The Art Canada Institute gratefully acknowledges the generosity of the sponsors of this book:
Lead Sponsor
Fred and Elizabeth Fountain
Title Sponsors
Rob and Monique Sobey
Jim Spatz and Valerie MacDonald
Contributing Sponsor
Peter and Elizabeth Clarke
The Art Canada Institute gratefully acknowledges the support of the Art Gallery of Nova Scotia as a cultural partner and its role in providing images for the publication. Our special thanks go to David Diviney, Sarah Moore Fillmore, Shannon Parker, Colin Stinson, and Troy Wagner.
We thank the Founding Sponsor of the Art Canada Institute: BMO Financial Group.
This book was very much a team effort. I am grateful to Sara Angel and her team at ACI for all of their work to make this project possible. In particular, I would like to acknowledge my substantive editor, Sarmishta Subramanian, and my copy editor, Clare Sully-Stendahl. They both made this a much better book. I also appreciate the anonymous efforts of the outside readers whose suggestions did much to strengthen this effort. My thanks to image researcher Mollie Cronin and to the rest of the editorial and design teams so ably led by Claudia Tavernese and Simone Wharton.
I also want to thank Sarah Moore Fillmore and her team at the Art Gallery of Nova Scotia for partnering on this project, and I especially want to acknowledge the efforts of Shannon Parker and Troy Wagner. The generosity of the copyright holders in allowing the reproduction of their images is also deeply appreciated.
Many writers have covered the remarkable history of Halifax before, and I would not have been able to write this book without the previous efforts of so many. In particular, the works and examples of Dianne O’Neill, Mary Sparling, Sandra Paikowsky, Jim Burant, and Jeffrey Spalding were key in forming my understanding of this wonderful city’s art history.
I want to thank the generous funders who have shown their commitment to the art of Nova Scotia through their financial support for this and so many other fine projects.
Finally, thank you to my family: Sarah Maloney and our children, Mollie, Kathryn, and Maggie.
IMAGE SOURCES
Every effort has been made to secure permissions for all copyrighted material. The Art Canada Institute will gladly correct any errors or omissions.
The Art Canada Institute would like to thank the following for their assistance: Anna Leonowens Gallery (Kate Walchuk); Art Gallery of Nova Scotia (David Diviney, Shannon Parker, Troy Wagner); Art Gallery of Hamilton (Andrea Howard); Art Gallery of Ontario (Alexandra Cousins); Art Mûr (Mike Patten, Béatrice Larochelle); Beaverbrook Art Gallery (Dawn Steeves); The Blue Building Gallery (Ryan Josey); The Brechin Group Inc. (Jacqueline Vincent); Canada Council Art Bank (Saada El-Akhrass); Canadian War Museum (Shannyn Johnson); CFFI Ventures Inc. (Laura Petracco, Nanci Rorabeck); Comox Valley Art Gallery (Denise Lawson, Taylor Robinson, Angela Somerset); Confederation Centre of the Arts (Kathleen MacKinnon); Dalhousie University Archives (Creighton Barrett, Phillip Laugher); Dalhousie Art Gallery (Michele Gallant); Dalhousie Sexton Library (David Ryan); Dalhousie Special Collections (Karen Smith); Dartmouth Heritage Museum (Shannon Baxter); DesBrisay Museum (Michelle Connick); Dorset Fine Arts (David Hannen); the Estate of David Askevold (Kyla Ready-Askevold); the Estate of Alex Colville (Ann Kitz); the Estate of Nancy Edell (Gabriel Edell); the Estate of Gerald Ferguson (Heather Ferguson); the Estate of Lawren S. Harris (Stewart Sheppard); the Estate of Annie Pootoogook; Eyelevel Gallery (Cinthia Arias Auz); Goose Lane Editions (Angela Williams); IOTA Institute (Mireille Bourgeois); The Kalaman Group (Megan Kalaman and Liz Knox); Library and Archives Canada (Patrick Osborne); McCord Stewart Museum (Anne-Frédérique Beaulieu-Plamondon); McMichael Canadian Art Collection (Janine Butler); Mira Godard Gallery (Gisella Giacalone); Montreal Museum of Fine Arts (Marie-Claude Saia); Mount Saint Vincent University Archives (Alina Ruiz); MSVU Art Gallery (Melanie Colosimo); National Film Board of Canada (Alexandra Hubert); National Gallery of Canada (Raven Amiro); Nimbus Publishing (Heather Bryan); NSCAD University (Bruce de Baie, Andrew Hill, Rebecca Young); Nova Scotia Archives (Jessica Kilford); Nova Scotia Legislative Library (David MacDonald); Nova Scotia Museum (Anna Cross); Olga Korper Gallery (Thomas Schneider); Royal Ontario Museum (Nicola Woods); the Sobey Art Foundation (Bernard Doucet); Saint Mary’s University Art Gallery (Pam Correll); University of Lethbridge Art Gallery (Juliet Graham); Waddington’s Canadian Fine Art (Kendra Popelas); and Jordan Bennett; Marion Bryson; Thierry Delva; Steve Farmer; Michael Fernandes; Greg Forrest; Frank Forrestall; Tom Forrestall; Jean-Pierre Gauthier; John Risley; Shauntay Grant; John Greer; Sylvia D. Hamilton; Ursula Johnson; T.J. Maguire; Catherine A. Martin; Divya Mehra; Angella Parsons; Vanessa Paschakarnis; Lucy Pullen; Bob Rogers; Lauren Schaffer; Krystle Silverfox; Shyronn Smardon; Alan Syliboy; Emily Vey Duke; and Colleen Wolstenholme.
ACI recognizes the additional private collectors who have given permission for their works to be published in this edition.
Credit for Cover Images
Installation detail of Ketu’ elmita’jik (They want to go home), 2018–19, by Jordan Bennett (includes Artist was known, Mi’kmaq, Nova Scotia, Chair Seat Panel c.19th century), at the Art Gallery of Nova Scotia, Halifax. Courtesy of the Art Gallery of Nova Scotia, Halifax, and Jordan Bennett.
Maud Lewis, Lighthouse and Ferry at Cape Forchu, Yarmouth County, 1960s, oil on board, 31.4 x 33.7 cm. Collection of CFFI Ventures Inc. as collected by John Risley. Courtesy of CFFI Ventures Inc.
Credits for Banner Images
Preface: Harold Gilman, Halifax Harbour, 1918. (See below for details.)
Historical Overview: John O’Brien, Halifax Harbour, Sunset, c.1853. (See below for details.)
Key Artists: Tom Forrestall, The Dramatic Entrance, 1985–August 2011. (See below for details.)
Institutions, Associations & Events: John Greer, Origins, 1995. (See below for details.)
Community Builders: Still from the film Black Mother Black Daughter, 1989, directed by Sylvia D. Hamilton and Claire Prieto. (See below for details.)
Sources & Resources: Arthur Lismer, Troopship Leaving Halifax, 1918. (See below for details.)
Where to See: Shauntay Grant at Citadel Hill, Halifax, with Winter Quilt, c.1950, by her great-grandmother Annie Simmonds, 2013, photograph by Shyronn Smardon. (See below for details.)
Copyright & Credits: Arthur Lismer, Halifax Harbour, Time of War, c.1917. (See below for details.)
Credits for works and photographs
A.E. Kerr, C.D. Howe, Lady Dunn, and Lord Beaverbrook, c.1958, by Wetmore. Collection of the Dalhousie University Photographic Collection, Dalhousie University Archives, Halifax (PC1, Box 1, Folder 18, Item 14). Courtesy of the Dalhousie University Photographic Collection, Dalhousie University Archives.
