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UBC Theses and Dissertations

Public art in Vancouver Munroe, Doris Creighton 1973

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PUBLIC ART IN VANCOUVER by DORIS C. MUNROE B.A., University of B r i t i s h Columbia, 1963. THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS IN THE DEPARTMENT OF FINE ARTS We accept t h i s thesis as conforming to the required standard. THE UNIVERSITY OF BRITISH COLUMBIA . . A p r i l , 1972 In presenting t h i s t h e s i s in p a r t i a l f u l f i l m e n t of the requirements f o r an advanced degree at the U n i v e r s i t y of B r i t i s h Columbia, I agree that the L i b r a r y s h a l l make i t f r e e l y a v a i l a b l e f o r reference and study. I f u r t h e r agree that permission f o r extensive copying o f t h i s t h e s i s f o r s c h o l a r l y purposes may be granted by the Head of my Department or by h i s r e p r e s e n t a t i v e s . I t i s understood that copying or p u b l i c a t i o n o f t h i s t h e s i s f o r f i n a n c i a l gain s h a l l not be allowed without my w r i t t e n permission. Department of The U n i v e r s i t y of B r i t i s h Columbia Vancouver 8, Canada ABSTRACT This survey of public art in Vancouver i s presented in the form of a catalogue. My aim i s to l i s t the works of art of a permanent nature which are accessible to the general public within the c i t y l i m i t s of Vancouver, the camous of the University of B r i t i s h Columbia and the Vancouver International A i r p o r t . It covers sculpture in parks, i n playgrounds and on c i t y streets, as -well as works of art integrated with arch-i t e c t u r e . I t does not include church a r t , Indian a r t , works in apartment houses, shopping malls, c o c k t a i l lounges and restaurants (with three exceptions). The information included on each item i s , as near as possible, the date, the item, the location, the a r t i s t , the medium, the si z e , and any other pertinent f a c t s . The information has been acquired by questionnaires sent to the a r t i s t s concerned, and in some cases, to the arch-i t e c t s , patrons or c l i e n t s , to representatives of governments and others. C 0 i o u r s l i d e s of almost a l l works l i s t e d are included. An accompanying essay deals in a b r i e f fashion with the problems confronted by the a r t i s t , the architect and the l i i patron in these j o i n t endeavours. The c u l t u r a l organizations which have supported and have helped to increase the quantity and quality of nublic art are reviewed. The p o l i c i e s of the government at federal, p r o v i n c i a l and c i v i c l e v e l s which deal with integrating art with architecture are noted. The s t y l i s t i c trends of the works which cover a sioan of sixty-seven years are discussed. F i n a l l y , certain conclusions with regard to the dearth, of public art are drawn. IV TABLE OF CONTENTS Page INTRODUCTION 1 ESSAY 5 CONCLUSION 24 FOOTNOTES 27 BIBLIOGRAPHY 50 CATALOGUE i APPENDIX xciv INDEX x c v i i 1 W ,s a set" of slU^Mft^ S p o o f Co(k .Po^ U To Cf> ^ VntSlS { V A CKN 0V7LED GEMEN T S The author wishes to express her appreciation to the many a r t i s t s and. a r c h i t e c t s who completed a long questionnaire about t h e i r work, to o f f i c i a l s representing the three l e v e l s of government and to several businessmen who responded to written and verbal requests with informa-t i v e l e t t e r s and brochures and background knowledge. The Fine Arts Library of the University of B r i t i s h Columbia and the Fine Arts Department of the Vancouver Public Library have been most h e l p f u l . F i n a l l y , I would l i k e to thank Professor Ian McNairn, my faculty advisor for a l l the help he has given me. INTRODUCTION This catalogue of art in public places in Vancouver i s written with the intent of making the information r e a d i l y available to students who wish to do research on l o c a l a r t i s t s or l o c a l works of art, and to other interested persons. It was the experience of the author when seeking such inform-ation that i t had not been l i s t e d and was available only through extensive research. The information given here i s , of necessity, b r i e f ; therefore, special attention has been given to include as much source material as possible. Since the face of our c i t y i s constantly in a state of change, some works of s i g n i f i c a n t '.importance have already been destroyed,., thus colour s l i d e s have been included of ex i s t i n g works as a means of preservation. A catalogue, such as t h i s , cover-ing a span of almost three-quarters of a century reveals many int e r e s t i n g f a c t s . These include the names of the a r t i s t s who have worked in the c i t y over the years, s t a t i s t i c a l of/acts on each p a r t i c u l a r work, s t y l i s t i c trends, problems of the a r t i s t , a r c h i t e c t and patron, public i n t e r e s t or the' lack thereof, and the e f f o r t s that have been made and are being made to enrich the a r t i s t i c environment. The l i m i t a t i o n s I have placed on myself by the t i t l e Public Art in Vancouver are such: (1) "Public" r e f e r s to a l l works placed in locations, or integrated with architecture, which are r e a d i l y available to the public. (2) "Art" r e f e r s to "fine a r t " which has been defined as "those elements of a building design which are conceived and executed by professional a r t i s t s . " 1 Added to t h i s d e f i n i t i o n are works by professional a r t i s t s which are located in parks, playgrounds, c i t y streets and the University Campus. These works must be of a permanent nature, therefore easel paintings and small sculptures are not included. The word a r t i s t i s used in the broad meaning of the term which includes painters, sculptors, muralists, ceramists, weavers, etcetera. The term "professional a r t i s t s " has been stretched during the e a r l i e r period to include in some cases a r c h i t e c t s , designers, stone carvers and masons. Their work i s important to t h e i r period and i t i s possible that the terms, a r t i s t , designer, etcetera were used more loosely at that time. It i s inevitable that in a study as extensive as t h i s , some works of "fine a r t " , w i l l have been missed. The author can only o f f e r an apology in advance. (3) The locale considered i s within the boundaries of the City of Vancouver, the Vancouver International Airport and the campus of the University of B r i t i s h Columbia. (4) The time period covered i s from the e a r l i e s t comm-emorative fountain, the Queen V i c t o r i a in Stanley Park (1905), to the present. Several pieces which are no longer in e x i s t -ence, or at least no longer available to the public, are included because of t h e i r significance. (5) The above r e s t r i c t i o n s have had to be stretched s t i l l further. The catalogue does not include Indian Art, church a r t , or works of art i n apartment houses, shopping malls, c o c k t a i l lounges and restaurants (with three exceptions). The information has been acquired over the past two years by the following methods; questionnaires sent to the a r t i s t s ; questionnaires sent to the a r c h i t e c t s , e s p e c i a l l y when a r t i s t s could not be contacted; l e t t e r s to b u i l d i n g owners and managers, to various l e v e l s of governmental repres-entatives, and to o f f i c e s of national corporations, including banks, railways, and hotels; reviews of p e r i o d i c a l s , newpapers (microfilms), f i l e s of l i b r a r i e s and archives; and personal and telephone conversations with concerned persons. I t i s note worthy that of twenty-seven a r t i s t contacted only three f a i l e d to reply. Management too was most co-operative and went out of i t ' s way to include photographs, brochures, and xeroxed copies of pertinent minutes. I f , as in some cases, the information i s sparse i t i s because, in spite of extensive research, i t was a l l the author could f i n d . In addition to the s t a t i s t i c a l data, the author has included, where possible, on each item catalogued such inform-ation as: method of selection of a r t i s t ; l i m i t a t i o n s placed upon a r t i s t ; problems of construction or i n s t a l l a t i o n ; degree of mutual understanding and ultimate s a t i s f a c t i o n reached by a r t i s t , a r chitect and patron; public reaction complimentary or adverse, i f of any degree; date of completion, dedication or unveiling; and the name of the a r c h i t e c t s , where applicable. This catalogue i s not, nor i s i t intended to be, an assessment of a r t i s t i c merit; such c r i t i c i s m would be out-side the purpose of t h i s thesis and beyond the c a p a b i l i t i e s of the author. The items in t h i s catalogue are presented in chronological order, with newspaper references also in chronological order. A l l references to works of art mentioned in the essay are l i s t e d in the catalogue. The page number i s indicated by the abbreviation "Cat. p. -". 5 Commissioned works of art c a l l f o r the collabor-ation of at least two persons, the a r t i s t and the patron. When such works are integrated with architecture a t h i r d , and perhaps the key person, the ar c h i t e c t , i s involved. There are various methods by-'which an a r t i s t may be chosen to create a s p e c i f i c work. I t may be as simple as the d i r e c t contact of patron to a r t i s t , or as complex as the work being submitted to an open competition and the choice being made by a competent jury. I t may be one of various methods between these two extremes. Then, too, a completed work or a casting from an o r i g i n a l work may be selected from an exhibition or a catalogue, or the a r t i s t himself or a member of his family, or a private donor may select a piece and give i t as a g i f t . When three or more persons collaborate on the crea-tion of a s p e c i f i c work, as often happens when art i s integr-ated with architecture, i t i s almost inevitable that problems w i l l a r i s e . "Art and Architecture" has been a topic much d i s -cussed and recorded in pertinent professional p e r i o d i c a l s and journals over the past decade. To do j u s t i c e to t h i s complex subject, i s beyond the scope of t h i s essay and the knowledge of the writer-. However, a few of the d i f f i c u l t i e s which have been brought to ray attention while preparing t h i s cat-alogue should be mentioned. The architect has been referred to as the "key man". It i s he who usually has to act as the "go-between" from patron to a r t i s t . It i s he who often convinces the patron that works of art should be included in the construction. This survey has shown t h i s to be true. His r e s p o n s i b i l i t i e s then are manifold. He must bring s a t i s f a c t i o n and f u l f i l l m e n t to the a r t i s t , the patron, and the public and improve the public image of his own company. The position of the a r c h i t -ect and his relationship has been defined by Professor B.C. Binning in the Royal A r c h i t e c t u r a l I n s t i t u t e of Canada Journal, July, I960, where he refers to the i d e a l architects as the " T r a d i t i o n a l i s t s . " He writes: You usually f i n d that the T r a d i t i o n a l i s t s have such people f o r t h e i r f r i e n d s . They know them w e l l . They know what they can do, the style they work i n , t h e i r special talents and t h e i r l i m i t a t i o n s . These arc h i t e c t s have a wide knowledge of the arts . They know the difference between architecture, painting and sculpture. They know the s i m i l a r i t i e s between the a r t s , t h e i r family likenesses of form, struct-ure and space. They can dis t i n g u i s h between what Is a private art (such as an easel painting) and a public art that has something to do with architecture. They know the difference between form and content; how form can give a r c h i t e c t u r a l meaning to a b u i l d -ing; and the image-making p o s s i b i l i t i e s of content. They know the whole scope and gamut of the materials used by the a r t i s t and sculptor, and how best they can be associated with a building. And they know what i s perhaps even more important f o r an architect to know — how to use sculpture, murals and the l i k e as an i n t e g r a l part of t h e i r a r c h i t e c t u r a l concept. For example, they know what sculpture or painting can do to a r c h i t e c t u r a l mass; how i t can give scale, d e f i n i t i o n , emphasis, enrichment„ They know how these things can a f f e c t space, giving d i r e c t i o n , a point of reference; and how they can be a means t o ^ i d e n t i f y the i n -dweller to that space. Given then the i d e a l a r c h i t e c t , "the philosopher-king" i t would follow that he would be equally wise in select-ing the time to contact the a r t i s t . Anita Aarons, Royal Arch- i t e c t u r a l I n s t i t u t e of Canada Journal, January, 1965, writes: A r t i s t and architect in professional practice, with proper means of selection and knowledge of each others work, should meet and both excite together at the concept stage long before even ground plan has emerged. They should l i v e through the period of gestation together in common inspiration.3 The i d e a l situation has occurred too infrequently in Vancouver and one cannot avoid mentioning a few of the p i t f a l l s of the less experienced a r c h i t e c t . He wishes his creation to stand out as a monolithic structure on i t s own meritSo He r e a l i z e s that something must be done (a) to give a building i d e n t i t y or r e l i e v e monotony (b) to i d e n t i f y an entrance so that i t w i l l draw people and (c) to enhance an otherwise deadly lobby or elevator foyer. He must appease the demands of a c i t y council, c u l t u r a l organizations and pressures from business management (who may l i v e i n the east). These are the cases in which, very often, the a r t i s t i s contacted too h a s t i l y and too late and i s made frustrated by pressures of l i m i t a t i o n s of time, theme and material. Un-fortunately, many instances of t h i s kind may be cited throughout our c i t y . In fairness to the architect, i t must be mentioned that the glass and steel beam or concrete buildings of today do not lend themselves to a r t i s t i c decoration; therefore murals in the lobby and fountains or sculpture in the court-yard would seem to be in order. This i s a l l to the good i f , as stated, the a r t i s t i s ca l l e d upon in -the planning stages. George A. Norris in answering the questionnaire sent to him for t h i s survey made the observation; Too often (almost always) works of art are thought of as af t e r thoughts by architects and c l i e n t s . No true integration can exist under such fragmented conditions. The more one does a r c h i t e c t u r a l p r o j -ects the more one sees not only his own e f f o r t , but also the buil d i n g , the street, the adjacent structures, the spaces between and the scale of people and landscape to the whole thing, and the more d i s s a t i s f i e d one becomes with the chaotic disregard for the Vancouver environment. The sculpture i s only as good as the t o t a l scene.^ The problems that beset the a r t i s t , too, are numerous. The time factor has been mentioned. He has l i t t l e opportunity to work on such a monumental scale both in school and in his studio. Materials and locations f o r exhibitions make experimenting almost impossible. The sti p u l a t i o n s imposed by the architect or patron may s t i f l e his c r e a t i v i t y . The location i t s e l f presents problems. The small model, when chosen, may have seemed i d e a l but when con-structed to i t s f u l l size may be either overwhelmed or smoth-ered by the space in which i t finds i t s e l f . The locale f o r which the work was o r i g i n a l l y intended may be changed; in some cases t h i s may happen even before the bui l d i n g i s com-pleted; in others, by new or renovated buildings being const ructed in adjacent areas. In cases where the art works i s indoors, the furnishings, f i x t u r e s , or moving of walls may detract from the work. The a v a i l a b i l i t y and expense of matr e r i a l s on the west coast of Canada i s of no l i t t l e concern, especially when the a r t i s t works in mosaic or bronze. The sculptor i s handicapped by the fact that there i s no foundry on the west coast. One ingenious a r t i s t has surmounted t h i s d i f f i c u l t y by constructing his own foundry which in the opinion of Professor Ian McNaim i s one of the most important single feats of a Canadian sculptor.-' Then, too, there i s th occasional a r t i s t who i s not s u f f i c i e n t l y sensitive to the environs of the s i t e of his work and who cannot r e s i s t creat-ing a monument to h i s own e d i f i c a t i o n . The patron, unlike the architect or the a r t i s t has d i v e r s i t y - o f backgrounds.He may be a private c i t i z e n or belong to a group of public minded c i t i z e n s , or to a cultur-a l organization, an ethnic group, be a representative of business, or a department of the government. I f the patron i s not s u f f i c i e n t l y aware of the arts with a l l i t s facets, an unwise choice may be made regarding a r t i s t , theme, material or s i t e . Ideally, t h i s choice should be l e f t to a panel of experts or to the a r c h i t e c t s ; but, unfortunately, t h i s i s not always so. Business management too often requires that the work symbolize i t s trade or business " i n a readable fashion." Government bodies often are swayed by p o l i t i c a l or public pressures. The private donor i s frequently the v i c t i m of sentimentality. The i d e a l situation exists (as has been quoted previously by B.C. Binning and Anita Aarons) i f the a r t i s t i s chosen by a knowledgeable architect or panel of experts, sometimes but not necessarily from a competition, and i f he i s chosen in time to work along with the a r c h i t e c t , engineer and patron from the time of conception to completion. In spite of the d i f f i c u l t i e s encountered by the a r t i s t , a r c h i t e c t , and patron which have been mentioned b r i e f l y , the fact remains that public art i s on the increase in Vancouver. This catalogue shows that of the ninety< u works included here, f o r t y - s i x have been created since I960. Indeed, i t has reached the point where large businesses and government agencies would hardly dare to construct a large building or^complex without including works of art commiss-ioned or otherwise. Reasons f o r t h i s have been summed up l i g h t l y in such general statements as: the man i n the street i s becoming as aware of the art world as he i s of the World Series baseball or Stanley Cup Hockey. or the arts are becoming a secure part of the f a b r i c of our society and not just as ornament. The arts are becoming as es s e n t i a l to the affluent society as food.' The causes f o r such statements have been attributed to advances in education, t r a v e l , i n f l u x of ethnic groups, and even a cult "in-thing , T with affluent people. These factors are not the only ones responsible fo r the upsurge in a r t . There have been influences in Canada, and now s p e c i f i c a l l y in Vancouver, which have fostered an inte r e s t in the arts and which have helped in a material way to increase the quantity and quality of public a r t . The Vancouver and U.B.C. Art G a l l e r i e s are no longer the cold, s t e r i l e mausoleums of the past. They have opened t h e i r doors and in an exciting and stimulating fashion have encouraged groups ranging from elementary school children to senior c i t i z e n s to view t h e i r displays.. Changing trends in art are explained by informed docents. Local a r t i s t s are having more and more oppSrtunity to have t h e i r work displayed and worthwhile t r a v e l l i n g exhibitions are becoming more frequent. The f i r s t meeting of "Intermedia", a workshop fo r multi-media experiments in a l l the a r t s , was held in Vancouver in A p r i l , 1967. I t was assisted by a substantial grant from the Canada Council. I t ' s wide range of projects.bring to-gether several d i s c i p l i n e s such ascmusic, dance, f i l m , painting and. sculpture to give a " t o t a l integration of t h e i r forms and modes." Thus an opportunity i s given f o r the a r t i s t s to acquire a better understanding of each others problems and c a p a b i l i t i e s . Private g a l l e r i e s have mushroomed throughout the c i t y ; at the time of writing some for t y are l i s t e d in the Vancouver Telephone Directory. Many of these cater to the l o c a l a r t i s t s and givers them an opportunity f o r "one-man" exhibitions. The sculptor, who i s perhaps the most frequently concerned with art integrated with architecture has had a long and arduous struggle i n B r i t i s h Columbia. The pioneer work in t h i s f i e l d was done by Charles Marega and l a t e r by his p u p i l , Beatrice Lennie. Since they were the only l o c a l sculptors, competitions and panels of judges were not required. Since 1955 new sculptors have appeared and an awareness of t h e i r presence can be attributed to the exhibitions of sculpture. The f i r s t major date in such a history would be February 15, 1955 when Robert Martin Hume of the Vancouver Art Gallery and Mark Sponenburgh of the University of Oregon co-operated to set up the F e s t i v a l of the Arts in Eugene. With t h i s encouragement, and workihg~with no budget whatsoever the sculptors themselves then proceeded to prepare annual exhibitions f o r six years u n t i l 1 9 6 1 . ° During the summers of 1956, 195& and I960 the members of the B.C. region of the Northwest I n s t i t u t e of Sculptors in association with the Department of the Univer-s i t y of B r i t i s h Columbia Extension held open exhibitions on the University Campus. In 1964, the Federation of Canadian A r t i s t s held an exhibition i n Oakridge Shopping Mall which contained some pieces of sculpture which were described as "outstanding.""^ In 1967, sixteen B.C. sculptors entered f i f t y - n i n e pieces of sculpture in the Centennial Sculpture ' 6 7 , an exhibition held at the Queen Elizabeth Theatre in the summer of 1 9 6 7 . A t le a s t one B.C. sculptor had a piece 12 of work exhibited at Expo' 67 in Montreal. The Fine Arts Gallery of the University of B r i t i s h Columbia held an exhibition Younger Vancouver Sculptors in 1963 when thirteen 13 a r t i s t s entered t h e i r work. Such exhibitions, as these described, not only provide the public with an opportunity to assess the merits of contemporary sculpture in t h i s region, but they also provide the sculptors with an opportunity to see t h e i r work in a congenial setting with the space , and backgrounds so necessary f o r f u l l appreciation. I t i s hoped that with the re-organization of the Northwest Ins t i t u t e of Sculptors (B.C. Region) in November, 1971, more exhibitions w i l l be forthcoming. I t i s the c u l t u r a l organizations such as the Canada Foundation, the Canada Council, the Theo Koerner Foundation, the Community Arts Council and numerous other public s p i r i t e d bodies which have been the main support of the a r t i s t in recent years. They have given scholarships, grants, loans, and awards (for meritorious work). This has enabled the a r t i s t to further his education, to experiment, and to t r a v e l with-out too much of a f i n a n c i a l burden. These organizations have played a dual role: they have also prodded educational i n s t i t -utions, g a l l e r i e s , businesses and governments into supporting the a r t i s t s by buying and exhibiting t h e i r works. I t i s f a i r to say that the seed which led to the development of the Canada Council was sown by the Massey Commission which was set up i n 1951 to survey the c u l t u r a l landscape across Canada and which recommended that a perman-ent agency be established to hasten the growth of the a r t s . This recommendation, six years l a t e r , led to the development 17 of the Canada Council. It was the Canada Council who p-romoted and helped finance the Canadian Conference of the Arts summer seminars of 1965, 1966 and 1967. Indeed i t was Seminar 1965 which marked the f i r s t time that a minister of the Crown sat down' with professionals^in the Arts to discuss common problems. 8 The minister was the Honourable Maurice Lamontagne, Secretary of State. The Ministers keynote address indicated his appreciation that the arts are of such national importance that the Government must now concern it-self more a c t i v e l y with t h e i r development.^9 Seminar T66 was held to deal s p e c i f i c a l l y with the vi s u a l a r t s . One of the observations made was that the art world does not attempt to communicate with the public. A f t e r considerable discussion',' the Seminar was able to trace nthe problem back to a single dominant source. The delegates c a l l e d f o r the immediate estab-lishment of a clearing house and information centre f o r a l l v i s u a l a r t s ... (For example: an a r c h i t e c t who wanted to f i n d an a r t i s t to collaborate on a bui l d i n g project could obtain from the Centre names, addresses, photographs, and c r i t i c a l assessments; while a j o u r n a l i s t , researching an a r t i c l e on town planning, could obtain l i s t s of source material.) The twelve recommendations set fo r t h under "Environment'1 a l l had bearing d i r e c t l y or i n d i r e c t l y on integrating works of art into the urban environment. It encouraged government, corporations, a r c h i t e c t s , a r t i s t s , designers, planners, and private c i t i z e n s to work together towards t h i s goal. The Seminar on A r c h i t e c t u r a l Requirements f o r the Performing Arts in Canada at the close of i t s meeting in Ottawa on June 2, 1964 agreed to recommend: That an amount of not less than 1% be added to the c a p i t a l cost for the integration of the contribution of v i s u a l arts into these h a l l s and theatres under the d i r e c t i o n of t h e i r a r c h i t e c t s , ^ Government c i r c l e s have been inspired by the Massey Commission and i t s subsequent r e s u l t s . The Department of Transport of the Government of Canada was the f i r s t to lead, the way. In May 1961, a p o l i c y was established f o r the Min i s t r y with the agreement of the Treasury Board that a maximum of Wo of the building cost would be included i n the general contract f o r f i n e art at major a i r p o r t s . When the need a r i s e s , a committee of art experts from across the country has been formed to a s s i s t the Ministry in the choice of a r t i s t s to be commissioned. * The t o t a l budget f o r the Vancouver International Airport b u i l t in 196S was $26 m i l l i o n , of which #45,000 was allocated f o r a r t work. A committee to advise the Department of Trans-port was set up composed of Dr. Jean Boggs, Director of the National Gallery; the late Guy Viau, former Assistant Director of the National Gallery; G i l l e s Henault of Montreal, Ned Pratt of Thompson, Berwick, Pratt and Partners, and Tony Emery and Doris Shadbolt of the Vancouver Art G a l l e r y . 2 5 In January, 1969 a recommendation was put f o r t h by the Department of Public Works of Canada and was accepted b y t h e c a b i n e t w h i c h a u t h o r i z e d t h e M i n i s t e r o f P u b l i c l'Jorks t o : 1. A p p l y a sum e q u a l t o 1% o f t h e b u i l d i n g c o n s t r u c t i o n c o n t r a c t f o r f i n e a r t work i n a l l b u i l d i n g programmes s e r v i n g t h e g e n e r a l p u b l i c d i r e c t l y . 2. D e f i n e f i n e a r t w o r k a s t h o s e e l e m e n t s o f a b u i l d i n g d e s i g n w h i c h a r e c o n c e i v e d and e x e c u t e d by p r o f e s s i o n a l a r t i s t s . 3. I m p l e m e n t a s u r v e y t o p r e q u a l i f y p r o f e s s -i o n a l a r t i s t s i n t e r m s o f C a n a d i a n r e s i d -e n c e a n d e v i d e n c e o f t r a i n i n g a n d e x p e r -i e n c e i n f i n e a r t w o r k . 