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Other Name
EMBROIDERED CARD
Date Range From
1900
Date Range To
1953
Material Type
Artifact
Materials
SILK, CARDSTOCK
Catalogue Number
P20090016024
  1 image  
Material Type
Artifact
Other Name
EMBROIDERED CARD
Date Range From
1900
Date Range To
1953
Materials
SILK, CARDSTOCK
No. Pieces
1
Length
10.2
Width
6.6
Description
EMBROIDERED CARD. CARDSTOCK FRAME WITH GOLD, EMBOSSED, SCALLOPED BORDER AND CORNER DECORATIONS. GREEN, PAPER, LACE SURROUNDS SILK INSERT. EMBROIDERED “TO MY NIECE… MY GENTLE NIECE.” IN GREEN PURPLE AND BLUE. SOME PAPER LOSS ON BOTTOM OF REVERSE OF CARD. NOTECARD DISCOLORED AND SOILED THROUGHOUT.
Subjects
ART
Historical Association
DECORATIVE ARTS
History
FOR MORE INFORMATION SEE P20090016001 AND PERMANENT FILE.
Catalogue Number
P20090016024
Acquisition Date
2009-05
Collection
Museum
Images
Less detail
Other Name
WESTPORT GARDEN PRINT
Date Range From
1920
Date Range To
1970
Material Type
Artifact
Materials
WOOD, PAPER
Catalogue Number
P20010057004
  1 image  
Material Type
Artifact
Other Name
WESTPORT GARDEN PRINT
Date Range From
1920
Date Range To
1970
Materials
WOOD, PAPER
No. Pieces
1
Height
1.4
Length
24.6
Width
23.6
Description
PRINT OF A PAINTING OF "A WESTPORT GARDEN". THE IMAGE IS OF A HOUSE THAT HAS A PLETHORA OF FLOWERS OUT FRONT AS WELL AS A WALKWAY. THERE ARE TWO CHIMNEY'S ON THE HOUSE. THE FRAME IS MADE OF WOOD AND PAINTED GOLD. THE MATTE AROUND THE PICTURE IS A LIGHT YELLOW COLOR WITH A SMALL DARK BROWN BORDER AROUND THE IMAGE.
Subjects
ART
Historical Association
DECORATIVE ARTS
History
FOR MORE INFORMATION ON THE DONOR, THE LATE MS. HAZEL MCNABB, PLEASE SEE P20010057001-GA AND THIS DONATION'S PERMANENT FILE. INCLUDED IN THE FILE, IS A 50 MIN INTERVIEW WITH MCNABB'S CLOSE FRIEND MARY OORDT FROM 20 MAY 2014. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING BRIEF HISTORY OF THE MCNABB FAMILY AND THE DONOR, HAZEL MCNABB, WAS DEVELOPED WITH INFORMATION FROM THE GALT ARCHIVES, MCNABB'S LETHBRIDGE HERALD OBITUARY, AND THE ORAL HISTORY CONDUCTED BY COLLECTIONS TECH KEVIN MACLEAN WITH MARY OORDT. HAZEL RUTH MCNABB WAS BORN IN 1912 AND RAISED ON THE MCNABB FAMILY RANCH SOUTH OF FORT MACLEOD. HER PARENTS WERE JOE AND MAY (NEE OAKEN) MCNABB, AND HER SIBLINGS WERE FRANK AND FLORENCE. DURING HER TEENS SHE PLAYED THE PIANO IN LOCAL BANDS THAT TOURED THE RURAL COMMUNITIES OF SOUTHERN ALBERTA. IN HER ADULT LIFE SHE WORKED FOR THE ALBERTA GOVERNMENT TELEPHONE COMPANY, ADVANCE LUMBER COMPANY AND TD BANK IN LETHBRIDGE. SHE AND HER LIFE-LONG COMPANION ALBERTA MCDOUGALL LIVED AND TRAVELLED TOGETHER, AND MCNABB WAS AN AVID CAMPER, HUNTER, AND OUTDOORSWOMAN. WHEN MCNABB MOVED FROM HER HOME INTO THE EDITH CAVELL CARE CENTRE IN 2002, SOME OF THE CONTENTS OF HER HOME, BELONGINGS OF HERS AND SOME FROM THE FAMILY RANCH, WERE DONATED TO THE GALT MUSEUM. HAZEL MCNABB DIED IN LETHBRIDGE ON MARCH 10, 2008. SEE PERMANENT FILE FOR HARDCOPIES OF SOURCE MATERIAL AND TRANSCRIPT OF INTERVIEW WITH MARY OORDT. THE FOLLOWING BIOGRAPHY OF THE ARTIST OF THIS PRINT, WALLACE NUTTING, WAS DEVELOPED WITH INFORMATION FROM THE WALLACE NUTTING GALLERY WEBSITE. WALLACE NUTTING WAS BORN IN ROCKBOTTOM, MASSACHUSETTS IN 1861, AND GRADUATED FROM HARVARD IN 1887. IN 1899 HE BEGAN HIS PHOTOGRAPHY PRACTICE AND FIVE YEARS LATER OPENED THE WALLACE NUTTING ART PRINTS STUDIO IN NEW YORK, SHORTLY AFTER MOVING THE BUSINESS TO A FARM IN SOUTHBURY, CONNECTICUT. HIS HAND-COLOURED PHOTOGRAPHS AND LIMITED EDITION PRINTS WERE EXCEEDINGLY POPULAR, AND BY HIS OWN ACCOUNT HE SOLD 10,000,000 PRINTS. NUTTING IS KNOWN FOR PASTORAL LANDSCAPE SCENES, AND ALSO AUTHORED MORE THAN 20 BOOKS IN HIS LIFETIME ON LANDSCAPE SCENERY AND EARLY AMERICAN ANTIQUES. WALLACE NUTTING DIED IN 1941 AND IS BURIED IN MAINE.
Catalogue Number
P20010057004
Acquisition Date
2002-03
Collection
Museum
Images
Less detail
Other Name
HONEYMOON BLOSSOMS PRINT
Date Range From
1920
Date Range To
1970
Material Type
Artifact
Materials
WOOD, PAPER
Catalogue Number
P20010057003
  1 image  
Material Type
Artifact
Other Name
HONEYMOON BLOSSOMS PRINT
Date Range From
1920
Date Range To
1970
Materials
WOOD, PAPER
No. Pieces
1
Height
1.4
Length
24.6
Width
23.6
Description
PRINT IS OF A GARDEN SCENE IN FRONT OF A HOUSE. THERE IS A LARGE TREE WITH A LOT OF PINK FLOWERS ON IT. A PATH LEADS TO THE HOUSE. THE FRAME IS MADE OUT OF WOOD, AND HAS BEEN PAINTED GOLD. THE MATTE AROUND THE PICTURE IS LIGHT YELLOW WITH A DARK BROWN SECTION IMMEDIATELY AROUND THE PICTURE. THERE ARE THE WORDS "HONEYMOON BLOSSOMS" AT THE BOTTOM LEFT PORTION OF THE PICTURE.
Subjects
ART
Historical Association
DECORATIVE ARTS
History
FOR MORE INFORMATION ON THE DONOR, THE LATE MS. HAZEL MCNABB, PLEASE SEE P20010057001-GA AND THIS DONATION'S PERMANENT FILE. INCLUDED IN THE FILE, IS A 50 MIN INTERVIEW WITH MCNABB'S CLOSE FRIEND MARY OORDT FROM 20 MAY 2014. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING BRIEF HISTORY OF THE MCNABB FAMILY AND THE DONOR, HAZEL MCNABB, WAS DEVELOPED WITH INFORMATION FROM THE GALT ARCHIVES, MCNABB'S LETHBRIDGE HERALD OBITUARY, AND THE ORAL HISTORY CONDUCTED BY COLLECTIONS TECH KEVIN MACLEAN WITH MARY OORDT. HAZEL RUTH MCNABB WAS BORN IN 1912 AND RAISED ON THE MCNABB FAMILY RANCH SOUTH OF FORT MACLEOD. HER PARENTS WERE JOE AND MAY (NEE OAKEN) MCNABB, AND HER SIBLINGS WERE FRANK AND FLORENCE. DURING HER TEENS SHE PLAYED THE PIANO IN LOCAL BANDS THAT TOURED THE RURAL COMMUNITIES OF SOUTHERN ALBERTA. IN HER ADULT LIFE SHE WORKED FOR THE ALBERTA GOVERNMENT TELEPHONE COMPANY, ADVANCE LUMBER COMPANY AND TD BANK IN LETHBRIDGE. SHE AND HER LIFE-LONG COMPANION ALBERTA MCDOUGALL LIVED AND TRAVELLED TOGETHER, AND MCNABB WAS AN AVID CAMPER, HUNTER, AND OUTDOORSWOMAN. WHEN MCNABB MOVED FROM HER HOME INTO THE EDITH CAVELL CARE CENTRE IN 2002, SOME OF THE CONTENTS OF HER HOME, BELONGINGS OF HERS AND SOME FROM THE FAMILY RANCH, WERE DONATED TO THE GALT MUSEUM. HAZEL MCNABB DIED IN LETHBRIDGE ON MARCH 10, 2008. SEE PERMANENT FILE FOR HARDCOPIES OF SOURCE MATERIAL AND TRANSCRIPT OF INTERVIEW WITH MARY OORDT. THE FOLLOWING BIOGRAPHY OF THE ARTIST OF THIS PRINT, WALLACE NUTTING, WAS DEVELOPED WITH INFORMATION FROM THE WALLACE NUTTING GALLERY WEBSITE. WALLACE NUTTING WAS BORN IN ROCKBOTTOM, MASSACHUSETTS IN 1861, AND GRADUATED FROM HARVARD IN 1887. IN 1899 HE BEGAN HIS PHOTOGRAPHY PRACTICE AND FIVE YEARS LATER OPENED THE WALLACE NUTTING ART PRINTS STUDIO IN NEW YORK, SHORTLY AFTER MOVING THE BUSINESS TO A FARM IN SOUTHBURY, CONNECTICUT. HIS HAND-COLOURED PHOTOGRAPHS AND LIMITED EDITION PRINTS WERE EXCEEDINGLY POPULAR, AND BY HIS OWN ACCOUNT HE SOLD 10,000,000 PRINTS. NUTTING IS KNOWN FOR PASTORAL LANDSCAPE SCENES, AND ALSO AUTHORED MORE THAN 20 BOOKS IN HIS LIFETIME ON LANDSCAPE SCENERY AND EARLY AMERICAN ANTIQUES. WALLACE NUTTING DIED IN 1941 AND IS BURIED IN MAINE.
