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Date Range From
1950
Date Range To
1951
Material Type
Artifact
Materials
LEATHER, BRONZE
Catalogue Number
P20180026000
Material Type
Artifact
Date Range From
1950
Date Range To
1951
Materials
LEATHER, BRONZE
No. Pieces
1
Length
76
Width
2
Description
DOUBLE-BUCKLED BROWN LEATHER BELT, FLOWER IN CENTER WITH FILIGREE DESIGN. TWO BUCKLES STAMPED “SOLID BRONZE.” 38 CM FROM BUCKLE TO BUCKLE ON ONE SIDE. BELT IS 2 CM IN WIDTH ON BACK AND MOST OF FRONT, FRONT CENTER DESIGN IS 7 CM AT WIDEST POINT. MINOR WEAR ON LEATHER AROUND BUCKLES FROM BENDING. FOUR BUCKLE HOLES ON EACH SIDE.
Subjects
ARMAMENT-ACCESSORY
CLOTHING-ACCESSORY
Historical Association
DOMESTIC
History
ON NOVEMBER 28, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED MIRIAM SMITH REGARDING SMITH’S DONATION OF THE LEATHER BELT. THE BELT WAS GIVEN TO HER BY A RESEARCH STATION CO-WORKER NAMED ALEC JOHNSON, WHO DID LEATHER WORK. DURING THE INTERVIEW, SMITH EXPLAINED THAT SHE DID SECRETARIAL WORK AT THE RESEARCH STATION, IN THE LATE 1940S TO EARLY 1950S, BEFORE SHE GOT MARRIED. SHE REMEMBERS JOHNSON FROM HER TIME THERE: “[AS] A TALL GOOD LOOKING RED HEADED FELLOW AND I USED TO THINK HE WAS PRETTY CUTE BUT ANYWAYS HE MADE ME THIS BELT.” SMITH SPOKE ABOUT THE TIMELINE OF JOHNSON MAKING THE BELT: “IT WOULD HAVE TO BE ’50, ’51 IN THAT AREA THERE BUT HE WAS DOING TOOL LEATHER AND IT WAS REALLY VERY NICE AND HE SHOWED ME AND I ASKED IF HE’D MAKE ME A BELT AND HE DID. HE DIDN’T EVEN CHARGE ME FOR IT.” SMITH SPOKE ABOUT HER WEAR OF THE BELT DURING THE INTERVIEW: “I WORE IT QUITE A LOT A LONG TIME AGO BUT BELTS USED TO BE THE IN THING BUT I DON’T, I DON’T, I GOT A DRAWER FULL OF BELTS AND I DON’T WEAR THEM.” DESPITE HER MORE RECENT INFREQUENT USAGE OF THE BELT, SMITH STATED THAT SHE KEPT IT BECAUSE SHE “JUST ALWAYS TREASURED IT BECAUSE IT WAS MADE FOR ME.”
Catalogue Number
P20180026000
Acquisition Date
2018-11
Collection
Museum
Less detail
Date Range From
1941
Date Range To
1970
Material Type
Artifact
Materials
METAL
Catalogue Number
P20160044002
  1 image  
Material Type
Artifact
Date Range From
1941
Date Range To
1970
Materials
METAL
No. Pieces
1
Length
9.5
Width
0.6
Description
SMALL, METAL MECHANICAL PENCIL WITH ADJUSTABLE BALL CHAIN ATTACHMENT. PENCIL HAS RAISED FILIGREE-DESIGN ELEMENTS THAT IS DETACHABLE. GOOD CONDITION: OVERALL TARNISHING OF METAL
Subjects
WRITTEN COMMUNICATION T&E
Historical Association
LEISURE
DOMESTIC
History
THE LATE ALICE PEARL HUMMEL (13 JUNE 1922 – 7 APRIL 2016) PERFORMED AS PART OF THE “ANDERSON SISTERS ORCHESTRA” ALONGSIDE HER SISTERS – FLORENCE JEANNETTE MCINTOSH (MAY 1917 – 18 MARCH 1999), MARIE EVELYN POPSON (C.1921 - 8 MARCH 2008) AND RUTH GINZER (C. 1926 - D. 2016). THE FOUR DAUGHTERS WERE BORN TO PARENTS, MARTIN EDWARD ANDERSON AND IDA JOHANNA ANDERSON (NEE JOHNSON). THE BAND WAS A FAMILY AFFAIR THAT SAW GREAT SUCCESS IN THE SOUTHERN ALBERTA REGION. ALICE’S DAUGHTERS, ELEANOR SMITH AND RUTH HUMMEL, HONOURED THEIR MOTHER’S WISHES TO DONATE A NUMBER OF HER EFFECTS FROM HER TIME WITH LETHBRIDGE BAND TO THE MUSEUM. THIS PENCIL CAME FROM THE COLLECTION OF ITEMS ALICE SAVED FROM THE ANDERSON SISTERS ERA. IN 2016 DECEMBER 16, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DAUGHTERS ABOUT THE DONATION. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT EXCHANGE: RUTH EXPLAINS, “[THIS IS] A TINY LITTLE MECHANICAL PENCIL USED TO BE SITTING ON MOM’S MUSIC STAND, SO THAT IF THERE WAS A NOTATION OR SOMETHING THEY WANTED TO DO [SHE COULD WRITE IT DOWN]. [IT] WAS SOMETHING USEFUL, BUT VERY PRETTY TO BE UP WHERE THEY WERE DOING THEIR MUSIC. THEY TREATED THEIR SPACE ON STAGE VERY SPECIALLY AND THAT WAS SOMETHING THAT WAS ON HER MUSIC STAND ALL THESE YEARS.” PROFESSIONALISM IN HOW THEY PRESENTED THEMSELVES WAS IMPORTANT TO THE GROUP, THE SISTERS EXPLAINED, INCLUDING RIGHT DOWN TO THE SMALL DETAILS, SUCH AS THE PENCIL. MANY OF THE ARTIFACTS DONATED TO THE MUSEUM, INCLUDING THIS PENCIL, WERE KEPT TOGETHER IN ONE OF ALICE’S TRUNKS. WHEN RUTH AND ELEANOR WERE HELPING THEIR MOTHER SORT HER THINGS, SHE EXPLAINED THE ITEMS IN THE TRUNK TO THEM. THE FOLLOWING IS A BRIEF HISTORY OF THE ANDERSON SISTERS AS TOLD BY DONORS ELEANOR SMITH AND RUTH HUMMEL IN THE 2016 INTERVIEW: “[THE ANDERSON SISTERS ORCHESTRA WAS] THE LONGEST RUNNING GROUP AT WATERTON LAKES PAVILION … [WHERE THEY PLAYED] FOR FIVE YEARS STRAIGHT,” ELEANOR EXPLAINED, “IN ADDITION TO DOING ALL KINDS OF OTHER THINGS, THEY WERE CONSTANTLY TRAVELLING [AND] WE HAVE THE RECORDINGS OF THAT.” RUTH ADDED, “THEY WERE ORIGINALLY FROM MONITOR (SASK). IN THE DIRTY 30S, WHEN THINGS GOT BAD FOR A LOT OF FARMS, THEY FOUND A WAY TO HAVE MUSIC LESSONS AND…PLAY FOR LOCAL DANCES. [ULTIMATELY, THE FAMILY] DECIDED TO LEAVE THE FARM AND HEADED OUT IN THE DIRECTION OF LETHBRIDGE (VIA DRUMHELLER). IT WAS TOUGH TIMES FOR A LOT OF PEOPLE IN THE 30S IN ALBERTA, BUT THE GIRLS, WITH THE TALENT THEY HAD, … HAD A WAY OUT…THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY. AND THEN THE ORCHESTRA REALLY CAME OUT OF THAT...” THE OBITUARY OF DONORS’ GRANDFATHER, MARTIN ANDERSON, (PUBLISHED IN THE LETHBRIDGE HERALD, 1981) STATES THE FAMILY ARRIVED IN LETHBRIDGE IN 1940. “THEY WERE SERIOUS MUSICIANS - VERY HUMBLE AND VERY QUIET,” RUTH CONTINUED, “[AS FAR AS PROMOTING THE BAND,] THAT WAS MORE GRANDPA’S JOB. WHEN IT CAME TO MUSIC, IT WAS A GIFT THEY PASSED ON - IN THE LATE ‘30S, ‘40S AND INTO THE ‘50S A BIT – [AND] IT WAS SOMETHING THEY FELT REALLY PRIVILEGED TO BE ABLE TO CONTRIBUTE IN THEIR OWN COMMUNITIES. [DURING] THE WAR YEARS, [THEY PLAYED FOR] THE ARMY BASES THAT WERE ALL CLOSE HERE AND [THEY WERE] A PART OF THAT HISTORY.” “[THEY WERE] ON THE ROAD 6 DAYS A WEEK [WITH THEIR CAR AND TRAILER]… PLAYING NOT JUST IN LETHBRIDGE [BUT] FAR REACHING OVER IN B.C., THE NORTHERN STATES, AND QUITE FAR NORTH IN ALBERTA. SO THEY WERE A REAL PART OF THINGS AND WORKED REAL HARD. I THINK IT’S AN IMPORTANT PART OF THE MUSIC HISTORY IN ALBERTA. THEY WERE, AFTER THE ANDERSON SISTERS [BAND WAS FINISHED], PROUD TO TAKE [MUSIC] INTO THE COMMUNITIES WHERE THEY WERE TEACHERS AND STILL PERFORMERS EVEN PAST THE FOUR OF THEM BEING TOGETHER.” WHEN ASKED ABOUT THEIR PERSONAL MEMORIES OF THE SISTERS PERFORMING TOGETHER, RUTH ANSWERED, “WELL ELEANOR WOULD HAVE BEEN A TODDLER, MYSELF AS WELL, THE LAST FEW TIMES THAT THEY PERFORMED AS THE ANDERSON SISTERS IN THAT ERA. BUT GROWING UP THROUGH THE YEARS, THERE WASN’T A TIME WHEN WE GOT TOGETHER AS A FAMILY WHERE WE DIDN’T HAVE A LOT OF MUSIC. THEY WOULD PLAY FOR US [AND] THEY WERE CALLED BACK SOMETIMES TO PERFORM AT COMMUNITY EVENTS… THE LAST ONE THAT I RECALL WAS SOMETHING IN GRANUM FOR AN ELKS 5OTH ANNIVERSARY IN GRANUM…THAT WAS THE LAST TIME PUBLICLY I REMEMBER.” THE FOLLOWING INFORMATION COMES FROM A HISTORY PUBLISHED IN THE LETHBRIDGE HERALD IN 24 MAY 2003 TITLED, “SISTER ACT: SOUTHERN ALBERTA’S SWINGIN’ ANDERSON SISTERS WERE ALL THE RAGE DURING THE SECOND WORLD WAR.” “IT WAS THE ERA OF SWUNG, OF MUSIC WITH MEMORABLE LYRICS, AND OF DANCE. IT WAS ALSO THE TIME OF THE SECOND WORLD WAR AND THE HEYDAY OF THE ANDERSON SISTERS, AND LITERALLY EVERY TOWN IN SOUTHERN ALBERTA WAS SWINGING AND SWAYING TO THE SOUNDS OF FLORENCE, MARIE, ALICE, AND RUTH." "DUBBED THE FOUR MAIDS OF MELODY BY CJOC RADIO…" THE ARTICLE CONTINUED, "[THE SISTERS] WERE THE TOAST OF SOUTHERN ALBERTA’S DANCE HALLS." INTERVIEWED FOR THE ARTICLE WAS ONE OF THE SISTERS, MARIE POPSON. SHE WAS QUOTED, "WE PLAYED THE TRIANON A LOT, THE OLD BUCKET OF BLOOD. THEY CALLED IT THAT BECAUSE IT WAS DURING THE WAR AND THERE WERE A LOT OF FIGHTS. PRIOR TO AND AFTER THE TRIANON WAS OK, BUT IT WAS REAL LIVELY DURING THE WAR… THE CROWDS [THERE] WERE SO LARGE THEY WERE AFRAID THE FLOOR WOULD WEAKEN… THE DANCE FLOOR WAS ON THE SECOND STORY OF THE BUILDING." THE ARTICLE EXPLAINED, "FLORENCE WAS THE ELDEST OF THE ANDERSON SISTERS AND AS SUCH WAS THE BAND’S LEADER. [SHE] PLAYED THE SAXOPHONE AND THE PIANO. MARIE… PLAYED THE PIANO AND ALICE PLAYED THE SAXOPHONE AND CLARINET. RUTH, 'THE BABY,' … PLAYED THE DRUMS, CLARINET AND TRUMPET." THE ARTICLE READS, "'RUTH STARTED PLAYING THE DRUMS AT AGE 11 AND LATER SHE COULD HANDLE THE DRUMMING WITH HER FEET AND PLAY THE TRUMPET AT THE SAME TIME FOR SOME OF OUR NUMBERS,’ SAYS MARIE WITH A TWIRL OF THE HAND. ‘FLO AND ALICE WERE OUR MAIN SINGERS AND I MADE UP THE TRIO SOMETIMES. RUTH DIDN’T SING. WHEN WE SANG AS A TRIO RUTH WOULD PLAY THE PIANO. ALICE WOULD ALSO SING SOLO. WE PLAYED ALL THE POPULAR MUSIC OF THE DAY AND OLD-TIME MUSIC AS WELL… MY SISTERS COULD ALSO PLAY THAT FAST-PACED SQUARE DANCE MUSIC ON THE SAX, AND THAT WAS SOMETHING. WE PLAYED WALTZES, POLKAS AND EVERYTHING… YOU NAME IT, WE PLAYED IT... OUR THEME SONG WAS BREEZING ALONG WITH THE BREEZE BUT MY FAVOURITE HAD TO BE SIDE BY SIDE, WHICH WE WERE AS A GROUP. WE WERE VERY CLOSE.'" THAT ARTICLE STATES THAT MARTIN AND IDA HAD EIGHT DAUGHTERS, IN FACT, BUT ONLY FOUR LIVED TO BECOME TEENAGERS. THE FOUR SURVIVING SISTERS BEGAN THEIR MUSICAL EDUCATION AT AN EARLY AGE, ALL BEGINNING WITH PIANO. THEY BEGAN PLAYING FOR VARIOUS TYPES OF EVENTS NEAR MONITOR, WHERE THEY WERE BORN. WHILE FLORENCE WAS WITH THE ALL GIRLS BAND IN CALGARY, THE THREE YOUNGER SISTERS FORMED THEIR OWN ORCHESTRA, MAKING THEIR DEBUT IN 1937. THE FOLLOWING YEAR, AFTER FLORENCE’S RETURN, THE ANDERSON SISTERS ORCHESTRA WAS FORMED. UPON ARRIVING IN LETHBRIDGE IN 1940, THEY AUDITIONED FOR THE CJOC RADIO STATION. THE ARTICLE STATES, “FOUR DAYS LATER THEY WERE ON THE AIR, LIVE, ON THE CHRISTMAS SHOPPER PROGRAM HEARD THREE TIMES A WEEK. THEY WERE ALSO ON THE AIR MONDAY NIGHTS FROM 9:15 TO 9:30 PM.” A NOTE THAT CAME WITH THE DONATION SAYS THE WEEKLY SHOW WITH CJOC WAS “BROADCAST LIVE ‘FROM HIGH ATOP THE MARQUIS HOTEL.’” BACK IN THE 2016 INTERVIEW AT THE MUSEUM, ALICE’S DAUGHTER ELEANOR COMMENTS ON THE BAND’S LEGACY. “I VOLUNTEER AT THE HOSPITAL [AND PLAY THE PIANO]. I USUALLY HAVE SENIORS INVOLVED THERE… AND WHEN I MENTION MY MOM’S NAME OR MY AUNT’S NAME, THEY REMEMBER DANCING TO THE ANDERSON SISTERS. SO, YOU KNOW, EVEN IN THIS DAY AND AGE, [PEOPLE] REMEMBER HOW MUCH FUN THEY HAD. [IT SHOWS] HOW RESPECTED THEY WERE AND I FIND THAT [BACKGROUND] JUST THRILLING.” “[MUSIC] WAS THEIR LIVELIHOOD,” RUTH ILLUMINATED, “SO [IT] WAS DRIVING THEM [THROUGH] TOUGH TIMES (SUCH AS THE DEPRESSION IN ALBERTA). THE GIRLS TOGETHER [WITH] THE TALENT THEY HAD, HAD A WAY OUT, WHERE A LOT OF OTHER PEOPLE HAD SOME BIGGER STRUGGLES. AND IT WAS THE TALENT IN THEM BEING TOGETHER. THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY.” PLEASE SEE PERMANENT FILE FOR FURTHER INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES AND CLIPPINGS ABOUT THE ANDERSON SISTERS AND THEIR SHOWS, AND FAMILY OBITUARIES.
Catalogue Number
P20160044002
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Date Range From
1941
Date Range To
1970
Material Type
Artifact
Materials
BAKELITE
Catalogue Number
P20160044004
  2 images  
Material Type
Artifact
Date Range From
1941
Date Range To
1970
Materials
BAKELITE
No. Pieces
1
Height
3
Length
8.3
Width
0.7
Description
RED TRANSLUCENT BAKELITE KEY CASE. OVAL-SHAPED KEY HOLDER WITH FADED GOLD METALLIC TEXT ON ONE SIDE WHICH READS, “ANDERSON SISTERS ORCHESTRA." SLOTS ALONG BOTH SIDES TO HOLD TWO KEYS. GOOD CONDITION: MODERATE LOSS OF GOLD PAINT OF TEXT. OVERALL SCUFFING.
