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Other Name
HAIR COMB
Date Range From
1923
Date Range To
1924
Material Type
Artifact
Materials
CORAL
Catalogue Number
P20160042002
  1 image  
Material Type
Artifact
Other Name
HAIR COMB
Date Range From
1923
Date Range To
1924
Materials
CORAL
No. Pieces
1
Length
10
Width
3.4
Description
STRAIGHT-EDGED COMB. AMBER-COLOURED, TRANSLUCENT MATERIAL SPECULATED CORAL BY DONOR. THE HANDLE EDGE IS CURVED AND THE COMB'S LENGTH TAPERS INWARD FROM THE HANDLE EDGE TO TEETH EDGE. TEETH WIDTH APPROX. 0.2 - 0.5 CM. THERE IS A 1.1 CM WIDE EDGE BETWEEN TEETH AND EDGE OF COMB ON EITHER SIDE. CONDITION: SMALL CHIP ON SIDE EDGE AND SLIGHT LOSS OF FINISH ON TEETH.
Subjects
TOILET ARTICLE
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
ON 2 DECEMBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DONORS, MAKIO (MAC) AND REYKO NISHIYAMA, IN THEIR HOME TO DISCUSS ITEMS THEY WERE DONATING TO THE GALT. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: MRS. NISHIYAMA EXPLAINED THIS COMB CAME INTO HER CUSTODY AFTER ITS INITIAL OWNERS – HER PARENTS TAKASHI AND CHIAKI KARAKI – MOVED FROM THEIR RAYMOND HOME TO BRITISH COLUMBIA. SHE SAID, “… [AFTER THE] SIXTY YEARS OF FARMING, MY [PARENTS] DID IN RAYMOND… THEY SELL THE WHOLE THING AND MOVE! I’M LEFT BEHIND IN RAYMOND BY MYSELF, MARRIED… WHEN THEY MOVE TO QUESNEL, B.C [IN THE LATE 1950S], THEY HAD TO LEAVE BEHIND THEIR TRUNK AND IT HAD ALL THE TREASURES IN IT.” OTHER TREASURES FOUND IN THE TRUNK ALONG WITH THE COMB WERE HER MOTHER’S HAIR ORNAMENTS AND A VASE (P20160042001 & 003-004). MRS. NISHIYAMA REMEMBERED, “[MY MOTHER] EXPLAINED TO ME THAT SHE’D KEPT THESE BECAUSE THEY WERE HERS – GIVEN TO HER BY HER PARENTS – AND SHE WANTED ME TO SORT OF TAKE CARE OF THEM… [THEY WERE] NOT ANYTHING TO USE AROUND HERE, ANYWAY, SO WE JUST THOUGHT THEY WERE BEAUTIFUL, AND, ONCE IN A WHILE, WE GET TO SEE IT.” WHEN ASKED IF SHE REMEMBERED HER MOTHER USING THE COMB AND HAIR ACCESSORIES, MRS. NISHIYAMA STATED, “NO. BY THE TIME SHE GOT TO THE FARM, SHE REALIZED THERE’S NO DRESSING UP OR NOTHING. YOU KNOW THE HAIRDOS – THE FANCY HAIRDOS THAT THEY HAD IN JAPAN - THEY WERE LONG GONE, SO THEY JUST WENT BY. I KNOW SHE BRAIDED HER HAIR AND WORE A BUN ON THE BACK OF HER HEAD, FOR YEARS AND YEARS, BEFORE SHE CUT IT SHORT. SO, I JUST REMEMBERED A LITTLE TREASURE THAT SHE HAD IN THE DRAWER… IT WAS IN A SPECIAL SPOT IN THE DRESSER, AND WE ONLY GOT TO SEE IT ONCE IN A WHILE. IT WAS SPECIAL. IT WAS HER TREASURES THAT SHE KEPT.” MRS. NISHIYAMA EXPLAINED THAT HER MOTHER PROBABLY DID NOT USE THE COMB ONCE SHE WAS IN ALBERTA. SHE SAID, “I DOUBT [THEY WERE USED]. IT DOESN’T LOOK SERVICEABLE REALLY, BUT IT’S DAYS BEFORE PLASTIC – AND I KNOW SHE TOLD ME IT WAS A SPECIAL MATERIAL. I MEAN, A SPECIAL NATURAL MATERIAL. WHETHER IT’S CORAL, I’M NOT SURE. I CAN’T SAY THAT. SPEAKING OF THE ITEMS’ USE ONCE THEY WERE IN HER POSSESSION, MRS. NISHIYAMA SAID, “[THEY WERE] NOT REALLY [USED]. I THINK I’VE HAD IT OUT WHEN THEY ASKED FOR IT AT JAPANESE GARDENS. I THINK WE HAD SOMETHING ELSE SOMEWHERE, WHERE WE HAD A DISPLAY… I THINK THAT’S THE ONLY TIMES THAT THEY CAME OUT… THIS (THE COMB) WAS SOMETHING THAT WE ONLY GOT TO SEE OCCASIONALLY.” THE TRUNK, ALONG WITH ITS CONTENTS, WERE BROUGHT TO SOUTHERN ALBERTA FROM JAPAN BY HER MOTHER, CHIAKI KARAKI (NEE KUMAGAI), FOLLOWING HER MARRIAGE TO TAKASHI KARAKI. MRS. NISHIYAMA EXPLAINED HER PARENTS’ MARRIAGE STORY: “… SHE CAME OVER AS A VERY YOUNG BRIDE… NOT QUITE EIGHTEEN… I OFTEN SAID TO MY MOTHER…, ‘HOW IN THE WORLD DID YOUR PARENTS EVER LET YOU GO TO CANADA? YOU DIDN’T KNOW THE LANGUAGE – IT’S A DIFFERENT COUNTRY.’ SHE DIDN’T KNOW ANYTHING ABOUT MY DAD, EXCEPT THAT HE WAS A FARMER. HE’S SEVENTEEN YEARS OLDER THAN SHE WAS THEN. IT DOESN’T MAKE SENSE. SHE JUST SAID, ‘MY PARENTS SAID TO GO, SO I CAME’ … IT TOOK A LOT OF COURAGE…” MRS. NISHIYAMA WENT ON, “ALL JAPANESE MARRIAGES WERE DONE [BY] GO-BETWEENS. THERE WERE, I WOULD SAY, HARDLY ANY, IN FACT, I DON’T THINK THERE WAS ANY… FALLING-IN-LOVE KIND OF THING. THAT WAS JUST NOT EVEN THOUGHT ABOUT… MY DAD’S FOLKS WERE IN THE VILLAGE. THEY WERE FARMERS… THEY HAD A LARGE HOUSE AND THEY RAISED SILKWORMS. MY MOTHER’S FOLKS LIVED IN THE TOWN… SHE COMES FROM A VERY MODEST FAMILY, BUT HER DAD WAS A PAWN BROKER…” A FAMILY HISTORY WRITTEN BY MRS. NISHIYAMA AND HER BROTHER, SUSUMU KARAKI, IN THE BOOK TITLED "NISHIKI: NIKKEI TAPESTRY: A HISTORY OF SOUTHERN ALBERTA JAPANESE CANADIANS" (PUBLISHED 2001), ELABORATES ON THE FAMILY’S STORY. IT STATES THEIR FATHER, TAKASHI KARAKI, WAS BORN ON 1 JULY 1889 IN NAGANO PREFECTURE, JAPAN. THE HISTORY READS, “AFTER GRADUATING FROM HIGH SCHOOL IN 1907… HE LEFT A COMFORTABLE HOME… TO VENTURE OUT FOR A NEW LIFE IN AMERICA.” IT EXPLAINS HE LANDED IN VANCOUVER, AND WAS LURED BY A HIGH SALARY JOB IN SKEENA, BRITISH COLUMBIA. AFTER WORKING IN BRITISH COLUMBIA, THE HISTORY SAYS THAT “IN 1909, HE AND SEVERAL HUNDRED OTHER YOUNG JAPANESE MEN WERE RECRUITED BY AN AGENT OF THE KNIGHT SUGAR COMPANY TO WORK IN THE SUGAR BEET FIELDS IN RAYMOND, [ALBERTA] WITH PROMISES OF GOOD PAY AND EASY WORK...” THE MEN SOON LEARNED THAT THE WORK WAS MUCH MORE DIFFICULT AND THE PAY SIGNIFICANTLY LOWER THAN THEY HAD BEEN INITIALLY BEEN PROMISED, SO MANY RETURNED TO BRITISH COLUMBIA AFTER THEIR CONTRACT YEAR. KARAKI WAS OF THE GROUP THAT DECIDED TO STAY ON WITH THE COMPANY UNTIL ITS CLOSURE IN 1914. AFTER THAT, HE BEGAN A FARMING OPERATION WITH TWO OF THE FRIENDS HE MADE IN THE COMPANY – LEASING LAND FROM FIRST THE KNIGHT SUGAR COMPANY, THEN FROM A LOCAL NAMED ROLLO KINSEY, AND FINALLY FROM THE MCINTYRE RANCH IN MAGRATH. EVEN THOUGH THE PARTNERSHIP DISSOLVED AFTER THE FIRST THREE YEARS, KARAKI PERSISTED UNDER THE TRYING CONDITIONS, AND BY 1918 HE MADE THE DECISION TO MAKE ALBERTA HIS PERMANENT HOME AND TO BECOME A CANADIAN CITIZEN. HE PURCHASED A DRY LAND FARM IN RAYMOND AND FARMED THAT FOR FIVE YEARS BEFORE DECIDING HE WANTED TO GET MARRIED AND RAISE A FAMILY OF HIS OWN. HE RETURNED TO JAPAN IN 1923, WHERE HE MET THROUGH FAMILY AND FRIENDS, CHIAKI KUMAGAI, WHO WAS ALSO FROM THE NAGANO PREFECTURE. THE COUPLE MARRIED IN DECEMBER 1923, AND THE NEWLYWEDS RETURNED TO RAYMOND IN SPRING 1924. IN THE 2016 INTERVIEW, MRS. NISHIYAMA ADDED, “THERE WAS SOMEBODY ELSE. GO-BETWEENS HAD PICKED OUT SOMEONE ELSE FOR HIM, SO SOMEONE ELSE LOOKED AT HIM AND SAID ‘NO, THANK YOU.’ YOU KNOW, SOMETIMES IT WORKS, AND SOMETIMES IT DIDN’T. SO, THEN THEY HAD TO SCROUNGE A LITTLE BIT, AND MY MOTHER’S TOWN WAS NOT SO FAR FROM WHERE DAD’S FAMILY LIVED, SO THEY SAID, ‘WELL, WE’RE NOT THAT FAR APART. WHEN YOU COME HOME FOR A VISIT, YOU WILL BE ABLE TO VISIT.’” WHEN DESCRIBING THE HOME THE COUPLE INTIALLY SETTLED IN, MRS. NISHIYAMA EXPLAINED, “WE [WERE] 8 MILES SOUTH OF RAYMOND, IN WHAT WE CALL THE MAMMOTH SCHOOL DISTRICT… THERE WERE QUITE A FEW JAPANESE FAMILIES IN AND AROUND THAT MAMMOTH SCHOOL DISTRICT, SO WE WERE SORT OF THE MAJORITY.” MRS. NISHIYAMA SAID THAT HER MOTHER SPOKE OFTEN OF HER EARLY DAYS IN SOUTHERN ALBERTA. MRS. NISHIYAMA RECALLED, “IT WAS REALLY VERY LONELY [FOR MY MOTHER]. SHE’S YOUNG; THE CLOSEST NEIGHBOR WAS HALF A MILE AWAY… WHEN SHE GOT TO THE FARM, SHE SAID, ‘YOU SAID OUR NEIGHBORS ARE TAKAGUCHI’S. IS THAT HOUSE OVER THERE OUR NEIGHBORS?’ DAD SAID, ‘NO, THAT’S A CHICKEN COOP. THE NEIGHBOR’S HOUSE IS AWAY OVER THERE.’ FOR HER, THAT’S JUST APPALLING, COMING FROM A TOWN WHERE NEIGHBORS WERE CLOSE…DAD WOULD GET UP ONTO THE FIELD. NO ONE TO TALK TO EVEN. FORTUNATELY, SHE SAID, HER BROTHER-IN-LAW (DAD HAD A YOUNGER BROTHER HELPING HIM AT THAT TIME) – AND HE SAID, ‘GET ON THE BACK OF MY TRACTOR AND (IT WASN’T TRACTOR THEN – IT WAS HORSE AND BUGGY, BUT ANYWAY -) JUST COME AND RIDE THE FIELD WITH ME.’ AND, SHE DID JUST BECAUSE SHE COULDN’T STAND BEING BY HERSELF IN A LONELY OUTPOST, ON THE PRAIRIES, WITH NOTHING TO LOOK AT…” ACCORDING TO THE KARAKI FAMILY HISTORY IN THE NISHIKI BOOK, THE COUPLE RAISED A FAMILY OF SIX CHILDREN INCLUDING THE DONOR, REYKO NISHIYAMA. BY 1956, THEY SOLD THEIR FARM AND RELOCATED TO BRITISH COLUMBIA. TAKASHI PASSED AWAY IN THERE IN 1974 AT THE AGE OF 85 AND CHIAKI PASSED AWAY 14 YEARS LATER IN 1988. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTIONS AND COPIES OF THE FAMILY HISTORIES.
Catalogue Number
P20160042002
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Date Range From
1923
Date Range To
1924
Material Type
Artifact
Materials
BONE, RHINESTONE
Catalogue Number
P20160042003
  1 image  
Material Type
Artifact
Date Range From
1923
Date Range To
1924
Materials
BONE, RHINESTONE
No. Pieces
1
Height
16.3
Length
8.5
Description
FAN-SHAPED HAIR ORNAMENT WITH TWO LARGE PRONGS. CREAM-COLOURED WITH BROWN DAPPLING. 5 WHITE TULIP-SHAPED DESIGNS ON FANNED EDGE OF ORNAMENT WITH GREEN RHINESTONES INLAID IN THE WHITE SECTIONS OF DESIGN. TWO THIN LINES ARE ETCHED ON EITHER SIDE OF EACH WHITE TULIP SECTION. CONDITION: DESIGN FADED WITH ONE GREEN RHINESTONE MISSING ON AN INNER TULIP. SLIGHT LOSS OF FINISH ESPECIALLY AT THE WHITE PORTIONS OF DESIGN. SCUFFED SURFACE OVERALL.
Subjects
ADORNMENT
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
ON 2 DECEMBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DONORS, MAKIO (MAC) AND REYKO NISHIYAMA, IN THEIR HOME TO DISCUSS ITEMS THEY WERE DONATING TO THE GALT. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: MRS. NISHIYAMA EXPLAINED THIS HAIR ORNAMENT AND A MATCHING ONE CAME INTO HER CUSTODY AFTER ITS INITIAL OWNERS – HER PARENTS TAKASHI AND CHIAKI KARAKI – MOVED FROM THEIR RAYMOND HOME TO BRITISH COLUMBIA. SHE SAID, “… [AFTER THE] SIXTY YEARS OF FARMING, MY [PARENTS] DID IN RAYMOND… THEY SELL THE WHOLE THING AND MOVE! I’M LEFT BEHIND IN RAYMOND BY MYSELF, MARRIED… WHEN THEY MOVE TO QUESNEL, B.C [IN THE LATE 1950S], THEY HAD TO LEAVE BEHIND THEIR TRUNK AND IT HAD ALL THE TREASURES IN IT.” OTHER TREASURES FOUND IN THE TRUNK WERE HER MOTHER’S COMB AND A VASE ALSO DONATED WITH THE TWO HAIR ORNAMENTS (P20160042001 & 003-004). MRS. NISHIYAMA REMEMBERED, “[MY MOTHER] EXPLAINED TO ME THAT SHE’D KEPT THESE BECAUSE THEY WERE HERS – GIVEN TO HER BY HER PARENTS – AND SHE WANTED ME TO SORT OF TAKE CARE OF THEM… [THEY] CAME WITH HER WHEN SHE GOT MARRIED… SHE CAME OVER AS A VERY YOUNG BRIDE… [THESE] TWO PIECES ARE HER HAIR ORNAMENTS, AND I’M GUESSING THAT THEY ARE BONE… [THEY WERE] NOT ANYTHING TO USE AROUND HERE, ANYWAY, SO WE JUST THOUGHT THEY WERE BEAUTIFUL, AND, ONCE IN A WHILE, WE GET TO SEE IT.” WHEN ASKED IF SHE REMEMBERED HER MOTHER USING THE COMB AND HAIR ACCESSORIES, MRS. NISHIYAMA STATED, “NO. BY THE TIME SHE GOT TO THE FARM, SHE REALIZED THERE’S NO DRESSING UP OR NOTHING. YOU KNOW THE HAIRDOS – THE FANCY HAIRDOS THAT THEY HAD IN JAPAN - THEY WERE LONG GONE, SO THEY JUST WENT BY. I KNOW SHE BRAIDED HER HAIR AND WORE A BUN ON THE BACK OF HER HEAD, FOR YEARS AND YEARS, BEFORE SHE CUT IT SHORT. SO, I JUST REMEMBERED A LITTLE TREASURE THAT SHE HAD IN THE DRAWER… IT WAS IN A SPECIAL SPOT IN THE DRESSER, AND WE ONLY GOT TO SEE IT ONCE IN A WHILE. IT WAS SPECIAL. IT WAS HER TREASURES THAT SHE KEPT.” SPEAKING OF THE ITEMS’ USE ONCE THEY WERE IN HER POSSESSION, MRS. NISHIYAMA SAID, “[THEY WERE] NOT REALLY [USED]. I THINK I’VE HAD IT OUT WHEN THEY ASKED FOR IT AT JAPANESE GARDENS. I THINK WE HAD SOMETHING ELSE SOMEWHERE, WHERE WE HAD A DISPLAY… I THINK THAT’S THE ONLY TIMES THAT THEY CAME OUT…” THE TRUNK, ALONG WITH ITS CONTENTS, WERE BROUGHT TO SOUTHERN ALBERTA FROM JAPAN BY HER MOTHER, CHIAKI KARAKI (NEE KUMAGAI), FOLLOWING HER MARRIAGE TO TAKASHI KARAKI. MRS. NISHIYAMA EXPLAINED HER PARENTS’ MARRIAGE STORY: “… SHE CAME OVER AS A VERY YOUNG BRIDE… NOT QUITE EIGHTEEN… I OFTEN SAID TO MY MOTHER…, ‘HOW IN THE WORLD DID YOUR PARENTS EVER LET YOU GO TO CANADA? YOU DIDN’T KNOW THE LANGUAGE – IT’S A DIFFERENT COUNTRY.’ SHE DIDN’T KNOW ANYTHING ABOUT MY DAD, EXCEPT THAT HE WAS A FARMER. HE’S SEVENTEEN YEARS OLDER THAN SHE WAS THEN. IT DOESN’T MAKE SENSE. SHE JUST SAID, ‘MY PARENTS SAID TO GO, SO I CAME’ … IT TOOK A LOT OF COURAGE…” MRS. NISHIYAMA WENT ON, “ALL JAPANESE MARRIAGES WERE DONE [BY] GO-BETWEENS. THERE WERE, I WOULD SAY, HARDLY ANY, IN FACT, I DON’T THINK THERE WAS ANY… FALLING-IN-LOVE KIND OF THING. THAT WAS JUST NOT EVEN THOUGHT ABOUT… MY DAD’S FOLKS WERE IN THE VILLAGE. THEY WERE FARMERS… THEY HAD A LARGE HOUSE AND THEY RAISED SILKWORMS. MY MOTHER’S FOLKS LIVED IN THE TOWN… SHE COMES FROM A VERY MODEST FAMILY, BUT HER DAD WAS A PAWN BROKER…” A FAMILY HISTORY WRITTEN BY MRS. NISHIYAMA AND HER BROTHER, SUSUMU KARAKI, IN THE BOOK TITLED "NISHIKI: NIKKEI TAPESTRY: A HISTORY OF SOUTHERN ALBERTA JAPANESE CANADIANS" (PUBLISHED 2001), ELABORATES ON THE FAMILY’S STORY. IT STATES THEIR FATHER, TAKASHI KARAKI, WAS BORN ON 1 JULY 1889 IN NAGANO PREFECTURE, JAPAN. THE HISTORY READS, “AFTER GRADUATING FROM HIGH SCHOOL IN 1907… HE LEFT A COMFORTABLE HOME… TO VENTURE OUT FOR A NEW LIFE IN AMERICA.” IT EXPLAINS HE LANDED IN VANCOUVER, AND WAS LURED BY A HIGH SALARY JOB IN SKEENA, BRITISH COLUMBIA. AFTER WORKING IN BRITISH COLUMBIA, THE HISTORY SAYS THAT “IN 1909, HE AND SEVERAL HUNDRED OTHER YOUNG JAPANESE MEN WERE RECRUITED BY AN AGENT OF THE KNIGHT SUGAR COMPANY TO WORK IN THE SUGAR BEET FIELDS IN RAYMOND, [ALBERTA] WITH PROMISES OF GOOD PAY AND EASY WORK...” THE MEN SOON LEARNED THAT THE WORK WAS MUCH MORE DIFFICULT AND THE PAY SIGNIFICANTLY LOWER THAN THEY HAD BEEN INITIALLY BEEN PROMISED, SO MANY RETURNED TO BRITISH COLUMBIA AFTER THEIR CONTRACT YEAR. KARAKI WAS OF THE GROUP THAT DECIDED TO STAY ON WITH THE COMPANY UNTIL ITS CLOSURE IN 1914. AFTER THAT, HE BEGAN A FARMING OPERATION WITH TWO OF THE FRIENDS HE MADE IN THE COMPANY – LEASING LAND FROM FIRST THE KNIGHT SUGAR COMPANY, THEN FROM A LOCAL NAMED ROLLO KINSEY, AND FINALLY FROM THE MCINTYRE RANCH IN MAGRATH. EVEN THOUGH THE PARTNERSHIP DISSOLVED AFTER THE FIRST THREE YEARS, KARAKI PERSISTED UNDER THE TRYING CONDITIONS, AND BY 1918 HE MADE THE DECISION TO MAKE ALBERTA HIS PERMANENT HOME AND TO BECOME A CANADIAN CITIZEN. HE PURCHASED A DRY LAND FARM IN RAYMOND AND FARMED THAT FOR FIVE YEARS BEFORE DECIDING HE WANTED TO GET MARRIED AND RAISE A FAMILY OF HIS OWN. HE RETURNED TO JAPAN IN 1923, WHERE HE MET THROUGH FAMILY AND FRIENDS, CHIAKI KUMAGAI, WHO WAS ALSO FROM THE NAGANO PREFECTURE. THE COUPLE MARRIED IN DECEMBER 1923, AND THE NEWLYWEDS RETURNED TO RAYMOND IN SPRING 1924. IN THE 2016 INTERVIEW, MRS. NISHIYAMA ADDED, “THERE WAS SOMEBODY ELSE. GO-BETWEENS HAD PICKED OUT SOMEONE ELSE FOR HIM, SO SOMEONE ELSE LOOKED AT HIM AND SAID ‘NO, THANK YOU.’ YOU KNOW, SOMETIMES IT WORKS, AND SOMETIMES IT DIDN’T. SO, THEN THEY HAD TO SCROUNGE A LITTLE BIT, AND MY MOTHER’S TOWN WAS NOT SO FAR FROM WHERE DAD’S FAMILY LIVED, SO THEY SAID, ‘WELL, WE’RE NOT THAT FAR APART. WHEN YOU COME HOME FOR A VISIT, YOU WILL BE ABLE TO VISIT.’” WHEN DESCRIBING THE HOME THE COUPLE INTIALLY SETTLED IN, MRS. NISHIYAMA EXPLAINED, “WE [WERE] 8 MILES SOUTH OF RAYMOND, IN WHAT WE CALL THE MAMMOTH SCHOOL DISTRICT… THERE WERE QUITE A FEW JAPANESE FAMILIES IN AND AROUND THAT MAMMOTH SCHOOL DISTRICT, SO WE WERE SORT OF THE MAJORITY.” MRS. NISHIYAMA SAID THAT HER MOTHER SPOKE OFTEN OF HER EARLY DAYS IN SOUTHERN ALBERTA. MRS. NISHIYAMA RECALLED, “IT WAS REALLY VERY LONELY [FOR MY MOTHER]. SHE’S YOUNG; THE CLOSEST NEIGHBOR WAS HALF A MILE AWAY… WHEN SHE GOT TO THE FARM, SHE SAID, ‘YOU SAID OUR NEIGHBORS ARE TAKAGUCHI’S. IS THAT HOUSE OVER THERE OUR NEIGHBORS?’ DAD SAID, ‘NO, THAT’S A CHICKEN COOP. THE NEIGHBOR’S HOUSE IS AWAY OVER THERE.’ FOR HER, THAT’S JUST APPALLING, COMING FROM A TOWN WHERE NEIGHBORS WERE CLOSE…DAD WOULD GET UP ONTO THE FIELD. NO ONE TO TALK TO EVEN. FORTUNATELY, SHE SAID, HER BROTHER-IN-LAW (DAD HAD A YOUNGER BROTHER HELPING HIM AT THAT TIME) – AND HE SAID, ‘GET ON THE BACK OF MY TRACTOR AND (IT WASN’T TRACTOR THEN – IT WAS HORSE AND BUGGY, BUT ANYWAY -) JUST COME AND RIDE THE FIELD WITH ME.’ AND, SHE DID JUST BECAUSE SHE COULDN’T STAND BEING BY HERSELF IN A LONELY OUTPOST, ON THE PRAIRIES, WITH NOTHING TO LOOK AT…” ACCORDING TO THE KARAKI FAMILY HISTORY IN THE NISHIKI BOOK, THE COUPLE RAISED A FAMILY OF SIX CHILDREN INCLUDING THE DONOR, REYKO NISHIYAMA. BY 1956, THEY SOLD THEIR FARM AND RELOCATED TO BRITISH COLUMBIA. TAKASHI PASSED AWAY IN THERE IN 1974 AT THE AGE OF 85 AND CHIAKI PASSED AWAY 14 YEARS LATER IN 1988. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTIONS AND COPIES OF THE FAMILY HISTORIES.
Catalogue Number
P20160042003
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Date Range From
1923
Date Range To
1924
Material Type
Artifact
Materials
BONE, RHINESTONES
Catalogue Number
P20160042004
  1 image  
Material Type
Artifact
Date Range From
1923
Date Range To
1924
Materials
BONE, RHINESTONES
No. Pieces
1
Length
11
Width
6.5
Description
CROWN-SHAPED HAIR ORNAMENT. SHAPE IS MADE UP OF FOUR TULIP SHAPES. BONE COLOUR IS CREAM WITH BROWN DAPPLING. THE TULIPS ARE WHITE INLAID WITH GREEN RHINESTONES. LEAF-SHAPED DESIGNS ON THE BASE (TWO PER FLOWER) ARE BLACK INLAID WITH PALE BLUE RHINESTONES. FINE LINES ARE ETCHED INTO THE BLACK OF LEAVES AND AROUND THE FLOWER HEADS. CONDITION: DESIGNS ARE SLIGHTLY FADED WITH SLIGHT DIRT ACCUMULATION ON WHITE AREAS OF FLOWERS. TWO GREEN RHINESTONS AND ONE BLUE RHINESTONE MISSING. CLOSING MECHANISM AT BACK IS MISSING. SLIGHT SCUFFS ON OVERALL SURFACE.
