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Other Name
WEDGE CAP
Date Range From
1957
Date Range To
1963
Material Type
Artifact
Materials
COTTON, SILK, METAL
Catalogue Number
P20170009001
  2 images  
Material Type
Artifact
Other Name
WEDGE CAP
Date Range From
1957
Date Range To
1963
Materials
COTTON, SILK, METAL
No. Pieces
1
Length
29
Width
11.4
Description
BLUE WEDGE CAP WITH FOLDED EDGE SEWN AROUND CAP; FRONT OF CAP HAS TWO BRASS BUTTONS EMBOSSED WITH CROWN OVER EAGLE IN FLIGHT AND TEXT “R.C.A.F.”. LEFT-WEARING SIDE OF CAP HAS METAL SEAL ON BLACK BACKGROUND; SEAL SHOWS BRASS, RED, AND SILVER CROWN OVER A BRASS FLYING EAGLE OVER FOUR BRASS LEAF FRONDS TIED IN THE CENTER. INSIDE OF CAP IS LINED WITH RED SILK AND DISCOLOURED VELVET EDGING; TOP OF INSIDE HAS FOLD IN SILK WITH “MATHESON” WRITTEN ON EITHER SIDE IN BLACK MARKER. INSIDE CAP HAS DISCOLOURED GREY TAG WITH BLUE STITCHED EDGING AND BLUE AND RED EMBROIDERED TEXT “THE MUIR BRAND, EST. 1875, MUIR CAP & REGALIA LTD., SI SIMCOE ST. TORONTO”. INSIDE LEFT-WEARING SIDE OF CAP HAS HOLE IN VELVET LINING; INSIDE BACK OF CAP HAS FRAYING ALONG VELVET EDGING; CAP IS FADED ON OUTSIDE AND HAS SOILING ON RIGHT-WEARING SIDE. OVERALL VERY GOOD CONDITION.
Subjects
CLOTHING-HEADWEAR
Historical Association
MILITARY
PERSONAL CARE
History
ON MARCH 1, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED CLYDE MATHESON REGARDING HIS DONATION OF ROYAL CANADIAN AIR FORCE APPAREL. MATHESON SERVED TWO YEARS IN THE ROYAL CANADIAN NAVY ON H.M.C.S. “NADEN” BEFORE TRANSFERRING TO THE ROYAL CANADIAN AIR FORCE. ON THE WEDGE CAP, MATHESON RECALLED, “[THIS IS THE ORIGINAL] FROM THE R.C.A.F. RIGHT FROM DAY ONE.” “THEY’VE BEEN HANGING UP IN MY CLOSET FOR FIFTY SOME ODD YEARS AND I THINK IT’S TIME THAT I DID SOMETHING WITH THEM.” “ABOUT 1955 I JOINED THE NAVY AND I WAS IN THE NAVY FOR ABOUT TWO YEARS AND THEN TRANSFERRED WITH AIRCREW IN THE AIR FORCE. I WENT IN THE AIR FORCE IN ABOUT 1957 AND THEN GRADUATED FROM THE AIR OBSERVER SCHOOL IN WINNIPEG ABOUT 1958 AND GOT MY WINGS THEN AND THAT’S WHERE THESE ALL ARE ORIGINALLY FROM. THIS ALL I’VE GOT OF ALL THE UNIFORMS I HAD.” MATHESON SPOKE ABOUT HIS TIME IN THE NAVY AND AIR FORCE, STATING, “IN 1955 WHEN I GOT THROUGH HIGH SCHOOL, THE LAST THING I WANTED TO DO WAS ANYMORE SCHOOLING. I HAD ENOUGH OF THAT, SO SPUR OF THE MOMENT THING I JOINED THE NAVY. I WAS IN THE NAVY FOR ABOUT TWO WEEKS AND I REALIZED I HAD MADE A MISTAKE. I LASTED TWO YEARS IN THERE, AND THEN TRANSFERRED TO THE AIR FORCE. I GUESS THAT WAS PROBABLY JUST THE REASON TO GET OUT OF LETHBRIDGE BACK THEN.” “MY DAD WAS KIND OF ANTI-MILITARY. MY BROTHER, BILL, WAS IN THE PARATROOPERS DURING THE WAR…HE WAS KIND OF A HERO WHEN WE WERE KIDS…I THINK MAYBE THE REASON I JOINED THE NAVY IS MY DAD WAS AN OLD FISHERMAN IN SCOTLAND AND HE KIND OF REALLY LOVED THE NAVY. I MIGHT HAVE DONE THAT TO PLEASE HIM, BUT I THINK THE MAIN REASON WAS TO GET OUT OF LETHBRIDGE.” “THE KOREAN WAR [WAS IN] ’55, IT WAS JUST ABOUT FINISHING UP AND THE VIETNAM WAR WAS JUST GETTING [STARTED]. THE ONLY CLAIM I HAD WHEN I WAS IN THE SERVICE IS THEY DID A LOT OF FLYING. ALL MY TIME WAS SPENT IN GREENWOOD, NOVA SCOTIA, 405 SQUADRON AND WE DID A LOT OF FLYING DURING THE CUBAN CRISIS. THE REST OF OUR TIME WAS JUST THESE LONG BORING PATROLS IN THE NORTH ATLANTIC LOOKING FOR SUBMARINES.” “[I KNEW I MADE THE WRONG CHOICE IN THE NAVY FROM] THE DISCIPLINE OF IT. IT DIDN’T MAKE SENSE TO ME, I THINK. THERE WAS SO MUCH STUFF CARRIED OVER FROM LORD NELSON…BUT I STUCK IT OUT FOR TWO YEARS. I ENDED UP GETTING A PRETTY GOOD TRADE IN THE NAVY. I WAS AN AIR AND A WEATHER OBSERVER, SO I HAD A JAMMY TRADE, AND A POSTING ALL THE TIME I WAS IN THE NAVY. IT JUST WASN’T FOR ME AND I WAS GOING THROUGH WHAT THEY CALL AN UPPER YARDS MAN PLAN WHERE YOU GET YOUR COMMISSION THROUGH THE RANKS IN THE AIR FORCE OR IN THE NAVY. I WAS IN TALKING TO THIS COMMANDER MARVIN…THERE WAS A CRUISER OUT, THE MAIDEN, IN ONTARIO, AND HE CALLED ME IN AND SAID, “YOU’VE GOT TO GET READY FOR THESE EXAMS”. I HAD DONE SOME, AND I JUST HAPPENED TO MENTION TO HIM I CHANGED MY MIND ABOUT MAKING THE NAVY MY CAREER AND I WAS THINKING ABOUT TRANSFERRING GOING TO AIRCREW IN THE AIR FORCE. HE MUST NOT HAVE LIKED THE NAVY VERY MUCH EITHER. BEFORE I KNEW IT I WAS IN FRONT OF THE RECRUITING OFFICER FOR THE AIR FORCE AND AWAY I WENT.” “IN THE AIR FORCE [I WAS A FLYING OFFICER]. I WAS JUST AN OOD, AN ORDINARY SEAMAN IN THE NAVY.” “WHEN THEY GIVE YOU A COMMISSION, IT’S A SHORT SERVICE COMMISSION WHICH IS ABOUT FIVE YEARS…ALL MY TIME WAS SPENT IN GREENWOOD NOVA SCOTIA FROM ABOUT ’58 TO ABOUT ’63. THEN THEY OFFERED AN EXTENSION TO MY COMMISSION BUT BY THAT TIME I DECIDED THIS WASN’T FOR ME EITHER AND I TURNED THAT DOWN AND GOT OUT AND WENT BACK TO SCHOOL.” “I WENT BACK TO THE U OF A [IN 1963] AND GRADUATED IN DENTISTRY IN ’68.” “I WOULD DO IT AGAIN IF I HAD TO. IT WAS THE BEST TIME OF MY LIFE ESPECIALLY WHEN I GOT IN THE AIR FORCE. WE WERE AIRCREW SO WE WERE MAKING PRETTY GOOD MONEY. I WASN’T MARRIED AND I SAW A LOT OF THE WORLD FLYING AROUND DOWN THERE IN NOVA SCOTIA MAINLY EUROPE. I DON’T REGRET IT AT ALL.” WHEN ASKED ABOUT HIS MOTIVATIONS FOR DONATING THE CAP, MATHESON NOTED, “I JUST DIDN’T KNOW WHAT TO DO WITH IT. IT’S JUST [BEEN] HANGING THERE FOR FIFTY YEARS, SO I FIGURED MAYBE [THE MUSEUM] MIGHT HAVE SOME USE FOR IT. I WOULDN’T WANT TO SEE IT GET THROWN AWAY..." FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170009001-GA.
Catalogue Number
P20170009001
Acquisition Date
2017-03
Collection
Museum
Images
Less detail
Other Name
R.C.A.F. DRESS JACKET
Date Range From
1957
Date Range To
1963
Material Type
Artifact
Materials
COTTON, SILK, POLYESTER
Catalogue Number
P20170009002
  2 images  
Material Type
Artifact
Other Name
R.C.A.F. DRESS JACKET
Date Range From
1957
Date Range To
1963
Materials
COTTON, SILK, POLYESTER
No. Pieces
1
Length
79
Width
47
Description
BLUE COTTON JACKET WITH BLUE SILK LINING; JACKET HAS FIVE POCKETS ON FRONT WITH TWO UPPER POCKETS WITH BRASS “R.C.A.F.” BUTTONS ON COVER FLAPS, TWO LOWER POCKETS WITH BRASS “R.C.A.F.” BUTTONS ON COVER FLAPS, AND ADDITION POCKET ON RIGHT-WEARING SIDE WITH NO COVER FLAP. JACKET HAS FOUR ADDITIONAL BUTTONS FOR FASTENING RUNNING DOWN RIGHT-WEARING SIDE WITH BUTTON HOLES OF LEFT-WEARING SIDE; ALL BUTTONS ON JACKET ARE BRASS WITH EMBOSSED CROWN OVER FLYING EAGLE, OVER TEXT “R.C.A.F.”. JACKET SLEEVES HAVE DOUBLE BLACK STRIPES AROUND CENTER BLUE STRIPE ABOVE CUFFS [SECOND LIEUTENANT BARS]; SHOULDERS HAVE BLUE PATCHES SEWN ON WITH WHITE TEXT “CANADA”. FRONT LEFT-WEARING SIDE OF JACKET HAS BADGE WITH BLUE BACKGROUND SEWN ON; BADGE SHOWS RED AND BRASS CROWN OVER WHITE AND BLACK GLOBE WITH RED LIGHTING BOLT ACROSS FRONT, WITH BRASS WINGS OUTSTRETCHED AND LAUREL LEAVES AROUND GLOBE AT INSIDE OF WINGS [AIRBORNE INTERCEPTOR BADGE]. BACK OF JACKET HAS TWO BLACK BELT LOOPS AT SIDES. INSIDE RIGHT-WEARING SIDE IS POCKET SEWN INTO LINING; OUTSIDE OF POCKET HAS WHITE LABEL WITH STITCHED TEXT “HANFORD-DREWITT LTD., WINNIPEG”. INSIDE LINING HAS RIP AT TOP OF SPLIT AT BACK; OVERALL VERY GOOD CONDITION.
Subjects
CLOTHING-OUTERWEAR
Historical Association
MILITARY
PERSONAL CARE
History
ON MARCH 1, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED CLYDE MATHESON REGARDING HIS DONATION OF ROYAL CANADIAN AIR FORCE APPAREL. MATHESON SERVED TWO YEARS IN THE ROYAL CANADIAN NAVY ON H.M.C.S. “NADEN” BEFORE TRANSFERRING TO THE ROYAL CANADIAN AIR FORCE. ON THE JACKET, MATHESON RECALLED, “THIS IS JUST THE WINTER DRESS. THERE WAS THE TUNIC AND THEN THE SUMMER ONES.” “THEY’VE BEEN HANGING UP IN MY CLOSET FOR FIFTY SOME ODD YEARS AND I THINK IT’S TIME THAT I DID SOMETHING WITH THEM.” “ABOUT 1955 I JOINED THE NAVY AND I WAS IN THE NAVY FOR ABOUT TWO YEARS AND THEN TRANSFERRED WITH AIRCREW IN THE AIR FORCE. I WENT IN THE AIR FORCE IN ABOUT 1957 AND THEN GRADUATED FROM THE AIR OBSERVER SCHOOL IN WINNIPEG ABOUT 1958 AND GOT MY WINGS THEN AND THAT’S WHERE THESE ALL ARE ORIGINALLY FROM. THIS ALL I’VE GOT OF ALL THE UNIFORMS I HAD.” MATHESON SPOKE ABOUT HIS TIME IN THE NAVY AND AIR FORCE, STATING, “IN 1955 WHEN I GOT THROUGH HIGH SCHOOL, THE LAST THING I WANTED TO DO WAS ANYMORE SCHOOLING. I HAD ENOUGH OF THAT, SO SPUR OF THE MOMENT THING I JOINED THE NAVY. I WAS IN THE NAVY FOR ABOUT TWO WEEKS AND I REALIZED I HAD MADE A MISTAKE. I LASTED TWO YEARS IN THERE, AND THEN TRANSFERRED TO THE AIR FORCE. I GUESS THAT WAS PROBABLY JUST THE REASON TO GET OUT OF LETHBRIDGE BACK THEN.” “MY DAD WAS KIND OF ANTI-MILITARY. MY BROTHER, BILL, WAS IN THE PARATROOPERS DURING THE WAR…HE WAS KIND OF A HERO WHEN WE WERE KIDS…I THINK MAYBE THE REASON I JOINED THE NAVY IS MY DAD WAS AN OLD FISHERMAN IN SCOTLAND AND HE KIND OF REALLY LOVED THE NAVY. I MIGHT HAVE DONE THAT TO PLEASE HIM, BUT I THINK THE MAIN REASON WAS TO GET OUT OF LETHBRIDGE.” “THE KOREAN WAR [WAS IN] ’55, IT WAS JUST ABOUT FINISHING UP AND THE VIETNAM WAR WAS JUST GETTING [STARTED]. THE ONLY CLAIM I HAD WHEN I WAS IN THE SERVICE IS THEY DID A LOT OF FLYING. ALL MY TIME WAS SPENT IN GREENWOOD, NOVA SCOTIA, 405 SQUADRON AND WE DID A LOT OF FLYING DURING THE CUBAN CRISIS. THE REST OF OUR TIME WAS JUST THESE LONG BORING PATROLS IN THE NORTH ATLANTIC LOOKING FOR SUBMARINES.” “[I KNEW I MADE THE WRONG CHOICE IN THE NAVY FROM] THE DISCIPLINE OF IT. IT DIDN’T MAKE SENSE TO ME, I THINK. THERE WAS SO MUCH STUFF CARRIED OVER FROM LORD NELSON…BUT I STUCK IT OUT FOR TWO YEARS. I ENDED UP GETTING A PRETTY GOOD TRADE IN THE NAVY. I WAS AN AIR AND A WEATHER OBSERVER, SO I HAD A JAMMY TRADE, AND A POSTING ALL THE TIME I WAS IN THE NAVY. IT JUST WASN’T FOR ME AND I WAS GOING THROUGH WHAT THEY CALL AN UPPER YARDS MAN PLAN WHERE YOU GET YOUR COMMISSION THROUGH THE RANKS IN THE AIR FORCE OR IN THE NAVY. I WAS IN TALKING TO THIS COMMANDER MARVIN…THERE WAS A CRUISER OUT, THE MAIDEN, IN ONTARIO, AND HE CALLED ME IN AND SAID, “YOU’VE GOT TO GET READY FOR THESE EXAMS”. I HAD DONE SOME, AND I JUST HAPPENED TO MENTION TO HIM I CHANGED MY MIND ABOUT MAKING THE NAVY MY CAREER AND I WAS THINKING ABOUT TRANSFERRING GOING TO AIRCREW IN THE AIR FORCE. HE MUST NOT HAVE LIKED THE NAVY VERY MUCH EITHER. BEFORE I KNEW IT I WAS IN FRONT OF THE RECRUITING OFFICER FOR THE AIR FORCE AND AWAY I WENT.” “IN THE AIR FORCE [I WAS A FLYING OFFICER]. I WAS JUST AN OOD, AN ORDINARY SEAMAN IN THE NAVY.” “WHEN THEY GIVE YOU A COMMISSION, IT’S A SHORT SERVICE COMMISSION WHICH IS ABOUT FIVE YEARS…ALL MY TIME WAS SPENT IN GREENWOOD NOVA SCOTIA FROM ABOUT ’58 TO ABOUT ’63. THEN THEY OFFERED AN EXTENSION TO MY COMMISSION BUT BY THAT TIME I DECIDED THIS WASN’T FOR ME EITHER AND I TURNED THAT DOWN AND GOT OUT AND WENT BACK TO SCHOOL.” “I WENT BACK TO THE U OF A [IN 1963] AND GRADUATED IN DENTISTRY IN ’68.” “I WOULD DO IT AGAIN IF I HAD TO. IT WAS THE BEST TIME OF MY LIFE ESPECIALLY WHEN I GOT IN THE AIR FORCE. WE WERE AIRCREW SO WE WERE MAKING PRETTY GOOD MONEY. I WASN’T MARRIED AND I SAW A LOT OF THE WORLD FLYING AROUND DOWN THERE IN NOVA SCOTIA MAINLY EUROPE. I DON’T REGRET IT AT ALL.” WHEN ASKED ABOUT HIS MOTIVATIONS FOR DONATING THE JACKET, MATHESON NOTED, “I JUST DIDN’T KNOW WHAT TO DO WITH IT. IT’S JUST [BEEN] HANGING THERE FOR FIFTY YEARS, SO I FIGURED MAYBE [THE MUSEUM] MIGHT HAVE SOME USE FOR IT. I WOULDN’T WANT TO SEE IT GET THROWN AWAY, ESPECIALLY THIS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170009001-GA.
Catalogue Number
P20170009002
Acquisition Date
2017-03
Collection
Museum
Images
Less detail
Date Range From
1957
Date Range To
1963
Material Type
Artifact
Materials
WOOL, SILK, COTTON
Catalogue Number
P20170009003
  2 images  
Material Type
Artifact
Date Range From
1957
Date Range To
1963
Materials
WOOL, SILK, COTTON
No. Pieces
1
Length
119
Width
48
Description
BLUE WOOL COAT WITH TWO POCKETS ON FRONT AND TWO BRASS BUTTONS ON RIGHT-WEARING SIDE AND THREE BRASS BUTTONS ON LEFT-WEARING SIDE; BRASS BUTTONS ALL HAVE EMBOSSED CROWN AT TOP WITH FLYING EAGLE UNDER, AND LOWER TEXT “R.C.A.F.”. COAT SLEEVES HAVE THREE BRASS BUTTONS DOWN CUFFS WITH EMBOSSED CROWN OVER FLYING EAGLE AND TEXT “R.C.A.F.”. COAT SHOULDERS HAVE BLUE BADGES SEWN ON WITH WHITE TEXT “CANADA” AND EPAULETS ATTACHED DISPLAYING TWO BLACK STRIPES AND MIDDLE BLUE STRIPE [SECOND LIEUTENANT STRIPES]. INSIDE OF JACKET HAS BLUE SILK LINING; LEFT-WEARING SIDE ON INSIDE HAS A POCKET AND BLACK PLASTIC BUTTON; TAG SEWN ONTO INSIDE POCKET IS WHITE WITH RED TEXT “HANFORD-DREWITT LTD., WINNIPEG”. INSIDE LINING IS STAINED GREEN AT COLLAR AND ON LEFT-WEARING SIDE; OUTSIDE OF COAT HAS SOILING AND STAINING ON FRONT; OVERALL VERY GOOD CONDITION.
Subjects
CLOTHING-OUTERWEAR
Historical Association
MILITARY
PERSONAL CARE
History
ON MARCH 1, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED CLYDE MATHESON REGARDING HIS DONATION OF ROYAL CANADIAN AIR FORCE APPAREL. MATHESON SERVED TWO YEARS IN THE ROYAL CANADIAN NAVY ON H.M.C.S. “NADEN” BEFORE TRANSFERRING TO THE ROYAL CANADIAN AIR FORCE. ON THE COAT, MATHESON RECALLED, “THIS IS JUST THE WINTER DRESS. THERE WAS THE TUNIC AND THEN THE SUMMER ONES.” “THEY’VE BEEN HANGING UP IN MY CLOSET FOR FIFTY SOME ODD YEARS AND I THINK IT’S TIME THAT I DID SOMETHING WITH THEM.” “ABOUT 1955 I JOINED THE NAVY AND I WAS IN THE NAVY FOR ABOUT TWO YEARS AND THEN TRANSFERRED WITH AIRCREW IN THE AIR FORCE. I WENT IN THE AIR FORCE IN ABOUT 1957 AND THEN GRADUATED FROM THE AIR OBSERVER SCHOOL IN WINNIPEG ABOUT 1958 AND GOT MY WINGS THEN AND THAT’S WHERE THESE ALL ARE ORIGINALLY FROM. THIS ALL I’VE GOT OF ALL THE UNIFORMS I HAD.” MATHESON SPOKE ABOUT HIS TIME IN THE NAVY AND AIR FORCE, STATING, “IN 1955 WHEN I GOT THROUGH HIGH SCHOOL, THE LAST THING I WANTED TO DO WAS ANYMORE SCHOOLING. I HAD ENOUGH OF THAT, SO SPUR OF THE MOMENT THING I JOINED THE NAVY. I WAS IN THE NAVY FOR ABOUT TWO WEEKS AND I REALIZED I HAD MADE A MISTAKE. I LASTED TWO YEARS IN THERE, AND THEN TRANSFERRED TO THE AIR FORCE. I GUESS THAT WAS PROBABLY JUST THE REASON TO GET OUT OF LETHBRIDGE BACK THEN.” “MY DAD WAS KIND OF ANTI-MILITARY. MY BROTHER, BILL, WAS IN THE PARATROOPERS DURING THE WAR…HE WAS KIND OF A HERO WHEN WE WERE KIDS…I THINK MAYBE THE REASON I JOINED THE NAVY IS MY DAD WAS AN OLD FISHERMAN IN SCOTLAND AND HE KIND OF REALLY LOVED THE NAVY. I MIGHT HAVE DONE THAT TO PLEASE HIM, BUT I THINK THE MAIN REASON WAS TO GET OUT OF LETHBRIDGE.” “THE KOREAN WAR [WAS IN] ’55, IT WAS JUST ABOUT FINISHING UP AND THE VIETNAM WAR WAS JUST GETTING [STARTED]. THE ONLY CLAIM I HAD WHEN I WAS IN THE SERVICE IS THEY DID A LOT OF FLYING. ALL MY TIME WAS SPENT IN GREENWOOD, NOVA SCOTIA, 405 SQUADRON AND WE DID A LOT OF FLYING DURING THE CUBAN CRISIS. THE REST OF OUR TIME WAS JUST THESE LONG BORING PATROLS IN THE NORTH ATLANTIC LOOKING FOR SUBMARINES.” “[I KNEW I MADE THE WRONG CHOICE IN THE NAVY FROM] THE DISCIPLINE OF IT. IT DIDN’T MAKE SENSE TO ME, I THINK. THERE WAS SO MUCH STUFF CARRIED OVER FROM LORD NELSON…BUT I STUCK IT OUT FOR TWO YEARS. I ENDED UP GETTING A PRETTY GOOD TRADE IN THE NAVY. I WAS AN AIR AND A WEATHER OBSERVER, SO I HAD A JAMMY TRADE, AND A POSTING ALL THE TIME I WAS IN THE NAVY. IT JUST WASN’T FOR ME AND I WAS GOING THROUGH WHAT THEY CALL AN UPPER YARDS MAN PLAN WHERE YOU GET YOUR COMMISSION THROUGH THE RANKS IN THE AIR FORCE OR IN THE NAVY. I WAS IN TALKING TO THIS COMMANDER MARVIN…THERE WAS A CRUISER OUT, THE MAIDEN, IN ONTARIO, AND HE CALLED ME IN AND SAID, “YOU’VE GOT TO GET READY FOR THESE EXAMS”. I HAD DONE SOME, AND I JUST HAPPENED TO MENTION TO HIM I CHANGED MY MIND ABOUT MAKING THE NAVY MY CAREER AND I WAS THINKING ABOUT TRANSFERRING GOING TO AIRCREW IN THE AIR FORCE. HE MUST NOT HAVE LIKED THE NAVY VERY MUCH EITHER. BEFORE I KNEW IT I WAS IN FRONT OF THE RECRUITING OFFICER FOR THE AIR FORCE AND AWAY I WENT.” “IN THE AIR FORCE [I WAS A FLYING OFFICER]. I WAS JUST AN OOD, AN ORDINARY SEAMAN IN THE NAVY.” “WHEN THEY GIVE YOU A COMMISSION, IT’S A SHORT SERVICE COMMISSION WHICH IS ABOUT FIVE YEARS…ALL MY TIME WAS SPENT IN GREENWOOD NOVA SCOTIA FROM ABOUT ’58 TO ABOUT ’63. THEN THEY OFFERED AN EXTENSION TO MY COMMISSION BUT BY THAT TIME I DECIDED THIS WASN’T FOR ME EITHER AND I TURNED THAT DOWN AND GOT OUT AND WENT BACK TO SCHOOL.” “I WENT BACK TO THE U OF A [IN 1963] AND GRADUATED IN DENTISTRY IN ’68.” “I WOULD DO IT AGAIN IF I HAD TO. IT WAS THE BEST TIME OF MY LIFE ESPECIALLY WHEN I GOT IN THE AIR FORCE. WE WERE AIRCREW SO WE WERE MAKING PRETTY GOOD MONEY. I WASN’T MARRIED AND I SAW A LOT OF THE WORLD FLYING AROUND DOWN THERE IN NOVA SCOTIA MAINLY EUROPE. I DON’T REGRET IT AT ALL.” WHEN ASKED ABOUT HIS MOTIVATIONS FOR DONATING THE COAT, MATHESON NOTED, “I JUST DIDN’T KNOW WHAT TO DO WITH IT. IT’S JUST [BEEN] HANGING THERE FOR FIFTY YEARS, SO I FIGURED MAYBE [THE MUSEUM] MIGHT HAVE SOME USE FOR IT. I WOULDN’T WANT TO SEE IT GET THROWN AWAY..." FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170009001-GA.
Catalogue Number
P20170009003
Acquisition Date
2017-03
Collection
Museum
Images
Less detail
Date Range From
1900
Date Range To
1942
Material Type
Artifact
Materials
BRASS, METAL, LEATHER
Catalogue Number
P20190012000
  2 images  
Material Type
Artifact
Date Range From
1900
Date Range To
1942
Materials
BRASS, METAL, LEATHER
No. Pieces
1
Length
92
Width
42
Description
BRASS TUBA WITH SILVER METAL TRIM, FITTINGS, AND KEYS; TUBA HAS FOUR VALVE KEYS ON THE SIDE; TUBA HAS A BLACK RUBBER MOUTHPIECE WITH CORK FITTING; TUBA HAS A BROWN LEATHER SHOULDER STRAP WITH SILVER BUCKLE. TUBA HAS ETCHED TEXT AT THE BASE OF THE BELL “SPRINZ & SCHMOHL, BERLIN”; TUBA HAS RUBBER BAND TIED AROUND THE WATER KEY AT THE BASE OF THE MAIN TUBE. TUBA HAS DENTS IN MAIN TUBE; TUBA HAS CORROSION ON MAIN TUBE AND VALVES, AND AT THE BASES OF VALVE KEYS; INSIDE OF TUBA BELL HAS CHIPPING, RUST, AND DENTS; LEATHER STRAP HAS MINOR STAINING ON SUEDE UNDERSIDE; OVERALL GOOD CONDITION.