Subjects
PERSONAL GEAR
Historical Association
LEISURE
DOMESTIC
History
THE LATE ALICE PEARL HUMMEL (13 JUNE 1922 – 7 APRIL 2016) PERFORMED AS PART OF THE “ANDERSON SISTERS ORCHESTRA” ALONGSIDE HER SISTERS – FLORENCE JEANNETTE MCINTOSH (MAY 1917 – 18 MARCH 1999), MARIE EVELYN POPSON (C.1921 - 8 MARCH 2008) AND RUTH GINZER (C. 1926 - D. 2016). THE FOUR DAUGHTERS WERE BORN TO PARENTS, MARTIN EDWARD ANDERSON AND IDA JOHANNA ANDERSON (NEE JOHNSON). THE BAND WAS A FAMILY AFFAIR THAT SAW GREAT SUCCESS IN THE SOUTHERN ALBERTA REGION. ALICE’S DAUGHTERS, ELEANOR SMITH AND RUTH HUMMEL, HONOURED THEIR MOTHER’S WISHES TO DONATE A NUMBER OF HER EFFECTS FROM HER TIME WITH LETHBRIDGE BAND TO THE MUSEUM. THIS KEY HOLDER CAME TO THE MUSEUM WITH A NOTE THAT STATED, “EACH OF THE SISTERS HAD A KEY HOLDER. THIS ONE IS ALICE’S.” IN 2016 DECEMBER 16, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DAUGHTERS ABOUT THE DONATION. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT EXCHANGE. IN THE INTERVIEW, RUTH EXPLAINED THE KEY HOLDER WAS FROM THE EARLY 1940S (1940-41) AND ORIGINATED IN THE ERA THE ANDERSON SISTERS ORCHESTRA WAS PERFORMING FREQUENTLY. “MOM SAID THAT EACH OF [THE SISTERS] HAD ONE OF THE KEY HOLDERS,” RUTH STATED, “YOU CAN SEE THROUGH IT [AND] THERE’S A LITTLE PLACE THAT A LITTLE KEY CAN BE KIND OF FOLDED IN OR TWO KEYS. I’M NOT SURE IF THE REASON THEY EVEN HAD ONE TO START WITH WAS SOMEONE THINKING THAT MAYBE THEY’D WANT TO SELL A BUNCH [TO] MAYBE MARKET AT THEIR CONCERTS, BUT THAT WASN’T SOMETHING THEY DID. THEY WERE THERE TO SELL MUSIC NOT ITEMS. THEY DIDN’T SELL ANYTHING BUT TICKETS.” “SO, THEY ALL ENDED UP WITH [A KEY HOLDER]. I BELIEVE MOM [WAS] THE ONLY ONE WHO HAD HERS STILL. THEY WERE ALWAYS GETTING APPROACHED WITH A MARKETING IDEA. I THINK UNLESS IT WAS SOMETHING THAT GRANDPA FELT COMPLIMENTED THINGS THEY DIDN’T GET INTO DOING THAT, WHICH MAYBE WAS A MISTAKE WHEN YOU THINK OF IT FROM A MARKETING STAND POINT. BUT THEY LOOKED AT THE MUSIC FIRST, AND THE TRINKETS WEREN’T SOMETHING THEY EVER REALLY GOT INTO.” MANY OF THE ARTIFACTS DONATED TO THE MUSEUM, INCLUDING THIS KEY HOLDER, WERE KEPT TOGETHER IN ONE OF ALICE’S TRUNKS. WHEN RUTH AND ELEANOR WERE HELPING THEIR MOTHER SORT HER THINGS, SHE EXPLAINED THE ITEMS IN THE TRUNK TO THEM. THE FOLLOWING IS A BRIEF HISTORY OF THE ANDERSON SISTERS AS TOLD BY DONORS ELEANOR SMITH AND RUTH HUMMEL IN THE 2016 INTERVIEW: “[THE ANDERSON SISTERS ORCHESTRA WAS] THE LONGEST RUNNING GROUP AT WATERTON LAKES PAVILION … [WHERE THEY PLAYED] FOR FIVE YEARS STRAIGHT,” ELEANOR EXPLAINED, “IN ADDITION TO DOING ALL KINDS OF OTHER THINGS, THEY WERE CONSTANTLY TRAVELLING [AND] WE HAVE THE RECORDINGS OF THAT.” RUTH ADDED, “THEY WERE ORIGINALLY FROM MONITOR (SASK). IN THE DIRTY 30S, WHEN THINGS GOT BAD FOR A LOT OF FARMS, THEY FOUND A WAY TO HAVE MUSIC LESSONS AND…PLAY FOR LOCAL DANCES. [ULTIMATELY, THE FAMILY] DECIDED TO LEAVE THE FARM AND HEADED OUT IN THE DIRECTION OF LETHBRIDGE (VIA DRUMHELLER). IT WAS TOUGH TIMES FOR A LOT OF PEOPLE IN THE 30S IN ALBERTA, BUT THE GIRLS, WITH THE TALENT THEY HAD, … HAD A WAY OUT…THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY. AND THEN THE ORCHESTRA REALLY CAME OUT OF THAT...” THE OBITUARY OF DONORS’ GRANDFATHER, MARTIN ANDERSON, (PUBLISHED IN THE LETHBRIDGE HERALD, 1981) STATES THE FAMILY ARRIVED IN LETHBRIDGE IN 1940. “THEY WERE SERIOUS MUSICIANS - VERY HUMBLE AND VERY QUIET,” RUTH CONTINUED, “[AS FAR AS PROMOTING THE BAND,] THAT WAS MORE GRANDPA’S JOB. WHEN IT CAME TO MUSIC, IT WAS A GIFT THEY PASSED ON - IN THE LATE ‘30S, ‘40S AND INTO THE ‘50S A BIT – [AND] IT WAS SOMETHING THEY FELT REALLY PRIVILEGED TO BE ABLE TO CONTRIBUTE IN THEIR OWN COMMUNITIES. [DURING] THE WAR YEARS, [THEY PLAYED FOR] THE ARMY BASES THAT WERE ALL CLOSE HERE AND [THEY WERE] A PART OF THAT HISTORY.” “[THEY WERE] ON THE ROAD 6 DAYS A WEEK [WITH THEIR CAR AND TRAILER]… PLAYING NOT JUST IN LETHBRIDGE [BUT] FAR REACHING OVER IN B.C., THE NORTHERN STATES, AND QUITE FAR NORTH IN ALBERTA. SO THEY WERE A REAL PART OF THINGS AND WORKED REAL HARD. I THINK IT’S AN IMPORTANT PART OF THE MUSIC HISTORY IN ALBERTA. THEY WERE, AFTER THE ANDERSON SISTERS [BAND WAS FINISHED], PROUD TO TAKE [MUSIC] INTO THE COMMUNITIES WHERE THEY WERE TEACHERS AND STILL PERFORMERS EVEN PAST THE FOUR OF THEM BEING TOGETHER.” WHEN ASKED ABOUT THEIR PERSONAL MEMORIES OF THE SISTERS PERFORMING TOGETHER, RUTH ANSWERED, “WELL ELEANOR WOULD HAVE BEEN A TODDLER, MYSELF AS WELL, THE LAST FEW TIMES THAT THEY PERFORMED AS THE ANDERSON SISTERS IN THAT ERA. BUT GROWING UP THROUGH THE YEARS, THERE WASN’T A TIME WHEN WE GOT TOGETHER AS A FAMILY WHERE WE DIDN’T HAVE A LOT OF MUSIC. THEY WOULD PLAY FOR US [AND] THEY WERE CALLED BACK SOMETIMES TO PERFORM AT COMMUNITY EVENTS… THE LAST ONE THAT I RECALL WAS SOMETHING IN GRANUM FOR AN ELKS 5OTH ANNIVERSARY IN GRANUM…THAT WAS THE LAST TIME PUBLICLY I REMEMBER.” THE FOLLOWING INFORMATION COMES FROM A HISTORY PUBLISHED IN THE LETHBRIDGE HERALD IN 24 MAY 2003 TITLED, “SISTER ACT: SOUTHERN ALBERTA’S SWINGIN’ ANDERSON SISTERS WERE ALL THE RAGE DURING THE SECOND WORLD WAR.” “IT WAS THE ERA OF SWUNG, OF MUSIC WITH MEMORABLE LYRICS, AND OF DANCE. IT WAS ALSO THE TIME OF THE SECOND WORLD WAR AND THE HEYDAY OF THE ANDERSON SISTERS, AND LITERALLY EVERY TOWN IN SOUTHERN ALBERTA WAS SWINGING AND SWAYING TO THE SOUNDS OF FLORENCE, MARIE, ALICE, AND RUTH." "DUBBED THE FOUR MAIDS OF MELODY BY CJOC RADIO…" THE ARTICLE CONTINUED, "[THE SISTERS] WERE THE TOAST OF SOUTHERN ALBERTA’S DANCE HALLS." INTERVIEWED FOR THE ARTICLE WAS ONE OF THE SISTERS, MARIE POPSON. SHE WAS QUOTED, "WE PLAYED THE TRIANON A LOT, THE OLD BUCKET OF BLOOD. THEY CALLED IT THAT BECAUSE IT WAS DURING THE WAR AND THERE WERE A LOT OF FIGHTS. PRIOR TO AND AFTER THE TRIANON WAS OK, BUT IT WAS REAL LIVELY DURING THE WAR… THE CROWDS [THERE] WERE SO LARGE THEY WERE AFRAID THE FLOOR WOULD WEAKEN… THE DANCE FLOOR WAS ON THE SECOND STORY OF THE BUILDING." THE ARTICLE EXPLAINED, "FLORENCE WAS THE ELDEST OF THE ANDERSON SISTERS AND AS SUCH WAS THE BAND’S LEADER. [SHE] PLAYED THE SAXOPHONE AND THE PIANO. MARIE… PLAYED THE PIANO AND ALICE PLAYED THE SAXOPHONE AND CLARINET. RUTH, 'THE BABY,' … PLAYED THE DRUMS, CLARINET AND TRUMPET." THE ARTICLE READS, "'RUTH STARTED PLAYING THE DRUMS AT AGE 11 AND LATER SHE COULD HANDLE THE DRUMMING WITH HER FEET AND PLAY THE TRUMPET AT THE SAME TIME FOR SOME OF OUR NUMBERS,’ SAYS MARIE WITH A TWIRL OF THE HAND. ‘FLO AND ALICE WERE OUR MAIN SINGERS AND I MADE UP THE TRIO SOMETIMES. RUTH DIDN’T SING. WHEN WE SANG AS A TRIO RUTH WOULD PLAY THE PIANO. ALICE WOULD ALSO SING SOLO. WE PLAYED ALL THE POPULAR MUSIC OF THE DAY AND OLD-TIME MUSIC AS WELL… MY SISTERS COULD ALSO PLAY THAT FAST-PACED SQUARE DANCE MUSIC ON THE SAX, AND THAT WAS SOMETHING. WE PLAYED WALTZES, POLKAS AND EVERYTHING… YOU NAME IT, WE PLAYED IT... OUR THEME SONG WAS BREEZING ALONG WITH THE BREEZE BUT MY FAVOURITE HAD TO BE SIDE BY SIDE, WHICH WE WERE AS A GROUP. WE WERE VERY CLOSE.'" THAT ARTICLE STATES THAT MARTIN AND IDA HAD EIGHT DAUGHTERS, IN FACT, BUT ONLY FOUR LIVED TO BECOME TEENAGERS. THE FOUR SURVIVING SISTERS BEGAN THEIR MUSICAL EDUCATION AT AN EARLY AGE, ALL BEGINNING WITH PIANO. THEY BEGAN PLAYING FOR VARIOUS TYPES OF EVENTS NEAR MONITOR, WHERE THEY WERE BORN. WHILE FLORENCE WAS WITH THE ALL GIRLS BAND IN CALGARY, THE THREE YOUNGER SISTERS FORMED THEIR OWN ORCHESTRA, MAKING THEIR DEBUT IN 1937. THE FOLLOWING YEAR, AFTER FLORENCE’S RETURN, THE ANDERSON SISTERS ORCHESTRA WAS FORMED. UPON ARRIVING IN LETHBRIDGE IN 1940, THEY AUDITIONED FOR THE CJOC RADIO STATION. THE ARTICLE STATES, “FOUR DAYS LATER THEY WERE ON THE AIR, LIVE, ON THE CHRISTMAS SHOPPER PROGRAM HEARD THREE TIMES A WEEK. THEY WERE ALSO ON THE AIR MONDAY NIGHTS FROM 9:15 TO 9:30 PM.” A NOTE THAT CAME WITH THE DONATION SAYS THE WEEKLY SHOW WITH CJOC WAS “BROADCAST LIVE ‘FROM HIGH ATOP THE MARQUIS HOTEL.’” BACK IN THE 2016 INTERVIEW AT THE MUSEUM, ALICE’S DAUGHTER ELEANOR COMMENTS ON THE BAND’S LEGACY. “I VOLUNTEER AT THE HOSPITAL [AND PLAY THE PIANO]. I USUALLY HAVE SENIORS INVOLVED THERE… AND WHEN I MENTION MY MOM’S NAME OR MY AUNT’S NAME, THEY REMEMBER DANCING TO THE ANDERSON SISTERS. SO, YOU KNOW, EVEN IN THIS DAY AND AGE, [PEOPLE] REMEMBER HOW MUCH FUN THEY HAD. [IT SHOWS] HOW RESPECTED THEY WERE AND I FIND THAT [BACKGROUND] JUST THRILLING.” “[MUSIC] WAS THEIR LIVELIHOOD,” RUTH ILLUMINATED, “SO [IT] WAS DRIVING THEM [THROUGH] TOUGH TIMES (SUCH AS THE DEPRESSION IN ALBERTA). THE GIRLS TOGETHER [WITH] THE TALENT THEY HAD, HAD A WAY OUT, WHERE A LOT OF OTHER PEOPLE HAD SOME BIGGER STRUGGLES. AND IT WAS THE TALENT IN THEM BEING TOGETHER. THEY COULD DO A LOT WHEN THEY STUCK TOGETHER AS A FAMILY.” PLEASE SEE PERMANENT FILE FOR FURTHER INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES AND CLIPPINGS ABOUT THE ANDERSON SISTERS AND THEIR SHOWS, AND FAMILY OBITUARIES.
Catalogue Number
P20160044004
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Other Name
GUN OIL
Date Range From
1935
Date Range To
1950
Material Type
Artifact
Materials
GLASS, CORK, OIL
Catalogue Number
P20190002003
  2 images  
Material Type
Artifact
Other Name
GUN OIL
Date Range From
1935
Date Range To
1950
Materials
GLASS, CORK, OIL
No. Pieces
1
Height
10.4
Length
3.5
Width
4.6
Description
GLASS BOTTLE CONTAINING AMBER OIL, WITH CRACKED AND TORN CORK IN TOP OPENING. BOTTLE HAS ROUND NECK, DOMED TOP AND SQUARE BODY; BOTTLE HAS BLUE AND WHITE LABEL ON FRONT. FRONT LABEL BLUE BACKGROUND WITH WHITE CROWN ABOVE WHITE SHIELD WITH RED AND BLUE TEXT; LABEL IS TORN ACROSS SHIELD MAKING RED TEXT INDECIPHERABLE, BLUE TEXT BELOW READS “PURE VANILLA”; SHIELD HAS WHITE DOTS AROUND BASE AND WHITE TEXT BELOW “FLAVORING EXTRACTS, CAMPBELL BROS & WILSON LIMITED, WINNIPEG – CANADA, EST. 1882”. BACK OF BOTTLE HAS EMBOSSED IN GLASS “2 FL. OZ”. BASE OF BOTTLE HAS EMBOSSED IN GLASS “1, 4818, FDJ” WITH “D” IN A DIAMOND. CORK IS TORN OFF AT THE TOP OF THE BOTTLE NECK; LABEL IS WORN AND DISCOLORED; OVERALL VERY GOOD CONDITION.
Subjects
CONTAINER
Historical Association
SAFETY SERVICES
History
ON JANUARY 10, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED JEAN BUCHANAN REGARDING HER DONATION OF A REVOLVER AND FIREARM ACCESSORIES. THE FIREARM WAS USED BY BUCHANAN’S FATHER, EDWARD ETTERSHANK BUCHANAN, DURING HIS CAREER WITH THE ALBERTA PROVINCIAL POLICE AND ROYAL CANADIAN MOUNTED POLICE. BUCHANAN ELABORATED ON THE USE OF THE GUN OIL, NOTING, “[DAD HAD A BAG] BECAUSE, IN HIS YOUNGER DAYS, HE OFTEN HAD TO GO OUT ON HORSEBACK. HE’D BE GONE, HUNTING DOWN A MURDERER, AND HE MIGHT HAVE HAD A GUIDE WITH HIM. HE TOOK SOME OF HIS CLEANING EQUIPMENT FOR THE REVOLVER, AND HIS RIFLE, TOO…HE COULD PACK HIS LUNCH…KNIVES, SURVIVAL, AND HIS DIRTY OLD CLEANING CLOTH THAT HE USED, AND AN OLD BOTTLE OF GUN OIL, SO HE COULD CLEAN THE GUN IN CASE HE HAPPENED TO DROP IT IN SOME MUD. YOU NEVER KNOW [WHAT MIGHT HAPPEN] WHEN YOU’RE OUT…YOU HAVE TO KEEP YOUR GUN VERY CLEAN. HE KEPT EVERYTHING VERY CLEAN…YOU HAVE TO KEEP THE GUN CLEAN IF YOU’RE GOING TO USE IT, BECAUSE YOU COULD DAMAGE IT IF YOU HAVE ANY DIRT IN THE BARREL.” ON HER FATHER’S REVOLVER, BUCHANAN RECALLED, “[MY DAD] USED [THE SMITH AND WESSON REVOLVER]…STARTING IN 1932, WITH THE RCMP, MAY BE WHEN HE GOT THAT GUN. HE HAD IT REGISTERED IN 1940, AND GETTING ANOTHER 5 YEARS REGISTRATION IT MUST HAVE BEEN 1935. [THE GUN] WAS HIS SIDEARM…HIS SERVICE WEAPON…HE HAD THAT ALL THE TIME…IT WOULD GO RIGHT ON HIS BELT THERE.” “[DAD KEPT THE GUN] IN [MY PARENTS’] BEDROOM. RIGHT ON THE BEDROOM CLOSET DOOR, RIGHT OPEN. I NEVER TOUCHED IT, BECAUSE HE HAD GIVEN ME MY TRAINING AND LET ME USE IT WHEN I WAS YOUNG. I HAD RESPECT FOR IT, AND I HAD NO SPECIAL CURIOSITY, WHICH IS A GOOD THING. [DAD KNEW I WAS] AN ADVENTUROUS PERSON, BUT I NEVER EVER TOUCHED IT, OUT OF COMPLETE RESPECT FOR DAD AND WHAT HE HAD THERE.” “ALL I CAN REMEMBER [IS HE HAD TWO HANDGUNS OR SIDEARMS]…HE DIDN’T GO OUT PRACTICING VERY MUCH; HE DIDN’T HAVE TO. HE COULD PASS HIS MARKSMANSHIP, AND THEN, EVERY TIME THERE WERE THINGS AT REGINA DEPOT TRAINING COURSES (UPGRADING, REFRESHER COURSES) THEY DID THEIR MARKSMANSHIP THERE, TOO. THEY WERE ALWAYS TESTED ON THEIR MARKSMANSHIP, AT REGINA DEPOT.” “I THINK [THE REVOLVER HAD] QUITE A BIT [OF MEANING TO MY DAD], BECAUSE HE HAD IT IN HIS HOUSE. IT WAS REALLY STRANGE BECAUSE I ASKED HIM WHERE IT WAS, WHEN HE SHOWED ME THE PAPERS, AND HE HAD IT IN A SHOE BOX IN HIS BEDROOM CLOSET. YOU DIDN’T HAVE TO HAVE GREAT [HIDING] PLACES FOR IT IN THOSE DAYS, BUT THAT’S WHERE HE KEPT IT. HE MADE SURE IT WAS THERE, AND HE KNEW WHERE IT WAS.” “[I HAVE NO] KNOWLEDGE ABOUT HIM HAVING TO FIRE THIS WEAPON…AT ANYONE. IF HE WOULD HAVE, HE WOULD HAVE FIRED TO MISS SOMEONE, JUST AS A WARNING SHOT. HE DEFINITELY WENT FOR WARNING SHOTS, BUT HE NEVER SHOT ANYBODY WITH IT." “[HE WOULD HAVE STOPPED CARRYING THE GUN] AT THE VERY END OF 1950, WHEN HE RETIRED FROM THE R.C.M.P.” “[I’VE HAD THE REVOLVER] SINCE 1998—THE PASSING OF MY FATHER, BECAUSE I WAS THE SOLE EXECUTRIX. IT WAS AUTOMATICALLY MY RESPONSIBILITY TO TAKE ALL OF HIS FIREARMS, IN MY POSSESSION.” “I WAS RESPONSIBLE FOR [THE CARE OF] IT, AND IT WAS A REAL KEEPSAKE. [THE GUN WAS] WAS VERY PERSONAL, BECAUSE I’M SURE [MY DAD] OWNED THAT EVEN BY BACK IN 1935, [WHEN] HE WAS IN WESTLOCK, IN CHARGE OF THE DETACHMENT THERE FOR 10 YEARS. IT WAS OF SENTIMENTAL VALUE BECAUSE HE TOOK ME OUT (I’M PRETTY SURE I WAS 8 YEARS OLD, WHEN HE HAD ME IN THE BACKYARD)—WE HAD FARMLAND AND FOREST—AND HE HAD A TARGET PRACTICE OUT THERE. HE HAD ME USE THAT FIREARM. HE SHOWED ME HOW TO USE IT, HOW TO AIM, AND HOW TO HANDLE IT SAFELY. I ALWAYS RESPECTED THAT, AND THAT WAS GOOD. THAT’S THE ORIGINAL HOLSTER FOR THAT GUN, WHICH YOU CAN SEE IS LOOPED, TO PUT ON HIS BELT. HE ALSO CARRIED A .32 COLT SEMI-AUTOMATIC.” “I’VE ALWAYS APPRECIATED REVOLVERS, AND RIFLES. IT’S NEVER BEEN ANYTHING THAT I THOUGHT ANY DANGER OF. YOU LEARN THE SAFETY, AND YOU TAKE YOUR COURSE. I HAVE MY COURSE DONE, AND I PASSED IT WITH FLYING COLORS. I HAD MY PERMIT TO HAVE IT. I HAVE TAKEN IT OUT, ON MY OWN ACREAGE, AND FIRED IT A BIT, BUT IT ISN’T SOMETHING I WANT TO DO. IT’S A SENTIMENTAL THING THAT I CAN NOW FEEL I’D LIKE TO HAVE IT IN YOUR MUSEUM. I KNOW IT’S NOW IN A SAFE PLACE, SO I DON’T HAVE TO WORRY ABOUT IT EVER FALLING INTO THE WRONG HANDS. AND, IF I WANT TO COME AND VISIT IT, I CAN COME AND SEE IT.” ON JUNE 8, 2018, MACLEAN INTERVIEWED BUCHANAN REGARDING HER FATHER’S CAREER WITH THE ALBERTA PROVINCIAL POLICE AND ROYAL CANADIAN MOUNTED POLICE. BUCHANAN ELABORATED ON HER FATHER’S HISTORY, “[MY DAD WAS EDWARD BUCHANAN, WHO RETIRED AT THE RANK OF] SENIOR STAFF SERGEANT…HE RETIRED IN 1950 FROM THE [R.C.M.P].” “HE JOINED THE A.P.P. WHEN HE WAS TWENTY AND HE WAS STATIONED OUT NEAR ST. PAUL. IN ’21, HE MET MY MOTHER IN EDMONTON…BUT HE STAYED AT ST. PAUL AND THEN AFTER, HE GOT POSTED TO GRANDE PRAIRIE. HE WAS GOING TO GO TO GRANDE PRAIRIE BUT THEN IN ’22, THEY GOT MARRIED. A.P.P. HAD NO RESTRICTIONS ON THEIR MEMBERS GETTING MARRIED, LIKE THE R.C.M.P. HE DIDN’T HAVE TO WAIT TO GET MARRIED…THAT’S WHEN THEY WENT OUT TO BRAINARD.” “EVEN IN THE A.P.P., TO START WITH, HE HAD SOME SERVICE DOWN HERE AT THE LETHBRIDGE PRISON…BRINGING PRISONERS DOWN AND THEN MAYBE, AT THE VERY FIRST WINTER AS A ROOKIE, HE WAS ON JOB TO BE ON GUARD AT THE STATION. IT WASN’T LONG AND HE WAS SENT OUT TO ST. PAUL AND INTO MORE OF THE REAL POLICING.” “WHEN HE WAS IN THE A.P.P. [IN 1932] HE WAS THE TOP CLASS OF [THE] A.P.P. THAT AUTOMATICALLY WERE ACCEPTED INTO THE R.C.M.P. HE WAS PUT IN CHARGE, WHEN HE WAS IN THE A.P.P.—FIRST HE STARTED OUT IN CHARGE OF BRAINARD—HORSE LAKE—A LITTLE PLACE NEAR THE HORSE LAKE INDIAN RESERVATION. THEY CLOSED THAT DOWN AND TRANSFERRED HIM TO WEMBLEY, A LITTLE VILLAGE, AND HE WAS THE ONLY ONE IN CHARGE, THE ONLY OFFICER IN CHARGE OF WEMBLEY. THAT’S WHEN THAT 1932 [CHANGE] CAME ALONG AND HE JUST CHANGED THE SIGN UP THERE FROM A.P.P. TO R.C.M.P. AND WENT FROM THERE.” “IN ’32, IT WAS R.C.M.P. AND THAT STAYED R.C.M.P. UNTIL ’34. THEN HE WAS TRANSFERRED TO TAKE CHARGE OF THE WESTLOCK DETACHMENT WHICH WAS A BIG AREA. [THERE] WAS NO DETACHMENT IN BARRHEAD. HE HAD A HUGE AREA THERE TO COVER.” “[A.P.P. MEMBERS] WERE NOT AUTOMATICALLY TAKEN INTO THE R.C.M.P. THEY HAD THREE CATEGORIES THERE, OF THE A.P.P. MEMBERS…[THERE WERE] ONES THAT WERE NOT ACCEPTABLE, THAT THEY HADN’T DONE A VERY GOOD JOB IN THE A.P.P.; THEY SHOWED UP, GOOFIN’ AROUND, DOING THINGS THEY SHOULDN’T BE DOING. THEY WERE NOT ACCEPTABLE. THEN THERE [WERE THE ONES THAT] COULD BE GIVEN A LITTLE TRIAL RUN. THEY COULD APPLY. THEN THERE [WERE] ONES THAT COULD GET IN FOR A FULL YEAR AND THEN RE-APPLY. THEY’D BE ACCEPTED FOR A YEAR. THEN THERE’S THE TOP GRADE AND [THEY] WERE AUTOMATICALLY ACCEPTABLE. DAD WAS RIGHT UP THERE IN THAT TOP GRADE.” “A.P.P. MEMBERS WERE TRAINED BY THE NORTHWEST MOUNTED POLICE, NOT SOME GOOFBALLS THAT DIDN’T KNOW WHAT THEY WERE DOING. THESE WERE TRAINED BY THE BEST-TRAINED POLICE OFFICERS.” “ASSISTANT COMMISSIONER HANCOCK KNEW DAD REALLY WELL, HE’D EVEN BEEN IN THE A.P.P. HE CALLED DAD INTO THE OFFICE AND HE SAID, “BUCK, [DAD WAS EDWARD ETTERSHANK BUCHANAN BUT THEY CALLED HIM ‘BUCK’, A LOT] I WAS GOING TO SEND YOU DOWN TO TAKE CHARGE OF THE RED DEER DETACHMENT BUT I’VE HAD SO MUCH PROBLEM GETTING SOMEBODY TO GO DOWN TO TAKE THE LETHBRIDGE DETACHMENT…YOU’RE THE ONLY ONE, I THINK, THAT CAN HANDLE THE SITUATION WE’VE GOT DOWN THERE. THERE’S A LOT OF PROBLEMS AND I’M SURE YOU’RE THE ONLY ONE THAT CAN HANDLE IT. WILL YOU GO?” “[WE CAME DOWN HERE IN] ’44…I NEVER HAD ANY PROBLEM [WITH THE MOVE]. I WAS ALWAYS ADVENTUROUS. I HAD LOTS OF FRIENDS BUT I WAS ALWAYS HAPPY TO GO.” “WE RENTED A HOUSE ON 538 – 7TH STREET. IT’S ALL TORN DOWN NOW. DAD HAD TO COME DOWN A MONTH OR SO AHEAD OF US AND THEN HE COULDN’T FIND A HOUSE READY, SO WE CAME DOWN AND STAYED IN A HOTEL FOR ABOUT TWO MONTHS. I HAD TO START GRADE TEN; I WAS ONLY FOURTEEN, HERE. THAT WAS, TO ME, THE ONLY SAD PART OF MY LIFE, LEAVING THE WESTLOCK SCHOOL AND STARTING LCI. THE PERSONALIZATION WAS GONE WITH THE TEACHERS.” “[DAD] HAD TO OVERSEE THE POW CAMPS…HE TALKED ABOUT THE POW’S IN THIS RESPECT, THAT THERE WAS A LOT OF VERY GOOD GERMANS THAT WERE IN THERE. [THEY] WOULDN’T HAVE CHOSEN TO EVEN BE IN THE GERMAN ARMY…THEY WERE CONSCRIPTED OVER IN GERMANY, THEY DIDN’T HAVE ANY CHOICE, AND THEY WERE VERY DECENT, GOOD GUYS. HE RESPECTED THEM FOR THAT AND HELPED THEM, [GAVE] THEM ADVICE, “YOU KNOW, YOU GOTTA GO BACK TO GERMANY AND THEN APPLY TO COME BACK.” THERE WAS A TRUST THERE TO LET SOME OF THEM OUT TO WORK…‘CAUSE THERE [WAS] A LABOUR SHORTAGE FOR THE FARMERS AND THEY NEEDED THAT HELP. SOME OF THOSE FARMERS WERE VERY PLEASED TO GET SOME OF THESE GERMANS, AND SOME OF THE FARMERS’ DAUGHTERS WERE VERY PLEASED TO GET THAT, TOO. THEN THERE’S SOME LATER MARRIAGES AFTER THAT. IT WOULD BE A SHAME TO CONDEMN ALL THOSE POW’S BECAUSE A LOT OF THEM WERE VERY DECENT, GOOD, MORAL FELLOWS THAT DIDN’T WANT TO BE INVOLVED WITH ANY KILLING.” “HE WAS A PLAIN STAFF SERGEANT, NCO, SECOND IN CHARGE OF THE SUBDIVISION.” “[THEN HE] WENT BACK TO EDMONTON [TO RETIRE IN 1950], HIS HOME CITY WHERE HIS PARENTS WERE AND A LOT OF FRIENDS. HE JOINED THE R.C.M. P. VETS BUT WITH HIS RECORD, THE ATTORNEY GENERAL’S DEPARTMENT WERE NOT GOING TO LET HIM LOOSE. THEY MADE IT A FIRST APPOINTMENT OF AN INSPECTOR OF JAILS FOR THE PRISONS OF ALBERTA WHICH, AT THAT TIME, THERE WERE ONLY TWO: LETHBRIDGE AND FORT SASKATCHEWAN. [THE] ONLY PLACE IN FORT SASKATCHEWAN WAS FOR WOMEN, SO [WOMEN] HAD TO GO ALL THE WAY TO FORT SASKATCHEWAN, EVEN IF [THEY] WAS FROM LETHBRIDGE. THAT WASN’T A VERY GOOD DEAL, SO DAD COULD SEE A REAL NEED [FOR WORK]. IT WAS A REAL MESS WHEN HE LOOKED AT THE PRISONS.” “HE REALIZED, BEING AN R.C.M.P., THAT MANY OF THE YOUNG CITY POLICE, TOWN SHERIFFS, SOME OF THESE MAGISTRATES, THEY MESSED THINGS UP. HE STARTED A TRAINING SCHOOL FOR THESE MUNICIPAL POLICE AND THAT JUST WENT TERRIFICALLY. THEY HAD [THE SCHOOLS] IN CALGARY AND IN EDMONTON TWICE A YEAR. THEY HAD A BIG GROUP FROM MEDICINE HAT COME UP AND [TAKE] THE SCHOOLING, LETHBRIDGE CAME UP, AND SOME OF THE PRISON GUARDS TOOK [THE TRAINING], TOO.” “[HE] WORKED ON THAT FOR FIFTEEN/SIXTEEN YEARS. AFTER TWELVE YEARS, HE WAS SO BUSY THAT THEY MADE HIM SUPERINTENDENT OF PRISONS BECAUSE…THE FIRST THING HE HAD TO DO WAS TO DEVELOP THE PRISONS FOR ALBERTA. TWO WAS NOT SUFFICIENT.” “[DAD’S] PERSONALITY WAS ALWAYS QUIET, FIRM, NO-NONSENSE, HUMOROUS, BUT HE WAS NEVER ARROGANT. I NEVER HEARD HIM SWEAR OR GET MAD AT ANYBODY, NOT EVEN PRISONERS. HE HANDLED THEM VERY QUIETLY, AND VERY FIRMLY. THE STAFF…ALL LOVED HIM. I [HAVE] LETTERS AND THEY CAME ALL THE WAY UP TO THEIR ANNIVERSARIES LATER IN EDMONTON…“YOU’RE THE BEST BOSS WE EVER HAD.” ALL HE HAD WAS A VISION OF WHAT NEEDED TO BE DONE…HE COULD GO AND EXPLAIN THE NEED FOR THE JAILS, WHAT IT WOULD COST AND WHAT IT NEEDED TO FIX THE PROBLEM. HE NEVER HAD PROBLEM GETTING EXACTLY WHAT HE NEEDED FROM THEM.” ON THE DONATION OF THE REVOLVER AND AMMUNITION, BUCHANAN NOTED, “MY DAD KNEW I WOULD LOOK AFTER [HIS BELONGINGS] AND WANTED TO GET IT TO A MUSEUM. [DAD KNEW] THAT I WASN’T ONE TO PUT IT IN MY BASEMENT TO HAVE GOODNESS-KNOWS-WHAT-HAPPEN TO IT. HE HAD LEFT ALL OF THAT IN CHARGE OF ME. I WAS THE SOLE EXECUTOR OF THE ESTATE.” “I AM NOW AT THE YOUNG AGE OF 88; I’M NOT WORRIED ABOUT LIVING ANOTHER 10 YEARS. I DIDN’T WANT THE CHANCE OF ANYBODY STEALING IT, OR GETTING THEIR HANDS ON IT, SO I WANTED TO MAKE SURE YOU GOT IT. AND, I DON’T NEED IT, SO WHY KEEP IT? IF I GET LONESOME, AND WANT TO SEE IT, I’LL COME TO THE MUSEUM AND LOOK AT IT.” “I’LL FEEL HAPPY, TO KNOW IT’S GOT A GOOD HOME. I DON’T HAVE TO WORRY ABOUT IT.” FOR MORE INFORMATION INCLUDING THE FULL TRANSCRIPTIONS FROM INTERVIEWS AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190002001-GA.
