Photograph of two children on a donkey. In the background a vegetable garden, picket fence and buildings at Braeside can be seen. (See also #2001.001.161, #2001.001.173 & #2001.001.174. Identifications by Doreen Thompson.)
Photograph of two children on a donkey. In the background a vegetable garden, picket fence and buildings at Braeside can be seen. (See also #2001.001.161, #2001.001.173 & #2001.001.174. Identifications by Doreen Thompson.)
Photograph of Marion Cafferata standing in a clearing in front of a spreading tree. Fields, fences and a building can be seen in the background. The Cafferata family had a homestead at the present-day junction of Carrington Bay Rd. and the old road to Carrington Bay.
Photograph of Marion Cafferata standing in a clearing in front of a spreading tree. Fields, fences and a building can be seen in the background. The Cafferata family had a homestead at the present-day junction of Carrington Bay Rd. and the old road to Carrington Bay.
Photograph of four young women, Margaret Copland, Violet Stoney, Muriel Cunliffe (teacher at the Whaletown school) and Joyce Allen, seated on a bench against the front of the freight shed on the Whaletown wharf. Posters advertising the Vancouver exhibition and a dentist can be clearly read on the side of the freight shed.
Photograph of four young women, Margaret Copland, Violet Stoney, Muriel Cunliffe (teacher at the Whaletown school) and Joyce Allen, seated on a bench against the front of the freight shed on the Whaletown wharf. Posters advertising the Vancouver exhibition and a dentist can be clearly read on the side of the freight shed.
Photograph of the Church Hall in Whaletown, which stood in front of the old cemetery at the corner of Carrington Bay and Harbour roads. It served the community as both church and a venue for social events for almost forty years. The original Whaletown school became its kitchen, and a sleeping place for tired children.
Photograph of the Church Hall in Whaletown, which stood in front of the old cemetery at the corner of Carrington Bay and Harbour roads. It served the community as both church and a venue for social events for almost forty years. The original Whaletown school became its kitchen, and a sleeping place for tired children.
Series consists of one photograph album containing 329 black and white photographs with captions, dating from 1922 to 1924. The photographs depict Dorothy Huck, friends and family, on Cortes and in Saskatchewan. There are also some commercial photographs of the Rocky Mountains.
Edges of the cover are frayed; the first five, the eighth and the last four pages are broken along the fold and are loose. The photographs are glued onto the black cardboard pages and show signs of rippling, creasing, dirt and wear but most of the images are very clear. Some of the pictures are loose or missing.
Scope and Content
Series consists of one photograph album containing 329 black and white photographs with captions, dating from 1922 to 1924. The photographs depict Dorothy Huck, friends and family, on Cortes and in Saskatchewan. There are also some commercial photographs of the Rocky Mountains.
Photograph of Mike Manson and his wife Jane, John Manson, Wilf Manson and daughter Dorothy, seated on logs on the beach. The photograph was taken on Mittlenatch Island when sheep were kept there.
Photograph of Mike Manson and his wife Jane, John Manson, Wilf Manson and daughter Dorothy, seated on logs on the beach. The photograph was taken on Mittlenatch Island when sheep were kept there.
Series consists of original drawings, watercolours and pastels created by residents of Cortes or Read Island, and a series of pen and ink drawings meant to illustrate Douglas' book, "Silence Is My Homeland".
Series consists of original drawings, watercolours and pastels created by residents of Cortes or Read Island, and a series of pen and ink drawings meant to illustrate Douglas' book, "Silence Is My Homeland".
Fonds consists of the personal records of Gilean Douglas which were produced and received during her personal and literary activities. There is some material dating from Douglas's early life, but the bulk of it dates from 1948 to 1993 and directly concerns her life on Cortes Island. Because of Douglas's involvement in the public life of the island, and her interest in local history, her papers contain a great deal of information about the political, community and social life of Cortes Island, particularly the Whaletown area. Fonds is composed of eighteen series: Manuscripts; Correspondence; Literary Records; Regional Director for Area I (Cortes Island); Women's Institute; Women's Auxiliary of the Anglican Church; School District #72; Whaletown Community Club; Channel Rock; Research; "The Log" of the Columbia Coast Mission; Journals and Notebooks; Illustrations and Sketches; Ephemera; Clippings; Maps; Albums; Photographs.
1.9 m of textual records; ca. 2,352 photographic records (1147 prints : b&w and col. - ca. 560 negatives : b&w and col. negatives ; 35 mm and 14 x 11 cm or smaller - 645 slides : col. slides ; 35 mm); 1 cm of graphic material; 8 maps.
Extent
1.9
History / Biographical
Gilean Douglas was born in Toronto, Ont. In 1900. Orphaned at the age of 16, she began to work as a free-lance writer and photographer. Over her lifetime her work appeared in more than 200 publications, often published under pseudonyms (Grant Madison, Armoral Kent and Jill MacLean). Douglas published eight books of poetry and three books of non-fiction, and, from 1961 to 1992, wrote a regular column, “Nature Rambles”, for the Victoria Times-Colonist.