Subjects
MUSICAL T&E
Historical Association
LEISURE
MILITARY
History
ON JUNE 20, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ROBERT FINDLAY REGARDING THE DONATION OF A TUBA. THE INSTRUMENT WAS USED IN LETHBRIDGE COMMUNITY BANDS AND AT THE LETHBRIDGE PRISONER OF WAR CAMP, CAMP 133. ON THE TUBA, FINDLAY ELABORATED, “[THE TUBA] WAS VERY UNIQUE WITH THE FOUR ROTARY VALVES…WHEN THEY GOT FOUR ROTARY VALVES INSTEAD OF PLAYING FIRST AND THIRD VALVE YOU JUST HIT THE FOURTH VALVE AND IT MAKES IT A LOT EASIER. IT’S A REAL QUALITY INSTRUMENT THAT TUBA. IT WOULD BE SORT OF THE PREDECESSOR OF WHAT THEY CALL A MIRAPHONE TUBA WHICH IS A REAL EXPENSIVE TYPE. YOU CAN SEE THE SILVER TRIM AROUND THE TOP…IT WAS WELL MADE IN ITS DAY.” “[I GOT THE TUBA]…IN THE [LATE] SEVENTIES…I GAVE SOME OF [THE INSTRUMENTS] AWAY WHEN MR. FRANK HOSEK WAS MY BAND DIRECTOR AND HE WAS THE COMMUNITY BAND FELLOW IN LETHBRIDGE AND HE GAVE THEM TO ME SO I THOUGHT WELL SOME SHOULD END UP IN THE MUSEUM…I KEPT A COUPLE [OTHER INSTRUMENTS] JUST FOR MY OWN BENEFIT [THE HELICON AND THE TUBA]. WE USED TO PLAY THE TUBA OUT FOR CHRISTMAS CAROLS EVERY YEAR.” FNDLAY CLAIMED, ON THE ORIGIN OF THE TUBA, “[THE TUBA IS] AN ANTIQUE…[DURING THE SECOND WORLD WAR] ROMMEL’S DESERT CORPS BAND WAS CAPTURED…IN NORTH AFRICA AND THEY BROUGHT THEM OVER HERE TO THE PRISONER OF WAR CAMP IN LETHBRIDGE AND THESE INSTRUMENTS CAME WITH THE GERMANS…[THE MILITARY HISTORY IS] PART AND PARCEL OF THE HISTORY OF THE [TUBA], LETHBRIDGE HAD ONE OF THE LARGEST PRISONER OF WAR CAMPS IN ALBERTA…IT WAS A BIG ONE ANYWAYS.” ON HOSEK AND HIS ACQUISITION OF THE TUBA FROM HOSEK, FINDLAY RECALLED, “I THINK [HOSEK] STARTED A COMMUNITY BAND IN LETHBRIDGE AFTER THE SECOND WORLD WAR AND THESE WERE THE INSTRUMENTS THEY USED TO START [THE BAND]…THE IDEA [FOR THE BAND WAS] EVERYTHING COULD BE MOBILE, A MOBILE BAND.” “I WAS IN THE LETHBRIDGE CITY BAND IN THE ‘50S…THAT’S WHERE I GOT MY LESSONS FROM, FROM [HOSEK]…[THEY WERE USING] THE TUBA.” “[I DIDN’T PLAY THE TUBA AT THE TIME] I PLAYED SAXOPHONE BUT I GOT TO BE REALLY GOOD FRIENDS WITH MR. HOSEK AND WHEN HIS WIFE DIED HE HAD TO MOVE OUT HIS HOUSE, AND THAT’S WHEN HE WANTED TO KNOW IF I WANTED THE INSTRUMENTS, SO THAT’S WHEN I GOT THEM.” “[HOSEK OFFERED THE INSTRUMENTS TO ME] BECAUSE I WAS STARTING A COMMUNITY BAND…[AT] COALDALE…AND WAS STARTING A BAND PROGRAM OUT THERE AT THE SCHOOLS AND WE DIDN’T HAVE ANY MONEY FOR INSTRUMENTS AND THERE WAS A BASE DRUM [THAT] BELONGS…TO THE SAME VINTAGE AS [THE TUBA]. I THINK IT WAS HIS REGIMENTAL BASS DRUM STILL SITTING OUT IN COALDALE...[I WASN’T USING ALL OF THEM FOR THE COALDALE SCHOOL BAND BECAUSE] SOME [OF THE INSTRUMENTS] DON’T WORK VERY GOOD.” “[I TOOK FROM THE GARAGE] A GOOD TEN INSTRUMENTS. [THERE] MUST HAVE BEEN TEN OR TWELVE THERE…I KNOW THEY WERE [SOURCED AT THE SAME TIME AS OTHERS FROM THE POW CAMP].” FINDLAY SHARED HIS INTEREST IN THE TUBA, NOTING, “[THE INSTRUMENT IS INTERESTING TO ME] JUST THAT [IT’S] MEMORABILIA OF THE SECOND WORLD WAR. [THE INSTRUMENT IS] STILL HERE AND [IT WILL] STILL PLAY. IT’S PRETTY AMAZING.” “[MY FAVOURITE INSTRUMENT OF THE COLLECTION WOULD BE THE TUBA] BECAUSE I PLAY THE TUBA. THAT’S WHY. NOT TOO MANY PEOPLE PLAY THE TUBA…IT’S THE SAME FINGERING AS A TRUMPET [BUT] THEY READ IT IN THE BASE CLEFT…YOU CAN MOVE OFF IF YOU NEED SOMEBODY TO PLAY A TUBA…THEY CAN PLAY IT PRETTY QUICK IF THEY’RE A TRUMPET PLAYER…THERE WAS A BUNCH OF OTHER STUFF. SOME OF IT GOT SOLD…THERE [WERE] OTHER OLD TUBAS THERE BUT THAT WAS THE NICEST ONE.” IN AN EMAIL TO THE GALT MUSEUM COLLECTIONS TECHNICIAN, KEVIN MACLEAN, ON JANUARY 22, 2020, MURRAY MASON RECALLED THE TUBA AND ROBERT FINDLAY. MASON NOTED, “ROBERT [FINDLAY] AND I LIVED WITHIN A BLOCK OF ONE ANOTHER IN THE 1990’S IN THE GILBERT PATERSON/MCKILLOP CHURCH AREA. ON NEW YEAR’S EVE AT MIDNIGHT…WE DID THIS FOR SEVERAL YEARS…WE WOULD FO OUT ONTO THE STREET…ROBERT LEADING THE WAY PLAYING THE TUBA WHILE THE MEN AND WOMEN FOLLOWED AND SANG. OCCASIONALLY I WOULD LIGHT A FIRE CRACKER…AND DROP IT INTO THE TUBA AND IT WOULD EXPLODE AND SPARKS WOULD FLY OUT OF IT. AS YOU CAN IMAGINE, PEOPLE CAME OUT OF THEIR HOUSES TO LISTEN AS THE TUBA IS VERY LOUD…AND WE WERE INVITED IN TO SOME OF THE HOUSES FOR DRINKS BEFORE WE CARRIED ON OUR MARCH. ONE [NEW YEAR’S EVE] WE WERE IN A HOUSE AND I RAN ACROSS AN AUSTRIAN WHO HAD BEEN IN THE AFRIKA KORPS AND A POW IN [LETHBRIDGE] AND CAME BACK…I THINK ROBERT PLAYED EDELWIESS ON THE TUBA BEFORE WE HEADED ON OUR WAY.” MASON FURTHER RECALLED, ON THE HISTORY OF THE TUBA, “…IT’S A 4-VALVE TUBA WHICH IS RARE TO BEGIN WITH AND THE GERMANS HAD IT FITTED SO THAT THE TUBA PLAYER COULD ALSO RIDE A MOTORCYCLE…ALL MEMBERS OF THE AFRIKA KORPS BAND RODE MOTORCYCLES AND MANY OF THEIR INSTRUMENTS WERE SPECIALLY DESIGNED FOR THAT PURPOSE…THE BAND WAS PART OF A PANZER ARMY AND THEY MOVED FAST…” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND MURRAY MASON’S EMAIL, PLEASE SEE THE PERMANENT FILE P20190012000-GA. IN OCTOBER 2007, FRANK HOSEK, THE ORIGINAL CONDUCTOR OF THE LETHBRIDGE A.C.T. JUNIOR BAND, WAS CONTACTED TO CLARIFY QUESTIONS REGARDING TWO INSTRUMENTS CLAIMED BY BOB FINDLAY TO HAVE USED BEEN BY THE BAND AND INMATES IN CAMP 133. HE STATED, “THE INSTRUMENTS WERE GIVEN TO THE ASSOCIATION OF CANADIAN TRAVELERS (A.C.T.) (WHICH), WANTED TO DO SOMETHING FOR THE YOUNG PEOPLE (BOYS AND GIRLS) OF LETHBRIDGE. SINCE THERE WAS NO BAND IN LETHBRIDGE AT THE TIME, AND MUSIC WAS NOT TAUGHT IN THE SCHOOLS, THE ASSOCIATION DECIDED THAT THIS IS WHERE THEY WOULD MAKE THEIR EFFORT.” HOSEK RECALLED THAT THE INSTRUMENTS WERE LEFT BEHIND AT THE CAMP WHEN ITS INTERNEES WERE REPATRIATED BACK TO GERMANY. THE INSTRUMENTS WERE GIVEN TO THE A.C.T. BY FEDERAL AUTHORITIES PRIOR TO THE CAMP’S DISMANTLEMENT AND DEMOLITION. AN EQUIVALENT NUMBER OF INSTRUMENTS WERE ACQUIRED BY THE A.C.T. TO FORM A COMPLETE BAND – EVERYTHING, CLAIMED HOSEK, “FROM A SOUSAPHONE TO A CORNET (TRUMPET)”. HOSEK STATED THAT THE CAMP INSTRUMENTS WERE PROVIDED FOR THE PRISONERS BY THE INTERNATIONAL RED CROSS. THE FLUGELHORN, HE REMEMBERED CORRECTLY, WAS MADE IN GRASLITZ, GERMANY. SUCH INSTRUMENTS, HE COMMENTED, WERE “MADE IN CIRCULAR FORM” AND FIT OVER THE SHOULDERS OF THE PLAYER. THIS DESIGN ALLOWED PLAYERS THE ABILITY TO FINGER THE INSTRUMENT WITH ONE HAND WHILE, FOR EXAMPLE, STEERING A BICYCLE WITH THE OTHER. AFTER THE A.C.T. ACQUIRED THE INSTRUMENTS, IT HAD TO FIND A TEACHER AND CONDUCTOR. TO THAT END, HOSEK SAID THE ASSOCIATION ADVERTISED IN THE LETHBRIDGE HERALD AND HE, HAVING JUST RETURNED FROM ACTIVE DUTY IN THE OVERSEAS, “NEEDED A JOB”. AN AGREEMENT WAS REACHED BETWEEN HOSEK AND THE ASSOCIATION PERTAINING TO HIS SALARY AND HE THEREAFTER MOVED TO LETHBRIDGE TO BECOME THE BAND’S TEACHER AND CONDUCTOR. LATER, HE DECIDED TO PLACE HIS FATHER, FRANK SR., AS THE BAND’S HEAD LEADER. HOSEK, IN TURN, STARTED A BAND IN COALDALE AND PINCHER CREEK IN ADDITION TO FORMING A SYMPHONY ORCHESTRA IN LETHBRIDGE, CONSISTING OF HIS PRIVATE STUDENTS. WHEN THE DUTY OF SPONSORING THE BAND BECAME TOO HEAVY A BURDEN FOR THE A.C.T., THE BAND WAS TAKEN OVER AND SPONSORED BY THE KIWANIS CLUB. HIS FATHER CONTINUED ON AS THE BAND’S DIRECTOR. THE BAND’S DEMISE CAME WHEN INSTRUMENTAL MUSIC WAS INTRODUCED IN THE SCHOOLS. HOSEK BELIEVED THAT INSTRUMENTS’ DONOR, BOB FINDLAY, ”TOOK OVER LEADERSHIP OF THE BAND AFTER HIS FATHER WENT INTO RETIREMENT.” HE THOUGHT THAT THE INSTRUMENTS MAY HAVE BEEN DISCARDED AT HAMILTON JUNIOR HIGH SCHOOL AFTER THE BAND DISBANDED. WHEN ASKED ABOUT HIS KNOWLEDGE OF CAMP 133 ACCORDIONS, HE RECALLED, “I HAD FOR A TIME A LARGE CLASS OF ACCORDION STUDENTS. THIS PARTICULAR INSTRUMENT YOU REFER TO MAY HAVE BEEN MIXED UP WITH ALL THE INSTRUMENTS.” PLEASE REFER TO PERMANENT FILE P19900049001-GA FOR MORE INFORMATION. IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON DEVELOPED THE FOLLOWING BRIEF HISTORY OF PRISONER OF WAR CAMP 133 WITH INFORMATION FROM THE GALT MUSEUM BROCHURE "LETHBRDGE'S INTERNMENT CAMPS" AND THE LIBRARY AND ARCHIVES CANADA WEBSITE. DURING WORLD WAR II THERE WERE 40 PRISONER OF WAR (P.O.W.) CAMPS CONSTRUCTED ACROSS CANADA TO HOUSE THE LARGE NUMBER OF INCOMING POWS - ENEMY MILITARY PERSONNEL THAT WERE CAPTURED IN COMBAT. CAMPS WERE BUILT IN ONTARIO, QUEBEC, THE MARITIMES AND ALBERTA. THE CAMPS IN LETHBRIDGE AND MEDICINE HAT WERE THE LARGEST, TOGETHER HOUSING 22,000 MEN. THE LETHBRIDGE CAMP, NO. 133, WAS BUILT IN THE SUMMER OF 1942, AND BY NOVEMBER OF THAT YEAR HOUSED 13,341 PRISONERS. THE CAMP WAS DIVIDED INTO SIX SECTIONS, EACH WITH SIX DORMITORIES, MESS HALLS, KITCHENS, AND ENTERTAINMENT FACILITIES. MEALS WERE IN SHIFTS WITH PRISONERS SERVING AS COOKS. TAILOR, BARBER AND SHOE REPAIR SHOPS WERE ALSO STAFFED BY PRISONERS, AND NON-COMBAT POWS PRACTICED THEIR PRE-WAR PROFESSIONS AS MEDICAL DOCTORS AND DENTISTS. HOUSING AND RATIONS WERE THE SAME STANDARD AS FOR THE CANADIAN ARMED FORCES, WHICH SOMETIMES CAUSED RESENTMENT AMONG LETHBRIDGE CIVILIAN RESIDENTS, WHO WERE UNABLE TO OBTAIN MANY OF THE SAME SUPPLIES ON THEIR STRICT WARTIME RATION ALLOWANCES. WITH MANY YOUNG LOCAL MEN AWAY AT WAR, LOCAL FARMERS BEGAN TO REQUEST LABOUR ASSISTANCE FROM THE CAMP, ESPECIALLY FOR THE SUGAR BEET INDUSTRY. BY 1943 AN AGREEMENT WAS REACHED AND SOME OF THE PRISONERS WORKED ON FARMS THROUGHOUT SOUTHERN ALBERTA. MOST OF THESE PRISONERS WENT FROM THE CAMP TO THE FARMS DAILY, BUT SOME WERE KEPT AT 'LODGES' AT THE MORE DISTANT FARMS FOR DAYS AT A TIME, WITH MINIMAL GUARDING. FOR THEIR LABOUR, THE PRISONERS WERE PAID 50 CENTS PER DAY. WITH WAR'S END, CAMP 133 CLOSED IN DECEMBER 1946 AND ITS PRISONERS WERE SENT BACK TO GERMANY. THE AREA WHERE THE CAMP STOOD EVENTUALLY BECAME AN INDUSTRIAL PARK AND PART OF THE FEDERAL AGRICULTURAL RESEARCH CENTRE.
Catalogue Number
P20190012000
Acquisition Date
2019-06
Collection
Museum
Images
Less detail
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
PLASTIC, PAINT, METAL
Catalogue Number
P20170023001
  2 images  
Material Type
Artifact
Date Range From
1940
Date Range To
1950
Materials
PLASTIC, PAINT, METAL
No. Pieces
2
Height
10
Length
9.5
Width
3.8
Description
FIGURINE OF ROYAL CANADIAN MOUNTED POLICE OFFFICER ON BLACK HORSE; OFFICER IS PAINTED TO WEAR BROWN ROUND-BRIM HAT, RED SERGE JACKET, NAVY BREECHES, AND BROWN BOOTS. HORSE IS PAINTED BLACK WITH GREY AND BROWN SADDLE AND BRIDLE; FIGURINE IS FIXED TO GREY RECTANGULAR BASE WITH TEXT STAMPED ON BOTTOM “LINEOL, GERMANY”. OFFICER IS DETCHABLE AND SECURES TO HORSE WITH METAL PEG. PAINT IS SCRAPED AND PEELED ON FIGURINE; HORSE’S LEGS ALL HAVE CRACKS RUNNING THROUGH; BASE IS CRACKED FROM EDGE TO HORSE’S FRONT LEFT LEG AND HIND RIGHT LEG; OVERALL GOOD CONDITION.
Subjects
TOY
Historical Association
LEISURE
SAFETY SERVICES
MILITARY
History
ON JULY 21, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED GLENN AND JOANNE ALLEN REGARDING THEIR DONATION OF RCMP AND LETHBRIDGE MEMORABILIA. GLENN ALLEN WAS RAISED IN LETHBRIDGE, AND COLLECTED THE OBJECTS AS A CHILD LIVING IN LETHBRIDGE. ON THE RCMP FIGURINE, ALLEN RECALLED, “THESE TWO MOUNTED POLICE ITEMS, THE BANNER AND THE LITTLE STATUETTE…I WAS YOUNG, IN THE [HOMEFRONT] PERIOD FROM 1940-1945. LETHBRIDGE WAS A MAJOR BASE FOR THE COMMONWEALTH AIR TRAINING THING. WE HAD YOUNG BRITISH AIRMEN COME, AND THEY LIVED EVERYWHERE. THEY BOARDED WITH PEOPLE; THEY STAYED ON BASE, BUT WHEN THEY HAD A DAY OFF, IT WAS ONE OF THE RESPONSIBILITIES OF THE PEOPLE OF LETHBRIDGE TO TAKE THEM ON LITTLE JOURNEYS TO PLACES. I CAN REMEMBER GOING WITH THEM…TO FORT MACLEOD, AND THEN TO PINCHER CREEK, AND WE HAD PLUMS AND CHERRIES. I CAN REMEMBER MY MOTHER BRINGING THIS BAG OF FRUIT OUT, AND SAYING TO THE ONE YOUNG FELLOW, “WOULD YOU LIKE A PIECE OF FRUIT?” HE WAS SITTING IN THE FRONT SEAT, TURNED TO MY MOTHER [WHO] WAS DRIVING THE CAR, [THEN] HE TURNED TO HIS BUDDIES IN THE BACKSEAT, AND HE [SAID], “WOULD YOU LIKE A PLUM OR A CHERRY?” WE VISITED THERE, AND THOSE WERE GIFTS FROM THOSE AIRMEN TO ME, AT THAT TIME. I HAD A LITTLE MANTLE IN MY ROOM, DOWNSTAIRS IN CALGARY, AND HAD THEM THERE. WHEN WE WERE IN LETHBRIDGE, WE HAD NO SPACE AT ALL FOR ANYTHING. OUR FURNITURE HAD TO BE ALL STORED. THE ONLY POSSESSIONS OF OURS THAT WERE IN THAT HOUSE WERE OUR BEDS AND OUR DRESSERS, MAYBE A COUPLE OF CHAIRS…” “[I DISPLAYED THEM] MORE CALGARY, THAN LETHBRIDGE.” ALLEN ELABORATED ON HIS FAMILY’S HISTORY IN LETHBRIDGE, NOTING, “MY MOTHER’S FAMILY CAME TO LETHBRIDGE IN 1923, AND SHE WAS ABOUT 12 AT THE TIME. SHE DIDN’T GO TO SCHOOL ANY FURTHER AT THAT POINT IN TIME, AND SHE WAS HIRED ON AS A HOUSE GIRL FOR THE STOLZ FAMILY.” “MY DAD’S NAME WAS TOM, THOMAS SPENCE ALLEN, AND MY MOTHER WAS DOROTHY EMMA SCHIELS. MY DAD’S FAMILY - HIS FATHER AND, A FEW YEARS LATER MY DAD AND HIS MOTHER - CAME TO LETHBRIDGE IN 1910, AND THEY SETTLED IN NORTH LETHBRIDGE, AT 707 12A ST. NORTH. THERE WERE THREE BOYS AND ONE GIRL. THEY ALL WENT THROUGH HIGH SCHOOL AT GALBRAITH HIGH SCHOOL, AND MY DAD WORKED FOR THE RAILWAYS. HE STARTED AS A MESSENGER…HE WAS 15 YEARS OF AGE. HE PROGRESSED IN THE FREIGHT CPR BUSINESS, AND BECAME A FREIGHT INSPECTOR IN LETHBRIDGE, AND THEN, IN 1948, WAS TRANSFERRED TO CALGARY. MY MOTHER WAS ALWAYS A HOUSEWIFE. THEY LIVED ON 3RD AVENUE NORTH, BY THE LEALTA THEATRE. THEY HAD JUST ONE CHILD. I GREW UP [IN THAT HOUSE] UNTIL I WAS ABOUT AGE FIVE. AT THAT TIME, THE END OF THE WAR WAS COMING, AND SOLDIERS WERE RETURNING. RENTAL HOUSING BECAME ALMOST NOT AVAILABLE. ANYBODY WHO WAS RENTING AT THAT TIME, IF YOU HADN’T BEEN IN THE FORCES, YOU WERE REQUIRED BY ORDINANCE TO FIND ANOTHER PLACE. IT WAS A HOUSE WHICH WE HAD TO GIVE UP. WE’D BEEN THERE SINCE I WAS BORN. THEN WE MOVED OVER TO 12TH STREET C, THE 500 BLOCK. WE LIVED TEMPORARILY THERE, AND THEN THAT HOUSE WAS SECONDED. WE WERE ONLY THERE MAYBE 6 MONTHS, AND THEN WE MOVED INTO AN ATTIC SPACE AT 507 12TH STREET A NORTH, AND LIVED IN THE 2 ROOMS IN THE ATTIC - NO INSULATION, AND VERY COLD IN THE WINTER, AND HOT IN THE SUMMER.” “[MY FATHER] GOT A PROMOTION [IN 1948]. HE GOT A PROMOTION TO CALGARY…A BETTER JOB.” “MY MOTHER AND DAD LIVED IN LETHBRIDGE, GREW UP IN LETHBRIDGE. MY MOTHER WAS THE COLLECTOR IN THE FAMILY. WHEN I WAS MARRIED [IN 1962], ALL OF THESE THINGS SHE GAVE ME TO JUST TAKE ALONG, BECAUSE THEY HAD BEEN GIVEN TO ME. THEY ARE JUST LITTLE ITEMS THAT WE JUST DON’T KNOW WHETHER THEY HAVE ANY VALUE, AND RATHER THAN HAVE THEM JUST GO TO LAND FILL, WE’D LIKE YOU TO HAVE A LOOK AT THEM.” “TODAY IS OUR FIFTY-FIFTH WEDDING ANNIVERSARY, AND WE’RE RETURNING TO LETHBRIDGE BECAUSE WE’VE HAD THESE THINGS IN OUR POSSESSION FOREVER, AND WE WANT TO SEE IF THEY HAVE ANY VALUE TO THE MUSEUM. THEY ARE RELICS THAT WE’VE [GATHERED] FROM PAST YEARS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170023001-GA.
Catalogue Number
P20170023001
Acquisition Date
2017-07
Collection
Museum
Images
Less detail
Other Name
RIBBON ARTWORK
Material Type
Artifact
Materials
POLYESTER, COTTON, PAPER
Catalogue Number
P20170020001
  2 images  
Material Type
Artifact
Other Name
RIBBON ARTWORK
Date
2017
Materials
POLYESTER, COTTON, PAPER
No. Pieces
2
Height
102
Length
892.8
Description
A. COLLECTION OF 231 MULTI-COLORED RIBBONS TIED TO A PINK TWO-STRAND CORD ( 892.8CM LONG AND 0.5CM DIAMETER) FORMING PENNANT STRING. RIBBONS VARY IN LENGTH AND WIDTH AS: 3.7CM PINK SHEER ORGANZA, 3.8CM WHITE WIRED TAFFETA, 0.9CM PINK SATIN (DOUBLE-FACED), 4.3CM PALE PINK CREPE PAPER, 0.9CM DARK PURPLE SATIN (DOUBLE-FACED), 7.4CM PINK HAND-TORN CLOTH, 3.7CM WHITE WIRED WITH SILVER EDGING, 1.8CM PINK GROSGRAIN RIBBON, AND 3.9CM MINT GREEN POLYESTER RIBBON. EVERY RIBBON IS WRITTEN ON IN BLACK, GREEN, OR RED INK WITH VARIOUS STATEMENTS INCLUDING: “FOR MY DAUGHTER & THE WOMEN WHO CAME BEFORE”, “BECAUSE NO ONE IS FREE WHEN OTHERS ARE OPPRESSED”, “SO YOUNG GIRLS DON’T HAVE TO BE AFRAID” AND MORE [PLEASE SEE THE PERMANENT FILE FOR COMPLETE LISTING OF THE RIBBON STATEMENTS]. PINK HAND-TORN CLOTH RIBBONS HAVE FRAYING EDGES, AND WHITE WIRED RIBBONS HAVE EXPOSED WIRES AT ENDS. RIBBON PENNANT IS IN OVERALL VERY GOOD CONDITION. B. DETACHED RIBBON FROM RIBBON PENNANT. DEEP PURPLE WITH BLACK TEXT READING “WOMEN ARE STRENGTH!!!” RIBBON IS 38.5CM LONG AND 1CM WIDE WITH FRAYING AT THE DETACHED END.
