Monthly Archives: December 2019

Tom Cogwagee Longboat’s life and legacy

Posted on by
4

On the left of the graphic, Tatânga Mânî [Chief Walking Buffalo] [George McLean] in traditional regalia on horse. In the middle, Iggi and girl engaging in a “kunik”, a traditional greeting in Inuit culture. On the right, Maxime Marion, a Métis guide stands holding a rifle. In the background, there is a map of Upper and Lower Canada, and text from the Red River Settlement collection.

This article contains historical language and content that some may consider offensive, such as language used to refer to racial, ethnic and cultural groups. Please see our historical language advisory for more information.

By Elizabeth Kawenaa Montour

Tom Cogwagee Longboat’s name is associated with speed, athleticism, determination, courage and perseverance. His Onondaga name, “Cogwagee,” translates as “all” or “everything.” Facts, stories and photographs of his life have been collected, published and examined over the past century, in an attempt to capture, recreate and demystify his life.

Thomas Charles Cogwagee Longboat was born to George Longboat and Elizabeth Skye on July 4, 1886 (some sources have June 4, 1887). He was Wolf Clan of the Onondaga Nation from Six Nations Territory and lived a traditional life of the Haudenosaunee (Longhouse). At the age of 12 or 13, Longboat was forcibly sent to the Mohawk Institute Residential School, an Anglican denominational and English-language school, which operated from 1823 and closed in 1970. This experience did not go well for him and his fellow First Nations students, who were forced to abandon their language and beliefs to speak English and practice Christianity. Longboat reacted by escaping the school and running home. He was caught and punished, but then escaped a second time, with the foresight to run to his uncle’s farm, where he would be harder to find. This proved successful and marked the end of Longboat’s formal education. He worked as a farm labourer in various locations, which involved travelling great distances on foot.

Longboat began racing as an amateur in 1905. He won the Boston Marathon on April 19, 1907, in two hours, 24 minutes and 24 seconds, shaving nearly five minutes off the previous record for the world’s most prestigious annual running event. With this incredible race, he brought tremendous pride and inspiration to Indigenous peoples and Canadians. The following article was published the day after he won the marathon:

“The thousands of persons who lined the streets from Ashland to the B.A.A. were well repaid for the hours of waiting in the rain and chilly winter weather, for they saw in Tom Longboat the most marvelous runner who has ever sped over our roads. With a smile for everyone, he raced along and at the finish he looked anything but like a youth who had covered more miles in a couple of hours than the average man walks in a week. Gaining speed with each stride, encouraged by the wild shouts of the multitude, the bronze-colored youth with jet black hair and eyes, long, lithe body and spindle legs, swept toward the goal.

Amid the wildest din heard in years, Longboat shot across the line, breaking the tape as the timers stopped their watches, simultaneously with the clicking of a dozen cameras, winner of the greatest of all modern Marathon runs. Arms were stretched out to grasp the winner, but he needed no assistance.

Waving aside those who would hold him, he looked around and acknowledged the greetings he received on every side. Many pressed forward to grasp his hand, and but for the fact that the police had strong ropes there to keep all except the officials in check, he would have been hugged and squeezed mightily. Then he strode into the club, strong and sturdily.” (The Boston Globe, April 20, 1907)

A year after winning that race, Longboat competed in the marathon at the 1908 Olympics in London, England. He collapsed and dropped out at 32 kilometres, unable to finish the 42.2 km race. He then turned to professional running, and in 1909 received the title of Professional Champion of the World at a Madison Square Garden race in New York City.

A black-and-white page from the 1911 Canadian census with entries for each of 38 columns. The columns include such information as name and residence, personal description, place of birth, occupation and citizenship, and language and education.

A page from the 1911 census listing Thomas C. Longboat and his wife Loretta [Lauretta], in York County, Ontario. His profession is listed as “runner.” (e002039395)

A black-and-white photograph of two men in First World War military uniforms smiling and buying a newspaper from a young boy. The man on the right is accepting a newspaper from the boy and giving him money in exchange.

