Her canvases capture the devastation of war but also signs of hope and renewal. At great cost to her health, this artist created one of the few authentic collections of paintings of war-torn Europe. She considered her work to be a gift to Canada. She donated the majority of the collection of paintings to the Public Archives of Canada, now Library and Archives Canada, in 1926.
We sit down with retired assistant professor of history at the University of Manitoba, Kathryn Young, and Dr. Sarah McKinnon, former vice-president at the Ontario College of Art and Design, and former curator at the University of Manitoba.
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The ulu is a knife with a semi-circular shaped blade which translates as “women’s knife” in the Inuit language of Inuttut. Ulus date back 4,519 years ago (2500 BCE). Ulus from 1880 discovered on Baffin Island were found with the blade adhered to the handle by an adhesive made from clay, dog hair and seal blood. In the 1890s, some ulus created by Western Inuit had holes through the handle and the blade. The two pieces were joined together using rawhide, whalebone and pine root. The Copper Inuit of Victoria Island (the eighth largest island in the world and part of Nunavut and the Northwest Territories) used copper they mined to make ulu blades. When slate and copper were scarce, some Inuit turned to whale baleen or ivory for the blades. The crescent-shaped blade was originally made of slate, but today it is made of steel. Steel was available after 1719, through the Hudson’s Bay Company. Blades could be semi-circular or triangular and were attached to the handle with a single post or with the post having a piece in the centre taken out. The handle of the ulu might include ornate drawings and engravings specific to the woman who owned the knife. Handles are usually made of wood but can also be made of bone, antler or ivory.
The size of an ulu depends on the personal preference of its owner or the region where it was made. A husband or other male relative sometimes presents an ulu to a woman or they are passed down from one generation to the next.
The cutting and slicing power of the ulu blade comes from the handle, allowing the force of the blade to be directed over the object to be cut. This allows the woman to cut through strong, dense objects, such as bone. The design of the ulu makes it easy to use with one hand. Ulus are multi-faceted tools that vary in design to suit diverse needs. Larger ulus cut game or fish and a smaller ulu removes blubber and shaves skin. Even smaller ulus cut skins or trim small pieces. Tiny ulus help sew or cut ornate pieces used as inlays in sealskin clothing.
Looking at most tools designed by humans, the ulu holds a special place. It is one of the only tools that is female-centric and has become an important cultural symbol. Its likeness serves as an award medal in events such as the Arctic Winter Games and is a prominent design element in contemporary Inuit art, crafts, and fashion design. They are often displayed prominently in the home as works of art in and of themselves. Used for thousands of years across the northern regions of North America, the ulu continues to be functional, powerful, and diverse.
Ellen Bond is a Project Assistant with the Online Content Team at Library and Archives Canada.
The pigeon family is large and consists of approximately 300 species. Only three species now breed in Canada.
The bird commonly referred to as a “pigeon” is the rock dove, or rock pigeon. It lives in cities and towns and on farmland. The mourning dove lives in open groves and woods. The band-tailed pigeon also inhabits open woods. A fourth species, the passenger pigeon, was hunted into extinction at the end of the 19th century.
Love them or hate them, pigeons were considered companions in ancient times, and they were the first birds to be domesticated. During the First World War and the Second World War, pigeons were used to carry messages for the military.
There are twenty-two squirrel species found across Canada in every province and territory. Six species live in trees while the other sixteen live on the ground.
Views on theses rodents vary. Some people consider them pests as they damage gardens and crops; others point to their role in forest regeneration as forgotten seed caches may germinate in spring.
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By Shane McCord
The recently concluded Library and Archives Canada (LAC) exhibition Premiere included four drawings by midshipman Robert Hood (c. 1797–1821). These drawings were first presented on the Discover Blog in April 2015, shortly after they had been acquired by LAC. Robert Hood was a talented draftsman, cartographer, scientist, natural historian, and anthropologist before the term existed. He is remembered today for his participation in the 1819–1822 Coppermine Expedition, led by John Franklin. While on this expedition, Hood was the first to document various species of animals and insects. He was also the first to note the electromagnetic nature of the aurora borealis. Posthumously, some of his drawings were reproduced and published in Franklin’s account of the expedition, which included a glowing report on Hood’s work and conduct.
