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Ethically Listening to the Archives By Tyler J. Stewart, Lillian Agnes Jones Fellowship Recipient 2021 Back to the Cairn Waves softly lapping against the rocks. Swallows swooping over the water. A man’s hearty laugh booming off the pier. The faint hum of a bus across the lake. Robins singing in the distance. A boat slowly trolling across the bay into open waters. These are the sounds of Lake Minnewanka [1] on a late Wednesday afternoon in June, the day before Alberta’s grand ‘reopening for summer’ after months of Covid-19 restrictions. Few tourists are here now, offering a peaceful atmosphere for listening as I complete my final research with the Whyte Museum as one of this year’s recipients of the Lillian Agnes Jones Research Fellowship. I am sitting on the shoreline, in the same spot that Anishinaabe artist Rebecca Belmore installed her sculpture Wave Sound during the LandMarks 2017 project, a national art event that both complemented and contrasted the Canada 150 celebrations. Belmore’s sculpture is now gone, but I return to this location to contemplate her artwork’s intention which “encourages us to hear and consider the land and our relationship to the land.” [2] A train whistle rings out in the distance. I turn my head and the sound curves around my body. In what ways do I hear this sound? As a symbol of Canadian identity? A “soundmark” of colonial expansion? [3] Positioned as a cisgendered white male, I hear this sound in a certain way based upon my own experiences and background. Sounds are never objective – they are subjectively interpreted by each listener uniquely, whether their ears might be queer, Indigenous, immigrant, Black, settler, or deaf. Sto:lo sound studies scholar Dylan Robinson explores this idea through what he terms “critical listening positionality,” which comprises a continuum that “involves a self-reflexive questioning of how race, class, gender, sexuality, ability, and cultural background intersect and influence the way we are able to hear sound, music, and the world around us.” [4] This concept of critical listening is something I seek to keep in mind as I delve into the sound recordings within the Whyte Museum’s archives as part of my research project. When I was awarded this fellowship in November 2020, it seemed as if the Covid-19 global health pandemic was beginning to recede, and that multiple visits for in-person research in Banff would be possible. In reality, the museum was closed to all public visitation from December 2020 to mid-July 2021. Given the high case numbers in Alberta (especially in the Banff area), and recommendations against unnecessary travel, many of my location-based research plans were thwarted by the pandemic. Thankfully, many digital sound recordings were made accessible through email, allowing me to continue researching during these trying times. My focus during this fellowship has been to better understand the relationship between Catharine and Peter Whyte (the museum’s founders) and the Stoney Nakoda peoples of the area, by listening to past sound recordings made by the Whytes themselves in conversation with many of their Indigenous friends. Did the Whytes use listening as a method to develop ethical relations with their Stonery Nakoda counterparts? What are the ethical implications of these conversations being recorded back then in the 1950s and 1960s, and now stored within the archives? As I comb through these recordings, I strive to always keep in mind what type of listening I am doing here. It is important to avoid what Dylan Robinson frames as “hungry listening,” a form of settler-colonial perceptual orientation that aurally/orally reflects the extractivist and assimilatory nature of the ongoing structure of settler colonialism. [5] Rather than listening to ‘devour and consume’ Indigenous knowledge from the past, it is important to honour and respect these voices and the communities from which they have originated. With that in mind, much of my research fellowship was indeed focused on not listening at all. In other words, determining that these sound recordings are not for my ears without first developing a stronger relationship of trust with the Stoney Nakoda peoples. Museums and archives have often been sites that replicate colonial violence – where Indigenous knowledge is ‘captured’ and then disseminated to other settler researchers without the consent or awareness of the communities from which they were recorded in the first place. In the case of the Whyte Museum, there is a stronger awareness of these issues and protocols are currently being developed to determine who gets to listen to what materials, and for what reasons, before they are accessed by researchers. Robinson describes how listening itself can replicate forms of “settlement,” if the motivation to listen originates from a “Western sense orientation in which we do not feel the need to be responsible to sound as we would another life.” [6] We must recognize that sounds – past, present, and future – must be honoured and respected, rather than just being information to digest. In discussion with Indigenous Relationships and Programs Manager, Dawn Saunders Dahl, I decided that in order to build trust and respect with the Stoney Nakoda community, the most ethical decision I could make at this point in my archival research would be to actually stop listening to recordings