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Other Name
"1945 RED CROSS QUILT"
Material Type
Artifact
Materials
COTTON, WOOL
Catalogue Number
P20170035000
  2 images  
Material Type
Artifact
Other Name
"1945 RED CROSS QUILT"
Date
1945
Materials
COTTON, WOOL
No. Pieces
1
Length
214
Width
168.5
Description
BLUE AND PINK QUILT WITH PATTERN OF 56 PINK DIAMONDS INTERLAID WITH BLUE DIAMONDS; PINK FABRIC DIAMONDS HAVE NAMES EMBROIDERED IN BLUE THREAD, LISTED BELOW. BLUE DIAMONDS HAVE AN EMBROIDERED FOUR PETAL DESIGN STITCHED IN FABRIC. QUILT HAS BLUE EMBROIDERED TEXT ON TWO CENTER DIAMONDS, “1945” AND “RED CROSS”. QUILT HAS FINISHED EDGES WITH PINK BORDERS. QUILT HAS FRAYING AND LOSS ON UPPER RIGHT EDGE; FABRIC AND EMBROIDERED TEXT IS FADED; QUILT HAS MINOR BROWN STAIN ON BACK AT LOWER EDGE; OVERALL VERY GOOD CONDITION. EMBROIDERED NAMES ON FRONT OF QUILT [ALPHABETICAL]: ANNAND, ASHMAN, BAILEY, BAKER, BARNES, BELL, BURNS, CARLSON, CARNELL, CHAMBERS, CHRISTIANSEN, CYNCH, DAYMON, DELANY, DEVEBER, DICKSON, DILATUSH, FALLON, FOSTER, GAIRNS, GIDDIE, GLADSTONE, GOBLE, GOING, GREGORY, HAGGLUND, HARRISON, HARWOOD, HATFIELD, HAUG, HINTON, HOLROYD, KEMMIS, KLOPPENBORG, MATKIN, MCEWEN, MCKENZIE, O’BRAY, PITTAWAY, PRESLEY, RACKETTE, REEVES, ROPER, SHERMAN, STEWART, STRATE, THOMAS, UDELL, WACHER, ZORN.
Subjects
ART
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
THE WATERTON PARK RED CROSS QUILT WAS CREATED BY WATERTON FAMILIES DURING THE SECOND WORLD WAR AND WAS EMBROIDERED WITH THE SURNAMES OF WATERTON RESIDENTS LIVING IN THE PARK DURING THE HOMEFRONT PERIOD. THE QUILT FEATURES 50 NAMES EMBROIDERED ON THE SURFACE, ALL SURNAMES OF WATERTON FAMILIES IN THE COMMUNITY DURING WORLD WAR 2 ACCORDING TO BERT PITTAWAY IN A LETTER TO THE WATERTON NATURAL HISTORY ASSOCIATION. THE QUILT WAS PART OF A RED CROSS SOCIETY INITIATIVE THAT SAW GLOBAL AND CANADIAN COMMUNITIES CREATE QUITS FOR SENDING OVERSEAS AND FOR RAISING FUNDS FOR THE RED CROSS. ACCORDING TO ONLINE INFORMATION FROM HALIFAX WOMEN’S HISTORY [HTTP://HALIFAXWOMENSHISTORY.CA/CANADIAN-COMFORT-QUILTS] AND ACTIVE HISTORY [HTTP://ACTIVEHISTORY.CA/2017/07/RED-CROSSES-AND-WHITE-COTTON-MEMORY-AND-MEANING-IN-FIRST-WORLD-WAR-QUILTS/], RED CROSS QUILTS WERE COMMONLY CREATED BY CANADIAN COMMUNITIES AS CIVILIAN CONTRIBUTIONS TO WAR EFFORTS DURING BOTH WORLD WARS. THE QUILTS WERE SENT TO THE RED CROSS FOR DISTRIBUTION TO FAMILIES DISPLACED BY THE WAR OVERSEAS AND TO REFUGEES; QUILTS WERE ALSO RAFFLED PUBLICLY IN COMMUNITIES TO RAISE FUNDS FOR QUILTING GROUPS AND THE RED CROSS. THE WATERTON QUILT WAS RAFFLED IN 1945 AND WON BY MARY PITTAWAY OF WATERTON. BERT PITTAWAY DONATED THE QUILT TO THE WATERTON NATURAL HISTORY ASSOCIATION FOR DISPLAY AT THE WATERTON HERITAGE CENTRE IN THE 1980S, IN MEMORY OF BERT’S PARENTS MARY AND JOHN EDWARD PITTAWAY. JOHN EDWARD PITTAWAY, FATHER OF JACK, BERTRAM, AND DENNIS PITTAWAY, BEGAN HIS MILITARY CAREER AS AN ARMY TRUMPETER IN AN IRISH MILITIA UNIT. J.E. PITTAWAY JOINED THE REGULAR ARMY IN NOVEMBER 1893, SERVING IN WORLD WAR 1 AND WORLD WAR 2, IN WORLD WAR 2 ACHIEIVING THE RANK OF BATTERY SERGEANT MAJOR. J.E. PITTAWAY MOVED TO WATERTON IN 1927 FROM IRELAND. J.E. PITTAWAY WORKED FOR THE PARKS DEPARTMENT AS A GARDENER AND THEN AS A CAMPGROUND CARETAKER. J.E. PITTAWAY DIED MARCH 13, 1956, WITH HIS FINAL TRIBUTE IN CALGARY ON MARCH 17, 1956. ACCORDING TO THE PARKS CANADA WEBSITE ON WATERTON NATIONAL PARK, MEMORY OF THE WARS WERE “…INSCRIBED ON LANDFORMS IN PLACE NAMES…AND THE CELEBRATION OF PEACE WAS GIVEN SYMBOLIC FORM IN THE ESTABLISHMENT OF THE WORLD’S FIRST INTERNATIONAL PEACE PARK IN 1932.” WATERTON NATIONAL PARK FEATURES LAKES, RIDGES, AND PEAKS NAMED WITH REFERENCES TO THE WORLD WARS, INCLUDING AVION RIDGE, FESTUBERT MOUNTAIN, AND MOUNT ALDERSON. IN 2017, THE WATERTON NATURAL HISTORY ASSOCIATION DISSOLVED AND REPRESENTATIVES FROM WATERTON LAKES PARK FACILITATED THE TRANSFER OF THE COLLECTIONS TO OTHER INSTITUTIONS. THE 1945 WATERTON QUILT WAS DONATED TO THE GALT MUSEUM & ARCHIVES AS PART OF THE EFFORTS TO RE-HOME THE WATERTON NATURAL HISTORY ASSOCIATION’S COLLECTION. FOR MORE INFORMATION INCLUDING THE LETTER FROM BERT PITTAWAY, DONATION NOTES FROM THE WATERTON NATURAL HISTORY ASSOCIATION, INFORMATION FROM THE PARKS CANADA WEBSITE ON WATERTON LAKES PARK, AND NEWSPAPER CLIPPINGS ON THE PITTAWAY FAMILY, PLEASE SEE THE PERMANENT FILE P20170035000-GA.
