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Back to The Cairn Join us as we celebrate the opening of our 2020 Exposure: Alberta's Photography Festival exhibitions! Opening Reception — Friday, January 31 at 7 p.m., Free DANNY SINGER Danny Singer spent many of his early years visiting friends and their families in small prairie towns. The main streets of small towns in Alberta and Saskatchewan appealed to his sensibilities and ultimately became the source and content of his photography. PROJECTING ILLUSIONS The magic lantern show is a direct ancestor of today’s media culture. Lantern slides were fed through an early form projector, throwing an enlarged image onto a surface for public viewing. Developed in the 17th century, the first lantern slides were hand painted glass; through the 19th century lantern slides were produced through printing and photographic processes to create a positive transparency, and by the early 20th century lantern slides were created, bought, traded and used globally. Projecting Illusions reinterprets the spectacle of the magic lantern show offering stunning visuals from the archives. Projecting Illusions highlights the social history of lantern slides, underlining the practice of collecting and displaying slides in the Canadian Rockies. Back to The Cairn

By Courtney Maxwell-Alves, Archive and Library Assistant Back to The Cairn Archives, since their very origins in the ancient world, have systemically excluded records about or by women from their holdings and, as institutions, have been willing agents in the creation of patriarchy by supporting those in power against the marginalized. [1] Traditionally in archives, women’s voices, deemed unimportant and uninteresting, were consciously left out of recorded history. As early as the 1940s and 1950s, archivists have been actively trying to preserve their records and tell their stories, beginning with the women’s suffrage movement. The Archives and Library team at the Whyte Museum of the Canadian Rockies is also working hard to process women’s records and tell their stories. As I did with Dorothy Wardle in September 2019, I would now like to introduce you to Jean Hembroff MacDonald, a self-described “vagabond,” lover of words and professional lecturer, trail rider, and wife and mother. Jean Alexandra (or Alexandria, a lifelong debate) Hembroff was born on April 5, 1908 to Walter and Sarah Hembroff in Winnipeg, Manitoba. Married in 1907, Walter was a conductor for the Canadian Pacific Railway (CPR) and Sarah, originally from Northern Ireland, was a seamstress for Eaton’s. They had three children, with Jean being the eldest and only daughter. In the mid-1920s, Jean attended the MacPhail School of Music and Dramatic Art at the University of Minnesota and graduated with a Diploma in Dramatic Art on June 23,1927. After returning to Winnipeg, Jean established a studio to teach public speaking and communication skills, deliver dramatic recitals with her students, and work with children with speech or hearing impairments – thus beginning a lifelong career as a teacher and professional public speaker. While processing Jean’s records and reading notes provided by a family member, I found it surprising how much solo travel Jean did in the 1930s. For example: Jean travelled with five friends to Europe in 1931; in 1932, Jean and a few friends went on a road trip from Winnipeg to Los Angeles to see the Olympics; Jean travelled to Ireland and other places in Europe in 1935 – alone; and in 1936, Jean and some friends visited various places in the United States and Cuba. What is interesting to me is that all of her travel companions, when she had them, were also young women. Considering this took place not only during the Great Depression but also during a time when women were not often travelling independently, I think this speaks volumes of Jean’s interests and adventurous spirit, which inevitably brought her to Banff. By the mid-1930s, Jean was hired by the CPR promotions manager to give presentations and broadcast interviews across Canada and the United States, allowing her to continue to travel for work. In 1937, Jean joined the Trail Riders of the Canadian Rockies and participated in their summer trail ride that year. For the 1937 issue of the Trail Rider’s Bulletin, Jean wrote an article about her experience, becoming the first woman to do so. This became material for a well-received lecture, titled “Trail Riding in the Rockies,” that Jean delivered many times, including at the Royal Alexandra Hotel on January 18, 1938. A young Jack MacDonald was asked by a friend to attend this particular lecture and, thinking it would be boring, was begrudgingly in the audience. Needless to say, Jack enjoyed the lecture and more importantly, the fun and “sparkling” speaker, Jean. The two were married on June 18, 1938 and went on