containing the voices of Elders. As the museum’s listening protocols become more developed, I can later seek the proper access to listen to further recordings in the spirit of collaboration and respect – hopefully building this work towards a future exhibition/programming-related project with the Whyte Museum. All this said, there were still many other recordings to access within the archives, without potentially violating any cultural protocols. Towards the end of the fellowship, I was fortunate to visit Banff in person as Covid-19 restriction began to ease after lowered case numbers and increased vaccination rates. The focus of my research remained the same – to seek a better understanding of the relationship between Peter and Catharine Whyte and the Stoney Nakoda peoples of the area. I was also able to better understand the museum’s origins as the Wa-Che-Yo-Cha-Pa Foundation, a name gifted to the Whytes by Chief Walking Buffalo (also known as George McLean) in the late 1950s. Many archival recordings not available in digital format remotely were made available through one week of in-person visits to the archives, which I was very fortunate and grateful to be able to do. What I found (and heard) within the sound recordings of the Whyte Museum’s archives validated previous research that I have been developing – that sound itself is a relational process, not simply the production and reception of physical sound waves. While there have been many instances where sound recordings made by anthropologists (and ethnomusicologists, etc.) sought to extract knowledge from Indigenous cultures, what I discovered in listening to these archival recordings was a deep desire to build supportive friendships between the Whytes and the Stoney Nakoda people. I was also able to visit many “sound-sensitive” areas around Banff during my visit there as part of my research. This was important to me, given Banff’s rich history in presenting or producing sound-related art, such as Rebecca Belmore’s previously mentioned work, Janet Cardiff’s first soundwalk ( Forest Walk, 1991 – a copy of which is in the Whyte Museum collection ), and works by the esteemed soundscape artist/composer Hildegard Westerkammp. During my last night in Banff, I cycle to Canmore along the Legacy Trail, seeing only two other cyclists during the whole ride. Multiple piles of bear scat fill the path at the turnoff to Cascade Ponds, and as I weave my way around them, a train screeches along the track towards me heading westbound, steel wheels shrieking loudly across the valley. I pedal steadily along the trail which is sandwiched metres away parallel to the Trans-Canada Highway, making the entire journey comparatively noisy in contrast to the rest of my visit in Banff. In essence, this highway creates a long sonic scar across the landscape from east to west, asphalt and steel carrying the necessary trains and vehicles to supply our contemporary conveniences. While it’s much easier to see physical pollution within the landscape, this sonic waste is invisible, but it fills my ears as I pedal along. When I reach the east park gate near Canmore, a lull in traffic hits me with a wave of silence and it is remarkable how this lack of sound can physically be felt within my body. This serves as an important reminder that listening is not just something that happens in the ears, but as world renowned percussionist Evelyn Glennie reminds us, “hearing is basically a specialized form of touch [...] even someone who is totally deaf can still hear/feel sounds.” [7] We are all collectively part of the “soundscape” of Canadian society, which Barry Truax has described as an acoustic continuum where all sounds collectively become intertwined and rely on each other to exist, so that “the health and survival of any one part depends on that of all the others. The continuum is both a human artifact and a human responsibility.” [8] We must not forget the responsibility we have for the impact of our sound-actions upon the landscape, whether it be as listeners, speakers, singers, or researchers. As hard as it is to see our sounds, they are still felt in profound ways, both human and otherwise. *** I am extremely grateful to the Whyte Museum for this research fellowship and look forward to continuing this productive relationship for years to come. My deepest thanks must be extended to Elizabeth Kundert-Cameron, Lindsay Stokalko, Kate Skelton, Kate Riordon, Amie Lalonde, Anne Ewen, Natalie Delbecq, and Dawn Saunders Dahl, for assistance both remotely and in-person. Back to the Cairn Endnotes: [1] The Stoney Nakoda people have referred to this lake as “Minn-waki” or “Lake of the Spirits.” Parks Canada, “History of Lake Minnewanka,” Banff National Park, August 28, 2020. https://www.pc.gc.ca/en/pn-np/ab/banff/visit/les10-top10/minnewanka/histoire-history/. [2] Rebecca Belmore, “Wave Sound,” 2017. https://www.rebeccabelmore.com/wave-sound/. [3] R. Murray Schäffer, The Tuning of the World (New York: Knopf, 1977), 10. [4] Dylan Robinson, Hungry Listening: Resonant Theory for Indigenous Sound Studies (Minneapolis, MN: University of Minnesota Press, 2020), 10. [5] Robinson, Hungry Listening , 3. [6] Robinson, Hungry Listening , 15. [7] Evelyn Glennie, “Hearing Essay,” Teach the World to Listen, January 1, 2015. https://www.evelyn.co.uk/hearing-essay/. [8] Barry Truax, Acoustic Communication (New Jersey: Ablex Publishing, 1984), 45.

