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Other Name
WEDGE CAP, "ANDERSON SISTERS"
Date Range From
1940
Date Range To
1970
Material Type
Artifact
Materials
FELT, THREAD, PLASTIC
Catalogue Number
P20160044001
  2 images  
Material Type
Artifact
Other Name
WEDGE CAP, "ANDERSON SISTERS"
Date Range From
1940
Date Range To
1970
Materials
FELT, THREAD, PLASTIC
No. Pieces
1
Height
11
Length
30
Width
1.7
Description
BLACK FELT WEDGE CAP WITH RED ACCENTS STITCHING. TWO RED AND GOLD PLASTIC BEADS ON THE FRONT EDGE. CURSIVE “ANDERSON SISTERS” EMBROIDERED IN RED ON ONE SIDE AND “ALICE” ON THE OTHER. VERY GOOD CONDITION: MAKEUP STAINS PRESENT OF THE INSIDE BRIM OF THE HAT.
Subjects
CLOTHING-HEADWEAR
Historical Association
LEISURE
PERSONAL CARE
History
THE LATE ALICE PEARL HUMMEL (13 JUNE 1922 – 7 APRIL 2016) PERFORMED AS PART OF THE “ANDERSON SISTERS ORCHESTRA” ALONGSIDE HER SISTERS – FLORENCE JEANNETTE MCINTOSH (MAY 1917 – 18 MARCH 1999), MARIE EVELYN POPSON (C.1921 - 8 MARCH 2008) AND RUTH GINZER (C. 1926 - D. 2016). THE FOUR DAUGHTERS WERE BORN TO PARENTS, MARTIN EDWARD ANDERSON AND IDA JOHANNA ANDERSON (NEE JOHNSON). THE BAND WAS A FAMILY AFFAIR THAT SAW GREAT SUCCESS IN THE SOUTHERN ALBERTA REGION. ALICE’S DAUGHTERS, ELEANOR SMITH AND RUTH HUMMEL, HONOURED THEIR MOTHER’S WISHES TO DONATE A NUMBER OF HER EFFECTS FROM HER TIME WITH LETHBRIDGE BAND TO THE MUSEUM. THIS WEDGE CAP WAS A COMPONENT OF THE UNIFORM THE SISTERS WORE WHEN THEY PERFORMED AT PLACES SUCH AS ARMY BASES AND DANCE HALLS. THIS CAP BELONGED TO ALICE, THE SECOND YOUNGEST OF THE SISTERS. IN 16 DECEMBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DAUGHTERS ABOUT THE DONATION. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT EXCHANGE: RUTH STATES, “THE HAT WOULD BE AT LEAST FROM 1940 - ’41… ALL OF THE SISTERS HAD [A CAP AND] THEY WERE SPECIAL MADE FOR THEM. ‘ANDERSON SISTERS’ WAS EMBROIDERED ON ONE SIDE AND THEN THEIR NAMES ON THE OTHER. THEY WERE MADE TO GO WITH THESE MILITARY LOOKING DRESSES THAT THEY HAD. THEY TYPICALLY ALWAYS DRESSED ALIKE FOR THE PERFORMANCES. THE HATS WERE MADE TO GO ALONG WITH THEM WHEN THEY WERE DOING PERFORMANCES AT THE MILITARY BASES.” “[THE SISTERS] USUALLY CAME UP WITH [THE UNIFORM] COLLECTIVELY,” RUTH EXPLAINED, “AND THEY WORKED WITH A TAILOR IN TOWN WHO ACTUALLY DID SOME OF THEIR SUITS. THERE MIGHT BE A LABEL THAT I COULD FIND WITH REGARDS TO WHAT THAT COMPANY WAS….THERE WERE USUALLY ALWAYS TAILORS INVOLVED, AND WHEN THEY CAME UP WITH AN IDEA OR CONCEPT, THEY’D HAVE IT DONE AT THE SAME PLACE, BUT I DON’T HAVE THE DETAILS ON THAT.” MANY OF THE ARTIFACTS DONATED TO THE MUSEUM, INCLUDING THIS CAP, WERE KEPT TOGETHER IN ONE OF ALICE’S TRUNKS. WHEN RUTH AND ELEANOR WERE HELPING THEIR MOTHER SORT HER THINGS, SHE EXPLAINED THE ITEMS IN THE TRUNK TO THEM. THE WEDGE CAP CAME TO THE MUSEUM ENCLOSED IN A SHADOW BOX COMPLETE WITH ARTICLE CLIPPINGS AND PHOTOGRAPHS, WHICH WAS ASSEMBLED FOR A COMMUNITY DISPLAY. PERMISSION WAS GRANTED BY THE DONOR TO REMOVE THE CAP FROM THE BOX. SEE PERMANENT FILE FOR PHOTOGRAPH OF THE BOX. THE FOLLOWING IS A BRIEF HISTORY OF THE ANDERSON SISTERS AS TOLD BY DONORS ELEANOR SMITH AND RUTH HUMMEL IN THE 2016 INTERVIEW: “[THE ANDERSON SISTERS ORCHESTRA WAS] THE LONGEST RUNNING GROUP AT WATERTON LAKES PAVILION … [WHERE THEY PLAYED] FOR FIVE YEARS STRAIGHT,” ELEANOR EXPLAINED, “IN ADDITION TO DOING ALL KINDS OF OTHER THINGS, THEY WERE CONSTANTLY TRAVELLING [AND] WE HAVE THE RECORDINGS OF THAT.” RUTH ADDED, “THEY WERE ORIGINALLY FROM MONITOR (SASK). IN THE DIRTY 30S, WHEN THINGS GOT BAD FOR A LOT OF FARMS, THEY FOUND A WAY TO HAVE MUSIC LESSONS AND…PLAY FOR LOCAL DANCES. [ULTIMATELY, THE FAMILY] DECIDED TO LEAVE THE FARM AND HEADED OUT IN THE DIRECTION OF LETHBRIDGE (VIA DRUMHELLER). IT WAS TOUGH TIMES FOR A LOT OF PEOPLE IN THE 30S IN ALBERTA, BUT THE GIRLS, WITH THE TALENT THEY HAD, … HAD A WAY OUT…THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY. AND THEN THE ORCHESTRA REALLY CAME OUT OF THAT...” THE OBITUARY OF DONORS’ GRANDFATHER, MARTIN ANDERSON, (PUBLISHED IN THE LETHBRIDGE HERALD, 1981) STATES THE FAMILY ARRIVED IN LETHBRIDGE IN 1940. “THEY WERE SERIOUS MUSICIANS - VERY HUMBLE AND VERY QUIET,” RUTH CONTINUED, “[AS FAR AS PROMOTING THE BAND,] THAT WAS MORE GRANDPA’S JOB. WHEN IT CAME TO MUSIC, IT WAS A GIFT THEY PASSED ON - IN THE LATE ‘30S, ‘40S AND INTO THE ‘50S A BIT – [AND] IT WAS SOMETHING THEY FELT REALLY PRIVILEGED TO BE ABLE TO CONTRIBUTE IN THEIR OWN COMMUNITIES. [DURING] THE WAR YEARS, [THEY PLAYED FOR] THE ARMY BASES THAT WERE ALL CLOSE HERE AND [THEY WERE] A PART OF THAT HISTORY.” “[THEY WERE] ON THE ROAD 6 DAYS A WEEK [WITH THEIR CAR AND TRAILER]… PLAYING NOT JUST IN LETHBRIDGE [BUT] FAR REACHING OVER IN B.C., THE NORTHERN STATES, AND QUITE FAR NORTH IN ALBERTA. SO THEY WERE A REAL PART OF THINGS AND WORKED REAL HARD. I THINK IT’S AN IMPORTANT PART OF THE MUSIC HISTORY IN ALBERTA. THEY WERE, AFTER THE ANDERSON SISTERS [BAND WAS FINISHED], PROUD TO TAKE [MUSIC] INTO THE COMMUNITIES WHERE THEY WERE TEACHERS AND STILL PERFORMERS EVEN PAST THE FOUR OF THEM BEING TOGETHER.” WHEN ASKED ABOUT THEIR PERSONAL MEMORIES OF THE SISTERS PERFORMING TOGETHER, RUTH ANSWERED, “WELL ELEANOR WOULD HAVE BEEN A TODDLER, MYSELF AS WELL, THE LAST FEW TIMES THAT THEY PERFORMED AS THE ANDERSON SISTERS IN THAT ERA. BUT GROWING UP THROUGH THE YEARS, THERE WASN’T A TIME WHEN WE GOT TOGETHER AS A FAMILY WHERE WE DIDN’T HAVE A LOT OF MUSIC. THEY WOULD PLAY FOR US [AND] THEY WERE CALLED BACK SOMETIMES TO PERFORM AT COMMUNITY EVENTS… THE LAST ONE THAT I RECALL WAS SOMETHING IN GRANUM FOR AN ELKS 5OTH ANNIVERSARY IN GRANUM…THAT WAS THE LAST TIME PUBLICLY I REMEMBER.” THE FOLLOWING INFORMATION COMES FROM A HISTORY PUBLISHED IN THE LETHBRIDGE HERALD IN 24 MAY 2003 TITLED, “SISTER ACT: SOUTHERN ALBERTA’S SWINGIN’ ANDERSON SISTERS WERE ALL THE RAGE DURING THE SECOND WORLD WAR.” “IT WAS THE ERA OF SWUNG, OF MUSIC WITH MEMORABLE LYRICS, AND OF DANCE. IT WAS ALSO THE TIME OF THE SECOND WORLD WAR AND THE HEYDAY OF THE ANDERSON SISTERS, AND LITERALLY EVERY TOWN IN SOUTHERN ALBERTA WAS SWINGING AND SWAYING TO THE SOUNDS OF FLORENCE, MARIE, ALICE, AND RUTH." "DUBBED THE FOUR MAIDS OF MELODY BY CJOC RADIO…" THE ARTICLE CONTINUED, "[THE SISTERS] WERE THE TOAST OF SOUTHERN ALBERTA’S DANCE HALLS." INTERVIEWED FOR THE ARTICLE WAS ONE OF THE SISTERS, MARIE POPSON. SHE WAS QUOTED, "WE PLAYED THE TRIANON A LOT, THE OLD BUCKET OF BLOOD. THEY CALLED IT THAT BECAUSE IT WAS DURING THE WAR AND THERE WERE A LOT OF FIGHTS. PRIOR TO AND AFTER THE TRIANON WAS OK, BUT IT WAS REAL LIVELY DURING THE WAR… THE CROWDS [THERE] WERE SO LARGE THEY WERE AFRAID THE FLOOR WOULD WEAKEN… THE DANCE FLOOR WAS ON THE SECOND STORY OF THE BUILDING." THE ARTICLE EXPLAINED, "FLORENCE WAS THE ELDEST OF THE ANDERSON SISTERS AND AS SUCH WAS THE BAND’S LEADER. [SHE] PLAYED THE SAXOPHONE AND THE PIANO. MARIE… PLAYED THE PIANO AND ALICE PLAYED THE SAXOPHONE AND CLARINET. RUTH, 'THE BABY,' … PLAYED THE DRUMS, CLARINET AND TRUMPET." THE ARTICLE READS, "'RUTH STARTED PLAYING THE DRUMS AT AGE 11 AND LATER SHE COULD HANDLE THE DRUMMING WITH HER FEET AND PLAY THE TRUMPET AT THE SAME TIME FOR SOME OF OUR NUMBERS,’ SAYS MARIE WITH A TWIRL OF THE HAND. ‘FLO AND ALICE WERE OUR MAIN SINGERS AND I MADE UP THE TRIO SOMETIMES. RUTH DIDN’T SING. WHEN WE SANG AS A TRIO RUTH WOULD PLAY THE PIANO. ALICE WOULD ALSO SING SOLO. WE PLAYED ALL THE POPULAR MUSIC OF THE DAY AND OLD-TIME MUSIC AS WELL… MY SISTERS COULD ALSO PLAY THAT FAST-PACED SQUARE DANCE MUSIC ON THE SAX, AND THAT WAS SOMETHING. WE PLAYED WALTZES, POLKAS AND EVERYTHING… YOU NAME IT, WE PLAYED IT... OUR THEME SONG WAS BREEZING ALONG WITH THE BREEZE BUT MY FAVOURITE HAD TO BE SIDE BY SIDE, WHICH WE WERE AS A GROUP. WE WERE VERY CLOSE.'" THAT ARTICLE STATES THAT MARTIN AND IDA HAD EIGHT DAUGHTERS, IN FACT, BUT ONLY FOUR LIVED TO BECOME TEENAGERS. THE FOUR SURVIVING SISTERS BEGAN THEIR MUSICAL EDUCATION AT AN EARLY AGE, ALL BEGINNING WITH PIANO. THEY BEGAN PLAYING FOR VARIOUS TYPES OF EVENTS NEAR MONITOR, WHERE THEY WERE BORN. WHILE FLORENCE WAS WITH THE ALL GIRLS BAND IN CALGARY, THE THREE YOUNGER SISTERS FORMED THEIR OWN ORCHESTRA, MAKING THEIR DEBUT IN 1937. THE FOLLOWING YEAR, AFTER FLORENCE’S RETURN, THE ANDERSON SISTERS ORCHESTRA WAS FORMED. UPON ARRIVING IN LETHBRIDGE IN 1940, THEY AUDITIONED FOR THE CJOC RADIO STATION. THE ARTICLE STATES, “FOUR DAYS LATER THEY WERE ON THE AIR, LIVE, ON THE CHRISTMAS SHOPPER PROGRAM HEARD THREE TIMES A WEEK. THEY WERE ALSO ON THE AIR MONDAY NIGHTS FROM 9:15 TO 9:30 PM.” A NOTE THAT CAME WITH THE DONATION SAYS THE WEEKLY SHOW WITH CJOC WAS “BROADCAST LIVE ‘FROM HIGH ATOP THE MARQUIS HOTEL.’” BACK IN THE 2016 INTERVIEW AT THE MUSEUM, ALICE’S DAUGHTER ELEANOR COMMENTS ON THE BAND’S LEGACY. “I VOLUNTEER AT THE HOSPITAL [AND PLAY THE PIANO]. I USUALLY HAVE SENIORS INVOLVED THERE… AND WHEN I MENTION MY MOM’S NAME OR MY AUNT’S NAME, THEY REMEMBER DANCING TO THE ANDERSON SISTERS. SO, YOU KNOW, EVEN IN THIS DAY AND AGE, [PEOPLE] REMEMBER HOW MUCH FUN THEY HAD. [IT SHOWS] HOW RESPECTED THEY WERE AND I FIND THAT [BACKGROUND] JUST THRILLING.” “[MUSIC] WAS THEIR LIVELIHOOD,” RUTH ILLUMINATED, “SO [IT] WAS DRIVING THEM [THROUGH] TOUGH TIMES (SUCH AS THE DEPRESSION IN ALBERTA). THE GIRLS TOGETHER [WITH] THE TALENT THEY HAD, HAD A WAY OUT, WHERE A LOT OF OTHER PEOPLE HAD SOME BIGGER STRUGGLES. AND IT WAS THE TALENT IN THEM BEING TOGETHER. THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY.” PLEASE SEE PERMANENT FILE FOR FURTHER INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES AND CLIPPINGS ABOUT THE ANDERSON SISTERS AND THEIR SHOWS, AND FAMILY OBITUARIES.
Catalogue Number
P20160044001
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Date Range From
1941
Date Range To
1970
Material Type
Artifact
Materials
METAL
Catalogue Number
P20160044002
  1 image  
Material Type
Artifact
Date Range From
1941
Date Range To
1970
Materials
METAL
No. Pieces
1
Length
9.5
Width
0.6
Description
SMALL, METAL MECHANICAL PENCIL WITH ADJUSTABLE BALL CHAIN ATTACHMENT. PENCIL HAS RAISED FILIGREE-DESIGN ELEMENTS THAT IS DETACHABLE. GOOD CONDITION: OVERALL TARNISHING OF METAL
Subjects
WRITTEN COMMUNICATION T&E
Historical Association
LEISURE
DOMESTIC
History
THE LATE ALICE PEARL HUMMEL (13 JUNE 1922 – 7 APRIL 2016) PERFORMED AS PART OF THE “ANDERSON SISTERS ORCHESTRA” ALONGSIDE HER SISTERS – FLORENCE JEANNETTE MCINTOSH (MAY 1917 – 18 MARCH 1999), MARIE EVELYN POPSON (C.1921 - 8 MARCH 2008) AND RUTH GINZER (C. 1926 - D. 2016). THE FOUR DAUGHTERS WERE BORN TO PARENTS, MARTIN EDWARD ANDERSON AND IDA JOHANNA ANDERSON (NEE JOHNSON). THE BAND WAS A FAMILY AFFAIR THAT SAW GREAT SUCCESS IN THE SOUTHERN ALBERTA REGION. ALICE’S DAUGHTERS, ELEANOR SMITH AND RUTH HUMMEL, HONOURED THEIR MOTHER’S WISHES TO DONATE A NUMBER OF HER EFFECTS FROM HER TIME WITH LETHBRIDGE BAND TO THE MUSEUM. THIS PENCIL CAME FROM THE COLLECTION OF ITEMS ALICE SAVED FROM THE ANDERSON SISTERS ERA. IN 2016 DECEMBER 16, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DAUGHTERS ABOUT THE DONATION. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT EXCHANGE: RUTH EXPLAINS, “[THIS IS] A TINY LITTLE MECHANICAL PENCIL USED TO BE SITTING ON MOM’S MUSIC STAND, SO THAT IF THERE WAS A NOTATION OR SOMETHING THEY WANTED TO DO [SHE COULD WRITE IT DOWN]. [IT] WAS SOMETHING USEFUL, BUT VERY PRETTY TO BE UP WHERE THEY WERE DOING THEIR MUSIC. THEY TREATED THEIR SPACE ON STAGE VERY SPECIALLY AND THAT WAS SOMETHING THAT WAS ON HER MUSIC STAND ALL THESE YEARS.” PROFESSIONALISM IN HOW THEY PRESENTED THEMSELVES WAS IMPORTANT TO THE GROUP, THE SISTERS EXPLAINED, INCLUDING RIGHT DOWN TO THE SMALL DETAILS, SUCH AS THE PENCIL. MANY OF THE ARTIFACTS DONATED TO THE MUSEUM, INCLUDING THIS PENCIL, WERE KEPT TOGETHER IN ONE OF ALICE’S TRUNKS. WHEN RUTH AND ELEANOR WERE HELPING THEIR MOTHER SORT HER THINGS, SHE EXPLAINED THE ITEMS IN THE TRUNK TO THEM. THE FOLLOWING IS A BRIEF HISTORY OF THE ANDERSON SISTERS AS TOLD BY DONORS ELEANOR SMITH AND RUTH HUMMEL IN THE 2016 INTERVIEW: “[THE ANDERSON SISTERS ORCHESTRA WAS] THE LONGEST RUNNING GROUP AT WATERTON LAKES PAVILION … [WHERE THEY PLAYED] FOR FIVE YEARS STRAIGHT,” ELEANOR EXPLAINED, “IN ADDITION TO DOING ALL KINDS OF OTHER THINGS, THEY WERE CONSTANTLY TRAVELLING [AND] WE HAVE THE RECORDINGS OF THAT.” RUTH ADDED, “THEY WERE ORIGINALLY FROM MONITOR (SASK). IN THE DIRTY 30S, WHEN THINGS GOT BAD FOR A LOT OF FARMS, THEY FOUND A WAY TO HAVE MUSIC LESSONS AND…PLAY FOR LOCAL DANCES. [ULTIMATELY, THE FAMILY] DECIDED TO LEAVE THE FARM AND HEADED OUT IN THE DIRECTION OF LETHBRIDGE (VIA DRUMHELLER). IT WAS TOUGH TIMES FOR A LOT OF PEOPLE IN THE 30S IN ALBERTA, BUT THE GIRLS, WITH THE TALENT THEY HAD, … HAD A WAY OUT…THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY. AND THEN THE ORCHESTRA REALLY CAME OUT OF THAT...” THE OBITUARY OF DONORS’ GRANDFATHER, MARTIN ANDERSON, (PUBLISHED IN THE LETHBRIDGE HERALD, 1981) STATES THE FAMILY ARRIVED IN LETHBRIDGE IN 1940. “THEY WERE SERIOUS MUSICIANS - VERY HUMBLE AND VERY QUIET,” RUTH CONTINUED, “[AS FAR AS PROMOTING THE BAND,] THAT WAS MORE GRANDPA’S JOB. WHEN IT CAME TO MUSIC, IT WAS A GIFT THEY PASSED ON - IN THE LATE ‘30S, ‘40S AND INTO THE ‘50S A BIT – [AND] IT WAS SOMETHING THEY FELT REALLY PRIVILEGED TO BE ABLE TO CONTRIBUTE IN THEIR OWN COMMUNITIES. [DURING] THE WAR YEARS, [THEY PLAYED FOR] THE ARMY BASES THAT WERE ALL CLOSE HERE AND [THEY WERE] A PART OF THAT HISTORY.” “[THEY WERE] ON THE ROAD 6 DAYS A WEEK [WITH THEIR CAR AND TRAILER]… PLAYING NOT JUST IN LETHBRIDGE [BUT] FAR REACHING OVER IN B.C., THE NORTHERN STATES, AND QUITE FAR NORTH IN ALBERTA. SO THEY WERE A REAL PART OF THINGS AND WORKED REAL HARD. I THINK IT’S AN IMPORTANT PART OF THE MUSIC HISTORY IN ALBERTA. THEY WERE, AFTER THE ANDERSON SISTERS [BAND WAS FINISHED], PROUD TO TAKE [MUSIC] INTO THE COMMUNITIES WHERE THEY WERE TEACHERS AND STILL PERFORMERS EVEN PAST THE FOUR OF THEM BEING TOGETHER.” WHEN ASKED ABOUT THEIR PERSONAL MEMORIES OF THE SISTERS PERFORMING TOGETHER, RUTH ANSWERED, “WELL ELEANOR WOULD HAVE BEEN A TODDLER, MYSELF AS WELL, THE LAST FEW TIMES THAT THEY PERFORMED AS THE ANDERSON SISTERS IN THAT ERA. BUT GROWING UP THROUGH THE YEARS, THERE WASN’T A TIME WHEN WE GOT TOGETHER AS A FAMILY WHERE WE DIDN’T HAVE A LOT OF MUSIC. THEY WOULD PLAY FOR US [AND] THEY WERE CALLED BACK SOMETIMES TO PERFORM AT COMMUNITY EVENTS… THE LAST ONE THAT I RECALL WAS SOMETHING IN GRANUM FOR AN ELKS 5OTH ANNIVERSARY IN GRANUM…THAT WAS THE LAST TIME PUBLICLY I REMEMBER.” THE FOLLOWING INFORMATION COMES FROM A HISTORY PUBLISHED IN THE LETHBRIDGE HERALD IN 24 MAY 2003 TITLED, “SISTER ACT: SOUTHERN ALBERTA’S SWINGIN’ ANDERSON SISTERS WERE ALL THE RAGE DURING THE SECOND WORLD WAR.” “IT WAS THE ERA OF SWUNG, OF MUSIC WITH MEMORABLE LYRICS, AND OF DANCE. IT WAS ALSO THE TIME OF THE SECOND WORLD WAR AND THE HEYDAY OF THE ANDERSON SISTERS, AND LITERALLY EVERY TOWN IN SOUTHERN ALBERTA WAS SWINGING AND SWAYING TO THE SOUNDS OF FLORENCE, MARIE, ALICE, AND RUTH." "DUBBED THE FOUR MAIDS OF MELODY BY CJOC RADIO…" THE ARTICLE CONTINUED, "[THE SISTERS] WERE THE TOAST OF SOUTHERN ALBERTA’S DANCE HALLS." INTERVIEWED FOR THE ARTICLE WAS ONE OF THE SISTERS, MARIE POPSON. SHE WAS QUOTED, "WE PLAYED THE TRIANON A LOT, THE OLD BUCKET OF BLOOD. THEY CALLED IT THAT BECAUSE IT WAS DURING THE WAR AND THERE WERE A LOT OF FIGHTS. PRIOR TO AND AFTER THE TRIANON WAS OK, BUT IT WAS REAL LIVELY DURING THE WAR… THE CROWDS [THERE] WERE SO LARGE THEY WERE AFRAID THE FLOOR WOULD WEAKEN… THE DANCE FLOOR WAS ON THE SECOND STORY OF THE BUILDING." THE ARTICLE EXPLAINED, "FLORENCE WAS THE ELDEST OF THE ANDERSON SISTERS AND AS SUCH WAS THE BAND’S LEADER. [SHE] PLAYED THE SAXOPHONE AND THE PIANO. MARIE… PLAYED THE PIANO AND ALICE PLAYED THE SAXOPHONE AND CLARINET. RUTH, 'THE BABY,' … PLAYED THE DRUMS, CLARINET AND TRUMPET." THE ARTICLE READS, "'RUTH STARTED PLAYING THE DRUMS AT AGE 11 AND LATER SHE COULD HANDLE THE DRUMMING WITH HER FEET AND PLAY THE TRUMPET AT THE SAME TIME FOR SOME OF OUR NUMBERS,’ SAYS MARIE WITH A TWIRL OF THE HAND. ‘FLO AND ALICE WERE OUR MAIN SINGERS AND I MADE UP THE TRIO SOMETIMES. RUTH DIDN’T SING. WHEN WE SANG AS A TRIO RUTH WOULD PLAY THE PIANO. ALICE WOULD ALSO SING SOLO. WE PLAYED ALL THE POPULAR MUSIC OF THE DAY AND OLD-TIME MUSIC AS WELL… MY SISTERS COULD ALSO PLAY THAT FAST-PACED SQUARE DANCE MUSIC ON THE SAX, AND THAT WAS SOMETHING. WE PLAYED WALTZES, POLKAS AND EVERYTHING… YOU NAME IT, WE PLAYED IT... OUR THEME SONG WAS BREEZING ALONG WITH THE BREEZE BUT MY FAVOURITE HAD TO BE SIDE BY SIDE, WHICH WE WERE AS A GROUP. WE WERE VERY CLOSE.'" THAT ARTICLE STATES THAT MARTIN AND IDA HAD EIGHT DAUGHTERS, IN FACT, BUT ONLY FOUR LIVED TO BECOME TEENAGERS. THE FOUR SURVIVING SISTERS BEGAN THEIR MUSICAL EDUCATION AT AN EARLY AGE, ALL BEGINNING WITH PIANO. THEY BEGAN PLAYING FOR VARIOUS TYPES OF EVENTS NEAR MONITOR, WHERE THEY WERE BORN. WHILE FLORENCE WAS WITH THE ALL GIRLS BAND IN CALGARY, THE THREE YOUNGER SISTERS FORMED THEIR OWN ORCHESTRA, MAKING THEIR DEBUT IN 1937. THE FOLLOWING YEAR, AFTER FLORENCE’S RETURN, THE ANDERSON SISTERS ORCHESTRA WAS FORMED. UPON ARRIVING IN LETHBRIDGE IN 1940, THEY AUDITIONED FOR THE CJOC RADIO STATION. THE ARTICLE STATES, “FOUR DAYS LATER THEY WERE ON THE AIR, LIVE, ON THE CHRISTMAS SHOPPER PROGRAM HEARD THREE TIMES A WEEK. THEY WERE ALSO ON THE AIR MONDAY NIGHTS FROM 9:15 TO 9:30 PM.” A NOTE THAT CAME WITH THE DONATION SAYS THE WEEKLY SHOW WITH CJOC WAS “BROADCAST LIVE ‘FROM HIGH ATOP THE MARQUIS HOTEL.’” BACK IN THE 2016 INTERVIEW AT THE MUSEUM, ALICE’S DAUGHTER ELEANOR COMMENTS ON THE BAND’S LEGACY. “I VOLUNTEER AT THE HOSPITAL [AND PLAY THE PIANO]. I USUALLY HAVE SENIORS INVOLVED THERE… AND WHEN I MENTION MY MOM’S NAME OR MY AUNT’S NAME, THEY REMEMBER DANCING TO THE ANDERSON SISTERS. SO, YOU KNOW, EVEN IN THIS DAY AND AGE, [PEOPLE] REMEMBER HOW MUCH FUN THEY HAD. [IT SHOWS] HOW RESPECTED THEY WERE AND I FIND THAT [BACKGROUND] JUST THRILLING.” “[MUSIC] WAS THEIR LIVELIHOOD,” RUTH ILLUMINATED, “SO [IT] WAS DRIVING THEM [THROUGH] TOUGH TIMES (SUCH AS THE DEPRESSION IN ALBERTA). THE GIRLS TOGETHER [WITH] THE TALENT THEY HAD, HAD A WAY OUT, WHERE A LOT OF OTHER PEOPLE HAD SOME BIGGER STRUGGLES. AND IT WAS THE TALENT IN THEM BEING TOGETHER. THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY.” PLEASE SEE PERMANENT FILE FOR FURTHER INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES AND CLIPPINGS ABOUT THE ANDERSON SISTERS AND THEIR SHOWS, AND FAMILY OBITUARIES.
