Stitching machine 
Metal, steel
American Shoe Machinery & Tool Company
United States, Saint Louis, circa 1935
Musées de la civilisation, donated by Marcel Bérubé, 1998-421
Photographer : André Kedl

By 1936, Quebec City was Canada's leading shoe manufacturer, with an annual production of 2,800,000 pairs of shoes. This stitching machine, perhaps used originally in a factory, comes from a family shoemaking business in Ancienne-Lorette, in operation from 1949 to 1997.

Propeller-driven snowmobile  
Metal, wood, fibre
Height 180 cm, width 110 cm, length 350 cm
Edmond Fontaine
Saint-Jean-Baptiste-de-Rouville, circa 1930
Musées de la civilisation, restoration by Centre de conservation du Québec, 88-2571
Photographer : André Kedl

With his ingenious Ski-Doo, Bombardier was not the only inventor who dreamed of conquering winter by revolutionizing ways to travel over the snow. This prototype of a propeller-driven snowmobile on skis is a good example. It was built by Edmond Fontaine in Saint-Jean-Baptiste-de-Rouville around 1930. He went on to work with Joseph-Armand Bombardier on the production of a few models of propeller-driven snowmobiles, which were never commercialized because the propeller action was considered to be too dangerous.

Dress
Metalized rust bronze 
Marie Saint-Pierre (1961-)
Montreal, 1997
Musées de la civilisation, 1999-26
Photographer : André Kedl

Invited in 1997 by Les Musées de la civilisation to design a piece of clothing inspired by a costume from its collection, Marie Saint-Pierre created this dress. Fascinated by transparency, vulnerability and the traces of time on vintage clothing, the designer created this sculptural dress from a metallic fabric whose effect is at once transparent and opaque.

Bust of Suzor-Coté
Plaster
Alfred Laliberté (1879-1953)
Canada, circa 1935
Musées de la civilisation, Séminaire de Québec Collection, 1991.1523
Photographer : André Kedl
Video : written by Carolyne Bolduc; directed by Francis Lauzon. Co-produced with Télé-Québec. 

Laliberté did several busts of his friend Suzor-Coté, whom he had met as a student in Paris. Their friendship would last over 30 years, and their art reveals a certain kindred spirit. Both were sculptors and painters and produced, each in his own way, works that incarnated the land and the essence of Québec.

Willem van der Leeuw (1603-1655), from Peter Paul Rubens' (1577-1640)
The Hippopotamus and Crocodile Hunt
1624-1634
Etching and burin on laid paper
Musées de la civilisation, Séminaire de Québec collection, 1993.29995

The original painting, The Hippopotamus and Crocodile Hunt, by Rubens is part of a group of four paintings commissioned between 1615 and 1618 to decorate the Schleissheim Palace in Bavaria. At the time, engraving was the medium par excellence to promote the works of the great masters, which were kept in spaces that were inaccessible to most art enthusiasts. This engraving is an excellent example of Rubens' works, which were widely disseminated to make him known and ensured his reputation withstood the test of time. Van der Leeuw was among the great engravers who used Rubens' works to refine their technique, contributing to the dissemination and awareness of the works of this Flemish artist.

Bonnet
Musées de la civilisation, donated by the Honorable Serge Joyal, P.C., O.C., 87-1043
Photographer : Julien Auger – Icône

Regency sofa
Circa 1830
Wood, textile, fibre, metal
England
Musées de la civilisation, collection du Séminaire de Québec,  92-678
Photographer : Julien Auger – Icône

Bicycle - BIXI
Rubber, plastic, metal, synthetic fibre,  aluminum
Musées de la civilisation, donated by Michel Dallaire, 2012-184
Photographer : Julien Auger – Icône

The BIXI bike-sharing service is an urban mode of transportation that is an alternative to driving a car and complements the public transit network. Originally designed to meet the challenges and needs of the City of Montreal, it was designed to be sturdy and safe, and to integrate into the urban environment. As it is modular, no excavation work is required for the system to be installed and it is easy to move. It also runs on solar energy and uses a wireless communication system. The bikes were designed in collaboration with the Saguenay manufacturer, Cycles Devinci. BIXI bikes were introduced to Montreal in 2009 and can now be found in several cities in Canada and the United States, as well as in London (England) and Melbourne (Australia). In 2008, TIME magazine ranked BIXI 19th among the 50 best inventions of the year. It has since received many awards and distinctions. The bike frame is made through a hydroforming process.

