Paul Hardy Exhibition Guide

An exhibition designed and curated by Paul Hardy

KALEIDOSCOPIC ANIMALIA 1

The Animal Kingdom and Its Influence

ContentsTrapped in Tradition 2

Artificial Tundra 4

Beyond the Looking Glass 6

Eclipsed Wings of Freedom 8

Everything Isn’t Always Black and White 10

Abundant Life 12

Sized Up 14

Harvie’s Blue Plate Special 16

Beastly Fetish 20

On with the Show… 22

Man’s Best Friend 24

Homestretch 26

G’Ma’s Curio Cupboard 28

Curtain Call 30

Positioned for a Z-twist Spin 32

As Glenbow’s artist in residence for 2015, acclaimed Calgary-based fashion designer Paul Hardy was inspired by our vast collection to curate an exhibition on how animal imagery and symbolism have influenced human creativity across time and cultures.

Paul has brought a unique curatorial and design perspective to Kaleidoscopic Animalia. Animal-inspired artifacts and artwork from every area of the museum’s collection are juxtaposed with iconic fashion items and original designs Paul created for the exhibition. It is this kind of unique insight into the collections that we hope our artists in residence will discover during their residency, and then find a way to share it with visitors.

This exhibition is engaging on many levels. In some of the windows, Paul purposefully chose to mix items from different cultures as a way to highlight the universal appeal of animals; illustrate the significance of animals to many different cultures; or emphasize the timeless desire – whether functional, fashionable or both – for animal-inspired products.

One can also appreciate the aesthetics of the art, artifacts and fashion presented and consider each item individually – how was it made, what materials were used to make it, and what about colour and design? There is also the cultural significance of these items – who made them, how and when were they used and what importance 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.

The subject of this exhibition is also an opportunity to reflect on societal views towards the use of animals for things such as fashion, and how those views have changed through time. Like many museums, Glenbow’s collection contains historical objects made from now-endangered species, or materials no longer considered acceptable for use, regardless of purpose. In displaying these historical artifacts, our aim is to encourage thought and discussion about the history associated with those items, changes in values and how we see our place in the world relative to other species.

The complex relationship between people and animals is revealed in the social, symbolic and artistic expression of many cultures. It is our hope that Kaleidoscopic Animalia will prompt conversations about consumption, conservation, creation, inspiration, art and design.

Kaleidoscopic Animalia: An exhibition designed and curated by Paul HardyOur bond with animals has existed in several forms: from a primeval interplay of hunter versus prey; to an evolution with fibers, textiles and tanning; to utilitarian needs for farming and transport; to a union in sports, entertainment and the domestication of pets; and to a visual appreciation of animal aesthetics as seen in arts and interiors.

Regardless of the reason, it is evident that this alliance has permeated every facet of the landscape of life – design in particular. In view of this subject’s transcendent impact in global society, as Glenbow’s artist in residence, I opted to gleefully examine the historic influence animals have had on design and culture, with highlights reflecting the multiculturalism of Canadian Life.

My desire in creating this exhibition was to startle the viewer by creating a collision with tradition, and by presenting a fresh outlook on how we view this influence in art, interiors, lifestyle, music and pop culture.

My intention, although elusive in meaning, is to engage viewers’ minds and eyes by demonstrating a knowing historicism reflected in the items selected from Glenbow’s collection, and by presenting a visual kaleidoscope of contemporary life punctuated by animal influences.

- Paul Hardy

2 KALEIDOSCOPIC ANIMALIA KALEIDOSCOPIC ANIMALIA 3

1. Emblazoned on each province and territory on this map is a logo for a product (made in that province or territory) that uses an animal as a way to brand that product. The Canadian marketplace is filled with products that use iconic animals (and their associated characteristics) to help market food (cheeses, creams, packaged fish) and beverages (coffees, wines and beers) from across the country. Our thanks to each of these companies for allowing us to reproduce their logos here.

• Yukon: Yukon Brewing, Rapscallions Cousine• NorthwestTerritories:Sapsucker,SapsuckerBirchSyrup• Nunavut:TrulyWild,TrulyWildArcticChar• BritishColumbia:PhillipsBrewing,Amnesiac• Alberta:GrizzlyPawBrewing,RuttingElkRed• Saskatchewan:PaddockWoodBrewing,LokiDoubleIPA• Manitoba:HalfPintsBrewing,IsolatorDopplebock• Ontario:KensingtonBrewingCo.,BaldwinFishEye• Quebec:FromagerieLesFoliesBergères,LeJuponFrivole• NewBrunswick:PicaroonsBrewingCompany, FeelsGoodImperialPilsner• NovaScotia:LaughingWhaleCoffee• PrinceEdwardIsland:UpstreetCraftBrewing Commons,CzechStylePilsner • Newfoundland:ScreechRum,ScreechRum

2. Each Canadian province and territory has chosen an animal (sometimes a bird, mammal or both) to help form part of theiridentity.Featuredonthiswallareimagesof13oftheseanimals by some of the most highly regarded wildlife artists of their eras, including Allan Cyril Brooks (1869-1946); LouisAgassizFuertes(1874-1927);WilliamJacobHays(1830-1875);andJohnJamesAudubon(1785-1851).

• Yukon: The raven is seen everywhere in Yukon and is an intelligent bird and an opportunistic feeder.• NorthwestTerritories:Thegyrfalconisthelargestofthe falcons and breeds throughout the tundra. • Nunavut:TheCanadianInuitdogiscalledQimmiq in Inuktitut and, from archaeological evidence, is known to have been resident in the Arctic for at least 4000 years. • BritishColumbia:TheSteller’sjayisfoundthroughout BC and is a lively and smart bird.

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; the influence of animals in our provincial and territorial identities; and how animal imagery is used to brand products we consume every day.

Trapped in Tradition

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Trapped in Tradition

List of Artifacts, Artwork and Fashion (Collection of Glenbow unless otherwise noted)

Top row, from left to right – Raven by Chief Henry Speck: watercolour on paper, undated; Gyrfalcon by Louis Agassiz Fuertes: watercolour on paper, undated; and Big Dog by Lizzie Saggiak [artist], Iyola Kingwatsiak [printer]: stonecut on paper, 1963

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: oil on canvas, undated; Sharp-Tailed Grouse by Frank L. Beebe: gouache on paper, undated; Bird by Bruno Bobak: woodcut on paper, undated; Snowy Owl by John James Laforest Audubon: mechanical reproduction, undated; Blue Jay by Louis Agassiz Fuertes: gouache on paper, 1921; and Caribou Study by William Jacob Hays: oil on board, undated

Bottom row, from left to right – Buffalo Study by Albert Bierstadt: oil on canvas, undated; Chickadee by Dale DeArmond: woodcut on paper, 1980; and Osprey by A.W. Seaby: woodcut on paper, undated

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 wool point blankets and trimmed with beaver fur from a vintage beaver fur coat

• Alberta:TheRockyMountainbighornsheepisAlberta’s official mammal. Prehistoric remains have been found in

most of the river valleys across Alberta, showing that at one time some of the largest herds of Rocky Mountain bighorn sheep roamed the province.• Saskatchewan:Thesharp-tailedgrouseisapopulargame bird and does not migrate south for the winter.• Manitoba:Thebisonisfeaturedprominentlyonthe shield in the centre of Manitoba’s coat of arms. • Ontario:Thecommonlooncanbefoundonmanylakes and rivers in the province. • Quebec:Thesnowyowlisoneofthelargestspeciesof owl in the world. • NewBrunswick:Theblack-cappedchickadeeisasmall, tame acrobatic bird.• PrinceEdwardIsland:Thebluejayiscommononthe Island throughout the year. • Newfoundland:Thewoodlandcaribou,found throughoutNewfoundlandandLabrador,wasadopted bymembersoftheRoyalNewfoundlandRegimentas their animal mascot.

3. Paul Hardy designed this custom corseted gown, made from Hudson’s Bay Company (HBC) wool point blankets and trimmed in beaver fur repurposed from a vintage beaver fur coat, as a nod to the role of the HBC – and the beaver – in Canada’s history.

4. The mannequin is holding a beaver fur muff (ca. 1950s) – a reference to the beaver’s importance in the founding of the first colonies in Canada and in the expansion of the country through the fur trade. In the late 1600s and early 1700s,beaverfurhatswerethefashionoftheday,resultingin the demand for beaver pelts. There were an estimated six million beavers in Canada before the start of the fur trade; during its peak, 100,000 pelts were being shipped to Europe each year. But due to changes in fashion and silk fabric being a cheaper alternative to beaver felt, by the 1840s silk hats became the fashionable choice.

