Visual Art

Visual Art

Parallels and Contrasts in the Visual Arts and Music

A comparative study of the development of the two sister arts in Canada had not been published, although Maria Tippett's Making Culture (Toronto 1990) reviews broad trends in anglophone Canada from the late 19th to the mid-20th century. The author of such a study would have to examine achievements and chronological priorities, trace the relative impacts of foreign models and local environments, and search for evidence of mutual contacts and cross-fertilization. It is certain however that both arts have experienced an increase in the number of practitioners and an expansion in the size of audiences after the middle of the century.

In colonial Canada both arts had primarily utilitarian functions - visual art in church decoration and in the depiction of topography, music in the liturgy and in military exercises. They moved through various phases in the 19th century when the rising middle classes strove for the 'finer accomplishments of life,' the earliest evidence being the itinerant portrait painters (eg, Louis Dulongpré) and singing school masters. In the second half of the 20th century both arts have flourished at various levels of sophistication and in a wide variety of genres, styles, and functions.

Despite these parallels it appears, at least on the surface, that the visual arts have developed at a faster rate. There is no abundance of compositions to match the wealth of ex voto church paintings and wood carvings of New France, although it might be fairer to compare lay craftsmen with gifted folksingers. But where are the composers contemporary to such immigrant painters as Paul Kane (1810-71) and Cornelius Krieghoff (1812-72), whose depictions of Indigenous and habitant scenes are famous, and to such Canadians as Antoine Plamondon (1804-91) and Théophile Hamel (1817-70), whose expert portraits won wide admiration?

In the 20th century, the distinctive painting style of the Group of Seven (formed in 1920) gained international recognition at a time when Canadian musical composition was at a low ebb in both quantity and originality. Did the earlier maturing of visual art have pedagogical reasons? Bishop Laval, at Cap Tourmente (St-Joachim near Quebec City) about 1668, established a school where the ecclesiastical arts and handicrafts were taught but where nothing was done, apparently, to train church musicians. A professional painter from France, Jacques Leblond de Latour (1671-1715), imparted instruction at the school after 1690, but there was no professional musician to guide the talented young Charles-Amador Martin.

Sir Ernest MacMillan offered a more basic explanation: 'The painter finds in all parts of the Dominion types of landscape peculiar to the country, and paints them as he sees them in their bold outlines and through their own distinctive atmosphere... But the musician has little to go on. His is a more introspective art than any other. As a rule, musical self-expression matures more slowly in any nation than does self-expression in the other arts' ('Musical composition in Canada,' Culture, vol 5, June 1942).

Further investigation may show however that the time-lag is more apparent than real. The visual arts and music have unequal abilities to ensure their own survival. Sound is fleeting, art has a physical permanence. Church decorations of New France, unless destroyed by fire, survive as proof of their period's creative energy. The paintings of the first important Canadian-born painter, François de Beaucourt (1740-94), can be seen in the National Gallery of Canada and other museums, but the music for the odes written in 1776 and 1791 (see Cantata) is lost, as are most of Joseph Quesnel's compositions.

Another factor is the lack of historical interest among Canadian musicians. Through exposure in museums and exhibitions, and through discussion in books of biography and history, Canadian visual art of more than three centuries has become familiar to a large sector of the public. The personal styles of a Krieghoff, an Emily Carr, or a Jean-Paul Riopelle are recognized instantly by thousands of laymen. Music has had no comparable advocacy. Canadian performers, music publishers, and recording companies have been very negligent in exploring early Canadian compositions. The 1963 revival of Quesnel's Colas et Colinette (1790) and the work's subsequent recording, and publication, and the recordings of Calixa Lavallée's The Widow and of some late-19th-century piano music by Josephte Dufresne and Linda Lee Thomas, were notable exceptions until the establishment in 1982 of the Canadian Musical Heritage Society ensured the publication of some of Canada's early music. Some of the music of Quesnel and Codman, Dessane and J.P. Clarke, Lavallée and S.P. Warren may stand comparison with the pictures of Kane, Krieghoff, and Plamondon, if not necessarily in local colour, then at least in professionalism.

