There is a series of five photographs, The Cottingley Fairies, taken by Elsie Wright and Frances Griffiths, two young cousins who lived in Cottingley, near Bradford in England. In 1917, when the first two photographs were taken, Elsie was 16 years old and Frances was 9. The pictures came to the attention of writer Sir Arthur Conan Doyle, who used them to illustrate an article on fairies he had been commissioned to write for the Christmas 1920 edition of The Strand Magazine. Doyle was enthusiastic about the photographs and interpreted them as clear and visible evidence of supernatural phenomena. Public reaction was mixed; some accepted the images as genuine, others believed that they had been faked.

Marla Wilson traces her love of nature to her childhood in Mountain Park, Alberta. A well-educated artist, Marla began taking art classes at the age of six. Marla continued her formal art education with sculpture & advanced drawing classes at the University of Alberta. Marla paints with dedication and commitment to authenticity. She loves her subject and has diligently studied animal anatomy, plant life and landscape. She has worked in various media, but has found that acrylics and oils best suit her subject and technique. The results are much sought after by public galleries and private collectors. Marla Wilson's work has received worldwide recognition. Her work is found in private & corporate collections in Japan, Peru, Bahrain, England, Wales, Chile, the United States and Canada. Her image "Western Prairie" was awarded "Jurors' Choice for Best New Artist" at the 2003 Calgary Stampede Western Art Auction. While wildlife has traditionally comprised a large portion of Marla's works, she has recently been creating several paintings of Western Canada landscapes. These dynamic images are proving to be very popular amongst collectors of both originals and limited edition works.

Watercolour artist and art educator, Murray MacDonald, was born June 18, 1898, in Nova Scotia. MacDonald started sketching at the age of six. At this time, he focused primarily on delineating the sinking of the Titanic. On his 18th birthday, MacDonald enlisted in the army and was posted in Siberia. While on tour, he sketched frequently; unfortunately, he left his sketchbook in Siberia. After returning home, MacDonald taught at several rural schools. He eventually moved to Edmonton, where his career as an art educator flourished. He taught Applied Design at a technical high school, instructed at a division of the University of Alberta, and eventually became the Supervisor of Art for the Edmonton School Board. MacDonald also took time to instruct at The Banff School of Fine Arts (today The Banff Centre). It is here that MacDonald met A.Y. Jackson. MacDonald also taught classes at the University of Washington, Salt Spring Island, British Columbia, and at the Edmonton Art Gallery. In 1960, MacDonald retired; however, he was quickly asked to become a visiting professor in Art Education for the Faculty of Education at the University of Alberta. MacDonald worked primarily in the realm of watercolour painting; however, he occasionally experimented with oil and acrylic as well. His subject matter was primarily landscapes; however, his painting style ranged from abstract to realism. For his exceptional contributions to art education, he received the Government Achievement Award for Excellence in 1979, and a honourary degree from the University of Alberta.

A former teacher at Sherbrooke School from 1958-1960 donated an oil painting of Mount Edith, in Banff, Alberta, to Sherbrooke School.

Artist.

Thelma Manarey was born and raised in Edmonton, Alberta. As a young girl, Manarey received tutelage from Florence Mortimer, a well-known painter and teacher located in Edmonton. From 1939-1943, Manarey studied at the Institute of Technology and Art (today the Alberta College of Art & Design). At the Institute, Manarey had the opportunity to study with the famous landscape painter, H.G. Glyde. Although Manarey is generally known for her small etchings, she explored many different types of mediums and artistic styles. Manarey tried her hand at: impressionism, realism, cubism, and abstract impressionism. In the late 40’s, she learned the art of the serigraph. Later, during the 1950’s and 1960’s, she studied etching with Harry Savage as well as stone lithography in Toronto, Ontario.

Manarey, like so many other notable Albertan artists, was a great admirer of the Alberta Landscape and the natural and man-made icons of the province. These objects, such as trees and elevators, often became the subject matter of her etchings and paintings. In 1973, Manarey received the Performing and Creative Arts Award from the City of Edmonton. Additionally, the Alberta Society of Artists honoured Manarey with the gift of a Lifetime Membership. Today, Manarey’s works reside primarily at the Alberta Foundation for the Arts, the Nickle Arts Museum in Calgary, and the University of Calgary.

