Wednesday, August 20, 2014

Favourite Foote Photos: David Larsen

As an avid cyclist I am drawn to “bicycle race c. 1912” [page 42]. I cannot help but notice, as well, other bikes in other Foote photos…

The bicycle has been present in Winnipeg almost since the beginning. The Winnipeg cycling club was established in 1884, the same year as the Winnipeg Rowing Club, and was one of many organized amateur athletic clubs.

Oscar John Gottfred (far left) competing in a race, c. 1912.
At that time the bicycle was unlike the ones we know today. They were ‘tall bikes’—with a large front wheel, they resembled five-foot-tall tricycles and had no braking system—and were ridden almost exclusively by men. We know from G.B. Norcliffe’s cultural history, Cycling to Modernity (University of Toronto Press, 2001), that bicycles and cycling captivated the imagination of Canadians during the last decades of the 19th century.

Among the many changes to the bike during this period of wide popularity was the development of the ‘safety bike.’ Much more like today’s bikes—they had two equally-sized wheels and hand-brake—the safety bike was also a gendered bike, with different frame configurations for men and women. Among its many gifts, the bicycle apparently made “at least a modest contribution to the emancipation of middle class women.”

However by the century’s end the bicycle had reached the masses and what had been an upper and middle class vehicle of leisure, adventure, fitness and perhaps even transportation, had lost some of its cachet. People of means and influence had become enthralled with the automobile. By 1912 Henry Ford’s Model T had been rolling off Dearborn assembly lines for four years and Winnipeg had more than 2000 registered automobiles. Interestingly, few of those automobiles were Fords, with the majority being more expensive luxury cars. Nevertheless, a shift was occurring and after World War I the car would be ubiquitous. The bicycle race in Foote’s photo appears to be well attended, but on Labour Day that same year 10,000 Winnipeggers attended the ninth annual Winnipeg Auto Club races.

The streets in Foote’s photos from the 1920’s are, at times, clogged with cars. But the bike can still be seen as a vehicle of active transportation in the photo of the window washers [pg 72], or that of the Worker’s Parliament meeting during the Winnipeg General Strike in 1919 [pg 61]. As evidence of leisure use, consider the Bob O Links miniature golf course photo from the 1930’s [pg 107; note too the horse-drawn carriage in the background] and, of course, the group photo of female cyclists taken at the legislature [page 148]. Considering the difficulties of keeping bikes running despite war rationing of basics like rubber this group’s ride was likely no small feat…

In both absolute and relative terms we may see more bikes on the street now than at any time in Winnipeg’s past. The city took shape, especially after the Second World War, to serve the needs of the automobile, but the bicycle has always been present. After the Second World War, city planning reflected the use of the automobile. Neighbourhoods expanded.

But the city that Foote photographed from 1905-1950, which is on a smaller, more intimate scale and includes the downtown, West End, Wolseley, West Broadway, and Osborne neighbourhoods, still exists.

Luckily, we Winnipeggers can still enjoy this ‘inner city.’ We can walk and bike in that city and still get somewhere in fifteen minutes, which is the classic measure of a working city. A city that in scale at least, if not in terms of etiquette and fundamental safety (bike lanes anyone?), makes sense for today’s cyclists.

—David Larsen

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David Larsen is UMP's Sales and Marketing Supervisor. He rides when he can and drives when he has to...

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If you liked the return of the Favourite Foote Photos, there are more to come in the weeks ahead by U of S Native Studies scholar Adam Gaudry, the Winnipeg Free Press' Melissa Tait, Getty photographer Marianne Helm.

This is all to celebrate Imagining Winnipeg's nomination for the On the Same Page programme. 

Vote now and vote often!

Tuesday, August 5, 2014

Favourite Foote Photos: Orest T. Martynowych

On 18 January 1906 more than one hundred worshipers congregated in Winnipeg’s most unusual church, “Bishop” Seraphim’s “tin can cathedral,” which had appeared at the corner of King Street and Stella Avenue in the North End sixteen months earlier.

Most of those who crowded into the bizarre edifice were Ukrainian (or Ruthenian as they still identified themselves) Greek Catholic and Greek Orthodox believers who had recently emigrated from the Austrian crownlands of Galicia and Bukovyna.

It was the feast of Epiphany and like all Eastern Christians they had come to commemorate Jesus’s baptism in the Jordan River. After the liturgy, Seraphim, several priests, and the congregation were photographed in front of the building. Then they marched with crosses and banners east along Stella Avenue to Main Street, north to Selkirk Avenue, and east to the frozen banks of the Red River where an eight-foot high cross was carved out of the ice and water blessed and distributed to the faithful. The unusual spectacle, which attracted curiosity seekers already familiar with Seraphim’s cathedral, was chronicled by the local press.

