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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
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
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
LEISURE
History
ON DECEMBER 21, 2018, GALT MUSEUM CURATOR AIMEE BENOIT INTERVIWED 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 JANZEN’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. HE HAD A SISTER THAT WAS THE SAME AGE AS MY SISTER—HIS PARENTS WERE “FIFTY-SIXERS”, HUNGARIAN REVOLUTION…HE WAS ON THE FARM—WE CONNECTED. 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. THEY GUY HAD A CORVETTE; THE UGLY ‘70S CORVETTE. WE GET A CASE OF BEER AND THAT’S REALLY THE FIRST TIME [I DRINK]. IT WASN’T EVEN SO MUCH THAT WE WERE DRINKING AS THE FACT THAT I WAS WITH THESE OTHER GIRLS AND GUYS. IT JUST FELT LIKE A VERY EXCITING THING TO DO. IT TURNED OUT, AS AN EXPERIENCE GOES, TO BE A REALLY GOOD EXPERIENCE. THAT SET THE STAGE, RIGHT OFF THE BAT, FOR GRADE 11, WHICH WAS PARTYING.” “IN GRADE 11, INITIALLY [LES IS] STILL A FRIEND. I’M HANGING OUT WITH HIM BUT I’M ALSO HANGING OUT WITH EVERYBODY. IT DIDN’T MATTER WHO THEY WERE, I COULD HANG OUT WITH ANYBODY. BUT, I’M NOTING THAT, FOR VARIOUS REASONS, HE AND ANOTHER GUY…[WERE] GOING DOWN A PARTICULAR ROAD AND, IF I EXERCISE SOME CRITICAL JUDGMENT AT [THE] TIME, IT WAS THAT, ‘OKAY, I SHOULD NOT CONTINUE ON THIS PATH’. IT DOESN’T MEAN THAT I CAN’T BE FRIENDS WITH THESE PEOPLE BUT IN TERMS OF MY IMMEDIATE SOCIAL CIRCLE, THAT MIGHT NOT BE A WAY TO GO. THEN I ELECTED…TO BE HANGING OUT MORE WITH [OTHERS]. THEY’RE MORE [INTO] SPORTS. THEY’RE DOING BASKETBALL AND VOLLEYBALL WHICH I NEVER DID ‘CAUSE I COULD NEVER PLAY ANYTHING. THEY’RE ALSO RELATIVELY STRONG ACADEMICALLY. THEY’RE GOOD KIDS FROM GOOD BACKGROUNDS. [THAT] DOESN’T MEAN THAT THEY’RE NOT PARTYING BECAUSE THEY’RE OUT PROBABLY EQUALLY EVERY SINGLE WEEKEND. BUT, THAT PARTYING WOULD INVOLVE BEER AS OPPOSED TO HASH OIL AND WEED WHICH WOULD BE MORE WHAT THE KIDS THAT THINGS DON’T NECESSARILY END UP WELL FOR [DID], LOOKING BACK.” “WE’RE OUT EVERY SINGLE WEEKEND AND, UNLIKE BEING IN LETHBRIDGE WHERE HOUSE PARTIES MIGHT BE A LITTLE BIT MORE ACCESSIBLE AND CLOSE…[OUR] HOUSE PARTIES ARE MILES AWAY. YOU WOULD HAVE TO GET THERE AND GET BACK. I REMEMBER, CERTAINLY IN GRADE 11 IN THE FALL, I DON’T HAVE MY DRIVER’S LICENSE ‘CAUSE THAT’S 1985. [I WAS] THINKING AT THE TIME THAT, AS LONG AS I WASN’T THE ONE DRIVING, THEN IT WAS OKAY AND [I WASN’T] NECESSARILY KNOWING WHAT THE STATE [WAS] OF THE INDIVIDUAL THAT WAS DRIVING.” “IT WOULD BE ALSO AT THIS TIME THAT THE WHOLE DRINKING AND DRIVING THING WAS GOING DOWN BECAUSE, POTENTIALLY, THREE YEARS PREVIOUS IT WAS NOT, CULTURALLY, AS BIG OF A DEAL. BUT, BY 1985, IT’S A BIG DEAL. IT’S STARTING TO REALLY KICK IN…OVER THE YEARS, YOU’VE WITNESSED IT, THAT THERE’S PEOPLE THAT WILL DRINK AND DRIVE, PEOPLE THAT YOU KNOW.” “IN TERMS OF PARTYING, I KNOW THAT IN GRADE 10, I WASN’T PAYING ATTENTION. I WAS KEEPING UP WITH MY FRIENDS BUT I WASN’T PUTTING ANY EXTRA WORK INTO [SCHOOL]…I WAS MORE ABOUT [THE] SOCIAL [ASPECTS]. THEN, IN GRADE 11, IT BECAME PARTYING EVERY WEEKEND. BY GRADE 12, I WAS [THINKING], ‘OH, YOU KNOW WHAT, THIS IS ALL GOING TO COME TO AN END IN FAIRLY SHORT ORDER SO I BETTER START WORKING A LITTLE BIT HARDER.’ I REMEMBER THE WHOLE PARTY THING AS BEING A LITTLE BIT LESS. NOT TO SAY THAT IT WASN’T STILL GOING ON BUT I KNEW THAT I HAD TO WORK HARDER IN SCHOOL. IN GRADE 12, THOUGH, THESE KIDS ARE GETTING TO BE OLDER…THEY ARE ABLE TO START TO DRIVE BECAUSE THEY HAVE DRIVER’S LICENSES TO DRIVE INTO LETHBRIDGE AND ACTUALLY GET ADMITTED TO BARS. THEY WOULDN’T EVEN WANT ME TO BE WITH THEM BECAUSE IF THEY WANTED TO GO TO A SPECIFIC BAR, WHICH, IF IT WAS A REALLY COOL BAR, AND I WAS WITH THEM, AND I COULDN’T GET IN, THEN THEY COULDN’T GO.” “IN ALL HONESTY…MY RELATIONSHIPS WITH [MY CLASSMATES] MEANT SOMETHING AND THAT CLASS OF FIFTY KIDS. I GENERALLY, OVER ALL AT THE TIME, ENJOYED THEIR COMPANY. THEY WERE FRIENDS. WHEN I CAME INTO LETHBRIDGE, FOR SOME YEARS—YOU COULD ALMOST SAY IT WAS NOT TILL UNIVERSITY—BUT THERE WOULD BE A FEW YEARS THAT I WOULD HAVE VERY WARM FEELINGS WHERE TODAY I DON’T LOOK BACK UPON IT AS THIS ‘BEST TIME OF MY LIFE’.” “BECAUSE I DIDN’T GO TO HIGH SCHOOL THE CITY…THE CLASSES ARE A LOT SMALLER [IN PICTURE BUTTE]. BY THE TIME I GRADUATE IN JUNIOR HIGH, THERE’S ONLY SIXTEEN OF US. WHEN I GRADUATE [FROM] HIGH SCHOOL, THERE’S ONLY FIFTY. I THINK [THE LCI GRADUATING CLASS AT THE TIME] WAS THREE HUNDRED KIDS. IT WAS HUGE. WHERE YOU DON’T EVEN KNOW ALL THE KIDS. I GUESS THERE’S MORE OPPORTUNITY FOR POCKETS OF KIDS WHO WANT TO EXPRESS THEMSELVES MORE STRONGLY. TO HAVE OTHER KIDS WHO FEEL THE SAME WAY. TO SUPPORT ONE ANOTHER. BUT THERE, OUT IN PICTURE BUTTE, I WOULDN’T SAY IT’S THE CASE AT ALL. MAYBE IT’S MY NOT WANTING TO STAND OUT AND DRAW ATTENTION TO MYSELF…IT WAS IMPORTANT TO ME THAT I FIT IN WHICH [DRINKING] WAS PART OF, TOO. IT WASN’T THAT I DON’T WANT TO DO THIS BUT I HAVE TO DO THIS, BECAUSE I WAS HAPPY TO DO THIS, ‘CAUSE I LIKE THE SOCIAL PART OF IT. THAT WAS ALSO PART AND PARCEL BECAUSE THEN THAT PUT YOU INTO ANOTHER GROUP IN TERMS OF ACCEPTABILITY. IN FACT KIDS THAT WOULD BE OLDER THAN YOU BY A YEAR OR TWO YEARS WOULD GIVE YOU ACCESS TO THOSE KIDS, TOO, ‘CAUSE THEN YOU WERE SHARING EXPERIENCES WITH THEM ON THE WEEKEND, CREATING CONNECTIONS WITH THEM.” MACLEAN NOTED HIS REASONS FOR SAVING AND DONATING THE BOTTLE, “I THINK I’VE SAVED THIS [BOTTLE] IN PART BECAUSE EITHER I THINK THAT IT’S HISTORICALLY IMPORTANT. I THINK SAFE GRADS AND DRINKING AND DRIVING [ARE] IMPORTANT.” “OVER TIME, [I THOUGHT] ‘YOU KNOW WHAT, THAT WAS FROM THE VERY FIRST SAFE GRAD OUT IN PICTURE BUTTE.’ IT MIGHT BE THE CASE ‘CAUSE WHEN [MY WIFE] GRADUATED, SHE HAD A SAFE GRAD AT LCI AND THAT COULD HAVE BEEN THE SAME YEAR…WEREN’T OUT [OF CLASSES] YET. [GRADUATION WOULD BE] IN JUNE AND I THINK WE WERE STILL IN CLASSES AFTER THAT.” FOR MORE INFORMATION INCLUDING ARTICLES FROM THE LETHBRIDGE HERALD, BRANDON SUN, MEDICINE HAT NEWS, AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180029001-GA.
Catalogue Number
P20180029007
Acquisition Date
2018-12
Collection
Museum
Images
Less detail
Other Name
TEA TOWEL, LETHBRIDGE HANDICRAFT GUILD OF WEAVERS
Material Type
Artifact
Materials
COTTON
Catalogue Number
P20140037000
  1 image  
Material Type
Artifact
Other Name
TEA TOWEL, LETHBRIDGE HANDICRAFT GUILD OF WEAVERS
Date
2014
Materials
COTTON
No. Pieces
1
Length
82
Width
39
Description
PLAID, HANDWOVEN TEA TOWEL MADE UP OF VARIOUS PLAID PATTERNS. THE BASE THROUGHOUT THE TOWEL IS A SYMMETRICAL PATTERN OF BANDS (DARK BLUE, LIGHT BLUE, GREEN, YELLOW, ORANGE, RED, PINK, DARK PURPLE, AND LIGHT PURPLE). THERE IS A CARDBOARD TAG ATTACHED THAT READS, “LETHBRIDGE HANDICRAFT…” PRINTED IN BLACK INK AND “GALT TOWEL… GUILD WEAVERS” HANDWRITTEN IN BLUE INK. THE REVERSE OF THE CARD HAS CARE INSTRUCTIONS. THE TOWEL IS 82 CM BY 39 CM. EXCELLENT CONDITION. CREASED AT THE FOLDS.