Lastly, it has to be recognized that the major share of musical energy has been channelled not into creation but into re-creation. Such a division of function does not exist in the visual arts. In comparing past achievement perhaps one should seek the equivalent of the international recognition given to such painters as Antoine Falardeau (1822-90), Homer Watson (1855-1936), and Horatio Walker (1858-1938) not only in the music of a Lavallée or a Clarence Lucas, but also in the singing of an Emma Albani, a Louise Edvina, or a Béatrice La Palme, and the piano performances of a Waugh Lauder, a Salomon Mazurette, or an Émiliano Renaud.

Contacts between artists and musicians have been largely on the levels of sociability (eg, the Arts and Letters Club of Toronto, the Canadian Institute of Music, and the Institut canadien), of political action (CCA), and of education (common departments of fine arts and music at several universities). On the creative level however, there have been artists who found in music and musicians, an appealing subject for their paintings and drawings. Robert Harris's many sketches of musicians, instruments and musical events are held at the Confederation Centre Art Gallery and Museum in Charlottetown, PEI. Over thirty of Adrian Dingle's paintings in acrylic were inspired by Toronto concerts and musicians. The mixed media music phenomenon that began in the 1960s has produced some interesting associations (eg, Sightsoundsystems, a festival organized in 1968 by Udo Kasemets, and his engagement in 1970, as lecturer on music and mixed media, by the Ontario College of Art; the 1982-3 tour of the Sounds Unseen exhibition of R. Murray Schafer's scores, videos, and sound sculptures). Nobuo Kubota's installations or sound sculptures, as well as the combination of sight and sound that characterized the burgeoning music video market of the 1980s were further examples of the mixed-media evolution. Other points of contact are stage design (eg, Louis de Niverville for Beckwith's Night Blooming Cereus) and the illustration of record jackets. Another point of contact is the design of posters and other promotional materials and of trophies. For example, the TS commissioned a lithograph from Jean-Paul Riopelle to commemorate 'The Great Gathering' in 1987. Some poster/design artists whose work often relates to the art of music are Susan Benson, Nobuo Kobota, and Paul Fournier. The latter two artists each created a poster for the opening in 1982 of Roy Thomson Hall. The first Glenn Gould award trophy was a sculpture by Donald Stuart, inspired by fugue form, made in sterling silver and semi-precious stones. Yet another practical application of art to the musical scene are the portraits unveiled by Ken Danby in 1989 of Dallas Harms, Myrna Lorrie, Hank Snow, and others, the first in a series commissioned by the Canadian Country Music Hall of Fame (Kitchener, Ont) to honour its 25 inaugural inductees.

There have been visual artists who make music, and musicians who paint or sculpt. Louis Dulongpré and Richard Coates were early 19th-century musicians and portrait painters. Kane, Napoléon Bourassa, Krieghoff, and Antoine Plamondon were keen amateur musicians. M.-A. Suzor-Côté studied voice in Paris in addition to painting. Wilson MacDonald, poet, illustrator, and songwriter, illustrated the covers of his sheet music and poetry publications. Gustave Smith, the musician, also painted water-colours and worked as a cartographer. More recently Mary Bothwell, Guylaine Guy, Jimmy Namaro, Al Neil,John Newmark, Christina Petrowska, and Alfred Whitehead have exhibited successfully in art galleries, while Harry Freedman and R. Murray Schafer went through periods of visual art studies before concentrating on music. Reginald Godden did expressionistic visual representations of elements of Bach's music and developed a technique of 'spore painting,' a kind of 'chance art'. Rivka Golani has exhibited her abstract paintings and has published a collection of caricatures: Birds of a Different Feather...My Musical Colleagues (Oakville, Ont 1985); Terence Helmer has exhibited his paintings, as has multi-media artist Mendelson Joe. Tex Lecor has pursued careers as a singer-songwriter and as a painter. Murray McLauchlan paints in watercolours and Joni Mitchell has illustrated some of her record albums. The painter and sculptor Michael Snow is also an accomplished jazz musician (see Artists' Jazz Band), while Greg Curnoe, a London, Ont, painter, is leader of the Nihilist Spasm Band and Émile Normand is both a painter and a jazz musician.

