DOCSLIB.ORG

Paul Kane and the Red River Half-Breeds

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Paul Kane and the Red River Half-Breeds FORT Garry and the Red River Settlement ARTIST as BUFFALO HUNTER Paul Kane and the Red River Half-breeds TEN YEARS after the American painter Bay. The next spring he set out on a far George Catlin made his long-remembered more extensive journey, which was to oc­ visit to the Pipestone Quarry of western cupy over two years and take him west­ Minnesota in 1836, a Canadian artist, Paul ward to Fort Vancouver on the Pacific.'^ Kane, set out for the Far West. Like Cat­ In May, 1846, Kane traveled from To­ lin, Kane was attracted by the Indians — ronto via the Great Lakes to Fort William, their costumes, their customs, and the scen­ followed the Kaministikwia River route in­ ery of the "almost unknown country'" in land to the border waters, paused to view which they lived. and sketch spectacular Kakabeka Falls, A native of Ireland who had spent his and went via Rainy Lake, Lake of the youth in Toronto, Kane became interested Woods, and the Winnipeg and Red rivers in the Indians during his boyhood in that to the Red River Settlement and Fort frontier Canadian community, which was Garry, the Hudson's Bay Company post on known as York when his family settled the present site of Winnipeg. The artist there about 1818. He received some train­ arrived a few days after the local half- ing in drawing from a teacher in the local breeds had departed for a buffalo hunt. "As grammar school, and later he was able to I was very anxious to witness buffalo hunt­ spend four years studying art in Europe. ing," writes Kane, "I procured a guide, a His desire to portray Indians was first sat­ cart for my tent, &c., and a saddle-horse for isfied in 1845, when he journeyed westward myself and started after one of the bands." to Sault Ste. Marie, Mackinac, and Green The adventures which followed provided the artist with material which he eventu­ ally recorded not only in pictures, but in ' For information about the artist's life, see Law­ rence J. Burpee's introduction to Kane, Wanderings colorful narratives. of an Artist among the Indians of North America, The primitive folk of the Red River xi-xxxvii (Toronto, 1925). Kane's book was originally published in London in 1859. country whose strenuous life he shared for December 1959 309 a few June days were a unique group. In comes dry it shrinks and is so tight that it them Kane saw "a race, who, keeping never falls off, and lasts as long as the cart themselves distinct from both Indians and holds together." During their hunting ex­ whites, form a tribe of themselves; and cursions, the half-breeds lived like nomads although they have adopted some of the in "lodges formed of dressed buffalo skins," customs and manners of the French voya­ hke Indian tepees, which could be carried geurs, are much more attached to the wild easily in their crude carts. and savage manners of the Red man." - Three days after leaving Fort Garry, These "descendants of the white men in Kane joined a band of about "two hundred the Hudson's Bay Company's employment hunters, besides women and children" who and the native Indian women" proved to welcomed him "with the greatest cordial­ be "a very hardy race of men, capable of ity." The meeting took place near the in­ enduring the greatest hardships and fa­ ternational boundary on the Pembina tigues," but "neglecting their land for the River, where Kane "found the band cutting more exciting pleasures of the chase." poles which they are obliged to carry with The artist was interested chiefly in the them to dry the meat on, as after leaving half-breeds' buffalo hunts, which, he notes, this no more timbered land is met with "are conducted by the whole tribe and take until the three bands meet together again place twice a year — about the middle of at the Turtle mountain, where the meat June and October." On those occasions, they have taken and dried on the route is "the tribe is divided into three bands, each made into pimmikon [pemmican]. This taking a separate route for the purpose of process is conducted in the following man- falling in with the herds of buffaloes. These bands are each accompanied by about five ' Kane read a paper describing the half-breeds and hundred carts, drawn by either an ox or a their buffalo hunt before the Canadian Institute on horse. Their cart is a curious looking vehi­ November 13, 1855. It appears under the title "Notes ot a Sojourn among the Half-breeds, Hudson Bay cle, made by themselves with their axes, Company's Territory, Red