An exhibition designed and curated by Paul Hardy The Animal Kingdom and Its Influence Kaleidoscopic Animalia: As Glenbow’s artist in residence for 2015, The subject of this exhibition is also an An exhibition designed acclaimed Calgary-based fashion designer opportunity to reflect on societal views towards and curated by Paul Hardy Paul Hardy was inspired by our vast collection the use of animals for things such as fashion, to curate an exhibition on how animal imagery and how those views have changed through Our bond with animals has existed in several forms: and symbolism have influenced human creativity time. Like many museums, Glenbow’s collection from a primeval interplay of hunter versus prey; to an across time and cultures. contains historical objects made from evolution with fibers, textiles and tanning; to utilitarian now-endangered species, or materials no needs for farming and transport; to a union in sports, Paul has brought a unique curatorial and longer considered acceptable for use, regardless entertainment and the domestication of pets; and to a Contents design perspective to Kaleidoscopic Animalia. of purpose. In displaying these historical artifacts, visual appreciation of animal aesthetics as seen in arts Animal-inspired artifacts and artwork from every our aim is to encourage thought and discussion and interiors. Trapped in Tradition 2 area of the museum’s collection are juxtaposed about the history associated with those items, Artificial Tundra 4 with iconic fashion items and original designs Paul changes in values and how we see our place in the Regardless of the reason, it is evident that this created for the exhibition. It is this kind of unique world relative to other species. alliance has permeated every facet of the landscape Beyond the Looking Glass 6 of life – design in particular. In view of this subject’s insight into the collections that we hope our artists Eclipsed Wings of Freedom 8 in residence will discover during their residency, The complex relationship between people and transcendent impact in global society, as Glenbow’s and then find a way to share it with visitors. animals is revealed in the social, symbolic and artist in residence, I opted to gleefully examine the Everything Isn’t Always Black and White 10 historic influence animals have had on design and artistic expression of many cultures. It is our Abundant Life 12 This exhibition is engaging on many levels. hope that Kaleidoscopic Animalia will prompt culture, with highlights reflecting the multiculturalism In some of the windows, Paul purposefully chose conversations about consumption, conservation, of Canadian Life. Sized Up 14 to mix items from different cultures as a way creation, inspiration, art and design. to highlight the universal appeal of animals; My desire in creating this exhibition was to startle the Harvie’s Blue Plate Special 16 illustrate the significance of animals to many viewer by creating a collision with tradition, and by Beastly Fetish 20 different cultures; or emphasize the timeless desire presenting a fresh outlook on how we view this influence – whether functional, fashionable or both – for in art, interiors, lifestyle, music and pop culture. On with the Show… 22 animal-inspired products. My intention, although elusive in meaning, is to Man’s Best Friend 24 One can also appreciate the aesthetics of the art, engage viewers’ minds and eyes by demonstrating a Homestretch 26 knowing historicism reflected in the items selected artifacts and fashion presented and consider G’Ma’s Curio Cupboard 28 each item individually – how was it made, what from Glenbow’s collection, and by presenting a visual materials were used to make it, and what about kaleidoscope of contemporary life punctuated by Curtain Call 30 colour and design? There is also the cultural animal influences. Positioned for a Z-twist Spin 32 significance of these items – who made them, how and when were they used and what importance - Paul Hardy did they have in the time and place where they were created? And, of course, consideration of the animals represented – whether through form or materials – invites us to question the significance of animals to a particular time and culture.

KALEIDOSCOPIC ANIMALIA 1 Trapped in Tradition Canadians’ relationship with animals is ingrained in our history. This window is a unique portrayal of these deep-rooted connections, referencing the fur trade and the importance of the beaver; 2. the influence of animals in our provincial and territorial identities; and how animal imagery is used to brand products we consume every day.

1. Emblazoned on each province and territory on this map • Alberta: The Rocky Mountain bighorn sheep is Alberta’s is a logo for a product (made in that province or territory) official mammal. Prehistoric remains have been found in that uses an animal as a way to brand that product. most of the river valleys across Alberta, showing that at one time some of the largest herds of Rocky Mountain The Canadian marketplace is flled with products that bighorn sheep roamed the province. use iconic animals (and their associated characteristics) 1. • Saskatchewan: The sharp-tailed grouse is a popular game to help market food (cheeses, creams, packaged fsh) bird and does not migrate south for the winter. and beverages (cofees, wines and beers) from across the • Manitoba: The bison is featured prominently on the country. Our thanks to each of these companies for allowing shield in the centre of Manitoba’s coat of arms. us to reproduce their logos here. 4. • Ontario: The common loon can be found on many lakes • Yukon: Yukon Brewing, Rapscallions Cousine and rivers in the province. • Northwest Territories: Sapsucker, Sapsucker Birch Syrup • Quebec: The snowy owl is one of the largest species of owl in the world. • Nunavut: Truly Wild, Truly Wild Arctic Char • New Brunswick: The black-capped chickadee is a small, • British Columbia: Phillips Brewing, Amnesiac tame acrobatic bird. 3. • Alberta: Grizzly Paw Brewing, Rutting Elk Red • Prince Edward Island: The blue jay is common on the • Saskatchewan: Paddock Wood Brewing, Loki Double IPA Island throughout the year. • Manitoba: Half Pints Brewing, Isolator Dopplebock • Newfoundland: The woodland caribou, found • Ontario: Kensington Brewing Co., Baldwin Fish Eye throughout Newfoundland and Labrador, was adopted • Quebec: Fromagerie Les Folies Bergères, Le Jupon Frivole by members of the Royal Newfoundland Regiment as their animal mascot. • New Brunswick: Picaroons Brewing Company, Feels Good Imperial Pilsner 3. Paul Hardy designed this custom corseted gown, made • Nova Scotia: Laughing Whale Coffee from Hudson’s Bay Company (HBC) wool point blankets • Prince Edward Island: Upstreet Craft Brewing and trimmed in beaver fur repurposed from a vintage Commons, Czech Style Pilsner beaver fur coat, as a nod to the role of the HBC – and the Trapped in Tradition • Newfoundland: Screech Rum, Screech Rum beaver – in Canada’s history. List of Artifacts, Artwork and Fashion (Collection of Glenbow unless otherwise noted) 2. Each Canadian province and territory has chosen an animal 4. The mannequin is holding a beaver fur muf (ca. 1950s) – Top row, from left to right – Raven by Chief Henry Speck: watercolour on paper, undated; Gyrfalcon by Louis Agassiz Fuertes: watercolour on paper, (sometimes a bird, mammal or both) to help form part of a reference to the beaver’s importance in the founding of undated; and Big Dog by Lizzie Saggiak [artist], Iyola Kingwatsiak [printer]: stonecut on paper, 1963 their identity. Featured on this wall are images of 13 of these the frst colonies in Canada and in the expansion of the Middle row, from left to right – Steller’s Jay by Allan Cyril Brooks: watercolour on paper, 1913; Adult and Yearling Mountain Sheep by William Jacob Hays: animals by some of the most highly regarded wildlife artists country through the fur trade. In the late 1600s and early oil on canvas, undated; Sharp-Tailed Grouse by Frank L. Beebe: gouache on paper, undated; Bird by Bruno Bobak: woodcut on paper, undated; of their eras, including Allan Cyril Brooks (1869-1946); 1700s, beaver fur hats were the fashion of the day, resulting Snowy Owl by John James Laforest Audubon: mechanical reproduction, undated; Blue Jay by Louis Agassiz Fuertes: gouache on paper, 1921; Louis Agassiz Fuertes (1874-1927); William Jacob Hays in the demand for beaver pelts. There were an estimated six and Caribou Study by William Jacob Hays: oil on board, undated (1830-1875); and John James Audubon (1785-1851). million beavers in Canada before the start of the fur trade; Bottom row, from left to right – Buffalo Study by Albert Bierstadt: oil on canvas, undated; Chickadee by Dale DeArmond: woodcut on paper, 1980; during its peak, 100,000 pelts were being shipped to Europe and Osprey by A.W. Seaby: woodcut on paper, undated • Yukon: The raven is seen everywhere in Yukon and is an intelligent bird and an opportunistic feeder. each year. But due to changes in fashion and silk fabric On the mannequin – Muff: fur, ca. 1950s; Hat: sealskin and sateen, ca. 1900-18; Custom Paul Hardy corseted gown made from Hudson’s Bay Company • Northwest Territories: The gyrfalcon is the largest of the being a cheaper alternative to beaver felt, by the 1840s silk wool point blankets and trimmed with beaver fur from a vintage beaver fur coat falcons and breeds throughout the tundra. hats became the fashionable choice. • Nunavut: The Canadian Inuit dog is called Qimmiq in Inuktitut and, from archaeological evidence, is known to Since 1867, the beaver has appeared on the official coat of have been resident in the Arctic for at least 4000 years. arms of the Canadian Government and it acquired official • British Columbia: The Steller’s jay is found throughout status as an emblem of Canada in March 1974. BC and is a lively and smart bird.

2 KALEIDOSCOPIC ANIMALIA KALEIDOSCOPIC ANIMALIA 3 Artificial Tundra In this scene on the frozen tundra, a correlation is made between the functional influences animals have had on fashion design (cold-weather climates in particular) and demonstrates that this influence transcends cultural lines. As well, the artwork included allows us to appreciate species 1. and natural phenomena without venturing into the Arctic’s cold weather climate.

