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Other Name
"THE DISEASES OF CHILDREN"
Material Type
Artifact
Materials
PAPER, CARDBOARD, LINEN
Catalogue Number
P20140049001
  2 images  
Material Type
Artifact
Other Name
"THE DISEASES OF CHILDREN"
Date
1908
Materials
PAPER, CARDBOARD, LINEN
No. Pieces
1
Height
27.6
Length
20.5
Width
5.5
Description
A GREEN, HARD-COVERED BOOK WITH GOLD TEXT ON THE SPINE. THE TEXT READS “PFAUNDLER AND SCHLOSSMANN”, “THE DISEASES OF CHILDREN”, “SHAW AND LAFETRA”, “VOL. IV. GENITO-URINARY SYSTEM NERVOUS SYSTEM DERMATOLOGY”, “J.B.LIPPINCOTT CO.”. STAMPED ON THE TOP AND BOTTOM PAGES OF THE BOOK ARE THE WORDS “GALT HOSPITAL”. THE INSIDE IS INSCRIBED "J.E. LOVERING M.D." IN PENCIL. VERY GOOD CONDITION: THE COVER IS FADED AND SCRATCHED IN PLACES, WHILE LIGHTLY FRAYED AT THE EDGES AND CORNERS.
Subjects
DOCUMENTARY ARTIFACT
Historical Association
HEALTH SERVICES
ASSOCIATIONS
History
UPON DONATION TO THE MUSEUM, COLLECTIONS TECHNICIAN KEVIN MACLEAN ASKED MEMBERS OF THE GALT SCHOOL OF NURSING (GSN) ALUMNAE TO PROVIDE WRITTEN ANSWERS ON QUESTIONS PERTAINING TO EACH ARTIFACT DONATED IN THE COLLECTION. NO INFORMATION WAS PROVIDED ABOUT THIS BOOK. THIS ARTIFACT IS AMONG A COLLECTION DONATED NEAR THE END OF 2014, BEING THE SECOND WAVE OF GSN ARTIFACTS ACQUIRED BY THE MUSEUM THAT YEAR. WITH THE FIRST WAVE OF GSN ARTIFACTS COLLECTED IN SUMMER 2014, MACLEAN INTERVIEWED THE PAST ARCHIVISTS OF THE GALT SCHOOL OF NURSING COLLECTION, SHIRLEY HIGA, ELAINE HAMILTON, AND SUE KYLLO, ABOUT THEIR INVOLVEMENT WITH THE GSN ALUMNAE ASSOCIATION AND THE HISTORY OF ARTIFACTS DONATED. FOR THAT INFORMATION, PLEASE REFER TO P20140006001. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION.
Catalogue Number
P20140049001
Acquisition Date
2014-11
Collection
Museum
Images
Less detail
Other Name
"PRINCIPALS AND PRACTICE OF OBSTETRICS"
Date Range From
1938
Date Range To
1939
Material Type
Artifact
Materials
PAPER, CARDBOARD, LINEN
Catalogue Number
P20140049002
  2 images  
Material Type
Artifact
Other Name
"PRINCIPALS AND PRACTICE OF OBSTETRICS"
Date Range From
1938
Date Range To
1939
Materials
PAPER, CARDBOARD, LINEN
No. Pieces
1
Height
26
Length
19
Width
6
Description
A GREEN HARD COVERED BOOK WITH GOLD TEXT ON THE SPINE. THE TEXT READS “PRINCIPLES AND PRACTICE OF OBSTETRICS”, “DE LEE”, “SEVENTH EDITION”, “SAUNDERS”. IN ADDITION TO THIS THERE IS A WHITE WRITTEN “440”. STAMPED ON THE TOP AND BOTTOM PAGES OF THE BOOK ARE THE WORDS “GALT HOSPITAL”, AND STAMPED ON ALL THREE SIDES OF THE PAGES ARE THE WORDS “GALT SCHOOL OF NURSING”. "REFERENCE FOR NURSES OCTOBER 5 1939" INSCRIBED ON INSIDE IN PENCIL. VERY GOOD CONDITION: THE COVER IS FADED AND WORN AT THE EDGES.
Subjects
DOCUMENTARY ARTIFACT
Historical Association
HEALTH SERVICES
ASSOCIATIONS
History
UPON DONATION TO THE MUSEUM, COLLECTIONS TECHNICIAN KEVIN MACLEAN ASKED MEMBERS OF THE GALT SCHOOL OF NURSING (GSN) ALUMNAE TO PROVIDE WRITTEN ANSWERS ON QUESTIONS PERTAINING TO EACH ARTIFACT DONATED IN THE COLLECTION. NO INFORMATION WAS PROVIDED ABOUT THIS BOOK. THIS ARTIFACT IS AMONG A COLLECTION DONATED NEAR THE END OF 2014, BEING THE SECOND WAVE OF GSN ARTIFACTS ACQUIRED BY THE MUSEUM THAT YEAR. WITH THE FIRST WAVE OF GSN ARTIFACTS COLLECTED IN SUMMER 2014, MACLEAN INTERVIEWED THE PAST ARCHIVISTS OF THE GALT SCHOOL OF NURSING COLLECTION, SHIRLEY HIGA, ELAINE HAMILTON, AND SUE KYLLO, ABOUT THEIR INVOLVEMENT WITH THE GSN ALUMNAE ASSOCIATION AND THE HISTORY OF ARTIFACTS DONATED. FOR THAT INFORMATION, PLEASE REFER TO P20140006001. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION.
Catalogue Number
P20140049002
Acquisition Date
2014-11
Collection
Museum
Images
Less detail
Other Name
SPORTS SHIRT "GALT ROYALS"
Date Range From
1960
Date Range To
1964
Material Type
Artifact
Materials
FABRIC, PAINT, METAL
Catalogue Number
P20140049005
  2 images  
Material Type
Artifact
Other Name
SPORTS SHIRT "GALT ROYALS"
Date Range From
1960
Date Range To
1964
Materials
FABRIC, PAINT, METAL
No. Pieces
1
Height
62
Length
68
Width
48
Description
A GREEN BASKETBALL T-SHIRT WITH WHITE TRIMMING AND WHITE PAINTED NUMBERS AND TEXT. THE FRONT OF THE SHIRT READS “55” AND “GALT ROYALS”. THE BACK READS “55”. THE WHITE TRIMMING FOLLOWS THE BOTTOM EDGE, THE SLEEVE EDGES AND THE COLLAR. THE COLLAR OPENS WITH A METAL ZIPPER, ENDING IN A SMALL SILVER CHAIN. A SMALL WHITE TAG IN THE BACK OF THE COLLAR READS “12” IN RED. EXCELLENT CONDITION: THE COLLAR IS CREASED ON ONE CORNER.
Subjects
CLOTHING-OUTERWEAR
Historical Association
ASSOCIATIONS
HEALTH SERVICES
SPORTS
History
UPON DONATION TO THE MUSEUM, COLLECTIONS TECHNICIAN KEVIN MACLEAN ASKED MEMBERS OF THE GALT SCHOOL OF NURSING (GSN) ALUMNAE TO PROVIDE WRITTEN ANSWERS ON QUESTIONS PERTAINING TO EACH ARTIFACT DONATED IN THE COLLECTION. THE FOLLOWING INFORMATION HAS COME FROM THOSE RESPONSES CORRESPONDING TO EACH INDIVIDUAL ARTIFACT. THIS SHIRT WAS A PART OF THE GALT SCHOOL OF NURSING BASKETBALL UNIFORM. WHILE THE SPECIFIC DATE OF THIS ARTIFACT IS UNKNOWN, IT WOULD HAVE MOST LIKELY BEEN IN USE EARLIER THAT 1965, AS THE NURSING SCHOOL HAD GALT ROYAL UNIFORMS IN THAT YEAR THAT WERE DIFFERENT TO THIS ONE. THE UNIFORM WOULD HAVE BEEN USED BY “STUDENTS WHO WERE ON THE TEAM. BETWEEN 1965-68 ST. MICHAEL STUDENTS WERE [ON THE] TEAM ALSO.” ACCORDING TO THE HISTORY ATTACHED TO THIS ARTIFACT, SPORTS ACTIVITIES FOR THE STUDENTS WERE AN IMPORTANT PART OF THEIR LIVES DURING TRAINING. THIS ARTIFACT IS AMONG A COLLECTION DONATED NEAR THE END OF 2014, BEING THE SECOND WAVE OF GSN ARTIFACTS ACQUIRED BY THE MUSEUM THAT YEAR. WITH THE FIRST WAVE OF GSN ARTIFACTS COLLECTED IN SUMMER 2014, MACLEAN INTERVIEWED THE PAST ARCHIVISTS OF THE GALT SCHOOL OF NURSING COLLECTION, SHIRLEY HIGA, ELAINE HAMILTON, AND SUE KYLLO, ABOUT THEIR INVOLVEMENT WITH THE GSN ALUMNAE ASSOCIATION AND THE HISTORY OF ARTIFACTS DONATED. FOR THAT INFORMATION, PLEASE REFER TO P20140006001. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION.
Catalogue Number
P20140049005
Acquisition Date
2014-11
Collection
Museum
Images
Less detail
Other Name
"GALT SCHOOL OF NURSING"
Material Type
Artifact
Materials
CERAMIC
Catalogue Number
P20140049006
  1 image  
Material Type
Artifact
Other Name
"GALT SCHOOL OF NURSING"
Date
1979
Materials
CERAMIC
No. Pieces
1
Height
8.5
Length
12
Diameter
8.9
Description
A CREAM-COLOURED CERAMIC MUG. ON ONE SIDE IS THE INSIGNIA OF THE GALT SCHOOL OF NURSING, WHICH IS COLOURED YELLOW, GREEN, AND RED. IN THE CENTER OF THE INSIGNIA IS A RED CROSS. THE TEXT READS “GALT SCHOOL OF NURSING, LETHBRIDGE ALTA”, “FESTINA LENTE”, AND “1910-1979”. AROUND THE LIP OF THE MUG RUNS A GOLD RING. THE BOTTOM OF THE MUG READS “DECORATED IN CANADA BY …EMORE CHINA & GLASS” AND “CREEMORE, ONT”. VERY GOOD CONDITION: SLIGHT WEAR TO GOLD RIM.
Subjects
HOUSEHOLD ACCESSORY
Historical Association
ASSOCIATIONS
HEALTH SERVICES
COMMEMORATIVE
History
UPON DONATION TO THE MUSEUM, COLLECTIONS TECHNICIAN KEVIN MACLEAN ASKED MEMBERS OF THE GALT SCHOOL OF NURSING (GSN) ALUMNAE TO PROVIDE WRITTEN ANSWERS ON QUESTIONS PERTAINING TO EACH ARTIFACT DONATED IN THE COLLECTION. THE FOLLOWING INFORMATION HAS COME FROM THOSE RESPONSES CORRESPONDING TO EACH INDIVIDUAL ARTIFACT. ACCORDING TO THE HISTORY, “THIS IS A COFFEE CUP COMMEMORATING THE CLOSING OF THE NURSING SCHOOL. THE ALUMNAE PURCHASED THEM AND SOLD THEM… [THE MUGS] WERE DESIGNED AND MADE IN 1979.” IT CONTINUES, “[THE] GALT GRADS BOUGHT THESE MUGS… [AS] A MEMENTO OF THE CLOSING OF THE SCHOOL.” THIS ARTIFACT IS AMONG A COLLECTION DONATED NEAR THE END OF 2014, BEING THE SECOND WAVE OF GSN ARTIFACTS ACQUIRED BY THE MUSEUM THAT YEAR. WITH THE FIRST WAVE OF GSN ARTIFACTS COLLECTED IN SUMMER 2014, MACLEAN INTERVIEWED THE PAST ARCHIVISTS OF THE GALT SCHOOL OF NURSING COLLECTION, SHIRLEY HIGA, ELAINE HAMILTON, AND SUE KYLLO, ABOUT THEIR INVOLVEMENT WITH THE GSN ALUMNAE ASSOCIATION AND THE HISTORY OF ARTIFACTS DONATED. FOR THAT INFORMATION, PLEASE REFER TO P20140006001. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION.
Catalogue Number
P20140049006
Acquisition Date
2014-11
Collection
Museum
Images
Less detail
Other Name
TRACHEOTOME SET
Date Range From
1940
Date Range To
1988
Material Type
Artifact
Materials
CLOTH, METAL
Catalogue Number
P20140049007
  2 images  
Material Type
Artifact
Other Name
TRACHEOTOME SET
Date Range From
1940
Date Range To
1988
Materials
CLOTH, METAL
No. Pieces
6
Height
16.2
Length
57.5
Width
0.5
Description
1: GREEN FABRIC CASE, EDGED WITH BEIGE FABRIC. DIVIDED INTO THREE POUCHES SEWED IN WITH BEIGE THREAD. TWO BEIGE FABRIC STRAPS ATTACHED TO ROLL AND TIE THE FABRIC CASE. A WHITE LABEL IS SEWN ON, READING IN GREEN TEXT “ SIERRA – SHELDEN”, “TRACHEOTOME CATALOG NO. 175-00”, AND “SIERRA ENGINEERING CO. SIERRA MADRE. CALIF.” 2: THE OBTURATOR THAT MATCHES THE LARGE TRACEOSTOMY TUBE. CURVED METAL WIRE WITH A METAL BOBBLE AT ONE END AND A METAL HANDLE AT THE OTHER END WITH A “7” ETCHED ON THE END. L: 11 CM, D: 1.5 CM 3: THE OBTURATOR THAT MATCHES THE SMALLER TRACHEOSTOMY TUBE. CURVED METAL WIRE WITH A METAL BOBBLE AT ONE END THAT EXPANDS INTO A SHARP CURVE BLADE WITH A BLUNTED TIP. A SMALL CIRCULAR BEAD OF METAL SITS IN THE MIDDLE OF THE WIRE AND AT THE OTHER END OF THE WIRE IS A CYLINDRICAL HANDLE WITH KNURLING TEXTURE. THE END OF THE HANDLE READS “ SIERRA ENG. CO CAT. NO. 287-00” AND “PATENT PEND”. METAL BOBBLE IS MISSING SOME OF ITS PATINA. L: 11 CM, D: 1.6 CM 4: A HOLLOW NEEDLE HEAD WITH A SMALL HANDLE WITH KNURLING TEXTURE. ETCHED INTO THE END OF THE HANDLE THE TEXT READS “287 SIERRA”. H: 6.1 CM, D: 1.7 CM 5: THE LARGE TRACHEOSTOMY TUBE MADE UP OF THREE PIECES; THE OUTER CANNULA, THE INNER CANNULA AND THE FLANGE. THE CANNULA’S SIT TOGETHER, THE INNER LOCKED IN WITH A ROTATING LATCH, BOTH CURVED AND HOLLOW TUBES. THE FLANGE SITS AT THE END OF THE CANNULAS, A METAL PLATE WITH TWO RECTANGULAR HOLES AND CURVING LIP. H: 2.5 CM, L: 10 CM, W: 4 CM 6: THE SMALL TRACHEOSTOMY TUBE MADE UP OF TWO PIECES; THE CANNULA, AND THE FLANGE. THE CANNULA IS A CURVED HOLLOW TUBE ATTACHED AT ONE END TO THE FLANGE, A METAL PLATE WITH TWO RECTANGULAR HOLES AND A CURVING LIP. H: 2.5 CM, L: 6.5 CM, W: 3.8 CM
Subjects
MEDICAL & DENTAL T&E
Historical Association
ASSOCIATIONS
HEALTH SERVICES
History
UPON DONATION TO THE MUSEUM, COLLECTIONS TECHNICIAN KEVIN MACLEAN ASKED MEMBERS OF THE GALT SCHOOL OF NURSING (GSN) ALUMNAE TO PROVIDE WRITTEN ANSWERS ON QUESTIONS PERTAINING TO EACH ARTIFACT DONATED IN THE COLLECTION. THE FOLLOWING INFORMATION HAS COME FROM THOSE RESPONSES CORRESPONDING TO EACH INDIVIDUAL ARTIFACT. THIS IS A TRACHEOTOMY SET THAT WAS USED IN DURING SURGERY, IN THE INTENSIVE CARE UNIT, AND IN THE EMERGENCY ROOM. BOTH DOCTORS AND NURSES WOULD HAVE USED THIS ARTIFACT DURING THE PROCEDURE OF TRACHEOTOMY, WHICH CREATES A DIRECT AIRWAY IN THROUGH AN INCISION IN THE TRACHEA (WINDPIPE). WHEN ANSWERING THE QUESTION OF THE ARTIFACT’S IMPORTANCE, THE INDIVIDUAL WRITING THE HISTORY STATED, “TRACHEOTOMIES HAVE BEEN LIFE-SAVERS EVEN TO THIS DAY.” THIS ARTIFACT IS AMONG A COLLECTION DONATED NEAR THE END OF 2014, BEING THE SECOND WAVE OF GSN ARTIFACTS ACQUIRED BY THE MUSEUM THAT YEAR. WITH THE FIRST WAVE OF GSN ARTIFACTS COLLECTED IN SUMMER 2014, MACLEAN INTERVIEWED THE PAST ARCHIVISTS OF THE GALT SCHOOL OF NURSING COLLECTION, SHIRLEY HIGA, ELAINE HAMILTON, AND SUE KYLLO, ABOUT THEIR INVOLVEMENT WITH THE GSN ALUMNAE ASSOCIATION AND THE HISTORY OF ARTIFACTS DONATED. FOR THAT INFORMATION, PLEASE REFER TO P20140006001. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION.
