DEDICATED

"IO THE Mf,MORY OF

DR. CIIARLOTTE MARION HORNER

(1913 - 1993)

As a public non-profit institution, the Art Gallery ofNorthumberland is dependent on three levels ofgovernment, The Board of Education, sponsorships,memberships and donations for its financial survival. Thefunds go toward serving the public but our most visiblefunction is the exhibition program and related events.

At the Gallery's core is a rapidly growing and importantpermanent collection which is kept in trust for theenjoyment and education of the people ofNorthumberland County. It is cared for, exhibited andinterpreted by our professional staff, Jo-Anne Lachapelle-Beyak, Director and David G. Taylor, Curator.

The phenomenal growth of the collection to well over 400works is primarily due to the generosity of public spiritedindividuals who deeply care about this Gallery. Such anindividual was the late Dr. Charlotte Horner (1913 - 1993)who, according to her will, left to the Gallery her artcollection and art books for the Gallery's library.

The Horner Bequest was facilitated largely through theefforts of the estate's executors, Mrs. K.M. Graham andMr. James Irvine, who have been helpful in many ways.Our thanks are also due to Charles Hagen, a previousPresident of the Board, for assisting the executors and forhis tireless dedication to the Gallery. We would also like

to thank the beneficiaries of the Horner Estate forcontributing toward the production costs of thiscatalogue: The Salvation Army, The Arthritis Society,The Canadian Cystic Fibrosis Foundation, and TheCanadian Heart & Stroke Foundation of Ontario. Alsocontributing funds to the catalogue are a group of peoplewho would prefer to be known as "The Friends ofCharlotte Horner." Our heartfelt thanks to you all.

The Board of Trustees is pleased to accept such agenerous gift into the collection of The Art Gallery ofNorthumberland. We are also extremely gratified thilt theHorner Bequest will be displayed in its entirety fromJanuary 29 to April 10 1994 and that it will beaccompanied by this catalogue, which we hope will serveas an important reference tool for many years to come.

Sandy PhilpPresident, Board of Trustees

PREFACEAND ACKNOWLEDGEMENTS

According to the terms of her will, the late Dr. CharlotteM. Horner wished the Gallery to be the recipient of herart collection. Known as The Horner Bequest, it consistsof two parts: The Harvey Collection - works that shehad inherited but which had originally formed part ofthe collection of her maternal grandfather, Arthur Harvey(1834 - 1905) - and works that she had collected herself.On the death of his widow, Jane Harvey, in 1909, TheHarvey Collection was divided amongst their eightchildren and Dr. Horner inherited her collection from hermother and aunt.

This fine gift adds considerable strength to our late 19thcentury collection. Several artists, such as Robert Harris,Otto Jacobi, and Lucius O'Brien were already representedbut Verner, Knowles and Cresswell were not. Otheraspects of the collection include work by importantcontemporary artists K.M. Graham, Peter Kolisnyk andDavid Blackwood which expands the Gallery's regionalcollections.

All of these will be displayed along with four others thatDr. Horner gave prior to her bequest. She also donatedthree historical portraits of the Sinclair Wallace family ofCobourg but these will not be included in the catalogueor the exhibition because they are too fragile to display.

I would like to thank Charles Hagen for his tribute toCharlotte Horner and for his essay on Arthur Harvey,and David Taylor for his essay and catalogue.

Jo-Anne Lachapelle-BeyakDirector

DR. CHARLOTTE HORNER:A PERSONAL TRIBUTE

Born in Toronto in 1913, the only daughter of Mr. andMrs. Herbert Horner, Charlotte Marion Horner attendedthe University of Toronto, graduating as a Doctor ofMedicine in 1939. Further post-graduate studies weretaken in Public Health (1942). She served in the R.C.A.F.during World War II in Gander and Halifax with therank of Flight Lieutenant.

Dr. Horner's connections with Northumberland Countybegan in 1945 when she was appointed acting MedicalOfficer of Health for the Northumberland-DurhamHealth unit, then located in Campbellford. In 1952, shemoved from Toronto to live in Cobourg. At the sametime the unit moved to Cobourg when she becameMedical Officer of Health. During her tenure the unitchanged to include Lindsay and Victoria County, and theenlarged area came under her capable jurisdiction.

Although there were no traces of rural life in her familybackground, Dr. Horner purchased a beautiful early stonefarmhouse along with considerable acreage near Cobourg,which she called Charbrook Farm. After taking necessarytraining, she became a producer of purebred polledHerefords which she entered in showsand fairs, often winningprizes and high acclaim for her work in this field.

