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Other Name
MILITARY 16 CANADIAN HIGHLANDERS
Date Range From
1917
Date Range To
1919
Material Type
Artifact
Materials
WOOL, BRASS, COTTON
Catalogue Number
P19860153000
  2 images  
Material Type
Artifact
Other Name
MILITARY 16 CANADIAN HIGHLANDERS
Date Range From
1917
Date Range To
1919
Materials
WOOL, BRASS, COTTON
No. Pieces
6
Description
.1 JACKET. 70 CM (LTH) X 42 CM (ACROSS SHOULDERS) WOOL, BRASS, COTTON. OLIVE DRAB OR KHAKI LABEL/INSIDE LINING "S.D. JACK...SIZE NO...HEIGHT... 5 BREAST 36 WAIST..." IN INK "125 WAB?" 10 BRASS BUTTON TOTAL WITH "16 CANADIAN SCOTTISH" AND COAT OF ARMS "DEAS GU CATH". COLLAR TABS BRASS ("C BAR 16") EPAULETS BRASS "CANADIAN SCOTTISH" 4 COLLAR HOOKS. BRAIDED COTTON LEFT SHOULDER. 2 CHEVRONS UPPER LEFT & RIGHT SLEEVE. THREE REVERSED CHEVRONS LOWER RIGHT SLEEVE. 4 POCKETS C/W BUTTON FLAPS. TWO BRASS BELT LOOPS AT WAIST. .2 KILT 60 CM (LTH) X 140 CM (UNFOLDED AT WAIST) WOOL, LEATHER, COTTON. BLUE, GREEN, RED, WHITE TARTAN. INKED INSIDE WAISTBAND "1278" OR "12Y8" "736662" "16TH CAN. SCOTTISH 1917" MACKENZIE TARTAN KILT. 2 LEATHER BELTS AND BUCKLES NICKEL PLATED CLASP PIN PITTED AND RUSTED. .3 BELT 119 CM LTH X 4.3 CM WTH LEATHER, BRASS BROWN STAMPED "SERVICE FULL GRAIN BRIDLE LEATHER". DOUBLE HOOK BRASS BUCKLE AND LEATHER RING SEVEN HOLES. .4 CAP 57.2 CM (INCLUDES FLASHES) X 11.7 (WTH) WOOL COTTON ALUMINUM. NAVY BLUE, RED, BLACK CAP OR GLENCARY HAS COAT OF ARMS BADGE ON LEFT SIDE, FASTENED TO CAP WITH BRASS COTTER PIN "DEAS GU CATH" RED WOOL BUTTON ON TOP OF CAP. TWO BLACK TABS OR FLASHES FROM BACK OF CAP, HANG OVER NECK. .5 GARTERS 15.8 CM LTH X 4.5 CM WTH WOOL, COTTON 2 PCES RED WITH WHITE ELASTICISED STRAP GARTERS OR FLASHES ARE STITCHED TO FORM TWO LOOPS AND TWO TAB ENDS WITH FRINGE. ELASTICISED STRAPS SEWN ON.
Subjects
CLOTHING-OUTERWEAR
Historical Association
ETHNOGRAPHIC
MILITARY
History
THIS MILITARY MEMORABILIA IS ASSOCIATED WITH FIRST WORLD WAR, SCOTTISH-BORN VETERAN GLEN R. GALL. IN 1916, GALL, A CALGARY RESIDENT, WANTED TO SERVE WITH ONE OF THE CANADIAN EXPEDITIONARY FORCE’S (CEF) SCOTTISH INFANTRY BATTALIONS AND, CONSEQUENTLY, JOINED THE 113TH LETHBRIDGE HIGHLANDERS. UPON DISEMBARKING IN ENGLAND IN 1916, THE 113TH WAS DISBANDED AND GALL WAS TRANSFERRED TO THE CEF’S 16TH SCOTTISH REGIMENT. GALL SURVIVED THE WAR, RETURNING TO CALGARY IN 1919. PLEASE SEE OTHER DONATIONS BY DR. PETER ALLEN AND ROBINA GUINN TO REFERENCE OTHER ARTIFACTS RELATED TO GLEN GALL’S FIRST WORLD WAR SERVICE. . SEE ALSO HARCOPY FILE. THE MCKENZIE TARTAN IS HISTORICALLY ASSOCIATED WITH SCOTLAND. *UPDATE* IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVERY OF MILITARY OBJECTS. SHE FOUND AN ENTRY IN THE GELNBOW ARCHIVES FOR FONDS DONATED BY GLEN R. GALL, WITH A BRIEF BIOGRAPHY THAT CONTAINS INFORMATION NOT PREVIOUSLY REFERENCE IN GALT PERMANENT FILES: GLEN RAMSAY GALL WAS BORN IN 1898 IN EDINBURGH, SCOTLAND, AND MOVED WITH HIS FAMILY TO CALGARY AROUND 1912. HE SERVED IN THE 50TH BATTALION CEF DURING WWI. GALL LATER SETTELD IN SAN ANSELMO, CALIFORNIA, AND PASSED AWAY IN 1996. THE FOLLOWING BRIEF HISTORY OF THE LETHBRIDGE HIGHLANDERS IS EXCERPTED FROM CHRISTOPHER R. KILFORD'S BOOK 'LETHBRIDGE AT WAR: THE MILITARY HISTORY OF LETHBRIDGE FROM 1990 TO 1996' (BATTERY BOOKS & PUBLISHING, 1996). "THE 113TH CANADIAN EXPEDITIONARY FORCE, THE LETHBRIDGE HIGHLANDERS, WERE ORGANIZED DECEMBER 22, 1915 [AS] PART OF A CANADIAN RECRUITING DRIVE WHERE MEN FROM THE SAME REGION COULD ENLIST AND SERVE TOGETHER. THIS TYPE OF COMMUNITY SPIRIT RECRUITING WAS VERY POPULAR AS IT DREW IN FRIENDS, NEIGHBOURS, CO-WORKERS, ETC. WITH THE PROMIS OF SERVING TOGETHER THROUGHOUT THE WAR. THE 113TH CONSISTED OF 883 MEN AND OFFICERS AND HAD ITS BARRACKS AT THE EXHIBITION GROUNDS IN LETHBRIDGE... BASIC TRAINING IN THE CEF INVOLVED RIFLE TRAINING, BOMBING OR HAND GRENADE PRACTICE, ROUTE MARCHES, RIFLE DRILL AND MANY INSPECTIONS... IN LATE MAY 1916 THE BATTALION MOVED TO SARCEE CAMP OUTSIDE CALGARY FOR FURTHER TRAINING THAT LASTED UNTIL SPETEMBER... ON SEPTEMBER 26TH 1916 THE 113TH EMBARKED ALONG WITH THE 111TH AND 145TH BATTALIONS ON THE SS TUSCANIA... UPON ARRIVING IN ENGLAND THE BATTALION WAS TAKEN TO A HOLDING CAMP AT SANDLING NEAR SHORNCLIFFE... THE COMMANDING OFFICER LEARNED THAT THE 113TH WOULD BE BROKEN UP FOR REPLACEMENTS AND WOULD NOT SEE ACTION AS A UNIT AFTER ALL... THE 113TH WAS TRANSFERRED TO THE 17TH RESERVE BATTALION CEF, THE NOVA SCOTIA HIGHLANDERS, AFFILIATED WITH THE SCOTTISH SEAFORTH HIGHLANDERS... ON OCTOBER 12, 1916 MOST OF THE OLD 113TH PROCEEDED TO FRANCE... ALMOST IMMEDIATELY 300 MEN OF THE OLD 113TH WERE ASSIGNED AS REPLACEMENTS TO ONE OF THE MOST FAMOUS BATTALIONS IN THE CEF, THE 16TH BATTALION CANADIAN SCOTTISH." SEE GALT ARCHIVES 19861100001-12 FOR PHOTOGRAPHS TAKEN BY GALL DURING HIS SERVICE WITH THE LETHBRIDGE HIGHLANDERS. SEE PERMANENT FILE P199700810001 FOR HARDCOPIES OF GLENBOW ARCHIVES FONDS DESCRIPTION AND LETHBRIDGE HIGHLANDERS HISTORY.