Catalogue Number
P20140049007
Acquisition Date
2014-11
Collection
Museum
Images
Less detail
Date Range From
1943
Date Range To
1946
Material Type
Artifact
Materials
GLASS, METAL, COTTON
Catalogue Number
P20140049008
  1 image  
Material Type
Artifact
Date Range From
1943
Date Range To
1946
Materials
GLASS, METAL, COTTON
No. Pieces
1
Height
10.3
Diameter
8
Description
A CIRCULAR, BUNSEN BURNER (ALSO REFERED TO AS AN ALCOHOL BURNER) WITH A RUSTED, TARNISHED WICK HOLDER AND A WHITE, COTTON WICK HANGING DOWN INTO THE BOTTLE. EMBOSSED INTO THE BOTTOM OF THE GLASS ARE THE WORDS “MADE IN USA”. GOOD CONDITION: THE METAL CAP IS SEVERELY TARNISHED. SMALL FLAKES OF RUST SIT LOOSE IN THE BOTTLE.
Subjects
CHEMICAL T&E
Historical Association
HEALTH SERVICES
ASSOCIATIONS
History
UPON DONATION TO THE MUSEUM, COLLECTIONS TECHNICIAN KEVIN MACLEAN ASKED MEMBERS OF THE GALT SCHOOL OF NURSING (GSN) ALUMNAE TO PROVIDE WRITTEN ANSWERS ON QUESTIONS PERTAINING TO EACH ARTIFACT DONATED IN THE COLLECTION. THE FOLLOWING INFORMATION HAS COME FROM THOSE RESPONSES CORRESPONDING TO EACH INDIVIDUAL ARTIFACT. THIS IS A GLASS BUNSEN BURNER. IT WAS USED “IN THE GSN SCIENCE LAB AND IN THE HOSPITAL LAB. THEY WERE USED ON THE WARDS IN THE EARLY DAYS TO HEAT UP SOLUTION TO DISSOLVE MEDICATION.” ACCORDING TO THE ARTIFACT’S HISTORY THIS ARTIFACT WAS USED IN “1943-1946. BY 1965, WE DID NOT USE THEM FOR DISSOLVING MEDICATION.” THE BUNSEN BURNER WAS USED BY REGISTERED NURSES AND STUDENTS. THIS ARTIFACT “WAS NECESSARY AND ROUTINELY USED EVERY DAY IN THE HOSPITAL.” THIS ARTIFACT IS AMONG A COLLECTION DONATED NEAR THE END OF 2014, BEING THE SECOND WAVE OF GSN ARTIFACTS ACQUIRED BY THE MUSEUM THAT YEAR. WITH THE FIRST WAVE OF GSN ARTIFACTS COLLECTED IN SUMMER 2014, MACLEAN INTERVIEWED THE PAST ARCHIVISTS OF THE GALT SCHOOL OF NURSING COLLECTION, SHIRLEY HIGA, ELAINE HAMILTON, AND SUE KYLLO, ABOUT THEIR INVOLVEMENT WITH THE GSN ALUMNAE ASSOCIATION AND THE HISTORY OF ARTIFACTS DONATED. FOR THAT INFORMATION, PLEASE REFER TO P20140006001. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION.
Catalogue Number
P20140049008
Acquisition Date
2014-11
Collection
Museum
Images
Less detail
Other Name
SKIN THERMOMETER
Date Range From
1955
Date Range To
1988
Material Type
Artifact
Materials
WOOD, FABRIC, PLASTIC
Catalogue Number
P20140049009
  2 images  
Material Type
Artifact
Other Name
SKIN THERMOMETER
Date Range From
1955
Date Range To
1988
Materials
WOOD, FABRIC, PLASTIC
No. Pieces
4
Height
3.1
Diameter
8.3
Description
1: WOOD CASING LID WRAPPED IN BROWN, CHERRY FAUX LEATHER FABRIC. THE TOP HAS A STRIPE OF CREAM CLOTH TAPE, LIFTING AT ONE CORNER AND WRITTEN ON IT IN BLUE PEN IS, “CSR SKIN THERMOMETER”. THE INSIDE OF THE LID IS PADDED AT THE TOP WITH GREY FABRIC. THE FAUX LEATHER IS FRAYING AWAY AT THE EDGES AND LIFTING AT THE SEAM AT THE SIDE OF THE LID, REVEALING THE WOOD UNDERNEATH. 2: A CIRCULAR SLIP OF CREAM PAPER TITLED “CORRECTING TABLE”. THE REST IS TYPED IN BLACK INK. HANDWRITTEN BLUE INK ADDITIONS FILL IN THE INSTRUMENT NUMBER AS “3878” AS WELL AS FILLING ADDITIONS TO THE CORRECTION CHART. THE SLIGHTEST WRINKLING LEAVES TWO SMALL CREASES ON THE SURFACE. DIAMETER: 6.3 CM 3: THE SKIN THERMOMETER. IT IS CIRCULAR IN A BLACK PLASTIC CASING WITH A SINGLE HALF CIRCLE PLASTIC WINDOW TO THE DIAL ON THE TOP SIDE. THE DIAL READS “FOREGGER”, “FAHRENHEIT HEIDENWOLF AUSTRIA”, AND “PATENT 3878”. THE BOTTOM SIDE HAS A 1.1 CM HIGH, 2.3 CM DIAMETER CYLINDRICAL ARM ON WHICH A ROUND SENSOR SITS. THE SENSOR IS MISSING ALMOST ALL ITS PATINA, ONLY A LITTLE BIT SURVIVING AT THE EDGES. H: 3.8 CM, D: 7 CM 4: THE BOTTOM OF THE CASE. AN OPEN WOOD CYLINDER WRAPPED ON THE OUTSIDE WITH FAUX LEATHER FABRIC WITH GREY FELT ON THE INSIDE. THE INSIDE LIP (ON WHICH THE THERMOMETER SITS) DOES NOT WRAP AROUND COMPLETELY, LEAVING SPACE FOR THE SENSOR ARM. THE BOTTOM EDGE IS UNCOVERED. THE FAUX LEATHER IS FRAYING AT THE EDGES AND PULLING AWAY FROM THE SEAM ON THE SIDE. H: 3.1 CM, D: 8.3 CM
Subjects
MEDICAL & DENTAL T&E
Historical Association
HEALTH SERVICES
ASSOCIATIONS
History
UPON DONATION TO THE MUSEUM, COLLECTIONS TECHNICIAN KEVIN MACLEAN ASKED MEMBERS OF THE GALT SCHOOL OF NURSING (GSN) ALUMNAE TO PROVIDE WRITTEN ANSWERS ON QUESTIONS PERTAINING TO EACH ARTIFACT DONATED IN THE COLLECTION. THE FOLLOWING INFORMATION HAS COME FROM THOSE RESPONSES CORRESPONDING TO EACH INDIVIDUAL ARTIFACT. THIS SKIN THERMOMETER WAS USED IN THE OPERATING ROOM FROM 1955 TO 1988. ACCORDING TO ITS HISTORY, “OPERATING ROOM STAFF [USED THE THERMOMETER] TO ASSESS THE TEMPERATURE OF THE PATIENTS.” THIS ARTIFACT SHOWS “HOW THINGS HAVE ADVANCED. THEY USE SKIN TAPES NOW THAT ARE THERMOMETERS.” THIS ARTIFACT IS AMONG A COLLECTION DONATED NEAR THE END OF 2014, BEING THE SECOND WAVE OF GSN ARTIFACTS ACQUIRED BY THE MUSEUM THAT YEAR. WITH THE FIRST WAVE OF GSN ARTIFACTS COLLECTED IN SUMMER 2014, MACLEAN INTERVIEWED THE PAST ARCHIVISTS OF THE GALT SCHOOL OF NURSING COLLECTION, SHIRLEY HIGA, ELAINE HAMILTON, AND SUE KYLLO, ABOUT THEIR INVOLVEMENT WITH THE GSN ALUMNAE ASSOCIATION AND THE HISTORY OF ARTIFACTS DONATED. FOR THAT INFORMATION, PLEASE REFER TO P20140006001. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION.
Catalogue Number
P20140049009
Acquisition Date
2014-11
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
GLASS
Catalogue Number
P20140049010
  1 image  
Material Type
Artifact
Date
1921
Materials
GLASS
No. Pieces
1
Height
9.1
Diameter
4.5
Description
A GLASS CONICAL SHAPED MEASURING CUP WITH A POURING LIP. ETCHED INTO THE GLASS IS A MEASURING GAGE FOR VOLUME. “PHARMACY 1921” IS HANDWRITTEN ON THE BOTTOM OF THE GLASS IN GREEN INK. GOOD / VERY GOOD CONDITION: HARDENED ADHESIVE FROM A REMOVED STRIP OF TAPE STAINS THE GLASS. SLIGHT SCRATCHING/SCUFFING OF SURFACE.
Subjects
CHEMICAL T&E
Historical Association
HEALTH SERVICES
ASSOCIATIONS
History
UPON DONATION TO THE MUSEUM, COLLECTIONS TECHNICIAN KEVIN MACLEAN ASKED MEMBERS OF THE GALT SCHOOL OF NURSING (GSN) ALUMNAE TO PROVIDE WRITTEN ANSWERS ON QUESTIONS PERTAINING TO EACH ARTIFACT DONATED IN THE COLLECTION. THE FOLLOWING INFORMATION HAS COME FROM THOSE RESPONSES CORRESPONDING TO EACH INDIVIDUAL ARTIFACT. THIS IS A SMALL GLASS BEAKER THAT WAS USED TO MEASURE FLUID MEDICATIONS. IT WAS USED IN THE “PHARMACY AND MED ROOMS TO MIX MEDICATIONS.” ACCORDING TO HISTORY, THIS ARTIFACT WAS USED FROM 1945 TO THE 1960S. “NURSES USED THIS INSTRUMENT TO MEASURE MEDICATIONS IN C.C.’S [CUBIC CENTIMETERS].” OF THIS ARTIFACT, IT WAS WRITTEN, “THIS SHOWS HOW THINGS HAVE PROGRESSED FROM GLASS TO PLASTIC. IT WAS ESSENTIAL TO GIVE MEDICATIONS.” THE WRITING ON THE BASE OF THE BEAKER LINKS THIS ARTIFACT TO THE PHARMACY IN 1921. THIS ARTIFACT IS AMONG A COLLECTION DONATED NEAR THE END OF 2014, BEING THE SECOND WAVE OF GSN ARTIFACTS ACQUIRED BY THE MUSEUM THAT YEAR. WITH THE FIRST WAVE OF GSN ARTIFACTS COLLECTED IN SUMMER 2014, MACLEAN INTERVIEWED THE PAST ARCHIVISTS OF THE GALT SCHOOL OF NURSING COLLECTION, SHIRLEY HIGA, ELAINE HAMILTON, AND SUE KYLLO, ABOUT THEIR INVOLVEMENT WITH THE GSN ALUMNAE ASSOCIATION AND THE HISTORY OF ARTIFACTS DONATED. FOR THAT INFORMATION, PLEASE REFER TO P20140006001. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION.
Catalogue Number
P20140049010
Acquisition Date
2014-11
Collection
Museum
Images
Less detail
Other Name
"HIRSCHE"
Date Range From
1913
Date Range To
1935
Material Type
Artifact
Materials
COTTON
Catalogue Number
P20140049011
  2 images  
Material Type
Artifact
Other Name
"HIRSCHE"
Date Range From
1913
Date Range To
1935
Materials
COTTON
No. Pieces
1
Length
44.5
Width
17.2
Description
A WHITE CLOTH, STARCHED NURSING CAP. THE BACK EDGE IS STAMPED WITH BLACK INK, READING “E1040” AND BELOW THAT “HIRSCHE” . THE WHITE STRING TIES AND THE OPENING ATTACHMENT THEY PULL THROUGH IS FRAYING. VERY GOOD CONDITION: THE HEAVILY STARCHED FRONT FOLD IS CREASED WITH FOLD LINES.