One of many vagabond priests who came to North America without authorization prior to the Great War, Seraphim was born Stefan Ustvolsky in 1858 near Arkhangelsk, Russia. A graduate of the St. Petersburg theological academy, he had been defrocked in 1883 and only readmitted into the service of the Russian Orthodox Church as a monk in 1901. In the fall of 1902, after visiting Mount Athos, Jerusalem, and Damascus, Ustvolsky appeared in New York City purporting to have been consecrated a missionary bishop for North America.

Unable to attract a following in the United States, where he had been welcomed and then dismissed by Ukrainian Greek Catholics embroiled in bitter disputes with Irish Roman Catholic bishops, Ustvolsky made his way to Winnipeg in early 1903. At the time, there were no Ukrainian Greek Catholic or Greek Orthodox priests in the city, and even devout Ukrainian Greek Catholics resented Roman Catholic Archbishop Adélard Langevin’s efforts to place them under the jurisdiction of his church and clergy. Seraphim responded by ordaining cantors, deacons, teachers and others for a small fee into the priesthood of what he called the “All-Russian Patriarchal Orthodox Church,” popularly known as the Seraphimite church. A charismatic preacher, his decision to ordain poor and humble men like those whom Christ had selected as Apostles also helped win adherents. Because Church Slavonic was the liturgical language in the Eastern rite Catholic and Orthodox Churches of Austria and Russia, many immigrants were not inclined to draw distinctions between their churches and Seraphim’s.

By the fall of 1903, Seraphim had thousands of followers in the three Prairie provinces and a small chapel on the east side of Winnipeg’s McGregor Street between Manitoba and Pritchard Avenues served as the movement’s headquarters.

The rapid growth of Seraphim’s church in 1903-04 stirred the established churches into action. In November 1903 Ukrainian Greek Catholics sent two Basilian Fathers to Winnipeg. By early 1905, with Archbishop Langevin’s financial aid, they had erected St. Nicholas church on the northwest corner of McGregor Street and Stella Avenue, and that fall, they established a parochial school. In 1904 and 1905, Archbishop Tikhon Beliavin, primate of the Russian Orthodox mission in North America, visited Winnipeg and helped Ukrainian, Belarusian and Russian immigrants to establish the Holy Trinity Russian Orthodox congregation on the northeast corner of McKenzie Street and Manitoba Avenue. The most devastating blow to Seraphim came in the fall and winter of 1904-05 when his most able priests defected and announced the formation of the Independent Greek Church (1904-13), a hybrid institution launched with the support of local Presbyterians that temporarily retained the Eastern liturgy while introducing Protestant teachings. When the defectors gained control of the chapel on McGregor Street, Seraphim began to build his “cathedral” using tobacco tins, discarded windows, bricks and lumber, and pipes, barbed wire, bed frames, and stair rails from a nearby scrap yard.

The photograph was taken just as Seraphim’s moment in the sun was coming to an end. He had already been exposed as an imposter by the Russian Orthodox hierarchy and no Eastern Orthodox patriarch recognized his canonicity. Ukrainian Greek Catholic and Russian Orthodox missionaries were arriving to look after the spiritual needs of Eastern rite Christians. Above all, Seraphim’s fondness for alcohol, his confrontations with street urchins bent on demolishing his “cathedral,” and the questionable behaviour of some of his priests, deprived him of what little credibility he still possessed. As the number of his followers dwindled, he tried to sell his cathedral in May 1907. In February 1908 he left Winnipeg for the last time, apparently bound for California from where he may have returned to Russia.

— Orest T. Martynowych

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Orest T. Martynowych is a historian at the Centre for Ukrainian Canadian Studies, University of Manitoba. He is the author of The Showman and the Ukrainian Cause: Folk Dance, Film, and the Life of Vasile Avramenko, which will be published in October 2014.

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If you liked the return of the Favourite Foote Photos, there are more to come in the weeks ahead by U of S Native Studies scholar Adam Gaudry, the Winnipeg Free Press' Melissa Tait, UMP's Sales and Marketing Supervisor David Larsen, Getty photographer Marianne Helm, and U of M Indigenous Services Librarian Camille Callison.

This is all to celebrate Imagining Winnipeg's nomination for the On the Same Page programme. 

