Medals, Miniatures and More:
The Art of Dora de Pédery-Hunt

Phileen Tattersall

In all great periods of art there seems
to arrive a need for small, more
individual pieces which can be fondled,
handled lovingly in one's hand.
When I make my sculpture or medal
I first hold the clay in my palm: it
nests in it comfortably. I always hope
that one day it will nest in another palm
and give the same joy that it gives
me to create it.1

The sculptor Dora de Pédery-Hunt has become a well-known and respected artist in the more than fifty years she has been a resident of Canada. In this article I aim to present an overview of her life and accomplishments, based mainly upon interviews with the artist and perusal of those of her papers now in the National Archives of Canada.2 While she is best known for her medals, de Pédery-Hunt's oeuvre encompasses a much wider field and I hope to demonstrate here her versatility and achievements.

My first encounter with the artist occurred in 1994 when I went to the mid-town apartment she rented in Toronto, Ontario to discuss the possibility of this article. A good-looking, white-haired lady of imposing presence came to the door to meet me, standing tall and straight, obviously fit and strong. I knew a little about the artist, including her age, but saw no frail octogenarian, only a dynamic, energetic woman, somewhat loath to be distracted from her sculpture. Her living room was also her studio, a spacious room overlooking the treetops of one of the city's small ravines. Beside the window stood her large desk/work table, positioned to take advantage of the north light. That morning a number of white plaster pieces lay on the desk, ready to be cast into medallions. I found very pleasing these exquisite miniature designs, perfectly composed for the small scale and for the more or less circular shape of the eventual bronzes. Two were depictions of her favourite flower, the dandelion, one showing the plant in bloom, the other its seed head. Another small plaque illustrated the Ying and Yang of Taoist philosophy, while the last was of a tiny mouse. During a later visit I saw her plaster model for the Shiatsu Academy Award medal, featuring an elegant Hokusai dragon between two hands, their thumbs emphasised to denote their importance in Shiatsu practice. These few designs gave me some indication of de Pédery-Hunt's personality: philosophical and reflective, nature-loving, appreciative of the simple and commonplace, interested in the unusual point of view.

The large workroom was lined from top to bottom with shelves, most of which held hundreds of examples of the artist's work, mainly medals, small figures and plaques in bronze, but also free-standing figures, both large and small, in a stone-like composite material of de Pédery-Hunt's invention, as well as in bronze, along with some jewellery and religious art. These testaments to a fruitful artistic life were also spread over central large tables and cabinets. Any space not occupied by sculpture was used to house an extensive library of books and journals.

Dora de Pédery was born in Budapest, Hungary, on November 16, 1913, into a close-knit family. She was the second of three daughters. Her father, Attila de Pédery, was a physicist; her mother, Emilie Festl, was Austrian, born of a French mother. De Pédery-Hunt received a traditional education, enriched by her family's warmth, encouragement and intellectual life; she graduated from the State Lyceum in 1932. She had such wide-ranging interests, that she found it difficult to make a choice of career between music, architecture and physics. By the time she was in her mid-twenties, however, she recognised that her vocation was to become an artist. She was accepted at the Royal Academy of Applied Art in Budapest, starting in the department of ceramics, but almost immediately transferring to the full fine arts programme, where she flourished in the milieu for which she felt destined. She graduated with an Honours Diploma, followed in 1943 by a Masters degree in Sculpture and Design.

Like most art graduates, she began her working career by doing anything artistic which would earn her a living. Budapest was then a city of elegant fashion and her first work there was mostly in dress and accessory design, supplemented with some private teaching. Eventually she acquired an agent and sold drawings to the international fashion magazines Harper's and Vogue. Meanwhile she was successful also with her sculpture: a portrait head and a life-sized plaster sculpture of a seated woman were exhibited by the National Gallery of Hungary, which also purchased from her a wooden creche in turned wood.

Although the Second World War came late to Hungary, life in Budapest became intolerable, so the family fled the country heading westwards on a nightmarish train journey which lasted 23 days. They eventually arrived in Germany, where they first found refuge in Dresden and later moved to Helmstedt, Lower Saxony. During the journey de Pédery-Hunt kept a diary, but even in recent times, after more than fifty years, she and her sisters cannot bring themselves to re-read it, so distressing do they find those memories. The family group consisted of the artist and her parents, her two sisters, both married but whose husbands' whereabouts were then unknown, and the two children of the younger sister. At first they were sheltered by relatives of this sister, Emilia von Nikolits. The artist and her father obtained employment in nearby Hannover with the British Admiralty. They worked under Major S.C. Chutter whose wife was Canadian and whose children were then living in Ottawa. The de Pédery's employment lasted over four years until Major Chutter's assignment, classified as secret, came to an end.

