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Other Name
PLEASE PRESENT MEMBERSHIP CARDS
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
CARDBOARD, PAINT, INK
Catalogue Number
P20120045018
  2 images  
Material Type
Artifact
Other Name
PLEASE PRESENT MEMBERSHIP CARDS
Date Range From
1960
Date Range To
1970
Materials
CARDBOARD, PAINT, INK
No. Pieces
1
Length
25
Width
36
Description
CARDBOARD SIGN PAINTED WHITE WITH HANDWRITTEN RED TEXT “PLEASE PRESENT” AND BLACK TEXT “MEMBERSHIP CARDS” AND GREEN UNDERLINES. FRONT OF SIGN IS DISCOLOURED AND HAS PAINT STAINS AND SPOTS; PENCIL OUTLINES ARE VISIBLE AROUND LETTERS. BACK OF SIGN IS PALE CARDBOARD WITH FOLDS AT THE UPPER AND LOWER EDGES TO CREATE STAND FOR SIGN. BACK OF SIGN IS CREASED IN THE CENTER AND ALONG LEFT AND RIGHT EDGES; BACK IS STAINED BLACK AND RED; OVERALL GOOD CONDITION.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
ASSOCIATIONS
History
ON AUGUST 21, 2018, COLLECTIONS TECHNICIAN INTERVIEWED LLOYD CAREFOOT REGARDING HIS DONATION OF MEMORABILIA RELATED TO COURT WINDY WEST (#562) LETHBRIDGE CHAPTER OF THE INDEPENDENT ORDER OF FORESTERS. CAREFOOT WAS ACTIVELY INVOLVED WITH THE FORESTERS WHILE HE LIVED IN EDMONTON, ALBERTA, AND CONTINUED HIS INVOLVEMENT FOLLOWING HIS MOVE TO LETHBRIDGE IN 1963. WHEN ASKED ABOUT HIS TIME SPENT IN THE FORESTERS, CAREFOOT RECALLED, “WE [WIFE RUTH AND LLOYD] WERE INVITED TO [AN] ACTIVITY. [IN THOSE] DAYS THERE [WERE] SOCIAL PARTIES…SOMEBODY THAT I KNEW INVITED ME TO COME AND I HEARD WHAT THEY WERE DOING. IT WAS SOMETHING THAT RUTH AND I THOUGHT…WOULD BE SOMETHING WE’D LIKE TO BE INVOLVED IN…MY FATHER WAS A MEMBER OF THE CANADIAN ORDER OF FORESTERS WHICH WAS A STAGE BEFORE THE INDEPENDENT ORDER OF FORESTERS.” “I BECAME A MEMBER IN EDMONTON… I WAS ONLY AS ASSOCIATE AT THAT TIME. WHEN WE MOVED DOWN HERE, WE BECAME MEMBERS HERE…MY FIRST WORKDAY WAS THE SECOND OF JANUARY, ’63; 1963 [IN LETHBRIDGE]. I WAS A FULL-BLOWN MEMBER IN 1966.” “[I JOINED BECAUSE OF] THE SATISFACTION THAT IT’S A STRONG CHARITABLE WAY OF DOING THINGS TO GIVE BACK. THAT’S PART OF MY PHILOSOPHY; JUST GIVE A LITTLE BACK FOR THE GOOD LIFE I’VE HAD.” “I WAS THE PRESIDENT OF THE LEAGUE…OF [THE] LETHBRIDGE CHAPTER. AND [I] WOUND UP WITH [THE TRUNK] AND IN IT [WERE] THESE THINGS. IT PRE-DATES ME.” “MOST OF THOSE THINGS WERE FOR MY PERSONAL USE…EITHER IN EVENTS OR A POSITION I HELD IN THE FORESTERS. I LOOK AT [THE OBJECTS] AND I SMILE.” REGARDING HIS DONATION, CAREFOOT ELABPRATED, “THE FORESTERS IN THE COMMUNITY DID A LOT OF CHARITY WORK AND I THOUGHT IT WAS A WAY OF COVERING FOR THE FUTURE [ABOUT] THE THINGS THAT WE DID, OR STILL DO. THAT WAS, MORE THAN ANYTHING ELSE, MY REASON FOR [DONATING IT] – A WAY OF PASSING IT ALONG SO IT JUST DIDN’T GET SHOVED IN THE JUNK…TO SOMEBODY IN THE FUTURE, IT INDICATES SOMETHING OF WHAT WE DID AND SOME ILLUSTRATION OF THINGS THAT WE DID. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20120045001-GA.
