Nicholas Hornyansky (1896–1965) was a Hungarian‑Canadian artist and master printmaker, best known for architectural and urban subjects in etching and aquatint. Osgoode Hall, Toronto (c. 1940) depicts the front entrance of Osgoode Hall in winter. The snow-covered stone portico and steps are flanked by bare trees, with the clock tower and rooflines receding into space. The composition emphasizes precise line, controlled shading, and a restrained palette of greys, light blues, and muted earth tones to describe snow, shadow, and sky, with architectural details such as columns, railings, and masonry clearly defined.

Hornyansky was born in Budapest, Hungary, and received his early artistic training at the Academy of Fine Arts, with postgraduate work in Vienna, Munich, Antwerp, and Paris, where he developed strong draftsmanship and a refined approach to aquatint printmaking. He immigrated to Canada in 1929 and settled in Toronto, where he became active as a professional artist and printmaker. His European training influenced his disciplined approach to line, composition, and architectural subject matter, which remained consistent throughout his Canadian career.

Hornyansky’s work was widely exhibited and collected, reflecting his prominence in Canadian art. He participated in the Spring Salon of the Art Association of Montreal (1931–1942), exhibited with the Royal Canadian Academy of Arts and the Ontario Society of Artists, and took part in international shows in New York (1939) and Buenos Aires (1953). His prints are held in major public collections, including the National Gallery of Canada, Ottawa, the Royal Ontario Museum, Toronto, and the Library of Congress – National Print Collection, Washington, DC.

Hornyansky also taught printmaking and metal-plate techniques at the Ontario College of Art (now OCAD University) and Central Technical School, influencing generations of Canadian printmakers and contributing to the development of graphic arts education. He was a member of the Royal Canadian Academy of Arts (Associate), the Ontario Society of Artists, and served as president of the Society of Canadian Painter-Etchers and Engravers, playing an important role in promoting printmaking as a professional discipline. His prints are celebrated for their technical precision, architectural clarity, and historical documentation of Canadian urban life in the early 20th century, and remain highly sought after in both public and private collections. This aquatint on paper is protected by museum glass, measures 7 × 5.8 inches, and is signed bottom right.