RECORDED: [location unknown], 1955 SUMMARY: TRACK 1: J.B. Knowles interview of Walsh, 1955. [TRACK 2: blank.]

Travelogue. Attractions of the Kootenay Lake area. Includes footage of Creston; swimming and boating on Kootenay Lake; ferry to Balfour; the retired sternwheeler "Moyie"; trout fishing; Kokanee Glacier Park campground; Nelson's annual summer curling bonspiel, pancake breakfast and logging sports day, and the Nelson Summer School of Fine Arts (with shots of painting, weaving, pottery and dance).

The item is a release print of a travelogue film from 1961. It shows the attractions of the Kootenay Lake area. Includes footage of Creston; swimming and boating on Kootenay Lake; ferry to Balfour; the retired sternwheeler "Moyie"; trout fishing; Kokanee Glacier Park campground; Nelson's annual summer curling bonspiel, pancake breakfast and logging sports day, and the Nelson Summer School of Fine Arts (with shots of painting, weaving, pottery and dance).

RECORDED: [location unknown], [1961-02?] SUMMARY: [No content summary is available for this interview.]

CALL NUMBER: T3797:0001 RECORDED: Victoria (B.C.), 1961-11 SUMMARY: TRACK 1: Canada's own identity regarding its art. First reactions on coming to Canada, 1913. Move from Winnipeg to Calgary, and teaching at the Banff School of Fine Art. Move to Victoria, 1960. National Gallery first purchased Phillips' watercolours in 1913. Works at Royal Archives. First exhibited by the Royal Academy in 1912. Ideas on etching. His writing career -- "experimental" writings on woodcut technique, illustrations, etc. Newpaper art columnists for 17 years in Winnipeg. TRACK 2: Before coming to Canada: first job at 20 pounds per year. Painting in England; travels to South Africa;, and teaching there. South African influence on his Canadian paintings. Memories of Africa. Return to England -- teaching again, maturing in his painting. Painting of Cornwall. Move to Canada and differences is painting styles, 1914-1924. Painting at Lake of the Woods. Landscape. Similarities to Group of Seven work. Returned to England, 1925, and perfected his colour woodcut techniques. Work with Y. Shibera [?]. Explains colour woodcut technique.

CALL NUMBER: T3797:0002 RECORDED: Victoria (B.C.), 1961-11 SUMMARY: TRACK 1: Continues explanation of colour woodcut technique. Japanese influence in his work. "The Technique of the Colour Woodcut" -- first publication. Feelings on large-scale woodcuts. Use of Japanes;e paper in woodcut printing. Teaching experiences: 20 years at Banff School of Fine Arts. TRACK 2: Robert Guard (now director of the Wisconsin Theatre) a former student of Phillips. Excerpts from his; writing about experiences at Banff School, fellow artists, their works, and their influence on Phillips. Eric Bergman, A.J. Musgrove, Mrs. H. Cottingham, Cyril Barrard, H.B. Fanshaw, Fritz, Brantner, L.L. Fitzgerald, etc. Jack Shafflin, Percy Edwards, Cyril Ashmore -- "Brigden's Boys".

CALL NUMBER: T3797:0003 RECORDED: Victoria (B.C.), 1961-11 SUMMARY: TRACK 1: Brigden Ltd.: history in Winnipeg, commercial engraving house. Son John Phillips' artistic background with Brigden Ltd. Bill Cunningham and other Brigden Boys. Difficulty of making a living ;as an artist in the early days. Painting the Prairies, 1919-1925: favourite spots, familiar landscapes, grain elevators in Port Arthur. Prairie light. Painting in the Maritimes: differences from the Prairies -- weather, climate, etc. Illustrating the book "Dreams of Fort Garry" by Robert Watson. 1929 visit to northeastern Vancouver Island. Paintings and engraving of the Indian population there. T;RACK 2: Comments on Indian art and preservation of Indian culture. Painting on and about Alert Bay. Lamoine Fitzgerald -- his work and style. Fred Varley, Frank Johnson, A.Y. Jackson.;

