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Other Name
THEATRE LAMP
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
METAL, GLASS, CLOTH
Catalogue Number
P20170029002
  2 images  
Material Type
Artifact
Other Name
THEATRE LAMP
Date Range From
1960
Date Range To
1970
Materials
METAL, GLASS, CLOTH
No. Pieces
1
Length
131
Width
28
Description
SILVER THEATER LAMP WITH BLUE METAL C-CLAMP AND BOLT FIXED TO METAL HANDLE; C-CLAMP HAS EMBOSSED TEXT “STRAND ELECTRIC”. LAMP IS ROUNDED WITH GLASS COVER OVER INSIDE LIGHT AND THREE SILVER SLIDES AROUND FRONT FOR HOLDING SCREENS AND COVERS. BOTTOM OF LAMP HAS EMBOSSED TEXT “MADE IN ENGLAND” ABOVE BLACK AND SILVER PLATE NAILED ON “THE STRAND ELECTRIC & ENG CO LTD, LONDON, PATT. NO. 23/LS, VOLTS 120, MAX. WATTS 500”. BOTTOM HAS METAL COVER OVER BOLT AND BLACK CHIPPED HANDLE FOR TURNING BOLT; BOTTOM HAS WHITE CLOTH POWER CORD EMERGING; CORD HAS SILVER PLUG END WITH NGRAVED TEXT “HUBBEL, TWIST LOCK, TURN & PULL, COVER GROUNDED, 20A_250V., 10A. 00V. A.C., 2920304, PAT. 2815495”. BACK OF LAMP HAS CUT-OUTS IN METAL TO SHOW INSIDE; CENTER OF BACK HAS ENGRAVED TEXT “STRAND ELECTRIC”. TOP OF LAMP HAS SILVER BUTTON PRESSED INTO METAL TO OPEN COVER; INSIDE OF LAMP HAS SILVER ROUND REFLECTOR AND GLASS BULB SET IN WHITE PLASTIC FITTING. TOP HAS BROWN AND SILVER PLATE NAILED ON “SUPPLIED BY STRAND ELECTRIC, TORONTO”. LAMP HAS PINK PAINT SPOTS ON TOP AND SIDES; CORD IS DISCOLOURED AND STAINED WITH BLACK; BLUE C-CLAMP ON HANDLE IS RUSTED AND IS CHIPPED; RIGHT SIDE OF LAMP HAS BROWN ADHESIVE RESIDUE. OVERALL VERY GOOD CONDITION.
Subjects
LIGHTING DEVICE
Historical Association
FURNISHINGS
INDUSTRY
History
THE CITY OF LETHBRIDGE RECREATION AND CULTURE DEPARTMENT DONATED OBJECTS FROM THE YATES THEATRE IN LETHBRIDGE UPON RENOVATIONS TO THE YATES THEATRE IN SEPTEMBER 2017. THE OBJECTS DONATED WERE USED IN THE YATES AFTER ITS CONSTRUCTION IN THE 1960S. ON DECEMBER 18, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND LINDA BAYLY REGARDING THEIR INVOLVEMENT WITH AND MEMORIES OF THE YATES THEATRE. ED AND LINDA BAYLY IDENTIFIED THE OBJECTS DONATED FROM THE YATES AND RECALLED THEIR OWN EXPERIENCES WITH THE OBJECTS. ON THE “STRAND” THEATRE LAMP, ED BAYLY ELABORATED, “THOSE WERE THE LAMPS THAT WE USED TO FILL IN THE AREAS WHERE THE PROFILE LIGHTS DIDN’T LIGHT UP. BECAUSE THEY WERE 500 WATTS WE COULD UTILIZE MORE OF THEM. YOU COULD ONLY GET SO MANY LIGHTS ON ONE CIRCUIT AND THESE WERE VERY HANDY LIGHTS. PUSH THAT BUTTON THERE AND THE FRONT OPENS UP AND YOU CAN CHANGE THE BULB. THEY DIDN’T GET OVERLY HOT WHICH MEANT THEY’D LAST LONGER.” “I BOUGHT THE LIGHTS [FOR THE THEATRE]. IT WAS THE FIRST COUPLE OF YEARS THAT WE WERE BUYING THE LIGHTS. IT WAS AN INTEGRAL PART, [THE THEATRE] NEEDED TO HAVE THEM IN ORDER TO UTILIZE THE STAGE PROPERLY. WE STARTED USING THEM FROM DAY ONE…PART OF THE NEW EQUIPMENT OF THE YATES.” “IT WAS GREAT [HAVING THE LIGHTS]. WE FOUND THAT AFTER A WHILE WE BOUGHT SO MANY HIGHER POWERED LIGHTS INITIALLY FOR THE FRONT OF THE HOUSE, WHICH MEANS THE OLD BALCONY AREA IN FRONT OF THE STAGE THERE, TO LIGHT UP THE FRONT PART OF THE STAGE [USED] THE MAIN LIGHTING…THESE WERE USED AS AUXILIARY LIGHTING. THESE CAME A LITTLE BIT LATER BECAUSE WE FOUND OUT WHERE WE NEEDED THEM. IT WAS A CONVENIENT WAY OF LIGHTING SYSTEM.” “[THESE WOULD BE SUSPENDED UP IN THE AIR] ABOVE THE STAGE AND ALSO IN FRONT OF THE STAGE OR ON STANDS. [THEY WERE A GOOD LIGHT] THEY WERE EASY TO WORK WITH.” “IT WAS A BIG PART OF WHAT I DID SO IT WAS ENJOYABLE TO ME. YOU CAN MAKE QUITE AN EFFECT WITH LIGHTS, ONE WAY OR ANOTHER YOU COULD SEE THESE…MAKE IT EFFECTIVE. [YOU COULD] CREATE MOODS WITH DIFFERENT COLOURS. THE SLOTS ON THE FRONT [OF THE LAMP] ACCOMMODATED A FRAME. IT HAD GELS WHICH ARE DIFFERENT COLORED CELLOPHANE TRANSPARENCIES. YOU’D LIGHT THE STAGE WITH DIFFERENT COLOURS IF YOU WANTED, TO CREATE THE MOOD THAT YOU WERE ENDEAVORING TO CREATE.” “[THE CITY IN PROVIDING FUNDING FOR EXPENSES WAS] NOT BAD. WE TRIED TO KEEP THE EXPENSE DOWN. THAT WAS PART OF MY JOB TOO, TO TRY TO BE AS ECONOMICAL AS POSSIBLE. IT WORKED OUT PRETTY WELL. [IT WAS] SOMETIMES HARD TO CONVINCE THEM THAT THERE WAS A NEED FOR SOME OF THIS STUFF IF THEY WEREN’T FAMILIAR WITH WHAT IT WAS USED FOR.” LINDA BAYLY ADDED, “I REMEMBER [ED] STANDING ON, IT SEEMED LIKE A HUNDRED FOOT LADDER BEFORE [HE] GOT THE SCAFFOLDING IN THERE, HOOKING LIGHTS AND MOVING THEM AND SHIFTING THEM ALONG THE LIGHTING RAILS…[IT] SCARED ME TO DEATH. SO, I STAYED OUT OF THERE.” MACLEAN ADDITIONALLY INTERVIEWED JEFF CARLSON ON NOVEMBER 15, 2017. CARLSON WORKED FULL-TIME IN THE YATES THEATRE PRODUCING, WRITING, AND DIRECTING WITH NEW WEST THEATRE, LETHBRIDGE. CARLSON ELABORATED ON THE THEATRE LAMP, “I COULD TAKE IT APART, CLEAN IT, PUT A GEL IN IT, AND GET [IT] UP AND RUNNING. FOCUS IT. I’M GOING TO GUESS THAT IT WAS PROBABLY STILL ONE OF THE MAIN LAMPS IN USE UNTIL THE MID-EIGHTIES OR LATER IN THE YATES. WHEN THEY ADDED ON THE STERNDALE BENNETT THEATRE, JUST ON THE EAST SIDE, A LOT OF THE LAMPS FROM THE YATES TRAVELED OVER TO THAT THEATRE AND WE REPLACED THEM WITH THE TECHNOLOGY OF THE DAY WHICH ARE NOW THIRTY YEARS OLD. I RECALL THOSE AS WELL. BACK IN THE EARLY DAYS OF NEW WEST, WE DID EVERYTHING. WE WROTE THE SHOWS, CHOREOGRAPHED THE SHOWS, MADE OUR OWN COSTUMES, HUNG OUR OWN LIGHTS, DID ALL OUR OWN TECH WORK SO I’VE PROBABLY HAD MY FINGERS IN THAT LAMP AT SOME POINT IN ITS CAREER.” ED AND LINDA BAYLY RECALLED THEIR YEARS SPENT WORKING WITH THE YATES THEATRE IN LETHBRIDGE, WITH ED BAYLY NOTING, “I WAS MANAGER AT THE YATES FOR 35 YEARS. I WAS INVOLVED WITH THE LOCAL DRAMA GROUPS FOR A NUMBER OF YEARS BEFORE THAT SO THAT WAS PARTIALLY THE REASON THAT I WAS CHOSEN FOR THE JOB. I HAD THE CONTACTS." “WHAT I REMEMBER MOST OF ALL WAS THE FACT THAT THE CITY PUT THE FUNDING FOR THE YATES UP TO THE PUBLIC IN A PUBLIC PLEBISCITE, AND IT WAS TURNED DOWN TWICE BEFORE THEY WENT AHEAD WITH THE MONEY THAT THEY HAD AND BUILT THE PLACE. PEOPLE WERE SAYING, 'WELL, WHAT DO YOU WANT THAT FOR, NO ONE’S EVER GOING TO USE IT.' THEN WE HAD THE OPENING AND FRED WEATHERUP, WHO WAS THE OWNER OF ENERSON MOTORS, BROUGHT IN SOME GO-GO DANCERS AND THEY HAD CARS PARKED OUT IN FRONT OF THE YATES, AND THAT SORT OF BROUGHT IN OTHER PEOPLE THAT WEREN’T REALLY INTERESTED IN THE ARTS AND THEY GOT A CHANCE TO SEE THE PLACE.” “THE REST OF THE PROVINCE GOT THE JUBILEE AUDITORIUMS WHICH WE DIDN’T. THOSE ARE WAY BIGGER OF COURSE AND A LOT MORE EXPENSIVE. WE WERE VERY FORTUNATE IN THIS MATTER–WE HAD A BEQUEST FROM THE YATES FAMILY THAT PRETTY WELL PAID FOR CONSTRUCTION OF THE BUILDING. AFTER A VERY FEW YEARS, YOU [STARTED TO] WONDER HOW YOU GOT ALONG WITHOUT IT BECAUSE IT WAS IN CONSTANT USE, AND STILL IS. IT WAS VERY WELL BUILT AND IT WILL CONTINUE TO SERVE THE COMMUNITY FOR ANY NUMBER OF YEARS BECAUSE WE’RE IN THE PROCESS OF RENOVATING IT, ADDING ON TO IT.” “I WAS HIRED ON BEFORE THE BUILDING WAS FINISHED SO I WAS THERE DURING THE CONSTRUCTION OF IT. I HAD SOME INPUT. IT WAS EXCITING. [THE] JOB WAS DIFFERENT ALL THE TIME. THEY HAD THESE GROUPS COME IN, AND…IT WAS AN EVERYDAY EVENT FOR ME. THEY ALL USED TO SAY, 'HOW COME YOU STAY SO CALM?' AND I WOULD SAY 'WELL, BECAUSE I DO IT EVERY DAY, AND YOU ONLY DO IT ONCE A YEAR.'” LINDA BAYLY SPOKE ABOUT HER OWN EXPERIENCES WITH THE YATES THEATRE, NOTING, “I WAS THE SECRETARY IN THE FRONT OFFICE AND WORKED WITH MAKING BOOKINGS FOR THE BUILDING AND GENERAL SECRETARIAL WORK AT THAT TIME. ED WAS THE TECHNICIAN FOR A NUMBER OF YEARS BEFORE HE BECAME HE MANAGER. HE HAD TO MAKE SURE ALL THESE RULES BACKSTAGE WERE LOOKED AFTER AND ATTENDED TO AND COMPLETED.” JEFF CARLSON ELABORATED ON HIS TIME WITH THE YATES THEATRE, STATING, “I SPENT MY ENTIRE PRETTY MUCH LIFE…IN THE YATES, IN THE GENEVIEVE YATES MEMORIAL THEATRE. I STARTED GOING TO THE YATES PROBABLY IN THE ‘70S WITH THE KIWANIS MUSIC FESTIVAL AND SCHOOL BAND AND CHOIR EVENTS…BACK IN LAKEVIEW ELEMENTARY SCHOOL. AFTER THAT I STARTED ACTING IN THEATRE AND EVENTUALLY PRODUCING AND DIRECTING THEATRE UP UNTIL LESS THAN A YEAR AGO.” “[AT THE TIME] I FIGURED 'NOW THIS IS FUN, I LIKE THIS, I THINK I’M OKAY AT IT' SO I GAVE MYSELF SOME DEADLINES. I SAID, 'I’LL PURSUE THIS UNTIL I’M THIRTY AND IF I HAVEN’T MADE A CAREER IN IT BY THEN, THEN I WILL DO MY FALLBACK EDUCATION OR POLITICAL SCIENCE OR RUSSIAN HISTORY.' I HAD BITTEN OFF A BIT OF IT AT THAT POINT. BUT, BY THE AGE OF THIRTY, I WAS WORKING FULLTIME IN THEATRE, WRITING, DIRECTING, PRODUCING PRODUCTIONS FOR NEW WEST THEATRE AT THE YATES.” “[I WAS] PROFESSIONALLY EMPLOYED AT THE YATES BY [THE] LATE ‘80S, EARLY ‘90S. THERE WAS A MIX THERE BECAUSE WE WERE DOING FULL-TIME THEATRE PRODUCTIONS BY THE LATE ‘80S BUT THEN I TOOK TIME OFF TO TAKE A TOURING COMPANY THROUGH ALBERTA AND B.C., FOR NEW WEST THEATRE. [I] ENDED UP LIKING IT SO MUCH THAT I STAYED IN VANCOUVER FOR A COUPLE OF YEARS. [I] CAME BACK FOR A TWO-WEEK VISIT ON MY WAY TO TORONTO TO GO INTO FILM AND TV. AS I WAS HERE FOR TWO WEEKS, THE ASSOCIATE DIRECTOR QUIT AND THEY SAID, 'PLEASE, PLEASE, PLEASE – ', AND SO I SAID, 'I’LL DO IT FOR A YEAR.' THAT IS NOW TWENTY-FIVE YEARS AGO. IT WAS JUST CIRCUMSTANCES.” “WE [HAD] REPLACED THE SEATS IN THE YATES AND REPAINTED THE WHOLE THING. IT WAS PROBABLY ONE OF THE MISTAKES THAT WAS MADE, IN MY OPINION, WAS THAT BLUE COLOUR WE PUT ON THE WALLS. THEY CHANGED [THE PAINT COLOUR] TO THIS LIGHT BLUE THAT CAUSED THE LIGHTING DESIGNS TO BE SUCH A CHALLENGE.” “WE DID EVERYTHING. WE RAN THE LIGHTS, HUNG THE LIGHTS, FOCUSED THE LIGHTS. THEY MADE ME SEW COSTUMES. I REMEMBER MAKING A POODLE SKIRT FOR A SHOW IN 1986. I’VE LEARNED HOW TO MAKE A POODLE SKIRT. IT WAS TERRIBLE, BUT I LEARNED HOW TO MAKE IT. IN MY DEGREE AT THE UNIVERSITY OF LETHBRIDGE, YOU HAVE TO GET SO MANY, WHAT THEY CALL ‘BACKSTAGE CREDITS’, IN RUNNING BACKSTAGE SHOWS, HANGING THE LIGHTS, DOING WARDROBE. THEY WAIVED THAT REQUIREMENT FOR ME BECAUSE, GROWING UP IN NEW WEST AND DOING EVERYTHING IN NEW WEST, THEY KNEW WE DID EVERYTHING. WE BUILT THE SETS, PAINTED THE SETS, HUNG THE LIGHTS, DID EVERYTHING. I WAS VERY FORTUNATE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTIONS, PLEASE SEE THE PERMANENT FILE P20170029001-GA.
Catalogue Number
P20170029002
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Date Range From
1960
Date Range To
2015
Material Type
Artifact
Materials
STEEL, PLASTIC, RUBBER
Catalogue Number
P20170029003
  2 images  
Material Type
Artifact
Date Range From
1960
Date Range To
2015
Materials
STEEL, PLASTIC, RUBBER
No. Pieces
1
Height
130
Length
80
Width
27
Description
SPOTLIGHT PAINTED BLUE; BODY FIXED ON STAND WITH THREE WHEELS AT BASE. SPOTLIGHT HAS LONG CYLINDRICAL BODY WITH FRONT OPENING TO SHOW LIGHT AND GLASS COVER INSIDE. LEFT SIDE HAS BLACK POWER CORD WOUND ON HOOK ATTACHED TO BODY. RIGHT SIDE HAS RED AND WHITE TEXT SCREWED ON “STRONG TROUPERETTE II"; RIGHT SIDE HAS LEVER WITH RED HANDLE RUNNING ON TRACK FROM THE FRONT TO HALFWAY ALONG BODY. TOP HAS TWO LEVERS WITH ROUND RED KNOBS AT BACK, AND SIX SILVER LEVERS WITH BENT ENDS AND TIERED HEIGHTS. BACK HAS TWO RED HANDLES AND BLACK POWER CORD ATTACHMENT; BACK HAS RED PLATE WITH SILVER DETAILING, BORDER AND TEXT “SPOTLIGHT STRONG TROUPERETTE, VOLTS 115/120, AMPS 5, TYPE 45002-1, SER. NO. 71283, THE STRONG ELECTRIC CORP., TOLEDO, O., U.S.A., 45100, MADE IN U.S.A.”. BACK HAS ENGRAVED TEXT “YATES 63” ON RED PLATE. BACK HAS BLACK “ON/OFF” SWITCH BELOW RED AND SILVER PLATE. METAL STAND IS RUSTED; BASE HAS CHIPPED PAINT AND WHITE PAINT STAINING; BODY HAS CHIPPED PAINT AND SIDES HAVE DISCOLOURED WHITE TAPE AND ADHESIVE STAINING; BODY IS RUSTED AT EDGES. OVERALL VERY GOOD CONDITION.
Subjects
LIGHTING DEVICE
Historical Association
BUSINESS
History
THE CITY OF LETHBRIDGE RECREATION AND CULTURE DEPARTMENT DONATED OBJECTS FROM THE YATES THEATRE IN LETHBRIDGE UPON RENOVATIONS TO THE YATES THEATRE IN SEPTEMBER 2017. THE OBJECTS DONATED WERE USED IN THE YATES AFTER ITS CONSTRUCTION IN THE 1960S. ON DECEMBER 18, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND LINDA BAYLY REGARDING THEIR INVOLVEMENT WITH AND MEMORIES OF THE YATES THEATRE. ED AND LINDA BAYLY IDENTIFIED THE OBJECTS DONATED FROM THE YATES AND RECALLED THEIR OWN EXPERIENCES WITH THE OBJECTS. ON THE SPOT LAMP, ED BAYLY ELABORATED, “THEY’RE PRETTY STRAIGHTFORWARD TO OPERATE AND WE TRIED TO ENCOURAGE, PARTICULARLY WHEN SCHOOLS CAME IN, TO HAVE THE STUDENTS OPERATE THEM, IF THEY WERE WILLING OR ABLE OR WANTED TO. THEY COULDN’T DO MUCH HARM TO THAT. THE FOLLOW SPOT…IT’S LIKE A BIG FLASHLIGHT, WHEN YOU FOCUS ON WHATEVER YOU WANT TO POINT UP. YOU SEE IT ON TV WHEN THE ICE SKATERS, OR FIGURE SKATERS ARE DOING THEIR THING, FOLLOW THEM AROUND WITH THAT.” “[THE SPOT LAMP] COULD HAVE BEEN A BIT MORE POWERFUL, BUT WE COULDN’T AFFORD TO GET MUCH MORE THAN WHAT WE DID GET AT THE TIME. WE COULDN’T JUSTIFY IT…I DON’T THINK WE WERE AWARE OF WHAT WAS NEEDED UNTIL WE GOT INTO OPERATION. THEN IT BECAME EVIDENT THAT WE NEEDED ALL SORTS OF DIFFERENT LIGHTS.” “WE HAD TWO OF [THE SPOT LAMPS] THAT WE BOUGHT LATER ON AND [WERE] PRETTY GOOD. WE HAVE SINCE REPLACED THEM WITH MORE POWERFUL ONES, BUT THEY WERE QUITE ADEQUATE FOR OUR NEEDS AT THAT TIME. THEY FILLED A GAP THAT WE HAD THERE, FOR A FOLLOW SPOT WHICH ENABLED US TO DO MORE.” LINDA BAYLY ADDED, “I REMEMBER HAVING TO USE THAT [LAMP] ONE TIME. THERE WAS A GENTLEMAN IN TOWN BY THE NAME OF BOB (REID) AND HE WORKED IN…AN ELECTRICAL SHOP AND IF ED WAS ON HOLIDAYS, THEN BOB WOULD COME IN AND USE THE FOLLOW SPOT AND DID THE LIGHTING FOR [THE] SHOW. BUT [ONE DAY] BOB COULDN’T COME OVER AND SO THEY ASKED ME TO DO THE LIGHTING. I KNEW NOTHING ABOUT LIGHTING, BUT ED SAT ME DOWN AND SAID, 'NOW, HERE’S YOUR PLOT. DO THIS. DO THAT. AND AT THIS TIME DO WHATEVER.' THERE WERE TWO OCCASIONS. ONE WAS A PIANO RECITAL. [A] LOCAL TEACHER WANTED TO HAVE ALL HER STUDENTS PERFORM ON A STAGE ON A GRAND PIANO--AND WOULD I LIGHT THIS SHOW FOR HER? IT WAS INTERESTING BECAUSE SHE WANTED TO CHANGE THE LIGHTS FOR DIFFERENT MOODS. I COULD HAVE A BLUE LIGHT ON AND THEN CHANGE IT TO A RED LIGHT ON. SHE ASKED ME FOR A HARD ROLLING YELLOW. I HAVE NO IDEA TO THIS DAY WHAT SHE REALLY WANTED. I THINK I GAVE HER A BLUE LIGHT AND SHE WENT AWAY JUST AS HAPPY AS COULD BE. ANOTHER TIME THEY HAD A BRIDAL SHOW IN THERE AND WHOEVER WAS STAGE MANAGING THE BRIDAL SHOW SAID, 'NOW, AT THIS POINT WE WANT YOU TO SHINE A SPOT ON THAT ENTRYWAY, AND IT’S GOING TO BE THE BRIDE IN HER BEAUTIFUL FINERY. JUST HAVE HER LIT UP AND IT’S GOING TO BE WONDERFUL.' I FOLLOWED HER DIRECTIONS, HAD THE LIGHT OVER THERE AND THE OTHER GIRL THAT WAS THE MODEL FOR THE SHOW CAME OVER AND STOOD IN THE DARK, SO I THEN HAD TO, VERY UNPROFESSIONALLY, SWING THE LIGHT OVER AND CATCH HER. ED WOULD NEVER HAVE DONE THAT. HE WOULD HAVE TURNED THE LIGHT OFF, MOVED THE THING, TURNED IT BACK ON AND BROUGHT IT UP PROPERLY, BUT I WAS REALLY HAPPY THAT I WAS NOT DOING LIGHTS.” MACLEAN ADDITIONALLY INTERVIEWED JEFF CARLSON ON NOVEMBER 15, 2017. CARLSON WORKED FULL-TIME IN THE YATES THEATRE PRODUCING, WRITING, AND DIRECTING WITH NEW WEST THEATRE, LETHBRIDGE. CARLSON ELABORATED ON THE SPOT LAMP, “ROSCOE [YATES] GAVE THE MONEY