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Other Name
WEBLEY MK 1, SN '27'
Date Range From
1970
Date Range To
1990
Material Type
Artifact
Materials
STEEL, BRONZE
Catalogue Number
P20070016000
Material Type
Artifact
Other Name
WEBLEY MK 1, SN '27'
Date Range From
1970
Date Range To
1990
Materials
STEEL, BRONZE
No. Pieces
1
Height
17.0
Length
26.3
Width
4.5
Description
REVOLVER, 6 SHOT, .455 CALIBRE, SILVER FINISH ON STEEL (?), BRONZE GRIPS CAST IN A LEAF PATTERN, MARKED, “…1972” CYLINDER MARKED, “27” RIGHT SIDE OF GUN MARKED WITH A CROWN OVER “R, O” IN FRONT OF CYLINDER, METAL LANYARD LOOP AT BOTTOM OF GRIP. GRIPS NOT ORIGINAL TO REVOLVER.
Subjects
ARMAMENT-FIREARM
Historical Association
FINE ARTS
LEISURE
History
BARBARA MARTENS CONSULTED WITH HER HUSBAND, DONOR CORNIE MARTENS (WHO WAS THEN IN THE HOSPITAL) AT TIME OF DONATION. THE DONOR PURCHASED THE REVOLVER TO USE AS AN EXAMPLE FOR WESTERN SCULPTURES. HE PURCHASED IT FROM A GUN SHOP IN VANCOUVER IN THE EARLY 1970S. CORNIE MARTENS, A BRONZE SCULPTOR, COLLECTED ABOUT FIVE OR SIX GUNS IN ORDER TO USE THEM AS MODELS FOR HIS WESTERN SCULPTURES. WHILE HE HAD A SMALL COLLECTION OF FIREARMS, THIS WEBLEY MK1 REVOLVER WAS THE ONLY ONE HE EVER ALTERED. HE REPLACED THE GRIPS WITH ONES HE HAD SCULPTED SOME TIME IN THE LATE 1970S. ACCORDING TO HIS WIFE, HE SCULPTED THE GRIPS "JUST FOR INTEREST." THE DONOR WAS BORN IN THE UKRAINE AND MOVED TO SASKATCHEWAN AT A YOUNG AGE. NOT LONG AFTER THAT, HIS FAMILY RELOCATED TO COALDALE, WHERE MARTENS RESIDED FOR THE REMAINDER OF HIS LIFE. THE DONOR BECAME INTERESTED IN ART WHEN HE WAS A BOY. ALTHOUGH HE HAD NO FORMAL TRAINING, MUCH OF HIS ARTWORK WAS SCULPTURAL. HE WORKED IN BRONZE, WAX, PLASTICINE, ALUMINUM, TIN, CLAY, FIBREGLASS AND MORE. WESTERN MOTIFS AND THE RODEO WERE THEMES FOUND THROUGHOUT HIS ARTWORK. SOME OF HIS WORKS INCLUDE, A BRONZE MINER STATUE FOR THE "MINER'S LIBRARY", A STATUE OF JERRY POTTS (AWARDED TO OUTSTANDING CONTRIBUTORS TO SOUTHERN ALBERTA TOURISM) AND MORE. CORNIE MARTENS PASSED AWAY ON JULY 29, 2009. FOR MORE INFORMATION SEE PERMANENT FILE.
