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Other Name
"1000 PENGO" HUNGARIAN CURRENCY
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20160006001
  2 images  
Material Type
Artifact
Other Name
"1000 PENGO" HUNGARIAN CURRENCY
Date
1945
Materials
PAPER, INK
No. Pieces
1
Length
18.3
Width
8.9
Description
PINK PAPER BANK NOTE WITH BLUE INK DESIGN. FACE: TYPE READS “EZER PENGO” IN LARGE LETTERS WITH FIVE LINES OF TEXT UNDERNEATH IT. THE FIRST LINE BEGINS WITH “BUDAPEST, 1945…”, THE 3RD LINE IS MADE UP OF THREE SIGNATURES, AND THE LAST LINE ENDS IN “A TÖRÉNY BUNTETI”. THE TOP CENTER OF THE BILL READS: “1000” WITH A CREST BELOW. AN IMAGE OF A WOMAN WITH FLOWERS IN HAIR FILLS THE RIGHT SIDE OF THE BILL. AROUND THE TEXT AND IMAGES IS A FLORAL DESIGN. WHITE STAMP WITH PINK DESIGN READING “MAGYAR … BANK” STUCK TO THE RIGHT OF WOMAN’S FACE. BACK: FLORAL DESIGN BORDERING THE BORDER. “1000” IN TOP CENTER AND “EZER PENGO” IN CENTER OF DESIGN” STAMPED “F236” AND “040898” ON EITHER SIDE OF THE BILL. CONDITION: THE COLOUR IS SEVERELY FADED, ESPECIALLY ON THE OUTSIDE EDGES. THERE IS A BROWN STAIN VISIBLE ON THE RIGHT SIDE (WITH WOMAN’S IMAGE) THROUGH TO THE BACK SIDE. STAINING AND SLIGHT WEAR AROUND THE EDGES.
Subjects
EXCHANGE MEDIUM
Historical Association
CURRENCY/MAUNDY
History
THIS ARTIFACT WAS DONATED TO THE GALT MUSEUM & ARCHIVES AFTER BEING FEATURED IN THE GALT’S EXHIBITION CURATED BY WENDY AITKENS TITLED, "CHANGING PLACES: IMMIGRATION & DIVERSITY," WHICH RAN FROM 31 OCTOBER 2015 TO 17 JANUARY 2016. COPIED BELOW IS THE TEXT PANEL ASSOCIATED WITH THE ARTIFACT’S DONOR, ANTHONY (TONY) HORVATH FOR THE “CHANGING PLACES” EXHIBIT: “HORVATH WAS BORN IN AN AREA OF EASTERN EUROPE WHERE COUNTRIES’ BORDERS AND NAMES CHANGED MANY TIME DURING HIS LIFE. TONY FOUND HIMSELF WITHOUT A COUNTRY AFTER THE SECOND WORLD WAR. OF HUNGARIAN ANCESTRY, HE WAS DENIED WORK AND HE REFUSED TO BECOME A SERBIAN CITIZEN SO HE WAS ALLOWED TO LEAVE. HE TRAVELLED TO AUSTRIA AND THEN TO THE BREMERHAVEN DISPLACED PERSONS CAMP IN GERMANY. HE SAILED TO CANADA IN DECEMBER 1951 – FIGHTING SEA SICKNESS ALL THE WAY. HE TOOK THE TRAIN FROM HALIFAX TO MONTREAL AND FROM THERE HE WENT TO A FARM NEAR VERMILION, NORTH OF EDMONTON, WHERE HE CLEANED THE BARN AND FED PIGS. LEARNING THAT LETHBRIDGE HAD A LARGE HUNGARIAN COMMUNITY HE HITCH-HIKED SOUTH. HE HAD A FEW CLOTHES, $15 DOLLARS AND HIS VIOLIN. HIS FIRST JOB WAS IN THE BEET FIELDS NEAR PICTURE BUTTE. LATER HE DROVE HORSES THAT PULLED COAL CARTS IN THE SHAUGHNESSY UNDERGROUND MINE. PLAYING THE VIOLIN BROUGHT HIM MUCH JOY, MANY FRIENDS, AND HIS WIFE ANGELIKA. HE OFTEN WENT TO GALT GARDENS AFTER WORK TO PLAY HIS MUSIC AND SOON MET ANGIE, A YOUNG WOMAN RECENTLY ARRIVED FROM GERMANY. FEARING THE DANGEROUS WORK IN THE MINE, ANGIE DEMANDED THAT TONY FIND SAFER WORK ONCE THEY WERE MARRIED. INITIALLY HE WORKED FOR ELLISON MILLING COMPANY, BUT CANADIAN DRESSED MEAT PACKING HOUSE (BURNS MEATS) OFFERED $.08 MORE AN HOUR, SO HE SWITCHED EMPLOYMENT. HE WORKED THERE UNTIL HE RETIRED 27 YEARS LATER. ANGIE WORKED AT THE HOSPITAL AND THEN AS A TAILOR FOR SIMPSON SEARS DURING THAT SAME TIME PERIOD. TOGETHER THEY RAISED FOUR GIRLS.” THE INFORMATION THAT WAS PRESENTED ON THE TEXT PANEL WAS SOURCED FROM AN ORAL HISTORY INTERVIEW, WHICH WAS CONDUCTED BY AIKENS ON 8 JULY 2015. IN THAT INTERVIEW – STORED AT THE GALT ARCHIVES (20151076) – HORVATH SAID THAT HE WAS BORN IN THE BALKAN PENINSULA. HE SPOKE OF THE UNREST DURING THE SECOND WORLD WAR AND RECALLED SEEING THE BOMBING FROM ALLIES, SAYING “THE GROUND WAS SHAKEN.” HE REMEMBERED THE PUBLIC EXECUTIONS, MASS BURIALS, AND THE WOUNDED PEOPLE IN THE STREETS. IN THE INTERVIEW, HE DESCRIBED HOW THE QUALITY OF LIFE WAS NOT MUCH BETTER FOLLOWING THE WAR, DURING THE YEARS 1945 TO 1950. THERE WERE HARDSHIPS, SUCH AS LONG LINES FOR BREAD, AND THE CONFLICT HAD MADE FINDING GOOD WORK DIFFICULT FOR HORVATH – A HUNGARIAN, AND THEREFORE AN ETHNIC MINORITY IN YUGOSLAVIA. SOON AFTER HE STARTED HIS JOURNEY TO CANADA IN 1951, WHICH HE DESCRIBED TO GREATER DEPTH IN THE INTERVIEW. ON 5 JULY 2013, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED HORVATH IN HIS HOME TO SPEAK ABOUT THE DONATION OF AN ARTIFACT (P20120044000) BY THE MEZEI ORCHESTRA, WHICH HORVATH WAS INVOLVED IN. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: "I [WAS] BORN IN [THE 24TH OF JANUARY] 1931 AND THE SERBS OCCUPIED HUNGARY… SO I BORN ACTUALLY IN YUGOSLAVIA, AND THEN, IN 1939, WHEN THE WAR BROKE OUT – THE SECOND WORLD WAR – IN 1940, THE HUNGARIANS TOOK [IT] BACK… FROM SERBIA. AND IT WAS AGAIN HUNGARY UNTIL 1945, TILL THE WAR FINISHED. [ETHNICALLY HUNGARIAN,] I BECAME A NATIONAL MINORITY IN MY OWN COUNTRY… [A] NATIONAL MINORITY IN YUGOSLAVIA, BUT IT’S NOT YUGOSLAVIA ANYMORE. IT FALL APART AND IT’S AGAIN SERBIA.” IN THE INTERVIEW, HORVATH EXPLAINED, “I ENDED UP BACK AT HOME ABOUT 3 MONTHS BEFORE THE END OF THE [SECOND WORLD] WAR, BACK TO SERBIA TO A CITY CALLED SRBOBRAN. THE CIRCUMSTANCES WAS THAT THE LIFE STANDARD WAS POOR… BEFORE I CAME TO CANADA, I GOT A JOB IN ALEXANDERONKOVICH FACTORY, TORPEDO AND BOMBS AND ALL THAT. I WAS 18 MONTHS WORKING THERE, AND THEN I STARTED TO INVESTIGATE HOW COULD I COME OUT FROM THAT COUNTRY… I DECIDED… I [COULD] APPLY OFFICIALLY TO GIVE UP MY CITIZENSHIP – YUGOSLAVIAN CITIZENSHIP – AND [BECOME] OFFICIALLY [AN] ETHNIC MINORITY… I APPLIED TO EMIGRATE FROM SERBIA, AND I ENDED UP IN AUSTRIA AND FROM AUSTRIA TO BREMENHAVEN, A DISPLACED PERSON I [INDICATED I WAS], BUT ACTUALLY I WASN’T. I WAS A REAL IMMIGRANT BECAUSE I CAME WITH LEGAL PAPERS TO CANADA. IN 1951, I CAME TO CANADA, AND ENDED UP IN THE SUGAR BEETS, I EARNED A LIVING AS A LABOURER – CLEANING… COW STALLS, AND SO FORTH. I MET MY WIFE IN ’53. SHE IS FROM GERMANY. WE GOT MARRIED IN ’54, AND FORTUNATELY, WE HAVE 4 GROWN-UP DAUGHTERS BETWEEN US.” HORVATH ELABORATED ON HIS IMMIGRATION EXPERIENCE, “I HAD AUSTRALIAN OPTION. BUT THE CANADIAN CONSUL SENT MOVIES, PICTURES, ADVERTISEMENTS... [AND THEN] IN 1 MONTH, I WAS IN CANADA. FROM AUSTRIA TO BREMERHAVEN, IN GERMANY, IN 2-3 WEEKS, I WAS READY TO COME TO CANADA. [I] ENDED UP IN MONTREAL. THERE [WERE] STILL CAMPS FOR PRISONER OF WARS FROM THE SECOND WORLD WAR, LIKE GERMANS AND ALL THE OTHER, AND I WAS IN THERE FOR ABOUT 6 MONTHS, IN MONTREAL, FROM THERE, SOME FARMERS WERE LOOKING FOR LABOURERS. THEY ASKED ME DID I WANT TO COME TO ALBERTA. I DIDN’T KNOW ALBERTA. BIG DEAL, ALBERTA. I WASN’T SURE AT ALL, BUT WHEN I WAS TRAVELLING DAY AND NIGHT FROM THERE, TO GET TO EDMONTON FIRST, A FARMER WAS WAITING FOR