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RECORDED: [location unknown], [ca. 1975] SUMMARY: Four eight-minute documentaries about four Okanagan Valley artists -- Norman Cryderman of Penticton, Percie Ritchie and Betty Warnock of Naramata, and Irvine Adams of Summerland.;

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

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.;

RECORDED: [location unknown], 1976-11-02 SUMMARY: TRACK 1: Max Stern's first contact with Emily Carr, 1944. Description of Carr's workshop. Arrangements for the Montreal exhibition of Carr's paintings at the Dominion Gallery, Montreal, 1944. The choice of paintings for the exhibition. Stern's own background in art history. Description of the Carr exhibition. Sales from the show. Stern's description of Carr. Their friendship. Stern acted as sales agent for the Carr estate after Carr's death in 1945. The role of Ira Dilworth. Value of Carr's paintings in 1944. Stern's assessment of Carr's place in Canadian and world art history. Comments on the Carr Arts Centre, Victoria. Carr's character. Carr compared to other artists. TRACK 2: Discussion of Carr's painting of Juan de Fuca Strait. Carr's education and training. Influences on Carr, especially in the period 1911-1914. (End of interview)

SUMMARY: "Between Ourselves" was a weekly series of hour-long radio programs that presented Canada to Canadians. It featured aspects of Canadian life in docudramas, plays, music, and interviews, originating from different regions of Canada. The series ran from 1966 to 1979. This episode features two items inspired by Emily Carr. Part 1: Recollections by three women who knew Carr -- Kate Mather, Edythe Hembroff-Schleicher, and Flora Hamilton Burns. Part 2: A performance of Jean Coulthard's composition "The Pines of Emily Carr" for narrator (mezzo soprano) and small chamber ensemble.

The item is a microfiche copy of a thesis by Ann Thomas titled "The role of photography in Canadian painting 1860-1900: relationships between the photographic image and a style of realism in painting." 1976. viii, 106 leaves: illus. Thesis (M.F.A.), Concordia University, 1976. Bibliography: leaves 100-106. Canadian theses on microfiche, 33171.

The item is a microfiche copy of a thesis by Mary Christine Sparling titled "The British vision in Nova Scotia, 1749-1848." What views the artists reflected and reinforced. ii, 186 pages: illus. Thesis (M.A.), Dalhousie University, 1978. Bibliography: pages 181-183.

PERIOD COVERED: ;1903;-;1982 SUMMARY: Fredelle (Bruser) Maynard and Rona Maynard discuss the life and work of Canadian artist Max Singleton Maynard, including the current "Landscape as Metaphor" exhibition of his work at the Art Gallery of Greater Victoria.

RECORDED: [location unknown], 1979-07-27 SUMMARY: In an interview with Patricia Salmon, painter E.J. Hughes discusses his family background, his development and career as a painter, his experiences as a war artist, and his post-war years living in Shawnigan Lake and Cobble Hill.

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.]

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

RECORDED: [location unknown], 1962-04 SUMMARY: [No content summary is available for this interview.]

RECORDED: Williams Lake (B.C.), 1975-06-30 SUMMARY: An oral history interview with Vivien E. Cowan of Williams Lake, who discusses her art studies, starting the Cariboo Art Society in 1945, painter A.Y. Jackson, and other topics.;

