Black Porter Perspectives: Bringing Thomas Nash, a Canadian National Railway Porter, Back to Life

Version française

By Andrew Elliott

In the first post of the Black Porter Perspectives series, Rebecca Murray highlighted a wartime photograph that identified a railway sleeping car porter: Jim Jones of Calgary. In the Canadian National (CN) fonds, with which I work, it is worth noting that finding a porter’s name is rare. This collection (RG30/R231), one of Library and Archives Canada’s (LAC) largest private acquisitions, should logically contain a plethora of records about porters due to their central role in railway service. Sadly, until recently, this has not been the case. A basic keyword search for “porter” often yielded few, if any, results. I am working hard to correct this situation.

Over the last few months, my work has involved sifting through backlogged material relating to the CN Passenger Services Department. I recently found a collection of files from the late 1960s documenting employees who worked for the CN Sleeping, Dining, and Passenger Car Department. These files cover a range of issues, including accidents, insurance claims, thefts of company property, and retirements, as well as provide insight into the lives of cooks, waiters, stewards, and porters. Among these, I discovered an important and interesting personnel file for a Black porter named Mr. Thomas Nash. His file stood out due to his remarkable 42-year career, spanning from his hiring on June 23, 1927, to his retirement in August 1969. This documentation sheds light on who Nash was and offers a deeper understanding of what portering looked like for him and other Black men during this period.

Who was Mr. Thomas Nash?

Nash’s personnel file is rich with details, allowing us to begin to piece together his biography. Raised by his adoptive parents in Antigonish, Nova Scotia, Nash later moved to Montréal, where he worked as a CN porter. The path to learning this information is particularly interesting.

In the late 1940s, CN’s Staff Record Bureau began seeking Nash’s birth date to determine his retirement eligibility. Like many Black citizens in Canada and the United States, Nash faced challenges with recordkeeping, which were compounded by his adoption. He offered several possible birth years, including 1899, 1900, 1902, 1904, 1905, and 1907, which further complicated the Bureau’s task.

Page showing possible birth dates for a CN porter.

Documentation from the CN Staff Record Bureau detailing various possible birth dates for Thomas Nash, dated June 10, 1952. (MIKAN 6480775)

Due to Nash’s inability to provide accurate information about his birth, the CN Bureau contacted the principal of St. Ninian School in Antigonish, Nova Scotia, which Nash had attended as a youth. This inquiry in 1952 proved unsuccessful. The following year, the CN Bureau contacted the Dominion Bureau of Statistics, which confirmed that Nash had actually been born on August 26, 1904. The 1911 Census further revealed that Nash lived with his adoptive parents in Antigonish, a detail that is recorded in his personnel file. Interestingly, while his personnel file does not address the matter explicitly, Nash’s last name appears to have changed between his youth and his move to Montréal. As a child, he went by the surname “Ash,” which later became “Nash” before he began his job with the CN. Was this a recording error? Determining his correct birth details led to Nash’s eligibility for the CN Pension Plan, which went into effect on January 1, 1935.

In addition to learning a little bit about his early life, we also see that upon relocating to Montréal, Nash became part of the city’s tight-knit Black community, living in what was then known as the St. Antoine District. This is unsurprising given the racial segregation in housing and the community’s proximity to the train station.

While his early years in Montréal are undocumented in his personnel file, we see that Nash resided at 729 Seigneurs Street in the 1950s and early 1960s. A 1968 letter he wrote to the CN Staff Record Bureau reveals that he had married and later resided with his wife at 2458 Coursol Street, just a few streets over from his former residence.

Nearly every household in the St. Antoine District had ties to portering. This profession was deeply respected, as evidenced by a community ritual honouring retiring porters: family, friends, colleagues, and bosses gathered at the train station to welcome these men home from their final runs. The Black Worker, the Brotherhood of the Sleeping Car Porters’ union newsletter, often documented these special moments. Nash undoubtedly experienced such recognition when he retired in 1969.

Letter from CN’s Human Resources Department outlining details relating to a CN porter’s upcoming retirement in August 1969.

Letter detailing Thomas Nash’s upcoming retirement in August 1969. (MIKAN 6480775)

The rights and experiences of porters

Nash’s career began in 1927, a pivotal year for both CN and its employees. That year, CN and its union, the Canadian Brotherhood of Railway Employees (CBRE), created a segregated system dividing employees into two groups. Group 1 included dining car employees and sleeping car conductors (white men), while Group 2 consisted of sleeping car porters. These separate collective agreements restricted seniority and promotion opportunities within each group, effectively locking Black workers into portering and barring them from advancing within CN’s ranks.

