Skip header and navigation

16 records – page 1 of 1.

Other Name
UNTITLED PORTRAIT-WOMAN & BABY
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
CANVAS
Catalogue Number
P19738754000
  1 image  
Material Type
Artifact
Other Name
UNTITLED PORTRAIT-WOMAN & BABY
Date Range From
1950
Date Range To
1960
Materials
CANVAS
No. Pieces
1
Length
37.8
Width
33.6
Description
FRAMED OIL ON CANVAS PORTRAIT OF WOMAN & BABY IN TRADITIONAL NATIVE COSTUMES. SIGNED BOTTOM LEFT "TWO GUN". INDIVIDUALS IN PORTRAIT UNIDENTIFIED.
Subjects
ART
INDIGENOUS
Historical Association
FINE ARTS
History
ARTIST, TWO GUN, A NOM DE PLUME FOR PERCY PLAIN WOMAN (1895-1961), RAISED ON THE BLOOD RESERVE IN SOUTHERN ALBERTA, SOUTH OF FORT MACLEOD. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. SHE DEVELOPED THE FOLLOWING BIOGRAPHY OF THE ARTIST, TWO GUN, WITH INFORMATION FROM CALGARY AND LETHBRIDGE HERALD ARTICLES AND RECORD P20130026000. PERCY “TWO GUN” PLAIN WOMAN WAS BORN IN 1895 AND RAISED ON THE BLOOD RESERVE. WITH A GRADE SEVEN EDUCATION, HE LEFT RESIDENTIAL SCHOOL TO TAKE UP LIFE AS A COW PUNCHER. HE SOON BECAME AN EXPERT RIDER AND BRONC BUSTER AND RODEOED THROUGHOUT THE WEST. TWO GUN WAS NEARLY 50 BEFORE HE BEGAN TO TAKE A SERIOUS INTEREST IN ART. AS A MIDDLE-AGED MAN HE TOOK A FEW LESSONS AT THE BANFF SCHOOL OF FINE ART, AND PAINTED TRADITIONAL DESIGNS ON TEEPEES PRIOR TO HIS LATER PORTRAITURE PRACTICE. HIS DEPICTIONS OF TRADITIONAL NATIVE LIFE AND PORTRAITS OF IMPORTANT BLOOD AND BLACKFOOT INDIVIDUALS BECAME WELL KNOWN IN SOUTHERN ALBERTA AND MONTANA. TWO GUN WAS COMMISSIONED TO PAINT A HISTORY OF THE BLACKFOOT TRIBES ON THE LOBBY WALLS OF THE PRINCE OF WALES HOTEL IN WATERTON LAKES NATIONAL PARK. HE FIRST SOLD HIS PAINTINGS TO A LOCAL RESTAURANT FOR $5.00 BUT AS HE BECAME KNOWN DEMAND FOR HIS WORKS INCREASED. IT WAS ONLY IN THE LATER YEARS OF HIS LIFE THAT HE MADE A LIVING OFF HIS ART. DURING THE 1950S TWO GUN CONTRACTED TUBERCULOSIS AND WAS A PATIENT AT CHARLES CAMSELL HOSPITAL IN EDMONTON FOR FOUR YEARS. HE DIED AT AGE 66 IN CARDSTON HOSPITAL. HE USED THE SYMBOL OF TWO CROSSED OR PARALLEL RIFLES TO ACCOMPANY HIS SIGNATURE IN MANY CASES, AS THE NAME TWO GUN WAS HANDED DOWN BY AN UNCLE, CHIEF EAGLECHILD. HIS NEPHEW WAS GERALD TAILFEATHERS, ALSO A WELL-KNOWN CANADIAN NATIVE ARTIST. FOR COPIES OF CALGARY AND LETHBRIDGE HERALD NEWSPAPER ARTICLES ON TWO GUN, SEE PERMANENT FILE P20030029000. FOR HARDCOPIES OF THE ARTIST'S DEATH REGISTRATION, MATERIAL DEVELOPED FOR A 1990 EXHIBITION OF HIS WORK, AND CORRESPONDANCE BETWEEN MUSEUM STAFF AND HUGH DEMPSEY REGARDING THE ARTIST, SEE PERMANENT FILE P19640615000.
Catalogue Number
P19738754000
Acquisition Date
1973-06
Collection
Museum
Images
Less detail
Other Name
UNTITLED LANDSCAPE
Date Range From
1955
Date Range To
1965
Material Type
Artifact
Materials
WOOD, MASONITE
Catalogue Number
P19890016002
  1 image  
Material Type
Artifact
Other Name
UNTITLED LANDSCAPE
Date Range From
1955
Date Range To
1965
Materials
WOOD, MASONITE
No. Pieces
1
Length
43.4
Width
33.2
Description
UNTITLED, FRAMED OIL ON MASONITE. SUBJECT, NATIVE MALE ON HORSEBACK WITH 2 HORSES. MOUNTAINS IN BACKGROUND. SIGNED BL WITH ILLUSTRATION OF 2 RIFLES.
Subjects
INDIGENOUS
ART
Historical Association
FINE ARTS
History
ATTRIBUTED TO KAINAI ARTIST TWO GUN OR PERCY PLAIN WOMAN. 2 RIFLES SYMBOL USED BY ARTIST TO SIGN HIS WORK. ALSO USED "TWO GUN" SIGNATURE & SOMETIMES COMBINED BOTH SYMBOL & SIGNATURE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE DONOR WAS FOUND TO BE DECEASED VIA HIS LETHBRIDGE HERALD OBITUARY ON JULY 6, 2008. THE FOLLOWING BIOGRAPHY OF THE ARTIST, TWO GUN, WAS DEVELOPED WITH INFORMATION FROM CALGARY AND LETHBRIDGE HERALD ARTICLES AND RECORD P20130026000. PERCY “TWO GUN” PLAIN WOMAN WAS BORN IN 1895 AND RAISED ON THE KAINAI RESERVE. WITH A GRADE SEVEN EDUCATION, HE LEFT RESIDENTIAL SCHOOL TO TAKE UP LIFE AS A COW PUNCHER. HE SOON BECAME AN EXPERT RIDER AND BRONC BUSTER AND RODEOED THROUGHOUT THE WEST. TWO GUN WAS NEARLY 50 BEFORE HE BEGAN TO TAKE A SERIOUS INTEREST IN ART. AS A MIDDLE-AGED MAN HE TOOK A FEW LESSONS AT THE BANFF SCHOOL OF FINE ART, AND PAINTED TRADITIONAL DESIGNS ON TEEPEES PRIOR TO HIS LATER PORTRAITURE PRACTICE. HIS DEPICTIONS OF TRADITIONAL NATIVE LIFE AND PORTRAITS OF IMPORTANT BLOOD AND BLACKFOOT INDIVIDUALS BECAME WELL KNOWN IN SOUTHERN ALBERTA AND MONTANA. TWO GUN WAS COMMISSIONED TO PAINT A HISTORY OF THE BLACKFOOT TRIBES ON THE LOBBY WALLS OF THE PRINCE OF WALES HOTEL IN WATERTON LAKES NATIONAL PARK. HE FIRST SOLD HIS PAINTINGS TO A LOCAL RESTAURANT FOR $5.00 BUT AS HE BECAME KNOWN DEMAND FOR HIS WORKS INCREASED. IT WAS ONLY IN THE LATER YEARS OF HIS LIFE THAT HE MADE A LIVING OFF HIS ART. DURING THE 1950S TWO GUN CONTRACTED TUBERCULOSIS AND WAS A PATIENT AT CHARLES CAMSELL HOSPITAL IN EDMONTON FOR FOUR YEARS. HE DIED AT AGE 66 IN CARDSTON HOSPITAL. HE USED THE SYMBOL OF TWO CROSSED OR PARALLEL RIFLES TO ACCOMPANY HIS SIGNATURE IN MANY CASES, AS THE NAME TWO GUN WAS HANDED DOWN BY AN UNCLE, CHIEF EAGLECHILD. HIS NEPHEW WAS GERALD TAILFEATHERS, ALSO A WELL-KNOWN CANADIAN NATIVE ARTIST. FOR COPIES OF CALGARY AND LETHBRIDGE HERALD NEWSPAPER ARTICLES ON TWO GUN, SEE PERMANENT FILE P20030029000. FOR HARDCOPIES OF THE ARTIST'S DEATH REGISTRATION, MATERIAL DEVELOPED FOR A 1990 EXHIBITION OF HIS WORK, AND CORRESPONDANCE BETWEEN MUSEUM STAFF AND HUGH DEMPSEY REGARDING THE ARTIST, SEE PERMANENT FILE P19640615000.
Catalogue Number
P19890016002
Acquisition Date
1989-05
Collection
Museum
Images
Less detail
Other Name
UNTITLED LANDSCAPE
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
WOOD
Catalogue Number
P19910042001
  1 image  
Material Type
Artifact
Other Name
UNTITLED LANDSCAPE
Date Range From
1950
Date Range To
1960
Materials
WOOD
No. Pieces
1
Length
63.7
Width
47.5
Description
OIL PAINTING LANDSCAPE DEPICTING MAN ON HORSEBACK IN TRADITIONAL NATIVE COSTUME OVERLOOKING AN APPROACHING WAGON TRAIN IN A VALLEY BOTTOM. SIGNED BOTTOM LEFT "TWO GUN" BELOW 2 STICK FORM RIFLES. FRAMED OIL ON MASONITE.