River," in the Canadian and fastened together with wooden pins lournal of Industry, Science, and Art, 1:128-138 (New and leather strings — nails not being pro­ Series — Toronto, 1856). With some revisions, it is incorporated in Wanderings of an Artist, 49-66. Pas­ curable. The tire of the wheel is made of sages relating to the hunt here quoted are from the buffalo hide and put on wet. When it be­ original version. CART train of Red River half-breeds bound for a buffalo hunt CAMP of the Red River buffalo hunters ner: The thin slices of dried meat are The half-breeds pushed westward for pounded between two stones until the fi­ several days "without meeting any buffalo," bres separate. About fifty pounds of this is although they "saw plenty of indications put into a bag of buffalo skin with about of their having been in the neighborhood forty pounds of melted fat and mixed to­ a short time previous." Then, writes Kane, gether while hot, and sewed up, forming a "I was gratified with the sight of a band hard compact mass; each cart brings home of about forty buffalo cows in the distance, ten of these bags, and all that the Half- and our hunters in full chase. They breeds do not require for themselves is succeeded in killing twenty-five, which were eagerly bought by the [Hudson's Bay] distributed through the camp and proved Company for the purpose of sending to the most welcome to all of us, as our provisions more distant posts where food is scarce. were getting rather short, and I was abun­ One pound of this is considered equal to dantly tired of pemmikon and dried meat. four pounds of ordinary meat." The fires being lighted with the wood we On the morning after Kane joined the had brought with us in the carts, the whole hunters, they broke camp and set off for party commenced feasting with a voracity the open plains of Manitoba and the area which appeared perfectly astonishing to south of the border that was to become me, until I tried myself and found by ex­ part of Minnesota Territory within three perience how much hunting in the plains years. The women and children rode in the stimulated the appetite." carts, each of which was "decorated with For the next few days only single ani­ some flag or other conspicuous emblem on mals or small herds were seen. Eventually, a pole, so that the hunters might recognize however, the "scouts brought in word of their own from a distance." As the caval­ an immense herd of buffalo bulls about two cade "wound off in one continuous line miles in advance of us. They are known in extending for miles, accompanied by the the distance from the cows by their feed­ hunters on horseback," the artist made a ing singly and being scattered wider over sketch on which he later based the oil the plain, whereas the cows keep together painting reproduced herewith. for the protection of the calves, which are December 1959 311 TWO Assiniboin Indians running a buffalo always kept in the centre of the herd." So is vividly described by the artist. He that he could see the buffaloes feeding be­ writes: "Every thing being adjusted, we all fore the hunt began, Kane set out with a walked our horses towards the herd. By the single half-breed early the next morning in time we had gone about two hundred advance of the party. They were able to yards, the herd perceived us and started approach within a quarter of a mile of the off in the opposite direction at the top of herd, which they saw "stretched over the their speed. We now put our horses to the plains far as the eye could reach." full gallop, and in twenty minutes were in Within an hour, writes Kane, "the hunt­ their midst. There could not have been less ers came up to us, numbering about one than four or five thousand in our immedi­ hundred and thirty, and immediate prepa­ ate vicinity, all bulls, not a single cow rations were made for the chase. Every man amongst them. The scene now became one loaded his gun, looked to his priming, and of intense excitement: the huge bulls thun­ examined the efficiency of his saddle-girths. dering over the plains in headlong confu­ The elder men strongly cautioned the less sion, whflst the fearless hunters rode experienced not to shoot each other, a cau­ recklessly in their midst, keeping up an tion by no means unnecessary, as such ac­ incessant fire at but a few yards distance cidents frequently occur. Each hunter then from their victims. Upon the fall of each filled his mouth with balls which he drops buffalo the successful hunter merely threw into the gun without wadding; by this some article of his apparel — often carried means loading much quicker, and .