While Hood is known, to a degree, for the contributions to scientific knowledge he made during the expedition, his story is also remembered for the part he played in a now infamous love triangle between himself, a Dené woman known as Greenstockings, and Sir George Back, another artist who was part of the expedition. The story, which includes a failed duel between Back and Hood, has been told many times and is neatly summarized in the Dictionary of Canadian Biography entry for Hood.
All the members of the expedition were suffering from malnutrition and exhaustion, and Hood did not survive. He was likely near death when he was killed by a fellow member of the expedition, the voyageur Michel Terohaute. Terohaute was executed for the murder, and was later suspected of cannibalism.The first of the four drawings shown in the Premiere exhibition is a double portrait of two Inuit guides and interpreters, Tattanoeuck (“Augustus”) and Hoeootoerock (“Junius”). Tattannoeuck was a member of three expeditions, two with Franklin (1819–1821, 1825–1827) and one with Back (1833–1835). He was heavily involved in these expeditions and was well respected by his companions, to the point that Sir John Richardson, a member of both the first and second Franklin expeditions, named a species of butterfly Callophrys augustinus in his honour. Hoeootoerock was separated from the members of the Coppermine Expedition during the crossing of the Coppermine, and is presumed to have died there.
Two of the drawings are depictions of northern mammals: a mink and a cross fox. At the time these works were produced, such species were becoming objects of study in Western European science. Images such as these were among the primary reasons why Hood, an officer with a talent for drawing, was selected for the expedition. Apart from their aesthetic value, these images were important as evidence of wildlife in the region of the expedition and provided valuable information for the expansion of the fur trade.The final and most interesting drawing shows the interior of a Cree tent. The inscription is “Interior of a Southern Indian tent; taken on the Basquiase Hill, Cumberland House, Hudson’s Bay. The tent is made of Moose skin parchment; the cloathes [sic] of the indians are made of skins. The cloth obtained from the English factories. March 25th 1820 Robert Hood North Land Expedition.” The drawing is valuable for the anthropological information it provides and for its historical context. In Hood’s journal from the expedition, he describes making such a drawing on March 31, and he provides several anecdotes regarding the people in the tent. It is yet to be determined if this is that same drawing and there is an inaccuracy in the dates, or if Hood made a second drawing. All four of these drawings relay important documentary evidence about the region of Cumberland House, in what is now northern Saskatchewan. These drawings are also fascinating simply as items carried on that ill-fated journey. The Franklin expeditions are an important part of the history of Canada’s development as a nation, and the tragic aspects of the first expedition in particular have made it one of the most popular and well-known episodes in Arctic history.
Shane McCord is an art archivist in the Archives Branch of Library and Archives Canada.
By James Bone
The Canadian government studied and established the first building blocks of our current social safety net in the early 1940s, during the Second World War. The government was looking to avoid or abate a repetition of Canada’s experience of increased unemployment when soldiers returned from the First World War, especially in manufacturing with the end of wartime production and the resulting lower demand. One of the ideas that it seized upon was unemployment insurance: a mandatory program to which both employees and employers would contribute based on a given employee’s wages; if the job was lost, that person would have some guarantee of a continued income for a specified period. The legislation establishing the program received royal assent in August 1940 and took effect on July 1, 1941. While unemployment insurance has been modified and reformed since then, the essence remains the same under the present Employment Insurance program.
At the time, of course, there was no computer-based record keeping, and a means had to be devised to show not only that payments for contributions had been made but also that a given employee was entitled to coverage. The most common method of proving that taxes or fees had been paid for government services during the late 19th and early 20th centuries was through the use of revenue stamps. Similar to postage stamps, revenue stamps specify the amount of money paid to purchase the stamp and the tax or fee that they were created to pay for. When used, revenue stamps were cancelled by an official to indicate that their value had been used for the intended purpose. Unemployment insurance stamps were available for purchase at post offices, and employers were required to withhold a set proportion of an employee’s wage, while also making their own contributions, to purchase these stamps. The stamps would then be affixed to booklets, generally kept with the human resources or management unit of a company, and then submitted annually to the local Unemployment Insurance Commission office. Each employee would have a booklet every year held by each employer for whom he or she worked. To ensure that the wages withheld were going toward the purchase of unemployment insurance stamps, employees were permitted by law to inspect their booklets twice a month.
