NATIONAL GALLERY OF CANADA
NATIONAL GALLERY OF CANADA Annual Report 2014−15
Annual Report 2014–15
Cover
Marie Watt
Blanket Stories: Seven Generations, Adawe, and Hearth (detail) 2013
Back Cover
Jules Dalou
A Young Mother from Boulogne Feeding her Child (detail) 1876
Copyright Notices
Photo © the artist, unless otherwise noted.
380 Sussex Drive
P.O. Box 427, Station A
Ottawa, Ontario K1N 9N4
Tel:613-990-1985
Fax:613-993-4385
gallery.ca
p. 10: Purchased in 2014 through the Andrea and Charles Bronfman Canadian Art Fund,
National Gallery of Canada Foundation.
p. 11: Purchased in 2014 with the generous support of the Evelyn de Rostaing McMann Fund.
p.12: Public Trustee for Nunavut, Estate of Jessie Oonark.
p. 17: Purchased in 2015 with the assistance of a contribution from the artist, Toronto.
pp. 18, 19: Gift of Frank and Marianne Seger, Toronto, 2014.
p. 21: Purchased in 2014 with the support of the Friends of the Print Room of the
National Gallery of Canada Foundation, in honour of the Mimi Cazort, Curator of Prints
and Drawings from 1970 to 1997.
pp. 24–25: Transfer from Natural Resources Canada, 2014.
p. 27: Purchased in 2015 through the Joy Thomson Fund for the Acquisition of Art by Young
Canadian Artists, National Gallery of Canada Foundation.
p. 29: 2010 © Michel Campeau / SODRAC (2015)
pp. 32–33: © CARCC, 2015
p. 34: Courtesy of the artist and Petzel, New York.
Photo credits
All images are copyright NGC, except the following:
p. 27: Photo courtesy of Equinox Gallery, Vancouver.
ISBN 978-0-88884-934-2
Aussi disponible en français
© National Gallery of Canada, Ottawa, 2015
Design: Réjean Myette, Fugazi
The National Gallery of Canada is one of the world’s most
respected art institutions. It is nationally and internationally
recognized for its exceptional collections, its scholarship,
and its distinctive ability to engage audiences of all ages
and all levels of artistic knowledge. Founded in 1880 by the
then-Governor General, the Marquess of Lorne, in concert
with the Royal Canadian Academy of Arts, the National
Gallery of Canada is among the oldest cultural institutions in
Canada. With the enactment of the National Gallery of Canada Act
in 1913, the federal government assumed responsibility for the
Gallery, and has continued its stewardship through successive
acts of Parliament. The proclamation of the Museums Act
on July 1, 1990 changed the Gallery’s status to that of a
federal Crown corporation — a status that the institution
still enjoys today.
Contents
Message from the Chair of the Board of Trustees ................................... 4
Message from the Director............................................................ 6
Acquisitions Highlights............................................................... 7
Governance............................................................................ 36
Corporate Performance............................................................... 46
Sponsors and Donors................................................................. 61
Acquisitions, Loans and Exhibitions............................................... 64
Management Discussion and Analysis ............................................. 79
NGC Financial Statements........................................................... 83
NGC Foundation Annual Report.................................................... 107
A Unique Mandate
The National Gallery of Canada’s mandate is to develop, maintain, and make known, throughout Canada and internationally, a collection of works of art, both historic and contemporary, with special, but not exclusive, reference to Canada, and to further
knowledge, understanding, and enjoyment of art in general among all Canadians (Museums Act, 1990).
The Gallery reports to Parliament through the Minister of Canadian Heritage and Official Languages. Along
with the Department of Canadian Heritage and other national cultural institutions, the Gallery is a member of the Canadian Heritage Portfolio.
A Compelling Vision
The National Gallery of Canada strives to provide Canadians with a sense of identity, and to foster pride in
Canada’s rich visual-arts heritage. Through its collections, onsite and travelling exhibitions, loans program, educational programs and publications, professional training programs, and outreach initiatives,
the Gallery aspires to be a model of excellence in furthering knowledge of the visual arts, both at home and
abroad. Through collaboration with national and international institutions, it seeks to make art accessible,
meaningful and vital to diverse audiences of all ages.
Distinct Values
Accessibility. Programs are developed with the public in mind — not only for visitors to the Gallery, but also
for those across the country and abroad.
Excellence and scholarship. The Gallery builds upon the high standards attained over the years in all its endeavours, from research to acquisitions, exhibitions, publications, public programs and overall service
standards.
Corporate citizenship. The Gallery meets its public policy and legal obligations.
Leadership. The Gallery is a recognized leader in the national and international art museum communities.
Collaboration. The Gallery collaborates with the art museums network across Canada and abroad, and with
its partners in the Government of Canada.
Valued workforce. The Gallery values its workforce, and creates a work environment in which people can
maximize their potential and contribute fully to the success of the organization.
Primary Programs
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Collection: Acquisitions, Research, Preservation
Outreach: Exhibitions, Education, Communications
Accommodation: Building Operations and Capital Expenditures
Internal Services: Governance, Administration and Revenue Generation
Environmental Scan
The programs and strategic priorities articulated in the National Gallery of Canada Annual Report are derived from
the Corporate Plan, preceded by a rigorous assessment of the challenges and opportunities inherent in the
Gallery’s various operating environments. Each year, the Gallery considers a number of external and internal factors, and their potential risks to the institution’s ability to achieve its objectives. These factors range
from external pressures such as national and international economic conditions, government policy, demographic trends and technological changes, to internal challenges such as labour relations, staff retention
and recruitment, resource availability and facilities requirements. The Gallery’s Corporate Plan addresses
each of these issues, articulating aligned strategies that highlight how the institution mitigates and manages the significant risks while pursuing the Gallery’s national mandate.
MESSAGE FROM THE CHAIR OF THE BOARD OF TRUSTEES
Michael J. Tims
On behalf of the National Gallery of Canada’s Board of Trustees, I am very pleased to present the Gallery’s
Annual Report for 2014–15, which highlights the achievements of our institution over the past fiscal year,
as well as its new opportunities. The Trustees continue to feel that the National Gallery is operating very
effectively at present, with many exciting initiatives yet to come.
The National Gallery’s activities continue to have considerable breadth and depth: research, art acquisitions,
significant exhibitions, outreach and educational programming, partnership projects, development of web
and new media material, art loans to other museums, and a great deal more. I would like to broadly address
a few subjects in this letter: the past year’s exhibitions, the generosity of our donors, and a few examples of
our museum’s new art acquisitions.
Among the highlights of 2014–15 were several memorable exhibitions. The summer show, Gustave Doré
(1832–1883): Master of Imagination, organized in collaboration with the Musée d’Orsay, Paris, introduced visitors
to an artist whose influence extends from his own time all the way to the present. Shine a Light: Canadian
Biennial 2014 offered an opportunity to see the Gallery’s recent acquisitions of works by some of the most
promising Canadian artists of this generation. The Jack Bush retrospective, co-curated by our Director and
CEO, Marc Mayer, was a lively and vibrant exhibition, warming our long winter with eye-popping colour.
The Great War: The Persuasive Power of Photography was a comprehensive and moving exhibition that helped to
commemorate one hundred years since the start of the First World War.
The National Gallery has made great headway in its efforts to diversify revenues, while also raising its
national and international profile. Working in tandem with its Foundation, the Gallery has, for the first
time ever, named one of its major exhibition spaces after a donor. The stunning front space of the contemporary galleries is now known as the Donald R. Sobey Family Gallery, in recognition of an exceptional gift
of $2 million from the Donald R. Sobey Family Foundation. With this gift, the Canadian Artists in Venice
Endowment Fund was initiated to support this country’s representation at the Venice Biennale, an acclaimed
international art exhibition that provides a truly global survey of the very best in contemporary art.
More news of exceptional donor generosity to the National Gallery, in several domains, will follow soon.
Magnificent artworks continue to be added to the national collection each year, some of which are gifted to
the Gallery by generous donors. By way of example, in 2014–15, the Gallery acquired the magnificent sculpture
A Young Mother from Boulogne Feeding her Child, a rare, life-sized terracotta masterpiece by Jules Dalou, which was
purchased at auction. The Gallery also purchased a beautiful oil painting by Gustave Doré, and received a
donation of one of this artist’s remarkable sculptures, during the year.
Our country’s National Gallery constantly engages with so many fascinating people: artists, art lovers, patrons,
lenders, scholars, administrators, and many others. I particularly wish to thank Marc Mayer, Director
and CEO of the National Gallery, who is the knowledgeable and experienced leader on whom we rely, and
have relied, over the past six years. The Gallery’s first-rate senior management team and excellent staff are
also very much a key part of the organization’s success. Similarly, my colleagues on the Board of Trustees
continuously offer excellent advice and make invaluable contributions to the Gallery’s progress.
On behalf of my Board colleagues, I wish to sincerely express our gratitude to the Honourable Shelly Glover,
Minister of Canadian Heritage and Official Languages, and all of our government partners, for their greatly
valued support and encouragement.
Annual Report 2014–154
The National Gallery of Canada Foundation remains an essential contributor to the Gallery. We sincerely
thank its Board of Directors; its Chair, Thomas d’Aquino; and its CEO, Karen Colby-Stothart; for their tireless
work and considerable success in garnering support for this institution.
This past year was an excellent one for the National Gallery of Canada, and we look forward to the coming
year with considerable anticipation and great enthusiasm for the exhibitions, projects and activities ahead.
5
Message from the Chair of the Board of Trustees
MESSAGE FROM THE DIRECTOR
Marc Mayer
The installation of Geoffrey Farmer’s monumental work of art, Leaves of Grass, was one of the National Gallery’s
highlights for 2014–15. Made from over 20,000 images cut from fifty years of Life magazine, and displayed on
blades of dried miscanthus grass, the work spreads out over a 124-foot-long table. Leaves of Grass was acquired
by the Gallery in 2012, but installed for the first time last fall for Shine a Light: Canadian Biennial 2014. The artist
himself spent weeks onsite working with a team of assistants to carefully place each image in a foam base,
expanding the work along the way so that it grew by about 5,000 images. Farmer’s sculpture is a stunning
portrait of the American people, and Western society in general, through the 20th century.
Leaves of Grass is in some ways symbolic of all we do at the National Gallery of Canada. Like the sculpture,
the National Gallery contains an ever-growing, ever-expanding collection of tens of thousands of paintings,
sculptures and other objects that tell the story of a society, and of ourselves, over time. As an institution,
we are creating, through art, a mosaic portrait of Canada, a true picture of our nation and its history.
We endeavour to nourish and grow this collection, and to share its beauty with everyone.
Besides the acquisition of Farmer’s triumphant work, the past fiscal year has seen other tremendous successes:
extraordinary exhibitions such as Gustave Doré (1832–1883): Master of Imagination, and The Great War: The Persuasive
Power of Photography. I enjoyed working with art historian Sarah Stanners on the Jack Bush retrospective,
during which I gained an even deeper appreciation of our exceptional staff here at the Gallery. The crowds
of visitors who came to see M.C. Escher: The Mathemagician, as well as all the highly successful public programs
surrounding the show, demonstrated that our audiences are highly diverse, ranging from the young to the
young-at-heart, from engineering fans to history buffs, from art lovers to once-in-a-blue-moon aesthetes,
and everyone in between.
We continued to build fruitful relationships with institutions and organizations locally, nationally and
internationally. Our collaboration with the Art Gallery of Ontario brought together Tom Thomson’s The Jack
Pine and The West Wind for a fascinating Masterpiece in Focus exhibition. Canadians in other parts of the
country were able to enjoy some of our greatest works of contemporary art — Christian Marclay’s The Clock, Vera
Frenkel’s ... from the Transit Bar, and Lynne Cohen’s series of photographs — thanks to our NGC@ partnerships
with the Art Gallery of Alberta, the Museum of Contemporary Canadian Art and the Winnipeg Art Gallery.
We collaborated once again with the Canada Council for the Arts, and Library and Archives Canada, to
present other fascinating programs. And we launched new, exciting partnerships with the Toronto
International Film Festival and the U.S. Embassy in Canada. These projects help make our collection accessible to all Canadians, and help us to reach new audiences.
To make our programs even more accessible across the country, we have in recent years developed dynamic
social media and web platforms, which are garnering a great deal of attention. In only its second year of
existence, our online NGCMagazine was recognized with the 2014 Canadian Online Publishing Award for Best
Corporate Website (consumer niche).
The National Gallery’s community of supporters is growing all the time. We are indebted to the many generous
patrons, sponsors, donors and volunteers who demonstrate their keen commitment to Canadian art and
heritage. I extend my sincere thanks to corporate sponsors and supporters Bell, RBC Foundation, TD Bank
Group, Enbridge, Inc. and Heffel Fine Art Auction House, as well as to the many private donors. I would also
like to thank the Venice 2015 fundraising campaign committees in Toronto, Montreal and Calgary for a very
successful campaign. Special thanks to our loyal sponsors, RBC Wealth Management and Aimia, who, once
again, have generously supported the Canada Pavilion. My heartfelt gratitude goes to the National Gallery’s
exemplary staff, for their creativity, dedication and hard work. Finally, I thank the Gallery’s many enthusiastic
visitors, who know a great work of art when they see one. We will continue to be the best art museum we can
be, in the service of art lovers in every corner of the country.
Annual Report 2014–156
ACQUISITION HIGHLIGHTS
Rita Letendre
Cosmic Storm 2013
8
Shuvinai Ashoona
Octopus 2012
9
Maurice Cullen
Lévis, Quebec c. 1897
10
Emily Coonan
Girl and Cat 1920
11
Jessie Oonark
Untitled 1973
12
Ruth Annaqtuusi Tulurialik
Legend of the Avagak 1970
13
Gustave Le Gray
Salvos of the French Fleet, Cherbourg August 1858
14
Geoffrey James
Boat Yard, Kingston 2013
15
Oscar G. Rejlander
Study of Hands c. 1850–1859
16
John Massey
Number 7, Sputnik 1979, printed 2008
From Studio Projections, 1979
17
Gillis Neyts
Mountainous Landscape with a Ruined Tower c. 1648–1650
18
Tobias Verhaecht
View inside the Colosseum in Rome c. 1580–1589
19
Théodore Géricault
Dying Paris Supplicating Oenone 1816
20
Vincenzo Camuccini
The Invention of Painting c. 1816–1820
21
Gustave Doré
Souvenir of Loch Lomond 1875
22
Jules Dalou
A Young Mother from Boulogne Feeding her Child 1876
23
Charles F. Comfort
The Romance of Nickel 1937
24
25
Mario Doucette
The Acadian Deportation (after Sir Frank Dicksee) 2012
26
Etienne Zack
Sincerely Yours 2014
27
Janice Kerbel
Deadstar (Ghost Town) 2007
28
Michel Campeau
Untitled 3281 (Paris, France) 2005-2010, printed 2013
29
Steven Shearer
The Diminutive Muralist 2014
30
Marie Watt
Blanket Stories: Seven Generations, Adawe, and Hearth 2013
31
Nadia Myre
For those who cannot speak: The land, the water,
the animals and the future generations 2013
32
33
Yael Bartana
And Europe Will Be Stunned 2010
34
Duane Linklater
Tautology 2011–2013
35
GOVERNANCE
Under the Museums Act, the National Gallery of Canada is a distinct legal entity, wholly owned by the Crown.
While it functions at arm’s length from the federal government in its daily operations, as a Crown corporation and member of the Canadian Heritage Portfolio, the Gallery contributes to the achievement of the
Government of Canada’s outcome of “a vibrant Canadian culture and heritage.”
The Gallery is governed by a Board of Trustees (the Board), appointed by the Minister of Canadian Heritage
and Official Languages, with the approval of the Governor-in-Council. The Board is accountable to Parliament
through the Minister. The Crown corporation governance model establishes the Board of Trustees as inde­
pendent from Management. The eleven-member Board, representing various regions across the country,
is responsible for establishing the institution’s strategic direction, and for ensuring the overall management
and control of the Gallery’s resources and affairs in the fulfillment of the institution’s mandate.
Trustees are nominated for a period not exceeding four years, and each trustee is eligible to serve three consecutive terms (or in the case of the Chair and Vice-Chair, two consecutive terms in that role). If a trustee is
not yet appointed to take office when the existing term of an incumbent trustee expires, the incumbent
trustee continues in office until a successor is appointed.
Meetings of the Board of Trustees are held quarterly, supplemented by frequent conference calls as required.
Including conference calls, thirty-one meetings of the Board and/or its Committees were held in 2014–15.
Consistent with its status as a Crown corporation and its goal to fully engage Canadians across the country,
the Board of Trustees holds an Annual Public Meeting (APM) each year, providing stakeholders and the public with an opportunity to express their views and learn more about the Gallery’s activities. The 2014 APM
was held on Monday, December 8, 2014 at the Gallery’s main facility in Ottawa. Participants were given an
overview of the Gallery’s financial situation, recent additions to the national collection, and highlights of
its exhibition and public programs.
37
Governance
BOARD OF TRUSTEES
As at 31 March 2015
CHAIRPERSON
Michael J. Tims, Calgary, Alberta
November 22, 2012 to November 21, 2016
VICE-CHAIRPERSON
Harriet E. Walker, Toronto, Ontario
April 25, 2013 to April 24, 2017
Michael Tims is the Vice-Chairman of MATCO Investments
Limited, a private investment holding company with interests primarily in energy, oilfield services and real estate. Prior to joining MATCO, he served for many years as
the Chairman of Peters & Co. Limited, a Canadian investment firm specializing in the oil and gas, oilfield services
and energy-infrastructure industries.
Harriet Walker is President of the firm Harriet Walker
& Affiliates.
Mr. Tims holds a Bachelor of Commerce degree (with distinction) from the University of Calgary, a Master of
Business Administration degree from Harvard University,
and an honorary Doctor of Laws degree from the University
of Calgary. He is also a Chartered Business Valuator.
Mr. Tims has previously served as Chairman of the
Canadian Investor Protection Fund, the Investment Dealers
Association of Canada, the United Way of Calgary and
Area, and West Island College (Alberta). He has served on
several other not-for-profit boards, and was a member of
the Wise Persons’ Committee, which studied securities
regulation in Canada.
In addition to his involvement with the National Gallery
of Canada, Mr. Tims remains active with the United Way,
the University of Calgary, and several other not-for-profit
organizations.
Mr. Tims was the first recipient of the Management Alumni
Excellence (“MAX”) Award from the University of Calgary,
and was the 2007 recipient of the Distinguished Business
Leader Award, presented by the Haskayne School of
Business and the Calgary Chamber of Commerce. In 2008,
he was named “Citizen of the Year” by the City of Calgary,
in recognition of his longstanding involvement with community, educational and charitable organizations, and
in 2012, he was a recipient of a Queen Elizabeth II Diamond
Jubilee Medal. In 2013, Mr. Tims was inducted into
the Investment Industry Hall of Fame by the Investment
Industry Association of Canada.
Annual Report 2014–1538
Mrs. Walker has an extensive background in corporate
governance for the not-for-profit sector. She was a Trustee
and Governor of the Royal Ontario Museum, and is the
current Chair of the Royal Patrons Circle: the Museum’s
major donors group. She was also a Public Member of the
College of Physicians and Surgeons of Ontario, and Chair
of the Patient Relations Committee of The College.
A long-time corporate communications professional,
Mrs. Walker was Director of Public Relations at the London
Museum of Archaeology, Director of Marketing for The
John P. Robarts Institute at the University of Western
Ontario, and Vice-Chair of Arts Heritage London. She was
also Program Consultant to the Royal Visit for the Ontario
Office of International Relations and Protocol.
Mrs. Walker is a graduate of the University of Western
Ontario, with an Honours degree in Languages. She is an
Associate of The Royal Conservatory of Music, Toronto,
in solo performance. She is a recipient of the Lieutenant
Governor of Ontario Distinguished Service Award.
TRUSTEES
Paul R. Baay, Calgary, Alberta
June 27, 2013 to June 26, 2017
Jean-François Béland, Gatineau, Quebec
February 10, 2014 to February 9, 2018
Paul Baay is a graduate of the University of Western
Ontario, with a Bachelor of Arts degree in administrative
and commercial studies. As a graduate of the Institute
of Corporate Directors, Rotman School of Management
Directors Education Program, Mr. Baay also holds an
ICD.D designation.
Jean-François Béland is Executive Vice-President at AREVA
Canada Inc. He joined AREVA Canada in August 2008, after
spending a year at AREVA’s global headquarters in Paris.
Prior to this, Mr. Béland worked in the Canadian public
service, and in the Office of the Prime Minister of Canada,
where he served as Policy Advisor on Treasury Board and
governance issues.
Mr. Baay has more than 25 years’ experience leading oil
and gas exploration and production companies. He is the
current Chairman of Touchstone Exploration Inc., and has
been its Chief Executive Officer since 2009. He has also been
Chairman of the Board of Directors of Veraz Petroleum Ltd.
since 2007, and has been a member of the Board of Directors
of Millennium Seismic Inc. since 2001.
Mr. Béland is a graduate of the Université de Montréal
(B.Sc.), l’École Nationale d’Administration Publique (MPA
and graduate diploma in public administration), l’École des
Hautes Études Commerciales (graduate diploma in management), Bordeaux Business School (MBA), l’Université
Paris IX Dauphine (M.Sc. Strategic Management) and
Université Laval (ASC). He has also completed the Senior
Nuclear Plant Management course (SNPM).
Prior to Touchstone, Mr. Baay was Managing Director of
Abacus Energy, a division of Abacus Private Equity. Until
September 2007, he served as President and Chief Executive
Officer of True Energy Inc., a position he held since founding True Energy Inc. in 2000. From 2005 to 2012, he was
Chairman of the Board of Vero Energy Inc. From 1998 to
2000, he was Chairman of the Board of Request Seismic
Surveys Ltd. and served as President, Chief Executive Officer,
and Director of Remington Energy Ltd. from 1991 to 1999.
In addition to the National Gallery of Canada, Mr. Béland
is a member of the Investment Committee of the Fondation
Santé Gatineau. He is also on the Board of the Energy
Council of Canada.
In December 2013, Mr. Béland was appointed Chevalier
(Knight) of the National Order of the Legion of Honour
of France.
In addition to his involvement with the National Gallery
of Canada, Mr. Baay has held a variety of positions within
the not-for-profit sector. He is a Director of the Rundle
Mountain Charitable Foundation, and a member of the
British North American Committee. Mr. Baay has also
held positions with the Alberta College of Art and Design
(Director), the Calgary Humane Society (Director), the
Canadian Association of Petroleum Producers (Governor),
the Canadian Oil and Gas Symposium (Chairman), the
Calgary Zoological Society (Director), Junior Achievement
of Southern Alberta (Chairman) and the University of
Western Ontario Alumni (Calgary Representative). In 1998,
he was chosen by the Financial Post Foundation as one of
Canada’s Top 40 under 40.
Allan D. Benoit, Winnipeg, Manitoba
June 6, 2013 to June 5, 2017
Allan Benoit holds Masters’ Degrees in Natural Resources
Management and Architecture from the University of
Manitoba. He is currently the Senior Policy Advisor at the
Manitoba Metis Federation.
Mr. Benoit is also the owner and Principal of Ahtikaki
Consulting Inc., an Aboriginal community-development
consulting firm for cultural and economic initiatives in
Manitoba. Mr. Benoit served as the Coordinator for the Red
River Cart Journey (North American Indigenous Games).
He also served as Senior Architectural Designer in Toronto,
Chairperson for the St. Norbert Parish Métis Council, and
as a member of the Métis National Heritage Centre
Steering Committee in Winnipeg.
39
Governance
Guy Bourgeois, St-Bruno, Quebec
October 4, 2012 to October 3, 2016
Nezhat Khosrowshahi, Vancouver, British Columbia
May 16, 2013 to May 15, 2017
Guy Bourgeois is a graduate of the Université de Moncton,
with a Bachelor of Business Administration (Honours) specializing in marketing. He has completed additional studies
in advertising at the Université de Montréal.
Nezhat Khosrowshahi was born in Iran, and moved to
Vancouver with her family in 1981.
As an entrepreneur and businesswoman, Mrs. Khosrowshahi
founded City Trading Company, an importer and distributor
of safety equipment. She also served on the boards of Melli
Industrial Group, Alvand Investment Company and Minoo
Industrial Group.
He is currently National Director of Marketing
Communications for Rogers Wireless, overseeing go-tomarket strategies for the Fido brand. He has held various
senior positions in branding and advertising since joining
the company in 1997.
After relocating to Canada, Mrs. Khosrowshahi co-founded
the Inwest Group, a holding company with interests in real
estate and retailing. She currently serves as a member of the
Board of Directors of Persis Ltd., a holding company with
interests in healthcare, entertainment and real estate.
Mr. Bourgeois is also a photographer and digital artist.
Over the past eleven years, his work has been exhibited
at various locations in Montreal, including at O Patro Vys,
Quartier électro, the Wilder & Davis Gallery, and the
Université de Montréal.
In addition to her business endeavours, Mrs. Khosrowshahi
is a devoted volunteer, fundraiser and community builder.
She was a founding Board member of the B.C. Women’s
Foundation and the Vancouver Symphony Foundation.
She has also served on the Board of Directors of the
Encyclopaedia Iranica Foundation at Columbia University;
the Board of Governors of Simon Fraser University; the
Board of Directors of the Museum of Vancouver; the Board
of Directors of CBC/Radio-Canada; and the Board of
Trustees of Pearson College — a United World College.
Linda Hutchison, Kentville, Nova Scotia
March 1, 2012 to February 29, 2016
Linda Hutchison is a committed supporter of the Nova
Scotia College of Art and Design (NSCAD) University, and
currently serves as Director of University Relations. She
previously served as its interim President, and as ViceChair of the Board of Governors. She is a long-serving
alumni representative on the Board of Governors and the
NSCAD Alumni Association.
Ms. Hutchison has a business background that includes
design work in the corporate and not-for-profit sectors, and
in the operation of support services for family physicians.
She was also the first foreign artist to have an exhibition
in the province of Ciego de Ávila, Cuba, in the post-revolutionary period. She was invited to speak with the Cuban
Union of Artists in the province, lectured and toured art
schools in Cuba, and was interviewed by Cuban media.
Mrs. Khosrowshahi is a former Chair of the Board of
Directors of the Vancouver Symphony Orchestra (VSO).
Following her chairmanship, she was elected an Honorary
Life Vice-President of the VSO in 2001. Most recently,
Mrs. Khosrowshahi has established the Learning Initiative
For Tomorrow (LIFT) scholarship program at Coquitlam
Alternative Basic Education (CABE). In addition, she has
actively contributed her resources to SHARE Family &
Community Services Society in Coquitlam, British
Columbia, and to the Museum of Anthropology at the
University of British Columbia.
Ms. Hutchison is a longstanding volunteer for Visual Arts
Nova Scotia and the Nova Scotia Talent Trust. Her art can
be found in the permanent collections of both the Nova
Scotia Art Bank and Acadia University.
Annual Report 2014–1540
G. Howard Kroon, Calgary, Alberta
April 25, 2013 to April 24, 2017
Marsha Sobey, New Glasgow, Nova Scotia
November 1, 2012 to October 31, 2016
G. Howard Kroon is a chartered accountant and a graduate
of the University of Waterloo, with a Bachelor of Arts
(Honours) degree and a Master of Arts degree.
Born in Fredericton, New Brunswick and resident in New
Glasgow, Nova Scotia since 1965, Marsha Sobey is a committed volunteer, fundraiser and philanthropist. A teacher
by vocation, she spent 22 years in the teaching profession,
including several years with Landmark East School in
Wolfville, Nova Scotia — a school dedicated to students
with learning disabilities.
Mr. Kroon is President of the Bodtker Group of Companies.
Until the fall of 2011, he was the long-time President and
CEO of Palliser Lumber Sales Ltd., a secondary manufacturer and distributor of wood products.
Ms. Sobey holds a Bachelor of Physical Education degree
from Acadia University, a Bachelor of Education degree
from Saint Mary’s University, and a Master of Education
degree from St. Francis Xavier University.
Mr. Kroon is the Executive Advisor to Fitmetabolism Inc.,
a premier exercise physiology/weight-management clinic,
and is an active instructor in Western Canada. In addition,
he is the owner of a management consultancy firm specializing in executive coaching for CEOs and operational consulting. As a graduate of the Institute of Corporate Directors,
Rotman School of Management Directors Education
Program, Mr. Kroon also has an ICD.D designation.
Her extensive volunteer work includes service on numerous boards and committees. Ms. Sobey is currently
a Governor on the Board of Governors of Saint Mary’s
University, and a Director of the Children’s Wish
Foundation in Nova Scotia. She is also the Chair of Pace
and Leadership Gifts for the Canadian Cancer Society’s
$17-million dollar Daffodil Place Capital Campaign, a
fundraising drive to expand Daffodil Place, the Lodge that
Gives, a residence for cancer patients and families who
travel for treatment. She previously served as a Director on
The Sobey Foundation Board of Directors.
Mr. Kroon serves on various boards, and is currently the
Chair of Epic Roofing, as well as past-President of the
Cochrane Minor Hockey Association. Mr. Kroon continues
to be active in numerous not-for-profit endeavours, both
nationally and internationally.
Liza Maheu, Winnipeg, Manitoba
(Reappointed as a Trustee on April 25, 2013;
resigned as a Trustee on February 24, 2015)
Liza Maheu is a committed volunteer who combines her
strong belief in community service with a passion for the
arts and culture.
Ms. Maheu is the Director of the Foundation, Les amis des
arts visuels du Manitoba Inc. From 2004 to 2013, she served
as Executive Director of La Maison des artistes visuels
francophones du Manitoba, a centre for contemporary
artists from the francophone community in Manitoba.