Subjects
ADORNMENT
Historical Association
PERSONAL CARE
ETHNOGRAPHIC
History
ON 2 DECEMBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DONORS, MAKIO (MAC) AND REYKO NISHIYAMA, IN THEIR HOME TO DISCUSS ITEMS THEY WERE DONATING TO THE GALT. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: MRS. NISHIYAMA EXPLAINED THIS HAIR ORNAMENT AND A MATCHING ONE CAME INTO HER CUSTODY AFTER ITS INITIAL OWNERS – HER PARENTS TAKASHI AND CHIAKI KARAKI – MOVED FROM THEIR RAYMOND HOME TO BRITISH COLUMBIA. SHE SAID, “… [AFTER THE] SIXTY YEARS OF FARMING, MY [PARENTS] DID IN RAYMOND… THEY SELL THE WHOLE THING AND MOVE! I’M LEFT BEHIND IN RAYMOND BY MYSELF, MARRIED… WHEN THEY MOVE TO QUESNEL, B.C [IN THE LATE 1950S], THEY HAD TO LEAVE BEHIND THEIR TRUNK AND IT HAD ALL THE TREASURES IN IT.” OTHER TREASURES FOUND IN THE TRUNK WERE HER MOTHER’S COMB AND A VASE ALSO DONATED WITH THE HAIR ORNAMENTS (P20160042001 & 003-004). MRS. NISHIYAMA REMEMBERED, “[MY MOTHER] EXPLAINED TO ME THAT SHE’D KEPT THESE BECAUSE THEY WERE HERS – GIVEN TO HER BY HER PARENTS – AND SHE WANTED ME TO SORT OF TAKE CARE OF THEM… [THEY] CAME WITH HER WHEN SHE GOT MARRIED… SHE CAME OVER AS A VERY YOUNG BRIDE… [THESE] TWO PIECES ARE HER HAIR ORNAMENTS, AND I’M GUESSING THAT THEY ARE BONE… [THEY WERE] NOT ANYTHING TO USE AROUND HERE, ANYWAY, SO WE JUST THOUGHT THEY WERE BEAUTIFUL, AND, ONCE IN A WHILE, WE GET TO SEE IT.” WHEN ASKED IF SHE REMEMBERED HER MOTHER USING THE COMB AND HAIR ACCESSORIES, MRS. NISHIYAMA STATED, “NO. BY THE TIME SHE GOT TO THE FARM, SHE REALIZED THERE’S NO DRESSING UP OR NOTHING. YOU KNOW THE HAIRDOS – THE FANCY HAIRDOS THAT THEY HAD IN JAPAN - THEY WERE LONG GONE, SO THEY JUST WENT BY. I KNOW SHE BRAIDED HER HAIR AND WORE A BUN ON THE BACK OF HER HEAD, FOR YEARS AND YEARS, BEFORE SHE CUT IT SHORT. SO, I JUST REMEMBERED A LITTLE TREASURE THAT SHE HAD IN THE DRAWER… IT WAS IN A SPECIAL SPOT IN THE DRESSER, AND WE ONLY GOT TO SEE IT ONCE IN A WHILE. IT WAS SPECIAL. IT WAS HER TREASURES THAT SHE KEPT.” SPEAKING OF THE ITEMS’ USE ONCE THEY WERE IN HER POSSESSION, MRS. NISHIYAMA SAID, “[THEY WERE] NOT REALLY [USED]. I THINK I’VE HAD IT OUT WHEN THEY ASKED FOR IT AT JAPANESE GARDENS. I THINK WE HAD SOMETHING ELSE SOMEWHERE, WHERE WE HAD A DISPLAY… I THINK THAT’S THE ONLY TIMES THAT THEY CAME OUT…” THE TRUNK, ALONG WITH ITS CONTENTS, WERE BROUGHT TO SOUTHERN ALBERTA FROM JAPAN BY HER MOTHER, CHIAKI KARAKI (NEE KUMAGAI), FOLLOWING HER MARRIAGE TO TAKASHI KARAKI. MRS. NISHIYAMA EXPLAINED HER PARENTS’ MARRIAGE STORY: “… SHE CAME OVER AS A VERY YOUNG BRIDE… NOT QUITE EIGHTEEN… I OFTEN SAID TO MY MOTHER…, ‘HOW IN THE WORLD DID YOUR PARENTS EVER LET YOU GO TO CANADA? YOU DIDN’T KNOW THE LANGUAGE – IT’S A DIFFERENT COUNTRY.’ SHE DIDN’T KNOW ANYTHING ABOUT MY DAD, EXCEPT THAT HE WAS A FARMER. HE’S SEVENTEEN YEARS OLDER THAN SHE WAS THEN. IT DOESN’T MAKE SENSE. SHE JUST SAID, ‘MY PARENTS SAID TO GO, SO I CAME’ … IT TOOK A LOT OF COURAGE…” MRS. NISHIYAMA WENT ON, “ALL JAPANESE MARRIAGES WERE DONE [BY] GO-BETWEENS. THERE WERE, I WOULD SAY, HARDLY ANY, IN FACT, I DON’T THINK THERE WAS ANY… FALLING-IN-LOVE KIND OF THING. THAT WAS JUST NOT EVEN THOUGHT ABOUT… MY DAD’S FOLKS WERE IN THE VILLAGE. THEY WERE FARMERS… THEY HAD A LARGE HOUSE AND THEY RAISED SILKWORMS. MY MOTHER’S FOLKS LIVED IN THE TOWN… SHE COMES FROM A VERY MODEST FAMILY, BUT HER DAD WAS A PAWN BROKER…” A FAMILY HISTORY WRITTEN BY MRS. NISHIYAMA AND HER BROTHER, SUSUMU KARAKI, IN THE BOOK TITLED "NISHIKI: NIKKEI TAPESTRY: A HISTORY OF SOUTHERN ALBERTA JAPANESE CANADIANS" (PUBLISHED 2001), ELABORATES ON THE FAMILY’S STORY. IT STATES THEIR FATHER, TAKASHI KARAKI, WAS BORN ON 1 JULY 1889 IN NAGANO PREFECTURE, JAPAN. THE HISTORY READS, “AFTER GRADUATING FROM HIGH SCHOOL IN 1907… HE LEFT A COMFORTABLE HOME… TO VENTURE OUT FOR A NEW LIFE IN AMERICA.” IT EXPLAINS HE LANDED IN VANCOUVER, AND WAS LURED BY A HIGH SALARY JOB IN SKEENA, BRITISH COLUMBIA. AFTER WORKING IN BRITISH COLUMBIA, THE HISTORY SAYS THAT “IN 1909, HE AND SEVERAL HUNDRED OTHER YOUNG JAPANESE MEN WERE RECRUITED BY AN AGENT OF THE KNIGHT SUGAR COMPANY TO WORK IN THE SUGAR BEET FIELDS IN RAYMOND, [ALBERTA] WITH PROMISES OF GOOD PAY AND EASY WORK...” THE MEN SOON LEARNED THAT THE WORK WAS MUCH MORE DIFFICULT AND THE PAY SIGNIFICANTLY LOWER THAN THEY HAD BEEN INITIALLY BEEN PROMISED, SO MANY RETURNED TO BRITISH COLUMBIA AFTER THEIR CONTRACT YEAR. KARAKI WAS OF THE GROUP THAT DECIDED TO STAY ON WITH THE COMPANY UNTIL ITS CLOSURE IN 1914. AFTER THAT, HE BEGAN A FARMING OPERATION WITH TWO OF THE FRIENDS HE MADE IN THE COMPANY – LEASING LAND FROM FIRST THE KNIGHT SUGAR COMPANY, THEN FROM A LOCAL NAMED ROLLO KINSEY, AND FINALLY FROM THE MCINTYRE RANCH IN MAGRATH. EVEN THOUGH THE PARTNERSHIP DISSOLVED AFTER THE FIRST THREE YEARS, KARAKI PERSISTED UNDER THE TRYING CONDITIONS, AND BY 1918 HE MADE THE DECISION TO MAKE ALBERTA HIS PERMANENT HOME AND TO BECOME A CANADIAN CITIZEN. HE PURCHASED A DRY LAND FARM IN RAYMOND AND FARMED THAT FOR FIVE YEARS BEFORE DECIDING HE WANTED TO GET MARRIED AND RAISE A FAMILY OF HIS OWN. HE RETURNED TO JAPAN IN 1923, WHERE HE MET THROUGH FAMILY AND FRIENDS, CHIAKI KUMAGAI, WHO WAS ALSO FROM THE NAGANO PREFECTURE. THE COUPLE MARRIED IN DECEMBER 1923, AND THE NEWLYWEDS RETURNED TO RAYMOND IN SPRING 1924. IN THE 2016 INTERVIEW, MRS. NISHIYAMA ADDED, “THERE WAS SOMEBODY ELSE. GO-BETWEENS HAD PICKED OUT SOMEONE ELSE FOR HIM, SO SOMEONE ELSE LOOKED AT HIM AND SAID ‘NO, THANK YOU.’ YOU KNOW, SOMETIMES IT WORKS, AND SOMETIMES IT DIDN’T. SO, THEN THEY HAD TO SCROUNGE A LITTLE BIT, AND MY MOTHER’S TOWN WAS NOT SO FAR FROM WHERE DAD’S FAMILY LIVED, SO THEY SAID, ‘WELL, WE’RE NOT THAT FAR APART. WHEN YOU COME HOME FOR A VISIT, YOU WILL BE ABLE TO VISIT.’” WHEN DESCRIBING THE HOME THE COUPLE INTIALLY SETTLED IN, MRS. NISHIYAMA EXPLAINED, “WE [WERE] 8 MILES SOUTH OF RAYMOND, IN WHAT WE CALL THE MAMMOTH SCHOOL DISTRICT… THERE WERE QUITE A FEW JAPANESE FAMILIES IN AND AROUND THAT MAMMOTH SCHOOL DISTRICT, SO WE WERE SORT OF THE MAJORITY.” MRS. NISHIYAMA SAID THAT HER MOTHER SPOKE OFTEN OF HER EARLY DAYS IN SOUTHERN ALBERTA. MRS. NISHIYAMA RECALLED, “IT WAS REALLY VERY LONELY [FOR MY MOTHER]. SHE’S YOUNG; THE CLOSEST NEIGHBOR WAS HALF A MILE AWAY… WHEN SHE GOT TO THE FARM, SHE SAID, ‘YOU SAID OUR NEIGHBORS ARE TAKAGUCHI’S. IS THAT HOUSE OVER THERE OUR NEIGHBORS?’ DAD SAID, ‘NO, THAT’S A CHICKEN COOP. THE NEIGHBOR’S HOUSE IS AWAY OVER THERE.’ FOR HER, THAT’S JUST APPALLING, COMING FROM A TOWN WHERE NEIGHBORS WERE CLOSE…DAD WOULD GET UP ONTO THE FIELD. NO ONE TO TALK TO EVEN. FORTUNATELY, SHE SAID, HER BROTHER-IN-LAW (DAD HAD A YOUNGER BROTHER HELPING HIM AT THAT TIME) – AND HE SAID, ‘GET ON THE BACK OF MY TRACTOR AND (IT WASN’T TRACTOR THEN – IT WAS HORSE AND BUGGY, BUT ANYWAY -) JUST COME AND RIDE THE FIELD WITH ME.’ AND, SHE DID JUST BECAUSE SHE COULDN’T STAND BEING BY HERSELF IN A LONELY OUTPOST, ON THE PRAIRIES, WITH NOTHING TO LOOK AT…” ACCORDING TO THE KARAKI FAMILY HISTORY IN THE NISHIKI BOOK, THE COUPLE RAISED A FAMILY OF SIX CHILDREN INCLUDING THE DONOR, REYKO NISHIYAMA. BY 1956, THEY SOLD THEIR FARM AND RELOCATED TO BRITISH COLUMBIA. TAKASHI PASSED AWAY IN THERE IN 1974 AT THE AGE OF 85 AND CHIAKI PASSED AWAY 14 YEARS LATER IN 1988. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTIONS AND COPIES OF THE FAMILY HISTORIES.
Catalogue Number
P20160042004
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Other Name
PERPETUAL MEMORY TABLET
Material Type
Artifact
Materials
WOOD, INK
Catalogue Number
P20160042005
  2 images  
Material Type
Artifact
Other Name
PERPETUAL MEMORY TABLET
Date
1949
Materials
WOOD, INK
No. Pieces
1
Height
60.5
Length
12.6
Width
0.6
Description
ONLINE RESEARCH INDICATES THE NAMES FOR THIS TABLET INCLUDE SHIRAKI-IHAI TABLET, MEMORIAL TABLET, OR ANCESTRAL TABLET. THIS TABLET IS MADE UP OF A FINISHED WOODEN BOARD WITH JAPANESE CALLIGRAPHY IN BLACK INK WRITTEN VERTICALLY ON BOTH SIDES OF THE BOARD. HOLE DRILLED THROUGH TOP CENTER OF THE BOARD FOR HANGING. ONE SIDE CONTAINS FOUR VERTICAL ROWS OF CHARACTERS, WHOSE HEIGHT RANGES FROM 1-3 CM. "15" IS MARKED IN PENCIL AT THE BOTTOM LEFT CORNER. THE OPPOSING SIDE CONTAINS 2 VERTICAL ROWS OF CHARACTERS WITH A SINGLE CHARACTER AT THE TOP. CHARACTERS ON THIS SIDE RANGE FROM 3 TO 7 CM IN HEIGHT. CONDITION: THE BOARD HAS SLIGHT SCRATCHING AND SOME MISSING VARNISH OVERALL.
Subjects
CEREMONIAL ARTIFACT
Historical Association
ETHNOGRAPHIC
RELIGION
History
ON 2 DECEMBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DONORS, MAKIO (MAC) AND REYKO NISHIYAMA, IN THEIR HOME TO DISCUSS ITEMS THEY WERE DONATING TO THE GALT. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: MRS. NISHIYAMA EXPLAINED, “WE BROUGHT [THIS BOARD] FROM RAYMOND AS A MEMORY FOR MAC’S DAD, [KOHEI NISHIYAMA]. IN RAYMOND, AT THE BUDDHIST CHURCH, THERE WAS A YEARLY PERPETUAL MEMORIAL SERVICE FOR ALL THE MEMBERS WHO HAD DIED.” THIS BOARD WAS PART OF THAT SERVICE, MRS. NISHIYAMA CONTINUED, “… [IT] IS LIKE THE DONATION THINGS YOU SEE ON THE WALLS [IN CHURCHES]... [THERE] IS AN OLD JAPANESE CUSTOM TO PUT [THE RECORD OF A MEMORIAL DONATION] ON A BOARD, WITH THE NAME [OF THE DONOR] ON THE BACK, AND WE HONOR THEIR MEMORY EACH YEAR, REGARDLESS OF WHAT YEAR THEY PASSED AWAY. SO WHEN YOUR FAMILY MEMBER DIES, AND YOU WANT TO MAKE SURE THAT THE CHURCH CARRIES ON WITH THE PERPETUAL MEMORY SERVICE, THIS WENT UP AS A SORT OF A RECEIPT… WE HAVE A SPECIAL SERVICE IN DECEMBER ALWAYS… MOST OF THE MEMBERS MAKE A DONATION TOWARDS THAT…" MR. NISHIYAMA EXPLAINED FURTHER, “THEY HAD [THE BOARDS] ON THE CHURCH WALL FOR THE PERPETUAL MEMORY.” AFTER THE INTERVIEW, MRS. NISHIYAMA CLARIFIED THAT MR. NISHIYAMA’S DAD, KOHEI, MADE THE DONATION IN SOMEBODY’S MEMORY IN 1949. IT IS UNKNOWN IN WHOSE MEMORY THIS DONATION WAS MADE. THERE IS JAPANESE CALLIGRAPHY ON BOTH SIDES OF THE BOARD. “IT SAYS HIS DAD CAME FROM NEW WESTMINSTER, SO THIS IS ‘NEW’ ‘WEST’,” MRS. NISHIYAMA EXPLAINED THE JAPANESE CHARACTERS, “… IT MUST SAY THAT HE CAME FROM THE NEW WESTMINSTER BUDDHIST CHURCH (ON THE SIDE WITH THE WORDS IN LARGER SCRIPT)… HE WAS AN ORIGINAL MEMBER THERE, AND THIS WOULD BE HIS NAME RIGHT THERE – KOHEI NISHIYAMA – [ON THE SIDE WITH SMALLER CHARACTERS].” SHE EXPLAINS FURTHER, “THE DATE IS RIGHT HERE – 1949. 1949, JANUARY IS THE DATE THEY RECEIVED THE DONATION…” THE GALT MUSEUM REACHED OUT TO A TRANSLATOR TO INTERPRET THE BOARD. THE INFORMATION PROVIDED STATES THAT THE SIDE OF THE BOARD WITH FOUR LINES OF CHARACTERS BEGINS WITH “MONEY 400 DOLLARS” AT THE TOP. AT THE BOTTOM THE FIRST LEFT LINE INCLUDES THE DONOR NAME. THE MIDDLE LINE INCLUDES THE NAME OF RAYMOND BUDDHIST TEMPLE AMONG OTHER INFORMATION. THE FAR RIGHT ROW SAYS, “1949 FEBRUARY.” ON THE OPPOSITE SIDE IT INCLUDES “ORGANIZE FUNERAL,” THE NAME OF THE TEMPLE, AND “SHOW RESPECT.” IN RESPONSE TO THE QUESTION OF WHO MADE THE BOARD, MR. NISHIYAMA REPLIED, “I WOULD SAY SOMEBODY… AT THE RAYMOND CHURCH [MADE THE BOARD].” MRS. NISHIYAMA ELABORATED ON THAT: “…I KNOW MAC’S DAD DID A LOT OF THE CALLIGRAPHY BECAUSE HE WAS GOOD AT IT. I’M NOT SURE WHO DID THIS.” THEY EXPLAINED THAT IN THE RAYMOND CHURCH, THESE MEMORIAL DONATION BOARDS WOULD BE DISPLAYED “ON THE WALL OF THE CHURCH, INSIDE [AND] UP HIGHER. BUT WHEN THE CHURCH GOT SOLD, I THINK MOST OF IT WENT INTO THE GARBAGE.” THIS BOARD WAS HANGING ON THE WALL OF THE RAYMOND BUDDHIST CHURCH FROM 1949 TO THE TIME THE CHURCH WAS CLOSED IN 2006. MRS. NISHIYAMA EXPLAINED THE ACT OF REMEMBERING AS IT EXISTS TODAY: “FOR INSTANCE, RIGHT NOW THE TEMPLE DOESN’T KEEP TRACK… THE FAMILY HAS TO REMEMBER. SO THIS COMING SUNDAY IS THE FIRST SUNDAY IN DECEMBER, WE CALL SHOTSUKI HOYO, WHICH IS A MEMORIAL DAY, WHICH IS OBSERVED FIRST OF THE MONTH, EVERY MONTH EXCEPT AUGUST, AND SO TECHNICALLY I WOULD BE AT THE TEMPLE TO ATTEND THE MEMORIAL SERVICE. MY DAD DIED IN DECEMBER…” MR. NISHIYAMA ELABORATED ON THE IMPORTANCE OF REMEMBERING, “YOU MUST REMEMBER. IT’S NOT JUST TO REMEMBER; IT’S OUT OF GRATITUDE THAT’S WHAT’S BEHIND IT. YOU ARE GRATEFUL NO MATTER HOW MANY YEARS AGO. HERE WE ARE TODAY BECAUSE OF [THE PEOPLE WHO CAME BEFORE]… IT’S TO SAY, ‘THANK YOU, THANK YOU, THANK YOU’…NONE OF THE CHURCHES DO THIS ANYMORE… IF YOU MAKE A DONATION, THAT’S THAT. IT GOES TO THE TEMPLE, AND THAT’S IT, AND IT’S FORGOTTEN” MRS. NISHIYAMA SAID, “BUT RAYMOND USED TO DO THE PERPETUAL MEMORY SERVICE EVERY YEAR IN DECEMBER, AND IT WAS JUST PART OF THE ROUTINE THAT WE EXPECTED…IT’S TO KEEP THE MEMORY ALIVE. IT’S JUST A PART OF OUR CULTURE.” MRS. NISHIYAMA EXPLAINED THAT OUT OF ALL THE ITEMS THEY COLLECTED FROM THE RAYMOND BUDDHIST CHURCH, THIS MEMORIAL DONATION BOARD HOLDS THE MOST PERSONAL IMPORTANCE: “WHEN YOUR NAME’S ON SOMETHING, WELL, THAT’S MINE, OR OURS.” SPEAKING OF THE CHURCH’S CLOSURE, MRS. NISHIYAMA REMEMBERED, “IT WAS VERY EMOTIONAL. I TELL YOU. I HAVE… A FULL CD OF THE LAST DAY OF THE CHURCH, AND IT WAS LIKE A FUNERAL. WHEN ALL THE SHRINE… WAS DONE – EVERYTHING WAS LOADED ON THE FLAT DECK… AND GOING DOWN THE HIGHWAY, AND WE ALL HAD TEARS IN OUR EYES.: “THIS IS ALL HAPPENING,” MR. NISHIYAMA SAID ABOUT WITNESSING THE CHURCH'S CLOSURE, “IT’S BECAUSE WE LIVE SO LONG [AND WERE ABLE TO SEE IT CLOSE]. WE’RE HEALTHY. IF WE [WERE] GONE 20 YEARS AGO, IT WOULD HAVE ALL BEEN DONE [WITHOUT US SEEING]. WE WOULDN’T HAVE ALL [THESE MEMORIES]. BUT HERE WE ARE. WE HAVE TO BE GRATEFUL EVEN FOR THE ACHES AND PAINS OF OLD AGE. WE’RE HERE.” MRS. NISHIYAMA FINISHED BY SAYING, "FOR ME, IT’S A VALUABLE MEMORY – BOTH CHURCH AND DAD – AND ALL THE WORK – AND HIS DAD - BEAUTIFUL CALLIGRAPHY. SOME OF THE OTHER BOARDS, HE DID THE WRITING ON IT.” A FAMILY HISTORY WAS SUBMITTED TO THE BOOK “NISHIKI: NIKKEI TAPESTRY: A HISTORY OF SOUTHERN ALBERTA JAPANESE CANADIANS” (PUBLISHED 2001) BY MAC AND REYKO NISHIYAMA. ACCORDING TO THAT HISTORY MAC’S FATHER, KOHEI NISHIYAMA, WAS BORN IN KUMAMOTO-KEN, JAPAN ON 10 MAY 1895. HE CAME TO CANADA IN 1915 AND SETTLED IN SAPPERTON, BRITISH COLUMBIA. HE “WORKED FOR THE GREAT NORTHERN RAILWAY FOR 29 YEARS BEFORE BEING EVACUATED FIRST TO A ROAD CAMP AND LATER TO THE TASHME RELOCATION CAMP. IN 1946, AFTER THE WAR ENDED, HE AND HIS FAMILY MOVED TO WELLING, ALBERTA TO WORK ON THE FLOYD WILDE FARM.” THE BOOK CONTINUES: “HE MARRIED HIDE MURAKAMI IN 1918. HIDE WAS ALSO BORN IN KUMAMOTO-KEN, JAPAN ON 16 SEPTEMBER 1898. THEY RAISED A FAMILY OF TWO BOYS AND THREE GIRLS: KAORU BETTY, JACK NOBORU, FUMI ROCY, MAKIO (MAC), AND MAY MISAO…” “AFTER RAISING SUGAR BEETS FOR SEVERAL YEARS WITH HIS FAMILY, KOHEI AND HIDE RETIRED TO THE TOWN OF RAYMOND… KOHEI… AND HIDE WERE BOTH VERY ACTIVE MEMBERS OF THE RAYMOND BUDDHIST CHURCH,” IT STATES IN THE BOOK. AS STATED IN THE BOOK, HIDE PASSED AWAY IN 1968 AND KOHEI PASSED AWAY IN 1983 AT THE AGE OF 88. HIDE’S OBITUARY IN THE LETHBRIDGE HERALD STATES THAT SHE WAS 69 YEARS OLD AT THE TIME OF HER PASSING. THE OBITUARY STATES THAT SHE WAS MARRIED TO MR. NISHIYAMA ON 20 DECEMBER 1918 IN KUMAMOTO CITY. THEY WENT TO NEW WESTMINISTER, BRITISH COLUMBIA TOGETHER IN APRIL 1919. THE OBITUARY OF MAC NISHIYAMA STATES THAT HE WAS BORN IN SAPPERTON, NEW WESTMINISTER, BRITISH COLUMBIA, ON 23 AUGUST 1927 TO KOHEI AND HIDE NISHIYAMA. THE FAMILY WAS INTERNED IN TASHME, BRITISH COLUMBIA DURING THE WAR. THE FAMILY RELOCATED TO SOUTHERN ALBERTA WHEN THE WAR ENDED. IT WAS AT THE RAYMOND BUDDHIST CHURCH WHERE HE MET REYKO KARAKI AND THE COUPLE WAS MARRIED IN 1953. TOGETHER THEY HAD SIX CHILDREN. HE PASSED AWAY ON 28 MAY 2017. PLEASE SEE PERMANENT FILE FOR FURTHER INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTIONS, COPIES OF THE NIKKEI FAMILY HISTORY, AND BOARD TRANSLATION. FOR ADDITIONAL INFORMATION PLEASE REFERENCE P20030040000, FOR AN INTERVIEW WITH MAC NISHIYAMA REGARDING A CRATE HE DONATED.
Catalogue Number
P20160042005
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Other Name
RUBBER STAMP SET
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
WOOD, RUBBER, METAL
Catalogue Number
P20170032000
  2 images  
Material Type
Artifact
Other Name
RUBBER STAMP SET
Date Range From
1940
Date Range To
1950
Materials
WOOD, RUBBER, METAL
No. Pieces
327
Height
9.5
Length
35.5
Width
27.5
Description
AA – BOX. H: 9.5 CM. L: 35.5 CM. W: 27.5 CM. FINISHED WOOD BOX, WITH TWO HINGES AND A FRONT CLASP. FR. FRONT CLASP IS BROKEN AND TARNISHED. RIGHT HINGE MISSING LEFTMOST SCREW. LID IS MISSING WOOD FROM THE LEFT HINGE. MISSING VARNISH, SCRATCHES, AND DINGS ON ALL SURFACES. AB – TOP TRAY. H: 2.4 CM. L: 33.5 CM. W: 25.2 CM. WOODEN TRAY WITH EIGHT DIVIDERS; SEVEN ROWS AND ONE SQUARE. FABRIC LOOP ON INNER LEFT WALL. FR. MISSING THE RIGHT SIDE OF THE TRAY, WITH THE BACK WALL AND MIDDLEMOST DIVIDERS LIFTING FROM THE FLOOR OF THE TRAY. STAINED WITH BLACK, GREEN, AND RED INK. FROM AC – DM, ALL ENTRIES ARE WOODEN STAMPS WITH RED RUBBER PADS. AC – “HOUSE” H: 2.5 CM. L: 3.7 CM. W: 3 CM. IMAGE OF A TWO-STORY HOUSE. GD. PAD STAINED BLACK; LIFTING AT CORNERS. HANDLE PARTIALLY STAINED BLACK; MISSING VARNISH. AD – “DOG” H: 2.5 CM. L: 1.7 CM. W: 2.8 CM. LABELED DOG IN SCRATCHED-IN BLUE PEN, STAMP IMAGE OF A HORSE. VG. PAD STAINED BLACK. HANDLE STAINED BLACK; MISSING VARNISH. AE – “CIRCUS” H: 2.5 CM. L: 5.8 CM. W: 3.7 CM. IMAGE OF A TENT WITH THE WORDS “THE BIG SHOW”. GD. PAD STAINED BLACK; LIFTING AT CORNERS. HANDLE STAINED BLACK, GREEN. AF – “XMAS-TREE” H: 2.5 CM. L: 2.7 CM. W: 3 CM. IMAGE OF A PINE TREE WITH CANDLES. GD. PAD STAINED BLACK; LIFTING AT CORNERS. HANDLE MINIMALLY STAINED BLACK; MISSING VARNISH. AG – “FARMER” H: 2.5 CM. L: 2 CM. W: 3 CM. IMAGE OF A MAN WITH A PITCHFORK. VG. PAD STAINED BLACK. HANDLE MINIMALLY STAINED BLACK; MISSING VARNISH. AH – “INDIAN” H: 2.5 CM. L: 2 CM. W: 3.1 CM. IMAGE OF A MAN IN A FEATHER HEADPIECE. VG. PAD STAINED BLACK. HANDLE STAINED BLUE, GREEN; MISSING VARNISH. AI – “SQUIRREL” H: 2.5 CM. L: 2.1 CM. W: 3.1 CM. IMAGE OF A SQUIRREL. VG. PAD STAINED BLACK. HANDLE PARTIALLY STAINED BLACK; MISSING VARNISH. AJ – “SANTA” H: 2.5 CM. L: 3.2 CM. W: 3 CM. IMAGE OF SANTA WITH A BAG OF TOYS. VG. PAD STAINED BLACK. HANDLE MINIMALLY STAINED BLACK; MISSING VARNISH. AK – “APPLE” H: 2.5 CM. L: 3.1 CM. W: 3 CM. IMAGE OF AN APPLE. GD. PAD PARTIALLY STAINED BLACK; LIFTING AT CORNERS. HANDLE STAINED BLACK, RED, GREEN; MISSING VARNISH. AL – “ENGINE” H: 2.5 CM. L: 3.5 CM. W: 3 CM. IMAGE OF A TRAIN ENGINE. VG. PAD STAINED BLACK. HANDLE PARTIALLY STAINED BLACK, GREEN, RED; MISSING VARNISH. AM – “SIR JOHN” H: 2.5 CM. L: 2.2 CM. W: 3 CM. IMAGE OF A MAN’S PORTRAIT. GD. PAD ALMOST COMPLETELY STAINED BLACK; LIFTING AT CORNERS. HANDLE MINIMALLY STAINED GREEN. AN – “TREE” H: 2.5 CM. L: 2.8 CM. W: 3.1 CM. IMAGE OF A TREE. GD. PAD STAINED BLACK; LIFTING AT CORNERS. HANDLE PARTIALLY STAINED BLACK; MISSING VARNISH. AO – “WIGWAM” H: 2.5 CM. L: 2.7 CM. W: 3.1 CM. IMAGE OF A TEEPEE. GD. PAD STAINED BLACK; LIFTING AT CORNERS. HANDLE MINIMALLY STAINED BLACK; MISSING VARNISH. AP – “BARN” H: 2.5 CM. L: 4.2 CM. W: 3.1 CM. IMAGE OF A BARN. GD. PAD STAINED BLACK; LIFTING AT CORNERS. HANDLE MINIMALLY STAINED BLACK; MISSING VARNISH. AQ – “BOAT” H: 2.5 CM. L: 3.7 CM. W: 3 CM. IMAGE OF A SAIL BOAT. GD. PAD STAINED BLACK; LIFTING AT CORNERS. HANDLE STAINED BLACK, GREEN; MISSING VARNISH. AR – “ESKIMO” H: 2.5 CM. L: 2.1 CM. W: 3.1 CM. IMAGE OF A MAN IN A FUR OUTFIT WITH A SPEAR. VG. PAD PARTIALLY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK, GREEN. AS – “MONKEY” H: 2.5 CM. L: 2.9 CM. W: 3 CM. IMAGE OF A MONKEY. VG. PAD STAINED BLACK. HANDLE PARTIALLY STAINED BLACK; MISSING VARNISH. AT – “WHEAT” H: 2.5 CM. L: 2.1 CM. W: 3 CM. IMAGE OF A WHEAT GRAIN. GD. PAD ALMOST COMPLETELY STAINED BLACK; LIFTING AT CORNERS. HANDLE STAINED BLACK, BLUE; MISSING VARNISH. AU – “BOOK” H: 2.5 CM. L: 2.9 CM. W: 3.1 CM. IMAGE OF AN OPEN BOOK. VG. PAD STAINED BLACK. HANDLE PARTIALLY STAINED BLACK. AV – “CORN” H: 2.5 CM. L: 3.3 CM. W: 3.1 CM. IMAGE OF A HEAD OF CORN. VG. PAD STAINED BLACK. HANDLE STAINED BLACK, GREEN. AW – “DOLL” H: 2.5 CM. L: 1.8 CM. W: 3.1 CM. IMAGE OF A DOLL IN DRESS AND BONNET. GD. PAD STAINED BLACK; LIFTING AT CORNERS. HANDLE MINIMALLY STAINED BLACK; MISSING VARNISH. AX – “GEORGE V” H: 2.5 CM. L: 2.7 CM. W: 3 CM. IMAGE OF A BEARDED MAN. GD. PAD STAINED BLACK; LIFTING AT CORNERS. HANDLE HAS ALMOST NONEXISTENT BLACK, RED STAINING. AY – “SEAL” H: 2.5 CM. L: 2.9 CM. W: 3 CM. IMAGE OF A SEAL. GD. PAD PARTIALLY STAINED BLACK; LIFTING AT CORNERS. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING; MISSING VARNISH. AZ – “OWL” H: 2.5 CM. L: 2.5 CM. W: 3 CM. IMAGE OF AN OWL. GD. PAD ALMOST COMPLETELY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE MINIMALLY STAINED BLUE; MISSING VARNISH. BA – “FLAG” H: 2.5 CM. L: 2.9 CM. W: 3.1 CM. IMAGE OF A CANADIAN RED ENSIGN. VG. PAD STAINED BLACK. HANDLE STAINED BLACK, RED; MISSING VARNISH. BB – “CLOWN” H: 2.5 CM. L: 1.8 CM. W: 3.1 CM. IMAGE OF A CLOWN. GD. PAD STAINED BLACK; LIFTING AT CORNERS. HANDLE STAINED BLACK, BLUE, GREEN; MISSING VARNISH. BC – “CIRCLE” H: 2.5 CM. L: 3.2 CM. W: 3 CM. IMAGE OF A CIRCLE. VG. PAD STAINED BLACK. HANDLE STAINED BLACK, BLUE, GREEN, RED; MISSING VARNISH. BD – “IGLOO” H: 2.5 CM. L: 4.2 CM. W: 3.1 CM. IMAGE OF AN IGLOO, WITH A MAN SITTING NEXT TO IT. VG. PAD PARTIALLY STAINED BLACK. HANDLE PARTIALLY STAINED BLACK, RED, GREEN; MISSING VARNISH. BE – “POINTING HAND” H: 3.5 CM. L: 3.6 CM. W: 2.8 CM. IMAGE OF A POINTING HAND. PR. PAD MISSING. HANDLE STAINED BLACK, GREEN; MISSING VARNISH. BF – “BOY” H: 2.5 CM. L: 1.7 CM. W: 3.1 CM. IMAGE OF A BOY WITH A KITE. GD. PAD STAINED BLACK; LIFTING AT CORNERS. HANDLE PARTIALLY STAINED BLACK, BLUE; MISSING VARNISH. BG – “SOLDIER” H: 2.5 CM. L: 1.8 CM. W: 3 CM. IMAGE OF A MAN WITH A GUN. VG. PAD STAINED BLACK. HANDLE PARTIALLY STAINED BLACK; MISSING VARNISH. BH – “FENCE” H: 2.5 CM. L: 2.6 CM. W: 3.1 CM. IMAGE OF A FENCE. GD. PAD PARTIALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE PARTIALLY STAINED BLUE, GREEN, RED. BI – “PRINCE” H: 2.5 CM. L: 2.2 CM. W: 3 CM. IMAGE OF A MAN’S PORTRAIT. GD. PAD PARTIALLY STAINED BLACK; LIFTING AT CORNERS. HANDLE MINIMALLY STAINED BLACK; MISSING VARNISH. BJ – “RADIO” H: 2.5 CM. L: 3 CM. W: 3 CM. IMAGE OF A DIAL RADIO. GD. PAD PARTIALLY STAINED BLACK; LIFTING AT CORNERS. HANDLE MINIMALLY STAINED GREEN; MISSING VARNISH. BK – “BALL” H: 2.5 CM. L: 2.9 CM. W: 3 CM. IMAGE OF A STRIPPED BALL. VG. PAD STAINED BLACK. HANDLE PARTIALLY STAINED BLACK, GREEN; MISSING VARNISH. BL – “1” H: 3.8 CM. L: 1.3 CM. W: 2.7 CM. NUMBER 1. GD. PAD STAINED BLACK. HANDLE STAINED BLACK, BLUE; MISSING VARNISH; HANDLE HAS BEEN BROKEN AND GLUED BACK TOGETHER. BM – “2” H: 3.6 CM. L: 1.8 CM. W: 2.8 CM. NUMBER 2. GD. PAD STAINED BLACK. HANDLE STAINED BLACK, BLUE, GREEN; MISSING VARNISH; HANDLE HAS BEEN BROKEN AND GLUED TOGETHER. BN – “3” H: 3.7 CM. L: 2 CM. W: 2.7 CM. NUMBER 3. GD. PAD STAINED BLACK. HANDLE STAINED BLACK, BLUE, GREEN; MISSING VARNISH; HANDLE HAS BEEN BROKEN AND GLUED TOGETHER. BO – “4” H: 3.8 CM. L: 2 CM. W: 2.7 CM. NUMBER 4. FR. PAD STAINED BLACK; LIFTING AT CORNERS. HANDLE STAINED BLACK, GREEN; MISSING VARNISH; HANDLE HAS BEEN BROKEN AND GLUED TOGETHER. BP – “5” H: 3.7 CM. L: 1.7 CM. W: 2.7 CM. NUMBER 5. GD. PAD STAINED BLACK. HANDLE STAINED BLACK, BLUE, GREEN; MISSING VARNISH; HANDLE HAS BEEN BROKEN AND GLUED TOGETHER. BQ – “6” H: 3.7 CM. L: 1.8 CM. W: 2.7 CM. NUMBER 6. VG. PAD STAINED BLACK. HANDLE STAINED BLACK, BLUE; MISSING VARNISH. BR – “7” H: 3.7 CM. L: 1.5 CM. W: 2.7 CM. NUMBER 7. VG. PAD STAINED BLACK. HANDLE STAINED BLACK, GREEN, BLUE; MISSING VARNISH. BS – “8” H: 3.6 CM. L: 1.9 CM. W: 2.6 CM. NUMBER 8. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE STAINED BLACK, GREEN, BLUE; MISSING VARNISH. BT – “9” H: 3.8 CM. L: 1.8 CM. W: 2.7 CM. NUMBER 9. GD. PAD STAINED BLACK. HANDLE STAINED BLACK, BLUE; MISSING VARNISH; HANDLE CRACKED. BU – “O” H: 3.7 CM. L: 1.4 CM. W: 2.8 CM. LOWERCASE O. VG. PAD STAINED BLACK. HANDLE STAINED BLACK; MISSING VARNISH. BV – “A” H: 3.7 CM. L: 2 CM. W: 2.7 CM. CAPITAL A. GD. PAD STAINED BLACK; LIFTING AT CORNERS. HANDLE STAINED BLACK, BLUE; MISSING VARNISH. BW – “A” H: 3.8 CM. L: 1.5 CM. W: 2.9 CM. LOWERCASE A. VG. PAD STAINED BLACK. HANDLE STAINED BLACK; MISSING VARNISH. BX – “B” H: 3.8 CM. L: 1.8 CM. W: 2.8 CM. CAPITAL B. VG. PAD STAINED BLACK. HANDLE PARTIALLY STAINED BLACK; MISSING VARNISH. BY – “B” H: 3.8 CM. L: 1.3 CM. W: 2.8 CM. LOWERCASE B. VG. PAD STAINED BLACK. HANDLE STAINED BLACK, GREEN; MISSING VARNISH. BZ – “C” H: 3.9 CM. L: 1.7 CM. W: 2.8 CM. CAPITAL C. VG. PAD STAINED BLACK. HANDLE STAINED BLACK; MISSING VARNISH. CA – “C” H: 3.7 CM. L: 1.4 CM. W: 2.8 CM. LOWERCASE C. VG. PAD STAINED BLACK. HANDLE STAINED BLACK; MISSING VARNISH. CB – “D” H: 3.8 CM. L: 1.8 CM. W: 2.8 CM. CAPITAL D. VG. PAD STAINED BLACK. HANDLE STAINED BLACK, GREEN, BLUE; MISSING VARNISH. CC – “D” H: 3.8 CM. L: 1.8 CM. W: 2.8 CM. LOWERCASE D. VG. PAD STAINED BLACK. HANDLE STAINED BLACK, RED; MISSING VARNISH. CD – “E” H: 3.8 CM. L: 1.8 CM. W: 2.8 CM. CAPITAL E. GD. PAD STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE PARTIALLY STAINED BLACK, GREEN; MISSING VARNISH. CE – “E” H: 3.8 CM. L: 1.3 CM. W: 2.9 CM. LOWERCASE E. VG. PAD STAINED BLACK. HANDLE STAINED BLACK, GREEN; MISSING VARNISH. CF – “F” H: 3.8 CM. L: 1.8 CM. W: 2.8 CM. CAPITAL F. GD. PAD STAINED BLACK; LIFTING AT CORNERS. HANDLE STAINED BLACK, GREEN; MISSING VARNISH. CG – “F” H: 3.8 CM. L: 1.1 CM. W: 2.8 CM. LOWERCASE F. GD. PAD STAINED BLACK; LIFTING CORNERS. HANDLE STAINED BLACK; MISSING VARNISH. CH – “G” H: 3.8 CM. L: 2 CM. W: 2.9 CM. CAPITAL G. VG. PAD STAINED BLACK. HANDLE STAINED BLACK, GREEN; MISSING VARNISH. CI – “G” H: 3.8 CM. L: 1.7 CM. W: 2.9 CM. LOWERCASE G. GD. PAD STAINED BLACK; LIFTING AT CORNERS. HANDLE STAINED BLACK; MISSING VARNISH. CJ – “H” H: 3.9 CM. L: 2 CM. W: 2.8 CM. CAPITAL H. VG. PAD STAINED BLACK. HANDLE STAINED BLACK, GREEN; MISSING VARNISH. CK – “H” H: 3.8 CM. L: 1.6 CM. W: 2.8 CM. LOWERCASE H. VG. PAD STAINED BLACK. HANDLE STAINED BLACK; MISSING VARNISH. CL – “I” H: 3.8 CM. L: 0.8 CM. W: 2.9 CM. CAPITAL I. VG. PAD STAINED BLACK. HANDLE STAINED BLACK; MISSING VARNISH. CM – “I” H: 3.8 CM. L: 0.8 CM. W: 2.9 CM. LOWERCASE I. VG. PAD STAINED BLACK. HANDLE STAINED BLACK; MISSING VARNISH. CN – “J” H: 3.8 CM. L: 1.4 CM. W: 2.8 CM. CAPITAL J. GD. PAD STAINED BLACK; LIFTING AT CORNERS. HANDLE STAINED BLACK; MISSING VARNISH. CO – “J” H: 3.8 CM. L: 1 CM. W: 2.8 CM. LOWERCASE J. VG. PAD STAINED BLACK. HANDLE STAINED BLACK; MISSING VARNISH. CP – “K” H: 3.8 CM. L: 2.1 CM. W: 2.8 CM. CAPITAL K. VG. PAD STAINED BLACK. HANDLE STAINED BLACK; MISSING VARNISH. CQ – “K” H: 3.7 CM. L: 1.6 CM. W: 2.8 CM. LOWERCASE K. VG. PAD STAINED BLACK. HANDLE STAINED BLACK; MISSING VARNISH. CR – “L” H: 3.8 CM. L: 1.9 CM. W: 2.8 CM. CAPITAL L. VG. PAD STAINED BLACK. HANDLE STAINED BLACK, GREEN; MISSING VARNISH. CS – “-” H: 3.8 CM. L: 1.4 CM. W: 1.8 CM. DASH. VG. PAD STAINED BLACK. HANDLE MINIMALLY STAINED BLACK, GREEN; MISSING VARNISH. CT – “M” H: 3.8 CM. L: 2.4 CM. W: 2.8 CM. CAPITAL M. VG. PAD STAINED BLACK. HANDLE STAINED BLACK, BLUE; MISSING VARNISH. CU – “N” H: 3.8 CM. L: 1.6 CM. W: 2.8 CM. CAPITAL N. VG. PAD STAINED BLACK. HANDLE MINIMALLY STAINED BLACK, GREEN, RED; MISSING VARNISH. CV – “N” H: 3.8 CM. L: 1.6 CM. W: 2.8 CM. LOWERCASE N. VG. PAD STAINED BLACK. HANDLE STAINED BLACK, GREEN; MISSING VARNISH. CW – “O” H: 3.9 CM. L: 1.9 CM. W: 2.8 CM. CAPITAL O. VG. PAD STAINED BLACK. HANDLE MINIMALLY STAINED BLACK, GREEN; MISSING VARNISH. CX – “0” H: 3.7 CM. L: 2 CM. W: 2.8 CM. NUMBER 0. GD. PAD STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE STAINED BLACK, GREEN, RED; MISSING VARNISH. CY – “P” H: 3.8 CM. L: 1.8 CM. W: 2.8 CM. CAPITAL P. VG. PAD STAINED BLACK. HANDLE MINIMALLY STAINED BLACK, GREEN; MISSING VARNISH. CZ – “P” H: 3.8 CM. L: 1.5 CM. W: 2.8 CM. LOWERCASE P. GD. PAD STAINED BLACK; LIFTING AT CORNERS. HANDLE STAINED BLACK; MISSING VARNISH. DA – “Q” H: 3.7 CM. L: 2 CM. W: 2.8 CM. CAPITAL Q. VG. PAD STAINED BLACK. HANDLE MINIMALLY STAINED BLACK; MISSING VARNISH. DB – “Q” H: 3.8 CM. L: 1.7 CM. W: 2.9 CM. LOWERCASE Q. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE STAINED BLACK; MISSING VARNISH. DC – “R” H: 3.8 CM. L: 2.1 CM. W: 2.8 CM. CAPITAL R. VG. PAD STAINED BLACK. HANDLE MINIMALLY STAINED BLACK; MISSING VARNISH. DD – “R” H: 3.7 CM. L: 1.2 CM. W: 2.8 CM. LOWERCASE R. VG. PAD STAINED BLACK. HANDLE STAINED BLACK, GREEN; MISSING VARNISH. DE – “S” H: 3.7 CM. L: 1.7 CM. W: 2.7 CM. CAPITAL S. VG. PAD STAINED BLACK. HANDLE STAINED BLACK, GREEN; MISSING VARNISH. DF – “T” H: 3.8 CM. L: 1.8 CM. W: 2.8 CM. CAPITAL T. GD. PAD STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE MINIMALLY STAINED BLACK; MISSING VARNISH. DG – “U” H: 3.7 CM. L: 2 CM. W: 2.8 CM. CAPITAL U. VG. PAD STAINED BLACK. HANDLE STAINED BLACK, GREEN; MISSING VARNISH. DH – “V” H: 3.4 CM. L: 2 CM. W: 2.8 CM. CAPITAL V. PR. PAD MISSING. HANDLE STAINED BLACK, GREEN; MISSING VARNISH. DI – “W” H: 3.7 CM. L: 3 CM. W: 2.8 CM. CAPITAL W. GD. PAD STAINED BLACK; LIFTING AT CORNERS. HANDLE STAINED BLACK; MISSING VARNISH. DJ – “X” H: 3.8 CM. L: 2 CM. W: 2.8 CM. CAPITAL X. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK, GREEN; MISSING VARNISH. DK – “Z” H: 3.8 CM. L: 1.7 CM. W: 2.7 CM. CAPITAL Z. GD. PAD STAINED BLACK; LIFTING AT CORNERS. HANDLE STAINED BLACK; MISSING VARNISH. DL – “X” H: 3.7 CM. L: 1 CM. W: 1.8 CM. LOWERCASE X. VG. PAD STAINED BLACK. HANDLE STAINED BLACK, GREEN; MISSING VARNISH. DM – “Y” H: 3.8 CM. L: 2 CM. W: 2.8 CM. CAPITAL Y. VG. PAD STAINED BLACK. HANDLE STAINED BLACK, GREEN, RED; MISSING VARNISH. DN – BOTTOM TRAY. H: 2.2 CM. L: 33.5 CM. W: 25.3 CM. WOODEN TRAY WITH SIXTEEN DIVIDERS; FIFTEEN ROWS AND ONE RECTANGLE. FABRIC LOOP ON INNER LEFT WALL. GD. MISSING THE RIGHT SIDE FABRIC LOOP. STAINED WITH BLACK, GREEN, AND BLUE INK. FROM DO – MO, ALL ENTRIES ARE WOODEN STAMPS WITH RED RUBBER PADS. DO – “A” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE A. GD. PAD ALMOST COMPLETELY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE MINIMALLY STAINED BLACK. DP – “A” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE A. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK, GREEN. DQ – “A” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE A. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK, GREEN. DR – “B” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE B. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK, GREEN. DS – “B” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE B. VG. PAD PARTIALLY STAINED BLACK. HANDLE MINIMALLY STAINED GREEN, BLUE. DT – “C” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE C. GD. PAD STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE MINIMALLY STAINED BLACK, RED. DU – “C” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE C. GD. PAD PARTIALLY STAINED BLACK; LIFTING AT CORNERS; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE MINIMALLY STAINED BLACK, GREEN, RED. DV – “D” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE D. GD. PAD ALMOST COMPLETELY STAINED BLACK; PAD GLUED DOWN WITH GLUE LEAKING OUT. HANDLE MINIMALLY STAINED GREEN, BLUE, RED. DW – “D” H: 1.9 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE D. PR. PAD MISSING. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING. DX – “E” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE E. GD. PAD ALMOST COMPLETELY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE MINIMALLY STAINED BLACK, RED. DY – “E” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE E. GD. PAD STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE STAINED BLACK, RED. DZ – “F” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE F. GD. PAD PARTIALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE HAS ALMOST NONEXISTENT BLACK, RED STAINING. EA – “G” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE G. GD. PAD MINIMALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE MINIMALLY STAINED RED. EB – “G” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE G. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE MINIMALLY STAINED GREEN; MISSING VARNISH. EC – “H” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE H. GD. PAD PARTIALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING. ED – “H” H: 1.9 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE H. PR. PAD MISSING. HANDLE STAINED BLACK, GREEN. EE – “K” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE K. GD. PAD PARTIALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE HAS ALMOST NONEXISTENT BLACK, GREEN STAINING. EF – “K” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE K. GD. PAD MINIMALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE HAS ALMOST NONEXISTENT BLUE STAINING. EG – “M” H: 1.9 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE M. PR. PAD MISSING. HANDLE STAINED GREEN. EH – “M” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE M. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE STAINED BLACK, GREEN, RED. EI – “N” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE N. GD. PAD ALMOST COMPLETELY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE MINIMALLY STAINED BLACK, GREEN. EJ – “O” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE O. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK, RED. EK – “O” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE O. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT GREEN STAINING; MISSING VARNISH. EL – “P” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE P. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING. EM – “R” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE R. VG. PAD STAINED BLACK. HANDLE MINIMALLY STAINED BLACK, GREEN; MISSING VARNISH. EN – “S” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE S. VG. PAD STAINED BLACK. HANDLE MINIMALLY STAINED BLACK, GREEN; MISSING VARNISH. EO – “S” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE S. VG. PAD STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK, BLUE STAINING. EP – “T” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE T. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK, RED. EQ – “T” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE T. GD. PAD STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE HAS ALMOST NONEXISTENT GREEN, RED STAINING. ER – “U” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE U. VG. PAD STAINED BLACK. HANDLE MINIMALLY STAINED BLACK, GREEN. ES – “U” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE U. GD. PAD ALMOST COMPLETELY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE HAS ALMOST NONEXISTENT BLACK, GREEN STAINING. ET – “V” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE V. EX. PAD LOOKS UNUSED. HANDLE HAS ALMOST NONEXISTENT BLUE STAINING. EU – “W” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE W. GD. PAD PARTIALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING ONTO HANDLE. HANDLE UNSTAINED. EV – “W” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE W. VG. PAD PARTIALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT GREEN, BLUE STAINING. EW – “X” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. LOWERCASE X. VG. PAD PARTIALLY BLACK. HANDLE UNSTAINED. EX – “A” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. CAPITAL A. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE MINIMALLY STAINED GREEN. EY – “C” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. CAPITAL C. VG. PAD PARTIALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK, GREEN STAINING. EZ – “D” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. CAPITAL D. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT GREEN STAINING. FA – “E” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. CAPITAL E. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE MINIMALLY STAINED GREEN. FB – “H” H: 1.9 CM. L: 0.6 CM. W: 0.9 CM. CAPITAL H. PR. PAD MISSING. HANDLE STAINED BLACK. FC – “I” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. CAPITAL I. GD. PAD STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE MINIMALLY STAINED GREEN, BLUE. FD – “J” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. CAPITAL J. VG. PAD PARTIALLY STAINED BLACK. HANDLE STAINED BLACK. FE – “L” H: 1.9 CM. L: 0.6 CM. W: 0.9 CM. CAPITAL L. PR. PAD MISSING. HANDLE MINIMALLY STAINED BLACK. FF – “M” H: 2.2 CM. L: 0.7 CM. W: 0.9 CM. CAPITAL M. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK, GREEN. FG – “N” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. CAPITAL N. GD. PAD HAS ALMOST NONEXISTENT BLACK STAINING; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE HAS ALMOST NONEXISTENT RED STAINING. FH – “O” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. CAPITAL O. VG. PAD PARTIALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT RED STAINING. FI – “P” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. CAPITAL P. EX. PAD LOOKS UNUSED. HANDLE MINIMALLY STAINED BLUE, RED. FJ – “Q” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. CAPITAL Q. VG. PAD LOOKS UNUSED; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE UNSTAINED. FK – “R” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. CAPITAL R. VG. PAD PARTIALLY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK. FL – “ONE” H: 2.2 CM. L: 1.5 CM. W: 0.9 CM. THE WORD ONE. VG. PAD PARTIALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK, GREEN STAINING; MISSING VARNISH FM – “TWO” H: 2.2 CM. L: 1.5 CM. W: 0.9 CM. THE WORD TWO. GD. PAD ALMOST COMPLETELY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE MINIMALLY STAINED BLACK, GREEN. FN – “THREE” H: 2.2 CM. L: 2.6 CM. W: 0.9 CM. THE WORD THREE. GD. PAD PARTIALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE MINIMALLY STAINED BLACK, GREEN. FO – “FOUR” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD FOUR. GD. PAD PARTIALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE STAINED BLACK, GREEN. FP – “SIX” H: 2.2 CM. L: 1.5 CM. W: 0.9 CM. THE WORD SIX. GD. PAD PARTIALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE MINIMALLY STAINED BLACK, GREEN. FQ – “SEVEN” H: 2.2 CM. L: 2.6 CM. W: 0.9 CM. THE WORD SEVEN. GD. PAD MINIMALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE HAS ALMOST NONEXISTENT BLUE, RED STAINING. FR – “EIGHT” H: 2.2 CM. L: 2.6 CM. W: 0.9 CM. THE WORD EIGHT. GD. PAD MINIMALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING FS – “NINE” H: 2.2 CM. L: 2 CM. W: 0.9 CM. THE WORD NINE. GD. PAD LOOKS UNUSED; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING. FT – “TEN” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE WORD TEN. VG. PAD PARTIALLY STAINED BLACK. HANDLE UNSTAINED; MISSING VARNISH. FU – “S” H: 2.2 CM. L: 0.5 CM. W: 0.9 CM. CAPITAL S. GD. PAD ALMOST COMPLETELY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE STAINED GREEN, RED. FV – “T” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. CAPITAL T. GD. PAD MINIMALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE HAS ALMOST NONEXISTENT GREEN STAINING. FW – “U” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. CAPITAL U. EX. PAD LOOKS UNUSED. HANDLE UNSTAINED. FX – “W” H: 1.9 CM. L: 0.6 CM. W: 0.9 CM. CAPITAL W. PR. PAD MISSING. HANDLE HAS ALMOST NONEXISTENT GREEN STAINING. FY – “V” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. CAPITAL V. EX. PAD LOOKS UNUSED. HANDLE HAS ALMOST NONEXISTENT BLUE STAINING. FZ – “X” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. CAPITAL X. VG. PAD MINIMALLY STAINED BLACK. HANDLE STAINED GREEN, RED. GA – “Y” H: 2.2 CM. L: 0.7 CM. W: 0.9 CM. CAPITAL Y. VG. PAD MINIMALLY STAINED BLACK. HANDLE MINIMALLY STAINED GREEN, RED. GB – “1” H: 2.2 CM. L: 0.5 CM. W: 0.9 CM. NUMBER 1. GD. PAD STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE MINIMALLY STAINED GREEN, RED. GC – “1” H: 1.9 CM. L: 0.6 CM. W: 0.9 CM. NUMBER 1. PR. PAD MISSING. HANDLE HAS ALMOST NONEXISTENT GREEN, RED STAINING. GD – “1” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. NUMBER 1. GD. PAD PARTIALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE MINIMALLY STAINED BLACK, GREEN, BLUE. GE – “3” H: 1.9 CM. L: 0.6 CM. W: 0.9 CM. NUMBER 3. PR. PAD MISSING. HANDLE MINIMALLY STAINED GREEN, RED. GF – “4” H: 1.9 CM. L: 0.7 CM. W: 0.9 CM. NUMBER 4. PR. PAD MISSING. HANDLE MINIMALLY STAINED GREEN. GG – “5” H: 1.9 CM. L: 0.6 CM. W: 0.9 CM. NUMBER 5. GD. PAD PARTIALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE HAS ALMOST NONEXISTENT RED STAINING. GH – “7” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. NUMBER 7. VG. PAD MINIMALLY STAINED BLACK. HANDLE MINIMALLY STAINED GREEN, RED. GI – “8” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. NUMBER 8. VG. PAD PARTIALLY STAINED BLACK. HANDLE MINIMALLY STAINED GREEN, RED. GJ – “HAD” H: 2.2 CM. L: 1.5 CM. W: 0.9 CM. THE WORD HAD. VG. PAD MINIMALLY STAINED BLACK. HANDLE UNSTAINED; MISSING VARNISH GK – “HAVE” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD HAVE. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING. GL – “AWAY” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD AWAY. VG. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE UNSTAINED; MISSING VARNISH GM – “GOOD” H: 2.2 CM. L: 2 CM. W: 0.9 CM. THE WORD GOOD. VG. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE UNSTAINED; MISSING VARNISH. GN – “DOWN” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD DOWN. GD. PAD ALMOST COMPLETELY STAINED BLACK; LIFTING AT CORNERS. HANDLE MINIMALLY STAINED BLACK, GREEN. GO – “NAME” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD NAME. VG. PAD PARTIALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLUE STAINING. GP – “COLOUR” H: 2.2 CM. L: 3.1 CM. W: 0.9 CM. THE WORD COLOUR. GD. PAD HAS BEEN CUT, WITH THE “U” REMOVED AND THE “R” GLUED BACK ON; MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING; MISSING VARNISH. GQ – “BROWN” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD BROWN. VG. PAD PARTIALLY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK. GR – “GREEN” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD GREEN. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE STAINED BLACK; MISSING VARNISH. GS – “RED” H: 2.2 CM. L: 1.5 CM. W: 0.9 CM. THE WORD RED. GD. PAD STAINED BLACK; LIFTING AT CORNERS. HANDLE STAINED BLACK. GT – “ORANGE” H: 2.2 CM. L: 3 CM. W: 0.9 CM. THE WORD ORANGE. VG. PAD MINIMALLY STAINED BLACK. HANDLE UNSTAINED; MISSING VARNISH. GU – “YELLOW” H: 2.2 CM. L: 3.1 CM. W: 0.9 CM. THE WORD YELLOW. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK. GV – “BLUE” H: 2.2 CM. L: 2 CM. W: 0.9 CM. THE WORD BLUE. VG. PAD STAINED BLACK. HANDLE STAINED BLACK, GREEN. GW – “BLACK” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD BLACK. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE STAINED BLACK. GX – “LITTLE” H: 2.2 CM. L: 3.1 CM. W: 0.9 CM. THE WORD LITTLE. VG. PAD PARTIALLY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK, GREEN. GY – “BIG” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE WORD BIG. GD. PAD PARTIALLY STAINED BLACK; LIFTING AT CORNERS. HANDLE STAINED BLACK, GREEN. GZ – “CORN” H: 2.2 CM. L: 2 CM. W: 0.9 CM. THE WORD CORN. VG. PAD MINIMALLY STAINED BLACK. HANDLE PARTIALLY STAINED BLACK; MISSING VARNISH. HA – “APPLE” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD APPLE. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING. HB – “WHEAT” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD WHEAT. VG. PAD MINIMALLY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK; MISSING VARNISH. HC – “GRASS” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD GRASS. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT RED STAINING; MISSING VARNISH. HD – “FLAG” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD FLAG. VG. PAD PARTIALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT GREEN STAINING. HE – “PAPER” H: 2.2 CM. L: 2.5 CM. W: 0.9 CM. THE WORD PAPER. VG. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE HAS ALMOST NONEXISTENT GREEN, BLUE STAINING. HF – “CAR” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE WORD CAR. GD. PAD PARTIALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE HAS ALMOST NONEXISTENT GREEN, BLUE STAINING. HG – “FLOWER” H: 1.9 CM. L: 3 CM. W: 0.9 CM. THE WORD FLOWER. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT GREEN, RED STAINING. HH – “STAR” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD STAR. VG. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE HAS ALMOST NONEXISTENT GREEN STAINING; MISSING VARNISH. HI – “CIRCLE” H: 2.2 CM. L: 3.1 CM. W: 0.9 CM. THE WORD TREE. VG. PAD PARTIALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK, BLUE STAINING. HJ – “TREE” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD TREE. VG. PAD PARTIALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT GREEN, BLUE STAINING. HK – “SAY” H: 2.2 CM. L: 1.5 CM. W: 0.9 CM. THE WORD SAY. VG. PAD MINIMALLY STAINED BLACK. HANDLE UNSTAINED; MISSING VARNISH. HL – “SAID” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD SAID. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK, RED STAINING. HM – “BALL” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD BALL. VG. PAD PARTIALLY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK. HN – “CIRCUS” H: 2.2 CM. L: 3.1 CM. W: 0.9 CM. THE WORD CIRCUS. VG. PAD PARTIALLY STAINED BLACK. HANDLE MINIMALLY STAINED GREEN. HO – “CLOWN” H: 2.2 CM. L: 2.6 CM. W: 0.9 CM. THE WORD CLOWN. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLUE STAINING. HP – “IGLOO” H: 2.2 CM. L: 2.6 CM. W: 0.9 CM. THE WORD IGLOO. VG. PAD MINIMALLY STAINED BLACK, GREEN. HANDLE HAS ALMOST NONEXISTENT BLUE STAINING; MISSING VARNISH. HQ – “WIGWAM” H: 2.2 CM. L: 3.1 CM. W: 0.9 CM. THE WORD WIGWAM. VG. PAD MINIMALLY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK, RED. HR – “SCHOOL” H: 2.2 CM. L: 3 CM. W: 0.9 CM. THE WORD SCHOOL. VG. PAD PARTIALLY STAINED BLACK. HANDLE MINIMALLY STAINED GREEN; MISSING VARNISH. HS – “SOME” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD SOME. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLUE STAINING; MISSING VARNISH. HT – “WAS” H: 2.2 CM. L: 1.5 CM. W: 0.9 CM. THE WORD WAS. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK, RED STAINING. HU – “MET” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE WORD MET. VG. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE UNSTAINED. HV – “CAME” H: 2.2 CM. L: 2 CM. W: 0.9 CM. THE WORD CAME. GD. PAD MINIMALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE HAS ALMOST NONEXISTENT BLACK, BLUE STAINING. HW – “RAN” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE WORD RAN. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLUE STAINING; MISSING VARNISH. HX – “COME” H: 1.9 CM. L: 2.1 CM. W: 0.9 CM. THE WORD COME. VG. PAD PARTIALLY STAINED BLACK. HANDLE STAINED BLACK, GREEN, BLUE; MISSING VARNISH. HY – “DID” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE WORD DID. VG. PAD PARTIALLY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK. HZ – “MADE” H: 2.2 CM. L: 2 CM. W: 0.9 CM. THE WORD MADE. VG. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING; MISSING VARNISH. IA – “SEE” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE WORD SEE. GD. PAD ALMOST COMPLETELY STAINED BLACK; LIFTING AT CORNERS. HANDLE MINIMALLY STAINED GREEN, RED. IB – “WENT” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD WENT. VG. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE UNSTAINED IC – “SAW” H: 2.2 CM. L: 1.5 CM. W: 0.9 CM. THE WORD SAW. GD. PAD MINIMALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE HAS ALMOST NONEXISTENT BLACK, GREEN STAINING; MISSING VARNISH. ID – “JUMP” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD JUMP. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK, GREEN STAINING. IE – “PLAY” H: 2.2 CM. L: 2 CM. W: 0.9 CM. THE WORD PLAY. VG. PAD MINIMALLY STAINED BLACK. HANDLE STAINED GREEN. IF – “LOOK” H: 2.2 CM. L: 2 CM. W: 0.9 CM. THE WORD LOOK. GD. PAD PARTIALLY STAINED BLACK; MISSING A CORNER. HANDLE HAS ALMOST NONEXISTENT BLACK, GREEN STAINING. IG – “LONG” H: 1.9 CM. L: 2 CM. W: 0.9 CM. THE WORD LONG. EX. PAD LOOKS UNUSED. HANDLE UNSTAINED. IH – “THEM” H: 2.2 CM. L: 2 CM. W: 0.9 CM. THE WORD THEM. EX. PAD LOOKS UNUSED. HANDLE UNSTAINED. II – “AFTER” H: 2.2 CM. L: 2.5 CM. W: 0.9 CM. THE WORD AFTER. VG. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING. IJ – “WANT” H: 2.2 CM. L: 2.2 CM. W: 0.9 CM. THE WORD WANT. VG. PAD MINIMALLY STAINED BLACK. HANDLE MINIMALLY STAINED GREEN, RED. IK – “WILL” H: 2.2 CM. L: 2 CM. W: 0.9 CM. THE WORD WILL. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK, RED STAINING; MISSING VARNISH. IL – “MAKE” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD MAKE. VG. PAD PARTIALLY STAINED BLACK. HANDLE MINIMALLY STAINED GREEN; MISSING VARNISH. IM – “CAN” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE WORD CAN. VG. PAD MINIMALLY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK, GREEN. IN – “ARE” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE WORD ARE. VG. PAD MINIMALLY STAINED BLACK. HANDLE UNSTAINED. IO – “WERE” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD WERE. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT GREEN STAINING. IP – “LIKE” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD LIKE. VG. PAD PARTIALLY STAINED BLACK. HANDLE UNSTAINED IQ – “READ” H: 2.2 CM. L: 2 CM. W: 0.9 CM. THE WORD READ. VG. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING; MISSING VARNISH. IR – “RADIO” H: 2.2 CM. L: 2.5 CM. W: 0.9 CM. THE WORD RADIO. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT RED STAINING. IS – “AEROPLANE” H: 2.2 CM. L: 4.6 CM. W: 0.9 CM. THE WORD AEROPLANE. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK, GREEN STAINING; MISSING VARNISH. IT – “FLY” H: 2.2 CM. L: 1.5 CM. W: 0.9 CM. THE WORD FLY. VG. PAD MINIMALLY STAINED BLACK. HANDLE UNSTAINED; MISSING VARNISH. IU – “BOAT” H: 2.2 CM. L: 2.2 CM. W: 0.9 CM. THE WORD BOAT. VG. PAD PARTIALLY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK. IV – “RIDE” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD RIDE. GD. PAD MINIMALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE MINIMALLY STAINED BLACK; MISSING VARNISH. IW – “FENCE” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD FENCE. VG. PAD MINIMALLY STAINED BLACK. HANDLE STAINED RED; MISSING VARNISH. IX – “TURKEY” H: 1.9 CM. L: 3 CM. W: 0.9 CM. THE WORD TURKEY. VG. PAD MINIMALLY STAINED BLACK, GREEN. HANDLE HAS ALMOST NONEXISTENT BLUE, RED STAINING. IY – “WITH” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD WITH. VG. PAD MINIMALLY STAINED BLACK. HANDLE UNSTAINED; MISSING VARNISH. IZ – “LIVE” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD LIVE. VG. PAD MINIMALLY BLACK, GREEN. HANDLE HAS ALMOST NONEXISTENT BLACK, GREEN STAINING. JA – “MORNING” H: 2.2 CM. L: 3.6 CM. W: 0.9 CM. THE WORD MORNING. VG. PAD PARTIALLY STAINED BLACK, PURPLE. HANDLE STAINED BLACK, PURPLE. JB – “OLD” H: 2.2 CM. L: 1.5 CM. W: 0.9 CM. THE WORD OLD. GD. PAD HAS ALMOST NONEXISTENT BLACK STAINING; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE UNSTAINED JC – “MAY” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE WORD MAY. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING. JD – “TOO” H: 2.2 CM. L: 1.5 CM. W: 0.9 CM. THE WORD TOO. VG. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE MINIMALLY STAINED GREEN, BLUE. JE – “ALL” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE WORD ALL. VG. PAD MINIMALLY STAINED BLACK. HANDLE UNSTAINED. JF – “FARM” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD FARM. VG. PAD PARTIALLY STAINED BLACK. HANDLE STAINED BLACK, GREEN, RED; MISSING VARNISH. JG – “HEN” H: 1.9 CM. L: 1.6 CM. W: 0.9 CM. THE WORD HEN. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING. JH – “CAT” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE WORD CAT. GD. PAD STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE STAINED BLACK, BLUE. JI – “RABBIT” H: 2.2 CM. L: 3 CM. W: 0.9 CM. THE WORD RABBIT. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK, RED STAINING. JJ – “COW” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE WORD COW. VG. PAD PARTIALLY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK; MISSING VARNISH. JK – “DONKEY” H: 2.2 CM. L: 3.1 CM. W: 0.9 CM. THE WORD DONKEY. VG. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING. JL – “HORSE” H: 2.2 CM. L: 2.5 CM. W: 0.9 CM. THE WORD HORSE. VG. PAD PARTIALLY STAINED BLACK. HANDLE STAINED BLACK, BLUE; MISSING VARNISH. JM – “SHEEP” H: 2.2 CM. L: 2.6 CM. W: 0.9 CM. THE WORD SHEEP. VG. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING; MISSING VARNISH. JN – “GOAT” H: 2.2 CM. L: 2 CM. W: 0.9 CM. THE WORD GOAT. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLUE STAINING; MISSING VARNISH. JO – “ROOSTER” H: 2.2 CM. L: 3.5 CM. W: 0.9 CM. THE WORD ROOSTER. GD. PAD MINIMALLY STAINED BLACK; LIFTING AT CORNERS. HANDLE HAS ALMOST NONEXISTENT GREEN STAINING; MISSING VARNISH. JP – “TIGER” H: 2.2 CM. L: 2.5 CM. W: 0.9 CM. THE WORD TIGER. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING. JQ – “BEAR” H: 2.2 CM. L: 2 CM. W: 0.9 CM. THE WORD BEAR. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING. JR – “BIRD” H: 2.2 CM. L: 2 CM. W: 0.9 CM. THE WORD BIRD. VG. PAD PARTIALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING; MISSING VARNISH. JS – “MONKEY” H: 2.2 CM. L: 3.1 CM. W: 0.9 CM. THE WORD MONKEY. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK, RED STAINING. JT – “SEAL” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD SEAL. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK, RED STAINING; MISSING VARNISH. JU – “GOOSE” H: 2.2 CM. L: 2.6 CM. W: 0.9 CM. THE WORD GOOSE. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK, RED; MISSING VARNISH. JV – “DOG” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE WORD DOG. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE STAINED BLACK, BLUE. JW – “SQUIRREL” H: 2.2 CM. L: 4.1 CM. W: 0.9 CM. THE WORD SQUIRREL. VG. PAD MINIMALLY STAINED BLACK. HANDLE UNSTAINED. JX – “PIG” H: 1.9 CM. L: 1.6 CM. W: 0.9 CM. THE WORD PIG. VG. PAD PARTIALLY STAINED BLACK. HANDLE STAINED BLACK. JY – “BARN” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD BARN. VG. PAD PARTIALLY STAINED BLACK. HANDLE STAINED BLACK, BLUE, PURPLE. JZ – “SISTER” H: 2.2 CM. L: 3.1 CM. W: 0.9 CM. THE WORD SISTER. VG. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE UNSTAINED. KA – “BROTHER” H: 2.2 CM. L: 3.5 CM. W: 0.9 CM. THE WORD BROTHER. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT GREEN STAINING. KB – “BABY” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD BABY. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE PARTIALLY STAINED BLACK, GREEN. KC – “CHILDREN” H: 2.2 CM. L: 4.1 CM. W: 0.9 CM. THE WORD CHILDREN. VG. PAD PARTIALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING. KD – “MOTHER” H: 2.2 CM. L: 3.1 CM. W: 0.9 CM. THE WORD MOTHER. VG. PAD PARTIALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK, RED STAINING. KE – “FATHER” H: 2.2 CM. L: 3.1 CM. W: 0.9 CM. THE WORD FATHER. VG. PAD PARTIALLY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK. KF – “GIRL” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD GIRL. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE MINIMALLY STAINED BLACK; MISSING VARNISH. KG – “BOY” H: 1.9 CM. L: 1.6 CM. W: 0.9 CM. THE WORD BOY. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE STAINED BLACK, RED. KH – “MAN” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE WORD MAN. VG. PAD MINIMALLY STAINED BLACK. HANDLE UNSTAINED; MISSING VARNISH. KI – “HE” H: 2.2 CM. L: 1.1 CM. W: 0.9 CM. THE CAPITALIZED WORD HE. VG. PAD PARTIALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING. KJ – “HE” H: 2.2 CM. L: 1 CM. W: 0.9 CM. THE WORD HE. VG. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE UNSTAINED. KK – “SHE” H: 1.9 CM. L: 1.6 CM. W: 0.9 CM. THE CAPITALIZED WORD SHE. PR. PAD MISSING. HANDLE HAS ALMOST NONEXISTENT BLACK, RED STAINING; MISSING VARNISH. KL – “SHE” H: 2.2 CM. L: 1.5 CM. W: 0.9 CM. THE WORD SHE. VG. PAD PARTIALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING. KM – “HIS” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE CAPITALIZED WORD HIS. VG. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING. KN – “HIS” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE WORD HIS. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING. KO – “HER” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE CAPITALIZED WORD HER. VG. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE UNSTAINED. KP – “HER” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE WORD HER. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLUE STAINING. KQ – “THEY” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD THEY. VG. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE UNSTAINED. KR – “ME” H: 2.2 CM. L: 1.1 CM. W: 0.9 CM. THE WORD ME. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT GREEN STAINING. KS – “YOU” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE WORD YOU. VG. PAD PARTIALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT GREEN STAINING; MISSING VARNISH. KT – “YOU” H: 2.2 CM. L: 1.5 CM. W: 0.9 CM. THE CAPITALIZED WORD YOU. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT GREEN STAINING; MISSING VARNISH. KU – “YOUR” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE WORD YOUR. VG. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE HAS ALMOST NONEXISTENT BLUE STAINING; MISSING VARNISH. KV – “IT” H: 2.2 CM. L: 1.1 CM. W: 0.9 CM. THE CAPITALIZED WORD IT. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING; MISSING VARNISH. KW – “WE” H: 2.2 CM. L: 1 CM. W: 0.9 CM. THE WORD WE. VG. PAD PARTIALLY STAINED BLACK. HANDLE STAINED GREEN, BLUE; MISSING VARNISH. KX – “TELL” H: 1.9 CM. L: 2.1 CM. W: 0.9 CM. THE CAPITALIZED WORD TELL. EX. PAD LOOKS UNUSED. HANDLE HAS ALMOST NONEXISTENT BLUE, RED STAINING. KY – “CUT” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE CAPITALIZED WORD CUT. VG. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE HAS ALMOST NONEXISTENT BLACK, BLUE, RED STAINING. KZ – “DRAW” H: 2.2 CM. L: 2 CM. W: 0.9 CM. THE CAPITALIZED WORD DRAW. VG. PAD PARTIALLY STAINED BLACK. HANDLE STAINED GREEN, BLUE. LA – “MAY” H: 2.2 CM. L: 1.5 CM. W: 0.9 CM. THE NAME MAY. VG. PAD MINIMALLY STAINED BLACK. HANDLE UNSTAINED. LB – “BILLY” H: 2.2 CM. L: 2.5 CM. W: 0.9 CM. THE NAME BILLY. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT GREEN, BLUE STAINING. LC – “FIND” H: 2.2 CM. L: 2 CM. W: 0.9 CM. THE CAPITALIZED WORD FIND. VG. PAD MINIMALLY STAINED BLACK. HANDLE STAINED GREEN. LD – “MOLLY” H: 2.2 CM. L: 2.6 CM. W: 0.9 CM. THE NAME MOLLY. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT GREEN, BLUE, RED, PURPLE STAINING. LE – “THIS” H: 2.2 CM. L: 2 CM. W: 0.9 CM. THE CAPITALIZED WORD THIS. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING. LF – “SANTA CLAUS” H: 2.2 CM. L: 5.3 CM. W: 0.9 CM. THE NAME SANTA CLAUS. VG. PAD PARTIALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT GREEN, RED STAINING. LG – “WHEN” H: 1.9 CM. L: 2.1 CM. W: 0.9 CM. THE CAPITALIZED WORD WHEN. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT RED STAINING; MISSING VARNISH. LH – “COUNT” H: 2.2 CM. L: 2.6 CM. W: 0.9 CM. THE CAPITALIZED WORD COUNT. VG. PAD HAS ALMOST NONEXISTENT BLACK. HANDLE HAS ALMOST NONEXISTENT BLUE STAINING. LI – “WHY” H: 2.2 CM. L: 1.5 CM. W: 0.9 CM. THE CAPITALIZED WORD WHY. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLUE STAINING. LJ – “THEY” H: 2.2 CM. L: 2 CM. W: 0.9 CM. THE CAPITALIZED WORD THEY. VG. PAD PARTIALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT GREEN, BLUE, RED STAINING. LK – “YES” H: 1.9 CM. L: 1.6 CM. W: 0.9 CM. THE CAPITALIZED WORD YES. VG. PAD PARTIALLY STAINED BLACK. HANDLE PARTIALLY STAINED GREEN. LL – “PASTE” H: 2.2 CM. L: 1.5 CM. W: 0.9 CM. THE CAPITALIZED WORD PASTE. GD. PAD HAS ALMOST NONEXISTENT BLACK STAINING; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE UNSTAINED. LM – “CAN” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE CAPITALIZED WORD CAN. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK, BLUE STAINING. LN – “INDIAN” H: 2.2 CM. L: 3.1 CM. W: 0.9 CM. THE CAPITALIZED WORD INDIAN. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE STAINED BLACK, GREEN, BLUE. LO – “DO” H: 2.2 CM. L: 1 CM. W: 0.9 CM. THE CAPITALIZED WORD DO. VG. PAD PARTIALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT GREEN, BLUE STAINING. LP – “THE” H: 2.2 CM. L: 1.5 CM. W: 0.9 CM. THE CAPITALIZED WORD THE. VG. PAD PARTIALLY STAINED BLACK. HANDLE MINIMALLY STAINED GREEN. LQ – “HOW” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE CAPITALIZED WORD HOW. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING; MISSING VARNISH. LR – “WHAT” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE CAPITALIZED WORD WHAT. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLUE, RED STAINING; MISSING VARNISH. LS – “GIVE” H: 2.2 CM. L: 2.1 CM. W: 0.9 CM. THE CAPITALIZED WORD GIVE. VG. PAD MINIMALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT GREEN STAINING; MISSING VARNISH. LT – “?” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. QUESTION MARK. VG. PAD STAINED BLACK. HANDLE MINIMALLY STAINED GREEN; MISSING VARNISH. LU – “.” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. PERIOD. GD. PAD ALMOST COMPLETELY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE HAS ALMOST NONEXISTENT BLACK, RED STAINING. LV – “+” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. PLUS SIGN. GD. PAD PARTIALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE MINIMALLY STAINED RED. LW – “-” H: 2.2 CM. L: 0.6 CM. W: 0.9 CM. MINUS SIGN. GD. PAD ALMOST COMPLETELY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE MINIMALLY STAINED GREEN, BLUE. LX – “AND” H: 1.9 CM. L: 1.5 CM. W: 0.9 CM. THE WORD AND. VG. PAD PARTIALLY STAINED BLACK. HANDLE STAINED GREEN, BLUE. LY – “MY” H: 2.2 CM. L: 1.1 CM. W: 0.9 CM. THE WORD MY. VG. PAD PARTIALLY STAINED BLACK. HANDLE STAINED GREEN, BLUE. LZ – “ING” H: 2.2 CM. L: 1.5 CM. W: 0.9 CM. THE LETTERS ING. VG. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE HAS ALMOST NONEXISTENT GREEN STAINING; MISSING VARNISH. MA – “ED” H: 2.2 CM. L: 1 CM. W: 0.9 CM. THE LETTERS ED. GD. PAD HAS ALMOST NONEXISTENT BLACK STAINING; GLUED DOWN WITH HARD GLUE LEAKING OUT ONTO HANDLE. HANDLE UNSTAINED. MB – “THE” H: 2.2 CM. L: 1.5 CM. W: 0.9 CM. THE WORD THE. VG. PAD PARTIALLY STAINED BLACK. HANDLE MINIMALLY STAINED GREEN, BLUE. MC – “IT” H: 2.2 CM. L: 1 CM. W: 0.9 CM. THE WORD IT. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE MINIMALLY STAINED GREEN; MISSING VARNISH. MD – “AM” H: 2.2 CM. L: 1.2 CM. W: 0.9 CM. THE WORD AM. GD. PAD PARTIALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE HAS ALMOST NONEXISTENT BLUE STAINING. ME – “HAS” H: 2.2 CM. L: 1.6 CM. W: 0.9 CM. THE WORD HAS. VG. PAD PARTIALLY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK STAINING; MISSING VARNISH. MF – “NO” H: 2.2 CM. L: 1.1 CM. W: 0.9 CM. THE WORD NO. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT BLACK, GREEN STAINING; MISSING VARNISH. MG – “TO” H: 1.9 CM. L: 1.2 CM. W: 0.9 CM. THE WORD TO. GD. PAD PARTIALLY STAINED BLACK; GLUED DOWN WITH HARD GLUE LEAKING OUT. HANDLE HAS ALMOST NONEXISTENT GREEN STAINING. MH – “ON” H: 2.2 CM. L: 1.2 CM. W: 0.9 CM. THE WORD ON. GD. PAD ALMOST COMPLETELY STAINED BLACK; LIFTING AT THE CORNERS. HANDLE HAS ALMOST NONEXISTENT BLACK, BLUE STAINING. MI – “AN” H: 2.2 CM. L: 1 CM. W: 0.9 CM. THE WORD AN. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE HAS ALMOST NONEXISTENT GREEN STAINING. MJ – “GO” H: 2.2 CM. L: 1.1 CM. W: 0.9 CM. THE WORD GO. VG. PAD PARTIALLY STAINED BLACK. HANDLE STAINED BLACK, GREEN; MISSING VARNISH. MK – “IN” H: 1.9 CM. L: 1 CM. W: 0.9 CM. THE WORD IN. VG. PAD ALMOST COMPLETELY STAINED BLACK. HANDLE UNSTAINED; MISSING VARNISH. ML – “PRETTY” H: 2.2 CM. L: 3.1 CM. W: 0.9 CM. THE CAPITALIZED WORD PRETTY. PR. PAD MISSING. HANDLE UNSTAINED. MM – “BROWNIE” H: 2.2 CM. L: 3.5 CM. W: 0.9 CM. THE CAPITALIZED WORD BROWNIE. PR. PAD MISSING. HANDLE HAS ALMOST NONEXISTENT BLUE STAINING. MN – “DOLL” H: 0.2 CM. L: 2 CM. W: 0.9 CM. THE WORD DOLL. PR. PAD PARTIALLY STAINED BLACK. HANDLE MISSING. MO – “H” H: 0.2 CM. L: 0.6 CM. W: 0.9 CM. CAPITAL H. PR. PAD HAS ALMOST NONEXISTENT BLACK STAINING. HANDLE MISSING.
Subjects
WRITTEN COMMUNICATION T&E
Historical Association
EDUCATION
History
DONOR RITA MEDVE RETIRED FROM TEACHING IN 2010 AFTER SERVING 35 YEARS WITH SCHOOL DISTRICT 51. THIS STAMP BOX WAS USED IN HER CLASSROOMS FOR THE ENTIRE PERIOD. THE FOLLOWING INFORMATION ABOUT THIS STAMP BOX COMES FROM AN INTERVIEW WITH MEDVE THAT WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON OCTOBER 18, 2017: MEDVE BEGAN AT WESTMINSTER SCHOOL IN 1973 AND, AFTER MOVING THROUGH ANOTHER SIX SCHOOLS, RETURNED THERE FOR THE FINAL 21 YEARS OF HER CAREER. SHE WAS INTRODUCED TO WESTMINSTER SCHOOL AS A RESULT OF HER STUDIES IN EDUCATION AT THE UNIVERSITY OF LETHBRIDGE, INTERNING AT WESTMINSTER WITH GRADE 6 TEACHER FUMI TAMAGI. FOLLOWING THE COMPLETION OF HER STUDIES, SHE WAS INVITED TO APPLY FOR THE POSITION VACATED BY TAMAGI WHO WAS TRANSFERRING TO A DIFFERENT SCHOOL. THIS STAMP BOX WAS A PRESENT FROM TAMAGI TO MEDVE UPON THE AWARDING OF MEDVE'S NEW TEACHING POSITION. MEDVE RECALLED TAMAGI USING IT HERSELF AS ONE OF HER TEACHING TOOLS. TALKING ABOUT TAMAGI IN THE CLASSROOM MEDVE STATES, “THE CHILDREN ALL LOVED HER. SHE HAD CONTROL OVER THE CLASSROOM AND I LEARNED A LOT FROM HER… SHE HELPED ME WORK WITH CHILDREN WHO HAD CHALLENGES. THAT’S WHEN I KNEW THAT I ACTUALLY NEEDED TO BE IN SPECIAL EDUCATION, BESIDES MY PHYSICAL EDUCATION THAT I WAS MAJORING IN. THERE WERE CHILDREN IN HER CLASSROOM THAT HAD CHALLENGES, BUT NOT AGGRESSIVENESS, SO SHE SHOWED ME DIFFERENT WAYS OF HANDLING DIFFERENT CHALLENGES AND SHE TAUGHT ME TO TEACH TO THE CHILDREN, NOT TO THE CURRICULUM; AND THAT’S HOW I TAUGHT MY 35 YEARS OF TEACHING.” THE STAMPS WERE USED IN THE CLASSROOM TO ASSIST IN THE TEACHING OF KIDS WITH LEARNING CHALLENGES AND THOSE LEARNING ENGLISH AS A SECOND LANGUAGE. MEDVE STATES, “I REMEMBER [TAMAGI] GIVING IT TO ME TO USE WITH THE SPECIAL NEEDS STUDENTS, BECAUSE IT WAS HELPING THEM WITH THEIR SPELLING, THEIR READING. ESL STUDENTS WOULD - WE WOULD GIVE THEM A PICTURE, AND THEN WE’D USE THE STAMP TO SHOW WHAT THAT WORD WAS, THAT RELATED TO THE PICTURE. … IT WAS ONE OF THE MOST IMPORTANT THINGS IN THAT CLASSROOM TO THEM, BECAUSE IT WAS PHYSICAL, USING ALL YOUR KINESTHETICS - FEELING, TOUCHING.” ON TEACHING SPECIAL NEEDS CHILDREN THROUGHOUT HER CAREER SHE STATES, “FOR 15 YEARS, I TAUGHT SPECIAL EDUCATION IN A CONFINED ROOM – A NORMAL CLASSROOM SETTING – AND I WOULD HAVE, ON AVERAGE, ABOUT 12 STUDENTS WORKING WITH ME. I ALSO TAUGHT PHYSED TO THE REGULAR CHILDREN, AT DIFFERENT TIMES OF THE DAY. … AFTER 15 YEARS, I WENT INTO A REGULAR CLASSROOM, BUT, BECAUSE I HAD SPECIAL ED BACKGROUND, AND NOT A LOT OF PEOPLE DID, AT THAT TIME, I WOULD BE GIFTED WITH MANY CHALLENGED STUDENTS, MANY. LIKE, FOR EXAMPLE, OUT OF 28 CHILDREN, I MIGHT HAVE 12 CHALLENGED STUDENTS…” FUMIKO “FUMI” TAMAGI PASSED AWAY DECEMBER 15TH, 2015 AT 93 YEARS. FOR MORE INFORMATION, INCLUDING REFERENCED INTERVIEW TRANSCRIPTIONS PLEASE SEE THIS RECORD’S PERMANENT FILE.
Catalogue Number
P20170032000
Acquisition Date
2017-10
Collection
Museum
Images
Less detail
Date Range From
1880
Date Range To
1890
Material Type
Artifact
Materials
COTTON, LEATHER, GLASS
Catalogue Number
P20170002000
  2 images  
Material Type
Artifact
Date Range From
1880
Date Range To
1890
Materials
COTTON, LEATHER, GLASS
No. Pieces
1
Length
103.2
Width
5
Description
BEADED BELT WITH A GEOMETRIC PATTERN SET AGAINST A GREEN BEADED BACKGROUND. PATTERN ALTERNATES BETWEEN TWO MIRRORED BLACK, YELLOW, BLUE TRIANGLES WITH THEIR BASES AT EITHER WIDTH END OF THE BELT MEETING IN THE CENTER AT THEIR POINTS AND LARGE RED AND BLUE WITH A GREEN CENTERED TRIANGLES WITH THEIR BASE AT ONE WIDTH END AND THEIR POINTS EXTENDED TO THE OPPOSING END. BEADS ARE SEWN INTO A COTTON, CANVAS FABRIC. TWO ANIMAL HIDE TIES (EACH A DIFFERENT LENGTH FROM 6.2 TO 11.8) ON EACH END AT EACH CORNER OF BELT. BACK SIDE IS RAW FABRIC WITH SEAM AT CENTER CONNECTING THE TWO HALVES. ENDS ARE HEMMED WITH TIES SEWN TO THE OUTSIDE. CONDITION: SEVERE DISCOLOURATION TO FABRIC BACKING AND SEVERE WEAR TO ANIMAL HIDE TIES. MANY LOSS THREADS OVER ENTIRE SURFACE OF BACK. BEADS AND BEADING IN EXCELLENT CONDITION OVERALL.
Subjects
INDIGENOUS
Historical Association
ETHNOGRAPHIC
History
UPON THE DONATION OF THIS BELT TO THE GALT MUSEUM, THE DONOR – PATRICIA LYNCH-STAUNTON – EXPLAINED THAT THIS BELT BELONGED TO ALFRED HARDWICH LYNCH-STAUNTON, WHO SERVED IN THE ROYAL CANADIAN MOUNTED POLICE IN FORT MACLEOD. HE RANCHED IN THE LUNDBRECK AREA AND SUPPLIED HORSES TO THE MOUNTIES. THE DONOR SAID THAT SHE HAD “NO KNOWLEDGE OF HOW [ALFRED HARDWICK] CAME INTO POSSESSION OF THE BELT. A NOTE ON THE INITIAL DOCUMENTATION ATTRIBUTES THE DATE OF THIS BELT TO CA. 1880-1890. THE ACTING CURATOR OF THE NATIVE NORTH AMERICAN DEPARTMENT OF THE GLENBOW, JOANNE SCHMIDT, AGREED WITH THE DONOR’S BELIEF THAT THE BELT WAS BLACKFOOT. THROUGH THE COMPARISON OF THE BEADED MOCCASINS AND BELTS IN THE GLENBOW’S COLLECTION WITH THIS BELT, SCHMIDT EXPLAINED THAT THE DESIGN ON THE BELT WAS MOSTLY FOUND ON THOSE FROM SIKSIKA, BUT SHE HAS ALSO SEEN THE DESIGN IN PIIKANI AND KAINAI BEADWORK THOUGH THERE ARE NOT MANY EXAMPLES IN THE COLLECTION. ALSO BY USING THE GLENBOW’S COLLECTION AS A POINT OF REFERENCE, THE CURATOR BELIEVES THAT THE BELT IS SIMILAR IN APPEARANCE TO THOSE OF THE 19TH CENTURY TO EARLY 20TH-CENTURY MUSEUM HOLDINGS. SCHMIDT ALSO PROVIDED AN EXPLANATION OF THE DESIGN FROM THE CANADIAN MUSEUM OF HISTORY. IT STATES, “ONE OF THE EARLIEST DESIGNS USED WAS ‘MIISTA-TSIKA-TUKSIIN,’ OR MOUNTAIN DESIGN. OTHER DESIGNS INCLUDED SQUARES, DIAMONDS, BARS, SLOTTED BARS AND STRIPES… TODAY SUCH DESIGNS ARE CALLED ‘MAAH-TOOHM-MOOWA-KA-NA-SKSIN,’ OR FIRST DESIGNS.” IT WAS FURTHER EXPLAINED THAT A COMPLICATING FACTOR IN IDENTIFYING THE BELT’S ORIGINS IS THE FACT THAT THE BLACKFOOT TENDED TO USE WHITE OR BLUE AS THE BACKGROUND COLOUR, NOT GREEN AS IS PRESENTED IN THE LYNCH-STAUNTON DONATION. ON 19 JANUARY 2017, MUSEUM STAFF FURTHER CONSULTED WITH RYAN HEAVY HEAD, FORMER DIRECTOR OF KAINAI STUDIES AT RED CROW COMMUNITY COLLEGE, REGARDING THE BELT’S DESIGN. HE EXPLAINED, “THE GREEN BACKGROUND IS ATYPICAL OF BLACKFOOT BEADWORK, WHICH IS NORMALLY BLUE. THE ‘MOUNTAIN DESIGN’ [DISPLAYED ON THE BELT] IS A COMMON MOTIF IN BLACKFOOT BEADWORK, BUT AGAIN THE COLOURS ARE NOT TYPICAL IN THIS EXAMPLE.” RYAN SPECULATED THAT DURING THE TIME OF DISEASE (WHEN THIS BELT APPEARS TO HAVE ORIGINATED) THERE WAS SOME DISRUPTION IN TRADITIONAL LIFE AND THAT COULD BE REFLECTED IN THE COLOUR CHOICES. ALTERNATIVELY, THE BELT MAY HAVE BEEN MADE BY THE GROS VENTRES FROM NORTHEAST MONTANA. THE DONOR, PATRICIA LYNCH-STAUNTON, IS THE GREAT-GRANDDAUGHTER OF ALFRED HARDWICK LYNCH-STAUNTON. THIS BELT WAS PASSED DOWN THROUGH THE FAMILY, FIRST FROM A. H. LYNCH-STAUNTON, THEN TO THE DONOR’S GRANDFATHER, F. C. LYNCH-STAUNTON, THEN TO HER FATHER, A. G. LYNCH-STAUNTON, FINALLY TO THE DONOR WHO BROUGHT IT TO THE MUSEUM. THE FOLLOWING INFORMATION COMES FROM THE “A. H. LYNCH-STAUNTON FAMILY HISTORY” WRITTEN FOR THE MUSEUM USING ONLINE SOURCES, THE GLENBOW ARCHIVES, AND THE BOOK TITLED “HISTORY OF THE EARLY DAYS OF PINCHER CREEK AND SOUTHERN MOUNTAINS OF ALBERTA.” “ALFRED HARDWICK LYNCH-STAUNTON (1860-1932) WAS BORN IN HAMILTON, ON AND CAME TO FORT MACLEOD IN 1877 TO JOIN THE NWMP. ACCORDING TO THE PINCHER CREEK HISTORICAL SOCIETY, HE WAS SENT TO ESTABLISH A HORSE BREEDING FARM AT PINCHER CREEK IN 1878. AFTER RETIRING FROM THE NWMP IN 1880, LYNCH-STAUNTON STATED THE FIRST CATTLE RANCH IN THE PINCHER CREEK AREA WITH JAMES BRUNEAU AND ISSAC MAY, AND LATER HOMESTEADED WEST OF TOWN. ALONG WITH HIS RANCH, LYNCH-STAUNTON MARRIED SARAH MARY BLAKE (1864-1933) IN 1890 AND THEY HAVE FIVE CHILDREN: VICTORIA, FRANDA, FRANCIS, JOHN, AND D’ARCY… A.H.’S BROTHER RICHARD LYNCH-STAUNTON (1867-1961) CAME AS FAR WEST AS MEDICINE HAT IN 1883 WITH HIS FATHER, F. H. LYNCH-STAUNTON, WHO WAS IN CHARGE OF THE SURVEY PARTY. RICHARD CAME WEST AGAIN, TO PINCHER CREEK, IN 1885 OR 1886. IN ABOUT 1900, HE ACQUIRED LAND NORTH OF LUNDBRECK, ON TODD CREEEK, WHICH BECAME THE ANTELOPE BUTTE RANCH. RICHARD AND A. H. WERE IN PARTNERSHIP FOR A NUMBER OF YEARS IN CATTLE-RANCHING AND, ACCORDING TO THE DONOR, WITH THE BUTCHER SHOP. IN 1901, RICHARD MARRIED ISABELLE MARY WILSON (1868-1971), AND THEIR SON FRANK LYNCH-STAUNTON (1905-1990), ALBERTA’S 11TH LIEUTENANT GOVERNOR FROM 1979 TO 1985. LYNCH-STAUNTON DESCENDANTS CONTINUE TO RANCH IN THE LUNDBRECK/PINCHER CREEK AREA.” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING CORRESPONDENCE WITH DONOR AND PEOPLE CITED IN ABOVE HISTORY.
Catalogue Number
P20170002000
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Other Name
MAHJONG SET
Material Type
Artifact
Materials
PLASTIC
Catalogue Number
P20150028000
  2 images  
Material Type
Artifact
Other Name
MAHJONG SET
Date
1987
Materials
PLASTIC
No. Pieces
159
Height
9.6
Length
23
Width
23
Description
A – G: 7 STANDARD 6-SIDED DICE. 6 OF THE DICE HAVE BLACK DOTS ON A WHITE BACKGROUND, EXCEPT RED DOTS FOR THE ONE AND THE FOUR ON ALL DICE. THE SEVENTH DIE IS THE SAME AS THE FIRST SIX BUT WITH BROWN DOTS INSTEAD OF BLACK. THE DICE ARE 1.4 CM CUBED WITH ROUNDED EDGES. GOOD CONDITION: NORMAL WEAR FROM USE. H-I: A DIRECTIONAL PIECE CUBE (LIKE A DIE) AND A HOLDER. THERE ARE RED CHINESE CHARACTERS ON 4 OF THE 6 SIDES OF THE WHITE CUBE. THE DIE IS 1.2 CM CUBED. THE PIECE’S CIRCULAR HOLDER HAS A RED TOP AND A WHITE BASE WITH A CUBE INSERT IN THE CENTER OF THE TOP THAT FITS THE DIRECTIONAL PIECE. THE HOLDER IS IN FAIR TO GOOD CONDITION. IT IS WELL WORN AND THE EDGES ARE YELLOWING. FAIR TO GOOD CONDITION WITH SOME WEAR TO THE CHARACTERS AND THE CORNERS OF THE DIE. J-BBBBBBB: MAHJONG GAME SET. 144 TILES PLUS 4 BLANK SPARES (148 TILES TOTAL). THERE ARE 108 SIMPLE TILES (OF THE 3 SUITS: DOTS, BAMBOO, AND CHARACTERS), THERE ARE 28 HONOURS TILES (16 WINDS AND 16 DRAGONS), AND THERE ARE TWO SETS OF BONUS TILES (FLOWERS AND SEASONS) EACH WITH 4 TILES IN THE SET. EACH TILE IS 3.5 X 2.8 X 2.1 CM. VERY GOOD TO EXCELLENT CONDITION WITH SLIGHT SCUFFING ON THE TILES. CCCCCCC – DDDDDDD: GREEN RUBBERMAID PLASTIC CONTAINER WITH A WHITE PLASTIC LID FOR THE MAHJONG SET’S CASE. THE BOTTOM OF THE CONTAINER READS “RUBBERMAID 4 QUARTS” “J-3204”. THE DIMENSIONS OF THE CONTAINER ARE 23 X 23 X 9.6 CM. THE DIMENSIONS OF THE LID ARE 23 X 24.5 X 1.5 CM. GOOD CONDITION. THE OVERALL SURFACE OF BOTH THE CONTAINER AND THE LID ARE SCRATCHED. ON THE LID, THE TOP COATING OF PLASTIC IS PEELING OFF. THERE IS ADHESIVE TAPE RESIDUE IN ONE CORNER.
