MAY
MAYER
MAYEROVITCH
MAYNIER
MAYO
MAYS
MAY o@ca.on.manitoulin.howland.little_current.manitoulin_expositor 2003-01-22 published
Albert Jeffrey
MICHIE
(United
Steel
Workers of America Local 2784 Associate Member,
RCL #43)
In Oshawa on Sunday, January 12, 2003 in his 65th year.
Beloved husband of Carrollynn. Predeceased by his wife
Theresa
ROCHON.
Loving father of Carol
FILLION, David
MICHIE (Sherri), Louise (Sue)
MAY, Danny
MICHIE (Andrea). Step father of Candy
SHELLEY, George
ATKINSON
(Dianne) and Paul
ATKINSON (Jennifer.) Dear brother-in-law
of Bernard and Linda
JONES.
Lovingly remembered by his grandchildren
James, Matthew, Tara, Tanya, Jennifer, Cheyenne, Chantelle, Amanda,
Philip, Tess, Lisa, Corey, Renne, Danielle, Eric and by his great
granddaughter Jennifer. Predeceased by his brothers Bill, John
"Bud", Orton, Roland, Austin and Edward. Sadly missed by all of his
family and Friends. Funeral service was held at Thornton Cemetery
Chapel on Saturday, January 18, 2003. Cremation. Armstrong Funeral Home Oshawa.
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MAY o@ca.on.york_county.toronto.globe_and_mail 2003-08-26 published
MAY,
Stephanie
Middleton
Sculptor, Pianist, Activist, Writer, Raconteur. ''She was the
first to complain.'' (what she always said she would want for
an epitaph.) Born New York, April 16, 1927. Died Margaree Harbour,
Nova Scotia, peacefully, unexpectedly, at home on August 23,
2003. Predeceased by parents, Thomas Hazlehurst
MIDDLETON of
Charleston, South Carolina, and Ruth Vincent
STEPHENS of Wales
and Ohio. Survived by loving husband of fifty five years, John
Middleton MAY of Margaree Harbour, brother, Thomas Hazlehurst
MIDDLETON
(Jeannie
MIDDLETON) of Los Angeles. Dearly missed by
son Geoffrey Middleton
MAY and his wife Rebecca-Lynne
MacDONALD-
MAY
of Margaree Harbour and grand_son, Andrew Charles
MacDONALD of
Ottawa, and daughter Elizabeth Evans
MAY and granddaughter Victoria
Cate May BURTON of New Edinburgh, Ottawa. Stephanie
MAY had a
rich, rewarding and exciting life. As a young woman, she was
a competitive figure skater. In the 1950s and 1960s, she became
a leader in the civil rights and peace movement in the U.S. With
17 Nobel Laureates, including Bertrand Russell and Linus Pauling,
she sued the governments of the U.S., United Kingdom and U.S.S.R.
to stop atmospheric nuclear weapons testing. With Norman Cousins,
she was a founding member of the Committee for a Sane Nuclear
Policy. She addressed 100,000 people at the 1961 Aldermaston
March rally in Trafalgar Square and, later, went on a six day
hunger strike to oppose Soviet nuclear testing, drawing international
media attention. Stephanie
MAY worked with the Hartford Council
of Churches to advance civil rights, social justice and urban
renewal. Opposing the war in Vietnam, she helped found Dissenting
Democrats, leading to the challenge by Senator Eugene McCarthy
to Lyndon Johnson's presidency. Her work for peace candidates
led to President Richard Nixon including her name on his infamous
''Enemies List.'' She was an accomplished portrait sculptor,
having been urged to study sculpture by Eleanor Roosevelt. She
was also a professional pianist. In 1973, the family moved to
Cape
Breton
Island and Stephanie
MAY applied her considerable
talents and energy to establishing Schooner Village, a restaurant
and gift shop on the Cabot Trail, where she played piano on board
the Schooner Restaurant. Sadly, the business is no more, as it
was demolished to make way for the new bridge. She also worked
on environmental causes in Nova Scotia, sacrificing retirement
acreage over-looking the Bras D'Or Lake to Scott Paper in a court
case against the use of Agent Orange. A service to celebrate
her life and praise the glory of God in whose hands she now rejoices
will be held on Thursday, August 28th at 2 p.m. at the Calvin
United Church in Margaree Harbour. In lieu of flowers, donations
to the Sierra Club of Canada, 412-1 Nicholas Street, Ottawa,
K1N 7B7, would be much appreciated.