Ms. Maheu previously served as Marketing Director for the
Centre culturel franco-manitobain.
Ms. Maheu’s community service includes being a member
of the Advisory Committee for the Women of Distinction
Awards for Manitoba, the National Advisory Panel for the
Canada Prizes for the Arts and Creativity, and the Board
of Directors of the Association des groupes en arts visuels
francophones in Ottawa. In addition, Ms. Maheu has
been actively involved with various community activities,
including the Festival du Voyageur and Tourisme Riel,
and is a strong advocate and fundraiser for Saint-Boniface’s
Le Jardin de sculptures.
Ms. Maheu holds a Bachelor’s degree in Business
Administration.
41
Governance
COMMITTEES OF THE BOARD OF TRUSTEES
As at 31 March 2015
The Board of Trustees is assisted by six committees
that meet regularly and make recommendations to
the Board.
•Acquisitions
• Audit and Finance
•Executive
• Governance and Nominating
• Human Resources
• Programmes and Advancement
Each member of the Board has duties on three committees. The Chair of the Board of Trustees is the
Chair of the Executive Committee and an ex-officio
member of all other Committees of the Board.
ACQUISITIONS COMMITTEE
The Acquisitions Committee recommends policies and
plans for growth of the National Gallery’s collections, approves acquisitions on behalf of the Board
valued between $100 thousand and $1 million, and
makes recommendations to the Board of Trustees for
acquisitions valued at $1 million or greater. The
Committee held five meetings during the year.
Chairperson
Paul R. Baay
Members
Allan D. Benoit
Guy Bourgeois
Linda Hutchison
Harriet Walker
One vacancy
Advisors
Marta Braun
Laing Brown
Nahum Gelber (emeritus)
Reesa Greenberg
Michal Hornstein (emeritus)
Phyllis Lambert (emeritus)
Catherine Williams
One vacancy
Annual Report 2014–1542
AUDIT AND FINANCE COMMITTEE
The Audit and Finance Committee advises the Board
on accountability and audit-related matters, ensures
maintenance of sound internal controls, monitors
the Gallery’s financial situation, and recommends
specific courses of action to the Board, as required.
The Committee held seven meetings during the year.
Chairperson
G. Howard Kroon
Members
Paul R. Baay
Jean-François Béland
Allan D. Benoit
Marsha Sobey
One vacancy
EXECUTIVE COMMITTEE
The Executive Committee acts on behalf of the Board
of Trustees between meetings of the full Board.
Given that there were seven meetings of the full
Board throughout 2014–15, the Executive Committee
did not meet during this fiscal year.
Chairperson
Michael J. Tims
Vice-Chairperson
Harriet E. Walker
Members
Paul R. Baay
Jean-François Béland
Linda Hutchison
G. Howard Kroon
GOVERNANCE AND NOMINATING COMMITTEE
The Governance and Nominating Committee seeks
to enhance corporate performance by assessing and
making recommendations regarding governance,
corporate values, Board effectiveness and the recruitment of Trustees. The Committee held four
meetings during the year.
Chairperson
Harriet E. Walker
Members
Paul Baay
Guy Bourgeois
Linda Hutchison
Nezhat Khosrowshahi
G. Howard Kroon
HUMAN RESOURCES COMMITTEE
The Human Resources Committee provides strategic
direction and oversight in the management of the
Gallery’s human resources. The Committee held four
meetings during the year.
Chairperson
Linda Hutchison
Members
Jean-François Béland
Nezhat Khosrowshahi
G. Howard Kroon
Marsha Sobey
Harriet E. Walker
PROGRAMMES AND ADVANCEMENT COMMITTEE
The Programmes and Advancement Committee
serves as the Board of Trustees’ advisor on the general
direction and promotion of the Gallery’s public
programs, and supports the Board and Management
in achieving greater self-sufficiency. The Committee
held four meetings during the year.
Chairperson
Jean-François Béland
Members
Allan D. Benoit
Guy Bourgeois
Nezhat Khosrowshahi
Marsha Sobey
One vacancy
43
Governance
MANAGEMENT
As at 31 March 2015
The Board of Trustees delegates authority for day-to-day management of the Gallery to the Director and CEO,
who is supported by three Deputy Directors and four Directors. The Director and CEO is accountable to the
Board for the Gallery’s performance, long-term viability, and achievement of corporate objectives.
BOARD OF TRUSTEES
Acquisitions
Committee
Audit and
Finance
Committee
Executive
Committee
CEO, NGC Foundation
Deputy
Director
Collections,
Research and
Education,
and Chief
Curator
Deputy
Director,
Administration
and Chief
Financial
Officer
Governance
and Nominating
Committee
Human
Resources
Committee
Programmes &
Advancement
Committee
Director and CEO
Deputy
Director,
Advancement
and Public
Engagement
Director,
Exhibitions
and Outreach
Director,
Human
Resources
NGC Organizational Chart as at 31 March 2015
Annual Report 2014–1544
Director,
Conservation
and Technical
Research
Director,
Corporate
Secretariat
and
Ministerial
Liaison
SENIOR MANAGEMENT
Marc Mayer
Director and CEO
Edmond Richard
Chief, Facilities Planning and Management
Megan Richardson
Chief, Education and Public Programs
Jean-François Bilodeau
Deputy Director, Advancement and Public
Engagement
Michelle Robitaille
Chief, Partnership and Community Engagement
Paul Lang
Deputy Director, Collections, Research and
Education, and Chief Curator
Gary Rousseau
Chief, Protection Services
Julie Peckham
Deputy Director, Administration, and
Chief Financial Officer
Marie-Claude Rousseau
Chief, Collections Management and Copyrights
Stephen Gritt
Director, Conservation and Technical Research
Christine Sadler
Chief, Exhibitions Management
Sylvie Sarault
Director, Human Resources
Margaret Skulska
Chief, Strategic Planning and Risk Management
Matthew Symonds
Director, Corporate Secretariat and Ministerial Liaison
Yves St-Onge
Chief, Strategic Communications
Yves Théoret
Director, Exhibitions and Outreach
Léo Tousignant
Chief, Visitor Services
Taylor van Blokland
Chief, Membership and Annual Giving
CHIEFS
Patrick Aubin
Chief, Bookstore
Sophie Vydykhan
Acting Chief, Marketing and New Media
Cyndie Campbell
Chief, Library, Archives and Research Fellowship
Programs
Stacey Wakeford
Chief, Outreach
Jean-François Castonguay
Chief, Technical Services
CURATORS
Katerina Atanassova
Senior Curator, Canadian Art
Gordon Filewych
Chief, Design Services
Josée Drouin-Brisebois
Senior Curator, Contemporary Art
Nigel Holmes
Chief, Information Technology Systems, and
Acting Chief Information Officer
Greg Hill
Senior Curator, Audain Chair of Indigenous Art
Marie-Josée Lacombe
Chief, Finance
Ann Thomas
Senior Curator, Photographs
John McElhone
Chief, Restoration and Conservation
Ivan Parisien
Chief, Publications
45
Governance
CORPORATE PERFORMANCE
The National Gallery of Canada conducts its activities through the following key programs: Collection,
Outreach, Accommodation and Internal Services.
Given the Gallery’s mandate to develop, maintain and make known its collection of works of art — and to
further knowledge, understanding and enjoyment of art in general — activities focusing on the Collection
and on Outreach were fundamental across the institution in 2014–15. In addition, robust and well-managed
infrastructure, finances and human resources, which are cornerstones of the Accommodation and Internal
Services programs, remained essential to achieving the institution’s mandate.
The Gallery continued to advance the following three strategic priorities in 2014–15, with associated
expected outcomes:
Raising the Gallery’s National Profile: The Gallery expands its brand recognition as an institution of excellence for its outstanding acquisitions, programming and scholarship, and for its ability to engage
Canadians across the country through art.
Investing in Infrastructure: The Gallery’s infrastructure — facilities, systems, business tools, partnerships and networks — supports the delivery of programs and services expected by Canadians of a leading
national institution.
Diversifying Revenues: An organization-wide, revenue-conscious, entrepreneurial culture is established,
resulting in new and diverse revenue sources that contribute to the institution’s financial sustainability
and growth.
PROGRAM ALIGNMENT ARCHITECTURE (PAA)
OVERVIEW OF MAIN PROGRAMS, STRATEGIC PRIORITIES AND EXPECTED OUTCOMES
Government of
Canada Outcome
A vibrant Canadian culture and heritage.
Legislated Mandate
To develop, maintain, and make known, throughout Canada and internationally, a collection of works of
art, both historic and contemporary, with special but not exclusive reference to Canada, and to further
knowledge, understanding and enjoyment of art in general among all Canadians.
Strategic Outcome
Interest in, knowledge of, and appreciation and respect for, visual art through a collection of historic and
contemporary works of art, programs and research that reflect a special but not exclusive perspective on
Canada.
Programs
Collection
Outreach
Accommodation
Internal Services
Sub-Programs
Acquisitions
Research
Preservation
Exhibitions
Education
Communications
Building Operations
Capital Expenditures
Governance
Administration
Revenue Generation
Strategic Priorities
for the
Planning Period
Raising the Gallery’s National Profile
The Gallery expands its brand recognition as an institution of excellence for its outstanding acquisitions,
programming and scholarship, and for its ability to engage Canadians across the country through art.
and
Investing in Infrastructure
The Gallery’s infrastructure — facilities, systems, business tools, partnerships and networks — supports the
delivery of programs and services expected by Canadians of a leading national institution.
Expected Outcomes
for Each
Strategic Priority
Diversifying Revenues
An organization-wide, revenue-conscious, entrepreneurial culture is established, resulting in new and
diverse revenue sources that contribute to the institution’s financial sustainability and growth.
47
Corporate Performance
Program 1: COLLECTION
Since its founding in 1880, the National Gallery of Canada has built a renowned collection of over 64,500 works
of art (including those in the contemporary photographs collection), both historical and contemporary,
created by the most significant Canadian and international artists. With works in varied media — including
sculptures, paintings, drawings, prints, photographs, videos, installations, and sound art — Canada’s
national collection is rich and varied.
Within the Collection program, the Gallery develops, maintains and makes known its collection through
three sub-programs: Acquisitions, Research and Preservation.
ACQUISITIONS
The Gallery uses its extensive curatorial expertise to make judicious acquisition choices. Each proposed work is selected for its aesthetic and art-historical importance, didactic usefulness, as well as its place within the existing
collection. Acquisitions are made in accordance with the Gallery’s Acquisitions Policy, which requires that all proposals be justified through in-depth research to establish authenticity, provenance, quality, historical importance, and relevance to the institution’s mandate. All acquisitions valued at $100,000 or more require the approval
of the Acquisitions Committee of the Board of Trustees (the Board), and those over $1 million are subject to the
approval of the entire Board. The Gallery’s acquisitions budget of $8 million, annually appropriated by Parliament,
is augmented by generous contributions from private donors and the National Gallery of Canada Foundation.
RESEARCH
Scholarly research at the Gallery is centred on individual works of art and the cultural, historical and theoretical
contexts in which they were created. Such research involves thorough analysis, proper documentation, and
publication, and contributes significantly to the advancement of art history and public understanding of art.
Several departments are responsible for scholarly research. Curatorial staff engages in extensive study centred
on potential acquisitions, new exhibitions and other scholarly projects. The Conservation and Technical
Research staff conduct research related to artists’ materials and techniques, conservation methods, environmental studies, and the establishment of a work’s authorship and date through technical study. The NGC
Library and Archives house the country’s largest collection of material on the visual arts; members of Library
and Archives staff carry out research projects and support an important research fellowship program for
advanced study by Canadian and international scholars.
PRESERVATION
Restoration and conservation activities are fundamental to the Gallery’s Collection and Outreach programs.
Rigorous standards ensure the ongoing physical and intellectual integrity of works of art for the benefit
of present and future generations. Conservators undertake a broad range of activities: technical research,
scientific examination, prevention of deterioration and damage, conservation treatment, risk management,
documentation and education. They carry out meticulous examinations and assessment of works being considered for acquisition to ensure their quality, condition and authenticity and, as required, treat all works
of art slated for exhibitions or lending to other institutions. With an international reputation for excellence
in conservation, and their contribution to technical art history, the Gallery’s conservators often partner with
other institutions in high-profile restoration or technical research projects.
Annual Report 2014–1548
Results for the COLLECTION program
Building Recognition and Relationships
During the year in review, the Gallery strengthened its reputation as Canada’s premier art-collecting institution.
The Director, along with curatorial and conservation staff, received and responded to numerous invitations
from media, galleries, academic institutions, and other external organizations to share expertise and
knowledge. Meetings with journalists, visits with students, and keynote addresses at conferences and other
events are just some of the opportunities that enabled the Gallery to build recognition and raise its profile,
at home and abroad.
Through its close collaboration with the NGC Foundation, the Gallery fostered relationships with various
collector communities across Canada and internationally, with the goal of securing long-term loans or
trusts that could become gifts or bequests in the future. The Gallery’s reputation for outstanding collections, programming and scholarship helped it secure many significant art donations throughout 2014–15,
thereby enhancing its holdings.
Highlights of this Year’s Acquisition Program
In 2014–15 the Gallery acquired 278 works of art, 63 of which were donated as gifts. Of these donations,
26 were of outstanding significance and national importance. The total value of acquired works was $14,150,000.
This amount consists of $13,796,000, as indicated in Note 7 of the financial statements, and $354,000, which
represents the worth of two works not evaluated by a third party. Particularly noteworthy is the value of
donated works of art — $ 4,303,000 (which includes the $354,000 value indicated above) — a 144% increase
when compared to the value of works donated in the previous year. The institution recorded 24 donors of
works of art.
Highlights of art acquisitions include the following:
Major 19th-century works. The Gallery acquired works by two of the 19th-century’s most outstanding
French artists — six by Gustave Doré and one by Jules Dalou — thereby bridging significant gaps in its
collection of European art. A number of these were gifts to the Gallery:
•Four of the six Doré works were featured in the Gallery’s critically acclaimed summer exhibition, Gustave
Doré (1832–1883): Master of Imagination, including a large landscape painting — the magnificent Souvenir of Loch
Lomond (1875) — and a masterful bronze sculpture, Fate and Love (1877). The latter was donated to the Gallery
by American collectors Alfred and Ingrid Lenz Harrison, who were impressed by the excellence of the
Doré exhibition.
• The Doré acquisition also includes two illustrations for Samuel Coleridge’s The Rime of the Ancient Mariner
(1875) and two early editions of books illustrated by Doré, including Dante’s Inferno (1884). The books
were donated to the Gallery’s Library and Archives by private collectors, who wished to acknowledge the
importance of the artist’s work with a gift to the Canadian public.
• Jules Dalou’s terracotta, A Young Mother from Boulogne Feeding her Child (1876), is one of a few sculptures the artist
made of this intimate subject after immigrating to the United Kingdom following the Franco-Prussian
war. Exhibited in 1877 at the Royal Academy of Arts in London, England, this magnificent work was
acquired by an aristocratic family in Ireland. It remained in their possession for more than a century,
until acquired by the Gallery at auction.
49
Corporate Performance
Pink with Border. In tandem with the 2014 Jack Bush retrospective, the Gallery received Pink with Border, a 1967 painting by Bush that demonstrates his skills as a master colourist. This singular work by the celebrated abstractionist was a gift from the estate of a collector and longstanding friend of the National Gallery of Canada.
Over 200 Inuit sculptures and works on paper. This collection was donated to the American Friends of
the National Gallery of Canada by the Burke Family, Chicago (Illinois). These works are currently on loan to the
National Gallery of Canada.
For more information on works of art acquired in 2014–15, please see the section, Acquisition Highlights,
as well as the section on Acquisitions, Loans and Exhibitions, which contains a detailed list of works of art
acquired during the year in review.
Advancing Knowledge and Research
Curatorial staff advanced important research in support of Gallery exhibitions presented in 2014–15, as well
as those on the horizon — including exhibitions on Claude Monet, a founder of Impressionism; Élisabeth
Vigée Le Brun, court painter to Marie Antoinette; and Alex Janvier, one of Canada’s most acclaimed contemporary painters.
In preparation for, and to mark, the 150th anniversary of Confederation, planning began for the reinstallation of the Canadian art collection (historical and modern, including Indigenous art and photography) in
the galleries by 2017. A study of potential purchases and donations of Canadian art from the early 1800s to
1990 was additionally undertaken in view of this initiative.
Servicing 889 works of art during 2014–15, the Gallery’s Restoration and Conservation Laboratory supported
the national collection, and exhibition and loans programs, in significant ways. Conservators oversaw or
carried out multiple preventative treatments on 70 works borrowed from private collections for the Gallery’s
Jack Bush retrospective — an initiative that earned much goodwill among lenders. The division’s work to
support the Gallery’s loan program also helped the NGC build recognition and enhance its presence on the
international stage. In preparation for a loan to the Tate Modern in London, England, conservators
treated and documented Sophie Ristelhueber’s large-scale 1992 photographic work Fait, which was then
displayed in a major exhibition.
Annual Report 2014–1550
Program 2: OUTREACH
Through a dynamic Outreach program, the Gallery fulfills its mandate to further knowledge, understanding
and enjoyment of the visual arts among Canadians. The Gallery is committed to being a truly national
institution, with an aim to foster broad access to its collections, locally, nationally and internationally.
Despite the challenges inherent in serving a relatively modest population over a vast geographical area,
the Gallery works to ensure that Canadians throughout the country see it as an essential institution, and
as a centre of artistic excellence. Through outreach initiatives, the Gallery continually strives to expand its
impact, while also ensuring its long-term sustainability.
EXHIBITIONS
Showcasing the outstanding national collection in prominent exhibitions and installations makes it visible
and accessible to the public. The Gallery is recognized both nationally and internationally for the high level
of scholarship, organization and production management it brings to its exhibitions.
Typically, the Gallery’s annual exhibitions include six to eight featured shows at its main site in Ottawa, and
numerous exhibitions across Canada and abroad. Outreach initiatives are part of the Gallery’s commitment
to a national presence. With a long history of organizing travelling exhibitions, especially through Art Network,
the Gallery launched the innovative NGC@ partnership program in 2010. Through NGC@ partnerships, the
Gallery collaborates on original exhibitions by offering exclusive access to works in the national collection and
presenting them in an NGC-branded exhibition space at the partner institution. This new approach focuses
on sharing the collection with wider audiences, engaging partners more collaboratively, and promoting
long-term sustainability.
The Gallery also shares its expertise, engages in numerous special exhibitions led by other museums and,
on occasion, presents externally organized exhibitions at its Ottawa location. These important partnerships
enable museums across the country to circulate their holdings to broader Canadian and international
audiences than would otherwise be possible.
EDUCATION
In its continued efforts to enrich the museum experience both onsite and online, the Gallery offers a wide
range of stimulating and popular activities that appeal to diverse audiences with different levels of art
knowledge and interest. These activities include tours, lectures, audio and print guides, videos, workshops,
in-gallery activities for families, resources for teachers, an app, and an online art contest.
Many tours and lectures are available as podcasts, and other content-rich offerings can be found online and
through social media. The Gallery engages with its social media followers through conversations about art, and
by sharing general arts news and behind-the-scenes access to the Gallery. Several of the Gallery’s educational
and public programs have been supported by sponsors of the Gallery and by patrons of the NGC Foundation.
COMMUNICATIONS
Communications encompass copyright, marketing, distribution, new media and publishing, the latter being fundamental to the Gallery’s mandate to develop and document the collection and exhibitions. In addition, the Gallery engages in various partnerships with other institutions and publishers to produce
exhibition catalogues. Increasingly, communicating with audiences through social media is an integral
part of the Gallery’s interactions. Communication activities also include strategic communications and
media relations, which are vital to protecting and enhancing the Gallery’s reputation.
51
Corporate Performance
Results for the OUTREACH Program
Exhibition Highlights
Highlights of the Gallery’s exhibitions in 2014–15 include the following:
Gustave Doré (1832–1883): Master of Imagination. A presentation of the highest calibre, this summer exhibition was
the world’s first comprehensive Gustave Doré retrospective. It brought together 100 paintings, sculptures,
prints and drawings by the influential 19th-century French artist, who profoundly influenced modern visual
culture. Thanks to this exhibition, organized in collaboration with the Musée d’Orsay in Paris, six major
works by the artist entered the Gallery’s national collection, three of which were donated, including Fate and
Love (1877), a unique cast of the first sculpture that Doré exhibited at the Salon of 1877.
Shine a Light: Canadian Biennial 2014. The latest iteration of the Canadian Biennial featured some of the best and
most innovative art being produced today, in a variety of media. It highlighted 80 recent acquisitions
within the Gallery’s Canadian Contemporary, Indigenous and Photography collections, created by 26 artists
from across the country — including Shary Boyle, Geoffrey Farmer, Stéphane La Rue, and Lawrence Paul
Yuxweluptun, among others.
Jack Bush. Offering a compelling picture of one of Canada’s ground-breaking Abstract painters, this major
retrospective was praised by art critics, and was well attended. Co-curated by the Gallery’s Director, along
with independent art historian Sarah Stanners, the exhibition featured over 130 paintings, drawings and
commercial illustrations exploring Bush’s 50-year career.
M.C. Escher: The Mathemagician. This exhibition explored the creative evolution of one of the world’s most
famous and recognized artists. Showcasing 54 works drawn from the Gallery’s extensive holdings of M.C.
Escher prints, the exhibition was organized in partnership with the Art Gallery of Alberta.
The Great War: The Persuasive Power of Photography. Commemorating a major historical milestone, this exhibition
assembled over 350 photographs and works on paper, most borrowed from a variety of prestigious Canadian
and international institutions. The exhibition included a re-created period display of photographs, many of
which were installed using novel methods.
Tom Thomson: The Jack Pine and The West Wind. A collaboration with the Art Gallery of Ontario, this exhibition presented Tom Thomson’s last two paintings — both of which were recently restored by the Gallery. The exhibition was part of the Gallery’s Masterpiece in Focus series, which highlights works from the national collection
in tightly focused presentations.
Charles Edenshaw: This was the first major survey of work by the acclaimed 19th-century Haida artist. This
comprehensive exhibition of 80 objects presented the full range of Edenshaw’s creative output, and considered
the artist’s enduring legacy within Northwest Coast art, both past and present.
On the international front, an exhibition co-organized by the Gallery, and presented first in Ottawa, headed
abroad in 2014: John Ruskin: Artist and Observer opened at the Scottish National Portrait Gallery in Glasgow. In
addition, the Gallery continued planning for the upcoming installation of work by Canadian artist collective
BGL at the 2015 Venice Biennale, a global survey of the very best in contemporary art. Such outreach opportunities on the world stage enable the Gallery to enhance its reputation as an institution of excellence, while
strengthening the international profile of Canadian art.
Partnerships and Collaborations
During the past year, a variety of strategic collaborations enabled the Gallery to fulfill its mandate, while
strengthening networks of Canadian and international partners for the benefit of Canadian audiences and
institutions alike.
Annual Report 2014–1552
The NGC@ partnership program is a noteworthy collaboration with the Art Gallery of Alberta in Edmonton,
the Museum of Contemporary Canadian Art in Toronto, and the Winnipeg Art Gallery. It provides
Canadians in these metropolitan centres with an opportunity to enjoy art from their national collection. In
2014–15, the Gallery presented 11 exhibitions at the three partner museums, including an exhibition of
Vienna (2003), a major sculpture by Brian Jungen, presented at the Winnipeg Art Gallery; Christian Marclay’s
vast video installation The Clock (2010), presented at the Art Gallery of Alberta; and a retrospective of works by
internationally acclaimed Canadian artist Vera Frenkel at the Museum of Contemporary Canadian Art, including her seminal installation from the Gallery’s collection, …from the Transit Bar (1992, 2014). In addition to
the NGC@ partners, six other Canadian museums and two British institutions hosted NGC travelling exhibitions during the review period.
The Gallery’s “in association with” partnerships additionally supported Canadian and international exhibitions with key loans of significance and quality. Highlights include the landmark exhibition From the Forest
to the Sea: Emily Carr in British Columbia, presented at the Dulwich Picture Gallery in London, England;
Transformations – A.Y. Jackson and Otto Dix, a well-attended exhibition at the Canadian War Museum; and Morrice
and Lyman in the Company of Matisse, which was seen by audiences at the Musée national des beaux-arts du
Québec in Quebec City, and at the McMichael Canadian Art Collection in Kleinburg, Ontario.
Because of the excellence and uniqueness of its national collection, the Gallery annually receives a large volume of loan requests. In 2014–15, 727 works of art were on loan to other institutions; 346 of these loans were
initiated this fiscal year. Works that were on the road as part of the Gallery’s travelling exhibitions program
numbered 343.
With the success of the NGC@ program, travelling exhibitions, and other initiatives, the Gallery continues to
explore the transition to a cost-neutral framework and sustainable programming models for outreach.
Ongoing partnerships with other federal agencies in the National Capital Region enriched the Gallery’s exhibition program for the benefit of visitors. In collaboration with the Canada Council for the Arts, the Gallery
presented an exhibition of works by the winners of the 2014 Governor General’s Awards in Visual and Media
Arts. Thanks to a partnership with Library and Archives Canada (LAC), visitors to the Canadian permanent
collection galleries could discover works drawn from LAC’s rich holdings of historical Canadian photography.
The Gallery also established several new partnerships of note in 2014–15:
• Contemporary Conversations. The Gallery launched a significant partnership with the U.S. Embassy in Ottawa,
and the U.S. Department of State’s Art in Embassies program, to present a series of public lectures at the
Gallery by prominent American artists. Already garnering much public and media interest, the initiative
offers extensive opportunities for enhanced community engagement and audience diversification.
• TIFF Film Circuit at the Gallery. Through a partnership with the Toronto International Film Festival (TIFF), the
Gallery will feature four films a year, along with special presentations by guests. Noted Canadian photographer Edward Burtynsky launched the series in January 2015 with a screening of his documentary Watermark.
• Curatorial Studies Pilot Program. The Gallery embarked on a partnership program with Carleton University
that will provide curatorial training opportunities for young scholars. The program will also enable the
Gallery to reach new and younger audiences, and help support the development of strong candidates for
positions in Canadian art institutions.
In order to create awareness and diversify audiences, the Gallery secured several partnerships with organizations such as Music & Beyond, Chamberfest, RBC Bluesfest, the Ottawa International Animation Festival,
the Walrus Foundation, J. Crew, and Nordstrom, among others. By providing co-programming and crosspromotional opportunities, such collaborations help to increase visitation and raise the profile of the Gallery.
53
Corporate Performance
The Gallery reached a historic agreement with Canadian Artists’ Representation/Le Front des artistes canadiens
(CARFAC) and the Regroupement des artistes en arts visuels du Québec (RAAV) on the terms and conditions
for remunerating living Canadian artists. This milestone is expected to contribute to the long-term sustainability of the visual arts in Canada.
New Media
The Gallery’s use of digital technology to communicate and engage with Canadian and international audiences continued to expand. Last year, it registered an active engagement of 483,700 Internet users through
the three main social media vehicles combined (Facebook, Twitter and YouTube). This represents an increase
of 51% over the previous review period.
Social Media Activity (No. of people engaged)
483,700
500,000
400,000
321,268
267,423
300,000
215,197
172,061
200,000
79,489
100,000
26,582
44,216
0
Facebook
n
2013–14
n
Twitter
YouTube
Total Activity
2014–15
The Gallery explored new and innovative ways of interacting with its public online. Along with 721 other
museums from 43 countries, it participated in the global social media event #Ask a Curator, which trended
in North America and the United Kingdom. Prominent Canadians, as well as international artists — from
writer Margaret Atwood to Chinese artist Ai Weiwei — also took note of the Gallery’s social media presence,
tweeting and retweeting the content.
In only its second year of operation, the NGC’s online Magazine received the 2014 Canadian Online Publishing
Award for Best Corporate Website (consumer niche). In addition to being lauded by the digital industry, the
Magazine continues to receive praise from the art community for its relevant content, which includes, among
other things, Your Collection, a new series that gives readers an inside look at works selected by Gallery curators
from the permanent collection. Readership for the NGC Magazine newsletter has remained consistent over
the year, and traffic to the main NGC Magazine site was steady, with more than 80,000 user sessions — demonstrating the site’s importance as a preferred source for interviews, articles and videos about the world of
Canadian art and Gallery events. Over the past year, the Magazine registered 6,700 views per month. The
NGC Magazine monthly newsletter registered a 30% increase in subscription rates, with a click-through rate
reflecting average industry standards.
In June 2014, the Gallery launched a new mobile application that highlights the Canadian art collection.
During its first six months, the app was downloaded by new users over 7,000 times, and was featured in a
Globe and Mail article as “One of six apps that you must try at least once!”
Other successful new media undertakings included mini-sites for the Gustave Doré (1832–1883): Master of Imagination
and Jack Bush exhibitions, each of which featured biographical details, striking images, and insightful
information. Some thirty video clips were produced in support of the Jack Bush exhibition, and the Canadian
Biennial promotional video received over 1,000 views.
Annual Report 2014–1554
The Gallery’s fourth annual edition of the online teen art contest, So You Want to Be an Artist? generated considerable online interest and activity. Although a delayed launch date resulted in fewer submissions this
year (117 in 2014–15 as compared to 203 in 2013–14), the number of visits to the contest website rose from
154,000 to 192,000 — an increase of nearly 25%. The entries submitted by young contestants were seen by art
lovers across Canada and in countries such as Australia, France, and South Korea.
Building upon the previous year’s pilot program, the Gallery’s Distance Learning program was fully
launched in 2014–15. Delivered via interactive webinars, the program enables educators across Canada to
bring the National Gallery into their classrooms, and was fully booked for the entire school year.