Subjects
ART
Historical Association
POLITICS
History
THE WOMEN'S MARCH LETHBRIDGE FIRST OCCURRED ON JANUARY 17, 2017. ORIGINATING IN THE UNITED STATES OF AMERICA FOLLOWING THE ELECTION OF PRESIDENT DONALD TRUMP, THE WOMEN'S MARCH WAS AN INTERNATIONAL MOVEMENT OF PROTESTS AND GATHERINGS IN SUPPORT OF WOMEN'S RIGHTS, HUMAN RIGHTS, LGBTQ+ RIGHTS AND STANDING AGAINST INTOLERANCE AND DISCRIMINATION. THE 2017 WOMEN’S MARCH IN LETHBRIDGE SAW A GATHERING OF 500-600 PARTICIPANTS ALONG MAYOR MAGRATH DRIVE SOUTH NEAR THE CORNER OF NINTH AVENUE. SHANNAN LITTLE ACTED AS A FACILITATOR FOR THE GATHERING AND DONATED SIGNAGE AND ACTIVIST ARTWORKS FROM THE LETHBRIDGE WOMEN’S MARCH. ON JUNE 9, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LITTLE REGARDING HER DONATION AND PARTICIPATION IN THE LETHBRIDGE WOMEN’S MARCH. WHEN ASKED ABOUT THE RIBBON PENNANT DONATED TO THE MUSEUM, LITTLE SPOKE ABOUT THE RIBBON PENNANT AS ACTIVIST ART, “PART OF WHAT’S IMPORTANT ABOUT ‘ACTIVISM ART’ IS THE ABILITY TO INCLUDE OTHERS IN IT, SO THAT IS WHY THE RIBBON PROJECT WAS REALLY AMAZING. IT JUST STARTED OUT WITH THIS STRING WITH NO RIBBONS, AND THEN THEY ASKED PEOPLE TO WRITE WHY THEY WERE THERE, WHY MARCH, ON THE RIBBONS. WE WEREN’T SURE IF PEOPLE WOULD GO FOR THAT, BECAUSE IT’S KIND OF A PERSONAL EXPRESSION, AND PEOPLE WERE REALLY EXCITED. WE ENDED UP [WITH] HUNDREDS OF PERSONAL REASONS, AND SO THAT BECAME A COMMUNITY ART PROJECT, AS WELL AS A PLACE TO COLLECT ALL THESE REASONS WHY PEOPLE WERE HERE. IT WAS INCREDIBLY VISUAL; IT WAS QUITE BEAUTIFUL. YOU CAN SEE THERE WERE SO MANY PHOTOS THAT PEOPLE TOOK OF IT. THIS WILL BE…SOMETHING THAT PEOPLE REMEMBER. MY DAUGHTER, WHO IS ONLY FIVE, HAS A RIBBON ON THERE, SO MY MOTHER WROTE THE TEXT OUT. SHE SAID WHY SHE WANTED, WHY SHE WAS HERE, AND IT’S ALSO INCLUDED ON THERE, SO IT’S REALLY SPECIAL.” “FOR ME, THE RIBBON DISPLAY IS INCREDIBLY ICONIC. AS FAR AS I KNOW, WE’RE THE ONLY COMMUNITY THAT DID THIS. THAT’S PART OF…OUR SIZE BUT ALSO THIS COMMUNITY THAT IS UNIQUE IN LETHBRIDGE. OTHER EVENTS WERE A LOT OF JUST TALKING TO PEOPLE, SPEAKERS…SO THIS INTERACTIVE, COMMUNITY-INCLUSIVE PIECE OF PUBLIC ART WAS, FOR ME, VERY ICONIC….I WOULD SAY…THE RIBBON PROJECT STANDS OUT.” WHEN ASKED ABOUT HER INVOLVEMENT IN COMMUNITY ACTIVISM, LITTLE NOTED, “I’VE BEEN INVOLVED IN ORGANIZING OTHER EVENTS AND RALLIES IN TOWN, BUT NONE THAT HAD THE TURN-OUT AND THE RESPONSE THAT THIS ONE DID. WE DIDN’T HAVE ANY REAL EXPECTATIONS ABOUT WHAT THE TURN-OUT WOULD BE. WE KNEW THERE WOULD BE PEOPLE, BUT, WHEN WE SAW THE NUMBER OF PEOPLE THAT CAME OUT, WE WERE EXCITED, BY THE FACT THAT WE HADN’T REALLY - THERE WAS NO AGENDA ON THIS EVENT, OR ANYTHING. IT WAS VERY SPONTANEOUS, AND, THAT IT WORKED IN THIS CITY WAS SIGNIFICANT.” LITTLE SPOKE ABOUT HER DONATION TO THE MUSEUM AND HER FEELINGS ON LEARNING THAT THE MUSEUM WANTED MARCH MATERIAL RECALLING, “…WHEN I FIRST HEARD, I WAS ACTUALLY QUITE EXCITED, BECAUSE…WHEN WE WERE ORGANIZING THE EVENT, WE WANTED TO MAKE SURE THAT IT JUST WASN’T A POINT IN TIME...AND THEN IT WENT AWAY…WHEN WE HEARD THE MUSEUM WAS INTERESTED, WE WERE…ON A PRACTICAL LEVEL, SAYING 'WOW, WE CAN PUT THE STUFF SOMEWHERE,'…THERE WAS A LOT OF LABOR AND EFFORT INVOLVED IN MAKING IT, BUT, OTHERWISE, PRESERVING THE STORY, AND THE CONTEXT - WE REALIZED THAT WAS IMPORTANT.” LITTLE RECALLED HOW SHE BECAME INVOLVED WITH THE LETHBRIDGE WOMEN’S MARCH, SAYING, “IT STARTED WHEN I FOUND OUT ABOUT PUSSY HATS…I CROCHETED A FEW OF THOSE TO SEND TO WASHINGTON, AND I POSTED IT ON FACEBOOK, AND THEN A LOT OF MY FACEBOOK CONTACTS SAID, 'I WANT ONE.' AND, THEN THE NEXT QUESTION WAS, 'WHAT’S GOING ON IN LETHBRIDGE?' IT BECAME APPARENT THAT WE NEEDED TO HAVE SOMETHING IN LETHBRIDGE. A GROUP OF US WHO HAVE DONE SIMILAR THINGS, GOT TOGETHER TO SAY, WELL, WHAT COULD WE DO? WE DIDN’T CALL OURSELVES ORGANIZERS. WE CALLED OURSELVES FACILITATORS. WE FACILITATED THE GATHERING, AND WE USED THAT TERMINOLOGY WITH INTENTION. WE ALSO WERE CLEAR TO PEOPLE THAT EVERYONE WHO CAME TO THE EVENT WAS AN ORGANIZER. IT WAS INTERESTING, BECAUSE ONE OF THE MEDIA STORIES ABOUT THIS, ASKED SOMEONE, 'WHO IS THE ORGANIZER?' AND, THE RESPONSE WAS, 'WE ARE ALL ORGANIZERS.'” “I THINK IT’S IMPORTANT TO KNOW THAT THIS WASN’T JUST ABOUT ‘WOMEN’S RIGHT’S.’ ‘WOMEN’S RIGHT’S’ IS ‘HUMAN’S RIGHT’S’. IN LETHBRIDGE, WE ORGANIZED TO COME OUT STRONGLY AGAINST DISCRIMINATION OF ANY FORM. WE ALSO WERE MARCHING FOR VERY POLITICAL REASONS, AND THAT IS STATING THAT THE POLITICS OF INTOLERANCE ARE NOT ACCEPTABLE, AND, IN ALBERTA, WE REALLY SEE THAT CURRENTLY. WE ALSO WANTED TO SEE A RETURN TO CIVILITY AND RESPECT IN PUBLIC DISCOURSE. WE SAW SO MUCH MISOGYNY, ESPECIALLY ON SOCIAL MEDIA, SO WE WANTED TO SAY LOUDLY AND STRONGLY THAT THIS IS NOT ACCEPTABLE IN OUR COMMUNITY.” ON MARCH 31, 2017, MACLEAN INTERVIEWED ANNELIES VAN OERS REGARDING HER PARTICIPATION IN THE WOMEN’S MARCH IN LETHBRIDGE ON JANUARY 17, 2017. WHEN ASKED ABOUT THE NATURE AND ORIGINS OF THE WOMEN’S MARCH IN LETHBRIDGE, VAN OERS REMARKED, “WE DIDN’T HAVE A MARCH, WE HAD A GATHERING BECAUSE WE DIDN’T WANT TO GET A PERMIT SO WE HAD A GATHERING. IT WAS VERY ELECTRIC. FOR LETHBRIDGE IT WAS… ROCKING.” “WHAT WAS UNIQUE TO LETHBRIDGE IS THE WAY THAT IT WAS ORGANIZED. IT’S SUPER-GRASSROOTS…AND FAIRLY LOW KEY. THERE’S NOT THIS ORGANIZATIONAL JOCKEYING OR POSITIONING, IT WAS JUST FIVE PEOPLE, 'HEY, LET’S DO THIS. OKAY, LET’S DO THIS.' AND THAT’S HOW LETHBRIDGE, QUITE OFTEN, OPERATES…WE JUST GENERICALLY COME TOGETHER BECAUSE WE ALL FEEL PASSIONATE ABOUT ONE THING…THERE’S JUST THIS [SENSE OF], 'OKAY, WHAT NEEDS TO BE DONE AND WHAT CAN I DO TO HELP?' AND THAT’S WHERE I THINK WE’RE UNIQUELY LETHBRIDGE. IT’S VERY HANDS ON, IT’S VERY QUICK.” “WHAT ELSE IS UNIQUE IN LETHBRIDGE IN TERMS OF THE WOMEN’S MARCH, I THINK, IS ITS RELEVANCE. WE ARE SO FACED WITH MISOGYNY RIGHT NOW IN OUR COMMUNITY. BECAUSE THIS CAME OUT OF A POLITICAL SPHERE THAT’S IN THE UNITED STATES. IT WAS VERY MUCH AN ANSWER TO DONALD TRUMP. THIS IS HOW THIS MARCH STARTED BUT I THINK, FOR US, IT WAS, 'YEAH, OKAY, WE REALLY DON’T APPRECIATE IT WHEREVER IT HAPPENS, BUT LOCALLY, WE HAVE SOME REALLY SERIOUS ISSUES.'” PLEASE SEE THE PERMANENT FILE P20170020001-GA FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, FULL LISTING OF RIBBON STATEMENTS, NEWSPAPER ARTICLES AND PHOTOGRAPHS FROM THE JANUARY 17, 2017 WOMEN’S MARCH.
Catalogue Number
P20170020001
Acquisition Date
2017-06
Collection
Museum
Images
Less detail
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, WOOL
Catalogue Number
P20180022000
  2 images  
Material Type
Artifact
Date Range From
1950
Date Range To
1960
Materials
COTTON, WOOL
No. Pieces
1
Length
175
Width
61.5
Description
GOBELIN TAPESTRY, MACHINE-STITCHED AND WOVEN; SCENE WOVEN DEPICTS FOUR FIGURES IN A HOUSE AROUND A TABLE, THREE ADULTS AND A CHILD; INTERIOR OF HOUSE DEPICTED SHOWS CABINET AND VASES ON CARPET IN FOREGROUND ON LEFT SIDE; BACKGROUND HAS TWO CHAIRS AND A LANDSCAPE PAINTING ON WALL AT LEFT, CENTER OF ROOM HAS A FIREPLACE AND COOKING POT WITH SIX PLATES ON MATLEPIECE, RIGHT SIDE OF FIREPLACE SHOWS PODIUM WITH BOOKS STACKED AND CABINET; RIGHT SIDE SHOWS FIGURES IN FOREGROUND AROUND A TABLE SEWING, AND WINDOW ON RIGHT WALL OPEN. SCENE IS WOVEN USING GOLD AND BROWN HUES PRIMARILY, WITH PINK AND GOLD FOR FLOOR. FRONT HAS ORANGE STAINING ALONG UPPER EDGE ON RIGHT, CENTER, AND LEFT SIDES; TAPESTRY SHOWS SIGNS OF FADING; OVERALL VERY GOOD CONDITION. *UPDATE* IN JANUARY 2021 COLLECTIONS ASSISTANT NICOLE WILKINSON ATTACHED A COTTON MUSLIN SLEEVE TO THE REVERSE SIDE.
Subjects
ART
Historical Association
DECORATIVE ARTS
History
ON SEPTEMBER 27, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED MARY WITDOUCK REGARDING HER DONATION OF A GOBELIN TAPESTRY. WITDOUCK IMMIGRATED TO CANADA FROM HOLLAND IN 1955 WITH HER FAMILY, THE BOUWS, AND HAD BEEN GIFTED THE TAPESTRY BY HER MOTHER PRIOR TO IMMIGRATING, HAVING PURCHASED THE TAPESTRY FROM A BELGIAN SALESMAN. ON THE TAPESTRY, WITDOUCK ELABORATED, “THERE WERE A FEW TAPESTRIES [IN THE FAMILY] BUT THEY WERE NOT GOLDEN. THEY WERE TAPESTRIES [OF] TULIP FIELDS AND THEY WERE MORE VELVETY TYPES WITH BRIGHT COLOURED TULIP FIELDS…IN DIFFERENT COLOURS HERE, DIFFERENT COLOURS THERE. TO ME, THEY WERE NICE AT THE TIME BUT THEY FADED MORE AND THEY WERE JUST NOT LIKE THIS ONE.” WITDOUCK TOLD THE STORY OF HOW SHE ACQUIRED THE TAPESTRY, RECALLING, “IT WAS AROUND THE END OF FEBRUARY IN 1955. I WAS SEVENTEEN YEARS OLD AND WORKED ON MY FATHER’S FARM. OUR FARM WAS SITUATED NEAR THE SMALL TOWN OF ERP IN THE PROVINCE OF NORTH BRABANT, NETHERLANDS. THE ECONOMY IN EUROPE AT THE TIME, DUE TO THE AFTERMATH OF THE SECOND WORLD WAR WAS NOT GOOD AND THAT WAS EXPECTED TO LAST FOR MANY MORE YEARS. LIFE FOR US, MYSELF AND OUR WHOLE FAMILY, WAS ABOUT TO CHANGE IN A BIG WAY AS MY PARENTS HAD MADE PLANS TO IMMIGRATE TO CANADA. THE DAY THAT WE WOULD LEAVE WAS ONLY ABOUT THREE WEEKS AWAY ON MARCH 25TH TO BE EXACT AND LOTS HAD TO BE DONE TO PREPARE FOR THAT DAY. JUST AROUND THAT TIME, A MAN RIDING A TRANSPORT BICYCLE STOPPED BY OUR HOUSE. THE MAN SAID THAT HE WAS SELLING TAPESTRIES AND ASKED MY MOTHER IF HE COULD SHOW THEM TO HER. THE TAPESTRIES WERE GOBELINS AND WERE MADE IN BELGIUM. SEVERAL OF US GIRLS, ALONG WITH MY MOTHER STOOD AROUND THE SALESMAN AS HE SHOWED US THE DIFFERENT ONES. MY MOTHER THEN SAID TO US OLDER GIRLS, 'IF YOU LIKE TO HAVE ONE YOU MAY ALL PICK ONE.' WE WERE HAPPY WITH THAT TO GET THESE TAPESTRIES. I DON’T KNOW WHAT MY MOM PAID FOR THEM. WE CAREFULLY WRAPPED THEM AS SOON THESE TAPESTRIES WOULD COME ALONG TO CANADA. AFTER ARRIVING IN CANADA, I WAS NOT ABLE TO SHOW OFF MY TAPESTRY ON THE WALL UNTIL 1965 ABOUT 10 YEARS LATER. RALPH [WITDOUCK] AND I MET AND MARRIED IN 1960, AND CAME TO LIVE ON A FARM IN A SMALL TWO-ROOM HOUSE. [WE] DID NOT HAVE A WALL LARGE ENOUGH TO HANG THIS BEAUTIFUL TAPESTRY. OUR FAMILY GREW AND FIVE YEARS AND THREE LITTLE ONES LATER, WE MOVED INTO A MUCH LARGER HOME. EVER SINCE THEN, NEARLY FIFTY YEARS, WE HAVE BEEN ABLE TO SHOW OFF THIS BEAUTIFUL TAPESTRY. THE REASON WHY THE TAPESTRY ALSO MEANT A LOT TO US IS BECAUSE BELGIUM WAS THE PLACE WHERE RALPH WAS BORN…I STILL REMEMBER MANY OF THE OLDER HOMES IN HOLLAND, THAT HAD THE SAME TYPE OF FURNITURE, FIREPLACE WITH PLATES ON TOP, WINDOWS THAT OPENED FROM THE TOP…AND A DOOR WHERE YOU COULD LEAVE THE TOP HALF OPEN, AND ALSO A BIBLE STAND WITH BIBLE. I ALSO REMEMBER MY GRANDMOTHER BEING DRESSED LIKE THE MOTHER IN THE TAPESTRY. ALSO SEWING AND KNITTING WAS ALL DONE BY HAND.” “IT’S IMPORTANT BECAUSE I’VE ALWAYS LIKED OLD PLACES IN EARLIER DAYS. I REALLY LIKED GOING TO MY GRANDPARENTS BECAUSE THINGS WERE SO DIFFERENT THEN. ALREADY [BEFORE 1955]…OUR PLACE WAS A BIT MORE MODERN. I CAN CONNECT WITH LOTS OF THOSE THINGS [IN THE TAPESTRY] BECAUSE I SAT ON THOSE CHAIRS AND I KNOW MY GRANDMA WAS DRESSED SOMETHING LIKE THE LADY IN THERE.” “BELGIUM WOULD HAVE HAD THOSE SAME SCENES IN THOSE DAYS. THEY WERE OLD FARM HOMES…THEY WERE AN AWFUL LOT ALIKE.” “I’VE ALWAYS ENJOYED HAVING THIS ON THE WALL. MOST OF THE TIME IT WAS EITHER IN THE DINING ROOM OR IN THE LIVING ROOM, EITHER ABOVE THE CHESTERFIELD OR [IN FAIRMONT SUBDIVISION] WE HAD IT IN THE DINING ROOM, THERE WAS A NICE BIG WALL THERE.” “THE FARM THAT WE WERE LIVING ON WHEN I LIVED IN THE TWO-ROOMED HOUSE WAS SE 10-11-20. THEN WE MOVED TO SW 15-11-20 AND THERE WAS A TWO-STORY HOUSE ON THERE THAT WAS BUILT IN 1906. IT WAS OLD AND IT WAS COLD. IT WAS ONLY INSULATED WITH NEWSPAPERS BUT WE HAD MUCH MORE ROOM...WE LIVED THERE UNTIL WE WERE ABLE TO BUILD A NEW HOME ON THAT PLACE [IN 1975]. BUT AS SOON AS WE MOVED TO SW 15-11-20, I WAS ABLE TO PUT [THE TAPESTRY] UP.” “AT THAT TIME, IT WAS HANGING ON A ROD. THERE WERE ALSO TASSELS ON THERE…I THINK MY KIDS HAD PROBABLY PULLED ON IT TOO MUCH. THEY WERE ALL LITTLE ONES [AND] BECAUSE IT WAS ALWAYS HANGING ABOVE THE CHESTERFIELD AND THE KIDS ARE ON THE CHESTERFIELD [IT WAS DAMAGED]. AFTER THAT, PROBABLY TWENTY YEARS AFTER THAT, WE DECIDED TO FRAME IT. I HAD IT, WE LIVED IN FAIRMONT FOR ABOUT TWELVE YEARS…MAYBE FIFTEEN YEARS…I HAD IT HANGING IN THE DINING ROOM ON A NICE BIG WALL. IT’S ALWAYS BEEN ON THE WALL UNTIL WE GOT [IN THIS LETHBRIDGE HOUSE], BECAUSE I KNEW THAT THIS WAS THE LAST PLACE UNTIL WE HAVE TO GO TO…ONE OF THOSE PLACES [SENIORS’ HOMES]. YOU DON’T KNOW WHERE YOU’LL END UP, BUT NOW WE DECIDED THAT WE SHOULD DECIDE WHAT TO DO WITH IT.” WITDOUCK RECALLED THE MOVE HER FAMILY MADE TO CANADA IN 1955, STATING, “WE [THE BOUW FAMILY] LEFT MARCH 25TH, AND WE ARRIVED IN CANADA…AT PIER 21 IN HALIFAX ON APRIL 2ND. WE ENDED UP IN LETHBRIDGE ON APRIL 6TH. MY BIRTHDAY WAS ON JULY 6TH SO I WAS NEARLY 18.” “[MY PARENTS] THOUGHT, WELL ‘MAYBE THIS [TAPESTRY] IS A NICE MEMORY’ AND [MY MOTHER] WANTED TO MAKE US HAPPY BECAUSE WE WERE IMMIGRATING AND WE LEFT OUR FRIENDS BEHIND, FAMILY. MY OLDER SISTER WAS ALREADY IN CANADA BECAUSE SHE GOT MARRIED THE YEAR BEFORE. [THAT WAS] ONE MORE REASON WHY MY PARENTS WANTED TO IMMIGRATE TOO, BECAUSE THEY KNEW THAT THE FAMILY WOULD BE DIVIDED FOREVER IF WE DIDN’T GO. LOTS OF TIMES WITH FAMILIES, SOME WOULD LIKE TO GET MARRIED BUT THERE WAS NO CHANCE IN HOLLAND. AFTER THE WAR, THE ECONOMY WAS REALLY BAD AND PEOPLE COULD NOT BUILD ANY HOMES FOR THEIR CHILDREN WHO [GOT] MARRIED.” “THERE WERE NINE CHILDREN, TEN WITH THE ONE THAT IMMIGRATED TO [CANADA] BEFORE…THE YOUNGEST ONE WAS FIVE, AND MY SISTER WAS 22 BY THEN AND THE NEXT ONE WAS 21. WE SLEPT WITH THREE IN A BED. ON THE FARM, WHEN WE ARRIVED, [THERE WAS] NO RUNNING WATER AND THAT WAS THE NORM FOR ALL NEW IMMIGRANTS.” “MY OLDER SISTER ENDED UP IN SPRING COULEE [WITH] HER HUSBAND, AND NATURALLY WE WANTED TO BE IN SOUTHERN ALBERTA TOO. BUT IN SPRING COULEE THERE’S NO SUGAR BEETS [AND] WE WANTED TO BE SOMEWHERE WHERE A FARMER WAS GOING TO GIVE US A JOB. THAT’S THE ONLY WAY YOU COULD COME IS IF YOU HAD A JOB LINED UP FOR A FAMILY LIKE THAT.” “I MISSED MY FRIENDS THE MOST BUT, IN THE MEANTIME, YOU END UP WITH NEW FRIENDS, SLOWLY…WE WERE ONLY [HERE] FOUR DAYS AND I HAD A JOB IN MILK RIVER ALREADY. IN THE MEANTIME, I GOT TO KNOW RALPH. I ONLY GOT TO COME HOME ONCE IN TWO WEEKS FROM MILK RIVER TO PICTURE BUTTE AND WE WENT TO CHURCH. RALPH WAS CATHOLIC TOO AND THIS IS HOW WE GOT TO SEE EACH OTHER AND HE FLIPPED MY HAT OFF. HE WAS KIND OF A FUNNY GUY. WE BECAME FRIENDS AND THEN IF YOU HAVE FRIENDS HERE, YOU DON’T REALLY FORGET THE ONES IN HOLLAND BUT IT BECOMES EASIER.” “I WAS NEVER AGAINST [IMMIGRATING]…WE [SAW] THAT THERE WAS GOING TO BE A FUTURE HERE IN CANADA FOR US. WHEN WE FIRST ARRIVED IN CANADA WE COULD SEE THAT ALL THE FARMERS WERE NOT ALL THAT RICH EITHER. THEY WERE WILLING TO GIVE US A JOB BECAUSE THEY NEEDED PEOPLE TO HELP IN THE SUGAR BEETS AND THAT. BUT AT THE SAME TIME WE COULD SEE THAT THEY WERE NOT ALL THAT RICH YET EITHER. THERE WAS THE ODD ONE THAT WAS VERY WELL OFF BUT LOTS OF THEM WERE NOT. BUT THEY WERE WILLING TO GIVE US A JOB. WE ARRIVED IN APRIL [WITH] THE FARMER, BUT WHEN THE BEETS WERE READY TO BE THINNED AND HOED AND HARVESTED…[AFTER THAT] MY DAD WAS OUT OF A JOB. WE COULD STILL LIVE IN THE HOUSE AS LONG AS WE WANTED BUT OF COURSE MY DAD WANTED A JOB AND HE LOOKED AROUND. HE ENDED UP [AT LOURDES FARM].” [MY DAD] WORKED THERE FOR TWO YEARS, BUT HE WANTED TO FARM FOR HIMSELF. THEN HE CAME AND WORKED FOR TIFFIN BUT NOT ON THE DAIRY. HE HAD ANOTHER PLACE, AND TIFFINS WERE VERY GOOD FOR US. THEY GAVE US A MILK COW AND THAT MEANT A LOT. WE HAD A YARD AND A LITTLE GARDEN, AND MY DAD RENTED LAND FOR SUGAR BEETS FROM TIFFIN FOR A FEW YEARS THEN HE BOUGHT A FARM IN BOW ISLAND. MY PARENTS MOVED TO BOW ISLAND BUT I NEVER MOVED WITH THEM BECAUSE I HAD A GOOD JOB HERE. THEN RALPH AND I WERE GOING TOGETHER ALREADY AND HE WAS TALKING SOMETIMES ABOUT GETTING MARRIED.” “I THINK [IMMIGRATING] WAS HARDEST ON MY MOTHER, YET SHE WAS THE BIGGEST PUSH BEHIND IMMIGRATING. I THINK IT WAS THE HARDEST ON HER MAINLY BECAUSE, DURING THE DAY WE WERE ALL OUT WORKING IN THE BEETS. IF WE WEREN’T WORKING IN THE BEETS, THE CHILDREN WERE GOING TO SCHOOL. LUCKILY THE YOUNGEST ONE WAS NOT IN SCHOOL YET AND THAT HELPED MY MOM. BUT SHE DIDN’T KNOW MUCH ENGLISH YET, MAYBE A LITTLE BIT, BUT NOT ENOUGH TO UNDERSTAND WHAT THE RADIO WAS SAYING. THEN HER PARENTS IN HOLLAND HAD A GOLDEN ANNIVERSARY...SHE WENT BACK. THAT WAS TWO AND A HALF YEARS AFTER SHE WAS HERE, SHE WENT BACK TO CELEBRATE HER PARENTS’ ANNIVERSARY. MY DAD DIDN’T GO, MAINLY BECAUSE IT WAS EXPENSIVE AND HE PROBABLY NEEDED THE MONEY HERE TO KEEP GOING. WHEN SHE CAME BACK SHE WAS A DIFFERENT PERSON. SHE WAS SO HAPPY TO BE BACK.” ON HER MOTIVES FOR DONATING THE TAPESTRY, WITDOUCK NOTED, “I WANT TO SCALE DOWN. I’M 81 NOW, YOU NEVER KNOW WHEN SUDDENLY YOUR LIFE TAKES A TURN...THIS IS WHY I WANT TO TAKE CARE OF [THE TAPESTRY] NOW BEFORE IT HAS TO BE DONE IN A HURRY.” FOR MORE INFORMATION INLCUDING MARY WITDOUCK’S TYPED STORY, LETHBRIDGE HERALD ARTICLES, AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180022000-GA.
Catalogue Number
P20180022000
Acquisition Date
2018-09
Collection
Museum
Images
Less detail
Other Name
"CANADA 150 QUILT"
Material Type
Artifact
Materials
COTTON, WOOL, POLYESTER
Catalogue Number
P20180018000
  2 images  
Material Type
Artifact
Other Name
"CANADA 150 QUILT"
Date
2017
Materials
COTTON, WOOL, POLYESTER
No. Pieces
1
Length
239
Width
216
Description
QUILT WITH BACKGROUND PRINTED WITH RED NAMES OF CANADIAN TOWNS AND CITIES ON WHITE, AND WITH RED TRIM AROUND EDGES PRINTED WITH WHITE MAPLE LEAVES. QUILT HAS INNER BORDER ON FRONT ALONG LEFT, RIGHT, AND LOWER EDGES; INNER BORDER HAS 13 FABRIC BLOCKS TRANSFER PRINTED ON WHITE WITH THE FLAGS OF ALL CANADIAN PROVINCES AND TERRITORIES, THE NAME OF THE PROVINCE/TERRITORY, THE FLOWER OF THE PROVINCE/TERRITORY, AND THE DATE THE PROVINCE/TERRITORY JOINED CONFEDERATION; TRANSFER PRINTED BLOCKS ARE ARRANGED GOING DOWN THE LEFT SIDE: QUEBEC, ONTARIO, NORTHWEST TERRITORIES, BRITISH COLUMBIA; TRANSFER PRINTED BLOCKS ARE ARRANGED FROM LEFT TO RIGHT ALONG BOTTOM EDGE: YUKON, NEWFOUNDLAND AND LABRADOR, NUNAVUT, ALBERTA, SASKATCHEWAN; TRANSFER PRINTED BLOCKS ARE ARRANGED GOING DOWN THE RIGHT SIDE: NEW BRUNSWICK, NOVE SCOTIA, MANITOBA, PRINCE EDWARD ISLAND. CORNERS OF INNER BORDER HAVE TRANSFER PRINTED FABRIC BLOCKS HAVE BROWN, WHITE AND BLUE BACKGROUNDS WITH YELLOW TEXT “DISCOVER” AND RED TEXT “CANADA” WITH BLACK SILHOUETTES OF BEAR AND CARIBOU ON SIDES OF TEXT, WITH RED MAPLE LEAF BELOW TRANSFER PRINTED BLOCKS. CENTER OF QUILT HAS RED FABRIC BLOCK WITH APPLIQUED WHITE MAPLE LEAVES IN UPPER CORNERS, AND WHITE APPLIQUED TEXT IN CENTER “CANADA 150, 1867, 2017”. ABOVE CENTER BLOCK IS SEWN RED AND WHITE CANADA FLAG; LEFT OF FLAG HAS TRANSFER PRINTED BLOCK DEPICTING POSTER OF ORANGE, RED, AND BLACK CITYSCAPE WITH RED TEXT “OTTAWA”, AND TRANSFER PRINTED BLOCK OF BILINGUAL [ENGLISH AND FRENCH] ”ELIZABETH THE SECOND…A PROCLAMATION…” ON THE ADOPTION OF THE 1965 CANADIAN RED AND WHITE MAPLE LEAF FLAG; RIGHT OF CANADA FLAG SHOWS FOUR TRANSFER PRINTED FABRIC BLOCKS OF ITIERATIONS OF THE CANADIAN FLAG, STARTING FROM TOP: ROYAL UNION FLAG “USED PRIOR TO 1801”, RED ENSIGN “1871-1921”, CANADIAN RED ENSIGN “1921-1957”, AND CANADIAN RED ENSIGN “1957-1965”. BELOW CENTER “CANADA 150” BLOCK IS MAP OF CANADA WITH APPLIQUED PROVINCES AND TERRITORIES IN ORANGE, YELLOW, BLUE, AND RED FABRIC WITH WHITE PRINTED TEXT LABELLING THE PROVINCES AND TERRITORIES, WHITE STITCHED EDGES AROUND PROVINCES AND TERRITORIES, AND WHITE PRINTED IMAGES OF: ORCA AND FISH BESIDE BRITISH COLUMBIA; MOOSE AND TOTEM POLE ON BRITISH COLUMBIA; PUMPJACK AND SKIER ON ALBERTA; WHEAT HEAD ON SASKATCHEWAN; BEAR ON MANITOBA; BEAVER, LEGISLATURE BUILDING, AND CN TOWER ON ONTARIO; FLEUR-DI-LIES AND “SKIDOO” ON QUEBEC; LIGHTHOUSE AND FISH ON NOVA SCOTIA; FISH ON NEWFOUNDLAND AND LABRADOR; WHALES BESIDE NEWFOUNDLAND AND LABRADOR; HAWK ON YUKON; DIAMOND ON NORTHWEST TERRITORIES; CARIBOU, BEAR, AND INUKSHUK ON NUNAVUT. PROVINCES AND TERRITORIES HAVE CAPITAL CITIES INDICATED WITH BLACK STARS AND CITY NAMES IN WHITE. UPPER LEFT CORNER OF MAP HAS RED MAPLE LEAF AND YELLOW TEXT “DISCOVER” AND RED TEXT “CANADA”; UPPER RIGHT CORNER OF MAP HAS RED MAPLE LEAF AND BLUE TEXT “FROM SEA TO SEA” AND RED AND WHITE CANADIAN FLAG; LOWER LEFT CORNER OF MAP HAS RED, WHITE, AND BLUE ROUND COMPASS ROSE WITH “N” LABELLED AT TOP OF COMPASS IN BLACK. CENTER BLOCKS HAVE BORDERS AROUND THEIR PERIMETERS OF CREAM FABRIC PRINTED WITH RED REPEATING TEXT “CANADA 1867-2017”. BACK OF QUILT HAS WHITE LABEL ON TRANSFER PRINTED FABRIC IN UPPER LEFT CORNER WITH RED TEXT “SYDNEY FISHER; LETHBRIDGE, ALBERTA; 403-327-5838; QUILT FOR CANADA’S 150TH; 1867 – 2017.” BACK HAS MINOR STAIN AT LOWER EDGE; OVERALL EXCELLENT CONDITION.
