Images of Fashion Plates now on Flickr 

A black-and-white drawing of a woman wearing a gown with a plain skirt edged with five rows of velvet along the hem and a pleated bodice draped like an apron over the front. She is wearing a hat with feathers and carrying an umbrella.

The Charneville Toilette from “Le Moniteur de la Mode” (C-115935k)

Fashion plates, or prints of popular clothing trends, have been available for a long time. However, they really became popular in the 19th century due to advances in printing, increased literacy, and the rise in magazine. Fashion magazines for both women and men discussed etiquette, literature, and new style trends. An ever-growing list of magazines produced their own plates or borrowed from other magazines. Some even included sewing patterns. The plates in this album were taken from magazines published in England (The Lady’s Cabinet), France (Le Bon Ton : Journal des Modes, Journal des Dames et des Modes, Le Moniteur de la Mode, and Le Follet : Courrier des Salons), and the United States (The Season, and Peterson’s Magazine).

A colour plate of a woman in a pink dinner dress with a pleated off-the-shoulder bodice and ruffles along the hem. She is wearing a pearl hair net, and holding a fan in her gloved hand.

“Dinner Dress” from “Ladies’ Cabinet of Fashion, Music and Romance” (e010863096)

The plates are works of art in their own right. They represent changes in art throughout the century from romanticism to art deco. Producing plates for magazines often involved an artist to draw the image and an engraver to print the plate. Popular magazines were able to hire some of the best illustrators of the day. Some prints were black and white, while the more high quality examples were hand coloured after printing. Printing changed too with the colours becoming more vibrant and the lines more crisp as the technology improved.

A colour plate of a seated women wearing a long cream skirt and a green shirt patterned with cream ovals. The shirt is belted with a red scarf. She is also wearing green high heel shoes, a long pearl necklace, and rings on her fingers.

“Robe d’intérieur” [Indoor dress] from “Journal des Dames et des Modes” (C-115396k)

Many plates were separated from their magazines and are now sold separately to art collectors or other interested buyers. This is probably how they ended up in our collection. Most were found in individual art collections, or in a costume designer’s collection.

A colour plate of two women standing in a living room. One is wearing a blue dress with ruffles at the sleeves and hem. The other is wearing a striped black and grey dress with a long bustle and ruffles at the hem.

Illustrirte Frauen-Zeitung [Women’s fashion illustration] (C-115400k)

Visit the Flickr album now!


 

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)

Visit the Flickr album now!


 

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!


 

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.

Images of Agnes Chamberlin’s Flower Prints now on Flickr

Agnes Chamberlin (née Dunbar Moodie and previously Fitzgibbon) came from a literary family. Her mother, Susanna Moodie, and her aunt, Catharine Parr Traill, were well known for their now classic descriptions of pioneer life in Ontario, Roughing it in the Bush (by Moodie) and The Backwoods of Canada (by Parr Traill).

Two white lilies, one open, one closed, and two yellow lilies lying on a bed of green leaves.

Canadian Wild Flowers, Plate VIII (e011308817)

Chamberlin was taught to paint by her mother and, following in her family’s footsteps, applied this skill to literature. Beginning in 1863, she started producing illustrations for her aunt’s proposed book on Canadian flowers.

Canadian Wild Flowers, Plate VII (e008300821)

When Chamberlin’s first husband died, she turned this work into a way to support her family. Collaborating with her aunt, Chamberlin produced Canadian Wildflowers, an illustrated botanical book combining Parr Traill’s text with Chamberlin’s hand-coloured lithographs.

Two white lady’s slippers standing upright among large green leaves, an orange lily, a lily bud, and small blue harebells.

Canadian Wild Flowers, Plate V (e011183290)

The book was a success and praised for the accuracy of its illustrations. Four editions were published between 1868 and 1895, each with Chamberlin’s hand-coloured plates. It was one of the first large illustrated books to be printed and published completely in Canada. Following this book, Chamberlin also contributed to Parr Traill’s Studies of Plant Life and exhibited her work in Philadelphia in the United States, as well as in England and Canada.

A red trillium standing upright among large green leaves, round purple flowers, and pale purple flowers.

Canadian Wild Flowers, Plate IV (e011308814)

Following this book, Chamberlin also contributed to Parr Traill’s Studies of Plant Life and exhibited her work in Philadelphia in the United States, as well as in England and Canada.

Visit the Flickr album now!