AND THEN CITY COUNCIL OF THE DAY, BRAVELY KEPT PUTTING IT OUT TO PLEBISCITE, 'SHOULD WE BUILD THIS THEATRE?' BY THE TIME THEY FINALLY GOT THE OKAY, THE MONEY HAD DEPRECIATED IN VALUE SO MUCH THAT THEY DIDN’T HAVE ENOUGH TO DO WHAT THEY SHOULD HAVE DONE IN THE FIRST PLACE. IT WOULD HAVE BEEN SMART FOR THE STAFF TO BE SURREPTITIOUSLY BUYING EQUIPMENT AT THE CHEAPER PRICES. I THOUGHT IT MAY HAVE BEEN…WES STEFAN, ONE OF THE MAINSTAYS OF THEATRE IN THE SEVENTIES AND EIGHTIES, UP UNTIL THE EARLY NINETIES BEFORE HE PASSED, [WHO] BOUGHT A BUNCH OF THESE, MAYBE FROM THE YATES AND HAD THEM IN HIS PERSONAL COLLECTION [BECAUSE]…I BORROWED THEM FROM WES TO USE FOR THEATRE PRODUCTIONS AND ON WES’ PASSING, THIS MAY HAVE GONE BACK TO THE YATES. I KNOW HE HAD A LOT OF THESE.” “THERE [WERE] ALSO SOME GUN-METAL GREY ONES…THOSE MAY HAVE BEEN WES’S THEN…WES USED THEM FOR COMEDY SHOWS. [I REMEMBER] DOING THE BOWMAN ARTS, PERFORMING ARTS SUMMER SCHOOL WHICH WOULD HAVE BEEN ‘81 OR ‘82 AND THAT WAS WITH JOAN WATERFIELD. WE GOT TO SPEND A DAY OVER IN THE YATES, AND WE GOT TO GO THROUGH EVERYTHING AND PLAY WITH EVERYTHING INCLUDING [THE SPOT LAMPS] IN THE BOOTH. BUT THE FIRST TIME I RECALL EVER ACTUALLY BEEN HIT WITH ONE…IT WAS LETHBRIDGE MUSICAL THEATRE PRODUCTION OF 'OKLAHOMA' AND I OPENED THE SHOW AS THE LEAD TO CURLY AND WE DID IT IN THE AUDIENCE. I STARTED IN THE AUDIENCE AND THE SHOW OPENED WITH THE BAND DOING THE BIG THING AND THEN BOOM! THE SPOTLIGHT WOULD PIN ME AGAINST A WALL AND IT WAS, 'OH WHAT A BEAUTIFUL MORNING, OH WHAT A BEAUTIFUL DAY.' THAT ONE FACE PROBABLY SHONE ON ME MANY TIMES. I’VE RUN IT MANY TIMES AND LIFTED IT UP AND DOWN STAIRS MANY TIMES AND IT WEIGHS LIKE A BILLION POUNDS.” “RIGHT NOW WITH TECHNOLOGY YOU’VE GOT ONES THAT ARE MUCH EASIER TO OPERATE ‘CAUSE THIS IS ALL LEVERS, SO THE FOCUS AND THE BRIGHTNESS IS ALL DONE THROUGH LEVERS, PLUS, FLIPPING THE SWITCHES WILL GIVE YOU DIFFERENT GEL COLOURS THAT YOU CAN THROW IN OR OUT THERE. YOU CAN EVEN PROBABLY FIT A GOBO INTO IT WHICH WOULD THROW A DESIGN ON THE STAGE. ANY THEATRE COMPANY THAT’S AROUND WOULD PROBABLY LOVE TO HAVE THAT IN THEIR ARSENAL BECAUSE IT DOES STILL WORK. IT’S AN AWESOME UNIT, IT STILL DOES THE TRICK, IT WAS USED UP UNTIL PROBABLY A MONTH AGO.” “AT SOME POINTS IT EVEN HAD TO HAVE TWO PEOPLE RUNNING IT. ONE OF US WOULD BE MOVING IT, OPERATING IT AROUND THE STAGE AND THE OTHER WOULD BE CHANGING THE FOCUS AND THE BRIGHTNESS, OR FLIPPING IN A DIFFERENT GEL COLOUR. IT WAS A TWO-HANDED OPERATION.” ED AND LINDA BAYLY RECALLED THEIR YEARS SPENT WORKING WITH THE YATES THEATRE IN LETHBRIDGE, WITH ED BAYLY NOTING, “I WAS MANAGER AT THE YATES FOR 35 YEARS. I WAS INVOLVED WITH THE LOCAL DRAMA GROUPS FOR A NUMBER OF YEARS BEFORE THAT SO THAT WAS PARTIALLY THE REASON THAT I WAS CHOSEN FOR THE JOB. I HAD THE CONTACTS." “WHAT I REMEMBER MOST OF ALL WAS THE FACT THAT THE CITY PUT THE FUNDING FOR THE YATES UP TO THE PUBLIC IN A PUBLIC PLEBISCITE, AND IT WAS TURNED DOWN TWICE BEFORE THEY WENT AHEAD WITH THE MONEY THAT THEY HAD AND BUILT THE PLACE. PEOPLE WERE SAYING, 'WELL, WHAT DO YOU WANT THAT FOR, NO ONE’S EVER GOING TO USE IT.' THEN WE HAD THE OPENING AND FRED WEATHERUP, WHO WAS THE OWNER OF ENERSON MOTORS, BROUGHT IN SOME GO-GO DANCERS AND THEY HAD CARS PARKED OUT IN FRONT OF THE YATES, AND THAT SORT OF BROUGHT IN OTHER PEOPLE THAT WEREN’T REALLY INTERESTED IN THE ARTS AND THEY GOT A CHANCE TO SEE THE PLACE.” “THE REST OF THE PROVINCE GOT THE JUBILEE AUDITORIUMS WHICH WE DIDN’T. THOSE ARE WAY BIGGER OF COURSE AND A LOT MORE EXPENSIVE. WE WERE VERY FORTUNATE IN THIS MATTER–WE HAD A BEQUEST FROM THE YATES FAMILY THAT PRETTY WELL PAID FOR CONSTRUCTION OF THE BUILDING. AFTER A VERY FEW YEARS, YOU [STARTED TO] WONDER HOW YOU GOT ALONG WITHOUT IT BECAUSE IT WAS IN CONSTANT USE, AND STILL IS. IT WAS VERY WELL BUILT AND IT WILL CONTINUE TO SERVE THE COMMUNITY FOR ANY NUMBER OF YEARS BECAUSE WE’RE IN THE PROCESS OF RENOVATING IT, ADDING ON TO IT.” “I WAS HIRED ON BEFORE THE BUILDING WAS FINISHED SO I WAS THERE DURING THE CONSTRUCTION OF IT. I HAD SOME INPUT. IT WAS EXCITING. [THE] JOB WAS DIFFERENT ALL THE TIME. THEY HAD THESE GROUPS COME IN, AND…IT WAS AN EVERYDAY EVENT FOR ME. THEY ALL USED TO SAY, 'HOW COME YOU STAY SO CALM?' AND I WOULD SAY 'WELL, BECAUSE I DO IT EVERY DAY, AND YOU ONLY DO IT ONCE A YEAR.'” LINDA BAYLY SPOKE ABOUT HER OWN EXPERIENCES WITH THE YATES THEATRE, NOTING, “I WAS THE SECRETARY IN THE FRONT OFFICE AND WORKED WITH MAKING BOOKINGS FOR THE BUILDING AND GENERAL SECRETARIAL WORK AT THAT TIME. ED WAS THE TECHNICIAN FOR A NUMBER OF YEARS BEFORE HE BECAME HE MANAGER. HE HAD TO MAKE SURE ALL THESE RULES BACKSTAGE WERE LOOKED AFTER AND ATTENDED TO AND COMPLETED.” JEFF CARLSON ELABORATED ON HIS TIME WITH THE YATES THEATRE, STATING, “I SPENT MY ENTIRE PRETTY MUCH LIFE…IN THE YATES, IN THE GENEVIEVE YATES MEMORIAL THEATRE. I STARTED GOING TO THE YATES PROBABLY IN THE ‘70S WITH THE KIWANIS MUSIC FESTIVAL AND SCHOOL BAND AND CHOIR EVENTS…BACK IN LAKEVIEW ELEMENTARY SCHOOL. AFTER THAT I STARTED ACTING IN THEATRE AND EVENTUALLY PRODUCING AND DIRECTING THEATRE UP UNTIL LESS THAN A YEAR AGO.” “[AT THE TIME] I FIGURED 'NOW THIS IS FUN, I LIKE THIS, I THINK I’M OKAY AT IT' SO I GAVE MYSELF SOME DEADLINES. I SAID, 'I’LL PURSUE THIS UNTIL I’M THIRTY AND IF I HAVEN’T MADE A CAREER IN IT BY THEN, THEN I WILL DO MY FALLBACK EDUCATION OR POLITICAL SCIENCE OR RUSSIAN HISTORY.' I HAD BITTEN OFF A BIT OF IT AT THAT POINT. BUT, BY THE AGE OF THIRTY, I WAS WORKING FULLTIME IN THEATRE, WRITING, DIRECTING, PRODUCING PRODUCTIONS FOR NEW WEST THEATRE AT THE YATES.” “[I WAS] PROFESSIONALLY EMPLOYED AT THE YATES BY [THE] LATE ‘80S, EARLY ‘90S. THERE WAS A MIX THERE BECAUSE WE WERE DOING FULL-TIME THEATRE PRODUCTIONS BY THE LATE ‘80S BUT THEN I TOOK TIME OFF TO TAKE A TOURING COMPANY THROUGH ALBERTA AND B.C., FOR NEW WEST THEATRE. [I] ENDED UP LIKING IT SO MUCH THAT I STAYED IN VANCOUVER FOR A COUPLE OF YEARS. [I] CAME BACK FOR A TWO-WEEK VISIT ON MY WAY TO TORONTO TO GO INTO FILM AND TV. AS I WAS HERE FOR TWO WEEKS, THE ASSOCIATE DIRECTOR QUIT AND THEY SAID, 'PLEASE, PLEASE, PLEASE – ', AND SO I SAID, 'I’LL DO IT FOR A YEAR.' THAT IS NOW TWENTY-FIVE YEARS AGO. IT WAS JUST CIRCUMSTANCES.” “WE [HAD] REPLACED THE SEATS IN THE YATES AND REPAINTED THE WHOLE THING. IT WAS PROBABLY ONE OF THE MISTAKES THAT WAS MADE, IN MY OPINION, WAS THAT BLUE COLOUR WE PUT ON THE WALLS. THEY CHANGED [THE PAINT COLOUR] TO THIS LIGHT BLUE THAT CAUSED THE LIGHTING DESIGNS TO BE SUCH A CHALLENGE.” “WE DID EVERYTHING. WE RAN THE LIGHTS, HUNG THE LIGHTS, FOCUSED THE LIGHTS. THEY MADE ME SEW COSTUMES. I REMEMBER MAKING A POODLE SKIRT FOR A SHOW IN 1986. I’VE LEARNED HOW TO MAKE A POODLE SKIRT. IT WAS TERRIBLE, BUT I LEARNED HOW TO MAKE IT. IN MY DEGREE AT THE UNIVERSITY OF LETHBRIDGE, YOU HAVE TO GET SO MANY, WHAT THEY CALL ‘BACKSTAGE CREDITS’, IN RUNNING BACKSTAGE SHOWS, HANGING THE LIGHTS, DOING WARDROBE. THEY WAIVED THAT REQUIREMENT FOR ME BECAUSE, GROWING UP IN NEW WEST AND DOING EVERYTHING IN NEW WEST, THEY KNEW WE DID EVERYTHING. WE BUILT THE SETS, PAINTED THE SETS, HUNG THE LIGHTS, DID EVERYTHING. I WAS VERY FORTUNATE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTIONS, PLEASE SEE THE PERMANENT FILE P20170029001-GA.
Catalogue Number
P20170029003
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
APPLIQUE QUILT
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, WOOL
Catalogue Number
P20170026001
  2 images  
Material Type
Artifact
Other Name
APPLIQUE QUILT
Date Range From
1950
Date Range To
1960
Materials
COTTON, WOOL
No. Pieces
1
Length
203
Width
262
Description
FINISHED QUILT WITH BLUE BACKING AND TRIM ALONG EDGES; QUILT TOP HAND-STITCHED, BACKING AND TRIM MACHINE STITCHED. QUILT TOP IS WHITE WITH MULTI-COLOURED FLOWERS ARRANGED IN RINGS; FLOWERS HAVE GREEN LEAVES SURROUNDING PETALS AND LEAVES CONNECT TO FORM THE RINGS. QUILT TOP HAS TWO WHITE FABRICS STITCHED TOGETHER AS BACKGROUND FOR FLOWERS. FRONT HAS MINOR STAINING; BACK HAS SMALL HOLE WITH FRAYED EDGES AND LOSS; OVERALL VERY GOOD CONDITION.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
ON AUGUST 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND GLORIA BETTS REGARDING THEIR DONATION OF FIVE HANDMADE QUILTS. THE QUILTS WERE CREATED BY ED BETTS’ MOTHER, KATHERINA BETTS. ON THE APPLIQUE QUILT, ED BETTS ELABORATED, “DAD DIED IN ‘69 SO JIM [MY BROTHER] AND I TOOK OVER THE FARM…IN 1970. GLORIA AND I TOOK OVER THE HOME FARM [IN 2010] AND [THE QUILTS WERE] LEFT BY MY MOTHER. [THE FARM WAS] EAST OF COUTTS, NINE MILES…IT BELONGED TO MY MOTHER AND DAD [KATY AND CLARENCE].” “WE FOUND [THE QUILTS] WHEN WE WERE CLEANING EVERYTHING OUT [OF THE ATTIC] WHEN WE MOVED TO LETHBRIDGE. [THE QUILTS WERE IN] AN OLD WOODEN BOX IN THE [ATTIC]…NINE WERE IN A BOX AND [THE BLUE AND WHITE APPLIQUE QUILT] WAS OUT.” “THIS BLUE AND WHITE [APPLIQUE] ONE WAS MADE FOR MY [OLDER] SISTER MARY AND SHE WAS AWAY FROM HOME SO IT NEVER GOT HANDED OFF…THE [APPLIQUE] QUILT WAS UP IN THE ATTIC AND THE REST OF THEM, I THINK, WERE JUST IN STORAGE IN THE [ATTIC].” “[MARY] WAS THE SECOND IN LINE…[SHE WAS BORN] IN 1935. I THINK [MY MOM] THOUGHT THAT MARY WAS ONE OF THE ONES THAT WAS OUT OF THE FAMILY. SHE WAS THE BLACK SHEEP, I THINK.” GLORIA BETTS NOTED, “MARY HAD GONE TO THE CONVENT AND THAT’S PROBABLY WHILE SHE WAS GONE WHEN IT WAS MADE.” “[MARY WAS BORN IN] ’35, SO IN ‘55 SHE WOULD HAVE BEEN 20 YEARS OLD AND WOULD HAVE BEEN IN THE CONVENT. [THE QUILT WAS MADE] PROBABLY MID ‘50S.” ED BETTS NOTED, “IT WAS UP IN THE ATTIC , IT WAS SEWN…HOW THE OLD 100-POUND FLOUR SACKS USED TO COME, WHITE, IT WAS ALL SEWN UP AND HER NAME WAS PUT ON IT IN INDELIBLE PENCIL.” GLORIA BETTS NOTED, ON THE QUILT'S INVOLVEMENT IN THE "ALBERTA QUILT PROJECT", “[FOR THE ALBERTA QUILT PROJECT WITH THE ROYAL ALBERTA MUSEUM] WE BROUGHT IN THE BLUE [APPLIQUE] ONE, THE PURPLE [DOUBLE WEDDING RING] ONE AND THE ONE [QUILT TOP], THE FAN. WE BROUGHT THOSE 3 IN AND [THE ROYAL ALBERTA MUSEUM] CHOSE THE TWO.” ON HIS MOTHER’S HISTORY, ED BETTS RECALLED, “[MY MOM WAS FROM] CZECHOSLOVAKIA ORIGINALLY…SHE GOT ON THE TRAIN IN NOVA SCOTIA AND [CAME] WEST [IN 1930]. SHE HAD A BROTHER IN WETASKIWIN. SHE DIDN’T SPEAK ENGLISH AND WHEN SHE GOT ON THE CPR SHE THOUGHT SHE WAS GOING TO WETASKIWIN. SHE ENDED UP ON THE DOCK IN COUTTS. SHE DIDN’T KNOW ANYBODY…THE OSTBY FAMILY TOOK HER HOME AND THERE SHE WORKED FOR HER [ROOM AND BOARD]. FROM THERE SHE WENT TO OUR NEIGHBORS, DICK WOLLERSHEIM. HE WAS A NEIGHBOR TO DAD. SHE BROKE HER LEG, SHE GOT THROWN OFF A HORSE AND SHE HAD NO PLACE TO GO AND I THINK DAD TOOK HER HOME…[MOM] AND DAD WERE MARRIED IN ’32.” “DAD HOMESTEADED IN 1908…DOWN ON THE MILK RIVER…THREE MILES SOUTH OF [THE FARM].” “[MOM CAME TO CANADA] FOR A NEW LIFE. SHE THOUGHT SHE WAS GOING TO HER BROTHER’S PLACE.” ON HIS MOTHER’S QUILTING AND SEWING, ED BETTS ELABORATED, “I THINK [HER SKILL AND KNOWLEDGE OF SEWING CAME] FROM THE OLD COUNTRY BECAUSE THAT’S WHAT WOMEN DID –COOK, AND SEW.” “[MOM WAS SEWING] EVERYTHING. THAT’S THE WHOLE THING. SHE JUST HAD TO HAVE SOMETHING TO DO WITH HER HANDS…IT WOULD TAKE ONE HELL OF A MAN TO KEEP UP WITH HER…[THE UNFINISHED QUILT TOPS WERE] JUST SOMETHING TO DO.” GLORIA BETTS NOTED, “I THINK THE THING WAS, EVERY LITTLE SCRAP OF MATERIAL HAD TO GO SOMEPLACE. SHE DIDN’T WASTE ANYTHING. SOMEWHERE DOWN STAIRS…THERE’S A BOX THAT HAS OLD BABY BONUS CHEQUES THAT WERE NEVER CASHED. THERE’S RECEIPTS FOR A HUNDRED POUNDS OF FLOUR FOR TEN CENTS. SHE KEPT EVERYTHING. SHE WAS SO AFRAID THAT SHE WOULD DO WITHOUT AGAIN. I KNOW WHEN I FIRST MET HER, SHE WOULD SEE A PICTURE IN A NEWSPAPER OR IN THIS OLD CATALOGUE WHICH USED TO COME ALONG. YOU COULD MAIL AWAY IF YOU SENT TEN CENTS BUT SHE WOULDN’T SPEND TEN CENTS. SHE WOULD LOOK AT THE PICTURES AND THEN SHE WOULD DRAW IT ON NEWSPAPER AND THAT’S HOW SHE MADE THE QUILTS. IT’S AMAZING, THE WAY THAT THEY’RE PUT TOGETHER BECAUSE THEY FIT…THERE’S ONE QUILT THERE THAT’S MIS-MATCHED BUT THE REST OF THEM ARE JUST PERFECTLY PUT TOGETHER.” “[SHE MADE QUILTS THAT] WOULD HAVE BEEN CALLED CRAZY [QUILTS] BACK IN THE DAY. YOU CAN SEE IN [ONE OF THE QUILTS] HOW THE PIECES DON’T MATCH COMING TOGETHER. YET YOU CAN TURN AROUND AND THERE’S ANOTHER QUILT…SHE’S PERFECTED [IT] ALMOST DOWN TO AN EXACT MATCH. IT’S AMAZING THAT SHE GOT THEM FROM A PICTURE, THAT SHE’S GOT THEM TOGETHER THE WAY THEY ARE.” “PROBABLY MATERIAL THAT SHE GOT [FOR THE QUILTS WAS FROM] HER CLOTHES. SHE WOULD PROBABLY CUT THEM UP AND MAKE THEM INTO SOMETHING.” ED BETTS RECALLED, “SHE HAD AN ANEURISM AND HAD TO GO TO CALGARY FOR A MONTH [IN THE ‘70S] AND AFTER THAT I DON’T THINK SHE DID MUCH SEWING ANY MORE…IN THE ‘80S SHE WENT TO LIVE WITH MY SISTER.” “[THE QUILT INTERIORS ARE] ALL NATURAL WOOL. I CAN REMEMBER HER SITTING FOR HOURS RE-CARDING ALL THIS STUFF TO PUT IN HER QUILT.” ON KATHERINE BETTS’ QUILTS, GLORIA BETTS ELABORATED, “SHE CERTAINLY WASN’T ONE TO SHOW OFF WHAT SHE WAS DOING EITHER. SHE WAS JUST A VERY PRIVATE WOMAN, VERY HUMBLE WOMAN.” “I THINK SOME [OF THE QUILTS] WENT TO BC WHEN SHE WENT TO LIVE WITH MARGE IN BC. I KNOW THAT HER TREADLE SEWING MACHINE WE HAD AT THE HOUSE UNTIL SHE PASSED AWAY AND THEN MARGE TOOK THE TREADLE SEWING MACHINE.” “I’M THINKING THE PURPLE [DOUBLE WEDDING RINGS QUILT] ONE IS THE MOST RECENT, ALTHOUGH I CAN’T REALLY SAY ABOUT THE TOPS…[THE ROYAL] ALBERTA MUSEUM TOLD ME NOT TO FINISH [THE QUILT TOPS], TO LEAVE THEM AS THEY WERE.” “NOBODY SEWED [IN THE FAMILY EXCEPT KATHERINA]. MARGE CROCHETED.” GLORIA BETTS NOTED THEIR MOTIVATION FOR DONATING THE QUILTS, STATING, “WE’RE DOWNSIZING BECAUSE OF AGE AND MOVING. [THE QUILTS] HAVE TO GO SOMEPLACE WHERE THEY ARE GOING TO BE LOOKED AFTER.” KATHERINA BETTS WAS BORN KATHERINA KOVACIKOVA IN 1903 AND IMMIGRATED TO CANADA FROM CZECHOSLOVAKIA IN 1930. A GRAVE RECORD ON FINDAGRAVE.COM LISTS KATHERINA KOVACIKOVA BETTS AS THE WIFE OF CLARENCE BETTS OF COUTTS, ALBERTA. THE BLUE APPLIQUE QUILT WAS DISPLAYED AS PART OF THE ROYAL ALBERTA MUSEUM'S "ALBERTA QUILT PROJECT" WITH THE NUMBER "AQP 2-0284." THE ALBERTA QUILT PROJECT DOCUMENTED QUILTS REFLECTING QUILTING TRENDS OF THE 20TH CENTURY IN ALBERTA, ACCORDING TO A CALL FOR QUILTS PUBLISHED BY LUCCIE HEINS, CURATOR FOR THE ROYAL ALBERTA MUSEUM MANAGING THE PROJECT. THE ALBERTA QUILT PROJECT'S SECOND PHASE BEGAN IN 2014 TO EXAMINE QUILTS IN PUBLIC COLLECTIONS, WITH THE EARLIER FIRST PHASE EXAMINING QUILTS PRIVATELY OWNED. ACCORDING TO 1930 PASSENGER LISTS FOR THE HMS MONTCLARE [ACCESSED THROUGH THE LIBRARY AND ARCHIVES OF CANADA DIGITIZED MICROFILM RECORDS], KATHARINA [KATHERINA] KOVACIKOVA ARRIVED IN ST. JOHN’S, NEW BRUNSWICK ON MARCH 30, 1930 FROM HAMBURG, GERMANY. KATHERINA WAS LISTED ON THE PASSENGER LISTS AS 26 YEARS OF AGE, SINGLE, BORN IN RADOSINA, CZECHOSLOVAKIA AND ARRIVING IN CANADA TO PURSUE A “DOMESTIC” TRADE. KATHERINA BETTS PASSED AWAY IN VERNON, B.C. ON MAY 20, 1985, ACCORDING TO LETHBRIDGE HERALD ARTICLES. KATHERINA’S HUSBAND, CLARENCE, PASSED AWAY ON DECEMBER 4, 1969 IN COUTTS, ALBERTA. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND COPIES OF THE GRAVE AND PASSENGER RECORDS, PLEASE SEE THE PERMANENT FILE P20170026001-GA.
