members or their wives, as well as fonner students, made a significant contribution to the development of the art collection. One of the
most prolific contributors was Frank Oliver Call (1878-1956), a Bishop's
graduate appointed Professor of Modem languages in 1912. During his
long tenure at the University, Call published several books of poetry and
found time to indulge in his two favourite hobbies, horticulture - he
personally tended a beautiful flower garden on the campus where the
Bassett Memorial Library now stands - and painting. His work, conSisting mainly of flower stilllifes and Townships landscapes, was featured
every year, from 1933 to 1946, in the Spring Exhibition of the Art
Association of Montreal (now the Montreal Museum of Fine Arts). The
small atmospheric landscape presented in the exhibition is one of the
three Call paintings in Bishop's collection. Wives of faculty members also
topographiques du campus de I'universite dont la toute premiere est une
aquarelle de William Hatton datee de 1860. L'acquisition la plus remarquable
de cette periode serait sans doute un grand tableau de la riviere SaintFran~ois peint en 1887 par William Milroy, un artiste na·lf fort interessant, de
London, Ontario, qui aurait pu etre rattache a une institution soeur de
I'endroit, Ie college anglican Huron (aujourd'hui integre a l'Universite
Western).
Au cours des premieres decennies du siecle, plusieurs membres de la
communaute universitaire, des enseignants ou leurs epouses, aussi bien que
des anciens, ont contribue de fa~on significative au developpement de la
collection d'art. Frank Oliver Call (1878-1956), un dipl6me de Bishop's
nomme professeur de Langues modemes en 1912, fut sans doute I'un des
plus prolifiques. Durant Ie long exercice de sa fonction, Call a publie plusieurs
livres de poesie et consacre ses loisirs a ses deux passe-temps favoris,
I'horticulture - il a personnellement cultive un magnifique jardin de fleurs
sur Ie campus, la ou se trouve aujourd'hui la bibliotheque Bassett Memorial
- et la peinture. Le Salon du printemps de I'Art Association of Montreal
(aujourd'hui Ie Musee des beaux-arts de Montreal), de 1933 a 1946, a
accepte a chaque annee de ses tableaux, surtout des natures mortes de fleurs
et des paysages des Cantons de l'Est. Le petit paysage d'influence
[ 18]
indulged in painting and their small, but significant contribution to the
collection is well illustrated by the still life, Phloxes in a Moorcroft Vase,
by Margaret Thorton Richardson (1882-1968), wife of A.V. Richardson,
Professor of Mathematics & Natural SCience at Bishop's from 1911 to
1951. Like F.O. Call, she was a steady contributor to the Spring
Exhibition of the AAM in the 1930's. The daughter of an art dealer in
Southport, Lancastershire, Margaret Richardson had studied art in her
native city before attending the renowned South Kensington School of
Art in London. Besides her luminous still lives, she was admired for her
miniature portraits of children, many of which were offsprings of
Bishop's faculty and members of the Lennoxville community. Another
competent artist and childhood friend of Margaret Richardson - they
both attended the Southport School of Art - was Mrs. Lois Rimmer
Boothroyd (1885-1956), wife of History Professor E.E. Boothroyd. She
painted several scenes of the University campus, including the charming View of Morris House which was donated to Bishop's in 1991 by her
son, Mr. Eric Boothroyd, who also presented the University with the Call
landscape featured in the exhibition.
A bronze head of Professor Boothroyd, one of the highlights of
Bishop's small sculpture collection, was commissionned in 1945 by the
impressioniste presente dans I'exposition est I'un de trois tableaux de Call
que compte la collection d'art de Bishop's. Certaines epouses de professeurs
s'adonnaient aussi ala peinture et leur modeste, mais neanmoins importante,
contribution ala collection est bien representee par la nature morte Phloxes
in a Moorcroft Vase, de Margaret Richardson (1882-1968), epouse de A.V.
Richardson, professeur de Mathematique et de Sciences naturelles aBishop's
de 1911 a 1951. Native de Southport dans Ie Lancastershire, ou son pere
etait marchand de tableaux, Margaret Richardson avait etudie I'art dans sa
ville natale avant d'aller partaire sa formation la celebre South Kensington
School de Londres. AI'egal de EO. Call, cette artiste a frequemment participe
dans les annees 1930 au Salon du printemps de I'MM. En plus de ses
lumineuses natures mortes, elle y presentait des portraits en miniature
d'enfants, souvent ceux de collegues de son mari ou de citoyens de
Lennoxville. Une autre artiste competente, concitoyenne et amie d'enfance
de Margaret Richardson, Mme Lois Boothroyd (1885-1956), epouse du
professeur d'histoire E.E. Boothroyd, 1908-1944, avait aussi etudh~ a la
Southport School of Art. Elle a laisse quelques paysages du campus dont la
charmante aquarelle, View of Morris House, qui fut offerte aBishop's en 1991
par Ie fils de I'artiste, M. Eric Boothroyd '38, qui est aussi Ie donateur du
paysage de Call presente dans I'exposition.
a
[ 19]
University Foundation. A sensitive likeness of a much admired Bishop's
professor, who taught at the University from 1908 to 1944, the sculpture
was realized by Bishop's alumnae '27, Orson S. Wheeler, R.C.A.
(1902-1990), a sculptor whose work is featured in the permanent collection of the National Gallery in Ottawa.
The portrait collection was enriched in the 20th century by several new
additions, many of excellent quality. The recently restored portrait of
Archdeacon Channell Gailbraith Hepburn, a Bishop's graduate of 1908, was
commissioned while he was a student at the University from a rather mysterious character who was active in Lennoxville ca. 1908-1930. "Count"
Valentino Molina, as he called himself, was actually born in Savannah,
Georgia, U.S.A. His art training at the Academie Julian, in Paris, and his skill
in portraiture, together with a carefully cultivated aristocratic image, made
him an extremely popular figure in the art circles of Sherbrooke and
Lennoxville. The few surviving works by him, as seen in this sensitive portrait of young Hepburn, indicate that he was one of the most professional
artists working in the Townships during the first decades of the century.
Several prominent artists were chosen to portrait the University
Chancellors during the first decades of the 20th century. Among these,
Alphonse Jongers (1872-1945), whose direct and almost irreverent like-
Piece maltresse de la modeste collection de sculptures de Bishop's, une
belle tete en bronze de E.E. Boothroyd, un professeur de Bishop's des plus
admire, a ete commandee en 1945 par I'Association des anciens de Bishop's.
L'oeuvre est signee Orson S. Wheeler, A.R.C. '27 (1902-1990) un sculpteur
dont I'oeuvre fait partie de la collection permanente du Musee des beauxarts du Canada.
Des additions, dont plusieurs de grande qualite, ont enrichi la collection
de portraits tout au long du XXe siecle. Le portrait recemment restaure de
I'archidiacre Channell Gailbraith Hepburn, diplome de Bishop's en 1908, a
ete commande, alors que celui-ci etait encore etudiant a I'universite, a un
personnage assez mysterieux qui fut actif a Lennoxville v. 1908-1930. Le
«comte» Valentino Molina, comme iI se presentait, etait en rea lite natif de
Savannah, en Georgie, E.-U. Sa formation en art aI'Academie Julian, de Paris,
son don pour Ie portrait et une contenance aristocratique assidument
cultivee, ont fait de lui un personnage en vogue dans les milieux artistiques
de Sherbrooke et Lennoxville. Les quelques oeuvres qui sont restees de lui,
comme Ie demontre Ie delicat portrait du jeune Hepburn, indiquent qu'iI
etait I'un des artistes les plus experimentes des Cantons de l'Est a I'epoque de
son sejour dans la region.
Durant les premieres decennies du XXe, on a eu recours a plusieurs artistes
[20]
ness of Chancellor R.A.E. Greenshields (1932-1942), from 1938, appears
to have pleased the sitter, who approved of the portrait being featured
in many exhibitions, including one in the Canadian Pavillion at the New
York World Fair in 1939.6 Another portraitist of considerable talent was
Lilias Torrance Newton, R.C.A. (1896-1980). Like Jongers, she recruited
her clientele among the Montreal establishment, but the similarity ends
there. Her approach to portraiture was decidely modern, while Jongers
was working in the 19th century French Academic tradition. Lilias
Newton's portrait of Chancellor RE. Meredith (1926-1932), remains one
of the most compelling works of art in Bishop's Art Collection.
