L
LANKAU, Hans Gottfried Edita (1897- 1971)
A sculptor and restorer of oil paintings and sculptures, he was born in Berlin (Germany) and came to Vancouver, B.C. in 1951. “His commissions include: 11 ft. plaque in bronze over the main entrance of the Canadian Imperial Bank of Commerce, Van. (1954); 10 ft. high enameled bronze coat of arms over the main entrance of the new Court-House, Calgary (1961); coat of arms for the new Bank of Canada, Van. (1965); 4 ft. bronze and aluminum circular crest [badge] for R.C.M.P. Building, Regina; …. 12 ft. high and 11 ft. wide coat of arms of Canada (3,000 lbs. wt.) ceremoniously inaugurated at Confederation Garden Court, Victoria, B.C. (this work required the fashioning of numerous individual parts in such a fashion that all parts fitted together neatly), considered to be one of his finest works. Hans Lankau lives in West Vancouver, B.C.”* The casting of large coats of arms in metal was also a specialty of Art PRICE.
Ref: *MacDonald, Dictionary Canadian Artists (Bibliog.).
LA SALLE voir CAVELIER
LA VÉRENDRYE voir GAULTIER DE
LEE-GRAYSON, Joseph Henry (1875-1954)
Born in Harrogate, Yorkshire, England, he studied at the South Kensington art school, London, the Académie Julian in Paris, and the École des Beaux-Arts, Brussels. He came to Canada in 1906, joined the Canadian Expeditionary Force and served overseas.* He became a well-known Regina artist. He was known to “discourse entertainingly and enthusiastically on the subject of Heraldry” and to be “an acknowledged authority on this exact science on this continent.”** He was employed by the Saskatchewan civil service as Art Director of the exhibits in the Legislative Buildings in Regina, a post from which he retired in 1943. Like Fortunat CHAMPAGNE and Joseph-Charles-Théophile CHARLEBOIS, he prepared many illuminated addresses for the provincial government, which featured armorial bearings.*
Ref: * MacDonald, Dictionary Canadian Artists (Bibliog.); **Leader-Post (Regina), 24 Nov. 1943.
LEVASSEUR, Noël (1680-1740)
Maître sculpteur de la ville de Québec: « On attribue d’ailleurs à Noël Levasseur deux cartouches en bois sculpté polychrome, l’un au Musée du Québec, l’autre aux Archives publiques du Canada, représentant les armoiries royales de France. Ces cartouches auraient été commandés par Gaspard-Joseph CHAUSSEGROS DE LÉRY en 1727 pour orner les portes et les édifices administratifs de la ville de Québec. »
Réf : http://www.biographi.ca/fr/bio/levasseur_noel_2F.html, consulté le 4 avril 2014.
***
Noël Levasseur was a master wood-carver of Quebec City: “Moreover, to Noël Levasseur are attributed two scrolls in polychrome carved wood representing the royal coat of arms of France; one of these is in the Quebec museum, the other in the Public Archives of Canada.” The armorial wood carvings “are supposed to have been ordered by Gaspard-Joseph CHAUSSEGROS DE LÉRY in 1727 to embellish the gates and administrative buildings of the town of Quebec.”
Ref: http://www.biographi.ca/en/bio/levasseur_noel_2E.html, consulted 4 April 2014.
LIDSTONE, James Torrington Spencer
A self-styled Toronto poet, who visited the Staffordshire Potteries in the 1860’s and devoted the 1866 issue of his publication, The Londoniad, to “a Full Description of the Principal Establishments in the Potteries”, nearly 100 of them.* He noted in particular an obscure company named Wedgwood & Co. whose letterhead read “Wedgwood and Company, China and earthenware manufacturers, Talbot Works, Commerce Street, Longton. Arms, crests, landscapes etc., executed in the first style.” His poetic description reads:
Here’s China to be had, or plain or burnished,
Arms, Crests etc., by them furnished;
Landscapes! And a thousand things besides we greet
At the famous Talbot Works in Commerce Street.
The production of this company has remained virtually unknown, possibly because some of the pieces they produced were unmarked. One author laments in this respect: “Alas this firm does not appear to be listed in other contemporary sources and no marked specimens have been reported.” ** Actually, one advertisement plate ordered by the china merchant Cleverdon & Co. of Halifax was made by Wedgwood & Co. ca. 1850-65.
