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The Cypress Hills of Alberta-Saskatchewan

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Author
Downs, Art
Publisher
Frontier Books
Material Type
Book
Material Type
Book
Author
Downs, Art
Place
Surrey, B.C
Publisher
Frontier Books
Publication Date
1969
Subjects
Cypress Hills (Alta. and Sask.)
Call Number
FC 3695 C97 1969
Copies
2 copies
Collection
Library
Less detail
Date Range From
1952
Date Range To
1953
Material Type
Artifact
Materials
WOOD, PLASTIC
Catalogue Number
P19970041220
Material Type
Artifact
Date Range From
1952
Date Range To
1953
Materials
WOOD, PLASTIC
No. Pieces
1
Height
1.5
Length
3.6
Width
2.8
Description
BROOCH IS WOOD BASE CROSS SECTION OF A BRANCH WITH PLASTIC ART WORK ON IT. THE WORD "JOY" IS GLUED DIAGONALLY DOWN FRONT. ON EITHER SIDE OF "JOY" IS PINK AND GREEN FLORAL WORK.
Subjects
ADORNMENT
Historical Association
DECORATIVE ARTS
History
BROOCH WAS MADE BY DONOR AT THE AGE OF 13 OR 14 WHILE ATTENDING CAMP OLIVER WHICH WAS AN ANGLICAN SUMMER CAMP FOR TEENAGERS NEAR CALGARY. HER FATHER REV. NAKAYAMA AND THEIR FAMILY MOVED TO COALDALE IN 1945 AFTER BEING RELOCATED FROM VANCOUVER IN 1942 TO SLOCAN CITY IN THE INTERIOR OF BRITISH COLUMBIA. AT COALDALE HE FOUNDED THE ANGLICAN CHURCH OF THE ASCENSION WHERE HE WAS RECTOR FROM 1945 TO 1970. SEE RECORD P19970041001 FOR EXPANDED BIOGRAPHICAL INFORMATION AND PERMANENT FILE FOR FURTHER HISTORY.
Catalogue Number
P19970041220
Acquisition Date
1997-01
Collection
Museum
Less detail
Date Range From
1952
Date Range To
1953
Material Type
Artifact
Materials
WOOD, PLASTIC
Catalogue Number
P19970041219
Material Type
Artifact
Date Range From
1952
Date Range To
1953
Materials
WOOD, PLASTIC
No. Pieces
1
Height
1.7
Length
3.8
Width
2.7
Description
BROOCH IS WOOD BASE CROSS SECTION OF A BRANCH WITH PLASTIC ART WORK ON IT. THE WORD "MOTHER" IS GLUED ACROSS TOP BUT SEVERAL BITS OF LETTERS HAVE BROKEN OFF. THE BOTTOM HALF IS A FLORAL AND SEA SHELL ARRANGEMENT IN PINK AND BLUE.
Subjects
ADORNMENT
Historical Association
DECORATIVE ARTS
History
BROOCH WAS MADE BY DONOR AT THE AGE OF 13 OR 14 WHILE ATTENDING CAMP OLIVER WHICH WAS AN ANGLICAN SUMMER CAMP FOR TEENAGERS NEAR CALGARY. HER FATHER REV. NAKAYAMA AND THEIR FAMILY MOVED TO COALDALE IN 1945 AFTER BEING RELOCATED FROM VANCOUVER IN 1942 TO SLOCAN CITY IN THE INTERIOR OF BRITISH COLUMBIA. AT COALDALE HE FOUNDED THE ANGLICAN CHURCH OF THE ASCENSION WHERE HE WAS RECTOR FROM 1945 TO 1970. SEE RECORD P19970041001 FOR EXPANDED BIOGRAPHICAL INFORMATION AND PERMANENT FILE FOR FURTHER HISTORY.
Catalogue Number
P19970041219
Acquisition Date
1997-01
Collection
Museum
Less detail
Date Range From
1952
Date Range To
1953
Material Type
Artifact
Materials
PLASTIC, BRASS, ORGANIC MATERIAL
Catalogue Number
P19970041350
  1 image  
Material Type
Artifact
Date Range From
1952
Date Range To
1953
Materials
PLASTIC, BRASS, ORGANIC MATERIAL
No. Pieces
1
Height
0.9
Length
5.9
Width
3
Description
BROOCH IS RECTANGULAR PIECE OF CLEAR PLASTIC WITH ROUNDED ENDS AND NUMEROUS TINY SEA SHELLS GLUED TO IT IN A THREE DIMENSIONAL FLOWER DESIGN OF WHITE, PINK AND BLUE. BRASS PIN IS GLUED TO BACK.
Subjects
ADORNMENT
Historical Association
DECORATIVE ARTS
History
BROOCH WAS MADE BY DONOR AT THE AGE OF 13 OR 14 WHILE ATTENDING CAMP OLIVER WHICH WAS AN ANGLICAN SUMMER CAMP FOR TEENAGERS NEAR CALGARY. HER FATHER REV. NAKAYAMA AND THEIR FAMILY MOVED TO COALDALE IN 1945 AFTER BEING RELOCATED FROM VANCOUVER IN 1942 TO SLOCAN CITY IN THE INTERIOR OF BRITISH COLUMBIA. AT COALDALE HE FOUNDED THE ANGLICAN CHURCH OF THE ASCENSION WHERE HE WAS RECTOR FROM 1945 TO 1970. SEE RECORD P19970041001 FOR EXPANDED BIOGRAPHICAL INFORMATION AND PERMANENT FILE FOR FURTHER HISTORY.