Subjects
MAINTENANCE T&E
Historical Association
ASSOCIATIONS
COMMEMORATIVE
DOMESTIC
TRADES
History
AN EXHIBITION AT THE GALT MUSEUM AND ARCHIVES TITLED WOVEN IN TIME CELEBRATING 65 YEARS WITH LETHBRIDGE WEAVERS WAS ORGANIZED BY GALT CURATOR WENDY AITKENS IN PARTNERSHIP WITH THE LETHBRIDGE HANDICRAFT GUILD OF WEAVERS. THIS EXHIBITION RAN FROM JUNE 7 TO SEPTEMBER 1, 2014 AND DISPLAYED THE HISTORY OF THE GUILD WITHIN THE COMMUNITY SINCE ITS RE-ESTABLISHMENT IN 1949. THIS EXHIBITION INCLUDED BOTH HERITAGE AND RECENT WEAVINGS, ARCHIVAL MATERIAL, DEMONSTRATION VIDEOS, AND WEAVERS WHO SAT AT A LOOM IN THE EXHIBIT CREATING 6 COTTON TEA TOWELS. OF THESE TOWELS, ONE WAS CHOSE FOR DONATION TO THE MUSEUM. THIS TEA TOWEL SHOWS SEVERAL DESIGNS CREATED BY THE WEAVERS WHO SAT AT THE LOOM IN THE EXHIBIT. IT WAS CREATED AS A WEAVING DEMONSTRATION WITH AT LEAST SEVEN WEAVERS DESIGNING THE PATTERN AND WORKING ON IT. THE FOLLOWING INFORMATION ABOUT THE LETHBRIDGE HANDICRAFT GUILD OF WEAVERS HAS BEEN TAKEN FROM TEXTS WRITTEN FOR THE EXHIBITION BY AITKENS: “IN THE PAST, FUNCTIONAL HOUSEHOLD ITEMS SUCH AS CLOTHING, BEDDING AND OTHER NECESSITIES WERE WOVEN BY HAND, ON HOMEMADE LOOMS. WITH THE INDUSTRIAL REVOLUTION, MASS PRODUCED WOVEN PRODUCTS EMPLOYED MANY PEOPLE IN FACTORIES MAKING THINGS THAT THEY WOULD HAVE MADE EARLIER AT HOME. AS TIME PASSED THERE WAS A GROWING FEAR THAT THE SKILLS AND KNOWLEDGE REQUIRED TO PRODUCE HANDMADE WOVEN ARTICLES WOULD BE LOST. CONSEQUENTLY, FOLLOWED MOVEMENTS IN BRITAIN, SEVERAL WOMEN IN MONTREAL FORMED THE CANADIAN HANDICRAFTS GUILD [CHG] IN 1905 TO PRESERVE THESE TRADITIONAL ART AND CRAFT SKILLS. … BY THE LATE 1800S, MEN AND WOMEN WERE RECOGNIZED FOR THEIR ADVANCED SKILL IN WEAVING, AND GUILDS WERE ESTABLISHED IN COMMUNITIES ACROSS CANADA, INCLUDING EDMONTON, VANCOUVER, AND WINNIPEG. GUILDS ALSO ENCOURAGED PRODUCTION OF FURNITURE, JEWELRY DESIGN, LEATHER AND IRON WORK, AS WELL AS OTHER ARTISTIC ENDEAVOURS. THE NATIONAL GUILD TRANSFERRED ITS ASSETS TO THE QUEBEC PROVINCIAL BRANCH OF THE CHG IN 1936. THE LETHBRIDGE BRANCH OF THE CHG WAS FOUNDED IN 1935. IT WAS DISCONTINUED DURING WWII BECAUSE RED CROSS PROJECTS, WHICH SUPPORTED SOLDIERS OVERSEAS, WERE THE PRIORITY. AFTER THE WAR IN 1949, ELEVEN LOCAL WOMEN REBUILT THE CHG AND OFFERED COURSES IN NEEDLEWORK, LEATHERWORK, COPPER TOOLING, GLOVE MAKING, POTTERY, ALUMINUM ETCHING, AND OTHER CRAFTS INCLUDING, IN 1951, WEAVING. MEETINGS AND CLASSES WERE HELD IN THE CANADIAN WESTERN NATURAL GAS COMPANY BUILDING [420 – 6 ST. S] AND THE RED CROSS ROOMS [1160 – 7 AVE S] UNTIL 1964 WHEN THE GUILD MOVED TO THE BOWMAN ARTS CENTRE [811 – 5 AVE. S].” “SINCE 1951, WHEN WEAVING BECAME A POPULAR ACTIVITY IN THE LETHBRIDGE HANDICRAFT GUILD, MEMBERS PRACTICED THEIR ART, TAUGHT OTHERS HOW TO WEAVE, AND SHARED THEIR PIECES WITH THE PUBLIC THROUGH SHOWS AND SALES. INITIALLY, 16 BOX LOOMS WERE PURCHASED FROM EATON’S FOR EVERYONE TO USE. IN 1954, GUILD MEMBERS SAVED LABELS FROM SOUP CANS AND WHEN THEY TURNED THEIR LABELS IN TO THE CAMPBELL COMPANY THEY RECEIVED $165 TO PURCHASE A FLOOR LOOM. TODAY, THE GUILD OWNS MANY LOOMS OF VARYING SIZES. THE LETHBRIDGE GUILD HAS ALWAYS OPERATED AS A CO-OPERATIVE. ALL