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Exciting New Research Back to The Cairn We are pleased to announce that two new research proposals have been approved through the Lillian Agnes Jones Fellowship with the Whyte Museum. The Committee reviewed 11 applications and awarded two scholarships valued at $6000 each to Tyler Stewart and Felix Mayer. Tyler Stewart’s proposal “Listening to the Museum” will explore the role that sound plays in society and the literal and figurative “voices” that are inherent in our collections. Architecture student Felix Mayer will be exploring Canadian cultural attitudes towards the concept of “Wilderness” using writing, mapping, drawing, and architectural site investigations. In 2001, the Peter and Catharine Whyte Foundation/Whyte Museum of the Canadian Rockies received a bequest from the estate of Lillian Agnes Jones. Lillian Agnes Jones (1909-2000) was a cousin to Whyte Museum founder, Peter Whyte. Her mother, Elizabeth Jane, was Dave White’s sister. She and her husband Clifford Jones moved to Calgary in 1900. Their daughter, Lillian, was educated at the University of Alberta and University of Washington State, graduating in 1952 with a degree in Library Science. She was Head Librarian for Cal Standard Oil Company in Calgary, and was a member of the University Women’s Club. The Lillian Agnes Jones Fellowship was established “for study and research related to the history of Western Canada.” It is administered through the Whyte Museum with an open call for scholarly residency proposals across Canada. Successful applicants are expected to carry out their research at the Whyte, using its collections. Previous recipients were Stephanie Laine Hamilton whose “Booze and Bars in the Bow Valley” is being reviewed by a publisher, and Daniel Meister’s important research: “A ‘Red Tile in the Canadian Mosaic’? Indigenous Peoples and J. M. Gibbon’s Cultural Pluralism, 1920s-1950s” that is stirring attention among academic researchers. Back to The Cairn

Every Bead a BreathAdele Arseneau Every Bead a Breath Adele Arseneau Every Bead a Breath Artist Statement Every Bead a Breath Handmade Mask by Adele maskwasowiskwew Arseneau As an indigenous woman, I’ve largely passed through this existence feeling like I have no voice. Most of my art has been focused on creating around the endangered stories of others, to put them up on the proverbial soapbox, making them personable and real. It never occurred to me to tell my own story, with its roots so intertwined with this land now called Canada. All of my portrait carvings reflect this journey, with most of them only having the suggestion of a mouth. My hands do the speaking as they create the pieces I make. Using everything I am given, like my kohkoms before me. Appreciating the materials, and the memories they bring. Each piece is like a reflection, capturing a moment in my life. Beading my anxiety away, each bead a breath. Each stitch sewing me back into my culture, bringing with it remembering, intertwining me with my roots, making me stronger and more whole. Several elements come from family stories, the arrow sash - to remember how my family stood alongside One Arrow and his Nation before the territories became Saskatchewan and Manitoba. Buffalo hide to remember the bull taken at Pink Mountain where my father was Captain of the Hunt. Abalone buttons passed down through the family from mother to daughter, traded from the coast to the prairies, and now returned. Horsehair and flower beadwork to honor my nehiyaw mother and my Métis father. Ocean Jasper and the blue palette - as air and water walk hand in hand and we cannot live without either. Everything has a place in this world, like beads - we do best when we are put where we can shine. It’s all part of a larger picture, this is how something small can impact something larger than ourselves. We all need to tell our stories because someone out there needs to hear them. Adele maskwasowiskwew Arseneau, is an emerging nehiyaw (Cree) - Métis visual artist. Creating traditional and contemporary beadwork, along with carving red and yellow cedar - she tells stories to engage audiences around social and environmental issues. This is her language and these are her stories. Return

ResilienceCandace Longjohn-Constant Resilience Candace Longjohn-Constant Resilience Artist Statement Working on masks has been keeping my busy during these covid times, making masks has settled my mind. I’m a mom of 6, most of my children have grown, my youngest child just turned 12 and my eldest 26. So really can’t call them children, but I do. We’ve always been a single income Family of 8. Three of our boys (20, 15 and 13) all are on the spectrum of autism. Everyday there is a milestone to be celebrated from the simplest of tasks to the millionth time we’ve heard “Pixar No DreamWorks” types of repeated lines. It’s comforting having a routine with them, it’s been a breeze staying home with them because we already are self isolated. They don’t mind but I do, so I occupy my home time on the best of times with so many hobbies, and I encourage the boys to keep on trying new things through my hobbies, I’ve done custom cakes, beading, sewing, rabbit sharing to name a few, but covid offered a new way for me to help them connect with the world. through social distancing via masks. My second eldest daughter and our family made cloth to 200 masks for the Saskatoon Lighthouse, that was great team work! Then this opportunity came along and I actually made maybe 11 different masks. I wanted to encapsulate the work of connecting with the culture via iron on images my drawings with fabric paint and appliqué mixed with beadwork, there was something about those pieces that just didn’t fit. Then I thought heck, I’m here in my house and I see my late capan (great grandmothers photo) I took home from my high school classroom because on that day we were all told to go home I couldn’t bare to leave her photo, her awesomeness in that empty building, so I took her home and have her in my makeshift private office (the back mud room) where me and my sons built t-shelves for all my work items. Anyway I was sitting there safe in my home and knowing I have these skills attained as a child by my capan and I hadn’t used them, I began doodling a flower.., my go to is usually a prairie lily because my youngest is named Prairie, but my doodle was a bit more, I thought of all the colours I wanted to portray and why I used them. - blue for autism awareness, and for the #differentnotless, so much of my mask design includes compliments of my sons, who by routine will say “mom I see you are working so hard” or “good job!