Since1867,thebeaverhasappearedontheofficialcoatofarms of the Canadian Government and it acquired official statusasanemblemofCanadainMarch1974.


1. In the first half of the twentieth century, Carl Rungius established a reputation as the most important painter of biggameinNorthAmerica.Anavidsportsman,Rungiusspent more time in the wilderness than other artists – direct observation in nature was necessary to enhance his knowledge of animals and their environment. This grand paintingisoneofseveralcommissionedbytheNewYorkZoologicalSociety.

2. This tusk comes from a narwhal, an Arctic whale characterized by a single, spiraled tooth that is unique in all of nature. Extending six to nine feet, the tooth emerges from the upper jaw and through the upper lip of adult males. In some cases females may have an elongated tooth, and rarer are whales with two protruding teeth. The artist creditedwithcarvingthistoothisAnawakulo,aNunavutartist who carved hunting scenes into the ivory tooth.

3. In creating this artwork, artist Richard Prince was inspired by a visit to Glenbow when it first opened almost 50 years ago.PrincehadalwaysbeenintriguedbytheNorthernLights and the sled portion of the work references an artifact in Glenbow’s collection related to the search for theFranklinExpedition.

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 clothing elsewhere in the Arctic) so the Inuit of Belcher Island have used eider duck for clothing and other purposes (eider ducks are large seabirds that nest in huge numbers in the Belcher Islands).

Artificial Tundra

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Artificial Tundra

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Back wall – Grant Caribou by Carl Rungius: oil on canvas, 1915

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

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 and natural phenomena without venturing into the Arctic’s cold weather climate.

Relative to caribou hides, the duckskins are warm, but less resistant to wear and tear. The thick layer of plumage that provides insulation from cold can also make the skins bulkyandinflexible.Differentpartsofthebirdskinshavedifferent characteristics, and, as bird skins are small, many skins must be pieced together to construct a full coat.

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 part, undoubtedly due to the fact that the eider spends the greater part of its life afloat in frigid seas, relying largely upon this cushion of feather and down to remain warm, dry and buoyant.

5. KnownasKikituk by the Inupiat, this animal figure talisman of porous whalebone was used by shamans. The figure is dragon-like in shape with white bone eyes and teeth made of white bone. The talisman is kept inside the parka, under thearmoftheowner.Whenitsownerisinperil,thelittlecharm grows until it is large enough to destroy the enemy. It is said that the bite of a Kikituk contained great magic and could either kill in the near instant or heal the greatest of wounds.


Beyond the Looking Glass

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Back wall – Unhappy Ending by Carol Wainio: acrylic on canvas, 2006

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 and animal rights activist Sarah McLachlan for the 2009 Juno Awards, Collection of Anna Coe; Boa: feathers, rayon, cotton and metal, ca. 1920; and Bird Shadow Puppet: leather and paint, 20th century, Javanese

Picnic Basket: n.d.

On the mannequin (seated): Paul Hardy opera jacket (1994) inspired by the story-telling methods of crazy patchwork quilts, Collection of Paul Hardy 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

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

Beyond the Looking GlassFrom 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. CarolWainio’sartworkhasbeendescribedasfairytalelandscapes littered with the detritus of contemporary consumerism.Shehassaidthatherpaintings“drawtogetherdiversereferencesfromillustratorssuchasJJGrandville,historicalillustrationintheWalterBenjaminChildren’sBook Collection and other archives, early advertisements based on fairytale, archival and contemporary photographs, investigating and re-staging narratives of transformation, commodification and desire.”

2. ThiswindowfeaturesacollectionofJavaneseshadowpuppets in the form of different animals. The Indonesian word wayang is derived from a word meaning shadow or ghost. These intricately cut and perforated shadow puppets are made from buffalo hide. Kulit means leather or skin. Wayang Kulit has a documented history of existence of at least 800 years in the Indonesian archipelago.

These puppets help to tell stories, myths and legends. Someoftheanimalsareamixofanimalandspiritandareimportant to the story line, such as the bird puppet held by the mannequin. Performances are held outdoors under the stars and occur for a wide variety of reasons. They can commemorate an important event such as a birth or marriage or simply entertain. A performance celebrating a birth might tell a story about the birth of a heroic character, for example.

3. Pasted inside the lid of this wooden trunk are a series of small paintings of fairy tale figures, including Cinderella, PrettyMaid,MaryQuiteContrary,LittleMissMuffet,andrabbits. This fairy tale trunk was well used by many children –itwaspurchasedbyGlenbowfromWalterBelcourtwhocame from a family of 10 children; they were early residents intheMetissettlementatSt.Albert,Alberta.

4. ThissilverplateteasetwasmadebyJohnBridgeoftheLondon jewellery and goldsmith firm Rundell, Bridge & Rundell, ca. 1820s. The firm was appointed as one of the goldsmithsandjewellerstotheKing(thenKingGeorgeIII) in1797andPrincipalRoyalGoldsmithsandJewellersin1804.

5. Bunnykins is the most enduring design to have graced RoyalDoultonchina.Thesetofchinaadornedwithimagesof a family of rabbits gardening, bathing, dancing, cooking and cuddling under a mushroom was first issued in the 1930sandprovedaninstantsuccess.WithinayearitcouldbefoundinthenurseryoftheJapaneseRoyalFamily;the latest designs were rushed to Buckingham Palace for Princesses Elizabeth and Margaret; and soon it had become a popular choice for christening presents in middle-class homes.BythestartoftheSecondWorldWartherewere 66 different scenes on the nurseryware.

6. This water pail, decorated with four stuffed sealskin bees, is made of dehaired sealskin and comes from the area around Gjoa Haven located on the southeast coast of KingWilliamIslandattheheartoftheNorthwestPassage.TheareahasbeensettledbytheNetsilingmiut(“peopleof the seal”) for over a thousand years. The Inuit name for Gjoa Haven, Uqsuqtuuq,means“placeofplentifulblubber”intheNetsilingmiutdialect,fromthesealsthatwereabundant in the area.

Fun Fact L.FrankBaum,authorofThe Wonderful Wizard of Oz (1899), used to author a periodical called The Show Window which focused on creating fantasy window displays.

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Eclipsed Wings of Freedom

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Eclipsed Wings of Freedom

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

1. This mask is thought to be from the Tapirape people in theCentral-WestRegionofBrazil.Itisreferredtoasa “CaraGrande”mask,representingtheghostsofslainTapirapeenemies,especiallytheKarajawithwhomtheTapirapewereon hostile terms. The front of the mask is covered in bird feathers; the tribe raised birds as pets that roamed free in the village. Parrots and macaws moult once or twice a year, and the feathers were collected and put into special containers or baskets.Whentheywereneeded,thefeathersweretakenandmadeintoheaddressorbodyornaments.Whentherewerenot enough, the birds would be plucked.

2. Balinese masks such as this one are worn by actors in dance dramas and represent the same characters as in the Wayang or shadow puppet plays.

3. This Tiger Barong Mask (Barong Macan) from Bali symbolizes a powerful tiger that protects a village from illness and the power of dead souls. In this way it maintains the balance between the earthly and spiritual realms.

4. ThismaskfromPapuaNewGuineaisanexampleofaBainingFireDancemask,calledKavat. This dance once included snake handling and was performed at night. Dancersjumpinandaroundalargefireandsendburningembers into the air.

5. Transformation masks such as this from the Gitxsan/TsimshianpeopleonCanada’sNorthwestCoastbelongtothe sky world, which consists of Ancestral Beings that are transported to the heavens from where they can return as material beings in recognizable form. The performer wears a full costume representing the bird. The mask would be dancedduringaWinterCeremony,calledaPotlatch, where songs, dances and rituals are performed and gifts may be given.

6. Thiscostumeiswornduringthe“mocanova”ceremony,the coming of age ceremony for females among the Ticuna. The mask probably represents a’ma, the demon of the wind.

7. Yup’ik masks such as this one were created by Yup’ik elders from the southwest coast of Alaska to represent the relationships that humans have with all parts of their world. ThismaskmayrepresentTunghak,“KeeperoftheGame.”The fish, seals and birds represent some of the game he controls. Black lines around the eyes may represent a sea animal, good luck or protection from evil spirits.