Vote now and vote often!

Wednesday, July 9, 2014

Imagining Winnipeg shortlisted for On the Same Page Programme

Hey all! I know this blog has mostly gone dormant, but I thought I'd note that Imagining Winnipeg has been shortlisted for On the Same Page, Manitoba's Biggest Book Club.

The winner is selected via a vote, both in-person at WPL library branches, McNally Robinson’s, and on-line.

A reading from the four shortlisted titles will be held at McNally Robinson Booksellers (1120 Grant Avenue) on the evening of Thursday, September 11, just before the voting closes on Monday, September 15.




About Imagining Winnipeg
In an expanding and socially fractious early twentieth-century Winnipeg, Lewis Benjamin Foote (1873-1957) rose to become the city’s pre-eminent commercial photographer. Documenting everything from royal visits to deep poverty, from the building of the landmark Fort Garry Hotel to the turmoil of the 1919 General Strike, Foote’s photographs have come to be iconic representations of early Winnipeg life. They have been used to illustrate everything from academic histories to posters for rock concerts; they have influenced the work of visual artists, writers, and musicians; and they have represented Winnipeg to the world.

But in Imagining Winnipeg, historian Esyllt W. Jones takes us beyond the iconic to reveal the complex artist behind the lens and the conflicting ways in which his photographs have been used to give credence to diverse and sometimes irreconcilable views of Winnipeg’s past. Incorporating 150 stunning photographs from the more than 2,000 images in the Archives of Manitoba Foote Collection, Imagining Winnipeg challenges our understanding of visual history and the city we thought we knew.

About On the Same Page
On The Same Page was launched in 2008 and is a partnership between Winnipeg Public Library and The Winnipeg Foundation. Now in its seventh year, the program encourages participation throughout the province through a variety of author readings and special events, book giveaways, and promotions within libraries and bookstores. Previous titles featured have been: In Search of April Raintree by Beatrice Mosionier, Reading by Lightning by Joan Thomas, Juliana and the Medicine Fish by Jake MacDonald, Le soleil de lac qui se couche (The Setting Lake Sun) by J.R. Léveillé, Manitowapow, edited by Niigaanwewidam James Sinclair and Warren Cariou, and The Lucky Ones by Anne Mahon.

Tuesday, May 21, 2013

Lost Foote Photos blog got an award!

THIS JUST IN: The Lost Foote Photos blog and Jock Lehr's Community and Frontier were among seven projects recognized by the Association for Manitoba Archives.

The Manitoba Day Award was established in 2007 to recognize users of archives who have completed an original work of excellence which contributes to the understanding and celebration of Manitoba history. 

The awards ceremony was last week at the Western Canadian Aviation Museum. 

Thanks to the AMA and to everyone who contributed to the blog!

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(clockwise from top left): Bruce Owen, Ariel Gordon, Jock Lehr, Matt Henderson, Martin Comeau, Barb Flemington, Bernard Bocquel, and one of Matt Henderson's SJR students; Jock Lehr at the mic; Chris Kotecki of the Manitoba Archives; and the very well wrapped award.

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The winners of the 7th annual Manitoba Day Awards include:
  • John C. Lehr for the publication Community and Frontier: A Ukrainian Settlement in the Canadian Parkland published by the University of Manitoba Press, 2011.
  • Shannon Stunden Bower for the publication Wet Prairie – People, Land and Water in Agricultural Manitoba published by the UBC, 2011.
  • Matt Henderson – teacher at St. John’s Ravenscourt School for the project conducted by his grade 11 students in which they created original works of short historical fiction about the development of the Red River settlement between 1738 and 1869 for inclusion in a published book Because of a Hat. These were done based on research done on a visit to the Hudson’s Bay Company Archives. The book was launched at McNally Robinson in Feb 2013.
  • Bernard Bocquel for the book « Les Fidèles à Riel 125 ans d’évolution de l’Union nationale métisse Saint-Joseph du Manitoba Un récit journalistique (Matière à réflexion) » which was published at the Les Éditions de La Fourche in 2012.
  • Bruce Owen for his article “Mayhem Under Main” published in the Winnipeg Free Press Oct 6, 2012. See
  • University of Manitoba Press for the blog “Lost Foote Photos” created in support of the publication “Imagining Winnipeg: History Through the Photographs of L.B. Foote.
  • Barb Flemington for the art exhibit translate, executed upon 100 year old chalkboard slate paired with archival photographs from the S.J. McKee Archives and mounted at the Tommy McLeod Curve Gallery in the John E. Robbins Library, Brandon University. Available to view at

Monday, May 6, 2013

Imagining Winnipeg at the MBAs

Imagining Winnipeg was nominated for four awards at Manitoba Book Awards, held April 28 at the West End Cultural Centre.

