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Banff Mountain Book Competition Longlist Finalists – Available Now!

Are you interested in this year's Banff Mountain Book Competition longlist finalists? Available Banff Mountain Book Titles
Prices include GST and exclude shipping Emilio Comici: Angel of the Dolomites - David Smart,
2020 Mountain Literature Finalist ($33.60) Raven's Witness: The Alaska Life of Richard K. Nelson, Hank Lentfer,
2020 Mountain Literature Finalist ($37.75)

Winter 8000: Climbing the World's Highest Mountains in the World's Coldest Season, Bernadette MacDonald, 2020 Mountain Literature Finalist ($33.55)

The Bear - Andrew Krivak, 2020 Mountain Fiction Finalist ($26.78)

Talking with Bears: Conversations with Charlie Russell - Gay Bradshaw,
2020 Mountain Environment and History Finalist 

The Adventurer's Son - Roman Dial, 2020 Adventure Travel Finalist ($37.79)

Labyrinth of Ice: The Triumphant and Tragic Greely Polar Expedition - Buddy Levy, 2020 Adventure Travel Finalist ($41.99)

Blue Sky Freedom: An Epic Family Journey to the Heart of the Himalaya - Bruce Kirkby, 2020 Adventure Travel Finalist ($36.70)

Climbing Rock - Francois Lebeau and Jesse Lynch,
2020 Guidebook Finalist ($70.88)

Crack Climbing: The Definitive Guide - Pete Whittaker,
2020 Guidebook Finalist ($39.85)

The Wild Coasts of Canada - Scott Forsyth,
2020 Mountain Image Finalist ($63.00) Shop in-store and online today! Curbside pick-up is available. Have questions? Please reach out to our Museum Shop team at shop [at] whyte.org.

Getting to Know Fred Badley, Bandmaster, and NWMP Veteran

By Kate Riordon Sometimes, in order to tell a story, you have to start at the ending. Over the course of August 2020, I resumed digitization work for the Whyte Museum Archives, adding photographs to the database and editing existing entries. While working through the impressive collection of negatives from Bill Gibbons’ photography studio, I came across a handful taken during the funeral of a military man, and I instantly became curious. Who was this man to have so many uniformed Mounties in attendance, the Union Jack draped over his coffin, and for whom local merchants closed their shops as his procession worked its way down Banff Avenue? I had to know. His name was Frederick A. Bagley. At the time of his death in October 1945, he was a retired Major with a career that traced back through some of the major conflicts of the 20th century to the creation of the North-West Mounted Police (NWMP). Born to Scottish parents in St. Lucia, former British West Indies, in 1858, Fred grew up embroiled in his father’s military lifestyle as they moved from post to post as part of Queen Victoria’s Imperial Army. In 1868, his father retired and moved the young family to the fledgling Dominion of Canada, settling in the Toronto area. The transition from the Caribbean Sea to Great Lakes did not seem to bother young Fred as he quickly fell in love with the stories of the wild west spun by the likes of author James Fennimore Cooper. Tales of frontier life, Indigenous peoples, herds of bison, and dastardly whiskey runners filled his head with images of grandeur and romance. These same topics were of great interest to the new Canadian government as well, who felt a keen need to establish their law and order on an interior they incorrectly perceived as being lawless and wild. In 1873, Prime Minister Sir John A. Macdonald placed Colonel George A. French in charge of a 300 man mounted police force to patrol everything between British Columbia and Ontario. By 15, Fred was enrolled at the Royal School of Gunnery in Kingston, learning the basics of being a soldier, honing his horsemanship skills, and was well on his way to being an accomplished trumpeter. However, he was still only 15 and far too young to join a police force that would soon be heading into a territory virtually unknown to them. Lucky for Fred, his father was an old Army friend of Colonel French and, under the condition he be kept as Trumpeter, Fred was allowed to join the Force in 1874. The spring of 1874 saw the newly minted North-West Mounted Police depart Ontario, first by train and later on foot and horseback, to begin the march west with the heading of Fort Whoop-Up (modern-day Lethbridge), a notorious whiskey trading post established by runners from Montana. After aiding in the construction of Fort MacLeod Fred, as part of D Troop, was sent back towards Saskatchewan and Manitoba under the command of Colonel French to reinforce garrisons already established near Winnipeg. Over the following few years, Fred and his Troop would patrol these parts of the North West Territory and establish three new forts: Fort Saskatchewan, Fort Qu’Appelle, and Fort Battleford. The 1870’s and 1880’s saw many challenging and exciting times for Fred Bagley. Thanks to his skill with the trumpet, Fred was part of the first organized NWMP band. In this capacity he performed during the signing of Treaty 7 in September 1877 at Blackfoot Crossing. By the spring of 1885, Fred had been posted to Fort Battleford for three years and had recently been promoted to the rank of Sergeant. In March 1885, he was ordered to lead 25 men to Fort Carleton to provide supplies and reinforcement in the wake of the initial Battle of Duck Lake, the first deadly encounter of what became the Red River Resistance. In 1887, Fred was sent west to establish a NWMP post and patrol the newly created Banff National Park; he was soon transferred to Fort Calgary when the Commanding Officer expressed a desire for a Bandmaster. Fred and his new band frequently played at the recently completed Banff Springs Hotel: coming in by train and dressed in their bright uniforms, they became a popular attraction for tourists. Fred spent the remainder of the 1880’s and most of the 1890’s in Calgary, performing annually at the Victoria Day celebrations in Banff, as well as at various events and parades in the city. In 1890, he married Lucy May Kerr-Francis (1868-1948), a