CALL NUMBER: T1642:0002 - 0003 SUPPLIED TITLE OF TAPE(S): Discussion of 1930s sketch books RECORDED: Victoria (B.C.), 1978-11 SUMMARY: Mr. Maynard discusses his sketchbooks from the 1930s: how he began these sketchbooks in 1932, the year of his marriage to Evelyn Wheeler; the influence of the Group of Seven on his work- Hauser's book, exhibition at Vancouver Art Gallery; goals and aims of the Group of Seven; interest in nature dating back to childhood, and work of Emily Carr; writing poems on assigned topics with Roy Daniels. Maynard talks about his time in Sussex in southern England, and his experience with nature there. Maynard says he often painted earlier sketches in waves of nostalgia for B.C. while living elsewhere. Maynard discusses various sketches and what was going on when he was completing them. CALL NUMBER: T1642:0004 SUPPLIED TITLE OF TAPE(S): Interview with Max Maynard RECORDED: Victoria (B.C.), 1978-11 SUMMARY: TRACK 1: Mr. Maynard discusses personal and family background: born December 30th, 1903 in southern India; father's involvement with organizing the Indian village- schools, clinics; learning Tamil as a child; father and mother both part of Salvation Army attempt (led by General Booth) to Christianize India; parents marry and become involved with Plymouth Brethren in another part of India; his father's sisters and their influence on his life. Maynard starts painting at age 8 or 9. Further discusses his aunts, paternal grandfather and grandmother, father's time in India (40 years). Maynard and family came to Canada in about 1912. Came to Victoria because of a correspondent of his mother's. Settled in Oaklands district; rural area at that time. Father returned to India for a time after the family was in Victoria. Discusses his father's firm hand in ruling the Indians in India. TRACK 2: Further discusses his father's dealing with Indians in the village in India of which he was in charge; his father's attitudes towards India and its inhabitants. Describes neighbouring family on Shakespeare Street, the Brands, from Scotland: both Brand parents died, so Maynard's parents had to take in 2 of their 5 children. Discusses family memories: difference between his Victorian aunts and cold but intelligent mother; effect of separation due to schooling on his siblings; brother Theodore's conversion to Catholicism and his mother's distress over this. Discusses his schooling career: Grey's School in Conoor, India; King Charles School, England; George Jay, Oaklands, Victoria; Oaklands school, Victoria; Victoria High School; normal school; UBC. Took a couple of years off in high school to do odd jobs, including being a cowboy in central B.C. Meeting Ira Dilworth at Victoria High School. CALL NUMBER: T1642:0005 SUPPLIED TITLE OF TAPE(S): Interview with Max Maynard RECORDED: Victoria (B.C.), 1978-11 SUMMARY: TRACK 1: Falling out with Ira Dilworth over T.S. Eliot's "Wasteland" and disagreement over work of Emily Carr. (Maynard liked Carr's work well before Dilworth saw the value in it). TRACK 2: Mr. Maynard discusses the role of organized religion in his life: going to church, morning prayers; Bible class. Effect of organized religion on his later life: became familiar with philosophic ideas; reading of religious works on Sundays. Talks about his father's role in the Plymouth Brethren congregation in Victoria. Ira Dilworth as a teacher, and the influence of Dilworth on his life. CALL NUMBER: T1642:0006 SUPPLIED TITLE OF TAPE(S): Interview with Max Maynard RECORDED: Victoria (B.C.), 1978-11 SUMMARY: TRACK 1: Going to the B.C. Normal School to become an elementary school teacher. First job as a vice-principal in Rutland (a small town in the Okanagan Valley): anecdotes about living and social conditions there. No drawings in Rutland, or at Normal School, or even at high school (one drawing class though). Drew the picture on the front of the Camosun magazine as its editor when he was in his final year at high school. After Rutland, Maynard left teaching and did a variety of labouring jobs: during this time, he had a sort of 'vision' that he would be an artist one day. Wanted to both write and paint. First exhibition of Maynard's work at Island Arts and Crafts Show in 1928. Discusses relationship with Emily Carr: cordial at first, deteriorates after Maynard offers criticism of Carr's work. Describes Emily Carr's studio and personality. TRACK 2: More on Emily Carr: not an intellectual or lover of modern art; typical evening at Emily Carr's; wife Evelyn's relationship with Emily Carr; Carr's reluctance to take criticism; Carr's accusation that Maynard copied or stole her ideas; termination of friendship when Maynard was director of Vancouver Art Gallery; sketching with Carr in Metchosin; Carr's relationships with members of the Group of Seven, particularly Lawren Harris; Carr's understanding of nature. Maynard discusses Emily Carr's "gushing sentimentality" in writing and even painting. CALL NUMBER: T1642:0007 SUPPLIED TITLE OF TAPE(S): Interview with Max Maynard RECORDED: Victoria (B.C.), 1978-11 SUMMARY: TRACK 1: Mr. Maynard discusses the chronology of his life after his year at Rutland. Talks about Victoria College year, 1926-7: friendships from this time (Jack Shadbolt, John Macdonald, Sidney Pettit;); getting to know professor Jeanette Cann; experiences going to school in a castle (Victoria College was in Craigdarroch Castle at this time); living on Caledonia Avenue during this time with family; acquaintance with Edith Hembroff. Discusses further his friends from this time period. Teaching at Lampson Street School: embarrassed to be teaching grade 3. TRACK 2: More on grade 3 class at Lampson Street School: staying with them for three years; later meeting up with one of his students; letting children sketch outdoors; taking the class swimming at Crystal Gardens. Racial discrimination. Going to UBC in 1935-37 to finish his BA which he started while a teacher at Lampson Street: interest in 18th century literature and philosophy. Sketching Point Grey area while at UBC. Painting and studio space.