what they called a “Vagabond Honeymoon,” which became material for later lectures and articles published in the Winnipeg Tribune. Settling in Winnipeg, Jean and Jack welcomed their only child, Bruce, in 1946. In the 1950s, Jean became the adjudicator in spoken verse and public speech arts for the Music and Arts Festival circuit in Manitoba, for which Jean was required to travel around the province. Jean continued this work until at least 1971. As she got older, Jean continued to accept speaking engagements when she was able to do so. For example, Jean delivered “Winter in Winnipeg” readings and other interviews and broadcasts for the Canadian Broadcast Corporation (CBC), in part because staff would come to her apartment. Jean loved to skate (although not athletic), kept a personal collection of poems and tea cups, loved word play games on rainy days, was known for her cookies, and was an exceptional storyteller. At 102 years of age, Jean passed away on February 2, 2011 and is buried in Winnipeg. An intriguing woman with an exceptional story to tell. Visit the archives database to learn more about Jean, or do a general search and learn about the amazing women of the Rockies. As already noted, Jean was a member of the Trail Riders of the Canadian Rockies and the Sky Line Trail Hikers of the Canadian Rockies. Of note, she participated in the 1937 Trail Riders official ride and the 1939 Sky Line official ride, for which she wrote articles and delivered talks while working for the CPR. To accompany her lectures, photographic lantern slides were sent to Jean by the CPR. Originating in the mid-seventeenth century, lantern slides were hand-painted illustrations on glass that were projected through a device, or a “magic lantern,” with light. With the invention of photography in the nineteenth century, black and white photographic lantern slides, sometimes later painstakingly hand-painted, were used. Lantern slides were used as a form of storytelling and were often accompanied by a script or other textual material. For the 1937 trail ride, Jean not only wrote articles and delivered talks, but also wrote a poem. To view these photographs and related materials, and learn more about lantern slides and the collection at the Whyte Museum, check out the upcoming exhibitions, Danny Singer and Projecting Illusions, opening on January 31st at 7 p.m. The opening is a free event; if you can’t make it, the exhibit will be up until April 12, 2020. Hope to see you there! I wish to express my gratitude to Marnie (Hembroff) Sholdice, Jean’s niece and donor of Jean’s archival records. Your extensive notes about your aunt and the lovely anecdotal stories and family lore made Jean come to life for not only me and the Whyte Museum, but for everyone who reads this article and accesses her records. Thank you. Back to The Cairn Endnotes: [1] Cook, Terry and Schwartz, Joan M. “Archives, Records, and Power: The Making of Modern Memory.” Archival Science, 2:1-19, 2002.

By Cécile Lepage, Curatorial Assistant Back to The Cairn Above: Sakurai Seppo (1753 – 1824, Japanese), Procession of Daimyo (Feudal Lords), pre-1880, silk, 40.0 x 84.0 cm, Whyte Museum of the Canadian Rockies, SeP.15.01 Last summer, the Whyte Museum showed art works collected by its founders, Peter Whyte and Catharine Robb Whyte. In An Eclectic Eye for Collecting, an early 19th Century Japanese piece stood out for me: the insect parade named Procession of Daimyo felt at once singular and oddly familiar. I just couldn't exactly put the finger on why. BUG ART At first glance, I thought the insects glued to the background were real! The miniatures were in fact oshie—a traditional Japanese craft of folded silk over stiff paper cuttings, puffed up with stuffed cotton. A kind of fabric origami if you will, here mounted on an ink landscape painting. As for the familiarity, it only surfaced days later when I finally recalled a catchy music video that used to play on French TV during my childhood. Love Is All was aired to fill any unintended gap before the 8 p.m. national news. Many French children from the 80's still fondly remember its psychedelic animated cartoon starring a guitar playing frog leading all sorts of forest animals and insects to a ball. So there it was: the parade of insects was in fact a visual meme “bugging” me. A motif that had crossed cultures, centuries and continents, from the early 19th Century Japan to postmodern Europe. Depicting animals behaving like humans is known as anthropomorphism. It is an enduring storytelling device. Here, Sakurai Seppo (1754-1824), the artist, used it for comic effect. A cast of forty-two insects—grasshoppers, wasps, mantises—march in rows, bearing flowers and fruits over their stiff limbs as if they were arms, banners, and sumptuous goods. Some are carrying a palanquin inside of which rests a jewel beetle. DAIMYO