The Art Canada Institute gratefully acknowledges the generosity of the Title Sponsor of this book, Cowley Abbott Fine Art Auctions.
The Art Canada Institute gratefully acknowledges the support of the Art Gallery of Greater Victoria as a cultural partner and its role in providing images for the publication. Our special thanks go to Steven McNeil, Salma Naili, and Stephen Topfer.
We thank the Founding Sponsor of the Art Canada Institute: BMO Financial Group.
I received tremendous assistance from institutions and individuals. With the arrival of COVID-19, my plans to research in the U.K. collapsed. Institutions near and far closed their doors and adjusted business models and staff priorities. But after an agonizing hiatus, the business of providing access to records resumed, albeit with a different focus. My emails waited patiently in queues, but when I received responses, by and large the results were accommodating and thorough. Staff searched in collections on my behalf, often including images in their replies, which was tremendously helpful. One archives technician facilitated remote access by turning the pages of a diary on camera, and I took photos as the pages appeared on my computer screen. I am grateful to the many staff who continue to place the researcher as a priority.
Close to home, Stephen Topfer and Salma Naili at the Art Gallery of Greater Victoria provided first-hand access to the Pemberton materials; Diane Wardle, Kelly-Ann Turkington, and reference room staff at the BC Archives facilitated off-site retrieval and on-site access to original records.
Many Pemberton family members shared their knowledge and their collections with me, patiently and graciously fielding my many emails and questions. Thank you, all—your contributions have enabled Sophie Pemberton’s life story to be told in depth and have made the breadth of her artwork visible.
Thank you also to the Access Copyright Foundation for the research support, the wonderful team at the Art Canada Institute for enthusiastically embracing this project, and editor Rosemary Shipton for her insightful comments and shaping of the manuscript. I also benefited from conversations and advice from Don Bourdon, Bruce Davies, India Young, Kiriko Watanabe, Robert Amos, Jack Lohman, and Kevin Neary. Again, thank you.
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: Arnoldsche Art Publishers, Stuttgart, Germany (Julia Hohrein); Art Gallery of Greater Victoria (Salma Naili, Steven McNeil, Stephen Topfer); Art Gallery of Hamilton (Christine Braun, Andrea Howard); Art Gallery of Ontario, Toronto (Alexandra Cousins); The Brechin Group Inc., Ottawa (Jacqueline M.E. Vincent); Fitzwilliam Museum, Cambridge, U.K. (Emma Darbyshire); 5 Continents Editions, Milan, Italy (Valentina De Pasca); Library and Archives Canada, Ottawa (Vanessa Harper, Annabelle Schattmann); Lissadell Collection, Sligo, Ireland (Pamela Mair); Mary Evans Picture Library, London, U.K. (Tom Gillmor, Luci Gosling); McGill-Queen’s University Press, Montreal and Kingston (Anuva Mehreen); Musée des Augustins, Mairie de Toulouse, France (Anna de Torrès); Museum London (Victoria Burnett, Janette Cousins Ewan); National Gallery of Canada, Ottawa (Raven Amiro); Royal BC Museum, Victoria (Ryan Cameron, Shane Lighter, Kelly-Ann Turkington); Royal Jubilee Hospital, Victoria (Darren Colyn, Anne-Marie Sorvin, Carolyn Wilkinson); Vancouver Art Gallery (Danielle Currie); Winnipeg Art Gallery (Nicole Fletcher, Olenka Skrypnyk); and Woodstock Art Gallery (Jessica Benjak-Waterous, Mary Reid).
ACI recognizes the additional private collectors who have given permission for their works to be published in this edition.
Credit for Cover Image
Sophie Pemberton, A Prosperous Settler, 1908. (See below for details.)
Credits for Banner Images
Biography: Sophie Pemberton in her rectory studio, 1908. (See below for details.)
Key Works: Sophie Pemberton, Penumbra, 1907. (See below for details.)
Significance & Critical Issues: Sophie Pemberton, Caudebec-en-Caux, 1903. (See below for details.)
Style & Technique: Sophie Pemberton, Market place at Caudebec-en-Caux, 1903. (See below for details.)
Sources & Resources: Sophie Pemberton, Miss Hallett, 1892/93. (See below for details.)
Where to See: Wickhurst Manor in Sevenoaks, Kent, home of Sophie Pemberton and Arthur Beanlands, date unknown. (See below for details.)
