5 10 145 https://lifestories.uvic.ca/files/original/2132e32ec99675175e9b6a648df2bbc5.jpg 6667fe026a4d34cb20bb23f363fbed77 https://lifestories.uvic.ca/files/original/5998c065a7fa391be183879fd13101c5.JPG bf02007a31588777a194f7a3cd852e11 https://lifestories.uvic.ca/files/original/a60e10c7faa57e38f82014e3fcd042eb.JPG 08c310ad8f62430d0d2a66dec42ad257 https://lifestories.uvic.ca/files/original/1ee3f8c6707f3b0777b6d00860b7cef4.JPG 566c07bda901dd74970383b4c39e568f https://lifestories.uvic.ca/files/original/dbc15533bd2695b5a22b1ca2abd25938.JPG a5853aaa81d650822fafe42a9db29e8e https://lifestories.uvic.ca/files/original/2c1fa67fe63f5c3b6a89b4170b38aefb.JPG fca25ea8a6c557d3de44e0af83236b66 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Bed Room Subject The topic of the resource Probing conceptions of the bed as a site of life stories: conception, birth, security, sex, convalescence, death. Physical Object An inanimate, three-dimensional object or substance. Note that digital representations of, or surrogates for, these objects should use Moving Image, Still Image, Text or one of the other types. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Creator An entity primarily responsible for making the resource Unknown Artist Title A name given to the resource Untitled (Bedstead) VRA Core VRA Core standard for artistic pieces and cultural heritage artifacts. The first input will be treated as a <display> element. More detailed VRA Core metadata is available below that input. Date Date or range of dates associated with the creation, design, production, presentation, performance, construction, or alteration, etc. of the work or image. Dates may be expressed as free text or numerical. In format yyyy-mm-dd yyyy-mm-dd. 1685 Material The substance of which a work or an image is composed. Oak State Edition The identifying number and/or name assigned to the state or edition of a work that exists in more than one form and the placement of that work in the context of prior or later issuances of multiples of the same work. Furniture Worktype Identifies the specific type of WORK, COLLECTION, or IMAGE being described in the record. tester beds Location The geographic location and/or name of the repository, building, site, or other entity whose boundaries include the Work or Image. England Cultural Context The name of the culture, people (ethnonym), or adjectival form of a country name fromwhich a Work, Collection, or Image originates, or the cultural context with which the Work, Collection, or Image has been associated. English Measurements The physical size, shape, scale, dimensions, or format of the Work or Image. Dimensions may include such measurements as volume, weight, area or running time. 213 x 138 cm x 187 cm long (to footboard) Description A free-text note about the Work, Collection, or Image, including comments, description, or interpretation, that gives additional information not recorded in other categories. Four poster bed with back carving and roof. Source A reference to the source of the information recorded about the work or the image. Bequest of John and Katharine Maltwood Rights Information about the copyright status and the rights holder for a work, collection, or image Image Permission: Not Copyrighted (artist deceased 50+ years) https://lifestories.uvic.ca/files/original/51f00beee49b6b82cc8b506ebc1d0a76.jpg 20b564aa51a11c3c795b954f8cfb42f4 https://lifestories.uvic.ca/files/original/2e728fcc0aea03e3f73a260be5cd8d7b.jpg 6791b5887fb7f3bdbc5c9179528597b0 Person An individual. Birth Date 1948 Birthplace Whyac Death Date 2003 Biographical Text Art Thompson (Tsa Qwa Supp) belongs to the Ditidaht band of the Nuu-chah-nulth people on Vancouver Island. Born in 1948 in the remote village of Whyac, he maintains and dedicated involvement in the cultural life of his community. Thompson was largely a self-taught artist, though he took courses at Camosun College and The Vancouver School of Art, and who began drawing and painting at an early age. As well, he benefited from the experience of having a father and grandfather who were carvers. Significant, too, were his studies with Ron Hamilton and Joe David, two of the artist most responsible for he resurgence of Nuu-chah-nulth art. Having worked in conjunction with numerous artists over the years and has developed his own unique interpretation of the ancient Nuu-chah-nulth art form in over 100 published serigraphs, his chosen artform. His artistic contributions have been photographed and documents in numerous magazines, books and periodicals, many of which include feature articles, and his work is held in collections world-wide in Canada, the United States, and Singapore. Thompson was initiated into the Tloo-Kwalla or Wolf Society, a tribal initiation ceremony that had been passed down through the generations and besides his renown as a visual artist he attained recognition for