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‘Pax,’ Sailor’s Cove marina, British Columbia, Canada,
Designed by Jason Levine and Cayley Raeis
#art#design#interiors#cottage#cabin#tinyhouse#pax#sailor's cove#marina#jason levine#floating house#floating home#victoria#expo86#millwork#renovation#cayley raeis#boat#canada
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Canada Pavilion - Pavillon du Canada 1986, a watercolour poster print for Expo86 by Thomas J. Huntley. I hadn’t noticed this print before, but I recently encountered it in a local thrift shop. If you’re looking to round out your 80s decor, this poster print might be it!
Alas, I didn’t buy it myself, and I’ve only seen it once…
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Viking V photographed from Viking IV on the 1986 Three Flags Econorallye for EXPO86
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I can believe it’s been 36 years since I watched a barge full of 50 saxophonists sail into false creek on the night of July 7. Urban Sax from France was one of the most memorable live shows I have ever seen. #normstelfoxphotography #urbansax #expo86 #livejazz #livejazzmusic #jazzfestvancouver https://www.instagram.com/p/CeCLhQePxb0/?igshid=NGJjMDIxMWI=
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William Griffith Roberts, aka Bill Roberts was an RCAF recruit from Nelson, British Columbia. Around 1943, a series of his cartoons appeared in the weekly Wings Abroad newsletter of the RCAF abroad. Shown here are a series of cartoons that appeared in the newsletter from September to December, 1943. His cartoons may extend beyond those dates somewhat, but I’m not certain. These snapshots come from the Canadian War Museum collection, one of the few places where you can see copies of this rare wartime newsletter. The Library and Archives Canada apparently has copies as well, but I don’t see copies anywhere else. Bill Roberts went on to become an accomplished fine artist postwar, and he even had one of his images turned into a poster for Expo86. Here’s a copy of his bio from A Dictionary of Canadian Artists, volumes 1-8:
ROBERTS, William Griffith
1921-2001
Born in Nelson, B.C., he received his early education there and entered the Vancouver School of Art where he studied for six months. Throughout his early years he had been interested in cartoons much inspired by the creators of “Maggie and Jiggs”, “The Captain and the Kids”, “Happy Hooligan” and “Little Orphan Annie”. He sold his cartoons to local papers in the Vancouver area. He enlisted in the R.C.A.F. and served overseas as an Air Gunner and still contributed cartoons to the Vancouver Sun and the Airforce paper Wings Abroad (1941-45). It was during his service overseas that he first saw English water colours and in his spare time he continued to paint and improve his technique. Following the war, he worked briefly for the Vancouver Sun as an editorial cartoonist but politics was not a burning interest with him and he did not share the same views with the publisher. He moved to Toronto in search of opportunities and enrolled in the Ontario College of Art but found classes crowded and instructors on short supply. He left the College to make his own way. During those early years he did every conceivable job – washing cars, washing dishes, etc., in his struggle just to make ends meet. He kept working at his art and his cartoons, establishing himself in the field of commercial art. In his painting he experienced his first success in 1950 with the sale of “Banks’ Lunch”, a water-colour exhibited at the Ontario Society of Artists annual show and sold on opening night. By now he was married with a family. In 1952 he took his family on an extended trip to England where he toured the coastlines painting in water colours then went on to France and northern Spain. After a year abroad Roberts and his family returned to Toronto where he resumed his art career. He was elected member of The Canadian Society of Painters in Water Colour in 1954; member of the O.S.A. in 1956; A.R.C.A in 1957. Exhibiting with these societies gave him access to a larger audience. By now he had gained considerable experience as a painter and joined the staff of the Ontario College of Art where he continued to teach for the next nine years (1957-66). During that period he was for a year Resident Artist at the University of Western Ontario (1963-64) with his studio on the lower floor of the McIntosh Memorial Art Gallery. At the end of his term he had completed 20 major paintings, 100 water colours, nine tempera paintings and numerous drawings. He was now living in a 105-year-old house in the little town of Milton, 40 miles west of Toronto with his wife and two daughters. In cold weather he still went out