While still working in medicine, she hired help to lookafter her herds but, upon retirement in 1973 toCharbrook Farm, she became more personally involved inthe farming routine. She loved showing her herd and

sharing her home and hospitality with her many friends.She sold the farm and cattle in the early 1980s and thehouse in 1989 before moving to a waterfrontcondominium in Cobourg.

Dr. Horner had a wide variety of interests. She lovednature and enjoyed her cottage in Algonquin Park. Shesurrounded herself with paintings of the late Victorianand Edwardian period which had originally beencollected by her grandfather, Arthur Harvey (seeopposite). These included many of the outstanding artistsof the period. She continued to add to her collection bypurchasing Canadian historical and contemporary works.

Dr. Horner also had consuming interests in Port Neufpottery and wooden butter molds which have come intothe collection of the Cobourg and District HistoricalSociety.

It is through Dr. Horner's dedication to the community,her continuous support of the arts (including music), andher devotion to friends, that she will be remembered formany years to come.

ARTHUR HARVEY ER.S.C., R.A.S.C.(1834 - 1905)

Born in England, on April 23 1834, Arthur Harvey(Catalogue No. 18) was educated in France and Holland,before entering Trinity College, Dublin in 1852. In 1855he added a special course in Actuarial Science in Londonwhich would later become the main focus of his career.

Coming to Canada in 1856 he joined the staff of anewspaper in Brantford and then in Hamilton asparliamentary correspondent for the "Spectator". Therehe met his wife, Jane Grist, whom he married in 1858.Being one of the two swiftest shorthand writers in Canadaand fluent in French, Mr. Harvey moved to Torontoduring the sessions of Parliament and later, on theremoval of the seat of Government to Quebec, he took upresidence there.

While he was editor of The Quebec Chronicle hedeveloped a liking for statistics. This work brought him tothe attention of Alexander Galt who hired Mr. Harvey toassist with the 1862 budget, which led to his appointmentin the Ministry of Finance. He worked on the ReciprocityTreaty and was the secretary of the commission sent toWashington to negotiate its renewal.

In the next few years, Mr. Harvey examined variousdepartmental budgets; interprovincial trade; and thecollection of statistics which facilitated the entrance of theprovinces into Confederation. Most of his work waspublished as The Year Book of British North America,1867, and The Year Book of Canada, 1868 and 1869.

Mr. Harvey considered this to be his magnum opus whichprobably makes him the Father of Canadian Statistics.The summary of his pre-1867 work is understood to havebeen used in London in laying the ground work forConfederation. To avoid the appearance of patronagefrom his personal friends in Government, he resigned hiswell-paid position (for a civil servant) to become head ofthe Provincial Insurance Company.

Mr. Harvey was always concerned with the work ofscientific, literary and other sciences. He was the founderof the Hamilton Scientific Association and Secretary ofthe St. George's Society of Quebec, as well as a memberof the Literary and Historical Society there. Back inToronto he published the tables for The Valuation ofMortgages which he prepared for his own use. In duetime he joined the Canadian Institute and was itsPresident from 1890 to 1893. He became a member ofthe Astronomical Society and was its President in 1898and 1899. His speciality was his work on solarphenomena. He published much in the field ~f Science andMathematics before his death in 1905.

Throughout his life he had an interest in art and wasfriends with the artist, Otto Jacobi. Mr. Harvey was an.amateur artist (No. 19) and musician. His large collectionof paintings was divided among his eight children by hiswidow in 1909.

Arthur Harvey was a descendant of the brother ofWilliam Harvey, Physician to King James I and KingCharles I, and discoverer of the circulation of the blood,which he published in An Anatomical Dissertationconcerning the Motion of the Heart and Blood inAnimals, 1628 (No. 20). Just over three hundred yearslater his descendant, Charlotte M. Horner entered thefield of medicine.

SELECTED BIBLIOGRAPHY

1. Family documents and letters

2. "In Memoriam - Arthur Harvey", Transactions ofthe Royal Astronomical Society of Canada,Toronto, 1905

3. "The Late Arthur Harvey, ER.S.C., and R.A.S.C.which contains a list of his published work",Transactions of the Royal Society of Canada,Second Series, Vol. XI, Section II, 1905 - 1906

OVERVIEW OF THECHARLOTTE HORNER BEQUEST

The Horner Bequest (Nos. 1 - 25) consists of two parts:The Harvey Collection - those works collected by ArthurHarvey (nos. 1 - 20) - and those acquired by CharlotteHorner (nos. 21 - 25). The Harvey Collection includesfifteen late 19th century Canadian paintings andwatercolours; two pictures by British artists; and threepieces relating to Arthur Harvey.

