- Unidad documental simple
Parte deWatson Kirkconnell collection
Parte deWatson Kirkconnell collection
The fonds consists of manuscripts and typescripts of: Reference West Chapbooks and Hawthorne Anthologies; Reference West publications such as B.C. Profiles, The Preview, Fortnightly Preview, The Poetry Newsletter, and Reference West; and Reference West Bibliographical Checklists, Catalogues and Symposia. It also includes some manuscript/typescript material not included in the Chapbooks, together with some correspondence from a few of the authors.
Reference West (Firm)
The fonds consists primarily of typescript from "The Nightfishing" used for a radio broadcast; poetry worksheets for "Implements In Their Places", "Malcolm Mooney's Land", and "The Nightfishing"; correspondence with Crieff Williamson and Robin Skelton; and four notebooks, together with Robin Skelton's research notes. Also included is a typescript of "Aimed At Nobody", which was published posthumously, together with related publishing documents and correspondence. The final items are two folders of Graham's artwork and a silk screen portrait of Graham by William Featherston.
Graham, W. S. (William Sydney), 1918-1986
The collection consists of 735 items, the majority of which are drawings and watercolours produced by Bayne on a European sketching tour in 1864-65 made possible by the Soane Medal award in 1864. Bayne spent four months in France (August-December 1864), sketching Romanesque and Gothic churches at Amiens, Soissons, Noyon, Angers, Toulouse, and along the Loire. Bayne travelled to Spain where he spent three months (Jan. - March 1865) documenting sites in the Pyrenees he believed would soon be lost to warfare and neglect, recording stained glass windows and other architectural details of Gothic and Romanesque structures, and visiting sites with important Moorish architecture. Bayne's Spanish work is the most comprehensive of the collection. He also made careful notations on his drawings and sketches with a complete numbering system, identification of the city, structure and facade, and the date of the work. From Spain, Bayne travelled to Naples where he spent about a week in Sicily. He went on to Greece and Turkey for a month (April - early May 1864), apparently going from Athens to Salonica and south to Constantinople. Many of the drawings are missing from this series, but show his interest in Byzantine churches and Islamic architecture in Greece and Turkey. He returned to Naples for a four month tour of Italy (May - August 1864). The collection includes a few drawings from Pompeii, panoramic views of Rome, architectural drawings of Renaissance and Medieval structures from Rome, Venice, Milan, Florence, Pisa, and Assisi, and sketches of architectural details such as stained glass in Assisi and the Baptistery doors in Florence. In September, 1864, Bayne was in Germany, but only a few of these drawings remain. The information about them is limited as they are dated or numbered, but the sites are not recorded on most. After Bayne accepted a position with the East India Railway Company in 1866, he moved to Calcutta, India. Part of the collection includes sketches he made on tours in India, and illustrates Muslim and Hindu structures in Benares, Delhi, Allahabad, Madras, Ahmadabad, Bombay, Brindabun, Chitor, Moorabad, and Calcutta. At least four structures in India are attributed to Bayne: the East India Railway offices (1881-84), the Huseinabad Clock Tower at Lucknow (1881-85), the Mayo Memorial Hall at Allahabad (1879), and the Thornhill and Mayne Memorial Library at Allahabad (1878). The presentation drawing for the latter structure is included in the collection as a donation from the Port Alberni Historical Society. The other items in the collection include a photograph of Bayne, several covers of his original European notebooks, and two certificates, one of which commemorates his achievement in passing the Voluntary Architectural Examination in 1864 with distinction, and the second certifying his election as an Associate of the Royal Institute of British Architects.
Bayne, Richard Roskell, 1827-1901
Fragment of wood, painted over gesso in red and blue on a yellow ground, with some white on the reverse. The front has at the top a frieze of stylized uraei, alternating with Maat feathers: below, a metopal border, which also flanks the main scene. This shows two deities at an offering table on which are Nile vases: at each side djed pillars. The seated figure on the left has the head of a cobra surmounted by a feather, holds crook and flail and is probably a personification of Maat. Above are two columns of epithets, which read 'Great God[dess], Lady of Heaven'. On the right is a standing figure, headless apart from the Feather of Truth, representing one of the transformations of Re on his journey across the
sky. The two columns to the right can be read 'Revered before Osiris, foremost in the divine booth, the good god, lord of...' and 'They grant all good and pure offerings, and all good and sweet things...' The decoration on the reverse,
included three larger standing figures, but these are much damaged. 21st-22nd Dynasty (1085-730 BC). 8 5/8"x10 1/8" (219x257 mm). Little of the blue remains on the front, which also has minor surface damage consolidated and is stained as shown. Slot for a dowel in top right corner. On a mahogany plinth.
[Donor's information] Dark green wax seal (diameter 147mmx10-17mm thickness; 65x15mm portion missing from upper edge with loss of text on both sides) over two vellum tags (250x36mm). Obverse side shows an enthroned figure flanked by two standards held by heraldic lion and unicorn surrounded by Latin text: "[break]DEI GR[ ]TIA MAGNAE BRITANNIA [blank portion] FRANCIAE ET HIBER.REX FIDEI DEFENSO [back at break]." Square hole (2 1/2 mm) in right margin [to test for melting point?] Reverse side shows a knight on a charger flourishing a drawn sword with a greyhound running alongside horse. Coat of arms (undecipherable through wear) in upper left quarter. Text: "[break]FIDEI DEFENSOR MAGNVS BRITANNIAE [illegible portion] HIBERNIAE REX FIDEI [back at break]" Provenance: Antique Shop in Hartingford Bury, U.K.