Catalogue Number
P20190002003
Acquisition Date
2019-01
Collection
Museum
Images
Less detail
Other Name
"QUEEN MARY" BURNER
Date Range From
1952
Date Range To
1959
Material Type
Artifact
Materials
GLASS, BRASS
Catalogue Number
P20160037000
  1 image  
Material Type
Artifact
Other Name
"QUEEN MARY" BURNER
Date Range From
1952
Date Range To
1959
Materials
GLASS, BRASS
No. Pieces
2
Height
29
Diameter
16
Description
A: GLASS KEROSENE LAMP THAT HAS A FROSTED GLASS OIL LAMP BODY, WHICH IS ATTACHED TO A RED BASE. ON OIL LAMP BODY, THERE ARE 10 BLACK SCOTTISH TERRIERS PAINTED AROUND THE DIAMETER OF THE LAMP. THERE IS A METAL COLLAR AND BURNER WITH FOUR PRONGS ATTACHED TO HOLD THE REMOVABLE, GLASS CHIMNEY IN PLACE. THERE IS A USED WICK IN THE BURNER. IT SAYS, “QUEEN MARY” ON THE BURNER. THERE ARE SEAMS CONNECTING THE GLASS AT BOTH SIDES FOR THE LAMP BODY AND THE BASE. THE BODY SEAMS AND THE BASE SEAMS DO NOT MEET. ON THE UNDERSIDE OF THE LAMP THERE IS AN EMBOSSED VINE DESIGN. GOOD CONDITION. REGULAR WEAR AT THE TOP INCLUDING SLIGHT RUSTING AND BURN MARKS. THERE IS A SMALL SCRATCH TO THE LEFT OF GLASS SEAM ON THE BASE. B: GLASS, LAMP CHIMNEY WITH 22 CM IN HEIGHT AND A TOP DIAMETER OF 5 CM AND A BOTTOM DIAMETER OF 7.4 CM. GOOD CONDITION.
Subjects
LIGHTING DEVICE
Historical Association
DOMESTIC
History
ON 26 OCTOBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH DIANE CÔTÉ (NEE ULLY), WHO DONATED A KEROSENE LAMP THAT HAD BEEN USED THROUGHOUT HER CHILDHOOD. THIS LAMP WAS USED ON THE ULLY FAMILY FARM IN PICTURE BUTTE, AND LATER WHEN THE FAMILY MOVED TO FISHBURN IN THE PINCHER CREEK AREA. IT WAS FINALLY BROUGHT TO THE HOME WHERE CÔTÉ’S PARENTS, FREDRICK CARL ULLY AND SAIMI MARY ULLY, RETIRED IN THE TOWN OF PINCHER CREEK. CÔTÉ RECALLS, “YOU KNOW I DON’T EVEN REMEMBER IF WE HAD POWER AT PICTURE BUTTE, BUT I DON’T THINK WE DID… THE ONLY THING I CAN THINK ABOUT FROM THERE IS WE HAD SEPARATE BEDROOMS IN PICTURE BUTTE. AND I COULD SEE [MY MOM] GOING INTO MOM AND DAD’S BEDROOM WITH [THE LAMP] ONE NIGHT, BUT THAT’S ALL I SEE.” CÔTÉ REMEMBERS THE LAMP’S PRESENCE ON THEIR FARM IN THE PINCHER CREEK AREA AFTER MOVING THERE IN 1952: “I CAN STILL HEAR MY MOTHER SAYING TO ME, ‘YOU DON’T TOUCH THAT LAMP,’ JUST AS PLAIN AS IF IT WAS YESTERDAY. SHE SAID SHE WAS SO WORRIED ABOUT A FIRE. I WAS TEN WHEN WE MOVED [TO FISHBURN. I LATER REALIZED SHE WAS RIGHT; I WAS] PROBABLY NOT RESPONSIBLE ENOUGH TO TOUCH THE LAMP, IN CASE IT DROPPED OR [IF I] BROKE IT. WE ONLY HAD A TWO BEDROOM HOUSE, AND I HAD A BROTHER, SO I SLEPT WITH MY MOTHER AND MY BROTHER SLEPT WITH MY DAD… I REMEMBER MY MOTHER CARRYING [THE LAMP] AROUND A LOT. WHEN I THINK OF HER, I THINK OF THE LAMP TOO. EVERY NIGHT AT BEDTIME, SHE AND I WERE USUALLY THE LAST ONES TO GO TO BED, SO I REMEMBER SHE PICKED UP THE LAMP [OFF THE KITCHEN TABLE] AND WE TROTTED OFF TO BED… WE DID THAT TRIP SO MANY TIMES - EVERY SINGLE NIGHT. THAT’S JUST SOMETHING THAT HAS STUCK WITH ME…” “WHEN WE FIRST MOVED [TO FISHBURN], IT WAS [THE ONLY SOURCE OF LIGHT IN THE HOUSE]. THEN LATER ON, THEY GOT A CAMPING LAMP THAT [HAD] A HANDLE. THE HOUSE WE MOVED [INTO] WAS AN OLD, OLD, OLD LOG HOUSE. I THINK IT WAS 100 YEARS OLD WHEN WE MOVED INTO IT. IT HAD THE ACTUAL LOGS. THEY WEREN’T PLANED; THEY WERE JUST THE ACTUAL LOGS WITH WHITEWASH ON THEM. HE PUT A THING UP THERE, SO THEN WE COULD LIGHT THIS LAMP UP AND HANG IT UP ON THE ROOF. I DON’T REMEMBER WHEN WE GOT POWER. I REMEMBER THEM PUTTING THE POSTS UP IN MY YARD, BUT I DON’T REMEMBER WHEN IT WAS. I WOULD THINK SOMEWHERE IN THE ‘50’S, AFTER THAT, AFTER WE GOT THAT LAMP, THEN THIS ONE WASN’T USED AS MUCH, BUT IT WAS STILL SITTING ON MY DRESSER… THAT WAS NORMAL FOR US, UNTIL DAD GOT THE ONE HE PUT IN THE ROOF. THE ONLY THING THE ONE ON THE ROOF DID WAS GIVE US WAY MORE LIGHT. OUR TABLE WAS HERE AND OUR CUPBOARD WAS WAY OVER [THERE], SO IF [THIS LAMP] WAS THE ONLY LIGHT YOU HAD, AND YOU NEEDED LIGHT, YOU HAD TO TAKE THAT FROM [HERE] TO THE CUPBOARD TO SEE WHAT YOU WERE DOING. THE OTHER LAMP PROVIDED US WITH LIGHT THAT WE DIDN’T HAVE TO MOVE, YOU COULD JUST TURN IT ON AND OFF.” CÔTÉ’S PARENTS THEN MOVED TO PINCHER CREEK, WHERE THE LAMP WAS MOVED WITH THEM. WHEN ASKED WHEN THEY MOVED, COTÉ RESPONDED, “PROBABLY 1970 OR ’71.” CÔTÉ ACQUIRED THE LAMP AFTER THE PASSING OF HER FATHER ON JANUARY 9, 2012. “YOU WOULDN’T BELIEVE THE STUFF THEY HAD IN THEIR HOUSE. THEY GREW UP IN THE DIRTY THIRTIES, SO THEY COLLECTED EVERYTHING… I KNOW, PRIOR TO MY MOM’S PASSING [ON SEPTEMBER 21, 2004], THEY HAD A THREE BEDROOM HOUSE. AND THE SPARE BEDROOM AT THE BACK, [THE LANTERN] WAS SITTING ON THE DRESSER THERE.” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPT, THE LETHBRIDGE HERALD OBITUARIES FOR FRED AND SAIMI ULLY, AND FAMILY PHOTOGRAPHS.
Catalogue Number
P20160037000
Acquisition Date
2016-10
Collection
Museum
Images
Less detail
Other Name
"MARQUIS HOTEL"
Date Range From
1928
Date Range To
2015
Material Type
Artifact
Materials
CERAMIC, PAINT
Catalogue Number
P20150037000
  1 image  
Material Type
Artifact
Other Name
"MARQUIS HOTEL"
Date Range From
1928
Date Range To
2015
Materials
CERAMIC, PAINT
No. Pieces
1
Height
5.08
Width
12.4
Description
BLACK, CERAMIC ASHTRAY. THE INSIDE OPENING OF THE ASHTRAY IS 6.4 CM. THE LETTERING ON THE TOP SAYS “THE MARQUIS HOTEL, LETHBRIDGE, ALBERTA, CANADA.” THERE IS AN ABSTRACTED FLORAL DESIGN ON EITHER SIDE OF THIS LETTERING. THE FLOWERS ARE PAINTED RED AND THEIR STEMS PAINTED GREEN. THIS WORDING AND DESIGN REPEATS ON THE OPPOSITE SIDE. THE LETTERING ON THE BOTTOM SAYS, “MADE IN JAPAN 29.” VERY GOOD CONDITION. USED WITH SOME WEAR APPARENT. BLACK PAINT IS WEARING OFF ON SOME PARTS OF THE SURFACE. SIGNIFICANT WEAR TO THE RED AND GREEN PAINT OF THE DECALS.
Subjects
HOUSEHOLD ACCESSORY
Historical Association
DOMESTIC
BUSINESS
History
ON DECEMBER 16, 2015, DONOR CHRIS MORRISON INFORMED COLLECTIONS TECHNICIAN KEVIN MACLEAN THAT SHE CAME INTO POSSESSION OF THE ASHTRAY WHEN SHE AND HER HUSBAND BECAME STEWARDS OF A WATERTON CABIN IN 1976. THE CABIN, LOCATED AT 103 CAMERON FALLS, WAS OWNED BY HER MOTHER-IN-LAW DOROTHY MORRISON (D. 1995). IT WAS AMONG ASSORTED FURNISHINGS LEFT BEHIND WHEN DOROTHY MOVED OUT AND CHRIS MOVED IN. THE DONOR’S RECOLLECTION OF THE ASHTRAY’S USE IMMEDIATELY PRIOR TO IT BECOMING HER PROPERTY WAS AS A CONTAINER. MORRISON SAID, “IT WAS IN A [CABIN] WASHSTAND AND USED TO HOLD LITTLE OBJECTS LIKE ROLLED UP KEROSENE LANTERN TAPE WICKS”. ACCORDING TO MORRISON, IT WAS ALSO KNOWN AS “GRANDPA’S ASHTRAY”. GRANDPA REFERS TO JAMES J. MORRISON OF LETHBRIDGE. “HE ONLY SMOKED CIGARS” SAID THE DONOR, WHEREAS HER MOTHER-IN-LAW DOROTHY DID NOT SMOKE AT ALL. THE ASHTRAY’S USE AS A CONTAINER FOR LANTERN WICKS AND SMALL ITEMS CONTINUED RIGHT UP TO THE DAY THAT IT WAS OFFERED TO THE GALT IN 2015. ACCORDING TO HER OBITUARY IN THE LETHBRIDGE HERALD, DOROTHY MORRISON, PASSED AWAY IN LETHBRIDGE ON NOVEMBER 26, 1995 AT THE AGE OF 83 YEARS. JAMES JACOB MORRISON, DOROTHY’S FATHER-IN-LAW, PASSED ON FEBRUARY 18TH, 1975 AT AGE 93. THE ASHTRAY IS MARKED WITH “MARQUIS HOTEL,” WHICH COULD REFER TO THE LETHBRIDGE HOTEL THAT OPENED IN JUNE 1928. REALIZING A NEED FOR A FIRST-CLASS HOTEL IN LETHBRIDGE, ESPECIALLY ONE WITH A BANQUET HALL, THE BUSINESSMEN OF THE BOARD OF TRADE COMMITTED THEMSELVES TO THE HOTEL IN 1927. AFTER ITS OPENING, THE BOARD OF TRADE WOULD HOLD THEIR REGULAR, NOON-HOUR MEETINGS AT THE HOTEL FOR MANY YEARS TO COME. THE HOTEL CLOSED ITS DOORS IN 1985 AND THE BUILDING WAS DEMOLISHED IN 1988. THIS INFORMATION COMES FROM LETHBRIDGE HERALD ARTICLES AND A WRITE-UP ABOUT THE HOTEL IN THE PUBLICATION TITLED "WHERE WAS IT? A GUIDE TO EARLY LETHBRIDGE BUILDINGS," BY IRMA DOGTEROM. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION INCLUDING LETHBRIDGE HERALD ARTICLES AND A COPY OF THE INFORMATION FROM THE PUBLICATION CITED ABOVE.
Catalogue Number
P20150037000
Acquisition Date
2015-12
Collection
Museum
Images
Less detail
Date Range From
1943
Date Range To
1973
Material Type
Artifact
Materials
SHEET METAL, GLASS, CARDBOARD
Catalogue Number
P20160027000
  1 image  
Material Type
Artifact
Date Range From
1943
Date Range To
1973
Materials
SHEET METAL, GLASS, CARDBOARD
No. Pieces
2
Height
13.7
Length
5.4
Width
1.8
Description
A: THERMOMETER. THE THERMOMETER'S CASING IS METAL. THERE IS A COVER ON THE THERMOMTER THAT HAS 17 HOLES PUNCHED OUT OF THE FRONT (7 ROWS ALTERNATING BETWEEN 3 AND 2 HOLES PER ROW). THERE IS A SHORT BACK TO THE COVER. THE COVER IS ATTACHED TO THE THERMOMETER WITH 2 SMALL NAILS ON EITHER SIDE. THE THERMOMETER GLIDES OUT OF THE COVER AND HINGES BACK TO STAND (SUPPORTED BY BACK OF CASE AND THE 2 NAILS). THE BACKGROUND OF THE THERMOMETER IS WHITE AND IS ATTACHED TO THE METAL CASE. “US PAT 2329685” IS ON THE BOTTOM OF THE THERMOMETER. ON THE LEFT SIDE TEMPERATURE MEASUREMENTS FROM 1 TO 6 ARE ETCHED. THE NUMBERS ARE DIVIDED INTO INCREMENTS OF FOUR. ON THE RIGHT SIDE OF THE THERMOMETER THERE ARE “00” ACROSS FROM EACH NUMBER ON THE LEFT. THE THERMOMETER’S GLASS IS TINTED YELLOW WITH A TRANSLUCENT CENTER. THIS TUBE IS 12.4CM IN LENGTH. TWO SMALL METAL RINGS HOLD THE GLASS THERMOMETER TO THE MEASUREMENT BACKING. THERE IS A SMALL METAL HOOK AT THE TOP OF THE THERMOMETER. ON THE RIGHT SIDE OF THE THERMOMETER IN ITS CLOSED POSITION, "D. CARSE" IS HANDWRITTEN IN BLACK INK. GOOD CONDITION. RUSTING/STAINING OVERALL SURFACE. LOSS OF WHITE BACKING BEHIND THE THERMOMETER (SEVERE ON THE UPPER LEFT CORNER AND SLIGHT ON THE UPPER RIGHT CORNER). B: CARDBOARD CASE WITH OVERALL DIMENSIONS OF 13.9 CM X 6 CM X 2 CM. CARDBOARD BOX WITH GREEN LABEL ON FRONT. THE LABEL SAYS “RUXCO” “NO-600-MO-10” “OVEN TEST THERMOMETER RANGE 100 TO 600°F IN 10° DIVISIONS.” GOOD CONDITION. MISSING LEFT END OF BOX. SCRATCH ON THE SURFACE OF THE LEFT SIDE OF THE LABEL. STAINING IN VARIOUS PLACES.