Catalogue Number
P20160044002
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Date Range From
1950
Date Range To
1980
Material Type
Artifact
Materials
BAKELITE, LEATHER, VELVET
Catalogue Number
P20160044003
  2 images  
Material Type
Artifact
Date Range From
1950
Date Range To
1980
Materials
BAKELITE, LEATHER, VELVET
No. Pieces
11
Height
27
Length
38
Width
11.5
Description
A: CASE: GREEN AND OFF-WHITE LEATHER CASE. BLACK PLASTIC/SILVER METAL LABEL THAT READS “CONN” ON FRONT OF CASE. GREEN HANDLE AT TOP WITH TWO METAL LATCHES ON EITHER SIDE. HINGES ON THE BOTTOM OF CASE TO OPEN. FOUR METAL FEET ON BOTTOM. CORK EDGES AROUND THE SIDES, STITCHED ON AND PAINTED OFF-WHITE COLOUR. INSIDE IS LINED WITH A GREEN VELVET. TOP FOLDS DOWN AND IS FASTENED WITH LEATHER STRAP AND METAL SNAP BUTTON. “CONN” LABEL IN TOP LEFT CORNER OF CASE THAT IS GOLD WITH BLACK AND RED PAINT INSIDE. THREE PEOPLE OF A MARCHING BAND IN IMAGE ON LABEL. THE BOTTOM HALF OF THE INSIDE OF CASE HAS EIGHT SECTIONS FOR INSTRUMENT PIECES AND ACCESSORIES. FAIR CONDITION: MODERATE TO SEVERE SURFACE DIRT OVERALL. VARIOUS GREEN STAINS AT TOP OF CASE. METAL COMPONENTS SCUFFED. SOME STITCHING AS SIDES COMING LOOSE. LOSS OF PAINT IN SEVERAL PLACES ALONG CORK EDGE. INSIDE FABRIC WORN. B: BLACK BAKELITE CLARINET BELL WITH SILVER AROUND BOTH EDGES. “CONN DIRECTOR U.S.A.” ETCHED ON OUTER SURFACE. 11 CM LENGTH. 8 CM BELL DIAMETER. C: BLACK BAKELITE LOWER JOINT WITH SILVER KEYS. CORK EDGE ON BOTTOM AND SILVER RIM AROUND TOP. “721800” ETCHED ON BACK NEAR CORK. PADDED THUMB REST ON BACK OF THIS JOINT. 25.5 CM X 2.5 CM. D: BLACK BAKELITE UPPER JOINT WITH SILVER KEYS. BOTH ENDS COVERED IN CORK. LOGO WITH THREE MARCHING BAND FIGURES ETCHED ON FRONT NEAR THE TOP. 22.5 CM X 2.3 CM (TOP DIAMETER SLIGHTLY WIDER). E: BLACK BAKELITE BARREL JOINT WITH SILVER EDGES. 6 CM X 3 CM (BOTTOM DIAMETER) 2.8 CM (TOP DIAMETER). F: BLACK BAKELITE MOUTHPIECE WITH CORK AT BOTTOM. METAL LIGATURE WITH ITS TWO SCREWS ATTACHED SECURING A REED TO THE MOUTHPIECE. 9 CM LONG WITH 2.1 CM DIAMETER AT BOTTOM. VERY GOOD CONDITION FOR B-F: SLIGHT SCUFFS OF SURFACE G: SILVER METAL MARCHING LYRE. CIRCULAR BAND WITH ADJUSTABLE SCREW FOR ATTACHMENT TO INSTRUMENT. THIS SCREWS ONTO A STEM, WHICH EXTENDS TO CONNECT TO A LYRIFORM SPRING CLAMP THAT IS MEANT TO HOLD MUSIC. FAIR CONDITION: SEVERE GREEN STAINING IN MANY AREAS OF SURFACE. METAL SLIGHTLY SCRATCHED OVERALL. H: BLACK PLASTIC REED HOLDER WITH SLOTS FOR TWO REEDS (ONE ON FRONT AND ONE ON). “LAVOZ” ETCHED IN PLASTIC ON FRONT AND BACK AND “USA” ABOVE THAT.7.7 CM X 2 CM. I: CLARINET REED ENCASED IN REED HOLDER (H).”RICO” IN MUSIC STAFF STAMPED ON BACKSIDE AND SIZE “V-2 ½” STAMPED BELOW THE LOGO. GOOD TO VERY GOOD CONDITION FOR H-I: SOME WEAR TO SIDE OF REED HOLDER WITH REED. REED SHOWS SIGNS OF USE. J: WHITE ENVELOPE THAT READS, “CONN EXCLUSIVE TUNING RING” WITH TEXT BELOW AND DIAGRAM OF THE TUNING RING PRINTED ALL IN BLACK INK ON THE FRONT OF THE ENVELOPE. THE BACK HAS SCOTCH TAPE SECURING THE RIGHT SIDE ENVELOPE FLAP. CAN FEEL ONE TUNING RING INSIDE ENVELOPE. 14 CM X 7.9 CM. FAIR TO GOOD CONDITION: PAPER OF ENVELOPE HAS SEVERELY YELLOWED. K-N: TWO IDENTICAL TUBES OF CORK GREASE WITH CAPS. WHITE PLASTIC TUBE THAT READS, “PARAMOUNT MUSIC “PREMIUM” CORK GREASE” AND AN ADDRESS BELOW ALL IN RED FONT. TWISTABLE END TO EXTEND THE GREASE IN TUBE. GREASE STILL PRESENT IN TUBES. RED PLASTIC CAPS. ONE READS “B 7 ETHYL” (K) ON INSIDE OF CAP AND THE OTHER READS “B 87 ETHYL” (N). 6.8 CM X 1,7 CM. GOOD TO VERY GOOD CONDITION: SLIGHT SURFACE DIRT ON LABEL. DISCOLOURING OF PLASTIC AROUND BOTTOM EDGES. GREASE IS CRYSTALIZING. O-P: SMALL, BLACK PLASTIC GREASE CONTAINER IN CUBE WITH GOLD METALLIC LETTERS ON LID “YAMAHA CORK GREASE”. HINGE ATTACHING LID TO CONTAINER, SO LID COMPLETE DETACHES. GREASE INSIDE OF THE CONTAINER. 2.7 CM X 2.7 CM X 2 CM. GOOD CONDITION: SLIGHT SCRATCHING ON SURFACE. BROKEN HINGE. Q: CLARINET CLEANING SWAB WAND WITH TWISTED WIRE WAND/HANDLE AND MULTICOLOURED (BLUES AND PINKS), FABRIC SWAB. THE SWAB IS SHAGGED. 29 CM X 2.5 CM. GOOD TO VERY GOOD CONDITION: WIRE IS SLIGHTLY BENT. R: CLOTH CLEANING SWAB WITH NATURAL-COLOURED TAN SUEDE CLOTH (APPROX. 12.5 CM X 6.3 CM) THAT HAS ROUGH EDGES. ONE CORNER OF SUEDE IS PINCHED TOGETHER WITH A SILVER METAL CLASP (TOOTHED), WHICH SECURES IT AROUND A BLACK STRING (57 CM IN LENGTH) WITH A SILVER-COLOURED WEIGHT AT THE END. FAIR CONDITION: STRING IS FRAYING MODERATELY IN ONE PLACE AND SLIGHTLY IN OTHERS. SUEDE FABRIC SHOWS DIRT. WEIGHT’S METAL IS SCUFFED.
Subjects
MUSICAL T&E
Historical Association
MILITARY
LEISURE
PERSONAL CARE
History
THE LATE ALICE PEARL HUMMEL (13 JUNE 1922 – 7 APRIL 2016) PERFORMED AS PART OF THE “ANDERSON SISTERS ORCHESTRA” ALONGSIDE HER SISTERS – FLORENCE JEANNETTE MCINTOSH (MAY 1917 – 18 MARCH 1999), MARIE EVELYN POPSON (C.1921 - 8 MARCH 2008) AND RUTH GINZER (C. 1926 - D. 2016). THE FOUR DAUGHTERS WERE BORN TO PARENTS, MARTIN EDWARD ANDERSON AND IDA JOHANNA ANDERSON (NEE JOHNSON). THE BAND WAS A FAMILY AFFAIR THAT SAW GREAT SUCCESS IN THE SOUTHERN ALBERTA REGION. ALICE’S DAUGHTERS, ELEANOR SMITH AND RUTH HUMMEL, HONOURED THEIR MOTHER’S WISHES TO DONATE A NUMBER OF HER EFFECTS FROM HER TIME WITH LETHBRIDGE BAND TO THE MUSEUM. THIS CLARINET WAS PLAYED BY THREE GENERATIONS OF THE DONORS’ FAMILY. IN 2016 DECEMBER 16, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DAUGHTERS ABOUT THE DONATION. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT EXCHANGE. RUTH EXPLAINED, “IT WAS PURCHASED BRAND NEW [IN THE] EARLY ‘50S WITH THE INTENT THAT HER FIRST SON, BERNIE (BORN IN 1950) WOULD PLAY THE CLARINET, WHICH HE DID. MOM DID USE IT FOR SOME LATER PERFORMANCES WITH THE ANDERSON SISTERS, BUT IT WAS PURCHASED [FOR HIM]. AND HIS DAUGHTER, CONNIE, ALSO PLAYED THE CLARINET.” SPEAKING OF WHY THEY SELECTED THIS OBJECT TO BE DONATED TO THE MUSEUM, RUTH SAID, “WHEN WE WERE GATHERING THINGS TOGETHER, WE THOUGHT [OF] WHAT INSTRUMENTS WE HAD THAT HAVE A CONNECTION. SO IT WAS DECIDED [ON THE CLARINET]. CONNIE WAS QUITE HAPPY TO KNOW THAT IT WAS COMING IN THIS DIRECTION, SINCE IT WAS GRANDMA’S CLARINET, IT SHOULD GO WITH GRANDMA’S THINGS.” OF ALL THE INSTRUMENTS ALICE KNEW HOW TO PLAY, THE CLARINET “WAS THE MAIN ONE,” RUTH CONTINUED, “BUT SHE PLAYED THE SAXOPHONE AS WELL. AND ALSO TAUGHT PIANO FOR YEARS AND YEARS AND YEARS. [ALL THE SISTERS] PLAYED PIANO REALLY WELL. SHE PLAYED OTHER INSTRUMENTS LIKE THE ORGAN, AND THERE WERE ACTUALLY INSTANCES TOO WHERE SOMEONE WOULD CALL ON HER TO LEARN HOW TO PLAY AN INSTRUMENT, AND SHE WOULD TEACH THEM HOW TO PLAY IT WITHOUT KNOWING HOW TO PLAY IT HERSELF, BECAUSE SHE KNEW THE TECHNIQUE [OR] WOULD LEARN THE TECHNIQUE. BUT THE CLARINET WAS HER MAIN THING WITH, AS I SAID, SAXOPHONE AND PIANO PROBABLY THE NEXT CLOSEST IN LINE.” THE SISTERS STATE THAT THEY REMEMBER THEIR MOTHER PLAYING THIS SPECIFIC CLARINET. ELEANOR SAID, “SHE DIDN’T PASS IT [ON] UNTIL CONNIE WANTED TO USE IT, BECAUSE BERNIE DIDN’T TAKE IT WITH HIM [FROM HOME].” RUTH ADDED, “YEAH, THAT’S RIGHT. I THINK IT’S REALLY ALWAYS BEEN HERS.” THE LAST TIME THEY REMEMBER HER PLAYING IT WOULD HAVE BEEN THE LAST TIME THE ANDERSON SISTERS ORCHESTRA PERFORMED, WHICH WAS A PERFORMANCE FOR THE ELKS IN GRANUM IN THE 1970S. THE FOLLOWING IS A BRIEF HISTORY OF THE ANDERSON SISTERS AS TOLD BY DONORS ELEANOR SMITH AND RUTH HUMMEL IN THE 2016 INTERVIEW: “[THE ANDERSON SISTERS ORCHESTRA WAS] THE LONGEST RUNNING GROUP AT WATERTON LAKES PAVILION … [WHERE THEY PLAYED] FOR FIVE YEARS STRAIGHT,” ELEANOR EXPLAINED, “IN ADDITION TO DOING ALL KINDS OF OTHER THINGS, THEY WERE CONSTANTLY TRAVELLING [AND] WE HAVE THE RECORDINGS OF THAT.” RUTH ADDED, “THEY WERE ORIGINALLY FROM MONITOR (SASK). IN THE DIRTY 30S, WHEN THINGS GOT BAD FOR A LOT OF FARMS, THEY FOUND A WAY TO HAVE MUSIC LESSONS AND…PLAY FOR LOCAL DANCES. [ULTIMATELY, THE FAMILY] DECIDED TO LEAVE THE FARM AND HEADED OUT IN THE DIRECTION OF LETHBRIDGE (VIA DRUMHELLER). IT WAS TOUGH TIMES FOR A LOT OF PEOPLE IN THE 30S IN ALBERTA, BUT THE GIRLS, WITH THE TALENT THEY HAD, … HAD A WAY OUT…THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY. AND THEN THE ORCHESTRA REALLY CAME OUT OF THAT...” THE OBITUARY OF DONORS’ GRANDFATHER, MARTIN ANDERSON, (PUBLISHED IN THE LETHBRIDGE HERALD, 1981) STATES THE FAMILY ARRIVED IN LETHBRIDGE IN 1940. “THEY WERE SERIOUS MUSICIANS - VERY HUMBLE AND VERY QUIET,” RUTH CONTINUED, “[AS FAR AS PROMOTING THE BAND,] THAT WAS MORE GRANDPA’S JOB. WHEN IT CAME TO MUSIC, IT WAS A GIFT THEY PASSED ON - IN THE LATE ‘30S, ‘40S AND INTO THE ‘50S A BIT – [AND] IT WAS SOMETHING THEY FELT REALLY PRIVILEGED TO BE ABLE TO CONTRIBUTE IN THEIR OWN COMMUNITIES. [DURING] THE WAR YEARS, [THEY PLAYED FOR] THE ARMY BASES THAT WERE ALL CLOSE HERE AND [THEY WERE] A PART OF THAT HISTORY.” “[THEY WERE] ON THE ROAD 6 DAYS A WEEK [WITH THEIR CAR AND TRAILER]… PLAYING NOT JUST IN LETHBRIDGE [BUT] FAR REACHING OVER IN B.C., THE NORTHERN STATES, AND QUITE FAR NORTH IN ALBERTA. SO THEY WERE A REAL PART OF THINGS AND WORKED REAL HARD. I THINK IT’S AN IMPORTANT PART OF THE MUSIC HISTORY IN ALBERTA. THEY WERE, AFTER THE ANDERSON SISTERS [BAND WAS FINISHED], PROUD TO TAKE [MUSIC] INTO THE COMMUNITIES WHERE THEY WERE TEACHERS AND STILL PERFORMERS EVEN PAST THE FOUR OF THEM BEING TOGETHER.” WHEN ASKED ABOUT THEIR PERSONAL MEMORIES OF THE SISTERS PERFORMING TOGETHER, RUTH ANSWERED, “WELL ELEANOR WOULD HAVE BEEN A TODDLER, MYSELF AS WELL, THE LAST FEW TIMES THAT THEY PERFORMED AS THE ANDERSON SISTERS IN THAT ERA. BUT GROWING UP THROUGH THE YEARS, THERE WASN’T A TIME WHEN WE GOT TOGETHER AS A FAMILY WHERE WE DIDN’T HAVE A LOT OF MUSIC. THEY WOULD PLAY FOR US [AND] THEY WERE CALLED BACK SOMETIMES TO PERFORM AT COMMUNITY EVENTS… THE LAST ONE THAT I RECALL WAS SOMETHING IN GRANUM FOR AN ELKS 5OTH ANNIVERSARY IN GRANUM…THAT WAS THE LAST TIME PUBLICLY I REMEMBER.” THE FOLLOWING INFORMATION COMES FROM A HISTORY PUBLISHED IN THE LETHBRIDGE HERALD IN 24 MAY 2003 TITLED, “SISTER ACT: SOUTHERN ALBERTA’S SWINGIN’ ANDERSON SISTERS WERE ALL THE RAGE DURING THE SECOND WORLD WAR.” “IT WAS THE ERA OF SWUNG, OF MUSIC WITH MEMORABLE LYRICS, AND OF DANCE. IT WAS ALSO THE TIME OF THE SECOND WORLD WAR AND THE HEYDAY OF THE ANDERSON SISTERS, AND LITERALLY EVERY TOWN IN SOUTHERN ALBERTA WAS SWINGING AND SWAYING TO THE SOUNDS OF FLORENCE, MARIE, ALICE, AND RUTH." "DUBBED THE FOUR MAIDS OF MELODY BY CJOC RADIO…" THE ARTICLE CONTINUED, "[THE SISTERS] WERE THE TOAST OF SOUTHERN ALBERTA’S DANCE HALLS." INTERVIEWED FOR THE ARTICLE WAS ONE OF THE SISTERS, MARIE POPSON. SHE WAS QUOTED, "WE PLAYED THE TRIANON A LOT, THE OLD BUCKET OF BLOOD. THEY CALLED IT THAT BECAUSE IT WAS DURING THE WAR AND THERE WERE A LOT OF FIGHTS. PRIOR TO AND AFTER THE TRIANON WAS OK, BUT IT WAS REAL LIVELY DURING THE WAR… THE CROWDS [THERE] WERE SO LARGE THEY WERE AFRAID THE FLOOR WOULD WEAKEN… THE DANCE FLOOR WAS ON THE SECOND STORY OF THE BUILDING." THE ARTICLE EXPLAINED, "FLORENCE WAS THE ELDEST OF THE ANDERSON SISTERS AND AS SUCH WAS THE BAND’S LEADER. [SHE] PLAYED THE SAXOPHONE AND THE PIANO. MARIE… PLAYED THE PIANO AND ALICE PLAYED THE SAXOPHONE AND CLARINET. RUTH, 'THE BABY,' … PLAYED THE DRUMS, CLARINET AND TRUMPET." THE ARTICLE READS, "'RUTH STARTED PLAYING THE DRUMS AT AGE 11 AND LATER SHE COULD HANDLE THE DRUMMING WITH HER FEET AND PLAY THE TRUMPET AT THE SAME TIME FOR SOME OF OUR NUMBERS,’ SAYS MARIE WITH A TWIRL OF THE HAND. ‘FLO AND ALICE WERE OUR MAIN SINGERS AND I MADE UP THE TRIO SOMETIMES. RUTH DIDN’T SING. WHEN WE SANG AS A TRIO RUTH WOULD PLAY THE PIANO. ALICE WOULD ALSO SING SOLO. WE PLAYED ALL THE POPULAR MUSIC OF THE DAY AND OLD-TIME MUSIC AS WELL… MY SISTERS COULD ALSO PLAY THAT FAST-PACED SQUARE DANCE MUSIC ON THE SAX, AND THAT WAS SOMETHING. WE PLAYED WALTZES, POLKAS AND EVERYTHING… YOU NAME IT, WE PLAYED IT... OUR THEME SONG WAS BREEZING ALONG WITH THE BREEZE BUT MY FAVOURITE HAD TO BE SIDE BY SIDE, WHICH WE WERE AS A GROUP. WE WERE VERY CLOSE.'" THAT ARTICLE STATES THAT MARTIN AND IDA HAD EIGHT DAUGHTERS, IN FACT, BUT ONLY FOUR LIVED TO BECOME TEENAGERS. THE FOUR SURVIVING SISTERS BEGAN THEIR MUSICAL EDUCATION AT AN EARLY AGE, ALL BEGINNING WITH PIANO. THEY BEGAN PLAYING FOR VARIOUS TYPES OF EVENTS NEAR MONITOR, WHERE THEY WERE BORN. WHILE FLORENCE WAS WITH THE ALL GIRLS BAND IN CALGARY, THE THREE YOUNGER SISTERS FORMED THEIR OWN ORCHESTRA, MAKING THEIR DEBUT IN 1937. THE FOLLOWING YEAR, AFTER FLORENCE’S RETURN, THE ANDERSON SISTERS ORCHESTRA WAS FORMED. UPON ARRIVING IN LETHBRIDGE IN 1940, THEY AUDITIONED FOR THE CJOC RADIO STATION. THE ARTICLE STATES, “FOUR DAYS LATER THEY WERE ON THE AIR, LIVE, ON THE CHRISTMAS SHOPPER PROGRAM HEARD THREE TIMES A WEEK. THEY WERE ALSO ON THE AIR MONDAY NIGHTS FROM 9:15 TO 9:30 PM.” A NOTE THAT CAME WITH THE DONATION SAYS THE WEEKLY SHOW WITH CJOC WAS “BROADCAST LIVE ‘FROM HIGH ATOP THE MARQUIS HOTEL.’” BACK IN THE 2016 INTERVIEW AT THE MUSEUM, ALICE’S DAUGHTER ELEANOR COMMENTS ON THE BAND’S LEGACY. “I VOLUNTEER AT THE HOSPITAL [AND PLAY THE PIANO]. I USUALLY HAVE SENIORS INVOLVED THERE… AND WHEN I MENTION MY MOM’S NAME OR MY AUNT’S NAME, THEY REMEMBER DANCING TO THE ANDERSON SISTERS. SO, YOU KNOW, EVEN IN THIS DAY AND AGE, [PEOPLE] REMEMBER HOW MUCH FUN THEY HAD. [IT SHOWS] HOW RESPECTED THEY WERE AND I FIND THAT [BACKGROUND] JUST THRILLING.” “[MUSIC] WAS THEIR LIVELIHOOD,” RUTH ILLUMINATED, “SO [IT] WAS DRIVING THEM [THROUGH] TOUGH TIMES (SUCH AS THE DEPRESSION IN ALBERTA). THE GIRLS TOGETHER [WITH] THE TALENT THEY HAD, HAD A WAY OUT, WHERE A LOT OF OTHER PEOPLE HAD SOME BIGGER STRUGGLES. AND IT WAS THE TALENT IN THEM BEING TOGETHER. THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY.” PLEASE SEE PERMANENT FILE FOR FURTHER INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES AND CLIPPINGS ABOUT THE ANDERSON SISTERS AND THEIR SHOWS, AND FAMILY OBITUARIES.
Catalogue Number
P20160044003
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Date Range From
1941
Date Range To
1970
Material Type
Artifact
Materials
BAKELITE
Catalogue Number
P20160044004
  2 images  
Material Type
Artifact
Date Range From
1941
Date Range To
1970
Materials
BAKELITE
No. Pieces
1
Height
3
Length
8.3
Width
0.7
Description
RED TRANSLUCENT BAKELITE KEY CASE. OVAL-SHAPED KEY HOLDER WITH FADED GOLD METALLIC TEXT ON ONE SIDE WHICH READS, “ANDERSON SISTERS ORCHESTRA." SLOTS ALONG BOTH SIDES TO HOLD TWO KEYS. GOOD CONDITION: MODERATE LOSS OF GOLD PAINT OF TEXT. OVERALL SCUFFING.
Subjects
PERSONAL GEAR
Historical Association
LEISURE
DOMESTIC
History
THE LATE ALICE PEARL HUMMEL (13 JUNE 1922 – 7 APRIL 2016) PERFORMED AS PART OF THE “ANDERSON SISTERS ORCHESTRA” ALONGSIDE HER SISTERS – FLORENCE JEANNETTE MCINTOSH (MAY 1917 – 18 MARCH 1999), MARIE EVELYN POPSON (C.1921 - 8 MARCH 2008) AND RUTH GINZER (C. 1926 - D. 2016). THE FOUR DAUGHTERS WERE BORN TO PARENTS, MARTIN EDWARD ANDERSON AND IDA JOHANNA ANDERSON (NEE JOHNSON). THE BAND WAS A FAMILY AFFAIR THAT SAW GREAT SUCCESS IN THE SOUTHERN ALBERTA REGION. ALICE’S DAUGHTERS, ELEANOR SMITH AND RUTH HUMMEL, HONOURED THEIR MOTHER’S WISHES TO DONATE A NUMBER OF HER EFFECTS FROM HER TIME WITH LETHBRIDGE BAND TO THE MUSEUM. THIS KEY HOLDER CAME TO THE MUSEUM WITH A NOTE THAT STATED, “EACH OF THE SISTERS HAD A KEY HOLDER. THIS ONE IS ALICE’S.” IN 2016 DECEMBER 16, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DAUGHTERS ABOUT THE DONATION. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT EXCHANGE. IN THE INTERVIEW, RUTH EXPLAINED THE KEY HOLDER WAS FROM THE EARLY 1940S (1940-41) AND ORIGINATED IN THE ERA THE ANDERSON SISTERS ORCHESTRA WAS PERFORMING FREQUENTLY. “MOM SAID THAT EACH OF [THE SISTERS] HAD ONE OF THE KEY HOLDERS,” RUTH STATED, “YOU CAN SEE THROUGH IT [AND] THERE’S A LITTLE PLACE THAT A LITTLE KEY CAN BE KIND OF FOLDED IN OR TWO KEYS. I’M NOT SURE IF THE REASON THEY EVEN HAD ONE TO START WITH WAS SOMEONE THINKING THAT MAYBE THEY’D WANT TO SELL A BUNCH [TO] MAYBE MARKET AT THEIR CONCERTS, BUT THAT WASN’T SOMETHING THEY DID. THEY WERE THERE TO SELL MUSIC NOT ITEMS. THEY DIDN’T SELL ANYTHING BUT TICKETS.” “SO, THEY ALL ENDED UP WITH [A KEY HOLDER]. I BELIEVE MOM [WAS] THE ONLY ONE WHO HAD HERS STILL. THEY WERE ALWAYS GETTING APPROACHED WITH A MARKETING IDEA. I THINK UNLESS IT WAS SOMETHING THAT GRANDPA FELT COMPLIMENTED THINGS THEY DIDN’T GET INTO DOING THAT, WHICH MAYBE WAS A MISTAKE WHEN YOU THINK OF IT FROM A MARKETING STAND POINT. BUT THEY LOOKED AT THE MUSIC FIRST, AND THE TRINKETS WEREN’T SOMETHING THEY EVER REALLY GOT INTO.” MANY OF THE ARTIFACTS DONATED TO THE MUSEUM, INCLUDING THIS KEY HOLDER, WERE KEPT TOGETHER IN ONE OF ALICE’S TRUNKS. WHEN RUTH AND ELEANOR WERE HELPING THEIR MOTHER SORT HER THINGS, SHE EXPLAINED THE ITEMS IN THE TRUNK TO THEM. THE FOLLOWING IS A BRIEF HISTORY OF THE ANDERSON SISTERS AS TOLD BY DONORS ELEANOR SMITH AND RUTH HUMMEL IN THE 2016 INTERVIEW: “[THE ANDERSON SISTERS ORCHESTRA WAS] THE LONGEST RUNNING GROUP AT WATERTON LAKES PAVILION … [WHERE THEY PLAYED] FOR FIVE YEARS STRAIGHT,” ELEANOR EXPLAINED, “IN ADDITION TO DOING ALL KINDS OF OTHER THINGS, THEY WERE CONSTANTLY TRAVELLING [AND] WE HAVE THE RECORDINGS OF THAT.” RUTH ADDED, “THEY WERE ORIGINALLY FROM MONITOR (SASK). IN THE DIRTY 30S, WHEN THINGS GOT BAD FOR A LOT OF FARMS, THEY FOUND A WAY TO HAVE MUSIC LESSONS AND…PLAY FOR LOCAL DANCES. [ULTIMATELY, THE FAMILY] DECIDED TO LEAVE THE FARM AND HEADED OUT IN THE DIRECTION OF LETHBRIDGE (VIA DRUMHELLER). IT WAS TOUGH TIMES FOR A LOT OF PEOPLE IN THE 30S IN ALBERTA, BUT THE GIRLS, WITH THE TALENT THEY HAD, … HAD A WAY OUT…THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY. AND THEN THE ORCHESTRA REALLY CAME OUT OF THAT...” THE OBITUARY OF DONORS’ GRANDFATHER, MARTIN ANDERSON, (PUBLISHED IN THE LETHBRIDGE HERALD, 1981) STATES THE FAMILY ARRIVED IN LETHBRIDGE IN 1940. “THEY WERE SERIOUS MUSICIANS - VERY HUMBLE AND VERY QUIET,” RUTH CONTINUED, “[AS FAR AS PROMOTING THE BAND,] THAT WAS MORE GRANDPA’S JOB. WHEN IT CAME TO MUSIC, IT WAS A GIFT THEY PASSED ON - IN THE LATE ‘30S, ‘40S AND INTO THE ‘50S A BIT – [AND] IT WAS SOMETHING THEY FELT REALLY PRIVILEGED TO BE ABLE TO CONTRIBUTE IN THEIR OWN COMMUNITIES. [DURING] THE WAR YEARS, [THEY PLAYED FOR] THE ARMY BASES THAT WERE ALL CLOSE HERE AND [THEY WERE] A PART OF THAT HISTORY.” “[THEY WERE] ON THE ROAD 6 DAYS A WEEK [WITH THEIR CAR AND TRAILER]… PLAYING NOT JUST IN LETHBRIDGE [BUT] FAR REACHING OVER IN B.C., THE NORTHERN STATES, AND QUITE FAR NORTH IN ALBERTA. SO THEY WERE A REAL PART OF THINGS AND WORKED REAL HARD. I THINK IT’S AN IMPORTANT PART OF THE MUSIC HISTORY IN ALBERTA. THEY WERE, AFTER THE ANDERSON SISTERS [BAND WAS FINISHED], PROUD TO TAKE [MUSIC] INTO THE COMMUNITIES WHERE THEY WERE TEACHERS AND STILL PERFORMERS EVEN PAST THE FOUR OF THEM BEING TOGETHER.” WHEN ASKED ABOUT THEIR PERSONAL MEMORIES OF THE SISTERS PERFORMING TOGETHER, RUTH ANSWERED, “WELL ELEANOR WOULD HAVE BEEN A TODDLER, MYSELF AS WELL, THE LAST FEW TIMES THAT THEY PERFORMED AS THE ANDERSON SISTERS IN THAT ERA. BUT GROWING UP THROUGH THE YEARS, THERE WASN’T A TIME WHEN WE GOT TOGETHER AS A FAMILY WHERE WE DIDN’T HAVE A LOT OF MUSIC. THEY WOULD PLAY FOR US [AND] THEY WERE CALLED BACK SOMETIMES TO PERFORM AT COMMUNITY EVENTS… THE LAST ONE THAT I RECALL WAS SOMETHING IN GRANUM FOR AN ELKS 5OTH ANNIVERSARY IN GRANUM…THAT WAS THE LAST TIME PUBLICLY I REMEMBER.” THE FOLLOWING INFORMATION COMES FROM A HISTORY PUBLISHED IN THE LETHBRIDGE HERALD IN 24 MAY 2003 TITLED, “SISTER ACT: SOUTHERN ALBERTA’S SWINGIN’ ANDERSON SISTERS WERE ALL THE RAGE DURING THE SECOND WORLD WAR.” “IT WAS THE ERA OF SWUNG, OF MUSIC WITH MEMORABLE LYRICS, AND OF DANCE. IT WAS ALSO THE TIME OF THE SECOND WORLD WAR AND THE HEYDAY OF THE ANDERSON SISTERS, AND LITERALLY EVERY TOWN IN SOUTHERN ALBERTA WAS SWINGING AND SWAYING TO THE SOUNDS OF FLORENCE, MARIE, ALICE, AND RUTH." "DUBBED THE FOUR MAIDS OF MELODY BY CJOC RADIO…" THE ARTICLE CONTINUED, "[THE SISTERS] WERE THE TOAST OF SOUTHERN ALBERTA’S DANCE HALLS." INTERVIEWED FOR THE ARTICLE WAS ONE OF THE SISTERS, MARIE POPSON. SHE WAS QUOTED, "WE PLAYED THE TRIANON A LOT, THE OLD BUCKET OF BLOOD. THEY CALLED IT THAT BECAUSE IT WAS DURING THE WAR AND THERE WERE A LOT OF FIGHTS. PRIOR TO AND AFTER THE TRIANON WAS OK, BUT IT WAS REAL LIVELY DURING THE WAR… THE CROWDS [THERE] WERE SO LARGE THEY WERE AFRAID THE FLOOR WOULD WEAKEN… THE DANCE FLOOR WAS ON THE SECOND STORY OF THE BUILDING." THE ARTICLE EXPLAINED, "FLORENCE WAS THE ELDEST OF THE ANDERSON SISTERS AND AS SUCH WAS THE BAND’S LEADER. [SHE] PLAYED THE SAXOPHONE AND THE PIANO. MARIE… PLAYED THE PIANO AND ALICE PLAYED THE SAXOPHONE AND CLARINET. RUTH, 'THE BABY,' … PLAYED THE DRUMS, CLARINET AND TRUMPET." THE ARTICLE READS, "'RUTH STARTED PLAYING THE DRUMS AT AGE 11 AND LATER SHE COULD HANDLE THE DRUMMING WITH HER FEET AND PLAY THE TRUMPET AT THE SAME TIME FOR SOME OF OUR NUMBERS,’ SAYS MARIE WITH A TWIRL OF THE HAND. ‘FLO AND ALICE WERE OUR MAIN SINGERS AND I MADE UP THE TRIO SOMETIMES. RUTH DIDN’T SING. WHEN WE SANG AS A TRIO RUTH WOULD PLAY THE PIANO. ALICE WOULD ALSO SING SOLO. WE PLAYED ALL THE POPULAR MUSIC OF THE DAY AND OLD-TIME MUSIC AS WELL… MY SISTERS COULD ALSO PLAY THAT FAST-PACED SQUARE DANCE MUSIC ON THE SAX, AND THAT WAS SOMETHING. WE PLAYED WALTZES, POLKAS AND EVERYTHING… YOU NAME IT, WE PLAYED IT... OUR THEME SONG WAS BREEZING ALONG WITH THE BREEZE BUT MY FAVOURITE HAD TO BE SIDE BY SIDE, WHICH WE WERE AS A GROUP. WE WERE VERY CLOSE.'" THAT ARTICLE STATES THAT MARTIN AND IDA HAD EIGHT DAUGHTERS, IN FACT, BUT ONLY FOUR LIVED TO BECOME TEENAGERS. THE FOUR SURVIVING SISTERS BEGAN THEIR MUSICAL EDUCATION AT AN EARLY AGE, ALL BEGINNING WITH PIANO. THEY BEGAN PLAYING FOR VARIOUS TYPES OF EVENTS NEAR MONITOR, WHERE THEY WERE BORN. WHILE FLORENCE WAS WITH THE ALL GIRLS BAND IN CALGARY, THE THREE YOUNGER SISTERS FORMED THEIR OWN ORCHESTRA, MAKING THEIR DEBUT IN 1937. THE FOLLOWING YEAR, AFTER FLORENCE’S RETURN, THE ANDERSON SISTERS ORCHESTRA WAS FORMED. UPON ARRIVING IN LETHBRIDGE IN 1940, THEY AUDITIONED FOR THE CJOC RADIO STATION. THE ARTICLE STATES, “FOUR DAYS LATER THEY WERE ON THE AIR, LIVE, ON THE CHRISTMAS SHOPPER PROGRAM HEARD THREE TIMES A WEEK. THEY WERE ALSO ON THE AIR MONDAY NIGHTS FROM 9:15 TO 9:30 PM.” A NOTE THAT CAME WITH THE DONATION SAYS THE WEEKLY SHOW WITH CJOC WAS “BROADCAST LIVE ‘FROM HIGH ATOP THE MARQUIS HOTEL.’” BACK IN THE 2016 INTERVIEW AT THE MUSEUM, ALICE’S DAUGHTER ELEANOR COMMENTS ON THE BAND’S LEGACY. “I VOLUNTEER AT THE HOSPITAL [AND PLAY THE PIANO]. I USUALLY HAVE SENIORS INVOLVED THERE… AND WHEN I MENTION MY MOM’S NAME OR MY AUNT’S NAME, THEY REMEMBER DANCING TO THE ANDERSON SISTERS. SO, YOU KNOW, EVEN IN THIS DAY AND AGE, [PEOPLE] REMEMBER HOW MUCH FUN THEY HAD. [IT SHOWS] HOW RESPECTED THEY WERE AND I FIND THAT [BACKGROUND] JUST THRILLING.” “[MUSIC] WAS THEIR LIVELIHOOD,” RUTH ILLUMINATED, “SO [IT] WAS DRIVING THEM [THROUGH] TOUGH TIMES (SUCH AS THE DEPRESSION IN ALBERTA). THE GIRLS TOGETHER [WITH] THE TALENT THEY HAD, HAD A WAY OUT, WHERE A LOT OF OTHER PEOPLE HAD SOME BIGGER STRUGGLES. AND IT WAS THE TALENT IN THEM BEING TOGETHER. THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY.” PLEASE SEE PERMANENT FILE FOR FURTHER INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES AND CLIPPINGS ABOUT THE ANDERSON SISTERS AND THEIR SHOWS, AND FAMILY OBITUARIES.
