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"VAR" 2003 Obituary


VAREY  VARLEY 

VAREY o@ca.on.manitoulin.howland.little_current.manitoulin_expositor 2003-01-08 published
Margaret Velma ROWE
In loving memory of Margaret Velma ROWE at Manitoulin Health Centre in Little Current on Sunday, January 5, 2003 at the age of 85 years.
Predeceased by husband Frank ROWE (WW2 Oct 27, 1944.)
Loving mother of Kenneth and Dorothy ROWE, Joan and Matt COTE. Cherished grandmother of Michael and Angela, Kim HARRIS, Lori Robert, Tim and Carol, Dave Brenda. Special great grandmother of Dylan, twins Brianna and Kierra, Brianna, Alanna, Stephen and Devin. Will be missed by sisters Mildred VAREY and Ivy COWAN and brother Cliff VAREY, predeceased by Milf and Manely. Aunt of many nieces and nephews.
Visitation was on Tuesday, January 7, 2003. Funeral Service is at 2: 00 p.m. Wednesday January 8, 2003 both at Island Funeral Home.

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VAREY o@ca.on.manitoulin.howland.little_current.manitoulin_expositor 2003-10-22 published
Jean (NORQUAY) MORRISON
On Sunday, October 5, 2003 at the Henderson Hospital. Beloved wife of John for 32 years, cherished mother of Ian and his wife Francine of Calgary, AB., Scott and his wife Sue of Ottawa. She will be sadly missed by her grandchildren Monique, Stephanie and Jason. Fondly remembered by her sisters Dorothy SUGGITT of Sunderland and Kathleen VAREY of Little Current. The family received Friends at Dodsworth and Brown Funeral Home, Ancaster. Chapel service was held on Thursday. Cremation to follow.

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VAREY o@ca.on.manitoulin.howland.little_current.manitoulin_expositor 2003-10-22 published
Mina Hazel VAREY
In loving memory of Mina Hazel VAREY who passed away peacefully on Wednesday, October 15, 2003 at the Manitoulin Health Centre at the age of 84 years.
Cherished wife of Clifford of Little Current. Loved mother of Janet and husband Don IRVINE of Grafton. Special grandmother of Michael and wife Doris IRVINE, Wendy and husband Jim MORRISON, Melissa Irvine, Marsha IRVINE, all of Toronto. Will be greatly missed by great grandchildren Bruce and Claire. Predeceased by brothers Elias, Cecil, Elmer, Clare, Albert and sister Lillian BUFFEY.
Visitation was held on Friday, October 17, 2003 at Island Funeral Home. Funeral Service was held on Saturday, October 18, 2003 at Grace Bible Church, Little Current, Ontario with pastor John VANKESTEREN officiating. Burial in Mountainview Cemetery.
Island Funeral Home.

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VAREY o@ca.on.manitoulin.howland.little_current.manitoulin_expositor 2003-12-03 published
Clifford Charles VAREY
Tragically, north of Barrie on Monday, November 17, 2003, age 88 years.
Predeceased by his cherished wife Mina (née AELICK) on October 15, 2003. Loved by daughter Janet and husband Don IRVING of Grafton. Special grandfather of Michael and wife Doris IRVINE, Wendy and husband Jim MORRISON, Melissa IRVINE, Marsha IRVINE, all of Toronto. Will be missed by great grandchildren Bruce and Claire. Forever remembered by siblings Mildred VAREY, Ivy and husband Marvin COWAN, Milford (predeceased) and wife Kay VAREY, Margaret and Frank ROWE (both predeceased) and Manley and wife Frances VAREY (both predeceased.)
Visitation Thursday, November 27 at Island Funeral Home. Funeral service Friday, November 28, 2003 at Grace Bible Church. Pastor John VANKESTEREN officiated . Burial in Mountainview Cemetery.