Catalogue Number
P20120045018
Acquisition Date
2012-12
Collection
Museum
Images
Less detail
Other Name
BLANKET
Date Range From
1920
Date Range To
1990
Material Type
Artifact
Materials
RAW FLAX YARN
Catalogue Number
P20160003007
  2 images  
Material Type
Artifact
Other Name
BLANKET
Date Range From
1920
Date Range To
1990
Materials
RAW FLAX YARN
No. Pieces
1
Length
139
Width
99.5
Description
HAND-WOVEN BLANKET MADE FROM RAW FLAX. THE BLANKET IS COMPOSED OF 2 SECTIONS OF THE SAME SIZE OF MATERIAL THAT ARE JOINED TOGETHER WITH A SEAM AT THE CENTER. ON THE FRONT SIDE (WITH NEAT SIDE OF THE STITCHING AND PATCHES), THERE ARE THREE PATCHES ON THE BLANKET MADE FROM LIGHTER, RAW-COLOURED MATERIAL. ONE SECTION OF THE FABRIC HAS TWO OF THE PATCHES ALIGNED VERTICALLY NEAR THE CENTER SEAM. THE AREA SHOWING ON ONE PATCH IS 3 CM X 5 CM AND THE OTHER IS SHOWING 5 CM X 6 CM. ON THE OPPOSITE SECTION THERE IS ONE PATCH THAT IS 16 CM X 8.5 CM SEWN AT THE EDGE OF THE BLANKET. THE BLANKET IS HEMMED ON BOTH SHORT SIDES. ON THE OPPOSING/BACK SIDE OF THE BLANKET, THE FULL PIECES OF THE FABRIC FOR THE PATCHES ARE SHOWING. THE SMALLER PATCH OF THE TWO ON THE ONE HALF-SECTION OF THE BLANKET IS 8CM X 10 CM AND THE OTHER PATCH ON THAT SIDE IS 14CM X 15CM. THE PATCH ON THE OTHER HALF-SECTION IS THE SAME SIZE AS WHEN VIEWED FROM THE FRONT. THERE IS A SEVERELY FADED BLUE STAMP ON THIS PATCH’S FABRIC. FAIR CONDITION. THERE IS RED STAINING THAT CAN BE SEEN FROM BOTH SIDES OF THE BLANKET AT THE CENTER SEAM, NEAR THE EDGE OF THE BLANKET AT THE SIDE WITH 2 PATCHES (CLOSER TO THE LARGER PATCH), AND NEAR THE SMALL PATCH AT THE END FURTHER FROM THE CENTER. THERE IS A HOLE WITH MANY LOOSE THREADS SURROUNDING NEAR THE CENTER OF THE HALF SECTION WITH ONE PATCH. THERE ARE VARIOUS THREADS COMING LOOSE AT MULTIPLE POINTS OF THE BLANKET.
Subjects
AGRICULTURAL T&E
BEDDING
Historical Association
AGRICULTURE
DOMESTIC
ETHNOGRAPHIC
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. ACCORDING TO A NOTE THAT WAS ATTACHED TO THIS LIGHTWEIGHT BLANKET AT THE TIME OF ACQUISITION THE BLANKET IS BELIEVED TO HAVE BEEN MADE C. 1920S. MORRIS SAYS HER MEMORY OF THE BLANKET DATES AS FAR BACK AS SHE CAN REMEMBER: “RIGHT INTO THE ‘30S, ‘40S AND ‘50S BECAUSE MY MOTHER DID THAT RIGHT UP UNTIL NEAR THE END. I USE THAT EVEN IN LETHBRIDGE WHEN I HAD A GARDEN. [THIS TYPE OF BLANKET] WAS USED FOR TWO PURPOSES. IT WAS EITHER PUT ON THE BED UNDERNEATH THE MATTRESS THE LADIES MADE OUT OF WOOL AND OR ELSE IT WAS USED, A DIFFERENT PIECE OF CLOTH WOULD BE USED FOR FLAILING THINGS. [THE] FLAIL ACTUALLY GOES WITH IT AND THEY BANG ON THE SEEDS AND IT WOULD TAKE THE HULLS OFF… IT’S HAND WOVEN AND IT’S MADE OUT OF POOR QUALITY FLAX… IT’S UNBLEACHED, DEFINITELY… RAW LINEN." THIS SPECIFIC BLANKET WAS USED FOR SEEDS MORRIS RECALLS: “…IT HAD TO BE A WINDY DAY… WE WOULD PICK DRIED PEAS OR BEANS OR WHATEVER BEET SEEDS AND WE WOULD BEAT AWAY AND THEN WE WOULD STAND UP, HOLD IT UP AND THE BREEZE WOULD BLOW THE HULLS OFF AND THE SEEDS WOULD GO STRAIGHT DOWN [ONTO THE BLANKET.” THE SEEDS WOULD THEN BE CARRIED ON THE BLANKET AND THEN PUT INTO A PAIL. OF THE BLANKET’S CLEAN STATE, MORRIS EXPLAINS, “THEY’RE ALWAYS WASHED AFTER THEY’RE FINISHED USING THEM.” WHEN SHE LOOKS AT THIS ARTIFACT, MORRIS SAYS: “I FEEL LIKE I’M OUT ON THE FARM, I SEE FIELDS AND FIELDS OF FLAX, BLUE FLAX. BUT THAT’S NOT WHAT SHE USED IT FOR. SHE DID USE IT IF SHE WANTED A LITTLE BIT OF THE FLAX THEN SHE’D POUND THE FLAX, BUT THAT WASN’T OFTEN. IT WAS MOSTLY BEANS AND PEAS.” IT IS UNKNOWN WHO WOVE THIS BLANKET. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003007
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
FLAIL PADDLE
Date Range From
1920
Date Range To
1990
Material Type
Artifact
Materials
WOOD
Catalogue Number
P20160003001
  1 image  
Material Type
Artifact
Other Name
FLAIL PADDLE
Date Range From
1920
Date Range To
1990
Materials
WOOD
No. Pieces
1
Height
4
Length
41
Width
12
Description
WOODEN FLAIL. ONE END HAS A PADDLE WITH A WIDTH THAT TAPERS FROM 12 CM AT THE TOP TO 10 CM AT THE BASE. THE PADDLE IS WELL WORN IN THE CENTER WITH A HEIGHT OF 4 CM AT THE ENDS AND 2 CM IN THE CENTER. HANDLE IS ATTACHED TO THE PADDLE AND IS 16 CM LONG WITH A CIRCULAR SHAPE AT THE END OF THE HANDLE. ENGRAVED ON THE CIRCLE THE INITIALS OF DONOR’S MATERNAL GRANDMOTHER, ELIZABETH EVANAVNA WISHLOW, “ . . .” GOOD CONDITION. THERE IS SLIGHT SPLITTING OF THE WOOD ON THE PADDLE AND AROUND THE JOINT BETWEEN THE HANDLE AND THE PADDLE. OVERALL WEAR FROM USE.