1. In the frst half of the twentieth century, Carl Rungius Relative to caribou hides, the duckskins are warm, but established a reputation as the most important painter of less resistant to wear and tear. The thick layer of plumage big game in North America. An avid sportsman, Rungius that provides insulation from cold can also make the skins spent more time in the wilderness than other artists – bulky and inflexible. Different parts of the bird skins have direct observation in nature was necessary to enhance his diferent characteristics, and, as bird skins are small, many 2. knowledge of animals and their environment. This grand skins must be pieced together to construct a full coat. painting is one of several commissioned by the New York Zoological Society. The Inuit give each part of the eider skin its own name and use. The large timik portion of the eider skin is the principle material used for the coat, and is a large sheet of skin that includes the breast and belly. The timik is also the warmest 2. This tusk comes from a narwhal, an Arctic whale part, undoubtedly due to the fact that the eider spends the 4. characterized by a single, spiraled tooth that is unique in greater part of its life afoat in frigid seas, relying largely all of nature. Extending six to nine feet, the tooth emerges upon this cushion of feather and down to remain warm, from the upper jaw and through the upper lip of adult dry and buoyant. males. In some cases females may have an elongated tooth, and rarer are whales with two protruding teeth. The artist credited with carving this tooth is Anawakulo, a Nunavut artist who carved hunting scenes into the ivory tooth. 5. Known as Kikituk by the Inupiat, this animal fgure talisman of porous whalebone was used by shamans. The fgure is dragon-like in shape with white bone eyes and teeth made of white bone. The talisman is kept inside the parka, under 3. In creating this artwork, artist Richard Prince was inspired the arm of the owner. When its owner is in peril, the little 3. by a visit to Glenbow when it frst opened almost 50 years charm grows until it is large enough to destroy the enemy. 5. ago. Prince had always been intrigued by the Northern It is said that the bite of a Kikituk contained great magic Lights and the sled portion of the work references an and could either kill in the near instant or heal the greatest artifact in Glenbow’s collection related to the search for of wounds. the Franklin Expedition.

4. This hooded, slip-on style duckskin parka was made in the Belcher Islands, located in southeastern Hudson Bay. There are no caribou on the islands (caribou skins are used for Artificial Tundra clothing elsewhere in the Arctic) so the Inuit of Belcher Island have used eider duck for clothing and other purposes (eider List of Artifacts, Artwork and Fashion (Collection of Glenbow unless otherwise noted) ducks are large seabirds that nest in huge numbers in the Back wall – Grant Caribou by Carl Rungius: oil on canvas, 1915 Belcher Islands). Back row (from left to right) – On the mannequin (back left): Northern Sun wool coat with fox fur trim, ca. 1970s; Paul Hardy “Narnia” lace tulle evening skirt, Collection of Paul Hardy Archives; and Mittens: sheepskin, wool, satin, wolverine and polar bear fur, 1900-1950, possibly Inuvialuit; Narwhal Tusk: narwhal tusk and possibly soot, 1970s; Aurora Borealis by Richard Prince: mixed media installation, 1978 On the mannequin (back right): Duckskin Parka: duckskin, feathers, seal skin and hair, mid-20th century, Nunavimmiut; and Paul Hardy stretch metallic silk and Lurex leggings, Collection of Paul Hardy Archives Front row (from left to right): Day Team with Komatik by Samson Nastapoka: stone, undated; On the mannequin, seated: Paul Hardy stretch leather catsuit, Collection of Dr. Diana Monea; Lamb.S.Laughter by Paul Hardy reversible convertible shearling coat, Collection of Paul Hardy Archives; Hat: buffalo hide and sateen, n.d.; Scarf, Collection of Paul Hardy Archives; Black Figure Skates by American Athletic Shoe Co.; Dew Claw Bag: deer skin and dew claw, 1990s, Nehiwyan; Talisman: whalebone and bone, 20th century, Inupiat

4 KALEIDOSCOPIC ANIMALIA KALEIDOSCOPIC ANIMALIA 5 Beyond the Looking Glass From contemporary paintings that reference fairy tales, to Javanese shadow puppet performances that help tell stories of myths and legends, this fantastical scene is an escapist look at how animals have influenced our imagination in cultures from around the world, whether through story or play. 1. 1. Carol Wainio’s artwork has been described as fairy tale 4. This silver plate tea set was made by John Bridge of the landscapes littered with the detritus of contemporary London jewellery and goldsmith frm Rundell, Bridge & consumerism. She has said that her paintings “draw together Rundell, ca. 1820s. The frm was appointed as one of the diverse references from illustrators such as JJ Grandville, goldsmiths and jewellers to the King (then King George III) historical illustration in the Walter Benjamin Children’s in 1797 and Principal Royal Goldsmiths and Jewellers in 1804. Book Collection and other archives, early advertisements based on fairytale, archival and contemporary photographs, investigating and re-staging narratives of transformation, 5. Bunnykins is the most enduring design to have graced commodifcation and desire.” Royal Doulton china. The set of china adorned with images of a family of rabbits gardening, bathing, dancing, cooking and cuddling under a mushroom was frst issued in the 2. This window features a collection of Javanese shadow 1930s and proved an instant success. Within a year it could 6. puppets in the form of diferent animals. The Indonesian be found in the nursery of the Japanese Royal Family; 2. 4. word wayang is derived from a word meaning shadow or the latest designs were rushed to Buckingham Palace for 3. ghost. These intricately cut and perforated shadow puppets Princesses Elizabeth and Margaret; and soon it had become are made from bufalo hide. Kulit means leather or skin. a popular choice for christening presents in middle-class Wayang Kulit has a documented history of existence of at homes. By the start of the Second World War there were least 800 years in the Indonesian archipelago. 66 diferent scenes on the nurseryware.

5. These puppets help to tell stories, myths and legends. Some of the animals are a mix of animal and spirit and are 6. This water pail, decorated with four stufed sealskin bees, important to the story line, such as the bird puppet held is made of dehaired sealskin and comes from the area by the mannequin. Performances are held outdoors under around Gjoa Haven located on the southeast coast of the stars and occur for a wide variety of reasons. They King William Island at the heart of the Northwest Passage. can commemorate an important event such as a birth or The area has been settled by the Netsilingmiut (“people marriage or simply entertain. A performance celebrating a of the seal”) for over a thousand years. The Inuit name for birth might tell a story about the birth of a heroic character, Gjoa Haven, Uqsuqtuuq, means “place of plentiful blubber” Beyond the Looking Glass for example. in the Netsilingmiut dialect, from the seals that were List of Artifacts, Artwork and Fashion (Collection of Glenbow unless otherwise noted) abundant in the area. Back wall – Unhappy Ending by Carol Wainio: acrylic on canvas, 2006 3. Pasted inside the lid of this wooden trunk are a series of Back row (from left to right): On the mannequin (back left): Paul Hardy ombre silk chiffon and tulle top and skirt originally created for musician Fun Fact small paintings of fairy tale fgures, including Cinderella, and animal rights activist Sarah McLachlan for the 2009 Juno Awards, Collection of Anna Coe; Boa: feathers, rayon, cotton and metal, ca. 1920; L. Frank Baum, author of The Wonderful Wizard of Oz th Pretty Maid, Mary Quite Contrary, Little Miss Muffet, and and Bird Shadow Puppet: leather and paint, 20 century, Javanese (1899), used to author a periodical called The Show Window rabbits. This fairy tale trunk was well used by many children Picnic Basket: n.d. which focused on creating fantasy window displays. – it was purchased by Glenbow from Walter Belcourt who On the mannequin (seated): Paul Hardy opera jacket (1994) inspired by the story-telling methods of crazy patchwork quilts, Collection of Paul Hardy came from a family of 10 children; they were early residents Archives; Christian Lacroix lace and silk plaid damask corset and bustle skirt; Parasol: silk and synthetic ivory, ca. 1880s, and fedora, Collection of Paul Hardy Archives in the Metis settlement at St. Albert, Alberta. Front left: Fairy Tale Trunk: wood, iron, leather, paint and stickers, early 20th century, Metis; Elephant, Horse, Monkey, Fish and Turtle Shadow Puppets: leather and paint, 20th century, Javanese; Fur Hat: red fox and eagle feathers, ca. 1950, Tsuu T’ina; Shoes: ca. 1890s Quilt and items on it: Antique Crazy Quilt, 1881, hand embroidered silk satin brocade velvet, Collection of Paul Hardy; Coffee Set: 1903, France; Tea Kettle: silver and ivory, ca. 1820s, England; Teapot: silver and ivory, ca. 1820s, England; Spirit Lamp: ca. 1820s, England; Gloves: silk and lace, 1900-1950; Bunnykins Set: ca. 1950s, England; Cream and Sugar: 1900, United Kingdom; and Red Riding Hood Puzzle: 1930-1950 List continued on page 34

6 KALEIDOSCOPIC ANIMALIA KALEIDOSCOPIC ANIMALIA 7 Eclipsed Wings of Freedom Masks have been used since antiquity for ceremonial and practical purposes. Not all cultures have 2. known the use of masks, but most of them have. Masks can often bear a striking resemblance to 5. animals significant to a particular culture. In many Aboriginal cultures, masks were considered living 7. entities, brought to life through complex rituals and dance.

1. 1. This mask is thought to be from the Tapirape people in 5. Transformation masks such as this from the Gitxsan/ the Central-West Region of Brazil. It is referred to as a Tsimshian people on Canada’s Northwest Coast belong to “Cara Grande” mask, representing the ghosts of slain Tapirape the sky world, which consists of Ancestral Beings that are 3. enemies, especially the Karaja with whom the Tapirape were transported to the heavens from where they can return as on hostile terms. The front of the mask is covered in bird material beings in recognizable form. The performer wears feathers; the tribe raised birds as pets that roamed free in the a full costume representing the bird. The mask would be village. Parrots and macaws moult once or twice a year, and danced during a Winter Ceremony, called a Potlatch, the feathers were collected and put into special containers or where songs, dances and rituals are performed and gifts baskets. When they were needed, the feathers were taken and may be given. made into head dress or body ornaments. When there were 4. not enough, the birds would be plucked. 6. This costume is worn during the “moca nova” ceremony, the coming of age ceremony for females among the Ticuna. 2. Balinese masks such as this one are worn by actors in dance The mask probably represents a’ma, the demon of the wind. dramas and represent the same characters as in the Wayang or shadow puppet plays. 6. 7. Yup’ik masks such as this one were created by Yup’ik elders from the southwest coast of Alaska to represent the 3. This Tiger Barong Mask (Barong Macan) from Bali relationships that humans have with all parts of their world. symbolizes a powerful tiger that protects a village from This mask may represent Tunghak, “Keeper of the Game.” illness and the power of dead souls. In this way it maintains The fsh, seals and birds represent some of the game he the balance between the earthly and spiritual realms. controls. Black lines around the eyes may represent a sea animal, good luck or protection from evil spirits.