Chancellor Meredith, who was at the helm of the University in the troubled times of the great Depression, is represented as a splendid monumental figure. The painting's strong pyramidal composition is constructed in chalky tones of grays and blues, an unusual somber palette
for Newton, but one that admirably conveys the strong personality of
the sitter. To quote Bishop's former Principal and University historian,
Dr. Christopher Nicholl:
One of the leaders of Bishop's successful financial campaign of 1924 ... His
[Meredith's] success as an advocate for several of the province's largest corporations and the strength of character strikingly evident in the Torrance
reputes pour produire les portraits des chanceliers de I'universite. De ceux-ci,
Alphonse Jongers (1872-1945), realisa, en 1938, un portrait quasi
irreverencieux du chancelier R. A. E. Greenshields (1932-42). Neanmoins, cette
ressemblance semble avoir plu au sujet qui a penn is que Ie portrait soit presente
dans plusieurs expositions, dont celie du Pavilion canadien de la Foire mondiale
de New-York en 1939. 6 Lilias Torrance Newton, A.R.C. (1896-1980) est une
autre de ces portraitistes de grand talent. AI'egal de Jongers, elle recrutait ses
sujets au sein de I'elite montrealaise, mais c'etait leur unique point commun.
Son approche au portrait etait definitivement moderne alors que Jongers se
prevalait de la tradition academique fran~aise du XIXe siecle. Le portrait que
Lilias Newton a fait du chancelier EE. Meredith (1926-1932) demeure I'une
des oeuvres les plus marquantes de la collection d'art de I'universite. Le
chancelier Meredith, qui a dirige I'universite durant les penibles annees de la
Depression, est represente comme un personnage splendide et monumental.
La forte composition pyramidale du tableau est constituee de tons crayeux de
gris et de bleus, une palette plutot sombre pour Newton, mais qui projette
admirablement la forte personna lite du sujet Parlant de ce portrait, Christopher
Nicholl, ancien principal et historien de I'universite, affirme que:
L'un des dirigeants de la campagne d'entrees de fonds reussie de 1924 ... son
succes en tant qu'avocat de plusieurs des plus importantes societes de la
[21 ]
Newton portrait had given him considerable influence. This he used effectively for the benefit of the university.7
Among the important works in the collection, On the Logging Road,
Eastern Townships, 1942, was presented to the University by Frederick
Simpson Coburn (1871-1960), one of the Townships best known artists.
Depicting a horse-drawn sleigh in the St-Francis river valley near
Richmond, the painting is similar to examples of Coburn works in the
permanent collections of the MMFA, the Musee du Quebec, the Musee
des beaux-arts de Sherbrooke and the National Gallery in Ottawa.
In the period between 1948 and 1960, several paintings were acquired
through the efforts of Frank O. Lajoie, '48, then President of the Ottawa
Branch. A first work, Saint-Andrew on the Red River, by Hungarian born
painter and printmaker, Nicholas Hornyansky (1896-1965), was presented to the University in 1957 by the Canada Carbon and Ribbon
Company of Toronto. Following this acquisition, EO. Lajoie, wrote to
Principal A.R. Jewitt:
I am happy at this first success, and I hope to persuade other acquaintances
of mine to make similar donations. Perhaps in time, if the idea takes hold
and receives enough support, Bishop's may also become a great repository
of Canadian art.s
province et la force de caractere si evidente dans Ie portrait de Torrance
Newton lui accordaient une influence considerable. II s'en servit efficacement
au benefice de l'universite.7
Au nombre des oeuvres importantes de la collection se trouve On the
Logging Road, Eastern Townships, 1942, offert I'universite par Frederick
Simpson Coburn (1871-1960), I'un des artistes les plus reputes des
Cantons de l'Est. Le sujet, une scene de halage traction animale dans la
vallee de la riviere St-Fran~ois aux environs de Richmond, rappelle celui des
oeuvres de Coburn rec;ues dans les collections permanentes du Musee des
beaux-arts de Montreal, du Musee du Quebec, du Musee des beaux-arts
de Sherbrooke et du Musee des beaux-arts du Canada.
De 1948 a 1960, Frank O. Lajoie, diplome de 1948 et alors president du
chapitre d'Ottawa de I'Association des anciens, prend une part active au
developpement de la collection. Grace ses intervientions, une premiere
oeuvre, Saint-Andrew on the Red River, du peintre graveur hongrois Nicholas
Hornyansky (1896-1965), a ete offerte I'universite en 1957 par la Canada
Carbon and Ribbon Company de Toronto. Suite a cette acquisition, F.O.
Lajoie ecrivait au principal A.R. Jewitt:
a
a
a
a
Je suis heureux de ce premier succes et j'espere persuader d'autres de mes connaissances de faire des dons semblables. Peut-etre qu'avec Ie temps, si I'idee
[22 )
Thanks again to Mr. Lajoie's intervention, the most valuable painting in
the collection today, Spring Freshet at Ripon, Quebec, by the renowned
member of the Group of Seven, Alexander Young Jackson (1881-1974),
was presented to the University by Mr. R.P. Brouse in 1959. Several other
paintings were donated to the collection thanks to Mr. Lajoie's contacts,
including a picturesque winter scene, Wayside Chat, by Thomas H.
Garside (1906--1980). Francis Oswald Lajoie's unfailing support and concern for the development of Bishop's Art Collection led him to create, in
1996, an endowment of $10,000 for the conservation, research and
enhancement of the University art collection.9
Another important contributor to the development of the collection
was Philip H. Scowen, a long standing member of Bishop's Corporation.
Mr. Scowen served as Chairman of the Building Committee during the
important expansion of Bishop's facilities in the 1950's and for many
years after. In July 1965, together with Bishop's Principal Ogden Glass,
he adressed a letter to some fifty prominent individuals or firms to ask for
gifts of:
objets d'art, such as paintings, prints, statuary or the like, to be used to decorate certain appropriate rooms on the campus.
prend forme et re~oit assez d'appui, Bishop's pourra aussi devenir un grand
lieu de conservation de I'art canadien. 8
Deux ans plus tard, M. Lajoie, persuadait un collegue, M. R. P. Brouse, de
commanditer Ie tableau, Spring Freshet at Ripon, Quebec, du repute membre
du "Groupe des Sept, Alexander Young Jackson (1881-1974), qui est sans
doute aujourd'hui I'oeuvre la plus importante de la collection. Les contacts de
M. Lajoie ont suscite d'autres dons, comme cette pittoresque scene hivemale,
Wayside Chat, de Thomas H. Garside (1906-1980). Sa preoccupation pour Ie
developpement de la collection d'art de I'universite et son appui
inconditionnel ont amene Francis Oswald Lajoie etablir en 1996 une
dotation de 10 000 $, une des plus genereuses contribution pour la
conservation, la recherche et I'enrichissement de la collection d'art de
l'universite.9
Philip H. Scowen, durant de nombreuses annees membre actif de la
Corporation de I'universite, a aussi largement contribue au developpement
de la collection. II a ete president du comite du batiment durant I'importante
periode d'expansion des annees 1950 et par les annees subsequentes. En
juillet 1965, iI associe son nom a celui du principal Ogden Glass pour ecrire
une cinquantaine de personnes ou d'entreprises afin de demander des
dons:
a
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[23 ]
The letter continues as such:
As you probably know, the University has always sought to spend whatever monies have come its way in as utilitarian a manner as possible. This,
of course, is entirely appropriate, but it hardly makes for a decorative place;
and there is much to be said for the theory of young people growing up in
an atmosphere of beauty and art.
In the years that followed this commendable initiative, Philip Scowen,
himself an active collector of Townships prints and historical material,
presented the University with an important and rare series of thirteen
hand coloured lithographs by William Stewart Hunter. These prints,
taken from Eastenl Townships Scenery, Canada East, published by Hunter
but printed by Bufford of Boston in 1860, appropriately grace today the
perimeter of the staircase leading to the Old Library in the McGreer
Building, which holds the Eastern Townships' rare books and special collections (also enriched by Mr. Scowen's generosity). In keeping with the
Scowen family tradition, Monique Cholette-Scowen and Philip Scowen
have recently added to this valuable collection of Townships material by
their bequest, in 1997, of twenty 19th century prints, most of which had
served as illustrations to the book, The Eastern Townships: a Pictorial
Record, published in 1962 by Mr. Scowen's late father, Philip H. Scowen,
d'objets d'art tels que tableaux, gravures, sculptures ou autres, aux fins de
decorer certains locaux du campus.