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, Circumpolar, European copy; Salmon Dance Mask: spruce, cottonwood, driftwood, red cedar, spruce root, pigment, watercolour paint, nails and cotton 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; Barong Mask: wood and paint, 20th century, Balinese; and Owl Mask: wood, abalone, metal, string, feather, suede and paint, ca. 1974, Gitxsan/Tsimshian

Third row (from left to right) – Whalebone Mask: whalebone, bone and teeth, 20th century, Inupiat; and Dance Mask: wood, feathers, rattan, paint and metal nails, early 20th century, Yup’ik

List continued on facing page

List of artifacts et al continued

Fourth row – Tiger Barong Mask: wood and paint, 20th century, Balinese

Fifth row – Dance Mask: barkcloth, bamboo and paint, 1969, Baining

On mannequin – 1920s silk embroidered piano fringe kimono robe; Feather flapper hat from the costumes Paul Hardy designed for Alberta Ballet’s Fumbling Towards Ecstasy, Collection of Alberta Ballet

On floor – Moça Nova Festival Mask: tururi fibre, wickerwork, pitch, alum, wood, bark cloth, genipa paint, first half 20th century, possibly Ticuna, South America

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Everything Isn’t Always Black and White

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Everything Isn’t Always Black and White


In this window is a selection of argillite carvings, listed here in no particular order – Totem Pole: argillite, 1890-1910, Haida; Goose Figure: argillite, 1900-1950, Haida; Totem Pole with Otter, Raven, Bear and Frog: argillite, 20th century, Haida; Tableau with Grizzly Bears, Woman and Frog: argillite, 20th century, Haida; Grizzly Bear Kidnapping the Berry Picker: argillite, 1900-1950, Haida; Pipe with Figures of Woman and Bear: argillite, 1900-1950, Haida; Pipe with Six Ravens: argillite, late 19th century, Haida; Flute with Eagle, Frog with Octopus Head in its Mouth and Eagle: argillite and ivory, ca. 1880s, Haida; Totem Pole: argillite and abalone shell, 1900-1950, Haida; Gunarh Man Woman Killer Whale Plate: argillite, late 20th century, Haida; Totem 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; 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 20th century, Haida; Totem Pole with Whale, Wasco, Grizzly and Frog: argillite, early 20th century, Haida; Totem Pole with Shaman, Otter, Whale and Wasco, argillite, first half 20th century, Haida; Totem Pole with Whale and Bear, argillite, first half 20th century, Haida


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 Antarctic continent and on many small, surrounding coastalislands.Nopenguin,indeednootherbird, breeds further south than Adélie penguins.

2. The morning suit tailcoat (also referred to as a swallow-tail or, in slang terms, a penguin suit) derives its name from nineteenth century horseback riding exercises for gentlemen thatweredoneinthemorning.Sincethe1850s,morningsuits were more commonly worn in the evening by men for formal occasions. In 1966, Thomas Benton of High River donated this suit to Glenbow. It was custom-made for his grandfather, the Reverend Thomas Benton (Rector of St.BarnabasChurchinManchester)in1881.

3. This custom Paul Hardy gown is inspired by European fashionthatwaswornconcurrentlywiththeWestern PeriodcarvingsofHaidaargillitesculpture(1830–1865). The deliberate use of feathers in a dark hue is in homage to the originating two moieties (family groups), the Raven and the Eagle, and for a region and people renowned for bird conservancy.

4. ThisHaidapipepaneldepictssixRavensorSasawbirdswith beaks and tails joined together. The Raven is the transformer,tricksterandcreator.Knowninlegendsasthe one who released the sun, moon, and stars; discovered man in a clamshell; brought the salmon and the water; and taught man how to fish and hunt. Pipes were some of the earliest objects carved in argillite by the Haida. The Haida grew tobacco (to chew) and the pipe form was likely influenced by European contact

5. ThisHaidatotempoleshowsWasco,theSeaWolf,aprominentseacreaturefromHaidamyth.Wascoisagiantsea monster, half wolf and half killer whale, that had the abilitytomoveonbothlandandinthesea.Wascohuntsandeatskillerwhales.Inpasttimes,Wascowasknowntoterrorize Haida villages along the coast of Haida Gwaii.

6. The Haida spirit world is inhabited by many creatures from the sea, known as Tsagan xaaydagaay, or the underwater people. In their earthly form, the underwater people appear as halibut, sharks, sea lions and most other mammals and fish from the sea. In the spirit world, however, they take the form of humans. Sgaana xaaydagaay, the killer whale people, are among the most powerful of the people from the sea. Many stories tell of Haida ancestors putting on skins of killer whales to enter the realm of the spirit world, where killer whale people and humans visit, communicate and feast together.

7. This flute includes references to the eagle, frog and octopus. The noble eagle is seen as a symbol of power and prestige; it also has a strong connection to peace. This species is stillplentifulinthePacificNorthwest.Theyhavelongbeen a source of artistic inspiration for both traditional andcontemporaryNativeartists.FrogisacreatureofgreatimportanceinNorthwestCoastartandculture.Asacreaturethatlivesintwoworlds,waterandland,Frogisrevered for his adaptability, knowledge and power to traverse worlds and inhabit both natural and supernatural realms. As a transformation figure and spirit helper, the Octopus isaneight-leggedfigurerepresentedinKwakwaka’wakwmythology as a symbol of great wealth.

8. Many of the poles in the period of 1865-1910 resemble actual poles in Haida villages. As found on cedar poles, the figures are related in complex relationships rather than simply stacked one on top of the other. Two types of poles dominate this period, those which display crests and those which tell a story and contain complex iconography.

Fun Fact Henry Peacham, author of The Compleat Gentleman (1634),espoused that men and women should keep their minds and consciences as pure as the legendary ermine keeps its fur.

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Abundant Life

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Abundant Life


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

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 buffalo fur coat is a Royal Canadian Mounted Police (RCMP)issuecoat.In1930theRCMPreinstatedthebuffalocoatforwinteruse.TheNationalParksBranchoftheDepartmentoftheInteriorsetaside700fursfortheRCMP. Longer coats were made for work carried out on foot, while the shorter versions were made for work carried out either on horseback or in an automobile. These coats were replaced by a regimental parka in 1954.

2. This custom Paul Hardy ombre silk organza new-look inspired dress silhouette and needlepoint apron was designed in homage to the preservation of the wood bison that occurred during the 1950s.

3. ArtistAdrianStimsonisamemberoftheSiksika(Blackfoot)NationinsouthernAlberta.AboutthisworkStimsonhassaid,“Iapproach[thisartwork]asapainting.Thefuractslike brush strokes, creating a lush canvas that can move and change. It reminds me of my historical connection and reliance on the bison.”

4. This European wheel-lock musket from 1650 features mother-of-pearl inlay. A muzzle-loading firearm, it has a rifled barrel and is an early example of rifling which didn’t become common practice until the nineteenth century. This design element spun the projectile as it travelled down the barrel, leading to increased stability and ultimately accuracy. The ornate design and manufacture of this firearm 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 seen throughout the firearm were common motifs used to illustrate the social status of the owner. This type of rifle would not have been used to hunt buffalo; it is included here as an example of a firearm that features mother-of-pearl inlay (the inner shell coating of pearl-producing mollusks) to decorate the scenes of wildlife and hunting.

Fun Fact In the early 1900s, a proposal was made to create a new Canadianprovincecalledthe“ProvinceofBuffalo.” PrimeMinisterWilfridLauriereventuallydecidedto createtwoprovincesthatresultedinSaskatchewanintheeast and Alberta in the west.


Sized Up

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Sized UpThis 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 and Papua New Guinea.

1. This body cover is meant to represent the life-sized figure of a cassowary bird. The mask or cover was worn during festive occasions on the night before a cassowary hunt. The cassowary was a major source of meat for indigenous populationsofPapuaNewGuinea,wherethismaskoriginates, and the feathers, bones and other parts of the bird were used for both practical and decorative purposes.

The cassowary is a large, flightless bird most closely related to the emu. Although the emu is taller, the cassowary is the second heaviest bird in the world after its cousin, the ostrich. The cassowary is considered one of the most dangerous birds in the world. Each three-toed foot has a dagger-like claw on the inner toe that is up to 10 centimetres long! The cassowary can slice open any predator or potential threat with a single swift kick. Powerful legs help the cassowary run up to 50 kilometres per hour through dense forest underbrush.