John Gordon Sinclair was born in Komoka, Ontario, in 1889. After attending Normal School in London, Ontario, he taught school for several years in Ontario before moving to Edmonton, Alberta, in 1912. He had originally intended to take a job in Saskatchewan, but when that position fell through, he carried on to Edmonton. There, he found employment at the Edmond Technical School, where he taught art and design for 25 years. He was later the principal at McKay Avenue School, from which he retired in 1955. Sinclair was also known for his landscape and portrait painting.

Rose was born on April 14, 1916, on a homestead north of St. Paul, Alberta. As an artist, she was known professionally as Rose Leonard, portraying floral arrangements, scenery and wildlife with exceptional realism in all media. For her work, she had many awards and prizes from venues across Canada. She was most pleased with two local recognitions: One was a "Performing and Creative Arts Award" from the City of Edmonton; the other was a Y.W.C.A. "Tribute to Women Award".

Also sometimes known as the Algonquin School, the Group of Seven was a group of Canadian landscape painters from 1920 to 1933, originally consisting of Franklin Carmichael (1890–1945), Lawren Harris (1885–1970), A. Y. Jackson (1882–1974), Frank Johnston (1888–1949), Arthur Lismer (1885–1969), J. E. H. MacDonald (1873–1932), and Frederick Varley (1881–1969). Later, A. J. Casson (1898–1992) was invited to join in 1926, Edwin Holgate (1892–1977) became a member in 1930, and LeMoine FitzGerald (1890–1956) joined in 1932.

Two artists commonly associated with the group are Tom Thomson (1877–1917) and Emily Carr (1871–1945). Although he died before its official formation, Thomson had a significant influence on the group. In an essay, Harris wrote that Thomson was “a part of the movement before we pinned a label on it”; Thomson’s paintings The West Wind and The Jack Pine are two of the group’s most iconic pieces. Emily Carr was also closely associated with the Group, though never an official member.

Believing that a distinct Canadian art could be developed through direct contact with nature, the Group is best known for its paintings inspired by the Canadian landscape, and initiated the first major Canadian national art movement. By the early 1930s, the Group’s art was popular around the world.

Jack Weldon Humphrey was born in Saint John, New Brunswick on January 12th, 1901. From 1920 to 1923, Humphrey studied at the Boston Museum School of Fine Arts under Philip Hale (1865-1931), learning to draw the figure with charcoal. He was subsequently enrolled from 1924 to 1929 at the National Academy of Design in New York, where he studied painting under Charles Hawthorne (1872-1930) for two years. In the late 1920s Humphrey spent his summers in Provincetown, Massachusetts and at the Cape Cod School of Art, where he continued to study with Hawthorne. Travelling abroad for nine months in 1930, Humphrey studied painting at Hans Hofmann's (1880-1966) school in Munich from March to May. The Depression forced him to remain in Saint John upon his return, except for a trip in 1933 to Vancouver and in 1938 to Mexico. Humphrey painted still lifes, portraits, landscapes, and figures in oil and watercolour. He was affiliated with many artist groups, including the Canadian Group of Painters (founding member, 1937); the Eastern Group in Montreal, 1938 (later, the Contemporary Arts Society); the Canadian Society of Painters in Watercolour (Director, 1944; Vice-President, 1945); and the Canadian Society of Graphic Art (Regional Representative, 1946; Eastern Vice-President, 1951; Regional Representative, 1956, 1959). In March 1945, Humphrey was appointed to the art staff of Queen's University Summer School, in Kingston, Ontario, to teach painting. Humphrey has also been honoured with numerous awards including a Doctor of Laws by the University of New Brunswick in 1951; a Canadian Government-Royal Society Overseas Fellowship to paint in France for a year in 1952; and a Canada Council Senior Arts Fellowship in 1960. In 1966-1967, a retrospective exhibition of his work was organized by the National Gallery of Canada that toured through Canada. Humphrey died of a heart attack on March 23rd, 1967, in Saint John, New Brunswick. After his death, Jack Humphrey's wife, Jean, was very active in the promotion and sale of his work.

