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Farm and Country was the successor to the publication "The Rural Co-operator." After re-branding in 1966, Farm and Country served as the news outlet for the Ontario Federation of Agriculture, operated at arms-length by an independent editorial board. Farm and Country continued as a bimonthly publication until 1997, when it was converted into a glossy magazine format. It would be published by Agricultural Publishing Company Ltd. (APC) until the final issue on July 5, 1999.

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The Loyal Orange Order, an ultra Protestant fraternal order, originated in County Armagh, Ireland about 1795. The two main tenets of the Order were loyalty to the British Crown and support of Protestantism. The conflict that took place in Ireland, 1688-1690, between William of Orange, king of England and his brother-in-law James II, deposed from the British Throne for his Catholicism, among other reasons, provide the imagery for the order. It appears that various groups as lodges were established in Canada early after the founding, perhaps brought by the British Army, but the movement was not organized until the arrival of Ogle Gowan in Canada in 1829. Gowan came from Wexford, Ireland and settled in Brockville In 1830. Gowan and a group established the Grand Lodge of British North America to control existing lodges and promote new ones. Transplanted to Canada, the Loyal Orange Order first attracted the Protestant Irish, so its high incidence in the counties of Lanark and Leeds and around the Rideau waterway is not surprising. After the 1850s Irish immigration dwindled but the Orange Order remained strong and attached to Sir John A. Macdonald's Conservative party. In 1876 there were twenty-one Orange Lodges in North Leeds. Gradually the ethnic character of the organization changed and lodges were assimilated into Canadian society.

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Mr. G.M. Kinghorn was one of the most extensive grain buyers in the City of Kingston. He was resposible for the wharf located at the foot of Brock street. He had the wharf constructed as a convenience for the arrival and departure of the Wolfe Island and Cape Vincent Ferry steamers. In addition, Mr. Kinghorn was also the agent for the Ottawa and Montreal Forwarding Company.

At its meeting in April 1932, the Executive of Kingston Art and Music Club proposed that the conveners of the three groups meet with the George Taylor Richardson Bequest Committee to discuss the possibility of continuing independently from the parent body.

This proposal met with a favourable response at the annual meeting of the Art Group, and so, on 11 October 1932, a meeting was held to reorganize the group. A constitution was adopted unanimously, and the Kingston Art Association (KAA) came into existence. Under a new Executive consisting of President, Professor Reginald G. Trotter; Vice-President, Mr. Ernest Cockburn Kyte; and Secretary-Treasurer, Miss Annie Gibson, the nineteen members of the KAA set down its purpose as being “to encourage the practice, study and appreciation of art among its members and in the City of Kingston.”

With these objectives in mind, the Association busied itself with arranging lectures and exhibitions and obtaining professional instruction for its members who were painters. Under the energetic leadership of its president, Professor Trotter, the KAA was able to persuade the Carnegie Foundation in 1933, to grant money to Queen’s for the promotion of interest and activity in art, both among residents of the community and students of the University. The funds made available by this grant allowed for art classes to be conducted for elementary, secondary, high school, and university students, as well as for adults. They were led by Miss Barbara Lowe (Assistant in Art at Queen’s) and by Mr. Goodridge Roberts, a Montreal artist, who became Artist-in-Residence at Queen’s for the next three years.

However, the Carnegie Foundation withdrew its funding in 1936, and it was at this point that Agnes Etherington, once more, came to the rescue. She offered to provide enough funds for the appointment of a new artist-in-residence at Queen’s, on the condition that the University recognized the work of students studying under this person as counting towards of a degree in Fine Arts. The University agreed, and André Bieler was appointed to the position in the autumn of 1936.

The Kingston Art Association’s programme of providing instruction and practice to members, residents, and students continued through the War years and into the 1980s, and exhibitions, including the ever-popular and increasingly sophisticated annual spring exhibit of works by KAA members, such as André Bieler and Grant MacDonald became an annual event. .

By the mid-1950s, the demand for a more ambitious and varied programme led the Association to undertake a slightly expanded calendar of public lectures, exhibitions, and discussions. This expansion however, led the Treasurers to report a deficit in 1955, and forced the KAA to approach the Mayor and Council of Kingston for financial support in early 1956. The request was turned down and the organization was obliged to raise its membership fees (its only source of revenue) for the first time in living memory.

The year 1957 brought the KAA a step closer to realizing the one objective, first posited in 1932, which had yet to be achieved – namely to obtain for Kingston a permanent collection of paintings to be housed in a community art gallery. The result of the generous giving of her house to the University by Agnes Etherington now offered the chance for the housing of a permanent art collection in a fixed location. The relationship of the Association to the University became even closer than in the past. In the spring of 1957, the Agnes Etherington Art Centre (AEAC) opened its doors to the community. For many years the Association, while a civic group, had enjoyed close ties with the University – the latter had offered the use of meeting rooms in Douglas Library, as well as exhibition space; and KAA members had been instrumental in assisting the University Art Committee, and especially the Queen’s University Art Foundation during World War Two, to acquire several major collections which would form the nucleus of a permanent art collection in the City of Kingston. In short, the Association had always been very closely related to the University, and had promoted the collections held and displayed on campus to the larger public.

With the opening of the AEAC in Etherington House on University Avenue, and its subsequent additions, it became increasingly apparent over the succeeding years that energies and talents should be pooled into one cohesive and dynamic organization. Thus, in early 1965, it was recommended by a Special Committee of the Executive, charged with looking into the future role of the KAA that “the Kingston Art Association as such, disband and that its members be free to joint the newly proposed Gallery Association as they see fit.” This notion, when presented to members as a whole on 5 May 1965, carried unanimously. The Kingston Art Association, after a large and fruitful effort to keep an interest in painting and paintings alive and thriving in Kingston, dissolved on the 19 July 1965.

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