Credits: Sophie Pemberton, Spring, 1902. (See below for details.)
Credits for Works by Sophie Pemberton
Anatomical Practise, Cope’s School, 1889–90, from Pemberton’s Glory Book, c.1904–40. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Angels Mural, 1909. Collection of the Royal Jubilee Hospital, Pemberton Chapel, Victoria. Courtesy of the Royal Jubilee Hospital. Photo credit: Anne-Marie Sorvin.
Armine, 1901/02. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Benjamin William Pearse, 1895. Collection of the Royal BC Museum, Victoria (PDP00249). Courtesy of the Royal BC Museum.
Berberis Aquifolium, Oregon Grape, Mahonia, 1895. Collection of the Art Gallery of Greater Victoria, In Loving Memory of Armine Pemberton Duke, from her loving daughter Finola (1995.024.001). Courtesy of the Art Gallery of Greater Victoria.
Bibi la Purée, 1900. Collection of the Art Gallery of Greater Victoria, Bequest of the Artist (1973.207.001). Courtesy of the Art Gallery of Greater Victoria.
Casimir Markievicz, 1899. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Caudebec-en-Caux, 1903. Collection of the Art Gallery of Greater Victoria, Estate of Theresa Susan Yoder Moyle (1989.002.002). Courtesy of the Art Gallery of Greater Victoria.
Chrysanthemums, c.1901. Collection of the Art Gallery of Hamilton, Purchased with funds from the Volunteer Art for the 100th Project and the Alfred Wavell Peene and Susan Nottle Peene Memorial, 2014. Courtesy of the Art Gallery of Hamilton. Photo credit: Mike Lalich.
Colonel Schletter, 1910. Collection of the Art Gallery of Greater Victoria, Gift of Miss Angela Beanlands (1969.119.001). Courtesy of the Art Gallery of Greater Victoria.
Common Vetch, 1895. Collection of the Art Gallery of Greater Victoria, In loving memory of Armine Pemberton Duke, from her loving daughter Finola (1995.024.001). Courtesy of the Art Gallery of Greater Victoria.
Copy of The Amber Window at Knole, 1915. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Cowichan Valley, 1891. Collection of the Vancouver Art Gallery, Gift of Dr. Rodrigo A. Restrepo (2000-35-3). Courtesy of the Vancouver Art Gallery. Photo credit: Vancouver Art Gallery.
Daffodils, 1897. Collection of the Royal BC Museum, Victoria (PDP03664). Courtesy of the Royal BC Museum.
Dieppe Farmyard, 1903. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Drawing full length figure, 1893. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Drawing of a plaster cast foot, 1889. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Driveway of Moulton Combe, Oak Bay, 1921. Collection of the Art Gallery of Greater Victoria, Gift of George & Lola Kidd (1995.040.001). Courtesy of the Art Gallery of Greater Victoria.
Fire in the Forest, c.1882. Collection of Library and Archives Canada, Ottawa (C-113016). Courtesy of Library and Archives Canada / The Brechin Group Inc.
Full figure male model, 1898. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Harrison Lake, 1895. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Henri Joly de Lotbinière, 1906. Collection of the Royal BC Museum, Victoria (PDP02263). Courtesy of the Royal BC Museum.
Horace Deane-Drummond, 1925. Collection of the Art Gallery of Greater Victoria, Bequest of the Artist (1973.203.001). Courtesy of the Art Gallery of Greater Victoria.
Sarah, Lady Crease, 1907. Collection of the Royal BC Museum, Victoria (PDP02260). Courtesy of the Royal BC Museum.
Life drawing of a male, 1893. Collection of the Royal BC Museum, Victoria (PDP10332). Courtesy of the Royal BC Museum.
Little Boy Blue, 1897. Collection of the Art Gallery of Greater Victoria, Gift of the Artist (1952.015.001). Courtesy of the Art Gallery of Greater Victoria.
Lucy Martineau, 1892–94. Collection of the Art Gallery of Greater Victoria (SC1227.1). Courtesy of the Art Gallery of Greater Victoria.
Mansi – An Italian, 1892. Collection of the Art Gallery of Greater Victoria, Estate of Theresa Susan Yoder Moyle (1989.002.005). Courtesy of the Art Gallery of Greater Victoria.