ME, FROM VERMILION. I STILL REMEMBER THE NAME, BOB HOLDEN. HE WAS FROM ENGLAND, I THINK, PREVIOUSLY. HE HAD A FARM THERE AND HE NEEDED A LABOURER. I WAS A LABOURER, BUT WHEN THEY FOUND OUT I CAN PLAY THE MUSIC, FIRST I HAD A BEET SHACK. THEN THEY TOOK ME INTO HIS HOUSE. HE DIDN’T PAY MUCH. THE NEIGHBOUR [IN VERMILION] OVER THERE WAS A HUNGARIAN OLD FARMER. HE SAID TO ME, ‘SON, DON’T STAY HERE, GO TO LETHBRIDGE. THERE IS LOTS OF HUNGARIANS [THERE], AND YOU CAN GO TO THE SUGAR BEETS [FIELDS], AND YOU CAN MEET FRIENDS OVER THERE,’ AND SO ON. I HAD $15.00 IN MY POCKET BECAUSE THE FARMER DEDUCTED MY JEANS, WHAT HE BOUGHT, I CALLED THEM ‘COWBOY JEANS.' AND I ONLY HAD $15.00 LEFT, SO I HITCHHIKED FROM VERMILION ALL THE WAY ‘TIL I GET TO LETHBRIDGE I STILL HAVE SOME MONEY LEFT, AND I ENDED UP IN PICTURE BUTTE, JOE SCHAEFFER’S PLACE, WORKING IN THE SUGAR BEETS.” “IT WAS DIFFICULT AT THE BEGINNING… THE LANGUAGE…,” HORVATH EXPLAINED, “… VERY HARD BECAUSE HUNGARIAN DOESN’T HAVE A SIMILAR WORD WITH ENGLISH; GERMAN IS ABOUT 30%, SO I THANK MY WIFE; SHE LEARNED QUICKER THAN I DID, BUT, NOW, I AM O.K. I CAN GET BY.” WHEN HE FIRST CAME TO CANADA, HORVATH SAID, “I DIDN’T WANT TO BELIEVE [IT]. I THOUGHT IT’S A HEAVEN BECAUSE EVERYONE WAS FRIENDLY, NICE, YOU KNOW. MIND YOU, I WASN’T ASSOCIATING VERY MUCH WITH THE YOUNG MEN, 18-19 YEARS OLD, YOU KNOW.” HE TOLD AITKENS IN 2015 THAT HE DID NOT BRING MUCH ELSE. HE STATES, “[I] ESPECIALLY [DIDN’T BRING] MONEY. NO MONEY… EXCEPT WHAT IS WORTH NOTHING. INFLATION MONEY BY THE HUNDRED THOUSAND, MILLION, TEN MILLION… WHATEVER I HAD I GAVE TO THE OTHER MUSEUM THAT WAS IN THE GALT GARDEN (GURNEY MUSEUM)… INFLATED. THAT’S WHAT WE CALLED IT. THAT WAS INFLATION MONEY. IT WAS SO MANY, PEOPLE DIDN’T KNOW THE NUMBER. THEY JUST SAID, ‘5 YELLOW, 2 GREEN AND…’ YOU KNOW? JUST BY THE COLOUR. THE NUMBER WAS IN MILLIONS AND BILLIONS AND HUNDREDS OF THOUSANDS. PEOPLE DIDN’T KNOW. NO VALUE. YOU COULD USE IT FOR BATHROOM.” INTERNET RESEARCH STATES THAT THE PENGO WAS THE CURRENCY OF HUNGARY FROM 1927 TO 1946 AND EXPERIENCED THE MOST SERIOUS HYPERINFLATION RECORDED (SOURCE ACCESSED 10 MAY 2018). HORVATH REMEMBERED THE BELONGINGS HE BROUGHT WITH HIM IN HIS IMMIGRATION TO CANADA. IN BOTH THE 2015 INTERVIEW WITH AITKENS AND THE 2013 INTERVIEW WITH MACLEAN, HE SPEAKS OF HIS VIOLIN. IN 2013, HE TOLD MACLEAN, “IT WAS A FAMILY VIOLIN. ACTUALLY, MY UNCLE, THE VERY FIRST ONE, I GOT IT FROM HIM, AND, OF COURSE IT WAS LAYING IN THE HOUSE TILL I WAS 8 YEARS OLD, AND THEY DIDN’T WANT ME TO FOOL AROUND WITH IT, TO BREAK IT OR WHATEVER, SO I GOT A SMALLER SIZE OF VIOLIN, HALF A SIZE, AND LATER, I GOT THAT BACK AND I BROUGHT IT WITH ME TO CANADA. THE VIOLIN GAVE ME OPPORTUNITIES NEVER TO BE ALONE. I HAD FRIENDS ON ACCOUNT OF THE VIOLIN; I HAD PARTIES ON ACCOUNT OF THE VIOLIN; I HAD FOOD; I HAD DRINK; AND I HAD GOOD TIME. IT WAS MY BEST PARTNER AND BEST FRIEND. THAT’S HOW I MET MY WIFE, WITH MY VIOLIN CASE UNDER MY ARM, AT LETHBRIDGE GALT GARDEN.” HE REMEMBERED BEING IMMEDIATELY EMBRACED BY THE HUNGARIAN COMMUNITY IN THE AREA: “IN PICTURE BUTTE, JOE SCHAEFFER’S NEIGHBOUR, MR. GABOR GENCSI, HEARD ME PLAYING, [AND] HE TOOK ME OVER. HE SAYS, ‘YOU DON’T WORK THAT HARD IN THE SUGAR BEETS. COME TO ME.’ HE HAD A WIFE BUT THEY HAD NO CHILDREN, AND HE SAYS THAT THEY ARE GOING TO ADOPT ME TO STAY. I SAYS, ‘NO, I CANNOT BE ADOPTED. I HAD MOTHER AND FATHER.’ BUT, WHEN HE HEARD ME PLAYING, I WENT OVER TO HIS PLACE – THE NEIGHBOUR[ING] FARM – HE GAVE ME $100.00 IN ONE BILL. I DIDN’T KNOW HOW MUCH IT WAS WORTH, AND HE SAID YOU ARE GOING TO GET THAT EVERY MONTH, AS LONG AS YOU ARE HERE, BUT YOU HAVE TO PLAY IN THE EVENING TO ME AND TO MY WIFE. THEN I KEPT ON PLAYING EVERY NIGHT. IT WAS A GOOD CHANCE FOR PRACTICE, YOU KNOW. THEY GAVE ME THE FIRST BEDROOM, AND THEY WENT TO THE SMALLER BEDROOM JUST TO TREAT ME WELL, FREE BOARD, FREE ROOM, JUST TO PLAY THE VIOLIN IN THE EVENING. SOMETIMES I WENT OUT AND DROVE THE HORSES WHEN HE WAS THROWING THE BALES ON THE WAGON, SO I HAD A VERY GOOD TREAT, AND A VERY GOOD CHANCE TO PLAY THE VIOLIN.” HORVATH ALSO PLAYED A ROLE IN GETTING HIS PARENTS TO IMMIGRATE TO CANADA, WHERE THEY SET UP A NEW LIFE. HORVATH SAID, “IN 1948, WHEN MY DAD CAME BACK FROM, BECAUSE HE WAS IN THE ARMY, ON THE GERMAN SIDE. HE WAS A PRISONER OF WAR IN RUSSIA, AND HE CAME BACK IN 1948 FROM RUSSIAN PRISONER OF WAR CAMP. I FELT VERY SORRY FOR MY DAD BECAUSE EVERY TIME YOU WANTED TO ASK SOMETHING ABOUT THE WAR IN RUSSIA, HE NEVER WANTED TO TALK ABOUT IT, NEVER, TO NOBODY. I DECIDED HERE, WHEN I WAS IN CANADA, THE BEST THING THEY WOULD COME OUT HERE, NO MATTER HOW OLD THEY ARE. THEY WERE VERY HAPPY… AND IN 1960 WHEN I WAS ALREADY ESTABLISHED HERE, AND MARRIED WITH CHILDREN, [I] BROUGHT MY FAMILY OUT, MY FATHER, MOTHER AND SISTER, WHO IS LIVING NOW IN STIRLING, ALBERTA. AND, THEY [WERE] ALREADY WAS IN THEIR 60’S WHEN I BROUGHT THEM OUT, BUT THEY MANAGED TO ESTABLISH THEMSELVES A GOOD LIFE HERE TOO ON 80 ACRES…” OF HIS IMMIGRATION STORY, HE TOLD AITKENS, “[IT WAS EXCITING TO] ME – TRAVELLING HALF OF EUROPE WITH NO MONEY IN THE POCKET, EXCEPT HAVING THE FIDDLE IN YOUR HAND…” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING THE TEXT PANEL COPY. FOR INFORMATION REGARDING HORVATH’S INTERVIEW WITH MACLEAN IN 2013, INCLUDING FULL INTERVIEW TRANSCRIPTION, PLEASE SEE PERMANENT FILE P20120044000.
Catalogue Number
P20160006001
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
10,000 PENGO, HUNGARIAN CURRENCY
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20160006002
  2 images  
Material Type
Artifact
Other Name
10,000 PENGO, HUNGARIAN CURRENCY
Date
1945
Materials
PAPER, INK
No. Pieces
1
Length
16.9
Width
8.2
Description
OFF-GREEN PAPER BANK NOTE WITH MAROON INK DESIGN. CENTER LEFT OF BILL IS A PINK COLOUR. FACE: TEXT ON LEFT SIDE OF NOTE READS “10000” IN DESIGN ABOVE LARGER OVAL CONTAINING TEXT: “TIZEZER PENGO” IN LARGE LETTERS WITH TWO LINES OF TEXT BENEATH “BUDAPEST 1945…” AND ENDING IN “NEMZETI BANK” WITH THREE SIGNATURES AFTER. BANNER READING “A BANKJEGYHAMISITAST… BUNTETI” BELOW. IMAGE OF WOMAN WEARING TIARA ENCLOSED IN A CIRCLE ON THE RIGHT SIDE OF THE BANK NOTE. CREST BELOW IMAGE. FLORAL DESIGN OVERALL. BACK: FLORAL BORDER AROUND BACK SIDE WITH “10000” ENCLOSED IN A TULIP-SHAPE IN ALL FOUR CORNERS. CENTER READS “TIZEZER 1000 TIZEZER” WITHIN A DECORATIVE OVAL THAT IS SURROUND BY SMALL PRINT TEXT. “L879” AND “027538” STAMPED IN RED ON EITHER SIDE OF NOTE. CONDITION: SEVERELY DISCOLOURED. DARK STAIN ACROSS ENTIRE UPPER EDGE. SLIGHT WEAR TO EDGES.
