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Other Name
TARAS SHEVCHENKO
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
LINEN, PLASTIC
Catalogue Number
P19770049000
  1 image  
Material Type
Artifact
Other Name
TARAS SHEVCHENKO
Date Range From
1970
Date Range To
1980
Materials
LINEN, PLASTIC
No. Pieces
1
Length
55.8
Width
40.6
Description
NEEDLEWORK ON LINEN. ONE FRAMED PICTURE DONE IN CROSS-STITCH. PLASTIC USED INSTEAD OF GLASS TO COVER PICTURE. COLORS OF PICTURE: BLACK, GREEN, YELLOW, ORANGE, RED, BROWN, BEIGE, FLESHY PINK, BLUE, PEACH, SCARLET, GREY. DONE ON WHITE BACKGROUND. BOOK ALSO IN PICTURE WITH LETTERS EMBROIDERED ON IT "K0G 3AP".
Subjects
ART
Historical Association
DECORATIVE ARTS
ETHNOGRAPHIC
History
UKRAINIAN CANADIAN. THE HAND EMBROIDERED PORTRAIT OF T. SHEVCHENKO, A POET, WAS DONE BY MRS. BORDENIUK'S NIECE, M. BORDENIUK. SEE HISTORY ATTACHED. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING DETAILS ABOUT THE DONORS, NICK AND ANN BORDENIUK, AND THE ORIGIN OF THE OBJECTS INCLUDED IN THEIR 1977 DONATION WERE FOUND IN A HANDWRITTEN NOTE FROM THE DONORS IN THE PERMANENT FILE. NICK BORDENIUK WAS BORN IN CZERNIWICI, UKRAINE ON MAY 20, 1895. HE FIRST CAME TO QUEBEC IN 1913, WORKING AS A MINER AND ON VARIOUS CONSTRUCTION SITES INCLUDING THAT OF THE ST. LAWRENCE BRIDGE IN 1916. IN 1922 HE ARRIVED IN LETHBRIDGE AND WORKED AT THE NO. 6 MINE. IN 1940 HE MOVED TO FERNIE, B.C. AND WORKED IN COAL CREEK UNTIL HIS RETIREMENT IN 1958. ANN BORDENIUK WAS BORN IN LWOW, UKRAINE AND MOVED TO HILLCREST, ALBERTA IN 1936. SHE ALSO MOVED TO FERNIE AND MARRIED NICK THEIR IN 1955. IN 1976 THE BORDENIUKS MOVED FROM THEIR HOME INTO TOM UPHILL MANOR IN FERNIE, AND DONATED THEIR COLLECTION OF UKRAINIAN OBJECTS TO THE GALT MUSEUM. ALL OF THE OBJECTS WERE HANDMADE IN THE MOUNTAINOUS REGION OF KARPYTIAN IN WESTERN UKRAINE. THE EMBROIDERED PIECES WERE MADE BY ANN'S NIECE, MARUSIA BOLOTYNIUK. THE FOLLOWING INFORMATION ABOUT THE PICTURE'S SUBJECT, TARAS SHEVCHENKO, WAS EXCERPTED FROM THE WEBSITE FOR THE TARAS SHEVCHENKO MUSEUM IN TORONTO. TARAS HRYHOROVICH SHEVCHENKO, THE GREAT UKRAINIAN POET, ARTIST AND THINKER, WAS BORN ON MARCH 9, 1814, IN THE VILLAGE OF MORYNTSI IN CENTRAL UKRAINE, THEN PART OF THE RUSSIAN EMPIRE. HIS PARENTS, H. SHEVCHENKO AND K. SHEVCHENKO, WERE SERFS. TARAS'S FATHER WAS LITERATE, AND HE SENT HIS SON TO BE EDUCATED AS AN APPRENTICE TO A DEACON. IN 1823, TARAS'S MOTHER DIED, AND HIS FATHER FOLLOWED HER TWO YEARS LATER. TARAS, NOW AN ORPHAN, SERVED AS A HOUSEBOY AND WAS IN TRAINING AS A SERVANT. A TALENT FOR DRAWING SHOWED ITSELF IN THE BOY QUITE EARLY. WHEN HE WAS 14 YEARS OLD, HE BECAME A DOMESTIC SERVANT TO P. ENGELHARDT AND IN 1829 TARAS TRAVELLED WITH HIM TO VILNIUS, LITHUANIA. THERE HE STUDIED PAINTING UNDER AN EXPERIENCED CRAFTSMAN. THE POLISH REBELLION FOR NATIONAL LIBERATION FROM RUSSIA BEGAN IN NOVEMBER, 1830, AND ENGELHARDT LEFT FOR THE RUSSIAN CAPITAL, ST. PETERSBURG. SHEVCHENKO STAYED WITH THE LORD'S SERVANTS IN VILNIUS AND WAS WITNESS TO THE REVOLUTIONARY EVENTS. SHEVCHENKO WENT TO ST. PETERSBURG AT THE BEGINNING OF 1831. IN 1832, THE LORD "CONTRACTED" HIM TO THE MASTER PAINTER V. SHYRYAYEV, WITH WHOM TARAS EXPERIENCED A HARD SCHOOL OF PROFESSIONAL TRAINING. NOTED WRITERS AND ARTISTS WHO BEFRIENDED SHEVCHENKO BOUGHT HIM OUT OF SERFDOM IN 1838 BY RAISING 2,500 RUBLES. LATER THAT YEAR HE WAS ACCEPTED INTO THE ACADEMY OF ARTS, AND RECEIVED NUMEROUS AWARDS FOR HIS PAINTINGS. IN 1840 HIS FIRST BOOK OF POETRY, THE KOBZAR, WAS PUBLISHED. HE CONTINUED TO PUBLISH POEMS AND WRITE STAGE PLAYS. MUCH OF HIS SUBJECT MATTER DEALT WITH THE SOCIAL AND NATIONAL OPPRESSION OF THE UKRAINIAN PEOPLE BY RUSSIA. SHEVCHENKO’S WORK WAS OFTEN CENSORED. IN THE SPRING OF 1846, THE POET LIVED FOR SOME TIME IN KIEV, WHERE HE MET THE MEMBERS OF THE KYRYLO-METHODIUS SOCIETY. THE VIEWS OF THE POET HAD A GREAT INFLUENCE ON THE PROGRAM OF THIS SECRET SOCIETY AND ON THE PHILOSOPHICAL OUTLOOK OF MANY OF HIS CONTEMPORARIES. IN 1847, ARRESTS BEGAN OF THE MEMBERS OF THE KYRYLO-METHODIUS SOCIETY AND SHEVCHENKO WAS ARRESTED ON APRIL 5, ON A FERRY CROSSING THE DNIPRO RIVER NEAR KIEV. THE NEXT DAY, THE POET WAS SENT TO ST. PETERSBURG. HE ARRIVED THERE ON APRIL 17, 1847, AND WAS IMPRISONED. HE REPEATEDLY VIOLATED THE RUSSIAN TSAR’S BAN ON PRISONERS WRITING ABOUT THEIR EXPERIENCES. IT WAS NOT UNTIL 1857 THAT SHEVCHENKO FINALLY RETURNED FROM EXILE, THANKS TO THE EFFORTS OF FRIENDS. HE CONTINUED TO WRITE AND ADVOCATE FOR THE UKRAINIAN PEOPLE UNTIL HIS DEATH IN ST. PETERSBURG ON MARCH 10, 1861. HE IS BURIED NEXT TO THE DNIPRO RIVER ON A SITE THAT HAS BECOME A SHRINE CALLED TARAS HILL. SEE PERMANENT FILE FOR BIOGRAPHICAL NOTE ON THE DONORS.