Some Compositions Inspired by Visual Art

Adaskin, Murray In Praise of Canadian Painting in the 1930s. Orchestra. 1975. The artists: Paraskeva Clark, Louis Muhlstock, and Charles Comfort

Barnes, Milton Lamentations of Jeremiiah. Viola or violin solo. 1959. Rembrandt

Coulthard, Jean The Pines of Emily Carr. Soprano, narrator, string quartet. 1969. Based on Carr's journals

- Dopo Botticelli. Cello and piano. 1985. After 3 paintings by Botticelli

Daigneault, Robert Bridges and Small Painting Music. Flute, string trio. Inspired by paintings of Paul Fournier

Fiala, George Kurelek Suite. Orchestra. 1982. Based on five of William Kurelek's paintings

Freedman, Harry Tableau. Strings. 1952. Inspired by a painting of an Arctic landscape

- Images. Orchestra. 1958. Impressions of Lawren Harris' Blue Mountain, Kazuo Nakamura's Structure at Dusk, and Jean-Paul Riopelle's Landscape

- Klee Wyck. Orchestra. 1970. Based on the work and the persona of Emily Carr

Healey, Derek Arctic Images. Orchestra. 1971. Inspired by Inuit prints

Holt, Patricia Blomfield Legend of the North Woods. Orchestra. 1985. From a painting by J. R. Seavey

Levin, Gregory Five Picasso Portraits. Brass quintet. 1977.

Longtin, Michel Kata: san shi ryu. Flute, percussion, cellos, double-bass. 1982. Based on Japanese woodcuts

- Pohjatuuli - hommage à Sibelius. Chamber ensemble. 1983. Inspired by various works of Canadian artistsJ.E.H. MacDonald, Thomson, Harris, Jackson, Varley

McIntosh, Diana Paraphrase #1. Piano. Inspired by Lawren Harris' Maligne Lake

- Paraphrase #2. Piano. 1977. Inspired by an abstract painting by Marcel Barbeau

- and Southam, Ann Greening. Narrator, piano, electronics. 1978. Inspired by an Emily Carr painting

- Sonograph. Oboe, bassoon, recorder. 1980. Based on Ann Southam graphic design

- Extensions. Piano and tape. 1981. Based on a Robert Bruce print

- Sound Assemblings. Piano solo. 1983. Painting by Bertram Brooker

- Gut Reaction. Viola and tape. 1986. Painting by Rivka Golani

Morel, François L'Étoile noire (Tombeau de Borduas). Orchestra. 1962. Inspired by a Paul-Émile Borduas painting

Pentland, Barbara Three Duets After pictures by Paul Klee. Piano. 1958

Pépin, Clermont Guernica. Orchestra. 1952. Based on the Picasso painting

Rae, Allan Concerto for Bass. Double-bass and string orchestra. 1977. Inspired by four paintings of Salvador Dali

Rea, John Hommage à Vasarely. Orchestra. 1977

- Treppenmusik. Chamber ensemble and tape. 1982. Inspired by the work of M.C. Escher

- Spin. String quartet and piano. 1984. Light sculptures by Peter Sedgley

Schafer, R. Murray Minimusic. Any 4 or 5 instruments or voices. 1969. Inspired by Paul Klee

Somers, Harry Picasso Suite. Small orchestra. 1964. Nine-movement suite depicting various aspects, periods, or specific works of the artist

Southam, Ann Spatial View of Pond: after a painting by Aiko Suzuki. Piano, tape. 1986

Tedman, Keith Starsounds. Percussionists and slide projections. 1984. Inspired by the paintings of Sidney Goldsmith

Turner, Robert Shadow Pieces I. Chamber ensemble. 1981. After art by Joseph Cornell

Weisgarber, Elliott Six Miniatures after Hokusai. Violin, piano. 1972

Some Visual Art Inspired By Music and Musicians

The following representative list has been compiled from personal observations (museums, books, periodicals, calendar reproductions, etc) and supplemented by a selection brought to the editors' attention by the National Inventory Program of the National Museums of Canada. By 1990 neither the National Gallery of Canada nor the Art Gallery of Ontario provided subject access to their collections. However the federal Dept of Communications maintained a Canadian Heritage Information Network (formerly the National Inventory Program) database that provided subject access (and locations) for artefacts and some works of art held by 47 participating Canadian institutions. No consideration has been given to period, to the reputation of the artist, or to the importance of the subject.

