- Other Name
- ANTLER - PLAINS INDIGENOUS
- Date Range From
- 1900
- Date Range To
- 1910
- Material Type
- Artifact
- Materials
- DEER ANTLER
- Catalogue Number
- P19641181000
1 image
- Material Type
- Artifact
- Other Name
- ANTLER - PLAINS INDIGENOUS
- Date Range From
- 1900
- Date Range To
- 1910
- Materials
- DEER ANTLER
- No. Pieces
- 1
- Length
- 13.5
- Width
- 2.6
- Description
- INCISED GEOMETRIC DESIGN BELOW HANDLE. PAINTED BLACK. BROKEN TIP.
- Historical Association
- ETHNOGRAPHIC
- History
- PLAINS INDIGENOUS. PROBABLE USE AS LEATHER TOOL. *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON ASKED TWO FORMER MEMBERS OF THE LETHBRIDGE JUNIOR CHAMBER OF COMMERCE, PHIL EDMUNDSON AND PAUL RUSZNAK, ABOUT THE FIRST NATIONS ARTIFACTS THAT THE GROUP DONATED TO THE GALT MUSEUM IN 1964, 1969, AND 1973. NEITHER RECALLED HOW THE JAYCEES CAME INTO OWNERSHIP OF THE ARTIFACTS, AS THEIR ACQUISITION PREDATED BOTH EDMUNDSON AND RUSZNAK’S MEMBERSHIP IN THE CHAMBER. RESEARCH CONDUCTED INTO LETHBRIDGE’S GURNEY MUSEUM FOUND A CONNECTION BETWEEN ITS PROPRIETOR, WALTER GURNEY, AND THE JAYCEES, WHO ACCORDING TO AN ARTICLE FROM THE APRIL 16, 1946 ISSUE OF THE LETHBRIDGE HERALD ADVOCATED ON GURNEY’S BEHALF FOR IMPROVEMENTS TO BE MADE TO THE FORMER BOARD OF TRADE BUILDING WHERE THE MUSEUM WAS HOUSED. AN ARTICLE FROM THE JULY 13, 1948 ISSUE OF THE HERALD DESCRIBES SOME OF THE FIRST NATIONS ARTIFACTS ON DISPLAY IN THE MUSEUM: “TOMAHAWKS, ARROW HEADS, PEACE PIPES, BEAD AND LEATHER WORK, CLOTHING AND WOODCRAFT”. UPON THE CLOSURE OF THE MUSEUM AND SALE OF GURNEY’S COLLECTION TO BELMORE SCHULTZ OF THE ALTAMONT MUSEUM IN COUTTS, MENTION WAS MADE IN A HERALD ARTICLE FROM MAY 16, 1961 OF “HISTORICAL INDIAN RELICS THAT BELONG TO THE JUNIOR CHAMBER OF COMMERCE HAVE BEEN RETAINED IN THE CITY AND WILL BE AVAILABLE WHEN PROPER DISPLAY FACILITIES ARE AVAILABLE”. IT IS POSSIBLE THAT THE ARTIFACTS WERE TRANSFERRED TO THE JAYCEES BY GURNEY DURING THE DISSOLUTION OF HIS MUSEUM, BUT NO FURTHER CONFIRMATION WAS FOUND. FOR FURTHER INFORMATION ABOUT THE GURNEY MUSEUM AND ITS COLLECTION, SEE RECORD P19890044001.
- UPDATE 16 AUGUST 2017: ON 25 JULY 2017, MUSEUM CURATOR AIMEE BENOIT FOUND EVIDENCE TO CONNECT THE INDIGENOUS COLLECTION DONATED BY THE LETHBRIDGE JAYCEES (AKA. JUNIOR CHAMBER OF COMMERCE) WITH FORMER LETHBRIDGE RESIDENTS THE LATE FRED BOTSFORD AND HIS LATE DAUGHTER DOROTHY CLARK. NOTES MADE BY AIMEE ON THE DISCOVERY AS WELL AS RELEVANT CLIPPINGS FROM THE LETHBRIDGE HERALD CAN BE FOUND ATTACHED TO THE PERMANENT FILE OF P19641140000.
- Catalogue Number
- P19641181000
- Acquisition Date
- 1964-07
- Collection
- Museum
Images
- Other Name
- PLAINS INDIGENOUS, SET OF 2
- Date Range From
- 1800
- Date Range To
- 1900
- Material Type
- Artifact
- Materials
- WILLOW STICKS, COTTON FLANNEL, BEADWORK, PAINT
- Catalogue Number
- P19738058000
2 images
- Material Type
- Artifact
- Other Name
- PLAINS INDIGENOUS, SET OF 2
- Date Range From
- 1800
- Date Range To
- 1900
- Materials
- WILLOW STICKS, COTTON FLANNEL, BEADWORK, PAINT
- No. Pieces
- 2
- Description
- .1 28 CM WTH. (TOP) 87.7 CM (BASE) X 127 CM LTH. TRIANGULAR BACK REST CONSTRUCTED OF WILLOW STICKS LASHED WITH SINEW. BACKREST IS EDGED WITH SEWN COTTON STRIPS AND GREEN FLANNEL TAPE DOWN SIDE. HEAD PIECE IS CONSTRUCTED OF BLACK FLANNEL EDGED WITH RED FLANNEL, INSET WITH RED FLANNEL GEOMETRIC DESIGNS ARE OUTLINED IN BROWN AND WHITE BEADS. PICTOGRAPH STORY OUTLINING A BATTLE IS PAINTED IN BLACK ON THE BACK REST SURFACE. .2 25.4 CM WTH. (TOP) 83.8 CM (BASE) X 130.8 CM LTH. TRIANGULAR BACK REST CONSTRUCTED OF WILLOW STICKS LASHED WITH SINEW. BACKREST IS EDGED WITH SEWN COTTON STRIPS AND GREEN FLANNEL TAPE DOWN SIDES. HEAD PIECE IS MADE OF RED FLANNEL EDGED WITH BLACK COTTON AND WHITE BEADS GEOMETRIC DESIGN BROWN EDGED WITH BLUE & BLUE EDGED WITH BROWN PICTOGRAPH STORY OUTLINING A BATTLE AND RAID IS PAINTED IN BLACK PAINT ON THE BACKREST SURFACE. CONSERVATION REPORT ON FILE.
