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A.W. Hewetson fonds

  • VF-414
  • Fonds
  • 1914

The fonds consists of a travel journal written by Hewetson during a business trip to British Columbia.

Hewetson, A.W.

Willson Knowlton collection

  • VF-230
  • Fonds
  • 1858-1884

The collection consists of photocopies of legal and financial documents including receipts, promissory notes, orders, agreements which relate to the business transactions of Kwong Lee and Company, Sansum Copper Mining and the Grouse Creek Flume Company.

Knowlton, Willson Edmond, d. 1982


The photographs include one picture of Jack Clarke sometime after 1939 as a chief officer, one photograph of him alongside Foggy Edwards and Larry Gaskill in Vancouver Harbour, and a photograph of all of the Canadian crew of S.S. Empress of Canada taken in January of 1942. There is a list of everybody in this picture, their location, and their ranks in the file.

Published Materials

This file includes news paper clippings , printed out articles and stories about the sinking of the Empress of Canada, some of the previous battles the ship was involved in, and the life stories and experiences of some of the survivors.


This file includes some correspondence to John Clarke informing him that he was going to receive a name recognition for his good services during the war. The majority of correspondence are between Betty Clarke Pearson and other survivors of the sinking of Empress of Canada who share their stories and information about the sinking and the history of battles they experienced.

Betty Clarke Pearson collection

  • RBSC-ARC-1819
  • Collection
  • 1939-2003

This collection consists of correspondence and published materials gathered by Betty Clarke Pearson about the last voyage of Empress of Canada that was sunk by an Italian submarine on March 14th, 1943. Betty's father, John St.Claire Clarke, was the chief officer of Empress of Canada at the time of the attack. He survived while nearly 400 others were lost. Betty gathered these documents which include newspaper clippings, photographs, correspondence, and a memorandum speech, reflecting stories of her father along with other survivors of the attack.

[Di Castri Photos]

Photographs depict: Di Castri's unique piano preparation for Sprung Testament; Di Castri handing her scores over to Kevin Madill, the Head Librarian of UBC's Music, Art, and Architecture Library, for the purpose of this collection; and a screenshot of Jennifer Koh's show description.

Canadian Women Composers Collection Correspondence [Di Castri]

File consists of a related composition entitled Patina, a musical program, and an essay by Di Castri as well as an agreement, invoice, and various correspondences between her and Kevin Madill, the Head Librarian at UBC’s Music, Art, and Architecture Library, in reference to her contributions to the Canadian Women Composers Collection.

Composition Inspirational Materials

File consists of materials that served as inspiration to Di Castri during the writing of Sprung Testament, including Beethoven letters and “The Topography of Tears,” a photographic investigation of tears by Rose-Lynn Fisher.

Gateways – Movement 3

File includes planning notes, sketches, and drafts of Movement 3 of Gateways, entitled "games," along with a photocopy of each page and Chang's explanation and timeline of changes.

Gateways – Movement 1

File includes initial ideas, concepts, sketches, and a working draft for Movement 1 of Gateways, entitled "a letter to home," along with handwritten edits and notes.

[Athabasca Oversize Prints]

Prints depict photographs taken by Carruthers during her research trip to Athabasca Glacier in Alberta on May 23rd, 2017 and subsequently used as inspiration for her composition, slippages.

[Athabasca – Prints]

File consists of five large format artist proofs of photographs that were printed during Carruther’s residency at the Banff Centre for the Arts. They measure 29” x 44” (74cm x 112cm) and are comprised of giclée on Epson enhanced matter paper.

slippages – Original Graphic Score

File consists of 27 pages, made up of a front cover, 25 score pages, and back cover. The graphic score is on 18” x 24” bespoke St-Armand cotton paper, in acrylic ink with sea salt. Carruthers commissioned St-Armand, a paper-making company in Montréal, to make the paper special for the project and include random holes.

As for the art itself, Carruthers worked with a palette of yellows, blues, and greys similar to the hues she observed during her fieldwork in the Columbia Icefield. She painted the scores on the specially commissioned and perforated paper. Her idea was that, when stacked, they would mimic the layers of a glacier. Accordingly, the original graphic score is meant to be presented stacked, with page one on top. Staying true to glaciers, each sheet represents a history, with the most recent history first.

In their collaborative interpretation of the score, Carruthers and Maestro Girard mapped out the relationship between the layered pages of the artwork and how they reflect the revealed histories of glaciers as they melt due to climate change. In practical terms, this means that parts of the score two pages down will be revealed through the holes in previous pages, so parts of the score begin to be played several pages before they are fully realized.

slippages – Study Score

File consists of a bound version of the graphic score, produced by Maestro Jonathan Girard after the performance of slippages as a method of documentation. Notes included on the pages are his.

slippages – Conductor’s Score

File consists of the score co-created by Maestro Jonathan Girard and Deborah Carruthers to be used in the performance of slippages by the UBC Symphony Orchestra as well as the transparent overlay they used to map out responsibilities within the orchestra.

For their performance of slippages, Carruthers and Girard approached the task of interpreting graphic scores by mapping the seating arrangement onto the images themselves, creating a sort of geography of the orchestra. By creating a transparent overlay of the orchestral seating chart, they could go page by page and figure out which instruments would take responsibility for which parts of the images. Once areas of the image were assigned to orchestral sections, the musicians looked at the depth and saturation of the colours and translated them into musical intensity, texture, and so on. Next, Carruthers and Girard mapped out the relationship between the layered pages of the score, interpreting how glaciers reveal themselves and their histories as they melt due to climate change. In this composer's score, those parts are assigned based on the seating chart.

Canadian Women Composers collection

  • RBSC-ARC-1817
  • Collection
  • 1997 - 2019

Collection consists of primary resources and related materials created and used by Canadian women composers. Each series is dedicated to one of the participating composers, which currently consists of Deborah Carruthers, Dorothy Chang, Zosha Di Castri, Barbara Monk Feldman, and Ana Sokolović. Materials include a variety of records, such as original scores, manuscripts, working drafts, photographs, prints, published articles, correspondence, and materials used as inspiration in the artists' work. Going forward, the collection is expected to evolve and incorporate additional Canadian women composers.

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