4. This mask from Papua New Guinea is an example of a Baining Fire Dance mask, called Kavat. This dance once included snake handling and was performed at night. Dancers jump in and around a large fire and send burning embers into the air. Eclipsed Wings of Freedom List of Artifacts, Artwork and Fashion (Collection of Glenbow unless otherwise noted) Top row – Deer Mask: wood, horn and fur, mid-20th century, Kwawkwaka’wakw Second row (from left to right) – Boar (?) Mask: wood and paint, 20th century, Javanese; Raven Mask: whalebone, hide and paint, mid-20th century, List of artifacts et al continued Circumpolar, European copy; Salmon Dance Mask: spruce, cottonwood, driftwood, red cedar, spruce root, pigment, watercolour paint, nails and cotton Fourth row – Tiger Barong Mask: wood and paint, 20th century, Balinese thread, early 20th century, Yup’ik; Demon Mask: wood and paint, 20th century, Balinese; “Cara Grande” Mask: wood, macaw feathers, cordage, paint, shells and tree pitch/gum, ca. 1960s, Tapirape; Wolf Mask from Dance of the Animals: cedar wood and cedar bark, mid-20th century, Kwakwaka’wakw; Fifth row – Dance Mask: barkcloth, bamboo and paint, 1969, Baining Barong Mask: wood and paint, 20th century, Balinese; and Owl Mask: wood, abalone, metal, string, feather, suede and paint, ca. 1974, Gitxsan/Tsimshian On mannequin – 1920s silk embroidered piano fringe kimono robe; Feather flapper hat from the costumes Paul Hardy designed for Alberta Ballet’s Third row (from left to right) – Whalebone Mask: whalebone, bone and teeth, 20th century, Inupiat; and Dance Mask: wood, feathers, rattan, paint Fumbling Towards Ecstasy, Collection of Alberta Ballet and metal nails, early 20th century, Yup’ik On floor – Moça Nova Festival Mask: tururi fibre, wickerwork, pitch, alum, wood, bark cloth, genipa paint, first halfth 20 century, possibly List continued on facing page Ticuna, South America

8 KALEIDOSCOPIC ANIMALIA KALEIDOSCOPIC ANIMALIA 9 Everything Isn’t Always Black and White 5. One of the primary inspirations for this window was Glenbow’s collection of Haida argillite carvings. The carvings include images of animals, birds, fish and supernatural beings contained in stories, legends and myths that were passed down through generations and embodied in crests, designs and decoration.

1. This is a replica of an Adélie penguin; they live on the 6. The Haida spirit world is inhabited by many creatures from 4. Antarctic continent and on many small, surrounding the sea, known as Tsagan xaaydagaay, or the underwater coastal islands. No penguin, indeed no other bird, people. In their earthly form, the underwater people appear 6. breeds further south than Adélie penguins. as halibut, sharks, sea lions and most other mammals and fsh from the sea. In the spirit world, however, they take the form of humans. Sgaana xaaydagaay, the killer whale 2. 2. The morning suit tailcoat (also referred to as a swallow-tail people, are among the most powerful of the people from or, in slang terms, a penguin suit) derives its name from the sea. Many stories tell of Haida ancestors putting on nineteenth century horseback riding exercises for gentlemen skins of killer whales to enter the realm of the spirit world, that were done in the morning. Since the 1850s, morning where killer whale people and humans visit, communicate suits were more commonly worn in the evening and feast together. 7. by men for formal occasions. In 1966, Thomas Benton of High River donated this suit to Glenbow. It was custom-made 7. for his grandfather, the Reverend Thomas Benton (Rector of This fute includes references to the eagle, frog and octopus. St. Barnabas Church in Manchester) in 1881. The noble eagle is seen as a symbol of power and prestige; it also has a strong connection to peace. This species is 3. still plentiful in the Pacific Northwest. They have long 8. been a source of artistic inspiration for both traditional 3. This custom Paul Hardy gown is inspired by European and contemporary Native artists. Frog is a creature of fashion that was worn concurrently with the Western great importance in Northwest Coast art and culture. As Period carvings of Haida argillite sculpture (1830 – 1865). a creature that lives in two worlds, water and land, Frog is The deliberate use of feathers in a dark hue is in homage revered for his adaptability, knowledge and power to traverse to the originating two moieties (family groups), the Raven 1. worlds and inhabit both natural and supernatural realms. and the Eagle, and for a region and people renowned for As a transformation fgure and spirit helper, the Octopus bird conservancy. is an eight-legged figure represented in Kwakwaka’wakw mythology as a symbol of great wealth.

4. This Haida pipe panel depicts six Ravens or Sasaw birds with beaks and tails joined together. The Raven is the 8. Many of the poles in the period of 1865-1910 resemble transformer, trickster and creator. Known in legends as actual poles in Haida villages. As found on cedar poles, the one who released the sun, moon, and stars; discovered the fgures are related in complex relationships rather than man in a clamshell; brought the salmon and the water; simply stacked one on top of the other. Two types of poles and taught man how to fsh and hunt. Pipes were some dominate this period, those which display crests and those Everything Isn’t Always Black and White of the earliest objects carved in argillite by the Haida. The which tell a story and contain complex iconography. Haida grew tobacco (to chew) and the pipe form was likely List of Artifacts, Artwork and Fashion (Collection of Glenbow unless otherwise noted) infuenced by European contact Fun Fact In this window is a selection of argillite carvings, listed here in no particular order – Totem Pole: argillite, 1890-1910, Haida; Goose Figure: argillite, Henry Peacham, author of The Compleat Gentleman (1634), th 1900-1950, Haida; Totem Pole with Otter, Raven, Bear and Frog: argillite, 20 century, Haida; Tableau with Grizzly Bears, Woman and Frog: argillite, espoused that men and women should keep their minds and 20th century, Haida; Grizzly Bear Kidnapping the Berry Picker: argillite, 1900-1950, Haida; Pipe with Figures of Woman and Bear: argillite, 1900-1950, 5. This Haida totem pole shows Wasco, the Sea Wolf, a th consciences as pure as the legendary ermine keeps its fur. Haida; Pipe with Six Ravens: argillite, late 19 century, Haida; Flute with Eagle, Frog with Octopus Head in its Mouth and Eagle: argillite and ivory, ca. prominent sea creature from Haida myth. Wasco is a giant th 1880s, Haida; Totem Pole: argillite and abalone shell, 1900-1950, Haida; Gunarh Man Woman Killer Whale Plate: argillite, late 20 century, Haida; Totem sea monster, half wolf and half killer whale, that had the Pole: argillite, 1900-1950, Haida; Killer Whale: argillite, 1977, Haida; Killer Whale: argillite and wire, 1977, Haida; Self-Portrait: argillite, 1981, Haida; Gunarh and Wife Captured by Whale: argillite, 1980, Haida; Totem Pole: argillite, 1900-1950, Haida; Totem Pole with Wasco: cast argillite, 1900-1950, Haida; ability to move on both land and in the sea. Wasco hunts Crest Pole: argillite, 1900-1920, Haida; Totem Pole: cast argillite, 1900-1950, Haida; Totem Pole with Eagle, Raven with Sun Disk and Bear: argillite, early and eats killer whales. In past times, Wasco was known to 20th century, Haida; Totem Pole with Whale, Wasco, Grizzly and Frog: argillite, early 20th century, Haida; Totem Pole with Shaman, Otter, Whale and terrorize Haida villages along the coast of Haida Gwaii. Wasco, argillite, first half 20th century, Haida; Totem Pole with Whale and Bear, argillite, first half 20th century, Haida List continued on page 34

10 KALEIDOSCOPIC ANIMALIA KALEIDOSCOPIC ANIMALIA 11 Abundant Life The buffalo (bison) is known to represent values of strength and unity. The visual tongue-in-cheek references of this window are intended to celebrate the bounty bison offer humans in form, function, art, fashion and sustenance.

1. This bufalo fur coat is a Royal Canadian Mounted Police 4. This European wheel-lock musket from 1650 features (RCMP) issue coat. In 1930 the RCMP reinstated the mother-of-pearl inlay. A muzzle-loading frearm, it has a 3. buffalo coat for winter use. The National Parks Branch of rifed barrel and is an early example of rifing which didn’t the Department of the Interior set aside 700 furs for the become common practice until the nineteenth century. RCMP. Longer coats were made for work carried out on foot, This design element spun the projectile as it travelled down while the shorter versions were made for work carried out the barrel, leading to increased stability and ultimately either on horseback or in an automobile. These coats were accuracy. The ornate design and manufacture of this replaced by a regimental parka in 1954. frearm suggests it belonged to a wealthy landowner or a member of the European nobility. The luxurious materials and scenes of hunting, extravagant estates and wildlife 2. 2. This custom Paul Hardy ombre silk organza new-look seen throughout the frearm were common motifs used to inspired dress silhouette and needlepoint apron was illustrate the social status of the owner. This type of rife designed in homage to the preservation of the wood bison would not have been used to hunt bufalo; it is included that occurred during the 1950s. here as an example of a frearm that features mother-of- pearl inlay (the inner shell coating of pearl-producing 1. mollusks) to decorate the scenes of wildlife and hunting. 3. Artist Adrian Stimson is a member of the Siksika (Blackfoot) Nation in southern Alberta. About this work Stimson has Fun Fact said, “I approach [this artwork] as a painting. The fur acts In the early 1900s, a proposal was made to create a new like brush strokes, creating a lush canvas that can move Canadian province called the “Province of Buffalo.” and change. It reminds me of my historical connection Prime Minister Wilfrid Laurier eventually decided to and reliance on the bison.” create two provinces that resulted in Saskatchewan in the east and Alberta in the west.

4.

