Adam Sherriff Scott

Adam Sherriff Scott


Adam Sherriff Scott was born in Perth, Scotland in 1887. He studied art at the Edinburgh School of Art and immigrated to Canada in 1911 or 1912. He died in Montreal, Quebec in 1980.

He was a portrait painter as well as a landscape artist, but is best-known for his series of historical paintings of Canada, which he executed for Canadian Pacific, Royal Bank, and for the Public Archives of Canada.

He produced oil paintings about Champlain and painted self-portraits and Inuit portraits. He also received a commission for the Royal Bank of Canada in commemoration of the centenary of transatlantic steam navigation.

Adam Sherriff Scott produced paintings, prints, engraving, lithograph and watercolours.

esquimo scene, painter, artist

esquimo scene, painter, artist

Source: Library and archives Canada

William Ronald

William Ronald

William Ronald was a graduate of the Ontario College of Art who quickly found that abstract painters could not get their work exhibited inToronto galleries. Working for the Robert Simpson Co. department store, he persuaded management to pair abstract paintings with furniture displays, thereby discovering a way to get the public to accept non-representational art. Despite the success of that show, Abstracts at Home, Ronald resented the city’s general attitude toward its artists and moved to the United States, eventually becoming an American citizen. Ronald shared a studio with Frank Stella and joined the stable of artists at Manhattan’s Kootz Gallery, where he was put on retainer. He was quickly accepted by critics and collectors and enjoyed a multi-year period of success. Eventually, Ronald returned to Toronto, as a landed immigrant in the country of his birth, partly for personal reasons and partly because he could not agree with Kootz. He was made a member of the Royal Canadian Academy of Arts[1]

Besides painting , he became known as a CBC (Canadian Broadcasting Corporation) journalist, hosting such shows as Umbrella and As It Happens, a columnist for the Toronto Telegram, and host of a Citytv variety show. He continued to paint through the 1970s, ’80s and ’90s, moving to Montreal, Quebec, and then to Barrie, Ontario where he maintained an active studio. He gained some notoriety for his portrait series of Canadian Prime Ministers, a pioneering highly abstracted portrayal of heads of government opened by Prime Minister Pierre Trudeau in Toronto. The exhibition toured Canada, despite warnings not to exhibit the less than flattering portrait of then Prime Minister Brian Mulroney. They are currently part of the permanent collection of the Kitchener-Waterloo Art Gallery in Kitchener, Ontario. Never a stranger to criticism or polemics, Ronald loved to paint in public, frequently hiring strippers and showgirls to dance around him as he painted. He continued to paint until his death in 1998 and in fact suffered a heart attack while painting. He lived long enough to name the work Heart Attack and succumbed a few days later.

galerie d'art la Corniche


Chantale Jean

Chantale Jean

In the purest fabulist Lafontaine’s tales, she takes the fantasy to bring her creatures to hold court, to get them around a festive table… Mesmerized either by a gaggle of geese or tufted ducks cavorting on a pond, Chantale Jean makes her public aware of the strength and frailty of the many realms of the universe. Driven by a feeling of being part of a quiet universe exuding calm and harmony, or by the urgency of a collective confrontation between an individual and a group, Chantale Jean acts like a producer by directing her characters and even dialoguing with them.

Each painting becomes a silent piece of poetry which appeals to the spectator. Even, if the lyrics seem muted, the artist isn’t silent when voicing her admiration for Nature or defending it . Through art, she shows her commitment and position herself against those who would destroy all things for profit.

Her sense of humor always shines while she’s experiencing great pleasure directing her character.

Through the energy of her works, the combined figuration and abstraction never fail to impress the onlooker and make him experience feelings other than those savored by the artist.

The quaint range of her hues enhances the plasticity of her paintings and takes the spectator into her personal and unpredictable scenario.

Chantale Jean sensational creations are made of many colored but silly characters. Wild headings build up each presentation and take the public into her own ever-reinvented world.

vivre dans ses valises1

René Richard

René Richard

Rene Richard, was born in Switzerland in 1895. His family relocated to Alberta, Canada in 1909, when Rene was only 9 years old. He began his studies in fine art in Edmonton in 1926.

The following year, he visited New York, but eventually settled in Paris in 1927. While in Paris, he studied at Academie de la Grande Chaumiere and at the Academie Colarossi until 1930. It was in France that he met Clarence Gagnon and James Wilson Morris.

