And keep an eye on this blog series…
There is something a bit different about Library and Archives Canada’s (LAC) latest exhibition, opening at 395 Wellington Street in Ottawa, on April 24, 2018.
New exhibition showcases variety
Like other exhibitions, Premiere: New acquisitions at Library and Archives Canada showcases the great variety found in LAC’s collection. A few examples include a Chinese embroidery and a 1952–1953 replica of the original Stanley Cup.
New exhibition also showcases acquisitions expertise
However, this exhibition featuring LAC’s most recent acquisitions also celebrates the expertise of LAC’s acquisition specialists. Every one of the items featured in the exhibition was thoughtfully selected by one of LAC’s librarians or archivists. The same librarian or archivist also prepared the exhibition text for his or her own item, and each text is “signed” with the name and title of the specialist who prepared it. The Librarian and Archivist of Canada, Dr. Guy Berthiaume, even selected an item!
Whether donated, purchased, or assigned to LAC as part of established or evolving legal agreements, new acquisitions represent the lifeblood of Canada’s collection. Building a collection that captures Canada’s story is an essential part of LAC’s mandate.
… and keep an eye on the Premiere blog series…
Through this blog series, which features in-depth articles on many of the items chosen for the exhibition, this emphasis on the importance of expertise in acquisitions is underlined. Each of the blog articles in this series will feature the work of one of LAC’s acquisition specialists. The blogs will be published once a month.Look for new articles during the course of the exhibition, which closes on December 3, 2018.
And please visit the physical exhibition in Ottawa!
Premiere: New acquisitions at Library and Archives Canada opens on April 24, 2018, at 395 Wellington Street in Ottawa and runs until December 3, 2018. Admission is free.
Crowdsourcing has arrived at Library and Archives Canada (LAC). You can now transcribe, add keywords and image tags, translate content from an image or document and add descriptions to digitized images using Co-Lab and the new Collection SearchBETA.
Take on a challenge
To make it even more interesting, we will launch what we call “challenges”. These challenges are content put together under a theme. For example one of our first challenges is on Rosemary Gilliat (Eaton)’s. Your challenge will be to transcribe her diary and describe her photographs from her Arctic travels. Or instead, try your hand at transcribing the love letters from Sir Wilfred Laurier to his sweetheart and future wife, Zoé – another challenge now available.
When you are conducting research using our new search tool and find images, you’ll see that you have the option to “enable this image for Co-Lab contributions”. After answering just a few short questions, you can enable an image found in Collection SearchBETA for Co-Lab use and transcribe/translate/tag/describe to your heart’s content. If an image has already been enabled for Co-Lab use, you’ll be able to add your own or edit the contributions of others’. If you create a user account, you will be able to keep track of your contribution history and be able to hear about new challenges and updates to Co-Lab.
A new way to view images
The launch of Co-Lab also introduces a new image viewer – which lets you scroll to zoom in on different parts of the image, or click and drag to move around the image itself. This is particularly useful when looking to transcribe or add keywords and image tags to describe small details!
What if something’s wrong?
It’s inevitable that mistakes will be made, especially when transcribing handwritten documents. Every image in Co-Lab is subject to review by other crowd members. If you see something written incorrectly, go ahead and edit it yourself, or mark it as “Needs review” for others to take a second, or third look.
The best thing about this new tool is that every contribution made by the public directly benefits fellow researchers and improves access. Every addition to a record becomes new metadata – which is searchable within 24 hours, helping LAC’s records become more “discoverable” day after day. Transcription of textual material that was previously just digital images also becomes accessible to those who use text-to-speech machines or screen readers, and translation of transcribed documents opens the door to unilingual Canadians.
As of today, 581,553 of 640,000 files are available online in our Personnel Records of the First World War database. Please visit the Digitization of the Canadian Expeditionary Force Service Files page for more details on the digitization project.
Library and Archives Canada is digitizing the service files systematically, from box 1 to box 10686, which roughly corresponds to alphabetical order. Please note that over the years, the content of some boxes has had to be moved and, you might find that the file you want, with a surname that is supposed to have been digitized, is now located in another box that has not yet been digitized. So far, we have digitized the following files:
- Latest box digitized: Box 9926 and last name Venables.
Please check the database regularly for new additions and if you still have questions after checking the database, you may contact us directly at 1-866-578-7777 for more assistance.
By Tania Passafiume, with assistance from Shannon Perry
While working on a census of over 300 cased objects in Library and Archives Canada’s photographic holdings, I discovered a hidden treasure. I noticed that one of the cased images looked a bit odd, as it did not resemble a daguerreotype, an ambrotype or a tintype, which you would typically find as the photograph in one of these small leather, paper or plastic cases.
The questions began: What is this? What photographic process was used to create this object? The first clue that I was dealing with something different came when I noticed that the item was unsealed, meaning that there was no original sealing tape. Historically, paper tape was used to seal the package found within the cased object, for various reasons. But there was no indication of any original tape, so with no tape to disturb, I decided to open the package.