Catalogue Number
P20160044004
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Date Range From
1941
Date Range To
1985
Material Type
Artifact
Materials
METAL, RHINESTONE
Catalogue Number
P20160044005
  2 images  
Material Type
Artifact
Date Range From
1941
Date Range To
1985
Materials
METAL, RHINESTONE
No. Pieces
2
Height
2.1
Length
2.5
Width
0.9
Description
A-B: PAIR OF GOLD-COLOURED COSTUME JEWELRY EARRINGS. CRESENT-SHAPED, CURVING OUT TO FRONT. WHITE RHINESTONES SET IN GOLD-COLOURED METAL VERTICALLY DOWN CURVE OF EARRING. SCREW-ON CLASP AT BACK. FAIR TO GOOD CONDITION: BOTTOM RHINESTONE MISSING OFF COMPONENT A AND SECOND FROM THE TOP RHINESTONE MISSING OFF B. METAL MODERATELY WORN/SCUFFED.
Subjects
ADORNMENT
Historical Association
LEISURE
PERSONAL CARE
History
THE LATE ALICE PEARL HUMMEL (13 JUNE 1922 – 7 APRIL 2016) PERFORMED AS PART OF THE “ANDERSON SISTERS ORCHESTRA” ALONGSIDE HER SISTERS – FLORENCE JEANNETTE MCINTOSH (MAY 1917 – 18 MARCH 1999), MARIE EVELYN POPSON (C.1921 - 8 MARCH 2008) AND RUTH GINZER (C. 1926 - D. 2016). THE FOUR DAUGHTERS WERE BORN TO PARENTS, MARTIN EDWARD ANDERSON AND IDA JOHANNA ANDERSON (NEE JOHNSON). THE BAND WAS A FAMILY AFFAIR THAT SAW GREAT SUCCESS IN THE SOUTHERN ALBERTA REGION. ALICE’S DAUGHTERS, ELEANOR SMITH AND RUTH HUMMEL, HONOURED THEIR MOTHER’S WISHES TO DONATE A NUMBER OF HER EFFECTS FROM HER TIME WITH LETHBRIDGE BAND TO THE MUSEUM. IN 2016 DECEMBER 16, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DAUGHTERS ABOUT THE DONATION. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT EXCHANGE. OF THESE EARRINGS, RUTH RECALLED, “I KNOW THAT THESE WERE WORN WHEN THEY WERE PERFORMING. IF THEY WERE DRESSED ALIKE, THEY USUALLY HAD THE SAME JEWELRY AS WELL.” BOTH RUTH AND ELEANOR RECALLED THE EARRINGS BEING WORN BY THEIR MOTHER UP UNTIL THE 1980S. THE JEWELRY THE SISTERS WORE DURING THE PERFORMANCES “SHOWED A LOT OF USE,” RUTH EXPLAINED. “OTHER ONES REPLACED [OLDER PAIRS AS THEY WORE OUT] AND THEY WERE JUST SET ASIDE.” “ALL [THE SISTERS] LOVED TO DRESS UP. THERE WERE SOME OUTFITS THEY HAD THAT ACTUALLY HAVE GONE DOWN THROUGH FAMILY MEMBERS. HER GRANDDAUGHTER HAS A BEAUTIFUL FORMAL THAT [EACH SISTER] HAD. WHEN THEY DRESSED UP, THEY [REALLY] DRESSED UP. IT WAS WITH BRILLIANT, SHINY, BEAUTIFUL JEWELRY,” RUTH REMEMBERED. THE FOLLOWING IS A BRIEF HISTORY OF THE ANDERSON SISTERS AS TOLD BY DONORS ELEANOR SMITH AND RUTH HUMMEL IN THE 2016 INTERVIEW: “[THE ANDERSON SISTERS ORCHESTRA WAS] THE LONGEST RUNNING GROUP AT WATERTON LAKES PAVILION … [WHERE THEY PLAYED] FOR FIVE YEARS STRAIGHT,” ELEANOR EXPLAINED, “IN ADDITION TO DOING ALL KINDS OF OTHER THINGS, THEY WERE CONSTANTLY TRAVELLING [AND] WE HAVE THE RECORDINGS OF THAT.” RUTH ADDED, “THEY WERE ORIGINALLY FROM MONITOR (SASK). IN THE DIRTY 30S, WHEN THINGS GOT BAD FOR A LOT OF FARMS, THEY FOUND A WAY TO HAVE MUSIC LESSONS AND…PLAY FOR LOCAL DANCES. [ULTIMATELY, THE FAMILY] DECIDED TO LEAVE THE FARM AND HEADED OUT IN THE DIRECTION OF LETHBRIDGE (VIA DRUMHELLER). IT WAS TOUGH TIMES FOR A LOT OF PEOPLE IN THE 30S IN ALBERTA, BUT THE GIRLS, WITH THE TALENT THEY HAD, … HAD A WAY OUT…THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY. AND THEN THE ORCHESTRA REALLY CAME OUT OF THAT...” THE OBITUARY OF DONORS’ GRANDFATHER, MARTIN ANDERSON, (PUBLISHED IN THE LETHBRIDGE HERALD, 1981) STATES THE FAMILY ARRIVED IN LETHBRIDGE IN 1940. “THEY WERE SERIOUS MUSICIANS - VERY HUMBLE AND VERY QUIET,” RUTH CONTINUED, “[AS FAR AS PROMOTING THE BAND,] THAT WAS MORE GRANDPA’S JOB. WHEN IT CAME TO MUSIC, IT WAS A GIFT THEY PASSED ON - IN THE LATE ‘30S, ‘40S AND INTO THE ‘50S A BIT – [AND] IT WAS SOMETHING THEY FELT REALLY PRIVILEGED TO BE ABLE TO CONTRIBUTE IN THEIR OWN COMMUNITIES. [DURING] THE WAR YEARS, [THEY PLAYED FOR] THE ARMY BASES THAT WERE ALL CLOSE HERE AND [THEY WERE] A PART OF THAT HISTORY.” “[THEY WERE] ON THE ROAD 6 DAYS A WEEK [WITH THEIR CAR AND TRAILER]… PLAYING NOT JUST IN LETHBRIDGE [BUT] FAR REACHING OVER IN B.C., THE NORTHERN STATES, AND QUITE FAR NORTH IN ALBERTA. SO THEY WERE A REAL PART OF THINGS AND WORKED REAL HARD. I THINK IT’S AN IMPORTANT PART OF THE MUSIC HISTORY IN ALBERTA. THEY WERE, AFTER THE ANDERSON SISTERS [BAND WAS FINISHED], PROUD TO TAKE [MUSIC] INTO THE COMMUNITIES WHERE THEY WERE TEACHERS AND STILL PERFORMERS EVEN PAST THE FOUR OF THEM BEING TOGETHER.” WHEN ASKED ABOUT THEIR PERSONAL MEMORIES OF THE SISTERS PERFORMING TOGETHER, RUTH ANSWERED, “WELL ELEANOR WOULD HAVE BEEN A TODDLER, MYSELF AS WELL, THE LAST FEW TIMES THAT THEY PERFORMED AS THE ANDERSON SISTERS IN THAT ERA. BUT GROWING UP THROUGH THE YEARS, THERE WASN’T A TIME WHEN WE GOT TOGETHER AS A FAMILY WHERE WE DIDN’T HAVE A LOT OF MUSIC. THEY WOULD PLAY FOR US [AND] THEY WERE CALLED BACK SOMETIMES TO PERFORM AT COMMUNITY EVENTS… THE LAST ONE THAT I RECALL WAS SOMETHING IN GRANUM FOR AN ELKS 5OTH ANNIVERSARY IN GRANUM…THAT WAS THE LAST TIME PUBLICLY I REMEMBER.” THE FOLLOWING INFORMATION COMES FROM A HISTORY PUBLISHED IN THE LETHBRIDGE HERALD IN 24 MAY 2003 TITLED, “SISTER ACT: SOUTHERN ALBERTA’S SWINGIN’ ANDERSON SISTERS WERE ALL THE RAGE DURING THE SECOND WORLD WAR.” “IT WAS THE ERA OF SWUNG, OF MUSIC WITH MEMORABLE LYRICS, AND OF DANCE. IT WAS ALSO THE TIME OF THE SECOND WORLD WAR AND THE HEYDAY OF THE ANDERSON SISTERS, AND LITERALLY EVERY TOWN IN SOUTHERN ALBERTA WAS SWINGING AND SWAYING TO THE SOUNDS OF FLORENCE, MARIE, ALICE, AND RUTH." "DUBBED THE FOUR MAIDS OF MELODY BY CJOC RADIO…" THE ARTICLE CONTINUED, "[THE SISTERS] WERE THE TOAST OF SOUTHERN ALBERTA’S DANCE HALLS." INTERVIEWED FOR THE ARTICLE WAS ONE OF THE SISTERS, MARIE POPSON. SHE WAS QUOTED, "WE PLAYED THE TRIANON A LOT, THE OLD BUCKET OF BLOOD. THEY CALLED IT THAT BECAUSE IT WAS DURING THE WAR AND THERE WERE A LOT OF FIGHTS. PRIOR TO AND AFTER THE TRIANON WAS OK, BUT IT WAS REAL LIVELY DURING THE WAR… THE CROWDS [THERE] WERE SO LARGE THEY WERE AFRAID THE FLOOR WOULD WEAKEN… THE DANCE FLOOR WAS ON THE SECOND STORY OF THE BUILDING." THE ARTICLE EXPLAINED, "FLORENCE WAS THE ELDEST OF THE ANDERSON SISTERS AND AS SUCH WAS THE BAND’S LEADER. [SHE] PLAYED THE SAXOPHONE AND THE PIANO. MARIE… PLAYED THE PIANO AND ALICE PLAYED THE SAXOPHONE AND CLARINET. RUTH, 'THE BABY,' … PLAYED THE DRUMS, CLARINET AND TRUMPET." THE ARTICLE READS, "'RUTH STARTED PLAYING THE DRUMS AT AGE 11 AND LATER SHE COULD HANDLE THE DRUMMING WITH HER FEET AND PLAY THE TRUMPET AT THE SAME TIME FOR SOME OF OUR NUMBERS,’ SAYS MARIE WITH A TWIRL OF THE HAND. ‘FLO AND ALICE WERE OUR MAIN SINGERS AND I MADE UP THE TRIO SOMETIMES. RUTH DIDN’T SING. WHEN WE SANG AS A TRIO RUTH WOULD PLAY THE PIANO. ALICE WOULD ALSO SING SOLO. WE PLAYED ALL THE POPULAR MUSIC OF THE DAY AND OLD-TIME MUSIC AS WELL… MY SISTERS COULD ALSO PLAY THAT FAST-PACED SQUARE DANCE MUSIC ON THE SAX, AND THAT WAS SOMETHING. WE PLAYED WALTZES, POLKAS AND EVERYTHING… YOU NAME IT, WE PLAYED IT... OUR THEME SONG WAS BREEZING ALONG WITH THE BREEZE BUT MY FAVOURITE HAD TO BE SIDE BY SIDE, WHICH WE WERE AS A GROUP. WE WERE VERY CLOSE.'" THAT ARTICLE STATES THAT MARTIN AND IDA HAD EIGHT DAUGHTERS, IN FACT, BUT ONLY FOUR LIVED TO BECOME TEENAGERS. THE FOUR SURVIVING SISTERS BEGAN THEIR MUSICAL EDUCATION AT AN EARLY AGE, ALL BEGINNING WITH PIANO. THEY BEGAN PLAYING FOR VARIOUS TYPES OF EVENTS NEAR MONITOR, WHERE THEY WERE BORN. WHILE FLORENCE WAS WITH THE ALL GIRLS BAND IN CALGARY, THE THREE YOUNGER SISTERS FORMED THEIR OWN ORCHESTRA, MAKING THEIR DEBUT IN 1937. THE FOLLOWING YEAR, AFTER FLORENCE’S RETURN, THE ANDERSON SISTERS ORCHESTRA WAS FORMED. UPON ARRIVING IN LETHBRIDGE IN 1940, THEY AUDITIONED FOR THE CJOC RADIO STATION. THE ARTICLE STATES, “FOUR DAYS LATER THEY WERE ON THE AIR, LIVE, ON THE CHRISTMAS SHOPPER PROGRAM HEARD THREE TIMES A WEEK. THEY WERE ALSO ON THE AIR MONDAY NIGHTS FROM 9:15 TO 9:30 PM.” A NOTE THAT CAME WITH THE DONATION SAYS THE WEEKLY SHOW WITH CJOC WAS “BROADCAST LIVE ‘FROM HIGH ATOP THE MARQUIS HOTEL.’” BACK IN THE 2016 INTERVIEW AT THE MUSEUM, ALICE’S DAUGHTER ELEANOR COMMENTS ON THE BAND’S LEGACY. “I VOLUNTEER AT THE HOSPITAL [AND PLAY THE PIANO]. I USUALLY HAVE SENIORS INVOLVED THERE… AND WHEN I MENTION MY MOM’S NAME OR MY AUNT’S NAME, THEY REMEMBER DANCING TO THE ANDERSON SISTERS. SO, YOU KNOW, EVEN IN THIS DAY AND AGE, [PEOPLE] REMEMBER HOW MUCH FUN THEY HAD. [IT SHOWS] HOW RESPECTED THEY WERE AND I FIND THAT [BACKGROUND] JUST THRILLING.” “[MUSIC] WAS THEIR LIVELIHOOD,” RUTH ILLUMINATED, “SO [IT] WAS DRIVING THEM [THROUGH] TOUGH TIMES (SUCH AS THE DEPRESSION IN ALBERTA). THE GIRLS TOGETHER [WITH] THE TALENT THEY HAD, HAD A WAY OUT, WHERE A LOT OF OTHER PEOPLE HAD SOME BIGGER STRUGGLES. AND IT WAS THE TALENT IN THEM BEING TOGETHER. THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY.” PLEASE SEE PERMANENT FILE FOR FURTHER INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES AND CLIPPINGS ABOUT THE ANDERSON SISTERS AND THEIR SHOWS, AND FAMILY OBITUARIES.
Catalogue Number
P20160044005
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Date Range From
1941
Date Range To
1985
Material Type
Artifact
Materials
METAL, PAINT
Catalogue Number
P20160044006
  1 image  
Material Type
Artifact
Date Range From
1941
Date Range To
1985
Materials
METAL, PAINT
No. Pieces
1
Height
3.7
Length
5
Width
0.6
Description
SILVER AND BLACK OVAL BROOCH; 3 RAISED SILVER METAL LINES (LIKE A STAFF ON SHEET MUSIC) HORIZONTALLY ACROSS BROOCH WITH A SILVER SIXTEENTH NOTE SET ON TOP OF THE LINES. BACKGROUND IS COATED IN MATTE BLACK VARNISH. GOOD CONDITION: BLACK PAINT PRESENT ON SILVER METAL IN A COUPLE OF SPOTS. SLIGHT LOSS OF VARNISH IN SOME PLACES ON FRONT OF BROOCH.
Subjects
ADORNMENT
Historical Association
LEISURE
PERSONAL CARE
History
THE LATE ALICE PEARL HUMMEL (13 JUNE 1922 – 7 APRIL 2016) PERFORMED AS PART OF THE “ANDERSON SISTERS ORCHESTRA” ALONGSIDE HER SISTERS – FLORENCE JEANNETTE MCINTOSH (MAY 1917 – 18 MARCH 1999), MARIE EVELYN POPSON (C.1921 - 8 MARCH 2008) AND RUTH GINZER (C. 1926 - D. 2016). THE FOUR DAUGHTERS WERE BORN TO PARENTS, MARTIN EDWARD ANDERSON AND IDA JOHANNA ANDERSON (NEE JOHNSON). THE BAND WAS A FAMILY AFFAIR THAT SAW GREAT SUCCESS IN THE SOUTHERN ALBERTA REGION. ALICE’S DAUGHTERS, ELEANOR SMITH AND RUTH HUMMEL, HONOURED THEIR MOTHER’S WISHES TO DONATE A NUMBER OF HER EFFECTS FROM HER TIME WITH LETHBRIDGE BAND TO THE MUSEUM. THE ANDERSON SISTERS HAD MATCHING UNIFORMS THEY WOULD OFTEN WEAR FOR PERFORMANCES, WHICH INCLUDED PIECES SUCH AS THIS BROOCH. IN 2016 DECEMBER 16, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DAUGHTERS ABOUT THE DONATION. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT EXCHANGE. RUTH EXPLAINED, “IF THEY WERE DRESSED ALIKE, THEY USUALLY HAD THE SAME JEWELRY AS WELL.” BOTH RUTH AND ELEANOR RECALLED THE BROOCH BEING WORN BY THEIR MOTHER UP UNTIL THE 1980S. THE JEWELRY THE SISTERS WORE DURING THE PERFORMANCES “SHOWED A LOT OF USE,” RUTH EXPLAINED. “OTHER ONES REPLACED [OLDER PAIRS AS THEY WORE OUT] AND THEY WERE JUST SET ASIDE.” “ALL [THE SISTERS] LOVED TO DRESS UP. THERE WERE SOME OUTFITS THEY HAD THAT ACTUALLY HAVE GONE DOWN THROUGH FAMILY MEMBERS. HER GRANDDAUGHTER HAS A BEAUTIFUL FORMAL THAT [EACH SISTER] HAD. WHEN THEY DRESSED UP, THEY [REALLY] DRESSED UP. IT WAS WITH BRILLIANT, SHINY, BEAUTIFUL JEWELRY,” RUTH REMEMBERED. THE FOLLOWING IS A BRIEF HISTORY OF THE ANDERSON SISTERS AS TOLD BY DONORS ELEANOR SMITH AND RUTH HUMMEL IN THE 2016 INTERVIEW: “[THE ANDERSON SISTERS ORCHESTRA WAS] THE LONGEST RUNNING GROUP AT WATERTON LAKES PAVILION … [WHERE THEY PLAYED] FOR FIVE YEARS STRAIGHT,” ELEANOR EXPLAINED, “IN ADDITION TO DOING ALL KINDS OF OTHER THINGS, THEY WERE CONSTANTLY TRAVELLING [AND] WE HAVE THE RECORDINGS OF THAT.” RUTH ADDED, “THEY WERE ORIGINALLY FROM MONITOR (SASK). IN THE DIRTY 30S, WHEN THINGS GOT BAD FOR A LOT OF FARMS, THEY FOUND A WAY TO HAVE MUSIC LESSONS AND…PLAY FOR LOCAL DANCES. [ULTIMATELY, THE FAMILY] DECIDED TO LEAVE THE FARM AND HEADED OUT IN THE DIRECTION OF LETHBRIDGE (VIA DRUMHELLER). IT WAS TOUGH TIMES FOR A LOT OF PEOPLE IN THE 30S IN ALBERTA, BUT THE GIRLS, WITH THE TALENT THEY HAD, … HAD A WAY OUT…THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY. AND THEN THE ORCHESTRA REALLY CAME OUT OF THAT...” THE OBITUARY OF DONORS’ GRANDFATHER, MARTIN ANDERSON, (PUBLISHED IN THE LETHBRIDGE HERALD, 1981) STATES THE FAMILY ARRIVED IN LETHBRIDGE IN 1940. “THEY WERE SERIOUS MUSICIANS - VERY HUMBLE AND VERY QUIET,” RUTH CONTINUED, “[AS FAR AS PROMOTING THE BAND,] THAT WAS MORE GRANDPA’S JOB. WHEN IT CAME TO MUSIC, IT WAS A GIFT THEY PASSED ON - IN THE LATE ‘30S, ‘40S AND INTO THE ‘50S A BIT – [AND] IT WAS SOMETHING THEY FELT REALLY PRIVILEGED TO BE ABLE TO CONTRIBUTE IN THEIR OWN COMMUNITIES. [DURING] THE WAR YEARS, [THEY PLAYED FOR] THE ARMY BASES THAT WERE ALL CLOSE HERE AND [THEY WERE] A PART OF THAT HISTORY.” “[THEY WERE] ON THE ROAD 6 DAYS A WEEK [WITH THEIR CAR AND TRAILER]… PLAYING NOT JUST IN LETHBRIDGE [BUT] FAR REACHING OVER IN B.C., THE NORTHERN STATES, AND QUITE FAR NORTH IN ALBERTA. SO THEY WERE A REAL PART OF THINGS AND WORKED REAL HARD. I THINK IT’S AN IMPORTANT PART OF THE MUSIC HISTORY IN ALBERTA. THEY WERE, AFTER THE ANDERSON SISTERS [BAND WAS FINISHED], PROUD TO TAKE [MUSIC] INTO THE COMMUNITIES WHERE THEY WERE TEACHERS AND STILL PERFORMERS EVEN PAST THE FOUR OF THEM BEING TOGETHER.” WHEN ASKED ABOUT THEIR PERSONAL MEMORIES OF THE SISTERS PERFORMING TOGETHER, RUTH ANSWERED, “WELL ELEANOR WOULD HAVE BEEN A TODDLER, MYSELF AS WELL, THE LAST FEW TIMES THAT THEY PERFORMED AS THE ANDERSON SISTERS IN THAT ERA. BUT GROWING UP THROUGH THE YEARS, THERE WASN’T A TIME WHEN WE GOT TOGETHER AS A FAMILY WHERE WE DIDN’T HAVE A LOT OF MUSIC. THEY WOULD PLAY FOR US [AND] THEY WERE CALLED BACK SOMETIMES TO PERFORM AT COMMUNITY EVENTS… THE LAST ONE THAT I RECALL WAS SOMETHING IN GRANUM FOR AN ELKS 5OTH ANNIVERSARY IN GRANUM…THAT WAS THE LAST TIME PUBLICLY I REMEMBER.” THE FOLLOWING INFORMATION COMES FROM A HISTORY PUBLISHED IN THE LETHBRIDGE HERALD IN 24 MAY 2003 TITLED, “SISTER ACT: SOUTHERN ALBERTA’S SWINGIN’ ANDERSON SISTERS WERE ALL THE RAGE DURING THE SECOND WORLD WAR.” “IT WAS THE ERA OF SWUNG, OF MUSIC WITH MEMORABLE LYRICS, AND OF DANCE. IT WAS ALSO THE TIME OF THE SECOND WORLD WAR AND THE HEYDAY OF THE ANDERSON SISTERS, AND LITERALLY EVERY TOWN IN SOUTHERN ALBERTA WAS SWINGING AND SWAYING TO THE SOUNDS OF FLORENCE, MARIE, ALICE, AND RUTH." "DUBBED THE FOUR MAIDS OF MELODY BY CJOC RADIO…" THE ARTICLE CONTINUED, "[THE SISTERS] WERE THE TOAST OF SOUTHERN ALBERTA’S DANCE HALLS." INTERVIEWED FOR THE ARTICLE WAS ONE OF THE SISTERS, MARIE POPSON. SHE WAS QUOTED, "WE PLAYED THE TRIANON A LOT, THE OLD BUCKET OF BLOOD. THEY CALLED IT THAT BECAUSE IT WAS DURING THE WAR AND THERE WERE A LOT OF FIGHTS. PRIOR TO AND AFTER THE TRIANON WAS OK, BUT IT WAS REAL LIVELY DURING THE WAR… THE CROWDS [THERE] WERE SO LARGE THEY WERE AFRAID THE FLOOR WOULD WEAKEN… THE DANCE FLOOR WAS ON THE SECOND STORY OF THE BUILDING." THE ARTICLE EXPLAINED, "FLORENCE WAS THE ELDEST OF THE ANDERSON SISTERS AND AS SUCH WAS THE BAND’S LEADER. [SHE] PLAYED THE SAXOPHONE AND THE PIANO. MARIE… PLAYED THE PIANO AND ALICE PLAYED THE SAXOPHONE AND CLARINET. RUTH, 'THE BABY,' … PLAYED THE DRUMS, CLARINET AND TRUMPET." THE ARTICLE READS, "'RUTH STARTED PLAYING THE DRUMS AT AGE 11 AND LATER SHE COULD HANDLE THE DRUMMING WITH HER FEET AND PLAY THE TRUMPET AT THE SAME TIME FOR SOME OF OUR NUMBERS,’ SAYS MARIE WITH A TWIRL OF THE HAND. ‘FLO AND ALICE WERE OUR MAIN SINGERS AND I MADE UP THE TRIO SOMETIMES. RUTH DIDN’T SING. WHEN WE SANG AS A TRIO RUTH WOULD PLAY THE PIANO. ALICE WOULD ALSO SING SOLO. WE PLAYED ALL THE POPULAR MUSIC OF THE DAY AND OLD-TIME MUSIC AS WELL… MY SISTERS COULD ALSO PLAY THAT FAST-PACED SQUARE DANCE MUSIC ON THE SAX, AND THAT WAS SOMETHING. WE PLAYED WALTZES, POLKAS AND EVERYTHING… YOU NAME IT, WE PLAYED IT... OUR THEME SONG WAS BREEZING ALONG WITH THE BREEZE BUT MY FAVOURITE HAD TO BE SIDE BY SIDE, WHICH WE WERE AS A GROUP. WE WERE VERY CLOSE.'" THAT ARTICLE STATES THAT MARTIN AND IDA HAD EIGHT DAUGHTERS, IN FACT, BUT ONLY FOUR LIVED TO BECOME TEENAGERS. THE FOUR SURVIVING SISTERS BEGAN THEIR MUSICAL EDUCATION AT AN EARLY AGE, ALL BEGINNING WITH PIANO. THEY BEGAN PLAYING FOR VARIOUS TYPES OF EVENTS NEAR MONITOR, WHERE THEY WERE BORN. WHILE FLORENCE WAS WITH THE ALL GIRLS BAND IN CALGARY, THE THREE YOUNGER SISTERS FORMED THEIR OWN ORCHESTRA, MAKING THEIR DEBUT IN 1937. THE FOLLOWING YEAR, AFTER FLORENCE’S RETURN, THE ANDERSON SISTERS ORCHESTRA WAS FORMED. UPON ARRIVING IN LETHBRIDGE IN 1940, THEY AUDITIONED FOR THE CJOC RADIO STATION. THE ARTICLE STATES, “FOUR DAYS LATER THEY WERE ON THE AIR, LIVE, ON THE CHRISTMAS SHOPPER PROGRAM HEARD THREE TIMES A WEEK. THEY WERE ALSO ON THE AIR MONDAY NIGHTS FROM 9:15 TO 9:30 PM.” A NOTE THAT CAME WITH THE DONATION SAYS THE WEEKLY SHOW WITH CJOC WAS “BROADCAST LIVE ‘FROM HIGH ATOP THE MARQUIS HOTEL.’” BACK IN THE 2016 INTERVIEW AT THE MUSEUM, ALICE’S DAUGHTER ELEANOR COMMENTS ON THE BAND’S LEGACY. “I VOLUNTEER AT THE HOSPITAL [AND PLAY THE PIANO]. I USUALLY HAVE SENIORS INVOLVED THERE… AND WHEN I MENTION MY MOM’S NAME OR MY AUNT’S NAME, THEY REMEMBER DANCING TO THE ANDERSON SISTERS. SO, YOU KNOW, EVEN IN THIS DAY AND AGE, [PEOPLE] REMEMBER HOW MUCH FUN THEY HAD. [IT SHOWS] HOW RESPECTED THEY WERE AND I FIND THAT [BACKGROUND] JUST THRILLING.” “[MUSIC] WAS THEIR LIVELIHOOD,” RUTH ILLUMINATED, “SO [IT] WAS DRIVING THEM [THROUGH] TOUGH TIMES (SUCH AS THE DEPRESSION IN ALBERTA). THE GIRLS TOGETHER [WITH] THE TALENT THEY HAD, HAD A WAY OUT, WHERE A LOT OF OTHER PEOPLE HAD SOME BIGGER STRUGGLES. AND IT WAS THE TALENT IN THEM BEING TOGETHER. THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY.” PLEASE SEE PERMANENT FILE FOR FURTHER INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES AND CLIPPINGS ABOUT THE ANDERSON SISTERS AND THEIR SHOWS, AND FAMILY OBITUARIES.
Catalogue Number
P20160044006
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Date Range From
1943
Date Range To
1973
Material Type
Artifact
Materials
SHEET METAL, GLASS, CARDBOARD
Catalogue Number
P20160027000
  1 image  
Material Type
Artifact
Date Range From
1943
Date Range To
1973
Materials
SHEET METAL, GLASS, CARDBOARD
No. Pieces
2
Height
13.7
Length
5.4
Width
1.8
Description
A: THERMOMETER. THE THERMOMETER'S CASING IS METAL. THERE IS A COVER ON THE THERMOMTER THAT HAS 17 HOLES PUNCHED OUT OF THE FRONT (7 ROWS ALTERNATING BETWEEN 3 AND 2 HOLES PER ROW). THERE IS A SHORT BACK TO THE COVER. THE COVER IS ATTACHED TO THE THERMOMETER WITH 2 SMALL NAILS ON EITHER SIDE. THE THERMOMETER GLIDES OUT OF THE COVER AND HINGES BACK TO STAND (SUPPORTED BY BACK OF CASE AND THE 2 NAILS). THE BACKGROUND OF THE THERMOMETER IS WHITE AND IS ATTACHED TO THE METAL CASE. “US PAT 2329685” IS ON THE BOTTOM OF THE THERMOMETER. ON THE LEFT SIDE TEMPERATURE MEASUREMENTS FROM 1 TO 6 ARE ETCHED. THE NUMBERS ARE DIVIDED INTO INCREMENTS OF FOUR. ON THE RIGHT SIDE OF THE THERMOMETER THERE ARE “00” ACROSS FROM EACH NUMBER ON THE LEFT. THE THERMOMETER’S GLASS IS TINTED YELLOW WITH A TRANSLUCENT CENTER. THIS TUBE IS 12.4CM IN LENGTH. TWO SMALL METAL RINGS HOLD THE GLASS THERMOMETER TO THE MEASUREMENT BACKING. THERE IS A SMALL METAL HOOK AT THE TOP OF THE THERMOMETER. ON THE RIGHT SIDE OF THE THERMOMETER IN ITS CLOSED POSITION, "D. CARSE" IS HANDWRITTEN IN BLACK INK. GOOD CONDITION. RUSTING/STAINING OVERALL SURFACE. LOSS OF WHITE BACKING BEHIND THE THERMOMETER (SEVERE ON THE UPPER LEFT CORNER AND SLIGHT ON THE UPPER RIGHT CORNER). B: CARDBOARD CASE WITH OVERALL DIMENSIONS OF 13.9 CM X 6 CM X 2 CM. CARDBOARD BOX WITH GREEN LABEL ON FRONT. THE LABEL SAYS “RUXCO” “NO-600-MO-10” “OVEN TEST THERMOMETER RANGE 100 TO 600°F IN 10° DIVISIONS.” GOOD CONDITION. MISSING LEFT END OF BOX. SCRATCH ON THE SURFACE OF THE LEFT SIDE OF THE LABEL. STAINING IN VARIOUS PLACES.
