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Photograph album

The series consists of a photograph album, possibly created by either photographer Edward Dossetter or Dr. I.W. Powell (Superintendent of Indian Affairs for British Columbia) in 1881-1882. The album contains 52 photographs, six illustrations apparently cut from a magazine or book and one postcard of an engraving.

The first 35 photographs were taken by Dossetter during the inspection of coastal Indian Reserves by Powell, on their 1881 trip on the HMS Rocket. The photographs are of First Nations people and villages. The album also contains a photograph of the Gorge in Victoria, seven photographs of celebration arches, four photographs of Esquimalt Harbour and two of Lytton, taken in 1882. These photographs may have been taken by Richard Maynard.

In addition there are six illustrations, mostly religious artworks, three photographs of Cornwall, England and a postcard engraving of a cannery.

Indian Commission album

  • MS-3433
  • Series
  • 1879-1881

The series consists of a photograph album, known as the Indian Commission album, but possibly created by or for Dr. I.W. Powell (Superintendent of Indian Affairs for British Columbia) or A.C. Anderson (Commission and Fisheries Inspector) after 1881. It contains 100 photographs from Powell and Anderson's visits to First Nations communities on the British Columbia coast in 1879 and 1881. The photographs were taken by various photographers who accompanied Powell on his trips, including O.C. Hastings and Edward Dossetter. They are of the First Nations villages and people, the ship HMS Rocket and its crew, and landscapes encountered.

Translations of Vancouver Island treaties

The series consists of three documents relating to MS-0772 Register of land purchases from Indians. The agreements recorded in the register are referred to as the Vancouver Island treaties (formerly known as the Douglas or Fort Victoria treaties). In February 2017 a conference was held at the Songhees Wellness Centre, inviting Indigenous and non-Indigenous islanders to discuss the treaties, their history, and their present-day impact.

The conference commissioned the first translations of two of the treaties into Lekwungen by Songhees Elder Dr. Elmer George, and a cultural interpretation of the treaties in SENĆOŦEN by STOLȻEŁ, Tsartlip Elder John Elliot Sr. The Lekwungen translations are of the če’q’nein nəč’elŋxʷ- kʷ’ats’ayč iʔ xpeʔ kʷəliq̌a (Chekonein treaty) and the Teechamitsa treaty.

Dr. Elmer George and John Elliot Sr. were awarded the Meritorious Service Award by the Governor General of Canada in recognition of this work.

First Nations, Land, & James Douglas: Indigenous & Treaty Rights in the Colonies of Vancouver Island & BC, 1849-1864 conference

Songhees agreement for removal to Cadboro Bay

Item consists of one handwritten document addressed to the Superintendent General of Indian Affairs (I.W. Powell) and signed by members of Songhees First Nation. It is dated February 7, 1881. The signatories are: Chish; Koo-lai-mult; Koo-lai-sa lue; Hul tsai mult; Quoss l sits; Whe-nook; Lipp; Sala-hala-noo; Louis (Noo-noo-wha-nuk); Ai-Whin; Ka-wai-tsim; Qua-mi-ai; Hoo-tihwi-ai; Shoto-hoom; Henry (Sauk); Tomaikh; Tse-al-ton; Tchillack; Hltahulto; Tshenal klum; Teeai[t or l]ou; Se-ol-sut; Shil-uh (Jimmy); Yallelth; Dick (Hai-tsa-kanum).

Archibald McKinlay Diary Part 1

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.

McKinlay, Archibald, 1811-1891

William Law Ogilby fonds

  • PR-2208
  • Fonds
  • 1892

The fonds consists of an illustrated diary written in a school exercise book of William Law Ogilby's experience as a chainman on a survey of a portion of the western boundary of the Esquimalt & Nanaimo Railway Belt on Vancouver Island. A photograph, presumed to have been taken on the survey, depicts Ogilby and two other men at their camp at an unidentified location.

Ogilby, William Law

Photograph album of the Maynard family

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.

Photographic View Album by R. Maynard, Artist

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 Maynard's 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.

Maynard, Richard

Photograph album of the A.H. Maynard family

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.

Photograph album of Mrs. R. Maynard’s Photographic Gallery

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.

Photograph album of the Maynard family

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.

Photograph album of Mrs. A. H. Maynard, 1872 - 1892

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.

Maynard, Adelaide M.

Studio register of Mrs. R. Maynard's Photographic Gallery, 1891-1899

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.