Subjects
EXCHANGE MEDIUM
Historical Association
CURRENCY/MAUNDY
History
THIS ARTIFACT WAS DONATED TO THE GALT MUSEUM & ARCHIVES AFTER BEING FEATURED IN THE GALT’S EXHIBITION CURATED BY WENDY AITKENS TITLED, "CHANGING PLACES: IMMIGRATION & DIVERSITY," WHICH RAN FROM 31 OCTOBER 2015 TO 17 JANUARY 2016. COPIED BELOW IS THE TEXT PANEL ASSOCIATED WITH THE ARTIFACT’S DONOR, ANTHONY (TONY) HORVATH FOR THE “CHANGING PLACES” EXHIBIT: “HORVATH WAS BORN IN AN AREA OF EASTERN EUROPE WHERE COUNTRIES’ BORDERS AND NAMES CHANGED MANY TIME DURING HIS LIFE. TONY FOUND HIMSELF WITHOUT A COUNTRY AFTER THE SECOND WORLD WAR. OF HUNGARIAN ANCESTRY, HE WAS DENIED WORK AND HE REFUSED TO BECOME A SERBIAN CITIZEN SO HE WAS ALLOWED TO LEAVE. HE TRAVELLED TO AUSTRIA AND THEN TO THE BREMERHAVEN DISPLACED PERSONS CAMP IN GERMANY. HE SAILED TO CANADA IN DECEMBER 1951 – FIGHTING SEA SICKNESS ALL THE WAY. HE TOOK THE TRAIN FROM HALIFAX TO MONTREAL AND FROM THERE HE WENT TO A FARM NEAR VERMILION, NORTH OF EDMONTON, WHERE HE CLEANED THE BARN AND FED PIGS. LEARNING THAT LETHBRIDGE HAD A LARGE HUNGARIAN COMMUNITY HE HITCH-HIKED SOUTH. HE HAD A FEW CLOTHES, $15 DOLLARS AND HIS VIOLIN. HIS FIRST JOB WAS IN THE BEET FIELDS NEAR PICTURE BUTTE. LATER HE DROVE HORSES THAT PULLED COAL CARTS IN THE SHAUGHNESSY UNDERGROUND MINE. PLAYING THE VIOLIN BROUGHT HIM MUCH JOY, MANY FRIENDS, AND HIS WIFE ANGELIKA. HE OFTEN WENT TO GALT GARDENS AFTER WORK TO PLAY HIS MUSIC AND SOON MET ANGIE, A YOUNG WOMAN RECENTLY ARRIVED FROM GERMANY. FEARING THE DANGEROUS WORK IN THE MINE, ANGIE DEMANDED THAT TONY FIND SAFER WORK ONCE THEY WERE MARRIED. INITIALLY HE WORKED FOR ELLISON MILLING COMPANY, BUT CANADIAN DRESSED MEAT PACKING HOUSE (BURNS MEATS) OFFERED $.08 MORE AN HOUR, SO HE SWITCHED EMPLOYMENT. HE WORKED THERE UNTIL HE RETIRED 27 YEARS LATER. ANGIE WORKED AT THE HOSPITAL AND THEN AS A TAILOR FOR SIMPSON SEARS DURING THAT SAME TIME PERIOD. TOGETHER THEY RAISED FOUR GIRLS.” THE INFORMATION THAT WAS PRESENTED ON THE TEXT PANEL WAS SOURCED FROM AN ORAL HISTORY INTERVIEW, WHICH WAS CONDUCTED BY AIKENS ON 8 JULY 2015. IN THAT INTERVIEW – STORED AT THE GALT ARCHIVES (20151076) – HORVATH SAID THAT HE WAS BORN IN THE BALKAN PENINSULA. HE SPOKE OF THE UNREST DURING THE SECOND WORLD WAR AND RECALLED SEEING THE BOMBING FROM ALLIES, SAYING “THE GROUND WAS SHAKEN.” HE REMEMBERED THE PUBLIC EXECUTIONS, MASS BURIALS, AND THE WOUNDED PEOPLE IN THE STREETS. IN THE INTERVIEW, HE DESCRIBED HOW THE QUALITY OF LIFE WAS NOT MUCH BETTER FOLLOWING THE WAR, DURING THE YEARS 1945 TO 1950. THERE WERE HARDSHIPS, SUCH AS LONG LINES FOR BREAD, AND THE CONFLICT HAD MADE FINDING GOOD WORK DIFFICULT FOR HORVATH – A HUNGARIAN, AND THEREFORE AN ETHNIC MINORITY IN YUGOSLAVIA. SOON AFTER HE STARTED HIS JOURNEY TO CANADA IN 1951, WHICH HE DESCRIBED TO GREATER DEPTH IN THE INTERVIEW. ON 5 JULY 2013, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED HORVATH IN HIS HOME TO SPEAK ABOUT THE DONATION OF AN ARTIFACT (P20120044000) BY THE MEZEI ORCHESTRA, WHICH HORVATH WAS INVOLVED IN. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: "I [WAS] BORN IN [THE 24TH OF JANUARY] 1931 AND THE SERBS OCCUPIED HUNGARY… SO I BORN ACTUALLY IN YUGOSLAVIA, AND THEN, IN 1939, WHEN THE WAR BROKE OUT – THE SECOND WORLD WAR – IN 1940, THE HUNGARIANS TOOK [IT] BACK… FROM SERBIA. AND IT WAS AGAIN HUNGARY UNTIL 1945, TILL THE WAR FINISHED. [ETHNICALLY HUNGARIAN,] I BECAME A NATIONAL MINORITY IN MY OWN COUNTRY… [A] NATIONAL MINORITY IN YUGOSLAVIA, BUT IT’S NOT YUGOSLAVIA ANYMORE. IT FALL APART AND IT’S AGAIN SERBIA.” IN THE INTERVIEW, HORVATH EXPLAINED, “I ENDED UP BACK AT HOME ABOUT 3 MONTHS BEFORE THE END OF THE [SECOND WORLD] WAR, BACK TO SERBIA TO A CITY CALLED SRBOBRAN. THE CIRCUMSTANCES WAS THAT THE LIFE STANDARD WAS POOR… BEFORE I CAME TO CANADA, I GOT A JOB IN ALEXANDERONKOVICH FACTORY, TORPEDO AND BOMBS AND ALL THAT. I WAS 18 MONTHS WORKING THERE, AND THEN I STARTED TO INVESTIGATE HOW COULD I COME OUT FROM THAT COUNTRY… I DECIDED… I [COULD] APPLY OFFICIALLY TO GIVE UP MY CITIZENSHIP – YUGOSLAVIAN CITIZENSHIP – AND [BECOME] OFFICIALLY [AN] ETHNIC MINORITY… I APPLIED TO EMIGRATE FROM SERBIA, AND I ENDED UP IN AUSTRIA AND FROM AUSTRIA TO BREMENHAVEN, A DISPLACED PERSON I [INDICATED I WAS], BUT ACTUALLY I WASN’T. I WAS A REAL IMMIGRANT BECAUSE I CAME WITH LEGAL PAPERS TO CANADA. IN 1951, I CAME TO CANADA, AND ENDED UP IN THE SUGAR BEETS, I EARNED A LIVING AS A LABOURER – CLEANING… COW STALLS, AND SO FORTH. I MET MY WIFE IN ’53. SHE IS FROM GERMANY. WE GOT MARRIED IN ’54, AND FORTUNATELY, WE HAVE 4 GROWN-UP DAUGHTERS BETWEEN US.” HORVATH ELABORATED ON HIS IMMIGRATION EXPERIENCE, “I HAD AUSTRALIAN OPTION. BUT THE CANADIAN CONSUL SENT MOVIES, PICTURES, ADVERTISEMENTS... [AND THEN] IN 1 MONTH, I WAS IN CANADA. FROM AUSTRIA TO BREMERHAVEN, IN GERMANY, IN 2-3 WEEKS, I WAS READY TO COME TO CANADA. [I] ENDED UP IN MONTREAL. THERE [WERE] STILL CAMPS FOR PRISONER OF WARS FROM THE SECOND WORLD WAR, LIKE GERMANS AND ALL THE OTHER, AND I WAS IN THERE FOR ABOUT 6 MONTHS, IN MONTREAL, FROM THERE, SOME FARMERS WERE LOOKING FOR LABOURERS. THEY ASKED ME DID I WANT TO COME TO ALBERTA. I DIDN’T KNOW ALBERTA. BIG DEAL, ALBERTA. I WASN’T SURE AT ALL, BUT WHEN I WAS TRAVELLING DAY AND NIGHT FROM THERE, TO GET TO EDMONTON FIRST, A FARMER WAS WAITING FOR ME, FROM VERMILION. I STILL REMEMBER THE NAME, BOB HOLDEN. HE WAS FROM ENGLAND, I THINK, PREVIOUSLY. HE HAD A FARM THERE AND HE NEEDED A LABOURER. I WAS A LABOURER, BUT WHEN THEY FOUND OUT I CAN PLAY THE MUSIC, FIRST I HAD A BEET SHACK. THEN THEY TOOK ME INTO HIS HOUSE. HE DIDN’T PAY MUCH. THE NEIGHBOUR [IN VERMILION] OVER THERE WAS A HUNGARIAN OLD FARMER. HE SAID TO ME, ‘SON, DON’T STAY HERE, GO TO LETHBRIDGE. THERE IS LOTS OF HUNGARIANS [THERE], AND YOU CAN GO TO THE SUGAR BEETS [FIELDS], AND YOU CAN MEET FRIENDS OVER THERE,’ AND SO ON. I HAD $15.00 IN MY POCKET BECAUSE THE FARMER DEDUCTED MY JEANS, WHAT HE BOUGHT, I CALLED THEM ‘COWBOY JEANS.' AND I ONLY HAD $15.00 LEFT, SO I HITCHHIKED FROM VERMILION ALL THE WAY ‘TIL I GET TO LETHBRIDGE I STILL HAVE SOME MONEY LEFT, AND I ENDED UP IN PICTURE BUTTE, JOE SCHAEFFER’S PLACE, WORKING IN THE SUGAR BEETS.” “IT WAS DIFFICULT AT THE BEGINNING… THE LANGUAGE…,” HORVATH EXPLAINED, “… VERY HARD BECAUSE HUNGARIAN DOESN’T HAVE A SIMILAR WORD WITH ENGLISH; GERMAN IS ABOUT 30%, SO I THANK MY WIFE; SHE LEARNED QUICKER THAN I DID, BUT, NOW, I AM O.K. I CAN GET BY.” WHEN HE FIRST CAME TO CANADA, HORVATH SAID, “I DIDN’T WANT TO BELIEVE [IT]. I THOUGHT IT’S A HEAVEN BECAUSE EVERYONE WAS FRIENDLY, NICE, YOU KNOW. MIND YOU, I WASN’T ASSOCIATING VERY MUCH WITH THE YOUNG MEN, 18-19 YEARS OLD, YOU KNOW.” HE TOLD AITKENS IN 2015 THAT HE DID NOT BRING MUCH ELSE. HE STATES, “[I] ESPECIALLY [DIDN’T BRING] MONEY. NO MONEY… EXCEPT WHAT IS WORTH NOTHING. INFLATION MONEY BY THE HUNDRED THOUSAND, MILLION, TEN MILLION… WHATEVER I HAD I GAVE TO THE OTHER MUSEUM THAT WAS IN THE GALT GARDEN (GURNEY MUSEUM)… INFLATED. THAT’S WHAT WE CALLED IT. THAT WAS INFLATION MONEY. IT WAS SO MANY, PEOPLE DIDN’T KNOW THE NUMBER. THEY JUST SAID, ‘5 YELLOW, 2 GREEN AND…’ YOU KNOW? JUST BY THE COLOUR. THE NUMBER WAS IN MILLIONS AND BILLIONS AND HUNDREDS OF THOUSANDS. PEOPLE DIDN’T KNOW. NO VALUE. YOU COULD USE IT FOR BATHROOM.” INTERNET RESEARCH STATES THAT THE PENGO WAS THE CURRENCY OF HUNGARY FROM 1927 TO 1946 AND EXPERIENCED THE MOST SERIOUS HYPERINFLATION RECORDED (SOURCE ACCESSED 10 MAY 2018). HORVATH REMEMBERED THE BELONGINGS HE BROUGHT WITH HIM IN HIS IMMIGRATION TO CANADA. IN BOTH THE 2015 INTERVIEW WITH AITKENS AND THE 2013 INTERVIEW WITH MACLEAN, HE SPEAKS OF HIS VIOLIN. IN 2013, HE TOLD MACLEAN, “IT WAS A FAMILY VIOLIN. ACTUALLY, MY UNCLE, THE VERY FIRST ONE, I GOT IT FROM HIM, AND, OF COURSE IT WAS LAYING IN THE HOUSE TILL I WAS 8 YEARS OLD, AND THEY DIDN’T WANT ME TO FOOL AROUND WITH IT, TO BREAK IT OR WHATEVER, SO I GOT A SMALLER SIZE OF VIOLIN, HALF A SIZE, AND LATER, I GOT THAT BACK AND I BROUGHT IT WITH ME TO CANADA. THE VIOLIN GAVE ME OPPORTUNITIES NEVER TO BE ALONE. I HAD FRIENDS ON ACCOUNT OF THE VIOLIN; I HAD PARTIES ON ACCOUNT OF THE VIOLIN; I HAD FOOD; I HAD DRINK; AND I HAD GOOD TIME. IT WAS MY BEST PARTNER AND BEST FRIEND. THAT’S HOW I MET MY WIFE, WITH MY VIOLIN CASE UNDER MY ARM, AT LETHBRIDGE GALT GARDEN.” HE REMEMBERED BEING IMMEDIATELY EMBRACED BY THE HUNGARIAN COMMUNITY IN THE AREA: “IN PICTURE BUTTE, JOE SCHAEFFER’S NEIGHBOUR, MR. GABOR GENCSI, HEARD ME PLAYING, [AND] HE TOOK ME OVER. HE SAYS, ‘YOU DON’T WORK THAT HARD IN THE SUGAR BEETS. COME TO ME.’ HE HAD A WIFE BUT THEY HAD NO CHILDREN, AND HE SAYS THAT THEY ARE GOING TO ADOPT ME TO STAY. I SAYS, ‘NO, I CANNOT BE ADOPTED. I HAD MOTHER AND FATHER.’ BUT, WHEN HE HEARD ME PLAYING, I WENT OVER TO HIS PLACE – THE NEIGHBOUR[ING] FARM – HE GAVE ME $100.00 IN ONE BILL. I DIDN’T KNOW HOW MUCH IT WAS WORTH, AND HE SAID YOU ARE GOING TO GET THAT EVERY MONTH, AS LONG AS YOU ARE HERE, BUT YOU HAVE TO PLAY IN THE EVENING TO ME AND TO MY WIFE. THEN I KEPT ON PLAYING EVERY NIGHT. IT WAS A GOOD CHANCE FOR PRACTICE, YOU KNOW. THEY GAVE ME THE FIRST BEDROOM, AND THEY WENT TO THE SMALLER BEDROOM JUST TO TREAT ME WELL, FREE BOARD, FREE ROOM, JUST TO PLAY THE VIOLIN IN THE EVENING. SOMETIMES I WENT OUT AND DROVE THE HORSES WHEN HE WAS THROWING THE BALES ON THE WAGON, SO I HAD A VERY GOOD TREAT, AND A VERY GOOD CHANCE TO PLAY THE VIOLIN.” HORVATH ALSO PLAYED A ROLE IN GETTING HIS PARENTS TO IMMIGRATE TO CANADA, WHERE THEY SET UP A NEW LIFE. HORVATH SAID, “IN 1948, WHEN MY DAD CAME BACK FROM, BECAUSE HE WAS IN THE ARMY, ON THE GERMAN SIDE. HE WAS A PRISONER OF WAR IN RUSSIA, AND HE CAME BACK IN 1948 FROM RUSSIAN PRISONER OF WAR CAMP. I FELT VERY SORRY FOR MY DAD BECAUSE EVERY TIME YOU WANTED TO ASK SOMETHING ABOUT THE WAR IN RUSSIA, HE NEVER WANTED TO TALK ABOUT IT, NEVER, TO NOBODY. I DECIDED HERE, WHEN I WAS IN CANADA, THE BEST THING THEY WOULD COME OUT HERE, NO MATTER HOW OLD THEY ARE. THEY WERE VERY HAPPY… AND IN 1960 WHEN I WAS ALREADY ESTABLISHED HERE, AND MARRIED WITH CHILDREN, [I] BROUGHT MY FAMILY OUT, MY FATHER, MOTHER AND SISTER, WHO IS LIVING NOW IN STIRLING, ALBERTA. AND, THEY [WERE] ALREADY WAS IN THEIR 60’S WHEN I BROUGHT THEM OUT, BUT THEY MANAGED TO ESTABLISH THEMSELVES A GOOD LIFE HERE TOO ON 80 ACRES…” OF HIS IMMIGRATION STORY, HE TOLD AITKENS, “[IT WAS EXCITING TO] ME – TRAVELLING HALF OF EUROPE WITH NO MONEY IN THE POCKET, EXCEPT HAVING THE FIDDLE IN YOUR HAND…” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING THE TEXT PANEL COPY. FOR INFORMATION REGARDING HORVATH’S INTERVIEW WITH MACLEAN IN 2013, INCLUDING FULL INTERVIEW TRANSCRIPTION, PLEASE SEE PERMANENT FILE P20120044000.
Catalogue Number
P20160006002
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Other Name
100,000 PENGO, HUNGARIAN CURRENCY
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20160006003
  2 images  
Material Type
Artifact
Other Name
100,000 PENGO, HUNGARIAN CURRENCY
Date
1945
Materials
PAPER, INK
No. Pieces
1
Length
17.9
Width
8.2
Description
OFF-WHITE AND BLUE PAPER BANK NOTE WITH BROWN INKED DESIGN. FACE: LEFT OF NOTE CONTAINS TEXT BEGINNING IN “100000 SZAZER PENGO”, THEN “BUDAPEST 1945…” ENDING IN “A TURVENY BUNTETI”. IMAGE OF WOMAN WITH PLEATED HAIR ON LEFT SIDE. BROWN FLOWER DESIGN ON BLUE BACKGROUND OVERALL. BORDER IS UNINKED (WHITE). BACK: BROWN ON BLUE DESIGN WITH UNMARKED/UN-INKED BORDER. TOP CENTER READS, “100000” WITH CREST DESIGN IN CENTER OF NOTE AND “SZAZEZER PENGO” ON BOTTOM BORDER. TEXT ALONG TOP OF BILL. A HORN DESIGN ON EITHER SIDE OF BILL IN DARK BLUE INK. “M 284” AND “058914” IN DARK BLUE INK STAMPED ON EITHER SIDE OF THE BILL. CONDITION: SEVERELY DISCOLORED. DARK BROWN STAIN ALONG ENTIRE BOTTOM EDGE. EDGE SLIGHTLY WORN.
Subjects
EXCHANGE MEDIUM
Historical Association
CURRENCY/MAUNDY
History
THIS ARTIFACT WAS DONATED TO THE GALT MUSEUM & ARCHIVES AFTER BEING FEATURED IN THE GALT’S EXHIBITION CURATED BY WENDY AITKENS TITLED, "CHANGING PLACES: IMMIGRATION & DIVERSITY," WHICH RAN FROM 31 OCTOBER 2015 TO 17 JANUARY 2016. COPIED BELOW IS THE TEXT PANEL ASSOCIATED WITH THE ARTIFACT’S DONOR, ANTHONY (TONY) HORVATH FOR THE “CHANGING PLACES” EXHIBIT: “HORVATH WAS BORN IN AN AREA OF EASTERN EUROPE WHERE COUNTRIES’ BORDERS AND NAMES CHANGED MANY TIME DURING HIS LIFE. TONY FOUND HIMSELF WITHOUT A COUNTRY AFTER THE SECOND WORLD WAR. OF HUNGARIAN ANCESTRY, HE WAS DENIED WORK AND HE REFUSED TO BECOME A SERBIAN CITIZEN SO HE WAS ALLOWED TO LEAVE. HE TRAVELLED TO AUSTRIA AND THEN TO THE BREMERHAVEN DISPLACED PERSONS CAMP IN GERMANY. HE SAILED TO CANADA IN DECEMBER 1951 – FIGHTING SEA SICKNESS ALL THE WAY. HE TOOK THE TRAIN FROM HALIFAX TO MONTREAL AND FROM THERE HE WENT TO A FARM NEAR VERMILION, NORTH OF EDMONTON, WHERE HE CLEANED THE BARN AND FED PIGS. LEARNING THAT LETHBRIDGE HAD A LARGE HUNGARIAN COMMUNITY HE HITCH-HIKED SOUTH. HE HAD A FEW CLOTHES, $15 DOLLARS AND HIS VIOLIN. HIS FIRST JOB WAS IN THE BEET FIELDS NEAR PICTURE BUTTE. LATER HE DROVE HORSES THAT PULLED COAL CARTS IN THE SHAUGHNESSY UNDERGROUND MINE. PLAYING THE VIOLIN BROUGHT HIM MUCH JOY, MANY FRIENDS, AND HIS WIFE ANGELIKA. HE OFTEN WENT TO GALT GARDENS AFTER WORK TO PLAY HIS MUSIC AND SOON MET ANGIE, A YOUNG WOMAN RECENTLY ARRIVED FROM GERMANY. FEARING THE DANGEROUS WORK IN THE MINE, ANGIE DEMANDED THAT TONY FIND SAFER WORK ONCE THEY WERE MARRIED. INITIALLY HE WORKED FOR ELLISON MILLING COMPANY, BUT CANADIAN DRESSED MEAT PACKING HOUSE (BURNS MEATS) OFFERED $.08 MORE AN HOUR, SO HE SWITCHED EMPLOYMENT. HE WORKED THERE UNTIL HE RETIRED 27 YEARS LATER. ANGIE WORKED AT THE HOSPITAL AND THEN AS A TAILOR FOR SIMPSON SEARS DURING THAT SAME TIME PERIOD. TOGETHER THEY RAISED FOUR GIRLS.” THE INFORMATION THAT WAS PRESENTED ON THE TEXT PANEL WAS SOURCED FROM AN ORAL HISTORY INTERVIEW, WHICH WAS CONDUCTED BY AIKENS ON 8 JULY 2015. IN THAT INTERVIEW – STORED AT THE GALT ARCHIVES (20151076) – HORVATH SAID THAT HE WAS BORN IN THE BALKAN PENINSULA. HE SPOKE OF THE UNREST DURING THE SECOND WORLD WAR AND RECALLED SEEING THE BOMBING FROM ALLIES, SAYING “THE GROUND WAS SHAKEN.” HE REMEMBERED THE PUBLIC EXECUTIONS, MASS BURIALS, AND THE WOUNDED PEOPLE IN THE STREETS. IN THE INTERVIEW, HE DESCRIBED HOW THE QUALITY OF LIFE WAS NOT MUCH BETTER FOLLOWING THE WAR, DURING THE YEARS 1945 TO 1950. THERE WERE HARDSHIPS, SUCH AS LONG LINES FOR BREAD, AND THE CONFLICT HAD MADE FINDING GOOD WORK DIFFICULT FOR HORVATH – A HUNGARIAN, AND THEREFORE AN ETHNIC MINORITY IN YUGOSLAVIA. SOON AFTER HE STARTED HIS JOURNEY TO CANADA IN 1951, WHICH HE DESCRIBED TO GREATER DEPTH IN THE INTERVIEW. ON 5 JULY 2013, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED HORVATH IN HIS HOME TO SPEAK ABOUT THE DONATION OF AN ARTIFACT (P20120044000) BY THE MEZEI ORCHESTRA, WHICH HORVATH WAS INVOLVED IN. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: "I [WAS] BORN IN [THE 24TH OF JANUARY] 1931 AND THE SERBS OCCUPIED HUNGARY… SO I BORN ACTUALLY IN YUGOSLAVIA, AND THEN, IN 1939, WHEN THE WAR BROKE OUT – THE SECOND WORLD WAR – IN 1940, THE HUNGARIANS TOOK [IT] BACK… FROM SERBIA. AND IT WAS AGAIN HUNGARY UNTIL 1945, TILL THE WAR FINISHED. [ETHNICALLY HUNGARIAN,] I BECAME A NATIONAL MINORITY IN MY OWN COUNTRY… [A] NATIONAL MINORITY IN YUGOSLAVIA, BUT IT’S NOT YUGOSLAVIA ANYMORE. IT FALL APART AND IT’S AGAIN SERBIA.” IN THE INTERVIEW, HORVATH EXPLAINED, “I ENDED UP BACK AT HOME ABOUT 3 MONTHS BEFORE THE END OF THE [SECOND WORLD] WAR, BACK TO SERBIA TO A CITY CALLED SRBOBRAN. THE CIRCUMSTANCES WAS THAT THE LIFE STANDARD WAS POOR… BEFORE I CAME TO CANADA, I GOT A JOB IN ALEXANDERONKOVICH FACTORY, TORPEDO AND BOMBS AND ALL THAT. I WAS 18 MONTHS WORKING THERE, AND THEN I STARTED TO INVESTIGATE HOW COULD I COME OUT FROM THAT COUNTRY… I DECIDED… I [COULD] APPLY OFFICIALLY TO GIVE UP MY CITIZENSHIP – YUGOSLAVIAN CITIZENSHIP – AND [BECOME] OFFICIALLY [AN] ETHNIC MINORITY… I APPLIED TO EMIGRATE FROM SERBIA, AND I ENDED UP IN AUSTRIA AND FROM AUSTRIA TO BREMENHAVEN, A DISPLACED PERSON I [INDICATED I WAS], BUT ACTUALLY I WASN’T. I WAS A REAL IMMIGRANT BECAUSE I CAME WITH LEGAL PAPERS TO CANADA. IN 1951, I CAME TO CANADA, AND ENDED UP IN THE SUGAR BEETS, I EARNED A LIVING AS A LABOURER – CLEANING… COW STALLS, AND SO FORTH. I MET MY WIFE IN ’53. SHE IS FROM GERMANY. WE GOT MARRIED IN ’54, AND FORTUNATELY, WE HAVE 4 GROWN-UP DAUGHTERS BETWEEN US.” HORVATH ELABORATED ON HIS IMMIGRATION EXPERIENCE, “I HAD AUSTRALIAN OPTION. BUT THE CANADIAN CONSUL SENT MOVIES, PICTURES, ADVERTISEMENTS... [AND THEN] IN 1 MONTH, I WAS IN CANADA. FROM AUSTRIA TO BREMERHAVEN, IN GERMANY, IN 2-3 WEEKS, I WAS READY TO COME TO CANADA. [I] ENDED UP IN MONTREAL. THERE [WERE] STILL CAMPS FOR PRISONER OF WARS FROM THE SECOND WORLD WAR, LIKE GERMANS AND ALL THE OTHER, AND I WAS IN THERE FOR ABOUT 6 MONTHS, IN MONTREAL, FROM THERE, SOME FARMERS WERE LOOKING FOR LABOURERS. THEY ASKED ME DID I WANT TO COME TO ALBERTA. I DIDN’T KNOW ALBERTA. BIG DEAL, ALBERTA. I WASN’T SURE AT ALL, BUT WHEN I WAS TRAVELLING DAY AND NIGHT FROM THERE, TO GET TO EDMONTON FIRST, A FARMER WAS WAITING FOR ME, FROM VERMILION. I STILL REMEMBER THE NAME, BOB HOLDEN. HE WAS FROM ENGLAND, I THINK, PREVIOUSLY. HE HAD A FARM THERE AND HE NEEDED A LABOURER. I WAS A LABOURER, BUT WHEN THEY FOUND OUT I CAN PLAY THE MUSIC, FIRST I HAD A BEET SHACK. THEN THEY TOOK ME INTO HIS HOUSE. HE DIDN’T PAY MUCH. THE NEIGHBOUR [IN VERMILION] OVER THERE WAS A HUNGARIAN OLD FARMER. HE SAID TO ME, ‘SON, DON’T STAY HERE, GO TO LETHBRIDGE. THERE IS LOTS OF HUNGARIANS [THERE], AND YOU CAN GO TO THE SUGAR BEETS [FIELDS], AND YOU CAN MEET FRIENDS OVER THERE,’ AND SO ON. I HAD $15.00 IN MY POCKET BECAUSE THE FARMER DEDUCTED MY JEANS, WHAT HE BOUGHT, I CALLED THEM ‘COWBOY JEANS.' AND I ONLY HAD $15.00 LEFT, SO I HITCHHIKED FROM VERMILION ALL THE WAY ‘TIL I GET TO LETHBRIDGE I STILL HAVE SOME MONEY LEFT, AND I ENDED UP IN PICTURE BUTTE, JOE SCHAEFFER’S PLACE, WORKING IN THE SUGAR BEETS.” “IT WAS DIFFICULT AT THE BEGINNING… THE LANGUAGE…,” HORVATH EXPLAINED, “… VERY HARD BECAUSE HUNGARIAN DOESN’T HAVE A SIMILAR WORD WITH ENGLISH; GERMAN IS ABOUT 30%, SO I THANK MY WIFE; SHE LEARNED QUICKER THAN I DID, BUT, NOW, I AM O.K. I CAN GET BY.” WHEN HE FIRST CAME TO CANADA, HORVATH SAID, “I DIDN’T WANT TO BELIEVE [IT]. I THOUGHT IT’S A HEAVEN BECAUSE EVERYONE WAS FRIENDLY, NICE, YOU KNOW. MIND YOU, I WASN’T ASSOCIATING VERY MUCH WITH THE YOUNG MEN, 18-19 YEARS OLD, YOU KNOW.” HE TOLD AITKENS IN 2015 THAT HE DID NOT BRING MUCH ELSE. HE STATES, “[I] ESPECIALLY [DIDN’T BRING] MONEY. NO MONEY… EXCEPT WHAT IS WORTH NOTHING. INFLATION MONEY BY THE HUNDRED THOUSAND, MILLION, TEN MILLION… WHATEVER I HAD I GAVE TO THE OTHER MUSEUM THAT WAS IN THE GALT GARDEN (GURNEY MUSEUM)… INFLATED. THAT’S WHAT WE CALLED IT. THAT WAS INFLATION MONEY. IT WAS SO MANY, PEOPLE DIDN’T KNOW THE NUMBER. THEY JUST SAID, ‘5 YELLOW, 2 GREEN AND…’ YOU KNOW? JUST BY THE COLOUR. THE NUMBER WAS IN MILLIONS AND BILLIONS AND HUNDREDS OF THOUSANDS. PEOPLE DIDN’T KNOW. NO VALUE. YOU COULD USE IT FOR BATHROOM.” INTERNET RESEARCH STATES THAT THE PENGO WAS THE CURRENCY OF HUNGARY FROM 1927 TO 1946 AND EXPERIENCED THE MOST SERIOUS HYPERINFLATION RECORDED (SOURCE ACCESSED 10 MAY 2018). HORVATH REMEMBERED THE BELONGINGS HE BROUGHT WITH HIM IN HIS IMMIGRATION TO CANADA. IN BOTH THE 2015 INTERVIEW WITH AITKENS AND THE 2013 INTERVIEW WITH MACLEAN, HE SPEAKS OF HIS VIOLIN. IN 2013, HE TOLD MACLEAN, “IT WAS A FAMILY VIOLIN. ACTUALLY, MY UNCLE, THE VERY FIRST ONE, I GOT IT FROM HIM, AND, OF COURSE IT WAS LAYING IN THE HOUSE TILL I WAS 8 YEARS OLD, AND THEY DIDN’T WANT ME TO FOOL AROUND WITH IT, TO BREAK IT OR WHATEVER, SO I GOT A SMALLER SIZE OF VIOLIN, HALF A SIZE, AND LATER, I GOT THAT BACK AND I BROUGHT IT WITH ME TO CANADA. THE VIOLIN GAVE ME OPPORTUNITIES NEVER TO BE ALONE. I HAD FRIENDS ON ACCOUNT OF THE VIOLIN; I HAD PARTIES ON ACCOUNT OF THE VIOLIN; I HAD FOOD; I HAD DRINK; AND I HAD GOOD TIME. IT WAS MY BEST PARTNER AND BEST FRIEND. THAT’S HOW I MET MY WIFE, WITH MY VIOLIN CASE UNDER MY ARM, AT LETHBRIDGE GALT GARDEN.” HE REMEMBERED BEING IMMEDIATELY EMBRACED BY THE HUNGARIAN COMMUNITY IN THE AREA: “IN PICTURE BUTTE, JOE SCHAEFFER’S NEIGHBOUR, MR. GABOR GENCSI, HEARD ME PLAYING, [AND] HE TOOK ME OVER. HE SAYS, ‘YOU DON’T WORK THAT HARD IN THE SUGAR BEETS. COME TO ME.’ HE HAD A WIFE BUT THEY HAD NO CHILDREN, AND HE SAYS THAT THEY ARE GOING TO ADOPT ME TO STAY. I SAYS, ‘NO, I CANNOT BE ADOPTED. I HAD MOTHER AND FATHER.’ BUT, WHEN HE HEARD ME PLAYING, I WENT OVER TO HIS PLACE – THE NEIGHBOUR[ING] FARM – HE GAVE ME $100.00 IN ONE BILL. I DIDN’T KNOW HOW MUCH IT WAS WORTH, AND HE SAID YOU ARE GOING TO GET THAT EVERY MONTH, AS LONG AS YOU ARE HERE, BUT YOU HAVE TO PLAY IN THE EVENING TO ME AND TO MY WIFE. THEN I KEPT ON PLAYING EVERY NIGHT. IT WAS A GOOD CHANCE FOR PRACTICE, YOU KNOW. THEY GAVE ME THE FIRST BEDROOM, AND THEY WENT TO THE SMALLER BEDROOM JUST TO TREAT ME WELL, FREE BOARD, FREE ROOM, JUST TO PLAY THE VIOLIN IN THE EVENING. SOMETIMES I WENT OUT AND DROVE THE HORSES WHEN HE WAS THROWING THE BALES ON THE WAGON, SO I HAD A VERY GOOD TREAT, AND A VERY GOOD CHANCE TO PLAY THE VIOLIN.” HORVATH ALSO PLAYED A ROLE IN GETTING HIS PARENTS TO IMMIGRATE TO CANADA, WHERE THEY SET UP A NEW LIFE. HORVATH SAID, “IN 1948, WHEN MY DAD CAME BACK FROM, BECAUSE HE WAS IN THE ARMY, ON THE GERMAN SIDE. HE WAS A PRISONER OF WAR IN RUSSIA, AND HE CAME BACK IN 1948 FROM RUSSIAN PRISONER OF WAR CAMP. I FELT VERY SORRY FOR MY DAD BECAUSE EVERY TIME YOU WANTED TO ASK SOMETHING ABOUT THE WAR IN RUSSIA, HE NEVER WANTED TO TALK ABOUT IT, NEVER, TO NOBODY. I DECIDED HERE, WHEN I WAS IN CANADA, THE BEST THING THEY WOULD COME OUT HERE, NO MATTER HOW OLD THEY ARE. THEY WERE VERY HAPPY… AND IN 1960 WHEN I WAS ALREADY ESTABLISHED HERE, AND MARRIED WITH CHILDREN, [I] BROUGHT MY FAMILY OUT, MY FATHER, MOTHER AND SISTER, WHO IS LIVING NOW IN STIRLING, ALBERTA. AND, THEY [WERE] ALREADY WAS IN THEIR 60’S WHEN I BROUGHT THEM OUT, BUT THEY MANAGED TO ESTABLISH THEMSELVES A GOOD LIFE HERE TOO ON 80 ACRES…” OF HIS IMMIGRATION STORY, HE TOLD AITKENS, “[IT WAS EXCITING TO] ME – TRAVELLING HALF OF EUROPE WITH NO MONEY IN THE POCKET, EXCEPT HAVING THE FIDDLE IN YOUR HAND…” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING THE TEXT PANEL COPY. FOR INFORMATION REGARDING HORVATH’S INTERVIEW WITH MACLEAN IN 2013, INCLUDING FULL INTERVIEW TRANSCRIPTION, PLEASE SEE PERMANENT FILE P20120044000.
