John Colin Forbes and Kenneth Keith Forbes, a lineage of official portraitists!

By Geneviève Couture

The careers of painters John Colin Forbes (1846–1925) and his son Kenneth Keith Forbes (1892–1980) clearly illustrate how particular prime ministers were their muses and patrons. Between them, the two portraitists painted seven Canadian prime ministers, two governors general, five chief justices of the Supreme Court, 11 speakers of the House of Commons and 14 speakers of the Senate. These artists also painted a king and queen of England on behalf of the Canadian government. Over a period of more than 90 years, the Forbeses helped to build an artistic and visual heritage depicting the executive, legislative and judicial branches of the Canadian government.

John Colin Forbes

John Colin Forbes was born in Toronto in 1846. In the 1860s, he studied painting in Paris and London before returning to Canada. He was a founding member of the Ontario Society of Artists (1872) and the Royal Canadian Academy of Arts (1880).

Forbes was quickly recognized as a portraitist and received numerous commissions. He painted Lord Dufferin and the Marquess of Lansdowne, both governors general of Canada. Between 1878 and 1893, he created portraits of Sir John A. Macdonald, Alexander Mackenzie, Sir Charles Tupper and Wilfrid Laurier. None of these were official portraits, but Tupper’s is in the Parliament of Canada, while Macdonald’s and one of Laurier’s are in the National Gallery of Canada. Forbes was also commissioned to produce four official portraits of speakers of the House of Commons and six official portraits of speakers of the Senate.

The artist had a special relationship with Sir Wilfrid Laurier, who called Forbes a “friend.” He painted Laurier for the first time in 1885, based on a photo taken around 1882 by William Topley’s studio in Ottawa.

Black-and-white photo of a seated man in a suit.

Wilfrid Laurier, MP. Topley Studio, 1882. (a013133-v8)

The second painting of Laurier by Forbes was presented to the Prime Minister by his friends and Liberal Party supporters on May 15, 1902. In his speech to the House of Commons, Laurier stated, “It is with a very sincere heart indeed that both in my own name and in the name of my wife, I accept from the unknown friends […] this memento which is the work of a great Canadian artist.”

Lamenting that Forbes was at the time practicing his art in the United States, Laurier added:

Unfortunately Canada, which is still a young country, has not afforded to artists all the help it might have given in the past. I trust that in the future Canadian artists and talents will receive more encouragement from the Canadian people that they received hitherto. For my part, it is with some regret, I acknowledge that perhaps the Government might have done more than it has for the encouragement of native, artistic talent.

Finally, regretting not having children to whom he could bequeath the painting, Laurier made this wish: “Someday I hope it will be in a national museum, not with a view of remembering me to posterity, but for the glory of Mr. Forbes, the artist who painted it.” A few years later, in 1906, Laurier himself gave the painting to the National Gallery of Canada.

A royal commission

His special relationship with Prime Minister Laurier earned Forbes his most prestigious commission: a painting of King Edward VII and Queen Alexandra. He was the first Canadian painter to have a sitting with a British monarch, and official portraits of Edward VII would adorn the House of Commons.

The correspondence between Forbes and Laurier on this matter, which is part of the Sir Wilfrid Laurier fonds at Library and Archives Canada, indicates that Forbes had requested the commission from Laurier, with whom he had previously discussed it.

Black-and-white photo of a typed page.

Letter from John Colin Forbes to Wilfrid Laurier dated April 14, 1904, requesting the commission to paint the King and Queen on behalf of the Canadian government. (Wilfrid Laurier fonds, MG26 G 1(A), Vol. 312, page 84516, microfilm C-810)

Laurier agreed after he received a petition in support that was signed by 92 of the 214 members of Parliament.

A black-and-white image of a scanned page from microfilm.

The first of three pages of the petition, from members of the House of Commons to Prime Minister Wilfrid Laurier, to commission painter John Colin Forbes to paint a portrait of the King for the House of Commons. (Wilfrid Laurier fonds, MG26 G 1(A), Vol. 312, page 84518, microfilm C-810)

Laurier forwarded the request to the Governor General, Lord Minto, who helped arrange access to the royals for Forbes.