Private Tom Longboat, the Onondaga long-distance runner, buying a newspaper from a French boy, June 1917. (a001479)

In 1916, Longboat went overseas as part of the Canadian Expeditionary Force to fight in the First World War. He employed his natural talent and served as a dispatch runner. Longboat was mistakenly declared dead in the battlefields of Belgium, after being buried in rubble as a result of heavy shelling. His wife, Lauretta Maracle, a Kanienkenha:ka (Mohawk) woman, whom he had married in 1908, believed him to be deceased and remarried. Longboat subsequently married Martha Silversmith, an Onondaga woman, with whom he had four children. He continued his military career, serving as a member of the Veterans Guard in the Second World War while stationed at a military camp near Brantford, Ontario. The Longboat family settled in Toronto. Upon his retirement from employment with the City of Toronto, Longboat moved back to Six Nations. He passed away on January 9, 1949.

In 1951, he received posthumous recognition with the establishment of the prestigious Tom Longboat Trophy. The trophy is awarded annually to Indigenous athletes who exemplify the hard work and determination they put forth in their chosen endeavours. The original trophy remains at Canada’s Sports Hall of Fame in Calgary, with a travelling replica held by the Aboriginal Sports Circle in Ottawa. In 1955, he was inducted into Canada’s Sports Hall of Fame and the Indian Hall of Fame.

A red rectangle plaque with gold writing, with the crest of Canada and “Tom Longboat 1886–1949” at the top.

A Historic Sites and Monuments Board of Canada plaque honouring Tom Longboat, located at 4th Line Road, Six Nations Grand River Reserve, Ohsweken, Ontario. (Photo courtesy of Parks Canada)

Tributes in recognition of Longboat’s achievements continue today in many forms. A Government of Canada plaque was erected in his honour in 1976 at 4th Line Road, Six Nations, Ohsweken, Ontario. In 1999, Maclean’s magazine recognized him as the top Canadian athlete of the 20th century. Canada Post issued a stamp in 2000 commemorating his winning time. In Ontario, the Tom Longboat Day Act, 2008 designated June 4 as “Tom Longboat Day.” Tom Longboat Corner in Six Nations, a Tom Longboat Trail in Brantford, Ontario, a Tom Longboat Lane in Toronto, and a Tom Longboat Junior Public School in Scarborough, Ontario. There is also a Longboat Hall at 1087 Queen Street West in Toronto, the location of the YMCA where he trained. A statue of Longboat entitled “Challenge and Triumph,” created by David General, and an exhibit about him are on display at the Woodland Cultural Centre at Six Nations. Most recently, a children’s book about his life called Meet Tom Longboat was published in 2019.

Tom Cogwagee Longboat’s life and accomplishments are both fascinating and inspiring. To learn more about him, listen to our podcast, “Tom Longboat is Cogwagee is Everything,” which includes additional information.  Also check out the Tom Longboat Flickr album.

This blog is part of a series related to the Indigenous Documentary Heritage Initiatives. Learn how Library and Archives Canada (LAC) increases access to First Nations, Inuit and Métis Nation collections and supports communities in the preservation of Indigenous language recordings.

Elizabeth Kawenaa Montour is a project archivist in the Exhibitions and Online Content Division of the Public Services Branch at Library and Archives Canada.

Sweet treats from far away—anticipating Japanese “Christmas oranges”

Posted on by
Reply

By Caitlin Webster

This Christmas, many children will find a mandarin orange in the toe of their stocking. Few will realize how rare a treat this once was.

In our current era of multinational trade agreements, large-scale container shipping, and modern cold-storage technology, Canadians have come to expect international products on their grocery shelves year-round; however, for much of the 20th century, many foreign-grown items were available only as seasonal luxuries. Not surprisingly, their arrival each year drew excitement and publicity on par with today’s latest high tech.

A particularly sweet example was the introduction of oranges from overseas to the Canadian market. For northern consumers accustomed to local fare, these delicacies were an exotic change of pace from their usual root-cellar staples. In fact, to publicize the availability of these oranges, some early promotional posters looked more like educational pamphlets.