Catalogue Number
P20010057003
Acquisition Date
2002-03
Collection
Museum
Images
Less detail
Date Range From
1930
Date Range To
1950
Material Type
Artifact
Materials
CLOTH, BRASS, PLASTIC, CARDBOARD
Catalogue Number
P19860142000
  2 images  
Material Type
Artifact
Date Range From
1930
Date Range To
1950
Materials
CLOTH, BRASS, PLASTIC, CARDBOARD
No. Pieces
2
Length
11.0
Width
8.5
Description
EACH PETITE POINT IS A FIGURE IN 15TH CENTURY FORMAL ATTIRE, ONE MALE, ONE FEMALE. COLORS INCLUDE BLUE, YELLOW, PURPLE, PINK, GREEN. EACH FRAME IS BRASS WITH PLASTIC INLAY TO SIMULATE MOTHER OF PEARL. ONE FRAME HAS 2 PIECES OF INLAY MISSING. .1 MALE FIGURE .2 FEMALE FIGURE
Subjects
ART
Historical Association
DECORATIVE ARTS
History
MADE BY BETTY HUVER. DONOR STATES THAT BETTY HUVER OFTEN TRAVELLED WITH HER HUSBAND WHO WAS A SALESMAN FOR BURNS MEATS. SHE DID "FANCY WORK" AS SHE WAITED IN THE CAR FOR HER HUSBAND TO CONCLUDE BUSINESS IN VARIOUS ESTABLISHMENTS. BETTY HUVER WAS AT ONE TIME LETHBRIDGE CITY LADIES GOLF CHAMPION. DONOR SAYS SHE WAS TOLD PETIT POINT DONE BETWEEN 1930 & 1950. *UPDATE* IN 2018, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED A COLLECTION AUDIT, WHICH INCLUDED ARTIFACTS DONATED BY CORA HASTINGS. RESEARCH CONDUCTED AS PART OF THE AUDIT WAS UNSUCCESSFUL IN IDENTIFYING THE DONOR'S NEXT-OF-KIN. ATTACHED TO THE ARTIFACT'S PERMANENT FILE IS THE OBITUARY OF HASTINGS. IT READS: "CORA JEWELL HASTINGS DIED IN LETHBRIDGE, ALBERTA ON JANUARY 30, 2011. BORN IN MERCER, PENNSYLVANIA, ON DECEMBER 7TH, 1925, CORA IMMIGRATED TO CANADA IN 1967 TO ACCEPT A POSITION AT THE UNIVERSITY OF LETHBRIDGE. SHW WAS THE FOUNDING COORDINATOR OF THE FACULTY OF EDUCATION CURRICULUM LABORATORY LOCATED IN THE UNIVERSITY LIBRARY. SHE RETIRED FROM THE FACULTY OF EDUCATION IN 1984." FOR FULL OBITUARY, PLEASE SEE PERMANENT FILE.
Catalogue Number
P19860142000
Acquisition Date
1986-09
Collection
Museum
Images
Less detail
Other Name
GIRL WITH BOUQUET
Date Range From
1920
Date Range To
1930
Material Type
Artifact
Materials
CERAMIC
Catalogue Number
P19705523000
Material Type
Artifact
Other Name
GIRL WITH BOUQUET
Date Range From
1920
Date Range To
1930
Materials
CERAMIC
No. Pieces
1
Height
25.4
Diameter
9.5
Description
"CORONA ART WARE" (CROWN) ON LABEL ON BASE. FIGURINE OF GIRL HOLDING BOUQUET OF FLOWERS, ALSO WITH BOUQUET IN BASKET AT HER FEET. FELT BASE WORN AWAY. HAS BEEN BROKEN AND MENDED. CHIPS ON GIRL'S FACE, LEGS AND ON FLOWERS. ON BOTTOM OF GIRL'S SKIRT IS WRITTEN IN RED PENCIL "DFH 88...#11509 2".
Subjects
ART
Historical Association
DECORATIVE ARTS
History
IN 2017, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED A SURVEY OF BOXED TEXTILES AND ACCESSORIES INCLUDING A HATPIN, BROOCH, AND BUTTON DONATED BY ALVA MARION BUSSARD. HER HUSBAND, LAWRENCE HAYWORTH BUSSARD, WAS ALSO A DONOR TO THE MUSEUM. COLLECTIVELY, THE COUPLE DONATED 31 ARTIFACTS BETWEEN THE YEARS 1964 TO 1973. ALVA M. BUSSARD (NEE MCMOW)’S OBITUARY STATES SHE WAS BORN IN NIAGARA FALLS, NEW YORK ON OCTOBER 28, 1908. SHE MOVED WEST WITH HER FAMILY IN 1910 AND GREW UP IN THE OLDS-DIDSBURY AREA. SHE MARRIED LAWRENCE H. BUSSARD (B. 1906) ON SEPTEMBER 12, 1937. THEY LIVED IN VERMILLION UNTIL 1948, THEN MOVED TO DRUMHELLER. THEY RELOCATED TO LETHBRIDGE IN 1950 WHEN LAWRENCE TOOK THE JOB OF PUBLIC SCHOOL SUPERINTENDENT. THE COUPLE HAD A SON, DENNIS JAMES (JIM) BUSSARD. LAWRENCE PASSED AWAY ON NOVEMBER 5, 1967 AT THE AGE OF 59 YEARS. L. H. BUSSARD’S OBITUARY IN THE LETHBRIDGE HERALD SPELLS HIS NAME “LAURENCE” AND STATES THAT HE MARRIED ALVA (SPELLED “ELVA”) ON DECEMBER 12, 1936. ACCORDING TO ALVA’S OBITUARY SHE MOVED TO SIDNEY, B. C. IN 1969. SHE THEN BACK TO RED DEER IN 1978 WHERE SHE PASSED AWAY ON MAY 2, 1998. ON NOVEMBER 28, 2017, PUNDYK SPOKE OVER THE PHONE WITH ALVA AND LAWRENCE’S SON, DENNIS BUSSARD OF RED DEER, ALBERTA, ABOUT THE 31 ARTIFACTS DONATED BY HIS PARENTS. HE DID NOT RECOGNIZE THE ARTIFACTS, BUT PROVIDED INFORMATION ABOUT HIS MOTHER. DENNIS STATED HE LEFT HIS PARENTS’ HOME IN 1956. HE ADDED TO THE INFORMATION FROM ALVA’S OBITUARY THAT SHE AND HER FAMILY MOVED TO SASKATCHEWAN BRIEFLY BEFORE MOVING TO ALBERTA FROM NEW YORK. HE EXPLAINED HIS MOTHER BECAME INVOLVED WITH HER FAMILY’S GENEALOGY AND FOUND HER BIRTH CERTIFICATE WHICH SPELLED HER NAME “ALVA” AND SHE ADOPTED THAT SPELLING. PRIOR TO THAT DISCOVERY, HIS MOTHER SPELLED HER NAME “ELVA,” WHICH IS THE REASON RECORDS EXIST WITH THAT SPELLING. THE GALT HOLDS A PAINTING DONATED BY L. H. BUSSARD THAT IS SIGNED “E. M. BUSSARD,” WHICH WAS DENNIS’S MOTHER. HE SAID THAT SHE BEGAN PAINTING FREQUENTLY AFTER HE LEFT HOME IN 1956. PLEASE SEE PERMANENT FILE P19651668000 FOR FURTHER INFORMATION, INCLUDING LETHBRIDGE HERALD CLIPPINGS.