Although there are no records or receipts, it is thoughtthat Arthur Harvey purchased his pictures directly fromthe artists or at one of the annual society exhibitions,such as those of the Ontario Society of Artists or TheRoyal Canadian Academy, that were then held inToronto. The Harvey Collection passed to his wife JaneHarvey who, on her death in 1909, divided it amongtheir eight children. Thus, Dr. Horner inherited part ofthe collection, first from her mother, Violet MarionHorner (nee Harvey, 1878 - 1947) and then from her auntCharlotte Harriet Harvey (1862 - 1955). These twocollections, which had originally been part of a muchlarger one, were probably combined by 1953 when theybecame the property of Dr. Horner (see Explanations tothe Catalogue). Other works, such as the twowatercolours by Lucius O'Brien, may have been given byArthur Harvey directly to one of his children prior to hisdeath, because they were omitted from Jane Harvey's will.

In addition to the Harvey Collection, four contemporaryworks (nos. 22 - 25) purchased by Dr. Horner and a smallbust by Canadian sculptor, Emmanuel Hahn (no. 21),acquired by her mother soon after it was created in 1920,will also be displayed.

To complement the Horner Bequest, four other 19thcentury Canadian works that Dr. Horner had previouslydonated in 1975 (no. 26) and 1989 (nos. 26 - 29) will bedisplayed in the exhibition. Finally, and not included inthe catalogue or the exhibition for conservation reasons,three small portrait paintings of the Sinclair / Wallacefamily of Cobourg were also given prior to the bequest.

Dr. Horner's gifts are mainly Canadian works from thesecond half of the 19th century by artists who were verywell known in their day: Lucius O'Brien, Robert Harris,Otto Jacobi, Frederick Verner, William Cresswell, GeorgeHarlow White, McGillivray Knowles, Thomas MowerMartin and Frances Anne Hopkins.

The late 19th century is an important period in Canadianart history. Art began to gain in stature, partially becauseof the establishment of the first successful art societies inthe two leading artistic centres, Montreal and Toronto.These societies allowed artists and collectors to exchangeideas, and they provided an outlet for artists to exhibitand sell their work collectively. The first of these, theUpper Canada Agricultural Society, was founded in 1846.This group organized annual fairs to be held in asuccession of Ontario towns which, after 1847, alwaysincluded an art section. In Montreal in 1860, The ArtAssociation of Montreal, which would later become TheMontreal Museum of Fine Arts, was formed but becauseof its inability to accomplish its own fundamental goals, agroup of artists founded The Society of Canadian Artistsin 1867. In Toronto, The Ontario Society of Artists wasformed in 1872 and in 1880 The Royal CanadianAcademy of Arts was established. The latter especiallyprovided an important vehicle for artists to advance theircareers, and for their work to become acceptable to thepublic, although, to a lesser degree this had happenedwith the older societies.

Most of the artists during this period reflect theprevailing influence of the British watercolour tradition,the exception being Otto Jacobi whose work revealscertain Germanic tendencies. Watercolour was thepreferred medium in Canada from the late 18th centurythrough to about 1900, and landscape, as in Britain, thefavourite subject matter.

Photography came into prominence at this time withfirms like The Notman Company and Notman andFraser, and photographers such as Alexander Henderson(1831 - 1913), Benjamin Baltzly (1835 - 1883), and CharlesHoretzky (1838 - 1900). Photography and painting reveala surprising co-existence, and the influence ofphotography can be especially well seen in the work ofOtto Jacobi. In fact in this collection the three sepias byJacobi (nos. 5 - 7) best show his attempts at mimickingthe brownish colouring of early photography.

Contemporary works include examples by CanadiansK.M. Graham, Peter Kolisnyk and David Blackwood, whohave all received national recognition for their work.They also have a regional interest. David Blackwood livesin Port Hope; Kolisnyk for many years lived in Cobourg;while Graham (who lives in Toronto) created the twopictures in The Horner Bequest at Charbrook Farm,Cobourg.