Catalogue Number
P19860153000
Acquisition Date
1986-10
Collection
Museum
Images
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
Other Name
MAN'S BEADED VEST
Date Range From
1850
Date Range To
1900
Material Type
Artifact
Materials
BEADWORK, VELVET, COTTON, PLASTIC
Catalogue Number
P19672432000
Material Type
Artifact
Other Name
MAN'S BEADED VEST
Date Range From
1850
Date Range To
1900
Materials
BEADWORK, VELVET, COTTON, PLASTIC
No. Pieces
1
Length
59.7
Width
49.0
Description
SIZE: 384 PLASTIC BUTTONS. LINED WITH COTTON, POSSIBLY FROM FLOUR SACK. RED COTTON BACK WITH 2 RED TIE STRINGS. CUT IN CONVENTIONAL WHITE MAN'S VEST STYLE - 3 BLACK & 1 BROWN BUTTON FRONT. FRONT PANELS ARE BLACK VELVET WITH FLORAL BEADWORK DESIGN IN RED, BLUE, GOLD, BROWN, CLEAR (OPAQUE & CLEAR BEADS). SOME PORTIONS OF BEADWORK MISSING; ESPECIALLY ON RIGHT FRONT SIDE. HANDMADE.
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
CHIPPEWA OR METIS.
Catalogue Number
P19672432000
Acquisition Date
1967-01
Collection
Museum
Less detail
Other Name
BEADED BUCKSKIN JACKET
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
LEATHER, COTTON
Catalogue Number
P19980074001
  1 image  
Material Type
Artifact
Other Name
BEADED BUCKSKIN JACKET
Date Range From
1960
Date Range To
1970
Materials
LEATHER, COTTON
No. Pieces
1
Length
72.3
Width
46.3
Description
LIGHT TAN-COLORED BUCKSKIN LEATHER JACKET. ZIPPERED FRONT. TWO FRONT WAIST POCKETS, EACH WITH BLUE, ORANGE, AND GREEN BEADED FLOWER. LEATHER FRINGE ACROSS BOTH SIDES OF CHEST, WITH SAME BEADED FLOWER ON EACH BREAST. BROWN LEATHER PATCHES ON ELBOWS; RED PLASTIC BUTTON ON CUFFS. BEADED FLORAL PATTERN WITH THREE ORANGE AND BLUE FLOWERS, LINKED BY GREEN LEAVES, ON BACK SHOULDER AREA; LEATHER FRINGE ACROSS BACK JUST BELOW. JACKET IS UNLINED. PATCHES SEWN UNDER BOTH ARMS; NUMEROUS HOLES IN LEATHER THROUGHOUT; ALSO SMALL BROWN STAIN ON FRONT OF JACKET. SLEEVE CUFFS LINED WITH WORN GREEN COTTON.
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
DONOR ACQUIRED COLLECTION AFTER PASSING OF HIS UNCLE, CLINTON BROWN. BROWN HAD LEASE LAND ON THE BLOOD RESERVE. SOME MEMBERS OF RESERVE, INCLUDING STANDING ALONE FAMILY (PETE, ALFRED) THROUGH WORK ON LAND. PIECES WERE MADE ESPECIALLY FOR BROWN. ITEMS REMAINED IN STORAGE AFTER ACQUIRED BY DONOR.
Catalogue Number
P19980074001
Acquisition Date
1998-12
Collection
Museum
Images
Less detail
Other Name
UKRAINIAN SHIRT (WOMEN'S)
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
LINEN
Catalogue Number
P19770058000
  2 images  
Material Type
Artifact
Other Name
UKRAINIAN SHIRT (WOMEN'S)
Date Range From
1970
Date Range To
1980
Materials
LINEN
No. Pieces
1
Length
122.0
Width
64.8
Description
WHITE, SIZE LARGE. WHITE LINEN MATERIAL WITH EMBROIDERED (PURPLE, BLUE, BLACK, YELLOW, BURGUNDY, GREEN) ARMS AND BODICE. NECKLINE IS BLANKET STITCHED. ATTACHED PIECE ON BOTTOM OPEN PIECE WOVEN ON LOOM. FLORAL PATTERN DESIGNED LACE CUFFS.
Subjects
CLOTHING-OUTERWEAR
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
P19770058000
Acquisition Date
1976-10
Collection
Museum
Images
Less detail
Other Name
CHILD'S (UKRAINIAN)
Date Range From
1910
Date Range To
1920
Material Type
Artifact
Materials
COTTON
Catalogue Number
P19738273000
  1 image  
Material Type
Artifact
Other Name
CHILD'S (UKRAINIAN)
Date Range From
1910
Date Range To
1920
Materials
COTTON
No. Pieces
1
Length
54.5
Description
SIZE 8. TRADITIONAL UKRAINIAN GEOMETRIC CROSS-STITCH PATTERN IN GREEN, YELLOW, PINK, BLACK, BLUE, RED. TEAR IN BACK, ALONG COLLAR SEAM, AND FRONT HEM. LOOSE BUTTON ON RIGHT CUFF. HANDMADE. SQUARE COLLAR WITH EMBROIDERY ON IT, FORMS INTO A SMALL CAPE ON BACK OF SHOULDERS.
