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Insets: Enlarged detail of fort. Scale [1:1080] -- Interior of Fort Victoria.

The file consists of correspondence from Thomas Lowe to Archibald McKinlay, primarily concerning the Ogden estate.

File consists of one diary of Archibald McKinlay, the first of two. The diary spans November 3, 1876 to February 9, 1877 and documents McKinlay's travels to reserves as reserve commissioner and includes copies of correspondence, basic census information for Indigenous communities, and translations of Indigenous languages.

This series consists of records of the Commission on Victoria Police Commissioners, 1910. Commissioner Peter S. Lampman was appointed March 24, 1910 to inquire into the actions of the Victoria Police commissioners in response to allegations of corruption. The investigation centered on the actions of the Police Commissioners in regard to bawdy houses and gambling establishments in the Chinatown area.

The series consists of correspondence and contracts between Surveyor General W.S. Gore, on behalf of the Chief Commissioner of Lands and Works, with various contractors regarding three public works projects. The projects are the building of the Victoria Law Courts, correspondence and contracts from February to June 1887; Kamloops bridge, correspondence and contracts from March 1887 to February 1888; and Lillooet Bridge, correspondence and contracts from August 1887 to March 1888.

Letterbook of correspondence outward from Official Administrator, J.C. Prevost, 1890-1895.

A toned, black and white card mounted print of one of the annual “Gems of British Columbia" composite works produced by photographer Hannah Maynard of Mrs. R. Maynard’s Photographic Gallery.

Mrs. R. Maynard was an artist, as well as a photographer. She was known for producing experimental works that involved photographic techniques such as double and multiple exposures, photo-sculptures, as well as composite and cut-and-paste montage imagery. The "Gems of British Columbia" series features portrait montages of selected children, largely Anglo-European subjects as well as a number of sitters from early Chinese and Black pioneering families, photographed throughout the year. These were sent as New Year's greeting cards to clients from 1881 until about 1895. In the 1880s, these composite photographs, which sometimes incorporated photo sculptures (also known as “Living Sculptures”) were published annually in the trade publication St. Louis Photographer (also known as St. Louis and Canadian Photographer).

The composite photograph represents the “Gem” for 1894 and features the portraits of children and babies surrounding a star at the center of the image. The center image of the star also contains tiny portraits that could represent another work in the “Gems” series from a previous year. The inclusion and repurposing of older montage works within the composite image created for the year is a characteristic common to some of the designs of Mrs. R. Maynard’s greeting cards. The words “B.C. Gems 1894” are spelled out in flowers and branches around the edges of the image. Other designs in the series include children and babies framed within squares, stars, ovals, crowns, and diamond shapes. In addition, similar montages appear superimposed on plants, shells, jugs, and an artist palette of which some of these were also used as new year greetings as is the case for the “The ‘Gem’ Begonia” card mounted print of 1892.

This is a toned, black and white card mounted print of one of the annual “Gems of British Columbia" composite works produced by photographer Hannah Maynard of Mrs. R. Maynard’s Photographic Gallery. The description in the image reads “The ‘Gem’ Begonia. Happy New Year. 1892.”

Mrs. R. Maynard was an artist, as well as a photographer. She was known for producing experimental works that involved photographic techniques such as double and multiple exposures, photo-sculptures, as well as composite and cut-and-paste montage imagery. The "Gems of British Columbia" series features portrait montages of selected children, largely Anglo-European subjects as well as a number of sitters from early Chinese and Black pioneering families, photographed throughout the year. These were sent as New Year's greeting cards to clients from 1881 until about 1895. In the 1880s, these composite photographs, which sometimes incorporated photo sculptures (also known as “Living Sculptures”) were published annually in the trade publication St. Louis Photographer (also known as St. Louis and Canadian Photographer).

This composite photograph represents a particular style in the “Gems of British Columbia” series where miniature portraits of children and babies appear superimposed on objects – in this case a begonia plant. It appears to be the Gem of 1892.