Subjects
INDIGENOUS
ART
Historical Association
FINE ARTS
History
SIGNATURE WITH 2 GUNS IS A NOM D' PLUME FOR PERCY PLAINS WOMAN (1895-1961) & IS TYPICAL OF SEVERAL WAYS THE ARTIST, FROM THE KAINAI RESERVE IN SOUTHERN ALBERTA, WOULD SIGN HIS WORKS. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. SHE DEVELOPED THE FOLLOWING BIOGRAPHY OF THE ARTIST, TWO GUN, WITH INFORMATION FROM CALGARY AND LETHBRIDGE HERALD ARTICLES AND RECORD P20130026000. PERCY “TWO GUN” PLAIN WOMAN WAS BORN IN 1895 AND RAISED ON THE KAINAI RESERVE. WITH A GRADE SEVEN EDUCATION, HE LEFT RESIDENTIAL SCHOOL TO TAKE UP LIFE AS A COW PUNCHER. HE SOON BECAME AN EXPERT RIDER AND BRONC BUSTER AND RODEOED THROUGHOUT THE WEST. TWO GUN WAS NEARLY 50 BEFORE HE BEGAN TO TAKE A SERIOUS INTEREST IN ART. AS A MIDDLE-AGED MAN HE TOOK A FEW LESSONS AT THE BANFF SCHOOL OF FINE ART, AND PAINTED TRADITIONAL DESIGNS ON TEEPEES PRIOR TO HIS LATER PORTRAITURE PRACTICE. HIS DEPICTIONS OF TRADITIONAL NATIVE LIFE AND PORTRAITS OF IMPORTANT BLOOD AND BLACKFOOT INDIVIDUALS BECAME WELL KNOWN IN SOUTHERN ALBERTA AND MONTANA. TWO GUN WAS COMMISSIONED TO PAINT A HISTORY OF THE BLACKFOOT TRIBES ON THE LOBBY WALLS OF THE PRINCE OF WALES HOTEL IN WATERTON LAKES NATIONAL PARK. HE FIRST SOLD HIS PAINTINGS TO A LOCAL RESTAURANT FOR $5.00 BUT AS HE BECAME KNOWN DEMAND FOR HIS WORKS INCREASED. IT WAS ONLY IN THE LATER YEARS OF HIS LIFE THAT HE MADE A LIVING OFF HIS ART. DURING THE 1950S TWO GUN CONTRACTED TUBERCULOSIS AND WAS A PATIENT AT CHARLES CAMSELL HOSPITAL IN EDMONTON FOR FOUR YEARS. HE DIED AT AGE 66 IN CARDSTON HOSPITAL. HE USED THE SYMBOL OF TWO CROSSED OR PARALLEL RIFLES TO ACCOMPANY HIS SIGNATURE IN MANY CASES, AS THE NAME TWO GUN WAS HANDED DOWN BY AN UNCLE, CHIEF EAGLECHILD. HIS NEPHEW WAS GERALD TAILFEATHERS, ALSO A WELL-KNOWN CANADIAN NATIVE ARTIST. FOR COPIES OF CALGARY AND LETHBRIDGE HERALD NEWSPAPER ARTICLES ON TWO GUN, SEE PERMANENT FILE P20030029000. FOR HARDCOPIES OF THE ARTIST'S DEATH REGISTRATION, MATERIAL DEVELOPED FOR A 1990 EXHIBITION OF HIS WORK, AND CORRESPONDANCE BETWEEN MUSEUM STAFF AND HUGH DEMPSEY REGARDING THE ARTIST, SEE PERMANENT FILE P19640615000.
Catalogue Number
P19910042001
Acquisition Date
1991-07
Collection
Museum
Images
Less detail
Other Name
UNTITLED PORTRAIT
Date Range From
1940
Date Range To
1960
Material Type
Artifact
Materials
WOOD, CANVAS
Catalogue Number
P19890016001
  1 image  
Material Type
Artifact
Other Name
UNTITLED PORTRAIT
Date Range From
1940
Date Range To
1960
Materials
WOOD, CANVAS
No. Pieces
1
Length
34.5
Width
33.2
Description
UNFRAMED, UNTITLED OIL ON CANVAS. SUBJECT, PORTRAIT OF NATIVE MALE IN TRADITIONAL COSTUME, BUST, LEFT PROFILE. SIGNED BL "TWO GUN" STRETCHED CANVAS OVER ROUGH WOOD FRAME.
Subjects
INDIGENOUS
ART
Historical Association
FINE ARTS
History
KAINAI NATION ARTIST PERCY PLAIN WOMAN (1895-1961) SIGNED HIS WORK TWO GUN OFTEN WITH A TWO RIFLE SYMBOL.TWO GUN IS A NON DE PLUME FOR PERCY PLAIN WOMAN A NATIVE ARTIST FROM THE KAINAI RESERVE. ARTIST LARGELY SELF-TAUGHT, HIS USUAL SUBJECTS WERE SCENES DEPICTING TRADITIONAL NATIVE LIFE & PORTRAITS OF NATIVE PEOPLE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE DONOR WAS FOUND TO BE DECEASED VIA HIS LETHBRIDGE HERALD OBITUARY ON JULY 6, 2008. THE FOLLOWING BIOGRAPHY OF THE ARTIST, TWO GUN, WAS DEVELOPED WITH INFORMATION FROM CALGARY AND LETHBRIDGE HERALD ARTICLES AND RECORD P20130026000. PERCY “TWO GUN” PLAIN WOMAN WAS BORN IN 1895 AND RAISED ON THE KAINAI RESERVE. WITH A GRADE SEVEN EDUCATION, HE LEFT RESIDENTIAL SCHOOL TO TAKE UP LIFE AS A COW PUNCHER. HE SOON BECAME AN EXPERT RIDER AND BRONC BUSTER AND RODEOED THROUGHOUT THE WEST. TWO GUN WAS NEARLY 50 BEFORE HE BEGAN TO TAKE A SERIOUS INTEREST IN ART. AS A MIDDLE-AGED MAN HE TOOK A FEW LESSONS AT THE BANFF SCHOOL OF FINE ART, AND PAINTED TRADITIONAL DESIGNS ON TEEPEES PRIOR TO HIS LATER PORTRAITURE PRACTICE. HIS DEPICTIONS OF TRADITIONAL NATIVE LIFE AND PORTRAITS OF IMPORTANT BLOOD AND BLACKFOOT INDIVIDUALS BECAME WELL KNOWN IN SOUTHERN ALBERTA AND MONTANA. TWO GUN WAS COMMISSIONED TO PAINT A HISTORY OF THE BLACKFOOT TRIBES ON THE LOBBY WALLS OF THE PRINCE OF WALES HOTEL IN WATERTON LAKES NATIONAL PARK. HE FIRST SOLD HIS PAINTINGS TO A LOCAL RESTAURANT FOR $5.00 BUT AS HE BECAME KNOWN DEMAND FOR HIS WORKS INCREASED. IT WAS ONLY IN THE LATER YEARS OF HIS LIFE THAT HE MADE A LIVING OFF HIS ART. DURING THE 1950S TWO GUN CONTRACTED TUBERCULOSIS AND WAS A PATIENT AT CHARLES CAMSELL HOSPITAL IN EDMONTON FOR FOUR YEARS. HE DIED AT AGE 66 IN CARDSTON HOSPITAL. HE USED THE SYMBOL OF TWO CROSSED OR PARALLEL RIFLES TO ACCOMPANY HIS SIGNATURE IN MANY CASES, AS THE NAME TWO GUN WAS HANDED DOWN BY AN UNCLE, CHIEF EAGLECHILD. HIS NEPHEW WAS GERALD TAILFEATHERS, ALSO A WELL-KNOWN CANADIAN NATIVE ARTIST. FOR COPIES OF CALGARY AND LETHBRIDGE HERALD NEWSPAPER ARTICLES ON TWO GUN, SEE PERMANENT FILE P20030029000. FOR HARDCOPIES OF THE ARTIST'S DEATH REGISTRATION, MATERIAL DEVELOPED FOR A 1990 EXHIBITION OF HIS WORK, AND CORRESPONDANCE BETWEEN MUSEUM STAFF AND HUGH DEMPSEY REGARDING THE ARTIST, SEE PERMANENT FILE P19640615000.
Catalogue Number
P19890016001
Acquisition Date
1989-05
Collection
Museum
Images
Less detail
Other Name
UNTITLED PORTRAIT
Date Range From
1930
Date Range To
1950
Material Type
Artifact
Materials
WOOD, OIL PAINT
Catalogue Number
P19900044000
  1 image  
Material Type
Artifact
Other Name
UNTITLED PORTRAIT
Date Range From
1930
Date Range To
1950
Materials
WOOD, OIL PAINT
No. Pieces
1
Height
60
Width
53
Description
OIL ON BOARD PORTRAIT OF ADULT MALE, NATIVE IN TRADITIONAL REGALIA, INCLUDING FUR HAT WITH FEATHER. PROFILE, FACING RIGHT. WORK IS ATTRIBUTTED TO KAINAI ARTIST TWO GUN.