And Still Counting (No. 7), 2009, by Garry Neill Kennedy. Private collection. Courtesy of Waddington’s Auctioneers, Toronto.
Albert McNamara drawing curved lines on stone for Sol Lewitt’s Five Lithographic Pieces with Variations, c.1970s. Photograph by Bob Rogers. Collection of the Anna Leonowens Gallery Archives, NSCAD University, Halifax. Courtesy of the Anna Leonowens Gallery Archives, NSCAD University.
All My Relations, Family, 1992, by Alan Syliboy. Collection of the Art Gallery of Nova Scotia, Halifax, Purchased with funds provided by MT&T (An Aliant company), Halifax, Nova Scotia, 1993 (1993.108). Courtesy of the Art Gallery of Nova Scotia.
The ARAB, Brigantine, and the MILO, Brig, off Halifax Harbour, 1856, by John O’Brien. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Judith A. and Alex W. Doyle, Sidney, British Columbia, 1999 (1999.25). Courtesy of the Art Gallery of Nova Scotia.
Art Gallery of Nova Scotia director Bernard Riordon with an unidentified woman, Alice Hoskins, and Anthony Law at the exhibition opening of Robert Field at the Art Gallery of Nova Scotia, Halifax, 1978. Courtesy of the Art Gallery of Nova Scotia, Halifax.
At the Edge of the Woods, 1882, by Frances Jones Bannerman. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Anne F. Joudrey, Halifax, Nova Scotia, 2001 (2001.135). Courtesy of the Art Gallery of Nova Scotia.
Atomic, 1953, by LeRoy Zwicker. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of John and Norma Oyler, Halifax, Nova Scotia, 2004 (2004.352). Courtesy of the Art Gallery of Nova Scotia.
Autumn, Combermere, Ontario [Alternate Title: Birches], date unknown, by A.Y. Jackson. Collection of the Sobey Art Foundation, New Glasgow. Courtesy of the Sobey Art Foundation.
Autumn on the Northwest Arm, Halifax, Nova Scotia, 1930, by Elizabeth Styring Nutt. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Harold P. Connor, Halifax, Nova Scotia, 2001 (2001.103). Courtesy of the Art Gallery of Nova Scotia.
Bear in Point Pleasant Park, 1989, by Nancy Edell. Collection of the National Gallery of Canada, Ottawa, Purchased 1993 (37134.1-2). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Bedford Basin from the Presbyterian Church, c.1870, by Forshaw Day. Collection of the Anna Leonowens Gallery Archives, NSCAD University, Halifax. Courtesy of the Anna Leonowens Gallery Archives, NSCAD University.
Blue Mosque, 1965, by Ruth Salter Wainwright. Collection of the Art Gallery of Nova Scotia, Halifax, Purchased by Province of Nova Scotia as part of the Centennial Collection of the Nova Scotia Society of Artists, 1967 (1967.20). Courtesy of the Art Gallery of Nova Scotia.
Blue Pools, 1984, by Ruth Salter Wainwright. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Isabel Wainwright, Halifax and Harold Wainwright, Bridgewater, 2002 (2002.52). Courtesy of the Art Gallery of Nova Scotia.
British Vessels at Anchor in Annapolis Royal, Nova Scotia, with a Rear-Admiral of the Red Firing a Salute, c.1751, attributed to Samuel Scott. Collection of the Art Gallery of Nova Scotia, Halifax, Purchased with funds provided by AGNS Honorary Governor Farhad Vladi and by Günter Thiel, 2008, and with the assistance of a Movable Cultural Property grant accorded by the Department of Canadian Heritage under the terms of the Cultural Property Export and Import Act (2008.1). Courtesy of the Art Gallery of Nova Scotia.
Building a “Bluenose”, 1946, by Donald Cameron Mackay. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Robert and Elizabeth Manuge, Yarmouth, Nova Scotia, 2000 (2000.183). Courtesy of the Art Gallery of Nova Scotia.
The Capture of Louisbourg, c.1745, by Peter Monamy. Collection of the Art Gallery of Nova Scotia, Halifax, Purchased with the assistance of a Movable Cultural Property grant accorded by the Department of Canadian Heritage under the terms of the Cultural Property Export and Import Act and with funds donated by Farhad Vladi, Günter Thiel, Jörg Pilawa, Joe Ramia and other friends of the AGNS, and Fred and Elizabeth Fountain, 2011 (2011.39). Courtesy of the Art Gallery of Nova Scotia.
Children Skiing, mid-1960s, by Maud Lewis. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Dr. Peter Moore, Toronto, Ontario, 1994. Courtesy of the Art Gallery of Nova Scotia. Photo credit: RAW Photography.
The Church of Saint Paul and the Parade at Halifax in Nova Scotia, 1764, by Richard Short, Dominic Serres, and Ignace Fougeron. Collection of the Anna Leonowens Gallery Archives, NSCAD University, Halifax. Courtesy of the Anna Leonowens Gallery Archives, NSCAD University.
Close to the edge, but not going over the edge, 1972, by Gerald Ferguson. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of the Artist, Halifax, Nova Scotia, 2003 (2003.145). Courtesy of the Art Gallery of Nova Scotia.
Colonel Edward Cornwallis, c.1756, by Sir Joshua Reynolds P.R.A. Collection of the Art Gallery of Nova Scotia, Halifax, Purchased with the assistance of a Movable Cultural Property grant accorded by the Department of Canadian Heritage under the terms of the Cultural Property Export and Import Act, Thiel Trio Buildings, and Vladi Private Islands, Halifax, Nova Scotia, 2006 (2006.2). Courtesy of the Art Gallery of Nova Scotia.
The Colours of Citizen Arar, 2007, by Garry Neill Kennedy. Collection of the Art Gallery of Nova Scotia, Halifax, Purchased with the support of the Canada Council for the Arts Acquisition Grants program, 2015 (2015.3). Courtesy of the Art Gallery of Nova Scotia. Photo credit: RAW Photography.
Convoy at Night, c.1917, by Arthur Lismer. Collection of the Anna Leonowens Gallery Archives, NSCAD University, Halifax. Courtesy of the Anna Leonowens Gallery Archives, NSCAD University.
Corner of Hollis and Prince Streets, Halifax, Nova Scotia, Looking North, date unknown. Photograph by the Notman Studio. Collection of the Nova Scotia Archives, Halifax (accession no. 1983-310 no. 21323). Courtesy of the Nova Scotia Archives.
Cover of artscanada, March 1967.
Cover of Atlantica: The View from Away by Jeffrey Spalding (Halifax: Dalhousie Art Gallery, 2004).
Cover of Canadian Art, 1959, designed by Gerald Trottier. Courtesy of the Estate of Gerald Trottier. Photo credit: Shoebox Studio, Ottawa.
Cover of Chronological Table of Dartmouth, Preston, and Lawrencetown, County of Halifax, Nova Scotia by Harry Piers (Halifax: Self-published, 1894).
Cover of Generations: The Sobey Family and Canadian Art by Sarah Milroy (Kleinburg and Fredericton: McMichael Canadian Art Collection and Goose Lane Editions, 2022).
Cover of “Lithography Workshop,” 1970, by Gerald Ferguson. Published by artscanada. Collection of the Anna Leonowens Gallery Archives, NSCAD University, Halifax. Courtesy of the Anna Leonowens Gallery Archives, NSCAD University.