Calgary resident since 1885 and a constant companion for the rest of his life. Fred’s career with the NWMP was close to its end. Before hanging up his scarlet jacket, though, he had one more adventure: Queen Victoria’s Diamond Jubilee. Prime Minister Sir Wilfred Laurier and NWMP Commissioner Lawrence Herchmer believed it important that the Force be represented. Twenty-three men were selected to go to London – all of whom were of similar height, build, and appearance. Fred Bagley fit the bill perfectly. And since they would be going before the Royal Family, they of course had to dress appropriately! So for the parade through London on June 22, 1897, Fred and his fellow NWMP men wore prairie suits (scarlet jacket, slim black pants with a decorative stripe up the seam, elastic-sided leather boots, and a munitions belt worn diagonally across the chest), cowboy hats (which at the time featured a central peak and flat brim), and box spurs for walking about. Following the celebrations, Fred and the NWMP band performed for the Royal Family in Windsor Castle and he was later personally presented to Queen Victoria. In 1899 at age 41, Fred retired from the NWMP. He transitioned quickly from frequent Bandmaster to Captain of the C Squadron, Canadian Mounted Rifles during the Boer War and went to fight in South Africa. In 1902, Fred returned to Calgary and worked at the Land Titles Office. He began gathering musicians and formed the Calgary Citizens’ Band – a project he took immense pride in and served as conductor for from 1903 until its dissolution in 1920. The Band also performed abroad: in 1907 they were invited to play at the Irish International Exhibition in Dublin and, following that, played in Liverpool, Manchester, and London. The outbreak of World War I put Fred’s musical career on hold. At 56 years old, Fred donned yet another uniform and went to battle, helping to recruit men for the 82nd Battalion in Calgary before heading for England and the war. He received the final promotion of his military career to the rank of Major and, in 1916, was transferred to the 192nd battalion, where he served as second in command. Fred survived the war and returned to Calgary, where he continued to work, perform in bands, and raise six daughters with his wife, Lucy. In addition to the Calgary Citizens’ Band – which was hugely popular during the war thanks to the patriotic music favoured by big bands – Fred also helped establish a Calgary branch band for the Benevolent Protective Order of Elks, and served as the first president for the Calgary Rifle Association. In 1924, he retired from the Land Title Office and moved with Lucy to Banff, where his final chapter began. If you were a decorated veteran of two wars and an original member of the NWMP, what would you do upon retiring to the little tourist town of Banff? How about picking up work at the Natural History Museum and poaching musicians from dance halls and silent cinemas to form another band? That is exactly what Fred did upon arriving in town. Quickly dubbed simply “Major” by the community, he put together a group of local talent to perform for tourists at the Banff Springs Hotel and to play in the park during the summer (and the Lux Theatre during the winter), as well as at various community events, celebrations, and the Calgary Stampede. Fred Bagley was known as an impressive man by Pat Brewster, and was easily picked out of a crowd thanks to his perpetually perfectly parted hairdo, waxed mustache, and ramrod bearing. Always the military man, he conducted the Banff Citizens’ Band with the same gusto he would have given as a Mountie, which particularly had an impact on a young Louis Trono. At just 14, Trono was picked by Fred to join his band as a trombonist and, in a Crag & Canyon article from 2000, remarked about his old band leader: “Thanks to Major Bagley’s early discipline and encouragement, I became a musician… He contributed much to the life of the Banff community for many years.”[1] In October 1945, Fred passed away. While obituaries published in veterans’ magazines and newspapers spoke mostly to his military career, photographs from his funeral show a man who was clearly respected and who would be deeply missed by his community. As a lifelong resident of Banff myself, I thought I knew all of our old guard, but in getting to know Major Fred Bagley I have learned there are always new people to meet and more stories to tell. [1] The Major was no minor player, Louis Trono/author, The Banff Crag & Canyon, Wednesday January 26, 200, 19A Images: 1. Portrait of Major Fred Bagley, [ca. 1925], Whyte Museum of the Canadian Rockies, Archives General File Collection (V8 / 1149 / PA – 1) 2. “D” Troop NWMP and pack train crossing the Rockies, 1888, Whyte Museum of the Canadian Rockies, Gray Campbell fonds (V113 / PA-7) 3. NWMP post in early days [newsclipping], [ca. 1890], Whyte Museum of the Canadian Rockies, Alice Fulmer fonds (M70 / 138 – 3) 4. Mr. & Mrs. Fred Bagley, [ca. 1925-1935], Whyte Museum of the Canadian Rockies, Round family fonds (V547 / II / B / NA-10) 5. The Late Major Fred Bagley, [ca. 1945], Whyte Museum of the Canadian Rockies, Alice Fulmer fonds (M70 / OS / C / 87-2) 6. Banff Citizens’ Band, [ca. 1920-1930], Whyte Museum of the Canadian Rockies, Keno Balla fonds (V1 / PA-5) Note: You can just spot young Louis Trono third from the left, back row, diagonally behind Major Bagley’s right shoulder. 7. [Major Fred Bagley portrait card], 1936, Whyte Museum of the Canadian Rockies, Keno Balla fonds (V1 / PA-3) 8. Banff Citizens’ Band, [ca. 1920-1930], Whyte Museum of the Canadian Rockies, Keno Balla fonds (V1 / PA-3) Note: Major Bagley can be seen front centre holding his trumpet, to his right sits Pat Brewster. 9. Major Fred Bagley and collection, [ca. 1935-1940], Whyte Museum of the Canadian Rockies, Round Family fonds (V547 / II / B / NA-11) 10. [Funeral of Major Fred Bagley, 1945, Whyte Museum of the Canadian Rockies, Peter and Catharine Whyte fonds (V683 / III / B / NA-2295)