 

New podcast! Check out our latest episode, “Prime Ministers and the Arts”

Library and Archives Canada (LAC) is releasing its latest podcast episode, “Prime Ministers and the Arts”.

Colour image of a puppet that resembles Prime Minister John Diefenbaker.

Library and Archives Canada is the main repository for documents relating to Canada’s Prime Ministers. LAC not only has all the political documents relating to each Prime Minister, but also intriguing, less official and often unexpected items.

The exhibition entitled Prime Ministers and the Arts: Creators, Collectors and Muses curated by LAC employees Madeleine Trudeau and five time podcast guest Meaghan Scanlon, weaves artwork, artifacts, documents, objects, portraits and photographs together to reveal a less formal, but equally fascinating side to our former Prime Ministers.

The exhibition is on right now at 395 Wellington in Ottawa. It runs until December 3rd, 2019.

Subscribe to our podcast episodes using RSS, iTunes or Google Play, or just tune in at Podcast–Discover Library and Archives Canada: Your History, Your Documentary Heritage.

Related Links:

Discover the Collection: Art

Discover the Collection: Biography and People

Discover the Collection: Politics and Government

For more information, please contact us at bac.balados-podcasts.lac@canada.ca.

Butterflies, love triangles and the northern lights

By Shane McCord

The recently concluded Library and Archives Canada (LAC) exhibition Premiere included four drawings by midshipman Robert Hood (c. 1797–1821). These drawings were first presented on the Discover Blog in April 2015, shortly after they had been acquired by LAC. Robert Hood was a talented draftsman, cartographer, scientist, natural historian, and anthropologist before the term existed. He is remembered today for his participation in the 1819–1822 Coppermine Expedition, led by John Franklin. While on this expedition, Hood was the first to document various species of animals and insects. He was also the first to note the electromagnetic nature of the aurora borealis. Posthumously, some of his drawings were reproduced and published in Franklin’s account of the expedition, which included a glowing report on Hood’s work and conduct.

While Hood is known, to a degree, for the contributions to scientific knowledge he made during the expedition, his story is also remembered for the part he played in a now infamous love triangle between himself, a Dené woman known as Greenstockings, and Sir George Back, another artist who was part of the expedition. The story, which includes a failed duel between Back and Hood, has been told many times and is neatly summarized in the Dictionary of Canadian Biography entry for Hood.

A colour lithograph of a woman sitting on the ground and mending a snowshoe, with a man standing on the right. Both figures are wearing long fur cloaks.

Keskarrah a guide from the Yellowknife Denes and his daughter Green Stockings, mending a snow shoe (e011156563)

All the members of the expedition were suffering from malnutrition and exhaustion, and Hood did not survive. He was likely near death when he was killed by a fellow member of the expedition, the voyageur Michel Terohaute. Terohaute was executed for the murder, and was later suspected of cannibalism.

A watercolour of two young Inuit men wearing western-style clothing. One is captioned “Augustus”, the other “Junius”.

Portraits of the [Inuit] interpreters from Churchill, employed by the North Land Expedition. (e011154367)

The first of the four drawings shown in the Premiere exhibition is a double portrait of two Inuit guides and interpreters, Tattanoeuck (“Augustus”) and Hoeootoerock (“Junius”). Tattannoeuck was a member of three expeditions, two with Franklin (1819–1821, 1825–1827) and one with Back (1833–1835). He was heavily involved in these expeditions and was well respected by his companions, to the point that Sir John Richardson, a member of both the first and second Franklin expeditions, named a species of butterfly Callophrys augustinus in his honour. Hoeootoerock was separated from the members of the Coppermine Expedition during the crossing of the Coppermine, and is presumed to have died there.

Two of the drawings are depictions of northern mammals: a mink and a cross fox. At the time these works were produced, such species were becoming objects of study in Western European science. Images such as these were among the primary reasons why Hood, an officer with a talent for drawing, was selected for the expedition. Apart from their aesthetic value, these images were important as evidence of wildlife in the region of the expedition and provided valuable information for the expansion of the fur trade.

A watercolour of a mink peering into the water by a rocky river shore.

[Mink] (e011154368)

A watercolour of a white fox hunting a mouse in a snowy landscape.