Subjects
INDIGENOUS
ART
Historical Association
FINE ARTS
History
UNTITLED PORTRAIT, BELIEVED TO BE CHIEF MANY DIFFERENT HORSES, A KAINAI NATION CHIEF. (SOURCE: HUGH DEMPSEY, GLENBOW MUSEUM). WRITTEN ON REVERSE: "OIL PAINTING BY PERCY PLAIN WOMAN INDIAN NAME TWO GUN MACLEOD ALTA, CANADA" PURCHASED BY ROBT. SWIFT HODSON, AN EARLY PIONEER IN CALGARY AREA, FROM ARTIST. OWNED BY GORDON HEWITT, PAINTING SOLD BY PETLEY JONES GALLERY, ACTING AS AGENT FOR HEWITT TO MUSEUM. FOR HISTORY OF TWO GUN SEE P19890011000-GA. SEE ATTACHED LETTER. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. SHE DEVELOPED THE FOLLOWING BIOGRAPHY OF THE ARTIST, TWO GUN, WITH INFORMATION FROM CALGARY AND LETHBRIDGE HERALD ARTICLES AND RECORD P20130026000. PERCY “TWO GUN” PLAIN WOMAN WAS BORN IN 1895 AND RAISED ON THE KAINAI RESERVE. WITH A GRADE SEVEN EDUCATION, HE LEFT RESIDENTIAL SCHOOL TO TAKE UP LIFE AS A COW PUNCHER. HE SOON BECAME AN EXPERT RIDER AND BRONC BUSTER AND RODEOED THROUGHOUT THE WEST. TWO GUN WAS NEARLY 50 BEFORE HE BEGAN TO TAKE A SERIOUS INTEREST IN ART. AS A MIDDLE-AGED MAN HE TOOK A FEW LESSONS AT THE BANFF SCHOOL OF FINE ART, AND PAINTED TRADITIONAL DESIGNS ON TEEPEES PRIOR TO HIS LATER PORTRAITURE PRACTICE. HIS DEPICTIONS OF TRADITIONAL NATIVE LIFE AND PORTRAITS OF IMPORTANT KAINAI AND BLACKFOOT INDIVIDUALS BECAME WELL KNOWN IN SOUTHERN ALBERTA AND MONTANA. TWO GUN WAS COMMISSIONED TO PAINT A HISTORY OF THE BLACKFOOT TRIBES ON THE LOBBY WALLS OF THE PRINCE OF WALES HOTEL IN WATERTON LAKES NATIONAL PARK. HE FIRST SOLD HIS PAINTINGS TO A LOCAL RESTAURANT FOR $5.00 BUT AS HE BECAME KNOWN DEMAND FOR HIS WORKS INCREASED. IT WAS ONLY IN THE LATER YEARS OF HIS LIFE THAT HE MADE A LIVING OFF HIS ART. DURING THE 1950S TWO GUN CONTRACTED TUBERCULOSIS AND WAS A PATIENT AT CHARLES CAMSELL HOSPITAL IN EDMONTON FOR FOUR YEARS. HE DIED AT AGE 66 IN CARDSTON HOSPITAL. HE USED THE SYMBOL OF TWO CROSSED OR PARALLEL RIFLES TO ACCOMPANY HIS SIGNATURE IN MANY CASES, AS THE NAME TWO GUN WAS HANDED DOWN BY AN UNCLE, CHIEF EAGLECHILD. HIS NEPHEW WAS GERALD TAILFEATHERS, ALSO A WELL-KNOWN CANADIAN NATIVE ARTIST. FOR COPIES OF CALGARY AND LETHBRIDGE HERALD NEWSPAPER ARTICLES ON TWO GUN, SEE PERMANENT FILE P20030029000. FOR HARDCOPIES OF THE ARTIST'S DEATH REGISTRATION, MATERIAL DEVELOPED FOR A 1990 EXHIBITION OF HIS WORK, AND CORRESPONDANCE BETWEEN MUSEUM STAFF AND HUGH DEMPSEY REGARDING THE ARTIST, SEE PERMANENT FILE P19640615000.
Catalogue Number
P19900044000
Acquisition Date
1990-11
Collection
Museum
Images
Less detail
Other Name
KAINAI CHIEF GOOD STRIKER
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
WOOD, CANVAS
Catalogue Number
P19910068000
  1 image  
Material Type
Artifact
Other Name
KAINAI CHIEF GOOD STRIKER
Date Range From
1940
Date Range To
1950
Materials
WOOD, CANVAS
No. Pieces
1
Length
44.1
Width
40.0
Description
FRAMED OIL ON CANVAS, PORTRAIT, MALE IN TRADITIONAL NATIVE COSTUME. SIGNED BOTTOM LEFT "TWO GUN". UNTITLED, HOWEVER PENCILLED ON BACKING "CHIEF GOOD STRIKER BLOOD RESERVE".
Subjects
INDIGENOUS
ART
Historical Association
FINE ARTS
History
TWO GUN NOM D' PLUME FOR PERCY PLAINS WOMAN OF THE KAINAI RESERVE IN SOUTHERN ALBERTA. PORTRAIT IS GENERALLY CONSIDERED TO BE CHIEF GOOD STRIKER OF THE KAINAI RESERVE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. SHE DEVELOPED THE FOLLOWING BIOGRAPHY OF THE ARTIST, TWO GUN, WITH INFORMATION FROM CALGARY AND LETHBRIDGE HERALD ARTICLES AND RECORD P20130026000. PERCY “TWO GUN” PLAIN WOMAN WAS BORN IN 1895 AND RAISED ON THE KAINAI RESERVE. WITH A GRADE SEVEN EDUCATION, HE LEFT RESIDENTIAL SCHOOL TO TAKE UP LIFE AS A COW PUNCHER. HE SOON BECAME AN EXPERT RIDER AND BRONC BUSTER AND RODEOED THROUGHOUT THE WEST. TWO GUN WAS NEARLY 50 BEFORE HE BEGAN TO TAKE A SERIOUS INTEREST IN ART. AS A MIDDLE-AGED MAN HE TOOK A FEW LESSONS AT THE BANFF SCHOOL OF FINE ART, AND PAINTED TRADITIONAL DESIGNS ON TEEPEES PRIOR TO HIS LATER PORTRAITURE PRACTICE. HIS DEPICTIONS OF TRADITIONAL NATIVE LIFE AND PORTRAITS OF IMPORTANT KAINAI AND BLACKFOOT INDIVIDUALS BECAME WELL KNOWN IN SOUTHERN ALBERTA AND MONTANA. TWO GUN WAS COMMISSIONED TO PAINT A HISTORY OF THE BLACKFOOT TRIBES ON THE LOBBY WALLS OF THE PRINCE OF WALES HOTEL IN WATERTON LAKES NATIONAL PARK. HE FIRST SOLD HIS PAINTINGS TO A LOCAL RESTAURANT FOR $5.00 BUT AS HE BECAME KNOWN DEMAND FOR HIS WORKS INCREASED. IT WAS ONLY IN THE LATER YEARS OF HIS LIFE THAT HE MADE A LIVING OFF HIS ART. DURING THE 1950S TWO GUN CONTRACTED TUBERCULOSIS AND WAS A PATIENT AT CHARLES CAMSELL HOSPITAL IN EDMONTON FOR FOUR YEARS. HE DIED AT AGE 66 IN CARDSTON HOSPITAL. HE USED THE SYMBOL OF TWO CROSSED OR PARALLEL RIFLES TO ACCOMPANY HIS SIGNATURE IN MANY CASES, AS THE NAME TWO GUN WAS HANDED DOWN BY AN UNCLE, CHIEF EAGLECHILD. HIS NEPHEW WAS GERALD TAILFEATHERS, ALSO A WELL-KNOWN CANADIAN NATIVE ARTIST. FOR COPIES OF CALGARY AND LETHBRIDGE HERALD NEWSPAPER ARTICLES ON TWO GUN, SEE PERMANENT FILE P20030029000. FOR HARDCOPIES OF THE ARTIST'S DEATH REGISTRATION, MATERIAL DEVELOPED FOR A 1990 EXHIBITION OF HIS WORK, AND CORRESPONDANCE BETWEEN MUSEUM STAFF AND HUGH DEMPSEY REGARDING THE ARTIST, SEE PERMANENT FILE P19640615000. *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. AT THIS TIME, IT WAS NOTED THAT THE WRITING ON THE BACKING OF THE PAINTING THAT WAS DESCRIBED AT THE TIME OF CATALOGING IS NO LONGER PRESENT, DUE TO THE BACKING PAPER BEING TORN AWAY. GIVEN THE ESTIMATED DATE OF THE PAINTING AND THE ELDERLY AGE OF THE SUBJECT AS DEPICTED BY THE ARTIST, THE "GOOD STRIKER" REFERRED TO ON THE LOST BACKING PAPER WOULD HAVE HAD TO BEEN BORN PRIOR TO THE TURN OF THE 20TH CENTURY. NOTABLE BLOOD CHIEF RUFUS GOODSTRIKER (1924-2003) WAS NOT ELECTED HEAD CHIEF OF THE KAINAI NATION UNTIL 1964, THREE YEARS AFTER THE ARTIST'S DEATH. IT IS POSSIBLE THAT THE SUBJECT OF THIS PAINTING IS RUFUS' FATHER, FRANK GOODSTRIKER SR., FOR WHOM NO DATE OF BIRTH/DEATH OR FURTHER INFORMATION WAS FOUND.
Catalogue Number
P19910068000
Acquisition Date
1991-10
Collection
Museum
Images
Less detail
Other Name
PORTRAIT
Date Range From
1940
Date Range To
1960
Material Type
Artifact
Materials
CANVAS, WOOD
Catalogue Number
P20030029000
  1 image  
Material Type
Artifact
Other Name
PORTRAIT
Date Range From
1940
Date Range To
1960
Materials
CANVAS, WOOD
No. Pieces
1
Height
2.6
Length
46.8
Width
44.5
Description
OIL ON CANVAS. FEATURES THE HEAD OF A NATIVE MAN. MAN HAS BRAIDS IN HIS HAIR AS WELL AS RED FATHERS. HE WEARS A PINKISH WHITE EARRING IN ONE EAR. AROUND HIS NECK IS A PINK BAND WITH A LARGE CIRCULAR, WHITE STONE (OR SHELL) ON THE FRONT. IN BOTTOM LEFT HAND CORNER IS "TWO GUN". FRAME IS FINISHED WOOD WITH A WHITE FABRIC INSET. BACK OF FRAME HAS A GOLD LABEL THAT READS "STATION STREET GALLERY & FRAME SHOP 1 - 139 STATION STREET DUNCAN, B.C. V9L 1MB 748-3311". THERE IS A WIRE ON BACK FOR HANGING.