David G. TaylorCurator

General

Adamson, Jeremy. From Ocean to Ocean: NineteenthCentury Water Colour Painting in Canada.Toronto: Art Gallery of Ontario, 1978. ExhibitionCatalogue

Canadian Water-Colours of the 19th Century.Ottawa: National Gallery of Canada, 1970.Exhibition Catalogue

Harper, J. Russell. Painting in Canada: A History.Toronto: University of Toronto Press, 1977

Reid, Dennis. A Concise History of Canadian Painting.Second Edition. Toronto: Oxford University Press, 1988

Reid, Dennis. Our Own Country Canada.Ottawa: National Gallery of Canada, 1979

Sisler, Rebecca. Passionate Spirits, a History of theRoyal Canadian Academy of Arts, 1880 - 1990.Toronto: Clarke, Irvine & Company Limited, 1980

Artists

Clark, Janet E. and Robert Stacey. Frances Anne Hopkins1838 - 1919. Canadian Scenery. Thunder Bay ArtGallery, 1990. Exhibition Catalogue

Murray, Joan. The Last Buffalo, the story of FrederickArthur Verner, Painter of the Canadian West.Toronto: Pagurian Press, 1984

Reid, Dennis. Lucius R. O'Brien. Visions of VictorianCanada. Toronto: Art Gallery of Ontario, 1990.Exhibition Catalogue

Smith, Frances K. G. Harlow White, R.C.A. 1817- 1887.Kingston, Ontario: Agnes Etherington Art Centre,1975. Exhibition Catalogue

Varley, Christopher and Barry Fair. William Cresswell(1818- 1888), Man from Seaforth. London,Ontario: London Regional Art Gallery, 1986.Exhibition Catalogue

Williamson, Moncrieff. Robert Harris (1849 - 1919)AnUnconventional Biography. Toronto: McClellandand Stewart Limited, 1970

Williamson, Moncrieff. Robert Harris (1849 - 1919).Ottawa: National Gallery of Canada, 1973.Exhibition Catalogue

All works are in The Art Gallery of Northumberland'spermanent collection. They are from the Bequest of Dr.Charlotte Horner, 1993, together with four others that shegave at an earlier date.

A typed inventory of pictures, dated February 7, 1953,was produced with the name Dr. Charlotte Horner andthe address of the family home: 259 Inglewood Drive,Toronto. Possibly, at that time, the collections ofCharlotte Harriet Harvey and Violet Marion Horner hadbeen combined and belonged to Dr. Horner. In 1953,Charlotte Harvey was no longer living on Inglewood Drivebut elsewhere in Toronto. In addition, a handwritten,undated, list was attached to the 1953 Inventory.

A final inventory of Dr. Horner's pictures was made byThe Pagurian Corporation, Toronto, May 20, 1986.

These three primary sources: Jane Harvey's will, Dr.Horner's Inventory of 1953, and the Pagurian list of 1986,will be referred to in the catalogue to suggest howindividual works came into Dr. Horner's possession. Seeabbreviations, opposite.

RCAOSASCAExh.c.NGCAGOAGNCMHCMH 1953CMH 1953A

Royal Canadian Academy of ArtsOntario Society of ArtistsSociety of Canadian Artists (Montreal)Exhibition(s) or exhibitedCirca (about)National Gallery of Canada (Ottawa)Art Gallery of Ontario (Toronto)Art Gallery of Northumberland (Cobourg)Dr. Charlotte Marion HornerCharlotte Horner Inventory, February 7, 1953Annotated additions to CMH 1953, hand-

written by CMHHandwritten additions by CMH, undated,

but added to the typed version ofCHM 1953

The Pagurian Corporation InventoryToronto, May 20, 1986

The will of Jane Harvey (AH's widow),dated August 23, 1909

Charlotte Harriet Harvey (1862 - 1955),aunt of CMH

Violet Marion Horner (1878 - 1947),mother of CMH

Dictionary of Canadian Biography

Catalogue Numbers

The Horner Bequest Nos.The Harvey Collection Nos.Works acquired by Dr. Horner Nos.

Other Works given by Dr. Horner Nos.In 1975 No.In 1989 Nos.

1 - 251 - 20

21 - 2526 - 292627 - 29

THE HARVEY COLLECTION (Nos. 1 - 20)

1.

HARRIS, Robert (1849-1919) CanadianA Roman Model, c. 1882, Oil on Wood Panel40.9 x 32.4, Signed, lower left: R. HarrisInscribed, lower left: ROMAEx h. RCA, 1883, no. 102

NGC, 1973 - 74, Robert Harris (TravellingExh), no. 37

AGN, "Northumberland CommunityCollects," March 23 - April 28, 1991

"Roma by Harris" JH 1909 to CHH, "Roma" CMH ?1953,"A Roman Model", Pagurian 1986

Harris probably painted this on a trip to Rome in 1882. Hehad arrived in Italy in October, travelling to Rome viaTurin, Genoa and Pisa. As far as is known, he completedonly three or four small paintings on this trip. He leftRome on December 17, 1882, arriving in Canada by April1883. In that same year he exhibited "A Roman Model" atthe RCA, Toronto.

