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About Exhibit
Selected works from the vast Michael Williams
collection of West Coast art will be displayed at the Pendulum Gallery (HSBC Building) in Vancouver from March 8-19, 2004. The exhibit sponsor is HSBC Bank Canada.
Michael Collard Williams: Publican and Patron of the Arts
Written by Nicholas Tuele, Co-Curator
Foreword: I first met Michael Williams in 1981
upon my arrival in Victoria to assume a curatorial position at the
Art Gallery of Greater Victoria. Over the years, as his art collection
grew, he would relish the opportunity to show off his latest treasure
whenever I visited the Swans Pub. Michael enjoyed talking about
art and the artists represented in his collection and he valued
the repartee of a vigorous art discussion.
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Williams herds sheep
along Yates St. in the annual Victoria Day Parade in the 1960s. |
Michael Collard Williams (1930 – 2000) was
a self-made millionaire and high profile community member in Victoria
society since his arrival here in 1958. He was widely regarded as
a successful businessman, developer and heritage conservationist.
So much so, that in 1990 he received an Honorary Doctorate degree
from the University of Victoria. The University recognized and respected
the value of his vision, hard work and determination in the restoration
of old town and the enduring value of his commitment to the community.
Chancellor Chair
and Ceremonial Furniture,
1993.
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Williams, having received little formal schooling,
was an ardent supporter of the value of higher education. After
years of collaboration with the University he conceived a bold idea
that led to the creation of a unique set of ceremonial furnishings
to be used in the conferring of degrees. Williams underwrote the
expense of the making of the furnishings, which include a stunning
Chancellor's chair, kneeling stool, lectern, mace stand and chief
speaker's staff. The furnishings, created by 12 of the province's
best-known First Nations artists, demonstrated generosity and creative
thinking that were a small foreshadowing of what was to come.
Williams amassed his fortune in real estate development
and was particularly noted for his sensitive re-cycling of historic
buildings. Indeed, Williams was known as “Mr. Old Town”
in recognition of his visionary redevelopment projects. What was
not as broadly known until his death was his passion as a collector
of fine art and his deeply ingrained philanthropy. News headlines
trumpeted the announcement of his will that confirmed his intention
to leave virtually his entire estate to the University of Victoria.
The total bequest, primarily in the form of real and personal property,
was assessed at a net value of $17 million. It was the largest gift
to UVic in the university’s then 39-year history. In addition
to “The Point,” an astonishing mansion on the sea that
he had built, other assets left to UVic included Swans Hotel, nine
more city properties, six townhouses in Saanich and an extensive
art collection.
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The collector's dramatic waterfront home "The Point".
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Williams collected assiduously in the areas that
piqued his interest. His contemporary art collection, the subject
of this exhibition and catalogue, was only a part of a much broader
range of collections that included historical First Nations art,
antique furniture and carpets, ancient maps and more. The contemporary
art collection comprises 644 pieces with representation by many
of British Columbia’s most significant artists of their generation.
Major works by Jack Shadbolt, Maxwell Bates, Myfanwy Pavelic, Susan
Point, Robert Davidson, Toni Onley and others form the core of Willams
contemporary art collection. Importantly, Williams supported numerous
“up and coming” artists through acquisitions of their
paintings including artists like Angela Grossman, Noah Becker, Marlene
Davis, Brad Pasutti and Vicky Marshal among others.
Like many collectors with the means to indulge
their passions, Williams was both avid and eclectic. If there is
a focus to his contemporary art collection it is no more nor less
than “made in British Columbia.” He enjoyed meeting
and talking with artists and he was confident in his decisions to
acquire the works of both established and emerging artists. As he
was known in the business world so it was in the art world - he
recognized a good deal when he saw one and he knew how to drive
a shrewd bargain. With regard to the latter, Williams often reminded
artists that his collection would one day belong to the University
of Victoria. This allowed him to leverage his purchase dollar with
the implied cachet of the artist being represented in a more broadly
significant and permanent collection. As well, upon studio visits,
Williams would negotiate purchase prices based on buying a number
of the artist’s works thus resulting in a lower price per
work.
Besides having the financial resources to acquire
art as his whim or intention dictated, Williams relished being able
to display a great deal of the hundreds of paintings, prints and
sculptures that he acquired. Throughout Swans Hotel, for example,
there are hundreds of original art works in the suites, restaurant
and pub.