At this juncture the family sought to emigrate, with Canada their preferred destination, but Canada was then only accepting unmarried persons and not families.3 Sponsored by Major Chutter and helped by his son Donald in Ottawa, de Pédery-Hunt came alone to Canada in July 1948, as a single woman, despite the fact that she had already that year married Hungarian journalist Béla Hunt, whom she had met in Germany. In Toronto she was employed by an American family, and with their help applied herself to settling in Canada and learning English.

Like most immigrants who arrive with nothing but their talents, experience and willingness to work hard, de Pédery-Hunt's first years in Canada were a struggle. As she had earlier in Budapest, she resourcefully turned her hand to anything, endeavouring to earn a living as an artist. While still working for the American family, she used weekends for other jobs even remotely connected with art, such as making lampshades and painting roses on baby bottles! She recalls her first art assignment in Canada with fondness. This was the restoration of an antique Quebec rooster in metal for Mrs. Elizabeth Gordon, which she repaired and then repainted in vivid colours. Early sketches dated 1948 in the Canadian Archives show designs for a fountain for the Canadian Society of Landscape Architects and Town Planners and a wall fountain for a Nassau client of Dunnington-Grubb, landscape architects. In 1949, for the Ontario Department of Lands and Forests, she sketched a heraldic shield incorporating Canadian symbols, to be used on their building at the Canadian National Exhibition, where she also painted the lettering for the booth for the Provincial Department of Highways.4

Within a short time of her arrival she met the renowned Canadian sculptors Frances Loring and Florence Wyle, and became a frequent visitor at their studio-church in Moore Park, "the salon of Canada's art world."5 She joined the Canadian Federation of Artists and in 1953, five years after her arrival, was elected a member of the Sculptors' Society of Canada,6 thus becoming eligible to compete in national contests. The following year she entered a National Gallery of Canada competition for a sculpture of Sir Robert Borden, Canada's eighth Prime Minister, which was eventually won by Frances Loring. With the help of Loring and Wyle de Pédery-Hunt succeeded in bringing her parents and her husband to Toronto, where a second marriage ceremony was performed. But Béla Hunt never adjusted to life in Canada, the marriage was not a success, and it ended in divorce in 1963. During the fifties, however, de Pédery-Hunt was for the most part the only bread-winner in this family of four adults.

In 1949 de Pédery-Hunt started a small business designing Christmas cards, tree ornaments and table decorations, which she sold privately, through the gift shops of the Art Gallery of Toronto (later Ontario), the Royal Ontario Museum, and through craft stores. This endeavour continued until at least the early 1960s. The cards sold well but earned only a pittance. In 1963 a ceramic creche created by de Pédery-Hunt was featured in the "Magazine" section of the Toronto Globe and Mail.7

In 1950 she was commissioned to develop decorative schemes for the entrance, windows, interior walls and small items such as chair cushions, menus and placemats for the Csárda, a Hungarian restaurant in Toronto. De la Salle school asked her to create a mural for their kindergarten, and she produced a charming design, cut out in wood, of the Madonna and Child in a landscape filled with children, flowers and animals. Also in 1950 de Pédery-Hunt was hired by the Toronto Board of Education to teach sculpture at evening classes held at Northern Secondary School, a position which she retained for a period of eleven years and which provided a steady, if small, income. She gave art classes for the Women's Art Association and earned a meagre sum as an assistant in the department of vocational training at the Ontario College of Education.

Sculptural work of the fifties included stone plaques in low relief for the Ontario School for the Blind at Brantford (shown at the Canadian National Exhibition in 1953), a large wooden multi-figured relief for the library of St. Peter's High School, Peterborough, Ontario in 1954 depicting the boy Jesus among the Doctors in the Temple, and the following year a mahogany memorial plaque for those members of the Ontario Secondary School Teachers' Federation who had been killed in the Second World War.

