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Other Name
PAINT BOX
Date Range From
1945
Date Range To
1964
Material Type
Artifact
Materials
WOOD, OIL PAINTS, METAL
Catalogue Number
P20070008001
  2 images  
Material Type
Artifact
Other Name
PAINT BOX
Date Range From
1945
Date Range To
1964
Materials
WOOD, OIL PAINTS, METAL
No. Pieces
90
Height
10.0
Length
44.5
Width
37.8
Description
WOODEN PAINT BOX WITH TWO METAL LATCHES, HANDLE AT FRONT OF BOX, LABELED, “R. A. HAGELL JR.” AND “E. F. HAGELL, JUNE 20, 1895 – DEC 18, 1964.” BOX SCRATCHED AND MARKED THROUGHOUT. 89 ARTICLES CONTAINED WITHIN 9 COMPARTMENTS. THREE COMPARTMENTS PER ROW, COMPARTMENTS LISTED FROM RIGHT TO LEFT, FROM BOTTOM ROW TO UPPER ROW. SEE ALSO CONDITION REPORT ON FILE. ROW 1, COMPARTMENT 1 1. PAINT TUBE, BLACK CAP, MARKED, “GRUMBACHER, … PERMANENT LIGHT GREEN.” WHITE LABEL COVERS ENTIRE LENGTH OF TUBE. HEIGHT 9.1, LENGTH 2.2, WIDTH 1.2. ROW 1, COMPARTMENT 2 2. PAINT TUBE, BLACK CAP, MARKED, “NSDR & NEWTON, LONDON. ENGLAND…SEPIA TINT.” HANDWRITTEN ON BACK OF TUBE “20, 27”, CREAM LABEL COVERS ENTIRE LENGTH OF TUBE, END OF TUBE ROLLED UP. HEIGHT 5.0, LENGTH, 1.9, WIDTH 2.5. 3. PAINT TUBE, METAL CAP, MARKED, “OIL COLOUR, BURNT UMBER, RICHMON[?]…ENGLAND,” CREAM LABEL COVERS HALF OF TUBE, END OF TUBE ROLLED UP. HEIGHT 4.6, LENGTH 1.9, WIDTH 2.4. 4. PAINT TUBE, METAL CAP EMBOSSED, “W & N.” BLACK PLASTIC LID STUCK TO METAL LID BY PAINT RESIDUE, LABEL MARKED “ALIZ[?],” TUBE COVERED IN REDDISH BROWN SEMI-TRANSPARENT PAINT RESIDUE, END OF TUBE ROLLED UP. HEIGHT 5.2, LENGTH 2.0, WIDTH 2.3. 5. PAINT TUBE, BLACK CAP, MARKED, “GRUMBACHER, … ZINC WHITE.” WHITE LABEL COVERS ENTIRE LENGTH OF TUBE. HEIGHT 9.6, LENGTH 2.1, WIDTH 1.5. 6. PAINT TUBE, BLACK CAP, MARKED, “GRUMB[?]HER, … BURNT SIENNA.” WHITE LABEL COVERS ENTIRE LENGTH OF TUBE. HEIGHT 9.5, LENGTH 2.2, WIDTH 1.8. 7. PAINT TUBE, BLACK CAP, MARKED, “GRUMBACHER, … ‘THALO’ GREEN.” WHITE LABEL COVERS ENTIRE LENGTH OF TUBE. HEIGHT 9.6, LENGTH 2.1, WIDTH 1.3. 8. PAINT TUBE, BLACK CAP, MARKED, “GRUMBACH[?], … YELLOW OCH[?] LIGH[?].” WHITE LABEL COVERS ENTIRE LENGTH OF TUBE, END OF TUBE FOLDED OVER. HEIGHT 7.8, LENGTH 2.3, WIDTH 1.3. 9. PAINT TUBE, TOP OPENING OF TUBE MISSING, TUBE ENDS FOLDED OVER, MARKED, “SIENNA, 730-E, PERMANENT, CRAFTINT, …MEDIUM SIZE 10CC” WHITE LABEL COVERS ¾ OF TUBE. HEIGHT 8.2, LENGTH 2.0, WIDTH 1.0. 10. PAINT TUBE, BLACK CAP, MARKED, “BURNT UMBER, 740-E, PERMANENT, CRAF[?]NT, …MEDIUM SIZE 10CC.” WHITE LABEL COVERS ENTIRE TUBE, CRACK ON TUBE. HEIGHT 9.7, LENGTH 2.0, WIDTH 1.3. 11. PAINT TUBE, BLACK CAP, MARKED, “GRUMBACHER, … IVORY BLACK.” WHITE LABEL COVERS ENTIRE LENGTH OF TUBE. HEIGHT 9.1, LENGTH 2.2, WIDTH 1.4. 12. PAINT TUBE, METAL CAP, MARKED, “’GEORGIAN’ OIL COLO[?], RAW SIENNA, …GEORGE ROWNEY & CO. LTD.” TUBE COVERED IN REDDISH BROWN SEMI TRANSPARENT PAINT, LABEL PEELING OF IN PLACES, DIAMOND PATTERN NEAR TOP OF LABEL. HEIGHT 6.1, LENGTH 1.0, WIDTH 1.5. 13. PAINT TUBE, BLACK CAP NOT FULLY SCREWED ON, MARKED, “[?]EWTO[?] LTD., LONDON. ENGLAND, STUDENT [?]IL COLOUR, RAW UMBER.” LABEL AND LID COVERED IN REDDISH BROWN SEMI-TRANSPARENT AND BLACK PAINT, LABEL COVERS HALF OF TUBE, END OF TUBE FOLDED OVER. HEIGHT 5.8, LENGTH 2.0, WIDTH 1.3. 14. PAINT TUBE, BLACK CAP, MARKED, “GRUM[?],… WATER COLOR, [?]NDIAN RED, VENITIAN RED.” CREAM LABEL PEELING THROUGHOUT, END OF TUBE FOLDED OVER. HEIGHT 5.0, LENGTH 2.0, WIDTH 1.2. 15. PAINT TUBE, BLACK CAP, MARKED, “ARTISTS OIL COLO[?], …GAINSBO, …AMARIT, … HECHO EN E.U.A.POR M. GRUMBACHER” CHIPPED WHITE LABEL WITH BLACK AND YELLOW MARKINGS COVERS LENGTH OF TUBE, NEAR BASE OF TUBE PIECE OF TAPE IS MARKED, “35-.” END OF TUBE BROKEN OFF. HEIGHT 7.7, LENGTH 2.1, WIDTH 1.3. 16. PAINT TUBE, BLACK LID NOT SCREWED ON ALL THE WAY HELD ON BY PAINT RESIDUE, METAL TUBE COVERED IN CRIMSON, BLACK, GREY, WHITE AND YELLOW PAINT, PIECE OF BROWN STRING STUCK TO PAINT RESIDUE, END OF TUBE FOLDED OVER. HEIGHT 6.5, LENGTH 2.0, WIDTH 1.5. 17. PAINT TUBE, BLACK LID WITH PAINT BUILD UP AT BASE, MARKED, “GRU[?] MBACHER, …ARTISTS OIL COLOR, MAGENTA.” WHITE LABEL COVERS ENTIRE HEIGHT OF TUBE, YELLOWED TAPE NEAR BASE HAND MARKED, “35.” HEIGHT 9.8, LENGTH 2.1, WIDTH 1.1. 18. PAINT TUBE, BLACK LID, MARKED, “ULTRAMARINE BLUE, (FRENCH OR PERMANENT BLUE), (NEW BLUE), 500-E, …CRAFTINT, …MEDIUM SIZE 10CC.” WHITE LABEL COVERS ENTIRE HEIGHT OF TUBE. HEIGHT 9.6, LENGTH 2.4, WIDTH 1.7. 19. PAINT TUBE, BLACK LID, MARKED, “WINDSOR & NEWTON, LONDON EN[?]ND, STUDENT OIL…, BURNT SIENNA.” LABEL COVERS HALF OF TUBE, LABEL STAINED WITH BROWN, BLACK AND WHITE PAINT FLECKS, END OF TUBE FOLDED OVER. HEIGHT 5.2, LENGTH 1.9, WIDTH 1.9. 20. PAINT TUBE, RED LID, MARKED, “REEVES, G[?]OUND, FINE OIL, …EST.1766.” WHITE AND RED LABEL COVERS ENTIRE TUBE, PIECE OF BROWN PAPER STUCK TO TUBE WITH PAINT RESIDUE OBSCURES MOST OF FRONT LABEL. HEIGHT 7.9, LENGTH 2.0, WIDTH 1.2. 21. PAINT TUBE, YELLOW LID, MARKED, “REEVE[?], GREYHOUND, FINE OIL COLOUR, NO. 29, C[?]MUM YE[?]W.” WHITE GREY AND YELLOW LABEL WITH BROWN, YELLOW, WHITE AND GREEN PAINT RESIDUE COVERS ENTIRE TUBE, BASE OF TUBE IS FOLDED OVER. HEIGHT 6.7, LENGTH 1.9, WIDTH 1.0. 22. PAINT TUBE, BLACK LID, MARKED, “AMERICAN VERMILLION, … CRAFTINT, … MEDIUM SIZE, …10CC.” WHITE LABEL COVERS 7/8 OF THE TUBE, BLACK, YELLOW, GREEN, WHITE, AND ORANGE BROWN PAINT RESIDUE THROUGHOUT SURFACE OF TUBE. HEIGHT 9.8, LENGTH 2.0, WIDTH 1.4. 23. PAINT TUBE, BLACK LID, MARKED, “GRUMBACHER, …ARTISTS’ OIL COLOR, ALIZARIN CRIMSON, (CARMINE).” WHITE LABEL COVERS ENTIRE TUBE, LABEL PEELING AWAY IN A FEW AREAS. HEIGHT 9.1, LENGTH 2.1, WIDTH 1.3. 24. PAINT TUBE, YELLOW LID, MARKED, “REEVES…SONS, LONDON, … YELLOW…, OCRE AMARILLO, LJUSO[?]KER.” WHITE LABEL COVERS ENTIRE TUBE, IMAGE OF GREYHOUND ON IT, WHITE AND PROBLEMATIC COLORED PAINT RESIDUE THROUGHOUT. HEIGHT 7.8, LENGTH,1.9, WIDTH 1.2. 25. PAINT TUBE, BLACK LID, MARKED, “GRUMBACHER, GAINSBOROUGH, ARTIST[?] OIL COL[?], GRUMBACHER RED.” WHITE LABEL COVERS ENTIRE TUBE, LABEL PEELING IN SOME PLACES, FINGERPRINT SHAPED RED, BLUE AND GREEN PAINT MARKS ON LOWER PART OF LABEL. HEIGHT 9.6, LENGTH 2.2, WIDTH 1.4. 