File name: fonds: Title: Date: D escription: v91_pa_671 Pat Brewster Fonds The Brewster family 1898 Back row (L to R): Bill, John, Pat, Bella. Front row (L to R) Jim, Fred, Jack, George, Pearl.

File name: fonds: Title: Date: D escription: m307_34_159 Moore family fonds Banff Winter Carnival Pamphlet 1921 BANFF WINTER CARNIVAL BANFF, ALTA. January 29th to February 5th, 1921 Mrs. Philip A. Moore, "Carnival Queen," 1920 PROGRAMME of EVENTS and ATTRACTIONS B.W. COLLISION, Secretary.

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Fireside Chat with Don Mickle Don Mickle joined the National Park Warden Service in the 70s, during a time when wardens lived and raised families in rough and remote back country cabins, travelling countless kilometres on horseback. Don shared stories of his life with Chic Scott, when they sat down for a Fireside Chat outside the Windy Warden Cabin in October 2013. #donmickle #parkwarden #heritage #BanffNationalPark Click to View

File name: fonds: Title: Date: D escription: v654_i_a_pa_014 George Vaux fonds Pearl Moore, Mary Vaux Walcott at Yoho. [ca. 193?]

Five Fresh Exhibitions You Don't Want to Miss at the Whyte This Summer Back to the Cairn Currently at the Whyte Museum of the Canadian Rockies, a variety of new exhibitions are available to enjoy on your next trip to Banff this summer. A visit to the Whyte Museum is the perfect way to enjoy the local culture and history of this area, complementing other exciting events and activities here in Banff National Park. And with a convenient location downtown on Bear Street, you're within walking distance of Banff Ave, restaurants, and several local attractions - it's never too far to stop by! The Whyte's current summer exhibitions range from traditional to contemporary, and you'll find art from creatives with a breadth of backgrounds, including Métis beadwork artists, a number of the founding members of the Royal Canadian Academy of the Arts (RCA), local multimedia artists, Treaty 7 artists, and even our very own founders, Peter Whyte and Catharine Robb Whyte. Some exhibitions are making a return appearance after an initial interruption by COVID-19 in the spring of 2020, and others are coming to the museum for the very first time. Find out why you should check out Canoe , Breathe , About Face , Peter Whyte and Catharine Robb Whyte: Fan Favourites, and the Cave and Basin Mural Project this summer! Canoe Displayed in its entirety for the first time this summer at the Whyte, Canoe is a private collection that spans 200 years of painting in Canada and is the only comprehensive privately held collection focusing on canoes. The canoe has been termed the vessel that shaped Canada, and it was voted one of the Seven Wonders of Canada by the Canadian Broadcasting Corporation (CBC) in a national competition in 2007. It has captured our imagination and allowed us to explore remote areas of the country with intimacy and wonder. The canoe is our enduring connection to Canada’s remarkable geography. The collectors, Grit and Scott McCreath, have gathered works that articulate the history of Canada through depictions of Indigenous and settler populations in various landscapes. Through the works of art, the viewer learns of the historical structure and usage of Indigenous vessels and the role this plays in carrying cultural knowledge forward. The McCreath canoe collection began innocently in 2006 as a birthday present from Grit to Scott with the purchase of an 1875 watercolour by Canadian artist Lucius O’Brien (1832 – 1899). Eventually, the concept of collecting specific to subject was discussed and Rod Green of Masters Gallery in Calgary became the leading locator of the historic and contemporary paintings. The McCreaths expanded the collection with three-dimensional pieces, one of which is a 14-foot canoe made of one continuous piece of birch bark in 2017 by Canmore resident Don Gardner. The earliest work is an incredibly rare 1820 watercolour by John Halkett (1768 – 1852). The collection also includes artist-explorers of the 19th century, who were contracted by Sir William Van Horne to depict the construction of the CPR railway and expansion of western Canada. In 1880, a number of the artists were founding members of the prestigious