Catalogue Number
P19970041350
Acquisition Date
1997-01
Collection
Museum
Images
Less detail
Other Name
PIN
Date Range From
1920
Date Range To
1950
Material Type
Artifact
Materials
RAYON, STEEL, PAINT
Catalogue Number
P19940024006
  1 image  
Material Type
Artifact
Other Name
PIN
Date Range From
1920
Date Range To
1950
Materials
RAYON, STEEL, PAINT
No. Pieces
2
Length
10.8
Width
2.5
Description
RAYON RIBBON WITH A SATIN WEAVE, HAS BLUE, WHITE, AND THEN A RED STRIPE. IS TIED IN A BOW, AND IN THE CENTRE KNOT IS A BUTTON WITH A PIN. THE PIN IS ATTACHED BUT BEING BENT AROUND THE UNDERSIDE OF THE BUTTON AND SECURED UNDER THE LIP. THE TOP IS PAINTED RED AND IN WHITE LETTERING IT READS "JESUS SAVES". RIBBON IS FRAYED ON ENDS, HAS SOME MINOR RUNS IN THE FABRIC.
Subjects
ADORNMENT
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
P19940024006
Acquisition Date
1994-07
Collection
Museum
Images
Less detail
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, STEEL
Catalogue Number
P19970041318
  1 image  
Material Type
Artifact
Date Range From
1950
Date Range To
1960
Materials
COTTON, STEEL
No. Pieces
1
Height
1.1
Length
8.5
Width
6.3
Description
PIN IS COMPOSED OF THREE WHITE FELT FLOWERS WITH YELLOW CENTRES SEWN TOGETHER WITH SAFETY PIN AT BACK. STITCHING IS CRUDE.
Subjects
ADORNMENT
Historical Association
PERSONAL CARE
DECORATIVE ARTS
History
PIN WAS MADE BY DONOR WHILE LIVING IN COALDALE AS A YOUNG GIRL. JOY WAS BORN IN VANCOUVER AND MOVED TO COALDALE FOLLOWING INTERNMENT IN SLOCAN CITY IN THE INTERIOR OF B.C. DURING THE SECOND WORLD WAR. AFTER LEAVING COALDALE SHE BECAME A WRITER AND LECTURER OF REKNOWN IN CANADA. MS. KOGAWA IS THE AUTHOR OF SEVERAL BOOKS INCLUDING "OBASAN" AND "THE RAIN ASCENDS". SEE RECORD P19970041001 FOR EXPANDED BIOGRAPHICAL INFORMATION AND PERMANENT FILE FOR FURTHER HISTORY.
Catalogue Number
P19970041318
Acquisition Date
1997-01
Collection
Museum
Images
Less detail
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
LEATHER, ORGANIC MATERIALS
Catalogue Number
P19970041081
  1 image  
Material Type
Artifact
Date Range From
1950
Date Range To
1960
Materials
LEATHER, ORGANIC MATERIALS
No. Pieces
1
Height
1.3
Length
5.4
Width
4.3
Description
LEATHER BACKED PIN HAS SUNFLOWER SEED PETALS AND PLUM PIT CENTER WITH TWO BLACK SEEDS AT EDGE OF PIT. SAFETY PIN CLASP IS GLUED TO BACK.
Subjects
ADORNMENT
Historical Association
PERSONAL CARE
DECORATIVE ARTS
History
PIN WAS MADE BY DONOR WHILE LIVING IN COALDALE AS A YOUNG GIRL. JOY WAS BORN IN VANCOUVER AND MOVED TO COALDALE FOLLOWING INTERNMENT IN SLOCAN CITY IN THE INTERIOR OF B.C. DURING THE SECOND WORLD WAR. AFTER LEAVING COALDALE SHE BECAME A WRITER AND LECTURER OF RENOWN IN CANADA. MS. KOGAWA IS THE AUTHOR OF SEVERAL BOOKS INCLUDING "OBASAN" AND "THE RAIN ASCENDS". SEE RECORD P19970041001 FOR EXPANDED BIOGRAPHICAL INFORMATION AND PERMANENT FILE FOR FURTHER HISTORY.
Catalogue Number
P19970041081
Acquisition Date
1997-01
Collection
Museum
Images
Less detail
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, STEEL
Catalogue Number
P19970041082
  1 image  
Material Type
Artifact
Date Range From
1950
Date Range To
1960
Materials
COTTON, STEEL
No. Pieces
1
Height
1.1
Length
8.5
Width
8
Description
PIN IS COMPOSED OF THREE BROWN FELT FLOWERS WITH YELLOW CENTRES SEWN TOGETHER WITH SAFETY PIN AT BACK. STITCHING IS CRUDE.
Subjects
ADORNMENT
Historical Association
PERSONAL CARE
DECORATIVE ARTS
History
PIN WAS MADE BY DONOR WHILE LIVING IN COALDALE AS A YOUNG GIRL. JOY WAS BORN IN VANCOUVER AND MOVED TO COALDALE FOLLOWING INTERNMENT IN SLOCAN CITY IN THE INTERIOR OF B.C. DURING THE SECOND WORLD WAR. AFTER LEAVING COALDALE SHE BECAME A WRITER AND LECTURER OF RENOWN IN CANADA. MS. KOGAWA IS THE AUTHOR OF SEVERAL BOOKS INCLUDING "OBASAN" AND "THE RAIN ASCENDS". SEE RECORD P19970041001 FOR EXPANDED BIOGRAPHICAL INFORMATION AND PERMANENT FILE FOR FURTHER HISTORY.
Catalogue Number
P19970041082
Acquisition Date
1997-01
Collection
Museum
Images
Less detail
Date Range From
1942
Date Range To
1945
Material Type
Artifact
Materials
WOOD, STEEL
Catalogue Number
P19970041072
  1 image  
Material Type
Artifact
Date Range From
1942
Date Range To
1945
Materials
WOOD, STEEL
No. Pieces
1
Height
1.6
Length
6.3
Width
3
Description
RECTANGULAR WOODEN PIN WITH "MAKOTO" HAND CARVED IN RELIEF. "NAKAYAMA" IS CARVED INTO BOTTOM PART OF PIN. BACK OF PIN HAS SAFETY PIN FASTENED WITH PLASTIC CEMENT.