Subjects
AGRICULTURAL T&E
Historical Association
AGRICULTURE
ETHNOGRAPHIC
History
THE 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. THIS WOODEN DOUKHOBOR TOOL IS CALLED A “FLAIL.” A NOTE WRITTEN BY ELSIE MORRIS THAT WAS ATTACHED TO THE FLAIL AT THE TIME OF DONATION EXPLAINS, “FLAIL USED FOR BEATING OUT SEEDS. BELONGED TO ELIZABETH EVANAVNA WISHLOW, THEN HANDED TO HER DAUGHTER ELIZABETH PETROVNA KONKIN WHO PASSED IT ON TO HER DAUGHTER ELIZABETH W. MORRIS.” ALTERNATELY, IN THE INTERVIEW, MORRIS REMEMBERED HER GRANDMOTHER’S, “… NAME WAS JUSOULNA AND THE MIDDLE INITIAL IS THE DAUGHTER OF YVONNE. YVONNE WAS HER FATHER’S NAME AND WISHLOW WAS HER LAST NAME.” THE FLAIL AND THE BLANKET, ALSO DONATED BY MORRIS, WERE USED TOGETHER AT HARVEST TIME TO EXTRACT AND COLLECT SEEDS FROM GARDEN CROPS. ELSIE RECALLED THAT ON WINDY DAYS, “WE WOULD PICK DRIED PEAS OR BEANS, OR WHATEVER, AND WE WOULD [LAY THEM OUT ON THE BLANKET], BEAT AWAY AND THEN HOLD [THE BLANKET] UP, AND THE BREEZE WOULD BLOW THE HULLS OFF AND THE SEEDS WOULD GO STRAIGHT DOWN.” THE FLAIL CONTINUED TO BE USED BY ELIZABETH “RIGHT UP TO THE END,” POSSIBLY INTO THE 1990S, AND THEREAFTER BY MORRIS. WHEN ASKED WHY SHE STOPPED USING IT HERSELF, MORRIS SAID, “I DON’T GARDEN ANYMORE. FURTHERMORE, PEAS ARE SO INEXPENSIVE THAT YOU DON’T WANT TO GO TO ALL THAT WORK... I DON’T KNOW HOW MANY PEOPLE HARVEST THEIR SEEDS. I THINK WE JUST GO AND BUY THEM IN PACKETS NOW.” 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. DOUKHOBOURS CAME TO CANADA IN FINAL YEARS OF THE 19TH CENTURY TO ESCAPE RELIGIOUS PERSECUTION IN RUSSIA. ELIZABETH KONKIN (NEE WISHLOW) WAS BORN IN CANORA, SK ON JANUARY 22, 1907 TO HER PARENTS, PETER AND ELIZABETH WISHLOW. AT THE AGE OF 6 SHE MOVED WITH HER FAMILY TO A DOUKHOBOR SETTLEMENT AT BRILLIANT, BC, AND THEY LATER MOVED TO THE DOUKHOBOR SETTLEMENT AT SHOULDICE. IT WAS HERE THAT SHE MET AND MARRIED WILLIAM KONKIN. THEIR DAUGHTER, ELSIE MORRIS (NÉE KONKIN), WAS BORN IN SHOULDICE IN 1928. INITIALLY, WILLIAM TRIED TO SUPPORT HIS FAMILY BY GROWING AND PEDDLING VEGETABLES. WHEN THE FAMILY RECOGNIZED THAT GARDENING WOULD NOT PROVIDE THEM WITH THE INCOME THEY NEEDED, WILLIAM VENTURED OUT TO FARM A QUARTER SECTION OF IRRIGATED LAND 120 KM (75 MILES) AWAY IN VAUXHALL. IN 1941, AFTER THREE YEARS OF FARMING REMOTELY, HE AND ELIZABETH DECIDED TO LEAVE THE ALBERTA COLONY AND RELOCATE TO VAUXHALL. MORRIS WAS 12 YEARS OLD AT THE TIME. MORRIS STATED: “… [T]HEY LEFT THE COLONY BECAUSE THERE WERE THINGS GOING ON THAT THEY DID NOT LIKE SO THEY WANTED TO FARM ON THEIR OWN. SO NOW NOBODY HAD MONEY, SO VAUXHALL HAD LAND, YOU KNOW, THAT THEY WANTED TO HAVE THE PEOPLE AND THEY DIDN’T HAVE TO PUT ANY DOWN DEPOSIT THEY JUST WERE GIVEN THE LAND AND THEY HAD TO SIGN A PAPER SAYING THEY WOULD GIVE THEM ONE FOURTH OF THE CROP EVERY YEAR. THAT WAS HOW MY DAD GOT PAID BUT WHAT MY DAD DIDN’T KNOW WAS THAT THE MONEY THAT WENT IN THERE WAS ACTUALLY PAYING OFF THE FARM SO HE WENT TO SEE MR., WHAT WAS HIS LAST NAME, HE WAS