In an effort to find work, de Pédery-Hunt consulted the Yellow Pages and systematically telephoned a number of architects each month. She presented examples of her work to those who showed interest and was rewarded with commissions to create religious sculpture and church furnishings for many institutions. This work occupied an increasing portion of Mrs. Hunt's professional life from the early 1950s and through-out the 1960s when many new churches were being constructed. She designed and produced such Church requirements as altar tables, Stations of the Cross, statues, banners, crucifixes and candlesticks for churches, chapels and colleges in Aldershot, Ancaster, Aurora, Chatham, Guelph, Hamilton, London, Oakville, Pembroke, Richmond Hill, Sault Sainte Marie, Toronto, Waterdown, Winnipeg.8 This work reflects the modernist aesthetic of the post-war period, being spare, simple and stark, a distillation of the traditions of religious art, in keeping with contemporary Church architecture. Examples may be seen in the Chapel for Loretto College on Wellesley Street in Toronto, where de Pédery-Hunt created statues, the main altar and the Stations of the Cross. For these Stations she used her composite material, the main component of which is pine sawdust, here given the appearance of coloured clay. The fourteen traditional episodes in the Passion of Christ are depicted in low relief, and positioned at intervals against the plain brick side walls of the chapel. In each scene there are few figures, never more than three, and a minimum of detail. The series is unified by the depiction of the Cross in black-painted composite, a focal point in each station. With the exception of the blue used for the robe of the Mother of Jesus, the colours are those of the earth. In their simplicity these Stations are very forceful and moving.

Another set of Stations, this time made for the chapel of the General Hospital in Sault Sainte Marie, Ontario in 1965, is even more abbreviated. Here the medium is bronze. Each Station consists of a single figure, which represents all the personages normally included in that incident of the Passion story. These Stations are like tightly constructed poems, a simile de Pédery-Hunt has often used herself in speaking of her medals. A definitive example of Hunt Stations was produced for a private institution in Ontario devoted to the treatment of addicted nuns and priests. This Way of the Cross is also in bronze, and again the whole Passion story is distilled into fourteen figures, none more than eight inches tall, grouped together in a small area, against the brick wall of the modern chapel.

A major architectural commission came in 1961 with the construction of new buildings at Ryerson Institute of Technology in Toronto, originally the Upper Canada Normal School for teacher-training and now known as Ryerson Polytechnic University.9 The Institute was to replace its 19th century home with two-storey buildings to be situated around a quadrangle. Canadian sculptors Thomas Bowie, Jacobine Jones, Elizabeth Wyn Wood, and Dora de Pédery-Hunt were commissioned to create designs to embellish the many façades of what was to be named Howard Kerr Hall. De Pédery-Hunt was assigned a series of Queenston limestone panels for both the north and south faces of the southern wing of the building which lies parallel to Gould Street. These depict subjects then on the Ryerson curriculum: Science is represented on the exterior wall by panels showing a microscope and a laboratory flask; Photography, Broadcasting, Television, and Surveying similarly by the instruments required in practising these disciplines. On the northern, courtyard side of the building, at the time the Household Science Department, the subjects taught within are represented by tools or products: a pair of scissors, a garment on a hanger, a bowl of fruit, an electric mixer, an electric iron, a clip board. Above them is a larger panel of a mother and child. Again the designs are very simple, as are those by the other sculptors.

Controversy greeted the work of all the sculptors; faculty members declared them "disgusting", "insultingly simple - suitable for a trade school, not a technological institute", "vapid", and proposed holding a removal meeting. De Pédery-Hunt, unruffled by the reception, replied that the sculpture would, in the future, situate the building in the context of its times:

In 30 or 40 years it will be quite interesting to see things the way they were. I used the very latest 1962 and 63 models. Emblems of this type have to blend into the building, which is not ultra-modern but contemporary neo-classical; anything more abstract would not fit in... I was given a commission to show the different emblems of mother's care and household science. It was the architect who thought that the different faculties should be shown.

Some students approved and the contractors, Perini Construction (Canada), welcomed the controversy saying "It's of little value if people don't notice them.''10 In another context de Pédery-Hunt herself said later that an artist's work "has to be true to the times the artist lives in.''11

Other works created by de Pédery-Hunt for Ryerson include Girl with Trillium a free-standing figure of a young girl holding the provincial flower in one hand, a stark, smooth, larger-than-life sculpture which de Pédery-Hunt considers to be an important part of her oeuvre.12 A more abstract work is the stylised bronze work The Tree of Knowledge, appearing at first glance like a cactus or flattened pine, with students sheltering in its branches.