Catalogue Number
P20170026001
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
DOUBLE WEDDING RING
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
COTTON, WOOL
Catalogue Number
P20170026002
  2 images  
Material Type
Artifact
Other Name
DOUBLE WEDDING RING
Date Range From
1960
Date Range To
1970
Materials
COTTON, WOOL
No. Pieces
1
Length
202
Width
260
Description
PURPLE QUILT WITH DOUBLE WEDDING RING PATTERN ON FRONT; QUILT HAS MACHINE-STITCHED GRID OF 80 SQUARES. RINGS ARE INTERLOCKED AND MULTI-COLOURED AND MULTI-PATTERNED WITH YELLOW, BLUE, PINK, AND RED PRIMARY COLOURS IN RINGS. QUILT TOP IS HAND-STITCHED AND SEAMS ALONG EDGES ARE MACHINE-STITCHED. BACK OF QUILT HAS LIGHTER PURPLE SECTIONS IN LOWER LEFT CORNER. EDGES ARE FRAYED; LOWER RIGHT CORNER HAS LOOSE STUFFING EXPOSED FROM INSIDE, STUFFING IS WOOL. UPPER RIGHT CORNER HAS INTERIOR FABRIC EXPOSED AND IS WORN; OVERALL VERY GOOD CONDITION.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
ON AUGUST 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND GLORIA BETTS REGARDING THEIR DONATION OF FIVE HANDMADE QUILTS. THE QUILTS WERE CREATED BY ED BETTS’ MOTHER, KATHERINA BETTS. ON THE DOUBLE WEDDING RING QUILT, ED BETTS ELABORATED, “DAD DIED IN ‘69 SO JIM [MY BROTHER] AND I TOOK OVER THE FARM…IN 1970. GLORIA AND I TOOK OVER THE HOME FARM [IN 2010] AND [THE QUILTS WERE] LEFT BY MY MOTHER. [THE FARM WAS] EAST OF COUTTS, NINE MILES…IT BELONGED TO MY MOTHER AND DAD [KATY AND CLARENCE].” “WE FOUND [THE QUILTS] WHEN WE WERE CLEANING EVERYTHING OUT [OF THE ATTIC] WHEN WE MOVED TO LETHBRIDGE. [THE QUILTS WERE IN] AN OLD WOODEN BOX IN THE [ATTIC]…NINE WERE IN A BOX AND [THE BLUE AND WHITE APPLIQUE QUILT] WAS OUT.” “[MOM] WAS ALWAYS DOING SOMETHING, ’CAUSE SHE COULDN’T SIT DOWN IDLY. SHE HAD TO BE CROCHETING, OR EMBROIDERING OR MAKING QUILTS.” GLORIA BETTS NOTED, “[IT WAS MADE IN THE] ‘60S, MAYBE EVEN THE ‘70S.” “WHEN I FIRST MET [KATHERINE], I CAN REMEMBER COMING INTO THE HOUSE AND SHE WAS SITTING AT THE OLD TREADLE SEWING MACHINE. THAT THING WAS JUST [GOING] AND THAT’S WHAT SHE WAS DOING, WAS JUST PIECING PIECES OF MATERIAL TOGETHER.” “[FOR THE ALBERTA QUILT PROJECT WITH THE ROYAL ALBERTA MUSEUM] WE BROUGHT IN THE BLUE [APPLIQUE] ONE, THE PURPLE [DOUBLE WEDDING RING] ONE AND THE ONE [QUILT TOP], THE FAN. WE BROUGHT THOSE 3 IN AND [THE ROYAL ALBERTA MUSEUM] CHOSE THE TWO.” “I THINK THE REASON [WE CHOSE THE DOUBLE WEDDING RING] IS BECAUSE THE PURPLE DOUBLE WEDDING RING IS PROBABLY NEWER THAN WHAT THE OTHER ONES WERE.” ON HIS MOTHER’S HISTORY, ED BETTS RECALLED, “[MY MOM WAS FROM] CZECHOSLOVAKIA ORIGINALLY…SHE GOT ON THE TRAIN IN NOVA SCOTIA AND [CAME] WEST [IN 1930]. SHE HAD A BROTHER IN WETASKIWIN. SHE DIDN’T SPEAK ENGLISH AND WHEN SHE GOT ON THE CPR SHE THOUGHT SHE WAS GOING TO WETASKIWIN. SHE ENDED UP ON THE DOCK IN COUTTS. SHE DIDN’T KNOW ANYBODY…THE OSTBY FAMILY TOOK HER HOME AND THERE SHE WORKED FOR HER [ROOM AND BOARD]. FROM THERE SHE WENT TO OUR NEIGHBORS, DICK WOLLERSHEIM. HE WAS A NEIGHBOR TO DAD. SHE BROKE HER LEG, SHE GOT THROWN OFF A HORSE AND SHE HAD NO PLACE TO GO AND I THINK DAD TOOK HER HOME…[MOM] AND DAD WERE MARRIED IN ’32.” “DAD HOMESTEADED IN 1908…DOWN ON THE MILK RIVER…THREE MILES SOUTH OF [THE FARM].” “[MOM CAME TO CANADA] FOR A NEW LIFE. SHE THOUGHT SHE WAS GOING TO HER BROTHER’S PLACE.” ON HIS MOTHER’S QUILTING AND SEWING, ED BETTS ELABORATED, “I THINK [HER SKILL AND KNOWLEDGE OF SEWING CAME] FROM THE OLD COUNTRY BECAUSE THAT’S WHAT WOMEN DID –COOK, AND SEW.” “[MOM WAS SEWING] EVERYTHING. THAT’S THE WHOLE THING. SHE JUST HAD TO HAVE SOMETHING TO DO WITH HER HANDS…IT WOULD TAKE ONE HELL OF A MAN TO KEEP UP WITH HER…[THE UNFINISHED QUILT TOPS WERE] JUST SOMETHING TO DO.” GLORIA BETTS NOTED, “I THINK THE THING WAS, EVERY LITTLE SCRAP OF MATERIAL HAD TO GO SOMEPLACE. SHE DIDN’T WASTE ANYTHING. SOMEWHERE DOWN STAIRS…THERE’S A BOX THAT HAS OLD BABY BONUS CHEQUES THAT WERE NEVER CASHED. THERE’S RECEIPTS FOR A HUNDRED POUNDS OF FLOUR FOR TEN CENTS. SHE KEPT EVERYTHING. SHE WAS SO AFRAID THAT SHE WOULD DO WITHOUT AGAIN.” “I KNOW WHEN I FIRST MET HER, SHE WOULD SEE A PICTURE IN A NEWSPAPER OR IN THIS OLD CATALOGUE WHICH USED TO COME ALONG. YOU COULD MAIL AWAY IF YOU SENT TEN CENTS BUT SHE WOULDN’T SPEND TEN CENTS. SHE WOULD LOOK AT THE PICTURES AND THEN SHE WOULD DRAW IT ON NEWSPAPER AND THAT’S HOW SHE MADE THE QUILTS. IT’S AMAZING, THE WAY THAT THEY’RE PUT TOGETHER BECAUSE THEY FIT…THERE’S ONE QUILT THERE THAT’S MIS-MATCHED BUT THE REST OF THEM ARE JUST PERFECTLY PUT TOGETHER.” “THAT WOULD HAVE BEEN CALLED A CRAZY QUILT BACK IN THE DAY. YOU CAN SEE IN [ONE OF THE QUILTS] HOW THE PIECES DON’T MATCH COMING TOGETHER. YET YOU CAN TURN AROUND AND THERE’S ANOTHER QUILT…SHE’S PERFECTED [IT] ALMOST DOWN TO AN EXACT MATCH. IT’S AMAZING THAT SHE GOT THEM FROM A PICTURE, THAT SHE’S GOT THEM TOGETHER THE WAY THEY ARE.” “PROBABLY MATERIAL THAT SHE GOT [FOR THE QUILTS WAS FROM] HER CLOTHES. SHE WOULD PROBABLY CUT THEM UP AND MAKE THEM INTO SOMETHING.” ED BETTS RECALLED, “SHE HAD AN ANEURISM AND HAD TO GO TO CALGARY FOR A MONTH [IN THE ‘70S] AND AFTER THAT I DON’T THINK SHE DID MUCH SEWING ANY MORE…IN THE ‘80S SHE WENT TO LIVE WITH MY SISTER.” “[THE QUILT INTERIORS ARE] ALL NATURAL WOOL. I CAN REMEMBER HER SITTING FOR HOURS RE-CARDING ALL THIS STUFF TO PUT IN HER QUILT.” ON KATHERINE BETTS’ QUILTS, GLORIA BETTS ELABORATED, “SHE CERTAINLY WASN’T ONE TO SHOW OFF WHAT SHE WAS DOING EITHER. SHE WAS JUST A VERY PRIVATE WOMAN, VERY HUMBLE WOMAN.” “I THINK SOME [OF THE QUILTS] WENT TO BC WHEN SHE WENT TO LIVE WITH MARGE IN BC. I KNOW THAT HER TREADLE SEWING MACHINE WE HAD AT THE HOUSE UNTIL SHE PASSED AWAY AND THEN MARGE TOOK THE TREADLE SEWING MACHINE.” “I’M THINKING THE PURPLE [DOUBLE WEDDING RINGS QUILT] ONE IS THE MOST RECENT, ALTHOUGH I CAN’T REALLY SAY ABOUT THE TOPS…[THE ROYAL] ALBERTA MUSEUM TOLD ME NOT TO FINISH [THE QUILT TOPS], TO LEAVE THEM AS THEY WERE.” “NOBODY SEWED [IN THE FAMILY EXCEPT KATHERINA]. MARGE CROCHETED.” GLORIA BETTS NOTED THEIR MOTIVATION FOR DONATING THE QUILTS, STATING, “WE’RE DOWNSIZING BECAUSE OF AGE AND MOVING. [THE QUILTS] HAVE TO GO SOMEPLACE WHERE THEY ARE GOING TO BE LOOKED AFTER.” KATHERINA BETTS WAS BORN KATHERINA KOVACIKOVA IN 1903 AND IMMIGRATED TO CANADA FROM CZECHOSLOVAKIA IN 1930. A GRAVE RECORD ON FINDAGRAVE.COM LISTS KATHERINA KOVACIKOVA BETTS AS THE WIFE OF CLARENCE BETTS OF COUTTS, ALBERTA. ACCORDING TO 1930 PASSENGER LISTS FOR THE HMS MONTCLARE [ACCESSED THROUGH THE LIBRARY AND ARCHIVES OF CANADA DIGITIZED MICROFILM RECORDS], KATHARINA [KATHERINA] KOVACIKOVA ARRIVED IN ST. JOHN’S, NEW BRUNSWICK ON MARCH 30, 1930 FROM HAMBURG, GERMANY. KATHERINA WAS LISTED ON THE PASSENGER LISTS AS 26 YEARS OF AGE, SINGLE, BORN IN RADOSINA, CZECHOSLOVAKIA AND ARRIVING IN CANADA TO PURSUE A “DOMESTIC” TRADE. KATHERINA BETTS PASSED AWAY IN VERNON, B.C. ON MAY 20, 1985, ACCORDING TO LETHBRIDGE HERALD ARTICLES. KATHERINA’S HUSBAND, CLARENCE, PASSED AWAY ON DECEMBER 4, 1969 IN COUTTS, ALBERTA. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND COPIES OF THE GRAVE AND PASSENGER RECORDS, PLEASE SEE THE PERMANENT FILE P20170026001-GA.
Catalogue Number
P20170026002
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, POLYESTER
Catalogue Number
P20170026003
  2 images  
Material Type
Artifact
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Materials
COTTON, POLYESTER
No. Pieces
1
Length
197
Width
154.5
Description
QUILT TOP WITH MULTI-COLOURED AND MULTI-FABRIC CRAZY QUILT DESIGN IN A TWENTY SQUARE GRID; EACH GRID SQUARE HAS AN EIGHT-POINT STAR SEWN TOGETHER WITH MIXED-PATTERNED FABRICS. GRID SQUARES ARE DIVIDED BY EXTRA FABRIC TO FORM BORDERS. QUILT HAS ONE GRID BORDER OF DENIM EXTENDED PAST QUILT EDGE. QUILT IS HANDSTITCHED WITH STITCHES VISIBLE ON BACK; EDGES ARE UNFINISHED AND FRAYING; SMALL, FRAYED TEAR IN MIDDLE OF QUILT; OVERALL VERY GOOD CONDITION.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
ON AUGUST 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND GLORIA BETTS REGARDING THEIR DONATION OF FIVE HANDMADE QUILTS. THE QUILTS WERE CREATED BY ED BETTS’ MOTHER, KATHERINA BETTS. ON THE CRAZY QUILT, ED BETTS ELABORATED, “DAD DIED IN ‘69 SO JIM [MY BROTHER] AND I TOOK OVER THE FARM…IN 1970. GLORIA AND I TOOK OVER THE HOME FARM [IN 2010] AND [THE QUILTS WERE] LEFT BY MY MOTHER. [THE FARM WAS] EAST OF COUTTS, NINE MILES…IT BELONGED TO MY MOTHER AND DAD [KATY AND CLARENCE].” “WE FOUND [THE QUILTS] WHEN WE WERE CLEANING EVERYTHING OUT [OF THE ATTIC] WHEN WE MOVED TO LETHBRIDGE. [THE QUILTS WERE IN] AN OLD WOODEN BOX IN THE [ATTIC]…NINE WERE IN A BOX AND [THE BLUE AND WHITE APPLIQUE QUILT] WAS OUT.” ON HIS MOTHER’S HISTORY, ED BETTS RECALLED, “[MY MOM WAS FROM] CZECHOSLOVAKIA ORIGINALLY…SHE GOT ON THE TRAIN IN NOVA SCOTIA AND [CAME] WEST [IN 1930]. SHE HAD A BROTHER IN WETASKIWIN. SHE DIDN’T SPEAK ENGLISH AND WHEN SHE GOT ON THE CPR SHE THOUGHT SHE WAS GOING TO WETASKIWIN. SHE ENDED UP ON THE DOCK IN COUTTS. SHE DIDN’T KNOW ANYBODY…THE OSTBY FAMILY TOOK HER HOME AND THERE SHE WORKED FOR HER [ROOM AND BOARD]. FROM THERE SHE WENT TO OUR NEIGHBORS, DICK WOLLERSHEIM. HE WAS A NEIGHBOR TO DAD. SHE BROKE HER LEG, SHE GOT THROWN OFF A HORSE AND SHE HAD NO PLACE TO GO AND I THINK DAD TOOK HER HOME…[MOM] AND DAD WERE MARRIED IN ’32.” “DAD HOMESTEADED IN 1908…DOWN ON THE MILK RIVER…THREE MILES SOUTH OF [THE FARM].” “[MOM CAME TO CANADA] FOR A NEW LIFE. SHE THOUGHT SHE WAS GOING TO HER BROTHER’S PLACE.” ON HIS MOTHER’S QUILTING AND SEWING, ED BETTS ELABORATED, “I THINK [HER SKILL AND KNOWLEDGE OF SEWING CAME] FROM THE OLD COUNTRY BECAUSE THAT’S WHAT WOMEN DID –COOK, AND SEW.” “[MOM WAS SEWING] EVERYTHING. THAT’S THE WHOLE THING. SHE JUST HAD TO HAVE SOMETHING TO DO WITH HER HANDS…IT WOULD TAKE ONE HELL OF A MAN TO KEEP UP WITH HER…[THE UNFINISHED QUILT TOPS WERE] JUST SOMETHING TO DO.” GLORIA BETTS NOTED, “I THINK THE THING WAS, EVERY LITTLE SCRAP OF MATERIAL HAD TO GO SOMEPLACE. SHE DIDN’T WASTE ANYTHING. SOMEWHERE DOWN STAIRS…THERE’S A BOX THAT HAS OLD BABY BONUS CHEQUES THAT WERE NEVER CASHED. THERE’S RECEIPTS FOR A HUNDRED POUNDS OF FLOUR FOR TEN CENTS. SHE KEPT EVERYTHING. SHE WAS SO AFRAID THAT SHE WOULD DO WITHOUT AGAIN.” “I KNOW WHEN I FIRST MET HER, SHE WOULD SEE A PICTURE IN A NEWSPAPER OR IN THIS OLD CATALOGUE WHICH USED TO COME ALONG. YOU COULD MAIL AWAY IF YOU SENT TEN CENTS BUT SHE WOULDN’T SPEND TEN CENTS. SHE WOULD LOOK AT THE PICTURES AND THEN SHE WOULD DRAW IT ON NEWSPAPER AND THAT’S HOW SHE MADE THE QUILTS. IT’S AMAZING, THE WAY THAT THEY’RE PUT TOGETHER BECAUSE THEY FIT…THERE’S ONE QUILT THERE THAT’S MIS-MATCHED BUT THE REST OF THEM ARE JUST PERFECTLY PUT TOGETHER.” “THAT WOULD HAVE BEEN CALLED A CRAZY QUILT BACK IN THE DAY. YOU CAN SEE IN [ONE OF THE QUILTS] HOW THE PIECES DON’T MATCH COMING TOGETHER. YET YOU CAN TURN AROUND AND THERE’S ANOTHER QUILT…SHE’S PERFECTED [IT] ALMOST DOWN TO AN EXACT MATCH. IT’S AMAZING THAT SHE GOT THEM FROM A PICTURE, THAT SHE’S GOT THEM TOGETHER THE WAY THEY ARE.” “PROBABLY MATERIAL THAT SHE GOT [FOR THE QUILTS WAS FROM] HER CLOTHES. SHE WOULD PROBABLY CUT THEM UP AND MAKE THEM INTO SOMETHING.” ED BETTS RECALLED, “SHE HAD AN ANEURISM AND HAD TO GO TO CALGARY FOR A MONTH [IN THE ‘70S] AND AFTER THAT I DON’T THINK SHE DID MUCH SEWING ANY MORE…IN THE ‘80S SHE WENT TO LIVE WITH MY SISTER.” “[THE QUILT INTERIORS ARE] ALL NATURAL WOOL. I CAN REMEMBER HER SITTING FOR HOURS RE-CARDING ALL THIS STUFF TO PUT IN HER QUILT.” ON KATHERINE BETTS’ QUILTS, GLORIA BETTS ELABORATED, “SHE CERTAINLY WASN’T ONE TO SHOW OFF WHAT SHE WAS DOING EITHER. SHE WAS JUST A VERY PRIVATE WOMAN, VERY HUMBLE WOMAN.” “I THINK SOME [OF THE QUILTS] WENT TO BC WHEN SHE WENT TO LIVE WITH MARGE IN BC. I KNOW THAT HER TREADLE SEWING MACHINE WE HAD AT THE HOUSE UNTIL SHE PASSED AWAY AND THEN MARGE TOOK THE TREADLE SEWING MACHINE.” “I’M THINKING THE PURPLE [DOUBLE WEDDING RINGS QUILT] ONE IS THE MOST RECENT, ALTHOUGH I CAN’T REALLY SAY ABOUT THE TOPS…[THE ROYAL] ALBERTA MUSEUM TOLD ME NOT TO FINISH [THE QUILT TOPS], TO LEAVE THEM AS THEY WERE.” “NOBODY SEWED [IN THE FAMILY EXCEPT KATHERINA]. MARGE CROCHETED.” GLORIA BETTS NOTED THEIR MOTIVATION FOR DONATING THE QUILTS, STATING, “WE’RE DOWNSIZING BECAUSE OF AGE AND MOVING. [THE QUILTS] HAVE TO GO SOMEPLACE WHERE THEY ARE GOING TO BE LOOKED AFTER.” KATHERINA BETTS WAS BORN KATHERINA KOVACIKOVA IN 1903 AND IMMIGRATED TO CANADA FROM CZECHOSLOVAKIA IN 1930. A GRAVE RECORD ON FINDAGRAVE.COM LISTS KATHERINA KOVACIKOVA BETTS AS THE WIFE OF CLARENCE BETTS OF COUTTS, ALBERTA. ACCORDING TO 1930 PASSENGER LISTS FOR THE HMS MONTCLARE [ACCESSED THROUGH THE LIBRARY AND ARCHIVES OF CANADA DIGITIZED MICROFILM RECORDS], KATHARINA [KATHERINA] KOVACIKOVA ARRIVED IN ST. JOHN’S, NEW BRUNSWICK ON MARCH 30, 1930 FROM HAMBURG, GERMANY. KATHERINA WAS LISTED ON THE PASSENGER LISTS AS 26 YEARS OF AGE, SINGLE, BORN IN RADOSINA, CZECHOSLOVAKIA AND ARRIVING IN CANADA TO PURSUE A “DOMESTIC” TRADE. KATHERINA BETTS PASSED AWAY IN VERNON, B.C. ON MAY 20, 1985, ACCORDING TO LETHBRIDGE HERALD ARTICLES. KATHERINA’S HUSBAND, CLARENCE, PASSED AWAY ON DECEMBER 4, 1969 IN COUTTS, ALBERTA. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND COPIES OF THE GRAVE AND PASSENGER RECORDS, PLEASE SEE THE PERMANENT FILE P20170026001-GA.
Catalogue Number
P20170026003
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, POLYESTER
Catalogue Number
P20170026004
  2 images  
Material Type
Artifact
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Materials
COTTON, POLYESTER
No. Pieces
1
Length
187.5
Width
147
Description
QUILT TOP WITH GRID OF 20 SQUARES; EACH SQUARE HAS A PATCHWORK FAN BLOCK MADE OF ASSORTED PATTERNED FABRICS. QUILT TOP IS HANDSTICHED WITH UNFINISHED EDGES. QUILT BACKING IS PATCHWORK WITH BLACK AND WHITE SQUARES; BACKING SQUARE IN THE SECOND COLUMN AND THE 12TH SQUARE DOWN HAS BLACK TEXT ON WHITE FABRIC, “CRANE LIMITED; AT POINT OF MAILING; VALVES, FITTINGS, PUMPS, FABRICATED PIPE, HEATING AND PLUMBING MATERIALS”. QUILT HAS MINOR STAINING ON FRONT AND ALONG TOP EGDE; EDGES ARE FRAYING; QUILT HAS RIP BELOW CENTER SQUARE; OVERALL VERY GOOD CONDITION.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
ON AUGUST 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND GLORIA BETTS REGARDING THEIR DONATION OF FIVE HANDMADE QUILTS. THE QUILTS WERE CREATED BY ED BETTS’S MOTHER, KATHERINA BETTS. ON THE FAN BLOCK QUILT, ED BETTS ELABORATED, “[THE QUILT BACKING IS] FLOUR SACKS…OR SUGAR SACKS, THEY ALL [CAME] IN WHITE SACKS.” GLORIA BETTS ADDED, “[SHE PROBABLY PUT A BACKING ON THIS QUILT TOP] BECAUSE USUALLY, EVEN TODAY IN QUILTING, THE FANS ARE DONE ON A BACKING BECAUSE EVERYTHING ON THE PIECES IS ON A BIAS SO IT STRETCHES. SO IT’S PUT ONTO A BACKING. BUT THE BACKING ON THAT PARTICULAR ONE BEING EITHER THE FLOUR SACKS OR THE SUGAR SACKS, TO ME, MADE IT UNIQUE.” “[FOR THE ALBERTA QUILT PROJECT WITH THE ROYAL ALBERTA MUSEUM] WE BROUGHT IN THE BLUE [APPLIQUE] ONE, THE PURPLE [DOUBLE WEDDING RING] ONE AND THE ONE [QUILT TOP], THE FAN. WE BROUGHT THOSE 3 IN AND [THE ROYAL ALBERTA MUSEUM] CHOSE THE TWO.” “I THINK THE REASON [WE CHOSE THE DOUBLE WEDDING RING] IS BECAUSE THE PURPLE DOUBLE WEDDING RING IS PROBABLY NEWER THAN WHAT THE OTHER ONES WERE. [WE CHOSE THE FAN QUILT TOP] PROBABLY BECAUSE OF THE BACKING ON IT. A LOT OF THE TIME, IN THE OLD DAYS, THAT’S WHAT THEY DID, THEY PUT [QUILT TOPS] ON A BACKING.” “ON THE FAN [QUILT], [LUCY WITH THE ROYAL ALBERTA MUSEUM] IDENTIFIED FABRICS THAT WERE BACK TO THE EARLY 1900S. ONE SHE THINKS MIGHT BE BACK INTO THE LATE 1800S WHICH WAS PROBABLY A DRESS THAT [KATHERINE] GOT SOMEWHERE. THE BLUE BACKED ONE, THEY FOUND THERE WERE STILL PINS LEFT INSIDE THE QUILT AND THEY LEFT THEM THERE BECAUSE THEY SAID TO TAKE THEM OUT WOULD DAMAGE THE FABRIC. THEY WERE IMPRESSED WITH THE WORKMANSHIP ON THAT…ESPECIALLY WHEN THEY FOUND OUT THAT IT WAS PUT TOGETHER FROM A DESIGN DRAWN ON NEWSPAPER.” ON HIS MOTHER’S HISTORY, ED BETTS RECALLED, “[MY MOM WAS FROM] CZECHOSLOVAKIA ORIGINALLY…SHE GOT ON THE TRAIN IN NOVA SCOTIA AND [CAME] WEST [IN 1930]. SHE HAD A BROTHER IN WETASKIWIN. SHE DIDN’T SPEAK ENGLISH AND WHEN SHE GOT ON THE CPR SHE THOUGHT SHE WAS GOING TO WETASKIWIN. SHE ENDED UP ON THE DOCK IN COUTTS. SHE DIDN’T KNOW ANYBODY…THE OSTBY FAMILY TOOK HER HOME AND THERE SHE WORKED FOR HER [ROOM AND BOARD]. FROM THERE SHE WENT TO OUR NEIGHBORS, DICK WOLLERSHEIM. HE WAS A NEIGHBOR TO DAD. SHE BROKE HER LEG, SHE GOT THROWN OFF A HORSE AND SHE HAD NO PLACE TO GO AND I THINK DAD TOOK HER HOME…[MOM] AND DAD WERE MARRIED IN ’32.” “DAD HOMESTEADED IN 1908…DOWN ON THE MILK RIVER…THREE MILES SOUTH OF [THE FARM].” “[MOM CAME TO CANADA] FOR A NEW LIFE. SHE THOUGHT SHE WAS GOING TO HER BROTHER’S PLACE.” ON HIS MOTHER’S QUILTING AND SEWING, ED BETTS ELABORATED, “I THINK [HER SKILL AND KNOWLEDGE OF SEWING CAME] FROM THE OLD COUNTRY BECAUSE THAT’S WHAT WOMEN DID –COOK, AND SEW.” “[MOM WAS SEWING] EVERYTHING. THAT’S THE WHOLE THING. SHE JUST HAD TO HAVE SOMETHING TO DO WITH HER HANDS…IT WOULD TAKE ONE HELL OF A MAN TO KEEP UP WITH HER…[THE UNFINISHED QUILT TOPS WERE] JUST SOMETHING TO DO.” GLORIA BETTS NOTED, “I THINK THE THING WAS, EVERY LITTLE SCRAP OF MATERIAL HAD TO GO SOMEPLACE. SHE DIDN’T WASTE ANYTHING. SOMEWHERE DOWN STAIRS…THERE’S A BOX THAT HAS OLD BABY BONUS CHEQUES THAT WERE NEVER CASHED. THERE’S RECEIPTS FOR A HUNDRED POUNDS OF FLOUR FOR TEN CENTS. SHE KEPT EVERYTHING. SHE WAS SO AFRAID THAT SHE WOULD DO WITHOUT AGAIN.” “I KNOW WHEN I FIRST MET HER, SHE WOULD SEE A PICTURE IN A NEWSPAPER OR IN THIS OLD CATALOGUE WHICH USED TO COME ALONG. YOU COULD MAIL AWAY IF YOU SENT TEN CENTS BUT SHE WOULDN’T SPEND TEN CENTS. SHE WOULD LOOK AT THE PICTURES AND THEN SHE WOULD DRAW IT ON NEWSPAPER AND THAT’S HOW SHE MADE THE QUILTS. IT’S AMAZING, THE WAY THAT THEY’RE PUT TOGETHER BECAUSE THEY FIT…THERE’S ONE QUILT THERE THAT’S MIS-MATCHED BUT THE REST OF THEM ARE JUST PERFECTLY PUT TOGETHER.” “THAT WOULD HAVE BEEN CALLED A CRAZY QUILT BACK IN THE DAY. YOU CAN SEE IN [ONE OF THE QUILTS] HOW THE PIECES DON’T MATCH COMING TOGETHER. YET YOU CAN TURN AROUND AND THERE’S ANOTHER QUILT…SHE’S PERFECTED [IT] ALMOST DOWN TO AN EXACT MATCH. IT’S AMAZING THAT SHE GOT THEM FROM A PICTURE, THAT SHE’S GOT THEM TOGETHER THE WAY THEY ARE.” “PROBABLY MATERIAL THAT SHE GOT [FOR THE QUILTS WAS FROM] HER CLOTHES. SHE WOULD PROBABLY CUT THEM UP AND MAKE THEM INTO SOMETHING.” ED BETTS RECALLED, “SHE HAD AN ANEURISM AND HAD TO GO TO CALGARY FOR A MONTH [IN THE ‘70S] AND AFTER THAT I DON’T THINK SHE DID MUCH SEWING ANY MORE…IN THE ‘80S SHE WENT TO LIVE WITH MY SISTER.” “[THE QUILT INTERIORS ARE] ALL NATURAL WOOL. I CAN REMEMBER HER SITTING FOR HOURS RE-CARDING ALL THIS STUFF TO PUT IN HER QUILT.” ON KATHERINE BETTS' QUILTS, GLORIA BETTS ELABORATED, “SHE CERTAINLY WASN’T ONE TO SHOW OFF WHAT SHE WAS DOING EITHER. SHE WAS JUST A VERY PRIVATE WOMAN, VERY HUMBLE WOMAN.” “I THINK SOME [OF THE QUILTS] WENT TO BC WHEN SHE WENT TO LIVE WITH MARGE IN BC. I KNOW THAT HER TREADLE SEWING MACHINE WE HAD AT THE HOUSE UNTIL SHE PASSED AWAY AND THEN MARGE TOOK THE TREADLE SEWING MACHINE.” “I’M THINKING THE PURPLE [DOUBLE WEDDING RINGS QUILT] ONE IS THE MOST RECENT, ALTHOUGH I CAN’T REALLY SAY ABOUT THE TOPS…[THE ROYAL] ALBERTA MUSEUM TOLD ME NOT TO FINISH [THE QUILT TOPS], TO LEAVE THEM AS THEY WERE.” “NOBODY SEWED [IN THE FAMILY EXCEPT KATHERINA]. MARGE CROCHETED.” GLORIA BETTS NOTED THEIR MOTIVATION FOR DONATING THE QUILTS, STATING, “WE’RE DOWNSIZING BECAUSE OF AGE AND MOVING. [THE QUILTS] HAVE TO GO SOMEPLACE WHERE THEY ARE GOING TO BE LOOKED AFTER.” THE BLUE APPLIQUE QUILT WAS DISPLAYED AS PART OF THE ROYAL ALBERTA MUSEUM'S "ALBERTA QUILT PROJECT" WITH THE NUMBER "AQP 2-0286." THE ALBERTA QUILT PROJECT DOCUMENTED QUILTS REFLECTING QUILTING TRENDS OF THE 20TH CENTURY IN ALBERTA, ACCORDING TO A CALL FOR QUILTS PUBLISHED BY LUCCIE HEINS, CURATOR FOR THE ROYAL ALBERTA MUSEUM MANAGING THE PROJECT. THE ALBERTA QUILT PROJECT'S SECOND PHASE BEGAN IN 2014 TO EXAMINE QUILTS IN PUBLIC COLLECTIONS, WITH THE EARLIER FIRST PHASE EXAMINING QUILTS PRIVATELY OWNED. KATHERINA BETTS WAS BORN KATHERINA KOVACIKOVA IN 1903 AND IMMIGRATED TO CANADA FROM CZECHOSLOVAKIA IN 1930. A GRAVE RECORD ON FINDAGRAVE.COM LISTS KATHERINA KOVACIKOVA BETTS AS THE WIFE OF CLARENCE BETTS OF COUTTS, ALBERTA. ACCORDING TO 1930 PASSENGER LISTS FOR THE HMS MONTCLARE [ACCESSED THROUGH THE LIBRARY AND ARCHIVES OF CANADA DIGITIZED MICROFILM RECORDS], KATHARINA [KATHERINA] KOVACIKOVA ARRIVED IN ST. JOHN’S, NEW BRUNSWICK ON MARCH 30, 1930 FROM HAMBURG, GERMANY. KATHERINA WAS LISTED ON THE PASSENGER LISTS AS 26 YEARS OF AGE, SINGLE, BORN IN RADOSINA, CZECHOSLOVAKIA AND ARRIVING IN CANADA TO PURSUE A “DOMESTIC” TRADE. KATHERINA BETTS PASSED AWAY IN VERNON, B.C. ON MAY 20, 1985, ACCORDING TO LETHBRIDGE HERALD ARTICLES. KATHERINA’S HUSBAND, CLARENCE, PASSED AWAY ON DECEMBER 4, 1969 IN COUTTS, ALBERTA. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND COPIES OF THE GRAVE AND PASSENGER RECORDS, PLEASE SEE THE PERMANENT FILE P20170026001-GA.