Catalogue Number
P20160006003
Acquisition Date
2016-02
Collection
Museum
Images
Less detail
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
COTTON
Catalogue Number
P20150013016
  2 images  
Material Type
Artifact
Date Range From
1940
Date Range To
1950
Materials
COTTON
No. Pieces
1
Length
38.5
Width
43
Description
WHITE, SLEEVELESS TODDLER'S SLIP. NECK LINE AND ARM HOLES FINISHED WITH SIMPLE LACE-LIKE EMBROIDERY IN WHITE. HEM IS SCALLOPED LACE, WITH A SIMPLE FLOWER PATTERN. TWO MOTHER-OF-PEARL BUTTONS ON LEFT SHOULDER. SLIGHT DISCOLOURATION/YELLOWING OF FABRIC. YELLOW STAIN ON BACK AT HEM LINE. LOOSE THREADS AT ARM PIT AREA ON BOTH SIDES. SLIGHT PULL IN FABRIC LEFT SIDE WAIST AREA ON FRONT.
Subjects
CLOTHING-UNDERWEAR
Historical Association
PERSONAL CARE
History
THIS SLIP BELONGED TO ROBERT ALLAN SMITH (THE DONOR) AS A CHILD AND WAS SAVED FOR DONATION TO THE MUSEUM BY HIS MOTHER, PHYLLIS SMITH. THE FOLLOWING INFORMATION ON THE SMITH FAMILY WAS PROVIDED BY THE DONOR AT THE TIME OF DONATION. BEGINNING IN THE 1940S, THE SMITH FAMILY RESIDED AT 1254 7 AVENUE SOUTH. PHYLLIS REMAINED IN THE HOUSE UNTIL HER DEATH AT 104 YEARS OF AGE, ON SEPTEMBER 26, 2009. WHILE CLEANING UP HIS MOTHER’S HOUSE, THE DONOR CAME ACROSS SEVERAL BAGS MARKED ‘FOR MUSEUM’. THE ITEMS WERE USED BY THE DONOR FROM AN INFANT UNTIL THE AGE OF APPROXIMATELY 9 YEARS OLD. IN THE INTERVIEW, KEVIN ASKS IF ROBERT FELT HIS CHILDHOOD WAS IDYLLIC. ROBERT RESPONDS, SAYING: “FOR ME IT WAS. I MEAN, I WAS BORN IN WARTIME STILL AND MAYBE IT WASN’T IDYLLIC FOR MY PARENTS, BUT IT WAS FOR ME. AND THE NEIGHBOURHOODS WERE DIFFERENT THEN. YOU WERE JUST LET OUT THE DOOR AND YOU WENT OUT TO PLAY WITH THE NEIGHBOURHOOD KIDS AND THERE WERE NO CONCERNS THAT THE PARENTS HAVE TODAY. YES, A VERY HAPPY TIME, I WOULD SAY.” ROBERT WAS BORN IN OCTOBER 1940 TO PHYLLIS (NEE GROSS) AND ALLAN F. SMITH, AT ST. MICHAEL’S HOSPITAL. PHYLLIS WAS BORN TO FELIX AND MAGDALENA (NEE FETTIG) GROSS IN HARVEY, ND AND MOVED WITH HER FAMILY TO A FARM IN THE GRASSY LAKE AREA. SHE MOVED INTO LETHBRIDGE AND ATTENDED ST. BASIL’S SCHOOL IN THE 1910s. ALLAN WAS BORN IN ECHO BAY, ON, TO REV D.B. AND MRS. SMITH. HIS FATHER WAS A UNITED CHURCH MINISTER AND MOVED THE FAMILY TO EDMONTON. ALLAN WAS OFFERED A JOB AT WESTERN GROCERS IN LETHBRIDGE AND MET PHYLLIS WHILE IN THE CITY. THEY WERE MARRIED ON SEPTEMBER 2, 1939. ROBERT IS AN ONLY CHILD AND SUFFERED FROM RHEUMATIC FEVER AS A CHILD. HE BELIEVES THIS MAY BE PART OF THE REASON HIS MOTHER SAVED THESE ITEMS. HE EXPLAINS, SAYING: “I’M AN ONLY CHILD AND THEY WOULD BE MORE MEANINGFUL AND I WENT THROUGH A CHILDHOOD ILLNESS. I HAD RHEUMATIC FEVER. I MIGHT NOT HAVE SURVIVED. SOME OTHER KIDS DIDN’T SURVIVE, BUT I DID.” HE ALSO DESCRIBES HIS MOTHER AS BEING “A SAVER OF THINGS. HAVING GONE THROUGH THE DEPRESSION … THEY SAVED LOTS OF STUFF … ANYTHING THEY THINK THEY MIGHT USE IN THE FUTURE WAS SAVED.” PHYLLIS WAS ALSO A MEMBER OF THE LETHBRIDGE HISTORICAL SOCIETY IN THE 1970s AND WORKED AT THE GALT MUSEUM AS PART OF THE HISTORICAL SOCIETY. ACCORDING TO THE LETHBRIDGE HERALD, ROBERT RECEIVED MANY AWARDS WHILE IN HIGH SCHOOL AND UNIVERSITY, INCLUDING THE SCHLUMBERGER OF CANADA SCHOLARSHIP FOR PROFICIENCY IN ENGINEERING, A GOLD MEDAL FROM THE ASSOCIATION OF PROFESSIONAL ENGINEERS OF ALBERTA, AND RECEIVED THE HIGHEST GENERAL AVERAGE IN GRADUATION IN ELECTRICAL ENGINEERING AT THE UNIVERSITY OF ALBERTA. SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND COPIES OF LETHBRIDGE HERALD ARTICLES.
Catalogue Number
P20150013016
Acquisition Date
2015-03
Collection
Museum
Images
Less detail
Other Name
UNDERPANTS, LONG
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
JERSEY
Catalogue Number
P20150013021
  2 images  
Material Type
Artifact
Other Name
UNDERPANTS, LONG
Date Range From
1940
Date Range To
1950
Materials
JERSEY
No. Pieces
1
Length
57
Width
29
Description
OFF-WHITE LONG UNDERWEAR, OVERALL STYLE, WITH ATTACHED TANK-TOP. FLAP OPENING IN BACK CLOSES WITH THREE MOTHER-OF-PEARL BUTTONS. DRAWSTRING FOLLOWS NECKLINE, THROUGH THE SHOULDER STRAPS, AND TIES IN THE FRONT, BELOW THE NECK. SHOULDER STRAPS HAVE A SLIGHTLY SCALLOPED EDGE. TAG INSIDE BACK NECK READS "WATSON'S 20 2-4 YEARS" SLIGHT YELLOWING OF FABRIC. SMALL BROWN COLOURED STAIN FRONT LEFT SIDE, NEAR WAIST.
Subjects
CLOTHING-UNDERWEAR
Historical Association
PERSONAL CARE
History
THESE LONG UNDERPANTS BELONGED TO ROBERT ALLAN SMITH (THE DONOR) AS A CHILD AND WAS SAVED FOR DONATION TO THE MUSEUM BY HIS MOTHER, PHYLLIS SMITH. THE FOLLOWING INFORMATION ON THE SMITH FAMILY WAS PROVIDED BY THE DONOR AT THE TIME OF DONATION. BEGINNING IN THE 1940S, THE SMITH FAMILY RESIDED AT 1254 7 AVENUE SOUTH. PHYLLIS REMAINED IN THE HOUSE UNTIL HER DEATH AT 104 YEARS OF AGE, ON SEPTEMBER 26, 2009. WHILE CLEANING UP HIS MOTHER’S HOUSE, THE DONOR CAME ACROSS SEVERAL BAGS MARKED ‘FOR MUSEUM’. THE ITEMS WERE USED BY THE DONOR FROM AN INFANT UNTIL THE AGE OF APPROXIMATELY 9 YEARS OLD. IN THE INTERVIEW, KEVIN ASKS IF ROBERT FELT HIS CHILDHOOD WAS IDYLLIC. ROBERT RESPONDS, SAYING: “FOR ME IT WAS. I MEAN, I WAS BORN IN WARTIME STILL AND MAYBE IT WASN’T IDYLLIC FOR MY PARENTS, BUT IT WAS FOR ME. AND THE NEIGHBOURHOODS WERE DIFFERENT THEN. YOU WERE JUST LET OUT THE DOOR AND YOU WENT OUT TO PLAY WITH THE NEIGHBOURHOOD KIDS AND THERE WERE NO CONCERNS THAT THE PARENTS HAVE TODAY. YES, A VERY HAPPY TIME, I WOULD SAY.” ROBERT WAS BORN IN OCTOBER 1940 TO PHYLLIS (NEE GROSS) AND ALLAN F. SMITH, AT ST. MICHAEL’S HOSPITAL. PHYLLIS WAS BORN TO FELIX AND MAGDALENA (NEE FETTIG) GROSS IN HARVEY, ND AND MOVED WITH HER FAMILY TO A FARM IN THE GRASSY LAKE AREA. SHE MOVED INTO LETHBRIDGE AND ATTENDED ST. BASIL’S SCHOOL IN THE 1910s. ALLAN WAS BORN IN ECHO BAY, ON, TO REV D.B. AND MRS. SMITH. HIS FATHER WAS A UNITED CHURCH MINISTER AND MOVED THE FAMILY TO EDMONTON. ALLAN WAS OFFERED A JOB AT WESTERN GROCERS IN LETHBRIDGE AND MET PHYLLIS WHILE IN THE CITY. THEY WERE MARRIED ON SEPTEMBER 2, 1939. ROBERT IS AN ONLY CHILD AND SUFFERED FROM RHEUMATIC FEVER AS A CHILD. HE BELIEVES THIS MAY BE PART OF THE REASON HIS MOTHER SAVED THESE ITEMS. HE EXPLAINS, SAYING: “I’M AN ONLY CHILD AND THEY WOULD BE MORE MEANINGFUL AND I WENT THROUGH A CHILDHOOD ILLNESS. I HAD RHEUMATIC FEVER. I MIGHT NOT HAVE SURVIVED. SOME OTHER KIDS DIDN’T SURVIVE, BUT I DID.” HE ALSO DESCRIBES HIS MOTHER AS BEING “A SAVER OF THINGS. HAVING GONE THROUGH THE DEPRESSION … THEY SAVED LOTS OF STUFF … ANYTHING THEY THINK THEY MIGHT USE IN THE FUTURE WAS SAVED.” PHYLLIS WAS ALSO A MEMBER OF THE LETHBRIDGE HISTORICAL SOCIETY IN THE 1970s AND WORKED AT THE GALT MUSEUM AS PART OF THE HISTORICAL SOCIETY. ACCORDING TO THE LETHBRIDGE HERALD, ROBERT RECEIVED MANY AWARDS WHILE IN HIGH SCHOOL AND UNIVERSITY, INCLUDING THE SCHLUMBERGER OF CANADA SCHOLARSHIP FOR PROFICIENCY IN ENGINEERING, A GOLD MEDAL FROM THE ASSOCIATION OF PROFESSIONAL ENGINEERS OF ALBERTA, AND RECEIVED THE HIGHEST GENERAL AVERAGE IN GRADUATION IN ELECTRICAL ENGINEERING AT THE UNIVERSITY OF ALBERTA. SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND COPIES OF LETHBRIDGE HERALD ARTICLES.