Plus loin dans la lettre, on dit :
Com me vous Ie savez sans doute, I'universite a toujours tente de depenser de
utilitaire les argents qui lui parviennent, quelqu'en soit I'origine. Bien
entendu, ceci est tout afait raisonnable mais ne sert pas a creer un environnement stimulant; et il importe que les jeunes gens grandissent dans une atmosphere d'art et de beaute.
fa~on
Dans les annees qui ont suivi cette louable initiative, Philip Scowen, lui-meme
collectionneur averti de gravures et de documents historiques sur les Cantons
de l'Est, a donne it I'universite une rare et importante serie de treize
lithographies de William Stewart Hunter, colorees la main. Ces gravures,
tirees de Eastern Townships Scenery, Canada East, publiees par Hunter et
imprimees par Bufford de Boston en 1860, rehaussent aujourd'hui Ie
perimetre de I'escalier qui conduit I'ancienne bibliotheque dans I'edifice
McGreer ou se trouvent les collections speciales de Iivres rares sur I'histoire
des Cantons de l'Est qui ont aussi ete enrichies par les dons de M. Scowen.
Fideles la tradition familiale, Monique Cholette-Scowen et Philip H. Scowen
ont contribue, en 1998, it I'enrichissement des ces importantes collections
par leur don d'une vingtaine de gravures du XIXe siecle. Pour la pJupart, ces
a
a
a
[24 ]
in association with another important collector of Townships memorabilia, Charles P. De Volpi. One of these recently acquired prints, a colour
lithograph of Lake Memphremagog, published by Currier & Ives c. 1860
is presented in the exhibition.
As witnessed by Mr. P.H. Scowen's above-cited letter, the important
building activity which took place in the sixties had a positive effect on
the growth of the art collection. With the erection of the Centennial
Theatre in 1967, and through the efforts of Arthur Motyer, then professor of English and first artistic director of the theatre, a large painting
was purchased by the Hon. & Mrs. l.R. Ballantyne, specifically for the
theatre foyer. The Wedding, by Canadian artist Norman Laliberte, was
restored recently and, after the exhibition, will again grace the foyer of
Centennial. In the same location, a recent work by Fran~ois-Marie
Bertrand, Regard synecdotique, was acquired following major extensions
to the theatre in 1991, a contribution of the Province of Quebec's
"Programme pour l'integration des arts al'architecture".
During the same period, William H. Cripps, who had just enrolled a
daughter at Bishop's, became quite concerned about the lack of art in
the new buildings which, according to him:
gravures ont servi a iIIustrer Ie livre The Eastem Townships: a Pictorial Record,
publie en 1962 par Ie pere de I'un des donateurs, feu Philip H. Scowen, en
partenariat avec un autre distingue collectionneur de materiel sur les Cantons
de l'Est, Charles P. DeVolpi. Parmi ces gravures recemment acquises, une
lithographie couleur du Lac Memphremagog, publiee par Currier &: Ives v.
1860, est presentee dans I'exposition.
Comme en temoigne la lettre de M. P.H. Scowen citee ci-dessus,
I'important programme de construction realise au cours des annees '60 a eu
un effet positif sur la croissance de la collection d'art. En rapport avec la
construction du theatre Centennial en 1967, et grace aux efforts deployes
par Arthur Motyer, alors professeur d'anglais et premier directeur artistique
du theatre, I'honorable J. R. Ballantyne et son epouse commandent alors un
grand tableau pour orner Ie foyer du theatre. The Wedding, de I'artiste
canadien Norman Laliberte, a ete recemment restaure et, apres I'exposition,
retrouvera sa place dans Ie nouveau foyer du Centennial. II voisinera alors
Regard synecdotique de Fran~ois-Marie Bertrand, une oeuvre d'art integree
acquise a I'occasion d'un important agrandissement du foyer en 1991 dans
Ie cadre du Programme pour I'integration des arts a I'architecture.
Au cours des annees 60, William H. Cripps, qui venait d'inscrire sa fille a
Bishop's, exprime ses preoccupations quant a I'absence d'oeuvres d'art dans
[2S]
looked a little barren - functionnal and well designed and all but with not
much to appeal to the mind. tO
Mr. Cripps, himself an artist, goes on to say:
For years, I've felt that a good college should have good pictures on the
walls - not an art gallery though that is something to shoot for, but good
paintings, wood cuts, prints, etchings, on the walls on the common room,
the study areas, the library, the reception halls so that in living with them
for four years a taste for excellence would be formed. And these pictures
should be the real thing. I I
Within a few months, thanks to Mr. Cripps's active canvassing of friends
and acquaintances, Bishop's art collection had acquired three oil paintings, including a large and valuable one by Lorne Bouchard, R.C.A., a
drawing by Thoreau MacDonald - son of Group of Seven painter, J.E.H.
MacDonald - two sculptures, a watercolour, two block prints by Mr.
Cripps and a print by William Bartlett.
R.D. Wilson (1920-1994), a Montreal artist renowned for his drawings
of Quebec heritage architecture, was commissionned by the Alumni to
create a permanent visual record of the extended Bishop's campus after
the important building program of the 1960's. Wilson spent a few weeks
in Lennoxville in 1974 and produced fourteen superb dry brush draw-
les nouveaux edifices qui, selon lui:
sernblent steriles - fonctionnels, bien con~us et tout cela, rna is n'offrant rien a
I'esprit. 10
M. Cripps, lui-meme artiste, ajoute :
J'ai toujours pense qu'un bon college se doit de presenter de bons tableaux sur
ses rnurs - pas necessairement etre une gal erie d'art, meme si c'est un objectif
louable, mais montrer de bon tableaux, des estampes, des gravures, des eauxfortes sur les murs des salles communes, des salles d'etude, de la bibliotheque,
des salles de reception, de sorte que Ie fait de vivre durant quatre ans dans un
tel environnernent fera naitre Ie goOt pour I'excellence. Et iI faut que ce soit des
oeuvres authentiques. 11
En quelques mois, en raison de la sollicitation active de M. Cripps aupres de
ses amis et connaissances, la collection s'enrichissait de trois peintures
I'huile, dont un grand format de Lorne Bouchard, A.R.C., d'un dessin de
Thoreau MacDonald - fils de J.E.H. MacDonald du Groupe des Sept - de
deux sculptures, d'une aquarelle, de deux estampes de M. Cripps et d'une
gravure de William Bartlett.
Au terme du programme de construction des annees '60, l'Association
des anciens de Bishop's a retenu les services de R. D. Wilson (1920-1994),
artiste montrealais repute pour ses dessins architecturaux du patrimoine
a
[26 ]
ings representing different vistas of the University and of Lennoxville
landmarks. With the major building renovations which took place during Bishop's Sesquicentennial in 1993, many of Wilson's drawings have
today acquired a historical significance, as witness this McGreer Hall and
St. Mark's Chapel from the Quad.
Though the University continued to acquire art in a somewhat passive and piecemeal fashion, there was concern for a need to bring order
and purpose to the collection. With the hiring of Bishop's first full-time
art historian, Dr. Adele Holcomb, in 1977 and the creation of a Fine Arts
Department, came the expertise and knowledge to help the art collection develop in a more coherent fashion. One of the tangible results was
the formation of an ad hoc committee to make recommendations regarding the purchase and maintenance of works of art, activities that were
made possible through an endowment fund set up by the Alumni
Association. Eventually, in 1985, the Art Collection Committee was formally established as a Principal's Committee, with representation from
the Department of Fine Arts (including the Art Gallery), the Faculty, the
Corporation and the undergraduates. The mandate of the Committee
was proposed to Principal Nicholl by its first Chairperson, Dr. Garry
Retzleff. It was felt that the Art Collection Committee should have three
quebecois, en vue de creer un dossier visuel permanent du campus elargi.