4. C a l l t o g e t h e r an a d v i s o r y f i n e a r t s comm-i t t e e t o be composed on t h e b a s i s o f r e c -o m m e n d a t i o n s f r o m t h e B o a r d o f T r u s t e e s o f t h e N a t i o n a l G a l l e r y , t h e f u n c t i o n s o f w h i c h w o u l d be t o a p p r o v e t h e p r o p o s e d l o c a t i o n , theme a n d c h a r a c t e r o f t h e a r t -w o r k a nd t h e s e l e c t i o n o f a r t i s t s , a n d 5. d i r e c t t h e C h i e f A r c h i t e c t o f t h e D e p a r t -ment o f P u b l i c w o r k s t o a d m i n i s t e r t h e s u b m i s s i o n s t o t h e a d v i s o r y f i n e a r t s c o m m i t t e e , t o c o - o r d i n a t e t h e a r t w o r k i n t o t h e a r c h i t e c t u r a l d e s i g n , t o a d m i n i s t e r c o n t r a c t s f o r a r t w o r k , a n d t o s u p e r v i s e t h e e x e c u t i o n and i n s t a l l a t i o n o f t h e a r t w o r k . ^ & The same r e p o r t made a s t a t e m e n t t o t h e e f f e c t t h a t b e c a u s e o f a f i x e d a l l o w a n c e f o r f i n e a r t t h e c o m m i t t e e a s a m a t t e r o f p o l i c y was a g a i n s t t h e i d e a o f c o m p e t i t i o n s . H o wever, i n s u c h c a s e s w here c o m p e t i t i o n s w e r e deemed n e c e s s a r y a sum o f §500. w o u l d be a l l o c a t e d f o r e a c h s u b m i s s i o n . At the P r o v i n c i a l Government l e v e l , a l e t t e r from the Honourable W.N. Chant, Minister of Public Works, Province of B r i t i s h Columbia, March 22, 1972 contends that; It i s the p o l i c y of the Department on occasion to incorporate art works i n our p r o v i n c i a l buildings. The P r o v i n c i a l Museum in V i c t o r i a i s an outstanding example. Mr. Peter Skrinshire, Construction Co-'ordinator f o r the City of Vancouver stated that there i s no established p o l i c y f o r integrating art into public buildings in the Vancouver City b u i l d i n g program. When such integration occurs i t i s usually by a special request. This could come either from the architect or from a concerned donor. Mr. Skrinshire regrets that t h i s i s so but suggests that a lim i t e d budget and public apathy are two important factors. He c i t e s as an example the new archives building now under construction; there i s to be a pool but so f a r there are n6 plans f o r integrated, art work. Ifsaction i s not taken soon i t w i l l be another case of the a r t i s t being call e d too late or not at a l l . The Superintendent of the Board of Parks and Public Recreations, City of Vancouver in a l e t t e r dated December 29, 1971 made the following observations In response to your inquiry regarding l e g a l authority to regulate the erection of sculpture pieces in City Parks, I ref e r you to the Vancouver Parks By-feaw which states ... •No person s h a l l erect, construct or b u i l d or cause to be erected, constructed or b u i l t , in or on any park, or boulevard any tent, building',, shelter, p a v i l i o n or other construction whatsoever, without the written permission of the Board.' ... When t h i s clause i s interpreted to apply to sculpture, i t i s not the intent to pro-h i b i t the display of a l l works, but merely to provide a means of regulating the quality and quantity of work to be displayed in or on any park. 8 In spite of the above regulations, i t would appear that the Vancouver Parks Board has softened i t s stand. Whereas, in 195&, the o f f e r of a g i f t of sculpture by Jacob 29 Epstein was turned down, in 1969 the g i f t of the Henry Moore sculpture "Knif§-Edge" (Two Piece) (Cat. p. I i i ) was 30 accepted with gratitude. The University of B r i t i s h Columbia i s gradually becoming an otrtdoor and an indoor art g a l l e r y . Most of the free standing sculptures, and some of the wall sculptures have been g i f t s of private donors and two of the murals have been g i f t s of graduating classes. A l e t t e r dated March 9 , 1972 from the Former Director of the Physical Plant states, I do not know of any p o l i c y at U.B.Ci. which provides that art be integrated into arch-i t e c t u r e . The art that has appeared has usually been the resu l t of ad hoc discussions between the architect commissioned f o r the building and the.,committee responsible f o r i t s development.-5 From t h i s catalogue the author has endeavoured to summarize not only i n t e r e s t i n g s t a t i s t i c s but also trends of style and subject matter which have occurred over three-quarters of a century. Opinions expressed by the a r t i s t s , the a r c h i t e c t s , the patrons and the public have been analyzed. When s t a t i s t i c s are cited i t must be noted that in some instances there i s i n s u f f i c e n t information available There are ninety items l i s t e d and from t h i s l i s t the following s t a t i s t i c s are submitted: 69 were executed by l o c a l a r t i s t s and artisans. 78 were commissioned for a p a r t i c u l a r s i t e . 39 had architects or firms of ar c h i t e c t s involved (This figure i s misleading as sometimes the same architects were involved with several works.) 24 were put to competitions (again the above i s true). 34 were free standing sculptures - 16 of which were commemorative works. 17 were on the U.B.C. campus. 34 were commissioned or erected by businesses, excluding Government bodies (federal, p r o v i n c i a l or c i v i c ) hospitals, or the University. 4 were executed by Internationally known a r t i s t s . The s t y l i s t i c changes over the years run p a r a l l e l to most large North American c i t i e s . The c l a s s i c a l influenc came f i r s t as i s seen in the caryatids of the Sun Tower 2 / Building (Cat. p. 5), the Angel of Victory War Memorial (Cat. p. v i i ) and the Harding Memorial (Cat. p. v i i i ) . The gothic style i s well exemplified in the gargoyles and the f r i e z e work of the chateau-like Hotel Vancouver (Cat. p. x i i ) . The colourful h i s t o r i c a l mural in the Toronto Dominion Bank (Cat. p. x x i i i ) i s highly romantic as were the murals i n the Hotel Vancouver before the present renov-ations (Cat. pp. x v i - x v i i ) . The f i r s t mural to be purely non-representational i s in a small dining room in the Alcazar Hotel painted by Jack Shadbolt in 1949 (Cat. p. x x i ) . Following t h i s , styles gradually became more abstract u n t i l in 1962 Toni Onley executed his "daring" collage in the'.^Queen Elizabeth Playhouse (Cat. p. 1) which caused great public consternation and press controversy. I t i s remarkable that in 1967 when the hard edged murals were placed i n the Vancouver International Airport there were no adverse comments (Cat. p. lxxx). Sculpture, f o r reasons already given ;lagged behind painting in breaking away from purely representational a r t . The hanging wall sculpture by Gerhard Class on the Buchanan Building executed in 195$ (Cat. p. xxxix) was one of the f i r s t non-representational sculptures. I t appears to have been well received while the wall sculpture of the Vancouver Public Library executed by Lionel Thomas in 1961 <CiC (Cat. p. x l i x ) e l i c i t e d much c r i t i c a l abuse, at that time. The contemporary fountains at the Bentall Plaza 1969 (Cat. p. lxxxvi) and Queen Elizabeth Theatre 1971 (Cat. p. l x v i ) have won public approval but "Cumbria" i n s t a l l e d in 1963 at the airport (Cat. p. l x x x i i ) i s s t i l l rejected or misunder-stood. Subject matter, p r i o r to the introduction of non-representational art can be grouped into the following categories: that which shows a f f i l i a t i o n to the B r i t i s h Empire such as the Queen V i c t o r i a and the King Edward VII fountains (Cat. p. i and i v ) : commemorative works which pay t r i b u t e to an important c i t i z e n or a h i s t o r i c a l event eg. the bust of Mayor Oppenheimer (Cat.p. i i i ) or the statue of Captain Vancouver (Cat. p. x i v ) : r e l i e f work on buildings to symbolize t h e i r function as the nurses on the Medical Dental building (Cat. p. x) or the Hippocrates on the Academy of Medicine: and purely decorative art to enhance the b u i l d i n g , such as the gargoyles on the Hotel Vancouver (Cat. p. x i i ) or the lady figures on the Sun Building (Cat. p. v ). Contemporary architecture, as has been stated, necessitates the erection of statuary, fountains and murals. Sculpture on plazas and esplanades have created new problems of space, environmental assimilation and d u r a b i l i t y . Murals in lobbies, usually v i s i b l e through the glass walls, often epitomize the mood of the surrounding area. When the a r t i s t s were questioned about the acdeptance of t h e i r work, they intimated that usually the architects were enthusiastic, less frequently the donors were s a t i s f i e d but almost always the general public showed a marked lack of i n t e r e s t . Management or owners, when asked, professed a pride of ownership but they too were aware of public apathy. Bersons working in the buildings concerned, in some cases 'thought the environment had been enriched but t h e i r r e p l i e s indicated a lack of awareness and understanding of the art work. It has been the author's experience throughout t h i s project that few people are aware of the quantity and quality of public art ex i s t i n g in t h i s c i t y . In spite of the above opinion, newspaper coverage since the mid 1960's has been quite thorough. P r i o r to t h i s time, e s p e c i a l l y before World War I I , l i t t l e or no coverage was given to the x\rorks of art or toothe a r t i s t s . Now both newspapers The Sun and The Province give f u l l coverage usually with i l l u s t r a t i o n s . The fact that we now have knowledgeable art c r i t i c s , w i l l undoubtedly increase the readers' awareness. CONCLUSION This survey has shown that since 1905 ninety works of public art have been erected or integrated with a r c h i t e c t -ure in the City of Vancouver, the camou^ of the University of B r i t i s h Columbia and the Vancouver International A i r p o r t . It also shows that f i f t y percent of t h i s number have been created since I960. However, t h i s must be q u a l i f i e d by saying that p r i o r to I960, the country experienced two World Wars and eight years of an economic depression during which time almost nothing was done. To examine these stat-i s t i c s further, seventeen of the pieces are on the campus of the University, four at the A i r p o r t , and sixteen are of a commemorative nature. Thus, in a. c i t y of 445,000 people there are, or have been (five l i s t e d no longer exist) f i f t y -four works of art which exist f o r t h e i r decorative value or to enhance the c i t y . Since we have a wealth of professional a r t i s t s , since there are three hundred and twenty-five a r c h i t e c t s registered in Vancouver,^ and since we have a massive b u i l d -ing program which has been going on f o r at least ten years, wherein does the f a u l t l i e ? The answer of course i s not clear cut. The a r t i s t s lay at least some of the blame on the a r c h i t e c t s and on industry. Jack Harman has made the statement my sculptor friends i n the States have been greatly assisted by industry. The same i s not true here, possibly because most industries here are American subsidiaries and seem interested in e x p l o i t a t i o n . The a r c h i t e c t s are probably the sculptors' worst enemy and seem to use sculpture only i f i t has been suggested by the patron. On the other hand John Roberts, the Executive Director of the A r c h i t e c t u r a l I n s t i t u t e of B.C., states that in his experience the response of the developers about works of art integrated with architecture has been "who needs them"?^4 This survey has shown that of the many architects in the c i t y only a small group have been involved with artwork in t h e i r buildings. The a r t i s t s by t h e i r nature are sensitive people and perhaps not aggressive enough f o r the world today. Certainly, the few sporadic exhibitions of sculpture over the past decade would lead one to believe they are not taking a united front. In spite of the factors mentioned, i t i s the author's opinion that the f a u l t l i e s c h i e f l y with the melieu in which we l i v e . The man on the street must be conditioned to f e e l the need f o r a more aesthetic environment. Much has been done to elevate the tastes of the general public but much more can be done through education, the news media, t e l e v i s i o n etcetera. Tony Emery, Director of the Vancouver Art Gallery, expressed the situation in Royal A r c h i t e c t u r a l I n s t i t u t e of Canada Journal in A p r i l 1962; When we see not merely b e a u t i f u l buildings, but also b e a u t i f u l streets, in out towns; when we can turn our backs on Nature to admire the handiwork of Man; when i t i s not longer a matter of awestruck remark that a r t i s t s and architects should work together from the planning state of a building f o r which a sub-s t a n t i a l percentage of the cost has been earmarked f o r decoration and embellishment; when the number of people in our province who genuinely care f o r the arts i s greater than the number of those who regard them-selves with some j u s t i f i c a t i o n as a r t i s t s (and at the moment the r a t i o i s about 1:1)\ when our Public Worked Department produces buildings - and fountains - that evoke a buzz of admiring comment from the cognosc-enti across the continent; - then I s h a l l indeed believe, that the climate f o r the arts i s a clement one.35 I believe t h i s statement i s b a s i c a l l y true today - ten years a f t e r i t was written. 'FOOTNOTES 1 Fine Art Policy. Depl-t of Public Works, Design Branch Advisory Committee on Art, Ottawa. Sept. 1971. 2 B.C. Binning, " A l l i e d F i e l d s " , Royal A r c h i t e c t u r a l  I n s t i t u t e of Canada Journal, Vol. XXXVII (July, I960), pp. 300-301. 3 Anita Aarons, "Art and Architecture", Royal A r c h i t e c t u r a l I n s t i t u t e of Canada Journal, Vol. XLII, (Jan. 1965), p. 65. 4 Questionnaires sent out to a l l concerned a r t i s t s re t h i s survey. This quotation included in reply by George Norris, A p r i l , 1969. 5 Discussion with Professor Ian McNairn, Fine Arts Department, University of B r i t i s h Columbia, February 1972. Letter from Jack Harman, February 14, 1972. 6 Alan J a r v i s , "The Patrons", Canadian Art, Vol. XIX (June, 1962), p. 187. 7 Ib i d . 8 David Philbert, "Sculpture and More i n Western Canada", Vie des Arts, No. 54, (Spring, 1969), p. 9 0 . 9 Centennial Sculpture *67. Vancouver. A catalogue of the exhibition with introduction by Margery Dallas, Chairman of the Ex h i b i t i o n . 10 Martha Robinson, "Outstanding B.C. Sculpture Marks Oakridge Art Show", The Sun (Vancouver), June 22, 1964, p. 40. 11 Centennial Sculpture T67. The exhibition was brought together by the Federation of the Canadian A r t i s t s , B.C. Region with the help of the patrons Rothmans of P a l l Mall (Canada) Ltd., and' the-?co-operation of the Vancouver Centennial Committee, the Van couver F e s t i v a l Society and the Queen Elizabeth Theatre. 12 Barry Lord, "Canadian Sculptors at Expo", Arts Canada, Vol. XXIV, No. 5 (May, 1967) pp. 12-16. 13 Younger Vancouver Sculptors. University of B r i t i s h Columbia, Fine Arts Gallery. A catalogue of an exhibition held on Oct. 15 - Nov. 2 , "1963. 14 B.C. Sculpture T60. Catalogue of a I960 Open A i r Exhibition of Sculpture held at the University of B r i t i s h Columbia with introduction by Ian McNairn, Professor of Fine Arts, U.B.C. 15 Ibid. 16 "Massey Report", News Calendar, Community Arts Council of Vancouver, Vol. 4, No. 5, (Sept. 1 9 5 D , p. 1. 17 David P. Silcox, "The Canada Council", Artforum, Vol. VI, (October, 1967), p. 4 3 . 18 Canadian Conference of the Arts, Seminar '65. Report 1965, p. 4. 19 I b i d . 20 Canadian Conference of the Arts, Seminar '66. Report 1966, p. 8. 21 Ibid. p. 16. 22 Ibid. Recommenations, pp. 21-25. 23 A r c h i t e c t u r a l Requirements f o r the Performing  Arts in Canada. A Seminar, Ottawa, 1964. 24 Letter from J.K. Brown, Chief Architect Construction Engineering and A r c h i t e c t u r a l Branch, Department of Transport Ottawa, March 23 , 1972. 25 Joan Lowndes, "A Monument to Match the Jet Age". The Province (Vancouver), Sept. 13, 1968, p. 10. 26 Fine Art P o l i c y . Dep't. of Public Works. 27 Telephone interview with Mr. P. Skrinshire, A p r i l 17, 1972. 28 Letter from C.A. Man, Administrative Assistant to S.S. LeFeaux, Sup't of Board of Parks and Public Recreations Vancouver, Dec. 29 , 1971. 2-c1 29 There was a great deal of controversy in the press at that time eg. "Vancouver in Backwoods f o r Rejecting Epstein Statue", from The Sun (Vancouver), July 5, 1958. p. 3. Professor Ian McNairn informed me that the objection was mostly on r e l i g i o u s grounds. It did not suit the taste of the concept of Christ as v i s u a l i z e d by several r e l i g i o u s groups. Eventually a private donor offered to buy the sculpture f o r his own garden but by t h i s time Epstein had become so t i r e d of the whole controversy that he withdrew the o f f e r . 30 Letter from Prentice Bloedel, March 21, 1972 contained the sentence "there were no problems with The Park Board who seemed quite pleased to have i t " . 31 Letter from James T. Turner, Director of the Physical Plant at U.B.C. u n t i l November, 1971 now at the University of TorSnto, dated March 9 , 1972. 32 This figure from the Faculty of Architecture, U.B.C. 33 Letter from Jack Harman, May 1, 1969. 34 Telephone conversation with Mr. John Roberts, A p r i l 19, 1972. 35 Tony Emery, "Climate: F a i r or Unsettled?" Royal A r c h i t e c t u r a l I n s t i t u t e of Canada Journal, V o l . XXXIX, ( A p r i l , 1962), p. 42. BIBLIOGRAPHY R e p o r t s o f t h e Government and Other O r g a n i z a t i o n s . A r c h i t e c t u r a l Requirements f o r the P e r f o r m i n g A r t s i n Canada: A Seminar. Queen's P r i n t e r , Ottawa. 19~oTJ^  Recommendation Canadian Conference o f the A r t s , Seminar ' 6 5 . R e p o r t . Canadian Conference o f the A r t s , Seminar .f,,66. R e p o r t . Canadian Conference o f t h e A r t s , Seminar T 67« R e p o r t . F i n e A r t P o l i c y . Department o f P u b l i c Works. Design B r a n c h , A d v i s o r y Committee on A r t . Ottawa. Sept. 1971. C a t a l o g u e s Vancouver, B.C. S c u l p t u r e ' 5 6 . A c a t a l o g u e f o r an Open A i r E x h i b i t i o n h e l d a t t h e ^ n i v e r s i t y o f B r i t i s h Columbia by members o f t h e B.C. Region o f t h e Northwest I n s t i t u t e o f S c u l p t u r e and sponsored by the E x t e n s i o n Department a t the U n i v e r s i t y i n the summer o f 1956. Vancouver, B.C. S c u l p t u r e ? 58. A c a t a l o g u e f o r an Open A i r E x h i b i t i o n h e l d at the U n i v e r s i t y o f B r i t i s h Columbia by members o f the B.C. Region o f the Nor t h w e s t I n s t i t u t e o f S c u l p t u r e and sponsored by t h e E x t e n s i o n Department o f t h e U n i v e r s i t y i n the summer o f 1958. Vancouver, B.C. S c u l p t u r e ' 6 0 . A c a t a l o g u e f o r an Open A i r E x h i b i t i o n h e l d a t t h e U n i v e r s i t y o f B r i t i s h Columbia by members o f t h e B.C. Region o f t h e Nor t h w e s t I n s t i t u t e o f S c u l p t u r e and sponsored by the E x t e n s i o n Department o f the U n i v e r s i t y i n the summer o f I960. Vancouver. Centennial Sculpture T 67. Catalogue of an Exhibition of sculpture held, inside and on the plaza of the Queen Elizabeth Theatre in the Summer of 1967. The catalogue was printed courtesy of Rothman's of P a l l Mall (Canada) Ltd. Vancouver. Younger Vancouver Sculptors. U.B.C. Fine Arts Gallery Catalogue of an Exhibition held in October, 1968 Perio d i c a l s Aarons, Anita. "Art and Architecture." Royal A r c h i t e c t u r a l  I n s t i t u t e of Canada Journal, Vol. XLlT, (January, 1965), pp. 55-56. . "Art and Architecture," Royal A r c h i t e c t u r a l I n s t i t u t e of Canada Journal, Vol. XLII (November, 1965), pp. 16-17. . "The Dual Nature of Commissioned," Royal A r c h i t -ectural Insitute of Canada Journal, Vol. XLII. (February, 1965), pp. 13-15. . "The Factors in Commissioned Work," Royal A r c h i t e c t u r a l Institute of Canada Journal, Vol. XLII (March, 1965), pp. 22-26. . "The Integrators," Architecture Canada, Vol. XLIII TDecember, 1966), pp. 21-22. . "New Form© - Sculpture and Architecture T 0tems or Monuments?" Architecture Canada, V 0 1 . XLIII (September, 1966), pp. 17-lfH . "The Western Provinces," Royal A r c h i t e c t u r a l I n s t i t u t e of Canada Journal. v o l . XVII (November 1965), pp. 16-17. . "Western Tour," Royal A r c h i t e c t u r a l Insitute of Canada Journal, Vol. XLIII (January, 1966), p. 11 Binning, B.C. " A l l i e d F i e l d s " , Royal A r c h i t e c t u r a l I n s t i t u t e of Canada Journal Vol. XXXVII (July, I960), pp. 300-301 Binning, B.C. "The A r t i s t and the Architect," Royal A r c h i t e c t u r a l I n s t i t u t e of Canada Journal V o l . XXVII (September, 1950) pp. 320-321. Blouin, Patrick. "Sculpture on the Public Square, a Promise," Vie des Arts, Vie des Arts, No. 5 4 ,(Spring, 1969), pp. 86-87. Trans, by Yvonne Kirbyson. Cowan, Harvey. " A r t i s t s and Architecture: A New Environ-ment," The Canadian Architect Vol. XII (November, 1967) , pp. 70-72-74. De S o l i e r , Rene. "Architecture and Sculpture," Vie des Arts, No. 54, (Spring, 1969), p. 82. Trans, by Yvonne Kirbyson. Duval, Paul. "Murals - P o l i t i c a l Art." Royal A r c h i t e c t u r a l  I n s t i t u t e of Canada Journal, Vol. XXVI (January, 1949) PP. 9-11. Emery, Tony. "Climate: F a i r or Unsettled?" Royal Arch-i t e c t u r a l I n s t i t u t e of Canada Journal, Vol. XXXIX "('April, 1962), pp. 37-41 . Folch, Jacques. "Sculpture Everywhere," Vie des Arts, No. 54, (Spring, 1969), pp. 87-88. Trans, by Yvonne Kirbyson. Fulton, David. "On Business." Canadian Art, Vol. XIX (June, 1962), pp. 198-203. Gwyn, Sandra. "On Government." Canadian Art, Vol. XIX (June, 1962) , pp. 210-213. Hubbard, R.H. "A Climate f o r the Arts," Canadian Art, Vol. XIII (Spring, 1955) , pp. 100-105, 139. J a r v i s , Alan. "The Patrons," Canadian Art, Vol. XIX (June, 1962), p. 187. "Sculpture in Canada," Canadian Art, Vol. XIX ("July-August, 1962), pp. 268-269. Lord, Barry. " S i t i n g : The Problem of Art in Architecture," Arts Canada, Vol. XXVI (October, 1969) , pp. 26-29. Lord, Barry. "Canadian Sculpture at EXPO." Arts Canada Vol. XXIV, No. 5 (May, 1967) pp. 12-16: 3 3 P e l l e t i e r , Hon. Gerard . "Government Can't Regiment C r e a t i v i t y , " The Canadian Composer, November, 1970 pp. 14 and 16. P h i l i b e r t , D a v i d . " S c u l p t u r e and More i n Western Canada," V i e des A r t s , No. $4 ( S p r i n g , 1969),pp. 9 0 - 9 1 . R o b e r t , Guy. " S c u l p t u r e , A P r i v i l e g e d Form o f C o n t e s t a t i o n , " V i e des A r t s , No. 54, ( S p r i n g 1969},pp. 82-84. T r a n s . Yvonne K i r b y s o n . S i l c o x , David. P. "The Canada C o u n c i l , " A r t Forum, V o l . VI (tOctober, 1967, Jpp. 43-45. Thomas, L i o n e l . " A r c h i t e c t u r e and. S c u l p t u r e , " Canadian A r t V o l . X I X , (May-June, 1962), p. 223. T u r n e r , Evan H. "On R e s p o n s i b i l i t y , " Canadian A r t , V o l . XIX, (May-June ..1962), p. 199. V i c k e r s , G. Stephen. "The A r c h i t e c t u r e i n S c u l p t u r e , " R o y a l A r c h i t e c t u r a l I n s t i t u t e o f Canada J o u r n a l , V o l . XXVI, ( J a n . 1949), pp. 23-31. PUBLIC ART IN VANCOUVER CATALOGUE •lb The works of art l i s t e d in the catalogue are each e n t i t i e s unto themselves. Therefore, the footnotes and references have been included with each separate work. To avoid confusion and rep e t i t i o n the author and her fa c u l t y advisor have decided to use footnotes f o r d i r e c t quotations and necessary explanations only. A l l source material including books, p e r i o d i c a l s , newspapers, l e t t e r s , question-ai r e s answered by the a r t i s t s , personal interviews, and telephone conversations, are l i s t e d as "References". The catalogue i s cross indexed f i r s t l y by the a r t i s t s ' name including date and place of b i r t h (where known) and secondly by the location of the work of a r t . QUEEN VICTORIA FOUNTAIN, STANLEY PARK Date: 1905. Place: Stanley Park (East of the Georgia Street entrance, facing the driveway and entrance to the Rowing Club). Item: Drinking fountain. A r t i s t : Signed: "James Blomfield, Architect." Material: Granite with bronze plaque. The fountain was erected " i n memory of V i c t o r i a the Good ... by the school children of Vancouver." The monument i s made of granite and bears a bronze plaque which contains a p r o f i l e of the Queen in low r e l i e f , a raised i n s c r i p t i o n and a l i o n ' s head with open mouth from which the water formerly poured. x I n an autobiographic a r t i c l e in The Province, August 4 , 1945 the a r t i s t describes himself as a painter, sculptor and stained glass designer and craftsman. Among other projects of a c i v i c nature, he designed the Coat of Arms for the c i t y of Vancouver. 2 Inscription on the fountain. References: MacDonald, Colin S. A Dictionary of Canadian A r t i s t s . Vol. 1, Ottawa: Canadian Paperbacks, 1967, p. 51~. Blomfield, James. "I Live the L i f e I Love Best.# The Province (Vancouver), August 4 , 1945, Magazine Section, p. 6. McGregor, D.A. "From an Angle on the Square." The Province (Vancouver), July 25 , 1951, p. 4 . Meyers, Leonard. "Vancouver Monuments." The Sun (Vancouver), February 7, 1953, p. 15, i l l u s . Simmins, Richard. "Public Art... ." The Province (Vancouver), November 6, 1971, Spotlight Section, pp. 21-22. i l l u s . Croucher, Gordon and Ward, O l i v i a . "A Monumental Quiz." The Province (Vancouver), February 4 , 1972, Spotlight Section, pp. 29-22. i l l u s . II THE LIONS, VANCOUVER COURT HOUSE Date: 1910 Place: Vancouver Court House (facing north at the top of the stairway on either side of the main entrance. Item: Pair of l i o n s . A r t i s t : "John Bruce, a Scotsman, made the model and then carved them i n stone. He was assisted by Timothy Bass." 1 Material: Blocks of granite from the Granite Island Quarries. The workmanship was done at the workshop of J.A. & C.H. McDonald, stone cutters, 1571 Main Street. The l i o n s are said to be copies of those in Trafalgar Square, London.