An aspect of musically inspired visual art which has seemed beyond the reach and competence and, perhaps, the courage of this article, and with which it and its lists consequently have made little attempt to deal, is the abstract. This is regretted because music itself is fundamentally an abstract art, and it and its performance have called forth strong responses from abstractionists in visual art - for instance Jean-Paul Riopelle in his 'La Bolduc,' hung in the main lobby of the PDA. In a sense, such manifestations (and there were many beginning in the 1960s are the converse of impressionism in music (see Impressionism). In 1980, along with some other aspects of the relationship of the two arts, visual abstractions of musicians, musical performances, and musical essences deserved study in some depth. At this stage of investigation, generalizations are impossible.

Work of a foreign artist has been included when it has portrayed a Canadian musician, or a musician later to settle in Canada. Such artists are identified by nationality.

The list employs these abbreviations for museums and other owners. In some instances the location of the work is not known.

AGGV Art Gallery of Greater Victoria

AGH Art Gallery of Hamilton

AGO Art Gallery of Ontario, Toronto

ALC Arts and Letters Club of Toronto

AN du Q Archives nationales du Québec, Montreal

CAG Centennial Art Gallery, Halifax

CCAB Canada Council Art Bank, Ottawa

CCAGM Confederation Centre Art Gallery and Museum

JPL Jewish Public Library, Montreal

MAG Mendel Art Gallery, Saskatoon

MBAM Musée des beaux-arts de Montréal

M du Q Musée du Québec, Quebec City

MTL Metropolitan Toronto Library, J. Ross Robertson Historical Collection

NA of C National Archives of Canada, Ottawa

NBM New Brunswick Museum, Saint John

NGC National Gallery of Canada, Ottawa

NL of C National Library of Canada, Ottawa

NMAG Norman Mackenzie Art Gallery, Regina

PDA Place des Arts, Montreal

RCMT Royal Conservatory of Music, Toronto

ROM Royal Ontario Museum, Toronto

U of T University of Toronto, Faculty of Music

VAG Vancouver Art Gallery

VMM Vancouver Maritime Museum

Portraits

Artist/Subject and date/Medium/Owner or reference

Adelstein, Hattie/Pauline Donalda/oil/private

Alfsen, John Martin/Cellist (Tom Stone) 1925/crayon/AGO

Allard, Delvico/Claude Champagne 1963/relief/Salle Claude-Champagne, Montreal

Bury, Brenda/Joaquin Valdepeñas. 1991/oil/private

Clark, Paraskeva/Murray Adaskin 1945/oil

- Frances James. 1952/oil

Collier, Alan Caswell/The Guitar Player/oil/NGC

- David Ouchterlony/drawing/ALC

Comfort, Charles F./Alexander Chuhaldin ca 1928/water-colour/AGH

- Sir Ernest MacMillan/pen and ink caricature/MacMillan family

- Ettore Mazzoleni/water-colour/RCMT

Cook-Endres, Barbara/Marilyn Duffus as the Mother in Amahl and the Night Visitors/oil/private (catalogue 150 Years of Art in Manitoba, 1970)

Daoust, Sylvia/Soeur Marie-Stéphane/bronze/Salle Claude-Champagne, Montreal

Delfosse, Georges/Alexis Contant early 1920s/watercolour/NL of C

- Fleurette Contant 1924/oil/NL of C

- Émiliano Renaud 1910/oil/M du Q

Dick, Dorothy/Hector Charlesworth/bronze/ALC

Dingle, Adrian/Healey Willan/oil/ALC

Dulongpré, Louis/Joseph Quesnel ca 1800/oil/Château Ramezay

Eaton, Wyatt/Man with Violin (Timothy Cole)/oil/AGO

Epstein, Sir Jacob (English)/Ellen Ballon/bronze/McGill University and Dalhousie University

Fairley, Barker/series of musicians/oil/U of T

Forbes, Kenneth/Sir Ernest MacMillan/oil/U of T

- Norman Wilks/oil/RCMT

Forster, J.W.L./F.H. Torrington 1899/oil/U of T

Fortin, Marc-Aurèle/Claude Champagne 1928/oil/private

Frankenberg, E./Sarah Fischer/plaster bust/JPL

Gage, Frances/Sir Ernest MacMillan/relief/H. Spencer Clark

- Healey Willan/relief/H. Spencer Clark

- Elmer Iseler. 1990/bust/Roy Thomson Hall

Gramatté, Walter (German)/numerous portraits of S.C. Friedman-Gramatté (S.C. Eckhardt-Gramatté) 1920-9/various. media/various