Abundant Life List of Artifacts, Artwork and Fashion (Collection of Glenbow unless otherwise noted) Back wall – Post-Modern Buffalo II by Adrian Stimson: bison robe on wood, 2002 On mannequin – Custom Paul Hardy ombre silk organza new-look inspired dress; Custom Paul Hardy needlepoint apron and headscarf, Collection of Paul Hardy Archives; Royal Canadian Mounted Police Bison Coat: bison fur, leather and brass, ca. 1930-1953 Held by mannequin – Wheel-Lock Musket: wood and steel with ivory and mother-of-pearl inlay, 1650, European; and Spatula: n.d. Folding Stool: ca. 1909, Canada On Folding Stool – Tailor’s Scissors: n.d.; Thimble: early 20th century; Pin Cushion: n.d.; Box containing Straight Pins: n.d., Canada; Measuring Tape: 1909, Canada

12 KALEIDOSCOPIC ANIMALIA KALEIDOSCOPIC ANIMALIA 13 Sized Up This window deals with the exotic in terms of animals, materials and ideas of scarcity and conservation. In the 1930s, African safaris were all the rage and influenced design. Use of exotic materials such as ivory, tortoiseshell and animal skins began to appear in the home – such as the alligator skin valise once owned by a Calgary businessman or the tortoiseshell sunglasses worn on the mannequin. The large bird is meant to represent a cassowary, a bird native to Australia 1. and Papua New Guinea. 1. This body cover is meant to represent the life-sized fgure 3. This alligator hide valise was once owned by David Ernest Black, of a cassowary bird. The mask or cover was worn during a successful Calgary businessman who owned a jewellery store festive occasions on the night before a cassowary hunt. and watch repair business, once said to be the largest watch The cassowary was a major source of meat for indigenous repair trade in all of western Canada. populations of Papua New Guinea, where this mask originates, and the feathers, bones and other parts of the bird were used for both practical and decorative purposes. 4. There is a certain theme or style associated with the word safari, which includes khaki clothing, belted bush jackets, The cassowary is a large, fightless bird most closely 4. pith helmets and animal skin patterns. Here the mannequin related to the emu. Although the emu is taller, the wears a sun helmet (ca. 1940s) and a pair of tortoiseshell cassowary is the second heaviest bird in the world after sunglasses. Paul Hardy has designed a custom expedition its cousin, the ostrich. The cassowary is considered one shirt dress to pay homage to the idea of safari chic. of the most dangerous birds in the world. Each three- 2. Completing the safari look is a pair of shoes adorned toed foot has a dagger-like claw on the inner toe that is with ostrich feathers. up to 10 centimetres long! The cassowary can slice open any predator or potential threat with a single swift kick. Fun Fact Powerful legs help the cassowary run up to 50 kilometres per hour through dense forest underbrush. The town Oudtshoorn, located in the Western Cape province of South Africa, is home to the world’s largest ostrich population and is known as the “ostrich capital of the world.” 3. 2. These doors were made by the Senufo people of West Africa. Some carved Senufo doors are used on granaries, but most existing examples are sanctuary doors that were used as protective, ritual entryways to shrines.

The doors are carved with symbolic motifs that refer to Senufo traditional beliefs. A variety of animals are often carved into the doors, each with a unique importance. For example, the crocodile represents the power of the king Sized Up and the duality of Senufo spiritual beliefs. The crocodile has long been both revered and feared by this culture. It List of Artifacts, Artwork and Fashion (Collection of Glenbow unless otherwise noted) lives on land and in the water and carries with it the power Back wall (top row) – Door: wood, 1950-2000, Baoulé; Door: wood, 1950-2000, Senufo; and Door: wood, 1950-2000, Senufo of each. The snake has many meanings. It is believed to Back wall (bottom row) – Door: wood, 1950-2000, Senufo; Door: wood, 1950-2000, Senufo; and Door: wood, ca. 1969, Senufo move between the worlds of the seen and the unseen and to embody important powers and the fuid energy of water. From left to right – Cassowary Mask: rattan, feathers, fibre and bamboo, ca. 1934, Kwoma; and Valise: alligator hide, leather, ca. 1900, Canada On mannequin – Sun Helmet: canvas, leather and cork, ca. 1943-1945; Tortoiseshell Sunglasses: n.d.; Paul Hardy custom expedition shirtdress with Carved doors could also function as historical documents hackle feather trims; Paul Hardy leather jacket, Collection of Paul Hardy Archives; and LD Tuttle ostrich feather shoes, Collection of Sal Howell or narratives. They told of important events or stories to those who approached the dwelling.

14 KALEIDOSCOPIC ANIMALIA KALEIDOSCOPIC ANIMALIA 15 9.

3. 2. 8. 1. 10. 12. 6.

7. 11. 4. 5.

List of artifacts et al continued

Harvie’s Blue Plate Special th th Right wall – Paddle by Douglas Cranmer: cedar, late 20 century, Kwakwaka’wakw; Paddle by Douglas Cranmer: cedar and paint, late 20 century, List of Artifacts, Artwork and Fashion (Collection of Glenbow unless otherwise noted) Kwakwaka’wakw; Mirror framed in antlers (18 white tail deer antlers, 74 mule deer antlers, 2 fallow deer antlers and 1 elk antler) by Jeff Musgrave, The Peak Antler Company, Collection of the Artist Back wall (left of mantle) – 9 pencil on paper sketches by Carl Rungius unless otherwise indicated: Two Lion Heads and Fore Foot, 1892; Dall Sheep [3 studies of head], 1904; Three-Quarter View of Lion, 1891; Three Bull Elk Heads, Wyoming, Left side of room – Armchair: elk antlers and tapestry, ca. 1950s, Canada; End Table: moose antlers and wood, ca. 1950s, Canada; Armchair: undated; Sketches of Four Caribou Heads, 1905; Elk, Two Sketches of Bull Heads, undated; Dall Sheep, Bounding, 1904; Dead Pronghorn, 1897; moose antlers and tapestry, ca. 1950s, Canada; Purse: leather, metal and needlepoint, ca. 1960s; Glass Top Coffee Table, Collection of Dr. Cameron and Mountain Goat [4 studies], pencil and gouache on paper, 1910 and Susan Brauer; Footed Goblets: n.d., United States; Tumblers: n.d.; and Grease Dish Portraying Beaver: wood, bone and abalone shell, late 19th century, Haida Back wall (centre) – Fireplace Mantle: 1860, Scotland; Burial Urn: early 20th century, China; and Bent Wood Storage Box: alderwood, paint and iron, 1900-1950, Haida Table (back left of mantle) – Table: n.d.; Snuffbox: ram’s head and metal, n.d., Scotland; Rhinoceros Horn Carving: n.d., China; and Cribbage Board: walrus tusk, 1920s, possibly Cup’ig Back wall (right of mantle) – 9 pencil on paper sketches by Carl Rungius unless otherwise indicated: Tiger, 1891; Caribou Heads, 1904; Lioness and Cubs, 1892; Moose, 1905; Sketches of Three Grizzly Bear Heads, undated; Sketches of Big Horn Mannequin (front left) – White Rhino Silk Tee, Collection of Paul Hardy Archives; Bethany Yellowtail “Gina” Elktooth midi skirt, 2104; Evening Coat: Sheep, Brazeau River, Alberta, 1913; Bighorn Sheep [head and legs], 1910; Dead Pronghorn, 1892; and Dead Wapiti, 1892 imitation Persian lamb, ca. 1920s; Black Pony Shoes, Collection of Sal Howell and Necklace, Collection of Paul Hardy Archives Left wall – 4 charcoal on paper sketches by Douglas Allen, Steps for Field Dressing and Steps for Field-Dressing Deer, all undated; Canada Moose Mannequin (back left) – Elsa Schiaparelli Silk Fly Fishing Motif Robe; Yves Saint Laurent Circus Print Ascot Tie, Collection of Paul Hardy Archives; by Carl Rungius: oil on canvas, 1894 Velvet Embroidered Duck Slippers; and Pants, Collection of Paul Hardy Archives List continued on facing page List continued on next page

16 KALEIDOSCOPIC ANIMALIA KALEIDOSCOPIC ANIMALIA 17 Harvie’s Blue Plate Special The eclectic blend of art, artifacts and fashion in this window pays homage to Glenbow’s founder, Eric Harvie. A businessman and lawyer, Harvie came into his fortune when oil was discovered on the land to which he held the mineral rights in 1947 and 1949. With this prosperity, he pursued his passion for collecting and his collection became an eclectic blend of western history and international art and artifacts. In 1966, Eric Harvie and his family donated his impressive collection to the people of Alberta.