Poster showing a colour drawing of an orange, surrounded by the phrase “Oranges from South Africa.” Poster also includes the text “When it was winter here it was summer in South Africa and the fruits have been ripened and ready for you to eat them to-day. Try them.”

Oranges from South Africa—try them (e010758837)

While all fresh fruit was welcome during cold Canadian winters, the introduction of Japanese “Christmas oranges” became a holiday tradition, as well as a symbol of modern trade. Starting in the 1880s, the arrival of satsuma oranges from Japan generated great excitement each year. British Columbians eagerly anticipated the first shipments every winter, when the Port of Vancouver hosted celebrations and media events beside ships delivering oranges.

Photograph showing port officials holding boxes of mandarin oranges, two Japanese women in traditional dress standing by a pallet of orange boxes, and other people and equipment on a pier adjacent to a ship.

Port officials and two Japanese women in traditional dress with crates of mandarin oranges at the Port of Vancouver. Credit: M. Toddington (e011435438)

Photograph of two Japanese women wearing traditional dress, one of whom is holding a peeled mandarin orange. Crates of oranges and a ship are visible in the background.

Two Japanese women in traditional dress posing with a mandarin orange. Credit: M. Toddington (e011435437)

The oranges were then loaded onto special trains and trucks for shipment east.

Photograph of workers with hundreds of crates of oranges on a ship deck.

Crates of Japanese oranges on a ship. Photo: Leonard Frank (e011435435)

Port workers unloading crates of oranges from a ship, using cranes and carts.

Unloading Japanese oranges from a ship. Photo: Leonard Frank (e011435434)

An article entitled “Japanese Oranges for Canadian Christmas,” which appeared in several Canadian newspapers, including The Granby Leader-Mail on December 30, 1927, described this phenomenon vividly:

“Rather more than four oranges for every man, woman and child in Canada or a total of 482,000 boxes of this fragrant fruit were landed at Pier “B-C” of the Canadian Pacific Railway at Vancouver in December, and were rushed through the prairie provinces and to the east of Canada for the Christmas trade. … [I]n all seven special trains were used to convey this huge consignment. The likelihood is therefore pretty strong that many of the oranges you may see hanging from Christmas trees or peeping out of Christmas stockings were grown in the Land of the Rising Sun. It i[s] further an indication of the great trade passing through the port of Vancouver.”

Photograph of a train at a pier, with a banner on a sign indicating that the train has a special shipment of Japanese oranges.

Japanese oranges at CPR Pier “B-C.” Photo: Leonard Frank (e011435433)

By the 1980s, consumers no longer saw mandarin oranges as rare, special-occasion luxuries. Advances in modern container shipping, as well as an influx of oranges from China and California, meant that the fruit was now available in greater quantities, at lower prices, and for longer stretches of time. Nevertheless, “Christmas oranges” still make their way into stockings, gift baskets and fruit bowls every holiday season.

Check out our Flickr album on Oranges!

Photograph of four boys in matching striped pyjamas hanging Christmas stockings on a fireplace mantle.

Young boys hanging up their stockings. Photo: Malak Karsh (e011177219)

Caitlin Webster is a senior archivist in the Reference Services Division at the Vancouver office of Library and Archives Canada.

2019 Indigenous acquisitions: books for kids!

Posted on by
1

On the left of the graphic, Tatânga Mânî [Chief Walking Buffalo] [George McLean] in traditional regalia on horse. In the middle, Iggi and girl engaging in a “kunik”, a traditional greeting in Inuit culture. On the right, Maxime Marion, a Métis guide stands holding a rifle. In the background, there is a map of Upper and Lower Canada, and text from the Red River Settlement collection.

By Sarah Potts

Here are a few titles to add to the holiday wish lists of budding readers

At Library and Archives Canada, we love books! Around the holidays, we often share ideas about gifts for our loved ones. Choosing good reads for our kids (or children at heart) can be tricky. This librarian’s solution? Check out our recent acquisitions of works by Indigenous authors or featuring Indigenous stories. I hope this list inspires you to grow your young (and older) readers’ collections!