THE PERSON IN CHARGE. ANYWAY HE SAID TO HIM “HOW LONG WILL IT BE BEFORE I CAN PAY OFF THIS FARM” AND HE SAYS “YOU’VE BEEN PAYING IT RIGHT ALONG YOU OWE ABOUT TWO HUNDRED AND A FEW DOLLARS”. WELL THAT WAS A REAL SURPRISE FOR THEM SO THEY GAVE THEM THE TWO HUNDRED AND WHATEVER IT WAS THAT HE OWED AND HE BECAME THE OWNER OF THE FARM." MORRIS WENT ON, ”THE DOUKHOBORS ARE AGRARIAN, THEY LIKE TO GROW THINGS THAT’S THEIR CULTURE OF OCCUPATION AND SO THE ONES WHO LIKED FRUIT MOVED TO B.C. LIKE MY UNCLE DID AND MY DAD LIKED FARMING SO HE MOVED TO VAUXHALL AND THERE WERE LET’S SEE, I THINK THERE WERE FOUR OTHER FAMILIES THAT MOVED TO VAUXHALL AND THREE OF THE MEN GOT TOGETHER AND DECIDED THEY WERE GOING TO GET THEIR TOOLS TOGETHER LIKE A TRACTOR AND MACHINERY THEY NEEDED AND THEN THEY WOULD TAKE TURNS…” THE KONKINS RETIRED TO LETHBRIDGE FROM VAUXHALL IN 1968. MORRIS, BY THEN A SCHOOL TEACHER, RELOCATED TO LETHBRIDGE WITH HER OWN FAMILY. WILLIAM KONKIN PASSED AWAY IN LETHBRIDGE ON MARCH 3, 1977 AT THE AGE OF 72 AND 23 YEARS LATER, ON APRIL 8, 2000, ELIZABETH KONKIN PASSED AWAY IN LETHBRIDGE. A NUMBER OF ARTIFACTS PREVIOUSLY BELONGING TO THE FAMILY EXIST IN THE GALT COLLECTION. THE KONKINS RETIRED TO LETHBRIDGE FROM VAUXHALL IN 1968. MORRIS, BY THEN A SCHOOL TEACHER, RELOCATED TO LETHBRIDGE WITH HER OWN FAMILY. WILLIAM KONKIN PASSED AWAY IN LETHBRIDGE ON MARCH 3, 1977 AT THE AGE OF 72 AND 23 YEARS LATER, ON APRIL 8, 2000, ELIZABETH KONKIN PASSED AWAY IN LETHBRIDGE. A NUMBER OF ARTIFACTS PREVIOUSLY BELONGING TO THE FAMILY EXIST IN THE GALT COLLECTION. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003001
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
BATHROOM SIGN
Date Range From
1940
Date Range To
1992
Material Type
Artifact
Materials
BAKELITE, PAPER
Catalogue Number
P20150022001
  2 images  
Material Type
Artifact
Other Name
BATHROOM SIGN
Date Range From
1940
Date Range To
1992
Materials
BAKELITE, PAPER
No. Pieces
1
Length
25.4
Width
18
Description
WHITE BAKELITE WOMEN'S BATHROOM SIGN. WHITE BACKGROUND, BLACK BORDER 1.7CM FROM EDGE OF SIGN. PINK FIGURE OF A WOMAN, IN A DRESS, IN CENTRE OF SIGN. FIGURE IS OUTLINED IN BLACK. REVERSE OF SIGN IS A NEON-GREEN PIECE OF PAPER THAT READS "WASHROOM CLOSED". TWO SCREW HOLES, CENTRE TOP AND CENTRE BOTTOM, TO AFFIX SIGN TO DOOR. OVERALL IN VERY GOOD CONDITION. SLIGHT WATER STAINING ON PAPER AT BOTTOM. SLIGHT DISCOLOURATION AROUND EDGES OF PAPER. BAKELITE SURFACE IN VERY GOOD CONDITION.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
PERSONAL CARE
History
THIS BATHROOM SIGN WAS SALVAGED FROM THE SOUTHERN ALBERTA ART GALLERY (SAAG – HOUSED IN THE CARNEIGE LIBRARY BUILDING) IN 1992 WHEN THE BUILDING UNDERWENT RENOVATIONS FOR THE REMOVAL OF ASBESTOS. IN AN INTERVIEW WITH ITS DONOR ANINE VONKEMAN, CONDUCTED BY KEVIN MACLEAN IN JUNE 2015, SHE CLAIMED THAT THE SIGN WAS “IN THE HALLWAY FROM THE MAIN ENTRANCE DOWN TOWARDS WHERE THE CHILDREN’S LIBRARY WAS. AND MY OFFICE WAS RIGHT ACROSS THE HALL FROM IT. AND SO THIS HAD BEEN