Pair of percussion pistols in their case
AD. Jansen
Mid-19th century
Wood, iron, copper, silver, steel
Brussels, Belgium
Musées de la civilisation,  43-15-2, 45-15-3
Photographer : Julien Auger – Icône

Used for target practice, these weapons could also have been used in duels

Dancing  slippers
First half of 19th century
Leather, textiles, metal, fibre
Musées de la civilisation,  43-27
Photographer : Julien Auger – Icône

Bicorn hat from a ceremonial uniform
19th century
Metal, brass, silk, feathers, gold, hide, fibre, leather
Musées de la civilisation,  80-6533-1
Photographer : Julien Auger – Icône

Two-pointed hat made from a cardboard? form covered in black silk plush and adorned with narrow, black, silk ribbon. Hat trimmed on one side with two wide, black, silk ribbons with scalloped edges, decorated with oak leaves and acorns, and a gold stripe with threads in cable, scallop, and zigzag patterns. On this surface, there is a brass button, as well as a pleated cockade made of black silk, sewn on top. White, blue, and light blue feathers attached to the top of this surface. On the hat's points, there are padded patches, decorated with gold thread in a curly crisscross and rod pattern. The hat is lined with mauve silk and the lining is edged with beige leather. Patterns on the button on the decorated part: a medallion featuring a crowned lion atop a crown in the centre. Inscription on the button: CONTROL DEPARTMENT.

Cradle with turned posts
Circa 1800
Wood, pine, yellow birch
Beloeil, Quebec
Musées de la civilisation, 68-1093 
Photographer : Julien Auger – Icône

Flow Blue porcelain dishes
Mid-19 th  century
Ceramic
Staffordshire, Angleterre
Musées de la civilisation, 88-1195
Photographer : Julien Auger – Icône

Calash bonnet with hoops
Musées de la civilisation, donated by the Honorable Serge Joyal, P.C., O.C., 87-2505
Photographer : Julien Auger – Icône,

Dessert service
Circa 1830
Ceramic, porcelain
England
Musées de la civilisation, 67-2365
Photographer : Julien Auger – Icône

Blue Jay
John James Audubon (1785–1851)
Engraved by Robert Havell (1793-1878)
Etching and aquatint with watercolour, 1831-1834
In: Audubon, John James. The Birds of America; from Original Drawings. London: J. J. Audubon, 1827-1838 (vol. 2, plate CII)
Musées de la civilisation, Séminaire de Québec collection, 1993.34703
Photographer : Jessy Bernier - Icône

In 1861, the Séminaire de Québec acquired a collection of The Birds of America books by John James Audubon for educational purposes in the teaching of the natural sciences. The full collection was bought from the New York publisher and bookseller D. Appleton & Co. Printed in four volumes, on double elephant size paper, according to English tradition, The Birds of America consists of 435 engraved plates depicting 459 bird species.

Hat
Musées de la civilisation, donated by the Honorable Serge Joyal, P.C., O.C., 87-1257-1
Photographer : Julien Auger – Icône

Clock
G. H. M. Bellerose
1810
Wood, metal, copper
Musées de la civilisation, restored by the Centre de conservation du Québec,  55-38
Photographer : Julien Auger – Icône

Clock with daisy motif. Features two false hollow columns, one on each side of the trunk, two round columns, one on each side of the bonnet. Scrolled pediment. Painted dial with roman numerals.

Trunk
1770-1795
Wood, metal, bark, elm
Musées de la civilisation, donated by Ms. Saint-Laurent and Mr. Turcotte, 2006-305
Photographer : Julien Auger – Icône

18th-century trunk, brought back by Ms. Georgine Saint-Laurent following a trip to Germany. Largely mobile, trunks (chests) featured handles which facilitated moving them. The most archaic ones were made from a tree trunk. Used for travelling, this type of trunk was the first furniture brought over to New France. In fact, it was inconceivable to transport all one's furniture on the sailing vessels that crossed the Atlantic. As a result, only people of means were able to leave their homeland and bring their furniture to America. Like most linen chests, this trunk has a small compartment near the top to hold papers and small items.

Baby monitor  Angelcare AC-201
2000 c
Michel Dallaire
Plastic, metal.
Musées de la civilisation, donated by Michel Dallaire, 2012-140
Photographer : Julien Auger – Icône

Angelcare is a Montreal company that was founded in 1997. It makes monitoring products that help parents and ensure the safety of babies. The idea of creating a monitor that detects movements came from Maurice Pinsonnault, a father himself. At the time, this type of monitor already existed, but it was instead found on expensive medical devices. So Mr. Pinsonnault bought the patent for this device. By giving it its angel shape, Michel Dallaire took part in the creation of a product that was practical and appealed to emotions. Since 1998, several versions have been developed and the product has received many awards and distinctions, including the Grand Prix at the 27th International Exhibition of Inventions of Geneva (Switzerland).

Iron
19th century
Cast iron
Musées de la civilisation, 68-323
Photographer : Julien Auger – Icône

Blue-headed Pigeon
John James Audubon (1785–1851)
Engraved by Robert Havell (1793-1878)
Etching and aquatint with watercolour, 1833
In: Audubon, John James. The Birds of America; from Original Drawings. London: J. J. Audubon, 1827-1838 (vol. 2, plate CLXXII)
Musées de la civilisation, Séminaire de Québec collection, 1993.34773
Photographer :  Jessy Bernier – Icône

In 1861, the Séminaire de Québec acquired a collection of The Birds of America books by John James Audubon for educational purposes in the teaching of the natural sciences. The full collection was bought from the New York publisher and bookseller, D. Appleton & Co. Printed in four volumes, on double elephant size paper, according to English tradition, The Birds of America consists of 435 engraved plates depicting 459 bird species.

