Tag Archives: archives

Mountains of Blackflies

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By Martha Sellens

One of my favourite parts of being an archivist is solving archival mysteries, especially when they result in something unexpected. One of my recent mysteries took me from a piece of artwork to blackflies—and I’m not talking about an unexpected (and unwanted!) visitor in the Library and Archives Canada (LAC) archival vault.

It all started with a couple of prints from the Geological Survey of Canada. I was working on improving their description in our database so that people could find them. (These are the improved descriptions for item 5067117 and item 5067118.) The prints were from 1883 and had been acquired by the archives so long ago—before 1925!—that there wasn’t much information about them in our records.

So I started digging. The prints were panoramas, nearly an arm-span wide and as tall as a trade paperback book. Both were prints of the same drawing showing the view of the Notre-Dame or Shickshock (now known as Chic-Chocs) Mountains in Quebec’s Gaspé Peninsula. To make things easier, they also had a title, artist and printing house included in the print image, so I was immediately able to link it back to A.P. Low’s report on his 1883 expedition for the Geological Survey.

Black and white print of a drawing depicting a series of rounded mountains. There are trees and grass in the foreground. The print is titled and has some small labels along the top edge indicating cardinal directions.

Panoramic photolithographic print of the Notre-Dame or Chic-Chocs (Shickshock) Mountains in Gaspé Peninsula, Quebec. Drawn by L. Lambe from a sketch by A.P. Low, to accompany A.P. Low’s 1883 report to the Geological Survey of Canada. The prints in LAC’s collection (R214-2887-9) are not yet digitized. Image courtesy of NRCan (GEOSCAN).

A.P. Low led a small team of surveyors into the interior of the Gaspé Peninsula in the summer of 1883 to examine the geology of the area, as well as to create and improve maps of the region. The Geological Survey of Canada was often one of the first groups of surveyors in an area and they quickly realized that they couldn’t document geological features without creating maps as well. Low’s report describes some of their day-to-day tasks as well as their scientific findings. It was published as part of an 800-page volume with all of the Geological Survey field reports from 1882–84. You can download a digitized version from the Natural Resources Canada website or consult the physical book in LAC’s library holdings.

LAC also holds many of the field books from these surveys. These are the notebooks the surveyors used in the field to keep track of their daily findings. With my curiosity piqued, I ordered in A.P. Low’s notebooks to take a look. I’m not a geologist so I wasn’t sure if I would be able to understand his notes, but that’s half the fun! Most of the notebooks were filled with numbers and quick sketches, but in the back of one, I hit the jackpot.

Most people expect government records to be bureaucratic and boring—and many of our records live down to these expectations—but it’s so exciting when you find something that proves that even the work lives of nineteenth-century public servants could be funny and interesting.

In the back of one of A.P. Low’s field books, I found the pencil sketch he drew of the Chic-Chocs (Shickshock) Mountains. The very one that they used to create the final drawing that accompanied his report and in the prints that started my current investigation. It’s a fairly simple pencil drawing, spread over two lined pages in the back of the book, but the shading and the line work starts to trail off somewhere in the middle.

Why did he stop? Fortunately for us, he wrote down the reason: “Unable to finish on account of the Black Flies!” His comment is accompanied by a suspicious smudge and three little blackflies doodled near the description of his sketch.

Photograph of a red leather notebook, open on page 98. The pages are lined and there is a pencil drawing of some mountains and three small flies. A note at the bottom reads, “Sketch of some of the Mountains seen from Mount Albert looking North.” To the right another note reads, “Unable to finish on account of the Black Flies.”

Sketch of the Chic-Chocs (Shickshock) Mountains on page 98 of A.P. Low’s field book #2276, Gaspé Peninsula, Quebec. Geological Survey of Canada (RG45 Vol 142). Photo by Martha Sellens.

I can just picture the surveyors baking in the June sun on the top of a Quebec mountain and cursing one of Canada’s most annoying predators. It can be easy to forget that behind every record—even the bureaucratic and boring ones—are the people that worked together to create it. This notebook, and the more formal prints that led me there, is a great reminder of the people—and blackflies—behind the records.

Other LAC related resources:

Martha Sellens is an archivist for the natural resources portfolio in the Government Archives Division at Library and Archives Canada.

Christmas in the Archives

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By Jennifer Anderson

In December, many of our clients, donors and readers are preparing for Christmas. So many Christmas traditions are linked to anticipation—preparing surprises for loved ones, dreaming up projects for the New Year, offering comfort and warmth to family, friends and strangers.

Simpson’s, the Christmas Tree Store, around 1955 (e011172111)

That feeling of anticipation is not unlike what it is to work as an archivist. In some ways, it feels like Christmas all year round in the archives: opening boxes, making discoveries, and anticipating the interest that the public will find in our collections. The work of a reference archivist is like customer service: it gives us great satisfaction to be able to assist researchers. Archival work also inspires a sense of gratitude to colleagues who work together to make good things happen.

Black-and-white photograph showing children lined up to see Santa Claus, together with three adult women. Everyone is smiling, although some of the children look nervous.

“Secrets to Santa,” 1952 (e011172113)

A case in point: working with the Sears Canada fonds has been the source of much enjoyment for me, and for my colleagues. The collection includes material relating to Sears stores across the country, as well as Sears Canada’s parent companies, all of which are household names in Canada: Simpson’s, Simpsons-Sears and Sears-Roebuck. The fonds consists of textual documents, photographs, scrapbooks, audiovisuals, drawings and architectural blueprints. Included in the acquisition were 200 boxes of published catalogues, which will supplement the already substantial and frequently consulted catalogue collection in Library and Archives Canada’s holdings.

Black-and-white photograph showing shoppers, mostly women, wearing winter coats and hats, studying catalogues at a counter, as well as the store staff behind the counter. There is a sign on the wall reading “Catalogue Shopping Centre,” together with Christmas decorations.