Catalogue Number
P20070016000
Acquisition Date
2009-03
Collection
Museum
Less detail
Other Name
SIGN
Material Type
Artifact
Materials
CARDBOARD, WOOD, PAINT
Catalogue Number
P20170020003
  2 images  
Material Type
Artifact
Other Name
SIGN
Date
2017
Materials
CARDBOARD, WOOD, PAINT
No. Pieces
13
Length
132
Width
43
Description
SET OF 13 STENCIL LETTERS THAT SPELL “#WOMENSMARCH” AND ONE STENCIL OF A WOMAN’S FACIAL PROFILE WITH THE TEXT “RIGHTS MATTER” IN CARDBOARD LETTERS RUNNING DOWN THE FACE. STENCILS ARE CUT FROM CARDBOARD AND PAINTED PINK ON THE FRONT. BACKS OF THE STENCILS ARE SECURED WITH GLUE TO WOODEN STAKES (45CM LONG AND 1.9CM WIDE). STAKES ARE PALE WOOD AND TAPER TO POINTS. STAKES HAVE PINK PAINT ON FRONTS BENEATH THE STENCILS, AND ON RIGHT AND LEFT SIDES. THE ENDS OF THE STAKES SHOW SOILING, AND PAINT ON THE FRONTS OF THE STENCILS IS FADED. A. “#” STENCIL. 60.1CM LONG AND 24.1CM WIDE. CREASES ALONG THE FRONT AROUND THE CENTER CUT-OUT SQUARE AND THE UPPER RIGHT LINE; STAKE HAS A WHITE LABEL STAPLED ON ITS TOP EDGE WITH THE BARCODE “8 34609 00016 7.” TEXT ON THE LABEL IS FADED AND WORN. B. “W” STENCIL. 67.1CM LONG AND 33.5CM WIDE. PATCH OF DISCOLORATION ON LOWER LEFT EDGE AND UPPER RIGHT CORNER; STAKE HAS A WHITE LABEL STAPLED ON ITS TOP EDGE WITH THE TEXT “1 X 2-18” PREMIUM STAKE KD SPF,” AND BARCODE “8 34609 00016 7”. TEXT ON THE LABEL IS FADED AND WORN. C. “O” STENCIL. 66.7CM LONG AND 19CM WIDE. CREASING ON BACK LEFT SIDE AND FRONT RIGHT SIDE; TAPE ATTACHED TO FRONT OF STENCIL ALONG THE LOWER RIGHT EDGE AND IS PAINTED PINK; FRONT OF STENCIL HAS TEAR ALONG LOWER EDGE OF THE CENTER CUT-OUT; STAKE HAS A WHITE LABEL STAPLED ON ITS TOP EDGE WITH THE TEXT “1 X 2-18” PREMIUM STAKE KD SPF,” AND BARCODE “8 34609 00016 7”. TEXT ON THE LABEL IS FADED AND WORN. D. “M” STENCIL. 67.7CM LONG AND 26.4CM WIDE. CREASING ON BACK AT UPPER LEFT AND RIGHT CORNERS, AND ON THE FRONT ABOVE STAKE; STAKE HAS A WHITE LABEL STAPLED ON ITS TOP EDGE WITH THE TEXT “1 X 2-18” PREMIUM STAKE KD SPF,” AND BARCODE “8 34609 00016 7”. TEXT ON THE LABEL IS FADED AND WORN. E. “”E” STENCIL. 66CM LONG AND 16.1CM WIDE. CREASING ABOVE THE STAKE ON BACK; STAKE HAS WHITE RESIDUE NEAR ITS TOP EDGE. F. “N” STENCIL. 66.4CM LONG AND 20.4CM WIDE. CREASING ON BACK LEFT SIDE PARALLEL WITH EDGE, ON FRONT LEFT SIDE ABOVE LOWER EDGE, ON FRONT LEFT SIDE ALONG EDGE OF CUT-OUT, AND ON FRONT PARALLEL WITH RIGHT EDGE; STAKE HAS A WHITE LABEL STAPLED ON ITS TOP EDGE WITH THE TEXT “1 X 2-18” PREMIUM,” AND BARCODE “8 34609 00016 7”. TEXT ON THE LABEL IS FADED AND WORN. G. “S” STENCIL. 66.7CM LONG AND 17CM WIDE. FRAYING EDGES ON UPPER AND LOWER LEFT SIDES; CREASING DOWN THE FRONT AND ACROSS UPPER EDGE; STAKE HAS A WHITE LABEL TORN OFF WITH A STAPLE REMAINING; FRONT OF STENCIL HAS PAINT MISSING FROM UPPER AND LOWER RIGHT SIDES. H. “M” STENCIL. 