Fondo RC0132 - Gisela Commanda

Área de título y declaración de responsabilidad

Título apropiado

Gisela Commanda

Tipo general de material

Título paralelo

Otra información de título

Título declaración de responsabilidad

Título notas

Nivel de descripción

Fondo

Código de referencia

RC0132

Área de edición

Declaración de edición

Declaración de responsabilidad de edición

Área de detalles específicos de la clase de material

Mención de la escala (cartográfica)

Mención de proyección (cartográfica)

Mención de coordenadas (cartográfica)

Mención de la escala (arquitectónica)

Jurisdicción de emisión y denominación (filatélico)

Área de fechas de creación

Fecha(s)

  • 1937-1993 (Creación)

Área de descripción física

Descripción física

2.08 m of textual records, graphic materials and realia

Área de series editoriales

Título apropiado de las series del editor

Títulos paralelos de serie editorial

Otra información de título de las series editoriales

Declaración de responsabilidad relativa a las series editoriales

Numeración dentro de la serie editorial

Nota en las series editoriales

Área de descripción del archivo

Nombre del productor

(1908-1993)

Historia biográfica

Gisela Commanda was born Gisela Almgren in England on 9 December 1908. Her father was a Swedish artist, Per Johan Hugo Almgren and her mother was Antonia, née Cyriax (1881-1927). Her parents married when both were art students in Sweden; they separated in 1912. Known as “T” (for Tony/Antonia), Gisela’s mother was a friend of David Garnett and D.H. Lawrence; she adopted the pseudonym “Mrs. Anthony” or “Antonius” after separating from Almgren, in the belief that he was pursuing her. Under the name Tony Cyriax she published Among Italian Peasants in 1919, illustrated with her own watercolours. She and her daughter Gisela stayed close to the Lawrences in Italy in 1913 (see The Letters of D.H. Lawrence, ed. James T. Boulton. Cambridge University Press, 1979, vol. 1, 520; vol. 2, 139).

Gisela’s life was no less dramatic, although entirely different from that of her mother. Trained as an artist, she was inspired by hearing Grey Owl speak about the aboriginal peoples of Canada during a tour of England, likely during his first British tour in 1935-6. She travelled first to a USA reservation for indigenous people in 1939 and then came to Canada the following year. Wanting to learn Ojibwa, she had been in touch with Grey Owl’s canoe man in the making of his 1937 Mississagi River film, Antoine Commanda (see Donald B. Smith, From the Land of the Shadows: the Making of Grey Owl, 1990, 308). She visited Commanda at Bisco and married him in 1942. The couple seem to have separated after a short time (although they were not divorced until 1975) and Gisela Commanda, now afforded First Nations status as a result of her marriage, lived on a series of reserves, including Brantford, Ontario and Cardston, Alberta, documenting her travels and the stories of those she met in her lengthy series of notebooks. She worked as an advocate for and promoter of native culture, teaching native crafts and often dressing as an aboriginal person, just as Grey Owl had done.

None of her written work seems ever to have been published and much of it seems to have been lost during her frequent moves. Always prone to “nervous indisposition” (a depressed state which descended whenever she lacked stimulation), she was restless, rarely living in one place for long. After some years at a nursing home in Cornwall, Ontario during the 1970s, she moved to Woodlands Villa, Long Sault, Ontario, where she died on 22 March 1993.

Historial de custodia

Alcance y contenido

Área de notas

Condiciones físicas

Origen del ingreso

The fonds (07-2004) was acquired in March 2004. It had been given to the Leeds-Grenville Historical Society, housed in the Brockville Museum. The Museum disposed of the material to a bookseller, David Ewens of North Gower, Ontario, who kept it for some 6 or 7 years before giving it to Gord Russell of the Alexander Gallery. Mr. Russell then donated it to McMaster University. A second accrual (2022-045) mostly consisting of letters to Gwen Potter was donated by Potter in 2022.

Arreglo

The fonds has been arranged into five series: correspondence, autobiography/journal notes, “books” and notes for books, personal material and photographs, graphic materials and realia.

Idioma del material

Escritura del material

Ubicación de los originales

Disponibilidad de otros formatos

Restricciones de acceso

There are no access restrictions

Condiciones de uso, reproducción, y publicación

Instrumentos de descripción

Materiales asociados

Materiales relacionados

Acumulaciones

Further accruals are not expected.

Identificador/es alternativo(os)

Área de número estándar

Número estándar

Puntos de acceso

Puntos de acceso por lugar

Puntos de acceso por autoridad

Tipo de puntos de acceso

Área de control

Identificador de registro de descripción

RC0132

Identificador de la institución

Reglas o convenciones

Estado de elaboración

Nivel de detalle

Fechas de creación, revisión o eliminación

Idioma de descripción

Escritura de la descripción

Fuentes

Área de Ingreso

Personas y organizaciones relacionadas

Lugares relacionados

Tipos relacionados