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VARLEY o@ca.on.york_county.toronto.globe_and_mail 2003-09-04 published
Artist and portraitist refused to compromise
Works in his trademark use of colour hang in the Art Gallery of Ontario, Toronto's Mount Sinai Hospital and in private collections
By Carol COOPER Special to The Globe and Mail Thursday, September 4, 2003 - Page R9
When the director of the University of Toronto's Hart House Gallery needed a portrait of Hart House warden Dr. Jean LENGELLÉ, she called artist Gerald SCOTT.
"In this case, Gerry was a perfect fit for Jean, because Jean wanted something that was not staid and traditional, which is certainly Gerry," said the director, Judi SCHWARTZ.
"He [Dr. LENGELLÉ] liked the patterning approach that Gerry took, and the two of them got along very well."
Mr. SCOTT painted the 1977 LENGELLÉ portrait and countless others in the manner of his friend and mentor, Group of Seven artist Fred VARLEY.
"Gerry placed colours together that you wouldn't think of, and when you stand back from the painting, you get the effect of the work, and when you get closer to it, you start to notice the colours," Ms. SCHWARTZ said of the LENGELLÉ portrait.
One of the foremost Canadian portrait painters, whose works hung in the inaugural exhibition of Toronto's prominent Greenwich Gallery along with those of Michael Snow, Graham Coughtry and William Ronald and are found in the Art Gallery of Ontario, Toronto's Mount Sinai Hospital and numerous private collections, Mr. SCOTT died of cancer at the age of 76. Along with Dr. LENGELLÉ, Mr. SCOTT's subjects included a Bermudan prime minister and a Baroness Rothschild. One of six children, whose father worked as a building engineer and car salesman, Gerald William SCOTT was born in Saint John. Although his birth certificate reads September 30, 1926, Mr. SCOTT always said it was wrong and he was born in 1925. To help support his family during the Depression, Mr. SCOTT danced on the city's docks, missing school to do so. After service in the Canadian army during the Second World War, he returned to Toronto where his family had settled.
There he met and married the Italian countess Josephine Maria INVIDIATTA. An English teacher who recognized her husband's gifts, she taught Mr. SCOTT to read. Thereafter, he read incessantly, devouring all types of material. Countess INVIDIATTA also encouraged Mr. SCOTT to attend the Ontario College of Art, now named the Ontario College of Art and Design.
Graduating from the college in 1949, Mr. SCOTT won the Reeves Award for all-round technical proficiency in drawing and painting. After a short career in advertising and turning down an opportunity to do a cover for Time magazine, he focused on fine art.
Mr. SCOTT taught at his alma mater part-time from 1952 to 1958 and full-time for a period beginning in 1963. And he participated in shows at both The Roberts Gallery and The Greenwich Gallery, later renamed The Isaacs Gallery.
While other artistic styles, such as abstract expressionism came and went, Mr. SCOTT continued with portraiture. "He didn't want to compromise his style," said his son Paul SCOTT. "He didn't follow trends."
Lacking the time to develop a body of work for a show, and with a self-effacing temperament which disliked the gallery scene, by the mid-eighties Mr. SCOTT no longer exhibited his work, sticking to commissions and teaching, and writing plays and poetry.
Teaching took up much of Mr. SCOTT's time, and he was known as a good one. For 25 years, he taught at the Three Schools of Art and later at the Forest Hill Art Club, both in Toronto.
"He was an inspirational teacher," said Michael GERRY, a student of Mr. SCOTT for six years and now an instructor at Central Technical High School in Toronto.
"He was one of the few people around who understands the vocabulary. He really knew his lessons. Not only was he skillful, he was thoughtful, unusually thoughtful. Colour and temperature were his specialty."
Said his friend and fellow artist Telford FENTON, "He had wonderful use of colour. It spoke to you."
A deliberate, patient and methodical instructor, popular with Rosedale matrons, Mr. SCOTT taught his students to observe colour. "He could see colour everywhere," said Joan CONOVER, who served as a portrait model for Mr. SCOTT. 'They're [the colours] there, Joanie,' he would say to me. 'All you have to do is stop looking. Close your eyes and then open them, very quickly. Close them, open them again, and you'll get a brief glimpse [of the colours].'"
Mr. SCOTT also demonstrated painting for his students. "Most teachers would not demonstrate," said another SCOTT student Roger BABCOCK. " His demonstrations were like a Polaroid picture. They would form before your eyes."
When students complained of lack of subjects, Mr. SCOTT told them how he stayed up nights painting works of his hand.
As he taught, Mr. SCOTT discussed the Bible, religion or politics. But he would not discuss his war experiences, according to Ms. CONOVER. "It made his stomach hurt," she said.
Mr. SCOTT used his right thumb for certain strokes, and was highly critical of his work, only signing it with persuasion.
Good Friends since the fifties with Mr. FENTON, the pair was known as the Laurel and Hardy of the art world.
Once, they sold the same painting to three different clients, eventually making good to all three. Another time while sailing, Mr. SCOTT's boat crashed into the dock of the Royal Canadian Yacht Club. Always charming Mr. SCOTT ended up in the club's bar, along with those of his party, treated to a round of drinks.
Mr. SCOTT continued working until he suffered a heart attack three years ago.
He died on July 13 and leaves his partner Joyce, two ex-wives, children Paul, Sarah, Hannah, Rebecca, Aaron, Amelia Jordan, Jarod and Dana, and five grandchildren. His first wife, Josephine, and a son, Simon, predeceased him.