The leaves of the plant contain groupings of tiny portraits that could represent another work(s) in the “Gems” series from a previous year. The inclusion and re-purposing of older montage works within the composite image created for the year is a characteristic common to some of the designs of Mrs. R. Maynard’s greeting cards. The words “The ‘Gem’ Begonia. Happy New Year. 1892” are written in varying sizes at the bottom of the image. Other designs in the series include children and babies superimposed on plants, shells, jugs, and an artist palette.

In addition, similar montages appear with portraits of children and babies framed within squares, stars, ovals, crowns, and diamond shapes which were also used as new year greetings as is the case for the “B.C. Gems 1894.”

Item consists of a double-sided mount of 50 portraits. Duplicates of some photographs can be found in MS-3361 (Photograph album of Mrs. R. Maynard’s Photographic Gallery).

Card has been covered on one side with black velvet. Edges wrap around to the other side by 1-2 cm and are attached with hand stitching using black thread. On the velvet side are 13 “Statuary from Life” portrait and sculpture composite photographs. On the card side are 37 studio portraits of unidentified young children, infants, and babies.

87 pre-printed tickets in English and Chinese, with name of passengers, age, occupation and native place filled out in English. The tickets also have the name of the passenger written in Chinese. Some of the ticket holders were children. Folder 1 also contains undated hand-written notes which describe the conditions on the voyage re food and space allotted, and state that they were in contravention of the Chinese Passengers Act of 1855. Two Chinese names are listed on the note: A. Quang and Quang Ling.

Account book containing entries about loans, insurance, exchanges of gold dust and "gold eggs". The keeper of the accounts was acting as an agent and banker for Chinese who wished to send remittances back to China.

The file consists of a typescript extract or table (source unknown) of baptisms solemnized in the Parish of Victoria between 1859 and 1886. The file is number from p. 42-179, presumably following on from the previous register. Information collected includes the date of baptism, name of child, parent's names, abode, quality, trade or profession and by whom the ceremony was performed.

The file is a typescript copy of extracted entries of marriages solemnized in the Parish of Christ Church in Victoria. The entries are arranged by original page number (20 to 69) and follow directly on from the register in folder 3 (and overlaps slightly with the last entries in folder 4).

The information collected in the register includes the register page number, place and date of marriage, names of the parties being married, the name of the person solemnizing the marriage and the names of witness, and whether the marriage was authorized by banns or license.

The file is a photostat copy of a pre-printed British register of burials, used to record burials at Fort Vancouver, 1837-1838 and Fort Victoria or Victoria, 1849-1859. The volume is 11 pages and contains 88 numbered entries. Pages 1-3 record burials at Fort Vancouver and pages 4-11 record burials at Fort Victoria or Victoria.

The information collected in the register includes the register number, name and abode of the person being buried, the date of burial, the age of the deceased and notes about who performed the ceremony.

The file is a typescript copy of extracted entries of burials in the Parish of Christ Church Cathedral in Victoria. The entries are arranged by original page number (12 to 83) and follow directly on from the register in folder 6 with entries 89 to 664.

The information collected in the register includes the register number, name and abode of the person being buried, the date of burial, the age of the deceased and notes about who performed the ceremony.

Business records of Kwong Lee and Co., and Hopkee and Co., including shares of British Columbia companies and agreement to transport Chinese to Victoria.

Presented by W.E. Knowlton, Kamloops, 1977.

Statement of accounts in the matter of Kwong Lee and Company; receipts.

Minute book of the Advisory committee of the Chinese Rescue Home, 1896-1915 (the name of the home was changed to the Oriental Home and School on Aug. 24, 1909).

Series consists of bankruptcy records.

The series consists of a letterbook created by C.M. Tate between 1889 and 1898. The entries of his outward correspondence from 1889 to 1893 were written while he was in Chilliwack at the Coqualeetza Home and School. Entries from 1894 to 1898 are written from Victoria.