2. ThesedoorsweremadebytheSenufopeopleofWestAfrica.SomecarvedSenufodoorsareusedongranaries,butmostexisting examples are sanctuary doors that were used as protective, ritual entryways to shrines.

The doors are carved with symbolic motifs that refer to Senufotraditionalbeliefs.Avarietyofanimalsareoftencarved into the doors, each with a unique importance. Forexample,thecrocodilerepresentsthepowerofthekingandthedualityofSenufospiritualbeliefs.Thecrocodilehas long been both revered and feared by this culture. It lives on land and in the water and carries with it the power of each. The snake has many meanings. It is believed to move between the worlds of the seen and the unseen and to embody important powers and the fluid energy of water.

Carved doors could also function as historical documents or narratives. They told of important events or stories to those who approached the dwelling.

3. ThisalligatorhidevalisewasonceownedbyDavidErnestBlack,a successful Calgary businessman who owned a jewellery store and watch repair business, once said to be the largest watch repair trade in all of western Canada.

4. There is a certain theme or style associated with the word safari, which includes khaki clothing, belted bush jackets, pith helmets and animal skin patterns. Here the mannequin wears a sun helmet (ca. 1940s) and a pair of tortoiseshell sunglasses. Paul Hardy has designed a custom expedition shirt dress to pay homage to the idea of safari chic. Completing the safari look is a pair of shoes adorned with ostrich feathers.

Fun Fact ThetownOudtshoorn,locatedintheWesternCape provinceofSouthAfrica,ishometotheworld’slargestostrichpopulationandisknownasthe“ostrichcapital of the world.”


Back wall (top row) – Door: wood, 1950-2000, Baoulé; Door: wood, 1950-2000, Senufo; and Door: wood, 1950-2000, Senufo

Back wall (bottom row) – Door: wood, 1950-2000, Senufo; Door: wood, 1950-2000, Senufo; and Door: wood, ca. 1969, Senufo

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 hackle feather trims; Paul Hardy leather jacket, Collection of Paul Hardy Archives; and LD Tuttle ostrich feather shoes, Collection of Sal Howell


Harvie’s Blue Plate Special

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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, undated; Sketches of Four Caribou Heads, 1905; Elk, Two Sketches of Bull Heads, undated; Dall Sheep, Bounding, 1904; Dead Pronghorn, 1897; and Mountain Goat [4 studies], pencil and gouache on paper, 1910

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

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 Sheep, Brazeau River, Alberta, 1913; Bighorn Sheep [head and legs], 1910; Dead Pronghorn, 1892; and Dead Wapiti, 1892

Left wall – 4 charcoal on paper sketches by Douglas Allen, Steps for Field Dressing and Steps for Field-Dressing Deer, all undated; Canada Moose by Carl Rungius: oil on canvas, 1894



Right wall – Paddle by Douglas Cranmer: cedar, late 20th century, Kwakwaka’wakw; Paddle by Douglas Cranmer: cedar and paint, late 20th century, 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

Left side of room – Armchair: elk antlers and tapestry, ca. 1950s, Canada; End Table: moose antlers and wood, ca. 1950s, Canada; Armchair: moose antlers and tapestry, ca. 1950s, Canada; Purse: leather, metal and needlepoint, ca. 1960s; Glass Top Coffee Table, Collection of Dr. Cameron 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

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

Mannequin (front left) – White Rhino Silk Tee, Collection of Paul Hardy Archives; Bethany Yellowtail “Gina” Elktooth midi skirt, 2104; Evening Coat: imitation Persian lamb, ca. 1920s; Black Pony Shoes, Collection of Sal Howell and Necklace, Collection of Paul Hardy Archives

Mannequin (back left) – Elsa Schiaparelli Silk Fly Fishing Motif Robe; Yves Saint Laurent Circus Print Ascot Tie, Collection of Paul Hardy Archives; Velvet Embroidered Duck Slippers; and Pants, Collection of Paul Hardy Archives

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10. This jaguar fur coat, trimmed in beaver fur, was purchased byayoungMontrealschoolteacherin1945.Shepaidfor the coat in installments and wore it in the 1940s and early 1950s on special occasions. However in 1954 she stopped wearing it, as she, like many others, altered her views toward the wearing of fur. The coat remained packed away until 2008 when she donated it to Glenbow with the desire that the coat be exhibited so people could make the connection between fashion and endangered species.

11. This chair was purchased by Glenbow’s founder, Eric Harvie. It is said to be from the Mexico City palace ofFerdinandJosephMaximillian(1832-1867),Archduke ofAustriaandEmperorofMexicofrom1864-67.

12. A snuff mull is an oversized snuff box. They were often used by fraternal organizations or regimental messes. Mounted on castors, it would have been rolled down a table for gentlemen to partake of the snuff housed in the smallsilverboxontopoftheram’shead.Snuffismadefrom tobacco leaves that have been ground into a fine powder and was enjoyed mainly by the English aristocracy of the eighteenth century.

Harvie’s Blue Plate Special


Centre of room – Quilled Birch Bark Chair, quill, wood and birch bark, ca. 1832, Mi’kmaq

Table: n.d.; Pipe: 19th century; Potlatch Bowl in Form of Two Bears by Mungo Martin: cedar wood, dowels and paint, mid-20th century, Kwakwaka’wakw; Footed Goblet: n.d., United States; Spoon: horn, 1900-1950, Haida; Spoon with Scrimshaw Reindeer Design: bone, late 19th 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, Tsimshian; Wooden Fork and Knife: alderwood and paint, 1900-1950, Tsimshian; Ladle with Handle in Shape of a Fish: alderwood, 20th century, 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



Mannequin (right of mantle) – Coat: jaguar, beaver and silk, ca. 1950s, Canada; and Valentino Silk Tiger Print Bustier and Skirt; and Necklace, Collection of Paul Hardy Archive

Mannequin (front right) – Tom Ford for Yves Saint Laurent Deer Print Lace-up Top; Jean-Paul Gaultier Wool Leather Strap Skirt; Muff: fur, satin, velvet, celluloid, 1920;

Mannequin (back right) – Paul Hardy Custom Feather Sequin Leopard Spot Gown with Train, Collection of Kyla Johannson Haimes

Right side of room – Eagle: ivory and mahogany, 19th century; Chair: n.d., Mexico; Table, n.d.

Tumblers: n.d.; Pitcher: n.d.; Grizzly Bear Bowl: argillite, polished abalone and opercula shell, mid-19th century, Haida

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 the artisan’s ability. There are six figures on the horn, two in a boat, one on horseback and three, near the base of the horn, walking to meet each other. Two figures near the base are wearing wusha, or a black gauze cap, consistent with that worn by officials of the Ming dynasty.

2. This carved ivory eagle dates from the nineteenth century and originated in Europe. The eagle is an important bird in cultures around the world – its image can be found on theGreatSealoftheUnitedStatesandinGermanandScandinavianheraldry,forexample.Theeagleisalsosignificant to many Aboriginal cultures.

3. This magnificent mantle, embellished with carvings of various animals, was given to Glenbow’s founder, EricHarvie,byMr.WotherspoonofInverness,Scotland, in 1969.

4. Bentwood boxes were made in all sizes, and were used to store food, clothing and many household and ceremonial itemsbyseveraldifferentFirstNationsgroupsonthenorthwestcoastofNorthAmerica.Theseboxesdemonstratethe remarkable carpentry used to construct them. The sides were made from a single plank of cedar; it was beveled to allow the four sides to be bent into a box shape. The base was prepared so that the edges fit snugly into the bottom, creating a watertight box. A lid was then added, although not shown here. The symbols on the outside of the box are of a whale, salmon eye, raven and eagle.

5. ThisCoastSalishgreenfrogbowliscarvedoutofcedar.The shape of this bowl is adapted from a traditional feast dish that would have held eulachon oil. Eulachon is a very fatty fish and its oil is considered a delicacy by people livinginthePacificNorthwest.Itwashighlyvaluedandtraded amongst all the people living along the coast and interior. This bowl was carved for sale as a work of art, rather than as a functional utensil.

