Category: From the Archives

Behind-the-scenes insights into the inner workings of a community museum and archives.

Icons Gone — brought back centre-stage!

Icons Gone — brought back centre-stage!Icons Gone — brought back centre-stage!

April 14, 2026 Whistler MuseumWhistler Museum 0 Comments

Featured Image: Keven “Big Kev” Mickelsen presents at last year’s Icon Gone. Whistler Museum Collection.

It could be argued that a signpost or a benchmark of a town’s maturity can be tabulated by how many significant symbols/things/happenings/elements-uniquely-local that have come to be associated with it, can now be referred to in the past tense… measuring a community’s forward trajectory by its ‘icons gone’.

Lamenting the legacy of legends-left-behind is the focus of next week’s ‘ICON GONE’ event put on by the Whistler Museum at the Maury Young Arts Centre/Millenium Place. The event began in 2008 and ran for many years up until 2013. It was resurrected last year with yet another all-star cast.

In a lively evening of friendly competition (tinged with debaucherous debate…it is, after all, 19+), six notable locals will take to the stage and argue for what they think is the largest loss in the landmark of Whistler-specific icons. The audience (through applause-and-yell-o-metre) along with a panel of equally notable judges will crown a champion. Nudity was the winner of last year’s debate. Citta’ (pronounced Cheetah’s, for those who don’t know), the runner up.

This year’s panel promises to deliver on all levels, covering the extremes from the raunchy to the contemplatively serious. Past topics have included everything from Fixed-Grip Chair Lifts to A-Frames, Squatters Cabins to The Boot Pub, the Passenger Train and Toonie Races to the Toad Hall Poster; from the Snow, Water, Earth Race to the Party Barge, Mountain Man Beards to Beavers. Gravity – as a topic, as a subject — even won one year.

The purpose of the evening is two, even three-fold. Undeniably, entertainment and community-fun are a major focus. However, the event also serves as a way to highlight the Museum’s local archive – and remind people of its absolute essential relevance. Through the eyes of the present we are given tools to reflect upon our past. ICON GONE serves to illustrate the value of preserving our stories, our legacies, our legends and some of the many ways which we can keep them alive. Humour is one of them, a method of honour. The archive is not a dusty, musty collection – it is active, vital and alive – infused only by our present perspectives.

In a December 5, 2025 editorial titled ‘Who remembers Whistler?’ Pique Newsmagazine editor Braden Dupuis deftly articulated the value of the Museum. ICON GONE offers the opportunity to showcase Dupuis’ points, worth repeating anew:

“If we don’t invest in institutions that collect, preserve, archive, and explain, we lose more than objects and photographs. We lose context. Identity. A sense of place beyond postcards and ski packages.

Left unchecked, the version of “Whistler history” that remains will be curated by marketing budgets: sleek, sanitized and built for outside consumption. It’s cultural erasure in its most casual, passive form.

[…]

By preserving history, we don’t resist change, we anchor it in respect. We ensure Whistler doesn’t forget it is more than a ski-lift and slopes, a playground for the rich or an ATM for faceless corporations—that it is a real community built by people, labour and continuity.”

In the spirit of continuity – through raucous reverence — let us celebrate the cornerstones of this community…

On Friday, April 17 – at 7:00 pm – join judges Ace MacKay-Smith, Julia Murray and Brandon Barrett as together we applaud debaters Feet Banks, Princess Stephanie, Stinky, Laugh Out Live’s Rebecca Mason, lawyer Tanya Kong — as they set to historically hammer home their iconic topic of choice!

For more information and Tickets, please visit www.whistlermuseum.org

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Whistler Weasels into Business: Mink, Marten and Mountain Movers 

Whistler Weasels into Business: Mink, Marten and Mountain Movers Whistler Weasels into Business: Mink, Marten and Mountain Movers 

March 23, 2026 Whistler MuseumWhistler Museum 0 Comments

Feature Image: Nita Lake Fur Farm owner Russell Jordan moved to the area in 1915. Photo: Whistler Museum Collection.

One hundred-and-one years ago, the first fur farm was established in Whistler. One hundred years ago, the local industry doubled, with a second business setting up shop. 

The currency of furs was always one of the mainstays of early residents. The hills were set with traplines extending into the surrounding ranges, however the establishment of farms where animals were raised in captivity – not caught in the wild – began in 1925.

The Lineham Mink Farm was developed on Green Lake – a half mile from where the Pacific Great Eastern Railway ran past the 40-mile post (signifying 40 miles from the Squamish station). P.D. Lineham was a retired businessman from Vancouver who sought out a simpler life in the vast outdoors. His answer to his wilderness quest-for-quiet was to start farming wily weasels.