peer-adjudicated organization the Royal Canadian Academy of the Arts (RCA). The 20th-century works are by creative, well-established artists from across Canada who are also celebrated as art educators, designers, and printmakers. The collection encompasses works from all provinces and territories except the Yukon and spans all three Canadian coasts. The exhibition is supported by BMO Private Wealth and Grit and Scott McCreath and family. The Whyte Museum is most grateful to the McCreaths for lending us this important and remarkable evolving and expanding collection. Check out the recent media coverage of Canoe : Exhibit offers look at history of canoeing in Canada | Greg Colgan with Rocky Mountain Outlook Banff's Whyte Museum celebrates 200 years of canoe art in new exhibition | CBC News Breathe In early March 2020, COVID-19 arrived in Canada, beginning a long period of isolation, closures, and distress. Shortly thereafter, the Whyte Museum closed its doors but stayed in touch with the community through online video presentations. Some visitors were able to view the first Breathe exhibition in person but the majority were restricted to our online interview with co-creators and Métis artists Nathalie Bertin and Lisa Sheppard. The genesis for the exhibition first evolved within the first two weeks of the shutdown. Both Nathalie and Lisa noticed a distinct absence of beaded objects being made by traditional artisans. For them, it was curious as they assumed it was the exact time artists should be creating. Known as the Flower Beadwork People, the Métis put their distinct style of beading on a wide variety of objects and garments as a general practice. In speaking with their peers, Nathalie and Lisa learned that the pandemic had completely blocked the creativity of many. For some, it was a déja-vu to generations prior whose relatives were gravely impacted by infectious diseases. Very quickly Nathalie and Lisa invited Indigenous artists to create hand-crafted masks. Realizing the effect of the pandemic impacted all populations, they soon opened the call to anyone, in any traditional medium authentic to their own culture and artistic practice. Artists from Canada, the US, many parts of Europe, Australia, and New Zealand responded with the resulting success prompting a second circulating exhibition Each traditionally crafted mask tells a unique story of the artists’ experience and shares a common message on the importance of breath. Constructed of diverse materials, these 90 contemporary artifacts record a significant historical moment in human history. About Face About Face features multimedia works from Calgary artist Bev Tosh, exploring waste left from the pandemic. Pieces include a prom dress using the distinctive blue and white disposable face masks. These masks also appear in self-portrait paintings, as well as a depiction of the Mona Lisa in a piece entitled “Panda Mona.” Bev writes, “As a child, I recall the shock of the ground suddenly lurching and shifting under my feet while walking to school. The global pandemic shook my world no less than that earthquake of my youth. Like an aftershock, it caused a sudden 'About Face' - or reversal of direction - in my artwork. The title is intended to be both literal and figurative. When facial expression is obscured, what’s left? I probed my own masked reflection in a mirror (I was required to enter my studio masked) in a series of 'blind contour' self-portraits in ink on paper. These distorted drawings led to other masked self-portraits, both playful and serious. Disposable masks, lost or tossed, were simply gone with the wind; snagged by fences and washed into storm drains. This new detritus of our times suggested to me the old classic movie, 'Gone with the Wind,’ and the ballgowns of southern belles, the antithesis of contemporary work-from-home-wear." Bev Tosh is a contemporary artist and a member of the Royal Canadian Academy of Arts. She received her Masters of Fine Art in Painting from the University of Calgary, graduated with distinction from the Alberta College of Art and Design, and was awarded a Bachelor’s degree in Psychology and Fine Art (U of S). Bev has lectured and taught art at several Canadian colleges and universities. As a practicing artist, Tosh