6. Two bear figures, one seated at either end, hold a large wooden bowl between their fore and hind legs. This potlatch bowl was carved out of a single piece of red cedar byMungoMartin(Nakapankam,Datsa,1879-1962). The Potlatch is a ceremony through which Pacific Coast tribes bear witness to marriages, births or coming of age. It is also a time when a chief transfers rights and privileges to his eldest son and hosts a feast. A potlatch can also be held to distribute or sometimes destroy wealth (with the expectation of eventual reciprocation). The federal government outlawed the potlatch in 1884, and only reversed the prohibition in 1951.

7. Thisquilledbirchbarkchairdatesfrom1832andisattributed to the Mi’kmaq whose territory included the present-day provinces of Prince Edward Island, NovaScotia,theeasternportionofNewBrunswick,partofQuebec’sGaspéPeninsula,andaportionofNewfoundland.TheMi’kmaqwereoftenreferredtoasthe“porcupinepeople”becauseoftheirelaboratequillwork.Birch bark boxes decorated with geometric mosaics of dyed porcupine quills were a staple of the Mi’kmaq’s trade

withFrenchandEnglishsettlers.TheMi’kmaqmademoregoods adorned with quillwork to suit European tastes, which, during the Victorian era, included tea cosies, razor cases, napkin rings and chairs. This chair was acquired by the third Earl of Caledon while serving in Canada with the ColdstreamGuardsfrom1832-34.

8. Considered to be the greatest big game artist in NorthAmerica,CarlRungius(1869-1959)painted Canada Moose in 1894-95. It was the first substantial paintingRungiuscreatedintheUnitedStatesaftermoving there from Germany, and was based on studies hedevelopedattheMuseumofNaturalHistoryandataxidermyshopinNewYorkCity.WhiledisplayedinthewindowofaNewYorkgallery,Canada Moose was seen bytheheadoftheNewYorkZoologicalSociety–whois said to have stopped in his tracks when he saw the painting – and he subsequently commissioned Rungius to develop several more paintings.

9. Artist Carl Rungius (1869-1959) was also an avid sportsman.Directobservationinnaturewasnecessarytoenhance his knowledge of animals and their environment and translate this knowledge to his artwork. These sketches of lions, elk, caribou, moose, and pronghorn demonstrate how he worked to perfect his depiction of an animal. Glenbow’s founder, Eric Harvie, appreciated Rungius’s work, and purchased the entire Rungius estate including paintings, sketches, photographs and the entire contentsofRungius’BanffandNewYorkstudios.


Beastly Fetish

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Mannequin (torso, head and hand) – Hat: melusine (felt), grosgrain and pheasant feather, ca. 1950-1965, Canada; Bethany Yellowtail “Lena” French lace box top, 2014; Paul Hardy Corset, Collection of Paul Hardy Archives; Hat: velvet and feather, n.d.


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.

1. ThesheerFrenchlacetopisbyBethanyYellowtail,a NativeAmericandesigner.Elementsoftreasuredelkteethare hand stitched on the top. In Crow culture, the elk teeth represent a family’s wealth.

2. Parfleches are rectangular rawhide containers that fold overlikeenvelopes.TheywereusedbyPlainsFirstNationspeople to store everything from berries to household utensils. The preferred skin for making a parfleche was buffalo, before their virtual disappearance by the 1880s. After this, cattle, elk and horse hide were used. The flesh side of the skin was painted and sealed with a liquid made from skin scrapings to protect the parfleche and its contents from damp or wet conditions.

3. Hats in the form of truncated cones were worn by the Tlingit of southeastern Alaska when traveling in boats andtoprotectthemfromrain.

4. DeerhoofbagsarecommoninCreeculture(Nehiwyan)and are often used to hold medicinal herbs, but this particular style as well as the mix of techniques and materials is highly unusual—most lidded containers among the Cree and Ojibwe are made of birch bark.

5. This loon dance hat is made of loon feathers, loon beak, pom poms, grey squirrel and felt. The loon holds a place of great importance in the Arctic. Its song is ubiquitous in the Northandthebirdhasmysticalandsymbolicsignificance.The loon is associated with vision and speed. Inuinnait wear clothing adorned with loon feathers and parts to acquire the loon’s attributes.

6. ThesebootsweredonatedtoGlenbowbyC.F.Gerwing,presidentoftheAlbertaBootManufacturingCo.Notlongafter he opened his business in 1968, he was offered the 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 to about -40 degrees Celsius. Gerwig sold all the pairs he purchased, except this last pair. Gerwig referred to the boot as“thebootthattamedthewesternwinters.”

7. These boots were owned by Margaret Mihell (nee Lendon) who bought them while living in Toronto. Mihell was working as the head milliner at a dry goods store, and would have worn the boots in the late 1890s (a friend is saidtohavecalledher“TheScarletRunner”whenshe wore them).

8. Thesewooden“shoes”,inlaidwithmother-of-pearl,datefrom the 1840s. Their purpose is in doubt as there are no straps and uppers to hold them onto the feet and the balance of the shoe is not conducive to wearing. They could be used to rest the feet on them, raising the feet off the ground like a foot stool.

Fun Fact The most searched for handbag model on the Internet is theHermèsBirkinbag.


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 D. Tsubouchi; Loon Dance Hat: loon feathers, loon beak, pom poms, grey squirrel and felt, mid-20th century, Inuinnait; Hat: n.d.

Above second shelf (from left to right) – Hat: felt, n.d., Canada; Bonnet: velvet, sequins and feathers, n.d.


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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. Imposter byDanKennedy:oiloncanvas,1998, Collection of Glenbow

PopcultureiconsrecurinartistDanKennedy’spaintings.Kennedyidentifieshispaintingsashavingtheatricalqualities, where text and commercial characters substitute for props and actors. However, the stage is intangible and thedialogueisuncertaininitsmeaning.DanKennedystudied at the Ontario College of Art. His works are in numerouspublicandprivatecollectionsintheUnitedStatesandCanada,includingtheCanadaCouncilArtBank,in Ottawa.

2. Shownonfiveofthevintagetelevisionsare14iconicfilmsortelevisionseriesthatfeatureanimals.Whetherliveactionor animation, the animal characters in these programs were integral to the plots of these films and television programs and highlight the importance of animals in popular culture.

• Yellow Magnavox TV on the left: Godzilla King of the Monsters (1956), The Birds(1963)and101 Dalmatians (1961)

• RCAVictorTVfrontcentre:King Kong(1933), Batman(1943liveactionserial),Steamboat Willie (1928)

• TrinitronTVatback:Jaws(1975),Black Stallion(1979)• SmallwhitePanasonicTV:Curious George (2005),

The Great Muppet Caper (1981), Dumbo (1941)• BlackStripeTVontheright:Aristocats(1970),

Old Yeller(1957),Babe (1995)

3. Bolerojacket,CollectionofIsabellaKent;PaulHardy suede skirt, Collection of Paul Hardy Archives

In1993,designerJeanetteKastenbergcreatedthis beaded sequined bolero jacket, which pays homage to someofDisney’searliestandmostbelovedanimatedanimal characters.

4. The Italian couture label Moschino was a favourite for Paul Hardy growing up, having been introduced to it from an advertisement in the first Vogue magazine he purchased in1989.Thisoutfit,“TheBestThingsinLifeareFree”,isfrom the collection that first inspired Hardy and includes references to pop culture such as comic books and animated programs.

Fun Facts AlfredHitchcock,DirectorofThe Birds, had an interest in birds, and was a bird-watcher as a boy. He took inspiration from a newspaper article he read in 1961 about hordes of dead birds washing up onto the streets a seaside town in California for the film The Birds.


Man’s Best Friend

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Man’s Best Friend

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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.

1. In 2015, Paul Hardy was given a wire haired dachshund (named Coburg) from a dear friend and client, country music star Paul Brandt. Paul Hardy has paid homage to this new addition to his family via the dachshund print in the custom-made fishing romper and jacket.

2. Paddy, a beagle-terrier cross of unknown parentage, wasadoptedbythesoldiersofthe4thCanadianFieldAmbulance when the unit left Calgary for the battlefields oftheFirstWorldWarinJanuary1915.Paddywasaconstant companion to the unit on their journey to England and served with them throughout their service in FranceandFlanders.Whenthewarended,Paddycouldnot be taken back to Canada. The soldiers of the 4thFieldAmbulance 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 for many years.

