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Agnes Park (Kerr) Fulton Fonds

https://collections.galtmuseum.com/en/permalink/descriptions70603
Date Range
1903 and 1915
Material Type
Library
Accession No.
20101028000
Physical Description
2 hardcover books
Scope and Content
The fonds consists of two text-books used by Agnes Park Kerr during her studies at the Calgary Normal School.
Material Type
Library
Date Range
1903 and 1915
Physical Description
2 hardcover books
Physical Condition
Very Good
History / Biographical
Agnes Park Kerr was the daughter of Andrew and Agnes Kerr, who moved from Ayershire, Scotland to Birmingham, Alabama and later to Lethbridge. Agnes had a brother James and sister Elizabeth (Bessie, married David Shorthouse). Raised in Lethbridge, Miss Kerr received her post-secondary education at the the Calgary Normal School. Prior to her marriage, Miss Kerr taught art at Westminster School and was a Sunday school teacher and Canadian Girls in Training (CGIT) leader at First United Church in Lethbridge. In 1924 Miss Kerr was an exchange teacher in Scotland. Agnes Kerr married George S. Fulton in July 1927. The couple moved to Shelby, Montana, where Agnes Fulton died on 30 September 1928 from complications following the birth of her son David. David was subsequently raised by Agnes' sister Mrs. Elizabeth Shorthouse and her husband. The students of Westminster School were dismissed early on 3 October 1928 in order to attend Mrs. Fulton's funeral. The students from the last class she taught in Lethbridge lined the path from the hearse to the family residence at 519 13 Street North as a demonstration of respect for their former teacher. Agnes Park (Kerr) Fulton is buried in Mountain View Cemetery, Lethbridge. [Sources: The Lethbridge Herald, 1 October 1928, page 7 ; The Lethbridge Herald, 3 October 1928, page12]
Language
English
Custodial History
Agnes Park (Kerr) Fulton was the donor's great-aunt.
Scope and Content
The fonds consists of two text-books used by Agnes Park Kerr during her studies at the Calgary Normal School.
Access Restrictions
Public Access
Accession No.
20101028000
Collection
Archive
Less detail
Date Range From
1919
Date Range To
1925
Material Type
Artifact
Materials
ALUMINUM, TIN, CHROME PLATE, GLASS
Catalogue Number
P19870010045
Material Type
Artifact
Date Range From
1919
Date Range To
1925
Materials
ALUMINUM, TIN, CHROME PLATE, GLASS
No. Pieces
8
Height
16.5
Length
45.0
Width
22.0
Description
TRAY 39.5 CM (L) 15 CM (W) 5.5 CM (H) TIN FRAME WITH PERFORATED BASIN & REINFORCED EDGES. ONE END HAS WIRE HANDLE, ALL CORNERS CRACKED. 6 GLASS PETRIE DISHES 10 CM (DIA), 1.3 CM DEEP. POWER CORD. INSIDE ELECTRIC HEATING ELEMENT HEATS SMALL AMOUNT OF WATER TO FORM STEAM TO STERILIZE INSTRUMENT ETC
Subjects
MEDICAL & DENTAL T&E
Historical Association
HEALTH SERVICES
History
MADE IN U.S.A. STAMPED ON BOTTOM. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING ONE ASSOCIATED WITH THE ROY CLINIC. THE FOLLOWING HISTORY OF THE ROY CLINIC WAS DEVELOPED WITH INFORMATION FROM GALT ARCHIVES, DR. LOUIS ARTHUR ROY'S LETHBRIDGE HERALD OBITUARY, AND THE BOOK 'MEDICAL CLINICS AND PHYSICIANS OF SOUTHERN ALBERTA' BY GERALD M. MCDOUGALL AND FIONA C. HARRIS (1991). DR. LOUIS A. ROY WAS BORN IN MOOSOMIN, SASKATCHEWAN IN 1888. AFTER RECEIVING HIS EARLY EDUCATION THERE, HE PURSUED MEDICINE AT THE UNIVERSITY OF TORONTO, WHERE HE EARNED A BACHELOR OF MEDICINE IN 1911. AFTER COMPLETING AN INTERNSHIP AT THE ROYAL VICTORIA HOSPITAL IN MONTREAL, FOCUSING ON SURGERY AND PATHOLOGY, DR. ROY MOVED TO ALBERTA IN 1913. HE PRACTICED WITH DOCTORS DEVEBER AND CAMPBELL IN LETHBRIDGE FOR FIVE YEARS BEFORE JOINING THE ROYAL CANADIAN ARMY MEDICAL CORPS. HE WAS STATIONED IN A BRITISH MILITARY HOSPITAL IN KENT AS A PATHOLOGIST AND EARNED THE RANK OF CAPTAIN. UPON WAR'S END DR. ROY RETURNED TO LETHBRIDGE AND WORKED WITH THE CAMPBELL GROUP UNTIL 1936, WHEN HE PARTNERED WITH DR. VALERIAN SWANCESKY (AND LATER, WITH DR. STEPHEN SCHMALTZ) TO CREATE THE ROY CLINIC GROUP. THE CLINIC WAS HOUSED ON THE FIRST FLOOR OF THE SHERLOCK BLOCK. DR. ROY WAS ACCREDITED AS A SURGEON BY THE ROYAL COLLEGE OF PHYSICIANS AND SURGEONS OF CANADA IN 1945, AND HE PRACTICED AT THE CLINIC UNTIL HIS RETIREMENT IN 1961. DR. ROY'S SON, DR. DOUGLAS GAETEN ROY ALSO JOINED THE PRACTICE IN 1945. DR. LOUIS A. ROY DIED IN 1964, BUT THE PRACTICE CONTINUED WITH ADDITIONS INCLUDING DR. DONALD ARTHUR RICE AND DR. JAMES ALFRED MCNALLY. THE CLINIC MOVED TO 2ND AVENUE SOUTH IN 1959, AND OPERATED THERE UNDER THE ROY NAME UNTIL BECOMING THE PARK MEDICAL GROUP IN THE LATE 1980S. SEE PERMANENT FILE FOR HARCOPIES OF DR. LOUIS A. ROY'S OBITUARY AND RELEVANT PAGES OF MCDOUGALL AND HARRIS' BOOK.
Catalogue Number
P19870010045
Acquisition Date
1987-07
Collection
Museum
Less detail
Other Name
CAP BADGE
Date Range From
1914
Date Range To
1918
Material Type
Artifact
Materials
BRASS
Catalogue Number
P19694098000
  1 image  
Material Type
Artifact
Other Name
CAP BADGE
Date Range From
1914
Date Range To
1918
Materials
BRASS
No. Pieces
1
Length
29.9
Width
4.7
Description
BADGE EMBOSSED WITH "CANADA" AND "QUO FAS ET GLORIA DUCANT". ARTILLERY CAP BADGE HAS BEEN SOLDERED TO HEAD OF PIN. NICKEL PLATED SHANK AND PIN.
Subjects
PERSONAL SYMBOL
Historical Association
MILITARY
History
*UPDATE* IN 2012 COLLECTIONS ASSISTANT DAVID SMITH CONDUCTED A SURVEY OF MILITARY OBJECTS. HE LEARNED THE FOLLOWING: ACCORDING TO HIS ATTESTATION PAPER, CHRISTIAN GIBSON WAS BORN IN BELFAST IRELAND ON MAY 9, 1887. HE ENLISTED WITH THE CANADIAN OVER-SEAS EXPEDITIONARY FORCE ON DECEMBER 1, 1914. HE REFERENCES 5 YEARS WITH THE 25TH BATTERY C.Y.A. AS PREVIOUS MILITARY EXPERIENCE. GIBSON’S CERTIFICATE OF SERVICE REVEALS THAT HE SERVED WITH 7TH ARTILLERY BRIGADE AS PAYMASTER FROM DECEMBER 1, 1914 – MARCH 23, 1915. GIBSON RE-ENLISTED WITH THE RANK OF CAPTAIN ON AUGUST 10, 1915. ON JUNE 19, 1916, HE LANDED IN FRANCE AND WAS TRANSFERRED TO THE 4TH BRIGADE ON APRIL 8, 1917 TO SERVE AS PAYMASTER. ON JULY 19, 1917 GIBSON WAS TRANSFERRED TO THE 12TH RESERVE BATTALION IN ENGLAND. ON DECEMBER 9, 1918, HE WAS APPOINTED PAYMASTER TO THE CANADIAN SEGREGATION CAMP IN BOURLEY. AUGUST 23, 1919, CAPTAIN CHRISTIAN GIBSON WAS DEMOBILIZED TO LETHBRIDGE ALBERTA. GIBSON PASSED AWAY IN LETHBRIDGE AT THE AGE OF 83 ON MARCH 26, 1971. FOR MORE INFORMATION INCLUDING RECORDS FROM LIBRARY AND ARCHIVES CANADA, PLEASE SEE P19683209000. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING FOUR PAINTINGS CREATED BY THE DONOR, CHRISTIAN GIBSON. THE FOLLOWING BIOGRAPHICAL INFORMATION ON GIBSON WAS EXCERPTED FROM HIS LETHBRIDGE HERALD OBITUARY: CHRISTIAN GIBSON WAS BORN IN BELFAST, IRELAND IN 1887 AND EDUCATED IN LONDON, ENGLAND BEFORE ARRIVING IN LETHBRIDGE IN 1908. HE WORKED FOR THE CITY AS ZOO KEEPER AT THE EXHIBITION GROUNDS AND FOR THE ALBERTA RAILROAD AND IRRIGATION COMPANY BEFORE BEGINNING HIS 35 YEAR CAREER WITH THE DEPARTMENT OF TRADE AND COMMERCE IN 1913. GIBSON SERVED WITH THE 25TH BATTERY CANADIAN FIELD ARTILLERY FROM 1908 TO 1914 AND FROM 1914 TO 1919 HE SERVED IN ENGLAND IN FRANCE WITH THE 20TH BATTERY CFA. HE WAS ALSO VERY ACTIVE IN THE COMMUNITY AS A MEMBER OF THE KIWANIS CLUB, ALLIED ARTS COUNCIL, LETHBRIDGE AND DISTRICT HISTORICAL SOCIETY, PLAYGOERS OF LETHBRIDGE, ROYAL CANADIAN LEGION, PEMMICAN CLUB, MASONIC LODGE, AND THE GALT HOSPITAL BOARD. HE AND HIS WIFE LINDA WERE HEAVILY INFLUENTIAL IN THE RED CROSS SOCIETY’S LETHRBIDGE CHAPTER, AND HAD TWO CHILDREN, FRED AND DORIS. CHRISTIAN GIBSON PASSED AWAY ON MARCH 26, 1971. IN 2010 HIS DAUGHTER, DORIS BALCOVSKE, PARTICIPATED IN THE GALT MUSEUM’S FIRST ‘TREASURES & CURIOSITIES’ EXHIBIT BY SELECTING ONE OF HER FATHER’S PAINTINGS TO BE DISPLAYED. SHE SUBMITTED THE FOLLOWING NARRATIVE ABOUT GIBSON’S ASSOCIATION WITH THE GALT AND HIS PAINTING PRACTICE: “MY FATHER… WAS ONE OF THE FOUNDERS OF THE GALT MUSEUM AND HELPED COLLECT MANY OF THE ARTIFACTS. MY FATHER WAS A SELF-TAUGHT ARTIST WITH OILS, WATER COLORS, AND ALSO PEN AND INK… THE FAMILY OWNS MOST OF HIS PAINTINGS.” SEE PERMANENT FILE P19694807000 FOR HARDCOPY OF GIBSON’S OBITUARY. SEE RECORD P19930031001 FOR MORE INFORMATION ON THE GIBSON FAMILY.
Catalogue Number
P19694098000
Acquisition Date
1969-06
Collection
Museum
Images
Less detail
Date Range From
1912
Date Range To
1915
Material Type
Artifact
Materials
LEATHER, BEADS
Catalogue Number
P19780208000
  1 image  
Material Type
Artifact
Date Range From
1912
Date Range To
1915
Materials
LEATHER, BEADS
No. Pieces
1
Length
83.8
Width
6.4
Description
BACK OF THE BELT IS HARNESS LEATHER WITH BEAD STITCHING. BEADS - BLUE, RED, BROWN & YELLOW (GEOMETRIC PATTERN). 2 HOLES IN EACH END OF BELT.
