The Maple Leaf RagFriends of the Canadian Collections

Fall 2013Amis des collections canadiennes

Don't miss out on these exciting up and coming events....

Ken Lister, Assistant Curator in World Cultures at theROM, holds curatorial responsibility for severalcollections, including the Northwest Coast ethnographiccollections of North America, Arctic and Subarctic, thecollection of canoes and kayaks, and the Paul Kanecollection of sketches and oil paintings. He joined theROM in 1978.

There’s intrigue and mystery in Paul Kane’s artistictechniques when viewed through the photographictechnique known as infrared reflectography. Learnwhat the latest research reveals about this famousCanadian painter. Developed in his Toronto studio

during the 1850s, Kane’s cycle of 100 oilpaintings are the single most important collectionof paintings documenting 19th century Canada

and Native life.

$10.00 for ROM Members

$12.00 for the general public

Friday, February 21, 2014

7:00pm - 8:30pm

RBC Glassroom, Level 4

Registration required for all:www.rom.on.ca/members/events or

416.586.5700.

Presented by the Friends of the CanadianCollections / Amis des collections canadiennes

The First Brush:

Paul Kane andInfrared

Reflectography

With Ken Lister, AssistantCurator, World Cultures,

ROM

"Return of the War Party"1849-1856Paul Kane

PLEASE RENEW YOUR SUPPORTFOR FCC/ACC

When you renew your ROM Membership(or for a new Member) online, look for theheading Optional Donation on themembership form.

Under the heading “I would like tomake an optional donation…” scrolldown to the amount. (To become a Friend,check $50 or higher.)

Under “My gift is in support of…” scrolldown to Friends of the CanadianCollections and select it.

Your support is important if FCC/ACC is tomeet its financial goals in support of ROMresearch and the purchase of artifacts.

Please continue to be a Friend.

Thank you

Looking ahead ....

2014 Lectures:

In addition to the Ken Lister talk (see sidepanel)...

...... May 28, 2014 – “Canada in Storyand Song” with award winning Canadianstory tellers Dan Yashinsky and Lorne Brown

...... October 20, 2014 – “CanadianDomestic Silver: ID Clinic and Workshop”with silver experts Dr. Dorothea Burstyn andRichard Flensted-Holder.

Newsletter is edited by Liz Muir, layout by Marc Croteau The ROM is an agency of the Government of Ontario

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IN THE STEPS OF CHAMPLAIN: Mysummers as an archaeologist

by Pat Haug, member-at-large, FCC/ACC Board ofDirectors, as told to Liz Muir

“It was 1946. There was an ad at U of T forvolunteers to dig for the summer. Dr. “Tom”McIlwraith in the Department of Anthropologywas looking for Cahiagué, the main village of theHuron nation. I was studying art history, but itsounded like a fun opportunity, so I applied.

“We had to put up tents, dig trenches, helpout in the kitchen, take turns cooking meals, andof course learn how to dig. If we foundsomething, we had to measure its depth and plotit on a plan.

“We were in a field, at the edge of a farm,and we did find lots of stuff – such as animalbones, ceramic pots and arrowheads.

“Cahiagué was the capital of the Huronnation in the 17th century. Samuel de Champlain(1567-1635) stayed there in 1615. In hisjournals, he described it as a city of two hundredwooden buildings, some of which were as longas 200 feet. It was protected by triple palisades,thirty feet high. Between three to six thousandpeople lived there.

“Champlain had agreed to take his men andaccompany the Huron in their fight against the

Iroquois (Onondaga). Hedevised a strategic planfor the battle, but theHuron ignored the plan,and they were soundlyrouted. Champlain waswounded by two arrows,and had to be carriedback to Cahiagué in abasket, in excruciating

pain. He recovered, but stayed over the winter inthe village and left for Quebec in the spring of1616.

“Archaeologists don’t agree on whereCahiagué was. Based on Champlain’sdescription, Tom believed it was at Warminster inMedonte Township not far from Orillia. But othersdisagree, claiming that Champlain’s leaguemeasurements are open to interpretation: aleague was an imprecise measurement."

Ed. Note: Unfortunately Dr. McIlwraith’s detailednotes from these digs have been lost. Further digstook place at or near this site. Information can befound in a variety of sources, among them: ArchNotes, Sept/Oct 1978 (The OntarioArchaeological Society); Muse News, September2010 (Orillia Museum of Art &History); DallaireSeries, Hull Sector, City of Gatineau, Musée duQuébec; Colin McKim, The Packet and Times,June 21, 2008 and October 1, 2008; andHuronia, Chapter of the Ontario ArchaeologicalSociety, October 04, 2012

Photo courtesy of

Pat Haug

13th AGM

Held in the beautiful RBC Glassroom at the ROM¸the FCC/ACC’s 13th AGM was opened by theChair, Liz Muir, on May 29, 2013.