Catalogue Number
P19705523000
Acquisition Date
1970-04
Collection
Museum
Less detail
Date Range From
1930
Date Range To
1980
Material Type
Artifact
Materials
PLASTIC
Catalogue Number
P19990035114
Material Type
Artifact
Date Range From
1930
Date Range To
1980
Materials
PLASTIC
No. Pieces
5
Description
1. BANANA-4.1CM(H)X17.0CM(L)X3.9CM(W). HOLLOW SOFT PLASTIC. BRIGHT YELLOW WITH TINY BROWN SPECKS ALL OVER IT. THE ENDS ARE LIGHT GREEN. "MADE IN HONG KONG" IS EMBOSSED ONTO ONE SIDE. 2. 2 ORANGES W/ LEAVES-13.3CM(H)X13.3CM(L)X6.7CM(W). TWO HOLLOW, SOFT PLASTIC ORANGES. EACH HAS A GREEN STEM WHICH JOIN TOGETHER TO FORM A MAIN STEM, ATTACHED TO WHICH ARE THREE GREEN LEAVES. EMBOSSED ON THE BACK OF ONE LEAF IS "MADE IN HONG KONG". THE TOP OF THE STEM HAS A LOOP ON ONE SIDE. THE FRUIT ARE BRIGHT ORANGE, AND ARE DARKER IN PLACES. THEY ARE ALSO POCK-MARKED. 3. ORANGE-7.5CM(H)X6.3CM(D). A SINGLE HARD PLASTIC ORANGE. IS A SLIGHTLY DARKER ORANGE THAN THE PREVIOUS TWO. HAS TINY AMOUNTS OF GREEN ON THE BOTTOM. HAS NO STEM BUT JUST A NUB ON TOP. ORANGE IS POCK-MARKED. HAS VISIBLE CUT MARKS ON THE SEAM. 4. APPLE-9.3CM(H)X8.9CM(L)X5.6(W). HOLLOW, SOFT PLASTIC. APPLE IS A LIGHT RED ON TOP AND TURNS TO YELLOW AT THE BOTTOM. HAS A GREEN PLASTIC STEM TO WHICH THREE GREEN LEAVES ARE ATTACHED. EMBOSSED ON THE BACK OF ONE LEAF IS "MADE IN HONG KONG". THE TOP OF THE STEM HAS A LOOP ON ONE SIDE. 5. LEMONS-11.6CM(H)X10.1CM(L)X4.2CM(W). TWO HOLLOW, SOFT PLASTIC, BRIGHT YELLOW LEMONS. THE LEMONS HAVE A ROUGH TEXTURE. EACH LEMON HAS A GREEN PLASTIC STEM WHICH JOIN TOGETHER TO FORM A MAIN STEM, WHICH IS ATTACHED TO THREE GREEN LEAVES. EMBOSSED ON THE BACK OF ONE LEAF IS "MADE IN HONG KONG". THE TOP OF THE STEM HAS A LOOP ON ONE SIDE.
Subjects
ART
Historical Association
DECORATIVE ARTS
History
THE SINGLE ORANGE (.3) SEEMS TO BE OF A DIFFERENT ORIGIN THAN THE REST OF THE FRUIT. SEE P19990035001-GA FOR ADDITIONAL HISTORY.
Catalogue Number
P19990035114
Acquisition Date
2000-07
Collection
Museum
Less detail
Other Name
JACK & JILL
Date Range From
1920
Date Range To
1930
Material Type
Artifact
Materials
CHINA
Catalogue Number
P19705520000
Material Type
Artifact
Other Name
JACK & JILL
Date Range From
1920
Date Range To
1930
Materials
CHINA
No. Pieces
1
Height
17.0
Length
12.3
Width
5.7
Description
JACK AND JILL STAMP MARK ON BASE. FIGURINE REPRESENTS YOUNG BOY AND GIRL, SHE IS SITTING ON A STUMP, HE IS TUMBLING DOWN THE HILL, TREE IN BACKGROUND.
Subjects
ART
Historical Association
DECORATIVE ARTS
History
IN 2017, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED A SURVEY OF BOXED TEXTILES AND ACCESSORIES INCLUDING A HATPIN, BROOCH, AND BUTTON DONATED BY ALVA MARION BUSSARD. HER HUSBAND, LAWRENCE HAYWORTH BUSSARD, WAS ALSO A DONOR TO THE MUSEUM. COLLECTIVELY, THE COUPLE DONATED 31 ARTIFACTS BETWEEN THE YEARS 1964 TO 1973. ALVA M. BUSSARD (NEE MCMOW)’S OBITUARY STATES SHE WAS BORN IN NIAGARA FALLS, NEW YORK ON OCTOBER 28, 1908. SHE MOVED WEST WITH HER FAMILY IN 1910 AND GREW UP IN THE OLDS-DIDSBURY AREA. SHE MARRIED LAWRENCE H. BUSSARD (B. 1906) ON SEPTEMBER 12, 1937. THEY LIVED IN VERMILLION UNTIL 1948, THEN MOVED TO DRUMHELLER. THEY RELOCATED TO LETHBRIDGE IN 1950 WHEN LAWRENCE TOOK THE JOB OF PUBLIC SCHOOL SUPERINTENDENT. THE COUPLE HAD A SON, DENNIS JAMES (JIM) BUSSARD. LAWRENCE PASSED AWAY ON NOVEMBER 5, 1967 AT THE AGE OF 59 YEARS. L. H. BUSSARD’S OBITUARY IN THE LETHBRIDGE HERALD SPELLS HIS NAME “LAURENCE” AND STATES THAT HE MARRIED ALVA (SPELLED “ELVA”) ON DECEMBER 12, 1936. ACCORDING TO ALVA’S OBITUARY SHE MOVED TO SIDNEY, B. C. IN 1969. SHE THEN BACK TO RED DEER IN 1978 WHERE SHE PASSED AWAY ON MAY 2, 1998. ON NOVEMBER 28, 2017, PUNDYK SPOKE OVER THE PHONE WITH ALVA AND LAWRENCE’S SON, DENNIS BUSSARD OF RED DEER, ALBERTA, ABOUT THE 31 ARTIFACTS DONATED BY HIS PARENTS. HE DID NOT RECOGNIZE THE ARTIFACTS, BUT PROVIDED INFORMATION ABOUT HIS MOTHER. DENNIS STATED HE LEFT HIS PARENTS’ HOME IN 1956. HE ADDED TO THE INFORMATION FROM ALVA’S OBITUARY THAT SHE AND HER FAMILY MOVED TO SASKATCHEWAN BRIEFLY BEFORE MOVING TO ALBERTA FROM NEW YORK. HE EXPLAINED HIS MOTHER BECAME INVOLVED WITH HER FAMILY’S GENEALOGY AND FOUND HER BIRTH CERTIFICATE WHICH SPELLED HER NAME “ALVA” AND SHE ADOPTED THAT SPELLING. PRIOR TO THAT DISCOVERY, HIS MOTHER SPELLED HER NAME “ELVA,” WHICH IS THE REASON RECORDS EXIST WITH THAT SPELLING. THE GALT HOLDS A PAINTING DONATED BY L. H. BUSSARD THAT IS SIGNED “E. M. BUSSARD,” WHICH WAS DENNIS’S MOTHER. HE SAID THAT SHE BEGAN PAINTING FREQUENTLY AFTER HE LEFT HOME IN 1956. PLEASE SEE PERMANENT FILE P19651668000 FOR FURTHER INFORMATION, INCLUDING LETHBRIDGE HERALD CLIPPINGS.
Catalogue Number
P19705520000
Acquisition Date
1970-04
Collection
Museum
Less detail
Other Name
TARAS SHEVCHENKO
Date Range From
1930
Date Range To
1940
Material Type
Artifact
Materials
LINEN, THREAD, WOOD, GLASS
Catalogue Number
P19800162000
  1 image  
Material Type
Artifact
Other Name
TARAS SHEVCHENKO
Date Range From
1930
Date Range To
1940
Materials
LINEN, THREAD, WOOD, GLASS
No. Pieces
1
Height
55.8
Length
43.2
Description
FRAMED CROSS-WORK PICTURE OF TARAS SHEVCHENKO DONE ON LINEN CLOTH. HE IS SHOWN FROM THE CHEST UP WITH A BOOK IN FRONT. "KO6 3AP" BOUND ON EDGE. ROSES BORDERING THE LOWER HALF IN SEMI-CIRCLE. HAS CARDBOARD BACKING.
Subjects
ART
Historical Association
DECORATIVE ARTS
History
MRS. MARY MILAN OF COLEMAN, ALBERTA DID THE ACTUAL WORK. IT WAS GIVEN TO MR. PULOSKI IN A WILL AND HE DECIDED TO DONATE IT TO THE MUSEUM. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING BIOGRAPHICAL INFORMATION ON THE NEEDLEWORKER, MARY MILAN, WAS FOUND IN HER LETHBRIDGE HERALD OBITUARY. MARY MILAN NEE PULOSKY WAS BORN IN THE UKRAINE IN FEBRUARY 1904 AND CAME TO CANADA IN 1923. SHE MARRIED STEVE MILAN IN WINNIPEG AND TOGETHER THEY MOVED TO COLEMAN, ALBERTA IN 1928, WHERE THEY LIVED UNTIL HER DEATH ON JANUARY 24, 1980. SEE PERMANENT FILE FOR HARDCOPY OF MARY MILAN'S OBITUARY. THE FOLLOWING INFORMATION ABOUT THE PICTURE'S SUBJECT, TARAS SHEVCHENKO, WAS FOUND ON 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.