3. ArtistJosephFrancisKernan(1878-1958)favouredoutdoorscenes for many of the illustrations he completed for magazine covers in the first half of the twentieth century. OftencomparedtohiscontemporaryNormanRockwell,Kernanwasasuperbillustratorinhisownright.Hedescribedhisartas“thehumansideofoutdoorsports,hunting, fishing and dogs.”

4. PaulHardycommissionedartistBradWoodfintopaint thisportraitofhisdog,Fergus.

5. Thefirstreferencetothedogas“man’sbestfriend”appears in 1841 at a time when dogs began to be sentimentalized, and to be seen as having, if not souls, then at least personalities and feelings (perhaps because the industrialized city no longer needed them solely as outdoor working or guard animals, and the rabies vaccination developed in the 1880s reduced the threat they posed). (Oxford English Dictionary)


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 Hunter boots, Collection of Paul Hardy

In wading pool: “Paddy”, First World War Mascot: taxidermied dog, 1918


Homestretch

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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. This fine example of sixteenth century barding or horse armour can also be referred to as a (horse) bard. This impressive armour bears the distinct fluting of Maximillian style armour. This design element was time consuming and wasanexcellentindicationofthearmourer’sskill.Notonlypleasing to look at, the fluting strengthened the armour.

2. ThisBritishcavalryhelmetisfromthe1stDragoons–the oldest line cavalry unit in the British Army having beeninitiated,inanearlyform,byKingCharlesIIinthe1660s. The unit has participated in a number of historic engagementsfromWaterlootoD-Day(asamechanizedunit).Datingfromthenineteenthcentury,thehelmetisadorned with horsehair.

3. The Paul Hardy silk tulle/organza embellished rose gown worn under the silk brocade riding jacket by ChristianLacroixisinhomagetotheKentuckyDerby “Runfortheroses”traditionfirstrecordedin1896, where the winning horse is blanketed in roses.

4. ArtistKevinSonmor,whosepaintingThe Education of Pegasus: Learning about Innocence is featured in this window, is originally from Lacombe, Alberta; he competed in rodeos to aid in his tuition for art college.

5. Thishorseandcartwaspurchasedin1947inBrandon,ManitobafromtheSimpsonSearscatalogue.GwenLesliepurchased it for $25 as a Christmas gift for her daughter, who was then nine months old. It was first used as a push cart and then, when her daughter got older, she paddled it around inside and outside the family home (the pedals are missing).Later,in1970,Gwengaveittohergrandsonwhowas then 18 months old; his younger brother also used it.

6. This carousel horse is part of a small collection of carousel horses in Glenbow’s collection. Glenbow’s founder, Eric Harvie, purchased them as part of larger collection


Back wall – The Education of Pegasus: Learning about Innocence by Kevin Sonmor, 2014, oil on linen, Courtesy of Newzones Gallery of Contemporary Art

Back row (from left to right) – Maximilian Style Horse Barding: steel, brass and leather, Tudor Period, Germany; Carousel Horse: ca. 1890-1915, United States; and Swing Horse: ca. 1950s, England

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. 1890; and Horse and Cart: 1947

On mannequin: Paul Hardy silk tulle/organza embellished rose gown, Private Collection; worn under a silk brocade riding jacket by designer Christian Lacroix; British Cavalry Helmet: silver, metal, brass, leather and horsehair, 19th century, England

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knownasTheFrontierGhostTown,acarnivalandmuseumof western Canadian history which was based in Vancouver.

MostNorthAmericancarouselsweremadeupofthreerowsof animals. The largest and most ornate figures, usually horses, were placed on the outside row of the carousel where they were most visible to the public. Most of the American carousel figures were horses – simply because they were more popular with the riders. However, other figures were also produced, such as lions, tigers, giraffes, deer, rabbits, cats, goats, pigs, ostriches and dogs.

BecauseNorthAmericancarouselsrotateinacounter-clockwise direction, the right side of the animals faced outward and was the most ornately carved. This is called the “romance”sideofacarouselfigure.Englishcarouselsspinclockwise, so the romance side of English figures is the left.

7. The horse has inspired toys of many forms for countless generations of children. As wealthy Europeans began using horses for leisure activities in the sixteenth century, handmade wooden rocking horses began appearing in the nurseries of their children. By Victorian times, the rocking horse we know today became more common and was made in factories. This horse was given as a gift in 1895. Like other Victorian-era horses of its time, it’s grey with dappled markings.SomeVictorian-erahorsesalsohadmanesandtails made from real horsehair.

Fun Facts MostaccountstracethefirstrecordedSteeplechaseracetoCountyCorkinIrelandin1752wherechurchsteeplesserved at both ends as the start and the finish. This race was an analogue to cross-country thoroughbred horse races which went from church steeple to church steeple (hence “steeplechase”).Today,GreatBritainandIrelandaccountforover 50 percent of all jump races worldwide.

Theexpression“torideone’shobby-horse”means“tofollowa favourite pastime” and, in turn, the modern sense of the term“hobby.”


G’Ma’s Curio Cupboard

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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 silk dress and matching hooded cape lined in faux wolf fur. Hardywasinspiredbythepoem“LittleRedRidingHoodandtheWolf,”writtenbyRoaldDahlandpublishedinthebookRevolting Rhymes.SheisholdingabigbadwolfpuppetfromPelham Puppet’s hand-painted series that also included Little Red Hiding Hood, her grandmother and a huntsman.

2. The body of this toy ice worm made and used by the Netsilingmiutpeople(wholiveontheArcticcoastofCanada 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 reflective of its behaviour. Solifugus, or“sun-avoider”,appropriatelydescribesthisworm.Ithides deep in the ice and snow during bright sunny days, emerging as dusk progresses.

3. This toy animal spirit made of sealskin, fur, bone and stone wasmadebyaNetsilingmiutwomannamedMary,whois identified as being a shaman. The creation of an animal spirit toy is unique, especially as these toys were made most likely for sale to non-Inuit.

4. WhenchildrenplayedwiththesedollstheyimitatedtheirrolesasadultsinCoastSalishsociety.Madeofmountaingoat wool and dog hair, the wool and hair have been braided together in strips and then bound to form a doll figure. Historically, because mountain goat hair could only beobtainedbytrade,theCoastSalishwouldblendgoathair 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, butthedogwouldbeadifferentbreedthantheSalishdogbecause these dolls date from the mid-1900s.

5. Theseskunkslippersarebasedonthecharacter“Flower”in the animated film Bambi. The slippers belonged to DeniseShervey,whogrewupinCalgary.ThefilmBambi was released in 1942, and since then has had multiple re-releasesbothintheatresandonDVD/homerelease,demonstrating the appeal of the film and its cast of characters growing up in the forest.

6. This toy dog was handmade in the 1940s for a school bazaar atSt.Hilda’sSchoolinCalgary.

7. These metal beetles are wonderful examples of the popular animal toys produced in Germany by the toy manufacturer Lehmann.Madefrom1898to1935,thiswinduptoyfluttersits wings and crawls.

Fun Facts A person who loves teddy bears is called an arctophile from the Greek words arcto meaning bear and philos meaning lover.

The first patented stuffed toy was a rabbit from Beatrix Potter’s Peter Rabbit stories.

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

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Curtain Call

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Curtain Call

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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, 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. “Thecircusiscoming!”Intoday’sworldofentertainmenton demand, it is hard to imagine how much excitement those words generated in small towns (and large ones too!) in times past. Once the railroad arrived, it allowed travelling shows to visit areas that were previously inaccessible.

In each community on the circuit, posters went up on telephone poles and in shop windows, and the local newspaper published advertisements for weeks before the actual event. In addition to the death-defying high-wire acts and antics of the clowns, almost all circuses featured wild animals, in most cases giving local children their first glimpses of these exotic creatures.

This large stamp on the back wall would have been used to emblazon the side of railway cars carrying the circus, announcing its impending arrival.

2. This shako (a tall, cylindrical military cap, usually with a visor)wasownedbyCharlieFullbroke.HeacquiredtheFrencharmyhatfromhisbrother-in-lawinthe1920s. Theinscriptionontheinsideofthehatreads,“FrenchsoldierhataswornatBattleofWaterloo.”

3. The design firm of Eavis & Brown, London was a favourite ofPrincessDiana(knownforhersupportofanimalrights).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 centre in the back.