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VARLEY o@ca.on.york_county.toronto.globe_and_mail 2003-11-15 published
Sculptor 'entirely original'
A wood carver from a young age who made many public works, he was befriended by the Group of Seven and later carved their tombstone epitaphs
By Bill GLADSTONE, Special to The Globe and Mail Saturday, November 15, 2003 - Page F10
A Canadian sculptor who as a young man was adopted by the Group of Seven has died in Toronto. E. B. COX, who prided himself on achieving artistic and commercial success without ever taking a penny in government grants, was 89.
Mr. COX was a young associate, of some of the Group of Seven with whom he went on northern sketching trips; A. Y. JACKSON once complimented him on his "good sense of form." He later carved their tombstone epitaphs.
A wood carver from a young age, he came to master stone and even the delicate art of faceting and carving precious stones; he also tried metal, ceramics and glass. Because he liked to work fast, he pioneered the use of power tools to quicken the chiselling process, a technique that purists initially disdained as a form of cheating.
According to one 1990s guide-book, he had "more sculpture on view in Toronto's public places than any other single artist." His 20-piece Garden of the Greek Gods, originally installed in the 1950s on the Georgian Peaks near Collingwood, Ontario, was later relocated to the far more populous grounds of the Canadian National Exhibition near the Dufferin Gate. The only fully human representation in the group, an 11-foot-high statue of Hercules, was carved from a six-tonne piece of Indiana limestone -- "the biggest piece of stone used by a sculptor in Canada," according to friend and patron, Ken SMITH.
Among his many other public works are a fish fountain for a courtyard at the former Park Plaza Hotel, a stone bear for the Guild Inn, a stone Orpheus for Victoria College, lavish countertops and railings for historic bank buildings, a large seated lady for McMaster University and whimsical creatures for a school yard in Milton, Ontario
Having mastered big, he also excelled at small: He used to claim that he invented coffee-table art. He carved little totem poles to put himself through university, and became known for his small bear sculptures, which he sold at popular prices, especially at Christmas. "At university, I damned near starved," he would explain. "I don't believe in starving artists."
Influenced by Iroquois and West Coast Haida art, he focused on bears, beavers, birds and other animals as well as human torsos, masks and heads; he often caught the animals in quirky fluid poses and never failed to capture their essential natures. He once crafted an all-Canadian limited-edition chess set for the Hudson's Bay Co., with beavers as pawns, coureurs de bois as knights, Indian princesses as queens, and so on. He was "the great bridge between aboriginal art and modern art," according to Mr. SMITH and others. A picture book about him, featuring an essay by Gary Michael DAULT, was published by Boston Mills Press in 1999.
"He was entirely original," said Toronto sculptor Dora DE PEDERY- HUNT. "Absolutely nobody else did what he did. What style he had was entirely his. I call him a real good sculptor, a real good artist."
The younger of two brothers, Elford Bradley COX was born on July 16, 1914, in Botha, Alberta., where his family made a short-lived attempt at farming; he learned to carve by watching his maternal grandfather whittle kindling by the fireside. He persisted in sculpting even though his pious father was vehemently opposed to the creation of "graven images," he told Toronto Life magazine in 1997. The family returned to Bowmanville, Ontario, where E. B. spent most of his childhood, and where his mother died suddenly after an epileptic attack when her favoured son was a young teenager. When it was time for him to go to university, "his father sent him off with $5, a suitcase and a wish of good luck," said Kathy SUTTON, the younger of his two daughters.