26. PAINT TUBE, BLACK LID, MARKED, “AL[?]N, CR[?]ON, …CRAFTIN[?], … MEDIUM SIZE, CONTENTS 10CC, … 2 DHIDROXYANTHRAQUINONE ON ALUMINUM HYDRATE.” WHITE LABEL COVERS ENTIRE TUBE, BOTTOM OF TUBE FOLDED OVER. HEIGHT 8.7, LENGTH 2.1, WIDTH 1.1. 27. PAINT TUBE, RED LID, MARKED, “REEVES, GREYHOUND, FINE OIL COLOURS, CADMIUM RED TINT.” WHITE LABEL COVERS ENTIRE TUBE, BACK OF LABEL OBSCURED BY SEMI-TRANSPARENT REDDISH-ORANGE PAINT. HEIGHT 7.4, LENGTH 2.0, WIDTH 1.2. 28. PAINT TUBE, BLACK LID, MARKED, “ALIZARIN CRIMSON, WEBER ARTISTS’ OIL COLOR, …12ML OR 3.8 OZ. FL.” ARTIST QUALITY SEAL AT BASE OF TUBE WITH INITIALS “FAQ” IN CENTER, TEXT ON TUBE IS VERY LEGIBLE, CREAM LABEL COVERS ENTIRE TUBE, END PARTIALLY FOLDED. HEIGHT 8.9, LENGTH 2.0, WIDTH 1.2. 29. PAINT TUBE, BLACK LID, MARKED, “GRUMBACHER, …YELLOW OCHRE LIGHT.” PAPER PRICE TAG AFFIXED WITH TAPE NEAR BOTTOM OF TUBE, MARKED, “NAA 35¢.” CLEAR, YELLOWING, PEELING, CIRCULAR STICKER AFFIXED TO TOP OF TUBE. HEIGHT 8.2, LENGTH 1.9 WIDTH 1.4. 30. PAINT TUBE, METAL LID, MARKED, “GE[?]GIAN OIL C[?]LOUR, … MADE … ENGLAND.” RED TRANSPARENT PAINT STAINS MOST OF LID, BROWNISH PAPER LABEL WITH YELLOW AND RED PAINT STAINS, END OF TUBE FOLDED OVER WITH METAL EXPOSED. HEIGHT 4.1, LENGTH 1.9, WIDTH 1.2. 31. PAINT TUBE, BLACK LID COVERED IN YELLOW PAINT RESIDUE, MARKED, “GRUMBACHER, …YELLOW OCHRE LIGHT, …OCRE CLARO.” WHITE LABEL COVERS ENTIRE TUBE, END OF TUBE FOLDED OVER. HEIGHT 8.2, LENGTH 1.9, WIDTH 1.2. 32. PAINT TUBE, BLACK LID, MARKED, “GRUMBACHE, …[?]TISTS’ OIL COLOR, ”THALO”® GREEN.” WHITE LABEL COVERS ENTIRE TUBE, END OF TUBE FOLDED OVER. HEIGHT 6.2, LENGTH 2.1, WIDTH 1.5. 33. PAINT TUBE, WHITE LID, MARKED, “GOLDEN PALETTE, G, M. GRUMBACHER INC., …NET CONTENTS 37 CC, …ZINC WHITE.” WHITE LABEL COVERS ENTIRE TUBE. HEIGHT 8.6, LENGTH 4.0, WIDTH 2.3. 34. PAINT TUBE, BLACK LID, MARKED, “ YELLOW OCHRE, (MARS YELLOW), 70[?], CRAFTINT, …MEDIUM [?]IZE.” BROWNISH YELLOW PAINT COMES OUT OF CRACK NEAR TOP OF TUBE, WHITE LABEL COVERS ENTIRE TUBE. HEIGHT 9.0, LENGTH 2.0, WIDTH 1.5. 35. PAINT TUBE, BLACK LID, MARKED, “[?]MBACHER, …CHROME YELLOW LIGHT, (MADE WITHOUT LEAD).” WHITE LABEL COVERS 7/8 OF TUBE, LID IS VIRTUALLY FREE OF PAINT RESIDUE. HEIGHT 10.1, LENGTH 2.2, WIDTH 1.4. 36. PAINT TUBE, BLACK LID, MARKED, “G[?]UM[?]CHER, -FLESH.” WHITE LABEL COVERS 7/8 OF TUBE. HEIGHT 9.7, LENGTH 2.1, WIDTH 1.4. 37. PAINT TUBE, BLACK LID, MARKED, “PERMA[?] GREEN, WEBER ARTISTS’ OIL COLOR, …12 ML OR 3/8 OZ. FL.” ARTIST QUALITY SEAL AT BASE MARKED, “FAB” IN CENTER. HEIGHT 8.9, LENGTH 1.9, WIDTH 1.1. 38. PAINT TUBE, BLACK LID, MARKED, “EMERAL[?] GREEN HU[?], 852, CRAFT[?]T.” CREAM, STAINED PIECE OF PAPER AFFIXED TO BOTTOM OF TUBE, WHITE LABEL COVERS ENTIRE TUBE. HEIGHT 9.4, LENGTH 2.1, WIDTH 1.3. 39. PAINT TUBE, NO LID, MARKED, “OIL COLOUR, PERMANE[?] GREEN.” GREEN PAINT RESIDUE ON INSIDE OF TUBE, BROWN, YELLOW AND GREEN PAINT COVER TUBE, END OF TUBE FOLDED OVER. HEIGHT 5.7, LENGTH 2.0, WIDTH 1.1. 40. PAINT TUBE, BLACK LID, MARKED, “PHTHA[?]OCYANINE G[?]N, 851-E, …CRAFTINT.” WHITE LABEL COVERS 7/8 OF TUBE. HEIGHT 9.3, LENGTH 2.0, WIDTH 1.3. ROW 1, COMPARTMENT 3 41. PAINT TUBE, BLACK LID, MARKED, “GRUMBACHER, FINEST, …LAMP BLACK, G.” TUBE ATTACHED TO LARGE PIECE OF ALUMINUM FOIL AND BROWN STRING, BLACK PAINT SEEPING OUT SIDE OF TUBE. HEIGHT 9.5, LENGTH 5.5, WIDTH 2.7. 42. PAINT TUBE, METAL LID, NO LABEL METAL TUBE, EMBOSSED “TALENS, HOLLAND” AT TOP OF TUBE. HEIGHT 9.3, LENGTH 3.9, WIDTH 2.4/ 43. PAINT TUBE, GREY LID, CREAM-COLOURED PIGMENT AROUND LID, NO LABEL METAL TUBE, END OF TUBE FOLDED OVER. HEIGHT 8.2, LENGTH 5.1, WIDTH 3.5. 44. PAINT TUBE, BLACK LID, MARKED, “REILLY,” TOP OF TUBE EMBOSSED WITH THREE STARS AND “GRUMBACHER,” END OF TUBE FOLDED OVER, MAKER’S SIGNATURE ON LABEL ON BACK. HEIGHT 6.0, LENGTH 3.9, WIDTH 2.3. 45. PAINT TUBE, BLACK LID WITH RED PAINT RESIDUE AROUND BASE, MARKED, “GRUMBA[?]HER, …MA[?] RED, …NO. 555, …ARTIFICIAL IRON OXIDE.” WHITE LABEL COVERS ENTIRE TUBE. HEIGHT 8.9, LENGTH 4.0, WIDTH 2.2. ROW 2, COMPARTMENT 4 46. PAPER LABEL, ORANGE, BLACK AND CREAM, MARKED “R[?]BRA OLIE, APELDOORN, SIENNA.” IMAGE OF CROSS-LEGGED PERSON HOLDING A PALETTE. LENGTH 4.6, WIDTH 4.0. 47. PAINT TUBE, NO LID, MARKED “FRANK J. REILLY, …[?]EILLY 2.” PAPER LABEL IS SOILED WITH SEVERAL COLORS OF PAINT, END OF TUBE IS FOLDED OVER. HEIGHT 7.2, LENGTH 3.8, WIDTH 2.2. 48. PAINT TUBE, METAL LID EMBOSSED, “LONDON, W&N, ENGLAND,”, METAL TUBE IS BROKEN WITH BLUE PAINT COMING OUT OF CRACK. HEIGHT, 3.9, LENGTH 3.2, WIDTH 1.5. ROW 2, LAYING ACROSS COMPARTMENT 5 49. PAINT BRUSH, BLUNT, SHORT, DENSE, HEAVILY WORN, RED TINGED BRISTLES, BRISTLES ATTACHED TO HANDLE VIA METAL CASING, WOODEN HANDLE MARKED, “5,” TAN COLORED HANDLE STAINED WITH BLUE, RED, AQUA AND PEACH PAINT, WOODEN HANDLE SLIGHTLY WARPED, HANDLE TAPERS AT END. LENGTH 30.0, DIAMETER 1.1 50. PAINT BRUSH, FLAT, SQUARE-EDGED, YELLOWISH-RED BRISTLES, BRISTLES ATTACHED TO HANDLE VIA METAL CASING, WOODEN HANDLE MARKED, “7,” TAN COLORED HANDLE HAS SMALL TRACES OF RED, BLUE AND BEIGE PAINT, HANDLE TAPERS AT END. LENGTH 32.2, DIAMETER 1.3. ROW 2, INSIDE COMPARTMENT 5 51. PAINT TUBE, BLACK LID CAKED IN DARK YELLOW-BROWN PAIN, MARKED, “GR[?]MBA[?]HER, NO. 525, …TESTED, RAW SIENNA, …THE AME[?]AN ARTIS[?], PROFESSIONAL LEAGUE,” WHITE LABEL COVERS ENTIRE TUBE, END OF TUBE IS FOLDED OVER. HEIGHT 6.4, LENGTH 4.2, WIDTH 2.4. 52. PAINT TUBE, NO LID, MARKED, “R[?]ILLY, 6, [?]EUTRAL VAL[?] , …M. GRUMBAC[?],” WHITE LABEL COVERS ENTIRE TUBE, GREY PAINT RESIDUE ON INSIDE OF TUBE, END OF TUBE IS FOLDED OVER, TUBE IS CURVED AND NEARLY EMPTY. HEIGHT 6.4, LENGTH 4.3, WIDTH 2.4. 53. PAINT TUBE, METAL LID HELD ON BY BROWN PAINT RESIDUE, TOP OF TUBE IS EMBOSSED “REEVES, …SONS…”, LABEL MARKED, “MADE IN E[?], …REEV[?] OF LONDON, MANU[?], …ARTISTS,” CREAM LABEL COVERS ENTIRE TUBE, END OF TUBE IS FOLDED OVER SEVERAL TIMES. HEIGHT 4.1, LENGTH 4.0, WIDTH 2.5. 