Catalogue Number
P20170026004
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, POLYESTER
Catalogue Number
P20170026005
  2 images  
Material Type
Artifact
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Materials
COTTON, POLYESTER
No. Pieces
1
Length
215.4
Width
165
Description
QUILT TOP WITH EIGHT POINT STAR PATTERN IN 48 SQUARE GRID; QUILT TOP HAS BLUE TRIM ALONG EDGES AND BETWEEN SQUARES; EIGHT POINT STARS FASHIONED FROM MULTICOLOURED AND PATTERNED FABRICS. RIGHT EDGE HAS TWO SQUARES MISSING BLUE TRIM ALONG OUTER EDGE AND ONE SQUARE WITH RIPPED BLUE TRIM ALONG OUTER EDGE; LEFT EDGE HAS SQUARE MISSING BLUE TRIM ALONG OUTER EDGE. UPPER LEFT CORNER HAS THREE SEAMS SEWN IN BLUE TRIM. STARS IN SQUARES HANDSTITCHED; SQUARES ATTACHED WITH MACHINE STITCHED SEAMS; MACHINE STITCHED SEAMS ATTACHING SQUARES TO BLUE TRIM AND EDGES. EDGES ARE FRAYING; QUILT TOP HAS NO BACKING AND THREADS ARE EXPOSED; OVERALL VERY GOOD CONDITION.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
ON AUGUST 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND GLORIA BETTS REGARDING THEIR DONATION OF FIVE HANDMADE QUILTS. THE QUILTS WERE CREATED BY ED BETTS’ MOTHER, KATHERINA BETTS. ON THE EIGHT-POINT STAR QUILT, ED BETTS ELABORATED, “DAD DIED IN ‘69 SO JIM [MY BROTHER] AND I TOOK OVER THE FARM…IN 1970. GLORIA AND I TOOK OVER THE HOME FARM [IN 2010] AND [THE QUILTS WERE] LEFT BY MY MOTHER. [THE FARM WAS] EAST OF COUTTS, NINE MILES…IT BELONGED TO MY MOTHER AND DAD [KATY AND CLARENCE].” “WE FOUND [THE QUILTS] WHEN WE WERE CLEANING EVERYTHING OUT [OF THE ATTIC] WHEN WE MOVED TO LETHBRIDGE. [THE QUILTS WERE IN] AN OLD WOODEN BOX IN THE [ATTIC]…NINE WERE IN A BOX AND [THE BLUE AND WHITE APPLIQUE QUILT] WAS OUT.” ON HIS MOTHER’S HISTORY, ED BETTS RECALLED, “[MY MOM WAS FROM] CZECHOSLOVAKIA ORIGINALLY…SHE GOT ON THE TRAIN IN NOVA SCOTIA AND [CAME] WEST [IN 1930]. SHE HAD A BROTHER IN WETASKIWIN. SHE DIDN’T SPEAK ENGLISH AND WHEN SHE GOT ON THE CPR SHE THOUGHT SHE WAS GOING TO WETASKIWIN. SHE ENDED UP ON THE DOCK IN COUTTS. SHE DIDN’T KNOW ANYBODY…THE OSTBY FAMILY TOOK HER HOME AND THERE SHE WORKED FOR HER [ROOM AND BOARD]. FROM THERE SHE WENT TO OUR NEIGHBORS, DICK WOLLERSHEIM. HE WAS A NEIGHBOR TO DAD. SHE BROKE HER LEG, SHE GOT THROWN OFF A HORSE AND SHE HAD NO PLACE TO GO AND I THINK DAD TOOK HER HOME…[MOM] AND DAD WERE MARRIED IN ’32.” “DAD HOMESTEADED IN 1908…DOWN ON THE MILK RIVER…THREE MILES SOUTH OF [THE FARM].” “[MOM CAME TO CANADA] FOR A NEW LIFE. SHE THOUGHT SHE WAS GOING TO HER BROTHER’S PLACE.” ON HIS MOTHER’S QUILTING AND SEWING, ED BETTS ELABORATED, “I THINK [HER SKILL AND KNOWLEDGE OF SEWING CAME] FROM THE OLD COUNTRY BECAUSE THAT’S WHAT WOMEN DID –COOK, AND SEW.” “[MOM WAS SEWING] EVERYTHING. THAT’S THE WHOLE THING. SHE JUST HAD TO HAVE SOMETHING TO DO WITH HER HANDS…IT WOULD TAKE ONE HELL OF A MAN TO KEEP UP WITH HER…[THE UNFINISHED QUILT TOPS WERE] JUST SOMETHING TO DO.” “I THINK IN THE OLD COUNTRY…THINGS WERE PRETTY TOUGH THERE. SHE HAD QUITE A FEW BROTHERS AND SISTERS OVER THERE TOO AND HER MOTHER DIED QUITE YOUNG. SHE WAS THE CAREGIVER, AND I GUESS WHEN THEY GOT OLD ENOUGH, SHE PULLED THE PLUG.” GLORIA BETTS NOTED, “I THINK THE THING WAS, EVERY LITTLE SCRAP OF MATERIAL HAD TO GO SOMEPLACE. SHE DIDN’T WASTE ANYTHING. SOMEWHERE DOWN STAIRS…THERE’S A BOX THAT HAS OLD BABY BONUS CHEQUES THAT WERE NEVER CASHED. THERE’S RECEIPTS FOR A HUNDRED POUNDS OF FLOUR FOR TEN CENTS. SHE KEPT EVERYTHING. SHE WAS SO AFRAID THAT SHE WOULD DO WITHOUT AGAIN.” “I KNOW WHEN I FIRST MET HER, SHE WOULD SEE A PICTURE IN A NEWSPAPER OR IN THIS OLD CATALOGUE WHICH USED TO COME ALONG. YOU COULD MAIL AWAY IF YOU SENT TEN CENTS BUT SHE WOULDN’T SPEND TEN CENTS. SHE WOULD LOOK AT THE PICTURES AND THEN SHE WOULD DRAW IT ON NEWSPAPER AND THAT’S HOW SHE MADE THE QUILTS. IT’S AMAZING, THE WAY THAT THEY’RE PUT TOGETHER BECAUSE THEY FIT…THERE’S ONE QUILT THERE THAT’S MIS-MATCHED BUT THE REST OF THEM ARE JUST PERFECTLY PUT TOGETHER.” “THAT WOULD HAVE BEEN CALLED A CRAZY QUILT BACK IN THE DAY. YOU CAN SEE IN [ONE OF THE QUILTS] HOW THE PIECES DON’T MATCH COMING TOGETHER. YET YOU CAN TURN AROUND AND THERE’S ANOTHER QUILT…SHE’S PERFECTED [IT] ALMOST DOWN TO AN EXACT MATCH. IT’S AMAZING THAT SHE GOT THEM FROM A PICTURE, THAT SHE’S GOT THEM TOGETHER THE WAY THEY ARE.” “PROBABLY MATERIAL THAT SHE GOT [FOR THE QUILTS WAS FROM] HER CLOTHES. SHE WOULD PROBABLY CUT THEM UP AND MAKE THEM INTO SOMETHING.” ED BETTS RECALLED, “SHE HAD AN ANEURISM AND HAD TO GO TO CALGARY FOR A MONTH [IN THE ‘70S] AND AFTER THAT I DON’T THINK SHE DID MUCH SEWING ANY MORE…IN THE ‘80S SHE WENT TO LIVE WITH MY SISTER.” “[THE QUILT INTERIORS ARE] ALL NATURAL WOOL. I CAN REMEMBER HER SITTING FOR HOURS RE-CARDING ALL THIS STUFF TO PUT IN HER QUILT.” ON KATHERINE BETTS’ QUILTS, GLORIA BETTS ELABORATED, “SHE CERTAINLY WASN’T ONE TO SHOW OFF WHAT SHE WAS DOING EITHER. SHE WAS JUST A VERY PRIVATE WOMAN, VERY HUMBLE WOMAN.” “I THINK SOME [OF THE QUILTS] WENT TO BC WHEN SHE WENT TO LIVE WITH MARGE IN BC. I KNOW THAT HER TREADLE SEWING MACHINE WE HAD AT THE HOUSE UNTIL SHE PASSED AWAY AND THEN MARGE TOOK THE TREADLE SEWING MACHINE.” “I’M THINKING THE PURPLE [DOUBLE WEDDING RINGS QUILT] ONE IS THE MOST RECENT, ALTHOUGH I CAN’T REALLY SAY ABOUT THE TOPS…[THE ROYAL] ALBERTA MUSEUM TOLD ME NOT TO FINISH [THE QUILT TOPS], TO LEAVE THEM AS THEY WERE.” “NOBODY SEWED [IN THE FAMILY EXCEPT KATHERINA]. MARGE CROCHETED.” GLORIA BETTS NOTED THEIR MOTIVATION FOR DONATING THE QUILTS, STATING, “WE’RE DOWNSIZING BECAUSE OF AGE AND MOVING. [THE QUILTS] HAVE TO GO SOMEPLACE WHERE THEY ARE GOING TO BE LOOKED AFTER.” KATHERINA BETTS WAS BORN KATHERINA KOVACIKOVA IN 1903 AND IMMIGRATED TO CANADA FROM CZECHOSLOVAKIA IN 1930. A GRAVE RECORD ON FINDAGRAVE.COM LISTS KATHERINA KOVACIKOVA BETTS AS THE WIFE OF CLARENCE BETTS OF COUTTS, ALBERTA. ACCORDING TO 1930 PASSENGER LISTS FOR THE HMS MONTCLARE [ACCESSED THROUGH THE LIBRARY AND ARCHIVES OF CANADA DIGITIZED MICROFILM RECORDS], KATHARINA [KATHERINA] KOVACIKOVA ARRIVED IN ST. JOHN’S, NEW BRUNSWICK ON MARCH 30, 1930 FROM HAMBURG, GERMANY. KATHERINA WAS LISTED ON THE PASSENGER LISTS AS 26 YEARS OF AGE, SINGLE, BORN IN RADOSINA, CZECHOSLOVAKIA AND ARRIVING IN CANADA TO PURSUE A “DOMESTIC” TRADE. KATHERINA BETTS PASSED AWAY IN VERNON, B.C. ON MAY 20, 1985, ACCORDING TO LETHBRIDGE HERALD ARTICLES. KATHERINA’S HUSBAND, CLARENCE, PASSED AWAY ON DECEMBER 4, 1969 IN COUTTS, ALBERTA. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND COPIES OF THE GRAVE AND PASSENGER RECORDS, PLEASE SEE THE PERMANENT FILE P20170026001-GA.
Catalogue Number
P20170026005
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
"A7 RANCHE 100 ANNIVERSARY"
Material Type
Artifact
Materials
WOOD, PAINT
Catalogue Number
P20140032002
  2 images  
Material Type
Artifact
Other Name
"A7 RANCHE 100 ANNIVERSARY"
Date
1986
Materials
WOOD, PAINT
No. Pieces
1
Height
19.5
Diameter
5.7
Description
BROWN GLASS BEER BOTTLE WITH A LIP FOR A TWIST-OFF CAP (NO CAP). "85" IS IN RAISED LETTERS OF GLASS AT THE BASE OF THE BOTTLE. THERE IS A SEAM VISIBLE DOWN THE CENTER HALVES OF THE BOTTLE WHERE IT HAS BEEN FUSED TOGETHER. CREAM-COLOURED RECTANGULAR LABEL WITH GOLD TRIM PASTED TO ONE SIDE OF THE BOTTLE. LABEL READS "a7" WITHIN A RED DIAGONAL STRIPE RUNNING UP THE WIDTH OF THE LABEL WITH "BEER" PRINTED BELOW. THE BOTTOM OF THE LABEL READS: "BREWED AND BOTTLED IN CARLING O'KEEFE BREWERIES CALGARY, ALBERTA" IN ALTERNATING BLACK AND RED FONT. THERE IS A STAMP THAT STATES "100 YEAR ANNIVERSARY 1886-1986" IN THE UPPER LEFT SECTION OF THE LABEL. CONDITION: SLIGHT WRINKLE VERTICALLY DOWN THE RIGHT SIDE OF THE LABEL. SLIGHT SCUFFING ON THE GLASS OF BOTTLE.
Subjects
FOOD SERVICE T&E
MERCHANDISING T&E
Historical Association
COMMEMORATIVE
INDUSTRY
History
A NOTE ABOUT THIS BOTTLE WAS WRITTEN BY THE DONOR, FRANK LIGHTBOUND, AND PROVIDED TO THE MUSEUM AT THE TIME OF DONATION STATES: “THE SPECIAL LABEL ON THIS BOTTLE IS ONE OF A FEW HUNDRED PRINTED TO HELP CELEBRATE THE 100TH ANNIVERSARY (1886-1986) OF THE A7 RANCHE (OLD SPELLING), THE SOUTHERN PORTION OF WHICH BORDERS THE OLDMAN RIVER NORTH OF LUNDBRECK IN THE MAYCROFT AREA. THE RANCH WAS ESTABLISHED BY A. E. CROSS OF BIG 4 STAMPEDE FAME AND THE FORMER CALGARY BREWING/MALTING CO. (HORSESHOE AND BUFFALO LABEL). THE RANCH IS STILL OWNED BY THE CROSS FAMILY. THE BEER WAS SERVED DURING THE CELEBRATION BAR-B-Q AND THIS BOTTLE WAS GIVEN TO ME BY VAL DENNIS, SOUTH RANCH FOREMAN AT THE TIME.” ON 22 MARCH 2017, GALT COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LIGHTBOUND ABOUT HIS DONATION OF THE 100TH ANNIVERSARY COMMEMORATIVE BOTTLE FROM A7 RANCHE BREWERY. THIS BOTTLE COMMEMORATES THE 100TH ANNIVERSARY OF THE A7 RANCHE. OF THAT, LIGHTBOUND STATES, “WELL, I MUST HAVE ACQUIRED IT SOON AFTER THAT THEN – IN 1986. IT WASN’T GIVEN TO ME DIRECTLY. I KNEW THE FOREMAN OF THE SOUTHERN BRANCH OF THE A7 RANCHE [VAL DENNIS], AND HE HAD SEVERAL OF THEM, AND HE GAVE ME ONE...THE DENNIS FAMILY HAVE A RANCH ON THE OLD MAN RIVER JUST OUTSIDE THE FOREST RESERVE, WHICH IS ACROSS THE ROAD FROM THE A7 RANCHE.” THE BOTTLE WAS GIVEN TO LIGHTBOUND EMPTY. WHEN ASKED WHY HE WAS COMPELLED TO SAVE IT, LIGHTBOUND REPLIED, “WELL, [IT REPRESENTS] AN INTERESTING PART OF THE COUNTRY. I WAS AT THE GAP RANGER STATION FOR FIVE YEARS AND THE DENNIS FAMILY HAD THE FIRST RANCH EAST OF THE FOREST RESERVE, ON THE NORTH SIDE OF THE ROAD, BETWEEN THE ROAD AND THE RIVER. I GOT TO KNOW THE FAMILY BACK AROUND 1965 AND THIS WAS [FROM] 1985. I STILL VISIT WITH THEM AND I HELPED THEM WITH THEIR RANCHING OPERATION...I SAW ALL THE FAMILY GROW UP, ALL THE KIDS GROW UP. VAL WAS ONE. WHEN I FIRST MET HIM, HE WAS A KID IN GRADE SCHOOL, AND NOW I THINK HE’S ABOUT 60 YEARS OLD, AND HE’S NEARING RETIREMENT AS AN RCMP OFFICER. SO A LOT OF YEARS HAVE PASSED. SO, OUT OF THE GOODNESS OF HIS HEART, HE THOUGHT I’D LIKE TO HAVE THAT BOTTLE AND I TOOK IT, AND I HAD IT DISPLAYED—IT WASN’T IN THE LIVING ROOM—BUT IT WAS IN THE CUPBOARD AREA IN THE DINING AREA.” ACCORDING TO THE A7 RANCHE HISTORY PROVIDED ON THEIR WEBSITE (ACCESSED ON 4 MAY 2018), THE RANCH’S FOUNDER – ALFRED ERNEST CROSS – “PICKED THE ‘A7’ BRAND TO SYMBOLIZE HIMSELF AND HIS SIX SIBLINGS. IT IS SAID TO BE THE OLDEST RANCH IN CANADA STILL IN THE HANDS OF THE ORIGINAL OWNERS, RIGHT THROUGH TO PRESENT-DAY OWNER JOHN CROSS.” THE WEBSITE CONTINUES, “A. E. CROSS IS BEST KNOWN FOR BEING ONE OF THE “BIG FOUR” CATTLEMEN WHO FOUNDED THE CALGARY STAMPEDE IN 1912. HOWEVER, HE HAD MANY OTHER BUSINESS, PUBLIC, AND CHARITABLE INTERESTS, LIKE THE CALGARY BREWING AND MALTING COMPANY, OIL AND GAS, AND THE BUDDING MOTION PICTURE INDUSTRY. CROSS ALSO SERVED AS THE MLA FOR EAST CALGARY IN THE LEGISLATIVE ASSEMBLY OF THE NORTH-WEST TERRITORIES...” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, A7 HISTORY AND DONOR’S NOTE.