Cover of Maritime Art: A Canadian Art Magazine, December 1940. Courtesy of the Art Gallery of Nova Scotia, Halifax.
Cover of Maritime Art: A Canadian Art Magazine, February–March 1943. Courtesy of the Art Gallery of Nova Scotia, Halifax.
Cover of Maritime Art: A Canadian Art Magazine, July–August 1943. Courtesy of the Art Gallery of Nova Scotia, Halifax.
Cover of Master Goldsmiths and Silversmiths of Nova Scotia by Harry Piers and Donald Cameron Mackay (Halifax: The Antiquarian Club, 1948).
Cover of Silversmiths and Related Craftsmen of the Atlantic Provinces by Donald Cameron Mackay (Halifax: Petheric Press, 1973).
Cover of 200 Years of Art in Halifax: An Exhibition Prepared in Honour of the Bicentenary of the City of Halifax, N.S., 1749-1949 by Alexander S. Mowat et al. (Halifax: Nova Scotia College of Art, Nova Scotia Museum of Fine Arts, Nova Scotia Society of Artists, Dalhousie University, 1949).
Dartmouth Shore in the Harbour of Halifax, c.1775, by Joseph Frederick Wallet DesBarres. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of John and Norma Oyler, Halifax, Nova Scotia, 1998 (1998.614). Courtesy of the Art Gallery of Nova Scotia.
Deer in Winter, c.1950, by Maud Lewis. Collection of the Art Gallery of Nova Scotia, Halifax, Purchase, 1974 (1974.15). Courtesy of the Art Gallery of Nova Scotia.
Dog, Girl and Beach, 1979, by Tom Forrestall. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Willard Strug, Halifax, Nova Scotia, 2005 (2005.506). Courtesy of the Art Gallery of Nova Scotia.
Doll’s Cradle Basket, date unknown, by Edith Clayton. Collection of the Nova Scotia Museum, Halifax (87.103.1). Courtesy of the Nova Scotia Museum.
Donald Cameron Mackay, 1930, by J. Frederic McCulloch. Collection of the Art Gallery of Nova Scotia, Halifax, Purchase, 1980 (1980.65). Courtesy of the Art Gallery of Nova Scotia.
The Dramatic Entrance, 1985–August 2011, by Tom Forrestall. Courtesy of Mira Godard Gallery, Toronto.
Drawing of the first N.S.S.A. Exhibition, College of Art, Halifax, 1923, 1951, by Donald Cameron Mackay. Collection of the D.C. Mackay Fonds, Dalhousie University Archives, Halifax (MS2-280, Box 19, Folder 43). Courtesy of the D.C. Mackay Fonds, Dalhousie University Archives.
Edward Mortimer (1768–1819), c.1815, by Robert Field. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Janet Johnstone, Halifax, Nova Scotia, 1975 (1975.1). Courtesy of the Art Gallery of Nova Scotia.
Eight-Pointed Star, date unknown, by Once-Known Mi’kmaw Artist. Photo credit: Ray Cronin.
Elizabeth Nutt Seated (?), 1920, by Melda Landry. Collection of the Art Gallery of Nova Scotia, Halifax, Purchase, 1989 (1989.22). Courtesy of the Art Gallery of Nova Scotia.
An Encampment of Mi’kmaq Near Halifax, Nova Scotia, 1808 [Original title: Micmac Indians Near Halifax, Nova Scotia, 1808], 1842, by Unknown (After John Cunningham). Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Christopher Ondaatje, Toronto, Ontario, 1994 (1994.230). Courtesy of the Art Gallery of Nova Scotia.
Entrance to Halifax Harbour and the Town of Halifax, N.S., c.1780, by Lieutenant Colonel Edward Hicks. Collection of the Art Gallery of Nova Scotia, Halifax, Purchased with funds provided by the Government of Canada under the terms of the Cultural Property Export and Import Act, Ottawa, 1990 (1990.62). Courtesy of the Art Gallery of Nova Scotia.
Evelyn Holmes, acting curator of the Dalhousie Art Gallery, Halifax, with pottery, 1967. Photographer unknown. Collection of the Dalhousie University Photographic Collection, Dalhousie University Archives, Halifax (PC1, Box 9, Folder 22). Courtesy of the Dalhousie University Photographic Collection, Dalhousie University Archives.
Exterior of the Art Gallery of Nova Scotia North Building from Bedford Row, 2015. Photograph by RAW Photography.
Four Humpback Whale Drum, date unknown, by Jon Seca LaBillois and Alan Syliboy. Collection of the Beaverbrook Art Gallery, Fredericton (Gift of the artist, 2010). Courtesy of the Beaverbrook Art Gallery.
Garry Neill Kennedy helping students build a student lounge in the old church hall building that was attached to the newly constructed NSCAD building, c.1970. Photograph by Bob Rogers. Collection of the Anna Leonowens Gallery Archives, NSCAD University, Halifax. Courtesy of the Anna Leonowens Gallery Archives, NSCAD University.
Government House, Halifax, from the S.W., 1819, by John Elliott Woolford. Collection of the Nova Scotia Archives, Halifax. Courtesy of the Nova Scotia Archives.
The Governor’s House and St. Mather’s Meeting House in Hollis Street, also looking up George Street, 1764, by Richard Short, Dominic Serres, and François Antoine Aveline. Collection of the Anna Leonowens Gallery Archives, NSCAD University, Halifax. Courtesy of the Anna Leonowens Gallery Archives, NSCAD University.
Governor’s House and St. Mather’s Meeting House on Hollis Street, also looking up George Street, c.1762, by Dominic Serres. Collection of the Art Gallery of Nova Scotia, Halifax, Purchased with funds provided by the Gallery’s Art Trust Fund (Mrs. Stewart L. Gibson Bequest), the Cultural Foundation of Nova Scotia, and private and corporate donations, 1982 (1982.41). Courtesy of the Art Gallery of Nova Scotia.
Grafton Street, Halifax, c.1960s, by LeRoy Zwicker. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of the Nova Scotia Society of Artists, Diploma Collection, Halifax, Nova Scotia, 1974 (1974.30). Courtesy of the Art Gallery of Nova Scotia.
Grain Elevator, Halifax / Cathedral of Industry, c.1939. by Edith Smith. Collection of the Anna Leonowens Gallery Archives, NSCAD University, Halifax. Courtesy of the Anna Leonowens Gallery Archives, NSCAD University.
Group photo in the office of the Professional Lithography Workshop at NSCAD, Halifax. From back left: Walter Ostrom, Pat Kelly, Gerald Ferguson, and Terry Johnson; front: unknown and Garry Neill Kennedy, c.1970s. Photograph by Bob Rogers. Collection of the Anna Leonowens Gallery Archives, NSCAD University, Halifax. Courtesy of the Anna Leonowens Gallery Archives, NSCAD University.
Habitation at Port Royal, 1613, by Samuel de Champlain. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of John and Norma Oyler, Halifax, Nova Scotia, 1995 (1995.161). Courtesy of the Art Gallery of Nova Scotia.
Halifax City Hall – A Painting, 1980, by Gerald Ferguson. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of the Artist, Halifax, Nova Scotia, 1996 (1996.35). Courtesy of the Art Gallery of Nova Scotia.
Halifax Harbour, 1957, by Marion Bond. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Marguerite and LeRoy J. Zwicker, Halifax, Nova Scotia, 1977 (1977.41). Courtesy of the Art Gallery of Nova Scotia.
