The University of Lethbridge is renowned for its excellent art collection. People on campus and throughout the city take pride in knowing that a wonderfully diverse range of art work is housed here. The high profile of the collection also means that there are many rumours that circulate about it. One of my favourites is that the collection is stored in a vault under the lake. Given that it is important to maintain constant humidity and avoid catastrophic damage, why would we store a collection of art under a body of water? This kind of outlandish story does not concern me because it adds to the interest in the art collection, but I am concerned when I hear that people think the collection is inaccessible and people are not able to see and engage with the works. The truth is quite the opposite: the U of L Art Gallery has a remarkable record of providing access to the collection with our innovative on-line database; supporting class visits and other tours – 2486 participants in 48 different events; 72 works loaned to other galleries in 2011 including to Paris and New York; touring our own exhibitions; and including 103 works from the collection in our exhibitions on campus last year.

There are many ways that the art collection plays an active role for people on campus and in the local community. In order to help make these connections more visible, and to encourage new routes of access, Josephine Mills started the art + people = x series in 2009. An idea that grew from  an interest in supporting research by local artists and at the same time creating a project that would allow the broader public to have a sense of the importance that public art collections play in generating ideas and sparking artist’s creative practice.

Archives

2013

(art + people) x science = x “Drawing the Canada-Wide Science Fair 2013″

2012

On Landscape Images by Dr. Josephine Mills, Director/Curator, University of Lethbridge Art Gallery, from the Fall 2012 issue of SAM-Southern Alberta Magazine, November 20, 2012

Revising the Canonical Landscape Form by Elizabeth Diggon

The Art of Caring for Collections, from the Spring 2012 issue of SAM-Southern Alberta Magazine, April 23, 2012

2011

The Important Things to Know About Eating and Drinking (In Lethbridge): A Project by Lisa Hirmer and Andrew Hunter as Dodolab, from the Fall 2011 issue of SAM-Southern Alberta Magazine, November 21, 2011

Notebook: A Bowman Arts Centre/University of Lethbridge Art Gallery partnership, workshop, and exhibition

A little history on the prairies: Essay “Home Pain” by Jim Coutts, from the Spring 2011 issue of SAM-Southern Alberta Magazine, March 28, 2011

2010

joy: the x factor by Emily Luce, Faculty, Fine Arts, New Media Department, from the Fall 2010 issue of SAM-Southern Alberta Magazine, October, 28, 2010

Snap, Crackle, Pop, from the Winter 2010 issue of SAM-Southern Alberta Magazine, February 27, 2010

2009

Knowing/Gnawing: Darcy Logan and works from the University of Lethbridge Art Collection

Knowing/Gnawing, from the Fall 2009 issue of SAM-Southern Alberta Magazine, October, 30, 2009

art+people=x (Inaugural Exhibition)

Revising the Canonical Landscape Form

In taking advantage of the opportunity to peruse the University of Lethbridge’s impressive art collection, I was drawn to Isabelle Hayeur’s Refuge and Allyson Clay’s A Constant Longing because both works speak to issues of landscape and identity – broad concepts which I, and many other students of Canadian visual culture, am compelled to confront. Beyond simply throwing a traditionally “Canadian” pastoral landscape out the proverbial window, both works raise more questions about the relationships between landscape, familiarity and identity than they answer. Each work evokes a landscape that is simultaneously stunning yet hostile, thus raising questions about the validity of a perceived connection to space, while suggesting a more pluralistic definition of an “ideal” or “familiar” landscape.

Notebook (art+people=x)

January 6 – February 24, 2012
Helen Christou Gallery

A Bowman Arts Centre/ University of Lethbridge Art Gallery partnership.

The University of Lethbridge is renowned for its excellent art collection. People on campus and throughout the city take pride in knowing that a wonderfully diverse range of art work is housed here. The high profile of the collection also means that there are many rumours that circulate about it. One of my favourites is that the collection is stored in a vault under the lake. Given that it is important to maintain constant humidity and avoid catastrophic damage, why would we store a collection of art under a body of water? This kind of outlandish story does not concern me because it adds to the interest in the art collection, but I am concerned when I hear that people think the collection is inaccessible and people are not able to see and engage with the works. The truth is quite the opposite: the U of L Art Gallery has a remarkable record of providing access to the collection with our innovative on-line database; supporting class visits and other tours – 2486 participants in 48 different events; 72 works loaned to other galleries in 2011 including to Paris and New York; touring our own exhibitions; and including 103 works from the collection in our exhibitions on campus last year.