A black-and-white image of a scanned page from microfilm.

Letter from Prime Minister Wilfrid Laurier to Governor General Lord Minto, recommending that John Colin Forbes be commissioned to do the painting, and that steps be taken to that effect with the King. (Wilfrid Laurier Fonds, MG26 G 1(A), Vol. 326, page 87632, microfilm C-813)

The sitting was granted, and Forbes travelled to England to paint the portraits. Unfortunately, the paintings were destroyed in the Parliament fire in 1916, less than 12 years after their creation. Forbes’s four official portraits of the speakers of the House of Commons and six official portraits of the speakers of the Senate survived the fire.

Black-and-white photo of a burning building.

The eastern part of Centre Block in flames, Ottawa, 1916. (a052822-v8)

Sir John A. Macdonald and Sir Wilfrid Laurier: inspiring portraits

Two portraits of prime ministers painted by Forbes inspired their successors. In a Winnipeg Free Press article published on March 20, 1965, journalist Peter C. Newman reported that, depending on their political allegiance, new prime ministers had either Sir John A. Macdonald’s or Sir Wilfrid Laurier’s portrait installed in their East Block office in Ottawa. This practice changed under Lester B. Pearson, when the Prime Minister asked for both paintings in his office.

Photographs taken by Duncan Cameron (recently discussed in a blog post about news photographers and prime ministers) confirm that John Diefenbaker, Lester B. Pearson and Pierre Elliott Trudeau had paintings by Forbes in their offices. Paul Martin’s office was decorated with the first painting of Laurier by Forbes from 1885.

Black-and-white photo of a man taking a photograph of a photographer who is photographing him.

Pierre Elliott Trudeau taking a photograph with news journalist Duncan Cameron’s camera, June 28, 1968. Photo: Duncan Cameron (a175919)

Kenneth Keith Forbes

The son of John Colin Forbes, Kenneth Keith Forbes, also became a famous portraitist. Born in Toronto in 1892, he began drawing at the age of four under his father’s tutelage. Between 1908 and 1913, he studied art in England and Scotland. When the First World War started in 1914, the younger Forbes joined the British army as an ordinary soldier. He fought in France, where he was injured and gassed. Forbes was promoted to captain, and in 1918 he was transferred to the Canadian Army (specifically, the Canadian War Records Office) as a war artist. He painted scenes of battles as well as portraits of Canadian officers, including Brigadier General D. Draper.

Library and Archives Canada holds the recently digitized military file of Kenneth Keith Forbes.

Oil painting by Kenneth Keith Forbes from 1918. The scene shows the defence of Sanctuary Wood by the Canadian military near Ypres, Belgium, in 1916.

The Defence of Sanctuary Wood (1916), by Kenneth Keith Forbes, 1918. (e010751163-v8)

Official portraitist

A few years later, Forbes returned to Toronto; continuing in the family tradition, he focused mainly on portraits.

Among other things, he painted the official portraits of seven speakers of the House of Commons, eight speakers of the Senate and five chief justices of the Supreme Court.

Forbes also painted the portraits of prime ministers Robert Borden, R.B. Bennett and John Diefenbaker. The first portrait of R.B. Bennett painted in 1938 by Forbes was offered to the Prime Minister by members of Parliament, senators and Conservative Party members upon his retirement from politics. It is now in the New Brunswick Museum, where Bennett bequeathed it.

Forbes then painted the official portrait of Sir Robert Borden for the House of Commons. The painting was commissioned by the Speaker of the House, Gaspard Fauteux, whose portrait Forbes had painted the previous year. The aim was to complete the collection of official portraits representing Canada’s prime ministers in the House of Commons. This painting was unveiled in Parliament on June 11, 1947, 10 years after Borden’s death, along with a portrait of William Lyon Mackenzie King, with President Harry Truman of the United States in attendance.