54. PALLET KNIFE, OBLONG, FLAT METAL PIECE ATTACHED TO BLACK-GREEN, WOODEN HANDLE. METAL ETCHED, “F.R. & [?],” METAL SMEARED WITH WHITE, PEACH, YELLOW, GREEN AND ORANGE PAINT, COLOR ON HANDLE IS WORN AT THE END AND CHIPPED AWAY NEAR THE TOP, HANDLE HAS GREEN AND YELLOW PAINT RESIDUE. LENGTH 16.3, DIAMETER 1.6. 55. BUTTER KNIFE, MARKED, “STAINLESS STEEL JAPAN,” EDGES OF HANDLE ARE ROUNDED OFF, KNIFE COVERED IN RED, YELLOW, WHITE, GREEN, RUST AND BLACK PAINT RESIDUE, SMALL PIECE OF ALUMINUM FOIL ATTACHED TO BLADE. HEIGHT 20.3, LENGTH 1.6, WIDTH 0.7. 56. PENCIL CRAYON, DULL TIP, MARKED, “LAURENTIAN, VENUS PENCIL CO…., MADE IN CANADA, MIDNIGHT BLACK, 12,” BLACK AND WHITE PAINT RESIDUE ON PENCIL, WOOD IS SPLITTING NEAR END OF PENCIL, PAINT FADING AROUND THE CRACK. LENGTH 14.4, DIAMETER 0.7. 57. PENCIL CRAYON, DOUBLE ENDED, DULL TIPS, HALF BLUE, HALF RED, WHITE, CIRCULAR STRIPES ON RED AND BLUE BACKGROUND COLORS, MARKED, “156 SUNSET COMBINA[?],” PIECE OF CELLOPHANE STUCK TO RED HALF OF PENCIL. LENGTH 17.1, DIAMETER 1.8. 58. PAINT TUBE, NO LID, MARKED, “6, … EXCELLENT WORKING, …MANENCE, …GUARANTEED, …SPECIFICA[?], …AS REQUESTED BY FRANK J. REI[?],” YELLOWING PAPER LABEL COVERS MOST OF TUBE, GRAY PAINT RESIDUE INSIDE TUBE, TOP OF TUBE EMBOSSED, “GRUMBACHER,” END OF TUBE ROLLED OVER. HEIGHT 4.6, LENGTH 4.3, WIDTH 2.3. ROW 2, COMPARTMENT 6 CONTAINS 2 CIRCULAR MIXING TRAYS ATTACHED TO PAINT BOX. ROW 3, COMPARTMENT 7 59. GLASS BOTTLE, YELLOW WITH BLACK METAL LID, MARKED, “GRUMBACHER, PAINT THINNER, GRUMTINE, …ONE FL. OZ. MADE IN U.S.A.” HEIGHT 9.0, LENGTH 3.7, WIDTH, 2.3. 60. PAINT TUBE, BLACK LID, PAPER LABEL OBSCURED BY WHITE, BROWN AND DARK GREEN PAINT RESIDUE, METAL TUBE COVERED IN BLACK, ORANGE, GREEN AND BROWN PAINT RESIDUE, END OF TUBE FOLDED OVER, LABEL COVERS HALF OF TUBE. HEIGHT 6.4, LENGTH 3.9. WIDTH 2.3. 61. PAINT TUBE, BLACK LID, MARKED, “RE[?]LLY, 4, NEUTRAL ARTISTS’ OIL COLO[?],” PAPER LABEL CRACKED AND PEELING ALONG SIDE OF TUBE AND TOP OF TUBE, END OF TUBE FOLDED. HEIGHT 7.1, LENGTH 4.0, WIDTH 2.2. 62. PAINT TUBE, NO LID, WHITE AND BLUE LABEL WEARING AWAY SO TEXT IS ILLEGIBLE, NAVY PAINT RESIDUE ON INSIDE OF TUBE, TUBE ALMOST EMPTY. HEIGHT 5.8, LENGTH 2.5, WIDTH 1.7. 63. PAINT TUBE, NO LID, MARKED, “RICHMO[?]D, PERMANENT ARTISTS’, …COLO[?], REEVES OF LONDON,” YELLOW PAINT RESIDUE ON INSIDE OF TUBE, LABEL HAND MARKED, “85,” BOTTOM, FRONT PORTION OF LABEL MISSING, METAL TUBE. HEIGHT 8.3, LENGTH, 3.7, WIDTH 2.2. 64. LID, BLACK, PLASTIC, ROUND WITH RIDGED EDGES, FLECKED WITH RED, WHITE AND BLACK PAINT RESIDUE. HEIGHT 0.3, DIAMETER 1.7. 65. LID, BLACK, PLASTIC, ROUND WITH RIDGED EDGES, STILL ATTACHED TO PORTION OF CONTAINER, FLECKED WITH BROWN AND WHITE PAINT RESIDUE. HEIGHT 1.1, DIAMETER 1.1. 66. PAINT TUBE, BLACK LID, MARKED, “NO. 532, PRE-TESTED, ZINC YELLOW, 37 CC,” WHITE LABEL COVERS ENTIRE TUBE, END SLIGHTLY FOLDED OVER, YELLOW PAINT RESIDUE AROUND BASE OF LID. HEIGHT 8.2, LENGTH 4.0, WIDTH 2.1. 67. LID, BLACK, PLASTIC, ROUND WITH RIDGED EDGES, FLECKED WITH WHITE, BLUE, RED, YELLOW AND GREY PAINT RESIDUE. HEIGHT 0.6, DIAMETER 1.7. 68. PAINT TUBE, METAL LID, MARKED, “REM[?]RANDT, 228, APELDOORN, HOLLAND, REMBRANDT BLUE,” BLACK PAPER LABEL COVERS HALF OF METAL TUBE. HEIGHT 9.1, LENGTH 3.7, WIDTH 2.5. 69. PAINT TUBE, NO LID, MARKED, “[?]EILLY, 9, NEUTRAL VALUES,” PAPER LABEL COVERS MOST OF TUBE, TOP OF TUBE EMBOSSED, “GRUMBACHER”, END OF TUBE FOLDED OVER, WHITE RESIDUE ON INSIDE OF TUBE. HEIGHT 5.4, LENGTH 4.0, WIDTH 2.2. 70. LID, METAL, OCTAGONAL SHAPED EDGES, LARGE AMOUNTS OF YELLOW PAINT RESIDUE ESPECIALLY ON UNDERSIDE. HEIGHT 0.5, DIAMETER 1.9. 71. PAINT TUBE, NO LID, TUBE FOLDED IN HALF, PIECE(S) OF ALUMINUM FOIL STUCK TO TUBE, LABEL PEELING AWAY, ORANGE PAINT RESIDUE ON INSIDE OF TUBE, OUTSIDE OF TUBE IS COVERED IN BROWN, WHITE AND ORANGE PAINT RESIDUE. HEIGHT 5.6, LENGTH 4.5, WIDTH 3.8. 72. PAINT TUBE, BLACK LID, MARKED, “GRUMBACHER, PERMANENT OIL COLOR, ARTISTS’ QUALITY, … MARS YELLOW, 37CC,” WHITE LABEL COVERS ENTIRE TUBE, END OF TUBE FOLDED OVER. HEIGHT 7.0, LENGTH 4.0, WIDTH 2.5. 73. PAINT TUBE, BLACK LID, MARKED, “[?]RUMB[?]CHER, NO. 573, …“THALO”, YELLOW GREEN, 37CC,” WHITE LABEL COVERS ENTIRE TUBE. HEIGHT 8.5, LENGTH 4.0, WIDTH 2.3. 74. PAINT TUBE, WHITE LID, MARKED, “FINE, …[?]URNT SIENNA, …REEVES & SONS LTD. LONDON,” WHITE LABEL COVERS ENTIRE TUBE, LID ATTACHED BY BROWN-RED PAINT RESIDUE. HEIGHT 10.1, LENGTH 3.8, WIDTH 2.0. 75. PAINT TUBE, NO LID, METAL TUBE WITH PAPER LABEL, LABEL OBSCURED BY RED AND WHITE PAINT RESIDUE, BLUE-BLACK PAINT RESIDUE ON INSIDE OF TUBE, FRAGMENT OF PAPER ATTACHED TO TOP OF TUBE, END OF TUBE FOLDED OVER. HEIGHT, 8.0, LENGTH 3.7, WIDTH 2.5. . 76. PAINT TUBE, PAPER LABEL OBSCURED BY REDDISH-BROWN RESIDUE, NUMBER “5” VISIBLE, END OF TUBE FOLDED OVER, PIECE OF STRING ATTACHED TO RESIDUE ON TUBE, TOP OF TUBE EMBOSSED [?]BACHER.” HEIGHT 6.6, LENGTH 4.5, WIDTH 2.3. 77. PAINT TUBE, METAL LID, MARKED, “REMBRANDT, …APELDOORN HOLLAND , 46, [?]APLES YELLOW,” PAPER LABEL COVERS PART OF METAL TUBE, LABEL TORN AND YELLOWING, END OF TUBE FOLDED OVER. HEIGHT 7.1, LENGTH 3.8, WIDTH 2.5. 78. PAINT TUBE, BLACK LID, MARKED, “PRE-TESTED, NAPLES YELLOW,” TOP OF TUBE EMBOSSED, “GRUMBACHER,” WHITE LABEL COVERS ENTIRE TUBE, END OF TUBE FOLDED OVER, YELLOW RESIDUE AROUND BASE OF LID. HEIGHT 6.4, LENGTH 4.1, WIDTH 2.5. 79. LID, BLACK, PLASTIC, HEXAGONAL SHAPED EDGES, CIRCLE IN CENTER OF LID, LIGHT BEIGE PAINT RESIDUE ON UNDERSIDE OF LID. HEIGHT 0.6, DIAMETER 1.7. 80. PAINT TUBE, BLACK LID, MARKED, “[?]RUMBACHER, …PRE-TESTED, PAYNE’S GRAY, 37CC,” WHITE LABEL COVERS ENTIRE TUBE, BLUE, RED AND BROWN PAINT RESIDUE THROUGHOUT. HEIGHT 8.3 LENGTH 4.0, WIDTH 2.1. 81. PAINT TUBE, METAL LID, MARKED, “REMBRANDT, …APELDOORN HOLLAND, 145, …CHINESE VERMILLION,” PAPER LABEL HAS ASTERISK IN CENTRE, LABEL COVERS HALF OF TUBE, RED AND ORANGE PAINT RESIDUE AT BOTTOM OF TUBE, RED PAINT AROUND BASE OF LID, LABEL TORN AND PEELING AT BACK OF TUBE. HEIGHT 8.4, LENGTH 4.2, WIDTH 2.5. ROW 3, COMPARTMENT 8 82. PAINT TUBE, BLACK LID, MARKED, “GRUM[?], GAINS[?], ARTISTS’…, COBALT, VIOLET,” WHITE LABEL COVERS ENTIRE TUBE, END OF TUBE FOLDED OVER. HEIGHT 4.4, LENGTH 2.1, WIDTH 1.3. 