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Description trouvée dans les archives
Lieu de création
Sans lieu, inconnu ou indéterminé
19 prints serigraphs.
Portée et contenu
Fonds comprises a comprehensive collection of posters relating to the following subjects: World Wars I and II, the circus, politics and protest, health and safety, government agencies and institutions, heritage and the environment, special cultural events, advertising, publishing, travel, art exhibitions, theatre, dance and concerts, film, sports and graphic design. Of particular note are eight original 1966 silkscreen prints and one reproduction poster by Jack Shadbolt (1909-1998) advertising Playhouse Theatre Company productions; a large 1914 colour lithograph by J.E.H. MacDonald (1873-1932), entitled "Canada and the Call", issued in aid of the Patriotic Fund; a 1906 poster for the Théâtre national de l'opéra comique; B.O.A.C. and Quebec tourism advertisements; large format posters, focusing on the arts, produced for the 1976 Olympic Games in Montreal; posters by Theo Dimson, Vittorio, Cooper and Beatty, and Neville Smith; war posters by Malcolm Gibson, Henry Eveliegh and Arthur Keelor; and numerous poster advertisements for the Toronto Dance Theatre. Also included are two posters for an 1979 exhibition organized by Robert Stacey entitled "The Canadian Poster Book 100 Years of the Poster in Canada".
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Graphic material (art) Works have been item-level catalogued on the Minisis-ICON database from an excel worksheet created by UBC co-op student Sandy Minhas. 90 (Électronique)
Biographie / Histoire administrative
Robert Stacey was born in Toronto in 1949 and graduated from the University of Toronto in 1972. For over three decades, he has worked as an art historian, editor, and curator. Stacey's interests and expertise lie in the areas of Canadian historical and contemporary art, graphic design and cultural geography. His extensive research on historical illustrator and muralist C.W. Jefferys resulted in a travelling retrospective mounted by the Agnes Etherington Centre in 1976, a 1985 catalogue and travelling exhibition entitled "Western Sunlight" mounted by the Mendel Art Gallery, and a 1985 National Gallery of Canada Canadian Artists Series publication. His fondness for the field of applied graphics and design was made manifest through several exhibitions and catalogues. In 1979-80, an exhibition he curated entitled "The Canadian Poster Book 100 Years of the Poster in Canada" was toured by the Art Gallery of Ontario's Extension Services in 1979-80. His interest in the design work of J.E.H. MacDonald resulted in the 1996 publication "J.E.H. MacDonald, designer: an anthology of graphic design, illustration and lettering. In 1997, he published "Canadian Bookplates" and, in 1999, wrote on the Advertising and Design Club of Canada.
Stacey has also applied his curatorial skills to more wide-spread subject matter. He was responsible for the exhibition and publication "The Hand Holding the Brush: Self-portraits by Canadian Artists" organized in 1983 by the London Regional Art Gallery. Historical artists on whom Stacey has written include Sir Daniel Wilson (1816-1892), Frances Anne Hopkins (1836-1919), Wyndham Lewis (1882-1957). In 1997, he contributed to the catalogue for an Ottawa Art Gallery exhibition with Jim Burant on Peleg Franklin Brownell (1857-1946). His research in more contemporary practice is found in his writings on individual artists Hamish Fulton, Alan Harding MacKay, Glenn Priestly and David Buchan. Stacey has also applied his curatorial skills to more wide-spread artistic arenas. In 1988, with Liz Wylie, he wrote "Eightytwenty: 100 years of the Nova Scotia College of Art and Design". In 2002, he contributed to a catalogue and travelling exhibition on the Qu'Appelle River Valley. For several decades as well, Stacey's reviews have appeared in numerous art publications. Robert Stacey died in 2007. A memorial was held for his friends, family, and admirers at the Arts and Letters Club in Toronto.
No de contrôl reliés
1. 1990-060 DAP
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