Subjects
ADORNMENT
PERSONAL SYMBOL
Historical Association
PERSONAL CARE
DECORATIVE ARTS
History
CARVED PIN WAS MADE FOR DONOR'S BROTHER WHILE AT SLOCAN CITY DURING THE SECOND WORLD WAR. BROTHER'S JAPANESE NAME WAS MAKOTO BUT ALSO HAD THE ENGLISH NAME OF TIM. THE FAMILY MOVED TO COALDALE FOLLOWING THE WAR WHERE DONOR'S FATHER FOUNDED THE ANGLICAN CHURCH OF THE ASCENSION. TIM ALSO GREW UP TO BE AN ANGLICAN PRIEST. 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, AND MATCHING PIN P19970041073, KOGAWA SAID: “[THESE PINS] WERE GIVEN TO US BY SOMEBODY AND THEN I… PAINTED THE LETTERS BLACK ON MINE… [THEY WERE] MADE IN SLOCAN, BY SOMEBODY FROM THE COMMUNITY… SOMEBODY JUST CARVED THEM OUT… THESE WERE KEPT BY TIM.” SEE RECORD P19970041001 FOR EXPANDED BIOGRAPHICAL INFORMATION AND PERMANENT FILE FOR FURTHER HISTORY.
Catalogue Number
P19970041072
Acquisition Date
1997-01
Collection
Museum
Images
Less detail
Date Range From
1942
Date Range To
1945
Material Type
Artifact
Materials
WOOD
Catalogue Number
P19970041073
  1 image  
Material Type
Artifact
Date Range From
1942
Date Range To
1945
Materials
WOOD
No. Pieces
1
Height
0.6
Length
3.5
Width
3
Description
HEART SHAPED WOODEN PIN WITH "JOY" HAND CARVED IN RELIEF. LETTERS OF PIN ARE COLORED WITH BLACK INK. SAFETY PIN CLASP HAS FALLEN OUT.
Subjects
ADORNMENT
PERSONAL SYMBOL
Historical Association
PERSONAL CARE
DECORATIVE ARTS
History
PIN WAS MADE FOR DONOR WHILE AT SLOCAN CITY DURING THE SECOND WORLD WAR, POSSIBLY BY HER FATHER, REV. G.G. NAKAYAMA. JOY WAS BORN IN VANCOUVER AND MOVED TO COALDALE FOLLOWING INTERNMENT IN SLOCAN CITY IN THE INTERIOR OF BRITISH COLUMBIA DURING THE SECOND WORLD WAR. AFTER LEAVING COALDALE SHE BECAME A WRITER AND LECTURER OF RENOWN IN CANADA. MS. KOGAWA IS THE AUTHOR OF SEVERAL BOOKS INCLUDING "OBASAN" AND "THE RAIN ASCENDS". 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, AND MATCHING PIN P19970041072, KOGAWA SAID: “[THESE PINS] WERE GIVEN TO US BY SOMEBODY AND THEN I… PAINTED THE LETTERS BLACK ON MINE… [THEY WERE] MADE IN SLOCAN, BY SOMEBODY FROM THE COMMUNITY… SOMEBODY JUST CARVED THEM OUT… THESE WERE KEPT BY TIM.” SEE RECORD P19970041001 FOR EXPANDED BIOGRAPHICAL INFORMATION AND PERMANENT FILE FOR FURTHER HISTORY.
Catalogue Number
P19970041073
Acquisition Date
1997-01
Collection
Museum
Images
Less detail
Other Name
UMBILICAL CORD
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
BEADS, BUCKSKIN
Catalogue Number
P19641186000
  1 image  
Material Type
Artifact
Other Name
UMBILICAL CORD
Date Range From
1900
Date Range To
1910
Materials
BEADS, BUCKSKIN
No. Pieces
1
Height
2.9
Length
14.0
Width
7.3
Description
DORSAL SURFACE BUCKSKIN COVERED WITH GEOMETRIC BEADWORK DESIGN IN BLACK AND WHITE BEADS. VENTRAL SURFACE BUCKSKIN. HANDMADE. CONSERVATION REPORT ON FILE.