2013 is the 25th anniversary of the awards, which awards thirteen prizes in a variety of categories.

Here are share the judges’ comments for the four categories in which Imagining Winnipeg was nominated.

Best Illustrated Book of the Year Award – WINNER 
“Foote’s images of our city are clear and very well reproduced. The carefully selected photographs replicate the sensibility of a magnificently curated art-show.” – Brian Mlazgar, Natalie Olsen, Paul Tetrault.

The Best Illustrated Book of the Year Award is presented to a Manitoba publisher, designer and illustrator for the book deemed to have the best use of illustrations, including drawings, paintings, photographs, and other artwork. Entries are judged on artistic merit, innovation of form, quality of production values and appropriateness to the intended market.

Carol Shields Winnipeg Book Award – NOMINEE 
“Winnipeg’s rich history would be lost without photographers like L.B. Foote, whose book gives evidence that this city is more than just concrete and steel. University of Manitoba history professor Esyllt W. Jones dove head first into over 2,500 photographs at the Manitoba Archives and brought together 150 images that capture the way Foote saw Winnipeg. They highlight the people, places, and events that shaped the city into becoming a prairie metropolis. History has a way of being forgotten, but books like Imagining Winnipeg give it a new life.” – Rick Brignall, Helen Norrie, Krista Strang.

The Carol Shields Winnipeg Book Award was created to honour books written in English or French that contribute to the appreciation and understanding of life in Winnipeg. The award is sponsored by the City of Winnipeg.
Mary Scorer Award for Best Book by a Manitoba Publisher – NOMINEE
“No need to imagine Winnipeg with these fascinating and beautiful black-and-white photos! Esyllt W. Jones’ collection of L.B. Foote’s photography brings the boom years of Winnipeg to life, capturing subjects from all walks of life and covering major events in Manitoba and Canada’s history. The book’s design lets the photographs speak for themselves, with large glossy images that seem vivid without colour. Uncovering lost Foote images and sharing through social media brought this photographer to a wider audience, which he well deserves.” – Stephanie Furrow, Amber Goldie, David Lawrence.

Sponsored by Friesen, the Mary Scorer Award for Best Book by a Manitoba Publisher is presented to the best book published, in either English or French, for the trade, bookstore, educational, specialty, academic or scholarly market.

McNally Robinson Book of the Year Award – NOMINEE 
Imagining Winnipeg offers us a way of re-imagining not only Winnipeg the history of Canada in the first half of the twentieth century. Beautifully curated by Esyllt W. Jones, this collection presents the work of photographer L.B. Foote in all its mastery and idiosyncrasy. The eclectic subjects of the photographs – the social and political pressures of the 1930s, strikes and union issues, Native life and its representation, diverse cultural identity and relations – brings many aspects of Canadian history back into conversation in new ways. Jones’ insightful introduction establishes the cultural and aesthetic context for Foote’s photographs and asks us ‘to risk a move into unknown territory, beyond the firm ground of well-trod historical narratives,’ so as to look at the history presented within these pages, as well as – by extension – our own time period, in a new ligh
t.” – Jake MacDonald, Susan Musgrave, Johanna Skibsrud.

The McNally Robinson Book of the Year is the book judged as the best written in English by a Manitoba author.

For the rest of the winners and nominees, see the Manitoba Writers' Guild website.

Tuesday, March 19, 2013

MBA banner!

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Here is the banner we worked up to celebrate Imagining Winnipeg's four nominations for the 2013 Manitoba Book Awards. Fun!

Monday, March 18, 2013

Imagining Winnipeg gets FOUR nominations!

The Manitoba Book Award shortlists were announced last week!

And Imagining Winnipeg: History Through the Photographs of L.B. Foote by Esyllt W. Jones was nominated for FOUR Manitoba Book Awards! CONGRATS to Esyllt!

Imagining Winnipeg was shortlisted in the McNally Robinson Book of the Year, Best Illustrated Book of the Year, Carol Shields Winnipeg Book Award, and Mary Scorer Award for Best Book by a Manitoba Publisher categories.

The awards will be presented at the Manitoba Book Awards gala, on Sunday April 28th at the West End Cultural Centre and hosted by Ismaila Alfa. Doors open at 7:15 p.m., with the ceremony beginning at 8:00 p.m. The event is free and open to the public.