Subjects
CLOTHING-HEADWEAR
Historical Association
HEALTH SERVICES
ASSOCIATIONS
History
UPON DONATION TO THE MUSEUM, COLLECTIONS TECHNICIAN KEVIN MACLEAN ASKED MEMBERS OF THE GALT SCHOOL OF NURSING (GSN) ALUMNAE TO PROVIDE WRITTEN ANSWERS ON QUESTIONS PERTAINING TO EACH ARTIFACT DONATED IN THE COLLECTION. THE FOLLOWING INFORMATION HAS COME FROM THOSE RESPONSES CORRESPONDING TO EACH INDIVIDUAL ARTIFACT. ACCORDING TO THIS NURSING CAP’S HISTORY, IT WOULD HAVE BEEN OF THE FIRST TYPES OF CAPS THAT THE STUDENT NURSES WOULD HAVE WORN. IT WAS WORN “ON THE WARDS” OF THE HOSPITAL FROM 1913 ONWARDS TO AN UNSPECIFIED DATE. THE INSIDE OF THE CAP IS LABELLED “HIRSCHE”. USING THE GSN HISTORY BOOK TITLED “WHITE CAPS AND RED ROSES” RECORDS ONE STUDENT FROM THE CLASS OF 1966 WITH THE MAIDEN NAME HIRSCHE AND THREE STUDENTS FROM CLASSES 1968 TO 1975 MARRIED MEN WITH THE HIRSCHE LAST NAME. THIS ARTIFACT IS AMONG A COLLECTION DONATED NEAR THE END OF 2014, BEING THE SECOND WAVE OF GSN ARTIFACTS ACQUIRED BY THE MUSEUM THAT YEAR. WITH THE FIRST WAVE OF GSN ARTIFACTS COLLECTED IN SUMMER 2014, MACLEAN INTERVIEWED THE PAST ARCHIVISTS OF THE GALT SCHOOL OF NURSING COLLECTION, SHIRLEY HIGA, ELAINE HAMILTON, AND SUE KYLLO, ABOUT THEIR INVOLVEMENT WITH THE GSN ALUMNAE ASSOCIATION AND THE HISTORY OF ARTIFACTS DONATED. FOR THAT INFORMATION, PLEASE REFER TO P20140006001. ON 12 JULY 2018, COLLECTIONS ASSISTANT ELISE PUNDYK MET WITH THREE MEMBERS OF GALT SCHOOL OF NURSING ALUMNI ASSOCIATION – SHARON DEJONG, DONNA KARL, AND SUE KYLLO – TO ESTABLISH FURTHER DETAILS ABOUT VARIOUS ARTIFACTS IN THIS WAVE OF GSN ACQUISITIONS. WHEN VIEWING THE CAP, KYLLO, KARL, AND DEJONG STATED THAT ALL STUDENTS HAD TO WRITE THEIR NAMES IN THEIR UNIFORMS – LIKE “HIRSCHE” IS LABELLED IN THIS CAP – BECAUSE THE UNIFORMS, INCLUDING CAPS, WOULD BE SENT TO THE LAUNDRY AND RETURNED BACK TO THE STUDENTS. ABOUT NURSING CAPS, THE THREE ALUMNI EXPLAINED THAT THEY ALWAYS WORE WHITE CAPS AS STUDENTS. UPON GRADUATION THEY RECEIVED A VELVET BLACK BAND THEY WOULD PIN ON THE CAPS FOR WORK AS GRADUATED NURSES. THIS WAS ONE OF THE INDICATORS USED TO IDENTIFY THE STUDENT NURSES VERSUS THE GRADUATED NURSES. THEY STATED THAT IN THEIR FIRST TWO YEARS OF SCHOOL, THEY WOULD WERE BLACK SHOES AND STOCKINGS (A PRACTICE THAT ENDED IN 1968) AND AFTER THAT THEY WOULD WEAR WHITE SHOES WITH WHITE STOCKINGS TO INDICATE SENIOR NURSES. THESE VARIANCES IN THE STUDENT UNIFORMS HAD IMPLICATIONS FOR THEIR EXPERIENCES ON THE FLOOR. FOR EXAMPLE, THERE WAS ONE DOCTOR WHO HAD A STRICT RULE AGAINST STUDENT NURSES SCRUBBING IN FOR HIS OPERATIONS. THEY AGREED THAT THIS WAS AN EARLY EXAMPLE OF A NURSE’S CAP, USED FROM ESTIMATE DATES OF 1913 TO 1935. REFERENCING THE GSN HISTORY BOOK, “WHITE CAPS…,” THERE IS NO RECORD OF A STUDENT WITH THIS LAST NAME IN THE SPECULATED TIME PERIOD. AS AN ANSWER TO THIS, KYLLO ADDED TO THE CAP’S WRITTEN NOTES, “THIS HAT COULD HAVE BEEN A GALT HOSPITAL STAFF MEMBER AND MAY BE NOT A GALT HAT.” IT CAN ALSO BE NOTED THAT AN ACTIVE MEMBER OF THE GSN ALUMNAE ASSOCIATION INVOLVED IN THE DECISION-MAKING PROCESS OF THE DONATION OF ITEMS TO THE MUSEUM WAS SHARON HIRSCHE (NEE TREIBER) OF THE CLASS OF 1968. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION.
Catalogue Number
P20140049011
Acquisition Date
2014-11
Collection
Museum
Images
Less detail
Other Name
BLACKWORK EMBROIDERY
Material Type
Artifact
Materials
COTTON, WOOD, GLASS
Catalogue Number
P20170033001
  2 images  
Material Type
Artifact
Other Name
BLACKWORK EMBROIDERY
Date
2011
Materials
COTTON, WOOD, GLASS
No. Pieces
1
Length
65
Width
42
Description
BLACKWORK EMBROIDERY IN MATTE AND FRAME. EMBROIDERY COMPLETED IN BROWN ON WHITE FABRIC, AND SHOWS THE 1910 GALT HOSPITAL FRONT. EMBROIDERY INSIDE BROWN AND GREY MATTE AND BROWN WOOD FRAME WITH GLASS OVER. FRONT OF FRAME HAS BLACK ENGRAVED PLAQUE ON BOTTOM EDGE READING “GALT HOSPITAL/MUSEUM & ARCHIVES, 1910, DESIGNED AND STITCHED, 2011, BELINDA CROWSON”. BACK OF FRAME COVERED IN BROWN PAPER WITH SILVER WIRE ATTACHED FOR HANGING. BACK OF FRAME HAS WHITE LABEL WITH TEXT “LA GALLERY CUSTOM FRAMING & ART, 421-5TH ST. SOUTH, LETHBRIDGE, AB T1J 2B6, PH. 380.4556, FAX 380.4562, WEBSITE WWW.THELAGALLERY.COM, EMAIL INFO@THELAGALLERY.COM, W/O # H0761, ASSEMBLED BY CM”” WITH CHECK BOXES ON LABEL FOR “MOUNTING METHOD” AND “GLASS”, “NON-GLARE GLASS” CHECKED. FRAME HAS CHIPS ON FRONT EDGES; BACK HAS TEARS IN PAPER BACKING. OVERALL EXCELLENT CONDITION.
Subjects
ART
Historical Association
DECORATIVE ARTS
History
ON NOVEMBER 16, 2017 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED BELINDA CROWSON REGARDING HER DONATION OF A MUNICIPAL CAMPAIGN SIGN AND BLACKWORK EMBROIDERY PIECE. CROWSON WAS EMPLOYED WITH THE GALT MUSEUM AS THE MUSEUM EDUCATOR, WITH A REPUTATION AS A RENOWNED LOCAL HISTORIAN, UNTIL HER ELECTION TO CITY OF LETHBRIDGE COUNCIL IN 2017. ON THE BLACK EMBROIDERY PIECE, CROWSON RECALLED, “SHARING [THIS] WAS HARD, BECAUSE THIS WAS THE FIRST [PIECE] I DESIGNED…AND I VERY MUCH KNOW THE MEANING. IT WAS HANGING IN THE CLASSROOM [AT THE GALT MUSEUM] FOR YEARS, BUT IT WAS VERY HARD [TO GIVE UP], BECAUSE I DESIGNED IT; I STITCHED IT; AND IT’S A PIECE OF MYSELF.” “IT IS SOMETHING THAT I ACTUALLY DESIGNED, AND I HAD NEVER DESIGNED A PIECE BEFORE. I HAD TO LEARN HOW TO DESIGN IT, SO I ACTUALLY HAD A PICTURE AND GRAPH PAPER. I LEARNED HOW TO TAKE A PHOTOGRAPH, AND TURN IT INTO BLACKWORK STITCHES, EVEN THOUGH, OF COURSE, IT’S DONE IN BROWN, AND NOT BLACK. THE NAME DOESN’T ACTUALLY MEAN THE COLOR.” “BLACKWORK COMES FROM THE ELIZABETHAN TIME, AND IT WAS DONE WHEN LACE WAS REALLY EXPENSIVE. THEY WOULD TAKE BLACK THREAD ON WHITE MATERIAL. IF YOU DO BLACKWORK PROPERLY, IT’S ABSOLUTELY REVERSIBLE. IF YOU DID IT ON CUFFS OR COLLARS IT WOULD ALMOST LOOK LIKE LACE, AND BE REVERSIBLE FROM BOTH SIDES. IT’S A TYPE OF EMBROIDERY THAT USES PRIMARILY STRAIGHT LINES. I TAUGHT A CLASS TO PEOPLE AT THE GALT MUSEUM [ON] HOW TO DO BLACKWORK. I ACTUALLY TAUGHT AN EMBROIDERY CLASS IN THIS DESIGN, WHICH IS A VERY SIMPLE TYPE OF EMBROIDERY TO DO, BUT CAN CREATE INCREDIBLY ELABORATE DESIGNS.” “I COMPLETED [THIS PIECE] IN 2011 AND HAD IT FRAMED THAT SAME YEAR. IT’S SUEDE AROUND THE PICTURE MATTE.” “SOMETHING LIKE THIS SIZE OF PICTURE, IN BLACKWORK, PROBABLY ONLY TOOK ME ABOUT 2 WEEKS TO STITCH. IT’S A VERY QUICK DESIGN, BUT IT FILLS IN – AND, IF I WAS TO REDO IT AGAIN, I’D FILL IN MORE OF THE BLANK SPACES. [BLACKWORK IS] SUPPOSED TO LOOK AS COMPLETE AS POSSIBLE, BUT I WANTED TO MAKE THE COLUMNS STICK OUT, SO IT MAY HAVE WORKED IN THAT REGARD.” CROWSON ELABORATED ON HER BACKGROUND DOING EMBROIDERY, NOTING, “I HAVE BEEN DOING EMBROIDERY SINCE [I WAS] A KID. IT’S SOMETHING MY GRANDMOTHER KNEW; MY MOTHER KNEW; IT’S SOMETHING I WAS TAUGHT, AND, OF MY SIBLINGS, I’M THE ONLY ONE WHO DOES IT. THE OTHERS LIKE TO DO MORE STITCHING WITH MACHINES. I LOVE THE HAND-STITCHING, AND I HAVE LONG BEEN THINKING ABOUT DESIGNING. I ALSO HAVE A PASSION FOR HISTORIC BUILDINGS. I HAD DONE A BLACKWORK PIECE, WHICH WAS A PATTERN THAT I HAD BOUGHT AND I ABSOLUTELY LOVED IT. IT’S A REALLY NICE WAY OF DOING EMBROIDERY, SO I THOUGHT “THERE’S A WAY OF CAPTURING HISTORIC BUILDINGS IN A VERY DIFFERENT WAY.” I MADE MYSELF A CHALLENGE OF FIGURING IT OUT, AND, OF COURSE, THE WAY I DO MANY THINGS, I DIDN’T ACTUALLY RESEARCH HOW TO DESIGN. I JUST TAUGHT MYSELF, AND IT TOOK ME A WEEKEND. I THREW AWAY ABOUT 3 DESIGNS, UNTIL I REALIZED YOU’VE GOT TO START IN THE CENTER AND WORK OUT. THE NICE THING ABOUT THE GALT HOSPITAL—BECAUSE I DID THE FAÇADE OF THE HOSPITAL [IN THIS PIECE]—IS THAT IT IS SO BEAUTIFULLY SYMMETRICAL, IT MADE IT EASIER. I HAD…THE VARIEGATED THREAD, AND THE MATERIAL TO STITCH ON. THEN IT WAS A MATTER OF ACTUALLY CREATING IT. THE PATTERN HAD A LOT OF ERASING DONE ON IT, AS I CHANGED THINGS. I’M VERY PROUD OF THE WINDOWS…MY GOODNESS, THAT BUILDING HAS A LOT OF WINDOWS! IT WAS FUN, AND THIS WAS THE FIRST ONE [I MADE]. SINCE THEN I HAVE DONE GALBRAITH SCHOOL, THE BOWMAN, AND THE POST OFFICE. THE GALBRAITH SCHOOL IS HANGING AT GALBRAITH SCHOOL, THE BOWMAN IS IN MY HOUSE, AND THE POST OFFICE WAS RAFFLED OFF TO HELP RAISE MONEY FOR CHINATOWN.” “I REMEMBER, AS A KID, I WAS NOT SUPPOSED TO, BUT I WENT THROUGH ONE OF MY MOM’S JEWELRY BOXES. IN THERE WAS THE WORK SHE HAD DONE AS A KID. SHE HAD BEEN PRACTICING HER STITCHES. THAT STUCK WITH ME, AND I REMEMBER HER TALKING ABOUT HOW SHE HAD BEEN TAUGHT FROM HER MOM. MY GRANDMOTHER