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MAYER o@ca.on.york_county.toronto.globe_and_mail 2003-05-20 published
MAYER,
H.
Bernard Q.C.
Born February 29, 1924 died on Friday, May 16, 2003. It is with
great sadness that his family announces the death of their beloved
cornerstone, known fondly as ''The Big Cheese''. Bernard was
educated at Highgate School London and Clare College, Cambridge
University. He completed a fellowship at Harvard University and
came to Toronto in 1948. Until his death, he practiced the law
he loved with innovative skill and dedication. Bernard was a
wonderful husband and father, a great lawyer and a man of distinction
and integrity. He will be missed and remembered by many close
Friends and colleagues, and forever by his wife Barbara, daughter
Nicola, son Paul and daughter-in-law Diana.
In keeping with Bernard's wishes a private funeral will be held.
In his memory, donations may be made to The Capital Campaign
of The Civic Garden Centre (The Toronto Botanical Garden), 777
Lawrence Avenue East, Toronto, M3C 1P2.
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MAYEROVITCH o@ca.on.york_county.toronto.globe_and_mail 2003-06-11 published
AFFLECK,
Betty
Ann (née
HENLEY) 1927-2003
Died on Monday evening, June 9th, 2003, in Montreal, at home
with her family. Beloved wife of the late Raymond
AFFLECK and
dear companion of Harry
MAYEROVITCH.
Mother of Neil (Marnie
STUBLEY,)
Jane (John
KIMBER), Gavin (Sylvie
CORMIER), Ewan (Susan
CHATWOOD)
and the late Graham. She will be lovingly remembered by her grandchildren
Alexander, Gabriel, Lucas, Shonah and Anika. Visitation will
be held at Collins Clarke Funeral Home, 5610 Sherbrooke Street
West, Montreal, on Wednesday, June 11th from 2-4 and 7-9 p.m.
A Memorial Service will be held at the Unitarian Church of Montreal
(5035 de Maisonneuve Blvd. West, on Saturday, June 14th at 2
p.m. In lieu of flowers, a donation to Autism Society, Canada,
P.O. Box 65, Orangeville, Ontario L9W 2Z5, would be appreciated.
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MAYNIER o@ca.on.york_county.toronto.globe_and_mail 2003-08-26 published
LAWRENCE,
Bertram
A.
(A Retired Managing Systems Director, Royal Bank, Active member
of Kiwanis Club of Toronto and Riverside-Emery United Church)
Died peacefully at his home on Sunday, August 24, 2003. Loving
father of Robyn and Marc. Cherished grandpah of Omar. Beloved
''Big Brother'' of Dorothy Sylvia Hamilton. Brother of the late
Ivy Lawrence
MAYNIER and Keith
LAWRENCE. Dear cousin of Dora
CODRINGTON and Uncle of David, Michael, Jim and Margaret. Resting
at the Murray E. Newbigging Funeral Home, 733 Mt. Pleasant Rd.
(South of Eglinton) on Wednesday from 2-4 and 7-9 p.m. Funeral
and committal service in the Chapel on Thursday at 3 p.m. Cremation.
If desired, donations may be made to the Kiwanis Club of Toronto
or the Kiwanis Boys and Girls Club. Interment of ashes, to take
place in Montreal, at a later date.