Subjects
FOOD PROCESSING T&E
THERMAL T&E
Historical Association
TRADES
DOMESTIC
History
IN SEPTEMBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED IRENE MOCH ABOUT THE HISTORY OF A THERMOMETER SHE DONATED TO THE GALT MUSEUM AND ARCHIVES. THE THERMOMETER BELONGED TO HER FATHER, DAVID ROXBOROUGH CARSE, AND WAS USED BY HIM AS AN EMPLOYEE OF CANADIAN WESTERN NATURAL GAS COMPANY. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: “HIS JOB WAS TO GO HOUSE-TO-HOUSE ON SPECIFIED CALLS TO REPAIR AND CHECK GAS APPLIANCES AT VARIOUS HOMES. HE LOVED HIS JOB. IT WAS GREAT PASSION AND HE WOULD SHARE A LOT OF HIS EXPERIENCES AT HOME WITH US. IT BECAME A BIG PART OF OUR FAMILY LIFE. HIS FIRST PASSION WAS HIS FAMILY AND HIS SECOND PASSION WAS HIS WORK. TWENTY- EIGHT YEARS, HE WAS WITH THE GAS COMPANY. HE WOULD BRING VARIOUS LITTLE ITEMS HOME, BUT MOSTLY IT WAS JUST HIS MEMORIES AND OUR MEMORIES OF THE STORIES THAT HE TOLD… MY MOM AND DAD WILLED THEIR HOUSE TO MY HUSBAND, WHO HAD BEEN CARING FOR IT OVER THE YEARS. [THEY] LEFT ALL THEIR TREASURES AS THEY WERE [TO] US BOTH TO DO WHAT WE FELT WAS BEST WITH EVERYTHING. THEY HAVE BEEN GONE SINCE 2000, 2003. SO FINALLY, THIS MOVE HAS FORCED ME TO GO THROUGH SOME OF THE THINGS THAT I HAVE, AND THIS HAS COME UP, AND IT MEANT A LOT. WE ALWAYS HAD GAS STOVE AND GAS RADIANT HEAT AND HE WOULD ALWAYS TEST MY MOTHER’S OVEN WITH THE THERMOMETER TO MAKE SURE THAT IT WAS FUNCTIONING PROPERLY. IT WAS VERY VISIBLE TO ALL OF US. IT WAS VERY IMPORTANT.” MOCH RECALLS THE THERMOMETER IN HER DAD’S WORK TOOLBOX: “… WHEREVER HE WENT, HE WOULD HAVE HIS TOOL BOX, AND THAT WAS THE FIRST THING THAT CAME OUT OF THE TOOL BOX. HE CARRIED IT IN HIS VEHICLE. HE DROVE TO THE HOUSES AND THE FIRST THING THAT CAME OUT OF HIS TOOL BOX WAS THAT.” IT WAS THE JOB AT CANADIAN WESTERN NATURAL GAS COMPANY THAT BROUGHT CARSE AND HIS FAMILY TO LETHBRIDGE: “HE HAD ANDREW’S HARDWARE IN FORT MACLEOD FOR I DON’T KNOW HOW MANY YEARS – QUITE A FEW – AND THEN HE WENT TO THE GAS PLANT IN BURDETT/ BOW ISLAND. AND FAMILY WAS COMING. [HE] NEEDED A STEADY JOB, [SO HE] CAME TO THE CITY [ TO] FIND A STEADY JOB. HE WAS A CERTIFIED PLUMBER AND GAS-FITTER SO HE APPLIED AT THE CANADIAN WESTERN AND NATURAL GAS… THAT WAS HIS WORLD. HE JUST BLOSSOMED. HE WAS A VERY PRIVATE PERSON, BUT HE LOVED TO BE WITH PEOPLE. THERE WAS A LOT OF COMRADERY AND HORSE-PLAY. HE WORKED BY HIMSELF. HE DIDN’T HAVE A PARTNER. AND [HE] WENT PLACE-TO-PLACE – AND IT GREW, AND GREW, AND GREW, AND GREW – 28 YEARS. AND IT WAS NOT UNCOMMON FOR OUR RESIDENCE PHONE AT HOME TO RING FROM VARIOUS PEOPLE, SAYING, ‘DON’T SEND SO-AND-SO; SEND DAVE BACK. DAVE KNOWS WHAT HE’S DONE HERE, AND THAT’S THE PERSON I WANT BACK.’ THAT WAS NOT UNCOMMON AT ALL TO HAPPEN AT OUR HOUSE. HE MADE A GOOD REPUTATION FOR HIMSELF, AND HE LOVED WHAT HE DID, AND IT SHOWED… HE BECAME A KIND OF AN IMAGE AND I THINK HE REVELED IN THAT. HE WAS KING OF HIS WORLD, REALLY. IT WAS VERY NICE.” “… THERE WAS ALWAYS SOMEBODY ON CALL," CONTINUED MOCH, "BUT, IF IT WAS A MAJOR BLIZZARD, OR SOMETHING LIKE THAT, THEN EVERYBODY WAS PRESSED INTO SERVICE. IF IT WAS TURKEY DAY, AND EVERYBODY WANTS TO COOK A TURKEY, AND THE PILOT LIGHT OR THE OVEN DIDN’T WORK, SOMEBODY HAD TO GO. AND THAT WAS THE BIG THING WITH THE GAS COMPANY. GAS COMPANY SERVICEMEN WERE FREE OF CHARGE AND THE ONLY CHARGE WOULD HAVE BEEN FOR A THERMOCOUPLE OR A PART THAT NEEDED TO BE REPLACED. PEOPLE WERE NOT SHY ABOUT CALLING THE GAS COMPANY TO REMEDY THEIR SITUATION. YES, THERE WAS ALWAYS SOMEONE ON CALL, AND HE HAD TO TAKE HIS TURN DOING THAT. BUT, IF THERE WAS A MASS BLIZZARD OR STORM OF SOME SORT, THEN THEY WERE ALL CALLED OUT.” MOCH EXPLAINED THE THERMOMETER WAS OF GREAT IMPORTANCE TO CARSE’S WORK: “MOST OF HIS CALLS WERE [BAKING RELATED]. PEOPLE ALWAYS BAKED IN THOSE DAYS – ALWAYS BAKED AND [IF], ‘THE OVEN WASN’T COOKING RIGHT,’ OR ‘IT WASN’T HOT ENOUGH,’ OR ‘HOW COME THIS FLOPPED?’ ‘WE’D BETTER CALIBRATE THE OVEN PROPERLY.’ AND SO [THEY'D CALL IN], ‘CAN DAVE COME OUT AND CHECK IT OUT AND CHECK THAT OUT FOR US?’ SO YES, THAT [THERMOMETRE] WAS ONE OF THE FIRST THINGS THAT HE BROUGHT OUT… MOM BAKED ALL THE TIME AS WELL, TWICE A WEEK PROBABLY. ON A REGULAR BASIS, HE WOULD JUST DOUBLE CHECK [WITH THE THERMOMETER] TO MAKE SURE THINGS WERE WORKING THE WAY THEY SHOULD. NOT NECESSARILY THAT THERE WAS A PROBLEM, BUT JUST SO THAT THEY STAY THE WAY THEY SHOULD BE. HE EDUCATED US ALL ABOUT THE BLUE FLAME AND HOW THE BLUE FLAME HAD TO HAVE THE LITTLE TIP ON THE END OF THE BLUE FLAME AND THAT MEANS IT’S BURNING CLEAN. IT WAS VERY EDUCATIONAL, TOO.” “[HE] ALWAYS CAME HOME FOR LUNCH. MOM ALWAYS HAD LUNCH READY. WE HAD LUNCH IN THE LIVING ROOM WITH A SANDWICH AND HE HAD A LITTLE SNOOZE. FIVE MINUTES, AND HE WAS OUT THE DOOR. HE WAS NEVER LATE. HE WAS ALWAYS HOME, AND HE WAS NEVER LATE COMING HOME FROM WORK. HE JUST LOVED IT… HE RETIRED IN SEPTEMBER 30, ’73. SO, PROBABLY ’43, ’44 THAT HE CAME TO LETHBRIDGE TO [WORK AT THE] GAS COMPANY.” ACCORDING TO HIS OBITUARY IN THE LETHBRIDGE HERALD, DAVID ROXBOROUGH CARSE PASSED AWAY IN LETHBRIDGE ON 15 NOVEMBER 2000. PLEASE SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPT, LETHBRIDGE HERALD ARTICLES, AND THERMOMETER PATENT.
Catalogue Number
P20160027000
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
STAGE PERFORMANCE BORDER
Date Range From
1918
Date Range To
1950
Material Type
Artifact
Materials
PLYWOOD, PAINT
Catalogue Number
P20110031021
  2 images  
Material Type
Artifact
Other Name
STAGE PERFORMANCE BORDER
Date Range From
1918
Date Range To
1950
Materials
PLYWOOD, PAINT
No. Pieces
5
Height
303.5
Length
114.3
Description
STAGE PERFORMANCE BORDER, IN FIVE PANEL PIECES. .001 TOP CENTRE PANEL. RECTANGULAR. VERY THIN PLYWOOD. GREEN BACKGROUND WITH PINK/RED FLOWERS. TWO FLAGS IN THE CENTRE: THE KUOMINTANG/NATIONAL LEAGUE FLAG IS ON THE LEFT (NAVY BLUE WITH A GOLDEN YELLOW SUN IN THE MIDDLE) AND THE FLAG OF THE REPUBLIC OF CHINA IS ON THE RIGHT (RED BODY, WITH A NAVY BLUE RECTANGLE IN THE TOP LEFT CORNER AND A GOLDEN YELLOW SUN IN THE MIDDLE OF THIS NAVY SECTION). BETWEEN THE FLAGS IS A NAVY BLUE, ROUGHLY OCTAGON SHAPE, WITH ANOTHER GOLDEN YELLOW SUN IN THE CENTRE. ALONG THE BOTTOM IS A REPEATING PATTERN IN RED AND YELLOW OF TWO DOTS, A LINE, AND A DOT. SCREW HOLES ALONG THE TOP AND SIDES FOR MOUNTING. ON THE FAR RIGHT SIDE OF THE PANEL IS A SMALL RECTANGULAR PIECE, ATTACHED WITH WIRE, ROUGHLY 19CM X 7.6CM. PANEL IS 241.6CM X 47.6CM POOR TO FAIR CONDITION. PANEL IS WELL WORN, THE COLOURS ARE FADED, AND THE PAINT IS CHIPPED IN SEVERAL SPOTS. .002 TOP SIDE PANEL. RECTANGULAR. VERY THIN PLYWOOD. ON THE RIGHT SIDE OF THE PANEL ARE THE TOPS OF TWO COLUMNS. A SMALL PINK/RED FLOWER ON A GREEN VINE IS VISIBLE ON THE COLUMN. TO THE LEFT OF THE COLUMNS IS A SECTION OF GREEN WITH PINK/RED FLOWERS. ALONG THE BOTTOM IS A REPEATING PATTERN IN RED AND YELLOW OF TWO DOTS, A LINE, AND A DOT. BELOW THE RED AND YELLOW SECTION IS A NAVY BLUE SECTION, WITH A YELLOW SECTION JUST TO THE RIGHT OF THE COLUMN. SCREW HOLES ALONG THE TOP AND SIDES FOR MOUNTING. PANEL IS 200.7CM X 56.2CM POOR TO FAIR CONDITION. PAINT SCRATCHED OFF, ESPECIALLY ON THE RIGHT SIDE OF THE GREEN FLOWER SECTION. NOT AS FADED OR AS WORN AS .001. TAPE REMNANTS IN THE GREEN SECTION TO THE RIGHT OF COLUMNS. .003 TOP SIDE PANEL. RECTANGULAR. VERY THIN PLYWOOD. ON THE LEFT SIDE OF THE PANEL ARE THE TOPS OF TWO COLUMNS. TO THE LEFT OF THE COLUMNS IS A SECTION OF GREEN WITH PINK/RED FLOWERS. ALONG THE BOTTOM IS A REPEATING PATTERN IN RED AND YELLOW OF TWO DOTS, A LINE, AND A DOT. BELOW THE RED AND YELLOW SECTION IS A NAVY BLUE SECTION, WITH A YELLOW SECTION JUST TO THE RIGHT OF THE COLUMN. SCREW HOLES ALONG THE TOP AND SIDES FOR MOUNTING. PANEL IS 243.2CM X 55.2CM POOR TO FAIR CONDITION. TAN PAINT ALONG THE BOTTOM, OVER THE GREEN SECTION, IN SEVERAL AREAS. THE NAVY BLUE SECTION HAS A LOT OF HAIRLINE CRACKS IN THE PAINT. .004 SIDE PANEL. RECTANGULAR. VERY THIN PLYWOOD. ON THE BOTTOM OF THE PANEL IS A RECTANGLE IN THREE SHADES OF BROWN/TAN. ALONG THE LEFT SIDE OF THE PANEL THERE ARE TWO COLUMNS, WHICH HAVE PINK/RED FLOWERS ON GREEN VINES WRAPPED AROUND THEM. NAVY BLUE CURTAIN TO THE RIGHT OF COLUMNS. THERE IS A VERTICAL RECTANGLE OVER THIS NAVY CURTAIN. THE RECTANGLE HAS A LIGHT BLUE/GREEN BACKGROUND AND HAS SEVEN CHINESE CHARACTERS IN YELLOW. THERE IS ORNAMENTATION AROUND THIS RECTANGLE. THE NAVY CURTAIN IS HELD BACK WITH A GOLDEN YELLOW TIEBACK NEAR THE TOP. ON THE FAR RIGHT SIDE IS A VERTICAL RECTANGLE WITH AN ORANGE BACKGROUND AND SEVEN CHINESE CHARACTERS IN BLACK. SCREW HOLES FOR MOUNTING AROUND EDGE OF PANEL. PANEL IS 303.5CM X 114.3CM POOR TO FAIR CONDITION. IN WORSE CONDITION THAN .005. LOTS OF LITTLE HOLES, ESPECIALLY ON THE NAVY CURTAIN. LOTS OF WALL PAINT FLECKS, ESPECIALLY ON THE COLUMNS. THE BLUE VERTICAL RECTANGLE IS MORE GREEN THAN ON .005 AND THE PAINT IS VERY, VERY WORN. .005 SIDE PANEL. RECTANGULAR. VERY THIN PLYWOOD. ON THE BOTTOM OF THE PANEL IS A RECTANGLE IN THREE SHADES OF BROWN/TAN. ALONG THE RIGHT SIDE OF THE PANEL THERE ARE TWO COLUMNS, WHICH HAVE PINK/RED FLOWERS ON GREEN VINES WRAPPED AROUND THEM. NAVY BLUE CURTAIN TO THE LEFT OF COLUMNS. THERE IS A VERTICAL RECTANGLE OVER THIS NAVY CURTAIN. THE RECTANGLE HAS A LIGHT BLUE/GREEN BACKGROUND AND HAS SEVEN CHINESE CHARACTERS IN YELLOW. THERE IS ORNAMENTATION AROUND THIS RECTANGLE. BELOW THIS BLUE RECTANGLE, ON THE NAVY CURTAIN, ARE SEVERAL CHINESE CHARACTERS ON A DIAGONAL, PAINTED ON IN RED. THE NAVY CURTAIN IS HELD BACK WITH A GOLDEN YELLOW TIEBACK NEAR THE TOP. ON THE FAR LEFT SIDE IS A VERTICAL RECTANGLE WITH AN ORANGE BACKGROUND AND SEVEN CHINESE CHARACTERS IN BLACK. SCREW HOLES FOR MOUNTING AROUND EDGE OF PANEL. PANEL IS 303.5CM X 114.3CM POOR TO FAIR CONDITION. LOTS OF CHIPPED PAINT. PANEL IS FADED/DISCOLOURED. BOTTOM BACK IS IN ESPECIALLY POOR CONDITION AND IS VERY DIRTY.
Subjects
PUBLIC ENTERTAINMENT DEVICE
Historical Association
ASSOCIATIONS
FINE ARTS
LEISURE
History
THE FOLLOWING INFORMATION ABOUT THIS ARTIFACT COMES FROM INTERVIEWS HELD WITH MAY LEE AND JUDY CHAN, RICHARD LOO, AND HONG WONG AND JANICE WONG. PERSONAL DETAILS ABOUT THE LIVES OF MAY LEE, RICHARD LOO, AND HONG WONG THEIR IMMIGRATION TO CANADA ARE FOUND BELOW THE ARTIFACT DETAILS AND BELOW THE INFORMATION ABOUT THE CHINESE NATIONAL LEAGUE SOCIETY BUILDING. MAY RECALLED THAT THERE WERE OPERAS AT THE SOCIETY BUILDING, BUT THAT THEY DIDN’T COME VERY OFTEN. SHE DIDN’T RECALL ATTENDING MANY OPERAS, BUT DID REMEMBER THAT “HONG WONG WAS SINGING THERE.” RICHARD, MEANWHILE, THOUGHT THAT THE OPERAS WERE FINISHED BEFORE HE ARRIVED IN LETHBRIDGE. HE NEVER SAW AN OPERA PRODUCTION AT THE SOCIETY BUILDING, BUT DID RECALL THAT PROJECTION FILMS WERE SHOWN. RICHARD SUGGESTED “ASK HONG. HE LIKED A LITTLE BIT OF OPERA TOO … HE SANG IN STUFF LIKE THAT.” HONG INDICATED THAT THERE WAS NO OPERAS AT THE SOCIETY BUILDING WHEN HE CAME IN 1951, BUT THAT THE SOCIETY DID STAGE PRODUCTIONS AT THE UNIVERSITY. ASKED WHERE THE COSTUMES CAME FROM, HONG SAID “WE GOT THEM FROM CALGARY AT THAT TIME, WELL, ACTUALLY WE JUST BORROWED THEM. WE DIDN’T HAVE THE MONEY TO BUY THEM.” HONG CONTINUED SAYING THAT THIS STAGE PERFORMANCE BORDER WAS USED IN CONJUNCTION WITH A LARGE MURAL (SEE P20010027000) AND A STAGE. A SERIES OF ARTICLES PUBLISHED IN THE LETHBRIDGE HERALD GIVE BACKGROUND INFORMATION ABOUT THE CHINESE NATIONAL LEAGUE SOCIETY AND ITS BUILDING: THE BUILDING THAT HOUSED THE CHINESE NATIONAL LEAGUE SOCIETY WAS BUILT IN 1909-1910 IN THE 300 BLOCK OF 2 AVENUE SOUTH AND IT WAS ORIGINALLY A RESTAURANT. BY 1915 IT HAD BECOME THE HEADQUARTERS FOR THE LETHBRIDGE BRANCH OF THE KAO MIN TANG (ALTERNATIVE SPELLINGS INCLUDE KUOMINTANG, KUO MIN TANG, GUOMINDANG, AND GUO MIN DANG). THE BUILDING WAS DESIGNATED AS A PROVINCIAL HERITAGE RESOURCE IN 1995 BECAUSE OF ITS VALUE AS A SOCIAL AND CULTURAL CENTRE FOR THE LETHBRIDGE CHINESE COMMUNITY. THE BUILDING WAS USED IN A VARIETY OF WAYS BY THE SOCIETY AND INCLUDED, AT VARIOUS TIMES, A RESTAURANT, A SCHOOL, AND LIVING ACCOMODATIONS. IN FEBRUARY 2011 A SECTION OF THE BRICK FAÇADE FELL OFF THE BUILDING AND CITY INSPECTORS DETERMINED THAT THE TIMBER AND RED BRICK STRUCTURE WAS POTENTIALLY UNSTABLE. THE BUILDING WAS TORN DOWN A SHORT TIME LATER. LETHBRIDGE'S CHINATOWN EMERGED IN 1901, A RESULT OF THE CHINESE POPULATION BEING RELEGATED TO A SECTION OF THE CITY BETWEEN GALT GARDENS AND THE COULEES. IN A JANUARY 7, 2002 ARTICLE ALBERT LEONG EXPLAINS THAT NO ONE REALLY WANTED CHINESE PEOPLE AROUND AND THAT “’ THEY WERE TOLD THAT THE ONLY PLACE THEY COULD START BUSINESSES WAS BETWEEN THE COULEES AT THE PARK, BECAUSE THE CITY DIDN’T WANT ANY COMPETITION FOR THE WHITE BUSINESSMEN … BUT ‘GHETTO-IZED’ OR NOT, THE CHINESE WHO CAME TO LETHBRIDGE FORMED AN IMPORTANT PART OF THE BACKBONE OF THIS CITY, [AND MADE] NOTEWORTHY [CONTRIBUTIONS] TO THE HISTORY OF THIS PLACE.’” BUSINESSES SUCH AS LAUNDRIES, MARKET GARDENS, AND RESTAURANTS WERE OPENED IN CHINATOWN, WITH THE RESIDENTS LIVING IN ROOMS ABOVE THE BUSINESSES. IN 1912 THERE WERE ABOUT 100 PEOPLE LIVING IN CHINATOWN AND BY THE 1930S, IT WAS A BUSTLING COMMUNITY. THE POPULATION OF CHINATOWN DWINDLED FOLLOWING THE SECOND WORLD WAR. JANICE WONG, PRESIDENT OF THE SOCIETY IN 2015, GAVE THE FOLLOWING INFORMATION ABOUT THE SOCIETY IN AN INTERVIEW: AS OF 2015, THE SOCIETY EXISTS MORE AS A SOCIAL CLUB AND THE SOCIETY HOLDS THREE CELEBRATORY DINNERS EACH YEAR, USUALLY HELD AT THE NEW DYNASTY RESTAURANT. THE SOCIETY ALSO VISITS THE CEMETERY ON A YEARLY BASIS “TO HONOUR THE ANCESTORS, CLEAN THE TOMBS, BRING FOOD, DO THE USUAL THINGS THAT WE USED TO DO – EAT ON GRAVES, BURN THE INCENSE. WE DO THAT EVERY YEAR STILL TO HONOUR OUR ANCESTORS. IT IS USUALLY IN THE SPRING … IN APRIL.” JANICE BRIEFLY DISCUSSED THE FUTURE OF THE SOCIETY, INDICATING THAT THERE IS SOME TALK ABOUT RE-BUILDING “BUT THAT INVOLVES A LOT OF PLANNING, AND MONEY, AND FUNDRAISING” AND SHE QUESTIONS WHETHER OR NOT THERE IS ENOUGH OF A MEMBERSHIP BASE TO GO FORWARD WITH RE-BUILDING. SHE ALSO EXPLAINED THAT PREVIOUS CHINESE IMMIGRANTS HAD TENDED TO COME FROM THE SAME GEOGRAPHIC REGION, BUT THAT PRESENTLY IMMIGRANTS ARE COMING FROM ALL OVER CHINA: “THERE’S A LOT OF INFLUX OF PEOPLE FROM CHINA THAT AREN’T FROM THE SAME AREA, BECAUSE TRADITIONALLY, THE PEOPLE WERE ALL FROM THE SAME AREA AND SPOKE THE SAME DIALECT AND HAD THAT SORT OF THING KEEPING THEM TOGETHER AS A COMMUNITY OVERSEAS FROM CHINA.” PERSONAL DETAILS ABOUT THE LIVES OF MAY LEE, RICHARD LOO, AND HONG WONG AND THEIR IMMIGRATION TO CANADA ARE BELOW: MAY LEE: MAY WAS ACTUALLY BORN IN CANADA AND IS KNOWN AS A GOLD MOUNTAIN GIRL, BECAUSE SHE IS A CANADIAN-BORN CHINESE WOMAN. MAY EXPLAINS: “I WAS BORN IN CANADA. I WAS BORN IN NANOOSE BAY. WHEN I WAS 4 YEARS OLD, WE MOVED TO VICTORIA. WHEN I WAS 9 YEARS OLD AND THE WHOLE FAMILY, IN 1930, GO BACK TO CHINA.” DURING THE WAR, THE JAPANESE BOMBED THE GIRLS’ HIGH SCHOOL IN TOCSIN CITY AND MAY’S MOTHER DECIDED TO SEND MAY AND HER BROTHER TO HONG KONG TO START THE PROCESS OF COMING TO CANADA. MAY STARTED ENGLISH SCHOOL IN HONG KONG, BUT OFTEN MISSED CLASSES BECAUSE SHE WAS SICK FROM THE HEAT. SHE SAYS THAT SHE’S LEARNED MOST OF HER ENGLISH FROM HER HUSBAND, HER CHILDREN, GRANDCHILDREN, AND EVEN GREAT-GRANDCHILDREN. SHE WAS MARRIED TO HOM MEN LEE, AKA JIMMY LEE, ON NOVEMBER 16, 1938 IN VICTORIA, BC. JIMMY WAS BORN IN LETHBRIDGE AT THE GALT HOSPITAL, BUT WAS SENT BACK TO CHINA AS A CHILD FOR HIS EDUCATION. JIMMY’S FAMILY HAD COME TO LETHBRIDGE IN 1914 AND OWNED LEE-DUC CLEANERS. THE LEE FAMILY LIVED ABOVE THE SHOP, WHICH WAS ON 13TH STREET NORTH, NEAR HIGA’S JEWELERS. MAY’S MAIN MEMORY OF CHINATOWN: “ALL I REMEMBER IN CHINATOWN, IN SUMMERTIME, LOTS OF OLD GUYS SITTING IN FRONT OF GUOMINDANG. AUNTIE HELEN GREW UP IN CHINATOWN. I THINK SHE KNOWS MORE ABOUT CHINATOWN. IN THE OLDEN DAYS, I HARDLY GO OUT, JUST TO BUY GROCERIES.” JUDY ADDED THAT MAY HAD 8 CHILDREN AND WAS KEPT BUSY AT HOME RAISING THEM. RICHARD LOO: RICHARD ARRIVED IN LETHBRIDGE IN 1953, HAVING LEFT THE MAINLAND OF CHINA IN 1949. RICHARD’S GRANDFATHER HAD MOVED TO CANADA IN EITHER LATE 1800S OR THE EARLY 1900S AND HAD HAD TO PAY THE HEAD TAX. HIS GRANDFATHER WORKED AS A COOK IN RESTAURANTS, EITHER IN LETHBRIDGE OR IN TABER (ACCORDING TO RICHARD, HIS GRANDFATHER WORKED THROUGH THE WAR YEARS IN TABER). RICHARD’S GRANDFATHER HAD PLANNED ON MOVING BACK TO CHINA WHEN HE RETIRED, BUT THEN THE COMMUNISTS TOOK OVER, AND HE ELECTED TO STAY. AT THAT TIME, HE INVITED RICHARD TO MOVE TO LETHBRIDGE AS WELL. RICHARD LEFT HONG KONG, AFTER LIVING THERE FOR 8 MONTHS, ON A FRIDAY AFTERNOON AT 2PM LOCAL TIME. HE FINALLY ARRIVED IN LETHBRIDGE SUNDAY AFTERNOON. HE WAS LUCKY IN THAT HE WAS ABLE TO GET HIS FLIGHTS ON SALE. NORMALLY A TICKET FROM HONG KONG TO VANCOUVER WOULD HAVE COST $700, BUT RICHARD WAS ABLE TO SECURE A FLIGHT FOR ONLY $500. HE ALSO INDICATED THAT HIS FLIGHT TO LETHBRIDGE WAS ONLY $39.95. ON RECALLING HIS FIRST TIME IN LETHBRIDGE, RICHARD RECOUNTED THE FOLLOWING STORY: “SO, BY THE TIME I GOT TO THE AIRPORT, I DIDN’T KNOW HOW TO SAY NOTHING. DIDN’T KNOW – MAYBE COULD SAY ‘GOOD MORNING’ – THAT’S ALL YOU COULD SAY, JUST ANYWAYS HOW TO SAY ‘HELLO’ – SO, ANYWAY, SO IN THE MEANTIME, THE FELLOW AT THE AIRPORT MUST HAVE KNOWN ZEKE, YOU KNOW ZEKE QUAN [OWNER OF] THE LOTUS INN [RESTAURANT], AND HE PHONED HIM UP. HE SAYS, ‘ZEKE.’ I DIDN’T KNOW WHAT HE WAS TALKING ABOUT – NOTHING. AND THEN HE SAYS, ‘HEY, THIS IS A CHINA BOY HERE. WHAT ARE YOU GOING TO DO WITH HIM?’ SO, ZEKE SAYS, ‘OH, JUST TAKE HIM TO CHINATOWN AND DUMP HIM.’ NOW, I DIDN’T KNOW THOSE, NOT UNTIL LATER ON. ZEKE’S SON GO TO SAME SCHOOL I DID – CENTRAL SCHOOL.” RICHARD INITIALLY LIVED IN THE SOCIETY BUILDING FOR SEVERAL YEARS, OCCUPYING A ROOM THAT HAD BEEN RECENTLY VACATED BY ANOTHER MAN NAMED LOO WHO HAD GONE TO WORK IN PICTURE BUTTE. RICHARD RECALLED THAT THE SOCIETY WAS A GOOD PLACE TO FEEL A SENSE OF COMMUNITY AND THAT IT WAS A WELCOMING PLACE FOR NEW CHINESE IMMIGRANTS, A PLACE WHERE THEY WEREN’T DISCRIMINATED AGAINST. HONG WONG: HONG ARRIVED IN LETHBRIDGE IN 1951 AND WAS INVITED TO THE CITY BY HIS UNCLE SHUEY WONG, WHO WAS ALREADY LIVING HERE. UNCLE SHUEY HAD COME TO CANADA SEVERAL YEARS BEFORE AND HAD HAD TO PAY THE $500 HEAD TAX. HONG TRAVELED WITH HIS BROTHER FROM MAINLAND CHINA TO HONG KONG, IN ORDER TO GO TO THE CANADIAN EMBASSY. ON HIS FERRY RIDE TO HONG KONG, HE WAS SHOT BY BANDITS AND WAS REQUIRED TO STAY IN THE HOSPITAL FOR QUITE SOME TIME TO RECOVER. HIS BROTHER ELECTED TO REMAIN IN HONG KONG, AS HIS MOTHER-IN-LAW LIVED IN THE CITY AND GOT HONG’S BROTHER WORK IN A THEATRE. TO GET TO CANADA, HONG FLEW FROM JAPAN TO GUAM, TO VANCOUVER, AND THEN FINALLY TO LETHBRIDGE. HIS FIRST IMPRESSION OF LETHBRIDGE: COLD. HONG SAID: “’WELL, IN HONG KONG IT WAS AROUND MAYBE 20 SOME 30 ABOVE. AND HERE, AT THAT TIME, MAYBE 20 BELOW, OR 20 SOME BELOW. I DIDN’T HAVE THE EAR MUFFS. I SAID, ‘GEE, I’M NOT SO HAPPY HERE, IT SEEMS SO COLD.’” UNCLE SHUEY TOLD HONG THAT IT WAS ONE OF THE COLDEST WINTERS HE COULD REMEMBER. HONG WORKED FOR HIS UNCLE IN HIS SHOP ON 9TH AVENUE, DOING CHORES AROUND THE STORE, UNTIL HIS ENGLISH HAD IMPROVED ENOUGH SO THAT HE COULD SERVE CUSTOMERS. HE JOINED THE CHINESE NATIONALIST LEAGUE SOCIETY ALMOST AS SOON AS HE ARRIVED: “WHEN I CAME HERE, I JOINED IN THE SAME YEAR BECAUSE MY UNCLE WAS A MEMBER. SO THAT’S WHY HE GOT ME IN TO BE A MEMBER. OH, AT THAT TIME, I BET, 95% OF THE CHINESE PEOPLE THEY BELONG TO THE CHINESE NATIONAL LEAGUE, I BELIEVE.” HE CONTINUED, SAYING THAT YOU COULDN’T BE A MEMBER OF BOTH THE SOCIETY AND THE MASONS, AND HE BELIEVES ABOUT 5% OF THE CITY’S CHINESE POPULATION WOULD HAVE BELONGED TO THE MASONS. HE ADDED: “BUT WE ARE STILL FRIENDS, STILL FRIENDS. WE’RE NOT ENEMY OR ANYTHING BUT, IT’S JUST THAT THE ORGANIZATIONS ARE DIFFERENT. THAT’S ALL.” HONG ENJOYED THE CAMARADERIE OF THE SOCIETY. HE SAID: “I REMEMBER, I LIKE IT BECAUSE THEY HAVE THE PARTY AND SO MANY PEOPLE. AND THEN YOU MEET ALL THE CHINESE PEOPLE THERE IN THE ONE GROUP. WELL, ANYWAY, WHEN YOU SEE SO MANY PEOPLE IN ONE PARTY, AND THEN WHEN THEY COME OUT MOSTLY THE PEOPLE THAT PARTY AND IT FEELS LIKE A LOTS OF FRIENDS OR EVEN LIKE THE FAMILY. SO YOU FEEL GOOD, YOU FEEL BETTER, AND THEN, WELL, MY UNCLE BELONGS THERE TOO AND THEN THE OTHERS BELONG THERE TOO, YEAH, EVERYBODY LIKE IN THE BIG FAMILY. YES, NICE, OTHERWISE YOU DON’T HAVE ANY FRIENDS, YOU DON’T MEET ANYBODY, IF YOU NOT BELONG THERE, I THINK NOT SO FRIENDLY TO YOU.” HONG INDICATED THAT WHEN A SPECIAL MEAL WAS HELD AT THE SOCIETY, IT WAS THE MEN WHO DID THE COOKING: “AT THAT TIME JUST ABOUT EVERYBODY KNOWS HOW TO COOK BECAUSE MOSTLY WE WORK IN THE KITCHEN WHEN THEY CAME HERE.” HE SAID THAT DINERS WOULD PAY A SMALL FEE TO EAT AT THE LEAGUE WHEN SPECIAL MEALS WERE PUT ON. SEE PERMANENT FILE FOR COPIES OF LETHBRIDGE HERALD ARTICLES AND FOR INTERVIEW TRANSCRIPTS.
