Images of Icebergs now on Flickr 

National Film Board photographers setting up by an iceberg (e011175885)

Icebergs are large pieces of ice that break off glaciers and float into the surrounding ocean. They can be pure white or streaked with blue and brown. Blue streaks come from melt water freezing in the cracks of the original glaciers. Brown streaks come from dust landing on the ice or erosion from the original glacier scraping the ground.

Iceberg in Hudson Strait (a045191)

The shape and size of icebergs depends on their breakage and melt patterns, as well as waves, temperature, and the ice pack around them. Common shapes include tabular, blocky, wedge, pinnacle, domed, and drydock.

An album page with five black-and-white close up shots of different types of icebergs and a shot of the ocean at sunset. The captions read, left to right, “Sunset, Baffin Bay” and “Taken at sea – Off Scott Inlet, Baffin Island.”

Views of icebergs taken at sea, off Scott Inlet, Baffin Island (e010863534)

Tabular, or flat pieces of shelf ice that break off to form ice islands, are stable enough to use as mobile research platforms, while the more irregular shapes can break apart without warning. According to the Iceberg Finder, the largest iceberg ever recorded in the Arctic was recorded in 1882 near Baffin Island

Six small sketches of different types of icebergs in pale colours with the caption: “Vanille, fraise, framboise – boum, servez froid!” [Vanilla, strawberry, raspberry—boom, serve cold!]

Vanille, fraise, framboise – boum, servez froid! [Vanilla, strawberry, raspberry—boom, serve cold!] (e008444012)


 

Images of Indigenous Pipes now on Flickr

Close up portrait of a man smoking a pipe, and wearing a flat cap and round glasses.

Portrait of an Inuit man, Angmarlik, a respected leader at Qikiqtat (Kekerten) (PA-166470)

Pipe smoking was practiced by both Indigenous men and women.

Woman smoking a pipe and wearing a dress, shawl, and headwrap. She is holding the reins of a horse pulling a Red River cart.

Camp scene of a Red River cart and an Indigenous woman (e011156555)

Pipe bowls were made from ceramics or carved from hard materials such as pipestone, soapstone, wood, or corncobs. The stem was usually made of a hollowed out tube of wood. Pipes were used recreationally to smoke tobacco, or blends of aromatic plants or barks. Pipes were also used on political and ceremonial occasions. Unique metal-forged axe pipes were gifted to Indigenous chiefs and leaders.

A birch bark basket embroidered in the centre with a First Nations figure smoking a pipe, and white, red, and blue flowers on each side.

Birch bark basket with embroidered First Nations figure and pipe (e010948522)

Pipe smoking has dwindled, but the practice and symbolism still carries on as some of these pictures show.

Portrait of a woman wearing a plaid shawl and smoking a pipe.

Inuit woman wearing plaid shawl and smoking a pipe (e010692540)

Visit the Flickr album now!


 

Images of Beaches now on Flickr

A black-and-white photograph of three girls lying side by side on the sand on their stomachs.

Three girls lying on the sand at a beach, Renfrew County, Ontario [PA-056012

Located near seashores, large rivers and lakes, beaches are strips of land between the low-water and high-water marks. Depending on the local geography, they are constituted of materials such as rocks, pebbles or sand.

A colour photograph of a group of boys playing on the beach at a lake.

Boys playing on the beach at Great Slave Lake, Hay River, Northwest Territories [e010976123

The aristocracy and upper classes of the United Kingdom and Europe spearheaded visits to beaches for leisure and health. The beach as a recreation destination evolved during the mid-19th century. The expansion of railways and stations made it easier for middle-class and working-class citizens to purchase cheap fares, and to travel to growing resort towns.

A black-and-white photograph of a man and a woman sitting on the sand, facing each other and smiling.

Mr. Murphy and Ms. Beck at Ingonish Beach, Nova Scotia [e008302213

During the late 19th century, North America, which was blessed with an abundance of beaches, also experienced a rapid development of these areas for recreation. This growth continued well into the 20th century, when new forms of water activities were invented, such as surfing, wake boarding and wind surfing.