Subjects
CLOTHING-ACCESSORY
Historical Association
ETHNOGRAPHIC
History
BELT ORIGINALLY BELONGED TO BLOOD TRIBE MEMBER JOE HEALY, ACQUIRED BY DONOR'S HUSBAND ABOUT 1912. SEE P197800207000-GA FOR HISTORY. *UPDATE* IN 2014 LOUISE-MARIE CROP EARED WOLF, A MEMBER OF THE KAINAI (BLOOD TRIBE), AND A FOURTH YEAR NATIVE AMERICAN STUDIES MAJOR AT THE UNIVERSITY OF LETHBRIDGE COMPLETED AN APPLIED STUDIES PROJECT WITH THE COLLECTIONS DEPARTMENT AT THE GALT MUSEUM. SHE PHOTOGRAPHED ETHNOGRAPHIC ARTIFACTS ASSOCIATED WITH FIRST NATIONS CULTURES IN SOUTHERN ALBERTA AND WROTE THE FOLLOWING TEXT TO PRESENT HER FOCUSED RESEARCH ON FOUR SPECIFIC ARTIFACTS (P19641186000, P19780209000, P19780208000, AND P19790235000): “I WANT TO DISPLAY THE KAINAI WOMEN BEADED ITEMS FROM THE GALT MUSEUM COLLECTIONS FOR THEIR ARTISTIC MERIT AND NOT JUST FOR THEIR ETHNOLOGICAL VALUE. THE FOUR ARTIFACTS SELECTED ARE REPRESENTATIVE OF FOUR GENERATIONS OF BEADERS: GRANDMOTHERS, MOTHERS, SISTER, AND DAUGHTERS. THE COLOURS ARE MEANINGFUL AND THE TRADITIONAL SYMBOLS ARE USED THROUGHOUT. THE ADHERENCE TO THE TRADITION, HOWEVER, DOES NOT SUPPRESS ARTISTIC EXPRESSION; THE BEADERS USE A FAIR DEGREE OF CREATIVITY IN THEIR CHOICE OF MATERIALS, SYMBOLS AND COLORS. THE ART OF BEADING IS NOT A “DYING ART” – IT IS THE ARTISTS, ARTISTIC EXPRESSION AND IT IS A “LIVING ART”. FOR GENERATIONS, KAINAI WOMEN BEADERS AND CLOTHING DESIGNERS HAVE BEEN MAKING CLOTHING FOR THE ENTIRE COMMUNITY. THE BEADED CLOTHING HONOURS THE FAMILY FROM ONE GENERATION TO THE NEXT IN A CONTINUOUS CIRCLE OF HONOURING. THE BEADED CLOTHING AND ACCESSORIES SUCH AS MOCCASINS, LEGGINGS, AND BELTS, COMMUNICATE THE IMPORTANCE OF THE FAMILY AND ILLUSTRATE HOW TRADITIONS ARE PASSED DOWN THROUGH GENERATIONS. THE BEADED WORK CONNECTS A BEADING ARTIST TO HER ANCESTORS. EVERY MOTIF, DESIGN, COLOUR OF SEED BEADS, STANDS FOR SOMETHING IMPORTANT TO THE ARTIST’S FAMILY, REFLECTING THE ARTIST’S SURROUNDINGS AND REINFORCING HER CULTURAL VALUES. LEARNING BY OBSERVATION, AN ARTIST PAYS RESPECT TO THE PAST, PRESENT, AND FUTURE KAINAI WOMEN BEADERS. MEN AND WOMEN TRADITIONALLY WORE RAWHIDE BELTS. STARTING FROM THE 19TH CENTURY, THE BELTS WERE INCREASINGLY MADE FROM RE-USED HARNESS LEATHER AND DECORATED WITH BEADWORK IN OVERLAY (SPOT) STITCH. THE WHOLE LENGTH OF BELT IS EXECUTED IN BEADED COLOUR. THE DESIGN CONSISTS OF PANELS WITH GEOMETRIC DESIGNS SEWN TO THE BELT WITH OVERLAY STITCH. THE TRIANGLE SYMBOL IS CALLED THE “MOUNTAIN.” IN THIS DESIGN, THE SYMBOLS ARE COMBINE BASE TO BASE TO FORM A DIAMOND SHAPE. THE NAMES OF BEADED DESIGNS OF THE KAINAI ARE MORE DESCRIPTIVE THAN EVOCATIVE." *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING A PORTRAIT OF JOE HEALY, WHO WAS PURPORTEDLY THE ORIGINAL OWNER OF THIS BELT. THE FOLLOWING BIOGRAPHY ON JOE HEALY WAS DEVELOPED WITH INFORMATION FROM THE GALT ARCHIVES AND 'THE AMAZING DEATH OF CALFSHIRT: THREE HUNDRED YEARS OF BLACKFOOT HISTORY' BY HUGH DEMPSEY: POTAI'NA "FLYING CHIEF' JOE HEALY (LATER CALLED WOLF MOCCASIN) WAS BORN IN 1854 ON THE MONTANA BLACKFEET RESERVATION, TO THE LEADER OF THE BLOOD TRIBE, MANY BRAIDS. MANY BRAIDS HAD BECOME FRIENDLY WITH JOHN J. HEALY, CO-OPERATOR OF THE SUN RIVER CROSSING TRADING POST WITH ALFRED B. HAMILTON. DURING A ROUTINE VISIT TO THE TRADING POST, THE BLOODS' CAMP WAS RAIDED AT NIGHT BY A BAND OF PEND D'OREILLE WARRIORS. MANY BRAIDS, HIS WIFE, BABY AND TEENAGE DAUGHTER WERE KILLED IN THE CONFLICT, WHICH WAS WITNESSED BY JOHN HEALY. BEFORE HE DIED, MANY BRAIDS ASKED JOHN HEALY TO TAKE CARE OF HIS SON, FLYING CHIEF, THE ONLY SURVIVING MEMBER OF THE FAMILY. JOHN HEALY GAVE THE EIGHT YEAR OLD BOY THE NAME JOE HEALY, AND KEPT HIM AT THE TRADING POST UNTIL THE SUMMER, WHEN HE WAS ENROLLED IN THE SCHOOL AT NEARBY FORT SHAW. THERE JOE DEVELOPED HIS KNOWLEDGE OF ENGLISH. IN 1869, WHILE JOE WAS IN SCHOOL, HEALY AND HAMILTON WENT NORTH AND OPENED A TRADING POST AT THE CONFLUENCE OF THE OLDMAN AND ST. MARY RIVERS; THIS POST WOULD BECOME KNOWN AS FORT WHOOP-UP AND WAS INFAMOUS FOR ITS CONTRIBUTIONS TO THE WHISKEY TRADE AND VIOLENCE IN THE AREA UNTIL THE ARRIVAL OF THE NORTH-WEST MOUNTED POLICE IN 1874. THREE YEARS LATER, DUE TO A DECLINE IN THE BUFFALO POPULATIONS AND THUS THE ROBE MARKET, HEALY CLOSED THE SUN RIVER CROSSING POST AND MOVED TO FORT BENTON. JOE WAS NOW SIXTEEN AND WAS COMPELLED TO RETURN TO HIS RELATIVES AMONG THE BLOODS. HE FOLLOWED THE LAST BUFFALO HERDS WITH BULL SHIELD, AND JOINED IN RELIGIOUS AND WARFARE ACTIVITIES OF THE TRIBE. WHEN THE BLOODS SETLLED ON THEIR RESERVE IN 1881, JOE WAS THE ONLY MEMBER OF THE TRIBE WHO WAS FLUENT IN BLACKFOOT AND ENGLISH. HE WAS AN OUTSPOKEN SUPPORTER OF RELIGIOUS TRADITIONS AND DEFIED ATTEMPTS BY THE GOVERNMENT TO SUPRESS DANCES AND FESTIVALS. HE MARRIED WIDE NOSTRILS, THE DAUGHTER OF IRON PIPE, AND THEY HAD SIX DAUGHTERS AND FOUR SONS. JOE WORKED AS AN OFFICIAL INTERPRETER FOR THE GOVERNMENT WHEN A NEW TREATY WAS MADE IN 1883, AND AS A SCOUT FOR THE RNWMP. IN LATER YEARS HE CO-ORDINATED FIRST NATIONS' PARTICIPATION IN THE LETHBRIDGE EXHIBITION AND STAMPEDE. JOE HEALY DIED AT ST. PAUL'S MISSION ON THE BLOOD RESERVE IN 1936 AS ONE OF THE MOST RESPECTED PATRIARCHS OF THE BLOOD TRIBE.
Catalogue Number
P19780208000
Acquisition Date
1978-07
Collection
Museum
Images
Less detail
Other Name
MILITARY, CANADA (W.W.I)
Date Range From
1914
Date Range To
1918
Material Type
Artifact
Materials
LEATHER, BRASS
Catalogue Number
P19683209000
  2 images  
Material Type
Artifact
Other Name
MILITARY, CANADA (W.W.I)
Date Range From
1914
Date Range To
1918
Materials
LEATHER, BRASS
No. Pieces
1
Length
84.5
Width
9.5
Description
5 LEATHER POCKETS FASTEN WITH BRASS STUDS TO BELT. STAMPED ON ONE END "307B C73", AND ON OTHER END "30 FB".
Subjects
CLOTHING-ACCESSORY
Historical Association
MILITARY
History
MILITARY ISSUE W.W.I. *UPDATE* IN 2012 COLLECTIONS ASSISTANT DAVID SMITH CONDUCTED A SURVEY OF MILITARY OBJECTS. HE LEARNED THE FOLLOWING: ACCORDING TO HIS ATTESTATION PAPER, CHRISTIAN GIBSON WAS BORN IN BELFAST IRELAND ON MAY 9, 1887. HE ENLISTED WITH THE CANADIAN OVER-SEAS EXPEDITIONARY FORCE ON DECEMBER 1, 1914. HE REFERENCES 5 YEARS WITH THE 25TH BATTERY C.Y.A. AS PREVIOUS MILITARY EXPERIENCE. GIBSON’S CERTIFICATE OF SERVICE REVEALS THAT HE SERVED WITH 7TH ARTILLERY BRIGADE AS PAYMASTER FROM DECEMBER 1, 1914 – MARCH 23, 1915. GIBSON RE-ENLISTED WITH THE RANK OF CAPTAIN ON AUGUST 10, 1915. ON JUNE 19, 1916, HE LANDED IN FRANCE AND WAS TRANSFERRED TO THE 4TH BRIGADE ON APRIL 8, 1917 TO SERVE AS PAYMASTER. ON JULY 19, 1917 GIBSON WAS TRANSFERRED TO THE 12TH RESERVE BATTALION IN ENGLAND. ON DECEMBER 9, 1918, HE WAS APPOINTED PAYMASTER TO THE CANADIAN SEGREGATION CAMP IN BOURLEY. AUGUST 23, 1919, CAPTAIN CHRISTIAN GIBSON WAS DEMOBILIZED TO LETHBRIDGE ALBERTA. GIBSON PASSED AWAY IN LETHBRIDGE AT THE AGE OF 83 ON MARY 26, 1971. FOR MORE INFORMATION INCLUDING RECORDS FROM LIBRARY AND ARCHIVES CANADA, PLEASE SEE PERMANENT FILE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING FOUR PAINTINGS CREATED BY THE DONOR, CHRISTIAN GIBSON. THE FOLLOWING BIOGRAPHICAL INFORMATION ON GIBSON WAS EXCERPTED FROM HIS LETHBRIDGE HERALD OBITUARY: CHRISTIAN GIBSON WAS BORN IN BELFAST, IRELAND IN 1887 AND EDUCATED IN LONDON, ENGLAND BEFORE ARRIVING IN LETHBRIDGE IN 1908. HE WORKED FOR THE CITY AS ZOO KEEPER AT THE EXHIBITION GROUNDS AND FOR THE ALBERTA RAILROAD AND IRRIGATION COMPANY BEFORE BEGINNING HIS 35 YEAR CAREER WITH THE DEPARTMENT OF TRADE AND COMMERCE IN 1913. GIBSON SERVED WITH THE 25TH BATTERY CANADIAN FIELD ARTILLERY FROM 1908 TO 1914 AND FROM 1914 TO 1919 HE SERVED IN ENGLAND IN FRANCE WITH THE 20TH BATTERY CFA. HE WAS ALSO VERY ACTIVE IN THE COMMUNITY AS A MEMBER OF THE KIWANIS CLUB, ALLIED ARTS COUNCIL, LETHBRIDGE AND DISTRICT HISTORICAL SOCIETY, PLAYGOERS OF LETHBRIDGE, ROYAL CANADIAN LEGION, PEMMICAN CLUB, MASONIC LODGE, AND THE GALT HOSPITAL BOARD. HE AND HIS WIFE LINDA WERE HEAVILY INFLUENTIAL IN THE RED CROSS SOCIETY’S LETHRBIDGE CHAPTER, AND HAD TWO CHILDREN, FRED AND DORIS. CHRISTIAN GIBSON PASSED AWAY ON MARCH 26, 1971. IN 2010 HIS DAUGHTER, DORIS BALCOVSKE, PARTICIPATED IN THE GALT MUSEUM’S FIRST ‘TREASURES & CURIOSITIES’ EXHIBIT BY SELECTING ONE OF HER FATHER’S PAINTINGS TO BE DISPLAYED. SHE SUBMITTED THE FOLLOWING NARRATIVE ABOUT GIBSON’S ASSOCIATION WITH THE GALT AND HIS PAINTING PRACTICE: “MY FATHER… WAS ONE OF THE FOUNDERS OF THE GALT MUSEUM AND HELPED COLLECT MANY OF THE ARTIFACTS. MY FATHER WAS A SELF-TAUGHT ARTIST WITH OILS, WATER COLORS, AND ALSO PEN AND INK… THE FAMILY OWNS MOST OF HIS PAINTINGS.” SEE PERMANENT FILE P19694807000 FOR HARDCOPY OF GIBSON’S OBITUARY. SEE RECORD P19930031001 FOR MORE INFORMATION ON THE GIBSON FAMILY.