There are many ways that the art collection plays a active role for people on campus and in the local community. In order to help make these connections more visible, and to encourage new routes of access, I started the art + people = x series in 2009. The series has already included an exhibition, texts written about individual art works, and the commission of a 4 song EP and music video by the artist duo the Cedar Tavern Singers AKA Les Phonoréalistes. For the latest installment in the series, I was interested in supporting research by local artists and at the same time creating a project that would allow the broader public to have a sense of the importance that public art collections play in generating ideas and sparking artist’s creative practice.

To make this idea more specific and feasible, I contacted Darcy Logan at the Bowman Arts Centre. I had been impressed by the exhibitions he had done out of workshops for local artists that focused on a specific topic, a Lethbridge Bestiary, and a specific technique, monotype printing. For this project, the main goal was to provide in-depth access to the collection for local artists so that the collection could support their current practice or generate ideas for new direction in their work. As well, I hoped that we would have a strong body of work from which to curate an exhibition. Darcy came up with the idea to channel the study of the collection through the process of written notes as the source for the creation of new work. Jane Edmundson provided the expertise to assist all the artists with viewing their selections from the 14,000 works in the collection while identifying works in the collection that related to their interests. Pushed out of their accustomed practice of making sketches or other visual points of references, the artists in Notebook responded with surprising shifts in their usual practice or completely new directions for their work. The result was a resounding success both for providing research access for local artists and creating an eclectic, engaging exhibition.

- Josephine Mills, Director/Curator, U of L Art Gallery

When I was approached by the University of Lethbridge Art Gallery Director/Curator Josephine Mills about working on a joint project for her art + people = x series, I was excited by the potential. I have organized numerous professional development workshops for artists at the Bowman Arts Centre, including drawing and monotyping, with the resultant works being included in exhibitions. Josephine felt that there were some parallels between our respective initiatives, and asked if I had any ideas for research and workshop-based projects that would allow community artists to engage with, and learn about, the University’s art collection.

I began thinking about the tradition amongst both student and established artists to create work ‘after’ other artists that have resonated with or inspired them. I posited the question of how the faculties of observation, memory and writing inform this tradition. Visual arts and writing have many similar characteristics. Both trace and record the activity of the hand and body in an attempt to communicate with an observer. Both have a set of internal rules, and both rely on compositional conventions to try and make their messages clear. Often the two disciplines pollute each other in a myriad of ways.

After discussions with Josephine, we decided to invite all interested artists to visit the gallery, learn about the database as a research tool, and discover new works that inspired them. The artists were provided notebooks in which to write about these objects, and over many months visited the gallery, engaged with the collection and recorded their impressions textually.

These notations, and the artists’ memories, formed the foundation of a series of workshops held at the Bowman Arts Centre during the summer and fall of 2011. Armed with their memories and notes, the artists worked with their peers in re-imagining their chosen works. The whole project was one of translation; from the visual, to the written, and back to the visual.

- Darcy Logan, Curator and Gallery Manager, Bowman Arts Centre

Knowing/Gnawing

Darcy Logan and works from the University of Lethbridge Art Collection
art+people=x series
October 30 – January 3, 2010
Helen Christou Gallery

Artist Statement: Know/Gnaw/Naglfar

My current body of work is titled “Know/Gnaw/Naglfar”, and uses myth as a metaphor to explore the nature of knowledge and ideas. In Scandinavian mythology, the Naglfar is a ship being constructed in the underworld. The etymology of Naglfar is from the Old Norse for “nail ferry”, which is both a metonym for the rivets that hold the planks together, and a description of its mythic purpose. The building materials for this ship are the finger and toe nails of the dead, the detritus of the body. When enough discordant people have died and the necessary amount of raw material has been gathered, the ship will be completed, freed from its moorings, and carry the forces of chaos to an eschatological finish for the world. This story provoked a string of associations for me, and gave me pause to reflect on how knowledge and ideologies are defined, hewn and constructed, and ultimately the consequences that follow in their wake. These are often disastrous, and can result from the excesses of philosophical and ideological certainty, or the dangerous limits of knowledge. The ship came to act as a metaphor for the individual and the body; limited, contained and forward moving. Some of the paintings approach these concepts literally, through direct references to history and the cannon of western philosophy, but just as often the approach is oblique, utilizing abstract texts and phrases to provoke associations in the viewer. The myth of the Naglfar became a potent symbol for me. The concepts and philosophies we record on the pages of history are like the planks of a ship, our words and sentences can act as mooring lines and cables, and the nails secure our intellectual aspirations and need to scratch out meaning from the world, whether for good or ill. The paintings are not illustrations of mythology, but attempt to use the tropes of poetry and myth as an alternative means of ingress into history and philosophy.