Catalogue Shopping Centre at Christmastime, around 1955 (e011172120)

One very pleasant surprise in the fonds: thousands upon thousands of archival photographs, which are of exceptional quality and interest. Documenting the leisure pursuit of shopping, but also the practical elements of the retail economy and the working lives of store personnel, the photographs are sure to interest the public. And they are fun! These photos also include glimpses of company-sponsored social and cultural extracurricular events like curling, bowling, dance parties and concerts.

Christmas shopping, Regina, Saskatchewan, around 1950 (e011172152)

Thanks to colleagues across Library and Archives Canada, as well as outside this institution, who were involved in the acquisition, organization, description and digitization work, all geared toward making the Sears Canada fonds discoverable.

Black-and-white photograph showing a large group of men, women and children watching an electric train in a store.

Crowd watching an electric train, Regina, around 1950 (e011172147)

Over the coming years, we look forward to seeing this material being used to generate new research findings. Please reach out to us if we can assist you in getting started on your own research.

Black-and-white photograph showing a little boy talking with Santa Claus, while other children and many parents, dressed for winter, are lined up nearby. In the background are two signs that read “Trains” and “Meccano.”

Visiting Santa Claus, around 1955 (e011172112)

Jennifer Anderson was an archivist in the Public Services Branch, and she previously worked in the Science, Environment and Economy section of the Archives Branch, at Library and Archives Canada.

Kahkewaquonaby, the Grand Council, and First Nations Rights

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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 Kelly Ferguson

In the Sir John A. Macdonald fonds, there are a series of letters exchanged between Macdonald and Dr. Peter Edmund Jones (Kahkewaquonaby). These letters offer a small glimpse into the work of Jones as well as organizations like the Grand General Indian Council of Ontario and Quebec in the struggle for the rights of First Nations during the 1870s and 1880s.

Jones was born in 1843 to Reverend Peter Jones (Kahkewaquonaby) and Elizabeth Field. In 1866, Jones earned a medical degree from Queen’s College in Kingston, becoming one of the first licensed Anishinaabe (and First Nations) doctors in British North America. After graduation, Jones worked as a practicing physician in Brantford, Ontario, Niagara, Ontario, and New York City. He eventually set up a practice in Hagersville, Ontario, next to the New Credit reserve. He served as Chief of the Mississaugas of the New Credit (now the Mississaugas of the Credit First Nation) from 1870 to 1874, and again from 1880 to 1886.

A sepia photograph of a seated man dressed in traditional quill design buckskin jacket and bag, holding a ceremonial pipe and a string of wampum beads.

Portrait of Kahkewaquonaby (Reverend Peter Jones), father of Dr. Peter E. Jones. The photograph was taken on August 4, 1845, and is by David Octavius Hill (photographer) and Robert Adamson (chemist). (a215156k)

Beginning in 1874, Jones served as part of the Grand General Indian Council of Ontario and Quebec. The Grand Council first met in 1870, and one of its primary tasks was reviewing the Indian Act and other pieces of legislation that related to the rights of First Nations.

By 1884, the Grand Council’s focus was on the Indian Advancement Act. The Act enforced significant changes to regulations and governing systems for First Nations in Eastern Canada, including limits on the size and functions of councils and the appointment of local Indian agents to preside over the councils.

The Grand Council continued to debate the new Indian Advancement Act from 1884 to 1886. There were major objections to the Act, particularly the limits to the size of councils and the limits to their function, as well as the appointment of local Indian agents as chairmen. In 1887 Jones, then a delegate on the Grand Council, sent Macdonald a letter with suggestions and comments about both the Indian Act and the Indian Advancement Act. Jones’ recommendations included granting power to local councils to make decisions when the Indian agent was not there, extending equivalent powers to the chiefs, as well as increasing the number of councilors.

A black-and-white microfilm of a handwritten letter.

Letter to Sir John A. Macdonald from Dr. Peter E. Jones written January 5, 1887. In the letter, Jones offers suggestions and comments regarding the Indian Act and the Indian Advancement Act. (e007956445)

Jones also wrote to Macdonald with recommendations on the Electoral Franchise Act. Although, in theory, First Nations men had been able to vote since 1867, enfranchisement meant that they were required to give up their status under the Indian Act, as well as the accompanying treaty rights. Jones was supportive of enfranchisement, but not at the expense of status. He saw the Electoral Franchise Act as an opportunity to support a version of enfranchisement that maintained a person’s status under the Indian Act and protected treaty rights.

A sepia scan of a handwritten letter.

Letter to Dr. Peter E. Jones (Chief) from Sir John A. Macdonald, written August 31, 1886, discussing the Electoral Franchise Act. (e011198071-001-v8) (e011198071-002-v8)

A black-and-white microfilm of a two-page letter written on Department of Indian Affairs letterhead.

Letter to Sir John A. Macdonald from L. Vankoughnet, Deputy Superintendent of the Department of Indian Affairs. Dated March 28, 1887, the letter discusses amendments to jthe Indian Act, including suggestions offered by Dr. Peter Edmund Jones. (e007956441) (e007956442)

In the end, the Macdonald government ignored Jones’s recommendations regarding the Indian Advancement Act, and Wilfrid Laurier’s Liberal government later repealed the Electoral Franchise Act. The franchise would not be fully extended to status Indians under the Indian Act until 1960, and subsequent amendments to the Indian Act throughout the 19th century continued to assert increased control over the lives of First Nations. That said, these letters still provide a small glimpse into the work of organizations and individuals in the struggle for the rights of First Nations. Both in the 1880s and today, Indigenous Peoples have fought for the right to self-determination and the protection of their Indigenous, Aboriginal and treaty rights, and these letters offer a small window into one of many examples.