The item consists of a letter written by Alice M. Carr to Mrs. Schofield of Victoria regarding lessons for Patsy

The record consists of a presentation album made on or around April 4, 1911 by an unknown creator. The album has a cedar bark cover and contains 18 black and white photographs mounted on paper. There are no captions or page numbers but there is a hand lettered title page which provides the album title.

Item consists of one studio register created by Mrs. R. Maynard’s Photographic Gallery that documents client orders from 1891 to 1899 and represents studio-based business transactions over a ten year period. It consists of 248 pages and contains entries for negative numbers 1025 to 6240. The record represents over 5,000 customer entries, likely referring to portrait orders fulfilled at several different locations of the Maynard Studio. Also included within the pages of the register is a small number of textual documents that refer to customer requests for non-portrait photographs that appear to have been furnished through the photographic studio. The author of the register appears to be either Mrs. R. Maynard or Arthur S. Rappertie, an employee of Hannah Maynard.

During this period, the studio was located at two different locations in Victoria, British Columbia. From 1874 to 1892, the studio was located on Douglas and Johnson Streets. In 1888, the studio is described in the publication The New West (Winnipeg) as having: “… superior facilities for executing all orders in the promptest and most satisfactory manner…” In 1892 until 1912, the studio was relocated 41 Pandora Avenue (renumbered to 717 Pandora ca. 1907). Many of Hannah Maynard's photographs after this date bear the address "41 1/2 Pandora Avenue near Douglas Street. Several employees worked for the studio throughout its existence. It is estimated that Arthur S. Rappertie (1854?-1923) worked for Hannah Maynard in the 1870s to early 1900s as either her assistant or photographer. Nicholas Herman Hendricks (1869-1946) was also employed by Hannah Maynard for a period. The signatures of both Mrs. R. Maynard and A.S. Rappertie are handwritten within the first initial pages of the studio register. The record does not note the corresponding Maynard Studio address alongside client entries, however orders are dated by the references to the year of the transaction, a date which appears at the top of selected register pages throughout the record.

By the 1890s, Mrs. R. Maynard’s Photographic Gallery already been a creator of conventional portraits in the popular carte de visite format and capturing the likenesses of gold miners and sailors, as well as Indigenous people whose studio portraits were commercially popular in and around Victoria during the early 1860s and 1870s. Children and family portraits were also a unique market provided for by the Maynard Studio, with photographic products including miniature portraits and composite images. In the period between 1891 and 1899, Hannah Maynard was producing experimental photographic works, including the "Gems of British Columbia" series of composite photographs. The montage works featured selected portraits of children and babies, largely Anglo-European subjects as well as a number of Chinese clients and Black families, photographed throughout the year were produced and sent as New Year's greeting cards to clients from 1881 until about 1895. In the 1890s, the studio facilitated the photographing of mugshots for prisoners for several years, when Hannah Maynard became the official photographer for the Victoria city police in 1897. Data on photographic orders noted in this record consists of date of order, number of negative, size and style of portrait (the bulk of which are carte de visites), quantity and price paid, and sometimes specific customization instructions of photographs ordered, as well as shipping information.

Mrs. R. Maynard’s Photographic Gallery clientele included the spectrum of the Victoria population including notable members of Victorian colonial society, temporary visitors, members of the navy, as well as pioneering Anglo-European, Indigenous, Black (including African American and Caribbean families) and Chinese individuals, families and communities. Client information frequently contained within register entries includes names, place of residence, family relationships, and occasionally identifiers for race or ethnicity for clients not perceived as Anglo-European. Customer names recorded within the approximately 5,000 register entries range from “Mrs. Bossi” and “Mr. Powell” to “Mrs. Alexander and 2 children (Clifford and Mildred Alexander),” “Tie Sue, Chinamen,” and “A Japanese, J Adachi,” to “Chief Sheppard and family,” and “George Alexander” of the HMS Ship Nymphe. Some clients appear multiple times throughout the record. In addition, the initials “CM” and "CL" repeat frequently and appear to relate to clients perceived to be of Chinese or Asian heritage (for examples see “CM Lee Hoo” on register page number 50, “6 C.M. Ah Hoye” on register page number 79 and “CM & C Lady” on register page number 93. Not all given and family names are recorded, as in the case of many clients perceived to be of Chinese heritage, whose entries are generic and general terms such as “Chinamen.” Stated places of residence for the Maynard Studio clientele represented in this record range across British Columbia from in and around Victoria, around South Vancouver Island (locations such as Sidney, Nanaimo, Chemainus and Comox), Salts Spring Island, Haida Gwaii (including Alert Bay), and on the mainland (including Vancouver and Lytton). The register also documents the orders of portrait clients with residences noted as at or near the naval base in the neighbouring community of Esquimalt. Locations such as the dockyard, naval yard or barracks appear listed in the record, as well as the names of British warships that visited the base not limited to: Egeria, Leander, Icarus, Imperieuse, Pheasant and Wild Swan. Many of these client entries are located near the rear of the register.