Catalogue Number
P19683209000
Acquisition Date
1968-05
Collection
Museum
Images
Less detail

Bigelow And Fletcher Store In Burdett

https://collections.galtmuseum.com/en/permalink/descriptions9644
Date Range
1907-1912
Material Type
Photograph
Accession No.
19911014004
Physical Description
8.9 x 13.6 cm Black and white postcard
Scope and Content
View of people and wagon load of lumber in front of the Bigelow and Fletcher Store in Burdett. Rowan Fletcher is fourth from the left.
  1 image  
Material Type
Photograph
Date Range
1907-1912
Physical Description
8.9 x 13.6 cm Black and white postcard
Physical Condition
Excellent
History / Biographical
The donor's uncles, Rowan and Art Fletcher, owned the store. A fire later destroyed the Bigelow and Fletcher wing of the store, killing Art. Rowan suffered from a hunchback condition.
Scope and Content
View of people and wagon load of lumber in front of the Bigelow and Fletcher Store in Burdett. Rowan Fletcher is fourth from the left.
Access Restrictions
Public Access
Accession No.
19911014004
Collection
Archive
Images
Less detail
Date Range From
1910
Date Range To
1920
Material Type
Artifact
Materials
PAPER
Catalogue Number
P19950073212
  1 image  
Material Type
Artifact
Date Range From
1910
Date Range To
1920
Materials
PAPER
No. Pieces
1
Height
2.5
Length
18.5
Width
13
Description
GREEN CLOTHBOUND BOOK. TITLE "KEY TO ENGLISH LETTER WRITING" PRINTED IN GOLD ACROSS FRONT AND SPINE, WITH SWAN IN FLIGHT IMPRINTED BELOW, ON FRONT COVER. STAMPED ON FIRST PAGE IS "HARRY L. ING-YIP CANORA SASK. NO 27", WITH "1.75" HANDWRITTEN IN TOP RIGHT CORNER. CONTAINS CHINESE SAMPLES OF LETTERS, WITH ENGLISH TRANSLATIONS AND APPENDIX. FRONT COVER AND TEXT DETACHED FROM SPINE; REPAIRED WITH ADHESIVE TAPE WHICH IS NOW DRY AND YELLOWED. FRONT COVER SLIGHTLY BUBBLED NEAR TITLE.
Subjects
DOCUMENTARY ARTIFACT
Historical Association
EDUCATION
BUSINESS
History
NARRATIVE BELOW TAKEN FROM "CHINESE SCHOOLS IN LETHBRIDGE" ARTICLE, WRITTEN BY COLLECTIONS ASSISTANT AIMEE BENOIT (NEE VIEL), FOR LETHBRIDGE LIVING MAGAZINE’S, FALL 1997 ISSUE. FOR MORE INSIGHTS INTO LETHBRIDGE'S CHINESE SCHOOLS, PLEASE REFERENCE THIS ARTIFACT'S PERMANENT FILE, THE DONATION'S SCHOOL DESK (P19950073070), AND THE OTHER THIRTY-SEVEN TEXT/WORK BOOKS IN THE COLLECTION. EDUCATION HAS ALWAYS PLAYED A CENTRAL ROLE IN THE SOCIAL LIFE OF LETHBRIDGE. IN ADDITION TO THE MANY PUBLIC SCHOOLS IN OPERATION, SEVERAL PRIVATE SCHOOLS HAVE BEEN ESTABLISHED OVER THE YEARS TO SERVE DIFFERENT FUNCTIONS WITHIN THE COMMUNITY. DURING THE 1950S AND 1960S, LETHBRIDGE HAD TWO CHINESE LANGUAGE SCHOOLS: THE CHINESE NATIONAL LEAGUE ASSOCIATION SCHOOL, AND THE CHINESE COMMUNITY SCHOOL. LOCATED ACROSS THE STREET FROM EACH OTHER IN CHINATOWN (2ND AVE. AND 3-4ST. S.), BOTH SCHOOLS OPERATED UNDER THE DIRECTION OF SEPARATE INTERNATIONAL POLITICAL ORGANIZATIONS, THE KUOMINTANG OR CHINESE NATIONAL LEAGUE, AND THE CHINESE FREEMASONS RESPECTIVELY. YET, RIVALS AT TIMES, THE SCHOOLS WERE UNIFIED IN THEIR MAIN OBJECTIVES. BOTH HOPED TO PERPETUATE CHINESE TRADITIONS AND LANGUAGE IN SOUTHERN ALBERTA. THEY ALSO SOUGHT TO PROVIDE A BRIDGE FOR NEW IMMIGRANTS BETWEEN THE CUSTOMS OF THEIR HOMELAND AND THOSE OF WESTERN SOCIETY. CLASSES IN BOTH SCHOOLS WERE HELD TWO HOURS DAILY, FROM MONDAY TO SATURDAY. IN ADDITION, STUDENTS ATTENDED REGULAR ENGLISH PUBLIC SCHOOL. CHILDREN LEARNED TO READ AND WRITE IN CANTONESE, AND HAD SOME INSTRUCTION IN MUSIC, DANCING, AND CALLIGRAPHY AS WELL. ALTHOUGH SOME TEACHERS WERE PAID, MOST VOLUNTEERED THEIR TIME, TEACHING ANYWHERE FROM TEN TO TWENTY STUDENTS. BY THE LATE 1960S, THE TWO SCHOOLS HAD FOUND IT DIFFICULT TO MAINTAIN INTEREST IN TRADITIONAL CHINESE CULTURE, ESPECIALLY AMONG THE YOUNGER GENERATIONS BORN AND RAISED IN CANADA. AS A RESULT OF INCREASING “WESTERNIZATION” AND DECLINING ATTENDANCE, BOTH CHINESE LANGUAGE SCHOOLS WERE FORCED TO CLOSE THEIR DOORS. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING ONE DONATED AS PART OF THE ING ESTATE (P19950073023). SHE EXTRACTED THE FOLLOWING INFORMATION ON THE ING FAMILY FROM PERMANENT FILE P19950073001, WHICH CONTAINS A TRANSCRIPT OF THE INTERVIEW COLLECTIONS TECH KEVIN MACLEAN CONDUCTED WITH HAROLD ING JR., SON OF HAROLD AND MYRA, IN HIS ROOM AT THE LETHBRIDGE HOTEL IN SEPTEMBER 2005. MYRA WAS BORN IN GOLDEN B.C. TO SHIN-BOW AND CHOW TING RAH; HER FATHER ORGINALLY EMIGRATED TO CANADA TO WORK ON CANADIAN RAILWAY CONSTRUCTION AND LATER BECAME A RESTAURANTEUR, WHERE MYRA DEVELOPED HER ENGLISH SKILLS AS A WAITRESS. "IN 1906 MY DAD [HAROLD ING SR.] LEFT HONG KONG FOR VANCOUVER, HE COULDN'T SPEAK ENGLISH... HE'S GOT TO BE A WAITER, A BUSBOY... AND HE LEARNED ALL THE WAY UP, IN THE MEANTIME PICKING UP ENGLISH... WENT TO WINNIPEG. THIS IS BEFORE ME. BY THEN HE KNEW THE WHOLE SYSTEM OF RESTAURANTING." MYRA AND HAROLD SR. MARRIED AND ADOPTED HAROLD JR. WHEN HE WAS BORN INTO A POOR FAMILY OF ELEVEN IN 1944, IN VANCOUVER. "ME AND MY TWIN SISTER WERE SOLD BECAUSE THERE WERE JUST TOO MANY. SO DAD, MY MOM PICKED ME AND DAD SAID YES THAT'S GOOD... I DON'T KNOW WHERE MY SISTER IS... THERE'S NO WAY OF FINDING OUT." THE ING FAMILY SETTLED IN LETHBRIDGE IN THE LATE 1940S, AND HAROLD SR. OWNS AND OPERATES THE NEW MOON CAFE AND TWO GROCERIES, WHICH ARE RUN BY THE FAMILY AND NEW CHINESE IMMIGRANTS THAT HAROLD SR. SPONSORED. "AT APPROXIMATELY FIVE YEARS OLD [MY FATHER] INTRODUCED ME TO THE NEW MOON CAFE, AND I WAS A BUSBOY AT THE AGE OF FIVE... IN 1951 HE SHOWED ME MY FIRST HUNDRED DOLLAR BILL... BECAUSE HE WAS THE OWNER... HE'D WAKE UP AT FIVE IN THE MORNING TO GO TO THE CAFE, OFF AND ON TO THE GROCERY STORE AND MIGHT BE DONE AT EIGHT AT NIGHT, SUPPER AND IMMEDIATELY TO CHINATOWN [FOR] GAMBLING, PUTTING DOWN MAH JONG." HAROLD JR. ATTENDED WESTMINISTER ELEMENTARY SCHOOL DURING THE DAY, AND CHINESE SCHOOL AT THE CHINESE NATIONAL LEAGUE IN THE EVENINGS - HIS FATHER WAS THE PRESIDENT OF THE NATIONAL LEAGUE, AND THE ORGANIZATION RAN THE SCHOOL, CULTURAL CELEBRATIONS, FILM SCREENINGS, AND BANQUETS, FUNDED BY MEMBERSHIP FEES. HAROLD'S YOUNGER BROTHER, CALVIN, "GOT SENT TO A BOARDING SCHOOL SOMEWHERE. HE WAS GIFTED, BUT HE HAD A BYPASS SURGERY, HE HAD SOMETHING WRONG WITH HIS HEART. HE COULDN'T HANDLE PUBLIC SCHOOL, SO THEY SENT HIM TO B.C." AFTER HIGH SCHOOL AND A BRIEF STINT IN CALGARY, HAROLD JR. RAN ING'S GROCERY FOR HIS FATHER, AND IN THE LATE 1960S AND EARLY 70S ALSO WORKED AS A PHOTOGRAPHER FOR THE LETHBRIDGE HERALD AND A SALESMAN AT SEARS. BOTH HAROLD SR. AND MYRA ING PASSED AWAY IN THE 1990S, AND THE OBJECTS ENCOMPASSING DONATION P19950073001-231 WERE COLLECTED FROM THE FAMILY HOME. FOR A COMPLETE TRANSCRIPT OF THE INTERVIEW, COPIES OF PHOTOGRAPHS AND WRITTEN DETAILS ON THE CHINESE NATIONAL LEAGUE, SEE PERMANENT FILE.
Catalogue Number
P19950073212
Acquisition Date
1995-11
Collection
Museum
Images
Less detail
Date Range
1913-1920
Material Type
Manuscript
Accession No.
19750147000
Physical Description
i item
Scope and Content
Booklet - Ribbon Art - How To Make Hundreds Of Dainty And Practical Things Of Ribbons. Illustrated in colours With Detailed Instructions. Front Cover Has Picture Of Woman And girl Sorting Through Yards Of Ribbon. Price Is .10. Volume I - No. 3, 34 Pages.
Material Type
Manuscript
Date Range
1913-1920
Physical Description
i item
Physical Condition
Good
History / Biographical
American.
Scope and Content
Booklet - Ribbon Art - How To Make Hundreds Of Dainty And Practical Things Of Ribbons. Illustrated in colours With Detailed Instructions. Front Cover Has Picture Of Woman And girl Sorting Through Yards Of Ribbon. Price Is .10. Volume I - No. 3, 34 Pages.
Access Restrictions
Public Access
Accession No.
19750147000
Collection
Archive
Less detail
Other Name
SELTZER
Date Range From
1905
Date Range To
1915
Material Type
Artifact
Materials
GLASS, NICKEL PLATED STEEL
Catalogue Number
P19651656000
Material Type
Artifact
Other Name
SELTZER
Date Range From
1905
Date Range To
1915
Materials
GLASS, NICKEL PLATED STEEL
No. Pieces
1
Height
30.2
Diameter
9.2
Description
LETHBRIDGE BREWING CO. LTD. ON NECK. "THE LETHBRIDGE BREWING AND MALTING CO. LTD. LETHBRIDGE, ALBERTA. HIGH CLASS CARBONATED WATER. BRITISH SYPHON CO. LONDON" PAINTED ON FRONT. NICKEL PLATE TOP. SEE CONSERVATION REPORT.