Masks of Resilience

By Courtney Maxwell-Alves, Manager of Development “Concealment and revelation, identity and representation, myth and magic – these are intimately connected to masks.”[1] On March 11, 2020, the World Health Organization declared COVID-19 a global pandemic. Five days later, Canada closed its borders to international visitors, and life really hasn’t been the same since. Yet, arts and culture remain a driving force of resilience, providing ways to cope and understand the world around us when it seems impossible to do so. Inspired by the upcoming exhibition entitled Breathe. at the Whyte Museum of the Canadian Rockies, as well as the strange, scary, and almost unbelievable times we find ourselves in, I determined it was important for us to look a little more closely at the history of masks and why this remains relevant today. Humans have been making masks for millennia. The oldest masks that have been found date back to the Neolithic Era and demonstrate the significance of ceremonies such as funerary rituals (e.g. death masks in ancient Egypt).[2] Masks, and the ceremonies associated with them, have been used to worship, welcome new seasons, disguise, frighten, conceal and reveal, communicate and connect, record and tell stories, inspire, entertain, and protect. They have been made and used by everyone, for a multitude of reasons: mask making transcends culture, time, and place. But, what is a mask? Generally, a mask is described as some kind of face covering used to either disguise or protect the wearer. In this definition you may think of a Halloween mask or a hockey mask. Masks can also be the head of a figure or an animal used in cultural rituals or theatre, a “false face” worn at carnivals, and a “face” or sculpture made from a mold.[3] Masks can be sacred and provide a link to the past (e.g. masks used to perform the Dance of the Conquest ceremony in Guatemala), they can be fun and used for fantasy and masquerades (e.g. Venice Carnival, Comic Con), and they can serve as a first line of defense (e.g. gas masks during World War I, medical/non-medical masks during a pandemic). There are so many different ways to define what a mask is, but rarely can that definition be divorced from art and culture. Mask making is a skill representing traditional knowledge. For example, in Uttarakhand, India, masks are made to bring life to gods and goddesses, and mask making is considered a sacred skill that is typically passed down through families.[4] Another example, taken from the Whyte Museum’s Art and Heritage database, is the mask making tradition of the Indigenous Peoples of the Pacific Northwest. The untitled mask below was carved by Doug Cranmer (1927-2006), an artist, skilled carver, and a Hereditary Chief of the Namgis Nation. This mask is part of the Gems Within: 50 Years of Collecting exhibition in the Founder’s Gallery at the Whyte Museum, and includes the following description: “For the First Peoples of the Pacific Northwest, winter was a time of dance and performance. Among Northwest Coast Peoples, including the Kwakwaka’wakw, Makah, and Nuu-chah-nulth, masks were an essential part of important winter ceremonies, which re-enacted the adventures of hero-ancestors and spirit beings in the mythological past. The rights to these ritual dances were passed down in families as treasured privileges…” As we are familiar with today, if worn correctly, masks can also be functional and protective. One of the most interesting things for me from the last six months is the contemporary connection to past viruses, notably the 1918-1919 Influenza outbreak, which killed between 20 and 100 million worldwide. Among other public health measures, wearing a non-medical mask was mandated across Canada (and elsewhere), including Alberta. As you can see from the below image, residents of Banff in 1918 also wore masks, and like today some were creative in the way they wore them. Whether we wear a mask to celebrate, worship, or protect, human connection is a central theme to the mask story and to the upcoming Breathe. exhibition at the Whyte Museum. So, too, is resilience in the face of plagues and pandemics, something humans have experienced and overcome throughout history. As we sit in the middle of a current pandemic, I am grateful to know this. Co-curated by Métis artists Nathalie Bertin and Lisa Shepherd, Breathe. is a collection of traditionally crafted masks demonstrating resiliency through the 21st century. Using Facebook as a platform to connect and share, Bertin and Shepherd invited Indigenous artists to create masks that reflected emotions felt during COVID-19. Recognizing the global impact, the call was expanded to include any artist to create a mask reflecting their own culture and practice. This ingenious project and collection of masks make connections to our shared past, present, and future. This exhibition beautifully demonstrates the significance of art and craft, culture, traditional skills, and the universality of resilience. The masks and the stories associated with, from fear, sadness, hope, and love, are unique, beautiful, and particularly poignant today. Using a variety of traditional and non-traditional materials, the 45 masks that make up the Breathe. exhibition take my breath away. Towanna Miller-Johnson’s Corona Covid mask, with traditional Indigenous motifs and reference to the plague doctor, made me gasp the first time I saw it. The sheer talent and thought that went into creating these masks will stop you in your tracks. And so they should. This project not only called upon artists to provide visual representations and reflections of the COVID-19 experience through masks, but it also calls on the viewer to reflect on their own emotions and resilience in the face of a pandemic. After all, masks are about human connection. Breathe. is now open at the Whyte Museum of the Canadian Rockies. Following COVID-19 protocols, come see and experience the masks for yourselves – you’ll be glad you did! Museum Hours (closed Monday to Wednesday) Thursday – Friday, 12 to 6 p.m. Saturday – Sunday, 12 to 5 p.m. Endnotes:
[1] Exhibition: "Masks, Other Worlds" held at Crafts Museum, Delhi: April 2013. Accessed online on September 14, 2020 (https://artsandculture.google.com/exhibit/masks-other-worlds/KALi-66YoqD6KA). [2] Belting, Hans. Face and Mask: A Double History, Princeton: Princeton University Press, 2017, pp.32-37. https://books.google.ca/books?id=sxL6jwEACAAJ&lpg=PP1&pg=PP3#v=onepage&q&f=false. [3] “Mask,” Merriam-Webster. Accessed September 10, 2020. https://www.merriam-webster.com/dictionary/mask.
[4] Exhibition: Mukhota: Mask Making and Craft, Traditions from Uttarakhand created by Project FUEL, 2018. Accessed online on September 14, 2020 (https://artsandculture.google.com/story/UwUxZtP0_KKS3A). Image Captions: Belting, Hans. Face and Mask: A Double History, Princeton: Princeton University Press, 2017, p. 35 (screenshot taken by author September 10, 2020). Gas Mask. 1916 – 1916. fibre; metal; glass; rubber. 23.0 (b) x 22.0 (a); 8.5 (b) x 65.0 (a) (inclusive); 25.0 (b) cm. Gift of Pearl Evelyn Moore, Banff, 1979. 104.51.0001 a,b. Whyte Museum of the Canadian Rockies. Sarain Stump (1945 – 1974, Canadian). Untitled. n.d. wood; feathers; paint; skin. 16.5 x 4.0 x 6.3 cm. Gift of Catharine Robb Whyte, O. C., Banff, 1979. StS.06.04. Whyte Museum of the Canadian Rockies. Doug Cranmer (1927 – 2006). Untitled. prior to 1970. cedar; paint. 17.0 x 16.0 cm. Purchased from Quest, Banff, 1969. CrO.06.01. Whyte Museum of the Canadian Rockies. “Banff Honor Flag” Victory Loan Float [note: influenza masks], 1918, Whyte Museum of the Canadian Rockies, Dave White family fonds (V681/A/1/pa-115) Towanna Miller-Johnson (Kahnawake, Q.C.), Corona Covid (detail), 2020, Photographer: Nathalie Bertin, 38 x 15 x 17.8 c.m., No. 20-006

Memberships and Development Update

Back to The Cairn As the new Manager of Development at the Whyte Museum of the Canadian Rockies, I think it is important to introduce myself to our membership and donor base. Hello! My name is Courtney Maxwell-Alves. I am originally from Toronto, but I have been living in the Bow Valley for the past three years. I first came to Banff to speak at a conference while I was a graduate student at the University of Toronto’s Faculty of Information. I fell in love with the mountains and as they say, the rest is history! After relocating to the mountains, I committed myself to learn about and help preserve the local history and heritage in Banff. Working as the Graduate Heritage Planner for the Town of Banff in 2018 really inspired this commitment, eventually leading me to the Whyte Museum. In saying all of this, you might recognize me: I first began working at the Whyte Museum in May 2019 as the Archive and Library Assistant and have contributed to previous issues of The Cairn. Although I have been in the Memberships and Development department for almost a year, I am excited to take on the role and responsibilities as Manager of Development. I have extensive experience working for non-profit arts organizations, usually in a number of different roles but all incorporating some from of development. Much of my experience and skills development have been around grant writing, fundraising, and fostering membership programs, which I am excited to put to use here at the Whyte. My passion for heritage, knowledge and understanding of the various priorities an arts and heritage organization like the Whyte contends with, and my skills as a trained archivist make for a unique and exciting perspective to bring to the Memberships and Development department. Most of all, I am here for YOU – our members and donors! I would love to connect with you – please feel free to call, email, or visit me at the Museum. In these challenging times, the COVID-19 pandemic offers us the opportunity to change and adapt, and I am working diligently to create an even more dynamic and engaging Memberships and Development department at the Whyte. Courtney Maxwell-Alves 403-762-2291, Ext. 315 cmaxwellalves@whyte.org Back to The Cairn