Halifax Harbour, 1918, by Harold Gilman. Collection of the National Gallery of Canada, Ottawa, Transfer from the Canadian War Memorials, 1921 (8172). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Halifax Harbour, 1944, by Donald Cameron Mackay. Collection of the Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (19710261-4225). Courtesy of the Canadian War Museum.
Halifax Harbour, 1909, by Henry M. Rosenberg. Collection of the Art Gallery of Nova Scotia, Halifax, Purchase, 1933 (1933.7). Courtesy of the Art Gallery of Nova Scotia.
Halifax Harbour, Sunset, c.1853, by John O’Brien. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of the Halifax Chamber of Commerce, 2007 (2007.305). Courtesy of the Art Gallery of Nova Scotia.
Halifax Harbour, Time of War, c.1917, by Arthur Lismer. Collection of the Dalhousie Art Gallery, Halifax, Gift of the artist, 1955 (1955-1). Courtesy of the Dalhousie Art Gallery.
Halifax from the Indian Encampment at Dartmouth, 1834, by Robert Petley. Collection of the Royal Ontario Museum, Toronto, Gift of Sigmund Samuel Endowment Fund (957.257.2). Courtesy of the Royal Ontario Museum.
The Hanging Committee, 1929, by Donald Cameron Mackay. Collection of the Art Gallery of Nova Scotia, Halifax. Courtesy of the Art Gallery of Nova Scotia.
Harbour Ghosts, HFX, 1999, by David Askevold. Collection of the Art Gallery of Nova Scotia, Halifax, Purchased with funds provided by the Canada Council for the Arts Acquisition Assistance Program and the AGNS Gallery Shop, 1999 (1999.200). Courtesy of the Art Gallery of Nova Scotia.
Harry Piers, date unknown, by LeRoy Zwicker. Collection of the Nova Scotia Museum, Halifax (P149.26). Presented to the Nova Scotia Museum by the Nova Scotia Museum of Fine Arts, July 1942. Courtesy of the Nova Scotia Museum.
Hexagraphy, 2018, by Colleen Wolstenholme. Collection of the artist. Courtesy of Art Mûr, Montreal.
Highland Cattle, 1906, by Edith Hester McDonald- Brown. Collection of the Brown-Howe family, Africville, Nova Scotia.
HMS GALATEA, in a Heavy Sea, 1888, by John O’Brien. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Alice Egan Hagen, Halifax, Nova Scotia, 1955 (1955.5). Courtesy of the Art Gallery of Nova Scotia.
Hooded Cradle, 1867, by Mali Christianne Paul Mollise [known as Christianne Morris], with cabinetwork by Alexander Strum. Collection of the DesBrisay Museum, Bridgewater. Courtesy of the DesBrisay Museum.
How Can One Feel …, 1927, by Marguerite Porter Zwicker. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Jessie Power, Halifax, Nova Scotia, 1989 (SC1989.87.19). Courtesy of the Art Gallery of Nova Scotia.
The Ice House, Halifax, N.S., 1935, by Elizabeth Styring Nutt. Collection of the Art Gallery of Nova Scotia, Halifax, Purchased with funds from the Jane Shaw Law Bequest, 2011 (2011.4). Courtesy of the Art Gallery of Nova Scotia.
Indian Hemp – Milk Weed, 1840, by Maria Morris Miller. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of John and Norma Oyler, Halifax, Nova Scotia, 2022 (2022.54). Courtesy of the Art Gallery of Nova Scotia.
In the Conservatory (Dans la serre), 1878/9, by Édouard Manet. Collection of the Alte Nationalgalerie, Staatliche Museen zu Berlin, Germany (A I 550). Courtesy of Wikimedia Commons.
In the Forest, c.1925, by Henry M. Rosenberg. Collection of the Art Gallery of Nova Scotia, Halifax, Acquisition, 1929 (1929.3). Courtesy of the Art Gallery of Nova Scotia. Photo credit: RAW Photography.
Inside front cover of Edith Clayton’s Market Baskets: A Heritage of Splintwood Basketry in Nova Scotia by Joleen Gordon (Halifax: Nova Scotia Museum, 1977).
Inside front cover of The Halifax Mechanics’ Institute Journal, 1831–1846. Courtesy of the Nova Scotia Archives, Halifax.
Island in the Ice, 1987, by Tom Forrestall. Collection of the Art Gallery of Nova Scotia, Halifax, Acquisition made possible with funds provided by Christopher Ondaatje, Toronto, Ontario, 1994 (1994.19). Courtesy of the Art Gallery of Nova Scotia.
Installation at Studio 21, Halifax, date unknown. Photographer unknown. Courtesy of Studio 21 Fine Art, Halifax.
Installation view of Adrian’s Tower, 2023, by Michael Fernandes, at the Comox Valley Art Gallery, Courtenay. Courtesy of the Comox Valley Art Gallery, Courtenay.
Installation view of Arena: The Art of Hockey at the Art Gallery of Nova Scotia, Halifax, 2008. Courtesy of the Art Gallery of Nova Scotia, Halifax. Photo credit: RAW Photography.
Installation view of Copper + Concrete, 2022, by Krystle Silverfox, and All That Glitters is Not Gold…, 2019, by Krystle Silverfox, in the 2022 Sobey Art Award exhibition at the National Gallery of Canada, Ottawa, October 28, 2022—March 12, 2023. Collection of the National Gallery of Canada, Ottawa, Purchased 2023 (50545; 50544). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Installation view of Don’t Know, 2023, by Michael Fernandes at the Comox Valley Art Gallery, Courtenay. Photographer unknown. Courtesy of the Comox Valley Art Gallery, Courtenay.
Installation view of an early exhibition at the Khyber, date unknown. Photographer unknown. Collection of the Khyber Centre for the Arts, Halifax. Courtesy of the Khyber Centre for the Arts.
Installation view of Folk Art of Nova Scotia at the Confederation Centre of the Arts, Charlottetown, c.1977. Photographer unknown. Courtesy of the Art Gallery of Nova Scotia, Halifax.
Installation view of Habitat, 1994, by John Greer, in Sculpture Expo ’94: The Mall Show, 1994. Photograph by Marion Bryson.
Installation view of Here We Are Here, 2013–17, by Sylvia D. Hamilton, in the exhibition Here We Are Here: Black Canadian Contemporary Art at the Art Gallery of Nova Scotia, Halifax, 2019. Courtesy of the Art Gallery of Nova Scotia, Halifax. Photo credit: RAW Photography.
Installation view of Illuminated Life of Maud Lewis at the Art Gallery of Nova Scotia, Halifax, 1997. Photographer unknown. Courtesy of the Art Gallery of Nova Scotia, Halifax.
Installation view of In This Place: Black Art in Nova Scotia at the Anna Leonowens Gallery, NSCAD, Halifax, 1998. Photographer unknown. Collection of the Anna Leonowens Gallery Archives, NSCAD University, Halifax. Courtesy of the Anna Leonowens Gallery Archives, NSCAD University.
Installation view of Joe Norris: Painted Visions of Nova Scotia at the Art Gallery of Nova Scotia, Halifax, 2000. Photographer unknown. Courtesy of the Art Gallery of Nova Scotia, Halifax.
Installation view of Ketu’ elmita’jik (They want to go home), 2018–19, by Jordan Bennett (includes Mrs. Thomas Glode [née Bridget Ann Sack], formerly of Shubenacadie, Nova Scotia, Nesting Baskets, porcupine quill, birchbark, and root, Nova Scotia Museum, Halifax), at the Art Gallery of Nova Scotia, Halifax. Courtesy of the Art Gallery of Nova Scotia, Halifax. Photo credit: RAW Photography.
