Skip header and navigation

4 records – page 1 of 1.

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
Material Type
Artifact
Materials
SILK, INTERFACING, RAYON
Catalogue Number
P19800009000
  2 images  
Material Type
Artifact
Date
1955
Materials
SILK, INTERFACING, RAYON
No. Pieces
7
Height
129.6
Width
63.5 (SHOULDERS)
Description
.1 KOROMO (LARGE ROBE). ABOVE DIMENSIONS. SILK. BLACK. THE ROBE IS MADE FROM BLACK SILK. IT IS A LOOSE, DRAPING SQUARE CUT, WITH A PLEATED LAYER SEWN ON THE BOTTOM. THE SLEEVES ARE SQUARE AND OPEN ON THE INSIDE. THERE IS A BLACK TAG, OUTLINED IN RED IN THE NECK, WRITING IS IN JAPANESE. IT IS EMBROIDERED IN YELLOW THREAD. THE SUIT COMES WITH A BLACK SASH 220.9 CM LONG BY 7.6 CM WIDE. THE SASH IS MADE FROM SILK, ALSO. IT IS SEPARATE FROM THE ROBE. *UPDATE* SUMMER 2011 - SASH COULD NOT BE LOCATED. SASH NOT NOTED AS MISSING IN 2004 OR 2006 INVENTORIES. .2 GOJO KESA. 45.7 CM WTH. X 134.6 CM LTH. SILK. THE GOJO KESA, OR SASH, IS CONSTRUCTED FROM PATCHWORK PIECES OF PURPLE SILK WITH A DESIGN EMBROIDERED IN WHITE THREAD. THE DESIGN IS BASED ON TWO WISTERIA PLANTS. THE SASH IS LINED WITH PINK SILK. THERE ARE TIES AT BOTH ENDS OF THECLOTH, AND 2 WIDE STRAPS AT 1/4 AND 3/4 POSITIONS OF THE LENGTH OF THE CLOTH. THE STRAP IS SEWN ONTO THE CLOTH AT EITHER SIDE WITH BLACK THREAD AND DECORATED WITH WHITE CORD. ONE SIDE OF THE STRAP ATTACHES INSIDE THE SASH; THE OTHER IS ATTACHED ON THE OUTSIDE. THE PINK LINING IS SLIGHTLY SOILED. .3 WA KESA. 5.7 CM WTH. X 147.3 CM LTH. SILK & STIFF INTERFACING. THE SASH IS MADE FROM PURPLE SILK EMBROIDERED WITH GREEN THREAD. THE EMBROIDERY IS IN A LEAF PATTERN - SURROUNDED BY 2 DESIGNS (THE DESIGN IS INTERFACED). THE SASH WORN AROUND THE SHOULDER IS TIED TOGETHER BY SMALL TIES AT EACH END. THE SASH IS MADE FROM TWO PIECES OF SILK HELD TOGETHER BY A 30.5 CM WIDTH OF INTERFACING FADED 6 TIMES. (THE INTERFACING IS RIPPED AT BOTH ENDS). SILK STRIPS AND RIBBONS HOLD THE SASH TOGETHER AND KEEP IT FROM UNFOLDING. THESE ARE FOUND AT THE ENDS AND THE 1/3 & 2/3 POSITIONS ALONG THE SASH'S LENGTH. THERE ARE CRESTS EMBROIDERED IN WHITE THREAD BESIDE RIBBONS (4 PLACES). .4 FUHO ROBE. 116.8 CM HT. X 61 CM WT. SEMI-TRANSPARENT RAYON. THE FUHO ROBE IS MADE FROM BLACK, SEMI-TRANSPARENT RAYON. IT IS A SQUARE CUT STYLE WITH SQUARE SLEEVES AND DOUBLE PANEL IN THE BACK. UNDER THE ARM THE SIDE SEAMS ARE OPEN. FROM THE WAIST DOWN, THE SIDE SEAMS HAVE BEEN LACED TOGETHER. THERE ARE STRAPS, WAIST HEIGHT ON BOTH SIDES AND FRONT THAT TIE TOGETHER LIKE A BELT. IN THE