Subjects
INDIGENOUS
ART
Historical Association
FINE ARTS
History
PAINTING WAS PURCHASED BY DONOR IN 1982 OR 1983 FOR $10 IN EDMONTON. DONOR HAD IT HANGING ON HER WALL UNTIL DONATION TO MUSEUM. DONOR WAS DIRECTOR OF THE GALT MUSEUM & ARCHIVES FROM 1999 TO 2002, AND WAS INSTRUMENTAL IN BRINGING THE DEANE-FREEMAN COLLECTION OF MORE THAN 200 KAINAI OBJECTS, HELD BY THE ROYAL ONTARIO AND BRITISH MUSEUMS, TO THE GALT MUSEUM FOR THE ANCESTORS EXHIBIT IN 2002. TWO GUN, NOM DE PLUME FOR PERCY PLAIN WOMAN, WAS BORN IN 1895 (D.1961) AND RAISED ON THE KAINAI RESERVE. WITH A GRADE SEVEN EDUCATION, HE LEFT RESIDENTIAL SCHOOL TO TAKE UP LIFE AS A COW PUNCHER. HE SOON BECAME AN EXPERT RIDER AND BRONC BUSTER AND RODEOED THROUGHOUT THE WEST. PERCY WAS NEARLY 50 BEFORE HE BEGAN TO TAKE A SERIOUS INTEREST IN ART. AS A MIDDLE-AGED MAN HE TOOK A FEW LESSONS AT THE BANFF SCHOOL OF FINE ART. HIS CRAFT WAS PAINTING TRADITIONAL DESIGNS ON TEEPEES. HIS DEPICTIONS OF TRADITIONAL NATIVE LIFE & PORTRAITS OF IMPORTANT BLOOD & BLACKFOOT INDIVIDUALS BECAME WELL KNOWN IN SOUTHERN ALBERTA & MONTANA. HE WAS COMMISSIONED TO PAINT A HISTORY OF THE BLACKFOOT TRIBES ON THE LOBBY WALLS OF THE PRINCE OF WALES HOTEL IN WATERTON LAKES NATIONAL PARK. HE FIRST SOLD HIS PAINTINGS TO A LOCAL RESTAURANT FOR $5.00 BUT AS HE BECAME KNOWN DEMAND FOR HIS WORKS INCREASED. IT WAS ONLY IN THE LATER YEARS OF HIS LIFE THAT HE MADE A LIVING OFF HIS ART. DURING THE 1950'S TWO GUN CONTRACTED TUBERCULOSIS & WAS A PATIENT AT CHARLES CAMSELL HOSPITAL IN EDMONTON FOR FOUR YEARS. HE DIED AT AGE 66 IN CARDSTON HOSPITAL. HE USED THE SYMBOL OF TWO CROSSED OR PARALLEL RIFLES TO ACCOMPANY HIS SIGNATURE IN MANY CASES, AS THE NAME TWO GUN WAS HANDED DOWN BY AN UNCLE, CHEIF EAGLECHILD. HIS NEPHEW WAS GERALD TAILFEATHERS, A WELL-KNOWN CANADIAN NATIVE ARTIST. THE GALT MUSEUM HAS A NUMBER OF TWO GUNS WORKS ON CANVAS & MASONITE IN PERMANENT COLLECTION. SEE PERMANENT FILE FOR ADDITIONAL HISTORY. FOR COPIES OF CALGARY AND LETHBRIDGE HERALD NEWSPAPER ARTICLES ON TWO GUN, SEE PERMANENT FILE P20030029000. FOR HARDCOPIES OF THE ARTIST'S DEATH REGISTRATION, MATERIAL DEVELOPED FOR A 1990 EXHIBITION OF HIS WORK, AND CORRESPONDANCE BETWEEN MUSEUM STAFF AND HUGH DEMPSEY REGARDING THE ARTIST, SEE PERMANENT FILE P19640615000.
Catalogue Number
P20030029000
Acquisition Date
2004-01
Collection
Museum
Images
Less detail
Other Name
UNTITLED MALE PORTRAIT
Date Range From
1953
Date Range To
1955
Material Type
Artifact
Materials
MASONITE, OIL
Catalogue Number
P19738755000
  1 image  
Material Type
Artifact
Other Name
UNTITLED MALE PORTRAIT
Date Range From
1953
Date Range To
1955
Materials
MASONITE, OIL
No. Pieces
1
Length
33.0
Width
25.7
Description
PORTRAIT OF MALE IN TRADITIONAL NATIVE COSTUME. BUST, FULL FACE. SIGNED BOTTOM LEFT "TWO GUN" WITH OUTLINE OF 2 RIFLES. FRAMED, OIL ON MASONITE.
Subjects
INDIGENOUS
ART
Historical Association
FINE ARTS
History
TWO GUN IS A NON DE PLUME FOR ARTIST PERCY PLAIN WOMAN (1895-1961), RAISED ON THE KAINAI RESERVE IN SOUTHERN ALBERTA SOUTH OF FORT MACLEOD. *UPDATE* IN JUNE 2009, THE GALT WAS CONTACTED BY A MEMBER OF THE PUBLIC, LYLE YOUNG, SEEKING BIO INFORMATION ON TWO GUN. YOUNG POSSESSED A TWO GUN OIL AND IT WAS REALIZED BY COLLECTIONS STAFF THAT ITS HUMAN SUBJECT WAS NEAR IDENTICAL TO THE UN-DOCUMENTED SUBJECT FEATURED IN THIS WORK. ON THE REVERSE SIDE OF THE YOUNG’S WORK WAS "MOUNTAIN HORSE KNOWN AS RATTLESNAKE JIM, DIED 1952". HIS WORK WAS ADDTIONALLY DATED BY THE ARTIST TWO GUN AS "1953". OTHER EXAMPLES OF THE SUBJECT HAVE TURNED UP LOCALLY IN LETHBRIDGE AS WELL AS AT AUCTION IN VANCOUVER. FOR MORE INFORMATION, PLEASE SEE THE DONATION'S PERMANENT FILE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. SHE DEVELOPED THE FOLLOWING BIOGRAPHY OF THE ARTIST, TWO GUN, WITH INFORMATION FROM CALGARY AND LETHBRIDGE HERALD ARTICLES AND RECORD P20130026000. PERCY “TWO GUN” PLAIN WOMAN WAS BORN IN 1895 AND RAISED ON THE KAINAI RESERVE. WITH A GRADE SEVEN EDUCATION, HE LEFT RESIDENTIAL SCHOOL TO TAKE UP LIFE AS A COW PUNCHER. HE SOON BECAME AN EXPERT RIDER AND BRONC BUSTER AND RODEOED THROUGHOUT THE WEST. TWO GUN WAS NEARLY 50 BEFORE HE BEGAN TO TAKE A SERIOUS INTEREST IN ART. AS A MIDDLE-AGED MAN HE TOOK A FEW LESSONS AT THE BANFF SCHOOL OF FINE ART, AND PAINTED TRADITIONAL DESIGNS ON TEEPEES PRIOR TO HIS LATER PORTRAITURE PRACTICE. HIS DEPICTIONS OF TRADITIONAL NATIVE LIFE AND PORTRAITS OF IMPORTANT KAINAI AND BLACKFOOT INDIVIDUALS BECAME WELL KNOWN IN SOUTHERN ALBERTA AND MONTANA. TWO GUN WAS COMMISSIONED TO PAINT A HISTORY OF THE BLACKFOOT TRIBES ON THE LOBBY WALLS OF THE PRINCE OF WALES HOTEL IN WATERTON LAKES NATIONAL PARK. HE FIRST SOLD HIS PAINTINGS TO A LOCAL RESTAURANT FOR $5.00 BUT AS HE BECAME KNOWN DEMAND FOR HIS WORKS INCREASED. IT WAS ONLY IN THE LATER YEARS OF HIS LIFE THAT HE MADE A LIVING OFF HIS ART. DURING THE 1950S TWO GUN CONTRACTED TUBERCULOSIS AND WAS A PATIENT AT CHARLES CAMSELL HOSPITAL IN EDMONTON FOR FOUR YEARS. HE DIED AT AGE 66 IN CARDSTON HOSPITAL. HE USED THE SYMBOL OF TWO CROSSED OR PARALLEL RIFLES TO ACCOMPANY HIS SIGNATURE IN MANY CASES, AS THE NAME TWO GUN WAS HANDED DOWN BY AN UNCLE, CHIEF EAGLECHILD. HIS NEPHEW WAS GERALD TAILFEATHERS, ALSO A WELL-KNOWN CANADIAN NATIVE ARTIST. GIVEN THE SIMILARITY BETWEEN THE UNIDENTIFIED SUBJECT DEPICTED IN THIS PORTRAIT, THE IDENTIFIED "MOUNTAIN HORSE" DEPICTED IN LYLE YOUNG'S PORTRAIT, AND ANOTHER PAINTING OF A NEAR-INDENTICAL SUBJECT IDENTIFIED AS "CHIEF MOUNTAIN HORSE" IN THE ARTIST'S HAND (OFFERED AS A DONATION TO THE MUSEUM IN SUMMER 2014 BY THE PESZAT FAMILY OF LETHBRIDGE), JANE EDMUNDSON CONDUCTED FURTHER RESEARCH INTO CHIEF JIM MOUNTAIN HORSE. A TRIBUTE ARTICLE FROM THE OCTOBER 15, 1937 ISSUE OF THE LETHBRIDGE HERALD PROVIDED THE FOLLOWING BIOGRAPHICAL INFORMATION AND A PHOTOGRAPH OF CHIEF MOUNTAIN HORSE IN A POSE VERY SIMILAR TO THIS PAINTING AS WELL AS P19930018001-GA, BOTH PREVIOUSLY RECORDED AS DEPICTING UNKNOWN SUBJECTS. JIM MOUNTAIN HORSE WAS BORN C.1857, AS A MEMBER OF THE KAINAI TRIBE. HE WAS A WARRIOR AND FOUGHT IN THE LAST RECORDED BATTLE BETWEEN THE KAINAI AND CREE FIRST NATIONS ALONG THE OLDMAN (BELLY) RIVER IN THE FALL OF 1872. MOUNTAIN HORSE GREW UP TO BE A MINOR CHIEF OF THE KAINAI TRIBE AND HAD THREE SONS WHO ALL FOUGHT IN WORLD WAR I, INCLUDING THE CRITICALLY-ACCLAIMED AUTHOR MIKE MOUNTAIN HORSE. JIM MOUNTAIN HORSE IS PICTURED IN A 1935 PHOTOGRAPH OF THE LETHBRIDGE OLD-TIMER'S ( GALT ARCHIVES 20001076304), AND WHEN HE DIED ON OCTOBER 13, 1937, HIS CASKET WAS DRAPED IN THE UNION JACK AND HIS FUNERAL ATTENDED BY JOHN PUGH, THE KAINAI RESERVE INDIAN AGENT. HE WAS THE LAST LIVING SURVIVOR OF THE OLDMAN RIVER BATTLE. CHIEF JIM MOUNTAIN HORSE IS BURIED ON THE KAINAI RESERVE. FOR COPIES OF CALGARY AND LETHBRIDGE HERALD NEWSPAPER ARTICLES ON TWO GUN, SEE PERMANENT FILE P20030029000. FOR HARDCOPIES OF THE ARTIST'S DEATH REGISTRATION, MATERIAL DEVELOPED FOR A 1990 EXHIBITION OF HIS WORK, AND CORRESPONDANCE BETWEEN MUSEUM STAFF AND HUGH DEMPSEY REGARDING THE ARTIST, SEE PERMANENT FILE P19640615000. FOR HARDCOPY OF JIM MOUNTAIN HORSE TRIBUTE ARTICLE, SEE PERMANENT FILE P19738755000.