Clarence Gagnon will have a big influence on the young Richard, it’s him who conviced him to capture on paper or on wood board the everyday scenery of Richard’s wild trapping adventures, he also introduced the artist to the magnificient region of Charlevoix.

Back in Canada by 1930, he began trapping animals in Western Canada and in the Arctic until 1942. Spending so much time living outdoors in the middle of the woods, inspired this artist to paint the beauty of the great Canadian landscape. He has worked in several mediums including, pencil, charcoal, watercolor and oil.

After his stint in the arctic, he moved to the Baie Saint-Paul region of Charlevoix, where the scenery is unique. His mentor, Clarence Gagnon, had now successfully convinced Rene Richard to dedicate himself to painting. He settled down, and wedded with Blanche Cimon. In the 50’s he left a few times the comfort of his Baie St-Paul home to explore the northerns territories.

From 1948 to 1950, Rene Richard exhibited his work at the Montreal Museum of Fine Art and held several solo exhibitions at the Musée de Quebec from 1967-1977. He is a member of the Royal Canadian Academy and his paintings can now be found in the collections of the National Gallery of Canada, at le Musée de Quebec, the Universite de Laval, and in Several Galleries across Canada.

René Richard Rene Richard

René Richard (1895–1982) is remembered as a remarkable and charming man who followed his passions. He spent the first half of his life in search of himself, surviving in the wilderness in harsh conditions. Richard’s father had emigrated from Switzerland to settle in Alberta, but Richard chose a nomadic existence among the Cree and Inuit in Canada’s North. All alone in these wide empty spaces, Richard became an artist. In 1927, he decided to study painting in Paris, where he met Canadian painter Clarence Gagnon. Upon his return to Canada in 1930, he again took up trapping, this time in Manitoba, before finally settling in Baie-Saint-Paul where he spent the rest of his life, painting the luminous, brightly-coloured landscapes of the Charlevoix region in a style halfway between traditional figurative painting and the emerging Quebec expressionism of the 1950s. Richard’s work shines a light on many aspects of Canada’s natural landscape and social history and represents a major contribution to Canadian art.



René Richard is without doubt one of the Canadian painters who best captured the North—its loneliness, rudimentary living conditions, and vast open spaces marked by the seasons. His prolific output stands as an impressive contribution to Canadian art: hundreds of works made up mostly of studies, drawings—a category that encompasses rough sketches, sanguine crayon, charcoal and pencil crayon as well as more detailed oil pochades and drawings in pencil crayon and felt pen—and small and large format oil paintings



No exhaustive catalogue raisonné of Richard’s work has yet been produced. Most works are housed in museums, government buildings, universities, private businesses and private collections. René Richard belongs among those Canadian artists who, like the Group of Seven, dedicated themselves to depicting Canada’s wide open spaces and vast wilderness

Whereas Canadian landscape paintings rarely depict human figures, Richard’s are often populated with the silhouettes of trappers, hunters and First Nations or Inuit people, as well as their sled dogs, tents, and huts. These silhouettes enter the landscape to bear witness to a way of life that, from adolescence into his forties, Richard shared with the trappers and aboriginal peoples of northern Alberta and Yukon, Nunavut and the Beaufort Sea area. Richard’s highly personal and somewhat expressionistic style conveys the struggle for human survival amidst the harsh northern environment of polar deserts, vast forests and rivers.


René Jeanrichard (later shortened to “Richard”) was only 11 when he began working at the family watch factory, where his father engraved pocket watches. A financial setback was behind Richard’s father’s abrupt decision to gather his sons and set off for Canada.

Vieux souvenirs, 1934

Vieux souvenirs, 1934

In those years the recently completed railway had opened up Canada for settlement and the government was working hard to attract European immigrants. The Prairies were promoted as “the last, best west” and free land was offered to those willing to homestead and work the land for three years(NOTE 4). This was the prevailing economic and social context when René Richard’s father landed with his three sons in Quebec City in 1909, before continuing westward to Edmonton the following year. Years later, the painter remembered those early days vividly: “We had loaded two wagons with everything a settler could need before leaving…The outfitters had us convinced that we would find a land of milk and honey. We set off for Cold Lake with four horses.” But Cold Lake proved disappointing. “We had to kiss our dreams of Eldorado goodbye…In the end, the ‘land rush’ had a lot in common with the gold rush of yore.”

