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Campbell, James. “Young Girls and Old Boys: The Art of Prudence Heward and Edwin Holgate.” Border Crossings Vol. 25, no. 2 (June 2006): 68–75.
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Robert, Kimberlie M. “Women’s Botanical Illustration in Canada: Its Gendered, Colonial and Garden Histories (1830-1930).” Master’s Thesis, Concordia University, 2008. http://spectrum.library.concordia.ca/976097/1/MR45323.pdf.
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Kollar, Kathryn L. Women Painters of the Beaver Hall Group. Montreal: Sir George Williams Art Galleries of Concordia University, 1982.
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Skidmore, Colleen Marie. “Women in Photography at the Notman Studio, Montreal, 1856-1881.” PhD dissertation, University of Alberta, 1999. https://era.library.ualberta.ca/items/530019af-f126-4a3b-bf75-4539d329012f.
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Lerner, Loren Ruth. “William Notman’s Portrait Photographs of the Wealthy English-Speaking Girls of Montreal: Representations of Informal Female Education in Relation to John Ruskin’s ‘Of Queens’ Gardens’ and Writings by and for Canadians from the 1850s to 1890s.” Historical Studies in Education/Revue d’histoire de l’éducation Vol. 21, no. 2 (Fall 2009): 65–97. http://historicalstudiesineducation.ca/index.php/edu_hse-rhe/article/view/816.
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Lerner, Loren. “William Notman’s Portrait Photographs of Girls Reading From the 1860s to the 1880s: A Pictorial Analysis Based on Contemporary Writings.” Papers of the Bibliographical Society of Canada/Cahiers de la Société bibliographique du Canada Vol. 47, no. 1 (Spring 2009): 45–73.
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Burr, Christina Ann. “Why the Flapper Still Matters: Feminist Pedagogy, the Modern Girl, and the Women Artists of the Beaver Hall Group.” Historical Studies in Education/Revue d’histoire de l’éducation Vol. 29, no. 2 (Fall 2017): 113–135. https://historicalstudiesineducation.ca/index.php/edu_hse-rhe/article/view/4531/4789.
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Lerner, Loren. “When the Children Are Sick, So Is Society: Dr Norman Bethune and the Montreal Circle of Artists.” In Healing the World’s Children: Interdisciplinary Perspectives on Child Health in the Twentieth Century, edited by Cynthia Comacchio, Janet Golden, and George Weisz, 253–281. Montreal and Kingston: McGill-Queen’s University Press, 2008.
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Beitel, Garry. Vive le Québec-anglé : la culture anglo-québécoise. Synercom Téléproductions Inc., 2002.
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Pageot, Édith-Anne. “Une voix féminine dans l’espace public : La Galerie Dominion, 1941-1956.” Globe: revue internationale d’études québécoises Vol. 11, no. 2 (2008): 186–302. https://www.erudit.org/en/journals/globe/2008-v11-n2-globe1497200/1000528ar.pdf.
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Reford, Alexander. Treasures of the Reford Gardens: Elsie’s Floral Legacy. Montréal: Éditions de l’Homme, 2006.
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Korda, Andrea. “Travel Photography after the Kodak: Two Amateur Albums from the Turn of the Century.” Master’s Thesis, Concordia University, 2005. https://spectrum.library.concordia.ca/8281/1/MR04467.pdf.
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Watchtel, Wendy, ed. There Is A Voice: A Collection of English Poetry and Photography by Montreal Women. New York, NY: Angle Lightning Press, 1978.
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McClure, Virginia. The Yellow Painting: A Memoir. Montreal: Visual Arts Centre/McClure Gallery, 2009.
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Holowach-Amiot, Elaine. The Women’s Art Society of Montreal: A Century of Commitment to the Arts. Montreal: McCord Museum of Canadian History, 1994.
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Walters, Evelyn. The Women of Beaver Hall: Canadian Modernist Painters. Toronto: Dundurn Press, 2005.
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Gualtieri, Julia M. “The Woman as Artist and as Subject in Canadian Painting (1890-1930): Florence Carlyle, Laura Muntz Lyall, Helen McNicoll.” Master’s Thesis, Queen’s University, 1989.
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Durante, Agnes. “The Visual Politics of the Female Form in 1920s Canada.” PhD dissertation, York University, 2015. https://yorkspace.library.yorku.ca/xmlui/handle/10315/30630.
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Pearce, Lynne. “The Viewer as Producer: British and Canadian Feminists Reading Prudence Heward’s ‘Women.’” RACAR (Revue d’art canadienne/Canadian Art Review) Vol. 25, no. 1–2 (1998): 94–103.
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Schofield, Appolonia Elizabeth. “The Soul Pictures of Margaret Mary Nealis R.S.C.J., 1876 to 1957.” Master’s Thesis, Concordia University, 1993. http://www.collectionscanada.gc.ca/obj/thesescanada/vol2/QMG/TC-QMG-6105.pdf.
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Antoniou, Sylvia. “The Sculpture of Anne Kahane.” Master’s Thesis, Concordia University, 1992. http://www.collectionscanada.gc.ca/obj/thesescanada/vol2/QMG/TC-QMG-6091.pdf.
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Keyes, Fergus. “The Point’s Beaver Hall Atrist : Emily Coonan, 1885-1971.” Quebec Heritage News, Summer 2011. http://qahn.org/files/quebecanglophoneheritagenetwork/documents/qhn/qhn_summer_2011_layout_1_reduced.pdf.
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Huneault, Kristina. “The Lived Experience and Cultural Narrative of Helen McNicoll’s Impressionist Canvases.” In I’m Not Myself At All : Women, Art and Subjectivity in Canada, 103–145. Montreal and Kingston: McGill-Queen’s University Press, 2018.
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Bissett, Tara. “The Children’s Chapel, Unitarian Church of Montreal: Two Case Studies of the Role of the Mural in the Transformation of the Room into a Sacred Space.” Master’s Thesis, Concordia University, 2000.
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McCullough, Norah. The Beaver Hall Hill Group/Le Groupe de Beaver Hall Hill: Une Exposition Itinérante de La Galerie Nationale Du Canada/Organized and Circulated by the National Gallery of Canada. Ottawa, ON: The Gallery/La Galerie, 1966.
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Avon, Susan. “The Beaver Hall Group Redefined.” Imposture Vol. 6 (Winter 1992): 56–61.
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Millar, Joyce. “The Beaver Hall Group: Painting in Montreal, 1920-1940.” Woman’s Art Journal Vol. 13, no. 1 (Spring/Summer 1992): 3–9.
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Hébert Stoneberger, Jacqueline. “The Beaver Hall Group: Montréal Painters between World War I and World War II.” Master’s Thesis, University of Miami, 1996.
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Avon, Susan. “The Beaver Hall Group and Its Place in the Montreal Art Milieu and the Nationalist Network.” Master’s Thesis, Concordia University, 1994. http://www.collectionscanada.gc.ca/obj/thesescanada/vol2/QMG/TC-QMG-74.pdf.
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Walters, Evelyn. The Beaver Hall Group and Its Legacy. Toronto, ON: Dundurn Press, 2017.
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