Kelly Ferguson is a political archivist in the Science and Governance Private Archives Division of Library and Archives Canada.

 

 

Brodie Macpherson: Early photo printer

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By Samantha Shields

Biography

Brodie Macpherson, born Archibald Brodie Macpherson, nicknamed “Handlebars” (presumably for mustache-related reasons), was a notable figure in Canada for his role in the photographic community during the rise of colour printing.

A colour portrait photograph of Brodie Macpherson in a military uniform sporting a handlebar moustache. The figure is cropped at the chest and appears against a blank background.

Self-portrait, approx. 1945 (e010767976)

Born in Toronto, Ontario, on November 26, 1909, to University Professor Walter Ernest and Elsie Margaret Macpherson, Brodie was the eldest of three children and the first to attend the University of Toronto. He enrolled in the Faculty of Applied Science and Engineering in 1927 and graduated in 1931. He would go on to serve as a member of the Royal Canadian Air Force in the Second World War before returning home to start his photography business in early 1946. Macpherson’s engineering background, in conjunction with his subsequent years of experience working in the lithography business, would serve him well in the colour printing trade.

The rise of colour photography

Colour photography began to gain momentum in the mid-1930s with the advancement of colour transparencies. Colour prints were also possible at this time, but they were far less popular with photographers than black-and-white prints. The process of making and printing separation negatives was too expensive and complicated for most hobbyists, and the finished prints were rarely worth all the effort for professional photographers. Portrait and scenic photographers were certainly not interested in spending a small fortune to produce prints that critics would frequently describe as garish, vulgar, and unnatural.

Dual colour photographs of a tiered display holding Colgate and Palmolive products, such as shaving cream, shampoo, dental cream, and tooth powder. The display was photographed in-studio against a blue background.

A shop display for Colgate Palmolive toiletries. (e011312591)

Despite its many shortcomings, colour truly excelled in the realm of advertising. While bright and clashing colours can be visually jarring, they are also excellent for attracting attention. During this era, colourful photographs increasingly adorned the pages of magazines, billboards, and sales tools.

Advertising was ideally suited for colour, since much of it involved bulk orders, where repetition and quantity could distribute the high cost and complexity of making an initial print over multiple copies.

Brodie Macpherson – the business

In February 1946, rather than resume his pre-war employment with Harris Lithography, Macpherson, embarked on making and selling quantities of colour photographs using modified versions of Eastman Kodak’s Wash-off Relief and Dye Transfer processes. Given the operational similarities, a background as a lithographic camera operator proved particularly useful in this work.

Macpherson’s business approach was simple: provide the best possible product for the lowest reasonable price. This goal was achieved by

  • limiting sales to colour prints, thereby reducing the need to stock equipment and materials to process black-and-white prints, and promoting a specialization in colour.
  • selling prints in bulk only, thereby maximizing the life of the chemicals and lowering costs overall. As chemicals would begin to expire rapidly when poured into trays, it was not economical to let materials spoil between small orders.
  • experimenting and mixing his own chemicals. Macpherson was able to further streamline his printing process, maintain a consistent quality, and avoid some of the higher costs associated with purchasing prepared chemicals. These cost savings were passed on to the consumer.
  • building and customizing tools, from production equipment (e.g., cameras and lights) to printing (e.g., lightbulbs and tray rockers). Macpherson was continually designing, experimenting, and tweaking to improve and perfect the process.
  • communicating and collaborating with suppliers, manufacturers (including Kodak), fellow photographers, and printing labs, and continually sharing research, information, and resources to help improve the production of colour photography.
A black-and-white photograph of Macpherson’s camera.

Macpherson built his own one-shot colour separation camera, which allowed him to expose three plates behind different coloured filters simultaneously. Otherwise, the exact same photo would need to be taken successively for each filter colour. (e011312590)

From the outset, clients considered the quality of Macpherson’s colour prints to be strong, and his prices—while still more expensive than those of black-and-white or hand-colour photographs—reasonable. His price lists were consistently lower than those of other colour-printers in the area, and remained unchanged for the duration of the business. Over the next 18 years, Macpherson would go on to fill orders for clients from all over Canada and from the United States.

Two identical studio portraits of an unknown woman with blond hair, red lipstick, and a red knit sweater. Macpherson’s price list and contact information is superimposed on the bottom left-corner and also appears below the image.

An advertisement and price list for ordering coloured photographs from Brodie Macpherson.
(e011312588)

The colour studio, located at 172 Walmer Road, in Toronto, in the basement of his family home, operated officially until Macpherson’s retirement in 1964.

The Toronto Camera Club (TCC) – Colour Print Group

According to the President of the Toronto Camera Club, Frank E. Hessin, Macpherson was “unquestionably [the] driving force in the [Toronto Camera] Club” for the promotion of colour prints. In 1946, he proposed the creation of—and subsequently chaired—the TCC’s Colour Print Group. Over the next several years, he employed the TCC’s facilities to teach the colour separation process to anyone willing to learn.

A black-and-white photograph of Brodie Macpherson pretending to photograph a reclined Miss 1948, Lialla Raymes.

Brodie Macpherson and Miss 1948, Lialla Raymes, during a skit portraying the changing trends in photography to mark the 60th Anniversary of the Toronto Camera Club. (e011310464)

Everett Roseborough, a fellow TCC member, writes the following characterization of Macpherson, which echoes throughout the correspondence and articles in the Brodie Macpherson fonds (R791).

“Opinionated [and found] seated in the back row at photographic society meetings, stroking his moustache, he could be counted on to object to something. Following a concerted groan by those present, frequently he would be proven correct.” (Photographic Historical Society of Canada, 1994)

Ever the son of a university professor and librarian

Undeniably clever, Macpherson would readily share information and freely offer his opinion and advice. He was an invaluable resource, as photographers active during this era considered Macpherson to be the best colour photographer / printer in the city.