“ and usually only interrupt me if they want permission to have Pepsi or to show me how cute our 8 year old cat is for the billionth time and blue also because it represents water, water cleanses is, it is purity, it’s what we need to use to wash our hands with and to drink often to fight this virus Red- I chose red because to me it represents the resilience of women, of the grand mothers, mothers, daughters Who have helped shape us, teach us our ways and remind us of our gentleness when we are front line workers in our own homes and usually extend our helping hands further then our curbs Yellow was chosen because the sun rises in the east. It’s a reminder that tomorrow isn’t promised but the gift the day brings we should make good use of it for Everyone and be thankful for another day go teach and care for others Green is for our earth, to show us that we must treat the earth respectfully and to reconnect as much as possible; Pink because I like colours, and just had to use those beads haha. And lastly white, it is a reminder that we have an almighty Creator, the colour reminds us to pray, just pray in thanks and hope for our families Anyways that’s why I chose those colours and I appreciated the time my children watched my work, the leathers used are commercial hide and worn buckskin type hide. The mask is usable; it has two layers of interfacing with a floral Cotton backing with a functional pocket where you can add a paper towel. Usually I put a nose wire but this one didn’t need it. It has a beaded edge that matches my three daughters’ leggings they had as children. Another reason I designed it the way I did was, I wanted to fashion as a crown, I like wearing my masks on my head when I can, and this one sort of looks like a crown a princess would earn at a POW wow, kind of cool ... A lot of love and care of my family supporting me make it went into this mask and I love them for it, kinâskomitin hiy hiy thank you for reading Return

Rabbit Holes in the Archives and Library of the Whyte Museum of the Canadian Rockies: The Totem Sea Plane’s Foray to Banff National Park Back to The Cairn By Lindsay Stokalko, Reference Archivist/Librarian A peruse through copy negatives created from a photo album in the Leonard Leacock fonds for the last Rabbit Hole Cairn article revealed a photograph of a “flying boat” docked on Lake Minnewanka (Figure 1). This fascinating plane was the Boeing-built A-213 – the only of its type. Designed by Captain E. F. (Edward Fothergill) Elderton and built in 1931, it was mostly stainless steel with an “Alclad” exterior. The Totem had a monoplane wing with spruce spars covered in fabric, with a 300 hp Pratt & Whitney Wasp R985 Junior A 9-cylinder air cooled radial engine mounted above the wing (Figure 2). This arrival flight from Jasper was reported in the July 21st,1933 Crag and Canyon (Figure 3). The Totem landing on Lake Louise (Figure 4) was photographed by Slim (Rudolph) Rusch (Figure 5), an employee of Canadian Pacific Hotels from 1926 to the 1960s, who was in charge of repairs to the Chateau Lake Louise, and all associated tea houses, lodges, and bungalow camps (personal communication, Jon Whelan). In the 1970s, Jon Whelan worked with Slim Rusch on the “Shutter Control Crew” who were responsible for closing the Chateau Lake Louise in September, and re-opening it again in the spring when the hotel was operated seasonally. When Jon Whelan visited Emma Rusch in Revelstoke in the late 1990s, she shared many albums she and Slim had created and the above image was included. This piqued Jon’s interest. He made a copy of the photograph and inquired with Lena Goon, who was Reference Archivist at the Whyte Museum of the Canadian Rockies Archives at the time. She then found a photograph of the Totem on Lake Louise in Banff National Park (Figure 6). This photograph is from the Ross Richardson fonds – Jon Whelan tracked down Ross Richardson’s contact information and got in touch with him. Ross then provided Jon with this additional photograph of the Totem approaching the dock at Lake Louise (Figure 7). I decided to take a closer look at the Ross Richardson fonds. When I started researching the Boeing A-213 Totem Flying Boat , I only found a few mentions of it online on sites such as Avia Déjà Vu and 1000 Aircraft Photos , however I was unsure where these sites sourced their information. When I pulled the textual documents (M422) in Ross’ fonds I found my answer. Within the fonds are: Document entitled “Boeing Flying Boat” which outlines performance, areas, weights, dimensions, finish, equipment, construction, maintenance costs, drawings of the plane – a note indicates that all information was taken from the original brochure (M422/1) Copy of Ross’ handwritten notes, including dates of operation, owners, additional notes and stories and references for original sources (M422/2) Document entitled “Boeing Totem” which includes a summary of the test flight by D.R. MacLaren and engineer/designer E.F. Elderton, which lead to rudder improvements and revealed some fuel pump failures (M422/3) A copy of an article from the September 23, 1932 Flight magazine (pages 890-892) entitled “The Boeing Totem” (M422/4) which includes very detailed information, drawings, and photographs all available online here which appears to be the original source of information for the two websites where I began my search Information about another flying boat that made an appearance in Banff National Park several years earlier than the Totem – the Norman Thompson N.T.2B Flying Boat (Figure 9) built in 1916 and was owned by Rocky Mountain Aviation Transport Company of Banff Alberta from 1921 to 1924 (M422/5 to 8) There was a follow-up in the July, 28th, 1933 Crag and Canyon regarding whether or not there would be enough interest in the $5/person flights for the plane and pilot to be able to stay in the Banff area (Figure 10). Banff locals such as Cyril Paris, Peter Whyte, and Alan Mather took advantage of these flights, enjoying aerial view of the areas lakes, and there are several photographs of the Totem in Peter and Catharine Whyte’s fonds (Figure 11, 12, 13). Figure 11 Figure 12 Figure 13 Figure 11 - [Boeing Aircraft Co. "Totem" flying boat CF-ARF], 1933, Whyte Museum of the Canadian Rockies, Peter and Catharine Whyte fonds ( V683/III/A/1/pa-313 ) Figure 12 – [Boeing Aircraft Co. "Totem" flying boat CF-ARF], 1933, Whyte Museum of the Canadian Rockies, Peter and Catharine Whyte fonds ( V683/III/A/3/pa-494 ) Figure 13 – [Boeing Aircraft Co. "Totem" flying boat CF-ARF], 1933, Whyte Museum of the Canadian Rockies, Peter and Catharine Whyte fonds ( V683/III/A/3/pa-495 ) However, the $5/person charge for a sightseeing or fishing flight