Market place at Caudebec-en-Caux, 1903. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Matchboxes, small containers, and miniature trays with hand-painted decoration by artist, c.1924–50. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Miss Hallett, 1892/93. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Mosquito Island, 1907. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
La Napoule Bay, 1926. Collection of the Art Gallery of Greater Victoria, Anonymous Gift (1982.006.001). Courtesy of the Art Gallery of Greater Victoria.
The Parrot Court, Madurai Temple, India, 1923. Collection of the Art Gallery of Greater Victoria, Bequest of Mrs. H.R. Beaven (1958.001.001). Courtesy of the Art Gallery of Greater Victoria.
Paul, c.1912. Collection of the Art Gallery of Greater Victoria, Bequest of the Artist (1959.014.001). Courtesy of the Art Gallery of Greater Victoria.
Peasant Woman, 1903. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Pen and ink stand with hand-painted decoration by artist, 1921. Collection of the Royal BC Museum, Victoria (2020.3.2a-b). Courtesy of the Royal BC Museum.
Penumbra, 1907. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Plaster Cast, c.1890. Collection of the Art Gallery of Greater Victoria, Estate of Mrs. B.M. Harvey (1982.047.001). Courtesy of the Art Gallery of Greater Victoria.
Portrait of a Cardinal, 1890. Collection of the Art Gallery of Greater Victoria, Anonymous gift (1955.024.001). Courtesy of the Art Gallery of Greater Victoria.
Portrait of a Woman, 1896. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Portrait of Dolly Mortimer-Lamb, 1904. Collection of the Vancouver Art Gallery, Gift of Mr. H. Mortimer-Lamb (46.2). Courtesy of the Vancouver Art Gallery. Photo credit: Vancouver Art Gallery.
A Prosperous Settler, 1908. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
The Seine, 1903. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Serving tray with hand-painted decoration by artist, 1921. Collection of the Royal BC Museum, Victoria (2020.3.3). Courtesy of the Royal BC Museum.
Sketch for Un Livre Ouvert, 1900. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Sketch of a flower based on works by 17th century Flemish artists, c.1940–43. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Sketching Picnic, 1902. Collection of the Royal BC Museum, Victoria (PDP05167). Courtesy of the Royal BC Museum.
Spring, 1902. Collection of the Art Gallery of Greater Victoria, Bequest of the Artist (1973.210.001). Courtesy of the Art Gallery of Greater Victoria.
Tea caddy with hand-painted decoration by artist, c.1920–30. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Theresa Pemberton, 1895. Collection of the Royal BC Museum, Victoria (PDP05168). Courtesy of the Royal BC Museum.
Time and Eternity, 1908. Collection of the Art Gallery of Greater Victoria, Harold & Vera Mortimer-Lamb Bequest (1983.073.001). Courtesy of the Art Gallery of Greater Victoria.
Un Livre Ouvert, 1900. Collection of the Art Gallery of Greater Victoria, Gift of the Artist (1959.012.001). Courtesy of the Art Gallery of Greater Victoria.
Untitled (Breton Woman), 1896. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Untitled: Sketch of Lily, c.1949–54. Collection of the Art Gallery of Greater Victoria (SC1226.23). Courtesy of the Art Gallery of Greater Victoria.
Venus de Medici, c.1890. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
View from Gonzales, 1882. Collection of Library and Archives Canada, Ottawa (1974-18-14). Courtesy of Library and Archives Canada / The Brechin Group Inc.
View over Victoria, c.1902. Collection of the Royal BC Museum, Victoria (PDP04896). Courtesy of the Royal BC Museum.
Warren, 1901/02. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Weald Church, Kent, 1915. Collection of the Art Gallery of Greater Victoria, Gift of Miss Angela Beanlands (1969.120.001). Courtesy of the Art Gallery of Greater Victoria.
Writing desk with hand-painted decoration by artist, date unknown. Collection of the Royal BC Museum, Victoria (2020.3.1). Courtesy of the Royal BC Museum.
Yellow Tiger Lilies, 1902. Collection of the Art Gallery of Greater Victoria, Flora Hamilton Burns Bequest (1989.037.004). Courtesy of the Art Gallery of Greater Victoria.
Credits for Photographs and Works by Other Artists
Amélie Beaury-Saurel, a well-respected portraitist, poses beside a plaster bust of her husband, Rodolphe Julian, 1904. Photographer unknown. Collection of the Art Gallery of Greater Victoria (SC1227.10). Courtesy of the Art Gallery of Greater Victoria.