A colour photograph of a woman and two men. One of the men crouches and marks the water temperature in chalk on a sign as 76 degrees Fahrenheit.

Two men and a woman chalking up the water temperature at Brackley Beach, Prince Edward Island National Park [e010949055

The popularity of beaches has not waned, and Canadians and tourists alike can enjoy the variety of amenities they offer.

Visit the Flickr album now!

Judith-Pauline White, Nunatsiavut photographer

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 Heather Campbell

A black-and-white photograph of an Inuk girl facing the camera. The young girl is wearing a white amauti (a girl’s or woman’s coat with a large hood) and stands in front of a building as a woman peeks out from a window behind her.

An Inuk girl stands as a woman peeks out from a building behind her, circa 1900–1950 (e011307844)

Judith-Pauline White (née Hunter) was an Inuk woman born in 1905 in Hebron, Newfoundland (now Newfoundland and Labrador), about 200 kilometres north of Nain in Labrador. She married a well-known trading post owner, Richard White, in 1922 and became stepmother to his daughter; the couple would have five children together. The Richard (Dick) White Trading Post (now a heritage building) is located in Kauk, approximately 4 kilometres south of Nain and 34 kilometres north of Voisey’s Bay. Ms. White, an amateur photographer, took photos in the area starting in the 1920s. In the 1950s, she met anthropologist Alika Podolinsky Webber, who travelled to Labrador to conduct research for her thesis about the art of the Mushuau Innu (of the Innu Nation). Podolinsky Webber went to Kauk because she was aware that the trading post was a hub for Innu and Inuit along the north coast of Labrador. Ms. White sent a shipment of material to Podolinsky Webber after Mr. White died in 1960. The material included photographs and negatives for over 200 images of daily life in and around the trading post. White’s photographs (see lower levels) feature both Innu and Inuit, and are a visual documentary of life in Labrador from the 1920s to the 1950s. This wealth of knowledge, which was tucked away for decades before being donated to Library and Archives Canada in 2007, is now accessible to everyone.

A black-and-white photograph of an Innu man staring at the camera, wearing traditional clothing and sitting on a pile of supplies. In the background, many other people are standing in front of a dark-coloured house with two small windows.

Innu on the move, circa 1925–1940 (e011305800)

As an Inuk woman from Nunatsiavut, an artist and a former curator, I am interested in the life and work of this early photographer. I cannot help but think of the well-known Inuk photographer Peter Pitseolak from Cape Dorset. His snapshots of Inuit life in the 1940s and 1950s are some of the earliest examples of Inuit individuals turning the camera on their own communities, rather than being the topic of ethnographic study by others. Unbeknownst to Pitseolak and those who followed his work, an Inuk woman in Nunatsiavut was also taking photos of everyday life. Why have we not heard of her? As Inuk scholar Dr. Heather Igloliorte writes in the Fall/Winter 2015 issue of the Inuit Art Quarterly, the Indian Act excluded Inuit in Nunatsiavut when Newfoundland joined Confederation in 1949:

Labrador Inuit artists were unfortunately omitted from virtually all of the developments that emerged from the concerted efforts of [James Houston (who “discovered” modern Inuit art)], the government, the Canadian Guild of Crafts, the Hudson’s Bay Company, and others, because the federal government did not officially recognize that there were Inuit in Labrador until decades later. We did not establish studios, form co-operatives, build relationships with the southern Canadian art world, and develop national or international markets for our work. We were not even permitted to use the ubiquitous “Igloo Tag” for authentification until 1991.

A black-and-white photograph of a woman standing in a window of a wooden building, wearing a dress with a white collar and a necklace with a large cross. In the left-hand corner of the window frame, a child is peeking out, looking toward the camera.