A sculptor and restorer of oil paintings and sculptures, he was born in Berlin (Germany) and came to Vancouver, B.C. in 1951. “His commissions include: 11 ft. plaque in bronze over the main entrance of the Canadian Imperial Bank of Commerce, Van. (1954); 10 ft. high enameled bronze coat of arms over the main entrance of the new Court-House, Calgary (1961); coat of arms for the new Bank of Canada, Van. (1965); 4 ft. bronze and aluminum circular crest [badge] for R.C.M.P. Building, Regina; …. 12 ft. high and 11 ft. wide coat of arms of Canada (3,000 lbs. wt.) ceremoniously inaugurated at Confederation Garden Court, Victoria, B.C. (this work required the fashioning of numerous individual parts in such a fashion that all parts fitted together neatly), considered to be one of his finest works. Hans Lankau lives in West Vancouver, B.C.”* The casting of large coats of arms in metal was also a specialty of Art PRICE.
Ref: *MacDonald, Dictionary Canadian Artists (Bibliog.).
LA SALLE voir CAVELIER
LA VÉRENDRYE voir GAULTIER DE
LEE-GRAYSON, Joseph Henry (1875-1954)
Born in Harrogate, Yorkshire, England, he studied at the South Kensington art school, London, the Académie Julian in Paris, and the École des Beaux-Arts, Brussels. He came to Canada in 1906, joined the Canadian Expeditionary Force and served overseas.* He became a well-known Regina artist. He was known to “discourse entertainingly and enthusiastically on the subject of Heraldry” and to be “an acknowledged authority on this exact science on this continent.”** He was employed by the Saskatchewan civil service as Art Director of the exhibits in the Legislative Buildings in Regina, a post from which he retired in 1943. Like Fortunat CHAMPAGNE and Joseph-Charles-Théophile CHARLEBOIS, he prepared many illuminated addresses for the provincial government, which featured armorial bearings.*
Ref: * MacDonald, Dictionary Canadian Artists (Bibliog.); **Leader-Post (Regina), 24 Nov. 1943.
LEVASSEUR, Noël (1680-1740)
Maître sculpteur de la ville de Québec: « On attribue d’ailleurs à Noël Levasseur deux cartouches en bois sculpté polychrome, l’un au Musée du Québec, l’autre aux Archives publiques du Canada, représentant les armoiries royales de France. Ces cartouches auraient été commandés par Gaspard-Joseph CHAUSSEGROS DE LÉRY en 1727 pour orner les portes et les édifices administratifs de la ville de Québec. »
Réf : http://www.biographi.ca/fr/bio/levasseur_noel_2F.html, consulté le 4 avril 2014.
***
Noël Levasseur was a master wood-carver of Quebec City: “Moreover, to Noël Levasseur are attributed two scrolls in polychrome carved wood representing the royal coat of arms of France; one of these is in the Quebec museum, the other in the Public Archives of Canada.” The armorial wood carvings “are supposed to have been ordered by Gaspard-Joseph CHAUSSEGROS DE LÉRY in 1727 to embellish the gates and administrative buildings of the town of Quebec.”
Ref: http://www.biographi.ca/en/bio/levasseur_noel_2E.html, consulted 4 April 2014.
LIDSTONE, James Torrington Spencer
A self-styled Toronto poet, who visited the Staffordshire Potteries in the 1860’s and devoted the 1866 issue of his publication, The Londoniad, to “a Full Description of the Principal Establishments in the Potteries”, nearly 100 of them.* He noted in particular an obscure company named Wedgwood & Co. whose letterhead read “Wedgwood and Company, China and earthenware manufacturers, Talbot Works, Commerce Street, Longton. Arms, crests, landscapes etc., executed in the first style.” His poetic description reads:
Here’s China to be had, or plain or burnished,
Arms, Crests etc., by them furnished;
Landscapes! And a thousand things besides we greet
At the famous Talbot Works in Commerce Street.
The production of this company has remained virtually unknown, possibly because some of the pieces they produced were unmarked. One author laments in this respect: “Alas this firm does not appear to be listed in other contemporary sources and no marked specimens have been reported.” ** Actually, one advertisement plate ordered by the china merchant Cleverdon & Co. of Halifax was made by Wedgwood & Co. ca. 1850-65.
Advertisement plate bearing the arms of Nova Scotia granted ca. 1625, restored in 1929. Made by Wedgwood & Co. for the china merchant Cleverdon & Co. of Halifax, ca. 1850-65. Vachon Collection, Canadian Museum of Civilization.