Robert Wakeham Pilot (October 9, 1898- December 17, 1967), born in St. John’s, Newfoundland, moved to Montreal in 1910 following his mother’s marriage to the renowned Canadian artist Maurice Cullen. Growing up in an artistic household, he was deeply influenced by his stepfather and began his formal education in art under William Brymner at the prestigious Art Association of Montreal. His early exposure to art was further solidified with studies in Paris at the Académie Julian under Jean-Paul Laurens, where his work was exhibited at the Paris Salon in 1922.

After serving as a gunner in World War I, Pilot returned to Montreal, where his career flourished. He was recognized for his Impressionist-style landscapes, which vividly captured urban scenes and harbours of Montreal and Quebec City. Pilot’s technique, characterized by vibrant colours and atmospheric effects, was influenced by his travels across France, Ireland, Italy, Spain, Morocco, and Algeria, as well as his artistic engagements in the Canadian Maritimes.

Pilot was an integral figure in the Canadian art scene, not only for his art but also for his commitment to teaching at l’Ecole des Beaux-Arts in Montreal from 1935 to 1939. He held significant positions such as the president of the Royal Canadian Academy of Arts from 1952 to 1954 and exhibited his works extensively at major venues, including the Art Association of Montreal and the Montreal Museum of Fine Arts.

His contributions during his second military service in World War II, where he re-enlisted and served as a captain in the Black Watch, were honoured with the title of Member of the British Empire (MBE). Throughout his life, Pilot was celebrated for his dedication to Canadian art and was posthumously honoured with a retrospective exhibition in 1969 at the Montreal Museum of Fine Arts.

Robert Wakeham Pilot’s works are held in high regard and continue to be part of major public collections such as the National Gallery of Canada and the Art Gallery of Ontario. His legacy is remembered through his contributions to Canadian impressionism and his mentorship to future generations of artists.

Thomas Keith Roberts, a significant figure in Canadian art history, was born in Toronto, Ontario, into a family deeply rooted in the artistic legacy of the renowned Roberts Gallery, founded by his grandfather, Samuel Roberts. Encouraged by this rich heritage, Tom Roberts developed a passion for art from an early age, nurtured by the vibrant cultural environment fostered within his family.

His formal art education commenced at Toronto's Central Technical School, where he studied under notable artists such as Peter Haworth, Carl Schaefer, and Charles Goldhamer. Roberts further honed his skills at the Ontario College of Art, learning from respected figures like J.W. Beatty, F.S. Challener, Yvonne McKague Housser and Fred Haines.

During World War II, Tom Roberts served in the Royal Canadian Engineers, utilizing his artistic talents to document army life through sketches and watercolours. This period not only sharpened his observational skills but also inspired his post-war artistic endeavours.

Upon returning to civilian life, Roberts embarked on a career as a freelance artist, drawing inspiration from influential art movements such as the Group of Seven and French Impressionism. His paintings, characterized by vivid colours and dynamic compositions, captured the diverse landscapes of Canada, from Northern Ontario to the Maritime provinces.

Roberts' artistic output, enriched by his military experience, documented not only the historical relevance of his service years but also the deep human connections and rugged beauty of the environments that shaped Canada's identity.

Throughout his career, Roberts was a member of prestigious organizations like the Royal Canadian Academy and the Ontario Society of Artists, participating in numerous exhibitions that celebrated his prolific contributions to Canadian art. His work, influenced by artists like J.W. Beatty, evolved over time to reflect nostalgic elements of Canadian life, often featuring scenes of children at play and serene rural landscapes.

Additionally, Roberts' extensive travels throughout Canada, including the Credit Valley, Caledon Hills, Georgian Bay, Haliburton District, Ottawa Valley, and the Laurentians in Quebec, inspired many of his paintings. He demonstrated versatility by using both oil and watercolours to depict landscapes and quaint town scenes.

Throughout the mid-1980s, Roberts held over thirty solo exhibitions, demonstrating the enduring popularity and admiration for his art, particularly in Toronto.