Subjects
ART
Historical Association
COMMEMORATIVE
DECORATIVE ARTS
History
ON JULY 26, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED SYDNEY AND FRANK FISHER REGARDING SYDNEY FISHER’S CREATION OF THE CANADA 150 QUILT DONATED BY VERN NEUFELD. NEUFELD WON THE QUILT IN A RAFFLE AS A FUNDRAISER FOR THE LETHBRIDGE SOUP KITCHEN. ACCORDING TO A LETTER SENT TO THE GALT MUSEUM, NEUFELD INDICATED THAT HE AND HIS WIFE HAD NO NEED TO KEEP THE QUILT, AND HAD OFFERED THE QUILT BACK TO THE LETHBRIDGE SOUP KITCHEN FOR ANOTHER RAFFLE. BILL GINTHER, CEO OF THE LETHBRIDGE SOUP KITCHEN, DIRECTED THE QUILT TO THE GALT MUSEUM & ARCHIVES, WITH THE DONATION COMPLETED BY NEUFELD. ON THE CREATION OF THE QUILT, SYDNEY FISHER RECALLED, “AS FAR AS I KNOW, IT’S THE ONLY ONE WITH THAT LAY-OUT THAT I’VE SEEN, ANYWHERE. IT WAS MY ORIGINAL IDEA. I LIKE TO MAKE THEME QUILTS. THE 150TH BIRTHDAY WAS THE IDEAL TIME TO DO IT. SO, I WENT ABOUT COLLECTING ALL THE PIECES, FROM THE INTERNET, AND THE MIDDLE PIECE IS TOTALLY MY OWN. THIS WAS FROM FABRIC STORES…THE MAP.” “I MADE THAT [CENTER PIECE], TOTALLY FROM SCRATCH. I BOUGHT THE TEMPLATES, CUT IT OUT, AND APPLIQUED IT ON. THESE LITTLE THINGS, I MADE UP OUT OF THREE MAPLE LEAFS, JUST STUCK TOGETHER, UP IN THE CORNER. I MADE THE FLAG, AT THE TOP. THIS PIECE [THAT READS “OTTAWA”] WAS FROM A PANEL [OF] MATERIAL.” “[I INCLUDED IT BECAUSE] IT’S THE CAPITAL. BELOW THAT IS THE DECLARATION FROM THE QUEEN THAT SAYS THAT THE MAPLE LEAF BECAME OUR FLAG IN 1965. THAT, WE GOT OFF THE INTERNET ALSO. AND, SOMEBODY SAID TO ME, 'YOU CAN’T DO THAT. THAT’S --' I SAID, 'IT’S ON THE INTERNET. I CAN SO.' THEN WE ALSO GOT, ON THE UPPER RIGHT-HAND CORNER, ARE THE FOUR FLAGS THAT [WERE] USED FROM 1867 TO 1965, AND IT’S GOT THE DATES UNDERNEATH EACH ONE OF THEM.” “[THERE ARE] THE FLAGS AND THE FLOWERS, AND THEN THERE’S ALSO THE DATES THAT THEY JOINED CONFEDERATION, WHICH BRINGS THEM DOWN THE QUILT FROM BOTH SIDES. THERE’S THE FOUR ORIGINALS, AND THEN AS THEY JOIN, THEY COME [AROUND THE EDGE], AND NUNAVUT IS RIGHT IN THE MIDDLE, BECAUSE IT WAS THE LAST ONE IN 1999.” “THAT CAME RIGHT OUT OF MY HEAD. IT’S JUST SOMETHING I LIKE TO DO. I LIKE THEME QUILTS, AND IF I HAVE A THEME, I RUN WITH IT. [THE QUILT] HAS MORE MEANING BECAUSE IT IS CANADA. SOMEBODY SAID TO ME, 'WELL, IT SHOULD HAVE SOMETHING TO DO WITH MILITARY.' NO, IT’S CANADA’S BIRTHDAY, IT’S NOT MILITARY! THAT ONE IS A CANADA QUILT…THIS ONE WAS SPECIFICALLY FOR CANADA.” “IT WOULD BE ABOUT MARCH OF 2017 [WHEN I STARTED THIS QUILT]. WHEN I START A QUILT, I FOCUS ON NOTHING ELSE. I HAVE THIS BEAUTIFUL PICTURE IN MY HEAD, AND IT’S GOT TO TURN OUT THAT WAY, OR I DON’T LIKE IT. I JUST KEEP GOING. THE FIRST ONE ENDED UP KING-SIZE BECAUSE I HAD ALL THIS STUFF I WANTED TO GET ON IT…THEN I STARTED NARROWING IT UP A BIT, SO THAT IT WOULD BE A QUEEN-SIZE INSTEAD.” “[THE FIRST QUILT] TOOK ABOUT 120 HOURS, BECAUSE I HAD TO GATHER ALL THE STUFF FOR [IT]. I [HAD] ALL THE PATTERNS FOR THIS, AND THE DOWN-SIZED ONE, SO I CAN PUT IT TOGETHER [FASTER]…BECAUSE I HAVE ALL THE PATTERNS…I WORK USUALLY FROM 7:00 IN THE MORNING TILL 4:00 IN THE AFTERNOON.” “THIS ONE WAS THE SECOND [QUILT] MADE TO SHOW OFF, BECAUSE [THE FIRST] ONE WENT TO ENGLAND. MY PLAN WAS TO MAKE ONE, AND I MADE THE ONE AND HUNG IT IN THE [ROYAL BANK ON MAYOR MAGRATH DRIVE]. IT WENT OVER SO WELL, I MADE TWO MORE. QUEEN-SIZE. THEN SOMEBODY SAID, “BUT THAT’S SO BIG.” THEN I MADE [ABOUT SIX]…WALL-HANGINGS.” “[THIS QUILT] WENT OVER WELL, EVEN IF THE BIRTHDAY IS OVER. PEOPLE WANT IT. THERE WAS A FELLOW AT THE BANK, HE WANTED THE QUILT BECAUSE HE’S SETTING UP, OUT IN STIRLING THEY HAVE A CP RAIL [MUSEUM], BUT THE QUILT WAS TOO BIG. HE ORDERED TWO—ONE FOR HIS HOUSE, AND ONE FOR STIRLING, BUT HE WANTED THE CP RAIL ACROSS CANADA, SO THAT ONE HAS THE CP RAIL ACROSS THE BOTTOM.” SYDNEY FISHER ELABORATED ON THE DONATION OF THE QUILT TO THE LETHBRIDGE SOUP KITCHEN FUNDRAISER, NOTING, “[THIS KING-SIZED VERSION ENDED UP] IN THE ROYAL BANK ON MAYOR MCGRATH. THAT IS MY BANKING BANK, AND I SAID, 'WOULD YOU CONSIDER HANGING IT THERE?' BECAUSE THAT WAS THE END OF JUNE…THEY HUNG IT THERE SO THAT THEY COULD HAVE IT THERE FOR THE FIRST OF JULY. [THIS QUEEN-SIZED VERSION] WENT TO THE EXHIBITION WHEN THEY HAD…A CANADA DAY PAVILION, OR CANADA’S 150TH BIRTHDAY. I HUNG ONE OF THE WALL HANGINGS ALONGSIDE OF IT.” “[THE KING-SIZED VERSION] WENT TO ENGLAND…THERE WAS AN ENGLISHMAN CAME INTO THE BANK, AND HE GAVE THE GIRLS HIS PHONE NUMBER, AND SAID, 'GET HER TO PHONE ME.' I PHONED HIM, AND HE SAID, 'I WANT ONE.' I SAID, 'EXCUSE ME?' WELL, HE SAID, 'THAT QUILT AT THE BANK…I WANT ONE.' I SAID, 'WELL, IT’S A KING-SIZE (IT’S 100X104, OR 108), IT’S $1000.00.' 'I’LL TAKE IT.'” “THAT’S WHEN I MADE TWO QUEEN-SIZED ONES. I DONATED [THE QUILT FROM THE PAVILLION] TO THE SOUP KITCHEN. I PUT [THE QUEEN-SIZED QUILTS] ON KIJIJI, AND GOT NO RESPONSE WHATSOEVER. I WOULDN’T PAY $800.00 FOR A QUILT, BECAUSE I COULD MAKE THEM. I BROUGHT THEM BACK HOME, AND I SAID, 'YOU KNOW, WE DONATE TO THE SOUP KITCHEN. THEY’RE DOING A BREAKFAST PROGRAM. THEY CAN TAKE IT, AND RAFFLE IT OFF FOR THEIR BREAKFAST PROGRAM.' I [DONATED ONE QUILT TO] NOR-BRIDGE. THEY RAFFLED IT OFF, FOR WHATEVER PROGRAMS THEY NEED.” “WE STARTED TALKING ABOUT IT, AND [THE SOUP KITCHEN STAFF] ALL SAID TO ME, 'OH, THAT WOULD BE NICE FOR US TO RAFFLE OFF.' I THOUGHT (THIS WAS BEFORE I PUT THEM ON KIJIJI), 'I DON’T KNOW.' WHEN THEY DIDN’T SELL ON KIJIJI, I TOOK IT TO BILL, AND I SAID, 'DO YOU STILL WANT IT?' WELL, HE HUNG IT ON THE WALL, AND STARTED SELLING TICKETS…I THINK THESE GUYS GOT $1500.00. I DON’T KNOW ABOUT NOR-BRIDGE…$1500.00 IS WHAT BILL SAID THEY MADE ON THAT QUILT. [TICKETS] WERE $5.00.” “THIS ONE HAD GONE TO SASKATCHEWAN…TO [THE KELVINGTON HERITAGE SHOW]. THE LEGION LADIES SAW IT, AND ASKED MY SISTER HOW MUCH I WANTED FOR IT. OF COURSE, THE LEGION ISN’T AS FLUID AS A LOT OF THINGS, AND $800.00 WAS TOO MUCH. I SAID, 'WELL, YOU ASK THEM IF THEY WOULD LIKE A WALL-HANGING.' THE WALL-HANGINGS ARE ONLY $150.00. THAT’S HOW THEY STARTED. THAT, AND LARRY AT THE ROYAL BANK, WHO WANTED A SMALLER ONE FOR STIRLING.” ON HER INTEREST IN QUILTING, SYDNEY FISHER RECALLED, “MY MOTHER [FRANCES DICKS, NEE FENNELL] SEWED EVERYTHING, FROM HER OWN BRAS ON UP, AND SHE SEWED FOR EVERYBODY. I WENT HOME TO HER HOUSE, WHEN I WAS IN NURSING, AND SHE SAID, 'WELL, DON’T TOUCH THAT.' THERE’S A SHEET IN THE MIDDLE OF THE LIVING ROOM FLOOR; THERE’S ANOTHER ONE OVER HERE; THERE’S ANOTHER ONE OVER HERE. I SAID, 'WHAT HAVE YOU GOT IN -?' “WELL, THAT’S THE WEDDING DRESS, AND THESE ARE THE BRIDESMAID DRESSES.” THAT’S HOW SHE SEWED! ON AN OLD TREADLE SEWING MACHINE.” “PROBABLY ABOUT 10 YEARS AGO I STARTED QUILTING. I WAS PAST DOING CLOTHING, AND TO DO THESE SILLY LITTLE THINGS THAT ARE OF NO USE, OTHER THAN TO COLLECT DUST, I CAN’T BE BOTHERED WITH THAT. I NEED TO HAVE SOMETHING I CAN KIND OF SET MY TEETH IN.” “QUILTING HAS MADE ME EVEN A WORSE HOUSEKEEPER THAN I ALREADY WAS, BECAUSE, WHEN I GET UP IN THE MORNING, AND I HAVE AN IDEA, WELL, 'IF YOU DON’T DO THE DISHES, FRANK, THEY AREN’T GOING TO GET DONE, BECAUSE I’M DOING SOMETHING.' I’M NOT A SUPER HOUSEKEEPER, AS IT IS, AND WHEN I HAVE SOMETHING LIKE THIS, EVERYTHING ELSE TAKES A BACK-BURNER.” SYDNEY FISHER NOTED HER THOUGHTS ON THE DONATION OF THE QUILT TO THE MUSEUM, “IT MEANS EVERYTHING TO ME, BECAUSE I AM A CANADIAN. I WAS BORN IN SASKATCHEWAN, AND THE FURTHEST I’VE GONE IS TO LETHBRIDGE. I’VE BEEN TO TORONTO ONCE, AND WE WENT TO NOVA SCOTIA ONCE. I’VE BEEN TO B.C. ONCE. I LIVED IN WINNIPEG FOR A COUPLE OF YEARS. BUT, YOU’RE STILL IN CANADA, AND, AS FAR AS I’M CONCERNED, THERE ISN’T ANY PLACE LIKE IT, EVEN IF IT IS THE DUST BOWL OF THE WORLD…I’M QUITE PROUD THAT IT’S AT THE MUSEUM. I DIDN’T THINK THEY’D EVER GET THAT FAR.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETTER FROM VERN NEUFELD, PLEASE SEE THE PERMANENT FILE P20180018000-GA.
Catalogue Number
P20180018000
Acquisition Date
2018-07
Collection
Museum
Images
Less detail
Other Name
COMIC N. T. (THAT WENT VERY W-WELL)
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20200015004
  1 image  
Material Type
Artifact
Other Name
COMIC N. T. (THAT WENT VERY W-WELL)
Date
2020
Materials
PAPER, INK
Length
28
Width
21.5
Description
COMIC PRINT. BLACK INK ON WHITE PAPER. 1 PANEL. IMAGERY FEATURES ALBERTA PREMIER JASON KENNEY WEARING DR. DEENA HINSHAW’S ICONIC PERIODIC TABLE DRESS WITH TWO OTHER PEOPLE STANDING NEARBY AT A PRESS BRIEFING ON ALBERTA’S COVID-19 SITUATION. THE PERSON ON THE FAR LEFT—RANDY DZIWENKA, THE AMERICAN SIGN LANGUAGE INTERPRETER FOR ALBERTA'S COVID UPDATES— IS SIGNING "BULLSHIT". ONE WHITE SPEECH BUBBLE (WITH COMMENTARY DIRECTED AT PREMIER KENNEY) IN BLACK WORDING SAYS “THAT WENT VERY W-WELL, SIR. I’M SURE YOUR POLLING IS R-I-IGHT UP THERE WITH DR. HINSHAW BY NOW” IN PENCIL AT THE BOTTOM OF THE COMIC IS SIGNED “ERIC DYCK, APRIL 9, 2020”. PRINT IS IN MINT CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
LOCAL CARTOONIST AND EDUCATOR ERIC DYCK DONATED 9 OF HIS COVID 19-RELATED ARTWORKS TO THE GALT MUSEUM, AND ON THE 17TH OF JUNE 2020 MET WITH COLLECTIONS TECHNICIAN KEVIN MACLEAN TO DISCUSS THEM. THE FOLLOWING INFORMATION ABOUT THE SINGLE PANEL EDITORIAL CARTOON INVOLVING JASON KENNEY (“THAT WENT VERY W-WELL) CAME FROM THEIR MEETING. ERIC CLARIFIED THE REPRESENTATIONS USED IN THIS COMIC: “I THINK THAT WAS MAYBE ONE OF THE FIRST [COMICS OF THIS TYPE]…I GOT TRACTION…WITH KENNEY WEARING DR. HINSHAW’S ‘SMOKING LILY’ PERIODICAL TABLE DRESS, IN AN ATTEMPT BY KENNEY TO BE AS APPEALING OR TO CURRY AS MUCH FAVOR AS HINSHAW WAS OBVIOUSLY DOING.” ERIC EXPLAINED THE CULTURAL MOMENT SURROUNDING THIS PRINT: “KENNEY IN THE DRESS WAS JUST EXPRESSING THE FRUSTRATION FROM MYSELF AND WHAT I COULD TELL FROM OTHERS ON SOCIAL MEDIA WAS…WE WERE THERE TO SEE DR. HINSHAW. SHE’S WHO GAVE US COMFORT. SHE’S WHO KNEW THE STUFF SHE WAS TALKING ABOUT. AND PEOPLE WERE FRUSTRATED WHEN KENNEY OR SHANDRO WOULD SHOW UP ON THAT 3 O’CLOCK TIME WHEN WE’RE ALL THERE TO SEE DR. HINSHAW TO GET THE STRAIGHT [STORY AND] TALK ABOUT WHAT WAS GOING ON AND THEN WE GOT POLITICAL SPIN FROM THEM... PEOPLE SAW IT AS KENNEY TAKING UP HINSHAW’S TIME AND SAYING HER STUFF IN WAYS THAT HE DIDN’T FULLY UNDERSTAND AND THEN WE HAD TO WAIT FOR HINSHAW TO COME ON AND SYMBOLICALLY ROLL OUR EYES AND HEAR HER DELIVER THE SAME CONTENT, BUT IN A WAY THAT SHOWED SHE UNDERSTOOD IT. THAT FRUSTRATION WITH SOMEONE WHO LIKES TO BE LIKED, LIKE ANY POLITICIAN DOES, BY SHOWING HIM WEARING HER FAMOUS PERIODICAL TABLE DRESS WAS A MEANS OF JUST EXPRESSING THAT FRUSTRATION... WE WANTED TO SEE A CIVIL SERVANT, NOT A POLITICAL ACTOR.” THIS COMIC WAS A SINGLE PANEL, A FORMAT ERIC HAS USED INFREQUENTLY: “THE ‘THAT WENT WELL’ IS A SINGLE PANEL, WHICH IS VERY UNUSUAL FOR ME…COMICS LIKE THE ‘GUIDELINES FOR BERATING YOUR DOCTOR’ [ARE PRESENTED ELECTRONICALLY [VIA A] VERTICAL SCROLL…EVERYONE CAN ENGAGE WITH THAT AND READ [IT] CHRONOLOGICALLY IN THE SAME WAY. THE OTHER THING THAT’S BEEN IMPORTANT WITH THE MULTI-PANEL COMICS HAS BEEN INSTAGRAM WHICH IS BY FAR…[GETTING] THE MOST EYEBALLS ON THE COMIC. NOT ON FACEBOOK OR TWITTER AND DEFINITELY NOT ON THEIR OWN WEBSITE. VERY MUCH SO ON INSTAGRAM IS AT LEAST WHERE MY METRICS SHOW THE MOST ENGAGEMENT… HOWEVER, THE SINGLE PANEL COMIC HAS OVER A HUNDRED YEARS OF ESTABLISHED [HISTORY]…PEOPLE READ A SINGLE PANEL COMIC, THEY KNOW IT’S AN EDITORIAL CARTOON AND THEY KNOW THERE’S A NARRATIVE OR HUMOR BEAT TO BE EXPERIENCED WITHIN THAT. I DON’T WORK THAT WAY A LOT. I REALLY DON’T CONSUME A LOT OF COMICS THAT ARE LIKE THAT. I DON’T FIND THAT [FORMAT] SUCCESSFUL- ESPECIALLY FOR SOMETHING AS IMPORTANT AND RICH AS POLITICAL CARTOONS.” “[THE COMIC] DIDN’T NEED NINE PANELS TO COMMUNICATE THAT. I WAS LOOKING FOR JUST SHARING THAT SPARK THAT I FELT EVERY TIME I SAW [KENNEY’S] FACE ON SCREEN WHEN I DIDN’T WANT TO, AND THAT SEEMS TO HAVE RESONATED WITH FOLKS AND A SINGLE PANEL MIGHT BE ENOUGH FOR THAT.” ERIC EXPANDED ON HIS THOUGHTS ABOUT EDITORIAL CARTOONS: “I THINK [SINGLE PANELS ARE] ARCHAIC AND LEAD TO FLUFFY AND SUPERFICIAL THINGS LIKE YOU WOULD SEE BEING CHOSEN NOWADAYS FOR THE [LOCAL NEWSPAPER]. MOST OF THE WESTERN CANADIAN NEWSPAPERS CHOOSE THE SAFEST, THE LEAST OFFENSIVE, THE MOST BENIGN EDITORIAL CARTOONS BECAUSE ESSENTIALLY THE EDITORS ARE JUST LOGGING ONTO A WEBSITE. THEY’RE PAYING A WEEKLY FEE. I BELIEVE ITS FIFTEEN DOLLARS…IT IS EGREGIOUSLY LOW. AND SO THEY JUST PICK THE EASIEST MOST VISUALLY UNCHALLENGING THING THAT CAN BE ON THE EDITORIAL PAGE THAT DAY. THAT’S HOW EDITORIAL CARTOONS WORK IN 2020 IN CANADA. AND SO THE MOST EXCITING CHALLENGING EDITORIAL CARTOONS ARE MOSTLY GOING TO BE IN THE EASTERN PARTS OF THE COUNTRY— VERY FEW NEWSPAPERS BUT A COUPLE OF THEM. MICHAEL DE ADDER HAS REALLY SHOWN HIMSELF TO BE A REALLY CHALLENGING CARTOONIST. I’M A MEMBER OF THE ASSOCIATION OF CANADIAN CARTOONISTS...AND THEY HAVE THEIR OWN COVID RESPONSE SERIES, BUT NONE OF THOSE INTERESTING CHALLENGING COMICS MADE IT INTO NEWSPAPERS... SO THROUGH 'THE SPRAWL' [MAGAZINE] AND THROUGH MY OWN SOCIAL MEDIA ACCOUNTS— I DIDN’T [WANT TO] PITCH THE EDITORIAL CARTOONS TO THE [LOCAL NEWSPAPER].” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE DONATION’S PERMANENT FILE.
Catalogue Number
P20200015004
Acquisition Date
2020-05
Collection
Museum
Images
Less detail
Other Name
COMIC N. T. (DEAR MR. KENNEY)
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20200015006
  1 image  
Material Type
Artifact
Other Name
COMIC N. T. (DEAR MR. KENNEY)
Date
2020
Materials
PAPER, INK
Length
28
Width
21.5
Description
COMIC PRINT. BLACK INK ON WHITE PAPER. 1 PANEL. SHOWS ALBERTA PREMIER JASON KENNEY’S HANDS WRITING A LETTER AT A DESK PRAISING HIMSELF WITH “ALBERTA” LOGO AND “FROM THE DESK OF JASON KENNEY” CROSSED OUT. IN PENCIL AT THE BOTTOM IS SIGNED “ERIC DYCK, APRIL 14, 2020”. PRINT IS IN MINT CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
LOCAL CARTOONIST AND EDUCATOR ERIC DYCK DONATED 9 OF HIS COVID 19-RELATED ARTWORKS TO THE GALT MUSEUM, AND ON THE 17TH OF JUNE 2020 MET WITH COLLECTIONS TECHNICIAN KEVIN MACLEAN TO DISCUSS THEM. THE FOLLOWING INFORMATION ABOUT THE SINGLE PANEL EDITORIAL CARTOON INVOLVING JASON KENNEY (DEAR MR. KENNEY) CAME FROM THEIR MEETING. THIS COMIC WAS A SINGLE PANEL, A FORMAT ERIC HAS USED INFREQUENTLY: “THE ‘THAT WENT WELL’ IS A SINGLE PANEL, WHICH IS VERY UNUSUAL FOR ME…COMICS LIKE THE ‘GUIDELINES FOR BERATING YOUR DOCTOR’ [ARE PRESENTED ELECTRONICALLY [VIA A] VERTICAL SCROLL…EVERYONE CAN ENGAGE WITH THAT AND READ [IT] CHRONOLOGICALLY IN THE SAME WAY. THE OTHER THING THAT’S BEEN IMPORTANT WITH THE MULTI-PANEL COMICS HAS BEEN INSTAGRAM WHICH IS BY FAR…[GETTING] THE MOST EYEBALLS ON THE COMIC. NOT ON FACEBOOK OR TWITTER AND DEFINITELY NOT ON THEIR OWN WEBSITE. VERY MUCH SO ON INSTAGRAM IS AT LEAST WHERE MY METRICS SHOW THE MOST ENGAGEMENT…HOWEVER THE SINGLE PANEL COMIC HAS OVER A HUNDRED YEARS OF ESTABLISHED [HISTORY]…PEOPLE READ A SINGLE PANEL COMIC, THEY KNOW IT’S AN EDITORIAL CARTOON AND THEY KNOW THERE’S A NARRATIVE OR HUMOR BEAT TO BE EXPERIENCED WITHIN THAT. I DON’T WORK THAT WAY A LOT. I REALLY DON’T CONSUME A LOT OF COMICS THAT ARE LIKE THAT. I DON’T FIND THAT [FORMAT] SUCCESSFUL- ESPECIALLY FOR SOMETHING AS IMPORTANT AND RICH AS POLITICAL CARTOONS.” “[THE COMIC] DIDN’T NEED NINE PANELS TO COMMUNICATE THAT. I WAS LOOKING FOR JUST SHARING THAT SPARK THAT I FELT EVERY TIME I SAW [KENNEY’S] FACE ON SCREEN WHEN I DIDN’T WANT TO, AND THAT SEEMS TO HAVE RESONATED WITH FOLKS AND A SINGLE PANEL MIGHT BE ENOUGH FOR THAT.” ERIC EXPANDED ON HIS THOUGHTS ABOUT EDITORIAL CARTOONS: “I THINK [SINGLE PANELS ARE] ARCHAIC AND LEAD TO FLUFFY AND SUPERFICIAL THINGS LIKE YOU WOULD SEE BEING CHOSEN NOWADAYS FOR THE [LOCAL NEWSPAPER]. MOST OF THE WESTERN CANADIAN NEWSPAPERS CHOOSE THE SAFEST, THE LEAST OFFENSIVE, THE MOST BENIGN EDITORIAL CARTOONS BECAUSE ESSENTIALLY THE EDITORS ARE JUST LOGGING ONTO A WEBSITE. THEY’RE PAYING A WEEKLY FEE. I BELIEVE ITS FIFTEEN DOLLARS…IT IS EGREGIOUSLY LOW. AND SO THEY JUST PICK THE EASIEST MOST VISUALLY UNCHALLENGING THING THAT CAN BE ON THE EDITORIAL PAGE THAT DAY. THAT’S HOW EDITORIAL CARTOONS WORK IN 2020 IN CANADA. AND SO THE MOST EXCITING CHALLENGING EDITORIAL CARTOONS ARE MOSTLY GOING TO BE IN THE EASTERN PARTS OF THE COUNTRY— VERY FEW NEWSPAPERS BUT A COUPLE OF THEM. MICHAEL DE ADDER HAS REALLY SHOWN HIMSELF TO BE A REALLY CHALLENGING CARTOONIST. I’M A MEMBER OF THE ASSOCIATION OF CANADIAN CARTOONISTS...AND THEY HAVE THEIR OWN COVID RESPONSE SERIES, BUT NONE OF THOSE INTERESTING CHALLENGING COMICS MADE IT INTO NEWSPAPERS. AND SO THROUGH THE SPRAWL [MAGAZINE] AND THROUGH MY OWN SOCIAL MEDIA ACCOUNTS— I DIDN’T [WANT TO] PITCH THE EDITORIAL CARTOONS TO THE [LOCAL NEWSPAPER].” FOR MORE INFORMATION, INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE DONATION’S PERMANENT FILE. FOR SIMILAR SINGLE PLANEL CARTOON CONTENT PRODUCED BY ARTIST ERIC DYCK, SEE DIGITAL RECORD P20200015004.