Catalogue Number
P19800162000
Acquisition Date
1980-08
Collection
Museum
Images
Less detail
Other Name
FEMALE FIGURE
Date Range From
1920
Date Range To
1930
Material Type
Artifact
Materials
PLASTER
Catalogue Number
P19705521000
Material Type
Artifact
Other Name
FEMALE FIGURE
Date Range From
1920
Date Range To
1930
Materials
PLASTER
No. Pieces
1
Height
18.7
Diameter
12.3
Description
GLAZED PLASTER. DARK HAIRED FEMALE FIGURINE WITH HANDS ACROSS BOSOM, WEARING A 3 TIERED RUFFLED DRESS WITH ORANGE TOP, GREEN, GOLD AND IVORY SKIRT. PAINT IS DRY & CRACKING. NUMEROUS CHIPS ON BACK OF SKIRT AND ON BOTTOM.
Subjects
ART
Historical Association
DECORATIVE ARTS
History
IN 2017, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED A SURVEY OF BOXED TEXTILES AND ACCESSORIES INCLUDING A HATPIN, BROOCH, AND BUTTON DONATED BY ALVA MARION BUSSARD. HER HUSBAND, LAWRENCE HAYWORTH BUSSARD, WAS ALSO A DONOR TO THE MUSEUM. COLLECTIVELY, THE COUPLE DONATED 31 ARTIFACTS BETWEEN THE YEARS 1964 TO 1973. ALVA M. BUSSARD (NEE MCMOW)’S OBITUARY STATES SHE WAS BORN IN NIAGARA FALLS, NEW YORK ON OCTOBER 28, 1908. SHE MOVED WEST WITH HER FAMILY IN 1910 AND GREW UP IN THE OLDS-DIDSBURY AREA. SHE MARRIED LAWRENCE H. BUSSARD (B. 1906) ON SEPTEMBER 12, 1937. THEY LIVED IN VERMILLION UNTIL 1948, THEN MOVED TO DRUMHELLER. THEY RELOCATED TO LETHBRIDGE IN 1950 WHEN LAWRENCE TOOK THE JOB OF PUBLIC SCHOOL SUPERINTENDENT. THE COUPLE HAD A SON, DENNIS JAMES (JIM) BUSSARD. LAWRENCE PASSED AWAY ON NOVEMBER 5, 1967 AT THE AGE OF 59 YEARS. L. H. BUSSARD’S OBITUARY IN THE LETHBRIDGE HERALD SPELLS HIS NAME “LAURENCE” AND STATES THAT HE MARRIED ALVA (SPELLED “ELVA”) ON DECEMBER 12, 1936. ACCORDING TO ALVA’S OBITUARY SHE MOVED TO SIDNEY, B. C. IN 1969. SHE THEN BACK TO RED DEER IN 1978 WHERE SHE PASSED AWAY ON MAY 2, 1998. ON NOVEMBER 28, 2017, PUNDYK SPOKE OVER THE PHONE WITH ALVA AND LAWRENCE’S SON, DENNIS BUSSARD OF RED DEER, ALBERTA, ABOUT THE 31 ARTIFACTS DONATED BY HIS PARENTS. HE DID NOT RECOGNIZE THE ARTIFACTS, BUT PROVIDED INFORMATION ABOUT HIS MOTHER. DENNIS STATED HE LEFT HIS PARENTS’ HOME IN 1956. HE ADDED TO THE INFORMATION FROM ALVA’S OBITUARY THAT SHE AND HER FAMILY MOVED TO SASKATCHEWAN BRIEFLY BEFORE MOVING TO ALBERTA FROM NEW YORK. HE EXPLAINED HIS MOTHER BECAME INVOLVED WITH HER FAMILY’S GENEALOGY AND FOUND HER BIRTH CERTIFICATE WHICH SPELLED HER NAME “ALVA” AND SHE ADOPTED THAT SPELLING. PRIOR TO THAT DISCOVERY, HIS MOTHER SPELLED HER NAME “ELVA,” WHICH IS THE REASON RECORDS EXIST WITH THAT SPELLING. THE GALT HOLDS A PAINTING DONATED BY L. H. BUSSARD THAT IS SIGNED “E. M. BUSSARD,” WHICH WAS DENNIS’S MOTHER. HE SAID THAT SHE BEGAN PAINTING FREQUENTLY AFTER HE LEFT HOME IN 1956. PLEASE SEE PERMANENT FILE P19651668000 FOR FURTHER INFORMATION, INCLUDING LETHBRIDGE HERALD CLIPPINGS.
Catalogue Number
P19705521000
Acquisition Date
1970-04
Collection
Museum
Less detail
Other Name
YOUNG LADY
Date Range From
1920
Date Range To
1930
Material Type
Artifact
Materials
CERAMIC
Catalogue Number
P19705522000
Material Type
Artifact
Other Name
YOUNG LADY
Date Range From
1920
Date Range To
1930
Materials
CERAMIC
No. Pieces
1
Height
21.0
Description
GLAZED CERAMIC. FIGURINE OF YOUNG LADY (BLOND) WITH A BLUE AND BEIGE FULL SKIRTED DRESS, STANDING BESIDE A PILLAR WITH FLOWERS ON TOP. GLAZE ON SKIRT AND ARM CHIPPED. GREEN FELT BASE WORN AWAY. GLAZED PAINT IS DRY AND CRACKING.
Subjects
ART
Historical Association
DECORATIVE ARTS
History
IN 2017, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED A SURVEY OF BOXED TEXTILES AND ACCESSORIES INCLUDING A HATPIN, BROOCH, AND BUTTON DONATED BY ALVA MARION BUSSARD. HER HUSBAND, LAWRENCE HAYWORTH BUSSARD, WAS ALSO A DONOR TO THE MUSEUM. COLLECTIVELY, THE COUPLE DONATED 31 ARTIFACTS BETWEEN THE YEARS 1964 TO 1973. ALVA M. BUSSARD (NEE MCMOW)’S OBITUARY STATES SHE WAS BORN IN NIAGARA FALLS, NEW YORK ON OCTOBER 28, 1908. SHE MOVED WEST WITH HER FAMILY IN 1910 AND GREW UP IN THE OLDS-DIDSBURY AREA. SHE MARRIED LAWRENCE H. BUSSARD (B. 1906) ON SEPTEMBER 12, 1937. THEY LIVED IN VERMILLION UNTIL 1948, THEN MOVED TO DRUMHELLER. THEY RELOCATED TO LETHBRIDGE IN 1950 WHEN LAWRENCE TOOK THE JOB OF PUBLIC SCHOOL SUPERINTENDENT. THE COUPLE HAD A SON, DENNIS JAMES (JIM) BUSSARD. LAWRENCE PASSED AWAY ON NOVEMBER 5, 1967 AT THE AGE OF 59 YEARS. L. H. BUSSARD’S OBITUARY IN THE LETHBRIDGE HERALD SPELLS HIS NAME “LAURENCE” AND STATES THAT HE MARRIED ALVA (SPELLED “ELVA”) ON DECEMBER 12, 1936. ACCORDING TO ALVA’S OBITUARY SHE MOVED TO SIDNEY, B. C. IN 1969. SHE THEN BACK TO RED DEER IN 1978 WHERE SHE PASSED AWAY ON MAY 2, 1998. ON NOVEMBER 28, 2017, PUNDYK SPOKE OVER THE PHONE WITH ALVA AND LAWRENCE’S SON, DENNIS BUSSARD OF RED DEER, ALBERTA, ABOUT THE 31 ARTIFACTS DONATED BY HIS PARENTS. HE DID NOT RECOGNIZE THE ARTIFACTS, BUT PROVIDED INFORMATION ABOUT HIS MOTHER. DENNIS STATED HE LEFT HIS PARENTS’ HOME IN 1956. HE ADDED TO THE INFORMATION FROM ALVA’S OBITUARY THAT SHE AND HER FAMILY MOVED TO SASKATCHEWAN BRIEFLY BEFORE MOVING TO ALBERTA FROM NEW YORK. HE EXPLAINED HIS MOTHER BECAME INVOLVED WITH HER FAMILY’S GENEALOGY AND FOUND HER BIRTH CERTIFICATE WHICH SPELLED HER NAME “ALVA” AND SHE ADOPTED THAT SPELLING. PRIOR TO THAT DISCOVERY, HIS MOTHER SPELLED HER NAME “ELVA,” WHICH IS THE REASON RECORDS EXIST WITH THAT SPELLING. THE GALT HOLDS A PAINTING DONATED BY L. H. BUSSARD THAT IS SIGNED “E. M. BUSSARD,” WHICH WAS DENNIS’S MOTHER. HE SAID THAT SHE BEGAN PAINTING FREQUENTLY AFTER HE LEFT HOME IN 1956. PLEASE SEE PERMANENT FILE P19651668000 FOR FURTHER INFORMATION, INCLUDING LETHBRIDGE HERALD CLIPPINGS.
