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Anna Belle Wing Kindlund (later Mrs. Alois Trnka), 1876-1922, was an artist born in Buffalo, New York. She studied with W. Hitchcock in Buffalo, and G. Bridgman in New York. She was a member of the Buffalo Society of Artists and the New York Society of Craftsmen, and is listed in Who Was Who in American Art as a painter and miniaturist.

A.H. Howard (fl. 1889-1904) was an artist and member of the Toronto Art League.

Henry Sandham (1842-1910) was an illustrator and painter who lived successively in Montreal, Boston, and London, England. He was associated with the Montreal studio of William Notman, where he received his early training, later headed the art department, and was briefly a partner. Sandham produced illustrations for several leading magazines of his day, including the Century Magazine.

John Hamilton Bush (1909–1977), primarily known as Jack Bush, was a Canadian painter best known for his Abstract Expressionist style. Born in Toronto, he lived in London, Ont. and Montreal during his early years. Jack Bush began his career in advertising, working in his father’s firm, Rapid Electro Type Company in Montreal. During this time, he studied at the Art Association of Montreal with Edmund Dyonnet and Adam Sherriff Scott. In 1928, he transferred to the company’s office in Toronto, where he took evening classes under Frederick Challener, John Alfsen and Charles Comfort at the Ontario College of Art. Bush’s early work as a painter was influenced by Comfort and the Group of Seven, and throughout the 1930s and ‘40s he produced largely landscape and figurative paintings. His first exhibition was with the Ontario Society of Artists in Toronto in 1936.
In 1934, Jack Bush married Mabel Mills Teakle, a family friend from Montreal, and together they had three sons, Jack Jr (b. 1936), Robert (b. 1938) and Terry (b. 1942). In 1953, dissatisfied with Canada’s place in the international contemporary art scene, Bush and several other Toronto abstract artists founded the group Painters Eleven. William Ronald, another member of Painters Eleven, and an artist who had worked in New York, introduced U.S. art critic Clement Greenberg to the group, which led to a lasting friendship between Bush and Greenberg. The contact with Greenberg in 1957 led to Bush’s international breakthrough in the early 1960s, beginning with his 1962 exhibition at the Robert Elkon Gallery in New York. Between the late 1950s and mid ‘60s, Bush painted in loose brushstrokes with diluted oils, staining paint onto unprimed canvas. In 1966, concerned by the health hazards associated with oil-based paints, he switched to water-based acrylics, less textured than oils but more brightly coloured.
In 1964, Jack Bush’s work was included in Greenberg’s Post-Painterly Abstraction at the Los Angeles County Museum, an exhibition that travelled to Minneapolis and Toronto. Along with Jacques Hurtubise, Bush represented Canada at the Bienal de São Paulo (Brazil) in 1967. In the year preceding his death in 1977 (from a heart attack), he received the Order of Canada. That same year, the Art Gallery of Ontario mounted a retrospective exhibition of his abstract works that travelled to several Canadian galleries. Jack Bush’s work is in the collections of the Art Gallery of Ontario, the National Gallery of Canada, the Montreal Museum of Fine Arts, Boston’s Museum of Fine Arts, London’s Tate Gallery and others.

Goldwin Smith (1823-1910) was a prominent journalist, academic and liberal reformer who spent the latter part of his life in Toronto. Born in Reading, England, he was educated at Eton College and Oxford University, and was the Regius Professor of History at Oxford from 1858 to 1866. Smith began to publish widely on history and political reform. He moved to the United States in 1868, and taught briefly at Cornell University, to which he retained a connection for the rest of his life. He moved to Toronto in 1871, and married Harriet Elizabeth Mann (née Dixon) the widow of William Henry Boulton, in 1875. Smith thus became master of the Grange house and estate in central Toronto, and became a pillar of Toronto society. His journalistic career included a brief employment at the Globe, after which he joined independent publishing ventures including the Canadian Monthly and National Review and the Evening Telegram. He then published his own journal, the Bystander, sporadically between 1879 and 1890. Smith also published widely in other local and international news journals. He took part in important civic and educational reform initiatives, including serving on the new board of the University of Toronto. The Grange remained his wife's property and was willed by her to the city of Toronto to serve as a public art gallery, later becoming the first home of the Art Gallery of Ontario.

John Bernard Boyle (1941- ) is an artist, activist, curator and writer who has lived and worked in St. Catharines, London, Elsinore, and Peterborough, Ontario. He married Janet Perlman, with whom he has one daughter, Emily. Boyle was educated at London Teachers’ College and the University of Western Ontario, and is self-taught as a painter. He taught elementary school in St. Catharines intermittently between 1962 and 1968. In 1974 he moved with his family to a converted church in Elsinore, Ontario (near Owen Sound), where he had his studio until 2002. He is currently based in Peterborough. Boyle began to exhibit his paintings in 1964, the same year he was inspired by meeting London artists including Jack Chambers and Greg Curnoe. In 1966 controversy arose at the London Public Library and Art Museum over Boyle’s exhibited piece Seated Nude. Boyle was an early participant in London’s 20/20 Gallery. In 1972 he designed sets for the play Buffalo Jump at Theatre Passe Muraille, Toronto; that same year he curated the first Billboard Show in St. Catharines. In 1980 Boyle completed the mural Our Knell for Queen Subway Station, Toronto. From 1973 through the 1990s, Boyle exhibited regularly at Nancy Poole’s Studio, Toronto. A key figure among the artist activists who established professional representation and rights for artists in the early 1970s, Boyle was the founding spokesperson of Canadian Artists Representation Ontario (CARO) in 1971. In 1970 he served as the first president of the Niagara Artists Co-operative (later Company). Boyle was a member of the Board of Trustees of the Art Gallery of Ontario, 1975-1977. Boyle has written extensively in journals including 20 Cents Magazine, Parachute, and Twelve Mile Creek. His regular column “According to Boyle” in CAROT (1975-78) dealt with challenges facing artists. Boyle has written three novels, No Angel Came (1995); and the unpublished The Gergovnians and The Peregrinations and Permutations of a Young Artist in Canada. His illustration and book design work includes The Port Dalhousie Stories by Dennis Tourbin (1987), as well as several magazine articles and book jackets. He initiated the discipline of “Canadology” in 1989 to record the social customs of the country. Boyle is a founding member (since 1965) and principal kazooist of The Nihilist Spasm Band. His work is represented in numerous Canadian collections, including the National Gallery, the Art Gallery of Ontario and the Montreal Museum of Fine Arts.