4. This fur coat, made of colobus monkey, was donated to Glenbowin1961.Itwasmadeinthelate1920sto1930swhen monkey fur was introduced into the fur industry. This fur coat speaks to the changing tastes and attitudes towards fur in the last 100 years. Today, the idea of wearing a coat made of monkey fur is unusual to say the least. Even in the era when this coat was created, attitudes towards using monkeyfurforcoatswereshifting.“Whenthebig1927fadfor monkey fur died down, the furriers put all their monkey surplusinwarehouses,adeadloss.Nowitisalloutagain.Cables have been rushed to Africa for more of the long, silky sophisticated hairs, and the depression times are boom times on the Gold Coast.”

Excerptedfromthearticle“LittleAcorns”, Harper’s Bazaar,April1933

5. This paper cat dress was designed by American graphic artist Harry Gordon in 1968. The shift-style dresses originally sold for $2.98 and came in five designs: Mystic Eye, Giant Rocket, Rose, Pussy Cat and Hand. Paper dresses were cheap, fun, customizable and disposable, but the novelty quickly wore off – the dresses were generally ill-fitting and uncomfortable to wear, not to mention flammable.


Back wall (top left, clockwise) – Ringling Brothers and Barnum & Bailey Circus poster: n.d., United States; Circus Train Stamp, Collection of Dr. Cameron and Susan Brauer; and Ringling Brothers and Barnum & Bailey Circus poster: n.d., United States

Front row (left) on mannequin – Thierry Mugler bustier; Eavis & Brown silk evening skirt, ca. 1980-2000; Jacket: colobus monkey and satin, ca. 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: leather, felt and brass, ca. 1815, France; Cymbal Monkey Toy, n.d.



Front row (centre) – Polar Bear Rug: bear skin, stroud and cotton, ca. 1961, Kivallirmiut

Front row (right) on mannequin – Harry Gordon Paper Cat Dress: screen-printed tissue, wood pulp and rayon mesh, manufactured by Poster Dresses Ltd., London, 1968; Paul Hardy Leg Gauntlets: leather and goat hair, 2010, Collection of Dr. Diana Monea; Paul Hardy Eyelet Gloves: leather, Collection of Paul Hardy Archives; Kat Marks “The Big Bow” Bow Tie: black pvc and black leather, 2015, Collection of Kat Marks, Designer; Fez: Benevolent Protective Order of Elks, Nanton, ca. 1940-1950, Canada; Boa, feathers, silk, satin, early 1900s; Fan: ostrich feathers, tortoise shell, n.d.

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Positioned for a Z-twist Spin

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Positioned for a Z-twist SpinPaul 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 inIreland,ScotlandandItaly–anddance,designingthecostumes for Alberta Ballet’s Fumbling Towards Ecstasy, a balletinspiredbythemusicofSarahMcLachlan.Inthisdress,Hardyartfullycombinesboth–aScottishhandknitsweaterfromhis2003collectionthathelaterrepurposedfortheNationalBalletofCanada’s60thAnniversary “TutuProject.”Themannequinisalsowearingawoolwig,custommadeforthisexhibitionbyAnneNguyen.

2. InspiredbytheworkoffashiondesignerJean-Charlesde Castelbajac, who has designed coats made of stuffed teddybears(wornbyMadonna)andstuffedKermittheFrogs(wornbyLadyGaga),PaulHardyfirstdesignedasatirical approach to the sheepskin coat in high school for his economics class. This custom reinvention designed by Paul uses Lamb Chop puppets (based on the original Lamb ChoppuppetusedbyventriloquistShariLewis).

3. Whenconsideringthedesignofthesheep(tobedepictedinstring art) for the back wall of this window, Paul Hardy chose a sketch by renowned British sculptor Henry Moore as the basisforthestringartdesign.In1972,Moorewaspreparingfor a retrospective exhibition at his studios in the English countryside. His studio overlooked the fields where a local farmer grazed his sheep. Moore began to draw them, filling a sketchbook which he later presented to his daughter.

Fun Facts Grazing sheep are used in Paris to mow lawns owned by the city, and they are used to clear vegetation thought to be a fire hazard in drought-stricken areas.

Stringarthasitsoriginsinthe“curvestitch”activitiesinvented by self-taught mathematician Mary Everest Boole at the end of the nineteenth century to make mathematical ideasmoreaccessibletochildren.Stringartwaspopularisedas a decorative craft in the late 1960s through kits and books.

Back wall: Custom sheep string art, 2015, Created by Veronica Murphy

Mannequin (on left) – Paul Hardy ballet dress with hand knit sweater top, Collection of Linda Rees Boden; Custom-designed wool wig, 2015, Created by Anne Nguyen

Seated mannequin – Paul Hardy custom Lamb Chop Coat, 2015; Hat, Collection of Paul Hardy Archives

Yarn Winder: ca. 1900-1950, Canada

Spinning Wheel: ca. 1910-1927, Canada

Wool Twister: ca. 1927-1930, Canada

Spinning Chair, wood, n.d.


34 KALEIDOSCOPIC ANIMALIA

Beyond The Looking Glass continued Continued from page 6

Child’s Room:

On mannequin: White rose child’s dress, from the costumes Paul Hardy designed for Alberta Ballet’s Fumbling Towards Ecstasy, Collection of Alberta Ballet; Cape and Cap: ermine and satin, ca. 1900-1910; Bumble Bee Water Pail: sealskin and wool, 1950-1999, Netsilingmiut; and Child’s Gloves: leather, ca. 1915

Back wall top shelf left to right: Book, Uncle Wiggily’s Silk Hat by Howard Garis: 1920s; Book, Holiday Treasures: 1899; Record, Mr. Toad: n.d.; and Book, The Secret of the White Buffalo, An Oglala Legend by C.J. Taylor: 1993

Back wall second shelf left to right: Book, Sketco The Raven by Roberta Ayre: 1961; Book, The Little Small Red Hen: 1922; Book, Raven, Creator of the World, Eskimo Legends Retold by Ronald Melzack: 1970; Book, Storyland illustrated by Frances Brundage: 1932; and Book, Fairytales for Every Child: 1923

Back wall third shelf left to right: Book, Who’s Afraid of the Big Bad Wolf/ The Three Little Pigs: 1933; Record, Peter and the Wolf: 1952; Book, The Bear Walker and Other Stories by Basil H. Johnston: 1998; Book, Little Red Riding Hood: 1934; and Book, The Golden Goose/ The Three Bears illustrated by L. Leslie Brooke: 1930s

Back wall fourth shelf left to right: Book, Uncle Wiggily’s Rolling Hoop by Howard Garis: 1920s; Book, A Walt Disney Story of Donald Duck and His Nephews illustrated by Florence Brumbaugh: n.d.; Book, How the Birds Got Their Colours by Basil Johnston and Del Ashkewe: 1978; Record, Bambi: 1950

Back wall fifth shelf left to right: Book, Uncle Wiggily’s Picnic by Howard Garis: 1920s; Record, Snow White and the Seven Dwarfs: n.d.; Book, Uncle Wiggily At the Beach by Howard Garis: 1920s; Book, The Enchanted Caribou by Elizabeth Cleaver: 1985

Book, Mother Gooses Rhymes, Jingles and Fairytales: n.d.; Book, The Tale of the Flopsy Bunnies by Beatrix Potter: 1909

Everything Isn’t Always Black and WhiteContinued from page 10

Pipe with Whale, Sasaw Bird and Bear: argillite, 1800-1850, Haida; Pipe: argillite, 20th century, Haida; and Totem Pole with Bear Eating Halibut, Raven Holding Frog and Bear: argillite, 1900-1950, Haida;

On floor (left) – Replica Adélie Penguin, Collection of Animal Makers Inc., Moorpark, California; and Kat Marks’ Big Bow “Sleek” Bow Tie: black leather and black stingray, 2015, Collection of Kat Marks, Designer

On male mannequin – Morning Suit (Jacket, Trousers, Waistcoat): wool, cotton and linen, 1881, England; Evening Shirt: 1890s, Canada; Fur Stole: 1920s, Canada; Top Hat: beaver, late 19th century-early 20th century; Kat Marks’ “Scholar” Bow: black leather and black acrylic hair, 2015, Collection of Kat Marks, Designer; and Patent Leather Shoes, 2015

On female mannequin – Custom Paul Hardy gown: silk faille and feathers consisting of pheasant, goose, hackle, rooster, ostrich, and emu, 2015; British Cavalry Helmet: leather, silver and horse hair, ca. 1860-1873, England; Muff: ermine, 1920s, Canada; Otter Pendant: silver, early 19th century, Northeast North America; Long black leather gloves with puff sleeves, Collection of Alberta Ballet

Beastly FetishContinued from page 21

Second shelf (from left to right) – Cowboy Hat: beaver felt and satin, n.d., Canada; Hat: fur, n.d.; Hat: felt and feathers, ca. 1960s; Hat: feathers, n.d.; Smoking Cap: silk and metal wrapped silk thread, ca. 1890-1920, Canada; Hat: velvet, sequin, n.d.