Colour photograph of four books placed in a stack.

A sample of the variety of books held in the Library and Archives Canada collection. Photo credit: Tom Thompson

For younger readers

Nokum Is My Teacher, by David Bouchard, illustrated by Allen Sapp, music by Northern Cree Singers. OCLC 1080218454

Nokum Is My Teacher tells the story of a conversation between a boy and his Nokum (grandmother) about why he should learn to read. His Nokum knows the power of reading, but she also reminds him to respect his traditional knowledge. The story is in English and Cree, and it comes with downloadable music.

Una Huna: What Is This?, by Susan Aglukark, illustrated by Amanda Sandland and Danny Christopher. OCLC 1122616081

Ukpik loves to go camping in the North! One day, a captain comes to trade with her father, and she worries that everything is going to change. Ukpik speaks with her grandmother, who reminds her that while some things change, her love for family and camping never will.

You Hold Me Up, by Monique Gray Smith, illustrated by Danielle Daniel. OCLC 973043772

You Hold Me Up teaches children and their guardians about the importance of empathy and why we should consider the feelings of others in our everyday actions. It will help your littlest ones to develop an understanding of respect and empathy.

Nibi’s Water Song, by Sunshine Tenasco, illustrated by Chief Lady Bird. OCLC 1080643036 (French translation by Hélène Rioux: Nibi a soif, très soif, OCLC 1083095552)

In a child-friendly way, Nibi explains why it is so important for everyone to have clean water. Through beautiful illustrations, an unlikely character—her hair—explains Nibi’s feelings and journey! As the communities learn to listen and communicate with each other, they come together to ensure that all Canadians have access to clean, healthy water.

Sometimes I Feel Like a Fox, by Danielle Daniel. OCLC 1022939643 (French translation: Parfois je suis un renard, OCLC 989789937)

A beautiful introduction to the Anishinaabe tradition of totem animals. Children explain in their own words why they feel connected to certain animals. For each chosen animal, there is an adorable illustrated image of the child as his or her totem animal.

A Children’s Guide to Arctic Butterflies, by Mia Pelletier, illustrated by Danny Christopher. OCLC 1004529871

If you thought that only polar bears and rabbits lived above the treeline, think again! Arctic butterflies are real, unlike mythical North American “house hippos.” This book is a fact-filled, beautifully illustrated journey into the world of the resilient butterflies of the North.

Colour photograph of six books placed in a stack.

A sample of the variety of books held in the Library and Archives Canada collection. Photo credit: Tom Thompson

The Gathering, by Theresa Meuse-Dallien, illustrated by Arthur Stevens. OCLC 966404621

Alex has never attended a spiritual gathering (mawiomi) and is feeling overwhelmed. Once she begins meeting Elders, she becomes more at ease; eventually, and most importantly, she finds her voice in a talking circle.

Mokatek et l’étoile disparue, by Dave Jenniss, illustrated by Claudie Côté Bergeron. (In French) OCLC 1080217733

Each night, to fall asleep, Mokatek loves to speak with the stars. He really enjoys telling his stories to the best and brightest star in the sky, the North Star! One day, his favourite star disappears, and he has to find it. In this book, the youngest of readers join Mokatek on a journey with his animal friends to find the brightest star and bring it back home.

Dragonfly Kites, by Thomson Highway, illustrated by Julie Flett. OCLC 1055555884

Dragonfly Kites is the second book in a magical trilogy by iconic author and playwright Thomson Highway. This bilingual book (English and Cree) is about two brothers who fly their kites during the day, but fly at night in their dreams. The brothers remind us about the beauty of using our imaginations!

Colour photograph of four books placed in a stack.

A sample of the variety of books held in the Library and Archives Canada collection. Photo credit: Tom Thompson

For pre-teens and teens

A Two-Spirit Journey: the Autobiography of a Lesbian Ojibwa-Cree Elder, by Ma-Nee Chacaby with Mary Louisa Plummer. OCLC 927382779 (French translation by Sophie M. Lavoie: Un parcours bispirituel : récit d’une aînée ojibwé-crie lesbienne, OCLC 1035313410) (Content warning: homophobia and transphobia)

This selection is a story of resilience and self-discovery. Ma-Nee Chacaby brings you on a journey through her life with humour, kindness and a willingness to accept oneself.