In 1884, Harris completed and exhibited his most famouspicture, The Fathers of Confederation (destroyed by fire in1916). He won this commission because of his standing asthe best portrait painter in Canada.

2.O'BRIEN, Lucius Richard (1832 - 1899) Canadian. Untitled, 1874

Watercolour with white highlights over pencil on wove paper13.4 x 22.3, Signed and dated, lower right: O'Brien 74Exh.:AGN "Northumberland Community Collects," March 23-April 28, 1991

Omitted from JH 1909; "Camp Scene. Two Campers and Canoe" CMH 1953;"Camping for the Night" Pagurian 1986.

O'Brien was the foremost artist of the last half of the 19th century. He was Vice-President of the OSA from 1872 to 1880, and the first President of the RCA from1880 to 1890. In addition to his prolific career as a painter in oil and watercolour,O'Brien was the editor of (and contributor to) Picturesque Canada, 1882.

4.JACOBI, Otto Reinhold (1812 - 1901) Canadian, Untitled, 1874, Oil on Canvas, 30.8 x 51.0

Signed and dated, lower right: ORJacobi 1874Exh.: AGN "Northumberland Community Collects," March 23 - April 28, 1991

"Storm in oil by Jacobi" JH 1909 to CHH; "The Coming Storm" CMH 1953; "Rocky Landscape withRainclouds" Pagurian 1986. As with most of Jacobi's work in these sources, the location is not specified.

Next to O'Brien, Jacobi was the most respected artist of the late 19th century, working both in Torontoand Montreal. Initially, he trained in Germany before arriving in Canada in 1860. Jacobi began hisCanadian career in Montreal, working for Notman and Fraser. A regular contributor to the SCA inMontreal and then the OSA in Toronto, Jacobi became a charter member of the RCA, succeeding O'Brienas its President from 1890 - 1893. Jacobi probably met Arthur Harvey while he was living in Toronto andthey maintained a close relationship with each other for about twenty years. The correspondence of Jacobito Arthur Harvey and other members of the Harvey family, dated between 1880 to 1896, is now in TheThomas Fisher Rare Book Library, Toronto.

5.Untitled, 1875Sepia Wash on wove paper8.9 x 14.8Signed and dated, lower right: ORJacobi.l875.

6.Untitled, 1875Sepia Wash on wove paper9.3 x 14.9Signed and dated, lower left: ORJacobi 1875

Jacobi was living at Ardoch, near Kingston between 1875 and 1876where these could have been painted.

7.Untitled, 1867Sepia Wash on wove paper14.5 x 19.5Initialed and dated, lower right: ORJ.l867

Not mentioned in JH 1909;"3 sketches" CMH ?1953."Landscape Studies (3)" Pagurian 1986

8.VERNER, Frederick Arthur (1836 . 1928) Canadian. Untitled, date unknown

Watercolour with white highlights on wove paper, 12.7 x 28.4Exh.: AGN "Northumberland Community Collects," March 23 . April 28, 1991

"Two pictures by Verner" JH 1909 to VMH; "Indian and Canoe. Water. Foggy" CMH 1953;"Indian Beaching a Canoe" Pagurian 1986

Born in Sheridan, Upper Canada, Frederick Verner studied art in England and served in theBritish army before returning to Canada in 1862 as a professional artist. He is best knownfor his oils and watercolours of Indians and Indian camps, and of animal life on the prairies.He also painted scenes of Ontario pioneer life and on occasion he tinted photogra phs forWilliam Notman.

9.VERNER, Frederick Arthur (1836 . 1928) Canadian. Untitled, date unknown

Watercolour with white highlights on wove paper, 12.8 x 28.2Initialed, lower right: F.A.V.

"Two pictures by Verner" JH 1909 to VMH; "Creek in Woodland" CMH 1953"Forest Stream" Pagurian 1986

10.WHITE, George Harlow (1817 . 1888) British

Kempenfelt Bay, Lake Simcoe, 1875Watercolour over pencil on wove paper13.2 x 20.6. Signed and dated, lower left:1875/G. Harlow White, Titled, versoExh.: "Northumberland Community

Collects," March 23 - April 28, 1991

Possibly "Scene near Owen Sound, by White" JI-I1909 to her daughter Mary J. Thomson; omittedfrom CMH 1953; "Kempenfelt Bay, Lake Simcoe"Pagurian 1986.