Catalogue Number
P20170035000
Acquisition Date
2017-11
Collection
Museum
Images
Less detail
Other Name
BLACKWORK EMBROIDERY
Material Type
Artifact
Materials
COTTON, WOOD, GLASS
Catalogue Number
P20170033001
  2 images  
Material Type
Artifact
Other Name
BLACKWORK EMBROIDERY
Date
2011
Materials
COTTON, WOOD, GLASS
No. Pieces
1
Length
65
Width
42
Description
BLACKWORK EMBROIDERY IN MATTE AND FRAME. EMBROIDERY COMPLETED IN BROWN ON WHITE FABRIC, AND SHOWS THE 1910 GALT HOSPITAL FRONT. EMBROIDERY INSIDE BROWN AND GREY MATTE AND BROWN WOOD FRAME WITH GLASS OVER. FRONT OF FRAME HAS BLACK ENGRAVED PLAQUE ON BOTTOM EDGE READING “GALT HOSPITAL/MUSEUM & ARCHIVES, 1910, DESIGNED AND STITCHED, 2011, BELINDA CROWSON”. BACK OF FRAME COVERED IN BROWN PAPER WITH SILVER WIRE ATTACHED FOR HANGING. BACK OF FRAME HAS WHITE LABEL WITH TEXT “LA GALLERY CUSTOM FRAMING & ART, 421-5TH ST. SOUTH, LETHBRIDGE, AB T1J 2B6, PH. 380.4556, FAX 380.4562, WEBSITE WWW.THELAGALLERY.COM, EMAIL INFO@THELAGALLERY.COM, W/O # H0761, ASSEMBLED BY CM”” WITH CHECK BOXES ON LABEL FOR “MOUNTING METHOD” AND “GLASS”, “NON-GLARE GLASS” CHECKED. FRAME HAS CHIPS ON FRONT EDGES; BACK HAS TEARS IN PAPER BACKING. OVERALL EXCELLENT CONDITION.
Subjects
ART
Historical Association
DECORATIVE ARTS
History
ON NOVEMBER 16, 2017 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED BELINDA CROWSON REGARDING HER DONATION OF A MUNICIPAL CAMPAIGN SIGN AND BLACKWORK EMBROIDERY PIECE. CROWSON WAS EMPLOYED WITH THE GALT MUSEUM AS THE MUSEUM EDUCATOR, WITH A REPUTATION AS A RENOWNED LOCAL HISTORIAN, UNTIL HER ELECTION TO CITY OF LETHBRIDGE COUNCIL IN 2017. ON THE BLACK EMBROIDERY PIECE, CROWSON RECALLED, “SHARING [THIS] WAS HARD, BECAUSE THIS WAS THE FIRST [PIECE] I DESIGNED…AND I VERY MUCH KNOW THE MEANING. IT WAS HANGING IN THE CLASSROOM [AT THE GALT MUSEUM] FOR YEARS, BUT IT WAS VERY HARD [TO GIVE UP], BECAUSE I DESIGNED IT; I STITCHED IT; AND IT’S A PIECE OF MYSELF.” “IT IS SOMETHING THAT I ACTUALLY DESIGNED, AND I HAD NEVER DESIGNED A PIECE BEFORE. I HAD TO LEARN HOW TO DESIGN IT, SO I ACTUALLY HAD A PICTURE AND GRAPH PAPER. I LEARNED HOW TO TAKE A PHOTOGRAPH, AND TURN IT INTO BLACKWORK STITCHES, EVEN THOUGH, OF COURSE, IT’S DONE IN BROWN, AND NOT BLACK. THE NAME DOESN’T ACTUALLY MEAN THE COLOR.” “BLACKWORK COMES FROM THE ELIZABETHAN TIME, AND IT WAS DONE WHEN LACE WAS REALLY EXPENSIVE. THEY WOULD TAKE BLACK THREAD ON WHITE MATERIAL. IF YOU DO BLACKWORK PROPERLY, IT’S ABSOLUTELY REVERSIBLE. IF YOU DID IT ON CUFFS OR COLLARS IT WOULD ALMOST LOOK LIKE LACE, AND BE REVERSIBLE FROM BOTH SIDES. IT’S A TYPE OF EMBROIDERY THAT USES PRIMARILY STRAIGHT LINES. I TAUGHT A CLASS TO PEOPLE AT THE GALT MUSEUM [ON] HOW TO DO BLACKWORK. I ACTUALLY TAUGHT AN EMBROIDERY CLASS IN THIS DESIGN, WHICH IS A VERY SIMPLE TYPE OF EMBROIDERY TO DO, BUT CAN CREATE INCREDIBLY ELABORATE DESIGNS.” “I COMPLETED [THIS PIECE] IN 2011 AND HAD IT FRAMED THAT SAME YEAR. IT’S SUEDE AROUND THE PICTURE MATTE.” “SOMETHING LIKE THIS SIZE OF PICTURE, IN BLACKWORK, PROBABLY ONLY TOOK ME ABOUT 2 WEEKS TO STITCH. IT’S A VERY QUICK DESIGN, BUT IT FILLS IN – AND, IF I WAS TO REDO IT AGAIN, I’D FILL IN MORE OF THE BLANK SPACES. [BLACKWORK IS] SUPPOSED TO LOOK AS COMPLETE AS POSSIBLE, BUT I WANTED TO MAKE THE COLUMNS STICK OUT, SO IT MAY HAVE WORKED IN THAT REGARD.” CROWSON ELABORATED ON HER BACKGROUND DOING EMBROIDERY, NOTING, “I HAVE BEEN DOING EMBROIDERY SINCE [I WAS] A KID. IT’S SOMETHING MY GRANDMOTHER KNEW; MY MOTHER KNEW; IT’S SOMETHING I WAS TAUGHT, AND, OF MY SIBLINGS, I’M THE ONLY ONE WHO DOES IT. THE OTHERS LIKE TO DO MORE STITCHING WITH MACHINES. I LOVE THE HAND-STITCHING, AND I HAVE LONG BEEN THINKING ABOUT DESIGNING. I ALSO HAVE A PASSION FOR HISTORIC BUILDINGS. I HAD DONE A BLACKWORK PIECE, WHICH WAS A PATTERN THAT I HAD BOUGHT AND I ABSOLUTELY LOVED IT. IT’S A REALLY NICE WAY OF DOING EMBROIDERY, SO I THOUGHT “THERE’S A WAY OF CAPTURING HISTORIC BUILDINGS IN A VERY DIFFERENT WAY.” I MADE MYSELF A CHALLENGE