CALL NUMBER: T3797:0004 RECORDED: Victoria (B.C.), 1961-11 SUMMARY: TRACK 1: Friendship with A.Y. Jackson; his oil painting and association with Brigden's Ltd. Fred Brigden's death. Brigden's painting of Ontario landscape. Visit to Alert Bay and Vancouver Island. Description of the village where he stayed on Cormorant Island. Specific paintings done while there. Characters of the township, subjects for painting, etc. TRACK 2: Emily Carr: thoughts on her painting ;at the time; her difficulty in gaining public acceptance. Phillips' invitation to Carr to show at the Winnipeg Gallery. Phillips' personal thoughts on Carr's work. Other Western painters: W.P. Weston,; J. Macdonald, Varley, Broadbent, Fanshw, etc. Depression years. Jock Macdonald's struggles, and his early years at the Banff School. Lawren Harris -- his early work.

CALL NUMBER: T3797:0005 RECORDED: Victoria (B.C.), 1961-11 SUMMARY: TRACK 1: Lawren Harris: his experimental works and small painting. Thomas Fripp's approach to art in Vancouver, 1920-1930s. His academic training in England and at the Royal Academy. Portrait painter ;Richard Jack, also a member of the Royal Academy. Their meeting at Castle Mountain in the Rockies. Frederick Niven, Duncan Campbell Scott, and other writers, alos at Castle Mountain. John Murray Gibbons. The CPR's collection of Phillips' work, primarily watercolours. His acquiantance with Niven. Phillips' teaching experiences in South Africa. Meeting his wife, Gladys, a former student of Phillips ;in Salisbury. The Phillips' move to Canada. TRACK 2: Richard Jack and Frederick Niven. Phillips illustrates Niven's book "Colour in the Canadian Rockies". Niven's background as a writer, and comments; on some of the paintings for the book. Camping at Lake O'Hara with other painters. Tom McLean -- his acquaintance with Tom Thomson and influence on Thomson's work. Phillips' trend towards the Rockies; in the 1930s. ___, the American who painted the Canadian Rockies but was never admitted to the Royal Canadian Academy. Lawren Harris and Jock Macdonald.

CALL NUMBER: T3797:0006 RECORDED: Victoria (B.C.), 1961-11 SUMMARY: TRACK 1: Phillips' neighbours and acquaintances in Winnipeg. A commission given to Phillips by the Kansas City Woodcutters Society for an original woodcut of Upper Lake Louise, Vista Lake. A discussion of the watercolour medium, his working approach, etc. Clour combinations, make-up of his watercolours, and sources of his dyes, adhesives, etc. Papers. His process of painting: initial sketch, colour sketch in studio, and progress to finished work. Journeys north for the Hudson's Bay Company's commissions by A.Y. Jackson and others. Jackson's studio. George and Kathleen Pepper -- their work. TR;ACK 2: What Phillips looks for in a landscape -- elements, colour, shape, etc. Examples. Peggy's Cove. Adjustments he makes. Approximate time to complete a painting: 10-12 hours. Personal satisfaction from the technique. Painting on impulse. Mixing colours -- making grey. Turner's "washbucket" method.

CALL NUMBER: T3797:0007 - 0009 RECORDED: Victoria (B.C.), 1961-11 SUMMARY: [No content summaries are available for these three tapes.]

Tape summary: T1071:0001 Mr. Anthony Walsh discusses his experiences as a teacher at Inkameep Reserve School near Oliver, 1932 to 1942. He explains how he started teaching; the origin of his interest in Indian culture; his impressions of Inkameep reserve; early work with the Indian children; an Inkameep Christmas card; European interest in the Inkameep artwork; the nature of the children's art; native reactions; to white culture; the children's creative work; the school system; teaching at 6 Mile Creek; approaches to art; conditions on the reserve; why he went to Inkameep and then stayed; a description of Inkameep and the influence of the Old Chief. TRACK 2: Mr. Walsh discusses the North Okanagan reserve; the character and traditions at Inkameep; rock paintings; the school; Indian stories as drama; beginnings of school plays; costumes and masks; performances; evaluation by children of plays; reactions; "Tortoise and Hare" play; the children's reaction to school at various ages; and Chief Baptiste George.

