earned his reputation as a writer and illustrator for numerous magazine's including Harper's Weekly, Collier's Weekly, Harper's Young People, Saint Nicholas, Outing, and Our Animal Friends. He authored the book, The Klondike Stampede about the Klondike Gold Rush. His photos of the Klondike Gold rush c. 1899 are available online via the McCord Museum. He occasionally wrote poetry: THE MOOSE CALL Chippers to its dusky mate; From out the misty hill A night owl's lonesome cry is heard— A cry that sends a chill Of fear through beast and sleeping bird— Then all again is still. Hark! the hunter starts! A sound borne softly on the air The mighty stillness parts And makes the hunter's heart beat fast. Tender, low, it thrills The listening hunter's inmost soul: Yet resonant it fills The valley with an echo from The everlasting hills! EDWIN TAPPAN ADNEY Klondike Gold Rush He was one of the first photojournalists to pass safely through British Columbia. As a writer for Harper's Weekly, he was sent with his camera to the Yukon from 1897 to 1898. His classic illustrated book concerns his experiences in the Yukon, of which numerous editions have been printed. He returned there to briefly report on the Nome Gold Rush in 1900. He retired first to Montreal, then to New Brunswick, the place where his wife was born. He learned the Maliseet language of the native Canadians of New Brunswick. Marriage Adney married Minnie Bell Sharp on September 12, 1899, at Saint Luke's Episcopal Church in Woodstock, New Brunswick. They had one child, Francis Glenn Adney, born on July 9, 1902, in Woodstock, who became a minor jazz pianist and band leader in the United States. Canadian naturalization In 1916, he joined the Royal Canadian Engineers. He became a British subject in 1917. During the First World War he was as an engineering officer at the Royal Military College of Canada in Kingston, Ontario (1916–19) constructing scale models of fortifications for training purposes. His duties were non-combative and he remained in Canada for the duration of the war. After the war, he created a set of three-dimensional coats-of-arms of the Canadian provinces, then numbering nine, and one Territory that adorn Currie Hall at Royal Military College of Canada. In Montreal, Quebec he created heraldic art, worked for the Museum of McGill University as a consultant on aboriginal lore, and consulted to McCord Museum on