Thank you to the Title Sponsors of this book, Andrew and Valerie Pringle, without whom this publication would not be possible.
Writing this book has been a pleasure and a privilege, and there are many to whom I am indebted. I am grateful to Sara Angel for the opportunity and for several wonderful conversations about William Brymner, and to Michael Rattray and Sarah Brohman for their insightful editorial guidance. The staff at ACI have done tremendous work on this book, and I am particularly grateful to Stephanie Burdzy, Simone Wharton, and Annie Champagne. During the research for the project, many people assisted me with queries and searching for Brymner’s paintings, and in particular I thank Katerina Atanassova, Daryl Betenia, Audrey Blanchette, Christine Braun, Krista Broeckx, Tobi Bruce, Isabelle Chartier, Danielle Currie, Jacques Des Rochers, Philip Dombowsky, Brian Foss, Jacquie Gardner, David Goldbloom, Celine Gorham, Juliet Graham, Ryan Green, Alan Klinkhoff, Jonathan Klinkhoff, Fynn Leitch, Kathleen Mackinnon, Marie E. Maltais, Heather McNabb, Sandra Paikowsky, Shannon Parker, Sarah Pepall, Amy Rose, Kerrie Sanderson, Myra Sourkes, Nathalie Thibault, and the staff at Queen’s University Archives. Finally, special thanks to my extended family for all their interest and support in this and many other projects.
From the Art Canada Institute
The Art Canada Institute gratefully acknowledges the generosity of the Title Sponsors of this book, Andrew and Valerie Pringle.
We thank the Founding Sponsor of the Art Canada Institute: BMO Financial Group.
The ACI also thanks the other Title Sponsors of the 2020–2021 Canadian Online Art Book Project: Anonymous, Alexandra Bennett in memory of Jalynn Bennett, Kiki and Ian Delaney, The Koerner Foundation in memory of Walter C. Koerner, and The Sabourin Family Foundation.
We thank the 2020–2021 Season Sponsors of the Art Canada Institute: John and Katia Bianchini, Linda and Steven Diener, Richard and Donna Ivey, Michelle Koerner and Kevin Doyle, Alan and Patricia Koval Foundation, Nancy McCain and Bill Morneau, The McLean Foundation, Gerald Sheff and Shanitha Kachan Charitable Foundation, TD Bank Group, and Bruce V. Walter and Erica Segal.
We are grateful to the Art Canada Institute Lead Benefactors: Alexandra Baillie, Marilyn and Charles Baillie, Alexandra Bennett and the Jalynn Bennett Family Foundation, Grant and Alice Burton, The Delaney Family Foundation, Jon S. and Lyne Dellandrea, James and Melinda Harrison, The Michael and Sonja Koerner Charitable Foundation, Alan and Patricia Koval Foundation, Sarah and Tom Milroy, Partners in Art, and Sara and Michael Angel.
Appreciation goes as well to our Patrons: Anonymous, Christopher Bredt and Jamie Cameron, Connor, Clark & Lunn Foundation, Lilly Fenig, Roger and Kevin Garland, The Scott Griffin Foundation, Franca Gucciardi, matched by McCall MacBain Foundation, Lawson Hunter, Elaine Kierans and Shawn McReynolds, Judith and Wilson Rodger, Fred and Beverly Schaeffer, Michael Simmonds and Steven Wilson, Tina Tehranchian, and Robin and David Young.
Gratitude goes as well to our Founding Patrons, who supported the Art Canada Institute in its first year: Jalynn Bennett, The Butterfield Family Foundation, David and Vivian Campbell, Connor, Clark & Lunn Foundation, Albert E. Cummings, The Fleck Family, Roger and Kevin Garland, Glorious and Free Foundation, The Scott Griffin Foundation, Gershon Iskowitz Foundation, Sandra L. Simpson, Stephen Smart, Nalini and Tim Stewart, and Robin and David Young.