In his diary, Mackenzie King explains why he suggested that his portrait and that of Borden, both prime ministers in the major wars, be unveiled at the same ceremony.

A black-and-white image of a typewritten page of William Lyon Mackenzie King’s diary dated May 19, 1947.

Excerpt from the May 19, 1947, entry in William Lyon Mackenzie King’s diary, explaining how he came to suggest that his portrait and that of Borden, both prime ministers in the major wars, be unveiled at the same ceremony. (William Lyon Mackenzie King fonds, MG26 J 13, May 19, 1947)

A decade later, Forbes painted two portraits of John Diefenbaker. The first was given to Diefenbaker by members of his Cabinet and hung in the prime minister’s official residence at 24 Sussex Drive, and later in Stornoway, the official residence of the leader of the opposition. The second portrait of Diefenbaker was commissioned by freemasons from Washington and is now in Arlington, Virginia.

In 1962, Forbes painted the official portrait of R.B. Bennett for the House of Commons. The commission came close to 25 years after his earlier painting, and 15 years after Bennett’s death. It was requested by Prime Minister John Diefenbaker and the Speaker of the House of Commons, Roland Michener. Once again, the aim was to fill in gaps in the collection of official portraits of Canada’s prime ministers in the House of Commons.

Conclusion

The careers of portraitists John Colin Forbes and Kenneth Keith Forbes reveal the sometimes unsuspected links between the arts and politics. The father and son clearly benefited from their good relationships with parliamentarians, particularly prime ministers, receiving many highly prestigious commissions.

Prime ministers also benefited from the work of artists like the Forbeses, whose paintings helped to commemorate and glorify the men who held the country’s highest political positions and inspired their successors. As we have seen, political affiliation was not at issue in requests to the father-and-son artists to contribute to this commemorative undertaking by painting portraits of prime ministers in office and their predecessors. The Forbes portraitists helped to establish the role of prime ministers in the country’s political memory.

Moreover, the talent for painting portraits did not end with John Colin Forbes and Kenneth Keith Forbes. The latter married Jean Mary Edgell, who was also a painter, and their daughter, Laura June McCormack (1921–1961), painted some portraits now in the Legislative Assembly of Ontario, notably one of Louis-Hippolyte La Fontaine.

For additional information about portraits of prime ministers, read Andrew Kear’s thesis, Governing Likenesses: The Production History of the Official Portraits of Canadian Prime Ministers, 1889–2002.


Geneviève Couture is an archivist with the Prime Minister Papers project in the Science and Governance Private Archives Division at Library and Archives Canada.

The prime minister as reader

By Meaghan Scanlon

Library and Archives Canada’s (LAC) Prime Ministers and the Arts: Creators, Collectors and Muses exhibition looks at Canada’s prime ministers through the lens of their relationships with the arts. One aspect of the exhibition is an exploration of the prime minister as collector and fan. Among the items featured that explore this theme are correspondence between Sir Wilfrid Laurier and painter Marc-Aurèle de Foy Suzor-Coté, a painting from William Lyon Mackenzie King’s personal collection, and a fan letter from John Diefenbaker to artist Alma Duncan.

But the exhibition mainly focuses on the prime ministers’ libraries. If you read enough prime ministerial biographies, a pattern emerges: almost every one contains references to its subject’s prodigious reading habits. A biography of Alexander Mackenzie (OCLC 20920624), for example, notes that Mackenzie “was a greedy reader, and never tired of poring over his books.” According to the authors, Mackenzie’s family would spend their winter evenings

“sitting round the wide, old-fashioned fire-place, cheerful and ruddy with the blaze of the big logs, reading and discussing literary subjects and authors, especially Shakespeare and Byron, two prime favourites of theirs. It was a very interesting group, and its intellectual life was a fitting preparation for the future statesman. All who have heard Mr. Mackenzie speak, know that he could readily quote from the poets, and from current literature, and that his addresses were invariably pitched on the high plane of presupposing intelligent hearers.”

