Acknowledgements
From the Art Canada Institute
The Art Canada Institute gratefully acknowledges the generosity of Power Corporation of Canada, Season Sponsor, 2025–2026 Publications.
We thank the Founding Sponsor of the Art Canada Institute: BMO Financial Group.
Jane Curley, historian of the Onteora Club in New York State, inadvertently kick-started this project two decades ago when she warmly welcomed me on my first visit to the club where George Agnew Reid had summered for twenty-five years, during which he designed several still-standing buildings. In the years since that visit, many librarians, archivists, historians, and curators have helped me chase down difficult leads. Special thanks go to Séverine Roseau (Paris Hôtel de Ville); Paul Sharkey (City of Toronto Archives); Scott James (Arts & Letters Club of Toronto); Marilyn Nazar (Art Gallery of Ontario); Heather Pigat (Ontario College of Art and Design University); Julie Bronson (Art Gallery of Hamilton); Janet M. Braide (independent historian/curator); and Bob Stevenson and Alison Garwood-Jones (Toronto Sailing & Canoe Club). I’ve also relied heavily on the cornerstone publications of the three scholars who wrote the most authoritative texts on George Reid: Muriel Miller (1946 and 1987), Eva Major-Marothy (1984), and Christine Boyanoski (1987). Last but never least, this book has benefited immeasurably from the criticism of Charles C. Hill, who made his voluminous George Reid files available to me to work through over a period of many months, and whose encyclopedic knowledge of Canadian art never fails to amaze.
At the Art Canada Institute, Sara Angel, Annie Champagne, Emma Doubt, Tara Ng, Victoria Nolte, and all other members of the ACI team who worked on this book have been wonderfully supportive. Sarah Brohman was a model editor, with her insightful suggestions and the respectful collaboration that she maintained between author and editor. I am also extremely grateful to Power Corporation of Canada, Season Sponsor, 2025–2026 Publications.
This book is fondly dedicated to Beverly and the late Fred Schaeffer: two perceptive and unfailingly generous believers in George Agnew Reid’s work.
IMAGE SOURCES
Every effort has been made to secure permissions for all copyrighted material. The Art Canada Institute will gladly correct any errors or omissions.
The Art Canada Institute thanks the following for their assistance: Alan Klinkhoff Gallery (Alan Klinkhoff); Ann Arbor District Library (Amy Cantú); Art Gallery of Hamilton (Stine Danielle); Art Gallery of Ontario (Alexandra Cousins); Art Resource (John Benicewicz); Arts & Letters Club of Toronto Archives (Scott James); Canadian War Museum (Shannyn Johnson); City of Toronto (Amelia Pettit and Emily Ricketts); City of Toronto Archives (Ariella Elema); Confederation Centre Art Gallery (Kathleen MacKinnon); Copyright Visual Arts (Liana Miles); Cowley Abbott Fine Art (Julia De Kwant); Estate of Lawren S. Harris (Stew Sheppard); Government of Ontario Art Collection (Lani Kopczinski); Grand Rapids Art Museum (Julie Walser); Heffel Fine Art Auction House (Martie Giefert and Molly Tonken); Jarvis Collegiate Institute (Stephen Bain); Library and Archives Canada / Chislehurst Digitization Inc. (Jacqueline M.E. Vincent); McMaster Museum of Art (Julie Bronson); Montreal Museum of Fine Arts (Marie-Claude Saia); Museum London (Krista Hamlin); National Gallery of Canada (Laurence Breault and Geneviève Daigneault); National Trust Images (Jennifer Smith); Nipissing University (Ed Driedger); OCAD University Archives (Madeleine Bognar); Ontario College of Art and Design University Collection (Heather Pigat and Ryan Rice); Power Corporation Canada (Paul Marechal); Toronto Public Library (Allison Lennox, Nicole Lovenjak, Davidson Nguyen, and Craig Todd-Langille); University College Collection (Alex King); Victoria University, University of Toronto (Lindy Chan, Roma Kail, and Gerrie Loveys); Waddington’s Auctioneers & Appraisers (Solomon Alaluf); Winnipeg Art Gallery (Hamideh Behgar and Nicole Fletcher); and Chung Po Bau; Toni Hafkenscheid; Scott O’Donnell; Molly Peacock; Jeff Thomas; and Gregory Worth.
