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The item is a volume titled land office blotter. Blotters were used to record detailed trading activity. Only one page has been used. The page describes two financial transactions with the Hudson's Bay Company.

The first transaction relates to 200 pound sterling received from James Cooper, Master of the Hudson's Bay Company ship Columbia, as a deposit on a land purchase in September 1849.

The next relates to the trade of 535 blankets on the 6th of May, 1850. The blankets were paid to several Indigenous groups "for purchase of their lands as per details in Register of Land Purchases", also known as the Douglas Treaties. The names, transcribed directly from the blotter, are: Tee-chamitsa, Kosampsom, Swenghung, Chilcowitch, Whyomilth, Checonein, Kakyaakan, Chewhaytsun, and Soak.

This record was likely created by James Douglas, as it appears to be written in his handwriting [see Wilson Duff, "The Fort Victoria Treaties", BC Studies No. 3 (Fall 1969): 8].

The file consists of three black and white photographs of the 2nd Battalion Canadian Mounted Rifles, taken at Willows camp, Victoria, in 1915, likely photographed by Ernest Crocker. The photographs consist of large group portrait of the battalion and two postcards. One postcard shows the battalion on parade at Willows Camp. Another is a group photograph of soldiers performing camp duties.

Items include:
J-08131
J-08142
J-08143

The file consists of three photographs of the V-J Day parade in Victoria B.C. on August 15, 1945. One photograph shows the Victoria Girls' Drill Team, another shows the Chinese float, and another shows several female Chinese-Canadian participants.

Includes:
J-08130
J-08140
J-08141

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.

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.

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 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.

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

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.

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

Series consists of bankruptcy records.

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.

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.

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 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.

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.

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.

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 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.

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.

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).

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.

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

The file consists of one album of 101 photographs containing views of friends of the Langley family (including the Foster, Pemberton, Mouat, Helmcken, Beeton, Rithet, Dunsmuir, Turner, and Jones families and Judge Peter O’Reilly), J.T. Pearce Groceries & Provisions Store, views of Victoria Driving Park, and locations across Esquimalt including St. Paul’s Church, St. George’s Inn, an open-air tram and tramline terminus, and ships within the Esquimalt Harbour and graving dock (dry dock).

“A. J. [sic] Langley photographs identified 1963-1964 by Miss Flora Burns, Miss F. G. Hood, Mr. Fred Foster, Mr. Hamilton, Mrs. Hew Paterson, Mrs. H.C. Holmes” is written on the first page in blue ink. Additional identifying text possibly added by Archives staff.

Most photographs have been cut into circles and adhered to album pages with unknown adhesive. They have been decoratively framed with 2-6 concentric circles hand drawn in blue ink. Unnumbered square photographs on page 39 have no additional framing.

The file consists of one album of 19 photographs containing views of unidentified horses, jockeys, and spectators at a Victoria horseracing competition. There are no identifying captions on the photographs.

Below the title, the following is typed on the album front cover:
“Committee: Major DuPont, Mr. Justice Drake, J.C. Davies Esq., John Martin, Esq., M.G. Drummond, Esq, Dr. Duncan R.C.A., G.L.S. Warrender, Esq., R.N.; Hon. Secretary: L.H. Webber, Esq.; Judges: Mr. Justice Drake, the Hon. P. O’Reilly, Major Dupont; Starter: Lieut. Col. Hughes, R.C.A.; Clerk of the Course: The Hon. C.E. Pooley.

Conditions: Post entries will be accepted. The decision of the judges to be absolutely final. The “assembly” will be sounded by a bugler ten minutes before each race. All prizes to be sweepstakes, except in race No. 10 in which the prize will be $25.”

Pages are made of card, with a thin layer of paper adhered to only the front, punched with two holes, and tied (bound) with [blue or green] ribbon. Photographs have been cut into circles 7.5 cm in diameter and adhered to album pages with unknown adhesive. They have each been decoratively framed with five concentric circles hand drawn in blue ink. The final photograph has been adhered to the outside back cover.

The file consists of one album of 10 photographs, including front cover, created to commemorate a gathering at Ashnola on Queen Victoria’s birthday. The photographs include portraits of friends of the Langley family (including the Fleet, Macdonald, Musgrave, Prior, Croft, Dunsmuir, and Snowden families).

Additional identifying text possibly added by Archives staff or the donor. On the verso of the first page “W. H. Langley Collection” is written in blue ink

The file consists of one album of 22 photographs, including front and back covers, created to commemorate a gathering at Ashnola on Queen Victoria’s birthday. Photographs include portraits of friends of the Langley family (including the Dunsmuir and Turner families). The order of the album follows the order of the events of the day, including a regatta at the Gorge.

Most photographs have been cut into circles and adhered to album pages with unknown adhesive. They have been decoratively framed with 2-3 hand drawn concentric circles in blue ink. Additional identifying text possibly added by Archives staff, Craigdarroch staff, or the donor.

The file consists of one album of 18 photographs, including front and back covers, created to commemorate a gathering at Craigdarroch Castle. Photographs include portraits of friends of the Langley family (including the Dunsmuir, Snowden, Scriven, Pemberton, and Finlayson families) posed on the exterior grounds of the castle. The order of the album follows the order of the events of the day.

Photographs have been cut into circles and adhered to album pages with unknown adhesive. They have been decoratively framed with four hand-drawn concentric circles in blue ink. Additional identifying text possibly added by Archives staff, Craigdarroch staff, or the donor.

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.