Nash would have quickly realized that upward mobility was impossible for him. Dr. Steven High helps us contextualize Nash’s experience, noting that porters in the 1920s and 1930s worked very long hours with a fixed monthly salary, regardless of the actual number of hours worked. On average, porters were allowed just three hours of sleep per day while in transit. Needless to say, their working conditions were difficult and highly exploitative. Unfortunately, Nash’s early years on the job, including his contributions during the Second World War, are undocumented in his personnel file—a troubling omission given the essential nature of his work.

Despite their invisibility in these records, Black porters began agitating for improved conditions. In 1945, Canadian Pacific Railway sleeping car porters successfully negotiated a new collective agreement that including better wages, vacation time, and reduced hours. These union gains, however, did not extend to CN employees who remained bound by CBRE’s more restrictive agreement. The agreement featured below, dated 1948, shows that all porters remained among the lowest-paid employees, second only to pantrymen, with monthly salaries ranging between $174 to $209. Also, unlike some of the other occupations listed, porters’ salaries would not increase in years two or three. In truth, these men saw little improvement to their working conditions until 1964, when the Canadian Brotherhood of Railway, Transport and General Workers came into existence, ending occupational colour barriers and creating a combined seniority list.

(For more information about the long fight for porters’ rights, listen to “Porter Talk: The Long Fight for Porters’ Rights.”)

Cover page of the CBRE Collective Agreement along with details of employee wages.

Pages from the 1948 CBRE Collective Agreement, covering working conditions and rates of pay for employees in sleeping, dining, and parlour car service. (MIKAN 1559408)

A cursory engagement with the CN fonds might obscure the contribution of porters, but Thomas Nash’s personnel file provides valuable insight into the nature of their work. His employee service rating card, in particular, emphasized the stresses inherent in portering. This card was designed to document and rank the quality of service provided, a reminder that Nash and his colleagues were under constant scrutiny—whether by CN staff or passengers. It is interesting to point out that even minor infractions could result in demerit points, colloquially known as “brownies.” Accumulating 60 demerit points led to automatic termination without the possibility of appeal. Remarkably, Nash’s record stands out: in his 42-year career, he never incurred a single demerit point. The comment card below showcases a passenger’s remark from 1958, providing a vivid anecdote and serving as a testament to Nash’s exceptional service: “Excellent Porter but talks too much.” While seemingly contradictory, this remark sheds light on Nash’s engaging personality and unwavering commitment to his duties.

Cards displaying employee rating numbers and comments on Thomas Nash’s service performance.

Front and back of Thomas Nash’s employee service rating card. (MIKAN 6480775)

In 1961, another passenger went further, commending Nash for his service:

Typewritten letter detailing a passenger’s compliments on the service provided by CN porter Thomas Nash.

Letter documenting a passenger’s commendation of CN porter Thomas Nash for service excellence, 1961. (MIKAN 6480775)

Making porters’ service visible

My team remains committed to uncovering more information about the lives porters led and the experiences they had on the rails. Since last year, we have uploaded over 21 000 service files related to employees who worked for CN and its predecessor companies—including records for 1 066 porters—to the series entitled Employees’ provident fund service record cards. Slowly but surely, we are uncovering records within the CN fonds that shed light on the invaluable contributions of porters, making their essential service visible. In many ways, this work allows us to honour their legacy and bring their stories back to life, contributing to a new understanding of their profound impact in shaping modern Canada.


Andrew Elliott is an archivist in the Archives Branch at Library and Archives Canada.

Travel posters in the Marc Choko collection—a Co-Lab challenge

By Andrew Elliott

The Marc Choko collection of travel posters represents a fantastic cross-section of Canadian travel poster art during the period from 1900 to the 1950s. “One’s destination,” wrote Henry Miller, as he travelled through Greece in the 1930s, “is never a place, but a new way of seeing things.” In fact, the entire Modernist movement of the era was about seeing old things in new ways. For railway companies, and later airlines, the posters helped market companies to as wide an audience as possible. While promoting their fast and efficient services, they also projected to travellers a stylish, romantic vision of travel to and within Canada.