CALL NUMBER: T1071:0002 SUPPLIED TITLE OF TAPE(S): Children's drama, dance, and art on Inkameep Reserve, 1932-1942 RECORDED: [location unknown], 1962-07-04 SUMMARY: TRACK 1: Mr. Walsh discusses how Indian cowboys sang native songs; a contest to collect Indian songs; the development of dances from movements of animals such as the deer dance and butterfly dance; native art forms; a description of costumes; recitals; impression on white people; a "radio studio" at the school; recording at CBC Vancouver; a recital at the opening of Thunderbird Park in Victoria; ;art exhibitions in BC and abroad. TRACK 2: Mr. Walsh discusses the Inkameep nativity play; the story of the play; white interests; the Okanagan Arts and Crafts Society; leaving Inkameep; the effects; of war and how the school closed; the effects of the Inkameep experiment; the conditions on the reserve at the time of the interview; a growing understanding by white people; present problems and how; cooperation with white people is essential.;

CALL NUMBER: T1071:0003 track 1 SUPPLIED TITLE OF TAPE(S): A visit with Emily Carr, and experience as a teacher on an Indian reserve RECORDED: [location unknown], 1962-07-04 SUMMARY: TRACK 1: Anthony Walsh discusses his visit with Emily Carr in 1939 or 1940, and their discussion of art and native culture; reflections on his Inkameep experience as the "richest part of my life"; the teacher/pupil relationship; growth from early failures; relations with adult Indians; a comparison of Okanagan Indian culture to other Indian cultures; how Okanagan culture has changed.

SUPPLIED TITLE OF TAPE(S): An Okanagan visit RECORDED: [location unknown], 1969 [summer] SUMMARY: TRACK 1: This interview by Imbert Orchard was conducted in the summer of 1969 and given the title "An Okanagan Visit". It deals with Mr. Anthony Walsh's teaching career at Inkameep Reserve School whe;re he encouraged arts and culture in First Nations students. He discusses coming back to the Okanagan after leaving in 1942; the vineyards on Inkameep reserve; the decline in students since the 1950s;. He states that Chief Baptiste George's death in the 1950s led to slippage in the natives' quality of life; and discusses the impact of Alcoholics Anonymous. Mr. Walsh describes changes in the Okana;gan and the appeal of different places; his own life; his enjoyment of solitude and his creative endeavors. Mr. Walsh criticizes white people; comments on inspections of his work by the federal gover;nment, and notes how he was able to win the confidence of the children. Mr. Walsh recounts his own background, including upbringing in Ireland and Scotland; how he acquired his teaching position; his; abilities as an art teacher, and his desire to give a sense of the past to the children of the Okanagan. [TRACK 2: blank.];

RECORDED: Burnaby (B.C.), 1972-05-28 SUMMARY: In an interview with Virgil Hammock (Associate Professor in the School of Art, University of Manitoba), Vancouver painter Jack Shadbolt discusses his development as an artist.;

The item is a copy of "The study of art in Canadian universities." by Arvid J. Grants. The author analyzes the study of art in Canadian universities, calls for re-evaluation of the teaching of art and art history and proposes an emphasis on the study of native and ethnic trends in Canadian Art.

The fonds consists of the records of the Western Council of Arts in Education Associations (which also operated as Arts in Education Council of B.C.). The Council advocated for fine arts instruction in schools, sponsored programs and activities for teachers and students, and prepared reports and publications for submission to government and commissions. These activities are documented in the records, which consist of board minutes, publications and newsletters, reports, surveys, projects, and correspondence.