During the 1870s and 1880s, Hannah and her husband, Richard Maynard, took several working trips, and some they took together where they both practiced landscape photography. This included trips to Vancouver Island, Haida Gwaii (then referred to as the Queen Charlotte Islands) and to Banff, Alberta. She used landscape views as well as studio portraits as source material for composite works, such as the blended “documentary” image of a field photograph depicting a view of community village scene and a studio portrait of an Indigenous women. In the early 1900s, Hannah Maynard supplied ethnographic documentary photographs of Indigenous people of B.C.'s Northwest Coast to the Peabody Museum of Archaeology and Ethnology at Harvard in the United States. In addition to the recorded customer transactions for portraits relating to negative numbers 1025 to 6240, there are several other textual documents found inserted throughout the pages of the register that appear to refer to non-portrait photographs orders furnished through the Maynard Studio. One order handwritten on an excerpt of stationary from the final location of Mrs. R. Maynard’s Photographic Studio on Pandora Street, contains the name and location of G.W. Lilly and Westholme, B.C. and lists the names of several British warships (Pheasant, Imperieuse, Icarus and Wild Swan). Another undated note addressed to Dr. Dorsey at the Field Columbia Museum in Chicago lists a small number of general descriptions noting field and landscape photographs described as depicting Indigenous lifeways and cultural material from communities on the mainland of British Columbia including Bella Coola and Knight Inlet. Finally, located near the beginning of the register there is a single record of correspondence written on The Colonist letterhead between F.A. Harrison and H. Maynard dated March 3rd, 1900 and referring to the return of photographs loaned in 1897.

File consists of one album containing 62 albumen photographic prints mounted on 31 pages. Images depict landscape views that document the coast and interior of British Columbia, as well as Banff, Alberta. Each page contains a title and photographer’s name, but no date. Photographs were likely produced during photographic tours that Richard and Hannah Maynard conducted to document the construction of the transcontinental railway, including the Canadian Pacific Railway (C.P.R.) during the early-to-late 1880s. Images include views of railroad stations, bridge and trestle construction, pathways and routes, field portraits, and settlements including Songhees, Victoria, Esquimalt, Nanaimo, Vancouver, New Westminster, Kamloops, and Banff, Alberta. Landscape views include the Salmon, Harrison, Fraser, Thompson, Columbia, “Illcillewait” and Bow Rivers; Stoney Creek; Devil Lake Creek; Summit Lake; Eagle Pass; Syndicate Peak; “Mount Caroulle”; Kicking Horse Pass; Mount Stephen; Mount Castle; Mount Edith; the Cascade Mountains; Tunnel Mountain; Devil Lake Canon; and the Three Sisters. Several geographical formations such as “Lady Franklin Rock, Fraser River” are identified as well as a number of parks, including Harrison River Hot Springs and Hot Springs at the National Park (Banff). There is one image identified as the coal mining district of Anthracite, Banff. The Maynards commercially sold their C.P.R.-related photographic views to the public. They were available for order or purchase at Mrs. R. Maynard’s Photographic Gallery and other commercial operations in Victoria and elsewhere in BC.