The ACI wishes to thank for their support and assistance the Agnes Etherington Art Centre (Jennifer Nicoll); Alan Klinkhoff Gallery (Alan Klinkhoff, Jonathan Klinkhoff); Archives of Ontario; Art Gallery of Alberta (Danielle Siemens); Art Gallery of Hamilton (Christine Braun); Art Gallery of Nova Scotia (Shannon Parker); Art Gallery of Ontario (Tracy Mallon-Jensen); the Beaverbrook Art Gallery (Celine Gorham); Canadian War Museum (Shannyn Johnson); Fine Arts Museums of San Francisco (Sue Grinols); Glenbow Museum (Daryl Betenia); Heffel Fine Art Auction House (Molly Tonken); Masters Gallery (Caitlyn Rinne); McCord Museum (Tania Marques); McMichael Canadian Art Collection (Jacqui Usiskin); Musée d’art de Joliette (Nathalie Galego); Musée national des beaux-arts du Québec (Véronique Graves); Montreal Museum of Fine Arts (Claudine Nicol, Marie-Claude Saia); Museum of Fine Arts Boston (Carolyn Cruthirds); National Gallery of Canada (Raven Amiro, Véronique Malouin, Ivan Parisien); Provincial Archives of Alberta (Katherine Epp); Power Corporation of Canada (Paul Maréchal); the Robert McLaughlin Gallery (Sonya Jones); Royal BC Museum & Archives (Kelly-Ann Turkington); the Royal Ontario Museum (Nicola Woods); University of Lethbridge (Juliet Graham, Andrea Kremenik, Josephine Mills); Vancouver Art Gallery (Danielle Currie); Walker’s Fine Art; Brian Foss, Erik Larsen, and Kristen Larsen.
The ACI recognizes the additional private collectors who have given permission for their works to be published in this edition.
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.
Credit for Cover Image
A Wreath of Flowers, 1884. (See below for details.)
Credits for Banner Images
Biography: Gertrude Des Clayes, William Brymner, n.d., oil on fabric, 71.4 x 51.5 cm. Collection of Library and Archives tCanada, Ottawa, Gift of Stewart Brymner Dawson, 2007 (R13531-1). Courtesy of Library and Archives Canada / The Brechin Group Inc.
Key Works: William Brymner, A Wreath of Flowers, 1884. (See below for details.)
Significance & Critical Issues: William Brymner, Hermit Mountain, Rogers Pass, Selkirk Range, 1886. (See below for details.)
Style & Technique: William Brymner, Ruin of a Church, 1891. (See below for details.)
Sources & Resources: William Brymner, Palace Hill, 1876. (See below for details.)
Where to See: National Gallery, Ottawa, February 1900, photograph by Topley Studio. (See below for details.)
Credits for works by William Brymner
(and Horatio Walker), Under the Apple Tree (À l’ombre du pommier), 1903. Collection of the Musée national des beaux-arts du Québec, Quebec City, purchase, 1929 (1934.582). Photo credit: Musée national des beaux-arts du Québec, Jean-Guy Kérouac.
Baie St. Paul, 1890. Private collection. Courtesy of Alan Klinkhoff Gallery, Toronto. Photo credit: Alan Klinkhoff Gallery.
Blackfoot Chief, c.1888 or 1906. Collection of Library and Archives Canada, Ottawa (1992-697-1). Courtesy of Library and Archives Canada / The Brechin Group Inc.
The Books They Loved They Read in Running Brooks (Ils aimaient à lire dans les ruisseaux fuyants), 1885. Collection of the Musée national des beaux-arts du Québec, Quebec City, purchase (1979.150). Photo credit: Musée national des beaux-arts du Québec, Patrick Altman.
Border of the Forest of Fontainebleau, 1885. Collection of the Agnes Etherington Art Centre, Queen’s University, Kingston, purchase, Chancellor Richardson Memorial Fund and Wintario matching grant, 1979 (22-027). Photo credit: Paul Litherland.
Camp in the Rockies, n.d. Private collection. Courtesy of Masters Gallery Ltd., Calgary. Photo credit: John Dean Photographs Inc.