Between 1900 and 1930, and particularly in the 1920s, there was a shift in the way people travelled. During this period, middle-class tourists rivalled immigrant travellers for space on trains. Tourism became a kind of mass culture theatrical experience, and as a result, leisure time was commodified. The publicity departments of both Canadian National Railways (CN) and Canadian Pacific Railway (CPR) developed close ties with Canadian (and American) artists to create poster art (and art for other types of marketing and publicity, including magazines and timetable booklets). In 1927, for example, CN commissioned members of the Group of Seven to create a 33-page scenic guide advertising the wild, natural and romantic beauty of Jasper National Park. (This guide, with a couple of digitized pages, can be found in the Museum Train Collection series of the Canadian National Railway Company fonds.) Neither the railway companies nor the artists operated in a vacuum; they were influenced by the travel and artistic movements that were spreading across the world in the early 20th century. There was a remarkable convergence: cars, trains, airplanes, zeppelins and ocean liners were all competing for customers. To sell their services, the various companies turned to posters that suggested, among other things, speed and experience.

The Marc Choko collection at Library and Archives Canada (LAC) features a collection of travel posters by various artists who were commissioned by transportation companies. The collection was donated to LAC in the early 1990s by Marc Choko, a professor emeritus with the School of Design at the Université du Québec à Montréal. Choko taught courses on design from 1977 to 2018 and has also published numerous books on design (website in French only), including Destination Québec; Une histoire illustrée du tourisme (2013), Canadian Pacific Posters 1883–1963 (2004) and Canadian Pacific; Creating a Brand, Building a Nation (2016).

Two of the best-known artists who created the posters were Peter Ewart and Roger Couillard. Ewart (1918–2001) was born in Kisbey, Saskatchewan, but grew up in Montréal. Upon completing his formal education, he studied art in Montréal, and later in New York. His paintings were exhibited by the Royal Academy (London, England), the Royal Canadian Academy, the Canadian National Exhibition and the Mid-Century Exposition of Canadian Painting. To learn more about Peter Ewart and his life and work, visit the comprehensive website petermaxwellewart.com.

In the late 1940s, Ewart helped to establish and then solidify a memorable advertising campaign for CPR as the “World’s Greatest Travel System.” His corporate commissions included a wide array of organizations and some events, such as Canadian Pacific Airlines, Bank of Montreal, Imperial Oil Company, B.C. Telephone Company, Calgary Winter Olympic Games, Ocean Cement and many more.

Some striking examples of Ewart’s work in the Choko collection include the following posters for CPR.

Moose in water with trees in the distance and a small company crest.

CPR poster “Hunt This Fall—Travel Canadian Pacific” (e000983752-v8) Credit: CRHA/Exporail, Canadian Pacific Railway Company Fonds

Large fish in water and a small company crest.

CPR poster “Full Information from Canadian Pacific—World’s Greatest Travel System” (e000983750-v8) Credit: CRHA/Exporail, Canadian Pacific Railway Company Fonds

The artist Roger Couillard (1910–1999) is also well represented in the Marc Choko collection. Couillard was born in Montréal and studied at the École des Beaux-arts de Montréal (School of Fine Arts in Montréal; EBAM). In 1935, the Institute of Foreign Travel organized a poster competition on the theme of “See Europe Next.” One of his posters was chosen and exhibited in Ogilvy’s department store in Montréal. Couillard opened a studio in the Drummond Building on the city’s St. Catherine Street in 1937. He later worked for the Quebec Ministry of Tourism from 1966 to 1975. (There is very little biographical information about Couillard available online. The information listed here was gleaned from a Canadian Design History/Theory course web page at the Emily Carr University of Art + Design. For further details about Couillard’s art, see Artnet.)

The following striking examples of Couillard’s work show his versatility. He was able to work for a variety of organizations, such as CPR, CN, Trans-Canada Air Lines and Canada Steamship Lines. The posters capture the essence of what travel represented for voyagers at the time.

An arrow points to the sky and has a telegram on it.

Canadian National Telegraphs, “Telegraph—When Speed Is a Factor” (e010780461-v8)

A plane flying above the message “Costs only 3¢ more to all parts of Canada.”

Trans-Canada Air Lines—Air Mail (e010780458-v8)

These less well-known artists are also represented in the Choko collection:

The collection contains some striking work by unknown artists as well. For example, one notable poster for CN has been reprinted for numerous postcards, yet the artist has not been identified. Can you help to identify this artist?

This is where the Co-Lab challenge comes in! The challenge in Co-Lab is not only to tag and describe the posters, but also to identify some of the artists. Check out the Travel Poster Co-Lab Challenge to see more posters in the Marc Choko collection.


Andrew Elliott is an archivist in the Archives Branch at Library and Archives Canada.