NECK IS A BLACK LABEL OUTLINED IN RED, WITH JAPANESE CHARACTERS EMBROIDERED IN YELLOW. .5 CHU-KEI (FAN) 30.4 CM HT. X 0.6 CM WTH. PAINTED WOOD AND PAPER. THE FAN IS MADE FROM 15 PIECES OF RED COLOURED WOOD AND FOLDED, PAINTED HEAVY PAPER. ONE SIDE OF THE FAN IS SILVER COLOURED AND FEATURES FIVE DEEP BLUE FLOWERS, THREE PINK FLOWERS AND TWO GOLDEN GRASS-LIKE PLANTS. THE OTHER SIDE OF THE FAN HAS A GOLD BACKGROUND AND FEATURES A PROFUSION OF PINK, WHITE, YELLOW AND BLUE FLOWERS. THE WOOD EDGES OF THE FAN HAVE A DESIGN CUT INTO THEM. THE SILVER BACKGROUND IS A LITTLE WORN AS IS THE TOP EDGE OF THE PAPER. IT IS TIED SHUT BY A PURPLE CORD. .6 OZUZU (ROSARY) 96.5 CM LTH. (DOUBLE-FROM END OF TASSELS TO OTHER END OF TASSELS.) CLEAR & COLOURED GLASS BEADS, RAYON CORD. THE ROSARY IS COMPOSED OF A DOUBLE ROW OF BROWN BEADS MOTTLED WITH BLACK, STRUNG ON GREEN-BLUE CORD. AT EITHER END IS A LARGER, CLEAR BEAD. THERE ARE 57 BEADS ON EITHER SIDE OF THE MAIN, DOUBLED PART OF THE ROSARY; THE 8TH & 23RD BEADS ARE GREEN. AT BOTH ENDS THERE ARE TASSELS OF PURPLE CORD (6); ONE END HAS 11 BEADS OF A SMALLER DIAMETER THAN THE MAIN BODY BEADS AND 2 CLEAR BEADS. (THERE ARE 72 BEADS ALTOGETHER). .7 SANBU-KYO (PRAYER BOOK OR BIBLE) 2.5 CM HT. X 6.9 WTH. X 17.1 CM LTH. PAPER, INK, CLOTH COVER. THIS BOOK IS COMPOSED OF 208 JOINED, FOLDING PAGES. ON EACH PAGE ARE 4 ROWS OF JAPANESE CHARACTERS. THE BOOK IS BOUND BY 2 NAVY BLUE CLOTH COVERS, PROTECTED BY PLASTIC. ON THE FRONT IS A STRIP OF WHITE PAPER WITH TWO BLACK LINES AS A BORDER. THERE ARE JAPANESE CHARACTERS WRITTEN ON THIS PAPER. THE PAGES OF THE BOOK ARE FRAGILE WITH AGE. MANY HAVE BEEN REPAIRED WITH SCOTCH TAPE. SOME OF THE TAPE HAS DRIED UP AND FALLEN OFF, LEAVING GUMMY STAINS ON THE PAGES. THERE ARE TWO TABS TAPED ON THE BOTTOM OF PAGES APPROXIMATELY 1/4 AND 2/3 OF THE WAY THROUGH THE BOOK.
Subjects
PERSONAL SYMBOL
CLOTHING-OUTERWEAR
Historical Association
RELIGION
History
.1 THE KOROMO, OR LARGE ROBE IS USED FOR FUNERALS AND ORDINARY RELIGIOUS SERVICES. (A WHITE ROBE IS USED FOR MARRIAGES). .2 THE GOJO KESA IS USED IN IMPORTANT BUDDHIST CEREMONIES. THE PATCHWORK CONSTRUCTION IS TRADITIONAL BECAUSE IT REPRESENTS THRIFT - NEVER WASTING MATERIAL - IN THE OLD DAYS THESE GARMENTS WERE REMADE FROM OLD SASHES. THE WISTERIA DESIGN IS BASED ON THE FAMILY CREST OF FUJIWARA, WHO STARTED THE ROBE. (FUJI=WISTERIA). .3 THE WA-KESA, IS WORN OVER THE SHOULDERS AND USED IN ORDINARY SERVICE IN THE TEMPLE. .4 THE FUHO ROBE IS FOR EVERYDAY USE. ORDINARY SERVICES IN THE TEMPLE. .5 