to paint his subjects. By mixing alcohol with his water colours he kept his paints from freezing. Returning to his studio he then tacked each painting up on his studio wall to give it “the test of time”. He destroys up to 75% of his production in the process of keeping the best. His oil paintings are done either from memory or from meticulous ink sketches. Writing in the Owen Sound Sun Times in 1971, Ann Kelly described the artist as follows, “If his paintings reflect his personality William Roberts is an extremely practical and resourceful man, capitalizing on every opportunity. His subjects include many of the simple things in life, a church window, a dried and wrinkled baby’s boot, a weather vane, a barn, even a progressive series of paintings of an apple. His work also shows imagination. One painting is of the back face of an antique clock, as though the clock were looking out at the world. Some of his pictures are haunting, almost reflecting an inner loneliness; others are purposefully stark. His work shows great perception of the interest in detail, be it the fine hairs on a rabbit or the painting of a beautiful old home near Streetsville done purely to emphasize the handmade Flemish bond brick. He did a series of paintings from letters he found in an old house, has utilized post cards, even an aging ear of corn. By poking into deserted houses and old barns, always with the permission of the owners, he has uncovered a wealth of subject matter. At one time he traded an old man a pair of binoculars to gain possession of a weather vane he desperately wanted to paint.” Writing on the artist in 1978 for The Free Press (Lond., Ont.), Susanne Tausig noted, “William Roberts’ watercolors are unfinished yet strangely complete; delicate yet strangely solid; opaque yet strangely dense; pale yet strangely intense; unpretentious yet strangely refined; austere yet strangely inviting. The contradictions can go on and on. It is exactly this kind of ambiguity which makes Roberts’ work so intriguing...The artist’s most recent paintings stem from a summer spent in Nova Scotia. Previously, he was known for his interest in rural Ontario buildings such as farm houses and barns. And, even the vast blue expanse of the Atlantic Ocean at his fingertips, his subjects are mostly structural ones, such as the houses and lonely lighthouses that dot the coastline. Canada’s east coast is an ideal subject for Roberts’ work and, since the artist visited during the summer months, there is the added attraction of playful sunlight. Shadows form by the movement of the sun, and direct light rays that seem to bleach the wooden frames of the houses, add to the translucent quality. Included also in the show are some still life works, painted with the same fragile-forcefulness that is present in the landscapes. In these too, the artist shows remarkable restraint preferring to hint at color and contour rather than define it through splashy bold lines.” His solo shows include: Roberts Gallery, Tor., biannually (1958-72); Art Gallery of Brantford (1970); Upper Street Gallery, Lond., Eng. (1973); Thielsen Gallery, Lond., Ont. (1974) (1978) (1980) (1981); Nancy Poole’s Studio, Tor., annually (1974-83); Far Gallery, NYC, USA (1975) (1980); Equinox Gallery, Van., B.C. (1975) (1977) (1981) (1985) (1987); Zwickers Gallery, Hal., N.S. (1984); Tom Thomson Memorial Art Gallery, Owen Sound, Ont. (1987). His awards include: Canada Council Senior Arts Grant (1967); Canada Council Short Term Grants (1973) (1975) (1977) (1979); Ontario Arts Council Grant (1975); Winnipeg Prize; Monsanto Honor; Forester Award (O.S.A.) and an award from the C.S.P.W. He is represented in the following collections: Simon Fraser University, B.C.; Law Society of British Columbia; Saskatoon Art Gallery; Winnipeg Art Gallery; McIntosh Gallery, Univ. Western Ontario, Lond., Ont.; London Regional Art Gallery, Lond., Ont.; Art Gallery of Brant, Brantford, Ont.; Art Gallery of Hamilton, Ont.; Imperial Oil, Ltd., Tor. Ont.; Royal Bank of Canada, Tor.; Reed Paper Company; Hart House, Univ. Tor.; City of Toronto Archives; Canada Permanent Company; Art Gallery of Ontario, Tor.; Tom Thomson Memorial Gallery, Owen Sound, Ont.; Scott Paper Company; Rothman’s of Canada; Dow Chemical Company of Canada; National Gallery of Canada, Ott.; Canada Council Art Bank, Ott.; Dept. External Affairs (Can. Embassy, Athens); Memorial Univ. St. John’s, Nfld.; National Bank of North Carolina; Alleghany Airlines; Hall Gallery, Fort Worth, Texas; International Telephone and Telegraph and others. Up to 1986 he lived with his wife in a log house at Ayton, Ontario, before moving to St. Mary’s Bay, N.S., where he paints a whole range of new subjects. The Roberts have two daughters who live in Nova Scotia.