Catalogue Number
P20200015006
Acquisition Date
2020-05
Collection
Museum
Images
Less detail
Other Name
COMIC N. T. (CARGILL)
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20200015002
  1 image  
Material Type
Artifact
Other Name
COMIC N. T. (CARGILL)
Date
2020
Materials
PAPER, INK
Length
28
Width
21.5
Description
COMIC PRINT. BLACK INK ON WHITE PAPER. 1 PANEL. TWO SPEECH BUBBLES, ONE IN BLACK WITH WHITE LETTERS SAYS “YEAH, SO… IF YOU COULD, UH, NOT DIE? THAT WOULD BE TERRIFIC, MMKAY?” WHITE SPEECH BUBBLE WITH BLACK LETTERING SAYS “I DON’T REMEMBER, WAS HE HERE BEFORE?” THE OVERSIZED CARICATURE OF BILL LUMBERGH, A CHARACTER FROM THE FILM "OFFICE SPACE", HAS A “CARGILL” MUG AND IS HANDING OUT FACE SHIELDS. THREE SMALLER WORKERS ARE CLOTHED IN WHITE COATS AND HATS. SIGNED ON THE BOTTOM RIGHT IN PENCIL IS "ERIC DYCK, MAY 4, 2020". PRINT IS IN MINT CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
LOCAL CARTOONIST AND EDUCATOR ERIC DYCK DONATED 9 OF HIS COVID 19-RELATED ARTWORKS TO THE GALT MUSEUM, AND ON THE 17TH OF JUNE 2020 MET WITH COLLECTIONS TECHNICIAN KEVIN MACLEAN TO DISCUSS THEM. THE FOLLOWING INFORMATION ABOUT THE CARGILL OUTBREAK EDITORIAL CARTOON CAME FROM THEIR MEETING. ERIC EXPLAINED HOW A GLOBE AND MAIL ARTICLE PROVOKED HIM TO DRAW THE CARTOON: “I POSTED, I BELIEVE IT WAS THE GLOBE AND MAIL ARTICLE THAT I FOUND SO IMPACTFUL…EVERY TIME I POSTED ABOUT THE COMIC [I INCLUDED] THE LINK TO THAT THOROUGH PROPER REPORTING ON THE CARGILL MEAT PLANT. I FOUND THAT THE HEADLINES FOR THE CARGILL SITUATION- AND PARTICULARLY BECAUSE CARGILL HAS SUCH A TIGHT HOLD ON THE MEDIA IMAGES ANYTIME SOMEONE SHOWED A PICTURE ON WHAT IT WAS LIKE INSIDE A CARGILL PLANT IT WAS FROM PROMOTIONAL MATERIALS FROM CARGILL AND IT WAS VERY MUCH NOT REFLECTING THE STORY THAT WAS BEING SHARED; THE REPORTING AND THE PERSONAL EXPERIENCES OF THE CARGILL WORKERS. THERE WAS NO VISUAL IN THE MEDIA FOR WHAT THAT REALLY LOOKED LIKE AND SO I WAS- MY COMIC I WAS HOPING WOULD BE ONE, VERY EXPLICITLY ‘HEY THIS IS HUMAN BEINGS WHO ARE IN THESE BLOODY WHITE COATS WHO ARE CHOPPING UP YOUR MEAT SO YOU CAN HAVE A BAR-B-Q.’ AND IT WAS ALSO A SINGLE IMAGE THAT WAS SHOWING THE POWER DYNAMIC THAT WAS BEING EXPRESSED THROUGH THE REALLY THOROUGH REPORTING, AND I WAS HOPING THAT IT WAS RESULTING IN PEOPLE READING [AN] ARTICLE THEY MIGHT NOT HAVE READ BECAUSE IT WAS A BORING HEADLINE WITH A PICTURE OF THE CARGILL PARKING LOT [FOLLOWED BY] THE MOST EXCRUCIATING HUMAN PERSONAL REFLECTIONS THAT YOU COULD HAVE READ...I WAS HOPING MY COMIC WOULD BE AN ACCESS POINT FOR THEM.” “THE CARGILL COMIC IS THE LEAST ‘ERIC’ I THINK...I WAS CREATING FICTIONAL PEOPLE, REACTING EMOTIONALLY...MAKING A CHEESY MOVIE REFERENCE TO A VERY SERIOUS EVEN FATAL SITUATION HAPPENING IN MEAT-PACKING PLANTS IN ALBERTA. TO THIS DAY I DON’T EVEN REALLY KNOW WHY THAT WAS MY REACTION TO IT. HOWEVER, IT POPPED UP IN MY HEAD AS I WAS READING SOME OF THE REALLY THOROUGH AND EXCRUCIATING REPORTING; I BELIEVE IT WAS COMING OUT OF POSTMEDIA AND NEWSPAPERS AT THE TIME ABOUT WHAT WAS HAPPENING. GLOBE AND MAIL HAD BETTER REPORTING THEN SOME OF THE ALBERTA NEWSPAPERS ABOUT WHAT WAS HAPPENING IN THE BROOKS AREA AND AT THE CARGILL PLANTS.” ERIC ALSO SPOKE ON THE CONTEXT AND ISSUES ADDRESSED IN THE CARTOON: “THE REACTION OF ME DEPICTING CARGILL WORKERS TRYING TO COME BACK TO WORK FINALLY WITH THE [PERSONAL PROTECTIVE EQUIPMENT] THAT THEY HADN’T BEEN GRANTED BEFORE, AND THEY ARE BEING OVERSEEN BY THE CHEESY OFFICE BOSS CHARACTER FROM MIKE JUDGE'S FILM OFFICE SPACE FROM 1999- THE GUY WHO DID THE KING OF THE HILL ANIMATED SHOW [AND THE] BEAVIS AND BUTT-HEAD ANIMATED SHOW. THIS WAS HIS FIRST LIVE ACTION DIRECTORIAL FILM…THAT BOSS HAS COME BACK TO LIFE WITH ONLINE MEMES BEING SHARED AROUND SOCIAL MEDIA WITH THE PASSIVE AGGRESSIVE BOSS SPEAK OF...‘COULD YOU COME IN AND WORK ON THE WEEKEND?’ WAS ESSENTIALLY THE ONGOING RUNNING GAG IN THE FILM, AND PUTTING THE WORDS IN THAT CHARACTER'S MOUTH OF EXPRESSING THE MANAGERIAL PERSPECTIVE THAT CARGILL EMPLOYEES GETTING SICK AND DYING WAS EXTREMELY INCONVENIENT... [IT WAS] A VERY DRY, FLUFFY JOKE TO PIN ON SOMETHING SO SERIOUS BUT SOMETHING FELT REALLY RIGHT AND SOMETHING ABOUT THE IDEA OF TRYING TO HELP PEOPLE RELATE TO THE EMPLOYEES AT THE MEAT PACKING PLANT, WHICH IS A VERY SPECIFIC JOB…PEOPLE DO NOT UNDERSTAND WHAT HAPPENS IN THOSE PLANTS- THE KIND OF WORK IT IS, THE WAY THAT YOU RELATE TO YOUR COWORKERS. NOT TO MENTION THAT MOST OF THOSE EMPLOYEES ARE FOREIGN WORKERS...THEY LIVE AND WORK WITH THEIR FAMILIES AND THEY GET PAID IN WAYS THAT CANADIANS WOULD PROBABLY NOT TOLERATE BEING TREATED IN A WORKPLACE. AND YET, THAT KEEPS HAPPENING AND THE OUTCOME OF THAT WORK ENVIRONMENT AND THE CONTROL THAT THOSE EMPLOYERS HAVE OVER THOSE EMPLOYEES LED TO A LOT OF THE INFECTIONS AND THINGS THAT HAPPENED. THAT LED TO PEOPLE GETTING SICK AND HAVING ONE OF THE BIGGEST OUTBREAKS IN NORTH AMERICA FOR COVID. IT FELT RIGHT…TRYING TO BRING ATTENTION TO WHAT WAS GOING ON.” FOR MOR INFORMATION, INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20200015002-GA.
Catalogue Number
P20200015002
Acquisition Date
2020-05
Collection
Museum
Images
Less detail
Other Name
COMIC "A MODEST PROPOSAL"
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20200015003
  1 image  
Material Type
Artifact
Other Name
COMIC "A MODEST PROPOSAL"
Date
2020
Materials
PAPER, INK
Length
28
Width
21.5
Description
COMIC PRINT. BLACK INK ON WHITE PAPER. SERIES TITLE AT THE TOP SAYS “SLAUGHTERHOUSE SLOUGH BY ERIC DYCK”. 4 PANELS FEATURE TWO DIFFERENT PEOPLE AND A DOG IN A HOUSEHOLD SETTING. NARRATIVE IS ABOUT REACHING OUT TO OTHERS DURING THE COVID-19 LOCKDOWN. SIGNED IN PENCIL AT THE BOTTOM IS “A MODEST PROPOSAL” “ERIC DYCK MARCH 22” AND PRINTED ON THE BOTTOM RIGHT IS “2020 © ERIC DYCK”. PRINT IS IN MINT CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
LOCAL CARTOONIST AND EDUCATOR ERIC DYCK DONATED 9 OF HIS COVID 19-RELATED ARTWORKS TO THE GALT MUSEUM, AND ON THE 17TH OF JUNE 2020 MET WITH COLLECTIONS TECHNICIAN KEVIN MACLEAN TO DISCUSS THEM. THE FOLLOWING INFORMATION ABOUT THE CARTOON TITLED "A MODEST PROPOSAL" CAME FROM THIS INTERVIEW. ERIC PRESENTED THE BACKSTORY BEHIND THIS COMIC: “THAT [WAS PRODUCED ON] MARCH 22, SO THAT WOULD HAVE BEEN A WEEK, WEEK AND A HALF INTO IT? AND THAT WAS A SLOUGH COMIC SO THAT WAS POSTED ONLINE JUST UNDER MY OWN NAME, UNDER MY OWN ACCOUNTS... IT WAS REFLECTING A MESSAGE THAT HAD COME TO ME FROM MY COUSIN; ESSENTIALLY, JUST A CHECK-IN…THERE WAS A LOT OF NEGATIVE ENERGY AND A LOT OF PEOPLE STRESSING OUT OR REACTING TO WHAT SEEMED LIKE A LOT OF APOCALYPTIC DOOM AND GLOOM IN THE MEDIA AND, IN A SENSE…I CAN SEE WHERE SOME FOLKS MIGHT HAVE FELT [THAT] JUST REACHING [OUT] CHECKING TO SEE HOW YOU’RE DOING WAS A BIT SUPERFICIAL, BUT I WAS STRUCK BY MY OWN PERSONAL EMOTIONAL REACTION TO MY COUSIN REACHING OUT, SOMEONE I TALK TO MAYBE TWO-THREE TIMES A YEAR AND THAT I WAS ON HER RADAR WAS MEANINGFUL.” ERIC EXPLAINED THE GRAPH IMAGE USED IN THE COMIC: “...JUST THINKING ABOUT THE TIME THAT WE ALL HAD TO SPEND IN OUR HOMES, AND THE TIME THAT WE WERE OBVIOUSLY ALL SPENDING ON SOCIAL MEDIA- AS LONG AS WE HAVE ACCESS TO THIS KIND OF COMMUNICATION WHERE WE’RE NOT WRITING A LETTER OR SOMEONE’S GETTING IT A WEEK LATER, [THE MESSAGE WAS] TO JUST ENCOURAGE FOLKS TO REACH OUT TO AT LEAST ONE PERSON A DAY JUST TO TOUCH BASE AND JUST TO MAKE THOSE CONNECTIONS... THEN THE IDEA OF ALL THE NEWS IN THE MEDIA’S ABOUT EXPONENTIAL VIRUS TRANSMISSION, TALKING ABOUT [CONTACT] TRACING, TALKING ABOUT...[THE ACT OF TOUCHING] A DOOR KNOB AND THEN HOW MANY OTHER PEOPLE ARE MAKING CONTACT WITH YOU BECAUSE OF THAT DOORKNOB- TO LOOK AT THAT FROM A DIFFERENT PERSPECTIVE AND JUST SAY, IF EVERYONE YOU CONTACTED THIS WEEK WERE TO REACH OUT AND CONTACT SOMEONE, THAT SAME IDEA OF EXPONENTIAL GROWTH COULD BE SOMETHING OTHER THAN GETTING EACH OTHER SICK.” ERIC ON THE IDEA BEHIND THE WORK: “I CERTAINLY DIDN’T FEEL LIKE I NEEDED TO CONTRIBUTE TO THE PARANOIA, THE DOOM AND GLOOM. HOWEVER, I DON’T KNOW THAT THAT’S WHERE MY HEAD GOES IMMEDIATELY... SO, THE ‘PAY IT FORWARD’ COMIC FELT LIKE A POSITIVE GESTURE IN A SEA OF NEGATIVE HEADLINES THAT WAS AS MUCH FOR ME, AS INTENDED TO BE FOR ANYONE ELSE. THAT WAS A WAY OF ME CENTERING MY PERSPECTIVE OR AT LEAST TRYING. THE COUSIN WHO REACHED OUT TO ME, THAT IS ABSOLUTELY HER SENSIBILITY... I WOULD SAY THAT’S VERY MUCH HER GENERAL PERSPECTIVE AND SO I WAS ALSO FORWARDING, PAYING FORWARD, THAT SORT OF A WORLD VIEW...” “…A LOT OF ENERGY [WAS] EXPENDED BY PEOPLE COOPED UP IN THEIR HOUSES AND IT COULD GO TOWARDS EVERYONE FREAKING OUT OR IT COULD GO TOWARDS TRYING TO GIVE EVERYONE A LITTLE BIT OF AN ANCHOR TO GET A FOOTHOLD ON SOME SENSE OF- IF NOT NORMALCY- THEN, AT LEAST, HELPING EACH OTHER OUT.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE DONATION’S PERMANENT FILE.
Catalogue Number
P20200015003
Acquisition Date
2020-05
Collection
Museum
Images
Less detail
Other Name
COMIC "MEET JOSIE"
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20200015001
  1 image  
Material Type
Artifact
Other Name
COMIC "MEET JOSIE"
Date
2020
Materials
PAPER, INK
Length
28
Width
21.5
Description
COMIC PRINT. BLACK INK ON WHITE 8.5” BY 11” PAPER. SERIES TITLE AT THE TOP SAYS “SLAUGHTERHOUSE SLOUGH BY ERIC DYCK”. 4 PANELS. THE NARRATIVE IS ABOUT JOSIE MASON AND POSTERS SHE MADE AND HUNG IN WINDOWS AT HER AND HER NEIGHBOUR’S HOUSE. SIGNED IN PENCIL AT THE BOTTOM “MEET JOSIE” “APRIL 17, 2020” AND PRINTED IN INK AT THE BOTTOM IS "©ERIC DYCK 2020". PRINT IS IN MINT CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
LOCAL CARTOONIST AND EDUCATOR ERIC DYCK DONATED 9 OF HIS COVID 19-RELATED ARTWORKS TO THE GALT MUSEUM, AND ON THE 17TH OF JUNE 2020 MET WITH COLLECTIONS TECHNICIAN KEVIN MACLEAN TO DISCUSS THEM. THE FOLLOWING INFORMATION ABOUT THE “MEET JOSIE” PRINT CAME FROM THEIR MEETING. ERIC GAVE A DESCRIPTION OF THE COMIC: “SLAUGHTERHOUSE SLOUGH IS THE NON-FICTION COMIC ABOUT LETHBRIDGE HISTORY AND PEOPLE AND CRITTERS AND PLANTS ESSENTIALLY EXPRESSING STORIES THAT ARE AROUND ME FROM A COMMUNITY THAT I’M NOT PART OF. SLAUGHTERHOUSE SLOUGH IS THE FIRST SETTLER NAME FOR HENDERSON LAKE, THE CIVIC PARK IN THE MIDDLE OF THE CITY AND SINCE 2013, I’VE BEEN CREATING NON-FICTION COMICS UNDER THAT NAME.” ON THE BACKSTORY BEHIND THIS PARTICULAR PRINT, ERIC STATED: “THE COMIC, ‘MEET JOSIE’ IS A DEPICTION OF THE CONVERSATION THAT I HAD WITH MY NEIGHBOUR AND FORMER STUDENT AT THE CASA CARTOONING CLASS. SO, JOSIE IS A THIRTEEN/ FOURTEEN-YEAR-OLD CARTOONIST WHO, VERY ABRUPTLY, FOUND HERSELF STUCK AT HOME WITH HER PARENTS WHEN THE SCHOOLS SHUT DOWN AND CHOSE TO USE MATERIALS THAT HAD BEEN PURCHASED AND ACQUIRED FOR SCHOOL PROJECTS THAT WERE NO LONGER HAPPENING; POSTER BOARD, AND MARKERS WERE SITTING THERE, READY TO GO AND JOSIE CHOSE TO PRODUCE UPLIFTING MESSAGES BUT ALSO MESSAGES ASKING EVERYONE TO STAY SAFE OR MESSAGES ASKING PEOPLE TO ‘KEEP THE PEACE’ AS [WAS] ON THE POSTER SHE GAVE TO HER NEIGHBOUR. SHE PRODUCED THESE POSTERS AND PUT THEM UP IN HER WINDOWS. SHE MADE TOO MANY ‘CAUSE THEY WERE HAVING FUN AND GETTING EXCITED AND ENDED UP GIVING SOME TO THEIR NEIGHBOURS TO THE EAST. WE SAW THE POSTERS POP UP QUITE QUICKLY JUST BECAUSE...[WE ARE A] A NEIGHBOUR [TO JOSIE TOO] AND WE WALK PAST WITH OUR DOG. BUT WHAT REALLY GOT ME TO REACH OUT TO JOSIE WAS ACTUALLY SEEING HER HOUSE SHOWING UP IN PHOTOS ONLINE OF PEOPLE THAT I KNEW EITHER DIDN’T KNOW JOSIE OR…EVEN I DIDN’T KNOW AND THEY WERE JUST GOING PAST DOWN 9TH AVENUE OR, FOR SOME REASON, THEY NEEDED TO SEE THESE POSTERS AND THEY DID SEE THEM.” ERIC APPRECIATED THE INFLUENCE OF JOSIE’S POSTERS: “SO, I REACHED OUT TO HER – I WANTED TO TALK TO HER ABOUT WHY SHE MADE THEM BUT, AS WITH ANY CARTOONIST…PART OF YOUR MOTIVATION FOR MAKING THINGS IS THE CONNECTION YOU’RE MAKING TO THE PEOPLE WHO ARE CONSUMING IT AND I KNOW THAT JOSIE DOESN’T PRODUCE DRAWINGS OR COMICS PUBLICLY OR ON SOCIAL MEDIA IN SUCH A WAY THAT SHE WOULD HAVE A LARGE AUDIENCE, OR THAT SHE WOULD HAVE THE EXPERIENCE OF SHARING HER WORK. SO I WAS VERY CURIOUS TO KNOW WHAT HER EXPERIENCE WAS ABOUT KNOWING THAT PEOPLE WERE SEEING AND CONSUMING THE THINGS THAT SHE MADE. AND SO, MY FOCUS IN TALKING TO HER WAS ABOUT HER OWN BEHAVIOR IN RELATION TO THE POSTERS FACING OUTWARDS OF HER HOME, AND IT BECAME VERY CLEAR THAT A BIG PART OF HER DAY WAS WATCHING OUT THE WINDOWS AND WATCHING PEOPLE SEE THE POSTERS- TAKING PICTURES, DOING SELFIES WITH HER ARTWORK, AND SEEING HER COME TO TERMS WITH THE IDEA THAT, ‘OH I MADE THESE TO MAKE OTHER PEOPLE FEEL BETTER’... THE CONSUMPTION OF THEM, THE EXPERIENCE OF BEING WITH THE ART WORKS IS HAVING AN IMPACT ON ME AND HOW I’M SEEING THE COMMUNITY AROUND ME AND THAT’S A LOT FOR A FOURTEEN-YEAR-OLD TO TAKE IN.” ERIC COMMENTED ON THE POWER CREATION HAS IN GENERAL: “I KNOW THAT FOR MYSELF...A BIG PART OF, AS A KID, WHY I WOULD MAKE THINGS WAS BECAUSE OF MY INABILITY TO SOCIALLY INTERACT VERY WELL WITH A LOT OF PEOPLE AND MY WAY TO ENGAGE WITH PEOPLE EVEN IN MY IMMEDIATE SURROUNDINGS WAS THROUGH THE ART WORK, WAS THROUGH MAKING THINGS THAT MAYBE OTHER PEOPLE WERE UNCOMFORTABLE MAKING OR AT LEAST WEREN’T MAKING JUST OUT OF PRINCIPLE... SO THE COMIC ABOUT THAT WAS INTRODUCING JOSIE AND I KNOW THAT PEOPLE HAVE GONE TO SEE HER HOUSE BECAUSE OF THE COMIC. BUT ALSO, IT WAS MY WAY OF LETTING JOSIE KNOW THAT THIS REALLY WAS A SPECIAL THING TO DO. THIS REALLY WAS A MEANINGFUL GESTURE THAT SHE’D MADE AND I WAS ALSO – I ENCOURAGE MY STUDENTS TO SHARE BECAUSE SEEING OTHERS, LIKE IT OR NOT, CONSUME YOUR COMICS THAT YOU’RE MAKING IS A BIG PART OF MAKING MORE AND, MORE OFTEN THAN NOT, THAT BUG IS CONTAGIOUS AND YOU EXPERIENCE THE SATISFACTION OF SEEING SOMEONE GET SOMETHING OUT OF SOMETHING YOU MADE AND IT MAKES YOU WANT TO MAKE MORE THINGS... ESPECIALLY WITH THE EXPERIENCE I’VE HAD WITH MY STUDENTS, IN THE PRESENT FEW MONTHS, WAS THEY WERE SHUTTING DOWN, THEY WERE BECOMING OVERWHELMED. THEY WERE NOT MAKING THINGS AND TO SEE JOSIE OVERCOME THAT, AT LEAST ONCE OR TWICE, AND HOPEFULLY ENCOURAGE HER TO PUT VALUE IN THAT EXPERIENCE AND TO KEEP MAKING THINGS EVEN THOUGH I’M SEEING MY OTHER STUDENTS SHUTTING DOWN AND CLOSING UP.” ON MAY 20TH 2020, GALT MUSEUM COLLECTIONS TECHNICIAN KEVIN MACLEAN SAT DOWN WITH JOSIE MASON AND HER MOTHER NAOMI MASON TO TALK ABOUT THE SERIES OF POSTERS JOSIE CREATED AND PLACED IN THE WINDOWS OF HER AND HER NEIGHBOUR’S HOMES DURING THE COVID-19 LOCKDOWN. THREE OF THE POSTERS WERE DONATED TO THE MUSEUM. JOSIE’S INITIAL THOUGHTS ON THE PANDEMIC: “WE ARE DOING SCHOOL ONLINE, SO IT IS KIND OF WEIRD. IT IS JUST WEIRD TO SEE ALL OF MY FRIENDS ON SCREEN RATHER THAN IN PERSON. IT IS WEIRD TO BE AT HOME INSTEAD OF AT MY ACTIVITIES OR AT SCHOOL... I NEVER THOUGHT IT WOULD ACTUALLY COME TO THIS; I DIDN’T THINK IT WOULD GO THIS FAR. BUT, HERE WE ARE.” JOSIE HAD BEEN ACQUAINTED WITH LOCAL CARTOONIST AND EDUCATOR ERIC DYCK PREVIOUSLY, AFTER TAKING A DRAWING CLASS HE WAS TEACHING. AFTER HEARING THAT ERIC WAS GOING TO MAKE A COMIC ABOUT THE POSTERS, JOSIE SAID SHE WAS “WAS SUPER EXCITED BECAUSE HE IS A GREAT ARTIST. HIS ART IS AMAZING, AND WHEN HE GOT IN TOUCH WITH ME TO MAKE A COMIC ABOUT THIS, I WAS REALLY EXCITED. THE FINAL COMIC, IT WAS GREAT. I LOVED IT... ERIC SENT ME FEW SIGHTINGS [OFF LOCAL SOCIAL MEDIA] AND IT WAS HONESTLY JUST REALLY COOL TO SEE THAT SOMEONE TOOK A PICTURE OF MY CREATIONS AND SHARED IT. I JUST THINK THAT WAS REALLY AMAZING.” JOSIE REVEALED WHAT INSPIRED HER TO CREATE THESE POSTERS: “WELL IT WAS A REALLY TOUGH, AND STILL IS A REALLY TOUGH TIME THAT WE ARE GOING THROUGH, AND EVERYONE NEEDS SOME ENCOURAGEMENT. WE LIVE ON A SUPER BUSY STREET SO WE DECIDED WE NEEDED SOMETHING TO MOTIVATE PEOPLE; LIKE, WE CAN DO THIS AND WE CAN GET THROUGH THIS. A LOT OF PEOPLE WALK BY, AND OBVIOUSLY DRIVE BY AND BIKE, SO WE DECIDED TO MAKE SIGNS AND PUT THEM UP IN OUR WINDOWS SO PEOPLE, WHEN THEY WALK BY, CAN LOOK AND GET SOME MOTIVATION, GET SOME ENCOURAGEMENT AND KEEP GOING.” JOSIE EXPRESSED HER MOTIVATIONS BEHIND THE CONTENTS OF THE POSTERS: “SO THE WORDS THAT WE CHOSE, WE KIND OF JUST CAME UP WITH PHRASES. WE WROTE THEM ALL DOWN ON PAPER AND WE CHOSE THESE ONES AND OBVIOUSLY SAW OUR NEIGHBORS' ONES, SO THOSE WERE THE SIX [EXPRESSIONS] THAT WE CHOSE. EVERYONE NEEDS SOME ENCOURAGEMENT AND THESE WERE ENCOURAGING, AT LEAST FOR ME. IT KIND OF SHOWS THAT WE ARE ALL IN THIS TOGETHER, AND THAT WE CAN GET THROUGH THIS. THAT’S WHY I CHOSE THOSE.” ON THE EXPANSION INTO THE NEIGHBOURING HOME: “WE JUST KIND OF GRABBED THREE AND TOOK THEM TO OUR NEIGHBORS. WE DIDN’T REALLY THINK MUCH OF IT. WE ACTUALLY ALREADY HAD THESE IN OUR WINDOW AND WE JUST TOOK THE EXTRA THREE THAT WE HAD.” JOSIE TALKED ABOUT THE INFLUENCE OF HER POSTERS: “I GUESS EVEN SOMETHING SMALL CAN CHANGE SOMEONE’S DAY. LIKE IF THEY DON’T HAVE FAMILY HERE, IF THEIR FAMILY DOESN’T STAY IN TOUCH WITH THEM, IF THEY DON’T HAVE FRIENDS HERE; OBVIOUSLY YOU CAN’T SEE ANYONE RIGHT NOW, SO…IF YOU’RE OUT FOR A WALK YOU CAN SEE THE POSTERS...I JUST THINK IT BRINGS A LOT OF ENCOURAGEMENT TO PEOPLE…WELL I HOPE IT DOES. FOR MORE INFORMATION ON ERIC DYCK'S PRINT, PLEASE SEE THE PERMANENT FILE P20200015001-GA. FOR MORE INFORMATION ON JOSIE MASON'S POSTER DONATION PLEASE SEE P20200013000-GA.