CULTURE Produced during the Edo period (1603-1867), when the Tokugawa dynasty ruled Japan, the procession specifically evokes the ritual journey of the daimyo, the regional warrior lords. The two hundred and fifty or so daimyo were required to spend alternate years in the shogun court, in the capital of Edo. Thus the roads to Edo were often the sight of formidable pageants. These inspired many artists. The most famous rendition is part of the Hiroshige woodcut print series, The Fifty-Three Stations of the Tōkaidō. The daimyo may have been ostensibly powerful and wealthy, they were nonetheless strictly controlled by the shogun. Their first wives and heirs were permanently locked in court, held as hostages when the daimyo went back to their provinces. Hence the satirical undertone in Sakurai Seppo's composition: the daimyo and his household have been shrunk to the lowly rank of insect, and the palanquin is akin to a golden cage. Edo society was rigidly hierarchical. Was then this transposition from the human to the insect realm a form of social critic? The playfulness of the parody, if nothing else, is undeniable. A gesticulating wasp, manifestly trying to catch up, adds goofiness to the orderly convoy. A fondness for insects also transpires from their acute portrayal. It is an expression of the Japanese reverence for nature. Children, still nowadays, collect insects. They are also a popular theme in Japanese poetry. WHAT’S IN A JAPANESE NAME? No research about Sakurai Seppo is yet available in English nor in French. The name abides by the traditional Japanese convention of first placing the surname followed by the given name. Seppo is sometimes known as Setsuho or Yukiho—Japanese artists occasionally changed their studio names according to their status. But one thing is certain: Sakurai Seppo was a woman. And, what's more, she was no exception in early modern Japan. The prevalence of women artists in Japan during the Edo period (1603-1868)—there were hundreds!—is remarkable especially given the strict patriarchy that Confucianism and feudalism imposed on society at the time. It is also an interesting counterpoint to a parallel situation in Europe at a time when comparatively very few women were able to become professional artists. Typically it was the members of the elite and artists’ daughters and wives who were able to devote themselves to artistic pursuit. But not exclusively. Patricia Fister, professor at the International Research Center for Japanese Studies in Kyoto and pioneer in the study of Japanese women artists, attributes this wider emancipation to the growing rate of literacy across genders and the increase of working urban women from the merchant class. CHASING SAKURAI SEPPO Sakurai Seppo was the daughter of an artist herself, and the fourth generation in the trade. This certainly facilitated the development of her talent. Her masterpiece is a twelve-panel cedar door in the Ryōgiji Zen temple (Ōi City, Kanagawa prefecture), consisting of twenty-four ink paintings of landscape, dragon, tiger, plum blossom, pine with egret and a legendary figure in the Chinese painting style signed in 1794. Her work is not documented prior to that. Patricia Fister suggests that may be due to the fact that it is around that time that her father and her husband died, so she may have had to start earning a living from her painting only then. In contrast to the monumental sliding doors, the Whyte Museum art work has compact dimensions, is executed with minutiae in a typically feminine medium. Indeed, oshie were for centuries only created by women. In the background though, in the sparse brush strokes depicting sprouting grass and gentle mounds, we can sense the breadth and power of the artist's painting style. Gold flecks add texture to the minimalist setting. Two of Sakurai Seppo’s works were recently shown in the United States, as part of The Life of Animals in Japanese Art exhibition (National Gallery of Art, Washington and LACMA, Los Angeles, 2019). Dragon and Tiger, a pair of six-panel screens and Carp Jumping Out of the Ice, a hanging scroll, share an energetic style. Procession of Daimyo, with its intimacy, its mixed media technique, is radically distinct. JAPANESE TREASURE OF THE CANADIAN ROCKIES How did this unconventional artwork—by Western standards—end up in a collection dedicated to Rocky mountain culture? It was inherited by Catharine Robb Whyte, whose grandfather, Edward Sylvester Morse (1838-1925), collected thousands of Japanese cultural objects during his travels to the Asian archipelago in 1877-1879. When the Bostonian high society débutante married Peter Whyte, she relocated to Banff, the small mountain town where her husband hailed from. Hence this extraordinary bequest. “The Morse Collection is a diverse record of late Edo and Meiji Japan, of all the