Immediately after removing the package from the paper case, I noticed a piece of thick card attached to the back of the package. This card appeared to be a leftover piece of paper. Handwritten in pencil in the top-left quadrant were some words that were partially cut off: “hol” and “acid.” There was also some sort of damage along the top. From the discolouration, it had to be a liquid stain. At first, I did not think much about the card. Since there was no longer any original sealing tape, someone might have previously removed the tape and placed a piece of paper behind the photograph. This finding was not unexpected, as photographic plates were often taken out of cases and the cases switched. Only later did I realize that the text was indeed vital to understanding the nature of the photograph.
After I removed the card, I saw a piece of leather. I knew immediately what I was holding in my hands! The leather was not another layer that had been added behind the photographic plate. This was an actual photograph on leather! This photographic process is called pannotype (the prefix comes from the Latin pannos, which means cloth). I had read about pannotypes and seen modern recreations; however, it is very rare to find originals, let alone for them to be in good condition. I turned the object over and removed the brass mat with its cover glass. And there, under the deteriorated and soiled glass, was a glossy leather surface with, in excellent condition, the image of a man. The deteriorated glass had distracted me and made me question the type of photographic process. Now, through my careful analysis and with an added dash of serendipity, Library and Archives Canada has an identified 19th-century pannotype in its holdings!
The history behind the process
Pannotypes were a bit of a trend between 1853 and the early 1880s. They were made by a method similar to that for ambrotypes. But instead of glass, a piece of cloth or leather was used as a support. What is interesting is that pannotypes were made by placing drops of a dilute solution of nitric acid in alcohol onto an existing ambrotype. This was done to allow the photographer to remove the emulsion (which contained the actual image) from the glass support and place this emulsion onto a new support, such as a piece of leather. This brings me back to the handwritten partial words on the piece of paper that I found on the back of the leather, “hol” and “acid.” Could the words be alcohol and nitric acid: the very ingredients required to make a pannotype?
This pannotype photographic process was presented for the first time in 1853, to the French Academy of Sciences by the firm of Wulff & Co. Instructions for the process were made available for sale by that firm for 100 francs. Pannotypes soon became generally known, with many professional photographers making commercial use of them, as evidenced in surviving advertisements and journal articles. Customers were interested in the process at the time because pannotypes were believed to be more stable, since they could not break because they were not printed on glass like ambrotypes, nor could they be easily scratched like daguerreotypes or bent like tintypes. We know very little about how the pannotype process was developed and practiced here in Canada, but we do know that there were several prominent photographers using this process, including George Robinson Fardon (1807–1886) from Victoria, British Columbia. His images of “Portrait and Views on patent leather” were sent to the London International Exhibition, 1862, and they eventually became part of the Victoria and Albert Museum’s holdings.
Here and now
Today, discovering a pannotype is rare, as their durability was very limited because of their inherently fragile qualities. However, the newly discovered pannotype is on patent leather and is in excellent condition. The only difficulty here is that the original glass in the brass mat had begun to deteriorate; however, following some conservation work, the problem has been fixed. Our next step is to share this information with the public, and perhaps to try and solve the next mystery: who is the man in the photograph, and who was the photographer? Stay tuned!
Tania Passafiume is the Head Conservator of Photographic Materials in the Care of Collection Division of the Digital Operations and Preservation Branch at Library and Archives Canada.
Shannon Perry is a Photo Archivist in the Government Archives Division of the Archives Branch at Library and Archives Canada.
The preceding hours of darkness aided by cloud cover had permitted the infantry to file forward unobserved into their jumping-off positions, many of which were clearly observable to the enemy in daylight. Had this movement been witnessed, an enemy barrage might have broken up the assault wave with serious casualties; as it was, the positions were gained without notice.
In the half-light of zero hour under a cold overcast sky, when manoeuvring was still largely obscured from the enemy, the intense bombardment opened with sudden fury, and the advance of the infantry began. Continue reading
By Rebecca Murray
Reference Services frequently receives requests about land patents in Canada. Here, we will focus on pre-Confederation land documents. Be sure to refer also to Crown land patents: Indian land sales for more information. The next post on land patents will focus on post-Confederation land patents.
What is a Land Patent?
Land patents are issued by the Crown to grant or confirm title to a portion of land. They represent the first title to land, and serve as proof that the land no longer belongs to the Crown.
How Do I Find a Land Patent?
As this is a challenging request even for practiced archivists, this post will guide you through an example of how to approach this type of research from home or while onsite at Library and Archives Canada (LAC).
Start with the information you have: a date, a location, a person or organization (patentee). It is preferable to proceed with all three pieces of information (especially the date), but you can find the answer with one or more of the pieces of information.
- Date (specific or general): June 7, 1856
- Location (detailed or general): Lot 8, Range 3, east of Plank Road, Township of Seneca
- Patentee: David Patterson
With the patentee and date, or the date and location, you can look at the Indexes to Indian and Ordnance Land Patents (nominal [by name] and geographical indices) for the period 1845–1867 found in RG68, volume 911, microfilm reel M-1638. With the patentee and location, you can consult either the nominal or the geographical indices but without the date, you will have to perform a wider search using the General Index.