Load more

Recommended publications
  • Songhees Pictorial
    Songhees Pictorial A History ofthe Songhees People as seen by Outsiders, 1790 - 1912 by Grant Keddie Royal British Columbia Museum, Victoria, 2003. 175pp., illus., maps, bib., index. $39.95. ISBN 0-7726-4964-2. I remember making an appointment with Dan Savard in or­ der to view the Sali sh division ofthe provincial museum's photo collections. After some security precautions, I was ushered into a vast room ofcabi nets in which were the ethnological photographs. One corner was the Salish division- fairly small compared with the larger room and yet what a goldmine of images. [ spent my day thumbing through pictures and writing down the numbers name Songhees appeared. Given the similarity of the sounds of of cool photos I wished to purchase. It didn't take too long to some of these names to Sami sh and Saanich, l would be more cau­ see that I could never personally afford even the numbers I had tious as to whom is being referred. The oldest journal reference written down at that point. [ was struck by the number of quite indicating tribal territory in this area is the Galiano expedi tion excellent photos in the collection, which had not been published (Wagner 1933). From June 5th to June 9th 1792, contact was to my knowledge. I compared this with the few photos that seem maintained with Tetacus, a Makah tyee who accompanied the to be published again and again. Well, Grant Keddie has had expedi tion to his "seed gathering" village at Esquimalt Harbour. access to this intriguing collection, with modern high-resolution At this time, Victoria may have been in Makah territory or at least scanning equipment, and has prepared this edited collecti on fo r high-ranking marriage alliances gave them access to the camus our v1ewmg.
    [Show full text]
  • Paul Kane Is Acknowledged to Be One of Canada's Finest Early Artists
    Paul Kane Paul Kane is acknowledged to be one of Canada’s finest early artists – and his first known works were created right here in Cobourg. He had done some painting earlier, when he lived in Toronto – his work had received a favourable review in the press in 1834. But he was just 24 at the time and none of those works remain. Paul was born in Ireland in 1810 but moved to Canada with his family before his teen years. After graduating from Upper Canada College he began a career as a sign and furniture Clench Table painter. In 1834 he moved to Cobourg to work at the first class furniture factory of Freeman Schermerhorn Clench, a prominent citizen of the town. It was then that he began to paint portraits of the Clench family, and it was there that he met young Harriet Clench, the boss’s daughter. Paul remained in Cobourg for only two years, but must surely have returned from time to time to visit Harriet. Some 19 years after they first met, they were married and moved into a fine new home in Toronto. By that time Paul had travelled to Europe, taken a major trip to the Canadian west coast and established his reputation as an artist. And by that time Harriet was an artist and art teacher in her own right. In 1836, having honed his skills in portraiture in Cobourg, Kane was ready to see the world and support himself with his art. For the next five years, he toured the American Midwest, working as an itinerant portrait painter.
    [Show full text]
  • Fort Union Trading Post the METIS
    Fort Union Trading Post THE METIS A brigade of Red River carts traversing the prairie. ORIGINS OF THE METIS French or English fathers reg­ The Metis developed a new The history of the Metis ularly sent their Metis sons to language, a blend of Cree and dates back to the mid 17th cen­ New France or New England to Canadian French called Michif. tury, when European explorers receive a formal education. Girls Rather than forming a simplified arrived in North America. These were often educated in local grammar, Michif incorporated men did not bring wives with missionary schools. Both learned the most complex elements of them into the harsh, unknown the traditions and skills of their the two languages. interior of the continent, so it mother's tribe. Their religion was common for them to marry was a blend of tribal practices RUNNING THE BUFFALO Native American women. The and Christianity. By the early 1800's, the Metis Metis people are the descen­ The Metis generally adopted had gained a reputation as "the dants of these Native American Euro-American clothing styles, best hunters, the best horsemen women - for the most part but almost universally retained and the bravest warriors of the Ojibwe, Cree, Salteaux and the moccasins, leggings and prairie." In response to the grow­ Menominee - and French, other quilled or beaded acces­ ing trade in buffalo robes, they Scottish and English men. The sories worn by their mothers' developed the Red River cart, a word "Metis" comes from the people. new form of transportation to Latin word "mixtus" meaning "to However, the two clothing haul heavy loads to remote loca­ mix," which aptly described this articles most closely associated tions.