67.7CM LONG AND 26.4CM WIDE. PINK RESIDUE ON BACK IN UPPER RIGHT EDGE; CREASING ON FRONT ALONG CENTER OF LOWER EDGE, ACROSS MID-RIGHT SIDE, AND ON BACK PARALLEL TO RIGHT EDGE. I. “A” STENCIL. 68.7CM LONG AND 22.2CM WIDE. CREASING ON BACK ALONG LEFT AND RIGHT EDGES AND UPPER EDGE; STAKE HAS A WHITE LABEL STAPLED ON ITS TOP EDGE WITH THE TEXT “1 X 2-18” PREMIUM STAKE KD SPF,” AND BARCODE “8 34609 00016 7”. TEXT ON THE LABEL IS FADED AND WORN. J. “R” STENCIL. 68CM LONG AND 18.6CM WIDE. CREASING ON BACK RUNNING ACROSS LEFT SIDE; BACK OF STENCIL HAS BLUE-GREY RESIDUE ON LOWER-LEFT SIDE, ACROSS FRONT BOTTOM EDGE, AND ALONG LOWER LEFT SIDE; STAKE AND STENCIL ARE ATTACHED AT BACK WITH SILVER TAPE (DUCT TAPE). WHITE LABEL IS STAPLED TO TOP OF STAKE UNDER TAPE. K. “C” STENCIL. 65.3CM LONG AND 18.6CM WIDE. CREASING ACROSS BACK UPPER EDGE, AND ON FRONT OF STENCIL ACROSS LOWER EDGE; STAKE HAS A WHITE LABEL STAPLED ON ITS TOP EDGE WITH THE TEXT “1 X 2-18” PREMIUM,” AND BARCODE “8 34609 00016 7”. TEXT ON THE LABEL IS FADED AND WORN. L. “H” STENCIL. 68.6CM LONG AND 19.6CM WIDE. CREASING ON BACK RUNNING ACROSS LOWER RIGHT SIDE, DOWN LEFT SIDE, THREE DOWN RIGHT SIDE ON BACK, ACROSS BACK UPPER RIGHT SIDE, AND ACROSS BACK LOWER RIGHT SIDE; BACK HAS PINK RESIDUE ON UPPER EDGE OF CENTER LINE; STAKE HAS A WHITE LABEL STAPLED ON ITS TOP EDGE WITH THE TEXT “1 X 2-18” PREMIUM STAKE KD,” AND BARCODE “8 34609 00016 7”. TEXT ON THE LABEL IS FADED AND WORN. M. STENCIL OF A WOMAN’S FACIAL PROFILE. 132CM LONG AND 43CM WIDE. STENCIL IS FIXED TO TWO WOODEN STAKES (86CM LONG AND 2CM WIDE); CREASING ON BACK ACROSS UPPER EDGE, TWO ACROSS CENTER, DOWN LOWER RIGHT SIDE, AND DOWN LEFT EDGE ON NOSE OF PROFILE; FRONT IS PINK WITH TAN CARDBOARD LETTERS ATTACHED READING “RIGHTS MATTER.” TWO STAPLES SECURE THE “T” IN “RIGHTS” TO THE STENCIL.
Subjects
MULTIPLE USE T&E FOR MATERIALS
Historical Association
POLITICS
History
THE WOMEN’S MARCH LETHBRIDGE FIRST OCCURRED ON JANUARY 17, 2017. ORIGINATING IN THE UNITED STATES OF AMERICA FOLLOWING THE ELECTION OF PRESIDENT DONALD TRUMP, THE WOMEN’S MARCH WAS AN INTERNATIONAL MOVEMENT OF PROTESTS AND GATHERINGS IN SUPPORT OF WOMEN’S RIGHTS, HUMAN RIGHTS, LGBTQ+ RIGHTS AND STANDING AGAINST INTOLERANCE AND DISCRIMINATION. THE 2017 WOMEN’S MARCH IN LETHBRIDGE SAW A GATHERING OF 500-600 PARTICIPANTS ALONG MAYOR MAGRATH DRIVE SOUTH NEAR THE CORNER OF NINTH AVENUE. SHANNAN LITTLE ACTED AS A FACILITATOR FOR THE GATHERING AND PROCEEDED TO DONATE SIGNAGE AND ACTIVIST ARTWORKS FROM THE LETHBRIDGE WOMEN’S MARCH TO THE MUSEUM. ON JUNE 9, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LITTLE REGARDING HER DONATION AND PARTICIPATION IN THE LETHBRIDGE WOMEN’S MARCH. WHEN ASKED ABOUT THE CREATION OF THE STENCILS, LITTLE RECALLED, “TROY AND KRYSTY DID THE BANNER…TROY IS A LOCAL ARTIST…KRYSTY KNOWS HOW TO GET THINGS DONE…THEY USED CARDBOARD STENCILS TO CREATE