Woman standing in a window, circa 1900–1950 (e011307849)

When Newfoundland joined Confederation, White was still taking photographs, but galleries and exhibitions at the time did not feature Nunatsiavut Inuit artists. Instead, these artists sold their works door to door, at local craft shops or to the occasional visitor. We can only imagine how the Inuit art world would have reacted to White’s work had the contemporary provincial or federal governments given support and recognition to Nunatsiavut Inuit artists. We are thankful to the Alika Podolinsky Webber estate for its valuable gift. It is a visual reminder of Judith-Pauline White’s passion for photography and her recording of Labrador Innu and Inuit culture, which is now available online for all to enjoy.

A black-and-white photograph of an Innu man and three members of his family. The men and young boy are dressed in fur jackets and mittens. A tent and trees are in the background.

Innu man Pasna and his family, circa 1920–1940 (e008299593)

Visit Flickr to see more of Judith-Pauline White’s photographs.

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.


Heather Campbell is an archivist in the Public Services Branch at Library and Archives Canada.

Dave Heath: sexuality, death and other demons

By Lisandra Cortina de la Noval

 “The themes that absorb him above all others are eros and God; or the mysteries of women and death.”

Cynthia Ozick

Two headshot photographs of the artist Dave Heath wearing glasses.

Diptych of Dave Heath, 2005, by Michael Schreier (e008299923)

Who is Dave Heath?

The late David Martin Heath was born on June 27, 1931, in Philadelphia, Pennsylvania. Abandoned by both parents by the age of four and rejected by the rest of his family, Heath grew up in a series of Jewish foster homes until he was placed in an orphanage at age 12. Three years later, he began to pursue photography as an escape from loneliness, setting the stage for a long and outstanding career that would leave a mark on modern photography. In 1970, he came to Canada and settled in Toronto.

Mostly self-taught, Heath was a photographer, printmaker, writer, critic, editor and teacher. Best known for his book A Dialogue with Solitude (1965), he experimented with different expressive forms: traditional darkroom work, audiovisual slide presentations, Polaroid technology, digital colour photography and artistic journals. Heath’s journals, spanning 1974 to 2016, are now part of Library and Archives Canada’s collection.

Following in the traditions of Walker Evans and Robert Frank, Heath considered photographic sequence as an art form and put the relations between words and images at the centre of his work. He understood photography as a “wordless poetry” (Dave Heath journals). His art, though deeply personal, is an exploration of the human condition.

A gentle yet haunted soul

Reclusive by nature, Heath lived his life as a continuous struggle. The abandonment in his early years, by his mother in particular, was a curse he was unable to exorcise throughout his adult life. Adopting the name “Dave” was his way of gaining the necessary dimension, presence and character denied to him as a child. This became his name as an artist.

Despite his abandonment issues and his inability to connect with others or to maintain a long-term relationship, his work reveals his love for women. In his journals, he wonders: “Is the repetitive preoccupation with women in my work an avenue to escape the original trauma by investigating the woman, demystifying her mystery so that she becomes reassuring rather than dangerous, thus transforming her into something satisfying in itself, a work of art?” This might explain his fascination with the female body, breasts in particular, not only as sexual objects but also as “loving warmth and heart of a woman—forgiving, comforting, consoling and life-affirming” (self-interview by painter Paul Matthews, September 26, 2006, Dave Heath journals). Sexuality was for him a source of artistic ideas. He created and gathered an amazing collection of pictorial erotica over the years. His last book, Eros and the Wounded Self, brings together a selection of his polaroids of women.

Always the loner, Heath had very few friends, but he loved them dearly. His journals show a gentle soul, a man who unhesitatingly supported his friends and fellow artists, economically and emotionally. “You must persist without guarantee of recognition, fame, fortune or posterity. It is the burden of being a true artist rather than a spurious imitation” (Dave Heath journals).

“Waiting for the end, boys, waiting for the end”

(from “Just A Smack At Auden,” poem by William Empson, Dave Heath journals)

“We live, we die. Only death and oblivion our true destiny.”

Dave Heath

Death is treated extensively in Heath’s work, but not in the traditional “fear of death” way. He confessed that he had thought of death since he was seven years old, or probably even four, when his mother deserted him. His work, based on profound loss, explores the inevitability of death. Everyone is born to die, but what really mattered to him was what we do before then, what we are able to accomplish while living: legacy versus oblivion.