Monday, February 4, 2013

A year (and a bit) of L.B. Foote

A little more than a year ago, our press launched this blog dedicated to the photography of L.B. Foote. Over the last 14 months, guided, corralled, and inspired by the irreplaceable Ariel Gordon, nearly three dozen contributors have written about Foote and his photos. We’ve had contributions from journalists, visual artists, historians, archivists, musicians, film makers, collectors, and of course photographers, all riffing off whatever Foote inspired in them.

Over the year, as we worked with Esyllt Jones on her book Imagining Winnipeg, these different voices became a kind of running commentary on the book. I want to thank all of the blog writers for their contributions — it’s been a delight to discover what new side road or even back alley each of you would take us down. Now, as a new year begins, it is time for us to bring this regular blog to an end as well.

How to explain the persistent appeal of Foote’s photographs to so many different people? Photographers admire his art, and I think many also respect his stamina – it’s hard work being a freelance photographer, always on move to the next job. I suspect historians and archivists are fans because they don’t often have such beautifully composed and arresting photographs to work with. And for the rest of us, I think, it has something to do with what Guy Maddin calls Foote’s “peculiar and ennobling eye.” How is it possible that one photographer could record in one place such an abundance of the odd, the majestic, the ridiculous, and the painful?

To be honest, nostalgia of a sort also plays a part in our fascination with the world Foote chronicles. Those of us who came of age in the 1970s and 1980s (and were lucky enough to be introduced to Foote by the likes of Bob Lower and Doug Smith) discovered in Foote’s photographs the big, bustling prairie metropolis whose traces and ghosts we could still glimpse. His was the city for which those magnificently overblown public and commercial buildings were built, like the Legislature building and the banks with Roman columns. Foote’s city seemed to be a “live wire city,” its streets jammed with people, like the crowd watching Houdini or the 1919 strikers, in which a dynamic downtown was the hub of civic life. It seemed like a vanished place worth missing. At the same time, Foote’s photos also made that Winnipeg a place hard to take seriously — how else to react to his many portraits of the city’s powerful decked out in beanies, fezzes, and grass skirts, or dining at the bottom of sewers? Even through the filter of this nostalgia, though, there are still many parts of Foote’s world that remain far too familiar in the city we live in today, especially his images of inequality and smugness.

Since we’re coming to the end of the regular Lost Foote Photos blog, it seems appropriate to end with a photo of the Foote family also celebrating the end of a year—in this case New Year’s Day dinner 1940 (reproduced on page 149 of Imagining Winnipeg).

Here the Footes are gathered for a festive dinner, in the same cramped dining room that L.B.’s son Eric and his jazz band hammed it up in thirteen years earlier (page 109). Eric (with glasses) is now a husband and father, and his wife and two little daughters are at the table, along with Mary Foote, L.B.’s wife. We think the man with the moustache may be L.B.’s other son, who had moved to Detroit in the 1930s and was perhaps home for a visit.

I like all of the little traces of everyday life in this photo. Although the Christmas tree is gone, there are still paper holiday ornaments throughout the room — the tin foil stars twirling down from the light fixture are an especially nice touch. The sheet music on the piano includes what seems to be a simple arrangement of Christmas music on the piano (perhaps for one of the granddaughters to play?). If you look closely, you’ll see that the other music on the piano is “When You Wish Upon a Star” from Walt Disney’s great Pinocchio, which is curious because that film won’t be released until a month after this photo is taken. At the centre of the table is a smallish fowl – its hard to tell if it’s a turkey, chicken, or goose — and not too far away seems to be a bottle of HP sauce, that once ubiquitous part of many WASP meals. There’s no sign of wine or beer or other alcoholic libations, so presumably this was a teetotal household (it looks to me, though, that the older, visiting son at the end of the table looks like he could use a drink about now). Those of us who still live in drafty old Winnipeg frame houses like the Foote home on Gertrude Avenue will appreciate the heavy curtains around the window and covering the doorway — anything to keep those Manitoba winter winds out.

All and all, this seems like a modest but comfortable household, with nothing remarkable going on. And yet that this was likely not an easy time for the Foote household. Thanks to Mary Horodyski’s recent discovery in theCity of Winnipeg archives we know that just a few years before Foote was desperate for work. In early 1933, he had lost his long-time downtown studio to fire. We don’t know what exactly was lost in that fire, but it must have included much of what he needed to make a living. As Mary found, nearly two years later Foote wrote to the city waterworks department, asking (actually pleading) for work. This was the photographer who had famously photographed royalty and visiting celebrities just a few years before, but who now had to come cap in hand to ask for the chance to photograph a municipal construction site.