Subjects
GAME
Historical Association
ETHNOGRAPHIC
LEISURE
History
ON NOVEMBER 10, 2015, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED RICHARD LOO AT THE GALT MUSEUM REGARDING A MAHJONG SET HE WAS DONATING TO THE MUSEUM. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: MAHJONG IS A TILE-BASED GAME THAT ORIGINATED IN CHINA. LOO RECALLS ACQUIRING THE SET APPROXIMATELY 30 OR 40 YEARS AGO. HE SAID HE GOT THEM, “WHEN I WENT BACK TO HONG KONG. LET’S SEE – ’87. I WENT TO HONG KONG IN ’87. I BOUGHT SEVERAL [MAHJONG] SETS… TO GIVE TO THE KIDS IF THEY WERE INTERESTED. HERE, THEY ARE NOT AVAILABLE – NOT IN THIS CITY. YOU CAN GET IT IN CALGARY, BUT, IF I BROUGHT IT BACK FROM CHINA, IT’S A BETTER DEAL FOR ME… I STILL HAVE A COUPLE OF SETS AT HOME. I GIVE SOME TO MY FRIENDS; SOME TO THE KIDS.” WHEN ASKED ABOUT HIS USE OF GAME SET, LOO EXPLAINED, “I USE IT NOT TOO MANY TIMES… THEY COME IN A CASE – LIKE A BRIEFCASE - JUST FLIMSY STUFF. IF IT WAS USED SO LONG, IT WOULD JUST GO IN PIECES. SO I PUT IT INTO CONTAINERS – KEEPS A BETTER SHAPE, THAT’S ALL.” HE EXPLAINS THAT THE GAME IS PLAYED, “MOSTLY AT HOME. TO FOOL AROUND; JUST TO KILL TIME,” AND THAT THE SET DONATED WAS A PERSONAL SET THAT HAS ALWAYS BEEN AT LOO’S HOUSE. “THERE ARE SO MANY DIFFERENT STYLES OF PLAY. WHEN I CAME, IN THOSE DAYS, WE PLAYED A DIFFERENT WAY, AND AFTER YOU STAYED FOR A LITTLE WHILE, THEY PLAYED A DIFFERENT WAY… YOU PLAY THIS GAME MORE GENERALLY FOR ENTERTAINMENT, KILLING TIME; THE PURPOSE IS NOT TO MAKE MONEY… SEE, I REMEMBER THOSE DAYS, WHEN I WAS YOUNG – JUST A KID THOSE DAYS, IN THE OLD COUNTRY, OLD DAYS. IN THE NEW YEAR, I SAW FOUR OLDER GENTLEMEN PLAY THESE GAMES, BUT I DON’T UNDERSTAND…. WE CALL IT OLD STYLE. NOBODY IS INTERESTED IN PLAYING OLD STYLE ANYMORE. [IT IS] QUITE COMPLICATED... THEY PLAY THIS ONE, JUST LIKE YOU PLAY RUMMY, BUT YOU HAVE TO USE YOUR HEAD A LITTLE BIT. SOMETIMES YOU’VE GOT LUCK TOO." LOO SAYS HE DOES NOT MISS PLAYING THE GAME, “FOR MY AGE, NO. RIGHT NOW, NOT INTERESTED - [I'VE] GOT OTHER THINGS TO DO. YOU PLAY FOR SO LONG, AND THEN, [YOU ARE] NOT INTERESTED ANYMORE. WE USED TO PLAY THIS ON NEW YEAR’S EVE, TILL THE NEXT MORNING. [WE WOULD] START ON NEW YEAR’S EVE TILL TOMORROW MORNING, 6 OR 7 O’CLOCK. NOT ANYMORE. WE PLAYED AT ALBERT’S PLACE, BOW ON TONG…” THE FOLLOWING BIOGRAPHICAL INFORMATION ABOUT RICHARD LOO HAS BEEN TAKEN FROM THE ARTIFACT RECORDS P20110031*: LOO ARRIVED IN LETHBRIDGE IN 1953, HAVING LEFT THE MAINLAND OF CHINA IN 1949. LOO'S GRANDFATHER HAD MOVED TO CANADA IN EITHER LATE 1800S OR THE EARLY 1900S AND HAD HAD TO PAY THE HEAD TAX. HIS GRANDFATHER WORKED AS A COOK IN RESTAURANTS, EITHER IN LETHBRIDGE OR IN TABER (ACCORDING TO LOO, HIS GRANDFATHER WORKED THROUGH THE WAR YEARS IN TABER). LOO’S GRANDFATHER HAD PLANNED ON MOVING BACK TO CHINA WHEN HE RETIRED, BUT THEN THE COMMUNISTS TOOK OVER, AND HE ELECTED TO STAY. AT THAT TIME, HE INVITED LOO TO MOVE TO LETHBRIDGE AS WELL. LOO LEFT HONG KONG, AFTER LIVING THERE FOR 8 MONTHS, ON A FRIDAY AFTERNOON AT 2PM LOCAL TIME. HE ARRIVED IN LETHBRIDGE SUNDAY AFTERNOON. HE WAS LUCKY IN THAT HE WAS ABLE TO GET HIS FLIGHTS ON SALE. NORMALLY A TICKET FROM HONG KONG TO VANCOUVER WOULD HAVE COST $700, BUT LOO WAS ABLE TO SECURE A FLIGHT FOR ONLY $500. HE ALSO INDICATED THAT HIS FLIGHT TO LETHBRIDGE WAS ONLY $39.95. ON RECALLING HIS FIRST TIME IN LETHBRIDGE, LOO RECOUNTED THE FOLLOWING STORY: “SO, BY THE TIME I GOT TO THE AIRPORT, I DIDN’T KNOW HOW TO SAY [ANYTHING]. DIDN’T KNOW – MAYBE COULD SAY ‘GOOD MORNING’ – THAT’S ALL I COULD SAY, JUST HOW TO SAY ‘HELLO.' IN THE MEANTIME, THE FELLOW AT THE AIRPORT MUST HAVE KNOWN ZEKE, YOU KNOW ZEKE QUAN [OWNER OF] THE LOTUS INN [RESTAURANT], AND HE PHONED HIM UP. HE SAYS, ‘ZEKE.’ I DIDN’T KNOW WHAT HE WAS TALKING ABOUT – NOTHING. AND THEN HE SAYS, ‘HEY, THIS IS A CHINA BOY HERE. WHAT ARE YOU GOING TO DO WITH HIM?’ SO, ZEKE SAYS, ‘OH, JUST TAKE HIM TO CHINATOWN AND DUMP HIM.’ NOW, I DIDN’T KNOW THOSE, NOT UNTIL LATER ON. ZEKE’S SON GO TO SAME SCHOOL I DID – CENTRAL SCHOOL.” LOO INITIALLY LIVED IN THE NATIONAL LEAGUE SOCIETY BUILDING FOR SEVERAL YEARS, OCCUPYING A ROOM THAT HAD BEEN RECENTLY VACATED BY ANOTHER MAN NAMED LOO WHO HAD GONE TO WORK IN PICTURE BUTTE. LOO RECALLED THAT THE SOCIETY WAS A GOOD PLACE TO FEEL A SENSE OF COMMUNITY AND THAT IT WAS A WELCOMING PLACE FOR NEW CHINESE IMMIGRANTS, A PLACE WHERE THEY WEREN’T DISCRIMINATED AGAINST. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION
Catalogue Number
P20150028000
Acquisition Date
2015-11
Collection
Museum
Images
Less detail
Other Name
BLANKET
Date Range From
1920
Date Range To
1990
Material Type
Artifact
Materials
RAW FLAX YARN
Catalogue Number
P20160003007
  2 images  
Material Type
Artifact
Other Name
BLANKET
Date Range From
1920
Date Range To
1990
Materials
RAW FLAX YARN
No. Pieces
1
Length
139
Width
99.5
Description
HAND-WOVEN BLANKET MADE FROM RAW FLAX. THE BLANKET IS COMPOSED OF 2 SECTIONS OF THE SAME SIZE OF MATERIAL THAT ARE JOINED TOGETHER WITH A SEAM AT THE CENTER. ON THE FRONT SIDE (WITH NEAT SIDE OF THE STITCHING AND PATCHES), THERE ARE THREE PATCHES ON THE BLANKET MADE FROM LIGHTER, RAW-COLOURED MATERIAL. ONE SECTION OF THE FABRIC HAS TWO OF THE PATCHES ALIGNED VERTICALLY NEAR THE CENTER SEAM. THE AREA SHOWING ON ONE PATCH IS 3 CM X 5 CM AND THE OTHER IS SHOWING 5 CM X 6 CM. ON THE OPPOSITE SECTION THERE IS ONE PATCH THAT IS 16 CM X 8.5 CM SEWN AT THE EDGE OF THE BLANKET. THE BLANKET IS HEMMED ON BOTH SHORT SIDES. ON THE OPPOSING/BACK SIDE OF THE BLANKET, THE FULL PIECES OF THE FABRIC FOR THE PATCHES ARE SHOWING. THE SMALLER PATCH OF THE TWO ON THE ONE HALF-SECTION OF THE BLANKET IS 8CM X 10 CM AND THE OTHER PATCH ON THAT SIDE IS 14CM X 15CM. THE PATCH ON THE OTHER HALF-SECTION IS THE SAME SIZE AS WHEN VIEWED FROM THE FRONT. THERE IS A SEVERELY FADED BLUE STAMP ON THIS PATCH’S FABRIC. FAIR CONDITION. THERE IS RED STAINING THAT CAN BE SEEN FROM BOTH SIDES OF THE BLANKET AT THE CENTER SEAM, NEAR THE EDGE OF THE BLANKET AT THE SIDE WITH 2 PATCHES (CLOSER TO THE LARGER PATCH), AND NEAR THE SMALL PATCH AT THE END FURTHER FROM THE CENTER. THERE IS A HOLE WITH MANY LOOSE THREADS SURROUNDING NEAR THE CENTER OF THE HALF SECTION WITH ONE PATCH. THERE ARE VARIOUS THREADS COMING LOOSE AT MULTIPLE POINTS OF THE BLANKET.
Subjects
AGRICULTURAL T&E
BEDDING
Historical Association
AGRICULTURE
DOMESTIC
ETHNOGRAPHIC
History
THE KONKINS WERE A RUSSIAN-SPEAKING FAMILY FROM THE TOWN OF SHOULDICE, ALBERTA, NEAR CALGARY. THEY AND MANY OTHER RUSSIAN FAMILIES COMPOSED THAT TOWN’S DOUKHOBOR COLONY. IT WAS THERE WILLIAM KONKIN MARRIED ELIZABETH WISHLOW. IN 1928, THEIR DAUGHTER, ELSIE WAS BORN. THEY LATER MOVED TO A FARM IN VAUXHALL, ALBERTA. THE PRECEDING AND FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM A TWO-PART INTERVIEW WITH DONOR ELSIE MORRIS, WHICH WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON FEBRUARY 17, 2016. ADDITIONAL INFORMATION COMES FROM FAMILY HISTORIES AND TEXTS PROVIDED BY THE DONOR. A FULL HISTORY OF THE KONKIN FAMILY CAN BE FOUND WITH THE RECORD P20160003001. ACCORDING TO A NOTE THAT WAS ATTACHED TO THIS LIGHTWEIGHT BLANKET AT THE TIME OF ACQUISITION THE BLANKET IS BELIEVED TO HAVE BEEN MADE C. 1920S. MORRIS SAYS HER MEMORY OF THE BLANKET DATES AS FAR BACK AS SHE CAN REMEMBER: “RIGHT INTO THE ‘30S, ‘40S AND ‘50S BECAUSE MY MOTHER DID THAT RIGHT UP UNTIL NEAR THE END. I USE THAT EVEN IN LETHBRIDGE WHEN I HAD A GARDEN. [THIS TYPE OF BLANKET] WAS USED FOR TWO PURPOSES. IT WAS EITHER PUT ON THE BED UNDERNEATH THE MATTRESS THE LADIES MADE OUT OF WOOL AND OR ELSE IT WAS USED, A DIFFERENT PIECE OF CLOTH WOULD BE USED FOR FLAILING THINGS. [THE] FLAIL ACTUALLY GOES WITH IT AND THEY BANG ON THE SEEDS AND IT WOULD TAKE THE HULLS OFF… IT’S HAND WOVEN AND IT’S MADE OUT OF POOR QUALITY FLAX… IT’S UNBLEACHED, DEFINITELY… RAW LINEN." THIS SPECIFIC BLANKET WAS USED FOR SEEDS MORRIS RECALLS: “…IT HAD TO BE A WINDY DAY… WE WOULD PICK DRIED PEAS OR BEANS OR WHATEVER BEET SEEDS AND WE WOULD BEAT AWAY AND THEN WE WOULD STAND UP, HOLD IT UP AND THE BREEZE WOULD BLOW THE HULLS OFF AND THE SEEDS WOULD GO STRAIGHT DOWN [ONTO THE BLANKET.” THE SEEDS WOULD THEN BE CARRIED ON THE BLANKET AND THEN PUT INTO A PAIL. OF THE BLANKET’S CLEAN STATE, MORRIS EXPLAINS, “THEY’RE ALWAYS WASHED AFTER THEY’RE FINISHED USING THEM.” WHEN SHE LOOKS AT THIS ARTIFACT, MORRIS SAYS: “I FEEL LIKE I’M OUT ON THE FARM, I SEE FIELDS AND FIELDS OF FLAX, BLUE FLAX. BUT THAT’S NOT WHAT SHE USED IT FOR. SHE DID USE IT IF SHE WANTED A LITTLE BIT OF THE FLAX THEN SHE’D POUND THE FLAX, BUT THAT WASN’T OFTEN. IT WAS MOSTLY BEANS AND PEAS.” IT IS UNKNOWN WHO WOVE THIS BLANKET. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003007
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Date Range From
1907
Date Range To
1995
Material Type
Artifact
Materials
WOOD, METAL, VARNISH
Catalogue Number
P20160003008
  2 images  
Material Type
Artifact
Date Range From
1907
Date Range To
1995
Materials
WOOD, METAL, VARNISH
No. Pieces
1
Height
107
Diameter
54.5
Description
WOODEN SPINNING WHEEL COATED WITH RED WOOD VARNISH. THE BOBBIN IS APPROX. 11.5CM IN LENGTH AND APPROX. 9CM IN DIAMETER. THERE IS SOME HANDSPUN, WHITE YARN REMAINING ON THE BOBBIN, IN ADDITION TO A SMALL AMOUNT OF GREEN YARN. THE SPINNING WHEEL IS FULLY ASSEMBLED. ON EITHER SIDE OF THE FLYER THERE ARE 10 METAL HOOKS. ON THE LEFT SIDE ONE OF THE 10 HOOKS IS PARTIALLY BROKEN OFF. ON THE FRONT MAIDEN, A WHITE STRING IS TIED AROUND A FRONT KNOB WITH A METAL WIRE BENT LIKE A HOOK (POSSIBLY TO PULL YARN THROUGH THE METAL ORIFICE ATTACHED TO FLYER). LONG SECTION OF RED YARN LOOPED AROUND THE SPINNING WHEEL (MAY BE DRIVE BAND). TREADLE IS TIED TO THE FOOTMAN WITH A DARK GREY, FLAT STRING THAT IS 5MM IN WIDTH. GOOD CONDITION. TREADLE IS WELL WORN WITH VARNISH WORN OFF AND METAL NAIL HEADS EXPOSED.
Subjects
TEXTILEWORKING T&E
Historical Association
DOMESTIC
ETHNOGRAPHIC
History
THE KONKINS WERE A RUSSIAN-SPEAKING FAMILY FROM THE TOWN OF SHOULDICE, ALBERTA, NEAR CALGARY. THEY AND MANY OTHER RUSSIAN FAMILIES COMPOSED THAT TOWN’S DOUKHOBOR COLONY. IT WAS THERE WILLIAM KONKIN MARRIED ELIZABETH WISHLOW. IN 1928, THEIR DAUGHTER, ELSIE WAS BORN. THEY LATER MOVED TO A FARM IN VAUXHALL, ALBERTA. THE PRECEDING AND FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM A TWO-PART INTERVIEW WITH DONOR ELSIE MORRIS, WHICH WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON FEBRUARY 17, 2016. ADDITIONAL INFORMATION COMES FROM FAMILY HISTORIES AND TEXTS PROVIDED BY THE DONOR. A FULL HISTORY OF THE KONKIN FAMILY CAN BE FOUND WITH THE RECORD P20160003001. MORRIS ACQUIRED THIS SPINNING WHEEL FROM HER MOTHER AT THE SAME TIME SHE ACQUIRED THE RUG (P20160003006-GA). SHE EXPLAINS: “I ASKED HER IF I COULD USE THE SPINNING WHEEL – SHE TAUGHT ME HOW TO SPIN. AND SHE ALSO TAUGHT ME HOW TO WEAVE, ACTUALLY MY GRANDMOTHER DID THAT MORE SO THAN MY MOTHER. AND I BELONG TO THE WEAVERS’ GUILD, SO I THOUGHT THAT I BETTER DO SOME SPINNING. AND I DID SOME, SO THAT’S WHY I’VE GOT IT HERE AND MOTHER SAID NOT TO BOTHER BRINGING IT BECAUSE SHE WASN’T GOING TO DO ANYMORE SPINNING. SHE HAD LOTS AND LOTS OF YARN THAT SHE DID. SO IT’S BEEN SITTING HERE; IT WAS IN THE BASEMENT.” THE WHEEL WAS MADE FOR ELIZABETH KONKIN WHEN SHE WAS A CHILD IN BRITISH COLUMBIA. MORRIS EXPLAINED THAT: “… [THE SPINNING WHEEL] WAS MADE ESPECIALLY FOR HER. SHE WAS VERY YOUNG. AND THAT IS THE CADILLAC OF SPINNING WHEELS… BECAUSE SHE KNEW WHO THE SPINNERS WERE, WHO THE SPINNING WHEEL CARPENTERS WERE. AND THERE WAS ONE PARTICULAR MAN AND HER MOTHER SAID, ‘WE’LL GO TO THAT ONE.’ AND THEN IN TURN, IN PAYMENT, SHE WOVE HIM ENOUGH MATERIAL TO MAKE A SUIT – A LINEN ONE… [T]HEY DIDN’T LIVE IN CASTELLAR, THEY LIVED IN ANOTHER PLACE. IT’S CALLED - IN RUSSIAN IT IS CALLED OOTISCHENIA. IT’S WHERE THE BIG – ONE OF THE BIG DAMS IS. IF YOU EVER GO ON THAT ROAD, THERE’LL BE DAMS – I THINK ABOUT 3 HUGE ONES… NEAR CASTELLAR, YEAH.” WHEN ASKED ABOUT THE TIME THE WHEEL WAS BUILT FOR HER MOTHER, MORRIS ANSWERED: “… [S]HE GOT IT LONG BEFORE [HER MARRIAGE].” SHE EXPLAINED THAT PRIOR TO MARRYING, GIRLS WOULD PUT TOGETHER TROUSSEAUS “AND THEY MAKE ALL KINDS OF FANCY THINGS WHICH THEY NEVER USE.” MORRIS RECALLS THE SPINNING WHEEL BEING USED WITHIN HER FAMILY’S HOME IN SHOULDICE AND IN THE LEAN-TO AREA IN THEIR HOME AT VAUXHALL: ‘WELL I THINK [THE SKILL IS] IN THE GENES ACTUALLY. BECAUSE MOST FAMILIES WOVE, AND THEY CERTAINLY SPUN, AS FAR AS I REMEMBER. I KNOW EVERY FALL THE LOOM WOULD COME OUT AND WE WERE LIVING WITH MY GRANDPARENTS ON MY DAD’S [SIDE]. WE LIVED UPSTAIRS, AND EVERY WINTER THEY’D HAUL THAT HUGE LOOM INTO THE BATHHOUSE – THE STEAM BATHHOUSE – BECAUSE THERE WAS NO ROOM ANYWHERE ELSE. AND THEY – THE LADIES SET IT UP AND IN THE SUMMERTIME. THEY TORE THE RAGS FOR THE RUGS, OR SPUN THEM. [FOR] WHATEVER THEY WERE GOING TO MAKE. MY MOM WAS SPINNING WHEN I WAS OLD. [S]HE USED MAKE MITTENS AND SOCKS FOR THE KIDS FOR MY CHILDREN AND SO WHEN SHE DIED THERE WAS A WHOLE STACK OF THESE MITTENS AND SOCKS AND I’VE BEEN GIVING IT TO MY GRAND[KIDS AND] MY GREAT GRANDKIDS” MORRIS ALSO USED THIS SPINNING WHEEL MANY TIMES HERSELF. SHE SAID, “IT WAS VERY EASY TO SPIN AND WHEN YOU TRY SOMEBODY ELSE’S SPINNING WHEEL YOU KNOW THE DIFFERENCE RIGHT AWAY. IT’S LIKE DRIVING A CADILLAC AND THEN DRIVING AN OLD FORD. IT’S JUST, IT’S SMOOTH. OUR SON, I TOLD YOU HE WAS VERY CLEVER, HE TRIED SPINNING AND HE SAID IT WAS JUST A VERY, VERY GOOD SPINNING WHEEL. WHEN I WAS IN THE GUILD I TRIED DOING [WHAT] MY MOTHER TAUGHT ME HOW TO SPIN FINE THREAD AND I WANTED HEAVY THREAD BECAUSE NOW [THEY'RE] MAKING THESE WALL HANGINGS. THEY USE THREAD AS THICK AS TWO FINGERS SO I DID THAT AND I DYED IT. I WENT OUT AND CREATED MY OWN DYES. THAT WAS FUN AND THEN I HAVE A SAMPLER OF ALL THE DYES I MADE… I STOPPED SPINNING SHORTLY BEFORE I STOPPED WEAVING… I LOVED WEAVING. FIRST OF ALL I LEARNED HOW TO EMBROIDER. I LIKED THAT THEN I LEARNED HOW CROCHET, I LIKED THAT. THEN I LEARNED HOW TO KNIT AND THAT WAS TOPS. THEN ONE DAY I WAS VISITING MY FRIEND, FRANCES, AND SHE WAS GOING TO THE BOWMAN AND I SAID, 'WHERE ARE YOU GOING?' SHE SAID 'I’M GOING THERE TO WEAVE.' I SAID, 'I DIDN’T KNOW YOU COULD WEAVE?' SHE SAID, 'OH YES,' AND I SAID ‘IS IT HARD?' SHE SAID, ‘NO,” SO I WENT THERE AND I SAW THE THINGS SHE WOVE. THEY WERE BEAUTIFUL AND SO I JOINED THE GROUP AND THEN OF COURSE I WANTED TO HAVE SOME OF THE STUFF I HAD SPUN MYSELF AND DYED MYSELF AND NOBODY ELSE WANTED. THEN I DECIDED, ‘ALRIGHT, I’VE WOVEN ALL THESE THINGS, WOVE MYSELF A SUIT, LONG SKIRT YOU NAME IT. PLACE MATS GALORE. THIS LITTLE RUNNER,’ AND I THOUGHT, ‘WELL, WHAT AM I GOING TO DO WITH THE REST BECAUSE NOBODY WANTS HOMESPUN STUFF. THEY WANT TO GO TO WALMART OR SOME PLACE AND BUY SOMETHING READYMADE,’ SO I GAVE UP SPINNING AND WEAVING… I STOPPED AFTER I MADE MY SUIT. THAT MUST HAVE BEEN ABOUT TWENTY YEARS AGO, EASILY.” MORRIS’ MOTHER WOULD WEAVE IN SHOULDICE, BUT “[I]N VAUXHALL, NO, SHE WASN’T [WEAVING]. SHE DIDN’T HAVE A LOOM.” MORRIS SAID IN SHOULDICE, “I LEARNED HOW TO THROW THE SHUTTLE BACK AND FORTH TO WEAVE RUGS BECAUSE I USED TO SIT THERE WATCHING MY GRANDMOTHER AND SHE LET ME DO THAT, AND THEN YOU SEE WHEN I GOT SO INTERESTED IN WEAVING THAT I BOUGHT A LOOM, SITTING DOWN IN THE BASEMENT. I’VE BEEN TRYING TO SELL IT EVER SINCE AND NOBODY WANTS IT. I OFFERED TO GIVE IT FOR FREE AND NOBODY WANTS IT BECAUSE THEY DON’T HAVE SPACE FOR IT.” PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003008
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Date Range From
1940
Date Range To
1949
Material Type
Artifact
Materials
WOOD
Catalogue Number
P20160003003
  1 image  
Material Type
Artifact
Date Range From
1940
Date Range To
1949
Materials
WOOD
No. Pieces
1
Length
26
Width
7.8
Description
HANDMADE, WOODEN SOUP LADLE. FINISHED WITH WOOD VARNISH. IT HAS A SKINNY HANDLE THAT IS APPROX. 1 CM IN WIDTH. A HOLE HAS BEEN DRILLED AT THE END OF THE HANDLE. GOOD CONDITION. SEVERE STAINING/DARKENING AT THE BOWL OF THE SPOON. WOOD VARNISH IS CHIPPING ON OVERALL SURFACE OF THE SPOON.
Subjects
FOOD SERVICE T&E
Historical Association
ETHNOGRAPHIC
DOMESTIC
History
THE KONKINS WERE A RUSSIAN-SPEAKING FAMILY FROM THE TOWN OF SHOULDICE, ALBERTA, NEAR CALGARY. THEY AND MANY OTHER RUSSIAN FAMILIES COMPOSED THAT TOWN’S DOUKHOBOR COLONY. IT WAS THERE WILLIAM KONKIN MARRIED ELIZABETH WISHLOW. IN 1928, THEIR DAUGHTER, ELSIE WAS BORN. THEY LATER MOVED TO A FARM IN VAUXHALL, ALBERTA. THE PRECEDING AND FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM A TWO-PART INTERVIEW WITH DONOR ELSIE MORRIS, WHICH WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON FEBRUARY 17, 2016. ADDITIONAL INFORMATION COMES FROM FAMILY HISTORIES AND TEXTS PROVIDED BY THE DONOR. A FULL HISTORY OF THE KONKIN FAMILY CAN BE FOUND WITH THE RECORD P20160003001. A NOTE WRITTEN BY ELSIE MORRIS WAS ATTACHED TO THIS ARTIFACT AT THE TIME OF DONATION. IT EXPLAINED THAT THIS LADLE WAS HAND CARVED BY WILLIAM KONKIN C.1940. IN THE INTERVIEW MORRIS EXPLAINS: “OKAY THE LADLES ARE ALWAYS USED FOR LIFTING UP SOUP AND ANYTHING ELSE THAT HAPPENS TO BE A LIQUID. IT’S EASIER. THIS IS A SMALL ONE SO THEY WERE SMALLER HELPINGS OR WHATEVER IT WAS THAT YOU WERE DOING... THAT’S THE LAST ONE HE MADE.” OF THIS LADLE, MORRIS REMEMBERS: “OH JUST THAT WE ATE SOUP AND BORSCH WITH IT.” WILLIAM KONKIN MADE MANY ITEMS USED BY THE FAMILY AND CONSTRUCTED THE FAMILY HOMES OF VAUXHALL AND LETHBRIDGE. MORRIS STATES, ”SEE MY DAD WAS VERY GIFTED, I ONLY NOW APPRECIATING HIM.” PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003003
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
KNITTING BAG
Date Range From
1870
Date Range To
1999
Material Type
Artifact
Materials
CANVAS, FABRIC, THREAD
Catalogue Number
P20160003005
  1 image  
Material Type
Artifact
Other Name
KNITTING BAG
Date Range From
1870
Date Range To
1999
Materials
CANVAS, FABRIC, THREAD
No. Pieces
1
Length
41
Width
36
Description
HANDMADE BAG MADE OF 3 SECTIONS OF STRIPS OF ABOUT 5 INCHES (APPROX. 13 CM) EACH. IT IS RED WITH BLUE, YELLOW, GREEN, AND RAW MATERIAL ACCENTS. THE TRIM AT THE TOP OF THE BAG IS BLUE WITH A HANDLE OF THE SAME FABRIC ON EITHER SIDE. THERE IS A STRIP OF RAW, NOT PATTERNED FABRIC AT THE BOTTOM OF THE BAG. BOTH SIDES OF THE BAG HAVE THE SAME ARRANGEMENT OF PATTERNED STRIPS. THERE IS ONE SEAM CONNECTING THE FRONT AND THE BACK OF THE BAG ON BOTH SIDES. THE INSIDE IS UNLINED. GOOD TO VERY GOOD CONDITION. THERE IS SOME STITCHING COMING LOOSE AT VARIOUS POINTS OF THE PATTERNING.
Subjects
CONTAINER
Historical Association
DOMESTIC
ETHNOGRAPHIC
History
THE KONKINS WERE A RUSSIAN-SPEAKING FAMILY FROM THE TOWN OF SHOULDICE, ALBERTA, NEAR CALGARY. THEY AND MANY OTHER RUSSIAN FAMILIES COMPOSED THAT TOWN’S DOUKHOBOR COLONY. IT WAS THERE WILLIAM KONKIN MARRIED ELIZABETH WISHLOW. IN 1928 THEIR DAUGHTER, ELSIE WAS BORN. THEY LATER MOVED TO A FARM IN VAUXHALL, ALBERTA. THE PRECEDING AND FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM A TWO-PART INTERVIEW WITH DONOR ELSIE MORRIS, WHICH WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON FEBRUARY 17, 2016. ADDITIONAL INFORMATION COMES FROM FAMILY HISTORIES AND TEXTS PROVIDED BY THE DONOR. A FULL HISTORY OF THE KONKIN FAMILY CAN BE FOUND WITH THE RECORD P20160003001. A STATEMENT WRITTEN BY MORRIS ATTACHED TO THE BAG STATES THAT THE MATERIAL OF THE BAG ORIGINATES FROM THE 1870S. THE STATEMENT READS: “THIS BAG WAS HAND WOVEN IN STRIPS [THAT WERE USED] TO SEW ON THE BOTTOM OF PETTICOATS. THE GIRLS AT THAT TIME HAD TO HAVE A TROUSEUA [SIC] TO LAST A LIFETIME BECAUSE AFTER MARRIAGE THERE WOULD BE NO TIME TO MAKE CLOTHES SO WHAT THEY MADE WAS STURDY. THEY STARTED ON THEIR TROUSEUS [SIC] AS SOON AS THEY COULD HOLD A NEEDLE. WHEN IT WAS HAYING TIME THE GIRLS WENT OUT INTO THE FIELD TO RAKE THE HAY. THEY WORE PETTICOATS OF LINEN TO WHICH THESE BANDS WERE SEWN. THE LONG SKIRTS WERE PICKED UP AT THE SIDES AND TUCKED INTO THE WAISTBANDS SO THAT THE BOTTOMS OF THE PETTICOATS WERE ON DISPLAY.” “THESE BANDS WERE ORIGINALLY MY GREAT GRANDMOTHER’S WHO CAME OUT OF RUSSIA WITH THE DOUKHOBOR SETTLEMENT IN 1899. THEY WERE PASSED ON TO MY MOTHER, ELIZABETH KONKIN, WHO MADE THEM INTO A BAG IN THE 1940S” THE STRIPS THAT MAKE UP THE BAG SERVED A UTILITARIAN PURPOSE WHEN SEWN TO THE BOTTOM OF THE PETTICOATS. IN THE INTERVIEW, MORRIS EXPLAINS: “… THESE STRIPS ARE VERY STRONG. THEY’RE LIKE CANVAS. THEY WERE SEWN ONTO THE BOTTOM OF THE LADY’S PETTICOATS AND THEY WORE A SKIRT ON TOP OF THE PETTICOATS. THESE STRIPS LASTED A LIFETIME, IN FACT MORE THAN ONE LIFETIME BECAUSE I’VE GOT THEM NOW. THEY WOULD TUCK THE SKIRTS INTO THEIR WAISTBAND ON THE SIDE SO THEIR PETTICOATS SHOWED AND THEY WERE TRYING TO PRESERVE THEIR SKIRTS NOT TO GET CAUGHT IN THE GRAIN. THE GIRLS LIKED TO WEAR THEM TO SHOW OFF BECAUSE THE BOYS WERE THERE AND THEY ALWAYS WORE THEIR VERY BEST SUNDAY CLOTHES WHEN THEY WENT CUTTING WHEAT OR GRAIN." “[THE FABRIC] CAME FROM RUSSIA. WITH THE AREA WHERE THEY CAME FROM IS NOW GEORGIA AND THEY LIVED ABOUT SEVEN MILES NORTH OF THE TURKISH BORDER, THE PRESENT DAY TURKISH BORDER… [THE DOUKHOBORS] CAME TO CANADA IN 1897 AND 1899.” MORRIS EXPLAINS THAT SURPLUS FABRIC WOULD HAVE BEEN BROUGHT TO CANADA FROM RUSSIA BY HER MATERNAL GRANDMOTHER FOR FUTURE USE AND TO AID THE GIRLS IN MAKING THEIR TROUSSEAUS: “THE TROUSSEAU THE GIRLS MADE HAD TO LAST THEM A LIFETIME BECAUSE THEY WOULDN’T HAVE TIME BUT RAISING CHILDREN TO SEWING THINGS. SEWING MACHINES WERE UNKNOWN THEN.” THE BANDS OF FABRIC THAT MAKE UP THE BAG WOULD HAVE BEEN REMAINS NEVER USED FROM ELIZABETH KONKIN’S TROUSSEAU. SHE HAND WOVE THE BAG WHILE SHE WAS LIVING IN SHOULDICE. THE BAG WAS USED BY MORRIS’ MOTHER TO STORE HER KNITTING SUPPLIES. WHEN MORRIS ACQUIRED THE BAG IN THE 1990S, IT MAINTAINED A SIMILAR PURPOSE: “WELL I USED TO CARRY MY STUFF FOR THE WEAVER’S GUILD BUT NOW I DON’T USE IT FOR ANYTHING. IT’S VERY HANDY YOU KNOW IT DOESN’T WEAR OUT.” THERE WAS ONLY ONE BAG MADE OUT OF THESE REMNANTS BY MORRIS’ MOTHER. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003005
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
WOOL, DYE
Catalogue Number
P20160003006
  2 images  
Material Type
Artifact
Date
1929
Materials
WOOL, DYE
No. Pieces
1
Length
182.5
Width
117.5
Description
HAND-WOVEN RUG MADE FROM HAND-DYED, HANDSPUN WOOL. THERE IS A 3-4 CM WIDE BLACK BORDER AROUND ALL LENGTHS OF THE RUG, WITH FRINGE ON THE SHORT ENDS. INSIDE THE BLACK BORDER IS A SINGLE WOVEN BORDER OF LIGHT BLUE WOOL. INSIDE OF THIS BORDER IS A PATTERN SET ON A DARK BURGUNDY-COLOURED BACKGROUND. THERE IS A BLUE FLOWER IN THE CENTER OF THE RUG. ON ONE END THE DATE “1924” IS WOVEN IN RAW-COLOURED WOOL. THE “9” HAS BEEN WOVEN UPSIDE DOWN. ON THE OPPOSITE END OF THE RUG, THE INITIALS “ ” FOR THE NAME LISAVETA PETROVNA WISHLOW, ARE WOVEN IN LIGHT BLUE. THERE ARE 20 HARPS COLOURED EITHER BLUE, ORANGE, PINK, OR YELLOW AROUND ALL LENGTHS OF THE RUG. UNDER THE HARPS IS A GREEN VINE PATTERN AND A RED DECORATIVE BORDER. THE DESIGN ELEMENTS ARE LAID OUT SYMMETRICALLY OVER THE RUG AND CONSIST OF FLOWERS, DUCKS, AND BUTTERFLIES. VERY GOOD TO EXCELLENT CONDITION. SLIGHT WEAR TO THE WOOL FROM USE.