scenes, disasters, education, employments, pleasures, faith, and customs that Morse saw in detail, and it includes everything from earthenware, pictures, and daily artefacts to sketches, journals, and diaries”, writes Kobayashi Jun'ichi, a scholar who established a database of the Morse Collection, the bulk of which is now spread between the Peabody Essex Museum and the Boston Museum of Fine Arts. In his paper, he points out that some of these items are no longer to be found in Japan because the country went through an eager modernization phase, during the Meiji era starting at the end of the 19th Century, neglecting some vestiges from the past... This leads me to wonder if this could be the case for Procession of the Daimyo… Is it a rarity in museum collections? It offers such an unusual mix of Chinese style landscape painting and oshie, a traditional “female craft” too often omitted from the canon of art history. Historians have for a long time disregarded women’s role and contribution to Edo culture. This artwork attests Edo female artists’ verve and creative contribution. Back to The Cairn

By Dawn Saunders Dahl, Indigenous Program Manager Back to The Cairn Banff sits on the traditional cultural trade route for the Stoney Nakoda, Dene, Blackfoot, Cree, Ktunaxa, Shuswap and later the Metis. I have been taught by my Elders that I have a responsibility to care for the land and to share. I am of Metis (Red River Ojibway) and settler (English, Norwegian, Swedish, French) ancestry and I am honored to be gifted the Stoney Nakoda name Âba aún and be the first Indigenous Program Manager at the Whyte Museum. Since 2008, I have been actively working with Alberta’s Indigenous Arts Communities through public art opportunities, art exhibitions, projects and events. My years as a professional arts administrator have allowed me to generate unique ideas with the goal of exploring powerful and potentially healing intersections between art, artists, and the community. In addition to being active within my own art practice, I believe that Arts and Culture build authentic experiences that support developing local artists and economies. Art making provides us with a sense of identity as we live through our own experiences, ancestors, families, the land, places and relationships. Crucial to this work is to have the support of the community and staff, to be encouraged and provide spaces for those who have been marginalized. Most importantly, is to listen – Ânarapta (Stoney Nakoda). Dating back to the 1930’s, the Whyte Museum’s founders, Peter and Catharine Whyte shared a unique and enduring friendship with the Stoney Nakoda. Many strong friendships formed between the Stoney Nakoda and the first Bow Valley settlers, that included friendly games of sport between the communities that lasted until the 1980’s. Building Bridges within the Cultural Trade Route enhances the Indigenous perspective within the Museum’s programs, exhibitions, operations and governance. This is key for museums, archives and educators to respond and implement the Truth and Reconciliation Commission of Canada’s (TRC) Calls to Action. This program provides spaces and creates opportunities to discover, incorporate history and secure a foundation of community connectedness through art making and storytelling, improving awareness and appreciation for the shared history and future of Indigenous and settler cultures in the Bow Valley. The 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 break down 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 classrooms in the Bow Valley for future generations, where learnings about the land can take place. Join us as we kick off this new series of programming that builds bridges with Indigenous artists, filmmakers, speakers and community members to re-discover the traditional Cultural Trade Route in the Bow Valley and exchange with each other. Kicking off this program is Lillian Rose from Ktunaxa, providing hands on basket making and eco dyeing workshops throughout the year. In March, Ojibway artist Sarah Agaton Howes will be leading moccasin making workshops and will share her experiences as the 2018-19 Native American Artist in Residence at that Minnesota Historical Society Museum and creating the book Grandmothers Gift Nookomis Obagijigan. These workshops will take place in Banff as well as in Morley with the community and art students at Chiniki College. The Cultural Trade Route programming also includes portrait and landscape painting workshops that I will be delivering to students in Morley throughout the year with other Indigenous artists. ALSO, the film Blood Memory will be screened at artsPlace in Canmore and Lakoda filmmakers from Minnesota and Stoney Nakoda community members will be in attendance to discuss the film in May of 2020. The importance of Land Acknowledgement sessions will take place in March and the Seven Stars performance by the Smalleyes Family will take place in June along with other programs during National Indigenous Peoples month. The Nakoda AV Club has been commissioned to create a documentary based on all these exciting programs and engage with the new Indigenous Advisory Committee. I look forward to seeing familiar and new faces and at the museum as we explore the Cultural Trade Route and develop Indigenous programs together. See our events page here for more information on upcoming programming. Back to The Cairn