Richard’s mother and four sisters eventually rejoined the men. The family had little choice but to work like slaves, “learning to live as settlers in the harshest, most demanding manner conceivable, without a moments rest either during the week or on Sunday.” Tiring of this ceaseless labour, the father finally gave up working the land.



Disenchanted with the settler life, Young René was far more interested by that of the First Nations. The tents on the lake shore, the birch bark canoes and horses—everything about the freedom of these nomadic hunters’ existence exerted an irresistible pull on the young man. “Maybe I was attracted to this untamed life as a reaction against my childhood, when I had to work in a watch factory after school.”

Trappeurs et enfant

Trappeurs et enfant

The clash of his childhood memories with “the freedom the Indians seemed to possess” inspired Richard to take to the woods with a friend named Charly. The pair spent entire days roaming the area on snowshoe, learning the valuable lessons this country of forests and lakes had to teach them about living in the wild. Richard crossed paths with people of all origins, accompanied by their dog teams, and repeatedly visited the aboriginal people camped along the lake, whose free way of life he admired. Finally, he decided to make this way of life his own.

For thirteen years, from 1913 to 1926, Richard learned the woodsman’s and trapper’s ways. With only a packsack, he travelled by snowshoe in winter and canoe in summer, criss-crossing northern Alberta, Saskatchewan, Manitoba and even the Northwest Territories (now Nunavut). From Edmonton via Dawson, then a key stop for gold seekers en route to Alaska, he traveled down the Mackenzie River to the Beaufort Sea where he spent time with the Inuvialuit. He would, however, always return to Edmonton. It was there that he took his first drawing classes. Attracted by painting, he decided to leave for France to study at a reputed academy in Paris.



Val d'Anivier, 1928

Val d’Anivier, 1928

In early 1927 Richard registered at Académie de la Grande Chaumière, where Quebec painters Kittie Bruneau and Jean-Paul Lemieux would also study, and took a room at a small hotel near Montparnasse. Little interested in the other students’ internecine squabbles over competing artistic currents, he was almost ready to pack it in and go home after four months spent mastering his technique. Fortunately, the Montreal painter Clarence Gagnon took Richard under his wing. Gagnon encouraged him to visit the museums and to draw and paint in the street. Falling back on his nomadic ways, Richard would also periodically pack his knapsack and set off to explore the countryside. In this way he traversed the Haute-Savoie region, the Côte-d’Azur, and even Switzerland, invariably returning to Paris with a great many drawings and paintings. Richard returned to Canada in 1930.

Once home, he discovered the familiar landscapes that occupied his dreams. He recalls spending his days “hanging around,” drawing the First Nations people on the neighbouring reserve. But the woodsman’s life was calling. In August 1930 Richard outfitted himself and headed for the wilderness. There he began drawing and painting like a man possessed. It was during this period of intense production that Richard came into his style. He still led the life of an outdoorsman, but paints and pencils were always now part of his gear. Unable to afford paper or canvas, he used rolls of butcher’s paper cut down to the desired size. He would even scrape the paint off previously painted boards, destroying old works to make way for new ones.

Richard hadn’t forgotten his long-standing dream of tackling the Churchill River; he successfully completed the perilous journey in 1933. But the growing desire to paint would lead Richard to change his life. In 1938 he accepted his former mentor Clarence Gagnon’s invitation and moved to Montréal.



Maison à St-Hilarion

Maison à St-Hilarion

Summer 1938 was a pivotal moment in Richard’s life. It began on Île d’Orléans, near Quebec City, where Richard helped Gagnon take inventory of the works of Horatio Walker, a recently deceased painter. Then the two visited Baie-Saint-Paul. They stayed with the Cimon family, who had often put up Gagnon on his earlier trips to paint the Charlevoix region. Then, through Gagnon’s friendship with the deputy hunting and fishing minister , René obtained a position as a game warden in the Parc de la Montagne de la Table at the foot of Mont Albert on the Gaspé Peninsula. This ideal seasonal job allowed Richard to earn a living through the fall while giving him time to paint in the open air. Unfortunately, a government decision eliminated the position and the following autumn found Richard unemployed. His savings were enough to get him back to Baie-Saint-Paul and the hospitable Cimon family. Richard loved both the town and its landscape; he could see why it was his friend Clarence Gagnon’s favourite place. He moved in with the Cimons, who greatly appreciated the odd jobs he did for the family. Blanche, the family daughter, was won over by his thoughtfulness and consideration. The two married in 1942, despite opposition from some relatives. Not everyone in town approved of this atheist outsider; rumour even had it that Richard was a Russian spy! Fortunately, everything settled down in the end.