Catalogue Number
P19770049000
Acquisition Date
1976-10
Collection
Museum
Images
Less detail
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
WOOD
Catalogue Number
P19738300000
Material Type
Artifact
Date Range From
1900
Date Range To
1910
Materials
WOOD
No. Pieces
1
Length
5.1
Diameter
3.5
Description
BLACK, WHITE, RED, YELLOW, PINK, BLUE, ORANGE. TURNED ON A LATHE. SCREW HOLE IN ONE END. UKRAINIAN FLORAL PATTERN.
Subjects
CEREMONIAL ARTIFACT
Historical Association
DECORATIVE ARTS
ETHNOGRAPHIC
History
FROM OSHEWTSKI, BUKOVINA (UKRAINE) *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF MUSICAL INSTRUMENTS, INCLUDING THREE DONATED BY THE UKRAINIAN ASSOCIATION OF LETHBRIDGE. THOUGH THE ASSOCIATION HAS DISBANDED, SHE WAS ABLE TO DETERMINE THAT IT IS LIKELY THAT THIS OBJECT AND 81 OTHERS DONATED BY THE ASSOCIATION IN 1973 WERE ORIGINALLY PART OF THE GALT MUSEUM'S 'UKRAINIAN ROOM' EXHIBIT. ACCORDING TO LETHBRIDGE HERALD ARTICLES FROM 1969 AND 1976, AND PHOTOGRAPHS IN THE GALT ARCHIVES (199110764419, 1991107612370, 199110764421, AND 199110764422) THE UKRAINIAN ROOM WAS INSTALLED IN 1966, WHEN THE MUSEUM WAS MOVED FROM THE BOWMAN CENTRE TO THE GALT HOSPITAL BUILDING. THE ROOM WAS FURNISHED WITH OBJECTS DONATED BY THE UKRAINIAN ASSOCIATION, AND THE GROUP HELD ANNUAL TEAS THERE. THOUGH THE CATALOGUE NUMBERS OF THE UKRAINIAN ASSOCIATION DONATION REFLECT A 1973 DONATION DATE, THE INITIAL ACQUISITION YEAR LISTED IN HARDCOPY FILES IS 1966, WHICH ALIGNS WITH THE OPENING DATE OF THE UKRAINIAN ROOM. IN ADDITION, ARCHIVAL PHOTOGRAPHS OF THE ROOM DEPICT OBJECTS THAT ARE NOW HELD IN COLLECTIONS (P19738277001-GA, P19738277002-GA, AND P19738277003-GA CAN BE CLEARLY IDENTIFIED, WITH OTHER OBJECTS IDENTIFIED SPECULATIVELY). IN 1984 THE MUSEUM DISMANTLED ALL ITS DISPLAYS IN PREPARATION FOR THE BUILDING'S RENOVATION AND EXPANSION, AND ACCORDING TO BRAD BROWN, GALT EXHIBIT DESIGNER, WHEN THE FACILITY REOPENED TO THE PUBLIC IN 1985 ALL THE EXHIBITS HAD BEEN REWORKED, AND THE UKRAINIAN ROOM NO LONGER EXISTED. SEE PERMANENT FILE FOR HARDCOPIES OF NEWSPAPER ARTICLES.
Catalogue Number
P19738300000
Acquisition Date
1966-02
Collection
Museum
Less detail
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
WOOD
Catalogue Number
P19738293000
Material Type
Artifact
Date Range From
1900
Date Range To
1910
Materials
WOOD
No. Pieces
1
Length
5.2
Diameter
4.2
Description
TURNED ON A LATHE. BLACK, WHITE, RED, YELLOW, PINK, BLUE, ORANGE. SCREW HOLE IN ONE END. UKRAINIAN PATTERN.
Subjects
CEREMONIAL ARTIFACT
Historical Association
DECORATIVE ARTS
ETHNOGRAPHIC
History
FROM OSHEWTSKI, BUKOVINA (UKRIANE) *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF MUSICAL INSTRUMENTS, INCLUDING THREE DONATED BY THE UKRAINIAN ASSOCIATION OF LETHBRIDGE. THOUGH THE ASSOCIATION HAS DISBANDED, SHE WAS ABLE TO DETERMINE THAT IT IS LIKELY THAT THIS OBJECT AND 81 OTHERS DONATED BY THE ASSOCIATION IN 1973 WERE ORIGINALLY PART OF THE GALT MUSEUM'S 'UKRAINIAN ROOM' EXHIBIT. ACCORDING TO LETHBRIDGE HERALD ARTICLES FROM 1969 AND 1976, AND PHOTOGRAPHS IN THE GALT ARCHIVES (199110764419, 1991107612370, 199110764421, AND 199110764422) THE UKRAINIAN ROOM WAS INSTALLED IN 1966, WHEN THE MUSEUM WAS MOVED FROM THE BOWMAN CENTRE TO THE GALT HOSPITAL BUILDING. THE ROOM WAS FURNISHED WITH OBJECTS DONATED BY THE UKRAINIAN ASSOCIATION, AND THE GROUP HELD ANNUAL TEAS THERE. THOUGH THE CATALOGUE NUMBERS OF THE UKRAINIAN ASSOCIATION DONATION REFLECT A 1973 DONATION DATE, THE INITIAL ACQUISITION YEAR LISTED IN HARDCOPY FILES IS 1966, WHICH ALIGNS WITH THE OPENING DATE OF THE UKRAINIAN ROOM. IN ADDITION, ARCHIVAL PHOTOGRAPHS OF THE ROOM DEPICT OBJECTS THAT ARE NOW HELD IN COLLECTIONS (P19738277001-GA, P19738277002-GA, AND P19738277003-GA CAN BE CLEARLY IDENTIFIED, WITH OTHER OBJECTS IDENTIFIED SPECULATIVELY). IN 1984 THE MUSEUM DISMANTLED ALL ITS DISPLAYS IN PREPARATION FOR THE BUILDING'S RENOVATION AND EXPANSION, AND ACCORDING TO BRAD BROWN, GALT EXHIBIT DESIGNER, WHEN THE FACILITY REOPENED TO THE PUBLIC IN 1985 ALL THE EXHIBITS HAD BEEN REWORKED, AND THE UKRAINIAN ROOM NO LONGER EXISTED. SEE PERMANENT FILE FOR HARDCOPIES OF NEWSPAPER ARTICLES.