Catalogue Number
P20150013021
Acquisition Date
2015-03
Collection
Museum
Images
Less detail
Other Name
WHAT THE FRACK HAPPENED?
Material Type
Artifact
Materials
COTTON, POLYESTER, PLASTIC
Catalogue Number
P20160014000
  2 images  
Material Type
Artifact
Other Name
WHAT THE FRACK HAPPENED?
Date
2014
Materials
COTTON, POLYESTER, PLASTIC
No. Pieces
3
Length
77.7
Width
86.8
Description
.1: VEST. PATCHWORK OF VARIETY OF MATERIALS AND TEXTURES. CLOSES AT FRONT WITH A LARGE BLUE, CIRCULAR, CONVEX BUTTON, WITH THREE SMALL STONES IN THE CENTRE OF THE BUTTON. A PIECE OF VELVET TRIM LOOPS AROUND THE BUTTON TO CLOSE. A WHITE PAPER TAG (P20160014000.2) HANGS FROM THIS BUTTON. FRONT DEPICTS A NATURE SCENE. ALONG TOP OF VEST, FABRIC IS PINK AND PURPLE, POSSIBLY DEPICTING A SUNRISE OR SUNSET. ON WEARER’S LEFT THERE IS A NATURE SCENE OF A PINE TREE AND ROCKS, WHICH HAS BEEN APPLIQUED AND EMBROIDERED ONTO VEST. LIGHT BROWN YARN DEPICTS THE TREE’S ROOTS, WHICH GO DOWN FROM THE TREE INTO A GREEN SECTION ON THE VEST. THERE ARE SEVERAL BUTTONS AND SMALL ROCKS OF VARIOUS COLOURS SEWN ONTO THIS GREEN SECTION. BELOW THIS IS A BLUE STRIPE, THEN A SECTION OF MULTIPLE SHADES OF BROWN, INCLUDING ONE SECTION THAT IS VERY TEXTURED AND IS LIKELY PAINTED/DYED TYVEK. THE WEARER’S LEFT SIDE DEPICTS A FARMING SCENE WITH MOUNTAINS IN THE BACKGROUND. BELOW THAT IS A CONTINUATION OF THE BLUE STRIPE FROM THE RIGHT SIDE. THEN THERE IS A SECTION OF MULTIPLE SHADES OF BROWN AND PURPLE. THERE IS ALSO ANOTHER SECTION OF PAINTED/DYED TYVEK ON THIS SIDE, WHICH IS PURPLE IN COLOUR AND THERE ARE SEQUINS, BUTTONS, AND SMALL ROCKS SEWN INTO AND ONTO THIS PURPLE SECTION. BACK OF VEST DEPICTS CONSEQUENCES OF FRACKING. TOP OF VEST ON BACK IS A SHADE OF PURPLE/PINK, WITH BLACK NETTING OVER IT. THERE ARE TWO BRIDGE TRUSSES ON THE WEARER’S RIGHT SIDE AND TWO GAS RIGS ON THE WEARER’S LEFT SIDE. BELOW THIS IS A STRIPE OF GOLD RIBBON, WITH 5 GOLD COLOURED KEYS AND FIVE SQUARE WOODEN BUTTONS ATTACHED HORIZONTALLY ACROSS THE VEST. BELOW GOLD STRIPE IS A PATCHWORK OF A VARIETY OF MATERIALS AND TEXTURES AND COLOURS INCLUDE VARIOUS SHADES OF PURPLE, GREEN, BLUE, RED, PINK, YELLOW, AND BROWN. MOST OF THE DIFFERENT PIECES OF MATERIAL ARE BORDERED WITH A RED FRINGE TRIM. ON WEARER’S LEFT SIDE, BELOW ARM HOLE, IS A SMALL SECTION OF BLUE FABRIC WITH THREE SMALL SEA SHELLS SEWN ON. BOTTOM RIGHT HAND CORNER OF THE BACK OF VEST HAS A MEDIUM SIZED WHITE AND RED BUTTON (P20160014000.3). INSIDE OF VEST LINED WITH BLACK NETTING ON THE FRONT AND WITH GOLD, BLACK, AND RED NETTING ON THE BACK. .2: TAG. WHITE, HEAVY PAPER. HANDWRITTEN IN BLUE INK “CREATED BY CHERYL ATKINSON, BEV HALL, FRANCES SCHULTZ.” REVERSE HAS HANDWRITTEN IN BLUE INK “ART VEST. $200.XX” WITH 26-14 TYPED IN BLACK INK. 3.8CM LONG X 6.5CM WIDE .3: BUTTON: ROUND BUTTON, WHITE BACKGROUND. DEPICTS A GAS RIG WITH A RED DIAGONAL LINE ACROSS THE RIG. TEXT OF BUTTON READS: “WWW.NODRILLINGLETHBRIDGE.CA”. 6.5CM DIAMETER
Subjects
CLOTHING-OUTERWEAR
Historical Association
DECORATIVE ARTS
History
THE FOLLOWING INFORMATION COMES FROM AN INTERVIEW WITH THE DONOR, CHERYL ATKINSON, CONDUCTED BY KEVIN MACLEAN IN MAY 2016. THIS VEST WAS CREATED AS PART OF AN ART GARMENT CHALLENGE PUT FORWARD BY THE TEXTILE SURFACE DESIGN GUILD. CHERYL WAS BOTH A PARTICIPANT AND AN ORGANIZER OF THIS ART CHALLENGE. CHERYL INDICATED THAT “PART OF THE CHALLENGE WAS TO WORK WITH OTHER MEMBERS OF THE GROUP WHO, MAYBE YOU HADN’T SPENT TIME TRYING TO WORK COLLABORATIVELY WITH.” IN JANUARY 2014 THE GUILD GOT TOGETHER TO DETERMINE THE WORKING GROUPS AND THE THEMES THAT WOULD BE WORKED ON, BASED ON “WHAT THEIR INTERESTS WERE IN LIFE. SO, SOME PEOPLE CHOSE GARDENING, ANOTHER GROUP DID ART, LIKE PURE ART, AND OUR GROUP CHOSE THE ENVIRONMENT. AND, AT THE TIME, THE ENVIRONMENT IN LETHBRIDGE WAS UNDER THREAT, IN QUESTION BECAUSE THERE WAS A COMPANY THAT WAS PLANNING TO DO DIRECTIONAL DRILLING, FRACKING, IN WEST LETHBRIDGE, AND ONE OF THE MEMBERS WHO JOINED OUR GROUP WAS PARTICULARLY CONCERNED ABOUT IT, SO WE THOUGHT THAT WOULD BE A GOOD SOURCE OF INSPIRATION FOR OUR ART GARMENT.” PART OF THE REASON THE GUILD WANTED TO DO A COLLABORATIVE PROJECT LIKE THIS IS BECAUSE THE GROUP HAD GROWN CONSIDERABLY IN SIZE: “OUR GROUP HAS EXPANDED A LOT. IN THE LAST NUMBER OF YEARS WE WENT FROM A GROUP OF ABOUT FIFTEEN PEOPLE TO A GROUP OF ABOUT FORTY PEOPLE, SO IT’S HARD TO GET TO KNOW FORTY PEOPLE INTIMATELY, SO WE WERE TRYING TO FIND A WAY TO CONNECT WITH EACH OTHER, LEARN MORE ABOUT OUR INTERESTS. AND SO, WE JUST, LIKE, HAD A CONVERSATION AND PEOPLE WERE TALKING ABOUT THINGS THEY WERE INTERESTED IN, AND THEN WE STARTED, I THINK WE PASSED AROUND A LIST OF, JUST LIKE A SHEET THAT PEOPLE WOULD WRITE DOWN KIND OF TOPICS OF THEIR INTEREST, AND THEN WE JUST STARTED MATCHING THEM UP, AND THEN WE PUT, WE DIDN’T WANT TO HAVE LIKE TEN PEOPLE ON ONE PROJECT AND ONE ON ANOTHER, SO WE TRIED TO SORT OF SPLIT THEM UP IF PEOPLE PUT DOWN MORE THAN ONE AREA OF INTEREST. SO, ENVIRONMENT JUST TURNED OUT TO BE FRANCES [SCHULTZ], BEV [HALL] AND I SO.” CHERYL INDICATED THAT THE ENVIRONMENT WAS ESPECIALLY IMPORTANT TO GROUP MEMBER BEV HALL: “I THINK THAT THE ISSUE ABOUT THE FRACKING CAME UP AS WE DISCUSSED, LIKE, WHAT WE WERE GOING TO DO ABOUT THE VEST … BEV FOR INSTANCE, LOVES TO HIKE IN THE MOUNTAINS AND THAT SHE FEELS CONNECTED TO THE NATURAL ENVIRONMENT IN SOUTHERN ALBERTA. AND I AM INTERESTED IN THINGS LIKE HERITAGE PLANTS AND NATIVE SPECIES AND THINGS LIKE THAT. I DON’T THINK ANY OF US HAD ANY, LIKE, WE’RE NOT TRAINED ENVIRONMENTALISTS IN ANY WAY. IT JUST SEEMED THAT THAT WAS AN AREA OF INTEREST THAT WE COULD USE AS A FOCUS FOR ART.” TO CREATE THE VEST, THE THREE WOMEN DIVIDED UP THE WORK: “WE DECIDED THAT TOGETHER WE WOULD MAKE A PATTERN AND CREATE THE SHAPE OF THE GARMENT. AND THEN, WE HAD A VERY TIGHT TIME PRESSURE, WE HAD SIX WEEKS TO FINISH IT … SO, WE DECIDED TO PARCEL IT OUT INTO PIECES. SO, FRANCES DID THE BACK, BEV DID THE SHOULDER AREA AT THE FRONT, AND I DID THE LOWER AREA AT THE FRONT. AND THEN BEV SEWED IT TOGETHER, AND THEN I EMBELLISHED IT AT THE END.” TO MAKE THE VEST, THE WOMEN USED FABRIC FROM THEIR COLLECTIONS: “WE KIND OF LOOKED AT THE MATERIALS THAT WE HAD, AND WE HAD QUITE A SELECTION! … AND TRIED TO DECIDE WHAT KINDS OF COLOURS OR TEXTURES, THINGS THAT WE COULD DRAW FROM ON OUR OWN PIECES, AND SOMETIMES WE SHARED THEM WITH THE OTHER PEOPLE THAT WERE – YOU KNOW, IF A PIECE OF MY FABRIC FIT BETTER IN BEV’S AREA, THEN I JUST GAVE HER, AND SHE COULD DECIDE WHETHER SHE’D USE IT OR NOT. AND THEN WE EACH TOOK OUR BITS HOME. BEV DID HER PART FIRST, AND THEN I ADDED MINE TO IT, SO SHE STARTED ON THE FRONT AND THEN I ADDED LATER, AND FRANCES DID THE BACK INDEPENDENTLY OF EACH OTHER. SO WE REALLY DIDN’T KNOW WHAT THE WHOLE PIECE WAS GOING TO LOOK LIKE UNTIL IT CAME TOGETHER AS ONE. AND THEN, ONCE THE PIECE WAS TOGETHER, IT WAS MEANT TO BE SHOWED AT THE TEXTILE GUILD MEETING IN MARCH, AND WE HAD A LITTLE FASHION SHOW, AND WE SHOWED IT OFF, AND RESULTING FROM THE PIECES THAT CAME TOGETHER AT THAT TIME, WE HAD A, WE WERE INVITED TO SHOW THE ARTWORK IN THE DISPLAY CASES AT CASA FOR SIX WEEKS.” CHERYL