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Item consists of one framed pastel portrait of Elizabeth Wilhelmina (Fisher) Pooley (1849-1932), painted in 1913 by Michael Isaac Cohen.

The painting is a companion to PDP10250, a similar portrait of her husband, Charles Edward Pooley.

Item consists of one framed pastel portrait of Charles Edward Pooley (1845-1912), a miner, lawyer, and MLA in British Columbia. The artist of the portrait is Isaac Michael Cohen.

This painting is a companion piece to PDP10251, a similar portrait of Pooley's wife, Elizabeth (Fisher) Pooley.

This item was originally bound as one page in sketchbook PDP08918 which includes
PDP08919 through PDP08962.

One sketchbook with 30 drawings by Emily Carr. The drawings are of First Nations designs and landscapes including Alert Bay dating from 1930 to 1939. The drawings are copied from illustrations in Franz Boas, Primitive Art, published in Oslo, Norway, 1927. Carr copied them as a means of familiarizing herself with the forms and artistic conventions of First Nations monumental art of the Northwest Coast of British Columbia. Information matching each sketch to a page in Primitive Art was provided by Carr scholar Dr Gerta Moray and is filed in the documentation file for PDP05647.

This item was originally bound as one page in sketchbook PDP05755 which includes PDP05756 to PDP05809.

This illustration by W. S. Hatton was first published in the series, "Sketches in British Columbia," in the Illustrated London News on 17 Dec 1864 (PDP02121, PDP02122, PDP03326, PDP05253, PDP05254).

This illustration by W. S. Hatton was first published in the series, "Sketches in British Columbia," in the Illustrated London News on 17 Dec 1864 (PDP02121, PDP02122, PDP03326, PDP05253, PDP05254).

Item consists of one portrait (engraving) of Dr. John Lindley, British botanist and father of Sarah Crease (Lindley). The portrait was inspired by a similar portrait of Lindley by Charles Fox (PDP00045). A postcard of an older Dr. John Lindley was found when the portrait was removed from its frame and is kept in the PDP file.

Item consists of a three-panel folded booklet with two watercolours and a poem (in two pieces) by Emily Carr, dating from ca. 1902. The booklet describes an adventure she had while sketching in Tregenna Wood at St Ives, Cornwall, England and the images include self portraits. Each aspect of this artwork has been described separately, see: PDP10255; PDP10256; and PDP10257.

This print is part of a set of six art prints (PDP02748-PDP02753) published by Austin Marshall Limited in a series they titled, "Children of the Sun." Each print depicts an original artwork by Mildred Valley Thornton and is accompanied by a description written by Thornton.

The item consists of one watercolour painting by Gwladys Woodward (also spelled Gladys) . The title of the painting is not known but depicts a churchyard. Another painting (PDP10269b) is on the reverse. The painting is not signed.

This painting depicts the laying of railroad track with trains and Vancouver's skyline in the background. The artwork is one of three paintings (PDP02285, PDP02286, PDP05612) created by the commercial artists cooperative, Western Canadian Brotherhood, that replicate three of twelve murals created for the 1939 Golden Gate Exposition in San Francisco. The Ministry of Trade and Industry commissioned the murals and the three reproductions. Created in the style of Mexican mural artists and US Works Progress Administration artists, the murals depict the industries of 1930s British Columbia. Artist E.J. Hughes, Paul Goranson, and Orville Fisher designed the paintings together to ensure consistency; Fisher was the lead artist for this painting.

This painting depicts a shallow interior tunnel, four miners, and the strata of the pit mine in the background. This painting depicts a shallow interior tunnel, four miners, and the strata of the pit mine in the background. The artwork is one of three paintings (PDP02285, PDP02286, PDP05612) created by the commercial artists cooperative, Western Canadian Brotherhood, that replicate three of twelve murals created for the 1939 Golden Gate Exposition in San Francisco. The Ministry of Trade and Industry commissioned the murals and the three reproductions. Created in the style of Mexican mural artists and US Works Progress Administration artists, the murals depict the industries of 1930s British Columbia. Artist E.J. Hughes, Paul Goranson, and Orville Fisher designed the paintings together to ensure consistency. This painting was designed by Goranson and painted by Hughes.