His final years were a race against death, as he worked hard to finish a last body of work, his swan song. Despite some health issues, he managed to complete and publish his last two books: Dave Heath’s Art Show (2007), featuring some of his digital work, and Eros and the Wounded Self (2010).

Heath died on June 27, 2016, his 85th birthday, at his home in Toronto. He lived his life wanting to redeem the stain of rejection through creative work. “It has always been my wish, my thought, my desire, my ambition that my work would be the marker of my life on earth, the truer memorial of my advent” (Dave Heath journals).

If you are in the National Capital Region this summer and want to see his work, visit the Multitude, Solitude: The Photographs of Dave Heath exhibition at the National Gallery of Canada, which continues until September 2, 2019.


Lisandra Cortina de la Noval is a photo archivist in the Social Life and Culture Private Archives Division at Library and Archives Canada.

Images of Bakeries now on Flickr

Who doesn’t love bakeries? The smell of butter and sugar, the sight of all the loaves of bread, and sweet treats lined up behind glass counters are incredibly tempting.

Four glass cases packed with baked goods form a long counter. Tall wooden shelves with a mirror in the middle are lined with boxes. The floor has a checkerboard pattern.

Hunts’ bakery shop, Toronto, Ontario (PA-068155)

Bakeries can be found everywhere throughout history. Armies had field bakeries, and forts had bakeries drawn into their plans. Outdoor or communal ovens provided options to families. New immigrants started bakeries and brought with them recipes from their home countries.

Three children watch while their mother pull bread from an outdoor brick oven. A house and a field can be seen in the background.

Bread baking in an outdoor oven (e011175772)

On a residential street, a horse is pulling a wagon labeled with “Quality,” “Wonder Bakeries Limited,” and a picture of a Wonder Bread loaf.

Delivery wagon, Wonder Bakeries Limited (PA-060334)

Baking has changed immensely in the last century with factories and mechanization making large quantities of bread. But small neighbourhood bakeries still exist and are part of city landscapes. A favourite baker or a large factory can be a landmark. These photos show a story of immigration, home bakeries, small businesses, and large factories.

A wooden building with “Café Royal and Bakery” painted on it. Three waiters and four customers stand on the boardwalk in front of the building.

Café Royal & Bakery (PA-013518)

Visit the Flickr album now!


 

Charles Gimpel and the Canadian Arctic: 1958–1968

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 Miranda Virginillo

Charles Gimpel was an English photographer and art collector who travelled in the Canadian Arctic many times between 1958 and 1968, capturing moments of Inuit life. In 1958, the Hudson’s Bay Company (HBC) funded Gimpel’s trip from Winnipeg to Churchill, Manitoba, and to various ports around the Foxe Basin and northern Hudson Bay. In return, the HBC received photographs of their stores and the products in use in Kangiqliniq (Rankin Inlet), Igluligaarjuk (Chesterfield Inlet), Pangnirtung and other locations. The Department of Northern Affairs and Natural Resources Canada funded subsequent trips to the Arctic, in varying degrees. Gimpel’s patrons largely determined his activities in what was then part of the Northwest Territories (present-day Nunavut). Gimpel’s correspondence, articles, journals, notebooks and large number of slides in the Charles Gimpel fonds chronicle the beginning of an era of artistic production in the Canadian Arctic. The notebooks from his first trip in 1958 are particularly specific about his activities and demonstrate who and what would influence the rest of his career. Gimpel’s notebooks and photographs detail the places he travelled, the people he encountered and the conversations he had with them.

Colour photograph of an Inuk man, Kove, and Charles Gimpel dressed in brown-and-white fur parkas. The photo is very hazy because of a snowstorm.

Charles Gimpel (right), whose Inuit nickname was Ukjuk, with friend and guide Kove in a snowstorm near Inuksugalait (Inuksuk Point, Enukso Point), possibly Kinngait (Cape Dorset), May 1968 (e011212607)

My job as a Carleton University practicum student was to record the details of the places where Gimpel went and the people he met during his travels, to decipher his notebooks written in a personal shorthand, and to determine the location of a hand-drawn map. The first task was no small feat. The trip between Winnipeg and Churchill took five days by train, and Gimpel was interested in the stories of everyone he encountered on the journey. During his first trip alone, Gimpel recorded varying levels of information for approximately 40 named people, and for many more who were unidentified.