- Subjects
- INDIGENOUS
- FURNITURE
- Historical Association
- ETHNOGRAPHIC
- History
- PLAINS INDIGENOUS.
- Catalogue Number
- P19738058000
- Acquisition Date
- 1973-07
- Collection
- Museum
Images
- Date Range From
- 1800
- Date Range To
- 1850
- Material Type
- Artifact
- Materials
- BUCKSKIN, BEADS, QUILL
- Catalogue Number
- P19738050000
1 image
- Material Type
- Artifact
- Date Range From
- 1800
- Date Range To
- 1850
- Materials
- BUCKSKIN, BEADS, QUILL
- No. Pieces
- 1
- Length
- 90.2
- Width
- 19.1
- Description
- PINK, PURPLE, WHITE DYED PORCUPINE QUILL WORK (QUILLS FLATTENED & WRAPPED AROUND BUCKSKIN FRINGE. GLASS BEADS: RED, YELLOW, BLUE, GREEN, BROWN & WHITE ALL GEOMETRIC DESIGNS. SOME BEADS & QUILLWORK IS MISSING. SEE CONSERVATION REPORT.
- Subjects
- INDIGENOUS
- PERSONAL GEAR
- Historical Association
- ETHNOGRAPHIC
- History
- NORTHERN PLAINS INDIGENOUS CULTURE. USED TO STORE PIPES. 22 OCTOBER 2021 UPDATE: THE LABEL TEXT QUOTED BELOW WAS DEVELOPED WITH KAINAI ELDERS FOR A SUB-THEME WITHIN THE EXHIBIT ‘MADE IN’, TITLED ‘NIITSITAPISSKSAHKOYI’ AND INSTALLED WITHIN THE GALT IN 2021. ELDERS WHO PROVIDED MUSEUM CURATOR AIMEE BENOIT WITH DIRECTION ON SUBTHEME’S CONTENT INCLUDED: AAGOHH GISS STSISTIIGIIAAKII (MANY OFFERINGS WOMAN, GRETA MANY BEARS), GUUYII STAA BAAMUUGHKAA (WALKING ON TOP, RAYMOND MANY BEARS), NIINAA PIIKSII (CHIEF BIRD, MIKE BRUISED HEAD), MO’TOKAANII’PO (WALKING WITH A SCALP, HARRISON RED CROW) AND MIINIIPOKA (SACRED BERRY CHILD, PETER WEASEL MOCCASIN). THE GALT APPRECIATED THE GENEROSITY OF THE ELDERS WHO SHARED THEIR KNOWLEDGE FOR THIS EXHIBIT PROJECT. “SOYAAHKOINNIMAAN (PIPE BAG): THIS PIPE BAG IS DECORATED USING BOTH BEADS AND PORCUPINE QUILLS. ‘WHEN MY DAD WAS STILL ALIVE, HE MADE TWO FORKED STICKS AND HE HAD A BLANKET. AND IF WE EVER SAW A PORCUPINE IN THE MIDDLE OF THE ROAD, WE STOPPED. AND THEN MY BROTHER OR MY NEPHEW WOULD PUT ONE STICK ON THE PORCUPINE’S HEAD AND ONE ON THE BACK. MY DAD WOULD THROW THE BLANKET OVER THE PORCUPINE AND THEN ALL THE QUILLS WOULD GO INTO THE BLANKET. THE HAIR WAS ALSO USED TO MAKE ROACHES. THE ANIMAL WAS SET FREE AGAIN AFTER THAT.’ – AAGOHH GISS STSISTIIGIIAAKII ‘THE MOUNTAIN DESIGN, THE DIAMOND DESIGN, THESE ARE TYPICAL BLACKFOOT ORIGIN, BUT THIS PIECE MAY HAVE BEEN A GIFT FROM DIFFERENT TRIBES. QUILLWORK WAS USED AMONG ALL TRIBES; ALL TRIBES DID USE THIS TECHNIQUE, BUT THE PATTERN LOOKS MORE CHEYENNE. THIS WAS PIECED FROM SOMETHING ELSE; YOU CAN TELL THERE WAS A POCKET. EVERYTHING WAS PRETTY MUCH ALWAYS RECYCLED.’ – MO’TOKAANII’PO”
- Catalogue Number
- P19738050000
- Acquisition Date
- 1973-07
- Collection
- Museum
Images
- Date Range From
- 1880
- Date Range To
- 1890
- Material Type
- Artifact
- Materials
- COTTON, LEATHER, GLASS
- Catalogue Number
- P20170002000
2 images
- Material Type
- Artifact
- Date Range From
- 1880
- Date Range To
- 1890
- Materials
- COTTON, LEATHER, GLASS
- No. Pieces
- 1
- Length
- 103.2
- Width
- 5
- Description
- BEADED BELT WITH A GEOMETRIC PATTERN SET AGAINST A GREEN BEADED BACKGROUND. PATTERN ALTERNATES BETWEEN TWO MIRRORED BLACK, YELLOW, BLUE TRIANGLES WITH THEIR BASES AT EITHER WIDTH END OF THE BELT MEETING IN THE CENTER AT THEIR POINTS AND LARGE RED AND BLUE WITH A GREEN CENTERED TRIANGLES WITH THEIR BASE AT ONE WIDTH END AND THEIR POINTS EXTENDED TO THE OPPOSING END. BEADS ARE SEWN INTO A COTTON, CANVAS FABRIC. TWO ANIMAL HIDE TIES (EACH A DIFFERENT LENGTH FROM 6.2 TO 11.8) ON EACH END AT EACH CORNER OF BELT. BACK SIDE IS RAW FABRIC WITH SEAM AT CENTER CONNECTING THE TWO HALVES. ENDS ARE HEMMED WITH TIES SEWN TO THE OUTSIDE. CONDITION: SEVERE DISCOLOURATION TO FABRIC BACKING AND SEVERE WEAR TO ANIMAL HIDE TIES. MANY LOSS THREADS OVER ENTIRE SURFACE OF BACK. BEADS AND BEADING IN EXCELLENT CONDITION OVERALL.