This is one of six illustrations (PDP01874-PDP01879) published in the Canadian Illustrated News on 16 September 1876. They are based on photographs by Stephen Allen Spencer and Noah Shakespeare.

This illustration by W. S. Hatton was first published in the series, "Sketches in British Columbia," in the Illustrated London News on 17 Dec 1864 (PDP02121, PDP02122, PDP03326, PDP05253, PDP05254).

This is one of four illustrations about "the San Juan Boundary Question," published in the illustrated newspaper, The Graphic. All four illustrations (PDP03309-PDP03312) are printed on the same page. The article about the illustrations is included on page 455. While the reference number refers to only one illustration, the entire newspaper has been retained.

This is one of four illustrations about "the San Juan Boundary Question," published in the illustrated newspaper, The Graphic. All four illustrations (PDP03309-PDP03312) are printed on the same page. The article about the illustrations is included on page 455. While the reference number refers to only one illustration, the entire newspaper has been retained.

This illustration was first published in the series, "Sketches in British Columbia," in the Illustrated London News on 5 March 1887 (PDP03328-PDP03330).

This print is part of a set of six art prints (PDP02748-PDP02753) published by Austin Marshall Limited in a series they titled, "Children of the Sun." Each print depicts an original artwork by Mildred Valley Thornton and is accompanied by a description written by Thornton.

This print is part of a set of six art prints (PDP02748-PDP02753) published by Austin Marshall Limited in a series they titled, "Children of the Sun." Each print depicts an original artwork by Mildred Valley Thornton and is accompanied by a description written by Thornton.

This print is part of a set of six art prints (PDP02748-PDP02753) published by Austin Marshall Limited in a series they titled, "Children of the Sun." Each print depicts an original artwork by Mildred Valley Thornton and is accompanied by a description written by Thornton.

This print is part of a set of six art prints (PDP02748-PDP02753) published by Austin Marshall Limited in a series they titled, "Children of the Sun." Each print depicts an original artwork by Mildred Valley Thornton and is accompanied by a description written by Thornton.

File consists of one hardcover sketchbook containing 65 artworks (primarily graphite sketches and one painting) by Max Singleton Maynard. The sketches have been described at the item level and each sketch has been assigned a unique PDP number. In addition to these, there are also sketches on the inside of the front and back covers. The sketch on the inside of the front cover is attached at the file description for the sketchbook. A page has been ripped out between PDP04317 and PDP04318; this page contains partial sketches on the recto and verso. A page has been ripped out between PDP04365 and PDP 04366 but contains no sketches.

Item consists of one handwritten poem in two pieces. The poem is affixed to the centre panel of a three-panel booklet (PDP10254), with two paintings on either side which illustrate the contents of the poem. Transcript of original text:

*I am a Colonial and have heard the English say

• "Colonials have no manners," your advice then lend me pray
• One day my pathway led me into a lonely wood
• T'was far away but fine the day and good
• And yet your English climate is full of whims and so
• Down poured the rain and I must into shelter go
• I meet another student in the same plight as I
• The nearest refuge that we find is but an old pigsty
• A placid Sow lies sleeping upon the scattered straw
• We enter, and take shelter within the open door
• She shares with us her little pen, hospitable and kind
• For full an hour while lasts the shower
• We warmth and shelter find
• Once more into that wood I wend my lonely way
• Once more comes on a heavy shower from the sty I'm far away
• But today I need not flee my umbrella is with me
• Now while I shelter thus enjoy I hear a grunt close by
• Good Mrs. Sow is waddling past the owner of the sty
• The rain is pouring down her back and dropping from her ears
  *And rolling down her fatted cheeks like showers of briny tears
• And this is now my question answear Englishman whilt thow?
• "Should I share my umbrella with that fat and soaking sow?"