Mrs. R. Maynard’s Photographic Gallery

Victims of Nanaimo mine disaster

The item consists of a photograph of several dead bodies, partially covered by sheets. The men were killed in a mining accident. Several other men are gathered around the bodies. The photograph is nearly identical to J-08002.

Victims of Nanaimo mine disaster

The item consists of a photograph of several dead bodies, partially covered by sheets. The men were killed in a mining accident. Several other men are gathered around the bodies. The photograph is nearly identical to J-08001.

Album of Laura Lillian Maynard [copy prints]

The item consists of selected reproductions of images from a Maynard family photograph album containing photographs relating to the Maynard family and the Victoria-based commercial photographic studio Mrs. R. Maynard’s Photographic Gallery (1862-1912). The album is presumed to be created in the late 1890s. The album is attributed to Laura Lillian Maynard (1873-1951), the daughter of George H Maynard and Mary Elizabeth Davies. The photographs are taken by a photographer(s) whose identity is not stated.

The selected images consist of eight photographic prints depicting different portraits and views. Two images illustrate an unidentified photographic studio both occupied and unoccupied. Another photograph consists of a group portrait depicting a gathering of people outdoor, possibly the Maynard family. Three prints showcase scenes of a residence including one exterior view of a residence and surrounding neighbourhood, and two interior views of a domestic residence. There is also a studio portrait of Mrs. Hannah Maynard in the later stages of her career and life. Finally, there is one image of a construction scene featuring a number of workers in view.

Of the two interior views of a domestic residence, one image includes a depiction of Arthur Rappertie and his mother, Elizabeth Rappertie, in their apartment behind the Maynard Studio on Pandora Street circa 1898 (F-06918). The other image includes several framed photographs in the background. These are studio portraits of Hannah and Richard Maynard of Mrs. R. Maynard’s Photographic Gallery of Victoria, B.C.

Commission on Victoria Police Commissioners

  • GR-0784
  • Series
  • 1910

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.

British Columbia. Commission on Victoria Police Commissioners (1910)

Letters outward

The file consists of a letterpress book kept by Thomas Lowe between 1852 and 1863. Although this timeframe overlaps with correspondence in file E/B/L95 (book), the correspondence in this file appears to be solely addressed to his parents and siblings.

Journal kept at Fort Vancouver, Columbia River

The file consists of a three volume journal kept by Thomas Lowe at Fort Vancouver between 15 June 1843 and 8 April 1850. Lowe records day-to-day activities, the weather, and the comings and goings of numerous Hudson's Bay Company employees. Volume 2 was written on loose-leaf paper. It is quite difficult to read in spots, owing to Lowe's use of pencil rather than ink. During this period, Lowe journeyed from Fort Vancouver to York Factory; entries from these trips were kept in separate journals.

Volume 1 covers the period 15 June 1843 to 5 January 1846, volume 2 covers 6 January 1846 to 1 November 1846, and volume 3 consists of two parts that cover 1 November 1846 to 20 March 1848 and 17 November 1849 to 8 April 1850.

The three volumes are housed separately in different file folders.

Letters outward

The file consists of an original letterpress book containing Lowe's outgoing correspondence from San Francisco. The correspondence dates from 14 May 1852 to 10 December 1859. The book is arranged chronologically and Lowe does not appear to have used the alphabetical tabs at the front of the book. .

Correspondence outward

The file consists of a letter written to the manager of the Colonist newspaper. At the time of writing, Lowe was living in Perthshire, Scotland. In his letter, he refers to his time at the Hudson's Bay Company fort near the Taku River in Alaska, and comments on the local Indigenous population.

Documents relating to the Masons

The file consists of three documents relating to Thomas Lowe's involvement with the Masons. Two of the records are signed by Israel Wood Powell in his roles as Right Worshipful Master and later as Provincial Grand Master of BC.

Journal of voyage from Vancouver to Walla Walla and back, 1849

The file consists of several sheets of paper stapled together. They appear to have been removed from a bound volume. The journal documents Lowe's voyage from Fort Vancouver to Walla Walla, Washington between August and September 1849. Lowe subsequently made a note at the end dated San Francisco, 22 March 1853.

Thomas Lowe, account book, Columbia Department

The file consists of an account book kept by Thomas Lowe in the Columbia Department between 1842 and 1850. The volume appears to be a ledger, but the ink has faded to such a degree that it is nearly completely illegible.

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