his knowledge and practice of the traditional Nuu-chah-nulth culture. Thompson was also a tireless fighter for all those who suffered the abuses of the residential school system. Tragically, Art Thompson passed away from cancer in 2003. Sources: UVic Archived Artist Bios http://www.cedarhilllonghouse.ca/artist/art-thompson Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Thompson, Art (Tsa Qwa Supp) https://lifestories.uvic.ca/files/original/34ee13c714bc0eb46c6f54f0f9c0b065.jpg 54646cf39565b4059ae08bfc20df2d47 Person An individual. Birth Date December 29, 1896 Birthplace Chihuahua, Mexico Death Date Jan. 6, 1974, in Cuernavaca, Morelos Biographical Text David Alfaro Siqueiros (born José de Jesús Alfaro Siqueiros) was a Mexican social realist painter, better known for his large murals in fresco. Along with Diego Rivera and José Clemente Orozco, he established "Mexican Muralism." He was a Stalinist in support of the Soviet Union and a member of the Mexican Communist Party who participated in an unsuccessful attempt to assassinate Leon Trotsky in May 1940. Siqueiros was also exposed to new political ideas, mainly along the lines of anarcho-syndicalism. One such political theorist was Dr. Atl, who published a manifesto in 1906 calling for Mexican artists to develop a national art and look to ancient indigenous cultures for inspiration. Siqueiros traveled to Europe in 1919. First in Paris, he absorbed the influence of cubism, intrigued particularly with Paul Cézanne and the use of large blocks of intense color. While there, he also met Diego Rivera, another Mexican painter of "the big three" just on the brink of a legendary career in muralism, and traveled with him throughout Italy to study the great fresco painters of the Renaissance. In 1922, Siqueiros returned to Mexico City to work as a muralist for Álvaro Obregón's revolutionary government. Then Secretary of Public Education José Vasconcelos made a mission of educating the masses through public art and hired scores of artists and writers to build a modern Mexican culture. Siqueiros, Rivera and José Orozco worked together under Vasconcelos, who supported the muralist movement by commissioning murals for prominent buildings in Mexico City. Siqueiros remained deeply entrenched in labor activities, in the union as well as the Mexican Communist Party, until he was jailed and eventually exiled in the early 1930s. Siqueiros went to Los Angeles in 1932 to continue his career as a muralist, and worked for a time in New York City. After fighting in the Spanish Civil War in 1937, Siqueiros returned to Mexico City in 1938. He was forced into hiding and later exiled for his direct involvement in an attempt to assassinate Leon Trotsky, then in exile in Mexico City from the Soviet Union. Later in life, he was again imprisoned in Mexico for openly criticizing the President of Mexico, Adolfo López Mateos, and leading protests against the arrests of striking workers and teachers, though the charges were commonly known to be false. Unjustly imprisoned, Siqueiros continued to paint, and his works continued to sell. After international pressure was put on the Mexican authorities, Siqueiros was finally pardoned and released in the spring of 1964. He immediately resumed working on his suspended murals in the Actors' Union and Chapultepec Castle. As a muralist and an artist, Siqueiros believed art should be public, educational, and ideological. He painted mostly murals and other portraits of the revolution – its goals, its past, and the current oppression of the working classes. Because he was painting a story of human struggle to overcome authoritarian, capitalist rule, he painted the everyday people ideally involved in this struggle. Though his pieces sometimes include landscapes or figures of Mexican history and mythology, these elements often appear as mere accessories to the story of a revolutionary hero or heroes (several works depict the revolutionary "masses", such as the mural at Chapultepec). [Adapted from: Wikipedia: David Alfaro Siqueiros] Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Siqueiros, David Alvero https://lifestories.uvic.ca/files/original/6ec1c7498ece48fbb99bc1a4b992d756.jpg 872ce01bf1d3ef746a2ac755392ba9bb Person An individual. Birth Date April 14, 1941 Birthplace Montreal, Quebec Biographical Text Born in Montreal, Quebec, Nina Raginsky received a Bachelor of Arts degree from Rutgers University in 1962. While at Rutgers she studied painting with Roy Lichtenstein, sculpture with George Segal and Art History with Allan Kaprow. From 1963 to 1981, she was a freelance photographer with the National Film Board of Canada. After spending a year in Mexico, she returned to Canada in 1968 and began a project recording remote life in the Yukon and First Nations communities in British Columbia. The following year, she became an assistance curator of education at the