Lineham’s breeding animals were registered stock – imported from Québec – that had been bred in captivity for generations. By the following spring, the farm had 40 mink and this number was expected to steadily increase.

“The climate of this district is particularly suited to mink and the best pelts are taken from here. They are very little trouble to raise and the losses among the pups are practically nil,” Alex Philip (of Rainbow Lodge renown, the first visitor destination in the valley, established in 1915) reported to Country Life in B.C. magazine. The year this statement was published was 1926. That same year, The Nita Lake Fur Farm began: the first and only marten farm in the province. 

Marten are relentless chewers and diggers. Owner-operator Russell Jordan had his work cut out for him. He rose to the challenge posed by the notorious beasts by constructing pens with 16-gauge wire mesh. The cages were built on the rise of land between Alpha and Nita Lakes and filled with miniature trees. He started with eight pairs of marten, described as being ‘the finest stock that have ever been obtained through careful selection during two trapping seasons.’

Russell first moved to the community of Alta Lake in 1915 with his wife and two children. He worked as a logger and the family purchased the Alta Lake Hotel. In an unusual move for the time, Russell was soon divorced by his wife – and she left for Vancouver with the children. The divorcé continued to operate the hotel (which later burnt down in 1933) while venturing into the pelt-rearing business.

Meanwhile, the Lineham Mink Farm began doing business throughout Canada and Europe. Furs were worth $39 each, while his breeding stock could fetch between $150-$200 a pair. This was a lucrative business at the time.

Both Whistler weasel ventures were proving to be worthy investments…but, their prosperity was short lived. The Wall Street Crash of 1929 marked the end to both local businesses and times turned suddenly much leaner in the valley.

Fast forward to the 1970s and, locally, the name ‘Weasel Workers’ suddenly takes on a much different meaning. No mink, no marten, no furs, no pelts … but, behind every major ski race held on Whistler, it has been said, ‘there was a pack of Weasels’.

The Whistler Weasels were a volunteer organization that began as a group of six, led by Bob Parsons, who prepped the courses for the first World Cup Ski Races on the mountain. The crew earned their moniker  – not for being ‘deceitful or treacherous’ as the name implies when referring to a person – but, rather due to their work on the ‘Weasel’  section of the Dave Murray Downhill which was too steep for the snowcats of the time to make it up. These weasels would flatten the course by foot. The organization was formally registered as the Coast Alpine Event Club in 1984, but the name didn’t stick.

What did stick around was the continued volunteer efforts of the group. The Whistler Weasel numbers soared into thousands during the 2010 Olympic and Paralympic Games, proving the polecats to be a vital and invaluable component for the execution of the Games. 

Weasels, simply put, form an integral part of the historical, community-sustaining efforts of this place. 

The Whistler Museum’s current Special Exhibition is titled Building the Spirit: Whistler’s Volunteers of the 2010 Games. The Weasel Workers feature as part of the exhibit. We look forward to welcoming you! The exhibit runs until March 29. More info: www.whistlermuseum.org

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Digitizing Alta LakeDigitizing Alta Lake

June 17, 2025 Whistler MuseumWhistler Museum 0 Comments

Long before the Whistler Museum and Archives Society (WMAS) was officially founded in 1987 – when it was just a few shelves tucked away in the basement of the Whistler Public Library inside Municipal Hall – the idea of preserving the valley’s summer resort history was already taking root. Even then, the vision was clear: to safeguard and share the stories of the people who helped shaped this community, and to make sure they would not be forgotten.

That vision was driven by a promise. Florence Petersen, the founder of WMAS, made a personal commitment to Myrtle Philip who, alongside her husband Alex, opened Rainbow Lodge in 1914 and brought the first wave of tourism to the Alta Lake and later Whistler area. That promise was simple yet profound: to ensure that Whistler’s history and the lives and experiences of its residents would not be forgotten.

One of the many photos in the Philip Collection.

By the late 1970s and early 1980s, efforts to collect oral histories, photographs, and films documenting life in the valley were already underway. The first items added to the museum’s archival collection reflect this early work, including 1,700 images related to Myrtle and Alex Philip and Rainbow Lodge, spanning from 1895 to 1986. These mostly black-and-white photographs, along with various 16mm films, capture a transformative period in the valley’s history, showcasing the growth of the Alta lake community and the broader evolution of Whistler as a tourist destination.

Preserving these materials is a responsibility we take seriously. Following Canadian Conservation Institute (CCI) standards, we handle photographs using cotton gloves and store them in acid-free, archival-safe sleeves. These simple yet essential steps ensure that these fragile items remain in good shape for future generations.

Florence Petersen chats with Myrtle Philip. Philip Collection

Of course, preservation is only part of the job. Sharing Whistler’s history with the public, without risking damage to delicate originals, means creating digital copies of these items. Over the years, we’ve steadily expanded our capacity to digitize our collection. Today, we can convert a wide variety of media, including 16mm and 8mm film reels, colour slides, photographic prints, VHS tapes, Hi8, and DVCam formats.