Early in the seventies General Motors of Canada of Oshawa commissioned de Pédery-Hunt to create a gift for Colonel R.S. McLaughlin, Chairman and founder of the company, to mark his 100th birthday. She put in months of work to create a free-standing bronze plaque, mounted on a base of pink granite. On one side she sculpted in low-relief a head-and-shoulders portrait; on the other a scene representing the portico of his home, Parkwood, with its landmark tall spruces and a stream of people coming to deliver greetings.13 In 1982 a sculptural plaque of Doctors Paul and John Rékai, founders of Central Hospital, was made for the hospital's lobby.

Dora de Pédery-Hunt is undoubtedly best known in Canada for her miniature sculpture, in particular for her medals but also for small figures and plaques. One very fine group of small sculptures is a set of twenty-four double-sided silver ingots, each picturing a different animal once native to the Holy Land, in its natural terrain. The reverse of each features a pleasing representation of Noah's Ark. The commission came in 1974 from The Biblical Wildlife Society of New York with the object of raising money for protecting these animals and restoring their environment.14 The Society recognised the artist's ability to create landscape settings suggesting great depth in bas relief on a small scale. A correspondent from Tel Aviv appreciated their beauty, finding them "filled with the freshness and vitality characteristic of the Land of the Bible.''15

* * *

More important for Canada, however, is the group of sculptures, created in 1978, which she named The Rocks of Canada, sculptures of people who had played significant roles in the development of the country. By this time De Pédery-Hunt had become strongly attached to her adopted land, and had explored its history through wide reading. Her affection is clearly demonstrated in The Rocks. In the preface to the catalogue published on the occasion of the exhibition of these and other works at the Prince Arthur Gallery in Toronto the artist explains how she came to create these portraits of people who had had the vision, energy and perseverance to improve the quality of life in Canada. She calls her subjects the "visitors," whom she had encountered through her reading, and wrote that they

were a human representation of the Precambrian Shield: unsinkable, solid, magnificent granites... Eventually I led them out of my library, out of the dusty pages of letters and books where they can easily be forgotten ... [so that they can be] living reminders that although their own dreams were fulfilled, there is still much to do.16

Before Dora de Pédery-Hunt settled and practised as an artist in Canada the production of medals was neither common nor highly esteemed. In Hungary, as in other European countries, medal-making is included in the basic training of an art student, and medals are both widely collected and constitute an important component of national art collections. Mark Jones, a noted scholar in the field, noted that interest in medal-making was particularly important in the artistic traditions of Poland and Hungary saying:

The eastern European school has had a remarkable effect on medallic art in the rest of the world. Half a dozen medallists in Canada and the United States, including Dora de Pédery-Hunt and Imre Szébényi, have created a real interest in medallic art in an area without any native tradition.17

Although de Pédery-Hunt had created medals at college, it was only after several impoverished years in Canada, when she found the cost of materials for traditional sculpture prohibitive, that she decided to concentrate on medallic sculpture thenceforth. This decision was triggered during a six month period she spent in Europe in 1958, thanks to a Canada Council grant, and inspired by medals exhibited in the Hungarian Pavilion at the World Exposition in Brussels. A second Canada Council grant enabled her to study at Rome's Academy of Medallic Art for a short time.

* * *

De Pédery-Hunt loves the intimacy of a medal. Her remarks on the subject have been much quoted in articles and catalogues but bear repeating since her expertise and her strong feelings on her art enable her to explain its value better than anyone else:

A medal contains a whole world in a small space, and has to be always very much up-to-the-point to say clearly what one wants to say. They (sic) are like small poems, where a few words have to say much - there is no time for explanation; it has to be understood immediately.18

On her return to Canada de Pédery-Hunt was commissioned to design the Canada Council Medal, Canada's first art-medal, and her first in Canada. On the strength of this, she was invited to apply to exhibit at the next meeting of the Fédération Internationale de la Médaille (F.I.D.E.M.)19 Her proposal was accepted and for the first time Canadian medals were exhibited internationally. De Pédery-Hunt went to The Hague as Canada's representative, taking fourteen medals, six by herself, seven by Julius Marosán and one by Elizabeth Wyn-Wood.20 She was appointed Canada's delegate to the organization and has attended and lectured on Canadian art at all subsequent F.I.D.E.M. congresses but one, when finances and health made the journey impossible.21