Vancouver Art Gallery until 1972. She then began a series of photos documenting the city and people of Vancouver, Victoria, and British Columbia. Between 1972 and 1981, Raginsky was an instructor at the Emily Carr College of Art, formerly Vancouver School of Art. She was made an Officer of the Order of Canada in 1985. She is a member of the Royal Canadian Academy of Arts. [Source: Legacy Galleries and Wikipedia entry: Nina Raginsky] Raginsky makes her home on Salt Spring Island and was recognized nationally in 2015 for her contributions to photographic art by having a postage stamp made of one of her best known Vancouver photos: <a href="https://www.canadianpostagestamps.ca/stamps/18581/shoeshine-stand-by-nina-raginsky">Shoeshine Stand.</a> [Source: <a href="https://vanasitwas.wordpress.com/2017/02/20/nina-raginskys-lip-grant-images/">Vancouver As It Was: Nina Raginsky's Lip Grant Images</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Raginsky, Nina https://lifestories.uvic.ca/files/original/0476abe3cf6c69aa35ba4f3e27ad2fbe.jpg 143bd052ed9f4f5c625a1fcff9fa41cf Person An individual. Birth Date May 12, 1917 Death Date March 6, 2012 Bibliography Renowned Crow artist Winona Plenty Hoops was known for her traditional doll making and beading. She was the last member of the Crow Tribe to fashion her own buckskin, from tanning to a finished product. Winona was the first Crow woman to have a handmade doll displayed in the Smithsonian Museum. She was named a master artist in 1994 by the Montana Arts Council. Her work has even been purchased by the Smithsonian Institution. The Apsáalooke (also known as the Absarokee), or Crow as they have been formally known, are located on the Northwest Plains and are part of the collective group of Sioux Nations. The Mountain Crows in southern Manitoba and northern Wyoming and the River Crows of the Missouri and Yellowstone Rivers are the two main bands. The Crow peoples are well-known for their quillwork and beadwork. The University of Victoria's Art Collection has an amazing set of of dolls by Crow artist Winona Plenty Hoops. There are also two beautifully detailed and beaded contemporary Crow cradleboards. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Plenty Hoops, Winona https://lifestories.uvic.ca/files/original/5847bce62ab3a4ece3d327af538165ae.jpg 81ed133a1179e57daad0ccc72835681b Person An individual. Birth Date 1866 Death Date 1949 Biographical Text Ernest Borough-Johnson, the youngest of the three principal artists involved in the collaborative illustration of Tess of the D'Urbervilles, was born in December 1866, in Shropshire. Resident in Basingstoke after his time as a pupil at Bushey, Johnson (Graves gives the spelling "Johnston") was a country man suited by experience and temperament to his task here. Between 1887 and 1892 he exhibited twelve paintings, eight at the Royal Academy, including Her Daily Bread (1887), Winchelsea, From Winchelsea, and Motherless (1889), Study of a Head, and Spring Blossom (1890). His most successful literary illustration was that of Henry Wadsworth Longfellow's Evangeline kissing the "dying lips" of her lover Gabriel. While Graves gives Borough-Johnson's specialty as "Domestic" in his 1895 Dictionary, in his 1905 Royal Academy of the Arts Dictionary Graves emphasizes Johnson's work as a landscape and genre painter. Bénézit notes Johnson's work as a lithographer, and mentions that this artist's productions have been on display at the Royal Society of Portrait Painters and the Royal Institute of Painters in Watercolours. In short, Ernest Borough-Johnson enjoyed a career that was at least the equal of Daniel Wehrschmidt's, although neither artist made the mark in the annals of nineteenth-century painting that Hubert Herkomer did, and no critic notes their work as illustrators. That the Professor assigned Johnson six plates to Syddall's five suggests their chief's greater confidence in an artist who had demonstrated a greater pictorial acumen over the five years preceding the collaborative project. In The Graphic Johnson tends to adopt the style of illustration established by Herkomer, and some of his plates approach the quality of the master's. Further, the dimensions of Johnson's plates suggest that both Herkomer and Locker were pleased with his work, for only one of his plates, the meditative but rather undramatic vision of Tess lying on the grass (September 19th) is of the half-page format. In total, Johnson's plates occupy five-and-a-half pages of the magazine, only one page less than Wehrschmidt's eight plates. Perhaps the rank-ordering of Herkomer's esteem for his pupils' work is traceable in the order in which he had them follow his opening illustration: Wehrschmidt (July 18), Johnson (July 25), then Syddall (August 1 and 8). Source: <a href="http://www.victorianweb.org/art/illustration/bjohnson/bio.html">The Victorian