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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Maple syrup is made by boiling down or reducing sap collected from sugar maple, red maple or black maple trees. It is a sweet condiment unique to North America and enjoyed worldwide. The First Nations communities of southeastern Canada and northeastern United States were the first people to collect maple sap and discover its many benefits.First Nations communities taught British and French settlers how to collect sap and make maple syrup. Europeans incorporated the use of iron or copper pots, making it easier to boil the sap longer to create syrup with a thicker consistency. Today, Canada is the leading producer and exporter of maple syrup and related maple products, commanding over 70 percent of the global market for these commodities. The province of Quebec alone produces more than 90 percent of Canada’s maple syrup quota. Visit the Flickr album now!
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 The crescent-shaped blade was originally made of slate, but today it is made of steel.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.
Working dogs learn and perform tasks to support and sometimes amuse their owners.Regardless of whether they are purebreds or mixed breeds, these dogs are trained to do a variety of jobs very well. Some of the jobs include pulling carts and sleds, herding livestock, hunting, as well as providing valued services to the community such as policing, search and rescue, therapy, and guarding homes, businesses and buildings. The breed chosen often depends on what the job requires; however, most dogs share common canine traits of strength, discipline, intelligence and loyalty. Visit the Flickr album now!
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.
In 1948, the first class of the new aeronautical engineering school at the University of Toronto graduated. This graduating class comprised people such as Gerald Vincent Bull, Fred Matthews, Daisy Pon, William McCarter, William Kuzyk, and Ralph Waechter. Most of these individuals (including the first woman to graduate in aeronautical engineering) would take on jobs at the A.V. Roe Ltd. headquarters in Malton, Ontario. They would go on to work on various aspects of a number of revolutionary aircraft that would appear within the next ten years, including the famed (and fated) supersonic Avro Arrow. Library and Archives Canada recently acquired the fonds of two of these individuals, William Kuzyk and Ralph Waechter.
The story of A.V. Roe Ltd is, as the Canadian Air and Space Museum suggests, “a chronicle of triumph and tragedy for Canadian aviation.” Starting in 1945, the company had two initial projects. One was a commercial aircraft called the Jetliner, or the C-102. The other was a military aircraft, a two-engine, all-weather fighter-interceptor called the Canuck, or CF-100. Finally, starting in 1950, the company began work on the design for the Avro Arrow. The company assembled aeronautical engineering teams from Britain and Canada and began work on the design of the airframe and turbo-jet engines for these airplane types.
The C-102 Jetliner was a revolutionary aircraft designed for commercial air travel. The first flight of the C-102 Jetliner was in August 1949, and in every subsequent flight, it broke records for speed. Unfortunately, production of the aircraft never went beyond the testing phase.
One of A.V. Roe’s most successful productions was a two-engine, all-weather fighter-interceptor called the Canuck, or CF-100, as seen here:
The CF-105 Arrow had “technically advanced features’, such as the striking high delta-wing, tailless configuration, as well as other leading-edge aerodynamic features. You can see this in the early designs:
In the late 1940s and early 1950s, it was an exciting time to be an aeronautical engineer, and A.V. Roe hired new graduates in the field immediately.
Ralph William Waechter (1926–2012) studied aeronautical engineering at the University of Toronto from 1944-1948. After graduating, he was hired to work as an aeronautical engineer, a flight-test engineer, and an experimental aerodynamicist at A.V. Roe Canada Ltd. in Malton, Ontario. William Kuzyk (1922–1990) attended the University of Toronto between 1943 and 1949, graduating with a degree in Aeronautical Engineering in 1949. While he was completing his degree, he also worked for A.V. Roe as a design checker in the Gas Turbine Division.
During their decade of work at the company, Waechter and Kuzyk worked in various departments. Among other things, they were flight test engineers in the Flight Test Research Department. Here, their principle activity was data collection. Many of their reports deal with the technical challenges of high-speed flight and the related phenomena that can occur. Along this line, there is considerable data and graphs indicating performance and effects, particularly in relation to air speed and high-speed performance. Concerning the Avro Arrow, both aeronautical engineers tested the performance of various other experimental versions, including those with zero-length launch technology.
Despite continued design and flight success through to 1958, the international and national political climate played a role in the demise of the Avro Arrow. On February 20, 1959, the federal government cancelled the entire Avro Arrow project. All work on the project ceased, and 14,000 employees at A.V. Roe were laid off. Waechter and Kuzyk, like many other employees, found jobs in aeronautical engineering companies in the United States where they would stay through the 1960s. Unlike others in the field, they came back to Canada in the early 1970s and had continued success in their fields of expertise.
When the Avro Arrow project was cancelled, it was advised that all project records be destroyed. Consider, then, how lucky it is for us that neither William Kuzyk nor Ralph Waechter heeded these orders. Because of this, we now have unique visual evidence of the innovative aeronautical research and development that was occurring in Canada in the middle part of the 20th century.
LAC holds various fonds containing material related to the Avro Arrow, including:
- A.V. Roe Canada fonds
- Ralph Waechter fonds
- William Kuzyk fond
- Wilfrid Austen Curtis fonds
- June Callwood fonds
- Janusz Zarakowski collection (The images were loaned to the National Archives of Canada and copied. The originals were returned to the lender.)
- Robert A. Johnson collection
As well, material can be found in the fonds of various Members of Parliament and Prime Ministers, including:
- C.D. Howe fonds
- Brooke Claxton fonds
- Louis St. Laurent fonds
- John Diefenbaker fonds
- Lester B. Pearson fonds
Within the government holdings, a researcher may find scattered material about A.V. Roe and its various aeronautical projects:
- Orr, John L. – Interview in National Research Council Oral History Project
- Contracts and Agreements Series (within the Wartime Industries Control Board sous-fonds)
- Central Registry Files of National Aeronautical Establishment (accession within the Block Numeric Central Registry Files sub-series of the National Research Council)
Andrew Elliott is a private archivist in the Science, Economics, and Environment section of the Archives Branch of 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.