- Subjects
- INDIGENOUS
- Historical Association
- ETHNOGRAPHIC
- History
- UPON THE DONATION OF THIS BELT TO THE GALT MUSEUM, THE DONOR – PATRICIA LYNCH-STAUNTON – EXPLAINED THAT THIS BELT BELONGED TO ALFRED HARDWICH LYNCH-STAUNTON, WHO SERVED IN THE ROYAL CANADIAN MOUNTED POLICE IN FORT MACLEOD. HE RANCHED IN THE LUNDBRECK AREA AND SUPPLIED HORSES TO THE MOUNTIES. THE DONOR SAID THAT SHE HAD “NO KNOWLEDGE OF HOW [ALFRED HARDWICK] CAME INTO POSSESSION OF THE BELT. A NOTE ON THE INITIAL DOCUMENTATION ATTRIBUTES THE DATE OF THIS BELT TO CA. 1880-1890. THE ACTING CURATOR OF THE NATIVE NORTH AMERICAN DEPARTMENT OF THE GLENBOW, JOANNE SCHMIDT, AGREED WITH THE DONOR’S BELIEF THAT THE BELT WAS BLACKFOOT. THROUGH THE COMPARISON OF THE BEADED MOCCASINS AND BELTS IN THE GLENBOW’S COLLECTION WITH THIS BELT, SCHMIDT EXPLAINED THAT THE DESIGN ON THE BELT WAS MOSTLY FOUND ON THOSE FROM SIKSIKA, BUT SHE HAS ALSO SEEN THE DESIGN IN PIIKANI AND KAINAI BEADWORK THOUGH THERE ARE NOT MANY EXAMPLES IN THE COLLECTION. ALSO BY USING THE GLENBOW’S COLLECTION AS A POINT OF REFERENCE, THE CURATOR BELIEVES THAT THE BELT IS SIMILAR IN APPEARANCE TO THOSE OF THE 19TH CENTURY TO EARLY 20TH-CENTURY MUSEUM HOLDINGS. SCHMIDT ALSO PROVIDED AN EXPLANATION OF THE DESIGN FROM THE CANADIAN MUSEUM OF HISTORY. IT STATES, “ONE OF THE EARLIEST DESIGNS USED WAS ‘MIISTA-TSIKA-TUKSIIN,’ OR MOUNTAIN DESIGN. OTHER DESIGNS INCLUDED SQUARES, DIAMONDS, BARS, SLOTTED BARS AND STRIPES… TODAY SUCH DESIGNS ARE CALLED ‘MAAH-TOOHM-MOOWA-KA-NA-SKSIN,’ OR FIRST DESIGNS.” IT WAS FURTHER EXPLAINED THAT A COMPLICATING FACTOR IN IDENTIFYING THE BELT’S ORIGINS IS THE FACT THAT THE BLACKFOOT TENDED TO USE WHITE OR BLUE AS THE BACKGROUND COLOUR, NOT GREEN AS IS PRESENTED IN THE LYNCH-STAUNTON DONATION. ON 19 JANUARY 2017, MUSEUM STAFF FURTHER CONSULTED WITH RYAN HEAVY HEAD, FORMER DIRECTOR OF KAINAI STUDIES AT RED CROW COMMUNITY COLLEGE, REGARDING THE BELT’S DESIGN. HE EXPLAINED, “THE GREEN BACKGROUND IS ATYPICAL OF BLACKFOOT BEADWORK, WHICH IS NORMALLY BLUE. THE ‘MOUNTAIN DESIGN’ [DISPLAYED ON THE BELT] IS A COMMON MOTIF IN BLACKFOOT BEADWORK, BUT AGAIN THE COLOURS ARE NOT TYPICAL IN THIS EXAMPLE.” RYAN SPECULATED THAT DURING THE TIME OF DISEASE (WHEN THIS BELT APPEARS TO HAVE ORIGINATED) THERE WAS SOME DISRUPTION IN TRADITIONAL LIFE AND THAT COULD BE REFLECTED IN THE COLOUR CHOICES. ALTERNATIVELY, THE BELT MAY HAVE BEEN MADE BY THE GROS VENTRES FROM NORTHEAST MONTANA. THE DONOR, PATRICIA LYNCH-STAUNTON, IS THE GREAT-GRANDDAUGHTER OF ALFRED HARDWICK LYNCH-STAUNTON. THIS BELT WAS PASSED DOWN THROUGH THE FAMILY, FIRST FROM A. H. LYNCH-STAUNTON, THEN TO THE DONOR’S GRANDFATHER, F. C. LYNCH-STAUNTON, THEN TO HER FATHER, A. G. LYNCH-STAUNTON, FINALLY TO THE DONOR WHO BROUGHT IT TO THE MUSEUM. THE FOLLOWING INFORMATION COMES FROM THE “A. H. LYNCH-STAUNTON FAMILY HISTORY” WRITTEN FOR THE MUSEUM USING ONLINE SOURCES, THE GLENBOW ARCHIVES, AND THE BOOK TITLED “HISTORY OF THE EARLY DAYS OF PINCHER CREEK AND SOUTHERN MOUNTAINS OF ALBERTA.” “ALFRED HARDWICK LYNCH-STAUNTON (1860-1932) WAS BORN IN HAMILTON, ON AND CAME TO FORT MACLEOD IN 1877 TO JOIN THE