Catalogue Number
P19738293000
Acquisition Date
1966-02
Collection
Museum
Less detail
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
WOOD
Catalogue Number
P19738299000
Material Type
Artifact
Date Range From
1900
Date Range To
1910
Materials
WOOD
No. Pieces
1
Length
5.4
Width
3.8
Description
TURNED ON A LATHE. BLACK, WHITE, RED, YELLOW, PINK, BLUE, ORANGE. SCREW HOLE IN ONE END. UKRAINIAN FLORAL PATTERN.
Subjects
CEREMONIAL ARTIFACT
Historical Association
DECORATIVE ARTS
ETHNOGRAPHIC
History
FROM OSHEWTSKI, BUKOVINA (UKRAINE) *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF MUSICAL INSTRUMENTS, INCLUDING THREE DONATED BY THE UKRAINIAN ASSOCIATION OF LETHBRIDGE. THOUGH THE ASSOCIATION HAS DISBANDED, SHE WAS ABLE TO DETERMINE THAT IT IS LIKELY THAT THIS OBJECT AND 81 OTHERS DONATED BY THE ASSOCIATION IN 1973 WERE ORIGINALLY PART OF THE GALT MUSEUM'S 'UKRAINIAN ROOM' EXHIBIT. ACCORDING TO LETHBRIDGE HERALD ARTICLES FROM 1969 AND 1976, AND PHOTOGRAPHS IN THE GALT ARCHIVES (199110764419, 1991107612370, 199110764421, AND 199110764422) THE UKRAINIAN ROOM WAS INSTALLED IN 1966, WHEN THE MUSEUM WAS MOVED FROM THE BOWMAN CENTRE TO THE GALT HOSPITAL BUILDING. THE ROOM WAS FURNISHED WITH OBJECTS DONATED BY THE UKRAINIAN ASSOCIATION, AND THE GROUP HELD ANNUAL TEAS THERE. THOUGH THE CATALOGUE NUMBERS OF THE UKRAINIAN ASSOCIATION DONATION REFLECT A 1973 DONATION DATE, THE INITIAL ACQUISITION YEAR LISTED IN HARDCOPY FILES IS 1966, WHICH ALIGNS WITH THE OPENING DATE OF THE UKRAINIAN ROOM. IN ADDITION, ARCHIVAL PHOTOGRAPHS OF THE ROOM DEPICT OBJECTS THAT ARE NOW HELD IN COLLECTIONS (P19738277001-GA, P19738277002-GA, AND P19738277003-GA CAN BE CLEARLY IDENTIFIED, WITH OTHER OBJECTS IDENTIFIED SPECULATIVELY). IN 1984 THE MUSEUM DISMANTLED ALL ITS DISPLAYS IN PREPARATION FOR THE BUILDING'S RENOVATION AND EXPANSION, AND ACCORDING TO BRAD BROWN, GALT EXHIBIT DESIGNER, WHEN THE FACILITY REOPENED TO THE PUBLIC IN 1985 ALL THE EXHIBITS HAD BEEN REWORKED, AND THE UKRAINIAN ROOM NO LONGER EXISTED. SEE PERMANENT FILE FOR HARDCOPIES OF NEWSPAPER ARTICLES.
Catalogue Number
P19738299000
Acquisition Date
1966-02
Collection
Museum
Less detail
Other Name
LEATHER GAUNTLETS
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
LEATHER
Catalogue Number
P19970016000
Material Type
Artifact
Other Name
LEATHER GAUNTLETS
Date Range From
1900
Date Range To
1910
Materials
LEATHER
No. Pieces
2
Length
35.4
Width
26.3
Description
PAIR OF TAN LEATHER GAUNTLETS WITH COLORFUL GLASS BEADS IN FLOWER PATTERN ON TOP SUFACE, LEATHER TASSELS ON UPPER HALF OF OUTER EDGE, AND LINED WITH DEEP PURPLE COTTON FABRIC. OTHER EDGES HAVE SCALLOPED LEATHER EDGES. LEFT GLOVE IS TORN AT THE BASE OF THE THUMB, HAS BLACK MARKS ON TOP OF MIDDLE AND PINKY FINGER, AND BOTTOM OF GLOVE IS SLIGHTLY SOILED. RIGHT HAND IS ALSO COMING APART AT BASE OF THUMB, BASE OF TASSELS ARE COMING APART FROM BODY OF GLOVE, AND HAS BLACK MARKS ACROSS INSIDE WRIST AND ON TIP OF PINKY FINGER.
Subjects
ARMAMENT-ACCESSORY
Historical Association
ETHNOGRAPHIC
DECORATIVE ARTS
History
ITEMS WERE GIVEN TO JOHN SIMPSON'S GRANDFATHER, ALEXANDER MULLIGAN, BY A NATIVE GENTLEMAN. ACCORDING TO DONOR IT IS NOT KNOWN WHEN HE EXACTLY RECEIVED THE GAUNTLETS, BUT HE WAS INVOLVED IN THE CONSTRUCTION OF THE VIADUCT BRIDGE IN LETHBRIDGE FROM 1908-09, AND MAY HAVE RECEIVED THEM AT THIS TIME. DONORS HAVE HAD GAUNTLETS FOR TWENTY YEARS, WHILE LIVING IN LETHBRIDGE.
Catalogue Number
P19970016000
Acquisition Date
1997-02
Collection
Museum
Less detail
Other Name
BUCKSKIN HANDBAG
Date Range From
1910
Date Range To
1920
Material Type
Artifact
Materials
LEATHER, GLASS BEADS, COTTON THREAD
Catalogue Number
P19900009002
  1 image  
Material Type
Artifact
Other Name
BUCKSKIN HANDBAG
Date Range From
1910
Date Range To
1920
Materials
LEATHER, GLASS BEADS, COTTON THREAD
No. Pieces
1
Height
29.5
Width
23.7
Description
BEADED LEATHER (BUCKSKIN) HANDBAG WITH FRINGE, LEATHER DRAWSTRING TOP & BEADED FLORAL DESIGNS (2) ON EACH SIDE. POUCH SHAPED, COTTON LINING. LEATHER DIRTY.