during the Depression was seemingly unsustainable, so Captain Holland and the Totem did not remain in Banff long – departing back to Vancouver in August of 1933 (Figure 14). Cliff White, Cameron Stockand and James Chalmers took advantage of a fishing trip to Marvel Lake before the departure of the Totem back to Vancouver (Figure 15). Figure 15 - Cliff Sr. got in a plane & flew to Lake Minnewanka, 1933, Whyte Museum of the Canadian Rockies, Dave White fonds ( V681/A/1/pa-112 ) There are four additional photographs of the Totem in the City of Vancouver Archives – Stuart Thomson fonds (Figure 16, 17, 18, 19). Figure 16 - Boeing Aircraft Co. of Canada, "Totem" flying boat CF-ARF, ca. 1932, Stuart Thomson/photographer, City of Vancouver Archives, Stuart Thomson fonds (AM1535 – CVA 99-2339 ) Figure 17 - Boeing Aircraft Co. of Canada, "Totem" flying boat CF-ARF cockpit, ca. 1932, Stuart Thomson/photographer, City of Vancouver Archives, Stuart Thomson fonds (AM1535 – CVA 99-2340 ) Figure 18 - Boeing Aircraft Co. of Canada, "Totem" flying boat CF-ARF on hoist, ca. 1932, Stuart Thomson/photographer, City of Vancouver Archives, Stuart Thomson fonds (AM1535 - CVA 99-2338 ) Figure 19 - Boeing Aircraft Co. of Canada, "Totem" flying boat CF-ARF on hoist, ca. 1932, Stuart Thomson/photographer, City of Vancouver Archives, Stuart Thomson fonds (AM1535 - CVA 99-2341 ) Captain Holland had to return the Totem to Vancouver as it had been sold by Boeing. The registration history of CF-ARF (and other aircrafts) can be found on the Canadian Aviation History - Historical Register (and interestingly the Totem is Canadian Aviation History’s airplane of the month for November 2019!): So what happened to the Totem once it returned to Vancouver? The intended purpose of the Totem was several aspects considered “ bush flying ” and ranged from “fishery patrol, forestry patrol, mining and prospecting operations, and many others of the varied uses which aircraft can be put in developing the natural resources of Canada” ( Flight Magazine, September 23, 1932, pg. 890-892 ). The Totem likely operated serving these purposes throughout its ten year life. Boeing sold the Totem to a V. Spence in August 1933 who then sold it to Canadian Airways in May 1935. Canadian Airways operated the Totem until January 1938, when a W. J. Dyson is listed as operator until February 1942. Sadly the Totem was scrapped during WWII, likely for the much needed metal and the popular, well-built Pratt & Whitney R-985 Wasp Junior engine. The next rabbit hole in the archives we will explore is Adeline Link (Figure 20). What’s the connection between the Totem and Adeline link? Find out next time! Check out this great post by the Peel Art Gallery Museum and Archives from some excellent tips on how to best use reference services at archival institutions, then come in to explore your own research rabbit holes at the Whyte Museum of the Canadian Rockies Archives & Library – appointments are preferred and recommended. You can reach us at archives@whyte.org . References and Further Reading: 1000 Aircraft Photos: https://1000aircraftphotos.com/Contributions/4043.htm Air History - Royal Flying Corps: http://www.airhistory.org.uk/rfc/people_indexE.html Avia Deja Vu: http://aviadejavu.ru/Site/Crafts/Craft34479.htm Aviation History Canada – Historical Register (CF-ARF): http://www.aviationhistorycanada.ca/RegisterH Canadian Icon 009: Railway Hotel: https://www.canadianicons.ca/pages/railway-hotel Covington Aircraft Blog (Pratt-Whitney R-985): http://blog.covingtonaircraft.com/2017/06/02/history-of-the-pratt-whitney-r-985/ Crag and Canyon newspapers online via the University of Calgary Library: https://cdm22007.contentdm.oclc.org/digital/search/collection/p22007coll2!p22007coll18!p22007coll19!p22007coll24/searchterm/crag%20and%20canyon/field/relatig/mode/exact/conn/and/order/title/ad/asc Flight Global Archive (issues of Flight magazine for 1932): https://www.flightglobal.com/pdfarchive/1932.html Golden Years of Aviation – Civil Aircraft Register Canada: http://www.airhistory.org.uk/gy/reg_CF-1.html Jasper Yellowhead Museum and Archives: http://www.jaspermuseum.org/archives.html Misc. stock photo: https://www.alamy.com/stock-photo-al61a-453-boeing-totem-cf-arf-71172040.html Vancouver City Archives – Stewart Thomson fonds: https://searcharchives.vancouver.ca/stuart-thomson-fonds Whyte Museum of the Canadian Rockies Archives & Library: Ross Richardson fonds: https://archives.whyte.org/en/permalink/descriptions330 Leonard Leacock fonds: https://archives.whyte.org/en/permalink/descriptions249 Nicolas Morant fonds: https://archives.whyte.org/en/permalink/descriptions597 George Noble fonds: https://archives.whyte.org/en/permalink/descriptions299 Big thank you to Emma Rusch, Ross Richardson, and especially Jon Whelan who shared information he gathered about the Totem Sea Plane with the Whyte Museum Archives & Library Another big thank you Karen Byers at the Jasper Yellowhead Museum and Archives for providing image JYMA 99-292: http://www.jaspermuseum.org/ Back to The Cairn

The Whyte Museum Turns 50! By Vincent J. Varga, Museum Director Back to The Cairn In 2018, with the help of our community the Whyte Museum celebrated its 50th Anniversary by presenting a vigorous series of exhibitions, educational and community outreach programs. The centre piece of our anniversary program was an exhibition and publication dedicated to our founders Artistry Revealed: Peter Whyte, Catharine Robb Whyte and Their Contemporaries . This exceptional initiative was made possible through the efforts of many. This legacy and celebrations emanated from Peter and Catharine’s enduring vision. In addition, what has been accomplished by the Museum over these past five decades is a testament to the passion and commitment of our Board, volunteers, community members and professional staff. There are far too many friends and supporters to list here. Thank you to all! I would like to thank the Whyte Museum staff for its commitment to Artistry Revealed that celebrates the work, life and legacy of these two remarkable Canadian artists and founders of this extraordinary gem. Our Curatorial team consists of Anne Ewen, Pamela Knott, Ciara Linteau and Michael Cameron; Exhibition Design & Photography, DL Cameron and Digitization, Brittany Watson; the Archives and Library with Elizabeth Kundert-Cameron, Nicole Ensing, Lindsay Stokalko, Dagny Dubois, Amie LaLonde and Lena Goon. Thank you to all the contractors who supported the project; Enza Apa, Multimedia Producer; Don Murchison, Calgary Art Conservation; Jarvis Hall of Jarvis Hall Gallery & Fine Frames and Douglas MacLean of Canadian Art Gallery. To our dedicated volunteers, we