^ There was a report that the carving of one of the li o n s was not completed because the appropriation ran out.3 This has not been v e r i f i e d . When completed, i n the spring of 1910, they were hauled by horse dray to the Court House and were set in place by r o l l e r s , jacks and manpower. The l i o n s are reported to have cost between | 8 , 0 0 0 and $ 1 0 , 0 0 0 > On November 3 , 1942, the hindquarters of the west l i o n was shattered by a dynamite b l a s t . The carving f o r the repair was done by Herbert Ede and James Hurry. xVancouver City Archives f i l e - Court House, Georgia Street. John Bruce and Timothy Bass are described as stone carvers. Telephone conversations are recorded between C.H. McDonald (whose firm employed these men) and Major J.S. Mathews on July 3 , 1940 and November 4 , 1942 which confirmed that these artisans did indeed carve the o r i g i n a l l i o n s . A l e t t e r to the editor of the Province, November 17, 1943 also confirms t h i s . A news-paper report in the Province, A p r i l , 1943 erroneously a t t r i b -uted the work to others. Telephone conversation with Major J.S. Matthews, late Vancouver City A r c h i v i s t , May 7, 1969. -^Vancouver City Archives f i l e - Vancouver Court House. Size: Each 15 tons. ^The Province (Vancouver), November 4 , 1942. References: "Blast Smashes Courthouse Lion." The Province (Vancouver), November 4 , 194-2, p. 1. i l l u s . "The Courthouse Lions." The Province (Vancouver), November 17, 194-2, p. 4 . l e t t e r to the editor. "Rear Attack." The Province (Vancouver), A p r i l 17, 1943, p. 1. i l l u s . Vancouver City Archives f i l e - Court House, Georgia Street. BUST OF DAVID OPPENHEIMER, STANLEY PARK Date: 1911. Place: Stanley Park (just west of the Beach Avenue entrance) Item: Memorial bust of David Oppenheimer. A r t i s t : CHARLES MAREGA. Material: Bronze bust on granite pedestal. David Oppenheimer, the second mayor of Vancouver (1388-1892) was responsible f o r setting aside the area of land which l a t e r became Stanley Park. A bronze bust was erected to commemorate him by funds raised through voluntary contributions. A t o t a l of |4,519.03 was collected, $3,600 of which was paid to the sculptor, Charles Marega. The statue was unveiled by S i r Richard McBride, then Premier of B r i t i s h Columbia, on December 14, 1911. ^Vancouver City Archives f i l e - Monuments, Stanley Park. References: B r i t i s h Columbia Magazine, A p r i l , 1912, p. 19. i l l u s . Jewish Western B u l l e t i n , B.C. Centennary E d i t i o n , June 30 , 1958, cover i l l u s . Meyers, Leonard W. "Monuments Vancouver." The Sun (Vancouver), February 14, 1953, p. 17. i l l u s . Hunter, Robert. "Stone Brother's Watching". The Sun (Vancouver June 4 , 1963, p. 5A. i l l u s . iV Croucher, Gordon and Ward, O l i v i a . "A Monumental Quiz." The Province (Vancouver), February 4, 1972, pp. 20-22. i l l u s . Vancouver City Archives f i l e - Monuments, Stanley Park. KING EDWARD VII MEMORIAL FOUNTAIN, VANCOUVER COURT HOUSE Date: 1912. Place: Vancouver Court House grounds ( o r i g i n a l l y situated on Georgia Street opposite front entrance; when The Centennial Fountain was erected in 1967, i t was moved to the Howe Street side, midway between Georgia and Robson Streets). Item: Drinking fountain. A r t i s t : CHARLES MAREGA. Material: A concrete fountain with a bronze plaque. The fountain was a g i f t to the City of Vancouver by the Imperial Order, Daughters of the Empire. "The Tuscan columned memorial bears a bronze plaque showing a p r o f i l e of King Edward VII in r e f l i e f and above i s the carved stone head of the B r i t i s h l i o n and the i n s c r i p t i o n 'King Edward VII 1841 - 1 9 1 0 ' . T f l The agreement was that the c i t y was to grovide free water and to look a f t e r the monument in perpetuity. It was unveiled May 7, 1912. !The Sun (Vancouver) February 21, 1953, p. 19. ^Vancouver City Archives f i l e , Monuments. References: "Thousands Witness Unveiling of Memorial to the Late King." The Sun (Vancouver), May 7, 1912, p. 6. "Noted Local Sculptor Dies." The Sun (Vancouver), March 25, 1939, p. 8. Meyers, L.W. "Vancouver Monuments." The Sun (Vancouver), February 21, 1953, p. 19. i l l u s . Bradbury, Keith. "City Fountain 'Sore Thumb' So It's Kicked Down Drain." The Sun (Vancouver), A p r i l 28, 1966, p. 37. Vancouver City Archives f i l e - Monuments. V CARYATIDS, SUN BUILDING Date: 1912. 1 Item: Nine Caryatids. Place: Sun Building, 500 Beatty Street (attached to outer wall below overhang on 8th f l o o r ) . A y t i s t : Unknown. Material: Terra cotta. These nine "art nouveau" type figures are of t e r r a cotta; they were moulded in clay and then burnt. They are anchored to the steel framework of the b u i l d i n g . O r i g i n a l l y there were twelve but three began to crumble becoming hazardous and had to be removed.2 ' -I t i s believed that "they were cast somewhere near Seattle since most of the p l a s t i c figures of that period came from there. " 3 The Sun Building, o r i g i n a l l y the World Building, and l a t e r the Bekins Building was completed in 1913 and was reputed at that time to be the t a l l e s t b u i l ding in the B r i t i s h Empire.^ The architect was W.T. Whiteway. ^ B r i t i s h Columbia Magazine, June, 1912, p. 433, shows a picture of a section of Vancouver in which the World Building i s then standing. 2Telephone conversation, A p r i l 1969, with Mr. E.W. Andrews who was the manager of the Bekins Company when they purchased the World Building in 1924. ^Letter from Mr. Charles B e n t a l l , June 18, 1969. He joined the Dominion Construction Company in 1911 and worked on the World Building. See the Province (Vancouver), June 14, 1969, p. 5. ^A. Morley Vancouver From Milltown to Metropolis, Vancouver, 1961, p. 127. References: Morley, Alan. Vancouver from Milltown to Metropolis. Vancouver: M i t c h e l l Press, 1961, p. 127. " C i t y Sight." The Sun (Vancouver), August 21, I 9 6 4 , Leisure Section, p. 5. i l l u s . L etter received from W.E. Ireland, P A r c h i v i s t , May 26, 1969. r o v i n c i a l Librarian and PAULINE JOHNSON MEMORIAL, STANLEY PARK Date: 1922 Place: Stanley Park (near Ferguson Point on the west shore of the park). Item: A cairn. A r t i s t : JAMES McLEOD HURRY. Material: Natural rock. This cairn was erected by the Women's Canadian Club of Vancouver, to mark the b u r i a l of the ashes of the Indian poetess, Pauline Johnson. Her head,-with a crossed feather and arrow on one side and a canoe on the other, i s carved in low r e l i e f into the natural rock. It was unveiled May 29, 1922. References: Jewish Western B u l l e t i n . B.C. Centennary e d i t i o n , June 30, 1958, p"i Ekl The Native Voice, July, I 9 6 I . Cover i l l u s . Kenvyn, Ronald. "Sentinels of The Past." The Province (Vancouver), January 20, 1940, p. 3. i l l u s . Meyers, Leonard. "Vancouver Monuments." The Sun (Vancouver), March 14, 1953 , p. 1 9 , - i l l u s . Hunter, Robert. "S^one Brother's Watching." The Sun (Vancouver), January 14, 1968, p. 5a. Simmins, Richard. "Public Art ... ." The Province (Vancouver), November 6, 1970, Spotlight Section, p. 21. i l l u s . Croucher, Gordon and Ward, O l i v i a . "A Monumental Quiz." The Province (Vancouver), February 4 , 1972, Spotlight Section, pp. 20-22. i l l u s . "New Johnson Plaque Women's Club Project." The Courier (Kerrisdale), March 9 , 1972, p. 11. "ANGEL OF VICTORY"WAR MEMORIAL, C.P.R. STATION Date: 1922 Place: C.P.R. Station (on the pavement at the southeast corner; o r i g i n a l l y i t was at the southwest corner facing Granville Street but was moved be-cause of new construction. Item: War Memorial stattie "Angel of Victory. A r t i s t : COEIJR de LION Mac CAR THY Material: Bronze figures on a marble and stone base. Size: 13' x 5 ' : 3500 l b s . The a r t i s t was chosen by a jury of C.P.R. o f f i c i a l s from a competition open to a l l Canadian sculptors. He modelled the figures f u l l size in pl a s t e r . A f t e r the model was approved i t was cast in bronze by a foundry in Mount Vernon, New York. The sculpture depicts a bronze angel carrying a soldier heavenwards. The pedestal bears an incised i n s c r i p t i o n commemorating the employees of the Canadian P a c i f i c Railway who l o s t t h e i r l i v e s in the F i r s t World War. The dates of World War II have been added. It was unveiled by General Vi c t o r Odium C.B., simultaneously with i d e n t i c a l stat\ies in the C.P.R. stations in Montreal and Winnipeg, on A p r i l 28, 1922. References: "Honors Are Gained by Local Sculptor." The Citizen (Ottawa), A p r i l 5, 1922, page number unknown. Meyers, Leonard. "Vancouver Monuments." The Sun (Vancouver), March 14, 1953, p. 17. i l l u s . Simmins, Richard. "Public Art ... ." The Province (Vancouver) November 6, 1970, Spotlight Section, pp. 21-22. i l l u s . F i l e of Vancouver City Archives. War Memorials, Vancouver. The A r c h i v i s t of the Canadian P a c i f i c Railway, Mr. J.C. Boxar, submitted duplicate copies of correspondence regarding the War Memorials of the Company, Mar 6, I969 with i l l u s . Letter from Mr. William A. Harrison, Assistant to the Vice-President of the C.P.R., May,.,1969. HARDING MEMORIAL, STANLEY PARK Date: 1925. Place: Stanley Park (set between the Stanley Park Pavilion and Malkin Memorial S h e l l ) . Item: Memorial statue. A r t i s t : CHARLES MAREGA. This memorial statue was erected by Kiwanis International Club to commemorate the v i s i t of President W.G. Harding to Vancouver in July, 1923* He was the f i r s t President of the United States to v i s i t Canada. The i n s c r i p t i o n on the granite shafts records parts of his address. The memorial i s b u i l t in the shape of a semicircle contain-ing spacious stone seats which are flanked by two bronze eagles. In the centre, mounted on the pedestal between the bronze figures of Columbia and Canada, i s a r e l i e f p r o f i l e of the President. The monument was dedicated September 16, 1925. References: Kenvyn, Ronald. "Sentinels of the Past." The Province (Vancouver), January 2 0 , 1940, p. 3 . j.% -* . Meyers, Leonard. "Vancouver Monuments." The Sun (Vancouver), A p r i l 11, 1953, p."21, i l l u s . Hunter, Robert. "Stone Brother's Watching." The Sun (Vancouver), June 14, 1968, p. 5a. i l l u s . Croucher, Gordon and Ward, O l i v i a . "A Monumental Quiz-." The Province (Vancouver), February 4 , 1972, Spotlight Section, pp. 20-22. i l l u s . JOE FORTES FOUNTAIN, ALEXANDRA PARK Date: 1927. Place: Alexandra Park (facing on Beach Avenue). Item: Drinking fountain. A r t i s t : CHARLES MAREGA. Material: Bronze and concrete. Size: "Low enough:, for the smallest c h i l d . " The fountain was erected by the c i t i z e n s and children i n co-operation with the Kiwanis Club of Vancouver to commem-orate a beloved negro l i f e guard "English Bay Joe". He served as a volunteer and l a t e r a paid l i f e guard f o r thirty-seven years and was o f f i c i a l l y credited with saving twenty-six l i v e s . He died in 1922, A bronze plaque on the face of the fountain bears the p o r t r a i t of "Joe" and of three children splashing in the waves, in low r e l i e f . Alan Morley, Vancouver from Militown to Metropolis. Vancouver: M i t c h e l l Press, 1961, pp. 157-58. References: Morley, Alan. Vancouver from Militown to Metropolis. Vancouver: M i t c h e l l Press, 1961, pp. 157-158. "Charles Marega Gained Fame f o r Many Works of Art Here." The Province (Vancouver), March 2*5, 1939, p. 10. "Noted Local Sculptor Dies." The Sun (Vancouver) March 25, 1939, p. 8. Meyers, Leonard. "Vancouver Monuments." The Sun (Vancouver), A p r i l 18, 1953, p. 19. i l l u s . Simmins, Richard. "Public Art ... ." The Province (Vancouver), November 6, 1970, Spotlight Section, pp. 20-21. STATUE OF ROBERT BURNS, STANLEY PARK Date: 1928 Item: Statue of Robert Burns. Place: Stanley Park (facing the c i t y at the north end of the causeway at the Georgia Street entrance). A r t i s t : It i s a copy of the statue of Burns which stands in h i s native town, Ayr, Scotland, which was cast at the foundry of Thomas Delton, Surrey, England. Material: Figure i s bronze; pedestal i s granite with four bronze plaques. X A competition was held with designs submitted by several well known a r t i s t s . The jury decided on a copy from the one in Scotland when i t was learned the cast s t i l l existed. The bronze panels on the pedestal are descriptive of the works of Burns. They depict:- Burns at the plough; "Tarn G'Shanter" and "The Cotter's Saturday Night." A fourth plaque bears the poet's name and date. The statue was erected by the Vancouver Burns Fellowship Society by money-raising e f f o r t s and by private subscriptions 1. The cost of the statue, including shipping expenses was $5,000 and $2,000 was paid f o r the granite p e d e s t a l . x I t was unveiled August 25, 1928, by the Rt. Honorable J. Ramsay Macdonald, then Prime Minister of Great B r i t a i n . 1k booklet published by Vancouver Burns Fellowship. References: Reid, A. Fraser and Taylor, James. Vancouver's Tribute to  Burns. Published by Vancouver's Burns Fellowship Society. Kenvyn, Ronald. "Sentinels of the Past." The Province (Vancouver), January 20, 1940, p. 3. i l l u s . Meyers, Leonard. "Vancouver Monuments." The Sun (Vancouver), May 2, 1953, p. 19, i l l u s . Hunter, Robert. "Stone Brother's Watching." The Sun (Vancouver), June 14, 1968, p. 5A. i l l u s . Croucher, Gordon and Ward, O l i v i a . "A Monumental Quiz". The Province (Vancouver), Spotlight Section, February 4 , 1972, pp. 20-22. i l l u s . FRIEZES AND NURSE FIGURES, MEDICAL DENTAL BUILDING Date: 1929. Place: Medical Dental Building, 925 West Georgia Street. Item: Low r e l i e f work on f r i e z e s on sides of bu i l d i n g and over the entrance, and figures of nurse on three corners of the building at the tenth f l o o r l e v e l . A r t i s t s : "The a r t i s t s were in fact a r c h i t e c t s on the s t a f f of McCarter and Nairne. P r i n c i p a l l y responsible -James Watson, deceased; C. Young - whereabout un-known; J.D. Hunter,- s t i l l on s t a f f of McCarter, Nairne & Partners." Materials: Terra cotta, stone, brick and p l a s t e r . Size: Figures of nurse 1 2 ' . The bui l d i n g , at that time, being used s t r i c t l y f o r medical and dental purposes, carried on i t s exterior the symbols of these professions. Mr. C.D. Hunter, an architect who worked on the b u i l d i n g states that, at that period, the architects did t h e i r own decorative designing while the sculptors did statuary and monuments. The designs of the r e l i e f were created by the architects and were modelled in t e r r a by Gladding, McBean in Seattle. A small model of the nurse was made by the architect and then three were enlarged to f u l l size by the Seattle Company. They too are of t e r r a and are hollow. They are s t y l i z e d figures which Mr. Hunter said were severly c r i t i c i z e d at the time f o r not being s u f f i c e n t l y r e a l i s t i c . The b u i l d i n g was opened on September 6, 1929. A r c h i t e c t s were McCarter & Nairne. ± L e t t e r from W.G. Leithead of McCarter, Nairne & Partners, March 27, 1969. In the Province (Vancouver), November 6, 1970, p. 11. i t was stated by Richard Simmins that Charles Marega executed the figures of the nurses. Mr. J.D. Hunter in t e l e -phone conversation, March 1, 1972, stated that t h i s was d e f i n i t e l y an error. References: James, Harold. "Vancouver Gargoyles." The Sun (Vancouver), August 1, 1953, p. 19. i l l u s . " City Sight." The Sun (Vancouver), August 21 , 1964, Leisure Section, p. 5. i l l u s . Simmins, Richard. "Public Art ... ." The Province (Vancouver), November 6, 1970, Spotlight Section, pp. 20-21 . i l l u s . McKenzie, Art. "Georgia landmark sold f o r $5 m i l l i o n . " The Province (Vancouver), January 12, 1972, p. 13. i l l u s . Questionnaire answered by the architects - McCarter, Nairne & Partners, March, 1969. Letter from W.G. Leithead of McCarter, Nairne & Partners March 27, 1969. • STONE GARGOYLES AND FRIEZES - HOTEL VANCOUVER Date: 1929. Place: Hotel Vancouver (on the cornices and roof peaks). Item: Gargoyles and carved f r i e z e s . A r t i s t : Some were Vancouver artisans; others were brought from Scotland, Turkey, Armenia, Wales and Czechoslovakia. 1 Material: Stone from Haddington Island. "The men took a personal pride in t h e i r work as they laboured month a f t e r month on t h e i r blocks of stone, some of them eight tons. Slowly the blocks became eagles, l i o n s , g r i f f i n s , goats, dragons, winged horses, gargoyles and other name-less creatures of weird design." "Many of these figures are reproductions or adaptations of eleventh or twelfth century cathedral carvings."3 As on mediaeval cathedrals, the ornaments on the corners, l i n t e l s and gables are not i d e n t i c a l . The carvings too above each window, cornice, panel and p i l l a r may d i f f e r from each other. There are also i n t r i c a t e l y carved balustrades with an interlaced pattern in various locations about the b u i l d i n g . The b u i l d i n g was completed in 1929, but owing to the economic situation of the 1930's i t was not o f f i c i a l l y opened u n t i l May 25, 1939. Architect - John D. Archibald, designed the b u i l d i n g . -•-The Province (Vancouver), December 8 , 1956, B.C. Magazine Section, pp. 10-11. 2 I b i d . 3 I b i d . References: "Rare Craftsmanship Shown in Stonework." The Province (Vancouver), May 27, 1939, p. 8 . Evan^, Allen Roy. "Sky-high City Zoo." The Province (Vancouver), December 8 , 1956, B.C. Magazine Section, pp. 10-11. " C i t y Sight." The Sun (Vancouver), August 21 , I964, Leisure Section, p. 5 , i l l u s . Simrains, Richard. "Public Art ... ." The Province (Vancouver November 6, 1970, Spotlight Section, pp. 3, 20-21. i l l u s . Croucher, Gordon. "This i s Vancouver but where?" The Province (Vancouver), November 6, 1970, Spotlight Section, pp. 22-23. i l l u s . Document from Olea M. Davis, sculptor (who designed f i x t u r e s , f r i e z e s , etc. f o r the i n t e r i o r ) , A p r i l 17, 1969. RELIEF WORK, MARINE BUILDING Date: 1930. Place: Marine Building, 355 Burrard Street. Item: Low r e l i e f work on panel, f r i e z e s , corners and the archway over the main entrance of the bu i l d i n g . A r t i s t : "The a r t i s t s were in fact a r c h i t e c t s on the s t a f f of McCarter and Nairne. P r i n c i p a l l y resp-onsible - James Watson, deceased; C. Young -whereabouts unknown; J.D. Hunter - s t i l l on s t a f f of McCarter, Nairne & Partners." Material: Terra cotta, stone, brick and p l a s t e r . "In i t s a r c h i t e c t u r a l conception the b u i l d i n g suggests some great marine rock r i s i n g from the sea c l i n g i n g with sea f l o r a and fauna ti n t e d in sea green flashed with gold."^ As well as the undersea motifs on panels and f r i e z e s of the buil d i n g , the businesses carried on within the building are depicted by submarine, ship, a i r s h i p , t r a i n and airplane motif Over the arch of the central doorway, the sun i s portrayed setting over the Lion's Gate and the Orient, with wild geese and a f u l l rigged, ship. On panels on either side of the doorway, the story of shipping on the West Coast i s portrayed from the days of Drake to the Second Empress of Japan. The designs of the architectSowere executed into t e r r a cotta by Gladding, McBean in Seattle. The b u i l d i n g opened in October, 1930. Architects - McCarter & Nairne. x L e t t e r from W.G. Leithead of McCarter, Nairne & Partners, March 27, 1969. The Sun (Vancouver), October 7, 1930, p. 2. 3Letter from W.G. Leithead. References: "Building Indicative of Progress in City." The Sun (Vancouver), October 7, 1930, p. 2. i l l u s . James, Harold. "Vancouver Gargoyles." The Sun (Vancouver), August 15, 1953, p. 21 , i l l u s . Simmins, Richard. "Public Art ... ." The Province (Vancouver November 6, 1970, p. 20-21 . i l l u s . (In t h i s a r t i c l e i t stated that A. Fabri of Vancouver was responsible f o r the r e l i e f sculpture. This i s an error; the" r e l i e f was designed by the architects and modelled in Seattle. This was confirmed by a telephone convers-ation with Mr. J.D. Hunter, arc h i t e c t , March 1, 1972). Letter from W.G. Leithead of McCarter, Nairne & Partners, March 27, 1969. Telephone conversation with Mr. J.D. Hunter of McCarter, Nairne & Partners, March 1, 1972. STATUE OF CAPTAIN GEORGE VANCOUVER, VANCOUVER CITY HALL Date: 1936. Place: Vancouver City H a l l (on the plaza in front of the north entrance). Item: Statue of Captain George V ancouver. A r t i s t : CHARLES MAREGA Material: Bronze figure on polished granite base. Size: Figure 8 T; base 7 ' . This statue was erected by the c i t i z e n s of Vancouver to commemorate the Golden Jubilee of the c i t y . The a r c h i t e c t , Fred Townsley, conceived the idea of incor-porating the statue into the b u i l d i n g complex when he drew up the plans f o r the City H a l l . The campaign f o r the funds was brought about largely by the e f f o r t s of Senator G.G. McGee then mayor of Vancouver. The sculpture was designed in clay in the a r t i s t ' s studio and then cast in bronze. It took eight months to comnlete. It was unveiled by the Lord Mayor of London, S i r Percy Vincent, on August 20 , 1936. Architects: Townsley and Matheson. References: "Bronze Figure of Vancouver to Rule Scene." The Province (Vancouver), June 13, 1936, p. 3 0 . i l l u s . "Heroic Bronze by Marega i s Acclaimed." The Province (Vancouver^ August,22? 1936, p. 6. "Noted Local Sculptor Dies." The Sun (Vancouver), March 25, 1939, P. 8 . Meyers, Leonard W. "Vancouver Monuments." The Sun (Vancouver) May 16, 1953, p. 17. i l l u s . LIONS, LION'S GATE BRIDGE Date: 1939. Place: Lion's Gate Bridge (one at either side of south entrance). Item: Two concrete l i o n s . A r t i s t : CHARLES MAREGA Material: Concrete Size: 8g tons each. The l i o n s were constructed by pouring concrete into two giant forms, the bodies and heads being cast separately. They were cast upside down. In order to bring them to an upright p o s i t -ion, two large f i r wheels were constructed around the forms. By the use of .jacks and a five-ton hoist the forms were turned over. They were set in place at the south entrance to the bridge on January 23 , 1939. It i s noteworthy that at the time of t h e i r i n s t a l l a t i o n there was considerable public c r i t i c i s m . They were said to be-too s t y l i z e d and to resemble the Sphinx of Egypt. The bridge was o f f i c i a l l y opened on May 27, 1939 by King George VI and Queen Elizabeth. References: "Ingenious Device Helps Move Heavy Lions f o r Bridgehead." The Sun (Vancouver), January 13, 1939, p. 6, i l l u s . "Lions Now Guard Bridge." The Sun (Vancouver), January 2 3 , 1939, p. 1. "To Guard Narrows Span." The Province (Vancouver), January 23, 1939, p. 24. MURAL, CAPTAIN VANCOUVER, HOTEL VANCOUVER Date: 1939. Place: Item: A r t i s t : Hotel Vancouver (The mural»was i n s t a l l e d on the east wall of the main lobby before the o f f i c i a l opening of the hotel in May, 1939, and remained there u n t i l the renovation of the hotel in 1967) Mural. CHARLES FR&.SER COMFORT. Material: Painted Mural. Size: 16' x 10'6". The mural depicts Captain George Vancouver receiving t r i b u t e from the native Indians in Ceremonial dress on h i s f i r s t landing on the P a c i f i c shores. He i s shown supported by two seamen from the H.M.S. Discovery. Behind these figures there are totem poles and whirling birds. Robert Ayre in The  Toronto Saturday Night describes i t , ; ! i n such d e t a i l s as the uniforms and equipment of Captain Vancouver and his s a i l o r s , and in the Indian motifs ... the mural i s true to fa c t s . At the same time i t s elements are s l i g h t l y formalized and b u i l t up into a strong, d i g n i f i e d design, i t s colour so keyed as to keep i t f l a t on the wall."' The mural i s reported to be in storage at the National Gallery in Ottawa. John Schofield, Chief Architect f o r the Canadian National Railways, Montreal, was the architect for the bui l d i n g a f t e r 1933 and was responsible for the decor of the i n t e r i o r . The Saturday Night, May 25, 1940, p. 2. References: Ayre, Robert. "Murals i n Public Buildings." The Saturday  Night, Vol. LV, (May 25, 1940), p. 2. i l l u s . "Local A r t i s t s Unite Talents on Mural in New Vancouver." The Sun (Vancouver), February 11, 1939, p. 11. "Facts About New Hotel." The Province (Vancouver), May 27, 1939, Section Four, pp. 1-8. i l l u s . Morley. Alan. " H Q t e l Vancouver Has Played in Hard Luck." 'The Sun (Vancouver), December 20, 1963, p. 4. Questionnaire answered by Olea M. Davis. .,an a r t i s t who worked on ornamental g r i l l s , f r i e z e s , etc., A p r i l , 1969. Letter received from Wm. Keating, Project Co-ordinator, Canadian National Hotels, May 21, 1969. MURAL IN DINING ROOM, HOTEL VANCOUVER Date: 1939. Place: Hotel Vancouver (west wall of the main dining room). Item: Mural. A r t i s t : JAMES W.G. MCDONALD Material: Painted mural. Size: 15' x 11'. The a r t i s t submitted two designs f o r the mural; the choice was made by the ar c h i t e c t . The a r t i s t describes i t , a swing-movement in colour, I c a l l i t . It i s Indian i n motif with the accent concentrated on design. I t w i l l be carried out as a f l a t t r e a t -ment of colour planes-, so that perspective w i l l l i e in the colour i t s e l f . The Indian people, t h e i r t r i b a l l o r e , t h e i r natural surroundings have a l l been incorporated in a rhythmic, l i v e l y , c o l o u r f u l scene. XV II I A l e t t e r written by the a r t i s t dated March 21 , 1939 states, I spent three weeks in the hotel on the mural and have i t nearly f i n i s h e d . The arc h i t e c t s are very s a t i s f i e d but there \»rasn't the sl i g h t e s t doubt about t h e i r being very anxious at one stage of the game - when on the f i r s t coat, I put i n everything i n the opposite colour, a l l the trees crimson, blues red, pinks yellow and so on. The mural medium i s marvelously d e l i g h t f u l s t u f f to work with - once I discovered how to use i t with i t s glow of pure colour and i t s pastel quality as we l l . This mural i s e a i l y the best think I ever did and i t came along without too much worry even though i t was more exhausting p h y s i c a l l y . Dufy, Grant Wood and Diego a l l f i n d the exact same colours the best . . . . * The mural was completed f o r the o f f i c a l opening of the Van-couver Hotel by King George VI and Queen Elizabeth, May 25, 1939. It was removed at the time of the renovating in 1967.^ I t s present whereabouts remains a mystery. I believe i t was des-troyed. A r c h i t e c t : John Schofield, Chief Architect f o r the Canadian National Railway took over on the death of John S. Archibald, the o r i g i n a l a r c h i t e c t . Schofield was responsible f o r the i n t e r i o r de'sign of the hotel. The Province (Vancouver), February 11, 1939, p. 39» 2 I b i d . 3 Copy of a l e t t e r written by J.W.G. Macdonald, March 21 , 1939, now in possession of the National Gallery of Canada. The o r i g i n a l l e t t e r i s noted as being owned by H.H.Cheney of Vancouver. ^"Letter from W.M. Keating, Project Co-ordinator, Canadian National Hotels, May 21 , 1969. References: Ayre, Robert. "Murals in Our Public Buildings." Saturday ' Night, Vol. LV, (May 25, 1940), p. 2. i l l u s . "Local A r t i s t s Unite Talents on Murals f o r New Vancouver." The Province (Vancouver), February 11, 1939, p. 39 . . "Facts About New Hotel." The Province (Vancouver), May 27, 1939, pp. 1-6. Telephone Conversation with Mrs. W.G. Macdonald, Toronto, A p r i l 14, 1972, followed by a l e t t e r , A p r i l 21, 1972. RELIEF MURAL, ELEVATOR COURT, HOTEL VANCOUVER Date: 1939. Place: Hotel Vancouver (elevator court). Item: R e l i e f panel. A r t i s t : BEATRICE LENNIE Material: Gold and s i l v e r l e a f on a molded composition base. Size: 12' The a r t i s t was commissidned by the architect to execute t h i s panel. Beatrice Lennie had previously worked on mouldings and fi r e p l a c e s of the hotel when i t was under construction. She was asked to design something contemporary which'.would not be outdated for twenty-five years. The theme with i t s v e r t i c a l l i n e s , arches, elongated figures, sun and stars was one of ascent. It was fi n i s h e d in tones of blue s t e e l , brass and chromium which harmonized with the cream marble walls and bronze elevator doors. The hotel was opened on May 25, 1939. At the time of the reconstruction of the hotel in 1967 the c e i l i n g s were dropped and the a r t i s t believes the mural was then boarded up and faced with a new textured facade. Architect: James Schofield. References: MacDonald, Colin S. A Dictionary of Canadian A r t i s t s . Vol. I l l , Ottawa, Canadian Paperbacks, p. 810. Ayre, Robert. "Murals in Our Public Buildings." The  Saturday Night, Vol. LV, (May 25, 1940), p. 2. i l l u s . Telephone conversation with Beatrice Lennie, A p r i l 14, 1972. RELIEF MURALS', SHAUGHN'ESSY HOSPITAL Date: 1941 Place: Shaughnessy Hospital (one on either side of the main entrance). Item: Two r e l i e f panels. A r t i s t : BEATRICE LENNIE Material: Composite stone. Size: 8' X 5': 3 tons. The a r t i s t was chosen by the architect and commissioned by the Government of Canada to execute two symbolic r e l i e f panels f o r a m i l i t a r y hosnital which was just being b u i l t . The program of the sculpture r e f l e c t s the purpose of the b u ilding. One shows a surgeon l i f t i n g a wounded soldier; the other a nursing s i s t e r urging a wounded so l d i e r to r i s e . The d e t a i l s in the sculptor are evidence of the research done by a r t i s t p r i o r to the modelling and casting. Shaughessy Hospital opened in January 1941. Arche t i c t s : Mercer and Mercer. References: MacDonald, Colin S. A Dictionary of Canadian A r t i s t . V o l. II I . Ottawa: Canadian Paperbacks, 1971, p. 810. Woodsworth, Charles J. "Woman Shapes Beauty in Stone." The Province (Vancouver), December 21, 1940. p. 6. i l l u s . The Sun (Vancouver), Supplement Section, October 2 3 , 1954, p. "Vancouver Native Daughter i s Noted Canadian Sculptor". The Vancoiiver Herald, February 13, 1956, p. 15. Telephone conversation with Beatrice Lennie, A p r i l 14, 1972. MURAL, ALCAZAR HOTEL DINING ROOM Date: 1948. Place: Alcazar Hotel, 337 Dunsmuir Street, (walls of dining room). Item: Painted murals. A r t i s t : JACK SHADBOLT Material: A c r y l i c wall paint, l a t e r coated with wax. Size: 10' x 70'. Jack Shadbolt was the sole a r t i s t approached by the arch-i t e c t when renovations were being made on the hotel. He was given freedom as to theme, colour and design. The only s t i p u l a t i o n was the budget. The problem was to take a cage-like room with a glass end-wall opening into the lobby and to open i t out to make the space a i r y and gay, and at the same time to convey elegance and i n t e r e s t . The a r t i s t chose to depict the four seasons in fantasy-like abstract designs. The a r t i s t himself said "I never worked on a project so spontaneously and e l i c i t e d such spontaneous enthusiastic general approval. Art School students over the years r e f e r to i t f o r study in space related to architecture." The a r t i s t did the work himself in about two weeks, the designs having been accepted by architect and owner. At the time i t was done, George Swinton of the Winnipeg Tribune referred to i t as "the best restaurant mural in Canada." 