Subjects
PERSONAL GEAR
Historical Association
PERSONAL CARE
DECORATIVE ARTS
ETHNOGRAPHIC
History
GIVEN TO DONOR BY STEP-FATHER IN MID 1940'S FOLLOWING HIS MARRIAGE TO HER MOTHER IN 1943. DONOR'S MOTHER MARRIED T.R. NICHOLLS FORMER CITY OF LETHBRIDGE POLICE CHIEF. DONOR BELIEVES ARTIFACT WAS ACQUIRED WHILE NICHOLLS WAS WITH CITY POLICE OR EARLIER AS MEMBER OF ROYAL NORTH WEST MOUNTED POLICE(ROYAL CANADIAN MOUNTED POLICE) & WAS MADE BY MEMBER OF BLOOD TRIBE OF SOUTHERN ALBERTA. POUCH SHAPE IS SIMILAR TO TRADE POUCHES USED IN 18 & 19 CENTURY.
Catalogue Number
P19900009002
Acquisition Date
1990-03
Collection
Museum
Images
Less detail
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
BUCKSKIN, BEADS
Catalogue Number
P19651477000
Material Type
Artifact
Date Range From
1900
Date Range To
1910
Materials
BUCKSKIN, BEADS
No. Pieces
1
Length
72.4
Width
22.9
Description
LINED WITH WHITE COTTON. FLORAL BEADWORK DESIGN IN RED, WHITE, BLUE, YELLOW & GREEN BEADS ON WHITE BUCKSKIN.
Subjects
INDIGENOUS
CLOTHING-ACCESSORY
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
NORTHERN PLAINS CULTURE, LIKELY BLACKFOOT IN ORIGIN. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THE VARIOUS DONATIONS PERTAINING TO EDWARD FREDERICK HAGELL. SEE RECORD P19960053001 FOR AN EXTENDED BIOGRAPHY OF THE ARTIST; SEE PERMANENT FILES P19960053001, P20040009001, P20060027001, P20070008001, AND P20070012001 FOR NEWSPAPER CLIPPINGS, DETAILS ON PAST GALT DIRECTOR/CURATOR WILMA WOOD'S BOOK ON THE ARTIST, AND CORRESPONDENCE WITH THE HAGELL FAMILY.
Catalogue Number
P19651477000
Acquisition Date
1965-01
Collection
Museum
Less detail
Other Name
SAMPLE MATERIAL
Date Range From
1980
Date Range To
1990
Material Type
Artifact
Materials
NYLON
Catalogue Number
P19960112086
  2 images  
Material Type
Artifact
Other Name
SAMPLE MATERIAL
Date Range From
1980
Date Range To
1990
Materials
NYLON
No. Pieces
2
Height
1
Length
24.4
Width
16.5
Description
WHITE PAPER ENVELOPE WITH RED PRINT READING "SECOND CHANCE TESTING INSTRUCTIONS" WITH DESCRIPTION OF PRODUCT AND USE. CONTAINS STITCHED BUNCH OF YELLOW NYLON FABRIC OF DIFFERENT THICKNESSES OF WEAVE. EDGES FRAYED.
Subjects
ARTIFACT REMNANT
Historical Association
SAFETY SERVICES
History
*UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING SOME DONATED BY THE CITY OF LETHBRIDGE POLICE SERVICES. FOR A BRIEF ACCOUNT OF THE LETHBRIDGE POLICE COLLECTION, SEE RECORD P19960112001. FOR FURTHER INFORMATION ABOUT THE CITY OF LETHBRIDGE POLICE SERVICES AND TRANSCRIPTS OF INTERVIEWS AND CORRESPONDENCE WITH CURRENT AND FORMER LETHBRIDGE POLICE, SEE PERMANENT FILE P19960112000.
Catalogue Number
P19960112086
Acquisition Date
1996-12
Collection
Museum
Images
Less detail
Other Name
EATON'S
Date Range From
1980
Date Range To
1999
Material Type
Artifact
Materials
PAPER
Catalogue Number
P19990061022
Material Type
Artifact
Other Name
EATON'S
Date Range From
1980
Date Range To
1999
Materials
PAPER
No. Pieces
1
Height
0.1
Length
55.9
Width
43.2
Description
RECTANGULAR, HEAVY CARD. HAS A BLUE BORDER. PRINTED WITHIN BORDER, AT BOTTOM IS "EATON'S GOODS SATISFACTORY OR MONEY REFUNDED", IN WHITE. WITHIN BORDER IS A WHITE RECTANGLE, WITH A RED LINE THAT RUNS JUST INSIDE EDGES OF RECTANGLE. PRINTED WITHIN WHITE RECTANGLE, IN BLUE AND RED, IS "EATON'S FIRST FOR QUALITY. FOR PRICE. COMPETITIVE PRICES ALL THE TIME". EACH CORNER OF POSTER HAS A SMALL PIN HOLE IN IT.
Subjects
ADVERTISING MEDIUM
Historical Association
RETAIL TRADE
History
MUSEUM OBTAINED ITEMS FROM LETHBRIDGE EATON'S STORE IN 1999. DUE TO COMPANY BANKRUPTCY, EATON'S STORES ACROSS CANADA WERE CLOSED, INCLUDING THE LETHBRIDGE LOCATION IN PARK PLACE MALL. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE ASSOCIATED WITH THE T. EATON COMPANY STORES IN LETHBRIDGE. THE FOLLOWING BRIEF HISTORY OF LETHBRIDGE'S EATON'S STORE WAS DEVELOPED WITH INFORMATION FROM GALT ARCHIVES AND LETHBRIDGE HERALD ARTICLES FROM THE FALL OF 1988. THE T. EATON COMPANY WAS FOUNDED IN TORONTO IN 1869 BY TIMOTHY EATON. THE FIRST LETHBRIDGE EATON'S 'TECO' STORE WAS OPENED IN 1927 IN THE BASEMENT OF THE DOMINION BLOCK ON THE CORNER OF 4 AVENUE AND SIXTH STREET SOUTH. AFTER A FIRE, THE BUILDING WAS RENOVATED AND COMPLETELY TAKEN OVER BY THE EATON'S STORE, WHICH OPERATED IN THAT LOCATION UNDER PERIODIC RENOVATIONS FROM 1929 UNTIL THE OPENING OF THE PARK PLACE MALL IN 1988, IN WHICH EATON'S WAS AN ANCHOR RETAILER. IN 1989 A PORTION OF THE UNIVERSITY OF LETHBRIDGE ART COLLECTION WAS TEMPORARILY PUT ON DISPLAY IN THE VACANT EATON'S BUILDING, AND PROPOSALS WERE MADE TO MAKE THE INSTALLATION PERMANENT, BUT EVENTUALLY THE PROPERTY WAS SOLD AND DEMOLISHED TO MAKE WAY FOR THE CONSTRUCTION OF A BANK OF MONTREAL BRANCH. IN 1999 THE EATON'S STORE IN PARK PLACE MALL CLOSED JUST PRIOR TO THE ANNOUNCEMENT OF THE BANKRUPTCY OF THE LARGER T. EATON COMPANY LIMITED. SEE PERMANENT FILE P19930072001 FOR HARDCOPIES OF SOURCE MATERIAL.