Catalogue Number
P19705522000
Acquisition Date
1970-04
Collection
Museum
Less detail
Other Name
COUNTED CROSS STITCH HANGING
Date Range From
1930
Date Range To
1940
Material Type
Artifact
Materials
WOOL, COTTON
Catalogue Number
P19940007003
Material Type
Artifact
Other Name
COUNTED CROSS STITCH HANGING
Date Range From
1930
Date Range To
1940
Materials
WOOL, COTTON
No. Pieces
1
Length
190
Width
67.5
Description
COUNTED CROSS-STITCH TAPESTRY IS RECTANGULAR IN SHAPE WITH WOOL STITCHING. BACKGROUND IS LIGHT BROWN AND HAS RED, BLUE, YELLOW AND WHITE FLOWERS WITH THREE BIRDS AT EACH END. A GREEN LEAF AND VINE BORDER WITH SMALLER FLOWERS SURROUNDS BIRDS AND BIGGER FLOWERS EXCEPT ALONG BOTTOM EDGE. WOOL IS STITCHED TO COTTON BACKING. SEWN ALONG EDGES IS 2.4CM WIDE WHITE COTTON EDGING. REVERSE HAS WOOL STRANDS FROM STITCHING. EDGING AND TAPESTRY HAVE A NUMBER OF SMALL STAINS AND TAPESTRY HAS BEEN REPAIRED NEAR ONE END WITH SINGLE LOOP STITCH IN BLACK AND WHITE THREAD. STITCHING IS LOOSE ALONG EDGE AS WELL.
Subjects
ART
Historical Association
DOMESTIC
DECORATIVE ARTS
History
TAPESTRY WAS MADE BY DONOR'S FAMILY TO BE USE ON THE HEADBOARD OF A BED FOR INSULATION AGAINST THE COLD. CURTAIN WAS MADE IN THE 1930'S.
Catalogue Number
P19940007003
Acquisition Date
1994-01
Collection
Museum
Less detail
Other Name
CIGARETTE SILKS
Date Range From
1920
Date Range To
1930
Material Type
Artifact
Materials
LINEN, SILK
Catalogue Number
P19739445000
  1 image  
Material Type
Artifact
Other Name
CIGARETTE SILKS
Date Range From
1920
Date Range To
1930
Materials
LINEN, SILK
No. Pieces
1
Length
210.8
Width
173.3
Description
FLOWERS AND ENSIGNS IN RED, BLUE, PURPLE, YELLOW, BROWN, GREEN, BLACK. HAND MONOGRAMMED. WHITE LINEN BACKGROUND. SEVERAL BROWN STAINS ON RIGHT, MIDDLE, AND BOTTOM LEFT. GENERAL YELLOWING HAS BEGUN SLIGHTLY.
Subjects
BEDDING
ART
Historical Association
DECORATIVE ARTS
History
PRIOR TO 1925, TOBACCO COMPANYS PLACED SILK & SATIN INSERTS IN CIGAR, CIGARETTE & TOBACCO PACKAGES AS BONUSES. THE SILK DECALS USED IN THIS QUILT ARE EXAMPLES. UPDATE 16 JUNE 2014: ON 4-5 JUNE 2014, ROYAL ALBERTA MUSEUM (RAM) CURATOR LUCIE HEINS VISITED THE GALT AS PART OF THE RAM’S INITIATIVE TO DOCUMENT QUILTS IN PUBLIC AND PRIVATE COLLECTIONS IN ALBERTA. THE DOCUMENTATION WORK IS KNOWN AS THE ALBERTA QUILT PROJECT. IN ADDITION TO HEINS’ PROGRAM, THE DATA IS ALSO SUPPOSED TO BE SUBMITTED AS PART OF THE FIRST INTERNATIONAL CONTRIBUTION TO THE NORTH AMERICAN QUILT INDEX. THIS QUILT HAS BEEN ASSIGNED NO. “AQP 2-0270” BY THE ALBERTA QUILT PROJECT.
Catalogue Number
P19739445000
Acquisition Date
1973-05
Collection
Museum
Images
Less detail
Date Range From
1930
Date Range To
1940
Material Type
Artifact
Materials
WOOD, GLASS, PAPER
Catalogue Number
P19960116138
  1 image  
Material Type
Artifact
Date Range From
1930
Date Range To
1940
Materials
WOOD, GLASS, PAPER
No. Pieces
1
Height
1.5
Length
20.8
Width
14.5
Description
FRAMED PRINT IS OF BEARDED MAN WITH HALO HANDING THE CHILD JESUS LILIES. BOTH ARE DRESSED IN BIBLICAL ATTIRE AND THE CHILD IS SITTING ON A WALL. PRINT IS IN BROWNS AND GREENS. FRAME HAS DOVE-TAIL JOINTS AND HAS ROUTERED EDGE WITH STRAIGHT RIDGES. FRAME IS PAINTED GOLD WITH WORN SPLOTCHES OF GREEN AND RED. FRAME HAS CLEAR GLASS PANE AND CARDBOARD BACK. HAND-WRITTEN ON BACK IN PENCIL IS "SISTER MITSLAK 504".
Subjects
ART
Historical Association
DECORATIVE ARTS
HEALTH SERVICES
History
PRINT WAS REMOVED FROM ST. MICHAEL'S HOSPITAL BEFORE THE HOSPITAL WAS DEMOLISHED IN 1996. FOR MORE HISTORY ON HOSPITAL SEE P19960116001-GA. *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE RECOVERED FROM ST. MICHAEL’S HOSPITAL PRIOR TO ITS DEMOLITION IN 1996. NO NEW INFORMATION ABOUT THIS SPECIFIC ARTIFACT WAS FOUND, BUT THE FOLLOWING HISTORY OF THE HOSPITAL WAS DEVELOPED WITH INFORMATION FROM THE GALT ARCHIVES, ARCHIVES CANADA ONLINE, AND RECORD P19960116001. ST. MICHAEL'S GENERAL HOSPITAL WAS FOUNDED IN LETHBRIDGE BY CATHOLIC SISTERS OF ST. MARTHA OF ANTIGONISH IN MAY 1929. THE FACILITY OF THE PRIVATELY-OWNED VAN HAARLEM HOSPITAL (1224 - 7TH AVE S.), ABLE TO ACCOMMODATE 27 PATIENTS, WAS PURCHASED FOR $34000. A SMALL HOUSE ACROSS THE STREET SERVED AS A RESIDENCE FOR THE SISTERS, WITH ONE ROOM FURNISHED AS A CHAPEL. A HOSPITAL BOARD WAS FORMED, CONSISTING OF THE PARISH PRIEST AND SIX LOCAL BUSINESSMEN. IN COOPERATION WITH THE CITY OF LETHBRIDGE, THE CONSTRUCTION OF A NEW MODERN 100-BED HOSPITAL STARTED IN 1930. HENRY WILLIAM MEECH WAS THE ARCHITECT FOR THE PROJECT. THE NEW BUILDING OPENED AT 9TH AVENUE AND 13TH ST SOUTH IN SEPTEMBER 1931. THE NEWLY NAMED ST. MICHAEL’S GENERAL HOSPITAL WAS NOW ABLE TO ACCOMMODATE 100 PATIENTS, AND THE ORIGINAL GROUP OF DOCTORS INCLUDED D.A. MCNALLY, W.S. GALBRAITH, P.M. CAMPBELL, R. SHILLINGTON, G.W. LEECH, D. WOODCOCK, G.L. CONNOR, W. BRIANS, L.A. ROY, G. SPACKMAN, J.S. WRAY, B.O. FOWLER, J.E. LOVERING, F.W. SWANCESKY, D.A. TAYLOR, BRAITHWAITH, J.K. BIGELOW, AND A.A. HAIG. THE HOSPITAL CONTAINED CHILDREN'S, YOUTH AND PSYCHIATRIC WARDS, FOUR OPERATING ROOMS, A CHAPEL AND A SPECIAL WARD FOR CASUALTIES OF THE SECOND WORLD WAR AND THE P.O.W. CAMP. IN 1932 THE HOSPITAL OBTAINED ACCREDITATION UNDER THE HOSPITAL STANDARDIZATION PROGRAM OF THE AMERICAN COLLEGE OF SURGEONS. AFTER THE SECOND WORLD WAR THE HOSPITAL WAS EXPANDED WITH AN 83-BED EAST WING, OPENING IN 1951. IN THE 1953, THE HOSPITAL RECEIVED A NEW NURSES' RESIDENCE AND THE SCHOOL OF NURSING; THE SCHOOL TRAINED OVER 500 NURSES OVER THE NEXT TWENTY YEARS. IN 1965 ANOTHER EXPANSION WING EXTENDED THE HOSPITAL’S CAPACITY TO 207 BEDS. THE SCHOOL OF NURSING CLOSED IN 1973, AND THE REMAINING SISTERS OF ST. MARTHA STILL WORKING IN THE HOSPITAL LIVED IN THE VACATED STUDENT RESIDENCES. IN 1984 OWNERSHIP OF THE HOSPITAL WAS TAKEN OVER BY THE ALBERTA CATHOLIC HOSPITAL FOUNDATION. IN 1986 FINANCIAL DIFFICULTIES BEGAN TO APPEAR AND EVENTAULLY RESULTED IN THE HOSPITAL BEING CONVERTED TO ST. MICHAEL'S HEALTH CENTRE IN 1992, FOCUSING ON THE NEEDS OF LONG TERM PATIENTS. FINANCIAL DIFFICULTIES CONTINUED UNTIL THE HOSPITAL WAS CLOSED IN 1995. ST. MICHAEL’S HOSPITAL WAS DEMOLISHED IN 1996. AT THE TIME OF THE 2014 SURVEY, THE FORMER HOSPITAL SITE HOUSED THE ST. THERESE VILLA, A LONGTERM NURSING CARE FACILITY, AND THE ST. MICHAEL'S HEALTH CENTRE, A MULTI-PURPOSE REHABILITATION, PALLATIVE AND CONTINUING CARE FACILITY, BOTH CONSTRUCTED IN THE LATE 1990S.