Sir John A. Macdonald, too, was known for quoting from literature in his speeches, according to biographers. In his book about Macdonald (OCLC 2886256), Joseph Pope claimed Macdonald was an “omnivorous” reader, meaning that he would read almost anything, but his favourite genre was political memoirs. Sir Robert Borden studied classical languages. The Thomas Fisher Rare Book Library at the University of Toronto now holds a number of very old Greek and Latin books that contain Borden’s bookplate; one of these, a 1725 edition of writings by Cicero, is currently on loan to LAC for the exhibition. Mackenzie King was an avid reader who regularly commented in his diary on the books he had been reading. Many of his books are now in LAC’s collection, but a portion of his extensive library remains on view in his study at Laurier House.

Each of the prime ministers likely had favourite books and authors—Macdonald was a devotee of novelist Anthony Trollope, and King was so enamoured with poet Matthew Arnold that he began collecting books from Arnold’s own library.

A book open to the inside front cover. Attached to the left-hand page is the bookplate of Matthew Arnold. The right-hand page is blank and held down by a weight.

Bookplate of Matthew Arnold affixed to the inside front cover of The Holy Bible (Oxford: Clarendon Press, 1828), from the Collection of Books from the Library of William Lyon Mackenzie King (OCLC 1007776528) Photo credit: Library and Archives Canada

But Arthur Meighen stands out among them all for his dedication to one particular literary figure: William Shakespeare. Meighen was known to be able to quote long passages of Shakespeare from memory. In 1934, during an ocean voyage to Australia, he composed and memorized a speech on Shakespeare, which he entitled “The Greatest Englishman of History.” Meighen delivered this speech a number of times; one address, at the Canadian Club in Toronto in February 1936, was recorded. This recording was eventually released on vinyl (OCLC 981934627), giving Meighen the unusual distinction of being the first Canadian prime minister ever to release an album.

A black 12-inch vinyl record with a yellow label.

Photograph of the vinyl record The Greatest Englishman of History by Arthur Meighen (OCLC 270719760) Photo credit: Library and Archives Canada

You can hear a clip of the audio recording of Arthur Meighen delivering his speech “The Greatest Englishman of History” in the Prime Ministers and the Arts episode of the LAC podcast.

The exhibition is open at 395 Wellington Street in Ottawa until December 3, 2019.


Meaghan Scanlon is Senior Special Collections Librarian in the Published Heritage Branch at Library and Archives Canada.

Library and Archives Canada Sir John A. Macdonald treasures on display. Part 2: Shopping stories

As part of the year-long commemoration surrounding the 200th anniversary of the birth of Canada’s first prime minister, Sir John A. Macdonald, Library and Archives Canada (LAC) is presenting an exhibition at Bellevue House, in Kingston, Ontario—Parks Canada’s official historic site dedicated to Macdonald.

The exhibition includes rare treasures such as this page from a draft of the British North America Act (BNA), thought to have been handwritten by Sir John A. Macdonald himself.

A handwritten page in faded ink.

The first page of the British North America Act (MIKAN 456819)

Lesser known, but equally intriguing, LAC holdings are also highlighted in the exhibition, including a sampling from the vast assortment of receipts Macdonald accumulated over the course of a lifetime for items that he purchased. These unassuming documents—usually handwritten, and often with elegant 19th-century flourishes—give unexpected insight into Macdonald, as a private person; the purchases they record are often both amusing and endearing.

Macdonald purchased a toboggan, for example, from renowned Montreal furrier John Henderson & Company (“Importers, Manufacturers and Dealers in Hats, Furs, Indian Moccasins, Snowshoes, &c.”) on December 23, 1862. It’s possible to speculate that this iconic Canadian sled may have been part of his family’s Christmas celebrations—perhaps chosen as a present for his young son Hugh John. Or that Macdonald himself may have succumbed to the fad for recreational tobogganing that gripped the well-to-do during the 19th century.