Wilson s'est installe pour quelques semaines Lennoxville en 1974 et a
produit quatorze magnifiques dessins au pinceau sec representant diverses
scenes de I'universite et de lieux importants de Lennoxville. En raison des
I'occasion du cent cinquantieme
renovations majeures apportees
anniversaire de I'universite en 1993, plusieurs des dessins de Wilson ont ainsi
acquis une valeur historique comme en temoigne McGreer Hall and
Mark's
a
a
st.
Chapel from the Quad.
Alors que I'universite continue d'acquerir des oeuvres d'art une aune et de
fa~on plutot passive, on ressent neanmoins Ie besoin d'apporter ordre et
direction au developpement de la collection d'art. Avec I'arrivee a Bishop's
en 1978 d' Adele Holcomb, premiere historienne de I'art de plein office et la
creation du Departement des beaux-arts, on pouvait se prevaloir de nouvelles
expertises pour aider adevelop per la collection de fa~on plus coherente. La
creation d'un comite ad hoc fut un premier pas en vue de faire des
recommandations quant aux achats et a la conservation des oeuvres d'art,
ce qui a ete rendu possible par I'etablissement d'un fonds special de
l'Association des anciens. Entin, en 1985, Ie comite de la collection d'art est
etabli en tant que comite relevant du principal avec representation du
departement des beaux-arts (y compris la galerie d'art), du corps professoral,
[ 271
areas of responsibility: a) to make specific proposals for the rotating exhibition of works of art so that the collection be accessible to the largest
possible audience; b) to establish general guidelines for the acquisition
of works of art by the University; c) to make specific recommendations
for the purchase of works of art. The Principal's response was positive
and he suggested yet another area:
It occurs to me that the Art Collection Committee might usefully take on
a further responsibility, that of preserving the University's collection.
Considerable work of preservation and restoration has been carried out
over the past five years, as money was available; but in future it would I
think be preferable that your committee should oversee this work.
Dr. Nicholl then went on to say:
I hope very much that the Committee will find means to display as many
of our works of art as possible in areas where there is heavy student traffic. 12
By the end of 1985, the members of the Art Collection Committee had
agreed on the following guidelines for acquisition: Canadian Art Contemporary Art - Prints & Drawings - Non-Western works of art:
Oriental, Pre-columbian, Eskimo (sic.), African. These guidelines met with
the approval of Principal Nicholl who pledged a personal commitment:
de la corporation et des etudiants. Garry Retzleff, premier president du
nouveau comite, en decrit Ie mandat dans un rapport adresse au principal
Nicholl. On y determine trois volets de responsabilite pour Ie comite : a)
proposer des mesures precises pour assurer Ie roulement des oeuvres d'art
dans les lieux d'exposition en vue de les rendre accessibles au plus vaste
auditoire; b) etablir une politique d'acquisition pour les oeuvres d'art de
I'universite; c) recommander I'achat d'oeuvres d'art dans des secteurs
determines. Le principal reagit de fa~on positive mais ajoute toutefois une
autre sphere de responsabilite :
II m'apparait utile que Ie comite de la collection d'art prenne charge d'une
autre responsabilite, celie d'assurer la conservation de la collection de I'universite. D'importants travaux de conservation preventive et de restauration ont
ete accomplis depuis cinq ans, selon les disponibilites financieres, mais a
. I'avenir, je crois qu'il serait preferable que votre comite supervise cette activite.
II conclut par ces mots ... Je souhaite vraiment que votre comite trouve Ie
moyen d'exposer Ie plus grand nombre possible d'oeuvres d'art dans des lieux
ou il y a la plus forte circulation etudiante. 12
Avant la fin de I'annee 85, les membres du comite de la collection d'art
s'entendent sur les grandes Iignes de la politique d'acquisition : I'art
canadien, I'art contemporain, les gravures et dessins, les oeuvres d'art non
[28 ]
I will bring the Art Collection Fund to the attention of benevolentlyinclined members of Corporation, in the hope that we may build up a
more satisfactory endowment. It occurs to me that the Alumni might be
willing to buy one work per year. You could cite the example of Hart House
at the University of Toronto, where the remarkable and now very valuable
collection was built upon gifts by graduating classes in the 20's and 30'S.13
Soon after, in 1986, Bishop's Foundation agreed to make a grant to the
Art Collection Committe of $3,000 per annum for the the next three
years. By 1989, interest on the Art Endowment Fund and annual contributions from Alumni and other interested persons made available a further $1,000 per annum to the Art Collection.
In the spring of 1989 Bishop's Building Committee proposed that a
percentage of all future construction on the campus should be set aside
to purchase appropriate works of art to embellish those structures.The
following year, the Committee on the Status of Women asked the Art
Collection Committee if they would consider commissioning a work of
art to commemorate the women who died in the Montreal Ecole
Polytechnique massacre in December 1989. Two of the victims had spent
some time on the campus, one as a student at Champlain College and
the other in a Bishop's ESL summer program. After a few meetings, a con-
occidentales : orientales, pre-colombiennes, inuit, africaines. Le principal
Nicholl endosse ces axes de developpement en ajoutant un engagement
personnel:
Je porterai Ie Fonds de la collection d'art aI'attention de membres bienveillants
de la corporation avec I'espoir que nous reussirons a etablir une donation plus
satisfaisante. II m'apparait que les Anciens pourraient volontiers acheter une oeuvre par annee. Vous pourriez citer en exemple Hart House de l'Universite de
Toronto, ou une collection remarquable (et aujourd'hui de tres grande valeur)
a ete acquise grace aux dons des classes de finissants des annees '20 et '30.13
Des 1986, la Fondation de Bishop's accepte de donner 3 000 $ par annee
durant trois ans au comite de la collection d'art. A compter de 1989, les
interets du Fonds de dotation en art et les contributions des Anciens et autres
personnes interessees ajoutent environ 1 000 $ par annee au budget la
disposition du comite de la collection.
Au printemps de 1989, Ie comite des batiments de Bishop's suggere qu'un
pourcentage du coOt de toute nouvelle construction sur Ie campus soit
reserve aI'achat d'oeuvres d'art appropriees pour agrementer ces structures.
L'annee suivante, Ie comite du statut de la femme de I'universite demande au
membres du comite de la collection s'ils accepteraient de commander une
oeuvre pour commemorer les jeunes femmes tuees dans Ie massacre l'Ecole
a
a
[29 ]
census was reached that this work should be a stained glass window
located in the reference room of the Library. The suggestion was met
with approval by the Principal, Dr. Hugh M. Scott, as well as by Bishop's
Corporation and the Creative Arts Board. Montreal artist Marcelle Ferron,
b.1923, was commissioned to create the memorial window which was
installed in the Reference Room of the library during the summer and
officially inaugurated in December 1991, two years to the day after the
Polytechnique Massacre. Writing about Ferron's window in Bishop's
Library, art historian Gunda Lambton has this to say:
In her public art she consciously seeks a voice to express a world more universal than her own. Her commitment to the world of women has found
expression in one of her latest works, the window for the library of Bishop's
University in Lennoxville, Quebec, dedicated in 1991 to the fourteen
young women in the Ecole Polytechnique of Montreal who died because
they had dared to enter a male-dominated area. Unlike verbal language,
visual language is not limited. We do not need a translator to feel the
impact of Ferron's public art. It has been designed with all of us in mind. 14
Reporting on its pursuit of works of aesthetic and historical interest
by artists from Canada, Quebec, and most especially from the Eastern
Townships, the Art Collection Committee stated in 1989 that the
(continued on page 53)
Polytechnique de Montreal en decembre 1989. Deux des victimes avaient
passe un certain temps sur Ie campus, I'une comme etudiante au College
Champlain et I'autre comme inscrite au programme estival ALS de Bishop's.