PUT IN THE GARBAGE AONG WITH THE ‘MENS’ SIGN. AND THE ‘MENS’ SIGN HAD BROKEN, SO I DIDN’T TAKE IT.” SHE CONTINUED SAYING THAT “I REALLY LIKED THIS ‘CAUSE IT’S AN ARTIFACT FROM, I DON’T KNOW, 40S, 50S – BAKELITE, WITH AN ICON OF A FEMALE ON IT. SO ANYWAY, I TOOK IT AND IT SAT IN MY OFFICE AND THEN WHEN I WAS DONE AT SAAG, I WAS ABLE TO TAKE IT WITH ME AND I PUT IT ON THE BATHROOM DOOR IN MY HOUSE, WHICH WAS BUILT IN 1945.” ANINE EXPLAINED HER REASONING FOR SALVAGING THE SIGN BY SAYING “I DON’T KNOW, LIKE RETRO THINGS TO ME HAVE VALUE AND VISUAL INTEREST. SO I THINK THAT IS WHY AND ALSO IT’S PART OF THIS BUILDING; IT’S LIVED IN THIS BUILDING FOR I DON’T KNOW HOW MANY YEARS, INDICATING THIS IS WHERE FEMALES GO TO THE WASHROOM AND HOW MANY PEOPLE HAVE OPENED THAT DOOR, YOU KNOW, AND USED THAT BATHROOM. SO, I MEAN IT’S MORE THAN JUST A SIGN, IT’S PART OF THAT BUILDING.” ANINE WOULD HAVE LIKED TO KEEP THE SIGN WITH HER WHEN SHE MOVED TO BRITISH COLUMBIA, BUT DONATED IT TO THE MUSEUM BECAUSE OF ITS CONNECTION TO LETHBRIDGE. SHE EXPLAINED, SAYING “IT’S A BIT OF A STRUGGLE [TO GIVE THE SIGN UP], BUT IT’S ABOUT A BUILDING, A HISTORIC BUILDING IN LETHBRIDGE, AND I’M LEAVING LETHBRIDGE AND I THINK IT SHOULD STAY HERE.” ANINE ATTENDED THE UNIVERSITY OF LETHBRIDGE (U OF L) IN 1986 AND STARTED WORKING AT THE SAAG IN 1992, TWO WEEKS AFTER GRADUATING FROM THE U OF L. SHE BEGAN AS THE PUBLIC PROGRAMS COORDINATOR AND “WAS DOING MEDIA STUFF, VOLUNTEER COORDINATION, SPECIAL EVENTS COORDINATION AND STARTED THE ART AUCTION.” BY 2004, SHE WAS WORKING AT THE GALT AS MARKETING/COMMUNICATIONS OFFICER. SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND SEE P20150005000 FOR ADDITIONAL INFORMATION ON THE VONKEMAN FAMILY.
Catalogue Number
P20150022001
Acquisition Date
2015-06
Collection
Museum
Images
Less detail
Date Range From
1950
Date Range To
2002
Material Type
Artifact
Materials
WOOD, METAL
Catalogue Number
P20160008001
  2 images  
Material Type
Artifact
Date Range From
1950
Date Range To
2002
Materials
WOOD, METAL
No. Pieces
1
Height
38.3
Length
121.5
Width
4.6
Description
SIGN. WOOD AND METAL. BORDER OF SIGN IS PAINTED MEDIUM/DARK BROWN. MAIN PORTION OF SIGN IS GOLDEN ROD YELLOW, WITH BLACK LETTERING. TEXT READS: “A SAFE WORKER IS A VALUABLE EMPLOYEE”. TWO METAL BRACKETS FOR HANGING ATTACH TO BACK OF SIGN. EACH BRACKET ATTACHES TO THE BACK WITH TWO FLAT HEADED BOLTS, WHICH ARE VISIBLE ON THE YELLOW SIDE OF THE SIGN. NUTS HOLD THE BOLTS ON THE BACK. HANDWRITTEN IN BLUE INK ON BOTTOM LEFT SIDE “317-9353”. REVERSE OF SIGN IS UNFINISHED DARK, ROUGH PINE BORDER. OVERALL IN GOOD TO VERY GOOD CONDITION. SIGN IS VERY DIRTY. SOME OF BROWN PAINT AROUND BORDER HAS SCRATCHED OFF, REVEALING BLACK PAINT UNDERNEATH.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
INDUSTRY
TRANSPORTATION
History