Catalogue Number
P20140032002
Acquisition Date
2014-08
Collection
Museum
Images
Less detail
Other Name
"ALBERTA MEAT MARKET"
Material Type
Artifact
Materials
STEEL, WOOD, IRON
Catalogue Number
P20180025000
  2 images  
Material Type
Artifact
Other Name
"ALBERTA MEAT MARKET"
Date
1955
Materials
STEEL, WOOD, IRON
No. Pieces
3
Height
115
Length
427
Width
24
Description
A. COMMERCIAL ADVERTISING SIGN, NEON. BODY STEEL PAINTED WITH TWO-TONE BLUE ON FRONT; FRONT HAS RED WOODEN LETTERS MOUNTED TO METAL FRAME AT BACK, SPELLING “ALBERTA" WITH WHITE NEON LETTERS OVERLAID. FRONT HAS WHITE LETTERS PAINTED ON BLUE BODY WITH OVERLAID WHITE NEON LETTERS READING “MEAT MARKET”. NEON LETTERS COMPRISED OF CONNECTED CLEAR, GLASS TUBES WITH BACKS PAINTED WHITE, AND UNPAINTED FRONTS; LETTERS ARE CONNECTED AND PAINTED BLACK BETWEEN INDIVIDUAL LETTERS; NEON LETTERS CONNECT INTO SIGN . LETTERS FASTENED TO FRONT OF SIGN BODY WITH BRACKETED GLASS EXTENSIONS, AND WITH SILVER WIRES TIED TO LETTERS. SIGN BODY IS RECTANGULAR WITH CUT-OUT SPACE IN CENTER WITH “ALBERTA" WOOD LETTERS IN FRONT OF CUT-OUT SPACE. SIGN BODY SLOPES DOWN FROM UPPER RIGHT CORNER; LOWER EDGE OF BODY SLOPES UP FROM RIGHT CORNER. SIGN FRONT HAS NEON TUBING ALONG UPPER EDGE ON BLUE FRAME, WITH SHORTER NEON TUBE RUNNING ACROSS FRAMING NEON TUBING ON THE LEFT SIDE. FRONT OF SIGN HAS LOGO BETWEEN “MEAT” AND “MARKET” NEON TEXT; LOGO COMPRISED OF RED BANNER EXTENDING FROM SIDES OF WHITE SHIELD IN CENTER; SHIELD HAS BLUE BORDER WITH BLUE “N” IN CENTER; RED BANNERS HAVE WHITE BORDERS AND WHITE TEXT ACROSS LOGO “NATIONAL NEON”.RED WOODEN LETTER “L” WARPED AND SPLITTING AT FRONT. TOP OF SIGN BODY STAINED WITH WHITE PAINT AND BLACK SOILING. BACK OF SIGN HAS FIXED BRACKETS ALONG EDGES WITH HOLES PUNCHED AT TOP AND BOLTED AT BOTTOMS TO SIGN BACK. BACK HAS BLACK POWER CORD EXTENDING WITH YELLOW POWER PLUG AT END; BACK HAS PAINT PEELING, IS STAINED AND RUSTED. BACK OF RED WOODEN LETTER “R” IS CRACKED; BACKS OF RED WOODEN LETTERS STAINED WITH YELLOW AND BLUE PAINT. OVERALL VERY GOOD CONDITION. B. NEON TUBING REMNANT, LETTERS “TA”, 41 CM LONG X 54 CM WIDE. GLASS TUBING FILLED WITH WHITE, PAINTED BLACK ON BACKS AND AT ENDS. ENDS BENT AND FITTED WITH METAL CAPS WITH WIRES EXTENDING TO FIT INTO FRONT OF SIGN. LETTERS “TA” FASHION IN CURSIVE FONT AND CONNECTED; TUBE LOOPS OVER AT JUNCTION IN “A” AND GOING UP THE “T”. LOWER END OF “A” HAS BLUE PAINT STAINING; PAINT CHIPPED AROUND ENDS; OVERALL VERY GOOD CONDITION. C. NEON TUBING REMNANT, LETTERS “AT”, 28 CM LONG X 50 CM WIDE. CLEAR GLASS TUBING, EMPTY, GLASS IS YELLOWED. TUBING PAINTED BLACK ON BACK, AT LOWER BASE, AND AT ENDS. ENDS BENT AND FITTED WITH METAL CAPS WITH WIRES EXTENDING TO FIT INTO FRONT OF SIGN. TUBES LOOP OVER AT JUNCTION IN “A” AND AT THE TOP LINE IN “T”. PAINT CHIPPED ON BACK AND FRONT; END CAPS RUSTED; OVERALL VERY GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
BUSINESS
INDUSTRY
History
IN 2018, THE GALT MUSEUM RECEIVED A COMMERCIAL NEON SIGN FROM THE ALBERTA MEAT MARKET, OWNED AND OPERATED BY THE CRIGHTON FAMILY. IN THE 1920S, GEORGE CRIGHTON OPENED CRIGHTON MEAT MARKET ON 3RD AVENUE BETWEEN 7TH AND 8TH STREET IN DOWNTOWN LETHBRIDGE, AND OPENED THE ALBERTA MEAT MARKET AS A SECOND SHOP AT 510—6TH AVENUE SOUTH. THE ALBERTA MEAT MARKET REMAINED OPERATED BY THE CRIGHTON FAMILY UNTIL ITS CLOSURE IN 2012. THE ORIGINAL NEON SIGN FROM THE ALBERTA MEAT MARKET WAS REMOVED AND DONATED ON NOVEMBER 22, 2018. IN APRIL 2019, THE SIGN UNDERWENT RESTORATIONS TO REPAIR THE NEON LETTERING AT L.A. NEON, LETHBRIDGE, PRIOR TO ITS INSTALLATION IN THE GALT MUSEUM PERMANENT DISPLAYS ON JULY 9, 2019. ON DECEMBER 19, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ELAINE BROWN, WHOSE FATHER-IN-LAW, DAVE BROWN, OWNED NATIONAL NEAN DISPLAYS LTD., AND WHOSE HUSBAND, ALLAN BROWN, WORKED FOR NATIONAL NEON. ON THE “ALBERTA MEAT MARKET” SIGN, BROWN RECALLED, “THAT WAS ONE OF THE FIRST SIGNS THAT THEY MADE…THE WOOD ON IT, IS WHY I KNEW THAT IT WAS ONE OF THE FIRST ONES.” “[ALLAN] USED TO GO AROUND EVERY EVENING, ONCE A WEEK, AND CHECK AND MAKE SURE [THE SIGNS] WERE ALL KEPT UP. IF ANY OF THE NEON WAS BROKEN, THEN THEY WOULD IMMEDIATELY GO AND REPAIR IT SO THAT EVERYTHING WAS ‘AS IS’. HE WORKED [AT NATIONAL NEON] ALL DAY.” “[ALLAN] WAS PROUD OF THEM ALL. HE KNEW EXACTLY WHERE EVERY SIGN WAS. ANY ONE THAT HE WOULD PUT UP, HE COULD GO IN AND REPAIR QUICKLY, BECAUSE HE KNEW EXACTLY WHERE EVERYTHING WAS.” “ALLAN USED TO PAINT AND HANG SIGNS, [HIS BROTHER] JIM USED TO BLOW THE NEON AND [HIS BROTHER] BUSTER WOULD ALSO HANG SIGNS.” BROWN FURTHER ELABORATED ON THE HISTORY OF NATIONAL NEON DISPLAYS, STATING, “BEFORE [WE MARRIED IN 1957] ALLAN’S DAD, DAVE, BOUGHT THE BUSINESS WITH HIS THREE SONS…[IT WAS] NATIONAL NEON DISPLAYS LTD.” “IT WAS [AN EXISTING] BUSINESS OWNED BY ANOTHER BROWN…[DAVE] WAS INTERESTED IN IT, SO HE WENT IN AND DID ALL THE LEGWORK TO SEE IF HE COULD MAKE A GO OF IT. OBVIOUSLY, HE DECIDED HE COULD BECAUSE HE [AND THE SONS] BOUGHT IT.” “[ALLAN’S FAMILY] HADN’T BEEN [MAKING SIGNS] BEFORE BUT I PRESUME THEY KNEW THAT THEY COULD MAKE IT GO AND THEY COULD MAKE SIGNS. GRANDPA BROWN SAID THAT HE THOUGHT THEY COULD MAKE IT GO AND THEY DID.” “[ALLAN] DIDN’T THINK THE PLASTIC [SIGNS], WITH JUST THE FACE, WERE AS EYE-CATCHING AS THE NEON SIGNS NOR WERE THEY AS NICE TO LOOK AT WHEN THEY WERE ON. HE REALLY TOOK AN INTEREST IN IT; HE REALLY TRIED TO KEEP IT UP QUITE WELL. THEN HE RETIRED AND WE SOLD TO A MAN FROM CALGARY. I DON’T KNOW WHAT HAPPENED AFTER THAT BUT I THINK NEON PRODUCTS OWNS IT NOW, SO THEY SHUT [THE ORIGINAL] BUILDING DOWN. ALLAN HAD SOLD THE BUILDING AFTER HE RETIRED AND THEN THEY SHUT [THE] BUILDING DOWN AFTER THAT.” “WE HOPED THAT NATIONAL NEON WOULD BE IN PEOPLE’S MINDS AS BEING HERE AND BUILDING THOSE SIGNS…NATIONAL NEON WAS HERE AS A COMPANY AND EXPANDED FROM HERE. [ALLAN] USED TO GO INTO B.C. AND SASKATCHEWAN, TO EDMONTON…TO SELL THEM. IT WASN’T JUST A LOCAL BUSINESS. IT WAS ALL OVER, B.C., SASKATCHEWAN, ALBERTA—AND I THOUGHT IT WAS REALLY INTERESTING THAT THEY’D PICK ONE OF THE FIRST SIGNS THAT [ALLAN] BUILT TO TAKE DOWN AND PRESERVE. I’M SURE [ALLAN] WOULD HAVE BEEN HAPPY WITH THAT.” ON NOVEMBER 28, 2019, MACLEAN INTERVIEWED MIRIAM SMITH AND BOB CRIGHTON REGARDING THEIR MEMORIES OF THE ALBERTA MEAT MARKET, OWNED AND OPERATED BY THEIR GRANDFATHER GEORGE CRIGHTON, FATHER JAMES CRIGHTON, AND THEMSELVES. ON THE HISTORY OF THE ALBERTA MEAT MARKET, MIRIAM SMITH RECALLED, “THE CRIGHTON FAMILY MOVED FROM SCOTLAND IN 1920…[GRANDPA CRIGHTON] OPENED THE STORE; HE RAN THE 6TH AVENUE STORE. HE RAISED HIS SONS OUT OF THERE. DAD WAS A BUTCHER IN SCOTLAND; THEY ALL BECOME BUTCHERS. BOBBY LEFT; TOMMY LEFT; DAVEY, HE WAS A BUTCHER; GEORGE WENT TO CAMPBELL RIVER.” “[DAD TOOK OVER THE SHOP ON 6TH AVENUE] ’38, OR ’39.” BOB CRIGHTON ELABORATED, “[DAD] TRIED TO ENLIST, BUT HE HAD THE STORE ON 3RD AVENUE, AND HE WENT BROKE THERE. THAT WAS CALLED CRIGHTON’S MEAT MARKET AT THAT TIME...HE HAD TO PAY ALL OF HIS BILLS OFF, SO MY GRANDPA ASKED HIM TO TAKE OVER THE 6TH AVENUE STORE. SO HE TOOK OVER THE 6TH AVENUE STORE, AND CHANGED IT TO THE ALBERTA MEAT MARKET.” “[WHEN DAD GOT THE NEW NEON SIGN] I REMEMBER HIM PUTTING IT UP. DAD RENOVATED THE STORE AND WE GOT NEW MEAT COUNTERS, AND WHEN HE GOT THE NEW SIGN UP, I WATCHED THEM PUT IT UP. NATIONAL NEON PUT IT UP…I WAS 12-14 YEARS OLD.” MIRIAM SMITH RECALLED, “I WORKED THERE WHEN I WENT TO SCHOOL. I HAD TO ANSWER THE TELEPHONE ON SATURDAYS, OR HOLIDAYS…IT WAS A BUSY STORE. I REMEMBER ALONG 6TH AVENUE AND 5TH STREET, YOU COULDN’T FIND A PLACE TO PARK BECAUSE IT WAS SO BUSY. I REMEMBER, AT LUNCHTIME, I USED TO SAY, 'I’M GOING TO GO FOR MY LUNCH NOW,' AND THERE USED TO BE SILVER’S ACROSS THE STREET. MY DAD WOULD ALWAYS SAY, ‘NO, YOU CAN’T GO. I’VE GOT TO FIX THE COUNTER AND GET MY PARSLEY OUT.' HE ALWAYS HAD HIS COUNTER VERY BEAUTIFULLY DONE.” “THE PHONE WOULD RING OFF THE HOOK, ESPECIALLY [WITH] EVERYBODY WANTING TO ORDER THEIR MEAT. IT WAS PLEASANT VISITING WITH THE DIFFERENT PEOPLE. SOME OF THEM I KNEW; SOME OF THEM I DIDN’T. BUT I FOUND MOST PEOPLE VERY NICE TO CHAT WITH. I REMEMBER MY DAD, AND DORIS HUNT (H.B.HUNT), THE DOCTOR’S WIFE. SHE USED TO COME IN, AND SHE WAS QUITE A BOISTEROUS LADY, AND SHE SPOKE HER MIND. I REMEMBER ONE TIME SHE SAID TO MY DAD, 'JIMMY, THAT ROAST BEEF YOU GAVE ME LAST WEEK WAS TOUGHER THAN HELL.' WELL, MY DAD SAID TO HER, 'YOU KNOW, DORIS, I REMEMBER YOUR HUSBAND TOOK MY APPENDIX OUT, AND THEY COME BACK AGAIN.'" MIRIAM SMITH NOTED, "I REMEMBER THE TIME THAT DAD GAVE THE TURKEY TO THE KID…THE KID HAD NO MONEY, AND HE COME FOR HAMBURGER.” BOB CRIGHTON ELABORATED, “HAMBURGER, AT CHRISTMAS TIME. IT WAS 40 BELOW OUTSIDE, AND HE [CAME] DOWN…HE SAID, ‘I WANT A POUND OF HAMBURGER, MR. CRIGHTON.' [DAD] SAYS, ‘WHAT ARE YOU HAVING FOR CHRISTMAS SUPPER?' 'HAMBURGER.' 'JUST A MINUTE.' SO, [DAD] GETS A TURKEY, AND A HAM, AND SAUSAGE. GOT A BAG FOR HIM, AND HE SAYS, 'THERE – MERRY CHRISTMAS.'" “DAD WAS A PRETTY GENEROUS MAN! WHEN ANDY KERGEN DIED, JUDY [CAME] IN. SHE WAS CRYING. SHE HAD A $200.00 BILL; SHE COULDN’T PAY IT. SHE HAD $5.00 TO PUT ON THE BILL. DAD SAYS, “GIVE ME THE BILL, JUDY.” HE LOOKED AT THE BILL; HE TOOK HIS WALLET OUT AND PAID THE BILL, AND THEN GAVE HER THE RECEIPT.” MIRIAM SMITH CONTINUED, “I ALWAYS REMEMBER WHEN WE WERE KIDS GROWING UP, WE ALWAYS HAD LOTS OF MEAT. WHATEVER WAS LEFT OVER AT THE STORE [WOULD] COME HOME…WE COULD BRING ANYBODY WE WANTED, MOTHER DIDN’T MIND. THE MEAT PLATTER WOULD BE PLACED IN THE MIDDLE OF THE TABLE, AND THE WATER PITCHER. NOBODY WANTED TO SIT BESIDE THE WATER PITCHER, BECAUSE ALL YOU DID WAS POUR WATER.” MIRIAM SMITH NOTED, “[WE, THE CHILDREN, BOUGHT DAD OUT] IN 1965.” ON DECEMBER 11, 2018, MACLEAN INTERVIEWED KEN CRIGHTON, GRANDSON OF JAMES [JIM] CRIGHTON. KEN CRIGHTON WORKED WITH THE FAMILY IN ALBERTA MEAT MARKET. ON HIS MEMORIES OF WORKING IN THE ALBERTA MEAT MARKET, KEN CRIGHTON NOTED, “I WAS THERE EVERY DAY FOR 30 SOME YEARS…MY DAD AND HIS TWO BROTHERS WERE OPERATING IT WHEN I WAS A KID. [I] GOT TOLD TO GET DOWN THERE, AND HELP CLEAN UP; DO SOME CHORES; HELP WITH DELIVERIES; THEN I WORKED INTO LEARNING HOW TO CUT MEAT.” “[MY GRANDFATHER OWNED IT] JAMES ANDERSON CRIGHTON, BUT EVERYONE CALLED HIM ‘JIM’.” “[MY] FIRST MEMORIES OF GOING THERE TO WORK WAS HAVING TO RIDE ON YOUR BIKE, OR WALK FROM SCHOOL RIGHT AFTER SCHOOL, TO HELP CLEAN UP EITHER AT 4 O’CLOCK OR 4:30. IT ALWAYS SEEMED TO ME THAT I WAS DOING THE BULK OF THE WORK, AND THEY WERE DOING MOST OF THE BEER-DRINKING.” “EVERY NIGHT YOU HAD TO EMPTY ALL THE MEAT OUT OF THE COUNTER, COVER IT OVER, TAKE IT, PUT IT IN THE BIG COOLER; TAKE ALL THE PLATTERS OUT OF THE COUNTER, WASH THEM, DRY THEM…EVERYTHING FROM SWEEPING THE FLOOR, TO RAKING THE FLOOR. WE USED TO HAVE SAWDUST ON THE FLOOR TO SOAK UP ALL THE BLOOD AND FAT THAT WOULD FALL DOWN. YOU’D RUN A RAKE THROUGH IT TO PICK UP ALL THE BIG CHUNKS OF GARBAGE, AND THEN TWICE A WEEK YOU’D SWEEP UP ALL THE SAWDUST, AND REPLACE IT WITH FRESH SAWDUST. THAT ENDED WHEN THE HEALTH DEPARTMENT CHANGED…WHEN I WAS ABOUT 12-13, SO THAT WOULD HAVE BEEN 1972.” “[THE SHOP WAS OPEN] SIX DAYS A WEEK. WE WERE ONLY CLOSED, THEN, ON SUNDAYS.” “EVERY DAY, WEEKDAYS AFTER SCHOOL, AND SATURDAYS, I WOULD HELP THE GUY THAT WOULD DO DELIVERIES. WE’D RUN OUT A COUPLE, OR THREE, LOADS OF DELIVERIES TO HOUSES. IT WAS DIFFERENT BACK THEN. WE HAD SOME CUSTOMERS WHO WOULD ORDER THEIR STUFF IN THE MORNING FOR WHAT THEY WANTED FOR LUNCH. THEN THEY PHONE IN THE AFTERNOON, AND ORDER FOR WHAT THEY WANTED FOR SUPPER, WHICH, LATER ON, BECAME THE, “NO, YOU GET ONE DELIVERY A DAY.”” KEN CRIGHTON RECALLED THE LAYOUT OF THE SHOP, STATING, “THE FRONT HALF OF THE BUILDING, WHERE THE CUSTOMERS WERE, WAS PROBABLY ONLY ABOUT THE FIRST THIRD, MAYBE HALF OF THE BUILDING. A GLASS COUNTER/COOLER [WAS] ALONG THE MIDDLE, AND BEHIND IT WAS WHERE WE HAD OUR CUTTING BLOCKS AND SAW. [THERE WAS A] LITTLE COUNTER FOR A PHONE, [A] LITTLE COUNTER TO DO BOOKS ON, [AND] A 6’ WIDE AREA FOR THE CUSTOMERS TO STAND. EVERYTHING WAS SERVED. THERE WAS NO ‘THEM PICKING IT OUT’ AT THE COUNTER. IT WAS ALL DONE AND WRAPPED IN BROWN PAPER BY US.” “ON THE LEFT SIDE, [THERE WAS] A GOOD 15’ TO 20’ WALK-IN COOLER. THEN, ALONG THE WEST WALL, WE HAD A SMALL FREEZER WITH SHELVES. [IT] HAD NINE LITTLE DOORS THAT [OPENED] UP, AND SLIDE TRAYS IN. WHEN YOU’RE DOING FREEZER BEEF ORDERS, YOU’D USE THAT TO FREEZE THEM UP. [THERE WAS] A LITTLE WALK-IN FREEZER TO HOLD THE BOXES, PROBABLY ONLY 3’ BY 6’. [THERE WAS] A COUNTER [AT] THE BACK END, WITH A STOVE, THAT WE WOULD USE TO COOK UP CORNED BEEF, [AND] A FEW OTHER COLD MEATS.” “WE HAD A DOUBLE DOOR ON THE SIDE THAT WENT TO THE ALLEY, THAT WE WOULD BRING THE STUFF IN OFF THE TRUCK. USUALLY IT WAS TUESDAYS AND THURSDAYS, WE WOULD GET THE BIG ORDERS OF HANGING BEEF IN. WE HAD TWO HUGE 2’ BY 6’ PIECES OF WOOD THAT WERE ON BIG HOOKS THAT WERE PROPPED UP IN THE ATTIC. THEN YOU WOULD HANG YOUR BIG MEAT HOOKS ON THEM. YOU COULD GET 8 HIND QUARTERS, AND 6-8 FRONT QUARTERS HANGING UP IN THERE. ONE DAY WAS THE DAY YOU WOULD BREAK THEM DOWN INTO PIECES, AND THEN PUT THEM INTO THE COOLER, OR SAVE THE QUARTERS IF YOU HAD A WHOLE QUARTER FOR A FREEZER ORDER.” “[I LEARNED THE TRADE] MOSTLY BY WATCHING…BY THE TIME I WAS 15-16, [I WAS] IN THERE DOING EVERY SINGLE THING THEY’RE DOING: RUNNING THE BAND SAW, THE GRINDER, MIXING UP BURGERS, MAKING PATTIES, THE WHOLE DEAL. [I] DIDN’T REALLY GET TO SERVE CUSTOMERS TILL [I WAS] OLDER. A LOT OF THE CUSTOMERS, EVEN THEN, DIDN’T WANT ME SERVING THEM, [THEY] WANTED THE OLD MAN, OR ONE OF THE OLDER GUYS. I’M SURE LOTS OF FAMILY BUSINESSES RUN INTO THAT, WHERE THE OLD-TIME CUSTOMERS ONLY WANT THE OLDER PEOPLE LOOKING AFTER THEM.” “[THE SHOP DID WELL] I THINK BECAUSE, PROBABLY A LOT OF REPUTATION, AND PERSONALIZED SERVICE. BUT, AFTER A WHILE, IT GOT TO BE THAT YOU WERE RUNNING INTO A LOT OF PEOPLE THAT WOULD WANT YOUR QUALITY/YOUR SERVICE BUT AT THE SAME SALE PRICE THAT THE BIG STORES WOULD HAVE. THAT WAS THE FRUSTRATION OF IT…I WOULD SAY PROBABLY 90% OF THE CLIENTELE WERE REPEATS, AND YOU HAD YOUR STEADY CORE CUSTOMERS…THEY WOULD GET WHAT THEY LIKED.” “[IN THE 1980S] THERE WAS MYSELF, DAD, [AND] HE HAD TWO OTHER YOUNGER PEOPLE WORKING, ONE NAMED LEN, WHO WAS CUTTING MEAT, AND ANOTHER [WOMAN] NAMED IDA, WHO CUT. BUSINESS STARTED TO TAPER OFF THEN. HE LAID OFF IDA, AND THEN ME, AND LEN, AND DAD WOULD PRETTY WELL OPERATE THE WHOLE SHOW. THAT WAS ABOUT 1990.” “[DAD] WAS VERY, I THINK, ASTUTE AT THE BUSINESS…[HE] HAD TO BE, BECAUSE THAT WAS THEIR LIVING. THEY HAD NOTHING ELSE TO FALL BACK ON. [HE HAD TO] MAKE IT WORK. HE WAS REALLY GOOD WITH THE CUSTOMERS. HE ENJOYED SERVING THE CUSTOMERS MORE THAN THE GRUNT WORK IN THE BACK. HE COULD DO IT, BUT HE PREFERRED BEING UP FRONT, WORKING WITH THE PEOPLE. ME AND MY UNCLE RON COULD STAY IN THE BACK ALL DAY. I COULD STAND THERE AT THAT BLOCK, AND WE COULD CUT MEAT 8 HOURS STRAIGHT. [IT] WOULDN’T BOTHER US. I COULD HANDLE SERVING THE CUSTOMERS, BUT I PREFERRED JUST WORKING.” “[BUSINESS] REALLY STARTED DECLINING…I REALLY NOTICED IT AROUND 2008, 2009. FOR THE LAST WHILE, [I] JUST HAD MYSELF AND ONE OTHER YOUNG FELLOW, GARRY, WORKING THERE. IT WAS TO THE POINT WHERE YOU COULDN’T MAKE ENOUGH SALES TO AFFORD ANOTHER PERSON, BUT IT WAS TOO BUSY FOR ONE. GARRY WAS STARTING TO HAVE A FAMILY, AND NEEDED MORE MONEY. HE LEFT TO GO WORK SOMEWHERE ELSE. SO, I HUNG ONTO IT, AND JUST DID IT ALL BY MYSELF FOR THE LAST FOUR YEARS. BEING THE ONLY GUY THERE, EVERY HOUR OF EVERY DAY, FOR TEN HOURS A DAY, STARTED TO GET TO ME. IT GOT TO THE POINT WHERE, IN 2011, EARLY 2012, I JUST THOUGHT, “THERE’S NO POINT IN WORKING LIKE THIS, AND NOT MAKING ANYTHING. I MIGHT AS WELL DO NOTHING, AND MAKE THE SAME AMOUNT.”” KEN CRIGHTON SOLD ALBERTA MEAT MARKET IN 2012. MIRIAM SMITH SPOKE TO HER THOUGHTS ON THE SIGN BEING DONATED TO THE GALT MUSEUM, NOTING, “I’M VERY HAPPY. I THINK IT’S A GOOD PLACE FOR IT, AND I THINK KENNETH, AND EVERYBODY FEELS THAT WAY.” KEN CRIGHTON CONFIRMED, “I’M ECSTATIC! I WOULD RATHER IT BE HERE. OUR WHOLE FAMILY’S LOST OUR IDENTITY/ERASED [IT] BY HAVING IT JUST THROWN AWAY. ON THE OTHER HAND, I DIDN’T WANT IT STILL ON THE BUILDING, [WITH] THE BUILDING BEING USED FOR A DIFFERENT PURPOSE, AND HAVING THE NAME ASSOCIATED. [IT] FELT LIKE THE NAME BELONGED TO THE CRIGHTON’S MORE THAN THE COMMUNITY, OR WHOEVER OWNED THE BUILDING.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, FAMILY OBITUARIES, AND ARTICLES FROM THE LETHBRIDGE HERALD, PLEASE SEE THE PERMANENT FILE P20180025000-GA.
Catalogue Number
P20180025000
Acquisition Date
2018-11
Collection
Museum
Images
Less detail
Date Range From
1930
Date Range To
1950
Material Type
Artifact
Materials
STEEL, PLASTIC
Catalogue Number
P20170024000
  2 images  
Material Type
Artifact
Date Range From
1930
Date Range To
1950
Materials
STEEL, PLASTIC
No. Pieces
2
Height
22
Length
50
Width
40
Description
A. TYPERWRITER, 22 CM TALL X 50 CM LONG X 40 CM WIDE. DARK GREY WITH SILVER TRIM AND BLACK DECK; TYPEWRITR HAS BLACK AND RED RIBBON FIXED UNDER DARK GREY COVER; TYPEWRITER HAS FULL SET OF KEYS MARKED WITH BLACK AND CREAM LABELS. TYPEWRITER HAS TWO SILVER SWITCHES ON FRONT LEFT SIDE ABOVE “TAB CLEAR” BUTTON, AND TWO SILVER SWITCHES ON FRONT RIGHT SIDE WITH RED, BLUE AND WHITE MARKS BETWEEN, ABOVE “TAB SET” BUTTON. FRONT HAS GOLD PLATE TARNISHED BLACK WITH SILVER TEXT “ROYAL”, AND WHITE WORN PAINTED TEXT “MADE IN CANADA” BELOW. TYPEWRITER HAS WIDE DECK. RIGHT SIDE OF TYPEWRITER HAS BLACK TURN-KNOB WITH WORN WHITE PAINTED TEXT “TOUCH CONTROL” AND METAL ADJUSTMENT PLATE BELOW. BACK HAS WORN WHITE PAINTED LABEL “ROYAL”; UPPER LEFT CORNER OF BACK HAS WORN WHITE PAINTED LABEL “PATENTED, 1910, 1915, 1916, 1924”; BOTTOM OF BACK HAS WORN WHITE PAINTED LABEL “PROTECTED BY AMERICAN AND FOREIGN PATENTS, NOT FOR EXPORT, TOUCH CONTROL”. SERIAL NUMBER ENGRAVED INSIDE BACK LEFT SIDE OF CARRIAGE DECK, “KMM14-2685751”. CARRIAGE DECK IS WORN AND SOILED; PAINTED LABELS ARE WORN; OVERALL VERY GOOD CONDITION. B. TYPEWRITER COVER, 51.5 CM LONG X 50.5 CM WIDE. GREY-GREEN CANVAS COVER WITH COTTON LINING. COVER HAS WHITE MACHINE-STITCHED EDGES THAT ARE WORN AND FRAYING. COVER HAS HOLES AND TEARS IN SIDES AND FRONT; COVER IS CREASED AND FLAKING ON FRONT AND SIDES. OVERALL GOOD CONDITION.
Subjects
WRITTEN COMMUNICATION T&E
Historical Association
BUSINESS
COAL MINING
INDUSTRY
History
ON JULY 26, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED GLORIA MARTENS REGARDING HER DONATION OF A “ROYAL” TYPEWRITER. MARTENS ACQUIRED THE TYPEWRITER FROM DON LIVINGSTON WITH BRIDGE VALLEY GOLF IN LETHBRIDGE, ALBERTA. ON HER MEMORIES OF THE TYPEWRITER, MARTENS RECALLED, “I DIDN’T [KNOW IT WAS THERE] PRIOR TO TAKING IT. IT WAS UP ON A HIGH SHELF IN THE BACK CORNER AND I WAS UP TRYING TO FIND WHAT WAS UP THERE AND THAT’S WHEN I COME ACROSS IT. I NEVER [SAW MR. LIVINGSTON USE IT].” “I WAS WORKING DOWN AT BRIDGE VALLEY GOLF FOR MR. DON LIVINGSTON. I WAS CLEANING UP THE OFFICE ONE DAY AND IT WAS UP ON A TOP SHELF IN THE BACK CORNER. I ASKED HIM ABOUT IT AND HE INFORMED ME THAT IT HAD BEEN HIS DAD’S AND THAT HE HAD USED IT IN THE MINE, IN HIS OFFICE. MR. LIVINGSTON SAID, “IF YOU WANT IT YOU CAN TAKE IT HOME.” I BROUGHT IT HOME THINKING IT WAS QUITE AN INTERESTING PIECE AND IT’S MOVED WITH ME A COUPLE OF TIMES, BUT IT’S GOT TO THE POINT WHERE I DON’T USE IT SO, THEREFORE, MAYBE IT CAN BE PUT TO SOME USE SOMEWHERE.” “IT HAS TO BE 30 OR SO YEARS AGO [SINCE I WAS GIVEN THE TYPEWRITER].” “IT WAS JUST AN OLD TYPEWRITER AND IT WAS SOMETHING SIMILAR TO WHAT MY GRANDFATHER PROBABLY USED, AND SO IT WAS INTERESTING TO ME. SO I BROUGHT IT HOME.” “I HAD A SMALL LITTLE TYPEWRITER, BUT I NEVER DID MUCH TYPING.” IN THE LETHBRIDGE HERALD OBITUARY FOR R. DONALD LIVINGSTONE [MARCH 13, 2001], IT IS RECOUNTED THAT R. LIVINGSTONE WORKED FOR THE #8 MINE UNDERGROUND BEFORE ADVANCING TO ENGINEER, MANAGER, AND GENERAL MANAGER FOR LETHBRIDGE COLLIERIES FOR 34 YEARS. R. LIVINGSTONE WAS A LIFETIME MEMBER OF THE LETHBRIDGE COUNTRY CLUB AND OWNED BRIDGE VALLEY PAR-3 GOLF COURSE AND DRIVING RANGE. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20170024000-GA.
Catalogue Number
P20170024000
Acquisition Date
2017-07
Collection
Museum
Images
Less detail
Other Name
CANDLESTICK TELEPHONE
Date Range From
1950
Date Range To
1970
Material Type
Artifact
Materials
METAL, COTTON, PLASTIC
Catalogue Number
P20180007000
  2 images  
Material Type
Artifact
Other Name
CANDLESTICK TELEPHONE
Date Range From
1950
Date Range To
1970
Materials
METAL, COTTON, PLASTIC
No. Pieces
1
Height
31
Diameter
13.4
Description
BLACK CANDLESTICK-STYLE TELEPHONE WITH RECEIVER AND SPEAKER. TELEPHONE SPEAKER IS ATTACHED TO BLACK ROUND BASE AND BLACK MIDDLE ROD WITH HOOK FOR HANGING THE RECEIVER; METAL STAND ON BROWN PADDED BASE WITH BLACK PLASTIC SPEAKER AT THE TOP. BASE HAS WHITE STAMPED TEXT AROUND BASE OF THE STAND “WESTERN ELECTRIC, MADE IN U S A, PAT IN U S A JAN 26 15”. TELEPHONE HAS BLACK METAL PLATE BENEATH PLASTIC SPEAKER WITH ENGRAVED TEXT “9298W, WESTERN ELECTRIC, MADE IN U S A, PAT IN U S A JAN 14 1919”. BASE HAS TWO BROWN CLOTH-COVERED CORDS EXTENDING FROM BACK OF BASE; FIRST CORD IS CUT OFF, SECOND CORD IS ATTACHED TO BLACK PLASTIC RECEIVER. RECEIVER IS CONE-SHAPED WITH WIDER MOUTHPIECE AT END. RECEIVER IS WRAPPED WITH BLACK TAPE AROUND MIDSECTION; RECEIVER HAS ENGRAVED TEXT AROUND CORD, “PAT. IN U.S.A. APRIL 16, 1918, MAY 20, 1913, JUNE 3, 1913”. RECEIVER HAS ENGRAVED TEXT AROUND BACK EDGE OF MOUTHPIECE “WESTERN ELECTRIC MADE IN U S A 143”. TELEPHONE HAS CHIPPED PAINT ON RECEIVER HOOK; SPEAKER OF TELEPHONE IS CHIPPED WITH LOSS IN PLASTIC; TELEPHONE BODY AND RECEIVER ARE STAINED WITH WHITE PAINT. OVERALL VERY GOOD CONDITION.