OF FIGURING IT OUT, AND, OF COURSE, THE WAY I DO MANY THINGS, I DIDN’T ACTUALLY RESEARCH HOW TO DESIGN. I JUST TAUGHT MYSELF, AND IT TOOK ME A WEEKEND. I THREW AWAY ABOUT 3 DESIGNS, UNTIL I REALIZED YOU’VE GOT TO START IN THE CENTER AND WORK OUT. THE NICE THING ABOUT THE GALT HOSPITAL—BECAUSE I DID THE FAÇADE OF THE HOSPITAL [IN THIS PIECE]—IS THAT IT IS SO BEAUTIFULLY SYMMETRICAL, IT MADE IT EASIER. I HAD…THE VARIEGATED THREAD, AND THE MATERIAL TO STITCH ON. THEN IT WAS A MATTER OF ACTUALLY CREATING IT. THE PATTERN HAD A LOT OF ERASING DONE ON IT, AS I CHANGED THINGS. I’M VERY PROUD OF THE WINDOWS…MY GOODNESS, THAT BUILDING HAS A LOT OF WINDOWS! IT WAS FUN, AND THIS WAS THE FIRST ONE [I MADE]. SINCE THEN I HAVE DONE GALBRAITH SCHOOL, THE BOWMAN, AND THE POST OFFICE. THE GALBRAITH SCHOOL IS HANGING AT GALBRAITH SCHOOL, THE BOWMAN IS IN MY HOUSE, AND THE POST OFFICE WAS RAFFLED OFF TO HELP RAISE MONEY FOR CHINATOWN.” “I REMEMBER, AS A KID, I WAS NOT SUPPOSED TO, BUT I WENT THROUGH ONE OF MY MOM’S JEWELRY BOXES. IN THERE WAS THE WORK SHE HAD DONE AS A KID. SHE HAD BEEN PRACTICING HER STITCHES. THAT STUCK WITH ME, AND I REMEMBER HER TALKING ABOUT HOW SHE HAD BEEN TAUGHT FROM HER MOM. MY GRANDMOTHER KEPT CROSS-STITCHING EMBROIDERY UNTIL HER ARTHRITIS GOT TOO BAD. WHEN I DO IT, I REALLY DO FEEL I AM PART OF THAT CHAIN, BECAUSE I DO HAVE EMBROIDERY THAT BOTH MY MOM AND MY GRANDMOTHER HAVE DONE. IT IS INTERESTING BECAUSE, FROM THE MENNONITE TRADITION ESPECIALLY, A LOT OF THE STITCHES I HAVE COME FROM THAT TRADITION, SO IT’S VERY MUCH A PART OF THAT. I WOULD LIKE TO SIT DOWN, ONE DAY WHEN I GET TIME, WITH MY MOM’S COUSIN, WHO DOES WHAT’S CALLED 3-D EMBROIDERING. IN MY FAMILY, PEOPLE ACTUALLY HAVE THE ORDERED EVERY DAY TEA TOWELS, THEY HAVE THE BED TOWELS. IT’S SUCH A PART OF THE SOUTHERN ART, SO MY [WORKS ARE] A LITTLE MORE MODERN INTERPRETATION OF SOME OF THAT. MY GREAT-GRANDMOTHER WOULD HAVE SAT IN RUSSIA, DOING THE SAME STITCHES.” “I DON’T KNOW [HOW MANY PEOPLE IN THE REGION ARE DOING BLACKWORK EMBROIDERY]. I TAUGHT THE CLASS IN … EMBROIDERY, BUT I DON’T THINK A LOT OF PEOPLE ARE PICKING UP BLACKWORK. IT’S INTERESTING, WHEN I MENTION THIS, TALKING TO SOME PEOPLE ONLINE, ONE OF MY FRIENDS WHO HAS A HISTORIC HOUSE IS LIKE, “COULD I PAY YOU TO DESIGN MY HOUSE?” [BLACKWORK EMBROIDERY] IS A FUN WAY FOR ME TO TAKE THOSE TWO IDEAS I LOVE-–OF STITCHING, AND HISTORIC BUILDINGS-–BECAUSE PHOTOGRAPHY, WITH WHAT PEOPLE HAVE TODAY, IS RELATIVELY EASY. YOU CAN TAKE POINT-AND-SHOOT. SOME PEOPLE ARE MUCH BETTER AT IT--THEY’RE ARTISTIC-–BUT THIS IS A WAY OF CAPTURING A BUILDING. YOU HAVE TO, VERY PERSONALLY, SIT THERE, AND BECAUSE YOU HAVE TO MEASURE EVERYTHING OUT, EVEN TO DESIGN IT, YOUR APPRECIATION OF THE ARCHITECTURE IS VERY DIFFERENT THAN A POINT-AND-SHOOT CAMERA.” “I’VE DONE FIVE BUILDINGS NOW, AND I HAVE SEEN EACH ONE IN A VERY DIFFERENT WAY. I REMEMBER THINKING, WITH THE POST OFFICE, WHEN YOU ACTUALLY LOOK AT THE HEIGHT OF THE CLOCK TOWER COMPARED TO THE BASE OF THE BUILDING, [YOU SEE THE] PHENOMENAL ARCHITECTURE, [BUT] IT’S ONLY WHEN YOU ARE STITCHING IT THAT YOU REALIZE THAT THE BASE OF THAT BUILDING ISN’T STRAIGHT. THE BUILDING GOES WITH THE SLANT OF THE SIDEWALK, AND I HAD TO TAKE AN ARTISTIC EYE, AND MAKE THE BOTTOM OF THE BUILDING STRAIGHT FROM THE FRONT. THE OTHER THING, WITH THE POST OFFICE, THERE’S ALMOST NO HISTORIC [PHOTOGRAPHS] OF IT STRAIGHT-ON; IT’S ALWAYS ON THE CORNER, BECAUSE THAT’S EASIER. I CAN’T CROSS-STITCH MY BUILDING ON THE CORNER, SO I HAD TO ACTUALLY TAKE MY OWN PHOTOGRAPHS, INSTEAD OF HISTORICAL PHOTOGRAPHS. THIS HAS REALLY GIVEN ME A NEW APPRECIATION OF THE BUILDINGS, BECAUSE I HAD TO LOOK AT THEM SO CAREFULLY. WITH THE BOWMAN—WITH ALL THESE BUILDINGS--YOU HAD TO THINK WHAT TIME PERIOD YOU WANTED TO DISPLAY. SO THE ONE OF THE BOWMAN, I HAVE THE UNION JACK FLYING [IN] THE PICTURE, BECAUSE I WANTED [TO CAPTURE] IT BACK WHEN IT WAS ORIGINALLY CREATED.” “IT’S AN ADDICTION. YOU SIT IN FRONT OF THE