My works are as much assemblages as they are paintings. I use layers of encrusted earth, resins and rusting agents to create the finished pieces, referencing my interest in alchemical processes. I often carve directly into the drying mud, leaving parts of the work depressed, and others in high relief. Formally, I am interested in compositional tension. I attempt to explore and exploit normally incongruous elements on the canvas. These elements can be the tensions between the thick, matte appearance of the mud against the thin reflective quality of the resin, the tension between illusionistic representation and passages of implied abstract space, or the tension between the modern and primitive nature of the materials. I attempt to make my work experiential, and am striving to create works that require an immediate and personal engagement with the viewer. The textures and nature of the materials used subvert, and make exceedingly difficult, digital and mechanical reproduction. As a result the work can only exist as an experienced object. The accompanying images are a sampling from the numerous paintings, drawings and book-works in this ongoing series.

Darcy Logan
 

Curatorial Statement

“Substances occupy the mind by invading it with thoughts of the artist’s body at work.  A brushstroke is an exqusite record of the speed and force of the hand that made it, and if I think of the hand moving across the canvas – or better, if I just retrace it, without thinking – I learn a great deal about what I see.  Painting is scratching, scraping, waving, jabbing, pushing and dragging.  At times the hand moves as if it were writing, but in paint…” 

James Elkins, What Painting Is, Routledge 1999

The obvious way in which to construct an exhibition is to select works which have either a thematic resemblance, or which utilize similar visual or pictorial tropes.  This is the surest way to ensure that an exhibition has the appearances of both visual cohesion and a modicum of curatorial rigour.   While this can be aesthetically striking, and create permutations of meaning as varied as the individual viewers, it can also be unsettling if the various relationships between the works are forced or superficial. How does a painting speak to us when isolated from the bodies that are implicit in its construction; the body of the artist and the artist’s broader body of work?  What content can we read into disparate paintings that have been amputated from their bodies, and stitched into a new one?  How can we translate something meaningful from them besides an admiration for their skilful construction or a vague emotional evocation?

 This exhibition presents an alternative opportunity to reflect on artistic production in a larger sense, outside the scope of individual artistic practise and its resulting products.  It is the first step in a journey to begin thinking discursively around the idea of artistic praxis rather than the production of objects and begin, as historian James Elkins states, “..to think in paint, rather than about paint”(1).  It reflects on the practice of art beyond the creator’s intent, and thinks about painting as both a material archive and ideographic history of ideas, time and labour which cannot be decoded, merely excavated.  A record of the bodies that created them.  In the end, this exhibition explores the idea of corpus.  Just as the Naglfar paintings are symbolically about the individual and the body, the exhibition in a larger sense extends  the metaphor to navigate an idea about painting itself as a corpus historicum.  

Painting is an activity of the body, both literally and figuratively.  It is created by movement in fixed physical locations.  But painting is also excretory, a metaphorical activity of the body.  It is a by-product of consuming ideas and ingesting experiences.  These are digested as time is spent researching and working-out how best to  convey a concept, but a painting as a vehicle to communicate these ideas is problematic.  It must rely on traditional signifiers of meaning, such as titles, labels, artist statements, didactic texts, biographical information and its in situ relationship to the artists broader body of work.  Without this apparatus it is arguable that the ideas the artist has digested have been excreted as something inert and faecal.   Coloured dirt suspended in a binder, perhaps decorative or well crafted, but it’s meaning obscure.  When the signifiers of meaning begin to get removed, so does our ability  to decode and easily access the work.  Not that a narrative meaning  is integral to the success of a painting, but it is often the primary means of ingress into a work, whether the narrative is allegorical or whether it speaks to where the painting sits in the broader discourse of art.  Some of the works in this exhibition give us very little in the way of decoding them, once stripped of many of the signifiers of meaning.  An abstract image that refers to  the landscape, titles that reference a work as a constituent part of larger set, vague references to cultural history and a series of gestural marks with cryptic and alluring titles. We have labels, an image and the artists names, what can this tell us about the works’ meanings?  Not that a painting must mean something, but we still require a way to read them.   Perhaps we can begin to read them as a narrative of a different kind.  