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
*UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF MUSICAL INSTRUMENTS, INCLUDING THREE DONATED BY THE UKRAINIAN ASSOCIATION OF LETHBRIDGE. THOUGH THE ASSOCIATION HAS DISBANDED, SHE WAS ABLE TO DETERMINE THAT IT IS LIKELY THAT THIS OBJECT AND 81 OTHERS DONATED BY THE ASSOCIATION IN 1973 WERE ORIGINALLY PART OF THE GALT MUSEUM'S 'UKRAINIAN ROOM' EXHIBIT. ACCORDING TO LETHBRIDGE HERALD ARTICLES FROM 1969 AND 1976, AND PHOTOGRAPHS IN THE GALT ARCHIVES (199110764419, 1991107612370, 199110764421, AND 199110764422) THE UKRAINIAN ROOM WAS INSTALLED IN 1966, WHEN THE MUSEUM WAS MOVED FROM THE BOWMAN CENTRE TO THE GALT HOSPITAL BUILDING. THE ROOM WAS FURNISHED WITH OBJECTS DONATED BY THE UKRAINIAN ASSOCIATION, AND THE GROUP HELD ANNUAL TEAS THERE. THOUGH THE CATALOGUE NUMBERS OF THE UKRAINIAN ASSOCIATION DONATION REFLECT A 1973 DONATION DATE, THE INITIAL ACQUISITION YEAR LISTED IN HARDCOPY FILES IS 1966, WHICH ALIGNS WITH THE OPENING DATE OF THE UKRAINIAN ROOM. IN ADDITION, ARCHIVAL PHOTOGRAPHS OF THE ROOM DEPICT OBJECTS THAT ARE NOW HELD IN COLLECTIONS (P19738277001-GA, P19738277002-GA, AND P19738277003-GA CAN BE CLEARLY IDENTIFIED, WITH OTHER OBJECTS IDENTIFIED SPECULATIVELY). IN 1984 THE MUSEUM DISMANTLED ALL ITS DISPLAYS IN PREPARATION FOR THE BUILDING'S RENOVATION AND EXPANSION, AND ACCORDING TO BRAD BROWN, GALT EXHIBIT DESIGNER, WHEN THE FACILITY REOPENED TO THE PUBLIC IN 1985 ALL THE EXHIBITS HAD BEEN REWORKED, AND THE UKRAINIAN ROOM NO LONGER EXISTED. SEE PERMANENT FILE FOR HARDCOPIES OF NEWSPAPER ARTICLES.
Catalogue Number
P19738273000
Acquisition Date
1966-02
Collection
Museum
Images
Less detail
Other Name
UKRAINIAN SHIRT (MAN'S)
Date Range From
1970
Date Range To
1976
Material Type
Artifact
Materials
LINEN, EMBROIDERY
Catalogue Number
P19770057000
  1 image  
Material Type
Artifact
Other Name
UKRAINIAN SHIRT (MAN'S)
Date Range From
1970
Date Range To
1976
Materials
LINEN, EMBROIDERY
No. Pieces
2
Description
SIZE 42 MEDIUM. BLACK, RED, ORANGE, GREEN, YELLOW ON WHITE. CROSS STITCHED AROUND NECK, DOWN FRONT & CUFFS. NECK FASTENS WITH BUTTONS HIDDEN UNDER FLAP SEWN BENEATH FRONT EMBROIDERY. 2 SMALL LOOPS ON NECK PIECE, WHICH HAS A CORD RUNNING THROUGH BOTH ENABLING IT TO BE TIED. TASSEL ATTACHED TO CORD, BLACK, RED, GREEN, ORANGE. EMBROIDERY THREAD - BLACK, RED, GREEN, YELLOW. MIDDLE BUTTON ON NECK IS MISSING.
Subjects
CLOTHING-OUTERWEAR
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
P19770057000
Acquisition Date
1976-10
Collection
Museum
Images
Less detail
Other Name
MAN'S ETHNIC COSTUME
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
LINEN, COTTON
Catalogue Number
P19738285000
  1 image  
Material Type
Artifact
Other Name
MAN'S ETHNIC COSTUME
Date Range From
1900
Date Range To
1910
Materials
LINEN, COTTON
No. Pieces
1
Length
109.0
Description
SIZE 44 TALL. YELLOW EMBROIDERED HEM. CROSS-STITCHED HIGH COLLAR, FRONT PIECE. CUFFS. COLOURS: RED, YELLOW, BLUE, BLACK, BROWN, WHITE BACKGROUND. CUFFS AND NECK FASTEN WITH SNAPS. HAND SEWN. 2 SMALL HOLES IN FRONT, 1 IN BACK NEAR HEM.
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
*UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF MUSICAL INSTRUMENTS, INCLUDING THREE DONATED BY THE UKRAINIAN ASSOCIATION OF LETHBRIDGE. THOUGH THE ASSOCIATION HAS DISBANDED, SHE WAS ABLE TO DETERMINE THAT IT IS LIKELY THAT THIS OBJECT AND 81 OTHERS DONATED BY THE ASSOCIATION IN 1973 WERE ORIGINALLY PART OF THE GALT MUSEUM'S 'UKRAINIAN ROOM' EXHIBIT. ACCORDING TO LETHBRIDGE HERALD ARTICLES FROM 1969 AND 1976, AND PHOTOGRAPHS IN THE GALT ARCHIVES (199110764419, 1991107612370, 199110764421, AND 199110764422) THE UKRAINIAN ROOM WAS INSTALLED IN 1966, WHEN THE MUSEUM WAS MOVED FROM THE BOWMAN CENTRE TO THE GALT HOSPITAL BUILDING. THE ROOM WAS FURNISHED WITH OBJECTS DONATED BY THE UKRAINIAN ASSOCIATION, AND THE GROUP HELD ANNUAL TEAS THERE. THOUGH THE CATALOGUE NUMBERS OF THE UKRAINIAN ASSOCIATION DONATION REFLECT A 1973 DONATION DATE, THE INITIAL ACQUISITION YEAR LISTED IN HARDCOPY FILES IS 1966, WHICH ALIGNS WITH THE OPENING DATE OF THE UKRAINIAN ROOM. IN ADDITION, ARCHIVAL PHOTOGRAPHS OF THE ROOM DEPICT OBJECTS THAT ARE NOW HELD IN COLLECTIONS (P19738277001-GA, P19738277002-GA, AND P19738277003-GA CAN BE CLEARLY IDENTIFIED, WITH OTHER OBJECTS IDENTIFIED SPECULATIVELY). IN 1984 THE MUSEUM DISMANTLED ALL ITS DISPLAYS IN PREPARATION FOR THE BUILDING'S RENOVATION AND EXPANSION, AND ACCORDING TO BRAD BROWN, GALT EXHIBIT DESIGNER, WHEN THE FACILITY REOPENED TO THE PUBLIC IN 1985 ALL THE EXHIBITS HAD BEEN REWORKED, AND THE UKRAINIAN ROOM NO LONGER EXISTED. SEE PERMANENT FILE FOR HARDCOPIES OF NEWSPAPER ARTICLES.