NWMP. ACCORDING TO THE PINCHER CREEK HISTORICAL SOCIETY, HE WAS SENT TO ESTABLISH A HORSE BREEDING FARM AT PINCHER CREEK IN 1878. AFTER RETIRING FROM THE NWMP IN 1880, LYNCH-STAUNTON STATED THE FIRST CATTLE RANCH IN THE PINCHER CREEK AREA WITH JAMES BRUNEAU AND ISSAC MAY, AND LATER HOMESTEADED WEST OF TOWN. ALONG WITH HIS RANCH, LYNCH-STAUNTON MARRIED SARAH MARY BLAKE (1864-1933) IN 1890 AND THEY HAVE FIVE CHILDREN: VICTORIA, FRANDA, FRANCIS, JOHN, AND D’ARCY… A.H.’S BROTHER RICHARD LYNCH-STAUNTON (1867-1961) CAME AS FAR WEST AS MEDICINE HAT IN 1883 WITH HIS FATHER, F. H. LYNCH-STAUNTON, WHO WAS IN CHARGE OF THE SURVEY PARTY. RICHARD CAME WEST AGAIN, TO PINCHER CREEK, IN 1885 OR 1886. IN ABOUT 1900, HE ACQUIRED LAND NORTH OF LUNDBRECK, ON TODD CREEEK, WHICH BECAME THE ANTELOPE BUTTE RANCH. RICHARD AND A. H. WERE IN PARTNERSHIP FOR A NUMBER OF YEARS IN CATTLE-RANCHING AND, ACCORDING TO THE DONOR, WITH THE BUTCHER SHOP. IN 1901, RICHARD MARRIED ISABELLE MARY WILSON (1868-1971), AND THEIR SON FRANK LYNCH-STAUNTON (1905-1990), ALBERTA’S 11TH LIEUTENANT GOVERNOR FROM 1979 TO 1985. LYNCH-STAUNTON DESCENDANTS CONTINUE TO RANCH IN THE LUNDBRECK/PINCHER CREEK AREA.” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING CORRESPONDENCE WITH DONOR AND PEOPLE CITED IN ABOVE HISTORY.
- Catalogue Number
- P20170002000
- Acquisition Date
- 2016-12
- Collection
- Museum
Images
- Other Name
- BEADED BELT
- Date Range From
- 1900
- Date Range To
- 1910
- Material Type
- Artifact
- Materials
- GLASS, LEATHER, COTTON
- Catalogue Number
- P19651872000
1 image
- Material Type
- Artifact
- Other Name
- BEADED BELT
- Date Range From
- 1900
- Date Range To
- 1910
- Materials
- GLASS, LEATHER, COTTON
- No. Pieces
- 1
- Length
- 81.2
- Width
- 7.6
- Description
- GEOMETRIC BEADWORK DESIGN IN RED, BLUE, GREEN, WHITE AND PINK BEADS. BEADWORK DESIGN COVERS ONE FACE OF THE HARNESS LEATHER. BACK COVERED WITH WINE COTTON BELT ATTACHMENT CONSISTS OF TWO LEATHER THONGS AT EACH END OF BELT. CONSERVATION REPORT ON FILE.
- Subjects
- INDIGENOUS
- CLOTHING-ACCESSORY
- Historical Association
- ETHNOGRAPHIC
- PERSONAL CARE
- History
- PLAINS INDIGENOUS.
- Catalogue Number
- P19651872000
- Acquisition Date
- 1965-07
- Collection
- Museum
Images
- Other Name
- BEADED BELT (MAN'S)
- Date Range From
- 1900
- Date Range To
- 1910
- Material Type
- Artifact
- Materials
- BUCKSKIN, LINEN, GLASS BEADS
- Catalogue Number
- P19790236000
1 image
- Material Type
- Artifact
- Other Name
- BEADED BELT (MAN'S)
- Date Range From
- 1900
- Date Range To
- 1910
- Materials
- BUCKSKIN, LINEN, GLASS BEADS
- No. Pieces
- 1
- Length
- 94.0
- Width
- 8.0
- Description
- BELT CONSTRUCTED OF BUCKSKIN WITH LACE TIES AT THE ENDS, COMPLETELY FACED WITH GEOMETRIC BEADWORK DESIGNS SEWN ONTO A LINED FACE - IN TURN SEWN ONTO THE BUCKSKIN. BEADWORK FEATURES SQUARES, ARROWS & TRIANGLES IN BEADS THAT ARE BLUE, RED, WHITE, BLACK, GREEN, CLEAR, TRANSLUCENT PINK, TRANSLUCENT ORANGE, TRANSLUCENT GREEN, TRANSLUCENT BLUE, TRANSLUCENT RED. SOME BEADS ARE SMALL "PIPESTEM" TYPE. PIECES OF BEAD EDGING ARE MISSING. THREE DESIGNS ARE USED IN SEPARATE PANELS, EACH REPEATED ONCE.