Catalogue Number
P20200015001
Acquisition Date
2020-05
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
SILVER, METAL
Catalogue Number
P20170037000
  2 images  
Material Type
Artifact
Date
1940
Materials
SILVER, METAL
No. Pieces
1
Length
17.4
Width
2.4
Description
STERLING SILVER BRACELET; BRACLET BANDS COMPRISED OF METAL LINKS WITH SPRINGRING CLASP AT END OF ONE CHAIN. CENTER OF BRACELET HAS OVAL STERLING SILVER DISC WITH CREST ON FRONT COMPRISED ON BLUE TEXT “RCAF” SURROUNDED BY LAUREL LEAVES, WITH A CROWN ABOVE AND OUTSTRETCHED WINGS ON SIDES. “RCAF” CREST ABOVE INSCRIPTION “PERLEY-MARTIN T.H., 4309A, J3513”. BACK OF DISC HAS INSCRIPTION “NO.5 E.F.T.S., LETHBRIDGE ALTA., CLASS NO.1, 22.7.40 TO 3.10.40, SIRKS, STRELING”. CHAINS ATTACHED TO THE CENTER DISC WITH METAL LOOPS ON SIDES OF DISC. CHAINS AND DISC TARNISHED; INSCRIPTION TEXT ON FRONT AND BACK IS WORN; OVERALL VERY GOOD CONDITION.
Subjects
PERSONAL SYMBOL
ADORNMENT
Historical Association
MILITARY
History
THE IDENTIFICATION BRACELET BELONGED TO FLYING OFFICER THOMAS HENRY PERLEY-MARTIN, AND WAS FASHIONED AS AN IDENTIFER FOR THE NO. 5 ELEMENTARY FLYING TRAINING SCHOOL IN LETHBRIDGE, ALBERTA. INFORMATION COMPILED ON THE NO. 5 ELEMENTARY FLYING TRAINING SCHOOL AND OTHER FLIGHT TRAINING SCHOOLS WAS SOURCED FROM LETHBRIDGE HERALD ARTICLES AND VETERANS AFFAIRS CANADA’S WEBSITE SECTION ON THE BRITISH COMMONWEALTH AIR TRAINING PLAN. AT THE OUTBREAK OF THE SECOND WORLD WAR, THE BRITISH GOVERNMENT, IN PARTNERSHIP WITH CANADA AND ADDITIONAL COMMONWEALTH COUNTRIES, CREATED THE BRITISH COMMONWEALTH AIR TRAINING PLAN TO ENHANCE TRAINING PROGRAMS FOR ROYAL AIR FORCE OFFICERS. THE PLAN ESTABLISHED THAT COMMONWEALTH COUNTRIES WOULD BUILD FLIGHT SCHOOLS TO TRAIN OFFICERS FOR THE ROYAL AIR FORCE OR COMMONWEALTH AIR FORCES TO SERVE ALONGSIDE THE ROYAL AIR FORCE, INCLUDING THE ROYAL CANADIAN AIR FORCE. OFFICERS WOULD TRAVEL FROM THE UNITED KINGDOM TO A COMMONWEALTH COUNTRY, OR ENLISTED FROM THE COMMONWEALTH COUNTRY. CANADA ESTABLISHED 196 TRAINING FACILITIES AND RELIEF FIELDS, AND GRADUATED 72,835 STUDENTS, ACCORDING TO STATISTICS FROM THE GOVERNMENT OF CANADA’S WEBSITE ON THE ROYAL CANADIAN AIR FORCE. IN THE SPRING OF 1940, THE ELEMENTARY FLIGHT TRAINING SCHOOL NO. 5 IN LETHBRIDGE OPENED, SEEING ITS FIRST RECRUITS FOR THE R.C.A.F. ENROLL AND ARRIVE ON JULY 22, 1940 FROM REGINA, SASKATCHEWAN. THE FLIGHT SCHOOL WAS ESTABLISHED AT KENYON FIELDS ON THE SOUTH SIDE OF THE CITY. STUDENTS WERE TAUGHT TO FLY IN 7 WEEKS, WITH AN ADDITIONAL 5 WEEK EXTENSION COURSE IN MORE ADVANCED FLYING. OF THE FIRST CLASS, GRADUATING OCTOBER 1940, WAS THOMAS HENRY PERLEY-MARTIN. PERLEY-MARTIN WAS BORN ON JANUARY 9, 1921 IN WINNIPEG, MANITOBA. PERLEY-MARTIN SERVED IN THE QUEEN’S OWN HIGHLANDERS OF CANADA CADETS FROM 1935-38, AND ENLISTED IN THE NON-PERMANENT ACTIVE AIR FORCE OF THE R.C.A.F. IN 1938. PERLEY-MARTIN UNDERTOOK INITIAL FLIGHT TRAINING IN TORONTO, ONTARIO, GRADUATING TO ELEMENTARY FLIGHT TRAINING IN LETHBRIDGE IN 1940. GRADUATES FROM THE LETHBRIDGE E.F.T.S. WERE GIVEN, ACCORDING TO LETHBRIDGE HERALD ARTICLES, '…AN ENGRAVED IDENTIFICATION DISC BY THE SCHOOL', AS STATED BY DENNIS YORATH, MANAGER AT NO. 5 E.F.T.S. IT IS ONLY SPECULATION THAT THE DISC DESCRIBED BY THE LETHBRIDGE HERALD IS THE ONE AFFIXED TO THE BRACELET. IN DECEMBER 1940-JANUARY 1941, THE NO. 5 E.F.T.S. WAS RELOCATED TO HIGH RIVER, ALBERTA, AND THE NO. 8 BOMBER AND GUNNERY SCHOOL WAS ESTABLISHED AT KENYON FIELD, LETHBRIDGE, OPENING IN OCTOBER 1941. UPON COMPLETING HIS E.F.T.S. TRAINING, PERLEY-MARTIN WENT ON TO COMPLETE HIS INTERMEDIATE AND ADVANCED TRAINING AT THE NO. 1 SERVICE FLYING TRAINING SCHOOL AT CAMP BORDEN, ONTARIO. REPORTS FROM THE SERVICE FILE OF T.H. PERLEY-MARTIN INDICATE THAT IN 1941, FOLLOWING HIS TRAINING IN CANADA, PERLEY-MARTIN WAS STATIONED IN OLD SARUM, ENGLAND. PERLEY-MARTIN WAS NOT RECOMMENDED FOR FLYING OR OTHER DUTIES IN 1941 FOLLOWING FLYING OFFENSES AND OUTSTANDING DEBTS, WITH THE OFFENSES RESULTING IN PERLEY-MARTIN BEING COURT MARTIALED AND TRIED. IN MARCH 1942, PERLEY-MARTIN WAS RETIRED FROM SERVICE, AND IN AUGUST 1942 HE BECAME A PILOT GENERAL WITH THE #122 SQN. ON JANUARY 7, 1945, PERLEY-MARTIN WAS KILLED DURING FLYING OPERATIONS IN JARVIS, ONTARIO, WHERE HE WAS AN INSTRUCTOR, WHILE ATTEMPTING TO LAND AN ANSON AIRCRAFT #7013 IN POOR VISIBILITY. ACCORDING TO A MEMORIAL WRITTEN ON PERLEY-MARTIN, HE WAS BURIED IN MOUNTAIN VIEW CEMETERY IN VANCOUVER, BRITISH COLUMBIA. WHILE IN ENGLAND IN 1941, PERLEY-MARTIN MARRIED OLIVE CYNTHIA ROBERTS. THE COUPLE HAD ONE SON, BARRY THOMAS PERLEY-MARTIN. OLIVE AND BARRY RETURNED TO ENGLAND FOLLOWING THOMAS HENRY PERLEY-MARTIN’S DEATH, ACCORDING TO AN EMAIL FROM MARY PERLEY-MARTIN, THE WIFE OF THE LATE BARRY THOMAS PERLEY-MARTIN. THE BRACELET WAS PURCHASED BY THE GALT MUSEUM IN DECEMBER 2017 FROM T.M. SAUNDERS. FOR MORE INFORMATION INCLUDING LETHBRIDGE HERALD ARTICLES ON THE FLIGHT SCHOOLS AND WINNIPEG FREE PRESS ARTICLES ON T.H. PERLEY-MARTIN, PLEASE SEE THE PERMANENT FILE P20170037000-GA.
Catalogue Number
P20170037000
Acquisition Date
2017-12
Collection
Museum
Images
Less detail
Date Range From
1942
Date Range To
1946
Material Type
Artifact
Materials
SILVER, METAL
Catalogue Number
P20150021000
  2 images  
Material Type
Artifact
Date Range From
1942
Date Range To
1946
Materials
SILVER, METAL
No. Pieces
1
Length
17.7
Width
2
Description
STERLING SILVER BRACELET; BRACELET BANDS COMPRISED OF METAL LINKS WITH SNAP LOCK CLASP AT END OF ONE CHAIN. CENTER OF BRACELET HAS OVAL STERLING SILVER DISC WITH CREST ON FRONT OF AN EAGLE WITH OUTSTRETCHED WINGS HOLDING A CIRCLE IN ITS FEET, WITH SWASTIKA IN CENTER OF CIRCLE; FRONT HAS INSCRIPTION ON SIDES CREST “CAMP 133”. BACK OF DISC HAS INSCRIPTION “R.J. BORLAND, M2598, STERLING”. CHAINS ATTACHED TO THE CENTER DISC THROUGH HOLES IN SIDES OF DISC. CHAINS AND DISC ARE TARNISHED; INSCRIPTION TEXT ON FRONT AND BACK ARE WORN; OVERALL VERY GOOD CONDITION.
Subjects
PERSONAL SYMBOL
ADORNMENT
Historical Association
MILITARY
History
THE BRACELET WAS CREATED AT CAMP 133, THE LETHBRIDGE PRISONER OF WAR CAMP DURING THE SECOND WORLD WAR. THE CURATOR OF THE ROYAL ALBERTA MUSEUM’S MILITARY AND POLITICAL HISTORY DEPARTMENT NOTED IN AN EMAIL, ON THE BRACELET, THAT THE EAGLE DID NOT APPEAR TO BE AN OFFICIAL MILITARY SYMBOL. THE EAGLE WAS POSSIBLY FASHIONED BY HAND, OR CAST AS A COPY. HISTORIAN ROBERT HENDERSON ELABORATED, “NO DOUBT A PRIVATE PURCHASE BY THE GUARD—PROBABLY [BY] ROBERT BORLAND [WHO] SAW SERVICE AT LETHBRIDGE. THE NAZI SYMBOL REPRESENTS EARLY [1933+ ERA] NAZI STYLE SYMBOL, PROBABLY OBTAINED FROM A POW IN TRADE OR FRIENDSHIP. THE LETTERING ON IT [WAS] NO DOUBT DONE BY A JEWELLER WITH APPROPRIATE EQUIPMENT, NOT BY A POW WITHIN THE CAMP. WRIST BRACELETS WERE POPULAR ITEMS TO BE GIVEN TO THE GUARDS BY FAMILY OR SWEETHEARTS, OR BY FRIENDS WHEN THE GUARD WAS POSTED AWAY FROM HOME.” IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON DEVELOPED THE FOLLOWING BRIEF HISTORY OF PRISONER OF WAR CAMP 133 WITH INFORMATION FROM THE GALT MUSEUM BROCHURE "LETHBRDGE'S INTERNMENT CAMPS" AND THE LIBRARY AND ARCHIVES CANADA WEBSITE. DURING WORLD WAR II THERE WERE 40 PRISONER OF WAR (P.O.W.) CAMPS CONSTRUCTED ACROSS CANADA TO HOUSE THE LARGE NUMBER OF INCOMING POWS - ENEMY MILITARY PERSONNEL THAT WERE CAPTURED IN COMBAT. CAMPS WERE BUILT IN ONTARIO, QUEBEC, THE MARITIMES AND ALBERTA. THE CAMPS IN LETHBRIDGE AND MEDICINE HAT WERE THE LARGEST, TOGETHER HOUSING 22,000 MEN. THE LETHBRIDGE CAMP, NO. 133, WAS BUILT IN THE SUMMER OF 1942, AND BY NOVEMBER OF THAT YEAR HOUSED 13,341 PRISONERS. THE CAMP WAS DIVIDED INTO SIX SECTIONS, EACH WITH SIX DORMITORIES, MESS HALLS, KITCHENS, AND ENTERTAINMENT FACILITIES. MEALS WERE IN SHIFTS WITH PRISONERS SERVING AS COOKS. TAILOR, BARBER AND SHOE REPAIR SHOPS WERE ALSO STAFFED BY PRISONERS, AND NON-COMBAT POWS PRACTICED THEIR PRE-WAR PROFESSIONS AS MEDICAL DOCTORS AND DENTISTS. HOUSING AND RATIONS WERE THE SAME STANDARD AS FOR THE CANADIAN ARMED FORCES, WHICH SOMETIMES CAUSED RESENTMENT AMONG LETHBRIDGE CIVILIAN RESIDENTS, WHO WERE UNABLE TO OBTAIN MANY OF THE SAME SUPPLIES ON THEIR STRICT WARTIME RATION ALLOWANCES. WITH MANY YOUNG LOCAL MEN AWAY AT WAR, LOCAL FARMERS BEGAN TO REQUEST LABOUR ASSISTANCE FROM THE CAMP, ESPECIALLY FOR THE SUGAR BEET INDUSTRY. BY 1943 AN AGREEMENT WAS REACHED AND SOME OF THE PRISONERS WORKED ON FARMS THROUGHOUT SOUTHERN ALBERTA. MOST OF THESE PRISONERS WENT FROM THE CAMP TO THE FARMS DAILY, BUT SOME WERE KEPT AT 'LODGES' AT THE MORE DISTANT FARMS FOR DAYS AT A TIME, WITH MINIMAL GUARDING. FOR THEIR LABOUR, THE PRISONERS WERE PAID 50 CENTS PER DAY. WITH WAR'S END, CAMP 133 CLOSED IN DECEMBER 1946 AND ITS PRISONERS WERE SENT BACK TO GERMANY. THE AREA WHERE THE CAMP STOOD EVENTUALLY BECAME AN INDUSTRIAL PARK AND PART OF THE FEDERAL AGRICULTURAL RESEARCH CENTRE. FOR MORE INFORMATION INCLUDING A COPY OF THE OBITUARY AND LETHBRIDGE HERALD ARTICLES ON LETHBRIDGE CAMP 133, PLEASE SEE THE PERMANENT FILE P20150021000-GA.
Catalogue Number
P20150021000
Acquisition Date
2015-06
Collection
Museum
Images
Less detail
Other Name
"TREES"
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
WOOD, PAINT, CARDBOARD
Catalogue Number
P20190006001
  2 images  
Material Type
Artifact
Other Name
"TREES"
Date Range From
1990
Date Range To
2000
Materials
WOOD, PAINT, CARDBOARD
No. Pieces
1
Length
38.2
Width
48.4
Description
OIL ON WOOD PANEL PAINTING IN BROWN WOODEN FRAME. PAINTING DEPICTS TWO CLUSTERS OF TREES WITH GREEN AND YELLOW-ORANGE LEAVES, WITH A BROWN FOREGROUND AND BLUE BACKGROUND. BACKGROUND HAS TWO TONES OF BLUE DEPICTING HILLS AND SKY. FOREGROUND HAS RED AND GOLD TONES. BRUSH STROKES ARE DISTINCT SHOWING GRASS IN FOREROUND; PAINTING HAS PAINT APPLIED HEAVILY TO YELLOW-ORANGE TREE LEAVES. PAINTING IS SIGNED IN BLUE IN FRONT LOWER RIGHT CORNER OF CANVAS “M. PISKO”. FRAME AROUND CANVAS IS BROWN WITH DOUBLE-CIRCLES ENGRAVED BETWEEN DOUBLE LINES ALONG TRIM; FRAME HAS FOUR SCREWS LOCATED AT UPPER AND LOWER LEFT AND RIGHT CORNERS. BACK OF FRAME HAS CARDBOARD BACKING SECURED TO WOODEN FRAME WITH SILVER TAPE. CARDBOARD BACKING HAS WHITE LABEL ON LEFT SIDE WITH HANDWRITTEN TEXT IN BLACK INK “MIKE PISKO, 1998 $100.00”; CARDBOARD BACKING HAS HANDWRITTEN TEXT IN PENCIL IN UPPER LEFT CORNER “TRUCK [UNDERLINED], 01 0066”. FRONT OF CANVAS HAS YELLOW DISCOLORATION AND STAINING IN UPPER LEFT AND RIGHT CORNERS. FRONT OF FRAME HAS MINOR CHIPPING AND DENTS ALONG OUTER EDGES. CARDBOARD BACKING HAS BROWN AND BLUE STAINING; BACK OF FRAME HAS WHITE STAINING ALONG LOWER LEFT EDGE, AND BLUE STAINING AT UPPER LEFT EDGE; UPPER RIGHT EDGE OF FRAME IS SPLITTING ALONG SEAM. OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON MARCH 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DON FLAIG REGARDING HIS DONATION OF ARTWORKS. THE ARTWORKS WERE COLLECTED BY FLAIG’S PARENTS, HELEN AND LLOYD FLAIG. ON THE PAINTING BY MIKE PISKO, FLAIG RECALLED, “I HAVE NO MEMORY OF [KNOWING PISKO OR OTHER SKETCH CLUB MEMBERS]. OCCASIONALLY [MY PARENTS] WOULD MENTION THEIR NAMES, AS YOU MIGHT SPEAK OF FRIENDS. I KNOW THEY WOULD GO OUT, AND DO THE ART ELSEWHERE, OR SOME AT HOME. IT JUST SEEMED NATURAL THAT THEY WOULD DEAL WITH THEIR ARTIST FRIENDS…THAT WOULD HAVE BEEN WHEN I WAS VERY YOUNG.” FLAIG ELABORATED ON HIS PARENTS’ AVID INTEREST IN LOCAL ART, NOTING, “MOM AND DAD ALWAYS HAD ART IN THE HOUSE. THEY WERE ALWAYS DOING ART. I REMEMBER DAD DOING LARGE PLASTER SCULPTURES, IN THE BASEMENT, IN THE CITY, AND MOM WAS ALWAYS PAINTING AND THROWING POTS, AND DOING SOMETHING FUNNY OUT IN THE BACK YARD, ART-WISE. GROWING UP, I ASSUMED EVERYBODY HAD ART IN THE HOUSE, BUT I’VE REALIZED THAT’S NOT THE CASE. NOT EVERYBODY LIKES HAVING ART AROUND, ALTHOUGH [THERE IS EFFORT IN] FINDING ART THAT YOU LIKE, AND ACQUIRING IT, OR CREATING IT, AND KEEPING IT. THERE WAS ALWAYS SOMETHING DIFFERENT HANGING ON THE WALLS IN THE HOUSE. [MOM AND DAD] WERE ALWAYS MOVING IT AROUND. THESE THREE PAINTINGS [BY MIKE PISKO AND ERNEST RIETHMAN], I’M AWARE THAT THESE PEOPLE WERE FRIENDS OF MOM AND DAD. THEY WERE …ARTISTS. I DON’T KNOW MUCH ABOUT THEM OTHER THAN THAT THEY WOULD OFTEN GO OUT TO SKETCH, AND PAINT, AND THEIR NAMES ARE FAMILIAR TO ME. [THE ARTWORKS] MEANT SOMETHING TO [MY PARENTS], WHETHER THEY BOUGHT THEM OR THEY WERE JUST GIFTS FROM OTHER ARTISTS, I’LL NEVER KNOW, BUT THERE HAS OBVIOUSLY BEEN A LOT OF CARE AND EFFORT PUT INTO THE WORKS BY THE ARTISTS. I HAVE A LARGE NUMBER OF MY MOTHER’S PAINTINGS, BUT THERE ARE LOTS OF THOSE AROUND THE CITY, AND HER WORK IS WELL PRESERVED. THESE ONES…I KNOW THEY ARE LOCAL ARTISTS SOMEWHERE NOW.” FLAIG RECALLED HIS PARENTS AND THEIR HOME IN LETHBRIDGE, “I GREW UP IN TOWN, ON HENDERSON LAKE BOULEVARD. [MY PARENTS] MOVED OUT IN THE EARLY 1970S TO BROXBURN ROAD. SOME OF [THE PAINTINGS] I’D HAVE SEEN THERE AT HENDERSON LAKE BOULEVARD, AND THE REST WOULD HAVE BEEN ON THE FARM. THEY WOULD HAVE BEEN UP ON THE WALLS, OR DOWN IN THE BASEMENT. THINGS WERE ALWAYS MOVING AROUND, BUT THESE ARE PAINTINGS THAT ARE FAMILIAR TO ME. NOT THAT I PAID THAT MUCH ATTENTION TO THEM, BECAUSE THERE WERE ALWAYS PAINTINGS AROUND, AND I NEVER THOUGHT TO ASK.” “MIKE PISKO IS THE NAME THAT COMES [TO MIND ON ARTISTS MY MOM SPENT MORE TIME WITH]; HAS MORE PAINTINGS, MEMORY-WISE, FOR SURE. OUT ON BROXBURN ROAD, THAT’S WHEN THEY MET THE MALKAS’. MOM SPOKE FREQUENTLY OF MELISSA, AND I PROBABLY MET THEM IN PASSING, BECAUSE I WAS ON TO OTHER STUFF. BUT I THINK THAT, WHEREVER THEY WERE, THEY WOULD HAVE REACHED OUT AND GOT IN TOUCH WITH OTHER ARTISTS. PLUS, WHERE THEY WERE ON BROXBURN ROAD, IT WAS A PLACE WHERE WE COULD DO JUST ABOUT ANYTHING—BUILDING THINGS, TEARING THINGS DOWN, MAKING ART, BLOWING STUFF UP, AS KIDS DO. THERE WERE ALWAYS ANIMALS, SOME HORSES, AND ONE DISASTROUS ATTEMPT AT RAISING SHEEP BY MY FATHER. THEY WERE ALWAYS INTO SOMETHING.” ON HIS MOTIVATIONS FOR DONATING, FLAIG ELABORATED, “AS TIME GOES BY, WE FIND THE NEED TO TIDY UP AND GET READY FOR THE NEXT STAGE OF LIFE. PART OF IT IS FINDING ROOM FOR SOME OF THESE WORKS OF ART THAT HAVE BEEN IN MY HOUSE AND HAVE SURVIVED, SOMEWHAT MIRACULOUSLY, SINCE MOM AND DAD LEFT A LITTLE FAR AND I TOOK THEM OVER, AS WE WERE EMPTYING OUT THE PLACE. THEY’VE BEEN IN MY BASEMENT, UNAPPRECIATED, AND I SUPPOSE AT SOME RISK OF BEING FORGOTTEN, OR LOST, OR THROWN OUT. THEY DO HAVE SOME SENTIMENTAL VALUE FOR ME, AND I CAN APPRECIATE THE ARTWORK THAT IS IN THE PIECES, MYSELF, TO A LIMITED DEGREE.” “MOM AND DAD HAD REACHED THE END OF THE ROAD...AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THESE WORKS WERE IN THEIR PLACE, AND, AS WE CLEANED THE PLACE OUT, I TOOK THEM AND PROTECTED THEM, AND SAVED THEM FROM THE BINS…I’M PUTTING THAT AT 2011.” IN 2014, COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING BIOGRAPHICAL INFORMATION ON MICHAEL PISKO WAS FOUND IN A PRESS RELEASE ANNOUNCING THE 'MICHAEL PISKO MEMORIAL AWARD', WHICH WAS ESTABLISHED BY THE ARTIST'S WIDOW AND THE ALBERTA SOCIETY OF ARTISTS IN 2000, TO BE AWARDED TO A GRADUATING BFA DEGREE PAINTER FROM THE UNIVERSITY OF LETHBRIDGE: "MICHAEL PISKO WAS BORN IN LETHBRIDGE IN 1913. HE MADE HIS LIVING AS A SUCCESSFUL SIGN PAINTER THROUGH HIS BUSINESS, CITY SIGN COMPANY, BUT LANDSCAPE PAINTING WAS HIS LIFE'S FULFILLMENT. TO HONE HIS SKILLS, HE STUDIED THREE SUMMERS AT THE BANFF SCHOOL OF FINE ARTS AND SOUGHT INSTRUCTION FROM SENIOR VISITING ARTISTS WHO CAME TO LETHBRIDGE ON INVITATION OF THE LETHBRIDGE SKETCH CLUB, OF WHICH HE, IN 1937, WAS ONE OF THE FOUNDING MEMBERS. PISKO GREATLY ADMIRED A.Y. JACKSON, THE GROUP OF SEVEN MASTER, WITH WHOM HE HAD THE OPPORTUNITY TO SKETCH AND PAINT AROUND LETHBRIDGE WHENEVER JACKSON CAME TO TOWN TO VISIT HIS BROTHER. HE WAS ALSO DEEPLY INFLUENCED BY H.G. GLYDE, WHO TAUGHT AT THE ALBERTA COLLEGE OF ART IN CALGARY AND AT THE BANFF SCHOOL OF FINE ARTS AND WHO VISITED LETHBRIDGE TO TEACH ART CLASSES AT THE LETHBRIDGE SKETCH CLUB. IN 1947 PISKO WAS ACCEPTED FOR MEMBERSHIP IN THE ALBERTA SOCIETY OF ARTISTS. HE WAS A PROLIFIC PAINTER, WHO EXHIBITED REGULARLY WITH THE LETHBRIDGE SKETCH CLUB AND THE ALBERTA SOCIETY OF ARTISTS. HIS WORK IS REPRESENTED IN MANY PRIVATE, CORPORATE AND PUBLIC COLLECTIONS, AMONG THEM THE ALBERTA FOUNDATION FOR THE ARTS AND THE UNIVERSITY OF LETHBRIDGE. MICHAEL PISKO PASSED AWAY IN 1999." FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190006001-GA.