File is a family carte de visite album with a brown leather cover and metal clasps containing photographic prints, the bulk of which are card-mounted studio portraits that document the Maynard family, in particular the Albert Hatherly Maynard and Adelaide Maynard (nee Graham) family. The album is attributed to Adelaide Maynard, and appears to have been a gift to Adelaide Graham (1859-1892) from Albert Maynard (1857-1934). Photographs depict Adelaide Maynard’s domestic life before and after her marriage through primarily portraits, as well as a few snapshots and other materials that document her circle of family and friends of her and her husband, her role as a wife and a mother, and the domestic life of a Victorian family. The bulk of the photographs are credited to photographer Mrs. R. Maynard (1834-1918) but there are also works of other commercial photographers including Ontario based W.A. Cooper and JAS. Egan’s New Photographic & Portrait Gallery. The album includes popular Maynard family images that appear in other Maynard family albums.

The family album consists of 100 photographic prints, including sepia toned albumen carte de visites, plus other portrait forms such as tintype miniature portraits inserted in twenty-five pages. There are annotations found on some album pages and also on the verso of prints. Information largely consists of names and occasionally the age of the subject or the price of the print. There does not appear to be dates or associated photograph numbers for the original negatives present on album pages or prints. Mounted cards, carte de visites, often contain imprints on the verso noting the name and studio location. On nine of the pages prints appear to have been removed. There are also several prints housed loose within the album. Other materials include a few hand-painted photographs, a business card and several seasonal greeting cards which do not contain photographs.

A.H. Maynard family members are represented in individual and group studio photographs. The album includes individual and group portraits of Albert Hatherly and Adelaide Maynard, several mother and child portraits of Mrs. A. Maynard and child, as well as individual portraits of their infant children including John Ridgemen Maynard (b.1879). The album also includes portraits containing the following names in their associated captions: "Bob Liddell," "Mary Vipond," "Jack Kirkup," "G Anderson," "Frank Graham," and "J. Carter." Some of these captions refer to photographs which are missing from the album.

Likenesses of Albert Maynard’s mother (Hannah Maynard) and his siblings including Emma Maynard (1859 or 1860-1893), Zela Maynard (1854-1913), and Laura Lillian “Lillie” Maynard (1867-1883) are also featured frequently in individual and group portraits sometimes depicting domestic scenes and activities. Arthur S. Rappertie (1854?-1923) who worked for the Maynards in the 1870s to early 1900s is also present here. There are a number of unidentified prints of infants, babies, children and adults, including a number of male sitters, which may or may not relate to the Maynard family. There are several non-studio images, family photographs taken on excursions at the beach, at a group picnic, and outside a residence.

Portrait styles reflected in the album include headshots, side profiles, as well as mid and full-length likenesses that employ a variety of studio props. Several portraits of the Maynard children depict Mrs. R. Maynard’s use of side lighting techniques. Child and baby portraits, as well as those of toy dolls present in the album, are similar portrayals than those featured in Hannah Maynard’s annual “Gems of British Columbia" series of portrait montages of the 1880s and 1890s.

There are also portraits of other individuals and objects. These include commercial cartes of “Effie German,” as well as a number of portraits of children’s dolls including a tintype with the annotation “Mifs M.A. Morton” on the verso of the print. There is a business card of James F. Macdonald, the husband of Emma Maynard. The album concludes with two New Year's greeting cards: one addressed to A. H. Maynard and the other Mrs. Albert H. Maynard.

The series consists of a photo album with 267 pages and 1437 b&w photographs that cover the period 1914 to 1919. The album measures approximately 32 cm x 42 cm x 10 cm and the average photograph measures 9 cm x 14 cm. The album has been annotated in pen, presumably by the photographer.