Back to The Cairn By Anne Ewen, Chief Curator One of the great joys of working at a museum is the opportunity to research and learn about the fascinating and talented individuals who have contributed to our local, national and international histories. Currently our research is focused on artist Charlie Beil, CM (1894 – 1976) and his wife Olive Luxton (19 –19..?), the daughter of Lou Luxton whose brother was the famed Banff businessman Norman Luxton. We know some things about Charlie and Olive, but we hope to learn more. Both were well-respected community members whose down-to-earth charisma and natural charm was noted by different individuals from all social stations. We know Charlie was a cowboy before moving to Montana in 1920 where, under the tutelage of Charles Marion (C. M.) Russell (1864 – 1926, American), he became a bronze artist. The collection here at the Whyte Museum and at the C. M. Russell Museum in Great Falls, Montana is proof of Beils trained hand. His 1939 trip from Nevada led him to Banff where he was so captured by the beauty of the area, he decided to stay. Since he left his Black Forest German home at the age of eleven, Banff was to become the longest residence of his life. Settling with Olive on Cave Avenue, they had three children Charles, Lois and Carol. Charlie’s family, artistic practice, long-term relationship with the Calgary Stampede and numerous friends held his attention. Because of his immense talent and quiet, unaffected cowboy persona, Charlie’s work was sought by many. According to Archival papers, he sold everything he made. A wonderful hostess to many, Olive’s genial manner and great sense of humour added to the couple’s esteem. Many visited and in return their presence was readily requested. Among many others, friends included internationally-acclaimed Canadian artist Leo Mol who visited them in 1968; pictures of Charlie Russell, Will Rogers and Guy Weddick adorned the studio wall. When neighbours Carl Rungius and his wife Elizabeth Fulda were in Philadelphia for the winter, Charlie watched over their Banff residence. Once, while Queen Elizabeth II and Prince Philip were in Calgary, Charlie was invited to meet them and spent much time telling the Prince stories about the early West. Admittedly, some were slightly embellished. Top Image: [Horses in snow], [ca. 1920 – ca. 1940], Charlie Beil, Whyte Museum of the Canadian Rockies, George Noble fonds (V469/I/NA-1663) Bottom Image: Greetings of the Season, [ca. 1920 – ca. 1940), Charlie Beil, Whyte Museum of the Canadian Rockies, George Noble fonds (V469/I/NA-1677) Many bronze sculptors hire out the final patina bronzing phase to technicians but Charlie took pride in completing the entire process from clay model to finished sculpture entirely on his own. His work, whether in bronze, watercolour, oil, pen and ink, or etching portray thematic western scenes with horses, cowboys, First Nations and settlers. Charlie also undertook various commissions. Large dioramas were installed in the Luxton Museum, the Palliser Hotel and the Calgary Court House; numerous awards were fashioned for winners at the Calgary Stampede; ice sculptures were carved for the Banff Winter Festival and one with figures of beavers and buffalo was created for the banquet table of King George VI. At the Whyte Museum the Beil’s are fondly remembered in numerous ways. In one significant instance, Charlie reluctantly accepted Catharine’s invitation to be an honoured participant at the June 1968 inaugural ceremony of the museum. Together with local character/personality Jimmy Simpson they cut the rawhide ribbon thus declaring the new Philippe Delesalle building open. In time, Olive set the standard for comfort at the Whyte where, in the downstairs gallery with the fire crackling, she hosted the weekly tea and cookie service (see below). There are numerous Canadian and American newspaper articles extolling the artistic career and gentlemanly merit of Charlie Beil but the majority revisit familiar copy. In We Live in A Postcard Banff Family Histories, Carrol (Beil) Moore wrote an informative A Collection of Memories about her family. The archives here at the Whyte holds many clues. However, if you, your family or friends are willing to share any correspondence or factual stories please contact the Whyte Museum at info [at] whyte.org. We would appreciate as much information as possible. Many thanks! Back to The Cairn