THE CHU-KEI OR FAN IS TO BE USED IN THE RIGHT HAND. ITS FUNCTION IS CEREMONIAL AT IMPORTANT EVENTS LIKE MARRIAGES AND FUNERALS. .6 THE OZUZU, OR ROSARY, IS USED AT IMPORTANT CEREMONIES LIKE MARRIAGES AND FUNERALS. .7 SEE FAMILY HISTORY ATTACHED. CONSERVATION REPORT ON FILE. *UPDATE* IN 2016 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING THIS ROBE. THE FOLLOWING BIOGRAPHICAL INFORMATION ABOUT GOMPEI (ALSO SPELT GONPEI IN THE HERALD) FUKUNAGA HAS BEEN COMPILED USING A VARIETY OF ARTICLES FROM THE LETHBRIDGE HERALD. UNDER THE WAR MEASURES ACT, GOMPEI, HIS WIFE NAMIYE, AND THEIR SEVEN CHILDREN, WERE RELOCATED FROM THEIR HOME AND STRAWBERRY FARM IN SURREY, BC TO AN INTERNMENT CAMP IN TASHME, BC IN 1942. SHORTLY AFTERWARDS IN 1944, THE FAMILY MOVED TO SOUTHERN ALBERTA, TO WORK ON SUGAR BEET FARMS, AND EVENTUALLY SETTLED IN TABER. GOMPEI AND NAMIYE’S SEVEN CHILDREN INCLUDE THREE DAUGHTERS: COLEEN NORI SEKIYA, JOAN LAUTTOMUS, AND ELMA; AND FOUR SONS: ROBERT, ARTHUR SABURO, KAY, AND JIM MAMOUR. GOMPEI PASSED AWAY JULY 20, 1978. NAMIYE DIED ON OCTOBER 15, 1994, AT THE AGE OF 88 YEARS OLD. OBITUARIES FOR FOUR OF THEIR CHILDREN REVEAL THAT: “JIM” MAMOUR WAS BORN JANUARY 11, 1920 AND DIED JULY 24, 1983; ARTHUR “ARCHIE” WAS BORN MAY 27, 1935 AND DIED MAY 9, 1997; ROBERT TSUZUKI WAS BORN MAY 11, 1929 AND PASSED NOVEMBER 27, 2000; AND COLEEN, THE ELDEST CHILD, PASSED AWAY DECEMBER 26, 2012. IT IS LIKELY THAT GOMPEI USED THIS ROBE DURING SERVICES AT THE BUDDHIST TEMPLE: TWO OBITUARIES FROM 1950 AND 1968 LIST GOMPEI AS REV. G. FUKUNAGA AND A 1953 ARTICLE TITLED “BUDDHIST PRIESTS DEDICATE COLUMBARIUM AT RAYMOND” LISTS REV. G. FUKUNAGA AS PARTICIPATING IN THE DEDICATION SERVICE. SEE PERMANENT FILE FOR COPIES OF LETHBRIDGE HERALD ARTICLES.
Catalogue Number
P19800009000
Acquisition Date
1978-07
Collection
Museum
Images
Less detail
Other Name
JUDICIAL ROBE OR CHORAL GOWN
Date Range From
1950
Date Range To
1970
Material Type
Artifact
Catalogue Number
P19990053034
  2 images  
Material Type
Artifact
Other Name
JUDICIAL ROBE OR CHORAL GOWN
Date Range From
1950
Date Range To
1970
No. Pieces
1
Height
5.0
Length
116.0
Width
49.0
Description
BACHELOR'S GOWN. BLACK, COLLARLESS. HAS AN OPENING IN THE FRONT WITH TWO WIDE BOX PLEATS EXTENDING TO THE HEM. HAS LARGE FLOWING, ANGEL SLEEVES ENDING IN POINTS. BACK AND SLEEVES ARE SET INTO A SQUARE YOKE WITH CARTRIDGE PLEATS. FRONT OF SQUARE YOKE CLOSES WITH A HOOK AND EYE. ON BACK INSIDE OF NECK IS STITCHING IN A RECTANGLE SHAPE WHERE TAG USED TO BE (TAG IS MISSING).