A handwritten receipt from Montreal furrier John Henderson & Company detailing purchases made, on various dates, by Sir John A. Macdonald. These include a toboggan, which was purchased on December 23, 1862.Historians have also speculated about the expensive ladies’ riding whip, bought from London’s exclusive Swaine Adeney, during a trip to Great Britain that Macdonald undertook as a new widower. Though travelling on official business, to promote government projects, Macdonald still found time to choose this luxurious present. The identity of the lady who received it remains an historical mystery.

On another trip to Great Britain, Macdonald—whose receipts reveal a lifelong fascination with fine clothing and smart men’s accessories—visited relatives in Scotland and stopped there to purchase himself a full kit of Macdonald clan “Highland appointments”: including a kilt, hose and the “silk-velvet Highland jacket… generally worn by Gentlemen.” The distinguished Edinburgh firm from which he purchased these items provided its Canadian buyer with instructions on how to wear everything properly, together with a suitable “air-tight coat case” for storage.

Image shows a detailed receipt for a complete kit of Macdonald clan ‘Highland appointments,’ including a kilt and a Highland jacket (MIKAN 122162)

Macdonald suffered for years from ill health due, in part, to his alcoholism. The collection is full of curious receipts for 19th-century style medicine, together with copies of personal prescriptions. This prescription, for “The Ferruginous tonic,” was based on the commonly held idea that tincture of iron could improve the functioning of the digestive tract. Macdonald was said to have suffered terribly from indigestion. He was prescribed this mixture during the final decade of his life.

Image shows an 1883 prescription from Ottawa “Chemist & Druggist” John Roberts for a tonic designed to alleviate Sir John A. Macdonald’s gastric issues.Come see Sir John A. Macdonald’s personal receipts at Bellevue House National Historic Site between May 16 and October 12, 2015.

Library and Archives Canada Sir John A. Macdonald treasures on display. Part 1: Famous outtakes

Library and Archives Canada (LAC) holds the most comprehensive collection of material in Canada related to our nation’s first prime minister, Sir John A. Macdonald. As part of the year-long commemoration surrounding the 200th anniversary of Macdonald’s birth, LAC is presenting an exhibition at Bellevue House in Kingston, Ontario—Parks Canada’s official site dedicated to Macdonald.

The exhibition will provide a chance for Canadians to see rare treasures, such as an exercise book from Macdonald’s school days, and the earliest known painted portrait of him:

Image shows a school exercise book belonging to Sir John A. Macdonald when he was a child; the book is open at a page of geometry exercises.

Sir John A. Macdonald’s exercise book (MIKAN 122162)

Image shows the earliest known portrait of Sir John A. Macdonald, a portrait painted in oils in the Romantic style.

First oil portrait of Sir John A. Macdonald, ca. 1842–1843 (MIKAN 2837236)

It also features other lesser-known, but intriguing, items. LAC’s collection includes most of the original glass plate negatives from personal photography sessions that Macdonald booked with prominent Ottawa photographer William James Topley (1845–1930), for example:

Images show Sir John A. Macdonald wearing an overcoat and standing in various poses on ‘set’ at Topley Studios, either holding or setting aside a top hat and cane. Images show Sir John A. Macdonald wearing an overcoat and standing in various poses on ‘set’ at Topley Studios, either holding or setting aside a top hat and cane.

Topley was the premier portrait photographer of his day, making images of both well-known and unknown citizens from across the country. His studio, always located in the neighbourhood of Parliament Hill, was convenient enough to attract the patronage of many of the new Dominion’s first MPs. Topley even served as official court photographer to Canada’s Governor General, the Marquis of Lorne (1845–1914).

Prints of the photographs from Macdonald’s studio sessions with Topley do not always survive, but most of the negatives for each session do—often including fascinating and unexpected ‘outtake’ images. Produced on thin plates of glass, the 19th-century technology that preceded the development of photographic film, these are both fragile and unwieldy—besides being negative images. Modern positive reproductions are usually made from them, as in the case of this exhibition, to allow for convenient viewing.

This exhibition displays several outtakes, and a print from the Topley sessions, in sequence. The outtakes lack the formality of finished studio portraits but give a small feeling of what a 19th-century studio session must have been like. When viewed as a set, they almost give a feeling of motion—bringing Macdonald to life again, before our eyes.