2 The architect and patron were very happy with the mural. The mural i s s t i l l in existence but r e f l e c t s the wear of time and of poor repair work. A bar lounge was constructed l a t e r which caused, four feet on each side to be cut o f f . Questionnaire answered by a r t i s t , A p r i l 1969. 2 I b i d . References: Walters, Reginald Eyre ( e d i t o r - i n - c h i e f ) . B r i t i s h Columbia  A Centennial Anthology. Vancouver Evergreen Press, 1958. pp. 522-23. ( i l l u s . T T ^ Buchanan, Donald. "Shadbolt Explores a World of Roots and Seeds." Canadian Art, Spring, 1951, pp. 112-14. Questionnaire answered by a r t i s t , A p r i l 1969. BUST OF GERALD GRATTON McGEER, VANCOUVER CITY HALL Date: 1948. Place: Vancouver City H a l l (on the lawn just east of the 12th Avenue entrance). Item: Bust of Gerald Gratton McGeer. A r t i s t : YANKA BRAYOVITCH Material: Bronze on a granite pedestal. Size: This sculpture was commissioned by a group of business men who wished to pay trib u t e to Senator McGeer who had done so much f o r t h i s c i t y . He was"twice member of the Legis-lature of B r i t i s h Columbia, twice Mayor of Vancouver, twice elected to the House of Commons, Canada, and f o r two years a member of the Senate." 1 I t was he, more than anyone else, who was responsible f o r b u i l d i n g the Vancouver City Hall:on i t s present,site. The statue was unveiled October 18, 1948. "'"The Sun (Vancouver), June 13, 1953, p. 21 . References: Meyers, Leonard. "Vancouver Monuments." The Sun (Vancouver) June 13, 1953, p. 21 . i l l u s . RELIEF MURAL, VANCOUVER LABOUR TEMPLE Date: 1949. Place: Vancouver Labour Temple, Broadway and Alberta Streets (above the main entrance). Item: Large sculptured r e l i e f panel. A r t i s t : BEATRICE LENNIE. Size: 7' x 2 0 ' : 6 tons. The a r t i s t was commissioned by the Dominion Construction Company, who were aware of her program of sculpture at Shaughnessy Hospital. She was asked to construct a panel symbolizing labour for the new Vancouver Labour Temple which was being b u i l t . The centre f o c a l point of the panel i s a great wheel of industry with figures clustered around i t and many features of labour radiating from i t . Although the representation i s not n a t u r a l i s t i c , i t i s eas i l y readable. The cast stone panel was produced by the "dry tamp" method which was used i n a i r r a i d shelters in England during the war and about which the a r t i s t made a special study.-1- The project took eight months to complete. It was i n s t a l l e d in May, 1949 just at the exact moment when an earthquake shook the lower mainland. 1The Province (Vancouver), May 14, 1949, p. 45. References: MacDonald, Colin S. A Dictionary of Canadian A r t i s t s . Vol. I l l , Ottawa: Canadian Paperbacks, 1971, p. 810. Palette, "Labour Temple Mural Symbolizes Industry." The Province (Vancouver), May 14, 1949, P. 45. The Sun (Vancouver), October 23, 1954, Magazine Supple-• ment, p. 5. "Vancouver Native Daughter i s Noted Canadian Sculptor." The Vancouver Herald, February 13, 1956, p. 15. Telephone conversation with the a r t i s t , A p r i l 14, 1972. MURAL, "BRITISH COLUMBIA PAGEANT" TORONTO DOMINION BANK Date: 1951. Place: Toronto Dominion Bank, Granville at Pender. (The mural extends the f u l l length of the west wall well above the counters.) Item: H i s t o r i c mural. A r t i s t : CHARLES F. COMFORT. He was assisted by O r v i l l e Fisher, Gordon Dixon of Vancouver and Barbara K. Cook of Winnipeg were junior assistants. XX I V Material: Painted on linen t e x t i l e adhesed to plaster. Size: 101 x 64' . The a r t i s t was commissioned by the Dominion Bank to design a mural f o r t h i s large banking h a l l . They directed that I should create a romantic compos-i t i o n , based on West Coast development, which would have communicative force and appeal to a wide group of c i t i z e n s . A f t e r much consideration I have evolved a design which I believe meets these requirements. I have consulted h i s t o r i a n s , anthropologists, ethnologists, explorers and s a i l o r s , l i v i n g and dead to obtain the data necessary to approach even the preliminary phases of the p roject„ The idealogy of my composition deals l a r g e l y with d i s -covery and development, then and now; the West Coast Indians and t h e i r a r t e f a c t s , the Spaniards, the French, the B r i t i s h . One of the features of the composition i s the employment of Haida a r g i l l i t e carvings as a decora-t i v e motif, as well as the introduction of twentieth century p e r s o n a l i t i e s : f o r example, Emily Carr, repres-enting culture, the Honourable E r i c W. Hamber, Chancellor of the University of B r i t i s h Columbia representing education. x National defence i s represented in the person of Major-General Bertram M. Hoffmeister, while Labour i s represented by the anonymous figure of a logger. The mural took three months to complete. It was painted on s i t e while the banking business was carried on. I t was completed in September 1951. The patrons and the public were very pleased. The bank has wide low windows and the illuminated mural can be seen c l e a r l y from the streets at night. Canadian Art, October, 1951, p. 19* References: MacDonald, Colin S. A Dictionary of Canadian A r t i s t s . Vol. 1, Ottawa: Canadian Paperbacks, 1967, p. 141. Comfort, Charles. "Mural in a Bank." Canadian Art, Vol. IX, (October 1951), p. 19. i l l u s . Duval, Paul. "B.C. mural, sixty feet of progress." Saturday  Might, Vol. LXVI, (October 6, 1951), p."31. i l l u s . Palette. "Great Mural Wears Completion at Bank." The Prov-ince (Vancouver), August 25, 1951, p. 9. i l l u s . B r i t i s h Columbia Pageant. Folder published by the Toronto Dominion Bank with description and f u l l colour i l l u s t r a t i o n of the mural. BELIEF SCULPTURE OF HIPPOCRATES, ACADEMY OF MEDICINE Date: 1951 Place: Academy of Medicine, 1807 West 10th Avenue (at the second story l e v e l on the Burrard Street side of the bu i l d i n g ) . Item: R e l i e f sculpture - Hippocrates. A r t i s t : BEATRICE LENNIE Material: Cement, marble dust, sand and water proofing. Size: 10 T x 4'. The a r t i s t was approached by the ar c h i t e c t . The design for the r e l i e f sculpture was chosen by a committee from ten sketches submitted by the a r t i s t . The mural i s des-cribed in the Vancouver Medical Journal, Hippocrates stands before a medical cross holding a papyrus s c r o l l in one hand representing the ancient Doric books on the practice of medicine and in the other hand i s the s t a f f with one snake -entwined. The snake has been included in medical pictures because i t was o r i g i n a l l y thought to have a mystical a l l i a n c e with the herbs used in the early days of medicine. The sculpture which weighs 2000 l b s . i s bolted on the wall by a reinforced s t e e l base. The bu i l d i n g was o f f i c i a l l y opened October 1, 1951. Architects*' Mercer and Mercer. The B u l l e t i n of the Vancouver Medical Association, Vol. XXVIII, No. 12, (September 1951), p. 293. References: MacDonald, Colin S. A Dictionary of Canadian A r t i s t s . Vol. I l l , Ottawa: Canadian Paperbacks, 1969, p. 810. Macdermot, Dr. J.H. "Academy of Medicine." The B u l l e t i n of the Vancouver Medical Association. Vol. XXIII, No. 12, (September 1 9 5 D , p. 293, i l l u s . "Vancouver Native Daughter i s Noted Canadian Sculptor" The Vancouver Herald, February 13, 1956, p. 15." Telephone conversation with the a r t i s t , A p r i l 14, 1972. XX V) CONCRETE MURAL, VANCOUVER SCHOOL of ART Date: 1953. Place: Vancouver School of Art. Hamilton Street, (west facade). Item: A mural of incised designs. A r t i st: BRUNO BOBAK Material: Incised concrete. Size: 27 f7" x 1 0 ' . Bruno Bobak's designs were chosen by a jury of Art School s t a f f from a competition open to a l l i n s t r u c t o r s of the School. The problem was to create a mural related to an old building as i t appeared a f t e r remodelling. There was a limited"budget of $ 2 , 2 0 0 . The mural i s made up of a composition of thirty-one cast concrete squares, each with a conventionalized design taken from nature. The o r i g i n a l concept was from a decorative tap-estry. The incised designs were cut i n reverse on plywood and were recessed in two layers. The cut plywood shapes were assembled into forms and concrete was poured into them. When set, the forms were removed, the sections were assem-bled in the desired pattern and were held together by iron and mortar. A f t e r the mural was i n s t a l l e d , i t was coated with standard white stucco to lighten the shadow e f f e c t s . The work was done in the School Board's workshop with the assistance of the students. References: MacDonald, Colin,S. Dictionary of Canadian A r t i s t s . Vol. 1 Ottawa: Canadian Paperbacks, 1967. p. 53. "Bruno Bobak Does a Mural in Concrete." Canadian A rt, Vol. X, No. 4 (Summer, 1953), p. 164. i l l u s . "Plywood Cutouts Simplify Design Forms in Ar c h i t e c t u r a l Concrete." Journal of Commerce Weekly, August 8, 1953, p. 18, i l l u s . Questionnaire answered by the a r t i s t , A p r i l , 1969. MAP MURAL, THE MERCANTILE BANK OF CANADA Date: 1954. Place: The Mercantile Bank of Canada, 540 Burrard Street, (at the f a r end of the large banking h a l l on a wall four l e v e l s high). Item: Mural map. A r t i s t : LIONEL THOMAS Material: O i l on l i n e n . Size: 18' 6" x 2 7 ' 6 " , The a r t i s t was awarded the commission following a closed competition. He was asked to design a map mural to portray the connections of the Vancouver branch of the bank with i t s world wide operations. The mural i s p r a c t i c a l and a "p e r f e c t l y i n t e l l i g i b l e rendering through a mercator pro-jection map of the bank's a c t i v i t i e s throughout the world." It connects the Vancouver Branch, an a f f i l i a t i o n of Nationale Handelsbank of Amsterdam, with i t s connections in the Netherlands, Japan, Singapore, Hong Kong, and southeast Asia, while at the same time emphaisizing the prominence of the B r i t i s h Columbia branch. The Mercantile Bank has since moved t h e i r premises to 1177 West Hastings Street and to the best of my knowledge the mural has been destroyed. Architects: McCarter, Nairne and Partners, The Province (Vancouver), September 8 , 1954, p. 40, References: Boux, R, " A r t i s t Relates His S k i l l s to Architecture." Canadian Art, Vol. XIII, (Autumn, 1955),-pp. 203-205. DeLuca, E a r l , "Lionel Thomas." U.B.C. Alumni Chronicle, Vol, XII, (Winter, 1958), pp. 14-16. i l l u s . "Photostory," Royal A r c h i t e c t u r a l I n s t i t u t e of Canada  Journal," Vol, XXXV, ( A p r i l 1958), p. 145. i l l u s . "R.A.I.C. Honours Lionel Thomas." The Canadian Ar c h i t e c t, Vol, I I , (May, 1956), pp. 14-15. i l l u s . KXV Palette, "Steel Scaffolding for Mural A r t i s t . " The Province (Vancouver), September 8 , 1954, p» 40. i l l u s . Document from the a r t i s t , May, 19 69. Document from the a r t i s t , A p r i l , 1969. Telephone conversation with Lionel Thomas, A p r i l , 1972. MURAL, O'BRIEN ADVERTISING LIMITED Date: 1954. Place: O'Brien Advertising Limited, 1455 West Georgia Street (no longer in t h i s l o c a t i o n ) . I-feem: Mural A r t i s t : B.C. BINNING Material: Painted mural. Size: 15' mural (runs f u l l length of main foyer on Georgia Street l e v e l and small panel (Pender Street l e v e l . ) ) The a r t i s t worked in collaboration with the architect on t h i s new b u i l d i n g . The theme of the murals took into con-sideration "the advanced a r c h i t e c t u r a l design of building and. creative character of advertising, public r e l a t i o n s and a l l i e d f i e l d s . " With the d i v i s i o n s of the areas into rectangles, squares and c i r c l e s and with the v i b r a t i n g contrasts of the colours, black and white, strong yellow and grey, the murals have a Mondrian qua l i t y that integrates them with the functional s i m p l i c i t y of the architecture. The buildings has been demolished fo r a new construction. The mural i s now p r i v a t e l y owned. Architect: Robert R. McKee The Province (Vancouver), September 25 , 1954, B.C. L i v i n g Section. References: Hubbard, R.H. "A Climate f o r the Arts." Canadian Art. Vol. XI, (Winter, 1955), pp. 84 and 105. i l l u s . "New Of f i c e ' s Mural in St r i k i n g E f f e c t . " The Province (Vancouver), September 25, 1954, B.C. L i v i n g Section, i l l u s . Personal interview with B.C. Binning, March 3 , 1972. MOTHER AND CHILD SCULPTURE, UNIVERSITY OF BRITISH COLUMBIA Date: 1955-Place: University of B r i t i s h Columbia ( i t stands be-tween the Main Library and the Physics Building) Item: Sculpture, "Mother and Child." A r t i s t : GEORGE A. NORRIS Material: Bronze Size: 47" The a r t i s t was commissioned by a private donor to design a program of sculpture f o r an Education Building which was in the planning stage. The a r t i s t ' s designs included a mother and c h i l d piece f o r one side of the main entrance with a father and c h i l d for the other. The bu i l d i n g was not con-structed u n t i l ten years l a t e r . The bronze sculpture "Mother and Child" was completed and was exhibited in the B.C. Sculpture '58 exhibition at the University. It was purchased by a private donor and presented to the University, Mildred Valley Thornton, in a newspaper a r t i c l e on the exhibition, describes i t as " r e a l i s t i c and very powerful i s Mother and Child, a massive bronze of outstanding beauty and good craftsmanship." 1 The Sun (Vancouver), July 6, 1958. p. References: U.B.C. Alumni Chronicle, Vol. XXII, (Spring, 1958), p. 8 . i l l u s . B.C. Sculpture ' 5 8 . Catalogue of summer exhibition of sculpture on the U.B.C. campus, i l l u s . Thornton, Mildred Valley. "Variety Keynote of Art Exhib-. i t i o n . " The Sun (Vancouver), July 6, 1958. XXX F i l e s of Fine Arts Library, U.B.C. (Newspaper c l i p p i n g f i l e ) . Telephone conversation with Mrs. George A. Norris, A p r i l 10, 1972. CKl'/X. RADIO STUDIOS, BURRARD STREET Date: 1955. Place: CKWX Radio Studios, Burrard Street. Item: A r c h i t e c t u r a l decoration covering section of i n t e r i o r of studio. A r t i s t : B.C. BINNING Material: I t a l i a n glass t i l e - 5" square. B.C. Binning was the sole a r t i s t contacted by the architect and patron. The task was to design an i n t e r i o r which would complement in design and colour the studio which was already standing. The wall facing the entrance was faced with a geometrically designed mural made of three-quarter inch I t a l i a n glass t i l e . The l i g h t f i x t u r e s , basic construction p i l l a r s and beams complemented the design. The mural was designed in the a r t i s t ' s studio. The t i l e s were chosen and the patterns completed in Venice. The mural was constructed on s i t e under the a r t i s t ' s supervision. The entrance has wide glass doors; thus, from the street the mural becomes a part of the entire concept of the bui l d i n g . The only r e s t r i c t i o n placed on the a r t i s t was budget. The relationship between the a r t i s t , c l i e n t and architect was s a t i s f a c t o r y . The completed unit gained favourable comment by the public. Some of the f i x t u r e s have been changed and curtains have been added so that the t o t a l e f f e c t given o r i g i n a l l y has diminished. Architects were Thompson, Berwick & Pratt. References: MacDonald, Colin S. A Dictionary of Canadian A r t i s t s , Vol. 1. Ottawa: Canadian Paperbacks, 1967. pp. 4 9 - 5 0 . XX X I Binning, B.C. "Mosaics Vancouver to Venice and Return." Canadian Art, Vol. XV, (Autumn, 1958), p. 252-257. i l l u s . Lasserre, Fred. "Keeping Pace with Architecture in Vancouver." Canadian Art, Vol. XV, (Spring, 1958), p. 8 4 - 8 9 . Thorn, Ron. " A l l i e d Arts Award, 1962: B.C. Binning, Vancouver." Royal A r c h i t e c t u r a l I n s t i t u t e of Canada Journal, Vol. XXXIX, ( A p r i l , 1962), pp. 47-50. i l l u s . Questionnaire answered by the a r t i s t , July 1969. MOSAIC MURAL, ' ORIGIN AND EVOLUTION OF THE ALPHABET' VANCOUVER PUBLIC LIBRARY. Date: 1956. Place: Vancouver Public Library, Burrard and Rob son Streets (on the wall adjacent to the main entrance above the "check-in" desk). Item: Mosaic mural "Origin and Evolution of the Alphabet." A r t i s t s : LIONEL and PATRICIA THOMAS Material: Vitreous glass mosaic t i l e . Size: 25'6" x 17'. The a r t i s t s were commissioned by the arc h i t e c t s , who designed the b u i l d i n g and who gave the mural as a g i f t to the Library. The theme of the mural i s based on the Runes, those archaic symbols from which our alphabet evolved. The mural depicts Western Man groping in the dark dawn of c i v i l i z a t i o n to invent a method of commun-i c a t i o n . Since the l i b r a r y i s primarily the custo-dian of the written word, i t was thought f i t t i n g to honour in mural form the ancestors of the written word - the Runes. The work including the c u r v i l i n e a r cut of the t i l e was executed in Venice, I t a l y . The main branch of the Vancouver Public Library was o f f i c i a l l y opened November 1, 1957. Architects - Semmens and Simpson, Vancouver, B.C. The l i b r a r y s t a f f states that the public i n t e r e s t in t h i s mural has been maintained. XXX I I Pamphlet published by Vancouver Public Library 1957. (Cover i l l u s . ) . References: DeLuca, E a r l . "Lionel Thomas." U.B.C. Alumni Chronicle, Vol. XII, (Winter, 1958), pp. 14-16. i l l u s . "R.A.I.C. Honours L i o n e l Thomas." The Canadian Ar c h i t e c t , Vol. I I , (May, 1956), pp. 14-15. Pamphlet published by the Vancouver Public Library to commemorate the o f f i c i a l opening November 1, 1956 with cover i l l u s t r a t i o n and b r i e f description of mural. Document from the a r t i s t , May, 1969. SCULPTURE "THREE FORMS", U.B.C. Date: 1956. Place: U.B.C., Lasserre Building (on the north plaza at the north-east corner.) A r t i s t : ROBERT CLOTHIER Item: Sculpture "Three Forms" Material: Cast concrete. This sculpture won the University Purchases Prize of $400, when i t was exhibited on the U.B.C. campus in 1956 as part of an exhibition of outdoor sculpture which was organized by the Northwest I n s t i t u t e of Sculpture in collaboration with the Extension Department of the University of B r i t i s h Columbia. References: Watters, Reginald Eyre (ed.) B r i t i s h Columbia: A Cent-ennial Anthology. McClelland and Stewart Ltd., 1958, p. 538. i l l u s . F i l e s of Fine Arts Department, U.B.C. B.C. HYDRO BUILDING, BURRARD STREET Date: 1957. Place: B.C. Hydro Building (formerly B.C. E l e c t r i c Building) Burrard Street. Item: A r c h i t e c t u r a l decoration of entire b u i l d i n g . A r t i s t : B.C. BINNING Material: I t a l i a n glass t i l e - f" square: baked enamel on metal: coloured glass. Size: Covering large portions of exterior and i n t e r i o r of entire b u i l d i n g . B.C. Binning was asked by the c l i e n t to collaborate with the architect and engineers and to be responsible f o r the t o t a l colour and decor of the entire b u i l d i n g . He states rh<r~ i t was an i d e a l relationship from the f i r s t concept to the completion of the bui l d i n g . The designs were done on paper and models were created in the a r t i s t ' s studio but the actual work was contracted and done by craftsmen. Of the preparation period, the a r t i s t stated, a main theme was beaten out, a sort of a basic tune or rhythm which we enriched with overtones of form, pattern and colour. The re s u l t we intended to achieve was a v i s u a l statement similar to the stru c t u r a l arrangement of a symphony; the main theme stated in the mosaic mural at the entrance; the geometrical diamond pattern as a statement of the form and patt-ern of the building. Then, as one walks around and through the building t h i s theme i s played over and over again in many var i a t i o n s . Consequently, t h i s mural cannot be viewed by i t s e l f but only as a part of the larger and whole a r c h i t e c t u r a l scheme. The whole concept was very favourably received by the arch-i t e c t s , the c l i e n t s and the general public. It has become a Vancouver landmark. The b u i l d i n g was opened March 1 3 t h , 1957. Architect: Thompson, Bewick and Pratt. Royal A r c h i t e c t u r a l I n s t i t u t e of Canada, Journal, ( A p r i l , 1962), p. 50. ' References: MacDonald, Colin S. A Dictionary of Canadian A r t i s t s , V o l . 1, Ottawa: Canadian Paperbacks, 1967, pp. 49-50. Hubbard, R.N. The Development of Canadian Art. Ottawa: Queen's Printer, p. 134. Binning, B.C. "Mosaics Vancouver to Venice and Return." Canadian Art. V o l . XV, (Autumn, 1958), pp. 252-257. Murray, J^mes A. "The Role of the Architect - On Arch-i t e c t u r e . " Canadian Art, Vol. XIX, (May-June, 1962), pp. 194-197. i l l u s . Thorn,,Ron. " A l l i e d A r t s Award, 1962: B.C. Binning, Vancouver". Royal A r c h i t e c t u r a l I n s t i t u t e of Canada Journal, Vol. XXXIX, ( A p r i l , 1962), p. 50. "Tomorrow's T a l l Building." brochure published by the B.C. E l e c t r i c Co. at the time of opening of the bui l d i n g . Questionnaire answered by the a r t i s t , July, 1969. MURAL, VANCOUVER GENERAL POST OFFICE Date: 1957. Place: Vancouver General Post Office (in a foyer of Homer Street entrance). Item: Painted mural. A r t i s t : ORVILLE FISHER The a r t i s t i^as chosen by the architect following a closed competition. The mural covers the east wall above the elevators of a small foyer which opens onto Homer Street. In a s t y l i z e d but readable fashion, i t depicts the various means of mail transportation from e a r l i e s t times u n t i l the present. Phedippides, carrying the torch, can be seen stretched across the background. The space i s confined; the mural i s located high on the wall and i s centered by a clock. These factors tend to detract from the impact of the colo u r f u l painting. The Post Of f i c e opened March 14, 1953. A r c h i t e c t : Ronald Nairne of McCarter, Nairne and Partners. References: MacDonald, Colin S„ A Dictionary of Canadian A r t i s t s . Vol. 1, Ottawa: Canadian Paperbacks, 1967, pp. 210-221. Telephone conversation with the arch i t e c t , Ronald Nairne, March 1972. x x x V HANGING SCULPTURE, ST. MARK'S THEOLOGICAL COLLEGE, UBC Date: 1957. Place: St. Mark's Theological College, U.B.C. (It i s suspended on the west wall, above eye level.) Item: Hanging sculpture. A r t i s t : LIONEL THOMAS Material: Bronze and gold l e a f . Size: 15' x 1 2 ' . The a r t i s t was commissioned by the architect to execute a hanging sculpture appropriate f o r the theological center. He designed and executed the work and worked along with the Fathers of the College. The work i s a s t y l i z e d representation of St. Mark and the li o n with the sun behind. It i s e f f e c t i v e in i t s setting as i t r e f l e c t s the afternoon sun and gives i n t e r e s t i n g shadow e f f e c t s . Architects: Gardiner, Thornton, Gat he and Associates. References: DeLuca, E a r l . "Lionel Thomas". U.B.C. Alumni Chronicle, Vol. XII,(Winter, 1958), pp. 14-16. i l l u s . Marshall, Elizabeth B. "A Free Standing Illuminated Bronze Sculpture." The Community Arts Council News, Vol. XIII, (December, 1961). Document from the a r t i s t , A p r i l 1969. "ICE SKATER" SCULPTURE, MacMILLAN BLOEDEL BUILDING Date: 1957 (placed in present s i t e in 1968). Place: MacMillan Bloedel Building, 1075 West Georgia Street. (It i s placed at thesouth-west corner of the lobby). Item: Statue "Ice Skater" - the figure of a g i r l . A r t i s t : GIAC0M0 MANZU M a t e r i a l : Bronze S i z e : 4'71" p l u s p e d e s t e l . T h i s s c u l p t u r e by the i n t e r n a t i o n a l l y famous s c u l p t u r e was p u r c h a s e d by Mr. A r t h u r E r i c k s o n , a r c h i t e c t and Mr. P e t e r M. Downes i n New Y o r k . They b o t h f e l t i t was a s u i t a b l e c h o i c e t o be p l a c e d among the f e a t h e r y l e a v e d p o t t e d p l a n t s i n t h e main f l o o r lounge a r e a . The b u i l d i n g was opened i n December, 1968. A r c h i t e c t s : E r i c k s o n / M a s s e y and F r a n c i s Donaldson. R e f e r e n c e s : Rewald, John. Manzu. London, Thames & Hudson, 1967, p. 8 9 , i l l u s . Lowndes, Joan. " C l a s s i c Beauty." The P r o v i n c e (Vancouver December 13, 1968.p -12 . Rosenberg, Ann. "A B u i l d i n g That Makes T h i s A B i g C i t y . " The Sun ( V a n c o u v e r ) , J a n u a r y 3 , 1969. L e i s u r e S e c t i o n . Als.op, Kay. "The a r t o f b u s i n e s s . " The P r o v i n c e ( V a n c o u v e r ) , September 2 8 , 1970, p. 39 . i l l u s . The M a c M i l l a n - B l o e d e l B u i l d i n g " - b o o k l e t put out by t h e M a c M i l l a n - B l o e d e l Company t o d e s c r i b e t h e b u i l d i n g , i l l u L e t t e r from Mr. P e t e r Downes, V i c e - P r e s i d e n t C o r p o r a t e Communications, December 2 0 , 1971. Telephone c o n v e r s a t i o n w i t h Mr. P e t e r M. Downes, December 17; 1971. MURAL, "NATURAL RESOURCES OF B.C.", CANADIAN IMPERIAL BANK OF COMMERCE. Date: 195$. Place: Canadian Imperial Bank of Commerce, corner Dunsmuir and Granville Streets (mural on east wall well above counter and working area). Item: Mosaic wall. A r t i s t : B.C. BINNING Material: Mosaic-glass and marble. Size: 11' x 44'. B.C. Binning's design was chosen by the architect from a closed competition. He was asked to portray natural re-sources of B.C. in a "readable s t y l e . " The wall, designed as the main v i s u a l object of the area, had been intended by the architect to be a painted wall. The a r t i s t suggested the use of mosaic because of the materials already used, i . e . marble, woods, etc. Because of the size of the room and the distance from which the mural was to be viewed, the tessarae had to be cut larger" than normal; otherwise i t s texture would be too f i n e and would be l o s t to the viewer. Binning took his design to Venice where he enlarged i t to f u l l scale and coloured i t with crayon to indicate the colour of the marble to be used. "With thephelp of c r a f t s -men the rough tessarae was cut and shaped, piece by piece, to f i t and follow each portion of the design." 