Grier, Wyly/A.S. Vogt 1917/oil/RCMT

Hahn, Emmanuel/F.H. Torrington/plaster/ALC

Hamel, Théophile/Antoine Dessane ca 1859/oil/M du Q

Hamilton, Ruby Harkness/Edward Johnson/bronze/U of T

Hébert, Adrien/Léo-Pol Morin 1925/drawing/L.-P. Morin, Musique (Montreal 1944)

Hébert, Henri/Rodolphe Mathieu 1918/drawing/ Le Nigog (May 1918)

Hohenlohe, Prince Victor (German)/Emma Albani/marble/M du Q

Holbrook, Elizabeth Bradford/W.H. Hewlett. 1934/bust/artist's collection

- Reginald Godden. 1951/bust/artist's collection

- Harry Somers. 1954/bust/artist's collection

Horne, Cleeve/Boris Hambourg 1934/bust/artist's collection

- Mark Hambourg 1934/bust/artist's collection

- Reginald Stewart 1938/bust/artist's collection

- David Ouchterlony 1951/oil/artist's collection

- Sir Ernest MacMillan 1956/oil/Massey Hall, Toronto

Hunt, Dora de Pedery/Leo Smith/drawing/U of T

- Geza de Kresz/medal

Hunt, John Powell/Edward Fisher/oil/RCMT

Hunter, Raoul/Félix Leclerc 1988/bronze/Ile d'Orléans, Que

Joe, Mendelson/multicultural series of pop musicians. 1978

Kokoschka, Oskar (Austrian)/Emmy Heim 1916/lithograph/

Kooluris Dobbs, Linda/Anton Kuerti 1983/acrylic/artist's collection

- Bruce Cockburn 1984/acrylic/artist's collection

Laliberté, Alfred/Lynnwood Farnam/bust

Law, S.G./Luigi von Kunits/drawing/ German-Canadian Yearbook, vol 2 (Toronto 1975)

Lemieux, Marguerite/Salvatore Issaurel 1935/drawing/M du Q

Low, Will Hicock (USA)/Emma Albani as Lucia di Lammermoor 1877/oil/M du Q

Macdonald, J.E.H./Arthur Friedheim at the Arts and Letters Club 1912/oil/AGO

Mallory, Robert/Clement Hambourg/oil/NL of C

Manson, J.B./Michael Hambourg/oil/NL of C

Massicotte, Edmond-Joseph/F. Jehin-Prume/drawing/M du Q

McKenzie, Robert Tait/Kathleen Parlow/sculpture/Mill of Kintail (Almonte, Ont)

McLaren, Jack/Augustus Bridle/drawing/ALC

Middleton, Holly/Boris Roubakine/oil/Banff CA

Moravec, Hella/Marius Barbeau. 1973/bust/Canadian Museum of Civilization

Oldham, E./Sarah Fischer/silhouette/JPL

Pavelich, Myfanwy/Frances James/artist's collection

- Murray Adaskin/artist's collection

Petrovic, Milan/Ruby Mercer/water colour/private

Plamondon, Antoine/Mme Papineau et sa fille Ezilda 1836/oil/NGC

Pollack, Harry/Alexander Brott/bronze/PDA

- series of musicians/sculpture/private

Reynolds, J.M./Healey Willan ca 1970/sculpture/NL of C et al

Russell, John Wentworth/Boris Hambourg 1932/oil/AGO

St-Mars, Alonzo/Calixa Lavallée/relief/Eugène Lapierre, Calixa Lavallée (Montreal 1936, etc)

Sampson, J.E./Hector Charlesworth/drawing/ALC

Sargent, John Singer (USA)/Éviola Gauthier/two drawings/one in Museum of Fine Arts, Boston