The ACI recognizes the additional private collectors who have given permission for their works to be published in this edition.
Credit for Cover Image
George Agnew Reid, Women Operators, 1919. (See below for details.)
Credits for Banner Images
Biography: George Agnew Reid, RCA, OSA, 1907. (See below for details.)
Key Works: George Agnew Reid, Women Operators, 1919. (See below for details.)
Significance & Critical Issues: George Agnew Reid, Algoma Lake, 1926. (See below for details.)
Style & Technique: George Agnew Reid, In the Cellar Window, 1914. (See below for details.)
Sources & Resources: George Agnew Reid, Page 250 of Scrapbook Volume 1 (detail): Reid working on his “Hail to the Pioneers” murals for the Toronto Municipal Buildings, c.1898. (See below for details.)
Where to See: George Agnew Reid, Toronto Bay, 1886–87. (See below for details.)
Credits: George Agnew Reid, The Call to Dinner, 1886–87. (See below for details.)
Credits for Works by George Agnew Reid
Abitibi Canyon, 1930. Collection of the National Gallery of Canada, Ottawa, purchased 2000 (40441). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Adagio, 1893. Collection of the National Gallery of Canada, Ottawa, purchased 1978 (23115). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Adam Reid, 1886. Collection of Museum London, gift of Mrs. Mary Wrinch Reid, Toronto, Ontario, 1955. Courtesy of Museum London.
Agawa Canyon, 1928–33. Private collection, Ontario. Courtesy of Cowley Abbott Canada’s Art Auctioneers.
Algoma Lake, 1926. Collection of the National Gallery of Canada, Ottawa, purchased 1927 (3520). Courtesy of the National Gallery of Canada. Photo NGC.
Andirons from Bonnie Brae, the Reids’ house at Onteora, designed by George Agnew Reid, with manufacture attributed to Mountain Industries, Onteora, New York (owned by Deborah & Asher Fensterheim), after 1893. Photo credit: National Gallery of Canada.
Arrival of Champlain at Quebec, 1909. Collection of Library and Archives Canada, Ottawa (2895829). Courtesy of Chislehurst Digitization Inc.
The Arrival of the Pioneers,1898–99, installed in the Toronto Municipal Buildings. Photo credit: Toni Hafkenscheid.
Ave Canada, 1907–18. Collection of the National Gallery of Canada, Ottawa, purchased 1989 (30049.1-3). Courtesy of the National Gallery of Canada. Photo credit: NGC.
The Berry Pickers, 1890. Nipissing University Art Collection, North Bay, Ontario (N2008.051.004). Courtesy of Nipissing University. Photo credit: Brendan O’Conner.
Blowing Bubbles, 1889. Private collection. Courtesy of Heffel Fine Art Auction House.
The Call to Dinner, 1886–87. Collection of McMaster Museum of Art, McMaster University, Hamilton, Ontario, gift of Moulton College, 1954. Courtesy of McMaster Museum of Art. Photo credit: John Tamblyn.
Cartier Discovers the St. Lawrence and Erects a Cross at Gaspe, 1534 A.D., 1928–30, installed at Jarvis Collegiate Institute, Toronto. Courtesy of Jarvis Collegiate Institute. Photo credit: Jarvis Collegiate Institute.
City and Country, 1893. Government of Ontario Art Collection (619841). Courtesy of the Government of Ontario Art Collection.
Copy after Velázquez “Portrait of a Dwarf with a Dog,” 1896. Collection of the National Gallery of Canada, Ottawa, purchased 1980 (23530). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Dreaming, 1889. Collection of the National Gallery of Canada, Ottawa, gift of the Royal Canadian Academy of Arts, 1890 (37). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Evening, Lake Temagami, 1941. Government of Ontario Art Collection (619833). Courtesy of the Government of Ontario Art Collection.
The Family, 1925–26, installed at the Toronto Public Library, Dufferin/St. Clair Branch. Photo credit: Toni Hafkenscheid.