bio by Colin S. MacDonald
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Remembering Lady Diana Princess of Wales It was 22 years ago this month, Lady Diana, Princess of Wales, passed away from an automobile accident in Paris, France. Prince Charles and Lady Diana stopped by to officially open EXPO 86, the transportation exposition in Vancouver, BC Canada in 1986. This image was produced while on assignment at EXPO 86. ©️Albert Normandin . . . . . #portrait #ladydiana #princessofwales #expo86 #royalty #albertnormandin #princessdiana #albertnormandin_beauty #myanmarphotographs #myanmarobsession @myanmarobsession @albertnormandin @albertnormandin_beauty #albertnormandinphotography https://www.instagram.com/p/B1J-pwrhuXd/?igshid=1eu4vevnoj5j4
#portrait#ladydiana#princessofwales#expo86#royalty#albertnormandin#princessdiana#albertnormandin_beauty#myanmarphotographs#myanmarobsession#albertnormandinphotography
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You know I had to. Happy New Year! #deathcabforcutie #transatlanticism #newyear #happynewyear #vinyl #vinylgram #nowspinning #records #recordcollection #vinylcollection #vinylcollectionpost #lightness #expo86 #passengerseat #lackofcolor #giants #bengibbard #2003 https://www.instagram.com/p/BsHUIknlT3t/?utm_source=ig_tumblr_share&igshid=req20xujggi6
#deathcabforcutie#transatlanticism#newyear#happynewyear#vinyl#vinylgram#nowspinning#records#recordcollection#vinylcollection#vinylcollectionpost#lightness#expo86#passengerseat#lackofcolor#giants#bengibbard#2003
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Great band! Who has seen them live? . . . . . . . . . . . . . @wolfparade @leespalace @theflyervault #wolfparade #leespalace #spencerkrug #danboeckner #apologiestothequeenmary #atmountzoomer #expo86 #dantedecaro #handsomefurs (at Lee's Palace) https://www.instagram.com/p/CO2l73DN2-B/?igshid=mgq5bojmkl0r
#wolfparade#leespalace#spencerkrug#danboeckner#apologiestothequeenmary#atmountzoomer#expo86#dantedecaro#handsomefurs
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Just last week I started purging some of my stuff while moving into a new pad in Rossland, and was super stoked to find this! So surprised I never lost this throughout the years having moved so many times in my life, but after 30 years I still have it!
I used to spend a month or more every summer and then alternate between xmas and March Break in Vancouver visiting my mom after I moved to Ontario to live with my Dad in ‘84…
Anyways, I remember this day like it was yesterday…I was already hitting up Seylynn Bowl in North Vancouver on the regular that visit, but this particular day while Expo 86 was happening in Vancouver, all the pros were at the bowl for a jam, it was totally radical to say the least (as was the skateboarding at Expo 86 too)! Everyone was ripping and getting gnarly, and any chance I got I asked for autographs… Tony Hawk, Bryce Kanights, Lance Mountain (who said “no, heres a dime though kid”…I was so bummed for what felt like forever but was a split second before he said “just kidding, here ya go”), Lester Kasai, and Rob Roskopp who also signed my Rob Roskopp 3 deck at the time (my first 'pro’ complete).