This New Year’s Day dinner comes less than five years after that letter. Foote did get the contract to shoot the water treatment building. But the photos he took after that are of increasingly smaller and more modest. He’s no longer asked to record the homes and formal dinners of the city’s rich and powerful. By the late 1930s, his photographs are more likely in smaller middle-class homes or apartments, much like his own. When he photographs businesses, they are now small as well, like a hatchery on Logan Avenue (page 145). On New Year’s Day in 1940, L.B. Foote would have been 67 years old. He would have gone through all types of travails, including all of the usual indignities of someone who works freelance. And he would have to keep working well into his seventies — in the 1950s he would persuade the Free Press to carry an irregular column highlighting some of his “olden days” photos.

L.B. Foote didn’t take many photos of his family. In the over 2,000 photos at the Manitoba Archives, there are no more than a dozen Foote family photos. These include the wonderful shot of the Footes swimming atthe original YMCA on Portage Avenue (in what later became the Birks Building) and a mysterious one of the Foote family camping on a southern California beach around 1912 (what were they doing there?).

Because he took so few photographs of his family, it does make you wonder why he decided to record this particular family dinner at this particular time? Its hard to think that this might have been a time to celebrate — age and finances being what they were, not to mention with the Second World War just beginning in the background. But despite all that we can conjecture about his circumstances that day, Foote still has that slightly cocky half-smile that shows up in his other self-portraits. In spite of everything, he’s still willing to document his family and their progress into a new year, and seems to be doing it with some élan.

We are likely never going to know very much about the man behind the camera in these thousands of photos, but that spirit and that face—energetic, optimistic, with a twist of either irony or mischief—seems to persist each time we catch a glimpse of him. And it’s that spirit, I think, that keeps us coming back to his fascinating and baffling treasure trove of photographs.

- David Carr

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David Carr is the director of the University of Manitoba Press.

Sunday, February 3, 2013

Book chat / Slide show

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I've literally taken a page from the Winnipeg Public Library's latest newsletter so that I can share details around Esyllt W. Jones' upcoming events at the Henderson and Louis Riel libraries.

If you haven't heard Esyllt speak on L.B. Foote's photographs and their place in Winnipeg's history - and you really should - here's your chance!

Tuesday, January 29, 2013

Found Foote Photo #14: Labour Day, Part Two

"Late last August, just in time for Labour Day, I shared what is called a 'real photo' postcard by L. B. Foote.

The image shows some Stonewall residents, back in 1913, apparently preparing for their annual Labour Day parade. As an avid collector of Manitoba postcards, I have only occasionally come across any by Foote. While he did occasionally produce postcards, Foote was by no means prolific.

We postcard collectors, more officially known as 'deltiologists,' scour our worlds in search of items to add to our collections. Admittedly an odd lot, you’ll find us poking around garage sales, flea markets, auctions and antique shops. Nowadays we’ll often spend our evenings scouring internet sources like eBay. Egged on by the occasional thrill of acquiring a rare card, we likely have a lot in common with folks who play the slots. That Labour Day card by Foote was a “payday” for me – a rare treat.

Those of us who specialize in historic Manitoba postcards quickly become amateur detectives and 'accidental' historians. As is true of the Foote photographs of Winnipeg, the cards we acquire teach us about the past and many challenge us to discover even more. As an example; after I submitted Stonewall postcard to this blog, I noticed that the license plate on one of the automobiles was visible amidst its decorations – number 2828. I contacted a friend who has catalogued automobile license plates and vehicle owners from 1912. I learned that this vehicle was owned by William A. Williamson, born in Manitoba. In 1912, he was 26 years old, single, and employed as a clerk in a hardware store at Stonewall. That is likely William behind the wheel.

While Foote postcards are rare, lightning sometimes strikes twice. About a month ago, I encountered and acquired yet another one! Very surprisingly, it was taken in Stonewall on the same day as my earlier postcard – and shows the actual parade in progress. The parade is being led by two of the largest floats. The first, a horse-drawn canopied float is identified (by a banner in front of the lead horses) as “Presbyterian S.S.” (Sunday School?). Directly behind it is a self-propelled float in the shape of a boat, likely constructed over an automobile. Also shown in this image, on the left side, is Stonewall’s Canadian Pacific Hotel which was constructed in 1880.