Subjects
INDIGENOUS
ADORNMENT
Historical Association
ETHNOGRAPHIC
History
DONOR CLAIMS MADE BY SIOUX & TRADED OR GIVEN TO BLOODS. THIS TYPEOF TURTLE UMBILICAL CHARM WORN BY FEMALE CHILDREN (SNAKE CHARMS WORN BY BOYS) UMBILICAL CORDS OF NEW-BORN WERE PLACED IN A BEADED CASE & WORN BY CHILD UNTIL ADOLESCENCE AS PROTECTIVE CHARM. *UPDATE* IN 2014 LOUISE-MARIE CROP EARED WOLF, A MEMBER OF THE KAINAI (BLOOD TRIBE), AND A FOURTH YEAR NATIVE AMERICAN STUDIES MAJOR AT THE UNIVERSITY OF LETHBRIDGE COMPLETED AN APPLIED STUDIES PROJECT WITH THE COLLECTIONS DEPARTMENT AT THE GALT MUSEUM. SHE PHOTOGRAPHED ETHNOGRAPHIC ARTIFACTS ASSOCIATED WITH FIRST NATIONS CULTURES IN SOUTHERN ALBERTA AND WROTE THE FOLLOWING TEXT TO PRESENT HER FOCUSED RESEARCH ON FOUR SPECIFIC ARTIFACTS (P19641186000, P19780209000, P19780208000, AND P19790235000): “I WANT TO DISPLAY THE KAINAI WOMEN BEADED ITEMS FROM THE GALT MUSEUM COLLECTIONS FOR THEIR ARTISTIC MERIT AND NOT JUST FOR THEIR ETHNOLOGICAL VALUE. THE FOUR ARTIFACTS SELECTED ARE REPRESENTATIVE OF FOUR GENERATIONS OF BEADERS: GRANDMOTHERS, MOTHERS, SISTER, AND DAUGHTERS. THE COLOURS ARE MEANINGFUL AND THE TRADITIONAL SYMBOLS ARE USED THROUGHOUT. THE ADHERENCE TO THE TRADITION, HOWEVER, DOES NOT SUPPRESS ARTISTIC EXPRESSION; THE BEADERS USE A FAIR DEGREE OF CREATIVITY IN THEIR CHOICE OF MATERIALS, SYMBOLS AND COLORS. THE ART OF BEADING IS NOT A “DYING ART” – IT IS THE ARTISTS, ARTISTIC EXPRESSION AND IT IS A “LIVING ART”. FOR GENERATIONS, KAINAI WOMEN BEADERS AND CLOTHING DESIGNERS HAVE BEEN MAKING CLOTHING FOR THE ENTIRE COMMUNITY. THE BEADED CLOTHING HONOURS THE FAMILY FROM ONE GENERATION TO THE NEXT IN A CONTINUOUS CIRCLE OF HONOURING. THE BEADED CLOTHING AND ACCESSORIES SUCH AS MOCCASINS, LEGGINGS, AND BELTS, COMMUNICATE THE IMPORTANCE OF THE FAMILY AND ILLUSTRATE HOW TRADITIONS ARE PASSED DOWN THROUGH GENERATIONS. THE BEADED WORK CONNECTS A BEADING ARTIST TO HER ANCESTORS. EVERY MOTIF, DESIGN, COLOUR OF SEED BEADS, STANDS FOR SOMETHING IMPORTANT TO THE ARTIST’S FAMILY, REFLECTING THE ARTIST’S SURROUNDINGS AND REINFORCING HER CULTURAL VALUES. LEARNING BY OBSERVATION, AN ARTIST PAYS RESPECT TO THE PAST, PRESENT, AND FUTURE KAINAI WOMEN BEADERS. THIS IS A PROTECTIVE SYMBOL OF THE TURTLE THAT IS WORN BY CHILDREN INTO THEIR ADOLESCENCE. THE GRANDMOTHER ENCASES THE UMBILICAL CORD IN ELK HIDE THAT IS CUT IN THE SHAPE OF TURTLE FOR GIRLS AND LIZARDS FOR BOYS; BOTH HAVE APPLICATION COLOURED SEED BEADS. THE DESIGN USES CONTRASTING BLACK AND WHITE BEADS TO EMULATE THE SHAPE AND TEXTURE OF THE ANIMAL. THE ITEM IS WORN ON THE BACK OF A DRESS ATTACHED NEAR THE NECK. THE ITEM INSURES THE SAFETY AND PROTECTION FROM INFANCY INTO ADULTHOOD." *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON ASKED TWO FORMER MEMBERS OF THE LETHBRIDGE JUNIOR CHAMBER OF COMMERCE, PHIL EDMUNDSON AND PAUL RUSZNAK, ABOUT THE FIRST NATIONS ARTIFACTS THAT THE GROUP DONATED TO THE GALT MUSEUM IN 1964, 1969, AND 1973. NEITHER RECALLED HOW THE JAYCEES CAME INTO OWNERSHIP OF THE ARTIFACTS, AS THEIR ACQUISITION PREDATED BOTH EDMUNDSON AND RUSZNAK’S MEMBERSHIP IN THE CHAMBER. RESEARCH CONDUCTED INTO LETHBRIDGE’S GURNEY MUSEUM FOUND A CONNECTION BETWEEN ITS PROPRIETOR, WALTER GURNEY, AND THE JAYCEES, WHO ACCORDING TO AN ARTICLE FROM THE APRIL 16, 1946 ISSUE OF THE LETHBRIDGE HERALD ADVOCATED ON GURNEY’S BEHALF FOR IMPROVEMENTS TO BE MADE TO THE FORMER BOARD OF TRADE BUILDING WHERE THE MUSEUM WAS HOUSED. AN ARTICLE FROM THE JULY 13, 1948 ISSUE OF THE HERALD DESCRIBES SOME OF THE FIRST NATIONS ARTIFACTS ON DISPLAY IN THE MUSEUM: “TOMAHAWKS, ARROW HEADS, PEACE PIPES, BEAD AND LEATHER WORK, CLOTHING AND WOODCRAFT”. UPON THE CLOSURE OF THE MUSEUM AND SALE OF GURNEY’S COLLECTION TO BELMORE SCHULTZ OF THE ALTAMONT MUSEUM IN COUTTS, MENTION WAS MADE IN A HERALD ARTICLE FROM MAY 16, 1961 OF “HISTORICAL INDIAN RELICS THAT BELONG TO THE JUNIOR CHAMBER OF COMMERCE HAVE BEEN RETAINED IN THE CITY AND WILL BE AVAILABLE WHEN PROPER DISPLAY FACILITIES ARE AVAILABLE”. IT IS POSSIBLE THAT THE ARTIFACTS WERE TRANSFERRED TO THE JAYCEES BY GURNEY DURING THE DISSOLUTION OF HIS MUSEUM, BUT NO FURTHER CONFIRMATION WAS FOUND. FOR FURTHER INFORMATION ABOUT THE GURNEY MUSEUM AND ITS COLLECTION, SEE RECORD P19890044001.
UPDATE 16 AUGUST 2017: ON 25 JULY 2017, MUSEUM CURATOR AIMEE BENOIT FOUND EVIDENCE TO CONNECT THE INDIGENOUS COLLECTION DONATED BY THE LETHBRIDGE JAYCEES (AKA. JUNIOR CHAMBER OF COMMERCE) WITH FORMER LETHBRIDGE RESIDENTS THE LATE FRED BOTSFORD AND HIS LATE DAUGHTER DOROTHY CLARK. NOTES MADE BY AIMEE ON THE DISCOVERY AS WELL AS RELEVANT CLIPPINGS FROM THE LETHBRIDGE HERALD CAN BE FOUND ATTACHED TO THE PERMANENT FILE OF P19641140000.