In deciphering Gimpel’s notebooks, the code followed the same pattern throughout: date, location, film conditions, subjects and, noted later, the four-digit identifier for the film roll in his collection. For example, “6241” indicated roll 41, taken in 1962.

The map refers to an arrangement of inuksuit (plural for inuksuk) at Inuksugalait (Inuksuk Point, Enukso Point). Inuksuit are cairns to mark a place for others or oneself. They serve many purposes, from being navigational aids to communicating good fishing spots or food caches. Gimpel recorded the height of each inuksuk and the distances between them, measured in feet. He also laid “claim” to the inuksuit by naming them after his friends and companions. The shorter inuksuit were named after children he had met on his trip: Nuvuolia (Nuvuoliak, Nuvoalia) and his adopted brother Irhalook, and Kove’s son Iali. The larger inuksuit were named after his interpreters, Pingwartok and Johanessie, and the sculptor Tunu. Gimpel even went so far as to give one inuksuk his own Inuit nickname, Ukjuk, which means bearded seal.

Hand-drawn map on white paper in a spiral notebook. The map consists of red circles with black lines between them, names of the inuksuit, numbers in brackets and a compass indicating East, South, West and North.

Map of inuksuit at Inuksuk Point, page 10 of document, 1964 (e011307430)

At the end of his 1958 journal, Gimpel recorded his meeting with James (Jim) Houston. This introduction solidified Gimpel’s interest in the Canadian Arctic for the rest of his life. Over the next decade, both men coordinated their efforts with Terry Ryan of the West Baffin Island Eskimo Cooperative (WBIEC) and the heads of other co-operatives in the Arctic to help develop this source of income for Inuit. Gimpel provided international venues, including the Gimpel Fils art gallery in London, the Smithsonian Institution in Washington, D.C., and the Bezalel National Museum in Jerusalem, with art from Kinngait (Cape Dorset), Iqaluit (formerly Frobisher Bay) and nearby camps. Photographs from his 1964 and 1968 trips capture stone carvers at work in Iqaluit and at the WBIEC.

A colour photograph of an Inuk man wearing a dark jacket and cap as he carves white statues.

Henry Evaluardjuk carving, Iqaluit, April 1964 (e011212063)

A colour photograph of an Inuk man sitting behind a stone sculpture with his tools in front of it.

Unidentified sculptor, Iqaluit, April 1964 (e011212065)

Gimpel’s trips were taken at a time when many people from southern Canada and abroad were discovering the unique Inuit art and culture. His journals and the photographs he took during his trips to the Arctic are now available online. The Rosemary Gilliat Eaton fonds, the James Houston fonds and the Canadian Eskimo Arts Council series in the Department of Indian Affairs and Northern Development fonds also reflect this pivotal time in history.

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.


Miranda Virginillo, from the School of Art and Culture at Carleton University, is an undergraduate practicum student in the Public Services Branch at Library and Archives Canada.

A selection of records about D-Day and the Normandy Campaign, June 6 to August 30, 1944

By Alex Comber

With part 1 of this post, we marked the 75th anniversary of D-Day and commemorated Canada’s participation in the June 6, 1944, invasion of northwestern Europe, and the Normandy Campaign, which ended on August 30, 1944. In part 2, we explore some of the unique collections that Library and Archives Canada (LAC) holds about these events, and highlight some records that are the most accessible to our clients online. Through outreach activities, targeted and large-scale digitization, DigiLab and our new and Co-Lab initiatives, LAC is striving to make records more easily available.

A black-and-white image taken from moving film, showing soldiers exiting a landing craft.