    [Show full text]
  • Notes Towards a Reconsideration of Paul Kane's Art and Prose*
    NOTES TOWARDS A RECONSIDERATION OF PAUL KANE'S ART AND PROSE* /. S. Macharen In Memoriam: Charles R. Steele, 1944-1987 ΤI HE ILLUSTRATED TRAVEL NARRATIVE represents one of pre- Confedcration Canada'IHsE most frequently practised literary genres. Subscription to its conventions yielded faithfully Euro-centric imperialist notions of the world beyond the meccas of civilization: The traveller took with him/her an eye pre- pared to testify to the differences that remote regions and their denizens offered to the European reading public's understanding of the human species on earth. Whether dramatized with the persona of the romantic enthusiast upon whose spirit strange new impressions registered, or documented with the steadfast resolve of the dispassionate naturalist, such narratives focussed especially upon the uncommon, the foreign, encountered either on a daily basis or as a general effect of wilderness travel and exploration. However, while their subject matter may have shared common foci, the scientist and the sentimental and impressionistic traveller adopted different styles of representing their encounters with the unknown and little known. While the scientist/traveller, who had looked at nature, believed that a plain style * To the extent that this essay adds to the understanding of Kane studies, it owes much to a number of people who provided a great variety of assistance or who gen- erously lent their expertise to a series of what seemed to me only problems. The essay was made possible by the generous assistance of Nelda C. Stark, Chairman, Nelda C. and H. J. Lutcher Stark Foundation, who provided convenient access to the necessary materials; Laura Bowler and Anna Jean Caffey, Registrar, of the Stark Museum of Art; Kenneth Lister, Curatorial Assistant, and Helen Kilgour, Departmental Assistant, of the Department of Ethnology, Royal Ontario Museum.
    [Show full text]
  • Paul Kane's Wanderings of an Artist and the Rise of Transcontinental
    I.S. MacLaren Paul Kane’s Wanderings of an Artist and the Rise of Transcontinental Canadian Nationalism Wanderings of an Artist among the Indians of North America (1859) helped make Paul Kane (181-71) a native Canadian, “a founding father of Canadian art” (Royal), and a figure of Canadian nationalism. The solitary wanderer began and ended his travels in Toronto. This was his hometown after immigration from Ireland in about 1819, and again after his travels to upper Lake Huron and Wisconsin in 1845 and to Vancouver Island in 1846-48. It was in Toronto that what were thought to be his most accomplished works came into public possession in 1912, in the collections of the Royal Ontario Museum. They taught generations of southern Ontarians what Indians look like, as Katherine Hale’s romantic poem “Cun-ne-wa-bum” illustrates well. As a father of Canadian art and a hardy early Canadian traveller in a vague tradition rooted in the voyageur, Kane served Canada’s need for heroes before and after Confederation. He is not on record as ever having corrected the sobriquet of “first native artist in Canada,” bestowed on him in 1852 ([Hind], “Provincial” 6; qtd. in Harper, “Ontario” 18 and Painting 115), seven years before his book identified Little York as his “native village” ([vii]), native not being the complicated descriptor that it is in Canada today. The construction of him as a solitary wanderer and yet a symbol of an entire nascent country grew complicated. So too did the aims of his Wanderings. Was it meant to narrate one man’s effort to record
    [Show full text]
  • Lower Columbia River Art
    Portland State University PDXScholar Anthropology Faculty Publications and Presentations Anthropology 6-2013 Lower Columbia River Art Tony A. Johnson Chinook Indian Nation Adam McIsaac Kenneth M. Ames Portland State University, [email protected] Robert T. Boyd Portland State University, [email protected] Follow this and additional works at: https://pdxscholar.library.pdx.edu/anth_fac Part of the Archaeological Anthropology Commons, and the Social and Cultural Anthropology Commons Let us know how access to this document benefits ou.y Citation Details Johnson, Tony A., McIsaac, A., Ames, Kenneth M, and Robert T. Boyd, "Lower Columbia River Art," in Chinookan Peoples of the Lower Columbia River, pages 199-225. University of Washington Press (June 2013) This Book Chapter is brought to you for free and open access. It has been accepted for inclusion in Anthropology Faculty Publications and Presentations by an authorized administrator of PDXScholar. Please contact us if we can make this document more accessible: [email protected]. TEN LOWER COLUMBIA RIVER ART Tony A. Johnson and Adam Mclsaac with Kenneth M. Ames and Robert T. Boyd HE Lower Columbia River Valley is the focal point of the distinctive and little-known Chinookan Art Style. Chinookan art is steeped in T social and religious meaning, with a focus on individual spirit pow­ ers. The Chinookan Art Style, which appears in the utilitarian objects of material culture, uses geometric shapes as elaboration and in represen­ tational figures, while employing a unique perspective on human and animal forms, here termed Chinookan Anatomical Art. Although the focal area of the Chinookan Art Style was the string of Chinookan villages from the mouth of the Columbia River to just above The Dalles in present-day Oregon, the style was found over a much wider region that roughly corresponds to the Greater Lower Columbia River region (Hajda 1984) and was created by peoples other than Chinookans.