During the year in review, the Gallery exceeded its target to digitize 55% of its collection by 2015, having
digitized 75% of the 64,500 objects in its collection. Of these digitized works, over 27,000 are available online
via the Gallery’s website.
Through effective and creative approaches to digital technology, the Gallery continues to ensure that the
greatest number of Canadian and international audiences can access the national collection via high-quality
content, thereby raising the institution’s profile and maintaining its reputation for excellence.
Attendance
During 2014–15, the Gallery registered 586,416 visitors at all venues where it was present (Ottawa, NGC@ locations,
and tour venues combined). In Ottawa alone, the Gallery welcomed 292,397 visitors to the main facility,
an increase of 23% when compared to the 237,391 visitors during the same period last year. Visitorship
in December 2014 reached 21,571; the highest attendance for this month since 2006. These attendance gains
were achieved despite challenges related to Gallery access, due to prolonged roadwork on Sussex Drive.
Online visitors to the NGC website numbered 3,940,935, which represents an 11% increase over the previous
review period.
NGC Virtual Attendance (User sessions)
3,940,935
4,000,000
3,541,752
3,500,000
3,000,000
2,500,000
2,000,000
1,500,000
1,000,000
500,000
0
n
2013–14
n
2014–15
55
Corporate Performance
Program 3: ACCOMMODATION
Stewardship of its landmark Sussex Drive building and two leased storage facilities is part of the Gallery’s
ongoing responsibility, as is management of contracts for maintenance and repair of the Canada Pavilion
in Venice, Italy. The Gallery endeavours to provide a safe and secure environment for both the people
who frequent its sites — visitors, staff, volunteers and contractors — and the assets and information housed
within them.
The Accommodation program includes the following two sub-programs: Building Operations and
Capital Expenditures.
BUILDING OPERATIONS
The Gallery places a high priority on ensuring the secure, efficient and cost-effective operation of all its
properties. It is committed to providing a suitable environment for the visiting public, staff, volunteers, and
contractors, and for the national collection and other physical assets entrusted to its care. As it strives to
operate its facilities in an environmentally sustainable manner, and within the strict parameters that will
preserve both the collection and works of art on loan, the Gallery diligently fulfills its corporate
responsibilities.
CAPITAL EXPENDITURES
Preserving the architectural legacy of its Sussex Drive building, and keeping it fit and functional, are critical
to both the Gallery’s long-term sustainability and its capacity to attract visitors, donors and sponsors. The
Gallery maintains a long-term capital plan, which is updated annually.
Results for the ACCOMMODATION Program
Infrastructure
During the review period, the Gallery continued to provide appropriate and accessible facilities to meet
operating and legislative requirements.
Within its capital allotment, the Gallery prioritizes its inventory of infrastructure projects, with due regard
for the safety of the public and staff, the security of the collection, risk assessment, and affordability. In
2014–15, a total of 23 capital projects were completed. Of this number, 12 projects were related to infrastructure
renewal within the main facility.
The Great Hall window and roof replacement project, begun in early 2013, was substantially completed in the
spring of 2014. As part of that project, all 1,500 windows were replaced, along with sails, blinds and motors.
Other notable capital projects undertaken last year include closed-circuit television and security hardware
updates. The Gallery also proceeded with the concept phase for a major capital renovation project to revitalize
the Bookstore — the first significant redesign of this retail space in its 26 years of operation.
Taking into consideration previously identified code-compliance recommendations, the Gallery initiated
further studies of exterior site safety and the electrical distribution system. Subsequent recommendations will
be prioritized and incorporated into the Long-Term Capital Plan. The Gallery additionally established a special
task force to explore the critical Gallery-wide issue of collection storage. Work on the planned 2017 renewal
and expansion of the Canada Pavilion in Venice also proceeded, with funding provided by the NGC Foundation.
As a result of tragic events at the National War Memorial and Parliament Hill on 22 October 2014, the Gallery
was one of several federal buildings locked down for a number of hours. The NGC responded to this difficult
situation in an exemplary manner, and has subsequently made significant progress to refresh its Business
Continuity and Crisis Response Plan.
Annual Report 2014–1556
Program 4: INTERNAL SERVICES
The Gallery adheres to the principles of governance and management articulated in the Federal Accountability
Act and the Financial Administration Act. The institution is firmly committed to managing the public and private funds invested in it in a transparent and accountable manner.
The Internal Services program includes three sub-programs: Governance, Administration and Revenue Generation.
GOVERNANCE
Sound governance by the Board of Trustees and Gallery management is essential for the National Gallery of
Canada to flourish. It allows the institution to fulfill its mandate in a way that reflects best practices, clear
accountability and cost effectiveness, and to achieve both its public policy and commercial objectives. It also
ensures that the institution has the appropriate structure, policies and practices in place to comply with
applicable legislation.
Each year, the Board of Trustees sets the Gallery’s strategic direction, which is articulated in the institution’s Corporate Plan. In addition, the Board ensures that the Gallery continues to undertake audit projects
consistent with the Board-approved, three-year, risk-based, internal audit plan.
ADMINISTRATION
The goal of the Gallery’s Administration sub-program is the steady stewardship of its resources, which is
accomplished through an effective financial management regime and a shared set of values and ethics.
The institution is committed to effective decision-making. It seeks to ensure that its programs focus on
results, deliver value for money, and remain consistent with government priorities. These goals are attained
through a rigorous financial management framework that combines appropriate control systems with a
sound approach to risk management and performance measurement.
Through its human resources management practices, the Gallery works to develop effective recruitment,
retention and staff development strategies, and to maintain a positive labour-relations climate.
REVENUE GENERATION
External revenue generation is a critical component of the Gallery’s total resource base. The Gallery supports
the realization of its mandate by supplementing funding received through parliamentary appropriations
with self-generated revenue from its commercial activities, memberships, sponsorships and contributions
from individuals, corporations and foundations. Central to the Gallery’s philanthropic efforts is the NGC
Foundation, which is the Gallery’s single greatest contributor of fund-raised resources.
Contributions from the NGC Foundation, as well as corporations, individuals and other foundations are
generally restricted to a specific purpose — namely acquisitions, public programs and outreach, research,
special projects or endowments. Annual targets for contributions are set based on known or anticipated
projects during the planning period, and appropriate measures are taken to ensure that expenses related
to each project are commensurate with the contributions raised to fund it. The Gallery only recognizes the
contribution as revenue in the year in which the project is undertaken and the related expenses incurred.
The Gallery’s attendance levels directly influence revenue generated through commercial activities, including
admission fees, bookstore sales, parking, audioguide and facility rentals, and onsite restaurant operations. The
Gallery’s ability to attract members, sponsors and donors is highly dependent on its reputation for excellence.
57
Corporate Performance
Results for the INTERNAL SERVICES Program
Governance
During the year in review, the Gallery’s work was informed by its Risk-Based Internal Audit Plan (RBAP),
which was developed in 2013–14. The plan identifies visitor management as one of the priority risk areas.
In keeping with its RBAP, and recognizing that educational programs are a primary means for direct interaction
with key audiences, the Gallery launched an Audit of Education in 2014–15. The Gallery also conducted a survey
to assess visitor satisfaction. Both the final audit report and the analysis of the survey results are forthcoming.
To facilitate ongoing monitoring of corporate performance, an essential tool was introduced during the year
in review: a key performance indicator dashboard was developed for presentation to the Board of Trustees on a
quarterly basis. This dashboard captures and reports on performance and trends in a range of areas such as
fundraising, visitorship, virtual attendance, human resources, acquisitions, outreach and financial activities.
Administration
On 31 March 2015, the Gallery employed 223 full-time equivalents, 79% of whom were unionized.
With the majority of its employees being unionized, maintaining harmonious labour relations is a key
priority for the Gallery. During the year in review, the Gallery was pleased to have concluded a collective
agreement with the Public Service Alliance of Canada (PSAC). The four-year agreement was ratified by
PSAC in December of 2014. Additionally in 2014, a new four-year agreement with the Professional Institute
of the Public Service of Canada was negotiated, six months prior to expiry of the previous agreement.
These collective agreements allow the Gallery to meet ongoing operational requirements, while also
adapting to changing conditions and technology, all while serving Canadians effectively and efficiently in
a cost-conscious environment.
Last year, the Gallery introduced leadership training for all management positions. Building upon a
360o feedback exercise with input from supervisors, colleagues and subordinates, the training offered tools to
assist managers in addressing the challenges of an ever-changing environment, while driving engagement,
motivating employees, and ensuring a high-performing workforce. This training was positively received
and completed by all Senior Executives and Chiefs.
The Gallery has a number of corporate policies, which govern the institution’s operations, and clarify expectations and Management’s authority and responsibilities. The Board of Trustees regularly reviews these policies
to ensure that they provide needed direction in areas critical to the delivery of the Gallery’s legislated
mandate, and the sound management of its human and financial resources. During the year in review,
the Board of Trustees approved a new Code of Conduct, which took effect in December 2014. Additionally,
revisions to the institution’s Exhibitions Policy and Research Policy were approved as part of the five-year
policy-review cycle.
The Gallery continued to advance key foundational pieces of the information-management strategic plan,
as well as systems, tools, policies and processes to support paperless operations. A second group of over
90,000 records from the Library & Archives collection were uploaded onto the Digital Asset Management
system: a central, electronic visual library for internal storage and the sharing of digital assets. The Gallery
also began assembling the required documentation and supporting evidence for Library and Archives Canada
to grant it Delegated Disposition Authority.
As at 31 March 2015, implementation of Microsoft SharePoint — an enterprise business collaboration tool —
reached 75% completion, with pilot testing underway for live implementation across six departments.
In addition, the Gallery enhanced its financial system, developing and introducing Electronic Fund Transfer
(EFT) capability to allow payments to vendors using automated fund transfers.
Annual Report 2014–1558
Public Engagement and Revenue Generation
Efforts to engage the public as visitors, members and donors were a central part of the Gallery’s activities during
2014–15. The Gallery successfully advanced its work to enhance the overall visitor experience onsite and online,
to strengthen audiences, and to increase and diversify sources of revenue to ensure financial sustainability.
Overall, the Gallery achieved $5,768,000 in self-generated revenue in 2014–15, surpassing its target of
$5,565,000 by 4%. In total, self-generated revenue, sponsorship and contributions represented $11,973,000,
or 19% of total resources (including appropriations for art acquisitions).
Contributions from the National Gallery of Canada Foundation amounted to $854,664 in support of acquisitions, public programs, outreach, research, special projects and endowments. In February 2015, the National
Gallery of Canada Foundation announced the receipt of a $2-million donation from the Donald R. Sobey
Family Foundation to establish the Canadian Artists in Venice Endowment. This extraordinary gift will support
the Canadian program at the Venice Biennale, and aims to inspire further philanthropic giving to the
Endowment. In recognition of this unprecedented donation, the NGC named a major space in the gallery
after the Donald R. Sobey family. This represents the first time the Gallery has taken such a step as part of the
National Gallery of Canada Foundation’s Naming Opportunities program.
Revenue generated from the bookstore and publishing during the review period totaled $1,855,000. The
bookstore’s performance was on par with, or better than, the two previous years with respect to sales per
visitor and average transaction value. Online sales via the bookstore’s digital boutique (ShopNGC.ca) were
$33,153, which represents an increase, compared to the previous year’s total of $29,931.
A number of projects to support a visitor-centric culture at the Gallery were initiated last year. A seasonal
café was installed in the Great Hall during the month of December, and the Gallery explored the feasibility
of a permanent lounge model. Opportunities to revitalize food services were considered, and further work
will be carried out in 2015–16 to ensure that food services meet the expectations of Gallery visitors, and are
in keeping with the institution’s brand of excellence. In addition, the Gallery adjusted its space rental policy,
pricing, and service delivery to ensure that facility rentals remain profitable without disrupting the visiting
public; further study of this business line is underway. In April 2014, a new NGC Photography Policy was
implemented, allowing visitors to use hand-held devices to take photographs in the permanent collection
galleries and public spaces for personal use, except where indicated.
Various new initiatives enabled the Gallery to reach out to younger demographics, and represented opportunities to diversify revenue streams. Untitled, the Gallery’s young professional circle, was launched in October
2014 with a behind-the-scenes tour of the Canadian Biennale and an exclusive talk by artist Geoffrey Farmer.
Offering special events and access to private collections, its membership continues to grow.
Following a five-year hiatus, four weeks of summer day camp were offered in 2014. Inspired by Gustave Doré:
Master of the Imagination and the collection, the camps engaged 88 children ages 6 to 12 in an exploration of
drawing, painting, sculpture, printmaking and cartooning. The camps generated a profit of over $13,000.
The Gallery implemented a Membership and Annual Giving strategy that established a target of 8,500
households and $365,000 in revenue. As of March 31, 2015, the Gallery had attracted 7,892 households, and
reached $459,000 in membership revenue, which exceeded the annual target by 26%.
During the review period, the Gallery received support from major sponsors, which remains essential for
the delivery of exhibitions and programs. Major support was secured from the RBC Foundation for Shine a Light:
Canadian Biennial 2014 and the So You Want to Be an Artist? contest. The Jack Bush exhibition was generously sponsored
by Enbridge Inc. Heffel Fine Art Auction House sponsored the Masterpiece in Focus exhibition, Tom Thomson:
The Jack Pine and The West Wind. Bell sponsored the Gallery’s new mobile app, and continued its support for the
audioguide program. TD Bank Group continued to support the Gallery’s TD Internship program. AIMIA
provided support for Untitled and the Data Dive Philanthropy Project. Canadian Natural Resources Limited,
as well as TV5 and Les Films Seville provided corporate donations.
59
Corporate Performance
RBC Wealth Management as Presenting Sponsor, and AIMIA as Major Sponsor, committed their support to
the 2015 Venice Biennale — arguably the largest and most important contemporary visual art scene in the
world. In the fall of 2014, the former hosted two Venice Biennale fundraising campaign events in Montreal
and Toronto. Other events have since taken place across the country to help support the presence of Canada’s
representative, the artist collective BGL, at this prestigious international art exhibition. Art Toronto was
an in-kind supporter, associated with the fundraising efforts for this initiative.
At the local level, the Gallery revived its tree-lighting ceremony, attracting over 1,000 visitors to this special
event. Thirteen regional partners banded together to support the public NGC Christmas Tree Lighting event,
helping to make the December 2014 festivities a great success.
Total sponsorship revenue realized in 2014–15, including sponsorship in-kind amounted to $450,000.
Contributions from corporations, individuals and other foundations totalled $952,000 and exceeded the
previous year’s result of $851,000 by 12%.
CONCLUSION
In summary, the Gallery successfully delivered on its mandate and effectively advanced the strategic
priorities set by the Board of Trustees for 2014–15.
Annual Report 2014–1560
SPONSORS AND DONORS
SPONSORSHIPS
DONATIONS
Corporations and foundations play a key role
in enhancing the National Gallery’s ability
to present exhibitions of international calibre, make the national collection accessible
to all Canadians, and enrich public and
educational programs for visitors of all ages.
The Gallery is deeply grateful to the following new and longstanding sponsors for
their invaluable support during this past
fiscal year.
CONTEMPORARY ART CIRCLE OF THE
NATIONAL GALLERY OF CANADA
Aimia
Venice Biennale 2015,
Untitled — Young Professionals Circle,
Data Dive Philanthropy Project
Bell
Audioguide program
NGC Canadian Collection App
Canadian Natural Resources Limited
Corporate donation
Enbridge Inc.
Jack Bush exhibition
Heffel Fine Art Auction House
Masterpiece in Focus:
Tom Thomson — The Jack Pine and The West Wind
RBC Foundation
Shine a Light: Canadian Biennial exhibition
So You Want to Be an Artist contest 2014
RBC Wealth Management
Venice Biennale 2015
TD Bank Group
Charles Edenshaw exhibition
TD Internship program
Other Sponsors
360 Advanced Security Corporation
Almyr Construction Inc.
Cannonbye Construction Ltd.
Choquette CKS
Crymar Stone Restoration Systems Inc.
FALLPREV Construction Inc.
J. Crew
Lafleur de la Capitale
Lecompte Electric Inc.
Les Films Séville Inc.
Nordstrom
Proserv Window Cleaning Services
RoseSun Window Coverings
SCAFFEX Inc.
Sunset Contracting Inc.
Swing N Scaff Inc.
TV5 Québec Canada
($50,000+)
Michael J. and Renae N. Tims
($25,000–$49,999)
La Fondation Emmanuelle Gattuso
Hal Jackman Foundation
Koerner Foundation
Jay Smith and Laura Rapp
($10,000–$24,999)
Byron Aceman and Caron Bernstein
Robin and Malcolm Anthony
Bruce Bailey
David Birkenshaw
Yvonne and David Fleck
H.C. Capital
Robert Harding
Dick and Lois Haskayne Fund at
The Calgary Foundation
Jane Irwin and Ross Hill
Sue Kidd and Susie Kololian
The Nadir and Shabin Mohamed
Foundation
Carol and Morton Rapp Foundation
Nick and Dale Tedeschi and Diane and
Salvatore Guerrera
Eleanor and Francis Shen
Stonecroft Foundation for the Arts
Jack Weinbaum Family Foundation
Robin and David Young
($5,000–$9,999)
Annapolis Capital Limited
Erik Boyko
Stephen J. Chetner
Pamela Dinsmore
Drake Hotel Properties
Franco Niro Holdings Inc.
Lillian and Billy Mauer
Richard and Donna Ivey
Joe Fresh Apparel
Nancy McCain and Bill Morneau
Nathalie Pratte
Stingray Digital Media
Steven M. Wilson
Bruce Munro Wright
One anonymous donor
Annual Report 2014–1562
($1,000–$4,499)
Dr. Michael Angel and Sara Angel
Attraction
M. Thomas Bachand
Colette Barber
Ann Birks
Claudine and Stephen Bronfman
Family Foundation
Darren Carmosino
Catsima
Robert-Jean Chénier
Pascal De Guise
Edifice le Coin, S.E.N.C.
Brigitte and Henning Freybe
Ian and Judith Griffin
Nicolas Hamel
Sacha Haque
Impera Patrimoine Canada Inc.
Industrie Musicale Inc.
Louis-Philippe Maurice
Elisa Nuyten and David Dime
Richard Pan
Dell Pohlman and Lauren Raymore
Pohlman
Sanimax San Inc.
Belinda Stronach
Alexandre Taillefer
Télésystème Ltée
TrépanierBaer Gallery
One anonymous donor
Director’s Research Fund
Paul R. Baay
Director’s Acquisition Fund
Laing Brown
Nezhat Khosrowshahi
THE CIRCLE
Council’s Circle
($5,000–$9,999)
Costco Wholesale Canada Ltd.
Anna and Geoffrey Hole
G. Howard Kroon
Nicholas Metivier
C.A. Robertson
Anne Stanfield
Director’s Circle
($2,500–$4,999)
Don and Sheila Bayne
Donald Dalziel and Jan A. Lawson
Al and Malka Green
S. Hrycko
Marc Mayer
Eve Osler Hampson
B. Richardson
Beverly and Fred Schaeffer
Sotheby’s
DIRECTOR’S TRUST
Roseann Runte
John Osborne
Dr. Wendy Quinlan-Gagnon
Sanjay Rao
Mark Schaan
Hugh Shewell, Karin Adlhoch and
Eliana Adlhoch Shewell
Farid Shodjaee and Laurie Zrudlo
Nan Shuttleworth
Mike and Caron Stewart
Takao Tanabe and Anona Thorne
Dino Testa
Yves Théoret
Hugh, Marguerite, Emma and Peter Thorne
The Velan Foundation
Harriett E. and Gordon Walker
In Memory of Thomas Howard Westran
The Winberg Foundation
Four anonymous donors
Paul R. Baay
Laing Brown
Nezhat Khosrowshahi
Curator’s Circle
($1,000–$2,499)
Michael Barnstijn and Louise MacCallum
Avie and Beverly Bennett
David Birkenshaw
David and Cynthia Blumenthal
Michel Collette
Patricia Cordingley
Donna and Duart Crabtree
W. Thomas Delworth and
Pamela Osler Delworth
Albert and Christa Fell
Gordon and Anne Ferguson
Robert Marland and Jane Forsyth
Daryl and Ellen Fridhandler
Marion Geddes
grc architects
Heather Harrison
Robert Hindley
Julie Hodgson
Mark Hussey and Daryl Banke
Jackman Foundation
Dr. Christopher and Mrs. Emmanuelle Janz
David Jarraway and Ian McDonald
Ed and Nancy Karrels
Bernard Lamarre, O.C., O.Q.
Dr. Dennis and Mrs. Sharon Lanigan
Sandra Lawrence
In Memory of Dr. Ken Loewen
Liza Maheu and Richard Chartier
Pierre Meloche, O.C. and Danielle Meloche
Thomas Morris
Sean and Jamilah Murray
Constance B. O’Donnell
Maxine Oldham
63
Partners and Donors
ACQUISITIONS, LOANS AND EXHIBITIONS
ACQUISITIONS
EARLY CANADIAN ART
Paintings
Gifts
Valentine, William (1798–1849)
Thomas Chandler Haliburton c. 1835
Oil on canvas, 74.5 × 58.8 × 1.7 cm
46477
Gift of Lori Wallace, North Vancouver
Cullen, Maurice (1866–1934)
Lévis, Quebec c. 1897
Oil on canvas, 46.3 × 73.5 cm
46303
Purchased with the Andrea and Charles
Bronfman Canadian Art Fund, National
Gallery of Canada Foundation
Poldaas, Jaan (born Sweden, 1948)
Frieze #1 1983
Alkyd paint on Durply, 42.2 × 480 × 1.2 cm
installed
46436.12
Decorative Arts
Sculptures
Purchases
Marion, Salomon (1782–1830)
Snuffbox with Agate c. 1820
Silver, agate, gold, copper, and brass,
7.6 × 5.4 × 2 cm
46447
LATER CANADIAN ART
Paintings
Gifts
Buller, Audrey (1902–1984)
City Flowers c. 1936
Oil on canvas, 38.7 × 26 cm
46289
Gift of Sean B. Murphy, Montreal
Buller, Cecil (1886–1973)
Beach Scene, Brittany c. 1913–1914
Oil on fibreboard, 18.8 × 23.5 cm
46286
Breton Women on the Beach c. 1913–1914
Oil on fibreboard, 19 × 24 cm
46287
On the Beach, France c. 1913–1914
Oil on fibreboard, 27 × 34 cm
46288
Gift of Sean B. Murphy, Montreal
Bush, Jack (1909–1977)
Pink with Border 21–22 October 1967
Acrylic on canvas, 205.7 × 275.6 cm
46476
Bequest of Rosita Tovell, Victoria
Comfort, Charles F. (1900–1994)
The Romance of Nickel 1937
Oil on canvas, 213.5 × 610 cm
46264
Transfer from Natural Resources Canada
Purchases
Coonan, Emily (1885–1971)
Girl and Cat 1920
Oil on canvas, 56.2 × 71.9 cm
46231
Purchased with generous support from
the Evelyn de Rostaing McMann Fund
Gifts
Allward, Walter S. (1876–1955)
Female Head c. 1895
Plaster, metal, and paint, 18.5 × 13.3 × 5.9 cm
46319
Hugh Lachlin Cruikshank Allward c. 1905
Bronze, 38 × 14.2 × 1.1 cm
46320
Hugh Lachlin Cruikshank Allward c. 1902
Plaster, 30 × 20.5 × 13 cm
46321
Gift of Ursula and Stanley Mezydlo,
Aurora, Ontario
Decorative Arts
Gifts
Hendery & Leslie (active Montreal 1887–1899)
Ciborium c. 1889
Silver and gold, 29.7 × 13.1 cm diameter
46452
Gift from the Sisters of Saint-Joseph de
St-Hyacinthe, Saint-Hyacinthe, Quebec,
in honour of founder Elisabeth Bergeron
CONTEMPORARY CANADIAN ART
Drawings
Gifts
Keeley, Shelagh (born 1954)
Fragments of the body / traces of a room / memory
of smell 1985–1986
Book, bound with paper covers, containing
20 pages of wove paper, bearing 29 drawings
in acrylic paint, ink, felt pen, graphite, oil
pastel, silver leaf and collage, 27.8 × 35.8 cm
46455.1-20
Gift of Diana Nemiroff, Ottawa
Shearer, Steven (born 1968)
Sloppy Viveseconds 2010
Set of 9 drawings in coloured ink on wove
paper, 11.6 × 8.8 cm each
46466.1-9
Gift of the artist, Vancouver
65
Purchases
Doucette, Mario (born 1971)
Robert Monckton (after Benjamin West) 2011
Pastel, ink, coloured pencil and acrylic on
white wove paper, 76 × 56.8 cm
46214
The Acadian Deportation (after Sir Frank Dicksee)
2012
Pastel, ink, coloured pencil and acrylic on
white wove paper 55.7 × 76 cm
46215
Thomas Pichon, the Traitor 2012
Pastel, ink, coloured pencil and acrylic on
white wove paper, 62 × 56 cm
46216
Aboriginal Crusades in Europe I, study 2005
Electrostatic print with coloured pencil on
white wove paper, 27.8 × 43 cm
46217
Welcoming Christopher Columbus, study 2005
Electrostatic print with coloured pencil on
white wove paper, 27.8 × 42.5 cm
46218
1755 (The Angel Hunt), study 2007
Electrostatic print with coloured pencil on
white wove paper, 21.2 × 27.6 cm
46219
Monckton, study 2008
Electrostatic print with coloured pencil on
white wove paper, object: 27.7 × 42.9 cm
46220
Nova Scotia, study 2009
Electrostatic print with coloured pencil on
white wove paper, 27.8 × 43 cm
46221
Montcalm Greets the Acadian Refugees, study 2010
Electrostatic print with coloured pencil on
white wove paper, 27.8 × 43 cm
46222
Robert Monckton (after Benjamin West),
study 2011
Electrostatic print with coloured pencil on
white wove paper, 43 × 27.7 cm
46223
The Acadian Deportation (after Sir Francis Dicksee),
study 2012
Electrostatic print with coloured pencil on
white wove paper, 27.8 × 43 cm
46224
Thomas Pichon, the Traitor, study 2012
Electrostatic print with coloured pencil on
white wove paper, 27.8 × 43 cm
46225
Longfellow’s Kingdom, study 2013
Electrostatic print with coloured pencil on
white wove paper, 29.5 × 41.8 cm
46226
Beauty and Thomas Pichon, study 2013
Electrostatic print with coloured pencil on
white wove paper, 41.5 × 29.5 cm
46227
Gould, Trevor (born South Africa, 1951)
Live in a Box 2013
From the series Live in a Box
Four watercolours with ink and graphite on
wove paper; installation with wall painting,
60.7 × 45.8 cm
46280.1-4
Acquisitions, Loans and Exhibitions
Keeley, Shelagh (born 1954)
German notes / after Lucretius / de rerum natura
2013
Forty-eight sheets of drawings in oil stick,
coloured pencil, felt pen, watercolour,
acrylic paint, with collage, electrostatic
prints and mylar on heavy paper, installation dimensions variable
46345.1-48
Paintings
Gifts
Wallace, Ian (born England, 1943)
Abstract Paintings I-XII (The Financial District)
2010
Chromogenic prints and acrylic on canvas,
244 × 183 cm each
46456.1-12
Gift of the artist, Vancouver
Purchases
Belcher, Alan (born 1957)
BBRY (6Y) 2013
Oil on canvas, 107 × 107 × 5 cm
46355
Burnham, Anthony (born 1973)
There and Here 2013
Acrylic on canvas, 200 × 130.5 cm
46265
Gorlitz, Will (born Argentina, 1952)
Literatus with Fruit 1989
Oil on canvas, 200.7 × 266.7 × 3.5 cm
46354
Poldaas, Jaan (born Sweden, 1948)
E.G. Series 1978–2011
Paint on masonite, installation
dimensions variable
46437.1-35
Shearer, Steven (born 1968)
The Diminutive Muralist 2014
Oil on canvas, 244 × 91 cm
46451.1-2
Tsui, Howie (born Hong Kong, 1978)
The Unfortunates of d’Arcy Island 2013
Chinese paint pigments and gold
calligraphy ink on mulberry paper,
mounted on to board, 91.5 × 244 × 4.2 cm
46237.1-4
Zack, Etienne (born 1976)
Sincerely Yours 2014
Oil on canvas, 198.2 × 277 × 4 cm
46307
Purchased with the Joy Thomson Fund
for the Acquisition of Art by Young
Canadian Artists, National Gallery of
Canada Foundation
Films
Purchases
Douglas, Stan (born 1960)
Luanda-Kinshasa 2013
High-definition video, 61:00 minutes
46333
Grandmaison, Pascal (born 1975)
La main du rêve 2013
High-definition video, 45:22 minutes
46230
Lexier, Micah (born 1960)
This One, That One (National Gallery of Canada
Edit) 2013–2014
High-definition video, 12:39 minutes
46448
Photographs
Gifts
Baier, Nicolas (born 1967)
Neurons 2013
Inkjet print, 150.4 × 201.7 cm;
image: 150.4 × 201.7 cm
46300
Gift of the artist, Montreal
Baillargeon, Annie (born 1978)
Decapitation 2011
Inkjet print, 112 × 112 cm approx.;
image: 112 × 112 cm approx.
46443
Gift of Paul R. Baay, Calgary
Sanchez, Carlos (born 1976);
Sanchez, Jason (born 1981)
John Mark Karr 2007
Inkjet print, 101.4 × 150.2 cm approx.;
image: 101.4 × 147.2 cm approx.