Subjects
FOOD PROCESSING T&E
THERMAL T&E
Historical Association
TRADES
DOMESTIC
History
IN SEPTEMBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED IRENE MOCH ABOUT THE HISTORY OF A THERMOMETER SHE DONATED TO THE GALT MUSEUM AND ARCHIVES. THE THERMOMETER BELONGED TO HER FATHER, DAVID ROXBOROUGH CARSE, AND WAS USED BY HIM AS AN EMPLOYEE OF CANADIAN WESTERN NATURAL GAS COMPANY. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: “HIS JOB WAS TO GO HOUSE-TO-HOUSE ON SPECIFIED CALLS TO REPAIR AND CHECK GAS APPLIANCES AT VARIOUS HOMES. HE LOVED HIS JOB. IT WAS GREAT PASSION AND HE WOULD SHARE A LOT OF HIS EXPERIENCES AT HOME WITH US. IT BECAME A BIG PART OF OUR FAMILY LIFE. HIS FIRST PASSION WAS HIS FAMILY AND HIS SECOND PASSION WAS HIS WORK. TWENTY- EIGHT YEARS, HE WAS WITH THE GAS COMPANY. HE WOULD BRING VARIOUS LITTLE ITEMS HOME, BUT MOSTLY IT WAS JUST HIS MEMORIES AND OUR MEMORIES OF THE STORIES THAT HE TOLD… MY MOM AND DAD WILLED THEIR HOUSE TO MY HUSBAND, WHO HAD BEEN CARING FOR IT OVER THE YEARS. [THEY] LEFT ALL THEIR TREASURES AS THEY WERE [TO] US BOTH TO DO WHAT WE FELT WAS BEST WITH EVERYTHING. THEY HAVE BEEN GONE SINCE 2000, 2003. SO FINALLY, THIS MOVE HAS FORCED ME TO GO THROUGH SOME OF THE THINGS THAT I HAVE, AND THIS HAS COME UP, AND IT MEANT A LOT. WE ALWAYS HAD GAS STOVE AND GAS RADIANT HEAT AND HE WOULD ALWAYS TEST MY MOTHER’S OVEN WITH THE THERMOMETER TO MAKE SURE THAT IT WAS FUNCTIONING PROPERLY. IT WAS VERY VISIBLE TO ALL OF US. IT WAS VERY IMPORTANT.” MOCH RECALLS THE THERMOMETER IN HER DAD’S WORK TOOLBOX: “… WHEREVER HE WENT, HE WOULD HAVE HIS TOOL BOX, AND THAT WAS THE FIRST THING THAT CAME OUT OF THE TOOL BOX. HE CARRIED IT IN HIS VEHICLE. HE DROVE TO THE HOUSES AND THE FIRST THING THAT CAME OUT OF HIS TOOL BOX WAS THAT.” IT WAS THE JOB AT CANADIAN WESTERN NATURAL GAS COMPANY THAT BROUGHT CARSE AND HIS FAMILY TO LETHBRIDGE: “HE HAD ANDREW’S HARDWARE IN FORT MACLEOD FOR I DON’T KNOW HOW MANY YEARS – QUITE A FEW – AND THEN HE WENT TO THE GAS PLANT IN BURDETT/ BOW ISLAND. AND FAMILY WAS COMING. [HE] NEEDED A STEADY JOB, [SO HE] CAME TO THE CITY [ TO] FIND A STEADY JOB. HE WAS A CERTIFIED PLUMBER AND GAS-FITTER SO HE APPLIED AT THE CANADIAN WESTERN AND NATURAL GAS… THAT WAS HIS WORLD. HE JUST BLOSSOMED. HE WAS A VERY PRIVATE PERSON, BUT HE LOVED TO BE WITH PEOPLE. THERE WAS A LOT OF COMRADERY AND HORSE-PLAY. HE WORKED BY HIMSELF. HE DIDN’T HAVE A PARTNER. AND [HE] WENT PLACE-TO-PLACE – AND IT GREW, AND GREW, AND GREW, AND GREW – 28 YEARS. AND IT WAS NOT UNCOMMON FOR OUR RESIDENCE PHONE AT HOME TO RING FROM VARIOUS PEOPLE, SAYING, ‘DON’T SEND SO-AND-SO; SEND DAVE BACK. DAVE KNOWS WHAT HE’S DONE HERE, AND THAT’S THE PERSON I WANT BACK.’ THAT WAS NOT UNCOMMON AT ALL TO HAPPEN AT OUR HOUSE. HE MADE A GOOD REPUTATION FOR HIMSELF, AND HE LOVED WHAT HE DID, AND IT SHOWED… HE BECAME A KIND OF AN IMAGE AND I THINK HE REVELED IN THAT. HE WAS KING OF HIS WORLD, REALLY. IT WAS VERY NICE.” “… THERE WAS ALWAYS SOMEBODY ON CALL," CONTINUED MOCH, "BUT, IF IT WAS A MAJOR BLIZZARD, OR SOMETHING LIKE THAT, THEN EVERYBODY WAS PRESSED INTO SERVICE. IF IT WAS TURKEY DAY, AND EVERYBODY WANTS TO COOK A TURKEY, AND THE PILOT LIGHT OR THE OVEN DIDN’T WORK, SOMEBODY HAD TO GO. AND THAT WAS THE BIG THING WITH THE GAS COMPANY. GAS COMPANY SERVICEMEN WERE FREE OF CHARGE AND THE ONLY CHARGE WOULD HAVE BEEN FOR A THERMOCOUPLE OR A PART THAT NEEDED TO BE REPLACED. PEOPLE WERE NOT SHY ABOUT CALLING THE GAS COMPANY TO REMEDY THEIR SITUATION. YES, THERE WAS ALWAYS SOMEONE ON CALL, AND HE HAD TO TAKE HIS TURN DOING THAT. BUT, IF THERE WAS A MASS BLIZZARD OR STORM OF SOME SORT, THEN THEY WERE ALL CALLED OUT.” MOCH EXPLAINED THE THERMOMETER WAS OF GREAT IMPORTANCE TO CARSE’S WORK: “MOST OF HIS CALLS WERE [BAKING RELATED]. PEOPLE ALWAYS BAKED IN THOSE DAYS – ALWAYS BAKED AND [IF], ‘THE OVEN WASN’T COOKING RIGHT,’ OR ‘IT WASN’T HOT ENOUGH,’ OR ‘HOW COME THIS FLOPPED?’ ‘WE’D BETTER CALIBRATE THE OVEN PROPERLY.’ AND SO [THEY'D CALL IN], ‘CAN DAVE COME OUT AND CHECK IT OUT AND CHECK THAT OUT FOR US?’ SO YES, THAT [THERMOMETRE] WAS ONE OF THE FIRST THINGS THAT HE BROUGHT OUT… MOM BAKED ALL THE TIME AS WELL, TWICE A WEEK PROBABLY. ON A REGULAR BASIS, HE WOULD JUST DOUBLE CHECK [WITH THE THERMOMETER] TO MAKE SURE THINGS WERE WORKING THE WAY THEY SHOULD. NOT NECESSARILY THAT THERE WAS A PROBLEM, BUT JUST SO THAT THEY STAY THE WAY THEY SHOULD BE. HE EDUCATED US ALL ABOUT THE BLUE FLAME AND HOW THE BLUE FLAME HAD TO HAVE THE LITTLE TIP ON THE END OF THE BLUE FLAME AND THAT MEANS IT’S BURNING CLEAN. IT WAS VERY EDUCATIONAL, TOO.” “[HE] ALWAYS CAME HOME FOR LUNCH. MOM ALWAYS HAD LUNCH READY. WE HAD LUNCH IN THE LIVING ROOM WITH A SANDWICH AND HE HAD A LITTLE SNOOZE. FIVE MINUTES, AND HE WAS OUT THE DOOR. HE WAS NEVER LATE. HE WAS ALWAYS HOME, AND HE WAS NEVER LATE COMING HOME FROM WORK. HE JUST LOVED IT… HE RETIRED IN SEPTEMBER 30, ’73. SO, PROBABLY ’43, ’44 THAT HE CAME TO LETHBRIDGE TO [WORK AT THE] GAS COMPANY.” ACCORDING TO HIS OBITUARY IN THE LETHBRIDGE HERALD, DAVID ROXBOROUGH CARSE PASSED AWAY IN LETHBRIDGE ON 15 NOVEMBER 2000. PLEASE SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPT, LETHBRIDGE HERALD ARTICLES, AND THERMOMETER PATENT.
Catalogue Number
P20160027000
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
CARTON, MILK
Date Range From
1957
Date Range To
1970
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20160019000
  1 image  
Material Type
Artifact
Other Name
CARTON, MILK
Date Range From
1957
Date Range To
1970
Materials
PAPER, INK
No. Pieces
1
Height
24
Length
7.4
Width
7.2
Description
CARDBOARD MILK CARTON. SIDE ONE HAS “HOMOGENIZED MILK” ON TOP FOLD IN GREEN BLOCK LETTERING. FADED, BLACK INK STAMP ON THIS FOLD SAYS “?A 2 -45.” ON THE MAIN SECTION OF THIS SIDE THERE IS THE PURITY LOGO (“PURITY” IN PURPLE CURSIVE FONT), A PURPLE AND GREEN FLOWER, AND THE WORDS “CREAM IN EVERY DROP” IN PURPLE CURSIVE. ON THE BASE OF THIS PANEL IT SAYS “… HEAD OFFICE LETHBRIDGE.” THE OPPOSING SIDE (SIDE 3) IS SIMILAR, BUT WITH THE INDICATION OF “NET CONTENTS ONE QUART” AT THE BASE OF THE PANEL. SIDE 2’S TOP FOLD SAYS, “THE CONTAINER COVERED BY CANADIAN PATENTS 1941 – 395.645 1957 – 542-432… MANUFACTURED UNDER LICENSE FROM EX-CELL-O CORPORATION.” THE MAIN SECTION HAS THE PURITY LOGO AND THE SLOGANS “IT’S PURE. THAT’S SURE” AND “YOURS TO LOVE. OURS TO PROTECT.” ADDITIONALLY THIS SIDE INDICATED THAT THE MILK IS “PASTURIZED” AND IS “NOT LESS THAN 3.25% B.F.” PARALLEL TO THAT IS SIDE 4 WITH A TOP FOLD THAT HAS “SPOUT” MARKED ON IT. ON THE TOP FOLD, IT SAYS “PUREPAK” “YOUR PERSONAL MILK CONTAINER.” THE MAIN SECTION OF THIS HAS A GREEN ILLUSTRATION OF A CHURCH WITH “ATTEND THE CHURCH OF YOUR CHOICE…” ON THE BOTTOM OF THE CARTON, THERE ARE NUMBERS AND/OR LETTERS THAT WERE STAMPED INTO THE BOTTOM. A “W” IS VISIBLE. GOOD CONDITION. COLOUR OF CARDBOARD HAS YELLOWED OVERALL. THERE ARE VARIOUS STAINS ON THE SURFACE. BLACK STAINING AROUND THE CHURCH ILLUSTRATION. THE TOP FLAP OF THE CARTON IS DETERIORATING (BENT/TORN) WITH NOTICEABLE LOSS OF MATERIAL ON ONE SIDE’S CORNER.
Subjects
CONTAINER
Historical Association
BUSINESS
INDUSTRY
History
THE DONOR, HANK VROOM, FOUND THE MILK CARTON IN LETHBRIDGE APPROXIMATELY A DECADE BEFORE THE DATE OF DONATION (JULY 2016), AS A RESULT OF HIS CITY EMPLOYMENT AS A GARBAGE TRUCK DRIVER. THE LOCATION OF THE FIND IS UNKNOWN. IN THE TIME SINCE HIS POSSESSION, THE CARTON HAS BEEN IN A PLASTIC BAG IN A CUPBOARD. ACCORDING TO ADDITIONAL RESEARCH INTO THE EXISTENCE OF THIS TYPE OF MILK CARTON AND BRAND, IT IS ESTIMATED THAT THIS CARTON ORIGINATED PRIOR TO THE MID-1970S BECAUSE MILK MEASUREMENTS WERE CHANGED FROM QUARTS TO LITERS AROUND THAT TIME AND THIS CARTON’S MEASUREMENT IS INDICATED IN QUARTS. IN THE LATE 1950’S, PURITY DAIRY ADVERTISED BEING 100% PURE-PAK, MEANING THAT ALL MILK PRODUCTS CAME IN CARDBOARD CARTONS. BLOW MOLD PLASTIC CONTAINERS REPLACED CARDBOARD SHORTLY AFTER. WITH THE INDICATION OF THE 1957 PATENT NUMBER ON THE CARTON, THIS PLACES THE DATE OF THE MILK CARTON BETWEEN 1957 AND THE 1970S. THE FOLLOWING INFORMATION ABOUT PURITY DAIRY IS FROM THE RECORD FOR ARTIFACT P20070013001: SIMONIE (SAM) FABBI STARTED FABBI DAIRY IN 1923 IN LETHBRIDGE. HE WAS AN ITALIAN IMMIGRANT WHO BEGAN THE BUSINESS WITH THREE COWS AND SOME LARD BUCKETS. THE DAIRY WAS LOCATED AT 12 STREET B NORTH. AT THAT TIME, MILK WAS TRANSPORTED USING LARD PAILS OR CANS, WHICH, WITH THE HELP OF SAM’S SONS, WOULD BE LADLED INTO CUSTOMER’S CONTAINERS. FABBI DAIRY EXPANDED TO THE SOUTHSIDE DAIRY HILL IN THE EARLY 1930S. SHORTLY AFTERWARDS, FABBI DAIRY BOUGHT CITY DAIRY. SONS STAN AND ROMEO BOUGHT THE BUSINESS FROM THEIR FATHER IN 1936. AT THIS POINT, MILK WAS PACKAGED AND SOLD IN GLASS BOTTLES IN PINT, QUART OR GALLON SIZES. THE DAIRY HAD ITS OWN COWS, WHICH WERE MILKED DAILY AND WOULD PASTURE IN THE COULEES. BY 1936, HOWEVER, MILK AND CREAM WERE BROUGHT IN FROM OFFSITE. BETWEEN 1939 AND 1944, THE FABBI DAIRY BOUGHT PAVAN DAIRY AND THE BELLEVUE DAIRY. AT THAT POINT IN TIME, MANY SMALL DAIRIES WERE SUBJECT TO PASTEURIZATION LAWS, AND CHOSE TO CLOSE DOWN RATHER THAN CONVERT. FABBI DAIRY PURCHASED MAJESTIC THEATRE IN THE LATE 1930S OR EARLY 1940S FOR $10,000 FROM MAYOR SHACKERFORD, CONVERTING IT INTO A MILK BOTTLING PLANT. FABBI DAIRY CHANGED ITS NAME TO PURITY DAIRY, AND EXPANDED THROUGHOUT THE LATE 1940S AND 1950S, OPENING UP BUSINESSES IN MEDICINE HAT (1948), CALGARY (1950), EDMONTON (1950), CRANBROOK (1958), RED DEER AND TABER. ALL THESE LOCATIONS HAD DAIRIES EXCEPT FOR TABER, WHICH HAD A DEPOT. ACCORDING TO KEN FABBI, STAN FABBI’S SON, STAN AND ROMEO ESTABLISHED A DAIRY IN CALGARY WITHOUT A LICENSE. THE ONLY WAY TO OBTAIN A LICENSE FOR A DAIRY AT THAT TIME WAS TO BUY OUT AN EXISTING DAIRY. EXPANSION WAS SEEN AS NECESSARY TO THE FABBI BROTHERS, IF THEY WERE TO REMAIN IN BUSINESS. THE PURITY DAIRY IN CALGARY WAS DEEMED ILLEGAL, AND IN THE EARLY 1960S, STAN AND ROMEO FABBI WERE HANDCUFFED AND ARRESTED. PUBLIC SYMPATHY FOR THE FABBI BROTHERS ENABLED THEM TO PURCHASE A LICENSE AFTER THE INCIDENT. PURITY DAIRY HAD MANY INNOVATIVE PRODUCTS THAT OTHER DAIRIES IN TOWN DID NOT HAVE, LIKELY CONTRIBUTING TO THE DAIRY’S POPULARITY WITH THE PUBLIC. PURITY DAIRY WAS THE FIRST DAIRY IN WESTERN CANADA TO RELY SOLELY ON THE USE OF MILK TANKERS, WHICH VISITED VARIOUS LOCALS TO PICK UP MILK AND BRING IT TO THE DAIRY. PRIOR TO 1957, FARMERS WERE REQUIRED TO DELIVER MILK IN CANS TO THE DAIRY THEMSELVES. PURITY DAIRY HAD A SUBSTANTIAL FLEET OF RETAIL DELIVERY VEHICLES. IN ITS EARLY DAYS, HORSES WERE AN INTEGRAL PART OF THE DELIVERY SYSTEM. AT ONE POINT, 17 HORSES WERE BEING USED FOR DELIVERY PURPOSES. IN 1959, PURITY DAIRY REPLACED ITS LAST THREE HORSES WITH DELIVERY TRUCKS. IN THE 1950S, PURITY DIARY BEGAN TO STREAMLINE PRODUCTION. BUTTER WAS PRODUCED IN MEDICINE HAT, WHILE THE LETHBRIDGE BRANCH PRODUCED ICE CREAM, NOVELTIES, BUTTER MILK, AND SOUR CREAM, IN ADDITION TO MILK AND COTTAGE CHEESE. THE EDMONTON PLANT SHARED MILK PRODUCTION WITH LETHBRIDGE, AND BECAME THE SOLE PRODUCER OF BLOW MOLD PLASTIC FOR PURITY DAIRY. BUSINESS BEGAN TO FALL IN THE 1960S, AND IN 1971 STAN AND ROMEO FABBI SOLD PURITY DAIRY TO CO-OP DAIRY, WHICH WAS SUBSEQUENTLY KNOWN AS PURITY CO-OP LTD. BEFORE THE SALE, PURITY DAIRY EMPLOYED ABOUT 200 FULL-TIME STAFF AND SUPPLIED MILK PRODUCTS TO THOUSANDS OF ALBERTANS DAILY. THE LETHBRIDGE PLANT EMPLOYED ABOUT 70 PEOPLE, AND MANUFACTURED ICE CREAM CONFECTIONS, COTTAGE CHEESE, BUTTER, YOGURT, BUTTERMILK, SOUR CREAM, AND FRUIT DRINKS. STAN’S WIFE, NETTI, SAID OF THE SALE, “WE LOST EVERYTHING…WE EXPANDED TOO FAST. I TOLD STAN ‘WHO CARES? I’VE GOT YOU AND WE STILL HAVE THREE MEALS A DAY.’” IN 1972, PURITY CO-OP LTD WAS BOUGHT OUT BY PALM DAIRY, WHICH WAS CLOSED DOWN FOLLOWING A DRAMATIC EXPLOSION IN 1978. IT REOPENED AT A DIFFERENT LOCATION ONE YEAR LATER. IN THE INTERIM, PRODUCTS WERE SHIPPED IN FROM THE CALGARY PLANT. STAN AND ROMEO FABBI DIED IN 1992 AND 1991, RESPECTIVELY. THIS INFORMATION WAS GATHERED IN 2008-09 FROM ANTOINETTE AND KEN FABBI, STAN’S WIFE AND SON, RESPECTIVELY, AND FROM THE LETHBRIDGE HERALD ARCHIVES. FOR MORE INFORMATION, SEE PERMANENT FILE FOR P20070013001. SEE PERMANENT FILE FOR P20160019000 FOR ADDITIONAL LETHBRIDGE HERALD CLIPPINGS, PRINT RESEARCH, AND PATENT DOCUMENTS.
Catalogue Number
P20160019000
Acquisition Date
2016-07
Collection
Museum
Images
Less detail
Other Name
BLANKET
Date Range From
1920
Date Range To
1990
Material Type
Artifact
Materials
RAW FLAX YARN
Catalogue Number
P20160003007
  2 images  
Material Type
Artifact
Other Name
BLANKET
Date Range From
1920
Date Range To
1990
Materials
RAW FLAX YARN
No. Pieces
1
Length
139
Width
99.5
Description
HAND-WOVEN BLANKET MADE FROM RAW FLAX. THE BLANKET IS COMPOSED OF 2 SECTIONS OF THE SAME SIZE OF MATERIAL THAT ARE JOINED TOGETHER WITH A SEAM AT THE CENTER. ON THE FRONT SIDE (WITH NEAT SIDE OF THE STITCHING AND PATCHES), THERE ARE THREE PATCHES ON THE BLANKET MADE FROM LIGHTER, RAW-COLOURED MATERIAL. ONE SECTION OF THE FABRIC HAS TWO OF THE PATCHES ALIGNED VERTICALLY NEAR THE CENTER SEAM. THE AREA SHOWING ON ONE PATCH IS 3 CM X 5 CM AND THE OTHER IS SHOWING 5 CM X 6 CM. ON THE OPPOSITE SECTION THERE IS ONE PATCH THAT IS 16 CM X 8.5 CM SEWN AT THE EDGE OF THE BLANKET. THE BLANKET IS HEMMED ON BOTH SHORT SIDES. ON THE OPPOSING/BACK SIDE OF THE BLANKET, THE FULL PIECES OF THE FABRIC FOR THE PATCHES ARE SHOWING. THE SMALLER PATCH OF THE TWO ON THE ONE HALF-SECTION OF THE BLANKET IS 8CM X 10 CM AND THE OTHER PATCH ON THAT SIDE IS 14CM X 15CM. THE PATCH ON THE OTHER HALF-SECTION IS THE SAME SIZE AS WHEN VIEWED FROM THE FRONT. THERE IS A SEVERELY FADED BLUE STAMP ON THIS PATCH’S FABRIC. FAIR CONDITION. THERE IS RED STAINING THAT CAN BE SEEN FROM BOTH SIDES OF THE BLANKET AT THE CENTER SEAM, NEAR THE EDGE OF THE BLANKET AT THE SIDE WITH 2 PATCHES (CLOSER TO THE LARGER PATCH), AND NEAR THE SMALL PATCH AT THE END FURTHER FROM THE CENTER. THERE IS A HOLE WITH MANY LOOSE THREADS SURROUNDING NEAR THE CENTER OF THE HALF SECTION WITH ONE PATCH. THERE ARE VARIOUS THREADS COMING LOOSE AT MULTIPLE POINTS OF THE BLANKET.
Subjects
AGRICULTURAL T&E
BEDDING
Historical Association
AGRICULTURE
DOMESTIC
ETHNOGRAPHIC
History
THE KONKINS WERE A RUSSIAN-SPEAKING FAMILY FROM THE TOWN OF SHOULDICE, ALBERTA, NEAR CALGARY. THEY AND MANY OTHER RUSSIAN FAMILIES COMPOSED THAT TOWN’S DOUKHOBOR COLONY. IT WAS THERE WILLIAM KONKIN MARRIED ELIZABETH WISHLOW. IN 1928, THEIR DAUGHTER, ELSIE WAS BORN. THEY LATER MOVED TO A FARM IN VAUXHALL, ALBERTA. THE PRECEDING AND FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM A TWO-PART INTERVIEW WITH DONOR ELSIE MORRIS, WHICH WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON FEBRUARY 17, 2016. ADDITIONAL INFORMATION COMES FROM FAMILY HISTORIES AND TEXTS PROVIDED BY THE DONOR. A FULL HISTORY OF THE KONKIN FAMILY CAN BE FOUND WITH THE RECORD P20160003001. ACCORDING TO A NOTE THAT WAS ATTACHED TO THIS LIGHTWEIGHT BLANKET AT THE TIME OF ACQUISITION THE BLANKET IS BELIEVED TO HAVE BEEN MADE C. 1920S. MORRIS SAYS HER MEMORY OF THE BLANKET DATES AS FAR BACK AS SHE CAN REMEMBER: “RIGHT INTO THE ‘30S, ‘40S AND ‘50S BECAUSE MY MOTHER DID THAT RIGHT UP UNTIL NEAR THE END. I USE THAT EVEN IN LETHBRIDGE WHEN I HAD A GARDEN. [THIS TYPE OF BLANKET] WAS USED FOR TWO PURPOSES. IT WAS EITHER PUT ON THE BED UNDERNEATH THE MATTRESS THE LADIES MADE OUT OF WOOL AND OR ELSE IT WAS USED, A DIFFERENT PIECE OF CLOTH WOULD BE USED FOR FLAILING THINGS. [THE] FLAIL ACTUALLY GOES WITH IT AND THEY BANG ON THE SEEDS AND IT WOULD TAKE THE HULLS OFF… IT’S HAND WOVEN AND IT’S MADE OUT OF POOR QUALITY FLAX… IT’S UNBLEACHED, DEFINITELY… RAW LINEN." THIS SPECIFIC BLANKET WAS USED FOR SEEDS MORRIS RECALLS: “…IT HAD TO BE A WINDY DAY… WE WOULD PICK DRIED PEAS OR BEANS OR WHATEVER BEET SEEDS AND WE WOULD BEAT AWAY AND THEN WE WOULD STAND UP, HOLD IT UP AND THE BREEZE WOULD BLOW THE HULLS OFF AND THE SEEDS WOULD GO STRAIGHT DOWN [ONTO THE BLANKET.” THE SEEDS WOULD THEN BE CARRIED ON THE BLANKET AND THEN PUT INTO A PAIL. OF THE BLANKET’S CLEAN STATE, MORRIS EXPLAINS, “THEY’RE ALWAYS WASHED AFTER THEY’RE FINISHED USING THEM.” WHEN SHE LOOKS AT THIS ARTIFACT, MORRIS SAYS: “I FEEL LIKE I’M OUT ON THE FARM, I SEE FIELDS AND FIELDS OF FLAX, BLUE FLAX. BUT THAT’S NOT WHAT SHE USED IT FOR. SHE DID USE IT IF SHE WANTED A LITTLE BIT OF THE FLAX THEN SHE’D POUND THE FLAX, BUT THAT WASN’T OFTEN. IT WAS MOSTLY BEANS AND PEAS.” IT IS UNKNOWN WHO WOVE THIS BLANKET. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, OBITUARIES, PHOTOGRAPHS, AND FAMILY HISTORIES.
