Sampson-Matthews Limited

The Sampson-Matthews silkscreen project stands as the largest public art program in Canadian history. Launched in 1942 during World War II and continuing until 1963, this initiative produced high-quality silkscreen prints of works by Canada's most renowned artists. Under the supervision of Group of Seven members A.J. Casson and A.Y. Jackson, in collaboration with the National Gallery of Canada, these silkscreens were created by Sampson-Matthews Limited, Canada's leading color printing firm at the time.

Originally, the prints were produced for Canadian troops stationed overseas, designed to boost morale and remind soldiers of their homeland. They decorated military barracks, ships, hospitals, and mess halls across Allied territories. Simultaneously, these works were displayed in schools, libraries, banks, government offices, embassies, and corporate spaces throughout Canada. The silkscreens were produced using oil-based inks in up to 15 colors, resulting in vibrant, durable works that have maintained their quality for decades.

The collection featured works from prominent Canadian artists including members of the Group of Seven, Tom Thomson, Emily Carr, J.W. Morrice, and many others. During the war years (1942-1945), approximately 36 designs were produced, with another 81 images created after 1945. These weren't mere reproductions but hand-pulled silkscreen artworks created under A.J. Casson's supervision, who served as Vice President and Creative Director of Sampson-Matthews Limited.

The Sampson-Matthews prints significantly contributed to defining Canadian visual identity. They reinforced landscape as the primary Canadian visual motif and elevated the profile of Canadian art and artists to a wider audience than had previously been possible. The Globe and Mail called this program "one of the most interesting and successful cultural projects ever undertaken in Canada," while the National Gallery of Canada noted the value of this publicity for Canada in its 1944-45 annual report. After declining in popularity during the 1980s, these works have seen renewed interest in recent decades, featuring in exhibitions, scholarly articles, and collections across Canada.