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MAYO o@ca.on.york_county.toronto.globe_and_mail 2003-03-28 published
Manfred Friedrich
WIRTH
(November 17, 1913 - March 21, 2003)
Manfred died suddenly but peacefully exactly 1 year after his
beloved Lisl. He leaves behind sadly grieving son Alfred, daughter
Elizabeth (Lou
FAUTEUX,) grandchildren Elizabeth and Susan
WIRTH
(Ali POURAZIM,) and Eric
BRAND
(Anita) as well as sister Beate
FLUECK-
WIRTH, sister-in-law Marianne
MAYO and many devoted Friends
& relatives around the world. Manfred was born in Vienna, Austria
to Hofrat Dr. Alfred Ludwig
WIRTH and Beate Karola, née
PETRINI
VON
MONTEFERRI, and graduated with a PhD in law prior to his
23rd birthday. He was a director of the Austrian Steel Company
(VOEST) before emigrating to Canada post-war, and started his
Canadian working life at Algoma Steel Corporation in Sault Ste
Marie, Ontario. In 1958 he founded Wirth Limited (now Wirth Steel),
building the company into a major international trader. Since
1993 and until his death, he was President and Chief Executive
Officer of MF Wirth Rail Corp. Manfred loved the arts, especially
opera and the visual arts. He was also a history buff, and a
generous donor to McGill University, the University of Alberta
and Wilfred Laurier University as well as Arts Knowlton and other
Canadian institutions. He was a member of various clubs and societies,
a recipient of the Order of Austria, and a keen skier, swimmer
and golfer. A private farewell with immediate family has taken
place; a memorial service to celebrate his long and eventful
life will be held in Montreal at St.Andrew's-Dominion-Douglas
Church, 687 Roslyn Ave. Westmount, Quebec on Monday May 26, 2003
at 2: 00 P.M. Anyone desiring to make a donation in Manfred's
memory may wish to consider McGill University: Designation Faculty
of Music, 3605 de la Montagne, Montreal H3G 2M1, the Foundation
of the University Women's Club Montreal Inc, 3529 Atwater Avenue,
Montreal H3H 1Y2, or a charity of your choice. Condolences may
be sent to 24 Somerville Avenue, Montreal, Quebec H3Z 1J2
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MAYS o@ca.on.york_county.toronto.globe_and_mail 2003-11-20 published
A cherished gift despite the follies
By John Bentley
MAYS,
Special to The Globe and Mail Thursday,
November 20, 2003 - Page R1
Robert McMICHAEL's reputation was never better than it was when
I first met him, around 1980. In the eyes of many people, especially
outside the official art world, he was the little guy from Toronto
who made good and got rich and did something good with his money,
by creating the McMichael Canadian Collection of Art, in Kleinburg,
Ontario
He had amassed this important collection of much-loved Canadian
art and had selflessly given it to the people. If this kindly
gentleman wanted to play lord of the manor in the great log cabin
in Kleinburg, who could possibly object?
McMICHAEL was firmly
planted in popular imagination as a visionary, which he certainly
was not, and a down-home Canadian original, which, in his fashion,
he surely was.
Robert McMICHAEL, who died on Tuesday at age 82, came of age
in Toronto in the Depression, then graduated from high school
just in time for the Second World War. Stationed in Newfoundland,
he worked as a war photographer. "People have the idea that we
waited for the shells to fly," he told me in 1981. "I photographed
things like caskets and radar." After being mustered out in 1946,
McMICHAEL decided on a career in custom photography and opened
a shop in Toronto's Yorkville district.
McMICHAEL had his million-dollar idea when thinking up ways to
promote wedding photographs. Why not get manufacturers to donate
advertising samples, then hand out boxes full of these goodies
to brides-to-be as a promotional gimmick? This simple notion
produced Bridal Shower, the forerunner of New Mother Packs and
Travel Packs (something for employers to give to employees bound
for vacation as a way to say "take care of yourself, we want
you back").
By 1964, McMICHAEL was living in New York and marketing a million
packs a year and 20 million samples in all 50 states. He was
also getting weary of the twice-weekly commute between New York
and his homestead north of Toronto, just outside Kleinburg, which
he and wife Signe had established in the fifties, just after
they were married.
And there was the baby to think about. The McMichaels' "baby"
the word he used to describe it -- was, of course, their burgeoning
collection of Canadian art. There was never any question that
it was going to be a Canadian collection. "Inherently, we have
a pride in the nation. That sounds corny, but that's how we felt.
Between a Renoir and a Thomson, we'd take the Thomson."
The collection had been born in 1955, when the
McMICHAELs bought
a Lawren Harris oil landscape for $250. Soon thereafter, Robert
McMICHAEL was doing a drawing class at New York's Art Students
League, devouring what books on Canadian art were around in those
days, and buying art, often on the instalment plan, and almost
invariably of the woods-and-water Group of Seven kind.
But for the
McMICHAELs, the collection was a baby in a deeper
and sadder sense. A year after they were married, the couple
found that they would never be able to have children. But there
were these artworks for them to nurture and protect. "We thought
of each new acquisition as a child, especially the early ones,"
McMICHAEL once told me.