TELEVISION, AND SOMETIMES A WEEKEND PASSES AND YOU HAVEN’T DONE MUCH. WHEN YOU’RE WORKING ON A PROJECT, FOR MYSELF, IT’S LIKE, “I’M GOING TO GET IT DONE.” THEN YOU TAKE A BREAK BEFORE YOU PICK UP THE NEXT PROJECT, SO YOU CAN DO ALL THE OTHER STUFF. TRYING TO PUT [AN ESTIMATE OF TIME SPENT CREATING] IT, I WOULDN’T HAVE A CLUE.” “I THINK EVERYBODY [HAS] MULTI-FACETS IN THEIR BRAINS, AND I USE DIFFERENT PARTS OF IT. IT’S ALWAYS FUN TO CHALLENGE, TO TRY NEW THINGS. ONE OF THE THINGS I’D LIKE TO DO…I’VE SEEN PEOPLE WHO ARE CROSS-STITCHING ON METAL [PUTTING HOLES IN]. IN THE SPRING, I WILL BE DOING A CROSS-STITCH PATTERN ON ‘PAGE WIRE’, THAT [ATTACHES] TO A FENCE, SO IT WILL BE OUTDOOR CROSS-STITCH. I LOVE WORKING WITH MY SILKS, AND MY REALLY DELICATE STUFF, BUT THE BEAUTIFUL THING ABOUT EMBROIDERY IS YOU CAN TAKE IT DIFFERENT WAYS. WHY SHOULD KNITTERS HAVE ALL THE FUN WHEN THEY GO ‘YARN-BOMBING’? WE CAN DO ‘CROSS-STITCH BOMBING’, TOO. IT’S ONE OF THOSE THINGS WHERE YOU CAN TAKE A VERY OLD FORM, AND MAKE IT VERY MODERN.” “IT WAS A HARD DECISION [TO DONATE IT]. I HAVE THE PATTERN. I CAN ALWAYS RECREATE IT. IT WOULD NEVER BE THE SAME. I DON’T CARE IF YOU RECREATE SOMETHING, IT’S NEVER THE SAME THING. BUT I HAD TO LET THE LOGICAL PART OF MY BRAIN HANDLE THIS DECISION, BECAUSE IT DID HANG IN THE CLASSROOM AND YOU POINTED TO THIS THING A LOT WHEN WE DISCUSSED THE BUILDING. FOR A LOT OF STUDENTS THIS WAS THE PICTURE OF THE BUILDING THAT THEY REMEMBER SEEING, SO THE CONNECTION TO MY JOB JUST MADE IT SUCH A STRONG [POINT]. THE OTHER THING IS, AS AN ARTIST…I GET TO SAY I’M AN ART-PIECE IN A MUSEUM. THAT’S QUITE THE HONOR. IT WASN’T CHOSEN AS AN ART-PIECE, BUT STILL I CAN MAKE THAT WORK. [I SPENT] PROBABLY A WEEK TALKING TO FAMILY MEMBERS AS WELL, BECAUSE I HAVE A LOT OF CROSS-STITCH IN MY HOUSE, FROM PATTERNS AND DIFFERENT THINGS. I REMIND THEM I’M NOT GOING TO DIE SOON, BUT SOME OF MY NIECES HAVE TOLD ME WHICH ONES THEY WANT WHEN I’M DEAD. SO I ALSO NEEDED TO TALK TO FAMILY, AND MAKE SURE THAT NOBODY WAS GOING TO BE CRINGING TO FIND IT WAS GONE. IT IS INTERESTING HOW THINGS THAT YOU CREATE [HAVE] A SENSE OF OWNERSHIP FOR OTHER PEOPLE TOO, SO I HAD TO DOUBLE CHECK WITH OTHER PEOPLE TOO.” “IT WAS JULY OR AUGUST OF 2000, WHEN I WAS INTERVIEWED BY WILMA WOODS, AND I WAS BETWEEN TEACHING [JOBS]…AND GETTING CLOSE TO THE START OF SCHOOL. I DIDN’T REALLY WANT TO SUB, AND IT WAS A TEMPORARY SIX MONTH POSITION. I APPLIED, AND WILMA INTERVIEWED ME ON THE MAIN FLOOR, IN THE HALF OF WHAT’S NOW THE FRIEND’S BOARDROOM. THAT IS WHERE HER OFFICE WAS, AND WHERE SHE DID THE INTERVIEW. I PREPPED. I WENT TO B. MACCABEE’S BOOKSTORE AND BOUGHT THE CENTENNIAL HISTORY OF LETHBRIDGE, AND READ THE ENTIRE BOOK…BEFORE THE INTERVIEW. I WASN’T REALLY THINK ABOUT WHETHER I’D GET THE JOB, SO I GAVE REFERENCES TO HER AND REALIZED I HADN’T ACTUALLY LET THE REFERENCES KNOW. I CALLED THEM AFTER I GOT HOME, WHICH WAS GOOD, BECAUSE I GUESS SHE CALLED FIVE MINUTES AFTERWARDS BECAUSE SHE WAS PRETTY QUICK. I STARTED [AT THE GALT MUSEUM] SEPTEMBER 1, 2000, WITH THE EXHIBIT ON THE IRRIGATION DISTRICT AND ITS CENTENNIAL. IT WAS A SIX MONTH GRANT POSITION. I WAS SUPPOSED TO BE A TEMPORARY POSITION, BECAUSE AT THAT POINT THE E. TEAM HAD GEARED DOWN ON STAFF AT THE MUSEUM. SO I STARTED THERE, AND…JANUARY AND FEBRUARY OF THE YEAR, THEY WENT TO CITY COUNCIL AND ASKED FOR IT TO BE MADE A FULL-TIME PERMANENT POSITION. IT HAD TO BE POSTED, BUT I APPLIED AND GOT THE FULL-TIME PERMANENT POSITION IN MARCH 2001. I MADE THE DECISION, BUT WITHOUT REALLY THINKING ABOUT IT, THAT TEMPORARY POSITION TURNED INTO A SEVENTEEN YEAR JOB.” “[OF THE WORKS I’VE DONE] IT’S DEFINITELY ONE OF THE BIG ONES. THERE [WERE] A FEW OTHER THINGS I TOOK OUT OF MY OFFICE THAT HAVE BEEN WITH ME FROM THE BEGINNING…THE REASON I STITCHED THIS BUILDING WAS MY CONNECTION TO THE BUILDING. IT’S NOT ONLY A PHENOMENAL BUILDING, BUT THIS WAS ‘HOME’ FOR 17 YEARS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170033001-GA.