Catalogue Number
P19990061022
Acquisition Date
1999-10
Collection
Museum
Less detail
Other Name
EATON'S
Date Range From
1980
Date Range To
1999
Material Type
Artifact
Materials
PAPER
Catalogue Number
P19990061023
Material Type
Artifact
Other Name
EATON'S
Date Range From
1980
Date Range To
1999
Materials
PAPER
No. Pieces
1
Height
0.1
Length
55.8
Width
43.0
Description
RECTANGULAR, HEAVY CARD. WHITE BACKGROUND. HALF OF A RED RECTANGLE SURROUND AN INNER BLUE RECTANGLE. PRINTED WITHIN RED RECTANGLE, IN WHITE, IS "THE EATON GUARANTEE:". WRITTEN WITHIN BLUE RECTANGLE, IN WHITE, IS "GOODS SATISFACTORY OR MONEY REFUNDED". BELOW BLUE RECTANGLE IS A WAVY, RED AND BLUE STRIPED BANNER. THERE IS ALSO A SIMILAR, SHORT BANNER AT TOP RIGHT OF RED RECTANGLE. AT THE BOTTOM OF POSTER, IN BLUE, IS "EATON'S". EACH CORNER OF POSTER HAS A SMALL PIN HOLE IN IT.
Subjects
ADVERTISING MEDIUM
Historical Association
RETAIL TRADE
History
MUSEUM OBTAINED ITEMS FROM LETHBRIDGE EATON'S STORE IN 1999. DUE TO COMPANY BANKRUPTCY, EATON'S STORES ACROSS CANADA WERE CLOSED, INCLUDING THE LETHBRIDGE LOCATION IN PARK PLACE MALL. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE ASSOCIATED WITH THE T. EATON COMPANY STORES IN LETHBRIDGE. THE FOLLOWING BRIEF HISTORY OF LETHBRIDGE'S EATON'S STORE WAS DEVELOPED WITH INFORMATION FROM GALT ARCHIVES AND LETHBRIDGE HERALD ARTICLES FROM THE FALL OF 1988. THE T. EATON COMPANY WAS FOUNDED IN TORONTO IN 1869 BY TIMOTHY EATON. THE FIRST LETHBRIDGE EATON'S 'TECO' STORE WAS OPENED IN 1927 IN THE BASEMENT OF THE DOMINION BLOCK ON THE CORNER OF 4 AVENUE AND SIXTH STREET SOUTH. AFTER A FIRE, THE BUILDING WAS RENOVATED AND COMPLETELY TAKEN OVER BY THE EATON'S STORE, WHICH OPERATED IN THAT LOCATION UNDER PERIODIC RENOVATIONS FROM 1929 UNTIL THE OPENING OF THE PARK PLACE MALL IN 1988, IN WHICH EATON'S WAS AN ANCHOR RETAILER. IN 1989 A PORTION OF THE UNIVERSITY OF LETHBRIDGE ART COLLECTION WAS TEMPORARILY PUT ON DISPLAY IN THE VACANT EATON'S BUILDING, AND PROPOSALS WERE MADE TO MAKE THE INSTALLATION PERMANENT, BUT EVENTUALLY THE PROPERTY WAS SOLD AND DEMOLISHED TO MAKE WAY FOR THE CONSTRUCTION OF A BANK OF MONTREAL BRANCH. IN 1999 THE EATON'S STORE IN PARK PLACE MALL CLOSED JUST PRIOR TO THE ANNOUNCEMENT OF THE BANKRUPTCY OF THE LARGER T. EATON COMPANY LIMITED. SEE PERMANENT FILE P19930072001 FOR HARDCOPIES OF SOURCE MATERIAL.
Catalogue Number
P19990061023
Acquisition Date
1999-10
Collection
Museum
Less detail
Other Name
SET OF MARQUEE LETTERS
Date Range From
1980
Date Range To
1999
Material Type
Artifact
Materials
PLASTIC, PAPER
Catalogue Number
P19990061027
Material Type
Artifact
Other Name
SET OF MARQUEE LETTERS
Date Range From
1980
Date Range To
1999
Materials
PLASTIC, PAPER
No. Pieces
1
Height
2.3
Length
25.1
Width
22.5
Description
CLEAR PLASTIC BAG. BAG IS FOLDED OVER AT TOP, AND CLOSED WITH TWO STAPLES. HAS A WHITE PRICE TAG WITH "2.00" WRITTEN ON IT IN BLUE PEN. INSIDE BAG ARE MULTIPLE CLEAR PLASTIC RECTANGLES WITH BLUE LETTERS, NUMBERS, AND OTHER CHARACTERS ON THEM. THERE ARE SOME NUMBERS IN THE BAG THAT ARE RED. ONE LARGE PIECE HAS "HARDWARE" ON IT IN BLUE.