[Cross Fox catching a Mouse] (e011154369)

The final and most interesting drawing shows the interior of a Cree tent. The inscription is “Interior of a Southern Indian tent; taken on the Basquiase Hill, Cumberland House, Hudson’s Bay. The tent is made of Moose skin parchment; the cloathes [sic] of the indians are made of skins. The cloth obtained from the English factories. March 25th 1820 Robert Hood North Land Expedition.” The drawing is valuable for the anthropological information it provides and for its historical context. In Hood’s journal from the expedition, he describes making such a drawing on March 31, and he provides several anecdotes regarding the people in the tent. It is yet to be determined if this is that same drawing and there is an inaccuracy in the dates, or if Hood made a second drawing.

A watercolour showing the interior of a tent. Seven people are sitting around a fire. One is a mother with a child in a cradleboard. Pelts or meat are drying on a cross beam and a pot of food is over the fire. A musket and a bow and arrows are leaning against the side of the tent. One person is eating and another is smoking a pipe, while the others appear to be observing the artist (Hood) at work.

[Interior of a Cree tent] (e011154370)

All four of these drawings relay important documentary evidence about the region of Cumberland House, in what is now northern Saskatchewan. These drawings are also fascinating simply as items carried on that ill-fated journey. The Franklin expeditions are an important part of the history of Canada’s development as a nation, and the tragic aspects of the first expedition in particular have made it one of the most popular and well-known episodes in Arctic history.


Shane McCord is an art archivist in the Archives Branch of Library and Archives Canada.

The Artist’s Mirror: Celebrating a new exhibition of artist self-portraits at Glenbow

On June 15, 2018, Library and Archives Canada (LAC) and Glenbow Museum come together in Calgary, Alberta, to officially celebrate the beginning of a very successful collaboration. March 10th marked the opening of the first in a series of five co-curated exhibitions. All of the exhibitions feature portraits from LAC’s collection. In some cases, they also include portraits from Glenbow’s collection.

This exciting collaboration provides the opportunity for more Canadians to see many of Canada’s most important national treasures: all of the exhibitions will be presented at Glenbow, in Calgary. Each of the exhibitions in the series has a different theme related to portraits and portraiture.

A colour photograph of the entrance to the exhibition space at the Glenbow Museum.

Installation photograph of The Artist’s Mirror at Glenbow, courtesy of Glenbow Museum

A special kind of portrait

The first exhibition in the series focuses on one of the most fascinating types of portrait: images that artists create of themselves. The proliferation of mirrors during the 15th century is said to have contributed to the popularization of artist self-portraits. When artists hold the mirror to themselves, it is very difficult not to be drawn in.

A painting of a mirror and a still-life arrangement on a dressing table with several books, a brush, a radio, and two oranges on a plate on top of a newspaper. The mirror’s reflection shows the artist and another painting.

Self-portrait in Mirror, William Lewy Leroy Stevenson, ca. 1928, e011200954

Artist self-portraits are particularly intriguing because they appear to give privileged insight into the creative process. They are also exciting for their variety. The choice of medium is just one way in which artists have experimented with self-portraits, over the years, as statements of creative identity.

The exhibition includes 17 historical and modern self-portraits of Canadian artists, drawn from LAC’s collection. There are examples of video and sculpture self-portraiture as well as paintings, drawings and prints.

Many faces, many stories

A stand-out self-portrait in the exhibition is this sculpture by Inuit artist Floyd Kuptana.

A colour photograph of the front of a stylized sculpture of a man with his tongue sticking out.

Self-portrait by Floyd Kuptana, 2007, MIKAN 3922914

It is important to view this self-portrait from a variety of angles. The playful stone sculpture smiles, when viewed from one angle, and sticks out his tongue when viewed from another:

A colour photograph of the front of a stylized sculpture of a man with his head tilted to the side. A colour photograph of the front of a stylized sculpture of a man sticking his tongue out.The humour in this self-portrait masks a much more serious exploration of self, on a variety of levels. Kuptana created this self-portrait with traditional ideas as well as modern ones. The multiple faces and angles reflect shamanic beliefs about transformation. Yet, the idea of multiple personalities, within one self, is also associated with modern psychology.

A colour photograph of the side of a stylized sculpture of a man.Self-portrait… or portrait?

The exhibition provides a chance to see a portrait that remains at the centre of one of Canadian art history’s most interesting unresolved mysteries. Certain scholars feel strongly that this portrait, created by important British Columbia artist Emily Carr, is a rare, early self-portrait. However, others have argued that this drawing is merely an image Carr may have made of somebody else.

A charcoal drawing on paper of a young woman with bare shoulders seen from the back with her face in profile. Her hair is styled in a loose bun with short curls framing her face. Her gaze is off to the right.