In 1939, following the collapse of her third marriage, Douglas moved from Ontario to an isolated cabin in the mountains near Hope, B.C. Her first two books of nature writing (one published under the name Grant Madison) document her life there. Her cabin was destroyed by fire in 1947 and two years later she moved to a 138-acre waterfront homestead on Cortes Island with her fourth husband, Philip Douglas, (née Major). Her marriage ended in 1953, but she remained there until her death in 1993. Her home at Channel Rock was isolated, with no road access and no electricity. Douglas had a large garden, and supplemented her writing income by selling produce and plants. She was a volunteer Weather Observer for Environment Canada for 33 years, receiving several awards for her service. Starting in the 1960s, her writing centered increasingly on her life at Channel Rock. Her "Nature Rambles" columns and book "The Protected Place" reflect her life on the island.
During her years on Cortes Island, Douglas took a leading role in community affairs and local politics. She held office in several community organizations and acted as a school trustee. As a member of the Women's Institute, she held local, district, provincial and national office, edited a book on its history, and was awarded a Life Membership in 1989. Douglas was a member of the first Cortes Island Advisory Planning Commission and represented Cortes on the Regional Board of Comox-Strathcona as Alternate Director from 1968 to 1973 and as Director from 1973 until 1977.
List of Book Publications:
1952 Now the Green Word (Wings Press, Mill Valley, Ca.)
1953 Poetic Plush (The Story Book Press, Dallas, Texas)
1953 River For My Sidewalk (by “Grant Madison”; J. M. Dent & Sons, Toronto, Ont.)
1954 The Pattern Set (Quality Press, Montreal, Quebec)
1959 Modern Pioneers (a history of the Women's Institute, ed. by Douglas; Evergreen Press)
1967 Seascape With Figures (Prairie Press, Iowa City, Iowa)
1973 Now In This Night (Harlo Press, Detroit, Mi.)
1978 Silence Is My Homeland (Stackpole Books, Harrisburg, Pa.)
1979 The Protected Place (Gray’s Publishing, Sidney, B.C.)
1982 Prodigal (Harbour Publishing, Madeira Park, B.C.)
1984 River For My Sidewalk (by Gilean Douglas; Sono Nis Press)
1985 Kodachromes at Midday (Sono Nis Press)
1992 Seascape With Figures - Poems Selected and New (Sono Nis Press)
Custodial History
Upon Douglas’ death in 1993 her papers were gathered from her house by her literary executor, Gillian Milton. Douglas’ will directed that her papers and photographs be turned over to the University of British Columbia (Douglas’ primary beneficiary), after being examined and used for literary purposes including publication or biography. Accordingly, Milton inventoried the records, and with Andrea Lebowitz made use of them for a biography and anthology of the writings of Douglas, "Gilean Douglas: Writing Nature, Finding Home" (Lebowitz and Milton, Sono Nis Press, 1999). The textual records were turned over to University of British Columbia Library Rare Books and Special Collections in December 1999; the photographic records in 2002. By agreement with UBC, the records and photographs which have to do primarily with Cortes Island were turned over to the Cortes Island Museum and Archives Society (Manson's Landing, B.C.) in 1999.
Scope and Content
Fonds consists of the personal records of Gilean Douglas which were produced and received during her personal and literary activities. There is some material dating from Douglas's early life, but the bulk of it dates from 1948 to 1993 and directly concerns her life on Cortes Island. Because of Douglas's involvement in the public life of the island, and her interest in local history, her papers contain a great deal of information about the political, community and social life of Cortes Island, particularly the Whaletown area. Fonds is composed of eighteen series: Manuscripts; Correspondence; Literary Records; Regional Director for Area I (Cortes Island); Women's Institute; Women's Auxiliary of the Anglican Church; School District #72; Whaletown Community Club; Channel Rock; Research; "The Log" of the Columbia Coast Mission; Journals and Notebooks; Illustrations and Sketches; Ephemera; Clippings; Maps; Albums; Photographs.
Gilean Douglas fonds at the University of British Columbia Library (Special Collections)
Cortes Island Ratepayers Association fonds
Gorge Harbour Community Hall fonds
Whaletown Community Club fonds
Whaletown Women's Institute fonds
Regional Director of Electoral Area I (Cortes Island) fonds
Copyright
Copyright for Douglas's published writings is held by the University of British Columbia. Permission to use Douglas's manuscripts for publication purposes must be obtained from the University of British Columbia or from Gillian Milton, literary executor for the estate of Gilean Douglas.
Arrangement
Wherever possible, Douglas’ system of arrangement has been retained, and original groupings of material have been maintained. Other material has been arranged according to type.
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