Catalogue Number
P19738285000
Acquisition Date
1966-02
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
WOOL TWEED
Catalogue Number
P19840005000
  1 image  
Material Type
Artifact
Date
1963
Materials
WOOL TWEED
No. Pieces
1
Length
65
Width
55.5 (BOTTOM HEM)
Description
SIZE 12-14. STRAIGHT LINE SKIRT. BACK KICK PLEAT. SIDE PLASTIC ZIPPER CLOSURE. HAND WOVEN MATERIAL, MACHINE SEWN SKIRT. BROWN COLOR. YELLOW LINING ON INSIDE IS LOSING STITCHING.
Subjects
CLOTHING-OUTERWEAR
Historical Association
TRADES
PERSONAL CARE
History
REF: P19840004000-GA FOR COMPLETE DONOR HISTORY. SKIRT MATERIAL WOVEN BY DICKSONS & SEWN BY MRS. DICKSON. *UPDATE* IN 2017 COLLECTIONS ASSISTANT RUTHANN LABLANCE CONDUCTED A SURVEY OF CLOTHING, INCLUDING A SUIT AND SKIRT DONATED BY EVA A. DICKSON. THE FOLLOWING BIOGRAPHICAL INFORMATION WAS COMPILED USING ARTICLES FROM THE LETHBRIDGE HERALD. EVA ANN DICKSON (NEE MOFFATT) WAS THE YOUNGEST DAUGHTER OF WILLIAM MOFFAT, EX-MLA. SHE WAS MARRIED TO GEORGE ELFORD DICKSON, THE SON OF JAMES DICKSON, ON MAY 5, 1925. THE ANNOUNCEMENT FOR THEIR WEDDING GIVES THE FOLLOWING DETAILS: “THE MANY USEFUL AND COSTLY GIVES RECEIVED WERE A TESTITMONY OF THE VERY HIGH ESTEEM IN WHICH BOTH ARE HELD BY THEIR MANY FRIENDS IN AND AROUND CLARESHOLM, AND THEIR GREAT POPULARITY THROUGH OUT THE DISTRICT WHERE BOTH HAVE RESIDED FOR A NUMBER OF YEARS. THE GROOM IS A MEMBER OF THE STAFF OF THE INSPECTOR’S DEPARTMENT OF THE CANADIAN BANK OF COMMERCE AT CALGARY, BUT WAS FORMERLY ON THE STAFF OF THE LOCAL BRANCH OF THE BANK … THE BRIDGE, WHOSE PARENTS CAME HERE IN THE EARLIER DAYS OF THE TOWN AND DISTRICT, HAS GROWN UP IN THE COMMUNITY, AND HAS ENDEARED HERSELF TO A VERY LARGE CIRCLE OF FRIENDS IN CHURCH, SOCIAL, AND MUSICAL CIRCLES, AND HER PRESENCE WILL BE VERY GREATLY MISSED.” ON DECEMBER 2, 1946, AN ARTICLE ABOUT THE STAVELY UNITED CHURCH WOMEN’S ASSOCIATION APPEARED IN THE HERALD: “MRS. EVA DICKSON OF CLARESHOLM ATTENDED THE MEETING AND DISPLAYED ARTICLES SHE MAKES ON A LOOM. THESE INCLUDED LUNCHEON SETS, TOWELS, SCARVES, AND WOOLEN SUIT LENGTHS.” GEORGE ELFORD DICKSON PASSED AWAY AT THE AGE OF 83 ON JULY 1, 1983. EVA DICKSON PASSED AWAY IN 1991. SEE PERMANENT FILE FOR COPIES OF THE ARTICLES FROM THE LETHBRIDGE HERALD.
Catalogue Number
P19840005000
Acquisition Date
1984-03
Collection
Museum
Images
Less detail
Other Name
UKRAINIAN EMBROIDERED
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
LINEN
Catalogue Number
P19738272000
  1 image  
Material Type
Artifact
Other Name
UKRAINIAN EMBROIDERED
Date Range From
1900
Date Range To
1910
Materials
LINEN
No. Pieces
1
Length
61.0
Description
SIZE M. TRADITIONAL UKRAINIAN PATTERN, SILK EMBROIDERED. COLORS BROWN, ORANGE, BLUE, YELLOW, PURPLE, ON A PLAIN LINEN BACKGROUND. UNHEMMED BOTTOM, NO COLLAR, NO CUFFS (GATHERED WRIST). FLORAL PATTERN IS EMBROIDERED ON ARMS. BROWN FLORAL PATTERN SEWN VERTICALLY FROM SHOULDER OVER TO FRONT AROUND WAIST. EMBROIDERY AROUND NECK PIECE IS WORN & MOSTLY MISSING. THERE ARE TWO YELLOW YARN TIES AT NECK TO HOLD FLAPS CLOSED.
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
*UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF MUSICAL INSTRUMENTS, INCLUDING THREE DONATED BY THE UKRAINIAN ASSOCIATION OF LETHBRIDGE. THOUGH THE ASSOCIATION HAS DISBANDED, SHE WAS ABLE TO DETERMINE THAT IT IS LIKELY THAT THIS OBJECT AND 81 OTHERS DONATED BY THE ASSOCIATION IN 1973 WERE ORIGINALLY PART OF THE GALT MUSEUM'S 'UKRAINIAN ROOM' EXHIBIT. ACCORDING TO LETHBRIDGE HERALD ARTICLES FROM 1969 AND 1976, AND PHOTOGRAPHS IN THE GALT ARCHIVES (199110764419, 1991107612370, 199110764421, AND 199110764422) THE UKRAINIAN ROOM WAS INSTALLED IN 1966, WHEN THE MUSEUM WAS MOVED FROM THE BOWMAN CENTRE TO THE GALT HOSPITAL BUILDING. THE ROOM WAS FURNISHED WITH OBJECTS DONATED BY THE UKRAINIAN ASSOCIATION, AND THE GROUP HELD ANNUAL TEAS THERE. THOUGH THE CATALOGUE NUMBERS OF THE UKRAINIAN ASSOCIATION DONATION REFLECT A 1973 DONATION DATE, THE INITIAL ACQUISITION YEAR LISTED IN HARDCOPY FILES IS 1966, WHICH ALIGNS WITH THE OPENING DATE OF THE UKRAINIAN ROOM. IN ADDITION, ARCHIVAL PHOTOGRAPHS OF THE ROOM DEPICT OBJECTS THAT ARE NOW HELD IN COLLECTIONS (P19738277001-GA, P19738277002-GA, AND P19738277003-GA CAN BE CLEARLY IDENTIFIED, WITH OTHER OBJECTS IDENTIFIED SPECULATIVELY). IN 1984 THE MUSEUM DISMANTLED ALL ITS DISPLAYS IN PREPARATION FOR THE BUILDING'S RENOVATION AND EXPANSION, AND ACCORDING TO BRAD BROWN, GALT EXHIBIT DESIGNER, WHEN THE FACILITY REOPENED TO THE PUBLIC IN 1985 ALL THE EXHIBITS HAD BEEN REWORKED, AND THE UKRAINIAN ROOM NO LONGER EXISTED. SEE PERMANENT FILE FOR HARDCOPIES OF NEWSPAPER ARTICLES.