Installation view of Maud Lewis’s Painted House in the Scotiabank Maud Lewis Gallery at the Art Gallery of Nova Scotia, Halifax, 2007. Courtesy of the Art Gallery of Nova Scotia, Halifax.
Installation view of Micah Lexier and Kelly Mark: Head-to-Head at Saint Mary’s University Art Gallery, Halifax, 2011. Courtesy of Saint Mary’s University Art Gallery, Halifax. Photo credit: Steve Farmer.
Installation view of a Michael Snow exhibition at the Anna Leonowens Gallery, NSCAD, Halifax, January 1972. Photographer unknown. Collection of the Anna Leonowens Gallery Archives, NSCAD University, Halifax. Courtesy of the Anna Leonowens Gallery Archives, NSCAD University.
Installation view of Museological Grand Hall (detail), 2013–14, by Ursula Johnson, in the exhibition Mi’kwite’tmn (Do You Remember) at Saint Mary’s University Art Gallery, Halifax, 2014. Photo credit: Steve Farmer.
Installation view of Pe’l A’tukwey: Let Me… Tell a Story: Recent Work by Mi’kmaq and Maliseet Artists at the Art Gallery of Nova Scotia, Halifax, 1993. Photographer unknown. Courtesy of the Art Gallery of Nova Scotia, Halifax.
Installation view of The Secret Codes: African Nova Scotian Quilts at the Dalhousie University Art Gallery, Halifax, June 2023. Courtesy of the Black Artists Network of Nova Scotia and the Vale Quilters of New Glasgow. Photo credit: Steve Farmer.
Installation view of Sleeping Wills, 1986, by John Greer. Courtesy of the artist. Photo credit: Raoul Manuel Schnell.
Installation view of The Sirens’ Calling (single figure), 2020, by John Greer. Photo credit: Vanessa Paschakarnis.
Installation view of The Sirens’ Calling (single figure), 2020, by John Greer. Photo credit: Vanessa Paschakarnis.
Installation view of Le Son de Choses: Fusion Joint Venture, 2002, by Jean-Pierre Gauthier, in the Sobey Art Award exhibition at the Art Gallery of Nova Scotia, Halifax, 2002. Photographer unknown. Courtesy of the Art Gallery of Nova Scotia, Halifax.
Installation view of Staying at The Blue Building Gallery, Halifax, 2022. Courtesy of The Blue Building, Halifax. Photo credit: Ryan Josey.
Installation view of Sucker, 1996, by Lucy Pullen, in the exhibition 1:1 Recent Halifax Sculpture at the S.L. Simpson Gallery, Toronto, 1996. Courtesy of the artist. Photo credit: S.L. Simpson Gallery, Toronto.
Installation view of Ursula Johnson, Moose Fence, 2017, in the 2017 Sobey Art Award exhibition at the Art Museum at the University of Toronto. Collection of the Art Gallery of Nova Scotia, Halifax, Purchased with funds provided by the Charles Anthony Law and Jane Shaw Law Charitable Trust, 2021 (2021.11). Courtesy of the Art Gallery of Nova Scotia. Photo credit: Natasha Hirt.
Installation view of When is a fence a ladder?, 2021–22, by Melanie Colosimo, in the exhibition Staying at The Blue Building Gallery, Halifax, 2022. Courtesy of Ryan Josey. Photo credit: Ryan Josey.
Le Jardin d’hiver / In the Conservatory, 1883, by Frances Jones Bannerman. Collection of the Nova Scotia Archives, Halifax (accession no. 1979-147.329). Courtesy of the Nova Scotia Archives.
Joyce Wieland kissing the lithography stone to the syllables of “O Canada” in English, date unknown. Photograph by Bob Rogers. Collection of the Anna Leonowens Gallery Archives, NSCAD University, Halifax. Courtesy of Anna Leonowens Gallery Archives, NSCAD University.
The Kitchen, 1967, by Tom Forrestall. Collection of the Dalhousie Art Gallery, Halifax, Purchase 1968 (1968-5). Courtesy of the Dalhousie Art Gallery.
Landscape, Herring Cove, c.1950, by Donald Cameron Mackay. Collection of the Art Gallery of Nova Scotia, Halifax, Purchase, 1951 (1951.1). Courtesy of the Art Gallery of Nova Scotia.
Lead to Believe, 1978, by John Greer. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of the Artist, LaHave, Nova Scotia, 2004 (2004.305). Courtesy of the artist.
LeRoy J. Zwicker, c.1930s. Photograph by Jack Dodge. Collection of the Art Gallery of Nova Scotia, Halifax (Document, D2016.2). Courtesy of the Art Gallery of Nova Scotia.
Little Lady (Maud Lewis), c.1960s, by Ruth Salter Wainwright. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Isabel Wainwright, Halifax, Nova Scotia, 1996. Courtesy of the Art Gallery of Nova Scotia.
Looking north toward Pier 8 from Hillis foundry after great explosion, Halifax, December 6, 1917. Photograph by W.G. MacLaughlan. Collection of the Nova Scotia Archives, Halifax (accession no. 1988-34 no. 14). Courtesy of the Nova Scotia Archives.
Lt. Provo William Parry Wallis, c.1813, by Robert Field. Collection of the Art Gallery of Nova Scotia, Halifax, Purchase, 1979 (1979.18). Courtesy of the Art Gallery of Nova Scotia.
Market Basket, 1975, by Edith Clayton. Collection of the Nova Scotia Museum, Halifax (2001.5). Courtesy of the Nova Scotia Museum.
Marquis of Lorne, Governor General of Canada, Montreal, QC, 1879, January 16, 1879, by the Notman & Sandham Photographic Studio. Collection of the McCord Stewart Museum, Montreal, Purchased with funds graciously donated by Maclean’s magazine, the Maxwell Cummings Family Foundation, and Empire-Universal Films Ltd (II-51076). Courtesy of the McCord Stewart Museum.
Maud Lewis House, c.1920s. Collection of the Art Gallery of Nova Scotia, Halifax, Purchased by the Province of Nova Scotia, 1984 (A1998.1). Courtesy of the Art Gallery of Nova Scotia.
Midday Nap, Near the Fountain, 2021–22, by Tom Forrestall. Private collection. Courtesy of Mira Godard Gallery, Toronto.
Mi’kmaq Indians, c.1850, by Unknown. Collection of the National Gallery of Canada, Ottawa, Purchased 1957 (6663). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Miss Elizabeth Wallace (1791–1874), c.1810, by Robert Field. Collection of the Art Gallery of Nova Scotia, Halifax, Purchase, 1972 (1972.48). Courtesy of the Art Gallery of Nova Scotia.
Mora Dianne O’Neill looking at Waiting, 1986, by Nancy Edell, with AGNS board member Walter Struan Robertson, from the exhibition Art Nuns: Recent Work by Nancy Edell at the Art Gallery of Nova Scotia, Halifax, 1991. Photographer unknown. Courtesy of the Art Gallery of Nova Scotia, Halifax.
Mrs. Anna H. Leonowens, Montreal, QC, 1903, 1903, by William Notman & Son Photographic Studio. Collection of the McCord Stewart Museum, Montreal, Purchased with funds graciously donated by MacLean’s magazine, the Maxwell Cummings Family Foundation, and Empire-Universal Films Ltd. (II-148672). Courtesy of the McCord Stewart Museum.