Catalogue Number
P20160003007
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
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
Other Name
"113TH BATTALION...LETHBRIDGE HIGHLANDERS"
Date Range From
1915
Date Range To
1930
Material Type
Artifact
Materials
WOOD, WICKER, PAINT
Catalogue Number
P20190007005
  2 images  
Material Type
Artifact
Other Name
"113TH BATTALION...LETHBRIDGE HIGHLANDERS"
Date Range From
1915
Date Range To
1930
Materials
WOOD, WICKER, PAINT
No. Pieces
1
Height
8.5
Length
52.6
Width
41.5
Description
BROWN WOOD TRAY WITH WICKER SIDES AND HANDLES; INSIDE OF TRAY HAS LARGE STENCILLED AND PAINTED CREST COMPRISED OF AN OVAL WITH BLACK OUTLINE, A BLACK, YELLOW, AND RED CROWN AT THE TOP, A GREEN MAPLE LEAF IN THE CENTER OF THE OVAL WITH “113” IN YELLOW, A BLACK BANNER ACROSS THE BASE OF THE OVAL WITH “CANADA” IN YELLOW, GREEN THISTLES AROUND THE BANNER, AND YELLOW TEXT ON BROWN BACKGROUND AROUND THE EDGES OF THE OVAL, “OVERSEAS BATTALION, LETHBRIDGE HIGHLANDERS”. WICKER SIDES ARE DISCOLOURED AND WORN; BASE IS SCRATCHED AND HAS BROKEN AND FRAYED WICKER ENDS AROUND EDGES; INSIDE OF TRAY HAS CRACKLING OF FINISH, IS SCRATCHED, AND PAINT IS FADED; OVERALL VERY GOOD CONDITION.
Subjects
CONTAINER
Historical Association
MILITARY
COMMEMORATIVE
History
ON MARCH 28, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED CAROL AND BRETT CLIFTON REGARDING THEIR DONATION OF VARIOUS LETHBRIDGE AND MILITARY MEMORABILIA. THE OBJECTS WERE COLLECTED BY CAROL’S LATE HUSBAND, CHRIS CLIFTON, AND DONATED IN HIS MEMORY. ON THE TRAY, BRETT CLIFTON NOTED, “THE ONES [I FIND IMPORTANT], AFTER MY BREAK- IN, THERE WERE SOME OTHER THINGS THAT WERE TOTALLY IRREPLACEABLE TO ME, NOT NECESSARILY THE HIGHEST MONETARY VALUE, BUT SOMETHING WHERE I’D BE LIKE, “OH, DARN WHERE AM I EVER GOING TO FIND ANOTHER LETHBRIDGE HIGHLANDERS TRAY AGAIN?...SOME OF THE THINGS TOO THAT I CHOSE, THE PENNANTS AND THE TRAY IN PARTICULAR AND THE SPORRAN, ARE JUST THINGS LIKE, THEY’RE REALLY COOL FOR ME TO HAVE AND THEY’RE AWESOME TO SIT IN MY BASEMENT AND I CAN GO LOOK AT THEM ANY TIME I WANT, BUT NO ONE ELSE GETS TO SEE THEM. THERE’S A BROADER STORY TO BE TOLD IN A MORE, COMMUNITY APPRECIATION, I THINK, THAN JUST SITTING IN MY BASEMENT, IN MY MAN CAVE, LOOKING AT IT.” ON CHRIS CLIFTON’S ACQUISITIONS OF THE OBJECTS, CAROL CLIFTON NOTED, “[CHRIS SEARCHED ON] AUCTION WEB…HE WAS A VERY EARLY USER. THESE THINGS COST MONEY. CHRIS AND I WERE ALWAYS LIKE, ‘OH WELL, ONE DAY WE’LL DONATE THEM AND IT’LL BE OUR GIFT TO CHARITY...’” “MUCH OF THE REST [OF THE COLLECTION] WAS FOUND BY CHRIS ON EBAY…IT COULD BE THE MIDDLE OF THE NIGHT [AND CHRIS WOULD SAY], ‘HEY, BRETT, GUESS WHAT’S ON EBAY?’” “HE DIDN’T THINK TWICE. IF [AN ITEM] WAS THERE AND HE COULD AFFORD IT, HE GOT IT...IT WAS LIKE HE FELT LIKE HE WAS SAVING IT. I SUPPOSE, AS A MUSEUM, YOU CAN’T NECESSARILY JUST BUY WITH THAT ABANDON BECAUSE YOU HAVE PEOPLE YOU HAVE TO ANSWER TO. WELL, HE DIDN’T HAVE TO ANSWER TO ANYONE...IF HE FELT IT BELONGED IN LETHBRIDGE HE BOUGHT IT...[HE WAS] BRINGING IT HOME.” ON THEIR MOTIVES FOR DONATING THE COLLECTIONS, CAROL CLIFTON NOTED, “THE FIRST REASON THAT WE DECIDED TO DONATE AT THIS TIME…IS THAT WE THOUGHT IT WOULD BE A NICE WAY TO HONOUR [CHRIS] TO MAKE SURE THAT THE COLLECTION ALWAYS STAYED IN SOUTHERN ALBERTA AND THAT IT’S AVAILABLE TO PEOPLE WITH SIMILAR INTERESTS. [THE DONATION] WOULD BE SOMETHING IN HIS MEMORY THAT WOULD KEEP HIS MEMORY ALIVE.” ON HER HUSBAND’S INTEREST IN SOUTERN ALBERTA HISTORY, CAROL CLIFTON ELABORATED, “CHRIS PASSED AWAY…[HE] REALLY MADE US INTERESTED IN HISTORY. FOR HIM IT WAS ALL ABOUT LOCAL HISTORY, SO ANYTHING THAT HE COLLECTED HAD A LETHBRIDGE OR SOUTHERN ALBERTA CONNECTION OR HE DIDN’T COLLECT IT. HE LIKED TO RESEARCH THEM.” “[CHRIS] WAS VERY PROUD TO HAVE BEEN RAISED MORMON FROM A MORMON FAMILY THAT HAD DEEP PIONEER ROOTS INTO UTAH, AND WERE ORIGINALS TO UTAH AND ORIGINALS TO SOUTHERN ALBERTA. ALONG WITH THAT MORMONS…REALLY ENCOURAGE HISTORY IN TERMS OF COLLECTING THEIR ARTIFACTS OR RELIGIOUS ARTIFACTS, AND GENEALOGY. [CHRIS DID] ALL OF HIS OWN GENEALOGY AND HE WOULD DO GENEALOGY FOR ANYONE HE KNEW. WE JUST LITERALLY HAVE REAMS OF PERSONAL HISTORY AND GENEALOGY IN THAT FORM. IT GREW FROM THERE. [CHRIS] WAS A COLLECTOR AT HEART, HE BEGAN COIN COLLECTING AND DID A LOT OF WORK FOUNDING A NUMISMATICS SOCIETY IN TOWN AND BELONGED TO SEVERAL, AND DISPLAYED ON A NATIONAL LEVEL.” “IN TERMS OF THE MILITARY ITEMS, I WOULD SAY [HIS INTEREST BEGAN] WITH HIS DAD BEING FROM THE CALGARY TANK REGIMENT IN DIEPPE AND A PRISONER OF WAR. HIS DAD’S MOTHER HAD SAVED A BUNCH OF ITEMS AND BEFORE CHRIS’ DAD PASSED AWAY, HE GAVE EVERYTHING TO CHRIS…THAT KIND OF FOSTERED [HIS INTEREST IN MILITARY COLLECTIONS] AND THEN IT JUST GREW INTO INTERESTING LOCAL THINGS.” “CHRIS LOVED SOUTHERN ALBERTA, AND NO MATTER WHAT, HE NEVER WOULD HAVE LEFT SOUTHERN ALBERTA. HE LOVED TO TRAVEL BUT HE NEVER WOULD HAVE MOVED. HE LIVED IN MAGRATH AND LETHBRIDGE HIS WHOLE LIFE AND HAD NO INTEREST IN ANY OTHER PLACE BUT HERE.” ON CHRIS’ RESEARCH EFFORTS, CAROL CLIFTON RECALLED, “CHRIS WAS METICULOUS. ANYTHING CHRIS DID, HE DID IT TEN TIMES MORE THAN ANYONE ELSE WOULD. HE WOULD NOT GIVE UP…WHEN [HIS SON] BRETT DID THE CENOTAPH WORK, CHRIS WOULD HELP HIM IDENTIFY [THE NAMES] AND IT WOULD BE A DEAD END AFTER ANOTHER DEAD END, AND THE NEXT THING YOU KNEW WAS CHRIS HAD FOUND A RELATIVE IN ENGLAND WHO WAS A GREAT GRANDDAUGHTER’S NEIGHBOR. HE WOULD LITERALLY SPEND YEARS RESEARCHING ONE THING. IT WAS JUST HIS PERSONALITY AND HIS LEVEL OF INTEREST AND HE DIDN’T STOP THERE, HE WOULD DO IT FOR ANYONE…HE WAS A VERY GIVING PERSON AND HE WAS SO FANTASTICALLY GOOD AT THAT TYPE OF RESEARCH.” “[CHRIS] AND BRETT TOGETHER WOULD DO [THE RESEARCH] AND I WOULD DO IT OUT OF INTEREST…I DON’T KNOW OF ANYONE WHO DID IT TO THE LEVEL HE DID. HE WOULD BE UP IN THE MIDDLE OF THE NIGHT FOLLOWING A LEAD IN EUROPE ON SOMEONE HE DIDN’T KNOW FOR SOMEONE HE BARELY KNEW…[CHRIS WAS] TOTALLY SELF-TAUGHT…OF COURSE WITH THE INTERNET IT BECAME MUCH EASIER FOR EVERYONE TO [SEARCH]. THE GENEALOGY HE DID BEFORE WAS PRE-INTERNET SO THAT INVOLVED A LOT OF ARCHIVAL THINGS…HE BEGAN RESEARCH WORK VERY EARLY IN THE INTERNET AND WE GOT OUR FIRST COMPUTER IN 1995, AND HE PRETTY MUCH DID RESEARCH FROM THEN ON. HE WAS INTERESTING IN THAT NO MATTER WHAT RESEARCH HE DID HE DIDN’T WANT CREDIT FOR IT. HE DIDN’T WANT TO BELONG TO THINGS…IN ADDITION, HE DIDN’T LIKE TO DO THE WRITING, ALTHOUGH HE COULD WRITE, BUT HE WAS THE BEST PROOF READER BECAUSE HE WAS SO METICULOUS, AND HE WOULD PROOF READ FOR ANYONE. [IF] SOMEBODY WROTE AN ARTICLE HE WOULD BE A PROOF READER OR A FACT CHECKER. IT WAS JUST HIS NATURE…[HE WAS] STUBBORN, AND COMPETITIVE, AND INTERESTED, AND METICULOUS, AND IF HE DID IT IT’S CORRECT. IF THERE’S A MISTAKE IN IT HE SURE DIDN’T KNOW IT. HE WOULD HAVE NEVER PUT ANYTHING DOWN HE WASN’T PRETTY DARN SURE OF.” IN 2014 COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVERY OF MILITARY OBJECTS. THE FOLLOWING BRIEF HISTORY OF THE LETHBRIDGE HIGHLANDERS IS EXCERPTED FROM CHRISTOPHER R. KILFORD'S BOOK 'LETHBRIDGE AT WAR: THE MILITARY HISTORY OF LETHBRIDGE FROM 1990 TO 1996' (BATTERY BOOKS & PUBLISHING, 1996) AND COMPILED BY EDMUNDSON. "THE 113TH CANADIAN EXPEDITIONARY FORCE, THE LETHBRIDGE HIGHLANDERS, WERE ORGANIZED DECEMBER 22, 1915 [AS] PART OF A CANADIAN RECRUITING DRIVE WHERE MEN FROM THE SAME REGION COULD ENLIST AND SERVE TOGETHER. THIS TYPE OF COMMUNITY SPIRIT RECRUITING WAS VERY POPULAR AS IT DREW IN FRIENDS, NEIGHBOURS, CO-WORKERS, ETC. WITH THE PROMISE OF SERVING TOGETHER THROUGHOUT THE WAR. THE 113TH CONSISTED OF 883 MEN AND OFFICERS AND HAD ITS BARRACKS AT THE EXHIBITION GROUNDS IN LETHBRIDGE... BASIC TRAINING IN THE CEF INVOLVED RIFLE TRAINING, BOMBING OR HAND GRENADE PRACTICE, ROUTE MARCHES, RIFLE DRILL AND MANY INSPECTIONS... IN LATE MAY 1916 THE BATTALION MOVED TO SARCEE CAMP OUTSIDE CALGARY FOR FURTHER TRAINING THAT LASTED UNTIL SEPTEMBER... ON SEPTEMBER 26TH 1916 THE 113TH EMBARKED ALONG WITH THE 111TH AND 145TH BATTALIONS ON THE SS TUSCANIA... UPON ARRIVING IN ENGLAND THE BATTALION WAS TAKEN TO A HOLDING CAMP AT SANDLING NEAR SHORNCLIFFE... THE COMMANDING OFFICER LEARNED THAT THE 113TH WOULD BE BROKEN UP FOR REPLACEMENTS AND WOULD NOT SEE ACTION AS A UNIT AFTER ALL... THE 113TH WAS TRANSFERRED TO THE 17TH RESERVE BATTALION CEF, THE NOVA SCOTIA HIGHLANDERS, AFFILIATED WITH THE SCOTTISH SEAFORTH HIGHLANDERS... ON OCTOBER 12, 1916 MOST OF THE OLD 113TH PROCEEDED TO FRANCE... ALMOST IMMEDIATELY 300 MEN OF THE OLD 113TH WERE ASSIGNED AS REPLACEMENTS TO ONE OF THE MOST FAMOUS BATTALIONS IN THE CEF, THE 16TH BATTALION CANADIAN SCOTTISH." FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190007001-GA.
Catalogue Number
P20190007005
Acquisition Date
2019-03
Collection
Museum
Images
Less detail
Other Name
SUPINA SOUVENIR BOWL
Date Range From
1918
Date Range To
1960
Material Type
Artifact
Materials
PORCELAIN
Catalogue Number
P20150016001
  1 image  
Material Type
Artifact
Other Name
SUPINA SOUVENIR BOWL
Date Range From
1918
Date Range To
1960
Materials
PORCELAIN
No. Pieces
1
Height
6
Diameter
21.5
Description
CHINA BOWL WITH AN IRREGULAR RIM THAT EXTENDS A FLORAL PETAL MOTIF ALONG BOWL’S INSIDE EDGE. CENTRE FEATURES COUNTRY LANDSCAPE INCLUDING A COTTAGE, SURROUNDED BY STAMP MARK IN GOLD STENCIL AND SCRIPT, “COMPLIMENTS OF N. F. SUPINA”. GOOD TO VERY GOOD CONDITION. SLIGHT CRACKING IN THE BOTTOM. THE BASE IS SCUFFED AND DIRTY. THERE ARE SOME MARKS ON THE OUTSIDE EDGE.
Subjects
FURNITURE
Historical Association
BUSINESS
COMMEMORATIVE
DOMESTIC
History
EVERAL HORHOZER (NÉE SUPINA) WAS BORN IN LETHBRIDGE IN THE YEAR OF 1927 TO HER PARENTS DONAH (NÉE HILL) AND NICHOLAS SUPINA. SUPINA WAS THE OWNER OF SUPINA’S MERCANTILE ON 13TH STREET NORTH, LETHBRIDGE. COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED A SERIES OF INTERVIEWS (ON APRIL 2, APRIL 16, AND MAY 7, 2015) WITH HORHOZER REGARDING A GROUP OF ARTIFACTS SHE DONATED TO THE MUSEUM. THE INFORMATION BELOW HAS COME FROM THESE INTERVIEWS AND LETHBRIDGE HERALD RESEARCH REGARDING HORHOZER AND HER FAMILY. THIS BOWL IS A REMINDER OF THE STORE THAT WAS AN INTEGRAL PART OF LIFE IN THE SUPINA FAMILY. HORHOZER REMEMBERS: “MY DAD ALWAYS GAVE A CHRISTMAS GIFT. SO ONE YEAR HE GAVE THE PLATE AND ANOTHER YEAR HE GAVE THIS BOWL AND ACTUALLY THAT’S ALL I KNOW ABOUT IT… [A]LL THE CUSTOMERS, THE ONES THAT DEALT THERE ALL THE TIME [GOT A CHRISTMAS PRESENT]. THE GOOD PAYING ONES AND THE NOT-SO-GOOD PAYING ONES, I THINK THEY PROBABLY EVEN GOT IT TOO, BUT, AS LONG AS THEY WERE CUSTOMERS THEN THEY GOT ONE… MY MOTHER SAVED [IT] FIRSTLY, BECAUSE THEY REALLY MEANT SOMETHING - PART OF THE STORE I GUESS SHE’D SAY. SO, HAD THEM FOR A LONG, LONG TIME… MY MOM HAD ALL KINDS OF ORNAMENTS AROUND AND SHE’D JUST PUT THEM ON A TABLE OR WHATEVER. SHE WOULD CHANGE HER ORNAMENTS EVERY ONCE AND AWHILE, AND THEN SHE’D PUT THESE IN THE CUPBOARD." ABOUT THE HISTORY OF SUPINA’S MERCANTILE, HORHOZER EXPLAINS: “I WAS BORN INTO [THE STORE]. MY DAD STARTED SMALL. HIS DAD HAD A LITTLE CONFECTIONARY; THEN HE TURNED IT INTO A GROCERY STORE AND THEN HE SOLD IT TO MY DAD. MY DAD WAS THE ONE THAT TOOK IT OVER, THAT WAS ALREADY TAKING PLACE WHEN I WAS BORN. THERE WAS NO SPECIFIC MEMORY [OF THAT TRANSITIION] BECAUSE THAT’S ALL I KNEW REALLY.” “… MY DAD WAS BORN IN CZECHOSLOVAKIA. [HIS FAMILY] CAME HERE WHEN HE WAS TWO. [HIS YOUNGER SIBLINGS], THE FIVE BROTHERS AND THE ONE SISTER, WERE ALL BORN IN THAT SAME LITTLE HOUSE THERE. AND THAT’S WHERE MY GRANDPA HAD STARTED THE STORE, IT WAS JUST A CONFECTIONARY. EVENTUALLY IT GREW INTO QUITE A BUSINESS… IN THOSE DAYS, IT WAS HORSE AND BUGGY, SO THEY HAD FIVE HORSES AND BUGGIES THAT WERE RUNNING, WORKING, AND MY UNCLE ALWAYS LOOKED AFTER THE HORSES AND MAINTAINED THEM. THEY’D GO AND THEY’D PICK UP THE ORDER. LOTS OF THE PEOPLE THEN COULDN’T SPEAK ENGLISH, BUT MY DAD COULD SPEAK CZECH, AND THEN THEY’D USUALLY SEND – HE HAD ALL KINDS OF NATIONALITIES WORKING FOR HIM - [A PERSON OF MATCHING ETHNICITY], THAT KNEW THEIR LANGUAGE TO PICK UP THE ORDER. THEY BROUGHT IT BACK TO THE STORE, AND THEN DELIVERED IT BACK TO THE CUSTOMER, THAT WAS REAL SERVICE IN THOSE DAYS, ESPECIALLY WITH HORSE AND BUGGY IN THOSE WINTRY DAYS, AFTER THAT IT DEVELOPED INTO TRUCKS. THERE WERE LOTS OF MINERS IN THOSE DAYS AND WERE GOOD CUSTOMERS… HE AT ONE TIME EMPLOYED THIRTY-SIX PEOPLE IN THE STORE THERE.” AN ARTICLE IN LETHBRIDGE HERALD PUBLISHED ON MAY 5, 2004 STATES THAT NICK SUPINA PURCHASED THE STORE FROM HIS FATHER, MIKE SUPINA, IN 1918. IN THE INTERVIEW, HORHOZER CONTINUED TO SPEAK ABOUT THE BEGINNING DAYS OF THE SUPINA’S STORE: “MY GRANDPA WAS WORKING IN THE MINE. I DON’T KNOW HOW IT CAME THAT HE HAD THIS LITTLE BUSINESS… IT’S MY DAD THEN THAT HAD TO LOOK AFTER THE FAMILY BECAUSE THEY DIDN’T HAVE ANY MONEY. THERE WAS FIVE BOYS SO HE HAD THEM ALL. THEY WERE ALL CLOSE TOGETHER IN AGE. THERE’S STEVE AND BILLY AND JOHN AND MIKE… UNCLE STEVE, IS THE SECOND, HE’S THE ONE THAT STAYED WITH MY DAD, AND JOHNNY DID TOO. THEN THE OTHER TWO PURSUED THEIR OWN BUSINESSES. BILLY HAD A BUSINESS IN RED DEER AND SMALL BUSINESSES IN TWO OTHER PLACES. THEN MIKE, HE WENT TO THE STATES AND—OH, THAT WAS GEORGE, PARDON ME. HE HAD A SHOE STORE WHICH WAS VERY, VERY SUCCESSFUL. MIKE WAS THE ONLY ONE THAT WASN’T IN BUSINESS. THAT WAS BECAUSE HE WAS IN THE WAR…” THINKING BACK ON HER MEMORIES OF SUPINA’S, HORHOZER DESCRIBES, “[I]N THOSE DAYS YOU HAD GOOD FRUIT. I REMEMBER THE DELICIOUS PEACHES. I HAVEN’T SEEN A PEACH LIKE THAT SINCE… LOTS OF TIMES, THE FRUIT WOULD GO OVER-RIPE, LIKE YOUR APRICOTS AND PEACHES. MY MOTHER WOULD GO AND GET ALL THE OVER-RIPE FRUIT AND TAKE IT HOME AND MAKE BEAUTIFUL PIES AND TAKE THE PIES BACK TO THE STORE AND SELL THEM. SHE WAS A WONDERFUL BAKER. THEY DID EVERYTHING LIKE THAT TO HELP MAKE MORE MONEY. SOMETIMES MY DAD WOULD HAVE A SPECIAL ON, 3 CENTS A LOAF [OF BREAD. I HAD LOTS OF ADS FROM THE STORE, AND YOU’D GET SUCH A KICK OUT OF SEEING HAMBURGER, TWENTY-FIVE CENTS A POUND AND THINGS LIKE THAT. SO, YES I REMEMBER.” HORHOZER BEGAN WORKING AT THE STORE AT THE AGE OF 14: “I WORKED IN THE LADIESWEAR. I LIKED THAT VERY MUCH. THE MEAT DEPARTMENT WAS RIGHT ACROSS FROM THE LADIESWEAR. THAT’S KIND OF HOW I MET JOE. HE WORKED IN THE BUTCHER DEPARTMENT. I REMEMBER THE DAY HE WALKED IN THE STORE, I’LL NEVER FORGET [IT], HE HAD THIS RED CARDIGAN SWEATER ON AND I JUST FELL, HEAD OVER RIGHT THEN. HE WAS JUST STARTING WORK AND I THOUGHT, ‘WELL, THAT’S THE GUY I’M GOING TO MARRY.’” HORHOZER BELIEVED THAT AN IMPORTANT PART OF THE STORE’S SUCCESS WAS “… BECAUSE, [OF] THE SERVICE MAINLY. JUST THINK, GOING THERE, GETTING YOUR ORDERS, BRINGING THEM BACK, DOING THEM UP, THEY’D MAKE SURE THINGS WERE TOP QUALITY. THEY GOT TO KNOW EVERY CUSTOMER, OF COURSE, AND THEY KNEW WHAT THEY LIKED. HE HAD WONDERFUL PEOPLE WORKING FOR HIM. THEY JUST GAVE FANTASTIC SERVICE ALL THE TIME. PLUS, MY DAD WAS GRUFF, BUT HE WAS VERY, VERY KIND TO POOR PEOPLE THAT COULDN’T AFFORD –THERE’S LOTS THAT YEARS AFTER HE HAD PASSED AWAY [PEOPLE] WOULD COME UP TO ME AND SAY, ‘IF IT WASN’T FOR YOUR DAD, JOHNNY WOULDN’T HAVE HAD CHEESE,’ OR SOMETHING. I DIDN’T KNOW A THING ABOUT IT, BECAUSE HE WAS ONE THAT NEVER, EVER TOLD ANYBODY… THEN AT CHRISTMAS TIME HE WOULD GO TO THE STORE AND HE HAD A LIST OF EVERYBODY THAT HE KNEW WAS EXCEPTIONALLY POOR, AND HE WOULD FILL BASKETS. HE WOULD DO IT ALL BY HIMSELF… HE WOULDN’T TELL MY MOTHER AND I. HE WAS SO TIGHT-MOUTHED, FILL ALL THESE BASKETS AND DELIVER THEM TO THE PEOPLE HIMSELF WITHOUT TELLING A SOUL ABOUT IT. HE WAS THAT KIND OF PERSON. HE WAS VERY KIND THAT WAY.” SUPINA’S MERCANTILE SERVED LETHBRIDGE UNTIL IT CLOSED IN 1960. HORHOZER REMAINED IN RETAIL IN VARIOUS SHOPS IN THE CITY, INCLUDING THE DEPARTMENT STORE WOOLCO UNTIL HER RETIREMENT IN 1988. HORHOZER PASSED AWAY IN LETHBRIDGE IN 2016 AT THE AGE OF 88 YEARS OLD. PLEASE SEE THE PERMANENT FILE FOR ADDITIONAL INFORMATION ABOUT SUPINA’S MERCANTILE AND THE LIFE OF EVERAL AND HER FAMILY, WHICH INCLUDES THE FULL INTERVIEW TRANSCRIPT AND LETHBRIDGE HERALD ARTICLES.