Catalogue Number
P20190006001
Acquisition Date
2019-03
Collection
Museum
Images
Less detail
Other Name
N.T. (VILLAGE VIEW FROM PORCH)
Date Range From
1950
Date Range To
1964
Material Type
Artifact
Materials
WOOD, PAINT, PAPER
Catalogue Number
P20190006002
  2 images  
Material Type
Artifact
Other Name
N.T. (VILLAGE VIEW FROM PORCH)
Date Range From
1950
Date Range To
1964
Materials
WOOD, PAINT, PAPER
No. Pieces
1
Height
34.2
Length
49.3
Description
OIL ON WOOD PANEL PAINTING IN WHITE WOODEN FRAME. IMAGE OF TREES AND HOUSES IN SNOW, WITH SIDE OF BUILDING AT LEFT EDGE AND HOUSE PILLAR AT RIGHT EDGE; HOUSES WHITE WITH RED-BROWN ROOFS IN BACKGROUND, AND TREES IN FOREGROUND. SNOW COMPRISED OF BLUE AND WHITE PAINT; TREES COMPLETED IN BLACK, GREEN, BROWN AND ORANGE TONES; HOUSE PILLAR AND SIDING IN BROWN AND GREEN. PAINTING SIGNED IN RED IN LOWER LEFT CORNER “E.E. RIETHMAN”. MID-GROUND HAS BROWN FENCE BETWEEN TREES AND BUILDINGS IN BACKGROUND. FRONT OF FRAME HAS WHITE TRIM ALONG FRONT OF CANVAS, WITH GOLD TRIM ABOVE WHITE TRIM; FRAME PAINTED OFF-WHITE. BACK OF PAINTING HAS BROWN PAPER BACKING WITH TWO BLACK METAL SCREW ON UPPER LEFT AND RIGHT SIDES, WITH WHITE CORD FASTENED TO SCREWS. LEFT EDGE OF BACKING HAS HANDWRITTEN TEXT IN BLACK MARKER “OWNED BY H. FLAIG 3279791, NF5”; BACKING HAS STAMPED TEXT IN FADED INK ALONG LOWER EDGE “GAINSBOROUGH GALLERIES, 310 – 7TH ST. SOUTH – LETHBRIDGE”. BACKING HAS WHITE PAPER LABEL AT UPPER EDGE WITH HANDWRITTEN TEXT IN BLACK INK “$20.00 /1970”; BACKING HAS PRINTED ARTICLE IN CENTER ON WHITE PAPER WITH BLACK TEXT “ERNEST E. RIETHMAN, EXHIBITION APRIL 25 – MAY 31 ORGANIZED BY THE SOUTHERN ALBERTA ART GALLERY WITH FUNDING ASSISTANCE FROM THE ALBERTA ART FOUNDATION…” WITH BIOGRAPHY ON ERNEST E. RIETHMAN BY “BRENT LAYCOCK, GUEST CURATOR” AND BLACK AND WHITE PHOTO “WATERTON LAKE, C.1958, OIL ON PANEL, 56 X 86 CM, COLLECTION OF MR. AND MRS. DON AND JUDY NILSSON, PHOTO: DON CORMAN”. PAPER BACKING HAS TEARS BESIDE SCREWS; BACKING HAS YELLOWED MASKING TAPE ALONG LOWER EDGE OF PAPER ARTICLE; ARTICLE EDGES STAINED YELLOW FROM ADHESIVE RESIDUE. BACK OF FRAME HAS PAIRS OF METAL NAILS IN UPPER AND LOWER LEFT AND RIGHT CORNERS, WITH NAILS HEADS COVERED WITH BROWN PAINT. BACK OF FRAME IS STAINED AND CHIPPED AT EDGES AND CORNERS; FRONT OF FRAME HAS BROWN AND WHITE STAINING ALONG EDGES; OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON MARCH 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DON FLAIG REGARDING HIS DONATION OF ARTWORKS. THE ARTWORKS WERE COLLECTED BY FLAIG’S PARENTS, HELEN AND LLOYD FLAIG. ON THE PAINTING BY MIKE PISKO, FLAIG RECALLED, “ “VIEW FROM THE PORCH” WOULD HAVE BEEN UP IN THE HOUSE FOR QUITE A WHILE. THAT’S VERY FAMILIAR TO ME. IT’S CERTAINLY THE STYLE OF [ART] THAT THEY WOULD DO. MOM WAS ALWAYS MENTIONING THE OIL. IT’S THE KIND OF [ART] THEY WOULD HAVE DONE, THAT THEY WOULD HAVE LIKED.” “I HAVE NO MEMORY OF [KNOWING RIETHMAN OR OTHER SKETCH CLUB MEMBERS]. OCCASIONALLY [MY PARENTS] WOULD MENTION THEIR NAMES, AS YOU MIGHT SPEAK OF FRIENDS. I KNOW THEY WOULD GO OUT, AND DO THE ART ELSEWHERE, OR SOME AT HOME. IT JUST SEEMED NATURAL THAT THEY WOULD DEAL WITH THEIR ARTIST FRIENDS…THAT WOULD HAVE BEEN WHEN I WAS VERY YOUNG.” FLAIG ELABORATED ON HIS PARENTS’ AVID INTEREST IN LOCAL ART, NOTING, “MOM AND DAD ALWAYS HAD ART IN THE HOUSE. THEY WERE ALWAYS DOING ART. I REMEMBER DAD DOING LARGE PLASTER SCULPTURES, IN THE BASEMENT, IN THE CITY, AND MOM WAS ALWAYS PAINTING AND THROWING POTS, AND DOING SOMETHING FUNNY OUT IN THE BACK YARD, ART-WISE. GROWING UP, I ASSUMED EVERYBODY HAD ART IN THE HOUSE, BUT I’VE REALIZED THAT’S NOT THE CASE. NOT EVERYBODY LIKES HAVING ART AROUND, ALTHOUGH [THERE IS EFFORT IN] FINDING ART THAT YOU LIKE, AND ACQUIRING IT, OR CREATING IT, AND KEEPING IT. THERE WAS ALWAYS SOMETHING DIFFERENT HANGING ON THE WALLS IN THE HOUSE. [MOM AND DAD] WERE ALWAYS MOVING IT AROUND. THESE THREE PAINTINGS [BY MIKE PISKO AND ERNEST RIETHMAN], I’M AWARE THAT THESE PEOPLE WERE FRIENDS OF MOM AND DAD. THEY WERE …ARTISTS. I DON’T KNOW MUCH ABOUT THEM OTHER THAN THAT THEY WOULD OFTEN GO OUT TO SKETCH, AND PAINT, AND THEIR NAMES ARE FAMILIAR TO ME. [THE ARTWORKS] MEANT SOMETHING TO [MY PARENTS], WHETHER THEY BOUGHT THEM OR THEY WERE JUST GIFTS FROM OTHER ARTISTS, I’LL NEVER KNOW, BUT THERE HAS OBVIOUSLY BEEN A LOT OF CARE AND EFFORT PUT INTO THE WORKS BY THE ARTISTS. I HAVE A LARGE NUMBER OF MY MOTHER’S PAINTINGS, BUT THERE ARE LOTS OF THOSE AROUND THE CITY, AND HER WORK IS WELL PRESERVED. THESE ONES…I KNOW THEY ARE LOCAL ARTISTS SOMEWHERE NOW.” FLAIG RECALLED HIS PARENTS AND THEIR HOME IN LETHBRIDGE, “I GREW UP IN TOWN, ON HENDERSON LAKE BOULEVARD. [MY PARENTS] MOVED OUT IN THE EARLY 1970S TO BROXBURN ROAD. SOME OF [THE PAINTINGS] I’D HAVE SEEN THERE AT HENDERSON LAKE BOULEVARD, AND THE REST WOULD HAVE BEEN ON THE FARM. THEY WOULD HAVE BEEN UP ON THE WALLS, OR DOWN IN THE BASEMENT. THINGS WERE ALWAYS MOVING AROUND, BUT THESE ARE PAINTINGS THAT ARE FAMILIAR TO ME. NOT THAT I PAID THAT MUCH ATTENTION TO THEM, BECAUSE THERE WERE ALWAYS PAINTINGS AROUND, AND I NEVER THOUGHT TO ASK.” “MIKE PISKO IS THE NAME THAT COMES [TO MIND ON ARTISTS MY MOM SPENT MORE TIME WITH]; HAS MORE PAINTINGS, MEMORY-WISE, FOR SURE. OUT ON BROXBURN ROAD, THAT’S WHEN THEY MET THE MALKAS’. MOM SPOKE FREQUENTLY OF MELISSA, AND I PROBABLY MET THEM IN PASSING, BECAUSE I WAS ON TO OTHER STUFF. BUT I THINK THAT, WHEREVER THEY WERE, THEY WOULD HAVE REACHED OUT AND GOT IN TOUCH WITH OTHER ARTISTS. PLUS, WHERE THEY WERE ON BROXBURN ROAD, IT WAS A PLACE WHERE WE COULD DO JUST ABOUT ANYTHING—BUILDING THINGS, TEARING THINGS DOWN, MAKING ART, BLOWING STUFF UP, AS KIDS DO. THERE WERE ALWAYS ANIMALS, SOME HORSES, AND ONE DISASTROUS ATTEMPT AT RAISING SHEEP BY MY FATHER. THEY WERE ALWAYS INTO SOMETHING.” ON HIS MOTIVATIONS FOR DONATING, FLAIG ELABORATED, “AS TIME GOES BY, WE FIND THE NEED TO TIDY UP AND GET READY FOR THE NEXT STAGE OF LIFE. PART OF IT IS FINDING ROOM FOR SOME OF THESE WORKS OF ART THAT HAVE BEEN IN MY HOUSE AND HAVE SURVIVED, SOMEWHAT MIRACULOUSLY, SINCE MOM AND DAD LEFT A LITTLE FAR AND I TOOK THEM OVER, AS WE WERE EMPTYING OUT THE PLACE. THEY’VE BEEN IN MY BASEMENT, UNAPPRECIATED, AND I SUPPOSE AT SOME RISK OF BEING FORGOTTEN, OR LOST, OR THROWN OUT. THEY DO HAVE SOME SENTIMENTAL VALUE FOR ME, AND I CAN APPRECIATE THE ARTWORK THAT IS IN THE PIECES, MYSELF, TO A LIMITED DEGREE.” “MOM AND DAD HAD REACHED THE END OF THE ROAD...AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THESE WORKS WERE IN THEIR PLACE, AND, AS WE CLEANED THE PLACE OUT, I TOOK THEM AND PROTECTED THEM, AND SAVED THEM FROM THE BINS…I’M PUTTING THAT AT 2011.” THE FOLLOWING BIOGRAPHY OF THE ARTIST, ERNEST EDWARD RIETHMAN, WAS DEVELOPED BY JANE EDMUNDSON IN 2014, USING A LETHBRIDGE HERALD TRIBUTE ARTICLE FROM DECEMBER 24, 1964 AND RECORD P20120030007.ERNEST EDWARD RIETHMAN (1895 - 1964) WAS BORN IN SWITZERLAND IN 1895 AND WENT ON TO STUDY ART AT AN ACADEMY IN BASIL, THEN AT THE INDUSTRIAL SCHOOL OF INTERIOR DECORATING AND PAINTING. IN 1919 HE CAME TO CANADA SETTLING IN LETHBRIDGE IN 1947. HE WORKED AS AN INTERIOR DECORATOR IN THE CITY, AND HIS WORK WAS HIGHLY SOUGHT. HE WAS AN ACCOMPLISHED LANDSCAPE ARTIST AND WOULD FREQUENTLY JOIN TRIPS ORGANIZED BY A.Y.JACKSON, WHOSE STYLE IS SAID TO HAVE HEAVILY INFLUENCED RIETHMAN’S. DURING HIS TIME WITH THE LETHBRIDGE SKETCH CLUB, HE SERVED AS BOTH HEAD OF COMMITTEES AND TAUGHT LESSONS IN FIGURE DRAWING. RIETHMAN WAS SUCCESSFUL IN WHAT HE DID, AS CRITICS ENJOYED HIS WORK AND HE WAS ABLE TO FREQUENTLY DISPLAY IN EXHIBITIONS. ACCORDING TO LETHBRIDGE HERALD ARTICLES COMPILED IN 2019, RIETHMAN WAS EXHIBITED FREQUENTLY IN SOLO AND GROUP EXHIBITIONS IN LETHBRIDGE THROUGH THE 1950S-1960S. PRIOR TO HIS PAINTING CAREER, RIETHMAN WAS INVOLVED WITH THEATRE GROUPS AND PAGEANTS IN SOUTHERN ALBERTA, DESIGNING BACKGROUNDS AND CREATING FLOWER ARRANGEMENTS FOR PERFORMANCES. IN 1955, RIETHMAN AND K.E. HUDSON BECAME PARTNERS IN RIETHMAN—HUDSON PAINTING AND DECORATING IN LETHBRIDGE. RIETHMAN’S ARTWORKS WERE OFTEN FRAMED, EXHIBITED AND SOLD AT GAINSBOROUGH GALLERIES, LETHBRIDGE BEGINNING IN 1958. GAINSBOROUGH GALLERIES OPERATED IN CALGARY AND OPENED A BRANCH IN LETHBRIDGE IN 1958, WITH HEINO DEEKEN AS MANAGER IN LETHBRIDGE. GAINSBOROUGH GALLERIES WERE KNOWN TO EXHIBIT ARTWORKS BY SOUTHERN ALBERTA ARTISTS AND OTHER MEMBERS OF THE LETHBRIDGE SKETCH CLUB. IN A STATEMENT TO THE LETHBRIDGE HERALD IN 1962, RIETHMAN STATED ABOUT HIS PRACTICE, “ALTHOUGH I PREFER LANDSCAPES AND OCCASIONAL PORTRAITS, NOW AND THEN I EXPERIMENT A LITTLE FROM NATURALISTIC INTO MODERN STYLE…ONCE IN A WHILE IT IS GOOD [TO] CHANGE STYLE TO KEEP FROM GETTING IN A RUT…I PAINT AS I FEEL AND TO HECK WITH THE PUBLIC. POSSIBLY I’M NOT COMMERCIAL ENOUGH, BUT I PREFER HAVING THE FREEDOM TO EXPRESS MYSELF AS I WISH…I AM GRADUALLY RETIRING FROM BUSINESS…AND PLAN TO PAINT AND PAINT AND PAINT. I MAY NOT BE THE BEST, BUT I CERTAINLY HAVE FUN.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190006001-GA. UPDATE: ON 24 OCTOBER 2019, ERNEST E. RIETHMAN’S GRANDDAUGHTER LINDA BAINES SHARED A “PERSONAL RECORD” WITH MUSEUM STAFF. THE LATTER DAY SAINT DOCUMENT WAS COMPLETED BY HER GRANDMOTHER CLARA S. RIETHMAN--ERNEST’S WIFE. IT IS A HANDWRITTEN CHRONOLOGY OF CLARA’S LIFE IN SWITZERLAND AND ALBERTA. PERSONAL INFORMATION CONTAINED WITHIN THE DOCUMENT EXTENDS TO ERNEST’S LIFE . TO SEE THIS RECORD, PLEASE SEE P19705197000’S PERMANENT FILE.
Catalogue Number
P20190006002
Acquisition Date
2019-03
Collection
Museum
Images
Less detail
Other Name
"SLEEPING TODDLER WITH REVOLVER"
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
METAL, GLASS, PAPER
Catalogue Number
P20190006003
  2 images  
Material Type
Artifact
Other Name
"SLEEPING TODDLER WITH REVOLVER"
Date Range From
1960
Date Range To
1970
Materials
METAL, GLASS, PAPER
No. Pieces
1
Length
42.7
Width
51.3
Description
PENCIL SKETCH ON PAPER INSIDE FRAME WITH METAL EDGES AND GLASS COVERING. SKETCH OF A SMALL CHILD ASLEEP HOLDING A DOLL, WITH A REVOLVER BESIDE THE DOLL. SKETCH UNSIGNED, ATTRIBUTED TO E.E. RIETHMAN. SKETCH INSIDE WHITE MATTE WITH BLACK INNER TRIM, WITH GLASS FRONT TO FRAME. FRAME SILVER METAL WITH FLORAL PATTERNED TRIM AROUND INSIDE. BACK OF FRAME HAS BROWN PAPER BACKING WITH SILVER LOOP-SCREW AT LEFT AND RIGHT EDGES, WITH SILVER METAL WIRES ATTACTED TO SCREWS. BACKING HAS HANDWRITTEN TEXT IN BLACK MARKER AT UPPER LEFT CORNER “BY E. RIETHMAN” AND HANDWRITTEN TEXT IN BLACK MARKER AT LOWER-MIDDLE “OWNED BY H. FLAIG, 3279791, NF5.”. LOWER EDGE OF BACKING HAS WHITE LABEL WITH BLACK PRINTED TEXT “M.G.M. WALL DÉCOR, 317 – 4TH ST. SOUTH, LETHBRIDGE, AB, 328-0923” AND HANDWRITTEN TEXT IN BLACK INK ON LABEL “$120.00”. BACKING HAS FOLDED CORNER IN UPPER LEFT CORNER, AND TEAR IN PAPER AT LOWER RIGHT CORNER. FRONT OF SKETCH HAS GREEN STAINING AT RIGHT EDGE, BLUE-GREY STAIN AT LOWER LEFT EDGE, AND GREY STAINS ON LEFT AND RIGHT SIDES OF IMAGE. OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON MARCH 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DON FLAIG REGARDING HIS DONATION OF ARTWORKS. THE ARTWORKS WERE COLLECTED BY FLAIG’S PARENTS, HELEN AND LLOYD FLAIG. ON THE SKETCH BY ERNEST RIETHMAN, FLAIG RECALLED, ““THE BOY AND THE TEDDY BEAR”, I WONDER IF MOM DIDN’T HAVE THAT BECAUSE SHE WAS THINKING OF ME. IT LOOKS A LITTLE BIT LIKE I MIGHT HAVE LOOKED, AS A KID, AND I WOULD HAVE BEEN VERY YOUNG AT THAT TIME I THINK THIS ONE WAS DONE.” “I HAVE NO MEMORY OF [KNOWING RIETHMAN OR OTHER SKETCH CLUB MEMBERS]. OCCASIONALLY [MY PARENTS] WOULD MENTION THEIR NAMES, AS YOU MIGHT SPEAK OF FRIENDS. I KNOW THEY WOULD GO OUT, AND DO THE ART ELSEWHERE, OR SOME AT HOME. IT JUST SEEMED NATURAL THAT THEY WOULD DEAL WITH THEIR ARTIST FRIENDS…THAT WOULD HAVE BEEN WHEN I WAS VERY YOUNG.” FLAIG ELABORATED ON HIS PARENTS’ AVID INTEREST IN LOCAL ART, NOTING, “MOM AND DAD ALWAYS HAD ART IN THE HOUSE. THEY WERE ALWAYS DOING ART. I REMEMBER DAD DOING LARGE PLASTER SCULPTURES, IN THE BASEMENT, IN THE CITY, AND MOM WAS ALWAYS PAINTING AND THROWING POTS, AND DOING SOMETHING FUNNY OUT IN THE BACK YARD, ART-WISE. GROWING UP, I ASSUMED EVERYBODY HAD ART IN THE HOUSE, BUT I’VE REALIZED THAT’S NOT THE CASE. NOT EVERYBODY LIKES HAVING ART AROUND, ALTHOUGH [THERE IS EFFORT IN] FINDING ART THAT YOU LIKE, AND ACQUIRING IT, OR CREATING IT, AND KEEPING IT. THERE WAS ALWAYS SOMETHING DIFFERENT HANGING ON THE WALLS IN THE HOUSE. [MOM AND DAD] WERE ALWAYS MOVING IT AROUND. THESE THREE PAINTINGS [BY MIKE PISKO AND ERNEST RIETHMAN], I’M AWARE THAT THESE PEOPLE WERE FRIENDS OF MOM AND DAD. THEY WERE …ARTISTS. I DON’T KNOW MUCH ABOUT THEM OTHER THAN THAT THEY WOULD OFTEN GO OUT TO SKETCH, AND PAINT, AND THEIR NAMES ARE FAMILIAR TO ME. [THE ARTWORKS] MEANT SOMETHING TO [MY PARENTS], WHETHER THEY BOUGHT THEM OR THEY WERE JUST GIFTS FROM OTHER ARTISTS, I’LL NEVER KNOW, BUT THERE HAS OBVIOUSLY BEEN A LOT OF CARE AND EFFORT PUT INTO THE WORKS BY THE ARTISTS. I HAVE A LARGE NUMBER OF MY MOTHER’S PAINTINGS, BUT THERE ARE LOTS OF THOSE AROUND THE CITY, AND HER WORK IS WELL PRESERVED. THESE ONES…I KNOW THEY ARE LOCAL ARTISTS SOMEWHERE NOW.” FLAIG RECALLED HIS PARENTS AND THEIR HOME IN LETHBRIDGE, “I GREW UP IN TOWN, ON HENDERSON LAKE BOULEVARD. [MY PARENTS] MOVED OUT IN THE EARLY 1970S TO BROXBURN ROAD. SOME OF [THE PAINTINGS] I’D HAVE SEEN THERE AT HENDERSON LAKE BOULEVARD, AND THE REST WOULD HAVE BEEN ON THE FARM. THEY WOULD HAVE BEEN UP ON THE WALLS, OR DOWN IN THE BASEMENT. THINGS WERE ALWAYS MOVING AROUND, BUT THESE ARE PAINTINGS THAT ARE FAMILIAR TO ME. NOT THAT I PAID THAT MUCH ATTENTION TO THEM, BECAUSE THERE WERE ALWAYS PAINTINGS AROUND, AND I NEVER THOUGHT TO ASK.” “MIKE PISKO IS THE NAME THAT COMES [TO MIND ON ARTISTS MY MOM SPENT MORE TIME WITH]; HAS MORE PAINTINGS, MEMORY-WISE, FOR SURE. OUT ON BROXBURN ROAD, THAT’S WHEN THEY MET THE MALKAS’. MOM SPOKE FREQUENTLY OF MELISSA, AND I PROBABLY MET THEM IN PASSING, BECAUSE I WAS ON TO OTHER STUFF. BUT I THINK THAT, WHEREVER THEY WERE, THEY WOULD HAVE REACHED OUT AND GOT IN TOUCH WITH OTHER ARTISTS. PLUS, WHERE THEY WERE ON BROXBURN ROAD, IT WAS A PLACE WHERE WE COULD DO JUST ABOUT ANYTHING—BUILDING THINGS, TEARING THINGS DOWN, MAKING ART, BLOWING STUFF UP, AS KIDS DO. THERE WERE ALWAYS ANIMALS, SOME HORSES, AND ONE DISASTROUS ATTEMPT AT RAISING SHEEP BY MY FATHER. THEY WERE ALWAYS INTO SOMETHING.” ON HIS MOTIVATIONS FOR DONATING, FLAIG ELABORATED, “AS TIME GOES BY, WE FIND THE NEED TO TIDY UP AND GET READY FOR THE NEXT STAGE OF LIFE. PART OF IT IS FINDING ROOM FOR SOME OF THESE WORKS OF ART THAT HAVE BEEN IN MY HOUSE AND HAVE SURVIVED, SOMEWHAT MIRACULOUSLY, SINCE MOM AND DAD LEFT A LITTLE FAR AND I TOOK THEM OVER, AS WE WERE EMPTYING OUT THE PLACE. THEY’VE BEEN IN MY BASEMENT, UNAPPRECIATED, AND I SUPPOSE AT SOME RISK OF BEING FORGOTTEN, OR LOST, OR THROWN OUT. THEY DO HAVE SOME SENTIMENTAL VALUE FOR ME, AND I CAN APPRECIATE THE ARTWORK THAT IS IN THE PIECES, MYSELF, TO A LIMITED DEGREE.” “MOM AND DAD HAD REACHED THE END OF THE ROAD...AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THESE WORKS WERE IN THEIR PLACE, AND, AS WE CLEANED THE PLACE OUT, I TOOK THEM AND PROTECTED THEM, AND SAVED THEM FROM THE BINS…I’M PUTTING THAT AT 2011.” THE FOLLOWING BIOGRAPHY OF THE ARTIST, ERNEST EDWARD RIETHMAN, WAS DEVELOPED BY JANE EDMUNDSON IN 2014, USING A LETHBRIDGE HERALD TRIBUTE ARTICLE FROM DECEMBER 24, 1964 AND RECORD P20120030007.ERNEST EDWARD RIETHMAN (1895 - 1964) WAS BORN IN SWITZERLAND IN 1895 AND WENT ON TO STUDY ART AT AN ACADEMY IN BASIL, THEN AT THE INDUSTRIAL SCHOOL OF INTERIOR DECORATING AND PAINTING. IN 1919 HE CAME TO CANADA SETTLING IN LETHBRIDGE IN 1947. HE WORKED AS AN INTERIOR DECORATOR IN THE CITY, AND HIS WORK WAS HIGHLY SOUGHT. HE WAS AN ACCOMPLISHED LANDSCAPE ARTIST AND WOULD FREQUENTLY JOIN TRIPS ORGANIZED BY A.Y.JACKSON, WHOSE STYLE IS SAID TO HAVE HEAVILY INFLUENCED RIETHMAN’S. DURING HIS TIME WITH THE LETHBRIDGE SKETCH CLUB, HE SERVED AS BOTH HEAD OF COMMITTEES AND TAUGHT LESSONS IN FIGURE DRAWING. RIETHMAN WAS SUCCESSFUL IN WHAT HE DID, AS CRITICS ENJOYED HIS WORK AND HE WAS ABLE TO FREQUENTLY DISPLAY IN EXHIBITIONS. ACCORDING TO LETHBRIDGE HERALD ARTICLES COMPILED IN 2019, RIETHMAN WAS EXHIBITED FREQUENTLY IN SOLO AND GROUP EXHIBITIONS IN LETHBRIDGE THROUGH THE 1950S-1960S. PRIOR TO HIS PAINTING CAREER, RIETHMAN WAS INVOLVED WITH THEATRE GROUPS AND PAGEANTS IN SOUTHERN ALBERTA, DESIGNING BACKGROUNDS AND CREATING FLOWER ARRANGEMENTS FOR PERFORMANCES. IN 1955, RIETHMAN AND K.E. HUDSON BECAME PARTNERS IN RIETHMAN—HUDSON PAINTING AND DECORATING IN LETHBRIDGE. RIETHMAN’S ARTWORKS WERE OFTEN FRAMED, EXHIBITED AND SOLD AT GAINSBOROUGH GALLERIES, LETHBRIDGE BEGINNING IN 1958. GAINSBOROUGH GALLERIES OPERATED IN CALGARY AND OPENED A BRANCH IN LETHBRIDGE IN 1958, WITH HEINO DEEKEN AS MANAGER IN LETHBRIDGE. GAINSBOROUGH GALLERIES WERE KNOWN TO EXHIBIT ARTWORKS BY SOUTHERN ALBERTA ARTISTS AND OTHER MEMBERS OF THE LETHBRIDGE SKETCH CLUB. IN A STATEMENT TO THE LETHBRIDGE HERALD IN 1962, RIETHMAN STATED ABOUT HIS PRACTICE, “ALTHOUGH I PREFER LANDSCAPES AND OCCASIONAL PORTRAITS, NOW AND THEN I EXPERIMENT A LITTLE FROM NATURALISTIC INTO MODERN STYLE…ONCE IN A WHILE IT IS GOOD [TO] CHANGE STYLE TO KEEP FROM GETTING IN A RUT…I PAINT AS I FEEL AND TO HECK WITH THE PUBLIC. POSSIBLY I’M NOT COMMERCIAL ENOUGH, BUT I PREFER HAVING THE FREEDOM TO EXPRESS MYSELF AS I WISH…I AM GRADUALLY RETIRING FROM BUSINESS…AND PLAN TO PAINT AND PAINT AND PAINT. I MAY NOT BE THE BEST, BUT I CERTAINLY HAVE FUN.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190006001-GA. UPDATE: ON 24 OCTOBER 2019, ERNEST E. RIETHMAN’S GRANDDAUGHTER LINDA BAINES SHARED A “PERSONAL RECORD” WITH MUSEUM STAFF. THE LATTER DAY SAINT DOCUMENT WAS COMPLETED BY HER GRANDMOTHER CLARA S. RIETHMAN--ERNEST’S WIFE. IT IS A HANDWRITTEN CHRONOLOGY OF CLARA’S LIFE IN SWITZERLAND AND ALBERTA. PERSONAL INFORMATION CONTAINED WITHIN THE DOCUMENT EXTENDS TO ERNEST’S LIFE . TO SEE THIS RECORD, PLEASE SEE P19705197000’S PERMANENT FILE.