LAC is the only archives in Canada to hold the official records of the Topley Studio, including original counter books, prints and negatives. The Macdonald negatives illustrate just one way in which the collection works as one of the most important visual records of Canada during the first 50 years after Confederation.

Image shows one of Sir John A. Macdonald’s receipts for a photographic session with William James Topley, June 1885.

Topley receipt for a photographic session (MIKAN 122162)

Come see the Macdonald outtakes at Bellevue House National Historic Site, between May 16 and October 12, 2015.

A Canadian icon: celebrating Sir John A. Macdonald’s bicentennial

It has been 200 years since the birth of Canada’s first prime minister and the interest in his political and personal life has not diminished. Library and Archives Canada (LAC) has an extensive and varied collection of records related to Sir John Alexander Macdonald, including a virtual exhibition that includes personal papers, photos, artwork, and publications. Within LAC’s Sir John A. Macdonald collection, there are over 100,000 letters to and from family and close friends, which gives researchers a rare glimpse into his personal life.

Black and white photograph showing Sir John A. Macdonald sitting on a chair, both his legs and his arms are crossed.

Sir John A. Macdonald, 1872, by William Topley (MIKAN 3333452)

As well as revealing a little bit about Sir John A.’s family life, LAC’s collection also contains artwork and objects that use the former prime minister’s image as a political symbol and, at times, a comic caricature. From political cartoons disapproving of the National Policy and Canadian-American relations, to a derisive phrenological chart of Macdonald’s head, the image of Sir John A. has become a part of Canadian iconography.

Lithograph showing Sir John A. Macdonald dressed as a marching British soldier in front of a locked gate. Behind his back, Uncle Sam is reaching for bags of money from some business men straddling the fence.

Electoral campaign sign reading, “We can’t undo the lock, Sir John is on guard. Hand it over the fence?” (MIKAN 2847973)

Beyond the more politically charged cartoons, Sir John A. Macdonald’s image has also been used commercially in beer advertisements, an endorsement for tomato chutney, and he has even been made into an action figure.

Print of a Molson’s ale ad featuring Sir John A. Macdonald seated and looking off to the side. Behind him is a map of the Dominion of Canada and underneath the image the text reads, “Fifty-six years ago when Sir John A. Macdonald was first Premier of the Dominion of Canada in 1867, Molson’s ale was then 81 years old! The ale your great-grandfather drank.”

Molson’s Ale, Sir John A. Macdonald. (MIKAN 3000462)

However, lest our mental image of Sir John A. Macdonald become a caricature, this bicentennial marks an opportunity to reflect on the personal history and life behind the icon. LAC’s Sir John A. Macdonald collection is a monument to the man and the myth, but his legacy extends beyond these images, back to his Scottish origins. In 1968, outside the tiny village of Rogart in the Scottish Highlands, a memorial cairn was dedicated to Sir John A. Macdonald and unveiled by the 13th Prime Minister of Canada, John Diefenbaker. This memorial is built on the site of the home of Sir John’s grandparents and is made of stones from the original family home. Accompanying the cairn is a plaque that states that the monument is but “a footnote to his greatness.” This type of disclaimer is a good one to keep in mind when examining Sir John A. Macdonald’s accomplished and storied life through such a diverse range of records.

To learn more about Sir John A. Macdonald and his legacy:

Library and Archives Canada releases seventeenth podcast episode, “Let us be Canadians: Sir John A. Macdonald

Library and Archives Canada (LAC) is releasing its latest podcast episode, Let us be Canadians: Sir John A. Macdonald.

January 11, 2015 marks the 200th anniversary of the birth of Canada’s first Prime Minister, Sir John A. Macdonald. To celebrate this anniversary, award-winning journalist-historian Arthur Milnes and LAC art archivist and curator Madeleine Trudeau join us to discuss the life and career of this important political figure as well as the related resources available at LAC.