    [Show full text]
  • Georgian Bay
    Georgian Bay 3 A Sketch on Lake Huron Sketch No. 1 represents an Indian encampment amongst the islands of Lake Huron; the “A List of Pictures Sent to Mr G. W. Allan, wigwams are made of birch‑bark, stripped from the trees in large pieces and sewed March 6, 1856,” 42 together with long fibrous roots; when the birch tree cannot be conveniently had, they Southern Algonquian Thirty Thousand Islands, Georgian Bay; weave rushes into mats, called Apuckway, for covering, which are stretched round in the 1849–1852 same manner as the bark, upon eight or ten poles tied together at the top, and stuck in the oil on canvas; 46.0 x 74.2 cm ground at the required circle of the tent, a hole being left at the top to permit the smoke 912.1.8 to go out. The fire is made in the centre of the lodge, and the inmates sleep all round with their feet towards it. (Kane 1859:6–7) Sketches Exhibition History September 1852 “The Provincial Agricultural Show,” Toronto a March 1904 “Pictures of Indians and Indian Life,” Women’s Canadian Historical Society of Toronto, William Scott & Sons Gallery, Toronto April 1985–February 1986 “‘I Took His Likeness’: The Paintings of Paul Kane,” Royal Ontario Museum November 1998–May 1999 “Wilderness to Studio: Four Views of Paul Kane,” Royal Ontario Museum August 2000–February 2001 “Paul Kane: Land Study, Studio View,” Royal Ontario Museum December 2005–December 2008 “Daphne Cockwell Gallery of Canada: First Peoples,” Royal Ontario Museum b A Sketch on Lake Huron departs from the representative style of most of Kane’s sketches, emphasizing in- stead the picturesque in a conventional composition.
    [Show full text]
  • ^Liilllfilsllb
    ^liilllfilSllB I THE LIBRARY THE UNIVERSITY OF BRITISH COLUMBIA < 9i4 O M PAUL KAN E By ALBERT H. ROBSON Author of CANADIAN LANDSCAPE PAINTERS THE RYERSON PRESS^TORONTO PAUL KANE from a painting by F. A. Verner PAU L KAN E 1810-1871 AUL KANE is a romantic figure in Canadian Art. The record of his life and accomplishments is an amazing story of deter­ Pmined persistency towards the goal of his boyhood ambition, and an astounding tale of travel, adventure, hardship and brilliant accomplishment. He was one of Canada's earliest painters, a truly great pioneer who has left for us a pictorial record of the work and play, the costumes and habits of our aborigines from the Great Lakes to the Pacific Ocean. Not only did he leave a magnificent and extensive collection of pictures but he supplemented his painted records with a written narrative of his Wanderings of an Artist among the Indians of North America, a book which is now a classic of Canadian travel literature. Contrary to the widely accepted belief that Kane was a Canadian by birth, he was born at Mallow, County Cork, Ireland, on Septem­ ber 3, 1810. He was the son of Michael Kane, who, according to the records of the British War Office, was born in Lancashire in 1775 and enlisted in the Royal Artillery on February 2, 1793. After serving in Ireland during the Rebellion of 1798 he was honourably discharged with the rank of Corporal and settled in Mallow where he engaged in business. Michael Kane had five children, James, Fred, Oliver, Paul and Mary; the last three were born in Ireland.