Muir thanked the Friends for their past supportand urged them to renew their membership. Sheexplained that for the first time, Friends willreceive a tax receipt if they donate $50. or moreto the FCC/ACC when they join or renew.

Treasurer Velma Jones reported that the FundBalance at March 31, 2013, the end of the fiscalyear, was $4,703.15. During the year, donationswere made to a ROM facsimile publication ofPaul Kane’s Wanderings of an Artist ($15,000.),and to Dr. David Evans’ dinosaur research inCanada ($5,000). FCC/ACC Friends alsocontributed $1,696. to the ROM Library topurchase twelve Canadian journals.

Muir recapped the FCC/ACC lectures during the

year: in September with David Ireland, ManagingDirector of the Centre of Discovery in Biodiversity,and in March with Dr. Arlene Gehmacher,Associate Curator, Canadiana, on 19th centuryCanadian women artists.

The following were elected to the Board for theyear 2013/2014: Liz Muir, Chair; Jean Read,Past Chair; Janet Greyson, Secretary; JessicaMyers, Assistant Secretary; Velma Jones,Treasurer; Marc Croteau, Newsletter Designer;Eva Cunningham, Canadian Galleries Liaison;Dorothea Burstyn, Pat Haug, and ElizabethWalter, members-at-large.

The AGM closed with a power-point presentationby Trudy Nicks, Senior Curator, Department ofWorld Cultures, on the “First Nations Involvementin the War of 1812-1814.”

Further details are available from the treasurer,veljones@rogers.com, or the chair, emuir@eol.ca.

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CONNECTING GALLERIES AND COLLECTIONS

Trudy Nicks, senior curator in the Department ofWorld Cultures at the ROM, talks with EvaCunningham, ROM docent and member of theFCC/ACC Board of Directors

Eva: Hi Trudy. I’ve been asked to find out whatinspired you to campaign for and succeed inmounting an exhibit in the Daphne CockwellGallery of Canada: First Peoples entitled“Sovereign Allies: Living Cultures.”

Trudy: I have long been interested in theconnections that exist between differentcollections and different galleries. In the case ofthe War of 1812 tour, I thought it would be veryuseful to have our visitors look at the mixed forestdiorama to gain an appreciation of the kind ofenvironment in which many battles were waged.I hoped that visitors – especially those unfamiliarwith this country – would better appreciate thestrategic skills that First Nations warriors broughtto the battles if they could more-or-less placethemselves in a relevant habitat.

Eva: That’s certainly a novel approach to touring.Did you find any other such connections in theROM?

Trudy: I did. I spent a couple of hours looking atvarious galleries to see what other connection Icould discover and found many, as you know.

Eva: It seems the ROM is a veritable web ofintriguing associations!

Trudy: Indeed! The multi-disciplinary nature of theROM offers some wonderfulopportunities to exploreconnections that cross-cut thecultural and natural historygalleries, as well as FirstNations/other Nationsconnections. I have had

other ideas about how toexploit the rich variety of ourgalleries.

Eva: Can you name any examples?

Trudy: Certainly. For example, our famous Dr.Oronhyatekha collection represents the activitiesof a man who travelled widely and participatedin both First Nations and Anglo-Canadian worlds.I once played with the idea of inserting a “Dr. O”story in several World Cultures galleries.

Eva: That sounds crazy!

Trudy: Yes it does, but I think visitors wouldhave been intrigued to see how many times theyencountered him as they toured the galleries.

Eva: Gee…you really have my attention. I canonly think of one connection off the top of myhead and that is to the Prince of Wales dishes inthe Sigmund Samuel Gallery of CanadianDecorative Arts. Maybe visitors who read thisinterview will go out into the galleries with neweyes, searching for possibilities. Thanks so muchfor taking the time to talk to me for the MapleLeaf Rag.

Photo courtesy ofTrudy Nicks

IMPORTANT NOTICE TO OUR READERS

Distribution of future issues of the Friends of the Canadian Collections / Amis des collectionscanadiennes newsletter will be in electronic form, whenever possible.

If you would prefer to receive a print copy, you may request that from ROM Membership atmembership@rom.on.ca or 416.586.5700

The Life of Dr. Oronhyatekha -Burning Cloud (1841-1907)

Adapted by Eva Cunningham and Jean Read fromoriginal material prepared by the Sigmund SamuelSection of the DMV Docents

Dr. Oronhyatekha, whose name translates toBurning Cloud, was an extraordinary individual whoovercame racial barriers to become a remarkablefigure in Canadian history. Although a well-respectedand successful businessman, he never forsook hisheritage, using his considerable influence in a whiteVictorian society to promote communication betweenthe First Nations and Canada. As a Mohawk scholar,Dr. O was the first aboriginal medical doctor inCanada but is recognized primarliy for his role asSupreme Chief Ranger of the Independent Order ofForesters.