A frame of Canadian Army Newsreel No. 33, which includes a sequence of film from the Canadian D-Day landings on June 6, 1944

LAC staff receive many reference requests about our collections of photos. Canadian Film and Photo Unit (CFPU) personnel went ashore 75 years ago, on D-Day, filming and photographing as they landed. During the Normandy Campaign, they continued to produce a visual record that showed more front-line operations than official photographers had been able to capture in previous conflicts. Film clips were incorporated into “Canadian Army Newsreels” for the audiences back home, with some clips, such as the D-Day sequence above, being used internationally.

Photographers attached to the army and navy used both black-and-white and colour cameras, and the ZK Army and CT Navy series group the magnificent colour images together.

A colour photograph showing an armoured vehicle with a large main gun.

A British Centaur close-support howitzer tank assisting Canadians during the Normandy Campaign (e010750628)

Some of the most iconic imagery of the Canadian military effort in Normandy was incorporated into the Army Numerical series; by the end of hostilities, this had grown to include more than 60,000 photographs. The print albums that were originally produced during the Second World War to handle reproduction requests can help in navigating this overwhelming amount of material. Researchers at our Ottawa location refer to these volumes as the “Red Albums,” because of their red covers. These albums allow visitors to flip through a day-by-day visual record of Canadian army activities from the Second World War. LAC has recently digitized print albums 74, 75, 76 and 77, which show events in France from June 6 until mid-August 1944.

A page of black-and-white photographs showing photos of landing craft, destroyed enemy beach defences, and villages and landing beaches.

A page from Army Numerical print album Volume 74 of 110, showing the immediate aftermath of the landings (e011217614)

LAC also holds an extensive collection of textual records related to the events of June–August 1944. One of the most important collections is the War Diaries of Canadian army units that participated in the campaign. Units overseas were required to keep a daily record, or “War Diary,” of their activities, for historical purposes. These usually summarized important events, training, preparations and operations. In the Second World War, unit war diaries also often included the names of soldiers who were killed or seriously injured. Officers added additional information, reports, campaign maps, unit newsletters and other important sources in appendices. Selected diaries are being digitized and made accessible through our online catalogue. One remarkable diary, loaded in two separate PDF scans under MIKAN 928089, is for the 1st Canadian Parachute Battalion, the first Canadian soldiers in action on D-Day, as part of “Operation Tonga,” the British 6th Airborne Division landings.

A colour digitized image of a typescript account of D-Day operations.

Daily entry for June 6, 1944, from the War Diary of the 1st Canadian Parachute Battalion, detailing unit objectives for Operation Overlord (D-Day) (e011268052)

War diaries of command and headquarters units are also important sources because they provide a wider perspective on the successes or failures of military operations. These war diaries included documents sourced from the units under their command. Examples that are currently digitized include the Headquarters of the 3rd Canadian Infantry Division, from June and July 1944.

: A colour digitized image of a typescript account of D-Day operations.

War Diary daily entries for early June 1944, including the first section of a lengthy passage about operations on June 6, 1944 (e999919600)

LAC is also the repository for all Second World War personnel files of the Canadian Active Service Force (Overseas Canadian Army), Royal Canadian Navy and Royal Canadian Air Force. The service files of approximately 44,000 men and women who died while serving in these forces from 1939 to 1947 are open to the public. These records include the more than 5,000 files of those who died in operations during the Normandy Campaign. As the result of a partnership with Ancestry.ca, a portion of every open service file was digitized. This selection of documents was then loaded on Ancestry.ca, fully accessible to Canadians who register for a free account. To set up a free account and access these files on Ancestry.ca, see this information and instruction page on our website.

These records have great genealogical and historical value. As the following documents show, they continue to be relevant, and they can powerfully connect us to the men and women who served in the Second World War, and their families.

Medical document that shows a schematic view of upper and lower teeth, with annotations indicating missing teeth and dental work.