Canadian Rockies on Fraser River District, 1886. Courtesy of Masters Gallery, Calgary. Photo credit: John Dean.
Carthusian Monastery, Capri, c.1923. Collection of the Montreal Museum of Fine Arts, purchase, Dr. Francis J. Shepherd Bequest (1932.640). Photo Credit: MMFA, Jean-François Brière.
Champ-de-Mars, Winter, 1892. Collection of the Montreal Museum of Fine Arts, Mrs. R. MacD. Paterson Bequest (R.B. Angus Collection) (1949.1008). Photo credit: MMFA, Christine Guest.
The Coast at Louisbourg, 1914. Collection of the National Gallery of Canada, Ottawa, purchase, 1921 (1789).
Crazy Patchwork, 1886. Collection of the National Gallery of Canada, Ottawa, purchase, 1886 (309).
Douglas Brymner, 1886. Collection of Library and Archives Canada, Ottawa, Gift of Stewart Brymner Dawson, 2007 (R13531-2-2-E). Courtesy of Library and Archives Canada / The Brechin Group Inc.
Early Moonrise in September, 1896–97. Collection of the Montreal Museum of Fine Arts, gift of Mrs. R.E. MacDougall (1961.1310). Photo credit: MMFA.
Early Moonrise in September, 1899. Collection of the National Gallery of Canada, Ottawa, purchase, 1908 (42).
Étude de nu, c.1900. Collection of the Musée d’art de Joliette, Gift of Jacqueline Brien (1985.0L1). Photo credit: Musée d’art de Joliette.
Fieldhands, 1905. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Gwen Kavanagh, Petite Riviere, Nova Scotia, 1988 (1988.21).
Fog on the Coast, 1914. Collection of the National Gallery of Canada, Ottawa, purchase, 1915 (1123).
Four Girls in a Meadow, Baie-Saint-Paul, 1885. Collection of the National Gallery of Canada, Ottawa, Bequest of Louis de la Chesnaye Audette, O.C., Q.C., Ottawa, 1996, in memory of Judge and Mme Arthur Audette (38279).
Girl with a Dog, Lower Saint Lawrence, 1905. Collection of the Montreal Museum of Fine Arts, Gift of Sarah Humphrey and Gerald van Gurp in honour of the Montreal Museum of Fine Arts’ 150th anniversary (2012.46). Photo credit: MMFA, Christine Guest.
Giving Out Rations to the Blackfoot Indians, NWT, 1886. Collection of the Art Gallery of Hamilton, Gift of Edward and Marion Harrison in memory of Tyrrell Edward Harrison, 1971 (71.43.38).
The Grey Girl, 1897. Collection of the Art Gallery of Hamilton, anonymous gift, 1955 (55.43.J).
Haying near Quebec, Beaupré, 1907. The Power Corporation of Canada Art Collection, Montreal. Courtesy of the Agnes Etherington Art Centre, Kingston.
Hermit Mountain, Rogers Pass, Selkirk Range, 1886. Collection of the Glenbow Museum, Calgary, Gift of Evamy Family, 2010 (2017.018.001).
Île-aux-Coudres, c.1900. Collection of the National Gallery of Canada, Ottawa, purchase, 1977 (18888).
In County Cork, Ireland (Dans le comté de Cork, en Irlande), 1892. Collection of the Musée national des beaux-arts du Québec, Quebec City, purchase (1976.274). Photo credit: Musée national des beaux-arts du Québec, Patrick Altman.
In the Orchard (Spring), 1892. Collection of the National Gallery of Canada, Ottawa, purchased 2002 with the Andrea and Charles Bronfman Canadian Art Fund (41077).
In the Selkirks near Glacier House, c.1894. Collection of the Glenbow Museum, Calgary, Gift of Imperial Oil Resources Limited, 2017 (2010.008.001).