Floor plan for Upland Cottage, 1906. Collection of the Giacomelli family. Photo credit: National Gallery of Canada.
Forbidden Fruit, 1889. Collection of the Art Gallery of Hamilton, gift of the Women’s Committee, 1960. Courtesy of the Art Gallery of Hamilton. Photo credit: Mike Lalich, 2008.
The Foreclosure of the Mortgage, 1935 (after the 1893 original). Government of Ontario Art Collection (619809). Courtesy of the Government of Ontario Art Collection.
Forging 6-Inch Shells, Toronto, 1919. Collection of the Canadian War Museum, Ottawa (19710261-0552). Courtesy of the Canadian War Museum.
Hail to the Pioneers, Their Names and Deeds Remembered and Forgotten We Honour Here, 1898–99, restored in 1929, installed at the Toronto Municipal Buildings. Photo credit: Toni Hafkenscheid.
The Humber River, 1890. Private collection. Courtesy of Waddington’s Auctioneers and Appraisers, Toronto.
Idling, 1892. Private collection. Courtesy of Cowley Abbott Canada’s Art Auctioneers.
In the Cellar Window, 1914. Power Corporation of Canada Art Collection, Montreal. Courtesy of Power Corporation of Canada.
Logging, 1888. Collection of the National Gallery of Canada, Ottawa, transfer from Foreign Affairs and International Trade Canada, 2011, gift of Brig. Gen. W.F. Sweny, CMG, DSO, in memory of his father Col. George A. Sweny, 1938 (45392). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Lowell Lake, Temagami, 1930. Collection of the National Gallery of Canada, Ottawa, gift of Mary Wrinch Reid, Toronto, 1965 (14700). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Mortgaging the Homestead, 1890. Collection of the National Gallery of Canada, Ottawa, Royal Canadian Academy of Arts diploma work, deposited by the artist, Toronto, 1890 (86). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Mrs. Adam Reid, 1886. Collection of Museum London, gift of Mrs. Mary Wrinch Reid, Toronto, Ontario, 1955. Courtesy of Museum London.
Music Cabinet, 1905. Collection of the National Gallery of Canada, Ottawa, purchased 1989 (30051). Courtesy of the National Gallery of Canada. Photo credit: NGC.
The News Boy, 1880, after Robert Harris. Collection of Confederation Centre Art Gallery, Charlottetown, gift of the artist, 1967 (CAGH-84). Courtesy of Confederation Centre Art Gallery.
Piano and Piano Bench, 1900. Collection of the National Gallery of Canada, Ottawa, purchased 1989 (30050.1-2). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Portrait of Henrietta Vickers, 1894. Government of Ontario Art Collection, Toronto (605049). Courtesy of the Government of Ontario Art Collection.
Portrait of Mary Evelyn Wrinch, 1895. Private collection. Courtesy of Molly Peacock.
Portrait of Mary Hiester Reid, 1885. Collection of the National Gallery of Canada, Ottawa, gift of Mary Wrinch Reid, Toronto, 1965 (14701). Courtesy of the National Gallery of Canada. Photo credit: NGC.
The Prospectors,1933. Government of Ontario Art Collection (622028). Courtesy of the Government of Ontario Art Collection.
The Prospectors, c.1935. Collection of the National Gallery of Canada, Ottawa, purchased 1994 (37466). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Sideboard, 1904, by George Agnew Reid (designer), Edwin Challener (cabinetmaker),and Mabel Adamson (enamellist). Collection of Jeremy E. Adamson. Photo credit: National Gallery of Canada.
The Story, 1890. Collection of the Winnipeg Art Gallery, gift from the Hugh F. Osler Estate (G-47-164). Courtesy of WAG-Qaumajuq. Photo credit: Ernest Mayer.
Study of Head and Torso, 1889. Collection of Museum London, gift of Mrs. Mary Wrinch Reid, Toronto, Ontario, 1950. Courtesy of Museum London. Photo credit: Toni Hafkenscheid.
Study for Mural at Old Toronto City Hall, 1899. Collection of Museum London, gift of Mrs. Mary Wrinch Reid, Toronto, Ontario, 1950. Courtesy of Museum London.