Soucy, Elzéar/Claude Champagne1924/bust/PDA

Speicher, Eugene/Edward Johnson 1950/oil/U of T

Stephens, Anaït (USA)/Zubin Mehta 1968/bronze/PDA

Stevens, Dorothy/The Cellist pre-1914/NGC

Tchakmaktchian, Arto/Wilfrid Pelletier 1984/bronze bust/PDA

Têtu, Guy/Félix Leclerc/oil/Notre-Dame-des-Victoires Church, Quebec City

Tod, Joanne/ Idiot Savant: Glenn Gould portrait 1984/oil/Alison and Alan Schwartz collection

Town, Harold/John Weinzweig. 1983/chalk/Weinzweig

Tregor, Nison (USA)/Luigi von Kunits ca 1926/bust/Toronto Symphony

Varley, Frederick H./Percival Price. 1937/charcoal on paper/private- Miriam Kennedy/chalk/private

Vézina, Émile/Claude Champagne 1915/oil/private

Webster, H./Sarah Fischer/oil/JPL

Weiss, Felix/Boyd Neel/bronze/U of T

Willer, James S./W.H. Anderson/terracotta bust/private

Wilson, York/Ettore Mazzoleni/collage/ALC

anon/James Dodsley Humphreys/water-colour/MTL (item 3697)

- Thomas Archer(portrait reproduced in Montreal Gazette, 23 Jul 1966)

- Mona Bates/oil/RCMT

- Charles Wugk Sabatier/AN du Q

Groups, still lifes, etc

Artist/Subject and date/Medium/Owner or reference

Berczy, William von Moll/The Woolsey Family - La Famille Woolsey ca 1809/oil/NGC

- Domestic Scene/private (German-Canadian Yearbook, vol 2, Toronto 1975)

Binkert, Paul L./Cellist 1969/welded steel/MAG

Borduas, Paul-Émile/La Femme à la mandoline/oil/Musée d'art contemporain, Montreal

- Cello/collage/Musée d'art contemporain, Montreal

Bouchard, Simone Mary/Les Trois Rois mages - The Three Kings/oil/private

Brooker, Bertram/Phyllis (Piano! Piano!) 1934/oil/AGO

Caiserman, Ghitta/Concert/private

Cardinal, Marcellin/Cello 1971/collage/CCAB

Colville, Alex/Child with Accordion 1954/tempera/private

- Singer. 1986/private

Coughtry, Graham/Head Arrangements for the Artists' Jazz Band 1973/4 prints

Curnoe, Greg/The Camouflaged Piano, or French Roundels - Le Piano camouflé, ou Tourteaux français 1966/oil and damar/NGC

Cusack, Marie/The first note 1990/oil/artist

Dahl, Chris/The Sam Wooding Orchestra (1925) 1973/silkscreen/CCAB

Dingle, Adrian/Tribute to Harry Somers 1963/acrylic/Dofasco

- Anniversary 1972/acrylic/SOCAN

Duncan, James/Celebrated Blind Fiddler ca 1850/drawing/ROM

Fortier, Michel/Harmonica 1973/silkscreen/CCAB

Freiman, Lillian/Street Musicians/drawing

- Orchestra/oil/Dominion Gallery, Montreal

Gadbois, Louise/Geraldine à la Mandoline 1952/oil/MBAM

Gaucher, Yves/Hommage à Webern I, II, III 1963/prints/artist

Hamel, Théophile/The Molson family 1851/oil/Vancouver Art gallery

Harris, Lawren/Quintet 1962/oil/CAG

Harris, Robert/In Royal Opera House, Toronto 1879/drawing/CCAGM

- Harmony/ Harmonie 1886/oil/NGC

- The Chorister - L'Enfant du choeur ca 1881/oil/NGC

- Village Choir 1888/oil

- Orchestra Sohmer Park 1894/drawing/CCAGM

Heriot, George/Dance at the Chateau 1801/water-colour/PAC

- La Danse ronde/Circular Dance of the Canadians 1807/water-colour/ PAC and also in G. Heriot, Travels through the Canadas (London 1807)

- Fête donnée par Sir James Craig à Spencer Wood 1809/water-colour/ private

- Minuets of the Canadians/water-colour/PAC and also as above

Holgate, Edwin Headley/The Cellist 1923/oil/McMichael Canadian Art Collection, Kleinburg, Ont