83. PAINT TUBE, NO LID, MARKED, “REILLY…” LIGHT GREY PAINT RESIDUE INSIDE TUBE, PAPER LABEL IS FRAGMENTED AND DIFFICULT TO READ, END OF TUBE FOLDED OVER. HEIGHT 4.5, LENGTH 3.8, WIDTH 2.2. 84. PAINT TUBE, BLACK LID, MARKED, “REILLY, 3,” LABEL DARKENED AND OBSCURED WITH GREEN, BROWN AND WHITE PAINT RESIDUE, FRAGMENT OF ALUMINUM FOIL STUCK TO FRONT OF LABEL, MAKER’S SIGNATURE ON BACK OF LABEL, END OF TUBE FOLDED OVER. HEIGHT 7.2, LENGTH 3.3, WIDTH 2.1. ROW 3, COMPARTMENT 9 85. PAINT TUBE, NO LID, MARKED, “…BLACK, SHEFFIELD, CANADA,” BLUE AND WHITE LABEL FADED AND PEELING, PINK AND YELLOW FRAGMENTS OF PAPER STUCK TO FRONT AND BACK OF TUBE, BLACK PAINT VISIBLE THROUGH CRACK IN TUBE, END OF TUBE FOLDED OVER. HEIGHT 8.6, LENGTH 3.9, WIDTH 2.0. 86. PAINT TUBE, NO LID, MARKED, “REILLY, 5, …REILLY NEUTRAL VALUES,” WHITE LABEL COVERS ENTIRE TUBE, END OF TUBE FOLDED OVER, GREY PAINT RESIDUE ON INSIDE OF TUBE. HEIGHT 6.5, LENGTH 4.0, WIDTH 2.5. 87. ORANGE AND WHITE PAPER LABEL, NUMBER “61” CIRCLED IN CENTRE OF LABEL. HEIGHT 1.4, LENGTH 3.2, WIDTH 1.6. 88. PAINT TUBE, ORANGE CAP AND ORANGE AND WHITE LABEL. FRONT OF LABEL READS, “GREYHOUND,” BACK OF LABEL WITH IMAGE OF GREYHOUND AND TEXT UNDERNEATH READING, “MADE IN ENGLAND.” TUBE WITH VARIOUS PAINT CHIPS AND OTHER DIRT AFFIXED TO ITS SURFACE. HEIGHT 1.5, LENGTH 4.8, WIDTH 2.6. 89. PAINT TUBE, LACKING LID, LABEL SOILED THROUGHOUT, VISIBLE TEXT READS, “GREYHOUND…ULTRAMARINE…MADE IN ENGLAND.” PIECE OF FOIL STUCK TO SIDE OF TUBE, BOTTOM OF TUBE ROLLED UP. HEIGHT 2.2, LENGTH 6.2, WIDTH 3.1.
Subjects
PAINTING T&E
Historical Association
FINE ARTS
PROFESSIONS
History
PAINTBOX DONATED BY RON HAGELL JR. UPON THE PASSING OF E. F. (TED) HAGELL, RON'S FATHER, RON SR., ACQUIRED THE PAINTBOX, WHO THEN GAVE IT TO RON. RON USED THE PAINTBOX BRIEFLY, PENNING HIS AND HIS GRANDFATHER'S NAME ON THE BOX BEFORE DECIDING THAT IT "DID NOT FEEL RIGHT" TO USE THE PAINTBOX. ACCORDING TO RON, TED USED THIS PAINTBOX FROM THE MID 1940S UP UNTIL HIS DEATH IN 1964. MOST OF THE COLOUR WORKS PRODUCED DURING THE LAST 2 DECADES OF HIS LIFE WOULD LIKELY HAVE BEEN CREATED USING PAINTS FROM THIS PAINTBOX. TED OBTAINED SOME OF THE ART SUPPLIES CONTAINED WITHIN THE BOX BY WRITING TO HIS SISTER, VIOLET, WHO LIVED IN VANCOUVER. THERE WERE NO SUCH SUPPLIES AVAILABLE TO TED WHERE HE WAS LIVING. FOR MORE INFORMATION, SEE PERMANENT RECORD. *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
P20070008001
Acquisition Date
2007-03
Collection
Museum
Images
Less detail
Date Range From
1970
Date Range To
1990
Material Type
Artifact
Materials
STEEL, ALUMINUM
Catalogue Number
P19990061026
Material Type
Artifact
Date Range From
1970
Date Range To
1990
Materials
STEEL, ALUMINUM
No. Pieces
1
Height
27.5
Length
27.2
Width
11.6
Description
BLACK PAINTED, STEEL. HAS A FLAT, RECTANGULAR BASE. A METAL LABEL ON BASE, TOWARDS THE FRONT, READS "MADE IN U.S.A.", AND HAS A RED OUTLINE. A BLACK AND SILVER, METAL LABEL ON BASE, TOWARDS BACK, READS "SINCE 1887 CUMMINS MODEL 15 SERIAL 7539 CUMMINS PERFORATOR COMPANY CHICAGO". BACK OF PERFORATOR EXTENDS UP FROM BASE AND BENDS IN AN ARCH TOWARDS THE FRONT. TOWARDS THE FRONT, THIS ARCH EXTENDS DOWNWARD INTO A RECTANGULAR SHAPE. ON TOP IS A LARGE SLIGHTLY CURVED HANDLE - HANDLE CAN BE PUSHED DOWN. ON FRONT END OF PERFORATOR IS A STEEL DRAWER WITH A CIRCULAR HANDLE.
Subjects
PRINTING T&E
DATA PROCESSING T&E
Historical Association
BUSINESS
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
P19990061026
Acquisition Date
1999-10
Collection
Museum
Less detail
Other Name
FINGERPRINT KEYSEARCH KEY
Date Range From
1984
Date Range To
1990
Material Type
Artifact
Materials
STEEL, CHROME, PLASTIC
Catalogue Number
P19960112026
Material Type
Artifact
Other Name
FINGERPRINT KEYSEARCH KEY
Date Range From
1984
Date Range To
1990
Materials
STEEL, CHROME, PLASTIC
No. Pieces
2
Height
2.51
Length
30.8
Width
4.0
Description
2 IDENTICAL KEYS, CONSISTING OF THREE PIECES EACH. TEAL BLUE PLASTIC HANDLE WITH STEEL PIN/SHAFT. PIN IS THREADED THROUGH LENGTH OF HANDLE, WITH CHROME KNOB AT END FOR TIGHTENING IT IN PLACE. HANDLE IS TAPERED TOWARD PIN, WITH SLIGHT FLARE AT NECK.
Subjects
DATA PROCESSING T&E
Historical Association
SAFETY SERVICES
History
PART OF KEY/PUNCH FINGERPRINT SYSTEM; USED WITH ITEMS P19960112025,27-GA. FINGERPRINT CHARACTERISTICS WERE IDENTIFIED ON CARD BY PUNCHING TAB IN CODED BOXES AROUND CARD EDGE. KEY WAS SLOTTED THROUGH STACK OF CARDS, WHICH WAS SHAKEN OUT TO IDENTIFY MATCHING CHARACTERISTICS AMONG CARDS, WHICH COULD THEN BE FURTHER NARROWED BY REPEATING PROCESS. USED BY LETHBRIDGE POLICE BEGINNING IN 1984. HOLES PUNCHED ON THE EDGE OF THE CARDS IDENTIFIED THE MAIN FEATURES OF EACH PRINT. BY INSERTING THE RODS THROUGH STACKS OF CARDS AND SHAKING THE PILE, INVESTIGATORS ELIMINATED PRINTS UNTIL A MATCHING CLASSIFICATION WAS FOUND. RESULTS WERE THEN CONFIRMED BY A FINGERPRINT TECHNICIAN. NO TWO FINGERPRINTS HAVE EVER BEEN FOUND TO BE IDENTICAL IN EVERY DETAIL. FINGERPRINT EVIDENCE IS THEREFORE "THE MOST COMMON, MOST SOUGHT AFTER, POSITIVE AND VALUABLE OF ALL TYPES OF EVIDENCE ENCOUNTERED IN CRIMINAL INVESTIGATIONS" ACCORDING TO IDENT OFFICER GLEN MICHELSON. THE CARD SYSTEM WAS REPLACED BY THE AUTOMATIC FINGER IDENTIFICATION SYSTEM (AFIS), WHICH OFFERS LOCAL INVESTIGATORS ACCESS TO A COMPUTERIZED DATABASE IN CALGARY. FOR MORE INFORMATION ON MICHELSON'S IDENT CAREER, SEE P19960112027. *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
P19960112026
Acquisition Date
1996-12
Collection
Museum
Less detail
Other Name
FINGERPRINT KEYSEARCH PUNCH
Date Range From
1984
Date Range To
1990
Material Type
Artifact
Materials
STEEL, NICKEL
Catalogue Number
P19960112025
Material Type
Artifact
Other Name
FINGERPRINT KEYSEARCH PUNCH
Date Range From
1984
Date Range To
1990
Materials
STEEL, NICKEL
No. Pieces
1
Height
1.21
Length
14
Width
8.2
Description
STEEL AND CHROME HAND-HELD SINGLE HOLE PUNCH. SPRING-OPERATED HANDLE; ALSO BLUE PLASTIC SPRING-OPERATED TAB AT HEAD OF PUNCH TO CATCH PAPER BITS. INSIDE ARM OF HANDLE HAS IN RELIEF "MCBEE MADE IN USA". CUTS TAB-SHAPED, NOT ROUND, HOLES.