Catalogue Number
P20170033001
Acquisition Date
2017-11
Collection
Museum
Images
Less detail
Other Name
"ALBERTA MEAT MARKET"
Material Type
Artifact
Materials
STEEL, WOOD, IRON
Catalogue Number
P20180025000
  2 images  
Material Type
Artifact
Other Name
"ALBERTA MEAT MARKET"
Date
1955
Materials
STEEL, WOOD, IRON
No. Pieces
3
Height
115
Length
427
Width
24
Description
A. COMMERCIAL ADVERTISING SIGN, NEON. BODY STEEL PAINTED WITH TWO-TONE BLUE ON FRONT; FRONT HAS RED WOODEN LETTERS MOUNTED TO METAL FRAME AT BACK, SPELLING “ALBERTA" WITH WHITE NEON LETTERS OVERLAID. FRONT HAS WHITE LETTERS PAINTED ON BLUE BODY WITH OVERLAID WHITE NEON LETTERS READING “MEAT MARKET”. NEON LETTERS COMPRISED OF CONNECTED CLEAR, GLASS TUBES WITH BACKS PAINTED WHITE, AND UNPAINTED FRONTS; LETTERS ARE CONNECTED AND PAINTED BLACK BETWEEN INDIVIDUAL LETTERS; NEON LETTERS CONNECT INTO SIGN . LETTERS FASTENED TO FRONT OF SIGN BODY WITH BRACKETED GLASS EXTENSIONS, AND WITH SILVER WIRES TIED TO LETTERS. SIGN BODY IS RECTANGULAR WITH CUT-OUT SPACE IN CENTER WITH “ALBERTA" WOOD LETTERS IN FRONT OF CUT-OUT SPACE. SIGN BODY SLOPES DOWN FROM UPPER RIGHT CORNER; LOWER EDGE OF BODY SLOPES UP FROM RIGHT CORNER. SIGN FRONT HAS NEON TUBING ALONG UPPER EDGE ON BLUE FRAME, WITH SHORTER NEON TUBE RUNNING ACROSS FRAMING NEON TUBING ON THE LEFT SIDE. FRONT OF SIGN HAS LOGO BETWEEN “MEAT” AND “MARKET” NEON TEXT; LOGO COMPRISED OF RED BANNER EXTENDING FROM SIDES OF WHITE SHIELD IN CENTER; SHIELD HAS BLUE BORDER WITH BLUE “N” IN CENTER; RED BANNERS HAVE WHITE BORDERS AND WHITE TEXT ACROSS LOGO “NATIONAL NEON”.RED WOODEN LETTER “L” WARPED AND SPLITTING AT FRONT. TOP OF SIGN BODY STAINED WITH WHITE PAINT AND BLACK SOILING. BACK OF SIGN HAS FIXED BRACKETS ALONG EDGES WITH HOLES PUNCHED AT TOP AND BOLTED AT BOTTOMS TO SIGN BACK. BACK HAS BLACK POWER CORD EXTENDING WITH YELLOW POWER PLUG AT END; BACK HAS PAINT PEELING, IS STAINED AND RUSTED. BACK OF RED WOODEN LETTER “R” IS CRACKED; BACKS OF RED WOODEN LETTERS STAINED WITH YELLOW AND BLUE PAINT. OVERALL VERY GOOD CONDITION. B. NEON TUBING REMNANT, LETTERS “TA”, 41 CM LONG X 54 CM WIDE. GLASS TUBING FILLED WITH WHITE, PAINTED BLACK ON BACKS AND AT ENDS. ENDS BENT AND FITTED WITH METAL CAPS WITH WIRES EXTENDING TO FIT INTO FRONT OF SIGN. LETTERS “TA” FASHION IN CURSIVE FONT AND CONNECTED; TUBE LOOPS OVER AT JUNCTION IN “A” AND GOING UP THE “T”. LOWER END OF “A” HAS BLUE PAINT STAINING; PAINT CHIPPED AROUND ENDS; OVERALL VERY GOOD CONDITION. C. NEON TUBING REMNANT, LETTERS “AT”, 28 CM LONG X 50 CM WIDE. CLEAR GLASS TUBING, EMPTY, GLASS IS YELLOWED. TUBING PAINTED BLACK ON BACK, AT LOWER BASE, AND AT ENDS. ENDS BENT AND FITTED WITH METAL CAPS WITH WIRES EXTENDING TO FIT INTO FRONT OF SIGN. TUBES LOOP OVER AT JUNCTION IN “A” AND AT THE TOP LINE IN “T”. PAINT CHIPPED ON BACK AND FRONT; END CAPS RUSTED; OVERALL VERY GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
BUSINESS
INDUSTRY
History
IN 2018, THE GALT MUSEUM RECEIVED A COMMERCIAL NEON SIGN FROM THE ALBERTA MEAT MARKET, OWNED AND OPERATED BY THE CRIGHTON FAMILY. IN THE 1920S, GEORGE CRIGHTON OPENED CRIGHTON MEAT MARKET ON 3RD AVENUE BETWEEN 7TH AND 8TH STREET IN DOWNTOWN LETHBRIDGE, AND OPENED THE ALBERTA MEAT MARKET AS A SECOND SHOP AT 510—6TH AVENUE SOUTH. THE ALBERTA MEAT MARKET REMAINED OPERATED BY THE CRIGHTON FAMILY UNTIL ITS CLOSURE IN 2012. THE ORIGINAL NEON SIGN FROM THE ALBERTA MEAT MARKET WAS REMOVED AND DONATED ON NOVEMBER 22, 2018. IN APRIL 2019, THE SIGN UNDERWENT RESTORATIONS TO REPAIR THE NEON LETTERING AT L.A. NEON, LETHBRIDGE, PRIOR TO ITS INSTALLATION IN THE GALT MUSEUM PERMANENT DISPLAYS ON JULY 9, 2019. ON DECEMBER 19, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ELAINE BROWN, WHOSE FATHER-IN-LAW, DAVE BROWN, OWNED NATIONAL NEAN DISPLAYS LTD., AND WHOSE HUSBAND, ALLAN BROWN, WORKED FOR NATIONAL NEON. ON THE “ALBERTA MEAT MARKET” SIGN, BROWN RECALLED, “THAT WAS ONE OF THE FIRST SIGNS THAT THEY MADE…THE WOOD ON IT, IS WHY I KNEW THAT IT WAS ONE OF THE FIRST ONES.” “[ALLAN] USED TO GO AROUND EVERY EVENING, ONCE A WEEK, AND CHECK AND MAKE SURE [THE SIGNS] WERE ALL KEPT UP. IF ANY OF THE NEON WAS BROKEN, THEN THEY WOULD IMMEDIATELY GO AND REPAIR IT SO THAT EVERYTHING WAS ‘AS IS’. HE WORKED [AT NATIONAL NEON] ALL DAY.” “[ALLAN] WAS PROUD OF THEM ALL. HE KNEW EXACTLY WHERE EVERY SIGN WAS. ANY ONE THAT HE WOULD PUT UP, HE COULD GO IN AND REPAIR QUICKLY, BECAUSE HE KNEW EXACTLY WHERE EVERYTHING WAS.” “ALLAN USED TO PAINT AND HANG SIGNS, [HIS BROTHER] JIM USED TO BLOW THE NEON AND [HIS BROTHER] BUSTER WOULD ALSO HANG SIGNS.” BROWN