* * *

During the more than thirty years since that time she has made hundreds of medals in gold, silver and bronze to celebrate, reward, honour, commemorate all kinds of people, institutions, events and anniversaries. They range from single head compositions to multifigured representations, from abstract idea to symbol and portrait, each one a considerable work of art. Particularly fine are the portrait medallions of celebrated people from all fields: scientists, philanthropists, writers, artists, politicians, subjects too numerous to list here but including Norman Bethune, John Drainie, Terry Fox, Northrop Frye, Pearl McCarthy, Pauline McGibbon, Rudolf Nureyev and Pierre Trudeau. In every instance she captures admirably both likeness and spirit of the subject, within the limited confines of the medal.22 The National Medal Collection of Canada, housed in the National Archives in Ottawa, now owns nearly five hundred examples by de Pédery-Hunt, an indication of the number and variety of her medals. This is underlined by a visit to her Aladdin's cave of a studio where it is impossible to focus upon one medal, for the eye is constantly distracted by another, and another which demand to be fondled and admired.

De Pédery-Hunt has exhibited widely and frequently. The first recorded Canadian exhibition of her work is a poignant one. This was in 1948, the year of her arrival in Canada, at the Royal Canadian Academy of Arts. The piece shown was entitled African Elephant,23 a beautiful bronze made in Hungary shortly after her graduation. The artist still owns this sculpture which was one of the very few possessions the de Péderys took with them when they fled Hungary in 1945, her frail father carrying this weighty load on his back. Since then she has participated in both joint and solo exhibitions, in public and commercial galleries, across Canada and internationally. In 1956 her Portrait of Frances Loring was exhibited at both the Canadian National Exhibition and the Royal Canadian Academy of Arts. It was subsequently acquired by Alan Jarvis for the National Gallery of Canada.24 Most important of all to de Pédery-Hunt's career was the exhibition at the Dorothy Cameron Gallery in Toronto in 1965, her first solo display, which the artist regards as a "turning point."25 The works shown included small bronze sculptures and medals, several of which were illustrated in the attractive small folderbrochure designed by the artist, and the show was quickly sold out. Thenceforth Dora de Pédery-Hunt was a name to be recognised in the general press and in the world of Canadian art. Commissions, public and private, followed and resulted in such varied art works as the CBC "Reach for the Top" award, Canada's Centennial medals, the first $100 gold Olympic coin, a new portrait of the Queen on Canadian coins, the Roy Thomson Hall sculpture of Orpheus and its replicas which are awarded annually as prizes.

In recent years a commission for Toronto's newest museum building, the Bata Shoe Museum, designed by architect Raymond Moriyama and opened in 1995, echoes the artist's architectural work of the sixties and continues her medal-making. Her work greets the visitor, for the large bronze discs which serve as hand-plates on all the glass doors of the entrance are hers. De Pédery-Hunt looked to the Museum's collection of shoes of all ages and cultures for inspiration. She selected a spurred, thigh-length leather riding-boot as the motif for the door pushes, and a high-heeled boot, a French clog, an Innuit kamik and a 1920s-style shoe for small medallions attached to the outfacing side of the main staircase railings.

* * *

De Pédery-Hunt continues the busy schedule she has followed all her life, rising daily before six and working until six each evening, every day of the week but Sunday, never having enough hours in the day for her sculpture. She has become a personage of note in the world of Canadian art since her arrival in the country at mid-century. She has been recognised for her work on the boards of the Canada Council and of the Sculpture Society of Canada, and by many honours and awards.26 In 1995 her work was included in an international touring exhibit of work by Canadian designers, assembled by the Royal Canadian Academy of Arts. The exhibit opened in Budapest and toured North America the following year.

The artist takes considerable satisfaction from the fact that it was she who introduced the fine art of miniature sculpture to Canada in the form of the art medal. But she is disappointed that medal-collecting has not become as popular in North America as in Europe, despite its relative low cost and availability to ordinary people. At the same time she also regrets that her art is less appreciated in Canada than in foreign countries.28 As the century ended, in the last weeks of 1999, fifty years after the artist's arrival in Canada, the Sculptors' Society of Canada honoured Dora de Pédery-Hunt by mounting a retrospective exhibition of her work at the Canadian Sculpture Centre in Toronto. A fitting tribute.