Subjects
DATA PROCESSING T&E
Historical Association
SAFETY SERVICES
History
PART OF KEY/PUNCH FINGERPRINT SYSTEM; USED WITH ITEMS P19960112026, 27-GA. FINGERPRINT CHARACTERISTICS WERE IDENTIFIED ON CARD BY PUNCHING TAB IN CODED BOXES AROUND CARD EDGE. KEY WAS SLOTTED THROUGH STACK OF CARDS, WHICH WAS SHAKEN OUT TO IDENTIFY MATCHING CHARACTERISTICS AMONG CARDS, WHICH COULD THEN BE FURTHER NARROWED BY REPEATING PROCESS. USED BY LETHBRIDGE POLICE BEGINNING IN 1984. HOLES PUNCHED ON THE EDGE OF THE CARDS IDENTIFIED THE MAIN FEATURES OF EACH PRINT. BY INSERTING THE RODS THROUGH STACKS OF CARDS AND SHAKING THE PILE, INVESTIGATORS ELIMINATED PRINTS UNTIL A MATCHING CLASSIFICATION WAS FOUND. RESULTS WERE THEN CONFIRMED BY A FINGERPRINT TECHNICIAN. NO TWO FINGERPRINTS HAVE EVER BEEN FOUND TO BE IDENTICAL IN EVERY DETAIL. FINGERPRINT EVIDENCE IS THEREFORE "THE MOST COMMON, MOST SOUGHT AFTER, POSITIVE AND VALUABLE OF ALL TYPES OF EVIDENCE ENCOUNTERED IN CRIMINAL INVESTIGATIONS" ACCORDING TO FORMER IDENT OFFICER GLEN MICHELSON. THE CARD SYSTEM WAS REPLACED BY THE AUTOMATIC FINGER IDENTIFICATION SYSTEM (AFIS), WHICH OFFERS LOCAL INVESTIGATORS ACCESS TO A COMPUTERIZED DATABASE IN CALGARY. FOR MORE INFORMATION ON MICHELSON'S IDENT CAREER, SEE P19960112027. *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
P19960112025
Acquisition Date
1996-12
Collection
Museum
Less detail
Other Name
FINGERPRINT KEYSEARCH CARDS
Date Range From
1984
Date Range To
1990
Material Type
Artifact
Materials
PAPER
Catalogue Number
P19960112027
Material Type
Artifact
Other Name
FINGERPRINT KEYSEARCH CARDS
Date Range From
1984
Date Range To
1990
Materials
PAPER
No. Pieces
4
Length
20.6
Width
13
Description
FOUR CREAM-COLORED PAPER CARDS WITH BLUE TRIM, AND "LETHBRIDGE CITY POLICE FORCE KEYSEARCH LATENT FINGERPRINT FORM 1" PRINTED AT TOP. HOLES PERFORATED AROUND EDGES, ENCODED WITH VARIOUS FINGERPRINT CHARACTERISTICS. DETAILS: .1 FINGERPRINTS OF "TOPE BYRON DAVID"; DATED "85/05/29". REVERSE BLANK. .2 FINGERPRINTS OF "LABRECQUE, KENNETH WADE", PRINTED ON WHITE SHEETS ADHERE TO CARD. DATED "85-3-8". .3 PHOTO OF FINGERPRINTS FOUND ON OBJECT; TAPED TO CARD. PRINT IS CIRCLED IN PHOTO, AND SCALED BY RULED STICKER JUST ABOVE. NAME IDENTIFIED AS "CSIZMADIA"; DATED "85/4/9". REVERSE HAS HANDWRITTEN "KEYSEARCHED 85/4/10 85/4/19". .4 PHOTO OF FINGERPRINTS FOUND ON OJBECT; TAPED TO CARD. RULED STICKER ABOVE PRINT WITH "MOTOWN TOYOTA". "1984 - OTTAWA SUBMISSION - NEG." AT BOTTOM. DATED "84-6-24". REVERSE HAS SECOND PHOTO OF PRINTS FOUND ON OBJECT.
Subjects
DATA PROCESSING T&E
Historical Association
SAFETY SERVICES
History
PART OF KEY/PUNCH FINGERPRINT SYSTEM; USED WITH ITEMS P19960112025,26-GA TO COMPARE A PARTIAL FINGERPRINT FOUND AT A CRIME SCENE WITH AN ORIGINAL SET OF PRINTS PROVIDED BY THE ACCUSED. FINGERPRINT CHARACTERISTICS WERE IDENTIFIED ON CARD BY PUNCHING TAB IN CODED BOXES AROUND CARD EDGE. KEY WAS SLOTTED THROUGH STACK OF CARDS, WHICH WAS SHAKEN OUT TO IDENTIFY MATCHING CHARACTERISTICS AMONG CARDS, WHICH COULD THEN BE FURTHER NARROWED BY REPEATING PROCESS. USED BY LETHBRIDGE POLICE BEGINNING IN 1984. HOLES PUNCHED ON THE EDGE OF THE CARDS IDENTIFIED THE MAIN FEATURES OF EACH PRINT. BY INSERTING THE RODS THROUGH STACKS OF CARDS AND SHAKING THE PILE, INVESTIGATORS ELIMINATED PRINTS UNTIL A MATCHING CLASSIFICATION WAS FOUND. RESULTS WERE THEN CONFIRMED BY A FINGERPRINT TECHNICIAN. NO TWO FINGERPRINTS HAVE EVER BEEN FOUND TO BE IDENTICAL IN EVERY DETAIL. FINGERPRINT EVIDENCE IS THEREFORE "THE MOST COMMON, MOST SOUGHT AFTER, POSITIVE AND VALUABLE OF ALL TYPES OF EVIDENCE ENCOUNTERED IN CRIMINAL INVESTIGATIONS" ACCORDING TO IDENT OFFICER GLEN MICHELSON. THE CARD SYSTEM WAS REPLACED BY THE AUTOMATIC FINGER IDENTIFICATION SYSTEM (AFIS), WHICH OFFERS LOCAL INVESTIGATORS ACCESS TO A COMPUTERIZED DATABASE IN CALGARY. IT IS CLAIMED THAT THE CARDS WERE "SIGNED BY MEMBERS SUCH AS CST. TERRY TOWNSEND AND GORD SCHEURMAN". FOR MORE INFORMATION ON MICHELSON'S IDENT CAREER, SEE ARTIFACT'S PERMANENT FILE. *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
P19960112027
Acquisition Date
1996-12
Collection
Museum
Less detail
Other Name
LAP TOP WRITING DESK
Material Type
Artifact
Materials
WALNUT, BRASS, IVORY
Catalogue Number
P19705627000
Material Type
Artifact
Other Name
LAP TOP WRITING DESK
Date
1873
Materials
WALNUT, BRASS, IVORY
No. Pieces
8
Height
17.4
Length
44.4
Width
23.4
Description
.1 DESK. ABOVE DIMENSIONS. WALNUT, BRASS, IVORY, LEATHERETTE, WOOL. 6 PIECES. HAS 3 DRAWERS ON INSIDE WITH TINY IVORY KNOBS. WRITING SURFACE COVERED BROWN LEATHERETTE WITH GOLD EDGING. ONE SURFACE OF WRITING SURFACE ISCRACKED. "MR. JOB REED" ENGRAVED ON BRASS NAMEPLATE ON COVER OF DESK. 2 BRASS INSERTS ON COVER, HAS PEN AND INK COMPARTMENTS. GREEN WOOL BASE. .2 BOTTLE INK. 3.8 CM HT. X 5 CM WTH. X 5 CM LTH.GLASS, BRASS, NICKEL PLATE. BRASS TIP NICKEL PLATE LID. .3 IDENTICAL TO .2 SEE CONSERVATION REPORT
Subjects
PERSONAL GEAR
Historical Association
PROFESSIONS
History
PRESENTED TO JOB REED, A TEACHER WHEN HE LEFT ENGLAND FOR TEXAS. LATER HE MOVED TO LETHBRIDGE TO HOMESTEAD. REF: JOB REED'S LETTERS, LIFE IN LETHBRIDGE, 1886-1906 L.H.S. OCCASIONAL PAPER NO. 9. PUB. BY WHOOP-UP *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING ONE ASSOCIATED WITH THE REED FAMILY. THE FOLLOWING BIOGRAPHY OF JOB REED WAS DEVELOPED WITH INFORMATION FROM AN ARTICLE ON THE REED FAMILY AND FARM FROM THE DECEMBER 30, 1985 ISSUE OF THE LETHBRIDGE HERALD, REED'S DEATH ANNOUNCEMENT FROM 1906, AND THE GALT ARCHIVES. JOB REED WAS BORN IN SOMERSETSHIRE, ENGLAND ON NOVEMBER 12, 1841. WHEN HE WAS 14, HIS FATHER DIED, LEAVING JOB THE RESPONSIBILITY OF PROVIDING FOR HIMSELF AND HIS WIDOWED MOTHER. HE WORKED FOR THE BRITISH POSTAL SERVICE AND COMPLETED HIS TEACHING CERTIFICATION. HE MARRIED MARY ELIZABETH HOBBS IN 1869, AND IMMIGRATED TO THE UNITED STATES IN 1873, MOVING FROM NEW ORLEANS TO TEXAS AND THEN PENNSYLVANIA, WHERE REED OBTAINED A DEGREE IN MEDICINE. THE COUPLE RETURNED TO ENGLAND, BUT REED'S MEDICAL TRAINING WAS NOT RECOGNIZED THERE, AND IN 1882 THEY CROSSED THE ATLANTIC AGAIN, MOVING WEST ACROSS CANADA IN STAGES, FINALLY ARRIVING IN LETHBRIDGE IN 1886. THE FAMILY HAD SEVEN CHILDREN: RICHARD, HENRY, ELIZABETH (WHO MARRIED GEORGE HERBERT WATSON), JOB JUNIOR (KNOWN AS BUDD), GEORGE, ANNIE, AND ELLA. REED PURCHASED TWO LOTS ON WHAT IS NOW 6TH AVENUE SOUTH, BUILDING A MODEST HOME WITH A FLOORPLAN OF 24 X 14 FEET. THE FAMILY OWNED AND OPERATED A MARKET GARDEN ON THE PROPERY, AND BUILT A STONE DUPLEX THAT STILL STANDS ON THE 1200 BLOCK OF 6TH AVENUE. REED WORKED AS A COAL MINER TO EARN MORE MONEY TOWARDS INVESTING IN FURTHER LAND, AND RAISED PIGS WITH SCRAP FOOD FROM THE NEARBY RCMP BARRACKS. IN 1901, REED PURCHASED 2.5 SECTIONS OF LAND NEAR PRESENT-DAY GRANUM WITH HIS FOUR SONS AND ONE SON-IN-LAW; HIS SON BILLY LATER TOOK OVER THIS RANCH. REED WAS A JUSTICE OF THE PEACE IN LETHBRIDGE AND A MEMBER OF THE SCHOOL BOARD. IN EARLY 1906, HE PURCHASED EDGEHILL FARM, NEAR SIX MILE COULEE, BUT HE DIED LATER THAT YEAR ON APRIL 25. MARY REED LIVED AT THE FARM FOR YEARS AFTERWARD, AND DIED IN KELOWNA, B.C. IN 1932 AT HOME OF ONE OF HER SONS. BOTH JOB AND MARY REED ARE BURIED IN MOUNTAIN VIEW CEMETERY IN LETHBRIDGE. SEE PERMANENT FILE P19980031006 FOR HARDCOPIES OF NEWSPAPER ARTICLES, AND PERMANENT FILE P19920001001 FOR RESEARCH CONDUCTED BY AIMEE VIEL FOR A GALT MUSUEM EXHIBIT ON THE REED FAMILY..