THE LOOMS ARE OWNED BY THE GUILD AND THEY ARE SET UP WITH A COMMON WARP (THE LONG THREADS ON THE LOOM) FOR ALL MEMBERS TO USE. GUILD MEMBERS WORK TOGETHER TO PLAN GROUP PROJECTS SUCH AS A FRIENDSHIP BED COVERLET, TEA TOWELS AND PLACE MATS. MEMBERS USE TRADITIONAL FIBRES SUCH AS COTTON, LINEN AND WOOL BUT THEY ALSO EXPERIMENT WITH YARNS MADE FROM YAK, DOG AND POSSUM HAIR. THEY ALSO USED RIBBONS, ZIPPERS AND VHS TAPES TO CREATE IMAGINATIVE WORKS OF ART. IN THE EARLY 2000S, GUILD MEMBERS ASKED CITY COUNCIL FOR PERMISSION TO DEVELOP AN OFFICIAL TARTAN FOR LETHBRIDGE. MONTHS OF WEAVING SAMPLES, CHOOSING THE PERFECT PATTERN, AND GETTING COUNCIL APPROVAL RESULTED IN A SPECTACULAR TARTAN WHICH WAS UNIQUE IN THE WORLD. THE TARTAN WAS OFFICIALLY CERTIFIED BY THE SCOTTISH TARTAN SOCIETY. KNOWLEDGEABLE LOCAL WEAVERS TAUGHT ADULTS AND CHILDREN THE ART OF WEAVING, SPINNING, AND DYING. MASTER WEAVERS FROM OUTSIDE LETHBRIDGE HAVE BEEN BROUGHT IN TO EXPAND THE TECHNIQUES AND STYLES OF GUILD MEMBERS. THE GUILD RECEIVED INTERNATIONAL RECOGNITION FROM INTERWEAVE PRESS WHEN IT WON THE FIBERHEARTS AWARD IN 2005 FOR ITS UNIQUE MENTORSHIP PROGRAM. THE $500 RECEIVED WITH THE AWARD ALLOWED NOVICE WEAVERS TO LEARN FROM EXPERIENCED WEAVERS.” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION.
Catalogue Number
P20140037000
Acquisition Date
2014-09
Collection
Museum
Images
Less detail
Date Range From
1906
Date Range To
1949
Material Type
Artifact
Materials
WOOD, GLASS
Catalogue Number
P20160040000
  2 images  
Material Type
Artifact
Date Range From
1906
Date Range To
1949
Materials
WOOD, GLASS
No. Pieces
1
Height
7
Length
60.5
Width
30.2
Description
WASHBOARD WITH WOODEN FRAME AND A GREEN-TINTED GLASS GRATE. THE FRONT OF THE WASHBOARD HAS A RIDGE AT THE TOP – LIKELY USED FOR SUPPORT – WHICH IS APPROXIMATELY 6.7 CM DEEP. THE UPPER SECTION OF THE WASHBOARD IS WOODEN WITH SEVERELY FADED BLACK LETTERING THAT READS “MANUFACTURED BY…” THERE IS A CURVED STRIP OF WOOD ACROSS THE BOTTOM OF THE UPPER SECTION AND ANOTHER WOODEN PIECE BELOW THAT WITH THREE RIDGES. THE GLASS HAS A HORIZONTAL GRATE AND IS TEXTURED. THERE IS A HORIZONTAL WOODEN PIECE OF WOOD SUPPORTING THE GLASS AT ITS BASE. THE SIDES OF THE WOODEN FRAME EXTEND ABOUT 13.5 CM BEYOND THE GLASS TO ACT AS THE WASHBOARD’S LEGS. ON THE BACK THERE IS A FLAT PIECE OF WOOD NAILED TO THE FRAME ON THE UPPER SECTION. THE BRAND’S STAMP ON THIS BOARD IS FADED. THERE ARE SEVERELY FADED RED LETTERS AT THE UPPER SECTION OF THIS BOARD WITH A WORD SPECULATED TO BEGIN WITH THE LETTER “E”. UNDERNEATH THE RED INK LETTERS IS “MANUFACTURED BY THE CANADIAN WOODENWARE CO. WINNIPEG ST. THOMAS MONTREAL” STAMPED IN BLACK INK. THE NAILS AROUND THE PERIMETER OF THIS UPPER BOARD VARY IN SIZES. THE BACK SIDE OF THE GLASS GRATE IS SMOOTH. GOOD CONDITION. THERE IS REMNANTS OF SOAP ACCUMULATING AT THE SIDES OF THE GLASS OF THE WASHBOARD. THERE IS SOAP SCUM RUNNING ALONG THE GLASS OF THE BACK OF THE GRATE. THE WOOD FRAME IS WORN AND ROUGH OVER THE GENERAL SURFACE, ESPECIALLY ON THE FRONT, UPPER SECTION. THERE IS A PART OF THE WOOD MISSING FROM THE TOP LEFT OF THE RIDGE. THERE IS AN ACCRETION OF BEIGE PAINT ON THE BACK OF THE GLASS GRATE.