Catalogue Number
P20150016001
Acquisition Date
2015-05
Collection
Museum
Images
Less detail
Other Name
"COORS"
Date Range From
1980
Date Range To
1990
Material Type
Artifact
Materials
GLASS, PAPER
Catalogue Number
P20180029007
  2 images  
Material Type
Artifact
Other Name
"COORS"
Date Range From
1980
Date Range To
1990
Materials
GLASS, PAPER
No. Pieces
1
Height
23
Diameter
6
Description
BROWN GLASS BOTTLE WITH SILVER AND YELLOW METAL TOP; TOP HAS FLUTED EDGES AND BLACK TEXT “TWIST OFF, COORS, OR USE OPENER”. BOTTLE NEVER OPENED; CONTENTS INTACT. BOTTLE HAS YELLOW LABEL ON FRONT WITH BLACK TEXT “COORS” WITH BLACK AND WHITE IMAGE OF A WATERFALL AND RED BANNER OVER IMAGE WITH WHITE TEXT “BEER, BANQUET, BIERE”, WHITE TEXT AT LOWER EDGE “341 ML”. LABEL SIDES GOLD WITH BLACK TEXT ON RIGHT “BREWED ACCORDING TO THE QUALITY STANDARDS OF THE ADOLPH COORS COMPANY, GOLDEN, COLORADO, U.S.A., AGED SLOWLY FOR THAT [WORD HAS HOLE IN CENTER], MOUNTAIN SMOOTHNESS AND [WORD HAS HOLE IN CENTER]”, TEXT ON LEFT “BREWED UNDER LICENCE AND SUPERVISION OF THE ADOLPH COORS COMPANY, GOLDEN, COLORADO, U.S.A., MOLSON BREWERIES OF CANADA LTD., MONTREAL, ST. JOHN’S, TORONTO, BARRIE, WINNIPEG, REGINA, EDMONTON, VANCOUVER, CANADA, UNION MADE”. BOTTLE HAS EMBOSSED TEXT IN GLASS ABOVE LABEL “COORS”. LABEL HAS TEARS AND HOLES IN SIDES; LOWER EDGE OF LABEL FRONT IS TORN WITH LOSS; BOTTLE HAS LIGHT SOILING ON FRONT; OVERALL VERY GOOD CONDITION.
Subjects
CONTAINER
Historical Association
INDUSTRY
History
ON DECEMBER 21, 2018, GALT MUSEUM CURATOR AIMEE BENOIT INTERVIEWED KEVIN MACLEAN REAGARDING HIS DONATION OF PERSONAL OBJECTS. ON THE BEER BOTTLE, MACLEAN RECALLED, “AS FAR AS IDENTITY GOES, WITH GOING DOWN TO WHITEFISH, AND SEEING NEON SIGNS IN BAR WINDOWS…THERE’S ALL [THE] NEON SIGNS FOR BEER. I ALWAYS LIKED THE COORS SIGN. MY NEIGHBOR, WHO DIDN’T LIKE MY MUSIC CHOICES, HE LITERALLY HAD, FROM THE U.S., BOUGHT A COORS NEON SIGN AND IT WAS IN HIS BEDROOM WINDOW IN HIS FARMHOUSE. IT WAS THE WHITE MOUNTAINS WITH THE RED COORS, AND I THOUGHT [IT] WAS COOL. THERE’S NO BEER SELECTION BACK THEN. IT WAS FORMS OF LABATT’S, MOLSON, IT WAS A BIG DEAL TO GET KOKANEE, BUT I CHOSE COORS. THAT WAS MY WAY OF EXERCISING SOME LEVEL OF DIFFERENCE.” “WHY [THE BOTTLE] GOT KEPT IS, NUMBER ONE IT HAS COORS ON IT, WHICH WAS MY BEER. [IN GRADE 11 WAS] ABOUT DRINKING AND DRIVING, WHICH IS THE YEAR THAT WE’RE PARTYING, SO THAT WOULD BE ’87. THE SPRING OF ’86, THERE’S A GRADUATION FOR THE KIDS IN GRADE 12 AND, BECAUSE IN GRADE 11 WE’RE BEING VERY SOCIAL AND WE’RE PARTYING…YOU’RE BEING INCLUDED TO GO TO A GRADE 12 [GRADUATION] EVEN THOUGH YOU’RE IN GRADE 11. THAT GRADUATION, FOR THAT YEAR, WHICH WAS 1986, WAS OUT IN IRON SPRINGS. IT WAS AT A SCHOOL, IT WAS IN THE FIELD AND EVERYBODY DROVE. THE WHOLE FIELD [WAS] JUST FULL OF VEHICLES, THAT’S ALL I REMEMBER. HAVE VAGUE MEMORIES OF BEING SICK AND AT A TREE AND SOMEBODY COMING OVER TO ASK HOW I WAS DOING AND I WASN’T DOING WELL, AND JUST THINKING, “THAT WAS REALLY NICE THAT THEY CARED ABOUT ME ENOUGH THAT THEY WOULD COME AND ASK.” WE SLEPT IN THE CAR THAT NIGHT. AT THAT TIME, I WAS LISTENING TO PINK FLOYD AND “THE WALL” AND I WAS LISTENING TO BOSTON.” “[IN] ’87, WE HAVE THE VERY FIRST SAFE GRAD. I DON’T KNOW HOW AND WHY THAT CAME TO PASS. I REMEMBER TWO NIGHTS OF PARTIES. ONE WAS AT SHANNON HYNDS’ FARM, THE OTHER WAS AT ALAN JANSAN’S FARM. THE SECOND NIGHT, AT ALAN’S, I ACTUALLY HAD VIDEO OF THAT PARTY. WE WERE ON BUSES, WE GOT BUSSED [TO THE LOCATION]. WE HAD TO, IN ADVANCE OF THE PARTY, BUY OUR ALCOHOL. WE WERE SUPPOSED TO BUY OUR ALCOHOL, WHICH WAS A CASE OF COORS, IN MY CASE, AND THEN HAVE IT SOMEWHERE SO THAT WE WEREN’T ACTUALLY TAKING THE ALCOHOL ITSELF TO THE SITE. IT WAS ALREADY THERE.” “THE WAY THEY SERVED THIS – I REMEMBER AT SHANNON’S AND MAYBE ALAN’S – THAT THEY HAD GALVANIZED DRINKING TROUGHS FOR CATTLE AND HORSES. THEY FILLED THEM FULL OF ICE WATER AND THEN THAT’S WHAT THESE [BOTTLES] WERE IN. THE REASON I REMEMBER THIS IS THAT BY THE END—AND SOMEONE TRIED TO DO IT TO ME BUT THEY WEREN’T SUCCESSFUL—THEY WERE THROWING KIDS INTO THAT ICE WATER. THE UNCOOL THING IS THAT THE BOTTLES WERE BREAKING AND IT WAS FULL OF BROKEN GLASS AND PEOPLE WERE BEING THROWN IN THERE. THAT WASN’T VERY COOL. WHEN I TOOK THE BOTTLE…I’M DRINKING COORS LIGHT. I HAD MY OWN NEON SIGN, SILVER BULLET. I TAKE THE BOTTLE BECAUSE IN MY MIND, BECAUSE THIS PARTY IS ENDED AND WE HAVE TO LEAVE, DOESN’T MEAN THAT I’M INTERESTED IN STOPPING DRINKING. I TAKE THE BOTTLE TO DRINK WHEREVER I’M GOING NEXT AND THEN I DON’T END UP DRINKING IT ‘CAUSE IT’S PROBABLY FIVE IN THE MORNING. OVER TIME, IT GETS SAVED BECAUSE IT’S A REMINDER OF THIS WHOLE HIGH SCHOOL [CULTURE].” ON HIS TIME DRINKING AND PARTYING, MACLEAN ELABORATED, “MY PARENTS CERTAINLY HAD PARTIES AT THE HOUSE SO THAT WAS SOMETHING THAT WAS FAMILIAR TO ME. THEY BUILT A HOUSE UP IN PICTURE BUTTE IN 1975. THEY HADN’T, INITIALLY, DEVELOPED THEIR BASEMENT. THEY DID WITHIN TWO TO THREE…THERE WERE HERITAGE ELEMENTS EITHER BY DECORATION, BY THE DESIGN OF THE INTERIOR THAT SHE INCORPORATED WHICH SPIKED MY INTEREST. THEY HAD A DANCE FLOOR DOWN THERE, OF WOOD. THE WALLS WERE MIRRORS, SO ALL THAT DISCO ERA-TYPE STUFF. THERE WAS A BAR THAT WAS BUILT, TOO. MY PARENTS WERE FRIENDS WITH AN R.C.M.P. OFFICER’S FAMILY, SO THE FAMILY IS OVER, AND THEY’RE UPSTAIRS AND I’M LITERALLY SERVING THE R.C.M.P. OFFICER’S KIDS…WHISKEY OUT OF THIS BAR. IT WASN’T THAT I HAD SOME SENSE THAT BY DRINKING THE FLUID THERE WAS IMPAIRMENT. IT WAS JUST SOMETHING THAT ADULTS DID.” “IN TERMS OF [MY FRIENDS AND I] IT HAPPENS TO BE THAT VERY TIME [WHEN] WE’RE IN THE BACK OF THAT PICKUP, AS KIDS…WHEN WE FINISH GRADE 9…THE SUMMER OF 1984. MY DAD DROPS US OFF IN THE COULEES DOWN AT THE END OF THE GRAVEL ROAD. THERE’S A BIG, DEEP COULEE DOWN THERE. WE HIKE AROUND AND THEN WE MANAGE TO COME BACK AND THERE’S SHALLOWER COULEES BY MY OWN PLACE. WE SET UP A TENT AND WE SLEEP OVERNIGHT DOWN THERE. ONE KID [WITH US] IS LES. I DON’T REMEMBER HOW OR WHY BUT HE HAD A MICKEY OF VODKA [OR GIN]. HE POUNDED IT BACK. HE DRANK THE WHOLE THING IN FRONT OF US. WE DON’T REALIZE OR UNDERSTAND WHAT THAT’S GOING TO DO EXCEPT TO KNOW THAT ALCOHOL IS SOMETHING THAT ADULTS ARE SUPPOSED TO BE DOING. LATER ON THAT NIGHT HE STARTED THROWING UP [ALL OVER THE PLACE]. THE REST OF US NEVER TOUCHED IT. HE WAS THE ONLY ONE. THEN WE KNEW THAT ALCOHOL MAKES YOU SICK. “IN GRADE 10 WE LEAVE. THERE’S FIVE BOYS AND ELEVEN GIRLS [IN MY CLASS]. WE LEAVE A CATHOLIC SCHOOL AND WE GO INTO THE PUBLIC SYSTEM. WE MERGE WITH ALL THESE OTHER KIDS.” “[WE’RE] STILL IN PICTURE BUTTE…THERE’S THIRTY-FOUR PUBLIC KIDS. SOME OF THOSE KIDS WOULD BE FROM MORE DIVERSE BACKGROUNDS THAN OUR OWN. MOST OF THE KIDS THAT WERE IN MY CLASS WERE ACTUALLY FROM DUTCH FAMILIES. THERE’S A LOT OF DISTRACTION FOR ME BECAUSE OF ALL THESE OTHER KIDS, SOME OF WHOM DON’T NECESSARILY WORK AS HARD IN SCHOOL. I DON’T THINK I WAS A KID WHO EVER THOUGHT IT WAS IMPORTANT TO WORK THAT HARD IN SCHOOL. I JUST WANTED TO HAVE FUN. GRADE 10, THERE’S ALSO THE GIRLS AND STUFF. BUT, THERE’S NO DRINKING AT ALL [IN GRADE 10] THAT I REMEMBER. THERE’S CERTAINLY DISTRACTIONS AS A BOY IN GRADE 10 WOULD HAVE.” “THEN IN THE SUMMER OF…1985, IN AUGUST…I DON’T REMEMBER HOW OR WHY BUT I’M WITH LES. I’VE SPENT NINE YEARS WITH HIM…IN PART, BECAUSE OF WHERE HE LIVED. MY AUNT AND UNCLE LIVED RIGHT NEXT DOOR. I REMEMBER BEING IN THE VEHICLE WITH HIM, AND THE VEHICLE BELONGED TO A [GIRL] NAMED CAROLINE OHLGART. SHE WAS DRIVING AND IT WAS A MUSTANG. SHE WAS THE ONE WHO WAS DRIVING AND THEN THERE WAS ANOTHER [GIRL], MELINDA. I THINK THERE [WERE] THREE BOYS AND TWO GIRLS IN THIS CAR. IT’S THE END OF THE SUMMER AND WE’RE IN SHAUGHNESSY. SOMEHOW THEY GET THIS GUY WHO SOMEBODY KNOWS…AND THEY GET OFF-SALES FROM THE SHAUGHNESSY BAR...WE GET A CASE OF BEER AND THAT’S REALLY THE FIRST TIME [I DRINK]. IT WASN’T EVEN SO MUCH THAT WE WERE DRINKING AS THE FACT THAT I WAS WITH THESE OTHER GIRLS AND GUYS. IT JUST FELT LIKE A VERY EXCITING THING TO DO. IT TURNED OUT, AS AN EXPERIENCE GOES, TO BE A REALLY GOOD EXPERIENCE. THAT SET THE STAGE, RIGHT OFF THE BAT, FOR GRADE 11, WHICH WAS PARTYING.” “IN GRADE 11, INITIALLY [LES IS] STILL A FRIEND. I’M HANGING OUT WITH HIM BUT I’M ALSO HANGING OUT WITH EVERYBODY. IT DIDN’T MATTER WHO THEY WERE, I COULD HANG OUT WITH ANYBODY. BUT, I’M NOTING THAT, FOR VARIOUS REASONS, HE AND ANOTHER GUY…[WERE] GOING DOWN A PARTICULAR ROAD AND, IF I EXERCISE SOME CRITICAL JUDGMENT AT [THE] TIME, IT WAS THAT, ‘OKAY, I SHOULD NOT CONTINUE ON THIS PATH’. IT DOESN’T MEAN THAT I CAN’T BE FRIENDS WITH THESE PEOPLE BUT IN TERMS OF MY IMMEDIATE SOCIAL CIRCLE, THAT MIGHT NOT BE A WAY TO GO. THEN I ELECTED…TO BE HANGING OUT MORE WITH [OTHERS]. THEY’RE MORE [INTO] SPORTS. THEY’RE DOING BASKETBALL AND VOLLEYBALL WHICH I NEVER DID ‘CAUSE I COULD NEVER PLAY ANYTHING. THEY’RE ALSO RELATIVELY STRONG ACADEMICALLY. THEY’RE GOOD KIDS FROM GOOD BACKGROUNDS. [THAT] DOESN’T MEAN THAT THEY’RE NOT PARTYING BECAUSE THEY’RE OUT PROBABLY EQUALLY EVERY SINGLE WEEKEND. BUT, THAT PARTYING WOULD INVOLVE BEER AS OPPOSED TO HASH OIL AND WEED WHICH WOULD BE MORE WHAT THE KIDS THAT THINGS DON’T NECESSARILY END UP WELL FOR [DID], LOOKING BACK.” “WE’RE OUT EVERY SINGLE WEEKEND AND, UNLIKE BEING IN LETHBRIDGE WHERE HOUSE PARTIES MIGHT BE A LITTLE BIT MORE ACCESSIBLE AND CLOSE…[OUR] HOUSE PARTIES ARE MILES AWAY. YOU WOULD HAVE TO GET THERE AND GET BACK. I REMEMBER, CERTAINLY IN GRADE 11 IN THE FALL, I DON’T HAVE MY DRIVER’S LICENSE ‘CAUSE THAT’S 1985. [I WAS] THINKING AT THE TIME THAT, AS LONG AS I WASN’T THE ONE DRIVING, THEN IT WAS OKAY AND [I WASN’T] NECESSARILY KNOWING WHAT THE STATE [WAS] OF THE INDIVIDUAL THAT WAS DRIVING.” “IT WOULD BE ALSO AT THIS TIME THAT THE WHOLE DRINKING AND DRIVING THING WAS GOING DOWN BECAUSE, POTENTIALLY, THREE YEARS PREVIOUS IT WAS NOT, CULTURALLY, AS BIG OF A DEAL. BUT, BY 1985, IT’S A BIG DEAL. IT’S STARTING TO REALLY KICK IN…OVER THE YEARS, YOU’VE WITNESSED IT, THAT THERE’S PEOPLE THAT WILL DRINK AND DRIVE, PEOPLE THAT YOU KNOW.” “IN TERMS OF PARTYING, I KNOW THAT IN GRADE 10, I WASN’T PAYING ATTENTION. I WAS KEEPING UP WITH MY FRIENDS BUT I WASN’T PUTTING ANY EXTRA WORK INTO [SCHOOL]…I WAS MORE ABOUT [THE] SOCIAL [ASPECTS]. THEN, IN GRADE 11, IT BECAME PARTYING EVERY WEEKEND. BY GRADE 12, I WAS [THINKING], ‘OH, YOU KNOW WHAT, THIS IS ALL GOING TO COME TO AN END IN FAIRLY SHORT ORDER SO I BETTER START WORKING A LITTLE BIT HARDER.’ I REMEMBER THE WHOLE PARTY THING AS BEING A LITTLE BIT LESS. NOT TO SAY THAT IT WASN’T STILL GOING ON BUT I KNEW THAT I HAD TO WORK HARDER IN SCHOOL. IN GRADE 12, THOUGH, THESE KIDS ARE GETTING TO BE OLDER…THEY ARE ABLE TO START TO DRIVE BECAUSE THEY HAVE DRIVER’S LICENSES TO DRIVE INTO LETHBRIDGE AND ACTUALLY GET ADMITTED TO BARS. THEY WOULDN’T EVEN WANT ME TO BE WITH THEM BECAUSE IF THEY WANTED TO GO TO A SPECIFIC BAR, WHICH, IF IT WAS A REALLY COOL BAR, AND I WAS WITH THEM, AND I COULDN’T GET IN, THEN THEY COULDN’T GO.” “IN ALL HONESTY…MY RELATIONSHIPS WITH [MY CLASSMATES] MEANT SOMETHING AND THAT CLASS OF FIFTY KIDS. I GENERALLY, OVER ALL AT THE TIME, ENJOYED THEIR COMPANY. THEY WERE FRIENDS. WHEN I CAME INTO LETHBRIDGE, FOR SOME YEARS—YOU COULD ALMOST SAY IT WAS NOT TILL UNIVERSITY—BUT THERE WOULD BE A FEW YEARS THAT I WOULD HAVE VERY WARM FEELINGS WHERE TODAY I DON’T LOOK BACK UPON IT AS THIS ‘BEST TIME OF MY LIFE’.” “BECAUSE I DIDN’T GO TO HIGH SCHOOL THE CITY…THE CLASSES ARE A LOT SMALLER [IN PICTURE BUTTE]. BY THE TIME I GRADUATE IN JUNIOR HIGH, THERE’S ONLY SIXTEEN OF US. WHEN I GRADUATE [FROM] HIGH SCHOOL, THERE’S ONLY FIFTY. I THINK [THE LCI GRADUATING CLASS AT THE TIME] WAS THREE HUNDRED KIDS. IT WAS HUGE. WHERE YOU DON’T EVEN KNOW ALL THE KIDS. I GUESS THERE’S MORE OPPORTUNITY FOR POCKETS OF KIDS WHO WANT TO EXPRESS THEMSELVES MORE STRONGLY. TO HAVE OTHER KIDS WHO FEEL THE SAME WAY. TO SUPPORT ONE ANOTHER. BUT THERE, OUT IN PICTURE BUTTE, I WOULDN’T SAY IT’S THE CASE AT ALL. MAYBE IT’S MY NOT WANTING TO STAND OUT AND DRAW ATTENTION TO MYSELF…IT WAS IMPORTANT TO ME THAT I FIT IN WHICH [DRINKING] WAS PART OF, TOO. IT WASN’T THAT I DON’T WANT TO DO THIS BUT I HAVE TO DO THIS, BECAUSE I WAS HAPPY TO DO THIS, ‘CAUSE I LIKE THE SOCIAL PART OF IT. THAT WAS ALSO PART AND PARCEL BECAUSE THEN THAT PUT YOU INTO ANOTHER GROUP IN TERMS OF ACCEPTABILITY. IN FACT KIDS THAT WOULD BE OLDER THAN YOU BY A YEAR OR TWO YEARS WOULD GIVE YOU ACCESS TO THOSE KIDS, TOO, ‘CAUSE THEN YOU WERE SHARING EXPERIENCES WITH THEM ON THE WEEKEND, CREATING CONNECTIONS WITH THEM.” MACLEAN NOTED HIS REASONS FOR SAVING AND DONATING THE BOTTLE, “I THINK I’VE SAVED THIS [BOTTLE] IN PART BECAUSE EITHER I THINK THAT IT’S HISTORICALLY IMPORTANT. I THINK SAFE GRADS AND DRINKING AND DRIVING [ARE] IMPORTANT.” “OVER TIME, [I THOUGHT] ‘YOU KNOW WHAT, THAT WAS FROM THE VERY FIRST SAFE GRAD OUT IN PICTURE BUTTE.’ IT MIGHT BE THE CASE ‘CAUSE WHEN [MY WIFE] GRADUATED, SHE HAD A SAFE GRAD AT LCI AND THAT COULD HAVE BEEN THE SAME YEAR…WEREN’T OUT [OF CLASSES] YET. [GRADUATION WOULD BE] IN JUNE AND I THINK WE WERE STILL IN CLASSES AFTER THAT.” FOR MORE INFORMATION INCLUDING ARTICLES FROM THE LETHBRIDGE HERALD, BRANDON SUN, MEDICINE HAT NEWS, AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180029001-GA.
