Early in the Second World War, Germany invaded and occupied many of its neighbouring countries in Europe. Critical supplies and war materials were transported over the Atlantic Ocean to maintain the Allied war effort in England during this time. However, the Battle of the Atlantic, where Allied supply convoys played cat and mouse with German submarines, raged at a dangerous level.
Lucy Maud Montgomery, was born in Prince Edward Island on November 30, 1874 and lived there until her marriage in 1911 to Reverend Ewan Macdonald.
Montgomery began her career writing for Canadian and American children’s magazines. Her first novel, Anne of Green Gables, published in 1908 brought her immense international fame. Anne of Green Gables was published by L. C. Page and Company of Boston, Mass., which published another seven of her books before she left them over legal matters and lawsuits in 1917. She turned to Canadian publisher McClelland Stewart and American publisher Frederick Stokes in 1919. During this time period, L. C. Page published a collection of short stories in their possession, Further Chronicles of Avonlea, spurring another lawsuit.
By the time she died in April 1942, Montgomery had published 22 novels and books of short stories, articles, and a book of poetry, The Watchman, and Other Poems. She also had a portfolio of unfinished poetry. Despite her international fame and success, Montgomery was disappointed that her poetry was not as well received as her popular novels that she sometimes referred to as “potboilers.”
Library and Archives Canada has resources available in:
- Archives Search—you may find six different archival collections that have material, such as correspondence, art, and photos
- Library Search—with over 5,000 references to works by or regarding Montgomery
- Theses Canada—has 22 theses with references to Montgomery’s life and works
- L. M. Montgomery Institute—the Robertson Library at the University of Prince Edward Island is dedicated to helping students and scholars study Montgomery’s life, works, and influence
Library and Archives Canada (LAC) is presenting a series of galleries consisting of photographs of residential schools, federal day schools and other similar institutions attended by First Nation, Inuit and Métis children in Canada from the late 19th century to the 1990s.
Organized by province and territory, the images featured in these galleries derive from many collections held at LAC—both government and private—and represent a selection of our holdings. The majority of the photographs were taken by federal government employees who worked for the former Department of Indian Affairs and Northern Development. You can find photos of residential and federal day schools in Accession 1973-357, RG85 and RG10. Use Archives Search—Advanced to search for additional images not included in the galleries.
Two examples include the group of students at Cross Lake Indian Residential School in Manitoba and the page of six photographs showing different views of Lejac Indian Residential School and other buildings in Fraser Lake, British Columbia.
Some of the images are found in the collections of other government departments, including the Department of the Interior (Accession 1936-271), the Department of Mines and Technical Surveys (Accession 1960-125) and the National Film Board of Canada (Accession 1971-271).
You can access additional photographs of Aboriginal students and schools using Archives Search—Advanced. For tips on searching the database, see the Online and non-digitized photographs section in Residential School Records Resources under What is found at Library and Archives Canada.
If you have information about a photograph, please let us know. We will add this information to the record in the database. You will need to include an image reference number, for example, PA-102543, e011080332, e011080332_s3 or the MIKAN number—3614170.
In your hurry to start reading a new book, you may occasionally have noticed on the back of the title page a rather strange arrangement of words and numbers headed by the caption, “Library and Archives Canada Cataloguing in Publication Data.”
Did you ever wonder why and how Library and Archives Canada (LAC) puts its stamp on your personal reading material, and on pretty much every publication published in Canada? The answer is simple. Cataloguing in Publication, or CIP as it is commonly known, is prepared by librarians ahead of a book’s launch date. CIP allows Canadian libraries to pre-order a book, catalogue and classify it quickly, thus putting it into the hands of library patrons faster than if each library had to do all the cataloguing and classification work themselves.
Nearly 9,000 new Canadian publications a year are catalogued by the CIP team, a group of about ten cataloguers in LAC’s Description Division. The team works closely with dozens of publishers across the country in an effort to share metadata about Canadian books worldwide. The Canadian CIP Program, which has been in existence since the 1970s, is one of the great success stories of LAC, and one that keeps repeating itself, one book at a time.
To find out more about the program, visit Cataloguing in Publication.
Discover a sampling of photos of the Residential Schools in Quebec and Atlantic regions. To view the complete set, visit our Web page Residential Schools Photos.
Library and Archives Canada (LAC) is releasing its latest podcast episode, William Hind: Illustrating Canada from Sea to Sea.
Retired Collections Manager of Artworks Gilbert Gignac and Art Archivist Mary Margaret Johnston-Miller, both from LAC, join us to discuss William Hind, an artist who played a key role in the development of art in Canadian society. We explore who William Hind was, his unique contributions to art in Canada, and what is included in LAC’s William Hind Collection.
Subscribe to our podcast episodes using RSS or iTunes, or just tune in at Podcast–Discover Library and Archives Canada: Your History, Your Documentary Heritage.
For more information, please contact us at email@example.com.
In 1862, artist William Hind joined the Overlanders, a group of gold seekers who crossed the Prairies in search of gold in the Fraser and Cariboo regions. During the trip, Hind produced a sketchbook documenting the group’s travels and some of the difficulties they faced along the undeveloped trails of the West.
A false portrait is an imaginary portrait, usually of a well-known or famous person. The portrait is usually not based on a true likeness and is often created long after the person’s death.
Extremely significant historical figures often did not sit for portraits during their lifetimes. Yet, there has always been a demand for “true” portraits of them.
False portraits were not necessarily attempting to trick or fool people—in many cases, those who created or promoted them did so for very public-spirited reasons. From the 19th century onwards, this famous false portrait of Samuel de Champlain, the founder of Quebec City, served an important commemorative and educational role.
A false portrait often tells us a lot more about the society that created it than about the historical figure that it is meant to represent. It has been suggested that this pious-looking image made the perfect frontispiece to 19th-century histories of New France, developed by historian-churchmen. It doesn’t seem to have mattered that the portrait is actually copied from a 17th-century engraving of a French civil servant, whose morality was dubious (in French only).
Library and Archives Canada (LAC) holds other intriguing false portraits in its collections. For example, LAC acquired this rare miniature wax portrait, one of very few portraits in this fragile medium to survive.
Though labelled a portrait of General James Wolfe, famous for his role during the decisive Battle of Quebec (1759), the miniature does not reproduce any of Wolfe’s known physical features. Yet several near identical wax miniatures exist in other collections—each of these also labelled, in the past, as Wolfe portraits. It’s possible to speculate that many casts of this portrait must have been made, for so many fragile examples to have survived.
Wax was cheap and easy to produce in multiple copies. The portrait was likely created as a kind of mass-produced celebrity image, in response to a vast appetite for portraits of “Wolfe the Hero” that arose among the general public during the 19th century. Probably created long after Wolfe’s death by an anonymous entrepreneur, it presents an idealized and heroic-looking profile view of a young officer—exactly the kind of image guaranteed to satisfy the public imagination.
As of today, 78,914 of 640,000 files are available online via our Soldiers of the First World War: 1914–1918 database.
Discover a sampling of photos of the Residential Schools of Ontario. To view the complete set, visit our Web page Residential Schools Photos.