The pictures in the album are from a variety of military-related events that took place in or near Victoria, B.C. There are also a couple of photographs that were taken in England. It is not known who took these photographs in England or how they were acquired as it does not seem that Crocker went to England at any time during the Great War. It is also not known if these prints were sent to Crocker or if he developed his own copies of the original negatives, as the paper, quality and size of these photos are consistent with the other ones in the album.

Topics range from departures and arrivals of soldiers in downtown Victoria, to pictures taken at camps of soldiers, political dignitaries, and nurses, pictures of parades, recruitment offices, a military funeral and other events in which the military was present such as the opening of parliament, tag days, provincial holidays, royal visits and the anti-German riot.

Photographs are mainly of crowds at public events, soldiers marching in the street, soldiers drilling or being inspected at camp, soldiers posing with family and friends, and ships leaving the harbour. Photographs are primarily taken in Victoria (particularly Government and Belleville streets), Willows Camp, Beacon Hill, and Work Point Barracks, Esquimalt.

The following events and subjects are represented in the album. They are listed here in order of appearance and are transcribed directly from annotations that appear in the album:

Arrival of 7th Scottish Battalion Party, April 26th 1919
Arrival of 2nd CMR [Canadian Mounted Rifles], April 2nd 1919
Arrival of Troopship Empress of Asia at Outer Deck, January 24th 1919
Battalion Parade, Siberian Forces, December 7th 1918
November 7th 1918 [“The False Armistice”]
Arrival of Draft for Siberian CEF, October 12th 1918
Arrival of Draft for Siberian Unit, October 3rd 1918
Departure of Infantry Draft, September 21st 1918
Departure of Infantry Draft S/S Princess Patricia, August 26th 1918
Artillery at Work Point, June 15th 1918
Artillery, June 17th 1918
Infantry Draft 2nd Depot Battalion June 9th 1918
Departure of B.C. Special Services Company
Departure of Infantry Draft S/S Princess Alice, April 19th 1918
Departure of Infantry Draft, April 8th 1918
Departure of Infantry and Artillery Draft, March 31st 1918
Opening of Parliament Guard of Honour 1918
Departure of Draft S/S Princess Charlotte, January 15th 1918
Departure of Draft S/S Princess Charlotte, January 9th 1918
Departure of Willows Base Company, November 15th 1918
Departure of Drafts from Army Medical Corps and Artillery
Royal Flying Corps Draft, September 22nd 1917
Military Funeral, Lieutenant Walker R.F.C, August 17th 1917
Army Medical Corps Draft “Presentation to Sergeant May”, August 12th 1917
Departure of Army Medical Draft S/S Princess Victoria, August 12th 1917
Departure of Army Medical Draft S/S Princess Adelaide, July 5th 1917
Departure of Artillery Draft S/S Princess Charlotte, July 4th 1917
Confederation Day Celebration, July 2nd 1917
Departure of Army Medical Draft, June 13th 1917
Aviation Draft, June 2nd 1917
Royal Athlete Park, Red Cross Sports etc., May 24th 1917
Returned Soldiers at Beacon Hill, May 1917
Departure of Overseas Draft, 50th Gordon Highlanders S/S Princess Adelaide, May 18th 1917
Church Parade, April 23rd 1917
Army Medical Corps and Artillery Drafts S/S Princess Victoria, April 20th 1917
Departure of Foresters Draft, March 22nd 1917
Forestry Draft at Willows Camp, March 21st 1917
Recruiting Office, Forestry Battalion, March 6th 1917
Guard of Honour, 88th Regiment, Opening of Parliament, March 1st 1917
Departure of 143rd B.C. Bantams, July 9th 1917
Departure of Army Medical Corps Draft, January 17th 1917
Departure of Yukon Company on S/S Princess Victoria, January 16th 1917
Battalion Parade – Bantams, January 12th 1917
Group of returned soldiers at Military Hospital Esquimalt, October 1916
Parade of Ammunition Column, 5th Regiment Band, January 5th 1917