Apres quelques reunions, on s'entend pour que cette oeuvre
commemorative soit un vitrail installe dans la salle des references de la
bibliotheque. La suggestion re~oit I'approbation du principal Hugh M. Scott,
de la corporation et du comite consultatif des arts. La grande artiste Marcelle
Ferron, n. 1923, est choisie pour realiser Ie vitrail. Installee dans la salle de
reference de la bibliotheque au cours de I'ete, I'oeuvre sera inauguree
officiellement en decembre 1991, deux ans, jour pour jour, apres Ie massacre
de Polytechnique. L'historienne de I'art Gunda Lambton a ecrit ces lignes au
sujet de I'oeuvre commemorative creee par Ferron:
Dans son art public, elle recherche consciensieusement une voix qui exprime un
monde plus universel que Ie sien. Son engagement envers Ie monde feminin s'est
exprime dans une de ses oeuvres les plus recentes, Ie vitrail de la bibliotheque de
Bishop's, a Lennoxville, Quebec, dedie en 1991 aux quatorze jeunes femmes de
l'Ecole Polytechnique de Monteral qui sont mortes parce qu'elles ont ose entrer
dans un lieu domine par Ie male. AI'oppose du langage verbal, Ie lang age visuel
est sans limite. Nous n'avons pas besoin d'un traducteur pour ressentir I'impact
de I'art public de Ferron. II a ete con~u avec nous toutes dans sa pensee. 14
(suite (] 10 page 53)
[30 I
A Survey of
the Collection
Un aperfu de
la collection
Anonymou s/Anonyme
Jasper Hume Nicolls, 1848
oil on canvas/ huile sur toi le
91.4 x 70.5 cm
Ci rcums tances of acquisition unknown/
ci rconstances d'acquisition inconnu es
(33 )
Alphonse Jo nge rs (1872- 1945)
Portrait of Chancellor R.AE. Greenshie/ds, 1938
oil on canvas/huil e sur toile
92.0 x 71.4 em
Gift of/ Don de
Bi shop 's Unive rsity Foundation, 1939
134 I
Lilias Torrance Newton <1896- 1980)
Portrait of Chancellor fE. M eredith, 1933
oil on ca nvas/huile su r toile
127.0 x 102.0 em
Gift of/ Don de
Bishop's University Foundation, 1933
(35 J
Alexa nder Young Jackson (1881-1974)
Spring Freshet af Ripon, Quebec, 195 9
oil on eanvas/huile sur l oile
83.0 x 100.6 em
Gift of/ Don de
R.P. Brouse, 1959
[36 [
Tho m as Garsid e (1906- 1980)
Wayside Char, n.d.
oil on ca nvas/hui le su r toile
45.8 x 61.0 cm
Gift of/ Don de
Francis Oswald Lajoie, 1958
Will e m 5t eeli nk (1856- 1928)
Pastaral Scene with Sheep, n.d.
waterco lou r on paper/aquarelle su r papier
43.2 x 66.0 em
Circumsta nces of acquisition unknown/
ci rconstances d'acquisition inconnues
1371
Joseph Wo lf (1820-1899)
EupJocomus Ignitus, Fire Backed Pheasant, 1872
57.5 x 41.7 em
Reproduction in Folio, limited Edition!
Reproduction in-folio tirage restre int, 1988
Gift of/Don de
David M. Lank, 1988
a
After William Bartlett / D'apres Wi ll iam Bartlett (1808-1854)
Lake Memphremagog & Ow/'s Head
lithography / Iith og raph ie
publi shed by/p ubliee par Curri er &. Ives, (.Iv. 1860
24.5 x 33.0 em
Gift of/Don de
Monique Cholelt e-Seawen and Philip H. Seawen, 1998
( 38 J
frank Olive r Call (1878- 1956)
untitled/ sons titre, n.d.
oil on canvas/ hu ile sur toi le
28.2 x 38.2 em
Gift of/ Don de
Eric Boothroyd, 1991
Andre', M. Zad o rozny.
b./n. 1921
On the Eve of Summer, 199 1
wate rcolour and ink on paper/
aqua relle el encre sur papier
54.4 x 74. 1 em
Gift of/Don de
Martin O' Hara, 1992
[ 391
Margaret W. Richardson (1882- 1968)
Phloxes in a M oorcroft Vase, 1941
oil on panel/ huile sur panneau
61.0 x 61.0 e m
Gift of the Arti st/ Don de l'artiste
Kay Kinsman (1909- 1998)
Th e Gazebo, Bishop 's University, 1995
walercolour and crayons on paper/
aquarell e et crai es de couleur sur papier
38.0 x 48.0 em
Gift of/ Don de
Fond ati on Belang er/ Gardner, 1995
140 I
David Sorensen, b./ n. 1937
Gate no. 6, 1986
oil on paper/huile sur papier
96.0 x 147.5 em
Pu rchase/Ac hat, 1985
141
I
Jessie Oonark (1906-1985)/
Nancy Kangeryuaq b./n. 1936
Two Birds Guard Sleeping Kivu ik, 1981
print/es tampe
95 .0 x 64.0 em
Purchase/ Achat, 1982
[42 [
Toni Onley, b./n. 1928
Silent Two, n.d.
print /estampe
26.8 x 33.0 em
Gift of/Don de
Dr. Howard Brown, 1990
Charles W. Bartlett
Java, , 933
print/estampe
18,1 x27.5em
Gift of / Don de
Miss H.E.A. Castle, 1940
[43 [
N orm an Lali be rte, b./n. 1925
Th e Wedding, 1966
wax pastel and pencil on paper glued on board/
pas tel gras et crayo n sur papier maroufle sur pan neau
155 .0 x 92.0 em
Gift of/ Don de
Marlon and I.R. Ball antyne, 1967
[44 [
'"
'<>
'<>
Lois M. Boothroyd (1885-1956)
View of Morris House, ca./v. 1940
watercolour on paper/aquarelle sur papier
27.8 x 20.7 em
Gift ofl Oon de
Eric Boothroyd, 1991
Richard W. Wi lson (1920-1994)
McCreer Hall and St. Mark's Chapel, from the Quad, 1974
ink and wash on paper/ encre et lavis sur papier
45.0 x 54.8 em
Gift of/Don de
Bishop's Alumni Association, 1974
[46 J
i
i
\
i
\
i
~
i
i
i
I
i
\
\
i
I
~
John S. Ballantyne, b./n. 1944
Church Half, Sutton Junction, 1976
egg tempera on masonite/ tempera sur masonite
84.5 x 84.3 em
Gift of/Do n de
Bishop's Alumni Association, 1978-1979
David Morgan, b./n. 1943
Still life, 1989
oil on canvas/hui le sur toile
62 .3 x 98.0 em
Purchase/ Achat, 1993
[ 47[
Peter Whalley, b./ n. 1921
George Whalley, 1983
bronze/ bronze
23. 0 x 13.5 x 10.0 em
Gi ft of/ Don de
Elisabeth Whalley, 1994
l o uis Muhl stoc k, b ./n. 1904
Young Woman Sleeping, ea./v. 1960
charcoa l, pastel and wash on paper/
fu sa in, pas te l e t lavis sur papi e r
49.5 x 38.8 em
Gift of the artist/Don de I'a rtiste, 1990
[48 [
Valentino Molina, (1880- 1954)
Portrait of Chonn~fI Galbraith Hepburn, 1909
oil on ca rwas/ huile sur l oite
92.1 x 66.0 cm
Gift of/ Don de
Archdeilcon ce. Hebpurn, 1959
1491
Nicholas Hornyansky, (1896-1965)
St-Andrew's on the Red River, ca./v. 1950
waterco lou r on paper/aquarell e sur papier
30.0 x 40.0 em
Gift of/Don de
Canada Carbon and Ribbon Co., 1957
150 I
Orson S. Wheeler, (1902-1990)
E.E. Boothroyd, c./v. 19 39
bronze/bronze
34.3 x 23.5 x 18.3 em
Gift of/ Don de
Bishop's Alumni Association, 1945
151 )
Jam es McNeill Whistl er, (1834- 1903)
The Punt, 1862
etching, second of four states/
eau -forte, 2e etat su r 4 .
12.0 x 16.3 em
Purchase/Achat, 1985
1521
following works had been purchased: Ajijic, an oil by David Sorenson,
Contact, an acrylic by Olaf Hanel, Jupiter, an engraving by H. Goltzius,
Senseki, a watercolour by Robert Savoie, Falls at Sherbrooke, a watercolour
attributed to Allan Edson, and Variations sur Ie carre, an embroidery on
textile by Louise Jamet. Several important gifts to the collection were
received during the 1990's. David Lank offered a folio containing a new
edition of ornithological drawings by 19th century artist Joseph Wolf
and the Canadian theatre critic Herbert Wittaker donated a rare series of
twelve European theatre posters. A print by Lauren P. Harris and a work
on paper by Toni Onley were added to the collection thanks to the generosity of Dr. Howard Brown, recently retired professor of music at
Bishop's. Two monoprints and a drawing, Young Woman Sleeping, were
presented to the collection by Montreal artist Louis Muhlstock, b.1904,
following exhibitions of his works in the University Art Gallery. Dr.