At the launch of the unemployment insurance program, many forms of employment were not eligible for coverage. These included agriculture, fishing, forestry and logging, hunting and trapping, air and water transportation services, medicine, nursing, teaching, military, police, and civil services. Over time, more forms of employment were made eligible for coverage. Most notably, in 1957 employment in the fishing industry was covered, providing a much-needed income guarantee to people in the newly confederated province of Newfoundland and throughout the Maritimes. At first, existing stamps were overprinted with the image of a fish to indicate their intended use in the fishing industry. In later years, fishing unemployment insurance stamps were issued without an overprint.
Among the various types of revenue stamps used by federal and provincial governments, unemployment insurance stamps are relatively scarce. This is because under the program’s legislative act and regulations, it was illegal to sell unused stamps, and only an employer or an employer’s human resources designate could be in lawful possession of unused stamps. Further, most of the booklets and used stamps submitted to the Unemployment Insurance Commission as well as most of the unused stamps were intentionally destroyed after their designated five years of retention. Also, unsold stamps were returned from post offices to the Unemployment Insurance Commission for destruction once they were no longer eligible to be sold, which happened when changes to unemployment insurance premiums required stamps to be issued in new denominations.
The Danny Leong collection
It is thus fortunate that Library and Archives Canada was able to acquire the Danny Leong Unemployment Insurance Stamp collection (R15771), which includes more than 11,000 stamps, unemployment insurance booklets from all the years of their use, and other associated materials. Both Danny Leong and his widow, Violet Anne Leong, were employees of the Unemployment Insurance Commission in British Columbia. Through this employment, Danny Leong was able to collect specimens of the stamps and booklets that were no longer needed for business use, training or reference in the office.
Most of the stamps in this collection are pre-cancelled specimens, printed by the Canadian Bank Note Company in Ottawa and forwarded to the Unemployment Insurance Commission as examples of stamps to be issued and sold at post offices. The collection also includes specimen and used insurance booklets, possibly retained for training purposes. The most curious item is a singular engraved die proof dated March 1959. This unique proof is for a never-issued agriculture unemployment insurance stamp—as mentioned above, agriculture was not covered by unemployment insurance during this period. Evidently, consideration was given to including agricultural work in the program, and this consideration was serious enough to have involved having a stamp for that purpose designed and engraved. In discussion of this item, Yves Baril attributed the work as most likely that of the Canadian Bank Note Company’s letter engraver Donald Mitchell, while the design appears to be that of Harvey Prosser, with supervision by John Francis Mash.
The use of revenue stamps and unemployment insurance booklets to record payments for insurance continued until the early 1970s. Thereafter, the program was reformed with computerized records and the first issuing of Record of Employment forms, which are still in use. Most importantly, the 1971 reform of the Unemployment Insurance Act made coverage almost universal regardless of industry. The final issue of unemployment insurance stamps, printed in 1968, went mostly unused, with only a few used examples having ever been found by collectors. Of interest to both those who study philately and labour history in Canada, the Danny Leong Unemployment Insurance Stamp collection is available for consultation at Library and Archives Canada. For further reading on Canadian revenue stamps, including unemployment insurance stamps, Edward Zaluski’s Canada Revenues is an outstanding resource.
James Bone is an archivist in the Social Life and Culture Private Archives Division of the Archives Branch at Library and Archives Canada.
These colourful, playful discs represent some of Canada’s earliest recordings for children. Some were simply recordings of nursery rhymes or well-known tunes in English and French.Some of the discs would have come as part of a package of items. The Dee & Cee Company was a doll manufacturer, rather than a record company, that produced the “Pretty Baby” discs. Dee & Cee presumably included the discs with the sale of some of their dolls, probably as an attempt to increase sales. These beautiful labels captured the attention and entertained many children in the early 20th century when they were released.