If a painting is divested of the traditional apparatus of signification, and its meaning indeterminate, we are left with a tangible object  that still operates as a codex, although it records and communicates something different to the way tradition and convention have conditioned us to read a painting.  It communicates both its own physicality, and traces of the body.  Bodies of work as records of the bodies that created them, bodies of knowledge fixed into the paint as free floating signifiers, and the audience made conscious of their own bodies stopped and fixed in space during the process of looking.  The work of art becomes a complex ‘corpus historicum’, whose essential meaning can never be fixed.  It is a knot whose myriad of thread are made up of  histories, intentions,  contexts and materials.  Its surface is a script that archives successes and failures of communication, and while we can never fully unravel it, its very presence makes us aware of its physicality and gravity, and consequently, our own.  

Darcy Logan

addendum: The altered encyclopaedias were made specifically for this exhibition, to work conjointly with the McKay books as a way to ‘read’ the exhibition.  It was important to have this reading mediated not by traditional didactics, but by altered books as re-contextualized bodies of knowledge.

(1)Elkins, James, “What Painting Is”, Routledge, 1999

art + people = x

January 9 – March 13, 2009
Helen Christou Gallery

The works and text featured here are part of a new project by the U of L Art Gallery. A range of people have been invited to select an art work from the university’s impressive art collection and tell a story about what connects them to this particular object. The selections were then featured in an exhibition in the Helen Christou Gallery and then archived with other, regularly up-dated further viewpoints on works in the art collection in the art + people = x section of our website.

Bruce McKay + Jeff Thomas =

I’ve selected “The Delegate Visits Indian Battle Park” by Jeff Thomas. I connect with this work as a Lethbridgian, a walker in Indian Battle Park, a driver over the bridge, and a resident of the Westside. The context is very familiar. I am so accustomed to it that I barely give it any thought. But Thomas’ image caught me and made me stop and consider.

The colours are brighter and more intense than my eye naturally sees. The vibrancy is almost kitschy. The figure of the Delegate is almost kitschy too, like a cigar store figure. But there he is, in all his detailed and bright uprightness, set in Indian Battle Park, a manufactured figure in a manufactured scene in a manufactured place. The Park itself is a construction, a tamed and controlled stretch in the tamed river valley controlled by the dam upstream. He stands on a small built place matched to his size. Behind in the blurry background are the built bridges and houses of modern Lethbridge. This is not a ‘natural’ scene at all. How much natural is there really in this valley?

The Delegate also reminds me of a past when Blackfoot people lived and travelled along the river valley. He is an ironic visitor to me, a kitschy plastic idealized representative of a pre-European past, situated to remind us that our knowledge of the real past is now only preserved in place names like Indian Battle Park and in little plastic Indian figures. Although I live here now and this is my home, there were many other people who were here long before me. I know so little about them.

I wonder too about the Delegate and his relationship to Thomas. The artist is from the Onandaga First Nation of the Six Nations Confederacy in central Canada. Yet this Delegate is set in Blackfoot territory, a foreign country to Thomas. Is the artist intending to speak on behalf of Blackfoot people by sending his visitor to Indian Battle Park, near where the Blackfoot fought with the Cree? Is the Delegate somehow standing in judgment of that past event? Or is the Delegate set there for the modern residents like me as a representative of all First Nations peoples and standing in judgment of my limited knowledge and understanding of the time and people who were here before me? I still ponder these questions thanks to Thomas and “The Delegate Visits Indian Battle Park.”

Bruce Mckay

JEFF THOMAS
Canadian, First Nations, Onondaga,
The Delegate Visits Indian Battle Park 2008
Giclee print, 2/15
From the University of Lethbridge Art Collection; gift of the artist, 2008

Lana Ing Gabor + Holly King =

The constructed landscapes of Holly King evoke a dreamlike familiarity. As an artist who is also interested in fictional realities and recreated scenes I appreciate the fictional wilderness and “moodscapes” that King portrays in her contemporary landscapes. Her landscape-miniatures are built from materials such as tissue paper, plastic, wood, foliage, and clay, which she manipulates through lighting and compositional techniques to depict lush, colourful and often stormy environments. I was compelled to select this work because King’s use of non-natural materials to create familiar yet foreign places captures the illusion and imagination that are inherent in the photographic process.