Trickster Drift, by Eden Robinson. OCLC 1035334241 (Content warning: drug use)

In Trickster Drift, the second book in a planned trilogy, we follow Jared, who has a knack for attracting trouble and magic. He moves to Vancouver for high school and discovers that just because you leave the magic behind, the magic does not leave you, especially when you are the son of a Trickster!

Voices from the Skeena: an Illustrated Oral History, by Roy Henry Vickers and Robert Budd, illustrated by Roy Henry Vickers. OCLC 1107990291

Anyone who knows me knows that I love a good history book, and if the book has pictures, even better! Take a trip along the Skeena River to meet those who have known this river since time immemorial, and those who came after them. This is the perfect book for the budding West Coast historian.

I hope that I have inspired you to explore what is available from Indigenous authors and their worlds this holiday season!

Sarah Potts is an acquisitions librarian in the Legal Deposit section of the Published Heritage Branch at Library and Archives Canada.

George Mully: moments in Indigenous communities

Posted on by
1

On the left of the graphic, Tatânga Mânî [Chief Walking Buffalo] [George McLean] in traditional regalia on horse. In the middle, Iggi and girl engaging in a “kunik”, a traditional greeting in Inuit culture. On the right, Maxime Marion, a Métis guide stands holding a rifle. In the background, there is a map of Upper and Lower Canada, and text from the Red River Settlement collection.

This article contains historical language and content that some may consider offensive, such as language used to refer to racial, ethnic and cultural groups. Please see our historical language advisory for more information.

By Annabelle Schattmann

George Mully (1926–1999) was an American playwright and documentary film director. He began as a playwright, working on off-Broadway shows, travelling productions, and operas in the United States and Europe. Mully had various roles, including stagehand, stage manager, lighting designer, and director; he even worked as a puppeteer. After marrying and settling down in England with his wife Ann, Mully pivoted his career from the stage to audiovisual production. He started his own educational production studio, writing, directing, and producing stories on subjects and issues he was passionate about. By 1979, the family had immigrated to Canada and settled in Ottawa.

The George Mully collection, held at Library and Archives Canada, consists of personal and professional documentary photographs taken in the later part of Mully’s career. The images demonstrate his varied interests, including international development, the environment, history and socio-cultural topics, music, and art. In Canada, Mully worked closely with the National Film Board and museums in the capital region, directing many documentary films. Acid from Heaven (1981), a documentary film about acid rain, is a notable work included in his collection.

Colour photograph of a young girl staring into the camera.

An Inuk girl with yellow sunglasses, a red jacket, and multicolour mittens. Photo Credit: George Mully (e011218259)

Of particular interest to the We Are Here: Sharing Stories initiative is a series of 363 photographs taken between 1978 and 1988. They depict First Nations people and Inuit from across Canada, as well as Diné (Navajo) and Inde (Apache) from the United States. Mully’s images document how Indigenous people lived and worked in the late 1970s and 1980s. Most of the photographs show people going about their daily lives, often while performing an activity. Sometimes it is a traditional activity, such as hunting, gathering, creating art, and making crafts, or a contemporary activity such as working in a modern industry. Occasionally, Mully captures crossover between traditional and contemporary life.

Colour photograph of four men sitting on wooden chairs surrounded by microphones and facing each other, singing and drumming.

Four unidentified First Nations drummers performing under a tent. Photo Credit: George Mully (e011218157)

Mully’s interest in human rights is evident in a series of photographs taken in July 1979, when the Indian women’s rights march arrived in Ottawa. The march, led by Maliseet women Sandra Lovelace and Caroline Ennis, protested inequality and discrimination faced by First Nations women who lost their Indian status upon marrying non-status men. Bill C-31 amended the Indian Act in June 1985 by removing the relevant provisions and reinstating status for those affected, among other changes. The revisions to the Act have been critiqued for not adequately addressing the issue.

