Fonds consists of textual, visual and sound materials pertaining to Norman Luxton, Eleanor Luxton and their family members and friends (including Georgina Luxton, Norman's parents and siblings, and members of the Ross, Graham and McDougall families). Includes correspondence, personal and profession…
ca.32.1 m of textual records (29.3 m textual records, 47 scrapbooks) -- ca.7290 photographs (ca.5300 b&w and col. prints, ca.1915 negatives, 75 transparencies, 2 tintypes) -- 17 albums -- ca.74 cm sound recordings (29 CDs, 45 audio cassettes, 17 R120 DAT tapes, 1 VHS, 8 voicewriter discs)
History / Biographical
The Norman Luxton family was a prominent family in Banff, Alberta, Canada from 1904 until 1962. Daughter Eleanor Luxton maintained the family's position in the town until her death in 1995.
Publisher and businessman Norman K. Luxton, 1876-1962, was the son of Winnipeg Free Press co-founder William Luxton. After working for the Winnipeg Free Press, Norman Luxton travelled, then joined the Calgary Herald for eight years. In 1901, he journeyed 10,000 miles on the Pacific in the dug-out canoe Tilikum. After becoming ill, Luxton abandoned the trip in Fiji and came to Banff to recuperate. The around-the-world trip was subsequently completed by his sailing partner, Capt. John Voss.
Luxton bought Banff's Crag and Canyon newspaper in 1902 and remained as publisher until 1951. Also in 1902, he established the Sign of the Goat Curio store which specialized in Stoney Indian handicrafts and taxidermy specimens. Other significant Luxton businesses were the King Edward Hotel and Livery, Luxton Bros. insurance (with brother Louis Luxton) and the Lux Block, which included a hotel, the Lux Theatre and retail stores.
In 1904, Norman Luxton married Georgina (Georgie) Elizabeth McDougall, 1870-1965, of the pioneer missionary McDougall family of Morley, Alberta. In addition to her McDougall connections, Georgie Luxton was related by marriage to Senator George Ross. Norman and Georgie Luxton had one child, Eleanor Georgina, born in Banff in 1908.
The Luxtons were important Banff "boosters" with involvement in numerous local organizations and events. Norman Luxton managed the Banff Indian Days from 1909 to 1950, was a founder of Banff Winter Carnival and was involved with native events at the Calgary Stampede for 25 years. In 1953, Norman established a museum to house his native artifacts. The Luxton Museum was built in co-operation with Eric Harvie of the Glenbow Foundation of Calgary. After Luxton's death, the museum continued to be managed by the Glenbow until 1992.
Eleanor Luxton, 1908-1995, was a writer, historian, researcher, engineer, teacher and business woman. After graduating from high school in Banff in 1926, she attended the University of Alberta from 1926 until 1939, receiving degrees in history (BA '30, MA'33), a Diploma in Education (1931) and subsequent education, biology and natural history courses during the summers.
Between 1937 and 1956, Eleanor received further degrees and certificates from studies at Garbutt Business College (Calgary), St. Stephen's College (Edmonton), Ottawa Technical High School, Havergal Ladies College (Ontario), St. George Williams College (Montreal), McGill University (Montreal) and the Banff School of Fine Arts. Subjects studied included office practices, shorthand, machine draughting, English, civil engineering (BSc '46), German, broadcast writing, management, commerce, accounting and commercial law.
Eleanor Luxton's extensive education overlapped and preceded a long and varied professional career. Her teaching career extended from high school teacher in Alberta (Banff and Sexsmith), 1933-1940, to university lecturer in Montreal in the 1950s. During the 1940s, she worked in locomotive design for the CPR in Montreal. Beginning in 1956 and continuing until 1965, when she returned to Banff to care for her mother, Eleanor worked throughout southern Alberta as a field researcher for Calgary's Glenbow Foundation. From 1965 until her death in 1995, Eleanor remained in Banff in her family home and pursued an active career in writing and research.
Scope & Content
Fonds consists of textual, visual and sound materials pertaining to Norman Luxton, Eleanor Luxton and their family members and friends (including Georgina Luxton, Norman's parents and siblings, and members of the Ross, Graham and McDougall families). Includes correspondence, personal and professional records, financial documents, organization and volunteer records, business and property records, scrapbooks and albums, research materials, candid and professional portraits, various collected materials, and other related content.