1. This rhinoceros horn is carved in high relief, highlighting 5. This Coast Salish green frog bowl is carved out of cedar. with French and English settlers. The Mi’kmaq made more 10. This jaguar fur coat, trimmed in beaver fur, was purchased the artisan’s ability. There are six fgures on the horn, two The shape of this bowl is adapted from a traditional feast goods adorned with quillwork to suit European tastes, by a young Montreal school teacher in 1945. She paid in a boat, one on horseback and three, near the base of dish that would have held eulachon oil. Eulachon is a very which, during the Victorian era, included tea cosies, razor for the coat in installments and wore it in the 1940s and the horn, walking to meet each other. Two fgures near the fatty fsh and its oil is considered a delicacy by people cases, napkin rings and chairs. This chair was acquired by early 1950s on special occasions. However in 1954 she base are wearing wusha, or a black gauze cap, consistent living in the Pacific Northwest. It was highly valued and the third Earl of Caledon while serving in Canada with the stopped wearing it, as she, like many others, altered her with that worn by officials of the Ming dynasty. traded amongst all the people living along the coast and Coldstream Guards from 1832-34. views toward the wearing of fur. The coat remained packed interior. This bowl was carved for sale as a work of art, away until 2008 when she donated it to Glenbow with the rather than as a functional utensil. desire that the coat be exhibited so people could make the 2. This carved ivory eagle dates from the nineteenth century 8. Considered to be the greatest big game artist in connection between fashion and endangered species. and originated in Europe. The eagle is an important bird North America, Carl Rungius (1869-1959) painted in cultures around the world – its image can be found on 6. Two bear fgures, one seated at either end, hold a large Canada Moose in 1894-95. It was the frst substantial the Great Seal of the United States and in German and wooden bowl between their fore and hind legs. This painting Rungius created in the United States after 11. This chair was purchased by Glenbow’s founder, Scandinavian heraldry, for example. The eagle is also potlatch bowl was carved out of a single piece of red cedar moving there from Germany, and was based on studies Eric Harvie. It is said to be from the Mexico City palace signifcant to many Aboriginal cultures. by Mungo Martin (Nakapankam, Datsa, 1879-1962). he developed at the Museum of Natural History and a of Ferdinand Joseph Maximillian (1832-1867), Archduke The Potlatch is a ceremony through which Pacifc Coast taxidermy shop in New York City. While displayed in the of Austria and Emperor of Mexico from 1864-67. tribes bear witness to marriages, births or coming of age. window of a New York gallery, Canada Moose was seen 3. This magnifcent mantle, embellished with carvings It is also a time when a chief transfers rights and privileges by the head of the New York Zoological Society – who of various animals, was given to Glenbow’s founder, to his eldest son and hosts a feast. A potlatch can also is said to have stopped in his tracks when he saw the 12. A snuf mull is an oversized snuf box. They were often Eric Harvie, by Mr. Wotherspoon of Inverness, Scotland, be held to distribute or sometimes destroy wealth (with painting – and he subsequently commissioned Rungius used by fraternal organizations or regimental messes. in 1969. the expectation of eventual reciprocation). The federal to develop several more paintings. Mounted on castors, it would have been rolled down a government outlawed the potlatch in 1884, and only table for gentlemen to partake of the snuf housed in the reversed the prohibition in 1951. small silver box on top of the ram’s head. Snuff is made 4. Bentwood boxes were made in all sizes, and were used to 9. Artist Carl Rungius (1869-1959) was also an avid from tobacco leaves that have been ground into a fne store food, clothing and many household and ceremonial sportsman. Direct observation in nature was necessary to powder and was enjoyed mainly by the English aristocracy items by several different First Nations groups on the 7. This quilled birch bark chair dates from 1832 and is enhance his knowledge of animals and their environment of the eighteenth century. northwest coast of North America. These boxes demonstrate attributed to the Mi’kmaq whose territory included and translate this knowledge to his artwork. These the remarkable carpentry used to construct them. The sides the present-day provinces of Prince Edward Island, sketches of lions, elk, caribou, moose, and pronghorn were made from a single plank of cedar; it was beveled to Nova Scotia, the eastern portion of New Brunswick, demonstrate how he worked to perfect his depiction of allow the four sides to be bent into a box shape. The base part of Quebec’s Gaspé Peninsula, and a portion of an animal. Glenbow’s founder, Eric Harvie, appreciated was prepared so that the edges ft snugly into the bottom, Newfoundland. The Mi’kmaq were often referred to as the Rungius’s work, and purchased the entire Rungius estate creating a watertight box. A lid was then added, although “porcupine people” because of their elaborate quill work. including paintings, sketches, photographs and the entire not shown here. The symbols on the outside of the box are Birch bark boxes decorated with geometric mosaics of contents of Rungius’ Banff and New York studios. of a whale, salmon eye, raven and eagle. dyed porcupine quills were a staple of the Mi’kmaq’s trade

List of artifacts et al continued List of artifacts et al continued Centre of room – Quilled Birch Bark Chair, quill, wood and birch bark, ca. 1832, Mi’kmaq Mannequin (right of mantle) – Coat: jaguar, beaver and silk, ca. 1950s, Canada; and Valentino Silk Tiger Print Bustier and Skirt; and Necklace, Table: n.d.; Pipe: 19th century; Potlatch Bowl in Form of Two Bears by Mungo Martin: cedar wood, dowels and paint, mid-20th century, Collection of Paul Hardy Archive Kwakwaka’wakw; Footed Goblet: n.d., United States; Spoon: horn, 1900-1950, Haida; Spoon with Scrimshaw Reindeer Design: bone, late 19th Mannequin (front right) – Tom Ford for Yves Saint Laurent Deer Print Lace-up Top; Jean-Paul Gaultier Wool Leather Strap Skirt; Muff: fur, satin, century, Sami; Spoon with Handle in Form of a Salmon: wood, 1900-1950, Tsimshian; Spoon with Handle in Form of a Whale: wood, 20th century, velvet, celluloid, 1920; Tsimshian; Wooden Fork and Knife: alderwood and paint, 1900-1950, Tsimshian; Ladle with Handle in Shape of a Fish: alderwood, 20th century, Mannequin (back right) – Paul Hardy Custom Feather Sequin Leopard Spot Gown with Train, Collection of Kyla Johannson Haimes Tsimshian; Spoon with Handle in Shape of a Fish: wood, 20th century, Tsimshian; Footed Goblet: n.d., United States; Creamer: n.d., United States; Frog Bowl by “Tyee” (Floyd) Joseph: cedar wood, bronze, and abalone shell fragments, 2003, Coast Salish Right side of room – Eagle: ivory and mahogany, 19th century; Chair: n.d., Mexico; Table, n.d. List continued on facing page Tumblers: n.d.; Pitcher: n.d.; Grizzly Bear Bowl: argillite, polished abalone and opercula shell, mid-19th century, Haida

18 KALEIDOSCOPIC ANIMALIA KALEIDOSCOPIC ANIMALIA 19 Beastly Fetish This window contains an exquisite collection of accessories comprised of materials sourced from various animals or adorned with animal imagery. There are hats made of wool, hats adorned with feathers and hats decorated with stylized ravens. There are bags made of leather, satin, satin velvet and buffalo hide, and purses embellished with tortoiseshell or ivory handles. There are boots made of fur, leather, felt, satin – even a pair of foot armour decorated with animals – and shoes inlaid with mother-of-pearl. 3. 1. The sheer French lace top is by Bethany Yellowtail, a 6. These boots were donated to Glenbow by C.F. Gerwing, 1. Native American designer. Elements of treasured elk teeth president of the Alberta Boot Manufacturing Co. Not long are hand stitched on the top. In Crow culture, the elk teeth after he opened his business in 1968, he was ofered the represent a family’s wealth. last of the stock of this felt boot (about 4000 pairs). Apparently the maker of the boot had perfected the unseamed felting process which could keep feet warm 2. Parfeches are rectangular rawhide containers that fold to about -40 degrees Celsius. Gerwig sold all the pairs he 5. over like envelopes. They were used by Plains First Nations purchased, except this last pair. Gerwig referred to the boot people to store everything from berries to household as “the boot that tamed the western winters.” utensils. The preferred skin for making a parfeche was bufalo, before their virtual disappearance by the 1880s. After this, cattle, elk and horse hide were used. The fesh 7. These boots were owned by Margaret Mihell (nee Lendon) side of the skin was painted and sealed with a liquid who bought them while living in Toronto. Mihell was made from skin scrapings to protect the parfeche and its working as the head milliner at a dry goods store, and contents from damp or wet conditions. would have worn the boots in the late 1890s (a friend is said to have called her “The Scarlet Runner” when she wore them). 3. Hats in the form of truncated cones were worn by the Tlingit of southeastern Alaska when traveling in boats and to protect them from rain. 8. These wooden “shoes”, inlaid with mother-of-pearl, date from the 1840s. Their purpose is in doubt as there are no straps and uppers to hold them onto the feet and the 4. Deer hoof bags are common in Cree culture (Nehiwyan) balance of the shoe is not conducive to wearing. They could 2. and are often used to hold medicinal herbs, but this be used to rest the feet on them, raising the feet of the 6. particular style as well as the mix of techniques and ground like a foot stool. 7. materials is highly unusual—most lidded containers 4. among the Cree and Ojibwe are made of birch bark. Fun Fact The most searched for handbag model on the Internet is the Hermès Birkin bag. 5. This loon dance hat is made of loon feathers, loon beak, 8. pom poms, grey squirrel and felt. The loon holds a place of great importance in the Arctic. Its song is ubiquitous in the North and the bird has mystical and symbolic significance. The loon is associated with vision and speed. Inuinnait wear clothing adorned with loon feathers and parts to acquire the loon’s attributes. Beastly Fetish List of artifacts et al continued List of Artifacts, Artwork and Fashion (Collection of Glenbow unless otherwise noted) Top shelf (from left to right) – Hat: n.d.; Woven Hat with Raven Design: spruce root and paint, ca. 1890, Chilkat; Hermès Birkin Bag, Collection of th Mannequin (torso, head and hand) – Hat: melusine (felt), grosgrain and pheasant feather, ca. 1950-1965, Canada; Bethany Yellowtail “Lena” French D. Tsubouchi; Loon Dance Hat: loon feathers, loon beak, pom poms, grey squirrel and felt, mid-20 century, Inuinnait; Hat: n.d. lace box top, 2014; Paul Hardy Corset, Collection of Paul Hardy Archives; Hat: velvet and feather, n.d. Above second shelf (from left to right) – Hat: felt, n.d., Canada; Bonnet: velvet, sequins and feathers, n.d. List continued on facing page List continued on page 34

20 KALEIDOSCOPIC ANIMALIA KALEIDOSCOPIC ANIMALIA 21 On with the Show… Pop culture frequently utilizes animals as a source of inspiration. Whether in films, television programs or comic books, animals are often the main characters, central to the story being told.

1. 1. Imposter by Dan Kennedy: oil on canvas, 1998, 3. Bolero jacket, Collection of Isabella Kent; Paul Hardy Collection of Glenbow suede skirt, Collection of Paul Hardy Archives

Pop culture icons recur in artist Dan Kennedy’s paintings. In 1993, designer Jeanette Kastenberg created this Kennedy identifies his paintings as having theatrical beaded sequined bolero jacket, which pays homage to qualities, where text and commercial characters substitute some of Disney’s earliest and most beloved animated for props and actors. However, the stage is intangible and animal characters. the dialogue is uncertain in its meaning. Dan Kennedy studied at the Ontario College of Art. His works are in numerous public and private collections in the United States and Canada, including the Canada Council Art Bank, in Ottawa. 4. The Italian couture label Moschino was a favourite for 3. 4. Paul Hardy growing up, having been introduced to it from an advertisement in the frst Vogue magazine he purchased 2. Shown on five of the vintage televisions are 14 iconic films in 1989. This outfit, “The Best Things in Life are Free”, is or television series that feature animals. Whether live action from the collection that frst inspired Hardy and includes or animation, the animal characters in these programs were references to pop culture such as comic books and integral to the plots of these flms and television programs animated programs. and highlight the importance of animals in popular culture.