Catalogue Number
P20180029007
Acquisition Date
2018-12
Collection
Museum
Images
Less detail
Date Range From
1945
Date Range To
2005
Material Type
Artifact
Materials
STEEL, WOOD
Catalogue Number
P20160029000
  2 images  
Material Type
Artifact
Date Range From
1945
Date Range To
2005
Materials
STEEL, WOOD
No. Pieces
7
Height
30
Diameter
31
Description
A: PRESSURE COOKER POT: STEEL POT WITH TWO BLACK WOODEN HANDLES. HANDLES ARE SCREWED TO LIP OF POT WITH TWO SCREWS EACH. FAIR TO GOOD CONDITION. BLACK RESIDUE, WATER STAINS, AND SCRATCHES ON OVERALL SURFACE OF POT FROM USE. THERE IS A FULL CRACK SEPARATING THE BACK END OF THE RIGHT HANDLE FROM THE POT. B: LID: STEEL LID 31.9CM (D) X 3.8CM (H). LID HAS ONE BLACK WOODEN HANDLE HELD IN PLACE BY TWO SCREWS. BOTH SIDES OF HANDLES HAVE VALVES FOR LETTING OFF/MANAGING PRESSURE. THE CENTER HAS A ROUND GAUGE WHICH READS BOTH PRESSURE (0 TO 20) AND TEMPERATURE IN DEGREES FAHRENHEIT (228° TO 259°). IT READS "WARNING OPEN PETCOCK, EXHAUST STEAM…” GAUGE HAS SINGLE RED NEEDLE. IN FRONT OF GAUGE ON TOP OF LID READS, “IMPROVED KOOK / KWICK STEAM PRESSURE COOKER 22”. LID IS SECURED TO POT WITH REMOVABLE RING THAT IS TIGHTENED BY TURNING A SMALL HANDLE AT THE FRONT. GOOD CONDITION. STAINING ON OVERALL SURFACE OF LID AND BACKGROUND OF GAUGE IS YELLOWED. C: SEALING RING: 36 CM IN DIAMETER UNTIGHTENED. STEEL WITH A RUBBER KNOB AT THE OPENING. HINGE AT THE BACK SIDE OF THE RING. CLAMP AT FRONT IS TIGHTENED BY A METAL HANDLE. GOOD CONDITION. STAINING ON OVERALL SURFACE OF THE STEEL. D: COOKING RACK: 26.5 CM IN DIAMETER. CIRCULAR, METAL RACK WITH A CIRCLE OPENING AT THE CENTER AND A CURVED PATTERN OF TWO ROWS AROUND. THE RACK HAS 6 SECTIONS AROUND. THERE ARE RIDGES ALONG THE VERTICAL LINES ON ONE SIDE. THE OPPOSITE SIDE IS FLAT. THREE OF THE RIDGES HAVE SCREW HOLES ON THE OUTSIDE EDGE. E-G: 3 MASON JAR LID BANDS: ALL 8.5 CM IN DIAMETER. E IS MADE OUT OF A SILVER-COLOURED METAL. F AND G ARE MADE OUT OF GOLD-COLOURED METAL. POOR TO FAIR CONDITION FOR COMPONENTS D THROUGH G. ALL COMPONENTS ARE RUSTING WITH SIGNIFICANT MINERAL BUILD UP ON THEM. THERE IS FURTHER MATERIAL BUILD UP ON COMPONENTS E-G.
Subjects
FOOD PROCESSING T&E
Historical Association
DOMESTIC
History
THE FOLLOWING INFORMATION ABOUT THIS PRESSURE COOKER IS EXTRACTED FROM A SEPTEMBER 2016 INTERVIEW CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN WITH THE ARTIFACT'S DONOR, JEANNETTE HOUTEKAMER: HOUTEKAMER CAME INTO POSSESSION OF THE PRESSURE COOKER FROM HER AUNT, EUGENE SICOTTE: “WELL, FIRST OF ALL, I KNOW IT’S VERY OLD. IT CAME FROM A GREAT AUNT, WHO CAME TO THIS COUNTRY AS A YOUNG GIRL AND WAS LOCATED AROUND THE BEAVER MINE AREA… MUST [HAVE BEEN] LUNDBRECK. SHE WAS THERE WITH HER HUSBAND... SHE ALSO WAS A WONDERFUL COOK, AND SHE COOKED IN A LUMBER CAMP … HER FIRST MARRIED NAME WAS EUGENE (SIC) SICOTTE, MARRIED TO A PETE SICOTTE. [N.B. ALTERNATIVE SPELLING OF FIRST NAME EUGINE OR EUGENIE FROM OBITUARY AND LEGAL NOTICE] … SHE WAS WITH HIM FOR 17 YEARS... HOW SHE MET GEORGE ANDERSON, I’M NOT SURE, BUT HE WAS A FARMER PAST COALDALE - BARNWELL. THEY HAD A FARM UP THERE. AND SHE WAS QUITE A BIT OLDER THAN HIM, BUT THEY MARRIED, AND DID VERY WELL. THEN THEY RETIRED AND MOVED TO THE CITY HERE… I IMAGINE THEY BOUGHT [THE PRESSURE COOKER] DOWN IN GREAT FALLS, BECAUSE HE HAD A SISTER WHO WAS DOWN IN SHELBY. AT THE TIME, IT WAS CONSIDERED MORE EXPENSIVE.” OF THE RELATIONSHIP SHE HAD WITH HER AUNT, HOUTEKAMER STATED: “[W]E WERE VERY CLOSE. THEY HAD NO FAMILY, SO THEY KIND OF ADOPTED MY HUSBAND [MARTIN HOUTEKAMER] AND I... WE DID A LOT OF THINGS FOR THEM WHEN THEY GOT OLDER... SHE WAS A FABULOUS COOK.” HOUTEKAMER’S AUNT’S NAME BECAME EUGENE ANDERSON UNDER HER SECOND MARRIAGE. SOMETIME DURING THE PERIOD AFTER THE EUGENE AND GEORGE ANDERSON MOVED TO LETHBRIDGE AND BEFORE THE PASSING OF MRS. ANDERSON IN 1968, HOUTEKAMER CAME TO ACQUIRE THE PRESSURE COOKER: “WELL, SHE JUST GOT TO THE POINT WHERE SHE WAS GETTING OLDER, AND SHE DIDN’T DO A LOT OF CANNING ANYMORE. SHE HAD DONE A LOT PREVIOUS TO THAT. SHE CANNED EVERYTHING, EVEN MUSHROOMS … [SHE WAS A] FABULOUS COOK … SHE KNEW THAT I DID A LOT OF CANNING, SO SHE THOUGHT [THE PRESSURE COOKER] WOULD HELP." "MY HUSBAND DID A LOT OF FISHING, SO [WE] CANNED FISH, WHICH WAS THE BEST THING FOR IT. WHEN YOU CAN IT IN THERE, IT’S GOING TO BE GOOD… [HE CAUGHT FISH FROM] ALL OVER SOUTHERN ALBERTA. BEAVER MINES WAS ONE OF THE SPECIALS. IN FACT, HIS ASHES ARE IN POLICE LAKE. HE DID A LOT THERE AT POLICE LAKE AND LEE’S CREEK. DEPENDING [ON] HOW MANY FISH YOU HAD TO MAKE IT WORTHWHILE, I WOULD DO A CANNER OF IT. I USED THE SMALL FISH JARS, SO I COULD PACK THEM UP. I DID QUITE A FEW…” PRIOR TO OWNING A PRESSURE COOKER, HOUTEKAMER SAID SHE “USED A BIG CANNER. I HAD ONE THAT HELD 7 OR 8 QUARTS. THAT’S WHAT I DID - MOSTLY FRUIT. I DIDN’T DO A LOT OF VEGETABLES BECAUSE, BY THEN, YOU COULD START FREEZING STUFF. YOU KNOW, IT WAS STARTING TO GET MORE POPULAR.” HOUTEKAMER DID NOT LEARN A GREAT DEAL OF COOKING FROM HER AUNT, “BECAUSE I HAD LEARNED A LOT FROM MY MOTHER. SHE WAS A GOOD COOK. SHE EVEN MADE LEFTOVERS TASTE GOOD. SHE HAD HAD A LOT OF EXPERIENCE… WE DID A LOT OF PRESERVING IN HER DAY. THAT WAS ALL WE HAD AND IT WAS ALWAYS DONE IN A BOILER - A GOOD COPPER BOILER. THAT’S THE WAY YOU LEARNED. … FOR SOME THINGS [THE PRESSURE COOKER WAS BETTER THAN THE COPPER BOILER] BECAUSE MY VEGETABLES TAKE A VERY LONG TIME TO PRESERVE THROUGH BOILING. AND FISH, OH MY GOD, YOU WOULD BE THERE FOREVER TO BOIL, SO THIS [PRESSURE COOKER] IS MUCH BETTER, MUCH FASTER [AND] SAFER, AS WELL. IT WAS HEAVY WORK, MIND YOU. WHEN YOUR COOKER WAS DONE, WHEN YOUR TIME WAS DONE, IF YOU COULD LIFT IT AND TAKE IT OUTDOORS, YOU COULD THROW COLD WATER ON IT AND OPEN IT RIGHT AWAY. THEN YOU WOULD THROW THE CANS IN COLD WATER. FOR JARS, YOU HAD TO WAIT UNTIL IT WENT DOWN BY ITSELF. YOU COULDN’T OPEN IT UNTIL THEN OR ALL THE LIDS WOULD COME OFF.” FOR HOUTEKAMER, CANNING TOOK PLACE MOSTLY DURING THE FALL. SHE WAS ABLE TO PRESERVE A VARIETY OF FOOD WITH THIS PRESSURE COOKER: “I [CANNED] CHICKEN ONE YEAR, AND THAT WAS ENOUGH. WE ALWAYS HAD CHICKEN AROUND [AND] IT WAS BETTER FRESH. MY HUSBAND LOVED HIS FRESH CHICKENS. WE HAD OUR OWN GARDEN, AND SOMETIMES WE WOULD GET SOME CORN IN THE FALL [WHEN THE FARMERS WERE DOING THEIR THRESHING].” OF HER FAVOURITE VEGETABLES TO PRESERVE, HOUTEKAMER SAID, “BEANS, I GUESS. I WOULD GET A LOT OF BEANS. BEETS – I DID SOME – NOT CANNED. [I] DID A LOT OF PICKLES. BEANS WERE THE MAIN THING, AND CHICKEN, AND FISH. AND THAT WAS IT. I DID A LOT OF TOMATOES, BUT THEY WERE SIMPLER TO DO IN THE CANNER, BECAUSE THEY ONLY TAKE ABOUT 20 MINUTES… [THE PRESSURE COOKER] WOULD BE PLACED ON [A] GAS OR ELECTRIC [STOVE]. WHEN THE TIME WAS DONE, YOU JUST SHUT THE STOVE OFF AND LET IT COME DOWN BY ITSELF… I USED TO JUST KNOW WHERE TO PUT THE STOVE AT, THE BURNER, TO KEEP [THE PRESSURE WHERE NEEDED]. YOU HAD TO BE CAREFUL. YOU COULDN’T JUST TURN YOUR BACK ON IT. YOU WOULDN’T WANT THAT. THAT WHOLE THING WOULD COME OFF, AND YOU WOULD HAVE ONE BIG MESS. … NO [THAT NEVER HAPPENED]. I ALWAYS WAS VERY CAREFUL – WATCHED IT CLOSE. I DON’T THINK [MESSES] EVER HAPPENED TO MY AUNT EITHER THAT I’M AWARE OF… MOST OF THE COOKBOOKS IN THOSE DAYS HAD INSTRUCTIONS ABOUT HOW MANY POUNDS TO USE FOR VEGETABLES. I THINK MY FISH WAS 15 POUNDS. FOLLOW THOSE INSTRUCTIONS AND IT WORKED FINE – [IT] DID A VERY GOOD JOB.” HOUTEKAMER WOULD USE THE PRESSURE COOKER AT HER HOME ON THE RESEARCH STATION AND THEN LATER AT HER HOME ON THE NORTH SIDE OF LETHBRIDGE: “… AT THE TIME WE LIVED ON THE RESEARCH STATION FOR TWENTY YEARS. AND I USED IT THERE. MY HUSBAND WORKED THERE, IN POULTRY RESEARCH. WE WERE POOR. WE DID A LOT OF CANNING AND ALWAYS HAD A GARDEN. THAT’S HOW IT CAME ABOUT … WE HAD A PLACE TO LIVE AND OUR OWN GARDEN.” THE PRESSURE COOKER WAS ACTIVELY USED BY HOUTEKAMER UNTIL HER HUSBAND’S DEATH IN 2005: “WELL, I DON’T THINK I’VE USED IT IN THE LAST 10 YEARS BECAUSE I’VE BEEN LIVING IN A CONDO. I JUST HAD IT SITTING AROUND, TOO HEAVY TO MOVE… I DIDN’T DO A LOT OF CANNING ANYMORE…” THIS ARTIFACT BRINGS BACK MEMORIES OF HER LATE HUSBAND: “WE ALWAYS DID A LOT OF FISHING TOGETHER. WHEN HE RETIRED, HE BOUGHT HIS BOAT. WE HAD A CAMPER VAN, SO WE COULD GO OUT AND STAY OVERNIGHT. WE HAD [THE] BOAT, SO WE COULD GO ONTO THE WATER [AND] TRY TO GET SOME FISH. THOSE DAYS, THERE WERE SO MANY FISH... IF YOU WERE LUCKY, YOU HAD A NICE BIG ONE THAT WOULD FILL ABOUT FIVE OR SIX JARS.” CANNING WAS A NECESSITY FOR FOOD PRESERVATION: “WELL, I GUESS IT’S OK IF YOU CAN AFFORD IT, BUT WHEN WE WERE YOUNGER, WE WERE VERY POOR, SO YOU DID WHAT HAD TO DO. KEEP GOING. EAT… MY GIRLS STILL DO SOME, BUT NOW, WITH THE NEW FANCY STOVES, YOU COULD NEVER USE THIS – TOO HEAVY. THE NEW STOVES – THEY JUST CAN’T PUT ANYTHING HEAVY ON THERE. I THINK IT’S KIND OF TOO BAD, BECAUSE A GARDEN IS NOT THAT HARD TO HAVE, AND YOU CAN GET AN AWFUL LOT OF GOOD FOOD OUT OF THERE – NATURAL FOOD, AND VERY HEALTHY FOOD. SOME PEOPLE JUST CAN’T BE BOTHERED. [IT'S] SIMPLER TO GO TO THE STORE… [MY AUNT] COULD HAVE PROBABLY SAID MORE, SHE DID A GREAT DEAL OF CANNING. SHE ALWAYS MADE SURE, WHEN THEY BUILT THEIR HOUSES, THAT THEY HAD A PLACE FOR PUTTING HER CANNED STUFF, WHERE SHE COULD KEEP IT COOLER IN THE SUMMER.” ACCORDING TO HER LETHBRIDGE HERALD OBITUARY, MRS. EUGINE ANDERSON PASSED AWAY IN LETHBRIDGE ON JANUARY 18, 1968 AT THE AGE OF 85. HER SECOND HUSBAND, MR. GEORGE ANDERSON, PASSED AWAY IN CALGARY ON NOVEMBER 26, 1972 AT THE AGE OF 79. MRS. ANDERSON’S FIRST HUSBAND, MR. PETE SICOTTE, PASSED AWAY IN CAMROSE, ALBERTA ON FEBRUARY 15, 1966 AT THE AGE OF 92. A MEMORIAM IN THE LETHBRIDGE HERALD INDICATES THAT THE DONOR’S HUSBAND, MR. MARTIN HOUTEKAMER PASSED AWAY ON APRIL 21, 2005. SEE PERMANENT FILE FOR ADDITIONAL INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION AND COPIES OF OBITUARIES.
Catalogue Number
P20160029000
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
CASSEROLE DISH SET
Date Range From
1970
Date Range To
2006
Material Type
Artifact
Materials
CERAMIC
Catalogue Number
P20160001000
  2 images  
Material Type
Artifact
Other Name
CASSEROLE DISH SET
Date Range From
1970
Date Range To
2006
Materials
CERAMIC
No. Pieces
22
Height
22
Length
44
Width
32
Description
BOX OF SUNBURST CASSEROLE DISHES WITH 11 PIECES (5 FULL SETS OF SMALL AND LARGE DISHES AND 1 PARTIAL SET WITH ONE SMALL DISH). THERE ARE 22 PIECES INCLUDING THE STORAGE MATERIALS. A – F: CERAMIC CASSEROLE DISHES. UNGLAZED. “SUNBURST… OVENPROOF” WITH A SUN LOGO STAMPED ON THE BOTTOM. THE DISHES HAVE A RIM AT THE TOP AND A BASE AROUND THE BOTTOM. THERE ARE 2 HANDLES ON OPPOSITE ENDS OF THE TOP OF THE DISHES. A-E HAVE “1.95” WRITTEN ON THE BOTTOMS IN PENCIL. F HAS AN ERASER MARK IN THAT PLACE, AND A WHITE STICKER WITH THE PRICE “$5.00” HANDWRITTEN AND STICKING TO A TOP HANDLE. THE DIAMETERS ARE 19.4 CM, THE LENGTHS INCLUDING THE HANDLES ARE 23.3 CM AND THE DISHES ARE EACH 7.1 CM DEEP. THE CONDITIONS OF DISH A THROUGH D ARE VERY GOOD TO EXCELLENT. THERE IS DUST COATING EACH DISH. B HAS 5 SMALL CHIPS ON THE BASE AND A SLIGHT CRACK (LESS THAN 1 CM LONG) ON THE OUTSIDE OF THE RIM. THE CERAMIC ON C IS ROUGH ON THE INNER RIM. IT ALSO HAS A DARK MARK ON THE OUTSIDE OF THE RIM AND SOME SMALL CHIPS ON THE BASE. D HAS A SCRATCH ON THE BASE. THE CONDITION OF E IS VERY GOOD WITH A SMALL CRACK ON THE SIDE OF THE DISH, A DARK STAIN ON THE EDGE OF THE RIM, AND A SLIGHT SCUFF ON THE BOTTOM. CASSEROLE DISH F IS IN GOOD TO VERY GOOD CONDITION WITH SOME MARKS ALONG THE RIM AND BASE. THERE IS A CHIP IN THE HANDLE. G – K: CERAMIC CASSEROLE DISHES. UNGLAZED. “SUNBURST… OVENPROOF” WITH A SUN LOGO STAMPED ON THE BOTTOM. THE DISHES HAVE A RIM AT THE TOP AND A BASE AROUND THE BOTTOM. THERE ARE 2 HANDLES ON OPPOSITE ENDS OF THE TOP OF THE DISHES. H-J HAVE “2.95” WRITTEN ON THE BOTTOMS IN PENCIL. G HAS AN ERASER MARK IN THAT PLACE, AND A WHITE STICKER WITH THE PRICE “$7.00” HANDWRITTEN AND STICKING TO A TOP HANDLE. THE DIAMETERS ARE 22.6 CM, THE LENGTHS INCLUDING THE HANDLES ARE 27.1 CM AND THE DISHES ARE EACH 8.4 CM DEEP. THE CONDITION OF DISH G IS VERY GOOD WITH DARK IMPURITIES IN THE CLAY, A SCUFF ALONG THE BASE AND A SCRATCH IN THE CLAY ON THE SIDE OF THE DISH. THE CONDITION OF H IS FAIR TO GOOD. THIS DISH HAS A LARGE CHIP IN THE RIM WITH A LENGTH OF APPROXIMATELY 6.1 CM. THERE IS A SCUFF IN THE BOTTOM. DISH I IS IN VERY GOOD CONDITION WITH SOME IMPURITIES IN THE CLAY, AN AIR BUBBLE ON THE SIDE OF THE DISH, A DARK BROWN STAINING ON THE SIDE, AND CHIPS ON THE BOTTOM RIM. DISHES J AND K ARE IN VERY GOOD TO EXCELLENT CONDITION WITH SMALL CHIPS IN THE RIM. L – M: SQUARE PIECES OF CARDBOARD FOR PACKING. THEY ARE BENT TO FOLD AROUND A DISHES WITH A CIRCULAR CREASE IN THE CENTER WITH TWO PARALLEL SLITS (APPROX. 3.5 CM APART) FROM ONE END TO THE CENTER. THE DIMENSIONS OF EACH ARE 21 CM X 21 CM. GOOD CONDITION WITH TEARING IN SOME AREAS (L IS TORN ON ONE SIDE) AND CLAY DUST OVERALL. N – U: RECTANGULAR CARDBOARD SEPARATORS FOR PACKING (THEY ARE PLACED IN BETWEEN THE SMALL AND LARGE DISH IN A SET. THERE ARE 3 SLITS IN EACH SEPARATOR THAT ARE 4.5 CM LONG FROM ONE SHORT END STOPPING AT THE CENTER AND EACH SLIT IS 7.5 CM APART. EACH PIECE IS BENT TO FIT THE SHAPE OF DISHES. FAIR TO GOOD CONDITION WITH REGULAR WEAR (TEARS AND STAINING) OVERALL. V: CARDBOARD BOX WITH ORANGE LETTERING, “SUNBURST CERAMICS” WITH AN ORANGE LOGO ON THE LONG SIDE OF THE BOX. HANDWRITTEN IN BLACK INK ON THE TOP OF THE BOX CAN BE READ “OPICAL EDMONTON ALTA.” ON ONE SHORT SIDE IT SAYS, “6 CASSEROLES 48 OZ…” IN ORANGE PRINT AND THEN IN BLACK HANDWRITING IT READS “6 + 32 OZ 6 – 48 OZ CASS.” THERE ARE 4 LARGE STAPLES HOLDING THE BOTTOM OF THE BOX TOGETHER. THE INSIDE HAS 4 CARDBOARD DIVIDERS (3 LENGTHWISE AND 1 HORIZONTALLY DOWN THE CENTER) THAT FIT TOGETHER THROUGH SLITS IN THE DIVIDERS. THESE MAKE UP 6 SECTIONS IN THE BOX FOR STORING THE SETS OF DISHES. THE OVERALL DIMENSIONS OF THE BOX ARE 32 X 44 X 22 CM. POOR TO FAIR CONDITION. THERE ARE HOLES, BENDS, AND TEARS OVERALL THE WHOLE SURFACE OF THE BOX. ONE CORNER EDGE IS TAPED TOGETHER WITH A BROWN PAPER TAPE. THERE IS A STAPLE LOOSE ON A TOP FLAP. THE BOX IS DIRTY AND STAINED OVERALL.DIRTY AND STAINED OVERALL.