From that point forward, René Richard dedicated himself to his art full-time. In 1943, he sold his first paintings and held his first exhibition at L’Art Français, a Montréal gallery. It was a smash: within a day and a half, every painting had been sold. Richard was able to pay back his debts. His work was then looked after by high profile galleries in Montreal (Klinkhoff) and Quebec City (Zanettin). René Bergeron in Chicoutimi also continued to show Richard’s work.

René Richard, 1969

René Richard, 1969

Richard’s reputation started growing. Artists, journalists and celebrities began knocking on his door. His routine was to receive guests over tea after his afternoon nap. His paintings were arranged for daylight viewing on the balcony of his large studio, adjoining the house. In 1948 and 1951 he joined expeditions to the Far North as a government consultant. These trips inspired the large-format northern landscapes Richard painted from memory between 1950 and 1965. In later years he chiefly produced scenes of the Charlevoix region where he made his home. He also became close friends with the authors Gabrielle Royand Félix-Antoine Savard, among others. During Queen Elizabeth and Prince Philip’s 1959 royal visit the couple was presented with a large René Richard painting depicting the Saguenay Fjord with two capes, Trinité and Éternité, in the background.

In 1973, at age 78, Richard was decorated with the Order of Canada. He travelled Europe with his wife Blanche and friends, including a visit to La Chaux-de-Fonds in his native Switzerland. Once home, he put aside painting and took up drawing again. Eye problems forced him to adopt new techniques, which he used to draw scenes of the Far North from memory with felt pens and colour pencils. During these years Richard divided his time between his garden, his friends and his drawing. In 1975, he illustrated Gabrielle Roy’s La montagne sécrète (translated as The Hidden Mountain) whose main character, Pierre Cadorai, was based on Richard. Another illustrated book, a new edition of Félix-Antoine Savard’s seminal novel Menaud, maître draveur (translated as both Boss of the River and Master of the River) came out in 1979. In 1980, Richard was made member of the Royal Canadian Academy of Arts. Two years later, one of his works depicting Nunavut, Great Slave Lake, was chosen by Canada Post for its 12 stamp themed series, “Canada Through the Eyes of its Artists.” René Richard died that same year, at age 86. His ashes were scattered from a helicopter over Parc des Laurentides near Baie-Saint-Paul, where a lake now bears his name.

René Richard will be remembered as a man with a zest for life, a man who realized his dream of capturing both the beauty and the violence of Canada’s arid, inhospitable, and often tumultuous wilderness, and lived to fulfill his dreams.



René Richard, September 9, 1978

René Richard, September 9, 1978

René Richard’s immense talent was widely recognized by the late 1960s. Several major exhibitions of his work were held both during his lifetime (Musée du Québec, 1967 and 1978) and posthumously (City of Montréal, 1986; Villa Bagatelle, Quebec City, 1990; Chaux-de-Fonds, Switzerland, 1992–1993; Centre d’Art de Baie-Saint-Paul, 1993; and Domaine Cataraqui, Quebec City, 1996).

In 1978 Richard’s home and the Cimon property in Baie-Saint-Paul were designated cultural properties. Twelve years later, in 1990, the house was made into an interpretation centre dedicated to Richard’s life and work. The center also welcomes visiting artists in residence. Another monument to Richard’s memory is Espace René Richard in the J.A. DeSève Pavillion at Quebec City’s Laval University, where a large wooden sculpture of a canoe evokes Richard’s love of this traditional mode of transport. Richard’s peers have also paid tribute in various ways. In 1993, the sculptor Gérard Thériault made a bust of Richard, now housed at the René Richard library in Baie-Saint-Paul. Another bust sits atop a monument in the Saint Roch garden in Quebec City, along with monuments to fellow painters Alfred Pellan and Horatio Walker. And a documentary drama based on Richard’s life and work, Sur les pas de René Richard, was produced in 2003

Filming of the documentary drama on Richard’s life, Sur les pas de René Richard, 2003

Filming of the documentary drama on Richard’s life, Sur les pas de René Richard, 2003

In October 1980 Richard donated a sizeable collection of his work to Laval University: 46 paintings and sketches as well as a dozen drawings used to illustrate Menaud, Maître-draveur. On his death he bequeathed a second collection of 131 paintings and drawings to the university. The René Richard foundation, created to commemorate the artist’s life and work, endows several scholarships awarded annually to Laval University visual arts students. In these myriad ways the legacy of this artist who so loved wide open spaces and freedom lives on.