Catalogue Number
P20110031021
Acquisition Date
2011-11
Collection
Museum
Images
Less detail
Other Name
ALBERTA RANCH BOYS UNIFORM PANTS
Date Range From
1937
Date Range To
1962
Material Type
Artifact
Materials
SYNTHETIC FABRIC
Catalogue Number
P20150016007
  2 images  
Material Type
Artifact
Other Name
ALBERTA RANCH BOYS UNIFORM PANTS
Date Range From
1937
Date Range To
1962
Materials
SYNTHETIC FABRIC
No. Pieces
1
Length
104.5
Width
35.5
Description
MEN’S PANTS, COMMERCIALLY MADE. KHAKI-COLOURED, SYNTHETIC FABRIC BODY WITH BLUE FABRIC ACCENTS AT SEAT, THE BELT LOOPS, SCALLOPED POCKET FLAPS AND CENTER LEG STRIPE. INSIDE WAISTBAND AND POCKET LINING DISPLAY MULTIPLE HAND INK MARKINGS, INCLUDING NUMBERS AND “HORHOZER”. ATTACHED TO THE HEM OF THE PANTS ARE ELASTIC STIRRUPS (ONE BLACK AND ONE KHAKI-COLOURED). THERE IS A STRONG CREASE DOWN THE CENTER OF THE PANTS. FAIR TO GOOD CONDITION. ON THE RIGHT SIDE THERE IS A STAIN AND SLIGHT TEARING AT THE BOTTOM HEM. THERE IS A STAIN AT THE KNEE, AND TEARING AT THE POCKET. THE BOTTOM BUTTON OF THE FLY HAS BEEN LOST. THERE IS TEARING AT THE CROTCH SEAM. ON THE LEFT SIDE, THERE IS TEARING NEAR THE POCKET. THERE IS SLIGHT STAINING ON THE OVERALL SURFACE OF THE PANTS.
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
LEISURE
PROFESSIONS
History
EVERAL HORHOZER (NÉE SUPINA) WAS BORN IN LETHBRIDGE IN THE YEAR OF 1927 TO HER PARENTS DONAH (NÉE HILL) AND NICHOLAS SUPINA. SUPINA WAS THE OWNER OF SUPINA’S MERCANTILE ON 13TH STREET NORTH, LETHBRIDGE. THESE PANTS WERE PART OF THE STAGE OUTFIT WORN BY JOE HORHOZER WHEN HE WAS THE ACCORDION PLAYER AND MUSIC ARRANGER FOR A WELL-KNOWN LETHBRIDGE MUSICAL GROUP CALLED THE ALBERTA RANCH BOYS. THE GROUP FORMED IN THE SUMMER OF 1937 WITH MEMBERS LOUIS (LOU) GONZY, MATT (BUCK) WASOWICH, PETER (CURLY) GURLOCK, REMO BACEDA, AND ‘LITTLE JOE’ HORHOZER. COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED A SERIES OF INTERVIEWS (ON APRIL 2, APRIL 16, AND MAY 7, 2015) WITH HORHOZER REGARDING A GROUP OF ARTIFACTS SHE DONATED TO THE MUSEUM. THE INFORMATION BELOW HAS COME FROM THESE INTERVIEWS AND LETHBRIDGE HERALD RESEARCH REGARDING THE HORHOZER FAMILY HISTORY. IN THE INTERVIEW, HORHOZER DESCRIBED HOW SHE MET HER HUSBAND, JOE HORHOZER, WHEN HE CAME TO WORK FOR SUPINA’S MERCANTILE. FOR THE STORY OF HOW THEY MET, PLEASE SEE RECORDS P20150016003 AND P20150016004. JOE HORHOZER WAS THE ACCORDION PLAYER AND MUSIC ARRANGER FOR A WELL-KNOWN LETHBRIDGE MUSICAL GROUP CALLED THE ALBERTA RANCH BOYS. THE GROUP FORMED IN THE SUMMER OF 1937 WITH MEMBERS LOUIS (LOU) GONZY, MATT (BUCK) WASOWICH, PETER (CURLY) GURLOCK, REMO BACEDA, AND ‘LITTLE JOE’ HORHOZER. HORHOZER SAYS OF HER HUSBAND: “I WOULD CALL HIM THE LEAD INSTRUMENT BECAUSE AN ACCORDION IS, EH? AND HE WAS EXCEPTIONALLY GIFTED WITH THE ACCORDION; THAT’S WHAT EVERYBODY SAID, THAT THERE ISN’T ANYONE, AT LEAST AROUND THIS COUNTRY, THAT COULD COMPARE WITH HIM.” DESCRIBED IN THEIR SOUVENIR BOOK PUBLISHED IN 1941 AS “PROFESSIONAL RADIO ENTERTAINERS”, THE ‘ALBERTA RANCH BOYS’ WERE FORMED WHEN THE LOCAL EXHIBITION AND STAMPEDE PARADE WAS FOUND WANTING FOR A “COWBOY BAND” AS PART OF ITS LINEUP. ACCOLADES FOR THE PARADE ACT FOLLOWED, INSPIRING THE GROUP “TO EMBARK ON THE LONG ROAD TO FAME AND FORTUNE”. IN A YEAR’S TIME – AND AFTER TOURING THROUGH ALBERTA AND BC – THE BAND ENDED UP IN VANCOUVER. THERE, IT ESTABLISHED ITSELF, ACCORDING TO THE BOOKLET, AS “WESTERN CANADA’S MOST VERSATILE STAGE AND DANCE FAVOURITE,” BROADCASTING ITS COWBOY MELODIES FOR OVER TWO CONTINUOUS YEARS VIA CKWX (VANCOUVER’S LARGEST RADIO STUDIO AT THE TIME). DURING THE WAR, IT DONATED ITS TALENTS TO THE PROMOTION OF WAR SAVINGS CERTIFICATES. ONE VICTORY RALLY SONG FOR STAMPS WAS “WE’VE BOUGHT THEM BEFORE AND WE’LL BUY THEM AGAIN.” BY EARLY JAN-FEB 1943, THE BAND HAD PEAKED. ONE MEMBER IS REPORTED TO HAVE ENLISTED IN THE CANADIAN ARMY WHILE OTHERS, ACCORDING TO THE DONOR, “GOT SICK”. “THEY DID A LOT IN TORONTO.” RECALLED EVERAL IN AN INTERVIEW. “[IT WAS FROM] TORONTO THEN THEY COULD HAVE GONE [TO NEW YORK] - THAT’S WHERE THEY WERE OFFERED THE BIG JOB OF RECORDING AND BEING ON TV…BUT THEN [JOE] SAYS THAT HE DOESN’T CARE, BECAUSE HE SAYS IF HE WOULD HAVE WENT, HE WOULDN’T HAVE MET ME, SO, I MEAN, THAT WAS A NICE THING TO SAY. HE SAYS LIFE TURNED OUT GOOD FOR HIM.” EVERAL WAS NOT AWARE OF THIS AT THE TIME OF THEIR MEETING. AFTER FINDING OUT, SHE SAID, “WELL, I THOUGHT, GEE WHIZ, HE JUST ISN’T AN EVERYDAY JOE AND EVERYBODY IN TOWN KNEW HIM AND ADMIRED HIM. YEAH, IT MADE ME A LITTLE MORE HAPPY.” OF THE PERFORMANCE COSTUME EVERAL HORHOZER SAID: “THEY WORE [THE SAME UNIFORM] WHEN THEY PLAYED AT THE TRIANON FOR A WHILE AND THEY JUST STARTED TO USE SUITS … WELL HE DIDN’T WANT - SEE, WHEN THEY STARTED PLAYING AT THE TRIANON. THEN I TELL YOU, THEY START WEARING MORE BAND [CLOTHING] - LIKE, THEY HAD DIFFERENT BLAZERS, COLOURED BLAZERS – BLUE ONES AND RED ONES AND ALL WORE BLAZERS THEN. ‘CAUSE THEY WANTED TO BECOME LIKE A DANCE BAND, I GUESS YOU’D SAY.” “HE WOULD NEVER FORGET THAT TIME [WITH THE RANCH BOYS],” HORHOZER SAID OF HER HUSBAND, “HE TALKED ABOUT IT ALL THE TIME. HOW THEY MET SO MANY [PEOPLE], LIKE THEY’D PLAY AT PRIVATE PARTIES FOR WEALTHY PEOPLE. HE ABSOLUTELY LOVED HIS MUSIC. HE LIVED FOR HIS MUSIC.” BACK HERE IN LETHBRIDGE IN 1958, EVERAL’S HUSBAND JOE WENT ON TO PERFORM WITH THE COUNTRY CAPERS, PLAYING ACCORDION FOR A WEEKLY BROADCAST VIA THE LOCAL TV STATION CJLH. IN 1961, THE STATION AND THE BROADCAST WERE PRESENTED WITH A NATIONAL LIBERTY AWARD FOR “TV STATION SHOWMANSHIP” AND “BEST LOCAL PROGRAMMING.” IN HIS TIME, ‘LITTLE JOE’ PLAYED WITH ROY ROGERS, GENE AUTRY, AND TOMMY HUNTER. HE DIED IN 2010 AT AGE 89. EVERAL HORHOZER PASSED AWAY IN LETHBRIDGE 6 YEARS LATER ON JUNE 6, 2016 AT THE AGE OF 88 YEARS. PLEASE SEE THE PERMANENT FILE FOR ADDITIONAL INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTS, LETHBRIDGE HERALD ARTICLES, AND FURTHER PUBLICATIONS.
Catalogue Number
P20150016007
Acquisition Date
2015-05
Collection
Museum
Images
Less detail
Other Name
DYE SAMPLES
Date Range From
1940
Date Range To
1977
Material Type
Artifact
Materials
CARDBOARD, FABRIC, INK
Catalogue Number
P20160003004
  1 image  
Material Type
Artifact
Other Name
DYE SAMPLES
Date Range From
1940
Date Range To
1977
Materials
CARDBOARD, FABRIC, INK
No. Pieces
1
Length
22.6
Width
15
Description
BOOK WITH BLACK HARDCOVER. THE FRONT COVER OF THE BOOK HAS IN GOLD LETTERING “NACCO DYES” WITH A SMALL, GOLD LOGO IN THE CENTER AND “NATIONAL ANILINE & CHEMICAL CO. …” IN GOLD AT THE BOTTOM. THE SPINE OF THE BOOK HAS “NACCO DYES NO. 172” IN GOLD LETTERS. THE INSIDE COVER OF THE BOOK BEGINS WITH “NATIONAL SERVICE” WITH ADDITIONAL TEXT SUCCEEDING. THE PAGES ARE THICK, WHITE BOARD THAT ARE ATTACHED TO ONE ANOTHER WITH PAPER SEAMS. THE BOARDS FOLD OUT ACCORDIAN-STYLE INTO A HORIZONTAL LINE. THERE ARE 6 BOARDS IN TOTAL. THE FIRST FOUR BEGINNING FROM THE LEFT ARE TITLED, “NACCO UNION DYES.” EACH BOARD HAS TWO COLUMNS OF RECTANGULAR DYE SAMPLES. THERE ARE 9 ROWS ON EACH BOARD. THE TWO SAMPLES IN EACH ROW ARE THE SAME COLOUR BUT ON DIFFERENT TYPES OF FABRIC. THE 5TH BOARD IS DIVIDED INTO TWO COLUMNS. THE LEFT IS TITLED, “NACCO NEUTRAL DYES” AND THERE ARE 10 SAMPLES OF VARIOUS DYE COLOURS UNDERNEATH IT. THE RIGHT SIDE IS TITLED, “NACCO WOOL DYES.” GOOD CONDITION. THE BOARDS HAVE YELLOWED. SLIGHT SCUFFING ON THE BLACK COVER. SLIGHT BROWN STAIN ON 5TH AND 6TH BOARDS. ACCRETION ON LOWER SECTION ON THE BACKSIDE OF BOARD TO THE RIGHT OF THE TITLE PAGE (5TH BOARD).
Subjects
MERCHANDISING T&E
Historical Association
INDUSTRY
TRADES
RETAIL TRADE
History
THE KONKINS WERE A RUSSIAN-SPEAKING FAMILY FROM THE TOWN OF SHOULDICE, ALBERTA, NEAR CALGARY. THEY AND MANY OTHER RUSSIAN FAMILIES COMPOSED THAT TOWN’S DOUKHOBOR COLONY. IT WAS THERE WILLIAM KONKIN MARRIED ELIZABETH WISHLOW. IN 1928, THEIR DAUGHTER, ELSIE WAS BORN. THEY LATER MOVED TO A FARM IN VAUXHALL, ALBERTA. THE PRECEDING AND FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM A TWO-PART INTERVIEW WITH DONOR ELSIE MORRIS, WHICH WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON FEBRUARY 17, 2016. ADDITIONAL INFORMATION COMES FROM FAMILY HISTORIES AND TEXTS PROVIDED BY THE DONOR. A FULL HISTORY OF THE KONKIN FAMILY CAN BE FOUND WITH THE RECORD P20160003001. MORRIS’ FATHER SOLD DYE TO LOCALS ON THE DOUKHOBOR COLONY. MORRIS DESCRIBES THE PURPOSE OF THE DYES AND HOW HER FATHER BECAME INVOLVED: “DYEING WAS NECESSARY TO DYE THE WOOL THAT YOU SPUN AND SOMETIMES YOU COULDN’T GET THE NECESSARY DYES IN THE STORE, SO I DON’T KNOW WHERE MY DAD GOT THOSE. THEY MIGHT HAVE SENT HIM SOME OR WHAT AND THEN HE WOULD CHOOSE THE COLOURS THEY WANTED AND HE WOULD ORDER THEM. NOW IT SO HAPPENS THAT THE PEOPLE IN THE COLONY ALL WANTED THESE PARTICULAR DYES BECAUSE THEY WERE BETTER THAN THE KIND THEY GOT IN THE STORE. I DON’T KNOW WHY. SO MY DAD BUILT A SCALE AND I REMEMBER THIS SCALE. IT STOOD ON THE TABLE, IT HAD A CENTRAL PART, THEN THERE WAS A ROD GOING ACROSS AND IT CAME DOWN LIKE THIS AND THREE NAILS ON ONE SIDE BROUGHT IT DOWN AND WHEN YOU WANTED TO SELL THE DYE YOU PUT A PIECE OF PAPER DOWN, PUT IN A SPOONFUL UNTIL WE BALANCED [IT] AND THEN YOU GOT AN EVEN BALANCE AND THAT AMOUNT CAME TO TEN CENTS. IF WANTED LESS THEN YOU PUT TWO NAILS DOWN AND THOSE CAME TO FIVE CENTS SO… I SUPPOSE [HE SOLD THE DYE] BECAUSE HE WANTED TO MAKE SOME MONEY. HE SOLD VEGETABLES IN THE WINTERTIME TO THE LOCALS WHO DIDN’T GROW GARDENS. IN SUMMERTIME IF HE COULD GET A JOB HARVESTING WORKING SOMEWHERE ON FARMS HE DID THAT. [HE WAS] THE MIDDLE MAN [SELLING DYES]… [A]ND NOBODY TOLD ANYONE THE STOREKEEPERS THAT OR HE’D HAVE PROBABLY BEEN TOLD TO STOP IT.” PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003004
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
ACME BOOT
Date Range From
1937
Date Range To
1962
Material Type
Artifact
Materials
LEATHER
Catalogue Number
P20150016005
  1 image  
Material Type
Artifact
Other Name
ACME BOOT
Date Range From
1937
Date Range To
1962
Materials
LEATHER
No. Pieces
2
Height
28.5
Length
30.5
Description
A-B: RED COWBOY BOOTS (LEFT AND RIGHT BOOT). THE LEATHER BOOT BODIES ARE RED WITH GOLD ACCENTS AND GOLD OPENING TRIMS. LEATHER SOLES HAVE BEEN RE-HEELED. INTERIORS LABELLED “ACME BOOT” AND INK STAMPED, “MADE IN THE USA”. GOOD CONDITION. ON BOTH BOOTS, THERE IS A RED DYE LOSS IN VARIOUS PLACES, ESPECIALLY AT THE TOES. SOME OF THE GOLD ACCENTS ARE SCUFFED. REGULAR WEAR TO THE BOTTOM SOLES. THERE IS WEAR TO THE INSIDE SOLES (MORE SEVERELY ON BOOT A). BOTH BOOTS ARE MISSHAPEN (BOOT B TO A GREATER EXTENT). ON BOOT A, THERE IS A LOOSE THREAD ON THE TOE DESIGN. THERE IS A LOOSE YELLOW THREAD ON THE INSIDE HEEL ON BOOT B.
Subjects
CLOTHING-FOOTWEAR
Historical Association
PERSONAL CARE
PROFESSIONS
LEISURE
History
EVERAL HORHOZER (NÉE SUPINA) WAS BORN IN LETHBRIDGE IN THE YEAR OF 1927 TO HER PARENTS DONAH (NÉE HILL) AND NICHOLAS SUPINA. SUPINA WAS THE OWNER OF SUPINA’S MERCANTILE ON 13TH STREET NORTH, LETHBRIDGE. THESE COWBOY BOOTS WERE PART OF THE STAGE OUTFIT WORN BY JOE HORHOZER WHEN HE WAS THE ACCORDION PLAYER AND MUSIC ARRANGER FOR A WELL-KNOWN LETHBRIDGE MUSICAL GROUP CALLED THE ALBERTA RANCH BOYS. THE GROUP FORMED IN THE SUMMER OF 1937 WITH MEMBERS LOUIS (LOU) GONZY, MATT (BUCK) WASOWICH, PETER (CURLY) GURLOCK, REMO BACEDA, AND ‘LITTLE JOE’ HORHOZER. COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED A SERIES OF INTERVIEWS (ON APRIL 2, APRIL 16, AND MAY 7, 2015) WITH HORHOZER REGARDING A GROUP OF ARTIFACTS SHE DONATED TO THE MUSEUM. THE INFORMATION BELOW HAS COME FROM THESE INTERVIEWS AND LETHBRIDGE HERALD RESEARCH REGARDING THE HORHOZER FAMILY HISTORY. IN THE INTERVIEW, HORHOZER EXPLAINED SHE MET HER HUSBAND, JOE HORHOZER, WHEN HE CAME TO WORK FOR SUPINA’S MERCANTILE. FOR THE STORY OF HOW THEY MET, PLEASE SEE RECORDS P20150016003 AND P20150016004. WHEN DESCRIBING HER HUSBAND'S MUSIC CAREER, HORHOZER SAID, “I WOULD CALL HIM THE LEAD INSTRUMENT BECAUSE AN ACCORDION IS, EH? AND HE WAS EXCEPTIONALLY GIFTED WITH THE ACCORDION; THAT’S WHAT EVERYBODY SAID, THAT THERE ISN’T ANYONE, AT LEAST AROUND THIS COUNTRY, THAT COULD COMPARE WITH HIM.” DESCRIBED IN THEIR SOUVENIR BOOK PUBLISHED IN 1941 AS “PROFESSIONAL RADIO ENTERTAINERS”, THE ‘ALBERTA RANCH BOYS’ WERE FORMED WHEN THE LOCAL EXHIBITION AND STAMPEDE PARADE WAS FOUND WANTING FOR A “COWBOY BAND” AS PART OF ITS LINEUP. ACCOLADES FOR THE PARADE ACT FOLLOWED, INSPIRING THE GROUP “TO EMBARK ON THE LONG ROAD TO FAME AND FORTUNE”. IN A YEAR’S TIME – AND AFTER TOURING THROUGH ALBERTA AND BC – THE BAND ENDED UP IN VANCOUVER. THERE IT ESTABLISHED ITSELF, ACCORDING TO THE BOOKLET, AS “WESTERN CANADA’S MOST VERSATILE STAGE AND DANCE FAVOURITE,” BROADCASTING ITS COWBOY MELODIES FOR OVER TWO CONTINUOUS YEARS VIA CKWX (VANCOUVER’S LARGEST RADIO STUDIO AT THE TIME). DURING THE WAR, IT DONATED ITS TALENTS TO THE PROMOTION OF WAR SAVINGS CERTIFICATES. ONE VICTORY RALLY SONG FOR STAMPS WAS “WE’VE BOUGHT THEM BEFORE AND WE’LL BUY THEM AGAIN.” BY EARLY JAN-FEB 1943, THE BAND HAD PEAKED. ONE MEMBER IS REPORTED TO HAVE ENLISTED IN THE CANADIAN ARMY WHILE OTHERS, ACCORDING TO THE DONOR, “GOT SICK”. “THEY DID A LOT IN TORONTO.” RECALLED EVERAL IN AN INTERVIEW. “[IT WAS FROM] TORONTO THEN THEY COULD HAVE GONE [TO NEW YORK] - THAT’S WHERE THEY WERE OFFERED THE BIG JOB OF RECORDING AND BEING ON TV…BUT THEN [JOE] SAYS THAT HE DOESN’T CARE, BECAUSE HE SAYS IF HE WOULD HAVE WENT, HE WOULDN’T HAVE MET ME, SO, I MEAN, THAT WAS A NICE THING TO SAY. HE SAYS LIFE TURNED OUT GOOD FOR HIM.” EVERAL WAS NOT AWARE OF THIS AT THE TIME OF THEIR MEETING. AFTER FINDING OUT, SHE SAID, “WELL, I THOUGHT, GEE WHIZ, WELL, HE JUST ISN’T AN EVERYDAY JOE AND EVERYBODY IN TOWN KNEW HIM AND ADMIRED HIM. YEAH, IT MADE ME A LITTLE MORE HAPPY.” THESE RED COWBOY BOOTS WERE PART OF THE COSTUME JOE HORHOZER WORE WHEN HE PERFORMED WITH THE ALBERTA RANCH BOYS, AND LATER THE 'COUNTRY CAPERS,' A LETHBRIDGE-BASED BAND FOR WHICH HE PLAYED THE ACCORDION BEGINNING IN 1958. IT WAS EVERAL WHO DYED THEM THE BRIGHT RED COLOUR: “HE ASKED ME [TO DYE THE BOOTS]. HE SAID HE WANTED TO CHANGE, THEY WERE GETTING TO LOOK KIND OF SHABBY, AND I DON’T KNOW WHY HE PICKED RED, BUT THAT’S WHAT HE DID SO, THAT’S WHAT I - ACTUALLY THESE STOOD UP QUITE WELL [LAUGHS]. THE REGULAR COLOUR WAS - I THINK THEY WERE BLACK-LIKE. BLACK WITH WHITE... THOSE WERE THE ONLY BOOTS THAT HE HAD.” OF THE PERFORMANCE COSTUME EVERAL HORHOZER SAID: “WHEN THEY STARTED PLAYING AT THE TRIANON THEN, I TELL YOU, THEY START WEARING MORE BAND [CLOTHES] - LIKE THEY HAD DIFFERENT BLAZERS, COLOURED BLAZERS – BLUE ONES AND RED ONES AND ALL WORE BLAZERS THEN ‘CAUSE THEY WANTED TO BECOME LIKE A DANCE BAND, I GUESS YOU’D SAY.” “HE WOULD NEVER FORGET THAT TIME [WITH THE RANCH BOYS],” HORHOZER SAID OF HER HUSBAND, “HE TALKED ABOUT IT ALL THE TIME. HOW THEY MET SO MANY [PEOPLE], LIKE THEY’D PLAY AT PRIVATE PARTIES FOR WEALTHY PEOPLE. HE ABSOLUTELY LOVED HIS MUSIC. HE LIVED FOR HIS MUSIC.” BACK HERE IN LETHBRIDGE IN 1958, EVERAL’S HUSBAND JOE WENT ON TO PERFORM WITH THE COUNTRY CAPERS, PLAYING ACCORDION FOR A WEEKLY BROADCAST VIA THE LOCAL TV STATION CJLH. IN 1961, THE STATION AND THE BROADCAST WERE PRESENTED WITH A NATIONAL LIBERTY AWARD FOR “TV STATION SHOWMANSHIP” AND “BEST LOCAL PROGRAMMING.” IN HIS TIME, ‘LITTLE JOE’ PLAYED WITH ROY ROGERS, GENE AUTRY AND TOMMY HUNTER. HE DIED IN 2010 AT AGE 89. EVERAL HORHOZER PASSED AWAY IN LETHBRIDGE 6 YEARS LATER ON JUNE 6, 2016 AT THE AGE OF 88 YEARS. PLEASE SEE THE PERMANENT FILE FOR ADDITIONAL INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTS, LETHBRIDGE HERALD ARTICLES, AND FURTHER PUBLICATIONS.
Catalogue Number
P20150016005
Acquisition Date
2015-05
Collection
Museum
Images
Less detail
Other Name
ALBERTA RANCH BOYS UNIFORM SHIRT
Date Range From
1937
Date Range To
1962
Material Type
Artifact
Materials
SYNTHETIC FABRIC
Catalogue Number
P20150016006
  2 images  
Material Type
Artifact
Other Name
ALBERTA RANCH BOYS UNIFORM SHIRT
Date Range From
1937
Date Range To
1962
Materials
SYNTHETIC FABRIC
No. Pieces
1
Length
78
Width
38
Description
COLLARED MEN’S SHIRT. TAILOR-MADE WITH LONG-SLEEVED, OFF-WHITE SYNTHETIC SILK BODY AND NAVY BLUE FABRIC ACCENTS EDGING FRONT CLOSURE, ON SHOULDERS, AND BORDERING CUFFS. OPEN CRESCENT POCKETS AT BREASTS. BLUE IRIDESCENT SNAP CLOSURES. 5 SNAPS ON THE CUFFS AND 7 SNAPS DOWN THE FRONT OF THE SHIRT. THE LENGTH IS 78 CM, THE WIDTH ACROSS THE BACK IS 38 CM, AND THE SLEEVES ARE 60 CM LONG. FAIR CONDITION. AT LEAST 11 STAINS ON THE FRONT. DARK BROWN STAIN ON THE BOTTOM OF THE LEFT SLEEVE.
Subjects
CLOTHING-OUTERWEAR
Historical Association
PERSONAL CARE
LEISURE
PROFESSIONS
History
EVERAL HORHOZER (NÉE SUPINA) WAS BORN IN LETHBRIDGE IN THE YEAR OF 1927 TO HER PARENTS DONAH (NÉE HILL) AND NICHOLAS SUPINA. SUPINA WAS THE OWNER OF SUPINA’S MERCANTILE ON 13TH STREET NORTH, LETHBRIDGE. THIS DRESS SHIRT WAS PART OF THE STAGE OUTFIT WORN BY JOE HORHOZER WHEN HE WAS THE ACCORDION PLAYER AND MUSIC ARRANGER FOR A WELL-KNOWN LETHBRIDGE MUSICAL GROUP CALLED THE ALBERTA RANCH BOYS. THE GROUP FORMED IN THE SUMMER OF 1937 WITH MEMBERS LOUIS (LOU) GONZY, MATT (BUCK) WASOWICH, PETER (CURLY) GURLOCK, REMO BACEDA, AND ‘LITTLE JOE’ HORHOZER. COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED A SERIES OF INTERVIEWS (ON APRIL 2, APRIL 16, AND MAY 7, 2015) WITH HORHOZER REGARDING A GROUP OF ARTIFACTS SHE DONATED TO THE MUSEUM. THE INFORMATION BELOW HAS COME FROM THESE INTERVIEWS AND LETHBRIDGE HERALD RESEARCH REGARDING THE HORHOZER FAMILY HISTORY. IN THE INTERVIEW, HORHOZER DESCRIBED HOW SHE MET HER HUSBAND, JOE HORHOZER, WHEN HE CAME TO WORK FOR SUPINA’S MERCANTILE. FOR THE STORY OF HOW THEY MET, PLEASE SEE RECORDS P20150016003 AND P20150016004. JOE HORHOZER WAS THE ACCORDION PLAYER AND MUSIC ARRANGER FOR A WELL-KNOWN LETHBRIDGE MUSICAL GROUP CALLED THE ALBERTA RANCH BOYS. THE GROUP FORMED IN THE SUMMER OF 1937 WITH MEMBERS LOUIS (LOU) GONZY, MATT (BUCK) WASOWICH, PETER (CURLY) GURLOCK, REMO BACEDA, AND ‘LITTLE JOE’ HORHOZER. HORHOZER SAYS OF HER HUSBAND: “I WOULD CALL HIM THE LEAD INSTRUMENT BECAUSE AN ACCORDION IS, EH? AND HE WAS EXCEPTIONALLY GIFTED WITH THE ACCORDION; THAT’S WHAT EVERYBODY SAID, THAT THERE ISN’T ANYONE, AT LEAST AROUND THIS COUNTRY, THAT COULD COMPARE WITH HIM.” DESCRIBED IN THEIR SOUVENIR BOOK PUBLISHED IN 1941 AS “PROFESSIONAL RADIO ENTERTAINERS”, THE ‘ALBERTA RANCH BOYS’ WERE FORMED WHEN THE LOCAL EXHIBITION AND STAMPEDE PARADE WAS FOUND WANTING FOR A “COWBOY BAND” AS PART OF ITS LINEUP. ACCOLADES FOR THE PARADE ACT FOLLOWED, INSPIRING THE GROUP “TO EMBARK ON THE LONG ROAD TO FAME AND FORTUNE”. IN A YEAR’S TIME – AND AFTER TOURING THROUGH ALBERTA AND BC – THE BAND ENDED UP IN VANCOUVER. THERE, IT ESTABLISHED ITSELF, ACCORDING TO THE BOOKLET, AS “WESTERN CANADA’S MOST VERSATILE STAGE AND DANCE FAVOURITE,” BROADCASTING ITS COWBOY MELODIES FOR OVER TWO CONTINUOUS YEARS VIA CKWX (VANCOUVER’S LARGEST RADIO STUDIO AT THE TIME). DURING THE WAR, IT DONATED ITS TALENTS TO THE PROMOTION OF WAR SAVINGS CERTIFICATES. ONE VICTORY RALLY SONG FOR STAMPS WAS “WE’VE BOUGHT THEM BEFORE AND WE’LL BUY THEM AGAIN.” BY EARLY JAN-FEB 1943, THE BAND HAD PEAKED. ONE MEMBER IS REPORTED TO HAVE ENLISTED IN THE CANADIAN ARMY WHILE OTHERS, ACCORDING TO THE DONOR, “GOT SICK”. “THEY DID A LOT IN TORONTO.” RECALLED EVERAL IN AN INTERVIEW. “[IT WAS FROM] TORONTO THEN THEY COULD HAVE GONE [TO NEW YORK] - THAT’S WHERE THEY WERE OFFERED THE BIG JOB OF RECORDING AND BEING ON TV…BUT THEN [JOE] SAYS THAT HE DOESN’T CARE, BECAUSE HE SAYS IF HE WOULD HAVE WENT, HE WOULDN’T HAVE MET ME, SO, I MEAN, THAT WAS A NICE THING TO SAY. HE SAYS LIFE TURNED OUT GOOD FOR HIM.” EVERAL WAS NOT AWARE OF THIS AT THE TIME OF THEIR MEETING. AFTER FINDING OUT, SHE SAID, “WELL, I THOUGHT, GEE WHIZ, HE JUST ISN’T AN EVERYDAY JOE AND EVERYBODY IN TOWN KNEW HIM AND ADMIRED HIM. YEAH, IT MADE ME A LITTLE MORE HAPPY.” OF THE PERFORMANCE COSTUME EVERAL HORHOZER SAID: “THEY WORE [THE SAME UNIFORM] WHEN THEY PLAYED AT THE TRIANON FOR A WHILE AND THEY JUST STARTED TO USE SUITS … WELL HE DIDN’T WANT - SEE, WHEN THEY STARTED PLAYING AT THE TRIANON. THEN I TELL YOU, THEY START WEARING MORE BAND [CLOTHING] - LIKE, THEY HAD DIFFERENT BLAZERS, COLOURED BLAZERS – BLUE ONES AND RED ONES AND ALL WORE BLAZERS THEN. ‘CAUSE THEY WANTED TO BECOME LIKE A DANCE BAND, I GUESS YOU’D SAY.” “HE WOULD NEVER FORGET THAT TIME [WITH THE RANCH BOYS],” HORHOZER SAID OF HER HUSBAND, “HE TALKED ABOUT IT ALL THE TIME. HOW THEY MET SO MANY [PEOPLE], LIKE THEY’D PLAY AT PRIVATE PARTIES FOR WEALTHY PEOPLE. HE ABSOLUTELY LOVED HIS MUSIC. HE LIVED FOR HIS MUSIC.” BACK HERE IN LETHBRIDGE IN 1958, EVERAL’S HUSBAND JOE WENT ON TO PERFORM WITH THE COUNTRY CAPERS, PLAYING ACCORDION FOR A WEEKLY BROADCAST VIA THE LOCAL TV STATION CJLH. IN 1961, THE STATION AND THE BROADCAST WERE PRESENTED WITH A NATIONAL LIBERTY AWARD FOR “TV STATION SHOWMANSHIP” AND “BEST LOCAL PROGRAMMING.” IN HIS TIME, ‘LITTLE JOE’ PLAYED WITH ROY ROGERS, GENE AUTRY, AND TOMMY HUNTER. HE DIED IN 2010 AT AGE 89. EVERAL HORHOZER PASSED AWAY IN LETHBRIDGE 6 YEARS LATER ON JUNE 6, 2016 AT THE AGE OF 88 YEARS. PLEASE SEE THE PERMANENT FILE FOR ADDITIONAL INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTS, LETHBRIDGE HERALD ARTICLES, AND FURTHER PUBLICATIONS.
