A rare female self-portrait from the Beaverbrook Gallery

The London-based artist is Marie Spartali Stillman, and the painting is entitled "Girl with White Roses."

Stillman (1844-1927) was a Pre-Raphaelite and a friend and colleague of Edward Burne-Jones, Dante Gabriel Rossetti, and William Morris.

The artist trained under Ford Madox Brown and exhibited at Dudley Gallery in Piccadilly, The Royal Academy in London and the Central Exhibition in Philadelphia.

Part of the Beaverbrook Masterworks, the painting can be seen at the Audain Art Museum until tomorrow.

The date Stillman created the work is unknown.

Original Group of Seven work by Jackson and Carmichael

Before the G7 name was highjacked by an informal bloc of industrialized democracies, the Group of Seven referred to a coalition of Canadian Artists who banded together in Toronto in the 1920s. Using a bold new style, they painted wilderness landscapes and more. Today much of their work can be seen at the McMichael Collection in Kleinburg.

The vibrant autumn scene on the left was painted by Franklin Carmichael in his home town of Orillia in 1924. A.Y. Jackson painted Grey Day, below, in 1935.

Helena Rubenstein stands proud at the Audain

This is a painting of the world's first female self-made millionaire. The cosmetic queen Helena Rubenstein was eighty-four when she met Graham Vivian Sutherland, the artist who was commissioned to do her portrait.

This painting was purchased by the Beaverbrook Gallery. A second one done at the same time shows the subject seated. This used to hang in Mme. Rubenstein's apartment in New York, and she comments on it in her autobiography.

Terror in the ice 1838

HMS Terror was a Royal Navy bomb ship used against the Americans in the War of 1812. This vessel was made to withstand the impact of heavy mortars, making it ideal for Arctic service. Captain George Back sailed it into Hudson Bay on a map-making mission in 1836.

Artist George Chambers was a maritime painter who had much naval experience. He based his painting on the descriptions from the ship's log, published as a book by Captain Back in 1838.

Later, along with the Erebus, it was used in the ill-fated Franklin expedition.

Madeleine graces the walls of the Audain

Two paintings by British painter Edward John are included in this special exhibition at the Audain. The collection, called Masterworks from the Beaverbrook Gallery, remains on display till September 11.

This portrait of Madeleine Stulik was gifted by the Sir James Dunn Foundation. The widow of Sir James, once president of Algoma Steel, married Lord Beaverbrook some years after losing her husband.

The young subject chosen by painter Augustus Edwin John is the daughter of a restaurant proprietor. In the 1920s, John was a frequent customer at the Eiffel Tower Restaurant in London, his favourite rendezvous.

Dali's Equestrian Fantasy later married Lord Beaverbrook

This English horsewoman, Marcia Anastasia Christoforides, was born in 1909 and married the Canadian financier Sir James Dunn in 1942. His third wife, she was 36 years younger than her first husband.

Salvador Dali was a friend, and in 1954 the couple commissioned this portrait of Lady Dunn seated on a handsome palomino horse. An obedient falcon is perched on her gauntlet.

Lady Dunn, a philanthropist, owned racehorses and collected art. Widowed in 1956, she married Lord Beaverbrook in 1963, only to be widowed again a year later. This portrait is on display at the Audain Art Museum in Whistler until September 11. It's part of a special exhibition: Masterworks from the Beaverbrook Gallery.

Masterworks from Beaverbrook Gallery in Fredericton at Audain till September 11

Beaverbrook walks in step with Churchill at Chartwell.

Max Aitken was the wealthy Canadian newspaperman, author and financier who made the Daily Express the most widely read paper in the world. He was elected to the UK House of Commons, was knighted Lord Beaverbrook, and became Churchill's friend and advisor.

In spite of his many achievements, he did not anticipate being remembered for his politics nor the newspapers that pass "into oblivion in 24 hours."

Remarking that "the labour of age may prove more lasting than the strident achievements of youth or the aggressive toil of middle life," he hoped his memory might be linked with his Fredericton gallery, "a collection of fine paintings ...which may become imperishable relics of our time."