Catalogue Number
P19705627000
Acquisition Date
1970-05
Collection
Museum
Less detail
Other Name
BUTCHER'S STEEL
Date Range From
1890
Date Range To
1900
Material Type
Artifact
Materials
WOOD, STEEL
Catalogue Number
P19694323000
Material Type
Artifact
Other Name
BUTCHER'S STEEL
Date Range From
1890
Date Range To
1900
Materials
WOOD, STEEL
No. Pieces
1
Length
46.0
Width
2.2
Diameter
2.8
Description
MARKED "CB F" WITH A PICTURE OF COW HEAD. STEEL RING ON THE END OF HANDLE. HANDLE IS SLIGHTLY LOOSE. "DIAMANT" STAMPED ON ONE SIDE NEAR TOP OF BLADE.
Subjects
FOOD PROCESSING T&E
Historical Association
PROFESSIONS
History
REF: MONTGOMERY WARD CATALOG 1894. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF MILITARY OBJECTS, INCLUDING THOSE DONATED BY M.J. BENNETT. BIOGRAPHICAL INFORMATION WAS FOUND IN BENNETT'S ATTESTATION PAPERS AND RECORDS FROM THE GLENBOW ARCHIVES. MICHAEL JOHN BENNETT WAS BORN IN 1881 IN WHITNEY, ENGLAND AND SERVED IN THE SOUTH AFRICAN WAR BEFORE IMMIGRATING TO CANADA IN 1910 WITH HIS WIFE, ALICE MAY BENNETT (NEE EDWARDS). THEY WERE LIVING IN MEDICINE HAT WHERE BENNETT WORKED AS A CARPENTER WHEN HE ENLISTED WITH THE 175TH BATTALION CEF ON JANUARY 26, 1916. BENNETT SURVIVED THE WAR AND HE AND ALICE HAD SIX CHILDREN. THE FAMILY LIVED IN SHAUNESSEY AND LETHBRIDGE AND BENNETT WORKED AS A STREETCAR DRIVER, CARPENTER AND HOTEL OPERATOR. HE WAS A MEMBER OF THE KIWANIS CLUB AND LETHBRIDGE HISTORICAL SOCIETY. BENNETT DIED IN 1982. M.J. BENNETT'S GRANDSON, TREVOR BENNETT, PROVIDED SOME FURTHER FAMILY HISTORY IN 2002 (SEE P20020071009). SEE PERMANENT FILE P19672995000 FOR HARDCOPIES OF BENNETT'S ATTESTATION PAPERS AND GLENBOW ARCHIVES FONDS DESCRIPTION. *UPDATE* IN 2017, COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED A SURVEY OF BOXED TEXTILES AND ACCESSORIES, INCLUDING A SNUFFBOX DONATED BY MICHAEL JOHN BENNETT IN 1970. ON 11 DECEMBER 2017, PUNDYK CONDUCTED AN INTERVIEW WITH BENNETT’S ELDEST GRANDDAUGHTER, ALICE MAY DUHAMEL. THROUGH THIS INTERVIEW FURTHER INFORMATION WAS RECORDED ABOUT THE DONOR AND THE USERS OF A NUMBER OF ARTIFACTS DONATED BY MICHAEL JOHN BENNETT. ABOUT THE DONOR, DUHAMEL SAID, “WE CALLED HIM ‘POP’. THAT’S BECAUSE [ONE OF THE GRANDCHILDREN], MICHAEL, COULDN’T SAY ‘GRANDPA’, [SO] HE SAID ‘POP’. HE’S ‘POP’ TO EVERYONE IN THE COUNTRY. UP UNTIL HE WAS ONE HUNDRED AND ONE OR SO.” SHE CONTINUED, “POP WAS IN ENGLAND [WHEN] HE MARRIED HIS WIFE - [AND MY] GRANDMOTHER - ALICE MAY EDWARDS BENNETT. [SHE] CAME TO CANADA IN 1911 IN SEPTEMBER ON THE SHIP AND LANDED IN CANADA. GRANDMA BROUGHT UNCLE JACK, WHO WAS THE OLDEST, AND MY MOTHER… [MICHAEL AND ALICE] HAD SEVEN CHILDREN: JACK, EDNA MAY, FRANK JAMES, HARRY HUGH, ART – I DON’T KNOW, DORIS ALICE, AGNES MARY, AND SYDNEY EDWARD. MY MOTHER WAS EDNA.” IN THAT INTERVIEW, DUHAMEL REFLECTED ON HER MEMORY OF THIS CLEAVER. SHE EXPLAINED HER GRANDMOTHER WAS THE PRIMARY USER OF THE CLEAVER, BUT “IT WASN’T USED THAT OFTEN.” SHE ADDED THAT USERS ALSO INCLUDED, “MOTHER OR AUNT DORIS OR AUNT AGNES OR WHOEVER HAPPENED TO BE AROUND TO SLICE UP THE CHICKENS… MY MOTHER WAS AMAZING,” SHE CONTINUED, “MOTHER RAISED CHICKENS. SO [WHEN] WE HAD COMPANY COMING AND SHE DIDN’T HAVE ANYTHING TO EAT, SHE’D GO DOWN TO THE CHICKEN COOP, HAVE ME SNARE A CHICKEN, BRING IT UP. SHE’D GRAB IT AND CHOP OFF ITS HEAD, AND [THEN] WE’D PLUCK IT. [SHE WOULD] HAVE IT COOKED BY SUPPERTIME.” ON 13 FEBRUARY 2018, PUNDYK CONDUCTED AN ADDITIONAL INTERVIEW WITH ANOTHER GRANDCHILD OF MICHAEL AND ALICE BENNETT, MIKE BENNETT, ALONG WITH HIS WIFE, DIANE. BENNETT REMEMBERED, “BESIDES SEEING [THE CLEAVER] IN THE GROCERY STORE PART, MY GRANDMOTHER WOULD USE IT FOR CUTTING A BIG ROUND CHEESE THAT THEY USED TO HAVE… CHEESE AT THAT TIME CAME IN 25 LB. ROUNDS AND THEY WOULD JUST CHOP A PORTION OFF AND WEIGH IT… [IT WAS] FOR SALE IN THE STORE PART. IT WAS SORT OF A GENERAL STORE. [GRANDMOTHER] HAD EVERYTHING FROM DRY GOODS AND A LITTLE BIT OF MEATS AND PRODUCE.” IN A WRITTEN RESPONSE TO A QUESTION THE MUSEUM INITALLY POSED TO THE FAMILY ABOUT THE ARTIFACT'S DATES OF USE, MICHAEL BENNETT WROTE: "SEEN 1944-46." PLEASE SEE PERMANENT FILE P19705622000 FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTIONS, INCLUDING INDIVIDUAL ACCOUNTS OF THE BENNETT FAMILY HISTORY.
Catalogue Number
P19694323000
Acquisition Date
1969-07
Collection
Museum
Less detail
Other Name
COMMERCIAL, “F. DICK”
Date Range From
1955
Date Range To
2010
Material Type
Artifact
Materials
CAST IRON, ALUMINIUM, WOOD
Catalogue Number
P20150007000
  1 image  
Material Type
Artifact
Other Name
COMMERCIAL, “F. DICK”
Date Range From
1955
Date Range To
2010
Materials
CAST IRON, ALUMINIUM, WOOD
No. Pieces
2
Height
84
Length
41.5
Width
28
Description
CAST IRON RECTANGULAR BASE WITH HOLLOW ALUMINIUM CYLINDER FIXED UPRIGHT AT CENTRE. ROUND METAL PLUNGER INSIDE CYLINDER MOVES UP AND DOWN ON A TOOTHED METAL COLUMN THAT IS CRANK DRIVEN BY REMOVABLE METAL HANDLE. HANDLE HAS WOOD GRIP. SPIGOT MOUTH AT BASE OF CYLINDER. CAST IRON COMPONENTS ARE PAINTED RED, BUT PAINT IS WORN AND ONLY TRACES REMAIN ON BASE. TEXT READING "F. DICK" IS STAMPED INTO THE OUTER CASE OF CRANK MECHANISM. OVERALL GOOD CONDITION.