Subjects
MAINTENANCE T&E
Historical Association
DOMESTIC
History
THIS WASHBOARD CAME TO THE MUSEUM FROM DONOR, LOUISE VERES, WHO RECALLED ITS USE BY HER MOTHER, HELEN LUCILLE BORGGARD (NEE SORGARD). IN AN EMAIL SENT IN NOVEMBER 2016 TO COLLECTIONS TECHNICIAN KEVIN MACLEAN, LOUISE WROTE OF THE ARTIFACT’S HISTORY AND THE PROCESS OF WASHING CLOTHING BEFORE THE EXISTENCE OF AUTOMATED WASHING MACHINES: “DURING THE FIRST PART OF THE 1900[S], MONDAY WAS ALWAYS CONSIDERED WASH DAY IN OUR FAMILY. WHEN MY GRANDMOTHER CAME TO CANADA IN 1906 AND WHEN MY MOM WAS FIRST MARRIED IN 1934 CLOTHES HAD TO BE WASHED BY HAND. FOR THIS CHORE THEY HAD TWO BIG GALVANIZED TUBS. ONE TUB HAD HOME MADE LYE SOAP ADDED FOR WASHING THE DIRTY CLOTHES AND ONE WITHOUT SOAP FOR RINSING TO GET THE SOAP OUT. THE TUBS WERE SET ON A BENCH IN THE MIDDLE OF THE KITCHEN CLOSE TO THE STOVE WHERE THE WATER WAS HEATED IN BUCKETS. IF THERE WERE DIRTY COLLARS OR SOILED KNEES THEY WERE SCRUBBED ON THIS WASHBOARD AND IF THERE WAS GREASE ON CLOTHES, LARD WAS APPLIED TO THE GREASE AND THEN THAT SOILED AREA WAS VIGOROUSLY RUBBED OVER THE WASHBOARD. THE ARTICLE WAS SWISHED AROUND IN THE SOAPY WATER AND PUT THROUGH THE WRINGER THAT SAT IN THE MIDDLE OF THE STAND. IF YOU DIDN’T HAVE A WRINGER YOU WRUNG AS MUCH WATER AS YOU COULD BY HAND. THE CLOTHES DROPPED INTO THE OTHER TUB THAT HAD CLEAR, COLD RINSE WATER IN IT. THEN YOU PUT THE RINSED CLOTHES THROUGH THE WRINGER, CAUGHT THEM, GAVE THEM A GOOD SHAKE, PUT THEM IN A WICKER BASKET AND CARRIED THE WASHED CLOTHES OUTSIDE AND HUNG THEM ON THE CLOTHES LINES. THE CLOTHES WERE CLIPPED ON THE LINE WITH WOODEN CLOTHES PEGS. SOMETIMES MOM USED A PRODUCT CALLED BLUING THAT WAS PUT INTO THE RINSE WATER, THE BLUING WAS TO MAKE THE WHITES SEEM EXTRA WHITE ALTHOUGH WHEN YOU HUNG THEM OUTSIDE TO DRY BY SUN THEY WOULD GET BLEACHED AND WERE WHITER THAN WHITE. I SUSPECT THEY WERE WHITER THAN MOST WHITE CLOTHES TODAY. IN THE WINTER, OR IF THERE WAS BAD WEATHER, SHE WOULD HANG THE WET CLOTHES AROUND THE HOUSE ON ANYTHING THAT WOULD GIVE THEM AIR AND A CHANCE TO DRY. IF SHE HUNG THEM OUT AND THE WIND CAME UP THEY WOULD SOMETIMES LOOSEN THEMSELVES FROM THE CLOTHES PINS AND FALL INTO THE DIRT OR GRASS THAT LAY UNDERNEATH. THEN THEY WOULD HAVE TO BE REWASHED. YOU HAD TO BE EXTRA CAREFUL IN THE WINTER WHEN HANGING CLOTHES OUTSIDE. SOMETIMES A COLD WIND WOULD BLOW IN AND YOUR FROZEN CLOTHES ON THE LINE WOULD CRACK OR BE SHREDDED, PERHAPS DOWN THE MIDDLE OF SHIRTS OR SHEETS. IF YOU WERE GOING AWAY FOR THE AFTERNOON YOU USUALLY TOOK THE CLOTHES OFF THE LINE FIRST, EVEN IF THEY WEREN’T DRY. THIS WAS ALL VERY TIME CONSUMING, BUT IT WORKED. THE CLOTHES SMELLED INTOXICATINGLY WONDERFUL WHEN THEY CAME IN OFF THE LINE AND IF THEY STILL WEREN’T DRY YOU HUNG THEM ON LINES IN THE HOUSE. THEN MOM GOT HER FIRST WASHING MACHINE. IT HAD AN ELECTRIC MOTOR ATTACHED AND IT WOULD AGITATE THE CLOTHES IN THE WATER, THEN YOU COULD WRING THE CLOTHES OUT WITH WRINGER AND THEY WOULD FALL INTO A TUB OF COLD RISE WATER. YOU WOULD AGITATE THEM AROUND BY HAND TO RINSE THEM AND PUT THEM THROUGH THE WRINGER AGAIN. THAT PROCESS SEEMED LIKE A PIECE OF CAKE AS IT GOT MUCH MORE OF THE WATER OUT. THAT PROGRESSED TO AN AUTOMATIC WASHING MACHINE YOU PLUGGED INTO AN ELECTRIC CIRCUIT AND YOU SIMPLY