KEPT CROSS-STITCHING EMBROIDERY UNTIL HER ARTHRITIS GOT TOO BAD. WHEN I DO IT, I REALLY DO FEEL I AM PART OF THAT CHAIN, BECAUSE I DO HAVE EMBROIDERY THAT BOTH MY MOM AND MY GRANDMOTHER HAVE DONE. IT IS INTERESTING BECAUSE, FROM THE MENNONITE TRADITION ESPECIALLY, A LOT OF THE STITCHES I HAVE COME FROM THAT TRADITION, SO IT’S VERY MUCH A PART OF THAT. I WOULD LIKE TO SIT DOWN, ONE DAY WHEN I GET TIME, WITH MY MOM’S COUSIN, WHO DOES WHAT’S CALLED 3-D EMBROIDERING. IN MY FAMILY, PEOPLE ACTUALLY HAVE THE ORDERED EVERY DAY TEA TOWELS, THEY HAVE THE BED TOWELS. IT’S SUCH A PART OF THE SOUTHERN ART, SO MY [WORKS ARE] A LITTLE MORE MODERN INTERPRETATION OF SOME OF THAT. MY GREAT-GRANDMOTHER WOULD HAVE SAT IN RUSSIA, DOING THE SAME STITCHES.” “I DON’T KNOW [HOW MANY PEOPLE IN THE REGION ARE DOING BLACKWORK EMBROIDERY]. I TAUGHT THE CLASS IN … EMBROIDERY, BUT I DON’T THINK A LOT OF PEOPLE ARE PICKING UP BLACKWORK. IT’S INTERESTING, WHEN I MENTION THIS, TALKING TO SOME PEOPLE ONLINE, ONE OF MY FRIENDS WHO HAS A HISTORIC HOUSE IS LIKE, “COULD I PAY YOU TO DESIGN MY HOUSE?” [BLACKWORK EMBROIDERY] IS A FUN WAY FOR ME TO TAKE THOSE TWO IDEAS I LOVE-–OF STITCHING, AND HISTORIC BUILDINGS-–BECAUSE PHOTOGRAPHY, WITH WHAT PEOPLE HAVE TODAY, IS RELATIVELY EASY. YOU CAN TAKE POINT-AND-SHOOT. SOME PEOPLE ARE MUCH BETTER AT IT--THEY’RE ARTISTIC-–BUT THIS IS A WAY OF CAPTURING A BUILDING. YOU HAVE TO, VERY PERSONALLY, SIT THERE, AND BECAUSE YOU HAVE TO MEASURE EVERYTHING OUT, EVEN TO DESIGN IT, YOUR APPRECIATION OF THE ARCHITECTURE IS VERY DIFFERENT THAN A POINT-AND-SHOOT CAMERA.” “I’VE DONE FIVE BUILDINGS NOW, AND I HAVE SEEN EACH ONE IN A VERY DIFFERENT WAY. I REMEMBER THINKING, WITH THE POST OFFICE, WHEN YOU ACTUALLY LOOK AT THE HEIGHT OF THE CLOCK TOWER COMPARED TO THE BASE OF THE BUILDING, [YOU SEE THE] PHENOMENAL ARCHITECTURE, [BUT] IT’S ONLY WHEN YOU ARE STITCHING IT THAT YOU REALIZE THAT THE BASE OF THAT BUILDING ISN’T STRAIGHT. THE BUILDING GOES WITH THE SLANT OF THE SIDEWALK, AND I HAD TO TAKE AN ARTISTIC EYE, AND MAKE THE BOTTOM OF THE BUILDING STRAIGHT FROM THE FRONT. THE OTHER THING, WITH THE POST OFFICE, THERE’S ALMOST NO HISTORIC [PHOTOGRAPHS] OF IT STRAIGHT-ON; IT’S ALWAYS ON THE CORNER, BECAUSE THAT’S EASIER. I CAN’T CROSS-STITCH MY BUILDING ON THE CORNER, SO I HAD TO ACTUALLY TAKE MY OWN PHOTOGRAPHS, INSTEAD OF HISTORICAL PHOTOGRAPHS. THIS HAS REALLY GIVEN ME A NEW APPRECIATION OF THE BUILDINGS, BECAUSE I HAD TO LOOK AT THEM SO CAREFULLY. WITH THE BOWMAN—WITH ALL THESE BUILDINGS--YOU HAD TO THINK WHAT TIME PERIOD YOU WANTED TO DISPLAY. SO THE ONE OF THE BOWMAN, I HAVE THE UNION JACK FLYING [IN] THE PICTURE, BECAUSE I WANTED [TO CAPTURE] IT BACK WHEN IT WAS ORIGINALLY CREATED.” “IT’S AN ADDICTION. YOU SIT IN FRONT OF THE TELEVISION, AND SOMETIMES A WEEKEND PASSES AND YOU HAVEN’T DONE MUCH. WHEN YOU’RE WORKING ON A PROJECT, FOR MYSELF, IT’S LIKE, “I’M GOING TO GET IT DONE.” THEN YOU TAKE A BREAK BEFORE YOU PICK UP THE NEXT PROJECT, SO YOU CAN DO ALL THE OTHER STUFF. TRYING TO PUT [AN ESTIMATE OF TIME SPENT CREATING] IT, I WOULDN’T HAVE A CLUE.” “I THINK EVERYBODY [HAS] MULTI-FACETS IN THEIR BRAINS, AND I USE DIFFERENT PARTS OF IT. IT’S ALWAYS FUN TO CHALLENGE, TO TRY NEW THINGS. ONE OF THE THINGS I’D LIKE TO DO…I’VE SEEN PEOPLE WHO ARE CROSS-STITCHING ON METAL [PUTTING HOLES IN]. IN THE SPRING, I WILL BE DOING A CROSS-STITCH PATTERN ON ‘PAGE WIRE’, THAT [ATTACHES] TO A FENCE, SO IT WILL BE OUTDOOR CROSS-STITCH. I LOVE WORKING WITH MY SILKS, AND MY REALLY DELICATE STUFF, BUT THE BEAUTIFUL THING ABOUT EMBROIDERY IS YOU CAN TAKE IT DIFFERENT WAYS. WHY SHOULD KNITTERS HAVE ALL THE FUN WHEN THEY GO ‘YARN-BOMBING’? WE CAN DO ‘CROSS-STITCH BOMBING’, TOO. IT’S ONE OF THOSE THINGS WHERE YOU CAN TAKE A VERY OLD FORM, AND MAKE IT VERY MODERN.” “IT WAS A HARD DECISION [TO DONATE IT]. I HAVE THE PATTERN. I CAN ALWAYS RECREATE IT. IT WOULD NEVER BE THE SAME. I DON’T CARE IF YOU RECREATE SOMETHING, IT’S NEVER THE SAME THING. BUT I HAD TO LET THE LOGICAL PART OF MY BRAIN HANDLE THIS DECISION, BECAUSE IT DID HANG IN THE CLASSROOM AND YOU POINTED TO THIS THING A LOT WHEN WE DISCUSSED THE BUILDING. FOR A LOT OF STUDENTS THIS WAS THE PICTURE OF THE BUILDING THAT THEY REMEMBER SEEING, SO THE CONNECTION TO MY JOB JUST MADE IT SUCH A STRONG [POINT]. THE OTHER THING IS, AS AN ARTIST…I GET TO SAY I’M AN ART-PIECE IN A MUSEUM. THAT’S QUITE THE HONOR. IT WASN’T CHOSEN AS AN ART-PIECE, BUT STILL I CAN MAKE THAT WORK. [I SPENT] PROBABLY A WEEK TALKING TO FAMILY MEMBERS AS WELL, BECAUSE I HAVE A LOT OF CROSS-STITCH IN MY HOUSE, FROM PATTERNS AND DIFFERENT THINGS. I REMIND THEM I’M NOT GOING TO DIE SOON, BUT SOME OF MY NIECES HAVE TOLD ME WHICH ONES THEY WANT WHEN I’M DEAD. SO I ALSO NEEDED TO TALK TO FAMILY, AND MAKE SURE THAT NOBODY WAS GOING TO BE CRINGING TO FIND IT WAS GONE. IT IS INTERESTING HOW THINGS THAT YOU CREATE [HAVE] A SENSE OF OWNERSHIP FOR OTHER PEOPLE TOO, SO I HAD TO DOUBLE CHECK WITH OTHER PEOPLE TOO.” “IT WAS JULY OR AUGUST OF 2000, WHEN I WAS INTERVIEWED BY WILMA WOODS, AND I WAS BETWEEN TEACHING [JOBS]…AND GETTING CLOSE TO THE START OF SCHOOL. I DIDN’T REALLY WANT TO SUB, AND IT WAS A TEMPORARY SIX MONTH POSITION. I APPLIED, AND WILMA INTERVIEWED ME ON THE MAIN FLOOR, IN THE HALF OF WHAT’S NOW THE FRIEND’S BOARDROOM. THAT IS WHERE HER OFFICE WAS, AND WHERE SHE DID THE INTERVIEW. I PREPPED. I WENT TO B. MACCABEE’S BOOKSTORE AND BOUGHT THE CENTENNIAL HISTORY OF LETHBRIDGE, AND READ THE ENTIRE BOOK…BEFORE THE INTERVIEW. I WASN’T REALLY THINK ABOUT WHETHER I’D GET THE JOB, SO I GAVE REFERENCES TO HER AND REALIZED I HADN’T ACTUALLY LET THE REFERENCES KNOW. I CALLED THEM AFTER I GOT HOME, WHICH WAS GOOD, BECAUSE I GUESS SHE CALLED FIVE MINUTES AFTERWARDS BECAUSE SHE WAS PRETTY QUICK. I STARTED [AT THE GALT MUSEUM] SEPTEMBER 1, 2000, WITH THE EXHIBIT ON THE IRRIGATION DISTRICT AND ITS CENTENNIAL. IT WAS A SIX MONTH GRANT POSITION. I WAS SUPPOSED TO BE A TEMPORARY POSITION, BECAUSE AT THAT POINT THE E. TEAM HAD GEARED DOWN ON STAFF AT THE MUSEUM. SO I STARTED THERE, AND…JANUARY AND FEBRUARY OF THE YEAR, THEY WENT TO CITY COUNCIL AND ASKED FOR IT TO BE MADE A FULL-TIME PERMANENT POSITION. IT HAD TO BE POSTED, BUT I APPLIED AND GOT THE FULL-TIME PERMANENT POSITION IN MARCH 2001. I MADE THE DECISION, BUT WITHOUT REALLY THINKING ABOUT IT, THAT TEMPORARY POSITION TURNED INTO A SEVENTEEN YEAR JOB.” “[OF THE WORKS I’VE DONE] IT’S DEFINITELY ONE OF THE BIG ONES. THERE [WERE] A FEW OTHER THINGS I TOOK OUT OF MY OFFICE THAT HAVE BEEN WITH ME FROM THE BEGINNING…THE REASON I STITCHED THIS BUILDING WAS MY CONNECTION TO THE BUILDING. IT’S NOT ONLY A PHENOMENAL BUILDING, BUT THIS WAS ‘HOME’ FOR 17 YEARS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170033001-GA.
Catalogue Number
P20170033001
Acquisition Date
2017-11
Collection
Museum
Images
Less detail
Other Name
"UNTITLED"
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
PAPER, METAL, PAINT
Catalogue Number
P20190006004
  2 images  
Material Type
Artifact
Other Name
"UNTITLED"
Date Range From
1990
Date Range To
2000
Materials
PAPER, METAL, PAINT
No. Pieces
1
Length
74.8
Width
67
Description
WATERCOLOUR AND PASTEL PAINTING DEPICTING A TREE IN THE FOREGROUND IN BLACK PASTEL ON GREEN, PURPLE, PINK AND BLUE BLENDED WATERCOLOUR BACKGROUND. TREE AND GROUND OUTLINES ARE DONE IN PASTEL WITH ABSTRACT WATERCOLOUR BACKGROUNDS FOR LEAVES AND LANDSCAPE. PAINTING SIGNED IN FRONT LOWER RIGHT CORNER IN BLACK INK, "MELISSA MALKAS". PAINTING BACK IS STAINED, AND HAS INSCRIPTION IN LOWER RIGHT CORNER IN BLACK LEAD "PAINTING BY MELISSA MALKAS". PAINTING WAS DONATED IN A LAVENDER MATTE AND SILVER METAL FRAME. FRAME HAD WHITE COROPLAST BACKING WITH HANDWRITTEN TEXT IN BLUE MARKER ON LEFT SIDE "MELISSA AFTER CALGARY". MATTE CONSISTED OF A FRONT BOARD WITH THE PAINTING SECURED BY MASKING TAPE ALONG FOUR EDGES. A TREATMENT WAS CONDUCTED ON OCTOBER 24, 2019 BY CONSERVATOR JULIET GRAHAM TO REMOVE THE MASKING TAPE FROM THE BACK OF THE PAINTING, AND TO SECURE HOLLYTEX TO THE REMAINING ADHESIVE ON THE PAINTING. PAINTING HAS TWO PINHOLES AT LOWER RIGHT CORNER, AND SMALL TEARS ALONG RIGHT EDGE [REVEALED DURING TREATMENT TO REMOVE TAPE]. PAINTING HAS ADHESIVE RESIDUE ALONG FRONT EDGES FROM PREVIOUS MATTING OR FRAMING. OVERALL VERY GOOD CONDITION. FOR FURTHER CONDITION DETAILS AND THE COMPLETE TREATMENT REPORT BY CONSERVATOR JULIET GRAHAM, PLEASE SEE THE PERMANENT FILE P20190006001-GA.