Subscribe to our podcast episodes using RSS or iTunes, or just tune in at Podcast–Discover Library and Archives Canada: Your History, Your Documentary Heritage.

For more information, please contact us at podcasts@bac-lac.gc.ca.

The 200th Birthday of Sir George-Étienne Cartier, a Prominent Father of Confederation

Today marks the 200th birthday of one of Canada’s most important historical figures, Sir George-Étienne Cartier, a leading Father of Confederation. Cartier was born on September 6, 1814 in Sainte-Antoine-sur-Richelieu, Lower Canada. He studied law and started practising in 1835; however, politics soon became his passion. His entrance into the world of politics was anything but uneventful, as he played a role in the Lower Canadian Rebellion of 1837 and fought in the Battle of Saint-Denis. Cartier subsequently spent a year in exile in Vermont but pled for leniency and returned to Montreal in 1839.

The Honourable Sir George-Étienne Cartier, Baronet

The Honourable Sir George-Étienne Cartier, Baronet (MIKAN 3476630)

In 1848 Cartier was elected to the Legislative Assembly of the Province of Canada and shortly after was appointed to Cabinet. From 1857 to 1862 he served as co-premier of the Province of Canada with Sir John A. Macdonald following his coalition with the Upper Canadian Conservatives. It was in this period that Macdonald and Cartier started working together and began to garner support for Confederation in an attempt to put an end to political instability.

Sir George-Étienne Cartier

Sir George-Étienne Cartier (MIKAN 3213760)

Cartier played a pivotal role in gaining French-Canadian support for Confederation. He argued that francophone interests would be best preserved in a federation of provinces. When Confederation finally came about on July 1, 1867, John A. Macdonald became the first Prime Minister and Cartier the first Minister of Militia and Defence.

Shown among their peers are the Honourable Sir John A. Macdonald, the Honourable Sir George-Étienne Cartier and Lieutenant-Colonel John G. Irvine

Shown among their peers are the Honourable Sir John A. Macdonald, the Honourable Sir George-Étienne Cartier and Lieutenant-Colonel John G. Irvine (MIKAN 3192010)

Cartier passed away on May 20, 1873. His death deeply affected his close friend, John A. Macdonald, who proposed that a statue be erected in Cartier’s honour. It was sculpted by Louis-Philippe Hébert and unveiled in 1885. This was the first statue to be placed on Parliament Hill and it can still be seen today. Cartier left his mark on generations of Canadians. The centenary of his birthday in 1914 was marked by large celebrations and another monument was erected, this time in Montreal. Cartier’s Montreal home was designated a National Historic Site.

Sir George-Étienne Cartier

Sir George-Étienne Cartier (MIKAN 2837680)

While the majority of Cartier’s papers were destroyed, Library and Archives Canada does have several important records, including a family photo album, postcards, and some correspondence that took place during his period as Minister of Militia and Defence. We also have several letters written by Cartier to Macdonald, found in the Sir John A. Macdonald collection (archived).

To find out more about George-Étienne Cartier and his role in Confederation:

Sir John A. Macdonald: Rare and intriguing treasures from the vaults of Library and Archives Canada

Library and Archives Canada holds Canada’s most comprehensive collection of material related to the life, times and continuing appeal of Sir John A. Macdonald (1815–1891)—charismatic firebrand, architect of Canadian Confederation and Canada’s first prime minister. The year 2015 will mark the bicentennial of Macdonald’s birth.

Take a look at our Flickr album to browse a selection of original documents, art and ephemera related to Macdonald, from historical and modern periods. Acquired over the years and from a variety of sources, these unique records document the public face, private life, and enduring power of one of Canada’s most iconic cultural figures.

This material represents only a small portion of Library and Archives Canada’s holdings related to significant Canadians and important events that will be showcased in the lead-up to the 150th anniversary of Canadian Confederation in 2017.

Journal recording the birth of Sir John A. Macdonald and preserving a lock of hair

By Hugh Macdonald, 1820. View of writing and human hair on the left side and marble endpaper on the right side of the journal. Library and Archives Canada, e008295645.

Continue reading