Esther Pelletier

Merci à Mme Esther  Pelletier, professeur Université Laval


Adrien Hébert

Adrien Hébert

Adrien Hébert’s artistic career may be said to have begun in 1909 when he exhibited for the first time at the AAM’s Salon du printemps, a venue that regularly featured his works up until 1954. From 1910 to 1960 his paintings were shown at the annual exhibitions of the Royal Canadian Academy of Arts.

Rue Saint-Denis

1927 by Adrien Hebert, oil on canvas (courtesy Musée du Québec).

Hébert, Adrien

Adrien Hébert, painter (b at Paris, 12 April 1890; d at Montréal 26 June 1967). Son of sculptor Louis Philippe Hébert (1850-1917) and of Maria-Emma-Cordélia Roy (1856-1942). His childhood was spent as much in Canada as in France, his father having been commissioned to create a series of sculptures to adorn the facade of the Parliament Buildings in Québec City. From 1902 to 1911, he attended Montréal’s Conseil des arts and manufactures, taking courses from EdmondDyonnet (1859-1954), Joseph-Charles Franchière (1866-1921) and Joseph Saint-Charles (1866-1956). He also studied under WilliamBrymner (1855-1925) at the Art Association of Montréal, which later became the Montreal Museum of Fine Arts (see Musée des beaux-arts de Montréal).

The Early Beginnings

Adrien Hébert’s artistic career may be said to have begun in 1909 when he exhibited for the first time at the AAM’s Salon du printemps, a venue that regularly featured his works up until 1954. From 1910 to 1960 his paintings were shown at the annual exhibitions of the Royal Canadian Academy of Arts. In 1916, he mounted a show at the Saint-Sulpice Library in Montréal with his sculptor brother, Henri Hébert(1884-1950), and in 1918 he also collaborated with his brother to publish Le Nigog, a review advocating modern literary and painterly aesthetics in opposition to the regional modes prevailing in Québec.

A Style Recalling Cézanne

His 1922-23 residence in France saw him painting Ardèche landscapes and Paris scenes, along with portraits of friends in a style recalling Cézanne. Returning to Montréal at the end of the summer of 1923, he taught design at the Conseil des arts et manufactures. After this date, his artistic style took on a more distinctive form as he discovered a painterly interest in the port of Montréal. What struck him about the port, in addition to the ships discharging cargo and the dockers working, was the beauty of the harbour’s architecture exemplified in the huge grain silos and in the footbridges connecting the wharves. Such structures afforded him the opportunity to compose highly formalized pictures that depicted the port’s dizzying activity translated by a pictorial evocation of sound and motion.

The Urban Landscape

Hébert’s love for the city manifested itself in his urban paintings: from this time and for many more years, he produced works which depict metropolitan streets, often those close to his studio in Sainte-Julie (now Christin) Street. These works capture images of pedestrians coming and going and of cars and trams travelling down rain-wet roadways or snow-swept streets. In March 1931 at the Galerie A. Barreiro in Paris, he exhibited 20 canvases representing his favourite subjects. That year the city of Montréal commissioned him to do a large-scale historical work on the topic of Jacques Cartier arriving atHochelaga in 1535. In 1941, he was elected to membership in the Royal Canadian Academy of Arts.

Upon Henri’s death in 1950, Adrien moved into his brother’s studio on Labelle Street, a studio originally built by their father. During this period he painted the region of Chicoutimi encouraged by Armand Hébert, his nephew, whose job it was to promote the Saguenay. In 1953, Adrien received his third Jessie Dow prize, this time awarded by the AAM for his canvas S.S. Empress of Canada.

The next year, upon his retirement from teaching for the Catholic School Board of Montréal, Hébert went to French West Africa, travelling on to France at the start of 1955. On his return he displayed works based on this voyage in his Montréal studio. He remounted the show in the Hélène de Champlain the following year. After the demolition of his studio in 1963, the painter installed himself in a house he bought in Westmount.