NOTES

1 Quoted in the address to Dora de Pédery-Hunt on the occasion of the presentation of an honorary Doctor of Letters degree York University, November 5, 1983.
2 Dora de Pédery-Hunt fonds (MG 30 D364), National Archives of Canada. A lively portrait of the artist may be found in a publication celebrating Ontario's bicentennial: Magda Zalan, "The Palm-Sized Universe," in Stubborn People, Magda Zalan ed. (Toronto: Canadian Stage and Arts Publications, 1985), pp. 82-89.
3 Mrs. Hunt's sisters, reunited with their husbands thanks to her efforts, soon emigrated to South Africa and Argentina respectively.
4 Sketches in the Dora de Pédery-Hunt fonds loc. cit.
5 Rebecca Sisler, "Loring, Frances Norma", The Canadian Encyclopedia, vol. 2, p. 1035.
6 Mrs. Hunt served as president of the Society from 1967 to 1970.
7 The Toronto Globe and Mail, 21 Dec. 1963. "Magazine" p. 5.
8 Information from the Dora de Pédery-Hunt fonds loc. cit.
9 Information from the Archives of Ryerson Polytechnic University, courtesy of Claude W. Doucet, archivist.
10 The Ryersonian, 3 October, 1962, p. 1.
11 In a press release from the Douglas Gallery, Vancouver, December 1966.
12 This sculpture is in the artist's composite material, here resembling limestone.
13 This Week, Oshawa. 8 September, 1971, pp. 23-25, 45-46.
14 Advertisement in Performing Arts Maqazine (Winter 1974), p. 6. Several ingots are illustrated and a complete list given. These reliefs measure 2.22 x 1.25 inches.
15 Letter from Abraham Yoffe, 30 Sept. 1974. Dora de Pédery-Hunt fonds loc. cit.
16 Dora De Pédery-Hunt, Sculpture, Toronto: Prince Arthur Galleries and Canadian Stage and Arts Publications, 1978. Preface. The Rocks include Nellie McClung, Alice Jamieson, Emily Murphy, E. Cora Hind, Ellen Osler, Edmund Walker, Charles Saunders and Douglas Duncan.
17 Mark Jones, The Art of the Medal (London: British Museum, 1979), p. 162.
18 Douglas Gallery, Vancouver, press release, December 1966. Art Gallery of Ontario (AGO), Artist Files.
19 This was the tenth international congress of F.I.D.E.M., held in 1963. The organisation had been founded in Paris in 1937.
20. 33rd FIDEM. Catalogue, Haags Gemeentemuseum. 17/6-28/7 1963. nos. 64-77.
21 The congresses are generally held biennially. Subsequent meetings have been held in Athens (1966), Paris (1967), Prague (1969), Cologne (1971), Helsinki (1973), Cracow (1975), Budapest (1977), Lisbon (1979), Florence (1983), Stockholm (1985), Colorado Springs (1987), Helsinki (1990), Budapest (1994) and Neuchâtel (1996). Mrs. Hunt has shown medals at all.
22 De Pédery-Hunt was official guest of the British Art Medal Society in 1989. Terence Mullaly wrote an article of appreciation of her work in The Medal (Autumn 1989), 69-71, making special reference to her mastery of the art of the portrait medal.
23 See Evelyn de R. McMann, Royal Canadian Academy of Arts/ Académie des arts du Canada. Exhibitions and Members 1880-1979, p. 198.
24 National Gallery of Canada Cataloque of Paintings and Sculpture, Volume III, Canadian School (Toronto & Ottawa: University of Toronto Press, 1960), no. 6700 (p. 355).
25 Conversation with the artist.
26 1967: Centennial Medal. 1974: Officer of the Order of Canada. 1977: Queen's Jubilee Medal. 1983: L.L.D. Litt., honoris causa, York University. 1990: L.L.D. Law, honoris causa, University of Waterloo. 1991: Order of Ontario. 1992: Confederation Medal. 1992: American Numismatic Association, Gold Medal for Excellence in Numismatic Sculpture.
27 Canadian Designers, Royal Canadian Academy of Arts, 1995. pp. 36-37.
28 De Pédery-Hunt's success abroad is demonstrated by the fact that her medals are in the permanent collections of: The Royal Cabinets of Medals, Brussels, The Hague and Stockholm; The National Museum, Münzkabinett, Berlin; The National Gallery, Budapest; The British Museum, London; The British Royal Mint; The American Numismatic Society, New York; and The Smithsonian Institute, Washington.