Albert Bierstadt in the Canadian Rockies

By Anne Ewen, Chief Curator of Art and Heritage Back to The Cairn Albert Bierstadt (1830 – 1902, American), Bow River Falls, Canadian Rockies, c. 1889, oil on canvas, laid on board, collection of the Cincinnati Art Museum, courtesy of the Hirschl and Adler Galleries, New York Following is a brief summary of Canadian essayist Allan Pringle’s article "Albert Bierstadt in Canada," published in The American Art Journal/Winter 1985. In June 1887, American artist Albert Bierstadt (1830 – 1902) introduced himself by letter to the Canadian Pacific Railway Manager, Sir William Cornelius Van Horne and requested maps and photographs in preparation for a proposed tour in August. Widely acclaimed as an artist and well-connected, Bierstadt was known to Van Horne by reputation as a man of great self-esteem with powerful and respectable friends. As such Van Horne not only offered free transportation and accommodation to Bierstadt but also to his wife, her maid, and a group of visiting friends from Europe. However, on August 2nd, Bierstadt changed his plans, informing Van Horne that only he and one other would make the trip. For a second time, passes and letters of introduction were supplied. Again Bierstadt changed plans and this time wrote unapologetically to Van Horne from Lucerne, Switzerland. Then in May 1888, Van Horne sent Bierstadt additional materials, hoping to tempt the master painter to the Rockies. Meanwhile, Bierstadt was corresponding with CPR President Sir George Stephen (1829 – 1921) about his rejuvenated interest in painting the Rockies. Nonetheless, Bierstadt became preoccupied and remained in New York. Finally, Bierstadt departed Montreal on July 30, 1889 bound for Winnipeg, Banff, Donald and Vancouver with free, first class accommodation provided at the Banff Springs Hotel, Glacier House and Hotel Vancouver. While resting at Glacier House, he met Canadian painter Frederick Marlett Bell-Smith (1846 – 1923), who as one of the first wave of CPR painters, had been to the Rockies every summer since 1887. Both eager to capture new scenes, the two artists set out together, spending September camping and sketching at Lake Louise and in the Bow River Valley. From their experience together Bierstadt’s influence had inspirational effects on Bell-Smith, instilling a renewed interest in painting the Rockies. Consequently, Bell-Smith’s numerous trips to the region earned him the title “The Premier Painter of the Rockies”. The Whyte Museum extends special thanks and appreciation to Eric W. Baumgartner, Senior Vice President, Hirschl & Adler Galleries, Inc. N.Y. for arranging the loan of this painting. This painting is on display in our current feature exhibition,Drawn to the West, until January 17, 2021. This exhibition focuses on artists that have been drawn to western Canada for centuries. The vastness of the prairie and the magnitude of the mountain landscape has both captivated and challenged artists. Drawn to the West features the art and artifacts of these adventuresome individuals including images of hieroglyphics to present-day creations. Back to The Cairn

Whyte Museum Update

Back to The Cairn New Fall and Winter Hours Beginning on September 10, 2020, the Whyte Museum's hours are changing to: Monday – Closed Tuesday – Closed Wednesday – Closed Thursday – 12 to 6 p.m. Friday – 12 to 6 p.m. Saturday – 12 to 5 p.m. Sunday – 12 to 5 p.m. **Please note that we will be accepting private, booked tours Monday – Wednesday, more details coming soon. The Archives and Special Collections will continue to be open by appointment. Long distance reference services are available. If you require more information about our archival services please email archives [at] whyte.org. We will continue to have our exhibitions open and are proud to welcome the Breathe. exhibition in early October. Breathe. is a collection of traditionally crafted masks demonstrating resiliency through the 21st century. Co-created by Métis artists, Nathalie Bertin and Lisa Shepherd, artists were invited to create masks which reflect emotions felt during the current COVID-19 global pandemic. Realizing the entire world was being affected by the pandemic, they expanded their call to any artist that would like to create a mask that reflects their culture and art practice. Included with each mask is a story by the maker reflecting the variety of emotions currently being felt around the world. From fear, sadness, hope, and love, these stories are unique and beautiful. This exhibition will inspire and challenge visitors to consider their own resilience in the face of a pandemic. Our current feature exhibition, Drawn to the West will continue to be on display until January 17, 2021. During this time we will be working diligently behind-the-scenes on some new exciting projects – stay tuned! Back to The Cairn