- Subjects
- INDIGENOUS
- CLOTHING-ACCESSORY
- Historical Association
- ETHNOGRAPHIC
- History
- STONEY OR ASSINIBOINE. PURCHASED, OR RECEIVED AS A GIFT, BY DONOR FROM INDIGENOUS PEOPLE WORKING OR STOPPING AT THE RANCH. DECORATIVE "DRESS" BELT. RANCH IS LOCATED NEAR THE EDEN VALLEY STONEY RESERVE. *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF MUSICAL INSTRUMENTS, INCLUDING A DRUM DONATED BY DOROTHY BLADES, ALSO THE DONOR OF THIS OBJECT. THE FOLLOWING INFORMATION ABOUT THE DONOR AND HER FAMILY'S RANCH, THE ROCKING P, WAS FOUND IN LETHBRIDGE HERALD ARTICLES FROM 1931 AND 1953, THE BOOK 'COWBOYS, RANCHERS AND THE CATTLE BUSINESS: CROSS-BORDER PERSPECTIVES ON RANCHING HISTORY' BY SIMON M. EVANS, AN ARTICLE PUBLISHED ON AMERICASHORSEDAILY.COM, AND THE GLENBOW ARCHIVES. RODERICK RIDDLE MACLEAY WAS BORN IN 1878 IN DANVILLE, QUEBEC. IN 1898 HE CAME TO ALBERTA AND BEGAN RANCING A SMALL HERD OF CATTLE ON LAND WEST OF HIGH RIVER. IN 1904, MACLEAY PURCHASED THE 40,000 ACRE BROOKS RANCH, AND THE FOLLOWING YEAR MARRIED LAURA STURTEVANT. THEY HAD TWO DAUGHTERS, DOROTHY AND MAXINE. DURING THE SEVERE WINTER OF 1906/07, MACLEAY LOST 90% OF HIS HERD , AND A FLAGGING CATTLE MARKET DEVASTATED HIS PROFITS. ONLY TWO YEARS LATER HOWEVER, MACLEAY ENTERED INTO A PARTNERSHIP WITH ROCKING P RANCH OWNER GEORGE EMERSON, AND IN 1914 MACLEAY BOUGHT OUT EMERSON WITH THE AGREEMENT TO MAINTAIN THE ROCKING P BRAND. OVER THE NEXT FIVE YEARS MACLEAY EXAPANDED Y ACQUIRING THE ADJACENT WILLOW CREEK, BAR S, AND LIVINGSTONE RANCHES. IN THE 1930S, MACLEAY HIRED ERNEST BLADES AS A COWBOY, AND BLADES MARRIED DOROTHY MACLEAY IN 1940. ROD MACLEAY DIED IN OCTOBER 1953, AND HIS LAND WAS LEFT TO HIS DAUGHTERS. DOROTHY AND ERNEST BLADES ASSUMED OPERATION OF THE ROCKING P, MANAGING IT ALONG WITH THEIR OWN RANCH, THE 3VS. THEIR SON, MAC BLADES, BEGAN WORKING FULL TIME ON THE RANCHES IN 1965 WHEN HE FINISHED HIGH SCHOOL, AND BY 1973 WAS RANCH MANAGER. IN 1996 THE PROPERTY WAS DIVIDED AMONG DOROTHY AND ERNEST'S FIVE CHILDREN, AND AT THE TIME OF THIS SURVEY, MAC BLADES OWNS AND OPERATES THE ROCKING P RANCH. OF PARTICULAR NOTE TO THE FIRST NATIONS ARTIFACTS DONATED BY DOROTHY BLADES TO THE GALT MUSEUM IS THIS SHORT EXCERPT FROM ROD MACLEAY'S LETHBRIDGE HERALD OBITUARY FROM OCTOBER 30, 1953: "[AN] INTEREST WHICH ENGROSSED [MACLEAY] WAS THE CAUSE OF THE STONEY INDIANS LIVING A NOMADIC LIFE AWAY FROM THE MORLEY RESERVATION. HE HAD MUCH TO DO WITH IMPRESSING SUCCESSFULLY ON THE GOVERNMENT THE NEED FOR A SUB-RESERVE." THE FOLLOWING INFORMATION ABOUT THE NAKODA (FORMERLY CALLED STONEY) FIRST NATION AND THE EDEN VALLEY RESERVE WAS SOURCED FROM ROCKYMOUNTAINNAKODA.COM. THE NAKODA "MOUNTAIN PEOPLE" HISTORICALLY TRAVERSED THE ROCKY MOUNTAINS AND FOOTHILLS IN SMALL, NOMADIC GROUPS, WITH EACH GROUP BEING LED BY A HEAD CHIEF. IN 1877 AT THE SIGNING OF TREATY 7, THE NAKODA WERE REPRESENTED BY THREE HEAD CHIEFS, WHO WERE ASSURED THAT THE NAKODA WOULD RETAIN THREE LARGE TRACTS OF TRADITIONAL HOMELAND, ONE FOR EACH NOMADIC GROUP. HOWEVER, THE FEDERAL GOVERNMENT ALLOTED THE NAKODA ONLY ONE LAND ENTITLEMENT, NOW KNOWN AS THE MORLEY RESERVE, LOCATED WEST OF CALGARY. THE LAND ALLOTMENT WAS FENCED IN BARBED WIRE, PREVENTING THE NAKODA FROM THEIR NOMADIC MOVEMENTS. DURING THE 20TH CENTURY, TWO SMALLER SATELLITE RESERVES WERE ESTABLISHED FOR THE NAKODA FIRST NATION: THE BIG HORN RESERVE (KISKA WAPTADN "BIG HORN RIVER"), 265KM NORTHWEST OF MORLEY, AND THE EDEN VALLEY RESERVE (GA-HNA "ALONG THE FOOTHILLS"), 120KM SOUTH OF MORLEY. SEE PERMANENT FILE FOR HARDCOPIES OF SOURCE MATERIALS.