Notes
Fonds consists of three sous-fonds:
I. Norman Luxton sous-fonds, [ca.1880]-1962, ca. 7.5 m. of textual records and photographs in four series: A. Correspondence, B. Business, financial and legal, C. Personal, D. Personal and professional, E. Collected materials.
II. Eleanor Luxton sous-fonds, [ca.1890]-1995, ca. 15 m. of textual records, sound recordings and photographs in six series: A. Correspondence, B. Professional, C. Personal, D. Business, financial and legal, E. Travel and events, F. Collected materials.
III. Luxton family sous-fonds, 1836-1972, ca.6.5 m. of textual records and photographs in four series: A. Norman Luxton family series, [ca.1900-ca.1970]; B. Georgina Luxton series, [ca.1890]-1967; C. Related family series, [ca.1890]-1972; D. Other material series, 1836-1970; E. Luxton family home records [1996].
File consists of one signed copy of a portrait of an unidentified Indigenous man by artist W. Langdon Kihn. Portrait was gifted to Norman Luxton by Kihn in 1922.
1 drawing : portrait, pencil and ink ; 29 x 37.5 cm
History / Biographical
Wilfred Langdon Kihn (1898-1957) was an American artist born in Brooklyn, New York. Kihn was best known for his illustrated portraits of American and Canadian Indigenous people, including members of the Blackfoot, Navajo, Pueblo and Tsimshian communities. The individuals in Kihn's portraits were most often depicted wearing traditional and ceremonial clothing rather than their typical clothes.
Kihn's art career began in 1919 when he travelled to Montana and created some of his earliest portraits while visiting the Blackfeet Reservation. Throughout the 1920s, Kihn travelled extensively in Canada and the United States, creating portraits of individuals from a diverse range of Indigenous communities. Many of these portraits were put on display as part of a travelling exhibition organized by the Brooklyn Museum. In 1935, Kihn was commissioned by National Geographic to produce Indigenous portraits for publications; this ultimately led to a two-decade career with National Geographic.
Scope & Content
File consists of one signed copy of a portrait of an unidentified Indigenous man by artist W. Langdon Kihn. Portrait was gifted to Norman Luxton by Kihn in 1922.
Notes
Portrait is signed in the bottom left corner: "To "Norm" Luxton From his friend W. Langdon Kihn. 1922"
Files consists of panorama photographs of Banff Indian Days, largely portraits of identified and unidentified Indigenous people, and camp at the base of Cascade Mountain. Some photographs have copy prints of varying paper textures. One negative, NA - 27, has three black and white prints, one print …
Files consists of panorama photographs of Banff Indian Days, largely portraits of identified and unidentified Indigenous people, and camp at the base of Cascade Mountain. Some photographs have copy prints of varying paper textures. One negative, NA - 27, has three black and white prints, one print has been hand-coloured.
All show some shift towards a yellowing film base, in particular NA - 33
NA - 28 shows notable nitrate detrioartion of the emulsion with amber discolouration and mirroring.
Stoney Nakoda Elders provided naming and other culturally relevant information during interviews held for Recognizing Relations, an archives initiative active from 2014-2023.
The goal of this initiative was to name local Indigenous peoples in photographs held in the WMCR archives as well as encouraging access for Indigenous communities to these images.
Content Details
Mary Wesley, married to Peter Wesley chief of Wesley band
Stoney Nakoda Elders provided naming and other culturally relevant information during interviews held for Recognizing Relations, an archives initiative active from 2014-2023.
The goal of this initiative was to name local Indigenous peoples in photographs held in the WMCR archives as well as encouraging access for Indigenous communities to these images.
Files consists of panorama photographs of Banff Indian Days, largely photographs of unidentified Indigenous people, and camp at the base of Cascade Mountain. Possibly includes photos of Tom Wilson and Jack Clarke.
Files consists of panorama photographs of Banff Indian Days, largely photographs of unidentified Indigenous people, and camp at the base of Cascade Mountain. Possibly includes photos of Tom Wilson and Jack Clarke.
Notes
Some photographs have copy prints of varying paper textures. One negative, NA - 41, has a hand-coloured print.
NA - 35 is annotated "Copyright Lux Banff" and NA - 39 is annotated "Copyright Luxton Banff"
NA - 36 is not in the folder.
Files consists of panorama photograph prints and negatives of Banff Indian Days, camps, a log cabin and staged battle scenes with unidentified people. Some photos have copy prints. Included is a Kodak Iris paper envelope with annotations.