New in the Shop

Back to The Cairn We are excited to continue the expansion of our book selection in the shop. Need a new read or a map to guide you on your backcountry adventures? Drop by and pick-up yours today! Here are a few of our newest arrivals: Starlight (2019) – Richard Wagamese $19.95 + GST From the Publisher (Penguin Random House): Frank Starlight has long settled into a quiet life working his remote farm, but his contemplative existence comes to an abrupt end with the arrival of Emmy, who has committed a desperate act so she and her child can escape a harrowing life of violence. Starlight takes in Emmy and her daughter to help them get back on their feet, and this accidental family eventually grows into a real one. But Emmy's abusive ex isn't content to just let her go. He wants revenge and is determined to hunt her down. Starlight was unfinished at the time of Richard Wagamese's death, yet every page radiates with his masterful storytelling, intense humanism, and insights that are as hard-earned as they are beautiful. With astonishing scenes set in the rugged backcountry of the B.C. Interior, and characters whose scars cut deep even as their journey toward healing and forgiveness lifts us, Starlight is a last gift to readers from a writer who believed in the power of stories to save us. Feasting Wild: In Search of the Last Untamed Food (2020) – Gina Rae La Cerva $32.95 + GST From the Publisher (Greystone Books): Two centuries ago, nearly half the North American diet was found in the wild. Today, so-called “wild foods” are becoming expensive commodities, served to the wealthy in top restaurants. In Feasting Wild, geographer and anthropologist Gina Rae La Cerva traces our relationship to wild foods and shows what we sacrifice when we domesticate them—including biodiversity, Indigenous knowledge, and an important connection to nature. Along the way, she samples wild foods herself, sipping elusive bird’s nest soup in Borneo and smuggling Swedish moose meat home in her suitcase. Thoughtful, ambitious, and wide-ranging, Feasting Wild challenges us to take a closer look at the way we eat today. On Pandemics: Deadly Diseases from Bubonic Plague to Coronavirus (2020) – David Waltner-Toews $22.95 + GST From the Publisher: Written by a leading epidemiologist, this engrossing book answers our questions about animal diseases that jump to humans – called zoonoses – including why they have become more common in recent history, and what we can do about them. Almost all pandemics and epidemics – including SARS, Ebola and now COVID-19 – have been caused by diseases that come to us from animals. In On Pandemics, David Waltner-Toews gathers the latest research to profile dozens of illnesses. Why do zoonotic diseases jump from animals to humans – and why do some hang around for good? How have governments responded to pandemics and epidemics throughout history, for better or worse? How have climate change, industrialized farming, cultural practices, biodiversity loss and globalization made these diseases not only possible, but the inevitable outcomes of our modern lifestyles? Coronaviruses have made bats their home for centuries. Until SARS came along, we didn’t know they were there, nor do we know how many other death-dealing viruses might be living undetected in wildlife. On Pandemics examines the increasing impact of animal-borne diseases on our world, and encourages us to re-examine our role in pandemics – for the health of the planet as well as our own survival. Banff, Jasper & Glacier National Parks, 5th Edition – Gregor Clark, Michael Grosberg, and Craig McLachlan (2020) $28.99 + GST From the Publisher (Lonely Planet): Sit atop a mountain, hike through the forest, feel the spray of a waterfall: Banff, Jasper and Glacier offer outdoor experiences at their simplest and best. Lonely Planet is your passport to Banff, Jasper and Glacier National Parks, with amazing travel experiences and the best planning advice. Take in mind-blowing mountain panoramas on the Icefields Parkway, drive Going-to-the-Sun Rd to jaw-dropping Logan Pass, and stop for genteel afternoon tea at Lake Agnes; all with your trusted travel companion. Get to the heart of Banff, Jasper and Glacier National Parks and begin your journey now! Inside Lonely Planet’s Banff, Jasper and Glacier National Parks Travel Guide: Colour maps and images throughout Highlights and itineraries help you tailor your trip to your personal needs and interests Insider tips to save time and money and get around like a local, avoiding crowds and trou-ble spots Honest review for all budgets - eating, sleeping, sight-seeing, going out, shopping, hidden gems that most guidebooks miss Cultural insights give you a richer, more rewarding travel experience - the Parks today, history, geology, wildlife, conservation Back to The Cairn

Dispatch from the Whyte home: Backpacking Gear Through the Ages

By Amie Lalonde, Collections Cataloguer Back to The Cairn Hello from the Whyte Home! Since finishing up in the Moore Home I’ve started cataloguing the home of the museum’s founders: Peter Whyte and Catharine Robb Whyte. The Whyte home is newer than the Moore home (it was built in 1930–1931 and renovated several times between then and 1959) but it still has the same cozy cabin vibe as the Moore home. The spirits of Pete and Catharine are still very much alive in their home and every room is chock full of art, artifacts, and books that showcase their love for travel, art, and the wonderful landscapes of the Canadian Rockies. As we all adjust to what will mostly likely be the strangest summer of our lives many of us are spending more and more time outside, physically distancing, and enjoying nature. With camping season well underway I thought I’d take you through a selection of gear that is simultaneously familiar and very different to what we have today. All of the gear in the article below is stored within the built in benches in the dining area in the Whyte home. This home is full of clever storage solutions like this to make the most of the space. From painting en plein air at Lake O’Hara to skiing the Skoki Valley, both Pete and Catharine spent an enormous amount of time exploring the mountains much like residents of the Bow Valley and thousands of visitors still do each year. The gear that Pete and Catharine wore and carried is in some ways vastly different to the gear that we carry today. Some gear is similar — there’s only so many improvements that can be made to a stainless steel cup, plate, or cutlery set (though the spork had yet to be invented!). However, the most important pieces of gear — shoes, backpack, sleeping gear, and clothing, has changed immensely. The most notable differences in gear then versus now are: weight and waterproofing. Today’s backpackers wouldn’t even think about going into the backcountry without Gore-tex and consider weight down to the gram when choosing gear. In Pete and Catharine’s day gear was heavy, wool and canvas were the main materials used in backpacks, sleeping bags, and clothing. Below are two of Peter and Catharine’s backpacks. Both are heavy canvas with triangular frames on the back. Also below is an archival photograph (V683 / III / A / 15 / PA - 184) of Peter and Catharine hiking with full packs. In this archival photograph you’ll also notice the studded boots both are wearing. These “hobnail” boots had thick leather soles with short, thick-headed nails driven into the sole for traction and durability. These were used by hikers and mountaineers before the advanced mountaineering and hiking boots that we rely on today. Visit the museum for an up close view of a pair of these boots in our heritage gallery! Above Left: Backpacks, 103.08.0324 and 103.08.0329. Gift of Catharine Robb Whyte, Banff, 1979. Above Right: Peter Whyte and Catharine Robb Whyte hiking, Peter and Catharine Whyte fonds, Whyte Museum of the Canadian Rockies (V683/III/A/15/PA-184) Above: Peter and Catharine Whyte on hike, resting on slope [c. 1930s], Peter and Catharine Whyte fonds, Whyte Museum of the Canadian Rockies (V683/III/A/15/PA-833) What was inside Peter and Catharine’s packs? Much of their gear around the campfire is pretty similar to what we still use today, if only a tad more rustic. Above: Image of (left to right) Catharine Whyte, Adeline Link, J. E. H. MacDonald, Peter Whyte posing for a photograph on a hike - "The Opabin Shale Splitters", Peter and Catharine Whyte fonds, Whyte Museum of the Canadian Rockies (V683 / II / B / PA - 49) Below is a selection of their dishes, cookware, and camp accessories including: salt and pepper shakers (one made from a Kodak film canister), a foldable lantern (centre), a box of fire starters, stacking cups and bowls, a set of stacking cooking pots, a thermos, and different variations of camp cutlery. One thing that struck me most when looking at their food and beverage accessories was the weight of some of it. While everything below is rather light, they had a variety of very heavy thermoses that were all obviously well-used. From left to right: Stainless Steel Thermos (104.20.0730): 714g Thermos with red cup cap (104.20.0732): 407g Pair of Sterling Thermoses with cup caps and leather case (104.20.0727 a-c): 417g, 510g, 541g (case) Stanley vacuum bottle with cup cap (104.20.0728): 1.4lbs That last one is not a typo, this thermos is extremely heavy. At this weight I doubt this thermos was used on backpacking trips but it is obviously well used and was possibly a road trip or car camping companion. Below is a sleeping bag, or rather, a “down-filled sleeping robe”. While this is the smallest of the three sleeping bags I have come across thus far in the Whyte home it is still quite bulky and heavy. While it is possible that Peter or Catharine carried this in (it is advertised as for “mountaineers” after all), I suspect it was most likely carried by horse or used solely on car-camping trips. Above: Sleeping bag, 103.08.0469. Gift of Catharine Robb Whyte, Banff, 1979. For a gear comparison, here is a photograph of everything I carried on my back for a recent camping trip to Lake O’Hara. My 55 litre bag weighed 42lbs with gear, clothing, food (not pictured), and a full hydration bladder – I very much did not pack light on this trip. My stainless steel pot in the centre wouldn’t have been out of place in Peter and Catharine’s packs but nearly all of the other gear would have been foreign to them. From the size of my sleeping pad (the yellow bundle) and sleeping bag (upper left) to the waterproof stuff sacks that hold my clothing and food – the advances in camping gear make for much lighter and weather resistant packs now. Last but not least, clothing! One of Catharine’s signature hiking looks involved this beautiful kilt, shown in archival photos below and currently on display in our heritage gallery. Other clothing includes wooden pants and jackets, brimmed hats, high socks, and enough tweed to outfit a history faculty lounge 10x over. Definitely a far cry from the brightly coloured Gore-tex and down jackets we employ against the elements today. Above: Kilt, 103.05.0125, c. 1935-1950, Gift of Catharine Robb Whyte, Banff, 1979. Seen inside the Heritage Gallery at the Whyte Museum of the Canadian Rockies, Banff Left: Peter Whyte, Catharine Whyte wearing backpacks and hiking with Victoria Glacier in background [c. 1930], Peter and Catharine Whyte fonds, Whyte Museum of the Canadian Rockies (V683/III/A/1/PD-1/70/001) Right: Unidentified hikers, [ca. 1930 to ca. 1936], Peter and Catharine Whyte fonds, Whyte Museum of the Canadian Rockies (V683/III/A/5/PA-96) If you’re interested in a further look at old gear, check out this video where a group of amateur climbers set out to re-enact the 1916 ascent of Bugaboo Spire in BC’s Purcell Mountain Range using the very gear and clothing that those first climbers would have used a hundred years ago. That’s all for now, I hope you enjoyed this look at the camping gear that was used 90 years ago and that it gives you something to think about as you’re out on the trails this summer. Stay tuned for more dispatches from the Whyte Home in the coming months! Back to The Cairn