FURTHER ELABORATED ON THE HISTORY OF NATIONAL NEON DISPLAYS, STATING, “BEFORE [WE MARRIED IN 1957] ALLAN’S DAD, DAVE, BOUGHT THE BUSINESS WITH HIS THREE SONS…[IT WAS] NATIONAL NEON DISPLAYS LTD.” “IT WAS [AN EXISTING] BUSINESS OWNED BY ANOTHER BROWN…[DAVE] WAS INTERESTED IN IT, SO HE WENT IN AND DID ALL THE LEGWORK TO SEE IF HE COULD MAKE A GO OF IT. OBVIOUSLY, HE DECIDED HE COULD BECAUSE HE [AND THE SONS] BOUGHT IT.” “[ALLAN’S FAMILY] HADN’T BEEN [MAKING SIGNS] BEFORE BUT I PRESUME THEY KNEW THAT THEY COULD MAKE IT GO AND THEY COULD MAKE SIGNS. GRANDPA BROWN SAID THAT HE THOUGHT THEY COULD MAKE IT GO AND THEY DID.” “[ALLAN] DIDN’T THINK THE PLASTIC [SIGNS], WITH JUST THE FACE, WERE AS EYE-CATCHING AS THE NEON SIGNS NOR WERE THEY AS NICE TO LOOK AT WHEN THEY WERE ON. HE REALLY TOOK AN INTEREST IN IT; HE REALLY TRIED TO KEEP IT UP QUITE WELL. THEN HE RETIRED AND WE SOLD TO A MAN FROM CALGARY. I DON’T KNOW WHAT HAPPENED AFTER THAT BUT I THINK NEON PRODUCTS OWNS IT NOW, SO THEY SHUT [THE ORIGINAL] BUILDING DOWN. ALLAN HAD SOLD THE BUILDING AFTER HE RETIRED AND THEN THEY SHUT [THE] BUILDING DOWN AFTER THAT.” “WE HOPED THAT NATIONAL NEON WOULD BE IN PEOPLE’S MINDS AS BEING HERE AND BUILDING THOSE SIGNS…NATIONAL NEON WAS HERE AS A COMPANY AND EXPANDED FROM HERE. [ALLAN] USED TO GO INTO B.C. AND SASKATCHEWAN, TO EDMONTON…TO SELL THEM. IT WASN’T JUST A LOCAL BUSINESS. IT WAS ALL OVER, B.C., SASKATCHEWAN, ALBERTA—AND I THOUGHT IT WAS REALLY INTERESTING THAT THEY’D PICK ONE OF THE FIRST SIGNS THAT [ALLAN] BUILT TO TAKE DOWN AND PRESERVE. I’M SURE [ALLAN] WOULD HAVE BEEN HAPPY WITH THAT.” ON NOVEMBER 28, 2019, MACLEAN INTERVIEWED MIRIAM SMITH AND BOB CRIGHTON REGARDING THEIR MEMORIES OF THE ALBERTA MEAT MARKET, OWNED AND OPERATED BY THEIR GRANDFATHER GEORGE CRIGHTON, FATHER JAMES CRIGHTON, AND THEMSELVES. ON THE HISTORY OF THE ALBERTA MEAT MARKET, MIRIAM SMITH RECALLED, “THE CRIGHTON FAMILY MOVED FROM SCOTLAND IN 1920…[GRANDPA CRIGHTON] OPENED THE STORE; HE RAN THE 6TH AVENUE STORE. HE RAISED HIS SONS OUT OF THERE. DAD WAS A BUTCHER IN SCOTLAND; THEY ALL BECOME BUTCHERS. BOBBY LEFT; TOMMY LEFT; DAVEY, HE WAS A BUTCHER; GEORGE WENT TO CAMPBELL RIVER.” “[DAD TOOK OVER THE SHOP ON 6TH AVENUE] ’38, OR ’39.” BOB CRIGHTON ELABORATED, “[DAD] TRIED TO ENLIST, BUT HE HAD THE STORE ON 3RD AVENUE, AND HE WENT BROKE THERE. THAT WAS CALLED CRIGHTON’S MEAT MARKET AT THAT TIME...HE HAD TO PAY ALL OF HIS BILLS OFF, SO MY GRANDPA ASKED HIM TO TAKE OVER THE 6TH AVENUE STORE. SO HE TOOK OVER THE 6TH AVENUE STORE, AND CHANGED IT TO THE ALBERTA MEAT MARKET.” “[WHEN DAD GOT THE NEW NEON SIGN] I REMEMBER HIM PUTTING IT UP. DAD RENOVATED THE STORE AND WE GOT NEW MEAT COUNTERS, AND WHEN HE GOT THE NEW SIGN UP, I WATCHED THEM PUT IT UP. NATIONAL NEON PUT IT UP…I WAS 12-14 YEARS OLD.” MIRIAM SMITH RECALLED, “I WORKED THERE WHEN I WENT TO SCHOOL. I HAD TO ANSWER THE TELEPHONE ON SATURDAYS, OR HOLIDAYS…IT WAS A BUSY STORE. I REMEMBER ALONG 6TH AVENUE AND 5TH STREET, YOU COULDN’T FIND A PLACE TO PARK BECAUSE IT WAS SO BUSY. I REMEMBER, AT LUNCHTIME, I USED TO SAY, 'I’M GOING TO GO FOR MY LUNCH NOW,' AND THERE USED TO BE SILVER’S ACROSS THE STREET. MY DAD WOULD ALWAYS SAY, ‘NO, YOU CAN’T GO. I’VE GOT TO FIX THE COUNTER AND GET MY PARSLEY OUT.' HE ALWAYS HAD HIS COUNTER VERY BEAUTIFULLY DONE.” “THE PHONE WOULD RING OFF THE HOOK, ESPECIALLY [WITH] EVERYBODY WANTING TO ORDER THEIR MEAT. IT WAS PLEASANT VISITING WITH THE DIFFERENT PEOPLE. SOME OF THEM I KNEW; SOME OF THEM I DIDN’T. BUT I FOUND MOST PEOPLE VERY NICE TO CHAT WITH. I REMEMBER MY DAD, AND DORIS HUNT (H.B.HUNT), THE DOCTOR’S WIFE. SHE USED TO COME IN, AND SHE WAS QUITE A BOISTEROUS LADY, AND SHE SPOKE HER MIND. I REMEMBER ONE TIME SHE SAID TO MY DAD, 'JIMMY, THAT ROAST BEEF YOU GAVE ME LAST WEEK WAS TOUGHER THAN HELL.' WELL, MY DAD SAID TO HER, 'YOU KNOW, DORIS, I REMEMBER YOUR HUSBAND TOOK MY APPENDIX OUT, AND THEY COME BACK AGAIN.'" MIRIAM SMITH NOTED, "I REMEMBER THE TIME THAT DAD GAVE THE TURKEY TO THE KID…THE KID HAD NO MONEY, AND HE COME FOR HAMBURGER.” BOB CRIGHTON ELABORATED, “HAMBURGER, AT CHRISTMAS TIME. IT WAS 40 BELOW OUTSIDE, AND HE [CAME] DOWN…HE SAID, ‘I WANT A POUND OF HAMBURGER, MR. CRIGHTON.' [DAD] SAYS, ‘WHAT ARE YOU HAVING FOR CHRISTMAS SUPPER?' 'HAMBURGER.' 