Subjects
FOOD PROCESSING T&E
Historical Association
PROFESSIONS
History
THIS SAUSAGE STUFFER WAS USED BY FOUR GENERATIONS OF MEAT CUTTERS IN THE GURR FAMILY AT THE SAME LOCATION OF 538 13 STREET SOUTH, WHICH SUCCESSIVELY HOUSED HOEFER & WOOD GROCERY, VALUE VILLAGE, AND AT THE TIME OF DONATION, LONDON ROAD MARKET. ON FEBRUARY 3, 2015 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DUANE GURR AND HIS SON, THE DONOR, DAVID GURR, ABOUT THEIR FAMILY HISTORY WITH THE GROCERY STORES, MEAT CUTTING IN LETHBRIDGE, AND THE SAUSAGE STUFFER. DUANE SAID: “MY GRANDFATHER [ALF GURR] CAME [TO CANADA] AS A FOURTEEN YEAR OLD BOY… MEAT CUTTING [HAD BEEN] HIS TRADE IN ENGLAND… WHEN HE CAME HERE HE HAD A NUMBER OF JOBS… HE RAN BURNS’ MEAT MARKET… EVENTUALLY HE LEFT BURNS AND STARTED HIS OWN MEAT MARKET ON 3RD AVENUE SOUTH WITH HIS SONS, MY UNCLE AND MY DAD [CALLED] PALACE MEAT MARKET. [THEN] HE WAS THE MEAT MANAGER AT [HOEFER & WOOD GROCERY] FROM 1954 TO 1957… IN THOSE DAYS IT WAS QUITE UNIQUE TO HAVE A STORE THAT SOLD GROCERIES AND HAD A MEAT DEPARTMENT IN IT, AND A PRODUCE DEPARTMENT AND A BAKERY… IT WOULD HAVE BEEN FAIRLY NEW TO HAVE EVERTYHING UNDER ONE ROOF… [GRANDFATHER] HAD TO LEAVE HIS JOB BECAUSE HE LOST HIS EYESIGHT AND THE FELLOW THAT WAS BROUGHT IN… FRED SIEMEN, ACTUALLY TAUGHT ME HOW TO CUT MEAT AND TO MAKE SAUSAGE IN 1978 [AFTER] I WENT TO WORK FOR VALUE VILLAGE… THE FELLOW THAT HIRED ME IN 1973, [GERARD] WESTWOOD, [HAD WORKED] CLEANING THE MEAT DEPARTMENT AFTER SCHOOL FOR MY GRANDFATHER… HE SAID ‘YOU’RE ALF GURR’S GRANDSON’, AND I HAD THE JOB JUST LIKE THAT… IT WAS ACTUALLY [GERARD] THAT SAID IN 1978, ‘I THINK YOU SHOULD LEARN HOW TO BE A MEAT CUTTER BECAUSE IT’S IN YOUR BLOOD.’” DUANE CONTINUED: “MY DAD WAS ALSO TRAINED [IN MEAT CUTTING] BUT WORKED FOR THE CPR… HE ALWAYS [CUT MEAT] IN HIS BASEMENT… HE ACTUALLY USED TO MAKE SAUSAGE WITH ME TWICE A WEEK [AT THE STORE]… WE DIDN’T PARTICULARLY GET ALONG THAT WELL [BUT] IN THAT INSTANCE, WE GOT ALONG VERY WELL… WE DIDN’T DO A LOT OF TALKING WHEN WE DID IT. WE JUST HELPED EACH OTHER, AND HE TAUGHT ME HOW TO DO IT, AND IT WAS ACTUALLY A PRETTY FUN TIME… IT WAS A FAMILY THING… I ALWAYS ENJOYED IT, AND NOW DAVID IS MAKING SAUSAGES AND DOING A GREAT JOB… IT’S A BIT OF A LOST ART… THERE’S NOT A LOT OF GUYS THAT CAN MAKE SAUSAGE AND LINK IT ANYMORE.” ON THE SAUSAGE-MAKING PROCESS, DAVID SAID: “YOU START WITH YOUR MEAT… YOU GRIND THAT THROUGH ONCE, AND THEN ADD YOUR SEASONINGS [AND] MIX THAT TOGETHER… [THE MIXTURE] ALWAYS HAS TO BE COLD TO KEEP THE CONSISTENCY, AND TO KEEP IT OFF YOUR HANDS.” DUANE SAID: “THE COLDER THE BETTER; IT DIDN’T STICK TO YOUR HANDS AND WENT INTO THE CASINGS EASIER, AND THE WARMER IT GETS, THE HARDER IT IS TO WORK… WHEN YOU’RE DOING IT BY HAND, THE COLD [GOES] RIGHT UP TO YOUR BRAIN.” DAVID SAID: “YOU PULL THE ALUMINIUM CANISTER OUT, AND THEN THERE IS A NOZZLE ON THE FRONT OF THE CANISTER THAT YOU PUT THE SAUSAGE NOZZLE ON… WHEN YOU START CRANKING IT IN LOW GEAR SO THAT IT’S EASIER TO CRANK, IT START PRESSING IT THROUGH… YOU CAN EITHER PUT HOG CASINGS ON, THAT’S YOUR TRADITIONAL, OR THE NEW SYNTHETIC ONES ARE COLLAGEN.” DUANE SAID: “WE ALWAYS WORKED WITH NATURAL CASINGS, WHICH WERE HOG OR LAMB.” DAVID SAID: “THE SYNTHETIC CASINGS DON’T HAVE A LOT OF GIVE TO THEM, SO YOU HAVE TO BE VERY CAREFUL… WHAT’S NICE [ABOUT THIS TYPE OF STUFFER] IS YOU CAN HANDLE IT… YOU CAN CONTROL THE FEED YOURSELF SO IF YOU’RE GOING A LITTLE TOO QUICK YOU EASE UP ON IT… AFTER THAT YOU LINK THEM, SMOKE THEM, HOPEFULLY SELL THEM.” ON THE USE OF THIS SPECIFIC MACHINE, DAVID SAID: “WE HAD A SAUSAGE PROGRAM [IN 2008/09]… IT’S TOUGH TO GET IT GOING AND I WAS FAIRLY NEW AT CUTTING MEAT. THE FIRST TIME WORKING ON THAT, IT WAS JUST A NIGHTMARE BECAUSE NOTHING WAS RIGHT. I DIDN’T HAVE THE CASINGS ON HERE PROPERLY; I DIDN’T HAVE THE RIGHT CONSISTENCY WITH THE MEAT; I WAS IN THE HIGH GEAR… IT WAS A THROWAWAY BATCH BECAUSE THERE WAS JUST NOTHING RIGHT ABOUT IT. THAT’S HOW YOU LEARN… MAKING SAUSAGES IS FUN… I THINK ABOUT TODAY WHEN I’M WORKING IN THERE WITH THE PEOPLE WE HAVE AND WE REALLY DON’T SAY MUCH… ONE’S MIXING, ONE’S STUFFING, ONE’S LINKING… IT’S A PROCESS AND EVERYBODY’S WORKING… WHEN YOU THINK BACK AND SAY, ‘OH, MY GREAT-GRANDFATHER WAS DOING THE EXACT SAME THING WITH THE EXACT SAME MACHINE 60 YEARS AGO.’ THAT’S PRETTY SPECIAL.” DUANE SAID: “IT WOULD BE NICE TO KEEP IT BUT IT’S JUST NOT SANITARY ANYMORE. IT’S SOMETHING THAT MADE A LOT OF SAUSAGE AND WHEN YOU LEARN SOMETHING LIKE SAUSAGE MAKING AND YOU MASTER IT, IT’S PRETTY SPECIAL… IT LINKS ME TO MY OWN FAMILY…” SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPT.
Catalogue Number
P20150007000
Acquisition Date
2015-02
Collection
Museum
Images
Less detail
Date Range From
1980
Date Range To
2000
Material Type
Artifact
Materials
PLASTIC, STEEL, GLASS
Catalogue Number
P20180005000
  2 images  
Material Type
Artifact
Date Range From
1980
Date Range To
2000
Materials
PLASTIC, STEEL, GLASS
No. Pieces
1
Height
30.5
Length
57
Width
11.3
Description
CAMCORDER COMPRISED OF LENS, BETACAM DECK, AND COLOR CAMERA. BETACAM DECK AT BACK OF CAMERA IS TWO-TONE GREY WITH TWO PLUG-INS FOR “AUDIO IN, CH-1, CH-2” AND ONE PLUG-IN FOR “DC-IN, 12V”. BETACAM DECK HAS TWO BLACK SLIDE BUTTONS ON TOP LABELLED IN WHITE “EJECT” AND “REW”. BETACAM DECK HAS GREY METAL HANDLE AT TOP THAT FASTENS TO BETA CASSETTE DECK. BETACAM DECK HAS YELLOWED PLASTIC WINDOW ON SIDE TO VIEW INSIDE MECHANISMS; BELOW WINDOW IS GREEN, RED AND BLUE DECAL READING “45 NEWS, 45”. REVERSE SIDE HAS SILVER “POWER ON/OF” SWITCH ABOVE METER MEASURING BATTERY CHARGE, “SONY VU”; BETACAM DECK HAS TWO ROUND BLACK BUTTONS LABELLED “RESET” AND “LIGHT” ABOVE BLACK SWITCH LABELLED “TAPE TIMER, TIME CODE”; SIDE HAS DIGITAL DISPLAY SCREEN READING “HOUR, MIN, SEC”. SIDE HAS ROW OF SIX RED LIGHTS NEAR BOTTOM LABELLED WITH WORN WHITE PAINT WITH FIRST TWO ILLEGIBLE, “HUMID, SLACK, TAPE END, BATTERY”. SIDE HAS PANEL THAT OPENS AT BOTTOM EDGE WITH SIX DARK GREY BUTTONS LABELLED IN PAIRS “HOUR, MINUTE, SECOND” AND TWO BLACK SWITCHES LABELLED “U-BIT, TIME” AND “REC RUN, FREE RUN”. SIDE HAS SILVER PLATE FIXED READING “SONY”. BACK OF BETACAM DECK HAS SILVER LABEL WITH RED, GREEN AND BLUE LOGO “45 CFCN TELEVISION”; BACK HAS BLACK LABEL WITH SILVER TEXT “SONY BETACAM, MODEL BVV-1, VIDEOCASSETTE BETACAM DECK, DCIN, 12V, 10W, NO. 11085, SONY CORPORATION, MADE IN JAPAN, 3-676-119-01”. TOP OF BETACAM DECK HAS BLACK LABEL WITH SILVER TEXT “SAVE MODE ONLY”. COLOR CAMERA IN MID-SECTION IS LIGHT GREY WITH SMALL PIECE OF SILVER TAPE FIXED TO TOP. SIDE OF CAMERA HAS YELLOW LABEL WITH BLACK “1”; SIDE HAS DARK GREY CONTROL PANEL AT BOTTON EDGE WITH EMBOSSED TEXT AND SILVER SWITCHES AND BUTTONS, “AUTO WHITE BAL, CAMERA, PRE HEAT/ON, VTR, SAVE/STOP, GAIN, 12/6/0, OUTPUT, BASS/CAM, WHITE BAL, PRE SET/AUTO”. SIDE HAS DARK GREY BUTTON ABOVE CONTROL PANEL LABELLED “VTR START”. SIDE HAS SILVER FITTING BESIDE PANEL LABELLED “PEDESTAL”. SIDE HAS SILVER LABEL WITH WORN BLACK TEXT “SONY MODEL NO. BVP-1, COLOR VIDEO CAMERA, DC, 12V, 11W, NO. 10505”. SIDE HAS SILVER LABEL WITH BLACK TEXT “FILTER, 1 3200’K, 2 5200’K + 1/4ND, 3 5200’K, 4 6800’K”. REVERSE SIDE HAS BLACK PLATE FIXED WITH SILVER TEXT “SONY” ABOVE BLACK LABEL WITH RED, GREEN, BLUE AND WHITE LOGO “TRINICON”. SIDE HAS SILVER FITTING AT LOWER EDGE WITH EMBOSSED LABEL “MONITOR OUT”; LOWER EDGE HAS SILVER KEY HOLE WITH EMBOSSED LABEL “BATTERY”. CAMERA HAS ATTACHED BLACK ABOVE-VIEWFINDER WITH RUBBER GUARD OVER GLASS LENS. VIEWFINDER IS FIXED TO FRONT OF CAMERA; VIEWFINDER HAS WHITE TAPE ATTACHED TO TOP WITH BLUE HANDWRITTEN TEXT “PASS JULZ DAMAGE TO TUBE OR MULT.PLER”. BACK OF VIEWFINDER HAS SILVER SWITCH “TALLY, ON/OF” AND TWO BLACK METAL TURN-KNOBS “BRIGHT, CONTR”. FRONT OF VIEWFINDER HAS BLACK PLATE ATTACHED WITH SILVER TEXT “SONY”. BLACK LENS AT FRONT FIXED IN LENS STAND WITH LEATHER STRAP ON SIDE AND BLACK PLASTIC BUTTONS “VTR, RET, IRIS M”; SIDE OF LENS STAND HAS BLACK SWITCHES “W/T” AND “IRIS, A/M”. LENS HAS WHITE LABEL AROUND MID-SECTION “CANON MACRO TV ZOOMJ13X9C, 9-117MM, 1.1.6, NO.80581, CANON, JAPAN”. LENS ROTATES TO ADJUST FOCUS AND DEPTH. BETACAM HAS WEAR ON LABELS AND DISCOLORATION ON PLASTIC WINDOW; COLOR CAMERA HAS WEAR ON LABELS AND ADHESIVE RESIDUE ON SIDE; HANDLE ON TOP HAS WORN AND CHIPPED PAINT; VIEWFINDER IS WORN; OVERALL VERY GOOD CONDITION.