Subjects
ART
Historical Association
FINE ARTS
History
ON MARCH 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DON FLAIG REGARDING HIS DONATION OF ARTWORKS. THE ARTWORKS WERE COLLECTED BY FLAIG’S PARENTS, HELEN AND LLOYD FLAIG. ON THE PAINTING BY MELISSA MALKAS, FLAIG RECALLED, “MY BROTHERS AND I HAD MET [MELISSA MALKAS]. WE THOUGHT HIGHLY OF HER AS AN ARTIST, [AND] AS A PERSON. I BELIEVE SHE’S NOT AROUND IN TOWN ANY MORE, BUT SHE WAS PART OF THAT RURAL SCENE, WHERE YOU HAD A GREAT AMOUNT OF FREEDOM.” “I JUST [HAD], I BELIEVE, TWO OF MELISSA’S PIECES, THE PAINTING [WAS ONE], WHICH IS VERY BIG, BEAUTIFUL, AND PRETTY. ON THE BACK IT SAYS ‘AFTER CALGARY’. I’M NOT SURE WHAT THAT MEANS.” “[WE MET THE MALKAS’S] ONCE WE MOVED OUT TO BROXBURN. I DON’T KNOW IF THEY MOVED IN BEFOREHAND. THEY WERE [OUR] NEIGHBORS. MOM WAS RAISED ON A FARM IN SASKATCHEWAN, AND [MY PARENTS] KNEW HOW TO REACH OUT TO THE NEIGHBORS, AND MAKE FRIENDS, AND TAKE FOOD OVER AND VISIT…THEY WERE ALWAYS OUT VISITING.” “I KNOW [MY PARENTS] WOULD GO OUT, AND DO THE ART ELSEWHERE, OR SOME AT HOME. IT JUST SEEMED NATURAL THAT THEY WOULD DEAL WITH THEIR ARTIST FRIENDS…THAT WOULD HAVE BEEN WHEN I WAS VERY YOUNG.” FLAIG ELABORATED ON HIS PARENTS’ AVID INTEREST IN LOCAL ART, NOTING, “MOM AND DAD ALWAYS HAD ART IN THE HOUSE. THEY WERE ALWAYS DOING ART. I REMEMBER DAD DOING LARGE PLASTER SCULPTURES, IN THE BASEMENT, IN THE CITY, AND MOM WAS ALWAYS PAINTING AND THROWING POTS, AND DOING SOMETHING FUNNY OUT IN THE BACK YARD, ART-WISE. GROWING UP, I ASSUMED EVERYBODY HAD ART IN THE HOUSE, BUT I’VE REALIZED THAT’S NOT THE CASE. NOT EVERYBODY LIKES HAVING ART AROUND, ALTHOUGH [THERE IS EFFORT IN] FINDING ART THAT YOU LIKE, AND ACQUIRING IT, OR CREATING IT, AND KEEPING IT. THERE WAS ALWAYS SOMETHING DIFFERENT HANGING ON THE WALLS IN THE HOUSE. [MOM AND DAD] WERE ALWAYS MOVING IT AROUND. THESE THREE PAINTINGS [BY MIKE PISKO AND ERNEST RIETHMAN], I’M AWARE THAT THESE PEOPLE WERE FRIENDS OF MOM AND DAD. THEY WERE …ARTISTS. I DON’T KNOW MUCH ABOUT THEM OTHER THAN THAT THEY WOULD OFTEN GO OUT TO SKETCH, AND PAINT, AND THEIR NAMES ARE FAMILIAR TO ME. [THE ARTWORKS] MEANT SOMETHING TO [MY PARENTS], WHETHER THEY BOUGHT THEM OR THEY WERE JUST GIFTS FROM OTHER ARTISTS, I’LL NEVER KNOW, BUT THERE HAS OBVIOUSLY BEEN A LOT OF CARE AND EFFORT PUT INTO THE WORKS BY THE ARTISTS. I HAVE A LARGE NUMBER OF MY MOTHER’S PAINTINGS, BUT THERE ARE LOTS OF THOSE AROUND THE CITY, AND HER WORK IS WELL PRESERVED. THESE ONES…I KNOW THEY ARE LOCAL ARTISTS SOMEWHERE NOW.” FLAIG RECALLED HIS PARENTS AND THEIR HOME IN LETHBRIDGE, “I GREW UP IN TOWN, ON HENDERSON LAKE BOULEVARD. [MY PARENTS] MOVED OUT IN THE EARLY 1970S TO BROXBURN ROAD. SOME OF [THE PAINTINGS] I’D HAVE SEEN THERE AT HENDERSON LAKE BOULEVARD, AND THE REST WOULD HAVE BEEN ON THE FARM. THEY WOULD HAVE BEEN UP ON THE WALLS, OR DOWN IN THE BASEMENT. THINGS WERE ALWAYS MOVING AROUND, BUT THESE ARE PAINTINGS THAT ARE FAMILIAR TO ME. NOT THAT I PAID THAT MUCH ATTENTION TO THEM, BECAUSE THERE WERE ALWAYS PAINTINGS AROUND, AND I NEVER THOUGHT TO ASK.” “MIKE PISKO IS THE NAME THAT COMES [TO MIND ON ARTISTS MY MOM SPENT MORE TIME WITH]; HAS MORE PAINTINGS, MEMORY-WISE, FOR SURE. OUT ON BROXBURN ROAD, THAT’S WHEN THEY MET THE MALKAS’. MOM SPOKE FREQUENTLY OF MELISSA, AND I PROBABLY MET THEM IN PASSING, BECAUSE I WAS ON TO OTHER STUFF. BUT I THINK THAT, WHEREVER THEY WERE, THEY WOULD HAVE REACHED OUT AND GOT IN TOUCH WITH OTHER ARTISTS. PLUS, WHERE THEY WERE ON BROXBURN ROAD, IT WAS A PLACE WHERE WE COULD DO JUST ABOUT ANYTHING—BUILDING THINGS, TEARING THINGS DOWN, MAKING ART, BLOWING STUFF UP, AS KIDS DO. THERE WERE ALWAYS ANIMALS, SOME HORSES, AND ONE DISASTROUS ATTEMPT AT RAISING SHEEP BY MY FATHER. THEY WERE ALWAYS INTO SOMETHING.” ON HIS MOTIVATIONS FOR DONATING, FLAIG ELABORATED, “AS TIME GOES BY, WE FIND THE NEED TO TIDY UP AND GET READY FOR THE NEXT STAGE OF LIFE. PART OF IT IS FINDING ROOM FOR SOME OF THESE WORKS OF ART THAT HAVE BEEN IN MY HOUSE AND HAVE SURVIVED, SOMEWHAT MIRACULOUSLY, SINCE MOM AND DAD LEFT A LITTLE FAR AND I TOOK THEM OVER, AS WE WERE EMPTYING OUT THE PLACE. THEY’VE BEEN IN MY BASEMENT, UNAPPRECIATED, AND I SUPPOSE AT SOME RISK OF BEING FORGOTTEN, OR LOST, OR THROWN OUT. THEY DO HAVE SOME SENTIMENTAL VALUE FOR ME, AND I CAN APPRECIATE THE ARTWORK THAT IS IN THE PIECES, MYSELF, TO A LIMITED DEGREE.” “MOM AND DAD HAD REACHED THE END OF THE ROAD...AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THESE WORKS WERE IN THEIR PLACE, AND, AS WE CLEANED THE PLACE OUT, I TOOK THEM AND PROTECTED THEM, AND SAVED THEM FROM THE BINS…I’M PUTTING THAT AT 2011.” ACCORDING TO LETHBRIDGE HERALD ARTICLES, MELISSA MALKAS WAS A SECOND GENERATION LETHBRIDGE ARTIST, THE DAUGHTER OF IRMA MALKAS (RODOWITZ) AND EGON MALKAS. MELISSA MALKAS GRADUATED FROM THE UNIVERSITY OF CALGARY IN 1986 WITH A DEGREE IN FINE ARTS, AND ALSO ATTENDED THE UNIVERSITY OF LETHBRIDGE. DURING HER CAREER, MALKAS EXHIBITED AT THE BOWMAN ARTS CENTRE WITH THE ALLIED ARTS COUNCIL OF LETHBRIDGE. MELISSA MALKAS EXHIBITED AS A SOLO ARTIST, AND WITH HER MOTHER IN 1996 AND 2003 AT THE BOWMAN ARTS CENTRE. MALKAS WAS AN INSTRUCTOR AT THE BOWMAN ARTS CENTRE FOR THE LETHBRIDGE ARTISTS CLUB IN 2005 AND 2010, TEACHING COURSES IN MIXED MEDIA WATERCOLOUR AND OILS. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190006001-GA.
Catalogue Number
P20190006004
Acquisition Date
2019-03
Collection
Museum
Images
Less detail
Date Range From
1980
Date Range To
2015
Material Type
Artifact
Materials
NYLON, SPANDEX, PLASTIC
Catalogue Number
P20170007005
  2 images  
Material Type
Artifact
Date Range From
1980
Date Range To
2015
Materials
NYLON, SPANDEX, PLASTIC
No. Pieces
2
Length
23
Width
8.5
Description
PAIR OF WHITE, REFLECTIVE GLOVES WITH WHITE AND OPAQUE PLASTIC BEADING ON WRISTS; BEADING FORMS FLOWER PATTERNS WITH BEADED LOOP AND TWO BEADED STRANDS FROM CENTER. TAG INSIDE LEFT HAND GLOVE READS “87.30% NYLON, 12.70% SPANDEX, MADE IN TAIWAN”. FINGERTIPS ON RIGHT HAND GLOVE STAINED RED; BEADING ON BOTH GLOVES IS STAINED RED-BROWN UNDERNEATH. OVERALL VERY GOOD CONDITION.
Subjects
CLOTHING-ACCESSORY
Historical Association
ASSOCIATIONS
PERSONAL CARE
History
ON FEBRUARY 22, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED WILMA WOOD, DAUGHTER OF DOROTHY TAYLOR, ABOUT HER DONATION OF TAYLOR’S ORDER OF ROYAL PURPLE REGALIA. THE REGALIA REPRESENTED TAYLOR’S 50-YEAR INVOLVEMENT WITH THE ORDER OF ROYAL PURPLE FROM BRANDON, MANITOBA TO LETHBRIDGE, ALBERTA. MACLEAN ADDITIONALLY INTERVIEWED ANN MARIE MCDONALD OF THE LETHBRIDGE ORDER OF ROYAL PURPLE ON JUNE 6, 2017. ON THE GLOVES, MCDONALD ELABORATED, “WE ALWAYS WORE WHITE GLOVES FOR FUNERALS, FOR WHEN OUR SUPREME CAME. IF OUR SUPREME CAME, WE ALWAYS HAD OUR DRILL TEAM…THEY WORE LONG SKIRTS, BUT THEY DIDN’T WEAR JACKETS. IF YOU WERE HONORABLE ROYAL LADY, AND YOU HAD SOMEBODY IMPORTANT COME TO VISIT YOU, YOU WORE WHITES, WHICH MEANT WHITE GLOVES. IF YOU GO TO A FUNERAL, AND YOU DRESS IN ROYAL PURPLE, YOU’D BETTER BRING YOUR WHITE GLOVES, OR PUT YOUR HANDS IN YOUR POCKETS.” WILMA WOOD DISCUSSED HER MOTHER’S TIME IN THE ORDER OF ROYAL PURPLE, STATING, “SHE CONSIDERS [THESE OBJECTS IN ACTIVE USE]. SHE IS VERY MUCH A PERSON WHO VALUES THAT SOCIETY. IT HELPED HER A NUMBER OF TIMES. AS YOU GROW OLDER, ALL OF A SUDDEN YOU DISCOVER THAT YOUR BRAIN ISN’T AS ACTIVE AS IT SHOULD BE AND THE MEMORY IS GOING. SHE WOULD PUT HERSELF INTO POSITIONS WITHIN THE ORGANIZATION INCLUDING BEING PRESIDENT, THREE OR FOUR TIMES. SHE HAD TO BE AN ORGANIZER, SHE HAD TO GET HER BRAIN AND KEEP HER BRAIN FUNCTIONING, WHICH I THOUGHT WAS VERY ADMIRABLE FOR A WOMAN HER AGE BECAUSE…SHE WAS IN HER EIGHTIES. SHE RECEIVED HER 50 YEAR PIN, I THINK IT WAS TWO YEARS AGO OR THREE.” “SHE JOINED [THE ORDER OF ROYAL PURPLE] IN BRANDON, MANITOBA WHERE [MY PARENTS] WERE LIVING AT THE TIME, AND MY DAD RETIRED THERE. THEY MOVED HERE TO LETHBRIDGE BECAUSE MY BROTHER LIVED HERE, AND MY UNCLE ART GOOD…HE LIVED HERE AND THEY WANTED TO BE CLOSER TO FAMILY. THEY MOVED TO LETHBRIDGE AND MY DAD DIED SHORTLY AFTER THAT.” “[SHE JOINED] BECAUSE OF HER FRIENDS. SHE HAD A FRIENDSHIP GROUP AND THEY BELONGED. THEY RECRUITED HER.” “WHEN SHE WAS VERY ACTIVE, SHE WAS A MAJOR RECRUITER. SHE WENT OUT AND FOUND YOUNG WOMEN BUT THEY FELL BY THE WAYSIDE BECAUSE OF LIFE. SHE WAS CERTAINLY VERY ACTIVE IN THEIR PROJECTS, ONE OF WHICH WAS FINDING FINANCES TO EDUCATE YOUNG PEOPLE. WHATEVER THEY WERE [DOING], SHE WAS INTO IT FULL TILT BECAUSE THAT’S THE KIND OF PERSON SHE IS…WHATEVER SHE DOES IS FULL BLAST, FULL BORE. SHE NEVER TOLD ME ANY DETAILS ABOUT THE SOCIETY BECAUSE IT’S ONE OF THOSE SECRET SISTERHOODS. SHE WAS ALWAYS VERY PROUD TO BE A MEMBER OF IT.” “THIS [CHAPTER] DID A LOT OF EDUCATIONAL SUPPORT…SHE TRAVELED WITH THEM BECAUSE IT WAS A CANADIAN ORGANIZATION, SO THEY HAD THEIR ANNUAL GENERAL MEETINGS ALL OVER CANADA. SHE CAME OUT TO VANCOUVER TO A MEETING AND I WENT OVER TO VANCOUVER TO MEET HER AND SAY “HOWDY”. SHE WENT OUT TO THE PREMIER’S, AT THAT TIME WAS VANDER ZALM, AND HE HAD THE BIG GARDENS OUT NEAR STEVESTON. SHE WENT OUT THERE AND SHE MET HIM.” “A YEAR AGO ABOUT THIS TIME, THAT’S WHEN [THE ORDER WAS] FOLDING. THE ALBERTA CLUBS WERE ALL IMPLODING, AND I THINK THERE’S ONLY ONE LEFT IN SOUTHERN ALBERTA. IT WAS THE ISSUE THAT THEY WERE ALL OLD PEOPLE AND YOUNG PEOPLE DID NOT WANT TO JOIN THESE KINDS OF ORGANIZATIONS ANY LONGER…[THIS HAPPENED BECAUSE] I THINK WE HAVE MORE LEGAL SUPPORT. THE GOVERNMENT HAS SET UP HEALTH CARE, COMMUNITIES HAVE SET UP ASSISTANCE FOR WOMEN WHO ARE ABUSED, THERE’S DRUG ASSISTANCE. THERE IS MUCH MORE ASSISTANCE AVAILABLE. IN THE EARLY DAYS ON THE PRAIRIES, IF YOU DIDN’T KNOW YOUR NEXT DOOR NEIGHBOR, WHO MIGHT BE TWENTY MILES AWAY, YOU WERE IN DEEP DOO-DOO IF YOU HAD A BIG PROBLEM. THAT’S WHAT THESE SOCIETIES CAME OUT OF WAS THAT NEED. THE NEED PRETTY WELL HAS BEEN TAKEN CARE OF, I THINK. THERE ARE STILL CLUBS BUT THEY’RE DIFFERENT KINDS OF CLUBS NOW.” WHEN ASKED ABOUT HER MOTIVATION FOR DONATING HER MOTHER’S REGALIA TO THE MUSEUM, WOOD NOTED, “MY MOTHER HAS TURNED 99 YEARS OLD IN JANUARY. SHE HAS DEMENTIA AND SO WE’VE HAD TO MOVE HER FROM HER SENIOR’S LODGE ROOM INTO A MORE SECURE ROOM. CONSEQUENTLY THE LAST OF THE THINGS THAT SHE TREASURED OR VALUED MUST BE DISPERSED. MY BROTHER AND I DECIDED THAT, SINCE THE ELKS AND THE ROYAL PURPLE MEANT SO MUCH TO HER, THAT [THESE WERE] THE [OBJECTS] WE WOULD LIKE TO DONATE TO THE MUSEUM. IT DEPICTS A PERIOD OF TIME WHEN THE WOMEN USED THESE ASSOCIATIONS AS A SUPPORT GROUP FOR THEMSELVES. IT WAS ANOTHER ONE OF THESE SECRET SOCIETIES, WHEN IN FACT THEY WERE SISTERHOODS. THEY WERE MEANT MAINLY FOR THEM TO HAVE PEOPLE TO SUPPORT EACH OTHER. SINCE THIS ORGANIZATION HAS BASICALLY COLLAPSED, I THOUGHT IT WAS SOMETHING THAT THE MUSEUM SHOULD HAVE BECAUSE IT DOES SHOW THAT PERIOD OF TIME IN THE SOCIAL HISTORY OF CANADA.” FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTIONS, PLEASE SEE THE PERMANENT FILE P20170007001-GA.
Catalogue Number
P20170007005
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Other Name
SANDAL
Date Range From
2010
Date Range To
2017
Material Type
Artifact
Catalogue Number
P20170007006
  2 images  
Material Type
Artifact
Other Name
SANDAL
Date Range From
2010
Date Range To
2017
No. Pieces
2
Length
26.3
Width
9.3
Description
PAIR OF WHITE SANDALS, LADIES’ SIZE 8.5. SANDALS HAVE ANKLE STRAP WITH SILVER BUCKLE AND TOE STRAP WITH A CENTER STRAP CONNECTING TOE STRAP TO ANKLE; INSIDE OF SANDALS IS SILVER; BOTTOM OF SANDALS IS BROWN. LABELS INSIDE SANDALS READ “GEORGE” ON BOTTOM, “8 ½, 29 PADDY, MADE IN CAMBODIA, FABRIQUE EN CAMBODGE, 030829470 36131215 S14” INSIDE ANKLES. INSIDE LININGS HAVE RED/BROWN GRIME BUILDUP AROUND EDGES; ANKLES OF SANDALS ARE WORN AND DISCOLOURED; OVERALL VERY GOOD CONDITION.