DID IT THE WAY WE ARE USED TO TODAY. YOU WOULD BE SURPRISED AT THE TIME IT TOOK TO WASH AND DRY THE CLOTHES BEFORE THE NEW AUTOMATIC WASHERS WE USE TODAY CAME INTO EXISTENCE.” IN ADDITION TO THE INFORMATION PROVIDED BY VERES IN THE EMAIL REFERRED TO ABOVE, SHE WAS INTERVIEWED BY MACLEAN AT THE TIME OF DONATION (NOVEMBER 2016). THE FOLLOWING EXCERPT HAS BEEN EXTRACTED FROM THAT INTERVIEW: “MY FIRST NAME IS MARJORIE… BUT I GO BY MY SECOND NAME, WHICH IS LOUISE… I WAS BORN IN 1938.” “MY MOM’S NAME IS HELEN LUCILLE BORGGARD, AND HER MARRIED NAME WAS SORGARD… SORGARD IS NORWEGIAN, AND BORGGARD IS DANISH… MY MOTHER TOOK [THE WASHBOARD] OVER FROM MY GRANDMOTHER. MY GRANDMOTHER AND MY GRANDFATHER CAME IN 1906. THEY USED THE WASHBOARD AND THEN THEY GAVE IT TO HER. THEY HAD 10 CHILDREN. I’M SURE IT WAS WELL-USED. MY MOTHER MARRIED IN 1935 AND SHE TOOK THE WASHBOARD AND USED IT UNTIL 1949 WHEN WE MOVED FROM THE FARM TO GRASSY LAKE IN TURIN AND IRON SPRINGS. SHE FINALLY HAD ELECTRICITY AND RUNNING WATER, AND UP TO THAT POINT IT WAS 'PACK YOUR OWN WATER IN A BUCKET AND HEAT IT ON THE STOVE.' AND, SOMETIMES, WRING THE CLOTHES OUT. THEY DIDN’T HAVE ANY MODERN CONVENIENCE AT ALL. [FOLLOWING THESE MODERN CONVENIENCES,] THE WASHBOARD WAS PUT IN A BACK ROOM, BUT IT WAS KEPT. THEN THEY MOVED TO RIONDEL, B.C., AND THEY GAVE ME THE WASHBOARD…” “[T]HE WASHBOARD HAS A LOT OF MEMORIES FOR ME, I GUESS MAINLY BECAUSE WE USED IT EVERY MONDAY. WE WASHED OUR CLOTHES, AND WHEN THEY WERE DIRTY, WE SCRUBBED THEM ON THIS WASHBOARD… IT REALLY WORKED WELL. I GUESS IT’S BECAUSE MY MOM WORKED REALLY HARD.” “I’VE PROBABLY HAD IT FOR 35 YEARS. MY MOTHER DIED 4 YEARS AGO AT 98 [YEARS]. I’M IN A FAMILY OF 4 CHILDREN, AND 3 OF THEM WERE BOYS, AND THEY WEREN’T TOO INTERESTED IN THE WASHBOARD, BUT IT JUST SEEMED LIKE IT WAS PART OF THE FAMILY AND IT DESERVED A HOME… I KNOW I DON’T WASH CLOTHES LIKE THAT ANYMORE. WHEN YOU LOOK AT IT [YOU CAN] SEE THE MARKS FROM THE LYE SOAP THAT WAS USED WHEN THEY SCRUBBED ON THE BOARD, AND THE USE THAT IT’S GONE THROUGH. YOU CAN TELL THAT IT HAS BEEN MENDED, BUT IT’S STILL IN REALLY GOOD SHAPE. I JUST THOUGHT THAT I WANTED IT QUITE BADLY [AND] I GOT IT.” SHE CONTINUED TO RECOUNT HER MEMORIES OF THE WASHBOARD, “I GUESS MOST WHAT I REMEMBER IS THE STOVE - HAVING THESE BUCKETS OF WATER ON THEM BEING HEATED FOR WASHING THE CLOTHES. THIS WATER HAD TO BE PACKED BY BUCKET FROM THE CISTERN. THEN THERE WERE TWO BIG GALVANIZED TUBS [THAT] SAT ON A BENCH. ON ONE SIDE SHE PUT LYE SOAP IN IT AND SHE SWISHED IT AROUND. WHEN SHE SAW SOME SOILS, SHE WOULD RUN THE CLOTHES OVER THE WASHBOARD AND THEY WOULD COME OUT REALLY CLEAN. THEN SHE WOULD PUT THE CLOTHES INTO THE RINSE WATER AND IT HAD BLUING IN IT. THAT WAS FOR THE WHITE CLOTHES, AT LEAST. THAT WAS COLD WATER, THOUGH. THEN THEY HAD TO PACK ALL THIS WATER OUT ... TO FEED THE PIGS BECAUSE WE DIDN’T HAVE VERY MUCH WATER. NO ONE HAD VERY MUCH WATER. WATER WAS A REALLY VALUABLE COMMODITY. THE WASHBOARD WAS HOW WE KEPT UP WITH CLEAN CLOTHES.” WHEN ASKED IF SHE HAD A ROLE IN THE LAUNDRY PROCESS AS A CHILD, VERES EXPLAINED, “NO. IF [MOM] HAD WATER ON THE STOVE, I WASN’T ALLOWED CLOSE. AT 10, I WAS TOO SMALL TO BE HELPING VERY MUCH, BUT I DO REMEMBER HER DOING THIS. THEN YOU TOOK THE CLOTHES OUT TO THE CLOTHES