Philippe Delesalle 1929 – 2020

By Chic Scott Back to The Cairn Philippe was an accomplished horseman. This is a portrait of Jaka and Philippe on Horsethief. Philippe Delesalle, the architect who designed the original Whyte Museum of the Canadian Rockies died in Canmore on July 6, 2020. A passionate architect, Philippe built the museum from what he called “noble materials” — stone, wood, steel and concrete. His good friend, Catharine Whyte, asked him to design the building and worked closely with him on the project. Philippe always included art in his buildings and the Whyte Museum was no exception. He commissioned Robert Oldrich to design a steel grill and a magnificent steel candelabra (pictured below) which still can be seen near the stairway at the north end of the Gateway room. Philippe was born near Lille, in Normandy, France, on September 17, 1929. His father was a successful industrialist and Philippe grew up in a comfortable home where he learned to ride at an early age. This is a photo of Philippe on the main street of Banff in 1952 when he first arrived in Banff. In 1950 Philippe set off to travel the world but fell in love with the Rocky Mountains and settled in Banff in 1952. During the winter of 1952/53 he worked as a lift operator on the Strawberry rope tow at Sunshine Village Ski Resort where he met Hans Gmoser who was guiding clients to Mount Assiniboine. The pair became fast friends and shared many great adventures together, including an ascent of the East Ridge of Mount Logan in 1959 and an attempt on the Great Divide Ski Traverse in 1960. Philippe graduated in 1959 with a degree in architecture from McGill University and had a very successful career. He designed five churches in Calgary and Bishop Grandin High School but it is as a designer of mountain structures that he is known. In 1967 he designed Bugaboo lodge for his old friend Gmoser and over the years designed several more heli-ski lodges for Canadian Mountain Holidays – in the Cariboos, Bobbie Burns, and Adamants. His work also includes the hotel (1965) and the day lodge (1967) at Sunshine Village Ski Resort. In 1960 with Martin Cohos he created Cohos/Delesalle which still exists today as Dialog one of Canada’s most successful architectural firms. A keen mountaineer, Delesalle also played a key role in designing small backcountry shelters for skiers and climbers: the Asulkan Hut near Rogers Pass and the first iterations of the Balfour, Peyto and Bow Huts on the Wapta Icefields. An adventurer at heart, Philippe lived with the Inuit in Alaska for six months, crossed the Sahara Desert on foot and camel, sailed the Atlantic Ocean and flew a light plane the length of the Americas. In 1970 he purchased Swansea Ranch in the Columbia Valley where he took great pleasure raising horses and working the land. Mireille and Philippe Delesalle on the summit. Philippe married Mireille Le Bars in 1960 and they settled in a lovely little house in Canmore along Policeman’s Creek. They had three children – daughter Nathalie and sons Bruno and Marco. Philippe lived a rich and interesting life. He loved good music, good books and above all great architecture. He also was a very talented photographer. He had many friends and was blessed with a wonderful wife with whom he shared sixty years. Philippe Delesalle played an important role in our Rocky Mountain Community and was awarded the Banff Mountain Film Festival Summit of Excellence Award in 2011. Philippe hiking in 2011 Donations in memory of Philippe may be made to The Alpine Club of Canada “Philippe Delesalle Fund”, created to support and benefit disadvantaged children and youth who would otherwise have limited opportunities or prospects to experience the mountains, mountain life, and culture. The welcoming new entrance to the Archives and Special Collections draws attention to original architectural design by Philippe Delesalle, including the distinctive chandeliers by Robert Oldrich. Back to The Cairn

