Zona do título e menção de responsabilidade
Título próprio
Gisela Commanda
Designação geral do material
Título paralelo
Outra informação do título
Título e menções de responsabilidade
Notas ao título
Nível de descrição
Arquivo
Código de referência
RC0132
Zona de edição
Menção de edição
Menção de responsabilidade da edição
Zona de detalhes específicos de materiais
Menção da escala (cartográfica)
Menção da projecção (cartográfica)
Menção das coordenadas (cartográfico)
Menção da escala (arquitectura)
Autoridade emissora e denominação (filatélica)
Zona de datas de criação
Data(s)
-
1937-1993 (Produção)
Zona de descrição física
Descrição física
2.08 m of textual records, graphic materials and realia
Zona dos editores das publicações
Título próprio do recurso continuado
Títulos paralelos das publicações do editor
Outra informação do título das publicações do editor
Menção de responsabilidade relativa ao editor do recurso contínuo
Numeração das publicações do editor
Nota sobre as publicações do editor
Zona da descrição do arquivo
Nome do produtor
História 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.
História custodial
Âmbito e conteúdo
Zona das notas
Condição física
Fonte imediata de aquisição
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.
Organização
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 do material
Script do material
Localização de originais
Disponibilidade de outros formatos
Restrições de acesso
There are no access restrictions
Termos que regulam o uso, reprodução e publicação
Instrumentos de descrição
Materiais associados
Ingressos adicionais
Further accruals are not expected.
Identificador(es) alternativo(s)
Zona do número normalizado
Número normalizado
Pontos de acesso
Pontos de acesso - Assuntos
Pontos de acesso - Locais
Pontos de acesso - Nomes
Pontos de acesso de género
Zona do controlo
Descrição do identificador do registo
RC0132