Subjects
TELECOMMUNICATION T&E
Historical Association
AGRICULTURE
BUSINESS
INDUSTRY
History
ON APRIL 3, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED JOHN WENSVEEN REGARDING HIS DONATION OF A CANDLESTICK TELEPHONE. WENSVEEN HAD RETIRED FROM ALBERTA TERMINALS LIMITED AND HAD KEPT THE TELEPHONE AS A SOUVENIR FROM HIS TIME EMPLOYED. ON HOW HE CAME INTO POSSESSION OF THE TELEPHONE, WENSVEEN ELABORATED, “WHEN I RETIRED [IN THE FALL OF 1989] FROM THE ELEVATOR, THESE PHONES WERE NOT USED ANY MORE SO THEY WERE MORE OR LESS DISCARDED. WHEN I RETIRED I [WOULD] JUST TAKE ONE HOME. SO I DID. I DIDN’T STEAL IT OR ANYTHING BECAUSE THEY WEREN’T USED ANYMORE.” “[I WORKED FOR] THE CANADIAN GOVERNMENT ELEVATOR LATER KNOWN AS ALBERTA TERMINALS LIMITED.” “THESE [PHONES] WERE IN THE ELEVATOR AND AS LONG AS THEY WERE WORKING, WE USED THEM. [THE COMPANY] DIDN’T WANT TO GO TO ANOTHER PHONE AND HAVE THE SAME THING SITTING IN THE OFFICE…THE PHONE WOULD RING AND THEN YOU WOULD HAVE TO GO OVER THERE AND ANSWER IT. THEY DECIDED WE’VE GOT TO GET SOMETHING THAT WE CAN CARRY WITH US AND THAT’S WHAT WE DID. WE COULD HAVE GONE THROUGH A REGULAR PHONE AS SUCH BUT, AGAIN, YOU WOULD HAVE TO GO THROUGH THAT OFFICE AND ANSWER THE PHONE.” “WE HAD A BOX, [THE] WIRE WAS CONNECTED ON TO THE BOX…IT WAS ON THE WALL AND IT HAD DIFFERENT FLOORS MARKED IN A LITTLE SPACE [WITH] A LITTLE BUTTON BEHIND IT. IF YOU WANTED TO CONTACT ANOTHER FLOOR, YOU WENT IN THERE AND YOU PRESSED THAT BUTTON FOR THAT PARTICULAR FLOOR. THEN THE PHONE WOULD RING. THEN YOU WOULD GET IT OVER THERE AND YOU WOULD ANSWER THE CALL.” “I STARTED IN ’58 AND I THINK WE USED THEM FOR ABOUT 15 YEARS AFTER THAT [UNTIL ABOUT 1972]." “WE WENT OVER TO WALKIE TALKIES…[WHEN] I STARTED WORK THERE...WE WERE USING ALL THESE PHONES AND THEY HAD ONE OF THESE PHONES ON EACH FLOOR. IF YOU WANTED TO CONTACT SOMEBODY, THAT’S WHAT YOU HAD TO USE. THAT’S WHAT WE DID AND, LATER ON THEY WERE OFF-LISTED AND PUT IN THE BASEMENT, AND MORE OR LESS FORGOT ABOUT. SO I DECIDED TO TAKE ONE HOME.” “THESE PHONES WERE NOT THAT CLEAR. WALKIE TALKIES WERE MUCH CLEARER…[YOU] HELD THE MIC CLOSE TO YOU. IF YOU WERE TOO FAR AWAY FROM THE PHONE AND SOMEONE WAS TALKING YOU COULDN’T PICK IT UP VERY WELL. IT WAS SOMETHING AT THE TIME, IT WAS GOOD AT THE TIME BECAUSE THERE WAS NOTHING ELSE. BUT WALKIE TALKIES WERE MUCH BETTER.” “WE USED THIS PHONE ALL THE TIME WHEN WORKING THERE, SO IT WAS SOMETHING THAT WE WERE USED TO USING…THAT’S THE MAIN REASON [I BROUGHT IT HOME]. I THOUGHT IT WOULD BE NICE TO TAKE ONE AS A REMEMBRANCE OF THE ELEVATOR AND I’LL USE IT HOW IT USED TO BE.” “I PUT IT OUTSIDE, I HAVE A SHED, AND I PUT IT IN THE SHED AND IT MORE OR LESS STAYED THERE...I THOUGHT EVENTUALLY IT WOULD BE A KEEPSAKE AND WOULD BE A REMINDER OF MY PLACE WHERE I WORKED. [NOW] I’M DOWNSIZING. I’M GOING TO BE MOVING OUT OF THE HOUSE AND I KNEW I HAD THIS IN THE SHED OUTSIDE. I THOUGHT MAYBE THIS IS A GOOD TIME TO SEE IF I CAN DONATE IT AND I DIDN’T WANT TO THROW IT OUT.” ON HIS TIME WITH ALBERTA TERMINALS LIMITED, WENSVEEN RECALLED, “I WORKED ON THE SCALE FOR 8 YEARS. THE SCALES WERE UPSTAIRS AND THEY HAD 6 PITS DOWN BELOW WHERE THE GRAIN WOULD BE DUMPED. IN THE EARLY DAYS THEY USED BOXCARS, CPR, AND THEY WOULD HOLD 1500 BUSHELS. THEY WERE MADE FOR [TRANSPORT] AND THE GRAIN WOULD COME UP…ABOVE THE SCALE AND WE COULD CONTROL THAT AND WE WOULD WEIGH IT. I WORKED UP THERE FOR ABOUT 8 YEARS. THEN A POSITION CAME AVAILABLE DOWNSTAIRS FOR RECEIVING AND SHIPPING SO I PUT IN FOR IT AND I GOT THAT POSITION. I DID THE RECEIVING AND SHIPPING LATER ON, TAKING GRAIN IN AND SHIPPING GRAIN OUT.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180007000-GA.
Catalogue Number
P20180007000
Acquisition Date
2018-04
Collection
Museum
Images
Less detail
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
GLASS
Catalogue Number
P20120045011
  2 images  
Material Type
Artifact
Date Range From
1950
Date Range To
1960
Materials
GLASS
No. Pieces
1
Height
3.5
Diameter
7.4
Description
GLASS CANDLE HOLDER IN 8-POINT STAR SHAPE WITH CENTER HOLE FOR CANDLE. STAR POINTS INDENT ON TOP SURFACE, NARROW IN TO BASE. BASE AND LOWER EDGE HAVE WHITE, MELTED WAX RESIDUE THAT IS STAINED; TOP SURFACE HAS WHITE, MELTED WAX RESIDUE AROUND CENTER HOLE AND STAR POINTS. OVERALL IN VERY GOOD CONDITION.
Subjects
LIGHTING DEVICE
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 CANDLEHOLDER, CAREFOOT NOTED, “THE TABLE WITH OUR RITUAL THINGS ON IT, HAD CANDLES. [THE CANDLES] WERE TALL, SO THEY WENT FOR THE WHOLE MEETING. I DID USE THEM TO START WITH BUT BY THE TIME I HAD MY LAST PRESIDENCY, I DIDN’T EVEN USE THAT PART.” “[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
P20120045011
Acquisition Date
2012-12
Collection
Museum
Images
Less detail
Date Range From
1930
Date Range To
1960
Material Type
Artifact
Materials
IRON, LEATHER, STEEL
Catalogue Number
P20160020000
  1 image  
Material Type
Artifact
Date Range From
1930
Date Range To
1960
Materials
IRON, LEATHER, STEEL
No. Pieces
2
Length
15.5
Width
9.1
Diameter
12.2
Description
METAL COW BELL WITH LEATHER STRAP. BELL IS MADE UP OF 2 PIECES OF METAL FUSED TOGETHER AT SIDES WITH TWO NAILS IN EACH SEAM. TOP IS FOLDED TOGETHER WITH THE ENDS FUSED DOWN THE SIDE IN A TRIANGULAR FOLD. FRONT AND BACK OF BELL ARE RELATIVELY FLAT, COMING OUT SLIGHTLY AT EDGE. WELDING OF BELL IS CRUDE. INSIDE OF THE BELL IS THE CLAPPER WITH A BALL END THAT IS 10.5 CM IN CIRCUMFERENCE. BALL IS ATTACHED TO A ROD THAT IS HOOKED TO THE LOOP INSIDE THE TOP OF BELL. FLAT METAL LOOP AT TOP OF BELL ATTACHES THE BELL TO LEATHER STRAP THAT IS 109.4 CM IN LENGTH AND 2.4 CM IN WIDTH. 9 HOLES PUNCHED IN LEATHER FOR STRAP ADJUSTMENT WITH THE BUCKLE GOING THROUGH THE 10TH HOLE PUNCH. STANDARD METAL BUCKLE WITH LEATHER BELT LOOP FOR THE EXCESS LENGTH OF STRAP. FAIR CONDITION: METAL SEVERELY RUSTED IN COLOUR. AT ONE SEAM NEAR THE BASE, THE METAL HAS OXIDIZED TO A GREEN COLOUR. METAL SURFACE INSIDE OF BELL HAS LOST SHINE AND IS RUSTY. STRAP IS SEVERELY WORN AND HAS SCRATCHES AND LOSS OF FINISH OVERALL. END OF THE STRAP OPPOSITE OF BUCKLE IS TORN OFF.
Subjects
ANIMAL HUSBANDRY T&E
Historical Association
AGRICULTURE
History
ON 14 JULY, 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DONOR, ELLENNOR PORTER, AND HER DAUGHTER, KAREN PORTER AT THE GALT MUSEUM. THE FOLLOWING INFORMATION COMES FROM THAT INTERVIEW. ELLENNOR’S HUSBAND WAS ROBERT MICHAEL “MICK” PORTER. HE FOUND THE BELL AS ELLENNOR REMEMBERS, “[I REMEMBER] HIM BRINGING IT IN THE HOUSE… I DON’T KNOW JUST HOW LONG AGO… [AND HIM SAYING], ‘LOOK WHAT I GOT.’ THEN IT WAS JUST EVERYONE WAS SAYING, ‘WOW,’ AND PLAYING AROUND WITH IT… [AFTER THAT] IT WAS PUT IN THE BASEMENT WITH THE REST OF THE THINGS.” KAREN AND ELLENNOR BELIEVE THE BELL WOULD HAVE BEEN FOUND BY MICK IN THE 1950S OR THE 1960S. ELLENNOR CONTINUED, “[HE FOUND IT ON] THE RANCH. HE WAS OUT VISITING HIS RELATIVES OUT THERE. HE HAD AUNTS AND UNCLES ON THE BURN RANCH. HE’S PROBABLY JUST RE-VISITING THEIR PLACE THAT HAD BEEN SOLD, SO MAYBE IT CAME FROM PINCHER CREEK. IN THAT AREA ANYWAY, LUNDBRECK OR PINCHER CREEK.” “DAD WOULD GO UP SOMETIMES BY HIMSELF,” KAREN ADDED, “I DON’T THINK ANY OF US WERE WITH HIM WHEN HE CAME HOME WITH THAT. I THINK WE WERE AT HOME WHEN HE BROUGHT IT TO THE HOUSE… IT IS ALSO POSSIBLE THAT HIS FATHER AND MOTHER HAD [THE BELL] AT THEIR HOUSE AND GAVE IT TO HIM. THEY WERE FARMERS AT THE WALDRON RANCH – NOW THE WALDRON RANCH – [BUT IT] WAS THE PORTER RANCH. THEY HAD A HOUSE IN PINCHER CREEK, SO THERE IS A POSSIBILITY THAT’S ALSO WHERE HE WOULD HAVE GOTTEN IT.” THINKING BACK TO HER LATE HUSBAND’S DAYS IN THE AREA, ELLENNOR EXPLAINED, “[MICK’S] DAD WAS AT THE PORTER/WALDRON RANCH. IT WAS JUST THE PORTER RANCH AND AFTER HE MOVED TO PINCHER, HE SOLD LIKE HIS INTEREST PART OF IT TO WALDRON, SO IT [BECAME] A PARTNERSHIP… THE WALDRON RANCH IS NEAR BLACK MOUNTAIN ON THAT ROAD, TOWARDS THE BAR-U RANCH.” WHEN ASKED ABOUT THE BELL, ELLENNOR SAID, “[THIS BELL] BRINGS BACK MEMORIES FROM WAY BACK WHEN WE USED TO LOOK FOR CATTLE BACK IN THE BUSH, AND I IMAGINE THAT’S WHAT MY HUSBAND MUST HAVE THOUGHT TOO… [IT WOULD BE] A REMEMBRANCE FROM HIS CHILDHOOD. THEY PROBABLY HAD TO BRING IN THE OLD MILK COW AND SHE WOULD BE WEARING THE BELL. THAT’S WHAT THEY DID. THEY PUT IT ON THE BIG MILK COW, SO THAT WHEN THEY WANTED THEM TO COME IN TO MILK THEY COULD FIND THEM. SOMETIMES THEY’D GO HIDE IN THE BUSH, SO THEY KEPT THE BELL ON THEM SO THEY COULD KEEP TRACK OF WHERE THEY WERE AT.” ELLENNOR FURTHER EXPLAINED, “I HAD NO CONNECTION WITH THAT BELL. WE HAD NO CATTLE. WE WERE GRAIN FARMERS.” KAREN ADDED, “MUM AND DAD WERE WHEAT FARMING ON [THE K-LAZY-A-RANCH]. THERE WERE CATTLE THERE, BUT MUM DOESN’T REMEMBER THERE BEING CATTLE WITH BELLS ON. THEY WERE IN THE FARM YARD… THERE WERE HARDLY ANY TREES. THAT WAS THE RANCH ORIGINALLY AND LATER BECAME A WHEAT FARM. IF THEY KEPT IT AS A RANCH WITH CATTLE AND HORSES, THAT MEANT THEY COULD NEVER EVER LEAVE AND IT WAS PRETTY ISOLATED, SO OVER THE YEARS DAD TALKED THE OWNER INTO LETTING HIM COVERT IT TO WHEAT.” “THERE WAS NO BUSH [THERE FOR THE COWS] TO HIDE IN. SO NO NEED FOR A BELL!” ELLENNOR REMEMBERED. THE DONOR AND HER DAUGHTER REMEMBERED HOW MICK VALUED OBJECTS AND MEMORIES. “HIS EYES WOULD LIGHT UP [AND HE WOULD SAY], ‘LOOK WHAT WE HAVE HERE,’ [WHEN HE SAW SOMETHING ATTACHED TO A MEMORY]. HE HAD ALL KINDS OF MEMORIES OF HIS GROWING UP. SOME WERE NOT TOO HAPPY, SOME WERE VERY HAPPY, BUT HE ALWAYS REALLY LOVED COWS. IT DIDN’T MATTER WHERE WE WENT TRAVELLING IN THE WORLD…[HE ALWAYS] STOPPED AND TOOK SOME PICTURES. ‘OH LOOK AT THE COWS!’ HE’D SAY,” ELLENNOR JUMPED IN, COMPLETING HER DAUGHTER’S SENTENCE. “DAD TOOK THOUSANDS OF PICTURES OF COWS. FOR HIM THERE WAS A REAL CORRELATION,” KAREN FINISHED. “[THE BELL IS A TREASURE] BECAUSE IT HAS BEEN IN OUR HOME FOR SUCH A LONG TIME. WHEN DAD BROUGHT IT HOME, IN HIS PERSPECTIVE, HE WOULD HAVE THE SAME KIND OF MEMORIES MY MUM DOES OF HEARING THE COWS…I CAN REMEMBER THEM WHEN I WAS LITTLE ON THE FARM OUT BY SKIFF HEARING COW BELLS OR BEING OUT AT MY GRANDMOTHER’S FARM BY OLDS HEARING COW BELLS… [THIS BRINGS] THE MEMORY OF DAD BEING EXCITED ABOUT [THE BELL] AND TRYING TO WAKE US UP IN THE MORNING RINGING IT, IF WE WERE SLEEPING IN TOO LONG. THAT’S MORE THE MEMORY FOR US… [BUT] I WAS NEVER ON THE RANCH WHEN MY DAD WOULD HAVE FOUND [THIS SPECIFIC] BELL, SO THOSE MEMORIES AREN’T MY MEMORIES, THEY’RE MORE HIS MEMORIES. HE ALWAYS TREASURED IT, HE ALWAYS WANTED IT KEPT AND WE’D LIKE TO HONOUR THAT,” KAREN ADDED. NOTES FROM AN 2008 INTERVIEW WITH MICKEY AND ELEANOR PORTER STATE THE DONOR’S FATHER-IN-LAW, GEORGE ENGLISH PORTER, WAS BORN 1878 IN ORILLIA, ONTARIO AND DIED ON MARCH 16, 1959. HE CAME WEST FROM ONTARIO IN 1896 AT THE AGE OF SEVENTEEN. GEORGE PORTER’S FAMILY SETTLED 30 MILES NORTH OF LUNDBRECK, ON THE EASTERN SLOPES OF THE ROCKY MOUNTAINS. THE FAMILY SETTLED ON THE BLACK MOUNTAIN RANCH. GEORGE WAS ONE OF FOURTEEN CHILDREN IN THE FAMILY. HER MOTHER-IN-LAW WAS BORN IN EASTERN CANADA BEFORE MOVING TO OREGON. SHE IMMIGRATED TO CANADA WHEN SHE WAS8 YEARS OLD AND WAS RAISED ON THE BURN RANCH NORTH OF LUNDBRECK, ALBERTA. THE NOTES FURTHER STATE THE DONOR, ELLENNOR PORTER, WAS BORN IN 1922. THE OBITUARY FOR ROBERT MICHAEL “MICK” PORTER READS MICK WAS BORN ON MAY 23, 1921 IN COWLEY, ALBERTA. HE ATTENDED SCHOOL IN COWLEY AND GRADUATED HIGH SCHOOL FROM ST. MICHAEL’S CATHOLIC SCHOOL IN PINCHER CREEK. HE JOINED THE RCAF DURING WWII AND UPON AN HONOURABLE DISCHARGE AFTER A HIP INJURY, HE WORKED AS A GRAIN BUYER. HE MARRIED ELLENNOR CHRISTOFFERSEN IN OLDS, ALBERTA. LATER, HE WORKED FOR THE MCINTYRE RANCH FOR 5 YEARS. IN 1953, HE BEGAN FARMING IN THE SKIFF AREA AND RETIRED IN 1984. MICK AND ELLENNOR HAD FIVE CHILDREN: LAWNA ROBART, MICHAEL, RONALD, KAREN PORTER, AND CHRISTOPHER, WHO PASSED AWAY AS AN INFANT. MICK PASSED AWAY IN LETHBRIDGE ON SEPTEMBER 27, 2012 AT THE AGE OF 91 YEARS. HISTORY OF THE WALDRON CATTLE RANCH LTD. WAS PUBLISHED IN THE “CANADIAN CATTLEMEN” PUBLICATION IN MARCH OF 1946. IT STATES THE RANCH “COMPRISED ONE HUNDRED THOUSAND ACRES OF LAND SITUATED IN SOUTH-WESTERN ALBERTA. IT WAS SITUATED IN A VALLEY EXTENDING BETWEEN THE PORCUPINE HILLS AND OLD MAN RIVER FOR ABOUT 30 MILES NORTH AND SOUTH AND VARYING FROM THREE TO FIVE MILES IN WIDTH.” THE HISTORY STATES THE WALDRON CATTLE RANCH WAS FORMED IN 1883 BY SIR JOHN WALROND WALROND OF BARONET AND LORD CLINTON OF LONDON – BOTH MEN OF ENGLAND. ON JUNE 26TH, 1884, QUEEN VICTORIA GRANTED THE RANCH AN INDENTURE OF LEASE TO SIR WALROND, BARONET. (THE TEXT OF THAT LEASE AGREEMENT WAS PRODUCED AS PART OF THE CATTLEMEN PUBLICATION AND IS ATTACHED TO THE ARTIFACT’S PERMANENT RECORD.) ACCORDING TO THE ARTICLE, THE FIRST PURCHASE OF CATTLE WAS IN 1883 – 3,125 HEAD FOR $100,000. IN 1897, THE COMPANY WAS INCORPORATED UNDER THE CANADIAN JOINT STOCK COMPANIES ACT, MOVING ITS HEAD OFFICE FROM LONDON, ENGLAND. DUNCAN MCEACHRAN WAS APPOINTED PRESIDENT AND GENERAL MANAGER OF THE RANCH AND DAVID WARNOCK FROM GLASGOW BECAME THE LOCAL MANAGER. AT THE TIME OF THIS TRANSITION, IT IS BELIEVED THE RANCH HAD GROWN TO 12,311, THOUGH THIS WAS A MERE ESTIMATE. MCEACHRAN WAS INVOLVED WITH THE COMPANY FROM ITS BEGINNING IN 1883, WHEN HE STARTED AS THE GENERAL MANAGER. HIS LEADERSHIP GOT THE COMPANY THROUGH “PERIODS OF DEPRESSED CONDITION.” AFTER A HARSH WINTER IN 1906-1907, THE RANCH LOST APPROXIMATELY 5,000 HEAD OF CATTLE DUE TO SEVERE TEMPERATURE CHANGES. AFTER THIS, IN THE SUMMER OF 1908, THE RANCH “DISPOSED OF ALL ITS CATTLE TO PAT BURNS. FOLLOWING THE SALE, THE LAND OF THE WALDRON RANCH, EXCLUDING 1,000 ACRES WAS LEASED FIRST TO W. R. HULL, THEN TO PAT BURNS. C. W. BUCHANAN WAS APPOINTED THE PRESIDENT AND GENERAL MANAGER OF THE RANCH THAT IN 1923. MCEACHRAN PASSED AWAY IN OCTOBER 1924. ANOTHER HISTORY ON THE RANCH WAS FOUND BY MUSEUM RESEARCHERS IN THE LETHBRIDGE HERALD. PUBLISHED ON 1 MAY 1954, THE ARTICLE READS, “AT ONE TIME THE WALDRON LEASE CONSISTED OF BETWEEN 300,000 TO 400,000 ACRES OF LAND, EXTENDING FROM WHAT IS KNOWN AS STOWE TO THE NORTH FORK OF THE OLDMAN RIVER. IN THE NORTH FORK DISTRICT THE LAND WAS DIVIDED INTO FIVE BRANCHES… AT ITS PEAK IN THE SUMMER OF 1906 THE RANCH HAD 20,000 HEAD OF STOCK.” GEORGE PORTER IS LISTED IN THE HISTORY AS ONE OF THE CATTLE MEN EMPLOYED BY THE WALDRON RANCH FROM 1883 TO 1908. ABOUT HIM, THE ARTICLE STATES, “GEORGE PORTER [WAS] A GOOD STOCKMAN, [WHO] LATER BOUGHT 12 SECTIONS OF THE COMPANY’S FREEHOLD AT ITS NORTHERN END AND ADJOINING LAND ALREADY OWNED BY HIM.” “GEORGE PORTER AND SONS HAVE SOLD THEIR RANCH AND CATTLE TO JOHN FRANCIS MILLER… THE PORTER RANCH IS ABOUT THIRTY MILES NORTH OF LUNDBRECK AND ADJOINS THE 19,000 ACRE WALDRON RANCH WHICH MR. MILLER ALSO OWNS HAVING PURCHASED IT FROM P. BURNS RANCHES LAST FEBRUARY,” THE HISTORY STATES. AN ARTICLE PUBLISHED IN THE 21 AUGUST 1953 LETHBRIDGE HERALD ANNOUNCED, “TWO OF THE LARGEST AND MOST FAMOUS RANCHES IN THE SOUTH-WESTERN ALBERTA FOOTHILLS ARE BEING OFFERED FOR SALE. THEY ARE THE WALDRON AND PORTER RANCHERS, NORTH OF LUNDBRECK. THESE PROPERTIES ARE OWNED NOW BY JOHN F. MILLER OF LAS VEGAS, NEVADA… [THEY] HAVE BEEN OPERATED BY MR. MILLER’S SON, WHO TOOK OVER THE JOB SEVERAL YEARS AGO WHEN THE MILLERS BOUGHT THE WALDRON FROM THE WALDRON RANCHING COMPANY AND THE PORTER RANCH PROPERTY FROM GEORGE PORTER…” THE HISTORY OF GEORGE AND NORA PORTER (NEE BURN)’S MARRIAGE WAS PUBLISHED IN THE LETHBRIDGE HERALD ON JUNE 26, 1954 FOR THEIR 50TH ANNIVERSARY. THE COUPLE WERE MARRIED AT THE BURN RANCH IN JUNE 21 1904. THE COUPLE’S FOURTEEN CHILDREN WERE: MARJORIE ANDERSON, NORMAN PORTER, PHYLLIS ROBBINS, KATHLEEN HAMILTON, WINNIFRED BONERTZ, SANDY PORTER, EILEEN IRONMONGER, JEAN ALCOCK, JOSEPHINE ROBINSON, LILLIAN CHRISTIANSON, ISOBEL SINNOT, MICHAEL PORTER, LAWRENCE PORTER, AND CONNIE PORTER. PLEASE SEE PERMANENT RECORD P20080020001 FOR FURTHER INFORMATION REGARDING THE EARLY HISTORY OF THE PORTER AND BURN FAMILIES.