Subjects
FOOD SERVICE T&E
MERCHANDISING T&E
Historical Association
INDUSTRY
History
MADE IN ENGLAND FOR LETHBRIDGE BREWERY, FOUNDED IN 1901 BY FRITZ SICK. ALSO CALLED SYPHON BOTTLES, THESE CONTAINERS WERE USED IN HOMES, HOTELS, BARS, AND CORNER SODA FOUNTAINS TO SPRITZ CARBONATED WATER. THE UNIQUE SYPHON TOP ALLOWED A PORTION OF THE BOTTLE’S CONTENTS TO BE DISPENSED WHILE PRESERVING THE REST FOR ANOTHER TIME. IN THE FIRST HALF OF THE 20TH CENTURY THIS TYPE OF BOTTLE WAS ALSO PROMOTED AS BEING A SUITABLE SUBSTITUTE FOR A FIRE EXTINGUISHER, AND SOME USED THE SELTZER AS A CURE FOR HEARTBURN (ULTIMATELY THE ORIGIN OF ALKA-SELTZER). SELTZER WAS EXTREMELY POPULAR IN THE 1920S AND 30S, BUT HAD ALMOST DISAPPEARED BY THE 1940S. BREWERY CLOSED BY OWNER, MOLSONS IN 1990 & SUBSEQUENTLY DEMOLISHED.DONOR A FORMER VOLUNTEER AT THE MUSEUM IS DECEASED. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING FOUR PAINTINGS CREATED BY THE DONOR, CHRISTIAN GIBSON. THE FOLLOWING BIOGRAPHICAL INFORMATION ON GIBSON WAS EXCERPTED FROM HIS LETHBRIDGE HERALD OBITUARY: CHRISTIAN GIBSON WAS BORN IN BELFAST, IRELAND IN 1887 AND EDUCATED IN LONDON, ENGLAND BEFORE ARRIVING IN LETHBRIDGE IN 1908. HE WORKED FOR THE CITY AS ZOO KEEPER AT THE EXHIBITION GROUNDS AND FOR THE ALBERTA RAILROAD AND IRRIGATION COMPANY BEFORE BEGINNING HIS 35 YEAR CAREER WITH THE DEPARTMENT OF TRADE AND COMMERCE IN 1913. GIBSON SERVED WITH THE 25TH BATTERY CANADIAN FIELD ARTILLERY FROM 1908 TO 1914 AND FROM 1914 TO 1919 HE SERVED IN ENGLAND IN FRANCE WITH THE 20TH BATTERY CFA. HE WAS ALSO VERY ACTIVE IN THE COMMUNITY AS A MEMBER OF THE KIWANIS CLUB, ALLIED ARTS COUNCIL, LETHBRIDGE AND DISTRICT HISTORICAL SOCIETY, PLAYGOERS OF LETHBRIDGE, ROYAL CANADIAN LEGION, PEMMICAN CLUB, MASONIC LODGE, AND THE GALT HOSPITAL BOARD. HE AND HIS WIFE LINDA WERE HEAVILY INFLUENTIAL IN THE RED CROSS SOCIETY’S LETHRBIDGE CHAPTER, AND HAD TWO CHILDREN, FRED AND DORIS. CHRISTIAN GIBSON PASSED AWAY ON MARCH 26, 1971. IN 2010 HIS DAUGHTER, DORIS BALCOVSKE, PARTICIPATED IN THE GALT MUSEUM’S FIRST ‘TREASURES & CURIOSITIES’ EXHIBIT BY SELECTING ONE OF HER FATHER’S PAINTINGS TO BE DISPLAYED. SHE SUBMITTED THE FOLLOWING NARRATIVE ABOUT GIBSON’S ASSOCIATION WITH THE GALT AND HIS PAINTING PRACTICE: “MY FATHER… WAS ONE OF THE FOUNDERS OF THE GALT MUSEUM AND HELPED COLLECT MANY OF THE ARTIFACTS. MY FATHER WAS A SELF-TAUGHT ARTIST WITH OILS, WATER COLORS, AND ALSO PEN AND INK… THE FAMILY OWNS MOST OF HIS PAINTINGS.” SEE PERMANENT FILE P19694807000 FOR HARDCOPY OF GIBSON’S OBITUARY. SEE RECORD P19930031001 FOR MORE INFORMATION ON THE GIBSON FAMILY.
Catalogue Number
P19651656000
Acquisition Date
1965-02
Collection
Museum
Less detail
Other Name
CIGAR BOX
Date Range From
1910
Date Range To
1920
Material Type
Artifact
Materials
WOOD, BRASS
Catalogue Number
P19705196000
  2 images  
Material Type
Artifact
Other Name
CIGAR BOX
Date Range From
1910
Date Range To
1920
Materials
WOOD, BRASS
No. Pieces
1
Height
3.9
Length
15.2
Width
9.8
Description
"10 CIGARS FACTORY NO. 10 PORPORT NO. 13-1 NOTICE (MANUFACTURES OF THE CIGARS HEREIN CONTAINED HAS COMPLIED WITH THE REQUIREMENTS OF THE LAW (THE FOLLOWING UNDER CAUTION IS TO BE STRICTLY OBEYED. PENALTIES PROVIDED BY STATUTE OF CANADA; 1ST- THIS PACKAGE ITO BE OPENED IN SUCH A MANNER AS TO BREAK THE STAMP. 2ND- THE PACKAGE IS NOT TO BE USED AGAIN WHEN THE PRESENT CONTENTS ARE REMOVED. 3RD- THE CONTENTS ARE NOT TO BE REMOVED EXCEPT FOR IMMEDIATE SALE, AND 4TH- WHEN THE PACKAGE IS EMPTY THE STAMP AND PACKAGE MUST BOTH BE DESTROYED." "BANKER" ON PAPER LABEL ON BASE. PAINTED DESIGN OF 2 BIRDS AND TREES IN GOLD, GREY, BLACK & RED ON COVER INTERIOR OF BOX PAINTED BLACK. BRASS FITTINGS, PART OF STAMP ON BOX. INSIDE HAS REMNANTS OF PAPER LINING. BRASS CLASP ON FRONT TO HOLD LID SHUT. SOMECHIPPING AND WEARING OF FINISH ON CORNERS AND EDGES.
Subjects
CONTAINER
Historical Association
DOMESTIC
History
*UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF MILITARY OBJECTS, INCLUDING THOSE DONATED BY M.J. BENNETT. BIOGRAPHICAL INFORMATION WAS FOUND IN BENNETT'S ATTESTATION PAPERS AND RECORDS FROM THE GLENBOW ARCHIVES. MICHAEL JOHN BENNETT WAS BORN IN 1881 IN WHITNEY, ENGLAND AND SERVED IN THE SOUTH AFRICAN WAR BEFORE IMMIGRATING TO CANADA IN 1910 WITH HIS WIFE, ALICE MAY BENNETT (NEE EDWARDS). THEY WERE LIVING IN MEDICINE HAT WHERE BENNETT WORKED AS A CARPENTER WHEN HE ENLISTED WITH THE 175TH BATTALION CEF ON JANUARY 26, 1916. BENNETT SURVIVED THE WAR AND HE AND ALICE HAD SIX CHILDREN. THE FAMILY LIVED IN SHAUNESSEY AND LETHBRIDGE AND BENNETT WORKED AS A STREETCAR DRIVER, CARPENTER AND HOTEL OPERATOR. HE WAS A MEMBER OF THE KIWANIS CLUB AND LETHBRIDGE HISTORICAL SOCIETY. BENNETT DIED IN 1982. M.J. BENNETT'S GRANDSON, TREVOR BENNETT, PROVIDED SOME FURTHER FAMILY HISTORY IN 2002 (SEE P20020071009). SEE PERMANENT FILE P19672995000 FOR HARDCOPIES OF BENNETT'S ATTESTATION PAPERS AND GLENBOW ARCHIVES FONDS DESCRIPTION. *UPDATE* IN 2017, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED A SURVEY OF BOXED TEXTILES AND ACCESSORIES, INCLUDING A SNUFFBOX DONATED BY MICHAEL JOHN BENNETT IN 1970. ON 11 DECEMBER 2017, PUNDYK CONDUCTED AN INTERVIEW WITH BENNETT’S ELDEST GRANDDAUGHTER, ALICE MAY DUHAMEL. THROUGH THIS INTERVIEW FURTHER INFORMATION WAS RECORDED ABOUT THE DONOR AND THE USERS OF A NUMBER OF ARTIFACTS DONATED BY MICHAEL JOHN BENNETT. ABOUT THE DONOR, DUHAMEL SAID, “WE CALLED HIM ‘POP’. THAT’S BECAUSE [ONE OF THE GRANDCHILDREN], MICHAEL, COULDN’T SAY ‘GRANDPA’, [SO] HE SAID ‘POP’. HE’S ‘POP’ TO EVERYONE IN THE COUNTRY. UP UNTIL HE WAS ONE HUNDRED AND ONE OR SO.” SHE CONTINUED, “POP WAS IN ENGLAND [WHEN] HE MARRIED HIS WIFE - [AND MY] GRANDMOTHER - ALICE MAY EDWARDS BENNETT. [SHE] CAME TO CANADA IN 1911 IN SEPTEMBER ON THE SHIP AND LANDED IN CANADA. GRANDMA BROUGHT UNCLE JACK, WHO WAS THE OLDEST, AND MY MOTHER… [MICHAEL AND ALICE] HAD SEVEN CHILDREN: JACK, EDNA MAY, FRANK JAMES, HARRY HUGH, ART – I DON’T KNOW, DORIS ALICE, AGNES MARY, AND SYDNEY EDWARD. MY MOTHER WAS EDNA.” ALICE COULD NOT RECALL THIS CIGAR BOX. ON 13 FEBRUARY 2018, PUNDYK CONDUCTED AN ADDITIONAL INTERVIEW WITH ANOTHER GRANDCHILD OF MICHAEL AND ALICE BENNETT, MIKE BENNETT, ALONG WITH HIS WIFE, DIANE. BENNETT SAID, “I DON’T EVER REMEMBER SEEING [THE CIGAR BOX]. BUT MY GRANDFATHER WAS A REAL HEAVY CIGAR SMOKER UNTIL HE WAS ABOUT EIGHTY-THREE. AND SOMEONE TOLD HIM IT WASN’T GOOD FOR HIS HEALTH –[A] DOCTOR OR A NURSE – AND HE QUIT COLD TURKEY. HE LIVED TO A HUNDRED AND ONE AFTER THAT. AND WHEN HE MOVED FROM LETHBRIDGE TO B.C. TO LIVE WITH HIS DAUGHTER - MY AUNT - HE HAD A RECLINING CHAIR THAT WAS TOO BIG TO TAKE, SO HE GAVE IT TO ME. EVERY TIME I SAT IN IT, IT WOULD SMELL LIKE CIGAR SMOKE ‘CAUSE [WHEN YOU SAT] ON IT THE CIGAR SMELL WOULD COME AROUND IT. [IT] REMINDED ME OF HIM ALL THE TIME.” “HE PROBABLY STORED HIS CIGARS IN THERE. [THAT] WOULD BE MY GUESS,” BENNETT CONTINUED, “HE ALWAYS BOUGHT [HIS CIGARS]. THE ONES I ALWAYS REMEMBER HIM BUYING WERE WHITE OWLS. HE ALWAYS LIKED TO SMOKE WHITE OWLS. [THE] ODD TIME HE WOULD GET A FANCIER ONE, BUT HE WAS AN ECONOMICAL PERSON, SO HE DIDN’T SPEND A LOT OF EXCESS MONEY ON THEM.” PLEASE SEE PERMANENT FILE P19705622000 FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTIONS, INCLUDING INDIVIDUAL ACCOUNTS OF THE BENNETT FAMILY HISTORY.
Catalogue Number
P19705196000
Acquisition Date
1970-01
Collection
Museum
Images
Less detail
Other Name
WORK BOX
Date Range From
1830
Date Range To
1953
Material Type
Artifact
Materials
WOOD, MOTHER OF PEARL, PAPER.
Catalogue Number
P20090016001
  1 image  
Material Type
Artifact
Other Name
WORK BOX
Date Range From
1830
Date Range To
1953
Materials
WOOD, MOTHER OF PEARL, PAPER.