Subjects
ADVERTISING MEDIUM
VISUAL COMMUNICATION T&E
Historical Association
RETAIL TRADE
History
USED ON SIGNS IN LETHBRIDGE EATON'S STORE. MUSEUM OBTAINED ITEMS FROM LETHBRIDGE EATON'S STORE IN 1999. DUE TO COMPANY BANKRUPTCY, EATON'S STORES ACROSS CANADA WERE CLOSED, INCLUDING THE LETHBRIDGE LOCATION IN PARK PLACE MALL. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE ASSOCIATED WITH THE T. EATON COMPANY STORES IN LETHBRIDGE. THE FOLLOWING BRIEF HISTORY OF LETHBRIDGE'S EATON'S STORE WAS DEVELOPED WITH INFORMATION FROM GALT ARCHIVES AND LETHBRIDGE HERALD ARTICLES FROM THE FALL OF 1988. THE T. EATON COMPANY WAS FOUNDED IN TORONTO IN 1869 BY TIMOTHY EATON. THE FIRST LETHBRIDGE EATON'S 'TECO' STORE WAS OPENED IN 1927 IN THE BASEMENT OF THE DOMINION BLOCK ON THE CORNER OF 4 AVENUE AND SIXTH STREET SOUTH. AFTER A FIRE, THE BUILDING WAS RENOVATED AND COMPLETELY TAKEN OVER BY THE EATON'S STORE, WHICH OPERATED IN THAT LOCATION UNDER PERIODIC RENOVATIONS FROM 1929 UNTIL THE OPENING OF THE PARK PLACE MALL IN 1988, IN WHICH EATON'S WAS AN ANCHOR RETAILER. IN 1989 A PORTION OF THE UNIVERSITY OF LETHBRIDGE ART COLLECTION WAS TEMPORARILY PUT ON DISPLAY IN THE VACANT EATON'S BUILDING, AND PROPOSALS WERE MADE TO MAKE THE INSTALLATION PERMANENT, BUT EVENTUALLY THE PROPERTY WAS SOLD AND DEMOLISHED TO MAKE WAY FOR THE CONSTRUCTION OF A BANK OF MONTREAL BRANCH. IN 1999 THE EATON'S STORE IN PARK PLACE MALL CLOSED JUST PRIOR TO THE ANNOUNCEMENT OF THE BANKRUPTCY OF THE LARGER T. EATON COMPANY LIMITED. SEE PERMANENT FILE P19930072001 FOR HARDCOPIES OF SOURCE MATERIAL.
Catalogue Number
P19990061027
Acquisition Date
1999-10
Collection
Museum
Less detail
Other Name
BUTTON
Date Range From
1980
Date Range To
1999
Material Type
Artifact
Materials
PLASTIC, TIN, CARDBOARD
Catalogue Number
P19990061011
Material Type
Artifact
Other Name
BUTTON
Date Range From
1980
Date Range To
1999
Materials
PLASTIC, TIN, CARDBOARD
No. Pieces
1
Height
0.8
Length
5.3
Width
5.3
Description
SQUARE, BLUE. IN GOLD PRINT, ON FRONT, READS "EATON'S WE'VE GOT THE PLAN.". BELOW THIS IS A LOWER CASE "E" WITHIN A CIRCLE, AND A SMALL "TM" TO THE LOWER RIGHT, ALL IN GOLD. IN THE BACKGROUND THERE IS THE TOP 3/4 OF A LOWER CASE "E" WITHIN A CIRCLE, IN LIGHT BLUE. PRINTED ON BACK EDGE OF BUTTON, IN WHITE, IS "MADE IN CANADA BY H.A.S. NOVELTIES LTD. TORONTO (416)593-1101". BACK OF BUTTON IS LINED WITH A PIECE OF CARDBOARD, AND HAS A SILVER PIN AND CATCH.
Subjects
ADVERTISING MEDIUM
Historical Association
RETAIL TRADE
History
MUSEUM OBTAINED ITEMS FROM LETHBRIDGE EATON'S STORE IN 1999. DUE TO COMPANY BANKRUPTCY, EATON'S STORES ACROSS CANADA WERE CLOSED, INCLUDING THE LETHBRIDGE LOCATION IN PARK PLACE MALL. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE ASSOCIATED WITH THE T. EATON COMPANY STORES IN LETHBRIDGE. THE FOLLOWING BRIEF HISTORY OF LETHBRIDGE'S EATON'S STORE WAS DEVELOPED WITH INFORMATION FROM GALT ARCHIVES AND LETHBRIDGE HERALD ARTICLES FROM THE FALL OF 1988. THE T. EATON COMPANY WAS FOUNDED IN TORONTO IN 1869 BY TIMOTHY EATON. THE FIRST LETHBRIDGE EATON'S 'TECO' STORE WAS OPENED IN 1927 IN THE BASEMENT OF THE DOMINION BLOCK ON THE CORNER OF 4 AVENUE AND SIXTH STREET SOUTH. AFTER A FIRE, THE BUILDING WAS RENOVATED AND COMPLETELY TAKEN OVER BY THE EATON'S STORE, WHICH OPERATED IN THAT LOCATION UNDER PERIODIC RENOVATIONS FROM 1929 UNTIL THE OPENING OF THE PARK PLACE MALL IN 1988, IN WHICH EATON'S WAS AN ANCHOR RETAILER. IN 1989 A PORTION OF THE UNIVERSITY OF LETHBRIDGE ART COLLECTION WAS TEMPORARILY PUT ON DISPLAY IN THE VACANT EATON'S BUILDING, AND PROPOSALS WERE MADE TO MAKE THE INSTALLATION PERMANENT, BUT EVENTUALLY THE PROPERTY WAS SOLD AND DEMOLISHED TO MAKE WAY FOR THE CONSTRUCTION OF A BANK OF MONTREAL BRANCH. IN 1999 THE EATON'S STORE IN PARK PLACE MALL CLOSED JUST PRIOR TO THE ANNOUNCEMENT OF THE BANKRUPTCY OF THE LARGER T. EATON COMPANY LIMITED. SEE PERMANENT FILE P19930072001 FOR HARDCOPIES OF SOURCE MATERIAL.
Catalogue Number
P19990061011
Acquisition Date
1999-10
Collection
Museum
Less detail
Other Name
EATON'S
Date Range From
1980
Date Range To
1999
Material Type
Artifact
Materials
PAPER, BRASS
Catalogue Number
P19990061030
Material Type
Artifact
Other Name
EATON'S
Date Range From
1980
Date Range To
1999
Materials
PAPER, BRASS
No. Pieces
1
Height
0.1
Length
243.0
Width
92.0
Description
PAPER; RECTANGULAR. FRONT OF BANNER HAS RED BACKGROUND, AND READS IN WHITE Z"TOGETHER, WE'RE MAKING IT BETTER". ON RIGHT SIDE, OF FRONT, IS THE PICTURE OF AN EATON'S CREDIT CARD. CARD IS WHITE WITH NAVY BLUE AND BURGUNDY STRIPES; ABOVE STRIPES READS "EATON'S", AND BELOW STRIPES READS "1234 5678 9012 TIMOTHY EATON". THERE ARE TWO HORIZONTAL BLUE LINES THAT RUN ACROSS FRONT OF BANNER. ON BOTTOM RIGHT OF FRONT ARE FOUR TRIANGLES, THAT ALTERNATE IN COLOUR FROM BLUE TO WHITE. TOP LEFT OF FRONT, HAS THREE TRIANGLES, THAT ARE BLUE, WHITE, AND BLUE. EACH CORNER OF BANNER, AND TOP CENTRE, HAS A HOLE WITH A BRASS GROMMET. EACH EDGE OF BANNER IS HEMMED. BACK IS PLAIN WHITE.