Toronto Bay, 1886–87. Baldwin Collection of Canadiana, Toronto Public Library, gift of J. Ross Robertson (JRR4694). Courtesy of the Toronto Public Library.
Tranquility, 1906. Government of Ontario Art Collection, Toronto (622033). Courtesy of the Government of Ontario Art Collection.
Two chairs from the Reids’ house on Indian Road in Toronto, 1900–1905. Photo credit: National Gallery of Canada.
Untitled (portrait of J.E.H. MacDonald), 1936. Ontario College of Art and Design University Collection, Toronto (P14). Courtesy of OCAD University. Photo credit: Heather Pigat.
The Valley of the Agawa, 1932. Government of Ontario Art Collection (619839). Courtesy of the Government of Ontario Art Collection.
The Visit of the Clockcleaner, 1892. Private collection. Courtesy of Heffel Fine Art Auction House.
Women Operators, 1919. Collection of the Canadian War Museum, Ottawa (19710261-0551). Courtesy of the Canadian War Museum.
Wychwood Park Pond, 1918. Private Collection. Courtesy of Heffel Fine Art Auction House.
Credits for Photographs and Works by Other Artists
The Agnew Clinic, 1889, by Thomas Eakins. The Penn Art Collection, University of Pennsylvania, Philadelphia (1889.0001). Courtesy of the Penn Art Collection, University of Pennsylvania.
All Souls Church, 1894, enlarged and modified in 1910 and 1915–16, Onteora, New York. Courtesy of Scott O’Donnell Photography. Photo credit: Scott O’Donnell.
Art Gallery of Toronto, 1922. Photographer unknown. City of Toronto Archives, Toronto. Courtesy of City of Toronto Archives.
The Arts of Peace, 1892, by Gari Melchers. Collection of Hatcher Graduate Library, University of Michigan, Ann Arbor. Courtesy of Ann Arbor District Library.
The Assumption (of the Virgin) (L’Assomption [de la Vierge]), 1899, by Ozias Leduc. Collection of the Church of the Parish of Saint-Hilaire, Mont-Saint-Hilaire, Quebec. Photo credit: Paul Litherland.
Bay of Reflections: Temagami Forest Reserve, n.d., by Mary Wrinch. Collection of University College, University of Toronto (UC606). Courtesy of Art Museum at the University of Toronto. Photo credit: Toni Hafkenscheid.
Candace Wheeler, 1870. Photograph by Sarony & Company. Courtesy of Wikimedia Commons.
The Cast Hall of the Pennsylvania Academy of the Fine Arts, c.1890, by Charles Truscott. Collection of the Pennsylvania Academy of the Fine Arts Archives, Philadelphia (PC01100008). Courtesy of Pennsylvania Academy of the Fine Arts Archives.
Chrysanthemums, 1891, by Mary Hiester Reid. Collection of the National Gallery of Canada, Ottawa, gift of the Royal Canadian Academy of Arts, 1893 (28). Courtesy of the National Gallery of Canada. Photo credit: NGC.
The Conservative Version, Mortgaging the (Canada) Homestead 1891, 1891, by Samuel Hunter and the Abiston Lith. & Pub. Co. Collection of Library & Archives Canada, Ottawa (1983-33-1090). Courtesy of Chislehurst Digitization Inc.
Copy after Velázquez’s “Las Hilanderas” (“The Spinners”), 1898, by Robert Harris. Collection of the Confederation Centre Art Gallery, Charlottetown, gift of the Robert Harris Trust, 1965 (CAGH-510). Courtesy of Confederation Centre Art Gallery.
Cover of the catalogue for the second exhibition of the Canadian Society of Applied Art, 1905, designed by George Agnew Reid. Private collection. Photo credit: National Gallery of Canada.
Cover ofthe exhibition publicationArtists, Architects and Artisans: Canadian Art 1890–1918, edited by Charles C. Hill (Ottawa: National Gallery of Canada, 2013).
Cover of the exhibition publication Sympathetic Realism: George A. Reid and the Academic Tradition, by Christine Boyanoski (Toronto: Art Gallery of Ontario, 1986).