What's It

Back to The Cairn One person’s discard may be seen by another as a treasure. With this in mind, the curatorial team has pulled together an eclectic array of objects that represent the vast abundance of items within the collection. At a time when collecting in museums was less selective, items were often acquired with missing information about the maker, the date it was made, its origin, and how it came to be owned by the donor. From a museological perspective, these facts help form the objects whole story or merit and are now prerequisites in assessing a gift’s acceptance. But wait – why is a wolverine-mangled tin can in the museum collection? The wolverine can has an established and attention-grabbing provenance and the rationale for preserving it is known. The Whyte Museum’s catalogue record reads: In 1932, the food was taken into Skoki ski lodge in the fall by packhorse, and this lard tin, among other things, was stored in the lodge (or "Wolverine Cabin, named for this incident?). During the winter a wolverine broke in through the roof of the cabin leaving this lard tin as evidence of what had happened. Peter and Catharine Whyte were running Skoki at the time and discovered the tin in February of 1933. They kept the tin to display the results of a wolverine's strength. Some of the objects displayed have a curious story, others not so much. What objects do you think warrant being collected? Back to The Cairn

The Wandering Whytes: Hawaii

By Kayla Cazes, Marketing and Communications Manager Back to The Cairn 1933 – 1934 This new blog series,The Wandering Whytes will take us on a journey of Peter and Catharine Whyte's extensive travels. Deep in the Archives and Library of the Whyte Museum, you will find the letters of Catharine Robb Whyte. As an avid letter writer, many of their trips and activities were recorded in great detail. Her words seem to come alive as she describes their experiences, the people they met, and the cultures they immersed themselves in. Follow us as we journey around the globe based on the detailed descriptions of Catharine's letters. Catharine Robb Whyte (1906–1979, Canadian), Hawaii, 1933-1934, oil on canvas, 12.6 x 17.8 c.m., Whyte Museum of the Canadian Rockies, WyC.01.020 On Friday, October 27, 1933, Peter and Catharine boarded the SS Lurline in San Francisco, California, bound for Honolulu, Oahu, Hawaii. Built in 1931/32, the SS Lurline was a part of the Matson Line, which served the Pacific Ocean. Matson, also owned the popular Moana Hotel and the Royal Hawaiian Hotel in Waikiki, Honolulu, Oahu, Hawaii. [SS Lurline in Honolulu harbour, Hawaii Album], [1933], Whyte Museum of the Canadian Rockies, Peter and Catharine Whyte fonds (V683/III/A/1/PD/5/1/3) [Catharine in Hawaii, Hawaii Album], [1933], Whyte Museum of the Canadian Rockies, Peter and Catharine Whyte fonds (V683/III/A/1/PD/5/61) Peter Whyte (1905–1966, Canadian),Honolulu, Hawaii, 1934, oil on canvas, 27.5 x 35 c.m., Whyte Museum of the Canadian Rockies, WyP.01.045 Arriving in Honolulu on November 2, 1933, Peter and Catharine would check into the Moana Hotel in Waikiki. She would write to her mother on November 4th, “Without a doubt this is the loveliest spot you ever saw and much to my surprise I haven’t been too hot yet.” [Honolulu, Hawaii, Hawaii Album], [1933], Whyte Museum of the Canadian Rockies, Peter and Catharine Whyte fonds (V683/III/A/PD//5/29/5) Within a few days of being in Honolulu, Catharine stated, “. . .everyone is so happy and friendly, you can’t help but feel friendly too.” This characteristic of Catharine and Peter to go into the community and culture that surrounded them is a continuous theme throughout their travels. They wanted to get to the heart of the places they visited, beyond the typical tourist spots. [Catharine and unknown child in Honolulu, Hawaii, Hawaii Album], [1933], Whyte Museum of the Canadian Rockies, Peter and Catharine Whyte fonds (V683/III/A/1/PD/5/59) Peter and Catharine would stay in Honolulu for a few weeks. During this time, they were able to explore their surroundings. By engaging with the community they were able to find unique areas to paint the landscape. Peter Whyte (1905–1966, Canadian), Sisal, Wilhililina, Rise, Honolulu, 1934, oil on masonite, 27.5 x 35 c.m., Whyte Museum of the Canadian Rockies, WyP.01.033 Catharine aptly stated that, “Honolulu is as lovely as ever, the weather, perfect with maybe an occasional shower, the sunsets are the most beautiful [I] have ever seen and last nearly an hour as a rule. The sun sinks into the Pacific and there is an orange glow, the light gradually seems to drop…” Peter Whyte (1905–1966, Canadian),Surf, Hanalei, Hawaii, 1933, oil on canvas, 27.5 x 35 c.m.,Whyte Museum of the Canadian Rockies, WyP.01.029 [Kauai], [1933], Whyte Museum of the Canadian Rockies, Peter and Catharine Whyte fonds (V683/III/A/1/PD/5/49) By Sunday, November 19, 1933, the couple had left Honolulu, Oahu and were settled into a small cottage in Hanalei on the island of Kauai. In Catharine’s letters she speaks about how “everyone [said] it’s the loveliest island of all but it’s very quiet which is what we want for painting.” Below are images of the small cottage they rented and the vehicle they purchased to explore the island. [Cottage rental and vehicle, Hanalei, Kauai], [1933], Whyte Museum of the Canadian Rockies, Peter and Catharine Whyte fonds (V683/III/A/1/PD/5/33/1-2) [Cottage rental, Hanalei, Kauai], [1933], Whyte Museum of the Canadian Rockies, Peter and Catharine Whyte fonds (V683/III/A/1/PD/5/33/3-4) On the small island of Kauai, Peter and Catharine found rhythm and routine. They focused hard on sketching and painting their surroundings–driving their car to remote villages and surrounding fields around the island. Catharine stated that “life goes on very pleasantly for us, it’s an ideal place to concentrate in…I don’t feel too lazy, and no one bothers us as all.” [Catharine on beach], [1933], Whyte Museum of the Canadian Rockies, Peter and Catharine Whyte fonds (V683/III/A/1/PD/5/53) Through this time, they were able to produce many sketches and paintings, which are currently held in our art and heritage collections. Peter Whyte (1905–1966, Canadian),Lihue Cane Fields, Kauai, Hawaii  1934, oil on canvas, 27.5 x 35 c.m., Whyte Museum of the Canadian Rockies, WyP.01.037 Catharine describes the difficulties of painting the vibrancy of Hawaii to her mother: “You ask about the painting, on the whole it is going very well. That is/we are probably painting [more] than ever before but feel the pictures are much worse. We get awfully discouraged but shan’t give up. The colour is all blue and green. After rain a weird sort of green. The blue softer than the Rockies, the conditions ideal and no one bothers us and we are free to do as we like...We could be quite social but are avoiding it as much as possible in order [...] to paint.” Peter Whyte (1905–1966, Canadian),Sugar Cane Fields, Kauai, 1934, oil on canvas, 27.5 x 35 c.m., Whyte Museum of the Canadian Rockies, WyP.01.039 Throughout Catharine’s letters she describes significant events in passing such as the December 2, 1933 volcanic eruption of Mauna Loa on the Big Island of Hawaii. Known as one of the world’s largest volcanoes, it also holds the record for being the tallest. Measuring from the base of the volcano on the sea floor to the summit it is over 33,000 feet high. Catharine recalls this event by mentioning briefly how the sunlight was blocked out and how they weren’t too worried about it. After being in Hanalei for almost a month, the couple chose to move to the opposite side of Kauai from Hanalei to Koloa. By this time, they described their painting as “stagnant” and that they needed a “new eye”. On this move, we truly get a sense of how many items they carried dedicated to painting alone. From sketch boxes, to canvases, paints, tools and soaps they needed a significant number of supplies to complete sketches and paintings. [Koloa, Kauai, Hawaii], [1933], Whyte Museum of the Canadian Rockies, Peter and Catharine Whyte fonds (V683/III/A/1/PD/5/45) By Christmas 1933, the couple was back in Honolulu. They stayed in a small bungalow at the Moana-Seaside Hotel. [Moana-Seaside Hotel, Honolulu, Oahu letterhead], [1934], Whyte Museum of the Canadian Rockies, Peter and Catharine Whyte fonds (M36) Luggage Travel Sticker, [Moana-Seaside Hotel and Bungalows, Waikiki Beach, Honolulu], [1925-1934], Whyte Museum of the Canadian Rockies, 103.08.0382 By February 1934, the Whytes welcomed the Moore's and Rungius’ to Honolulu for a visit. Catharine described how pleased they were to have visitors. She also went briefly into detail of their time with Carl Rungius and the advice that he gave them in regard to painting the landscape. [Left to Right – Edmee Moore, [Possibly Louise Fulda Rungius], Catharine Robb Whyte in Honolulu, Oahu, Hawaii], [1934], Whyte Museum of the Canadian Rockies, Peter and Catharine Whyte fonds (V683/III/A/PD/5/65/001) [Left to Right – Philip Moore, Peter Whyte, Catharine Robb Whyte and [Possibly Louise Fulda Rungius] in Honolulu, Oahu, Hawaii], [1934], Whyte Museum of the Canadian Rockies, Peter and Catharine Whyte fonds (V683/III/A/PD/5/65/001) By mid-March 1934, it was decided that Peter and Catharine would continue their travels by going to Japan. On March 16, they boarded the Canadian Pacific ship, Empress of Japan. Letter to Mother, Canadian Pacific Steamlines R.M.S. “Empress of Japan”, March 1934, M36/94 Arriving in Japan, Catharine wrote to her mother: “Here we are and I can hardly believe it even yet, and why in the devil you and Pete didn’t get me here before now I can’t imagine. I wouldn’t miss the little I’ve seen already for anything.” [Japan Album], [1934-1936], Whyte Museum of the Canadian Rockies, Peter and Catharine Whyte fonds (V683/III/A/PD/6/77/001) Their ability to engage themselves came from their willingness to truly experience a place and its people. More significantly, they applied themselves with taking the time to enjoy and relish in the seemingly insignificant moments. These moments are scattered heavily throughout Catharine’s letters. By writing them down and passing them on we can see how truly special they were to her. Tune in for our next blog on the wanderings of the Whytes! Next stop... Japan! Back to The Cairn