PERIOD COVERED: ;1930;-;1982 RECORDED: Victoria (B.C.), 1983-05-05 SUMMARY: A talk given by Gwladys Downes to open the Art Gallery of Greater Victoria's exhibition, "Max Maynard: Landscape as Metaphor", 03-May-1983.;

SUPPLIED TITLE OF TAPE(S): Max Maynard Reception RECORDED: Victoria (B.C.), 1983-05-06 SUMMARY: Fredelle Maynard and Frederick Brand recall Canadian painter Max Maynard.;

CALL NUMBER: T4143:0001 SUPPLIED TITLE OF TAPE(S): An artist's training RECORDED: [location unknown], 1984-05-10 & 24 SUMMARY: Jean Gow describes background: born in Aldershot, England, 1903; father an M.D. (later with Canadian Army Medical Corps); came to Victoria 1910; attended St. Margaret's School; attended Royal Drawing ;Society classes in Bournemoth, England; art training in Victoria; lessons with Miss Kitto; art instruction at St. Margaret's School; always wanted to be an illustrator. Discussion of Royal Drawing Soc;iety program and training. Why she wanted to be an illustrator. Returned from England (art school) ca. 1926. Taught night school art in Victoria, 1920s; taught applied art and design; taught Carmichae;l silversmiths. "The Esquimalt Group" of artists. Had studio in Victoria, 1923, with Faith Fell. Describes spring "fete" at Pemberton's "Mount Joy" house. More on the Esquimalt Group, 1924-1929.; CALL NUMBER: T4143:0002 SUPPLIED TITLE OF TAPE(S): Life of Jean Donald Gow (part 1) RECORDED: [location unknown], 1984-05-10 & 24 SUMMARY: More on Esquimalt Group. Bertram Digby Robinson described. Robinson's pictures and their unusual exhibition. Attitudes towards the arts, ca 1920s. Robinson's "Little House Behind the Hedge". B.D. Robi;nson was a private secretary at Yarrows shipyard, Esquimalt. Gow's first encounter with the Esquimalt Group. A typical Sunday session of Esquimalt Group. Role of Archibald Fairbairn in the group; Hele;n Streatfield also a member. "Philosophy" of group. The group followed no school. Gow exhibited with B.C. Society of Artists. The group not influenced by Group of Seven. Anecdote about Emily Carr and ;the Island Arts and Crafts Society: Gow's painting hung behind tea room door at Island Arts and Crafts Society exhibition. Attitude of Esquimalt Group to the IAC Society whom they refer to as the "Scr;ambled Egg Society".; CALL NUMBER: T4143:0003 - 0006 RECORDED: [location unknown], 1984-05-10 & 24 SUMMARY: [No content summaries are available for these four tapes.];

SUPPLIED TITLE OF TAPE(S): Jean Donald Gow : discussion of 1920s sketchbook [MS-3346.3] RECORDED: Victoria (B.C.), 1984-05-10 & 24 SUMMARY: Jean Donald Gow discuses her life and art.

RECORDED: [location unknown], 1965-02-25 SUMMARY: TRACK 1: Mr. Guy Collings discusses his father, artist Charles John Collings, who came to Canada from England in 1910 to paint; their background in England; more on the life of his father; advertising in England to come to Canada; details on his father's paintings and painting supplies; what Sicamous was like when he arrived; details on the Seymour Arm; going back to England in 1920 with the intention of staying until his brother contracted rheumatic fever and they had to come back; the fruit season and canning small fruits; and people who lived in the area. TRACK 2: Mr. Collings continues ;by discussing the quietness of life in the area; how their parents liked living in the area; land cleared in the area; irrigation and planting fruit trees.