DESCRIBES THE PIECE: “SO THE IMAGERY IN THE PIECE, AT THE FRONT, WE HAVE THE NATURAL ENVIRONMENT OF SOUTHERN ALBERTA REPRESENTED ON THE TOP, THE SHOULDER AREAS. SO, THE MOUNTAINS, THE COULEES, THE TREES, THE VALLEY, THE WATER. AND THEN IT GOES DOWN TO THE LOWER, WHAT WE WOULD IMAGINE THE UNDERGROUND LAYERS LOOK LIKE IN THE EARTH, THE GEOLOGY, THE WATER TRAVELLING UNDERGROUND, THE ROCKS THE SOIL, THINGS LIKE THAT. AND THEN ON THE BACK SIDE OF THE VEST, WE SEE ALL OF THAT DISRUPTED DURING THE FRACKING PROCESS. WE SEE FRACTURING HAPPENING. THE WATER AND THE EARTH ARE GETTING ALL MIXED TOGETHER AND DAMAGED AND, THE BIG EMBELLISHMENT ACROSS THE BACK, THERE IS A SERIES OF GOLD KEYS RIGHT ACROSS THE BACK OF THE VEST, AND THEY ARE, ACTUALLY, WE HAD JUST MOVED OUT OF THE BOWMAN ARTS CENTRE AT THAT PERIOD IN TIME, AND WE HAD A LOT OF STUDIO KEYS LEFT OVER THAT WE DIDN’T KNOW WHAT TO DO WITH, SO WE JUST SEWED THEM ON THERE, AND THEY REPRESENT THE DRILLING COMPANY THAT WAS PROPOSING TO DO THE FRACKING IN WEST LETHBRIDGE. SO, IT’S SUBTLE, BUT THERE IS KIND OF A MESSAGE THERE. AND THERE’S ALSO A BUTTON ON THE BACK FROM THE ANTI-FRACKING CAMPAIGN.” CHERYL WAS MADE CUSTODIAN OF THE VEST BECAUSE SHE WAS “SORT OF THE PROJECT LEADER … IT WAS ALSO MEANT TO FIT ME, SO I THINK THAT’S ALSO WHY I AM THE ONE THAT HAS CUSTODY OF IT.” SHE IS PROUD OF HOW THE GROUP COLLABORATION TURNED OUT AND FINDS IT A LITTLE DIFFICULT TO PART WITH THE VEST: “IT IS HARD TO PART WITH IT, BUT I CAN’T, I MEAN IT’S SORT OF A SNAPSHOT IN TIME. I MEAN IT WAS SOMETHING THAT WAS VERY CURRENT AND IMPORTANT, AND I THINK WE ADDED SOMETHING TO THE CONVERSATION BY HAVING THIS ON DISPLAY AT THE TIME WHERE DECISION MAKING WAS HAPPENING. BUT I DON’T REALLY KNOW, LIKE I’M NOT GOING TO WEAR IT TO CHURCH ON SUNDAY OR SOMETHING, (LAUGHS) SO, I DON’T REALLY KNOW WHAT ELSE TO DO WITH IT SO.” INCLUDED IN THE DONATION PAPER WORK IS A SMALL DESCRIPTION OF THE VEST, FROM WHEN IT WAS DISPLAYED. THE TEXT READS AS FOLLOWS: “WHAT THE FRACK HAPPENED? CHERYL ATKINSON, BEV HALL, FRANCES SCHULTZ OUR WORLD IS A FRAGILE HOME. HOW WE EXPLOIT IT CAN HAVE DRASTIC EFFECTS FAR INTO THE FUTURE. THIS GARMENT IS AN ARTISTIC RESPONSE TO THE CURRENT, MAJOR ISSUE FACING THE CITY OF LETHBRIDGE. THE FRONT DEPICTS THE NATURAL GEO-LANDSCAPE OF THE CITY – PRISTINE SCENERY ABOVE GROUND AND THE MANY DIFFERENT GEOLOGIC LAYERS UNDERGROUND. THE BACK ATTEMPTS TO DEPICT WHAT FRACKING MIGHT DO TO THESE GEOLOGIC LAYERS, AS WELL AS THE THREAT TO THE SURFACE. HOUSES AND THE UNIVERSITY SIT AMONG OIL WELLS WITH THE GOLDEN KEYS SYMBOLIC OF THE SOURCE OF THE THREAT. MANY SURFACE DESIGN TECHNIQUES HAVE BEEN USED. THESE INCLUDE INDIGO DYEING, SHIBORI DYEING AND DISCHARGING, VEGETABLE PRINTING, TYVEK PAINTING WITH HEAT MOLDING, WAX BATIK, DYE PRINTING, BEADING, EMBROIDERY, COUCHING, MARBLING, ETC.” IN THE TEXTILE SURFACE DESIGN GUILD SPRING 2014 NEWSLETTER THE EXHIBIT IS DESCRIBED: “VESTED INTERESTS IS A COLLECTION OF ART GARMENTS CREATED COLLABORATIVELY BY TSDG MEMBERS. EACH VEST LOBBIES PASSIONATELY FOR A PERSONAL INTEREST HELD BY THE CREATIVE TEAM BEHIND ITS DESIGN. ON DISPLAY IN THE 2ND FLOOR SHOWCASE AT CASA UNTIL APRIL 26.” SEE PERMANENT FILE FOR COPY OF INTERVIEW TRANSCRIPT, THE EXHIBIT DISPLAY TEXT, AND THE TEXTILE SURFACE DESIGN GUILD SPRING 2014 NEWSLETTER.
Catalogue Number
P20160014000
Acquisition Date
2016-05
Collection
Museum
Images
Less detail
Other Name
SOAKER
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
WOOL
Catalogue Number
P20150013010
  2 images  
Material Type
Artifact
Other Name
SOAKER
Date Range From
1940
Date Range To
1950
Materials
WOOL
No. Pieces
1
Length
20
Width
28.5
Description
OFF-WHITE KNITTED DIAPER COVER. ALL ONE PIECE, TWO LEG HOLES, WITH DRAWSTRING WAIST. DIAGONAL SEAMS ON THE FRONT MAKE AN INVERTED "V" POINTING UP TOWARDS THE WAIST BAND FROM THE LEG HOLES. YARN APPEARS TO HAVE YELLOWED OVER THE YEARS. SEVERAL HOLES IN THE STITCHING, INCLUDING ON THE DIAGONAL SEAM ABOVE THE RIGHT LEG HOLE, ON THE BACK RIGHT BACK (HOLES ON THE FRONT AND BACK ALMOST LINE UP), AND ON THE WAISTBAND, ESPECIALLY AT THE BACK. DRAWSTRING STILL IN WAISTBAND, BUT IS NOW IN TWO PIECES. DIAGONAL SEAMING ON THE FRONT SHOWS QUITE A LOT OF TENSION/STRESS.
Subjects
CLOTHING-UNDERWEAR
Historical Association
PERSONAL CARE
History
THIS DIAPER COVER BELONGED TO ROBERT ALLAN SMITH (THE DONOR) AS A CHILD AND WAS SAVED FOR DONATION TO THE MUSEUM BY HIS MOTHER, PHYLLIS SMITH. THE FOLLOWING INFORMATION ON THE SMITH FAMILY WAS PROVIDED BY THE DONOR AT THE TIME OF DONATION. BEGINNING IN THE 1940S, THE SMITH FAMILY RESIDED AT 1254 7 AVENUE SOUTH. PHYLLIS REMAINED IN THE HOUSE UNTIL HER DEATH AT 104 YEARS OF AGE, ON SEPTEMBER 26, 2009. WHILE CLEANING UP HIS MOTHER’S HOUSE, THE DONOR CAME ACROSS SEVERAL BAGS MARKED ‘FOR MUSEUM’. THE ITEMS WERE USED BY THE DONOR FROM AN INFANT UNTIL THE AGE OF APPROXIMATELY 9 YEARS OLD. IN THE INTERVIEW, KEVIN ASKS IF ROBERT FELT HIS CHILDHOOD WAS IDYLLIC. ROBERT RESPONDS, SAYING: “FOR ME IT WAS. I MEAN, I WAS BORN IN WARTIME STILL AND MAYBE IT WASN’T IDYLLIC FOR MY PARENTS, BUT IT WAS FOR ME. AND THE NEIGHBOURHOODS WERE DIFFERENT THEN. YOU WERE JUST LET OUT THE DOOR AND YOU WENT OUT TO PLAY WITH THE NEIGHBOURHOOD KIDS AND THERE WERE NO CONCERNS THAT THE PARENTS HAVE TODAY. YES, A VERY HAPPY TIME, I WOULD SAY.” ROBERT WAS BORN IN OCTOBER 1940 TO PHYLLIS (NEE GROSS) AND ALLAN F. SMITH, AT ST. MICHAEL’S HOSPITAL. PHYLLIS WAS BORN TO FELIX AND MAGDALENA (NEE FETTIG) GROSS IN HARVEY, ND AND MOVED WITH HER FAMILY TO A FARM IN THE GRASSY LAKE AREA. SHE MOVED INTO LETHBRIDGE AND ATTENDED ST. BASIL’S SCHOOL IN THE 1910s. ALLAN WAS BORN IN ECHO BAY, ON, TO REV D.B. AND MRS. SMITH. HIS FATHER WAS A UNITED CHURCH MINISTER AND MOVED THE FAMILY TO EDMONTON. ALLAN WAS OFFERED A JOB AT WESTERN GROCERS IN LETHBRIDGE AND MET PHYLLIS WHILE IN THE CITY. THEY WERE MARRIED ON SEPTEMBER 2, 1939. ROBERT IS AN ONLY CHILD AND SUFFERED FROM RHEUMATIC FEVER AS A CHILD. HE BELIEVES THIS MAY BE PART OF THE REASON HIS MOTHER SAVED THESE ITEMS. HE EXPLAINS, SAYING: “I’M AN ONLY CHILD AND THEY WOULD BE MORE MEANINGFUL AND I WENT THROUGH A CHILDHOOD ILLNESS. I HAD RHEUMATIC FEVER. I MIGHT NOT HAVE SURVIVED. SOME OTHER KIDS DIDN’T SURVIVE, BUT I DID.” HE ALSO DESCRIBES HIS MOTHER AS BEING “A SAVER OF THINGS. HAVING GONE THROUGH THE DEPRESSION … THEY SAVED LOTS OF STUFF … ANYTHING THEY THINK THEY MIGHT USE IN THE FUTURE WAS SAVED.” PHYLLIS WAS ALSO A MEMBER OF THE LETHBRIDGE HISTORICAL SOCIETY IN THE 1970s AND WORKED AT THE GALT MUSEUM AS PART OF THE HISTORICAL SOCIETY. ACCORDING TO THE LETHBRIDGE HERALD, ROBERT RECEIVED MANY AWARDS WHILE IN HIGH SCHOOL AND UNIVERSITY, INCLUDING THE SCHLUMBERGER OF CANADA SCHOLARSHIP FOR PROFICIENCY IN ENGINEERING, A GOLD MEDAL FROM THE ASSOCIATION OF PROFESSIONAL ENGINEERS OF ALBERTA, AND RECEIVED THE HIGHEST GENERAL AVERAGE IN GRADUATION IN ELECTRICAL ENGINEERING AT THE UNIVERSITY OF ALBERTA. SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND COPIES OF LETHBRIDGE HERALD ARTICLES.
Catalogue Number
P20150013010
Acquisition Date
2015-03
Collection
Museum
Images
Less detail

7 records – page 1 of 1.