Dispatches from the Moore Home: The Attic

By Amie Lalonde, Collections Cataloguer Back to The Cairn The final room! This was the most challenging room that I tackled in the entire Moore Home. This was partially due to the structure of being in a small attic with a sloped ceiling. I added a crucial piece of equipment to my daily curatorial outfit: a bright yellow hard hat to keep me from banging my head on the roof that had only four feet of clearance at its highest point. Another challenge in this room was the lack of space to fully lay out the contents of several steamer trunks that were packed full of objects that ranged from Philip’s Princeton sweaters and academic gowns to beaded moccasins to beaver, lynx, and muskrat pelts. I was able to bring some objects downstairs to work on in the kitchen (my makeshift office for the duration of my time in the Moore home) and laid out foam on the attic floor for the remainder of the objects. Above: My makeshift workspace in the attic. I’m sitting in this picture so you can see how low the ceiling is. Above: Holding spears with my hard hat on. Above: Some of the objects that were in trunks in the attic. On the left are cigar boxes, puttees (long strips of canvas used as leg wraps by soldiers during the world wars). One cigar box held a collection of really interesting pipes (centre). Another trunk held a large assortment of arrows as well as two canvas targets (unused). The trunk that was full of animal pelts was probably the most challenging trunk. One reason for my work in the Moore Home was to go over work that was done in the past and identify objects that needed to be re-housed in order to better conserve them. The furs in this trunk were one such example. Being tightly packed in a trunk was not ideal so the decision was made to bring them into the museum proper to re-house them in our vault. Before they could be moved to the vault however, they first spent two weeks in a freezer to ensure that no lingering pests would be introduced to the museum. After that they were removed from the old trunk trays, wrapped in tissue, and placed in multiple acid-free boxes. These steps will ensure that they stay in the best condition possible for many years. Working in a museum means that I am constantly learning. While cataloguing the objects in the attic I came across two items that led me down a really interesting rabbit hole of new (to me) information. One was a canvas bag (pictured at right) and the other was a bug net, both sporting a label that read “Abercrombie and Fitch. New York, U.S.A. Complete Outfits for Explorers”. Like anyone who was a pre-teen and teenager in the mid-2000s, I am very familiar with Abercrombie and Fitch as it exists today. I had no idea, however, that it originated as a sporting goods store that outfitted the likes of Teddy Roosevelt, Amelia Earhart, and Ernest Shackleton on their outdoor adventures. It provided these types of goods from 1892 until the 1970s before transforming into the trendy fashion purveyor that I grew up with. With the attic finished, so too came the end of my time working in the Moore Home. Below is a stack of catalogue records of all the objects that I inventoried or catalogued over my eight months in the home. These paper records used to be the only records that the museum kept but with the technology we have today they exist simply as a backup in case our electronic records are ever lost. And with that, my dispatches from the Moore Home are done! Stay tuned for posts from the next leg of my next project: the home of Peter and Catharine Whyte! Back to The Cairn

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