1 The sheets were shipped on paper matrix back to Vancouver where they were set in the f r e s h l y cemented wall. The work was well received by the a r c h i t e c t , patron and general public. The a r t i s t made the observation that a good mosaic cannot be made in Canada away from the fullr.source of supply of the materials needed. The Imperial Bank of Canada (now Canadian Imperial Bank of Commerce) was o f f i c i a l l y opened May 6, 1958. Architects: McCarter, Nairne & Partners. Canadian Art, Vol. X, No. 4, (Autumn, 1958), pp. 252-257 i l l u s . A detailed account i s given of how t h i s project was carried out in Venice. References: MacDonald, Colin S. A Dictionary of Canadian A r t i s t s , Vol. 1, Ottawa, Canadian Paperbacks, 1967, pp. 49-50. Binning, B.C. "Mosaics Vancouver to Venice and Return." Canadian Art, Vol. XV, (Autumn, 1958), pp. 252-257. Fulton, David. "The Role of the Architect - On Business." Canadian Art, Vol. XIX, (May-June, 1962), pp. 198-203. i l l u s . Thorn, Ron. " A l l i e d Arts Award, 1962: B.C. Binning, Vancouver." Royal A r c h i t e c t u r a l I n s t i t u t e of Canada Journal, Vol. XXXIX, ( A p r i l , 1962), pp. 47-50. i l l u s . A pamphlet published by the bank gives a f u l l colour i l l u s t r a t i o n plus a key map to explain the mural. Questionnaire answered by a r t i s t July, 1969. ^ STATUE OF KING GEORGE VI, WOODWARD LIBRARY, U.B.C. Date: 1958. Place: Woodward Bio-Medical Library, U.B.C. (in front of the main entrance). Item: Statue of King George VI. A r t i s t : SIR CHARLES WHEELER Material: Bronze. Size: 9' This bronze figure of King George VI was a g i f t by Mr. P.A. Woodward to the Vancouver Branch of the War Amputations of Canada, who in turn presented i t to the University. It was unveiled on June 3, 1958 by the Honourable F.M. Ross, then Lieutenant Governor, and was located in the garden area at the south-east corner of the War Memorial Gymnasium. It was moved to i t s present location a f t e r the Woodward Medical Library was completed. It i s reported t h a t t his was the f i r s t cast of the statue, that Queen Elizabeth asked to have some changes made and these were r e c t i f i e d on the second cast. The l a t t e r i s on the Mall leading to Buckingham Palace in London, England, References: U.B.C Alumni Chronicle, Vol. XII, (Summer, 1958), p. 13 . i l l u F i l e of Department of Fine Arts, U.B.C. HANGING WALL SCULPTURE, BUCHANAN BUILDING, U.B.C. Date: 1958. Place: Buchanan Building, U.B.C. (at eye l e v e l on a south wall which projects from the west entrance). Item: Hanging wall sculpture. A r t i s t : GERHARD CLASS Material: Welded and soldered sheet copper. Size: 7 f x 8 ' . This contemporary sculpture was provided f o r by a Canada Council award of $2,000. Class was chosen by a committee In consultation with the architect following an outdoors sculpture exhibition at U.B.C. The a r t i s t stated, t h i s was the f i r s t metal sculpture I had ever done. I had never welded or soldered or d one anything of that nature before, I had always worked in wood or stone before t h i s . The mural has acquired an in t e r e s t i n g patina. It stands out in contrast to the brick walls to which i t i s suspended and due to the southern exposure and varied depths of r e l i e f , i t casts i n t e r e s t i n g shadow e f f e c t s . The Ubyssey, January 9 , 1970, pp. 4 - 5 . 2 Ibid, References: U.B.C. Reports. Vol. VII, (July-August, 1961) , i l l u s . Minot, L e s l i e . "The Face of Sculpture: U.B.C. and Vancouver, The Ubyssey, Vol. LI, (January 9 , 1970), pp. 4 - 5 . SCULPTURE, "ASIATIC HEAD" UNIVERSITY OF BRITISH COLUMBIA. Date: 1958. Place: U.B.C, Fredric Wood Theatre (at the south of the theatre in a shelter at the end of a walk-way. ) Item: Sculpture " A s i a t i c Head". A r t i s t : OTTO FISCHER-CREDO Material: Concrete Size: 40 inches. This sculpture was a g i f t to the University by Mrs. Otto" Fischer-Credo a f t e r the death of her husband, the a r t i s t . It was exhibited on the U.B.C. campus in 1958 as part of an exhibition of outdoor sculpture organized by the Northwest I n s t i t u t e of Sculptors, in collaboration with the Extension Department of the University. References: F i l e s of Fine Arts Department, U.B.C. CONCRETE FRIEZE, CASTLE HOTEL Date: 1959. Place: Castle Hotel, 750 Granville Street, (a border running along over the entrance and below the projecting cornice.) Item: Frieze in r e l i e f . A r t i s t : GEORGE NORRIS Material: Pre cast concrete with brick agregate. The a r t i s t was approached by the arch i t e c t when the hotel building was being renovated. He worked in close collabor-ation both with the architect and with the a r t i s t , Rudy Kovac, who was responsible f o r the decor of the i n t e r i o r . There i s a mediaeval f e e l i n g to the scenes moulded in c o n c r e t e r e l i e f , w h i c h d e p i c t the r e c r e a t i o n a l l i f e o f Vancouver; h u n t i n g , f o o t b a l l , d i n i n g and d a n c i n g . The f r i e z e i s d e s c r i b e d by one o f Vancouver's l e a d i n g a r t c r i t i c s as.one o f t h e f i n e s t p i e c e s o f s c u l p t u r e i n V a n c o u v e r . x The facade w i t h t h e f r i e z e was o r i g i n a l l y open t o t h e s t r e e t and t h u s was r e a d i l y v i s i b l e t o p e d e s t r i a n and motor t r a f f i c . A f o y e r has s i n c e been added w h i c h c l o s e s the space making i t l e s s v i s i b l e and l e s s e f f e c t i v e , a l t h o u g h t h e l i g h t i n g a t n i g h t h e l p s t o compensate f o r i t . A r c h i t e c t : Ron Thorn o f Thompson, B e r w i c k and P r a t t and P a r t n e r s . C o n v e r s a t i o n w i t h D o r i s S h a d b o l t , S e n i o r C u r a t o r o f t h e Vancouver A r t G a l l e r y , A p r i l , 1969. R e f e r e n c e s : "The C a s t l e H o t e l . " The Canadian A r c h i t e c t , V o l . V I , (August, 1961), pp. 47-55. i l l u s . Q u e s t i o n n a i r e answered by a r t i s t , A p r i l , 1969. HANGING WALL SCULPTURES, QUEEN ELIZABETH THEATRE. Date: 1959. P l a c e : Queen E l i z a b e t h T h e a t r e (one a t t h e n o r t h ends o th e e a s t and west l o u n g e s , w e l l above eye l e v e l ) Item: Two hanging s c u l p t u r e d m u r a l s . A r t i s t : GORDON SMITH M a t e r i a l : B r a z e d m e t a l and enamel. The a r t i s t was chosen by a p a n e l o f j u d g e s from a c l o s e d c o m p e t i t i o n . He f e l t t h e m u r a l s most s u i t a b l e f o r t h i s space s h o u l d be t h r e e d i m e n s i o n a l so he c r e a t e d a maquette o f m e t a l and w i r e . Smith had n e v e r worked i n m e t a l u n t i l t h i s time and so he had t o l e a r n t o we l d . The theme o f t h e t h e a t r e i s p i c k e d up i n the c a l l i g r a p h i c f i g u r e s o f t h e m e t a l which c o u l d r e p r e s e n t t h e d e s i g n s o f dance r o u t i n e s , m u s i c a l n o t e s o r t h e m o t i o n s o f the b a t o n . U n f o r t u n a t e l y , i n t h e g r e a t space o f the l o b b i e s w i t h t h e sparse f u r n i s h i n g , m i r r o r s and windows, s c u l p t u r e s seem overwhelmed. X L I I The Queen E l i z a b e t h T h e a t r e was opened on J u l y 5 , 1959 and w i t h t h e G a l a Performance a t t e n d e d by Her M a j e s t y The Queen and H i s R o y a l Highness t h e P r i n c e P h i l i p on J u l y 15, 1959-A r c h i t e c t s : A f f l e c k , D e s b a r a t s , Demakopoulas, L e b e n s o l d , Mechaud and S i s e . R e f e r e n c e s : "Gordon Sm i t h I n t e r v i e w e d by Tony Emery." Canadian A r t , V o l . X I I I , ( J u l y , 1966), p. 37. "Queen E l i z a b e t h T h e a t r e . " The Canadian A r c h i t e c t , V o l . XV, ( J a n u a r y I960), pp. 57 and 60. i l l u s . "The Queen E l i z a b e t h T h e a t r e . " - a b r o c h u r e p u b l i s h e d t o commemorate t h e o p e n i n g o f t h e t h e a t r e , c o l o u r i l l u s . P e r s o n a l i n t e r v i e w w i t h Mr. Ian Dobbin, T h e a t r e M 3nager, March, 1972. MURAL, "CYCLE OF FLOWERING" QUEEN ELIZABETH THEATRE RESTAURANT Date: 1959. P l a c e : Queen E l i z a b e t h T h e a t r e R e s t a u r a n t ( w e l l above eye l e v e l on the e a s t w a l l f a c i n g t h e p l a z a ) . Item: P a i n t e d m u r a l . A r t i s t : JACK SHADBOLT M a t e r i a l : A c r y l i c w a l l p a i n t w i t h matte v a r n i s h s p r a y . S i z e : 4 ' x 50' The a r t i s t ' s d e s i g n was chosen by the a r c h i t e c t s and a d v i s e r s f o l l o w i n g a c l o s e d c o m p e t i t i o n . He was g i v e n a f r e e c h o i c e o f theme, c o l o u r and d e s i g n . He took i n t o c o n s i d e r a t i o n n o t o n l y t h e e x i s t i n g f e a t u r e s and f u r n i s h -i n g o f t h e room but a l s o the f a c t t h a t t h e r e s t a u r a n t l o o k e d out onto an open p l a z a . The m u r a l d e p i c t s S h a d b o l t ' s concern w i t h t h e l i f e c y c l e i n n a t u r e , " the growth o f a seed, i t ' s b r e a k i n g t h r o u g h t h e e a r t h , i t s f l o w e r i n g i n a b u r s t o f b r i g h t c o l o u r s and i t s f a d i n g t o s o f t grey as t h e new seed s l o w l y f o r m s . " x "A p i e c e o f a r t i n a p u b l i c p l a c e s h o u l d have some con-t r o v e r s i a l element t o keep i t a l i v e , " S h a d b o l t c l a i m s , " o t h e r w i s e i t s j u s t a d e c o r a t i o n on a w a l l . " 2 Having c o n c e i v e d t h e i d e a and h a v i n g worked i t out i n m i n i a t u r e t h e a c t u a l p a i n t i n g o f the m u r a l was done on l o c a t i o n . I t took the a r t i s t two weeks. The r e a c t i o n o f the a r c h i t e c t s , p a t r o n s and p u b l i c were most f a v o u r a b l e a t t h e t i m e . U n f o r t u n a t e l y t h e d e c o r has been changed and g l a s s c u r t a i n s have been hung o v e r the west g l a s s w a l l , t h u s the f o r m e r impact o f t h e m u r a l from w i t h i n and w i t h o u t has been d i m i n i s h e d . O r i g i n a l l y t h e p a i n t i n g c o u l d be seen from one hundred y a r d s a c r o s s t h e p l a z a . The r e s t a u r a n t was opened J u l y , 1959. A r c h i t e c t s : A f f l e c k , D e s b a r a t s , Dimakopoulos, L e b e n s o l d , Michaud and S i s e . xThe Sun ( V a n c o u v e r ) , June 12, 1959, p. 12. 2 I b i d . R e f e r e n c e s : C a r t w r i g h t , John. "Many I n t e r p r e t a t i o n s i n Theme o f A u d i t o r i u m M u r a l . " The Sun ( V a n c o u v e r ) , June 12, 1959, p. 25. " P o e t i c Imagery i n P a i n t Shows N a t u r e ' s L i f e C y c l e . " The Sun ( V a n c o u v e r ) , May 21, I 9 6 0 , p. 3. "The Queen E l i z a b e t h T h e a t r e . " a b r o c h u r e p u b l i s h e d t o commemorate the G a l a Performance on J u l y 15, 1959 a t t e n d e d by Her M a j e s t y t h e Queen and H i s R o y a l H i g h n e s s The P r i n c e P h i l i p , has a c o l o u r e d photo o f the m u r a l . Q u e s t i o n n a i r e answered by t h e a r t i s t , A p r i l , 1969. XLI V STAINED GLASS WINDOW, QUEEN ELIZABETH THEATRE. Date: 1959. P l a c e : Queen E l i z a b e t h T h e a t r e ( s e t i n a west window on l a n d i n g between t h e upper and l o w e r b a l c o n i e s . ) Item': S t a i n e d g l a s s window, "The Golden O p p o r t u n i t y . " A r t i s t : PIETER WIEGERSMA M a t e r i a l : S t a i n e d g l a s s . S i z e : 5 ' 6 " x 6 ' 9 " . The window was a g i f t from the Dutch Canadian Community i n B r i t i s h Columbia t o t h e Queen E l i z a b e t h T h e a t r e t o commem-o r a t e t h e B r i t i s h Columbia C e n t e n n i a l and t o e x p r e s s t h e i r a p p r e c i a t i o n f o r t h e o p p o r t u n i t i e s t h e y have r e c e i v e d i n t h i s p r o v i n c e . The s t a i n e d g l a s s i s i n s o f t greens and b l u e s and d e p i c t s a b s t r a c t p l a n t s , a b i r d , and the sun. The N e t h e r l a n d s C o n s u l -G e n e r a l a t t h e p r e s e n t a t i o n d e s c r i b e d the a r t i s t ' s meaning: "Through the use o f o p p o r t u n i t i e s o f f e r e d by t h e l a n d ( t h e p l a n t s ) an upward f l i g h t ( t h e b i r d ) t o a s t i l l b r i g h t e r f u t u r e ( t h e s u n ) . " 1 The p r e s e n t a t i o n was made August 12, 1959. The Sun ( V a n c o u v e r ) , August 14, 1959, p. 27. R e f e r e n c e s : " S t a i n e d G l a s s Window G i f t from New Canadians." The Sun (V a n c o u v e r ) , August 14, 1959, p. 27. P e r s o n a l i n t e r v i e w w i t h Mr. Ian Dobbin, Manager, Queen E l i z a b e t h T h e a t r e , March, 1972. X L V LORD STANLEY STATUE, STANLEY PARK Date: I960. Place: vStanley Park (at the north end of the causeway of the Georgia Street entrance). Item": Statue of Lord Stanley. A r t i s t : SYDNEY MARCH. Material: Size: Bronze fig u r e , granite pedestal. 8' x 6", lh tons. The statue was erected by means of volunteer contributions brought about at the i n s t i g a t i o n of Major J.S. Matthews, then Vancouver City A r c h i v i s t . In 1950, he came upon a l e t t e r written at the time of the "Naming and Dedication Ceremony of Stanley Park." on October 29, 1889, which recorded a promise made by Mayor David Oppenheimer to His Excellency Lord Stanley, then Governor General of Canada, who came here f o r the ceremony. He stated that a suitable monument would be erected to commemorate the event. The committee in charge commissioned Sydney March of Farnborough, Kent;, England to design and create t h i s monument. The cost was about $5,000. It was unveiled May 19, I960 by His Excellency George P. Vanier, Governor General of Canada. Vancouver City Archives - Lord Stanley Monument. References: Hunter, Robert. "Stone Brother's Watching." The Sun (Vancouver), June 14, 1968, p. 5A, i l l u s . Coucher, Gordon and Ward, O l i v i a . "A Monumental Quiz." The Province (Vancouver), February 4, 1972. Spotlight Section, pp. 20-22, cover i l l u s . "Stanley Park the Re-Dedication," a brochure commemorating the 75th anniversary of Stanley Park, May 29, 1964, i l l u s . Vancouver City Archives f i l e , Lord Stanley Monument. XLWl MOSAIC MURAL, BROCK HALL, U.B.C. Date: I960. P l a c e : B r o c k H a l l , U.B.C. (on t h e s o u t h w a l l o f t h e e x t e n s i o n wing f a c i n g onto a garden c o u r t ) . Item: M o s a i c M u r a l . A r t i s t s : LIONEL & PATRICIA THOMAS. M a t e r i a l : S m a l t i t e s s e r a e mosaic w i t h b r onze frames. S i z e : 2 3 ' x 3 0 ' . The m u r a l was commissioned by t h e G r a d u a t i n g C l a s s o f 1958 as t h e i r g r a d u a t i n g g i f t t o t h e U n i v e r s i t y . The m u r a l hangs on a g l a z e d b r i c k o u t s i d e w a l l . I t i s composed o f f i f t y - f o u r s e p a r a t e p a n e l s o f mo s a i c , square and o b l o n g i n shape. Each one d e p i c t s s y m b o l i c a l l y a f a c -u l t y o r department o f t h e U n i v e r s i t y . There i s a r e l a t i o n s h i p between t h e c o l o u r s employed and t h e symbol used t o denote the d i s c i p l i n e . Each s e p a r a t e p a n e l i s framed i n br o n z e . The work took two y e a r s t o complete s i n c e e x t e n s i v e r e s e a r c h was done t o secure a p p r o p r i a t e symbols. F o l l o w i n g the i n s t a l l a t i o n o f the m u r a l , i t was d e c i d e d to p ut i n "a r e f l e c t i v e n o o k , " f a s m a l l c o u r t y a r d w i t h p o o l , benches and plantsj),'an i n s p i r a t i o n o f the a r t i s t but ar r a n g e d by the s t u d e n t s and u n i v e r s i t y a d m i n i s t r a t i o n . The cost' o f the m u r a l was $8,000. -"-U.B.C. Al u m n i C h r o n i c l e , W i n t e r I 9 6 0 , pp. 2 2 - 2 3 . In t h i s a r t i c l e t h e r e i s a phot o g r a p h o f t h e m u r a l and a number c h a r t w i t h an e x p l a n a t i o n o f each o f t h e symbols. R e f e r e n c e s : " A n o t h e r Triumph f o r t h e Thomases." U.B.C. A l u m n i C h r o n i c l e . W i n t e r I 9 6 0 , pp. 2 2 - 2 3 . i l l u s . Brown, J e r r y . " A r / t i s t B u i l d s . P l a c e t o Pause, Urges More o f Them i n C i t y . " The Sun ( V a n c o u v e r ) , A p r i l 2 1 , p. 2 5 , i l l u s . Document from the a r t i s t , May, 1 9 6 9 . V -I »_ X L I / I I "FERTILITY" SCULPTURE, LASSERRE BUILDING, U.B.C. Date: I960. P l a c e : L a s s e r r e B u i l d i n g , U.B.C. (on t h e p l a z a j u s t n o r t h o f the b u i l d i n g ) . Item: Fr e e s t a n d i n g s c u l p t u r e o f a pregnant woman, " F e r t i l i t y . " A r t i s t : JACK HARMAN M a t e r i a l : Welded and f o r g e d b r o n z e . S i z e : 60" T h i s s c u l p t u r e won the U.B.C. Purchase Award a t t h e ^ T h i r d B i e n n i a l E x h i b i t i o n o f Outdoor S c u l p t u r e , Summer 1960. The amount was $600. T h i s was the a r t i s t ' s f i r s t attempt a t bronze c a s t i n g . The work was done In t h e a r t i s t ' s s t u d i o by c a s t i n g t h e f i g u r e i n piece's and then w e l d i n g them t o g e t h e r . Ben M e t c a l f e i n Canadian A r t d e s c r i b e s Harman's work. Harman g i v e s a g r e a t e r s a t i s f a c t i o n i n h i s f i g u r e s o f women... . In h i s response t o t h i s g r e a t e s t o f a l l s c u l p t u r a l f o r m s , Harman t r i e s t o b a l a n c e trhose two i n f i n -i t e v a r i a b l e s - emotion and d e s i g n . The Ubyssey, ( J a n u a r y 9, 1967), p. 4. 'Canadian A r t . J u l y / A u g u s t 1962, pp. 255-257. R e f e r e n c e s : M e t c a l f e , Ben. " J a c k Harman." Canadian A r t , V o l . XXIX, ( J u l y / A u g u s t , 1962), pp. 255-257. " S c u l p t u r e i n Canada." Canadian A r t . V o l . XXIX, ( J u l y / A u g u s t , 1962), p. 271, i l l u s . U.B.C. Al u m n i C h r o n i c l e , V o l . XIV, (Autumn I960), p. 27. i l l u s . B.C. S c u l p t u r e '60 - a c a t a l o g u e o f e x h i b i t i o n s h e l d i n the summer 1962 on t h e U.B.C. campus. M i n o t , L e s l i e , "The Face o f S c u l p t u r e : U.B.C. and Vancouver." The Ubyssey, V o l . L I , ( J a n u a r y 9, 1970), pp, 4 and 5. FOUNTAIN "TRANSCENDENCE", THE GRADUATE STUDENT CENTRE. Date: 1961 P l a c e : The Graduate Student C e n t r e , U.B.C. ( s t a n d i n g i n a p o o l a t the s o u t h - e a s t c o r n e r o f t h e b u i l d i n g i t i s c i r c u m v e n t e d by a p l a z a , s t a i r w a y s and d r i v e w a y ) . Item: F o u n t a i n "Transcendence' A r t i s t : JACK HARM AN M a t e r i a l : B r o n z e , sand c a s t . S i z e : F i g u r e s 10 T, t o t a l h e i g h t 15'. The a r t i s t was chosen f o l l o w i n g a c l o s e d c o m p e t i t i o n , by t h e p a t r o n s and a d v i s o r s . The c h o i c e was made b e f o r e the com-p l e t i o n o f the b u i l d i n g . A budget was s t i p u l a t e d but because the a r t i s t f e l t i t was n e c e s s a r y t o d e s i g n a r e a s o n a b l y l a r g e f o u n t a i n t o complement the s i z e o f the b u i l d i n g , the p a t r o n agreed t o double the o r i g i n a l amount. The s c u l p t u r e d group c o n s i s t s o f f o u r a t t e n u a t e d bronze l a d i e s who f a c e the r e s p e c t i v e p o i n t s o f t h e compass. T h i s was t h e a r t i s t ' s f i r s t commission. I t was c a s t by the sand mould p r o c e s s s i n c e no f i r m here used t h e l a s t wax p r o c e s s , Harman's p a r t i c u l a r medium. He c r e a t e d the f o u n t a i n i n s e c t i o n s w h i c h had been sand c a s t e d a t a l o c a l f o u n d r y from p l a s t e r p a t t e r n s . Then he welded the s e c t i o n s t o g e t h e r . The p a t r o n was v e r y p l e a s e d as were the s t u d e n t s and the g e n e r a l p u b l i c . A r c h i t e c t : Thompson, B e r w i c k and P r a t t . R e f e r e n c e s : MacDonald, C o l i n S. A D i c t i o n a r y o f Canadian A r t i s t s . Ottawa: Canadian Paperback, 1968, pp. 369-370. "B.C. A r t i s t s - Jack Harman." Western Homes and. L i v i n g , V o l . XV, (August, 1964), pp. 10-11. i l l u s . "Canada's Gold M e d a l i s t . " A r c h i t e c t u r a l Forum. V o l . C X V I I I , (August, 1962), pp. 86-8?. i l l u s . "Theo K o e r n e r House, U.B.C. Vancouver." The Canadian A r c h i t e c t . V o l . V I , (December, 1961), p. 25. i l l u s . U.B.C. Al u m n i C h r o n i c l e . V o l . XIX, ( S p r i n g , 1965), c o v e r i l l u s . and V o l . X X I I ( S p r i n g , 1968), p. 8. i l l u s . X L IX "The West C o a s t . " Canadian A r t , V o l . X I I I , ( J u l y / A u g u s t 1961), p. 266. M i n o t , L e s l i e , "The Face o f S c u l p t u r e : U.B.C. and Vancouver." The Ubyssey, V o l . L I , ( J a n u a r y 9 , 1970), op. 4 - 5 . Q u e s t i o n n a i r e answered by t h e a r t i s t , A p r i l , 1969. L e t t e r from t h e a r t i s t , F e b r u a r y 14, 1972. WALL SCULPTURE, "SYMBOLS FROM THE CUNEIFORMS" Date: 1961 P l a c e : Vancouver P u b l i c L i b r a r y , Robson and B u r r a r d S t r e e t s ( s t a n d s on a p r o j e c t i n g t e n f o o t w a l l at t h e west s i d e o f t h e b u i l d i n g ) . Item: I l l u m i n a t e d w a l l s c u l p t u r e . A r t i s t : LIONEL THOMAS - a s s i s t e d by F. L a c h n i t . M a t e r i a l : Bronze w i t h p a r t s o f s u r f a c e c o v e r e d w i t h gold", l e a f , and p a n e l s o f p l e x i g l a s s . S i z e : 15' x 1.6'. T h i s was step two o f a commission f o r t h e main b r a n c h o f the Vancouver P u b l i c L i b r a r y , t h e f i r s t s tep b e i n g the mosaic m u r a l f o r t h e i n t e r i o r . T h i s s c u l p t u r e i s r e l a t e d t o t he f i r s t i n t h a t i t was c o n c e i v e d t o i l l u s t r a t e t h e a n c i e n t B a b y l o n i a n and A s s y r i a n c u n e i f o r m s . The work c o n s i s t s o f s i x u p r i g h t froms t o wh i c h are a t t a c h e d f o r t y - f i v e bronze p l a n e s . The a r t i s t s a i d he moulded t h e bronze and w h i t e statue:.to s y m b o l i z e man s p e a k i n g . The p l e x i g l a s s s e c t i o n s are i l l u m i n a t e d a t n i g h t . The work c o s t $ 7 , 0 0 0 . I t was p a i d f o r by s e v e n t y - f i v e c i t i z e n s c o n t r i b u t i n g o v e r $4,500 and t h e L i b r a r y Board p a y i n g $2,000 from i t s revenue s u r p l u s . I t caused c o n s i d e r a b l e c o n t r o v e r s y i n t h e p r e s s a t t h e time o f i t s e r e c t i o n as i s e v i d e n t i n t h e p r e s s r e f e r e n c e s g i v e n . A r c h i t e c t : Semmens and Simpson. The Sun (Vancouver), December 10, I960, p. 1. References: Marshall, Elizabeth B. "A Free Standing Illuminated Sculpture." The Arts Council News, Vol. XIII, No. 3. (December, 1961). "Library Board Balks at $7,500 Sculpture Outlay." The Sun (Vancouver), March 15, 1958. p. 25. Walden, Frank. "'Indescribable' Sculpture to Adorn City's Public Library." The Sun (Vancouver), December 9, I960 p. 1. i l l u s . "Library's Odd Sculpture Finding Friends and Foes." The Sun (Vancouver), December 10, I960, p. 1. i l l u s . Pamphlet printed by Vancouver Library describing the "Illuminated Bronze Sculpture." Document from the a r t i s t , May, 1969. CANVAS COLLAGE MURAL, QUEEN ELIZABETH PLAYHOUSE THEATRE Date: 1962. Place: Queen Elizabeth Playhouse, (above eye l e v e l on the south wall of mezzanine f l o o r lounge.) Item: Canvas collage mural. A r t i s t : TONI ONLEY Material: O i l painted on a canvas on canvas collage. Size: 10'6" x 21 16" Toni Onley was the sole a r t i s t approached by the a r c h i t e c t . He also worked with the architect as colour consultant f o r the walls and seating of the theatre. No s t i p u l a t i o n s were made f o r the mural. I t was executed on three separate panels in the a r t i s t ' s studio. The panels were then joined and bolted together on the s i t e . A contemporary, non representational painting, i t i s done in bold colours of red, blue, brown and grey. The a r t i s t stated " i f murals are to be used they should be an extension of t h e a r c h i t e c t u r e and n<j>t v i o l a t e t h e a r c h i t e c t u r a l space as Mexican m u r a l s do." „ Qnley r e c e i v e d $3 ,000 f o r t h e c r e a t i o n . " The a r c h i t e c t and a r t c r i t i c s were complimentary o f t h e m u r a l b u t the p r e s s promoted a c o n t r o v e r s y w h i c h raged f o r weeks, t o q u o t e , "a misuse o f p u b l i c f u n d s " , " l o u d e r and f u n n i e r " , "communist p l o t , " etc."3 The P l a y h o u s e was o f f i c i a l l y opened, F e b r u a r y 26, 1962. ^-Questionnaire answered by t h e a r t i s t . 2The Sun ( V a n c o u v e r ) , March 2, 1962. p. 1. 3 Q u e s t i o n n a i r e answered by t h e a r t i s t . R e f e r e n c e s : Community A r t s C o u n c i l News, V o l . X I I I , No. 5, F e b r u a r y , 19 62, p. T~. T y t h e r l e i g h . M i k e . "Onley M u r a l j i b e s unfunny." The P r o v i n c e ( V a n c o u v e r ) , F e b r u a r y 24, 1962, p. 10. " V i s i t o r s Shocked, J o l t e d a t New P l a y h o u s e T h e a t r e , " The Sun ( V a n c o u v e r ) , F e b r u a r y 26, p. 10. i l l u s . 1962 " A r t i s t and c o n t r o v e r s i a l work," The P r o v i n c e (Vancouver) March 1, 1962. p. 3 . i l l u s . " P l a y h o u s e M u r a l i s a R e a l Communist P l o t , " The P r o v i n c e ('.Vancouver), March 2, 1962, p. 4 . ( l e t t e r t o the e d i t o r ) " M u r a l ' s meaning? a r t i s t knows i t , " The Sun ( V a n c o u v e r ) , March 2, 1962, p. 1. B r o c h u r e d e s c r i b i n g Queen E l i z a b e t h T h e a t r e and Queen E l i z a b e t h P l a y h o u s e , w i t h c o l o u r e d r e p r o d u c t i o n s o f m u r a l . LII KNIFE EDGE (Two P i e c e ) , LITTLE MOUNTAIN Date: 1962 ( p l a c e d i n i t s p r e s e n t l o c a t i o n December 6, 1969). P l a c e : L i t t l e Mountain (on the p l a z a a d j o i n i n g the dome o f the B l o e d e l C o n s e r v a t o r y ) . Item: Free s t a n d i n g s c u l p t u r e , K n i f e Edge (Two P i e c e ) . A r t i s t : HENRY MOORE M a t e r i a l : B r o n z e . S i z e : L e n gth 1 2 ' . There were t h r e e c a s t i n g made o f K n i f e Edge (Two P i e c e ) w h i c h was done i n 1962, the f i r s t c a s t b e i n g on t h e e s t a t e o f N e l s o n R o c k e f e l l e r , the second i n t h e grounds o f t h e House o f L o r d s , London, and the t h i r d on t h e p l a z a a d j o i n -i n t t h e p l e x i g l a s s d o m e o f the B l o e d e l C o n s e r v a t o r y . The g o l d e n bronze s u r f a c e o f the two p i e c e m o n o l i t h i s " s c r a t c h e d , c u t , drawn on, s c r i b b l e d . , j a g g e d l y i n c i s e d w i t h t h e a r t i s t ' s p e r s o n a l c a l l i g r a p h y . " T h i s major work o f a r t was a g i f t t o t h e c i t y by Mr. and Mrs. P r e n t i c e B l o e d e l . I t was pu r c h a s e d t h r o u g h Mrs. Pau^a A n g l i m o f San F r a n c i s c o from photographs s u p p l i e d by h e r . I t was u n v e i l e d on December 6, 1969. To my knowledge t h i s i s the f i r s t and o n l y non-commemorative s c u l p t u r e t h a t has been a c c e p t e d by the Vancouver P a r k s B o a r d . R i c h a r d Simmins, "A monument t o l i v e w i t h . " The P r o v i n c e ( V a n c o u v e r ) , A p r i l 2 3 , 1971, S p o t l i g h t S e c t i o n , p. 8 . 