Catalogue Number
P20160020000
Acquisition Date
2016-07
Collection
Museum
Images
Less detail
Other Name
"QUEEN MARY" BURNER
Date Range From
1952
Date Range To
1959
Material Type
Artifact
Materials
GLASS, BRASS
Catalogue Number
P20160037000
  1 image  
Material Type
Artifact
Other Name
"QUEEN MARY" BURNER
Date Range From
1952
Date Range To
1959
Materials
GLASS, BRASS
No. Pieces
2
Height
29
Diameter
16
Description
A: GLASS KEROSENE LAMP THAT HAS A FROSTED GLASS OIL LAMP BODY, WHICH IS ATTACHED TO A RED BASE. ON OIL LAMP BODY, THERE ARE 10 BLACK SCOTTISH TERRIERS PAINTED AROUND THE DIAMETER OF THE LAMP. THERE IS A METAL COLLAR AND BURNER WITH FOUR PRONGS ATTACHED TO HOLD THE REMOVABLE, GLASS CHIMNEY IN PLACE. THERE IS A USED WICK IN THE BURNER. IT SAYS, “QUEEN MARY” ON THE BURNER. THERE ARE SEAMS CONNECTING THE GLASS AT BOTH SIDES FOR THE LAMP BODY AND THE BASE. THE BODY SEAMS AND THE BASE SEAMS DO NOT MEET. ON THE UNDERSIDE OF THE LAMP THERE IS AN EMBOSSED VINE DESIGN. GOOD CONDITION. REGULAR WEAR AT THE TOP INCLUDING SLIGHT RUSTING AND BURN MARKS. THERE IS A SMALL SCRATCH TO THE LEFT OF GLASS SEAM ON THE BASE. B: GLASS, LAMP CHIMNEY WITH 22 CM IN HEIGHT AND A TOP DIAMETER OF 5 CM AND A BOTTOM DIAMETER OF 7.4 CM. GOOD CONDITION.
Subjects
LIGHTING DEVICE
Historical Association
DOMESTIC
History
ON 26 OCTOBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH DIANE CÔTÉ (NEE ULLY), WHO DONATED A KEROSENE LAMP THAT HAD BEEN USED THROUGHOUT HER CHILDHOOD. THIS LAMP WAS USED ON THE ULLY FAMILY FARM IN PICTURE BUTTE, AND LATER WHEN THE FAMILY MOVED TO FISHBURN IN THE PINCHER CREEK AREA. IT WAS FINALLY BROUGHT TO THE HOME WHERE CÔTÉ’S PARENTS, FREDRICK CARL ULLY AND SAIMI MARY ULLY, RETIRED IN THE TOWN OF PINCHER CREEK. CÔTÉ RECALLS, “YOU KNOW I DON’T EVEN REMEMBER IF WE HAD POWER AT PICTURE BUTTE, BUT I DON’T THINK WE DID… THE ONLY THING I CAN THINK ABOUT FROM THERE IS WE HAD SEPARATE BEDROOMS IN PICTURE BUTTE. AND I COULD SEE [MY MOM] GOING INTO MOM AND DAD’S BEDROOM WITH [THE LAMP] ONE NIGHT, BUT THAT’S ALL I SEE.” CÔTÉ REMEMBERS THE LAMP’S PRESENCE ON THEIR FARM IN THE PINCHER CREEK AREA AFTER MOVING THERE IN 1952: “I CAN STILL HEAR MY MOTHER SAYING TO ME, ‘YOU DON’T TOUCH THAT LAMP,’ JUST AS PLAIN AS IF IT WAS YESTERDAY. SHE SAID SHE WAS SO WORRIED ABOUT A FIRE. I WAS TEN WHEN WE MOVED [TO FISHBURN. I LATER REALIZED SHE WAS RIGHT; I WAS] PROBABLY NOT RESPONSIBLE ENOUGH TO TOUCH THE LAMP, IN CASE IT DROPPED OR [IF I] BROKE IT. WE ONLY HAD A TWO BEDROOM HOUSE, AND I HAD A BROTHER, SO I SLEPT WITH MY MOTHER AND MY BROTHER SLEPT WITH MY DAD… I REMEMBER MY MOTHER CARRYING [THE LAMP] AROUND A LOT. WHEN I THINK OF HER, I THINK OF THE LAMP TOO. EVERY NIGHT AT BEDTIME, SHE AND I WERE USUALLY THE LAST ONES TO GO TO BED, SO I REMEMBER SHE PICKED UP THE LAMP [OFF THE KITCHEN TABLE] AND WE TROTTED OFF TO BED… WE DID THAT TRIP SO MANY TIMES - EVERY SINGLE NIGHT. THAT’S JUST SOMETHING THAT HAS STUCK WITH ME…” “WHEN WE FIRST MOVED [TO FISHBURN], IT WAS [THE ONLY SOURCE OF LIGHT IN THE HOUSE]. THEN LATER ON, THEY GOT A CAMPING LAMP THAT [HAD] A HANDLE. THE HOUSE WE MOVED [INTO] WAS AN OLD, OLD, OLD LOG HOUSE. I THINK IT WAS 100 YEARS OLD WHEN WE MOVED INTO IT. IT HAD THE ACTUAL LOGS. THEY WEREN’T PLANED; THEY WERE JUST THE ACTUAL LOGS WITH WHITEWASH ON THEM. HE PUT A THING UP THERE, SO THEN WE COULD LIGHT THIS LAMP UP AND HANG IT UP ON THE ROOF. I DON’T REMEMBER WHEN WE GOT POWER. I REMEMBER THEM PUTTING THE POSTS UP IN MY YARD, BUT I DON’T REMEMBER WHEN IT WAS. I WOULD THINK SOMEWHERE IN THE ‘50’S, AFTER THAT, AFTER WE GOT THAT LAMP, THEN THIS ONE WASN’T USED AS MUCH, BUT IT WAS STILL SITTING ON MY DRESSER… THAT WAS NORMAL FOR US, UNTIL DAD GOT THE ONE HE PUT IN THE ROOF. THE ONLY THING THE ONE ON THE ROOF DID WAS GIVE US WAY MORE LIGHT. OUR TABLE WAS HERE AND OUR CUPBOARD WAS WAY OVER [THERE], SO IF [THIS LAMP] WAS THE ONLY LIGHT YOU HAD, AND YOU NEEDED LIGHT, YOU HAD TO TAKE THAT FROM [HERE] TO THE CUPBOARD TO SEE WHAT YOU WERE DOING. THE OTHER LAMP PROVIDED US WITH LIGHT THAT WE DIDN’T HAVE TO MOVE, YOU COULD JUST TURN IT ON AND OFF.” CÔTÉ’S PARENTS THEN MOVED TO PINCHER CREEK, WHERE THE LAMP WAS MOVED WITH THEM. WHEN ASKED WHEN THEY MOVED, COTÉ RESPONDED, “PROBABLY 1970 OR ’71.” CÔTÉ ACQUIRED THE LAMP AFTER THE PASSING OF HER FATHER ON JANUARY 9, 2012. “YOU WOULDN’T BELIEVE THE STUFF THEY HAD IN THEIR HOUSE. THEY GREW UP IN THE DIRTY THIRTIES, SO THEY COLLECTED EVERYTHING… I KNOW, PRIOR TO MY MOM’S PASSING [ON SEPTEMBER 21, 2004], THEY HAD A THREE BEDROOM HOUSE. AND THE SPARE BEDROOM AT THE BACK, [THE LANTERN] WAS SITTING ON THE DRESSER THERE.” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPT, THE LETHBRIDGE HERALD OBITUARIES FOR FRED AND SAIMI ULLY, AND FAMILY PHOTOGRAPHS.
Catalogue Number
P20160037000
Acquisition Date
2016-10
Collection
Museum
Images
Less detail
Other Name
CARTON, MILK
Date Range From
1957
Date Range To
1970
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20160019000
  1 image  
Material Type
Artifact
Other Name
CARTON, MILK
Date Range From
1957
Date Range To
1970
Materials
PAPER, INK
No. Pieces
1
Height
24
Length
7.4
Width
7.2
Description
CARDBOARD MILK CARTON. SIDE ONE HAS “HOMOGENIZED MILK” ON TOP FOLD IN GREEN BLOCK LETTERING. FADED, BLACK INK STAMP ON THIS FOLD SAYS “?A 2 -45.” ON THE MAIN SECTION OF THIS SIDE THERE IS THE PURITY LOGO (“PURITY” IN PURPLE CURSIVE FONT), A PURPLE AND GREEN FLOWER, AND THE WORDS “CREAM IN EVERY DROP” IN PURPLE CURSIVE. ON THE BASE OF THIS PANEL IT SAYS “… HEAD OFFICE LETHBRIDGE.” THE OPPOSING SIDE (SIDE 3) IS SIMILAR, BUT WITH THE INDICATION OF “NET CONTENTS ONE QUART” AT THE BASE OF THE PANEL. SIDE 2’S TOP FOLD SAYS, “THE CONTAINER COVERED BY CANADIAN PATENTS 1941 – 395.645 1957 – 542-432… MANUFACTURED UNDER LICENSE FROM EX-CELL-O CORPORATION.” THE MAIN SECTION HAS THE PURITY LOGO AND THE SLOGANS “IT’S PURE. THAT’S SURE” AND “YOURS TO LOVE. OURS TO PROTECT.” ADDITIONALLY THIS SIDE INDICATED THAT THE MILK IS “PASTURIZED” AND IS “NOT LESS THAN 3.25% B.F.” PARALLEL TO THAT IS SIDE 4 WITH A TOP FOLD THAT HAS “SPOUT” MARKED ON IT. ON THE TOP FOLD, IT SAYS “PUREPAK” “YOUR PERSONAL MILK CONTAINER.” THE MAIN SECTION OF THIS HAS A GREEN ILLUSTRATION OF A CHURCH WITH “ATTEND THE CHURCH OF YOUR CHOICE…” ON THE BOTTOM OF THE CARTON, THERE ARE NUMBERS AND/OR LETTERS THAT WERE STAMPED INTO THE BOTTOM. A “W” IS VISIBLE. GOOD CONDITION. COLOUR OF CARDBOARD HAS YELLOWED OVERALL. THERE ARE VARIOUS STAINS ON THE SURFACE. BLACK STAINING AROUND THE CHURCH ILLUSTRATION. THE TOP FLAP OF THE CARTON IS DETERIORATING (BENT/TORN) WITH NOTICEABLE LOSS OF MATERIAL ON ONE SIDE’S CORNER.
Subjects
CONTAINER
Historical Association
BUSINESS
INDUSTRY
History
THE DONOR, HANK VROOM, FOUND THE MILK CARTON IN LETHBRIDGE APPROXIMATELY A DECADE BEFORE THE DATE OF DONATION (JULY 2016), AS A RESULT OF HIS CITY EMPLOYMENT AS A GARBAGE TRUCK DRIVER. THE LOCATION OF THE FIND IS UNKNOWN. IN THE TIME SINCE HIS POSSESSION, THE CARTON HAS BEEN IN A PLASTIC BAG IN A CUPBOARD. ACCORDING TO ADDITIONAL RESEARCH INTO THE EXISTENCE OF THIS TYPE OF MILK CARTON AND BRAND, IT IS ESTIMATED THAT THIS CARTON ORIGINATED PRIOR TO THE MID-1970S BECAUSE MILK MEASUREMENTS WERE CHANGED FROM QUARTS TO LITERS AROUND THAT TIME AND THIS CARTON’S MEASUREMENT IS INDICATED IN QUARTS. IN THE LATE 1950’S, PURITY DAIRY ADVERTISED BEING 100% PURE-PAK, MEANING THAT ALL MILK PRODUCTS CAME IN CARDBOARD CARTONS. BLOW MOLD PLASTIC CONTAINERS REPLACED CARDBOARD SHORTLY AFTER. WITH THE INDICATION OF THE 1957 PATENT NUMBER ON THE CARTON, THIS PLACES THE DATE OF THE MILK CARTON BETWEEN 1957 AND THE 1970S. THE FOLLOWING INFORMATION ABOUT PURITY DAIRY IS FROM THE RECORD FOR ARTIFACT P20070013001: SIMONIE (SAM) FABBI STARTED FABBI DAIRY IN 1923 IN LETHBRIDGE. HE WAS AN ITALIAN IMMIGRANT WHO BEGAN THE BUSINESS WITH THREE COWS AND SOME LARD BUCKETS. THE DAIRY WAS LOCATED AT 12 STREET B NORTH. AT THAT TIME, MILK WAS TRANSPORTED USING LARD PAILS OR CANS, WHICH, WITH THE HELP OF SAM’S SONS, WOULD BE LADLED INTO CUSTOMER’S CONTAINERS. FABBI DAIRY EXPANDED TO THE SOUTHSIDE DAIRY HILL IN THE EARLY 1930S. SHORTLY AFTERWARDS, FABBI DAIRY BOUGHT CITY DAIRY. SONS STAN AND ROMEO BOUGHT THE BUSINESS FROM THEIR FATHER IN 1936. AT THIS POINT, MILK WAS PACKAGED AND SOLD IN GLASS BOTTLES IN PINT, QUART OR GALLON SIZES. THE DAIRY HAD ITS OWN COWS, WHICH WERE MILKED DAILY AND WOULD PASTURE IN THE COULEES. BY 1936, HOWEVER, MILK AND CREAM WERE BROUGHT IN FROM OFFSITE. BETWEEN 1939 AND 1944, THE FABBI DAIRY BOUGHT PAVAN DAIRY AND THE BELLEVUE DAIRY. AT THAT POINT IN TIME, MANY SMALL DAIRIES WERE SUBJECT TO PASTEURIZATION LAWS, AND CHOSE TO CLOSE DOWN RATHER THAN CONVERT. FABBI DAIRY PURCHASED MAJESTIC THEATRE IN THE LATE 1930S OR EARLY 1940S FOR $10,000 FROM MAYOR SHACKERFORD, CONVERTING IT INTO A MILK BOTTLING PLANT. FABBI DAIRY CHANGED ITS NAME TO PURITY DAIRY, AND EXPANDED THROUGHOUT THE LATE 1940S AND 1950S, OPENING UP BUSINESSES IN MEDICINE HAT (1948), CALGARY (1950), EDMONTON (1950), CRANBROOK (1958), RED DEER AND TABER. ALL THESE LOCATIONS HAD DAIRIES EXCEPT FOR TABER, WHICH HAD A DEPOT. ACCORDING TO KEN FABBI, STAN FABBI’S SON, STAN AND ROMEO ESTABLISHED A DAIRY IN CALGARY WITHOUT A LICENSE. THE ONLY WAY TO OBTAIN A LICENSE FOR A DAIRY AT THAT TIME WAS TO BUY OUT AN EXISTING DAIRY. EXPANSION WAS SEEN AS NECESSARY TO THE FABBI BROTHERS, IF THEY WERE TO REMAIN IN BUSINESS. THE PURITY DAIRY IN CALGARY WAS DEEMED ILLEGAL, AND IN THE EARLY 1960S, STAN AND ROMEO FABBI WERE HANDCUFFED AND ARRESTED. PUBLIC SYMPATHY FOR THE FABBI BROTHERS ENABLED THEM TO PURCHASE A LICENSE AFTER THE INCIDENT. PURITY DAIRY HAD MANY INNOVATIVE PRODUCTS THAT OTHER DAIRIES IN TOWN DID NOT HAVE, LIKELY CONTRIBUTING TO THE DAIRY’S POPULARITY WITH THE PUBLIC. PURITY DAIRY WAS THE FIRST DAIRY IN WESTERN CANADA TO RELY SOLELY ON THE USE OF MILK TANKERS, WHICH VISITED VARIOUS LOCALS TO PICK UP MILK AND BRING IT TO THE DAIRY. PRIOR TO 1957, FARMERS WERE REQUIRED TO DELIVER MILK IN CANS TO THE DAIRY THEMSELVES. PURITY DAIRY HAD A SUBSTANTIAL FLEET OF RETAIL DELIVERY VEHICLES. IN ITS EARLY DAYS, HORSES WERE AN INTEGRAL PART OF THE DELIVERY SYSTEM. AT ONE POINT, 17 HORSES WERE BEING USED FOR DELIVERY PURPOSES. IN 1959, PURITY DAIRY REPLACED ITS LAST THREE HORSES WITH DELIVERY TRUCKS. IN THE 1950S, PURITY DIARY BEGAN TO STREAMLINE PRODUCTION. BUTTER WAS PRODUCED IN MEDICINE HAT, WHILE THE LETHBRIDGE BRANCH PRODUCED ICE CREAM, NOVELTIES, BUTTER MILK, AND SOUR CREAM, IN ADDITION TO MILK AND COTTAGE CHEESE. THE EDMONTON PLANT SHARED MILK PRODUCTION WITH LETHBRIDGE, AND BECAME THE SOLE PRODUCER OF BLOW MOLD PLASTIC FOR PURITY DAIRY. BUSINESS BEGAN TO FALL IN THE 1960S, AND IN 1971 STAN AND ROMEO FABBI SOLD PURITY DAIRY TO CO-OP DAIRY, WHICH WAS SUBSEQUENTLY KNOWN AS PURITY CO-OP LTD. BEFORE THE SALE, PURITY DAIRY EMPLOYED ABOUT 200 FULL-TIME STAFF AND SUPPLIED MILK PRODUCTS TO THOUSANDS OF ALBERTANS DAILY. THE LETHBRIDGE PLANT EMPLOYED ABOUT 70 PEOPLE, AND MANUFACTURED ICE CREAM CONFECTIONS, COTTAGE CHEESE, BUTTER, YOGURT, BUTTERMILK, SOUR CREAM, AND FRUIT DRINKS. STAN’S WIFE, NETTI, SAID OF THE SALE, “WE LOST EVERYTHING…WE EXPANDED TOO FAST. I TOLD STAN ‘WHO CARES? I’VE GOT YOU AND WE STILL HAVE THREE MEALS A DAY.’” IN 1972, PURITY CO-OP LTD WAS BOUGHT OUT BY PALM DAIRY, WHICH WAS CLOSED DOWN FOLLOWING A DRAMATIC EXPLOSION IN 1978. IT REOPENED AT A DIFFERENT LOCATION ONE YEAR LATER. IN THE INTERIM, PRODUCTS WERE SHIPPED IN FROM THE CALGARY PLANT. STAN AND ROMEO FABBI DIED IN 1992 AND 1991, RESPECTIVELY. THIS INFORMATION WAS GATHERED IN 2008-09 FROM ANTOINETTE AND KEN FABBI, STAN’S WIFE AND SON, RESPECTIVELY, AND FROM THE LETHBRIDGE HERALD ARCHIVES. FOR MORE INFORMATION, SEE PERMANENT FILE FOR P20070013001. SEE PERMANENT FILE FOR P20160019000 FOR ADDITIONAL LETHBRIDGE HERALD CLIPPINGS, PRINT RESEARCH, AND PATENT DOCUMENTS.
Catalogue Number
P20160019000
Acquisition Date
2016-07
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
DYE SAMPLES
Date Range From
1940
Date Range To
1977
Material Type
Artifact
Materials
CARDBOARD, FABRIC, INK
Catalogue Number
P20160003004
  1 image  
Material Type
Artifact
Other Name
DYE SAMPLES
Date Range From
1940
Date Range To
1977
Materials
CARDBOARD, FABRIC, INK
No. Pieces
1
Length
22.6
Width
15
Description
BOOK WITH BLACK HARDCOVER. THE FRONT COVER OF THE BOOK HAS IN GOLD LETTERING “NACCO DYES” WITH A SMALL, GOLD LOGO IN THE CENTER AND “NATIONAL ANILINE & CHEMICAL CO. …” IN GOLD AT THE BOTTOM. THE SPINE OF THE BOOK HAS “NACCO DYES NO. 172” IN GOLD LETTERS. THE INSIDE COVER OF THE BOOK BEGINS WITH “NATIONAL SERVICE” WITH ADDITIONAL TEXT SUCCEEDING. THE PAGES ARE THICK, WHITE BOARD THAT ARE ATTACHED TO ONE ANOTHER WITH PAPER SEAMS. THE BOARDS FOLD OUT ACCORDIAN-STYLE INTO A HORIZONTAL LINE. THERE ARE 6 BOARDS IN TOTAL. THE FIRST FOUR BEGINNING FROM THE LEFT ARE TITLED, “NACCO UNION DYES.” EACH BOARD HAS TWO COLUMNS OF RECTANGULAR DYE SAMPLES. THERE ARE 9 ROWS ON EACH BOARD. THE TWO SAMPLES IN EACH ROW ARE THE SAME COLOUR BUT ON DIFFERENT TYPES OF FABRIC. THE 5TH BOARD IS DIVIDED INTO TWO COLUMNS. THE LEFT IS TITLED, “NACCO NEUTRAL DYES” AND THERE ARE 10 SAMPLES OF VARIOUS DYE COLOURS UNDERNEATH IT. THE RIGHT SIDE IS TITLED, “NACCO WOOL DYES.” GOOD CONDITION. THE BOARDS HAVE YELLOWED. SLIGHT SCUFFING ON THE BLACK COVER. SLIGHT BROWN STAIN ON 5TH AND 6TH BOARDS. ACCRETION ON LOWER SECTION ON THE BACKSIDE OF BOARD TO THE RIGHT OF THE TITLE PAGE (5TH BOARD).
Subjects
MERCHANDISING T&E
Historical Association
INDUSTRY
TRADES
RETAIL TRADE
History
THE KONKINS WERE A RUSSIAN-SPEAKING FAMILY FROM THE TOWN OF SHOULDICE, ALBERTA, NEAR CALGARY. THEY AND MANY OTHER RUSSIAN FAMILIES COMPOSED THAT TOWN’S DOUKHOBOR COLONY. IT WAS THERE WILLIAM KONKIN MARRIED ELIZABETH WISHLOW. IN 1928, THEIR DAUGHTER, ELSIE WAS BORN. THEY LATER MOVED TO A FARM IN VAUXHALL, ALBERTA. THE PRECEDING AND FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM A TWO-PART INTERVIEW WITH DONOR ELSIE MORRIS, WHICH WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON FEBRUARY 17, 2016. ADDITIONAL INFORMATION COMES FROM FAMILY HISTORIES AND TEXTS PROVIDED BY THE DONOR. A FULL HISTORY OF THE KONKIN FAMILY CAN BE FOUND WITH THE RECORD P20160003001. MORRIS’ FATHER SOLD DYE TO LOCALS ON THE DOUKHOBOR COLONY. MORRIS DESCRIBES THE PURPOSE OF THE DYES AND HOW HER FATHER BECAME INVOLVED: “DYEING WAS NECESSARY TO DYE THE WOOL THAT YOU SPUN AND SOMETIMES YOU COULDN’T GET THE NECESSARY DYES IN THE STORE, SO I DON’T KNOW WHERE MY DAD GOT THOSE. THEY MIGHT HAVE SENT HIM SOME OR WHAT AND THEN HE WOULD CHOOSE THE COLOURS THEY WANTED AND HE WOULD ORDER THEM. NOW IT SO HAPPENS THAT THE PEOPLE IN THE COLONY ALL WANTED THESE PARTICULAR DYES BECAUSE THEY WERE BETTER THAN THE KIND THEY GOT IN THE STORE. I DON’T KNOW WHY. SO MY DAD BUILT A SCALE AND I REMEMBER THIS SCALE. IT STOOD ON THE TABLE, IT HAD A CENTRAL PART, THEN THERE WAS A ROD GOING ACROSS AND IT CAME DOWN LIKE THIS AND THREE NAILS ON ONE SIDE BROUGHT IT DOWN AND WHEN YOU WANTED TO SELL THE DYE YOU PUT A PIECE OF PAPER DOWN, PUT IN A SPOONFUL UNTIL WE BALANCED [IT] AND THEN YOU GOT AN EVEN BALANCE AND THAT AMOUNT CAME TO TEN CENTS. IF WANTED LESS THEN YOU PUT TWO NAILS DOWN AND THOSE CAME TO FIVE CENTS SO… I SUPPOSE [HE SOLD THE DYE] BECAUSE HE WANTED TO MAKE SOME MONEY. HE SOLD VEGETABLES IN THE WINTERTIME TO THE LOCALS WHO DIDN’T GROW GARDENS. IN SUMMERTIME IF HE COULD GET A JOB HARVESTING WORKING SOMEWHERE ON FARMS HE DID THAT. [HE WAS] THE MIDDLE MAN [SELLING DYES]… [A]ND NOBODY TOLD ANYONE THE STOREKEEPERS THAT OR HE’D HAVE PROBABLY BEEN TOLD TO STOP IT.” PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003004
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
WINDSHIELD COVER
Date Range From
1955
Date Range To
1965
Material Type
Artifact
Materials
COTTON, POLYESTER, INK
Catalogue Number
P20180021005
  2 images  
Material Type
Artifact
Other Name
WINDSHIELD COVER
Date Range From
1955
Date Range To
1965
Materials
COTTON, POLYESTER, INK
No. Pieces
1
Length
174
Width
82
Description
YELLOW COTTON-BLEND COVER WITH MACHINE-STITCHED EDGES; FRONT OF COVER HAS LOGO IN UPPER LEFT CORNER OF WHITE SHIELD WITH RED BORDER, A WHITE ROSE WITH GREEN LEAVES ON YELOW CIRCLE ON SHIELD, AND RED TEXT “WHITE ROSE”. FRONT OF COVER HAS STENCILED GREEN TEXT AT TOP “DRIVE IN-“ AND RED STENCILED TEXT BELOW “LET US CLEAN YOUR WINDSHIELD!” BACK OF COVER IS WHITE COTTON-NYLON FABRIC. FRONT IS STAINED WITH TWO LARGE HOLES ON LEFT AND RIGHT WITH RIPS EXTENDING FROM HOLES; BACK IS STAINED; RIGHT EDGE FRAYED; COVER IS SEVERELY CREASED AND FOLDED. OVERALL GOOD CONDITION.