Beaux Arts Magazine clippings announcing Sophie Pemberton as the winner of the Prix Julian medal for the Best Studio Portrait, 1899, from Pemberton’s Glory Book, c.1904–40. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Caudebec-en-Caux, 1901, by Frances Hodgkins. Private collection. Courtesy of the International Art Centre, Auckland.
Constance Gore-Booth (left) occupied Sophie Pemberton’s #3 Stanley Studios in London, from October 1897 through January 1898, while Pemberton was in Italy. She sits with Irish poet and illustrator Althea Gyles (right), 1898. Photograph by Wasey Sterry. Lissadell Collection, Sligo, Ireland. Courtesy of the Lissadell Collection.
A corner of Sophie Pemberton’s Stanley Studio, with paintings including Pemberton’s Bibi la Purée, 1900, from Pemberton’s Glory Book, c.1904–40. Photographer unknown. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Cover of Canada and Impressionism: New Horizons, by Katerina Atanassova, with contributions by Krista Broeckx, Tobi Bruce, Adam Gopnik, Anna Hudson, Laurier Lacroix, Loren Lerner, Tracey Lock, Gerta Moray, Julie Nash, and Sandra Paikowsky (Stuttgart: Arnoldsche Art Publishers, 2019). Courtesy of Arnoldsche Art Publishers.
Cover of I’m Not Myself at All: Women, Art, and Subjectivity in Canada, by Kristina Huneault (Montreal and Kingston: McGill-Queen’s University Press, 2018). Courtesy of McGill-Queen’s University Press.
Cover of Sketches of Victoria British Columbia, exhibition catalogue for Doré Gallery, London, 1909. Collection of the Royal BC Museum, Victoria (NW 759.11 P395c). Courtesy of the Royal BC Museum.
Cover of Sophia Theresa Pemberton (1869–1959), by Nicholas Tuele (Art Gallery of Greater Victoria, 1978). Courtesy of the Art Gallery of Greater Victoria.
Cover of Sophie Pemberton: Retrospective Exhibition (Vancouver Art Gallery, 1954). Courtesy of the Art Gallery of Greater Victoria.
Cover of Sophie Pemberton’s Glory Book, c.1904–40. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Crécy-en-brie, 1911, by Emily Carr. Collection of the Royal BC Museum, Victoria, Presented in memory of Edward and Ellen Cridge, 1981 (PDP04682). Courtesy of the Royal BC Museum.
A Daffodil, 1910, by Laura Muntz Lyall. Collection of the National Gallery of Canada, Ottawa, Purchased 1910 (258). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Easter Morning, La Petite Penitente, Brittany, c.1900, by Mary Riter Hamilton. Collection of the Winnipeg Art Gallery, Gift of Mrs. Horace Crawford (G-45-152). Courtesy of the Winnipeg Art Gallery-Qaumajuq. Photo credit: Ernest Meyer.
Female students at the Académie Julian in Paris, c.1895. Photographer unknown. Collection of the Library of Congress, Washington, U.S. (LC-DIG-ppmsc-04833). Courtesy of the Library of Congress.
Gonzales, 1903. Photograph by Ernest “Trio” Crocker. Collection of the Art Gallery of Greater Victoria (SC1227.10). Courtesy of the Art Gallery of Greater Victoria.
Haystacks, Morning, Eragny, 1899, by Camille Pissarro. Collection of the Metropolitan Museum of Art, New York City, Bequest of Douglas Dillon, 2003 (2004.359). Courtesy of the Metropolitan Museum of Art.
In the Studio, 1881, by Marie Bashkirtseff. Collection of the Dnipropetrovsk State Art Museum, Ukraine. Courtesy of Wikimedia Commons.
Into the Blue (Dans le Bleu), 1894, by Amélie Beaury-Saurel. Collection of the Mairie de Toulouse, Musée des Augustins, Don Baron Alphonse de Rothschild 1894, Courtesy of the American Federation of Arts (RO494). Courtesy of the Mairie de Toulouse. Photo credit: Daniel Martin.
Lady Sackville-West, c.1916–20. Photographer unknown. Collection of the Art Gallery of Greater Victoria (SC1227.10). Courtesy of the Art Gallery of Greater Victoria.
Lieutenant Governor of British Columbia Henri Joly de Lotbinière posing for his portrait in the rectory studio, 1906. Photographer unknown. Collection of the Royal BC Museum, Victoria (SC1227.10). Courtesy of the Royal BC Museum.