Subjects
PERSONAL SYMBOL
CLOTHING-OUTERWEAR
Historical Association
EDUCATION
RELIGION
History
MAY HAVE BEEN EITHER AN ACADEMIC OR CHORAL GOWN. DONOR USED AS A JUDICIAL ROBE FOR DRAMATIC PURPOSES. DONOR IS A HIGH SCHOOL PHYS. ED. TEACHER. SHE DID DRAMA IN SCHOOLS AND LOCAL THEATRE, AND ENTIRE COLLECTION WAS GIVEN TO HER BY LOCAL PEOPLE. FOR MORE INFORMATION ON DONOR GAIL HOLLAND’S ACQUISITION, STEWARDSHIP AND GENERAL USE OF HER 1999-DONATED COLLECTION PLEASE REFER TO RECORD P19990053001. ***UPDATE: ARTIFACT INSIGHT BELOW SUBMITTED BY DONOR AND COLLECTIONS VOLUNTEER GAIL HOLLAND ON 19 APRIL 2011. “ACADEMIC GOWN/ JUDICIAL ROBE WORN BY THE CHARACTER PLAYING THE JUDGE IN LETHBRIDGE MUSICAL THEATRE’S PRODUCTION OF “HELLO DOLLY” 1986.”
Catalogue Number
P19990053034
Acquisition Date
2000-12
Collection
Museum
Images
Less detail
Other Name
CANADIAN PACIFIC RAILWAY "BACEDA"
Material Type
Artifact
Materials
COTTON, BRASS
Catalogue Number
P20110026000
  1 image  
Material Type
Artifact
Other Name
CANADIAN PACIFIC RAILWAY "BACEDA"
Date
1955
Materials
COTTON, BRASS
No. Pieces
1
Height
90
Length
56
Width
18.2
Description
SUIT JACKET, NAVY BLUE, DOUBLE BREASTED WITH EIGHT BRASS BUTTONS. EACH BOTTOM HAS EMBOSSED, “CANADIAN PACIFIC” WITH BEAVER MOTIF IN CENTER. EACH CUFF HAS TWO SMALL BRASS BUTTONS WITH SAME DECORATION. WIDE PEAKED LAPELS WITH ONE BUTTON HOLE ON EACH SIDE. POCKETS AT FRONT ON LEFT AND RIGHT WITH SQUARE CUT FLAPS. FRONT LEFT BREAST POCKET WITHOUT FLAP. PADDED SHOULDERS. INSIDE HAS BLACK POLYESTER LINING WITH SEAM AT BOTTOM DETACHED IN PLACES. RIGHT AND LEFT BREAST POCKETS. INSIDE RIGHT BREAST POCKET IS TAG THAT READS, “GORDON CAMPBELL LTD., VANCOUVER, CANADA, MR. B. BACEDA., DATE NOV/55, NO.3059-G 9955.” SPARE BLACK BUTTON UNDER LEFT BREAST POCKET. SLEEVES LINED WITH WHITE, BLUE AND GREY STRIPED COTTON. FABRIC LOOP AT INSIDE BACK COLLAR.
Subjects
CLOTHING-OUTERWEAR
PERSONAL SYMBOL
Historical Association
TRANSPORTATION
INDUSTRY
BUSINESS
History
ACCORDING TO INFORMATION PROVIDED BY DONOR DOUG HEGLAND AT THE TIME OF DONATION, THE JACKET WAS ACQUIRED IN 1983 FROM A LOCKER AT THE "OLD STATION" IN LETHBRIDGE WHEN STAFF MOVED TO A NEW TRAIN STATION AT KIPP YARD. THE DONOR FOUND THE JACKET AS A RESULT OF WANTING SOME OF THE STATION’S OLD LOCKERS. DONOR STARTED A CAREER WITH THE CPR IN 1978. ACCORDING TO INFORMATION SOLICITED FROM BRUNO BACEDA’S SON LONNIE IN FEBRUARY 2012, “BRUNO BACEDA LIVED IN THE LETHBRIDGE AREA HIS WHOLE LIFE. HE WAS A BAGGAGE MASTER WITH THE CANADIAN PACIFIC RAILWAY IN 1959 AND WORKED FOR A WHILE AS CONDUCTOR.” ACCORDING TO HIS OBITUARY IN THE LETHBRIDGE HERALD, “BRUNO JOHN BACEDA PASSED AWAY IN LETHBRIDGE ON DECEMBER 13, 2004 AT THE AGE OF 76. BACEDA WAS BORN IN COALHURST ON NOVEMBER 7, 1928 WHERE HE ATTENDED SCHOOL AND BEGAN HIS 38 YEAR CAREER WITH THE CPR.” FOR MORE INFORMATION, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20110026000
Acquisition Date
2011-07
Collection
Museum
Images
Less detail