Throughout his career, Hébert saw himself as an urban painter, even if he often worked on Belair Island, where his family owned a country property. A month after his death, Mayor Jean Drapeau presented one of Hébert’s Port-of-Montréal scenes to General Charles de Gaulle on the occasion of the latter’s visit to Expo 67. In 1971, the National Gallery of Canada organized and toured an exhibition entitled Adrien Hébert, Thirty Years of his Work, and in the summer of 1993, theMusée du Québec commemorated Hebert with an exhibition dedicated to his art.


galerie la corniche

Gaspé, Adrien Hebert, canadian artist, historical artist, Louis-Philippe Hebert


Des Clayes, Berthe

Berthe des Clayes

Aberdeen, Scotland, 1877
Devon, England, 1968
Biography synopsis
Known for her portraits and Impressionist-style landscapes, the eldest of the Des Clayes sisters traveled between Montreal and England throughout her life. Her early studies took place at the Bushey School of Art in England and the Académie Julian in Paris where she studied under Tony Robert-Fleury and Jules Lefebvre. After living in London for six years (1906-12), she settled in Montreal in 1912, then spent a year traveling in England and France (1919-20). Des Clayes then settled in Chorleywood, England until 1931, then returned to Montreal where she lived until 1951. She was in Devon, England in 1967, and died the following year. A versatile artist, she worked in oils, watercolours and pastels and won the Jessie Dow Prize twice. Her fondness for the Canadian landscape pushed her to illustrate two books: “Here and There in Montreal and the Island of Montreal” by Charles W. Stokes, and “Acadia (Nova Scotia)” published by the Dominion Atlantic Railway. One of her landscapes and two Nova Scotia harbour scenes can be found in the National Gallery of Canada.
Media used
Painting, pastel, Watercolour
Bushey School of Art, Bushey, England (under B. Herkomer)
Académie Julian, Paris (under Tony Robert-Fleury and Jules Lefebvre)
File & Archive locations
University of Calgary Library, AB
Canadian Women Artists History Initiative Documentation Centre, QC
Montreal Museum of Fine Arts / Musée des Beaux-Arts de Montréal, QC
University of British Columbia – Fine Arts Library
Frick Art Reference Library, NY
National Gallery of Canada, ON – Library and Archives
Art Gallery of Ontario – Edward P. Taylor Research Library and Archives
Library and Archives Canada / Bibliothèque et Archives Canada, ON
Writings about
An Exhibition of Canadian Paintings Held at Fortnum and Mason Limited. London: 1955.
“Annual Art Show Open By Bertha Des Clayes.” Gazette (Montreal) 8 Dec. 1936.
“Art Association Spring Exhibition Opened Last Night.” Montreal Herald 17 Mar. 1933.
“Art Association’s Spring Exhibition: Private View Ushered in Showing of Representative Assemblage of Work.” Gazette (Montreal) 3 Apr. 1925.
“Art of Canadians Well Represented.” Gazette (Montreal) 19 Nov. 1920: 1.
“Art Works On View Set High Standard: Thirty-Eighth Annual Exhibition of Royal Canadian Academy Is Opened.” Gazette (Montreal) 17 Nov. 1916.
“Artists Young and Well-Known in Exhibition.” Montreal Herald 4 Apr. 1918.
“Au salon du printemps.” Le Devoir (Montreal) 18 Apr. 1922: 1-2.
“Autumn and Spring Scenes.” Montreal Star 5 Dec. 1934.
“Beau geste d’artistes de la capitale.” La Presse 28 Jan. 1915.
“Beauty of Autumn Well Interpreted.” Montreal Star 16 Nov. 1937.
“Berthe Des Clayes Shows Work At the Watson Art Galleries.” Gazette (Montreal) 1 Feb. 1941.
“Bohemian Crowd At Opening of New Art Rooms.” Montreal Daily Star 3 Mar. 1913.
“Clever Sketches Of City in Winter.” Montreal Star 4 May 1932.
“Des Clayes’ Pictures Blaze Of Autumn Tints.” Montreal Star 30 Nov. 1932.
“Des oeuvres remarquables au salon du printemps.” La Presse (Montreal) 5 Apr. 1924: 23.
“Exhibition of Works by Berthe Des Clayes.” Gazette (Montreal) 18 Jan. 1941.
“Exposition artistique à Montréal.” La Presse (Montreal) 21 Mar. 1919: 21.
“Exposition de peintures par nos artistes.” La Presse (Montreal) 1 Apr. 1921: 7.
“Exposition de tableaux par le peintre J. Jutras.” La Presse (Montreal) 14 Apr. 1925.
“Exposition remarquable chez Eaton.” La Presse (Montreal) 8 Oct. 1927: 45.
“Fewer Paintings, Higher Standards: Thirty-Eighth Annual Exhibition of Art Association of Montreal.” Gazette (Montreal) 1 Apr. 1921.
“Final Week of Show By Bertha Des Clayes.” Gazette (Montreal) 8 Feb. 1941.
“Fine Arts, Crafts and Decoration.” Gazette (Montreal) 1 Feb. 1941.
“Fine Work Marks R.C.A. Exhibition.” Gazette (Montreal) 20 Nov. 1925.
“L’Academie Royale Canadienne des Arts.” Le Devoir (Montreal) 23 Nov. 1933.
“L’Exposition de peinture.” La Presse (Montreal) 22 Nov. 1913.
“L’Exposition de peintures.” La Presse (Montreal) 23 Mar. 1912.
“L’exposition du printemps a la galerie des arts.” Le Canada 31 Mar. 1923: 10,14..