Claude Treil donated a portrait of his wife, the late pianist Marie-Aimee
Varro by French born artist, Fran~oise Andre, b.1926; and The Eve of
Summer, a watercolour by Montreal artist Andrei M. Zodorozny, b. 1921,
was presented to the University by Mr. Martin O'Hara from the Thomas
Moore Institute. A work on paper by Monique Voyer, b.1928, was offered
by Montreal artist Guy Pellerin. Bishop's small sculpture collection was
Dans sa recherche d' oeuvres d'interet esthetique et historique du Canada,
du Quebec et plus particulierement des Cantons de l'Est, Ie comite de la
collection fait etat en 1989 de I'acquisition des oeuvres suivantes : Ajijic, une
huile de David Sorenson, Contact, une acrylique d'Olaf Hanel, Jupiter, une
gravure de H. Goltzius, Senseki, une aquarelle de Robert Savoie, Falls at
Sherbrooke, une aquarelle attribuee a Allan Edson, et Variations sur Ie carre,
une broderie sur textile de Louise Jamet. A cela s'ajoutent plusieurs dons
importants re~us dans les annees '90. David Lank offre un portefeuille d'une
nouvelle edition de luxe de dessins omithologiques de Joseph Wolfe, artiste
animalier du XIXe siecie, et Ie critique de theatre canadien Herbert Wittaker
fait don d'une rare serie de douze affiches de theatres europeens. Une
gravure de Lauren P. Harris et une oeuvre sur papier de Toni Onley s'ajoutent
it la collection grace it la generosite de Howard Brown, professeur de musique
de Bishop's recemment retraite. Deux monotypes et un dessin, Young Woman
Sleeping, sont offerts par I'artiste montrealais Louis Muhlstock, n. 1904, a la
suite d'expositions de ses oeuvres dans la Galerie d'art de I'universite. Claude
Treil, professeur de fran~ais la retraite, legue un portrait de son epouse, la
regrettee pianiste Marie-Aimee Varro, par I'artiste d'origine fran~aise
Fran~oise Andre, n. 1926. Eve of Summer, une aquarelle de I'artiste
montrealais Andrei M. Zodorozny, n. 1921, est offerte par M. Martin O'Hara,
a
[53 ]
enriched during the same period by the bequest of a small bronze sculpture by Peter Whalley, b. 1921. This work was commissioned by Mrs.
Elizabeth Whalley in memory of her late husband, George Whalley, one
of the University's Rhodes Scholars in the 1930's.
The small contemporary art component of the collection was generously enriched in 1995 by Magog artist, Monique Voyer, who presented
Bishop's with a large and important work, Diptyque medieval, 1992, which
had been featured in her 1994 retrospective at the Musee des beaux-arts
de Sherbrooke. Thanks to funds bequeathed by the Belanger/Gardner
Foundation, The Gazebo, Bishop's University, by one of the best-loved
Townships artist, Kay Kinsman (1909-1998) was acquired in 1995.
While some purchases were made possible by the annual grant of
Bishop's Foundation, this flurry of acquisition was largely due to the
generosity of artists and friends of the University. By the mid-1990's,
however, the monies available for purchases had all but disappeared. A
request for an increase in funding to $5,000 was sent to the Ways and
Means Committee but, due to expenses incurred during the financial
campaign, the Foundation was unable to renew its annual grant to the
Art Collection Committee. Faced with a dwindling allowance of approximately $1,000 per year, the Committee agreed that this sum should be
de I'lnstitut Thomas Moore, et I'artiste montrealais Guy Pellerin donne une
gouache de Monique Voyer, n. 1928. La modeste collection de sculptures
de Bishop's est enrichie durant cette periode du legs d'un petit bronze de
Peter Whalley, n. 1921. Cette oeuvre a ete commandee par Mme Elizabeth
Whalley a la memoire de feu son mari, George Whalley, I'un des boursiers
Rhodes de I'universite dans les annees '30.
Le volet art contemporain de la collection est I'objet d'une importante
acquisition en 1995, alors que I'artiste magogoise, Monique Voyer, fait don
de Diptyque medieval, 1992, une oeuvre de grand format qui a ete a
I'honneur dans la retrospective que lui a consacree Ie Musee des beaux-arts
de Sherbrooke en 1994. Grace a des fonds prodigues par la Fondation
Belanger/Gardner, Ie comite fait I'acquisition en 1995 de I'aquarelle, The
Gazebo, Bishop's University, par la regrettee Kay Kinsman (1909-1998), I'une
des artistes les plus appreciees de la region.
Bien que cette importante activite dans Ie domaine des acquisitions soit
soutenue durant cette periode par la subvention annuelle de la Fondation de
Bishop's, la plupart des oeuvres sont obtenues grace ala generosite d'artistes
et d'amis de I'universite. Toutefois, au milieu de la decennie, les fonds, a toute
fin pratique, n'existent plus. On adresse alors une demande a la Commission
du budget pour I'augmentation a 5 000 $ de la subvention au (omite de la
[ 54]
devoted entirely to the maintenance and framing of the works in the collection. Another priority was to produce a computer list of the collection, including information as to subject, media, size, provenance and
location on campus. This project was realized in 1993-94 by Fine Arts
student Francine Godbout, according to museum standard cataloguing
methods, under the supervision of a professor of Museology in the Fine
Arts Department. Thus, information on Bishop's collection was made
accessible to a large public, inside and outside of the University's immediate constituency. This exercice also served to highlight the quality and
diversity of works in the collection, with many prominent European and
Canadian artists represented in a variety of genres and media. For
instance, Bishop's strong portrait collection which dates back to the
foundation of the University, has now grown into a series of more than
forty portraits, many by well-known Canadian artists working in this
field; Robert Harris, Horne Russell, Sir Edmund Wyly Grier, A. Jongers
and Lilias T. Newton, to name the most prominent. The print component of the collection, subject of much of the acquisition activities over
the past two decades, presents works by outstanding European printmakers such as Piranesi, Salvatore Rosa, H. Goltzius, William Hogarth,
William Bartlett, George Fisher and James McNeill Whistler. The print
collection. Cependant, en raison des depenses encourues par la campagne
de financement, la Fondation se trouve dans I'impossibilite de renouveler sa
subvention annuelle au comite. Devant une allocation d' environ 1 000 $ par
annee, Ie comite s'entend pour que cette somme soit entierement consacree
a I' entretien et a I' encadrement des oeuvres de la collection. Comme priorite
addition nelle, on choisit de produire un catalogue de la collection sur support
informatique, comportant des renseignements sur les sujets, les techniques,
les dimensions, la provenance et I' emplacement des oeuvres sur Ie campus.
Ce projet fut realise en 1993 et 1994, selon les methodes reconnues de
catalogage d'oeuvres d'art, par Francine Godbout, alors etudiante au
Departement des beaux-arts, sous la direction d'un professeur de museologie
du Departement. L'information sur la collection devenait des lors accessible
au grand public tant a I'interieur qu'a I'exterieur de I'universite. L'exercice a
servi en outre a signaler la qualite et la diversite des oeuvres dans la collection
qui regroupe des artistes europeens et canadiens eminents, representes par
une variete de genres et de techniques. Prenons comme exemple
I'importante collection de portraits qui tire son origine de la fondation meme
de I'universite et qui compte aujourd'hui plus d'une quarantaine d'oeuvres,
dont plusieurs par des artistes canadiens reputes dans Ie domaine, tels Robert
Harris, Horne Russell, Sir Edmund Wyly Grier, A. Jongers et Lilias T. Newton,
[55 ]
collection has as well a strong representation of Canadian artists, including William Hunter, Allan Edson, Lawren P. Harris, Doreen Lindsay,
Monique Voyer, Toni Onley and the great Inuit printmaker Jessie Oonark
(1906-1985). The landscape collection, although relatively small,
nonetheless features works by two of the greatest Canadian artists working in the genre, Frederick Simpson Coburn and A.Y. Jackson.