extend a special thank you. Many external contractors were engaged to fulfill specialized roles from developing a digital tour of the Whyte home (Enza Apa); frame replication by Jarvis Hall; conservation evaluations by Douglas MacLean; essays by Lisa Christensen and Monique Westra. For their work on this publication, we extend much gratitude to editors Pat Myers and Haijo Westra, translator Nicole Giguère and to book designer Linda Petras. For the generous support of Artistry Revealed and the accompanying publication, the Whyte Museum acknowledges and thanks numerous financial contributors including the Department of Canadian Heritage through the Museums Assistance Program, the Alberta Foundation for the Arts, the Peter and Catharine Whyte Foundation and the Canadian Rockies Annual. Special thanks to Grit and Scott McCreath who provided an extraordinary donation in support of this publication. To complement Artistry Revealed the Museum organized a series of events and openings and a Community BBQ to honour our 50th Anniversary. The Whyte Museum is deeply appreciative of the guidance and support of the Board of the Peter and Catharine Whyte Foundation, the Fund Development Committee of the Board and the 50th Anniversary Special Event Committee to these landmark projects. To the 50th Anniversary Committee a heartfelt thanks to Honorary Co-Chairs, Anne and Glen Sather; Chair, Marty von Neudegg and committee members Roy Andersen, Marino DiManno, Grit McCreath and George Schwarz. We are also very appreciative of the 25 individuals who purchased tickets for this exclusive dinner held on July 10 at Peter and Catharine’s home and on the Museum grounds. I would also like to acknowledge the support of the Town of Banff, Banff Centre for Arts and Creativity, Banff YWCA, Wild Bills Legendary Saloon and the Rocky Mountain Outlook and our many community partners for helping us prepare for and host the Community BBQ. A very special thanks to all of our volunteers, Board members and staff who supported our 50th Anniversary activities. In particular, I would like to acknowledge volunteer Kurt Bagnall who was instrumental in giving shape to and delivery of the Community BBQ on June 17. I would also like to extend deepest thanks to Monte Greenshields and Nathalie Delbecq for their instrumental roles in overseeing the 50th Anniversary events. Thank you to Brett Oland, Foundation CEO for his financial and logistical oversight. Special thanks to Pam Marks, Meghan Walsh and Kayla Cazes for marketing and communications for the 50th Anniversary celebration and to the Visitor Services and Museum Shop team including Janet Boger, Sayoko Kagitani, Jacqueline Dolan, Junko Yokura and Marion Berchold for welcoming our guests and visitors, making them feel at home. Ryan Linskill, Ariel Manalaysay and Jay Ocampo have provided extraordinary maintenance and event facilitation support for our day-to-day operations and for our 50th events. Thank you to all for helping us keep Peter and Catharine’s vision for the museum alive into the future! Back to The Cairn

Newly Digitized: Norman Luxton’s Glass Photograph Collection from the Tilikum Voyage Back to the Cairn While today's photographs are available with just the tap of a phone, Norman Luxton went to great lengths to document his ocean travels over a century ago, despite sensitive gear and precarious conditions. Brittany Staddon illustrates these remarkable feats through his recently digitized photographs. By Brittany Staddon, Digital Imaging Technician Intern When looking at photographs in an archive, I often take a moment to appreciate the photographer’s skills, foresight, and the inconveniences overcome to create them. Beyond the images’ content, the objects themselves lend us insight into their history. This summer, I had the pleasure of completing my summer internship at the Whyte Museum archives as a student from Toronto Metropolitan University’s Photography Preservation and Collections Management graduate program. With an interest in the preservation of early 20th-century photographic mediums, digitizing Norman Luxton’s 1901 Tilikum voyage from Vancouver Island to Fiji gave me a new appreciation of the practice of photography at the turn of the century. Inspired By a Single-Mast Sailboat The origin of Norman Luxton and Captain John Voss’s ambitious voyage was, in part, a response to Captain Slocum’s solo round-the-world trip in a sloop, a single-mast sailboat, called the Spray. Slocum returned home to America with much fanfare and publicity, giving lectures, showing lantern slide shows , and having several books published. Norman Luxton and Captain John Voss’ challenge was to circumnavigate the globe on a smaller vessel than the Spray . The fame Slocum received on the completion of circumnavigating the world and the inclusion of photographs to share his journey may have inspired Luxton to document their trip through photographs. While Luxton couldn’t complete the circumnavigation of the globe on account of an injury he sustained when thrown from the boat into coral, he spent five months aboard the Tilikum , photographing the journey. Sailing With Turn of the Century Camera Gear The first challenge Norman would have faced was the undertaking of transporting the camera and negatives in a dugout retrofitted Nuu-chah-nulth canoe measuring 38’ in length and 5’6” in width at its broadest point, where space was a luxury (Figure 1). Captain Voss states in his memoir that one camera was onboard. [1] While emulsions were sensitive enough at this time to allow for handheld snapshots, photographs in the series with longer exposures, flash images, and self-portraits indicate a tripod may have also been onboard. The Luxton family fonds contains 174 gelatin dry plate negatives taken by Norman on the Tilikum voyage – for reference that is approximately two shoeboxes of breakable glass plates, and it is likely more were taken and did not survive the journey. These glass plates were previously light-sensitized and must remain in complete darkness before and after exposure before development. Simply transporting 174 negatives and photographic apparatus across the Pacific Ocean, onto various islands, and back again on the return trip to Canada is a feat in itself! The difficult storage conditions may account for broken glass supports (Figure 2), gouge marks through the emulsion (Figure 3) and dirt embedded in their emulsion prior to development, as indicated by the dark shadow-like streaks (Figures 4, 5). Surviving the Elements The bulk and the fragility of the glass negatives were just some of the complicating factors Luxton would have faced. The light-sensitive emulsion on the glass