Subjects
CLOTHING-FOOTWEAR
Historical Association
ASSOCIATIONS
PERSONAL CARE
History
ON FEBRUARY 22, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED WILMA WOOD, DAUGHTER OF DOROTHY TAYLOR, ABOUT HER DONATION OF TAYLOR’S ORDER OF ROYAL PURPLE REGALIA. THE REGALIA REPRESENTED TAYLOR’S 50-YEAR INVOLVEMENT WITH THE ORDER OF ROYAL PURPLE FROM BRANDON, MANITOBA TO LETHBRIDGE, ALBERTA. ON THE SANDALS, WOOD ELABORATED, “THESE ARE RELATIVELY NEW SHOES [ABOUT FIVE OR SIX YEARS OLD] THAT WE GOT WHEN SHE WENT TO PARK MEADOWS BECAUSE SHE COULDN’T HAVE HEELS ANY MORE, OR ANY HEIGHT. SHE AND I WENT OUT AND WE FOUND THESE SHOES THAT SHE COULD WEAR TO THE MEETINGS.” WOOD DISCUSSED HER MOTHER’S TIME IN THE ORDER OF ROYAL PURPLE, STATING, “SHE CONSIDERS [THESE OBJECTS IN ACTIVE USE]. SHE IS VERY MUCH A PERSON WHO VALUES THAT SOCIETY. IT HELPED HER A NUMBER OF TIMES. AS YOU GROW OLDER, ALL OF A SUDDEN YOU DISCOVER THAT YOUR BRAIN ISN’T AS ACTIVE AS IT SHOULD BE AND THE MEMORY IS GOING. SHE WOULD PUT HERSELF INTO POSITIONS WITHIN THE ORGANIZATION INCLUDING BEING PRESIDENT, THREE OR FOUR TIMES. SHE HAD TO BE AN ORGANIZER, SHE HAD TO GET HER BRAIN AND KEEP HER BRAIN FUNCTIONING, WHICH I THOUGHT WAS VERY ADMIRABLE FOR A WOMAN HER AGE BECAUSE…SHE WAS IN HER EIGHTIES. SHE RECEIVED HER 50 YEAR PIN, I THINK IT WAS TWO YEARS AGO OR THREE.” “SHE JOINED [THE ORDER OF ROYAL PURPLE] IN BRANDON, MANITOBA WHERE [MY PARENTS] WERE LIVING AT THE TIME, AND MY DAD RETIRED THERE. THEY MOVED HERE TO LETHBRIDGE BECAUSE MY BROTHER LIVED HERE, AND MY UNCLE ART GOOD…HE LIVED HERE AND THEY WANTED TO BE CLOSER TO FAMILY. THEY MOVED TO LETHBRIDGE AND MY DAD DIED SHORTLY AFTER THAT.” “[SHE JOINED] BECAUSE OF HER FRIENDS. SHE HAD A FRIENDSHIP GROUP AND THEY BELONGED. THEY RECRUITED HER.” “WHEN SHE WAS VERY ACTIVE, SHE WAS A MAJOR RECRUITER. SHE WENT OUT AND FOUND YOUNG WOMEN BUT THEY FELL BY THE WAYSIDE BECAUSE OF LIFE. SHE WAS CERTAINLY VERY ACTIVE IN THEIR PROJECTS, ONE OF WHICH WAS FINDING FINANCES TO EDUCATE YOUNG PEOPLE. WHATEVER THEY WERE [DOING], SHE WAS INTO IT FULL TILT BECAUSE THAT’S THE KIND OF PERSON SHE IS…WHATEVER SHE DOES IS FULL BLAST, FULL BORE. SHE NEVER TOLD ME ANY DETAILS ABOUT THE SOCIETY BECAUSE IT’S ONE OF THOSE SECRET SISTERHOODS. SHE WAS ALWAYS VERY PROUD TO BE A MEMBER OF IT.” “THIS [CHAPTER] DID A LOT OF EDUCATIONAL SUPPORT…SHE TRAVELED WITH THEM BECAUSE IT WAS A CANADIAN ORGANIZATION, SO THEY HAD THEIR ANNUAL GENERAL MEETINGS ALL OVER CANADA. SHE CAME OUT TO VANCOUVER TO A MEETING AND I WENT OVER TO VANCOUVER TO MEET HER AND SAY “HOWDY”. SHE WENT OUT TO THE PREMIER’S, AT THAT TIME WAS VANDER ZALM, AND HE HAD THE BIG GARDENS OUT NEAR STEVESTON. SHE WENT OUT THERE AND SHE MET HIM.” “A YEAR AGO ABOUT THIS TIME, THAT’S WHEN [THE ORDER WAS] FOLDING. THE ALBERTA CLUBS WERE ALL IMPLODING, AND I THINK THERE’S ONLY ONE LEFT IN SOUTHERN ALBERTA. IT WAS THE ISSUE THAT THEY WERE ALL OLD PEOPLE AND YOUNG PEOPLE DID NOT WANT TO JOIN THESE KINDS OF ORGANIZATIONS ANY LONGER…[THIS HAPPENED BECAUSE] I THINK WE HAVE MORE LEGAL SUPPORT. THE GOVERNMENT HAS SET UP HEALTH CARE, COMMUNITIES HAVE SET UP ASSISTANCE FOR WOMEN WHO ARE ABUSED, THERE’S DRUG ASSISTANCE. THERE IS MUCH MORE ASSISTANCE AVAILABLE. IN THE EARLY DAYS ON THE PRAIRIES, IF YOU DIDN’T KNOW YOUR NEXT DOOR NEIGHBOR, WHO MIGHT BE TWENTY MILES AWAY, YOU WERE IN DEEP DOO-DOO IF YOU HAD A BIG PROBLEM. THAT’S WHAT THESE SOCIETIES CAME OUT OF WAS THAT NEED. THE NEED PRETTY WELL HAS BEEN TAKEN CARE OF, I THINK. THERE ARE STILL CLUBS BUT THEY’RE DIFFERENT KINDS OF CLUBS NOW.” WHEN ASKED ABOUT HER MOTIVATION FOR DONATING HER MOTHER’S REGALIA TO THE MUSEUM, WOOD NOTED, “MY MOTHER HAS TURNED 99 YEARS OLD IN JANUARY. SHE HAS DEMENTIA AND SO WE’VE HAD TO MOVE HER FROM HER SENIOR’S LODGE ROOM INTO A MORE SECURE ROOM. CONSEQUENTLY THE LAST OF THE THINGS THAT SHE TREASURED OR VALUED MUST BE DISPERSED. MY BROTHER AND I DECIDED THAT, SINCE THE ELKS AND THE ROYAL PURPLE MEANT SO MUCH TO HER, THAT [THESE WERE] THE [OBJECTS] WE WOULD LIKE TO DONATE TO THE MUSEUM. IT DEPICTS A PERIOD OF TIME WHEN THE WOMEN USED THESE ASSOCIATIONS AS A SUPPORT GROUP FOR THEMSELVES. IT WAS ANOTHER ONE OF THESE SECRET SOCIETIES, WHEN IN FACT THEY WERE SISTERHOODS. THEY WERE MEANT MAINLY FOR THEM TO HAVE PEOPLE TO SUPPORT EACH OTHER. SINCE THIS ORGANIZATION HAS BASICALLY COLLAPSED, I THOUGHT IT WAS SOMETHING THAT THE MUSEUM SHOULD HAVE BECAUSE IT DOES SHOW THAT PERIOD OF TIME IN THE SOCIAL HISTORY OF CANADA.” FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTIONS, PLEASE SEE THE PERMANENT FILE P20170007001-GA.
Catalogue Number
P20170007006
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Date Range From
1970
Date Range To
2015
Material Type
Artifact
Materials
COTTON, POLYESTER, PLASTIC
Catalogue Number
P20170007007
  2 images  
Material Type
Artifact
Date Range From
1970
Date Range To
2015
Materials
COTTON, POLYESTER, PLASTIC
No. Pieces
2
Height
5.5
Diameter
19
Description
A. PURPLE ROUND CAP WITH PURPLE AND WHITE TASSEL ATTACHED TO CENTER BUTTON. INSIDE OF CAP HAS BLACK VELCRO STRIP STAPLED TO BROWN LEATHER LINING, AND BLACK DOUBLE-ELASTIC STRAP ATTACHED. WHITE TAG INSIDE CAP READS “LOT. MEDIUM” WITH HANDWRITTEN INSCRIPTION IN BLUE INK “D. TAYLOR”. HAT HAS TWO PINS ON FRONT, ONE DIAMOND-SHAPED WITH RHINESTONE EDGING AND A STAG WITH PURPLE EYES IN THE CENTER, OVERALL EXCELLENT CONDITION; SECOND PIN COMPRISED OF FOURTEEN RHINESTONES ATTACHED WITH METAL CASINGS WITH TWO PIN ENDS AND PIN BACKINGS ATTACHED, OVERALL VERY GOOD CONDITION. BOTH PINS HAS SILVER-COLOURED FINISHING; RHINESTONE-CHAIN PIN HAS TARNISHING ON PIN ENDS. INSIDE OF CAP HAS STAINS ALONG BACK EDGE AND ON INSIDE LINING; OVERALL VERY GOOD CONDITION. B. HAT BAG, 33CM LONG X 22.5CM WIDE X 6.4CM DEEP, GREY EXTERIOR WITH BLACK, VINYL INTERIOR; HANDLE STITCHED TO TOP OF BAG. TOP FLAP ON BAG SECURES WITH BLACK AND SILVER SNAP BUTTON. INSIDE OF BAG HAS PAPER CARD INSERTED IN PLASTIC SLEEVE THAT READS “NAME DOROTHY TAYLOR, STREET 403 515-6 ST. S, TOWN LETHBRIDGE, PROV. ALTA, PHONE 8-9867, O.O.R.P. LODGE NO. 32”. RIGHT SIDE OF BAG INSIDE HAS GOLD “O.O.R.P.” DIAMOND SEAL WITH ELK IN CENTER. BAG HAS ROUNDED BASE; UPPER FLAP IS CURLED OUT AND BENT, AND TORN AT LOWER RIGHT AND LEFT CORNERS WHERE ATTACHED TO THE BAG; OVERALL VERY GOOD CONDITION.
Subjects
CLOTHING-HEADWEAR
Historical Association
ASSOCIATIONS
PERSONAL CARE
History
ON FEBRUARY 22, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED WILMA WOOD, DAUGHTER OF DOROTHY TAYLOR, ABOUT HER DONATION OF TAYLOR’S ORDER OF ROYAL PURPLE REGALIA. THE REGALIA REPRESENTED TAYLOR’S 50-YEAR INVOLVEMENT WITH THE ORDER OF ROYAL PURPLE FROM BRANDON, MANITOBA TO LETHBRIDGE, ALBERTA. MACLEAN ADDITIONALLY INTERVIEWED ANN MARIE MCDONALD OF THE LETHBRIDGE ORDER OF ROYAL PURPLE ON JUNE 6, 2017. ON THE HAT AND HAT BAG, MCDONALD ELABORATED, “WHEN YOU JOIN THE LODGE, THIS IS THE HAT YOU GET. THIS IS STANDARD. ALL THE LADIES GET THIS. WHEN YOU JOIN THE LODGE, YOUR TASSEL IS JUST PURPLE. WHEN YOU ARE HONORABLE ROYAL LADY, YOU TAKE YOUR TASSEL OFF, AND YOU PUT THIS [PURPLE AND CREAM] TASSEL ON.” “[THE BAG] MUST BE FROM BRANDON. OUR HAT BOXES ARE WHITE, AND THEY ARE HARD, AND YOU PUT YOUR HAT IN. [THEN] YOU TIP YOUR HAT UP, AND YOU PUT YOUR GLOVES AND ANYTHING THAT YOU WANT TO STORE IN THE HAT BOX. THE HAT BOXES ARE QUITE A BIT BIGGER…THEY HAVE A HANDLE ON THEM SO YOU CAN…CARRY THEM. EVERYBODY USED TO KEEP THEIR GLOVES IN THEIR HAT BOX.” WOOD DISCUSSED HER MOTHER’S TIME IN THE ORDER OF ROYAL PURPLE, STATING, “SHE CONSIDERS [THESE OBJECTS IN ACTIVE USE]. SHE IS VERY MUCH A PERSON WHO VALUES THAT SOCIETY. IT HELPED HER A NUMBER OF TIMES. AS YOU GROW OLDER, ALL OF A SUDDEN YOU DISCOVER THAT YOUR BRAIN ISN’T AS ACTIVE AS IT SHOULD BE AND THE MEMORY IS GOING. SHE WOULD PUT HERSELF INTO POSITIONS WITHIN THE ORGANIZATION INCLUDING BEING PRESIDENT, THREE OR FOUR TIMES. SHE HAD TO BE AN ORGANIZER, SHE HAD TO GET HER BRAIN AND KEEP HER BRAIN FUNCTIONING, WHICH I THOUGHT WAS VERY ADMIRABLE FOR A WOMAN HER AGE BECAUSE…SHE WAS IN HER EIGHTIES. SHE RECEIVED HER 50 YEAR PIN, I THINK IT WAS TWO YEARS AGO OR THREE.” “SHE JOINED [THE ORDER OF ROYAL PURPLE] IN BRANDON, MANITOBA WHERE [MY PARENTS] WERE LIVING AT THE TIME, AND MY DAD RETIRED THERE. THEY MOVED HERE TO LETHBRIDGE BECAUSE MY BROTHER LIVED HERE, AND MY UNCLE ART GOOD…HE LIVED HERE AND THEY WANTED TO BE CLOSER TO FAMILY. THEY MOVED TO LETHBRIDGE AND MY DAD DIED SHORTLY AFTER THAT.” “[SHE JOINED] BECAUSE OF HER FRIENDS. SHE HAD A FRIENDSHIP GROUP AND THEY BELONGED. THEY RECRUITED HER.” “WHEN SHE WAS VERY ACTIVE, SHE WAS A MAJOR RECRUITER. SHE WENT OUT AND FOUND YOUNG WOMEN BUT THEY FELL BY THE WAYSIDE BECAUSE OF LIFE. SHE WAS CERTAINLY VERY ACTIVE IN THEIR PROJECTS, ONE OF WHICH WAS FINDING FINANCES TO EDUCATE YOUNG PEOPLE. WHATEVER THEY WERE [DOING], SHE WAS INTO IT FULL TILT BECAUSE THAT’S THE KIND OF PERSON SHE IS…WHATEVER SHE DOES IS FULL BLAST, FULL BORE. SHE NEVER TOLD ME ANY DETAILS ABOUT THE SOCIETY BECAUSE IT’S ONE OF THOSE SECRET SISTERHOODS. SHE WAS ALWAYS VERY PROUD TO BE A MEMBER OF IT.” “THIS [CHAPTER] DID A LOT OF EDUCATIONAL SUPPORT…SHE TRAVELED WITH THEM BECAUSE IT WAS A CANADIAN ORGANIZATION, SO THEY HAD THEIR ANNUAL GENERAL MEETINGS ALL OVER CANADA. SHE CAME OUT TO VANCOUVER TO A MEETING AND I WENT OVER TO VANCOUVER TO MEET HER AND SAY “HOWDY”. SHE WENT OUT TO THE PREMIER’S, AT THAT TIME WAS VANDER ZALM, AND HE HAD THE BIG GARDENS OUT NEAR STEVESTON. SHE WENT OUT THERE AND SHE MET HIM.” “A YEAR AGO ABOUT THIS TIME, THAT’S WHEN [THE ORDER WAS] FOLDING. THE ALBERTA CLUBS WERE ALL IMPLODING, AND I THINK THERE’S ONLY ONE LEFT IN SOUTHERN ALBERTA. IT WAS THE ISSUE THAT THEY WERE ALL OLD PEOPLE AND YOUNG PEOPLE DID NOT WANT TO JOIN THESE KINDS OF ORGANIZATIONS ANY LONGER…[THIS HAPPENED BECAUSE] I THINK WE HAVE MORE LEGAL SUPPORT. THE GOVERNMENT HAS SET UP HEALTH CARE, COMMUNITIES HAVE SET UP ASSISTANCE FOR WOMEN WHO ARE ABUSED, THERE’S DRUG ASSISTANCE. THERE IS MUCH MORE ASSISTANCE AVAILABLE. IN THE EARLY DAYS ON THE PRAIRIES, IF YOU DIDN’T KNOW YOUR NEXT DOOR NEIGHBOR, WHO MIGHT BE TWENTY MILES AWAY, YOU WERE IN DEEP DOO-DOO IF YOU HAD A BIG PROBLEM. THAT’S WHAT THESE SOCIETIES CAME OUT OF WAS THAT NEED. THE NEED PRETTY WELL HAS BEEN TAKEN CARE OF, I THINK. THERE ARE STILL CLUBS BUT THEY’RE DIFFERENT KINDS OF CLUBS NOW.” WHEN ASKED ABOUT HER MOTIVATION FOR DONATING HER MOTHER’S REGALIA TO THE MUSEUM, WOOD NOTED, “MY MOTHER HAS TURNED 99 YEARS OLD IN JANUARY. SHE HAS DEMENTIA AND SO WE’VE HAD TO MOVE HER FROM HER SENIOR’S LODGE ROOM INTO A MORE SECURE ROOM. CONSEQUENTLY THE LAST OF THE THINGS THAT SHE TREASURED OR VALUED MUST BE DISPERSED. MY BROTHER AND I DECIDED THAT, SINCE THE ELKS AND THE ROYAL PURPLE MEANT SO MUCH TO HER, THAT [THESE WERE] THE [OBJECTS] WE WOULD LIKE TO DONATE TO THE MUSEUM. IT DEPICTS A PERIOD OF TIME WHEN THE WOMEN USED THESE ASSOCIATIONS AS A SUPPORT GROUP FOR THEMSELVES. IT WAS ANOTHER ONE OF THESE SECRET SOCIETIES, WHEN IN FACT THEY WERE SISTERHOODS. THEY WERE MEANT MAINLY FOR THEM TO HAVE PEOPLE TO SUPPORT EACH OTHER. SINCE THIS ORGANIZATION HAS BASICALLY COLLAPSED, I THOUGHT IT WAS SOMETHING THAT THE MUSEUM SHOULD HAVE BECAUSE IT DOES SHOW THAT PERIOD OF TIME IN THE SOCIAL HISTORY OF CANADA.” FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTIONS, PLEASE SEE THE PERMANENT FILE P20170007001-GA.