CALL NUMBER: T1286:0001 RECORDED: [location unknown], 1962-05-18 SUMMARY: TRACK 1: Miss Burns talks about Emily Carr's early years in James Bay; the Richard Carr family and house; recollections of the Carr family; Emily's art education; Emily's first contacts with the Indi;ans in 1898; her studies in France; her trips to northern BC and the exhibition in Victoria where no recognition was given to her work. TRACK 2: Miss Burns continues with her discussion about Emily ;Carr; her art; her financial problems and frustrations; Marius Barbeau's interest in her art; recognition from eastern Canada in the 1920's; trips east and further visits to the Indians on the coast; ;her pottery; hooked rugs; dog breeding; pets; her first writings; her holidays; her friendship with Miss Burns; her personality; appearance and attitudes; artistic isolation; and her love of the west.

CALL NUMBER: T1286:0002 RECORDED: [location unknown], 1962-05-18 SUMMARY: TRACK 1: Miss Burns discusses Emily Carr's religious beliefs; her attitudes towards the Indians' religious beliefs and philosophy of nature; her painting and sketching of the BC landscape; Eric Newton's opinion of her; her later work and ill health. TRACK 2: Miss Burns describes the arrival of her grandfather, William John Macdonald, in Victoria in 1851 to work for the Hudson's Bay Company; her; grandmother, Catherine Reid; her grandfather's work; his role as gold commissioner, collector of customs, and post master; his importing and exporting business; the family's trip to Scotland; W.J. Macdonald's political career; his position as Senator from Vancouver Island in 1872; his appearance; her grandmother's family; "Armadale", the family estate in James Bay, and the subdivision of the property.

CALL NUMBER: T1286:0003 RECORDED: [location unknown], 1962-05-18 SUMMARY: TRACK 1: Miss Burns talks about Senator Macdonald's trips to England; his homes in Victoria; social life at "Armadale"; garden parties; entertaining the navy; and the Burns family. [TRACK 2: blank.]

CALL NUMBER: T1323:0001 RECORDED: [location unknown], 1962-05-18 SUMMARY: TRACK 1: Miss Clay discusses her impressions of Emily Carr; incidents; visits to Emily by Jack Humphrey and George Clutesi; Victoria's attitude to Emily; reaction to Emily's writings; the Carr family; Emily's house and her painting, "Vanquished", displayed at the International Federation of Business and Professional Women's Clubs. TRACK 2: Miss Clay continues with her discussion about Emily Car;r's religious beliefs; recollections of James Bay; Agnes Deans Cameron; Englishness of Victoria; Victoria in 1962; and an anecdote about Emily Carr.

CALL NUMBER: T1323:0002 RECORDED: [location unknown], 1962-05-18 SUMMARY: TRACK 1: Miss Clay talks about the Victoria Public Library and its history; Helen Gordon Stewart; the children's section of the library and interesting visitors. [TRACK 2: blank.]

CALL NUMBER: T0848:0001 RECORDED: [location unknown], [196-] SUMMARY: TRACK 1: George Clutesi and his sister Annie Hayes discuss the procedure of the potlatch; the function of potlatches; Indian society; the potlatch and the Indian philosophy of giving; a description of a visitor's arrival; greetings; and gifts. TRACK 2: The discussion about the potlatch continues. Longhouse decorations; lighting; songs and dances; the welcoming song; special songs and dances; the Sea Serpent Dance; costumes; the War Dance; victory and celebration songs; farewell dance and song; the potlatch and Indian society.

CALL NUMBER: T0848:0002 RECORDED: [location unknown], [196-] SUMMARY: TRACK 1: George Clutesi and Annie Hayes discuss the impact of the church and mission schools on Indian society, and the suppression of native culture. They speak of their own father and his role in the preservation of traditions, and the teaching of Indian culture and religion. They also discuss the "secret potlatch" of 1925. and Mr. Clutesi's presentation to the Massey Commission in 1949. TRACK 2: Mr. Clutesi recalls the early meetings held to revive native music and culture at Alberni; the teachings of Tutimias "Gus"; the establishment of the dancing and singing group, Somass Native Echoes; performances for Princess Elizabeth in 1951; folk festivals; performances; costumes; gathering cedar bark for costumes; and the BC Centennial celebrations in 1958.