plates is made of gelatin, a material highly susceptible to swelling and contracting in response to changing temperature and humidity, two conditions which inconveniently promote mould growth. These less-than-ideal conditions perfectly align with a cramped boat crossing the equator. Voss wrote of the mid-journey condition: "It finally got so hot that it was next to an impossibility to sleep in the cabin. As soon as we lay down, the sweat would just run out of u s.” [1] In addition, most supplies were likely exposed to hot, damp conditions, further degraded by the exposure to salt water. [2] For a medium that is recommended to be stored at a temperature no higher than 20°C, and never exceeding 50% relative humidity, while definitely avoiding fluctuations in both conditions, it almost seems a wonder Luxton managed 174 legible images at all! The small selection of images had pockmark-like indentations, likely due to the gelatin swelling and temporarily adhering to nearby negatives, giving a jigsaw-like appearance (Figures 6, 7); others showed signs of mould growth (Figure 8). The final factor was the poor development of the negatives. While I could find no record indicating where Luxton’s negatives were developed, in Voss's accounts, he shares of displaying photographs they took on the South Sea islands when he stopped in Australia, so it is possible the negatives were developed before Luxton’s return to Canada. [1] In the developer’s haste, some negatives show signs of reticulation, a honeycomb-like separation suggesting a sudden temperature change when developing (Figures 9, 10). Others had fingerprint marks (perhaps from when the photograph was taken or developed) (Figure 11) and a solvent that ran along the negative, creating a cascading effect (Figure 12). Norman Luxton’s Tilikum glass negatives travelled across the world and back again 120 years ago. While the images they show are extraordinary, I am fascinated by the deterioration that speaks to their remarkable journey. The glass slides featured in this article, as well as other materials related to the Tilikum voyage and the Luxton family, can be accessed through the Whyte Museum’s online database or by appointment by contacting archives@whyte.org . More information about Norman and other members of the Luxton family can be found on the Eleanor Luxton Historical Foundation’s website . Images Figure 1: Norman Luxton and John Voss inside the Tilikum, 1901. Whyte Museum of the Canadian Rockies, Luxton family fonds. LUX/I/B1/12/b/NG-27 Figure 2: Unidentified men pearl diving, 1901. The modern diving suit was used by Captains George Dexter and Joe Winchester on the schooner Tamari Tahiti (Children of Tahiti), Whyte Museum of the Canadian Rockies, Luxton family fonds, LUX/I/B1/12/a/NG-9 Figure 3 : Unidentified [Captain John Voss?], 1901, Whyte Museum of the Canadian Rockies, Luxton family fonds, LUX/I/B1/as/a/NG-51 Figure 4: Six unidentified men on unidentified schooner, 1901, Whyte Museum of the Canadian Rockies, Luxton family fonds, LUX/I/B1/12/a/NG-52 Figure 5: Dirt embedded in glass negative. Image produced by Brittany Staddon. Figure 6 : The trading post of Mr. McKenzie at Dodger Cove in Barkley Sound, 1901, Whyte Museum of the Canadian Rockies, Luxton family fonds, LUX/I/B1/12/a/NG-43 Figure 7 : Close-up view of indents in emulsion. Image produced by Brittany Staddon. Figure 8: Unidentified location photographed during Tilikum voyage, 1901. Whyte Museum of the Canadian Rockies, Luxton family fonds, LUX/I/B1/12/a/NG-25 Figure 9 : Schooner Excelisor , one of two boats the Tilikum met in the North Pacific, Whyte Museum of the Canadian Rockies, Luxton family fonds, LUX/I/B1/12/a/NG-63 Figure 10 : Close-up view of textured emulsion on glass negative. Image produced by Brittany Staddon. Figure 11 : Unidentified women fishing near the village of Alberni. The Tilikum is featured on the left, 1901, Whyte Museum of the Canadian Rockies, Luxton family fonds, LUX/I/B1/12/a/NG-27 Figure 12 : Aboard the Tilikum, off of Cape Flattery, 1901, Whyte Museum of the Canadian Rockies, Luxton family fonds, LUX/I/B1/12/a/NG-10 Endnotes [1] John Claus Voss, The Venturesome Voyages of Captain Voss (London: Martin Hopkinson & Co., 1934), 49, https://gutenberg.ca/ebooks/voss-venturesomevoyages/voss-venturesomevoyages-00-h-dir/voss-venturesomevoyages-00-h.html. [2] Voss, 70. [3] John M. MacFarlane and Lynn J. Salmon, Around the World in a Dugout Canoe: The Untold Story of Captain John Voss and the Tilikum (Madeira Park, BC: Harbour Publishing, 2019), 62, 82. [4] Voss, The Venturesome Voyages of Captain Voss , 117. Interested in learning more about Canadian Rockies history? Book a research appointment at the Whyte Museum Archives and Special Collections Library . Back to the Cairn

Friends of the Whyte: Banff Community Bird Walk with Peter Poole Back to The Cairn Friends of the Whyte is a series celebrating community, featuring Whyte Museum members, donors, staff, and friends, to get to know them a little bit better. This past summer, the Whyte Museum partnered with Banff Community Bird Walk in celebration of our multi-artist summer exhibition For the Birds with a special bird walk hosted by volunteer Peter Poole. Renowned both locally and internationally for his passion for all things nature and culture, Peter was generous to share this passion with a group of locals and visitors on a Saturday morning this past June. The Banff Community Bird Walk is a volunteer-led group of birding enthusiasts, gathering since 1999. For this walk hosted by Peter and the Whyte Museum, about a dozen guests joined, mostly people wanting to learn about birds in the local area, with one couple arriving by car from Utah to Canmore the night before. The group started off around 8:15 a.m. along the marsh loop trail in Banff and soon found themselves immersed in the birdsong of warblers, sparrows, loons, and several other bird species. "We observed about 30 species of birds and chatted about connections on the walk to the fine poet Jon Whyte, the writers of the west Wallace Stegner and Ed Abbey," said Peter. "One experienced mountaineer wanted to be able to distinguish the Hermit Thrush, so we chatted about Ed Abbey’s love of the Hermit Thrush and composer John Luther Adams chamber music piece about the same. Though we heard Swainson’s Thrush, at this time of the migration we would have a better chance of hearing the Hermit Thrush in the alpine." "Much of our walk we (first) listened for birds, and then often found them," said Pete. "We heard the Yellow Warbler singing 'sweet, sweet, I’m so sweet,' and then saw the flying dandelion cross Warbler Alley. A well-behaved bear was seen by others near