Date Range
1907
[ca.1910s]
1913
1915
Reference Code
LUX / I / D3a / 12 / NA - 45 to NA - 54
LUX / I / D3a / 12 / PA - 1 to PA - 9
19 photograph : 10 b&w negatives ; 30.2 x 9.8 cm : 9 b&w photographs ; 30.2 x 10 cm or smaller
Scope & Content
Files consists of panorama photograph prints and negatives of Banff Indian Days, camps, a log cabin and staged battle scenes with unidentified people. Some photos have copy prints. Included is a Kodak Iris paper envelope with annotations.
Stoney Nakoda Elders provided naming and other culturally relevant information during interviews held for Recognizing Relations, an archives initiative active from 2014-2023. The goal of this initiative was to name local Indigenous peoples in photog
The goal of this initiative was to name local Indigenous peoples in photographs held in the WMCR archives as well as encouraging access for Indigenous communities to these images.
Stoney Nakoda Elders provided naming and other culturally relevant information during interviews held for Recognizing Relations, an archives initiative active from 2014-2023. . No identification was possible.
The goal of this initiative was to name local Indigenous peoples in photographs held in the WMCR archives as well as encouraging access for Indigenous communities to these images.
File consists of 43 photographs pertaining to Banff Indian Days events. Includes images of ceremonies and events, teepees on display and Stoney Nakoda individuals in traditional regalia.
43 photographs (42 b&w prints ; 25 x 20 cm or smaller -- 1 b&w negative)
Scope & Content
File consists of 43 photographs pertaining to Banff Indian Days events. Includes images of ceremonies and events, teepees on display and Stoney Nakoda individuals in traditional regalia.
Notes
Negative photograph is stored in mylar, in folder with prints. File also contains one negative duplicate which is not included in numbering
Scratches on negative and edge tape is peeling off
Title Source
Stoney Nakoda Elders provided naming and other culturally relevant information during interviews held for Recognizing Relations, an archives initiative active from 2014-2023.
The goal of this initiative was to name local Indigenous peoples in photographs held in the WMCR archives as well as encouraging access for Indigenous communities to these images.
Missing glass in upper left corner (when viewing negative emulsion side up)
Title Source
Stoney Nakoda Elders provided naming and other culturally relevant information during interviews held for Recognizing Relations, an archives initiative active from 2014-2023.
The goal of this initiative was to name local Indigenous peoples in photographs held in the WMCR archives as well as encouraging access for Indigenous communities to these images.
Stoney Nakoda Elders provided naming and other culturally relevant information during interviews held for Recognizing Relations, an archives initiative active from 2014-2023.
The goal of this initiative was to name local Indigenous peoples in photographs held in the WMCR archives as well as encouraging access for Indigenous communities to these images.
1 photograph : b&w glass negative ; 20.3 x 25.4 cm
Scope & Content
[Unknown women and children by tipi]
Notes
The negative has been digitized in order to retain detail in the highlights. For reproduction, it may be beneficial to refer to print copy within the file for intended contrast.
Scratches on the negative. Part of the glass negative corner is missing.
Title Source
This image is part of the Recognizing Relations project, an archives initiative undertaken in 2014 to identify Stoney people in photographs held in the Whyte Museum Archives. No identification was possible.
The goal of this initiative was to name local Indigenous peoples in photographs held in the WMCR archives as well as encouraging access for Indigenous communities to these images.
1 photograph : b&w glass negative ; 20.3 x 25.4 cm
Scope & Content
[Jonas and Libby Benjamin, daughter Annie, Stoney Nakoda]*
Notes
The negative has been digitized in order to retain detail in the highlights. For reproduction, it may be beneficial to refer to print copy within the file for intended contrast.
Scratches on negative. Negatives upper right corner glass is missing.
Title Source
Stoney Nakoda Elders provided naming and other culturally relevant information during interviews held for Recognizing Relations, an archives initiative active from 2014-2023.
The goal of this initiative was to name local Indigenous peoples in photographs held in the WMCR archives as well as encouraging access for Indigenous communities to these images.
1 photograph : b&w glass negative ; 20.3 x 25.4 cm
Scope & Content
[Tipis in Banff]
Notes
Digitized to retain the highlights. Reproductions may benefit from referencing copy print for ideal contrast.
Negative is broken and pieces were kept separate to retain detail. A compiled copy is included for reference.
Negative is broken. Found wrapped in tissue within paper envelope. Removed the tissue and returned with the long sides of negative pieces to paper envelope as the tissue was cumbersome to unwrap and may lead to additional damage.