has exhibited widely both nationally and internationally. Cave and Basin Mural Project Featuring Treaty 7 Artists Since a time beyond memory, the Cave and Basin, Banff, and surrounding areas have been a place for gathering, healing, trade, travel, cultural exchange, economic activity, spiritual practice, and ceremony in connection with the land. Over thousands of years to the present, many different peoples have lived in and visited this place, making it what it is today—a landscape multi-layered with stories, languages, memories, and perspectives. This year, the Peter and Catharine Whyte Foundation and Cave and Basin National Historic Site partnered to honour the rich Indigenous history and contemporary significance of this special and sacred space through the arts. Featured mural Artists include Nathan Meguinis (Tsuut'ina), Gordon Wesley (Îyârhe Nakoda), Ina Old Shoes (Blackfoot) and Mentor AJA Louden. Visit the Cave and Basin National Historic Site to see this mural project, on for the summer of 2022! Learn more about the artists and their work here . Peter Whyte and Catharine Robb Whyte: Fan Favourites This exhibition delves into the artistic practice of our founders Peter Whyte and Catharine Robb Whyte whose love of the outdoors provided endless possibilities to paint a variety of subjects all within close proximity to their Bow River log home. The Whyte’s personal artistic styles were influenced in part by Peter’s earlier awareness of artists Belmore Browne and Aldro T. Hibbard; Catharine’s family's philanthropic artistic connections, and the education they both received at the School of the Museum of Fine Arts, Boston. During their tenure, the customary 19th and early 20th-century academic instruction required students to “paint what they saw” along with prescribed artistic rules. The training was in-depth, requiring discipline, patience, and stamina. These qualities proved useful when confronted by the enormity of the mountain vistas, the rapidly changing light, and frequent changing climatic conditions. Together, and often painting in close proximity to each other, Peter and Catharine produced hundreds of 8” x 10” oil sketches with many functioning as colour notes for larger canvases. Depending on the weather patterns of the day, these small works were completed within a time frame of twenty minutes to two hours. As well as small sketches, Peter completed large-scale studio works. However, Catharine’s only large canvas #19 titled Larches is relatively small in comparison. Equally as gifted a painter as her husband, one can only speculate that her wifely duties, disciplined correspondence, and endearing desire to promote Peter kept her occupied. Indeed, once the new upstairs home studio was completed in 1939 with a distant proximity to her office and the kitchen, Catharine did not attempt large-scale canvases. Of interest are the frames on the small paintings which are replications of Peter Whyte’s hand-carved one adorning canvas #40 titled Bow Lake. It was an early practice for artists to construct and decorate their own frames and a skill Peter learned from artist Aldro T. Hibbard, who was both a visitor to Banff in 1925 and 1926 as well as an alumni of the School of the Museum of Fine Art, Boston. The small speckled replicas were made by master framer Jarvis Hall of Norberg Hall Art Gallery, Calgary. In a 1979 interview for Canadian Collector Magazine with Joan Murray, Catharine recalled: “My husband was quite influenced by Belmore Browne (1880-1954) and Carl Rungius (1869-1959). We both were a bit. There was quite a group of us in Banff: Belmore Browne, Charlie Beil, Nick de Grandmaison, Walter Phillips. And so many visiting artists too: Fred Brigden, A.C. Leighton, Charlie Comfort, H.G. Glyde, George Pepper, Kay Pepper were all here at one time or another, either painting or teaching at the BSFA. Of course we also knew J.E.H. MacDonald, Lawren Harris, Arthur Lismer, and A.Y. Jackson…” Available in our shop is Artistry Revealed: Peter Whyte, Catharine Robb Whyte and Their Contemporaries which provides an in-depth understanding of their artistic careers. Back to the Cairn

File name: fonds: Title: Date: D escription: v439_pa_336 Moore family fonds Edmée Reid, Carl Rungius [ca. 194?]