Philosophers' Walk." Peter helped attendees attune their senses to the environment around them by bringing awareness to the experience of sight and sound, stopping from time to time along the walk to observe and listen. With a depth of experience and unwavering passion, Peter's profound appreciation for Banff's natural heritage ignited that same excitement amongst the attendees. Standing still on a sun-dappled path along the Bow River, with eyes and ears open to the melody of the wilderness, the group was spellbound as they soaked up the sounds of the morning symphony. "(Bird walk attendees) Naomi, Simon, and I had a marvellous view of a Ruby-Crowned Kinglet at eye level, with the sun shining brightly on his ruby crown," said Peter. "And then we spotted a family of baby Coots with orange beaks and heads. I’d never seen that. Not having a good photo to share, I’ll have to keep this image, like the birdsong, in memory. Nature, as McIvor says, gives us just enough to want to go back for more." The list of birds identified (most heard, many seen): Canada Goose Loon Mallard Common Merganser Coot Pied-Billed Grebe Sora Snipe Great Blue Heron Solitary Sandpiper Raven Grey Jay Magpie Red-WInged Blackbird Yellow-Headed Blackbird Brown-Headed Blackbird Lincoln Sparrow Clay-Coloured Sparrow Song-Sparrow White-Crowned Sparrow Fox Sparrow Pine Siskin Junco Chickadee sp. Ruby-Crowned Kinglet Golden-Crowned Kinglet Robin Swainson’s Thrush Yellow Warbler Common Yellow-Throat Orange-Crowned Warbler Northern Waterthrush Wilson’s Warbler (?) Townsend Warbler (? warbler sp. - Oven Bird?) Willow Flycatcher Least Flycatcher (Flycatcher - sp.? - Alder ?) Marsh Wren Downy Woodpecker Pileated Woodpecker Warbling Vireo The Whyte Museum extends our appreciation to Peter for his support and sharing his passion of the beautiful Bow Valley. Back to The Cairn

Looking Forward to 2021 Back to The Cairn The year 2020 was a challenging year for everyone, and lets not kid ourselves there are still some obstacles ahead in 2021! At the Whyte Museum like at many other institutions our focus shifted to ensuring the safety of our staff and visitors, as a result the museum has closed twice, some staff were laid off and much of our in-person programming was cancelled. This meant that our regular offering of talks, films, workshops, tours, exhibition openings, and annual events such as Canada Day and Whyte Christmas could not take place. We did however, have a different kind of offer with outdoor and virtual programing. Outdoor programs such as Exploring the Art and Geology of Emerald Lake, Stoney Nakoda Walk and Tea in partnership with the Bow Valley Food Alliance, Chalk-ful of Pride Sidewalk Art in partnership with Banff Pride, Remembrance Day Cemetery Tour, and a Trade Route themed temporary mural and it’s unveiling. The mural was supported by Alberta Culture Days and was led by Edmonton artist AJA Louden, with three of Sitting Winds' grandsons, Kyle Kaquitts, Jarron Poucette, and Chris Morin. Virtual programing included Cooking with Catharine , Fight the Winter Blues Bingo , a series of local artist videos and a presentation about land acknowledgements called, The Land We Are On: A Presentation about Land Acknowledgement Statements and What They Mean , which was created in partnership with Fort Calgary. We also grateful for the Yellowstone to Yukon Conservation Initiative for continuing virtually the Y2Y + Whyte Talks. Regardless of the upcoming hurdles, 2021 is a new year and with that we are hopeful, and look forward to offering you a range of programing, and continue on the positives of 2020. Some of these opportunities include in-person art workshops including drawing a live horse, a Banff specific Stoney Nakoda language class, new content on our YouTube channel, snow sculptures on our grounds during SnowDays thanks to Banff Lake Louise Tourism, virtual exhibition openings, guided walks and hikes in the summer months. We invite you to check our website in the coming weeks, to find out more about what’s happening at the Whyte in 2021. We thank you so much for your continued support and we wish you all the best in physical and emotional health! See you soon at the Whyte! Back to The Cairn

A Fireside Chat with Barb Renner Barb Renner was a mountain gal right from the beginning. Her father, an avid hiker and skier, took her to the mountains as a child. In her teens she worked at ski camps, cooking for Hans Gmoser. It was here that she met her future husband, Swiss Guide, Sepp Renner. But Barb is best known for the 27 years that she and Sepp ran Mount Assiniboine Lodge. A great story teller, this Fireside Chat with Barb promises to entertain! For more information about the photo album belonging to the Duke and Duchess de Leuchtenberg mentioned in the chat please click on PHOTOGRAPH ALBUM

Stronger TogetherCheryl Broschell Stronger Together Cheryl Broschell Stronger Together Artist Statement When I saw the Breathe project I was intrigued to try to make a mask out of glass. I placed individual stringers of glass side by side, horizontally and vertically to represent how we are all so tightly weaved together in this. I chose blues and greens to emulate a feeling of the globe. The black stringers are the virus that is spreading across the globe, touching us all in some way. Individual stringers are very fragile, fused together they become stronger, however the finished glass is still weaker than most pieces of glass. COVID showed me this is true in our lives, our normal routines and things we take for granted are so much more fragile than we realize! Return

Re-building Bridges Within the Cultural Trade Route Back to The Cairn By Dawn Saunders Dahl, Indigenous Program Manager Building Bridges within the Cultural Trade Route provides brave spaces by securing a foundation of community connectedness. Intertwining history with art making and storytelling, this program improves awareness and appreciation for the shared past and future of Indigenous cultures in the Bow Valley. By offering an opportunity to forge new friendships and understanding, this program relies on positive relationship development and building trust. Including Indigenous voices to create projects, we foster opportunities to participate in workshops not only to make a product but to find new ways of understanding. The Building Bridges program develops wise practices that adjust systems of working and communicating to actively demonstrate reconciliation. Fostering continued Indigenous inclusion will ensure the program’s success through engagement with the Indigenous Advisory (compromised of rotating Indigenous community members within Treaty 7 and beyond). These perspectives