Boater
Chapeaux Lucienne
830, rue Sainte-Catherine Ouest, Montréal
Straw, feathers, and tulle
Mid-20th century
Musées de la civilisation, 92-841
Photographer : Julien Auger- Icône

Made popular by canoe enthusiasts in the second half of the 19th century, the boater was initially worn by men, and later adopted by women. It was worn cocked forward and tilted at a jaunty angle over one ear. Although generally plain for men, boaters for women could be adorned with feathers, tulle, velvet, ribbons, flowers, and other decorative touches.

Table lamp
Early 20th century
Brass, glass, rubber
United-States
Musées de la civilisation, 2008-220
Photographer : Julien Auger – Icône

Snowy Owl
John James Audubon (1785–1851)
Engraved by Robert Havell (1793-1878)
Etching and aquatint with watercolour, 1831
In: Audubon, John James. The Birds of America; from Original Drawings. London: J. J. Audubon, 1827-1838 (vol. 2, plate CXXI)
Musées de la civilisation, Séminaire de Québec collection, 1993.34722
Photographer : Jessy Bernier – Icône

In 1861, the Séminaire de Québec acquired a collection of The Birds of America books by John James Audubon for educational purposes in the teaching of the natural sciences. The full collection was bought from the New York publisher and bookseller, D. Appleton & Co. Printed in four volumes, on double elephant size paper, according to English tradition, The Birds of America consists of 435 engraved plates depicting 459 bird species.

Attaché case
1984
Michel Dallaire
Metal, plastic, nylon, polypropylene
Musées de la civilisation, donated by Michel Dallaire, 2012-90
Photographer : Julien Auger – Icône,

This series of hand luggage is offered in several colours and dimensions. With a diverse range of possible uses, dividers, such as disk compartments, were designed to be inserted into the attaché cases. The attaché cases were initially intended as fashion accessories for students and young adults. They have been bought by more than 2 million North Americans and by New York's Museum of Modern Art. In 1985, this product line was a finalist at the Canada Awards for Excellence. Founded in 1984 and incorporated under the name Resentel, the company that sells them is known today as Plasticase.

Wooden horse originally with wheels
Middle 19th century
Wood, metal, leather, horsehair
Québec
Musées de la civilisation, 76-3
Photographer : Julien Auger – Icône

Bust of Suzor-Coté
Plaster
Alfred Laliberté (1879-1953)
Canada, circa 1935
Musées de la civilisation, Séminaire de Québec Collection, 1991.1523
Photographer : André Kedl
Video : written by Carolyne Bolduc; directed by Francis Lauzon. Co-produced with Télé-Québec. 

Laliberté did several busts of his friend Suzor-Coté, whom he had met as a student in Paris. Their friendship would last over 30 years, and their art reveals a certain kindred spirit. Both were sculptors and painters and produced, each in his own way, works that incarnated the land and the essence of Québec.

Violin 
Wood, ebony, maple, spruce, metal
Augustin Lavallée
Montreal, 1881
Musées de la civilisation, 2009-14
Photographer : Luc-Antoine Couturier
Video : written by Carolyne Bolduc; directed by Francis Lauzon. Co-produced with Télé-Québec. 

Around 1848, Augustin Lavallée worked in Joseph Casavant's workshop in Saint-Hyacinthe, where he learned the skill of organ pipe making. A few years later, he opened his own workshop where he built and repaired musical instruments. In 1880, he won the gold medal for best violin at the Québec provincial exhibition. Helped by his son Charles, he built close to 200 violins from 1888 to 1894. His son Calixa is the renowned pianist and composer of Oh Canada.

This miniature trapezoidal baby carrier is made of two narrow pieces of wood, pointed at the top, held together by two cross pieces lashed together with leather strips. The bag for holding the baby is attached to this structure. The baby carrier was used to protect a child during transport and as a cradle during the first months of life.

Kiowa baby carriers, both works of art and utilitarian objects, were intrinsically linked to women's traditional role. The children were attached to the mother's back or hung from a horse's harness so that she could attend to her daily tasks while keeping her child close to her.

This bag made of pronghorn antelope hide was inspired by saddlebag patterns. While it could have been used to carry small objects, its chamois leather, its satiny cotton, and the heaviness of its ornamentation indicate that it was used as finery more than as a utilitarian object.

The designs are attributed to the Ojibway west of the Great Lakes. The buds depicted on it are reminiscent of those often used by the Western Métis, who adopted or inherited them from the Ojibway tradition.