Holzworth, T./The Toronto Symphony Orchestra 1959/oil/Toronto Musicians Association

Jobin, Louis/Angel with Lyre/wood/AGO

- Angel with Trumpet/wood/ROM

Judge, Spencer Percival/The Orchestra 1929/pastel/AGGV

Jullien, Henri/Country Dance Mid-19th Century/pen and ink/McCord Museum, Montreal and also in Cornelius Krieghoff by Barbeau (Toronto 1934)

Krieghoff, Cornelius/Canadian Interior 1852/private

- Indians Dancing 1855/PAC

- After the Ball 1856

- Merrymakers 1860/ Cornelius Krieghoff by Barbeau (Toronto 1934)

- Breaking up a Sleigh Party ca 1860

- Interior at Old Pocane's ca 1894/ Cornelius Krieghoff by Barbeau (Toronto 1934)

Kurelek, William/Manitoba Party - Réunion au Manitoba 1964/oil/NGC

- Handel's Messiah at Massey Hall/ O Toronto by Kurelek (Toronto 1973)

- Ukrainian Christmas Eve Supper 1973/lithograph/AGO

- The Barn Dance/ Kurelek's Canada (Toronto 1978)

Kuwianartuk, Felicete/Drummer and Singer/stone sculpture/NMAG

Larose, Ludger/Intérieur 1907/

Leclair, Michel/Chez Fada - Chanteur dansant 1973/silkscreen/CCAB, also MBAM

Leduc, Ozias/L'Enfant au pain - The Boy with a Piece of Bread 1890s/oil/NGC

Lismer, Arthur/Le Joueur de violon/pen and ink/MBAM

MacLaughlan, Donald Shaw/Song from Venice No. 2, 1912/etching/NGC

Massicotte, Edmond-Joseph/Le Violoneux 1912/drawing/Conte de Fréchette

- Une Veillée d'autrefois 1915/drawing/ Pionniers du disque folklorique

Masson, Henri/Baroque Trio 1956/water-colour/VAG

- Les Enfants de choeur/pen and ink

Milne, David/The Concert at the 'Y,' Concentration Camp, Kinmel 1918/drawing/NGC

- Resurrection No. 2 1943/watercolour on paper/AGO

Nichols, Jack/Musicians 1942/turpentine wash/CAG

- Cymbals 1952/ink /MAG

Paquet, André/Trophée de musique/Trophy of Music and Musical Instruments 19th century/wood-gilt/NGC

Perehudoff, William/group of musicians 1953/oil/MAG

Pitseolak, Peter/Drum Dancer/ink and paper/AGGV

Plamondon, Antoine/Le Flûtiste 1867/oil/NGC

Pootagok/Woman with Musical Instrument 1959/stone/AGO

Racine, Soeur Cécile/Music in Retrospect (18 plastic-coated collages)/

Raphael, William/Derrière le marché Bonsecours - Behind Bonsecours Market, Montreal 1866/oil/NG

Rayner, Gordon/Music of the Bill Smith Ensemble 1980/oil/A.E. LePage collection

Reid, George Agnew/Music 1900/oil/Ontario College of Education (study for above, a drawing, AGO)

- Adagio 1893/oil/NGC

Seavey, Julian Ruggles/Music - La Musique ca 1890/oil/NGC

Shaw-Rimmington, Barrie/series including Pianissimo; Rock Drummer; Classical Guitarist; etc/bronze/ Globe and Mail (12 May 1969)

Staples, Owen/Sonata 1914/drawing/NGC

Swinton, George/Quartet 1953/lithograph/AGGV

Turner, Thomas/Great Bell of Montreal/lithograph/ Catalogue Christie Auction 3, part 2, #354

Villeneuve/La Danse du carnaval/

Warre, Sir Henry James/Great Bell at Fort Victoria 1845/PAC

Watson, Sydney H./The Music Shop - Le Magasin à musique/oil/NGC

Wood, W.J./Memories Melodies 1919/U of T (Hart House)

Wyle, Florence/The Cellist - La Violoncellist ca 1938/mahogany sculpture/NGC

Yarwood, Walter/Guitar 1945/oil/AGO

Young,Robert/Sounds Inside 1973/silkscreen print/VAG

- Chromatic Aberration 1976/etching/VAG