Catalogue Number
P19738272000
Acquisition Date
1966-02
Collection
Museum
Images
Less detail
Other Name
MAN'S TRADITIONAL DRESS
Date Range From
1900
Date Range To
1910
Material Type
Artifact
Materials
RAYON, LINEN, SATIN, WOOL, VELVETEEN, LAMB SKIN
Catalogue Number
P19738206000
  2 images  
Material Type
Artifact
Other Name
MAN'S TRADITIONAL DRESS
Date Range From
1900
Date Range To
1910
Materials
RAYON, LINEN, SATIN, WOOL, VELVETEEN, LAMB SKIN
No. Pieces
5
Description
.1 ASTRAKHAN CAP. 17.0 CM HT X 20 CM (W). PERSIAN LAMB, GOAT SKIN. BLACK PERSIAN LAMB COVER, BLACK, BROWN, AND WHITE GOAT SKIN LINING. .2 MAN'S COAT. RAYON, LINEN, SATIN. SIZE: M. BEIGE COAT WITH BLUE CROSS STITCH ON BORDER AND CUFFS. PINK SATIN LINING. STAND-UP COLLAR. HOOK AND EYE AT NECK. .3 MAN'S TUNIC. LINEN. SIZE: M. BREAST PIECE, COLLAR AND CUFFS OF EMBROIDERED LINEN SEWN TO TUNIC IN TRADITIONAL UKRAINIAN COLORS. STAND-UP COLLAR, SHORT CUFFS ON SLEEVES GATHERED AT WRISTS, RED TASSELS AT NECK AND WRISTS. .4 MAN'S SASH. 12.7 CM WTH., 22.3 CM LTH. WOOL. TRADITIONAL UKRAINIAN GEOMETRIC PATTERN. COLOURS: GREEN, YELLOW, BLUE, BLACK, WHITE AND RED. .5 MEN'S TROUSERS. BLUE VELVETEEN. SIZE: 29 LEG, 34 WAIST. GATHERED AT ANKLE.
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
UKRAINE . *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF MUSICAL INSTRUMENTS, INCLUDING THREE DONATED BY THE UKRAINIAN ASSOCIATION OF LETHBRIDGE. THOUGH THE ASSOCIATION HAS DISBANDED, SHE WAS ABLE TO DETERMINE THAT IT IS LIKELY THAT THIS OBJECT AND 81 OTHERS DONATED BY THE ASSOCIATION IN 1973 WERE ORIGINALLY PART OF THE GALT MUSEUM'S 'UKRAINIAN ROOM' EXHIBIT. ACCORDING TO LETHBRIDGE HERALD ARTICLES FROM 1969 AND 1976, AND PHOTOGRAPHS IN THE GALT ARCHIVES (199110764419, 1991107612370, 199110764421, AND 199110764422) THE UKRAINIAN ROOM WAS INSTALLED IN 1966, WHEN THE MUSEUM WAS MOVED FROM THE BOWMAN CENTRE TO THE GALT HOSPITAL BUILDING. THE ROOM WAS FURNISHED WITH OBJECTS DONATED BY THE UKRAINIAN ASSOCIATION, AND THE GROUP HELD ANNUAL TEAS THERE. THOUGH THE CATALOGUE NUMBERS OF THE UKRAINIAN ASSOCIATION DONATION REFLECT A 1973 DONATION DATE, THE INITIAL ACQUISITION YEAR LISTED IN HARDCOPY FILES IS 1966, WHICH ALIGNS WITH THE OPENING DATE OF THE UKRAINIAN ROOM. IN ADDITION, ARCHIVAL PHOTOGRAPHS OF THE ROOM DEPICT OBJECTS THAT ARE NOW HELD IN COLLECTIONS (P19738277001-GA, P19738277002-GA, AND P19738277003-GA CAN BE CLEARLY IDENTIFIED, WITH OTHER OBJECTS IDENTIFIED SPECULATIVELY). IN 1984 THE MUSEUM DISMANTLED ALL ITS DISPLAYS IN PREPARATION FOR THE BUILDING'S RENOVATION AND EXPANSION, AND ACCORDING TO BRAD BROWN, GALT EXHIBIT DESIGNER, WHEN THE FACILITY REOPENED TO THE PUBLIC IN 1985 ALL THE EXHIBITS HAD BEEN REWORKED, AND THE UKRAINIAN ROOM NO LONGER EXISTED. SEE PERMANENT FILE FOR HARDCOPIES OF NEWSPAPER ARTICLES.
Catalogue Number
P19738206000
Acquisition Date
1966-02
Collection
Museum
Images
Less detail
Other Name
WOMAN'S TRADITIONAL DRESS
Date Range From
1955
Date Range To
1965
Material Type
Artifact
Materials
VELVETEEN, COTTON, SATIN
Catalogue Number
P19738223000
  4 images  
Material Type
Artifact
Other Name
WOMAN'S TRADITIONAL DRESS
Date Range From
1955
Date Range To
1965
Materials
VELVETEEN, COTTON, SATIN
No. Pieces
8
Description
.1 WOMAN'S VEST. 64(L) X 44(W). VELVETEEN, CROSS STITCH, SEQUINS, RHINESTONES. SIZE MEDIUM. BORDER DECORATED IN SILVER, BLUE, GREEN AND CLEAR SEQUINS. GLASS BEAD & WHITE RHINESTONES. UKRAINIAN FLORAL CROSS-STITCH PATTERN IN RED, WINE, GREEN. LINING OF BLACK RAVENNA. .2 WOMAN'S BLOUSE. 49(L) X 41(W). COTTON, CROSS-STITCH, EMBROIDERY. SIZE: 10. UKRAINIAN FLORAL AND GEOMETRIC PATTERNS. COLORS: BLACK, WINE, GREEN, YELLOW, 2 SNAP FASTENERS AT NECK. NO COLLAR. GATHERED AT WAIST. .3 WOMAN'S SASH. GEOMETRIC PATTERN. MACHINE MADE. WHITE, RED AND BLACK. .4 APRON. 61(L - W/O TIES) X 54(W). RAYON-LINEN, RAYON FRINGE, CROSS-STITCH. COLORS: GREEN, YELLOW, BLACK, RED, PURPLE AND PINK. .5 WOMAN'S SKIRT. 68.6 CM LTH. COTTON, SATIN, RIBBONS. RED COTTON DECORATED WITH WHITE, GREEN, PINK AND BLUE RIBBONS. HAND MADE. .6 WOMAN'S SLIP. COTTON, COTTON EYELET. SIZE: 10. WHITE. .7 WOMAN'S FLOWER AND RIBBON HEADDRESS. 83.9 CM (RIBBONS). CLOTH, FLOWERS, RIBBONS, COLORS: RED, PINK, GREEN, GOLD, BLUE, WHITE. .8 COSTUME BEAD NECKLACE. 38.1 CM WTH. WOODEN BEADS, GILT METAL.THREE STRAND ORANGE PAINTED WOODEN BEADS AND ALSO GILT BEADS. CLASP IS GILT METAL.