White visited Canada between 1870171 and 1878 or1880 where, for five of those years, he lived in OroTownship, near Lake Simcoe. There he purchased abush farm and made numerous pencil andwatercolou r sketches of pioneer life. Following hisreturn to England, he continued to send work tothe OSA and Toronto Industrial Exhibitions.

12.CRESSWELL, William Nichol (1822-1888) Canadian. Untitled, 1883

Watercolour over pencil on wove paper, 17.0 x 28.7Signed and dated, lower right: WN. Cresswell 1883.

"Sea Beach by Creswell [Sic]" is the only work by this artist in JH 1909,to CHH; "Seascape. Shore and Old Wreck foreground" CMH 1953;"Fishing Boats Beached at Low Tide" Pagurian 1986.Cresswell came to Canada from England in 1855, settling at Seaforth,Ontario. In England he had studied with Edward William Cook(1811-1880) and Clarkson Stanfield (1793·1867). Cresswell brought toCanada their interest in marine painting, producing numerous views ofrocky shorelines, which were often idealized.

13.CRESSWELL, William Nichol (1822-1888) Canadian. Untitled,

date unknown. Watercolour with white highlights over pencil onwove paper, 17.4 x 25.0. Initialed, lower left: Wm. N.C.

Omitted from JH 1909; "Loose rocks in Foreground" CMH 1953; "WavesPounding a Rocky Shore" Pagurian 1986.In CMH 1953, 1868 is given as the date for this work although no datewas located by this writer (nor Pagurian 1986). However, it may havebeen inscribed on a backboard, since removed.

14.MARTIN, Thomas Mower (1838·1934) Canadian. Untitled, post 1880

Watercolour over pencil on wove paper, 32.6 x 50.6Signed, lower left: T.M.Martin RCAExh.: "Northumberland Community Collects," March 23·April

28,1991"Wheatfield" JH 1909 to CHH; "Landscape - field & lake" CMH ?1953;"Landscape with figures in an Ox-Cart - Lake in Distance" Pagurian 1986.Born in London, England, Martin came to Canada in 1862. He firsthomesteaded in Muskoka but the farm was unproductive. He moved toa farm in York Mills in 1863. Although largely self·taught, Martin heldseveral teaching posts in Toronto. He was a founder member of the RCAso this work would post date 1880.

16.MOORE, John (1820-1902) British

The Mouth of the Orwell off Woodbridge, Suffolk,c. 1850-1860. Oil on Wood Panel21.0 x 35.5. Label, verso, inscribed: ''The Mouth

of the Orwell - off Woodbridge, Suffolk, England, by G. [Sic]Moore Cash in England L.15 = $75, in about 1870, paintedabout 1850-60. True to local color."

"Mouth of the River Oswald [Sic] by Moor [Sic]" JH 1909 toVMH; "A Seascape. Fishing Boat in foreground" CMH 1953;"The Mouth of the Orwell, Woodbridge, Suffolk" Pagurian1986.John Moore of Ipswich (England), an East Anglian painter oflandscapes and coastal scenes, was known for his depictions ofsailing vessels in choppy seas. He began painting atWoodbridge but later moved to Ipswich in about 1850. In 1875he became an active member of the Ipswich Art Club, 'exhibiting 332 works in all. Moore painted in the manner ofConstable in an attractive but sometimes slightly heavy style(Christopher Wood, A Dictionary of Victorian Painters,Woodbridge, 1978).

17.PRATT, William (1855-1935) Scottish

Sunset, Boarhills, Fife, 1883Oil on Canvas, 46.0 x 76.0Signed and dated, lower right, WPratt 83Titled, verso of canvas

"Sketch, Farmhouse, by Pratt" JH 1909 to CHH; "ScottishHarvest Scene" CMH 1953; "Returning Home across theCornfield at Sunset" Pagurian 1986.

Judging from these descriptions, it is apparent that no one,until the present writer, had seen the title on the verso of thecanvas, which establishes the scene's accurate location.Boarhills, Fifeshire, is a small hamlet, three and a half mileseast south east of St. Andrews.

A painter of country subjects, landscapes and marines, Prattstudied at the Glasgow School of Art and at the AcademieJulian, Paris. He exhibited five paintings at the Royal Academy,London, and others at The Royal Scottish Academy including"September Showers, Boarhills," 1884, no. 188 (ChristopherWood, The Dictionary of Victorian Painters, Woodbridge,1978, p. 378).