46479
Gift of Robert-Jean Chénier, Montreal
Purchases
Cran, Chris (born 1949)
After the Flood #19 2013
Inkjet prints, installation dimensions
variable
46449.1-9
Prints
Purchases
Kerbel, Janice (born 1969)
Deadstar (Ghost Town) 2007
Photogravure on wove paper, 117.6 × 232.9 cm;
image: 93.6 × 218.5 cm
46302
Sculptures
Purchases
Bool, Shannon (born 1972)
Michelangelo’s Place 2013
Carrara marble, 45 × 260 × 55.3 cm
46429
Annual Report 2014–1566
Penny, Evan (born South Africa, 1953)
Arnaud, Variation #2 2013
Silicone, pigment, hair, and aluminum,
63.5 × 71.1 × 23 cm
46229
Wiens, Robert (born 1953)
Untitled (hands) 1992
Wood, 30 × 183 × 183 cm installed
46335.1-200
Young, Daniel (born 1981);
Giroux, Christian (born 1971)
Eunoia 2013
Steel, extruded aluminum, acrylic,
and components, 267 × 164 × 164 cm
46255
Purchased with the Joy Thomson Fund
for the Acquisition of Art by Young
Canadian Artists, National Gallery of
Canada Foundation
INDIGENOUS ART
Drawings
Purchases
Anguhadluq, Luke (1895–1982, lived Baker
Lake, Northwest Territories)
On the Land 1970
Graphite and ballpoint pen on wove paper,
60.8 × 48.3 cm
46356
Figures Stunned by the Drum 1970
Graphite on wove paper, 42.3 × 48.3 cm
46357
Woman 1971
Coloured pencil and graphite on wove paper,
75.2 × 52.6 cm
46358
Woman 1971
Coloured pencil and graphite on wove paper,
66 × 51.2 cm
46359
Woman 1972
Coloured pencil and graphite on wove paper,
75.6 × 52.5 cm
46360
Man 1972
Coloured pencil and graphite on wove paper,
75.5 × 52.7 cm
46361
River Entrance at Kigugutariyak Camp 1973
Coloured pencil and graphite on wove paper,
56.5 × 76 cm
46362
Fish 1973
Coloured pencil and graphite on wove paper,
56.5 × 75.8 cm
46363
Bed Springs 1982
Coloured pencil on wove paper, 56.5 × 75.8 cm
46364
Fishing c. 1970
Coloured pencil on wove paper, 56.3 × 76.2 cm
46365
People Stunned by the Drum 1972
Coloured pencil and graphite on wove
paper, 76.2 × 56.1 cm
46366
Annaqtuusi Tulurialik, Ruth (born 1934,
lives Baker Lake, Nunavut)
Legend of the Avagak 1970
Coloured pencil and graphite on wove
paper, 75.7 × 56.5 cm
46367
Composition with Hunting and Fishing Figures 1972
Coloured pencil on wove paper, 75 × 52.6 cm
46368
Legend of Amautilik 1972
Coloured pencil and graphite on wove paper,
52.8 × 75.5 cm
46369
Animals and their Spirits 1973
Coloured pencil and graphite on wove paper,
48.3 × 60.9 cm
46370
Shamanic Spirit, Bear Hunt c. 1973
Coloured pencil and graphite on wove paper,
56.2 × 76.2 cm
46371
Ashoona, Shuvinai (born 1961,
lives Cape Dorset, Nunavut)
Octopus 2012
Coloured pencil on black wove paper,
189.7 × 76.6 cm
46232
Iquginnaaq Scottie, Bessie (born 1912,
lives Baker Lake, Nunavut)
Decorative Sewing 1978
Graphite and coloured pencil on wove paper,
76.4 × 56.2 cm
46372
Kayuryuk, Samson (1927–1983,
lived Baker Lake, Northwest Territories)
People Peeing 1970
Coloured pencil and graphite on wove paper,
50.8 × 66.1 cm
46373
Kigusiuq Uqayuittuq, Janet (1926–2005,
lived Baker Lake, Nunavut)
Woman with Fish in mouth 1976
Coloured pencil and graphite on wove paper,
50 × 66 cm
46374
Death 1976
Coloured pencil and graphite on wove paper,
56.2 × 76.4 cm
46375
The Powers of the Heavens Struggling with Man 1976
Coloured pencil and graphite on wove paper,
56 × 76.3 cm
46376
Mamnguqsualuk, Victoria (born 1930,
lives Baker Lake, Nunavut)
Qiviq Away! say the Heads 1969
Graphite on wove paper, 48.4 × 60.9 cm
46377
Legend of Qiviuq and His Two Wives 1973
Coloured pencil and graphite on wove paper,
56.4 × 76.2 cm
46378
Visions Drawn on Ice Pursuing People 1973
Coloured pencil and graphite on wove paper,
56.3 × 76.2 cm
46379
Qiviuq’s Search for his Bird Woman 1973
Coloured pencil and graphite on wove paper,
56 × 76.5 cm
46380
Noah, William (born 1943, lives Baker
Lake, Nunavut)
Shaman 1970
Coloured pencil on wove paper, 75.8 × 55.9 cm
46381
Evil Shaman Giving Tuberculosis to Innocent Victim
c. 1970
Coloured pencil on wove paper, 56.3 × 76.3 cm
46382
Oonark, Jessie (1906–1985,
lived Baker Lake, Northwest Territories)
Woman 1959
Coloured pencil and graphite on wove paper,
33 × 20.4 cm
46383
Seven Female Heads 1959
Graphite and coloured pencil on wove
paper, 60.8 × 48.1 cm
46384
Heads and Dog with Smaller Heads 1967
Black and red felt pen with graphite on
wove paper, mounted on laid paper,
39.7 × 31 cm
46385
Bird Woman 1973
Coloured pencil and graphite on wove paper,
56.2 × 76.2 cm
46386
Woman and Bird Woman 1975
Coloured pencil on wove paper, 75.3 × 52.5 cm
46387
Fishing Camp 1976
Graphite on wove paper, 56.5 × 75.8 cm
46388
Figures, Head and Birds 1982
Coloured pencil on black wove paper,
55.5 × 76.4 cm
46389
Family and Spirits in Kayak 1983
Coloured pencil on wove paper, 53 × 75.1 cm
46390
Airplane 1983
Coloured pencil on wove paper, 56.3 × 76.2 cm
46391
Shadow Family 1983
Coloured pencil and graphite on wove paper,
45.7 × 56.4 cm
46392
Ulu Figures 1983
Coloured pencil and graphite on wove paper,
56.2 × 76.1 cm
46393
Fish Eating Fish 1976
Coloured pencil on wove paper, 56.3 × 76.4 cm
46394
Birds and Heads c. 1983
Coloured pencil on wove paper, 56.1 × 76.2 cm
46395
Untitled (Frieze) 1976
Graphite and coloured pencil on wove paper,
56.1 × 76.2 cm
46396
Untitled 1973
Coloured pencil on wove paper, 56.4 × 76.1 cm
46397
Pitsiulak, Tim (born 1967,
lives Cape Dorset, Nunavut)
Qalupalik Maqgoo 2012
Coloured pencil on black wove paper,
146 × 50 cm
46233
Gathering Seaweed 2013
Coloured pencil on black wove paper,
232 × 115 cm
46234
Pukingrnak Aupaluktuq, Nancy
(born 1940, lives Baker Lake, Nunavut)
Story of Murder 1974
Coloured pencil, graphite and ballpoint on
wove paper, 50.9 × 66.1 cm
46398
Qavavaq, Demonic Creatures 1975
Coloured pencil and graphite on wove
paper, 56.4 × 75.9 cm
46399
Qarliksaq, Harold (1928–1980,
lived Baker Lake, Northwest Territories)
Camp Scene 1979
Graphite on wove paper, 56.4 × 76.2 cm
46400
Moving the Family 1978
Graphite on wove paper, 56.5 × 76.3 cm
46401
Migrating Family 1971
Graphite on wove paper, 51 × 66.3 cm
46402
Swimming Caribou 1976
Graphite on wove paper, 50.2 × 67.2 cm
46403
Caribou 1976
Graphite on wove paper, 56.4 × 76.4 cm
46404
Series of Heads and Fish / Man 1978
Graphite on wove paper, 56.5 × 75.9 cm
46405
Preparing Skins c. 1976
Graphite on wove paper, 56.3 × 76.3 cm
46406
Men and Dogs after the Hunt c. 1976
Coloured pencil and graphite on wove
paper, 78.1 × 56.5 cm
46407
Drum Dancer and Faces c. 1978
Coloured pencil and graphite on wove
paper, 56.3 × 76.4 cm
46408
Tuu’luq, Marion (1910–2002,
lived Baker Lake, Nunavut)
Woman’s Face 1975
Coloured pencil on wove paper, 56.4 × 76.1 cm
46409
Paintings
Gifts
Letendre, Rita (Abenaki, born 1928)
Saturn’s Fires 2000
Oil on canvas, 182.8 × 244 × 4.5 cm
46301
Gift of the artist, Toronto
Purchases
Letendre, Rita (Abenaki, born 1928)
Cosmic Storm 2013
Oil on canvas, 152.1 × 182.5 × 6 cm
46275
67
Acquisitions, Loans and Exhibitions
Films
Purchases
Graham, Brett (Māori, Aotearoa
New Zealand, born 1967); Rakena, Rachael
(Māori, Aotearoa New Zealand, born 1969)
Aniwaniwa 2007
Five wakahuia (treasure boxes) suspended
fibreglass forms, video components,
projectors, mattresses, and audio,
4.7 × 5 × 20 m
46281
Photographs
Purchases
Myre, Nadia (Algonquin, born 1974)
Political 2012
Inkjet print, 111 × 111 cm;
image: 111 × 111 cm approx.
46431
Philosophical 2012
Inkjet print, 111 × 111 cm;
image: 111 × 111 cm approx.
46432
Cultural 2012
Inkjet print, 111 × 111 cm;
image: 111 × 111 cm approx.
46433
Spiritual 2012
Inkjet print, 111 × 111 cm;
image: 111 × 111 cm approx.
46434
Sculptures
Purchases
Komangapik, Ruben (born 1976,
lives Caplan, Quebec)
Tigumiaqtuq 2014
Stone, sterling silver, mussel shell, caribou
antler, and ivory, 53.3 × 24.1 × 19.7 cm
46435
Linklater, Duane (born 1976)
Tautology 2011–2013
Neon, aluminum, enamel and transformer,
156 × 152 × 13.5 cm
46442
Myre, Nadia (Algonquin, born 1974)
For those who cannot speak: The land, the water,
the animals and the future generations 2013
Glass beads and gel-spun polytheylene
line, 7 × 1036 × 0.4 cm
46334
Parnell, Luke (Haida/Nisga’a, born 1971)
Phantom Limbs 2010
Basswood and plexiglas, installation
dimensions variable
46278.1-48
A Brief History of Northwest Coast Design 2007
Cedar, plywood, and acrylic paint,
installation dimensions variable
46279.1-11
Watt, Marie (American, Seneca, born 1967)
Blanket Stories: Seven Generations, Adawe,
and Hearth 2013
Folded and stacked blankets, and paper tags,
1097 × 152.4 × 152.4 cm
46410
Decorative Arts
Purchases
Edenshaw, Charles (Haida, c. 1839–1920)
Spoon c. 1890
Silver, 11.5 × 2.5 × 3.2 cm
46342
CANADIAN DRAWINGS
Gifts
Allward, Walter S. (1876–1955)
The Dead Hear 1941
Graphite and coloured pencil on cream paper,
21.2 × 33.3 cm
46322
The Release 1940
Graphite and coloured pencil on cream
paper, 21 × 35.3 cm
46323
Gift of Ursula and Stanley Mezydlo,
Aurora, Ontario
Purchases
Markle, Robert (1936–1990)
Lovers I 1963
Tempera on cream wove paper, 58.5 × 89 cm
46331
O’Brien, Lucius R. (1832–1899)
Sketchbook c. 1851–1875
Sketchbook with drawings in graphite,
ink and watercolour on 100 leaves,
bound in leather, 11.4 × 18.6 × 1 cm
46438.1-100
Pflug, Christiane (1936–1972)
Doll in a Wicker Chair 1960
Graphite on cream wove paper, 32.5 × 25.5 cm
46284
Pigeons and Cage 1961
Graphite on beige wove paper, 32.4 × 25.5 cm
46285
CANADIAN PRINTS
Purchases
Goldberg, Eric (1890–1969)
Five Episodes from the Book of Daniel 1926
Cloth-covered, loose-leaf portfolio with
12 colour linocuts on laid japan paper,
42.5 × 33.5 cm
46340.1-9
Annual Report 2014–1568
Rosenberg, Henry M. (1858–1947)
Foot of the Rialto, Venice 1880
Etching in dark-brown ink on chine collé,
36.7 × 27.2 cm; image: 27.5 × 18.8 cm
46292
Public Gardens, Venice 1880
Etching in black ink on laid japan paper,
25.2 × 30.3 cm; image: 15.3 × 20.4 cm
46293
Zattere 1881
Etching in black ink on laid japan paper,
23.8 × 29 cm; image: 14.7 × 19.9 cm
46294
Venice from the Public Gardens 1881
Etching on laid japan paper, 28 × 34 cm;
image: 15.3 × 21 cm
46295
Quimperlé 1887
Etching in dark-brown on cream laid
paper, 56.3 × 33.9 cm; image: 45.3 × 20.3 cm
46296
INTERNATIONAL PAINTING,
SCULPTURE AND DECORATIVE ARTS
Paintings
Purchases
Delacroix, Eugène (French, 1798–1863)
Christ at the Column c. 1849
Oil on canvas, 35.7 × 27.3 cm
46341
Doré, Gustave (French, 1832–1883)
Souvenir of Loch Lomond 1875
Oil on canvas, 131 × 196 cm
46290
Sculptures
Gifts
Doré, Gustave (French, 1832–1883)
Fate and Love 1877
Patinated bronze, 101 × 61 × 61 cm
46332
Gift of Alfred and Ingrid Lenz Harrison,
Wayzata, Minnesota
Purchases
Dalou, Jules (French, 1838–1902)
A Young Mother from Boulogne Feeding
her Child 1876
Painted terracotta, 137 cm
46259
CONTEMPORARY INTERNATIONAL ART
Drawings
Purchases
Shrigley, David (British, born 1968)
Centre-parting 1998
Sixteen drawings in black felt pen
and correction fluid on wove paper,
20.4 × 12.8 cm each
46267.1-16
Paintings
Purchases
Rauch, Neo (German, born 1960)
Der Blaue Fisch (The Blue Fish) 2014
Oil on canvas, 305.5 × 506.8 × 6.3 cm framed
46440.1-2
Films
Purchases
Bartana, Yael (Israeli, born 1970)
And Europe Will Be Stunned (Mary Koszmary
(Nightmares) 2007; Mur I wieza (Wall and Tower)
2009; Zamach (Assassination) 2011) 2007–2011
Three-channel video installation,
61:00 minutes
46444.1-3
Ben-Ner, Guy (Israeli, born 1969)
Soundtrack 2012
High-definition video, 11:00 minutes,
installation dimensions variable
46277
Gal, Dani (Israeli, born 1975)
Nacht und Nebel (Night and Fog) 2011
High-definition video, 22:00 minutes
46441
Gates, Theaster (American, born 1973)
Billy Sings Amazing Grace 2013
High-definition video, 12:24 minutes
46308
Jankowski, Christian (German, born 1968)
Heavy Weight History 2013
Digital video installation, 25:46 minutes,
installation dimensions variable
46318
Pereg, Nira (Israeli, born 1969)
Sarah Sarah 2012
High-definition video, 4:25 minutes
46256
Abraham Abraham 2012
High-definition video, 4:25 minutes
46257
Trecartin, Ryan (American, born 1981)
Junior War 2013
High-definition video, 24:08 minutes
46446
Photographs
Gifts
Schorr, Collier (American, born 1963)
Herbert: Weekend Leave (A Conscript Rated T1),
Kirschbaum 2001
Chromogenic print, 139.3 × 112.7 cm approx.;
image: 111.2 × 86.1 cm approx.
46478
Gift of Robert-Jean Chénier, Montreal
Tillmans, Wolfgang (German, born 1968)
The Cock (Kiss) 2002
Chromogenic print, 202.3 × 134.8 cm approx.;
image: 202.3 × 134.8 cm approx.
46480
Gift of Robert-Jean Chénier, Montreal
Purchases
Courbot, Didier (French, born 1967)
needs (Osaka) 1999, printed 2014
From the series needs
Chromogenic print, 94 × 120 cm approx.;
image: 94 × 120 cm approx.
46336
needs (Paris) 2001, printed 2014
From the series needs
Chromogenic print, 94 × 120 cm approx.;
image: 94 × 120 cm approx.
46337
needs (Florence) 2006, printed 2014
From the series needs
Chromogenic print, 94 × 120 cm approx.;
image: 94 × 120 cm approx.
46338
needs (Florence) 2006, printed 2014
From the series needs
Chromogenic print, 94 × 120 cm approx.;
image: 94 × 120 cm approx.
46339
Gursky, Andreas (German, born 1955)
Kirchentag 2013
Inkjet print laminted to plexiglas,
300.5 × 211 cm approx.;
image: 287.2 × 169.4 cm approx.
46453
Ocean II 2010
Chromogenic print laminated to plexiglas,
315 × 222.5 cm approx.;
image: 321 × 228.5 cm approx.
46454
Jankowski, Christian (German, born 1968)
Heavy Weight History (Strong Man) 2013
From the series Heavy Weight History
Inkjet print, 140 × 186.8 cm approx.;
image: 140 × 186.8 cm approx.
46315
Heavy Weight History (Little Insurgent) 2013
From the series Heavy Weight History
Inkjet print, 140 × 186.8 cm approx.;
image: 140 × 186.8 cm approx.
46316
Heavy Weight History (Willy Brandt) 2013
From the series Heavy Weight History
Inkjet print, 140 × 186.8 cm approx.;
image: 140 × 186.8 cm approx.
46317
Magdy, Basim (Egyptian, born 1977)
Every Subtle Gesture 2012 ongoing
Set of 12 chromogenic prints with
letterpress text, 52 × 45.2 cm framed (each);
image: 14.5 × 18.5 cm approx. (each)
46430.1-12
Sculptures
Purchases
Bartana, Yael (Israeli, born 1970)
And Europe Will be Stunned 2010
Neon light, 297 × 219 cm
46445
69
INTERNATIONAL DRAWINGS
Gifts
Barendsz., Dirck (Dutch, 1534–1592)
Rending of the Veil in the Temple c. 1580
Oil with varnish on brown laid paper,
mounted on beige laid paper, 25.7 × 20.8 cm
46459
Agony in the Garden c. 1580
Oil with varnish on brown laid paper,
mounted on beige laid paper, 25 × 20.7 cm
46460
Gift of Frank and Marianne Seger, Toronto
Boyce, George Price (British, 1826–1897)
Recto: Presumed Portrait of Aggie Manetti c. 1863
Brown ink and graphite on cream wove
paper, 12.3 × 7 cm
46487r
Verso: Female Head and Studies for AB Monogram
c. 1863
Graphite on cream wove paper, 7 × 12.3 cm
46487v
Gift of the Dennis T. Lanigan Collection
Brown, Ford Madox (British, 1821–1893)
The Lovers: Illustration for Dante Gabriel Rossetti’s
Poem “Down Stream” 1871
Graphite on wove paper, 13.3 × 22.6 cm
46488
“Down Stream II”: Illustration for Dante Gabriel
Rossetti’s Poem “Down Stream” 1871
Graphite on wove paper, 13.8 × 22.8 cm
46489
Gift of the Dennis T. Lanigan Collection
Hughes, Arthur (British, 1832–1915)
Knight and Woman on Horse Led by an Angel c. 1861
Brown ink and graphite on beige laid
paper, 11 × 14.2 cm
46490
Gift of the Dennis T. Lanigan Collection
Leighton, Frederic (British, 1830–1896)
Study of a Male Head for “Cimabue’s Celebrated
Madonna” 1853
Graphite on wove paper, 27.9 × 17.1 cm
46491
Gift of the Dennis T. Lanigan Collection
Moeyaert, Claes Cornelisz (Dutch, 1591–1655)
The Annunciation to the Shepherds c. 1639
Black chalk on cream laid paper,
18.8 × 29.1 cm
46461
Gift of Frank and Marianne Seger, Toronto
Molyn, Pieter (Dutch, 1595–1661)
Dune Landscape with Travellers c. 1645–1655
Black chalk with grey wash on laid paper,
15 × 19.8 cm
46462
Gift of Frank and Marianne Seger, Toronto
Neyts, Gillis (Flemish, 1623–1687)
Mountainous Landscape with a Ruined Tower
c. 1648–1650
Pen and brown ink with brown wash on
cream laid paper, 19.7 × 31 cm
46463
Gift of Frank and Marianne Seger, Toronto
Acquisitions, Loans and Exhibitions
Prinsep, Valentine Cameron (British,
1838–1904)
Study of a Draped Standing Female Figure for
“At the Golden Gate” c. 1882
Black and white chalk on brown wove paper,
34.9 × 20.3 cm
46492
Gift of the Dennis T. Lanigan Collection
Richmond, William Blake (British,
1842–1921)
Portrait of Charlotte Foster, the Artist’s first wife
13 May 1863
Black chalk and graphite on cream wove
paper, 63.3 × 49.5 cm
46493
Gift of the Dennis T. Lanigan Collection
Saftleven, Herman (the Younger)
(Dutch, 1609–1685)
Figures outside the Walls of Utrecht c. 1650–1655
Black chalk with brown and grey wash on
cream laid paper, 37.7 × 29.4 cm
46464
Gift of Frank and Marianne Seger, Toronto
Verhaecht, Tobias (Flemish, 1561–1631)
View inside the Colosseum in Rome c. 1580–1589
Pen and brown ink with brown wash over
graphite on cream laid paper, 22.1 × 17.3 cm
46465
Gift of Frank and Marianne Seger, Toronto
Purchases
Camuccini, Vincenzo (Italian, 1771–1844)
Recto: The Invention of Painting c. 1816–1820
Black and brown chalk with stump on
laid paper, 61.2 × 53.3 cm
46283r
Verso: The Fainting of Porcia c. 1816–1820
Black chalk on laid paper, 53.3 × 61.2 cm
46283v
Purchased with the support of the Friends
of the Print Room Fund, in honour of Mimi
Cazort, Curator of Prints and Drawings
from 1970 to 1997
Doré, Gustave (French, 1832–1883)
“It flung the blood into my head”: Illustration to
Coleridge’s “The Rime of the Ancient Mariner” 1875
Black and brown ink with opaque white
over graphite on beige wove paper,
51 × 39.8 cm
46305
“And never a saint took pity”: Illustration to Coleridge’s
“The Rime of the Ancient Mariner” 1875
Black and brown ink with opaque white
over graphite on beige wove paper,
50.9 × 39.5 cm
46306
Géricault, Théodore (French, 1791–1824)
Recto: Dying Paris Supplicating Oenone 1816
Pen and brown ink over graphite
with brown wash on beige wove paper,
13.7 × 21.7 cm
46282r
Verso: Crucifixion c. 1816
Graphite and black chalk (or charcoal)
on beige wove paper, 21.7 × 13.7 cm
46282v
La Hyre, Laurent de (French, 1606–1656)
Apollo Slaying the Serpent Python c. 1654–1656
Black chalk, pen and grey ink with grey
and brown wash on beige laid paper,
25.4 × 29.6 cm
46236
INTERNATIONAL PRINTS
Gifts
Rembrandt van Rijn (Dutch, 1606–1669)
The Flute Player 1642
Etching and drypoint on beige laid paper,
11.8 × 14.9 cm; plate: 11.5 × 14.3 cm
46439
Gift of the Estate of Eileen Ewachow,
Toronto, in honour of Eileen and
Steve Ewachow
PHOTOGRAPHS
Gifts
Frost, Rex (1890–1968)
Grace c. 1950
Gelatin silver print, 43.3 × 33.5 cm;
image: 43.3 × 33.5 cm
46347
Poet’s Sanctuary c. 1950
Gelatin silver print, 40.2 × 35.1 cm;
image: 40.2 × 35.1 cm
46348
Unveiling c. 1950
Gelatin silver print, 42.7 × 35.2 cm;
image: 42.7 × 35.2 cm
46349
City Intersection c. 1950
Gelatin silver print, 45.9 × 36.2 cm;
image: 45.9 × 36.2 cm
46350
Leer of the Nuclear c. 1950
Gelatin silver print, 45.1 × 34.9 cm;
image: 45.1 × 34.9 cm
46351
PICT1500 c. 1950
Gelatin silver print, 48.4 × 35.5 cm;
image: 48.4 × 35.5 cm
46352
Segregation c. 1950
Gelatin silver print, 48.2 × 34.4 cm;
image: 48.2 × 34.4 cm
46353
Gift of the Estate of Winnifred Frost,
Markham, Ontario
Purchases
Anderson, James, Attributed to
(British/Italian, 1813–1877)
New Fountain in Piazza Termini, Photographed
in Electric Light c. 1870
Albumen silver print, 10.4 × 10.4 cm;
image: 10.4 × 10.4 cm
46212
Annual Report 2014–1570
Borremans, Guy (1934–2012)
Construction, Mercier Bridge 1957
Gelatin silver print, 28 × 35.4 cm;
image: 23.3 × 35.4 cm
46418
Untitled (Alley) 1966
Gelatin silver print, 27.7 × 35 cm;
image: 27.7 × 35 cm
46419
Mercier Bridge-Pont Mercier 1957, printed 2011
Gelatin silver print, 50.6 × 40.6 cm;
image: 35.4 × 35.4 cm
46420
Mercier Bridge-Pont Mercier 1957, printed 2011
Gelatin silver print, 50.7 × 40.7 cm;
image: 35.7 × 35.4 cm
46421
Mine 1957, printed 2011
Gelatin silver print, 50.5 × 40.6 cm;
image: 35.4 × 35.3 cm
46422
Marthe Mercure 1957, printed 2011
Gelatin silver print, 50.7 × 40.6 cm;
image: 35.4 × 35.4 cm
46423
Mine 1957, printed 2011
Gelatin silver print, 50.7 × 40.7 cm;
image: 35.4 × 35.4 cm
46424
New York c. 1965–1966
Gelatin silver print, 50.5 × 40.8 cm;
image: 42.3 × 28.8 cm
46425
Coal Transport Wagon 1987
Gelatin silver print, 40.7 × 50.5 cm;
image: 27.3 × 41.2 cm
46426
Dumouchel, Albert (1916–1971)
Untitled c. 1956
Gelatin silver print, 26.5 × 34.1 cm;
image: 26.5 × 34.1 cm
46427
Untitled c. 1956
Gelatin silver print, 26.3 × 34.1 cm;
image: 26.3 × 34.1 cm
46428
Durham, Arthur Edward (British, c. 1834–
1895); Hickson, J. (British, active c. 1870)
Salicine by Polarized Light c. 1870
Albumen silver print, 10.4 × 10.4 cm;
image: 10.4 × 10.4 cm
46213
Evans, Frederick H. (British, 1853–1943)
Ely Cathedral: Galilee Porch into Nave 1891
Platinum print, 14.9 × 11.3 cm;
image: 14.9 × 11.3 cm
46248
Frost, Rex (1890–1968)
Composition for Pianoforte c. 1950
Gelatin silver print, 48.2 × 38.5 cm;
image: 48.2 × 38.5 cm
46297
On a Spring Note c. 1950
Gelatin silver print, 47.6 × 38.6 cm;
image: 47.6 × 38.6 cm
46298
Dilemma c. 1950
Gelatin silver print, 46.5 × 36.8 cm;
image: 46.5 × 36.8 cm
46299
Funke, Jaromír (Czechoslovakian,
1896–1945)
From the Series “Poor Housing” c. 1931
Gelatin silver print, 11.2 × 8.6 cm;
image: 11.2 × 8.6 cm
46258
Giroux, André (French, 1801–1879)
Geese Hut, Boussardière, Allier c. 1855
Salted paper print, 21.6 × 27.2 cm;
image: 21.6 × 27.2 cm
46450
Goss, Arthur Scott (1881–1940)
Richmond Street, February 19, 1913
Gelatin silver print, 27.8 × 35.3 cm;
image: 26.5 × 34.4 cm
46238.18
9:05 am, Albert Street, West of James Street,
February 19, 1913
Gelatin silver print, 27.8 × 35.3 cm;
image: 26.5 × 34.4 cm
46239
12:15 pm, James Street, North of Alberta Street,
February 19, 1913
Gelatin silver print, 27.8 × 35.3 cm;
image: 26.5 × 34.4 cm
46240
James Street, South of Louisa Street, February 13, 1913
Gelatin silver print, 27.8 × 35.3 cm;
image: 26.5 × 34.4 cm
46241.12
8:05 am, Albert Street, West of James Street,
February 19, 1913
Gelatin silver print, 27.8 × 35.3 cm;
image: 26.5 × 34.4 cm
46242
8:07 am, James Street, North of Queen Street,
February 19, 1913
Gelatin silver print, 27.8 × 35.3 cm;
image: 26.5 × 34.4 cm
46243
9:55 am, James Street at Albert Street, February 21, 1913
Gelatin silver print, 27.8 × 35.3 cm;
image: 26.5 × 34.4 cm
46244
11:45 am, James Street at Albert Street, February 20, 1913
Gelatin silver print, 27.8 × 35.3 cm;
image: 26.5 × 34.4 cm
46245
11:25 am, James Street at Louisa Street, February 20, 1913
Gelatin silver print, 27.8 × 35.3 cm;
image: 26.5 × 34.4 cm
46246
12:05 pm, James Street, North of City Hall Entrance,
February 1913
Gelatin silver print, 27.8 × 35.3 cm;
image: 26.5 × 34.4 cm
46247
Jauran (1926–1959)
Untitled c. 1956
Gelatin silver print, 25.2 × 20.1 cm;
image: 25.2 × 20.1 cm
46412
Untitled c. 1956
Gelatin silver print, 25 × 16.9 cm;
image: 25 × 16.9 cm
46413
Untitled c. 1956
Gelatin silver print, 25.2 × 20.1 cm;
image: 25.2 × 20.1 cm
46414
Untitled c. 1956
Gelatin silver print, 25.2 × 20.2 cm;
image: 25.2 × 20.2 cm
46415
Untitled c. 1956, printed 2012
Chromogenic print, 20.4 × 30.4 cm;
image: 20.4 × 30.4 cm
46416
Untitled c. 1956
Gelatin silver print, 20.1 × 19.2 cm;
image: 20.1 × 19.2 cm
46417
Klutsis, Gustav (Russian, 1895–1938)
Dynamic City 1919
Gelatin silver print, 29.6 × 23.9 cm;
image: 29.6 × 23.9 cm
46260
Le Gray, Gustave (French, 1820–1884)
Queen Hortense, the Emperor’s Yacht, Le Havre 1856
Albumen silver print, 32.1 × 40.7 cm;
image: 32.1 × 40.7 cm
46253
Salvos of the French Fleet, Cherbourg August 1858
Albumen silver print, 22 × 30.2 cm;
image: 22 × 30.2 cm
46309
Learoyd, Richard (British, born 1966)
Agnes, July 2013 (4)
Gelatin silver print, 157.1 × 121.2 cm;
image: 157.1 × 121.2 cm
46262
Majewski, Adrien (French, active Paris 1890s)
Mr. Majewski’s Right Hand, Posed for 20 minutes.