143rd Battalion “Bantams” Parade, November 15th 1916
5th Regiment Church Parade, October 8th 1916
15th Brigade
Mechanical Transport Parade, July 26th 1916
Guard of Honour R.C.R. [Royal Canadian Regiment], Arrival of Duke and Duchess of Connaught, July 20th 1916
Departure of 103rd Battalion “Timber Workers”, July 15th 1916
103rd Battalion Parade, June 28th 1916
Review at Willows by H.R.H. Duke of Connaught, September 17 1915
B.C. Pioneers Departure, September 23rd 1915
Parade of Western Scots (67th Battalion), September 25th 1915
Mascots of the 67th Battalion “Romeo and Juliette”
Western Scots 67th Battalion, October 14th 1915
Garrison Parade for Drum Head Service at Beacon Hill Park, October 31st 1915
Girl Guides, October 21st 1915
Trafalgar Day Parade and Tag Day for Canadian Red Cross Society, October 21st 1915
Departure of 5th Regiment Draft for St. Lucia
Battalion Parade, 88th Fusiliers, December 2nd 1915
5th Regiment Draft December 11th 1915
Departure of Staff for B.C. Base Hospital, August 21st 1915
B.C. Horse, 88th Fusiliers, 50th Gordons
Detachment of B.C Horse from Vernon
B.C. Horse off to Vernon, August 20th 1915
Detachment from 88th Fusiliers and 50th Highlanders en route to Vernon Camo, July 24th 1915
Princess Patricia Reserves and Army Medical Corps, January 10th 1915
Review by Major-General Hughes, January 23rd 1915
Naval Reserve Draft en route to Halifax, July 26th 1915
“Some Victoria Boys in England”
First Contingent, August 26th 1914
Departure of 30th Battalion, February 14th 1915
Nurses from Victoria and Vancouver for duty in France, taken at Work Point, August 4th 1915
Patriotic Demonstration Parade (1 year of war), August 4th 1915
B.C. Base Hospital, August 21st 1915
Part of Camp at Willows, January 1915
Inspection by Major General Steele, February 27th 1915
Victoria Boys in Salisbury, England
Officers of 2nd CMR (B.C. Horse)
Anti-German Riot, May 8th 1915
Garrison Parade, May 24th 1915
Victoria Day Parade, May 24th 1915
Inspection of 48th Battalion by Lieutenant-Governor, June 15th 1915
Souvenirs from HMS Kent, December 8th 1914
Church Parade 48th Battalion
103rd Battalion, June 28th 1916
143rd Battalion, June 28th 1916
Untitled [artillery]
Departure of 11th CMR, June 20th 1916
No. 11 Company, Army Medical Corps off to Vernon, June 7th 1916
Departure of 15th Brigade CFA [Canadian Field Artillery], May 28th 1916
Departure of 88th Battalion CEF [Canadian Expeditionary Force], May 23rd 1916
15th Brigade CFA Parade, May 15th 1916
Farewell Parade, 88th Battalion, May 12th 1916
15th Brigade CFA, May 6th 1916
Church Parade, 88th Battalion, April 30th 1916
No. 1 Company, 88th Battalion, Belmont House
11th CMR [Canadian Mounted Rifles], April 7th 1916
143rd Battalion B.C. Bantams, April 2nd 1916
Departure of 67th Battalion Western Scots, May 24th 1916
103rd Battalion Parade, March 4th 1916
Opening of Parliament, 88th Battalion Guard of Honour, March 2nd 1916
11th CMR Parade, March 15th 1916
67th Battalion Western Scots Final Parade, March 14th 1916
67th Battalion Western Scots Farewell Parade through the City, February 21st 1916
103rd Battalion Parade, December 1915
Garrison Battalion Parade and Tag Day, December 21st 1915
Departure of Mechanical Transport Draft and “Pioneers”, December 25th 1915
Departure of First Contingent, August 28th 1914
Church Parade 48th Battalion, June 20th 1915
HMS Kent, June 1915
Untitled [Red Cross Bull Dog Mascot]

The album was originally arranged in reverse chronological order, starting with the most recent photographs, though there are instances when this order is not followed. Additionally, it appears that the album’s original order may have been altered due to deterioration and handling. The album is currently broken into two separate pieces. The first piece which includes the front cover is entirely separate from the rest of the album and currently sits on top of it. It is unmodified and the last pages are exposed to handling and are therefore quite damaged and deteriorated.