Catalogue Number
P20150016006
Acquisition Date
2015-05
Collection
Museum
Images
Less detail

PROJECTOR, MOTION-PICTURE

https://collections.galtmuseum.com/en/permalink/artifact13342
Other Name
MOTIOGRAPH AA PROJECTOR
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
STEEL, GLASS, PLASTIC
Catalogue Number
P20120038001
  2 images  
Material Type
Artifact
Other Name
MOTIOGRAPH AA PROJECTOR
Date Range From
1940
Date Range To
1950
Materials
STEEL, GLASS, PLASTIC
No. Pieces
4
Height
202
Length
57
Description
A. PROJECTOR, FILM. GREY METAL BODY FIXED AT FRONT WITH MOTIOGRAPH AA PROJECTOR MECHANISM. BACK OF THE BODY HAS POWER (“ON/OFF”) AND IGNITE SWITCHES; BACK HAS GAUGES WITH GLASS COVERS MARKING HOURS (“16270”) AND 0-100 MV. BACK HAS SILVER LABEL WITH BLACK TEXT “STRONG X-16 TWO-SIDE LAMPHOUSE, D.C. VOLTS 28-32, D.C. AMPS. 60-95, TYPE NO. 76002-3, SERIAL NO. 65196, MFD. BY THE STRONG ELECTRIC CORP., TOLEDO, OHIO, UNITED STATES OF AMERICA, 76100” AND A BLUE STICKER ON LABEL “CSA SPECIAL TESTING LABORATORIES, S108124, ACCEPTANCE”. BACK HAS THREE BLACK DIALS MARKED “V”, “H”, “F”; FRONT HAS THREE BLACK DIALS MARKED “V”, “H”, “F” ON BLACK METAL PLATE WITH WHITE TEXT “VERT”, “HORTZ”, “FOCUS”. BASE HAS A WHITE SWITCH BENEATH THE MAIN LAMP HOUSE. LAMP HOUSE SIDE HAS HINGED COVER WITH SILVER AND RED PLATE FIXED TO COVER, “CAUTION, USE FACE MASK, OBSERVE SAFETY RULES, ALLOW LAMP TO COOL 10 MIN BEFORE OPENING DOORS”. FRONT HAS REEL MOUNTS FIXED TO TOP AND BOTTOM; TOP REEL MOUNT IS MARKED “A-675” AND HAS SILVER SHIPPING REEL WITH 35MM FILM ATTACHED (B); BOTTOM REEL MOUNT IS MARKED A-676 AND HAS EMPTY SILVER SHIPPING REEL ATTACHED (D). BENEATH REEL MOUNT IS MOUNTED ELECTRIC CHANGEOVER MECHANISM; UNFINISHED STEEL WITH SILVER SCREWS AND INSERTS; SILVER PLATE ON FRONT OF MECHANISM HAS RED TEXT READING “ZIPPER” AND BLACK TEXT READING “ELECTRIC CHANGEOVER, PATENT 1796970, OTHER PATS. PEND., MODEL 14-14, SERIAL 2537, VOLTS 117 A.C., AMPS 2, MFD. BY ESSANNAY ELECTRIC MFG., G.G., 1438 N. CLARK ST., CHICAGO 10, ILL.” MOTIOGRAPH AA PROJECTOR MECHANISM HAS LENS ATTACHED AT FRONT (C); MOTIOGRAPH AA PROJECTOR MECHANISM HAS RED DIAL BESIDE FRONT CHAMBER COVER WITH WHITE TEXT “FRAME”. MOTIOGRAPH AA PROJECTOR MECHANISM HAS HINGED CHAMBER COVER WITH FRONT FIXED SILVER PLATE WITH RED TEXT READING “MOTIOGRAPH” IN RED, AND YELLOW AND BLACK LABEL READING “SHARP’S THEATRE SUPPLIES LIMITED, FILM EXCHANGE BUILDING, PHONE M-4076—CALGARY, ALBERTA.” INSIDE HINGED CHAMBER COVER IS WHITE LABEL “UL, MODEL AA, FRAMING LAMP 120V 25W, MOTIOGRAPH INC., CHICAGO”. BENEATH IS LOWER CHAMBER WITH STEEL AND GLASS HINGED COVER. BASE OF LAMP HOUSE PEDESTAL IS SCRATCHED; INSIDE OF MOTIOGRAPH AA PROJECTOR MECHANISM TOP CHAMBER IS DETACHED BLACK METAL SLIDE WITH CENTER CUT OUT AND RED KNOB AT THE END. OVERALL PROJECTOR AND COMPONENTS IN GOOD CONDITION. B. FILM REEL, 37.2CM DIAMETER X 4.3CM DEEP, INCLUDES 35MM FILM. SHIPPING REEL; UNFINISHED PRESSED STEEL; FIXED WITH UNMARKED WHITE TAPE. REEL IS HANDMARKED WITH RED “T”. C. LENS, PROJECTOR, 41.7CM LONG X 11.5CM DIAMETER. CINEMASCOPE/ANAMORPHIC (LONG LENS) FORMAT. BRASS END COMPONENT IS STAMPED “SUPER SNAPLITE”, “KOLLMORGEN OPTICAL CORP”, “BX 241 F:1.9 3 ¼ IN.” SILVER LENS COMPONENT IS MARKED “MADE IN JAPAN, 19313, PROMINAR ANAMORPHIC”. LENS FRONT IS BLACK; LENS GOES TO 350 FEET. D. FILM REEL, 37CM DIAMETER X 5.3CM DEEP, SHIPPING. UNFINISHED PRESSED STEEL, EMPTY, HANDMARKED IN RED “2” AND ON MASKING TAPE IN BLACK “7”. FIXED TO LOWER REEL MOUNT ON PROJECTOR.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
BUSINESS
LEISURE
History
ON APRIL 11, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LARRY AND ANDREA BECKER, OWNERS OF THE FORMER WATERTON THEATRE IN SOUTHERN ALBERTA WHERE THE PROJECTION EQUIPMENT WAS USED. DURING THE INTERVIEW, THE BECKERS ELABORATED ON HOW THEIR THEATRE CLOSED, HOW THE EQUIPMENT WAS USED IN THEIR THEATRE, AND HOW AL ANCTIL CAME INTO POSSESSION OF THE THEATRE PROJECTION EQUIPMENT. LARRY BECKER SPOKE TO HOW ANCTIL BECAME THE OWNER AND DONOR OF THE EQUIPMENT, STATING, “THIS EQUIPMENT IS BUILT AND DESIGNED TO EXHIBIT 35 MM MOTION PICTURE FILM. IN 2011, WHEN WE DISPOSED OF THE EQUIPMENT, FILM WAS BECOMING OBSOLETE. IT WAS NO LONGER AVAILABLE TO US AS AN EXHIBITION MEDIUM, SO WE WERE FACED WITH THE CHALLENGE OF CONVERTING TO A DIGITAL PROJECTION, IF WE WANTED TO CONTINUE SHOWING MOTION PICTURES. WE HAD TO GET RID OF THIS, AND AL [ANCTIL] THOUGHT HE HAD A USE FOR IT. AT THE TIME, HE WAS SELLING US COFFEE. WE WERE RUNNING A COFFEE SHOP IN THE THEATRE, SO WE HAD THAT RELATIONSHIP WITH AL; AND I’M NOT SURE WHY AL WANTED IT…I DON’T KNOW IF HE EVER INTENDED TO USE IT. I THINK, UNDER CERTAIN CIRCUMSTANCES, IT MIGHT BE USEFUL, IF SOMEBODY COULD ACCESS SOME 35 MM FILM TO RUN THROUGH IT. WHEN WE HEARD THAT AL WANTED IT, WE SAID “SURE, YOU CAN HAVE IT AL. WE NO LONGER HAVE ANY USE FOR IT.”” “IT WAS THE COST OF THE CONVERSION [THAT INFLUENCED OUR DECISION TO CLOSE]. INITIALLY, WHEN ALL OF THE THEATRES WERE FACED WITH THE CONVERSION, WITHIN A VERY SHORT WINDOW, THE DEMAND FOR THE EQUIPMENT WAS VERY HIGH; COSTS WERE VERY HIGH, AND IT JUST WASN’T FINANCIALLY VIABLE IN A SEASONAL OPERATION, SO WE DECIDED NOT TO PROCEED, AT THAT TIME, WITH THE DIGITAL UPGRADING/CONVERSION. WE WERE WORKING QUITE HARD, BECAUSE WE WERE RUNNING A COFFEE SHOP, AN ICE CREAM STORE, AND A MOVIE THEATRE. THE MOVIE THEATRE WAS THE FUN PART OF IT.” “WE WERE AT THE END OF OUR LAST SEASON IN 2011, AND WE HAD WORKED OUT AN ARRANGEMENT WITH THE TENANT, TO TAKE IT OVER, TO RUN IT AS A ‘STAGE AND GRILL’ KIND OF OPERATION. THEY WERE GOING TO PUT A KITCHEN IN, AND SERVE MEALS, AND PRESENT MUSIC ACTS ON STAGE.” ON THE PROJECTOR, LARRY BECKER INDICATED, “IT WAS OLD [IN 2011]. IT WAS VERY WELL-DESIGNED, AND BUILT EQUIPMENT, WHEN IT WAS NEW. THE PROJECTOR IS…THE HEART OF THE OPERATION, AND IT’S A MOTIOGRAPH PROJECTOR WITH THE MOTIOGRAPH SOUND HEAD…AND THAT WAS PROBABLY NEW IN THE LATE '40S OR EARLY ‘50S, WHEN THE MOTION PICTURE INDUSTRY WAS IN AN ABSOLUTE HEY-DAY. HUGE INVESTMENTS WERE MADE IN DEVELOPING HIGH QUALITY EQUIPMENT FOR THE MOTION PICTURE EXHIBITIONS. THIS PROJECTOR, EVEN THOUGH IT WAS VERY OLD, BENEFITTED FROM THAT DESIGN PERIOD, AND WAS STILL WORKING REASONABLY WELL.” “WE REPLACED THE LAMP HOUSE [FROM AN OLD CARBON ARC LAMP TO…A ZENON BULB AS A LIGHT SOURCE]. [WE PICKED UP BULBS AND EQUIPMENT] FROM ‘TEN STORIES’. “[THERE WOULD BE A] BELL HERE, BEFORE WE PUT THE PLATTER SYSTEM IN… [THE BELL] WAS ATTACHED TO THE PROJECTOR, AND THIS WAS WHEN THESE SMALL 20 MINUTE REELS WOULD BE LOADED ON TO THIS REEL LINE, AND WHEN THERE WAS ABOUT 2 OR 2 1/2 MINUTES FILM LEFT ON THE PAY-OUT REEL…[THE] BELL WOULD START TO RING; START TO TURN AT A SPEED, AND THAT WAS TO SIGNAL THE PROJECTIONIST TO GET READY, BECAUSE HE WAS GOING TO HAVE TO DO A CHANGE-OVER. WHEN THAT BELL RANG, THE PROJECTIONIST WOULD LOOK THROUGH A PORT IN THE PROJECTION ROOM, AND LOOK FOR A LITTLE DOT UP IN THE RIGHT HAND CORNER OF THE FILM. THERE WOULD BE TWO OF THEM. WHEN YOU HEARD THE BELL, YOU’D STRIKE THE LAMP WITH THE OLD CARBON ARCS; GET THE LAMP HOUSE RUNNING. THEN YOU’D SEE THE FIRST DOT, THAT WAS YOUR SIGNAL TO START THE PROJECTOR, THEN, WHEN YOU SAW THE SECOND DOT, THERE WAS A PEDAL ON THE FLOOR, OR A HAND SWITCH, THAT YOU WOULD ACTIVATE, AND THAT WOULD CLOSE THE SHUTTER ON ONE PROJECTOR, AND OPEN IT ON THE OTHER ONE. IF THE PROJECTIONIST WAS GOOD, IT WAS SEAMLESS. THE AUDIENCE WOULD NEVER KNOW THAT THERE WAS A REEL CHANGE.” “THERE WOULD BE TWO PROJECTORS RUNNING SIDE-BY-SIDE. I DID OPERATE IT FOR A WHILE, WITH THE CHANGE-OVERS, BUT THAT WAS ONE OF THE THINGS THAT I REALLY WANTED TO CHANGE ABOUT WATERTON. I WANTED JUST TO MAKE MY JOB A LOT EASIER. [THAT WAS] THE INTRODUCTION OF THE PLATTER SYSTEM, AND THE ZENON LAMP.” LARRY BECKER DISCUSSED THE PURPOSE OF THE LENS IN USE WITH PROJECTOR EQUIPMENT, STATING, “FILM WAS STILL AVAILABLE IN BOTH FORMATS, AND WHEN IT CAME IN, WE HAD TO KNOW WHICH FORMAT IT WAS, BECAUSE THEN WE WOULD USE THE APPROPRIATE LENS. [THE LENS] WAS STILL IN USE. PRODUCTION COSTS WERE PROBABLY…A LITTLE HIGHER IF THEY WERE SHOOTING IN THE CINEMASCOPE. I THINK THE FLAT LENS, THE 185 ASPECT RATIO WAS A BETTER RATIO FOR TELEVISION. I ALWAYS THOUGHT THAT, IF THEY THOUGHT THAT THE MOVIE WAS GOING TO HAVE A SHORT RUN IN THEATRES, AND THEN A BROADER AUDIENCE ON TELEVISION, THEN THAT FORMAT [185 ASPECT RATIO] WAS MORE SUITABLE. WE REPLACED [THE ORIGINAL LENSES].” THE BECKERS SPOKE ABOUT THEIR ARRIVAL IN WATERTON AND THEIR HISTORY WORKING IN THEATRES, WITH LARRY BEGINNING HIS CAREER WORKING IN THE PALACE THEATRE IN CALGARY, ALBERTA. IN 1975, THE BECKERS BECAME INTERESTED IN PURCHASING THE THEATRE IN WATERTON, AND BY 1976 THEY WERE RUNNING THE WATERTON THEATRE. LARRY NOTED HOW THE BECKERS BECAME INVOLVED WITH THE WATERTON THEATRE “I WAS TRAVELING TO WATERTON. I HAD NEVER BEEN TO WATERTON. I HAD AN OCCASION TO GO TO GREAT FALLS. IT WAS ON…A BUSINESS TRIP, AND IT WAS OVER A WEEKEND. I LOOKED AT THE MAP, AND I THOUGHT, “IF WE LEAVE AROUND DINNERTIME ON FRIDAY, WE CAN SPEND A NIGHT IN WATERTON…AND THEN WE CAN CONTINUE TO GREAT FALLS THE NEXT DAY.” GOT INTO WATERTON, AND, BY THIS TIME, THE SUN HAD SET, AND I STILL DIDN’T REALIZE I WAS IN THE MOUNTAINS. I SORT OF LOOKED AROUND. I DIDN’T HAVE A ROOM BOOKED, AND GOT A ROOM IN ALLEN’S LAKESHORE BUNGALOWS, WHICH WERE ON THE SHORE OF WATERTON LAKE, AT THAT TIME, AND WHEN I GOT UP IN THE MORNING, AND LOOKED AROUND, I COULDN’T BELIEVE WHERE I WAS. I MEAN, IT WAS JUST THE MOST BEAUTIFUL THING…IT WAS STUNNINGLY, GORGEOUS! THEN I THOUGHT, “I’LL TAKE A STROLL AROUND TOWN”, AND THERE WAS A MOVIE THEATRE. OF COURSE, BEING IN THE BUSINESS, I’VE GOT TO STOP AND YOU…FIND OUT WHAT’S GOING ON THERE. I CHATTED WITH A YOUNG FAMILY THAT WERE LOOKING AFTER THE PLACE FOR LOTTIE BREWERTON. LOTTIE, AND HER HUSBAND, GORDON, HAD BUILT IT BACK IN ’35. LOTTIE WAS GORDON’S WIDOW. SHE WASN’T INVOLVED IN THE OPERATION, BUT SHE HAD SOME YOUNG FAMILY THAT WERE HELPING HER OUT, SO, IN THE CONVERSATION, THEY SAID, “YOU KNOW, I THINK LOTTIE WANTS TO SELL.” I WENT BACK TO CALGARY, AND NEVER REALLY THOUGHT TOO MUCH ABOUT IT UNTIL SEVERAL MONTHS LATER, AND IT WAS SORT OF ON MY MIND, AND I THOUGHT, “WELL, I’M GOING TO GET AHOLD OF LOTTIE AND SEE WHAT THE DEAL IS HERE?” “IT NEEDED WORK. IT’S NOT A BIG MONEY-MAKING OPERATION IN WATERTON, SO IT WAS…HARD TO DO THE THINGS THAT NEEDED TO BE DONE. OVER THE YEARS, WE KIND OF KEPT IT GOING…BUT IT WAS ALWAYS…AN EXPERIENTIAL THING. IT WAS KIND OF AN ANTIQUE IN ITSELF. IT WAS NEVER INTENDED TO BE LIKE THE CITY THEATRES – IT’S A MUCH MORE CASUAL ENVIRONMENT.” “I LIKE THE STYLE OF THE BUILDING. IT’S A GORGEOUS OLD BUILDING – TUDOR-REVIVAL. IT’S GOT AN INTERESTING HISTORY. BACK IN THE MID-‘30S, PARKS CANADA WAS ENCOURAGING DEVELOPMENT IN WATERTON, AND WAS GIVING OUT THE COMMERCIAL LEASES, BUT THEY ALSO WANTED SORT OF AN ARCHITECTURAL THEME TO THE TOWNSITE. THEY HAD AN ARCHITECTURAL DIVISION, AND THEY HAD ARCHITECTS ON STAFF, AND IT WAS THAT BRANCH OF PARKS CANADA, THAT DESIGNED THAT BUILDING, AND MANY OF THE OTHER BUILDINGS IN WATERTON. IT’S GOT SOME CHARM. IT’S NICE THAT WAY.” ANDREA BECKER ADDED, “IT’S…A PRIVILEGE TO BE A WATERTON BUSINESS OWNER. IT’S A VERY SMALL COMMUNITY, AND IT’S A LIFESTYLE KIND OF ENVIRONMENT, AS WELL, FOR THE BUSINESS PEOPLE THERE. WE…FEEL THAT IT IS A SPECIAL THING TO DO…” LARRY BECKER SPOKE TO HIS TRAINING WORKING IN THEATRES AND HIS EARLY START IN THE WATERTON THEATRE, “WHEN I STARTED DOING PROJECTION WORK, IT WAS A LICENSED TRADE IN THE PROVINCE OF ALBERTA, AND, IN THE EARLY DAYS OF MOTION PICTURE EXHIBITION, THE FILM STOCK WAS A SILVER NITRATE FILM STOCK WHICH WAS, LITERALLY, EXPLOSIVE. PROJECTION ROOMS, INCLUDING THE ONE IN WATERTON, WERE BUILT LIKE A BUNKER. THEY WERE CEMENT ROOMS, WITH FIRE SHUTTERS, THAT WOULD SLAM SHUT IF SOMETHING WENT WRONG IN THE PROJECTION ROOM. THE APPRENTICESHIP PROGRAM TO BECOME A PROJECTIONIST WAS A 3 YEAR PROGRAM, AND THERE WAS DIFFERENT CATEGORIES OF LICENSING. WHEN I STARTED IN [1977] I OWNED THE THEATRE IN FORT MACLEOD AND I HAD TO DO AN APPRENTICESHIP, IN MY OWN THEATRE, BEFORE I WAS ALLOWED TO OPERATE THE EQUIPMENT. I BECAME A CERTIFIED PROJECTIONIST. I MENTION THE EARLY DAYS WITH THE SILVER NITRATE FILM, WHICH WAS HIGHLY FLAMMABLE, AND DANGEROUS. THAT HAD BEEN REPLACED BY ACETATE FILM, LONG BEFORE I BECAME INVOLVED, AND SO THE FILM STOCK WAS NO LONGER…COMBUSTIBLE, AND SO IT WAS A MUCH SAFER ENVIRONMENT. NONETHELESS, SOME OF THE OLD REGULATIONS SORT OF CARRIED FORWARD, AND SLOWLY CHANGED.” I WAS NEVER A PROJECTIONIST IN MEDICINE HAT AND CALGARY. I WAS JUST IN MANAGEMENT, SO I WASN’T THAT FAMILIAR WITH ALL OF THIS [WHEN WE BOUGHT THE WATERTON THEATRE]. IT WAS A BIT OF A LEARNING PROCESS FOR ME. I ENDED UP DOING AN APPRENTICESHIP IN MY OWN THEATRE IN FORT MACLEOD. I HIRED A PROJECTIONIST THE FIRST COUPLE OF YEARS IN WATERTON, AND I HAD TO BRING SOMEBODY DOWN FROM CALGARY TO RUN THE PROJECTOR. WHEN I GOT INTO FORT MACLEOD, I WANTED TO DO MY OWN PROJECTION WORK, AND THAT’S WHEN I DID THE APPRENTICESHIP.” [THE PROJECTIONIST WE BROUGHT TO WATERTON] WAS A FELLOW BY THE NAME OF DOUG COOPER…HE WAS FAMILIAR WITH THIS EQUIPMENT. THE CHANGES HAD STARTED IN THE CITY, BUT HE WAS FAMILIAR WITH DOING THIS KIND OF WORK. HE HAD LEARNED ON IT TOO, SO IT WASN’T A MYSTERY TO HIM. HE WAS ABLE TO MANAGE IT QUITE WELL. [WE HIRED] A DIFFERENT GUY EACH YEAR. DOUG WAS THE FIRST YEAR.” “ONE OF THE THINGS THAT WAS INTERESTING ABOUT THE THEATRE WHEN I TOOK IT OVER IS THAT, FOR LIGHT SOURCES IN THE PROJECTION ROOM, THE LAMPS THAT ILLUMINATED THE SCREEN WERE BURNING CARBON ARCS. CARBON ARCS CAME IN A BOX; YOU INSTALLED THEM IN THE LAMP HOUSE. WHEN YOU STARTED THE MOVIE, YOU’D STRIKE THEM TOGETHER, AND THEY WOULD CREATE AN ARC AND FLAME BETWEEN THESE CARBON RODS. THAT WAS WHAT PRODUCED THE LIGHT. IT WAS MAGNIFIED BY A MIRROR DOWN THROUGH THE LENS, AND WITH THE SCREEN. WITH THAT KIND OF A LIGHT SOURCE, YOU HAD TO BE IN THE PROJECTION ROOM…ALL THE TIME. YOU COULDN’T LEAVE THE PROJECTION ROOM WHILE THE MOVIE WAS RUNNING. AS A MATTER OF FACT, PROJECTION ROOMS HAD TOILETS IN THEM DURING THAT PERIOD. CHANGING THAT OUT WAS ONE OF THE FIRST THINGS THAT I DID, BECAUSE IT MADE IT A LOT EASIER TO GET OUT OF THE PROJECTION ROOM. THE OTHER THING – THE FILM WAS RUN OFF OF 18 20-MINUTE REELS AT THAT TIME, SO THERE WERE 2 PROJECTORS. WE WERE CONSTANTLY CHANGING BACK AND FORTH, FROM ONE PROJECTOR TO THE OTHER. GETTING RID OF THE CARBON ARC LAMP HOUSES, AND INSTALLING A PLATTER SYSTEM, WHICH ALLOWED…THE PROGRAM TO BE SPLICED TOGETHER ON THE SINGLE REELS.” FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPT AND HISTORIES OF THE WATERTON THEATRE, PLEASE SEE THE PERMANENT FILE P20120038001-GA.
Catalogue Number
P20120038001
Acquisition Date
2012-10
Collection
Museum
Images
Less detail
Other Name
"R.W. AINSCOUGH, 93RD BATTERY"
Date Range From
1951
Date Range To
1959
Material Type
Artifact
Materials
COTTON, BRASS, COPPER
Catalogue Number
P20160017007
  2 images  
Material Type
Artifact
Other Name
"R.W. AINSCOUGH, 93RD BATTERY"
Date Range From
1951
Date Range To
1959
Materials
COTTON, BRASS, COPPER
No. Pieces
1
Length
90.2
Width
5.7
Description
GREY BELT WITH BRASS AND COPPER CLASP BUCKLE; BUCKLE HAS EMBOSSED CREST ON FRONT SHOWING A CROWN ABOVE AN ARTILLERY FIELD GUN, WITH A BANNER AT THE BOTTOM WITH THE TEXT “QUO FAS ET GLORIA DUCUNT”; BUCKLE HAS TEXT ENGRAVED ON BACK, “TOP, R.W. AINSCOUGH, 93 BTY (SP), R.C.A.”. BELT HAS BRASS AND COPPER CAPS ON ENDS WITH PAIRS OF METAL PRONGS EXTENDING FROM ENDS OF CAPS; BELT HAS TWO BRASS AND COPPER ADJUSTABLE LOOPS. INSIDE OF BELT HAS BLACK HAND-WRITTEN TEXT, “MAJOR R.W. AINSCOUGH, 93 BTY.” INSIDE OF BELT IS STAINED WITH WHITE AND YELLOW; INSIDE OF BELT IS WORN AND FRAYED BELOW PRONGS FROM ENDS; BUCKLE HAS WHITE AND GREEN RESIDUE FROM OXIDATION AT BASE OF CLASP; OVERALL VERY GOOD CONDITION.
Subjects
CLOTHING-ACCESSORY
Historical Association
MILITARY
PERSONAL CARE
History
ON SEPTEMBER 16, 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED CHRIS AINSCOUGH REGARDING HIS DONATION OF A COLLECTION OF MILITARY OBJECTS. THE OBJECTS BELONGED TO AISNCOUGH’S GRANDFATHER AND FATHER, WILLIAM GEORGE AINSCOUGH (FIRST WORLD WAR) AND REED WILSON AINSCOUGH (SECOND WORLD WAR AND POST-WAR). THE DONOR’S GREAT GRANDFATHER, WILLIAM THOMAS AINSCOUGH, MARRIED MARGARET A. AINSCOUGH IN 1878 AND EMIGRATED FROM SMITHFIELD, UTAH TO CANADA IN 1898, BRINGING SIX CHILDREN, AGED 1 TO 18, WITH THEM. WILLIAM GEORGE AINSCOUGH, THE DONOR’S GRANDFATHER, WAS AMONG THE CHILDREN (BORN 1885). THE AINSCOUGHS INITIALLY SETTLED IN WHISKEY GAP, ALBERTA, BEFORE RELOCATING TO WOOLFORD, ALBERTA. ACCORDING A RESUME FOR REED W. AINSCOUGH INCLUDED IN THE PERMANENT FILE, REED WILSON AINSCOUGH WAS BORN ON JUNE 21, 1918 IN CARDSTON, ALBERTA. IN 1940, REED AINSCOUGH JOINED THE 93RD BATTERY OF THE ROYAL CANADIAN ARTILLERY [RCA] STATIONED AT FORT MACLEOD, ALBERTA, AND WAS PROMOTED TO A SECOND LIEUTENANT. REED AINSCOUGH WAS POSTED OVERSEAS IN 1942 AND SERVED UNTIL HIS DISCHARGE ON JANUARY 8, 1946. LETHBRIDGE HERALD ARTICLES REPORTED REED AINSCOUGH AS BEING IN THE THICK OF THE FIGHTING IN FRANCE, NOTABLY AT CAEN. IT WAS REPORTED IN THE LETHBRIDGE HERALD IN 1944 THAT REED AINSCOUGH WAS PROMOTED TO CAPTAIN, AND WAS WOUNDED IN HIS LEG IN OCTOBER 1944. REED AINSCOUGH WAS SENT TO BELGIUM FOR SURGERY AND TO BE HOSPITALIZED, AND WAS RETURNED TO CANADA ON THE HOSPITAL SHIP H.M.C.S. LADY NELSON IN 1945. IN 1947, REED AINSCOUGH BECAME THE BATTERY COMMANDER OF THE 93RD BATTERY RCA, AND SERVED AS THE COMMANDER UNTIL 1959, BEING PROMOTED TO MAJOR IN 1951. IN 1959, UPON A TRANSFER WITH HIS EMPLOYMENT AT CANADA LIFE, HE MOVED TO MEDICINE HAT, ALBERTA, AND JOINED THE SOUTH ALBERTA LIGHT HORSE AS A SQUADRON COMMANDER IN 1961. IN 1964, HE WAS PROMOTED TO LIEUTENANT COLONEL AND COMMANDER OF THE SOUTH ALBERTA LIGHT HORSE, AND WAS APPOINTED AIDE-DE-CAMP TO LIEUTENANT GOVERNOR GRANT MACEWAN UNTIL HIS RETIREMENT. ON OCTOBER 20, 1993, REED WILSON AINSCOUGH PASSED AWAY IN LETHBRIDGE. ON HIS FATHER’S, REED WILSON AINSCOUGH’S, MILITARY SERVICE, CHRIS AINSCOUGH RECALLED, “I THINK THAT THE WAR WAS PROBABLY ONE OF THE BEST THINGS THAT HAPPENED TO MY DAD. HE NEVER SPOKE ABOUT IT MUCH, BUT THE FRIENDSHIPS THAT HE DEVELOPED THROUGH HIS CONTACTS IN THE WAR WENT ON RIGHT UNTIL HIS DEATH…IT’S PROBABLY LIKE BEING ON A TEAM, YOU KNOW, AND I THINK IT’S THAT FELLOWSHIP YOU GET FROM RELYING ON PEOPLE, AND TRAINING WITH PEOPLE, AND GETTING THEIR KNOWLEDGE AND UNDERSTANDING. I THINK THAT’S SORT OF A BIG PART OF IT.” AINSCOUGH ELABORATED ON HIS MOTIVES FOR DONATING THE COLLECTION, STATING, “I THINK [THE OBJECTS ARE] A BIG PART OF SOUTH ALBERTA’S HISTORY. DAD WAS VERY ACTIVE IN THE MILITARY AND THE MILITIA FOR MANY YEARS. I THINK THAT’S THE BIGGEST PART [OF WANTING TO DONATE THE OBJECTS]…IT’S DIVESTING, BECAUSE AFTER MY DAD DIED [IN 1992], MY MOTHER STAYED IN THE HOUSE FOR ABOUT 5 YEARS, AND THEN SHE MOVED OUT TO THE COAST. IT WAS AT THAT TIME, WHEN WE WERE GOING THROUGH THE STUFF IN THE HOUSE, THAT WE THOUGHT THIS IS A GOOD TIME TO GET IT DOWN TO SOMEPLACE LIKE THE GALT THAT WOULD LOOK AFTER IT.” FOR MORE INFORMATION INCLUDING THE MILITARY SERVICE FILES FOR WILLIAM GEORGE AINSCOUGH AND FRANK AINSCOUGH, NEWSPAPER CLIPPINGS ON WILLIAM GEORGE AND REED AINSCOUGH, A RESUME FOR REED AINSCOUGH, AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20160017001-GA.