Catalogue Number
P19960116138
Acquisition Date
1996-01
Collection
Museum
Images
Less detail
Date Range From
1930
Date Range To
1940
Material Type
Artifact
Materials
WOOD, GLASS, PAPER
Catalogue Number
P19960116140
  1 image  
Material Type
Artifact
Date Range From
1930
Date Range To
1940
Materials
WOOD, GLASS, PAPER
No. Pieces
1
Height
1.5
Length
33.8
Width
29
Description
FRAMED FRINT IS OF JESUS SITTING IN A GARDEN WITH CHILDREN IN HIS LAP. HIS HANDS ARE RAISED IN A BLESSING. COLORS ARE BROWNS, BLUES AND YELLOW. FRAME IS MEDIUM FINISH WITH GOLD COLORED BURNISHING. HAS DOVE-TAIL CORNERS AND EDGE IS RAISED WITH SWIRL PATTERN. FRAME ALSO HAS CLEAR GLASS PANE. BACK IS COVERED WITH BROWN PAPER WHICH IS TORN IN PLACES ALONG EDGE. ON BACK AT TOP IS BLUE PAPER LABEL WHICH READS "PORTRAITS PICTURE FRAMING PRINTING AND DEVELOPING A.E. CROSS 3RD AVE. SO. LETHBRIDGE. ALTA".
Subjects
ART
Historical Association
DECORATIVE ARTS
HEALTH SERVICES
History
PRINT WAS REMOVED FROM ST. MICHAEL'S HOSPITAL BEFORE THE HOSPITAL WAS DEMOLISHED IN 1996. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE RECOVERED FROM ST. MICHAEL’S HOSPITAL PRIOR TO ITS DEMOLITION IN 1996. THE FOLLOWING HISTORY OF THE HOSPITAL WAS DEVELOPED WITH INFORMATION FROM THE GALT ARCHIVES, ARCHIVES CANADA ONLINE, AND RECORD P19960116001. ST. MICHAEL'S GENERAL HOSPITAL WAS FOUNDED IN LETHBRIDGE BY CATHOLIC SISTERS OF ST. MARTHA OF ANTIGONISH IN MAY 1929. THE FACILITY OF THE PRIVATELY-OWNED VAN HAARLEM HOSPITAL (1224 - 7TH AVE S.), ABLE TO ACCOMMODATE 27 PATIENTS, WAS PURCHASED FOR $34000. A SMALL HOUSE ACROSS THE STREET SERVED AS A RESIDENCE FOR THE SISTERS, WITH ONE ROOM FURNISHED AS A CHAPEL. A HOSPITAL BOARD WAS FORMED, CONSISTING OF THE PARISH PRIEST AND SIX LOCAL BUSINESSMEN. IN COOPERATION WITH THE CITY OF LETHBRIDGE, THE CONSTRUCTION OF A NEW MODERN 100-BED HOSPITAL STARTED IN 1930. HENRY WILLIAM MEECH WAS THE ARCHITECT FOR THE PROJECT. THE NEW BUILDING OPENED AT 9TH AVENUE AND 13TH ST SOUTH IN SEPTEMBER 1931. THE NEWLY NAMED ST. MICHAEL’S GENERAL HOSPITAL WAS NOW ABLE TO ACCOMMODATE 100 PATIENTS, AND THE ORIGINAL GROUP OF DOCTORS INCLUDED D.A. MCNALLY, W.S. GALBRAITH, P.M. CAMPBELL, R. SHILLINGTON, G.W. LEECH, D. WOODCOCK, G.L. CONNOR, W. BRIANS, L.A. ROY, G. SPACKMAN, J.S. WRAY, B.O. FOWLER, J.E. LOVERING, F.W. SWANCESKY, D.A. TAYLOR, BRAITHWAITH, J.K. BIGELOW, AND A.A. HAIG. THE HOSPITAL CONTAINED CHILDREN'S, YOUTH AND PSYCHIATRIC WARDS, FOUR OPERATING ROOMS, A CHAPEL AND A SPECIAL WARD FOR CASUALTIES OF THE SECOND WORLD WAR AND THE P.O.W. CAMP. IN 1932 THE HOSPITAL OBTAINED ACCREDITATION UNDER THE HOSPITAL STANDARDIZATION PROGRAM OF THE AMERICAN COLLEGE OF SURGEONS. AFTER THE SECOND WORLD WAR THE HOSPITAL WAS EXPANDED WITH AN 83-BED EAST WING, OPENING IN 1951. IN THE 1953, THE HOSPITAL RECEIVED A NEW NURSES' RESIDENCE AND THE SCHOOL OF NURSING; THE SCHOOL TRAINED OVER 500 NURSES OVER THE NEXT TWENTY YEARS. IN 1965 ANOTHER EXPANSION WING EXTENDED THE HOSPITAL’S CAPACITY TO 207 BEDS. THE SCHOOL OF NURSING CLOSED IN 1973, AND THE REMAINING SISTERS OF ST. MARTHA STILL WORKING IN THE HOSPITAL LIVED IN THE VACATED STUDENT RESIDENCES. IN 1984 OWNERSHIP OF THE HOSPITAL WAS TAKEN OVER BY THE ALBERTA CATHOLIC HOSPITAL FOUNDATION. IN 1986 FINANCIAL DIFFICULTIES BEGAN TO APPEAR AND EVENTAULLY RESULTED IN THE HOSPITAL BEING CONVERTED TO ST. MICHAEL'S HEALTH CENTRE IN 1992, FOCUSING ON THE NEEDS OF LONG TERM PATIENTS. FINANCIAL DIFFICULTIES CONTINUED UNTIL THE HOSPITAL WAS CLOSED IN 1995. ST. MICHAEL’S HOSPITAL WAS DEMOLISHED IN 1996. AT THE TIME OF THE 2014 SURVEY, THE FORMER HOSPITAL SITE HOUSED THE ST. THERESE VILLA, A LONGTERM NURSING CARE FACILITY, AND THE ST. MICHAEL'S HEALTH CENTRE, A MULTI-PURPOSE REHABILITATION, PALLATIVE AND CONTINUING CARE FACILITY, BOTH CONSTRUCTED IN THE LATE 1990S.
Catalogue Number
P19960116140
Acquisition Date
1996-01
Collection
Museum
Images
Less detail
Date Range From
1930
Date Range To
1940
Material Type
Artifact
Materials
WOOD, GLASS, PAPER
Catalogue Number
P19960116141
  1 image  
Material Type
Artifact
Date Range From
1930
Date Range To
1940
Materials
WOOD, GLASS, PAPER
No. Pieces
1
Height
2
Length
53.5
Width
41.5
Description
FRAMED PRINT IS OF MARY THE MOTHER OF JESUS WITH CLOUD AND SKY BACKGROUND. MARY HAS BRIGHT HALO AND TWELVE STARS AROUND HER HEAD. SHE IS WEARING BLUE CLOAK AND WHITE GOWN WITH ORNATE CLASP. HER HANDS ARE HELD OUT PALMS UP. SHE STANDS ON HEAD OF SNAKE WITH AN APPLE IN ITS MOUTH. MIDDLE BOTTOM IN BLACK PRINT IS "IMMACULATA". WOOD FRAME HAS DOVE TAIL CORNERS AND IS PAINTED BEIGE. BOTH OUTER AND INNER EDGES HAVE NOTCHED PATTERN. PAINT IS WORN ALONG EDGES REVEALING GOLD COLOR BENEATH. FRAME HAS CLEAR GLASS PANE. BACK IS COVERED WITH BROWN PAPER THAT HAS A FEW TEARS.