Catalogue Number
P20190006003
Acquisition Date
2019-03
Collection
Museum
Images
Less detail
Date Range From
1899
Date Range To
1968
Material Type
Artifact
Materials
LEATHER, WOOD, METAL
Catalogue Number
P20170010000
  2 images  
Material Type
Artifact
Date Range From
1899
Date Range To
1968
Materials
LEATHER, WOOD, METAL
No. Pieces
12
Height
55.5
Length
28.5
Width
10
Description
A: RIGHT BROWN LEATHER BOOT. THE LEATHER IS ABOUT 2CM THICK, MEASURED FROM THE TOP. WORN BLACK LEATHER SOLE, HEEL AFFIXED WITH WORN METAL NAILS. TWO LACE LINES ARE ON THE BOOT, ONE MEASURES SEVEN HOLES LONG ABOVE THE TOP OF THE FOOT, THE OTHER MEASURING FIVE HOLES LONG ON THE TOP OUTSIDE EDGE OF THE BOOT. THE LACE HOLES ARE RIMMED WITH RED METAL FRAMES. THE SOLE IS WORN, STAINED, AND FRAYED RED. TEXT STAMPED ON THE SOLE READS “A.E. N…ON CO. SYRACCUSE N.Y. U.S.A.” THE BOOTS LEATHER IS WORN ON THE TOE AND SCRATCHED ALL OVER. A CUT IN THE LEATHER SITS ABOVE THE TOE. THE STITCHING AT THE BACK OF THE BOOT HAS TORN OPEN AND AT THE TOP OF THE BOOT, NEXT TO THE LEATHER PULL, THE BOOT IS SPLIT NEXT TO THE SEAM. THE LEATHER INSIDE THE BOOT IS FLAKING OFF IN THE HEEL AND THE INSIDE EDGE. WHITE FABRIC PULL LOOPS SIT ON THE LEFT AND RIGHT INSIDE OF THE BOOT. DIMENSIONS: H: 46 CM, L: 28.5CM, W: 10 CM. CONDITION: GOOD. B: THE TOE-SHAPED PIECE OF THE RIGHT BOOT’S WOOD INSERT. MADE OUT OF THE FOOT-SHAPED PIECE AND A HANDLE PIECE TO FIT INTO THE FRONT LEG INSERT PIECE, ATTACHED TO EACH OTHER WITH TWO LARGE SCREWS. WRITTEN ON TOP OF THE INSERT IN BLACK INK IS THE LETTER “R”. THE VARNISH IS CHIPPED AND DENTED. DIMENSIONS: H: 10 CM, L: 21 CM, W: 8 CM. CONDITION: VERY GOOD. C: THE FRONT PIECE OF THE RIGHT BOOT’S WOOD INSERT. ENDS IN TWO PRONGS TO SLOT OVER THE TOE INSERT OF THE BOOT, A TRACK RUNS ON THE BACK SIDE FOR THE INSERTION OF THE HANDLED INSERT PIECE. STAMPED ONTO THE TOP OF THE WOOD INSERT ARE THE WORDS “ROBINBROS. MONTREAL” AND “MADE IN CANADA”. ON THE LEFT SIDE IS A STAMPED “6” AND ON THE RIGHT SIDE IS A STAMPED “R”. WRITTEN ON THE UNVARNISHED BACK OF THE INSERT IN BLACK INK IS “R” AND “6 R…”. THE VARNISH IS SCRATCHED AND DENTED, JUST AT THE TOP FRONT EDGE. H: 43 CM, L: 5 CM, W: 8.4 CM. CONDITION: VERY GOOD. D: THE BACK PIECE OF THE RIGHT BOOT’S WOOD INSERT. SHAPED LIKE THE BACK OF THE LEG, ENDING IN THE HEEL. THE FLAT FRONT HAS WRITTEN ON IT IN BLACK INK “R”. THE VARNISH IS SCRATCHED AND DIMPLED. STAMPED ONTO THE TOP OF THE WOOD INSERT ARE THE WORDS “ROBINBROS. MONTREAL” AND “MADE IN CANADA”. ON THE TOP LEFT SIDE IS A STAMPED “6” AND ON THE TOP RIGHT SIDE IS A STAMPED “R”. DIMENSIONS: H: 42.5 CM, L: 5.5 CM, W: 9 CM. CONDITION: VERY GOOD. E: THE MIDDLE PIECE OF THE RIGHT BOOT’S WOOD INSERT. THIN, THE INSERT TAPERS FROM THE TOP TO THE HEEL. THE VARNISH IS DARK, MINIMALLY SCRATCHED BUT DENTED AND DIMPLED. DIMENSIONS: H: 44.2 CM, L: 2.2 CM, W: 9 CM. CONDITION: VERY GOOD. F: THE HANDLED PIECE OF THE RIGHT BOOT’S WOOD INSERT, MEANT TO FIT BETWEEN THE FRONT AND MIDDLE INSERT PIECE. THE FRONT OF THE PIECE FITS INTO THE FRONT WOOD INSERT’S TRACK. THE VARNISH IS MOSTLY WORN AWAY, SURVIVING ON THE HANDLE. THE WOOD IS SCRATCHED AND DIMPLED. ON THE BACK OF THE INSERT IN BLACK INK IS THE LETTER “L”. STAMPED ON THE TOP LEFT SIDE IS A STAMPED “6” AND ON THE TOP RIGHT SIDE IS A STAMPED “R”. DIMENSIONS: H: 55 CM, L: 1.6 CM, W: 8.5 CM. CONDITION: GOOD. G: THE LEFT BROWN LEATHER BOOT. THE LEATHER IS ABOUT 2CM THICK, MEASURED FROM THE TOP. WORN BLACK LEATHER SOLE, HEEL AFFIXED WITH WORN SILVER NAILS. TWO LACE LINES ARE ON THE BOOT, ONE MEASURES SEVEN HOLES LONG ABOVE THE TOP OF THE FOOT, THE OTHER MEASURING FIVE HOLES LONG ON THE TOP OUTSIDE EDGE OF THE BOOT. THE LACE HOLES ARE RIMMED WITH RED METAL FRAMES. THE SOLE IS WORN, STAINED, AND FRAYED RED. TEXT STAMPED ON THE SOLE READS “A.E. NETTLET… CO. S…SE N.Y. ...S.A.” THE BOOTS LEATHER IS WORN OVER THE TOP OF THE FOOT, THE SIDE OF THE HEEL, AND SCRATCHED ALL OVER. THE LEATHER INSIDE THE BOOT IS FLAKING OFF IN THE HEEL AND THE INSIDE EDGE. WHITE FABRIC PULL LOOPS SIT ON THE LEFT AND RIGHT INSIDE OF THE BOOT. DIMENSIONS: H: 46 CM, L: 28.8 CM, W: 9.7 CM. CONDITION: GOOD. H: THE TOE SHAPED PIECE OF THE LEFT BOOT’S WOOD INSERT. MADE OUT OF THE FOOT SHAPED PIECE AND A HANDLE PIECE TO FIT INTO THE FRONT LEG INSERT PIECE, ATTACHED TO EACH OTHER WITH TWO LARGE SCREWS. WRITTEN ON TOP OF THE INSERT IN BLACK INK IS THE LETTER “L”. THE VARNISH IS MINIMALLY DENTED. DIMENSIONS: H: 10 CM, L: 21 CM, W: 8 CM. CONDITION: VERY GOOD. I: THE FRONT PIECE OF THE LEFT BOOT’S WOOD INSERT. ENDS IN TWO PRONGS TO SLOT OVER THE TOE INSERT OF THE BOOT, A TRACK RUNS ON THE BACK SIDE FOR THE INSERTION OF THE HANDLED INSERT PIECE. STAMPED ONTO THE TOP OF THE WOOD INSERT ARE THE WORDS “ROBINBROS. MONTREAL” AND “MADE IN CANADA”. ON THE LEFT SIDE IS A STAMPED “6” AND ON THE RIGHT SIDE IS A STAMPED “L”. WRITTEN ON THE UNVARNISHED BACK OF THE INSERT IN BLACK INK IS “L” AND “6 LEFT”. THE VARNISH IS SCRATCHED AND DENTED, MOSTLY AT THE TOP FRONT EDGE. DIMENSIONS: H: 43 CM, L: 5 CM, W: 8.4 CM. CONDITION: GOOD. J: THE BACK PIECE OF THE LEFT BOOT’S WOOD INSERT. SHAPED LIKE THE BACK OF THE LEG, ENDING IN THE HEEL. THE FLAT FRONT HAS WRITTEN ON IT IN BLACK INK “L”. THE VARNISH IS MINIMALLY SCRATCHED AND DIMPLED. STAMPED ONTO THE TOP OF THE WOOD INSERT ARE THE WORDS “ROBINBROS. MONTREAL” AND “MADE IN CANADA”. ON THE TOP LEFT SIDE IS A STAMPED “6” AND ON THE TOP RIGHT SIDE IS A STAMPED “L”. DIMENSIONS: H: 42.5 CM, L: 5.5 CM, W: 9 CM. CONDITION: VERY GOOD. K: THE MIDDLE PIECE OF THE LEFT BOOT’S WOOD INSERT. THIN, THE INSERT TAPERS FROM THE TOP TO THE HEEL. THE VARNISH IS DARK, SCRATCHED AND WORN IN PLACES. A KNOT IN THE WOOD HAS FALLEN OUT AND LEFT A HOLE IN THE TOP OF THE INSERT. DIMENSIONS: H: 44.3 CM, L: 2.5 CM, W: 9 CM. CONDITION: VERY GOOD. L: THE HANDLED PIECE OF THE RIGHT BOOT’S WOOD INSERT, MEANT TO FIT BETWEEN THE FRONT AND MIDDLE INSERT PIECE. THE FRONT OF THE PIECE FITS INTO THE FRONT WOOD INSERT’S TRACK. THE VARNISH IS MOSTLY WORN AWAY, SURVIVING ON THE HANDLE. THE WOOD IS SCRATCHED AND DIMPLED. ON THE BACK OF THE INSERT IN BLACK INK IS THE LETTER “R” WITH TWO LINES DRAWN OVER IT. STAMPED ON THE TOP LEFT SIDE IS A STAMPED “6” AND ON THE TOP RIGHT SIDE IS A STAMPED “L”. ON THE LEFT SIDE OF THE INSERT IS A NAIL, THE TOP GRINDED DOWN. DIMENSIONS: H: 55.5 CM, L: 1.9 CM, W: 8.6 CM. CONDITION: GOOD.
Subjects
CLOTHING-FOOTWEAR
Historical Association
PERSONAL CARE
MILITARY
PROFESSIONS
LEISURE
History
THIS PAIR OF RIDING BOOTS BELONGED TO MURRAY NELSON, THE BROTHER DONOR KATHRYN HINMAN. TO LEARN MORE ABOUT THE HISTORY OF THESE BOOTS AND THEIR OWNER, GALT COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED HINMAN AT THE MUSEUM ON MARCH 20, 2017. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: “THE PREVIOUS OWNER OF THESE BOOTS WAS MY BROTHER, MURRAY [NELSON],” HINMAN BEGAN, “HE PASSED AWAY AT THE END OF NOVEMBER 2015… HE WAS A LOCAL MUSICIAN. HE CAME INTO THE POSSESSION OF THESE BOOTS FROM MY GRANDFATHER, GEORGE S. BROWN, WHO WAS LIEUTENANT COLONEL GEORGE S. BROWN. MY GRANDDAD WAS A GREAT FRIEND OF BRIGADIER GENERAL STEWART. GRANDDAD CAME INTO POSSESSION OF THESE BOOTS AT SOME POINT FROM DR. STEWART AND WHEN MY BROTHER WAS ABOUT EIGHTEEN, MY GRANDFATHER PASSED THEM ON TO HIM.” “[MURRAY DID] TELL ME THAT HE WAS IN THE GARAGE OUT AT THE FARM, WHICH IS ACTUALLY BROWN ROAD JUST OFF THE COUTTS’ HIGHWAY AND THAT WAS WHERE MY GRANDFATHER’S ACREAGE WAS. ON THAT ACREAGE, THERE WAS A GARAGE [AMONG] MANY BUILDINGS. MURRAY HAD SAID GRANDDAD HAD TAKEN HIM INTO THE GARAGE AND WHEN MURRAY EXPRESSED AN INTEREST IN [THE BOOTS THERE] GRANDDAD SAID, ‘YUP, YOU CAN HAVE THEM. THEY WERE GENERAL STEWART’S FROM THE BOER WAR. TAKE GOOD CARE OF THEM.’” “[MY BROTHER] USED TO WEAR THEM PLAYING IN BANDS WHEN HE WAS EIGHTEEN AND UP,” HINMAN CONTINUED, “[THEY WERE] PART OF HIS DRESS CODE… THEY’RE LOVELY BOOTS. THE STORY WAS THAT THEY WERE FROM THE BOER WAR, WHICH PUTS THEM OVER ONE HUNDRED YEARS OLD… [MY BROTHER] PROBABLY ACQUIRED [THESE BOOTS WHEN] MY GRANDFATHER PASSED AWAY IN 1968. MURRAY WOULD HAVE BEEN EIGHTEEN [THAT YEAR]. HE WAS IN HIS ELEMENT PLAYING WITH THE BANDS, EXPERIMENTING WITH ALL DIFFERENT KINDS OF MUSIC [AT THAT TIME]. I REMEMBER HIM LOOKING VERY COOL WEARING THEM. ALTHOUGH THESE ARE A VERY SMALL SIZE, RIGHT? SO I’M SURE THEY WERE A LITTLE PINCHEY.” “[MY BROTHER HAD] LONG HAIR – WELL EVERYBODY HAD LONG HAIR IN THE 60’S AND 70’S. [HE WAS] VERY COOL AND AT THAT POINT TOO MY DAD (BILL NELSON) HAD ACQUIRED A SMALL MGA, BURGUNDY-COLOURED, AND [MY BROTHER] USED TO BOMB AROUND AND GO TO BAND PRACTICE IN THAT. OH YEAH, HE WAS NOTORIOUS,” HINMAN LAUGHED, REMEMBERING. WHEN ASKED ABOUT HER BROTHER, HINMAN REPLIED, “MY BROTHER WAS BORN IN 1950. HE WAS JUST A LITTLE OVER SIXTY-FIVE WHEN HE PASSED AWAY. HE WAS AN ACTIVE MUSIC TEACHER AND LOCAL GUITAR TEACHER IN TOWN. YOU COULD SEE HIM BUSKING ON THE STREETS IN FRONT OF THE PENNY COFFEE HOUSE AND IN FRONT OF ESQUIRE’S COFFEE HOUSE. EVERYBODY KNEW HIM. HE USED TO BUSK AT THE FARMER’S MARKET ON FIFTH STREET ON FIRST FRIDAYS. HE PLAYED IN BANDS FOREVER.” “[HE WAS IN A] ROCK’N ROLL BAND. HE WAS IN SO MANY BANDS OVER THE YEARS AND I DON’T KNOW THE NAMES OF THE EARLY BANDS. ONE OF [THE BANDS HE PLAYED WITH] WAS KRANDEL’S KLOUD MACHINE, ONE OF THEM WAS THE SHAMAN, AND THEN HE MOVED TO VANCOUVER FOR A COUPLE OF YEARS AND PLAYED IN VANCOUVER – UP AND DOWN THE WEST COAST. WHEN HE CAME BACK FROM THE COAST, HE JUST PLAYED EVERYWHERE IN SOUTHERN ALBERTA WITH VARIOUS PEOPLE… ANYWAY HE WAS VERY WELL KNOWN IN THE BAND SCENE AND HE HAD A RECORDING STUDIO. THAT WAS A PASSION. HE CALLED HIS RECORDING STUDIO, AARDVARK RECORDINGS. HE HAD HIS FIRST RECORDING STUDIO IN THE BASEMENT OF KRUEGER’S MUSIC, WHERE HE TAUGHT MUSIC FOR BILL KRUEGER. THEN HE MOVED ALL HIS STUFF OVER AND HE WAS IN THE BASEMENT OF THE TRIANON FOR YEARS TEACHING RECORDING AND THEN HE GOT INVOLVED IN TECHNOLOGY, SO HE STARTED FIXING COMPUTERS AND DID COMPUTER PROGRAMMING. HE KIND OF USED TECHNOLOGY IN THE RECORDING STUDIO. HE HAD THIS HUGE SOUND BOARD WITH ALL THE SWITCHES AND WHATEVER AND HE HAD TONS OF LIKE STACKS OF MACHINES [FOR RECORDING],” HINMAN REMEMBERED. “[MY BROTHER] HAD A REPUTATION,” HINMAN WENT ON, “[PEOPLE WOULD SAY TO ME], ‘OH YOUR MURRAY’S SISTER.’ IT WAS GREAT AND ACTUALLY MY HUSBAND WAS BORN IN CARDSTON AND HE HAD A BAND THAT HE USED TO PLAY IN SOUTHERN ALBERTA WITH. WE HAVE AN ACTUAL RECORDING FROM THE BASEMENT RECORDING STUDIO AT KRUEGER’S, WHEN [MY BROTHER] RECORDED WITH MY HUSBAND’S BAND. IT WAS GREAT.” WHEN ASKED ABOUT THE MUSICAL INFLUENCE WITHIN HER FAMILY, HINMAN EXPLAINED, “MY MOM (MARGARET NELSON) WAS A LOCAL MUSIC TEACHER. SHE WAS A PIANO TEACHER. MY DAD’S MOTHER WAS KATE MARQUIS NELSON, WHO WAS A LOCAL PIANO TEACHER SO [WE HAD INFLUENCE] FROM BOTH ENDS. WE ALL GREW UP IN OUR HOUSEHOLD WITH MUSIC. I HAVE A DEGREE IN MUSIC AND I’M A MUSIC TEACHER AND MY YOUNGER BROTHER, MARK, PLAYS CLASSICAL GUITAR. WE HAD MUSIC EVERYWHERE. I HAVE SOME PICTURES AT HOME OF THE THREE KIDS WITH A DRUM SET AND I’M ON THE KEYBOARD AND MURRAY IS PLAYING GUITAR AND, EVEN A PICTURE OF MY MOM SITTING AT THE DRUMS TAKING PART IN THE MERRIMENT IN OUR BASEMENT.” “MY DAD PLAYED IN THE SYMPHONY. IN FACT, MY MOM AND DAD REVIVED THE SYMPHONY IN THE EARLY ‘60S. SO IT WAS JUST NATURAL FOR MURRAY TO [BE MUSICAL]. HE PLAYED EVERYTHING. HE PLAYED BANJO WITH MUSICAL THEATRE ONE YEAR, AND TAUGHT BANJO. HE THOUGHT THAT HE WAS THE ‘ONLY’ BANJO TEACHER IN LETHBRIDGE. HE [ALSO] THOUGHT THAT HE WAS THE ONLY REAL GOOD GUITARIST TEACHER IN LETHBRIDGE TOO,” HINMAN LAUGHED. “SO ANYWAY,” SHE CONTINUED, “IT WAS A STRUGGLE FINANCIALLY. MUSIC IS NOT AN EASY, AN EASY PROFESSION TO BE IN, A PERFORMING MUSICIAN. HE QUIT HIGH SCHOOL WHEN HE WAS PROBABLY SIXTEEN, BUT IN HIS MID TO LATE TWENTIES, HE FINISHED HIS DIPLOMA AND HE STARTED NURSING AT THE COLLEGE. HE DID PRETTY WELL [THERE], BUT HE DIDN’T DEAL WELL WITH AUTHORITY, SO HE DIDN’T FINISH IT. BUT [THROUGH THAT HE] GOT A LOT OF GOOD PRACTICAL KNOWLEDGE. [AFTERWARDS] PROCEEDED TO PURSUE HIS PASSION, WHICH WAS MUSIC. IN THE LAST FEW YEARS OF HIS LIFE HE FIXED THOSE COMPUTER SIGNS THAT SIT ON THE SIDE OF THE ROAD. HE WOULD FIX THE MOTHER BOARD… HE JUST DID WHAT HE WANTED. HE LIVED IS LIFE HIS WAY.” TO THE QUESTION OF WHY HER GRANDFATHER, GEORGE S. BROWN, RECEIVED THE BOOTS FROM GENERAL JOHN SMITH STEWART, HINMAN ANSWERED, “THE ONLY REASON I CAN THINK OF IS THAT BECAUSE THEY WERE GREAT FRIENDS… [IF GENERAL STEWART PASSED AWAY IN THE 1970S], THAT WOULD HAVE BEEN AFTER MY GRANDFATHER [DIED]. I KNOW THAT THEY WERE INVOLVED IN THE MILITARY STUFF LOCALLY. ELLA STEWART AND MY GRANDMOTHER WERE GREAT FRIENDS. SOMEHOW [THESE BOOTS WERE] JUST PASSED ALONG TO GRANDDAD.” “WHEN MURRAY WAS DIAGNOSED WITH THE CANCER IN JUNE OF 2015, I KNEW THAT THERE WAS SOME ITEMS THAT HE HAD THAT I NEEDED TO RETRIEVE BECAUSE THEY WERE FAMILY HISTORY,” HINMAN REMEMBERED, “[AMONG THOSE TREASURED THINGS WERE] GENERAL STEWART’S BOOTS, SO I RETRIEVED THEM IN JULY… [MURRAY SAID], ‘TAKE THEM. DO WHAT YOU NEED TO DO WITH THEM.’” “[ONE REASON MY BROTHER HELD ON TO THE BOOTS WAS] HE WAS VERY CLOSE TO MY GRANDPARENTS, BECAUSE HE USED TO SPEND A LOT OF TIME OUT AT THE FARM,” HINMAN EXPLAINED, “I THINK THAT HE JUST COULDN’T BRING HIMSELF TO PART WITH THEM, BECAUSE THEY WERE PART OF HIS FAMILY HISTORY. IT WAS A SPECIAL KIND OF THING BECAUSE GRANDDAD HAD ACTUALLY PASSED THEM TO HIM.” MURRAY NELSON’S OBITUARY WAS PUBLISHED ON THE MARTIN BROTHERS FUNERAL CHAPELS WEBSITE. IT STATES, “WILLIAM MURRAY NELSON, AGE 65, PASSED AWAY PEACEFULLY AT THE LETHBRIDGE REGIONAL HOSPITAL ON SUNDAY, NOVEMBER 29, 2015, AFTER A VALIANT BATTLE WITH CANCER. MUSICIAN, PERFORMER, TEACHER, MENTOR, SOUND GUY, RECORDING GUY, VIDEO GUY, COMPUTER GUY, SIGN GUY; HE WAS A MAN WHO LIVED LIFE HIS WAY, ON HIS TERMS, DOING WHAT HE LOVED.” AN ARTICLE PUBLISHED IN THE LETHBRIDGE HERALD ON DECEMBER 9, 2015, SHORTLY AFTER THE MUSICIAN’S DEATH STATES THAT AT A LOCAL MUSIC SHOW, PROMINENT LEHTBRIDGE SONGWRITER, LEEROY STAGGER, BEGAN THE SHOW WITH A TRIBUTE TO NELSON. TO FURTHER UNDERSCORE NELSON’S REPUTATION IN THE CITY, A DECEMBER 23, 2015 ARTICLE TITLED, “2015 WAS A MEMORABLE YEAR FOR CITY MUSIC SCENE,” WRITTEN FOR THE LETHBRIDGE HERALD BY RICHARD AMERY STATED, “LETHBRIDGE SAID GOODBYE TO MURRAY NELSON, WHO PASSED AWAY FROM CANCER THIS YEAR. NELSON WAS ONE OF THE SCENE’S MORE PROMINENT PERFORMERS ON STAGE PERFORMING SOLO AND WITH A VARIETY OF BANDS AS WELL AS BUSKING ON THE STREETS ALL OVER LETHBRIDGE…HIS MEMORY WILL LIVE ON IN THE STUDENTS HE TAUGHT AND THE SOULS HE TOUCHED ON STAGE OR JUST CHATTING AT VARIOUS WATER HOLES.” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION AND THE COPIES OF LETHBRIDGE HERALD ARTICLES REFERENCED.
Catalogue Number
P20170010000
Acquisition Date
2017-03
Collection
Museum
Images
Less detail
Other Name
"1945 RED CROSS QUILT"
Material Type
Artifact
Materials
COTTON, WOOL
Catalogue Number
P20170035000
  2 images  
Material Type
Artifact
Other Name
"1945 RED CROSS QUILT"
Date
1945
Materials
COTTON, WOOL
No. Pieces
1
Length
214
Width
168.5
Description
BLUE AND PINK QUILT WITH PATTERN OF 56 PINK DIAMONDS INTERLAID WITH BLUE DIAMONDS; PINK FABRIC DIAMONDS HAVE NAMES EMBROIDERED IN BLUE THREAD, LISTED BELOW. BLUE DIAMONDS HAVE AN EMBROIDERED FOUR PETAL DESIGN STITCHED IN FABRIC. QUILT HAS BLUE EMBROIDERED TEXT ON TWO CENTER DIAMONDS, “1945” AND “RED CROSS”. QUILT HAS FINISHED EDGES WITH PINK BORDERS. QUILT HAS FRAYING AND LOSS ON UPPER RIGHT EDGE; FABRIC AND EMBROIDERED TEXT IS FADED; QUILT HAS MINOR BROWN STAIN ON BACK AT LOWER EDGE; OVERALL VERY GOOD CONDITION. EMBROIDERED NAMES ON FRONT OF QUILT [ALPHABETICAL]: ANNAND, ASHMAN, BAILEY, BAKER, BARNES, BELL, BURNS, CARLSON, CARNELL, CHAMBERS, CHRISTIANSEN, CYNCH, DAYMON, DELANY, DEVEBER, DICKSON, DILATUSH, FALLON, FOSTER, GAIRNS, GIDDIE, GLADSTONE, GOBLE, GOING, GREGORY, HAGGLUND, HARRISON, HARWOOD, HATFIELD, HAUG, HINTON, HOLROYD, KEMMIS, KLOPPENBORG, MATKIN, MCEWEN, MCKENZIE, O’BRAY, PITTAWAY, PRESLEY, RACKETTE, REEVES, ROPER, SHERMAN, STEWART, STRATE, THOMAS, UDELL, WACHER, ZORN.
Subjects
ART
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
THE WATERTON PARK RED CROSS QUILT WAS CREATED BY WATERTON FAMILIES DURING THE SECOND WORLD WAR AND WAS EMBROIDERED WITH THE SURNAMES OF WATERTON RESIDENTS LIVING IN THE PARK DURING THE HOMEFRONT PERIOD. THE QUILT FEATURES 50 NAMES EMBROIDERED ON THE SURFACE, ALL SURNAMES OF WATERTON FAMILIES IN THE COMMUNITY DURING WORLD WAR 2 ACCORDING TO BERT PITTAWAY IN A LETTER TO THE WATERTON NATURAL HISTORY ASSOCIATION. THE QUILT WAS PART OF A RED CROSS SOCIETY INITIATIVE THAT SAW GLOBAL AND CANADIAN COMMUNITIES CREATE QUITS FOR SENDING OVERSEAS AND FOR RAISING FUNDS FOR THE RED CROSS. ACCORDING TO ONLINE INFORMATION FROM HALIFAX WOMEN’S HISTORY [HTTP://HALIFAXWOMENSHISTORY.CA/CANADIAN-COMFORT-QUILTS] AND ACTIVE HISTORY [HTTP://ACTIVEHISTORY.CA/2017/07/RED-CROSSES-AND-WHITE-COTTON-MEMORY-AND-MEANING-IN-FIRST-WORLD-WAR-QUILTS/], RED CROSS QUILTS WERE COMMONLY CREATED BY CANADIAN COMMUNITIES AS CIVILIAN CONTRIBUTIONS TO WAR EFFORTS DURING BOTH WORLD WARS. THE QUILTS WERE SENT TO THE RED CROSS FOR DISTRIBUTION TO FAMILIES DISPLACED BY THE WAR OVERSEAS AND TO REFUGEES; QUILTS WERE ALSO RAFFLED PUBLICLY IN COMMUNITIES TO RAISE FUNDS FOR QUILTING GROUPS AND THE RED CROSS. THE WATERTON QUILT WAS RAFFLED IN 1945 AND WON BY MARY PITTAWAY OF WATERTON. BERT PITTAWAY DONATED THE QUILT TO THE WATERTON NATURAL HISTORY ASSOCIATION FOR DISPLAY AT THE WATERTON HERITAGE CENTRE IN THE 1980S, IN MEMORY OF BERT’S PARENTS MARY AND JOHN EDWARD PITTAWAY. JOHN EDWARD PITTAWAY, FATHER OF JACK, BERTRAM, AND DENNIS PITTAWAY, BEGAN HIS MILITARY CAREER AS AN ARMY TRUMPETER IN AN IRISH MILITIA UNIT. J.E. PITTAWAY JOINED THE REGULAR ARMY IN NOVEMBER 1893, SERVING IN WORLD WAR 1 AND WORLD WAR 2, IN WORLD WAR 2 ACHIEIVING THE RANK OF BATTERY SERGEANT MAJOR. J.E. PITTAWAY MOVED TO WATERTON IN 1927 FROM IRELAND. J.E. PITTAWAY WORKED FOR THE PARKS DEPARTMENT AS A GARDENER AND THEN AS A CAMPGROUND CARETAKER. J.E. PITTAWAY DIED MARCH 13, 1956, WITH HIS FINAL TRIBUTE IN CALGARY ON MARCH 17, 1956. ACCORDING TO THE PARKS CANADA WEBSITE ON WATERTON NATIONAL PARK, MEMORY OF THE WARS WERE “…INSCRIBED ON LANDFORMS IN PLACE NAMES…AND THE CELEBRATION OF PEACE WAS GIVEN SYMBOLIC FORM IN THE ESTABLISHMENT OF THE WORLD’S FIRST INTERNATIONAL PEACE PARK IN 1932.” WATERTON NATIONAL PARK FEATURES LAKES, RIDGES, AND PEAKS NAMED WITH REFERENCES TO THE WORLD WARS, INCLUDING AVION RIDGE, FESTUBERT MOUNTAIN, AND MOUNT ALDERSON. IN 2017, THE WATERTON NATURAL HISTORY ASSOCIATION DISSOLVED AND REPRESENTATIVES FROM WATERTON LAKES PARK FACILITATED THE TRANSFER OF THE COLLECTIONS TO OTHER INSTITUTIONS. THE 1945 WATERTON QUILT WAS DONATED TO THE GALT MUSEUM & ARCHIVES AS PART OF THE EFFORTS TO RE-HOME THE WATERTON NATURAL HISTORY ASSOCIATION’S COLLECTION. FOR MORE INFORMATION INCLUDING THE LETTER FROM BERT PITTAWAY, DONATION NOTES FROM THE WATERTON NATURAL HISTORY ASSOCIATION, INFORMATION FROM THE PARKS CANADA WEBSITE ON WATERTON LAKES PARK, AND NEWSPAPER CLIPPINGS ON THE PITTAWAY FAMILY, PLEASE SEE THE PERMANENT FILE P20170035000-GA.
Catalogue Number
P20170035000
Acquisition Date
2017-11
Collection
Museum
Images
Less detail

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