Catalogue Number
P20160017007
Acquisition Date
2016-06
Collection
Museum
Images
Less detail
Date Range From
1933
Date Range To
2000
Material Type
Artifact
Materials
CLOTH, FELT, PAINT
Catalogue Number
P20160003002
  1 image  
Material Type
Artifact
Date Range From
1933
Date Range To
2000
Materials
CLOTH, FELT, PAINT
No. Pieces
2
Height
29.5
Width
15
Description
A: HANDMADE DOLL. THE “ESKIMO” DOLL IS MADE WITH LIGHT BLUE, FELT-LIKE FABRIC WITH WHITE FABRIC ACCENTS. THE FACE IS MADE OUT OF A LIGHTER FABRIC THAT IS PEACH-COLOURED. THE FACIAL DETAILS ARE HAND PAINTED. THE DOLL HAS BLUE EYES, EYEBROWS, NOSTRILS, RED LIPS, AND ROSY CHEEKS. THE LIGHT BLUE FABRIC THAT MAKES UP THE MAJORITY OF THE DOLL’S BODY IS ENCOMPASSING THE DOLL’S FACE LIKE A HOOD. THE DOLL’S TORSO IS COVERED IN THE LIGHT BLUE FELT. TWO HEART-SHAPED ARMS, MADE OF THE SAME MATERIAL, ARE ATTACHED TO EITHER SIDE OF THE BODY. THE DOLLS UPPER LEG AND FEET ARE COVERED IN THE LIGHT BLUE FELT. FROM THE KNEES TO THE ANKLES, A LIGHTER, WHITE FABRIC IS COVERING THE LEGS. B: DOLL SKIRT. AROUND THE DOLL’S WAIST IS A DETACHABLE SKIRT MADE OF THE SAME FABRIC AND A WHITE WAISTBAND. POOR CONDITION. ALL FABRIC IS WELL-WORN AND THREADBARE IN MULTIPLE PLACES. THE DOLL’S RED STUFFING IS VISIBLE THROUGH PARTS OF THE FABRIC. THERE IS DISCOLORATION (YELLOWING) OVERALL. THE STUFFING IS NOT EVENLY DISTRIBUTED THROUGHOUT THE DOLL. THE SEAMS AT THE ARMS ARE FRAGILE. THE PAINT FOR THE DOLL’S FACE IS SEVERELY FADED.
Subjects
TOY
Historical Association
ETHNOGRAPHIC
LEISURE
History
THE KONKINS WERE A RUSSIAN-SPEAKING FAMILY FROM THE TOWN OF SHOULDICE, ALBERTA, NEAR CALGARY. THEY AND MANY OTHER RUSSIAN FAMILIES COMPOSED THAT TOWN’S DOUKHOBOR COLONY. IT WAS THERE WILLIAM KONKIN MARRIED ELIZABETH WISHLOW. IN 1928 THEIR DAUGHTER, ELSIE WAS BORN. THE FAMILY LATER MOVED TO A FARM IN VAUXHALL, ALBERTA. THE PRECEDING AND FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM A TWO-PART INTERVIEW WITH DONOR ELSIE MORRIS, WHICH WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON FEBRUARY 17, 2016. ADDITIONAL INFORMATION COMES FROM FAMILY HISTORIES AND TEXTS PROVIDED BY THE DONOR. A FULL HISTORY OF THE KONKIN FAMILY CAN BE FOUND WITH THE RECORD P20160003001. THIS DOLL BELONGED TO MORRIS AS A CHILD. SHE EXPLAINS, “THIS CAME FROM A GREAT AUNT WHO CAME TO VISIT US AND SHE ALWAYS BROUGHT GIFTS AND THIS ONE WAS MINE AND I LOVED THIS DOLL… I REMEMBER PLAYING WITH IT, IT WAS SOFT AND CUDDLY WHEN I HAD IT… MY DAUGHTER WENT THROUGH IT AND MY GRANDDAUGHTER AND THEN I PUT A STOP TO IT BEFORE THEY ATE IT UP OR DID SOMETHING… THEY LOVED IT AND THEY, YOU KNOW LITTLE KIDS, THEY’RE CARELESS SO I’LL KEEP IT...” IN A PHONE CALL WITH COLLECTIONS ASSISTANT ELISE PUNDYK ON OCTOBER 24, 2017, MORRIS SAID SHE RECIEVED THE DOLL FROM HER GREAT AUNT WHO HAD BROUGHT IT FROM VISITING BRITISH COLUMBIA. MORRIS PLAYED WITH THE DOLL AS A CHILD, AS DID MORRIS' CHILDREN. THE DOLL WAS LOVED BY MULTIPLE GENERATIONS IN MORRIS' FAMILY AS HER GRANDCHILDREN AND GREAT GRANDCHILDREN WOULD ALSO PLAY WITH THE DOLL WHEN THEY CAME TO VISIT. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003002
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
PUNKINHEAD
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, LEATHER, GLASS
Catalogue Number
P20180021001
  2 images  
Material Type
Artifact
Other Name
PUNKINHEAD
Date Range From
1950
Date Range To
1960
Materials
COTTON, LEATHER, GLASS
No. Pieces
1
Length
55
Width
31
Description
BROWN, STUFFED "PUNKINHEAD" BEAR WITH LIGHTER BROWN PATCHES ON CHEST, ARMS, NOSE, INSIDE EARS, AND TOP OF HEAD. BEAR HAS TWO CLEAR GLASS EYES WITH BLACK CENTERS; FEET ARE COVERED IN BROWN LEATHER; SNOUT HAS BLACK STITCHING FOR NOSE AND MOUTH. DRESSED IN BROWN AND WHITE PAISLEY-PATTERNED ROMPER; ROMPER HAS ELASTIC WAIST AND THREE WHITE OPAQUE PLASTIC BUTTONS ON FRONT. TOP OF ROMPER HAS TWO STRAPS THAT CROSS CHEST AND ATTACH TO CHEST WITH WHITE BUTTONS; BOTTOMS OF ROMPER FORM SHORTS. ROMPER SEAMS MACHINE-STITCHED WITH WHITE THREAD; HOMEMADE; THREADS FRAYING ON RIGHT SIDE. ARMS AND LEGS ARE MOVEABLE; FUR IS MISSING IN THINNED; FRONT PAWS HAVE FELT PATCHES SEWN ON. LEFT FRONT PAW HAS HOLES IN FELT; BLACK THREAD ON RIGHT SIDE OF MOUTH IS LOOSE; LEATHER FEET CRACKED AND WORN; BUTTONS ON ROMPER DISCOLORED YELLOW; OVERALL VERY GOOD CONDITION.
Subjects
TOY
Historical Association
LEISURE
History
ON AUGUST 22, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED MARG OBERG REGARDING HER DONATION OF “PUNKINHEAD” STUFFED BEARS. OBERG DONATED THE PUNKINHEADS AS A CONTRIBUTION FOR THE UPCOMING GALT MUSEUM EXHIBIT “RECOLLECTING HOME” FROM FEBRUARY 1-MAY 5, 2019. ON THE LARGEST PUNKINHEAD IN A BROWN ROMPER, OBERG RECALLED, “[I WOULD SAY] SAY IT IS IN ’57 [THAT I RECEIVERED THE BEAR] WITH THE BROWN JUMPER.” “HE WAS THE LAST ONE. FROM WHAT I UNDERSTAND, THEY ONLY CAME; THEY WERE ONLY ACCESSIBLE IN THE THREE SIZES. I HAD SHOWN SO MUCH FONDNESS TOWARDS THEM THAT MY GRANDPARENTS DECIDED THAT THEY WOULD GET ANOTHER SMALL ONE, BECAUSE THIS FELLOW [IN THE BROWN JUMPER] WAS ALMOST UNTOUCHABLE. I TRIED TO WASH HIS HAIR ONCE.” “I TRIED TO WASH HIS HAIR, AND THAT WAS FROWNED UPON BY MY PARENTS, AND MY GRANDPARENTS, BECAUSE THEY HAVE WOODEN STUFFING/WOODEN SHAVINGS. THIS FELLOW, I THINK HE HUNG OVER THE REGISTER FOR PROBABLY A MONTH, HOPING THAT HE WOULD DRY AND NOT GO MOLDY. [MY FAMILY] WANTED TO GIVE ME ANOTHER ONE, THAT I WOULD BE ABLE TO LOVE, AND CARE FOR, LIKE LITTLE GIRLS DO WITH THEIR TEDDY BEARS.” “I GUESS, AS A MOTHER OF ACTUAL CHILDREN, IT’S POLITICALLY CORRECT TO SAY, “I LOVE THEM ALL THE SAME.” AS A CHILD, I WOULD LIKE TO SAY THAT I LOVED THEM ALL THE SAME. BUT OF COURSE, WITH CHILDREN, OFTEN [TIMES], BIGGER IS BETTER. THE LARGEST OF THEM ALL, WHO IS IN STILL THE BEST CONDITION, I WOULD GUESS THAT HE PROBABLY WOULD HAVE BEEN THE MOST LOVED. AS I GOT OLDER, HE WAS ON DISPLAY WITH OTHER STUFFED ANIMALS THAT I HAD ACQUIRED OVER THE YEARS, BECAUSE OF HIS CONDITION, WHEREAS THE OTHER, MORE DILAPIDATED CHARACTERS PROBABLY TOOK A LITTLE BIT MORE OF A BACK SEAT. THEY WERE NOT IN AS GOOD CONDITION. THAT’S A QUESTION THAT I HADN’T REALLY THOUGHT ABOUT. I’M JUST GOING ON [MY] INTUITION.” OBERG ELABORATED ON HOW SHE ACQUIRED THE BEARS, “FOLK LORE WITHIN THE FAMILY IS THAT I WOULD GET ONE TEDDY BEAR EVERY TWO YEARS…MY [MATERNAL] GRANDPARENTS [JAMES “JIMMY” MACINTOSH AND ELSIE PEARL MACINTOSH] GIFTED [MY FIRST] TO ME AT CHRISTMAS WHEN I WAS 3 YEARS OLD. AS FAR AS I AM AWARE, IT IS A MERRYTHOUGHT PUNKINHEAD, AND IT WOULD HAVE BEEN PURCHASED THROUGH EATON’S…THE PUNKINHEAD WAS KIND OF A CHRISTMAS MASCOT. IT WAS VERY APPROPRIATE FOR MY GRANDPARENTS TO GIVE IT TO ME AT CHRISTMAS. EATON’S WAS A VERY PROMINENT DEPARTMENT STORE IN LETHBRIDGE AT THAT POINT IN TIME, AND MOST EVERYBODY DID THEIR CHRISTMAS SHOPPING AT EATON’S. WE DIDN’T HAVE ANY OTHER (AT LEAST THAT I WAS AWARE OF, AS A CHILD GROWING UP) DEPARTMENT STORES. WE DIDN’T HAVE THE WALMARTS. EATON’S WAS THE PLACE TO GO. SO, [MY FIRST] ONE WAS FROM WHEN I WAS 3 YEARS OLD.” “WHEN I WAS A CHILD, GROWING UP IN LETHBRIDGE, I DON’T BELIEVE THAT [MY GRANDPARENTS] HAD THE DISPOSABLE INCOME TO BE GENEROUS. IN THOSE DAYS, CHILDREN WEREN’T EXPECTING AN AWFUL LOT. WE GOT ONE GIFT FROM OUR GRANDPARENTS, AND SANTA WOULD ALWAYS BRING A FEW. I DON’T EVEN RECALL IF OUR PARENTS GAVE US ANYTHING. IT WAS JUST SANTA, AND WE ALWAYS HAD OUR CHRISTMAS MEAL ON CHRISTMAS EVE, AT MY GRANDPARENT’S HOME. AFTER THE DISHES WERE ALL CLEANED UP, AND WE’D HAD OUR MEAL, THEN THE CHILDREN WERE ALLOWED TO OPEN OUR PRESENTS, OR OUR ONE GIFT, FROM THE GRANDPARENTS. THAT WAS EVEN MORE OF A CULMINATION OF THAT TENSION, FOR CHILDREN, WAITING FOR CHRISTMAS. IT WAS ALWAYS A VERY EXCITING TIME. I AM ASSUMING THAT I HAD SOME SORT OF AWARENESS OF PUNKINHEAD, SO, OF COURSE, [I] WAS VERY EXCITED TO GET ONE.” “[THERE WAS] LOTS OF CARRYING THEM AROUND. AS A CHILD, I DIDN’T HAVE A FAVORITE BLANKET OR ANYTHING. IT WAS MY TEDDY BEARS. I LIKED, ALWAYS, TO HAVE SOMETHING SOFT AND FUZZY UP AGAINST MY FACE, AND AGAINST MY NOSE. THEY WERE JUST THE RIGHT SIZE THAT I COULD HANG ON TO THEM WITH ONE HAND, AND RUB MY NOSE AGAINST THEM. THEY WERE A SECURITY FEATURE. AGAIN, BEING MADE OF NON-WASHABLE SUBSTANCES, THE WOODEN STUFFING AND THE LEATHER SHOES, THEY WEREN’T WASHABLE. MAYBE WITH THE NOWADAYS, MOTHERS CAN THROW THE STUFFIES IN THE WASHING MACHINE AND REFRESH THEM, AND THE FIBER IS A LOT MORE [DURABLE]. THEY’RE PROBABLY SO RATTY-LOOKING BECAUSE OF BEING CONSTANTLY WITH ME–-HAVING TEA PARTIES WITH THEM, AND JUST GENERALLY PUTTING THEM IN STROLLERS AND TAKING THEM OUT AROUND THE NEIGHBORHOOD. THEY WERE VERY WELL GUARDED. WE NEVER HAD ANY PETS IN THE HOUSE TO COME AND CHEW THEM UP. ALL OF THEIR DISTRESSED LOOK IS FROM LOVE. “WHEN THE BIG ONE CAME, THAT WAS A BONE OF CONTENTION, BECAUSE WITH ALL OF THE FOUR BEARS IN THE BED, THERE WAS HARDLY ROOM FOR ME [TO SLEEP]. I HAD BEEN, ON OCCASION, FOUND ON THE FLOOR, BECAUSE THERE WASN’T ROOM FOR ME IN BED. THAT WAS A “NO-NO.” MY PARENTS SAID, “NO, IF ANYBODY GOES ON THE FLOOR, IT’S THE BEARS.” THEY WERE A HUGE PART OF MY LIFE.” “I NEVER DID LET THEM OUT OF MY SIGHT LONG ENOUGH, AS A CHILD. MY PARENTS KNEW HOW IMPORTANT THEY WERE, SO IT HAS TO BE THAT MY PARENTS HAD THEM STASHED AWAY SOMEWHERE, FOR WHEN I WAS OLD ENOUGH OR INTERESTED ENOUGH TO GET THEM BACK. THEY MEANT AN AWFUL LOT TO ME, BECAUSE THEY WERE GIFTED TO ME BY MY GRANDPARENTS. I SPENT MANY HOURS IN THEIR HOME. MY MOTHER WORKED OUT OF OUR BASEMENT. SHE WAS A CERAMICS TEACHER, AND SO SHE WAS ONE OF THE FEW WOMEN, IN THE EARLY ‘50S, THAT WAS EARNING AN INCOME. I HAD SUCH A FONDNESS FOR MY GRANDPARENTS, AND THEY WERE ONLY BLOCKS AWAY FROM OUR HOME, THAT I SPENT MOST OF MY DAYS THERE.” “THE CLOTHING IS NOT ORIGINAL. THE ORIGINAL SHORTS WERE JUST A LITTLE PANT IN A FELT FABRIC, AND THE FELT WAS NOT STURDY. IT GOT ALL SHREDDED, AND FELL OFF. MY GRANDMOTHER REPLACED THE CLOTHING ON ALL OF THEM.” “BUT NOW, THE NEWEST OF THEM, THE ONE WITH THE RED PANTS–-THE REPAIRS ON HIS SNOUT ARE NOT CONSISTENT WITH THE WAY MY GRANDMOTHER WOULD REPAIR THEM. I THINK I REPAIRED THAT ONE MYSELF. MY GRANDMOTHER HAD PASSED AWAY WHEN I WAS 13, AND, BY THAT POINT IN MY LIFE, IT WAS ONLY THE LARGE ONE THAT I HAD KEPT OUT. I BELIEVE THAT ONCE MY GRANDMOTHER HAD PASSED AWAY, AND THEN WHEN I REVIVED BRINGING THESE ONES OUT A NUMBER OF YEARS LATER, I DID A VERY ‘MICKEY MOUSE’ JOB OF REPAIRING HIM. THE OTHER ONES WOULD HAVE BEEN REPAIRED BY MY GRANDMOTHER.” “WHEN MY HUSBAND AND I WERE FORTUNATE ENOUGH TO GET GRANDCHILDREN, AT CHRISTMAS TIME I WOULD PUT UP [THE BEARS]. I WOULD MAKE A LITTLE TEDDY BEAR DISPLAY AT CHRISTMAS TIME, AND THE GRANDCHILDREN WERE INTRODUCED TO THEM. THEY DIDN’T MEAN ANYTHING TO THE GRANDCHILDREN WHEN THEY WERE YOUNG. THEY HAD THEIR OWN TEDDIES. THEY JUST KNEW THAT THEY WEREN’T ALLOWED TO TOUCH THEM.” “THE MUSEUM IS IN THE PROCESS NOW OF DEVELOPING A NEW EXHIBIT FOR THE BEGINNING OF NEXT YEAR, 2019, AND I MADE THE CHOICE TO VOLUNTEER MYSELF TO BE PART OF THAT EXHIBIT. I BELIEVE THAT SOME OF THESE ITEMS MIGHT BE BENEFICIAL TO BE A PART OF WHAT I DEEM TO BE “HOME”. MY TWO CHILDREN DON’T HAVE ANY DESIRE TO ACQUIRE ANY OF THE OLD THINGS THAT MEANT SOMETHING TO ME, PARTICULARLY AS A CHILD. THAT I UNDERSTAND, BUT I ALSO UNDERSTAND THAT LETHBRIDGE IS WANTING TO CONTINUE TO ACQUIRE ITEMS THAT ARE IMPORTANT TO LETHBRIDGE’S HISTORY, AND THE HISTORY OF THE PEOPLE THAT LIVE IN LETHBRIDGE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180021001-GA.
Catalogue Number
P20180021001
Acquisition Date
2018-08
Collection
Museum
Images
Less detail
Other Name
PUNKINHEAD
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, GLASS, LEATHER
Catalogue Number
P20180021002
  2 images  
Material Type
Artifact
Other Name
PUNKINHEAD
Date Range From
1950
Date Range To
1960
Materials
COTTON, GLASS, LEATHER
No. Pieces
3
Length
36
Width
24.5
Description
A. STUFFED TOY, “PUNKINHEAD”, 36 CM LONG X 24.5 CM WIDE. BROWN PUNKINHEAD BEAR DRESSED IN BLUE SHORTS AND SHIRT. BEAR HAS TWO CLEAR GLASS EYES WITH BLACK CENTERS; FACE STITCHED WITH BLACK THREAD CREATING NOSE AND MOUTH; FEET CASED IN BROWN LEATHER STITCHED ON WITH BLACK THREAD. PUNKINHEAD BEAR HAS LIGHTER BROWN SNOUT, CHEST, TOP OF HEAD, AND INSIDE OF EARS. FUR ON BEAR IS MISSING IN PACTHES AND THINNED; BEAR IS MISSING LIGHT HAIR FROM TOP OF HEAD; NOSE IS TORN ON SIDES AND HAS LOSS IN FABRIC SHOWING INSIDE STUFFING. OVERALL GOOD CONDITION. B. BLUE COTTON SHIRT, 11.5 CM LONG X 7.5 CM WIDE. HOMEMADE WITH WHITE MACHINE STITCHING ALONG CUFFS AND HEM; BACK HAS CINCHING WITH WHITE THREAD. FRONT OF SHIRT TIED AT NECK AND OPEN AT FRONT. FABRIC IS FADED; RIP IN RIGHT SIDE; OVERALL VERY GOOD CONDITION. C. BLUE COTTON SHORTS, 8.5 CM LONG X 9 CM WIDE. HANDMADE WITH WHITE MACHINE STITCHING ALONG LEG-HOLES AND WAIST. SHORTS FADED; TEAR INSIDE RIGHT LEG; OVERALL VERY GOOD CONDITION.
Subjects
TOY
Historical Association
LEISURE
History
ON AUGUST 22, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED MARG OBERG REGARDING HER DONATION OF “PUNKINHEAD” STUFFED BEARS. OBERG DONATED THE PUNKINHEADS AS A CONTRIBUTION FOR THE UPCOMING GALT MUSEUM EXHIBIT “RECOLLECTING HOME” FROM FEBRUARY 1-MAY 5, 2019. ON THE PUNKINHEAD IN THE BLUE OUTFIT, OBERG RECALLED, “THE MIDDLE-SIZED ONE [IN BLUE I RECEIVED] ’55.” “I GUESS, AS A MOTHER OF ACTUAL CHILDREN, IT’S POLITICALLY CORRECT TO SAY, “I LOVE THEM ALL THE SAME.” AS A CHILD, I WOULD LIKE TO SAY THAT I LOVED THEM ALL THE SAME. BUT OF COURSE, WITH CHILDREN, OFTEN [TIMES], BIGGER IS BETTER. THE LARGEST OF THEM ALL, WHO IS IN STILL THE BEST CONDITION, I WOULD GUESS THAT HE PROBABLY WOULD HAVE BEEN THE MOST LOVED. AS I GOT OLDER, HE WAS ON DISPLAY WITH OTHER STUFFED ANIMALS THAT I HAD ACQUIRED OVER THE YEARS, BECAUSE OF HIS CONDITION, WHEREAS THE OTHER, MORE DILAPIDATED CHARACTERS PROBABLY TOOK A LITTLE BIT MORE OF A BACK SEAT. THEY WERE NOT IN AS GOOD CONDITION. THAT’S A QUESTION THAT I HADN’T REALLY THOUGHT ABOUT. I’M JUST GOING ON [MY] INTUITION.” OBERG ELABORATED ON HOW SHE ACQUIRED THE BEARS, “FOLK LORE WITHIN THE FAMILY IS THAT I WOULD GET ONE TEDDY BEAR EVERY TWO YEARS…MY [MATERNAL] GRANDPARENTS [JAMES “JIMMY” MACINTOSH AND ELSIE PEARL MACINTOSH] GIFTED [MY FIRST] TO ME AT CHRISTMAS WHEN I WAS 3 YEARS OLD. AS FAR AS I AM AWARE, IT IS A MERRYTHOUGHT PUNKINHEAD, AND IT WOULD HAVE BEEN PURCHASED THROUGH EATON’S…THE PUNKINHEAD WAS KIND OF A CHRISTMAS MASCOT. IT WAS VERY APPROPRIATE FOR MY GRANDPARENTS TO GIVE IT TO ME AT CHRISTMAS. EATON’S WAS A VERY PROMINENT DEPARTMENT STORE IN LETHBRIDGE AT THAT POINT IN TIME, AND MOST EVERYBODY DID THEIR CHRISTMAS SHOPPING AT EATON’S. WE DIDN’T HAVE ANY OTHER (AT LEAST THAT I WAS AWARE OF, AS A CHILD GROWING UP) DEPARTMENT STORES. WE DIDN’T HAVE THE WALMARTS. EATON’S WAS THE PLACE TO GO. SO, [MY FIRST] ONE WAS FROM WHEN I WAS 3 YEARS OLD.” “WHEN I WAS A CHILD, GROWING UP IN LETHBRIDGE, I DON’T BELIEVE THAT [MY GRANDPARENTS] HAD THE DISPOSABLE INCOME TO BE GENEROUS. IN THOSE DAYS, CHILDREN WEREN’T EXPECTING AN AWFUL LOT. WE GOT ONE GIFT FROM OUR GRANDPARENTS, AND SANTA WOULD ALWAYS BRING A FEW. I DON’T EVEN RECALL IF OUR PARENTS GAVE US ANYTHING. IT WAS JUST SANTA, AND WE ALWAYS HAD OUR CHRISTMAS MEAL ON CHRISTMAS EVE, AT MY GRANDPARENT’S HOME. AFTER THE DISHES WERE ALL CLEANED UP, AND WE’D HAD OUR MEAL, THEN THE CHILDREN WERE ALLOWED TO OPEN OUR PRESENTS, OR OUR ONE GIFT, FROM THE GRANDPARENTS. THAT WAS EVEN MORE OF A CULMINATION OF THAT TENSION, FOR CHILDREN, WAITING FOR CHRISTMAS. IT WAS ALWAYS A VERY EXCITING TIME. I AM ASSUMING THAT I HAD SOME SORT OF AWARENESS OF PUNKINHEAD, SO, OF COURSE, [I] WAS VERY EXCITED TO GET ONE.” “[THERE WAS] LOTS OF CARRYING THEM AROUND. AS A CHILD, I DIDN’T HAVE A FAVORITE BLANKET OR ANYTHING. IT WAS MY TEDDY BEARS. I LIKED, ALWAYS, TO HAVE SOMETHING SOFT AND FUZZY UP AGAINST MY FACE, AND AGAINST MY NOSE. THEY WERE JUST THE RIGHT SIZE THAT I COULD HANG ON TO THEM WITH ONE HAND, AND RUB MY NOSE AGAINST THEM. THEY WERE A SECURITY FEATURE. AGAIN, BEING MADE OF NON-WASHABLE SUBSTANCES, THE WOODEN STUFFING AND THE LEATHER SHOES, THEY WEREN’T WASHABLE. MAYBE WITH THE NOWADAYS, MOTHERS CAN THROW THE STUFFIES IN THE WASHING MACHINE AND REFRESH THEM, AND THE FIBER IS A LOT MORE [DURABLE]. THEY’RE PROBABLY SO RATTY-LOOKING BECAUSE OF BEING CONSTANTLY WITH ME–-HAVING TEA PARTIES WITH THEM, AND JUST GENERALLY PUTTING THEM IN STROLLERS AND TAKING THEM OUT AROUND THE NEIGHBORHOOD. THEY WERE VERY WELL GUARDED. WE NEVER HAD ANY PETS IN THE HOUSE TO COME AND CHEW THEM UP. ALL OF THEIR DISTRESSED LOOK IS FROM LOVE. “WHEN THE BIG ONE CAME, THAT WAS A BONE OF CONTENTION, BECAUSE WITH ALL OF THE FOUR BEARS IN THE BED, THERE WAS HARDLY ROOM FOR ME [TO SLEEP]. I HAD BEEN, ON OCCASION, FOUND ON THE FLOOR, BECAUSE THERE WASN’T ROOM FOR ME IN BED. THAT WAS A “NO-NO.” MY PARENTS SAID, “NO, IF ANYBODY GOES ON THE FLOOR, IT’S THE BEARS.” THEY WERE A HUGE PART OF MY LIFE.” “I NEVER DID LET THEM OUT OF MY SIGHT LONG ENOUGH, AS A CHILD. MY PARENTS KNEW HOW IMPORTANT THEY WERE, SO IT HAS TO BE THAT MY PARENTS HAD THEM STASHED AWAY SOMEWHERE, FOR WHEN I WAS OLD ENOUGH OR INTERESTED ENOUGH TO GET THEM BACK. THEY MEANT AN AWFUL LOT TO ME, BECAUSE THEY WERE GIFTED TO ME BY MY GRANDPARENTS. I SPENT MANY HOURS IN THEIR HOME. MY MOTHER WORKED OUT OF OUR BASEMENT. SHE WAS A CERAMICS TEACHER, AND SO SHE WAS ONE OF THE FEW WOMEN, IN THE EARLY ‘50S, THAT WAS EARNING AN INCOME. I HAD SUCH A FONDNESS FOR MY GRANDPARENTS, AND THEY WERE ONLY BLOCKS AWAY FROM OUR HOME, THAT I SPENT MOST OF MY DAYS THERE.” “THE CLOTHING IS NOT ORIGINAL. THE ORIGINAL SHORTS WERE JUST A LITTLE PANT IN A FELT FABRIC, AND THE FELT WAS NOT STURDY. IT GOT ALL SHREDDED, AND FELL OFF. MY GRANDMOTHER REPLACED THE CLOTHING ON ALL OF THEM.” “BUT NOW, THE NEWEST OF THEM, THE ONE WITH THE RED PANTS–-THE REPAIRS ON HIS SNOUT ARE NOT CONSISTENT WITH THE WAY MY GRANDMOTHER WOULD REPAIR THEM. I THINK I REPAIRED THAT ONE MYSELF. MY GRANDMOTHER HAD PASSED AWAY WHEN I WAS 13, AND, BY THAT POINT IN MY LIFE, IT WAS ONLY THE LARGE ONE THAT I HAD KEPT OUT. I BELIEVE THAT ONCE MY GRANDMOTHER HAD PASSED AWAY, AND THEN WHEN I REVIVED BRINGING THESE ONES OUT A NUMBER OF YEARS LATER, I DID A VERY ‘MICKEY MOUSE’ JOB OF REPAIRING HIM. THE OTHER ONES WOULD HAVE BEEN REPAIRED BY MY GRANDMOTHER.” “WHEN MY HUSBAND AND I WERE FORTUNATE ENOUGH TO GET GRANDCHILDREN, AT CHRISTMAS TIME I WOULD PUT UP [THE BEARS]. I WOULD MAKE A LITTLE TEDDY BEAR DISPLAY AT CHRISTMAS TIME, AND THE GRANDCHILDREN WERE INTRODUCED TO THEM. THEY DIDN’T MEAN ANYTHING TO THE GRANDCHILDREN WHEN THEY WERE YOUNG. THEY HAD THEIR OWN TEDDIES. THEY JUST KNEW THAT THEY WEREN’T ALLOWED TO TOUCH THEM.” “THE MUSEUM IS IN THE PROCESS NOW OF DEVELOPING A NEW EXHIBIT FOR THE BEGINNING OF NEXT YEAR, 2019, AND I MADE THE CHOICE TO VOLUNTEER MYSELF TO BE PART OF THAT EXHIBIT. I BELIEVE THAT SOME OF THESE ITEMS MIGHT BE BENEFICIAL TO BE A PART OF WHAT I DEEM TO BE “HOME”. MY TWO CHILDREN DON’T HAVE ANY DESIRE TO ACQUIRE ANY OF THE OLD THINGS THAT MEANT SOMETHING TO ME, PARTICULARLY AS A CHILD. THAT I UNDERSTAND, BUT I ALSO UNDERSTAND THAT LETHBRIDGE IS WANTING TO CONTINUE TO ACQUIRE ITEMS THAT ARE IMPORTANT TO LETHBRIDGE’S HISTORY, AND THE HISTORY OF THE PEOPLE THAT LIVE IN LETHBRIDGE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180021001-GA.
Catalogue Number
P20180021002
Acquisition Date
2018-08
Collection
Museum
Images
Less detail
Other Name
PUNKINHEAD
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, GLASS, LEATHER
Catalogue Number
P20180021003
  2 images  
Material Type
Artifact
Other Name
PUNKINHEAD
Date Range From
1950
Date Range To
1960
Materials
COTTON, GLASS, LEATHER
No. Pieces
1
Length
24.3
Width
12.3
Description
BROWN “PUNKINHEAD” STUFFED BEAR WITH LIGHTER BROWN PATCHES ON CHEST, ARMS, NOSE, INSIDE EARS, AND TOP OF HEAD. BEAR HAS TWO CLEAR GLASS EYES WITH BLACK CENTERS; FEET ARE COVERED IN BROWN SUEDE; SNOUT HAS BLACK STITCHING FOR NOSE AND MOUTH. DRESSED IN RED VELVET SHORTS SEWN TO BODY. ARMS ARE MOVEABLE; FUR IS MISSING IN PATCHES AND THINNED; TOP OF HEAD IS MISSING LIGHTER HAIR. SNOUT HAS RIP IN UNDERSIDE EXPOSING INNER STUFFING; OVERALL FAIR CONDITION.