Colour photograph of a person sitting on green grass behind a sign that reads “Save our sisters.”

Unknown individual sitting on the lawn of Parliament Hill in Ottawa with a protest sign. Photo Credit: George Mully (e011218140)

It is not initially clear why Mully captured particular images or what purpose they might have served. Some photographs might have been taken in preparation for a possible documentary or as part of research on a future project. The names of the people depicted, the locations, and the dates of the photographs are unknown; none of the images has a detailed caption, and few textual records accompany the collection. As such, a selection of over 300 photographs will be part of an upcoming Co-Lab challenge and Flickr album. If you recognize someone or a location, or know when an event took place, please go to the George Mully Co-Lab challenge and tag the photographs! Tagging the images with names, locations, and dates will allow others to find images of family members and their communities, and ensure that the people and places are remembered. Thank you for sharing your knowledge, and for your assistance in this endeavour.

Colour photograph of a man in dark blue clothing wearing sunglasses and sitting on a wooden bench carving a vase.

Unidentified Inuk artist at an arts event, working on a ceramic vase with an abstract design. Photo Credit: George Mully (e011218140)

This blog is part of a series related to the Indigenous Documentary Heritage Initiatives. Learn how Library and Archives Canada (LAC) increases access to First Nations, Inuit and Métis Nation collections and supports communities in the preservation of Indigenous language recordings.

Annabelle Schattmann is an archival assistant for We Are Here: Sharing Stories, an initiative to digitize Indigenous content at Library and Archives Canada.

 

John Colin Forbes and Kenneth Keith Forbes, a lineage of official portraitists!

Posted on by
Reply

By Geneviève Couture

The careers of painters John Colin Forbes (1846–1925) and his son Kenneth Keith Forbes (1892–1980) clearly illustrate how particular prime ministers were their muses and patrons. Between them, the two portraitists painted seven Canadian prime ministers, two governors general, five chief justices of the Supreme Court, 11 speakers of the House of Commons and 14 speakers of the Senate. These artists also painted a king and queen of England on behalf of the Canadian government. Over a period of more than 90 years, the Forbeses helped to build an artistic and visual heritage depicting the executive, legislative and judicial branches of the Canadian government.

John Colin Forbes

John Colin Forbes was born in Toronto in 1846. In the 1860s, he studied painting in Paris and London before returning to Canada. He was a founding member of the Ontario Society of Artists (1872) and the Royal Canadian Academy of Arts (1880).

Forbes was quickly recognized as a portraitist and received numerous commissions. He painted Lord Dufferin and the Marquess of Lansdowne, both governors general of Canada. Between 1878 and 1893, he created portraits of Sir John A. Macdonald, Alexander Mackenzie, Sir Charles Tupper and Wilfrid Laurier. None of these were official portraits, but Tupper’s is in the Parliament of Canada, while Macdonald’s and one of Laurier’s are in the National Gallery of Canada. Forbes was also commissioned to produce four official portraits of speakers of the House of Commons and six official portraits of speakers of the Senate.

The artist had a special relationship with Sir Wilfrid Laurier, who called Forbes a “friend.” He painted Laurier for the first time in 1885, based on a photo taken around 1882 by William Topley’s studio in Ottawa.

Black-and-white photo of a seated man in a suit.

Wilfrid Laurier, MP. Topley Studio, 1882. (a013133-v8)

The second painting of Laurier by Forbes was presented to the Prime Minister by his friends and Liberal Party supporters on May 15, 1902. In his speech to the House of Commons, Laurier stated, “It is with a very sincere heart indeed that both in my own name and in the name of my wife, I accept from the unknown friends […] this memento which is the work of a great Canadian artist.”

Lamenting that Forbes was at the time practicing his art in the United States, Laurier added:

Unfortunately Canada, which is still a young country, has not afforded to artists all the help it might have given in the past. I trust that in the future Canadian artists and talents will receive more encouragement from the Canadian people that they received hitherto. For my part, it is with some regret, I acknowledge that perhaps the Government might have done more than it has for the encouragement of native, artistic talent.