THE FOLLOWING INFORMATION COMES FROM A SERIES OF LETHBRIDGE HERALD NEWSPAPER ARTICLES AND AN INTERVIEW WITH DONOR JOHN SUMPTION CONDUCTED BY GALT MUSEUM TECH KEVIN MACLEAN ON 22 MARCH 2016: JOHN STARTED WORKING AT THE FROG SHOP IN KIPP, AB IN 1992. HE DESCRIBED HOW IT WAS THAT HE CAME TO WORK THERE: “I WAS WORKING AS A SEASONAL MACHINE OPERATOR ON THE PACIFIC REGION, WHICH MEANT THAT IN THE SPRINGTIME EVERY YEAR, I GENERALLY START OUT SOMEWHERE NEAR THE FRASER CANYON AND OVER THE COURSE OF THE YEAR I’D WORK ANYWHERE FROM THERE TO SWIFT CURRENT AND FROM THE U.S. BORDER AS FAR NORTH AS [THE CPR HAD TRACKS, TO ROUGHLY ST. PAUL, AB]. THE LENGTH OF MY YEAR’S EMPLOYMENT WOULD BE DETERMINED IN MY SENIORITY AND THE AMOUNT OF WORK THAT WAS AVAILABLE. I WAS REAL TIRED OF BEING ON THE ROAD. THE YEAR PREVIOUSLY, THERE’D BEEN A TEMPORARY JOB – A COUPLE OF TEMPORARY JOBS THAT WERE BULLETINED AT THE FROG SHOP IN THE FALL, PROCESSING SOME SCRAP MATERIAL THAT WAS THERE. A FRIEND AND MINE BID THOSE JOBS AND GOT THEM. THAT MEANT WE WERE ON THE SHOP’S SENIORITY LIST AND WHEN THE OPPORTUNITY AROSE, THERE WAS A POSITION THERE BULLETINED – ACTUALLY A COUPLE OF POSITIONS BULLETINED THERE – MY FRIEND AND I BID THEM TO BE ABLE TO BE AT HOME AND HAVE A YEAR ROUND JOB. MIGHT NOT HAVE BEEN THE BEST IDEA EVER, BUT IT WAS GOOD TO BE HOME AND SLEEP IN MY OWN BED AT NIGHT AND WAKE UP AND SEE MY HORSES IN THE MORNING.” JOHN REMOVED THIS SIGN FROM HIS WORKPLACE WHEN THE CANADIAN PACIFIC RAILWAY ELECTED TO CLOSE THE FROG SHOP IN KIPP IN THE SPRING OF 2002. JOHN’S SUPERVISOR, GUY MITCHELL, KNEW THAT HE HAD AN INTEREST IN HISTORY AND OLD THINGS AND ALLOWED JOHN TO TAKE SOME ITEMS HOME. JOHN RECOUNTED THE EXPERIENCE: “WHEN I ASKED [GUY] WHAT WAS TO BECOME OF THE [SAFE WORKER] SIGN HE SAID, ‘YOU CAN HAVE IT, JOHN. THEY’LL JUST THROW IT AWAY. IT’S JUST JUNK AS FAR AS ANYONE ELSE CONCERNED.’ I ASKED HIM, ‘GEE, COULD I HAVE THE LITTLE PLAQUE OFF THE DOOR?’ AND HE SAID, ‘OF COURSE, YEAH, TAKE IT. IT’S GOING TO GET – SOMEONE ELSE WILL KNOCK IT OFF AND IT’LL GET BROKEN. SO MUCH THE BETTER. YOU WANNA SEE IT HANG IN THERE, GO FOR IT. IT’S ALL YOURS.’” JOHN EXPLAINED THAT THIS SIGN HUNG ON THE WALL: “IT WAS HANGING ON THE WALL WELL ABOVE THE DOORWAY, AND [I] PUT A LADDER UP AND TOOK THE TWO BIG SCREWS OUT OF THE WALL THAT HELD IT IN PLACE, AND TOOK THE TWO LITTLE TINY SCREWS OUT OF THE DOORWAY THAT HELD THE FROG SHOP SIGN IN PLACE. THAT WAS ONE OF THE LAST DAY – I THINK IT MIGHT HAVE BEEN EVEN THE LAST DAY THAT WE WERE THERE – AS I RECALL THAT’S THE CASE.” JOHN EXPLAINED WHY HE WAS SO INTERESTED IN THIS PARTICULAR SIGN: “BUT THE SIGN WAS SIGNIFICANT TO ME IN IT OF ITSELF GIVEN THAT WE SOMETIMES JOKED THAT THAT WAS THE ENTIRETY, FOR A LONG TIME, OF THE RAILWAY’S SAFETY PROGRAM – WAS A SIGN LIKE THIS. ON ALL THE MIRRORS IN ALL OF THE EMPLOYEES’ BATHROOMS, GOING BACK AT LEAST WHEN I FIRST WORKED FOR THE RAILWAY THE SUMMER OUT OF THE UNIVERSITY IN 1975, THE MIRRORS WERE ALL PAINTED WITH A SIGN ABOVE - AT THE TOP AND THE BOTTOM OF THE MIRROR THAT SAID, “YOU’RE LOOKING AT THE MAN MOST RESPONSIBLE YOUR SAFETY.” THOSE WERE QUITE OFTEN CHANGED BY EMPLOYEES TO SAY SOMETHING QUITE DIFFERENT, BUT YEAH, IT