2 L e t t e r from P r e n t i c e B l o e d e l , March 21 , 1972. R e f e r e n c e s : Hedgecoe, John. (photographed and e d i t e d ) and Moore, Henry ( w o r d s ) . Henry Moore. New York: Simon and S c h u s t e r , 1968, pp. 478-486. i l l u s . " F i r s t Day Crowds F l o c k t o t h e New C o n s e r v a t o r y . " The Sun ( V a n c o u v e r ) , December 8 , 1969, p. 21 . i l l u s . Lowndes. Joan. "Major Moore Varicduver Coup." The P r o v -i n c e ( V a n c o u v e r ) , December 8 , 1969, p. 27. i l l u s . Simmins, R i c h a r d . "A Monument t o L i v e W i t h . " The P r o v -i n c e ( V a n c o u v e r ) , A p r i l 23 , 1971, S p o t l i g h t S e c t i o n , p. 8 . i l l u s . L e t t e r from Mr. P r e n t i c e B l o e d e l , A p r i l , 1972. FOUNTAIN, THE ROYAL BANK OF CANADA BUILDING Date: 1963. P l a c e : The R o y a l Bank o f Canada B u i l d i n g , 796 Gran-v i l l e S t r e e t . ( I t s t a n d s i n t h e c o r n e r window f a c i n g Robson and G r a n v i l l e S t r e e t s . ) Item: F o u n t a i n "Underwater Forms." A r t i s t : LIONEL THOMAS M a t e r i a l : Copper S i z e : 10 1 6" x 8 ' 8 " "As a r e s u l t o f p l a n n i n g r e q u i r e m e n t s by t h e C i t y o f Vanc-o u v e r , i t was n e c e s s a r y t o r e t a i n some d i s p l a y i n t h e i n t e r -s e c t i o n o f G r a n v i l l e and Robson, wh i c h was w e l l l i t , t o overcome any p o s s i b i l i t y o f a d a r k , d i n g y c o r n e r , w h i c h i n t h e o p i n i o n o f t h e c i t y was t h e r e s u l t o f a Bank b e i n g l o c a t e d In a c o r n e r i n t e r s e c t i o n . I t was a l s o agreed t h a t the a r e a i n q u e s t i o n would n o t be i n c o r p o r a t e d as p a r t o f t h e t e n a n t s u s a b l e space, t h u s the f o u n t a i n . " 1 The a r t i s t was approached by the a r c h i t e c t and asked t o d e s i g n a f o u n t a i n w h i c h w o u l d f u l f i l l t h e above r e q u i r e -ments and be c o n t r o v e r s i a l . He c r e a t e d t h e s c u l p t u r e i n h i s s t u d i o ''and chose as h i s theme "Underwater Forms". A green p a t i n a was a c h i e v e d by t h e use o f a c e t y l e n e gas. The f o u n t a i n s t a n d s i n an i l l u m i n a t e d p o o l . No t i t l e o r i d e n t i f i c a t i o n was p e r m i t t e d t o be p l a c e d on the f o u n t a i n a t t h e patron ' lbs r e q u e s t . T h i s , i n h i s o p i n i o n has h e i g h t e n e d the p u b l i c ' s c u r i o s i t y and c o n t r o v e r s i a l comments. The Bank was o f f i c i a l l y opened September 18, 1963. A r c h i t e c t s : Underwood, M a c K i n l e y and Cameron. ^ L e t t e r from Mr. M.R. Munro',- B u i l d i n g Manager, The R o y a l Bank o f Canada, F e b r u a r y 14, 1972. References: "Rathie Opens Royal Bank's New Branch." The Sun (Vancouver), September 18, 1963. p. 21 . Documents from the a r t i s t , May, 1969. RELIEF SCULPTURE, EAST ASIATIC HOUSE Date: 1964. P l a c e : East A s i a t i c House, 1201 West Pender S t r e e t (The three r e l i e f murals are i n the lobby, one between the ^ e l e v a t o r s t h e other two abov eye l e v e l , one adjacent to the main doorway, the other f a c i n g i t . A r t i s t : GEORGE NORRIS M a t e r i a l : Beaten copper. S i z e : 10' x 1 0 ' , 6' x 8', 9 ' x 8'. The a r t i s t was approached by the a r c h i t e c t before the b u i l d i n g was completed and was given freedom of theme, design and m a t e r i a l . The m o t i f s although not e n t i r e l y r e a l i s t i c are taken from nature d e p i c t i n g the sea and the sky. They r e l a t e to the sh o r e l i n e and the l o c a t i o n of the b u i l d i n g . The beaten copper has taken on a p a t i n a which enhances i t . A r c h i t e c t s : Gerald Hamilton of Gerald Hamilton and A s s o c i a t e s . References: Questionnaire answered by the a r t i s t , A p r i l , 1969. SCULPTURED MURAL, FACULTY OF EDUCATION BUILDING U.B.C. Date: 1965 P l a c e : F a c u l t y o f E d u c a t i o n B u i l d i n g (on n o r t h w a l l a d j a c e n t t o the main e n t r a n c e ) . Item: S c u l p t u r e d m u r a l . A r t i s t : PAUL DEGGAN M a t e r i a l : Welded copper, aluminum and b r a s s . S i z e : Three p i e c e s , l a r g e s t i s 9 ? x 5 ' . The a r t i s t ' s d e s i g n was chosen from a c o m p e t i t i o n o r g a n -i z e d on a cross-Canada b a s i s by a j u r y w h i c h P r o f e s s o r Elmore Ozard was t h e chairman. The competion was organ-i z e d b e f o r e the c o m p l e t i o n o f the b u i l d i n g and the s i t e was s p e c i f i e d . The problem as s t a t e d by t h e a r t i s t was t o r e l a t e the d e s i g n t o a p a r t i c u l a r u n s y m p a t h e t i c w a l l s u r f a c e ( l i g h t g l a z e d b r i c k and v e r y deep grey m o r t a r ) and t o make the s c u l p t u r e s u f f i c i e n t l y r o b u s t t o cope w i t h p o s s i b l e vand-a l i s m . The a b s t r a c t h a n ging s c u l p t u r e c o n s i s t s o f t h r e e forms i n copper, aluminium and b r a s s . The work was c a r r i e d out i n th e a r t i s t ' s s t u d i o w i t h a s s i s t a n c e o n l y w i t h aluminium w e l d i n g . I t was p l a c e d on s i t e i n F e b r u a r y , 1965. The award o f $2,000 was g i v e n by the B r i t i s h Columbia Teachers' F e d e r a t i o n . R e f e r e n c e s : " M u r a l f o r E d u c a t i o n B u i l d i n g Completed." The B.C. Teacher, March, 1965. p. 267. i l l u s . "$2,000 f o r New M u r a l . " The Ubyssey, V o l . X L V I I , ( F e b r u a r y 19, 1965), p. 1. i l l u s . " $ 2 , 0 0 0 P r i z e Given S c u l p t o r . " The P r o v i n c e ( V a n c o u v e r ) , F e b r u a r y 25, 1965, p. 26. Q u e s t i o n n a i r e answered by a r t i s t , A p r i l , 1969. COPPER BAS-RELIEF AND ENAMELLED GLASS ON COPPER, PANEL AND PUSH PLATES, BLOCK BUILDING. Date: 1965. P l a c e : B l o c k B u i l d i n g , 2695 G r a n v i l l e S t r e e t , (on e x t e r -i o r w a l l above doorway and e n t r a n c e w a l l b e s i d e doorway). Item: Copper b a s - r e l i e f and enamelled g l a s s on copper p a n e l and p i e c e s . A r t i s t : LIONEL THOMAS S i z e : R e l i e f m u r a l - 11' x 9 ' • E n t r a n c e w a l l - 7' x 6 ' . Push p l a t e s - 2 p a i r s - 7" x 7" . The a r t i s t was commissioned by the a r c h i t e c t . A p l a q u e a t t a c h e d t o t h e w a l l o f the b u i l d i n g d e s c r i b e s the m u r a l . " A l l s o l i d i n o r g a n i c m a t t e r found on e a r t h , whatever i t s s i z e b e l o n g s t o one o f t h e seven b a s i c t y p e s . These t y p e s a re as f o l l o w s : c u b i c t e t r a g o n a l , rhombic, m o n o l i n i c , t r i e l i n i c , t r i g o n a l and h e x a g o n a l . T h i s i s the theme f o r the bas r e l i e f and t h e enamelled g l a s s on copper w a l l . " The copper r e l i e f i s above the e n t r a n c e , t h e enamelled g l a s s p a n e l a d j a c e n t t o i t . U n f o r t u n a t e l y , t h i s e n t r a n c e i s s e t back from t h e s t r e e t w i t h the n e i g h b o u r i n g b u i l d i n g c a s t i n g shadows, making i t d i f f i c u l t t o see and pho t o g r a p h the a r t work. The b u i l d i n g opened June 11, 1965. A r c h i t e c t : C.B.K. Van Norman & A s s o c i a t e s . R e f e r e n c e : Document from the a r t i s t , A p r i l , 1969. SCULPTURE, "SPIRIT OF COMMUNICATION" PACIFIC PRESS BUILDING Date: 1966. P l a c e : P a c i f i c P r e s s B u i l d i n g , 2250 G r a n v i l l e S t r e e t , (The s c u l p t u r e s t a n d s i n the l o b b y j u s t i n s i d e the main e n t r a n c e ) . Item: S c u l p t u r e , " S p i r i t o f Communication". A r t i s t : GEORGE NORRIS L V l l M a t e r i a l : Welded copper and b r a s s . S i z e : 8*. N o r r i s was the s o l e a r t i s t approached by t h e p a t r o n t o execute a s c u l p t u r e f o r t h i s s i t e . He was g i v e n complete freedom. The work was done i n h i s s t u d i o . I t took n e a r l y a y e a r t o complete. The s c u l p t u r e "a male f i g u r e o f welded and beaten copper l e a n s h e a v i l y backwards and s i d e w a y s , as though t o r e s i s t b e i n g c a r r i e d o f f by t h e b i l l o w i n g open-work canopy t o w h i c h he i s a t t a c h e d by a h a r n e s s . " The f i g u r e ' s mouth i s open i n a s t r i d e n t c r y w h i c h b r i n g s t o mind th e news vendor. Type, i t s e l f , i s an i n t e g r a l p a r t o f t h e s c u l p t u r e . The t o r s o and o v e r - s i z e d l e f t arm o f the f i g u r e a r e i m p r e s s e d w i t h t y p o g r a p h i c a l p l a t e s . Other p l a t e s are curved and a r e used i n t h e canopy. "The a r t i s t used o l d newspapers from Vancouver's h i s t o r y , as w e l l as f o r e i g n language p a p e r s , t o form a d e c o r a t i v e c o l l a g e i n the format o f t y p o g r a p h i c p l a t e s . These c o l l a g e s were then photo engraved i n copper." The a r t i s t s a i d " I t c o u l d be though o f as the n o n e - t o o - g e n t l e t r a n s f o r m a t i o n o f t h r e e d i m e n s i o n a l l i f e i n t o two d i m e n s i o n a l p r i n t . " The s c u l p t u r e was u n v e i l e d March 14, 1966. The newspaper c r i t i c s ' r e p o r t s were v e r y f a v o u r a b l e . ^The P r o v i n c e ( V a n c o u v e r ) , A p r i l 7, 1966. p. 13 . 2The Sun ( V a n c o u v e r ) , March 14, 1966, p. 2 . R e f e r e n c e s : N o r r i s , George A. " I t ' s S o r t o f a F a n t a s y . " The Sun ( V a n c o u v e r ) , March 14, 1966, S p e c i a l S e c t i o n , " P a c i f i c P r e s s B u i l d i n g , " c o v e r i l l u s t r a t i o n and a l s o p. 2 . The Sun ( V a n c o u v e r ) , March 15 , 1966, i l l u s . Lowndes, Joan. " S c u l p t u r e d r a m a t i c from any a n g l e . " The P r o v i n c e ( V a n c o u v e r ) , A p r i l 7, 1966, p. 13 , i l l u s . M i n o t , L e s l i e . "The Face o f S c u l p t u r e . " Ubyssey, January 9 , 1970, pp. 4 and 5 . Q u e s t i o n n a i r e answered by a r t i s t , A p r i l 1969. Lv 111 COMMEMORATIVE MONUMENT to OLD HASTINGS MILL Date: 1966. P l a c e : Dunlevy S t r e e t ( n o r t h end o f t h e s t r e e t a d j a c e n t t o N a t i o n a l Harbours B u i l d i n g ) . Item: F r e e - s t a n d i n g s c u l p t u r e . A r t i s t : GERHARD GLASS M a t e r i a l : B.C. g r a n i t e . S i z e : Three forms v a r y i n g from 5 i f t o 8'. The a r t i s t was commissioned by the Vancouver H i s t o r i c a l S o c i e t y t o c r e a t e a monument t o commemorate the 100th A n n i v e r s a r y o f t h e b u i l d i n g o f t h e H a s t i n g s M i l l (which was one o f the f i r s t b u i l d i n g s t o be c o n s t r u c t e d i n Vanc-o u v e r ) . T h i s was t h e S o c i e t y ' s B.C. C e n t e n n i a l p r o j e c t . The a r t i s t p r e s e n t e d a model w h i c h was a c c p e t e d by t h e S o c i e t y . The completed s c u l p t u r e c o n s i s t s o f t h r e e mono-l i t h s whose p a n e l s bear low r e l i e f c a r v i n g s d e p i c t i n g scenes o f t h e h i s t o r y o f the m i l l and t h e p o r t . I n f o r m a t -i v e i n s c r i p t i o n s a r e i n c o r p o r a t e d i n the c a r v i n g s . The N a t i o n a l Harbours Board c o n t r i b u t e d t h e s i t e and $ 1 , 5 0 0 . The t o t a l c o s t o f $4,500 was p a r t i a l l y made up by s u b s t a n t i a l d o n a t i o n s from i n t e r e s t e d c i t i z e n s . The work was u n v e i l e d June 11, 1 9 6 6 . x xThe P r o v i n c e ( V a n c o u v e r ) , June 2, 1965, P. 15. R e f e r e n c e s : H a c k i n g , Norman. " S c u l p t u r e t o mark f i r s t m i l l . " The P r o v i n c e ( V a n c o u v e r ) , June 2 , 1965, p. 2. The Sun V a n c o u v e r ) , June 10, 1965, p. 20. i l l u s . " H a s t i n g s M i l l H i s t o r y Carved i n B.C. G r a n i t e . " The P r o v -i n c e ( V a n c o u v e r ) , June 10, 1965. p. 31 , i l l u s . " S c u l p t u r e t o Mark O l d H a s t i n g s M i l l . " The P r o v i n c e ( V a n c o u v e r ) , June 10, 1966, P. 22. The Vancouver Times, June 11, 1965, p. 2 0 . SCULPTURE "FAMILY GROUP" - PACIFIC PRESS BUILDING Date: 1966. P l a c e : P a c i f i c P r e s s B u i l d i n g , 2250 G r a n v i l l e S t r e e t , (on t h e p l a z a i n f r o n t o f the main e n t r a n c e , f a c i n g G r a n v i l l e S t r e e t ) . Item: S c u l p t u r e " F a m i l y Group" - a f o u r f i g u r e , t h r e e p i e c e group. A r t i s t : JACK HARMAN M a t e r i a l : Bronze f i g u r e s on a b l a c k marble base. S i z e : F a t h e r 12,' 5" ; 1700 l b s . M o ther w i t h babe 11'6"; 1600 l b s . Son 9 ? ; 900 l b s . These f i g u r e s r e s t on a 6' square marble base. The a r t i s t ' s d e s i g n was chosen from a c l o s e d c o m p e t i t i o n by the p a t r o n , b e f o r e t h e b u i l d i n g was completed. The work was exe c u t e d by the a r t i s t i n h i s s t u d i o by t h e l o s t - w a x method o f c a s t i n g . Harman had e s t a b l i s h e d h i s own f o u n d r y and t h u s was now a b l e t o use t h i s method. He s t a t e d " i t i s p o s s i b l y t h e l a r g e s t s c u l p t u r e d group c a s t by an a r t i s t , w i t h o u t t r a i n e d w o r k e r s , i n t h e w o r l d . The c l o s e s t f o u n d r i e s t o do t h i s t y p e o f w«j>rk a r e i n t h e U n i t e d S t a t e s and t h e i r p r i c e s a r e too h i g h . " The work took e i g h t e e n months t o complete. I t i s Harmans o p i n i o n t h a t b ronze i s t h e o n l y s u i t a b l e m a t e r i a l f o r o u t d o o r s c u l p t u r e . The f i g u r e s were t r a n s p o r t e d t o the l o c a t i o n by a boom t r u c k and h o i s t e d i n t o l o c a t i o n by a c r a n e . Harman s a i d " t h e work i s i n t e n d e d t o d e p i c t t h e r o l e o f a newspaper i n the f a m i l y and t h e imp o r t a n c e o f t h e f a m i l y i n t h e community." 2 The l a r g e r than l i f e f i g u r e s a r e r e p r e s e n t a t i o n a l b u t e l o n g a t e d . " T h i s , " says Harman,"gives them more s p i r i t u a l i t y s t o p s them b e i n g dwarfed by t h e m o n o l i t h i c s t r u c t u r e b e h i n d . " The s c u l p t u r e was i n s t a l l e d i n p l a c e J u l y , 1966. The a r t i s t s a i d t h e r e was a mixed r e a c t i o n t o the com-p l e t e d work b o t h by t h e p a t r o n s and t h e p u b l i c . > There has been much v a n d a l i s m t o t h e f i g u r e o f the boy. Q u e s t i o n n a i r e answered by t h e a r t i s t , May, 1969. LX ^The Sun ( V a n c o u v e r ) , June 20, 1966, p. 14 3We s t e r n Homes and L i v i n g / V a n c o u v e r L i f e , A p r i l 1969, p. W. R e f e r e n c e s : "Harman: A C l a s s i c Approach." Western Homes and L i v i n g / - Vancouver L i f e . A p r i l , 1969, pp". 16-19. i l l u s . " F i n a l Touches Now B e i n g Put t o P a c i f i c P r e s s S c u l p t u r e . " The Sun ( V a n c o u v e r ) , June 20, 1966, p. 14, i l l u s . "Newlook a t P a c i f i c P r e s s B u i l d i n g . " The P r o v i n c e ( V a n c o u v e r ) , J u l y 7, 1966, p. 1. i l l u s . "Newspaper ' F a m i l y ' S t a t u e Moves I n t o New R e s i d e n c e . " The Sun ( V a n c o u v e r ) , J u l y 7, 1966, p. 3. i l l u s . MinoV, L e s l i e . "The Face o f S c u l p t u r e : U.B.C. and Van-couver." The Ubyssey, January 9, 1970, p. 4 . Q u e s t i o n n a i r e answered by t h e a r t i s t , May, 1969. L e t t e r from t h e a r t i s t F e b r u a r y 14, 1972. FREE STANDING FOUNTAIN AND COURT WALL FOUNTAIN, EAST ASIATIC HOUSE. Date: 1966. P l a c e : E a s t A s i a t i c House, 1201 West Pender S t r e e t , ( f r e e s t a n d i n g f o u n t a i n i s i n t h e c e n t e r o f a s m a l l c o u r t abbve s t r e e t l e v e l . The w a l l f o u n t -a i n i s on an e a s t w a l l a d j a c e n t t o t h e e n t r a n c e . ) A r t i s t : GERHARD CLASS M a t e r i a l : P r e - c o n s t i t u t e d marble (marblex) c a s t i n a p l a s t e r mould ( F i n i s h g r o u n d ) . S i z e : 7'. The a r t i s t was the o n l y one approached by a r c h i t e c t and c l i e n t . He was g i v e n t h e d e s i g n ' f o r the l o c a t i o n b e f o r e U ) t h e b u i l d i n g was complete and asked t o use t h e same m a t e r i a l as used i n t h e f a c i n g o f the b u i l d i n g . A budget was s p e c i f i e d . C l a s s was g i v e n f r e e c h o i c e as t o d e s i g n . The p y r a m i d a l shaped s c u l p t u r e w i t h rounded o f f edges has h o l e s p e n e t r -a t i n g t h e s i d e s g i v i n g i t a f e e l i n g o f w e i g h t l e s s n e s s . The f l o w o f t h e l i n e s complement the e x t e r i o r f a c a d e o f t h e b u i l d i n g . A l t h o u g h the r e a c t i o n o f a r c h i t e c t and donor was f a v o u r -a b l e , t h e a r t i s t f e l t he s h o u l d have been c o n s u l t e d when th e b u i l d i n g was b e i n g d e s i g n e d . He would have p r e f e r r e d to have used n a t u r a l stone but was unable t o because o f budget l i m i t a t i o n s . The w a l l f o u n t a i n o f contemporary d e s i g n i n low r e l i e f i s on the w a l l a c r o s s the e n t r a n c e from the c o u r t f o u n t a i n . U n f o r t u n a t e l y , except f o r w i n t e r months i t i s covered w i t h f o l i a g e . A r c h i t e c t : G e r a l d H a m i l t o n o r G e r a l d H a m i l t o n & A s s o c i -a t e s . R e f e r e n ces: M i n o t , L e s l i e . The Ubyssey, J a n u a r y 9 , 1970. Q u e s t i o n n a i r e Answered by a r t i s t , A p r i l 1969. CONCRETE FRIEZE, POSTAL STATION "D" Date: 1966. P l a c e : P o s t a l S t a t i o n "D n, 2405 P i n e S t r e e t . (A r e l i e f b o r d e r r u n n i n g a l o n g f r o n t and around c o r n e r s o f the b u i l d i n g under t h e c o r n i c e ) . Item: R e l i e f b o r d e r . A r t i s t : GEORGE NORRIS M a t e r i a l : " C a s t - i n - p l a c e " c o n c r e t e . S i z e : 5' x 9 5 ' The a r t i s t was approached by the a r c h i t e c t and was g i v e n f r e e c h o i c e o f s u b j e c t m a t t e r and d e s i g n . H i s d e s i g n was approved by -the c l i e n t b e f o r e the b u i l d i n g was completed. N o r r i s s t a t e d t h a t he thought o f the work as a t o t a l mass and attempted t o make the c o r n e r s i n t e r l o c k i n g t o e x p r e s s the m o n o l i t h i c n a t u r e o f " c a s t - i n - p l a c e " c o n c r e t e . He con-s i d e r e d t h a t t h e b u i l d i n g would be seen i n motion from p a s s i n g c a r s , t h a t t h e f r i e z e would be walked under t h r o u g h the e n t r a n c e s and t h a t t h e forms must have down u n d e r c u t s to " r e a d " i n the p r e v a i l i n g l i g h t c o n d i t i o n s . The a r t i s t made the forms i n h i s s t u d i o and worked w i t h th e c o n c r e t e w o r k e r s on t h e s i t e . The r e l a t i o n s h i p between t h e a r t i s t , a r c h i t e c t and c l i e n t was e x c e p t i o n a l l y s a t i s f a c t o r y . The P o s t a l S t a t i o n "D" opened on September 14, 1967. A r c h i t e c t : Ian Davidson o f t h e f i r m G a r d i n e r , T h o r n t o n , Gathe, Davidson, G a r r e t , Masson & A s s o c . R e f e r e n c e s : " A c r o s s Canada Roundup." A r c h i t e c t u r e Canada. December, 1967, p. 19, i l l u s . The Canadian A r c h i t e c t . J u l y 1968, p. 4 2 , i l l u s . Q u e s t i o n n a i r e answered by a r t i s t , A p r i l 1969. BRITISH COLUMBIA CENTENNIAL FOUNTAIN, VANCOUVER COURT HOUSE Date: 1966. P l a c e : Vancouver Court House grounds ( i n f r o n t o f main e n t r a n c e on G e o r g i a S t r e e t ) . Item: F o u n t a i n w i t h c a r v e d p i l l a r s . A r t i s t : Count ALEXANDER VON SVOBODA M a t e r i a l : B l a c k marble from C a r r a r a , I t a l y , w i t h mosaic t i l e . S i z e : The f o u n t a i n complex i s 72 T by 3 6 ' ; t h e c e n t r e b a s i n 10' i n d i a m e t e r ; t h e two main p i l l a r s 17' i n h e i g h t and 8 T i n c i r c u m f e r e n c e a t t h e base. "The f o u n t a i n was d e s i g n e d by Mr. R.H. S a v e r y , A.I.L.A., who b e s i d e s b e i n g a l a n d s c a p e a r c h i t e c t i s an a r t i s t i n h i s own r i g h t . The s c u l p t u r e o f Mr. S a v e r y ' s d e s i g n and t h e Lx mosaic work was commissioned t o Count AlexVon Svoboda. Mr Savery was s e l e c t e d f o r t h i s p r o j e c t by a p a n e l o f judges i n t h e Department o f P u b l i c Works." x The f o u n t a i n i s s y m b o l i c o f the West Coast o f B r i t i s h C olumbia. Two c o n i c a l shaped p i l l a r s o f marble c o n s t i t u t e the c e n t r e p i e c e o f t h e f o u n t a i n . The c a r v i n g on t h e s e i s "based on l e g e n d s o f the C e l t s o r Gael s ^ "The f o r e b e a r s o f most e a r l y B r i t i s h Columbians. The sea i s s i g n i f i e d by the mosaic p a t t e r n i n the b a s i n and by t h e s p r a y s o f wat e r o v e r t h e ma r b l e . " The f o u n t a i n was a g i f t o f the P r o v i n c i a l Government t o commemorate t h e B r i t i s h Columbia C e n t e n n i a l . There was c o n s i d e r a b l e c o n t r o v e r s y a t the time o f t h e c o n s t r u c t i o n , t he f e e l i n g was e x p r e s s e d t h a t t h e r e were B r i t i s h Columbia a r t i s t s who s h o u l d have been approached. L e t t e r from the Honourable W.N. Chant, M i n i s t e r o f P u b l i c Works, V i c t o r i a , March 2 2 , 1972 . B e a u t i f u l B r i t i s h C o lumbia, W i n t e r 1967 , p. 3 6 . R e f e r e n c e s : " B r i t i s h Columbia's C e n t e n n i a l F o u n t a i n . " B e a u t i f u l  B r i t i s h Columbia. W i n t e r 1967 , pp. 3 4 - 3 8 , i l l u s . and co v e r i l l u s . " O p p o s i t i o n ^ n Vancouver, t o C e n t e n n i a l F o u n t a i n . " MacLeans  Magazine, 'May 1 4 , 1966, p. 3 . P u b l i c Work i n B.C. (pamphlet) 1966-67, t>. 2 2 . i l l u s . S t o t t , J i m . " F o u n t a i n Mermaids B a r e d . " The Sun ( V a n c o u v e r ) , O c t o b e r , 19, 1966, p. 1 . "The F o u n t a i n B u s i n e s s . " Community A r t s C o u n c i l News, V o l . x l v ((March, 1966J). FREE STANDING SCULPTURES, BAXTER BUILDING Date: 1967. P l a c e : P l a z a o f B a x t e r B u i l d i n g o r Columbia Complex, 1111 West H a s t i n g s S t r e e t . Item: Seven f r e e s t a n d i n g s c u l p t u r e s , one s e t i n p o o l o f f o u n t a i n , s c a t t e r e d around the p l a z a . A r t i s t : McLEARY DROPE M a t e r i a l : Welded and c a s t m e t a l ; one o f c o n c r e t e . S i z e : V a r y from 3 ' t o 7 ' . These works were chosen by t h e a r c h i t e c t and p a t r o n f rom some twenty p i e c e s the a r t i s t had completed on h i s own 1966-67, t o be p l a c e d i n t h i s p l a n n e d r e s t and r e c r e a t i o n a r e a . They were ex e c u t e d i n t h e a r t i s t ' s W i n n i p e g s t u d i o , brought t o Vancouver by t r u c k and i n s t a l l e d under the s u p e r v i s i o n o f t h e a r t i s t . F i v e o f t h e p i e c e s are i n a s e r i e s "Homage t o H e l i o s I t o V. A l l are i d e n t i f i e d by p l a q u e s . A p l a q u e b e a r i n g t h e a r t i s t ' s name d e s c r i b e s them t h u s "the forms are i n f l u e n c e d by the geometry o f n a t u r e , sometimes r e f l e c t i n g i t s o u t e r a s p e c t s but more o f t e n r e v e a l i n g the c o r e . " An a r t c r i t i c d e s c r i b e s them as s p i k e y c o n f i g u r a t i o n s o f o r g a n i c growth r e m i n i s c e n t o f the forms i n t h e p a i n t i n g o f Graham S u t h e r l a n d . 1 A r c h i t e c t : A l l a n Waisman. 1The S u n ( V a n c o u v e r ) , August 25 , 1967, p. 4 a . R e f e r e n c e s : A a r o n s , A n i t a . , " A r t and A r c h i t e c t u r e . " A r c h i t e c t u r e Canada. • (October 1966),p. 25 , i l l u s . R osenberg, Ann. " C o n s i d e r t h e B u i l d i n g . " The Sun ( V a n c o u v e r ) , August 25 , 1967, p. 4 a . i l l u s . S t a i n s b y , Donald. " M i n i P a r k s Sprout Downtown." The.Sun ( V a n c o u v e r ) , August 9 , 1969, p. 22. i l l u s . A l s o p , Kay. "The a r t o f b u s i n e s s . " The P r o v i n c e ( V a n c o u v e r ) , September 26, 1970, p. 31 . i l l u s . Q u e s t i o n n a i r e answered, by a r t i s t , May 1969. L e t t e r from D.C. Andrews, Manager 1969. Columbia C e n t r e , March 31, STEEL SCULPTURE, "CUMBRIA 67" VANCOUVER INTERNATIONAL AIRPORT. Date: June 1967. I t was i n s t a l l e d a t t h e Vancouver I n t e r n a t i o n a l A i r p o r t i n September 1968. P l a c e : Vancouver I n t e r n a t i o n a l A i r p o r t . ( I t r e s t s on a. cement pad between t h e l a n e s o f McConachie Way j u s t i n f r o n t o f the a i r p o r t p a r k i n g l o t ) . Item: S t e e l beam s c u l p t u r e , "Cumbria 1967". A r t i s t : ROBERT MURRAY M a t e r i a l : Corten s t e e l ( f a b r i c a t e d o v e r a c h a n n e l frame and p a i n t e d epoxy l i g h t cadmium y e l l o w ) . S i z e : 15' x 30' x 15' T h i s s c u l p t u r e was s e l e c t e d by t h e A r t A d v i s o r y Committee o f t h e Vancouver I n t e r n a t i o n a l A i r p o r t and was recommended f o r p u r c h a s e to t h e Department o f T r a n s p o r t . I t was n o t b u i l t f o r any p a r t i c u l a r s i t e and was p r e v i o u s l y e x h i b i t e d i n f r o n t o f t h e Toronto C i t y H a l l and a t B a t t e r y P a r k i n New York C i t y . The a r t i s t s u g g e s t s t h a t t h i s may be t h e l a r g e s t s c u l p t u r e i n Canada n o t commissioned f o r a s p e c i f i c s i t e . He i s n o t opposed t o commissions, p r o v i d i n g c e r t a i n c o n d i t i o n s e x i s t , b u t i s c o n f i d e n t t h a t t h e s e l e c t i o n from completed works i s t h e b e s t s o l u t i o n b o t h f o r the p a t r o n and t h e s c u l p t o r . He s t r e s s e s t h a t he w i l l n o t e n t e r i n t o c o m p e t i t i o n s o r submit models t o s e c r e t j u r i e s as he has found from e x p e r i e n c e t h a t v e r y few-people are a b l e t o a p p r e c i a t e a l a r g e a b s t r a c t s c u l p t u r e on t h e b a s i s o f a s m a l l model. The i n t e n d e d s i t e f o r t h e s c u l p t u r e had*.to be changed due t o t h e changes i n t h e master p l a n o f the A i r p o r t . I n i t i a l l y , i t was i n t e n d e d t h a t i t be p l a c e d h i g h e r up and c l o s e r t o t h e t e r m i n a l . Now i t s i t s on the ground i n f r o n t o f a f i l l i n g s t a t i o n , and. i s seen i n motion from p a s s i n g c a r s . The a r t i s t s t a t e s "an optimum l o c a t i o n would be d i f f i c u l t t o f i n d . A l l o u t d o o r a r e a s a r e s u b o r d i n a t e d f o r c a r s and p a r k i n g . One's f i r s t v i e w o f Vancouver i s an enormous p a r k i n g l o t . " 1 The s c u l p t u r e was b u i l t i n a a m e t a l f a b r i c a t i n g p l a n t under the s u p e r v i s i o n o f t h e a r t i s t f r o m rough w o r k i n g d r a w i n g s . I t was s h i p p e d by f l a t c a r t o Vancouver and i n s t a l l e d by a l a r g e crane i n September 1968. Murray s t a t e s t h e Department o f T r a n s p o r t had no i n t e r e s t i n t h e program, the a r c h i t e c t was i n no way i n v o l v e d , and a l t h o u g h Mr. Tony Emery and a r t c r i t i c Joan Lowndes were e n t h u s i a s t i c i n t h e i r s u p p o r t , the p u b l i c gave i t a d v e r s e c r i t i c i s m , as he expected t h e y would. ^ Q u e s t i o n n a i r e answered by a r t i s t , J a n u a r y 1972. I b i d . R e f e r e n c e s : Cone, Jane H a r r i s o n . "New Look a t R o b e r t Murray." A r t f o r u m , V o l . VI (September, 1968), p. 39, i l l u s . M a l c olmson, H a r r y . " S c u l p t u r e i n Canada." A r t f o r u m . V o l . V ( O c t o b e r , 1967), p. 42. McCaugherty, J a c k . " A r t Takes a F l i g h t o f Fancy a t A i r p o r t . " The P r o v i n c e ( V a n c o u v e r ) , June 13, 1968, p. 31. "Cumbria Not Snow Plow o r B i l l b o a r d — I t ' s A r t . " The Sun ( V a n c o u v e r ) , September 2 3 , 1968, p. 8. i l l u s . " F o r A r t ' s Sake." The Sun ( V a n c o u v e r ) , September 28, 1968, p. 27. i l l u s . Lowndes, Joan. "Robert M u rray A Canadian S c u l p t u r e Zooming i n New Y o r k . " The P r o v i n c e , A p r i l 11, 1963, pp. 11 and 12 i l l u s . Q u e s t i o n n a i r e answered by a r t i s t , J a n u ary 1972. FREE STANDING SCULPTURE, QUEEN ELIZABETH PLAYHOUSE PLAZA Date: 1967. P l a c e : P l a z a o f Queen E l i z a b e t h P l a y h o u s e T h e a t r e , ( s o u t h o f the e n t r a n c e ) . Item: F r e e s t a n d i n g s c u l p t u r e " F l o r e n t i n e Door and W a l l #3." A r t i s t : FRANK PERRY M a t e r i a l : B l a c k e n e d B r o n z e . S i z e : 3 ' x 6' x 13 ' The s c u l p t u r e was c r e a t e d i n F l o r e n c e , I t a l y i n Ja n u a r y 1967. I t was c a s t i n bronze from a m o d e l l e d p l a s t i c . The work was e n t e r e d i n t h e I n v i t a t i o n a l C e n t e n n i a l S c u l p -t u r e ? 