- Catalogue Number
- P19790236000
- Acquisition Date
- 1974-05
- Collection
- Museum
Images
- Other Name
- BLANKET STRIP
- Date Range From
- 1890
- Date Range To
- 1900
- Material Type
- Artifact
- Materials
- BUCKSKIN, BEADS, SINEW
- Catalogue Number
- P19739145000
1 image
- Material Type
- Artifact
- Other Name
- BLANKET STRIP
- Date Range From
- 1890
- Date Range To
- 1900
- Materials
- BUCKSKIN, BEADS, SINEW
- No. Pieces
- 1
- Length
- 106.7
- Width
- 8.9
- Description
- GEOMETRIC BEADWORK PATTERN WITH CROSS IN CIRCLE MOTIF REGULARLY SPACED. BACKED ON BUCKSKIN. ARTIFACT APPEARS COMPLETE. BEADS ARE RED, GREEN, WHITE, BLUE, YELLOW. BUCKSKIN BACKING SOILED, WORN. SEE CONSERVATION REPORT. *NOTE* LOOSE TASSELS
- Subjects
- BEDDING
- PERSONAL GEAR
- INDIGENOUS
- Historical Association
- DECORATIVE ARTS
- ETHNOGRAPHIC
- History
- DESIGN & CONSTRUCTION METHOD INDICATE SIOUX ORIGINS. BLANKET STRIPS ORIGINAL USE TO JOIN A BUFFALO ROBE USED AS A BLANKET. WITH TRADE BLANKETS, STRIPS BECAME MORE DECORATIVE THAN FUNCTIONAL, OFTEN USED TO JOIN COURTING BLANKETS OF DIFFERENT COLORS. STRIPS OVER TIME BECAME LARGER IN WIDTH & FANCIER. MAY HAVE BEEN ASSOCIATED WITH SIOUX IN CANADA, OR TRADED/GIFT TO ALBERTA NATIVE.
- Catalogue Number
- P19739145000
- Acquisition Date
- 1973-
- Collection
- Museum
Images
- Other Name
- BONE & SHELL (SET)
- Date Range From
- 1800
- Date Range To
- 1900
- Material Type
- Artifact
- Materials
- GLASS BEADS, SHELLS, BONE, BUCKSKIN
- Catalogue Number
- P19738052000
1 image
- Material Type
- Artifact
- Other Name
- BONE & SHELL (SET)
- Date Range From
- 1800
- Date Range To
- 1900
- Materials
- GLASS BEADS, SHELLS, BONE, BUCKSKIN
- No. Pieces
- 2
- Diameter
- 20.3
- Description
- MADE OF WHITE GLASS BEADS (CYLINDRICAL TYPE), FLAT BONE BEADS, COWERY SHELLS STRUNG ON BUCKSKIN. CONSERVATION REPORT ON FILE.
- Subjects
- INDIGENOUS
- ADORNMENT
- Historical Association
- ETHNOGRAPHIC
- History
- NORTHERN PLAINS CULTURE. SHELLS PROBABLY TRADED FROM WEST COAST. TRADE NETWORKS FROM THE COAST TO THE INTERIOR ALREADY WELL ESTABLISHED BY TIME OF WHITE CONTACT. DENTALIUM & COWRY SHELLS WERE HIGHLY PRIZED TRADE ITEMS & WERE CONSIDERED BY SOME RESEARCHERS TO HAVE BEEN A FORM OF CURRENCY.
- Catalogue Number
- P19738052000
- Acquisition Date
- 1973-07
- Collection
- Museum
Images
- Date Range From
- 1850
- Date Range To
- 1900
- Material Type
- Artifact
- Materials
- HORSE HAIRS, BUCKSKIN, CANCELLOUS BONE
- Catalogue Number
- P19641165000
1 image
- Material Type
- Artifact
- Date Range From
- 1850
- Date Range To
- 1900
- Materials
- HORSE HAIRS, BUCKSKIN, CANCELLOUS BONE
- No. Pieces
- 4
- Description
- .1 PAINT BRUSH. 3 CM LTH X 18.1 CM DIA.. HORSE HAIR BRITTLE ENCASED IN BUCKSKIN. .2 PAINT BRUSH. 1.3 CM HT. X 3.8 CM WTH. X 5.1 CM LTH. CANCELLOUS BONE WEDGE ENCASED IN BUCKSKIN. YELLOW PAINT ADHERING TO BONE .3 PAINT BRUSH. 1.9 CM HT. X 3.5 CM WTH. X 8.2 CM LTH. GREEN PAINT. .4 PAINT BRUSH. 1.9 CM HT. X 3.8 CM WTH. X 8.9 CM LTH. .RED PAINT ADHERING TO BONE. CANCELLOUS BONE WEDGE ENCASED IN BUCKSKIN.CONSERVATION REPORT ON FILE.