The Lyceum Club was founded in 1903 at 128 Piccadilly in London, England, for women artists and writers. Rooms pictured include the hall and staircase; the smoking room; the dining room; the drawing room; the reading and writing room; and the arts and crafts gallery. This is the seventh location in a series called Our Ladies’ Clubs, as seen in The Graphic, April 18, 1908. Collection of Illustrated London News Ltd. / Mary Evans Picture Library, U.K. (12548495). Courtesy of Illustrated London News Ltd. / Mary Evans Picture Library.
Mère Adèle, 1897, by Florence Carlyle. Collection of Museum London, W. Thomson-Smith Memorial Collection, 1948 (48.A.71). Courtesy of Museum London.
A Modern Cinderella, 1875, by Louise Jopling. Private collection. Courtesy of Artvee.
Morning, Algonquin Park, 1914, by John William Beatty. Collection of the National Gallery of Canada, Ottawa, Purchased 1915 (1170). Courtesy of the National Gallery of Canada. Photo credit: NGC.
Papier-mâché side chair, c.1830–60, Collection of the Metropolitan Museum of Art, New York City, Robert Lehman Collection, 1975 (1975.1.2061). Courtesy of the Metropolitan Museum of Art.
The Pemberton family home, Gonzales, in Victoria, 1890s. Photographer unknown. Collection of the Royal BC Museum, Victoria (A-07779). Courtesy of the Royal BC Museum.
Photograph of Tarring Ropes by Sophie Pemberton, 1899/1900, from Pemberton’s Glory Book, c.1904–40. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Portrait of a Boy, date unknown, by Anna Nordgren. Collection of the National Museum, Stockholm (NM 7075). Courtesy of Artvee.
Postcard image of a street in Caudebec-en-Caux, c.1905. Photographer unknown. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Press clippings of the now-lost painting Winding Yarns by Sophie Pemberton, first exhibited at the 91 Art Club in London, 1898, from Pemberton’s Glory Book, c.1904-1940. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Séverine (Caroline Rémy, épouse Guebhard, 1855-1929, dite), journaliste socialiste, 1893, by Amélie Beaury-Saurel. Collection of the Musée Carnavalet – Histoire de Paris (P1449). Courtesy of the Paris Musées.
Sheet music cover for the song “Bibi La Purée,” with an inscription from Bibi to Sophie Pemberton, 1899, from Pemberton’s Glory Book, c.1904–40. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Sophie Pemberton (in the foreground to the right) at the announcement of her winning the Prix Julian, 1899. Photographer unknown. Collection of the Art Gallery of Greater Victoria (SC1228.10). Courtesy of the Art Gallery of Greater Victoria.
Sophie Pemberton (left) and the small boy who stole her heart, Paul Beanlands, 1905. Photographer unknown. Collection of the Art Gallery of Greater Victoria (SC1227.10). Courtesy of the Art Gallery of Greater Victoria.
Sophie Pemberton (left) with her mother in Italy, 1911. Photographer unknown. Collection of the Art Gallery of Greater Victoria (SC1227.10). Courtesy of the Art Gallery of Greater Victoria.
Sophie Pemberton (right) with classmates Bertha Creegan and Jenny Fontaine at the Académie Julian in Paris, 1899. Photographer unknown. Collection of the Royal BC Museum, Victoria (J-08133). Courtesy of the Royal BC Museum.
Sophie Pemberton (seated) working en plein air from the porch at her brother Fred’s cottage retreat, named Finnerty’s, in Saanich, B.C., 1908. Photographer unknown. Collection of the Art Gallery of Greater Victoria (SC1227.10). Courtesy of the Art Gallery of Greater Victoria.
Sophie Pemberton (top), Arthur Beanlands, and his children Paul and Angela in the rectory studio, 1907. Photograph by Ernest “Trio” Crocker. Collection of the Art Gallery of Greater Victoria (SC1227.10). Courtesy of the Art Gallery of Greater Victoria.
Sophie Pemberton and husband Horace Deane-Drummond on a fishing adventure in the U.K., c.1920. Photographer unknown. Collection of the Art Gallery of Greater Victoria (SC1227.8). Courtesy of the Art Gallery of Greater Victoria.
Sophie Pemberton in the rear garden of her London flat, 1947. Photographer unknown. Collection of the Art Gallery of Greater Victoria (LSC4.26). Courtesy of the Art Gallery of Greater Victoria.