Born in 1841 into a Mohawkfamily on the Grand River, he tookadvantage of available resources,attending the New EnglandCompany's industrial school,perfecting his English andlearning the shoemaker's trade.After attending Kenyon College inOhio, Dr. O returned to teach atTyendinaga (Bay of Quinte) andin 1860, at the age of nineteen,was chosen to present thewelcoming address to the Princeof Wales (later King Edward VII)on behalf of the Six Nations.Through the Prince’s influence, heattended St. Edmund Hall atOxford University. He returned to Canada in 1863and married the great-granddaughter of Joseph Brant.In 1866, he became one of the first individuals ofindigenous ancestry to graduate from the University ofToronto's medical school. During this time, he was amember of the U. of T. militia corps and the 2ndBattalion of Rifles (Queen's Own Rifles of Toronto),which proved to be good training for his laterachievement of winning nine prizes in rifle-shooting atWimbledon. His first affiliation with the lodge systemoccurred during his university days: in October1865, he joined the Masonic order and eventually,the Orange Order, which gave him entry into theIndependent Order of Foresters (I.O. F.) in 1878, afraternal life insurance company.

Dr. Oronhyatekha established his first medicalpractice in Napanee and in 1872, became Chairmanof the Grand Indian Council, an association ofreserves in Ontario and Quebec.

He was elected Supreme Chief Ranger of the I.O.F.in 1881, a position he held until his death in 1907.In his 26 years as CEO, he expanded the I.O.F. basein Europe, Australia and the U.S. From anorganization of 369 members with a debt of $4,000,the I.O.F. grew to over one-quarter of a millionmembers throughout the world and $11 million inliquid assets. Dr. O travelled the world extensively,collecting artifacts that were gifted to the RoyalOntario Museum on his death in 1911.

In Dr. O’s mind, fraternity constituted not simplyinsurance but the entire philosophy of self-help andmutual aid. To this end, he had plans to donate hishome on the island as a home for elderly anddisabled members, but unfortunately this was notrealized. Similarly, in 1906 he ordered acontribution of $15,000 for earthquake relief in SanFrancisco.

In 1903, he devoted land heowned on Foresters’ Island in theBay of Quinte to an orphans'home, to be financed throughmembers’ contributions.Unfortunately, his taste for excessled to the building of a miniaturecastle instead of a modest home.The orphanage opened in 1906but closed a year later, deeply indebt.

Dr. Oronhyatekha wasordered by his doctor to asouthern climate for the winter butshortly after visiting U.S. PresidentTheodore Roosevelt, he diedpeacefully in Savannah, Georgia,

on March 3rd, 1907. Characteristically, he hadorganized his funeral. His body lay in state atMassey Music Hall in Toronto. Within a four-hourperiod on March 6th, over 10,000 people paid theirrespects. That evening, a memorial service wasconducted at St. Peter’s Church, which Oronhyatekhahad attended. The following day, his body wastransported in a specially commissioned train for afamily service at Christ Church, on the TyendinagaReserve, where he was interred in a concrete tombbeside his wife and sons.

Dr. O's remarkable success was founded oncharacteristic Mohawk values - the principle ofreciprocity between people and the institutions theycreate. His legacy is that of a man who inhabitedtwo worlds, drawing strength from and forging anidentity in both to become a distinguished member ofMohawk, Ontario and Canadian Society.

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Dr. Oronhyatekha

Daniel Wilson

Photograph Album

ROM Images

Dr. Oronohyatekha

Frank M. Pebbles

1896-1897

ROM Images

Brief Overview of the Canadian Silver Trade Inspired by a Gallery Visit

by Dorothea Burstyn

The Sigmund Samuel Gallery of Canada at the Royal Ontario Museum has a small butexquisite collection of silver on display which comprehensively tells the story of the silver tradein Canada. In the beginning, neither the Acadians in their villages nor the English settlers hadmuch demand for domestic silver. From early on, the Church had silver for ecclesiastical use.The first silver objects to New France were brought over by the Jesuits. Early inventories of thepossessions of noble families in Quebec show that domestic silver of a great variety wasused. Unfortunately these inventories make no distinction between imported and Canadianmade objects. In the early 18th century there are some silversmiths on record but it can safelybe assumed that most of the domestic and church silver was imported.