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
UKRAINIAN HERITAGE. SEE PERMANENT FILE FOR INSTRUCTIONS AND PHOTOGRAPHS RELATED TO COSTUME’S DRESSING. *UPDATE* IN 2015 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF MUSICAL INSTRUMENTS, INCLUDING THREE DONATED BY THE UKRAINIAN ASSOCIATION OF LETHBRIDGE. THOUGH THE ASSOCIATION HAS DISBANDED, SHE WAS ABLE TO DETERMINE THAT IT IS LIKELY THAT THIS OBJECT AND 81 OTHERS DONATED BY THE ASSOCIATION IN 1973 WERE ORIGINALLY PART OF THE GALT MUSEUM'S 'UKRAINIAN ROOM' EXHIBIT. ACCORDING TO LETHBRIDGE HERALD ARTICLES FROM 1969 AND 1976, AND PHOTOGRAPHS IN THE GALT ARCHIVES (199110764419, 1991107612370, 199110764421, AND 199110764422) THE UKRAINIAN ROOM WAS INSTALLED IN 1966, WHEN THE MUSEUM WAS MOVED FROM THE BOWMAN CENTRE TO THE GALT HOSPITAL BUILDING. THE ROOM WAS FURNISHED WITH OBJECTS DONATED BY THE UKRAINIAN ASSOCIATION, AND THE GROUP HELD ANNUAL TEAS THERE. THOUGH THE CATALOGUE NUMBERS OF THE UKRAINIAN ASSOCIATION DONATION REFLECT A 1973 DONATION DATE, THE INITIAL ACQUISITION YEAR LISTED IN HARDCOPY FILES IS 1966, WHICH ALIGNS WITH THE OPENING DATE OF THE UKRAINIAN ROOM. IN ADDITION, ARCHIVAL PHOTOGRAPHS OF THE ROOM DEPICT OBJECTS THAT ARE NOW HELD IN COLLECTIONS (P19738277001-GA, P19738277002-GA, AND P19738277003-GA CAN BE CLEARLY IDENTIFIED, WITH OTHER OBJECTS IDENTIFIED SPECULATIVELY). IN 1984 THE MUSEUM DISMANTLED ALL ITS DISPLAYS IN PREPARATION FOR THE BUILDING'S RENOVATION AND EXPANSION, AND ACCORDING TO BRAD BROWN, GALT EXHIBIT DESIGNER, WHEN THE FACILITY REOPENED TO THE PUBLIC IN 1985 ALL THE EXHIBITS HAD BEEN REWORKED, AND THE UKRAINIAN ROOM NO LONGER EXISTED. SEE PERMANENT FILE FOR HARDCOPIES OF NEWSPAPER ARTICLES.
Catalogue Number
P19738223000
Acquisition Date
1966-02
Collection
Museum
Images
Less detail
Other Name
TRADITIONAL SLOVAKIAN COSTUME
Date Range From
1930
Date Range To
1950
Material Type
Artifact
Materials
COTTON, LACE, RAYON
Catalogue Number
P20060037000
  2 images  
Material Type
Artifact
Other Name
TRADITIONAL SLOVAKIAN COSTUME
Date Range From
1930
Date Range To
1950
Materials
COTTON, LACE, RAYON
No. Pieces
7
Description
SLOVAKIAN COSTUME INCLUDES 7 PIECES: SKIRT, COLLAR, APRON, VEST, BONNET, SASH AND BLOUSE. 1. WHT LACE COLLAR WITH A BAND OF SEQUINS WRAPPED IN THICK SILVER THREAD. SAFETY PIN CLOSURE. 37(L) X 37 (W). 2. BL RAYON VEST DISPLAYS ASYMMETRICAL DESIGN. RIBBON DESIGN MADE FROM WEAVE METAL BRAID. SILVER STAR/FLORAL EMBOSSED BUTTONS, LINING THE FRONT OPENING. EMBROIDERED FLORAL DESIGN DECORATES FRONT VEST. OFF WHT LINING STAMPED “MARTIN OTEPKA HLUBOKA” ON LOWER FRONT/LEFT CORNER. 51(L) X 39(W). 3. OFF WHT CHIFFON BLOUSE. SHORT WAISTED PLEADED BODY AND LARGE LACE CUFFS. SAFETY PIN CLOSURE. 38 (L) X 66 (W). 4. LACE WHT BONNET. EMBROIDERED BAND NEAR TOP BACK FEATURES EMBROIDERED GEOMETRIC DESIGN. WHT EMBROIDERED SASH RIBBON ATTACHED TO BACK. 24 (L) X 18 (W). 5. OFF WHT SASH RIBBON WITH EMBROIDERED FLORAL MOTIF. ENDS ARE FRAYING. 63.5 (L) X 4 (W). 6. ROYAL BL APRON. ATTACHED WHT BELT EDGED WITH YLLW AND EMBROIDERED WITH FOAL MOTIF IN PNK, YLLW AND WHT. BASE OF APRON FRAYED AND FEATURES EMBROIDERED FLORAL MOTIF BORDER. 61.5 (L) X 74 (W). 7. PRPL AND WHT PERMA-PLEATED SKIRT WITH WHT COTTON EDGING. SQUARE PATCH ON BACKSIDE IS A DIFFERENT PRPL AND WHT PATTERN. STRING AT TOP OF WAIST ACTS AS CLOSURE. 87.5(L) X 74(W).