“La Galérie Eaton: L’exposition des artistes de la province de Québec.” La Patrie (Montreal) 21 Oct. 1927: 14.
“Le salon de peinture: La Princesse Patricia de Connaught expose ses oeuvres au Salon.” Le Canada (Montreal) 16 Mar. 1927: 12.
“Le Salon du Printemps.” La Patrie (Montreal) 26 Mar. 1928: 17.
“Le Salon du Printemps.” Le Canada (Montreal) 5 Apr. 1926.
“Le salon du printemps.” Le Devoir (Montreal) 4 Apr. 1940: 4.
“Le Salon du printemps.” Le Devoir (Montreal) 1 Apr. 1921: 8.
“Le salon du Printemps: Les Tableaux” La Patrie (Monreal) 7 Apr. 1924: 5.
“Le Vernissage du printemps à la Galérie des Arts.” La Patrie (Montreal) 16 Mar. 1923: 15.
“Meritorious Work At Spring Exhibit: Mural Paintings in R.C.A. Competition Part of Entries at Art Gallery.” Gazette (Montreal) 28 Mar. 1924.
“Montreal Artists Well Represented: High Standard Set at Spring Exhibition of Art Association.” Gazette (Montreal) 16 Mar. 1923: 6.
“Notable Pictures in the Art Exhibition.” Toronto Daily Star 20 Nov. 1919.
“Nouvelle visite au salon des artistes.” La Presse (Montreal) 6 Apr. 1925: 27.
“Onze tableaux pour le musée de la capitale.” La Presse (Montreal) 24 Nov. 1913.
“Ouverture de l’exposition de peintures.” La Presse (Montreal) 19 Nov. 1920: 29.
“Pictures by Miss des Clayes.” Montreal Star 17 Nov. 1937.
“Post Impressionists Shock Local Art Lovers At The Local Spring Exhibition.” Montreal Daily Witness 26 Mar. 1913.
“Presents Picture As In Memoriam.” Montreal Star 24 Jan. 1934.
“Private View Held at Art Exhibition.” Gazette (Montreal) 27 Mar. 1926.
“Protestations des artistes canadiens.” La Patrie (Montreal) 9 Dec. 1932.
“Quelques héros de Louis Hémon en sculpture.” La Presse (Montreal) 24 Mar. 1922.
“Royal Canadian Academy of Arts Open Galleries.” Montreal Herald 19 Nov. 1915.
“Spring Art Show has 478 Exhibits.” Gazette (Montreal) 26 Mar. 1915.
“Spring Exhibition at Art Galleries. Younger Men and Women Encouraged by Jury of Selection. Proportion of Paintings by “Arrived” Artists Smaller Than Usual-Over 350 Works on View.” Gazette (Montreal) 23 Mar. 1928: 8.
“Spring Exhibition at Art Gallery is Along Normal Lines.” Montreal Star 21 Mar. 1923: 1-2.
“Spring Exhibition At Art Gallery: Opened For Private View Last Night With Many Meritorious Works.” Gazette (Montreal) 26 Mar. 1913.
“Spring Exhibition at the Art Galleries.” Montreal Herald 4 Apr. 1921.
“Spring Exhibition at the Montreal Art Gallery.” Montreal Daily Star 11 Mar. 1911.
“Spring Exhibition of Art Association was Opened on Thursday.” Toronto Star 12 Mar. 1933.
“Spring Exhibition of the Art Association of Montreal.” Toronto Star 22 Mar. 1933.
“Spring Exhibition.” Montreal Star 16 Apr. 1924.
“Talented Sisters Show Paintings.” Gazette (Montreal) 24 Jan. 1934.
“The Fine Arts: Two Gifted Sisters.” Montreal Star 2 Mar. 1912.
“Three Sisters Combine in Exhibition.” Montreal Star 16 Dec. 1931.
“Tom Dohan Bequest Brings Painting to Be Hung Collegiate.” Sun (Swift Current, Saskatchewan) 29 Apr. 1953.
“Une étude sur l’art canadien.” La Patrie (Montreal) 18 Apr. 1934: 37.
Bradfield, Helen Pepall. Art Gallery of Ontario: The Canadian Collection. Toronto: McGraw-Hill, 1970.
Canadian National Exhibition. Canadian National Exhibition: Department of Fine Arts, August 23rd – September 6th, 1919. Toronto: 1919.
Canadian National Exhibition. Canadian National Exhibition: Department of Fine Arts, August 25-September 10th, 1917. Toronto: 1917.
Canadian National Exhibition. Canadian National Exhibition: Department of Fine Arts, August 26-September 7th, 1918. Toronto: 1918.
Canadian National Exhibition. Catalogue of Paintings and International Graphic Art: Toronto, August 27th – September 10th, 1921. Toronto: Canadian National Exhibition, 1921.
Canadian National Exhibition. Catalogue of Paintings, Graphic Art and Photography, Toronto, August 23-September 6th, 1924. Toronto: Canadian National Exhibition, 1924.
Canadian Newspaper Service. Canadian Newspaper Service Reference Book: Biographical Reference Data and General Information.Montreal: Canadian Newspaper Service, Ltd, 1940.
Christie’s Canada. Early Canadian watercolours, topographical and historical drawings, important early Canadian portraits and fine paintings and drawings by Canadian artists of the 19th and 20th century; English and Fre Montreal: Christie’s Canada, 1969.
Comeau, André. Artistes Plasticiens. Montreal: Bellarmin, 1983.
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Fabien, Henri. “À la Galérie des beaux-arts.” Le Devoir (Montreal) 3 Apr. 1915.
Farr, Dorothy and Luckyj, Natalie. From Women’s Eyes: Women Painters in Canada. Kingston: Agnes Etherington Art Centre, 1975.
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Gordon, E.J. “Luncheon Marks Polish Exchange Agreeement.” Gazette (Montreal) 12 Mar. 1988: J5.
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ref: Canadian women artiste, Concordia university, Montreal