Finally, regretting not having children to whom he could bequeath the painting, Laurier made this wish: “Someday I hope it will be in a national museum, not with a view of remembering me to posterity, but for the glory of Mr. Forbes, the artist who painted it.” A few years later, in 1906, Laurier himself gave the painting to the National Gallery of Canada.

A royal commission

His special relationship with Prime Minister Laurier earned Forbes his most prestigious commission: a painting of King Edward VII and Queen Alexandra. He was the first Canadian painter to have a sitting with a British monarch, and official portraits of Edward VII would adorn the House of Commons.

The correspondence between Forbes and Laurier on this matter, which is part of the Sir Wilfrid Laurier fonds at Library and Archives Canada, indicates that Forbes had requested the commission from Laurier, with whom he had previously discussed it.

Black-and-white photo of a typed page.

Letter from John Colin Forbes to Wilfrid Laurier dated April 14, 1904, requesting the commission to paint the King and Queen on behalf of the Canadian government. (Wilfrid Laurier fonds, MG26 G 1(A), Vol. 312, page 84516, microfilm C-810)

Laurier agreed after he received a petition in support that was signed by 92 of the 214 members of Parliament.

A black-and-white image of a scanned page from microfilm.

The first of three pages of the petition, from members of the House of Commons to Prime Minister Wilfrid Laurier, to commission painter John Colin Forbes to paint a portrait of the King for the House of Commons. (Wilfrid Laurier fonds, MG26 G 1(A), Vol. 312, page 84518, microfilm C-810)

Laurier forwarded the request to the Governor General, Lord Minto, who helped arrange access to the royals for Forbes.

A black-and-white image of a scanned page from microfilm.

Letter from Prime Minister Wilfrid Laurier to Governor General Lord Minto, recommending that John Colin Forbes be commissioned to do the painting, and that steps be taken to that effect with the King. (Wilfrid Laurier Fonds, MG26 G 1(A), Vol. 326, page 87632, microfilm C-813)

The sitting was granted, and Forbes travelled to England to paint the portraits. Unfortunately, the paintings were destroyed in the Parliament fire in 1916, less than 12 years after their creation. Forbes’s four official portraits of the speakers of the House of Commons and six official portraits of the speakers of the Senate survived the fire.

Black-and-white photo of a burning building.

The eastern part of Centre Block in flames, Ottawa, 1916. (a052822-v8)

Sir John A. Macdonald and Sir Wilfrid Laurier: inspiring portraits

Two portraits of prime ministers painted by Forbes inspired their successors. In a Winnipeg Free Press article published on March 20, 1965, journalist Peter C. Newman reported that, depending on their political allegiance, new prime ministers had either Sir John A. Macdonald’s or Sir Wilfrid Laurier’s portrait installed in their East Block office in Ottawa. This practice changed under Lester B. Pearson, when the Prime Minister asked for both paintings in his office.

Photographs taken by Duncan Cameron (recently discussed in a blog post about news photographers and prime ministers) confirm that John Diefenbaker, Lester B. Pearson and Pierre Elliott Trudeau had paintings by Forbes in their offices. Paul Martin’s office was decorated with the first painting of Laurier by Forbes from 1885.

Black-and-white photo of a man taking a photograph of a photographer who is photographing him.

Pierre Elliott Trudeau taking a photograph with news journalist Duncan Cameron’s camera, June 28, 1968. Photo: Duncan Cameron (a175919)

Kenneth Keith Forbes

The son of John Colin Forbes, Kenneth Keith Forbes, also became a famous portraitist. Born in Toronto in 1892, he began drawing at the age of four under his father’s tutelage. Between 1908 and 1913, he studied art in England and Scotland. When the First World War started in 1914, the younger Forbes joined the British army as an ordinary soldier. He fought in France, where he was injured and gassed. Forbes was promoted to captain, and in 1918 he was transferred to the Canadian Army (specifically, the Canadian War Records Office) as a war artist. He painted scenes of battles as well as portraits of Canadian officers, including Brigadier General D. Draper.