Kenneth R. Macpherson, K.C., 1909. Collection of the Montreal Museum of Fine Arts, Gift of William J. Morrice (1919.20). Photo credit: MMFA, Jean-François Brière.
La Vallée Saint-François, Île d’Orléans, 1903. Collection of the Musée national des beaux-arts du Québec, Quebec City, purchase (1937.19). Photo credit: Musée national des beaux-arts du Québec, Centre de conservation du Québec, ministère de la Culture et des Communications / Guy Couture.
Le Cours Martigues, 1908–14. Collection of the Art Gallery of Hamilton, Gift of Mrs. Harold H. Leather, 1957 (57.43.L).
The Lonely Orphans Taken to Her Heart, 1884. Collection of the Montreal Museum of Fine Arts, purchase, F. Cleveland Morgan Fund (2015.224). Photo credit: MMFA, Christine Guest.
Mount Baker, 1892. Collection of the Montreal Museum of Fine Arts, William J. Morrice Bequest (1943.822). Photo credit: MMFA, Jean-François Brière.
Mount Cheops from Rogers Pass, c.1898. Collection of the Robert McLaughlin Gallery, Oshawa, donated by the Ontario Heritage Foundation, 1988, gift of Mr. and Mrs. Jules Loeb.
Mountain Hill Looking Up, 1876. Collection of Library and Archives Canada, Ottawa (1992-571-3). Courtesy of Library and Archives Canada / The Brechin Group Inc.
Near Field, B.C., 1892–93. Collection of the Vancouver Art Gallery, Acquisition Fund, 1992 (VAG 92.12.1). Photo credit: Rachel Topham, Vancouver Art Gallery.
Near Louisbourg, Cape Breton, N.S., c.1909. Collection of the National Gallery of Canada, Ottawa, purchase, 1981 (26789).
Nude Figure, 1915. Collection of the National Gallery of Canada, Ottawa, purchase, 1915 (1171).
Old Man Painting in the Louvre, Paris, 1880/81 and 1902/3. Collection of the Montreal Museum of Fine Arts, Gift of W. S. Maxwell (Gr.1920.18). Photo credit: MMFA, Jean-François Brière.
One Summer’s Day, 1884. Collection of the National Gallery of Canada, Ottawa, purchase, 1964 (14633).
Palace Hill, 1876. Collection of Library and Archives Canada, Ottawa (1992-571-13). Courtesy of Library and Archives Canada / The Brechin Group Inc.
The Picture Book, 1898. Collection of the National Gallery of Canada, Ottawa, purchase, 1927 (3517).
Prelude, 1906. Collection of the Art Gallery of Hamilton, Gift of Leroy E. Page in memory of Lillian C. Page, 1965 (65.43.21).
The Ravine in Summer, c.1900. Collection of the Art Gallery of Alberta, Edmonton, purchased with funds donated by the Women’s Society of the Edmonton Art Gallery, 1980 (80.13).
Reclining Figure, c.1915. Collection of the Montreal Museum of Fine Arts, Gift of Mrs. William Brymner (1934.648). Photo credit: MMFA.
Reclining Nude, c.1915. Collection of the Musée d’art de Joliette, Gift of Dr. Harvey A. Evans, 1975 (1975.009). Photo credit: Guy L’Heureux.
Ruin of a Church, 1891. Collection of the Vancouver Art Gallery, Gift of Dr. Rodrigo A. Restrepo, 2012 (VAG 2012.52.3). Photo credit: Rachel Topham, Vancouver Art Gallery.
Saint-Eustache, 1905. Collection of the Musée national des beaux-arts du Québec, Quebec City, purchase (1987.40). Photo credit: Musée national des beaux-arts du Québec, Patrick Altman.
Saint-Eustache, Quebec, 1905. Collection of the Montreal Museum of Fine Arts, Dr. and Mrs. Charles F. Martin Bequest (1956.1148). Photo credit: MMFA, Brian Merrett.