Catalogue Number
P19641186000
Acquisition Date
1964-07
Collection
Museum
Images
Less detail
Other Name
UKRAINIAN TRADITIONAL
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
WOOD BEADS, PAINT
Catalogue Number
P19770052000
Material Type
Artifact
Other Name
UKRAINIAN TRADITIONAL
Date Range From
1970
Date Range To
1980
Materials
WOOD BEADS, PAINT
No. Pieces
1
Length
42.0
Description
ONE WOODEN BEAD NECKLACE. BLACK, RED, GREEN, YELLOW BEADS IN DIFFERENT SIZES. PLASTIC THREAD (2 STRANDS) RUNNING THROUGH CENTRE OF BEADS HOLDING THEM TOGETHER.
Subjects
ADORNMENT
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
UKRAINIAN CULTURAL HERITAGE. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE ASSOCIATED WITH THE DONORS. THE FOLLOWING DETAILS ABOUT THE DONORS, NICK AND ANN BORDENIUK, AND THE ORIGIN OF THE OBJECTS INCLUDED IN THEIR 1977 DONATION WERE FOUND IN A HANDWRITTEN NOTE FROM THE DONORS IN THE PERMANENT FILE. NICK BORDENIUK WAS BORN IN CZERNIWICI, UKRAINE ON MAY 20, 1895. HE FIRST CAME TO QUEBEC IN 1913, WORKING AS A MINER AND ON VARIOUS CONSTRUCTION SITES INCLUDING THAT OF THE ST. LAWRENCE BRIDGE IN 1916. IN 1922 HE ARRIVED IN LETHBRIDGE AND WORKED AT THE NO. 6 MINE. IN 1940 HE MOVED TO FERNIE, B.C. AND WORKED IN COAL CREEK UNTIL HIS RETIREMENT IN 1958. ANN BORDENIUK WAS BORN IN LWOW, UKRAINE AND MOVED TO HILLCREST, ALBERTA IN 1936. SHE ALSO MOVED TO FERNIE AND MARRIED NICK THERE IN 1955. IN 1976 THE BORDENIUKS MOVED FROM THEIR HOME INTO TOM UPHILL MANOR IN FERNIE, AND DONATED THEIR COLLECTION OF UKRAINIAN OBJECTS TO THE GALT MUSEUM. ALL OF THE OBJECTS WERE HANDMADE IN THE MOUNTAINOUS REGION OF KARPYTIAN IN WESTERN UKRAINE. SEE PERMANENT FILE FOR HANDWRITTEN NOTE ON THE BIOGRAPHY OF THE DONORS.
Catalogue Number
P19770052000
Acquisition Date
1976-10
Collection
Museum
Less detail
Date Range From
1912
Date Range To
1915
Material Type
Artifact
Materials
LEATHER, BEAD, COTTON
Catalogue Number
P19780209000
  1 image  
Material Type
Artifact
Date Range From
1912
Date Range To
1915
Materials
LEATHER, BEAD, COTTON
No. Pieces
1
Length
76.2
Width
50.8
Description
PONCHO OR CAPE. THE TOP COMPLETED BEADED IN AN INTRICATE GEOMETRIC PATTERN USING MANY DIFFERENT COLOURED BEADS. LEATHER THONG FRINGES ALONG EDGES. BOTTOM HAS BEIGE COTTON LINING (BROWN WITH AGE). HOLE IN THE CENTRE WITH BLACK CLOTH LINING. FRINGE SEPARATING FROM LEATHER BODY; DRYING. SMALL HOLE IN BEADING.
Subjects
CLOTHING-OUTERWEAR
ADORNMENT
Historical Association
ETHNOGRAPHIC
History
ACQUIRED FROM JOE HEALY A BLOOD TRIBE MEMBER BY DONOR'S HUSBAND HERBERT HUSBAND ABOUT 1912. SEE P197800207000-GA FOR HISTORY. ON 26 JANUARY 2011, GALT CURATOR WENDY AITKENS PROFILED THIS CAPE (P19780209000) AS PART OF HER CURATOR PRESENTS’ FAKES AND FORGERIES PROGRAM. AITKENS WAS INFORMED BY COLLECTIONS STAFF THAT THE CAPE WAS FEATURED IN A GALT-SUBMITTED, LETHBRIDGE LIVING MAGAZINE ARTICLE (ON FILE), AUTHORED BY FORMER GALT STAFF MEMBER DR. JANAY NUGENT IN 1999. MRS. PAULINE DEMPSEY, GRANDDAUGHTER OF JOE HEALY, RECALLED IN FEBRUARY 2011 THAT SHE CONTACTED DR. NUGENT AFTER THE ARTICLE’S PUBLICATION TO INFORM HER HAT SHE QUESTIONED THE ARTICLE-CLAIMED MAKER(S) OF THE CAPE, FEELING IT WAS NOT OF BLACKFOOT DESIGN. JOE HEALY, ACCORDING TO DEMPSEY, TRAVELLED EXTENSIVELY AND SHE THOUGHT IT WAS MORE LIKELY THAT THE CAPE WAS GIVEN TO HIM WHEN HE VISITED OTHER TRIBES. BIOGRAPHICAL INFORMATION ON DONORS META AND HERBERT HUSBAND, AS PROVIDED BY KOOTENAI BROWN PIONEER VILLAGE CURATOR FARLEY WUTH ON 17 FEBRUARY 2011, CAN BE FOUND IN THE PERMANENT FILE. *UPDATE* IN 2014 LOUISE-MARIE CROP EARED WOLF, A MEMBER OF THE KAINAI (BLOOD TRIBE), AND A FOURTH YEAR NATIVE AMERICAN