Catalogue Number
P19738755000
Acquisition Date
1964-12
Collection
Museum
Images
Less detail
Other Name
CHIEF SHOT BOTH SIDES
Date Range From
1950
Date Range To
1959
Material Type
Artifact
Materials
OIL ON BOARD, WOOD
Catalogue Number
P20060007000
  1 image  
Material Type
Artifact
Other Name
CHIEF SHOT BOTH SIDES
Date Range From
1950
Date Range To
1959
Materials
OIL ON BOARD, WOOD
No. Pieces
1
Height
83
Length
64.5
Description
PORTRAIT OF CHIEF SHOT BOTH SIDES. BACKGROUND GREY ONE SIDE DEPICTING A BR HAND AND THREE HORSES IN ORANGE, RD AND YLLW. CENTER OF IMAGE DISPLAYS AN ELDER ABORIGINAL MAN IN TRADITIONAL DRESS INCLUDING A LARGE FEATHER HEAD DRESS.
Subjects
INDIGENOUS
ART
Historical Association
FINE ARTS
History
PORTRAIT SUBJECT CLAIMED TO BE CHIEF SHOT BOTH SIDES AND ARTIST ATTRIBUTED TO BE PERCY PLAIN WOMEN (AKA. TWO GUN). DONOR'S FATHER R.H. JEACOCK OPERATED THE 2ND LARGEST INSURANCE BUSINESS IN LETHBRIDGE. JEACOCK IS THOUGHT TO HAVE COME INTO CONTACT WITH TWO GUN BECAUSE OF HIS KNOWN DEALINGS WITH PERSONS ON THE BLOOD RESERVE. DONOR CLAIMED THAT TWO GUN VISITED JEACOCK'S BUSINESS IN THE 50S AND GAVE HIS FATHER THREE PAINTINGS IN EXCHANGE FOR CASH. JEACOCK WAS ASKED BY TWO GUN TO HOLD THE WORKS UNTIL HE COULD RETURN TO PAY OFF THE LOAN AND COLLECT THE WORKS. TWO GUN NEVER RETURNED SO THE PAINTINGS REMAINED IN JEACOCKS HANDS. IN 1969 OR 1970 THE DONOR'S FATHER MOVED TO SPAIN AND GAVE THE DONOR THE LARGEST OF THREE PAINTINGS. THE OTHER TWO WERE GIVEN TO SOME OF HIS FATHERS FRIENDS FOR SAFEKEEPING, THE LOCATION OF THE OTHER TWO WORKS IS UNKNOWN. THE PAINTING IS NOT SIGNED. IN 1973 THE DONOR ATTEMPTED TO LOCATED TWO GUN TO ASK FOR THE PAINTING TO BE SIGNED. TWO GUN'S SIGNATURE BEING TWO RIFFLES CROSSED WITH TWO GUN WRITTEN BETWEEN THE BARRELS OF THE TWO RIFFLES. THE DEPARTMENT INFORMED THE DONOR THAT TWO GUN HAD DIED ABOUT SIX MONTHS PRIOR. THE PAINTING WAS RE-FRAMED IN THE MID-80S AND HUNG IN THE DONOR'S HOME UNTIL IT WAS DONATED TO THE GALT MUSEUM AND ARCHIVES. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. SHE DEVELOPED THE FOLLOWING BIOGRAPHY OF THE ARTIST, TWO GUN, WITH INFORMATION FROM CALGARY AND LETHBRIDGE HERALD ARTICLES AND RECORD P20130026000. PERCY “TWO GUN” PLAIN WOMAN WAS BORN IN 1895 AND RAISED ON THE KAINAI RESERVE. WITH A GRADE SEVEN EDUCATION, HE LEFT RESIDENTIAL SCHOOL TO TAKE UP LIFE AS A COW PUNCHER. HE SOON BECAME AN EXPERT RIDER AND BRONC BUSTER AND RODEOED THROUGHOUT THE WEST. TWO GUN WAS NEARLY 50 BEFORE HE BEGAN TO TAKE A SERIOUS INTEREST IN ART. AS A MIDDLE-AGED MAN HE TOOK A FEW LESSONS AT THE BANFF SCHOOL OF FINE ART, AND PAINTED TRADITIONAL DESIGNS ON TEEPEES PRIOR TO HIS LATER PORTRAITURE PRACTICE. HIS DEPICTIONS OF TRADITIONAL NATIVE LIFE AND PORTRAITS OF IMPORTANT BLOOD AND BLACKFOOT INDIVIDUALS BECAME WELL KNOWN IN SOUTHERN ALBERTA AND MONTANA. TWO GUN WAS COMMISSIONED TO PAINT A HISTORY OF THE BLACKFOOT TRIBES ON THE LOBBY WALLS OF THE PRINCE OF WALES HOTEL IN WATERTON LAKES NATIONAL PARK. HE FIRST SOLD HIS PAINTINGS TO A LOCAL RESTAURANT FOR $5.00 BUT AS HE BECAME KNOWN DEMAND FOR HIS WORKS INCREASED. IT WAS ONLY IN THE LATER YEARS OF HIS LIFE THAT HE MADE A LIVING OFF HIS ART. DURING THE 1950S TWO GUN CONTRACTED TUBERCULOSIS AND WAS A PATIENT AT CHARLES CAMSELL HOSPITAL IN EDMONTON FOR FOUR YEARS. HE DIED AT AGE 66 IN CARDSTON HOSPITAL. HE USED THE SYMBOL OF TWO CROSSED OR PARALLEL RIFLES TO ACCOMPANY HIS SIGNATURE IN MANY CASES, AS THE NAME TWO GUN WAS HANDED DOWN BY AN UNCLE, CHIEF EAGLECHILD. HIS NEPHEW WAS GERALD TAILFEATHERS, ALSO A WELL-KNOWN CANADIAN NATIVE ARTIST. FOR COPIES OF CALGARY AND LETHBRIDGE HERALD NEWSPAPER ARTICLES ON TWO GUN, SEE PERMANENT FILE P20030029000. FOR HARDCOPIES OF THE ARTIST'S DEATH REGISTRATION, MATERIAL DEVELOPED FOR A 1990 EXHIBITION OF HIS WORK, AND CORRESPONDANCE BETWEEN MUSEUM STAFF AND HUGH DEMPSEY REGARDING THE ARTIST, SEE PERMANENT FILE P19640615000. THE FOLLOWING BIOGRAPHICAL INFORMATION ON THIS PORTRAIT'S SUBJECT, CHIEF SHOT BOTH SIDES (SOMETIMES CALLED "SHOT-ON-BOTH-SIDES"), WAS EXCERPTED FROM THE BOOK 'KAINAI CHIEFTANSHIP: HISTORY, EVOLUTION AND CULTURE OF THE BLOOD INDIANS, ORIGIN OF THE SUN DANCE' BY ARCHDEACON S.H. MIDDLETON, AND THE WEBSITE OF THE NATIONAL GALLERY OF CANADA: ATSO'TOAH, AS KNOWN AS SHOT-ON-BOTH-SIDES, WAS BORN IN THE SPRING OF 1873, FOUR YEARS BEFORE THE SIGNING OF TREATY NUMBER SEVEN IN 1877, AND DESCENDED FROM A LINE OF FAMOUS WARRIORS. SON OF CROP EARED-WOLF, AND GRANDSON OF THE NOTED BRAVE AND LEADER, RED CROW, THE ROBE OF HEAD CHIEF FELL ABOUT HIS SHOULDERS AT THE DEATH OF HIS FATHER IN 1913. AS THE REPOSITORY OF THE MYTHOLOGY AND FOLKLORE OF HIS PEOPLE, HE PASSED THROUGH THE HORN SOCIETY NO LESS THAN EIGHT TIMES; THROUGH THE BLACK SEIZERS TWICE, AND PASSED PROGRESSIVELY THROUGH THE SOLDIER SOCIETIES, THE DOVES, THE BRAVES, THE CRAZY DOGS, THE CROW CARRIERS AND THE MOSQUITOES. AMONGST THE SACRED OBJECTS ENTRUSTED TO HIM WERE THE SACRED BUNDLES OF THE BUFFALO STONE NECKLACE; THE WRISTLETS OF THE BLACK SEIZERS; THE HORN HEADDRESS; THE WEASEL-TAIL ROBE; THE BUFFALO-HEAD TEPEE; THE LONG-TIME -MEDICINE-PIPE; THE SUN-LODGE HIDE, AND VARIOUS OTHER ARTICLES, INCLUDING AN ANCIENT SWORD AND MEDICINE DRUM. CHIEF SHOT-ON-BOTH-SIDES DIED IN 1956.