Self Portrait, 1881. Collection of the Agnes Etherington Art Centre, Queen’s University, Kingston, Gift of Mr. and Mrs. Stewart Brymner Dawson, 2010 (53-052). Photo credit: Chris Miner.
Scène de canal, 1902. Private collection. Courtesy of Heffel Fine Art Auction House, Calgary. Photo credit: Heffel Fine Art Auction House.
Sir Donald and Great Glacier, Selkirks, n.d. Collection of the University of Lethbridge Art Gallery, purchased in 1988 as a result of a gift from Mr. Gerald Pencer in 1987 (1991.17).
St. Louis Gate from Without, 1876. Collection of Library and Archives Canada, Ottawa (1992-571-17). Courtesy of Library and Archives Canada / The Brechin Group Inc.
Standing Nude, n.d. Private collection, Ottawa. Courtesy of Heffel Fine Art Auction House, Calgary. Photo credit: Heffel Fine Art Auction House.
A Street in Paris, c.1878–85. Collection of the National Gallery of Canada, Ottawa, purchase, 1916 (1220).
Summer Landscape, 1910. Collection of the Montreal Museum of Fine Arts, Gift of the Reverend and Mrs. Sydenham B. Lindsay (1968.1591). Photo credit: MMFA, Christine Guest.
Summer, 1905. Collection of the Agnes Etherington Art Centre, Kingston, purchase, Chancellor Richardson Memorial Fund, 2008 (51-014). Photo credit: Bernard Clark.
The Trinket (Jeune Fille au chapeau bleu [La Breloque]), 1916. Collection of the Musée national des beaux-arts du Québec, Quebec City, purchase (1976.371). Photo credit: Musée national des beaux-arts du Québec, Jean-Guy Kérouac.
The Vaughan Sisters, 1910. Art Gallery of Hamilton, Gift of Mrs. Harold H. Leather, 1962 (62.43.12).
Venetian Canal, 1904. Collection of the Beaverbrook Art Gallery, Fredericton, Gift of Mrs. Paul F. Sise (1959.23).
“A Village Street – Memo of Composition,” from the Pen & Pencil Club Scrapbook (volume 2), c.1891. Collection of the McCord Museum, Montreal, transfer from McGill University (M966.176.29).
Waterfall, 1898. Collection of Kristin Larsen, Calgary. Courtesy of Heffel Fine Art Auction House, Calgary. Photo credit: Heffel Fine Art Auction House.
The Weaver (La Femme au métier), 1885. Collection of the Musée national des beaux-arts du Québec, Quebec City, purchase, 1929 (1934.10). Photo credit: Musée national des beaux-arts du Québec, Idra Labrie.
With Dolly at the Sabot-makers, 1883. Collection of the National Gallery of Canada, Ottawa, purchase, 1884 (35).
A Wreath of Flowers, 1884. Collection of the National Gallery of Canada, Ottawa, Royal Canadian Academy of Arts diploma work, deposited by the artist, Ottawa, 1886 (19).
Yale in the Morning, B.C. (Fraser Canyon), 1886. The Power Corporation of Canada Art Collection, Montreal. Courtesy of the Agnes Etherington Art Centre, Kingston.
Young Girl Shading Her Eyes, 1897. Collection of the Montreal Museum of Fine Arts. Gift of David R. Morrice (1972.19). Photo credit: MMFA, Jean François Brière.
Credits for Photographs and Works by Other Artists
Après-Midi Camaret, c.1913, by Randolph Stanley Hewton. Collection of the McMichael Canadian Art Collection, Kleinburg, Gift of Mr. and Mrs. H.J. Campbell (1969.25.5). Photo credit: Toni Hafkenscheid.
A Bar at the Folies-Bergère, 1882, by Édouard Manet. Collection of the Courtauld Gallery, London, Gift of Samuel Courtauld, 1934 (P.1934.SC.234). Photo credit: Wikimedia Commons.
The Bathers, 1937, by Edwin Holgate. Collection of the Montreal Museum of Fine Arts, purchase, Robert Lindsay Fund (1937.664).
