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Tales and Treasures from the rich legacy of the Hudson’s Bay Company.
Created by Canada’s History
Archives Keeper Maureen Dolyniuk gives an expert overview of the history and mandate of the Hudson's Bay Company Archives.
Maureen Dolyniuk, Manager of the Hudson's Bay Company Archives at the Archives of Manitoba in Winnipeg, explains the importance of Post Journals and the story of Francis Heron.
Senior archivist Denise Jones shows us how to uncover layers of information by researching multiple records.
Senior archivist Debra Moore describes the depth and breadth of the photo archive at the Hudson's Bay Company Archives.
Learn more about the records of Gertrude Perrin in the Archives of Manitoba special online exhibit.
Dr. Jamie Morton, curator of the Hudson's Bay Company Collection at the Manitoba Museum shows us some exquisite beadwork and embroidery in these two very different garments.
Dr. Jamie Morton, curator of the Hudson's Bay Company Collection tells us about the original Nonsuch, the history of the replica, and the origin of the HBC museum collection.
Dr. Jamie Morton, curator at the Manitoba Museum shows us three unique carvings made by Indigenous people of Haida Gwaii and the Chukchi of Siberia, including the ghost ship S.S. Baychimo.
Dr. Jamie Morton shows us two examples of Indigenous clothing items from the Canadian prairies: A moose hide coat from the John Halkett collection and a beaded Cree hood, both made with HBC trade goods.
Dr. Jamie Morton, curator at the Manitoba Museum, explains the nature of the Company's organizational hierarchy and Simpson's role as governor through these extravagant artifacts: an elaborate silver candelabra and a ram's head snuff mull.
This variation of the 1682 British Royal Navy’s Red Ensign flew during the HBC 250th-anniversary parade at Lower Fort Garry, Manitoba, on May 2, 1920.
HBC post managers working in remote locations were provided with a medical chest that included an assortment of surgical implements.
Our dog-team journey up James Bay just before Christmas was for business. Doug Sinclair and I were making “Fur Country,” a colour film on trapping for the National Film Board.