Catalogue Number
P20060007000
Acquisition Date
2006-05
Collection
Museum
Images
Less detail
Other Name
PICTOGRAPH CHANDELIER
Date Range From
1920
Date Range To
1950
Material Type
Artifact
Materials
PAPER, METAL, LEATHER
Catalogue Number
P20090004000
Material Type
Artifact
Other Name
PICTOGRAPH CHANDELIER
Date Range From
1920
Date Range To
1950
Materials
PAPER, METAL, LEATHER
No. Pieces
1
Height
98.2
Diameter
55.0
Description
PICTOGRAPH CHANDELIER, HEXAGONAL STRUCTURE THAT TAPERS TOWARDS BOTTOM END. COMPRISED OF METAL ROD SKELETON LAYERED WITH PAPER PANELS, PANELS HELD TOGETHER AT EDGES WITH GREY FABRIC TAPE AND SOME STITCHING. EACH OF THE SIX PAPER SIDES HAS BEEN DECORATED WITH PICTURES IN RED, GREEN, YELLOW, AND BLACK PAINT. PICTOGRAPHS INCLUDE ANIMALS (HORSES, COWS, BUFFALO, PIGS, BIRDS), PEOPLE, TEPEES, SYMBOLS OF NATURE (TREES, MOUNTAINS, FIRE, SUNSETS), AND OTHER SYMBOLS, SUCH AS SWASTIKAS AND STARS. TOP OF STRUCTURE HAS "LID" WITH HOLE, PRESUMABLY FOR LIGHT FIXTURE. PAPER IS CRACKED AND TORN THROUGHOUT, RED, ORANGE, AND CLEAR SEALANT HAS BEEN USED TO COVER CRACKS. LARGE HOLE IN CENTER LEFT OF ONE PANEL WITH PIECE OF CARDBOARD TAPED ON. EYEHOOKS AND METAL LOOPS ALONG TOP EDGE ALLOW FOR LID OF STRUCTURE TO SECURE TO BODY AND FOR STRUCTURE TO HANG FROM CEILING . 8 STRIPS OF LEATHER HANGING FROM THREE EDGES, SOME PIECES OF LEATHER LIKELY MISSING.
Subjects
INDIGENOUS
LIGHTING DEVICE
Historical Association
DECORATIVE ARTS
ETHNOGRAPHIC
FURNISHINGS
FINE ARTS
History
DONOR LYNN UIBEL SOLD THE PICTOGRAPH CHANDELIER TO THE GALT MUSEUM IN 2008. LYNN ACQUIRED THE CHANDELIER FROM P. WHETIK WHILE HE WAS WORKING AT THE PRINCE OF WALES HOTEL IN WATERTON IN THE 1950S. LYNN PASSED AWAY IN 2009. THE CHANDELIER WAS HUNG APPROXIMATELY 25 FEET HIGH, FROM A WIRE IN A VAULTED SECTION OF A CEILING. LYNN NEVER HAD THE ITEM CLEANED OR HAD ANY OF THE RIPS AND TEARS IN THE CHANDELIER FIXED, AS HE WAS AWARE OF ITS FRAGILITY AND DID NOT WANT TO RISK FURTHER DAMAGE TO THE ITEM. WHEN LYNN ACQUIRED THE ITEM, ONE OF THE PANELS WAS RIPPED. ROLAND RECALLED THAT WHEN LYNN TRIED TO HANG THE CHANDELIER, ANOTHER PANEL WAS DAMAGED. DURING THE 1950S, WHEN THE PRINCE OF WALES HOTEL WAS BEING RENOVATED, APPROXIMATELY 50 CHANDELIERS WERE BEING PACKED UP AND DISCARDED. LYNN THEN ACQUIRED A CHANDELIER ON THE BASIS THAT THEY WERE GOING TO BE DISCARDED. ACCORDING TO LYNN'S PARTNER, ROLAND BOYD, LYNN HAS STRONG CONNECTIONS TO THE HOTEL, HIS BROTHERS WORKED THERE AT SOME POINT, AND HE WAS BORN AND RAISED IN MOUNTAINVIEW, WHICH IS NOT FAR FROM THE HOTEL. ADDITIONALLY, HIS WORK AT THE PRINCE OF WALES HOTEL ENABLED HIM TO PAY FOR HIS UNIVERSITY EDUCATION. WHILE LYNN HAD NO NATIVE AMERICAN ANCESTRY, HE HELD A DEEP FASCINATION WITH NATIVE AMERICAN CULTURE, ESPECIALLY THAT OF SOUTHWEST AND PLAINS TRIBES. ROLAND RECALLED THAT ABOUT 90% OF THE ART IN THE HOME HE SHARED WITH LYNN WAS NATIVE AMERICAN. AS PART OF A UNIVERSITY THESIS, LYNN WROTE EXTENSIVELY ON AMERICAN PLAINS INDIANS AND THEIR CULTURE. LYNN NEVER LEARNED WHAT THE PICTOGRAPHS MEANT, OR WHO THE ARTIST WAS, OTHER THAN SOMEONE BELONGING TO THE BLACKFOOT CULTURE. IN AN E-MAIL CORRESPONDENCE IN AUGUST 2009, JAMES DEMPSEY SUGGESTED THAT THE PICTOGRAPH CHANDELIER WAS CREATED AFTER THE PICTOGRAPH FRIEZES AND PANELS. THE IMAGES APPEARING ON THE CHANDELIER ARE LIKELY TAKEN FROM THE FRIEZES AND PANELS, RATHER THAN TELLING THEIR OWN STORY OF A WAR OR HUNTING EXPLOIT. DEMPSEY WAS UNSURE OF WHO THE ARTIST(S) COULD HAVE BEEN. IN AN E-MAIL CORRESPONDENCE WITH GERRY CONATY, DIRECTOR / CURATOR OF THE GLENBOW MUSEUM, IN SEPT 2009, GERRY WAS ALSO UNSURE AS TO WHO THE ARTIST COULD HAVE BEEN. NEITHER JAMES NOR GERRY HAD COME ACROSS A PICTOGRAPH CHANDELIER SUCH AS THIS BEFORE. THE FOLLOWING INFORMATION WAS TAKEN FROM, “BLACKFOOT WAR ART: PICTOGRAPHS OF THE RESERVATION PERIOD, 1880-2000,” BY L. JAMES DEMPSEY, PUBLISHED BY THE UNIVERSITY OF OKLAHOMA PRESS, 2007. PICTOGRAPHS WERE COMMONLY USED BY BLACKFOOT (NATIONS) INDIANS FROM THE 1880'S AND THROUGHOUT THE 20TH CENTURY AS A MEANS OF RECORDING AND EXTOLLING WAR AND HUNTING EXPLOITS, EITHER OF INDIVIDUALS OR GROUPS. WAR EXPLOITS WERE HIGHLY RESPECTED AND REGARDED WITH MUCH PRESTIGE WITHIN BLACKFOOT CULTURE. BLACKFOOT ELDERS SPENT MUCH TIME DURING THE LONG AND DARK WINTER MONTHS RECOUNTING WAR AND HUNTING STORIES. HUNTING SCENES, HORSE RAIDS, THE STEALING OF WEAPONS AND OTHER GOODS, SUCH AS MEDICINE BUNDLES OR PIPES, AS WELL AS THE KILLING OF ENEMIES AND EXTRACTING REVENGE WERE ALL EVENTS THAT WERE REPRESENTED IN PICTOGRAPHS. PICTOGRAPHS WERE OFTEN DRAWN ONTO VARIOUS SURFACES, SUCH AS ANIMAL HIDES, PAPER, BLACKFOOT SHIRTS, TEPEES, ROCKS, EVEN HORSES. IMAGES WERE PAINTED, DRAWN, SCRATCHED OR BURNED ONTO THE MATERIAL. PIGMENT WAS OFTEN APPLIED USING A PENCIL-SIZED STICK. VARIOUS MATERIALS WERE USED, SUCH AS CRAYONS, INK, NATURAL PIGMENTS FROM 1913 TO 1930, PICTOGRAPHS CREATED BY BLACKFOOT ARTISTS WERE UTILIZED BY THE GREAT NORTHERN RAILWAYS AS A WAY TO PROMOTE "WESTERN" THEMES AND TOURISM IN THE MANY HOTELS IN ALBERTA AND MONTANA. COME THE 1920S, GREAT NORTHERN RAILWAY EXPANDED INTO CANADA, BUILDING THE PRINCE OF WALES HOTEL IN WATERTON NATIONAL PARKS. IN 1926, THE MISSIONARY CANON S. H. MIDDLETON SOUGHT BLACKFOOT PEOPLES WILLING TO RECOUNT WAR AND HUNTING EXPLOITS AND RECORD THESE STORIES USING PICTOGRAPHS. AS A RESULT, MANY PICTOGRAPH FRIEZES AND PANELS ADORNED THE WALLS OF THE PRINCE OF WALES HOTEL. IN HIS BOOK, DEMPSEY MENTIONS HOTELS BEING FURNISHED WITH LAMPSHADES THAT WERE ADORNED WITH PICTOGRAPHS (PG 274-78). FOR MORE INFORMATION, INCLUDING SOME PHOTOGRAPHS, SEE PAGES 114-127 IN, “GLACIER’S HISTORIC HOTELS AND CHALETS: VIEW WITH A ROOM,” BY RAY DJUFF AND CHRIS MORRISON, PUBLISHED BY FARCOUNTRY PRESS IN 2001. ALSO SEE PERMANENT RECORD WHICH INCLUDES A POSTCARD IMAGE FEATURING THE FIXTURE(S).