Catalogue Number
P20170007007
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Other Name
RAGDOLL
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
WOOL, COTTON
Catalogue Number
P20120045001
  2 images  
Material Type
Artifact
Other Name
RAGDOLL
Date Range From
1970
Date Range To
1980
Materials
WOOL, COTTON
No. Pieces
4
Length
42
Width
26
Description
A. RAGDOLL KNIT WITH WHITE, YELLOW, GREEN, RED, AND BLACK YARN. BODY IS WHITE WITH YELLOW UNDERWEAR, GREEN AND WHITE STOCKINGS, AND RED AND BLACK SHOES. DOLL HAS BRIGHT ORANGE HAIR MADE FROM YARN; FACE IS HAND-STITCHED WITH WHITE AND BLACK EYES, RED TRIANGULAR NOSE, AND RED FROWNING MOUTH. DOLL HAS RED YARN TIED AROUND HANDS. WHITE TAG ON BACK READS, IN BLACK, “HAND KNIT BY RESIDENTS OF FORESTER HAVEN”. DOLL SHOWS LITTLE SIGNS OF WEAR; OVERALL EXCELLENT CONDITION. B. NECK-SCARF TIED TO DOLL; (33CM WIDE X 15CM LONG); RED COTTON TRIANGULAR NECK-SCARF WITH SCALLOPED EDGES. SCARF IS HEAVILY CREASED FROM BEING TIED ON THE DOLL; EDGES ARE FRAYED; OVERALL CONDITION IS VERY GOOD. C. GREEN AND WHITE DOTTED OVERALLS, WORN BY RAGDOLL. OVERALLS HAVE WHITE SCALLOPED TRIM AROUND ANKLES AND BIB; OVERALLS ARE SECURED WITH TWO WHITE PLASTIC AND METAL BUTTON-SNAPS. FRONT OF OVERALLS HAS FELT LETTERS “IOF” SEWN ON. OVERALLS SHOW LITTLE SIGNS OF WEAR; OVERALL EXCELLENT CONDITION. D. HAT FOR RAGOLL; STYLE OF A BASEBALL CAP WITH GREEN AND WHITE DOTTED BRIM. CAP IS FORMED BY THREE TRIANGULAR GREEN AND WHITE DOTTED PATCHES AND THREE SOLID WHITE PATCHES WITH WHITE PLASTIC BUTTON SEWN ONTO TOP. CAP HAS GREEN THREAD STITCHED AROUND BASE EDGE AND SECURING BRIM. CAP SHOWS LITTLE SIGN OF WEAR; OVERALL EXCELLENT CONDITION.
Subjects
TOY
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. ON THE PURPOSE OF THE RAGDOLL, CAREFOOT NOTED, “THESE DOLLS…WERE PART OF WHAT WE USED FOR…THE PREVENTION OF CHILD ABUSE…THAT WAS ONE OF THE THINGS THAT WE USED IN ADVERTISING…OCCASIONALLY, WHEN THERE WAS SOMETHING GOING ON IN THE CITY, WE’D RENT A SPACE AND HAVE A BOOTH AND THIS WAS ONE OF THE THINGS THAT WE’D PROJECT.” “WE DIDN’T MAKE AND SELL THEM. IT WAS JUST A DEMONSTRATION OF CHILDREN, CAUGHT PEOPLE’S EYE.” “THIS TOOK PLACE [IN] CANADA AND THE UNITED STATES BECAUSE THE INDEPENDENT ORDER OF FORESTERS WAS BIG IN THE UNITED STATES AS WELL AND IT GREW OVER TO ENGLAND…WE WOULD HAVE ACTIVITIES WHERE WE COULD MAKE SOME MONEY AND WE’D DONATE IT TO THE GROUPS THAT WERE [PREVENTING] CHILD ABUSE…WE WOULD HAVE A PRINCESS IN THE VARIOUS COMMUNITIES CLOSE AROUND AND THEY WOULD SELL TICKETS FOR VARIOUS THINGS SO THAT WE WOULD ACCUMULATE THE MONEY…WE WOULD THEN DONATE [THE MONEY] ON BEHALF OF [THE BUYERS] TO [THE] PREVENTION OF CHILD ABUSE.” “TODAY, IT HAS SORT OF FLOATED DOWN TO WHERE IT’S HARDLY NEGLIGIBLE ANYMORE BECAUSE OTHER THINGS HAVE HAPPENED IN THE COMMUNITY THAT WERE PROBABLY DOING BETTER THAN WE WERE.” 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, 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
P20120045001
Acquisition Date
2012-12
Collection
Museum
Images
Less detail
Other Name
RAGDOLL
Date Range From
1970
Date Range To
1980
Material Type
Artifact
Materials
WOOL, COTTON
Catalogue Number
P20120045002
  2 images  
Material Type
Artifact
Other Name
RAGDOLL
Date Range From
1970
Date Range To
1980
Materials
WOOL, COTTON
No. Pieces
2
Length
40
Width
26
Description
A.RAGDOLL WEARING GREEN AND WHITE DOTTED DRESS; DOLL IS KNIT FROM WOOL AND HAS BRIGHT ORANGE YARN HAIR. DOLL FACE IS HAND-STITCHED WITH WHITE AND BLACK EYES, RED NOSE AND RED FROWNING MOUTH SEWN INTO WOOL. DOLL HAS KNIT YELLOW PANTIES, GREEN AND WHITE STOCKINGS, AND RED AND BLACK SHOES ALL PART OF MAIN BODY. WHITE TAG ON BACK READS, IN BLACK, “HAND KNIT BY RESIDENTS OF FORESTER HAVEN”. DOLL SHOWS LITTLE SIGNS OF WEAR; OVERALL EXCELLENT CONDITION. B. DOLL DRESS; GREEN AND WHITE WITH WHITE SCALLOPED HEM AND SLEEVES, AND WHITE COLLAR. DRESS HAS ELASTIC SLEEVES. DRESS ATTACHED AT BACK OF THE NECK WITH SILVER HOOK-CLASP. OVERALL EXCELLENT CONDITION.
Subjects
TOY
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. ON THE PURPOSE OF THE RAGDOLL, CAREFOOT NOTED, “THESE DOLLS…WERE PART OF WHAT WE USED FOR…THE PREVENTION OF CHILD ABUSE…THAT WAS ONE OF THE THINGS THAT WE USED IN ADVERTISING…OCCASIONALLY, WHEN THERE WAS SOMETHING GOING ON IN THE CITY, WE’D RENT A SPACE AND HAVE A BOOTH AND THIS WAS ONE OF THE THINGS THAT WE’D PROJECT.” “WE DIDN’T MAKE AND SELL THEM. IT WAS JUST A DEMONSTRATION OF CHILDREN, CAUGHT PEOPLE’S EYE.” “THIS TOOK PLACE [IN] CANADA AND THE UNITED STATES BECAUSE THE INDEPENDENT ORDER OF FORESTERS WAS BIG IN THE UNITED STATES AS WELL AND IT GREW OVER TO ENGLAND…WE WOULD HAVE ACTIVITIES WHERE WE COULD MAKE SOME MONEY AND WE’D DONATE IT TO THE GROUPS THAT WERE [PREVENTING] CHILD ABUSE…WE WOULD HAVE A PRINCESS IN THE VARIOUS COMMUNITIES CLOSE AROUND AND THEY WOULD SELL TICKETS FOR VARIOUS THINGS SO THAT WE WOULD ACCUMULATE THE MONEY…WE WOULD THEN DONATE [THE MONEY] ON BEHALF OF [THE BUYERS] TO [THE] PREVENTION OF CHILD ABUSE.” “TODAY, IT HAS SORT OF FLOATED DOWN TO WHERE IT’S HARDLY NEGLIGIBLE ANYMORE BECAUSE OTHER THINGS HAVE HAPPENED IN THE COMMUNITY THAT WERE PROBABLY DOING BETTER THAN WE WERE.” 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, 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
P20120045002
Acquisition Date
2012-12
Collection
Museum
Images
Less detail
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
METAL, PAPER, LEATHER
Catalogue Number
P20120045003
  2 images  
Material Type
Artifact
Date Range From
1960
Date Range To
1970
Materials
METAL, PAPER, LEATHER
No. Pieces
1
Height
28.5
Length
26.7
Width
46.2
Description
GREY CHEST WITH BLACK TRIM ALONG EDGES AND GOLD-FINISHED METAL CLASPS, NAILS, AND TRIM. CORNERS HAVE GOLD-FINISHED METAL PROTECTORS. HANDLE ON TOP OF CASE IS BLACK LEATHER WITH METAL RINGS CONNECTED TO GOLD-FINISHED BASES. CHEST HAS THREE CLASPS ON FRONT WITH LARGER CENTER CLASP INCLUDING A LOCK. TWO CLASPS ON OUTER ENDS HAVE STAMP READING “EAGLE LOCK[…], TERRYVILLE, MADE IN U.S.A.”. CENTER CLASP WITH LOCK HAS STAMPED TEXT ON RIGHT SIDE OF CLASP “126” AND STAMPED TEXT ON LOWER CLASP READING “U.S.A., EXCELSIOR, STAMFORD, CONN.”. TOP OF CASE HAS RED LABEL IN SHIELD SHAPE WITH GOLD BORDER AND GOLD GLOBE SURROUNDED BY LUGGAGE, TEXT BELOW READS “MCBRINE BAGGAGE”. INSIDE OF CASE IS LINED WITH WHITE AND BLUE FOUR-LEAF CLOVER PATTERNED PAPER. PAPER ON INSIDE IS STAINED WITH RED AND BLACK; OUTSIDE OF CASE SHOWS HEAVY RUSTING AND CORROSION ON RIGHT SIDE AND ALONG TOP AND BOTTOM EDGES OF FRONT. TOP OF CASE IS RUSTED; HANDLE ON TOP IS WORN WITH LEATHER CRACKLING AND CREASED, AND LEATHER TORN AND FRAYED AROUND METAL LOOPS SECURING IT TO THE CASE. BOTTOM EDGES ARE SCRATCHED AND RUSTED; BASE IS RUSTED AND CORRODED. OVERALL FAIR CONDITION.