Lana Ing Gabor

HOLLY KING
Appear 2001
Colour photograph, 2/5
From the University of Lethbridge Art Collection; gift of the artist, 2006

The Cedar Tavern Singers (Mary-Anne McTrowe/Daniel Wong) =

Last summer, I happened to be in Edmonton when the Cedar Tavern Singers AKA Les Phonoréalistes were performing there. I have seen them many times in Lethbridge, but as so often happens, one has to travel to fully appreciate what one has at home. As I watched them perform my two favourites of their songs, one about the Sobey Art Awards and one about the differences between East Coast and West Coast artists, I had an epiphany. The University of Lethbridge Art Collection is legendary, so shouldn’t the collection have its own song?
I asked Mary-Anne and Dan if they were interested in producing a song for the art + people = x series. They readily agreed and quickly came up with an even better idea: not just one song, but a 4 song EP titled Mandate for Research. They also proposed making a music video and wanted to shoot it in the art vault. With the guarantee that no art would be harmed in the making of the video, the production went ahead. The legend of the University of Lethbridge Art Gallery continues to grow with the acquisition of a copy of the songs and related material for the collection.

Josephine Mills,
Director/Curator

THE CEDAR TAVERN SINGERS AKA LES PHONORÉALISTES
Mandate for Research 2008
4-Song EP, music video
From the University of Lethbridge Art Collection; commissioned by the UofL Art Gallery in 2008

+

GERALD FERGUSON
Detail of Maquette for One Million Pennies 1979
One copper penny from 1979
From the University of Lethbridge Art Collection; gift of the artist, 1987
Selected by the Cedar Tavern Singers: Mary-anne McTrowe and Daniel Wong

Allyson Clay + Eric Cameron and Dennis Oppenheim =

When I asked Allyson Clay to select a work or two from the collection, I had an agenda in mind. As a lover of books and a fan of artists who use books in their work, it was a safe assumption that Allyson would select something book-ish. It was a lovely surprise which two works she found most compelling as neither was one that I had thought of: Dennis Oppenheim’s “Reading Position for 2nd Degree Burn” and Eric Cameron’s “Telephone Directory”. The best part of her selection was that, like a good book, the works generated a great conversation between us.
As is apparent in her recent art practice, Allyson is interested in “the secret life of books” and “the many uses that they have.” In Cameron’s ‘thick painting’ the book’s existence is secret indeed given that Cameron has covered it in layer upon layer of gesso, but the fact that it is actually a telephone book inside all that acrylic matters. For me, I see the work as another in the long list of connections between artists and their books. Allyson related to the work because it embodies “how books can be a taking off point for conceptual practice” and because she enjoys the play between “a book as an object and a book as a sign for ideas.”
Allyson selected Oppenheim’s work for the role the book has in “transforming the relationship between objects to each other, bodies to objects, and how this combines to transform ideas.” Talking about the work with Allyson opened up the question of what is the object here: the book? the sunburn? the artwork? or that the next time you are reading in the sun, will you think about getting the outline of a book burned on your skin? As we talked about the connection between books and the artist’s process, it became clear that books can function as muse, material and medium in the making of art.

Josephine Mills in conversation with Allyson Clay

Top:
DENNIS OPPENHEIM
Reading Position for 2nd Degree Burn 1970
Lithograph on paper, 2/50
From the University of Lethbridge Art Collection; gift of Garry N. Kennedy, 1987

Right:
ERIC CAMERON
Telephone Directory 1994
Acrylic gesso, telephone directory
From the University of Lethbridge Art Collection; gift of the artist, 1996