Sir William Cornelius Van Horne (1843-1915), principal builder of the Canadian Pacific Railway and prominent businessman, was an important collector of paintings and Japanese ceramics and an accomplished amateur painter. Born in Illinois, he worked for American railway companies in various capacities until 1882, when he was appointed general manager of Canadian Pacific Railway, the construction of which was completed under his direction. In 1888, Van Horne was elected president of the company, and in 1899, he became president of its board of directors. He retired from active work in the company in 1910. Van Horne incorporated the Cuba Company in 1900 following a visit to that country; under its operations he built and operated a railway, sugar plantations and hotels. In North America, Van Horne was executive or director of more than 40 companies, and was considered one of Canada’s most successful businessmen. William Van Horne married Lucy Adaline, daughter of Erastus Hurd of Galesburg, Illinois, in 1867. They had 3 children: Adaline (1868-1941), William (1871-1876), and Richard Benedict (1877-1931). The family lived principally in Montreal, and also had residences in St. Andrews, New Brunswick, and in Cuba. Van Horne was knighted (KCMG) in 1894. Sir William’s art collection is considered to have been the most prominent pre-First World War collection in Montreal. It contained Old Master and 19th-century European paintings and Japanese ceramics, and also featured ship models and European decorative arts. Van Horne lent regularly to the Montreal Art Association (precursor to the Montreal Museum of Fine Arts) from 1887 to 1912. His reputation as a collector resulted in his appointment to the consultative committee of the Burlington Magazine in London from 1905 until his death in 1915. Following Sir William’s death, the bulk of his ceramics collection was left to the Royal Ontario Museum in Toronto and the art collection passed to the joint ownership of Lady Van Horne and her children Adaline and Richard Benedict, according to terms of Sir William’s will. Lady Van Horne died in 1929. Under the terms of her will, a portion of the art collection went to the Montreal Museum of Fine Arts and the rest was shared among her children. Richard Benedict Van Horne died in 1931. His widow, Edith Molson, had no claim to any share in the remains of the art collection; subsequently she married R. Randolph Bruce. A fire at the Van Horne mansion in 1935 did not damage any paintings. Adaline Van Horne, who had been managing the collection through the 1930s, died unmarried and childless in 1941. Ownership of the collection then passed to Richard Benedict and Edith’s son William C.C. Van Horne (1907–1946) and his wife Margaret (d.1987), familiarly known as “Billie” (née Hannon). When William died, leaving no heir, ownership of the collection remained with his wife. Margaret Van Horne managed the art collection for over forty years, corresponding with art dealers and conservators in order to achieve optimal values for paintings. Numerous paintings were sold in several different auction sales over the course of this time. She continued to live in the Van Horne mansion until 1972. The house was demolished the following year to great protest in the architectural conservation community. When Margaret Van Horne died in 1987, the remainder of the collection passed to her brother Matthew Hannon. Upon Matthew Hannon’s death in 1988, the remainder of the art collection passed to his heirs.

Timothy Melvin Zuck, Canadian artist and educator, was born in 1947 in Erie, Pennsylvania. He attended Wilmington College from 1966-1967 and 1968-1969. There he majored in philosophy and psychology and took a few courses in art history and sculpture. In 1967-1968, Zuck joined his parents on a year-long mission to India, where he studied at Madras Christian College. Zuck received his Bachelor of Fine Arts from the Nova Scotia College of Art and Design (NSCAD) in 1971. While at NSCAD, he did performance, film, photographic and other process-oriented and conceptual projects. In Halifax Zuck met and married Robyn Randell. He then earned his Master of Fine Arts from the California Institute of the Arts in Valencia, California in 1972. After completing his graduate studies, Zuck returned to NSCAD in late 1972, where he was Assistant Professor until 1979. While teaching at NSCAD, he continued to work on his conceptual projects. In 1975, Zuck began to focus on painting, in which he had no formal training. In 1979, he resigned from NSCAD and began to paint full-time in Purcell’s Cove, near Halifax, Nova Scotia. Zuck became a Canadian citizen in 1983. The Zucks moved from Purcell’s Cove to Kingston, Ontario, where they lived from 1982-1984 and then lived for three years in downtown Toronto, where their daughter, Anna, was born in 1985. They then moved to Midland, Ontario. In addition to taking part in many artist expeditions, Zuck won a poster competition for the XV Olympic Winter Games in 1988 in Calgary, Alberta. He moved to Calgary in 2002 to teach at the Alberta College of Art and Design. Tim Zuck is represented by the Sable-Castelli Gallery in Toronto, Ontario and the Paul Kuhn Gallery in Calgary, Alberta. His work has been included in numerous group and solo exhibitions in Canada, the United States and Europe, and may be found in the collections of numerous Canadian galleries and museums.