Once again, a thankful salute to L. B. – for a lifetime of work that now enables us to retrace and reconstruct our own 'forgotten' history."
- Rob McInnes, Postcard Accumulator and Purveyor

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Though this blog is shutting down, we thought we'd share one last 'found' Foote, again from Rob McInnes.

I will miss being able to share the contents of Rob's emails. But am consoled by things like the Manitoba Historical Maps flickr site, the Vintage Winnipeg page on Facebook, and even the sales of Imagining Winnipeg.

But do try to come out to the two final library visits, won't you? If you haven't heard Esyllt speak yet on this book and these photos, you've missed something...

Monday, January 21, 2013

MORE Library Events!

By special request Esyllt W. Jones will be doing two more events at Winnipeg’s public libraries this winter:

February 5, 6:30 pm
Henderson Library, 1-1050 Henderson Highway.
Book Chat and Slide Show from Imagining Winnipeg: History through the Photographs of L.B. Foote.

February 28, 6:30 pm
Louis Riel Library, 1168 Dakota Street.
Book Chat and Slide Show

As you'll recall, we did two events this fall, at the Millennium Library and Westwood Library. They were great fun in addition to being well-attended, so the WPL asked us if we could consider doing a few more...

Monday, December 24, 2012

Interviewing Esyllt: part three

6) Was it difficult to select 150 images from the thousands in the Archives of Manitoba?

Yes! David and Glenn Bergen from the press and I spent hours down there. We looked at literally EVERY photograph in the provincial collection, which is not even all the Foote photographs in existence. Many of them are simply extraordinary. Everyone should go down there and look at them.

7) What’s your favourite image in the book?

My favourite is a photograph I write about in the introduction. It appears on page 32 of the book. It is a woman in Aboriginal dress, her hair in braids, smoking a pipe. Many of Foote’s images are technically almost perfect. This one is partly hazy and has a ghost-like blur on one side, and a little girl in a white party dress. The woman is a mystery to me, and I like that. I don’t think history should be about definitive answers. Sometimes the questions are far more interesting.

8) What's next for you? What are you working on now, beyond the collections?

I’ve been working on a book about the men and women who designed Saskatchewan’s first medicare policies, after Tommy Douglas was elected in 1944. There are two Winnipeggers in it, actually. It is called Red Medicine: Transnational Lives and the Birth of Medicare.

After it is finished, I want to write a book about my father. He was a music teacher, a Welshman. His family members were Welsh nationalists. He taught me a lot about curiosity and independence of thought, but also tolerance. We lived in rural Saskatchewan, where he built rock gardens, took me bird watching, drove a turquoise Peugeot, and wore a Sherlock Holmes-style hat and a British overcoat to work. As you can imagine, he was considered a total weirdo. This never bothered him. He developed Alzheimer’s Disease when he was in his fifties. Last year, I inherited his old records, which he often played in the house when I was young. My plan is to write my memories of him one record at a time. My partner Todd and I are building a cottage on the beautiful Whitemouth River, and I plan to listen to my dad’s records and write a sort of biography, which will also be a history of an immigrant life. I am going to start with Peter Ustinov’s classic recording of Prokofiev’s “Peter and the Wolf.”

That record used to scare me to death.

Monday, December 17, 2012

Favourite Foote Photos: PJ Burton

My father was born in 1927 into the sepia and grey-toned world that Foote's photos captured like a bug in a mason jar. So many interesting things going on in there. It was a small commercial miracle, notewothy and slightly impossible. In the forties, mini-entrepreneurs stalked the streets of every city of any size and offered to "take your picture", then hand you a fancy calling card announcing where the results could be purchased. Say, at a near by department store where you may become inclined to browse. Well, not everyone had cameras and the alchemy that is photography gave one existential pause.

"I was over there, but now I'm here, yet I can see myself as I have recently been." Or, more astonishingly, I can see them as they were; a handy portable piece of witchcraft on paper where even the deceased live in permanent evidence of what we did that day.

My grandfather was born in 1892 and fully inhabited the world Foote knew. He was a full-share partner in the development of that world. They were kids in Brandon which, at the time, had a population of maybe seven or eight thousand primarily Britishers who took pride in their sense of organization, and for the most part, always wore a specific kind of hat. He went off to war in one, he and my great uncle, lying about their age (they were only 16) but that didn't prevent him from being capture by the Germans and spending many months in an unexpectedly accommodating P.O.W. camp. There were amenities: musical instruments and some guy from a nearby village who, like Foote, would take the band's photo so you could send it home to the missus.