The collection did not grow all by itself, however. Friends told
marvellous stories -- all flatly denied by the principal figure
about Robert
McMICHAEL visiting the deathbeds of Group of
Seven collectors and quietly, persistently, convincing them to
make their last earthly act a tax-deductible bequest.
If such stories were not true, given the man's accomplishment,
they were certainly believable. Assembled by whatever combination
of cajoling and purchasing, the McMichael Canadian Collection
is today, after the National Gallery of Canada and the Art Gallery
of Ontario, our most impressive gathering of 20th-century Canadian
painting.
That said, it is far from the best. Anyone familiar with the
Canadian displays in the country's great museums will notice
at once the McMichael's scantiness of large paintings by well-known
artists. One sees much work, but not very much that is extraordinary,
or illustrative of long passages in a given artist's development.
But it's a massive, unique, unrepeatable, irreplaceable conglomeration
of popular Group of Seven artworks. The art is housed in a crazy-quilt
building that people cherish.
This affection for the McMichael Canadian Collection, I suspect,
will survive long after the founder's follies have been forgotten.
The latter were, unfortunately, many and famous. For much of
the last 25 years of his life, you could never be quite sure
what he would do next.
The first surprise came after
McMICHAEL gave his 3,500-square-foot
log house in Kleinburg, along with 235 Canadian artworks -- the
home and core collection of the McMichael Canadian Collection
to the people of Ontario in 1965. In return, Queen's Park
gave him a generous tax write-off and permission to go on living
in his log cabin. He somehow got it into his head the free ride
on the public tab was forever. Instead of graciously moving on
after a decent interval, he and his wife Signe stayed on in the
house, entertaining Friends among the public's paintings and
aboriginal artworks as though he still owned everything.
For more than a decade, nobody raised an objection. Then
McMICHAEL's
Conservative Party cronies in the Ontario government threw a
lavish farewell dinner, with tributes and gratitude galore. Instead
of taking the hint, loosening his grip on the gallery and surrendering
control to museum professionals -- which was clearly and wisely
wanted by the cultural bureaucrats at Queen's Park --
McMICHAEL
still didn't budge an inch. Even after the dangerous, dilapidated
physical condition of the building became public knowledge in
the early 1980s,
McMICHAEL continued to dismiss the fire experts
and art conservationists as pointy-headed meddlers. He was finally
ousted from the building in 1982, when the urgent $10.4-million
overhaul of the gallery was commenced. (The pain of transition
was eased by gifts of $400,000 cash and a $300,000 house from
Queen's Park.)
But being off the premises only seemed to whet
McMICHAEL's taste
for power. Over the next two decades, he continued to plot and
agitate for a comeback to personal control of the collection
he had given away. He was especially vociferous about the historical
scope of the central group of artworks, which curators wanted
to broaden to include contemporary painting, prints and sculpture.
Art-gathering had never been strictly confined to the Group of
Seven, even during the heyday of
McMICHAEL's control. But now
the founder decided it was high time to get back to a fiction
called "the original vision," and abandon the collecting of contemporary
art altogether.
Few believed it would happen. But in 2000 -- to the astonishment
of nobody who had watched
McMICHAEL operating over the years
he got his wish. The provincial Tories under Mike
HARRIS slammed
through a law that swept professional staff to the sidelines
of crucial gallery decision-making, and gave Robert
McMICHAEL
a permanent say in deciding gallery policy.
The next year, he announced his intention to rid the collection
of some 2,000 contemporary artworks he did not like. "or use
them as opposed to... simply being wasted, sitting in storage
year after year, decade after decade," he told a reporter. "I
don't think there's anything demeaning about that at all. They
belong in a certain type of atmosphere which is not the atmosphere
that exists in Kleinburg."
With McMICHAEL's death, the chance that the gallery will be stripped
of its contemporary works is much diminished. The McMichael Canadian
Collection will likely remain what it has long been, despite
its founder's misunderstandings and misgivings: both a shrine
to the Group of Seven and their contemporaries, and a testament
to the ongoing commitment of Canadian artists to portraying the
Canadian land -- a commitment that, despite many changes in style,
medium and strategy, remains strong in the present day.
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