LINE; HUNG IT ON THE CLOTHES LINE WITH CLIPS OR PINS. SOMETIMES THE WIND WOULD COME UP IN THE SUMMER AND THE CLOTHES WOULD BLOW, AND THEY WOULD FALL ONTO THE GROUND, INTO THE DIRT, OR THE GRASS, AND SHE’D HAVE TO PICK THEM UP, BRING THEM BACK INTO THE HOUSE; SHAKE ALL THE DIRT OFF AND WASH THEM ALL OVER AGAIN. IN THE WINTER, WHEN SHE HUNG THEM ON THE LINE PERHAPS IT WAS A CHINOOK AND A NICE DAY. BUT, IF IT TURNED COLD, THE CLOTHES FROZE BEFORE THEY DRIED ON THE LINE. THEY WOULD BE FLAPPING AWAY, BUT THEY WOULD CRACK AND BREAK. THE SHIRTS WOULD CRACK DOWN THE MIDDLE OF THE BACK AND BE SHREDDED, AND THE SHEETS WOULD BE SHREDDED, AND THERE WASN’T MONEY TO BUY ANYMORE. YOU HAD TO BE VERY CAREFUL. BEFORE YOU WENT TO TOWN. YOU’D TAKE THEM OFF, EVEN IF THEY WERE STILL WET, AND MAYBE DRY THEM IN THE HOUSE ON ANOTHER LINE. IT WASN’T AN EASY CHORE AND THIS HAPPENED EVERY MONDAY. THEN YOU IRONED THEM WITH THESE BIG FLAT IRONS…” VERES THEN BEGAN TO TALK ABOUT HER FAMILY’S EARLIER HISTORY: “MY GRANDMOTHER, AGNES NANCY SORGARD, WAS A MATTHEWS… BORN IN INDIANA. HER MOM AND DAD HAD COME FROM IRELAND [AND] HAD A HOMESTEAD IN NORTH DAKOTA, AND [IT] WAS NEXT TO WHERE MY GRANDFATHER WAS [WHERE] THEY MET. HE WAS FROM NORWAY... THEY MARRIED, HAD 3 CHILDREN THERE, [THEN] CAME TO ALBERTA.” VERES WAS TOLD THAT THE WASHBOARD FIRST BELONGED TO HER GRANDMOTHER. “MY GRANDMOTHER, AFTER MY MOM MARRIED, PROBABLY HAD A WASHING MACHINE THAT WAS RUN BY KEROSENE. SO SHE PROBABLY DIDN’T NEED [THE WASHBOARD] ANYMORE. IF YOU HAD A FAIRLY DECENT WRINGER, YOU COULD WRING THE WATER OUT OF THE CLOTHES AND A LOT OF THE SOILED PART WOULD COME OUT. MY GRANDPA PROBABLY WASN’T FARMING AS MUCH THEN, AND WE ENDED UP WITH [THE WASHBOARD], SO THAT WAS GOOD.” THE DONOR’S MOTHER, LUCILLE (SORGARD) BORGGARD, CONTRIBUTED TO THE FAMILY HISTORY BOOK TITLED, “IT’S A LONG WAY FROM KILLYCOLPY: A HISTORY OF THE MATTHEWS FAMILY”. THIS WRITTEN ACCOUNT OF BORGGARD’S HISTORY ILLUSTRATES HER OWN HARD WORK THAT HER DAUGHTER RECALLED. IN THE HISTORY BORGGARD WROTE, “I WAS BORN ON FEBRUARY 4, 1914 TO GEORGE AND AGNES SORGARD, THE SEVENTH CHILD IN A FAMILY OF TEN. MY FAMILY HAD COME FROM MINOT, NORTH DAKOTA IN 1907 TO HOMESTEAD IN THE TURIN DISTRICT. AFTER FARMING IN TURIN FOR SEVERAL YEARS MY DAD SOLD HIS HOMESTEAD TO THE JOHN KOENEN FAMILY AND MOVED TO A SMALL RANCH ON THE NORTH SIDE OF THE LITTLE BOW RIVER WHERE THEY LIVED UNTIL 1916. IN THE SPRING THE RIVER WOULD OVER-RUN ITS BANKS MAKING IT IMPOSSIBLE FOR THE CHILDREN TO GO TO SCHOOL SO MY DAD BUILT A HOUSE ON THE SOUTH SIDE OF THE RIVER WHERE WE LIVED UNTIL 1927... IN 1928, WE MOVED FROM THE HOME BY OUR BELOVED RIVER TO A FARM TWO MILES NORTH OF IRON SPRINGS.” “I WORKED AT HOME AND MY SISTER CARRIE AND I COOKED ON MY DAD’S COOK-CAR DURING THE HARVEST. THEY WERE LONG DAYS, RISING AT FOUR THIRTY FOR AN EARLY BREAKFAST AND WE DID NOT GET TO BED TILL TEN O’CLOCK. WE HAD TO MAKE BREAD AND DO ALL THE BAKING. WE MOVED FROM FARM TO FARM DOING ALL THE THRESHING IN THE DISTRICT FOR THE FARMERS…” ACCORDING TO HER OBITUARY IN THE LETHBRIDGE HERALD, HELEN LUCILLE BORGGARD PASSED AWAY ON JUNE 13, 2012. HER OBITUARY STATES HER HUSBAND CLARENCE PASSED AWAY IN 1994. PLEASE SEE THE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, FAMILY HISTORY, AND OBITUARY.