Digitization is carried out using lossless formats like TIFF (Tag Image File Format), which preserve every pixel of the original image. A single high-resolution TIFF can be as large as 150 MB – about the size of 14 JPEGs on a modern smartphone. Unlike JPEGs, which compress data and average out similar pixels (sometimes causing those “blocky” images you see when streaming video on a slow internet connection), TIFF files retain the full fidelity of the original image.

Once digitized, we render to more manageable JPEG versions for everyday use, including social media, educational materials, and exhibits. These smaller files are easier to handle and help us tell Whistler’s story more widely and effectively.

Acid-free boxes, sleeves and more help keep archival materials safe.

To ensure the safety of our digital archives, we back up all high-resolution files to offsite servers and secure long-term storage systems, including LTO (Linear Tape-Open) tapes, which provide up to 30 years of reliable “cold” storage of these digital items.

WMAS is proud to be able to continue Florence’s promise and Myrtle’s legacy. Every photo we scan, every film we digitize, and every story we preserve is another piece of Whistler’s remarkable history saved – not just for today, but for generations to come.

WMAS will be hosting a film screening tomorrow (Wednesday, June 18) at the Point Artist-Run Centre, featuring archival films shot around the Alta Lake community, including 16mm films from the Philip Collection. This screening will offer a fascinating look at films from the Whistler Museum’s archives, shown right on the shores of Alta Lake. Get your tickets for the event here!

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Retrospective and a New PerspectiveRetrospective and a New Perspective

April 8, 2025 Whistler MuseumWhistler Museum 0 Comments

In the fall of 2011, Greg Eymundson was kind enough to donate the prolific archive of Whistler-related photography from his company, Insight Visual Solutions, to the Whistler Museum & Archives Society (WMAS). Through the Young Canada Works program, I was recently given the opportunity to arrange and describe the materials in greater depth as part of a five month internship.

I had recently returned to Whistler after graduating with my Bachelor of Fine Arts from Emily Carr University of Art and Design, but found myself adrift and directionless after moving home. I was in desperate need of community and a sense of purpose. I found this and more during my time working at WMAS.

Families at the Meadow Park splash pad, ca. 2004. Insight Visual Solutions, Joern Rohde.

The material donated by Insight Visual Solutions primarily consists of over 25,000 35mm photo slides created from 1996 through 2006. Content of the photo slides ranges from thrilling sports photography, to documentation of nostalgic events and locations, to stunning aerial and landscape shots capturing the natural beauty of the valley. As the Assistant Archivist, I was tasked with preserving the original order imposed by Eymundson, while also making the collection intuitive for future researches to navigate. This involved an extensive process of assigning codes, physically labelling materials, and recording transcriptions and descriptions in a digital database.

The Insight collection has now been comprehensively arranged and described, preserving the record of a time in Whistler history that was previously under-represented in our archive, and one that shall remain forever golden in my memories of an idyllic childhood in the mountains. As someone born and raised in Whistler, I’m embarrassed to admit how easy it was for me to take the life I’ve had to this point for granted.

The Burrows’ A-frame cabin in Alpine Meadows. Burrow Collection.

When this lifestyle is all you’ve ever known, you don’t understand how exceptional it truly is; for example: “What do you mean other kids don’t go to ski school on Mondays?” It was only upon leaving the bubble that I could truly appreciate the gift I had been given by my parents, and by notable Whistler citizens Jane and Paul Burrows.

When the Burrows listed their classic A-frame in Alpine Meadows for sale over twenty years ago, they met a young couple expecting their first child. The Burrows told my family they wanted this baby to be brought up in their home and, rather than accepting a higher offer upfront, Jane and Paul waited for my parents to scrape together a down payment. If it weren’t for their selflessness, my family would likely have had no choice but to move elsewhere to raise me. It seems only fitting that I now find myself devoted to the preservation of local history that Jane and Paul Burrows influenced so heavily, considering I would not be here without them.

School photographs from Jane Burrows and posters of Paul, including his performances at Mt. Whistler Lodge and his election campaign featuring his distinctive silhouette.

Since completing the Insight Fonds, I have been cataloguing recent accruals from the estate of Jane and Paul Burrows. These include family scrapbooks, Myrtle Philip School photographs from Jane’s time as a teacher, and promotional posters from Paul’s election campaign.

My time at the Whistler Museum has given me a previously unprecedented level of gratitude for my home, my family, and those who have come before me.

Indigo Dipple was the Assistant Archivist at the Whistler Museum this winter through the Young Canada Works in Heritage Organizations (YCWHO) program.

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