enhance the Whyte Museum’s programs, exhibitions, operations, and governance, key for the Whyte Museum to respond to the Truth and Reconciliation Commission of Canada’s (TRC) Calls to Action. Dawn is the Indigenous program manager for the Whyte Museum and is a practicing artist. She attended Red Deer College (RDC) and University of the Arts (formerly ACAD in Calgary). One of her mentors, RDC ceramic/drawing instructor Chuck Wissinger passed away last month. He was instrumental in developing who she is as an artist, an arts administrator, and a person. He created and coordinated the Summer Artist Residency program at RDC and Dawn was lucky that he provided the opportunities for her to attend, to interact with amazing artists from around the world. These kinds of opportunities are what she strives to continue to create for the Bow Valley. When Dawn was told of his passing, she felt incredibly lucky that she was with the students at Chiniki College creating murals, continuing to share with artists. This article is a synopsis of the events from the past five months, highlighting the workshops and events that have taken place both in Morley, Canmore, and Banff. Nakoda History Talk with Nakoda Historian Lloyd Buddy Wesley Stoney Nakoda historian Buddy Wesley kickstarted the Building the Cultural Trade Route program with his talk in January about the community and culture of Stoney Nakoda First Nations. Buddy included images provided from the Whyte Museum Archives and spoke of the different types of tipis, what they were used for as well as described clothing and regalia worn, and what is worn today. He spoke of the importance of the Nakoda language and his interest to mentor Nakoda youth to teach the language, as well as his reconciliation efforts to provide basic language classes to Bow Valley residents. His talk highlighted the importance of continued relationship building between Indigenous and settlers to move forward, promote empathy, and break down perceptions. International Mountain Day Dinner and Conversation On January 29, the Town of Banff and the Whyte Museum hosted an evening of Indigenous food, cultural learning and discussion with Stoney Nakoda, Tsuu T’ina, Ktunaxa youth, community members and Elders to learn about the history of Indigenous Culture, specifically in Banff. This event was held in response to the Banff Canmore Community Foundation Vital Signs 2018 Report findings. One in three respondents wanted more cross-cultural learning, to improve knowledge, and understanding between community members and Indigenous peoples as a priority. Feedback on the assessment from Indigenous community members indicated how important it is to include Indigenous voices in any community decision making. “For over 10,000 years Indigenous peoples have lived and travelled through this valley, including the Stoney Nakoda, Ktunaxa, TsuuT’ina, Kainai, Piikani and Siksika... In the face of climate change, habitat loss, economic uncertainty and social challenges, how do we keep this Bow Valley – our home and our community – a special place that is vibrant and resilient, not only for us, but for future generations?” The panel discussion implemented how to include Indigenous wise practices within various decision making levels in Banff. Lead by Daryl Kootenay and Ariel Waskewitch, the discussion focused on how to apply Indigenous culture and knowledge within the various decision-making levels in the mountain town site of Banff. Topics discussed during the discussion included: The history of Indigenous peoples in Banff and the importance of their sense of place. The relationship of Indigenous peoples with the ecosystem of the mountain park – learning about the interrelationship between people, animals, plants, mother earth, spiritual ceremonies, and the beliefs of ecological balance. The history of Indigenous relationship to food such as hunting and gathering in the mountains. How Indigenous people would like to be included in local decision making. It was a free, sold-out event that highlighted the different perspectives approaches to the four topics listed above. Reference materials and further readings were provided by the Whyte Museum and the Banff Library. We will strive to continue to provide platforms for these conversations to continue, as it was expressed that this was the start of re-building relationships. Basket making and Eco Dying Workshops with Ktunaxa artist Lillian Rose Lillian Rose, artist from the Ktunaxa First Nation in Windermere, British Columbia hosted a beginner basket making workshop at the Whyte Museum, where local Banff participants learned basic basket making skills using cedar strips. Although the process required more time to complete the activity, basket makers were introduced to Lillian and had the opportunity to talk to her about where and how she harvests her supplies. Lillian provided an eco dying workshop to Chiniki College students where the students were shown different materials and methods that could be used to create a base for drawings, cloth, books, postcards and cards. She discussed different times of year to harvest materials, how the materials can create different results and materials she used to create the baths for the eco-dying process. Portrait and Landscape Painting with artist Dawn Saunders Dahl Whyte Museum Indigenous Program Manager, Dawn Saunders Dahl provided portrait and landscape workshops to Chiniki College students, offering an opportunity to get to know the students and to find out what they are interested in knowing more about. She also discovered that a number of students would like to also provide workshops to Bow Valley residents and would like to discover how to develop their own workshops. She is currently developing templates to provide to the students. Mural Workshops with Street Artist AJA Louden, Edmonton In February, Mural artist AJA Louden provided a five day workshop to create a mural for the Town of Canmore Art and Events Art Walk in the Woods project. The title of the piece is: dagunenâ ktûtha giya which translated means “everything happens on the fourth time around!”