Bulletin 22, 1973

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Foreign Art at the Canadian National Exhibition 1905-1938

by Sybille Pantazzi

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Notes

24 Paul George Konody (1872-1933), a well known art critic, was the Art Director of the C. W. M. from 1916 to 1919. He was also connected with the British Pavillon at the Venice Biennale. For his role and influence in forming the most representative collection of modern English paintings of its day, see R. F. Wodehouse, "The C. W. M. collection at Ottawa," Studio International, vol. 176 (1968), p. 235 and the same author's A Check List of the War Collections (Ottawa: The National Gallery of Canada, 1968), pp. 3 ff.

For information on the exhibition of the C. W. M. at the C. N. E., see the C. N. E. (D. F. A.) catalogue, 1919, p. 7 and The Toronto Daily Star, 28 August 1920, p. 9. No catalogues of the C. W. M. exhibitions at the C. N. E. seem to have been issued. Instead, two catalogues which were published "under the direction [of the] Canadian War Records Office," apparently accompanied the exhibitions of the C. W. M. in New York, Toronto, and Montreal in 1919 and 1920. They contain no indication of the cities where the exhibitions were held, apart from advertisements of New York, Toronto, and Montreal firms. For the itinerary of these exhibitions, see the catalogue of the C. W. M. exhibition, held at the A. G. T. in October 1926 (p. 3) and Wodehouse, A Check List of the War Collections (loc. cit.) (p. 5). The 1919 C. W. M. catalogue (Ottawa: The National Gallery of Canada) lists a first group of 447 works by British and Canadian artists and is not illustrated. The 1920 catalogue (second group) lists 245 works and has fourteen unnumbered illustrations which include works by Kennington, Paul Nash, William Rothenstein, Bomberg, etc.

I am indebted to Major Wodehouse for his advice and help in connection with this subject.

25 Saturday Night, 28 August 1926.

26 Franz Johnston, The Globe and Mail, 25 August 1934.

27 C. N. E. (D. F. A.) catalogue, 1913, p. 79.

28 Fourteen of his portraits of Spanish literary figures, commissioned by Archer Milton Huntington, now in the collection of the Hispanic Society, New York, are illustrated in Apollo (April 1972). pp. 310-317.

29 Christian Brinton, Impressions of the Art at the Panama - Pacific Exposition (New York : John Lane, 1916), p. 142.

30 C. N. E. (D. F. A.) catalogue, p. 32.

31 H. G. Kettle, Saturday Night, 3 September 1938, pp. 2, 5 and 10 September 1938, p. 10.

32 Canadian Forum, vol. VII, no.80 (May 1927), p. 228. Excerpts from other favourable Comments (The Globe and Mail and Saturday Night), as well as from unfavourable ones (The Telegram and The Toronto Daily Star) on the Société Anonyme exhibition, are quoted in the A. G. T. Bulletin, vol. I, no.3 (November 1927), p. 4.

33 It had tripled since 1903, when the attendance was 527, 320. These figures are from the C. N. E. Souvenir Catalogue and Programme, 1927, p. 23.

34 H. B. Joseph, "The Exhibition," The Canadian Magazine, vol. XLVII (1916), p. 289,

35. See also Gagen, op. cit., p. 86, who quotes the text of a letter dated 25 April 1902, addressed to him by H. J. Hill, Manager and Secretary of the C. N. E.

36 A typed "Inventory of Pictures purchased by the C. N. E. and loaned to the A. G. T.," dated 1 June 1936, gives the value of the works in all media deposited between 1912 and 1929 as 
$ 59,410.54 (A. G. O., Registrar's files).

37 The Toronto Daily Star, 4 November 1922.

38 In the captions for illustrations, Art Gallery of Ontario stands for "Collection Art Gallery of Ontario. Gift of the Canadian National Exhibition, 1965."

39 The seven paintings were by the following artists: Georges-Henri Bréard, Paul Dougherty, R. G. Goodman, W. Lee-Hankey, Alexandre Marcette, and Luis Francis Mora.

40 Apparently this trend has not been reversed; cf James Lorimer, The Globe and Mail, 17 March 1973, p. 7, who remarks that today the C. N. E. mainly at tracts the working class and children.

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