Over the years, as colour-photography technology continued to improve in speed and accuracy, Macpherson’s skills in this area and his knowledge of colour-print specifications continued to be recognized. He regularly shared his research findings and encouraged discussion through various photography publications, private letters, photography clubs, public lectures, and evenings in his studio accompanied by records and top-shelf scotch.

A print of a cut round cake on a black plate, situated atop a box bearing the printing matrix and creator number C363.

An early colour photograph by Brodie Macpherson demonstrating the layering of yellow, magenta, and cyan to achieve a full-colour print. (e011312589)

Retirement

Already spending most of the winter months in Barbados, Macpherson semi-retired from the printing business in 1964, at the age of 55. While he was no longer accepting any new business, during his time in Toronto, he would still fill orders of reprints from existing negatives for previous clients.

A promotional photograph displaying eight different Purity biscuit and cookie products in clear bags against a white background.

A series of promotional prints commissioned by Purity Factories Ltd., Saint John’s, Newfoundland and Labrador. The company placed several orders with Macpherson, and continued to request reprints until 1970. (e011312592)

By the late 1960s, the photographic processes used by Macpherson had largely been replaced by Kodak’s new—and simpler—Ektacolor material. As a result, it became increasingly difficult to obtain the necessary supplies in Canada, and the reprinting stopped altogether.

A black-and-white photograph of Brodie Macpherson using his Devin-style one-shot camera.

Portrait of Brodie Macpherson at work. (e011310471)

A recluse by nature, Macpherson quietly closed up his home and studio sometime in the 1970s, reportedly moving to Florida without a trace (Roseborough, 1994). Subsequent efforts to locate Macpherson in Toronto, Florida, and Bermuda post-1970 were unsuccessful.

Macpherson’s successful career in colour photography, particularly during a period of rapid technological development, is a true testament to his entrepreneurial spirit, his dedication, and his mastery of the craft.

Samantha Shields is a Photo Archivist in the Social Life and Culture Division at Library and Archives Canada.

Now it’s personal: a look at personal archives at Library and Archives Canada

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By Stephen Danilovich

Imagine that an archive of you has been donated to Library and Archives Canada (LAC). Picture the sorts of things that make it into your collection: a high school diary, this month’s grocery receipts, your last social media post.

Now imagine that you are the archivist processing your own archive. How would you organize all of these items into distinct groupings? Where would you restrict access to sensitive information, and why? And would you try to describe your records fairly … or would you be tempted to tidy things up?

These are some of the questions that arise when working with personal archives: archives produced by individual people, as opposed to institutions or corporations. Needless to say, things can get personal with personal archives. Nowhere else do questions of privacy, original order, donor relations and other archival concerns come into contact so closely with the day-to-day questions of being human.

One thing that makes personal collections unique is that they tend to turn the tables on you, the archivist. You start to consider all of the traces you leave behind, how some future archivist might try to piece together your life. You also notice the many things that slip through the cracks and go unrecorded.

As any archivist will tell you, much of an archivist’s work happens in those blind spots. An archivist has to draw connections between or across the actual items, creating an intellectual arrangement that will give future researchers a way into the collection. So what happens when archivists try to create intellectual order out of a human life, its records and traces?

Two black-and-white images, side-by-side, of a woman in profile with dark hair. The image on the left is the negative, and the one on the right is the final photograph.

Two ways of seeing: negative, positive. Miss Ethel Hand, November 10, 1934, photo by Yousuf Karsh (e010680101)

To answer this question, I spoke to archivists in the Social Life and Culture Private Archives Division, which includes the collections of such celebrated authors as Carol Shields, Michael Ondaatje, Daphne Marlatt and others. The fact that many of these authors are still living today makes these questions all the more vital.

“It puts your own life into perspective,” says archivist Christine Waltham, who has been working with the collection of Thomas King. “It’s someone giving their life, really.”

“You really feel you know these people,” says Christine Barrass, a senior archivist whose first encounter with personal archives was the fonds of Doris Anderson. “It seems very transactional, but when you get to know the nitty-gritty of it, it’s a real honour and a real privilege.”

Black-and-white photograph of a woman in profile with grey hair and a dark necklace.

A portrait of a subject: Doris Anderson, October 10, 1989, photo by Barbara Woodley (e010973512)

Perhaps the most unexpected challenge to arise while working with personal archives is the emotional investment that the archivist can begin to develop for the archive and its creator.

“The emotions that come up, that you don’t get in institutional archives, that can be hard to deal with,” Waltham says. “How to describe it respectfully.”

“It can be a bit too much, if that’s not something you want in your daily life,” explains Barrass, who believes that the good and the bad about personal archives are two sides of the same coin: how intimate things can get.

Often, the archivist is the first person to see the material aside from the creator, which calls for an implicit relationship of trust. This privileged view of someone’s life comes with a deep sense of responsibility, leading to what Catherine Hobbs, a literary archivist, calls “archival paranoia.”

“It is the sense of never being able to do enough,” Hobbs says, “which is the sign of any responsible archivist.”

Processing someone’s archive becomes a constant tightrope walk between the creator’s public and private lives. Any item can turn out to be a clue to a secret affair, a feud kept under wraps, or a side of the person that no one knew before. To add to the stakes, what future researchers will find useful can be impossible to predict.

All this requires a careful balancing act between the donor’s privacy on the one hand and access for future researchers on the other, while at the same time upholding LAC’s mandate.

“Our role is to stand in the middle distance: act as guardian, and as the facilitator of research,” says Hobbs.

It is this strange mix of personal intimacy and a bird’s-eye distance that makes working in personal archives so special.

Black-and-white photograph of a woman with long dark hair in a flowing white dress, seated in front of an oval mirror and looking toward the camera.