STUDIES MAJOR AT THE UNIVERSITY OF LETHBRIDGE COMPLETED AN APPLIED STUDIES PROJECT WITH THE COLLECTIONS DEPARTMENT AT THE GALT MUSEUM. SHE PHOTOGRAPHED ETHNOGRAPHIC ARTIFACTS ASSOCIATED WITH FIRST NATIONS CULTURES IN SOUTHERN ALBERTA AND WROTE THE FOLLOWING TEXT TO PRESENT HER FOCUSED RESEARCH ON FOUR SPECIFIC ARTIFACTS (P19641186000, P19780209000, P19780208000, AND P19790235000): “I WANT TO DISPLAY THE KAINAI WOMEN BEADED ITEMS FROM THE GALT MUSEUM COLLECTIONS FOR THEIR ARTISTIC MERIT AND NOT JUST FOR THEIR ETHNOLOGICAL VALUE. THE FOUR ARTIFACTS SELECTED ARE REPRESENTATIVE OF FOUR GENERATIONS OF BEADERS: GRANDMOTHERS, MOTHERS, SISTER, AND DAUGHTERS. THE COLOURS ARE MEANINGFUL AND THE TRADITIONAL SYMBOLS ARE USED THROUGHOUT. THE ADHERENCE TO THE TRADITION, HOWEVER, DOES NOT SUPPRESS ARTISTIC EXPRESSION; THE BEADERS USE A FAIR DEGREE OF CREATIVITY IN THEIR CHOICE OF MATERIALS, SYMBOLS AND COLORS. THE ART OF BEADING IS NOT A “DYING ART” – IT IS THE ARTISTS, ARTISTIC EXPRESSION AND IT IS A “LIVING ART”. FOR GENERATIONS, KAINAI WOMEN BEADERS AND CLOTHING DESIGNERS HAVE BEEN MAKING CLOTHING FOR THE ENTIRE COMMUNITY. THE BEADED CLOTHING HONOURS THE FAMILY FROM ONE GENERATION TO THE NEXT IN A CONTINUOUS CIRCLE OF HONOURING. THE BEADED CLOTHING AND ACCESSORIES SUCH AS MOCCASINS, LEGGINGS, AND BELTS, COMMUNICATE THE IMPORTANCE OF THE FAMILY AND ILLUSTRATE HOW TRADITIONS ARE PASSED DOWN THROUGH GENERATIONS. THE BEADED WORK CONNECTS A BEADING ARTIST TO HER ANCESTORS. EVERY MOTIF, DESIGN, COLOUR OF SEED BEADS, STANDS FOR SOMETHING IMPORTANT TO THE ARTIST’S FAMILY, REFLECTING THE ARTIST’S SURROUNDINGS AND REINFORCING HER CULTURAL VALUES. LEARNING BY OBSERVATION, AN ARTIST PAYS RESPECT TO THE PAST, PRESENT, AND FUTURE KAINAI WOMEN BEADERS. THIS CAPE IS FULLY BEADED AND IS WORN OVER ELKS HIDE; DEER HIDE DRESS, OR CLOTH DRESS. TRADITIONAL GEOMETRIC AND NATURALISTIC MOTIFS ARE COMBINED INTO A DISTINCTIVE AND PERSONAL CREATIVE EXPRESSION. THIS TYPE OF CAPE IS WORN BY YOUNG GIRLS; THE PATTERNS AND SYMBOLS TELL STORIES THAT HONOUR HER COMMUNITY, HER FAMILY, AND HER ANCESTORS. THE END RESULT IS BOTH A CREATION OF UTILITARIAN AND AESTHETIC VALUE. THE BREAK IN PATTERN ON THE NAPE AREA IS DELIBERATE – THE UNIQUE SIGNATURE OF THE ARTIST WHO CREATED THE PIECE. THIS METHOD OF ‘AUTHENTICATING’ IS COMMONLY USED BY KAINAI BEADERS." *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING A PORTRAIT OF JOE HEALY, WHO WAS PURPORTEDLY THE ORIGINAL OWNER OF THIS CAPE. THE FOLLOWING BIOGRAPHY ON JOE HEALY WAS DEVELOPED WITH INFORMATION FROM THE GALT ARCHIVES AND 'THE AMAZING DEATH OF CALFSHIRT: THREE HUNDRED YEARS OF BLACKFOOT HISTORY' BY HUGH DEMPSEY: POTAI'NA "FLYING CHIEF' JOE HEALY (LATER CALLED WOLF MOCCASIN) WAS BORN IN 1854 ON THE MONTANA BLACKFEET RESERVATION, TO THE LEADER OF THE BLOOD TRIBE, MANY BRAIDS. MANY BRAIDS HAD BECOME FRIENDLY WITH JOHN J. HEALY, CO-OPERATOR OF THE SUN RIVER CROSSING TRADING POST WITH ALFRED B. HAMILTON. DURING A ROUTINE VISIT TO THE TRADING POST, THE BLOODS' CAMP WAS RAIDED AT NIGHT BY A BAND OF PEND D'OREILLE WARRIORS. MANY BRAIDS, HIS WIFE, BABY AND TEENAGE DAUGHTER WERE KILLED IN THE CONFLICT, WHICH WAS WITNESSED BY JOHN HEALY. BEFORE HE DIED, MANY BRAIDS ASKED JOHN HEALY TO TAKE CARE OF HIS SON, FLYING CHIEF, THE ONLY SURVIVING MEMBER OF THE FAMILY. JOHN HEALY GAVE THE EIGHT YEAR OLD BOY THE NAME JOE HEALY, AND KEPT HIM AT THE TRADING POST UNTIL THE SUMMER, WHEN HE WAS ENROLLED IN THE SCHOOL AT NEARBY FORT SHAW. THERE JOE DEVELOPED HIS KNOWLEDGE OF ENGLISH. IN 1869, WHILE JOE WAS IN SCHOOL, HEALY AND HAMILTON WENT NORTH AND OPENED A TRADING POST AT THE CONFLUENCE OF THE OLDMAN AND ST. MARY