Catalogue Number
P20090004000
Acquisition Date
2008-12
Collection
Museum
Less detail
Other Name
PLAINS INDIGENOUS BEADED
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
GLASS BEADS, BUCKSKIN
Catalogue Number
P19641197000
  1 image  
Material Type
Artifact
Other Name
PLAINS INDIGENOUS BEADED
Date Range From
1950
Date Range To
1960
Materials
GLASS BEADS, BUCKSKIN
No. Pieces
1
Length
11.7
Width
11.1
Description
FRONT FACE OF PURSE COVERED WITH GEOMETRIC BEADWORK. DESIGN IN PINK & BLUE BEADS. BEADED TASSEL. CONSERVATION REPORT ON FILE.
Subjects
INDIGENOUS
PERSONAL GEAR
Historical Association
ETHNOGRAPHIC
DECORATIVE ARTS
History
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
P19641197000
Acquisition Date
1964-07
Collection
Museum
Images
Less detail

The Whoop-up Trail (Alberta - Montana relationships)

https://collections.galtmuseum.com/en/permalink/library1834
Author
Berry, Gerald L.
Publisher
Applied Art Products Ltd.
Material Type
Book
Material Type
Book
Author
Berry, Gerald L.
Place
Edmonton, Alberta
Publisher
Applied Art Products Ltd.
Publication Date
1953
Subjects
Alberta - Relations (general) with Montana
Call Number
FC 3661 B4
Collection
Library
Less detail
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
PAPER
Catalogue Number
P19890028005
Material Type
Artifact
Date Range From
1950
Date Range To
1960
Materials
PAPER
No. Pieces
1
Length
71.2
Width
55.8
Description
SIGN WITH CARD INSERT "DR F.H. MEWBURN O.B.E. I.O.D.E. SPONSERS PROCEEDS FOR SERVICE & COMMUNITY PROJECTS EVERYONE WELCOME" INSERTED CARD: "RUMMAGE SALE TODAY 8.45 - 11.00" REVERSE IS SAME EXCEPT "11.30" SIGN MADE TO HANG.
Subjects
ADVERTISING MEDIUM
Historical Association
ASSOCIATIONS
History
SEE P19890028001-GA FOR HISTORY. DESIGNED TO ANNOUNCE OR ADVERTISE EVENTS. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING BRIEF HISTORY OF THE I.O.D.E. AND ITS LETHBRIDGE CHAPTERS WAS DEVELOPED WITH INFORMATION FROM THE I.O.D.E. WEBSITE, GALT ARCHIVES, AND AN ARTICLE FROM THE APRIL 21, 2014 ISSUE OF THE LETHBRIDGE HERALD. THE IMPERIAL ORDER DAUGHTERS OF THE EMPIRE (IODE) WAS FOUNDED IN 1900 BY MARGARET POLSON MURRAY OF MONTREAL WHO WANTED TO INCREASE HOMELAND SUPPORT FOR CANADIANS FIGHTING WITH THE EMPIRE FORCES IN SOUTH AFRICA DURING THE SECOND BOER WAR. MURRAY INITIATED THE FORMATION OF A FEDERATION OF WOMEN TO PROMOTE PATRIOTISM, LOYALTY AND SERVICE TO OTHERS BY SENDING TELEGRAMS TO THE MAYORS OF CANADA'S MAJOR CITIES ASKING THEM TO CALL TOGETHER THE PROMINENT WOMEN IN THEIR COMMUNITIES. THE FIRST CHAPTER WAS FORMED IN FREDRICTON, NEW BRUNSWICK IN JANUARY 1900. THE FOLLOWING MONTH A CONSTITUTION AND LIST OF OBJECTIVES WERE DRAFTED IN MONTREAL. IN 1901 THE HEAD OFFICE MOVED TO TORONTO AND THE FEDERATION WAS INCORPORATED. CHAPTERS WERE QUICKLY STARTED ACROSS CANADA AND IN INDIA AND THE BAHAMAS. FUNDRAISING CAMPAIGN PROJECTS MOUNTED BY VARIOUS I.O.D.E. CHAPTERS HAVE INCLUDED A MONUMENT TO CANADIAN SOLIDERS KILLED IN BATTLE IN SOUTH AFRICA, A GATEWAY IN TORONTO TO COMMEMORATE THE 1901 VISIT OF THE DUKE AND DUCHESS OF YORK, INCREASED BEDS IN A TUBERCULOSIS SANITORIUM IN HAMILTON, ONTARIO, NUMEROUS CHILD WELFARE PROJECTS, VARIOUS WAR MEMORIAL FUNDS AND SCHOLARSHIPS FOR CHILDREN OF VETERANS, THE PURCHASE OF HOSPITALS, AMBULANCES, SHIPS, AND AIRCRAFT IN BOTH WORLD WARS TO PROVIDE AID TO CANADIAN SOLDIERS, COMMEMORATIVE GARDENS, INTERNATIONAL RELIEF FOR PERSONS DISPLACED BY WAR, AND DOMESTIC RELIEF FOR CANADIANS DISPLACED BY NATURAL DISASTERS. LETHBRIDGE'S FIRST I.O.D.E. CHAPTER WAS THE SIR ALEXANDER GALT CHAPTER, FORMED IN 1914. AT ITS PEAK OF ACTIVITY, THE I.O.D.E. HAD FIVE CHAPTERS IN LETHBRIDGE, INCLUDING THE DR. FRANK H. MEWBURN CHAPTER AND THE MAJOR JACK ROSS CHAPTER. LOCAL I.O.D.E. EFFORTS INCLUDED THE WROUGHT-IRON GATEWAY OF MOUNTAIN VIEW CEMETERY, THE SOLIDER'S PLOT IN THE CEMEMTERY, AND PLAQUES AT BATTERY POINT IN HENDERSON LAKE PARK. IN 1989 THE TWO REMAINING LETHBRIDGE CHAPTERS MERGED, AND BY 2014 THERE WERE NO CHAPTERS OPERATING LOCALLY. THE CALGARY MUNICIPAL CHAPTER STILL RAISES FUNDS FOR A VARIETY OF CHARITABLE CAUSES THROUGH HOTDOG SALES AND A THRIFT STORE. SEE PERMANENT FILE P19900051000 FOR HARDCOPIES OF SOURCE MATERIAL.
Catalogue Number
P19890028005
Acquisition Date
1989-07
Collection
Museum
Less detail
Other Name
PR
Date Range From
1955
Date Range To
1965
Material Type
Artifact
Materials
BUCKSKIN, RAWHIDE, BEADS
Catalogue Number
P19693933000
  1 image  
Material Type
Artifact
Other Name
PR
Date Range From
1955
Date Range To
1965
Materials
BUCKSKIN, RAWHIDE, BEADS
No. Pieces
2
Length
8.9
Description
SIZE: 6 1/2 (WOMAN'S) RAWHIDE SOLE, BUCKSKIN UPPERS, GEOMETRIC BEADWORK DESIGN IN BLUE, RED, GREEN, ORANGE & PURPLE. RIGHT & LEFT MATCHED PAIR. CONSERVATION REPORT ON FILE.
Subjects
INDIGENOUS
CLOTHING-FOOTWEAR
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
PLAINS INDIGENOUS CULTURE (BLACKFOOT). *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING A PORTRAIT OF JOE HEALY, THE DONOR OF THESE MOCCASINS. 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
P19693933000
Acquisition Date
1969-05
Collection
Museum
Images
Less detail
Other Name
BANFF SPRINGS HOTEL
Date Range From
1950
Date Range To
1970
Material Type
Artifact
Materials
WOOD, GLASS, PAPER
Catalogue Number
P20000074021
  1 image  
Material Type
Artifact
Other Name
BANFF SPRINGS HOTEL
Date Range From
1950
Date Range To
1970
Materials
WOOD, GLASS, PAPER
No. Pieces
1
Height
2.0
Length
98.5
Width
67.9
Description
FRAMED. FRAME IS LIGHT COLOURED WOOD WITH A CLEAR VARNISH ON IT. FRAME IS BEVELED. THERE IS A PANE OF CLEAR GLASS OVER POSTER. POSTER ITSELF FEATURES A LARGE COLOUR PHOTO OF A HOTEL WITH TREES, RIVER, AND MOUNTAINS SURROUNDING IT. BELOW PHOTO READS "BANFF SPRINGS HOTEL IN THE CANADIAN ROCKIES A CANADIAN PACIFIC HOTEL". A SHEET OF PARTICLE BOARD ON BACK OF FRAME IS HELD IN PLACE BY 8 PIECES OF METAL THAT EACH ROTATE ON A SCREW.