No. Pieces
14
Height
12.8
Length
19.9 19.9
Width
27.7
Description
WOODEN NEEDLEWORK BOX, TRAY, LIDS, NEEDLE HOLDERS, VENEER FRAGMENTS AND KEY – 14 PIECES. PLEASE REFER TO PERMANENT FILE FOR DIAGRAM OF BOX WITH LABELED COMPARTMENTS. 1. NEEDLEWORK BOX, DARK WOOD VENEER, RECTANGULAR SHAPE. TOP OF BOX DECORATED WITH TWO TONE DIAMOND SHAPED MOTHER OF PEARL INLAY, BORDER IS CREAM COLORED, MIDDLE BAND IS MARBELIZED, CENTRE IS CREAM WITH INITIALS "F.M" CARVED INTO THE SURFACE. SIMILAR TWO TONE DIAMOND SHAPED MOTHER OF PEARL INLAY LOCATED AROUND KEYHOLE ON FRONT OF BOX. PROPER LEFT SIDE OF LID MISSING STRIP OF VENEER GOING ENTIRE LENGTH OF BOX. VENEER ALSO MISSING ON BACK PROPER RIGHT CORNER AND FRONT PROPER LEFT CORNER. INSIDE OF BOX DECORATED WITH PINK SILK, AND CURVY STRIPED GREY AND CREAM PAPER. UNDERSIDE OF LID IS CREAM SILK PIN CUSION WITH METAL CLOSURE, PEARLESCENT BUTTON WITH MOTHER OF PEARL INLAY AND BLACK AND GOLD, FOLIAGE PATTERNED BORDER. PIN CUSHION PULLS OUT TO REVEAL EXPANDABLE PAPER FOLDER. BOX CONTAINS MULTI COMPARTMENT TRAY WHICH LIFTS OUT TO REVEAL LARGE STORAGE SPACE UNDERNEATH. 12.8 CM HIGH BY 19.9 CM LONG BY 27.7 CM WIDE. 2. TRAY WITH SIXTEEN COMPARTMENTS OF VARYING SIZES. WOODEN TRAY COVERED IN GREY AND CREAM CURVY STRIPED PAPER. FOUR COMPARMENTS COVERED WITH PINK SILK. PAPER PEELING ALONG FRONT, BOTTOM EDGE OF TRAY. 4.5 CM HIGH BY 17.3 CM LONG BY 25.2 CM WIDE. 3. LID, RECTANGULAR SHAPED. MOTHER OF PEARL FLOWER SHAPED HANDLE IN CENTER. TOP OF LID COVERED WITH PINK SILK, BOTTOM COVERED WITH GREY AND CREAM CURVY STRIPED PAPER. LID SOILED AND DISCOLORED THROUGHOUT. 0.8 CM HIGH BY 6.7 CM LONG BY 5.9 CM WIDE. 4. LID, RECTANGULAR SHAPED. PINK SILK COVERS TOP, GREY AND CREAM CURVY STRIPED FABRIC COVERS BOTTOM. PINK FABRIC LOOP ATTACHED TO PROPER LEFT SIDE OF LID. PINK SILK BAND WITH FOUR SEWN COMPARTMENTS RUNS THROUGH THE TOP CENTRE OF THE LID. APPEARS THAT THE BAND WOULD HAVE HELD TOOLS OF SOME SORT. SILK AND PAPER ARE SOILED AND DISCOLORED THROUGHOUT. EDGES OF SILK LOOP ARE FRAYING. 1.3 CM HIGH BY 6.9 CM LONG BY 12.8 CM WIDE. 5. LID, RECTANGULAR SHAPED. MOTHER OF PEARL FLOWER SHAPED HANDLE IN CENTRE. TOP OF LID COVERED WITH PINK SILK, BOTTOM COVERED WITH GREY AND CREAM CURVY STRIPED PAPER. LID SOILED AND DISCOLORED THROUGHOUT. 0.9 CM HIGH BY 6.7 CM LONG BY 6.0 CM WIDE 6. LID, RECTUANGULAR SHAPED. MOTHER OF PEARL FLOWER SHAPED HANDLE IN CENTRE. TOP OF LID COVERED WITH PINK SILK, BOTTOM COVERED WITH GREY AND CREAM CURVY STRIPED PAPER. LID SOILED AND DISCOLORED THROUGHOUT. 0.7 CM HIGH BY 3.6 CM LONG BY 11.5 CM WIDE. 7. COMPARTMENT DIVIDER, RECTANGULAR SHAPED. WOOD COVERED IN GREY AND CREAM CURVY STRIPED PAPER. PAPER SOILED AND DISCOLORED THROUGHOUT. PAPER ABSENT ON THREE OUT OF FOUR EDGES OF DIVIDER. 0.3 CM HIGH BY 3.0 CM LONG BY 2.5 CM WIDE. 8. (2) NEEDLE HOLDER BOOKS. OUTSIDE OF HOLDER COVERED IN PINK SILK, INSIDE COVERED IN GREY AND CREAM CURVY STRIPED PAPER. ATTACHED TO INSIDE OF HOLDER IS PIECE OF COTTON FABRIC WITH PINKED EDGES. EACH HOLDS ONE NEEDLE (SEE BELOW FOR DESCRIPTION). HOLDER SOILED AND DISCOLORED THROUGHOUT. 0.8 CM HIGH BY 4.8 CM LONG BY 2.5 CM WIDE. 9. NEEDLE, FINE, STAINLESS STEEL. SMALL EYE MEASURES A LITTLE LESS THAN 0.1 CM. 3.1 CM LONG BY LESS THAN 0.1 CM IN DIAMETER. 10. NEEDLE, STAINLESS STEEL. SMALL EYE MEASURES LESS THAN 0.1 CM. 3.9 CM LONG BY 0.1 CM IN DIAMETER. 11. VENEER, DARK COLORED WOOD. IRREGULAR EDGES. 19.1 CM LONG BY 1.1 CM WIDE. 12. VENEER, DARK COLORED WOOD. IRREGULAR EDGES. 11.8 CM LONG BY 1.3 CM WIDE. 13. KEY, SILVER. OVAL LOOP AT TOP, HOLLOW STEM WITH SMALL NODULE ON END. FOUR CIRCULAR INDENTED BANDS WHERE KEY LOOP MEETS KEY STEM. 0.4 CM HIGH BY 3.0 CM LONG BY 2.0 CM WIDE.
Subjects
TEXTILEWORKING T&E
Historical Association
DOMESTIC
History
ACCORDING TO THE DONOR, KATHERINE IVES TWISS, SHE GOT THE BOX FROM EDITH KIRK. SHE SAID, "IT WAS HER MOTHER'S BOX. MISS KIRK GAVE IT TO MY MOTHER [ETTA HENDERSON IVES] TO GIVE TO ME." TWISS WAS GIVEN THE BOX BECAUSE SHE WAS A "STUDENT AND FRIEND" OF KIRK. THE DONATION WAS BROUGHT IN BY TWISS'S DAUGHTER, K.A. STEEL, IN HER LETTER SHE WRITES, "WHEN MISS KIRK PASSED AWAY SHE LEFT AN ANTIQUE JEWELLERY-TYPE BOX... TO TWISS.... MISS KIRK SAYS THAT THE BOX BELONGED TO HER MOTHER AND WAS OVER 100 YEARS OLD. MOST OF ITS CONTENTS WERE VERY OLD AND BROKEN DOWN, BUT VERY INTERESTING. THIS BOX WAS THE ONLY POSSESSION THAT MISS KIRK HAD, AND SHE MUST HAVE LOVED IT DEARLY. IT WOULD HAVE BEEN ALL THAT SHE HAD OF HER MOTHER. SHE BROUGHT IT ALL THE WAY FROM ENGLAND, AND KEPT IT SAFE ALL THROUGHOUT HER LIFE... [WHEN SHE CAME TO LETHBRIDGE] SHE MET MRS. MARGARET (ETTA) HENDERSON IVES, WHO HAD BEEN BORN IN LETHBRIDGE IN 1890, AND THEY BECAME FRIENDS. MISS KIRK GOT SET UP IN A SMALL APARTMENT AND TAUGHT ART LESSONS. MRS. ETTA IVES HAD BOTH OF HER DAUGHTERS, MARGARET AND KATHARINE, TAKE ART LESSONS FROM MISS KIRK. MRS. IVES ALSO BOUGHT A NUMBER OF PAINTINGS FROM MISS KIRK. MISS KIRK WAS A LOVELY, DECENT WOMAN. MARGARET TOOK LESSONS BUT DIDN'T LOVE ART. KATHARINE LOVED ART AND WAS GIVEN MANY, MANY LESSONS. WHEN SHE LOOKS BACK SHE THINKS SHE WAS GIVEN SO MANY LESSONS NOT ONLY TO LEARN TO PAINT, BUT ALSO TO HELP MISS KIRK MAKE A LIVING. MISS KIRK HAD A TINY APARTMENT WHERE KATHARINE TOOK HER LESSONS. KATHARINE REMEMBERS THAT MISS KIRK ONLY HAD A HOT PLATE TO COOK HER MEALS ON. SHE REMEMBERS THAT MISS KIRK ALWAYS SEEMED TO BE COOKING AN EGG FOR HER MEAL. KATHARINE AND MISS KIRK ALSO SPENT A GREAT DEAL OF TIME TOGETHER IN THE COUNTRYSIDE SKETCHING... KATHARINE JUST LIKED MISS KIRK VERY MUCH AND REALLY LIKED THE ART LESSONS. SHE SAID THAT MISS KIRK REALLY KNEW HER COLOURS. MISS KIRK KNEW HOW TO MIX THE PAINTS TO GET JUST THE RIGHT COLOUR... AN ART LESSON COST 25 CENTS PER LESSON. ART SUPPLIES WERE EXPENSIVE AND GETTING ONE NEW COLOUR OF PAINT WAS AN EXCITING ADVENTURE. IT MUST HAVE BEEN HARD FOR MISS KIRK TO PURCASE ALL THE MATERIALS SHE NEEDED FOR HER PAINTINGS... KATHARINE GREW UP, MOVED AWAY... AND THEN MARRIED. MISS KIRK WANTED TO GIVE KATHARINE ONE OF HER PAINTINGS AS A WEDDING GIFT. MISS KIRK WROTE A LETTER TELLING KATHARINE TO COME AND PICK WHICHEVER PAINTING SHE LIKED THE BEST FOR HER WEDDING GIFT. KATHARINE DID PICK A PAINTING AND THAT PAINTING HAS BEEN ON HER WALL ALL OF THESE YEARS... " GALT CURATOR, WENDY AITKENS, DID SOME RESEARCH ON KIRK AND CONTINUES TO SEARCH FOR MORE ANSWERS ABOUT THE LIFE OF THIS WOMAN. SEE BELOW, "FOR 35 YEARS, LETHBRIDGE WAS THE HOME OF AN ACCOMPLISHED AND WELL KNOWN ARTIST AND ART TEACHER. EDITH FANNY KIRK, OR MISS KIRK AS MOST PEOPLE CALLED HER, CREATED WATER COLOUR LANDSCAPES OF ENGLAND, VANCOUVER, LETHBRIDGE, WATERTON, BANFF, AND JASPER. SHE TAUGHT MANY CHILDREN AND ADULTS THE SKILLS OF PAINTING. SHE ALSO SPOKE AT THE MATHESIS CLUB PERSENTING PAPERS ON THE DEVELOPMENT OF MODERN ART, THE EVOLUTION OF ART AND ART APPRECIATION. JOAN STEBBINS, PAST CURATOR AT THE SAAG, CREDITS THE INFLUENCE OF MISS KIRK FOR THE DEVELOPMENT OF THE LETHBRIDGE SKETCH (NOW ARTISTS') CLUB IN THE 1930S. WHEN MISS KIRK ARRIVED IN LETHBRIDGE IN 1918, SHE WAS 60 YEARS OLD. SHE WAS BORN IN 1858 AND WAS RAISED IN YORKSHIRE, ENGLAND. HER MOTHER, FANNY (NEE MAUGHAM) PASSED AWAY WHEN EDITH WAS A YOUNG GIRL AND HER FATHER REMARRIED. THE STORY, FROM SECOND HAND SOURCES, WAS THAT SHE AND HER STEP MOTHER DID NOT LIKE ONE ANOTHER. THIS PROVIDED TO BE A BLESSING IN DISGUISE BECAUSE EDITH WAS SENT AWAY TO STUDY ART. EDITH STUDIED IN SOUTH KENSINGTON, LONDON AND PARIS. DURING HER SUMMERS SHE JOINED ARTIST'S COLONIES IN CORNWALL, WALES AND YORKSHIRE. SHE WROTE OF IMPRESSIONIST PAUL CEZANNE BEING HER "MODEL AND INSPIRATION" AND SHE GREATLY ADMIRED ROMANTIC ARTIST JOHN SELL COTMAN. KIRK NEVER MARRIED AND, FOR SOME REASON, SHE DECIDED TO IMMIGRATE TO CANADA AT THE AGE OF 46. SHE ARRIVED IN HALIFAX ABOARD THE HMS CANADA IN APRIL 1905. THE PASSENGER LIST INDICATED SHE WAS TRAVELING ON TO VANCOUVER AND HER OCCUPATION WAS LISTED AS A GOVERNESS. IT SEEMS SHE DIDN'T STAY LONG IN VANCOUVER BUT SOON TRAVELLED TO ATLIN, B.C. TO GET TO ATLIN, KIRK WOULD HAVE TAKEN A SHIP TO SKAGWAY, THE WHITE PASS RAILWAY TO CARCROSS AND THEN AN OVERLAND AND BOAT TRIP TO ATLIN. IT IS A MYSTERY WHY SHE CHOSE TO GO TO A REMOTE GOLD RUSH TOWN IN NORTH WESTERN BRITISH COLUMBIA. NEXT WE FIND KIRK, IN 1911, BOARDING WITH THE WOODS FAMILY IN LILLOOET, NORTHWEST OF KAMLOOPS, B.C. THERE SHE IS A PUBLIC SCHOOL TEACHER. SEVEN YEARS LATER EDITH KIRK IS IN LETHBRIDGE. IT SEEMS SHE KNEW PEOPLE LIVING IN TABER, DR. ALFRED HAMMAN AND HIS SISTER MRS. SYLVIA GIDMAN, WHO CAME FROM HER HOMELAND IN ENGLAND SO CHOSE VISIT. THE CHARM OF THE PRAIRIE AND MOUNTAIN LANDSCAPES OF SOUTHERN ALBERTA ENTICED HER TO STAY. MISS KIRK LIVED IN THE VICTORIA MANSION AND THE TRAVELLER'S AID SOCIETY BUILDING AND SHE TAUGHT ART CLASSES AT THE YMCA FOR A FEW DOLLARS A MONTH." FOR PAPERS WRITTEN AND PRESENTED BY MISS EDITH KIRK TO MEMBERS OF THE MATHESIS CLUB OF LETHBRIDGE BETWEEN 1933 AND 1937, SEE ARCHIVAL DONATION P19951042000. THE PAPERS DISCUSS THE EVOLUTION OF ART, MODERN ART, HOW ARTISTS DEVELOP PAINTINGS AND ART APPRECIATION. FOR ADDITIONAL INFORMATION, PLEASE SEE OTHER KIRK DONATIONS, INCLUDING: P19820004000, P19960095000, P20090016*, P20140012*, P20140020*, P20140021000, P20150008000, P20150019000, P20150024000, P20150029000, AND P20150030000. SEE ALSO THE BOOK, "A LEGACY OF ADVENTURE AND ART: THE LIFE OF MISS EDITH FANNY KIRCK," BY WENDY AITKENS PUBLISHED IN 2015. ALSO SEE PERMANENT FILE.