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
THE TRADITIONAL SLOVAKIAN COSTUME BELONGED TO MRS. KATHERINA (KATIE) BRECKA (NEE KADLICEK) (1908-1997), AN IMMIGRANT TO THE PICTURE BUTTE AREA. BORN IN ROVENSKO, CZECHOSLOVAKIA, MRS. BRECKA IMMIGRATED TO CANADA WITH HER HUSBAND AND TWO YOUNG SONS IN 1938. LIMITED BY THE NUMBER OF PERSONAL BELONGINGS SHE COULD BRING TO CANADA, BRECKA BROUGHT THIS DRESS BECAUSE IT REPRESENTED HER BEST SET OF CLOTHING AND WAS AN IMPORTANT REMINDER OF HER HOME. SHE SET THE CLOTHING ASIDE FOR SPECIAL OCCASIONS SUCH AS WEDDINGS, FESTIVALS, DANCES AND FOR CHURCH. UNAWARE THAT THIS WAS NOT COMMON FASHION IN CANADA SHE IS QUOTED SAYING “I NEVER THINKING DRESSES DIFFERENT HERE IN THIS COUNTRY, NOW I GO TO EATON’S”. DRESS WAS ALSO WORN BY VIOLIN PLAYER, CAROLYN KLAUSE, DURING A RECITAL IN WETASKIWIN, AB. THE DONOR REQUESTED THE COSTUME FROM MRS. BRECKA ON BEHALF OF THE VIOLINIST. KLAUSE PLAYED A CZARDAS, A NATIVE DANCE FROM MRS. BRECKA'S HOME LAND. AFTER THE LONG JOURNEY FROM SLOVAKIA TO CANADA, THE BRECKA FAMILY HAD A SHORT ONE MONTH STAY IN IRON SPRINGS WHERE THEY WORKED IN SUGAR BEET FIELDS. AFTER THAT, THEY MOVED TO THE FARM THAT THEY PURCHASED FROM JOHN SCHUMAKR IN PICTURE BUTTE. KATIE BRECKA SURVIVED HER HUSBAND JOHN BRECKA (WHO DIED IN 1960), LIVING IN PICTURE BUTTE UNTIL HER DEATH (JUNE 6, 1997) AT THE AGE OF 88. *UPDATE* IN 2017 COLLECTIONS ASSISTANT ELISE PUNDYK CONDUCTED A SURVEY OF BOXED TEXTILE ARTIFACTS, INCLUDING THIS TRADITIONAL SLOVAKIAN COSTUME. THE PERMANENT FILE INDICATES THAT KATIE WAS BORN ON NOVEMBER 23, 1908. HER AND JOHN BRECKA'S SONS WERE NAMED VLADIMIR AND DRAHOTIN (STAN). IN 1942, AFTER THE FAMILY WAS SETTLED IN CANADA, THEY HAD A DAUGHTER NAMED YARMILA (GERALDINE). THE DONOR, CATHRYN BRECKA IS THE WIFE OF VLADIMIR. THE DATE OF THE VIOLIN RECITAL IN WETASKIWIN WAS MARCH 1978. THERE IS A NOTE IN THE PERMANENT FILE THAT STATES THAT THE COSTUME IS PRESUMED TO BE MADE BY FAMILY. FOR MORE INFORMATION PLEASE SEE PERMANENT FILE.
Catalogue Number
P20060037000
Acquisition Date
2006-10
Collection
Museum
Images
Less detail
Other Name
DUTCH CANADIAN CLUB FOLK COSTUME
Date Range From
1988
Date Range To
2004
Material Type
Artifact
Materials
LINEN, VELVET, PLASTIC
Catalogue Number
P20150005000
  2 images  
Material Type
Artifact
Other Name
DUTCH CANADIAN CLUB FOLK COSTUME
Date Range From
1988
Date Range To
2004
Materials
LINEN, VELVET, PLASTIC
No. Pieces
4
Length
75
Width
46
Description
.A – LONG-SLEEVED SHIRT MADE OF BLUE AND WHITE STRIPED LINEN, WITH RED COLLAR. COLLAR HAS CUFFLINK-STYLE CLOSURE WITH METAL BUTTONS THAT DEPICT A CREST AND TEXT READING “… TONANTI…”. SIX CLEAR PLASTIC BUTTONS DOWN FRONT AND ONE AT EACH CUFF. CHEST POCKET ON LEFT SIDE. OVERALL VERY GOOD CONDITION. 75 X 46 .B – RED LINEN LONG-SLEEVED JACKET. OPEN FRONT, WITH TWO RED BUTTON CLOSURES AT WAIST LINE HEM. OVERALL VERY GOOD CONDITION. 71 X 46 .C – BLACK LINEN PANTS WITH PLEATED WAIST AND WIDE LEGS. FRONT WAIST CLOSURE HAS TWO METAL BUTTONS WITH IMAGE OF BIRD AND TEXT READING “SPES NOSTRA ES DEVS”. BACK WAIST CLOSURE HAS TWO HOLES ON EITHER SIDE OF WAISTBAND. OVERALL VERY GOOD CONDITION. 101.5 X 49 .D – BLACK VELVET CAP, MADE FROM A STRIP OF FABRIC THAT TIES AT BACK WITH SIX GREEN RIBBONS THAT ARE SEWN INTO SEAM. INNER CAP IS BLACK VELVET AND LINEN SEWN TO BOTTOM SEAM OF OUTER EDGE. LENGTH OF GREEN YARN ATTACHED TO RIBBON WITH METAL SAFETY PIN. BOTTOM RIBBON IS FRAYED. OVERALL VERY GOOD CONDITION. 13.5 X 21
Subjects
CLOTHING-OUTERWEAR
Historical Association
ASSOCIATIONS
PERSONAL CARE
ETHNOGRAPHIC
History
THIS COSTUME WAS WORN BY WIM VONKEMAN DURING HIS PARTICIPATION IN THE EVENTS AND ACTIVITIES OF THE DUTCH CANADIAN CLUB OF LETHBRIDGE. BORN IN THE NETHERLANDS IN 1929, VONKEMAN IMMIGRATED TO CANADA IN 1981 WITH HIS WIFE TRUDY AND THEIR THREE CHILDREN, ANINE, ALWIN, AND HERWIN, SETTLING IN THE PICTURE BUTTE AREA. VONKEMAN WAS INSTRUMENTAL IN THE ESTABLISHMENT OF THE DUTCH CANADIAN CLUB, AND WAS ACTIVE WITH THE GROUP UNTIL HIS DEATH IN 2004. ON JANUARY 21, 2015 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DONOR, TRUDY VONKEMAN, ABOUT THIS COSTUME AND HER HUSBAND WIM’S INVOLVEMENT WITH THE DUTCH CANADIAN CLUB OF LETHBRIDGE. SHE