Sous-fonds consists of records of the Whaletown Women's Auxiliary. It is arranged in seven series: Minutes, Administrative Records, Financial, Correspondence, Subject Files, Ephemera and Artifacts. See also Gilean Douglas fonds (1999.001) for related material.
The Whaletown Women's Auxiliary of the Anglican Church (ca. 1949 - 1974) was a group which provided support for the the Columbia Coast Mission and the Anglican Church. From 1949 to 1961, the CCM maintained a station at Whaletown comprising a mission house, clinic building and the church of St. John the Baptist, which opened on August 13, 1950. Mission properties on Cortes Island were transferred to the Diocese in 1967.
Custodial History
Records were donated to CIMAS by the Island Women's Club in 2009.
Scope and Content
Sous-fonds consists of records of the Whaletown Women's Auxiliary. It is arranged in seven series: Minutes, Administrative Records, Financial, Correspondence, Subject Files, Ephemera and Artifacts. See also Gilean Douglas fonds (1999.001) for related material.
Mark Appleyard makes an oar as Emily looks on. Wendy Knudsen, Mark & Emily lived aboard the sailboat Cytherea. Zuk’s boat Devotion in background (Whaletown dock)
Back row, L to R: Pat Lovell, Max Beck, Norm and Denise Gibbons, Sherry Hall, Ann and Ken Ferguson with infant Andrew, Bruce Stevenson
Middle, L to R: Lisa Gibbons holding her pet rock, (unidentified), Monty Hall, Stuart Arsenault, (woman in green unidentified), Glynne Evans, Mike Lovell, (person at end unidentified).
Front, L to R: Laurie Lovell, Mark Melul, Kris Hall, Tracy Lovell, Lisa Hall, Michael Gibbons, Dean Lovell (pulling a hat over Michael's face), Ann Melul (Ann was a teacher)
Back row, L to R: Pat Lovell, Max Beck, Norm and Denise Gibbons, Sherry Hall, Ann and Ken Ferguson with infant Andrew, Bruce Stevenson
Middle, L to R: Lisa Gibbons holding her pet rock, (unidentified), Monty Hall, Stuart Arsenault, (woman in green unidentified), Glynne Evans, Mike Lovell, (person at end unidentified).
Front, L to R: Laurie Lovell, Mark Melul, Kris Hall, Tracy Lovell, Lisa Hall, Michael Gibbons, Dean Lovell (pulling a hat over Michael's face), Ann Melul (Ann was a teacher)
L to R: (man in corner needs ID); (?) Frucktinart (sp?) with his daughter behind; (ID man holding girl in red); Ken Ferguson with Chris Hall behind him; Lisa and Michael Gibbons
L to R: (man in corner needs ID); (?) Frucktinart (sp?) with his daughter behind; (ID man holding girl in red); Ken Ferguson with Chris Hall behind him; Lisa and Michael Gibbons
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."