• Yellow Magnavox TV on the left: Godzilla King of the Monsters Fun Facts (1956), The Birds (1963) and 101 Dalmatians (1961) Alfred Hitchcock, Director of The Birds, had an interest in • RCA Victor TV front centre: King Kong (1933), birds, and was a bird-watcher as a boy. He took inspiration Batman (1943 live action serial), Steamboat Willie (1928) from a newspaper article he read in 1961 about hordes of • Trinitron TV at back: Jaws (1975), Black Stallion (1979) dead birds washing up onto the streets a seaside town in California for the flm The Birds. • Small white Panasonic TV: Curious George (2005), The Great Muppet Caper (1981), Dumbo (1941) • Black Stripe TV on the right: Aristocats (1970), Old Yeller (1957), Babe (1995) 2.

On with the Show…

22 KALEIDOSCOPIC ANIMALIA KALEIDOSCOPIC ANIMALIA 23 Man’s Best Friend This window is an ode to the adventures one can have escaping to the unspoiled open spaces of North America – pet companion by your side – to enjoy all the pursuits the wilds have to offer: hunting, fishing or simply communing with nature.

3. 1. In 2015, Paul Hardy was given a wire haired dachshund 4. Paul Hardy commissioned artist Brad Woodfin to paint (named Coburg) from a dear friend and client, country this portrait of his dog, Fergus. music star Paul Brandt. Paul Hardy has paid homage to this new addition to his family via the dachshund print in the custom-made fshing romper and jacket. 5. The first reference to the dog as “man’s best friend” appears in 1841 at a time when dogs began to be sentimentalized, and to be seen as having, if not souls, then 2. Paddy, a beagle-terrier cross of unknown parentage, at least personalities and feelings (perhaps because the was adopted by the soldiers of the 4th Canadian Field industrialized city no longer needed them solely as outdoor Ambulance when the unit left Calgary for the battlefelds working or guard animals, and the rabies vaccination of the First World War in January 1915. Paddy was a developed in the 1880s reduced the threat they posed). constant companion to the unit on their journey to (Oxford English Dictionary) 5. England and served with them throughout their service in France and Flanders. When the war ended, Paddy could not be taken back to Canada. The soldiers of the 4th Field Ambulance voted to have Paddy put down with chloroform and preserved by a taxidermist. His body was shipped to Canada and was the guest of honour at unit reunions 4. for many years.

3. Artist Joseph Francis Kernan (1878-1958) favoured outdoor scenes for many of the illustrations he completed for 1. magazine covers in the frst half of the twentieth century. Often compared to his contemporary Norman Rockwell, Kernan was a superb illustrator in his own right. He described his art as “the human side of outdoor sports, hunting, fshing and dogs.”

2.

List of Artifacts, Artwork and Fashion (Collection of Glenbow unless otherwise noted) All artwork is by Joseph F. Kernan and is undated, oil on canvas and Collection of Glenbow unless otherwise noted. Back wall top row (from left to right) – Young Hunter Surprised by Grouse; Untitled [Fisherman Cooking Lunch]; Beginner’s Luck – Boy with Large Fish; Untitled [Fisherman Washing Face] Back wall, second row (from left to right) – Untitled [Young Hunter with Dog and Gun]; Untitled [Man Flipping Pancakes]; Fergus by Brad Woodfin, Collection of Paul Hardy; Untitled [Fisherman and Dog in a Boat] Back wall, third row (from left to right) – Untitled [Hunter Stalking Deer]; Untitled [Boy Holding Catch of Three Fish]; Untitled [Pup for Sale “Boy Wanted”]; Untitled [Boy with Mother Dog and Three Puppies]; and Untitled [Springer Spaniel In Bush] On mannequin: Custom Paul Hardy dachshund print romper and jacket; Paul Hardy shirt; Hat; Brown suede gloves; Frog Purse; long johns and Man’s Best Friend Hunter boots, Collection of Paul Hardy In wading pool: “Paddy”, First World War Mascot: taxidermied dog, 1918

24 KALEIDOSCOPIC ANIMALIA KALEIDOSCOPIC ANIMALIA 25 Homestretch 2. 4. The steeplechase scene in the film Mary Poppins (1964) was one of Paul Hardy’s primary inspirations when conceptualizing this window. Running toward the finish line are horses from medieval history, Victorian-era toy boxes and frontier ghost town carousel rides. Horses and humans interact in a wide variety of sport competitions and other non-competitive recreational pursuits, as well as in working activities such as entertainment and therapy. 1. 6. 1. This fne example of sixteenth century barding or horse known as The Frontier Ghost Town, a carnival and museum armour can also be referred to as a (horse) bard. This of western Canadian history which was based in Vancouver. 3. impressive armour bears the distinct futing of Maximillian style armour. This design element was time consuming and Most North American carousels were made up of three rows was an excellent indication of the armourer’s skill. Not only of animals. The largest and most ornate fgures, usually pleasing to look at, the futing strengthened the armour. horses, were placed on the outside row of the carousel where they were most visible to the public. Most of the American carousel fgures were horses – simply because they were more popular with the riders. However, other 7. 2. This British cavalry helmet is from the 1st Dragoons – fgures were also produced, such as lions, tigers, girafes, the oldest line cavalry unit in the British Army having deer, rabbits, cats, goats, pigs, ostriches and dogs. 5. been initiated, in an early form, by King Charles II in the 1660s. The unit has participated in a number of historic Because North American carousels rotate in a counter- engagements from Waterloo to D-Day (as a mechanized clockwise direction, the right side of the animals faced unit). Dating from the nineteenth century, the helmet is outward and was the most ornately carved. This is called the adorned with horsehair. “romance” side of a carousel figure. English carousels spin clockwise, so the romance side of English fgures is the left. 3. Homestretch The Paul Hardy silk tulle/organza embellished rose gown worn under the silk brocade riding jacket by 7. The horse has inspired toys of many forms for countless List of Artifacts, Artwork and Fashion (Collection of Glenbow unless otherwise noted) Christian Lacroix is in homage to the Kentucky Derby generations of children. As wealthy Europeans began Back wall – The Education of Pegasus: Learning about Innocence by Kevin Sonmor, 2014, oil on linen, Courtesy of Newzones Gallery of “Run for the roses” tradition first recorded in 1896, using horses for leisure activities in the sixteenth century, Contemporary Art where the winning horse is blanketed in roses. handmade wooden rocking horses began appearing in the Back row (from left to right) – Maximilian Style Horse Barding: steel, brass and leather, Tudor Period, Germany; Carousel Horse: ca. 1890-1915, nurseries of their children. By Victorian times, the rocking United States; and Swing Horse: ca. 1950s, England horse we know today became more common and was made Front row (from left to right) – Rocking Horse: n.d.; Rocking Horse: ca. 1960s, Canada; Rocking Horse: 1895; Horse: ca. 1780-1800; Fire Engine: ca. 4. Artist Kevin Sonmor, whose painting The Education of in factories. This horse was given as a gift in 1895. Like 1890; and Horse and Cart: 1947 Pegasus: Learning about Innocence is featured in this other Victorian-era horses of its time, it’s grey with dappled On mannequin: Paul Hardy silk tulle/organza embellished rose gown, Private Collection; worn under a silk brocade riding jacket by designer window, is originally from Lacombe, Alberta; he competed markings. Some Victorian-era horses also had manes and Christian Lacroix; British Cavalry Helmet: silver, metal, brass, leather and horsehair, 19th century, England in rodeos to aid in his tuition for art college. tails made from real horsehair.

Fun Facts 5. This horse and cart was purchased in 1947 in Brandon, Most accounts trace the first recorded Steeplechase race Manitoba from the Simpson Sears catalogue. Gwen Leslie to County Cork in Ireland in 1752 where church steeples purchased it for $25 as a Christmas gift for her daughter, served at both ends as the start and the fnish. This race was who was then nine months old. It was frst used as a push an analogue to cross-country thoroughbred horse races cart and then, when her daughter got older, she paddled it which went from church steeple to church steeple (hence around inside and outside the family home (the pedals are “steeplechase”). Today, Great Britain and Ireland account for missing). Later, in 1970, Gwen gave it to her grandson who over 50 percent of all jump races worldwide. was then 18 months old; his younger brother also used it.

The expression “to ride one’s hobby-horse” means “to follow 6. This carousel horse is part of a small collection of a favourite pastime” and, in turn, the modern sense of the carousel horses in Glenbow’s collection. Glenbow’s founder, term “hobby.” Eric Harvie, purchased them as part of larger collection

26 KALEIDOSCOPIC ANIMALIA KALEIDOSCOPIC ANIMALIA 27 G’Ma’s Curio Cupboard 3. Whether inspired by particular animals or made from different animal parts, this selection of toys from Glenbow’s history and indigenous studies collections demonstrates the timeless and cross cultural appeal of toys.

1. Here, Little Red Riding Hood is wearing a custom Paul Hardy 5. These skunk slippers are based on the character “Flower” silk dress and matching hooded cape lined in faux wolf fur. in the animated flm Bambi. The slippers belonged to Hardy was inspired by the poem “Little Red Riding Hood and Denise Shervey, who grew up in Calgary. The film Bambi the Wolf,” written by Roald Dahl and published in the book was released in 1942, and since then has had multiple Revolting Rhymes. She is holding a big bad wolf puppet from re-releases both in theatres and on DVD/home release, 2. Pelham Puppet’s hand-painted series that also included demonstrating the appeal of the flm and its cast of Little Red Hiding Hood, her grandmother and a huntsman. characters growing up in the forest. 4. 2. The body of this toy ice worm made and used by the 6. This toy dog was handmade in the 1940s for a school bazaar Netsilingmiut people (who live on the Arctic coast of at St. Hilda’s School in Calgary. Canada west of Hudson Bay) is made from a fox tail and the face is made from caribou hide. The Latin name given to the iceworm species is refective of its behaviour. Solifugus, 7. These metal beetles are wonderful examples of the popular or “sun-avoider”, appropriately describes this worm. It animal toys produced in Germany by the toy manufacturer hides deep in the ice and snow during bright sunny days, Lehmann. Made from 1898 to 1935, this windup toy flutters 1. emerging as dusk progresses. its wings and crawls. Fun Facts 3. This toy animal spirit made of sealskin, fur, bone and stone A person who loves teddy bears is called an arctophile was made by a Netsilingmiut woman named Mary, who from the Greek words arcto meaning bear and philos is identifed as being a shaman. The creation of an animal meaning lover. spirit toy is unique, especially as these toys were made most likely for sale to non-Inuit. The frst patented stufed toy was a rabbit from Beatrix Potter’s Peter Rabbit stories.