SAID: “MY HUSBAND’S FAMILY WENT [TO CANADA] IN 1952 – HE WAS THE ELDEST SON AND HAD A NICE JOB IN HOLLAND SO HE STAYED BEHIND. THEN WE MET AND MARRIED AND HAD KIDS, AND IN 1979 WE WENT ON HOLIDAYS [IN CANADA] WITH THE KIDS FOR FOUR WEEKS… THEY ENJOYED IT VERY MUCH AND WHEN WE WERE BACK IN HOLLAND I HEARD MY TWO SONS [SAYING] ‘AFTER SCHOOL WE GO TO CANADA’… I SAID TO MY HUSBAND, ‘LET’S GO THEN AS A FAMILY, I DON’T WENT TO SPLIT THE FAMILY LATER’… THERE WAS A BIG FAMILY WAITING [IN CANADA] AND MY PARENTS DIED [IN 1979 AND 1980] SO THERE WAS NO REASON NOT TO DO IT [WHILE] WE WERE STILL YOUNG ENOUGH. I WAS 47 AND MY HUSBAND WAS 51, BUT STILL WE MADE IT. THE WHOLE FAMILY LOOKED AFTER US [AND] THERE WAS A JOB ON THE FARM [OUTSIDE PICTURE BUTTE]... WE DIDN’T NEED TO IMMIGRATE BECAUSE IT WAS EVEN BETTER IN HOLLAND THAN WHEN WE CAME HERE. STILL, ONE OF THE LAST THINGS MY HUSBAND SAID TO ME [WAS] ‘WE HAD LESS MONEY HERE IN CANADA BUT I’M GLAD WE WENT.’” VONKEMAN CONTINUED: “IN HOLLAND, THE CHURCH WHERE I BELONGED TO, THE WOMEN WERE PASTORS. HERE, NOT. AND I STOPPED GOING WHEN… THERE WAS SOMETHING THE MEN HAD TO DECIDE AND THE WOMEN COULD [ONLY] GO TO THE KITCHEN AND MAKE COFFEE. I WAS SO MAD [I DECIDED] I’M NOT GOING ANYMORE… [BUT WIM], HIS BACKGROUND, WE DUTCH PEOPLE DO SOMETHING TOGETHER… HE WANTED TO BE ACTIVE TO SHOW SOMETHING ABOUT WHERE HE COMES FROM… HE MET SOME OTHER DUTCH PEOPLE [AND] SET UP THE DUTCH CANADIAN CLUB… HE STARTED WITH DICK VAN GROOTHEEST AND HERMAN SIEMENS AND HE TOOK THE INITIATIVE… HE WANTED TO ORGANIZE AND DO STUFF. HE WAS NOT ONE TO SIT AROUND AND READ A BOOK… HE WAS ALWAYS BUSY AND TRYING TO FIND NEW THINGS [FOR THE CLUB] TO DO… I WAS IN THE BACKGROUND, HELPING WITH THE ORGANIZING AND HELPING HIM THINK ABOUT THINGS… WIM STARTED [THE CLUB’S] MAGAZINE, ‘VAN DE HAK OP DE TAK’ [ROUGHLY TRANSLATES TO ‘DOWN THE GRAPE VINE’]… THE CLUB HAD A FOLK DANCE GROUP AND THEY HAD THIS SUIT FOR IT. [THE DESIGN] IS FROM A CERTAIN PART OF HOLLAND [CALLED] VOLENDAM… A LITTLE FISHER TOWN WHERE ALL THE MEN WORE THIS IN THE PAST… [THE CLUB’S DANCE GROUP] WENT AROUND AND DANCED IN OLD FOLKS HOMES… AND THEY HAD A CHOIR TOO, ALL DRESSED UP IN VOLENDAM COSTUMES, SINGING ON DIFFERENT EVENINGS… YOU HAVE EVENINGS WHERE YOU DANCE AND YOU HAVE A MEAL, AND DRINK A GLASS OF WINE, AND HAVE FUN.” ON JUNE 24, 2015 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED WIM VONKEMAN’S DAUGHTER, ANINE. SHE SAID: “AFTER MY DAD PASSED AWAY, WE HAD [THE COSTUME] DRY-CLEANED… AND I COULDN’T GET RID OF IT. IT HAD TO GO BACK TO THE DUTCH CANADIAN CLUB, TO THE DANCERS, SO THAT SOMEONE ELSE COULD WEAR IT. MY DAD WAS PRETTY SHORT, AND IT WAS A SPECIFIC SIZE FOR HIM [AND] IT WAS PART OF HIM, SO I JUST COULDN’T GET RID OF IT… WHEN I KEPT IT, I KNEW THAT I WAS NOT GOING TO KEEP IT MYSELF FOREVER, AND THAT IT SHOULD GO INTO THE MUSEUM… BECAUSE MY DAD HELPED ESTABLISH THE DUTCH CANADIAN CLUB… IT SUCH A BIG PART OF THE WHOLE LETHBRIDGE STORY… HE SET UP THE ASSOCIATION IN CONJUNCTION WITH OTHER PEOPLE, IN AN EFFORT TO MAINTAIN A CONNECTION BETWEEN DUTCH CANADIANS, AND KEEP SOME TRADITIONS GOING, OR BRING SOME NEW TALENTS. AND HE DID A LOT OF STUFF CROSS-CULTURALLY WITH CANADIANS AND DUTCH PEOPLE, BRINGING CHOIRS AND DANCERS OVER FROM HOLLAND, DOING STUFF IN THE STATES WITH OTHER DUTCH ASSOCIATIONS, AND JUST TRYING TO CONNECT PEOPLE… THERE ARE MANY RURAL DUTCH-CANADIANS – FARMERS, FARMERS’ FAMILIES – BUT THERE’S ALSO LOTS OF PEOPLE IN LETHBRIDGE AND SMALLER COMMUNITIES. BUT THEY ASSOCIATE THROUGH CHURCHES, I THINK… AND MY MOM AND DAD LEFT THE CHURCH [SO] THAT COMMUNITY, FOR THEM, WAS NOT THERE. MY DAD LIKED SINGING IN THE CHOIR IN THE CHURCH, SO PERHAPS HE WAS FILLING A BUNCH OF HIS OWN NEEDS BY SETTING [THE DUTCH CANADIAN CLUB] UP, AND ALSO FOR OTHERS IN THE COMMUNITY.” SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND INFORMATION ON THE DUTCH CANADIAN CLUB OF LETHBRIDGE. FOR PHOTOGRAPHS SHOWING WIM VONKEMAN WEARING THE COSTUME, SEE GALT ARCHIVES 20150075. FOR MORE INFORMATION ON THE VONKEMAN FAMILY, SEE P20150022000.
Catalogue Number
P20150005000
Acquisition Date
2015-01
Collection
Museum
Images
Less detail

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