So Foote and the people like him, had a new gadget of fascination and anything was a reasonable target from the mundane to the most cunning of stunts. Some of Foote's works clearly predates "Everyone say 'cheese'" and its subjects appear to just mildly tolerate the invasive box while others are clearly posed, amused and ready to have even more great fun!

My father's great chum in Brandon was a lad named John Robertson. Together, they would run around the back lanes and streets of the west side of Brandon. Don't expect that they were up to mischief; they were just running around unfettered by the constraints of the mantle of responsibility that came with being an older boy of, say, fifteen. Since they were only nine and ten the worldly cosmos of encroaching maturity had yet to grab them by the coveralls and shake the dreamy dust of boyhood out of them. So, they just ran around and did things. They did, however, have pigeons and would get together to discuss different breeds and their qualities. One quality my father found particularly disturbing was that they tasted pretty good and grandmother (his mum) would occasionally prepare squab. Knowing each of his feathered charges personally, my father railled against the black fates that he was unable to control and the unfairness of it all let alone the barbaric horror of having to eat his friend.

But this idyllic garden can never last and just assuredly as spring will melt into summer, both John and George were growing up. It was time to get a hat.

But look at the hats! Look at Foote's photo of, say, the Winnipeg General Strike. By golly, you don't get that many men together in their sharp fedoras, slouches and bowlers without a serious commitment to common purpose. Don't tell me they didn't mean business. And just look at the hats!

- PJ Burton

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PJ Burton was born in Winnipeg in 1952 and received his teaching degree at the University of Alberta in 1979. During a brief stopover in Edmonton, he appeared on SCTV as a drummer in an Earl Camembert sketch, and again in Mel's Rock Pile. When he moved back to Winnipeg in 1980, he formed the band The Smarties. Soon after he put together Winnipeg's legendary showband The Chocolate Bunnies From Hell. He currently teaches at West Kildonan Collegiate and performs regularly with his band.

Interviewing Esyllt, part two

3) What is it like researching and writing about a city/province that you didn’t grow up in? (You were born/raised in Saskatchewan, correct?)

Historians are trained to glean some sense of the past in its own right, and while personal connection has something special about it, a lot of great history is written without that.

William Eakin's mug shot, 2004-6, Subconscious City exhibit.
I was born in the UK, and moved around the prairies a lot as a child after we emigrated when I was three. I have lived in Winnipeg for over 25 years, and so it is home to me, and I value that. I am very attached to the place. I love its perception of itself as a failed project, although I also argue with it in my work. Winnipeg is a city where people are very aware of local history, and their place in it. I think we take this awareness a bit for granted. It’s a great town to be a historian.

4) What drew you to working on a book about the photographs of L.B. Foote in particular?

David Carr asked me to do it! I took it as a compliment, so I said yes. I have been looking at Foote photos for twenty-odd years, mostly as illustrations. A few years ago, David Churchill from the Institute for the Humanities at the University of Manitoba asked me to be on a panel associated with the show “Subconscious City” at the Winnipeg Art Gallery, curated by Shawna Dempsey and Lorri Millan. I called my contribution “Getting Lost in the North End,” and I used some Foote images, along with others, to illustrate how historical photographs of poor families in the North End have generated these extremely persistent and negative stereotypes. My talk was about the possibilities of ‘getting lost’ in that part of the city, to see it with fresh eyes – to actually go there! The things I thought about for that talk formed my way in to the Foote archive; how certain images carry so much weight in a city’s history, and how we should sometimes re-assess what we think photos tell us.

5) What was your goal for the project?

I don’t think I had a goal. I started writing without knowing for sure what I had to say, because I am not a historian of photography. I looked at the records. I read Foote’s odd little half-memoir, and tried to figure him out.

I would like people who read my essay to think about the stories we tell ourselves about the past. Especially, I would like us to re-think the story of decline, which says nothing great happened in Winnipeg after 1919. I agree with what Guy Maddin says on the back of the book – Foote’s collection gives this impression of Winnipeg as a frenetic place full of people who get up to all kinds of stuff all the time. His photographs have this intensity, this enthusiasm. It’s a selective impression, of course, but all does not all end after the war and the general strike. Some historians have written about Winnipeg as if that was an endpoint, a rupture. I think this sensibility is too pervasive.

Sunday, December 16, 2012

Reprint: Winnipeg Bestsellers (again!)

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Thanks to everyone who helped Imagining Winnipeg get back on the bestseller list! Yay!