67 e x h i b i t i o n a t t h e Queen E l i z a b e t h T h e a t r e . I t won the $5,000 purchase award g i v e n by the Vancouver C e n t e n n i a l Committee. The s c u l p t u r e s were judged by R o b e r t Hume, P l a n n i n g C o n s u l t a n t , A r t G a l l e r y o f O n t a r i o . F l o r e n t i n e Door and W a l l #3 s u b s e q u e n t l y was p r e s e n t e d t o t h e C i t y o f Vancouver and was p l a c e d a t t h i s l o c a t i o n . R e f e r e n c e s : C a t a l o g u e o f C e n t e n n i a l S c u l p t u r e ' 6 7 . P r i n t e d t h r o u g h t h e c o u r t e s y o f Rothman's o f P a l l M a l l , Canada L t d . , i l l u s . "Judy Hands Out Awards, Encouragement t o S c u l p t o r s . " The Sun ( V a n c o u v e r ) , J u l y 17, 1967. p. 3 . "$5,000 award g i v e n f o r va n n i n g s c u l p t u r e , " The P r o v i n c e ( V a n c o u v e r ) , J u l y 17, 1967, p. 8. Q u e s t i o n n a i r e answered by t h e a r t i s t , A p r i l 1969. SCULPTURE COMMEMORATING THE PROVINCE NEWSPAPER, VICTORY SQUARE Date: 19 67. P l a c e : V i c t o r y Square ( a t south-west c o r n e r n e a r Pender S t r e e t j . Item: S c u l p t u r e A r t i s t : GERHARD CLASS M a t e r i a l : S o l i d c a s t aluminum r e s t i n g on a g r a n i t e b l o c k S i z e : T o t a l h e i g h t 5'. The a r t i s t was the o n l y one approached by the donor. He was g i v e n freedom except f o r a s p e c i f i e d budget. A new method o f c a s t i n g from a s t y r o f o a m p a t t e r n was used. The s c u l p t u r e was made f u l l s i z e i n s t y r o f o a m and then packed i n sand. The m e t a l was poured d i r e c t l y on t h e foam w h i c h m e l t e d i n t h e presence o f t h e f l o w i n g m e t a l . The work was done a t t h e a r t i s t ' s s t u d i o and a t a f o u n d r y . U > w n i The purpose o f the s c u l p t u r e was t o commemorate t h e s i x t y - s e v e n y e a r s The P r o v i n c e had been p u b l i s h i n g a news-paper i n the v i c i n i t y o f V i c t o r y Square. The l e t t e r s "V" and "P" a r e r e p r e s e n t e d i n the m o d e r n i s t i c d e s i g n . I t was e r e c t e d i n September, 1967 a t w h i c h t ime t h e newspaper changed i t s l o c a t i o n t o the P a c i f i c P r e s s B u i l d i n g , 2250 G r a n v i l l e S t r e e t . The donor and the a r t i s t had a good r e l a t i o n s h i p s and t h e donor was c o m p l e t e l y s a t i s f i e d . R e f e r e n c e s : The P r o v i n c e ( V a n c o u v e r ) , September s27, 1967, p. 29. i l l u s . Q u e s t i o n n a i r e answered by a r t i s t , May 1969. BANNISTER-LANDY SCULPTURE, BRITISH EMPIRE STADIUM Date: 1967. P l a c e : B r i t i s h Empire Stadium, ( o u t s i d e the s o u t h end o f the stadium f a c i n g H a s t i n g s S t r e e t . ) Item: S c u l p t u r e ; f i g u r e s o f Roger B a n n i s t e r and John Landy. A r t i s t : JACK HARMAN M a t e r i a l : B r o n z e , l o s t - w a x method. S i z e : 9'; base 10'. The a r t i s t was the o n l y one approached. He was suggested by Denny Boyd, S p o r t s C o l u m n i s t o f The Sun newspaper. I t was h i s i d e a t o have a monument t o commemorate "The M i r a c l e M i l e " , t h e o r i g i n a l f o u r - m i n u t e m i l e . T h i s r a c e was run a t t h e time o f t he B r i t i s h Empire Games i n Vancouver, 1952. The o r i g i n a l committee o f The B r i t i s h Empire Games was r e c o n s t i t u t e d t o r a i s e money f o r the p r o j e c t . The members asked the s c u l p t o r t o reproduce t h e moment when Landy l o o k e d back o v e r h i s l e f t s h o u l d e r and B a n n i s t e r passed on t h e r i g h t . The a r t i s t used a pho t o g r a p h as r e f e r e n c e w i t h two r u n n e r s &.<& models. The a r t i s t s t a t e d t h a t because o f the d e l i c a t e b a l a n c e o f the f i g u r e s i t was n e c e s s a r y f o r him t o mount them on a t e n LX IX foot base to prevent vandalism. I t i s of i n t e r e s t t h a t both Bannister and Landy were here f o r the u n v e i l i n g of the sculpture on September,27, 1967. References: "Harman: A C l a s s i c Approach." Western Homes & L i v i n g /  Vancouver L i f e , A p r i l 1969, p. 17, i l l u s . The Sun (Vancouver), September 8, 1967, P. 23, i l l u s . Minot, L e s l i e . "The Face o f Sculpture: U.B.C. and Vanc-ouver." The Ubyssey, January 9, 1970. Questionnaire ansivered by a r t i s t , May 19 6 9 . THUNDERBIRDS, T.HUNDERBIRD STADIUM, U.B.C. Date: 1967. Plac e : Thunderbird Stadium, U.B.C. (They are perched on the twelve supporting columns of the stadium, w e l l above the roof. u-Item: Twelve "thunderbirds". A r t i s t : ZELJKO KUJUNDZIC M a t e r i a l : L i g h t weight concrete. S i z e : Each 6' x 6'; wt. 1800 l b s . The a r t i s t was chosen by the a r c h i t e c t from a closed comp-e t i t i o n . He was commissioned before the b u i l d i n g was com-p l e t e d and was asked to express the theme"thunderbird". The o r i g i n a l mould was executed i n the a r t i s t ' s s t u d i o . The c a s t i n g was done by craftsmen on s i t e . Each "thunder-b i r d " was cast i n three s e c t i o n s and j o i n e d by b o l t s and epoxy grout. They were erected i n two days to the supporting co lumn s. The a r t i s t f e l t that h i s work was w e l l received by a l l but that he was po o r l y paid.'' A r c h i t e c t s : V l a d i m i r P l a v s i c & A s s o c i a t e s . Reference's: MacDonald, C o l i n S. A D i c t i o n a r y of Canadian A r t i s t s , ' V o l . I l l , Ottawa: Canadian Paperbacks, 1971, pp. 690-691. "Thunderbirds of L i g h t Weight Concrete." Concrete F a c t s , V o l . X I I , No. 3, Expanded Shale, Clay and S l a t e I n s t i t u t e , Wash. 4, D.C., i l l u s . Questionnaire answered by a r t i s t , May 1971. GEORGE CUNNINGHAM MEMORIAL SUNDIAL, ENGLISH BAY Date: 1967. Place : E n g l i s h Bay (- on the grass lawn a d j o i n i n g the beach.y Item: S u n d i a l . A r t i s t : GERHARD CLASS M a t e r i a l : bronze and g r a n i t e . S i z e : Granite columns 5 T . The a r t i s t was commissioned by Cunningham Drug Stores L t d . to construct a monument to commemorate the f i r s t three E n g l i s h "Greenhorns"who s e t t l e d i n the E n g l i s h Bay area and received land t i t l e i n 1867, and to commemorate the f i r s t drugstore b u i l t , i n the area i n 1911 by the l a t e George T. Cunningham. The d i a l , made of s e m i - c i r c l e s of bronze, se1& on a g r a n i t e column. The base i s sculptured on four s i d e s i l l u s t r a t i n g s u n r i s e , midday, sunset and midnight and bears i n s c i p t i o n s . Cunningham Stores L t d . c o n t r i b u t e d $2,300 of the t o t a l cost of $3,000.1 j t w a g e r e c t e d under the auspices of the Centenn-i a l Committee of Vancouver i n cooperation w i t h the Vancouver Parks Board. I t was u n v e i l e d i n June 1967. xThe Province (Vancouver), June 16, 1967, p. 13. References: "West End was a Wilderness." The Province (Vancouver), p. 13. June 16, 1967. LXX) C e n t e n n i a l S c u l p t u r e ' 6 7 . c a t a l o g u e o f s c u l p t u r e e x h i b i t i o n a t Que"^rN-E^lizabeth T h e a t r e , Summer 1967. FIGURE IN A GRANITE BOULDER, FORE STY AND AGRICULTURE BUILD-ING, U.B.C. Date: 1967. P l a c e : F o r e s t r y and A g r i c u l t u r e B u i l d i n g ( i n a s m a l l c o u r t y a r d ) . Item: S c u l p t u r e A r t i s t : GEORGE NORRIS M a t e r i a l : G r a n i t e T h i s s m a l l winsome p i e c e o f s c u l p t u r e was commissioned by Dr. E a g l e s the r e t i r i n g Dean o f A g r i c u l t u r e t o be p l a c e d i n t h i s s m a l l i n t i m a t e c o u r t y a r d . The s m a l l curved f i g u r e o f t h e a l f a l f a p i c k e r appears t o be j u s t emerging from t h e g r a n i t e b o u l d e r from w h i c h he was c r e a t e d . T h i s i s an i n t i m a t e s c u l p t u r e s u i t a b l e f o r t h e s m a l l c o u r t y a r d . I t was a g i f t t o t h e U n i v e r s i t y by Dr. E a g l e s . R e f e r e n c e s : Q u e s t i o n n a i r e answered by t h e a r t i s t , A p r i l 1969. FREE STANDING SCULPTURE, FREDERIC WOOD THEATRE, U.B.C. Date: 1967. P l a c e : F r e d e r i c Wood T h e a t r e , U.B.C. (on c o u r t y a r d a t south west c o r n e r o f t h e t h e a t r e ) . Item: Three f r e e s t a n d i n g s c u l p t u r e s . A r t i s t : GERMAIN BERGERON M a t e r i a l : I r o n S i z e : F i g u r e s 43" t o 4 6 " ; p e d e s t a l 2 0 " . The a r t i s t was commissioned by Expo ' 6 7 sponsored by t h e House o f Seagram t o c r e a t e t h e s e works f o r the House o f Seagram a r t c o l l e c t i o n a t Expo ' 6 7 . They were e x i b i t e d a g a i n i n 1968 at"Man and H i s W o r l d " i n M o n t r e a l . ' The t h r e e winsome f i g u r e s c o n s t r u c t e d from l e f t o v e r p a r t s o f machinery a re e n t i t l e d "Man", "Robot", and "The V e n e t i a n " . F o l l o w i n g the e x h i b i t i o n a t "Man and H i s World" the House o f Seagram c o l l e c t i o n o f s c u l p t u r e was d i s p e r s e d among t h e v a r i o u s u n i v e r s i t i e s i n Canada. These t h r e e were donated t o t h e U n i v e r s i t y o f B r i t i s h Columbia. 1 F i l e s , o f F i n e A r t s Dep't., U.B.C. RECLINING FIGURE, LASSERRE BUILDING, U.B.C. Date: 1967 . P l a c e : L a s s e r r e B u i l d i n g , U.B.C. (on n o r t h p l a z a ) . Item: Free s t a n d i n g s c u l p t u r e . A r t i s t : JAN ZACH M a t e r i a l : Red sandstone. S i z e : 22" x 3 6 " . T h i s s m a l l sandstone s c u l p t u r e was p r e s e n t e d t o Mr. W a l t e r K o e r n e r b y th e a r t i s t who i n t u r n p r e s e n t e d i t t o t h e U n i v e r s i t y i n 1967 on a permanent l o a n b a s i s . BRONZE RELIEF SCULPTURE, BANK OF CANADA Date: 19 68. P l a c e : Bank o f Canada, 900 West H a s t i n g s S t r e e t (on t h e so u t h w a l l o f t h e f o y e r , a d j a c e n t t o t h e e l e v a t o r s and f a c i n g the main e n t r a n c e ) . Item: R e l i e f p a n e l . A r t i s t : ELIZA MAYHEVI M a t e r i a l : Cast b r o n z e . S i z e : 9' 2" x 13' 2|-". The a r t i s t was commissioned by the a r c h i t e c t a f t e r he had seen some photographs o f h e r work i n Canadian A r t . She was approached a f t e r t h e b u i l d i n g was completed. No s p e c i f i c -a t i o n s were made. The a r t i s t s a i d o f the m u r a l , " a l t h o u g h i t i s a b s t r a c t , i t i s about p e o p l e where t h e y l i v e and go." T h i s h i g h r e l i e f bronze m u r a l t o o k about two y e a r s t o complete. The work was done i n the a r t i s t ' s s t u d i o i n V i c t o r i a and i t was c a s t i n a f o u n d r y i n Eugene, Oregon. I t has a c q u i r e d a green p a t i n a w h i c h i s a c c e n t u a t e d by the s p o t l i g h t s as i s the deep r e l i e f . I t was u n v e i l e d A p r i l Q 2 1 , 1968. The c o s t was $30,000.^ The a r c h i t e c t and p a t r o n were b o t h v e r y p l e a s e d w i t h t h i s work. A r c h i t e c t : W.W. Rennie o f Thompson, B e w i c k and P r a t t . The Sun ( V a n c o u v e r ) , A p r i l 22, 1968, pp. 1 and 2. 2 I b i d . R e f e r e n c e s: A l l i e d A r t s C a t a l o g u e . A r t s f o r A r c h i t e c t u r e , V o l . I I , October 1968, p. 2. i l l u s . "Bank B u i l d i n g Gets Bronze S c u l p t u r e . " The Sun (Vancouver) A p r i l 22, 1968, pp. 1 and 2, i l l u s . Q u e s t i o n n a i r e answered by a r t i s t , May 1969. CONCRETE MURAL, GULF AND .FRASER FISHERMEN'S CREDIT UNION Date: 19 68. P l a c e : G u l f and F r a s e r Fishermen's Credit-Union,.803 E a s t H a s t i n g s S t r e e t . (The f o u r r e l i e f p a n e l s a r e on t h e e x t e r i o r s o u t h and west w a l l s o f t h e o f f i c e b u i l d i n g . ) A r t i s t : LEONHARD EPP M a t e r i a l : P r e c a s t c o n c r e t e . S i z e : Each p a n e l 16' x 9' i s made up o f t h r e e s e p a r a t e p a n e l s j o i n e d t o g e t h e r . Leonhard Epp's d e s i g n was chosen by t h e a r c h i t e c t from a c l o s e d c o m p e t i t i o n . He was asked t o work w i t h i n t h e con-t e x t o f west c o a s t f i s h i n g i n a v i s u a l l y r e a d a b l e manner. The m o t i f s o f f i s h , f i s h b o a t s , n e t s and f l o a t s a r e i n low cut r e l i e f o f v a r y i n g d e p t h s , w h i c h c r e a t e i n t e r e s t i n g shadow e f f e c t ' on the w h i t e c o n c r e t e . The n e g a t i v e mould, and subsequent m u l t i p l e c a s t s were ex e c u t e d a t the s i t e o f Con F o r c e Pre c a s t C o n c r e t e Manuf-a c t u r i n g Co., New W e s t m i n s t e r . The b u i l d i n g was opened June 1, 1968. The m u r a l s were w e l l r e c e i v e d by t h e a r c h i t e c t , c l i e n t and g e n e r a l o u b l i c . The a r t i s t h i m s e l f would have p r e f e r r e d t o have been l e s s r e a l i s t i c . A r c h i t e c t : Robert F. H a r r i s o n and A s s o c i a t e s . R e f e r e n c e s : G u l f and F r a s e r Fishermen's C r e d i t Union A n n u a l R e p o r t : 27th A n n u a l R e p o r t , F e b r u a r y 1967, c o v e r p i c t u r e o f new o f f i c e b u i l d i n g . Western F i s h e r i e s , June 1968, p. 32 . i l l u s . Q u e s t i o n n a i r e answered by a r t i s t , O c t o b e r 1969. L e t t e r from L.C. H o l t h e , Manager, G u l f and F r a s e r Fishermen' C r e d i t U n i o n . TUNING FORK, MUSIC BUILDING, FINE ARTS CENTRE, U.B.C. Date: 1968. P l a c e : F i n e A r t s C e n t r e , U.B.C. (on t h e esplanade i n f r o n t o f the M u s i c B u i l d i n g ) . Item: F r e e s t a n d i n g s c u l p t u r e , " T u n i n g F o r k " . A r t i s t : GERHARD CLASS M a t e r i a l : C o r t e n s t e e l f a b r i c a t e d . S i z e : 24'. C l a s s ' s d e s i g n was chosen by a j u r y i n c l u d i n g the p r i v a t e donor from a c o m p e t i t i o n i n w h i c h f i v e a r t i s t s p a r t i c i p a t e d . He was asked t o d e s i g n a s c u l p t u r e f o r the s p e c i f i c s i t e . He was a l s o asked t o c o n s i d e r t h e b u i l d i n g s n e a r the s i t e and t o choose m a t e r i a l s w h i c h would s t a n d up t o v a n d a l i s m . A budget was s t i p u l a t e d . C o r t e n s t e e l was used because o f i t s q u a l i t y o f r u s t i n g and t a k i n g on a p a t i n a w h i c h e v e n t u a l l y deepens t o a plum c o l o u r . I t i s almost immune t o v a n d a l i s m and the m e t a l w i l l n o t d e t e r i o r a t e . The work was c r e a t e d a t the Tr-imetal F a b r i c a t o r s , Vancouver, under t h e s u p e r v i s i o n o f t h e a r t i s t . The wind f a c t o r was a major problem. To s o l v e t h i s , t h e l o w e r p a r t o f t h e s c u l p t u r e was made o f a h e a v i e r gauge than the c e n t r a l p a r t w i t h t h e top p a r t b e i n g t h e l i g h t e s t . The problem o f i n s t a l l a t i o n was overcome by t h e use o f a crane w i t h an e i g h t f o o t boom. The c o s t was $5,000. I t was the g i f t o f a p r i v a t e donor, Mr. A l f r e d B l u n d e l l . The a r c h i t e c t , donor and p u b l i c were w e l l s a t i s f i e d w i t h t h e work. The a r t i s t s t a t e d t h a t he f e l t i t came o f f one hundred p e r c e n t . The Ubyssey, J a n u a r y 9, 1970, p. 4. R e f e r e n c e s : The Sun ( V a n c o u v e r ) , June 15, 1968, p. 3. i l l u s . The P r o v i n c e ( V a n c o u v e r ) , June 15, 1968. i l l u s . M i n o t , L e s l i e . "The Face o f S c u l p t u r e : U.B.C. and Vanc-ouver." The Ubyssey, V o l . L I , ( J a n u a r y 9, 1970,) pp. 4 and Q u e s t i o n n a i r e answered by a r t i s t , A p r i l 1969. MAP MURAL, QUANTAS AIRLINES OFFICE, HOTEL VANCOUVER Date: 1968 P l a c e : Quantas A i r l i n e s O f f i c e , H o t e l Vancouver (on t h e n o r t h w a l l o v e r t h e c o u n t e r f a c i n g t h e e n t r a n c e and s t r e e t windows). Item: Map- m u r a l . A r t i s t : R.G. LOTT M a t e r i a l : Sand c a s t p l a s t e r o f P a r i s . S i z e : 500 square f e e t . The a r t i s t was approached by the a r c h i t e c t b e f o r e t h e o f f i c e was completed. He was asked t o c o n s t r u c t a l a r g e map o f t h e w o r l d w i t h A u s t r a l i a p r o m i n e n t l y shown. The a r t i s t c r e a t e d and c o n s t r u c t e d t h e m u r a l h i m s e l f i n h i s s t u d i o . He s t a t e d t h a t t h i s i s a media w h i c h he has p e r f e c t e d and w i t h w h i c h he has been a b l e t o c a s t l a r g e f l a t a r e a s . He f e e l s t h e r e a c t i o n t o t h e m u r a l has been e x c e l l e n t from a l l p o i n t s o f v i e w , t h e d i r e c t o r s o f Quantas, the a r c h -i t e c t and t h e p u b l i c . A r c h i t e c t : Thompson, B e r w i c k , P r a t t and P a r t n e r s . R e f e r e n c e s : Q u e s t i o n n a i r e answered by a r t i s t , May 1969. BRICK KALL MURAL - METALLURGY BUILDING, U.B.C. Date: 1968. P l a c e : M e t a l l u r g y B u i l d i n g , U.B.C. (A b r i c k w a l l ex-t e n d i n g out p a s t the f a c a d e o f t h e n o r t h e n t r -ance t o t h e b u i l d i n g . ) Item: B r i c k w a l l m u r a l . A r t i s t : GEORGE NORRIS JOHN FRASER M a t e r i a l : B r i c k s , formed and shaped i n t o a g e o m e t r i c f l o w e r -l i k e ' d e s i g n . S i z e : 20 ' x 5 5 '. Design on bo t h s i d e s o f the w a l l . The a r t i s t s were approached by the a r c h i t e c t s b e f o r e t h e b u i l d i n g was completed and were asked t o d e s i g n a w a l l t o a c c e n t u a t e the e n t r a n c e w h i c h was o t h e r w i s e d i f f i c u l t t o l o c a t e . The i d e a was t o p u l l t he p e d e s t r i a n i n t o t h e b u i l d i n g . The "walk t h r o u g h " r e l i e f w o u l d f o r c e t h e p e d e s t r i a n t o exp-e r i e n c e a v a r i e t y o f s c a l e s . B r i c k s were used as i n d i v i d u a l e n t i t i e s , t he c o l o u r o f them t o compensate f o r the o b s c u r i t y o f t h e n o r t h s i d e o f the b u i l d i n g . The a r t i s t s were g i v e n • freeddm o f d e s i g n . T h e i r d e s i g n was approved by the a r c h -i t e c t s and the Dean o f A p p l i e d S c i e n c e . The b r i c k s were made i n the a r t i s t s ' basement, and then were f i r e d i n a l o c a l b r i c k f a c t o r y and p o t t e r ' s k i l n . They were l a i d by masons under the d i r e c t i o n o f J . F r a s e r . A r c h i t e c t : B l a i r MacOonald o f M c C a r t e r , N a i r n e & P a r t n e r s . R e f e r e n c e s : B r i c k l a y e r ' s Union P u b l i c a t i o n , Summer 1968, c o v e r i l l u s . Q u e s t i o n n a i r e answered by a r t i s t , A p r i l 1969. PAINTED MURAL, MOORE BUSINESS FORMS LIMITED. Date: 19 68. P l a c e : Moore B u s i n e s s Forms L t d . , 625 Bute S t r e e t , (on the s o uth w a l l o f t h e f o y e r o p p o s i t e the main e n t r a n c e ) . Item: M u r a l A r t i s t : BODO PFEIFER M a t e r i a l : P a i n t on canvas. S i z e : 10' x 1 4 ' . X A A V l l i L x x v i n The a r t i s t was approached by the a r c h i t e c t b e f o r e t h e b u i l d i n g was completed. P f e i f e r was chosen because i t was f e l t h i s work would s u i t the a r c h i t e c t u r e o f the b u i l d i n g . The s m a l l l o b b y i s a pentagon w i t h the d i a g o n a l n o r t h - w e s t s i d e a w a l l Of g l a s s . The m u r a l o f v i b r a t i n g r e d , y e l l o w and green s t r i p e s on a b l u e background r e f l e c t the d i a g o n a l o f t h e o p p o s i t e w a l l . The j u x t a p o s e d bands o f c o l o u r a re v e r t i c a l a t the top and then v e e r o f f t o a 45° a n g l e . I t was the a r t i s t ' s i d e a t h a t the a d j a c e n t west w a l l be o f s t a i n l e s s s t e e l t o r e f l e c t the rainboxtf c o l o u r s i n f u z z y i n d e f -i n i t e way. T h i s works o n l y f rom c e r t a i n p o s i t i o n s and i n c e r t a i n l i g h t s . The m u r a l was p a i n t e d i n the a r t i s t ' s s t u d i o and f a s t e n e d t o i t s l o c a t i o n by a frame. The b u i l d i n g opened on September 3, 1968. A r c h i t e c t : B l a i r McDonald o f M c C a r t e r , N a i r n e & P a r t n e r s . R e f e r e n c e s : "Moore B u s i n e s s Forms O f f i c e . " Canadian A r c h i t e c t , A u g u s t , 1969, pp. 60-62, i l l u s . Telephone c o n v e r s a t i o n w i t h B l a i r McDonald, A p r i l 10, 1972. CRAB FOUNTAIN - VANCOUVER CENTENNIAL MUSEUM AND PLANETARIUM Date: 1968. P l a c e : Vancouver C e n t e n n i a l Museum and P l a n e t a r i u m . ( I t s t a n d s i n a r e f l e c t i n g p o o l i n f r o n t o f t h e main e n t r a n c e . ) Item: Crab shaped s c u l p t u r e d f o u n t a i n . A r t i s t : GEORGE NORRIS M a t e r i a l : Welded s t a i n l e s s s t e e l . S i z e : 22' x 17'; lj? t o n s . N o r r i s ' s d e s i g n was chosen by a s i x man j u r y from a B r i t i s h Columbia c o m p e t i t i o n . The a r t i s t i s r e p o r t e d t o have had two sy m b o l i q u e s i n mind, LXX 1 X the ' c r a b ' b e i n g t h e s i g n o f t h e z o d i a c a t t h e time o f Canada's C e n t e n n i a l c e l e b r a t i o n and, a c c o r d i n g t o H a i d a l e g e n d , t h e p r o t e c t o r o f the h a r b o u r . I t was d e s i g n e d s p e c i f i c a l l y f o r t h e l o c a t i o n . "The curve o f t h e c r a b ' s l e g s r e p e a t i n r e v e r s e the c u r v e s o f the Museum-Planetarium's c e n t r a l r o t u n d a , w h i l e seen from the back, the concave l i n e o f the c r a b ^ s back i s e x a c t l y p a r a l l e l t o t h e r o t u n d a ' s undersweep." The s c a l e models, w o r k i n g models, t e m p l a t e s , e t c , were done i n the a r t i s t ' s s t u d i o w h i l e t h e f i n a l e x e c u t i o n was done i n a f a b r i c a t i n g P l a n t . N o r r i s worked on a l l s t a g e s h i m s e l f but had a s s i s t a n c e from Gus L i d b e r g and o t h e r s a t E l l e t t Copper and B r a s s Company. The s c u l p t u r e i s s e t o v e r a r e f l e c t i n g p o o l where seven exposed n o z z l e s shoot j e t s o f w a t e r on the u n d e r b e l l y and o v e r the appendages o f t h e c r a b . The j e t s are m a n u a l l y con-t r o l l e d w i t h t h r e e systems, t h u s v a r i a t i o n s can be a d j u s t e d t o weather and time o f day. The a r t i s t asked t h a t the f o u n t a i n be t u r n e d o f f i n r a i n and t h a t no c o l o u r e d l i g h t i n g o r underwater l i g h t i n g be used. L i g h t s are c o n c e a l e d under t h e edge o f the p o o l . The f o u n t a i n was a g i f t o f the women o f Vancouver t o t h e c i t y t o commemorate t h e 1967 C e n t e n n i a l o f Canadian F e d e r -a t i o n . The women's committee r a i s e d $27,000 w h i l e the C e n t e n n i a l Committee gave a g r a n t o f $ 2 0 , 0 0 0 . The s c u l p t u r e c o s t $20,000 and the w a t e r works about $ 2 4 , 0 0 0 . 2 The f o u n t a i n was d e d i c a t e d on October 11, 1968. I t was r e c e i v e d w i t h e n t h u s i a s m by t h e Committees, th e P r e s s and the g e n e r a l p u b l i c . The P r o v i n c e ( V a n c o u v e r ) , O c t o b e r 18, 1968, p. 13. 2The Sun ( V a n c o u v e r ) , October 4 , 1968, p. 25. R e f e r e n c e s : B e a u t i f u l B r i t i s h Columbia. Summer 1969, i l l u s . "Crab Design S c u l p t u r e Chosen f o r P l a n e t a r i u m . " The Sun ( V a n c o u v e r ) , May 16, 1967, p. 35, i l l u s . J e s s e n , M i k e . " S c u l p t o r Had Fun C r e a t i n g Museum's New Showpiece." The Sun ( V a n c o u v e r ) , O c t o b e r 4 , 1968, i l l u s . "Crab S t a t u e E r e c t e d . " The P r o v i n c e ( V a n c o u v e r ) , O c t o b e r 4 , 1968, p. 25, i l l u s . " P l a n e t a r i u m - S t a r A t t r a c t i o n . " The P r o v i n c e ( V a n c o u v e r ) , October 18, 1968, PP. 12-13, i l l u s . M i n o t , L e s l i e . nThe Face o f S c u l p t u r e : U.B.C. and Vancouver." The Ubyssey, January 9 , 1969, pp. 4 and 5, i l l u s . Q u e s t i o n n a i r e answered by the a r t i s t , A p r i l 1969. PAINTED MURAL, VANCOUVER INTERNATIONAL AIRPORT Date: 1968. P l a c e : Vancouver I n t e r n a t i o n a l A i r p o r t ( s o u t h w a l l o f south lounge on the d e p a r t u r e l e v e l . ) Item: P a i n t e d m u r a l . A r t i s t : GUIDO MOLINARI The a r t i s t was recommended by an a d v i s o r y committee t o t h e Department o f T r a n s p o r t w h i c h was c h a i r e d by Dr. Jean S u t h e r l a n d Boggs, D i r e c t o r o f t h e N a t i o n a l G a l l e r y . " M o l i n a r i has p a i n t e d h i s customary s e r i a l o f v e r t i c a l c o l o u r bands - a p p l e green,orange and b l u e , a p p l e g r e e n , orange and b l u e — . The a g g r e s s i v e n e s s o f h i s c o l o u r c o n f r o n t a -t i o n s , the e q u a l v a l u e g i v e n each c o l o u r and t h e d o g m a t i c a l l y f l a t , o n e - d i r e c t i o n a l . , s u r f a c e c a r r y h i s work'beyond d e c o r a t i o n . ' ' 1 The Vancouver I n t e r n a t i o n a l A i r p o r t was o f f i c i a l l y opened Oc t o b e r 25 , 1968. A r c h i t e c t s : Thompson, B e r w i c k , P r a t t and P a r t n e r s . The P r o v i n c e ( V a n c o u v e r ) , September 13, 1963, S p o t l i g h t S e c t i o n , p. 10. R e f e r e n c e s : "Guido M o l i n a r i . " A l l i e d A r t s C a t a l o g u e . V o l . I I , O c t o b e r , 1968, p. 23, i l l u s . M cCaugherty, J a c k . " A r t Takes a F l i g h t o f Fancy a t A i r p o r t . The P r o v i n c e ( V a n c o u v e r ) , June 13, 1963, p. 31 . Lowndes, Joan.. "A monument t o match t h e j e t age." The P r o v i n c e ( V a n c o u v e r ) , September 13, 1968, S p o t l i g h t S e c t i o n , p. 10, i l l u s . PAINTED MURAL, VANCOUVER INTERNATIONAL AIRPORT Date: 1968. P l a c e : Vancouver I n t e r n a t i o n a l A i r p o r t ( n o r t h w a l l o f n o r t h lounge on d e p a r t u r e l e v e l . ) Item: P a i n t e d m u r a l . A r t i s t : BODO PFEIFER S i z e : 8' x 12'. The a r t i s t was recommended by an a d v i s o r y committee t o the Department o f T r a n s p o r t c h a i r e d by Dr. Jean S u t h e r l a n d Boggs D i r e c t o r o f the N a t i o n a l G a l l e r y . • ; P f e i f e r ' s b o l d chevron s h i n e s from a f a r y e t i l l u s t r a t e s h i s new s o f t e n e d c o l o u r . He s t i l l u s e s c o m p l i m e n t a r i e s l i k e o r a n g e - r e d and b l u e t h a t v i b r a t e s t r o n g l y but t h e r e i s a l s o an immense s t r e t c h o f g r e y - b l u e ground, a b o r d e r o f dark b l u e , and an a r e a o f Parma v i o l e t . F u r t h e r s u b t l e t y i s l e n t by v a r i a t i o n s o f l i g h t on the s u r f a c e , o n l y the g r e y - b l u e f i e l d and the orange r e d s t r i p e b e i n g g l a s s y , t h e o t h e r c o l o u r s matte. The Vancouver I n t e r n a t i o n a l A i r p o r t was o f f i c i a l l y opened Oc t o b e r 25, 1968. The P r o v i n c e ( V a n c o u v e r ) , September 13, 1968, S p o t l i g h t S e c t i o n , p. 10. R e f e r e n c e s : McCaugherty, J a c k . " A r t t a k e s a f l i g h t o f f a n c y a t a i r p o r t , The P r o v i n c e ( V a n c o u v e r ) , June 13, 1968, p. 31 . Lowndes, Joan. "A monument t o a j e t age." The P r o v i n c e ( V a n c o u v e r ) , September 13, 1968, S p o t l i g h t S e c t i o n , p. 10. J ( " V - Z W - J -Lxx x ) I BRICK WALL MURAL, VANCOUVER INTERNATIONAL AIRPORT Date: 1968. P l a c e : Vancouver I n t e r n a t i o n a l A i r p o r t (west w a l l o f l o b b y on a r r i v a l l e v e l ) . Item: Carved b r i c k w a l l . A r t i s t : ROBERT A. WEGHSTEEN M a t e r i a l : Carved b r i c k . S i z e : 11' x 2 1 0 ' . Weghsteen was p i c k e d by a j u r y from a c l o s e d c o m p e t i t i o n o f t h r e e a r t i s t s . The media o f b r i c k was s t i p u l a t e d s i n c e i t was used t h r o u g h o u t the b u i l d i n g . Dark brown b r i c k s w h i c h were carved when wet, t h e n baked. "He has shaved away t h e b r i c k t o expose t h e i n n e r c o r e s w i t h t h e i r m o r t a r . " x They were i n s t a l l e d by u n i o n b r i c k l a y e r s under the a r t i s t ' s s u p e r v i s i o n . They were p l a c e d so as t o d e p i c t d e s i g n s o f swept back a e r o p l a n e wing's, t a i l p l a n e s and j e t e n g i n e s . U n f o r t u n a t e l y the w a l l i s now p a r t i a l l y o b s t r u c t e d by luggage l o c k e r s . The P r o v i n c e ( V a n c o u v e r ) , September 13, 1968, S p o t l i g h t S e c t i o n , p. 10. R e f e r e n c e s : McCaugherty, J a c k . " A r t t a k e s a f l i g h t o f f a n c y a t A i r p o r t . The P r o v i n c e ( V a n c o u v e r ) , June 13, 1968, p. 31 , i l l u s . Lowndes, Joan. A monument t o match t h e j e t age." The P r o v i n c e ( V a n c o u v e r ) , September 13, 1968, S p o t l i g h t S e c t i o n , p.. 10. Q u e s t i o n n a i r e answered by a r t i s t , May 1969. L x x X TAPESTRIES, MacMILLAN-BLOEDEL BUILDING Date: 1968. P l a c e : M a c M i l l a n - B l o e d e l B u i l d i n g , 1075 West G e o r g i a S t r e e t , ( N o r t h w a l l o f e n t r a n c e l o b b y ) . Item: Two t a p e s t r i e s : #182 - S o u s - b o i s a l'automne. #183 - S o u s - b o i s au p r i n t e m p s . ^ A r t i s t : MARIETTE ROUSSEAU-VERMETTE M a t e r i a l : B a s s e - l i s s e weaving. S i z e : 17' x 1 1 ' . The a r t i s t was chosen by t h e a r c h i t e c t and t h e owners b e f o r e t h e b u i l d i n g was completed. Models were p r e s e n t e d by t h e a r t i s t a f t e r she was a c q u a i n t e d w i t h t h e d e s i g n o f t h e b u i l d i n g , t h e c o n c r e t e s u r r o u n d i n g s and t h e use made o f wood. She d e c i d e d on a s i m p l e d e s i g n u s i n g the c o l o u r i n g s o f n a t u r e . The w o r k i n g r e l a t i o n s w i t h t h e a r c h i t e c t and t h e owners were " s i m p l y w o n d e r f u l " , she was l e f t f r e e t o c r e a t e what she f e l t was needed. The r e a c t i o n s o f t h e a r c h i t e c t and t h e p a t r o n t o t h e f i n i s h e d work was e x c e l l e n t and a c c o r d i n g t o t h e comment-a r y r e c e i v e d by t h e a r t i s t t h e g e n e r a l p u b l i c l i k e i t . The t a p e s t r i e s were completed i n December 1968. The a r c h i t e c t o f t h e b u i l d i n g who chose and worked w i t h t h e a r t i s t was A r t h u r E r i c k s o n o f E r i c k s o n / M a s s e y . Q u e s t i o n n a i r e ansxfered by t h e a r t i s t , A p r i l 1972. R e f e r e n c e s : "The M a c M i l l a n - B l o e d e l B u i l d i n g . " A b r o c h u r e p u b l i s h e d by t h e Company ( c o l o u r e d , i l l u s ) . R osenberg, Ann. "A B u i l d i n g That Makes T h i s a B i g C i t y . " The Sun ( V a n c o u v e r ) , January 3 , 1969. I o n , Heather. " F r u i t o f t h e Loom i s Her H a r v e s t . " The P r o v i n c e ( V a n c o u v e r ) , November 10, 1970. p. 31 . Q u e s t i o n n a i r e answered by t h e a r t i s t , March 1972. Telephone c o n v e r s a t i o n w i t h Mr. P e t e r M. Downes, V i c e -P r e s i d e n t , C o r p o r a t e Communications, M a c M i l l a n - B l o e d e l L i m i t e d , F e b r u a r y , 1972. L x x x i V RELIEF M P , WORLD-WIDE INTERNATIONAL TRAVEL Date: 1969. P l a c e : World-Wide I n t e r n a t i o n a l T r a v e l , 808 West H a s t i n g s S t r e e t , ( j u s t below t h e c e i l i n g a l o n g the west w a l l ) . -Item: R e l i e f map m u r a l . A r t i s t : SHERRY GRAUER M a t e r i a l : S t r e t c h e d plywood c o v e r e d w i t h S c o t c h c a l -a m i r r o r e d a c e t a t e o r m y l a r , 3-M p r o d u c t , p l u s shaped canvas p a i n t e d w i t h o i l s . S i z e : 8'6" x 28'. The a r t i s t was commissioned by t h e p a t r o n . She was o r i g -i n a l l y asked t o do a s t r a i g h t o i l p a i n t i n g i n a f i g u r a t i v e t r a v e l theme but was g r a n t e d freedom t o do a r e l i e f i n an a b s t r a c t s t y l e . I t was asked a l s o t h a t the p a n e l be f r e e l y moveable. Thus the m u r a l i s made up o f s i x p a n e l s , f i v e o f which c o u l d be s e p a r a t e p a n e l s used i n d i f f e r e n t l o c a t i o n s . The a r t i s t s t a t e d t h a t she pl a n n e d t h e m u r a l w i t h r e g a r d f o r t he sky, seen t h r o i i g h t h e a d j a c e n t window w a l l , and t o the c o l o u r and - a c t i v i t y o f the o f f i c e . The m i r r o r l i k e q u a l i t y uses r e f e l c t i o n s from b o t h t h e s e s o u r c e s . The work, was s t a r t e d i n M o n t r e a l and l a t e r s h i p p e d i n s m a l l u n i t s t o Vancouver. I t was done s o l e l y by M i s s Grauer and took one y e a r t o complete. I t was i n s t a l l e d on January 24, The a r t i s t f e l t the p a t r o n was most e n t h u s i a s t i c but t h e s t a f f l e s s so. R e f e r e n c e s : " U n i v e r s a l Language." The P r o v i n c e ( V a n c o u v e r ) , January 25, 1969, P. 11. i l l u s . A l s o p , Kay. "The A r t o f B u s i n e s s . " The P r o v i n c e ( V a n c o u v e r ) , September 26, 1970, p. 3 i l l u s . Q u e s t i o n n a i r e answered by a r t i s t May, 1969. 