Mrs. Edward Mortimer (Sarah Patterson) 1765–1833, c.1815, by Robert Field. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Janet Johnstone, Halifax, Nova Scotia, 1977 (1977.60). Courtesy of the Art Gallery of Nova Scotia.
Mrs. Grace Langford Nordbeck, c.1835, attributed to William Valentine. Collection of the Art Gallery of Nova Scotia, Halifax, Purchase, 1980 (1980.5). Courtesy of the Art Gallery of Nova Scotia.
MSVU Gallery director Mary Sparling (standing), date unknown. Photographer unknown. Collection of the Mount Saint Vincent University Archives, Halifax (UA RG 100-5-0-3). Courtesy of the Mount Saint Vincent University Archives.
My Fourth Grade Class, 1972, by Garry Neill Kennedy. Collection of the Anna Leonowens Gallery Archives, NSCAD University, Halifax. Courtesy of the Anna Leonowens Gallery Archives, NSCAD University.
Mythological Figure I, 1973–74, by Sarah Jackson. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of the Artist, Halifax, Nova Scotia, 2001 (2001.187). Courtesy of the Art Gallery of Nova Scotia.
Nancy Prescott Fairbanks, 1848, by William Valentine. Collection of the Dartmouth Heritage Museum (DHM 1973.087.177). Courtesy of the Dartmouth Heritage Museum.
Navy War Artist Lieutenant Donald MacKay, RCNVR, 1943. Photographer unknown. Collection of the Department of National Defence fonds, Library and Archives Canada, Ottawa (a113906). Courtesy of Library and Archives Canada / The Brechin Group Inc.
Night Begonia, 1964, by Carol Hoorn Fraser. Collection of the Art Gallery of Nova Scotia, Halifax, Purchased by Province of Nova Scotia as part of the Centennial Collection of the Nova Scotia Society of Artists, 1967 (1967.4). Courtesy of the Art Gallery of Nova Scotia.
No Escape, 1983, by Michael Fernandes. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of the Canada Council Art Bank, Ottawa, Ontario, 2003 (2003.65). Courtesy of the Art Gallery of Nova Scotia.
The Northwest Arm, Halifax, 1926, by Elizabeth Styring Nutt. Collection of the National Gallery of Canada, Ottawa, Purchased 1927 (3511). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Nova Scotia College of Art, Coburg Campus, date unknown. Photographer unknown. Dalhousie University Photographic Collection, Dalhousie University Archives, Halifax (PC1, Box 44, Folder 1, Item 1). Courtesy of the Dalhousie University Photographic Collection, Dalhousie University Archives.
Nova Scotia Plants, 1749–50, by Moses Harris. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of John and Norma Oyler, Halifax, Nova Scotia, 2023 (NTL2023.25). Courtesy of the Art Gallery of Nova Scotia.
Nuphar advena. Yellow Pond Lily. Iris Versicolor. Blue Flag, 1866, by Maria Morris Miller. Collection of the Art Gallery of Nova Scotia, Halifax, Purchased with funds provided by the JSF Fund, 2012 (2012.25). Courtesy of the Art Gallery of Nova Scotia.
Nymphoea Odorata. White Pond Lily, 1840, by Maria Morris Miller. Collection of the Art Gallery of Nova Scotia, Halifax, Purchased with funds from an anonymous donation, in memory of Peggy Davis (Margaret Mabel Baker) 1938–1997, Dartmouth, Nova Scotia, 1999 (1999.95.2). Courtesy of the Art Gallery of Nova Scotia.
Ocean Limited, 1962, by Alex Colville. Collection of the Art Gallery of Nova Scotia, Halifax, Purchased with funds provided by Christopher Ondaatje, Toronto, Ontario, the Art Sales and Rental Society, Halifax, Nova Scotia, and a Private Donor, 1994 (1994.18). Courtesy of the Art Gallery of Nova Scotia.
The Old Gun, Halifax, 1919, by A.Y. Jackson. Collection of the Art Gallery of Hamilton, Gift of the artist, 1954. Courtesy of the Art Gallery of Hamilton.
Olympic with Returned Soldiers, 1919, by Arthur Lismer. Collection of the Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (CWM 19710261-0343). Courtesy of the Canadian War Museum.
Origins, 1995, by John Greer. Collection of the Art Gallery of Nova Scotia, Halifax, Purchased with funds provided by Christopher Ondaatje, the Art Sales and Rental Society, Halifax, Nova Scotia, the Province of Nova Scotia and Zim Israel Navigation Company (Canada) Ltd., and private donors, 1995 (1995.24). Courtesy of the artist. Photo credit: Max Lamour.
Oxen in Spring [Two Oxen with Yoke], c.1960s, by Maud Lewis. Private collection, Nova Scotia. Courtesy of the Art Gallery of Nova Scotia, Halifax.
Page from The Natural System of Colours: A Facsimile Edition of What is Perhaps the Rarest Known Book in the Literature of Color. With Historical Notes and Commentary by Faber Birren, by Moses Harris (New York: privately printed, distributed by the Whitney Library of Design, 1963). Courtesy of the Dalhousie Library Special Collections, Halifax.
People Near Boat, 1893, by Edward Mitchell Bannister. Collection of the Smithsonian American Art Museum, Washington, D.C., Gift of Harvey Golden (1983.95.121). Courtesy of Wikimedia Commons.
Perspective View of the Province House Building, 1819, by John Elliott Woolford. Collection of the Nova Scotia Archives, Halifax (accession no. 1979-147, no. 603). Courtesy of the Nova Scotia Archives.
Photograph of Harry Piers in the frontispiece of Master Goldsmiths and Silversmiths of Nova Scotia by Harry Piers and Donald Cameron Mackay (Halifax: Antiquarian Club, 1948).
Photographs of lithographs after daguerreotype photographs of two Acadian French Women (an old woman and her niece) of Chezzetcook, Halifax County, Nova Scotia, June 1856, by Gauvin and Gentzel. Collection of the Nova Scotia Archives Photographic Collection, Nova Scotia Archives, Halifax, Collected by Harry Piers. Courtesy of the Nova Scotia Archives.
A photograph of a self-portrait of Richard Bulkeley, date unknown. Collection of the Nova Scotia Archives, Halifax (Bollinger N-5224). Courtesy of the Nova Scotia Archives. Photo credit: E.A. Bollinger.
A Plan of the Harbour of Chebucto and Town of Halifax, 1750, by Moses Harris. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of John and Norma Oyler, Halifax, Nova Scotia, 1998 (1998.592). Courtesy of the Art Gallery of Nova Scotia.
The Poltergeist (detail), 1974–79, by David Askevold. Collection of the National Gallery of Canada, Ottawa, Purchased 2000, CMCP Collection (2000.121.4). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Portrait of Anna H. Leonowens, 1905, by Robert Harris. Collection of the Confederation Centre of the Arts, Charlottetown. Courtesy of the Confederation Centre of the Arts.
Portrait of Henry M. Rosenberg, c.1905, by Emily A. Fenerty. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Phyllis Fenerty, Halifax, Nova Scotia, 1992 (1992.15). Courtesy of the Art Gallery of Nova Scotia.
Portrait of a Lady with a Lace Bonnet [Louisa Haliburton], c.1839, attributed to William Valentine. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of John Marshall, Halifax, Nova Scotia, 1980 (1980.29). Courtesy of the Art Gallery of Nova Scotia.
Portrait of Prince Edward (Later Duke of Kent and Strathearn), 1798, by William J. Weaver. Collection of the Nova Scotia Legislative Library, Halifax. Courtesy of the Nova Scotia Legislative Library.
