Photograph of 20th Century Student sculpture
- UA-36, 2012-041, Item 4
- Item
- August 2010
Part of Dalhousie Art Gallery fonds
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Photograph of 20th Century Student sculpture
Part of Dalhousie Art Gallery fonds
Photograph of 20th Century Student sculpture
Part of Dalhousie Art Gallery fonds
Photograph of 20th Century Student sculpture
Part of Dalhousie Art Gallery fonds
Photograph of 20th Century Student sculpture
Part of Dalhousie Art Gallery fonds
Photographs of 20th Century Student
Part of Dalhousie Art Gallery fonds
Sally Ryan : [autographed photograph]
Part of Ellen Ballon fonds
Jacob Epstein : [autographed photograph]
Part of Ellen Ballon fonds
Contact sheet of photographs of Cathy Quinn's performance at the 1985 Arts and Culture Assembly
Part of Centre for Art Tapes fonds
Photographs from Nova Scotia Coalition on Federal Culture
Part of Centre for Art Tapes fonds
Part of Eyelevel Gallery fonds
Photographs, invitations, and other material related to Eyelevel Gallery artists and programming
Part of Eyelevel Gallery fonds
Exhibition invitations and photographs
Part of Eyelevel Gallery fonds
Eyelevel Gallery.
Henry Orenstein's Sudbury industrial landscape mural project slides
Part of Joan and Henry Orenstein fonds
Henry Orenstein's Sudbury industrial landscape mural project photographs
Part of Joan and Henry Orenstein fonds
Henry Orenstein's Sudbury industrial landscape mural project negatives
Part of Joan and Henry Orenstein fonds
Photographs of Henry Orenstein's art work
Part of Joan and Henry Orenstein fonds
Photographs of Henry Orenstein in middle age
Part of Joan and Henry Orenstein fonds
Catalogue of Henry Orenstein's prints and paintings
Part of Joan and Henry Orenstein fonds
Joan and Henry Orenstein fonds
Orenstein, Henry, 1918-2008
Fonds includes Alan Creighton's diaries, which cover many of the years from 1920 to 2000. Writings from the period 1920 to 1954 (many undated) are mainly short stories and poems. These writings include handwritten and typed, complete and incomplete, and published and unpublished works. There is also some correspondence throughout as well as copies of his two books of poetry. The fonds includes writings with titles such as "About Poetry," "Poetry Courses," "Thoughts," "Music & Art," and "Bedford Basin." His notebooks include evidence of a variety of courses taken, including French and Greek, music, poetry, and art (both practice and history, including Chinese art). There is also a record of his art sales from 1964 to 1999. Personal and family documents are included in the fonds.
Alan Creighton's artwork is extensive and primarily in the form of sketches and watercolours, with a few oil paintings. Many of his sketches are in albums, many of which are used exclusively for one particular aspect of his studies. For example, album labels include "People," "Trees," "Skies," "Rock Formations," "Buildings," "Railway Sketches" (scenes from train journeys), and "Outdoors." Others identify a place and time and include such labels as "At the Zoo," "Nova Scotian Sketches 1951," "South Shore 1982," and "Toronto 1996." Still others contain a mixture of styles and themes. There are also numerous loose sketches and watercolours which have been loosely arranged into similar groupings such as "Clouds," "Boats," "Flowers," and so forth. Photograph albums include photos of family and of scenes taken by Alan as a reference for future paintings.
Included with Alan Creighton’s personal items are papers, writings, art, and memorabilia belonging to his friend and roommate Christine Eyles, who died without heirs. Some relate to her employment as a violinist in England and in Toronto, Ontario and some contain her poetry, plays, and artwork (in sketchbooks and on loose paper). Published and handwritten music scores, mostly for the violin, are also included. A photograph album contains many formal portraits of family and friends taken in England in the early 20th century. Records also include papers by and about her father, Charles Eyles, a famous violin-maker. Such materials include advertisements, brochures, and letters attesting to the high quality of his craftsmanship.
Creighton, Alan
Catherine Creighton and family fonds
Fonds consists of papers created and/or accumulated by Catherine Creighton and her family, including those of her husband Graham and children Edith, Anna, Lois, Frieda, and Howard. While the fonds includes correspondence from Wilfred Creighton to his siblings and parents, Wilfred's papers are not included as a sous-fonds within the fonds.
The bulk of the fonds consists of correspondence from family and friends, but also includes diaries, photographs, financial papers, personal papers, memorabilia, print materials, scrapbooks, articles, and artwork. Records in the fonds provide a well-rounded depiction of the family's daily activities and lives - from their relationships with each other, their extended family, and their community, to their financial status, values, education, and careers.
Creighton Family
Part of Irving Deale collection
Mary Celeste artwork by John Worsley
Part of Irving Deale collection
Mary Celeste artwork by Leslie Victor Smith
Part of Irving Deale collection
Mary Celeste artwork by Rudolph Ruzicka
Part of Irving Deale collection
Photographs of artwork of Mary Celeste
Part of Irving Deale collection
Part of Joan and Henry Orenstein fonds
Fonds contains a selection of documents, drawings, material samples, and images collected by D'Arcy Wilson and Lisa Bouraly during a two-year research project focused on Thomas McCulloch and Andrew Downs. The fonds is part of an exhibition, the "Impossible Museum," curated by Lisa Bouraly and featuring works by D'Arcy Wilson and Amy Malbeuf. The exhibition is presented by Eyelevel Gallery in the Thomas McCulloch Museum in the Dalhousie University Life Sciences Centre from March 5 to April 30, 2020.
Material includes a selection of texts and notes tracing Bouraly's research while preparing the exhibition. These documents were selected by Wilson from Bouraly's collection. Fonds also includes an encapsulated drawing of Thomas McCulloch, material swatches linked to one of the works in the exhibition, scraps and drawings left over from a collage, photographs of works in progress, a copy of the exhibition essay, and other material related to the exhibition. Fonds also includes photocopies of several nineteenth century texts reviewed by Bouraly during her research.
The file box includes a pair of white gloves and a list of materials in the box.
Wilson, D'Arcy