1969. L x x x V MURAL, "THE PACIFIC RIM," STUDENT'S UNION BUILDING UBC Date: 1969. P l a c e : S t u d e n t ' s Union B u i l d i n g , U.B.C ( s o u t h w a l l o f main l o u n g e ) . Item: M u r a l , "The P a c i f i c Rim". A r t i s t : LIONEL THOMAS M a t e r i a l : O i l p a i n t on m a s o n i t e . S i z e : 10' x 15'4". The a r t i s t was approached by the G r a d u a t i n g C l a s s o f 1964, who commissioned him t o c r e a t e a mur a l f o r t h e new Student Union B u i l d i n g w h i c h was under c o n s t r u c t i o n . He chose the symbols o f the P a c i f i c , t h e s e a , a n i m a l and b i r d l i f e and symbols o f t h e c o u n t r i e s i n c l u d e d i n t h e P a c i f i c Rim. These he assembled i n a r i c h t a p e s t r y - l i k e m u r a l . The work was done i n the a r t i s t ' s s t u d i o on t h r e e s e p a r a t e p a n e l s . The m u r a l was a g i f t by the G r a d u a t i n g C l a s s o f 1964 t o the U n i v e r s i t y . The S t u d e n t s Union B u i l d i n g was opened i n May, 1969. A r c h i t e c t s : Toby R u s s e l B u c k w e l l & A s s o c i a t e s . Ref e r e n c e s : " S t u d e n t ' s Union B u i l d i n g , U.B.C" Canadian A r c h i t e c t , V o l . XIV, ((August 1969) ,p. 4, i l l u s . U.B.C A l u m n i C h r o n i c l e , S p r i n g 1969, i l l u s . o n l y . p. 6. B.C. M o t o r i s t , O c t o b e r 1969, c o l o u r e d i l l u s . i n s i d e c o v e r Telephone c o n v e r s a t i o n w i t h a r t i s t , A p r i l 10, 1972. L X X X "THE FOUNTAIN OF THE ^IONESRS", BENTALL CENTRE Date: 1969-P l a c e : B e n t a l l B e n t a l l C e n t r e (on t h e p l a z a i n f r o n t o f the B u i l d i n g , f a c i n g B u r r a r d S t r e e t ) . Item: Free s t a n d i n g s c u l p t u r e f o u n t a i n , o f t he P i o n e e r s . " The F o u n t a i n A r t i s t : GEORGE TSUTAKAWA M a t e r i a l : S i l i c o n bronze p l a t e . S i z e : 15T x 9' • The a r t i s t was chosen by the p a t r o n Mr. H.C. B e n t a l l w i t h a d v i c e from a knowledgeable p a n e l , a f t e r a number o f Canadian s c u l p t o r s had been c o n s i d e r e d . George Tsutakawa o f S e a t t l e was chosen because o f h i s e x p e r i e n c e i n c o n s t r u c t i n g bronze f o u n t a i n s , t h i s one b e i n g h i s t w e n t y - s e v e n t h i n t h e p a s t t e n y e a r s . He works w i t h Jack U c h i d a , a r e s e a r c h e n g i n e e r , who has been t h e a d v i s o r on h y d r a u l i c s . The a r t i s t has made t h e statement A f o u n t a i n i n v o l v e s t h r e e elements: heave, e a r t h and w a t e r . Heaven i s where e v e r y t h i n g i s - space; e a r t h i s where the m a t e r i a l comes from - bronze o r st o n e ; but what r e a l l y makes a f o u n t a i n i s w a t e r , the most e l u s i v e and m y s t e r i o u s element o f a l l . The s c u l p t u r e , which can be thought o f as anthropomorphic i n d e s i g n , i s made o f dark s i l i c o n e b ronze w h i c h i s r e s i s t a n t t o s a l t a i r and w h i c h e v e n t u a l l y w i l l a c o u i r e a g r e e n i s h t i n g e . I t was u n v e i l e d June 11, 1969. -"-The P r o v i n c e ( V a n c o u v e r ) , A p r i l 3, 1969, pp. 12 and 13. R e f e r e n c e s : Lowndes, Joan. "The f o u n t a i n o f Tsutakawa w i l l soon bubble and tumble i n o u r c i t y . " The P r o v i n c e ( V a n c o u v e r ) , A p r i l 3, 1969, pp. 12,13. i l l u s . "Modern f o u n t a i n honours p i o n e e r s . " The P r o v i n c e ( V a n c o u v e r ) , June 12, 1969, p. 1, i l l u s . Lowndes, Joan. " B e n t a l l ' s f o u n t a i n i s an urban a s s e t . " The P r o v i n c e ( V a n c o u v e r ) , June 12, 1969, p. 30. Town send, C h a r l o t t e . "Water Makes the Fountain." The Sun (Vancouver), June 12, 1969, P. 43. The Sun (Vancouver), J u l y 8 , 1969, P. 2 3 , i l l u s . PLEXIGLASS MURAL, THE MERCANTILE BANK OF CANADA Date: 1969-P l a c e : The M e r c a n t i l e Bank of Canada, 1177 West Hastings S t r e e t , (on the main f l o o r behind the information desk). Item: P l e x i g l a s s mural. A r t i s t : GORDON SMITH M a t e r i a l : Four l a y e r s of p l e x i g l a s s , s i l k screened designs, and perspex cubes. The a r t i s t was chosen from a competition by a panel of judges among whom-was the D i r e c t o r of the Vancouver A r t G a l l e r y , a rep r e s e n t a t i v e of the M e r c a n t i l e Bank, the a r c h i t e c t and an i n t e r i o r designer. I t was the i n t e n t i o n of the a r t i s t to make an environmental mural which would, catch the r e f l e c t i o n s of the outdoors and the people passing i n and out of the b u i l d i n g . . The c o n s t r u c t i o n of the mural i s complicated, to be s p e c i f i c : the bottom l a y e r of white p l e x i g l a s s i s p r i n t e d w i t h grey concentric swuares; the sedond l a y e r i s p r i n t e d w i t h purple designs upon which are a f f i x e d transparent perspex cubes; the t h i r d l a y e r i s s i l k screened w i t h black designs again w i t h perspex cubes; and the top l a y e r i s p l a i n p l e x i g l a s s , centered by an opaque white souare design p r i n t e d on i t s underside. Each l a y e r i s separated by a white p l a s t i c dowel, and the whole i s set i n a white-painted s t e e l frame g i v i n g the 600 l b . mural a deceptive a i r of l i g h t n e s s . The l o c a t i o n of the mural i s unfortunate, i t i s w e l l behind an information counter and t y p i s t s ' desk, thus the r e f l e c t i o n s created by the m i r r o r l i k e cubes, the in-o u t i l l u s i o n of depth i s l o s t . I t i s a- work of a r t which should be experienced from a close range. The mural was unv e i l e d on September 25 , 1969. The a r c h i t e c t : A l l a n Waisman of Winnipeg. LX XX V 111 The P r o v i n c e ( V a n c o u v e r ) , September 26, 1969, p. 55, i l l u s . R e f e r e n c e s : Lowndes, Joan. "Bank U n v e i l s M u r a l . " The P r o v i n c e ( V a n c o u v e r ) , September 26, 1969, p. i l l u s . L e t t e r from Edward A. Burge, A s s i s t a n t Manager, The M e r c a n t i l e Bank o f Canada, March 7, 1972. CERAMIC MURAL, GUINESS TOWER Date: 1969. P l a c e : Guiness Tower, 1055 West H a s t i n g s S t r e e t , (Lobby f a c i n g the main e n t r a n c e ) . Item: M u r a l A r t i s t : JORDI BONET M a t e r i a l : Ceramic S i z e : 18' x 32'. The a r t i s t was chosen by t h e owners on the recommendation o f the a r c h i t e c t . He was a s k e d , a f t e r t he b u i l d i n g was under c o n s t r u c t i o n t o c r e a t e a s u i t a b l y d e s i g n e d m u r a l . He was t o l d t h e atmosphere the owners wished t o c r e a t e was a f e e l i n g w h i c h would echo the r e l a t i o n s h i p between the b u i l d i n g and i t s environment. A r e p r e s e n t a t i v e o f the a r t i s t e x p l a i n e d t h a t the m u r a l i s an a b s t r a c t work o f a r t and as such b e a r s no r e p r e s -e n t a t i v e r e l a t i o n t o t h e w o r l d as seen t h r o u g h the eyes. Y e t , when l o o k e d a t t h r o u g h the mind's eye the t e x t u r e s , r e l i e f s , c o l o u r s suddenly a c o u i r e a p a t t e r n , a p u r p o s e , a l i f e o f t h e i r own. B o n e t , t u r n e d t o t h e bottom o f the sea f o r h i s i n s p i r a t i o n . The work was executed i n t h e a r t i s t ' s s t u d i o , m o s t l y by h i m s e l f . I t was i n s t a l l e d by l o c a l c r a f t s m e n . The a r c h i t e c t i s d e l i g h t e d w i t h the m u r a l , as i s the p a t r o n . L x x x / A The p u b l i c have shown no marked e n t h u s i a s m b u t no a d v e r s e comments have been made. The work was completed i n September 1969 and was u n v e i l e d O c t o b e r 22 , 1969. A r c h i t e c t : C h a r l e s T. P a i n e , P a i n e & A s s o c i a t e s ^ , A r c h i t -e c t s . W r i t t e n statement from X a v i e r V i d a l - R i b a s , r e p r e s e n t i n g J o r d i B onet, r e c e i v e d March 23 , 1972. R e f e r e n c e s : R o b e r t , Guy. "The Dramaturgy o f J o r d i Bonet." V i e des  A r t s , Automme, 1969, PT>. 80-81. Lowndes, Joan. "Sea's f a t h o m l e s s r i c h e s theme o f G u i n e s s m u r a l . " The P r o v i n c e ( V a n c o u v e r ) , October 22 , 1969, p. 21, i l l u s . C o l e , N a t . " G u i n e s s ' L o c a l Record I s n ' t A l l That S t o u t . " The Sun ( V a n c o u v e r ) , October 22 , 1969, p. 20 , i l l u s . ' " G u i n e s s Chairman w i l l open new tower." The P r o v i n c e ( V a n c o u v e r ) , October 18, 1969, p. 2 0 . Q u e s t i o n n a i r e answered by a r c h i t e c t , C h a r l e s T. P a i n e , March 1972. L e t t e r f r om D.L.R. Manning, Manager, Guiness Tower, March 21 , 1972. Statement from X z v i e r V i d a l - R i b a s , a r e p r e s e n t a t i v e o f the a r t i s t , March 21 , 1972. SCULPTURE "HORIZONS" WILKINSON STEEL CO. LTD. Date: 1970. P l a c e : W i l k i n s o n S t e e l Co. L t d . S.E. M a r i n e D r i v e ( r e s t i n g on a g r a s s y s l o p e a t t h e e n t r a n c e t o the o f f i c e j u s t s o u t h o f t h e main highway). Item: S c u l p t u r e " H o r i z o n s " . x c A r t i s t : GERHARD CLASS M a t e r i a l : Welded F a b r i c a t e d c o r t e n s t e e l . S i z e : 20' x 2 6 ' : 7000 l b s . The a r t i s t was chosen by t h e c l i e n t , who had seen " T u n i n g F o r k " a t U.B.C. He was asked t o work i n any t y p e o f m e t a l but chose c o r - t e n s t e e l because i t a c q u i r e s a p a t i n a w h i c h p r e v e n t s c o r r o s i o n . I t w i l l g r a d u a l l y t u r n a deep plum c o l o u r . The p r o blem was t h e g r a s s y s l o p e from t h e highway to t h e f r o n t o f the b u i l d i n g . The a r t i s t said, t h a t t h e a r c h i t e c t u r e o f t h e b u i l d i n g was n o t worthy o f t a k i n g i n t o c o n s i d e r a t i o n . The s c u l p t u r e c o n s i s t s o f t h r e e l a r g e wings s t r e t c h i n g upwards and outwards i n g e o m e t r i c a l p l a n e s . The wings r e s t on t h r e e p o i n t e d t i p s w h i c h a r e se c u r e d t o a c o n c r e t e base hidden i n t h e g r a s s . The work i s a t a d i s a d v a n t a g e as i t i s viewed by p a s s e r s by i n c a r s from t h e highway above. I t was commissioned by F. Cameron W i l k i n s o n to commemorate the 60th a n n i v e r s a r y o f the company. He w i s h e d i t t o symbol-i z e a s o l i d l y - b a s e d company s t r e t c h i n g out t o new h o r i z o n s . The p a t r o n was v e r y p l e a s e d w i t h the s c u l p t u r e and t h e p r e s s r e p o r t s were f a v o u r a b l e . The work was u n v e i l e d i n May 1970. R e f e r e n c e s : Lowndes, Joan. "Weather W i l l F a s h i o n H o r i z o n s Dark B l u e . " The P r o v i n c e ( V a n c o u v e r ) , May 29, 1970, p. 31 . Johnson, E i l e e n . "Honest S c u l p t u r e E r e c t e d a t an I n d u s t r i a l P l a n t . " The Sun ( V a n c o u v e r ) , June 15, 1970. p. 37. i l l u s . Q u e s t i o n n a i r e answered by t h e a r t i s t F e b r u a r y , 1971. XC I SUSPENDED CEILING SCULPTURE, WESTCOAST TRANSMISSION CO. LTD. Date: 1970. P l a c e : W estcoast T r a n s m i s s i o n Co. L t d . , 1333 West G e o r g i a S t r e e t , (suspended from c e i l i n g i n e l e v a t o r f o y e r ) . Item: Suspended c e i l i n g s c u l p t u r e . A r t i s t : LUTZ HAUFSCHILD. M a t e r i a l : S t e e l and p l a s t i c . S i z e : The s c u l p t u r e c o v e r s 85% o f the 700 sq. f t . c e i l i n g . The a r t i s t was chosen by the a r c h i t e c t and p a t r o n from a c l o s e d c o m p e t i t i o n w h i l e the b u i l d i n g was s t i l l i n the p l a n n i n g s t a g e . Because o f the s i z e and shape o f t h e f o y e r , t h e a r t i s t and a r c h i t e c t b o t h f e l t t he o n l y p l a c e f o r a s c u l p t u r e would be t o suspend i t from t h e c e i l i n g . I t was the i n t e n t o f the a r t i s t t o r e p r e s e n t the company's p i p e l i n e o p e r a t i o n s . The suspended s c u l p t u r e i s a c o l l a g e o f s t e e l and p l a s t i c c y l i n d e r s , t h e s t e e l r e p r e s e n t a t i v e o f th e p i p e l i n e o p e r a t i o n , t h e p l a s t i c a by p r o d u c t o f t h e p e t r o l e u m i n d u s t r y . The c y l i n d e r s a re o f v a r i e d d i a m e t e r s and l e n g t h s . Bare l i g h t b u l b s w i t h i n t h e c y l i n d e r s t o p r o -v i d e l i g h t . I t s r e f l e c t i v e q u a l i t i e s add t o i t s i m p a c t , , A m e t a l p a n e l on the s o u t h w a l l o f t h e f o y e r was added l a t e r and i s not t h e work o f H a u f s c h i l d . A r c h i t e c t s : Rhone and I r e d a l e . R e f e r e n c e s : "Westcoast B u i l d i n g . " The Canadian A r c h i t e c t , O c t o b e r 1971, p. 36, i l l u s . "He's h e r e , t h e r e and everywhere." The Vancouver E x p r e s s March 19, 1970. Spotswood, Ken. "Know Where t o Stop." The P r o v i n c e ( V a n c o u v e r ) , O c t o b e r 16, 1970, p. 6, i l l u s . xc n SCULPTURED MURAL, PLAZA 500 Date: 1970 P l a c e : P l a z a 500, c o r n e r 1 2 t h Avenue and Cambie S t r e e t , (on w a l l a t ground l e v e l ) . Item: R e l i e f m u r a l . A r t i s t : PAUL DEGGAN M a t e r i a l : P r e - c a s t c o n c r e t e and g l a s s mosaic. S i z e : 9 T 6 " x 60'. The a r t i s t was commissioned by the a r c h i t e c t b e f o r e t h e b u i l d i n g was completed. He was asked t o concern the mur a l w i t h Vancouver's h i s t o r y and t o i n t e g r a t e i t w i t h the b u i l d -i n g and i t s name P l a z a 500. The a r t i s t s t a t e d the s i t e c a l l e d f o r a r i c h l y s c u l p t u r e d r e l i e f t o tak e advantage o f s l a n t i n g s u n l i g h t t h r o u g h o u t t h e morning. P l a z a 500 becomes e l i g i b l e o n l y when the sun i s o b s c u r e d . The work nls c o n c e p t u a l l y 3 - d i m e n s i o n a l ; c l o s e i t i t i s a s e r i e s o f h i s t o r i c a l m o t i f s i n mosaic mid-d l e d i s t a n c e , i t i s an a b s t r a c t r e l i e f and f a r d i s -t a n c e , - ^ i t becomes a s i g n r e a d i n g the name o f t h e h o t e l . The frame work and the mosaic d e s i g n was c a r r i e d out i n the a r t i s t ' s s t u d i o , the c o n c r e t e was poured on s i t e . The a r t i s t s t a t e d t h a t he ran i n t o problems w i t h c o n s t r u c t i o n u n i o n s who o b j e c t e d t o h i s w o r k i n g on the s c u l p t u r e a t the s i t e . The a r c h i t e c t f o r t h e i n t e r i o r and t h e p u b l i c were a t t r a c t e d t o t h e work. The p a t r o n was m o s t l y concerned w i t h the mosaic d e s i g n . Q u e s t i o n n a i r e answered by a r t i s t , J a n u a r y 1972. R e f e r e n c e s : Lorne P a r t o n . The P r o v i n c e ( V a n c o u v e r ) , September 28, 1971, P. 23 FOUNTAIN, QUEEN ELIZABETH PLAZA Date: P l a c e : Item: A r t i s t : M a t e r i a l : S i z e : 1971. Queen E l i z a b e t h P l a z a F o u n t a i n GERHARD CLASS Bronze and s t a i n l e s s s t e e l , 20' . The a r t i s t was chosen from an open c o m p e t i t i o n s e l e c t e d by a j u r y . The f o u n t a i n was a c e n t e n n i a l g i f t o f the German-s p e a k i n g p e o p l e o f B r i t i s h Columbia. The bronze work was done i n a bronze f o u n d r y i n S t r a s s a k e Germany, and sh i p p e d t o Vancouver. The s t a i n l e s s s t e e l wor was done i n t h e a r t i s t ' s s t u d i o and f i n i s h e d on l o c a t i o n . The a r t i s t commented t h a t u n f o r t u n a t e l y so much time e l a p s e d between t h e d e s i g n stage and the c o m p l e t i o n o f t h e p r o j e c t t h a t t h e c o s t was g r e a t l y i n c r e a s e d . ' R e f e r e n c e s : The Sun ( V a n c o u v e r ) , November 22, 1971, p. 28, i l l u s . Q u e s t i o n n a i r e answered by a r t i s t , O c t o b e r , 1971. X CI V APPENDIX B e r g e r o n , Germain. C.S.C. Quebec. b. i n S t e . P e r p e t u e , Que. 1933. B i n n i n g , B e r t r a m C. West Vancouver b. i n M e d i c i n e Hat, A l t a . 1909 B l o m f i e l d , James. A r t i s t , B.C. D i r e c t o r y 1905 D i e d i n T o r o n t o . 1951 Bobak, Bruno. F r e d r i c t o n , New B r u n s w i c k , b. i n P o l a n d , 1923. B o n e t , J o r d i . M o n t r e a l , Que., b. i n B a r c e l o n a , 1932. B r a y o v i t c h , Yanka. (1889-1948) b. i n Montenegro, B r a z i l . B r u c e , John. stone c a r v e r , Henderson's D i r e c t o r y 1910 Page l x x i x x v i i i , x x x , x x x i i i , x x x v i i x x v i l x x x v i i i x x i i IX C l a s s , Gerhard Hans. West Vancouver b. i n Germany, 1 9 2 1 . Comfort, C h a r l e s F r a s e r , H u l l , Que. b. i n E d i n b u r g h , 1 9 2 1 . C l o t h i e r , R o b e r t . N o r t h Vancouver b. i n P r i n c e R u p e r t , 1 9 2 1 Deggan, P a u l . West Vancouver b. i n E n g l a n d , 1 9 3 2 . Drope, McLeary. Delaware, Ont. b. i n D e t r o i t , 1 9 3 1 . Epp, Leonhard. Richmond, B.C. b. i n Germany, 1 9 3 2 . F i s c h e r - C r e d o , O t t o , D i e d c. I960 b. i n B e r l i n , Germany x x x i x , l v i i i , l x , l x x x i x , x c i i , l x x v . x v i , x x i i i x x x i 1 l v , x c i i l x i v I x x i v x l XC V F i s h e r , O r v i l l e . West Vancouver bo i n Vancouver, 1911• Grauer, S h e r r y . Vancouver, b . i n T o r o n t o , 1939* Harman, Jack Kenneth. N o r t h Vancouver b . i n New W e s t m i n s t e r , 1927 H a u f s c h i l d , L u t z . Vancouver b . i n Germany, 1943« H u r r y , James McLeod g r a n i t e c t r . f o r B.C. Monumental Works, Vancouver D i r e c t o r y , 1922 K u j u n d z i c , Z e l j k o . Uniontown, Penn. b . i n U y g o s l a v i a , 1920 L e n n i e , B e a t r i c e . West Vancouver b . i n N e l s o n , B.C., 1905. L o t t , R i c h a r d G. Vancouver MacCarthy, Coeur de L i o n , M o n t r e a l D i e d 1939 . Macdonald, James W.G. (1897-1960) b . a t Thurso, S c o t l a n d . Manzu, Giacomo. Rome, I t a l y . b . i n Bergamo, I t a l y , 1908 . Marega, C h a r l e s . (1876-1939) b . i n Genoa, I t a l y March, Sydney. K e n t , E n g l a n d , b . i n H u l l , E n g l a n d . Mayhew, E l i z a . V i c t o r i a , b . i n V i c t o r i a , 1916 M o l i n a r i , Guido. M o n t r e a l , b . i n M o n t r e a l , 1933 . Page x x x i v I x x x i v x l v i i , x l v i i i , l i x l x v i i i x c i v i l x i x x i x , x x i i , xxv l x x v i v i i xv i i xxxv i i i , i v , v i i i , x i v , xv. x l v : l : x x i i Moore, Henry 0 London. b. i n C a s t l e f o r d , E n g l a n d . 1898. M u r r a y , R o b e r t . New York C i t y b. i n Vancouver, 193 6. N o r r i s , George" A. Vancouver, b. i n V i c t o r i a , 1930. Onley, T o n i . Vancouver. 'b. i n I s l e o f Man, 1928. P e r r y , Frank. N o r t h Vancouver, b. i n Vancouver, 1923. P f e i f e r , Bodo. Vancouver. b. i n D u s s e l d o r f , Germany, 1936. Rousseau-Vermette, M a r i e t t e . S t e . A d e l e , Que. b. i n Quebec, 192 6. S h a d b o l t , Jack L e o n a r d . N o r t h Burnaby. b. i n E s s e x , E n g l a n d . 1909• S m i t h , Gordon. West Vancouver, b. i n Sussex, E n g l a n d . 1919 Page I i i l x v x x i x , x l , l i v , l v i , I x i l x x i , l x x v i , x x v i i i 1 l x v i Svoboda, Count A l e x Von. Toronto b. i n A u s t r i a . Thomas, L i o n e l , West Vancouver, b. i n T o r o n t o , 1915. Tsukatawa, George. S e a t t l e , T,'Jash. b. i n S e a t t l e , 1910. Wheeler, S i r C h a r l e s . b. i n Wolverhampton, 1892. Wiegersma, P e t e r . H o l l a n d Weghsteen, Ro b e r t A. L a n g l e y , B.C. b. i n B r u g e s , B e l g u i m , 1929. Zach, J a n . V i c t o r i a . b. i n C z e c h o s l o v a k i a , 1914. I x x v i i , l x x x i l x x x i v xx, x l i i x l i , l x x x v i i l x i i xxv i i , x x x i , x x x v , x l v i , x l i x , l i i i , l v i , l x x x v l x x x v i xxxv111 x l i v l x x x i i l x x i i INDEX Academy o f M e d i c i n e xxv A i r p o r t , Vancouver I n t e r n a t i o n a l 2,. B r i c k w a l l l x x x i i 3' M u r a l - south lounge l x x x -^ M u r a l - n o r t h lounge I x x x i 5: S t e e l s c u l p t u r e . faeeeii 1*^ 6. A l c a z a r H o t e l x x i 7. A l e x a n d r a Park v i i i 8. Bank o f Canada l x x i i c i . B a x t e r B u i l d i n g l x i v 10- B e n t a l l C e n t r e I x x x v i U, B l o c k B u i l d i n g l v i 12. B„C„ Hydro x x x i i i 13 C a s t l e H o t e l x l ifM^B Canadian I m p e r i a l Bank o f Commerce x x x v i i tfv C.P.R, S t a t i o n v i i IL C e n t e n n i a l Museum and P l a n t a r i u m l x x v i i i C i t y H a l l , Vancouver P s C a p t a i n Vancouver x i v 18^ S e n a t o r G.G. McGeer x x i i x c v m Page I n\ C.K.W.X. Radio S t a t i o n x x x i ('Court House, Vancouver 20' C e n t e n n i a l F o u n t a i n l x i i K i n g Edward. V I I F o u n t a i n i v L i o n s i i E a s t A s i a t i c House 1% s R e l i e f M u r a l s l i v F o u n t a i n s l x lS/ Empire Stadium l x v i i i 2J> / E n g l i s h Bay, beach l x x 21 ' Guines-s Tower I x x x v i i i 2 $ / G u l f and ^ r a s e r Fishermen's C r e d i t Union l x x i v H o t e l Vancouver. 1S\ / G a r g o y l e s x i i •3° M u r a l - Main l o b b y x v i 3' M u r a l - D i n i n g room x v i i 32. R e l i e f M u r a l - e l e v a t o r c o u r t x i x 33 ^ Labour Temple, Vancouver x x i i L i b r a r y , Vancouver. 3*/ </ M o s a i c M u r a l x x x i 3? ^ W a l l s c u l p t u r e x l i x 2>£ / L i o n s Gate B r i d g e xv M a c M i l l a n B l o e d e l L i m i t e d 37 s S c u l p t u r e xxxv T a p e s t r i e s l x x x i v Page AjSfB M a r i n e B u i l d i n g x i i i tyO/ M e d i c a l D e n t a l B u i l d i n g x M e r c a n t i l e Bank Ml M u r a l Map x x v i i 42. ^  P l e x i g l a s s m u r a l l x x x v i i ^ Moore B u s i n e s s Forms l x x v i i N a t i o n a l Harbours Board l v i i i i]S O'Brien A d v e r t i s i n g x x v i i i P a c i f i c P r e s s B u i l d i n g S c u l p t u r e - l o b b y l v i /' n S c u l p t u r e - p l a z a l i x P l a z a 500 x c i i i H1 y P o s t O f f i c e - Main x x x i v 50y- P o s t a l S t a t i o n "D" l x i Si Quantas A i r l i n e O f f i c e I x x v i Sh^ Queen E l i z a b e t h P a r k l i i Queen E l i z a b e t h P l a y h o u s e 53y M u r a l 1 ^ ^ S c u l p t u r e on p l a z a l x v i " Queen E l i z a b e t h T h e a t r e 5$ y S c u l p t u r e d m u r a l s . x l i S t a i n e d g l a s s window ;' x l i v £T7 S F o u n t a i n on p l a z a x c Page 5 8 ^ Queen E l i z a b e t h T h e a t r e R e s t a u r a n t x l i i R o y a l Bank of Canada, Robson and G r a n v i l l e l i i i yo </ S c h o o l o f A r t , Vancouver x x v i h>\ / Shaughnessy H o s p i t a l x i x S t a n l e y P a r k f0ZJ D a v i d Oppenheimer i i i 63 K H a r d i n g M e m o r i a l v i i i ^ S L o r d S t a n l e y x l v b&^ P a u l i n e Johnson c a i r n v i t,0>A7bbo Robert Burns i x 47 / Queen V i c t o r i a F o u n t a i n i b% "/ Sun B u i l d i n g v ^ M / f S ' T o r o n t o Dominion Bank x x i i i U n i v e r s i t y o f B r i t i s h Columbia 7<3^ Brock H a l l x l v i ^ Buchanan B u i l d i n g x x x i x 1? s e d u c a t i o n B u i l d i n g l v 73 </ F o r e s t r y , A g r i c u l t u r e B u i l d i n g l x x x i .•(*• "n) F r e d e r i c Wood Th e a t r e A s i a t i c Head x l 7^ Three i r o n s c u l p t u r e l x x i Ik / Graduate S t u d e n t s Centre x l v i i i L a s s e r e B u i l d i n g P l a z a 7 / / F e r t i l i t y s c u l p t u r e x l v i i Page Three Forms x x x i i l ° i • / ' R e c l i n i n g F i g u r e l x x i i $° * L i b r a r y , Main - on lawn x x i x M e t a l l u r g y B u i l d i n g l x x v i ' M u s i c B u i l d i n g l x x v $3' S t . Mark's C o l l e g e XXXV fylj / S t u d e n t s Union B u i l d i n g l x x x v f^QSB T h u n d e r b i r d Stadium I x i x $b X Woodward L i b r a r y x x x v i i i #7' V i c t o r y Square l x v i i $8 Westcoast T r a n s m i s s i o n Co. x c i %elv/ W i l k i n s o n S t e e l Co. I x x x i x World Wide T r a v e l I x x x i v 

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