Room Temperature c. 1895–1900
Gelatin silver print, 17.9 × 12.5 cm;
image: 16.8 × 12 cm
46263
Moore, Andrew (American, born 1957)
Restoration Studio 2002
Chromogenic print, 159 × 202.2 cm;
image: 159 × 202.2 cm
46250
Price, William Lake (British, 1810–1896)
Charles West Cope c. 1858
Albumen silver print, 29.1 × 24.4 cm;
image: 29.1 × 24.4 cm
46325
David Roberts c. 1858
Albumen silver print, 28.6 × 24 cm;
image: 28.6 × 24 cm
46326
Edward Matthew Ward c. 1858
Albumen silver print, 27.9 × 23.4 cm;
image: 27.9 × 23.4 cm
46327
John Frederick Tayler c. 1858
Albumen silver print, 28.9 × 24.2 cm;
image: 28.9 × 24.2 cm
46328
John Phillip c. 1858
Albumen silver print, 28.7 × 23.7 cm;
image: 28.7 × 23.7 cm
46329
Rejlander, Oscar G. (British, 1813–1875)
Study of Hands c. 1850–1859
Albumen silver print, 14.8 × 17.6 cm;
image: 14.8 × 17.6 cm
46254
Portrait of William Bayley c. 1863–1867
Albumen silver print, 20.3 × 15.7 cm;
image: 20.3 × 15.7 cm
46276
Young Lady in a Costume c. 1860
Salted paper print, 21.4 × 16.6 cm;
image: 21.4 × 16.6 cm
46330
Study of Hands c. 1850–1859
Salted paper print, 20.4 × 25 cm;
image: 20.4 × 25 cm
46344
Rejlander, Oscar G., attributed to
(British, 1813–1875)
Landscape c. 1853
Salted paper print, 22.3 × 19.7 cm;
image: 22.3 × 19.7 cm
46324
Nude Young Girl c. 1860
Salted paper print, 12.7 × 9.8 cm;
image: 12.7 × 9.8 cm
46343
Rössler, Jaroslav (Czechoslovakian, 1902–1990)
Untitled 1923
Gelatin silver print, 25.2 × 22.2 cm;
image: 25.2 × 22.2 cm
46251
Paris 1933
Gelatin silver print, 29.8 × 24 cm;
image: 29.8 × 24 cm
46252
Trouvelot, Étienne Léopold (French, 1827–1895)
Direct Photograph of an Electric Positive Spark
(Wimshurst Static Machine) c. 1888
Albumen silver print, 22.2 × 16.1 cm;
image: 22.2 × 16.1 cm
46249
71
Acquisitions, Loans and Exhibitions
PHOTOGRAPHS, CANADIAN
CONTEMPORARY
Gifts
Belliveau, Jaret (born 1981)
Untitled (Dirt Squad tshirt) 2004, printed 2014
From the series The Dirt Squad
Chromogenic print, 86 × 86 cm;
image: 76.2 × 76.2 cm
46481
Untitled (Bobby in the Attic) 2004, printed 2014
From the series The Dirt Squad
Chromogenic print, 86 × 86 cm;
image: 76.2 × 76.2 cm
46482
Untitled (Jason Poolside) 2004, printed 2014
From the series The Dirt Squad
Chromogenic print, 86 × 86 cm;
image: 76.2 × 76.2 cm
46483
Untitled (Sarah) 2005, printed 2014
From the series The Dirt Squad
Chromogenic print, 86 × 86 cm;
image: 76.2 × 76.2 cm
46484
Untitled (Hood) 2006, printed 2014
From the series The Dirt Squad
Chromogenic print, 86 × 86 cm;
image: 76.2 × 76.2 cm
46485
Untitled (Sarah and Dozer) 2011, printed 2014
From the series The Dirt Squad
Chromogenic print, 86 × 86 cm;
image: 76.2 × 76.2 cm
46486
Gift of Glenn and Barbara McInnes,
C.M., Ottawa
Campeau, Michel (born 1948)
Untitled 0145 (Montreal, Quebec, Canada)
2005–2010, printed 2013
From the series In the Darkroom
Inkjet print, 107.5 × 84.5 cm;
image: 91.4 × 68.2 cm
46467
Untitled 0476 (Montreal, Quebec, Canada)
2005–2010, printed 2013
From the series In the Darkroom
Inkjet print, 84.5 × 109.5 cm;
image: 68.2 × 91.4 cm
46468
Untitled 1756 (Brussels, Belgium) 2005–2010,
printed 2013
From the series In the Darkroom
Inkjet print, 107.5 × 84.4 cm;
image: 91.2 × 68.2 cm
46469
Untitled 3281 (Paris, France) 2005–2010,
printed 2013
From the series In the Darkroom
Inkjet print, 84.5 × 107.5 cm;
image: 68.2 × 91.1 cm
46470
Untitled 0209 (Montreal, Quebec, Canada)
2005–2010, printed 2013
From the series In the Darkroom
Inkjet print, 107.4 × 84.4 cm;
image: 91.3 × 68.3 cm
46471
Gift of Jacques Toupin, L’Assomption, Quebec
Evergon (born 1946)
Ramboy Musician Playing Knee Horn Cello c. 1991–1992
Gelatin silver print with silver leaf,
139.7 × 119 cm; image: 127.1 × 105.4 cm
46457
Gift of Peter Boneham, Mansfield, Quebec
Self-portrait of the Artist as Grey Chart (Jacket)
2012–2013
Inkjet print, 135 × 112 cm approx.;
image: 135 × 112 cm approx.
46269
Weston Master II, Universal Exposure Meter,
Newark New Jersey, U.S.A., 1946 2012–2013
From the series Industrial Splendour and
Fetishism. The Bruce Anderson Collection
Inkjet print, 74 × 99 cm approx.;
image: 74 × 99 cm approx.
46270
Sylvania Superflash Blue Dot 25 Flashbulb, Montreal,
Quebec, c. 1950 2012–2013
From the series Industrial Splendour and
Fetishism. The Bruce Anderson Collection
Inkjet print, 100 × 75 cm approx.;
image: 100 × 75 cm approx.
46271
Kodak Verichrome Roll Film 127mm, Rochester,
New York, 1931–1956 2012–2013
From the series Industrial Splendour and
Fetishism. The Bruce Anderson Collection
Inkjet print, 100 × 75 cm approx.;
image: 100 × 75 cm approx.
46272
Bell & Howell Foton, Chicago, U.S.A., 194850 with
Flexameter Viewfinder, Kühn, Germany, c. 1950
2012–2013
From the series Industrial Splendour and
Fetishism. The Bruce Anderson Collection
Inkjet print, 74 × 99 cm approx.;
image: 74 × 99 cm approx.
46273
Self-portrait of the Artist as Grey Chart (Shirt)
2012–2013
Inkjet print, 105 × 140 cm approx.;
image: 105 × 140 cm approx.
46274
Massey, John (born 1950)
Studio Projections, 1979 1979, printed 2008
Inkjet prints, 11.2 × 16.3 cm sight;
image: 11.2 × 16.3 cm sight
46346.1-10
Gift of the artist, Toronto
Creates, Marlene (born 1952)
Six Excerpts from Sleeping Places on Nine Islands,
Scotland 1983
Six gelatin silver prints,
image: 22 × 32.9 cm each
46266.1-6
Purchases
Andrews, Stephen (born 1956)
andadotwentforawalk 2013
Twenty-four chromogenic prints,
25.3 × 18.9 cm each
46261.1-24
Hayeur, Isabelle (born 1969)
Mississippi 2 2013
Inkjet print, mounted on aluminum,
158.1 × 121 cm; image: 158.1 × 121 cm
46228
Untitled 0294 (Montreal, Quebec, Canada)
2005–2010, printed 2013
From the series In the Darkroom
Inkjet print, 107.5 × 84.3 cm;
image: 91.3 × 68.2 cm
46472
Untitled 1554 (Brussels, Belgium) 2005–2010,
printed 2013
From the series In the Darkroom
Inkjet print, 84.5 × 107.5 cm;
image: 68.2 × 91.4 cm
46473
Untitled 2142 (Berlin, Germany) 2005–2010,
printed 2013
From the series In the Darkroom
Inkjet print, 107.6 × 84.6 cm;
image: 91.2 × 68.3 cm
46474
Chromatic Variations Safelights II 2007–2012
From the series Kodak Safelight Filter Wratten
Series OC
Twelve inkjet prints, 51 × 51 cm each;
image: 51 × 51 cm each
46475.1-12
Gift of Guy Rodrigue, Montreal
Cohen, Sorel (born 1936)
Divans Dolorosa 2008
From the series Divans Dolorosa
Fourteen inkjet prints, 18 × 18 cm each
46458.1-14
Gift of the artist, Westmount, Quebec
Burley, Robert (born 1957)
The Disappearance of Darkness 2013
From the series The Disappearance of Darkness
Portfolio, in red black cloth-covered
clamshell box with embossed text,
containing 15 inkjet prints, index and
preface, cover: 37.8 × 48 × 7.7 cm
46235.1-15
Campeau, Michel (born 1948)
Inactinic Chromatic Variations (Kodak Safelight
Filter Wratten Series) 2008–2011
From the series Kodak Safelight Filter Wratten
Series OC
Four inkjet prints, 101.8 × 83.8 cm each;
image: 101.8 × 83.8 cm each
46268.1-4
Annual Report 2014–1572
James, Geoffrey (born Wales, 1942)
Boat Yard, Kingston 2013
Inkjet print, 80.5 × 110.2 cm;
image: 60.3 × 91.1 cm
46411
Massey, John (born 1950)
Studio Projections, 1979 1979, printed 2008
Inkjet prints, 11.2 × 16.3 cm each, sight;
image: 11.2 × 16.3 cm each, sight
46346.11-34
Salloum, Jayce (born 1958)
(the heart that has no love/pain/generosity is not
a heart) Fragments 2008–2010
Thirty-four inkjet prints, 4 balls of yarn
(strung together), 1 video, installation
dimensions variable
46313.1-36
LOANS
Kingston
Ottawa
ALBERTA
Agnes Etherington Art Centre
L-1827
A Vital Force: The Canadian Group Painters
16 March 2013 to 21 September 2014
Brandtner, Fritz (1)
Clark, Paraskeva (1)
McLaughlin, Isabel (1)
Morris, Kathleen Moir (1)
Muhlstock, Louis (1)
Touring: Agnes Etherington Art Centre,
16 March 2013 to 14 July 2013 (7 works);
Robert McLaughlin Gallery,
30 November 2013 to 3 February 2014 (5 works);
Owens Art Gallery, 28 March 2014 to
1 June 2014 (5 works);
Mendel Art Gallery, 27 June 2014 to
21 September 2014 (5 works)
Canadian War Museum
L-1833
Witnesses: Canadian First World War Art
10 April 2014 to May 2016
Milne, David B. (2)
Touring: Canadian War Museum,
10 April 2014 to 28 September 2014
Calgary
The Military Museums
L-1879
Forging a Nation: Canada goes to War
6 January to 15 April 2014
Heartfield, John (1)
Iskowitz, Gershon (1)
Milne, David B. (1)
Nash, Paul (1)
BRITISH COLUMBIA
Vancouver
Vancouver Art Gallery
L-1955
Jock Macdonald: Evolving Form
18 October 2014 to 13 September 2015
Macdonald, Jock (8)
Touring: Vancouver Art Gallery,
18 October 2014 to 4 January 2015 (8 works);
Robert McLaughlin Gallery, 3 February 2015
to 24 May 2015 (6 works);
Art Gallery of Greater Victoria, 12 June 2015
to 13 September 2015 (6 works)
Victoria
Art Gallery of Greater Victoria
L-2026
A Study in Contrast: Sybil Andrews and Gwenda
Morgan
16 January to 15 April 2015
Macnab, Iain (1)
Nevinson, C.R.W. (1)
Ravilious, Eric (1)
MANITOBA
Winnipeg
Plug In Institute of Contemporary Arts
L-1907
Sensing the Future: Moholy-Nagy, Media and the Arts
8 March to 1 June 2014
Moholy-Nagy, László (3)
ONTARIO
HAMILTON
Art Gallery of Hamilton
L-1843
Into the Light: The Paintings of William Blair Bruce
24 May to 5 October 2014
Bruce, W. Blair (3)
L-1992
Illuminations: Italian Master Baroque Painting
in Canadian Collections
28 February to 5 October 2015
Vouet, Simon (1)
Touring: Art Gallery of Hamilton,
28 February 2015 to 31 May 2015
Carleton University Art Gallery
L-1956
Skin Deep
12 May to 14 September 2014
Iyaituk, Mattiusi (1)
Kolola, Mosesie (1)
Oonark, Jessie (1)
Pudlat, Oshutsiak (1)
Qumaluk, Leah (1)
Weetaluktuk, Eli (1)
Kleinburg
McMichael Canadian Art Collection
L-1971
Changing Tides: Contemporary Art of Newfoundland
& Labrador
25 January to 1 June 2014
Hall, Pam (1)
London
Ottawa Art Gallery
L-1930
Alma: The Life and Art of Alma Duncan
3 October 2014 to 18 September 2016
Duncan, Alma (8)
Touring: Ottawa Art Gallery,
3 October 2014 to 11 January 2015;
Varley Art Gallery,
24 January 2015 to 3 May 2015
Museum London
L-1747
Arthur Heming: The Chronicler of the North
21 April 2012 to 13 April 2014
Heming, Arthur (10)
Touring: Museum London,
21 April 2012 to 8 July 2012 (12 works);
Florence Griswold Museum,
1 February 2013 to 12 May 2013 (12 works);
Confederation Centre Art Gallery,
28 February 2014 to 13 April 2014 (10 works)
St. Catharines
L-1885
Kim Ondaatje
20 July 2013 to 25 April 2015
Ondaatje, Kim (1)
Touring: Museum London,
20 July 2013 to 6 October 2013 (3 works);
Robert McLaughlin Gallery,
1 February 2014 to 27 April 2014 (1 work);
Agnes Etherington Art Centre,
29 November 2014 to 25 April 2015 (1 work)
Toronto
L-1984
The Griffiths Brothers: Painting and Porcelain
13 September to 14 December 2014
Griffiths, James (3)
Griffiths, John H (8)
Oakville
Oakville Galleries
L-2031
Infrastructure Canada
30 January to 12 April 2015
Young, Daniel; Giroux, Christian (2)
On View at: The Rooms Corporation of
Newfoundland & Labrador — Provincial
Art Gallery Division,
30 January 2015 to 12 April 2015
73
Rodman Hall Art Centre
L-1739
Denis Tourbin
29 September 2012 to 27 April 2014
Tourbin, Dennis (1)
Touring: Rodman Hall Art Centre,
29 September 2012 to 6 January 2013;
Carleton University Art Gallery,
3 February 2014 to 27 April 2014
Art Gallery of Ontario
L-1926
Francis Bacon and Henry Moore: Terror and Beauty
5 April to 20 July 2014
Bacon, Francis (1)
L-1961
Alex Colville Retrospective
23 August 2014 to 4 January 2015
Colville, Alex (9)
Touring: Art Gallery of Ontario,
23 August 2014 to 4 January 2015
L-1997
Introducing Suzy Lake
5 November 2014 to 22 March 2015
Lake, Suzy (4 CMCP)
Art Gallery of York University
L-1964
Is Toronto Burning? 1977/1978/1979: Three Years
in the Making of the Toronto Art Scene
17 September to 7 December 2014
Buchan, David (19 CMCP)
Acquisitions, Loans and Exhibitions
Royal Ontario Museum
L-1988
The First Brush: Paul Kane and Infrared
Reflectography
24 January to 5 July 2015
Kane, Paul (1)
Ryerson Image Centre
L-1954
Scotiabank Photography Award Exhibition
1 May to 31 May 2014
Douglas, Stan (1)
L-1990
DISPATCH: War Photographs in Print, 1854–2008
17 September to 14 December 2014
Barnard, George (1)
Musée d’art contemporain de Montréal
L-1862
Lynne Cohen: False Clues
7 February 2013 to 4 January 2015
Cohen, Lynne (1 NGC + 1 CMCP)
Touring: Musée d’art contemporain de
Montréal, 7 February 2013 to 28 April 2013;
The Rooms Corporation of Newfoundland &
Labrador — Provincial Art Gallery Division,
20 September 2013 to 8 December 2013;
Kitchener-Waterloo Art Gallery,
26 September 2014 to 4 January 2015
Saskatoon
VOX : centre de l’image contemporaine
L-2011
Jean-Marie Delavalle
15 November 2014 to 21 February 2015
Delavalle, Jean-Marie (1)
AUSTRIA
QUÉBEC
Mont-Saint-Hilaire
Baie-Saint-Paul
Musée d’art contemporain de
Baie-Saint-Paul
L-1934
Pellan: retour en Charlevoix
29 March to 25 May 2014
Pellan, Alfred (1)
On View at: Ottawa Art Gallery
29 March 2014 to 25 May 2014
Gatineau
Canadian Museum of History
L-1998
1867 - Rebellion and Confederation
28 November 2014 to 27 May 2015
Duncan, James (1)
Harris, Robert (1)
Montréal
Musée d’art de Mont-Saint-Hilaire
L-1970
Ozias Leduc: ses parents, ses amis et sa paroisse
8 June to 12 October 2014
Leduc, Ozias (8)
Mendel Art Gallery
L-1946
David Thauberger: Road Trips and Other Diversions
11 April 2014 to 6 June 2016
Thauberger, David (1)
Touring: Mendel Art Gallery,
11 April 2014 to 15 June 2014;
Art Gallery of Windsor,
27 June 2014 to 21 September 2014
Vienna
Österreichische Galerie Belvedere
L-1986
Looking at Monet: The Great Impressionist and
His Influence on Austrian Art
24 October 2014 to 8 February 2015
Monet, Claude (1)
DENMARK
Charlottenlund-Copenhagen
Québec
Musée national des beaux-arts du Québec
L-1912
Morrice et Lyman en compagnie de Matisse
8 May 2014 to 5 January 2015
Lyman, John (4)
Matisse, Henri (1)
Morrice, James Wilson (13)
Touring: Musée national des beaux-arts du
Québec, 8 May 2014 to 7 September 2014
(18 works);
McMichael Canadian Art Collection,
4 October 2014 to 5 January 2015 (17 works)
Montreal Museum of Fine Arts
L-1858
L’expressionnisme en Allemagne et en France,
1900–1914
11 October 2014 to 25 January 2015
Derain, André (1)
Gogh, Vincent van (1)
L-1950
Alfred Pellan
26 February 2014 to 26 February 2016
Pellan, Alfred (1)
L-1921
Benjamin-Constant et l’orientalisme sous la IIIe
République
4 October 2014 to 31 May 2015
Constant, Jean-Joseph-Benjamin (1)
Touring: Musée des Augustins,
4 October 2014 to 4 January 2015;
Montreal Museum of Fine Arts,
26 January 2015 to 31 May 2015
Regina
Ordrupgaard
L-1872
Van Gogh, Gauguin, Bernard: Friction of Ideas
7 February to 22 June 2014
Gogh, Vincent van (1)
FRANCE
Montpellier
Musée Fabre
L-1836
Le goût de Diderot
5 October 2013 to 1 June 2014
Baudouin, Pierre-Antoine (1)
Touring: Musée Fabre,
5 October 2013 to 15 January 2014;
Fondation de l’Hermitage,
7 February 2014 to 1 June 2014
SASKATCHEWAN
Paris
MacKenzie Art Gallery
L-1866
Group of Seven: Professional Native Indian Artists
Incorporated
21 September 2013 to 17 January 2016
Cobiness, Eddy (1)
Janvier, Alex (1)
Morrisseau, Norval (called Copper
Thunderbird) (1)
Odjig, Daphne (2)
Ray, Carl (2)
Touring: MacKenzie Art Gallery,
21 September 2013 to 12 January 2014 (7 works);
Winnipeg Art Gallery,
9 May 2014 to 31 August 2014 (5 works only);
Kelowna Art Gallery,
11 October 2014 to 4 January 2015
(5 works only)
Annual Report 2014–1574
Centre national d’art & de culture
Georges Pompidou
L-1869
Marcel Duchamp et la peinture, 1910-1923
23 September 2014 to 5 January 2015
Duchamp, Marcel (1)
L-1974
Gustave Doré (1832-1883). L’imaginaire au pouvoir /
Master of Imagination
17 February to 11 May 2014
Doré, Gustave (2)
Pisan, Heliodore Joseph (after Gustave
Doré) (1)
(NGC IS THE NEXT VENUE)
L-1995
Attaquer le soleil. Hommage au marquis de Sade
13 October 2014 to 25 January 2015
Picabia, Francis (1)
GERMANY
SPAIN
U.S.A.
Karlsruhe
Madrid
CALIFORNIA
Staatliche Kunsthalle Karlsruhe
L-1943
Edger Degas (1834–1917)
8 November 2014 to 2 February 2015
Degas, Edgar (2)
Instituto de Cultura Fundación Mapfre
L-1945
Lynne Cohen
11 March 2014 to 25 January 2015
Cohen, Lynne (1)
Touring: Instituto de Cultura Fundación
Mapfre, 11 March 2014 to 11 May 2014;
Cordoba Sala Vimcorsa,
27 June 2014 to 14 September 2014;
Sala Rekalde Bilbao,
24 October 2014 to 25 January 2015
Los Angeles
Munich
Alte Pinakothek, Bayerische
Staatsgemäldesammlungen
L-1957
Canaletto - Bernardo Bellotto Paints Europe
17 October 2014 to 19 January 2015
Bellotto, Bernardo (2)
Haus der Kunst
L-1947
Louise Bourgeois. Structures of Existence: The Cells
27 February to 2 August 2015 (additional future
venues still being considered)
Bourgeois, Louise (1)
J. Paul Getty Museum
L-1913
Late Turner: Painting Set Free
24 February to 20 September 2015
Turner, J.M.W. (1)
Touring: J. Paul Getty Museum,
24 February 2015 to 24 May 2015
CONNECTICUT
Museo Thyssen-Bornemisza
L-1876
Cézanne Site / Non-site
4 February to 18 May 2014
Cézanne, Paul (1)
SWITZERLAND
New Haven
Yale Center for British Art
L-1994
Figures of Empire: Slavery and Portraiture in
Eighteenth-Century Atlantic Britain
2 October to 14 December 2014
Gainsborough, Thomas (1)
Basel
ITALY
Florence
Palazzo Pitti
L-1944
Jacopo Ligozzi, “Universal Painter”
(Verona, 1547 - Florence, 1627)
27 May to 28 September 2014
Ligozzi, Jacopo (1)
Fondation Beyeler
L-1927
Peter Doig
22 November 2014 to 17 August 2015
Doig, Peter (1)
Touring: Fondation Beyeler,
22 November 2014 to 23 March 2015
U.K. (ENGLAND)
London
JAPAN
Tokyo
Tokyo Fuji Art Museum
L-1861
Impressionists at Waterside
22 October 2013 to 11 May 2014
Monet, Claude (1)
Touring: Tokyo Fuji Art Museum,
22 October 2013 to 5 January 2014;
Fukuoka Art Museum,
15 January 2014 to 2 March 2014;
Kyoto National Museum,
11 March 2014 to 11 May 2014
Dulwich Picture Gallery
L-1922
From the Forest to the Sea: Emily Carr
in British Columbia
1 November 2014 to 12 July 2015
Carr, Emily (17 mixed over the 2 venues)
Touring: Dulwich Picture Gallery,
1 November 2014 to 3 March 2015 (13 works)
D.C.