Self-portrait thought to be of Emily Carr, ca. 1899, e006078795

Most agree that Carr created the drawing when she was an art student in London, United Kingdom. The drawing is done in a traditional academic style, not typical of Carr’s later work, but very much typical of a student demonstrating her mastery.

Those who believe this to be an image of Carr herself point to the strong resemblance between the drawing and contemporary photographs of her. They acknowledge that Carr was notoriously prudish and thus unlikely to pose with bare shoulders. However, they point out that it would be quite common, in women’s drawing classes of the day, to practise drawing the human form from suitably draped ancient classical sculptures. An artist could place their own head on a body copied from one of these unexceptionable nudes.

A vignette of the Emily Carr portrait showing the drawing’s classical lines of the shoulders and chin.With this image, Carr may have been striving to project herself within a particular style, fashionable when she was a young woman.

The exhibition invites you to judge for yourself.

A western connection

The exhibition provides a chance for LAC to present self-portraits that have a particular connection to Calgary.

One example is this amusing self-portrait by Calgary-based artist Gary Olson.

A pencil drawing of a man’s face squished up against a piece of glass. Most of the left side of his face is indistinguishable, but his right eye is keenly focused.

I Am Up Against the Picture Plane Again, by Gary Olson, 1977, e011195950. @ Gary Olson

The image is part of a series created by Olson while he was a college art instructor. He came up with these lighthearted images to convey the difficult theoretical art concept of the picture plane to his students. He portrays the plane literally, in these images, by flattening and distorting his own features against it. At the same time, Olson takes the opportunity to poke fun at the theory of art, capturing something of his own irreverent desire to push the envelope

Come see the exhibition

A colour photograph of a dimly lit room with various art pieces hung on the walls.

Installation photograph of The Artist’s Mirror at Glenbow, courtesy of Glenbow Museum

Be sure to visit The Artist’s Mirror, if you happen to be in Calgary. The exhibition runs from March 10, 2018 to January 6, 2019 and is open every day. For more information, please contact Glenbow Museum.

Found in translation: discovering Canadian literary translations

By Liane Belway

Discovering new and exciting books and authors is a rewarding experience for most readers. In Published Heritage—the library side of Library and Archives Canada (LAC)—we connect with the publishers who bring us these works and make our diverse published Canadian heritage accessible to a wider audience.

When Canadian publishers make material available, they deposit copies with LAC with the help of our Legal Deposit team. What kinds of material do we acquire in Legal Deposit? A wealth of Canadian content: books, music, spoken-word recordings, magazines and other serials, and digital material as well. Each offers a unique perspective on Canadian society and culture, reflecting the publisher’s vision, interests and identity. One source of new knowledge and literary artistry is the translation of such works, making these publications available to a completely new audience.

Canadian Translations

One way of making great literature available to wider audiences is through literary translation, an often overlooked literary skill but a highly valuable one in a multicultural and multilingual society. Translations offer a window into new perspectives and styles, and a chance to discover literary traditions and innovations often not otherwise easily accessible. In fact, the Governor General’s Awards have a category for Translation, acknowledging the value of bringing French-language works to new readers in English when they would not ordinarily have the chance to read them. Each year, this award recognizes the translation of a work into English for its literary excellence and cultural contribution.

Award Winners

The 2017 Governor General’s Literary Award for Translation was awarded to Readopolis, translated into English by Oana Avasilichioaei and published by BookThug in Toronto. It is a translation of Lectodôme by Bertrand Laverdure, published by Le Quartanier, a francophone publishing house in Montreal. The Peer Assessment Committee had high praise for Avasilichioaei: “In Readopolis, Oana Avasilichioaei has risen to and matched the stylistic acrobatics of Bertrand Laverdure’s Lectodôme. The many voices of Quebecois writing sing through in this intelligent translation – a vertiginous ode to the pure, if rarely rewarded, pursuit of literature.”

David Clerson’s Brothers, a worthy finalist for the same award in 2017, also offers an excellent introduction to a new publisher’s vision. QC Fiction, an imprint of Baraka Books with a fresh perspective, is a Quebec-based English-language book publisher in Montreal. Recognizing the value of translations, QC Fiction’s goal is to publish contemporary Quebec fiction originally published in French, in English translations for a wider Canadian and international audience. Another QC Fiction title, I Never Talk About It, contains 37 stories and as many translators. As Fiction editor Peter McCambridge states, “37 different translators to translate each of the short stories published in a collection by Véronique Côté and Steve Gagnon. It’s a reminder that there are at least 37 different ways to translate an author’s voice—something to consider the next time you pick up a book in translation!”