Bouguereau’s Atelier at the Académie Julian, Paris, 1891, by Jefferson David Chalfant. Collection of the Fine Arts Museums of San Francisco, Gift of Mr. and Mrs. John D. Rockefeller 3rd, 1979 (1979.7.26).
“British America,” 1889, by Rand McNally and Company. Collection of the David Rumsey Map Collection, David Rumsey Map Center, Stanford Libraries, Stanford University (P952).
Canada and the Call, 1914, by J.E.H. MacDonald. Collection of the Canadian War Museum, Ottawa (CWM 19940018-001).
“Canadian Trophy” at the Paris Exhibition, illustration from The Graphic, July 6, 1878. Photo credit: De Agostini Editore / Biblioteca Ambrosiana.
Carmencita, 1922 or earlier, by Randolph Stanley Hewton. Collection of the Montreal Museum of Fine Arts, purchase, Christine and Pierre Lapointe Fund, Gift of R. Fournelle (2017.55).
Certificate of Appreciation presented to William Brymner on his retirement from the Art Association of Montreal, 1921. William Brymner Fonds, Queen’s University Archives, Kingston (CA ON00239 F02414, F3 A3.2).
Chief Crowfoot, c.1885, by Harry Pollard. Collection of the Provincial Archives of Alberta, Edmonton (P129).
Cover of William Brymner: Artist, Teacher, Colleague, 2010, by Alicia Boutilier and Paul Maréchal. Courtesy of Agnes Etherington Art Centre, Queen’s University, Kingston.
“Crowfoot,” Chief of the Blackfeet Indians, 1886, by Oliver Buell. Collection of Library and Archives Canada, Ottawa (C-001871). Courtesy of Library and Archives Canada / The Brechin Group Inc.
Danaë, 1544–45, by Titian. Collection of the Capodimonte Museum, Naples. Photo credit: Wikimedia Commons.
Eiffel Tower, 1889, by Léon-Charles Libonis. Collection of the Museum of Fine Arts, Boston, Leonard A. Lauder Postcard Archive—Gift of Leonard A. Lauder (2012.9434).
Été à Saint-Eustache, c.1906, by Maurice Cullen. Collection of the Musée national des beaux-arts du Québec, Quebec City, Gift of the Laurentian Bank Financial Group (2018.292). Photo credit: Musée national des beaux-arts du Québec, Denis Legendre.
Forest of Fontainebleau, Cluster of Tall Trees Overlooking the Plain of Clair-Bois at the Edge of Bas-Bréau, c.1849–52, by Théodore Rousseau. Collection of the J. Paul Getty Museum, Los Angeles, purchase, 2007 (2007.13). Photo credit: Wikimedia Commons.
The Gare St-Lazare, 1877, by Claude Monet. Collection of the National Gallery, London, purchase, 1982 (NG6479). Photo credit: Wikimedia Commons.
Girl in Green, 1913, by Emily Coonan. Collection of the Art Gallery of Hamilton, Gift of A.Y. Jackson, C.M.G., R.C.A., 1956 (56.56.S).
The Gust of Wind, 1871–73, by Jean-François Millet. Collection of the National Museum Wales, Bequest of Margaret Davies, 1963 (NMW A 2475). Photo credit: Wikimedia Commons.
The Honourable Donald A. Smith driving the last spike to complete the Canadian Pacific Railway, British Columbia, 1885. Collection of Library and Archives Canada, Ottawa (C-003693). Courtesy of Library and Archives Canada / The Brechin Group Inc. Photo credit: Alexander Ross.
“Hunger,” from the Pen & Pencil Club Scrapbook (volume 3), 1896, by Edmond Dyonnet. Collection of the McCord Museum, Montreal. Transfer from McGill University (M966.176.103).
Jean Thomson, 1883, by Frederick Brown. Collection of Library and Archives Canada, Ottawa, Gift of Stewart Brymner Dawson, 2007 (R13531-3). Courtesy of Library and Archives Canada / The Brechin Group Inc.