Catalogue Number
P20090016001
Acquisition Date
2009-05
Collection
Museum
Images
Less detail
Other Name
NEEDLE CASKET
Date Range From
1830
Date Range To
1953
Material Type
Artifact
Materials
TORTISESHELL, IVORY, SILVER
Catalogue Number
P20090016033
  1 image  
Material Type
Artifact
Other Name
NEEDLE CASKET
Date Range From
1830
Date Range To
1953
Materials
TORTISESHELL, IVORY, SILVER
No. Pieces
2
Height
3.1
Length
6.0
Width
3.5
Description
1. CHEST, TORTOISESHELL VENEER. ROUND SILVER BUTTON CAN BE PUSHED IN ORDER TO OPEN CHEST. THREE, ROUND IVORY FEET ON BOTTOM, ONE MISSING. SILVER BANNER ON TOP OF CHEST MARKED, “FM” IN CURSIVE. BACK, PROPER LEFT, BOTTOM CORNER, FRONT, PROPER RIGHT CORNER AND BACK PROPER RIGHT TOP CORNER ARE CHIPPED. INSIDE OF CHEST LINED WITH BLUE, FLORAL DAMASK. 3.1 CM HIGH BY 6.0 CM LONG BY 3.5 CM WIDE. 2. CHARM. AGATE HEART,TRANPARENT BROWN, BLACK, AND WHITE STRIPED. AGATE ANCHOR MISSING ONE ARM, TRANSPARENT ORANGE AND RED SWIRLS. CHARMS CONNECTED BY THREE METAL LOOPS. 0.5 CM HIGH BY 3.6 CM LONG BY 2.1 CM WIDE.
Subjects
PERSONAL GEAR
Historical Association
DOMESTIC
DECORATIVE ARTS
History
ACCORDING TO DAVE MERESKI, A LOCAL GOLDSMITH, THE METHOD OF DRILLING HOLES AND LINKING THE CHARM TOGETHER WOULD DATE IT SOME TIME AFTER 1920. FOR MORE INFORMATION SEE P20090016001 AND PERMANENT FILE.
Catalogue Number
P20090016033
Acquisition Date
2009-05
Collection
Museum
Images
Less detail
Other Name
MEDICAL USE
Date Range From
1910
Date Range To
1920
Material Type
Artifact
Materials
WOOD, GLASS
Catalogue Number
P19870010002
Material Type
Artifact
Other Name
MEDICAL USE
Date Range From
1910
Date Range To
1920
Materials
WOOD, GLASS
No. Pieces
4
Height
160.5
Length
113.7
Width
40.7
Description
NO. 817 CABINET MISSING GLASS FRONT DOORS. GLASS SIDES. 3 REMOVABLE SHELVES. CASTORS. BUILT IN MIRROR BACKING TOP SHELF. TURNED WOOD BASE & FRONT LEGS. STENCILED ON MIRROR BACK: "C.P.G.CO. MTRL. 1911" ALSO SHIPMENT LABEL ON BACK OF CASE, ILLEGIBLE. CABINET HAS BEEN REPAINTED WHITE. VARIOUS LOOSE JOINTS. SEE CONSERVATION REPORT. SPINDLES IN FRONT AT TOP AND BOTTOM ABOVE WHEELS. MIRROR SURFACE PEELING. BACK OF CASE LABEL "NO. ARTICLE... NO. JOB ...850" ETC.
Subjects
FURNITURE
Historical Association
HEALTH SERVICES
History
DONOR STATES GLASS DOORS REMOVED & LOST. SEE P19870010001-GA FOR CLINIC HISTORY. "C.P.G.CO. MTRL." MAY REPRESENT CANADA PLATE GLASS CO. OF MONTREAL. USED IN ROY CLINIC AS A MEDICAL INSTRUMENT STORAGE UNIT. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING ONE ASSOCIATED WITH THE ROY CLINIC. THE FOLLOWING HISTORY OF THE ROY CLINIC WAS DEVELOPED WITH INFORMATION FROM GALT ARCHIVES, DR. LOUIS ARTHUR ROY'S LETHBRIDGE HERALD OBITUARY, AND THE BOOK 'MEDICAL CLINICS AND PHYSICIANS OF SOUTHERN ALBERTA' BY GERALD M. MCDOUGALL AND FIONA C. HARRIS (1991). DR. LOUIS A. ROY WAS BORN IN MOOSOMIN, SASKATCHEWAN IN 1888. AFTER RECEIVING HIS EARLY EDUCATION THERE, HE PURSUED MEDICINE AT THE UNIVERSITY OF TORONTO, WHERE HE EARNED A BACHELOR OF MEDICINE IN 1911. AFTER COMPLETING AN INTERNSHIP AT THE ROYAL VICTORIA HOSPITAL IN MONTREAL, FOCUSING ON SURGERY AND PATHOLOGY, DR. ROY MOVED TO ALBERTA IN 1913. HE PRACTICED WITH DOCTORS DEVEBER AND CAMPBELL IN LETHBRIDGE FOR FIVE YEARS BEFORE JOINING THE ROYAL CANADIAN ARMY MEDICAL CORPS. HE WAS STATIONED IN A BRITISH MILITARY HOSPITAL IN KENT AS A PATHOLOGIST AND EARNED THE RANK OF CAPTAIN. UPON WAR'S END DR. ROY RETURNED TO LETHBRIDGE AND WORKED WITH THE CAMPBELL GROUP UNTIL 1936, WHEN HE PARTNERED WITH DR. VALERIAN SWANCESKY (AND LATER, WITH DR. STEPHEN SCHMALTZ) TO CREATE THE ROY CLINIC GROUP. THE CLINIC WAS HOUSED ON THE FIRST FLOOR OF THE SHERLOCK BLOCK. DR. ROY WAS ACCREDITED AS A SURGEON BY THE ROYAL COLLEGE OF PHYSICIANS AND SURGEONS OF CANADA IN 1945, AND HE PRACTICED AT THE CLINIC UNTIL HIS RETIREMENT IN 1961. DR. ROY'S SON, DR. DOUGLAS GAETEN ROY ALSO JOINED THE PRACTICE IN 1945. DR. LOUIS A. ROY DIED IN 1964, BUT THE PRACTICE CONTINUED WITH ADDITIONS INCLUDING DR. DONALD ARTHUR RICE AND DR. JAMES ALFRED MCNALLY. THE CLINIC MOVED TO 2ND AVENUE SOUTH IN 1959, AND OPERATED THERE UNDER THE ROY NAME UNTIL BECOMING THE PARK MEDICAL GROUP IN THE LATE 1980S. SEE PERMANENT FILE FOR HARCOPIES OF DR. LOUIS A. ROY'S OBITUARY AND RELEVANT PAGES OF MCDOUGALL AND HARRIS' BOOK.
Catalogue Number
P19870010002
Acquisition Date
1987-07
Collection
Museum
Less detail
Other Name
NO. 3A POCKET KODAK
Date Range From
1910
Date Range To
1915
Material Type
Artifact
Materials
LEATHER, NICKEL PLATED STEEL, WOOD
Catalogue Number
P19705875000
Material Type
Artifact
Other Name
NO. 3A POCKET KODAK
Date Range From
1910
Date Range To
1915
Materials
LEATHER, NICKEL PLATED STEEL, WOOD
No. Pieces
2
Length
23.4
Width
12.0
Description
NAME PLATE ON FRONT "MADE CANADIAN KODAK BY CO. LTD. TORONTO, CANADA" AND ON LENS "MADE BY EASTMAN KODAK CO. ROCHESTER, N.Y., U.S.A.". ON EYE PIECE: "PATENTED MARCH 15, 1904, OCT. 19, 1900" F STOP 4 TO 128. ADJUSTABLE SHUTTER SPEED. ON BACK OF CASE: "NO. 3 A FOLDING POCKET KODAK MODEL B.5, PATENTED IN U.S.A." PATENT DATES "SEPT. 25, 1894, JUNE 21, 1898, SEPT. 20, 1898, SEPT. 9, 1902, OCT. 8, 1901, JAN. 21, 1902, APRIL 29, 1902, OCT. 19, 1909" (MANUFACTURERS STAMPS) ON NAME PLATE ON SHUTTER SPEED CONTROL "PAT'D JAN. 19, 1910". AROUND LENS "RAPID RECTILINEAR BAUSCH & LOMB OPTICAL CO.". LEATHER IS TORN AND STRAP IS BROKEN.
Subjects
PHOTOGRAPHIC T&E
Historical Association
LEISURE
History
A GIFT TO DONOR FROM A MRS. PATTERSON. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING ONE DONATED BY H.W. MENZIE. SHE LEARNED THE FOLLOWING BIOGRAPHICAL DETAILS ON THE DONOR, HATTIE MENZIE, FROM HER LETHBRIDGE HERALD OBITUARY: HATTIE MCLEOD MENZIE WAS BORN IN 1885 IN TALAMAGOUCHE, NOVA SCOTIA, AND CAME TO LETHBRIDGE IN 1911 WITH HER FAMILY. SHE WAS THE WIFE OF CITY SOLICITOR HARRY WESTON MENZIE, WHO PASSED AWAY IN 1957. HATTIE MENZIE DIED IN LETHBRIDGE ON MAY 23, 1978. SEE PERMANENT FILE FOR HARD COPY OF OBITUARY.
Catalogue Number
P19705875000
Acquisition Date
1970-11
Collection
Museum
Less detail
Date Range From
1912
Date Range To
1915
Material Type
Artifact
Materials
LEATHER, BEAD, COTTON
Catalogue Number
P19780209000
  1 image  
Material Type
Artifact
Date Range From
1912
Date Range To
1915
Materials
LEATHER, BEAD, COTTON
No. Pieces
1
Length
76.2
Width
50.8
Description
PONCHO OR CAPE. THE TOP COMPLETED BEADED IN AN INTRICATE GEOMETRIC PATTERN USING MANY DIFFERENT COLOURED BEADS. LEATHER THONG FRINGES ALONG EDGES. BOTTOM HAS BEIGE COTTON LINING (BROWN WITH AGE). HOLE IN THE CENTRE WITH BLACK CLOTH LINING. FRINGE SEPARATING FROM LEATHER BODY; DRYING. SMALL HOLE IN BEADING.