Impression “Wedgwood & Co.” on the Cleverdon plate
Lidstone had a more than passing interest in heraldry. For the “New Canada Confederacy”, he proposed arms consisting of a C in the form of a “lyre evolving rays, each province to have a string.” In 1873, he had a “new Canadian flag” made (The Canadianised Red Ensign) for presentation to the Royal Geographical Society to be “waved over the bier and tomb of the Great African Discoverer” (Livingstone).***
Ref: Elizabeth Collard, Nineteenth-Century Pottery and Porcelain in Canada, 2nd ed. (Montreal and Kingston: McGill-Queen’s University Press, 1984), p. 452; *James Torrington Spencer Lidstone, The New or Twentieth Londoniad….. (London: Lidstone, 1876), p. 130; p. 759; **Geoffrey A. Godden, Encyclopaedia of British Porcelain Manufacturers (London: Barrie & Jenkins, 1988), ***Lidstone, op. cit., p. 21, 105, 123. This is another strong indication that the Canadianised Red Ensign was already widely viewed as a national flag. The flag would have displayed the four or five province shield of the Dominion in the fly. We know that the four-province Red Ensign, topped by the royal crown and within a wreath of maple leaves, was in use in 1871 and 1872: Canadian Illustrated News, May 6, 1871, p. 274, 281 and poster entitled “Vote & Influence for Malcolm Cameron” 1872, LAC, negative C-120987. In early 1873, the adopted arms of Manitoba had become part of the Dominion shield: L’Opinion publique, 2 Jan. 1873, p. 1.
LORNE, Sir John Douglas Sutherland Campbell, Marquis of (1845-1914)
He was also ninth Duke of Argyll and Governor General of Canada (1878-83). His contribution to Canadian heraldry is virtually nil, but his interest in the matter is worth noting because of his high profile. Lorne and his wife, Princess Louise, were both artists and the drawings of their trip across Canada in 1881, to better know the new land, are contained in an album held by LAC. When in British Columbia, Lorne decided to propose “Designs for British Columbian shield,” perhaps because he felt that the emblem of the province at the time was inadequate. It consisted of the imagery from its seal: the royal crest between the letters B.C. The animals on Lorne’s shields, whether passant or couchant are described as panthers, but are no doubt meant to be cougars which are native to British Columbia. It does not seem that the marquis gave himself very high notes for his efforts since he crossed everything out and used the opposite side of his sheet to sketch two scenes of Burrard Inlet. The arms were discovered much later when the glued down water colour was removed from the album.
Ref: Auguste Vachon, “Des armoiries pour la Colombie-Britannique” in HC, March 1984, p. 16-17.
Ref: Elizabeth Collard, Nineteenth-Century Pottery and Porcelain in Canada, 2nd ed. (Montreal and Kingston: McGill-Queen’s University Press, 1984), p. 452; *James Torrington Spencer Lidstone, The New or Twentieth Londoniad….. (London: Lidstone, 1876), p. 130; p. 759; **Geoffrey A. Godden, Encyclopaedia of British Porcelain Manufacturers (London: Barrie & Jenkins, 1988), ***Lidstone, op. cit., p. 21, 105, 123. This is another strong indication that the Canadianised Red Ensign was already widely viewed as a national flag. The flag would have displayed the four or five province shield of the Dominion in the fly. We know that the four-province Red Ensign, topped by the royal crown and within a wreath of maple leaves, was in use in 1871 and 1872: Canadian Illustrated News, May 6, 1871, p. 274, 281 and poster entitled “Vote & Influence for Malcolm Cameron” 1872, LAC, negative C-120987. In early 1873, the adopted arms of Manitoba had become part of the Dominion shield: L’Opinion publique, 2 Jan. 1873, p. 1.
LORNE, Sir John Douglas Sutherland Campbell, Marquis of (1845-1914)
He was also ninth Duke of Argyll and Governor General of Canada (1878-83). His contribution to Canadian heraldry is virtually nil, but his interest in the matter is worth noting because of his high profile. Lorne and his wife, Princess Louise, were both artists and the drawings of their trip across Canada in 1881, to better know the new land, are contained in an album held by LAC. When in British Columbia, Lorne decided to propose “Designs for British Columbian shield,” perhaps because he felt that the emblem of the province at the time was inadequate. It consisted of the imagery from its seal: the royal crest between the letters B.C. The animals on Lorne’s shields, whether passant or couchant are described as panthers, but are no doubt meant to be cougars which are native to British Columbia. It does not seem that the marquis gave himself very high notes for his efforts since he crossed everything out and used the opposite side of his sheet to sketch two scenes of Burrard Inlet. The arms were discovered much later when the glued down water colour was removed from the album.
Ref: Auguste Vachon, “Des armoiries pour la Colombie-Britannique” in HC, March 1984, p. 16-17.
Designs of arms for the Province of British Columbia by the Marquis of Lorne, 1881. LAC