Washington
National Gallery of Art
L-1839
Charles Marville: Photographer of Paris
29 September 2013 to 14 September 2014
Marville, Charles, Attributed to (2)
Touring: National Gallery of Art,
29 September 2013 to 5 January 2014;
Metropolitan Museum of Art,
27 January 2014 to 4 May 2014;
Museum of Fine Arts, Houston,
13 June 2014 to 14 September 2014
L-1915
Piero di Cosimo: The Poetry of Painting in
Renaissance Florence
1 February to 3 May 2015
Piero di Cosimo (1)
Tate Modern
L-1969
Conflict, Time, Photography
26 November 2014 to 15 March 2015
Ristelhueber, Sophie (1 set of 71 images)
NETHERLANDS
U.K. (SCOTLAND)
Dordrecht
Edinburgh
Dordrechts Museum
L-1903
Willem II & Anna Pavlovna — Royal Splendour at the
Dutch Court
24 September 2013 to 12 October 2014
Orley, Bernard van (1)
Touring: State Hermitage Museum,
24 September 2013 to 19 January 2014;
Dordrechts Museum,
2 March 2014 to 16 June 2014;
Musée d’Art de la Ville de Luxembourg,
5 July 2014 to 12 October 2014
Scottish National Gallery of Modern Art
L-1875
No Foreign Lands: Peter Doig
3 August 2013 to 4 May 2014
Doig, Peter (1)
Touring: Scottish National Gallery of
Modern Art, 3 August 2013 to 3 November 2013
Montreal Museum of Fine Arts,
20 January 2014 to 4 May 2014
75
Acquisitions, Loans and Exhibitions
ILLINOIS
NORTH CAROLINA
Chicago
Raleigh
Art Institute of Chicago
L-1960
Ireland: Crossroads of Art and Design, 1690–1840
17 March to 7 June 2015
Lely, Peter (1)
Contemporary Art Museum Raleigh
L-2009
Hitchhiking to Heaven
5 February to 3 May 2015
Johnson, Sarah Anne (5 CMCP, 1 work has
46 photos)
Museum of Contemporary Art
L-1980
Doris Salcedo
21 February to 14 October 2015
Salcedo, Doris (1)
Touring: Museum of Contemporary Art,
21 February 2015 to 31 May 2015
L-1993
David Hartt: Stray Light
17 May to 11 August 2014
Hartt, David (1)
On View at: Carnegie Museum of Art,
17 May 2014 to 11 August 2014
PENNSYLVANIA
Philadelphia
Philadelphia Museum of Art
L-1938
Michael Snow: Photo-Centric
1 February to 27 April 2014
Snow, Michael (3)
TEXAS
Dallas
NEW YORK
Brooklyn
Brooklyn Museum of Art
L-1886
Art, Activism and Civil Rights in the 1960s
7 March 2014 to 10 May 2015
Rosenquist, James (1)
Touring: Brooklyn Museum of Art,
7 March 2014 to 13 July 2014;
Hood Museum of Art,
30 August 2014 to 14 December 2014;
Blanton Museum of Art, University of Texas
at Austin, 7 Februrary 2015 to 10 May 2015
Dallas Museum of Art
L-1873
Working among Flowers: French Still Life in the
19th Century
26 October 2014 to 22 June 2015
Gogh, Vincent van (1)
Touring: Dallas Museum of Art,
26 October 2014 to 1 February 2015;
Virginia Museum of Fine Arts,
22 March 2015 to 22 June 2015
Glens Falls
Hyde Collection
L-1743
Modern Nature: Georgia O’Keefe and Lake George
15 June 2013 to 15 May 2014 (returned early)
O’Keeffe, Georgia (1)
Touring: The Hyde Collection,
15 June to 15 September 2013;
Georgia O’Keeffe Museum,
5 October 2013 to 5 January 2014;
Fine Arts Museum of San Francisco,
de Young Museum, 1 February to 30 April 2014
NEW YORK
Asia Society Galleries
L-1916
Golden Visions of Densatil: A Tibetan Buddhist
Monastery
19 February to 18 May 2014
Unknown (Central Tibet — 15th century) (1)
Dia Art Foundation
L-1840
Carl Andre: Sculpture as Place, 1958–2010
5 May 2014 to 18 September 2017
Andre, Carl (1)
Touring: Dia Art Foundation,
3 May 2014 to 2 March 2015
Annual Report 2014–1576
EXHIBITIONS PRESENTED IN OTTAWA
NATIONAL GALLERY OF CANADA
Masterpiece in Focus: Thomas Couture in the Studio
Permanent Collection Galleries
1 February 2014 to 8 June 2014
Arctic Images from the Turn of the Twentieth Century
Library and Archives Canada, in partnership
with the National Gallery of Canada
Permanent Collection Galleries
7 February 2014 to 8 June 2014
John Ruskin: Artist and Observer
Prints, Drawings and Photography Galleries
14 February 2014 to 11 May 2014
Charles Edenshaw
Organized by the Vancouver Art Gallery
Inuit Galleries
7 March 2014 to 25 May 2014
Governor General’s Awards in Visual and Media Arts 2014
Permanent Collection Galleries
28 March 2014 to 10 August 2014
Les fleurs du mal by Charles Baudelaire, illustrations
by Emile Bernard
National Gallery of Canada Library
and Archives
26 May 2014 to 15 August 2014
Gustave Doré (1832–1883): Master of Imagination
Organized with the Musée d’Orsay
Special Exhibitions Galleries
12 June 2014 to 14 September 2014
Clocks for Seeing: Photography, Time and Motion
Prints, Drawings and Photography Galleries
20 December 2014 to 3 May 2015
Paul Peel (1860–1892): A Selection from the Archives
National Gallery of Canada Library
and Archives
6 January 2015 to 17 April 2015
Installations of Selected Works
from the Permanent Collection
Jackoposie Oopakak. Nunali
5 June 2009 to 2017
Daphne Odjig. Genocide No. 1
2 November 2011 to 2017
Brian Jungen. Court
26 November 2011 to October 2014
Janet Cardiff. Forty-Part Motet
19 December 2013 to June 2015
Isabelle Pauwels. W.E.S.T.E.R.N
1 February 2013 to September 2014
Vikky Alexander. Island Series
16 May 2014 to 13 August 2014
Lynne Marsh. Plänterwald
16 May 2014 to 13 August 2014
Nicolas Baier. Vanitas
16 May 2014 to 15 August 2014
Ian Wallace. The Wall, Gandia I
16 May 2014 to 15 August 2014
Mark Bradford. Africa
22 May 2014 to 12 September 2014
Mayureak Ashoona. People of Dorset
16 June 2014 to 2 February 2015
Itee Pootoogook. Self Portrait
16 June 2014 to 13 June 2015
Michael Massie. A Surreal Look at Shamanism
16 June 2014 to June 2016
Rita Letendre. Cosmic Storm
14 October 2014 to 11 March 2015
Doug Smarch. Lucinations
2 April 2013 to October 2014
Lawrence Paul Yuxweluptun. Red Man
Watching White Man Trying to Fix Hole in Sky
14 October 2014 to 11 March 2015
Jimmie Durham. Calm Again
17 May 2013 to October 2014
Tim Pitsiulak. Gathering Seaweed
14 October 2014 to September 2015
Candice Breitz, Him + Her
12 September 2013 to October 2014
Luke Parnell. A Brief History of Northwest
Coast Design
16 October 2014 to December 2015
The Great War: The Persuasive Power of Photography
Prints, Drawings and Photography Galleries
27 June 2014 to 16 November 2014
Storytelling: Althea Thauberger,
Corin Sworn, Zin Taylor
19 September 2013 to March 2014
Geoffrey Farmer. Leaves of Grass
17 October 2014 to September 2015
Masterpiece in Focus: The Jack Pine and the West Wind
Permanent Collection Galleries
27 June 2014 to 11 March 2015
Alex Janvier. Untitled
19 September 2013 to November 2016
Nick Sikkuark. Untitled (Bola Thrower)
13 November 2014 to 13 June 2015
Daniel Richter. Das Mißverständnis
[The Misunderstanding]
November 2013 to October 2014
Helen Konek. Untitled (Camp Scene)
13 November 2014 to 13 June 2015
Then Again: A celebration of Art Metropole’s
40th Anniversary Library and Archives
National Gallery of Canada Library
and Archives
8 September 2014 to 19 December 2014
Taking It All In: The Photographic Panorama and
Canadian Cities
Library and Archives Canada, in partnership
with the National Gallery of Canada
Permanent Collection Galleries
8 September 2014 to 1 March 2015
Shine a Light: Canadian Biennial 2014
Contemporary Art Galleries
17 October 2014 to 8 March 2015
Jack Bush
Special Exhibitions Galleries
13 November 2014 to 22 February 2015
M.C. Escher: The Mathemagician
Prints, Drawings and Photography Galleries
20 December 2014 to 3 May 2015
Neil Campbell. Boom Boom
November 2013 to October 2014
Olivier Mosset. Yellow Wall
November 2013 to October 2014
Peter Fischli and David Weiss. The Way Things Go
January 2014 to October 2014
John Pylypchuk. press a weight through life,
and i will watch this crush you
26 March 2014 to October 2014
Kim Adams. Minnow Lure
April 2014 to October 2014
Evan Penny. Jim Revisited
10 April 2014 to October 2014
Vera Frenkel. …from the Transit Bar
15 May 2014 to 17 August 2014
77
Acquisitions, Loans and Exhibitions
TRAVELLING EXHIBITIONS
ORGANIZED BY THE NATIONAL GALLERY
OF CANADA
Beautiful Monsters: Beasts and Fantastic Creatures
in Early European Prints
The Rooms
St. John’s, Newfoundland
20 September 2014 to 4 January 2015
Storms and Bright Skies: Three Centuries of Dutch
Landscapes
McIntosh Gallery
London, Ontario
13 February 2014 to 5 April 2014
TRAVELLING EXHIBITIONS
ORGANIZED IN PARTNERSHIP
NGC@AGA
Contemporary Drawings from the National
Gallery of Canada
Art Gallery of Alberta
Edmonton, Alberta
20 June 2014 to 5 October 2014
Flora and Fauna: 400 Years of Artists Inspired by Nature
Art Gallery of Alberta
Edmonton, Alberta
28 February 2014 to 8 June 2014
Flora and Fauna: 400 Years of Artists Inspired by Nature
Surrey Art Gallery
Surrey, British Columbia
20 September 2014 to 14 December 2014
A Moving Image
Art Gallery of Alberta
Edmonton, Alberta
4 October 2014 to 4 January 2015
Margaret Watkins: Domestic Symphonies
McMaster Museum of Art
Hamilton, Ontario
6 February 2014 to 3 May 2014
Christian Marclay: The Clock
Art Gallery of Alberta
Edmonton, Alberta
13 February 2015 to 12 April 2015
Museum London
London, Ontario
17 May 2014 to 7 September 2014
NGC@MOCCA
Misled by Nature: Contemporary Art and the Baroque
Museum of Contemporary Canadian Art
Toronto, Ontario
8 February 2014 to 6 April 2014
In Character: Self-Portrait of the Artist as Another
Museum of Contemporary Canadian Art
Toronto, Ontario
1 May 2014 to 2 June 2014
Par Amour/Paramour
Museum of Contemporary Canadian Art
Toronto, Ontario
21 June 2014 to 17 August 2014
Mark Soo
Museum of Contemporary Canadian Art
Toronto, Ontario
1 October 2014 to 26 October 2014
Vera Frenkel, …from the Transit Bar
Museum of Contemporary Canadian Art
Toronto, Ontario
14 November 2014 to 28 December 2014
Store/Fronts
Museum of Contemporary Canadian Art
Toronto, Ontario
31 January 2015 to 19 April 2015
NGC@WAG
Ragnar Kjartansson: The End
Winnipeg Art Gallery
Winnipeg, Manitoba
18 January 2014 to 20 April 2014
Lynne Cohen: Between Something and Nothing
Winnipeg Art Gallery
Winnipeg, Manitoba
12 April 2014 to 18 August 2014
Brian Jungen: Vienna
Winnipeg Art Gallery
Winnipeg, Manitoba
4 October 2014 to 25 January 2015
Annual Report 2014–1578
Special Projects
Christian Marclay: The Clock
Musée d’art contemporain de Montréal
21 February 2014 to 20 April 2014
Transformations – A.Y. Jackson and Otto Dix
Exhibition produced by the Canadian War
Museum, in collaboration with the
National Gallery of Canada.
Canadian War Museum
Ottawa, Ontario
9 April 2014 to 21 September 2014
Morrice and Lyman in the company of Matisse
Exhibition organized by the Musée national
des beaux-arts du Québec, with the generous
support of the Montreal Museum of Fine
Arts and the National Gallery of Canada.
The Musée national des beaux-arts du
Québec
Quebec City, Quebec
8 May 2014 to 7 September 2014
Morrice and Lyman in the company of Matisse
Exhibition organized by the Musée national
des beaux-arts du Québec, with the generous
support of the Montreal Museum of Fine
Arts and the National Gallery of Canada.
The McMichael Canadian Art Collection
Kleinburg, Ontario
10 October 2014 to 4 January 2015
From the Forest to the Sea: Emily Carr in British
Columbia
Exhibition organized by the Art Gallery of
Ontario and the Dulwich Picture Gallery,
with the generous collaboration of the
National Gallery of Canada, the Vancouver
Art Gallery and the Royal BC Museum.
Dulwich Picture Gallery
London, England
1 November 2014 to 8 March 2015
MANAGEMENT DISCUSSION AND ANALYSIS
STRATEGIC DIRECTION
The Gallery is committed to developing, maintaining, and making known its diverse collection of visual
arts, both within Canada and internationally. It works in collaboration with national and international
museums to make art accessible, and to provide meaningful experiences for diverse audiences. The institution maintains and supports a broad calendar of exhibitions across the country and allows public access to
its collection through exhibitions, loans, public programming and online publishing.
The work of the National Gallery is made possible in part through financial support from the Government of
Canada. The Gallery is committed to effective stewardship of public and private funding, and to transparent
and accountable operations. The Gallery’s Corporate Plan set forth three strategic priorities for the year:
• Raising the Gallery’s National Profile
• Investing in Infrastructure
• Diversifying Revenues
OPERATING ENVIRONMENT
During the year, the Gallery welcomed 292,397 visitors and an additional 294,019 to travelling exhibitions and
NGC@ partner sites in Toronto, Winnipeg and Edmonton. Exhibitions on view in Ottawa included Gustave Doré
(1832–1883): Master of Imagination, The Great War: The Persuasive Power of Photography, Shine a Light: Canadian Biennial 2014, Jack
Bush — a retrospective exhibition, and M.C. Escher: The Mathemagician. The Gustave Doré exhibition, prepared in
collaboration with the Musée d’Orsay, brought together a hundred paintings, sculptures, prints and drawings
by this influential 19th-century French artist. The photography exhibition, The Great War, showcased a remarkable selection of photographs from national and international collections, demonstrating the important
role played by photography during the First World War. The Canadian Biennial highlighted a selection of recent
acquisitions for the Canadian Contemporary, Indigenous and Photography collections. The Jack Bush retrospective spanned five decades of the artist’s achievements, including his paintings, drawings and commercial
illustrations. The M.C. Escher exhibition featured fifty-four works from the Gallery’s extensive collection
of M.C. Escher prints, and presented the various themes that fascinated this unique and talented artist
throughout his career.
In the spring of 2014, the Gallery substantially completed its most significant capital improvement to date:
the Great Hall window renovation project. This ambitious project was completed on budget, and this signature space re-opened to the public in April 2014.
During the year, the Gallery reached an agreement with Canadian Artists’ Representation/Le Front des artistes
canadiens (CARFAC) and the Regroupement des artistes en arts visuels du Québec (RAAV). This agreement
covers the terms and conditions governing the minimum fees payable for exhibitions and for the reproduction
of works of art, as well as for the provision of professional services by living Canadian artists at the National
Gallery of Canada, pursuant to the federal Status of the Artist Act.
In December 2014, the Gallery successfully reached a four-year collective agreement with the Public Service
Alliance of Canada. The Gallery negotiated annual salary increases and service pay, which are retroactive to
the beginning of the collective agreement. The new agreement also eliminated the accumulation of employee
entitlements to severance.
Expenditure increases in relation to these two new agreements will be funded through internal budgetary
reallocation, or through increased self-generated revenue.
FINANCIAL OVERVIEW
The Gallery achieved a net operating surplus of $0.4 million during the year, which represents less than 1%
of total revenues earned. As a result of this surplus, the Gallery’s unrestricted net assets have increased to
$7.4 million.
Annual Report 2014–1580
PARLIAMENTARY APPROPRIATIONS
The Gallery received parliamentary appropriations during the year in the amount of $50.6 million. The increase
of $3.5 million over the prior year is primarily the result of increased appropriations recognized for the purchase
of works of art for the collection.
Parliamentary appropriations used for operating and capital purposes represented $40.4 million, compared to
$41.1 in the prior year. During the year, the Board of Trustees passed a resolution to authorize a restriction of
$1.2 million to deferred contributions for the future purchase of capital assets.
Parliamentary appropriations used for the purchase of items for the collection represented $10.2 million, as
compared to $6.1 million in 2013–14. Unused appropriations are deferred until such time as collection items
are purchased.
OPERATING REVENUE AND CONTRIBUTIONS
The Gallery earned $5.8 million in operating revenue during the year, as compared to $4.8 million the previous
year. This increase is attributable to an increase in admission revenue as a result of higher attendance in
2014–15, and a separate admission fee for the 2014 summer exhibition. Revenues resulting from bookstore sales,
parking, memberships and rental of public spaces were also greater when compared to the previous year.
Sponsorships and contributions represented $6.2 million, compared to $4.3 million during the previous
year. Starting in 2014–15, the Gallery adopted a change in accounting policy to report, as revenue, objects
donated to the collection at fair market value, with an offsetting and equal acquisition expense. This policy
change will recognize efforts in the interconnected areas of collections, gifts and bequests, donor cultivation
and fundraising. The Gallery reported $3.9 million in contributed items for the collection during the year,
and $1.8 million during the previous year.
Of the total amount of sponsorships and contributions, $0.9 million was contributed by the National Gallery
of Canada Foundation for various projects and acquisitions. The Gallery also received contributions from
individuals, corporations and foundations. A significant portion of these contributions were directed to
support the 2015 Venice Biennale.
COST OF OPERATIONS
Operating expenditures totalled $62.2 million during the year, as compared to $55.6 million in the previous year.
This year-over-year change relates to art-acquisition activities.
Combined purchases and contributions of objects for the collection amounted to $13.8 million during the year,
and $7.6 million in the previous year, and reflect the change in accounting policy mentioned above. Given
the nature and valuation of collection items, it is anticipated that the total value of purchases and contributions will be highly variable year over year. Notable purchases included Souvenir of Loch Lomond by Gustave Doré,
the terracotta sculpture, Young Mother from Boulogne Feeding her Child by Jules Dalou, and Christ at the Column
by Eugène Delacroix. Contributions to the collection totalled $3.9 million, and included Pink with Border by
Jack Bush, Abstract Paintings I-XII (The Financial District) by Ian Wallace, and a collection of books, preparatory
drawings and archival material created by artist Alex Colville. Acquisitions and gifts are described in detail
in the Acquisition Highlights section of this Annual Report.
Expenditures for salaries and employee benefits decreased by $0.9 million, reflecting savings associated with
the workforce reductions implemented in 2013. Professional services costs increased by $0.8 million, as a result
of higher exhibition participation fees and artist installation fees, due to the different nature of exhibitions
in 2014–15, compared to 2013–14. The Gallery also spent an additional $0.6 million on freight, cartage and
postage during the year, for costs associated with international transportation of items for the Gustave Doré
summer exhibition.
81
Management Discussion and Analysis
COLLECTION
At the end of the year, the Gallery reported deferred contributions of $2.8 million for future purchases of
items for the collection.
FACILITIES MAINTENANCE AND CAPITAL
The Gallery spent $1.3 million on capital expenditures during the year, compared to $8.2 million in the prior
year. The Great Hall window restoration project, which was substantially completed in April 2014, explains
the year-over-over spending variance. Significant capital expenditures during the year include an upgrade to
freight elevators, replacement of the auditorium screen, new backup cooling systems for exhibition spaces,
various facility projects to address life-cycle maintenance and repairs, and investments in new technology
and hardware.
At the end of the year, the Gallery had $4.8 million of deferred contributions available to address future
capital improvements.
OUTLOOK
Looking forward, the Gallery expects to face continuing inflationary cost pressures on non-discretionary
services such as utilities, repairs, and protection services. Given fixed government spending, the Gallery
will continue to address these pressures through the expansion of self-generated operating revenues, and
through internal reallocations.
The Gallery receives base capital funding through parliamentary appropriations of $1.0 million. As the main
facility ages — now in its 27th year of operation — the demand for investment in life-cycle maintenance and
repairs to the building and mechanical systems will continue to increase. Emergent demands in areas such
as online presence, information technology hardware and information management systems, visitor engagement and experience tools, and recapitalization investments in the bookstore, auditorium, and foodservice areas, placed further pressure on the capital allocation. The Gallery will prioritize its capital projects
based on risk deferral and available risk-mitigation strategies.
Annual Report 2014–1582
NGC FINANCIAL STATEMENTS
For the year ended March 31, 2015
STATEMENT OF MANAGEMENT RESPONSIBILITY
The accompanying financial statements of the National Gallery of Canada (the Gallery) and all information
in this annual report are the responsibility of management. The financial statements include some amounts
that are necessarily based on management’s estimates and judgment.
The financial statements have been prepared in accordance with Canadian public-sector accounting standards (PSAS) for Government Non-For-Profit Organizations. Financial information presented elsewhere in
the annual report is consistent with that contained in the financial statements.
In discharging its responsibility for the integrity and fairness of the financial statements, management
maintains financial and management control systems and practices designed to provide reasonable assurance that transactions are authorized, assets are safeguarded, proper records are maintained and transactions are in accordance with Part × of the Financial Administration Act and regulations, the Museums Act and
regulations, and the by-laws of the Gallery.
The Board of Trustees is responsible for ensuring that management fulfills its responsibilities for maintaining
adequate control systems and the quality of financial reporting. The Audit and Finance Committee of the
Board of Trustees meets regularly with management and internal auditors, and with external auditors to
discuss auditing, internal controls and other relevant financial matters. The Committee reviews the financial
statements and presents its recommendation to the Board of Trustees. The Board of Trustees approves the
financial statements.
The external auditor, the Auditor General of Canada, is responsible for auditing the financial statements
and for issuing a report thereon to the Minister of Canadian Heritage and Official Languages.
Marc MayerJulie Peckham
DirectorDeputy Director,
Administration and Chief Financial Officer
June 16, 2015
Ottawa, Canada
Annual Report 2014–1584
INDEPENDENT AUDITOR’S REPORT
To the Minister of Canadian Heritage and Official Languages
Report on the Financial Statements
I have audited the accompanying financial statements of the National Gallery of Canada, which comprise
the statement of financial position as at 31 March 2015, and the statement of operations, statement of
changes in net assets and statement of cash flows for the year then ended, and a summary of significant
accounting policies and other explanatory information.
Management’s Responsibility for the Financial Statements
Management is responsible for the preparation and fair presentation of these financial statements in
accordance with Canadian public sector accounting standards, and for such internal control as management
determines is necessary to enable the preparation of financial statements that are free from material
misstatement, whether due to fraud or error.
Auditor’s Responsibility
My responsibility is to express an opinion on these financial statements based on my audit. I conducted
my audit in accordance with Canadian generally accepted auditing standards. Those standards require that
I comply with ethical requirements and plan and perform the audit to obtain reasonable assurance about
whether the financial statements are free from material misstatement.
An audit involves performing procedures to obtain audit evidence about the amounts and disclosures in the
financial statements. The procedures selected depend on the auditor’s judgment, including the assessment
of the risks of material misstatement of the financial statements, whether due to fraud or error. In making
those risk assessments, the auditor considers internal control relevant to the entity’s preparation and
fair presentation of the financial statements in order to design audit procedures that are appropriate in the
circumstances, but not for the purpose of expressing an opinion on the effectiveness of the entity’s internal
control. An audit also includes evaluating the appropriateness of accounting policies used and the reasonableness of accounting estimates made by management, as well as evaluating the overall presentation of the
financial statements.
I believe that the audit evidence I have obtained is sufficient and appropriate to provide a basis for my
audit opinion.
Opinion
In my opinion, the financial statements present fairly, in all material respects, the financial position of
the National Gallery of Canada as at 31 March 2015, and the results of its operations and its cash flows for the
year then ended in accordance with Canadian public sector accounting standards.
85
Financial Statements
Report on Other Legal and Regulatory Requirements
As required by the Financial Administration Act, I report that, in my opinion, the accounting principles in
Canadian public sector accounting standards have been applied, after giving retroactive effect to the change
in the method of accounting for the items contributed to the collection as explained in Note 3 to the financial
statements, on a basis consistent with that of the preceding year.
Further, in my opinion, the transactions of the National Gallery of Canada that have come to my notice
during my audit of the financial statements have, in all significant respects, been in accordance with Part X
of the Financial Administration Act and regulations, the Museums Act and regulations and the by-laws of the
National Gallery of Canada.
Etienne Matte, CPA, CA
Principal
for the Auditor General of Canada
16 June 2015
Ottawa, Canada
Annual Report 2014–1586
STATEMENT OF FINANCIAL POSITION
For the year ended March 31
(in thousands of dollars) 20152014
Assets
Current
Cash and cash equivalents (Note 4)
$6,094 $
7,106
Restricted cash, cash equivalents (Note 4)
—10,924
Investment (Note 5)
6,641 5,100
Restricted investment (Note 5)
9,452 —
Accounts receivable (Note 6)
1,324 1,617
Inventory
547 542
Prepaid expenses
1,445 1,456
Total current assets
Collection (Note 7)
Capital assets (Note 8)
25,503 26,745
$ 109,904 1 1
84,400 89,399
$116,145
Liabilities and Net Assets
Liabilities
Current liabilities
Accounts payable and accrued liabilities (Note 9)
$3,031 $
3,367
Accrued salaries and benefits (Note 10)
4,451 2,905
Deferred contributions for the purchase of objects for the Collection (Note 11)
2,787 5,008
Deferred contributions for the purchase of capital assets (Note 11)
4,817 3,911
Other deferred contributions (Note 11)
1,732 1,889
Total current liabilities
Employee future benefits (Note 12)
Deferred contributions for the amortization of capital assets (Note 13)
16,818 17,080
1,161 2,494
83,778 88,776
Total liabilities
101,757 Net Assets
108,350
Unrestricted
Investment in capital assets (Note 8)
Permanently endowed
7,409 7,057
622 622
116 116
Total net assets
8,147 7,795
$ 109,904 $116,145
Contingencies and Contractual obligations (Notes 15 and 16)
The accompanying notes and schedules form an integral part of the financial statements. Approved by the Board of Trustees:
Michael J. TimsG. Howard Kroon
ChairpersonChairperson, Audit and Finance Committee
87
Financial Statements
STATEMENT OF CHANGES IN NET ASSETS
For the year ended March 31
(in thousands of dollars)
Unrestricted
Net assets, beginning of
the year
$
Net result of operations for
the year
Net change in investment
in capital assets (Note 8)
Net assets, end of the year
$
7,057 Investment in
capital assets
$
622 Permanently
endowed
$
116 20152014
$7,795 352 —
—
—
—
—
7,409 $
622 $
116 $
$
7,103
352 692
—
8,147 —
$7,795
The accompanying notes and schedules form an integral part of the financial statements. STATEMENT OF OPERATIONS
For the year ended March 31
Restated (Note 3)
(in thousands of dollars) 20152014
Operating revenue and contributions (Schedule 1)
$11,973 $9,088
Expenses
Collection
Operations 6,740 6,555
Acquisition of items for the Collection (Note 7)
13,796 7,618
Total — Collection
20,536 14,173
Outreach 13,654 13,556
Accommodation
19,768 19,589
Administration 8,285 8,243
Total expenses (Schedule 2)
62,243 Net results before parliamentary appropriations
Parliamentary appropriations (Note 14)
Net result of operations
(50,270)(46,473)
50,622 47,165
$352 The accompanying notes and schedules form an integral part of the financial statements. $
A Statement of Remeasurement Gains and Losses has been excluded, as there have been no remeasurement
gains and losses.
Annual Report 2014–1588
55,561
692
STATEMENT OF CASH FLOWS
For the year ended March 31
(in thousands of dollars) 20152014
Operating activities
Cash received from clients
Parliamentary appropriations received
Cash paid to suppliers
Payments related to salary and benefits
Interest received
$6,276 $4,132
41,660 43,302
(31,179)(28,577)
(19,663)(20,541)
263 345
Total cash flow used for operating activities
Investing activities
(2,643)(1,339)
Acquisition of investments
(23,000)(5,100)
Disposal of investments
12,100 —
Total cash flow used for investing activities
(10,900)(5,100)
Capital activities
Payments related to capital acquisitions
(2,494)(8,227)
Total cash flow used for capital activities
Financing activities
(2,494)(8,227)
2,170 Funding for the acquisition of capital assets
1,000
Restricted contributions and related investment income
1,931 2,677
Total cash flow from financing activities
Total cash flow
(11,936)(10,989)
Cash and cash equivalents, beginning of the year
Cash and cash equivalents
Restricted cash and cash equivalents
7,106 13,063
10,924 15,956
4,101 18,030 3,677
29,019
Cash and cash equivalents, end of the year
Cash and cash equivalents
Restricted cash and cash equivalents
6,094 7,106
—10,924
6,094 $
$18,030
The accompanying notes and schedules form an integral part of the financial statements.
89
Financial Statements
NOTES TO THE FINANCIAL STATEMENTS
March 31, 2015
1. AUTHORITY, OBJECTIVES AND ACTIVITIES
The National Gallery of Canada (the Gallery) was established on 1 July 1990 by the Museums Act as a Crown
corporation under Part I of Schedule III to the Financial Administration Act, and is not subject to income tax under
the provisions of the Income Tax Act.
The Gallery’s mandate as stated in the Museums Act is to develop, maintain and make known throughout
Canada and internationally, a collection of works of art, both historic and contemporary, with special but
not exclusive reference to Canada, and to further knowledge, understanding and enjoyment of art in general
among all Canadians.
The Gallery’s operations are divided into four mutually supportive activities, which work together to meet all
aspects of its mandate. These activities are:
Collection
To acquire, preserve, research and document historic and contemporary works of art in order to represent
and present arts heritage. This includes curatorial research, acquisitions and preservation.
Outreach
To foster broad access nationally and internationally to the Gallery’s collection, research, exhibitions and
expertise. This includes exhibitions, both in the National Capital Region and other venues in Canada and
abroad, educational programming and publications, fundraising, communications and marketing activities
designed to reach as wide an audience as possible.
Accommodation
To provide secure and suitable facilities which are readily accessible to the public, for the preservation and
exhibition of the national collections. This includes expenses relating to the operations and maintenance
of our facilities, including security services. Payments in lieu of taxes and amortization of capital assets are
also part of this category.
Administration
To provide direction, control and the effective development and administration of resources. This includes
support services such as human resources, finance, information technology and visitor services. Costs of
goods sold at the bookstore are also part of this category.
2. SIGNIFICANT ACCOUNTING POLICIES
These financial statements have been prepared in accordance with Canadian public-sector accounting
standards (PSAS) for Government Not-for-Profit Organizations (GNFPO). The Gallery has prepared the financial statements applying the Section 4200 series of PSAS. The Gallery applies the deferral method of accounting for contributions for not-for-profit organizations.
Significant accounting policies are:
(a) Financial Instruments
The Gallery’s financial assets and liabilities are classified and measured as follows:
In accordance with the Gallery’s Investment Policy, all investments are held in the form of cash and cash
equivalents, demand deposits with financial institutions, money market funds, and guaranteed investment
certificates. These instruments are measured at fair value based on quoted prices in active markets.
Any unrealized fluctuations in the fair value of these investments would be reported on the Statement of
Annual Report 2014–1590
Remeasurement Gains and Losses. Any realized gains and losses are reclassified to the Statement of
Operations. Investments are tested for impairment at the statement date, and any permanent impairment
would be reported on the Statement of Operations. Transaction costs are recorded as expenses in the
Statement of Operations in the year incurred.
All financial instruments measured at fair value need to be categorized into one of three hierarchy levels,
described for disclosure as follows. Each level is based on the transparency of the inputs used to measure
the fair values of assets and liabilities:
• Level 1 — inputs are unadjusted quoted prices of identical instruments in active markets.
• Level 2 — inputs other than quoted prices included in Level 1 that are observable for the asset or liability,
either directly or indirectly.
• Level 3 — one or more significant inputs used in a valuation technique are unobservable in determining
fair values of the instruments.
The Gallery’s financial instruments measured at fair value are categorized at Level 1, as the fair value is
measured at prices identical to instruments in active markets.
Accounts Receivable and Accounts Payable and Accrued Liabilities are measured at amortized cost. Accounts
Receivable are reported net of a provision for impairment or uncollectability. Accounts Payable and Accrued
Liabilities are derecognized only when the liability has been extinguished.
The Gallery does not hold any derivative instruments.
(b) Cash and Cash Equivalents and Restricted Cash and Cash Equivalents
Cash and cash equivalents consist of deposits with financial institutions that can be withdrawn without
prior notice or penalty, and investments in money market instruments as well as guaranteed investment
certificates with terms of maturity of 90 days or less.
Restricted cash and cash equivalents may arise from unused appropriations, deferred contributions and
endowments from individuals and corporate entities for a specified purpose. Restricted cash and cash
equivalents consist of deposits with financial institutions and guaranteed investment certificates with
maturity of 90 days or less.
In accordance with the Gallery’s Investment Policy, funds in excess of immediate requirements are invested.
Investments are limited to fixed income securities including deposits or deposit instruments of, or guaranteed
by, the six major Canadian chartered banks. Fixed income securities must be rated R1 or better and bonds
must be rated BBB or better in accordance with the ratings of the Dominion Bond Rating service (DBRS), or
equivalent service.