Subjects
CLOTHING-OUTERWEAR
ADORNMENT
Historical Association
ETHNOGRAPHIC
History
ACQUIRED FROM JOE HEALY A BLOOD TRIBE MEMBER BY DONOR'S HUSBAND HERBERT HUSBAND ABOUT 1912. SEE P197800207000-GA FOR HISTORY. ON 26 JANUARY 2011, GALT CURATOR WENDY AITKENS PROFILED THIS CAPE (P19780209000) AS PART OF HER CURATOR PRESENTS’ FAKES AND FORGERIES PROGRAM. AITKENS WAS INFORMED BY COLLECTIONS STAFF THAT THE CAPE WAS FEATURED IN A GALT-SUBMITTED, LETHBRIDGE LIVING MAGAZINE ARTICLE (ON FILE), AUTHORED BY FORMER GALT STAFF MEMBER DR. JANAY NUGENT IN 1999. MRS. PAULINE DEMPSEY, GRANDDAUGHTER OF JOE HEALY, RECALLED IN FEBRUARY 2011 THAT SHE CONTACTED DR. NUGENT AFTER THE ARTICLE’S PUBLICATION TO INFORM HER HAT SHE QUESTIONED THE ARTICLE-CLAIMED MAKER(S) OF THE CAPE, FEELING IT WAS NOT OF BLACKFOOT DESIGN. JOE HEALY, ACCORDING TO DEMPSEY, TRAVELLED EXTENSIVELY AND SHE THOUGHT IT WAS MORE LIKELY THAT THE CAPE WAS GIVEN TO HIM WHEN HE VISITED OTHER TRIBES. BIOGRAPHICAL INFORMATION ON DONORS META AND HERBERT HUSBAND, AS PROVIDED BY KOOTENAI BROWN PIONEER VILLAGE CURATOR FARLEY WUTH ON 17 FEBRUARY 2011, CAN BE FOUND IN THE PERMANENT FILE. *UPDATE* IN 2014 LOUISE-MARIE CROP EARED WOLF, A MEMBER OF THE KAINAI (BLOOD TRIBE), AND A FOURTH YEAR NATIVE AMERICAN STUDIES MAJOR AT THE UNIVERSITY OF LETHBRIDGE COMPLETED AN APPLIED STUDIES PROJECT WITH THE COLLECTIONS DEPARTMENT AT THE GALT MUSEUM. SHE PHOTOGRAPHED ETHNOGRAPHIC ARTIFACTS ASSOCIATED WITH FIRST NATIONS CULTURES IN SOUTHERN ALBERTA AND WROTE THE FOLLOWING TEXT TO PRESENT HER FOCUSED RESEARCH ON FOUR SPECIFIC ARTIFACTS (P19641186000, P19780209000, P19780208000, AND P19790235000): “I WANT TO DISPLAY THE KAINAI WOMEN BEADED ITEMS FROM THE GALT MUSEUM COLLECTIONS FOR THEIR ARTISTIC MERIT AND NOT JUST FOR THEIR ETHNOLOGICAL VALUE. THE FOUR ARTIFACTS SELECTED ARE REPRESENTATIVE OF FOUR GENERATIONS OF BEADERS: GRANDMOTHERS, MOTHERS, SISTER, AND DAUGHTERS. THE COLOURS ARE MEANINGFUL AND THE TRADITIONAL SYMBOLS ARE USED THROUGHOUT. THE ADHERENCE TO THE TRADITION, HOWEVER, DOES NOT SUPPRESS ARTISTIC EXPRESSION; THE BEADERS USE A FAIR DEGREE OF CREATIVITY IN THEIR CHOICE OF MATERIALS, SYMBOLS AND COLORS. THE ART OF BEADING IS NOT A “DYING ART” – IT IS THE ARTISTS, ARTISTIC EXPRESSION AND IT IS A “LIVING ART”. FOR GENERATIONS, KAINAI WOMEN BEADERS AND CLOTHING DESIGNERS HAVE BEEN MAKING CLOTHING FOR THE ENTIRE COMMUNITY. THE BEADED CLOTHING HONOURS THE FAMILY FROM ONE GENERATION TO THE NEXT IN A CONTINUOUS CIRCLE OF HONOURING. THE BEADED CLOTHING AND ACCESSORIES SUCH AS MOCCASINS, LEGGINGS, AND BELTS, COMMUNICATE THE IMPORTANCE OF THE FAMILY AND ILLUSTRATE HOW TRADITIONS ARE PASSED DOWN THROUGH GENERATIONS. THE BEADED WORK CONNECTS A BEADING ARTIST TO HER ANCESTORS. EVERY MOTIF, DESIGN, COLOUR OF SEED BEADS, STANDS FOR SOMETHING IMPORTANT TO THE ARTIST’S FAMILY, REFLECTING THE ARTIST’S SURROUNDINGS AND REINFORCING HER CULTURAL VALUES. LEARNING BY OBSERVATION, AN ARTIST PAYS RESPECT TO THE PAST, PRESENT, AND FUTURE KAINAI WOMEN BEADERS. THIS CAPE IS FULLY BEADED AND IS WORN OVER ELKS HIDE; DEER HIDE DRESS, OR CLOTH DRESS. TRADITIONAL GEOMETRIC AND NATURALISTIC MOTIFS ARE COMBINED INTO A DISTINCTIVE AND PERSONAL CREATIVE EXPRESSION. THIS TYPE OF CAPE IS WORN BY YOUNG GIRLS; THE PATTERNS AND SYMBOLS TELL STORIES THAT HONOUR HER COMMUNITY, HER FAMILY, AND HER ANCESTORS. THE END RESULT IS BOTH A CREATION OF UTILITARIAN AND AESTHETIC VALUE. THE BREAK IN PATTERN ON THE NAPE AREA IS DELIBERATE – THE UNIQUE SIGNATURE OF THE ARTIST WHO CREATED THE PIECE. THIS METHOD OF ‘AUTHENTICATING’ IS COMMONLY USED BY KAINAI BEADERS." *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING A PORTRAIT OF JOE HEALY, WHO WAS PURPORTEDLY THE ORIGINAL OWNER OF THIS CAPE. THE FOLLOWING BIOGRAPHY ON JOE HEALY WAS DEVELOPED WITH INFORMATION FROM THE GALT ARCHIVES AND 'THE AMAZING DEATH OF CALFSHIRT: THREE HUNDRED YEARS OF BLACKFOOT HISTORY' BY HUGH DEMPSEY: POTAI'NA "FLYING CHIEF' JOE HEALY (LATER CALLED WOLF MOCCASIN) WAS BORN IN 1854 ON THE MONTANA BLACKFEET RESERVATION, TO THE LEADER OF THE BLOOD TRIBE, MANY BRAIDS. MANY BRAIDS HAD BECOME FRIENDLY WITH JOHN J. HEALY, CO-OPERATOR OF THE SUN RIVER CROSSING TRADING POST WITH ALFRED B. HAMILTON. DURING A ROUTINE VISIT TO THE TRADING POST, THE BLOODS' CAMP WAS RAIDED AT NIGHT BY A BAND OF PEND D'OREILLE WARRIORS. MANY BRAIDS, HIS WIFE, BABY AND TEENAGE DAUGHTER WERE KILLED IN THE CONFLICT, WHICH WAS WITNESSED BY JOHN HEALY. BEFORE HE DIED, MANY BRAIDS ASKED JOHN HEALY TO TAKE CARE OF HIS SON, FLYING CHIEF, THE ONLY SURVIVING MEMBER OF THE FAMILY. JOHN HEALY GAVE THE EIGHT YEAR OLD BOY THE NAME JOE HEALY, AND KEPT HIM AT THE TRADING POST UNTIL THE SUMMER, WHEN HE WAS ENROLLED IN THE SCHOOL AT NEARBY FORT SHAW. THERE JOE DEVELOPED HIS KNOWLEDGE OF ENGLISH. IN 1869, WHILE JOE WAS IN SCHOOL, HEALY AND HAMILTON WENT NORTH AND OPENED A TRADING POST AT THE CONFLUENCE OF THE OLDMAN AND ST. MARY RIVERS; THIS POST WOULD BECOME KNOWN AS FORT WHOOP-UP AND WAS INFAMOUS FOR ITS CONTRIBUTIONS TO THE WHISKEY TRADE AND VIOLENCE IN THE AREA UNTIL THE ARRIVAL OF THE NORTH-WEST MOUNTED POLICE IN 1874. THREE YEARS LATER, DUE TO A DECLINE IN THE BUFFALO POPULATIONS AND THUS THE ROBE MARKET, HEALY CLOSED THE SUN RIVER CROSSING POST AND MOVED TO FORT BENTON. JOE WAS NOW SIXTEEN AND WAS COMPELLED TO RETURN TO HIS RELATIVES AMONG THE BLOODS. HE FOLLOWED THE LAST BUFFALO HERDS WITH BULL SHIELD, AND JOINED IN RELIGIOUS AND WARFARE ACTIVITIES OF THE TRIBE. WHEN THE BLOODS SETLLED ON THEIR RESERVE IN 1881, JOE WAS THE ONLY MEMBER OF THE TRIBE WHO WAS FLUENT IN BLACKFOOT AND ENGLISH. HE WAS AN OUTSPOKEN SUPPORTER OF RELIGIOUS TRADITIONS AND DEFIED ATTEMPTS BY THE GOVERNMENT TO SUPRESS DANCES AND FESTIVALS. HE MARRIED WIDE NOSTRILS, THE DAUGHTER OF IRON PIPE, AND THEY HAD SIX DAUGHTERS AND FOUR SONS. JOE WORKED AS AN OFFICIAL INTERPRETER FOR THE GOVERNMENT WHEN A NEW TREATY WAS MADE IN 1883, AND AS A SCOUT FOR THE RNWMP. IN LATER YEARS HE CO-ORDINATED FIRST NATIONS' PARTICIPATION IN THE LETHBRIDGE EXHIBITION AND STAMPEDE. JOE HEALY DIED AT ST. PAUL'S MISSION ON THE BLOOD RESERVE IN 1936 AS ONE OF THE MOST RESPECTED PATRIARCHS OF THE BLOOD TRIBE.
Catalogue Number
P19780209000
Acquisition Date
1978-07
Collection
Museum
Images
Less detail
Other Name
TRENCH ART
Date Range From
1914
Date Range To
1918
Material Type
Artifact
Materials
BRASS
Catalogue Number
P20090010003
  1 image  
Material Type
Artifact
Other Name
TRENCH ART
Date Range From
1914
Date Range To
1918
Materials
BRASS
No. Pieces
1
Height
0.5
Length
5.0
Width
1.8
Description
BRASS BULLET HEAD FEATURES HAND-MODIFIED CARTRIDGE END, POUNDED & CUT INTO A MILITARY IRON CROSS-LIKE SHAPE.
Subjects
DOCUMENTARY ARTIFACT
ARMAMENT-AMMUNITION
Historical Association
MILITARY
DECORATIVE ARTS
History
TRENCH ART PRESUMED TO HAVE BEEN ACQUIRED BY FORMER OWNER HELEN NOBLE DURING WWI. NOBLE ACTED AS A NURSE DURING THE WAR. SHAPE OF ARTWORK LEADS TO SPECULATION THAT ARTIST MAY HAVE BEEN GERMAN AND MAY HAVE BEEN TREATED BY NOBLE. FOR MORE INFORMATION, SEE P20090010001 AND PERMANENT RECORD.
Catalogue Number
P20090010003
Acquisition Date
2009-03
Collection
Museum
Images
Less detail
Other Name
UMBILICAL CORD
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
BEADS, BUCKSKIN
Catalogue Number
P19641186000
  1 image  
Material Type
Artifact
Other Name
UMBILICAL CORD
Date Range From
1900
Date Range To
1910
Materials
BEADS, BUCKSKIN
No. Pieces
1
Height
2.9
Length
14.0
Width
7.3
Description
DORSAL SURFACE BUCKSKIN COVERED WITH GEOMETRIC BEADWORK DESIGN IN BLACK AND WHITE BEADS. VENTRAL SURFACE BUCKSKIN. HANDMADE. CONSERVATION REPORT ON FILE.