CALL NUMBER: T0848:0003 track 1 RECORDED: [location unknown], [196-] SUMMARY: TRACK 1: Mr. Clutesi discusses the future of his dance group, Somass Native Echoes, and the need for ethnic pride. [ca. 10 minutes]. CALL NUMBER: T0848:0003 track 2 RECORDED: [location unknown], 1961-06-01 SUMMARY: TRACK 2: Mr. Clutesi recalls the loneliness and fear in his early days at the Alberni residential school; his school experiences; and his changing attitudes toward his home and his native culture. He; mentions his increased appreciation of the native culture, and their philosophy of giving; the improvements made in native education and the establishment of their own school system; and the emphasis; on culture.

CALL NUMBER: T0848:0004 track 1 RECORDED: [location unknown], 1961-06-01 SUMMARY: TRACK 1: Mr. Clutesi tells the traditional story of Master Deer's encounter with the Wolf People. CALL NUMBER: T0848:0004 track 2 RECORDED: [location unknown], 1965-08-10 SUMMARY: TRACK 2: Mr. Clutesi recalls how Anthony Walsh inspired him to continue his career as an artist and to exhibit his paintings. Mr. Clutesi recalls his acquaintance with Ira Dilworth, Lawren Harris an;d Emily Carr. He describes his meetings with Emily Carr, and her influences. He discusses the Indian artist's approach to his work.

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.;

SUMMARY: In an interview with Imbert Orchard, Toronto artist Eric Freifeld talks about his early life. He was born in Russia and grew up in Edmonton, Alberta.;

SUPPLIED TITLE OF TAPE(S): Reflections 1 & 2, 3 & 4 SUMMARY: "A response in sound to three paintings by Jack Shadbolt, based on talks with Jack Shadbolt in April 1978 at the Vancouver Art Gallery exhibition of his work.";

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: T1317:0001
PERIOD COVERED: 1924-1945
RECORDED: [location unknown], [1957-10?]
SUMMARY: TRACK 1: Kate Mather describes meeting Emily Carr in 1924, and her life as a boarder in Emily Carr's House of All Sorts. She describes Emily Carr's character; her living conditions; her pets; her art; incidents with the boarders; the lack of recognition of her talent; her writing; and recognition in later life. [TRACK 2: blank.];

CALL NUMBER: T1317:0002
SUMMARY: TRACK 1: This tape is an edited version of T1317:0001 (above) that may have formed part of the radio program "Living Memory: Emily Carr in Victoria" (see T3240:0001). This version lacks the interviewer's questions -- and perhaps some of Mrs. Mather's recollections as well, since it is considerably shorter, focusing on Carr's art and its eventual recognition. [TRACK 2: blank.]

SUMMARY: "CBC Wednesday Night" was a multi-part series that featured performances of classical music, opera, drama, as well as readings, documentaries and talks. It ran from the early 1950s to October 27, 1963; in the 7:30 to 11:00 p.m. time slot. This episode is a documentary portrait of Emily Carr -- painter of the British Columbia forest, writer, eccentric -- and by some called a genius. Includes excerpts from interviews with Flora Hamilton Burns, Margaret Clay, Ira Dilworth, Laura Jamieson, Kate Mather, Edith Rive, ethnographer Marius Barbeau, art dealer Max Stern, and painters Arthur Lismer, A.Y. Jackson and Lawren Harris.

SUMMARY: Speech by A.Y. Jackson, artist and member of the Group of Seven, introduced by Mollie Lamb, artist, about: the Group of Seven; Canadian identification with European art; A.Y. Jackson, studying art in Paris; Lawren Harris, viewing art as a mission, his optimism, as guiding spirit of the Group of Seven; lack of human identification in the art of the Group of Seven; Tom Thomson, as heroic figure, his; knowledge of the North; A.Y. Jackson, painting in the Georgian Bay area, exploring, naming lakes after critics of his art, his trip to the Arctic with Dr. Banting and Lawren Harris, painting in Quebec; Franklin Carmichael, his emphasis on art design, his lyrical painting; the National Gallery's support for the Group of Seven; American and British praise for their art, Canadian criticism of their ;art; freedom of expression in art; Group of Seven, their influence upon Canadian art. <1h 13mn> [Summary from Library and Archives Canada's on-line description]