In this case, I found an entry for David Patterson in the Indexes to Indian and Ordnance Land Patents (RG68 volume 911, microfilm reel M-1638) and noted that the corresponding entry would be found in Liber EO (some libers are titled by letters rather than numbers), on folio 172.
Once you know the liber (register) and folio (page number), you need to find that liber within RG68 records. There are two options for continuing your search:
- Perform a search for “finding aid 68-2” in Enhanced Archives Search–Advanced. Beside the first box “Any Keyword,” click the down arrow and change to “Finding Aid Number” and enter “68-2” in the empty box to the right.
- Click SUBMIT.
- Filter results for a specific decade of interest and/or add another search term such as “land” in the second search box, or liber number (found in the file number field).
Many records for this period are available on digitized microfilm. Search Héritage to see if the reel has been digitized.
Onsite at LAC
When onsite at 395 Wellington St., you can use paper finding aid 68-2 to look up the liber number and find the corresponding volume and microfilm reel numbers. Microfilm reels are also available for self-serve consultation in room 354.
How to Use the Key to the General Index / the General Index
If your date does not fall in the 1845 to 1867 period, or you are unsure of the date, you can rely on the Key to the General Index for 1651–1867 to identify entries in the General Index related to the individual in question.
- RG68 volume 893, “Key to the General Index” (1651–1841)—microfilm reel C-2883
- RG68 volumes 894 and 895, “General Index” (1651–1841)—microfilm reel C-2883>microfilm reel C-2883
- RG68 volume 896, “Key to the General Index” (1841–1867)—microfilm reel C-2884>microfilm reel C-2884
- RG68 volumes 897 and 898, “General Index” (1841–1867)—microfilm reel C-2884>microfilm reel C-2884
Paper copies of the Keys and General Indices for the pre-Confederation period are also available in the 2nd floor Reference Room of 395 Wellington St. Please keep in mind that the General Index applies to all types of documents produced by the Registrar General, not just land documents. Hence the importance of using the Key to the General Index to expedite your search.
For example, the Key to the General Index for the period 1841–1867 can be found in RG68 volume 896, which is available on microfilm reel C-2884. The Key to the General Index is organized by name. Find the individual in question and copy down each pair of numbers next to the name, as they will allow you to locate the relevant entries in the corresponding General Index. The pair of numbers is associated with two columns: the “No.” column indicating the “line number” and the “Folio” column indicating “page.” This allows you to jump directly to the correct page of the General Index and locate the corresponding entry. From this line, you get more information, namely the liber and folio numbers necessary to locate the patent itself. For example, in the image, take note of the first pair of numbers associated with the Rev. James Cochlan and wife: “4” and “680.”
After identifying the liber and folio numbers using the General Index you can review Step 3, from home or onsite, to determine the complete reference for the patent including the microfilm reel number.
It can be very challenging to navigate this research; please try it on your own, but do not hesitate to contact us if you need any assistance!
Rebecca Murray is a Reference Archivist in Reference Services at Library and Archives Canada.
By Emily Monks-Leeson
Today our First World War Centenary: Honouring Canada’s Victoria Cross recipients, remembers Lieutenant Gordon Muriel Flowerdew, who received the Victoria Cross, the Commonwealth’s highest award for gallantry, for his actions at the Battle of Moreuil Wood on this day 100 years ago.
Flowerdew was born in Billingford, England, on January 2, 1885. He immigrated to Saskatchewan in 1903 and later settled in British Columbia as a rancher. He enlisted in September 1914 in Lord Strathcona’s Horse, a cavalry brigade, and became a commissioned officer in 1916. By 1918, Flowerdew was Lieutenant (Acting Captain) in command of “C” Squadron of Lord Strathcona’s Horse. Though the cavalry brigades had not engaged in much direct fighting because of the static nature of trench warfare, this changed in the spring of 1918 with the return to rapid, open warfare. On March 30, 1918, the Strathconas were engaged in heavy fighting at Moreuil Wood, France, having been tasked with preventing the Germans from crossing the Avre River and advancing on Amiens.
As German soldiers entered Moreuil Wood, Acting Captain Flowerdew spotted two lines of German infantry positions supported by machine guns. He ordered a cavalry charge. His squadron passed over both German lines, attacking with their swords, and then turned and passed over the lines again, driving the defending German soldiers into retreat. According to Flowerdew’s Victoria Cross citation, by then the squadron had suffered 70 percent casualties, killed and wounded, and Acting Captain Flowerdew was badly wounded in both thighs. Nonetheless, Flowerdew continued to encourage his men, ordering them to dismount.
Through hand-to-hand fighting, the survivors managed to hold the previously occupied German positions until a unit led by Lieutenant Frederick Maurice Watson Harvey joined them. Harvey had received the VC in 1917 for his role in the attack on German positions at the Guyencourt, France. Flowerdew and his men prevented the capture of Moreuil Wood and denied the advancing German army a strategically important position.
Lieutenant Gordon Muriel Flowerdew died of his wounds on March 31, 1918. He is buried at Namps-au-Val British Cemetery in France. Library and Archives Canada holds Lieutenant Gordon Muriel Flowerdew’s digitized service file.
Emily Monks-Leeson is an archivist in Digital Operations at Library and Archives Canada.