Back to The Cairn Have you ever wondered if we have any photographs of the Banff Winter Carnival in our Archive collection? Or what is held in the Heritage collection vault? Now without leaving the comfort of your home you can find out! In October 2019, the Whyte Museum of the Canadian Rockies launched a new online collections database. Heritage objects, Art, Archives and the Special Collections Library (including the Alpine Club of Canada Library) are now all searchable through one easy portal! To go directly to our online collections database visit us here There are over 94,944 records to search and browse, with new records added to the database regularly always check back to see what new materials there are to be discovered! There are over 46,400 images from the Archive collection available for purchase online for personal or commercial use–so please explore and enjoy! Back to The Cairn

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

Back to The Cairn By DL Cameron, Curator and Chief of Design The current exhibition on at the Whyte Museum, Unbridled, like many of the previous exhibitions, owes a great appreciation to the innumerable people who generously loan their private collections to the museum for various shows and installations. The addition of these loans not only adds variety and texture but also contributes to the success of our exhibitions. In result the Whyte Museum’s high standards and reputation it has had been able to maintain a long tradition of borrowing artwork from various institutions and private collectors. Many collectors are happy to share their collections with the public. It’s this benevolent spirit of sharing that enables museums to tell a story or enhance a theme. We are immensely grateful to these generous collectors. Joe Fafard’s Silvers, the painted bronze horse sculpture that opens the exhibition Unbridled is one of many on loan for this show and contributes significantly to the storyline of the exhibition. Mr. Fafard was one of Canada’s leading professional visual artists who had exhibitions of a wide variety of work in galleries and museums across the country and around the world, including the United States, Great Britain, France and Japan. He is widely recognized as having been at the forefront of his art. His outstanding contributions to the arts have significantly raised the profile of both Saskatchewan and Canada on the international stage. Frederick Sackrider Remington’s Wicked Pony, is another example of the generosity of these private lenders. It is one of three sculptures lent to the Whyte Museum for Unbridled. I had one guest exclaim that he would have paid just to have seen this sculpture by Remington. Remington was an American painter, illustrator, sculptor and writer who specialized in depictions of the American old west, specifically concentrating on scenes from the last few decades of the 19th century in the Western United States. He continually features imagery of cowboys, American Indigenous peoples and the U. S. Cavalry. Carl Clemens Moritz Rungius’ painting of the Trail Riders into Mount Assiniboine, is another example of a loan from a collector that adds to the richness of Unbridled and lends a further voice to the section on the Trail Riders of the Canadian Rockies. The exhibition, Unbridled is on display until January 26, 2020. Back to The Cairn

By Kate Riordon, Young Canada Works Archive and Library Assistant Back to The Cairn Stop me if you’ve heard this one before: a picture is worth a thousand words. I know it’s a phrase we’ve heard countless times, and that most of the time there is a thousand-word story behind the picture and someone around who can tell it to you, but sometimes there isn’t. Sometimes you’re given a collection of photographs—beautifully composed, meticulously printed, personally inscribed with a greeting or a name—and that’s all you have. 26 photos in a manila folder and the name P. R. Lockie signed on them. That is exactly what I had when I was given my first digitization project as the Young Canada Works Archival Assistant here in the Whyte Museum Archives and Library. As a life-long resident of Banff, being able to work in the Archives and have unlimited access to this weird and wonderful town’s history is a dream come true. As someone with a (possibly unhealthy) fascination with mysterious mountain figures, I knew that whoever P. R. Lockie turned out to be, I would like him. As far as first assignments go, this was not a daunting one; a thin folder with relatively small photographs inside, most of which are homemade “Seasons Greetings!” cards from the mid-1900s, some in colour, but the majority in black and white. Despite a background in Canadian history and a casual acquaintance with using