Between mirror and lens: “The Mob,” Dominion Drama Festival, April 24, 1934, photo by Yousuf Karsh (e010679016)

As a summer student employee, taking on archival work for the first time, I hoped to get some clarity on the proper practices for processing a personal archive. But I quickly learned that personal archives are as varied and nuanced as their creators.

“The messiness of life that’s in personal archives is what makes it special,” Waltham says.

And that messiness requires a special touch. Given how unique each personal collection is in both arrangement and content, being too prescriptive about predetermined procedures for creating intellectual order may not always be the best approach. If an archivist tries to formalize too much, some of the uniqueness of a collection could be lost.

“How much you can tell just from what the records look like, the conditions they were kept in,” Waltham adds, “that says a lot about the person.” An overly standardized processing method could mean losing some of that granularity. One could even claim that personal archives go beyond the realm of social science and into something like art—even a collaboration with the archive’s creator.

Hobbs argues that working in an archive is more than a science, “it’s a responsible practice.” The most important thing that an archivist can bring to a personal archive is a sense of “the honesty of the endeavour”: being present with the actual life of these records in an empathetic way, and understanding the rare intimacy that is involved when someone gives up such a private part of himself or herself.

After all, maybe what is required for personal archives is a little self-awareness on the part of archivists—an understanding of the role they play in this grand procession between everyday human lives, record keeping and research. Creating order out of someone’s personal records is itself an unavoidably personal practice. Archivists working with personal archives have to be especially sensitive to the way that we are all participating in what Hobbs calls this “human experiment,” co-creating as much as we are cataloguing when we try to make sense out of another human being.

For all the challenges and emotions that come with personal archives, archivists at LAC do the best they can. The ultimate hope, as Hobbs puts it, is to “leave the archives better than we found them.”

Stephen Danilovich is a student archivist in the Social Life and Culture Private Archives Division of the Archives Branch at Library and Archives Canada.

The ship Bellas, a prize of war in 1914

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By Johanne Noël

The Prize Court in Canada

In 1914, at the outbreak of the First World War, the Prize Court had not sat in Canada since the War of 1812. The Prize Court hears cases in times of war concerning the capture of enemy vessels or vessels belonging to enemy countries. Depending on the era, these cases might require taking into consideration Admiralty Orders, Royal Proclamations, Orders-in-Council, Acts of Parliament, and written and unwritten international treaties and laws pertaining to maritime wars. The objective is to capture enemy vessels on Canadian territory without the country becoming embroiled in disputes with other countries.

The procedure

During international conflicts, the merchant vessels of enemies might be captured. The captain or the first mate, or both, would be interrogated under oath before the registrar. The parties would then be heard before the judge in open court, where exhibits of evidence were read out and recorded on file. If the vessel was proved to belong to British, allied or neutral forces, it would be released or restored to the original owners.

Should the property be deemed as “good and lawful prize,” it would be transferred to the prize master, who would auction it off. An enemy merchant vessel would normally be granted at least one grace day to leave a Canadian port and thus avoid being captured as a prize of war.

The capture of the Bellas in 1914

On August 4, 1914, an imperial decree brought Britain and Canada into the First World War. The Bellas, a merchant ship flying the German flag, had been docked in the port of Rimouski since July 29, 1914, unloading a shipment of timber from Portugal. It was the only enemy ship on Canadian territory when war was declared. In fact, this particular case led the Prize Court to revise its procedures, which dated back to the 19th century.

At the port of Rimouski, a Writ of Summons was served to the ship’s captain by an officer of the court on August 7, 1914. The captain declared that he had seen the original and been given a copy.

On August 10, the ship was brought to the port of Québec by Commander Atwood of the Department of Naval Service, and it was left in the custody of the collector of customs at the port. Atwood had not received the Writ of Summons issued in Rimouski, so he produced a new one upon taking control of the ship. The collector of customs, unaware that a first writ had been issued, took the ship’s papers and sent them to Ottawa, where they were translated from German and recorded on file.

On September 16, the Deputy Minister of Justice issued a Writ of Summons through the Exchequer Court and submitted it to those responsible for the Bellas in Québec on September 22. This writ brought case No. 1 before the Prize Court, under the Exchequer Court. The writ was published in the Montreal Gazette and the Quebec Chronicle by the registrar of the court. The ship was ordered to be detained by the bailiff until further orders issued by the court. On December 15, 1914, a second court order signed by Judge Cassels extended the detention period.

At the time that the ship was seized, the navigation season was closed at Québec. The ship and its cargo would remain docked at the port of Québec, pending a decision.

Typed document with the title “In the Exchequer Court of Canada.” Two $1 and one 50¢ Canadian postage stamps were affixed in the lower-left margin of the document to attest that the fees for this document had been paid to the court.

Writ of Summons for the Bellas, September 16, 1914. The bailiff would go on board the ship with the original writ and pin it to the mizzen mast for a few minutes, then replace it with a duly certified copy before leaving the ship. (e011312628)

Typed document with the title “In the Exchequer Court of Canada” and a red string in the upper-right corner. It features two signatures.

Writ of Summons for the Bellas, September 16, 1914. Note indicating that this Writ of Summons was served on September 22, 1914. (e011312628)

Typed document with the title “In the Exchequer Court of Canada No. 1.” It features a blue ink stamp mark dated September 24, 1914, and a signature.

Writ of Summons for the Bellas, September 16, 1914. Note indicating that this Writ of Summons was served on September 22, 1914. (e011312628)

Was the ship Portuguese or German?

In his testimony before the court, the captain of the Bellas, Conrad Bollen, acknowledged having left the port of Oporto (known today as Porto) in Portugal on June 24, 1914. He received no communication regarding the Bellas between the port of Oporto and Rimouski in Quebec. At the time of its departure from Oporto, the ship was owned by J. Wimmer and Company, a company registered in Germany. On August 7, a telegram from the Wimmer company informed the captain of the sale of the ship. A purchase agreement had been concluded bona fide (in good faith) while the ship was at sea.