18.PARMINTER, Agnes Vyo (dates unknown) Canadian

Portrait of Arthur Harvey. 1907Oil on Canvas, 35.5 x 25.4Signed and dated, lower right: Agnes VyoParminterl1907

Painted posthumously by the sitter's sister, Agnes, thisportrait may have had a photograph as its source. Onesuch photograph, dated 1897 (in the Gallery files) showsHarvey wearing the identical suit with his left handresting on the same cane. In the painting, however, it ishis right hand that rests on the cane and his face isturned towards his left instead of directly outward.

19.HARVEY, Arthur (1834-1905) Canadian. Untitled, 1875.

Scratchboard on Paper, 18.7 x 25.4Signed and dated, lower right: A.Harvey/Sept3rd/1875

20.Photomechanical Reproduction of Dr. William Harveydemonstrating to Charles the First his theory of theCirculation of the Blood.Possibly "an engraving of Dr. Harvey" JH 1909 to herson Charles H. Harvey; "Harvey demonstratingCirculation of the Blood" CMH 1953; omitted fromPagurian 1986.The original engraving was produced by Henry Lemonafter a painting by Scottish artist Robert Hannah(1812-1909).

23.GRAHAM, K.M. (Kathleen Margaret Graham, born 1913) Canadian

Cobourg Series - Dancing Tree Forms, 1972Acrylic and India Ink on heavy laid paper44.4 x 58.4Signed and dated, lower right: K.M.Graham/72Titled, signed and dated, verso

This is also a view from another window at Charbrook Farm, lookingout on to a line of cedar trees. Acquired by Dr. Horner from the artist.

24.KOLISNYK, Peter Henry (born 1934) Canadian

Untitled, 1958Watercolour over pencil on wove paper(Watermark: J.WHATMAN 1954)57.0 x 78.3Signed and dated, lower right: Kolisnyk/58Exh.: AGN "Northumberland Community Collects,"

March 23-April 28, 1991

Possibly acquired by Dr. Horner from The Magpie, Port Hope but noreceipt has thus far been found.Peter Kolisnyk studied art at The Western Technical College and theOCA with Julius Griffith and others. For many years he lived inCobourg and was an active member of the Cobourg art scene. He hasexhibited nationally, including a solo show at the AGO in 1977, andinternationally. He currently lives in Toronto.

25.BLACKWOOD, David Lloyd (born 1941) Canadian

Study for "Safe Harbour;' 1980Etching on wove paper. 19.11 x 30.0Signed and dated, lower right: David Blackwood 1980Inscribed lower left: Study for Safe HarbourArtist's Proof 3/10 ED.50

Purchased by Dr. Horner from The Magpie, Port Hope, March 14,1982.

Port Hope artist, David Blackwood, was born in Wesleyville, BonavistaBay, on Newfoundland's east coast. He was from a long line of seafarers:his father, grandfather, and great-grandfather all were closely connectedwith the fishing and sealing industries. Today, Blackwood is consideredto be one of Canada's leading printmakers whose images are drawnprimarily from his rich Newfoundland heritage.

WORKS GIVEN BY DR. HORNER PRIOR TO THE HORNER BEQUEST(nos. 26 - 29)

26.HOPKINS, Frances Anne (1838-1919) British

Mrs. Macdougall, 1866Watercolour and Gouache on wove paper35.7 x 23.0Initialed and dated, centre left: FAH/1866Inscribed, lower right: Mrs. MacdougallInscribed, lower right: Louis XIVInscribed, verso: "Painted by a Canadian lady. Fancy costume at ball in Ottawa.

F.A.Hopkins"Gift of Dr. Charlotte Horner, 1975

Not listed in JH 1909; or Pagurian 1968

Some confusion concerns the provenance of this work. It was sold as Lot 135 at Sotheby's Auction(Toronto), May 1974, along with two letters, one of which was postmarked "Ottawa, Sep 13/28."Addressed to Miss Harvey, 259 Inglewood Drive, Toronto, they are now in the Gallery's files. They.are directed to "Dear Bon," which was the nickname of Dr. Horner's maiden aunt, CharlotteHarvey. The writer was "Ida" or "Ian." Was this work given to Dr. Horner (from her auntCharlotte Harriet Harvey) who placed it in the Sotheby's sale only to have it "bought in"? It isimpossible to be certain at this time.