Studying languages at the University of Toronto from 1934 to 1938, Mr. COX was befriended by German professor and painter Barker FAIRLEY, who introduced him to A. Y. JACKSON, Fred VARLEY and Arthur LISMER of the Group of Seven.
Mr. COX started teaching languages at Upper Canada College, but soon left to join the war effort as an intelligence officer, interrogating prisoners of war in Europe.
Afterward, he resumed teaching at Upper Canada College, and devoted part of a summer to a school canoe trip on the Mississauga River the next summer he escorted a group of boys on an even more adventurous trip down the Churchill River in the barren lands. "That was just unheard-of in those years," recalled Terence A. WARDROP, who joined that expedition and became Mr. COX's lifelong friend and solicitor. "It was a big trip and it was almost historic the rivers and some of the lakes were unmapped in 1948."
Quitting his teaching job in 1949, Mr. COX married the former Betty CAMPBELL, bought a farm near Palgrave, Ontario, and discovered that he could survive as a full-time artist. (Although he considered government subsidies poisonous, he once applied for a government grant to study Canadian stones suitable for sculpting -- and was turned down. "I did my stone research without their damn-fool money," he told The Globe and Mail in 1970.) Moving to a rural property in north Toronto and later to a Victorian house in eastern Toronto, he separated from his wife but remained on excellent terms with her and their daughters.
Being partial to pranks, he once purchased a canoe for his wife as a gift and, to achieve maximum surprise, paddled it to the dock at the family cottage in a rented disguise. Along with his love of humour, Friends recall his sharp wit and his ability to cut through social pretense. "He said he wanted his gravestone to read, 'I told you I was sick,' " recalled art dealer John INGRAM. " That's what I remember about him -- his great sense of humour and just what a wonderful compassionate guy he was. He tried to give this air of being an old curmudgeon, but in fact, he was anything but."
Becoming a mentor to many young artists, Mr. COX generously shared his tools and experience with them. "He didn't have much mentoring when he was learning to be an artist -- people didn't help him so he took the opposite tack," said his daughter Kathy.
Always enthusiastic and full of ideas, he was usually in his workshop early in the morning -- and kept on working even after losing his sight in his final years. His home was full of fine sculpture and painting, including a portrait of Mr. COX by Mr. FAIRLEY that hung over the mantel. "It was a lovely place, and by the time you got out of there, you were in a buying fever," Mr. SMITH recalled. "E.B. himself was part of the fun of buying stuff. People were just charmed by the atmosphere he created." He was also famously not particular about the prices he asked from genuine admirers of his work.
As for his art's place in the world, he was confident it would last, at least in the physical sense. "We'd have these long philosophical talks about whether there was an afterlife and what legacy to leave behind," friend Eric CONROY recalled. "He'd say that his stone works would be there long after Rembrandt's paintings had crumbled."
E. B. COX died in Toronto on July 29, leaving his wife Betty, daughters Sally SPROULE and Kathy SUTTON, two grandchildren and two great-grandchildren.

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