Subjects
ADVERTISING MEDIUM
Historical Association
RETAIL TRADE
History
MUSEUM OBTAINED ITEMS FROM LETHBRIDGE EATON'S STORE IN 1999. DUE TO COMPANY BANKRUPTCY, EATON'S STORES ACROSS CANADA WERE CLOSED, INCLUDING THE LETHBRIDGE LOCATION IN PARK PLACE MALL. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE ASSOCIATED WITH THE T. EATON COMPANY STORES IN LETHBRIDGE. THE FOLLOWING BRIEF HISTORY OF LETHBRIDGE'S EATON'S STORE WAS DEVELOPED WITH INFORMATION FROM GALT ARCHIVES AND LETHBRIDGE HERALD ARTICLES FROM THE FALL OF 1988. THE T. EATON COMPANY WAS FOUNDED IN TORONTO IN 1869 BY TIMOTHY EATON. THE FIRST LETHBRIDGE EATON'S 'TECO' STORE WAS OPENED IN 1927 IN THE BASEMENT OF THE DOMINION BLOCK ON THE CORNER OF 4 AVENUE AND SIXTH STREET SOUTH. AFTER A FIRE, THE BUILDING WAS RENOVATED AND COMPLETELY TAKEN OVER BY THE EATON'S STORE, WHICH OPERATED IN THAT LOCATION UNDER PERIODIC RENOVATIONS FROM 1929 UNTIL THE OPENING OF THE PARK PLACE MALL IN 1988, IN WHICH EATON'S WAS AN ANCHOR RETAILER. IN 1989 A PORTION OF THE UNIVERSITY OF LETHBRIDGE ART COLLECTION WAS TEMPORARILY PUT ON DISPLAY IN THE VACANT EATON'S BUILDING, AND PROPOSALS WERE MADE TO MAKE THE INSTALLATION PERMANENT, BUT EVENTUALLY THE PROPERTY WAS SOLD AND DEMOLISHED TO MAKE WAY FOR THE CONSTRUCTION OF A BANK OF MONTREAL BRANCH. IN 1999 THE EATON'S STORE IN PARK PLACE MALL CLOSED JUST PRIOR TO THE ANNOUNCEMENT OF THE BANKRUPTCY OF THE LARGER T. EATON COMPANY LIMITED. SEE PERMANENT FILE P19930072001 FOR HARDCOPIES OF SOURCE MATERIAL.
Catalogue Number
P19990061030
Acquisition Date
1999-10
Collection
Museum
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
INDIGENOUS
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
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 NATION, 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
Other Name
UKRAINIAN TRADITIONAL
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
WOOD BEADS, PAINT
Catalogue Number
P19770052000
Material Type
Artifact
Other Name
UKRAINIAN TRADITIONAL
Date Range From
1970
Date Range To
1980
Materials
WOOD BEADS, PAINT
No. Pieces
1
Length
42.0
Description
ONE WOODEN BEAD NECKLACE. BLACK, RED, GREEN, YELLOW BEADS IN DIFFERENT SIZES. PLASTIC THREAD (2 STRANDS) RUNNING THROUGH CENTRE OF BEADS HOLDING THEM TOGETHER.
Subjects
ADORNMENT
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
UKRAINIAN CULTURAL HERITAGE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE ASSOCIATED WITH THE DONORS. THE FOLLOWING DETAILS ABOUT THE DONORS, NICK AND ANN BORDENIUK, AND THE ORIGIN OF THE OBJECTS INCLUDED IN THEIR 1977 DONATION WERE FOUND IN A HANDWRITTEN NOTE FROM THE DONORS IN THE PERMANENT FILE. NICK BORDENIUK WAS BORN IN CZERNIWICI, UKRAINE ON MAY 20, 1895. HE FIRST CAME TO QUEBEC IN 1913, WORKING AS A MINER AND ON VARIOUS CONSTRUCTION SITES INCLUDING THAT OF THE ST. LAWRENCE BRIDGE IN 1916. IN 1922 HE ARRIVED IN LETHBRIDGE AND WORKED AT THE NO. 6 MINE. IN 1940 HE MOVED TO FERNIE, B.C. AND WORKED IN COAL CREEK UNTIL HIS RETIREMENT IN 1958. ANN BORDENIUK WAS BORN IN LWOW, UKRAINE AND MOVED TO HILLCREST, ALBERTA IN 1936. SHE ALSO MOVED TO FERNIE AND MARRIED NICK THERE IN 1955. IN 1976 THE BORDENIUKS MOVED FROM THEIR HOME INTO TOM UPHILL MANOR IN FERNIE, AND DONATED THEIR COLLECTION OF UKRAINIAN OBJECTS TO THE GALT MUSEUM. ALL OF THE OBJECTS WERE HANDMADE IN THE MOUNTAINOUS REGION OF KARPYTIAN IN WESTERN UKRAINE. SEE PERMANENT FILE FOR HANDWRITTEN NOTE ON THE BIOGRAPHY OF THE DONORS.
Catalogue Number
P19770052000
Acquisition Date
1976-10
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
INDIGENOUS
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
UKRAINIAN SHIRT (WOMEN'S)
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
LINEN
Catalogue Number
P19770058000
  2 images  
Material Type
Artifact
Other Name
UKRAINIAN SHIRT (WOMEN'S)
Date Range From
1970
Date Range To
1980
Materials
LINEN
No. Pieces
1
Length
122.0
Width
64.8
Description
WHITE, SIZE LARGE. WHITE LINEN MATERIAL WITH EMBROIDERED (PURPLE, BLUE, BLACK, YELLOW, BURGUNDY, GREEN) ARMS AND BODICE. NECKLINE IS BLANKET STITCHED. ATTACHED PIECE ON BOTTOM OPEN PIECE WOVEN ON LOOM. FLORAL PATTERN DESIGNED LACE CUFFS.