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Dashboard 2017/2018 April 1, 2017 to March 31, 2018 Back to The Cairn The Dashboard provided below presents a snap shot of our activities in our 2017/2018 fiscal year and illustrates the Museum’s achievements in support of its mission and its contribution to the quality of life and life-long learning in the Bow Valley. The Whyte Museum of the Canadian Rockies has welcomed visitors from across Canada and beyond our borders for 50 years. Our founders, Peter Whyte and Catharine Robb Whyte were artists, business people and philanthropists who through their accomplishments and generosity embody the values and aspirations of Alberta and Canada. Consistent with Peter and Catharine’s vision, the Whyte Museum is a gathering place, dedicated to telling the stories of mountain communities, peoples and cultures. Our diverse collection offers focused insights into the accomplishments and character of our Canadian Rocky Mountain communities. The Whyte engages with topics relevant to the Bow Valley including climate change, conservation and urban development within Banff National Park and the Canadian Rockies. We are enhancing our contribution to K to 12 education in the Bow Valley, including the Stoney Nakoda youth east of Banff. The contribution the Whyte Museum makes to the Bow Valley is made possible through the generous support of our volunteers, funders, donors, members and the community. The Whyte Museum is grateful to the Peter and Catharine Whyte Foundation for their extraordinary on-going commitment to supporting our core operational costs. We also thank the Alberta Foundation for the Arts for its support of our visual arts program. At a Glance • Operating Budget - $2,111,863 • Attendance - 38,490 • Admissions - $217,114 • Archives & Library Researchers - 1,137 Browsers - 1,748 • Exhibitions In-house Exhibitions - 22 Travelling Art Exhibitions - 6 • Community Engagement Public Programs - 47 People in Attendance - 3,997 • Education School Programs - 43 Students in Attendance - 853 Tours - 135 Tour Participants - 1,822 • Digital Media Facebook Reach - 306,280 Twitter Impressions - 451,100 Instagram Followers - 1,033 Website Sessions - 27,618 Revenue Expense Back to The Cairn

One Hundred Years: Tragedy on Mount Eon By Kayla Cazes, Community Engagement and Reference Service Associate Back to the Cairn One hundred years have passed since the plight of Mrs. Margaret Stone (née Winter). On July 24, 1921, Dr. Winthrop E. Stone fell from Mount Eon, near the famous Mount Assiniboine. Standing at 3,310 metres (10, 857 feet), Mount Eon, was a serious ascent for the duo, but not their first. As avid participants in the Canadian Alpine Club, with multiple first ascents under their belts, the couple was prepared for the challenge. “[I can] see nothing higher,” spoke Dr. Stone before he plummeted from Mount Eon.[1] All Mrs. Stone could do was watch her husband fall and disappear into the seemingly endless void. After failing to return to the Jubilee camp of the Alpine Club at Mount Assiniboine, a party sought out the Stones’ camp, they had not returned. Help was sought from Banff to find the couple. Famous guides, Rudolph Aemmer and Bill Peyto answered the call. The Assiniboine region was a full-day from Banff, there was no helicopter for rescue, her rescuers came on foot – Mrs. Stone waited eight days. Accounts from the time paint a picture of the tragic event. It’s hard to imagine the isolation, desperation, and sadness felt by Mrs. Stone as she awaited her unknown fate on the side of the distant mountain. Aemmer and Peyto discovered Mrs. Stone on a ledge, far above her husband’s final resting place. Too weak to walk, Aemmer carried Mrs. Stone down from the mountain on his back. The retrieval of Dr. Stone was completed after the recovery of Mrs. Stone. A. O. Wheeler directed the recovery with assistance of A. H. MacCarthy, L. H. Lindsay, Rudolph Aemmer, Edward Feuz, and Conrad Kain. Carried on horseback to Banff, Dr. Stone was eventually buried in Spring Vale Cemetery, Lafayette, Tippecanoe County, Indiana, U.S.A. Soon afterwards, the guides returned to construct a memorial cairn in honour of Dr. Stone (see image below). The guides had concluded that Mr. Stone did indeed reach the summit of Eon before his death, making him the first to summit the mountain. So, what happened to Mrs. Stone? She went on to live the rest of her days on the east coast of the United States, eventually settling in Florida. According to documents submitted to the archives by her family, she never spoke of what happened on Mount Eon again, nor did she participate in further mountaineering adventures. After her passing in 1969 at the age of 89, she was buried with her husband in Spring Vale Cemetery, Indiana. The story of Mr. and Mrs. Stone is not only tragic but an excellent example of the history of mountaineering in the Canadian Rockies. We can appreciate the immense changes that have occurred in the sport over the past one hundred years. From the invention of Gore-Tex, modern ropes and crampons, to the use of helicopters for mountain rescue, the evolution of gear may have changed but calculated risk remains the same. Back to the Cairn Further Reading: Whyte, Jon. “ The Agony of Mrs. Stone .” In In Jeopardy, edited by Theresa M. Ford, 122-138. Edmonton: Alberta Education, 1979. Whyte Museum of the Canadian Rockies. “Mr. and Mrs. Stone." Accessed September 3, 2021. https://tinyurl.com/43bktuwv Footnotes: [1] “Echoes of a Mountain Tragedy,” B.C. Veteran’s Weekly (Vancouver, B.C.), April 29, 1922.