- Subjects
- INDIGENOUS
- Historical Association
- DECORATIVE ARTS
- ETHNOGRAPHIC
- History
- NORTHERN PLAINS INDIGENOUS. *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON ASKED TWO FORMER MEMBERS OF THE LETHBRIDGE JUNIOR CHAMBER OF COMMERCE, PHIL EDMUNDSON AND PAUL RUSZNAK, ABOUT THE FIRST NATIONS ARTIFACTS THAT THE GROUP DONATED TO THE GALT MUSEUM IN 1964, 1969, AND 1973. NEITHER RECALLED HOW THE JAYCEES CAME INTO OWNERSHIP OF THE ARTIFACTS, AS THEIR ACQUISITION PREDATED BOTH EDMUNDSON AND RUSZNAK’S MEMBERSHIP IN THE CHAMBER. RESEARCH CONDUCTED INTO LETHBRIDGE’S GURNEY MUSEUM FOUND A CONNECTION BETWEEN ITS PROPRIETOR, WALTER GURNEY, AND THE JAYCEES, WHO ACCORDING TO AN ARTICLE FROM THE APRIL 16, 1946 ISSUE OF THE LETHBRIDGE HERALD ADVOCATED ON GURNEY’S BEHALF FOR IMPROVEMENTS TO BE MADE TO THE FORMER BOARD OF TRADE BUILDING WHERE THE MUSEUM WAS HOUSED. AN ARTICLE FROM THE JULY 13, 1948 ISSUE OF THE HERALD DESCRIBES SOME OF THE FIRST NATIONS ARTIFACTS ON DISPLAY IN THE MUSEUM: “TOMAHAWKS, ARROW HEADS, PEACE PIPES, BEAD AND LEATHER WORK, CLOTHING AND WOODCRAFT”. UPON THE CLOSURE OF THE MUSEUM AND SALE OF GURNEY’S COLLECTION TO BELMORE SCHULTZ OF THE ALTAMONT MUSEUM IN COUTTS, MENTION WAS MADE IN A HERALD ARTICLE FROM MAY 16, 1961 OF “HISTORICAL INDIAN RELICS THAT BELONG TO THE JUNIOR CHAMBER OF COMMERCE HAVE BEEN RETAINED IN THE CITY AND WILL BE AVAILABLE WHEN PROPER DISPLAY FACILITIES ARE AVAILABLE”. IT IS POSSIBLE THAT THE ARTIFACTS WERE TRANSFERRED TO THE JAYCEES BY GURNEY DURING THE DISSOLUTION OF HIS MUSEUM, BUT NO FURTHER CONFIRMATION WAS FOUND. FOR FURTHER INFORMATION ABOUT THE GURNEY MUSEUM AND ITS COLLECTION, SEE RECORD P19890044001.
- UPDATE 16 AUGUST 2017: ON 25 JULY 2017, MUSEUM CURATOR AIMEE BENOIT FOUND EVIDENCE TO CONNECT THE INDIGENOUS COLLECTION DONATED BY THE LETHBRIDGE JAYCEES (AKA. JUNIOR CHAMBER OF COMMERCE) WITH FORMER LETHBRIDGE RESIDENTS THE LATE FRED BOTSFORD AND HIS LATE DAUGHTER DOROTHY CLARK. NOTES MADE BY AIMEE ON THE DISCOVERY AS WELL AS RELEVANT CLIPPINGS FROM THE LETHBRIDGE HERALD CAN BE FOUND ATTACHED TO THE PERMANENT FILE OF P19641140000.
- Catalogue Number
- P19641165000
- Acquisition Date
- 1964-07
- Collection
- Museum
Images
- Other Name
- PLATFORM STONE PIPE
- Date Range From
- 1900
- Date Range To
- 1920
- Material Type
- Artifact
- Materials
- STONE, WOOD
- Catalogue Number
- P19641174000
1 image
- Material Type
- Artifact
- Other Name
- PLATFORM STONE PIPE
- Date Range From
- 1900
- Date Range To
- 1920
- Materials
- STONE, WOOD
- No. Pieces
- 2
- Height
- 7.0
- Length
- 50.2
- Diameter
- 1.6
- Description
- CROSS INCISED ON ALL 3 FACES OF PIPE PLATFORM. WILLOW STEM, BLACK PIPE STONE. CONSERVATION REPORT ON FILE.
- Subjects
- CEREMONIAL ARTIFACT
- PERSONAL GEAR
- INDIGENOUS
- Historical Association
- ETHNOGRAPHIC
- History
- NORTHERN PLAINS CULTURE. BLACKFOOT ORIGIN. *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON ASKED TWO FORMER MEMBERS OF THE LETHBRIDGE JUNIOR CHAMBER OF COMMERCE, PHIL EDMUNDSON AND PAUL RUSZNAK, ABOUT THE FIRST NATIONS ARTIFACTS THAT THE GROUP DONATED TO THE GALT MUSEUM IN 1964, 1969, AND 1973. NEITHER RECALLED HOW THE JAYCEES CAME INTO OWNERSHIP OF THE ARTIFACTS, AS THEIR ACQUISITION PREDATED BOTH EDMUNDSON AND RUSZNAK’S MEMBERSHIP IN THE CHAMBER. RESEARCH CONDUCTED INTO LETHBRIDGE’S GURNEY MUSEUM FOUND A CONNECTION BETWEEN ITS PROPRIETOR, WALTER GURNEY, AND THE JAYCEES, WHO ACCORDING TO AN ARTICLE FROM THE APRIL 16, 1946 ISSUE OF THE LETHBRIDGE HERALD ADVOCATED ON GURNEY’S BEHALF FOR IMPROVEMENTS TO BE MADE TO THE FORMER BOARD OF TRADE BUILDING WHERE THE MUSEUM WAS HOUSED. AN ARTICLE FROM THE JULY 13, 1948 ISSUE OF THE HERALD DESCRIBES SOME OF THE FIRST NATIONS ARTIFACTS ON DISPLAY IN THE MUSEUM: “TOMAHAWKS, ARROW HEADS, PEACE PIPES, BEAD AND LEATHER WORK, CLOTHING AND WOODCRAFT”. UPON THE CLOSURE OF THE MUSEUM AND SALE OF GURNEY’S COLLECTION TO BELMORE SCHULTZ OF THE ALTAMONT MUSEUM IN COUTTS, MENTION WAS MADE IN A HERALD ARTICLE FROM MAY 16, 1961 OF “HISTORICAL INDIAN RELICS THAT BELONG TO THE JUNIOR CHAMBER OF COMMERCE HAVE BEEN RETAINED IN THE CITY AND WILL BE AVAILABLE WHEN PROPER DISPLAY FACILITIES ARE AVAILABLE”. IT IS POSSIBLE THAT THE ARTIFACTS WERE TRANSFERRED TO THE JAYCEES BY GURNEY DURING THE DISSOLUTION OF HIS MUSEUM, BUT NO FURTHER CONFIRMATION WAS FOUND. FOR FURTHER INFORMATION ABOUT THE GURNEY MUSEUM AND ITS COLLECTION, SEE RECORD P19890044001.