The identity of the sitter is not known nor the event depicted but it is discussed in these letters.The writer appears to have borrowed it from Miss Harvey for examination at Wilson's Gallery,Ottawa, before returning it soon after September 13, 1928. In one letter the writer expresseddoubts about the family belief (perhaps the opinion of CHH) that the "costume was worn by Mrs.McDougall [sic] at the Fancy Dress Ball given by the Gov. GenI-Lord and Lady Dufferin." As thewriter correctly points out, the Dufferins did not arrive in Canada until 1872 and the Hopkinspicture is dated 1866.

The identity of the artist, Frances Anne Hopkins, is reasonably certain, because FAH was theusual way she signed her work and family belief suggested Hopkins as the author. Moreover, theinscription, verso, also identifies Hopkins as the artist.

Frances Anne Hopkins came from a prominent British artistic family. Her grandfather, SirWilliam Beechey (1753-1839), was portrait painter to Queen Charlotte and her father was Rear-Admiral Frederick William Beechey who, in addition to his successful naval career, was also anamateur artist, illustrating his military expeditions and travels (which included the CanadianArctic). Her father's two brothers were also artists, and her grandmother was a painter ofminiatures (DCB, VIII, p.70).

As the wife of a Hudson's Bay official, Hopkins travelled with him to the far reaches of LakeSuperior where she encountered first hand the lives of the voyageurs. She painted many fine worksdrawn from her experiences and, following her return to England, she showed Canadian picturesat the Royal Academy, London.

27.JACOBI, Otto Reinhold (1812-1901)Canadian

Untitled, 189[?6]Watercolour on wove paper14.6 x 28.0Signed and dated, lower right: Otto Jacobi 189[?6]Gift of Dr. Charlotte Horner, 1989

?Omitted from JH 1909; "Lake & small waterfall (?)" CMH ?1953;omitted from Pagurian 1986. The description in CMH ?1953 agreeswith the image but it is not known why Dr. Horner questioned it.If this is one and the same, the work may have passed from ArthurHarvey directly to VMH and then to CMH, or it may have beenpurchased by Dr. Horner from the same source as the following twoworks, the Pagurian Corporation.

28.WHITE, George Harlow (1817-1888)British

Lumber Mill, Wash ago, Ontario 1875Watercolour over paper on wove paper13.0 x 20.5Signed, lower right: G.H.WhiteInscribed, verso: Lumber Mill/Washago/Ont/G. Harlow

White/1875Gift of Dr. Charlotte Horner, 1989

Purchased by CMH from the Pagurian Corporation, Toronto, April28, 1986.A watercolour, "Washago," was included with four others at the1875 OSA exhibition.

29.MARTIN, Thomas Mower (1838-1934) Canadian

North Shore of Lake Superior, post 1880Watercolour on wove paper18.0 x 26.3Signed and dated, lower left: T.M.Martin R.C.A.Gift of Dr. Charlotte Horner, 1989

Purchased from the Pagurian Corporation, Toronto, July 13, 1978

"North Shore - Lake Superior," a painting by Martin, wasexhibited at the Toronto Industrial Exhibition in 1881 (no. 256)which might indicate that this was a sketch for the final work.

Copyright © The Art Gallery of Northumberland, 1994

Catalogue to accompany an exhibition held at The Art Gallery of Northumberland, Cobourg, Ontario, fromJanuary 29 to April 10, 1994

ISBN 0-921480-27-X

The Art Gallery of Northumberland is generously funded by The Ontario Arts Council, Communications Canada- Museum Assistance Program, The Town of Cobourg, Northumberland & Newcastle Board of Education, privateand corporate donations, and memberships.

Credits:Typesetting: Haynes Printing Company, CobourgColour Separations: Praven Graphic Productions Ine.Printing: Haynes Printing Company, Cobourg

Photo Credits

All photography by Ted Amsden

Cover:Otto JacobiUntitled, 1874Oil on CanvasArt Gallery of Northumberland, The Horner Bequest, 1993

Inside front cover:K.M.GrahamCharbrook Patterns on three colours, 1983/87Acrylic on CanvasArt Gallery of Northumberland, The Horner Bequest, 1993

Back Cover:Robert HarrisA Roman Model, e. 1882Oil on CanvasArt Gallery of Northumberland, The Horner Bequest, 1993

Inside back cover:George Harlow WhiteSydenham River, Owen Sound, date unknownWatercolour over pencil on wove paperArt Gallery of Northumberland, The Horner Bequest, 1993