Cover of George Reid: A Biography, by Muriel Miller, revised edition (Toronto: Summerhill Press, 1987).
Cover of Quiet Harmony: The Art of Mary Hiester Reid, by Brian Foss and Janice Anderson (Toronto: Art Gallery of Ontario, 2000).
The Dinner Horn, 1870, from Harper’s Weekly, June 11, 1870, by Winslow Homer. Collection of the Smithsonian American Art Museum, Washington, D.C., the Ray Austrian Collection, gift of Beatrice L. Austrian, Caryl A. Austrian, and James A. Austrian (1996.63.77). Courtesy of the Smithsonian American Art Museum.
Don’t Be Afraid, c.1878, by Charlotte Schreiber. Private collection, Westmount, Quebec. Courtesy of Alan Klinkhoff Gallery.
A double-page spread from News from Nowhere: Or, An Epoch of Rest, Being Some Chapters from a Utopian Romance, by William Morris (London: Kelmscott Press, William Morris Gallery, 1893). Transferred from Walthamstow Central Library, 1950. Courtesy of the William Morris Gallery.
The Effect of the “National Policy” 1891, 1891, by an unknown artist, after George Agnew Reid. Collection of Library and Archives Canada, Ottawa (1983-33-1094). Courtesy of Chislehurst Digitization Inc.
Evening on the Terrace (Morocco), 1879, by Jean-Joseph Benjamin-Constant. Collection of the Montreal Museum of Fine Arts, gift of Lord Strathcona and family (Inv. 1927.243). Courtesy of Montreal Museum of Fine Arts. Photo credit: MMFA, Christine Guest.
Fame, 1898–99, installed at the Toronto Municipal Buildings. Photo credit: Toni Hafkenscheid.
Figure Study, before 1880, by Susan Macdowell Eakins. Collection of the Pennsylvania Academy of the Fine Arts, Philadelphia, purchased with funds donated by the Pennsylvania Academy’s Women’s Committee (1988.10.62). Courtesy of Pennsylvania Academy of the Fine Arts.
French Canadian Cottage, 1926, by Mary Wrinch. Private collection, Toronto. Courtesy of Cowley Abbott Canada’s Art Auctioneers.
George Agnew Reid, RCA, OSA, 1907. Photograph by William James. City of Toronto Archives, Toronto. Courtesy of the City of Toronto Archives.
George Agnew Reid teaching a costume drawing class at the Ontario College of Art, date unknown. Photographer unknown. Collection of the OCAD University Archives, Toronto. Courtesy of OCAD University Archives/Visual Resources.
George Agnew Reid and Mary Hiester Reid’s house on Indian Road in Toronto, 1907. Collection of the Archives of Ontario, Toronto (I0014436). Photo credit: M.O. Hammond.
George Agnew Reid’s life class, 1886–87. Photograph by J. Fraser Bryce. Courtesy of the C.W. Jefferys Estate Archive.
George Agnew Reid’s studio in his house on Indian Road, Toronto, published in Canadian Home, April 1905. Photo credit: Galbraith.
Humble Menage (or A Humble Home), 1895–97, by Elizabeth Nourse. Collection of Grand Rapids Art Museum, Michigan, gift of Mrs. Cyrus E. Perkins (1911.1.4). Courtesy of the Grand Rapids Art Museum.
Interior view of All Souls Church, Onteora, New York, 2010. Photo credit: Louis Dallara. Licensed under CC BY-SA 3.0.
Interior view of St. Thomas Anglican Church in Toronto, designed by Eden Smith, 2024. Courtesy of Gregory Worth. Photo credit: Gregory Worth.
Interior view of the Yonge Street Arcade (Yonge Street, east side, opposite Temperance Street), Toronto, 1885. Photographer unknown. Baldwin Collection of Canadiana, Toronto Public Library (PICTURES-R-1493). Courtesy of the Toronto Public Library.
Juan de Pareja, 1650, by Diego Velázquez. Collection of the Metropolitan Museum of Art, New York City, purchase, Fletcher and Rogers Funds, and Bequest of Miss Adelaide Milton de Groot (1876–1967), by exchange, supplemented by gifts from friends of the Museum, 1971 (1971.86). Courtesy of the Metropolitan Museum of Art.