WAS SOMETHING OF A JOKE.” HE WENT ON FURTHER, SAYING THAT IN 1978 HE AND A FRIEND LOOKED INTO THE OLD ROUNDHOUSE AT THE RAIL YARD IN LETHBRIDGE AND “WAS MORTIFIED” TO SEE THE WORKING CONDITIONS: “WE PULLED UP BEHIND THE OLD ROUNDHOUSE IN THE OLD YARD HERE IN LETHBRIDGE, AND LOOKED IN THE DOORWAY. THAT’S AS MUCH AS I KNOW OF THE OLD ROUNDHOUSE, AND I WAS MORTIFIED TO SEE MEN WORKING IN A POORLY VENTILATED, ANCIENT, REALLY FALLING APART BUILDING. MORE PIGEONS THAN PEOPLE INSIDE, IN A CLOUD OF DUST AND WELDING SMOKE THAT YOU COULD NOT SEE THROUGH. THAT’S WHERE THIS SIGN CAME FROM.” IN COMPARISON, THE WORKING CONDITIONS IN THE KIPP FROG SHOP WERE MUCH BETTER, BUT JOHN EXPLAINS THAT THERE WERE STILL PROBLEMS: “WHEN I WENT TO WORK AT THE FROG SHOP IN KIPP IN EARLY ’92, A GREAT NUMBER OF PEOPLE WORKING THERE, AND THEN THERE WERE ONLY 12 EMPLOYEES THERE AND A SUPERVISOR, HAD WORKED THERE. CONSEQUENTLY, THAT FACILITY WAS LIGHT YEARS BEYOND WHERE THEY WORKED PREVIOUSLY, AND THEY’RE PRETTY COMFORTABLE IN THEIR ENVIRONMENT. THEY FELT THAT, YOU KNOW, THEY WERE DOING PRETTY WELL. THERE WERE A NUMBER OF US OVER THE COURSE OF THE NEXT COUPLE OF YEARS THAT CAME TO WORK THERE THAT HAD PREVIOUSLY WORKED ON THE SEASONAL WORK CREWS, AS MACHINE OPERATORS, WERE HAPPY TO HAVE A FULL TIME, YEAR-ROUND JOB. IT WASN’T A VERY PLEASANT PLACE TO WORK. IT WAS VERY DUSTY, VERY NOISY, AND DESPITE A RELATIVELY DECENT WELDING FUME VENTILATION SYSTEM, IT WASN’T A GOOD PLACE TO BE. AND WE LOOKED AT THE SIGN EVERY DAY AS YOU WALKED OUT. IN THE COURSE OF READING THE MSDS ON THE WELDING WIRE AND THE WELDING ROD WE USED, AFTER I WORKED THERE FOR MAYBE A YEAR OR SO – MAYBE A COUPLE YEARS – I SAW THAT THE WELDING WIRE MANUFACTURER – WELL THE WELDING ROD MANUFACTURER – SUGGESTED THAT PEOPLE HAVE AT LEAST ANNUAL BLOOD TESTS TO DETERMINE THEIR BLOOD LEVELS OF HEAVY METALS, IN PARTICULAR MANGANESE.” JOHN EXPLAINED THAT TOO MUCH MAGNESIUM IN THE HUMAN BODY CAN MIMIC PARKINSON’S DISEASE, A CONDITION CALLED PARKINSONISM. SUMPTION PUSHED FOR BLOOD TESTING TO BE DONE IN THE 1990S: “THAT STARTED US DOWN THE ROAD THAT RESULTED IN A STUDY BEING DONE BY A GROUP OF INDUSTRIAL MEDICINE SPECIALISTS FROM THE UNIVERSITY OF CALGARY, INCLUDING OF THE FOREMOST – THE WORLD’S MOST FOREMOST – MOVEMENT DISORDER SPECIALIST … . CONSEQUENTLY, WE ALL SPENT TWO DAYS IN CALGARY, GOT MRI, GOT BLOOD TESTS, AND THEREAFTER WERE REGULARLY SUBJECTED TO URINE TESTS.” THE RESULTS OF ALL OF THIS TESTING: “CONSEQUENTLY, THE VENTILATION SYSTEM WAS IMPROVED, THE DUST CAPTURE SYSTEM WAS IMPROVED FOR THE GRINDING PROCEDURES, AND ALL EMPLOYEES WORE POWER PURIFIED AIR RESPIRATORS THEREAFTER. SO WE HAD A MUCH SAFER WORK ENVIRONMENT.” JOHN NEVER SAW THIS SIGN HANGING IN THE ROUNDHOUSE AND HAD THE FOLLOWING TO SAY: “IT’S FAR TOO OLD TO HAVE BEEN MADE FOR THE FROG SHOP IN 1982. WHEN YOU LOOK AT THESE … BOLTS – HAVEN’T SEEN THEM DO LIKE THAT IN AN AWFUL LONG TIME. THIS IS HAND-PUNCHED – THIS IS HAND-CUT AND HAND-PUNCHED. LOOT AT THE WIDTH OF THE PINE