Photograph of the Hayes family house at the head of Cortes Bay. To the left on the beach is a smaller house; to the right a line of laundry is hanging, and a small building (outhouse or smokehouse?) is further to the right. In the foreground some logs are piled on the rocky beach. (same as #1999.001.653)
Photograph of the Hayes family house at the head of Cortes Bay. To the left on the beach is a smaller house; to the right a line of laundry is hanging, and a small building (outhouse or smokehouse?) is further to the right. In the foreground some logs are piled on the rocky beach. (same as #1999.001.653)
Marjorie (Hayes) Griffin holding George Jr., Mr. Daniels, Jack Hayes, Alice Hayes, Mr. Alfred Hayes, Patsy McLennan, Mrs. Hayes, Florence Hayes, Mrs. Daniels, Dorothy Hayes, May Freeman with family pet dog, Nora Hayes
1 photograph print: b&w; 17.5 x 11 cm
1 photograph print: b&w; 11.5 x 6.5 cm
Scope and Content
Marjorie (Hayes) Griffin holding George Jr., Mr. Daniels, Jack Hayes, Alice Hayes, Mr. Alfred Hayes, Patsy McLennan, Mrs. Hayes, Florence Hayes, Mrs. Daniels, Dorothy Hayes, May Freeman with family pet dog, Nora Hayes
Photograph of the house at the head of Cortes Bay. To the left on the beach is a smaller house; to the right a line of laundry is hanging, and a small building (outhouse or smokehouse?) is further to the right. In the foreground some logs are piled on the rocky beach.
Photograph of the house at the head of Cortes Bay. To the left on the beach is a smaller house; to the right a line of laundry is hanging, and a small building (outhouse or smokehouse?) is further to the right. In the foreground some logs are piled on the rocky beach.
Binder contains a photocopy of a Province of BC bulletin on how to pre-empt land (1929), and a list of pre-emptions from the records in the BC Archives in Victoria.
Binder contains a photocopy of a Province of BC bulletin on how to pre-empt land (1929), and a list of pre-emptions from the records in the BC Archives in Victoria.
Photograph of the extended Hayes family, identified on the back as:
Back: Marjorie, George, Nerine, Art, Bill, Dorothy, Alice, Jack, Florence, Nora, Bettie
Front- Georgie, Granda with Nerine, Mary and Frankie, Grandma with June (2 or 3 years old), Rody
Photograph of the extended Hayes family, identified on the back as:
Back: Marjorie, George, Nerine, Art, Bill, Dorothy, Alice, Jack, Florence, Nora, Bettie
Front- Georgie, Granda with Nerine, Mary and Frankie, Grandma with June (2 or 3 years old), Rody
This series contains early film works of George Sirk, shot on 16mm and Super 8 film and digitized by Doug McCaffry, of ScanLab, in 2022. Films include Cortes Island short films, two feature documentaries, and two longer films shot in Australia. They were shown at a film festival presented by Cortes Cinema and the Cortes Island Museum on July 17, 2022: "Out of the Archives: The Early Film works of George Sirk".
From the program notes: "George's films showcase a snapshot - in moving pictures - of some madcap antics, dramatization, and documentaries of life on Cortes during that period [1975-1981] and were inspired by the great humourists of silent film; Chaplin, Keaton and Jacques Tati (Monsieur Hulot), and likewise delight in stitching reality. Mostly shot in sequentially edited (in the camera, like the great film makers mentioned), rehearsals were key to smooth transitions and conserved valuable film stock."
This series contains early film works of George Sirk, shot on 16mm and Super 8 film and digitized by Doug McCaffry, of ScanLab, in 2022. Films include Cortes Island short films, two feature documentaries, and two longer films shot in Australia. They were shown at a film festival presented by Cortes Cinema and the Cortes Island Museum on July 17, 2022: "Out of the Archives: The Early Film works of George Sirk".
From the program notes: "George's films showcase a snapshot - in moving pictures - of some madcap antics, dramatization, and documentaries of life on Cortes during that period [1975-1981] and were inspired by the great humourists of silent film; Chaplin, Keaton and Jacques Tati (Monsieur Hulot), and likewise delight in stitching reality. Mostly shot in sequentially edited (in the camera, like the great film makers mentioned), rehearsals were key to smooth transitions and conserved valuable film stock."
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