Because of its passive nature, and notwithstanding the importance of
many of the artists listed above, Bishop's art collection is an amalgamation of works acquired over 150 years through a variety of purposes and
benefactors. The apparent lack of a single and prolonged University-wide
collection policy prior to 1985, combined with the fact that funding levels were never important, has also meant that the collection -like those
of most other similar institutions - is not exhaustive, even within the
field of Canadian art in the 19th and 20th century. Despite these negative factors, however, Bishop's art collection is one of the richest repositories of art in the Eastern Townships. Besides providing for our students
first-hand contact with works of art and the documentation to research
these, works in the collection have regularly been lent to museums, and
some have been featured in exhibitions travelling through the country.
Nevertheless, the collection as a whole remains relatively unknown.
pour ne nommer que les plus conn us. Le volet estampes de la collection,
objet de la principale activite d'acquisition des deux dernieres decennies,
offre des oeuvres de graveurs europeens distingues, tels Piranese, Salvatore
Rosa, H. Goltzius, William Hogarth, William Bartlett, George B. Fisher et james
McNeill Whistler. On y trouve aussi une forte representation canadienne avec
des noms comme William Hunter, Lawren P. Harris, Doreeen Lindsay,
Monique Voyer, Toni Onley et I'eminente artiste inuit jessie Oonark. Quant au
paysage, secteur relativement modeste, iI se distingue neanmoins par des
oeuvres de deux grands artistes canadiens dans Ie genre, Frederick Simpson
Coburn et A.Y. jackson.
En raison de son caractere passif, et sans egard a I'importance de plusieurs
des artistes enumeres ci-haut, iJ n'en demeure pas moins que la collection d'art
de Bishop's est un amalgame d'oeuvres acquises au cours d'une periode de 150
ans par Ie biais d'une variete de moyens et de bienfaiteurs. L'absence apparente
d'une politique d'acquisition uniforme et soutenue dans tous les secteurs de
I'universite jusqu'en 1985 et, compte tenu des faibles ressources financieres a
cet effet, a fait que la collection - aI'egal de celles de bien d'autres institutions
semblables - est loin d'etre representative, meme pas en ce qui est de I'art
canadien des XIXe et XXe siecles. Toutefois, en depit de ces facteurs negatifs, la
collection d'art de Bishop's est I'une des plus riches des Cantons de l'Est. En outre
[56 ]
To help remedy this, a first exhibition of the collection was held in the
former Bishop's/Champlain Art Gallery in 1988. Curated by Christine
Ljungkull, then coordinator of the gallery, the exhibition was accompanied by an illustrated catalogue, which, until now, has stood as the only
visual record of the collection. In the following decade, a new and larger art gallery was built; the collection was enriched by many new acqUisitions; and, largely through the generous endownment of Mr. Lajoie,
several of the older works have been restored. The present exhibition and
its catalogue essay aim to underscore the commitment of Bishop's
University community to the collection, documentation and dissemination of an art compendium of great aesthetic, historical and contemporary significance.
Monique Nadeau-Saumier
Guest Curator
de fournir a nos etudiants un contact immediat avec les oeuvres d'art et les
sources documentaires qui en permettent I'etude, la collection est diffusee en
dehors du campus par Ie pret a plusieurs musees de tableaux, dont quelquesuns ont fait partie d'expositions itinerantes a travers Ie pays.
Toutefois, la collection, dans son ensemble, demeure peu connue. Pour
corriger cette lacune, une premiere exposition de la collection a ete presentee
en 1988 dans I'ancienne Galerie d'art Bishop's/Champlain. Christine ljungkull,
alors coordinatrice de la galerie, a dirige cette presentation qui etait
accompagnee d'un catalogue iIIustre, jusqu'a maintenant, seul dossiervisuel de
la collection d'art. Au cours de la decennie suivante, l'Universite Bishop's s'est
dotee d'une nouvelle galerie d'art, plus vaste et facilement accessible au grand
public. La collection s' est aussi enrichie de nombreuses acquisitions et, grace a
la genereuse dotation de M. Lajoie, plusieurs oeuvres anciennes ont ete
restaurees. La presente exposition et son catalogue ont pour but de souligner
I'engagement de la communaute universitaire de Bishop's a I'egard de la
collection, la documentation et la diffusion d'oeuvres qui constituent un abrege
de I'art d'une grande importance esthetique, historique et contemporaine.
Monique Nadeau-Saumier
Commissaire de I'exposition
[57 ]
Notes
1.
2.
3.
4.
5.
6.
7.
8.
9.
10.
11.
12.
13.
14.
Donald C. Masters & Marjorie W. Masters, Ten Rings on the Oak, 1847-1856:
Mountain-Nicolls Family Story, (Lennoxville: Bishop's University, 1987),58-59.
Ann Thomas, Fact and Fiction: Canadian Painting and Photography, 1860-1900
(Montreal: McCord Museum, 1979), 33.
Ibid., p. 35.
Moncrieff Williamson, Robert Harris 1849-1919 An Unconventional Biography,
(Toronto/Montreal: McClelland and Stewart, 1970),22.
Ibid., p. 141.
Jongers was the most prominent portraitist working in Montreal in the thirties.
His clientele, the elite of Canadian society, must have paid handsomely for his
services; from 1925 to 1945, the year of his death, his studio and living quarters
were in Montreal's Ritz Carlton Hotel.
Christopher Nicholl, Bishop's University 1843-1970, (Montreal & Kingston:
McGill-Queen's University Press, 1994), 184.
Letter by F.O. Lajoie to Principaljewitt, June 11, 1957.
Bishops' Alumni Newsletter, August 1966.
Letter by Wm. Cripps to Philip Scowen, November 22, 1967
Ibid.
Letter by C.I.H. Nicholl to the Art Collection Committee, Nov. 22 1985.
Letter by C.I.H. Nicholl, December 12, 1985.
Gunda Lambton, Stealing the Show: Seven Women artists in Quebec Public Art
(Montreal & Kingston: McGill-Queen's University Press, 1994).
Notes
1.
Donald C. Masters & Ma~orie W. Masters, Ten Rings on the Oak, 1847-1856:
Mountain-Nicolls Family Story, Lennoxville, Universite Bishop's, 1987, p. 58-59.
2.
Ann Thomas, Le reel et I'imaginaire, Peinture et photographie canadiennes 1860-1900,
Montreal, Musee McCord, 1979, p. 33.
3.
Ibid., p. 35.
4.
Moncrieff Williamson, Robert Harris 1849-1919, An Unconventional Biography,
Toronto/Montreal, McClelland and Steward, 1970, p. 22.
5.
Ibid., p. 141.
6. Jongers etait Ie plus eminent portraitiste oeuvrant it Montreal dans les annees '30. Sa
clientele, recrutee chez I'elite de la societe canadienne, devait payer grassement ses
services; de 1925 it 1945, I'annee de son deces, son studio et son appartement
etaient it I'hotel Ritz Carlton de Montreal.
7. Christopher Nicholl, Bishop's University 1843-1970, Montreal/Kingston, McGiIIQueen's University Press, 1994, p. 184.
8. Lettre de F. O. Lajoie au principal Jewitt, 11 juin 1957.
9. Bulletin des Anciens (Alumni Newsletter) de Bishop's, aout 1966.
10. Lettre de William Cripps it Philip Scowen, 22 novembre 1967.
11. Ibid.
12. Lettre de C.I.H. Nicholl au comite de la collection d'art, 22 novembre 1985.
13. Lettre de C.I.H. Nicholl, 12 decembre 1985.
14. Gunda Lambton, Stealing the Show: Seven Women artists in Quebec Public Art,
Montreal/Kingston, McGill-Queen's University Press, 1994.
[58 ]
List of Works
Liste des oeuvres
All dimensions are in centimeters;
height precedes width.
Les dimensions sont donnees en centimetres;
la hauteur precedant la largeur.