RIVERS; THIS POST WOULD BECOME KNOWN AS FORT WHOOP-UP AND WAS INFAMOUS FOR ITS CONTRIBUTIONS TO THE WHISKEY TRADE AND VIOLENCE IN THE AREA UNTIL THE ARRIVAL OF THE NORTH-WEST MOUNTED POLICE IN 1874. THREE YEARS LATER, DUE TO A DECLINE IN THE BUFFALO POPULATIONS AND THUS THE ROBE MARKET, HEALY CLOSED THE SUN RIVER CROSSING POST AND MOVED TO FORT BENTON. JOE WAS NOW SIXTEEN AND WAS COMPELLED TO RETURN TO HIS RELATIVES AMONG THE BLOODS. HE FOLLOWED THE LAST BUFFALO HERDS WITH BULL SHIELD, AND JOINED IN RELIGIOUS AND WARFARE ACTIVITIES OF THE TRIBE. WHEN THE BLOODS SETLLED ON THEIR RESERVE IN 1881, JOE WAS THE ONLY MEMBER OF THE TRIBE WHO WAS FLUENT IN BLACKFOOT AND ENGLISH. HE WAS AN OUTSPOKEN SUPPORTER OF RELIGIOUS TRADITIONS AND DEFIED ATTEMPTS BY THE GOVERNMENT TO SUPRESS DANCES AND FESTIVALS. HE MARRIED WIDE NOSTRILS, THE DAUGHTER OF IRON PIPE, AND THEY HAD SIX DAUGHTERS AND FOUR SONS. JOE WORKED AS AN OFFICIAL INTERPRETER FOR THE GOVERNMENT WHEN A NEW TREATY WAS MADE IN 1883, AND AS A SCOUT FOR THE RNWMP. IN LATER YEARS HE CO-ORDINATED FIRST NATIONS' PARTICIPATION IN THE LETHBRIDGE EXHIBITION AND STAMPEDE. JOE HEALY DIED AT ST. PAUL'S MISSION ON THE BLOOD RESERVE IN 1936 AS ONE OF THE MOST RESPECTED PATRIARCHS OF THE BLOOD TRIBE.
Catalogue Number
P19780209000
Acquisition Date
1978-07
Collection
Museum
Images
Less detail
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
BRASS, RUBBER, PLASTIC
Catalogue Number
P19820064000
  1 image  
Material Type
Artifact
Date Range From
1970
Date Range To
1980
Materials
BRASS, RUBBER, PLASTIC
No. Pieces
1
Height
1.6
Diameter
2.9
Description
OVAL PIN FEATURING RISING SUN OVER C.P. HIGH LEVEL BRIDGE, GREEN FIELDS IN FOREGROUND, "LETHBRIDGE" SPELLED OUT AS PART OF BRIDGE TRESTLE. STAMPED ON REVERSE SIDE: "THOMAS HOT STAMPING, BOX 365 WATERLOO, ONT." PIN HAS BRASS SAFETY PIN HELD TO REVERSE SIDE WITH RUBBER PAD. GREEN & WHITE ON OVAL BACKGROUND.
Subjects
ADORNMENT
Historical Association
COMMEMORATIVE
History
LOGO DESIGNED BY LETHBRIDGE ARTIST MICHAEL PISKO, FOR CITY IN 1967. COPYRIGHTED BY THE CITY. PIN WAS DESIGNED FOR CITY TO PRESENT IT TO VISITORS. LOGO RESEMBLES HUGE EYE WITH PUPIL REPRESENTING THE SUN, IN REFERENCE TO LETHBRIDGE AS THE SUNSHINE CAPITAL OF CANADA. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF MILITARY OBJECTS, INCLUDING ONE DONATED BY DR. ALEX JOHNSTON (P19820062000). WHILE SHE WAS UNABLE TO FIND SPECIFIC INFORMATION ON THE ARTIFACTS DONATED BY JOHNSTON, A TRIBUTE ARTICLE FROM THE APRIL 13, 1989 ISSUE OF THE LETHBRIDGE HERALD PROVIDES BIOGRAPHICAL INFORMATION. JOHNSTON WAS BORN IN 1920 IN WORKED FOR NEARLY 30 YEARS AS A RANGELAND ECOLOGIST AT THE LETHBRIDGE RESEARCH STATION. HIS CAREER AS A LOCAL HISTORIAN STARTED IN THE MID-1960S, AND BY HIS DEATH HE HAD AUTHORED OVER ONE HUNDRED ARTICLES AND PUBLICATIONS. HE WORKED AT THE GALT MUSEUM AND ARCHIVES, AND SERVED AS THE CHAIRMAN OF THE ARITFACTS AND ACQUISITION COMMITTEE AT THE FORT WHOOP UP INTERPRETIVE SOCIETY. JOHNSON RECEIVED AN HONOURARY DOCTORATE OF LAWS FROM THE UNIVERSITY OF LETHBRIDGE AND WAS INDUCTED IN THE ALBERTA AGRICULTURE HALL OF EXCELLENCE FOR HIS ROLE IN THE ESTABLISHMENT OF THE RESEARCH SUBSTATION WEST OF STAVELY - A DEMONSTRATION FARM USED TO DEVELOP THE PRESERVATION OF NATIVE PRAIRIE GRASSES. JOHNSTON WAS A CONFIRMED BACHELOR AND LIVED FOR MANY YEARS AT THE MARQUIS HOTEL. HE DIED ON APRIL 12, 1989. THE FOLLOWING BIOGRAPHICAL INFORMATION ON LOGO DESIGNER MICHAEL PISKO WAS FOUND IN A PRESS RELEASE ANNOUNCING THE 'MICHAEL PISKO MEMORIAL AWARD', WHICH WAS ESTABLISHED BY THE ARTIST'S WIDOW AND THE ALBERTA SOCIETY OF ARTISTS IN 2000, TO BE AWARDED TO A GRADUATING