Document written in German. The document features a diagonal watermark from left to right that reads Deutsches Reich (German Empire). The document is titled Deutsches Reich, under which is featured the coat of arms of the German Empire and the mention Schiffs-Zertifikat.

The certificate of registration of the Bellas states that its home port is Hamburg, Germany, and that it is owned by German shipowner Johannes Alfred Eduard Wimmer (e011312630)

Document typed and handwritten in German.

The certificate of registration of the Bellas states that its home port is Hamburg, Germany, and that it is owned by German shipowner Johannes Alfred Eduard Wimmer (e011312630)

Document written in German. The document features a diagonal watermark from left to right that reads Deutsches Reich (German Empire). The document is titled Deutsches Reich, under which is featured the coat of arms of the German Empire and the mention Musterrolle der Mannschaft des deutschen Bellas.

The muster roll of the Bellas lists the crew members who boarded the ship at the port of Lisbon as of August 28, 1912. It states that the ship departed the port of Oporto in Portugal for Rimouski in Canada. (e011312629)

Document written in German. The document features a diagonal watermark from left to right that reads Deutsches Reich (German Empire).

The muster roll of the Bellas lists the crew members who boarded the ship at the port of Lisbon as of August 28, 1912. It states that the ship departed the port of Oporto in Portugal for Rimouski in Canada. (e011312629)

The Portuguese consulate in Canada tried to regularize the status of the ship by obtaining documents attesting the certification of the ship under Portuguese flag authority, which would have enabled it to return to Portugal. A document written in Portuguese explained that the sale had been concluded and that the new owner, Orlando de Mello do Rogo, had taken possession of the ship on July 3. The document is dated November 10, 1914, three months after the seizure of the ship. This claim was rejected and the ship was considered German, thus making it an enemy ship subject to seizure.

The Bellas in Her Majesty’s service during the war

On July 17, 1915, the ship was requisitioned for imperial service during the war. On the same day, a requisition notice was issued as well as a commission for the evaluation of the ship and its cargo. The ship was used to transport timber during the war, which it survived. The ship’s initial timber cargo was sold for over £1,000. The former owners did not submit any claims for the merchandise.

References

Prize Court rules

Library and Archives Canada, RG13, vol. 1926, file 1916-244

Library and Archives Canada, RG13, vol. 1925, file 1914-1239

Johanne Noël is an archivist in the Archives Branch at Library and Archives Canada.

Reading hockey at the Canadian Museum of History

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By Jennifer Anderson

Library and Archives Canada (LAC) is about more than just “stuff”; it is also the home of leading experts in Canadian history and culture. While LAC archivist Jennifer Anderson was at the Canadian Museum of History (CMH) on an Interchange Canada agreement, she co-curated the popular exhibition, “Hockey.” During the exhibition research, she consulted LAC staff and experts across the country. LAC also loaned 30 artifacts to the museum for this exhibition, and offered digital copies of hockey images from its vaults.

You can see the results that teamwork brings! Having run from March 10 until October 9, 2017 in Gatineau, the exhibition will start up again on November 25, 2017 (the 100th anniversary of the NHL) in Montréal at Pointe-à-Callière, before continuing its cross-country tour.

“Hockey”: the exhibition that started with a book…

…or two…or a few hundred. Biographies, autobiographies, histories—comic books, and novels for young people; we read those, too! And as many newspaper and magazine articles as we could find.

The exhibition team swapped books like fans trade hockey cards!

Books moved us, pushed us, challenged us and at times even frightened us. I cried and laughed over them, took notes and then forgot to because I was too engrossed in the reading. We read about big personalities like Maurice Richard and Pat Burns, about game changers like Sheldon Kennedy and Jordin Tootoo, and about Ken Dryden’s observations of young people and families in the game. We were deeply inspired by Jacques Demers’ work to advance youth literacy initiatives. Borrowing literacy teachers’ best practices, we chose to use fonts of different sizes and based the look of our exhibit on the style of a hockey card. The goal: make reading fun and accessible.

One of the first books I read was Paul Kitchen’s fascinating tale of the early history of the Ottawa Senators, Win, Tie or Wrangle (2008). Kitchen did much of his research from a desk at LAC, and he spun some of his discoveries into an online exhibition, Backcheck. From his book, we were able to identify a little-known shinty medallion depicting a stick-and-ball game, which took place on the grounds of Rideau Hall in 1852. Drawing on Kitchen’s footnotes, I reached out to the Bytown Museum, and was thrilled to learn they would be happy to lend the artifact for the exhibit. The conservators at the CMH buffed it up a bit, and images of this early piece of hockey history were included in the exhibition souvenir catalogue.

A colour photograph showing two sides of a silver medallion. The one side shows a game of shinty taking place outdoors and the second side reads “Bytown and New Edinburgh Shintie Club, Dec. 25th 1852.”

Front and back views of the silver New Edinburgh Shintie Club medallion, 1852, Bytown Museum, A203. Canadian Museum of History photos, IMG2016-0253-0001-Dm, IMG2016-0253-0001-Dm.

Paul Kitchen would probably be the first to acknowledge that any research project is a team sport, and our exhibition team reached out to many experts who had earlier worked with Kitchen, or had been inspired by him. Within LAC, Normand Laplante, Andrew Ross, and Dalton Campbell have continued the tradition of sports history, and their archival work led us to explore LAC’s collections for material to place in the exhibit. At the CMH, there are hockey experts galore, but Jenny Ellison is the “captain.” The team brought on Joe Pelletier as a research assistant to scout out images and hidden bits of information, based on the work he had already provided voluntarily. Hockey researchers and curators from across the country sent us artifacts, images and information.