Web</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Johnson, Borough Person An individual. Birthplace Birmingham, England Biographical Text E.S.B E S Barnsley & Co Ltd. was a silversmithing company active at Frederick Street, Birmingham from 1895 till 1921. Founder Edward Souter Barnsley registered his mark in 1887, 1908 and 1913. Source: <a href="http://www.silvercollection.it/englishsilvermarksXESSS.html">Hallmarks of English Silver</a> Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource E.S. Barnsley & Co. https://lifestories.uvic.ca/files/original/fd3e4d7e4d21b0a9864a92fc7bac4643.jpg 6dd27ffc42443df062d99e408ee0d52d Person An individual. Birth Date October 10, 1957 Birthplace Victoria, BC Occupation Artist Biographical Text Born in Victoria in 1957, Joe began signing his artwork as Joe Average when he was 19 years old. His pop-art has captured the attention of international art critics, royalty, celebrities, and the public. His work is a visionary kaleidoscope of colour, creativity and compassion. Living with HIV for the past 20 years, the self taught Joe Average has earned international recognition as an advocate for AIDS, an artist, and a noted philanthropist. His art was featured on a 1996 Canadian Stamp which was also the conference image for the 1996 XI International Conference on AIDS. In 1998 Joe was recognized by the Governor General of Canada with the Caring Canadian Award. The City of Vancouver bestowed him with a Civic Merit Award in 1994. He was the recipient of a 1993 Jessie Award, and has been officially presented to Prince Charles and the late Princess Diana at Rideau Hall. Other honours include, The Canadian Institute of the Arts for Young Audiences Award, Xtra West Magazine’s Heroes of 1996 Award, and in 1997 the Friends for Life Society honored him with the Friend In Deed Award. Joe most recently won the Davie Street Banner Competition. Source: Van Dop Gallery http://vandopgallery.com/joe-average/ Bibliography Image: Jason Hargrove, CC 2.0 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Average, Joe Person An individual. Biographical Text Richard Hunt was born in Alert Bay, British Columbia in 1951 but has lived most of his life in Victoria, where he completed his high school education. He began carving with his father, the late Henry Hunt, at the age of thirteen. In 1973, Richard began work at the Royal British Columbia Museum as an apprentice carver under his father. The following year he assumed the duties of chief carver in the Thunderbird Park Carving Program. He remained in the museum in that capacity for twelve years. In 1986, Mr. Hunt resigned to begin a new career as a freelance artist. He comes form a family of internationally respected artists, which include his father Henry Hunt and his grandfather Mungo Martin. In 1991, Richard Hunt received the Order of British Columbia "in recognition of serving with the greatest distinction and excellence in a field of endeavor benefiting the people of the Province of British Columbia and elsewhere." This prestigious award program was established in 1990. Richard is the first native artist to be so recognized. In 1994, Richard received the most prestigious award of his career, The Order of Canada. "The Order was established in 1967 as a means of recognizing outstanding achievement, honouring those who have given services to Canada, to their fellow citizens or to humanity at large." Richard Hunt's name is highly appropriate, considering his accomplishments. Gwe-la-yo-gwe-la-gya- lis means "a man that travels and wherever he goes, he potlatches." Through his art, his speaking and his dancing, Mr. Hunt has indeed given much to the world.* He is a member of the Royal Canadian Academy of Arts and has also received an honorary doctorate from the University of Victoria. *Cited from www.pacificeditions.ca * Richard Hunt prefers the term Kwaguilth to Kwakwaka'wakw Birth Date 1951 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hunt, Richard (Gwe-la-yo-gwe-la-gya) Person An individual. Birth Date 1953 Death Date 1980 Biographical Text Heather Cragg was an aspiring young artist who died tragically at the age of 27. A graduate from the University of Oxford with First Class distinction, her work is included in collections in Canada, Britain and the United States. Two years after her death, the Maltwood Gallery at the University of Victoria put on a retrospective show of Heather's prints, drawings and paintings. The interest which this show generated in Heather's work allowed the memorial scholarship, set up in 1981 by Heather's parents Dr. and Mrs. B. E. Cragg, to be increased: prints, drawings and water colours by Heather were displayed at the University Bookstore and the proceeds went into the fund. [adapted from the catalogue for the Maltwood exhibit, written by Martin Segger.] Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Cragg, Heather