(c) Investment and Restricted Investment
Investment consists of investment in guaranteed investment certificates with terms of maturity exceeding
90 days. Restricted investment may arise from unused appropriations, deferred contributions and endowments
from individuals and corporate entities for a specified purpose.
In accordance with the Gallery’s Investment Policy, funds in excess of immediate requirements are invested.
Investments are limited to fixed income securities including deposits or deposit instruments of, or guaranteed
by, the six major Canadian chartered banks. Fixed income securities must be rated R1 or better and bonds
must be rated BBB or better in accordance with the ratings of the Dominion Bond Rating service (DBRS), or
equivalent service.
(d) Accounts Receivable
Accounts receivable are stated at amounts expected to be ultimately realized; a provision is made for
receivables where recovery is considered uncertain and is established based on specific credit risk associated
with individual clients and other relevant information.
91
Financial Statements
(e)Inventory
Inventory is recorded at the lower of cost less discount or net realizable value. Inventory cost is the purchase
price less discount, and net realizable value is based on retail prices. In the case of books and publications,
the cost is written down over a maximum of three years to take obsolescence into account.
(f) Prepaid Expenses
Prepaid expenses mainly include disbursements for Payments in Lieu of Taxes paid in the current fiscal year
and benefiting the next accounting period.
(g) Capital Assets
Land and buildings owned by the Government of Canada, and under the control of the Gallery, are recorded
at their estimated historical cost for land, and at their estimated historical cost less accumulated amortization
for buildings. The historical net costs of the building have been credited to deferred contributions for the
amortization of capital assets, and the estimated historical cost of the land has been credited to net assets.
Leasehold improvements are amortized over the lesser of the remaining lease term or estimated useful life.
Other capital assets are recorded at cost and, with the exception of land, are amortized over their estimated
useful life.
Amortization is calculated using the straight-line method over their estimated useful lives as follows:
Building
Building improvements
Leasehold improvements
Equipment and furniture
Vehicles
Intangible assets
40 years
10 to 25 years
15 years
3 to 12 years
5 years
3 years
Capital projects in progress are transferred to the appropriate capital asset classification upon completion,
and are then amortized.
(h)Collection
The Gallery holds a collection of works of art and archival material for the benefit of Canadians, present and
future. The collection is shown as an asset at a nominal value of $1,000 due to the practical difficulties of
determining a meaningful value for these assets. Items purchased for the collection are recorded in the
Statement of Operations as an expense in the year of acquisition, with an equivalent amount recorded
as parliamentary appropriations for the purchase of objects for the collection. Items contributed to the
collection are recorded in the Statement of Operations as a contribution and an offsetting expense when the
following three criteria are met: i) the items donated have been approved as per the Gallery’s Acquisition
policy; ii) legal transfer has taken place between the donor and the Gallery; and iii) a fair market value has
been assigned to the donated items by independent valuators.
(i) Contingent Liabilities
Contingent liabilities are potential liabilities which may become actual liabilities when one or more future
events occur, or fail to occur. If the future event is likely to occur or fail to occur, and a reasonable estimate
of the loss can be made, an estimated liability is recognized and an expense is recorded. If the likelihood is
not determinable or an amount cannot be reasonably estimated, the contingency is disclosed in the notes to
the financial statements.
(j) Employee Future Benefits
Pension Benefits
Substantially all of the employees of the Gallery are covered by the public service pension plan (the “Plan”),
a contributory defined benefit plan established through legislation and sponsored by the Government of
Canada. Contributions are required by both the employees and the Gallery to cover current service cost.
Pursuant to legislation currently in place, the Gallery has no legal or constructive obligation to pay further
contributions with respect to any past service or funding deficiencies of the Plan. Consequently, the
Gallery’s contributions are recognized as an expense in the year in which employees have rendered service,
and represent the total pension obligation of the Gallery.
Annual Report 2014–1592
Severance Benefits and Sick Leave Benefits
Certain employees are entitled to severance and sick leave benefits, as provided for under labour contracts
and conditions of employment. The cost of these benefits is accrued as the employees render the services
necessary to earn them. During the year, the Gallery reached an agreement with the Public Service Alliance
of Canada to terminate the accumulation of severance benefits. The accrued benefit obligation for severance
benefits is calculated based on actuarial valuation, on the employees’ salaries and number of years of service
at year-end, discounted at an appropriate rate. The sick leave benefits accumulate but do not vest. The liability
for sick leave benefits is calculated using an actuarial cost method, and it is recognized based on the
probability of usage by employees established per historical data.
(k) Foreign Currency Translation
Monetary assets and liabilities denominated in foreign currencies are translated into Canadian dollars
using exchange rates at the Statement of Financial Position date. Revenues and expenses are translated at
exchange rates in effect at the time of the transaction. Foreign currency exchange gains or losses for the
year are included in financial charges (refer to Schedule 2, miscellaneous).
(l) Revenue Recognition
Parliamentary Appropriations
Parliamentary appropriations for operating expenditures are recognized in the fiscal year for which they are
approved.
Parliamentary appropriations for the purchase of objects, and related costs for the collection, are initially
recorded as deferred contributions for the purchase of objects for the collection in the year of entitlement,
and are recognized in the Statement of Operations at the time the acquisitions are made.
Parliamentary appropriations received for the purchase of capital assets are initially recorded as deferred
contributions for the purchase of capital assets. When the purchases are made, the portion of the parliamentary
appropriations used to make the purchases is recorded as deferred contributions for the amortization of
capital assets, and amortized on the same basis as the related capital assets.
Contributions
Unrestricted contributions are recognized as revenue when received or receivable, if the amount to be received
can be reasonably estimated, and collection is reasonably assured.
Contributions from non-owners received for specific purposes are recorded as other deferred contributions,
and recognized in the year in which the related expenses are incurred and requirements are met. Investment
income arising from restricted contributions is also recorded in other deferred contributions when earned
and recognized as revenue in the Statement of Operations in the year the conditions are met.
Contributed services, when used in the normal course of the Gallery’s operations and would otherwise have
been purchased, are recorded at their estimated fair value at the date they are received by the Gallery.
Volunteers contribute a significant number of hours each year. Because of the difficulty of determining
their fair value, their contributed services are not recognized in these financial statements.
Operating Revenues
Operating revenues consist of bookstore and publishing sales, admissions, rental of public spaces, parking,
memberships, interest revenues, travelling exhibitions, education services, art loans and other miscellaneous
revenues. Operating revenues are recognized in the year in which services are provided. Funds received in
return for future services are deferred.
(m)Endowments
Endowments consist of restricted donations received by the Gallery. Upon receipt, the endowment is recorded
as an increase to net assets, as the principal is required to remain intact. Investment income generated from
endowments is recorded as deferred contributions until it is used in accordance with the purpose established
by the donor, at which point it is recognized as revenue in the Statement of Operations.
93
Financial Statements
(n) National Gallery of Canada Foundation
The Gallery and the National Gallery of Canada Foundation (the “Foundation”) are related by virtue of the
Gallery’s economic interest in the Foundation. The Foundation is a separate, significantly influenced, legal
entity, with a mandate to seek and obtain major donations to support the Gallery’s mandate and assist in
achieving the Gallery’s vision. The financial statements of the Foundation have been audited, but have not
been consolidated in the Gallery’s financial statements. The Foundation’s financial statements are summarized
in Note 18, and the complete statements are available upon request.
(o) Use of Estimates
The preparation of financial statements is in accordance with PSAS, and requires management to make
estimates and assumptions that affect the reported amounts of assets and liabilities at the date of the financial
statements and the reported amounts of income and expenses for the year. Employee-related liabilities,
estimated useful life of capital assets, salary accruals, and contingent liabilities are the most significant
items where estimates are used. Actual results could differ significantly from those estimated. The Gallery
also used estimates and assumptions for the market value of land and building at the date of transfer of
custody from Public Works and Government Services Canada.
3. CHANGE IN ACCOUNTING POLICIES
Effective April 1, 2014, the Gallery made an accounting policy change with respect to the recording of items
contributed to the collection. Contributed items are now recorded as revenue at fair market value in the year
when the following three criteria are met: i) the donation has been approved as per the Gallery’s Acquisition
policy; ii) legal transfer has taken place between the donor and the Gallery; and iii) an independent fair market
value has been assigned to the donated items. The recording of donated items results in an offsetting expense
to collection — Acquisition of items for the collection.
In the past, the accounting policy for the acquisition of items for the collection provided different treatments,
depending on whether the items were acquired through purchase or contribution. Purchased items were
reflected on the Statement of Operations as a collection — Art Purchase expense in the year of acquisition,
with a corresponding amount recorded as parliamentary appropriations for the acquisition of items for
the collection. Contributed items were being presented only as part of the note to the financial statements
on collection (Note 7).
The policy change will provide readers of the statements with a more complete picture of the Gallery’s
activities related to its collections, fundraising and donations. The impact of this accounting policy change
on the comparative figures is as follows:
(in thousands of dollars)
Statement of Operations
Year ended
March 31, 2014
as previously reported
Operating revenue and contributions
$
Acquisition of items for the collection
Net result of operations
Adjustment in
accordance with recognition policy
Year ended
March 31, 2014
restated
7,325 $
5,855 692 1,763 $
1,763 —
9,088
7,618
692
—
$
7,325 1,763 $
1,763 1,763
9,088
1,763 $
1,763 1,763
55,561
Schedule #1: Operating Revenue, Sponsorships and Contributions
Contributed items for the collection
Total Operating Revenue, Sponsorships and Contributions
$
Schedule #2: Expenses
Contributed items for the collection
$
Total Expenses
Annual Report 2014–1594
—
$
53,798 4. CASH AND CASH EQUIVALENTS
The Gallery makes short-term, low-risk investments in guaranteed investment certificates and money market
funds. During the year ended March 31, 2015, cash and cash equivalents yielded an average return of 1.10% (year
ended March 31, 2014: 1.43%). Due to the short term and nature of these investments, cost approximates fair value.
As at
As at
(in thousands of dollars) March 31, 2015 March 31, 2014
Cash
$3,049 $2,834
Money market and short term investments
3,045 15,196
6,094 18,030 Less: amounts allocated for restricted purposes
Deferred appropriations for the purchase of objects for the collection
—5,008
Deferred appropriations for the purchase of capital assets
—3,911
Other deferred contributions
—1,889
Endowments
— 116
—
10,924
Unrestricted cash and cash equivalents
$6,094 $7,106
5. INVESTMENTS
During the year ended March 31, 2015, investments yielded an average return of 1.49% (year ended
March 31, 2014: 1.90%).
At March 31, 2015, the Gallery held the following investments;
• Guaranteed investment certificate with face value $5,000,000, yield of 1.50%, and a maturity date of March 26, 2016.
• Guaranteed investment certificate with face value $11,000,000, yield of 1.45%, and a maturity date of July 5, 2015.
• Common shares in the amount of $92,539.
At March 31, 2014, the Gallery held the following investments;
• Guaranteed investment certificate with face value $5,100,000, yield 1.90%, and a maturity date of July 29, 2014.
As at
As at
(in thousands of dollars) March 31, 2015 March 31, 2014
Guaranteed investment certificates
$16,000 $
5,100
Common shares
93 —
16,093 5,100 Less: amounts allocated for restricted purposes
Deferred appropriations for the purchase of objects for the collection
Deferred appropriations for the purchase of capital assets
Other deferred contributions
Endowments
Unrestricted investment
95
2,787 4,817 1,732 116 9,452 $6,641 $
—
—
—
—
—
5,100
Financial Statements
6. ACCOUNTS RECEIVABLE
Accounts receivable are net of applicable allowance for doubtful accounts of $37,207 ($42,128 at March 31, 2014).
As at
As at
(in thousands of dollars) March 31, 2015 March 31, 2014
Trades receivable
$280 $
231
Appropriations receivable
535 56
Taxes receivable
488 1,284
Trades receivable - Government Departments and Crown Corporations
21 46
$ 1,324 $1,617
7. COLLECTION
The Gallery has an extensive collection of visual arts, particularly Canadian art. The main collecting areas are:
Canadian Art, including Early (pre-1867) and Later (post-1867) Canadian Art
Indigenous Art, including First Nations and Métis Art, Inuit Art, and International Indigenous Art
International Art, including paintings, sculpture and decorative arts both historic and modern (pre-1980)
Contemporary Art, including both Canadian and International Art (post 1980)
Photographs, including Canadian Historical (pre-1967) and Contemporary as well as International
(pre-1980)
• Library and Archival material
•
•
•
•
•
The Gallery acquires items for the collection by purchase, gift and bequest. Acquisitions in the year, by funding
source, are as follows:
Restated
20152014
(in thousands of dollars) Purchase from Appropriations $9,421 $ 5,258
Purchase from private donations
426 597
Total purchases 9,847 Gifts or bequests, at estimated fair value
3,949 5,855
Total acquisitions$13,796 $
7,618
1,763
Acquisitions in the year, by collecting area, are as follows:
Restated
20152014
(in thousands of dollars) Canadian Art
Indigenous Art
International Art
Contemporary Art
Photographs
Library and Archives
$1,056 $ 339
609 731
2,873 645
5,748 3,785
1,614 1,954
1,896 164
Total acquisitions
$13,796 $
7,618
The Gallery was in receipt of a small number of donated items, which were not valued independently.
These items are not included in the totals above. During the year and during the prior year, no collection
items were sold or otherwise disposed of.
Annual Report 2014–1596
8. CAPITAL ASSETS
Building improvements include an amount of $426,653 for unamortized work-in-progress capital projects at
March 31, 2015 ($10,265,623 at March 31, 2014).
As at
As at
Accumulated March 31, 2015 March 31, 2014
(in thousands of dollars)
Costamortization Net book value
Net book value
Land
$
622 $
—
$622 $
Building 155,928 104,277 51,651 Building improvements
42,518 13,040 29,478 Leasehold improvements
2,480 661 1,819 Equipment and furniture
23,890 23,234 656 Vehicles
379 311 68 Intangible assets
1,189 1,083 106 622 55,550 30,168 1,984 754 96
225
89,399
$ 227,006 $ 142,606 $84,400 $
The net change in investment in capital assets is as follows:
(in thousands of dollars) 20152014
Capital asset additions
$1,264 $
8,227
Less: capital assets financed through contributions
(1,264)(8,227)
— —
Deferred contributions used for the amortization of capital assets
6,262 5,913
Amortization of capital assets
(6,262)(5,913)
Net change in investment in capital assets
$
—
$
—
9. ACCOUNTS PAYABLE AND ACCRUED LIABILITIES
As at
(in thousands of dollars)
March 31, 2015
As at
March 31, 2014
Trades payable
$2,485 $
Due to Government Departments and Crown Corporations
375 Unearned revenue
171 3,156
38
173
$3,031 $3,367
10. ACCRUED SALARIES AND BENEFITS
As at
(in thousands of dollars)
March 31, 2015
As at
March 31, 2014
Salary related liabilities
$2,034 $
Accrued benefit liability, short term portion (Note 12)
1,636 Vacation and compensatory time accruals
781 2,048
—
857
2,905
97
$4,451 $
Financial Statements
11. DEFERRED CONTRIBUTIONS
The Gallery receives an $8,000,000 annual appropriation for the purchase of objects for the collection. The
Gallery accumulates these funds in a separate account, which it uses to acquire, when opportunities arise,
historically important, unique and high-quality works that strengthen the collection. Within the Gallery’s
general parliamentary appropriation for operating and capital expenditures, there are amounts that have been
approved by the Treasury Board as funding for projects of a capital nature. The Gallery is in receipt of other
deferred contributions from individuals, corporations and foundations that are restricted to a specific purpose.
Appropriations
for the purchase
Appropriations
of objects for the for the purchase
Other deferred
(in thousands of dollars)
collection of capital assets
contributions
2015
2014
Beginning balance, as at
April 1
$
5,008 $
3,911 $
1,889 $10,808 $ 15,840
Appropriations received in
the year
8,000 2,170 —
10,170 9,000
Non-Government funding
received in the year
—
—
1,649 1,649 2,771
13,008 6,081 3,538 22,627 27,611
Amounts recognized as revenue
in the year
(9,421)
—
(1,806) (11,227)(7,776)
Related acquisition costs
(800)
—
—
(800) (800)
Purchase of capital assets in
the year —
(1,264) —
(1,264)(8,227)
Ending balance,
as at March 31
$
2,787 $
4,817 $
1,732 $
9,336 $10,808
12. EMPLOYEE FUTURE BENEFITS
Pension Benefits
Substantially all of the employees of the Gallery are covered by the Public Service Pension Plan (the “Plan”),
a contributory defined benefit plan established through legislation and sponsored by the Government of
Canada. Contributions are required by both the employees and the Gallery. The President of the Treasury
Board of Canada sets the required employer contributions, based on a multiple of the employees’ required
contribution. The required employer contribution rate for 2014–15 was dependent on the employee’s employment
start date. For employment start dates before January 1, 2013, the Gallery’s general contribution rate effective
at year-end was 10.43% (10.88% as at March 31, 2014), and for employment start dates after December 31, 2012,
the Gallery’s general contribution rate effective at year-end was 9.02% (9.47% as at March 31, 2014). Total
contributions of $1,753,000 ($1,959,000 as at March 31, 2014) were recognized as expense in the current year.
The Government of Canada has a statutory obligation for the payment of benefits relating to the Plan.
Pension benefits generally accrue up to a maximum period of 35 years at an annual rate of 2.00% of pensionable
service, times the average of the best five consecutive years of earnings. The benefits are coordinated with
Canada/Québec Pension Plan benefits, and they are indexed to inflation.
The contributions to the Plan for the past two years were as follows:
(in thousands of dollars) 20152014
Employer’s contributions
$
Employee’s contributions
Annual Report 2014–1598
1,753 $1,959
1,239 1,208
Severance Benefits and Sick Leave Benefits
The Gallery provides severance benefits to certain of its employees, based on years of service and final salary,
as well as compensated sick leave benefits. Sick leave benefits accumulate but do not vest. These benefit plans
are not pre-funded and thus have no assets, resulting in a plan deficit equal to the accrued benefit liability.
Future years’ increases to the liability will be funded from future appropriations. Expense for the year is
determined by actuarial valuation. Key assumptions include an amount for annual real wage increases,
a discount rate of 1.50% and inflation of 2.00% (2.60% and 2.00%, respectively as at March 31, 2014). The last
actuarial valuation for severance and sick leave was made as at March 31, 2015.
During the year, the Gallery reached an agreement with the Public Service Alliance of Canada to cease
accumulation of severance benefits. Under the agreement, employees may elect to receive cash payments
immediately, or to defer that payment until termination of employment. At the end of the year, not all
employees have indicated which option they will choose, so an estimate has been determined. The balance
related to estimated cash payouts has been transferred to short-term accrued salaries and benefits (Note 10).
The balance remaining in long-term employee future benefits represents the portion for estimated employees
who will elect to defer payment.
Information about the plan, measured as at the financial position date, is as follows:
(in thousands of dollars) 20152014
Accrued benefit obligation, beginning of year $2,472 $2,265
Current service cost
146 302
Interest expense
73 46
Benefits paid during the year
(310) (96)
Amendment, curtailment and settlement1
412 —
Actuarial gains
(29) (45)
Accrued benefit obligation, end of year
Unamortized actuarial gains
2,472
33 Accrued benefit liability, end of year
1
2,764 2,797 22
2,494
Curtailment of the severance benefit program - Public Service Alliance of Canada (PSAC) employees
Accrued benefit liability, short-term portion
$1,636 $
Accrued benefit liability, long-term portion
1,161 —
2,494
During the year, $613,000 was recognized as an expense in the Statement of Operations in relation to these
benefits ($352,000 in 2013–14).
13. DEFERRED CONTRIBUTIONS FOR THE AMORTIZATION OF CAPITAL ASSETS
These amounts represent the unamortized portion of parliamentary appropriations used to purchase
depreciable capital assets.
(in thousands of dollars) 20152014
Balance, beginning of year
Acquisition of capital assets
Amortization of capital assets
$88,776 $ 86,462
1,264 8,227
(6,262)(5,913)
Balance, end of year
$83,778 99
$
88,776
Financial Statements
14. PARLIAMENTARY APPROPRIATIONS
(in thousands of dollars) 20152014
For operating and capital expenditures
Main estimates
Supplementary estimates
$35,771 $
538 35,426
768
36,309 36,194 Appropriations deferred for the purchase of capital assets
(1,000)(1,000)
Appropriations restricted for the purchase of capital assets
(1,170)
—
Amortization of deferred funding for capital assets
6,262 5,913
40,401 For the purchase of items for the collection Main estimates
Appropriations recognized from prior years
Appropriations deferred to future years
8,000 8,000
5,008 3,066
(2,787)(5,008)
10,221 Total parliamentary appropriations
41,107
$50,622 $
6,058
47,165
15. CONTINGENCIES
In the normal course of its operations, various claims and legal proceedings can be asserted or instituted
against the Gallery. These claims consist mainly of grievances and other legal claims. At March 31, 2015,
the Gallery recorded contingent liabilities related to some claims and legal proceedings for which the event
is likely to occur, and a reasonable estimate of the loss can be made, and is recorded under accrued salaries.
The Gallery considers that providing the extent of the contingent liability would have an adverse effect
on the outcome. All matters are classified as current, as the Gallery expects them to be resolved within
twelve months.
16. CONTRACTUAL OBLIGATIONS
The Gallery has entered into various agreements, mainly for protection services, rental accommodation and
other facility management. As at March 31, 2015, future minimum payments for these agreements total
$23,240,726 ($10,318,423 at March 31, 2014).
Rental
Other
Total
(in thousands of dollars)
accommodation
commitments March 31, 2015
2015–16
$
2016–17
2017–18
2018–19
2019 and thereafter
436 $
439 441 249 1,040 2,605 Annual Report 2014–15100
$
$
5,512 $5,948
4,581 5,020
3,882 4,323
3,303 3,552
3,358 4,398
20,636 $23,241
17. RELATED PARTY TRANSACTIONS
The Gallery enters into transactions with related parties in the normal course of business on normal trade
terms applicable to all individuals and enterprises. Related party transactions are recorded at fair value.
The Gallery is related in terms of common ownership to all Government of Canada departments, agencies
and Crown corporations. Related party also includes key management personnel having authority and
responsibility for planning, directing and controlling the activities of the Gallery. This includes the Senior
Management Team, all members of the Board of Trustees, and immediate family members thereof.
In addition to those related party transactions disclosed elsewhere in these financial statements, the Gallery
had the following transactions. Revenue transactions primarily relate to negotiated parking agreements
with government organizations and Crown corporations. Expenses transactions primarily relate to payments
in lieu of taxes, employee benefit payments, and payments for utilities.
(in thousands of dollars) 20152014
Revenues from related parties
Operating revenue
$250 $ 173
Sponsorships and contributions
—
—
$250 $
173 Expenses with related parties
Salaries and employee benefits
$3,192 $
2,384
Payments in lieu of taxes
4,088 4,280
Professional and special services
2 98
Repairs and maintenance of buildings and equipment
— 10
Utilities, materials and supplies
300 472
Freight, cartage and postage
72 79
Travel
— 10
Publications
1 —
Cost of goods sold — bookstore
3 4
Advertising 9 12
Communications
20 23
Miscellaneous
—
5
$
7,687 $7,377
The following balances were outstanding at the end of the year:
(in thousands of dollars)
20152014
Due from related parties
$ 21 Due to related parties
101
$
375 100
38
Financial Statements
18. NATIONAL GALLERY OF CANADA FOUNDATION
The National Gallery of Canada Foundation (the “Foundation”) was incorporated on June 27, 1997 under the
Canada Corporations Act as a non‑profit corporation without share capital, and is a registered charity within
the meaning of the Income Tax Act (Canada). Effective January 9, 2014, the Foundation continued its articles
of incorporation under the Canada Not-for-profit Corporations Act. The Foundation is a separate, significantly
influenced, legal entity with a mandate to seek and obtain major donations to support the Gallery’s mandate
and assist in achieving the Gallery’s vision. The financial statements of the Foundation have been audited
by another firm, and have not been consolidated in the Gallery’s financial statements.
The Foundation raises funds from patrons, corporations, and associations, and from the community. The Board
of Directors of the Foundation is elected by the voting members of the Foundation. All of the direct expenses
related to the operation of the Foundation to March 31, 2015 have been reported in the Statement of Operations
of the Foundation as administration and fundraising expenses. The distributed amounts to the Gallery
by the Foundation are recorded in the Operating revenue and contributions in the Gallery’s Statement of
Operations. The financial position of the Foundation as at March 31, 2015, the results of operations, and cash
flows for the year then ended are as follows:
Statement of Financial Position
(in thousands of dollars) 20152014
Total assets
$20,029 $
16,515
Total liabilities, 18a)
3,618 3,465
Unrestricted net assets
299 95
Endowed net assets, 18b)
16,112 12,955
Total liabilities and net assets
Statement of Operations
$20,029 $
16,515
(in thousands of dollars) 20152014
Total revenues
$1,829 $1,626
Total expenses
868 573
Contributions to the National Gallery of Canada, 18c)
854 1,198
Excess (deficiencies) of revenues over contributions and expenses
Statement of Cash Flows
$107 $
(145)
(in thousands of dollars) 20152014
Operating activities
$276 $
Investing and Financing activities
1,677 Increase in cash for the year
Annual Report 2013–14102
$1,953 $
(959)
1,106
147
These tables are based upon the audited financial statements for the National Gallery of Canada Foundation,
which have been audited by another firm and are available upon request.
a) An amount of $137,748 ($4,024 at March 31, 2014) is payable by the Foundation to the Gallery.
b) All of the Foundation’s net assets must be provided for the ultimate benefit of the National Gallery of
Canada. An amount of $19,532,451 ($16,382,916 at March 31, 2014) of the Foundation’s assets is subject to
donor-imposed restrictions, of which $16,112,096 ($12,954,630 at March 31, 2014) represents endowment funds
that are to be maintained permanently. Investment revenue generated by endowment funds is to be used for
the benefit of the Gallery.
c) The contributions to the Gallery by the Foundation were made in accordance with the restrictions approved by
the Foundation’s Board of Directors and supported art acquisition activities, and other art and program activities
at the Gallery. During the year, the Foundation contributed $853,914 to the Gallery ($1,198,346 during 2013–14).
19. FINANCIAL INSTRUMENTS AND EXPOSURE TO RISK
Credit Risk
Credit risk is the risk of financial loss to the Gallery associated with a counter-party’s failure to fulfill its
financial obligations, and arises principally from the Gallery’s accounts receivable and its investments in
guaranteed investment certificates and money market funds. The Gallery is subject to credit risk on the
value of its accounts receivable, excluding taxes receivable, in the amount of $836,000 ($333,000 at March 31,
2014), and on its restricted and unrestricted cash equivalents and short-term investments of $19,138,000
($20,295,785 at March 31, 2014). The Gallery has determined that the risk is not significant.
(a) Accounts Receivable
The Gallery is exposed to credit risk from customers in the normal course of business. The accounts receivable
are net of applicable allowance for doubtful accounts, which is established based on specific risk associated
with individual clients, and other relevant information. Of the accounts receivable, $534,727 ($56,819 at
March 31, 2014) consists of appropriations receivable from the Government. Concentration of credit risk is
limited, because a large part of revenue is from reputable organizations such as other government departments, universities, schools, and museums. The Gallery manages this risk by closely monitoring the issuance of credit to commercial clients. In total, $98,124 ($58,429 at March 31, 2014) of accounts receivable are
past due but not impaired. Accounts that have exceeded 30 days are considered past due.
Based on a specific analysis of accounts receivable, and considering the Gallery’s knowledge of the financial
condition of its customers, the aging of accounts receivable and other applicable factors, $37,207 of accounts
receivable were individually impaired as of March 31, 2015 ($42,128 at March 31, 2014).
(b) Cash Equivalents and Investments
The Gallery manages its exposure to credit risk by following its investment policy, which limits its investments
to cash equivalents thereby significantly lowering credit risk. Cash equivalents and short-term investments
consist of investments in guaranteed investment certificates and units in money market funds whose
objective is to earn interest income while preserving capital and maintaining liquidity. The sums are invested
in debt obligations of, or guaranteed by, the Canadian federal, provincial or municipal governments, Canadian
chartered banks, Canadian loan or trust companies or Canadian corporations.
103
Financial Statements
Liquidity Risk
Liquidity risk is the risk that the Gallery will not be able to meet its financial obligations as they fall due.
Financial obligations arise in the normal course of business. The Gallery manages liquidity risk through the
management of its cash and cash equivalents. The Gallery has determined that the risk is not significant,
because it maintains sufficient cash to meet its current obligations and maintains short-term investments that
can be redeemed as needed. The Gallery’s objective for managing liquidity risk is to manage operations and cash
expenditures within the appropriation authorized by Parliament and the Gallery’s self-generated revenues.
The following table presents a maturity analysis of the Gallery’s estimated undiscounted future cash flows
associated with contractual financial liabilities as at March 31, 2015 and March 31, 2014.
(in thousands of dollars)
Total
Less than
3 months
$
2,485 3 to 6
6 to 12
monthsmonths
Trades payable
$
Due to Government Departments
and Crown Corporations
Accrued salaries and benefits
2,485 $
—
$
—
375 4,451 375 237 —
3,862 —
352
Total: March 31, 2015
7,311 3,097 3,862 352
Total: March 31, 2014
6,099 2,447 771 2,881
Market Risk
Market risk is the risk that changes in market price, such as foreign exchange rates and interest rates, will
affect the Gallery’s future cash flow or the fair value of its holdings of financial instruments. The Gallery has
determined that the risk is not significant.
(a) Foreign Currency Risk
The Gallery operates primarily within Canada, but in the normal course of operations, the Gallery is party to
exchange of exhibitions and collections on an international basis, while also holding cash in foreign currencies.