Anonymous/ Anonyme
Jasper Hume Nicolls, 1848
Boothroyd, Lois M. (1885-1956)
View of Morris House, ca./v. 1940
watercolour on paper!aquarelle sur
papier
27.8 x 20.7
Gift of/Don de
Eric Boothroyd, 1991
Call, Frank Oliver (1878-1956)
untitled/sans titre, n.d.
oil on canvas/huile sur toile
28.2 x 38.2
Gift of/Don de
Eric Boothroyd, 1991
oil on canvas/huile sur toile
91.4 x 70.5
Circumstances of acquisition
unknown!
circonstances d'acquisition inconnues
Coburn, Frederick Simpson
(1871-1960)
Ballantyne, John S. b./n. 1944
On the Logging Road, Eastern
Townships, 1942
Church Hall, Sutton Junction, 1976
egg tempera on masonite/tempera sur
masonite
84.5 x 84.3
Gift of/Don de
Bishop's Alumni Association,
1978-1979
Bartlett, Charles W.
Java, 1933
print/estampe
18.1 x 27.5
Gift of /Don de
Miss H.E.A. Castle, 1940
After William Bartlett/
0' apres William Bartlett
(1808-1854)
oil on canvas/huile sur toile
59.1 x 86.4
Gift of the Artist/Don de I'artiste, 1942
Garside, Thomas (1906-1980)
Wayside Chat, n.d.
oil on canvas/huile sur toile
45.8 x 61.0
Gift of/Don de
Francis Oswald Lajoie, 1958
Harris, Robert (1849-1919)
Portrait of Richard William Heneker,
1900
oil on canvas/huile sur toile
89.0 x 75.8
Gift of/Don de
Bishop's University Foundation
Lake Memphremagog & Owl's Head
lithography/lithographie
published by/publiee par
Currier & Ives, c./v. 1 860
24.5 x 33.0
Gift of/Don de
Monique Cholette-Scowen and
Philip H. $cowen, 1998
Hatton, William S. (act. 1855-65)
Bishops College, Lennoxville, Quebec,
1863
watercolour on paper!aquarelle sur
papier
26.7 x 36.8
Circumstances of acquisition
unknown/
circonstances d'acquisition inconnues
[61 )
Hornyansky, Nicholas (1896-1965)
St-Andrew's on the Red River,
ca./v.1950
watercolour on paper/aquarelle sur
papier
30.0 x 40.0
Gift of/Don de Canada Carbon and
Ribbon Co., 1957
Jackson, Alexander Young
(1881-1974)
Spring Freshet at Ripon, Quebec, 1959
oil on canvas/huile sur toile
83.0 x 100.6
Gift of/Don de
R.P. Brouse, 1959
Jongers, Alphonse (1872-1945)
Portrait of Chancellor R.A. E.
Greenshields, 1938
oil on canvas/huile sur toile
92.0 x 71.4
Gift of/Don de
Bishop's University Foundation, 1939
Kinsman, Kay (1909-1998)
The Gazebo, Bishop's University, 1995
watercolour and crayons on
paper/aquarelle et craies de couleur
sur papier
38.0 x 48.0
Gift of/Don de
Fondation Belanger/Gardner, 1995
Laliberte, Norman b./n. 1925
The Wedding, 1966
wax pastel and pencil on paper glued
on board/
pastel gras et crayon sur papier
maroufle sur panneau
155.0 x 92.0
Gift of/Don de
Marlon and J.R. Ballantyne, 1967
[62 ]
MacDonald, Thoreau (1901-1989)
Swans on a Showery Evening, 1968
pen and ink on paper/plume et encre
sur papier
41.2 x 44.3
Gift of/Don de
William H. Cripps, 1968
Sr Marie-Anastasie (1909-1989)
Le grainier, 1969
Livre d'artiste,
40.5 x 30.5
Poem by Yves Prefontaine and
7 etchings by Sr. Marie-Anastasie/
Poeme d'Yves Prefontaine et
7 eaux-fortes de Sr Marie-Anastasie
Exemplaire 5/20
Purchase/Achat,
Library Cultural Fund, before/avant
1973
Molina, Valentino (1880-1954)
Portrait of Channell Galbraith Hepburn,
1909
oil on canvas/huile sur toile
92.1 x 66.0
Gift of/Don de
Archdeacon e.G. Hebpurn, 1959
Morgan, David b./n. 1943
Still life, 1989
oil on canvas/huile sur toile
62.3 x 98.0
Purchase/Achat, 1993
Muhlstock, Louis b./n. 1904
Young Woman Sleeping, ca./v. 1960
charcoal, pastel and wash on paper/
fusain, pastel et lavis sur papier
49.5 x 38.8
Gift of the artist/Don de I'artiste, 1990
Newton, Lilias Torrance (1896-1 980)
Portrait of Chancellor F.E. Meredith,
1933
oil on canvas/huile sur toile
127.0 x 102.0
Gift of/Don de
Bishop's University Foundation, 1933
Notman, William (1826-1891)
and John A. Fraser (1838-1898)
Portrait of Chancellor E. Bowen, c./v.
1862
Albumin silver print with watercolour
on wove paper/
epreuve argentique et aquarelle sur
papier
43.5 x 35.0
Gift of/Don de
Bishop's University Foundation, 1860
Onley, Toni b./n. 1928
Silent Two, n.d.
print /estampe
26.8 x 33.0
Gift of/Don de
Dr. Howard Brown, 1990
Oonark, Jessie (1906-1985)1
Nancy Kangeryuaq b./n. 1936
Two Birds Guard Sleeping Kivuik, 1981
print/estampe
95.0 x 64.0
Purchase/Achat, 1982
Richardson, Margaret, W.
(1882-1968)
Phloxes in a Moorcroft Vase, 1941
oil on panel/huile sur panneau
61.0 x 61.0
Gift of the Artist/Don de I'artiste
Rosa, Salvator (1615-1665)
Alexander and Diogene, c./v. 1660
print/estampe
46.5 x 27.8
Purchase/Achat, before/avant 1982
Savoie, Robert b./n. 1939
Senseki, 1 985
watercolour and graphite on paper/
aquarelle et graphite sur papier
117.0 x 116.6
Purchase/Achat, 1986
Sorensen, David b./n. 1937
Gate no. 6, 1986
oil on paper/huile sur papier
96.0 x 147.5
Purchase/Achat, 1985
Steelink, Willem (1856-1928)
Pastoral Scene with Sheep, n.d.
watercolour on paper/aquarelle sur
papier
43.2 x 66.0
Circumstances of acquisition
unknown/
circonstances d'acquisition inconnues
Voyer, Monique, b,/n. 1928
Dyptique medieval, 1992
mixed media/techniques mixtes
66.0 x 127.0
Gift of the artist/Don de I'artiste, 1995
Voyer, Monique, b,/n. 1928
Natalites, 1984
livre d'artiste
28.0 x 30.0
5 poems by Michel Beaulieu and
5 etchings by Monique Voyer/
5 poemes de Michel Beaulieu et
5 eaux-fortes de Monique Voyer
Exemplaire 11/25
Gift of the artist/Don de I'artiste, 1988
Whalley, Peter, b./n. 1921
George Whalley, 1983
bronze/bronze
23.0 x 13.5 x 10.0
Gift of/Don de
Elisabeth Whalley, 1994
Wheeler, Orson S. (1902-1990)
E.E. Boothroyd, c./v. 1939
bronze/bronze
34.3 x 23.5 x 18.3
Gift of/Don de
Bishop's Alumni Association, 1945
[63 ]
Whistler, James McNeill (1834-1903)
The Punt, 1 862
etching, second of four states/
eau-forte, 2e etat sur 4
12.0x16.3
Purchase/Achat, 1985
Wilson, Richard W. (1920-1994)
st.
McGreer Hall and
Mark's Chapel,
from the Quad, 1974
ink and wash on paper/encre et lavis
sur papier
45.0 x 54.8
Gift of/Don de
Bishop's Alumni Association, 1974.
Wolf, Joseph (1820-1 899)
Eup/ocomus Ignitus, Fire Backed
Pheasant, 1872
57.5 x 41,7
Reproduction in Folio, Limited Edition/
Reproduction in-folio tirage restreint,
a
1988
Gift of/Don de
David M. Lank, 1988
Zadorozny, Andre'i M. b./n. 1921
On the Eve of Summer, 1991
watercolour and ink on paper/
aquarelle et encre sur papier
54.4 x 74.1
Gift of/Don de
Martin O'Hara, 1992.
[64 ]