Subjects
INDIGENOUS
ADORNMENT
Historical Association
ETHNOGRAPHIC
History
DONOR CLAIMS MADE BY SIOUX & TRADED OR GIVEN TO BLOODS. THIS TYPEOF TURTLE UMBILICAL CHARM WORN BY FEMALE CHILDREN (SNAKE CHARMS WORN BY BOYS) UMBILICAL CORDS OF NEW-BORN WERE PLACED IN A BEADED CASE & WORN BY CHILD UNTIL ADOLESCENCE AS PROTECTIVE CHARM. *UPDATE* IN 2014 LOUISE-MARIE CROP EARED WOLF, A MEMBER OF THE KAINAI (BLOOD TRIBE), AND A FOURTH YEAR NATIVE AMERICAN STUDIES MAJOR AT THE UNIVERSITY OF LETHBRIDGE COMPLETED AN APPLIED STUDIES PROJECT WITH THE COLLECTIONS DEPARTMENT AT THE GALT MUSEUM. SHE PHOTOGRAPHED ETHNOGRAPHIC ARTIFACTS ASSOCIATED WITH FIRST NATIONS CULTURES IN SOUTHERN ALBERTA AND WROTE THE FOLLOWING TEXT TO PRESENT HER FOCUSED RESEARCH ON FOUR SPECIFIC ARTIFACTS (P19641186000, P19780209000, P19780208000, AND P19790235000): “I WANT TO DISPLAY THE KAINAI WOMEN BEADED ITEMS FROM THE GALT MUSEUM COLLECTIONS FOR THEIR ARTISTIC MERIT AND NOT JUST FOR THEIR ETHNOLOGICAL VALUE. THE FOUR ARTIFACTS SELECTED ARE REPRESENTATIVE OF FOUR GENERATIONS OF BEADERS: GRANDMOTHERS, MOTHERS, SISTER, AND DAUGHTERS. THE COLOURS ARE MEANINGFUL AND THE TRADITIONAL SYMBOLS ARE USED THROUGHOUT. THE ADHERENCE TO THE TRADITION, HOWEVER, DOES NOT SUPPRESS ARTISTIC EXPRESSION; THE BEADERS USE A FAIR DEGREE OF CREATIVITY IN THEIR CHOICE OF MATERIALS, SYMBOLS AND COLORS. THE ART OF BEADING IS NOT A “DYING ART” – IT IS THE ARTISTS, ARTISTIC EXPRESSION AND IT IS A “LIVING ART”. FOR GENERATIONS, KAINAI WOMEN BEADERS AND CLOTHING DESIGNERS HAVE BEEN MAKING CLOTHING FOR THE ENTIRE COMMUNITY. THE BEADED CLOTHING HONOURS THE FAMILY FROM ONE GENERATION TO THE NEXT IN A CONTINUOUS CIRCLE OF HONOURING. THE BEADED CLOTHING AND ACCESSORIES SUCH AS MOCCASINS, LEGGINGS, AND BELTS, COMMUNICATE THE IMPORTANCE OF THE FAMILY AND ILLUSTRATE HOW TRADITIONS ARE PASSED DOWN THROUGH GENERATIONS. THE BEADED WORK CONNECTS A BEADING ARTIST TO HER ANCESTORS. EVERY MOTIF, DESIGN, COLOUR OF SEED BEADS, STANDS FOR SOMETHING IMPORTANT TO THE ARTIST’S FAMILY, REFLECTING THE ARTIST’S SURROUNDINGS AND REINFORCING HER CULTURAL VALUES. LEARNING BY OBSERVATION, AN ARTIST PAYS RESPECT TO THE PAST, PRESENT, AND FUTURE KAINAI WOMEN BEADERS. THIS IS A PROTECTIVE SYMBOL OF THE TURTLE THAT IS WORN BY CHILDREN INTO THEIR ADOLESCENCE. THE GRANDMOTHER ENCASES THE UMBILICAL CORD IN ELK HIDE THAT IS CUT IN THE SHAPE OF TURTLE FOR GIRLS AND LIZARDS FOR BOYS; BOTH HAVE APPLICATION COLOURED SEED BEADS. THE DESIGN USES CONTRASTING BLACK AND WHITE BEADS TO EMULATE THE SHAPE AND TEXTURE OF THE ANIMAL. THE ITEM IS WORN ON THE BACK OF A DRESS ATTACHED NEAR THE NECK. THE ITEM INSURES THE SAFETY AND PROTECTION FROM INFANCY INTO ADULTHOOD." *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
P19641186000
Acquisition Date
1964-07
Collection
Museum
Images
Less detail

The City Of Lethbridge Power House

https://collections.galtmuseum.com/en/permalink/descriptions4440
Date Range
[1910]
Description Level
Item
Material Type
Photograph
Accession No.
19760218060
Physical Description
Black and white photograph
Scope and Content
From left to right city workers Dave Conn, Engineer; Winn Sherra, Oiler; Tom Hargraves Engineer and Art Jarvis, Oiler pose inside the City of Lethbridge Power House.
  1 image  
Material Type
Photograph
Date Range
[1910]
Description Level
Item
Physical Description
Black and white photograph
Physical Condition
Good
History / Biographical
Local.
Scope and Content
From left to right city workers Dave Conn, Engineer; Winn Sherra, Oiler; Tom Hargraves Engineer and Art Jarvis, Oiler pose inside the City of Lethbridge Power House.
Access Restrictions
Public Access
Accession No.
19760218060
Collection
Archive
Images
Less detail
Date Range From
1900
Date Range To
1920
Material Type
Artifact
Materials
WOOL, SILK, STEEL
Catalogue Number
P19990053003
  2 images  
Material Type
Artifact
Date Range From
1900
Date Range To
1920
Materials
WOOL, SILK, STEEL
No. Pieces
1
Height
10.0
Length
98.0
Width
56.5
Description
MEN'S FROCK COAT. BLACK WOOL. DOUBLE BREASTED; BUTTONS ARE STEEL, OVERLAID WITH BLACK THREAD IN A WEAVE PATTERN. IMPRESSED INTO BACK OF EACH BUTTON IS "CARANTIE * 32 * ". COAT HAS NOTCHED LAPELS, THAT END IN A V-SHAPE. COLLAR IS SLIGHTLY NARROWER THAN LAPELS. THERE ARE TWO BUTTON HOLES ON LAPEL, ONE OF WHICH IS SEWN UP. BELOW WAIST LINE JACKET IS SLIGHTLY FULLER. THERE ARE NO OUTSIDE POCKETS, BUT A WELT POCKET ON EACH INSIDE BREAST. INSIDE OF JACKET IS LINED WITH BLACK SILK, EXCEPT FOR SLEEVES WHICH ARE LINED WITH A WHITE AND BLACK STRIPED COTTON. LINING ON RIGHT ARM IS LOOSE, AND APPEARS TO HAVE BEEN REPAIRED. THERE ARE THREE SMALLER BUTTONS SAME AS ABOVE, ON EACH CUFF, WITH MOCK BUTTONHOLES. BACK OF JACKET, HAS A VENT, ABOVE WHICH ARE 2 BUTTONS (SAME AS ABOVE). EACH 'TAIL' OF VENT HAS A HIDDEN SLIT POCKET ON INSIDE.
Subjects
CLOTHING-OUTERWEAR
Historical Association
FINE ARTS
PERSONAL CARE
History
ORIGIN DATE OF THIS COAT IS UNKNOWN, BUT FROCK COATS WERE WORN BY MEN FROM THE END OF THE 18TH CENTURY THROUGH THE 19TH CENTURY. COULD HAVE BEEN REPLICATED LATER TO COPY AN EARLIER STYLE. DONOR IS A HIGH SCHOOL PHYS. ED. TEACHER. SHE DID DRAMA IN SCHOOLS AND LOCAL THEATRE, AND ENTIRE COLLECTION WAS GIVEN TO HER BY LOCAL PEOPLE. FOR MORE INFORMATION ON DONOR GAIL HOLLAND’S ACQUISITION, STEWARDSHIP AND GENERAL USE OF HER 1999-DONATED COLLECTION PLEASE REFER TO RECORD P19990053001. ***UPDATE: ARTIFACT INSIGHT BELOW SUBMITTED BY DONOR AND COLLECTIONS VOLUNTEER GAIL HOLLAND ON 19 APRIL 2011. “FROCK COAT WAS USED AS A COSTUME PIECE IN “OLIVER” LETHBRIDGE MUSICAL THEATRE IN 1975 AND WAS WORN BY THE CHARACTER PLAYING OLIVER’S GRANDFATHER.”
Catalogue Number
P19990053003
Acquisition Date
2000-12
Collection
Museum
Images
Less detail
Other Name
STEAM COOKER
Date Range From
1910
Date Range To
1920
Material Type
Artifact
Materials
COPPER, GALVANIZED METAL, PLASTIC
Catalogue Number
P19694670000
Material Type
Artifact
Other Name
STEAM COOKER
Date Range From
1910
Date Range To
1920
Materials
COPPER, GALVANIZED METAL, PLASTIC
No. Pieces
6
Height
45.7
Diameter
22.8
Description
FRONT NAME PLATE "PEERLESS STEAM COOKERS MANUFACTURED BY ONWARD MANUFACTURING COMPANY KITCHENER---ONTARIO". 2 LAYERS, 3 TRAYS AND COVER. PLASTIC KNOB ON PRESSURE GAUGE. COVER IS MISSING HANDLE, CORROSION ON ALL PIECES, ESP BOTTOM.
Subjects
FOOD PROCESSING T&E
Historical Association
DOMESTIC
History
*UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING ONE ASSOCIATED WITH LETHBRIDGE MAYOR W. D. L. HARDIE, THE FATHER OF THE DONOR OF THIS ARTIFACT, JESSE MAXWELL OVERTON HARDIE. THE FOLLOWING BIOGRAPHY OF W. D. L. HARDIE WAS DEVELOPED WITH INFORMATION FROM A TRIBUTE ARTICLE FROM THE JUNE 16, 1942 ISSUE OF THE LETHBRIDGE HERALD. WILLIAM DUNCAN LIVINGSTONE HARDIE WAS BORN NEAR EDINBURGH, SCOTLAND IN 1862, AND THE FAMILY IMMIGRATED TO OHIO THE FOLLOWING YEAR. IN 1885 HARDIE MARRIED MARGARET KIRTLEY, AND THEY HAD FIVE CHILDREN: IANTHE, AGNES, E.W., JESSE, AND INZOLA. HARDIE FIRST CAME TO LETHBRIDGE IN 1889, WHEN HE BECAME THE ASSISTANT SUPERINTENDENT OF THE GALT NO. 1 MINE. AFTER FOUR YEARS HE RETURNED TO THE UNITED STATES, WORKING FOR MINING COMPANIES IN PENNSYLVANIA, TENNESSEE, AND ALABAMA BEFORE RETURNING TO LETHBRIDGE IN 1896 AS SUPERINTENDENT OF NORTHWEST COAL & NAVIGATION COMPANY. IN 1910 HARDIE LEFT THE GALT-OWNED COMPANY AND WORKED AS THE MANAGER OF THE DIAMOND COAL COMPANY UNTIL 1912, WHEN HE RAN FOR AND WON THE OFFICE OF LETHBRIDGE MAYOR. HARDIE SERVED AS MAYOR UNTIL 1928, WHEN HE WAS REPLACED BY ROBERT BARROWMAN. IN 1930 HARDIE HAD AN UNSUCCESSFUL RUN FOR THE LETHBRIDG SEAT IN THE PROVINCIAL GENERAL ELECTION. HARDIE WAS ACTIVE WITH THE LETHBRIDGE MASONS, THE ALBERTA UNION OF MUNICIPALITIES, AND HAD AN AVID INTEREST IN ASTROLOGY. HARDIEVILLE, THE FORMER HAMLET NORTHEAST OF LETHBRIDGE THAT WAS ANNEXED BY THE CITY IN 1978, WAS NAMED AFTER HIM. W. D. L. HARDIE DIED ON JUNE 16, 1942. ACCORDING TO HIS LETHBRIDGE HERALD OBITUARY, THE DONOR OF THIS ARTIFACT, JESSE HARDIE, WAS BORN IN TENNESSEE IN 1891 AND CAME TO LETHBRIDGE WITH HIS PARENTS WHEN W. D. L. HARDIE BECAME THE SUPERINTENDENT OF NORTHWEST COAL & NAVIGATION COMPANY. DURING WWI JESSE HARDIE SERVED WITH THE CANADIAN ARMED FORCES, AND LATER WORKED FOR THE VANCOUVER HARBOUR BOARD. HARDIE DIED IN LETHBRIDGE ON OCTOBER 28, 1978. SEE PERMANENT FILE P19880033000-GA FOR HARDCOPIES OF SOURCE MATERIALS.
Catalogue Number
P19694670000
Acquisition Date
1969-10
Collection
Museum
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