Subjects
FLOOR COVERING
Historical Association
DOMESTIC
ETHNOGRAPHIC
History
THE KONKINS WERE A RUSSIAN-SPEAKING FAMILY FROM THE TOWN OF SHOULDICE, ALBERTA, NEAR CALGARY. THEY AND MANY OTHER RUSSIAN FAMILIES COMPOSED THAT TOWN’S DOUKHOBOR COLONY. IT WAS THERE WILLIAM KONKIN MARRIED ELIZABETH WISHLOW. IN 1928, THEIR DAUGHTER, ELSIE WAS BORN. THEY LATER MOVED TO A FARM IN VAUXHALL, ALBERTA. THE PRECEDING AND FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM A TWO-PART INTERVIEW WITH DONOR ELSIE MORRIS, WHICH WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON FEBRUARY 17, 2016. ADDITIONAL INFORMATION COMES FROM FAMILY HISTORIES AND TEXTS PROVIDED BY THE DONOR. A FULL HISTORY OF THE KONKIN FAMILY CAN BE FOUND WITH THE RECORD P20160003001. THIS RUG WAS HAND-WOVEN BY ELIZABETH KONKIN IN 1924. THE RUG WAS USED AS A WALL COVER IN THE WINTER AND ACTED AS AN INSULATOR. LATER IT WAS USED ON THE FLOOR AT CHRISTMASTIME. IT WAS INHERITED BY MORRIS PRIOR TO THE PASSING OF HER MOTHER: “I CAME INTO POSSESSION [OF IT] FROM MY MOTHER. SHE DIED IN 2003 AND I GOT THE RUG SLIGHTLY BEFORE THEN AND YES THAT WOULD BE ABOUT THE TIME… I HAVE NO OTHER SIBLINGS AND SO OBVIOUSLY EVERYTHING SHE MADE WOULD GO TO ME. MY SON SAID HE WOULD LIKE TO HAVE THE RUG, BUT CHANGED HIS MIND. HIS WIFE WAS NOT KEEN ON HAVING IT, SO I HAD TO DO SOMETHING WITH IT. TO ME IT IS A VERY BEAUTIFUL RUG AND I WANTED IT SOME PLACE WHERE IT WON’T GET TRASHED BY DOGS OR ANIMALS.” AFTER ACQUIRING THE RUG, MORRIS PLACED IT ON THE FLOOR OF HER HOME IN LETHBRIDGE: “THE LINO [ON THE FLOOR] STARTED TO WEAR OUT AND I THOUGHT YOU CAN’T PUT A RUG LIKE THAT ON ANOTHER LINO. IT JUST DOESN’T GO. BUT I DO LIKE HARDWOOD SO WE HAD HARDWOOD PUT THROUGHOUT THE BEDROOMS. THE LAST ROOM IS MY OFFICE, FIRST OF ALL, I HAD THE RUG IN THIS BEDROOM AND THEN IT WASN’T VERY CONVENIENT TO CLEAN BECAUSE THERE WASN’T THAT MUCH SPACE SO I PUT IT IN MY OFFICE WHERE I LOVED IT, BUT I KEPT STUMBLING OVER IT. I THOUGHT I MIGHT BREAK A LEG IF I DO THIS SO I BETTER GET RID OF IT… THE HARDWOOD WAS PUT IN BEFORE THE GST WENT IN. I DIDN’T HAVE THE RUG THEN BUT I THOUGHT THAT I WOULD BE GETTING THE RUG AND SO I WOULD HAVE IT HARDWOOD… WAS IT 1995? ANYWAY BEFORE GST WENT IN.” THE RUG HAD BEEN PRESENT THROUGHOUT MORRIS’ LIFE – FROM TIME SPENT ON THE DOUKHOBOR COLONY IN SHOULDICE, ALBERTA TO LIFE ON A FARM OUTSIDE OF VAUXHALL, ALBERTA: “I CAN REMEMBER WHEN I WAS BORN. THE RUG WAS IN MY PARENT’S HOME. WE LIVED ON A DOUKHOBOR COLONY, WE HAD MUD PLASTERED WALLS AND OUR HOUSE WAS WELL BUILT. MY DAD BUILT IT. SOME OF THE HOUSES ONLY HAD ONE LAYER OF WOOD AND THEY WERE VERY COLD, HOWEVER OUR BEDROOMS HAD WALLS ON THE NORTH SIDE. IN WINTER THEY GOT CHILLY, SO EVERY WINTER THEY WOULD NAIL UP THIS RUG UP AGAINST THE WALL. IT STAYED THERE FOR THE WINTER. FOR SUMMER IT CAME DOWN, I DON’T [KNOW] WHERE SHE STORED IT, I THINK POSSIBLY IN ONE OF THE BIGGER TRUNKS AND THEN TOOK IT OUT… THIS HOME [WHERE THE RUG WAS PLACED], IT’S OUTSIDE OF VAUXHALL. WE LEFT THE COLONY, MOVED TO VAUXHALL AND MOVED THE HOUSE. THE HOUSE WAS EXPANDED AND THEN WE LIVED IN THAT HOUSE. I LEFT HOME AND MY PARENTS HAD A HOUSE IN LETHBRIDGE WHICH DAD BUILT ALSO AND HE SOLD THE FARM. THEY ASKED IF WE WANTED TO GO AND WE DIDN’T. SO THEY SOLD THE FARM AND THERE WAS A BEAUTIFUL POND WHERE WE SWAM AND BOATED AND WE HAD LOTS OF TREES AROUND THE HOUSE. IT WAS ABOUT AN ACREAGE IF NOT MORE AND WHEN HE SOLD IT THE NEW OWNERS, VERY FRUGAL PEOPLE, [THEY] BURNT DOWN THE HOUSE, THE STEAM BATHROOM, THE GARAGE, THE WORKS. NOW MIND THEY WERE OLD STATE BY NOW AND THEY PLOWED [IT ALL INTO] IN THE POND BECAUSE THEY WANTED TO MAKE MONEY FROM THE GRAIN [FIELDS], SO WHEN I WENT THERE A COUPLE OF YEARS LATER, [I WAS] SURPRISED EVERYTHING WAS GONE, SO THAT WAS THAT." THE RUG MAY HAVE BEEN WOVEN BY MORRIS’ MOTHER ON THE DOUKHOBOR COLONY IN SHOULDICE OR DURING THE WINTER SPENT IN COWLEY: “… IT COULD HAVE BEEN WOVEN IN COWLEY BECAUSE THEY STAYED IN COWLEY FOR THE WINTER BUT I CAN’T BE TOO SURE. IT ALSO COULD HAVE BEEN MADE ON THE COLONY… TWENTY MILES EAST OF MOSSLEIGH.” ELIZABETH KONKIN WAS MARRIED IN 1927, SO THE INITIALS WOVEN ON THE RUG ARE OF HER MAIDEN NAME: “THAT’S AN “L” [ ] THAT’S LISAVETA (SIC.) BUT HER NAME IS YALALISAVETA (SIC.) BUT SHE PUT DOWN LISAVETA. PETROVNA THAT’S A “P” [ ] THAT’S DAUGHTER OF PETRO AND WISHLOW [ ] THAT WAS HER MAIDEN NAME. ... [AFTER MAKING THE RUG] THERE WAS SOME WARP LEFT OVER. … WARP IS THE STUFF THAT RUNS DOWN AND WEFT IS WHAT YOU PUT IN BETWEEN WITH A SHUTTLE BUT THIS WASN’T PUT IN WITH A SHUTTLE. EACH INDIVIDUAL THREAD WAS KNOTTED. IT’S LIKE DIFFAGHAN (SIC.) - A SWEDISH METHOD - AND THAT’S HOW IT WAS DONE. IF THERE WAS SOME LEFT OVER AND HER MOM INSISTED THAT SHE DO ANOTHER RUG. WELL SHE DIDN’T WANT TO DO IT. SHE SAYS “YOU MAKE IT FOR YOUR BROTHER.” SHE FELT HIS WIFE SHOULD DO HER OWN HOPE CHEST BUT SHE DID AND THE INTERESTING THING IS THAT HIS RUG THEY USED IT ON THE FLOOR. MY MOTHER DIDN’T USE THIS ONE ON THE FLOOR EXCEPT AT CHRISTMAS TIME SO THE WISHLOW FAMILY WHO HAD THE OTHER RUG, THE MOTHER WASN’T TOO KEENLY INTERESTED IN IT. THEY HAD IT IN THE LIVING ROOM AND THEN IT WENT UP FOR SALE TO A PLACE THAT WAS OWNED BY A MAN NAMED, HIS LAST NAME WAS EWASHEN (SIC.) …THAT’S [THE RUG’S] TWIN, YES.” MORRIS THEN GOES ON TO DESCRIBE SOME OF THE OTHER PATTERNING FOUND ON THE RUG: “OKAY THOSE ARE HARPS. SHE HAD PATTERNS TO GET THEM FROM OTHER WEAVERS AND THEN SHE’D TRACE THEM OUT. I DON’T KNOW WHAT SHE USED TO TRACE THEM ON THE WARP [WITH] AND THEN SHE’D WEAVE AWAY WITH THE THREAD THAT WERE THE WEFT. SHE PUT THE DESIGNS HERSELF ONTO THE RUG” THE RUG WAS BROUGHT TO LETHBRIDGE WHEN ELIZABETH AND WILLIAM KONKIN RETIRED THERE: “I WAS TEACHING SCHOOL IN COALDALE WHEN THEY MOVED AND DAD MADE THE HOUSE IN NORTH LETHBRIDGE… THE HOUSE IS NICELY BUILT AND IT’S WARM, IT’S COMFORTABLE SO THERE’S NO USE PUTTING IT UP ON THE WALL. EVERY CHRISTMAS SHE’D TAKE IT OUT AND WE’D ROLL AROUND ON THIS RUG AND SHE WOULD HANG IT UP AFTER THE NEW YEAR SO I SAID TO HER ‘WHY DON’T YOU PUT IT ON THE FLOOR?’ AND SHE SAID, 'WELL I DON’T WANT TO MESS IT UP.' HOWEVER, I SAID, 'WELL I’M GOING TO PUT IT ON THE FLOOR,' SO THAT’S WHERE IT WAS UNTIL I STARTED STUMBLING OVER IT.” AMONG THE OTHER ARTIFACTS DONATED BY MORRIS THAT WERE OWNED BY HER MOTHER, THE RUG WAS A SIGNIFIER OF THE HARD WORK REQUIRED WITHIN THE DOUKHOBOR LIFESTYLE: “[THE BLANKET AND THE SPINNING WHEEL] MEANT A LOT WELL AFTER THE WAR AND THINGS WERE CHEAP. THEY DIDN’T HAVE TO WEAVE THEIR OWN STUFF. PRIOR TO THAT, NOT IN MY MOTHER’S TIME EVEN BEFORE THAT MY GRANDMOTHER’S TIME, EVERY GIRL HAD TO WEAVE A TROUSSEAU FOR HERSELF TO LAST A LIFETIME BECAUSE SHE STARTED HAVING CHILDREN AND SHE WOULDN’T HAVE THE TIME TO DO IT. THERE WERE THINGS THAT WERE ANCIENT THAT WERE USED AND USED UNTIL THEY DIED HOWEVER, IN MY MOTHER’S DAY THEY KNITTED THEIR OWN SOCKS, THEY MADE THEIR OWN QUILTS. THE MEN DID THE BUILDING AND THEY LIVED OFF THE GARDENS BECAUSE THEY WERE VEGETARIANS SO THEY DIDN’T HAVE TO WORRY ABOUT MEAT. THEY BOUGHT EGGS FROM THE NEIGHBOURS WHO WERE FARMERS. THE INTERESTING THING THERE WAS THAT THEY WEREN’T SUPPOSED TO EAT MEAT AND I ATE MEAT WHEN I WAS CLOSE TO TWENTY. WHEN I TELL MY VEGETARIAN RELATIVES WHAT ABOUT YOUR SHOES AND YOU’VE GOT LEATHER, COWHIDE WHATEVER AND THEY COULDN’T COME UP WITH AN ANSWER SO… THEY REPRESENTED HARD WORK THAT’S, THIS TAKES A LONG TIME WHEN YOU THINK OF EVERY KNOT THAT HAD TO BE TIED AND IT WAS PART OF HER TROUSSEAU. THE SPINNING WHEEL MEANT A LOT BECAUSE YOU HAD TO SPIN THE WOOL SO.” PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003006
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
JAPANESE CERAMIC VASE
Date Range From
1923
Date Range To
1956
Material Type
Artifact
Materials
CERAMIC
Catalogue Number
P20160042001
  2 images  
Material Type
Artifact
Other Name
JAPANESE CERAMIC VASE
Date Range From
1923
Date Range To
1956
Materials
CERAMIC
No. Pieces
1
Height
32.5
Length
17.5
Diameter
17.5
Description
BLACK AND SILVER GLAZED, CERAMIC VASE WITH RED AND GOLD DESIGNS PAINTED ON OPPOSITE SIDES OF THE VASE. ONE DESIGN SHOWCASES A CRANE FLYING TOWARDS A TREE BRANCH, WHILE THE OTHER SHOWCASES TWO CRANES PERCHED ON A LARGE TREE BRANCH BENEATH A RED DISC/MOON. “MADE IN JAPAN” IS STAMPED INTO BASE OF VASE. CONDITION: THE LIP OF THE VASE HAS A 4.3 CM CHIP AND IS MISSING 7.6 CM ALONG TOP EDGE. LOOSE OF PAINT AND OVERALL FINISH OF DESIGN. SLIGHT CHIPPING AROUND BASE.
Subjects
HOUSEHOLD ACCESSORY
Historical Association
DOMESTIC
FURNISHINGS
ETHNOGRAPHIC
History
ON 2 DECEMBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DONORS, MAKIO (MAC) AND REYKO NISHIYAMA, IN THEIR HOME TO DISCUSS ITEMS THEY WERE DONATING TO THE GALT. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: MRS. NISHIYAMA EXPLAINED THAT THIS VASE CAME INTO HER CUSTODY AFTER ITS INITIAL OWNERS – HER PARENTS TAKASHI AND CHIAKI KARAKI – MOVED FROM THEIR RAYMOND HOME TO BRITISH COLUMBIA. SHE SAID, “… [AFTER THE] SIXTY YEARS OF FARMING, MY [PARENTS] DID IN RAYMOND… THEY SELL THE WHOLE THING AND MOVE! I’M LEFT BEHIND IN RAYMOND BY MYSELF, MARRIED… WHEN THEY MOVE TO QUESNEL, B.C [IN THE LATE 1950S], THEY HAD TO LEAVE BEHIND THEIR TRUNK AND IT HAD ALL THE TREASURES IN IT.” THIS VASE WAS VISIBLE THROUGHOUT MRS. NISHIYAMA’S CHILDHOOD. SHE EXPLAINED, “[THE VASE] WAS MORE AN EVERYDAY THING.” IT WAS PLACED BY THE DOOR OF THE FARM HOUSE. AND “[THE] ONLY THING THAT WAS IN THERE WAS [MY MOTHER’S] UMBRELLA.” OTHER TREASURES FOUND IN THE TRUNK WERE HER MOTHER’S HAIR ORNAMENTS AND COMB ALSO DONATED WITH THE VASE (P20160042002-004). THE TRUNK, ALONG WITH ITS CONTENTS, WERE BROUGHT TO SOUTHERN ALBERTA FROM JAPAN BY HER MOTHER, CHIAKI KARAKI (NEE KUMAGAI), FOLLOWING HER MARRIAGE TO TAKASHI KARAKI. MRS. NISHIYAMA EXPLAINED HER PARENTS’ MARRIAGE STORY: “… SHE CAME OVER AS A VERY YOUNG BRIDE… NOT QUITE EIGHTEEN… I OFTEN SAID TO MY MOTHER…, ‘HOW IN THE WORLD DID YOUR PARENTS EVER LET YOU GO TO CANADA? YOU DIDN’T KNOW THE LANGUAGE – IT’S A DIFFERENT COUNTRY.’ SHE DIDN’T KNOW ANYTHING ABOUT MY DAD, EXCEPT THAT HE WAS A FARMER. HE’S SEVENTEEN YEARS OLDER THAN SHE WAS THEN. IT DOESN’T MAKE SENSE. SHE JUST SAID, ‘MY PARENTS SAID TO GO, SO I CAME’ … IT TOOK A LOT OF COURAGE…” MRS. NISHIYAMA WENT ON, “ALL JAPANESE MARRIAGES WERE DONE [BY] GO-BETWEENS. THERE WERE, I WOULD SAY, HARDLY ANY, IN FACT, I DON’T THINK THERE WAS ANY… FALLING-IN-LOVE KIND OF THING. THAT WAS JUST NOT EVEN THOUGHT ABOUT… MY DAD’S FOLKS WERE IN THE VILLAGE. THEY WERE FARMERS… THEY HAD A LARGE HOUSE AND THEY RAISED SILKWORMS. MY MOTHER’S FOLKS LIVED IN THE TOWN… SHE COMES FROM A VERY MODEST FAMILY, BUT HER DAD WAS A PAWN BROKER…” A FAMILY HISTORY WRITTEN BY MRS. NISHIYAMA AND HER BROTHER, SUSUMU KARAKI, IN THE BOOK TITLED "NISHIKI: NIKKEI TAPESTRY: A HISTORY OF SOUTHERN ALBERTA JAPANESE CANADIANS" (PUBLISHED 2001), ELABORATES ON THE FAMILY’S STORY. IT STATES THEIR FATHER, TAKASHI KARAKI, WAS BORN ON 1 JULY 1889 IN NAGANO PREFECTURE, JAPAN. THE HISTORY READS, “AFTER GRADUATING FROM HIGH SCHOOL IN 1907… HE LEFT A COMFORTABLE HOME… TO VENTURE OUT FOR A NEW LIFE IN AMERICA.” IT EXPLAINS HE LANDED IN VANCOUVER, AND WAS LURED BY A HIGH SALARY JOB IN SKEENA, BRITISH COLUMBIA. AFTER WORKING IN BRITISH COLUMBIA, THE HISTORY SAYS THAT “IN 1909, HE AND SEVERAL HUNDRED OTHER YOUNG JAPANESE MEN WERE RECRUITED BY AN AGENT OF THE KNIGHT SUGAR COMPANY TO WORK IN THE SUGAR BEET FIELDS IN RAYMOND, [ALBERTA] WITH PROMISES OF GOOD PAY AND EASY WORK...” THE MEN SOON LEARNED THAT THE WORK WAS MUCH MORE DIFFICULT AND THE PAY SIGNIFICANTLY LOWER THAN THEY HAD BEEN INITIALLY BEEN PROMISED, SO MANY RETURNED TO BRITISH COLUMBIA AFTER THEIR CONTRACT YEAR. KARAKI WAS OF THE GROUP THAT DECIDED TO STAY ON WITH THE COMPANY UNTIL ITS CLOSURE IN 1914. AFTER THAT, HE BEGAN A FARMING OPERATION WITH TWO OF THE FRIENDS HE MADE IN THE COMPANY – LEASING LAND FROM FIRST THE KNIGHT SUGAR COMPANY, THEN FROM A LOCAL NAMED ROLLO KINSEY, AND FINALLY FROM THE MCINTYRE RANCH IN MAGRATH. EVEN THOUGH THE PARTNERSHIP DISSOLVED AFTER THE FIRST THREE YEARS, KARAKI PERSISTED UNDER THE TRYING CONDITIONS, AND BY 1918 HE MADE THE DECISION TO MAKE ALBERTA HIS PERMANENT HOME AND TO BECOME A CANADIAN CITIZEN. HE PURCHASED A DRY LAND FARM IN RAYMOND AND FARMED THAT FOR FIVE YEARS BEFORE DECIDING HE WANTED TO GET MARRIED AND RAISE A FAMILY OF HIS OWN. HE RETURNED TO JAPAN IN 1923, WHERE HE MET THROUGH FAMILY AND FRIENDS, CHIAKI KUMAGAI, WHO WAS ALSO FROM THE NAGANO PREFECTURE. THE COUPLE MARRIED IN DECEMBER 1923, AND THE NEWLYWEDS RETURNED TO RAYMOND IN SPRING 1924. IN THE 2016 INTERVIEW, MRS. NISHIYAMA ADDED, “THERE WAS SOMEBODY ELSE. GO-BETWEENS HAD PICKED OUT SOMEONE ELSE FOR HIM, SO SOMEONE ELSE LOOKED AT HIM AND SAID ‘NO, THANK YOU.’ YOU KNOW, SOMETIMES IT WORKS, AND SOMETIMES IT DIDN’T. SO, THEN THEY HAD TO SCROUNGE A LITTLE BIT, AND MY MOTHER’S TOWN WAS NOT SO FAR FROM WHERE DAD’S FAMILY LIVED, SO THEY SAID, ‘WELL, WE’RE NOT THAT FAR APART. WHEN YOU COME HOME FOR A VISIT, YOU WILL BE ABLE TO VISIT.’” WHEN DESCRIBING THE HOME THE COUPLE INTIALLY SETTLED IN, MRS. NISHIYAMA EXPLAINED, “WE [WERE] 8 MILES SOUTH OF RAYMOND, IN WHAT WE CALL THE MAMMOTH SCHOOL DISTRICT… THERE WERE QUITE A FEW JAPANESE FAMILIES IN AND AROUND THAT MAMMOTH SCHOOL DISTRICT, SO WE WERE SORT OF THE MAJORITY.” MRS. NISHIYAMA SAID THAT HER MOTHER SPOKE OFTEN OF HER EARLY DAYS IN SOUTHERN ALBERTA. MRS. NISHIYAMA RECALLED, “IT WAS REALLY VERY LONELY [FOR MY MOTHER]. SHE’S YOUNG; THE CLOSEST NEIGHBOR WAS HALF A MILE AWAY… WHEN SHE GOT TO THE FARM, SHE SAID, ‘YOU SAID OUR NEIGHBORS ARE TAKAGUCHI’S. IS THAT HOUSE OVER THERE OUR NEIGHBORS?’ DAD SAID, ‘NO, THAT’S A CHICKEN COOP. THE NEIGHBOR’S HOUSE IS AWAY OVER THERE.’ FOR HER, THAT’S JUST APPALLING, COMING FROM A TOWN WHERE NEIGHBORS WERE CLOSE…DAD WOULD GET UP ONTO THE FIELD. NO ONE TO TALK TO EVEN. FORTUNATELY, SHE SAID, HER BROTHER-IN-LAW (DAD HAD A YOUNGER BROTHER HELPING HIM AT THAT TIME) – AND HE SAID, ‘GET ON THE BACK OF MY TRACTOR AND (IT WASN’T TRACTOR THEN – IT WAS HORSE AND BUGGY, BUT ANYWAY -) JUST COME AND RIDE THE FIELD WITH ME.’ AND, SHE DID JUST BECAUSE SHE COULDN’T STAND BEING BY HERSELF IN A LONELY OUTPOST, ON THE PRAIRIES, WITH NOTHING TO LOOK AT…” ACCORDING TO THE KARAKI FAMILY HISTORY IN THE NISHIKI BOOK, THE COUPLE RAISED A FAMILY OF SIX CHILDREN INCLUDING THE DONOR, REYKO NISHIYAMA. BY 1956, THEY SOLD THEIR FARM AND RELOCATED TO BRITISH COLUMBIA. TAKASHI PASSED AWAY IN THERE IN 1974 AT THE AGE OF 85 AND CHIAKI PASSED AWAY 14 YEARS LATER IN 1988. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTIONS AND COPIES OF THE FAMILY HISTORIES.
Catalogue Number
P20160042001
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Date Range From
1933
Date Range To
2000
Material Type
Artifact
Materials
CLOTH, FELT, PAINT
Catalogue Number
P20160003002
  1 image  
Material Type
Artifact
Date Range From
1933
Date Range To
2000
Materials
CLOTH, FELT, PAINT
No. Pieces
2
Height
29.5
Width
15
Description
A: HANDMADE DOLL. THE “ESKIMO” DOLL IS MADE WITH LIGHT BLUE, FELT-LIKE FABRIC WITH WHITE FABRIC ACCENTS. THE FACE IS MADE OUT OF A LIGHTER FABRIC THAT IS PEACH-COLOURED. THE FACIAL DETAILS ARE HAND PAINTED. THE DOLL HAS BLUE EYES, EYEBROWS, NOSTRILS, RED LIPS, AND ROSY CHEEKS. THE LIGHT BLUE FABRIC THAT MAKES UP THE MAJORITY OF THE DOLL’S BODY IS ENCOMPASSING THE DOLL’S FACE LIKE A HOOD. THE DOLL’S TORSO IS COVERED IN THE LIGHT BLUE FELT. TWO HEART-SHAPED ARMS, MADE OF THE SAME MATERIAL, ARE ATTACHED TO EITHER SIDE OF THE BODY. THE DOLLS UPPER LEG AND FEET ARE COVERED IN THE LIGHT BLUE FELT. FROM THE KNEES TO THE ANKLES, A LIGHTER, WHITE FABRIC IS COVERING THE LEGS. B: DOLL SKIRT. AROUND THE DOLL’S WAIST IS A DETACHABLE SKIRT MADE OF THE SAME FABRIC AND A WHITE WAISTBAND. POOR CONDITION. ALL FABRIC IS WELL-WORN AND THREADBARE IN MULTIPLE PLACES. THE DOLL’S RED STUFFING IS VISIBLE THROUGH PARTS OF THE FABRIC. THERE IS DISCOLORATION (YELLOWING) OVERALL. THE STUFFING IS NOT EVENLY DISTRIBUTED THROUGHOUT THE DOLL. THE SEAMS AT THE ARMS ARE FRAGILE. THE PAINT FOR THE DOLL’S FACE IS SEVERELY FADED.
Subjects
TOY
Historical Association
ETHNOGRAPHIC
LEISURE
History
THE KONKINS WERE A RUSSIAN-SPEAKING FAMILY FROM THE TOWN OF SHOULDICE, ALBERTA, NEAR CALGARY. THEY AND MANY OTHER RUSSIAN FAMILIES COMPOSED THAT TOWN’S DOUKHOBOR COLONY. IT WAS THERE WILLIAM KONKIN MARRIED ELIZABETH WISHLOW. IN 1928 THEIR DAUGHTER, ELSIE WAS BORN. THE FAMILY LATER MOVED TO A FARM IN VAUXHALL, ALBERTA. THE PRECEDING AND FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM A TWO-PART INTERVIEW WITH DONOR ELSIE MORRIS, WHICH WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON FEBRUARY 17, 2016. ADDITIONAL INFORMATION COMES FROM FAMILY HISTORIES AND TEXTS PROVIDED BY THE DONOR. A FULL HISTORY OF THE KONKIN FAMILY CAN BE FOUND WITH THE RECORD P20160003001. THIS DOLL BELONGED TO MORRIS AS A CHILD. SHE EXPLAINS, “THIS CAME FROM A GREAT AUNT WHO CAME TO VISIT US AND SHE ALWAYS BROUGHT GIFTS AND THIS ONE WAS MINE AND I LOVED THIS DOLL… I REMEMBER PLAYING WITH IT, IT WAS SOFT AND CUDDLY WHEN I HAD IT… MY DAUGHTER WENT THROUGH IT AND MY GRANDDAUGHTER AND THEN I PUT A STOP TO IT BEFORE THEY ATE IT UP OR DID SOMETHING… THEY LOVED IT AND THEY, YOU KNOW LITTLE KIDS, THEY’RE CARELESS SO I’LL KEEP IT...” IN A PHONE CALL WITH COLLECTIONS ASSISTANT ELISE PUNDYK ON OCTOBER 24, 2017, MORRIS SAID SHE RECIEVED THE DOLL FROM HER GREAT AUNT WHO HAD BROUGHT IT FROM VISITING BRITISH COLUMBIA. MORRIS PLAYED WITH THE DOLL AS A CHILD, AS DID MORRIS' CHILDREN. THE DOLL WAS LOVED BY MULTIPLE GENERATIONS IN MORRIS' FAMILY AS HER GRANDCHILDREN AND GREAT GRANDCHILDREN WOULD ALSO PLAY WITH THE DOLL WHEN THEY CAME TO VISIT. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003002
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
FLAIL PADDLE
Date Range From
1920
Date Range To
1990
Material Type
Artifact
Materials
WOOD
Catalogue Number
P20160003001
  1 image  
Material Type
Artifact
Other Name
FLAIL PADDLE
Date Range From
1920
Date Range To
1990
Materials
WOOD
No. Pieces
1
Height
4
Length
41
Width
12
Description
WOODEN FLAIL. ONE END HAS A PADDLE WITH A WIDTH THAT TAPERS FROM 12 CM AT THE TOP TO 10 CM AT THE BASE. THE PADDLE IS WELL WORN IN THE CENTER WITH A HEIGHT OF 4 CM AT THE ENDS AND 2 CM IN THE CENTER. HANDLE IS ATTACHED TO THE PADDLE AND IS 16 CM LONG WITH A CIRCULAR SHAPE AT THE END OF THE HANDLE. ENGRAVED ON THE CIRCLE THE INITIALS OF DONOR’S MATERNAL GRANDMOTHER, ELIZABETH EVANAVNA WISHLOW, “ . . .” GOOD CONDITION. THERE IS SLIGHT SPLITTING OF THE WOOD ON THE PADDLE AND AROUND THE JOINT BETWEEN THE HANDLE AND THE PADDLE. OVERALL WEAR FROM USE.