    [Show full text]
  • Smithsonian Miscellaneous Collections
    SMITHSONIAN MISCELLANEOUS COLLECTIONS VOLUME 99. NUMBER l' sketches by paul kan Indian country, 1 845-1848 BY DAVID I. BUSHNELL, JR. (PURLICATION 3555) CITY OF WASHINGTON PUBLISHED BY THE SMITHSONIAN INSTITUTION JANUARY 9, 1940 L SMITHSONIAN MISCELLANEOUS COLLECTIONS VOL. 99, NO. 1, FRONTISPIECE SMITHSONIAN MISCELLANEOUS COLLECTIONS VOLUME 99, NUMBER 1 SKETCHES BY PAUL KANE IN THE INDIAN COUNTRY, 1845-1848 BY DAVID I. BUSHNELL, JR. (Publication 3553] CITY OF WASHINGTON PUBLISHED BY THE SMITHSONIAN INSTITUTION JANUARY 9, 1940 Z-^e. Both Q^affimorc (pvtee BALTIMORE, MD., V. B. A. SKETCHES BY PAUL KANE IN THE INDIAN COUNTRY. 1845-1848 By DAVID I. BUSHNELL, Jr. Paul Kane was Ijorn Septemljer 3. 1810. Some accounts assert that he was a native of Mallow, County Cork, Ireland ; others say he was horn in Canada after his parents had arrived in their new home. However that may he, the date is not questioned. He died at his home in Toronto, Fehruary 20, 1871. A notice in the Toronto Glohe, 2 days after his death, referred to him as "an old resident of the city of Toronto, and one of our pioneers." Where or under whom Kane may have studied drawing or painting is not known, hut it is thought he painted in Toronto and Cobourg until the year 1835, and a1)Out that time came to the United States, where he remained 5 or 6 years. Thence he went to Europe and studied in England and on the continent, and returned to Toronto early in 1845. Soon after his return from Europe, later in the same year, he again continued his wanderings, this time into the Indian country to the westward.
    [Show full text]
  • PAUL KANE Life & Work by Arlene Gehmacher
    PAUL KANE Life & Work by Arlene Gehmacher 1 PAUL KANE Life & Work by Arlene Gehmacher Contents 03 Biography 11 Key Works 34 Significance & Critical Issues 40 Style & Technique 47 Where to See 52 Notes 62 Glossary 66 Sources & Resources 72 About the Author 73 Copyright & Credits 2 PAUL KANE Life & Work by Arlene Gehmacher Paul Kane (1810–1871) was a largely self-taught artist known for his paintings of Aboriginal peoples and landscapes, which were based on sketches he made during his travels to the West. Kane produced hundreds of sketches and created a cycle of one hundred paintings that together reveal the vitality of Aboriginal culture and are of great significance today in the study of Canada’s Aboriginal and settler cultures. 3 PAUL KANE Life & Work by Arlene Gehmacher FORMATIVE YEARS Paul Kane was born on September 3, 1810, in Mallow, County Cork, Ireland, the sixth of eight children (four boys, four girls) of Michael Kane (1776–1851) and Frances Loach (1777–1837). Kane was about ten years old when, along with his parents and several siblings, he immigrated to Canada, where they settled in York (Toronto) around 1819. Michael Kane, originally a soldier in the British army, made his living in Canada as a liquor merchant.1 LEFT: Paul Kane, Self-Portrait, c. 1843–45, oil on canvas, 58 x 62 cm, RiverBrink Art Museum, Queenston, Ontario. Owing to the extensive restoration of this painting, its attribution is currently under investigation. RIGHT: Harriet Clench, c. 1870, photographer unknown. When Paul Kane married Harriet Clench in 1853, she was an accomplished artist and a drawing and painting instructor.