Maquette for “The Triumph of the Drama,” 1901, by Frederick Challener and William J. Hynes. Collection of the National Gallery of Canada, Ottawa, purchased 1985 (29195). Courtesy of the National Gallery of Canada. Photo credit: NGC.
The Morning (Le Matin), 1888, by Jules Breton. Private collection. Courtesy of Wiki Art.
Morning Sunshine, 1913, by Mary Hiester Reid. Collection of the National Gallery of Canada, Ottawa, purchased 1913 (787). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Mother Love, 1888, by Paul Peel. Collection of the National Gallery of Canada, Ottawa, Purchased 1905 (87). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Noon Hour at a Munitions Plant, 1918–19, by Frances Loring. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (19710261-0418). Courtesy of the Canadian War Museum.
Ontario Farmhouse, 1934, by Carl Schaefer. Collection of the National Gallery of Canada, Ottawa, gift of Floyd S. Chalmers, Toronto, 1969 (15845). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Ontario Society of Artists, 1908. Photographer unknown.
Ontario Society of Artists members at the opening of the Art Museum of Toronto, April 4, 1918, Toronto Star Weekly, April 20, 1918.
Onteora Club Library, Tannersville, New York, date unknown. Photographer unknown. Courtesy of Preservation Architecture New York.
The Orchard, Chorleywood, Hertfordshire, England, 1899, designed and built by Charles Voysey, date unknown. Photographer unknown. Courtesy of Liberec Reichenberg.
Painted decoration on the Graham Piano, 1879–80, by Sir Edward Burne-Jones and Studio of Sir Edward Burne-Jones. Private collection, England. Photo credit: Museo Civico San Domenico Forlì.
Paris Town Hall, after the 1871 great fire of the Commune, 1872. Photograph by Charles Marville. Collection of Bibliothèque nationale de France, Paris. Courtesy of Wikimedia Commons.
A partial view of the mural completed by George Agnew Reid in 1925–26 in the general reading room at the Dufferin/St. Clair Branch of the Toronto Public Library, date unknown. Photographer unknown. Baldwin Collection of Canadiana, Toronto Public Library Archives (PICTURES-R-6657). Courtesy of the Toronto Public Library Archives.
A partial view of the mural completed by George Agnew Reid in 1925–26 in the general reading room at the Dufferin/St. Clair Branch of the Toronto Public Library, date unknown. Photographer unknown. Baldwin Collection of Canadiana, Toronto Public Library Archives (PICTURES-R-6659). Courtesy of the Toronto Public Library Archives.
Photographs of a Standing Male Nude Model (“Joseph Smith”), c.1883, by Thomas Eakins. Collection of the Cleveland Museum of Art, John L. Severance Fund (1997.131). Courtesy of the Cleveland Museum of Art.
Portrait of Bessie in Her Wedding Gown, 1885, by Robert Harris. Collection of Confederation Centre Art Gallery, Charlottetown, Gift of Mary Beth Harris, 1985 (CAGH-256). Courtesy of Confederation Centre Art Gallery.
Portrait of George Agnew Reid, 1895, by Mary Hiester Reid. Private collection. Photo credit: Toni Hafkenscheid.
Power, by Gustav Hahn, installed at the Legislative Assembly of Ontario, Toronto. Courtesy of the Legislative Assembly of Ontario.
Professionals at Rehearsal, 1883, by Thomas Eakins. Collection of the Philadelphia Museum of Art, John D. McIlhenny Collection, 1943 (1943-40-39). Courtesy of the Philadelphia Museum of Art.
The Raising of Jairus’ Daughter, 1878, by Gabriel Max. Collection of the Montreal Museum of Fine Arts, gift of Lord Atholstan (Inv. 1920.117). Courtesy of the Montreal Museum of Fine Arts. Photo credit: MMFA, Denis Farley.
Red House, 1859–60, designed by Philip Webb and William Morris, Bexleyheath, England, 2014. Courtesy of Wikimedia Commons. Photo credit: Ethan Doyle White.