Subjects
TOY
Historical Association
LEISURE
History
ON AUGUST 22, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED MARG OBERG REGARDING HER DONATION OF “PUNKINHEAD” STUFFED BEARS. OBERG DONATED THE PUNKINHEADS AS A CONTRIBUTION FOR THE UPCOMING GALT MUSEUM EXHIBIT “RECOLLECTING HOME” FROM FEBRUARY 1-MAY 5, 2019. ON THE PUNKINHEAD IN RED SHORTS, OBERG RECALLED, “[THAT CAME LAST] IN ’59.” “I GUESS, AS A MOTHER OF ACTUAL CHILDREN, IT’S POLITICALLY CORRECT TO SAY, “I LOVE THEM ALL THE SAME.” AS A CHILD, I WOULD LIKE TO SAY THAT I LOVED THEM ALL THE SAME. BUT OF COURSE, WITH CHILDREN, OFTEN [TIMES], BIGGER IS BETTER. THE LARGEST OF THEM ALL, WHO IS IN STILL THE BEST CONDITION, I WOULD GUESS THAT HE PROBABLY WOULD HAVE BEEN THE MOST LOVED. AS I GOT OLDER, HE WAS ON DISPLAY WITH OTHER STUFFED ANIMALS THAT I HAD ACQUIRED OVER THE YEARS, BECAUSE OF HIS CONDITION, WHEREAS THE OTHER, MORE DILAPIDATED CHARACTERS PROBABLY TOOK A LITTLE BIT MORE OF A BACK SEAT. THEY WERE NOT IN AS GOOD CONDITION. THAT’S A QUESTION THAT I HADN’T REALLY THOUGHT ABOUT. I’M JUST GOING ON [MY] INTUITION.” OBERG ELABORATED ON HOW SHE ACQUIRED THE BEARS, “FOLK LORE WITHIN THE FAMILY IS THAT I WOULD GET ONE TEDDY BEAR EVERY TWO YEARS…MY [MATERNAL] GRANDPARENTS [JAMES “JIMMY” MACINTOSH AND ELSIE PEARL MACINTOSH] GIFTED [MY FIRST] TO ME AT CHRISTMAS WHEN I WAS 3 YEARS OLD. AS FAR AS I AM AWARE, IT IS A MERRYTHOUGHT PUNKINHEAD, AND IT WOULD HAVE BEEN PURCHASED THROUGH EATON’S…THE PUNKINHEAD WAS KIND OF A CHRISTMAS MASCOT. IT WAS VERY APPROPRIATE FOR MY GRANDPARENTS TO GIVE IT TO ME AT CHRISTMAS. EATON’S WAS A VERY PROMINENT DEPARTMENT STORE IN LETHBRIDGE AT THAT POINT IN TIME, AND MOST EVERYBODY DID THEIR CHRISTMAS SHOPPING AT EATON’S. WE DIDN’T HAVE ANY OTHER (AT LEAST THAT I WAS AWARE OF, AS A CHILD GROWING UP) DEPARTMENT STORES. WE DIDN’T HAVE THE WALMARTS. EATON’S WAS THE PLACE TO GO. SO, [MY FIRST] ONE WAS FROM WHEN I WAS 3 YEARS OLD.” “WHEN I WAS A CHILD, GROWING UP IN LETHBRIDGE, I DON’T BELIEVE THAT [MY GRANDPARENTS] HAD THE DISPOSABLE INCOME TO BE GENEROUS. IN THOSE DAYS, CHILDREN WEREN’T EXPECTING AN AWFUL LOT. WE GOT ONE GIFT FROM OUR GRANDPARENTS, AND SANTA WOULD ALWAYS BRING A FEW. I DON’T EVEN RECALL IF OUR PARENTS GAVE US ANYTHING. IT WAS JUST SANTA, AND WE ALWAYS HAD OUR CHRISTMAS MEAL ON CHRISTMAS EVE, AT MY GRANDPARENT’S HOME. AFTER THE DISHES WERE ALL CLEANED UP, AND WE’D HAD OUR MEAL, THEN THE CHILDREN WERE ALLOWED TO OPEN OUR PRESENTS, OR OUR ONE GIFT, FROM THE GRANDPARENTS. THAT WAS EVEN MORE OF A CULMINATION OF THAT TENSION, FOR CHILDREN, WAITING FOR CHRISTMAS. IT WAS ALWAYS A VERY EXCITING TIME. I AM ASSUMING THAT I HAD SOME SORT OF AWARENESS OF PUNKINHEAD, SO, OF COURSE, [I] WAS VERY EXCITED TO GET ONE.” “[THERE WAS] LOTS OF CARRYING THEM AROUND. AS A CHILD, I DIDN’T HAVE A FAVORITE BLANKET OR ANYTHING. IT WAS MY TEDDY BEARS. I LIKED, ALWAYS, TO HAVE SOMETHING SOFT AND FUZZY UP AGAINST MY FACE, AND AGAINST MY NOSE. THEY WERE JUST THE RIGHT SIZE THAT I COULD HANG ON TO THEM WITH ONE HAND, AND RUB MY NOSE AGAINST THEM. THEY WERE A SECURITY FEATURE. AGAIN, BEING MADE OF NON-WASHABLE SUBSTANCES, THE WOODEN STUFFING AND THE LEATHER SHOES, THEY WEREN’T WASHABLE. MAYBE WITH THE NOWADAYS, MOTHERS CAN THROW THE STUFFIES IN THE WASHING MACHINE AND REFRESH THEM, AND THE FIBER IS A LOT MORE [DURABLE]. THEY’RE PROBABLY SO RATTY-LOOKING BECAUSE OF BEING CONSTANTLY WITH ME–-HAVING TEA PARTIES WITH THEM, AND JUST GENERALLY PUTTING THEM IN STROLLERS AND TAKING THEM OUT AROUND THE NEIGHBORHOOD. THEY WERE VERY WELL GUARDED. WE NEVER HAD ANY PETS IN THE HOUSE TO COME AND CHEW THEM UP. ALL OF THEIR DISTRESSED LOOK IS FROM LOVE. “WHEN THE BIG ONE CAME, THAT WAS A BONE OF CONTENTION, BECAUSE WITH ALL OF THE FOUR BEARS IN THE BED, THERE WAS HARDLY ROOM FOR ME [TO SLEEP]. I HAD BEEN, ON OCCASION, FOUND ON THE FLOOR, BECAUSE THERE WASN’T ROOM FOR ME IN BED. THAT WAS A “NO-NO.” MY PARENTS SAID, “NO, IF ANYBODY GOES ON THE FLOOR, IT’S THE BEARS.” THEY WERE A HUGE PART OF MY LIFE.” “I NEVER DID LET THEM OUT OF MY SIGHT LONG ENOUGH, AS A CHILD. MY PARENTS KNEW HOW IMPORTANT THEY WERE, SO IT HAS TO BE THAT MY PARENTS HAD THEM STASHED AWAY SOMEWHERE, FOR WHEN I WAS OLD ENOUGH OR INTERESTED ENOUGH TO GET THEM BACK. THEY MEANT AN AWFUL LOT TO ME, BECAUSE THEY WERE GIFTED TO ME BY MY GRANDPARENTS. I SPENT MANY HOURS IN THEIR HOME. MY MOTHER WORKED OUT OF OUR BASEMENT. SHE WAS A CERAMICS TEACHER, AND SO SHE WAS ONE OF THE FEW WOMEN, IN THE EARLY ‘50S, THAT WAS EARNING AN INCOME. I HAD SUCH A FONDNESS FOR MY GRANDPARENTS, AND THEY WERE ONLY BLOCKS AWAY FROM OUR HOME, THAT I SPENT MOST OF MY DAYS THERE.” “THE CLOTHING IS NOT ORIGINAL. THE ORIGINAL SHORTS WERE JUST A LITTLE PANT IN A FELT FABRIC, AND THE FELT WAS NOT STURDY. IT GOT ALL SHREDDED, AND FELL OFF. MY GRANDMOTHER REPLACED THE CLOTHING ON ALL OF THEM.” “BUT NOW, THE NEWEST OF THEM, THE ONE WITH THE RED PANTS–-THE REPAIRS ON HIS SNOUT ARE NOT CONSISTENT WITH THE WAY MY GRANDMOTHER WOULD REPAIR THEM. I THINK I REPAIRED THAT ONE MYSELF. MY GRANDMOTHER HAD PASSED AWAY WHEN I WAS 13, AND, BY THAT POINT IN MY LIFE, IT WAS ONLY THE LARGE ONE THAT I HAD KEPT OUT. I BELIEVE THAT ONCE MY GRANDMOTHER HAD PASSED AWAY, AND THEN WHEN I REVIVED BRINGING THESE ONES OUT A NUMBER OF YEARS LATER, I DID A VERY ‘MICKEY MOUSE’ JOB OF REPAIRING HIM. THE OTHER ONES WOULD HAVE BEEN REPAIRED BY MY GRANDMOTHER.” “WHEN MY HUSBAND AND I WERE FORTUNATE ENOUGH TO GET GRANDCHILDREN, AT CHRISTMAS TIME I WOULD PUT UP [THE BEARS]. I WOULD MAKE A LITTLE TEDDY BEAR DISPLAY AT CHRISTMAS TIME, AND THE GRANDCHILDREN WERE INTRODUCED TO THEM. THEY DIDN’T MEAN ANYTHING TO THE GRANDCHILDREN WHEN THEY WERE YOUNG. THEY HAD THEIR OWN TEDDIES. THEY JUST KNEW THAT THEY WEREN’T ALLOWED TO TOUCH THEM.” “THE MUSEUM IS IN THE PROCESS NOW OF DEVELOPING A NEW EXHIBIT FOR THE BEGINNING OF NEXT YEAR, 2019, AND I MADE THE CHOICE TO VOLUNTEER MYSELF TO BE PART OF THAT EXHIBIT. I BELIEVE THAT SOME OF THESE ITEMS MIGHT BE BENEFICIAL TO BE A PART OF WHAT I DEEM TO BE “HOME”. MY TWO CHILDREN DON’T HAVE ANY DESIRE TO ACQUIRE ANY OF THE OLD THINGS THAT MEANT SOMETHING TO ME, PARTICULARLY AS A CHILD. THAT I UNDERSTAND, BUT I ALSO UNDERSTAND THAT LETHBRIDGE IS WANTING TO CONTINUE TO ACQUIRE ITEMS THAT ARE IMPORTANT TO LETHBRIDGE’S HISTORY, AND THE HISTORY OF THE PEOPLE THAT LIVE IN LETHBRIDGE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180021001-GA.
Catalogue Number
P20180021003
Acquisition Date
2018-08
Collection
Museum
Images
Less detail
Other Name
PUNKINHEAD
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, LEATHER, PLASTIC
Catalogue Number
P20180021004
  2 images  
Material Type
Artifact
Other Name
PUNKINHEAD
Date Range From
1950
Date Range To
1960
Materials
COTTON, LEATHER, PLASTIC
No. Pieces
3
Length
24
Width
12.3
Description
A. BROWN “PUNKINHEAD” STUFFD BEAR, 24 CM LONG X 12.3 CM WIDE. BEAR DRESSED IN GREEN SHIRT AND SHORTS; BEAR HAS TWO WHITE PLASTIC BUTTON EYES WITH BLACK PLASTIC BEAD ON TOP, SEWN ONTO FACE; BEAR IS BROWN WITH LIGHTER BROWN CHEST, INSIDE OF EARS, SNOUT, AND TOP OF HEAD. SNOUT HAS BLACK STITCHING FOR NOSE AND MOUTH; FEET ENCASED IN BROWN LEATHER. FUR IS MISSING IN PATCHES AND THIINED; LEATHER ON FEET IS CRACKED AND FADED; BEAR IS MISSING FUR FROM LIGHTER PATCH ON TOP OF HEAD. OVERALL GOOD CONDITION. B. GREEN COTTON SHIRT, 8 CM LONG X 6 CM WIDE. HANDMADE WITH BLACK MACHINE STITCHING AT CUFFS AND HEM; BACK IS CINCHED WITH BLACK THREAD; SLEEVES HAVE ROLLED CUFFS. FRONT IS OPEN WITH TIES AT COLLAR TO ATTACH. OVERALL EXCELLENT CONDITION. C. GREEN COTTON SHORTS, 5.5 CM LONG X 6 CM WIDE. HANDMADE WITH BLACK MACHINE STITCHING INSIDE LEG HOLES AND AT WAIST. WAIST IS ELASTIC; BACK HAS MINOR FRAYING AT EDGE OF LEFT LEG HOLE. OVERALL EXCELLENT CONDITION.
Subjects
TOY
Historical Association
LEISURE
History
ON AUGUST 22, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED MARG OBERG REGARDING HER DONATION OF “PUNKINHEAD” STUFFED BEARS. OBERG DONATED THE PUNKINHEADS AS A CONTRIBUTION FOR THE UPCOMING GALT MUSEUM EXHIBIT “RECOLLECTING HOME” FROM FEBRUARY 1-MAY 5, 2019. ON THE PUNKINHEAD IN THE GREEN OUTFIT, OBERG RECALLED, “THE OLDEST IS THE RATTIEST LITTLE GUY [IN GREEN]…I WAS BORN IN ’49, SO IT WOULD HAVE BEEN [GIVEN TO ME] ’53.” “THE FIRST ONE [IS SPECIAL TO ME], BECAUSE HE OPENED UP MY EYES TO, AT THAT AGE, BEING TO LOVE AN INANIMATE OBJECT, AS OPPOSED TO PARENTS, GRANDPARENTS, OR SIBLINGS. HE’S PROBABLY GOT A LOT MORE SECRETS TO TELL THAN THE BIGGER ONE.” “[THE BEAR WAS] WELL- LOVED, HE’S LOST A LOT OF HAIR. HE’S GOT NEW SHOES ON…AS FAR AS I KNOW, THE FIRST ONE…WAS SO WELL-WORN, AND SO WELL- LOVED, THAT MY GRANDMOTHER, WHO DID A LOT OF SEWING AND HAND-WORK, GAVE HIM NEW SHOES. HIS LITTLE FELT PANTS, THAT CAME WITH HIM, WERE LONG WORN-OUT, SO SHE SEWED HIM ANOTHER LITTLE OUTFIT.” “I GUESS, AS A MOTHER OF ACTUAL CHILDREN, IT’S POLITICALLY CORRECT TO SAY, “I LOVE THEM ALL THE SAME.” AS A CHILD, I WOULD LIKE TO SAY THAT I LOVED THEM ALL THE SAME. BUT OF COURSE, WITH CHILDREN, OFTEN [TIMES], BIGGER IS BETTER. THE LARGEST OF THEM ALL, WHO IS IN STILL THE BEST CONDITION, I WOULD GUESS THAT HE PROBABLY WOULD HAVE BEEN THE MOST LOVED. AS I GOT OLDER, HE WAS ON DISPLAY WITH OTHER STUFFED ANIMALS THAT I HAD ACQUIRED OVER THE YEARS, BECAUSE OF HIS CONDITION, WHEREAS THE OTHER, MORE DILAPIDATED CHARACTERS PROBABLY TOOK A LITTLE BIT MORE OF A BACK SEAT. THEY WERE NOT IN AS GOOD CONDITION. THAT’S A QUESTION THAT I HADN’T REALLY THOUGHT ABOUT. I’M JUST GOING ON [MY] INTUITION.” OBERG ELABORATED ON HOW SHE ACQUIRED THE BEARS, “FOLK LORE WITHIN THE FAMILY IS THAT I WOULD GET ONE TEDDY BEAR EVERY TWO YEARS…MY [MATERNAL] GRANDPARENTS [JAMES “JIMMY” MACINTOSH AND ELSIE PEARL MACINTOSH] GIFTED [MY FIRST] TO ME AT CHRISTMAS WHEN I WAS 3 YEARS OLD. AS FAR AS I AM AWARE, IT IS A MERRYTHOUGHT PUNKINHEAD, AND IT WOULD HAVE BEEN PURCHASED THROUGH EATON’S…THE PUNKINHEAD WAS KIND OF A CHRISTMAS MASCOT. IT WAS VERY APPROPRIATE FOR MY GRANDPARENTS TO GIVE IT TO ME AT CHRISTMAS. EATON’S WAS A VERY PROMINENT DEPARTMENT STORE IN LETHBRIDGE AT THAT POINT IN TIME, AND MOST EVERYBODY DID THEIR CHRISTMAS SHOPPING AT EATON’S. WE DIDN’T HAVE ANY OTHER (AT LEAST THAT I WAS AWARE OF, AS A CHILD GROWING UP) DEPARTMENT STORES. WE DIDN’T HAVE THE WALMARTS. EATON’S WAS THE PLACE TO GO. SO, [MY FIRST] ONE WAS FROM WHEN I WAS 3 YEARS OLD.” “WHEN I WAS A CHILD, GROWING UP IN LETHBRIDGE, I DON’T BELIEVE THAT [MY GRANDPARENTS] HAD THE DISPOSABLE INCOME TO BE GENEROUS. IN THOSE DAYS, CHILDREN WEREN’T EXPECTING AN AWFUL LOT. WE GOT ONE GIFT FROM OUR GRANDPARENTS, AND SANTA WOULD ALWAYS BRING A FEW. I DON’T EVEN RECALL IF OUR PARENTS GAVE US ANYTHING. IT WAS JUST SANTA, AND WE ALWAYS HAD OUR CHRISTMAS MEAL ON CHRISTMAS EVE, AT MY GRANDPARENT’S HOME. AFTER THE DISHES WERE ALL CLEANED UP, AND WE’D HAD OUR MEAL, THEN THE CHILDREN WERE ALLOWED TO OPEN OUR PRESENTS, OR OUR ONE GIFT, FROM THE GRANDPARENTS. THAT WAS EVEN MORE OF A CULMINATION OF THAT TENSION, FOR CHILDREN, WAITING FOR CHRISTMAS. IT WAS ALWAYS A VERY EXCITING TIME. I AM ASSUMING THAT I HAD SOME SORT OF AWARENESS OF PUNKINHEAD, SO, OF COURSE, [I] WAS VERY EXCITED TO GET ONE.” “[THERE WAS] LOTS OF CARRYING THEM AROUND. AS A CHILD, I DIDN’T HAVE A FAVORITE BLANKET OR ANYTHING. IT WAS MY TEDDY BEARS. I LIKED, ALWAYS, TO HAVE SOMETHING SOFT AND FUZZY UP AGAINST MY FACE, AND AGAINST MY NOSE. THEY WERE JUST THE RIGHT SIZE THAT I COULD HANG ON TO THEM WITH ONE HAND, AND RUB MY NOSE AGAINST THEM. THEY WERE A SECURITY FEATURE. AGAIN, BEING MADE OF NON-WASHABLE SUBSTANCES, THE WOODEN STUFFING AND THE LEATHER SHOES, THEY WEREN’T WASHABLE. MAYBE WITH THE NOWADAYS, MOTHERS CAN THROW THE STUFFIES IN THE WASHING MACHINE AND REFRESH THEM, AND THE FIBER IS A LOT MORE [DURABLE]. THEY’RE PROBABLY SO RATTY-LOOKING BECAUSE OF BEING CONSTANTLY WITH ME–-HAVING TEA PARTIES WITH THEM, AND JUST GENERALLY PUTTING THEM IN STROLLERS AND TAKING THEM OUT AROUND THE NEIGHBORHOOD. THEY WERE VERY WELL GUARDED. WE NEVER HAD ANY PETS IN THE HOUSE TO COME AND CHEW THEM UP. ALL OF THEIR DISTRESSED LOOK IS FROM LOVE. “WHEN THE BIG ONE CAME, THAT WAS A BONE OF CONTENTION, BECAUSE WITH ALL OF THE FOUR BEARS IN THE BED, THERE WAS HARDLY ROOM FOR ME [TO SLEEP]. I HAD BEEN, ON OCCASION, FOUND ON THE FLOOR, BECAUSE THERE WASN’T ROOM FOR ME IN BED. THAT WAS A “NO-NO.” MY PARENTS SAID, “NO, IF ANYBODY GOES ON THE FLOOR, IT’S THE BEARS.” THEY WERE A HUGE PART OF MY LIFE.” “I NEVER DID LET THEM OUT OF MY SIGHT LONG ENOUGH, AS A CHILD. MY PARENTS KNEW HOW IMPORTANT THEY WERE, SO IT HAS TO BE THAT MY PARENTS HAD THEM STASHED AWAY SOMEWHERE, FOR WHEN I WAS OLD ENOUGH OR INTERESTED ENOUGH TO GET THEM BACK. THEY MEANT AN AWFUL LOT TO ME, BECAUSE THEY WERE GIFTED TO ME BY MY GRANDPARENTS. I SPENT MANY HOURS IN THEIR HOME. MY MOTHER WORKED OUT OF OUR BASEMENT. SHE WAS A CERAMICS TEACHER, AND SO SHE WAS ONE OF THE FEW WOMEN, IN THE EARLY ‘50S, THAT WAS EARNING AN INCOME. I HAD SUCH A FONDNESS FOR MY GRANDPARENTS, AND THEY WERE ONLY BLOCKS AWAY FROM OUR HOME, THAT I SPENT MOST OF MY DAYS THERE.” “THE CLOTHING IS NOT ORIGINAL. THE ORIGINAL SHORTS WERE JUST A LITTLE PANT IN A FELT FABRIC, AND THE FELT WAS NOT STURDY. IT GOT ALL SHREDDED, AND FELL OFF. MY GRANDMOTHER REPLACED THE CLOTHING ON ALL OF THEM.” “BUT NOW, THE NEWEST OF THEM, THE ONE WITH THE RED PANTS–-THE REPAIRS ON HIS SNOUT ARE NOT CONSISTENT WITH THE WAY MY GRANDMOTHER WOULD REPAIR THEM. I THINK I REPAIRED THAT ONE MYSELF. MY GRANDMOTHER HAD PASSED AWAY WHEN I WAS 13, AND, BY THAT POINT IN MY LIFE, IT WAS ONLY THE LARGE ONE THAT I HAD KEPT OUT. I BELIEVE THAT ONCE MY GRANDMOTHER HAD PASSED AWAY, AND THEN WHEN I REVIVED BRINGING THESE ONES OUT A NUMBER OF YEARS LATER, I DID A VERY ‘MICKEY MOUSE’ JOB OF REPAIRING HIM. THE OTHER ONES WOULD HAVE BEEN REPAIRED BY MY GRANDMOTHER.” “WHEN MY HUSBAND AND I WERE FORTUNATE ENOUGH TO GET GRANDCHILDREN, AT CHRISTMAS TIME I WOULD PUT UP [THE BEARS]. I WOULD MAKE A LITTLE TEDDY BEAR DISPLAY AT CHRISTMAS TIME, AND THE GRANDCHILDREN WERE INTRODUCED TO THEM. THEY DIDN’T MEAN ANYTHING TO THE GRANDCHILDREN WHEN THEY WERE YOUNG. THEY HAD THEIR OWN TEDDIES. THEY JUST KNEW THAT THEY WEREN’T ALLOWED TO TOUCH THEM.” “THE MUSEUM IS IN THE PROCESS NOW OF DEVELOPING A NEW EXHIBIT FOR THE BEGINNING OF NEXT YEAR, 2019, AND I MADE THE CHOICE TO VOLUNTEER MYSELF TO BE PART OF THAT EXHIBIT. I BELIEVE THAT SOME OF THESE ITEMS MIGHT BE BENEFICIAL TO BE A PART OF WHAT I DEEM TO BE “HOME”. MY TWO CHILDREN DON’T HAVE ANY DESIRE TO ACQUIRE ANY OF THE OLD THINGS THAT MEANT SOMETHING TO ME, PARTICULARLY AS A CHILD. THAT I UNDERSTAND, BUT I ALSO UNDERSTAND THAT LETHBRIDGE IS WANTING TO CONTINUE TO ACQUIRE ITEMS THAT ARE IMPORTANT TO LETHBRIDGE’S HISTORY, AND THE HISTORY OF THE PEOPLE THAT LIVE IN LETHBRIDGE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180021001-GA.
Catalogue Number
P20180021004
Acquisition Date
2018-08
Collection
Museum
Images
Less detail
Other Name
THE NARROWS, WATERTON LAKES
Date Range From
1952
Date Range To
1952
Material Type
Artifact
Materials
WATERCOLOUR, WOOD,GLASS
Catalogue Number
P20150024000
  1 image  
Material Type
Artifact
Other Name
THE NARROWS, WATERTON LAKES
Date Range From
1952
Date Range To
1952
Materials
WATERCOLOUR, WOOD,GLASS
No. Pieces
1
Height
55.7
Length
68.0
Width
3.5
Description
LANDSCAPE WATERCOLOUR, SET BEHIND GLASS IN BLONDE WOODEN FRAME WITH OFF-WHITE MATTING. DIMESIONS PROVIDED ARE OF FRAME. LANDSCAPE ORIENTATION. WATERCOLOUR FEATURES TWO PEOPLE IN FOREGROUND ON BEACH AT THE NARROWS IN WATERTON. BACKGROUND RIGHT IS MOUNTAINS, WHILE BACKGROUND LEFT IS MOSTLY CLOUDS. SIGNED BY ARTIST BOTTOM RIGHT HAND CORNER "E.E. RIETHMAN" IN BLUE. REVERSE OF FRAME "THE NARROWS - WATERTON LAKES". METAL WIRE ON REVERSE FOR HANGING.EXCELLENT CONDITION. FRAME SHOWS SOME WEAR, ESPECIALLY ON THE CORNERS.
Subjects
ART
Historical Association
FINE ARTS
History
THE DONOR, ALEXANDRA KNORR, ACQUIRED THIS WORK AT A GARAGE SALE, PRESUMED TO HAVE BEEN IN SOUTH LETHBRIDGE, APPROXIMATELY 3-4 YEARS AGO (APPROXIMATELY 2011-2012). KNORR HAS NO RECOLLECTION OF THE AMOUNT OF MONEY SHE PAID FOR THE WORK, AND IN FACT PURCHASED THE WORK BECAUSE SHE WANTED THE FRAME, NOT THE PAINTING ITSELF. KNORR HAS NO CONNECTION TO THE SUBJECT, TO THE ARTIST, NOR TO ANY PREVIOUS OWNERS. ACCORDING TO A LETHBRIDGE HERALD ARTICLE, PUBLISHED DECEMBER 11, 1952, RIETHMAN EXHIBITED THIS PIECE DURING THE THREE-DAY LETHBRIDGE SKETCH CLUB ANNUAL ART EXHIBIT: "THOSE WHO ATTEND THE EXHIBITION WILL RECOGNIZE MANY SOUTHERN ALBERTA SCNESE, ESPECIALLY LANDSCAPS, AMONG SUCH PICTURES AS ... 'THE NARROWS, WATERTON' AND 'MORNING-HENDERSON LAKE' BY E. E. RIETHMAN. ... EVERY PERSON WHO ATTENDS THE EXHIBITION WILL HAVE A CHANCE AT WINNING A LANDSCAPE PAINTING BY MR. RIETHMAN, WHICH WILL BE DRAWN FOR AT THE END OF THE EXHIBIT." THE FOLLOWING BIOGRAPHY OF THE ARTIST, ERNEST EDWARD RIETHMAN, WAS DEVELOPED BY JANE EDMUNDSON IN 2014, USING A LETHBRIDGE HERALD TRIBUTE ARTICLE FROM DECEMBER 24, 1964 AND RECORD P20120030007. ERNEST RIETHMAN WAS BORN IN 1895 IN SWITZERLAND AND STUDIED ART AT AN ACADEMY IN BASIL, THEN AT THE INDUSTRIAL SCHOOL OF INTERIOR DECORATING AND PAINTING. IN 1919 HE CAME TO CANADA AND SETTLED IN LETHBRIDGE IN 1947. A PARTNER IN THE FIRM OF RIETHMAN AND HUDSON DECORATING LTD, RIETHMAN WAS ALSO A MEMBER OF THE LETHBRIDGE SKETCH CLUB FOR MANY YEARS AND TAUGHT ART CLASSES THROUGHOUT SOUTHERN ALBERTA. HE PAINTED IN OILS AND WATERCOLOURS AND ONE OF HIS WORKS WAS SELECTED FOR THE CANADIAN NATIONAL EXHIBITION IN TORONTO, LATER TRAVELLING TO MUNICH AND OTHER EUROPEAN VENUES. RIETHMAN PASSED AWAY SUDDENLY ON DECEMBER 23, 1964. SEE PERMANENT FILE FOR A HARDCOPY OF THE NEWSPAPER ARTICLE AND FOR AN EXHIBIT CATALOGUE FROM A RIETHMAN SHOW INSTALLED AT THE SOUTHERN ALBERTA ART GALLERY IN 1987. THE LETHBRIDGE SKETCH CLUB HELD THEIR FIRST MEETING AT THE HOME OF MISS ANNA MACKENZIE ON OCTOBER 7, 1936. EDITH FANNY KIRK WAS THE FIRST ART TEACHER IN LETHBRIDGE. SHE CAME FROM BRITAIN WITH CLASSICAL TRAINING AND IT WAS KIRK WHO SET THE STAGE FOR THE SKETCH CLUB TO COME INTO BEING. THE BANFF SCHOOL OF FINE ARTS ALSO PLAYED A ROLE IN THE FORMATION BY PROVIDING RECOGNITION OF ARTISTIC MERIT THROUGH DISTRICT SCHOLARSHIPS. ANNA MACKENZIE AND P.J. COLLINS CONCEIVED OF THE CLUB AFTER THEIR EXPERIENCE IN BANFF. THE GROUP WAS FORMED OUT OF AN ENTHUSIASTIC INTEREST IN ART AND SOON AFTER THE GROUP BEGAN MEETING, THERE WERE REGULAR EXHIBITIONS. THE GROUP WAS PRIVY TO THE ATTENTION OF GROUP OF SEVEN ARTIST A.Y.JACKSON WHEN HE MADE HIS FREQUENT SKETCHING TRIPS TO SOUTHERN ALBERTA. HE REGULARLY ACCOMPANIED THE SKETCH CLUB AND HIS INFLUENCE CAN BE SEEN IN MUCH OF THEIR WORK. ANOTHER GUEST OF THE GROUP WAS ANNORA BROWN WHO WAS AN ARTIST WHO HAD TRAINED IN TORONTO, BUT RESIDED IN FORT MACLEOD AND BEGAN SPENDING TIME WITH THE GROUP IN 1939. HER INTEREST IN FLOWER STUDIES IS SUSPECTED TO HAVE INSPIRED MANY OF THE WORKS BY CLUB MEMBERS. DURING THE SUMMER MONTHS, THE GROUP ORGANIZED SUMMER CLASSES TAUGHT BY OUT OF TOWN ARTISTS SUCH AS: H.G.GLYDE, WALTER J. PHILIPS AND A.C. LEIGHTON. ACCORDING TO A HISTORY OF THE LETHBRIDGE SKETCH CLUB WRITTEN BY JOAN STEBBINS IN JUNE, 1985, “THE PAINTINGS OF THE LETHBRIDGE SKETCH CLUB PORTRAY FAVOURITE SKETCHING AREAS IN THE REGION – THE COULEES PROVIDED ENDLESS MATERIAL, THE RIVERBOTTOM, THE OLD R.C.M.P. BARRACKS, THE WHITNEY FARM, HENDERSON LAKE, THE FELGER HUTTERITE COLONY, THE FOOTHILLS AND WATERTON LAKE WERE OFTEN REPEATED SUBJECTS.” FOR PREVIOUS DONATIONS OF RIETHMAN’S WORK, SEE P19705197000 AND P20120030007. FOR MORE INFORMATION, PLEASE SEE PERMANENT FILE. UPDATE: ON 24 OCTOBER 2019, ERNEST E. RIETHMAN’S GRANDDAUGHTER LINDA BAINES SHARED A “PERSONAL RECORD” WITH MUSEUM STAFF. THE LATTER DAY SAINT DOCUMENT WAS COMPLETED BY HER GRANDMOTHER CLARA S. RIETHMAN--ERNEST’S WIFE. IT IS A HANDWRITTEN CHRONOLOGY OF CLARA’S LIFE IN SWITZERLAND AND ALBERTA. PERSONAL INFORMATION CONTAINED WITHIN THE DOCUMENT EXTENDS TO ERNEST’S LIFE . TO SEE THIS RECORD, PLEASE SEE P19705197000’S PERMANENT FILE.
Catalogue Number
P20150024000
Acquisition Date
2015-09
Collection
Museum
Images
Less detail

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