Six colourful book covers with similar designs laid out side by side, displaying all titles: Listening for Jupiter, I Never Talk About It, Behind the Eyes We Meet, Brothers, The Unknown Huntsman, Life in the Court of Matane.

A selection of publications from QC Fiction, including Brothers (2016), the finalist of the Governor General prize for translation. Image used with permission from QC Fiction.

Providing works in translation allows audiences outside of Canada access to a large and, in our ever more connected world, growing national literature, and Canadian authors are enjoying an increasingly international audience. QC Fiction is also a great example of Canadian fiction’s global appeal. Says McCambridge: “So far the formula seems to be working: 3 of our first 5 books have been mentioned in The Guardian newspaper in England and bloggers from Scotland to Australia have picked up on what we’re doing and praised our ‘intriguing light reads.’”

With these award-winning publishers—just two examples of the innovative work in the world of Canadian literary translations—Canadian publishing remains a creative, varied, and thriving world that LAC strives to collect and preserve for readers now and in the future. To see what else LAC has in its collections, try our new search tool at: http://www.collectionscanada.gc.ca/lac-bac/search/all.


Liane Belway is the Acquisitions Librarian for English monographs in the Published Heritage Branch at Library and Archives Canada.

Ernst Neumann

By Judith Enright-Smith
Artist and printmaker Ernst Neumann was born in Budapest, Hungary in 1907. His family immigrated to Canada five years later, taking up residence in Montreal, Quebec.

Conté and pencil drawing of a young man seated at a drawing board looking at the viewer. It is signed EN31.

Self-portrait by Ernst Neumann, dated 1931 (MIKAN 3028626)

Following high school, Neumann began his artistic studies at both the École des Beaux-Arts de Montréal and the Art Association of Montreal. At the latter, Neumann met and studied with Canadian painter and engraver Edwin Holgate (MIKAN 3929083), renowned in the Montreal art scene at that time. Holgate was responsible for cultivating Neumann’s interest in and enthusiasm for wood engraving and printmaking.

An etching of a female nude seated, holding her face and resting her elbows on bent knees.

“Seated Nude,” dated 1935 (MIKAN 3025069)

Neumann made a consistent and meaningful living working as an artist. He created and sold commercial prints of Montreal’s streets and other urban scenes as well as portraits of the city’s social elite. However, Neumann found his true passion in depicting the marginalized of society during the Great Depression. These engravings of the poor and unemployed would often appear in the less mainstream Montreal newspapers and periodicals, particularly those with a left-leaning perspective.
In 1936, together with fellow École des Beaux-Arts de Montréal graduate Goodridge Roberts, Neumann opened the Roberts-Neumann School of Art. The school provided classes in painting and drawing as well as art appreciation. It remained open for only three years.

An etching of a person walking downhill along a snowy path toward a city, with its buildings visible through the trees.

“Descent from Mt. Royal,” signed and dated 1951 (MIKAN 3025050)

Neumann was also a member of an unofficial collective of Montreal artists later termed by art historian Esther Trépanier as the “Jewish Painters of Montreal.” According to Trépanier in Jewish Painters of Montreal: Witnesses of Their Time, 1930–1948, this group of artists, whose members also included Harry Mayerovitch and Ghitta Caisserman-Roth to name a few, were responsible for “… [depicting] the social realism of Montreal during the 1930s and 1940s.”

A lithograph of a harbour landscape with the slightest suggestion of boat masts, buildings and construction.

Montreal Harbour, dated 1935 (MIKAN 3024945)

The Ernst Neumann fonds at Library and Archives Canada was acquired from a private donor in 2005 and 2010. It consists of 156 etchings and lithographs, 49 drawings, 5 watercolours and 36 printing plates. The textual material includes a small amount of Neumann’s personal correspondence along with some catalogues.

Funded by a fellowship grant, Ernst Neumann travelled to Europe in 1956. In March of that year, while visiting a fellow artist in France, Neumann suffered a heart attack, and died at the early age of 49. His remains were brought back and interred in Montreal thanks to the generosity of his peers.


Judith Enright is an archival assistant in the Aboriginal and Social Affairs Section of the Private Archives Branch of Library and Archives Canada.