BFA DEGREE PAINTER FROM THE UNIVERSITY OF LETHBRIDGE: "MICHAEL PISKO WAS BORN IN LETHBRIDGE IN 1913. HE MADE HIS LIVING AS A SUCCESSFUL SIGN PAINTER THROUGH HIS BUSINESS, CITY SIGN COMPANY, BUT LANDSCAPE PAINTING WAS HIS LIFE'S FULFILLMENT. TO HONE HIS SKILLS, HE STUDIED THREE SUMMERS AT THE BANFF SCHOOL OF FINE ARTS AND SOUGHT INSTRUCTION FROM SENIOR VISITING ARTISTS WHO CAME TO LETHBRIDGE ON INVITATION OF THE LETHBRIDGE SKETCH CLUB, OF WHICH HE, IN 1937, WAS ONE OF THE FOUNDING MEMBERS. PISKO GREATLY ADMIRED A.Y. JACKSON, THE GROUP OF SEVEN MASTER, WITH WHOM HE HAD THE OPPORTUNITY TO SKETCH AND PAINT AROUND LETHBRIDGE WHENEVER JACKSON CAME TO TOWN TO VISIT HIS BROTHER. HE WAS ALSO DEEPLY INFLUENCED BY H.G. GLYDE, WHO TAUGHT AT THE ALBERTA COLLEGE OF ART IN CALGARY AND AT THE BANFF SCHOOL OF FINE ARTS AND WHO VISITED LETHBRIDGE TO TEACH ART CLASSES AT THE LETHBRIDGE SKETCH CLUB. IN 1947 PISKO WAS ACCEPTED FOR MEMBERSHIP IN THE ALBERTA SOCIETY OF ARTISTS. HE WAS A PROLIFIC PAINTER, WHO EXHIBITED REGULARLY WITH THE LETHBRIDGE SKETCH CLUB AND THE ALBERTA SOCIETY OF ARTISTS. HIS WORK IS REPRESENTED IN MANY PRIVATE, CORPORATE AND PUBLIC COLLECTIONS, AMONG THEM THE ALBERTA FOUNDATION FOR THE ARTS AND THE UNIVERSITY OF LETHBRIDGE. MICHAEL PISKO PASSED AWAY IN 1999." FOR COPIES OF LETHBRIDGE HERALD ARTICLES ON PISKO AND HIS CAREER, AS WELL AS PROMOTIONAL MATERIALS FOR THE 1995 ARTWALK DEDICATED TO HIM, SEE PERMANENT FILE P19920009001.
Catalogue Number
P19820064000
Acquisition Date
1982-12
Collection
Museum
Images
Less detail
Other Name
BEADED WOOD NECKLACE
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
WOOD, METAL
Catalogue Number
P19770053000
Material Type
Artifact
Other Name
BEADED WOOD NECKLACE
Date Range From
1970
Date Range To
1980
Materials
WOOD, METAL
No. Pieces
1
Length
42.0
Description
ONE WOODEN NECKLACE WITH ROUND DISK (WOODEN) AND BELLS (WOODEN) ATTACHED AT BOTTOM. LIGHT BROWN, DARK BROWN, RED (TINY) BEADS. ROUND & OBLONG BEADS. DISK - ROUND, WOODEN. HAS DESIGNS CARVED IN THE WOOD ALONG WITH DESIGNS PAINTED ON. BLACK, RED, PINK, WHITE, GREEN, BLUE BEADS EMBEDDED IN PATTERN WHICH IS PAINTED. COPPER ALSO EMBEDDED IN PAINTED DESIGN. BELLS ARE JOINED BY METAL AND HAVE COPPER RINGS SO THEY CAN BE ATTACHED. DISK ATTACHED TO NYLON THREAD WHICH HOLDS BEADS TOGETHER. NYLON THREAD IS OF SINGLE THICKNESS.
Subjects
ADORNMENT
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
*UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS, INCLUDING THOSE ASSOCIATED WITH THE DONORS. THE FOLLOWING DETAILS ABOUT THE DONORS, NICK AND ANN BORDENIUK, AND THE ORIGIN OF THE OBJECTS INCLUDED IN THEIR 1977 DONATION WERE FOUND IN A HANDWRITTEN NOTE FROM THE DONORS IN THE PERMANENT FILE. NICK BORDENIUK WAS BORN IN CZERNIWICI, UKRAINE ON MAY 20, 1895. HE FIRST CAME TO QUEBEC IN 1913, WORKING AS A MINER AND ON VARIOUS CONSTRUCTION SITES INCLUDING THAT OF THE ST. LAWRENCE BRIDGE IN 1916. IN 1922 HE ARRIVED IN LETHBRIDGE AND WORKED AT THE NO. 6 MINE. IN 1940 HE MOVED TO FERNIE, B.C. AND WORKED IN COAL CREEK UNTIL HIS RETIREMENT IN 1958. ANN BORDENIUK WAS BORN IN LWOW, UKRAINE AND MOVED TO HILLCREST, ALBERTA IN 1936. SHE ALSO MOVED TO FERNIE AND MARRIED NICK THERE IN 1955. IN 1976 THE BORDENIUKS MOVED FROM THEIR HOME INTO TOM UPHILL MANOR IN FERNIE, AND DONATED THEIR COLLECTION OF UKRAINIAN OBJECTS TO THE GALT MUSEUM. ALL OF THE OBJECTS WERE HANDMADE IN THE MOUNTAINOUS REGION OF KARPYTIAN IN WESTERN UKRAINE. SEE PERMANENT FILE FOR HANDWRITTEN NOTE ON THE BIOGRAPHY OF THE DONORS.
Catalogue Number
P19770053000
Acquisition Date
1976-10
Collection
Museum
Less detail

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