4. When children played with these dolls they imitated their 6. roles as adults in Coast Salish society. Made of mountain goat wool and dog hair, the wool and hair have been 5. braided together in strips and then bound to form a doll 7. fgure. Historically, because mountain goat hair could only be obtained by trade, the Coast Salish would blend goat hair with hair from a small white woolly dog that was bred specially for this purpose. The use of dog hair died out in the mid-1800s as traders from the Hudson’s Bay Company made blankets, sheep’s wool and yarn readily available. These dolls are a blend of dog hair and mountain goat, G’Ma’s Curio Cupboard but the dog would be a different breed than the Salish dog because these dolls date from the mid-1900s.

List of Artifacts, Artwork and Fashion On mannequin: Custom Paul Hardy silk dress and matching hooded cape lined with faux wolf, 2015; Hat, Collection of Paul Hardy Archives; Kat Marks ‘Karass’ leather bib and plate, 2015, Collection of Kat Marks, Designer; Pelham Wolf Puppet, ca. late 1960s, British; Toy Gun: n.d., Collection of Glenbow; Kat Marks bespoke leather thigh and hip holster, Collection of Kat Marks, Designer; and hand painted canvas high top sneakers List of Artifacts, Artwork and Fashion Continued on page 34

28 KALEIDOSCOPIC ANIMALIA KALEIDOSCOPIC ANIMALIA 29 Curtain Call The two circus posters from Glenbow’s Archives were the first items Paul Hardy chose for this window to represent the popularity of the circus. Up until the first half of the twentieth century, circuses were a major form of spectator entertainment in North America and one way for circus-goers to experience the excitement surrounding the presentation of exotic animal species. After the Second World War, 2. the popularity of the circus declined as new forms of entertainment (television, for example) arrived. For Paul, the other items in this window – the coat made of monkey fur, the polar bear rug and the faux cat dress – all represent the eventual demise of the circus as first popularized in the late 1800s.

1. “The circus is coming!” In today’s world of entertainment 4. This fur coat, made of colobus monkey, was donated to on demand, it is hard to imagine how much excitement Glenbow in 1961. It was made in the late 1920s to 1930s those words generated in small towns (and large ones too!) when monkey fur was introduced into the fur industry. This in times past. Once the railroad arrived, it allowed travelling fur coat speaks to the changing tastes and attitudes towards 5. shows to visit areas that were previously inaccessible. fur in the last 100 years. Today, the idea of wearing a coat 4. made of monkey fur is unusual to say the least. Even in the In each community on the circuit, posters went up on era when this coat was created, attitudes towards using telephone poles and in shop windows, and the local monkey fur for coats were shifting. “When the big 1927 fad 1. newspaper published advertisements for weeks before the for monkey fur died down, the furriers put all their monkey actual event. In addition to the death-defying high-wire surplus in warehouses, a dead loss. Now it is all out again. acts and antics of the clowns, almost all circuses featured Cables have been rushed to Africa for more of the long, silky wild animals, in most cases giving local children their frst sophisticated hairs, and the depression times are boom glimpses of these exotic creatures. times on the Gold Coast.”

This large stamp on the back wall would have been used Excerpted from the article “Little Acorns”, to emblazon the side of railway cars carrying the circus, Harper’s Bazaar, April 1933 announcing its impending arrival. 3. 5. This paper cat dress was designed by American graphic artist 2. This shako (a tall, cylindrical military cap, usually with a Harry Gordon in 1968. The shift-style dresses originally sold visor) was owned by Charlie Fullbroke. He acquired the for $2.98 and came in fve designs: Mystic Eye, Giant Rocket, French army hat from his brother-in-law in the 1920s. Rose, Pussy Cat and Hand. Paper dresses were cheap, fun, The inscription on the inside of the hat reads, “French customizable and disposable, but the novelty quickly wore soldier hat as worn at Battle of Waterloo.” of – the dresses were generally ill-ftting and uncomfortable to wear, not to mention fammable.

3. The design frm of Eavis & Brown, London was a favourite of Princess Diana (known for her support of animal rights). This lovely evening skirt is an excellent example of their classic and elegant work. The crimson silk satin wrap skirt has a slight train at the back. In a slightly unusual manner it wraps across the front and ties at the right side of the Curtain Call centre in the back.

List of Artifacts, Artwork and Fashion (Collection of Glenbow unless otherwise noted) List of artifacts et al continued Back wall (top left, clockwise) – Ringling Brothers and Barnum & Bailey Circus poster: n.d., United States; Circus Train Stamp, Collection of Front row (centre) – Polar Bear Rug: bear skin, stroud and cotton, ca. 1961, Kivallirmiut Dr. Cameron and Susan Brauer; and Ringling Brothers and Barnum & Bailey Circus poster: n.d., United States Front row (right) on mannequin – Harry Gordon Paper Cat Dress: screen-printed tissue, wood pulp and rayon mesh, manufactured by Front row (left) on mannequin – Thierry Mugler bustier; Eavis & Brown silk evening skirt, ca. 1980-2000; Jacket: colobus monkey and satin, ca. Poster Dresses Ltd., London, 1968; Paul Hardy Leg Gauntlets: leather and goat hair, 2010, Collection of Dr. Diana Monea; Paul Hardy 1920-1939; Kat Marks “The Big Bow” Bow Tie, black pvc and black leather, 2015, Collection of Kat Marks, Designer; Pony Whip: leather, n.d.; Shako: Eyelet Gloves: leather, Collection of Paul Hardy Archives; Kat Marks “The Big Bow” Bow Tie: black pvc and black leather, 2015, leather, felt and brass, ca. 1815, France; Cymbal Monkey Toy, n.d. Collection of Kat Marks, Designer; Fez: Benevolent Protective Order of Elks, Nanton, ca. 1940-1950, Canada; Boa, feathers, silk, satin, early 1900s; List continued on facing page Fan: ostrich feathers, tortoise shell, n.d.

30 KALEIDOSCOPIC ANIMALIA KALEIDOSCOPIC ANIMALIA 31 Positioned for a Z-twist Spin Paul Hardy’s love for knits is exemplified in this window. Here he pays homage to the many ways that wool is manufactured and used in fashion.

1. Paul Hardy has a love of knits – producing collections made 3. When considering the design of the sheep (to be depicted in in Ireland, Scotland and Italy – and dance, designing the string art) for the back wall of this window, Paul Hardy chose costumes for Alberta Ballet’s Fumbling Towards Ecstasy, a a sketch by renowned British sculptor Henry Moore as the ballet inspired by the music of Sarah McLachlan. In this basis for the string art design. In 1972, Moore was preparing dress, Hardy artfully combines both – a Scottish hand knit for a retrospective exhibition at his studios in the English 3. sweater from his 2003 collection that he later repurposed countryside. His studio overlooked the felds where a local for the National Ballet of Canada’s 60th Anniversary farmer grazed his sheep. Moore began to draw them, flling a “Tutu Project.” The mannequin is also wearing a wool wig, sketchbook which he later presented to his daughter. custom made for this exhibition by Anne Nguyen. Fun Facts Grazing sheep are used in Paris to mow lawns owned by the 2. Inspired by the work of fashion designer Jean-Charles city, and they are used to clear vegetation thought to be a fre de Castelbajac, who has designed coats made of stufed hazard in drought-stricken areas. 1. teddy bears (worn by Madonna) and stuffed Kermit the Frogs (worn by Lady Gaga), Paul Hardy first designed a String art has its origins in the “curve stitch” activities satirical approach to the sheepskin coat in high school for invented by self-taught mathematician Mary Everest Boole his economics class. This custom reinvention designed by at the end of the nineteenth century to make mathematical Paul uses Lamb Chop puppets (based on the original Lamb ideas more accessible to children. String art was popularised Chop puppet used by ventriloquist Shari Lewis). as a decorative craft in the late 1960s through kits and books. 2.

Positioned for a Z-twist Spin List of Artifacts, Artwork and Fashion (Collection of Glenbow unless otherwise noted) Back wall: Custom sheep string art, 2015, Created by Veronica Murphy Yarn Winder: ca. 1900-1950, Canada Mannequin (on left) – Paul Hardy ballet dress with hand knit sweater top, Collection of Linda Rees Boden; Custom-designed wool wig, 2015, Spinning Wheel: ca. 1910-1927, Canada Created by Anne Nguyen Wool Twister: ca. 1927-1930, Canada Seated mannequin – Paul Hardy custom Lamb Chop Coat, 2015; Spinning Chair, wood, n.d. Hat, Collection of Paul Hardy Archives