'JUST A MINUTE.' SO, [DAD] GETS A TURKEY, AND A HAM, AND SAUSAGE. GOT A BAG FOR HIM, AND HE SAYS, 'THERE – MERRY CHRISTMAS.'" “DAD WAS A PRETTY GENEROUS MAN! WHEN ANDY KERGEN DIED, JUDY [CAME] IN. SHE WAS CRYING. SHE HAD A $200.00 BILL; SHE COULDN’T PAY IT. SHE HAD $5.00 TO PUT ON THE BILL. DAD SAYS, “GIVE ME THE BILL, JUDY.” HE LOOKED AT THE BILL; HE TOOK HIS WALLET OUT AND PAID THE BILL, AND THEN GAVE HER THE RECEIPT.” MIRIAM SMITH CONTINUED, “I ALWAYS REMEMBER WHEN WE WERE KIDS GROWING UP, WE ALWAYS HAD LOTS OF MEAT. WHATEVER WAS LEFT OVER AT THE STORE [WOULD] COME HOME…WE COULD BRING ANYBODY WE WANTED, MOTHER DIDN’T MIND. THE MEAT PLATTER WOULD BE PLACED IN THE MIDDLE OF THE TABLE, AND THE WATER PITCHER. NOBODY WANTED TO SIT BESIDE THE WATER PITCHER, BECAUSE ALL YOU DID WAS POUR WATER.” MIRIAM SMITH NOTED, “[WE, THE CHILDREN, BOUGHT DAD OUT] IN 1965.” ON DECEMBER 11, 2018, MACLEAN INTERVIEWED KEN CRIGHTON, GRANDSON OF JAMES [JIM] CRIGHTON. KEN CRIGHTON WORKED WITH THE FAMILY IN ALBERTA MEAT MARKET. ON HIS MEMORIES OF WORKING IN THE ALBERTA MEAT MARKET, KEN CRIGHTON NOTED, “I WAS THERE EVERY DAY FOR 30 SOME YEARS…MY DAD AND HIS TWO BROTHERS WERE OPERATING IT WHEN I WAS A KID. [I] GOT TOLD TO GET DOWN THERE, AND HELP CLEAN UP; DO SOME CHORES; HELP WITH DELIVERIES; THEN I WORKED INTO LEARNING HOW TO CUT MEAT.” “[MY GRANDFATHER OWNED IT] JAMES ANDERSON CRIGHTON, BUT EVERYONE CALLED HIM ‘JIM’.” “[MY] FIRST MEMORIES OF GOING THERE TO WORK WAS HAVING TO RIDE ON YOUR BIKE, OR WALK FROM SCHOOL RIGHT AFTER SCHOOL, TO HELP CLEAN UP EITHER AT 4 O’CLOCK OR 4:30. IT ALWAYS SEEMED TO ME THAT I WAS DOING THE BULK OF THE WORK, AND THEY WERE DOING MOST OF THE BEER-DRINKING.” “EVERY NIGHT YOU HAD TO EMPTY ALL THE MEAT OUT OF THE COUNTER, COVER IT OVER, TAKE IT, PUT IT IN THE BIG COOLER; TAKE ALL THE PLATTERS OUT OF THE COUNTER, WASH THEM, DRY THEM…EVERYTHING FROM SWEEPING THE FLOOR, TO RAKING THE FLOOR. WE USED TO HAVE SAWDUST ON THE FLOOR TO SOAK UP ALL THE BLOOD AND FAT THAT WOULD FALL DOWN. YOU’D RUN A RAKE THROUGH IT TO PICK UP ALL THE BIG CHUNKS OF GARBAGE, AND THEN TWICE A WEEK YOU’D SWEEP UP ALL THE SAWDUST, AND REPLACE IT WITH FRESH SAWDUST. THAT ENDED WHEN THE HEALTH DEPARTMENT CHANGED…WHEN I WAS ABOUT 12-13, SO THAT WOULD HAVE BEEN 1972.” “[THE SHOP WAS OPEN] SIX DAYS A WEEK. WE WERE ONLY CLOSED, THEN, ON SUNDAYS.” “EVERY DAY, WEEKDAYS AFTER SCHOOL, AND SATURDAYS, I WOULD HELP THE GUY THAT WOULD DO DELIVERIES. WE’D RUN OUT A COUPLE, OR THREE, LOADS OF DELIVERIES TO HOUSES. IT WAS DIFFERENT BACK THEN. WE HAD SOME CUSTOMERS WHO WOULD ORDER THEIR STUFF IN THE MORNING FOR WHAT THEY WANTED FOR LUNCH. THEN THEY PHONE IN THE AFTERNOON, AND ORDER FOR WHAT THEY WANTED FOR SUPPER, WHICH, LATER ON, BECAME THE, “NO, YOU GET ONE DELIVERY A DAY.”” KEN CRIGHTON RECALLED THE LAYOUT OF THE SHOP, STATING, “THE FRONT HALF OF THE BUILDING, WHERE THE CUSTOMERS WERE, WAS PROBABLY ONLY ABOUT THE FIRST THIRD, MAYBE HALF OF THE BUILDING. A GLASS COUNTER/COOLER [WAS] ALONG THE MIDDLE, AND BEHIND IT WAS WHERE WE HAD OUR CUTTING BLOCKS AND SAW. [THERE WAS A] LITTLE COUNTER FOR A PHONE, [A] LITTLE COUNTER TO DO BOOKS ON, [AND] A 6’ WIDE AREA FOR THE CUSTOMERS TO STAND. EVERYTHING WAS SERVED. THERE WAS NO ‘THEM PICKING IT OUT’ AT THE COUNTER. IT WAS ALL DONE AND WRAPPED IN BROWN PAPER BY US.” “ON THE LEFT SIDE, [THERE WAS] A GOOD 15’ TO 20’ WALK-IN COOLER. THEN, ALONG THE WEST WALL, WE HAD A SMALL FREEZER WITH SHELVES. [IT] HAD NINE LITTLE DOORS THAT [OPENED] UP, AND SLIDE TRAYS IN. WHEN YOU’RE DOING FREEZER BEEF ORDERS, YOU’D USE THAT TO FREEZE THEM UP. [THERE WAS] A LITTLE WALK-IN FREEZER TO HOLD THE BOXES, PROBABLY ONLY 3’ BY 6’. [THERE WAS] A COUNTER [AT] THE BACK END, WITH A STOVE, THAT WE WOULD USE TO COOK UP CORNED BEEF, [AND] A FEW OTHER COLD MEATS.” “WE HAD A DOUBLE DOOR ON THE SIDE THAT WENT TO THE ALLEY, THAT WE WOULD BRING THE STUFF IN OFF THE TRUCK. USUALLY IT WAS TUESDAYS AND THURSDAYS, WE WOULD GET THE BIG ORDERS OF HANGING BEEF IN. WE HAD TWO HUGE 2’ BY 6’ PIECES OF WOOD THAT WERE ON BIG HOOKS THAT WERE PROPPED UP IN THE ATTIC. THEN YOU WOULD HANG YOUR BIG MEAT HOOKS ON THEM. YOU COULD GET 8 HIND QUARTERS, AND 6-8 FRONT QUARTERS HANGING UP IN THERE. ONE DAY WAS THE DAY YOU WOULD BREAK THEM DOWN INTO PIECES, AND THEN PUT THEM INTO THE COOLER, OR SAVE THE QUARTERS IF YOU HAD A WHOLE QUARTER FOR A FREEZER ORDER.” “[I LEARNED THE TRADE] MOSTLY BY WATCHING…BY THE TIME I WAS 15-16, [I WAS] IN THERE DOING EVERY SINGLE THING THEY’RE DOING: RUNNING THE BAND SAW, THE GRINDER, MIXING UP BURGERS, MAKING PATTIES, THE WHOLE DEAL. [I] DIDN’T REALLY GET TO SERVE CUSTOMERS TILL [I WAS] OLDER. A LOT OF THE CUSTOMERS, EVEN THEN, DIDN’T WANT ME SERVING THEM, [THEY] WANTED THE OLD MAN, OR ONE OF THE OLDER GUYS. I’M SURE LOTS OF FAMILY BUSINESSES RUN INTO THAT, WHERE THE OLD-TIME CUSTOMERS ONLY WANT THE OLDER PEOPLE LOOKING AFTER THEM.” “[THE