Poster for Africville: A Spirit that Lives On, 1989, featuring linocuts by Ruth Johnson, 1949. Collection of the MSVU Art Gallery Archives, Halifax. Courtesy of the MSVU Art Gallery Archives.
Poster for Black Wimmin: When And Where We Enter, a group exhibition presented by the Diasporic African Women’s Art collective, at Eye Level Gallery, Halifax, September 6–23, 1989. Collection of the Dalhousie University Archives, Halifax (MS-3-35, Box 25, Folder 3). Courtesy of Eyelevel Gallery and the Dalhousie University Archives.
Poster for the film The Spirit of Annie Mae, 2002, directed by Catherine Anne Martin. Collection of the National Film Board of Canada, Ottawa. Courtesy of the National Film Board of Canada.
A project submitted to the Projects Class, Fall of 1969, at NSCAD, Halifax, by Sol LeWitt. Collection of the Anna Leonowens Gallery Archives, NSCAD University, Halifax. Courtesy of the Anna Leonowens Gallery Archives, NSCAD University.
A promotional pamphlet for the Halifax Conference, 1970. Collection of the Anna Leonowens Gallery Archives, NSCAD University, Halifax. Courtesy of the Anna Leonowens Gallery Archives, NSCAD University.
A public, open studio as part of Don’t Know, 2023, by Michael Fernandes, at the Comox Valley Art Gallery, Courtenay. Photographer unknown. Courtesy of the Comox Valley Art Gallery.
Quillwork, Lidded Box, c.1780–90, by Once-Known Mi’kmaw Artist. Collection of the Nova Scotia Museum, Halifax (1969.67 A, B). Courtesy of the Nova Scotia Museum.
The Race, 2004, by Jean-Pierre Gauthier. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of the Artist, Montreal, Quebec, 2007 with assistance from The Art & Pearl van der Linden Foundation (2007.326). Courtesy of the Art Gallery of Nova Scotia. Photo credit: RAW Photography.
Reading, 1931, by Henry M. Rosenberg. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of John and Norma Oyler, Halifax, Nova Scotia, 2022 (2022.40). Courtesy of the Art Gallery of Nova Scotia. Photo credit: RAW Photography.
Reconciliation, 1989, by John Greer. Collection of the National Gallery of Canada, Ottawa, Purchased 1993 (37030.1-7). Courtesy of the National Gallery of Canada. Photo credit: NGC.
The Red Cloak, 1923, by Edith Smith. Collection of the Art Gallery of Nova Scotia, Halifax, Purchase, 1923 (1923.3). Courtesy of the Art Gallery of Nova Scotia.
Reference collection of Economic Seeds (useful & noxious plants) of Canada, prepared in Seed Laboratory of Branch of Seed Commissioner, Dept. of Agriculture, Ottawa, October 16, 1906, by Harry Piers (0000146P). Collection of the Nova Scotia Museum, Halifax. Courtesy of the Nova Scotia Museum.
Regatta Day, c.1894, by Ernest Lawson. Collection of the Art Gallery of Nova Scotia, Halifax, Purchase, 1919 (1917.4). Courtesy of the Art Gallery of Nova Scotia.
Rev. William Black, 1827, by William Valentine. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of the Estate of Harold P. Connor, Halifax, Nova Scotia, 2004 (2004.63). Courtesy of the Art Gallery of Nova Scotia.
The Royal Canadian Academy – Exhibition in the Province Building, Halifax, 1881, by Unknown. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Dianne O’Neill, Halifax, Nova Scotia, 1997 (1997.102). Courtesy of the Art Gallery of Nova Scotia.
The Royal Academy – Opening of the Exhibition by His Excellency The Governor-General, 1881, by Unknown. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Dianne O’Neill, Halifax, Nova Scotia, 1997 (1997.101). Courtesy of the Art Gallery of Nova Scotia.
Ruins of H.R.H. the Duke of Kent’s Lodge, Bedford Basin, near Halifax, Nova Scotia, in 1838, date unknown, by William Eagar. Collection of the Nova Scotia Archives Photographic Collection, Nova Scotia Archives, Halifax. Courtesy of the Nova Scotia Archives Photographic Collection, Nova Scotia Archives.
Sackville River, 1917, by Arthur Lismer. Collection of the Art Gallery of Nova Scotia, Halifax, Purchase, 1919 (1925.2). Courtesy of the Art Gallery of Nova Scotia.
Saracena [sic] Purpurea. Indian Cup [Northern Pitcher Plant], c.1883, by Maria Morris Miller. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of John and Norma Oyler, Halifax, 2005 (2005.206). Courtesy of the Art Gallery of Nova Scotia.
Seagulls on Island, 1974, by Joe Norris. Collection of the Art Gallery of Nova Scotia, Halifax, Purchase, 1977 (1977.22). Courtesy of the Art Gallery of Nova Scotia.
Seaview African United Baptist Church, 2016. Photograph by Dennis Jarvis. Courtesy of Wikimedia Commons.
The Seaview Baptist Church with houses in the background, 1965. Photograph by the Halifax Police Department. Collection of the Halifax Municipal Archives. Courtesy of the Halifax Municipal Archives.
Secretary of the NSCAD board Elizabeth “Lib” Connor, president Garry Neill Kennedy, and board chair Darrell Mills signing the lease for the downtown NSCAD campus in 1976. Photographer unknown. Collection of the Anna Leonowens Gallery Archives, NSCAD University, Halifax. Courtesy of the Anna Leonowens Gallery Archives, NSCAD University.
Selfie-station with Maud Lewis’s painting The Bluenose, 2017. Photograph by T.J. Maguire. Courtesy of T.J. Maguire.
Series of 5, 1978, by Michael Fernandes. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of the Canada Council Art Bank, Ottawa, Ontario, 2003 (2003.64). Courtesy of the Art Gallery of Nova Scotia.
Shipping at Low Tide, Halifax, c.1820, attributed to John Poad Drake. Collection of the Art Gallery of Nova Scotia, Halifax, Purchase, 1994. Dedicated to the memory of Evan Petley-Jones 1945–1996 (1994.258). Courtesy of the Art Gallery of Nova Scotia.
Ship SS British King, 1887, by W.H. Jones. Courtesy of Mutual Art.
Signal Flag Hoist, 1943, by Donald Cameron Mackay. Collection of the Beaverbrook Collection of War Art, Canadian War Museum, Ottawa (19710261-4251). Courtesy of the Canadian War Museum.
Silversmiths in training (Barbara Mack, Charles Bezanson, and Joan Sanboard) at the Nova Scotia College of Art, 1949. Photograph from the Halifax Mail Star. Courtesy of the NSCAD University Library, Halifax.
Sir Alexander Croke, c.1808, by Robert Field. Collection of the National Gallery of Canada, Ottawa, Purchased 1952 (6082). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Snowshoe, date unknown, by Mali Christianne Paul Mollise [known as Christianne Morris]. Collection of the Nova Scotia Museum, Halifax (1918.7 A). Courtesy of the Nova Scotia Museum.
Snow Storm – Steam-Boat off a Harbour’s Mouth, 1842, by Joseph Mallord William Turner. Collection of Tate Gallery, London, accepted by the nation as part of the Turner Bequest, 1856 (N00530). Courtesy of Tate Gallery.
Sobey Art Award at the Art Gallery of Nova Scotia, Halifax, 2007. Photographer unknown. Courtesy of the Art Gallery of Nova Scotia, Halifax.