Private Ralph T. Ferns of Toronto went missing on August 14, 1944, during a friendly-fire incident. His unit, the Royal Regiment of Canada, was bombed by Allied aircraft as soldiers were moving up to take part in Operation Tractable, south of Caen. Sixty years later, near Haut Mesnil, France, skeletal remains were discovered. The Department of National Defence’s Casualty Identification Program staff were able to positively identify Private Ferns. The medical documents in his service file, including this dental history sheet, were important sources of information. Ferns was buried with full military honours at Bretteville-sur-Laize Canadian War Cemetery in 2008, with his family in attendance

An official document written in French, dated July 1948, that responds to a family request to communicate with those caring for the grave of Private Alexis Albert, North Shore (New Brunswick) Regiment.

Private Alexis Albert, serving with the North Shore (New Brunswick) Regiment, was killed in action in France on June 11, 1944. Four years later, his father, Bruno Albert, living in Caraquet, New Brunswick, requested the address of the family that was tending his son’s grave at Bény-sur-Mer Canadian War Cemetery in France, to thank them. The Director of War Service Records, Department of Veterans Affairs, provided this response, which helped to connect the grieving family in Canada with French citizens carefully maintaining the burial plot in Normandy.

These are only a few examples of LAC records related to the Canadian military effort in France from June 6 until the end of August 1944. Our Collection Search tool can locate many other invaluable sources to help our clients explore the planning and logistical efforts to sustain Canadian military operations in France, delve deeper into the events themselves, and discover personal stories of hardships, accomplishments, suffering and loss.

A black-and-white photograph showing many rows of Imperial War Graves Commission headstones, and a large Cross of Sacrifice.

Bény-sur-Mer Canadian War Cemetery, which includes the graves of 2,000 Canadian soldiers who died during the early phases of the Normandy Campaign (e011176110)


Alex Comber is a Military Archivist in the Government Archives Division at Library and Archives Canada.

Images of Potatoes now on Flickr

A black-and-white photograph of a man collecting potatoes in a field and filling a basket.

A potato harvest, New Brunswick [e011176012]

Potatoes are native to South America and date back many thousands of years.

A black-and-white photograph of a man riding a potato planter pulled by two horses.

A potato planter, Leeds County, Ontario [PA-043221]

Spanish conquistadors brought back potato samples to Europe during the 1500s. However, it was not until the 1700s that views toward the tuber had changed. No longer a curiosity from South America, the potato was cultivated as a stable and ample food source. Farming of the tuber spread slowly across Europe and eventually to North America.

A black-and-white photograph of four men examining potatoes on a small conveyor belt in a barn.

Master Farmer Lewis Winterburn and three men examining potatoes on a conveyor belt during the potato harvest [e010950952]

Cultivation of potatoes occurs in every Canadian province. The largest-scale farming happens in the provinces of Prince Edward Island, Manitoba, and Alberta. The potato ranks among the top global food crops along with rice, wheat, and corn.

A black-and-white photograph of women factory workers involved in the preparation and production of potatoes.

Women working in a factory where potatoes are dehydrated, Kentville, Nova Scotia [e010962111]

Visit the Flickr album now!

Images of Living Rooms now on Flickr

A black-and-white photograph of a living room furnished with plush chairs, paintings and a couch.

Interior of Sir William Van Horne’s residence [e003641850]

Modern living rooms have replaced the formal parlours and front rooms formerly used to greet and entertain guests.

A black-and-white photograph of man sitting on an area rug with friends. He is leaning against a couch, smoking a cigarette, and writing in a notepad.

A man sitting on the floor of a living room, leaning against a couch, smoking a cigarette and writing on a small notepad [e010968994]

Living rooms now service the full gamut of home life from entertaining guests, reading, listening to and watching audiovisual entertainment, or relaxing. Decor has also evolved to fit spartan tastes, to display artwork, or to indulge in lavish comfort.

A black-and-white photograph of a man sitting in an armchair reading a newspaper. A woman sits on a couch and sews.

J.W. (Ed) Maddocks reading a newspaper in his living room while his wife sews, Toronto, Ontario [e010962433]

A black-and-white photograph of a woman sitting on a couch reading a book beside her poodle. A man sitting at a desk next to the couch reads a magazine.

Dr. Best with his wife Margaret and poodle Dochel, Ontario [e011177240]

Visit the Flickr album now!