Subjects
FOOD PROCESSING T&E
Historical Association
INDUSTRY
TRADES
DOMESTIC
History
DONOR MIKE MYCHAJLUK ACQUIRED THIS SET OF CERAMIC DISHES WHEN TROPICAL GARDENS IN EDMONTON, ALBERTA WAS CLOSING BETWEEN THE YEARS 2004 AND 2006. THE OWNER OF THAT BUSINESS HELD AN AUCTION AT HIS WAREHOUSE AND PART OF THAT LOT WAS THE SUNBURST CERAMIC SET, WHICH MYCHAJLUK BOUGHT FOR THIRTY-FIVE DOLLARS. THE FOLLOWING INFORMATION ABOUT THIS CERAMIC SET COMES FROM AN INTERVIEW WITH MYCHAJLUK THAT WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON JANUARY 22, 2016: “TROPICAL GARDENS WAS GOING OUT OF BUSINESS AND THEY WERE SELLING OFF IN THEIR STORE. A COUPLE OF BOXES THEY HAD ON DISPLAY THEN A COUPLE OF MONTHS LATER HE HAD THE AUCTION AT HIS WAREHOUSE ON HIS ACREAGE. HE HAD BINS - TONS OF STUFF THERE AND THIS [BOX] HAPPENED TO BE IN [THE SALE] WHEN I BOUGHT IT. I HAD TO BUY THE WHOLE LOT… [FIRST], I’M INTERESTED IN ALBERTA POTTERY STUFF AND NUMBER TWO I KNEW OTHER PEOPLE WERE [TOO]. I WAS GOING TO SELL SOME OF IT OFF BUT THERE WAS SO MUCH OF IT. I’LL NEVER SELL [ALL OF IT] IN MY LIFETIME TO COLLECTORS… NOBODY KNOWS MUCH ABOUT [SUNBURST] AND IF I BRING IT MORE TO THE ATTENTION, MORE PEOPLE WOULD BE INTERESTED IN IT. IT’S ONE OF THE LAST POTTERIES THAT WAS IN ALBERTA… THE STUFF IS ORIGINALLY FROM LETHBRIDGE.” ON THE CERAMICS BEING UNGLAZED, MYCHAJLUK STATES: “I THINK THAT’S WHEN [SUNBURST WAS] GOING OUT OF BUSINESS. THEY JUST PACKAGED WHAT WAS LEFT AND SOLD IT OFF OR EVEN AFTER IT COULD BE A DISPERSAL… I’M ASSUMING [TROPICAL GARDENS] BOUGHT IT TO SELL DRY FLORAL ARRANGEMENTS… THE ONLY THOUGHTS WAS HE COULDN’T USE IT FOR LIVE [FLOWERS] WITH WATER BECAUSE IT WOULD COME APART.” ACCORDING TO MYCHAJLUK, WHO IS INTERESTED IN ALBERTA POTTERY, IT IS NOT USUAL TO FIND A LARGE QUANTITY OF UNGLAZED CERAMICS LIKE WHAT HE FOUND AT TROPICAL GARDENS. WHILE MYCHAJLUK WAS BORN IN LETHBRIDGE, HE DID NOT SPEND MUCH TIME LIVING HERE. SUNBURST CERAMICS WAS ESTABLISHED IN 1961 BY RALPH THRALL SR. AND JR. WHEN THEY BOUGHT OUT NEW MEDALTA CERAMICS FROM MALCOM MCARTHUR IN MEDICINE HAT. AFTER OPERATING WITH THOSE KILNS FOR THE COMPANY’S FIRST YEARS, A NECESSITY TO UPGRADE INFLUENCED THE COMPANY TO MOVE THEIR OPERATION TO LETHBRIDGE, WHERE THEY OPENED A PLANT ON 3RD AVENUE NORTH IN 1965. DURING THEIR EXISTENCE, THE PLANT PRODUCED 200 TYPES OF PRODUCTS. IN THE EARLY 1970S, THEY EXPANDED THEIR OPERATION TO PRODUCE GIFTWARE IN ADDITION TO WHAT THEY WERE PRODUCING IN THE MEDALTA STYLE. THE COMPANY DEVELOPED A REPUTATION AS LEADERS IN THE ALBERTAN CERAMIC INDUSTRY, BRINGING IN THE NEWEST TECHNOLOGIES AND EQUIPMENT FROM GERMANY WITH PROVINCIAL SUPPORT. THIS ALLOWED THEM TO ADD DINNERWARE TO THEIR PRODUCTION LINE. SUNBURST CERAMICS CLOSED ITS DOORS IN 1975. THE THRALL FAMILY BOUGHT THE MCINTYRE RANCH FOLLOWING THE DEATH OF BILLY MCINTYRE IN 1947. THE FAMILY CONTINUES TO OPERATE IT AT THE TIME OF DONATION. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPT AND LETHBRIDGE HERALD ARTICLES REGARDING SUNBURST CERAMICS. SEE ALSO FILES FOR ARTIFACTS P19960004001, P19980077001, AND P200000056000 FOR MORE INFORMATION ABOUT SUNBURST CERAMICS.
Catalogue Number
P20160001000
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
"HASBRO AMAZE-A-MATICS"
Material Type
Artifact
Materials
PLASTIC, CARDBOARD, PAPER
Catalogue Number
P20170005001
  2 images  
Material Type
Artifact
Other Name
"HASBRO AMAZE-A-MATICS"
Date
1969
Materials
PLASTIC, CARDBOARD, PAPER
No. Pieces
27
Height
8.4
Length
28.2
Width
25.8
Description
HASBRO BRAND TOY CAR. BOX LID (COMPONENT Z) READS “AMAZE-A-MATICS” IN WHITE BLOCK LETTERS WITH SUBTITLE “THE FANTASTIC CAR WITH A BRAIN”. IMAGE ON BOX IS SET ON A BLUE BACKGROUND WITH A YOUNG BOY PLAYING WITH THE CAR WITH HIS FATHER WATCHING HIM TO HIS RIGHT. LARGE IMAGE OF THE YELLOW CAR WITH RED AND BLUE RACING STRIPES IN CENTER OF BOX WITH CARDBOARD INSERT IN THE BACK OF CAR. CAR IS LABELLED “CHRYSLER CHARGER III”. SIDES OF THE BOX LID ARE ORANGE WITH IMAGE OF THE TOY CAR ON ALL FOUR SIDES AND WHITE TEXT ADVERTISING THE TOY. THE LEFT SIDE INCLUDES THE MODEL NUMBER “5860” AND “CONTENTS MADE IN JAPAN AND HONG KONG.” GOOD CONDITION (COMPONENT Z): CREASES AT CORNERS AND BOTTOM EDGE OF TOP. OVERALL SURFACE SCRATCHED. SLIGHT FADING OF THE BLUE BACKGROUND. RIP ON IMAGE OF CAR ON THE FRONT SIDE. MODERATE WEAR TO ALL FOUR SIDES OF LID. UNDERSIDE OF LID HAS SCUFF MARKS. A: YELLOW TOY CAR WITH RED AND BLUE RACING STRIPES DOWN THE HOOD, ALONG THE BOTTOM OF THE SIDES AND ACROSS THE BACK. THE STRIPES ARE STICKERS APPLIED TO CAR’S SURFACE. CAR MADE OF PLASTIC, INCLUDING 4 TIRES. CLEAR PLASTIC WINDSHIELD AND CHROME-COLOURED PLASTIC DETAIL AT THE FRONT AND BACK OF CAR. UNDERSIDE IS BLACK PLASTIC WITH COMPONENTS FOR THE CAR’S MOVEMENT. THE BOTTOM READS “AMAZE-A-MATICS TM BY HASBRO MADE IN JAPAN PATS PEND”. DIMENSIONS: 20 X 8.4 X 4.5 CM VERY GOOD CONDITION: SURFACE SLIGHTLY SCUFFED. STICKER OF RACING STRIPE ALONG THE BACK OF CAR IS COMING UP ON ONE END. SCRATCHES ON WINDSHIELD. B-E: 4 IDENTICAL ORANGE AND WHITE PLASTIC PYLONS. ORANGE CIRCULAR BASE WITH CONE EXTENDING UP ALTERNATING IN ORANGE AND WHITE BANDS. 6.5 CM IN HEIGHT AND BASE DIAMETER IS 3.5. “HONG KONG” EMBOSSED ON THE UNDERSIDE OF BASE. EXCELLENT CONDITION: COMPONENT C HAS BLACK SPECKLING ON TOP WHITE BAND. F: BATTERY WITH GOLD, WHITE, AND RED LABEL. TEXT READS, “HITACHI DRY BATTERY FOR TRANSITION” “UM-3 (A)/1.5V” AND HITACHI LOGO AT BASE. TEXT ON LABEL REPEATS TWICE IN VERTICAL ORIENTATION. BLACK STAMP IN ONE PLACE HORIZONTALLY ON RED SECTION OF LABEL READS, “… APR NO. 7987 … MADE IN JAPAN” BATTERY COVERED IN CLEAR CELLOPHANE. RED COATING AROUND THE POSITIVE END OF LABEL. LENGTH 5 CM; DIAMETRE 1.1 CM. GOOD CONDITION: MODERATE TO SEVERE SIGNS OF WEAR OVERALL. DISCOLORATION NEAR “MADE IN JAPAN” STAMP. G: BLACK AND WHITE PAPER ADVERTISEMENT. 22.6 X 25.5 CM. ILLUSTRATION OF BOY PLAYING WITH TOY CAR IN UPPER LEFT CORNER. “HERE’S A GREAT AMAZE-A-MATICS OFFER…” IN BLACK TEXT AT TOP OF PAGE WITH DESCRIPTION OF PROMOTIONS IN TWO TEXT BOXES BELOW. BACK SIDE OF PAGE IS BLANK. FOLDED INTO QUARTERS. GOOD CONDITION: PAPER IS YELLOWING. H: “INSTRUCTION BOOKLET” IN YELLOW TEXT AT BASE OF A BOOKLET COVER PRINTED IN COLOUR. SAME IMAGE OF BOY WITH FATHER AS BOX FRONT ON THE COVER WITH THREE ADDITIONAL CAR IMAGES IN FRONT OF THE IMAGE. BACKGROUND COLOUR OF THE COVER IS GREEN AND BLACK. INSIDE THE BOOKLET CONTAINS 16 PAGES OF INSTRUCTIONS. DIMENSIONS: 17.9 X 11.7 CM. VERY GOOD CONDITION: SLIGHT FADING OF COLOURING AND STAIN AT CENTER. I-N: BLACK CARDBOARD INSERTS WITH WHITE TEXT. THE FRONT OF ALL INSERTS CONSIST OF A TRAPEZOID FRONT END WITH A WHITE ARROW POINTING TO THE FRONT EDGE. ALL THE BACKS OF THE INSERTS ARE RECTANGULAR WITH “JAPAN” TYPED IN WHITE. WHITE LINE VERTICALLY THROUGH THE CENTER WITH “INSERT TO THIS LINE” WITH ARROW POINT TO LINE IN WHITE TO THE RIGHT OF LINE. ON THE RIGHT SIDE OF THE INSERTS IS A NAME OF A TRACK THAT THE INSERT WOULD DIRECT THE CAR. THE FOLLOWING IS A LIST OF THE TRACK NAMES WITH THE CORRESPONDING COMPONENT NUMBER: “DAYTONA” (I), “RIVERSIDE” (J), “HASBRO LOOP” (K), “RUNNING FLAIR OUT” (L), “GRAND PRIX” (M), “LE MANS” (N). LENGTH SIDES OF THE INSERTS VARY IN IRREGULAR SHAPES. 13.9 X 3.7 VERY GOOD CONDITION: GENERAL SIGNS OF WEAR. K-N WHITE FONT FADED. O-X: WHITE CARDBOARD INSERTS WITH BLACK FONT AND MARKINGS. ALL FRONT ENDS ARE CONSISTENT WITH A TRAPEZOID SHAPE AND ALL BACK ENDS CONSISTENT WITH A RECTANGULAR SHAPE. BLACK GRID PATTERN WITHIN ALL OF THE INSERTS WITH A BLACK ARROW POINTING TO THE FRONT OF THE INSERT IN LEFT SECTION. VERTICAL BLACK LINE IN CENTER WITH “INSERT TO THIS LINE” IN BLACK TEXT TO ITS LEFT AND “JAPAN” AT ALL THE BACK ENDS OF INSERT. LENGTH SIDES OF THE INSERTS VARY IN IRREGULAR SHAPES. 13.9 X 3.7 CM. VERY GOOD CONDITION: WHITE OF CARDBOARD HAS SLIGHTLY YELLOWED. Y: WHITE CARDBOARD BOTTOM OF BOX. WHITE ON OUTSIDE SURFACE AND UN-COLOURED, BROWN CARDBOARD ON OPPOSING SIDE. 25.8 X 8.4 X 28.2 CM. GOOD TO VERY GOOD CONDITION: MINOR STAINING TO OVERALL BOTTOM SURFACE. AA: ORANGE CARDBOARD DIVIDER FOR THE BOX WITH PLACE FOR CAR, TWO PLACES FOR THE CARDBOARD TRACK INSERTS AND SLOTS FOR PYLONS (TWO ON EITHER ENDS). 26.8 X 24 X 5.2 CM GOOD CONDITION: WEAR TO OVERALL SURFACE AND BENDS AT CAR SUPPORT.
Subjects
TOY
Historical Association
LEISURE
DOMESTIC
History
ON 16 FEBRUARY 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH THE DONOR, CALVIN LOGAN. DURING THAT INTERVIEW, LOGAN SHARED HIS MEMORIES OF THE TOY CAR HE RECEIVED FOR A BIRTHDAY PRESENT AS A CHILD. THE FOLLOWING INFORMATION COMES FROM THAT INTERVIEW: “[THE AMAZE-A-MATIC CAR] WAS SOMETHING THAT I HAD GOTTEN AS A GIFT FOR MY TENTH BIRTHDAY ON MARCH 27TH, 1969. I WAS LIVING AT 1825 – 12TH AVENUE NORTH AT THAT TIME. GALBRAITH SCHOOL WAS MY ELEMENTARY SCHOOL.” "I WAS SO EXCITED THE MORNING OF MY BIRTHDAY WHEN I RECEIVED [MY PRESENTS] BECAUSE [IT WAS] DEFINITELY [SOMETHING I WANTED]. IT WAS ADVERTISED AS ‘A CAR WITH A BRAIN.’ THIS WAS WHEN THEY WERE STARTING TO TALK ABOUT COMPUTERS AND SO ON, AND I WAS JUST AMAZED WITH THIS CAR. LOGAN SPECULATES HE FIRST SAW THE TOY IN A TV ADVERTISEMENT. “HASBRO WAS AN INCREDIBLE COMPANY FOR TV ADVERTISING,” LOGAN SAID, “AND BACK THEN WE HAD JUST RECEIVED TWO CHANNELS. SO INSTEAD OF JUST HAVING CHANNEL 7, WE HAD CHANNELS 7 AND 13. SO THOSE WERE PRETTY INCREDIBLE TIMES, BUT I MUST ADMIT I SPENT MOST OF MY EVENINGS OUTSIDE… BUT [SATURDAY MORNING CARTOONS] WAS WHEN I WOULD SEE THE TOY COMMERCIALS.” “THERE WAS QUITE A FEW DIFFERENT MODELS OF [THE TOY CAR, BUT] THIS WAS THE ONE THAT I THOUGHT WAS THE COOLEST. IT WAS ONE OF THE CARS WHERE YOU COULD DESIGN YOUR OWN TRACK." "BASICALLY IT CAME WITH SOME DIFFERENT SET PROGRAMS THROUGH THESE PLASTIC STRIPS THAT YOU WOULD PUT IN THEM. BUT THE REALLY UNIQUE THING ABOUT IT WAS NOT ONLY WAS IT PRE-PROGRAMMED [WITH TRACKS THAT EXIST THROUGHOUT THE WORLD], LIKE LEMANS (A RACETRACK IN FRANCE), BUT YOU COULD ALSO MAKE YOUR OWN STRIPS. AND THEN AS THE STRIPS WENT THROUGH THE VEHICLE, WHAT WOULD HAPPEN IS EVERY TIME A BUMP WOULD BE ON THE STRIP, THE CAR WHEELS WOULD TURN. YOU WOULD SET UP THE PYLONS TO HAVE THE CAR BASICALLY DRIVE AROUND ALL THE PYLONS ACCORDING TO HOW YOU PROGRAMMED YOUR STRIP THAT YOU MADE. IT WAS QUITE INTERESTING AT THAT TIME, BECAUSE PRIOR TO THAT THERE WAS NOTHING THAT WAS ACTUALLY PROGRAMMABLE. AND THAT WAS IN THAT AGE WHERE WE WERE HEADING INTO THE ELECTRONICS STAGE..." "SUNDAYS WERE KIND OF DAY WHEN MANY FAMILIES WENT TO CHURCH AND WHATNOT. OUR FAMILY WENT AS WELL, BUT SUNDAY WAS A DAY WHERE WE KINDA SPENT IT WITH THE FAMILY. SO THAT WAS THE TIME WHEN I COULD CURL UP WITH A GOOD HARDY BOYS BOOK, OR GO IN MY ROOM AND PLAY WITH THE DIFFERENT TOYS THAT I HAD.” "I PLAYED WITH [THIS TOY CAR] A LOT, MORE THAN IT PROBABLY LOOKS. AND WHEN I PLAY WITH MY CARS I ALWAYS PUT THEM IN THE BOXES AFTERWARDS AND I WAS JUST VERY CAREFUL WITH MY TOYS. OF COURSE, MY SISTER THOUGHT THAT WAS REALLY WEIRD AND QUIRKY, BUT THAT WAS JUST THE WAY I WAS… SOME OF MY TOYS STILL KIND OF HAD SOME OF THE CELLOPHANE ON THEM. I WAS REALLY VERY, VERY CAREFUL L WITH MY TOYS – AS YOU CAN PROBABLY SEE WITH THE AMAZE-A-MATIC – WHICH WAS KIND OF UNUSUAL FOR A TEN YEAR OLD… I KNEW MY PARENTS AND MOST FAMILIES HAD TO BE VERY FRUGAL BECAUSE THERE WASN’T A LOT OF MONEY. AND IF I WANTED SOMETHING, I CERTAINLY HAD TO DO WHAT I COULD TO TRY AND HELP WITH THAT.” CONTINUING WITH HOW HE CARED WITH HIS BELONGINGS, LOGAN EXPLAINED, “I NEVER REALLY FELT LIKE I EVER WENT WITHOUT, BUT [FOR EXAMPLE] I WOULD MAKE SURE THAT I REALLY TOOK CARE OF [THE BIKE I HAD BECAUSE] I KNEW THAT IF I OUTGREW IT, MY DAD WOULD TAKE IT IN TO BERT AND MACS, WHERE THEY TOOK TRADE INS. I KNEW IF I WANTED A NEW BIKE I WOULD HAVE TO TAKE CARE OF THE BIKE THAT I HAD, BECAUSE IT WAS GOING TO BE TRADED IN… BARRY MCFADDEN – THE MCFADDEN FROM BERT AND MACS – TEASED MY FATHER (DENZEL LOGAN) EVERY TIME I BROUGHT A USED BIKE IN, BECAUSE BACK IN THAT AGE, BIKES WERE GOING UP IN PRICE QUITE QUICKLY. MCFADDEN SAID TO MY FATHER, ‘YOU’RE THE ONLY ONE THAT I KNOW OF, DENZEL, WHO I HAVE TO GIVE AS MUCH MONEY ON A TRADE IN AS YOU PAID FOR YOUR SON’S BIKE NEW.’ I WAS PROBABLY THE ONLY KID IN THE NEIGHBORHOOD THAT WAXED HIS BICYCLE. SO EVEN WITH TOYS, THE ONES I HAD I CERTAINLY CHERISHED. I THINK THAT IS ANOTHER THING THAT I STILL HOLD TODAY. I TEND TO KEEP MY CARS FOR A VERY LONG TIME AND I TRY TO DO EVERYTHING I CAN TO TAKE CARE OF THEM, BECAUSE THAT’S JUST WHO I AM.” “AND WHEN I WAS A LITTLE OLDER, MY FIRST CAR WAS A COMET GT - THE SAME COLOR AS THIS [TOY] CAR IS AND CRUISING [IN OUR CARS] WAS A BIG THING [TO DO]. THERE WERE A LOT OF MUSCLE CARS BACK THEN. THERE WERE TWO A&WS IN LETHBRIDGE [THEN] AND THE THING TO DO ON A FRIDAY OR SATURDAY NIGHT [WAS] TO GO FROM A&W TO A&W. INTERESTINGLY, [THEY] HAD TURNAROUNDS IN THEM, SO YOU COULD GO FROM ONE END WHICH WAS LOCATED ON MAYOR MAGRATH DRIVE AND THEN THE OTHER A&W, WHICH WAS RIGHT AT THE VERY END OF SCENIC DRIVE. AND I TOOK GREAT PLEASURE IN MY COMET GT WHEN I WAS YOUNGER. I THINK I WAXED IT EVERY MONTH DURING CERTAIN TIMES OF THE YEAR. I TOOK GREAT PRIDE IN THE VEHICLES THAT I HAVE ALWAYS DRIVEN.” CONNECTING THE ROOTS OF HIS INTEREST IN VEHICLES, LOGAN RECALLED, “WELL I THINK IN THE BABY BOOMER STAGE OF GROWING UP IN THE LATE SIXTIES, EARLY SEVENTIES, WHEN YOU ARE SO IMPRESSIONABLE AS A TEENAGER, THE SOUNDS AND THE MOTORS AND DEEP THRUM OF A MUSCLE CAR [IS EXCITING]. EVEN TODAY I FIND THAT IF ONE COMES UP ON MAYOR MAGRATH DRIVE OR WHEN IT’S STREET WHEELERS, SOMETIMES I DON’T EVEN LOOK AT THE CARS, I JUST CLOSE MY EYES AND JUST LISTENING TO THAT SOUND BRINGS BACK MEMORIES. I WOULD DESCRIBE IT AS LISTENING TO A BEATLES SONG, OR LISTENING TO SOME OF THE OLD SONGS OF APRIL WINE AND STUFF. THE SOUNDS OF THOSE CARS JUST CONJURE UP SO MANY WONDERFUL MEMORIES OF GROWING UP IN THAT ERA.” “[I DIDN’T KEEP VERY MANY TOYS FROM MY CHILDHOOD, BUT THIS CAR] COULD BE SOMETHING TO BE LOOKED AT MAYBE FIFTY OR A HUNDRED YEARS FROM NOW AND COULD GIVE SOME INSIGHTS INTO WHAT IT WAS LIKE TO GROW UP IN LETHBRIDGE DURING THE YEAR 1969. AROUND THAT AGE, EVERYTHING KIND OF REVOLVED AROUND CARS. I REMEMBER BUILDING MODELS AT THAT POINT. THE WESTMINSTER DRUGSTORE HAD A MODELLING CONTEST, AND I BUILT A TIJUANA TAXI. I ENTERED THAT ONE AND WAS FORTUNATE ENOUGH TO WIN. IT WAS VERY POPULAR TO BUILD CAR KITS AT THAT TIME." UNTIL THE DONATION, CALVIN SAID “[THE CAR] WAS SECURED AWAY ON THE UPPER SHELF OF THE CLOSET. [WHEN I SEE IT NOW] IT HELPS ME REMEMBER ALL OF THE WONDERFUL MEMORIES OF THAT TIME.” WHEN LOGAN WAS ASKED ABOUT THE MOTIVATION TO BRING THIS TOY TO THE MUSEUM FOR DONATION, HE EXPLAINED, “I’VE REALIZED THAT ONCE PEOPLE PASS AWAY A LOT OF THE HISTORIES OF NOT ONLY THE BUILDINGS AND THE STRUCTURES, BUT ALSO THE PEOPLE AND THE HISTORY OF THEIR HOBBIES AND INTERESTS ARE LOST AS WELL. [I] SPENT SOME TIME WITH MY FATHER BEFORE HE PASSED AWAY, AND TRIED TO GAIN SOME INFORMATION ABOUT THE HISTORY OF OUR PICTURES, BUT I REALIZED THAT IF THESE ITEMS AND THOSE HOBBIES AND INTERESTS ARE NOT RECORDED SOMEWHERE, A LOT OF THAT HISTORY IS LOST. AND SO WHEN WE WERE LOOKING AT THIS, AMAZE-A-MATIC, [IT IS A MEMORY I WANT TO PRESERVE].” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION.
Catalogue Number
P20170005001
Acquisition Date
2017-02
Collection
Museum
Images
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