Sobey Art Award at the Montreal Museum of Fine Arts, 2006. Photographer unknown. Courtesy of the Art Gallery of Nova Scotia, Halifax.
Sobey Awards, 2006, by Annie Pootoogook. Collection of the Tate, London, Lent by the Tate Americas Foundation, courtesy of John and Joyce Price, 2020 (L04544). Courtesy of the McMichael Canadian Art Collection, Kleinburg.
Sorrow, 1917, by Arthur Lismer. Collection of the University of Lethbridge Art Gallery, Gift of Gerald Pencer, Toronto, 1989. Courtesy of the University of Lethbridge Art Gallery.
Steele’s Pond, Halifax, 1898, by Katharine N. Evans. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Dr. and Mrs. J. McD. Corston, Halifax, Nova Scotia, 1987 (1987.74). Courtesy of the Art Gallery of Nova Scotia.
Stephen Gertridge hanging art at the Dalhousie Art Gallery, Halifax, c.1971. Photographer unknown. Collection of the Dalhousie University Photographic Collection, Dalhousie University Archives, Halifax (PC1, Box 9, Folder 22). Courtesy of the Dalhousie University Photographic Collection, Dalhousie University Archives.
Still from the film Amherst, 1984, directed by James MacSwain. Courtesy of the artist.
Still from the film Beauty Plus Pity, 2009, by Emily Vey Duke and Cooper Battersby. Courtesy of the artists.
Still from the film Being Fucked Up, 2001, by Emily Vey Duke and Cooper Battersby. Courtesy of the artists.
Still from the film Black Mother Black Daughter, 1989, directed by Sylvia D. Hamilton and Claire Prieto. Courtesy of Sylvia D. Hamilton.
Still from the film Fountain of Youth, 2010, directed by James MacSwain. Courtesy of the artist.
Still from the film The Infernal Grove: A Non-Systemic Structural Analysis of Drug-Taking & Addiction (First Iteration), 2021, by Emily Vey Duke and Cooper Battersby. Courtesy of the artists.
Still from the film Kwa’nu’te’: Micmac and Maliseet Artists, 1991, directed by Catherine Anne Martin and Kimberlee McTaggart. Collection of the National Film Board of Canada, Ottawa. Courtesy of the National Film Board of Canada and Catherine Martin.
Still from the film Lesser Apes, 2011, by Emily Vey Duke and Cooper Battersby. Courtesy of the artists.
Still from the film Portia White: Think on Me, 2000, directed by Sylvia D. Hamilton. Courtesy of Sylvia D. Hamilton.
Still from the film Speak It! From the Heart of Black Nova Scotia, 1992, directed by Sylvia D. Hamilton. Collection of the National Film Board of Canada, Ottawa. Courtesy of the National Film Board of Canada.
Still of Edith Clayton with baskets from the film Black Mother Black Daughter, 1989, directed by Sylvia D. Hamilton and Claire Prieto. Courtesy of Sylvia D. Hamilton.
Still of James MacSwain from the film Celestial Queer, 2023, directed by Eryn Foster and Sue Johnson. Courtesy of Eryn Foster and Sue Johnson.
Three Black Cats, 1955, by Maud Lewis. Private collection. Courtesy of the Art Gallery of Nova Scotia, Halifax.
The Town and Harbour of Halifax in Nova Scotia, as appears from George Island, 1764, by Richard Short, Dominic Serres, and James Mason. Collection of the Anna Leonowens Gallery Archives, NSCAD University, Halifax. Courtesy of the Anna Leonowens Gallery Archives, NSCAD University.
Troopship Leaving Halifax, 1918, by Arthur Lismer. Collection of the Art Gallery of Nova Scotia, Halifax, Acquisition, 1919 (1925.15). Courtesy of the Art Gallery of Nova Scotia.
Tuft’s Cove Survivor, 1999, by Alan Syliboy. Collection of the Art Gallery of Nova Scotia, Halifax, Purchased with funds provided by the Canada Council for the Arts Acquisition Assistance Program and the AGNS Gallery Shop, 1999 (1999.202). Courtesy of the Art Gallery of Nova Scotia. Photo credit: RAW Photography.
TV Idol Time, 1981, by John Greer. Collection of the Confederation Centre of the Arts, Charlottetown. Courtesy of the Confederation Centre of the Arts.
Untitled (9 Charm Bracelet), 1995–2017, by Colleen Wolstenholme. Collection of the artist. Photo credit: Michael Patten, Art Mûr.
Untitled (Sawhorse), 1993, by Greg Forrest. Private collection. Photo credit: Marion Bryson.
Valium, 1997, by Colleen Wolstenholme. Collection of the Art Gallery of Nova Scotia, Halifax, Purchase in exchange, 2004, with funds provided by The Canada Council for the Arts Acquisition Assistance Program and the Art Sales and Rental Society, Halifax, Nova Scotia, 2001 (2004.365). Courtesy of the Art Gallery of Nova Scotia.
Valium, 1997, by Colleen Wolstenholme. Collection of the Art Gallery of Nova Scotia, Halifax, Purchase in exchange, 2004, with funds provided by The Canada Council for the Arts Acquisition Assistance Program and the Art Sales and Rental Society, Halifax, Nova Scotia, 2001 (2004.365). Courtesy of the Art Gallery of Nova Scotia.
Videotape of the Halifax Conference, 1970, NSCAD, Halifax. Collection of the Anna Leonowens Gallery Archives, NSCAD University, Halifax. Courtesy of the Anna Leonowens Gallery Archives, NSCAD University.
A View of Halifax from Fort George, Nova Scotia, 1817, by John Elliott Woolford. Collection of the Art Gallery of Nova Scotia, Halifax, Purchased with funds provided by the Government of Canada under the terms of the Cultural Property Export and Import Act; the AGNS Gallery Shop; and Mr. and Mrs. LeRoy J. Zwicker, Halifax, Nova Scotia, 1986 (1986.51). Courtesy of the Art Gallery of Nova Scotia.
A View of Halifax from the Top Masthead, 1749, by Thomas Jefferys. Collection of the Nova Scotia Archives, Halifax. Courtesy of the Nova Scotia Archives.
Water Street, Halifax, 1953, by Ruth Salter Wainwright. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Isabel Wainwright, Halifax and Harold Wainwright, Bridgewater, 2002 (2002.22). Courtesy of the Art Gallery of Nova Scotia.
The Waverley Goldfields, Nova Scotia, c.1865, by Forshaw Day. Collection of the National Gallery of Canada, Ottawa, Purchased 1985 (28713). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Wild Flowers of Nova Scotia: Lilium canadense, c.1833, by Maria Morris Miller. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of John and Norma Oyler, Halifax, Nova Scotia, 2014 (2014.51). Courtesy of the Art Gallery of Nova Scotia.
Winter – Harlem River, c.1912, by Ernest Lawson. Collection of the Art Gallery of Nova Scotia, Halifax, Purchase, 1919 (1917.3). Courtesy of the Art Gallery of Nova Scotia.
Winter, Northwest Arm, Halifax, 1927, by Elizabeth Styring Nutt. Collection of the Art Gallery of Nova Scotia, Halifax, Gift of Robert L. Stanfield, Ottawa, Ontario, in memory of Mary Hall Stanfield, 1979 (1979.8). Courtesy of the Art Gallery of Nova Scotia.
Wolverine and Little Thunder, date unknown, by Alan Syliboy. Courtesy of Alan Syliboy and Nimbus Publishing Ltd., Halifax.
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