The Canadian silver trade became established only in thethird quarter of the 18th century; one of the big hindrances for alocal trade was the absence of raw material. Canadian silvermines started to operate only towards the end of the 19th century.In the early days, silver production had to rely on melting coinsand old silver. Easy access to England, and the fact that orders ofEnglish silver could be filled relatively quickly, also presented achallenge to the establishment of the local trade.

The early Canadian silver trade was concentrated inMontreal and Quebec City where silversmiths were mainly of

French and English origin; but, also, Canadian-born and trained silversmiths found a willingclientele. The Church was still the big patron for silver. Wonderfulchurch silver was made by such eminent silversmiths as LaurentAmiot, François Renvoyzé, Michael Arnoldi, and François Sassevillein Quebec City and by Salomon Marion, Paul Morand and PierreHuguet dit Latour in Montreal. The demand for church silver wasfilled almost entirely by local trade from the middle of the 18thcentury until the second quarter of the 19th century and followedtraditional French styles, probably because contemporary Frenchexamples were not available, but mainly because the conservativeCatholic clergy preferred conventional forms.

There is not much Canadian-made domestic silver extantbefore 1775; noticeable is that French silversmiths adhered toFrench styles and forms while English silversmiths found theirinspiration in their homeland. In the Gallery, two good examples ofthis are the soup tureen decorated with a vegetal finial and leafyswags by Laurent Amiot and a tea set with bright-cut décor by RobertCruikshank both made around 1790. Robert Cruikshank, asuccessful London silversmith, came to Canada in 1778 and soondominated the silver trade.

Soup tureen (and detail) byLaurent Amiot

Tea set by Robert Cruickshank

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6 100 Queen's Park | Toronto, Ontario | M5S 2C6 | 416.586.5700 | membership@rom.on.ca | www.rom.on.ca

(continued from pg 5)

As the demand for domestic silver was considerably smaller than inEngland, a big part of the output of silversmiths was the Indian tradesilver. Silver medals to commemorate deals and treaties with theindigenous population had a long tradition going back to the early 18thcentury, but this trade took an enormous upswing towards the end of thecentury and later when fur traders gave an enormous amount of silvertrinkets like brooches, medals, headbands, arm bands and gorgets to theIndians. In the 1850s, Robert Hendery of Montreal became the mostimportant manufacturing firm supplying many retailers all over the country;the firm’s silver was marked with a Georgian head and a lion passant, towhich most retailers added their name stamp.

The first silversmiths arrived in the Maritimes after GovernorCornwallis founded Halifax in 1749. A local viable silver trade was

established much later at the beginning of the 19th century. Even then, many silversmiths hadto find other sources of income since silversmithing alone could not sustain them. There were,however, some very successful silversmiths such as German-born Peter Nordbeck of Halifaxwho trained several Canadian-born silversmiths of which Michael Septimus Brown wasprobably the most successful. Their output consisted mainly of flatware, presentationsnuffboxes, but also church silver. In New Brunswick, Indian trade silver supplied to furtraders was the mainstay of the trade.

In the 1870s the Toronto silver trade became important with the establishment of P. W. Ellis,jewellers and silver manufacturers, and Ryrie Brothers, an important retailer who mostlycommissioned silver items from the local trade. In the Gallery is a wonderful punch bowlsupplied by Ryrie Brothers given to Sir George Kirkpatrick in 1897. (A Toronto tribute in theform of a jewelled casket given to Queen Victoria on the occasion of her diamond jubilee in1897 – now unfortunately lost – was supplied by the same firm at a great financial loss.)Canadian-made items of this caliber are often decorated with maple leaves and figuralbeavers – both symbols adopted by French and English Canada in search of a nationalidentity.

At the end of the 19th century and the beginning of the 20th century, Henry Birks,starting in Montreal, became the dominating force on the Canadian silver scene. Just like theInternational Silver Company in the US, Henry Birks started an aggressive acquisition policybuying manufacturers' and retail establishments all over the country.

Two world wars, with their interruptions in silver production as well as the adoption of aless conventional, leisurely life style, made domestic silver less desirable. From the 1940s onuntil today, the studio silversmiths dominate the Canadian silver scene. The Gallery haswonderful examples of domestic silver by Carl Poul Petersen, Douglas Boyd, MauriceCarmichael and Harold Stacey, who also made the church silver for Timothy Eaton MemorialChurch. The output of modern Canadian silversmiths like Beth Alber, Anne Barros, LoisEtherington Betteridge, Beth Biggs, Brigitte Clavette, Michael Massie, Ross Morrow, DouglasStuart, and Sara Washbush, to name just a few. Their works are in many private collectionsand in public galleries in Canada and England.

FCC/ACC member Dr. Dorothea Burstyn is past president, Silver Society of Canada.

All photographs are courtesy of ROM Images

Teapot by SaraWashbush