Subjects
TELECOMMUNICATION T&E
Historical Association
PROFESSIONS
BUSINESS
History
ON MARCH 22, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DARREN KRONLUND REGARDING HIS DONATION OF A SONY BVV-1 BETACAM AND CAMCORDER. THE CAMCORDER WAS USED IN THE 1980S BY THE CTV LETHBRIDGE FILM CREW. ON THE FUNCTION OF THE CAMERA IN THE CTV STUDIO, KRONLUND ELABORATED, “THE TECHNOLOGY WITH CAMERAS PROGRESSED QUICKER THAN THE DECKS DID. THESE CAMERAS AND DECKS ARE USED FOR ELECTRONIC FIELD PRODUCTION [AND ARE] CALLED THE EFP CAMERAS. THE DECKS KIND [ARE] THAT TECHNOLOGY WHICH THE MAJORITY OF STATIONS USED FOR THE LONGEST TIME [IN] SONY BETA CAM FORMAT. THAT’S WHAT THE DECK IS, BUT THE CAMERAS THEMSELVES HAD AT ONE TIME THREE TUBES FOR COLOUR CAMERAS. THEN TECHNOLOGY CAME WHERE THEY COULD DO IT WITH JUST SENSORS…SO YOU DIDN’T HAVE TUBES. IT WAS MORE SENSITIVE TO LIGHT AND THAT WAS AN IMPROVEMENT. YOU DIDN’T HAVE TO HAVE TO BRING A BUNCH OF LIGHTS ALONG WITH YOUR SHOOTS. AS THOSE CAMERAS CAME OUT, THEY JUST DID SUCH A BETTER JOB, THAT THESE CAMERAS WERE NO LONGER USED. ALTHOUGH THEY WORKED, THEY WOULD JUST GET STORED AND NEWER TECHNOLOGY, BETTER PICTURES AND LIGHTER [WOULD BE USED].” “[THIS CAMERA] IS A COMPOSITE. AS TECHNOLOGY EVOLVED, THEY COULD SUPPLY [THE] UPPER HALF, THE CAMERA HALF, [AND] YOU COULD CONTINUE TO USE THE OLDER DECK.” TO ME [THE DECK AND CAMERA] ARE DIFFERENT [AGES]. I THINK THE DECK IS NEWER THAN THE CAMERA. OTHERWISE THEY’D BE THE SAME COLOUR. I CAN’T REMEMBER THE OLD, ORIGINAL DECK BUT YOU COULD SWAP OUT DECKS BECAUSE THEY DID MAKE IMPROVEMENTS WITH DECKS AS WELL. THERE WAS A TIME THEY USED METAL TAPES WHICH WAS FOR AUDIO. IT HELPED, YOU COULD GET BETTER AUDIO QUALITY. THEY CALLED THEM METAL, IT’S JUST METAL PARTICLES IN THE TAPE.” “I WOULD SAY THIS CAMERA PROBABLY GOT USED, I’M GOING TO GUESS ’84…IT MIGHT HAVE BEEN IN SERVICE WHEN I GOT HERE…I PROBABLY SERVICED THE] CAMERA AND/OR DECK…[BY 1990 IT WAS] PROBABLY REPLACED WITH THE NEWEST TECHNOLOGY. NOT THE NEWEST TECHNOLOGY BUT NEWEST TO US, CALGARY WOULD HAVE HAD THE NEWEST TECHNOLOGY.” “BETA WAS THE STAPLE FORMAT FOR VIDEO FOR MANY YEARS. PROBABLY LEADING RIGHT UP TO INTO THE DIGITAL WORLD IT WAS THE KING. PANASONIC HAD A FORMAT [TOO]…HITACHI HAD THEIR OWN TOO, BUT THEY EVEN MADE THEIR CAMERAS COMPATIBLE WITH BETA DECKS THAT’S HOW BIG INFLUENCE [WAS]. SOME SMALLER, INDEPENDENT STATIONS MAYBE WENT WITH SOME OF THAT STUFF, BUT I’D SAY 90% OF THE INDUSTRY WAS BETA.” “IT WAS [FOR] REPORTERS. IT WAS FOR NEWS AND VIDEO PRODUCTION.” KRONLUND ELABORATED ON THE CAMERA’S HISTORY IN PRODUCTION, NOTING, “IT’S BEEN IN THE BASEMENT FOR PROBABLY [TEN YEARS]…I FOUND IT IN AN OLD SHIPPING CONTAINER. THERE’S BEEN NUMEROUS UPGRADES TO CAMERAS SINCE THEN, SO NOTHING WAS DONE WITH IT. THE LAST TIME IT WAS USED I’M GOING TO GUESS [WAS] ROUGHLY TEN YEARS AGO, MAYBE MORE.” “I DOUBT YOU WOULD FIND ANYONE USING IT, BUT I WOULDN’T BE SURPRISED IF SOMEBODY HAD IT IN THEIR BASEMENT [FOR] THE SAME REASON OURS WAS. JUST OUT OF SIGHT, OUT OF MIND AND YOU’RE JUST GOING ABOUT YOUR DAY–TO-DAY BUSINESS, UNTIL YOU START CLEANING OUT THINGS AND YOU GO, “OH YEAH, THE OLD BBB1.”” “[WE ACQUIRED EQUIPMENT] USUALLY USED. CALGARY WOULD GET THE NEW STUFF AND THEN THE WORKING STUFF THAT THEY WERE REPLACING WOULD COME DOWN TO US, FOR THE MOST PART. THE CAMERAS WE HAVE NOW WERE BOUGHT BRAND NEW, STATE-OF THE-ART, SO THAT WAS NICE. IT IS NICE FOR THAT, BUT THIS WAS PROBABLY PRE-DATED EVEN ME AND I HAVE BEEN HERE TWENTY-EIGHT YEARS. IT WAS PROBABLY THE CAMERA THEY WERE USING, IF NOT AT THE TIME, BUT LIKELY BEFORE I STARTED.” “THIS [CAMERA] FUNCTIONS TODAY. I’M SURE YOU COULD MAKE PICTURES WITH IT, BUT THE USE OF IT WOULD PROBABLY BE, I’M GOING TO GUESS, MAYBE FIVE OR SIX YEARS. THEN [THE] BUDGETS WOULD [GROW], THEY GOT THIS NEW TECHNOLOGY YOU CAN SHOOT UNDER LESS LIGHT. IT’S A LIGHTER CAMERA AND [THEY] HAVE THESE BENEFITS, SO THEY WOULD BUDGET IN TO UPDATE THE CAMERAS AND DECKS. THROUGH THAT CYCLE, THAT IS WHEN WE WOULD PROBABLY GET A COUPLE OF NEW CAMERAS, THE OLDER STUFF WE’D PUT IN THE BASEMENT.” “I’M [NOW] CLEANING OUT OLD EQUIPMENT, BECAUSE IT BUILDS UP AND WE RUN OUT OF ROOM. IT’S SOMETHING HARD TO GET RID OF BECAUSE THEY’RE ALWAYS WORKING AND USUALLY WORKING AND FUNCTIONING FINE, BUT TECHNOLOGY PROGRESSES AND THEY BECOME BIGGER AND BETTER--OR THERE BECOMES BIGGER AND BETTER WAYS OF DOING THE SAME JOB. IT JUST GETS OUTDATED AND HITS THE SHELF. [I] HATE TO SEE IT JUST GET RECYCLED.” “I’M NOT REALLY THAT TYPE OF [NOSTALGIC] PERSON. THE CAMERAS TODAY ARE ALL DIGITAL, THEY GO RIGHT TO A SD CARD IN DIGITAL FORMAT. THERE’S NO MECHANICAL PARTS AND THAT’S PART OF THE REASON I WAS EMPLOYED BECAUSE SO MUCH OF WHAT I DID WAS BECAUSE PARTS WEAR OUT AND NEED TO BE FIXED AND REPLACED, WHERE THE NEW CAMERAS…IT’S NOT MUCH YOU CAN DO IF IT’S IN DIGITAL FORMAT AND [HAS] NO MECHANICAL MOVING PARTS. I DON’T MISS WORKING ON THEM, THAT COULD BE FRUSTRATING BECAUSE A LOT OF TINY LITTLE GEARS AND TIMING…YOU CAN SPEND HOURS AND NOT GET ANYWHERE, AND THEN FINALLY SHIP IT OUT TO THE MANUFACTURER BECAUSE YOU JUST COULDN’T GET ANYWHERE. YOU SPENT A WEEK WORKING ON IT AND NOW YOU’VE GOT TO, IN THE END, PAY SOMEONE TO DO IT. THOSE ARE FRUSTRATIONS, BUT IT IS SATISFYING WHEN YOU DO FIX A PROBLEM AND ARE ABLE TO FIX IT. BUT THOSE DAYS ARE BEHIND US AND I CAN’T SAY I MISS THEM. IT’S JUST DIFFERENT WAYS OF MAINTAINING CAMERAS NOW.” “IT’S HARD TO THROW OUT BECAUSE THE VALUE OF IT IS LIKE BUYING A CAR…AT THAT TIME. THAT’S WHAT YOU’RE DOING IS PUTTING A CAR ON YOUR SHOULDER, MAYBE NOT QUITE A CAR, BUT I’M GOING TO GUESS THIS CAMERA WAS PROBABLY FIFTEEN THOUSAND DOLLARS BACK THEN. THAT’S A LOT OF MONEY.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180005000-GA.
Catalogue Number
P20180005000
Acquisition Date
2018-03
Collection
Museum
Images
Less detail

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