Subjects
ART
Historical Association
DECORATIVE ARTS
HEALTH SERVICES
History
PRINT WAS REMOVED FROM ST. MICHAEL'S HOSPITAL BEFORE THE HOSPITAL WAS DEMOLISHED IN 1996. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE RECOVERED FROM ST. MICHAEL’S HOSPITAL PRIOR TO ITS DEMOLITION IN 1996. THE FOLLOWING HISTORY OF THE HOSPITAL WAS DEVELOPED WITH INFORMATION FROM THE GALT ARCHIVES, ARCHIVES CANADA ONLINE, AND RECORD P19960116001. ST. MICHAEL'S GENERAL HOSPITAL WAS FOUNDED IN LETHBRIDGE BY CATHOLIC SISTERS OF ST. MARTHA OF ANTIGONISH IN MAY 1929. THE FACILITY OF THE PRIVATELY-OWNED VAN HAARLEM HOSPITAL (1224 - 7TH AVE S.), ABLE TO ACCOMMODATE 27 PATIENTS, WAS PURCHASED FOR $34000. A SMALL HOUSE ACROSS THE STREET SERVED AS A RESIDENCE FOR THE SISTERS, WITH ONE ROOM FURNISHED AS A CHAPEL. A HOSPITAL BOARD WAS FORMED, CONSISTING OF THE PARISH PRIEST AND SIX LOCAL BUSINESSMEN. IN COOPERATION WITH THE CITY OF LETHBRIDGE, THE CONSTRUCTION OF A NEW MODERN 100-BED HOSPITAL STARTED IN 1930. HENRY WILLIAM MEECH WAS THE ARCHITECT FOR THE PROJECT. THE NEW BUILDING OPENED AT 9TH AVENUE AND 13TH ST SOUTH IN SEPTEMBER 1931. THE NEWLY NAMED ST. MICHAEL’S GENERAL HOSPITAL WAS NOW ABLE TO ACCOMMODATE 100 PATIENTS, AND THE ORIGINAL GROUP OF DOCTORS INCLUDED D.A. MCNALLY, W.S. GALBRAITH, P.M. CAMPBELL, R. SHILLINGTON, G.W. LEECH, D. WOODCOCK, G.L. CONNOR, W. BRIANS, L.A. ROY, G. SPACKMAN, J.S. WRAY, B.O. FOWLER, J.E. LOVERING, F.W. SWANCESKY, D.A. TAYLOR, BRAITHWAITH, J.K. BIGELOW, AND A.A. HAIG. THE HOSPITAL CONTAINED CHILDREN'S, YOUTH AND PSYCHIATRIC WARDS, FOUR OPERATING ROOMS, A CHAPEL AND A SPECIAL WARD FOR CASUALTIES OF THE SECOND WORLD WAR AND THE P.O.W. CAMP. IN 1932 THE HOSPITAL OBTAINED ACCREDITATION UNDER THE HOSPITAL STANDARDIZATION PROGRAM OF THE AMERICAN COLLEGE OF SURGEONS. AFTER THE SECOND WORLD WAR THE HOSPITAL WAS EXPANDED WITH AN 83-BED EAST WING, OPENING IN 1951. IN THE 1953, THE HOSPITAL RECEIVED A NEW NURSES' RESIDENCE AND THE SCHOOL OF NURSING; THE SCHOOL TRAINED OVER 500 NURSES OVER THE NEXT TWENTY YEARS. IN 1965 ANOTHER EXPANSION WING EXTENDED THE HOSPITAL’S CAPACITY TO 207 BEDS. THE SCHOOL OF NURSING CLOSED IN 1973, AND THE REMAINING SISTERS OF ST. MARTHA STILL WORKING IN THE HOSPITAL LIVED IN THE VACATED STUDENT RESIDENCES. IN 1984 OWNERSHIP OF THE HOSPITAL WAS TAKEN OVER BY THE ALBERTA CATHOLIC HOSPITAL FOUNDATION. IN 1986 FINANCIAL DIFFICULTIES BEGAN TO APPEAR AND EVENTAULLY RESULTED IN THE HOSPITAL BEING CONVERTED TO ST. MICHAEL'S HEALTH CENTRE IN 1992, FOCUSING ON THE NEEDS OF LONG TERM PATIENTS. FINANCIAL DIFFICULTIES CONTINUED UNTIL THE HOSPITAL WAS CLOSED IN 1995. ST. MICHAEL’S HOSPITAL WAS DEMOLISHED IN 1996. AT THE TIME OF THE 2014 SURVEY, THE FORMER HOSPITAL SITE HOUSED THE ST. THERESE VILLA, A LONGTERM NURSING CARE FACILITY, AND THE ST. MICHAEL'S HEALTH CENTRE, A MULTI-PURPOSE REHABILITATION, PALLATIVE AND CONTINUING CARE FACILITY, BOTH CONSTRUCTED IN THE LATE 1990S.
Catalogue Number
P19960116141
Acquisition Date
1996-01
Collection
Museum
Images
Less detail
Date Range From
1930
Date Range To
1940
Material Type
Artifact
Materials
WOOD, GLASS, PAPER
Catalogue Number
P19960116178
  1 image  
Material Type
Artifact
Date Range From
1930
Date Range To
1940
Materials
WOOD, GLASS, PAPER
No. Pieces
1
Height
1.9
Length
57.9
Width
46.5
Description
WOOD FRAME HAS CONCAVE BEVEL AND DARK FINISH. ALSO HAS LIGHTER BRUSH STROKE FINISH AS WELL. PRINT IS BRONZE COLORED BACKGROUND WITH LARGE TORSO FIGURE OF ST. MARY HOLDING THE CHILD JESUS IN HER ARMS. MARY HAS BLACK CLOAK AND GOLDEN CROWN WITH HALO. JESUS HAS GREEN SHIRT WITH BROWN CLOAK. HE ALSO HAS HALO. ON EITHER SIDE OF MARY IS AN ANGEL. LEFT ONE HOLDS APPLE AND SPEAR, THE OTHER IS HOLDING CROSS. ACROSS BOTTOM IN WHITE IS "S. MARIA DE PERPETUA SUCCURSU". IN BOTTOM RIGHT HAND CORNER IS "PUCCINELLI" IN BROWN PRINTING. BACKGROUND HAS RED CERILLIC PRINTING.
Subjects
ART
Historical Association
DECORATIVE ARTS
HEALTH SERVICES
History
PRINT WAS REMOVED FROM ST. MICHAEL'S HOSPITAL BEFORE THE HOSPITAL WAS DEMOLISHED IN 1996. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE RECOVERED FROM ST. MICHAEL’S HOSPITAL PRIOR TO ITS DEMOLITION IN 1996. THE FOLLOWING HISTORY OF THE HOSPITAL WAS DEVELOPED WITH INFORMATION FROM THE GALT ARCHIVES, ARCHIVES CANADA ONLINE, AND RECORD P19960116001. ST. MICHAEL'S GENERAL HOSPITAL WAS FOUNDED IN LETHBRIDGE BY CATHOLIC SISTERS OF ST. MARTHA OF ANTIGONISH IN MAY 1929. THE FACILITY OF THE PRIVATELY-OWNED VAN HAARLEM HOSPITAL (1224 - 7TH AVE S.), ABLE TO ACCOMMODATE 27 PATIENTS, WAS PURCHASED FOR $34000. A SMALL HOUSE ACROSS THE STREET SERVED AS A RESIDENCE FOR THE SISTERS, WITH ONE ROOM FURNISHED AS A CHAPEL. A HOSPITAL BOARD WAS FORMED, CONSISTING OF THE PARISH PRIEST AND SIX LOCAL BUSINESSMEN. IN COOPERATION WITH THE CITY OF LETHBRIDGE, THE CONSTRUCTION OF A NEW MODERN 100-BED HOSPITAL STARTED IN 1930. HENRY WILLIAM MEECH WAS THE ARCHITECT FOR THE PROJECT. THE NEW BUILDING OPENED AT 9TH AVENUE AND 13TH ST SOUTH IN SEPTEMBER 1931. THE NEWLY NAMED ST. MICHAEL’S GENERAL HOSPITAL WAS NOW ABLE TO ACCOMMODATE 100 PATIENTS, AND THE ORIGINAL GROUP OF DOCTORS INCLUDED D.A. MCNALLY, W.S. GALBRAITH, P.M. CAMPBELL, R. SHILLINGTON, G.W. LEECH, D. WOODCOCK, G.L. CONNOR, W. BRIANS, L.A. ROY, G. SPACKMAN, J.S. WRAY, B.O. FOWLER, J.E. LOVERING, F.W. SWANCESKY, D.A. TAYLOR, BRAITHWAITH, J.K. BIGELOW, AND A.A. HAIG. THE HOSPITAL CONTAINED CHILDREN'S, YOUTH AND PSYCHIATRIC WARDS, FOUR OPERATING ROOMS, A CHAPEL AND A SPECIAL WARD FOR CASUALTIES OF THE SECOND WORLD WAR AND THE P.O.W. CAMP. IN 1932 THE HOSPITAL OBTAINED ACCREDITATION UNDER THE HOSPITAL STANDARDIZATION PROGRAM OF THE AMERICAN COLLEGE OF SURGEONS. AFTER THE SECOND WORLD WAR THE HOSPITAL WAS EXPANDED WITH AN 83-BED EAST WING, OPENING IN 1951. IN THE 1953, THE HOSPITAL RECEIVED A NEW NURSES' RESIDENCE AND THE SCHOOL OF NURSING; THE SCHOOL TRAINED OVER 500 NURSES OVER THE NEXT TWENTY YEARS. IN 1965 ANOTHER EXPANSION WING EXTENDED THE HOSPITAL’S CAPACITY TO 207 BEDS. THE SCHOOL OF NURSING CLOSED IN 1973, AND THE REMAINING SISTERS OF ST. MARTHA STILL WORKING IN THE HOSPITAL LIVED IN THE VACATED STUDENT RESIDENCES. IN 1984 OWNERSHIP OF THE HOSPITAL WAS TAKEN OVER BY THE ALBERTA CATHOLIC HOSPITAL FOUNDATION. IN 1986 FINANCIAL DIFFICULTIES BEGAN TO APPEAR AND EVENTAULLY RESULTED IN THE HOSPITAL BEING CONVERTED TO ST. MICHAEL'S HEALTH CENTRE IN 1992, FOCUSING ON THE NEEDS OF LONG TERM PATIENTS. FINANCIAL DIFFICULTIES CONTINUED UNTIL THE HOSPITAL WAS CLOSED IN 1995. ST. MICHAEL’S HOSPITAL WAS DEMOLISHED IN 1996. AT THE TIME OF THE 2014 SURVEY, THE FORMER HOSPITAL SITE HOUSED THE ST. THERESE VILLA, A LONGTERM NURSING CARE FACILITY, AND THE ST. MICHAEL'S HEALTH CENTRE, A MULTI-PURPOSE REHABILITATION, PALLATIVE AND CONTINUING CARE FACILITY, BOTH CONSTRUCTED IN THE LATE 1990S. THE FOLLOWING INFORMATION ABOUT THE IMAGE REPRODUCED IN THIS PRINT WAS DEVELOPED FROM AN ARTICLE ON THE RELIGIOUS CONGREGATION OF MARY IMMACULATE QUEEN (CMRI) WEBSITE, A ROMAN CATHOLIC ORDER OF PRIESTS, DEACONS AND NUNS. THIS IMAGE IS COMMONLY KNOWN AS OUR LADY OF PERPETUAL HELP, A NAME GIVEN TO THE VIRGIN MARY IN THE ROMAN CATHOLIC RELIGION. THIS SPECIFIC DEPICTION IS A RENDERING OF A WELL-KNOWN BYZANTINE ICON FROM THE 15TH CENTURY. THE ORIGINAL ICON PAINTED WITH PIGMENT AND GOLD LEAF ON A WOOD PANEL, AND IS PERMANENTLY ENSHRINED IN THE CHURCH OF SAINT ALFONSO DI LIGUORI IN ROME. SEE PERMANENT FILE FOR HARDCOPY OF SOURCE ARTICLE.