Loaning originals is such an important part of the diffusion of any collection. Thirty individual items were loaned by LAC to the CMH for this exhibition. The LAC Loans and Exhibitions Officer admitted to being particularly touched by the team’s interest in The Hockey Sweater by Roch Carrier (now a popular animated film). As a child, she had received this book from one of her best friends, and only recently located this much-loved book. She has since shared it with her own children, and enjoyed telling them about her own childhood memories of this popular story about hockey.

A colour image of a book cover showing boys dressed like Maurice Richard getting ready for a hockey game

The Hockey Sweater by Roch Carrier and illustrated by Sheldon Cohen. Used by permission of Tundra Books, a division of Penguin Random House Canada Limited (AMICUS 4685355)

Carolyn Cook, LAC curator, was pleased to see Bryan Adams’ portrait of Cassie Campbell in the exhibition. This portrait was one of several taken by Adams for Made in Canada, a book of photographs of famous Canadian women sold as a fundraiser for breast cancer research. “Cassie Campbell is an iconic figure in the world of women’s hockey,” said Cook. “Her on-ice accomplishments opened the door to the next generation of girls coming up in the game and, as the first woman to do colour commentary on ‘Hockey Night in Canada,’ she has broken through the glass ceiling. This close-up portrait of her exudes strength, control and determination—qualities that have contributed to Campbell’s success.”

In the early research period, Richard Wagamese’s book, Indian Horse, hit a chord and resonated with the team. Michael Robidoux’s book on Indigenous hockey, Stickhandling Through the Margins, motivated us to ensure that space be put aside for the full integration of Indigenous voices in the game, whether from the early leadership of Thomas Green, or through the artwork of Jim Logan to spark discussion of hockey in society.

Drawing on Carly Adams’ book, Queens of the Ice, the museum acquired and exhibited a rare Hilda Ranscombe jersey. We also read the footnotes in Lynda Baril’s Nos Glorieuses closely, and as a result were able to secure a number of important artifacts that were still in private collections, including a trophy awarded to Berthe Lapierre of the Montréal Canadiennes in the 1930s. And when we read about Hayley Wickenheiser skating to school in the drainage ditches along the roadside, building up the muscles that made her a leader in the sport, on and off the ice, we put her story near the centre of the exhibition.

A few of our favourite books found their way directly into the museum cases, to tell their own stories.

For instance, where we highlighted the role of the team-behind-the-team, we gave Lloyd Percival’s book The Hockey Handbook a central spot in the case. Gary Mossman’s recent biography of Percival was a big influence here, and in particular, I was fascinated by the powerful impact Percival’s book had on how hockey players and coaches approached the game. Imagine a time when players ate more red meat and drank beer the night before a game, rather than following Percival’s advice to eat yogurt and fresh fruit! And yet it was not that long ago! Apparently the book was taken up by Soviet hockey coach Anatoli Tarasov, and we saw its impact on the ice in 1972. Percival also had an interesting perspective on burnout, or “staleness” as he called it—a theory that has application for both on- and off-ice players.

Stephen Smith, author of Puckstruck, lent the museum collectible and fun cookbooks that teams published—this spoke to the overlap between popular fan culture and the down-to-earth and very practical realities of nutrition in high-performance sport.

The Museum of Manitoba loaned bookmarks that had been distributed to school kids by the Winnipeg Jets, each with a hockey player’s personal message about the importance of literacy in everyday life. These were displayed next to the hockey novels and comic books from LAC.

The exhibition team wondered about how to tackle prickly issues like penalties, violence and controversy. Then we hit on the most natural of all approaches—let the books and newspaper articles tell the stories! So next to an official’s jersey, you will find our suggested reading on the ups and downs of life as a referee, Kerry Fraser’s The Final Call: Hockey Stories from a Legend in Stripes. In the press gallery section, the visitor gets a taste for the ways that sports journalists have made their mark on the game. Next to a typewriter, an early laptop and Frank Lennon’s camera, we placed Russ Conway’s book Game Misconduct: Alan Eagleson and the Corruption of Hockey.

To capture the importance of youth literacy, we carefully chose books that we tested ourselves for readability.

A book cover showing a man walking in a hockey arena carrying a large red duffel bag and a hockey stick.

C’est la faute à Ovechkin by Luc Gélinas, Éditions Hurtubise inc., 2012 (AMICUS 40717662)

A book cover showing a child playing hockey wearing a yellow-and-black uniform and chasing a hockey puck.

La Fabuleuse saison d’Abby Hoffman by Alain M. Bergeron, Soulières, 2012 (AMICUS 40395119)

A book cover showing an abstract illustration that incorporates a hockey stick.

Hockeyeurs cybernétiques by Denis Côté, Éditions Paulines, 1983 (AMICUS 3970428)

Literacy became a thread running through the exhibition, in ways big and small. Thanks to all the librarians who helped us get our hands on these books! It may be too ambitious, but I continue to cherish the hope that the exhibition and this blog will inspire you to pick up a book, visit a library, and enjoy the game as much as we did.

Wishing to bring a fresh read to the sport, Jenny Ellison and I are editing a group of new essays on the sport, to be published in 2018 (Hockey: Challenging Canada’s Game — Au-delà du sport national) Check it out!

Do you have a favourite book about hockey?  Let us know in the comments.

Jennifer Anderson was co-curator of the exhibition “Hockey” at the Canadian Museum of History. Currently, she is an archivist in the Archives Branch at Library and Archives Canada.

1915: Would you follow this example?

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The recruiting posters below are part of a remarkable collection of more than 4,000 posters from many combatant nations, acquired under the guidance of Dominion Archivist Dr. Arthur Doughty as part of a larger effort to document the First World War.