Saint Geneviève as a Child in Prayer, c.1876, by Pierre Puvis de Chavannes. Collection of the Van Gogh Museum, Amsterdam, purchased with support from the Rembrandt Association, the Van Gogh Foundation, and the Ministry of Health, Welfare and Culture (s0438M1993). Courtesy of the Van Gogh Museum.
A September Gale, Georgian Bay, 1921, by Arthur Lismer. Collection of the National Gallery of Canada, Ottawa, purchased 1926 (3360). Courtesy of the National Gallery of Canada. Photo credit: NGC.
“Sketches by the Pupils of the Ontario School of Art,” by an unknown artist, in the Canadian Illustrated News 21, no. 20 (May 15, 1880), page 309. Collection of Library and Archives Canada, Ottawa. Courtesy of Chislehurst Digitization Inc.
Study of a Girl’s Head, 1868–69, by Thomas Eakins. Collection of Hirshhorn Museum and Sculpture Garden, Washington, D.C., gift of Joseph H. Hirshhorn, 1966 (66.1501). Courtesy of Smartify.
Tribute to Tom Thomson, c.1923–25, by Frank Johnston. Private collection, Westmount, Quebec. Courtesy of Alan Klinkhoff Gallery.
Untitled (Bonnie Brae, Onteora Club, Tannersville, N.Y.), 1893, by Charles William Jefferys. Ontario College of Art and Design University Collection, Toronto (GH12). Courtesy of OCAD University.
Upland Cottage, 1906–8. Courtesy of Chung Po Bau. Photo credit: Chung Po Bau.
View of a mural by George Agnew Reid on the north wall of the Great Hall of the Arts & Letters Club of Toronto, c.1922. Courtesy of the Arts & Letters Club of Toronto. Photo credit: Arthur S. Goss.
View of the 1893 World’s Columbian Exposition, Chicago. Photograph by C.D. Arnold and H.D. Higinbotham. Courtesy of Wikimedia Commons.
Waterloo Bridge: Effect of Sunlight in the Fog, 1903, by Claude Monet. Collection of the National Gallery of Canada, Ottawa, purchased in 1914 (817). Courtesy of the National Gallery of Canada. Photo credit: NGC.
William Morris, 1884. Photograph by Frederick Hollyer. Collection of the Victoria & Albert Museum, London, given by Eleanor M. Hollyer (7715-1938). Courtesy of the Victoria & Albert Museum.
Winter, sketch for the Paris City Hall (L’Hiver, esquisse pour l’Hôtel de Ville de Paris), 1889–92, by Pierre Puvis de Chavannes. Collection of Petit Palais, Museum of Fine Arts of the City of Paris (PPP4219). Courtesy of Petit Palais, Fine Arts Museum of Paris.
Women Making Shells, 1919, by Henrietta Mabel May. Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (19710261-0389). Courtesy of the Canadian War Museum.
The Young Gleaner, 1888, by Paul Peel. Private Collection. Courtesy of Loch Gallery.
BOOK CREDITS
Publisher
Sara Angel
Director of Programming
Emma Doubt
Executive Editor
Tara Ng
Commissioning Editor Victoria Nolte
French Editorial Director and Translator
Annie Champagne
Graphic Designer Audrey Peters
Editor
Sarah Brohman
Copy Editor Janice Weaver
Proofreader Jack Stanley
French Copy Editor Aude Laurent de Chantal and Marie-Christine Payette
Library and Archives Canada Cataloguing in Publication
Title: George Agnew Reid : life & work / by Brian Foss.
Names: Foss, Brian, author. | Container of (work) : Reid, G. A. (George Agnew), 1860-1947.
Paintings. Selections. | Art Canada Institute, publisher.
Description: Includes bibliographical references.
Identifiers: Canadiana 20250163101 | ISBN 9781487103644 (HTML) | ISBN 9781487103668 (PDF)
Subjects: LCSH: Reid, G. A. (George Agnew), 1860-1947. | LCSH: Reid, G. A. (George Agnew),1860-1947—Criticism and interpretation. | LCSH: Painters—Canada—Biography. | LCGFT: Biographies.
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