Sophie Pemberton in her Gonzales studio after her return from France, 1901. Photographer unknown. Collection of the Royal BC Museum, Victoria (F-02807). Courtesy of the Royal BC Museum.
Sophie Pemberton in her rectory studio, 1908. Photographer unknown. Collection of the Art Gallery of Greater Victoria (SC1227.10). Courtesy of the Art Gallery of Greater Victoria.
Sophie Pemberton painting a tray, 1946. Photograph by Evie Deane-Drummond. Collection of the Royal BC Museum, Victoria (J-08132). Courtesy of the Royal BC Museum.
Sophie Pemberton painting en plein air in Victoria, possibly spring 1902. Photographer unknown. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Sophie Pemberton’s #3 Stanley Studios in London, c.1896, from Pemberton’s Glory Book, c.1904–40. Photographer unknown. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Sophie Pemberton’s certificate indicating First Class Honours, 1893, from Pemberton’s Glory Book, c.1904–40. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Sophie Pemberton’s life class at the Académie Julian in Paris, c.1899. Photographer unknown. Collection of the Art Gallery of Greater Victoria (SC1227.10). Courtesy of the Art Gallery of Greater Victoria.
Sophie Pemberton’s studio at Gonzales as maintained by her parents, who dutifully stored the sketches and canvases she sent home from England, c.1893, from Pemberton’s Glory Book, c.1904–40. Photographer unknown. Private collection. Courtesy of the Art Gallery of Greater Victoria. Photo credit: Stephen Topfer.
Spring, 1884, by Marie Bashkirtseff. Collection of the State Russian Museum, St. Petersburg. Courtesy of Wikimedia Commons.
Still Life of Flowers, 1670–80, by Geertje Pieters. Collection of the Fitzwilliam Museum, Cambridge, U.K. (58). Courtesy of the Fitzwilliam Museum. Photo credit: Andrew Norman.
Storm below Mount Fuji (Sanka no haku u), c.1830–32, by Katsushika Hokusai. Collection of the Metropolitan Museum of Art, New York City, Rogers Fund, 1914 (JP11). Courtesy of the Metropolitan Museum of Art.
Teenage Sophie Pemberton poses in a photographer’s studio, c.1885. Photograph by J. Berryman. Collection of the Royal BC Museum, Victoria (J-08134). Courtesy of the Royal BC Museum.
Untitled: Portrait of Sophie Pemberton, 1909, by Harold Mortimer-Lamb. Collection of the Art Gallery of Greater Victoria, Gift of Harold Mortimer-Lamb (1978.133.001). Courtesy of the Art Gallery of Greater Victoria.
La vieille Victorine, 1893, by Florence Carlyle. Collection of the Woodstock Art Gallery, Bequest of Florence Johnston (B 1994. 1994.003.002). Courtesy of the Woodstock Art Gallery.
View of the Salon d’Automne in the Salle Cézanne at the Grand Palais, Paris, 1904. Photograph by Ambroise Vollard. Collection of the Musée d’Orsay, RMN-Grand Palais, Paris (00-006679). Courtesy of Wikimedia Commons.
View of Wickhurst Manor in Sevenoaks, Kent, date unknown. Photographer unknown. Collection of the Art Gallery of Greater Victoria (SC1227.10). Courtesy of the Art Gallery of Greater Victoria.
War Canoes, Alert Bay, 1912, by Emily Carr. Collection of the Audain Art Museum, Whistler, Gift of Michael Audain and Yoshiko Karasawa (2018.054). Courtesy of Obelisk.
The wedding of Canon Arthur John Beanlands and Sophie Pemberton, 1905. Photographer unknown. Collection of the Royal BC Museum, Victoria (I-46770). Courtesy of the Royal BC Museum.
Wickhurst Manor in Sevenoaks, Kent, home of Sophie Pemberton and Arthur Beanlands, date unknown. Photographer unknown. Collection of the Art Gallery of Greater Victoria (SC1227.10). Courtesy of the Art Gallery of Greater Victoria.
Wildflowers of Vancouver Island, 1882, by Emily Henrietta Woods. Collection of Library and Archives Canada, Ottawa (1974-18-11). Courtesy of Library and Archives Canada / The Brechin Group Inc.
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Sophie Pemberton (1869–1959) made a noteworthy contribution to Canadian art, first with fine realist portraits and figure studies and later with landscapes. Learn More
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