Subjects
AGRICULTURAL T&E
Historical Association
AGRICULTURE
ETHNOGRAPHIC
History
THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM A TWO-PART INTERVIEW WITH DONOR ELSIE MORRIS, WHICH WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON FEBRUARY 17, 2016. ADDITIONAL INFORMATION COMES FROM FAMILY HISTORIES AND TEXTS PROVIDED BY THE DONOR. THIS WOODEN DOUKHOBOR TOOL IS CALLED A “FLAIL.” A NOTE WRITTEN BY ELSIE MORRIS THAT WAS ATTACHED TO THE FLAIL AT THE TIME OF DONATION EXPLAINS, “FLAIL USED FOR BEATING OUT SEEDS. BELONGED TO ELIZABETH EVANAVNA WISHLOW, THEN HANDED TO HER DAUGHTER ELIZABETH PETROVNA KONKIN WHO PASSED IT ON TO HER DAUGHTER ELIZABETH W. MORRIS.” ALTERNATELY, IN THE INTERVIEW, MORRIS REMEMBERED HER GRANDMOTHER’S, “… NAME WAS JUSOULNA AND THE MIDDLE INITIAL IS THE DAUGHTER OF YVONNE. YVONNE WAS HER FATHER’S NAME AND WISHLOW WAS HER LAST NAME.” THE FLAIL AND THE BLANKET, ALSO DONATED BY MORRIS, WERE USED TOGETHER AT HARVEST TIME TO EXTRACT AND COLLECT SEEDS FROM GARDEN CROPS. ELSIE RECALLED THAT ON WINDY DAYS, “WE WOULD PICK DRIED PEAS OR BEANS, OR WHATEVER, AND WE WOULD [LAY THEM OUT ON THE BLANKET], BEAT AWAY AND THEN HOLD [THE BLANKET] UP, AND THE BREEZE WOULD BLOW THE HULLS OFF AND THE SEEDS WOULD GO STRAIGHT DOWN.” THE FLAIL CONTINUED TO BE USED BY ELIZABETH “RIGHT UP TO THE END,” POSSIBLY INTO THE 1990S, AND THEREAFTER BY MORRIS. WHEN ASKED WHY SHE STOPPED USING IT HERSELF, MORRIS SAID, “I DON’T GARDEN ANYMORE. FURTHERMORE, PEAS ARE SO INEXPENSIVE THAT YOU DON’T WANT TO GO TO ALL THAT WORK... I DON’T KNOW HOW MANY PEOPLE HARVEST THEIR SEEDS. I THINK WE JUST GO AND BUY THEM IN PACKETS NOW.” THE KONKINS WERE A RUSSIAN-SPEAKING FAMILY FROM THE TOWN OF SHOULDICE, ALBERTA, NEAR CALGARY. THEY AND MANY OTHER RUSSIAN FAMILIES COMPOSED THAT TOWN’S DOUKHOBOR COLONY. DOUKHOBOURS CAME TO CANADA IN FINAL YEARS OF THE 19TH CENTURY TO ESCAPE RELIGIOUS PERSECUTION IN RUSSIA. ELIZABETH KONKIN (NEE WISHLOW) WAS BORN IN CANORA, SK ON JANUARY 22, 1907 TO HER PARENTS, PETER AND ELIZABETH WISHLOW. AT THE AGE OF 6 SHE MOVED WITH HER FAMILY TO A DOUKHOBOR SETTLEMENT AT BRILLIANT, BC, AND THEY LATER MOVED TO THE DOUKHOBOR SETTLEMENT AT SHOULDICE. IT WAS HERE THAT SHE MET AND MARRIED WILLIAM KONKIN. THEIR DAUGHTER, ELSIE MORRIS (NÉE KONKIN), WAS BORN IN SHOULDICE IN 1928. INITIALLY, WILLIAM TRIED TO SUPPORT HIS FAMILY BY GROWING AND PEDDLING VEGETABLES. WHEN THE FAMILY RECOGNIZED THAT GARDENING WOULD NOT PROVIDE THEM WITH THE INCOME THEY NEEDED, WILLIAM VENTURED OUT TO FARM A QUARTER SECTION OF IRRIGATED LAND 120 KM (75 MILES) AWAY IN VAUXHALL. IN 1941, AFTER THREE YEARS OF FARMING REMOTELY, HE AND ELIZABETH DECIDED TO LEAVE THE ALBERTA COLONY AND RELOCATE TO VAUXHALL. MORRIS WAS 12 YEARS OLD AT THE TIME. MORRIS STATED: “… [T]HEY LEFT THE COLONY BECAUSE THERE WERE THINGS GOING ON THAT THEY DID NOT LIKE SO THEY WANTED TO FARM ON THEIR OWN. SO NOW NOBODY HAD MONEY, SO VAUXHALL HAD LAND, YOU KNOW, THAT THEY WANTED TO HAVE THE PEOPLE AND THEY DIDN’T HAVE TO PUT ANY DOWN DEPOSIT THEY JUST WERE GIVEN THE LAND AND THEY HAD TO SIGN A PAPER SAYING THEY WOULD GIVE THEM ONE FOURTH OF THE CROP EVERY YEAR. THAT WAS HOW MY DAD GOT PAID BUT WHAT MY DAD DIDN’T KNOW WAS THAT THE MONEY THAT WENT IN THERE WAS ACTUALLY PAYING OFF THE FARM SO HE WENT TO SEE MR., WHAT WAS HIS LAST NAME, HE WAS THE PERSON IN CHARGE. ANYWAY HE SAID TO HIM “HOW LONG WILL IT BE BEFORE I CAN PAY OFF THIS FARM” AND HE SAYS “YOU’VE BEEN PAYING IT RIGHT ALONG YOU OWE ABOUT TWO HUNDRED AND A FEW DOLLARS”. WELL THAT WAS A REAL SURPRISE FOR THEM SO THEY GAVE THEM THE TWO HUNDRED AND WHATEVER IT WAS THAT HE OWED AND HE BECAME THE OWNER OF THE FARM." MORRIS WENT ON, ”THE DOUKHOBORS ARE AGRARIAN, THEY LIKE TO GROW THINGS THAT’S THEIR CULTURE OF OCCUPATION AND SO THE ONES WHO LIKED FRUIT MOVED TO B.C. LIKE MY UNCLE DID AND MY DAD LIKED FARMING SO HE MOVED TO VAUXHALL AND THERE WERE LET’S SEE, I THINK THERE WERE FOUR OTHER FAMILIES THAT MOVED TO VAUXHALL AND THREE OF THE MEN GOT TOGETHER AND DECIDED THEY WERE GOING TO GET THEIR TOOLS TOGETHER LIKE A TRACTOR AND MACHINERY THEY NEEDED AND THEN THEY WOULD TAKE TURNS…” THE KONKINS RETIRED TO LETHBRIDGE FROM VAUXHALL IN 1968. MORRIS, BY THEN A SCHOOL TEACHER, RELOCATED TO LETHBRIDGE WITH HER OWN FAMILY. WILLIAM KONKIN PASSED AWAY IN LETHBRIDGE ON MARCH 3, 1977 AT THE AGE OF 72 AND 23 YEARS LATER, ON APRIL 8, 2000, ELIZABETH KONKIN PASSED AWAY IN LETHBRIDGE. A NUMBER OF ARTIFACTS PREVIOUSLY BELONGING TO THE FAMILY EXIST IN THE GALT COLLECTION. THE KONKINS RETIRED TO LETHBRIDGE FROM VAUXHALL IN 1968. MORRIS, BY THEN A SCHOOL TEACHER, RELOCATED TO LETHBRIDGE WITH HER OWN FAMILY. WILLIAM KONKIN PASSED AWAY IN LETHBRIDGE ON MARCH 3, 1977 AT THE AGE OF 72 AND 23 YEARS LATER, ON APRIL 8, 2000, ELIZABETH KONKIN PASSED AWAY IN LETHBRIDGE. A NUMBER OF ARTIFACTS PREVIOUSLY BELONGING TO THE FAMILY EXIST IN THE GALT COLLECTION. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003001
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
"1000 PENGO" HUNGARIAN CURRENCY
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20160006001
  2 images  
Material Type
Artifact
Other Name
"1000 PENGO" HUNGARIAN CURRENCY
Date
1945
Materials
PAPER, INK
No. Pieces
1
Length
18.3
Width
8.9
Description
PINK PAPER BANK NOTE WITH BLUE INK DESIGN. FACE: TYPE READS “EZER PENGO” IN LARGE LETTERS WITH FIVE LINES OF TEXT UNDERNEATH IT. THE FIRST LINE BEGINS WITH “BUDAPEST, 1945…”, THE 3RD LINE IS MADE UP OF THREE SIGNATURES, AND THE LAST LINE ENDS IN “A TÖRÉNY BUNTETI”. THE TOP CENTER OF THE BILL READS: “1000” WITH A CREST BELOW. AN IMAGE OF A WOMAN WITH FLOWERS IN HAIR FILLS THE RIGHT SIDE OF THE BILL. AROUND THE TEXT AND IMAGES IS A FLORAL DESIGN. WHITE STAMP WITH PINK DESIGN READING “MAGYAR … BANK” STUCK TO THE RIGHT OF WOMAN’S FACE. BACK: FLORAL DESIGN BORDERING THE BORDER. “1000” IN TOP CENTER AND “EZER PENGO” IN CENTER OF DESIGN” STAMPED “F236” AND “040898” ON EITHER SIDE OF THE BILL. CONDITION: THE COLOUR IS SEVERELY FADED, ESPECIALLY ON THE OUTSIDE EDGES. THERE IS A BROWN STAIN VISIBLE ON THE RIGHT SIDE (WITH WOMAN’S IMAGE) THROUGH TO THE BACK SIDE. STAINING AND SLIGHT WEAR AROUND THE EDGES.
Subjects
EXCHANGE MEDIUM
Historical Association
CURRENCY/MAUNDY
History
THIS ARTIFACT WAS DONATED TO THE GALT MUSEUM & ARCHIVES AFTER BEING FEATURED IN THE GALT’S EXHIBITION CURATED BY WENDY AITKENS TITLED, "CHANGING PLACES: IMMIGRATION & DIVERSITY," WHICH RAN FROM 31 OCTOBER 2015 TO 17 JANUARY 2016. COPIED BELOW IS THE TEXT PANEL ASSOCIATED WITH THE ARTIFACT’S DONOR, ANTHONY (TONY) HORVATH FOR THE “CHANGING PLACES” EXHIBIT: “HORVATH WAS BORN IN AN AREA OF EASTERN EUROPE WHERE COUNTRIES’ BORDERS AND NAMES CHANGED MANY TIME DURING HIS LIFE. TONY FOUND HIMSELF WITHOUT A COUNTRY AFTER THE SECOND WORLD WAR. OF HUNGARIAN ANCESTRY, HE WAS DENIED WORK AND HE REFUSED TO BECOME A SERBIAN CITIZEN SO HE WAS ALLOWED TO LEAVE. HE TRAVELLED TO AUSTRIA AND THEN TO THE BREMERHAVEN DISPLACED PERSONS CAMP IN GERMANY. HE SAILED TO CANADA IN DECEMBER 1951 – FIGHTING SEA SICKNESS ALL THE WAY. HE TOOK THE TRAIN FROM HALIFAX TO MONTREAL AND FROM THERE HE WENT TO A FARM NEAR VERMILION, NORTH OF EDMONTON, WHERE HE CLEANED THE BARN AND FED PIGS. LEARNING THAT LETHBRIDGE HAD A LARGE HUNGARIAN COMMUNITY HE HITCH-HIKED SOUTH. HE HAD A FEW CLOTHES, $15 DOLLARS AND HIS VIOLIN. HIS FIRST JOB WAS IN THE BEET FIELDS NEAR PICTURE BUTTE. LATER HE DROVE HORSES THAT PULLED COAL CARTS IN THE SHAUGHNESSY UNDERGROUND MINE. PLAYING THE VIOLIN BROUGHT HIM MUCH JOY, MANY FRIENDS, AND HIS WIFE ANGELIKA. HE OFTEN WENT TO GALT GARDENS AFTER WORK TO PLAY HIS MUSIC AND SOON MET ANGIE, A YOUNG WOMAN RECENTLY ARRIVED FROM GERMANY. FEARING THE DANGEROUS WORK IN THE MINE, ANGIE DEMANDED THAT TONY FIND SAFER WORK ONCE THEY WERE MARRIED. INITIALLY HE WORKED FOR ELLISON MILLING COMPANY, BUT CANADIAN DRESSED MEAT PACKING HOUSE (BURNS MEATS) OFFERED $.08 MORE AN HOUR, SO HE SWITCHED EMPLOYMENT. HE WORKED THERE UNTIL HE RETIRED 27 YEARS LATER. ANGIE WORKED AT THE HOSPITAL AND THEN AS A TAILOR FOR SIMPSON SEARS DURING THAT SAME TIME PERIOD. TOGETHER THEY RAISED FOUR GIRLS.” THE INFORMATION THAT WAS PRESENTED ON THE TEXT PANEL WAS SOURCED FROM AN ORAL HISTORY INTERVIEW, WHICH WAS CONDUCTED BY AIKENS ON 8 JULY 2015. IN THAT INTERVIEW – STORED AT THE GALT ARCHIVES (20151076) – HORVATH SAID THAT HE WAS BORN IN THE BALKAN PENINSULA. HE SPOKE OF THE UNREST DURING THE SECOND WORLD WAR AND RECALLED SEEING THE BOMBING FROM ALLIES, SAYING “THE GROUND WAS SHAKEN.” HE REMEMBERED THE PUBLIC EXECUTIONS, MASS BURIALS, AND THE WOUNDED PEOPLE IN THE STREETS. IN THE INTERVIEW, HE DESCRIBED HOW THE QUALITY OF LIFE WAS NOT MUCH BETTER FOLLOWING THE WAR, DURING THE YEARS 1945 TO 1950. THERE WERE HARDSHIPS, SUCH AS LONG LINES FOR BREAD, AND THE CONFLICT HAD MADE FINDING GOOD WORK DIFFICULT FOR HORVATH – A HUNGARIAN, AND THEREFORE AN ETHNIC MINORITY IN YUGOSLAVIA. SOON AFTER HE STARTED HIS JOURNEY TO CANADA IN 1951, WHICH HE DESCRIBED TO GREATER DEPTH IN THE INTERVIEW. ON 5 JULY 2013, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED HORVATH IN HIS HOME TO SPEAK ABOUT THE DONATION OF AN ARTIFACT (P20120044000) BY THE MEZEI ORCHESTRA, WHICH HORVATH WAS INVOLVED IN. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: "I [WAS] BORN IN [THE 24TH OF JANUARY] 1931 AND THE SERBS OCCUPIED HUNGARY… SO I BORN ACTUALLY IN YUGOSLAVIA, AND THEN, IN 1939, WHEN THE WAR BROKE OUT – THE SECOND WORLD WAR – IN 1940, THE HUNGARIANS TOOK [IT] BACK… FROM SERBIA. AND IT WAS AGAIN HUNGARY UNTIL 1945, TILL THE WAR FINISHED. [ETHNICALLY HUNGARIAN,] I BECAME A NATIONAL MINORITY IN MY OWN COUNTRY… [A] NATIONAL MINORITY IN YUGOSLAVIA, BUT IT’S NOT YUGOSLAVIA ANYMORE. IT FALL APART AND IT’S AGAIN SERBIA.” IN THE INTERVIEW, HORVATH EXPLAINED, “I ENDED UP BACK AT HOME ABOUT 3 MONTHS BEFORE THE END OF THE [SECOND WORLD] WAR, BACK TO SERBIA TO A CITY CALLED SRBOBRAN. THE CIRCUMSTANCES WAS THAT THE LIFE STANDARD WAS POOR… BEFORE I CAME TO CANADA, I GOT A JOB IN ALEXANDERONKOVICH FACTORY, TORPEDO AND BOMBS AND ALL THAT. I WAS 18 MONTHS WORKING THERE, AND THEN I STARTED TO INVESTIGATE HOW COULD I COME OUT FROM THAT COUNTRY… I DECIDED… I [COULD] APPLY OFFICIALLY TO GIVE UP MY CITIZENSHIP – YUGOSLAVIAN CITIZENSHIP – AND [BECOME] OFFICIALLY [AN] ETHNIC MINORITY… I APPLIED TO EMIGRATE FROM SERBIA, AND I ENDED UP IN AUSTRIA AND FROM AUSTRIA TO BREMENHAVEN, A DISPLACED PERSON I [INDICATED I WAS], BUT ACTUALLY I WASN’T. I WAS A REAL IMMIGRANT BECAUSE I CAME WITH LEGAL PAPERS TO CANADA. IN 1951, I CAME TO CANADA, AND ENDED UP IN THE SUGAR BEETS, I EARNED A LIVING AS A LABOURER – CLEANING… COW STALLS, AND SO FORTH. I MET MY WIFE IN ’53. SHE IS FROM GERMANY. WE GOT MARRIED IN ’54, AND FORTUNATELY, WE HAVE 4 GROWN-UP DAUGHTERS BETWEEN US.” HORVATH ELABORATED ON HIS IMMIGRATION EXPERIENCE, “I HAD AUSTRALIAN OPTION. BUT THE CANADIAN CONSUL SENT MOVIES, PICTURES, ADVERTISEMENTS... [AND THEN] IN 1 MONTH, I WAS IN CANADA. FROM AUSTRIA TO BREMERHAVEN, IN GERMANY, IN 2-3 WEEKS, I WAS READY TO COME TO CANADA. [I] ENDED UP IN MONTREAL. THERE [WERE] STILL CAMPS FOR PRISONER OF WARS FROM THE SECOND WORLD WAR, LIKE GERMANS AND ALL THE OTHER, AND I WAS IN THERE FOR ABOUT 6 MONTHS, IN MONTREAL, FROM THERE, SOME FARMERS WERE LOOKING FOR LABOURERS. THEY ASKED ME DID I WANT TO COME TO ALBERTA. I DIDN’T KNOW ALBERTA. BIG DEAL, ALBERTA. I WASN’T SURE AT ALL, BUT WHEN I WAS TRAVELLING DAY AND NIGHT FROM THERE, TO GET TO EDMONTON FIRST, A FARMER WAS WAITING FOR ME, FROM VERMILION. I STILL REMEMBER THE NAME, BOB HOLDEN. HE WAS FROM ENGLAND, I THINK, PREVIOUSLY. HE HAD A FARM THERE AND HE NEEDED A LABOURER. I WAS A LABOURER, BUT WHEN THEY FOUND OUT I CAN PLAY THE MUSIC, FIRST I HAD A BEET SHACK. THEN THEY TOOK ME INTO HIS HOUSE. HE DIDN’T PAY MUCH. THE NEIGHBOUR [IN VERMILION] OVER THERE WAS A HUNGARIAN OLD FARMER. HE SAID TO ME, ‘SON, DON’T STAY HERE, GO TO LETHBRIDGE. THERE IS LOTS OF HUNGARIANS [THERE], AND YOU CAN GO TO THE SUGAR BEETS [FIELDS], AND YOU CAN MEET FRIENDS OVER THERE,’ AND SO ON. I HAD $15.00 IN MY POCKET BECAUSE THE FARMER DEDUCTED MY JEANS, WHAT HE BOUGHT, I CALLED THEM ‘COWBOY JEANS.' AND I ONLY HAD $15.00 LEFT, SO I HITCHHIKED FROM VERMILION ALL THE WAY ‘TIL I GET TO LETHBRIDGE I STILL HAVE SOME MONEY LEFT, AND I ENDED UP IN PICTURE BUTTE, JOE SCHAEFFER’S PLACE, WORKING IN THE SUGAR BEETS.” “IT WAS DIFFICULT AT THE BEGINNING… THE LANGUAGE…,” HORVATH EXPLAINED, “… VERY HARD BECAUSE HUNGARIAN DOESN’T HAVE A SIMILAR WORD WITH ENGLISH; GERMAN IS ABOUT 30%, SO I THANK MY WIFE; SHE LEARNED QUICKER THAN I DID, BUT, NOW, I AM O.K. I CAN GET BY.” WHEN HE FIRST CAME TO CANADA, HORVATH SAID, “I DIDN’T WANT TO BELIEVE [IT]. I THOUGHT IT’S A HEAVEN BECAUSE EVERYONE WAS FRIENDLY, NICE, YOU KNOW. MIND YOU, I WASN’T ASSOCIATING VERY MUCH WITH THE YOUNG MEN, 18-19 YEARS OLD, YOU KNOW.” HE TOLD AITKENS IN 2015 THAT HE DID NOT BRING MUCH ELSE. HE STATES, “[I] ESPECIALLY [DIDN’T BRING] MONEY. NO MONEY… EXCEPT WHAT IS WORTH NOTHING. INFLATION MONEY BY THE HUNDRED THOUSAND, MILLION, TEN MILLION… WHATEVER I HAD I GAVE TO THE OTHER MUSEUM THAT WAS IN THE GALT GARDEN (GURNEY MUSEUM)… INFLATED. THAT’S WHAT WE CALLED IT. THAT WAS INFLATION MONEY. IT WAS SO MANY, PEOPLE DIDN’T KNOW THE NUMBER. THEY JUST SAID, ‘5 YELLOW, 2 GREEN AND…’ YOU KNOW? JUST BY THE COLOUR. THE NUMBER WAS IN MILLIONS AND BILLIONS AND HUNDREDS OF THOUSANDS. PEOPLE DIDN’T KNOW. NO VALUE. YOU COULD USE IT FOR BATHROOM.” INTERNET RESEARCH STATES THAT THE PENGO WAS THE CURRENCY OF HUNGARY FROM 1927 TO 1946 AND EXPERIENCED THE MOST SERIOUS HYPERINFLATION RECORDED (SOURCE ACCESSED 10 MAY 2018). HORVATH REMEMBERED THE BELONGINGS HE BROUGHT WITH HIM IN HIS IMMIGRATION TO CANADA. IN BOTH THE 2015 INTERVIEW WITH AITKENS AND THE 2013 INTERVIEW WITH MACLEAN, HE SPEAKS OF HIS VIOLIN. IN 2013, HE TOLD MACLEAN, “IT WAS A FAMILY VIOLIN. ACTUALLY, MY UNCLE, THE VERY FIRST ONE, I GOT IT FROM HIM, AND, OF COURSE IT WAS LAYING IN THE HOUSE TILL I WAS 8 YEARS OLD, AND THEY DIDN’T WANT ME TO FOOL AROUND WITH IT, TO BREAK IT OR WHATEVER, SO I GOT A SMALLER SIZE OF VIOLIN, HALF A SIZE, AND LATER, I GOT THAT BACK AND I BROUGHT IT WITH ME TO CANADA. THE VIOLIN GAVE ME OPPORTUNITIES NEVER TO BE ALONE. I HAD FRIENDS ON ACCOUNT OF THE VIOLIN; I HAD PARTIES ON ACCOUNT OF THE VIOLIN; I HAD FOOD; I HAD DRINK; AND I HAD GOOD TIME. IT WAS MY BEST PARTNER AND BEST FRIEND. THAT’S HOW I MET MY WIFE, WITH MY VIOLIN CASE UNDER MY ARM, AT LETHBRIDGE GALT GARDEN.” HE REMEMBERED BEING IMMEDIATELY EMBRACED BY THE HUNGARIAN COMMUNITY IN THE AREA: “IN PICTURE BUTTE, JOE SCHAEFFER’S NEIGHBOUR, MR. GABOR GENCSI, HEARD ME PLAYING, [AND] HE TOOK ME OVER. HE SAYS, ‘YOU DON’T WORK THAT HARD IN THE SUGAR BEETS. COME TO ME.’ HE HAD A WIFE BUT THEY HAD NO CHILDREN, AND HE SAYS THAT THEY ARE GOING TO ADOPT ME TO STAY. I SAYS, ‘NO, I CANNOT BE ADOPTED. I HAD MOTHER AND FATHER.’ BUT, WHEN HE HEARD ME PLAYING, I WENT OVER TO HIS PLACE – THE NEIGHBOUR[ING] FARM – HE GAVE ME $100.00 IN ONE BILL. I DIDN’T KNOW HOW MUCH IT WAS WORTH, AND HE SAID YOU ARE GOING TO GET THAT EVERY MONTH, AS LONG AS YOU ARE HERE, BUT YOU HAVE TO PLAY IN THE EVENING TO ME AND TO MY WIFE. THEN I KEPT ON PLAYING EVERY NIGHT. IT WAS A GOOD CHANCE FOR PRACTICE, YOU KNOW. THEY GAVE ME THE FIRST BEDROOM, AND THEY WENT TO THE SMALLER BEDROOM JUST TO TREAT ME WELL, FREE BOARD, FREE ROOM, JUST TO PLAY THE VIOLIN IN THE EVENING. SOMETIMES I WENT OUT AND DROVE THE HORSES WHEN HE WAS THROWING THE BALES ON THE WAGON, SO I HAD A VERY GOOD TREAT, AND A VERY GOOD CHANCE TO PLAY THE VIOLIN.” HORVATH ALSO PLAYED A ROLE IN GETTING HIS PARENTS TO IMMIGRATE TO CANADA, WHERE THEY SET UP A NEW LIFE. HORVATH SAID, “IN 1948, WHEN MY DAD CAME BACK FROM, BECAUSE HE WAS IN THE ARMY, ON THE GERMAN SIDE. HE WAS A PRISONER OF WAR IN RUSSIA, AND HE CAME BACK IN 1948 FROM RUSSIAN PRISONER OF WAR CAMP. I FELT VERY SORRY FOR MY DAD BECAUSE EVERY TIME YOU WANTED TO ASK SOMETHING ABOUT THE WAR IN RUSSIA, HE NEVER WANTED TO TALK ABOUT IT, NEVER, TO NOBODY. I DECIDED HERE, WHEN I WAS IN CANADA, THE BEST THING THEY WOULD COME OUT HERE, NO MATTER HOW OLD THEY ARE. THEY WERE VERY HAPPY… AND IN 1960 WHEN I WAS ALREADY ESTABLISHED HERE, AND MARRIED WITH CHILDREN, [I] BROUGHT MY FAMILY OUT, MY FATHER, MOTHER AND SISTER, WHO IS LIVING NOW IN STIRLING, ALBERTA. AND, THEY [WERE] ALREADY WAS IN THEIR 60’S WHEN I BROUGHT THEM OUT, BUT THEY MANAGED TO ESTABLISH THEMSELVES A GOOD LIFE HERE TOO ON 80 ACRES…” OF HIS IMMIGRATION STORY, HE TOLD AITKENS, “[IT WAS EXCITING TO] ME – TRAVELLING HALF OF EUROPE WITH NO MONEY IN THE POCKET, EXCEPT HAVING THE FIDDLE IN YOUR HAND…” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING THE TEXT PANEL COPY. FOR INFORMATION REGARDING HORVATH’S INTERVIEW WITH MACLEAN IN 2013, INCLUDING FULL INTERVIEW TRANSCRIPTION, PLEASE SEE PERMANENT FILE P20120044000.
Catalogue Number
P20160006001
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
10,000 PENGO, HUNGARIAN CURRENCY
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20160006002
  2 images  
Material Type
Artifact
Other Name
10,000 PENGO, HUNGARIAN CURRENCY
Date
1945
Materials
PAPER, INK
No. Pieces
1
Length
16.9
Width
8.2
Description
OFF-GREEN PAPER BANK NOTE WITH MAROON INK DESIGN. CENTER LEFT OF BILL IS A PINK COLOUR. FACE: TEXT ON LEFT SIDE OF NOTE READS “10000” IN DESIGN ABOVE LARGER OVAL CONTAINING TEXT: “TIZEZER PENGO” IN LARGE LETTERS WITH TWO LINES OF TEXT BENEATH “BUDAPEST 1945…” AND ENDING IN “NEMZETI BANK” WITH THREE SIGNATURES AFTER. BANNER READING “A BANKJEGYHAMISITAST… BUNTETI” BELOW. IMAGE OF WOMAN WEARING TIARA ENCLOSED IN A CIRCLE ON THE RIGHT SIDE OF THE BANK NOTE. CREST BELOW IMAGE. FLORAL DESIGN OVERALL. BACK: FLORAL BORDER AROUND BACK SIDE WITH “10000” ENCLOSED IN A TULIP-SHAPE IN ALL FOUR CORNERS. CENTER READS “TIZEZER 1000 TIZEZER” WITHIN A DECORATIVE OVAL THAT IS SURROUND BY SMALL PRINT TEXT. “L879” AND “027538” STAMPED IN RED ON EITHER SIDE OF NOTE. CONDITION: SEVERELY DISCOLOURED. DARK STAIN ACROSS ENTIRE UPPER EDGE. SLIGHT WEAR TO EDGES.