Library and Archives Canada holds the recently digitized military file of Kenneth Keith Forbes.

Oil painting by Kenneth Keith Forbes from 1918. The scene shows the defence of Sanctuary Wood by the Canadian military near Ypres, Belgium, in 1916.

The Defence of Sanctuary Wood (1916), by Kenneth Keith Forbes, 1918. (e010751163-v8)

Official portraitist

A few years later, Forbes returned to Toronto; continuing in the family tradition, he focused mainly on portraits.

Among other things, he painted the official portraits of seven speakers of the House of Commons, eight speakers of the Senate and five chief justices of the Supreme Court.

Forbes also painted the portraits of prime ministers Robert Borden, R.B. Bennett and John Diefenbaker. The first portrait of R.B. Bennett painted in 1938 by Forbes was offered to the Prime Minister by members of Parliament, senators and Conservative Party members upon his retirement from politics. It is now in the New Brunswick Museum, where Bennett bequeathed it.

Forbes then painted the official portrait of Sir Robert Borden for the House of Commons. The painting was commissioned by the Speaker of the House, Gaspard Fauteux, whose portrait Forbes had painted the previous year. The aim was to complete the collection of official portraits representing Canada’s prime ministers in the House of Commons. This painting was unveiled in Parliament on June 11, 1947, 10 years after Borden’s death, along with a portrait of William Lyon Mackenzie King, with President Harry Truman of the United States in attendance.

In his diary, Mackenzie King explains why he suggested that his portrait and that of Borden, both prime ministers in the major wars, be unveiled at the same ceremony.

A black-and-white image of a typewritten page of William Lyon Mackenzie King’s diary dated May 19, 1947.

Excerpt from the May 19, 1947, entry in William Lyon Mackenzie King’s diary, explaining how he came to suggest that his portrait and that of Borden, both prime ministers in the major wars, be unveiled at the same ceremony. (William Lyon Mackenzie King fonds, MG26 J 13, May 19, 1947)

A decade later, Forbes painted two portraits of John Diefenbaker. The first was given to Diefenbaker by members of his Cabinet and hung in the prime minister’s official residence at 24 Sussex Drive, and later in Stornoway, the official residence of the leader of the opposition. The second portrait of Diefenbaker was commissioned by freemasons from Washington and is now in Arlington, Virginia.

In 1962, Forbes painted the official portrait of R.B. Bennett for the House of Commons. The commission came close to 25 years after his earlier painting, and 15 years after Bennett’s death. It was requested by Prime Minister John Diefenbaker and the Speaker of the House of Commons, Roland Michener. Once again, the aim was to fill in gaps in the collection of official portraits of Canada’s prime ministers in the House of Commons.

Conclusion

The careers of portraitists John Colin Forbes and Kenneth Keith Forbes reveal the sometimes unsuspected links between the arts and politics. The father and son clearly benefited from their good relationships with parliamentarians, particularly prime ministers, receiving many highly prestigious commissions.

Prime ministers also benefited from the work of artists like the Forbeses, whose paintings helped to commemorate and glorify the men who held the country’s highest political positions and inspired their successors. As we have seen, political affiliation was not at issue in requests to the father-and-son artists to contribute to this commemorative undertaking by painting portraits of prime ministers in office and their predecessors. The Forbes portraitists helped to establish the role of prime ministers in the country’s political memory.

Moreover, the talent for painting portraits did not end with John Colin Forbes and Kenneth Keith Forbes. The latter married Jean Mary Edgell, who was also a painter, and their daughter, Laura June McCormack (1921–1961), painted some portraits now in the Legislative Assembly of Ontario, notably one of Louis-Hippolyte La Fontaine.

For additional information about portraits of prime ministers, read Andrew Kear’s thesis, Governing Likenesses: The Production History of the Official Portraits of Canadian Prime Ministers, 1889–2002.

Geneviève Couture is an archivist with the Prime Minister Papers project in the Science and Governance Private Archives Division at Library and Archives Canada.