THE GRAPHIC, AND THE LETTERING ON THE BANNER, AND THE FLAG…AFTERWARDS, I THINK IT WAS TROY WHO REALIZED THESE STENCILS ARE TOO GOOD JUST TO BE WASTED. HE, THEN, TURNED THEM INTO FURTHER PIECES OF ART, WHICH IS THE SIGN THAT SAYS, 'RIGHTS MATTER' WITH THE LETTERING, AND THEN THE LARGER LETTERS THAT WE THEN PUT INTO THE GROUND AROUND THE RALLY…IT’S PRETTY SIMPLE – FABRICS, SOME STENCILS, AND SOME SPRAY PAINT.” ON MARCH 31, 2017, MACLEAN INTERVIEWED ANNELIES VAN OERS REGARDING HER PARTICIPATION IN THE WOMEN’S MARCH IN LETHBRIDGE ON JANUARY 17, 2017. VAN OERS SPOKE ABOUT HER KNOWLEDGE OF THE BANNER AND ITS CREATION, STATING, “THE BANNER [WAS] CREATED BY TROY AND KRYSTY…BASICALLY WE BOUGHT THE FABRIC AND KRYSTY HAD A FRIEND WHO COULD SEW IN THE THREE HOOKS FOR THE POLES TO GO IN. ONCE THEY HAD SEWN IT, TROY MADE STENCILS. HE BLEW UP THE GRAPHICS, AND THE GRAPHICS WERE ALL CREATED IN WASHINGTON BY THE WASHINGTON PEOPLE…[TROY] BLEW IT UP, PROJECTED IT AND SOMEHOW MADE STENCILS…AND PROJECTED IT ON TO CARDBOARD AND WAS ABLE TO STENCIL IT OUT AND THEN BROUGHT SPRAY PAINT AND SPRAY PAINTED IT ON…BECAUSE THIS WAS ALL STENCILED OUT WE PUT THE ACTUAL STENCILS OF EACH INDIVIDUAL WORD ON LITTLE STICKS AND MADE THE HASHTAG…'#WOMENSMARCH.' WE PUT THAT RIGHT IN THE ENTRY AND IT’S BEAUTIFUL... A METRE HIGH IN THE END AND THIS REALLY COOL PIECE OF BASICALLY CARDBOARD WITH THIS BEAUTIFUL COLORED PAINT ON THEM. AS PEOPLE DROVE IN TO PARK UP – THIS IS WHAT THEY SAW…IT WAS REALLY COOL AND TROY REALLY WORKED HARD ON THIS.” WHEN ASKED ABOUT HER INVOLVEMENT IN COMMUNITY ACTIVISM, LITTLE NOTED, “I’VE BEEN INVOLVED IN ORGANIZING OTHER EVENTS AND RALLIES IN TOWN, BUT NONE THAT HAD THE TURN-OUT AND THE RESPONSE THAT THIS ONE DID. WE DIDN’T HAVE ANY REAL EXPECTATIONS ABOUT WHAT THE TURN-OUT WOULD BE. WE KNEW THERE WOULD BE PEOPLE, BUT, WHEN WE SAW THE NUMBER OF PEOPLE THAT CAME OUT, WE WERE EXCITED, BY THE FACT THAT WE HADN’T REALLY - THERE WAS NO AGENDA ON THIS EVENT, OR ANYTHING. IT WAS VERY SPONTANEOUS, AND, THAT IT WORKED IN THIS CITY WAS SIGNIFICANT.” LITTLE SPOKE ABOUT HER DONATION TO THE MUSEUM AND HER FEELINGS ON LEARNING THAT THE MUSEUM WANTED MARCH MATERIAL RECALLING, “…WHEN I FIRST HEARD, I WAS ACTUALLY QUITE EXCITED, BECAUSE…WHEN WE WERE ORGANIZING THE EVENT, WE WANTED TO MAKE SURE THAT IT JUST WASN’T A POINT IN TIME...AND THEN IT WENT AWAY…WHEN WE HEARD THE MUSEUM WAS INTERESTED, WE WERE…ON A PRACTICAL LEVEL, SAYING 'WOW, WE CAN PUT THE STUFF SOMEWHERE,'…THERE WAS A LOT OF LABOR AND EFFORT INVOLVED IN MAKING IT, BUT, OTHERWISE, PRESERVING THE STORY, AND THE CONTEXT - WE REALIZED THAT WAS IMPORTANT.” LITTLE RECALLED HOW SHE BECAME INVOLVED WITH THE LETHBRIDGE WOMEN’S MARCH, SAYING, “IT STARTED WHEN I FOUND OUT ABOUT PUSSY HATS…I CROCHETED A FEW OF THOSE TO SEND TO WASHINGTON, AND I POSTED IT ON FACEBOOK, AND THEN A LOT OF MY FACEBOOK