The currencies in which these transactions occur are primarily Canadian and U.S. dollars, and the Euro.
20152014
Holdings
In $CAD
Holdings
In $CAD
U.S. Dollars
15,337 19,452 Euros
1,305 1,778 21,230
42,817 1,305 47,327
1,987
49,314
The approximate impact of a 10.0% (2.5% at March 31, 2014) change in the Canadian dollar compared to the
U.S. dollar on these exposed balances at March 31, 2015 is a $1,945 ($968 at March 31, 2014) increase/decrease
in net income. A sensitivity of 10.0% has been selected, as this is considered reasonable given the current
level of exchange rates, the level of volatility observed recently, and market expectations for future movement
of the Canadian and U.S. dollar.
Annual Report 2013–14104
(b) Interest Risk
The Gallery is subject to interest rate risk on its cash equivalents and short-term investments. The interest
income generated by the Gallery’s investments varies from year to year. The Gallery’s exposure to interest
rate fluctuations is limited to changes in bank rates. The risk is not significant due to the short-term nature
of the investments. In view of the low interest rates offered on the market in the year ended March 31, 2015,
the Gallery realized an average of 1.24% during the fiscal year (1.43% in the year ended March 31, 2014).
Had monthly interest rates been reduced by 0.25%, the Gallery’s interest revenue from its cash equivalents
and short-term investments would have been approximately $56,586 lower ($38,190 lower in the year ended
March 31, 2014).
The Gallery’s objectives, policies and processes for managing the risks and the methods used to measure the
risks are consistent with those in place as at March 31, 2014. In addition, the exposure to the risks and how
they arise also remained unchanged from the prior year.
20. COMPARATIVES FIGURES
Some prior year figures have been reclassified to conform to the current year’s presentation.
105
Financial Statements
SCHEDULE 1: OPERATING REVENUE, SPONSORSHIPS AND CONTRIBUTIONS
For the year ended March 31
Restated (Note 3)
20152014
(in thousands of dollars) Operating Revenue
Bookstore and publishing
$1,855 $
1,559 Admissions 1,363 949 Parking
984 890 Memberships
459 383 Rental of public spaces
266 168 Education services
127 73 Art loans — recovery of expenses
241 198 Travelling exhibitions
50 171 Audio guides
63 28 Food services
43 3
Interest
263 345
Other
54 40
5,768 4,807
Sponsorships and Contributions Sponsorships
325 375 Sponsorships, contributed services
125 94 Contributions
Contributed items for the collection
3,949 1,763 From the National Gallery of Canada Foundation
854 1,198
From other individuals, corporations and foundations
952 851
6,205 4,281
Operating revenue, sponsorships and contributions
SCHEDULE 2: EXPENSES
For the year ended March 31
(in thousands of dollars) $11,973 $
9,088
Restated (Note 3)
20152014
Salaries and employee benefits
$19,915 $20,772
Purchased items for the collection
9,847 5,855
Contributed items for the collection
3,949 1,763
Amortization of capital assets
6,262 5,913
Payments in lieu of taxes
4,136 4,244
Professional and special services
3,047 2,273
Insurance
268 193
Repairs and maintenance of buildings and equipment
3,848 3,994
Protection services
2,833 2,727
Utilities, materials and supplies
2,221 2,218
Freight, cartage and postage
1,665 1,061
Travel
807 1,140
Publications
605 807
Cost of goods sold — bookstore
1,027 777
Advertising 646 566
Rent 452 498
Communications
265 253
Library purchases 208 212
Rentals of equipment
154 169
Fellowships 45 43
Bad debts expense
— 29
Miscellaneous
43 54
Total expenses
$62,243 $ 55,561
Annual Report 2013–14106
NATIONAL GALLERY OF CANADA FOUNDATION
Annual Report 2014–15
MESSAGE FROM THE CHAIR OF THE BOARD OF DIRECTORS
Thomas D’Aquino
As Chair of the National Gallery of Canada Foundation, it is my pleasure to highlight some of the
Foundation’s key achievements during the past year.
In 2014–15, we at the Foundation were delighted to welcome ten new couples and individuals as Distinguished
Patrons: Ann and Tim Bowman (Toronto), Scott Campbell (Toronto), Susan Glass and Arni Thorsteinson
(Winnipeg), Michael and Sonja Koerner and family (Toronto), George and Leanne Lewis (Toronto), Keltie and
John Mierins (Ottawa), Ash Prakash (Toronto), Rob and Monique Sobey (Stellarton), and two anonymous new
members. Our growing group of Distinguished Patrons enjoyed several notable events and program opportunities in 2014–15. In May 2014, Michael Tims, Chair of the National Gallery of Canada and Vice-Chair of our
Foundation, and Renae Tims generously hosted a reception and speakers’ event in Calgary. In October 2014,
Distinguished Patrons crossed the Atlantic to London for the Foundation’s second major arts tour. This highly
successful visit included access to leading museums and private collections, as well as briefings from leading
visual arts specialists. A final event in November 2014, commemorating the centenary of the First World War,
was held at the Gallery on the eve of Remembrance Day. This was held in conjunction with the Foundation’s
annual Distinguished Patrons Soirée and the exhibition The Great War: The Persuasive Power of Photography.
This past year, the Gallery and Foundation launched the Capital Naming Opportunities program. An exceptional
selection of galleries and public and behind-the-scenes rooms and spaces are now available for philanthropic
naming. The extraordinary financial support received for these naming opportunities will begin to address
specific project priorities, while providing an inspirational boost to the Foundation’s endowments, so vital to
supporting the National Gallery for many years to come. In February 2015, the Foundation proudly announced
the first named space at the National Gallery of Canada: the Donald R. Sobey Family Gallery, in recognition
of the Donald R. Sobey Foundation’s lead gift of $2 million to the Canadian Artists in Venice Endowment.
Donors play a vital role in advancing the Foundation’s ambitious mandate to provide support to the National
Gallery, and on behalf of the Board of Directors of the National Gallery of Canada Foundation, I extend our
deepest gratitude to each of them for their ongoing commitment.
The Foundation salutes members of our Board of Directors who generously dedicate their time and energy,
providing direction and knowledge to our able professional staff. I also salute new Board members, Reesa
Greenberg, Michelle Koerner, Michael O’Brian, and Ash Prakash who, since their election to the Board, have
been vital in guiding some of the Foundation’s leading projects. I extend my deepest gratitude to Michael
Audain who, after announcing his retirement from the Foundation Board in May 2014, remains to this day
one of the Gallery’s most important supporters and donors.
It is a pleasure to extend a final word of thanks to Karen Colby-Stothart, the Foundation’s CEO, and her small
but highly effective team, as well as to the Gallery’s inspirational Director, Marc Mayer, and to each of the
Gallery’s talented and dedicated team who continue to enrich the lives of Canadians through fascinating
exhibitions, engaging programming, and leading research.
The Foundation looks forward to cultivating ever wider and deeper partnerships in years to come, in support
of the National Gallery of Canada — a treasure to the nation and centre of global excellence.
Annual Report 2014–15108
The Donald R. Sobey Family Gallery (B105)
Works on view:
Sol LeWitt, Wall Drawing No. 623 Double asymmetrical pyramids
with colour ink washes superimposed 14–17 November 1989
Purchased 1990
National Gallery of Canada, Ottawa
Luke Parnell, Phantom Limbs 2010
Purchased 2014
National Gallery of Canada, Ottawa
109
National Gallery of Canada Foundation
MESSAGE FROM THE CHIEF EXECUTIVE OFFICER
Karen Colby-Stothart
Since the National Gallery of Canada Foundation was created in 1997, it has played a key role in raising
awareness of the Gallery’s work across the country, while cultivating philanthropic support for core activities
at the Gallery, including Collections, Exhibition Programs and Outreach, and Special Projects and Research.
In 2014–15, the Foundation raised $6,112,626 in new cash and pledges, including both designated projects
and non-designated funding, with $2,056,641 directed to endowments, and $4,055,985 to expendable funds.
Disbursements of $854,664 were made to the Gallery, including the following notable areas:
Exhibition Programs and Outreach
•
•
•
•
The 2015 Canadian representation at La Biennale di Venezia, featuring Canadian artist collective BGL, and
guest curator Marie Fraser was supported by generous donations from the Royal Bank of Canada and the
following new Distinguished Patrons: Scott Campbell, Ann and Tim Bowman, and Susan Glass and
Arni Thorsteinson.
Jack Bush (13 November 2014 to 22 February 2015) benefitted from important financial contributions from
The Polar Foundation, The Y.P. Heung Foundation, Rob and Sandra May, and Kenneth Pustai.
The 2014 Canadian Biennial, Shine a Light and the So You Want to be an Artist contest received support from the
RBC Foundation, a recurring partnership.
The Gallery’s new distance-learning program, which reaches schools across the country through internetbased, live communication, benefitted from the support of the Volunteer Circle Endowment Fund.
Collections
•
A winter landscape painting by Canadian artist Maurice Cullen — Lévis, Quebec was acquired with funds
from the Andrea and Charles Bronfman Canadian Art Fund.
• Acquisitions of works by Canadian artists Etienne Zack — Sincerely Yours (2014), and Christian Giroux and
Daniel Young — Eunoia (2013), were made possible with the support of the Joy Thomson Fund for the Acquisition
of Art by Young Canadian Artists.
•The Audain Curator of Indigenous Art Endowment funded salary and operational costs.
• The Foundation’s counterpart in the United States — the American Friends of the National Gallery of
Canada — received the first of three gifts of art from American donors. Storage, transit and photography
costs were supported by the National Gallery of Canada Foundation through its Distinguished Patrons Fund.
These works are currently on long-term loan to the Gallery, with the intention of presenting
them as gifts:
— The Burke Family, Chicago (Illinois), donated a collection of over 200 exceptional works of Inuit
prints, drawings, and sculptures;
— Susan and Thomas Brock, New York (New York), donated a painting from the Green Zone Series (2014),
by Wanda Koop; and
— Thierry de Duve, New York (New York), donated Bottle of Paint, Tube of Paint, Box of Paint (1988),
an installation by Ron Martin.
Annual Report 2014–15110
Special Projects and Research
•
Funds provided by the Mark McCain and Caro Macdonald Fund supported curatorial research and travel for
guest curator Julie Crooks to develop an acquisition strategy to enrich the National Gallery’s representation
of contemporary African photography.
• Funds provided by the Beth and Donald Sobey Chief Curator’s Research Endowment supported research fellow,
Kirsten Appleyard, in her ongoing provenance research for the collection.
• Preliminary architectural design studies by architect-professor Alberico Belgiojoso of Milan (Italy)
for the renovation of the Canada Pavilion in Venice (Italy) were fully supported by an anonymous donor.
•The Distinguished Patrons Fund supported the restoration of Young Man with a Lace Collar (1634) by Rembrandt
from the collection of The State Hermitage Museum in the context of an exchange of exhibitions
between the Gallery and the Hermitage. Several works from the Russian national collection will be on
view as part of the Élisabeth Vigée Le Brun retrospective to be presented at the Gallery in 2016.
Of particular significance this year was the development of a Foundation strategy in support of the Venice
Biennale initiative, and the Gallery’s requirement for long-range sustainable funding for this program.
The Foundation established an open Canadian Artists in Venice Endowment Fund in support of Canadian representation at the International Art Exhibition, the Venice Biennale, with a first target of $10 million by 2017–2018.
A lead gift of $2 million was generously received this year from the Donald R. Sobey Foundation. Recognition
was provided in the naming of the Donald R. Sobey Family Gallery, the first-ever named space at the
National Gallery of Canada. In addition, an open Canada Pavilion Renovation Fund, with a target of $3–5 million
was established in support of necessary renovations to the Canada Pavilion. An extraordinary anonymous
pledge of $3 million was received in 2014–15.
The Gallery’s bold new Capital Naming Opportunities Program has enabled the Foundation to raise significant funds
this year. Recognition of major gifts through Gallery naming will remain an important feature in the
Foundation’s fundraising strategy moving forward. Gallery naming is available at the $1 million level and above.
On behalf of the Foundation team and Board of Directors, I extend my deepest gratitude to staff at the National
Gallery, who have collaborated closely with us on projects in 2014–15, and will continue to do so in the years
to come. I join Foundation Chair Thomas d’Aquino in thanking most deeply our donors, Board of Directors,
as well as Distinguished Patrons for their dedication to the Foundation and the Gallery’s advancement.
Lastly, on behalf of the Foundation, I extend my sincerest thanks to Mr. d’Aquino, whose experience and
guidance are profoundly appreciated.
As we approach the Foundation’s 20th anniversary in 2017, the intervening years will be pivotal in continuing
to build the Foundation’s capacity to support ambitious projects which enhance the Gallery’s mandate to
ensure access to outstanding works of art for all Canadians.
111
National Gallery of Canada Foundation
Kiugak Ashoona, Man and Woman (standing figures?) (date unknown)
From a collection of 201 works donated by the Burke Family of
Chicago, Illinois, to the American Friends of the National Gallery
of Canada — currently on loan to the Gallery
Other donations of art to the American Friends of the National Gallery of Canada in 2014–15
Ron Martin, Bottle of Paint, Tube of Paint, Box of Paint February 1988
On loan to the NGC, courtesy of the American Friends of
the National Gallery of Canada, through the generosity of
Thierry de Duve,New York, New York
Wanda Koop, From Green Zone Series 2014
On loan to the NGC, courtesy of the American Friends of
the National Gallery of Canada, through the generosity
of Susan Brownstone Brock and Thomas Brock,
New York, New York
Annual Report 2014–15112
Christian Giroux, Daniel Young, Eunoia 2013
Purchased with the Joy Thomson Fund for
the Acquisition of Art by Young Canadian Artists.
National Gallery of Canada, Ottawa
Other new acquisitions supported by Foundation funds in 2014–15
Maurice Cullen, Lévis, Quebec c. 1897
Purchased with the Andrea and
Charles Bronfman Canadian Art Fund.
National Gallery of Canada, Ottawa
Etienne Zack, Sincerely Yours 2014
Purchased with the Joy Thomson Fund for
the Acquisition of Art by Young Canadian Artists.
National Gallery of Canada, Ottawa
113
National Gallery of Canada Foundation
MAJOR GIFTS 2014–15
SPECIAL DESIGNATIONS 2014–15
($2,000,000)
Donald R. Sobey Family
Donald R. Sobey Family
($100,000–$250,000)
Ann and Tim Bowman
Ronald M. Mannix
RBC Foundation
Two anonymous donors
($25,000–$99,999)
David Aisenstat
The Peter and Joanne Brown Foundation
Scott Campbell
The John C. Kerr Family Foundation
Hassan and Nezhat Khosrowshahi
Ronald P. Mathison
The Estate of Gerald Albert Mendel
The Polar Foundation
The Estate of Elizabeth Simonfay
Arni Thorsteinson and Susan Glass
($10,000–$24,999)
Robert and Mary Pat Armstrong
David G. Broadhurst
Y.P. Heung Foundation
The Horne Family Charitable Foundation
Rob and Sandra May
John and Keltie Mierins
Kenneth Pustai
($1,000–$9,999)
Anne Stanfield
Ann Thomas
The Anthony and Gladys Tyler Charitable Foundation
Donations received via the Behind the Scenes series
(Up to $1,000)
Monique Baker-Wishart
Diana Hirschmann
Gyde and Rosemary Shepherd
Liana Van der Bellen
Donations received via Canadahelps.org
Donations received via United Way Ottawa
(Gifts in Kind)
Michael J. and Renae N. Tims
Annual Report 2014–15114
CANADIAN ARTISTS IN VENICE ENDOWMENT
VENICE BIENNALE 2015
Ann and Tim Bowman
Arni Thorsteinson and Susan Glass
JACK BUSH EXHIBITION SUPPORTERS
The Polar Foundation
Y.P. Heung Foundation
Rob and Sandra May
Kenneth Pustai
AMERICAN FRIENDS OF THE NGC 2014–15
($500–$9,999)
Myron Laskin
Peter G. Restler
(Gifts of Art)
Susan and Thomas Brock
Burke Family
Thierry de Duve
FOUNDING PARTNERS
Bell
BMO Financial Group
CIBC
Nahum Gelber and Dr. Sheila Gelber
Michal Hornstein and Renata Hornstein
Imperial Oil Foundation
Imperial Tobacco Canada Foundation
Parnassus Foundation (Raphael and Jane Bernstein)
Jean H. Picard
Power Corporation of Canada
RBC Foundation
Donald R. Sobey and Beth Sobey
TD Bank Financial Group
Sara Vered and the late Zeev Vered
THE LEGACY CIRCLE
BOARD OF DIRECTORS 2014–15
Claire Alasco
The Estate of Harry Michael Brindza
The Estate of Clifford Malcolm Brown
Jean K. Chaplin
Rita G. de Guire
The Estate of Gertrud E. Feininger
Danielle Gélinas
The Estate of Dorothea and Margaret Graham
Mayo Graham
Julie Hodgson
The Estate of Walter Jachan
Lorene Kayser
The Estate of Inge Kramer
The Estate of Liv-Ellen Lockeberg
Dr. Ken G. Loewen
The Estate of Barbara Joyce MacVicar
The Estate of Evelyn Henderson McAndrew
Guy Meilleur
The Estate of Gerald Mendel
Guy R. Milner and Roger R. Helfrick
The Estate of Catherine Jean Wickenden Mooney
Deirdre D. Nicholds
Constance B. O’Donnell
Maxine Oldham
Arthur Palmer
The Estate of André Preibish
Jill Redwood
Peter Roberts
The Estate of Charles M. Ruggles
The Estate of Marion Veronica Shortell
The Estate of Elizabeth Simonfay (née Dirsztay)
Doris Manon Smith
Anne Stanfield
Paul W. Taylor
Italo Tiezzi
Murray Waddington
Two anonymous patrons
Thomas P. d’Aquino, Chair
Michael J. Tims, Vice-Chair
Micheal L. Burch, Treasurer
Harriet Reisman, Corporate Secretary
Michael G. Adams
Michael Audain
Linda Black
Ann Bowman
Bernard A. Courtois
Fred S. Fountain
Reesa Greenberg
Michelle Koerner
Murray MacDonald
Michael O’Brian
Ash K. Prakash
Donald R. Sobey
American Friends of the NGC
Thomas P. d’Aquino, Chair
Peter G. Restler, Secretary
Michael Adams
ENDOWMENTS AND SPECIAL PROJECTS
A complete list of the Foundation’s endowments and
expendable funds is available at www.ngcfoundation.ca
115
National Gallery of Canada Foundation
DISTINGUISHED PATRONS
The Distinguished Patrons of the National Gallery of Canada Foundation are
a group of individuals who provide exceptional levels of philanthropic support
(with commitments of $100,000 and greater) to help further empower
the National Gallery of Canada in its mission. It is with genuine thanks and
appreciation that their names are recognized below.
David Aisenstat (Vancouver, British Columbia)
Michael Audain and Yoshiko Karasawa (Vancouver,
British Columbia)
Laurent and Claire Beaudoin (Montreal, Quebec)
Sam and Frances Belzberg (Vancouver, British Columbia)
Ann and Tim Bowman (Toronto, Ontario)
David Broadhurst (Toronto, Ontario)
Peter and Joanne Brown (Vancouver, British Columbia)
Scott Campbell (Toronto, Ontario)
Thomas and Susan d’Aquino (Ottawa, Ontario)
André Desmarais and France Chrétien Desmarais
(Montreal, Quebec)
Paul Desmarais, Jr. and Hélène Desmarais
(Montreal, Quebec)
Murray and Heather Edwards (Calgary, Alberta)
Bruce Flatt and Lonti Ebers (Toronto, Ontario)
James and Margaret Fleck (Toronto, Ontario)
Fred and Elizabeth Fountain (Halifax, Nova Scotia)
Blake and Belinda Goldring (Toronto, Ontario)
Reesa Greenberg (Ottawa, Ontario)
Paul and Carol Hill (Regina, Saskatchewan)
Stephen and Gail Jarislowsky (Montreal, Quebec)
Jake and Judy Kerr (Vancouver, British Columbia)
Hassan and Nezhat Khosrowshahi (Vancouver,
British Columbia)
George and Karen Killy (Vancouver, British Columbia)
Michelle Koerner and Kevin Doyle (Toronto, Ontario)
George and Leanne Lewis (Toronto, Ontario)
Ronald Mannix (Calgary, Alberta)
Ronald and Tara Mathison (Calgary, Alberta)
The Honourable Margaret McCain and the late Wallace
McCain (Toronto, Ontario)
Mark McCain and Caro MacDonald (Toronto, Ontario)
John and Keltie Mierins (Ottawa, Ontario)
Michael O’Brian and Inna Vlassev O’Brian (Vancouver,
British Columbia)
J. Robert and Myriam Ouimet (Montreal, Quebec)
Robert and Donna Poile (Toronto, Ontario)
Annual Report 2014–15116
Ash Prakash (Toronto, Ontario)
Morton and Carol Rapp (Toronto, Ontario)
Peter and Susan Restler (New York, New York)
Hartley and Heather Richardson (Winnipeg, Manitoba)
Nancy Richardson (Ottawa, Ontario)
John and Judi Risley (Halifax, Nova Scotia)
Sandra and the late Joseph Rotman (Toronto, Ontario)
Richard and Nancy Self (Vancouver, British Columbia)
Jay Smith and Laura Rapp (Toronto, Ontario)
Donald and Elizabeth Sobey (Stellarton, Nova Scotia)
Rob and Monique Sobey (Stellarton, Nova Scotia)
Jozef and Vera Straus (Ottawa, Ontario)
William and Jean Teron (Ottawa, Ontario)
Arni Thorsteinson and Susan Glass (Winnipeg, Manitoba)
Michael and Renae Tims (Calgary, Alberta)
William and Nancy Turner (Montreal, Quebec)
Sara Vered and the late Zeev Vered (Ottawa, Ontario)
Peeter and Mary Wesik (Vancouver, British Columbia)
Two anonymous patrons (Toronto, Ontario)
Anonymous (London, England)
Anonymous (Guelph, Ontario)
Anonymous (Canada)
SUMMARY
FINANCIAL
STATEMENTS OF
NATIONAL GALLERY OF CANADA FOUNDATION
Year ended March 31, 2015
KPMG LLP
Suite 1800
150 Elgin Street
Ottawa ON K2P 2P8
Canada
Telephone (613) 212-KPMG (5764)
Fax (613) 212-2896
Internet www.kpmg.ca
REPORT OF THE INDEPENDENT AUDITORS ON THE SUMMARY FINANCIAL STATEMENTS
To the Directors of the National Gallery of Canada Foundation
The accompanying summary financial statements of the National Gallery of Canada Foundation, which
comprise the summary statement of financial position as at March 31, 2015, the summary statement of
operations and changes in net assets for the year then ended, and related notes, are derived from the
audited financial statements prepared in accordance with Canadian accounting standards for not-for-profit
organizations, of the National Gallery of Canada Foundation as at and for the year ended March 31, 2015.
We expressed an unmodified audit opinion on those financial statements in our report dated May 26, 2015.
The summary financial statements do not contain all the disclosures required by Canadian accounting
standards for not-for-profit organizations applied in the preparation of the audited financial statements
of the National Gallery of Canada Foundation. Reading the summary financial statements, therefore, is
not a substitute for reading the audited financial statements of the National Gallery of Canada Foundation.
Management’s Responsibility for the Summary Financial Statements
Management is responsible for the preparation of a summary of the audited financial statements on the
basis described in Note 1.
Auditors’ Responsibility
Our responsibility is to express an opinion on the summary financial statements based on our procedures,
which were conducted in accordance with Canadian Auditing Standard (CAS) 810, “Engagements to Report
on Summary Financial Statements”.
Opinion
In our opinion, the summary financial statements derived from the audited financial statements of the
National Gallery of Canada Foundation as at and for the year ended March 31, 2015 are a fair summary of
those financial statements, in accordance with the basis described in Note 1.
Chartered Professional Accountants, Licensed Public Accountants
May 26, 2015
Ottawa, Canada
KPMG LLP is a Canadian limited liability partnership and a member firm
of the KPMG network of independent member firms affiliated with
KPMG International Cooperative (“KPMG International”), a Swiss entity.
KPMG Canada provides services to KPMG LLP.
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National Gallery of Canada Foundation
SUMMARY STATEMENTS OF FINANCIAL POSITION
March 31, 2015, with comparative information for 2014
20152014
Assets
Current assets:
Cash$ 2,212,729$ 259,597
Interest and other receivables
21,629
52,418
Prepaid expenses
13,326
3,035
Amounts receivable from Friends
of the National Gallery of Canada 18,491 15,461
2,266,175
330,511
Investments17,762,82116,184,104
Total assets
$ 20,028,996
$ 16,514,615
Liabilities and Net Assets
Liabilities:
Accounts payable and accrued liabilities $
Amounts payable to National Gallery of Canada
Deferred contributions and investment income
59,370 $
137,748
3,420,355 32,981
4,024
3,428,286
3,617,473 3,465,291
Net assets:
Unrestricted 299,427
94,694
Endowment16,112,096 12,954,630
16,411,52313,049,324
Total liabilities and net assets
See accompanying notes to summary financial statements.
Annual Report 2014–15120
$ 20,028,996
$ 16,514,615
SUMMARY STATEMENT OF OPERATIONS AND CHANGES IN NET ASSETS
Year ended March 31, 2015, with comparative information for 2014
20152014
Revenue:
Unrestricted fundraising$ 897,942$ 151,798
Unrestricted investment income
76,589
76,010
Recognition of deferred contributions and investment income
854,664 1,398,346
1,829,195 1,626,154
Expenses:
Administration and fundraising 868,376 573,226
Contributions to National Gallery of Canada
853,914 1,198,346
1,722,290 1,771,572
Excess (deficiency) of revenue over expenses
106,905 (145,418)
Net assets, beginning of year 13,049,324 11,977,917
Endowment contributions and realized investment income
1,976,259
299,039
Increase in cumulative unrealized gains on investments
1,279,035
917,786
Net assets, end of year $ 16,411,523
$ 13,049,324
See accompanying notes to summary financial statements.
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National Gallery of Canada Foundation
NOTES TO SUMMARY FINANCIAL STATEMENTS
Year ended March 31, 2015
The National Gallery of Canada Foundation (the “Foundation”) is a national, non-profit organization, the aims
and objectives of which are to receive or maintain a fund or funds and to transfer from time to time all or
part thereof the income therefrom to the National Gallery of Canada.
The Foundation was incorporated as a non-profit corporation without share capital on June 27, 1997 under the
Canada Corporations Act. Effective January 9, 2014, the Foundation continued its articles of incorporation from
the Canada Corporations Act to the Canada Not-for-profit Corporations Act.
The Foundation is a registered charity and as such is not subject to income tax under Paragraph 149(1)(f)
of the Income Tax Act (Canada).
1. SUMMARY FINANCIAL STATEMENTS:
The summary financial statements are derived from the complete audited financial statements, prepared
in accordance with Canadian accounting standards for not-for-profit organizations, for the year ended
March 31, 2015.
The preparation of these summary financial statements requires management to determine the information
that needs to be reflected in the summary financial statements so that they are consistent, in all material
respects, with or represent a fair summary of the audited financial statements.
These summarized financial statements have been prepared by management using the following criteria:
(a)
whether information in the summary financial statements is in agreement with the related information
in the complete audited financial statements; and
(b)
whether, in all material respects, the summary financial statements contain the information
necessary to avoid distorting or obscuring matters disclosed in the related complete audited
financial statements, including the notes thereto.
Management determined that the statement of changes in net assets and the statement of cash flows
do not provide additional useful information and as such has not included them as part of the summary
financial statements.
The complete audited financial statements of National Gallery of Canada Foundation are available upon
request by contacting the Foundation.
Annual Report 2014–15122
Cover
Marie Watt
Blanket Stories: Seven Generations, Adawe, and Hearth (detail) 2013
Back Cover
Jules Dalou
A Young Mother from Boulogne Feeding her Child (detail) 1876
Copyright Notices
Photo © the artist, unless otherwise noted.
380 Sussex Drive
P.O. Box 427, Station A
Ottawa, Ontario K1N 9N4
Tel:613-990-1985
Fax:613-993-4385
gallery.ca
p. 10: Purchased in 2014 through the Andrea and Charles Bronfman Canadian Art Fund,
National Gallery of Canada Foundation.
p. 11: Purchased in 2014 with the generous support of the Evelyn de Rostaing McMann Fund.
p.12: Public Trustee for Nunavut, Estate of Jessie Oonark.
p. 17: Purchased in 2015 with the assistance of a contribution from the artist, Toronto.
pp. 18, 19: Gift of Frank and Marianne Seger, Toronto, 2014.
p. 21: Purchased in 2014 with the support of the Friends of the Print Room of the
National Gallery of Canada Foundation, in honour of the Mimi Cazort, Curator of Prints
and Drawings from 1970 to 1997.
pp. 24–25: Transfer from Natural Resources Canada, 2014.
p. 27: Purchased in 2015 through the Joy Thomson Fund for the Acquisition of Art by Young
Canadian Artists, National Gallery of Canada Foundation.
p. 29: 2010 © Michel Campeau / SODRAC (2015)
pp. 32–33: © CARCC, 2015
p. 34: Courtesy of the artist and Petzel, New York.
Photo credits
All images are copyright NGC, except the following:
p. 27: Photo courtesy of Equinox Gallery, Vancouver.
ISBN 978-0-88884-934-2
Aussi disponible en français
© National Gallery of Canada, Ottawa, 2015
Design: Réjean Myette, Fugazi
NATIONAL GALLERY OF CANADA
NATIONAL GALLERY OF CANADA Annual Report 2014−15
Annual Report 2014–15