The second piece of the album has been retrofitted with a cardboard cover to protect the first pages while the back of the album is protected with the original hard cover. It also appears that at some point in time another bulk of pages were wedged in between the last page of the album and the back cover. Most of the photographs, if not all, do not have original glass plate negatives within our collections. However, many of the events represented in the album are also represented in MS-3356, albeit from different angles. It is possible that the photographs in this album were taken by an assistant working with Ernest Crocker.

File consists of one studio photographic album with a black leather cover containing 122 photographic prints, the bulk of which are a selection of sample studio portraits and less conventional works and is attributed to Mrs. R. Maynard’s Photographic Gallery. The album presents a portfolio of 19th century infant, baby, child and youth studio portraiture featuring a range of commercial options from the Maynard Studio. Photographic subjects include clients identified as being from the Harris, Redfern, Wallis and Gambie families, along with children of other families. Members of the Maynard family including Hannah Maynard, George Maynard (son of Hannah and Richard Maynard), Richard James Maynard (son of Albert H. Maynard), Harry and Maynard MacDonald (grandchildren of Hannah and Richard Maynard and children of daughter Emma Maynard) are also depicted in individual and group portraits.

File is a large family photograph album with a yellow-green velour cover containing 69 card mounted photographic prints, the bulk of which are studio portraits that document numerous individuals and families, some of whom are members of the Maynard family. Many of the photographs are attributed to photographer Hannah Maynard of Mrs. R. Maynard’s Photographic Gallery, but there are also works of other commercial photographers and photographic studios including those identified as Washington based “Roberts & Kautz” and “Peiser’s Art Studio”/“Theo E. Peiser”(Seattle), as well as “A L. Jackson” (Tacoma). There are also works from photographers: “[Will] A. Peek” (Yaquina, Oregon), “Taber” (San Francisco) and photographic businesses “R. & H. O’Hara Photographers, BookSellers, Insurance Agents & c.,” (Bowmanville, Ontario). The album includes popular Maynard family images that appear in other Maynard family albums.

The file is a family photograph album with a black leather cover with a metal clasp containing 32 card mounted photographic prints, the bulk of which are a selection of individual and group portraits depicting several generations of the Maynard family, in particular the Albert H. Maynard and Adelaide M. Maynard (nee Graham) family. Many of the prints feature portraits of infants, children, youth and adult members of the Maynard family including Albert H. Maynard, his mother Hannah Maynard and his siblings Zela Maynard, Laura Lillian Maynard and Emma Maynard, as well as his wife Adelaide. Laura Lillian Maynard and baby Richard James Maynard appear frequently throughout the album, either in individual portraits or group portraits together or with mother and grandmother Hannah Maynard. The majority of the photographs are attributed to photographer Hannah Maynard of Mrs. R. Maynard’s Photographic Gallery but there are also works of other commercial photographers including Washington based “Peiser” (Seattle) represented here. The album includes popular Maynard family images that appear in other Maynard family albums.

File is a large family photograph album with a light brown leather cover and a metal clasp containing 121 photographic prints, the bulk of which are card-mounted studio portraits that document several generations of the Maynard family. Many of the photographs are attributed to photographer Hannah Maynard but there are also works of other commercial photographers including those identified as “H Thorn” (Bude Haven), “E.W. Burnham Photo” (Cannington, Ontario), “Bradley & Ruloeson” and “J. Hawke” (Plymouth). The album includes popular Maynard family images that appear in other Maynard family albums, including photographs of Hannah and Richard Maynard and their children (George, Albert Hatherly, Emma, Zela and Laura Lillian Maynard) and grandchildren (including John Ridgemen and Richard James Maynard) who are depicted in individual and group portraits.