Cosgrove, Stanley Morel

Stanley M Cosgrove


He completed his classical studies with the Pères de Sainte-Croix and in 1929 attended the School of Fine Arts where he was taught by Joseph Saint-Charles, Edwin Holgate and Charles Maillardé.In the thirties, he obtained a certain amount of success on the Montreal Art scene. In 1939 he obtained a grant from the Quebec Government to study in Paris but war erupted and Cosgrove went to New York instead. He then went to Mexico where he studied at the San Carlo Academy with the great masters Rodriguez Lozano, Jose Clement Orozco and Rivera. He then worked with the great Jose Clemente Orozco as his assistant.

Upon his return to Montreal, he was named professor at the School of Fine Arts. He continued to paint and exhibit his work, namely at the Montreal Museum of Fine Arts. In 1953, he visited European museums and galleries after receiving a grant from the Canadian Arts Council. Back in Montreal, he continued teaching and then quit in 1958 in order to dedicate himself exclusively to painting. Cosgrove’s canvases represented mostly stiff life and landscapes with a few portraits and nudes. The composition quality of his landscapes was remarkable, creating both fascination and surprise. His paintings radiated mystery and poetry.

Stanley Cosgrove is a member of the Royal Canadian Academy since 1967. His work is found in the following collections: Museum of Québec – Museum of Fine Arts – Vancouver Art Gallery – Art Gallery of Ontario – Canadian National Gallery – Tel-Aviv Museum, Israel – Hart House, Toronto – Winnipeg Art Galleries, Edmonton Art Galleries – National Bank of Canada – Federal Development Bank

Stanley M Cosgrove, artist, paintings galerie la corniche art gallery