Below Top Shelf (on wall, clockwise) – Purse: crocodile, n.d.; Gourd Container with Feather Mosaic: gourd, feather and fibre, mid-20th century, possibly Bororo;Tool Bag from Arctic Char Skin: skin, sealskin and sinew, mid-20th century, Netsilingmiut; Purse: n.d.

Mannequin (lower half) – Prada Trompe L’oiel ‘Fur’ Silk Skirt; and Boots: felt, rubber and leather, 1950-1999

Floor (bags only in no particular order) – Purse: leather, n.d.; Parfleche: rawhide, mid-20th century, Siksika; Deer Leg Container: deer leg, velvet, beads, cord and cloth, mid-20th century, Nehiwyan; Purse: sateen, tortoiseshell and silk, ca. 1900, India; Evening Purse: crocodile, ca. 1900-1915; Bag: bird’s feet, mid-20th century, Kalaallit; Armadillo Bag: armadillo skin, copper and string, mid-20th century, Mataco; Embroidered Pouch with Mosaic Pattern: sealskin, silk and sinew, ca. 1923, Inuit; Deer Hoof Bag: deer hide, dew claws and buckskin, mid-20th century, Nehiwyan; Purse: silk and ivory, n.d.; Purse: leather, metal and brass, n.d.; Tobacco Pouch: ca. 1812, The Netherlands

Floor (shoes only in no particular order) – Shoes: satin, n.d.; Shoes: satin, n.d.; Sandals: wood, ivory, n.d.; Fall Boots: hide, sealskin and sinew, 1900-1950, Kivallirmiut; Child’s Reindeer Skin Boots: reindeer skin, wool, rawhide and cotton thread, ca. 1980, Sami; Embroidered Moccasins: tanned hide, silk, horsehair, embroidery thread, quills and fur, 1950-2000, Anishnaabe Cree; Samurai Kegutsu: bear fur and silk, Edo Period, Japanese; Greaves with Sabatons : steel and leather, 19th century, European reproduction; Boots: ca. 1896; Shoes: wood, silver and mother-of-pearl, ca. 1840; Clogs: wood, steel and leather, ca. 1910

G’Ma’s Curio CupboardContinued from page 28

These artifacts are not listed in a particular order, but are separated by collection area and are collection of Glenbow unless otherwise noted.

Indigenous Studies Collection

Woolen Dolls (2): mountain goat wool and dog hair, mid-20th century, Coast Salish; Doll with Frontlet Headdress: wood, quills, plumes, paint, cotton ermine and wool cloth, mid-20th century, Kwakwaka’wakw; Woman with Baby: soapstone, cotton, buckskin, hide and glass beads, 1950-1999, Qainigmiut; Doll: hide, cotton, wood and paint, mid-20th century, Nunatsiarmiut; Toy Caribou: caribou fur, caribou hide and caribou bone, 1973, Iglulingmiut; Toy Ice Worm: fox tail, caribou hide and felt, 1973, Netsilingmiut; Toy Animal Spirit: sealskin, fur, bone, stone and stuffing, 1973, Netsilingmiut; Toy Ookpik: commercial leather and sheepskin, 1974, Netsilingmiut; Toy Duck in Flight: melton, stuffing, embroidery thread and cardboard, 1974, Kivallirmiut; Toy Omingmak (Musk-ox): musk-ox wool, caribou bone and stuffing, 1974, Netsilingmiut; Toy Ptarmigan: duffle, wool, embroidery wool and stuffing, 1974, Netsilingmiut; Toy Polar Bear: duffle, embroidery wool and stuffing, 1974, Netsilingmiut; Toy Polar Bear: duffle, embroidery wool and stuffing, 1974, Netsilingmiut; Toy Raven and Chick: duffle, wool and stuffing, 1973, Netsilingmiut; Doll (Mother and Children): caribou hide, wool, beads, embroidery thread, bias tape and musk-ox horn, 1965, Kivallirmiut; Doll (Female): sealskin, wolf fur, melton, cotton,

List of Artwork and Artifactsbias tape, cowhide and satin, 1973, Inuinnait; Doll (Male): sealskin, fox fur, cotton, seal hide, wool, and wood, 1962, Nunavimiut; Toy Animal: duffle, cotton, leather, stroud, white fox, thread, stuffing, Mackenzie Delta braid and bias tape, 1972, Netsilingmiut; Doll (Man and Child): sealskin, caribou, squirrel, sheepskin, and artificial sinew, 1985, Kivallirmiut; Horse Carving: wood, wax crayon and pencil, mid-20th century, Stoney Nakoda; Bear Carving: wood and glue, mid-20th century, Stoney Nakoda; Doll: hair, wood, leather and beads, ca. 1920s, Blackfoot; Dolls: leather, beads, shell, feather and thread, ca. 1950, Blackfoot; Pin and Bone Game Set: deer knucklebone, buckskin and metal, ca. 1973, Stoney Nakoda; Knitted Horse and Rider: wool, 20th century, Puno; Armadillo Figure: clay, urucu and dye, mid-20th century, possibly Caraja; Armadillo Figure: clay and paint, mid-20th century, possibly Caraja; Capivara Figure: clay and paint, mid-20th century, possibly Caraja; Anteater Figures (3): clay and paint, mid-20th century, possibly Caraja; Jaguar Figure: clay and paint, mid-20th century, possibly Caraja; Macaw Figure: clay and paint, mid-20th century, possibly Caraja; Frog Figure: clay and paint, mid-20th century, possibly Caraja; Caribou: ivory, 1900-1950, Canada; Doll Wearing Button Blanket: wood, cotton batting, cloth, button, and sequin, mid-20th century, Kwakwaka’wakw; and Stuffed Seal Pup: seal pup skin, stuffing and embroidery thread, ca. 1960, Netsilingmiut

History CollectionBear: n.d., Canada; Monkey: 1967, Canada; Slippers: felt and cardboard, ca. 1950s, United States; Lone Ranger and Silver: ca. 1950s, Canada; Sulky Driver and Horse: n.d.; Western Pinball Game: ca. 1960, Canada; Rubber Bird: ca. 1950s, Canada; Sock Monkey: ca. 1950s, Canada; Teddy Bear: ca. 1920s, United States; Dog Pull Toy: ca. 1920s, United States; Toy Ice Wagon: ca. 1885; Dog: mohair, ca. 1930s; Penguin: ca. 1940s, Japan; Rabbit: ca. 1920s; Monkey: ca. 1960s, United States; Mickey Mouse: ca. 1930s; Cow: ca. 1930s-1950s, Canada; Paint-by-Number Set: n.d., United States; Mechanical Frog: n.d.; Toy Elephant: ca. 1940s, Canada; Teddy Bear: ca. 1930s; Wind-Up Penguin: ca. 1930s, Germany; Toy Dog: 1942, Canada; Walking Bear: ca. 1940s, Japan; Fishpond Game: ca. 1940s, Germany; Steeplechase Game: ca. 1940s; Teddy Bear: ca. 1920s; Monkey Pajama Bag: n.d., England; Horseshoe Game: n.d., United States; Bucking Bronco: 1908, Germany; Cuckoo Clock: n.d., Germany; Koala Bear: ca. 1970s; Winnie-the-Pooh Bear: ca. 1930s; Wind-Up Chicken: ca. 1890; Alphabet Blocks: 19th century, United States; Toy Fire Engine: ca. 1890; Wind-Up Beetle: 1909, Germany; Wind-Up Beetle: 1909, Germany; Bank (Jonah and the Whale): n.d.; Toy Rattle: silver and animal tooth, 18th century; Toy Horse: leather, n.d., United States; Noah’s Ark: late 19th century; Animal Figures (4): late 19th century; and Spools of Thread: upholstery, machine and embroidery thread, ca. 1909

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Paul Hardy Exhibition Guide

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