Subjects
ADVERTISING MEDIUM
Historical Association
TRANSPORTATION
History
ITEMS CAME FROM DONOR'S FATHER, JAMES EICHORN. JAMES WAS BORN TO FREDA AND JACOB EICHORN NOVEMBER 11, 1929 IN ESTUARY, SASKATCHEWAN. JAMES' FATHER JACOB WAS A C.P.R. SECTIONMAN/FOREMAN FOR JUST UNDER 50 YEARS. JAMES' BROTHERS BILL, ROBERT, AND SISTER ELSIE'S HUSBAND, WALTER BRUNNER (STILL A RESIDENT OF LETHBRIDGE) ALL WORKED FOR THE RAILWAY IN ONE CAPACITY OR ANOTHER THROUGHOUT THE YEARS, AS DID DONOR'S MOTHER'S FAMILY AROUND THE MEDICINE HAT AREA (PROSKY FAMILY). JAMES STARTED HIS CAREER AS A SECTIONMAN IN IRVINE, ALBERTA IN 1945. HE MOVED TO MEDICINE HAT IN 1949 AND WORKED AS A TRAINMAN ON RUNS FROM MEDICINE HAT EAST TO MOOSE JAW, SASK. AND ALSO FROM MEDICINE HAT TO CALGARY. JAMES MARRIED MARION SUSAN PROSKY IN MEDICINE HAT ON JULY 26, 1952. THEY MOVED TO LETHBRIDGE IN 1962 AND JAMES CONTINUED HIS CAREER AS A TRAINMAN, SHORTLY THEREAFTER BEING PROMOTED TO CONDUCTOR, WHOM WAS RESPONSIBLE FOR THE OPERATION OF THE TRAIN AND RODE IN THE CABOOSE. DONOR REMEMBERS THAT FROM THIS POINT FORWARD HIS FATHER STARTED HIS COLLECTION OF RAILWAY ARTIFACTS AND ANTIQUES AS THE WORLD OF RAILWAY WAS QUICKLY EVOLVING FROM STEAM POWER TO DIESEL POWER AND ALL THAT WENT WITH THAT CHANGE. JAMES' RUNS AT THIS TIME WERE FROM LETHBRIDGE TO COUTTS . . .MEDICINE HAT. . . AND CARDSTON. IN THE LATTER YEARS HE WAS ON A WEEKLY RUN FROM LETHBRIDGE TO VAL MARIE AND SHAUNAVON, SASK. - THIS WAS A MONDAY TO FRIDAY JOB. JAMES ALSO HAD A SMALL MODEL RAILROAD COLLECTION IN HIS BASEMENT THAT WAS A GREAT HOBBY FOR HIM AND HE COMBINED THIS WITH HIS COLLECTION OF RAILWAY MATERIALS OF THE AREA. HE WAS PROUD OF HIS COLLECTION AND DISPLAYED IT PROUDLY AND LOVED TO TALK ABOUT IT WITH WHOMEVER WOULD LISTEN. JAMES' LIFE WAS TAKEN IN A TRAIN/TRUCK ACCIDENT AT THE STIRLING ALBERTA HIGHWAY CROSSING ON FEBRUARY 10, 1978, WHICH MADE HEADLINE NEWS IN THE LETHBRIDGE HERALD. MOST OF THE ITEMS IN COLLECTION WERE COLLECTED AS THE RAILWAY EMERGED INTO THE MODERN INDUSTRIAL WORLD AND RAILWAY STATIONS WERE CLOSED AS WELL AS SMALL BRANCH LINES ELIMINATED AS THE NEED FOR WORKERS WAS BEING TAKEN AWAY. FRIENDS THAT FOUND OLD LANTERNS, ETC. DID CONTRIBUTE AS THEY KNEW JAMES WAS A COLLECTOR. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. SHE FOUND THE FOLLOWING INFORMATION ABOUT THE PRODUCTION OF THIS POSTER EDITION VIA WWW.SPORTSPOSTERWAREHOUSE.COM, WHERE REPRINTS WERE AVAILABLE FOR PURCHASE: "THIS SPECTACULAR PRINT TAKES YOU HIGH ABOVE THE LEGENDARY BANFF SPRINGS HOTEL CIRCA 1947... PUBLISHED TO PROMOTE TRAVEL VIA CANADIAN PACIFIC RAILWAYS TO THE ALBERTA MOUNTAIN RESORT, IT FEATURES AN AERIAL SHOT OF THE HISTORIC DESTINATION, WITH THE GOLF COURSE, VALLEY, FORESTS, WATERS, HILLS, MOUNTAINS, AND GLACIERS ALL IN VIEW..."
Catalogue Number
P20000074021
Acquisition Date
2003-05
Collection
Museum
Images
Less detail
Other Name
COMPLIMENTS OF SICK'S SIGN
Date Range From
1950
Date Range To
1975
Material Type
Artifact
Materials
WOOD, PAINT
Catalogue Number
P20100013007
  1 image  
Material Type
Artifact
Other Name
COMPLIMENTS OF SICK'S SIGN
Date Range From
1950
Date Range To
1975
Materials
WOOD, PAINT
No. Pieces
1
Height
0.6
Length
30.3
Width
45.8
Description
SIGN, YELLOW/BROWN PAINT ON PLYWOOD. WRITING IN RED AND GREEN PAINT READS, “COMPLIMENTS OF SICKS’, HOUSE OF LETHBRIDGE”. TWO GREEN SILHOUETTES ON EITHER SIDE OF THE “SICKS’”. HAND PAINTED. BACK OF SIGN HAS A MENU WRITTEN IN PERMANENT MARKER READS, “MILK, BUTTERMILK, TOMATO JUICE, APPLE JUICE 10¢, SOUP 25¢, PIE 20¢, CAKE 10¢, SANDWICHES 25¢. BACK OF SIGN IS UNFINISHED WOOD WITH VARNISH AROUND THE EDGES THAT WRAPS AROUND FROM THE FRONT.
Subjects
VISUAL COMMUNICATION T&E
ADVERTISING MEDIUM
Historical Association
BUSINESS
History
DONOR GÜNTER HORN CAME INTO POSSESSION OF THE DONATED OBJECTS WHEN THE LETHBRIDGE BREWERY SHUT DOWN IN 1990. AT THE TIME OF DONATION HORN SAID, “I WAS ONE OF TWO PEOPLE SELECTED BY MOLSON’S TO GET RID OF THE ASSETS, TO DEAL WITH CONTRACTORS AND COMMITTEES, YOU KNOW, DISPOSE OF THE ITEMS. THERE WAS A THIRD PERSON AND HE WAS LOCATED IN SASKATOON, ALSO WORKING FOR MOLSON’S. THAT WAS BASICALLY THE ROLE. I WAS, PRIOR TO THAT, I WAS A BREW MASTER, THE BREWING MANAGER. I WAS FAMILIAR WITH THE PLANT LAYOUT AND EQUIPMENT THAT WAS AVAILABLE; SOME THAT WAS SENT TO OTHER MOLSON’S PLANTS LIKE CALGARY, EDMONTON, BARRIE, REGINA TO GET ENOUGH ITEMS. AND WHAT WAS NOT REQUIRED OR REQUESTED BY MOLSON’S BREWERIES, LIKE OTHER PLANTS, IT WAS MADE AVAILABLE FOR SALE TO PROSPECTIVE BUYERS FOR TANKS AND SOME OF THE MACHINERY. THAT IS BASICALLY IT - THE TEAM OF CONTRACTORS WITH POTENTIAL BUYERS GO TO THE PLANT, SEE WHAT EQUIPMENT THEY WERE INTERESTED IN, OR ALSO WHAT WAS AVAILABLE, AND WE HAD, IN CONJUNCTION WITH A THIRD PERSON IN SASKATOON, PRICES THAT WERE SET FOR DIFFERENT ITEMS AND WE HAD TO MAKE SURE THAT THE RIGHT EQUIPMENT WAS TAKEN OUT AND ALSO THAT THEY ARE PAYING THE SAME QUANTITY FOR THE PRICE THAT WAS SET BY MOLSON’S. WE DIDN’T SET ANY - IT WAS NOT MY FUNCTION TO SET PRICES. THAT WAS MOST LIKELY IN GENERAL WITH THE MEN FROM OTHER PLANTS CLOSURES.” THIS SIGN WAS ORIGINALLY USED IN THE ‘SNAKE ROOM’ AT THE BREWERY. HORN SAID, “THE RECEPTION AREA OR “SNAKE ROOM” IT WAS CALLED WAS STILL THERE WHEN I CAME IN ‘74. WE HAD THE WALL IN THE “SNAKE ROOM” AND IT WAS COVERED WITH, IS IT A 1/3 KEG OR ¼ KEG? THE WHOLE WALL WAS COVERED WITH WOODEN BARRELS, HALF CUT. [THE FUNCTION OF THE SNAKE ROOM WAS] JUST TO HOST PARTIES. ANYBODY COULD BOOK THE “SNAKE ROOM” FOR THEIR FUNCTION. ANYONE, PEOPLE WHO NEEDED A MEETING AND KNEW THE BREWERY WOULD ALWAYS BE OPEN. IT WAS OPEN, NOT JUST TO CERTAIN GROUPS, TO DIFFERENT GROUPS. WE USED TO HAVE THE MASTER BREWERS DOWN THERE. LETHBRIDGE WAS PART OF THE MASTER BREWERS ASSOCIATION THAT MET IN LETHBRIDGE, MET IN CALGARY OR EDMONTON. THIS [SIGN] IS FROM THE SNAKE ROOM AND ON THE BACK [OF THE SIGN] THERE ARE SOME PRICES. [IT DATES FROM] BEFORE MY TIME. IT WAS DISPLAYED SOMEWHERE. MOST LIKELY IT WAS REMOVED PRIOR TO. AGAIN, IN THE OFFICE YOU HAD A ROOM WHERE THEY HAD SOME SUPPLIES AND THEY HAD SOME THINGS THAT WERE TAKEN OUT OF SERVICE AND THIS WOULD BE ONE OF THEM. I DON’T THINK IT WAS THERE AT THE VERY END.” FOR MORE INFORMATION, PLEASE SEE PERMANENT FILE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, AND CORRELATED THIS ARTIFACT'S ORIGINAL LOCATION (THE "SNAKE ROOM" AT THE LETHBRIDGE BREWERY) WITH ARTIFACT P20120028003 AND THE ASSOCIATED INTERVIEW WITH DONOR LINDA LIPTAK, WHO WORKED THE BAR AND FOOD SERVICE THERE. SEE RECORD AND PERMANENT FILE P20120028003 FOR MORE INFORMATION AND A TRANSCRIPT OF LIPTAK'S INTERVIEW.
Catalogue Number
P20100013007
Acquisition Date
2010-03
Collection
Museum
Images
Less detail

16 records – page 1 of 1.