Subjects
EXCHANGE MEDIUM
Historical Association
CURRENCY/MAUNDY
History
THIS ARTIFACT WAS DONATED TO THE GALT MUSEUM & ARCHIVES AFTER BEING FEATURED IN THE GALT’S EXHIBITION CURATED BY WENDY AITKENS TITLED, "CHANGING PLACES: IMMIGRATION & DIVERSITY," WHICH RAN FROM 31 OCTOBER 2015 TO 17 JANUARY 2016. COPIED BELOW IS THE TEXT PANEL ASSOCIATED WITH THE ARTIFACT’S DONOR, ANTHONY (TONY) HORVATH FOR THE “CHANGING PLACES” EXHIBIT: “HORVATH WAS BORN IN AN AREA OF EASTERN EUROPE WHERE COUNTRIES’ BORDERS AND NAMES CHANGED MANY TIME DURING HIS LIFE. TONY FOUND HIMSELF WITHOUT A COUNTRY AFTER THE SECOND WORLD WAR. OF HUNGARIAN ANCESTRY, HE WAS DENIED WORK AND HE REFUSED TO BECOME A SERBIAN CITIZEN SO HE WAS ALLOWED TO LEAVE. HE TRAVELLED TO AUSTRIA AND THEN TO THE BREMERHAVEN DISPLACED PERSONS CAMP IN GERMANY. HE SAILED TO CANADA IN DECEMBER 1951 – FIGHTING SEA SICKNESS ALL THE WAY. HE TOOK THE TRAIN FROM HALIFAX TO MONTREAL AND FROM THERE HE WENT TO A FARM NEAR VERMILION, NORTH OF EDMONTON, WHERE HE CLEANED THE BARN AND FED PIGS. LEARNING THAT LETHBRIDGE HAD A LARGE HUNGARIAN COMMUNITY HE HITCH-HIKED SOUTH. HE HAD A FEW CLOTHES, $15 DOLLARS AND HIS VIOLIN. HIS FIRST JOB WAS IN THE BEET FIELDS NEAR PICTURE BUTTE. LATER HE DROVE HORSES THAT PULLED COAL CARTS IN THE SHAUGHNESSY UNDERGROUND MINE. PLAYING THE VIOLIN BROUGHT HIM MUCH JOY, MANY FRIENDS, AND HIS WIFE ANGELIKA. HE OFTEN WENT TO GALT GARDENS AFTER WORK TO PLAY HIS MUSIC AND SOON MET ANGIE, A YOUNG WOMAN RECENTLY ARRIVED FROM GERMANY. FEARING THE DANGEROUS WORK IN THE MINE, ANGIE DEMANDED THAT TONY FIND SAFER WORK ONCE THEY WERE MARRIED. INITIALLY HE WORKED FOR ELLISON MILLING COMPANY, BUT CANADIAN DRESSED MEAT PACKING HOUSE (BURNS MEATS) OFFERED $.08 MORE AN HOUR, SO HE SWITCHED EMPLOYMENT. HE WORKED THERE UNTIL HE RETIRED 27 YEARS LATER. ANGIE WORKED AT THE HOSPITAL AND THEN AS A TAILOR FOR SIMPSON SEARS DURING THAT SAME TIME PERIOD. TOGETHER THEY RAISED FOUR GIRLS.” THE INFORMATION THAT WAS PRESENTED ON THE TEXT PANEL WAS SOURCED FROM AN ORAL HISTORY INTERVIEW, WHICH WAS CONDUCTED BY AIKENS ON 8 JULY 2015. IN THAT INTERVIEW – STORED AT THE GALT ARCHIVES (20151076) – HORVATH SAID THAT HE WAS BORN IN THE BALKAN PENINSULA. HE SPOKE OF THE UNREST DURING THE SECOND WORLD WAR AND RECALLED SEEING THE BOMBING FROM ALLIES, SAYING “THE GROUND WAS SHAKEN.” HE REMEMBERED THE PUBLIC EXECUTIONS, MASS BURIALS, AND THE WOUNDED PEOPLE IN THE STREETS. IN THE INTERVIEW, HE DESCRIBED HOW THE QUALITY OF LIFE WAS NOT MUCH BETTER FOLLOWING THE WAR, DURING THE YEARS 1945 TO 1950. THERE WERE HARDSHIPS, SUCH AS LONG LINES FOR BREAD, AND THE CONFLICT HAD MADE FINDING GOOD WORK DIFFICULT FOR HORVATH – A HUNGARIAN, AND THEREFORE AN ETHNIC MINORITY IN YUGOSLAVIA. SOON AFTER HE STARTED HIS JOURNEY TO CANADA IN 1951, WHICH HE DESCRIBED TO GREATER DEPTH IN THE INTERVIEW. ON 5 JULY 2013, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED HORVATH IN HIS HOME TO SPEAK ABOUT THE DONATION OF AN ARTIFACT (P20120044000) BY THE MEZEI ORCHESTRA, WHICH HORVATH WAS INVOLVED IN. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: "I [WAS] BORN IN [THE 24TH OF JANUARY] 1931 AND THE SERBS OCCUPIED HUNGARY… SO I BORN ACTUALLY IN YUGOSLAVIA, AND THEN, IN 1939, WHEN THE WAR BROKE OUT – THE SECOND WORLD WAR – IN 1940, THE HUNGARIANS TOOK [IT] BACK… FROM SERBIA. AND IT WAS AGAIN HUNGARY UNTIL 1945, TILL THE WAR FINISHED. [ETHNICALLY HUNGARIAN,] I BECAME A NATIONAL MINORITY IN MY OWN COUNTRY… [A] NATIONAL MINORITY IN YUGOSLAVIA, BUT IT’S NOT YUGOSLAVIA ANYMORE. IT FALL APART AND IT’S AGAIN SERBIA.” IN THE INTERVIEW, HORVATH EXPLAINED, “I ENDED UP BACK AT HOME ABOUT 3 MONTHS BEFORE THE END OF THE [SECOND WORLD] WAR, BACK TO SERBIA TO A CITY CALLED SRBOBRAN. THE CIRCUMSTANCES WAS THAT THE LIFE STANDARD WAS POOR… BEFORE I CAME TO CANADA, I GOT A JOB IN ALEXANDERONKOVICH FACTORY, TORPEDO AND BOMBS AND ALL THAT. I WAS 18 MONTHS WORKING THERE, AND THEN I STARTED TO INVESTIGATE HOW COULD I COME OUT FROM THAT COUNTRY… I DECIDED… I [COULD] APPLY OFFICIALLY TO GIVE UP MY CITIZENSHIP – YUGOSLAVIAN CITIZENSHIP – AND [BECOME] OFFICIALLY [AN] ETHNIC MINORITY… I APPLIED TO EMIGRATE FROM SERBIA, AND I ENDED UP IN AUSTRIA AND FROM AUSTRIA TO BREMENHAVEN, A DISPLACED PERSON I [INDICATED I WAS], BUT ACTUALLY I WASN’T. I WAS A REAL IMMIGRANT BECAUSE I CAME WITH LEGAL PAPERS TO CANADA. IN 1951, I CAME TO CANADA, AND ENDED UP IN THE SUGAR BEETS, I EARNED A LIVING AS A LABOURER – CLEANING… COW STALLS, AND SO FORTH. I MET MY WIFE IN ’53. SHE IS FROM GERMANY. WE GOT MARRIED IN ’54, AND FORTUNATELY, WE HAVE 4 GROWN-UP DAUGHTERS BETWEEN US.” HORVATH ELABORATED ON HIS IMMIGRATION EXPERIENCE, “I HAD AUSTRALIAN OPTION. BUT THE CANADIAN CONSUL SENT MOVIES, PICTURES, ADVERTISEMENTS... [AND THEN] IN 1 MONTH, I WAS IN CANADA. FROM AUSTRIA TO BREMERHAVEN, IN GERMANY, IN 2-3 WEEKS, I WAS READY TO COME TO CANADA. [I] ENDED UP IN MONTREAL. THERE [WERE] STILL CAMPS FOR PRISONER OF WARS FROM THE SECOND WORLD WAR, LIKE GERMANS AND ALL THE OTHER, AND I WAS IN THERE FOR ABOUT 6 MONTHS, IN MONTREAL, FROM THERE, SOME FARMERS WERE LOOKING FOR LABOURERS. THEY ASKED ME DID I WANT TO COME TO ALBERTA. I DIDN’T KNOW ALBERTA. BIG DEAL, ALBERTA. I WASN’T SURE AT ALL, BUT WHEN I WAS TRAVELLING DAY AND NIGHT FROM THERE, TO GET TO EDMONTON FIRST, A FARMER WAS WAITING FOR ME, FROM VERMILION. I STILL REMEMBER THE NAME, BOB HOLDEN. HE WAS FROM ENGLAND, I THINK, PREVIOUSLY. HE HAD A FARM THERE AND HE NEEDED A LABOURER. I WAS A LABOURER, BUT WHEN THEY FOUND OUT I CAN PLAY THE MUSIC, FIRST I HAD A BEET SHACK. THEN THEY TOOK ME INTO HIS HOUSE. HE DIDN’T PAY MUCH. THE NEIGHBOUR [IN VERMILION] OVER THERE WAS A HUNGARIAN OLD FARMER. HE SAID TO ME, ‘SON, DON’T STAY HERE, GO TO LETHBRIDGE. THERE IS LOTS OF HUNGARIANS [THERE], AND YOU CAN GO TO THE SUGAR BEETS [FIELDS], AND YOU CAN MEET FRIENDS OVER THERE,’ AND SO ON. I HAD $15.00 IN MY POCKET BECAUSE THE FARMER DEDUCTED MY JEANS, WHAT HE BOUGHT, I CALLED THEM ‘COWBOY JEANS.' AND I ONLY HAD $15.00 LEFT, SO I HITCHHIKED FROM VERMILION ALL THE WAY ‘TIL I GET TO LETHBRIDGE I STILL HAVE SOME MONEY LEFT, AND I ENDED UP IN PICTURE BUTTE, JOE SCHAEFFER’S PLACE, WORKING IN THE SUGAR BEETS.” “IT WAS DIFFICULT AT THE BEGINNING… THE LANGUAGE…,” HORVATH EXPLAINED, “… VERY HARD BECAUSE HUNGARIAN DOESN’T HAVE A SIMILAR WORD WITH ENGLISH; GERMAN IS ABOUT 30%, SO I THANK MY WIFE; SHE LEARNED QUICKER THAN I DID, BUT, NOW, I AM O.K. I CAN GET BY.” WHEN HE FIRST CAME TO CANADA, HORVATH SAID, “I DIDN’T WANT TO BELIEVE [IT]. I THOUGHT IT’S A HEAVEN BECAUSE EVERYONE WAS FRIENDLY, NICE, YOU KNOW. MIND YOU, I WASN’T ASSOCIATING VERY MUCH WITH THE YOUNG MEN, 18-19 YEARS OLD, YOU KNOW.” HE TOLD AITKENS IN 2015 THAT HE DID NOT BRING MUCH ELSE. HE STATES, “[I] ESPECIALLY [DIDN’T BRING] MONEY. NO MONEY… EXCEPT WHAT IS WORTH NOTHING. INFLATION MONEY BY THE HUNDRED THOUSAND, MILLION, TEN MILLION… WHATEVER I HAD I GAVE TO THE OTHER MUSEUM THAT WAS IN THE GALT GARDEN (GURNEY MUSEUM)… INFLATED. THAT’S WHAT WE CALLED IT. THAT WAS INFLATION MONEY. IT WAS SO MANY, PEOPLE DIDN’T KNOW THE NUMBER. THEY JUST SAID, ‘5 YELLOW, 2 GREEN AND…’ YOU KNOW? JUST BY THE COLOUR. THE NUMBER WAS IN MILLIONS AND BILLIONS AND HUNDREDS OF THOUSANDS. PEOPLE DIDN’T KNOW. NO VALUE. YOU COULD USE IT FOR BATHROOM.” INTERNET RESEARCH STATES THAT THE PENGO WAS THE CURRENCY OF HUNGARY FROM 1927 TO 1946 AND EXPERIENCED THE MOST SERIOUS HYPERINFLATION RECORDED (SOURCE ACCESSED 10 MAY 2018). HORVATH REMEMBERED THE BELONGINGS HE BROUGHT WITH HIM IN HIS IMMIGRATION TO CANADA. IN BOTH THE 2015 INTERVIEW WITH AITKENS AND THE 2013 INTERVIEW WITH MACLEAN, HE SPEAKS OF HIS VIOLIN. IN 2013, HE TOLD MACLEAN, “IT WAS A FAMILY VIOLIN. ACTUALLY, MY UNCLE, THE VERY FIRST ONE, I GOT IT FROM HIM, AND, OF COURSE IT WAS LAYING IN THE HOUSE TILL I WAS 8 YEARS OLD, AND THEY DIDN’T WANT ME TO FOOL AROUND WITH IT, TO BREAK IT OR WHATEVER, SO I GOT A SMALLER SIZE OF VIOLIN, HALF A SIZE, AND LATER, I GOT THAT BACK AND I BROUGHT IT WITH ME TO CANADA. THE VIOLIN GAVE ME OPPORTUNITIES NEVER TO BE ALONE. I HAD FRIENDS ON ACCOUNT OF THE VIOLIN; I HAD PARTIES ON ACCOUNT OF THE VIOLIN; I HAD FOOD; I HAD DRINK; AND I HAD GOOD TIME. IT WAS MY BEST PARTNER AND BEST FRIEND. THAT’S HOW I MET MY WIFE, WITH MY VIOLIN CASE UNDER MY ARM, AT LETHBRIDGE GALT GARDEN.” HE REMEMBERED BEING IMMEDIATELY EMBRACED BY THE HUNGARIAN COMMUNITY IN THE AREA: “IN PICTURE BUTTE, JOE SCHAEFFER’S NEIGHBOUR, MR. GABOR GENCSI, HEARD ME PLAYING, [AND] HE TOOK ME OVER. HE SAYS, ‘YOU DON’T WORK THAT HARD IN THE SUGAR BEETS. COME TO ME.’ HE HAD A WIFE BUT THEY HAD NO CHILDREN, AND HE SAYS THAT THEY ARE GOING TO ADOPT ME TO STAY. I SAYS, ‘NO, I CANNOT BE ADOPTED. I HAD MOTHER AND FATHER.’ BUT, WHEN HE HEARD ME PLAYING, I WENT OVER TO HIS PLACE – THE NEIGHBOUR[ING] FARM – HE GAVE ME $100.00 IN ONE BILL. I DIDN’T KNOW HOW MUCH IT WAS WORTH, AND HE SAID YOU ARE GOING TO GET THAT EVERY MONTH, AS LONG AS YOU ARE HERE, BUT YOU HAVE TO PLAY IN THE EVENING TO ME AND TO MY WIFE. THEN I KEPT ON PLAYING EVERY NIGHT. IT WAS A GOOD CHANCE FOR PRACTICE, YOU KNOW. THEY GAVE ME THE FIRST BEDROOM, AND THEY WENT TO THE SMALLER BEDROOM JUST TO TREAT ME WELL, FREE BOARD, FREE ROOM, JUST TO PLAY THE VIOLIN IN THE EVENING. SOMETIMES I WENT OUT AND DROVE THE HORSES WHEN HE WAS THROWING THE BALES ON THE WAGON, SO I HAD A VERY GOOD TREAT, AND A VERY GOOD CHANCE TO PLAY THE VIOLIN.” HORVATH ALSO PLAYED A ROLE IN GETTING HIS PARENTS TO IMMIGRATE TO CANADA, WHERE THEY SET UP A NEW LIFE. HORVATH SAID, “IN 1948, WHEN MY DAD CAME BACK FROM, BECAUSE HE WAS IN THE ARMY, ON THE GERMAN SIDE. HE WAS A PRISONER OF WAR IN RUSSIA, AND HE CAME BACK IN 1948 FROM RUSSIAN PRISONER OF WAR CAMP. I FELT VERY SORRY FOR MY DAD BECAUSE EVERY TIME YOU WANTED TO ASK SOMETHING ABOUT THE WAR IN RUSSIA, HE NEVER WANTED TO TALK ABOUT IT, NEVER, TO NOBODY. I DECIDED HERE, WHEN I WAS IN CANADA, THE BEST THING THEY WOULD COME OUT HERE, NO MATTER HOW OLD THEY ARE. THEY WERE VERY HAPPY… AND IN 1960 WHEN I WAS ALREADY ESTABLISHED HERE, AND MARRIED WITH CHILDREN, [I] BROUGHT MY FAMILY OUT, MY FATHER, MOTHER AND SISTER, WHO IS LIVING NOW IN STIRLING, ALBERTA. AND, THEY [WERE] ALREADY WAS IN THEIR 60’S WHEN I BROUGHT THEM OUT, BUT THEY MANAGED TO ESTABLISH THEMSELVES A GOOD LIFE HERE TOO ON 80 ACRES…” OF HIS IMMIGRATION STORY, HE TOLD AITKENS, “[IT WAS EXCITING TO] ME – TRAVELLING HALF OF EUROPE WITH NO MONEY IN THE POCKET, EXCEPT HAVING THE FIDDLE IN YOUR HAND…” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING THE TEXT PANEL COPY. FOR INFORMATION REGARDING HORVATH’S INTERVIEW WITH MACLEAN IN 2013, INCLUDING FULL INTERVIEW TRANSCRIPTION, PLEASE SEE PERMANENT FILE P20120044000.
Catalogue Number
P20160006002
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
100,000 PENGO, HUNGARIAN CURRENCY
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20160006003
  2 images  
Material Type
Artifact
Other Name
100,000 PENGO, HUNGARIAN CURRENCY
Date
1945
Materials
PAPER, INK
No. Pieces
1
Length
17.9
Width
8.2
Description
OFF-WHITE AND BLUE PAPER BANK NOTE WITH BROWN INKED DESIGN. FACE: LEFT OF NOTE CONTAINS TEXT BEGINNING IN “100000 SZAZER PENGO”, THEN “BUDAPEST 1945…” ENDING IN “A TURVENY BUNTETI”. IMAGE OF WOMAN WITH PLEATED HAIR ON LEFT SIDE. BROWN FLOWER DESIGN ON BLUE BACKGROUND OVERALL. BORDER IS UNINKED (WHITE). BACK: BROWN ON BLUE DESIGN WITH UNMARKED/UN-INKED BORDER. TOP CENTER READS, “100000” WITH CREST DESIGN IN CENTER OF NOTE AND “SZAZEZER PENGO” ON BOTTOM BORDER. TEXT ALONG TOP OF BILL. A HORN DESIGN ON EITHER SIDE OF BILL IN DARK BLUE INK. “M 284” AND “058914” IN DARK BLUE INK STAMPED ON EITHER SIDE OF THE BILL. CONDITION: SEVERELY DISCOLORED. DARK BROWN STAIN ALONG ENTIRE BOTTOM EDGE. EDGE SLIGHTLY WORN.
Subjects
EXCHANGE MEDIUM
Historical Association
CURRENCY/MAUNDY
History
THIS ARTIFACT WAS DONATED TO THE GALT MUSEUM & ARCHIVES AFTER BEING FEATURED IN THE GALT’S EXHIBITION CURATED BY WENDY AITKENS TITLED, "CHANGING PLACES: IMMIGRATION & DIVERSITY," WHICH RAN FROM 31 OCTOBER 2015 TO 17 JANUARY 2016. COPIED BELOW IS THE TEXT PANEL ASSOCIATED WITH THE ARTIFACT’S DONOR, ANTHONY (TONY) HORVATH FOR THE “CHANGING PLACES” EXHIBIT: “HORVATH WAS BORN IN AN AREA OF EASTERN EUROPE WHERE COUNTRIES’ BORDERS AND NAMES CHANGED MANY TIME DURING HIS LIFE. TONY FOUND HIMSELF WITHOUT A COUNTRY AFTER THE SECOND WORLD WAR. OF HUNGARIAN ANCESTRY, HE WAS DENIED WORK AND HE REFUSED TO BECOME A SERBIAN CITIZEN SO HE WAS ALLOWED TO LEAVE. HE TRAVELLED TO AUSTRIA AND THEN TO THE BREMERHAVEN DISPLACED PERSONS CAMP IN GERMANY. HE SAILED TO CANADA IN DECEMBER 1951 – FIGHTING SEA SICKNESS ALL THE WAY. HE TOOK THE TRAIN FROM HALIFAX TO MONTREAL AND FROM THERE HE WENT TO A FARM NEAR VERMILION, NORTH OF EDMONTON, WHERE HE CLEANED THE BARN AND FED PIGS. LEARNING THAT LETHBRIDGE HAD A LARGE HUNGARIAN COMMUNITY HE HITCH-HIKED SOUTH. HE HAD A FEW CLOTHES, $15 DOLLARS AND HIS VIOLIN. HIS FIRST JOB WAS IN THE BEET FIELDS NEAR PICTURE BUTTE. LATER HE DROVE HORSES THAT PULLED COAL CARTS IN THE SHAUGHNESSY UNDERGROUND MINE. PLAYING THE VIOLIN BROUGHT HIM MUCH JOY, MANY FRIENDS, AND HIS WIFE ANGELIKA. HE OFTEN WENT TO GALT GARDENS AFTER WORK TO PLAY HIS MUSIC AND SOON MET ANGIE, A YOUNG WOMAN RECENTLY ARRIVED FROM GERMANY. FEARING THE DANGEROUS WORK IN THE MINE, ANGIE DEMANDED THAT TONY FIND SAFER WORK ONCE THEY WERE MARRIED. INITIALLY HE WORKED FOR ELLISON MILLING COMPANY, BUT CANADIAN DRESSED MEAT PACKING HOUSE (BURNS MEATS) OFFERED $.08 MORE AN HOUR, SO HE SWITCHED EMPLOYMENT. HE WORKED THERE UNTIL HE RETIRED 27 YEARS LATER. ANGIE WORKED AT THE HOSPITAL AND THEN AS A TAILOR FOR SIMPSON SEARS DURING THAT SAME TIME PERIOD. TOGETHER THEY RAISED FOUR GIRLS.” THE INFORMATION THAT WAS PRESENTED ON THE TEXT PANEL WAS SOURCED FROM AN ORAL HISTORY INTERVIEW, WHICH WAS CONDUCTED BY AIKENS ON 8 JULY 2015. IN THAT INTERVIEW – STORED AT THE GALT ARCHIVES (20151076) – HORVATH SAID THAT HE WAS BORN IN THE BALKAN PENINSULA. HE SPOKE OF THE UNREST DURING THE SECOND WORLD WAR AND RECALLED SEEING THE BOMBING FROM ALLIES, SAYING “THE GROUND WAS SHAKEN.” HE REMEMBERED THE PUBLIC EXECUTIONS, MASS BURIALS, AND THE WOUNDED PEOPLE IN THE STREETS. IN THE INTERVIEW, HE DESCRIBED HOW THE QUALITY OF LIFE WAS NOT MUCH BETTER FOLLOWING THE WAR, DURING THE YEARS 1945 TO 1950. THERE WERE HARDSHIPS, SUCH AS LONG LINES FOR BREAD, AND THE CONFLICT HAD MADE FINDING GOOD WORK DIFFICULT FOR HORVATH – A HUNGARIAN, AND THEREFORE AN ETHNIC MINORITY IN YUGOSLAVIA. SOON AFTER HE STARTED HIS JOURNEY TO CANADA IN 1951, WHICH HE DESCRIBED TO GREATER DEPTH IN THE INTERVIEW. ON 5 JULY 2013, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED HORVATH IN HIS HOME TO SPEAK ABOUT THE DONATION OF AN ARTIFACT (P20120044000) BY THE MEZEI ORCHESTRA, WHICH HORVATH WAS INVOLVED IN. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: "I [WAS] BORN IN [THE 24TH OF JANUARY] 1931 AND THE SERBS OCCUPIED HUNGARY… SO I BORN ACTUALLY IN YUGOSLAVIA, AND THEN, IN 1939, WHEN THE WAR BROKE OUT – THE SECOND WORLD WAR – IN 1940, THE HUNGARIANS TOOK [IT] BACK… FROM SERBIA. AND IT WAS AGAIN HUNGARY UNTIL 1945, TILL THE WAR FINISHED. [ETHNICALLY HUNGARIAN,] I BECAME A NATIONAL MINORITY IN MY OWN COUNTRY… [A] NATIONAL MINORITY IN YUGOSLAVIA, BUT IT’S NOT YUGOSLAVIA ANYMORE. IT FALL APART AND IT’S AGAIN SERBIA.” IN THE INTERVIEW, HORVATH EXPLAINED, “I ENDED UP BACK AT HOME ABOUT 3 MONTHS BEFORE THE END OF THE [SECOND WORLD] WAR, BACK TO SERBIA TO A CITY CALLED SRBOBRAN. THE CIRCUMSTANCES WAS THAT THE LIFE STANDARD WAS POOR… BEFORE I CAME TO CANADA, I GOT A JOB IN ALEXANDERONKOVICH FACTORY, TORPEDO AND BOMBS AND ALL THAT. I WAS 18 MONTHS WORKING THERE, AND THEN I STARTED TO INVESTIGATE HOW COULD I COME OUT FROM THAT COUNTRY… I DECIDED… I [COULD] APPLY OFFICIALLY TO GIVE UP MY CITIZENSHIP – YUGOSLAVIAN CITIZENSHIP – AND [BECOME] OFFICIALLY [AN] ETHNIC MINORITY… I APPLIED TO EMIGRATE FROM SERBIA, AND I ENDED UP IN AUSTRIA AND FROM AUSTRIA TO BREMENHAVEN, A DISPLACED PERSON I [INDICATED I WAS], BUT ACTUALLY I WASN’T. I WAS A REAL IMMIGRANT BECAUSE I CAME WITH LEGAL PAPERS TO CANADA. IN 1951, I CAME TO CANADA, AND ENDED UP IN THE SUGAR BEETS, I EARNED A LIVING AS A LABOURER – CLEANING… COW STALLS, AND SO FORTH. I MET MY WIFE IN ’53. SHE IS FROM GERMANY. WE GOT MARRIED IN ’54, AND FORTUNATELY, WE HAVE 4 GROWN-UP DAUGHTERS BETWEEN US.” HORVATH ELABORATED ON HIS IMMIGRATION EXPERIENCE, “I HAD AUSTRALIAN OPTION. BUT THE CANADIAN CONSUL SENT MOVIES, PICTURES, ADVERTISEMENTS... [AND THEN] IN 1 MONTH, I WAS IN CANADA. FROM AUSTRIA TO BREMERHAVEN, IN GERMANY, IN 2-3 WEEKS, I WAS READY TO COME TO CANADA. [I] ENDED UP IN MONTREAL. THERE [WERE] STILL CAMPS FOR PRISONER OF WARS FROM THE SECOND WORLD WAR, LIKE GERMANS AND ALL THE OTHER, AND I WAS IN THERE FOR ABOUT 6 MONTHS, IN MONTREAL, FROM THERE, SOME FARMERS WERE LOOKING FOR LABOURERS. THEY ASKED ME DID I WANT TO COME TO ALBERTA. I DIDN’T KNOW ALBERTA. BIG DEAL, ALBERTA. I WASN’T SURE AT ALL, BUT WHEN I WAS TRAVELLING DAY AND NIGHT FROM THERE, TO GET TO EDMONTON FIRST, A FARMER WAS WAITING FOR ME, FROM VERMILION. I STILL REMEMBER THE NAME, BOB HOLDEN. HE WAS FROM ENGLAND, I THINK, PREVIOUSLY. HE HAD A FARM THERE AND HE NEEDED A LABOURER. I WAS A LABOURER, BUT WHEN THEY FOUND OUT I CAN PLAY THE MUSIC, FIRST I HAD A BEET SHACK. THEN THEY TOOK ME INTO HIS HOUSE. HE DIDN’T PAY MUCH. THE NEIGHBOUR [IN VERMILION] OVER THERE WAS A HUNGARIAN OLD FARMER. HE SAID TO ME, ‘SON, DON’T STAY HERE, GO TO LETHBRIDGE. THERE IS LOTS OF HUNGARIANS [THERE], AND YOU CAN GO TO THE SUGAR BEETS [FIELDS], AND YOU CAN MEET FRIENDS OVER THERE,’ AND SO ON. I HAD $15.00 IN MY POCKET BECAUSE THE FARMER DEDUCTED MY JEANS, WHAT HE BOUGHT, I CALLED THEM ‘COWBOY JEANS.' AND I ONLY HAD $15.00 LEFT, SO I HITCHHIKED FROM VERMILION ALL THE WAY ‘TIL I GET TO LETHBRIDGE I STILL HAVE SOME MONEY LEFT, AND I ENDED UP IN PICTURE BUTTE, JOE SCHAEFFER’S PLACE, WORKING IN THE SUGAR BEETS.” “IT WAS DIFFICULT AT THE BEGINNING… THE LANGUAGE…,” HORVATH EXPLAINED, “… VERY HARD BECAUSE HUNGARIAN DOESN’T HAVE A SIMILAR WORD WITH ENGLISH; GERMAN IS ABOUT 30%, SO I THANK MY WIFE; SHE LEARNED QUICKER THAN I DID, BUT, NOW, I AM O.K. I CAN GET BY.” WHEN HE FIRST CAME TO CANADA, HORVATH SAID, “I DIDN’T WANT TO BELIEVE [IT]. I THOUGHT IT’S A HEAVEN BECAUSE EVERYONE WAS FRIENDLY, NICE, YOU KNOW. MIND YOU, I WASN’T ASSOCIATING VERY MUCH WITH THE YOUNG MEN, 18-19 YEARS OLD, YOU KNOW.” HE TOLD AITKENS IN 2015 THAT HE DID NOT BRING MUCH ELSE. HE STATES, “[I] ESPECIALLY [DIDN’T BRING] MONEY. NO MONEY… EXCEPT WHAT IS WORTH NOTHING. INFLATION MONEY BY THE HUNDRED THOUSAND, MILLION, TEN MILLION… WHATEVER I HAD I GAVE TO THE OTHER MUSEUM THAT WAS IN THE GALT GARDEN (GURNEY MUSEUM)… INFLATED. THAT’S WHAT WE CALLED IT. THAT WAS INFLATION MONEY. IT WAS SO MANY, PEOPLE DIDN’T KNOW THE NUMBER. THEY JUST SAID, ‘5 YELLOW, 2 GREEN AND…’ YOU KNOW? JUST BY THE COLOUR. THE NUMBER WAS IN MILLIONS AND BILLIONS AND HUNDREDS OF THOUSANDS. PEOPLE DIDN’T KNOW. NO VALUE. YOU COULD USE IT FOR BATHROOM.” INTERNET RESEARCH STATES THAT THE PENGO WAS THE CURRENCY OF HUNGARY FROM 1927 TO 1946 AND EXPERIENCED THE MOST SERIOUS HYPERINFLATION RECORDED (SOURCE ACCESSED 10 MAY 2018). HORVATH REMEMBERED THE BELONGINGS HE BROUGHT WITH HIM IN HIS IMMIGRATION TO CANADA. IN BOTH THE 2015 INTERVIEW WITH AITKENS AND THE 2013 INTERVIEW WITH MACLEAN, HE SPEAKS OF HIS VIOLIN. IN 2013, HE TOLD MACLEAN, “IT WAS A FAMILY VIOLIN. ACTUALLY, MY UNCLE, THE VERY FIRST ONE, I GOT IT FROM HIM, AND, OF COURSE IT WAS LAYING IN THE HOUSE TILL I WAS 8 YEARS OLD, AND THEY DIDN’T WANT ME TO FOOL AROUND WITH IT, TO BREAK IT OR WHATEVER, SO I GOT A SMALLER SIZE OF VIOLIN, HALF A SIZE, AND LATER, I GOT THAT BACK AND I BROUGHT IT WITH ME TO CANADA. THE VIOLIN GAVE ME OPPORTUNITIES NEVER TO BE ALONE. I HAD FRIENDS ON ACCOUNT OF THE VIOLIN; I HAD PARTIES ON ACCOUNT OF THE VIOLIN; I HAD FOOD; I HAD DRINK; AND I HAD GOOD TIME. IT WAS MY BEST PARTNER AND BEST FRIEND. THAT’S HOW I MET MY WIFE, WITH MY VIOLIN CASE UNDER MY ARM, AT LETHBRIDGE GALT GARDEN.” HE REMEMBERED BEING IMMEDIATELY EMBRACED BY THE HUNGARIAN COMMUNITY IN THE AREA: “IN PICTURE BUTTE, JOE SCHAEFFER’S NEIGHBOUR, MR. GABOR GENCSI, HEARD ME PLAYING, [AND] HE TOOK ME OVER. HE SAYS, ‘YOU DON’T WORK THAT HARD IN THE SUGAR BEETS. COME TO ME.’ HE HAD A WIFE BUT THEY HAD NO CHILDREN, AND HE SAYS THAT THEY ARE GOING TO ADOPT ME TO STAY. I SAYS, ‘NO, I CANNOT BE ADOPTED. I HAD MOTHER AND FATHER.’ BUT, WHEN HE HEARD ME PLAYING, I WENT OVER TO HIS PLACE – THE NEIGHBOUR[ING] FARM – HE GAVE ME $100.00 IN ONE BILL. I DIDN’T KNOW HOW MUCH IT WAS WORTH, AND HE SAID YOU ARE GOING TO GET THAT EVERY MONTH, AS LONG AS YOU ARE HERE, BUT YOU HAVE TO PLAY IN THE EVENING TO ME AND TO MY WIFE. THEN I KEPT ON PLAYING EVERY NIGHT. IT WAS A GOOD CHANCE FOR PRACTICE, YOU KNOW. THEY GAVE ME THE FIRST BEDROOM, AND THEY WENT TO THE SMALLER BEDROOM JUST TO TREAT ME WELL, FREE BOARD, FREE ROOM, JUST TO PLAY THE VIOLIN IN THE EVENING. SOMETIMES I WENT OUT AND DROVE THE HORSES WHEN HE WAS THROWING THE BALES ON THE WAGON, SO I HAD A VERY GOOD TREAT, AND A VERY GOOD CHANCE TO PLAY THE VIOLIN.” HORVATH ALSO PLAYED A ROLE IN GETTING HIS PARENTS TO IMMIGRATE TO CANADA, WHERE THEY SET UP A NEW LIFE. HORVATH SAID, “IN 1948, WHEN MY DAD CAME BACK FROM, BECAUSE HE WAS IN THE ARMY, ON THE GERMAN SIDE. HE WAS A PRISONER OF WAR IN RUSSIA, AND HE CAME BACK IN 1948 FROM RUSSIAN PRISONER OF WAR CAMP. I FELT VERY SORRY FOR MY DAD BECAUSE EVERY TIME YOU WANTED TO ASK SOMETHING ABOUT THE WAR IN RUSSIA, HE NEVER WANTED TO TALK ABOUT IT, NEVER, TO NOBODY. I DECIDED HERE, WHEN I WAS IN CANADA, THE BEST THING THEY WOULD COME OUT HERE, NO MATTER HOW OLD THEY ARE. THEY WERE VERY HAPPY… AND IN 1960 WHEN I WAS ALREADY ESTABLISHED HERE, AND MARRIED WITH CHILDREN, [I] BROUGHT MY FAMILY OUT, MY FATHER, MOTHER AND SISTER, WHO IS LIVING NOW IN STIRLING, ALBERTA. AND, THEY [WERE] ALREADY WAS IN THEIR 60’S WHEN I BROUGHT THEM OUT, BUT THEY MANAGED TO ESTABLISH THEMSELVES A GOOD LIFE HERE TOO ON 80 ACRES…” OF HIS IMMIGRATION STORY, HE TOLD AITKENS, “[IT WAS EXCITING TO] ME – TRAVELLING HALF OF EUROPE WITH NO MONEY IN THE POCKET, EXCEPT HAVING THE FIDDLE IN YOUR HAND…” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING THE TEXT PANEL COPY. FOR INFORMATION REGARDING HORVATH’S INTERVIEW WITH MACLEAN IN 2013, INCLUDING FULL INTERVIEW TRANSCRIPTION, PLEASE SEE PERMANENT FILE P20120044000.
Catalogue Number
P20160006003
Acquisition Date
2016-02
Collection
Museum
Images
Less detail

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