Kicking Horse Pass (about 5000 ft), 1887, by Lucius O’Brien. Image PDP04901 courtesy of the Royal BC Museum and Archives.
Members of the Ottawa School of Art, 1890, photograph by William James Topley. Collection of Library and Archives Canada, Ottawa (PA-201228). Courtesy of Library and Archives Canada / The Brechin Group Inc.
The Monet Family in Their Garden at Argenteuil, 1874, by Édouard Manet. Collection of the Metropolitan Museum of Art, New York, Bequest of Joan Whitney Payson, 1975 (1976.201.14). Photo credit: Wikimedia Commons.
National Gallery, Ottawa, February 1900, photograph by Topley Studio. Collection of Library and Archives Canada, Ottawa, purchase, 1936 (PA-028157). Courtesy of Library and Archives Canada / The Brechin Group Inc.
Old Fort, Sulpician Seminary, c.1931, by Sarah Robertson. Montreal Museum of Fine Arts, purchase, William Gilman Cheney Bequest (1943.812).
On the Grand River at Doon, c.1880, by Homer Watson. Collection of the National Gallery of Canada, Ottawa, purchase, 1952 (5900).
The Plough, 1931–33, by Anne Savage. Collection of the Montreal Museum of Fine Arts, Gift of Arthur B. Gill (1970.1652).
Portrait of William Brymner, 1919, by Anne Savage. Collection of the Art Gallery of Hamilton, Gift of the artist, 1959 (59.111.O).
Poundmaker, also Known as The Drummer, (c.1842–1886), a Cree Chief, Later Adopted by Crowfoot of the Blackfoot Nation, 1885, by Oliver Buell. Collection of Library and Archives Canada, Ottawa (C-001875). Courtesy of Library and Archives Canada / The Brechin Group Inc.
Start Another, 1915, by John Young Johnstone. Collection of the Agnes Etherington Art Centre, Queen’s University, Kingston, Gift of Mary Jane Braide in Memory of her Mother Janet G. M. Braide, 2010 (53-032). Photo credit: Paul Litherland.
Summertime, 1936–39, by Prudence Heward. Collection of the Montreal Museum of Fine Arts, Gift of Eric Klinkhoff (2018.203).
Summit Lake near Lenchoile, Bow River, Canadian Pacific Railway, 1886, by John A. Fraser. Collection of the National Gallery of Canada, Ottawa, purchase, 1982 (28063).
Venice at the Golden Hour, c.1901–02, by James Wilson Morrice. Collection of the Montreal Museum of Fine Arts, Gwendolen Rutherford Caverhill Bequest (1949.1005). Photo credit: MMFA.
William Brymner, c.1910, photographer unknown. National Gallery of Canada Library and Archives (NGC L&A, 18v Dyonnet Album).
William Brymner with a group of students, June 1918, photographer unknown. National Gallery of Canada Library and Archives, Ottawa (NGC L&A 035453).
William Brymner with his students at the Art Association of Montreal, 1902. Jean-Marie Gauvreau Fonds, Centre de conservation, Bibliothèque et Archives nationales du Québec, Montreal (MSS-002). Courtesy of the Musée national des beaux-arts du Québec, Quebec City.
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Library and Archives Canada Cataloguing in Publication
Title: William Brymner : life & work / Jocelyn Anderson
Names: Anderson, Jocelyn, author. | Brymner, William, 1855-1925. Paintings. Selections. | Art
Canada Institute, issuing body.
Description: Issued also in French under title: William Brymner : sa vie et son œuvre.
Identifiers: Canadiana 20200362941 | ISBN 9781487102388 (HTML) | ISBN 9781487102395 (PDF)
Subjects: LCSH: Brymner, William, 1855-1925. | LCSH: Brymner, William, 1855-1925—Criticism and
interpretation. | LCSH: Painters—Canada—Biography. | LCGFT: Biographies.
Classification: LCC ND249.B83 A53 2020 | DDC 759.11—dc23
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