Catalogue Number
P19960116178
Acquisition Date
1996-01
Collection
Museum
Images
Less detail
Date Range From
1930
Date Range To
1980
Material Type
Artifact
Materials
PAPER
Catalogue Number
P19990035133
  2 images  
Material Type
Artifact
Date Range From
1930
Date Range To
1980
Materials
PAPER
No. Pieces
1
Height
0.1
Length
8.6
Width
4.6
Description
RECTANGULAR. THE FRONT OF THE TAG IS YELLOW AND OFF-WHITE, WITH GOLD AND RED ON TWO SIDES. THERE ARE ALSO THREE CANDY CANES HOLDING FOUR WREATHS ON THE FRONT OF THE TAG. ABOVE THIS IS THE WORD "GREETINGS" IN BLACK. WRITTEN IN THE OFF-WHITE AREA IN BLUE PEN IS "MOTHER". STUCK TO THE BOTTOM, RIGHT HAND CORNER IS A STICKER OF A RED, GREEN, YELLOW, AND GOLD POINSETTIA. ON THE BACK OF THE TAG WRITTEN IN BLUE PEN IS "WISHING YOU A VERY MERRY CHRISTMAS FROM SHEILA". THERE IS A ROUND HOLE THROUGH ONE SIDE OF THE TAG.
Subjects
DOCUMENTARY ARTIFACT
ART
Historical Association
DECORATIVE ARTS
History
CAME IN HANDKERCHIEF BOX P19990035124-GA. SEE P19990035001-GA FOR ADDITIONAL HISTORY.
Catalogue Number
P19990035133
Acquisition Date
2000-07
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
BOX
Date Range From
1920
Date Range To
1950
Material Type
Artifact
Materials
WOOD, PAPER, SATIN, VELVET, STEEL
Catalogue Number
P19940024004
  1 image  
Material Type
Artifact
Other Name
BOX
Date Range From
1920
Date Range To
1950
Materials
WOOD, PAPER, SATIN, VELVET, STEEL
No. Pieces
1
Height
5
Length
27.3
Width
11.8
Description
WOOD BOX HAS BROWN SCULPTED CARDBOARD TO IMITATE LEATHER ON OUTSIDE AND EDGES. OPENS ON TWO HINGES ALONG THE BACK. LID FASTENS SHUT WITH A THREE LEAF CLOVER SHAPED CLASP ON A HINGE WITH A HOLE IN THE CENTER OVER A PEG ON THE BOTTOM PORTION OF THE BOX. BOTH SIDES OF THE CLASPS HAVE THE SAME DECORATIVE BASES. ON THE INSIDE OF THE LID IS A SATIN PILLOW THAT HAS TWO TABS OF MATERIAL ON THE INSIDE. IN PENCIL IT READS "SAUL"(?). THE BOTTOM OF THE BOX IS LINED WITH BROWN VELVET WHICH IS IN TWO PIECES AND GLUED TOGETHER. HAS A WHITE RIBBED LINING AROUND TOP OF BOTTOM. HAS NUMEROUS RIPS AND TEARS IN OUTSIDE PAPER COVERING. PILLOW HAS MANY HOLES AND RUNS. VELVET APPEARS TO HAVE BEEN CUT OFF ALONG SOME SIDES, THIS REVEALS SOME REMNANTS OF GLUE AND PAPER. SOME FRAYED MATERIAL IS COMING OUT FROM BEHIND THE RIBBED TRIM.
Subjects
CONTAINER
Historical Association
DECORATIVE ARTS
History
BUTTONS AND OTHER ARTIFACTS FOUND IN BOX IN BARRACK BAY AT LOCATION OF STREETS ALIVE DURING RENOVATIONS. OWNER NOT KNOWN.
Catalogue Number
P19940024004
Acquisition Date
1994-07
Collection
Museum
Images
Less detail
Other Name
JAPANESE DOLL
Date Range From
1920
Date Range To
1930
Material Type
Artifact
Materials
PAPER, RAYON
Catalogue Number
P19970041570
Material Type
Artifact
Other Name
JAPANESE DOLL
Date Range From
1920
Date Range To
1930
Materials
PAPER, RAYON
No. Pieces
3
Height
3
Length
6
Width
6.8
Description
SMALL PLASTER BABY DOLL WRAPPED IN RAYON CLOTH WHICH IS ORANGE, WHITE AND RED. BABY HAS RED FRILLED GARMENT ON. TWO COTTON FILLED PILLOWS HAVE FALLEN OFF AND ARE LOOSED WITH DOLL.
Subjects
TOY
Historical Association
DECORATIVE ARTS
History
DOLL BELONGED TO DONOR'S FAMILY AND WAS KEPT IN THE BUFFET. POSSIBLY A SPECIAL ITEM BROUGHT FROM JAPAN. DOLL IS MENTIONED IN DONOR'S NOVEL "OBASAN". THE NAKAYAMA FAMILY WAS ORIGINALLY FROM VANCOUVER BUT MOVED TO COALDALE FOLLOWING THE SECOND WORLD WAR WHEN THEY WERE INTERNED AT SLOCAN CITY IN THE INTERIOR OF BRITISH COLUMBIA BY THE CANADIAN GOVERNMENT. THE DONOR'S FATHER, REV. CANON G.G. NAKAYAMA, WAS AN ANGLICAN MINISTER IN VANCOUVER, AND THEN ESTABLISHED THE CHURCH OF THE ASCENSION IN COALDALE IN 1945 WHERE HE SERVED UNTIL 1970. FROM AUGUST 29 TO 31, 2011 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DONOR, JOY KOGAWA, ABOUT HER MEMORIES ASSOCIATED WITH SPECIFIC OBJECTS THAT SHE DONATED IN 1997. OF THIS ARTIFACT, KOGAWA SAID: “I ALWAYS USED TO SEE THIS TINY LITTLE DOLL… IT SAT IN THE BUFFET, A LITTLE DECORATION. I GUESS MY MOM JUST LOVED IT. IT WAS ONE OF THE THINGS SHE BOUGHT AND KEPT. I DON’T KNOW HOW MANY THINGS SHE HAD TO LEAVE [OR] WHY SHE WOULD KEEP THIS LITTLE TINY THING.” SEE RECORD P19970041001 FOR EXPANDED BIOGRAPHICAL INFORMATION AND PERMANENT FILE FOR FURTHER HISTORY.
Catalogue Number
P19970041570
Acquisition Date
1997-01
Collection
Museum
Less detail

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