    [Show full text]
  • Paul Kane 73-75 Reunion Class Rosters.Xlsx
    High School Last High School Current First Current/Last Known Spouse/S.O. Current/Former Name First Name Current Last Name Name Display Name Class of Location Name Occupation(s) Notes Cabinet Maker's Ahronson Marilyn Bryant Marilyn Marilyn Bryant 74 Edmonton Helper Anderson Helen Wasylien Helen Helen Wasylien 74 St. Albert Pete Mother Sales and Public Relations for Photo Will be attending Anderson John Anderson John John Anderson 74 Edmonton Betty Service the Reunion Operations Will be attending Anderson Rose Carmichael Rose Rose Carmichael 74 Edmonton Collin Administrator the Reunion Asst. Secretary Will be attending Anderson Tracey Pandachuk Tracey Tracey Pandachuk 74 Barrhead, Alberta Bob Treasurer the Reunion Retired School Will be attending Andrews Darrel Andrews Darrel Darrel Andrews 74 St. Albert Cindy Teacher - Paul Kane the Reunion Freelance acrylic artist Sadly Colleen has Andrus Colleen Normandeau Colleen Colleen Normandeau 74 Edmonton Vic and interior decorator passed away 3 grown children, 2 Festival Producer & beautiful grand Fund Development children. Will be the Coordinator Argy Allison Burgess Allison Allison Burgess 74 Edmonton Ken Reunion Grande Prarie, Armstrong Carole Armstrong Carole Carole Armstrong 74 Alberta Electrician, Atkinson Doug Atkinson Doug Doug Atkinson 74 St. Albert Professional Musician Baker Doug Baker Doug Doug Baker 74 Will be attending Barker Brenda Barker Brenda Brenda Barker 74 St. Albert the Reunion Barker Kim McGreevy Kim Kim McGreevy 74 Tofield, Alberta Pat Home Industrialist Owner - BearBones Will be attending Barnashone Jeremy Barnashone Jeremy Jeremy Barnashone 74 Edmonton Computers the Reunion Barnes Dianne Lawrie Dianne Dianne Lawrie 74 St. Albert Working at C. I. Bank Bauman Roger Bauman Roger Roger Bauman 74 Toronto, Ontario Attorney Beheils Jim Beheils Jim Jim Beheils 74 Spruce Grove Bellward Tony Bellward Tony Tony Bellward 74 Perth, Australia Correctional Bendick Vivian Stokes Vivian Vivian Stokes 74 North Bay, Ontario Mark Worker/Legal Assistant Benko Kim Borles Kim Kim Borles 74 St.
    [Show full text]
  • Hawaiians at Fort Vancouver
    National Park Service Fort Vancouver US Department of the Interior Fort Vancouver National Historic Site Vancouver National Historic Reserve Hawaiians at Fort Vancouver In the 1850s, American visitors to this area referred to the Village as "Kanaka Town." At the time, Hawaiians were known as Kanakas, meaning "human beings," and this name for the community is evidence of their significant presence at Fort Vancouver. This sketch, perhaps by George Gibbs, includes the north end of the Village, the fort, and the military post. Catalog #FOVA 10220, courtesy of the National Park Service A "Lively Exchange of The Hudson's Bay Company's (HBC) Fort Vancouver had a unique relationship with Commodities" the Hawaiian or "Sandwich Islands," the 19th century trade hub of the Pacific. Sailing vessels worldwide stopped regularly at "Owyhee" for recreation, supplies, and ship repair, simultaneously developing a "lively exchange of commodities" amongst nations. The HBC exchange might include trading furs for Boston's knives and copper pans, swapping for Hawaiian sandalwood or whale oil, or bartering for Cantonese silk and tea for Northwest use. Hawaiian imports included items such as hogs, sugar cane, salt, molasses, coffee, wicker baskets, and sweet potatoes. By the 1830s, Fort Vancouver exported produce, wheat, flour, lumber, and salmon. Northwest timber built Hawai'i's European style homes, while Hawaiian coral supplied lime for fertilizer and whitewash, and mortar for the Fort's chimneys. Meanwhile, the now traditional lomi lomi salmon served at present-day luaus remains a forgotten legacy of the fur trade era. Hawaiian Workers at Christian missionaries, disease, and cultural Islanders are felling the pines and dragging them Fort Vancouver decimation accompanied trade goods to Hawai'i.
    [Show full text]