SUPPLIED TITLE OF TAPE(S): Interview with Jack Shadbolt -- Vancouver Art Gallery exhibition, 1978 RECORDED: Vancouver (B.C.), 1978-03-31 & 04-30 SUMMARY: An interview with Vancouver artist Jack Shadbolt, recorded in connection with the exhibition "Shadbolt: Seven Years" at the Vancouver Art Gallery. He discusses his life, training, career, experience a;nd works. T3088:0001 - 0002 were recorded at the Vancouver Art Gallery; T3088:0003 - 0006 were recorded at Shadbolt's studio.;

CALL NUMBER: T3796:0001 RECORDED: Toronto (Ont.), 1979-08 SUMMARY: Born in Russia in 1919, of Jewish decent; persecution resulting from the revolution; emigrated to Edmonton, Alberta in 1924 with sponsorship from uncle; beginning interests in art through encouragemen;t by early teachers; Jewish upbringing in Edmonton and failure at high school art education class; influenced by works of Wilson Steer, David Coy and other English watercolour painters; winning of Car;negie scholarship to Banff School of Fine Arts in 1936/37. Lack of success due to individualist tendencies; first individual showing in Edmonton; travels to England in 1938 via cattle trains, hitchhi;king and finally a cattle boat. Short stay beforehand in Montreal with a madam of a local whorehouse; landing in Glasgow, then travels and stay in London.; CALL NUMBER: T3796:0002 RECORDED: Toronto (Ont.), 1979-08 SUMMARY: Life in London; painting and sketching around the city; underground painting and socializing in Soho; showing with the prestigious New English Art Club; quick rise to prominence within the art world; ;sponsorship by a major gallery for a trip to southern France; painted cityscapes in France's main centres; returned to England, then back to Canada; obtained and developed a great knowledge of art and; artists of the time. 1940 show at the Vancouver Art Gallery and a short stay in Vancouver; return to Edmonton; lecture circuits; pranks and practical jokes while lecturing to keep listeners attentio;n; Work as a shoe salesman in Edmonton, enlistment in the army; army tales and anecdotes; trip to New York for courses in anatomy and figure sketching for a two year stay; teaching and instruction at; the Ontario College of Art.; CALL NUMBER: T3796:0003 RECORDED: Toronto (Ont.), 1979-08 SUMMARY: See file for a list of paintings commented upon by the artist.; CALL NUMBER: T3796:0004 RECORDED: Toronto (Ont.), 1979-08 SUMMARY: See file for a list of paintings commented upon by the artist.;

CALL NUMBER: T3088:0010 SUPPLIED TITLE OF TAPE(S): An artist's summer SUMMARY: Appears to be a radio documentary about painter Jack Shadbolt. No content summary is available.;

CALL NUMBER: T3088:0011 SUPPLIED TITLE OF TAPE(S): An artist's summer : [out-takes] SUMMARY: Out-takes from the above program.;

RECORDED: Victoria (B.C.), 1980-04-26 SUMMARY: Painter Jack Shadbolt discusses his life and his training and development as an artist.;

SUPPLIED TITLE OF TAPE(S): Women artists in B.C. : Ina Uhthoff RECORDED: Victoria (B.C.), 1984-04-11 SUMMARY: TRACK 1: John Uhthoff discusses his mother, artist Ina Uhthoff: her youth, growing up in Glasgow; seeing her father's ghost; coming to Canada (Kootenays) to visit friends pre WW I; marriage to Edward Uhtoff (ca. 1919); WW I years; birth of son, 1920; residing in Crawford Bay, Kootenays; 1925, separation of Ina and Edward, she settled in Victoria; Victoria School of Art; Kingston Street School; teaching pottery; closing Victoria School of Art (ca. WW II); correspondence courses; columns for 'Daily Colonist'; contacts with local artists; admired Emily Carr's work; her own acceptance in art community; experimentation; contact with John Kyle; taught at Shawnigan Lake School for Girls. TRACK 2: Involvement with Victoria Art Gallery. Painted until ca. 1965. (End of interview)