PLANK THAT IT’S ON. IT’S NOT REGULAR, OLD CPR RED. THEY DIDN’T BUY THINGS. THEY ARE NOTORIOUSLY CHEAP. I REMEMBER THIS YELLOW PAINT. THIS IS THE SAME YELLOW PAINT THAT THEY PAINTED THEIR MOTOR CARS WITH – THE LITTLE, FREEZE-YOUR-ASS-OFF TRACK MOBILES WE USED TO TRAVEL ON WHEN WE’RE WORKING ON THE TRACK. YEAH, I WAS TOLD THAT. BUT I KNOW THEY WOULDN’T HAVE A SIGN PAINTED. I KNOW THEY WOULDN’T BUY ONE FROM ANYONE. AND THAT WAS WHAT I WAS TOLD BY ALL THE PEOPLE THAT I WORKED WITH THERE; SOME OF WHOM HAD A GREAT MANY YEARS. AND THERE WERE A COUPLE OLD GUYS THAT I WORKED WITH THAT RETIRED AT 35 YEARS, SHORTLY AFTER I ARRIVED IN THE FROG SHOP THERE IN ’92.” JOHN DESCRIBED WHERE THE SIGN HUNG IN THE FROG SHOP IN KIPP: “IT HUNG IN THE DOORWAY THAT LEAD OUT OF THE SHOP INTO THE HALLWAY INTO OUR CHANGE ROOM. I LOOKED AT IT EVERY DAY, AT LUNCHTIME, COFFEE TIME.” JOHN ADDED THE FOLLOWING ABOUT WORKER SAFETY: “I JUST THINK THAT THIS IS TO ME ILLUSTRATIVE OF HOW FAR WE’VE COME WHEN IT COMES TO WORKERS’ SAFETY. AND WHEN YOU TAKE A LOOK AROUND TODAY OF HOW HORRIFYINGLY FAR WE HAVE TO GO. TO THINK THAT THERE ARE PEOPLE, WHAT LESS THAN TWO WEEKS AGO, STANDING IN FRONT OF THE LEGISLATURE IN EDMONTON FIGHTING THE NOTION THAT FARM WORKERS IN ALBERTA SHOULD HAVE THE SAME PROTECTION THAT THEY DO EVERYWHERE ELSE IN THE COUNTRY AND HAVE FOR YEARS AND YEARS. TOO MANY PEOPLE DIE GOING TO WORK. IT’S TOO EASY TO HAPPEN AND IT’S EVEN EASIER NOW. IT’S SCARY TO THINK OF YOUNG PEOPLE. I’VE WORKED WITH LOTS OF YOUNG PEOPLE AS THE YEARS HAVE GONE ON. I’M OLD. I KNOW OLD PEOPLE - OLDER PEOPLE - LOOKED OUT FOR ME AND HELPED ME; AND I’M REALLY FORTUNATE FOR THAT. BUT IN THIS HURRY-UP WORLD, NOW AND PARTICULARLY AS YOU SEE UNION MEMBERSHIP DECLINING AND IT BECOMING MORE AND MORE DIFFICULT TO OBTAIN A UNION CONTRACT, TO RATIFY A UNION VOTE, GEE I DON’T WANT TO SEE ANYONE - ANYBODY ELSE GET HURT. AND I HOPE THAT THAT GETS BETTER. BECAUSE I’VE SEEN REALLY BAD THINGS HAPPEN TO PEOPLE AND IT WASN’T BECAUSE THEY WERE DUMB AND IT WASN’T BECAUSE THEY WERE CARELESS. FAR TOO OFTEN IT WAS BECAUSE THEY JUST DIDN’T KNOW AND SOMEBODY WHO SHOULD KNOW BETTER DIDN’T GET IN LINE.” RELOCATING THE RAIL YARDS TO KIPP IS COVERED IN DETAIL IN SEVERAL LETHBRIDGE HERALD NEWSPAPER ARTICLES, ESPECIALLY IN THE PERIOD OF 1980 TO 1982. THESE ARTICLES TEND TO FOCUS ON THE BENEFIT FOR THE CITY OF LETHBRIDGE AND THE ABILITY TO REDEVELOP THE YARDS. FOR EXAMPLE, AN OCTOBER 10, 1980 ARTICLE DISCUSSES REDEVELOPMENT OPPORTUNITIES: “THERE MUST BE A GOOD CORRIDOR WITH A DIVIDED HIGHWAY THROUGH THE CITY TO ACCOMMODATE BOTH TRAFFIC THAT DOESN’T WANT TO STOP AND TRAFFIC THAT WANTS TO GET OFF AT DOWNTOWN LETHBRIDGE. RAILWAY RELOCATION GIVES ROOM FOR SUCH A CORRIDOR FROM THE RAILWAY BRIDGE THROUGH TO 13TH ST.” FOR MORE DETAILS, PLEASE SEE PERMANENT FILE. FOR COPIES OF NEWSPAPER ARTICLES AND FOR A TRANSCRIPT OF THE INTERVIEW, PLEASE SEE PERMANENT FILE.
Catalogue Number
P20160008001
Acquisition Date
2016-03
Collection
Museum
Images
Less detail