- UPDATE 16 AUGUST 2017: ON 25 JULY 2017, MUSEUM CURATOR AIMEE BENOIT FOUND EVIDENCE TO CONNECT THE INDIGENOUS COLLECTION DONATED BY THE LETHBRIDGE JAYCEES (AKA. JUNIOR CHAMBER OF COMMERCE) WITH FORMER LETHBRIDGE RESIDENTS THE LATE FRED BOTSFORD AND HIS LATE DAUGHTER DOROTHY CLARK. NOTES MADE BY AIMEE ON THE DISCOVERY AS WELL AS RELEVANT CLIPPINGS FROM THE LETHBRIDGE HERALD CAN BE FOUND ATTACHED TO THE PERMANENT FILE OF P19641140000. 22 OCTOBER 2021 UPDATE: THE LABEL TEXT QUOTED BELOW WAS DEVELOPED WITH KAINAI ELDERS FOR A SUB-THEME WITHIN THE EXHIBIT ‘MADE IN’, TITLED ‘NIITSITAPISSKSAHKOYI’ AND INSTALLED WITHIN THE GALT IN 2021. ELDERS WHO PROVIDED MUSEUM CURATOR AIMEE BENOIT WITH DIRECTION ON SUBTHEME’S CONTENT INCLUDED: AAGOHH GISS STSISTIIGIIAAKII (MANY OFFERINGS WOMAN, GRETA MANY BEARS), GUUYII STAA BAAMUUGHKAA (WALKING ON TOP, RAYMOND MANY BEARS), NIINAA PIIKSII (CHIEF BIRD, MIKE BRUISED HEAD), MO’TOKAANII’PO (WALKING WITH A SCALP, HARRISON RED CROW) AND MIINIIPOKA (SACRED BERRY CHILD, PETER WEASEL MOCCASIN). THE GALT APPRECIATED THE GENEROSITY OF THE ELDERS WHO SHARED THEIR KNOWLEDGE FOR THIS EXHIBIT PROJECT. “AAHKOINNIMAAN (PIPE BOWL AND STEM): THIS STONE HERE, YOU GET IT DOWN IN THE COULEES… YOU COULD TAKE YOUR KNIFE AND CARVE IT. YOU CAN PROBABLY GET IT ALL THE WAY FROM ST. MARY DAM, ALL THE WAY THROUGH THE COULEES. YOU CAN GET THIS ANYWHERE ALONG HERE, BUT YOU HAVE TO DIG FOR IT. PEOPLE HAD TO DO A LOT OF EXPERIMENTING BEFORE THEY GOT THE CORRECT STONE THAT WORKED THE WAY IT WAS SUPPOSED TO WORK, FOR CEREMONIES OR FOR PERSONAL USE.’ – MIINIIPOKA ‘I MAKE THESE BOWLS AND PIPES. THERE’S HIDDEN CRACKS WITHIN THE STONE ITSELF. WHEN YOU CHIP AWAY AT IT, ONCE IT STOPS YOU TAKE THAT PIECE AND START SHAPING IT INTO THE BOWL. IT DEPENDS ON THE INDIVIDUAL AND THE STYLE WHAT THEY WOULD SHAPE THE STONE INTO; BUT A LOT OF THE BLACK STONE WAS SHAPED INTO OUR IDENTITY OF WHO WE ARE AS WELL AS THE LAND. THE SURROUNDING TRIBES THROUGHOUT THE CONTINENT, THEY WOULD SEE THE KIND OF DESIGN AND THE STONE ITSELF AND THEY WOULD AUTOMATICALLY KNOW THIS STONE IS FROM APAITSITAPI—THE WEASEL TRIBE, OR THE KAINAI.’ – GUUYII STAA BAAMUUGHKAA ‘THEY WOULD HAVE USED BUCK BRUSH TO BLACKEN IT. YOU SET IT ON FIRE, AND THE HEAVY SMOKE STICKS TO THE STONE. AND THEN YOU OIL IT WITH NATURAL OIL, TO GET IT NICE AND SHINY.’ – MO’TOKAANII’PO ‘THE STEM IS MADE FROM WOLF WILLOW. IT’S KIND OF A SILVER PLANT WITH SILVERY-LOOKING BERRIES, AND WHEN YOU OPEN THEM IT’S VERY POWDERY INSIDE. FOR SOME WOOD TO MAKE PIPES, THEY WOULD TRAVEL TO THE CROW TERRITORY TO OBTAIN THIS VERY SPECIFIC GRAIN—KAAPOKSI (ASH).’ – MO’TOKAANII’PO”
- Catalogue Number
- P19641174000
- Acquisition Date
- 1964-07
- Collection
- Museum
Images