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
*UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE ASSOCIATED WITH THE DONORS. THE FOLLOWING DETAILS ABOUT THE DONORS, NICK AND ANN BORDENIUK, AND THE ORIGIN OF THE OBJECTS INCLUDED IN THEIR 1977 DONATION WERE FOUND IN A HANDWRITTEN NOTE FROM THE DONORS IN THE PERMANENT FILE. NICK BORDENIUK WAS BORN IN CZERNIWICI, UKRAINE ON MAY 20, 1895. HE FIRST CAME TO QUEBEC IN 1913, WORKING AS A MINER AND ON VARIOUS CONSTRUCTION SITES INCLUDING THAT OF THE ST. LAWRENCE BRIDGE IN 1916. IN 1922 HE ARRIVED IN LETHBRIDGE AND WORKED AT THE NO. 6 MINE. IN 1940 HE MOVED TO FERNIE, B.C. AND WORKED IN COAL CREEK UNTIL HIS RETIREMENT IN 1958. ANN BORDENIUK WAS BORN IN LWOW, UKRAINE AND MOVED TO HILLCREST, ALBERTA IN 1936. SHE ALSO MOVED TO FERNIE AND MARRIED NICK THERE IN 1955. IN 1976 THE BORDENIUKS MOVED FROM THEIR HOME INTO TOM UPHILL MANOR IN FERNIE, AND DONATED THEIR COLLECTION OF UKRAINIAN OBJECTS TO THE GALT MUSEUM. ALL OF THE OBJECTS WERE HANDMADE IN THE MOUNTAINOUS REGION OF KARPYTIAN IN WESTERN UKRAINE. SEE PERMANENT FILE FOR HANDWRITTEN NOTE ON THE BIOGRAPHY OF THE DONORS.
Catalogue Number
P19770058000
Acquisition Date
1976-10
Collection
Museum
Images
Less detail
Other Name
BEADED WOOD NECKLACE
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
WOOD, METAL
Catalogue Number
P19770053000
Material Type
Artifact
Other Name
BEADED WOOD NECKLACE
Date Range From
1970
Date Range To
1980
Materials
WOOD, METAL
No. Pieces
1
Length
42.0
Description
ONE WOODEN NECKLACE WITH ROUND DISK (WOODEN) AND BELLS (WOODEN) ATTACHED AT BOTTOM. LIGHT BROWN, DARK BROWN, RED (TINY) BEADS. ROUND & OBLONG BEADS. DISK - ROUND, WOODEN. HAS DESIGNS CARVED IN THE WOOD ALONG WITH DESIGNS PAINTED ON. BLACK, RED, PINK, WHITE, GREEN, BLUE BEADS EMBEDDED IN PATTERN WHICH IS PAINTED. COPPER ALSO EMBEDDED IN PAINTED DESIGN. BELLS ARE JOINED BY METAL AND HAVE COPPER RINGS SO THEY CAN BE ATTACHED. DISK ATTACHED TO NYLON THREAD WHICH HOLDS BEADS TOGETHER. NYLON THREAD IS OF SINGLE THICKNESS.
Subjects
ADORNMENT
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
*UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE ASSOCIATED WITH THE DONORS. THE FOLLOWING DETAILS ABOUT THE DONORS, NICK AND ANN BORDENIUK, AND THE ORIGIN OF THE OBJECTS INCLUDED IN THEIR 1977 DONATION WERE FOUND IN A HANDWRITTEN NOTE FROM THE DONORS IN THE PERMANENT FILE. NICK BORDENIUK WAS BORN IN CZERNIWICI, UKRAINE ON MAY 20, 1895. HE FIRST CAME TO QUEBEC IN 1913, WORKING AS A MINER AND ON VARIOUS CONSTRUCTION SITES INCLUDING THAT OF THE ST. LAWRENCE BRIDGE IN 1916. IN 1922 HE ARRIVED IN LETHBRIDGE AND WORKED AT THE NO. 6 MINE. IN 1940 HE MOVED TO FERNIE, B.C. AND WORKED IN COAL CREEK UNTIL HIS RETIREMENT IN 1958. ANN BORDENIUK WAS BORN IN LWOW, UKRAINE AND MOVED TO HILLCREST, ALBERTA IN 1936. SHE ALSO MOVED TO FERNIE AND MARRIED NICK THERE IN 1955. IN 1976 THE BORDENIUKS MOVED FROM THEIR HOME INTO TOM UPHILL MANOR IN FERNIE, AND DONATED THEIR COLLECTION OF UKRAINIAN OBJECTS TO THE GALT MUSEUM. ALL OF THE OBJECTS WERE HANDMADE IN THE MOUNTAINOUS REGION OF KARPYTIAN IN WESTERN UKRAINE. SEE PERMANENT FILE FOR HANDWRITTEN NOTE ON THE BIOGRAPHY OF THE DONORS.
Catalogue Number
P19770053000
Acquisition Date
1976-10
Collection
Museum
Less detail
Date Range From
1905
Date Range To
1915
Material Type
Artifact
Materials
GLASS, LIGHT CARD
Catalogue Number
P19705637000
Material Type
Artifact
Date Range From
1905
Date Range To
1915
Materials
GLASS, LIGHT CARD
No. Pieces
1
Length
25.4
Width
12.4
Description
"PEACOCK AND KITSON LTD. WHOLESALE TOBACCO CONFECTIONERY & SUNDRIES PHONE 2022-2034 LETHBRIDGE, ALTA". "THE TOBACCO AND CONFECTIONERY HOUSE OF THE SOUTH" AND WINTER SCENE AT TOP.
Subjects
ADVERTISING MEDIUM
FURNITURE
Historical Association
RETAIL TRADE
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. DUHAMEL SPECULATED, “THIS [MIRROR] MUST HAVE BEEN IN GRANDMA’S BEDROOM. ALONG WITH ALL THE LITTLE SAYINGS AND FRAMES AND PICTURES THAT THE KIDS HAD GIVEN HER OVER THE YEARS. SHE KEPT THEM ON THIS ONE WALL.” 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.” IN AN EMAIL EXCHANGE WITH PUNDYK IN NOVEMBER 2017, FRED WATMOUGH, A GRANDSON OF MICHAEL AND ALICE’S WROTE THAT THIS MIRROR “WAS IN [MY] GRANDPARENT’S BEDROOM IN SHAUGHNESSY, BUT [MY GRANDPARENTS’ PROBABLY GOT IT IN LETHBRIDGE BEFORE HE BUILT THE FIRST SHAUGHNESSY HOTEL AND MOVED THERE IN 1927.” ON 13 FEBRUARY 2018, PUNDYK CONDUCTED AN ADDITIONAL INTERVIEW WITH ANOTHER GRANDCHILD OF MICHAEL AND ALICE BENNETT, MIKE BENNETT, ALONG WITH HIS WIFE, DIANE. THEY PROVIDED ADDITIONAL INFORMATION ABOUT THE BENNETT FAMILY LIVES AND THE COLLECTION OF ARTIFACTS DONATED BY M. J. BENNETT. PLEASE SEE PERMANENT FILE P19705622000 FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTIONS, INCLUDING INDIVIDUAL ACCOUNTS OF THE BENNETT FAMILY HISTORY.
Catalogue Number
P19705637000
Acquisition Date
1970-05
Collection
Museum
Less detail

21 records – page 1 of 2.