This notecard features a detail of the artwork Winter Bird (1984) by Pudlo Pudlat (1916–1992). 

Card dimensions: 17.5 x 13.5 cm (6.8 x 5.3 in.) 
Blank inside. Envelope included. 

In the collection of the National Gallery of Canada 

Related Exhibition: Winter Count: Embracing the Cold

This magnet features the artwork Winter Bird (1984) by Pudlo Pudlat (1916–1992). 

9 x 6.5 cm (3.5 x 2.5 in.) 

In the collection of the National Gallery of Canada.

Related Exhibition: Winter Count: Embracing the Cold

This notecard features a detail of the artwork April in the Laurentians (1922–1924) by Anne Savage (1896–1971). 

Card dimensions: 17.5 x 13.5 cm (6.8 x 5.3 in.) 
Blank inside. Envelope included. 

In the collection of the National Gallery of Canada 

Related Exhibition: Winter Count: Embracing the Cold

This magnet features the artwork April in the Laurentians (1922–1924) by Anne Savage (1896–1971). 

9 x 6.5 cm (3.5 x 2.5 in.) 

In the collection of the National Gallery of Canada.

Related Exhibition: Winter Count: Embracing the Cold

Jin-me Yoon (b. 1960)
Souvenirs of the Self (Lake Louise), 1991

Yoon emigrated from South Korea to Vancouver in 1968. While studying contemporary art, she was exposed to artists and theorists engaged with questions of sexual and cultural difference. Her work is recognized for contributing to the ongoing discussions concerning identity and place.

9 x 6.5 cm (3.5 x 2.5 in.)

In the collection of the National Gallery of Canada.

Jin-me Yoon (b. 1960)
Souvenirs of the Self (Lake Louise), 1991

Yoon emigrated from South Korea to Vancouver in 1968. While studying contemporary art, she was exposed to artists and theorists engaged with questions of sexual and cultural difference. Her work is recognized for contributing to the ongoing discussions concerning identity and place.

Card dimensions: 17.5 x 13.5 cm (6.8 x 5.3 in.)
Blank inside. Envelope included.

In the collection of the National Gallery of Canada.

Get your creativity flowing with this compact journal featuring a detail from the painting Red House in Winter (1925) by Lawren Harris (1885–1970). 

Hardcover | 120 lined pages 
12 x 17 x 1.3 cm (4.7 x 6.7 x 0.5 in.) 
Elastic band closure and ribbon bookmark 

This soft and absorbent microfibre towel features a detail from the painting Red House in Winter (1925) by Lawren S. Harris (1885–1970).

70 x 50 cm (27.5 x 19.7 in.)
100% Microfibre

Make an artistic impression with this set of 4 coasters featuring a detail from the painting Red House in Winter (1925) by Lawren S. Harris (1885–1970).

9.5 x 9.5 cm (3.7 x 3.7 in.)
Cork

This metallic magnet features a detail from the painting Red House in Winter (1925) by Lawren S. Harris (1885–1970). 

9 x 7.8 cm (3.5 x 3 in.)

David P. Silcox 

David Milne (1882–1953) experienced life as an artist in turn-of-the-century New York, as a soldier in World War I, and as a contemporary of the Group of Seven in Canada. This book traces the gifted painter's development over the course of tumultuous personal and historical events.  

Paperback | 64 pages 
22.8 x 22.8 cm (9 x 9 in.) 
Publication Date: 2005

Ian M. Thom

Remarkable paintings grace the pages of Maria Chapdelaine, a novel written by a Frenchman yet embraced by generations of Canadian readers. Renowned Canadian artist Clarence Gagnon used a meticulous process to create 54 small paintings for Louis Hémon’s early 20th-century story set in the Quebec countryside. Gagnon’s vivid illustrations depict the strength of body and soul necessary to survive such a harsh environment. All of the Gagnon Maria Chapdelaine illustrations are reproduced in this book, with excerpts from the novel. The complete set of paintings resides in the McMichael Canadian Art Collection, where it is considered a rare treasure. Art historian and curator Ian M. Thom in his essay provides insight into Gagnon’s life and an appreciation of his art.

Hardcover | 120 pages
22.5 x 20.3 cm (9 x 8 in.) 
Publication Date: 2020

Anka Muhlstein

Camille Pissarro (1830-1903) occupied a central place in the art world of his time: a founding member of the new French school of painting, Impressionism, he attracted Monet, Renoir, Sisley, Degas, Berthe Morisot, and later Cézanne and Gauguin. Supported throughout his career, despite the hostility of the public, by the great Parisian art dealer Paul Durand-Ruel, he had a persistent feeling of being apart, different, and difficult to classify. Settling in France at the age of twenty-five but born in the Danish West Indies, he was not French and, moreover, he was Jewish. He never hid this fact and knew that it was not insignificant in French society, which was shaken at the end of the 19th century by the defeat of 1870, workers' struggles, and the Dreyfus affair. His two passions were painting and the artistic education of his children. Thanks to his astonishing energy and availability, he never sacrificed one for the other, and his five sons became painters themselves. Drawing on Pissarro's considerable body of work and a vast collection of letters that reveal his warm nature and great freedom of thought, Anka Muhlstein paints a nuanced and intimate portrait of an artist with an independent and singular spirit.

Paperback | 272 pages
22.7 x 14.3 cm (8.9 x 5.6 in.) 
Publication Date: 2024

Only available in French.