Subjects
LAND TRANSPORTATION-ACCESSORY
Historical Association
INDUSTRY
TRANSPORTATION
History
ON AUGUST 22, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED MARG OBERG REGARDING HER DONATION OF AN AUTOMOBILE WINDSHIELD COVER. THE COVER WAS USED BY HER FATHER IN LETHBRIDGE. ON HER FATHER’S USE OF THE COVER, OBERG ELABORATED, “[I REMEMBER] HOW EMBARRASSING IT WAS THAT ALL THE OTHER DADS IN THE NEIGHBORHOOD WOULD JUST GET OUT IN THE MORNING, AND SCRAPE THEIR WINDSHIELD OFF, BUT OUR DAD [JACK GRANT KEYS] HAD THIS BRIGHT YELLOW THING STRAPPED ONTO HIS WINDSHIELD TO KEEP THE SNOW OFF. AS CHILDREN, THE PEER PRESSURE WAS PRETTY INTENSE, AND WE WERE THE ONLY ONES ON THE STREET THAT HAD THIS GREAT BIG CANVAS THING ON THE FRONT OF OUR DAD’S CAR. WHEN WE MOVED TO EDMONTON, WE DIDN’T HAVE A GARAGE AT THAT POINT. AGAIN, THERE GOES THIS (EVEN THOUGH WHITE ROSE GASOLINE HAD BECOME OBSOLETE). MY DAD DIDN’T THROW TOO MANY THINGS OUT IF THEY STILL HAD A USEFUL PURPOSE, AND SO, THERE IT WAS, FRONT AND CENTER AGAIN–-THE ONLY GUY ON THE BLOCK. I DON’T KNOW WHY SOMEBODY DIDN’T COME UP WITH SOMETHING NOT QUITE SO OBVIOUS. IT WAS JUST AN EMBARRASSMENT THAT MY FATHER ALWAYS HAD TO COVER UP HIS WINDSHIELD.” “HE WAS THE MANAGER OF THE [WHITE ROSE OIL COMPANY] PLANT. WELL, HE CALLED IT ‘THE PLANT’, BUT THEY DIDN’T MANUFACTURE ANY PRODUCTS THERE. THERE WERE BIG TANKS. I BELIEVE THEY WERE UP ON THIRD AVENUE SOUTH–-I WANT TO SAY IN THE AREA OF HARLEY-DAVIDSON. WE LIVED ON 18TH STREET, AND I KNOW THAT IT WAS STRAIGHT NORTH ON 18TH STREET, AND EITHER LEFT OR RIGHT. IT WAS IN THAT GENERAL AREA. IT WAS WITHIN WALKING DISTANCE, [AND] HE WAS THE MANAGER OF THE PLANT. I THINK HE WAS EVEN THE ONLY EMPLOYEE, BUT HE USED TO GO AROUND IN SOUTHERN ALBERTA TO ALL OF THE GAS STATIONS THAT WERE DEALING IN WHITE ROSE OIL, AND GET THEIR ORDERS…THEN, THERE MUST HAVE BEEN A DRIVER THAT WOULD COME AND FILL UP THEIR TANKER TRUCKS FROM WHERE HE WAS–-THE BULK STATION–-AND GO AND DELIVER IT. I KNOW THAT [DAD] WAS ON THE ROAD AN AWFUL LOT, BUT I DON’T RECALL, AS A CHILD, THAT THERE WERE OTHER EMPLOYEES, OTHER THAN THE TRUCK DRIVER.” “I DON’T RECALL THAT HE WAS THAT FOND OF HIS JOB. IN THE WINTER-TIME, IT WAS REALLY TOUGH. HE USED TO FREEZE HIS FINGERS, ON OCCASION, BECAUSE HE WAS THE ONE THAT HAD TO CLIMB UP THE STAIRCASE THAT WENT AROUND THESE BIG TANKS IN THE COLD OF WINTER, AND DO A DIP STICK TO MEASURE HOW MUCH FUEL WAS IN THE TANKS. WE DIDN’T HAVE SNOW BLOWERS…IT WAS TOUGH BECAUSE HE DID SPEND SOME TIME OUTSIDE, WITH HIS JOB, AND THEN [HAD] AN AWFUL LOT OF TIME ON THE ROADS. THERE WERE MANY TIMES THAT HE WOULD…BE STRANDED IN SMALL COMMUNITIES, BECAUSE OF BAD ROADS. OF COURSE HE WOULD HAVE PREFERRED TO BE HOME WITH HIS FAMILY. I DON’T RECALL THAT HE WAS REALLY ‘GUNG-HO’. I KNOW THAT SHELL TRIED TO GET HIM TO MOVE TO EDMONTON ON A FEW OCCASIONS, AND HE FLATLY REFUSED…WE MOVED IN ’63, SO IT WOULD HAVE BEEN MY GRANDMOTHER WAS ILL, AND DEALING WITH CANCER, AND IT WAS JUST A VERY INAPPROPRIATE TIME FOR US TO LEAVE. MY MOTHER WAS AN ONLY CHILD, SO THERE WERE NO OTHER FAMILY MEMBERS TO STAY AND LOOK AFTER HER. THEN, FINALLY SHELL SAID, “THIS IS YOUR FINAL CHOICE, AND THERE IS NO OPTION.” I GUESS IT WASN’T A CHOICE–-IT WAS EITHER MOVE, OR LOSE YOUR JOB. IT WAS A MATTER OF PUTTING IN TIME UNTIL HE RETIRED.” “MY DAD PASSED AWAY, AND WE ACQUIRED IT FROM HIS WIDOW…IT’S A SMALL PART OF MY DAD. I DIDN’T HAVE A LOT OF THINGS [FROM HIM]. THIS WAS MY DAD’S THIRD MARRIAGE, WHEN HE PASSED, AND HIS FAMILY/HIS WIFE DISPOSED OF A LOT OF THINGS THAT WE [THE CHILDREN] POSSIBLY WOULD HAVE KEPT. THEY MEANT NOTHING TO HER, BUT THEY WERE LIVING OUT ON SALT SPRING ISLAND AT THE TIME. I WAS LIVING IN REGINA. MY BROTHER LIVED IN CHICAGO, AND MY SISTER LIVED IN CALIFORNIA. NONE OF US REALLY WANTED ‘THINGS’, LIKE FURNITURE, SO IT WAS JUST A LITTLE TRINKET THAT BROUGHT BACK SO MANY MEMORIES, AND IT WENT BACK AS FAR AS LETHBRIDGE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180021001-GA.
Catalogue Number
P20180021005
Acquisition Date
2018-08
Collection
Museum
Images
Less detail
Other Name
"COORS"
Date Range From
1980
Date Range To
1990
Material Type
Artifact
Materials
GLASS, PAPER
Catalogue Number
P20180029007
  2 images  
Material Type
Artifact
Other Name
"COORS"
Date Range From
1980
Date Range To
1990
Materials
GLASS, PAPER
No. Pieces
1
Height
23
Diameter
6
Description
BROWN GLASS BOTTLE WITH SILVER AND YELLOW METAL TOP; TOP HAS FLUTED EDGES AND BLACK TEXT “TWIST OFF, COORS, OR USE OPENER”. BOTTLE NEVER OPENED; CONTENTS INTACT. BOTTLE HAS YELLOW LABEL ON FRONT WITH BLACK TEXT “COORS” WITH BLACK AND WHITE IMAGE OF A WATERFALL AND RED BANNER OVER IMAGE WITH WHITE TEXT “BEER, BANQUET, BIERE”, WHITE TEXT AT LOWER EDGE “341 ML”. LABEL SIDES GOLD WITH BLACK TEXT ON RIGHT “BREWED ACCORDING TO THE QUALITY STANDARDS OF THE ADOLPH COORS COMPANY, GOLDEN, COLORADO, U.S.A., AGED SLOWLY FOR THAT [WORD HAS HOLE IN CENTER], MOUNTAIN SMOOTHNESS AND [WORD HAS HOLE IN CENTER]”, TEXT ON LEFT “BREWED UNDER LICENCE AND SUPERVISION OF THE ADOLPH COORS COMPANY, GOLDEN, COLORADO, U.S.A., MOLSON BREWERIES OF CANADA LTD., MONTREAL, ST. JOHN’S, TORONTO, BARRIE, WINNIPEG, REGINA, EDMONTON, VANCOUVER, CANADA, UNION MADE”. BOTTLE HAS EMBOSSED TEXT IN GLASS ABOVE LABEL “COORS”. LABEL HAS TEARS AND HOLES IN SIDES; LOWER EDGE OF LABEL FRONT IS TORN WITH LOSS; BOTTLE HAS LIGHT SOILING ON FRONT; OVERALL VERY GOOD CONDITION.
Subjects
CONTAINER
Historical Association
INDUSTRY
History
ON DECEMBER 21, 2018, GALT MUSEUM CURATOR AIMEE BENOIT INTERVIEWED KEVIN MACLEAN REAGARDING HIS DONATION OF PERSONAL OBJECTS. ON THE BEER BOTTLE, MACLEAN RECALLED, “AS FAR AS IDENTITY GOES, WITH GOING DOWN TO WHITEFISH, AND SEEING NEON SIGNS IN BAR WINDOWS…THERE’S ALL [THE] NEON SIGNS FOR BEER. I ALWAYS LIKED THE COORS SIGN. MY NEIGHBOR, WHO DIDN’T LIKE MY MUSIC CHOICES, HE LITERALLY HAD, FROM THE U.S., BOUGHT A COORS NEON SIGN AND IT WAS IN HIS BEDROOM WINDOW IN HIS FARMHOUSE. IT WAS THE WHITE MOUNTAINS WITH THE RED COORS, AND I THOUGHT [IT] WAS COOL. THERE’S NO BEER SELECTION BACK THEN. IT WAS FORMS OF LABATT’S, MOLSON, IT WAS A BIG DEAL TO GET KOKANEE, BUT I CHOSE COORS. THAT WAS MY WAY OF EXERCISING SOME LEVEL OF DIFFERENCE.” “WHY [THE BOTTLE] GOT KEPT IS, NUMBER ONE IT HAS COORS ON IT, WHICH WAS MY BEER. [IN GRADE 11 WAS] ABOUT DRINKING AND DRIVING, WHICH IS THE YEAR THAT WE’RE PARTYING, SO THAT WOULD BE ’87. THE SPRING OF ’86, THERE’S A GRADUATION FOR THE KIDS IN GRADE 12 AND, BECAUSE IN GRADE 11 WE’RE BEING VERY SOCIAL AND WE’RE PARTYING…YOU’RE BEING INCLUDED TO GO TO A GRADE 12 [GRADUATION] EVEN THOUGH YOU’RE IN GRADE 11. THAT GRADUATION, FOR THAT YEAR, WHICH WAS 1986, WAS OUT IN IRON SPRINGS. IT WAS AT A SCHOOL, IT WAS IN THE FIELD AND EVERYBODY DROVE. THE WHOLE FIELD [WAS] JUST FULL OF VEHICLES, THAT’S ALL I REMEMBER. HAVE VAGUE MEMORIES OF BEING SICK AND AT A TREE AND SOMEBODY COMING OVER TO ASK HOW I WAS DOING AND I WASN’T DOING WELL, AND JUST THINKING, “THAT WAS REALLY NICE THAT THEY CARED ABOUT ME ENOUGH THAT THEY WOULD COME AND ASK.” WE SLEPT IN THE CAR THAT NIGHT. AT THAT TIME, I WAS LISTENING TO PINK FLOYD AND “THE WALL” AND I WAS LISTENING TO BOSTON.” “[IN] ’87, WE HAVE THE VERY FIRST SAFE GRAD. I DON’T KNOW HOW AND WHY THAT CAME TO PASS. I REMEMBER TWO NIGHTS OF PARTIES. ONE WAS AT SHANNON HYNDS’ FARM, THE OTHER WAS AT ALAN JANSAN’S FARM. THE SECOND NIGHT, AT ALAN’S, I ACTUALLY HAD VIDEO OF THAT PARTY. WE WERE ON BUSES, WE GOT BUSSED [TO THE LOCATION]. WE HAD TO, IN ADVANCE OF THE PARTY, BUY OUR ALCOHOL. WE WERE SUPPOSED TO BUY OUR ALCOHOL, WHICH WAS A CASE OF COORS, IN MY CASE, AND THEN HAVE IT SOMEWHERE SO THAT WE WEREN’T ACTUALLY TAKING THE ALCOHOL ITSELF TO THE SITE. IT WAS ALREADY THERE.” “THE WAY THEY SERVED THIS – I REMEMBER AT SHANNON’S AND MAYBE ALAN’S – THAT THEY HAD GALVANIZED DRINKING TROUGHS FOR CATTLE AND HORSES. THEY FILLED THEM FULL OF ICE WATER AND THEN THAT’S WHAT THESE [BOTTLES] WERE IN. THE REASON I REMEMBER THIS IS THAT BY THE END—AND SOMEONE TRIED TO DO IT TO ME BUT THEY WEREN’T SUCCESSFUL—THEY WERE THROWING KIDS INTO THAT ICE WATER. THE UNCOOL THING IS THAT THE BOTTLES WERE BREAKING AND IT WAS FULL OF BROKEN GLASS AND PEOPLE WERE BEING THROWN IN THERE. THAT WASN’T VERY COOL. WHEN I TOOK THE BOTTLE…I’M DRINKING COORS LIGHT. I HAD MY OWN NEON SIGN, SILVER BULLET. I TAKE THE BOTTLE BECAUSE IN MY MIND, BECAUSE THIS PARTY IS ENDED AND WE HAVE TO LEAVE, DOESN’T MEAN THAT I’M INTERESTED IN STOPPING DRINKING. I TAKE THE BOTTLE TO DRINK WHEREVER I’M GOING NEXT AND THEN I DON’T END UP DRINKING IT ‘CAUSE IT’S PROBABLY FIVE IN THE MORNING. OVER TIME, IT GETS SAVED BECAUSE IT’S A REMINDER OF THIS WHOLE HIGH SCHOOL [CULTURE].” ON HIS TIME DRINKING AND PARTYING, MACLEAN ELABORATED, “MY PARENTS CERTAINLY HAD PARTIES AT THE HOUSE SO THAT WAS SOMETHING THAT WAS FAMILIAR TO ME. THEY BUILT A HOUSE UP IN PICTURE BUTTE IN 1975. THEY HADN’T, INITIALLY, DEVELOPED THEIR BASEMENT. THEY DID WITHIN TWO TO THREE…THERE WERE HERITAGE ELEMENTS EITHER BY DECORATION, BY THE DESIGN OF THE INTERIOR THAT SHE INCORPORATED WHICH SPIKED MY INTEREST. THEY HAD A DANCE FLOOR DOWN THERE, OF WOOD. THE WALLS WERE MIRRORS, SO ALL THAT DISCO ERA-TYPE STUFF. THERE WAS A BAR THAT WAS BUILT, TOO. MY PARENTS WERE FRIENDS WITH AN R.C.M.P. OFFICER’S FAMILY, SO THE FAMILY IS OVER, AND THEY’RE UPSTAIRS AND I’M LITERALLY SERVING THE R.C.M.P. OFFICER’S KIDS…WHISKEY OUT OF THIS BAR. IT WASN’T THAT I HAD SOME SENSE THAT BY DRINKING THE FLUID THERE WAS IMPAIRMENT. IT WAS JUST SOMETHING THAT ADULTS DID.” “IN TERMS OF [MY FRIENDS AND I] IT HAPPENS TO BE THAT VERY TIME [WHEN] WE’RE IN THE BACK OF THAT PICKUP, AS KIDS…WHEN WE FINISH GRADE 9…THE SUMMER OF 1984. MY DAD DROPS US OFF IN THE COULEES DOWN AT THE END OF THE GRAVEL ROAD. THERE’S A BIG, DEEP COULEE DOWN THERE. WE HIKE AROUND AND THEN WE MANAGE TO COME BACK AND THERE’S SHALLOWER COULEES BY MY OWN PLACE. WE SET UP A TENT AND WE SLEEP OVERNIGHT DOWN THERE. ONE KID [WITH US] IS LES. I DON’T REMEMBER HOW OR WHY BUT HE HAD A MICKEY OF VODKA [OR GIN]. HE POUNDED IT BACK. HE DRANK THE WHOLE THING IN FRONT OF US. WE DON’T REALIZE OR UNDERSTAND WHAT THAT’S GOING TO DO EXCEPT TO KNOW THAT ALCOHOL IS SOMETHING THAT ADULTS ARE SUPPOSED TO BE DOING. LATER ON THAT NIGHT HE STARTED THROWING UP [ALL OVER THE PLACE]. THE REST OF US NEVER TOUCHED IT. HE WAS THE ONLY ONE. THEN WE KNEW THAT ALCOHOL MAKES YOU SICK. “IN GRADE 10 WE LEAVE. THERE’S FIVE BOYS AND ELEVEN GIRLS [IN MY CLASS]. WE LEAVE A CATHOLIC SCHOOL AND WE GO INTO THE PUBLIC SYSTEM. WE MERGE WITH ALL THESE OTHER KIDS.” “[WE’RE] STILL IN PICTURE BUTTE…THERE’S THIRTY-FOUR PUBLIC KIDS. SOME OF THOSE KIDS WOULD BE FROM MORE DIVERSE BACKGROUNDS THAN OUR OWN. MOST OF THE KIDS THAT WERE IN MY CLASS WERE ACTUALLY FROM DUTCH FAMILIES. THERE’S A LOT OF DISTRACTION FOR ME BECAUSE OF ALL THESE OTHER KIDS, SOME OF WHOM DON’T NECESSARILY WORK AS HARD IN SCHOOL. I DON’T THINK I WAS A KID WHO EVER THOUGHT IT WAS IMPORTANT TO WORK THAT HARD IN SCHOOL. I JUST WANTED TO HAVE FUN. GRADE 10, THERE’S ALSO THE GIRLS AND STUFF. BUT, THERE’S NO DRINKING AT ALL [IN GRADE 10] THAT I REMEMBER. THERE’S CERTAINLY DISTRACTIONS AS A BOY IN GRADE 10 WOULD HAVE.” “THEN IN THE SUMMER OF…1985, IN AUGUST…I DON’T REMEMBER HOW OR WHY BUT I’M WITH LES. I’VE SPENT NINE YEARS WITH HIM…IN PART, BECAUSE OF WHERE HE LIVED. MY AUNT AND UNCLE LIVED RIGHT NEXT DOOR. I REMEMBER BEING IN THE VEHICLE WITH HIM, AND THE VEHICLE BELONGED TO A [GIRL] NAMED CAROLINE OHLGART. SHE WAS DRIVING AND IT WAS A MUSTANG. SHE WAS THE ONE WHO WAS DRIVING AND THEN THERE WAS ANOTHER [GIRL], MELINDA. I THINK THERE [WERE] THREE BOYS AND TWO GIRLS IN THIS CAR. IT’S THE END OF THE SUMMER AND WE’RE IN SHAUGHNESSY. SOMEHOW THEY GET THIS GUY WHO SOMEBODY KNOWS…AND THEY GET OFF-SALES FROM THE SHAUGHNESSY BAR...WE GET A CASE OF BEER AND THAT’S REALLY THE FIRST TIME [I DRINK]. IT WASN’T EVEN SO MUCH THAT WE WERE DRINKING AS THE FACT THAT I WAS WITH THESE OTHER GIRLS AND GUYS. IT JUST FELT LIKE A VERY EXCITING THING TO DO. IT TURNED OUT, AS AN EXPERIENCE GOES, TO BE A REALLY GOOD EXPERIENCE. THAT SET THE STAGE, RIGHT OFF THE BAT, FOR GRADE 11, WHICH WAS PARTYING.” “IN GRADE 11, INITIALLY [LES IS] STILL A FRIEND. I’M HANGING OUT WITH HIM BUT I’M ALSO HANGING OUT WITH EVERYBODY. IT DIDN’T MATTER WHO THEY WERE, I COULD HANG OUT WITH ANYBODY. BUT, I’M NOTING THAT, FOR VARIOUS REASONS, HE AND ANOTHER GUY…[WERE] GOING DOWN A PARTICULAR ROAD AND, IF I EXERCISE SOME CRITICAL JUDGMENT AT [THE] TIME, IT WAS THAT, ‘OKAY, I SHOULD NOT CONTINUE ON THIS PATH’. IT DOESN’T MEAN THAT I CAN’T BE FRIENDS WITH THESE PEOPLE BUT IN TERMS OF MY IMMEDIATE SOCIAL CIRCLE, THAT MIGHT NOT BE A WAY TO GO. THEN I ELECTED…TO BE HANGING OUT MORE WITH [OTHERS]. THEY’RE MORE [INTO] SPORTS. THEY’RE DOING BASKETBALL AND VOLLEYBALL WHICH I NEVER DID ‘CAUSE I COULD NEVER PLAY ANYTHING. THEY’RE ALSO RELATIVELY STRONG ACADEMICALLY. THEY’RE GOOD KIDS FROM GOOD BACKGROUNDS. [THAT] DOESN’T MEAN THAT THEY’RE NOT PARTYING BECAUSE THEY’RE OUT PROBABLY EQUALLY EVERY SINGLE WEEKEND. BUT, THAT PARTYING WOULD INVOLVE BEER AS OPPOSED TO HASH OIL AND WEED WHICH WOULD BE MORE WHAT THE KIDS THAT THINGS DON’T NECESSARILY END UP WELL FOR [DID], LOOKING BACK.” “WE’RE OUT EVERY SINGLE WEEKEND AND, UNLIKE BEING IN LETHBRIDGE WHERE HOUSE PARTIES MIGHT BE A LITTLE BIT MORE ACCESSIBLE AND CLOSE…[OUR] HOUSE PARTIES ARE MILES AWAY. YOU WOULD HAVE TO GET THERE AND GET BACK. I REMEMBER, CERTAINLY IN GRADE 11 IN THE FALL, I DON’T HAVE MY DRIVER’S LICENSE ‘CAUSE THAT’S 1985. [I WAS] THINKING AT THE TIME THAT, AS LONG AS I WASN’T THE ONE DRIVING, THEN IT WAS OKAY AND [I WASN’T] NECESSARILY KNOWING WHAT THE STATE [WAS] OF THE INDIVIDUAL THAT WAS DRIVING.” “IT WOULD BE ALSO AT THIS TIME THAT THE WHOLE DRINKING AND DRIVING THING WAS GOING DOWN BECAUSE, POTENTIALLY, THREE YEARS PREVIOUS IT WAS NOT, CULTURALLY, AS BIG OF A DEAL. BUT, BY 1985, IT’S A BIG DEAL. IT’S STARTING TO REALLY KICK IN…OVER THE YEARS, YOU’VE WITNESSED IT, THAT THERE’S PEOPLE THAT WILL DRINK AND DRIVE, PEOPLE THAT YOU KNOW.” “IN TERMS OF PARTYING, I KNOW THAT IN GRADE 10, I WASN’T PAYING ATTENTION. I WAS KEEPING UP WITH MY FRIENDS BUT I WASN’T PUTTING ANY EXTRA WORK INTO [SCHOOL]…I WAS MORE ABOUT [THE] SOCIAL [ASPECTS]. THEN, IN GRADE 11, IT BECAME PARTYING EVERY WEEKEND. BY GRADE 12, I WAS [THINKING], ‘OH, YOU KNOW WHAT, THIS IS ALL GOING TO COME TO AN END IN FAIRLY SHORT ORDER SO I BETTER START WORKING A LITTLE BIT HARDER.’ I REMEMBER THE WHOLE PARTY THING AS BEING A LITTLE BIT LESS. NOT TO SAY THAT IT WASN’T STILL GOING ON BUT I KNEW THAT I HAD TO WORK HARDER IN SCHOOL. IN GRADE 12, THOUGH, THESE KIDS ARE GETTING TO BE OLDER…THEY ARE ABLE TO START TO DRIVE BECAUSE THEY HAVE DRIVER’S LICENSES TO DRIVE INTO LETHBRIDGE AND ACTUALLY GET ADMITTED TO BARS. THEY WOULDN’T EVEN WANT ME TO BE WITH THEM BECAUSE IF THEY WANTED TO GO TO A SPECIFIC BAR, WHICH, IF IT WAS A REALLY COOL BAR, AND I WAS WITH THEM, AND I COULDN’T GET IN, THEN THEY COULDN’T GO.” “IN ALL HONESTY…MY RELATIONSHIPS WITH [MY CLASSMATES] MEANT SOMETHING AND THAT CLASS OF FIFTY KIDS. I GENERALLY, OVER ALL AT THE TIME, ENJOYED THEIR COMPANY. THEY WERE FRIENDS. WHEN I CAME INTO LETHBRIDGE, FOR SOME YEARS—YOU COULD ALMOST SAY IT WAS NOT TILL UNIVERSITY—BUT THERE WOULD BE A FEW YEARS THAT I WOULD HAVE VERY WARM FEELINGS WHERE TODAY I DON’T LOOK BACK UPON IT AS THIS ‘BEST TIME OF MY LIFE’.” “BECAUSE I DIDN’T GO TO HIGH SCHOOL THE CITY…THE CLASSES ARE A LOT SMALLER [IN PICTURE BUTTE]. BY THE TIME I GRADUATE IN JUNIOR HIGH, THERE’S ONLY SIXTEEN OF US. WHEN I GRADUATE [FROM] HIGH SCHOOL, THERE’S ONLY FIFTY. I THINK [THE LCI GRADUATING CLASS AT THE TIME] WAS THREE HUNDRED KIDS. IT WAS HUGE. WHERE YOU DON’T EVEN KNOW ALL THE KIDS. I GUESS THERE’S MORE OPPORTUNITY FOR POCKETS OF KIDS WHO WANT TO EXPRESS THEMSELVES MORE STRONGLY. TO HAVE OTHER KIDS WHO FEEL THE SAME WAY. TO SUPPORT ONE ANOTHER. BUT THERE, OUT IN PICTURE BUTTE, I WOULDN’T SAY IT’S THE CASE AT ALL. MAYBE IT’S MY NOT WANTING TO STAND OUT AND DRAW ATTENTION TO MYSELF…IT WAS IMPORTANT TO ME THAT I FIT IN WHICH [DRINKING] WAS PART OF, TOO. IT WASN’T THAT I DON’T WANT TO DO THIS BUT I HAVE TO DO THIS, BECAUSE I WAS HAPPY TO DO THIS, ‘CAUSE I LIKE THE SOCIAL PART OF IT. THAT WAS ALSO PART AND PARCEL BECAUSE THEN THAT PUT YOU INTO ANOTHER GROUP IN TERMS OF ACCEPTABILITY. IN FACT KIDS THAT WOULD BE OLDER THAN YOU BY A YEAR OR TWO YEARS WOULD GIVE YOU ACCESS TO THOSE KIDS, TOO, ‘CAUSE THEN YOU WERE SHARING EXPERIENCES WITH THEM ON THE WEEKEND, CREATING CONNECTIONS WITH THEM.” MACLEAN NOTED HIS REASONS FOR SAVING AND DONATING THE BOTTLE, “I THINK I’VE SAVED THIS [BOTTLE] IN PART BECAUSE EITHER I THINK THAT IT’S HISTORICALLY IMPORTANT. I THINK SAFE GRADS AND DRINKING AND DRIVING [ARE] IMPORTANT.” “OVER TIME, [I THOUGHT] ‘YOU KNOW WHAT, THAT WAS FROM THE VERY FIRST SAFE GRAD OUT IN PICTURE BUTTE.’ IT MIGHT BE THE CASE ‘CAUSE WHEN [MY WIFE] GRADUATED, SHE HAD A SAFE GRAD AT LCI AND THAT COULD HAVE BEEN THE SAME YEAR…WEREN’T OUT [OF CLASSES] YET. [GRADUATION WOULD BE] IN JUNE AND I THINK WE WERE STILL IN CLASSES AFTER THAT.” FOR MORE INFORMATION INCLUDING ARTICLES FROM THE LETHBRIDGE HERALD, BRANDON SUN, MEDICINE HAT NEWS, AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180029001-GA.
Catalogue Number
P20180029007
Acquisition Date
2018-12
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
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