Linda Sawchyn + Bill Featherston =

After the world wide collapse of the auto industry, all forms of banking institutions soon followed suit and so it was that 20th century capitalism collapsed. As the Mayans predicted, this all happened by 2012. Not surprisingly, life on earth did continue for awhile albeit it was a difficult transition for some. It truly was the end of the world as we have known it.
Yet, the human species and its will to survive is not easily extinguished. New forms (or rather old forms) of transportation were revitalized including the beloved streetcar and the horse and buggy. While the infrastructure of urban life was still in good shape fewer people lived in the cities anymore. Many moved to the country where they could either grow their food or at least be closer to those who did grow food.
Even Meg the recently immigrated Flemish giant found new meaning in life. After being laid off from Giants Are Us she started an Ashram by the river and quickly attracted a small group of faithful female followers. In less than a year they became particularly good at farming fish. Their specialty was a kind of genetically engineered nesting fish that they developed in which a small living fish grew inside a larger living fish which grew inside yet a larger living fish – up to 8 different sizes of fish!! They called it The Brueghel Feast Beast. If it was still possible to patent this life form (which it wasn’t) Meg would have made a fortune (which no longer had any meaning in a non monetary economy).
But of course everyone knew they were living on borrowed time. After all it was too late to stop, slow down or reverse global warming. Day by day the earth turned more and more into a living hell. The planet continued to warm, the sky grew increasingly red, the ice bergs melted and the earth’s fresh water temperature increased to the point when one day Meg and her Ashramians woke up to a river full of perfectly poached Brueghel Feast Beasts. Boy was Meg mad.

Linda Sawchyn

BILL FEATHERSTON
Mad Meg at City Hall 1972
Silkscreen on paper, 44/50
From the University of Lethbridge Art Collection; gift of William Varda, 1987

The Lesbian Rangers (Shawna Dempsey/Lorri Millan)+Margaret Shelton=

The life of Alberta artist Margaret Shelton is cloaked in mystery. However, we do know she was an avid outdoorswoman who painted in the field, relishing the arousing breezes and invigorating scents that come with activities en plein air. A substantial body of her work rests in the collection of the University of Lethbridge Art Gallery, including these two watercolours that speak so directly to the hearts of the Lesbian Rangers. We have awoken many a morning to soft dawn light angling through the trees, the sound of canvas snapping in the gentle breeze. In these moments of calm we relish the warm embrace of Mother Nature as we prepare ourselves for the lesbian rigours that await.
Margaret Shelton’s subtle renderings of nature place us squarely in its midst, a part of the landscape, neither overwhelmed nor separate, but of it. It is a gift the Lesbian Rangers can only aspire to.

The Lesbian Rangers

MARGARET SHELTON
Left: Crowded Camp 1948
Right: Morning in Camp 1949
Watercolour on paper
From the University of Lethbridge Art Collection; gift of the artist, 1982

Juliet Graham + A.Y. Jackson =

“I chose these drawings because I love them. I love that they were done so quickly and scribbly; the artist’s notes and little colour/number reminders blending together into the image. I also love that they are from another time: they are charming.”

Juliet Graham

A.Y. JACKSON
Left: Castle River, Alberta, 1946
Right: Cowley, 1947
Graphite on paper
From the University of Lethbridge Art Collection; acquired in 1970

Courtesy of the Estate of the late Dr. Naomi Jackson Groves

Brian Black + Edward Steichen =

The photographs by Edward Steichen (1879-1973) in this exhibit all date from the 1930s. They were chosen to celebrate the featured decade of this year’s Historic Lethbridge Week, which will take place from May 2 to 9, 2009 and will showcase the art and culture of that period. In his portraits of celebrities of the 1930s, produced for such magazines as Vogue and Vanity Fair, Steichen captured the mystery and allure of America’s silver screen. The exhibit includes evocative images of such stars as Marlene Dietrich, Gary Cooper and Joan Crawford. The one photograph, though, that seems to conjure up the elegance of the whole decade is that of Noel Coward, suavely smoking a cigarette beneath the silhouette of an Egyptian cat. As a counterfoil to this dreamworld, the harsh side of life in the 1930s is represented by a photograph of a breadline in New York.

Brian Black

No images due to copyright restrictions

List of chosen works:
EDWARD STEICHEN
Carl Sandburg 1930
Joan Crawford 1932
Gary Cooper 1930
Bryant Park Breadline 1933
Marlene Dietrich 1932
Paul Robeson as “The Emperor Jones” 1933
Noel Coward 1932
B/w photographs, ed. 100
From the University of Lethbridge Art Collection; gift of Mr. Leon Liffmann, P. Eng., Toronto, 1995