CONTACTS SAID, 'I WANT ONE.' AND, THEN THE NEXT QUESTION WAS, 'WHAT’S GOING ON IN LETHBRIDGE?' IT BECAME APPARENT THAT WE NEEDED TO HAVE SOMETHING IN LETHBRIDGE. A GROUP OF US WHO HAVE DONE SIMILAR THINGS, GOT TOGETHER TO SAY, WELL, WHAT COULD WE DO? WE DIDN’T CALL OURSELVES ORGANIZERS. WE CALLED OURSELVES FACILITATORS. WE FACILITATED THE GATHERING, AND WE USED THAT TERMINOLOGY WITH INTENTION. WE ALSO WERE CLEAR TO PEOPLE THAT EVERYONE WHO CAME TO THE EVENT WAS AN ORGANIZER. IT WAS INTERESTING, BECAUSE ONE OF THE MEDIA STORIES ABOUT THIS, ASKED SOMEONE, 'WHO IS THE ORGANIZER?' AND, THE RESPONSE WAS, 'WE ARE ALL ORGANIZERS.'” “I THINK IT’S IMPORTANT TO KNOW THAT THIS WASN’T JUST ABOUT ‘WOMEN’S RIGHT’S.’ ‘WOMEN’S RIGHT’S’ IS ‘HUMAN’S RIGHT’S’. IN LETHBRIDGE, WE ORGANIZED TO COME OUT STRONGLY AGAINST DISCRIMINATION OF ANY FORM. WE ALSO WERE MARCHING FOR VERY POLITICAL REASONS, AND THAT IS STATING THAT THE POLITICS OF INTOLERANCE ARE NOT ACCEPTABLE, AND, IN ALBERTA, WE REALLY SEE THAT CURRENTLY. WE ALSO WANTED TO SEE A RETURN TO CIVILITY AND RESPECT IN PUBLIC DISCOURSE. WE SAW SO MUCH MISOGYNY, ESPECIALLY ON SOCIAL MEDIA, SO WE WANTED TO SAY LOUDLY AND STRONGLY THAT THIS IS NOT ACCEPTABLE IN OUR COMMUNITY.” ON MARCH 31, 2017, MACLEAN INTERVIEWED ANNELIES VAN OERS REGARDING HER PARTICIPATION IN THE WOMEN’S MARCH IN LETHBRIDGE ON JANUARY 17, 2017. WHEN ASKED ABOUT THE NATURE AND ORIGINS OF THE WOMEN’S MARCH IN LETHBRIDGE, VAN OERS REMARKED, “WE DIDN’T HAVE A MARCH, WE HAD A GATHERING BECAUSE WE DIDN’T WANT TO GET A PERMIT SO WE HAD A GATHERING. IT WAS VERY ELECTRIC. FOR LETHBRIDGE IT WAS… ROCKING.” “WHAT WAS UNIQUE TO LETHBRIDGE IS THE WAY THAT IT WAS ORGANIZED. IT’S SUPER-GRASSROOTS…AND FAIRLY LOW KEY. THERE’S NOT THIS ORGANIZATIONAL JOCKEYING OR POSITIONING, IT WAS JUST FIVE PEOPLE, 'HEY, LET’S DO THIS. OKAY, LET’S DO THIS.' AND THAT’S HOW LETHBRIDGE, QUITE OFTEN, OPERATES…WE JUST GENERICALLY COME TOGETHER BECAUSE WE ALL FEEL PASSIONATE ABOUT ONE THING…THERE’S JUST THIS [SENSE OF], 'OKAY, WHAT NEEDS TO BE DONE AND WHAT CAN I DO TO HELP?' AND THAT’S WHERE I THINK WE’RE UNIQUELY LETHBRIDGE. IT’S VERY HANDS ON, IT’S VERY QUICK.” “WHAT ELSE IS UNIQUE IN LETHBRIDGE IN TERMS OF THE WOMEN’S MARCH, I THINK, IS ITS RELEVANCE. WE ARE SO FACED WITH MISOGYNY RIGHT NOW IN OUR COMMUNITY. BECAUSE THIS CAME OUT OF A POLITICAL SPHERE THAT’S IN THE UNITED STATES. IT WAS VERY MUCH AN ANSWER TO DONALD TRUMP. THIS IS HOW THIS MARCH STARTED BUT I THINK, FOR US, IT WAS, 'YEAH, OKAY, WE REALLY DON’T APPRECIATE IT WHEREVER IT HAPPENS, BUT LOCALLY, WE HAVE SOME REALLY SERIOUS ISSUES.'” PLEASE SEE THE PERMANENT FILE P20170020001-GA FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, NEWSPAPER ARTICLES AND PHOTOGRAPHS FROM THE JANUARY 17, 2017 WOMEN’S MARCH.
Catalogue Number
P20170020003
Acquisition Date
2017-06
Collection
Museum
Images
Less detail