32 KALEIDOSCOPIC ANIMALIA KALEIDOSCOPIC ANIMALIA 33 List of Artwork and Artifacts Beyond The Looking Glass continued Beastly Fetish bias tape, cowhide and satin, 1973, Inuinnait; Doll (Male): sealskin, fox fur, Continued from page 6 Continued from page 21 cotton, seal hide, wool, and wood, 1962, Nunavimiut; Toy Animal: duffle, Child’s Room: Second shelf (from left to right) – Cowboy Hat: beaver felt and satin, cotton, leather, stroud, white fox, thread, stuffing, Mackenzie Delta braid and n.d., Canada; Hat: fur, n.d.; Hat: felt and feathers, ca. 1960s; Hat: bias tape, 1972, Netsilingmiut; Doll (Man and Child): sealskin, caribou, squirrel, On mannequin: White rose child’s dress, from the costumes Paul Hardy feathers, n.d.; Smoking Cap: silk and metal wrapped silk thread, ca. sheepskin, and artificial sinew, 1985, Kivallirmiut; Horse Carving: wood, wax designed for Alberta Ballet’s Fumbling Towards Ecstasy, Collection of th 1890-1920, Canada; Hat: velvet, sequin, n.d. crayon and pencil, mid-20 century, Stoney Nakoda; Bear Carving: wood and Alberta Ballet; Cape and Cap: ermine and satin, ca. 1900-1910; Bumble glue, mid-20th century, Stoney Nakoda; Doll: hair, wood, leather and beads, Bee Water Pail: sealskin and wool, 1950-1999, Netsilingmiut; and Child’s Below Top Shelf (on wall, clockwise) – Purse: crocodile, n.d.; Gourd ca. 1920s, Blackfoot; Dolls: leather, beads, shell, feather and thread, ca. 1950, Gloves: leather, ca. 1915 Container with Feather Mosaic: gourd, feather and fibre, mid-20th Blackfoot; Pin and Bone Game Set: deer knucklebone, buckskin and metal, century, possibly Bororo;Tool Bag from Arctic Char Skin: skin, th Back wall top shelf left to right: Book, Uncle Wiggily’s Silk Hat by ca. 1973, Stoney Nakoda; Knitted Horse and Rider: wool, 20 century, Puno; sealskin and sinew, mid-20th century, Netsilingmiut; Purse: n.d. th Howard Garis: 1920s; Book, Holiday Treasures: 1899; Record, Armadillo Figure: clay, urucu and dye, mid-20 century, possibly Caraja; th Mr. Toad: n.d.; and Book, The Secret of the White Buffalo, Mannequin (lower half) – Prada Trompe L’oiel ‘Fur’ Silk Skirt; and Armadillo Figure: clay and paint, mid-20 century, possibly Caraja; Capivara th An Oglala Legend by C.J. Taylor: 1993 Boots: felt, rubber and leather, 1950-1999 Figure: clay and paint, mid-20 century, possibly Caraja; Anteater Figures (3): clay and paint, mid-20th century, possibly Caraja; Jaguar Figure: clay Back wall second shelf left to right: Book, Sketco The Raven by Floor (bags only in no particular order) – Purse: leather, n.d.; Parfleche: and paint, mid-20th century, possibly Caraja; Macaw Figure: clay and paint, th Roberta Ayre: 1961; Book, The Little Small Red Hen: 1922; Book, rawhide, mid-20 century, Siksika; Deer Leg Container: deer leg, mid-20th century, possibly Caraja; Frog Figure: clay and paint, mid-20th th Raven, Creator of the World, Eskimo Legends Retold by Ronald velvet, beads, cord and cloth, mid-20 century, Nehiwyan; Purse: century, possibly Caraja; Caribou: ivory, 1900-1950, Canada; Doll Wearing Melzack: 1970; Book, Storyland illustrated by Frances Brundage: sateen, tortoiseshell and silk, ca. 1900, India; Evening Purse: crocodile, Button Blanket: wood, cotton batting, cloth, button, and sequin, th 1932; and Book, Fairytales for Every Child: 1923 ca. 1900-1915; Bag: bird’s feet, mid-20 century, Kalaallit; Armadillo mid-20th century, Kwakwaka’wakw; and Stuffed Seal Pup: seal pup skin, Bag: armadillo skin, copper and string, mid-20th century, Mataco; Back wall third shelf left to right: Book, Who’s Afraid of the Big Bad Wolf/ stuffing and embroidery thread, ca. 1960, Netsilingmiut Embroidered Pouch with Mosaic Pattern: sealskin, silk and sinew, ca. The Three Little Pigs: 1933; Record, Peter and the Wolf: 1952; Book, 1923, Inuit; Deer Hoof Bag: deer hide, dew claws and buckskin, History Collection The Bear Walker and Other Stories by Basil H. Johnston: 1998; Book, mid-20th century, Nehiwyan; Purse: silk and ivory, n.d.; Purse: leather, Bear: n.d., Canada; Monkey: 1967, Canada; Slippers: felt and cardboard, Little Red Riding Hood: 1934; and Book, The Golden Goose/ metal and brass, n.d.; Tobacco Pouch: ca. 1812, The Netherlands ca. 1950s, United States; Lone Ranger and Silver: ca. 1950s, Canada; Sulky The Three Bears illustrated by L. Leslie Brooke: 1930s Driver and Horse: n.d.; Western Pinball Game: ca. 1960, Canada; Rubber Floor (shoes only in no particular order) – Shoes: satin, n.d.; Shoes: Back wall fourth shelf left to right: Book, Uncle Wiggily’s Rolling Hoop Bird: ca. 1950s, Canada; Sock Monkey: ca. 1950s, Canada; Teddy Bear: satin, n.d.; Sandals: wood, ivory, n.d.; Fall Boots: hide, sealskin and sinew, by Howard Garis: 1920s; Book, A Walt Disney Story of Donald Duck ca. 1920s, United States; Dog Pull Toy: ca. 1920s, United States; Toy Ice 1900-1950, Kivallirmiut; Child’s Reindeer Skin Boots: reindeer skin, wool, and His Nephews illustrated by Florence Brumbaugh: n.d.; Book, Wagon: ca. 1885; Dog: mohair, ca. 1930s; Penguin: ca. 1940s, Japan; Rabbit: rawhide and cotton thread, ca. 1980, Sami; Embroidered Moccasins: How the Birds Got Their Colours by Basil Johnston and Del Ashkewe: ca. 1920s; Monkey: ca. 1960s, United States; Mickey Mouse: ca. 1930s; tanned hide, silk, horsehair, embroidery thread, quills and fur, 1950- 1978; Record, Bambi: 1950 Cow: ca. 1930s-1950s, Canada; Paint-by-Number Set: n.d., United States; 2000, Anishnaabe Cree; Samurai Kegutsu: bear fur and silk, Edo Period, Mechanical Frog: n.d.; Toy Elephant: ca. 1940s, Canada; Teddy Bear: ca. Back wall fifth shelf left to right: Book, Uncle Wiggily’s Picnic by Japanese; Greaves with Sabatons : steel and leather, 19th century, 1930s; Wind-Up Penguin: ca. 1930s, Germany; Toy Dog: 1942, Canada; Howard Garis: 1920s; Record, Snow White and the Seven Dwarfs: n.d.; European reproduction; Boots: ca. 1896; Shoes: wood, silver and Walking Bear: ca. 1940s, Japan; Fishpond Game: ca. 1940s, Germany; Book, Uncle Wiggily At the Beach by Howard Garis: 1920s; Book, mother-of-pearl, ca. 1840; Clogs: wood, steel and leather, ca. 1910 Steeplechase Game: ca. 1940s; Teddy Bear: ca. 1920s; Monkey Pajama The Enchanted Caribou by Elizabeth Cleaver: 1985 Bag: n.d., England; Horseshoe Game: n.d., United States; Bucking Bronco: Book, Mother Gooses Rhymes, Jingles and Fairytales: n.d.; Book, G’Ma’s Curio Cupboard 1908, Germany; Cuckoo Clock: n.d., Germany; Koala Bear: ca. 1970s; The Tale of the Flopsy Bunnies by Beatrix Potter: 1909 Continued from page 28 Winnie-the-Pooh Bear: ca. 1930s; Wind-Up Chicken: ca. 1890; Alphabet Blocks: 19th century, United States; Toy Fire Engine: ca. 1890; Wind-Up These artifacts are not listed in a particular order, but are separated by Beetle: 1909, Germany; Wind-Up Beetle: 1909, Germany; Bank (Jonah Everything Isn’t Always Black and White collection area and are collection of Glenbow unless otherwise noted. and the Whale): n.d.; Toy Rattle: silver and animal tooth, 18th century; Toy Continued from page 10 Indigenous Studies Collection Horse: leather, n.d., United States; Noah’s Ark: late 19th century; Animal Pipe with Whale, Sasaw Bird and Bear: argillite, 1800-1850, Haida; Figures (4): late 19th century; and Spools of Thread: upholstery, machine Woolen Dolls (2): mountain goat wool and dog hair, mid-20th century, Pipe: argillite, 20th century, Haida; and Totem Pole with Bear Eating and embroidery thread, ca. 1909 Coast Salish; Doll with Frontlet Headdress: wood, quills, plumes, paint, Halibut, Raven Holding Frog and Bear: argillite, 1900-1950, Haida; cotton ermine and wool cloth, mid-20th century, Kwakwaka’wakw; On floor (left) – Replica Adélie Penguin, Collection of Animal Makers Inc., Woman with Baby: soapstone, cotton, buckskin, hide and glass beads, Moorpark, California; and Kat Marks’ Big Bow “Sleek” Bow Tie: black 1950-1999, Qainigmiut; Doll: hide, cotton, wood and paint, mid-20th leather and black stingray, 2015, Collection of Kat Marks, Designer century, Nunatsiarmiut; Toy Caribou: caribou fur, caribou hide and caribou bone, 1973, Iglulingmiut; Toy Ice Worm: fox tail, caribou hide On male mannequin – Morning Suit (Jacket, Trousers, Waistcoat): and felt, 1973, Netsilingmiut; Toy Animal Spirit: sealskin, fur, bone, wool, cotton and linen, 1881, England; Evening Shirt: 1890s, Canada; stone and stuffing, 1973, Netsilingmiut; Toy Ookpik: commercial Fur Stole: 1920s, Canada; Top Hat: beaver, late 19th century-early leather and sheepskin, 1974, Netsilingmiut; Toy Duck in Flight: melton, 20th century; Kat Marks’ “Scholar” Bow: black leather and black stuffing, embroidery thread and cardboard, 1974, Kivallirmiut; Toy acrylic hair, 2015, Collection of Kat Marks, Designer; and Omingmak (Musk-ox): musk-ox wool, caribou bone and stuffing, Patent Leather Shoes, 2015 1974, Netsilingmiut; Toy Ptarmigan: duffle, wool, embroidery wool and On female mannequin – Custom Paul Hardy gown: silk faille and stuffing, 1974, Netsilingmiut; Toy Polar Bear: duffle, embroidery wool feathers consisting of pheasant, goose, hackle, rooster, ostrich, and and stuffing, 1974, Netsilingmiut; Toy Polar Bear: duffle, embroidery emu, 2015; British Cavalry Helmet: leather, silver and horse hair, ca. wool and stuffing, 1974, Netsilingmiut; Toy Raven and Chick: duffle, 1860-1873, England; Muff: ermine, 1920s, Canada; Otter Pendant: wool and stuffing, 1973, Netsilingmiut; Doll (Mother and Children): silver, early 19th century, Northeast North America; Long black caribou hide, wool, beads, embroidery thread, bias tape and musk-ox leather gloves with puff sleeves, Collection of Alberta Ballet horn, 1965, Kivallirmiut; Doll (Female): sealskin, wolf fur, melton, cotton,

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