You know you love and are so passionate about something when after 30 years you still get excited for it, dream about it, think about it wherever you go, invest countless hours and money into it, miss it if gone for too long…and ultimately shaped your life, style and is your lifestyle.
#skateboarding #love #passion #lifestyle #expo86 #seylynnbowl @tonyhawk @brycekanights @lancemountain @lesterkasai #robroskopp @oldballsskateboardco #roadtorecovery #bebacknextyear
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In 1986 I got my very first camera. This was the second frame out of the gate. I think Tom Petty said it best: Baby even the losers get lucky sometimes. #princessdiana #expo86 (at Prince George, British Columbia)
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Flashback from 1986, this print of the Roundhouse for Expo86 by Don Portelance was sponsored by Esso. From his bio:
[Don] began his formal art education at night classes in the Vancouver School of Art, and continued focusing on studio art during his bachelor degree at the University of British Columbia, and master degree at Western Washington University. In 1976 he completed a year of Post-Graduate studies in Lithography at the Vancouver School of Art, and in 1997 completed Simon Fraser University graduate field studies on Queen Charlotte Islands focusing on the Art and Culture of the Haida Indians.
From 1958 to the present Portelance has focused on teaching art, and has continued an active exhibition schedule. Presently he continues to be employed in the Education Department at the University of Victoria, and also teaches artistically gifted young adults for Place des Arts in Coquitlam.
The story of the Roundhouse is a significant chapter in the city’s heritage preservation. It came close to demolition, and in fact, half of it was demolished. I’ve added some of the photos from the gallery on the Roundhouse website, along with the quote below:
When the Provincial Government announced the purchase of the CPR rail yards on the north shore of False Creek in 1980, plans for the Vancouver Roundhouse became clear – they intended to demolish it. Fortunately, only part of the demolition occurred, thanks to the efforts of heritage and train buffs, supported by numerous Vancouver residents who refused to see this historic building disappear.
In 1984, Norman Hotson Architects was retained by the BC Place Corporation to restore and renovate the Roundhouse. The immediate goal was to bring the building up to the standards as prescribed by current building codes to prepare the Roundhouse for use as a theme pavilion for the World Exposition of 1986. The Roundhouse proved to be a favourite of the crowds at Expo 86, the adaptation of the building was an unqualified success.
After Expo 86 closed, all of the temporary buildings used during the fair were dismantled and removed leaving the Roundhouse sitting alone on Pacific Boulevard at the foot of Davie Street. Except as a backdrop for the occasional film being shot on location, the Roundhouse sat empty waiting for the next phase of its use as a key building in Vancouver’s history.
When Concord Pacific developed the Overall Development Plan for the new community on the 204 acres of the False Creek north waterfront, the historic Roundhouse was designated as a public amenity and plans for a new community centre began – but only after attempts to turn the Roundhouse into a collection of boutique shops were defeated by concerted citizens’ action. The zoning that ensured its rejuvenation into a public facility was finalized in 1993.
The Park Board then took a major leap and agreed that the Roundhouse would be unlike any other community centre in Canada – a unique facility dedicated to community development through arts and culture – an arts oriented community centre that would serve not only the residents of the area but all citizens of Vancouver.
Do you remember the Roundhouse during Expo86? Did you take a photo at the the train engine 374 on the CPR turntable, or pick up one of these poster souvenirs?
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Opportunity Vancouver magazine number 9, from the Expo86 era, a nice little article on Skytrain!
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Pickering Lumber Co. 12 at Steam Expo86 in May 1986 by Marty Bernard
Via Flickr:
Roger didn't get a parade photo of this one. A Roger Puta Photograph
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I relate to this
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