. The installation was designed, constructed and painted by Stoney Nakoda students of Chiniki College with support from guest artist AJA Louden. Chiniki knowledge keeper Lloyd (Buddy) Wesley, helped guide the concept and the inclusion of the Stoney Nakoda language in the artwork. Each face of the mural cube represents a season in Treaty 7 territory - the Stoney Nakoda language name for the corresponding season is at the top of each side of the cube, and the faces of the cube face in the four cardinal directions. Each face of the cube shows a hand, based on the hands of students at the college, performing an activity related to the season. Goals of the project included helping build the capacity to create murals by Stoney Nakoda artists in Treaty 7 territory, and to connect communities through public art. The mural was first installed at Chiniki College, then taken apart and re-installed in Canmore. The artwork will be up until mid- April on the Legacy Trail leading to the Nordic Centre and will move to different locations within the Bow Valley. Students expressed an interest in creating more boxes and murals. Artists and assistants: Kyle Kaquitts Vera Kaquitts Katie Rider Zeke Omesasoo Amanda Twoyoungman Jarron Poucette Blair Simeon Alison Smalleyes Tiana Labelle Martin Kaquitts Tyren Twoyoungman Renneta Simeon Lewis Kootenay Sally Twoyoungman Denise Kaquitts Kristan Rider Zerlina Omesasoo Clark Labelle A special thanks to Lorna Rye and Nicky Pacas. Minnesota Historical Society Talk, Artist Talk and Mocassin Making Workshops with Ojibway Artist Sarah Howes In March the Whyte Museum hosted an artist talk with Benjamin Gessner from the Minnesota Historical Society (MHS) and Ojibway artist Sarah Agaton Howes. Benjamin Gessner presented information about the Minnesota Historical Society, his role and the Native American Artist in residence program. Ben works most closely with American Indian material culture (roughly 5,000 artifacts) and the Fine Art collections (roughly 6000 items). He has initiated numerous collections-based outreach projects in Dakota communities in Minnesota, South Dakota, and Nebraska, which have included bringing historical material culture to communities, as well as hosting workshops for community members to digitize family photographs and documents and conduct genealogical research. It was a pleasure to hear more about the program, see images of past recipients and gain an understanding about their challenges and successes with the program. Learn more about the program here . Sarah shared her experiences as the 2018-19 Native American Artist in Residence at the Minnesota Historical Society Museum. She provided information about creating the book Grandmothers Gift Nookomis Obagijigan and presented examples of her art and projects. Sarah is an experienced teacher with a foundation in anti-racism and community-based social change work. Sarah frequently shares her knowledge and experience with bead work, making moccasins and creating regalia in her community and beyond. Sarah is also a published poet and spoken word performer. Sarah brought her apprentice Chally Topping to assist with teaching the moccasin workshops and taught workshops at the Whyte Museum and Chiniki College. Participants learned about different moccasin styles and students at the college have been inspired to create their own books, designs and gained confidence to also teach. Sarah, Chally and Dawn were invited by the students to attend the Round Dance in Morley while they were here. Sarah and Chally met the community, danced and shared wild rice picked in Minnesota with organizers. Here are a few participants reflections about what they learned what they thought of the workshops: “I think it’s good to see what is out there to learn different things and have the community come out. A lot of people do not really know about these programs or the history of Stoney Nakoda. It is good to bring back the history so the younger Nakoda and non-Indigenous generations will know to know why are we here. It’s an opportunity for reconciliation and get a step ahead to gain skills to teach.” - Kyle Kaquitts, Chiniki College Student “We gained insight into all materials and processes from an Indigenous perspective - harvesting cedar, tanning and cutting the hide, processing what is needed to complete the task at hand, working independently together. Over the course of the workshops, I saw many people watching, helping, and guiding each other, exercising patience, and asking questions while learning new things at staggered rates. My partner also attended the moccasin making workshop and he said he "learned that he could make a pair of moccasins in five hours, having never stitched leather before." Our moccasins aren't perfect, but they fit our feet beautifully! That kind of experiential and functional learning is very empowering.” - Stephanie Hamilton, Whyte Museum Staff Member, Banff The Building Bridges Cultural Trade Route program will reinvigorate, reclaim and re-establish new bonds that have not been accessible within the last 40 years in the Bow Valley. Participants will have the opportunity to breakdown barriers and perceptions of each other through the sharing of collective art making experiences, conversations, and through the respectful building of friendships. We will also strive to reclaim spaces by providing outdoor and indoor classrooms throughout the Bow Valley for future generations, where learnings about the land can take place. Stay tuned to find out about upcoming workshops, events and films! Back to The Cairn

Organizing the Archives By Amie Lalonde, Digital Imaging Technician Back to The Cairn From November 26 to November 30, 2018, the Archives and Library was closed for re-organization. Since opening in 1968, the Archives and Library has been steadily acquiring new collections (fonds) in need of processing, arrangement and proper storage. As new accessions (donated materials) come into the Archives and Library and material is added to the collections, the shelf space allotted to certain collections no longer fits all of the materials and items need to be moved to accommodate them. This involves rehousing materials, and shifting and re-shelving hundreds of boxes. Left: Materials in the Bruno Engler (v190) fonds. Right: Every inch of office space was used as we took things off the shelf to rearrange. Left: Materials on carts to be re-shelved. Right: Sticky notes to show a list of what is in a shelving bay. Re-housing these materials into new sturdier, acid-free boxes has enabled us to ensure their preservation for years to come. In addition to re-housing processed materials, our unprocessed accessions were also consolidated and placed into smaller boxes so that they can be catalogued and processed more easily. Left and Right: Now the shelves are neat and well organized, everything is labelled for easy access. The reorganization enabled us to take stock of our vast collection, ensure preservation, free up valuable shelf space for future acquisitions and results in easier access to facilitate research! Thanks to the Archives and Library and Photography departments for taking part! And a big thank you to everyone for your patience while we were closed! Back to The Cairn