archival materials for primary research in university, I had no previous experience with the actual archival process and all of its rules. This little folder was the perfect chance to get my feet wet. Scanning the images to the computer is not an overly difficult process once you get the hang of it, but it is time consuming. However, this meant there was ample opportunity to obsess over those two initials, P. R., and who exactly they belonged to. The Archives and Library database told me that these pictures were all we had of Lockie’s, there are no papers or letters that accompanied them so there were no other folders I could go looking for. I did have a few clues though: the Archival staff member who processed the file when it was first received in 2006 noted that he was born in England in 1900, came to Canada sometime around the 1920s, and seemed to have at least lived in or around Powell River, British Columbia, until his death in 1976. But who was P. R. Lockie? His pictures told me he loved the mountains, that much was clear. He may not have been a professionally trained photographer, but the dates he wrote on some of the images showed that it was a hobby he cultivated for decades. There were often people in his photos, especially the winter ones, but were those people clients he was guiding or his friends and family? Lockie often wrote the names of peaks or passes on his pictures, sometimes even including elevations, which strikes me as being more for the benefit of the photos’ recipient than his own. No matter what minor clues I could glean from simply looking at the pictures Lockie took, none of them told me what I really wanted to know: his first name. One of the more curious photos, in my opinion, these are folded into a little book with details written on the backs. Why? No idea. Roger’s Pass, 1963, P. R. Lockie, Whyte Museum of the Canadian Rockies, P. R. Lockie fonds (V111/PA-18 – PA-18/back) Having exhausted the resources available to me in-house, I turned to the great solver of mysteries, the best Watson stand-in of the 21st century: Google. Simply searching the name I had yielded very few results, but a pattern did begin to develop in that he seemed linked to the Powell River area and more generally to mountaineering in British Columbia. Amateur climbing blogs and even YouTube videos unveiled that a peak near Powell Lake was named after him when Lockie and one B. Stenberg first summited it in 1952. Hoping that, like at the Whyte Museum, more of Lockie’s files and photos were still in the process of being digitized for public use, I reached out to both the Powell River Historical Museum & Archive and to the British Columbia Mountaineering Club (BCMC) for any hints at who my mystery man might be. Within a few hours I had my answer—finally a break in the case! Glenn Woodsworth, a 60-year active member of the BCMC, kindly responded to my plea for help in the most extraordinary way; he knew Lockie personally, and hiked with him at Lake O’Hara in the 1960s. Just like that, P. R. became Percival Robert. Part of the reason why I had such a hard time finding him online was because almost everyone in Powell River called him either by his initials or his last name, never by Percival or Percy. Climbing, hiking, and photography were his passions and hobbies that Lockie undertook in his free time. He worked as a draftsman for the Powell River Company’s pulp and paper mill and as a local lifeguard for at least 30 years. Like so many who are drawn to the great outdoors for work and play, he utilized every opportunity to explore the mountains, bounding off through the Selkirk, Coastal, and Rocky Mountain ranges with his friends at all times of the year because that was where he loved to be. The dates inscribed on his pictures told me that hiking, climbing, snowshoeing, and photography were activities he carried well into his 60s, but I like to think that he was able to keep at them for at least a little longer. Percy Robert Lockie’s photographs helped me get my head around the tricks of my new trade, but more importantly, there is now at least a chapter’s worth of story behind these pictures, with room for more. Back to The Cairn

