The emotional tug-of-war between corporate assets and cultural heritage came into sharp focus this week as the family of renowned Canadian artist David Milne launched efforts to keep one of his significant works from leaving Toronto.
Hudson’s Bay Company has included Milne’s 1912 painting “Toronto Waterfront” in their upcoming auction of corporate art assets, scheduled for later this month. The painting, which captures a pivotal moment in Toronto’s development as a lakefront city, has been part of HBC’s private collection for over 70 years.
“That painting represents not just my grandfather’s work, but a piece of Toronto that’s vanishing,” says Elizabeth Milne, the artist’s granddaughter. “It shows the waterfront before development transformed it completely. It’s living history.”
The family has launched a GoFundMe campaign hoping to raise enough money to purchase the painting and donate it to the Art Gallery of Ontario, ensuring it remains accessible to Torontonians.
David Milne (1882-1953) is considered one of Canada’s most influential modernist painters. After studying at the Art Students League in New York, he returned to Ontario where he developed his distinctive minimalist style that influenced generations of Canadian artists.
“Milne’s work bridges our understanding of Toronto’s transformation from industrial port to modern metropolis,” explains Dr. Samantha Wilson, curator at the AGO. “This particular painting documents a waterfront that no longer exists, making it invaluable to our cultural record.”
The painting’s estimated auction value between $400,000-$600,000 reflects both its artistic significance and historical importance. The family has currently raised just over $125,000, with prominent Toronto philanthropists considering matching contributions.
HBC spokesperson Marcus Thompson defended the company’s decision to auction the piece. “While we understand the cultural significance, HBC must balance its heritage preservation responsibilities with business realities. The proceeds will support our Foundation’s work with Indigenous communities.”
This situation highlights the ongoing tension between corporate ownership of culturally significant works and public interest. Unlike some countries, Canada lacks strong legislation preventing the export of nationally significant artworks.
“We’re not questioning HBC’s right to sell their assets,” notes Elizabeth Milne. “We’re simply asking for the chance to keep this piece of Toronto’s visual history where it belongs – in Toronto.”
The City’s Cultural Heritage Department has expressed interest but cited limited acquisition budgets as a barrier to municipal intervention.
Meanwhile, local business leaders have begun rallying support. “Toronto’s waterfront has undergone massive changes,” says Jennifer Kwok, president of the Toronto Business Association. “Having visual documentation of its industrial past helps us understand our city’s evolution. That’s worth preserving.”
For many Torontonians, the painting represents more than just art – it’s a window into a city that no longer exists. The auction, scheduled for November 27th at HBC’s Queen Street location, will determine whether this glimpse into Toronto’s past remains accessible to future generations or disappears into a private collection.
As someone who’s documented Toronto’s changing landscape for over a decade, I’m struck by how often we lose these tangible connections to our past. Each time a historic building falls or a cultural artifact leaves public view, we lose another thread connecting us to the city that was.
The Milne family has until November 25th to secure funding before the auction begins. Those interested in contributing can find information through the AGO’s website or the Save Toronto’s Heritage Art Fund.