Image of two posters side by side, one in English and one in French. The imagery shows a soldier standing sideways, in front of the Union Jack, with a rifle balanced on his shoulder. He is wearing the uniform and equipment of the 1915 Canadian soldier: Ross rifle, pack, cap, puttees, and MacAdam shield-shovel (also known as the Hughes shovel).

An English and French version of a poster using the same imagery, but with text conveying very different motivations. (MIKAN 3667198 and MIKAN 3635530)

As the deadly stalemate on the Western Front continued through 1915, warring nations were forced to organize recruitment drives to raise new divisions of men for the fighting. The two battles referenced in the poster were certainly not great victories for the Canadian Expeditionary Force, which had only recently commenced military operations. The desperate defence at St. Julien, an action during the Second Battle of Ypres, along with the inconclusive May 1915 Battle of Festubert, were all that authorities had to draw upon to raise fresh troops for service overseas.

The sentimental verse and patriotic imagery was conventional for this type of poster. It would appeal to Canadians with strong ties to Britain, but would offer little encouragement to French Canadians, First Nations’ communities, or to other groups to sign up. One interesting element is that the text is not a simple translation: in English the theme is heroic sacrifice, whereas in French it is about ending the carnage and restoring “progress.”

These posters offer a realistic depiction of a soldier early on in the war. This lance-corporal is armed with the Ross rifle, whose serious defects have featured in Canadian histories of the First World War. He is wearing short ankle boots and puttees (long lengths of cloth wrapped around his calves), which were cheaper to manufacture than knee-length boots but offered less protection from cold or wet. Steel helmets had not yet been developed, leaving his head and upper body vulnerable to any flying debris or shrapnel.

He is also burdened by the MacAdam shield-shovel (hanging at his hip). This invention was the result of a collaboration between Minister of Militia Sir Sam Hughes, and his secretary, Ena MacAdam. It attempted to combine a personal shield with a shovel. The shovel blade had a sight hole in it that was supposed to allow a soldier lying on the ground to aim and fire his rifle through the hole while shielded behind its protection. However, the shovel was too heavy and dirt would pour through the hole. Also, the shield was too thin to stop German bullets! Thankfully, this failed multi-tool quietly disappeared from the standard equipment issued before the First Division crossed from England to France. This poster is an important artifact of its time. It shows that in 1915, Canadians soldiers fighting overseas still had a very long road ahead of them.

Black-and-white photograph showing three men, two are clearly in uniform. One officer (Minister of Militia Sam Hughes) is holding the MacAdam shield-shovel which is a spade-shaped piece of metal with a hole on one side, while the other officer is kneeling on the ground doing something indiscernible. The third is looking at the spade.

Sam Hughes holding the McAdam shield-shovel (MIKAN 3195178)

Related resources

Métis Scrip

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We are pleased to inform you that more than 24,000 references about money scrip (certificates) given to Métis family members were recently added online. These cancelled land scrip certificates were once issued to the Métis by the Department of the Interior in exchange for the relinquishment of certain land claims. A scrip would be issued “to the bearer” and could be applied to the purchase of, or as a down payment on, any Dominion lands open for entry in Manitoba and the Northwest Territories. These scrip were awarded to Métis heads of families and their children in the amounts of $240, $160 and $80.

How to find references

  1. Go to the search screen for Archives Search—Advanced.
  2. In the drop-down menu, select “Finding aid number” and then in the box, enter 15-24.

Screen capture of an advanced Archives Search with the first drop-down menu showing "Finding aid number" and the value of "15-24" and the second drop-down menu showing "Any Keyword and the value "Riel." Continue reading →

Underwater Canada: A Researcher’s Brief Guide to Shipwrecks

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Shipwrecks, both as historical events and artifacts, have sparked the imagination and an interest in the maritime heritage of Canada. The discovery of the War of 1812 wrecks Hamilton and Scourge, found in Lake Ontario in the 1970s, and the discovery of the Titanic in the 1980s, served to heighten public awareness of underwater archaeology and history.

Whether you are a wreck hunter on the trail of a lost vessel, or a new shipwreck enthusiast eager to explore images and documents that preserve the epic tales of Canadian waters, Library and Archives Canada (LAC) has something for you.

Starting your research

First, gather as much information as possible about the shipwreck(s) you are researching. Specifically, you will ideally want to obtain the following information (in order of importance):

  • Name of Vessel
  • Location of accident
  • Date of accident
  • Ship’s port of registry
  • Ship’s official number
  • Year of vessel’s construction

The Ship Registration Index is a helpful resource. The database includes basic information about more than 78,000 ships registered in ports of Canada between 1787 and 1966.

Can’t locate all of the information listed? There’s no cause for concern! Not all of the information is necessary, but it is essential that you know the name of the vessel. All Government records relating to shipwrecks are organized according to the ship’s name.

What is Available?

Using Archives Search, you can locate the following types of material:

Photographs

Maps

  • In Archives Search, under “Type of material”, select “Maps and cartographic material” to narrow your results.
    Government Records

All records listed are found in the documents of the Marine Branch (Record Group 42) and/or Transport Canada (Record Group 24).
Official Wreck Registers, 1870‒1975

  • Wreck Reports, 1907‒1974
  • Register of Investigations into Wrecks, 1911‒1960
  • Marine Casualty Investigation Records, 1887‒1980

Important: Government records contain information about shipwrecks that occurred in Canadian waters, and include all accidents involving foreign vessels in Canadian waters.

Please note: this is not an exhaustive list of resources, but rather a compilation of some of the major sources of documentation available on shipwrecks held at LAC.

Helpful Hints

You can find a number of digitized photographs, maps and documents on the Shipwreck Investigations virtual exhibition. More specifically, check out the collection of digitized Official Wreck Registers in the Shipwreck Investigations Database. Simply check if the name of the vessel you are researching is listed.

Another excellent source of information on shipwrecks is local public libraries. There are many maritime histories and bibliographies that offer reference points to begin your shipwreck research.