By DL Cameron, Curator Back to The Cairn Unbridled October 11, 2019 – January 26, 2020 What is it about horses that draw us in? We write songs, poems, stories and create artwork to depict them. Is it because of their natural beauty; are we drawn to their strength, size and agility; or are we humbled by their cooperation in allowing us onto their backs, or perhaps it is a nostalgic longing for a simpler, slower and quieter life. Whatever the reason, the horse has remained a steadfast loyal partner guiding us through wilderness trails, excursions in a horse drawn cart, ploughing our fields or delivering our mail. While most of that has changed, there is no denying the horse has played an important role in our lives. Spanning the early 1900s to the present day, Unbridled celebrates the horse by combining historic photographs, archival material and heritage artifacts from the Whyte Museum collections along with historic and contemporary art borrowed from private and public lenders. The contemporary artists in the exhibition are Michael Cameron, Laara Cassells, Arto Djerdjerian, Maureen Enns, Lois Green, Jennifer Mack, Cedar Mueller, Pascale Ouellet, Kevin Somner, Janice Tanton, Carl White and Linus Woods. Charlie Beil, Harry O’Hanlon, Joe Fafard, Carl Rungius, Illingworth Kerr, are just a few of the many other artists represented in this exhibition through drawings, paintings, photographs, sculpture and text. The role of the horse may have evolved over the years but it remains our constant companion worthy of our enduring high esteem and admiration. Come on down to the Museum to see this new exhibition! Open daily from 10 AM to 5 PM. Find out more about our exhibitions on our website here Back to The Cairn

Back to The Cairn Enjoy Hans Gmoser’s Beautiful Films at Home! During the 1950s and 60s the late Hans Gmoser produced ten feature length films of ski touring, rock climbing and mountaineering adventures—capturing the alpine magic of the era. Hans Gmoser was one of the greatest mountain filmmakers in North America. For a number of years, the films lay dormant in the Archives of the Whyte Museum until the Hans Gmoser Film Project made it possible to own these historic films. The Hans Gmoser Film Project began in 2009 when Chic Scott and Marg Saul, a Calgary Mountaineer, decided to pull the films from the Archives of the Whyte Museum and revive them! This project came with a number of significant challenges. Firstly, the films had to be digitized and then have music and narration added to them. One of the greatest concerns was to make sure these new editions were inline with the original films. Chic and Marg hired Will Schmidt to take on the task. Thankfully a sum of $110,000 was raised for the project from generous donations. The challenge of finding an appropriate narrator was daunting. Hans had narrated the original films but had passed away in 2006. Luckily, Michael Hintringer, Hans’s nephew, has the same accent and was able to fill in for Hans. Thanks to the tireless work of Chic Scott, Marg Saul, Will Schmidt and multiple donors the Hans Gmoser Film Preservation Project was completed in 2014. The set not only contains the ten films but also a number of interviews with the stars of the films. The Hans Gmoser Film Collection, DVD set is available for purchase through the Whyte Museum Shop. The price has recently been reduced from $500 to $100 plus GST. The series makes a great addition to your home collection or a great gift for the history lover and avid skier on your holiday gift list. You can also choose to view one of the films on the big screen! The next film showing is Deep Powder and Steep Rock Friday, November 1, 7 PM at the Whyte Museum Tickets $5, Museum Members FREE. Check out whyte.org to RSVP or purchase tickets. Back to The Cairn

Back to The Cairn The Whyte Museum would like to thank the Wim and Nancy Pauw Foundation for their generous support of the popular Fireside Chats! This sponsorship will allow the series to continue to preserve valuable oral histories from community members. These types of recordings began as early as 1950. Peter and Catharine Whyte owned a reel-to-reel tape recorder and thus began a tradition of recording conversations with Bow Valley residents. Recognizing the importance of the preservation of the community’s oral histories, staff members and volunteers, including Maryalice Harvey Stewart, Elizabeth Rummel, Jon Whyte, E. J. (Ted) Hart and Sue Davies, continued interviewing local personalities and recording noteworthy meetings and events. All of these recordings are available for researchers through the Archives and Library. In 2013, Chic Scott continued the legacy by approaching the Whyte Museum about initiating a new interview series called the Fireside Chats. With videographers Will Schmidt and later Glen Crawford, the interviews are filmed in front of a live public audience. Twelve Fireside Chats, including the interview of Chic Scott himself, are now available on YouTube through the Whyte Museum website at here. The series has now been renamed the Fireside Chat Series — Sponsored by The Wim and Nancy Pauw Foundation. Upcoming chats with Chic Scott include an interview of longtime Banff resident Roy Andersen on Thursday, October 24 at 7 p.m. and an interview of elusive Rocky Mountain legend, Charlie Locke on Tuesday November 26 at 7 p.m. Visit whyte.org to purchase tickets or to RSVP. Read more about the story and goals of the Wim and Nancy Pauw Foundation on their website here Back to The Cairn