Maxwell Bates
Workmen (Lunch Hour) |
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There are many other signature works by the artists
represented in the Williams collection. “Workmen,” for
example, is a classic in Maxwell Bates oeuvre. Bates (1906-1980)
was a dynamic influence in the BC arts scene and a founding member
of the Limners Group. His work may be described as expressionist
and his best paintings are insightful statements about people and
the human condition. This painting, along with many others by Bates,
was purchased at the estate auction of the artist’s widow.
Williams had a great admiration for the work of
Jack Shadbolt (1909 – 1999). Indeed, as a member of the Art
Gallery of Greater Victoria’s Acquisition Committee, Williams
exhorted his colleagues to seek out as many Shadbolt works for the
permanent collection as possible. With a collector’s foresight
and businessman’s acumen, Williams understood that the works
by this brilliant artist would appreciate considerably in time.
“Hockey Owl” is a stunning accomplishment by the artist
and one that demonstrates his ability to work and rework a piece
that he started in 1972 and completed in 1984.
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Jack Shadbolt
Hockey Owl
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Myfanwy Pavelic
Blue Sky (Pierre Trudeau) |
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One of the more interesting paintings in the Williams
collection must be the portrait of Pierre Elliot Trudeau by Myfanwy
Pavelic (b. 1916). Pavelic is regarded as Canada’s most important
portrait artist of the 20th century and she is the only Canadian
artist to have her work hanging in England’s National Portrait
Gallery. Pavelic was selected to paint the Prime Minister’s
official portrait and this painting, entitled “Blue Sky,”
was Trudeau’s favourite of the finished canvasses which Pavelic
submitted for consideration. The official selection committee chose
another, and it now hangs in the Houses of Parliament.
There are numerous outstanding works in the Williams
collection by the best of today’s First Nations artists. Of
great interest are the pieces by Coast Salish artist Susan Point
(b. 1952). She is acclaimed as one of the most innovative artists
of our time, adapting traditional art forms of her Nation to modern
designs and materials such as glass, bronze, wood, concrete, polymer,
stainless steel, and cast iron.
Analysis of the Williams collection reveals that
there are a few artists whose works he collected in some depth.
A number of these are important artists in Victoria such as Glen
Howarth, James Lindsay and Brad Pasutti. Each of these artists is
represented numerous times and we know that Williams both enjoyed
the work of these individuals and was also committed to supporting
them through purchases.
The works of Charles Malinsky and Stephanie Frostad
are also seen in depth in this collection and they stand out because
both artists are from outside BC. Malinsky is from Calgary and Frostad
is from Seattle. With regard to the former, Williams was quick on
the local scene to see the potential of the large, psychologically
compelling works after discussions with the owner of the noted Fran
Willis Gallery. Williams was known to “preview” the
installations at Willis’ gallery prior to the opening night
sale. On occasion, he even had one of his employees hold first spot
in the lineup. This gave him a few steps on the other patrons in
buying those paintings he had previously earmarked as the best.
Williams noted with satisfaction that the market value of Malinsky
paintings continued to appreciate as the years went by. He also
derived satisfaction if patrons of Swans Pub, where many of the
works were hung, complained about the disturbing art.
More than a million dollars worth of the collection
was officially designated as a national cultural property through
the University’s application to the Canadian Cultural Property
Export and Review Board. In the application, arguments are made
as to the outstanding significance and national importance of the
works themselves and the added consequence they gain in the context
of the University’s existing collections. This had long been
an intention of Williams, as mentioned, and he fully understood
the appropriateness of this endeavour.
Since its inception in 1953, under the tenure
of Dr. W.H. Hickman, Principal of Victoria College (1953-1963),
the University of Victoria’s art collection has grown to over
15,000 items representing the work of contemporary Western Canadian
artists, particularly those of British Columbia. The University
also owns a collection of fine, decorative and applied arts through
the bequest of English sculptor and antiquarian, Katharine Emma
Maltwood, F.R.S.A. (1878-1961).
All of the University collections boast a number
of focal points. These include Western Canadian contemporary fine
arts including works by Emily Carr, Pat Martin Bates, Myfanwy Pavelic,
Herbert Siebner, Elza Mayhew, Katharine Maltwood, Bob deCastro,
and other major artists from this region and beyond. A second major
focus is Northwest Coast First Nations art, both historical and
contemporary with artists such as Art Thompson, Mungo Martin, Roy
Henry Vickers, and the Hunt family represented. As well, the University
owns the Rickard Collection, which is one of the largest public
collections of Northwest Coast prints. The Michael Collard Williams
contemporary art collection now enhances the depth and strength
of the University collections that reflect the significance of the
past and present visual arts activity in the Pacific Northwest.
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