hudson's bay blanket

Northwest blanket gun

Manufactured for the North-Western fur trade beyond the Hudson Bay, sawn off and engraved by Tlingit natives c.late 18th century.
.69 caliber smoothbore barrel, flintlock single shot musket.

Northwest type guns were a specific model used to trade with American natives during the 18th and early 19th century, which were characterized by a brass serpent plate on the left side of the lock and an enlarged triggerguard to allow shooting with either thick gloves or two fingers.

A Northwest gun’s distinctive brass plate, signed Pritchett c.1829.

These were suited for war and hunting and were greatly appreciated by native tribes, who lacked the infrastructure to produce them but well understood their superiority to more ‘traditional’ weapons.

Two full-length Northwest guns.

a non-exhaustive list of incredibly niche canadian jack headcanons

i pulled some of these from my past posts and compiled them into this semi-master list of things our local moose boy has definitely done

  • smh has never seen jack more animated than when “she ain’t pretty” by the northern pikes comes on
    • its on ransoms kegster playlist for this reason
  • ransoms mom sends jack swiss chalet sauce packets because he’d never been to swiss chalet and ransom was Shook when he found out
  • he superstitiously carries an old $5 bill with him all the time bc it has a passage from roch carrier’s the hockey sweater on it

Keep reading

Rosalie Favell | I awoke to find my spirit had returned. 1999

From the series Plain(s) Warrior Artist, Favell is seen here working with Louis Riel’s last words “My people will sleep for one hundred years and when they awake it will be the artist that gives them their spirit back…”

Early forms of photoshop are used in this image, as Favell edits herself front and centre of the famous scene of The Wizard of Oz.  Favell places herself in the role of the heroine of the film and while taking up the viewpoint enforcing acknowledgement of her Metis heritage in doing so. Favell lies in bed covered in a Hudson Bay Blanket while Louis Riel seems to check in on her.

The assertion of Favell’s Metis imagery into such a well-known piece of White Settler ‘culture’ be interpreted as a form of resistance via occupation. This assertion of Metis identity is powerful with the addition of the Hudson Bay blanket, thinking about what that blanket and pattern can mean for many Indigenous people and specifically the Metis connection to the Fur trade and the HBC.  Louis Riel too adds this persistence of resistance as from all angles contemporary and historical Metis identity is being inserted into the scene. Keeping Favell’s own image in colour brings forth her own identity as present and rejects the notion of Indigenous people/culture being in the past. 

Favell inserts herself and her heritage onto the predominant oppressive culture and in doing so brings her own identity into the foreground in an act of resistance to White Settler culture and oppression.