Catalogue Number
P20160040000
Acquisition Date
2016-11
Collection
Museum
Images
Less detail
Other Name
“HONOURARY LIEUTENANT COLONEL FRED T. KING”
Material Type
Artifact
Materials
SILVER, WOOD, FELT
Catalogue Number
P20130018000
  2 images  
Material Type
Artifact
Other Name
“HONOURARY LIEUTENANT COLONEL FRED T. KING”
Date
1968
Materials
SILVER, WOOD, FELT
No. Pieces
1
Height
4.25
Length
18.5
Width
10
Description
RECTANGULAR BOX WITH HINGED LID, MADE OF SILVER WITH WOOD INTERIOR LINING. SCROLLWORK ON UPPER AND LOWER EDGES, WITH SCALLOPED SHAPE ON LIP OF LID. LID IS ENGRAVED WITH TEXT READING “PRESENTED TO HONOURARY LIEUTENANT COLONEL FRED T. KING ON THE OCCASION OF HIS MARRIAGE JANUARY TWENTY FOURTH NINETEEN HUNDRED AND SIXTY EIGHT BY THE COMMANDING OFFICER AND OFFICERS OF THE EIGHTEENTH FIELD ARTILLERY REGIMENT ROYAL CANADIAN ARTILLERY (MILITIA)”. BOTTOM OF BOX HAS FOUR CIRCLES OF GREEN FELT GLUED ON AT THE BOX’S CORNERS. A FAINT MAKERS’ STAMP AND SILVER HALLMARK ARE BARELY VISIBLE AT THE CENTER OF THE BOX’S BOTTOM – ONLY THE WORDS “OLD”, “MADE IN CANADA” AND “98” ARE LEGIBILE. BOX’S WOOD INTERIOR HAS SOME AREAS OF WHITE STAINING FROM REMNANTS OF SILVER POLISH. EXTERIOR IS TARNISHED. VERY GOOD CONDITION OVERALL.
Subjects
HOUSEHOLD ACCESSORY
CONTAINER
PERSONAL SYMBOL
Historical Association
PERSONAL CARE
MILITARY
COMMEMORATIVE
History
THIS BOX WAS GIVEN TO FRED KING TO COMMEMORATE HIS MARRIAGE TO NANCY TIDMARSH ON JANUARY 24, 1968, FROM THE OFFICERS OF THE 18TH FIELD ARTILLERY REGIMENT. AFTER KING’S DEATH IN 1986, NANCY KEPT THE BOX, PASSING IT ALONG TO FAMILY FRIENDS CAROLE AND JACK ROBERTS, THE DONORS. COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE ROBERTS ABOUT THEIR POSSESSION OF THE BOX ON JANUARY 19, 2015. CAROLE SAID: “WE BECAME GOOD FRIENDS [WITH NANCY]. WE HELPED HER MOVE [BECAUSE] SHE WAS ON HER OWN – HER HUSBAND HAD PASSED AWAY YEARS AGO AND SHE WAS A LADY THAT HAD MOVED HERE AS A YOUNG ENGLISH GIRL AFTER THE WAR TO WORK AT ST. MICHAEL’S HOSPITAL… WE CAME INTO POSSESSION [OF THE BOX] BECAUSE SHE THOUGHT WE SHOULD GIVE IT TO THE MUSEUM OR GIVE IT TO THE LEGION. WE WERE DOWNSIZING FOR HER... I POLISHED IT AND PUT IT IN A PLACE OF HONOUR.” THE FOLLOWING BIOGRAPHICAL INFORMATION ON FRED KING WAS FOUND IN THE CATALOGUE RECORD FOR ARTIFACT P19790097000 - KING’S RCA SERGE UNIFORM. ACCORDING TO FREDERICK “FRED” THOMAS KING’S OBITUARY IN THE LETHBRIDGE HERALD, “KING PASSED AWAY ON SATURDAY MARCH 8TH 1986, AT THE AGE OF 82 YEARS, BELOVED HUSBAND OF MRS. NANCY KING OF 1416, 15TH AVENUE SOUTH, LETHBRIDGE. BORN IN LONDON ENGLAND IN 1904, THE LATE MR. KING IMMIGRATED TO CANADA IN 1919 TO MAPLE CREEK SASKATCHEWAN. HE LATER MOVED TO WINNIPEG, MANITOBA WHERE HE TRAINED AS A MECHANIC FOR THE CPR. FRED LATER MOVED TO ALBERTA WHERE HE BECAME INVOLVED IN THE AUTOMOBILE BUSINESS IN LETHBRIDGE IN 1927, FORMING FRED KING MOTOR CO. LTD., IN 1945, AND OPERATED A SUCCESSFUL AUTOMOBILE DEALERSHIP UNTIL RETIRING IN 1971. MR. KING WAS APPOINTED HONORARY LIEUTENANT COLONEL 18TH FIELD REGIMENT, ROYAL CANADIAN ARTILLERY IN 1965 AND HONORARY COLONEL 1969-1977. HE WAS ALSO APPOINTED TO THE BOARD OF GOVERNORS OF THE ARMY CADET LEAGUE OF CANADA FROM 1971-1977 AND SERVED ON THE BOARD OF GOVERNORS OF THE ALBERTA ARMY CADET LEAGUE FROM 1971-78 AND WAS PRESIDENT FROM 1975-1976.” ACCORDING TO THE BIOGRAPHY IN THE PERMANENT FILE, “KING ENLISTED AS GUNNER 112TH FIELD BATTERY, ROYAL CANADIAN ARTILLERY IN 1940 AND WAS COMMISSIONED LIEUTENANT 41ST FIELD REGIMENT, ROYAL CANADIAN ARTILLERY IN 1944. KING WAS ALSO AN HONORARY PRESIDENT OF THE GENERAL STEWART BRANCH OF THE ROYAL CANADIAN LEGION (AT THE TIME OF DONATION IN 1982).” FOR MORE INFORMATION INCLUDING SERVICE RECORDS, PLEASE SEE PERMANENT FILE P19790097000. OTHER COLLECTED ARTIFACTS RELATED TO KING INCLUDE: P19820020000, P19820021000, P19820022001-6, P19820023000, P19820024000, AND P19860039000.
Catalogue Number
P20130018000
Acquisition Date
2013-08
Collection
Museum
Images
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