Subjects
PERSONAL GEAR
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. ON THE HISTORY AND PURPOSE OF THE TRUNK, CAREFOOT NOTED, “I WAS THE PRESIDENT OF THE LEAGUE…OF [THE] LETHBRIDGE CHAPTER. AND [I] WOUND UP WITH [THE TRUNK] AND IN IT [WERE SOME OF] THESE [DONATED] THINGS. IT PRE-DATES ME.” 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, 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.” “IT WENT TO EACH CHIEF RANGER OR PRESIDENT.” “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
P20120045003
Acquisition Date
2012-12
Collection
Museum
Images
Less detail
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
LEATHER, BRASS, PAPER
Catalogue Number
P20120045004
  2 images  
Material Type
Artifact
Date Range From
1950
Date Range To
1960
Materials
LEATHER, BRASS, PAPER
No. Pieces
4
Length
63
Width
32
Description
A. SCROLL WITH BRASS ROD AND WHITE AND BROWN LEATHER DOCUMENT. SCROLL END HAS A WOODEN ROD INSERTED IN STITCHED LEATHER LOOP, WITH TWO GOLD-BROWN COTTON PULL-ROPES WITH TASSELS. RECTO (INSIDE) OF SCROLL HAS BLACK PRINTED TEXT “ORATOR, MY FRIENDS, PLACE YOUR RIGHT HAND OVER YOUR HEART AS A TOKEN OF YOUR SINCERITY AND ANSWER THE FOLLOWING QUESTIONS BY SAYING “I DO”.” AND BELOW INCLUDES TEXT LISTING 5 DECLARATIONS FOR INDEPENDENT ORDER OF FORESTERS MEMBERS. HANDWRITTEN TEXT IN BLACK INK IN TOP LEFT CORNER OF THE RECTO READS “1ST ASH AUDIENCE [ILLEGIBLE] STAND, 2ND FORESTER CREED [ILLEGIBLE] RECORD” WITH THIRD LINE ILLEGIBLE. HANDWRITTEN TEXT IN BLUE INK IN UPPER RIGHT CORNER OF RECTO READS “[SINGLE X IN CIRCLE] ATTENTION, [TWO X MARKS IN CIRCLES] SIT DOWN, [THREE X MARKS IN CIRCLES] STAND UP.” END OF POINT 5 ON RECTO HAS TWO HAND-DRAWN X MARKS THROUGH DOTS IN BLACK INK. RECTO AND VERSO (OUTSIDE) OF SCROLL HAVE PINK INK MARKS ON LEATHER; VERSO HAS BLUE INK BLEEDING THROUGH LEATHER IN UPPER LEFT CORNER AND ALONG LEFT EDGE, AND BLACK SMUDGE ABOVE LOWER EDGE. TOP EDGE OF LEATHER IS STITCHED AT CONNECTION TO SCROLL ROD, WITH COTTON THREAD FRAYING AT ENDS FROM WEAR. OVERALL VERY GOOD CONDITION. B. PAPER WITH INITIATION STEPS FOR INDEPENDENT ORDER OF FORESTERS WITH BLACK TYPED AND HANDWRITTEN NOTES. FIRST LINES OF TEXT INCLUDE “C.R. [HAVE CROSSED OUT] WILL [HANDWRITTEN, BLACK INK] HAVE THE OFFICERS ASSUME THEIR ACCUSTOMED STATIONS IN THE COURT?” AND “*BROS., COMPS., LADIES & GENTLEMEN, AS CHIEF RANGER, I AM ABOUT TO OPEN COURT WINDY WEST #562 OF THE INDEPENDENT ORDER OF FORESTERS FOR INITIATION.” INCLUDES TEXT FOR WOODWARDS, TEXT FOR ORATOR CUT OUT, V.C.R., C.R., S.W., C.R., P.C.R., C.R., ORATOR, C.R., V.C.R., C.R., TEXT FOR ORATOR CUT OUT, V.C.R., WOODWARDS, C.R. PAPER HAS DISCOLORED OPAQUE TAPE ALONG RIGHT EDGE, AND ADHESIVE STAINING ALONG TOP, LEFT, AND BOTTOM EDGES. LOWER EDGE HAS YELLOWING AND DISCOLORATION FROM ADHESIVE. PAPER HAS BLEEDING FROM FRONT TEXT ONTO BACK OF PAPER. PAPER IS SEVERELY CREASED AND FOLDED. OVERALL FAIR CONDITION. C. PAPER CUT OUT WITH BLACK TYPED TEXT, 17.9CM LONG X 3CM WIDE. TEXT READS “OUR FATHER, WE BOW AGAIN IN SUBMISSION BEFORE THEE. WE PRAY THY BLESSING UPON OUR EFFORTS TO MAKE THY KINGDOM COME ON EARTH AND WE EARNESTLY BESEECH THEE TO GRANT EACH OF US WISDOM AND STRENGTH TO WALK IN THE PATH OF PEACE, VIRTUE AND MORALITY. GUIDE OUR FOOTSTEPS IN SAFETY THROUGH THE JOURNEY OF LIFE, AND, FINALLY, IN THY LOVE AND MERCY BRING US TO THY HEAVENLY COURT WHERE WE SHALL. SEE THEE FACE TO FACE AND PRAISE THEE AS WE OUGHT. AMEN.” PAPER HAS ADHESIVE STAINING ON LEFT AND RIGHT EDGES; PAPER HAS TEAR IN LOWER LEFT CORNER, AND FOLD IN LOWER RIGHT CORNER. PAPER HAS BLEEDING FROM FRONT TEXT ONTO BACK OF PAPER. OVERALL FAIR CONDITION. D. PAPER CUT OUT WITH BLACK TYPED TEXT, 18.6CM LONG X 3.1CM WIDE. TEXT READS, “GREAT AND MERCIFUL GOD, ASSEMBLED IN THY HOLY NAME, WE HUMBLY INVOKE THY BLESSING NOT ONLY UPON THE MEMBERS OF THIS COURT BUT UPON THY PEOPLE EVERYWHERE. INCLINE OUR HEARTS TO DO THY WILL; TEACH US TO BE WISE, MODERATE AND JUST IN ALL OUR ACTIONS AND COURTEOUS AND FORGIVING TO ONE ANOTHER. INSPIRE US TO MAKE TRUTH, JUSTICE AND CHARITY THE FOUNDATION OF ALL OUR ACTS; AND TO THEE BE ASCRIBED ALL THE GLORY AND PRAISE, NOW AND EVERMORE. AMEN.” PAPER HAS DISCOLORED OPAQUE TAPE ATTACHED TO RIGHT EDGE, AND ADHESIVE STAINING ALONG LEFT EDGE. PAPER HAS FOLD IN THE CENTER, AND UPPER LEFT AND LOWER RIGHT EDGES ARE CURLING IN. BACK OF PAPER HAS FOLDING IN LOWER LEFT CORNER, AND LEFT EDGE IS YELLOWED. UPPER RIGHT CORNER IS CREASED ON BACK. PAPER HAS BLEEDING FROM FRONT TEXT ONTO BACK OF PAPER. OVERALL FAIR CONDITION.
Subjects
DOCUMENTARY ARTIFACT
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. ON THE PURPOSE AND HISTORY OF THE SCROLL, CAREFOOT NOTED, “[THIS WAS PART OF] ANOTHER RITUAL. [IT SHOWS WHAT THE]] PAST CHIEF RANGER, WHAT HE WOULD SAY…I DON’T KNOW [WHEN IT WAS RECITED] BECAUSE THEY NEVER USED IT AT A MEETING I WAS AT. THEY WERE JUST PART OF WHAT WE HAD. IT WAS PART OF WAY BACK WHEN. WE WEREN’T USING THE RITUAL WORDS SO THAT WAS PART OF [THE SCROLL].” “WE DIDN’T USE [THE SCROLL] ANYMORE. THE ORATOR HAD A SPIEL, A COMMITMENT. HE READ IT IN THE DAYS OF OLD ENGLAND. IT WASN’T PART OF OUR RITUAL ANYMORE BECAUSE WE DIDN’T HOLD TO AS STRONG A RITUAL AS THEY DID IN PREVIOUS YEARS…I WOULD SAY THAT IN THE LATE ‘50S THIS WAS ENDING [BECAUSE] I DON’T REMEMBER BEING AT A MEETING WHERE THEY USED [THE SCROLL].” “[MEMBERS STOPPED USING IT BECAUSE] SOCIETY HAD CHANGED ENOUGH THAT THEY DIDN’T WANT TO BOTHER WITH THAT RITUAL. I SUSPECT THAT’S WHY. [THE RITUALS WERE] KIND OF STRANGE TO ME. BUT I ACCEPTED IT BECAUSE THAT IS PART OF WHAT YOU DID.” 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, 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
P20120045004
Acquisition Date
2012-12
Collection
Museum
Images
Less detail
Other Name
BYCOCKET
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
FELT, COTTON, PLASTIC
Catalogue Number
P20120045005
  2 images  
Material Type
Artifact
Other Name
BYCOCKET
Date Range From
1960
Date Range To
1970
Materials
FELT, COTTON, PLASTIC
No. Pieces
1
Height
17
Length
29
Description
GREEN FELT BYCOCKET (ARCHER’S CAP) WITH RED FELT TRIM ALONG BOTTOM AND FOLD BETWEEN RED TRIM AND GREEN CAP; FRONT SIDE OF CAP HAS THREE SYNTHETIC FEATHERS TUCKED INTO FOLD, ONE YELLOW, ONE RED, AND ONE GREEN. FRONT SIDE OF CAP HAS GOLDEN GLITTER-GLUE HANDWRITTEN TEXT “LETHBRIDGE 562”; BACK SIDE OF CAP HAS GOLDEN GLITTER-GLUE HANDWRITTEN TEXT SEWN ONTO GREEN PATCH ON CAP “GINNY”. GLITTER-GLUE IS PEELING IN SPOTS ON FRONT AND BACK TEXT; OVERALL EXCELLENT CONDITION.
Subjects
CLOTHING-HEADWEAR
Historical Association
ASSOCIATIONS
PERSONAL CARE
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. “THAT ONE WAS ALMOST AHEAD OF ME IN THE FORESTERS BECAUSE IT WASN’T REALLY SOMETHING THAT WE USED. IN EARLY DAYS, WHEN THEY HAD SOMETHING OFFICIAL, THEY WORE THE CAP, AND THEY WORE A GOWN. IT ALL GOES BACK TO ROBIN HOOD DAYS BECAUSE THE FORESTERS WERE DEVELOPED IN THAT TIME SPAN OF YEARS.” “[MEMBERS STOPPED USING IT BECAUSE] SOCIETY HAD CHANGED ENOUGH THAT THEY DIDN’T WANT TO BOTHER WITH THAT RITUAL. I SUSPECT THAT’S WHY. [THE RITUALS WERE] KIND OF STRANGE TO ME. BUT I ACCEPTED IT BECAUSE THAT IS PART OF WHAT YOU DID. IF YOU HAD AN OPEN PARTY BEFORE ‘70 AND YOU WERE WEARING ONE OF THOSE…PEOPLE RECOGNIZED YOU AS BEING ONE OF THE WORKERS…OTHER THAN THAT IT WASN’T SOMETHING THAT I REALLY WANTED TO WEAR, PARTICULARLY…THE RITUAL…I’D SAY IT HAS DISAPPEARED. “MY WIFE [RUTH] AND A NEIGHBOUR WHO WAS ALSO A MEMBER [MADE THE HATS]. THEY MADE A GROUP OF THEM FOR US. THIS ONE WAS GINNY; SHE WAS PAST-PRESIDENT…IT’S NOT MINE.” “[THE RITUAL WAS] A SPILL-OVER FROM WHAT WAS HAPPENING IN ENGLAND. THE FORESTERS WERE SUCCESSFUL, [SO] THEY CARRIED ON WITH SOME OF THE ORIGINAL RITUALS. IT’S SOMETHING THAT HAD MADE THEM STRONG OR HELPED TO MAKE THEM STRONG. [THE RITUAL AND REGALIA] ALSO MADE THEM NOTABLE, NOTED.” “THE RITUAL WAS…FROM ENGLAND...IF YOU TALK TO THE PRESIDENT THEN IT WAS ‘THE CHIEF RANGER’ AND THE LANGUAGE THAT WENT WITH THE RITUAL IN THOSE YEARS GONE BY – AND WE USE SOME OF THAT LANGUAGE…AS A PREFERENCE IN STARTING OUR MEETINGS. ESPECIALLY IF IT WAS…A SPECIAL MEETING WHERE WE WERE GOING TO GIVE FIVE THOUSAND DOLLARS TO THIS OR TWO THOUSAND DOLLARS TO THAT. [THE RITUAL WAS PERFORMED IN ADVANCE OF] SOMETHING A LITTLE BIT NOTABLE WITHIN OUR GROUP.” “THE CLOTHES WERE…GIVEN TO US BY THE PREVIOUS MEMBERSHIP. THAT’S HOW WE WOUND UP WITH A HAT AND ONE OF THE CLOAKS THAT WE WORE.” “[THIS HAT] WOULD HAVE BEEN [MADE] ABOUT THE ‘80S…THOSE ARE THE LAST OF THE HATS THAT WE MADE. [WE STOPPED PERFORMING THE RITUAL] BEFORE 1990.” “WE USED THE IOOF HALL [ODD FELLOWS HALL], UPSTAIRS…WE USED THE GYM AT OUR SCHOOL, AT LAKEVIEW SCHOOL. WE RENTED PLACES…FOR OUR MEETINGS AND FOR OUR RITUALS. THE LEGION, WHEN IT WAS OVER FACING THE RAILROAD TRACK IS THE FIRST ONES I REMEMBER.” 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, 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
P20120045005
Acquisition Date
2012-12
Collection
Museum
Images
Less detail
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
SILK, COTTON
Catalogue Number
P20120045006
  2 images  
Material Type
Artifact
Date Range From
1950
Date Range To
1960
Materials
SILK, COTTON
No. Pieces
1
Length
186
Width
60
Description
IVORY TABLE RUNNER WITH GOLD FRINGING AT BOTH ENDS; RUNNER HAS CREAM STITCHING AROUND EDGES. ABOVE GOLD FRINGE AT EACH END IS AN EMBROIDERED INDEPENDENT ORDER OF FORESTERS CREST. CREST IS ON A ROYAL BLUE FLOWER EDGED WITH GOLD, AND SHOWS THE ORDER CROSS, EDGED IN GOLD, WITH FOUR POINTS IN INDIGO AND RED, AND A WHITE CIRCLE IN CENTER WITH TEXT “I.O.F.” ON AN INDIGO BAR WITH GOLD EDGING ACROSS THE CENTER. TABLE RUNNER HAS DARK STAINING AND WEAR MARKS ON BOTH SIDES; RUNNER IS CREASED FROM FOLDS ON BOTH SIDES. OVERALL VERY GOOD CONDITION.
Subjects
HOUSEHOLD ACCESSORY
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. ON THE PURPOSE AND HISTORY OF THE TABLE RUNNER, CAREFOOT NOTED, “THAT WOULD BE A TABLE RUNNER. THAT WOULD BE [USED] WHEN THEY WERE…DOING [THE] RITUAL. WE DIDN’T USE THIS AT EVERY MEETING. THIS WAS A THING THAT THEY USED WHEN THEY HAD THE RITUAL WHERE THEY PUT ON THEIR HAT AND THEIR GOWNS.” “THERE WOULD BE MORE THAN ONE BECAUSE THEY HAD A TABLE WITH SOME OF THE [RITUAL] ITEMS ON…I NEVER WAS EVER INVOLVED WHEN THEY WERE DOING THAT.” “[MEMBERS STOPPED USING IT BECAUSE] SOCIETY HAD CHANGED ENOUGH THAT THEY DIDN’T WANT TO BOTHER WITH THAT RITUAL. I SUSPECT THAT’S WHY. [THE RITUALS WERE] KIND OF STRANGE TO ME. BUT I ACCEPTED IT BECAUSE THAT IS PART OF WHAT YOU DID.” 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, 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
P20120045006
Acquisition Date
2012-12
Collection
Museum
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