SHOP DID WELL] I THINK BECAUSE, PROBABLY A LOT OF REPUTATION, AND PERSONALIZED SERVICE. BUT, AFTER A WHILE, IT GOT TO BE THAT YOU WERE RUNNING INTO A LOT OF PEOPLE THAT WOULD WANT YOUR QUALITY/YOUR SERVICE BUT AT THE SAME SALE PRICE THAT THE BIG STORES WOULD HAVE. THAT WAS THE FRUSTRATION OF IT…I WOULD SAY PROBABLY 90% OF THE CLIENTELE WERE REPEATS, AND YOU HAD YOUR STEADY CORE CUSTOMERS…THEY WOULD GET WHAT THEY LIKED.” “[IN THE 1980S] THERE WAS MYSELF, DAD, [AND] HE HAD TWO OTHER YOUNGER PEOPLE WORKING, ONE NAMED LEN, WHO WAS CUTTING MEAT, AND ANOTHER [WOMAN] NAMED IDA, WHO CUT. BUSINESS STARTED TO TAPER OFF THEN. HE LAID OFF IDA, AND THEN ME, AND LEN, AND DAD WOULD PRETTY WELL OPERATE THE WHOLE SHOW. THAT WAS ABOUT 1990.” “[DAD] WAS VERY, I THINK, ASTUTE AT THE BUSINESS…[HE] HAD TO BE, BECAUSE THAT WAS THEIR LIVING. THEY HAD NOTHING ELSE TO FALL BACK ON. [HE HAD TO] MAKE IT WORK. HE WAS REALLY GOOD WITH THE CUSTOMERS. HE ENJOYED SERVING THE CUSTOMERS MORE THAN THE GRUNT WORK IN THE BACK. HE COULD DO IT, BUT HE PREFERRED BEING UP FRONT, WORKING WITH THE PEOPLE. ME AND MY UNCLE RON COULD STAY IN THE BACK ALL DAY. I COULD STAND THERE AT THAT BLOCK, AND WE COULD CUT MEAT 8 HOURS STRAIGHT. [IT] WOULDN’T BOTHER US. I COULD HANDLE SERVING THE CUSTOMERS, BUT I PREFERRED JUST WORKING.” “[BUSINESS] REALLY STARTED DECLINING…I REALLY NOTICED IT AROUND 2008, 2009. FOR THE LAST WHILE, [I] JUST HAD MYSELF AND ONE OTHER YOUNG FELLOW, GARRY, WORKING THERE. IT WAS TO THE POINT WHERE YOU COULDN’T MAKE ENOUGH SALES TO AFFORD ANOTHER PERSON, BUT IT WAS TOO BUSY FOR ONE. GARRY WAS STARTING TO HAVE A FAMILY, AND NEEDED MORE MONEY. HE LEFT TO GO WORK SOMEWHERE ELSE. SO, I HUNG ONTO IT, AND JUST DID IT ALL BY MYSELF FOR THE LAST FOUR YEARS. BEING THE ONLY GUY THERE, EVERY HOUR OF EVERY DAY, FOR TEN HOURS A DAY, STARTED TO GET TO ME. IT GOT TO THE POINT WHERE, IN 2011, EARLY 2012, I JUST THOUGHT, “THERE’S NO POINT IN WORKING LIKE THIS, AND NOT MAKING ANYTHING. I MIGHT AS WELL DO NOTHING, AND MAKE THE SAME AMOUNT.”” KEN CRIGHTON SOLD ALBERTA MEAT MARKET IN 2012. MIRIAM SMITH SPOKE TO HER THOUGHTS ON THE SIGN BEING DONATED TO THE GALT MUSEUM, NOTING, “I’M VERY HAPPY. I THINK IT’S A GOOD PLACE FOR IT, AND I THINK KENNETH, AND EVERYBODY FEELS THAT WAY.” KEN CRIGHTON CONFIRMED, “I’M ECSTATIC! I WOULD RATHER IT BE HERE. OUR WHOLE FAMILY’S LOST OUR IDENTITY/ERASED [IT] BY HAVING IT JUST THROWN AWAY. ON THE OTHER HAND, I DIDN’T WANT IT STILL ON THE BUILDING, [WITH] THE BUILDING BEING USED FOR A DIFFERENT PURPOSE, AND HAVING THE NAME ASSOCIATED. [IT] FELT LIKE THE NAME BELONGED TO THE CRIGHTON’S MORE THAN THE COMMUNITY, OR WHOEVER OWNED THE BUILDING.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, FAMILY OBITUARIES, AND ARTICLES FROM THE LETHBRIDGE HERALD, PLEASE SEE THE PERMANENT FILE P20180025000-GA.
Catalogue Number
P20180025000
Acquisition Date
2018-11
Collection
Museum
Images
Less detail
Other Name
"LETHBRIDGE HERALD AGENT"
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
TIN, INK
Catalogue Number
P20180004000
  2 images  
Material Type
Artifact
Other Name
"LETHBRIDGE HERALD AGENT"
Date Range From
1950
Date Range To
1960
Materials
TIN, INK
No. Pieces
1
Length
30.6
Width
25.8
Description
METAL SIGN WITH DOUBLE-SIDED PRINTING ON LIGHT BROWN BACKGROUND. SIGN SHOWS BLACK SQUARE BACKGROUND WITH RED TRIM AND LIGHT BROWN TEXT WITH RED TRIM READING “AGENT FOR THE LETHBRIDGE HERALD HERE, THE LETHBRIDGE HERALD SERVES THE SOUTH”; SIGN HAS SMALL BLACK TEXT PRINTED AT BOTTOM RIGHT CORNER “TMOS. DAVIDSON MFG. CO. LTD. MONTREAL”. BACK OF SIGN IS PRINTED THE SAME. SIGN HAS JAGGED METAL EDGE BENT DOWN ON LEFT SIDE; SIGN IS RUSTED FRONT AND BACK AND FADED; SIGN IS SCRATCHED IN FRONT UPPER RIGHT CORNER AND CORRODED LOWER LEFT CORNER. OVERALL GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
BUSINESS
PROFESSIONS
History
ON MARCH 19TH, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONTACTED DAN PLOURDE, THE "AGENT FOR...HERALD" SIGN'S SELLER. THE SIGN WAS PURCHASED BY THE GALT MUSEUM AT URBAN PRAIRIE ANTIQUE MALL ON MARCH 21, 2018. PLOURDE, A PICKER, LEASES MALL SPACE AT URBAN PRAIRIE AS A LOCATION TO SELL HIS PICKS. PLOURDE TOLD MACLEAN THAT THE HERALD SIGN CAME FROM A RURAL PROPERTY NEAR CHIN LAKE. THE RURAL LOCATION FEATURED "QUONSETS" FULL OF OTHER ITEMS, INCLUDING GAS MEMORABILIA AND FURNITURE. THE ORIGINAL OWNER OF THE SIGN, WHO LIVED AT THE PROPERTY WAS NO LONGER LIVING. THE OWNER, CONTINUED PLOURDE, CONDUCTED HIS OWN PICKING "IN BACK ALLEYS IN LETHBRIDGE 60 YEARS AGO". PLOURDE ATTEMPTED TO SELL THE SIGN IN FORT MACLEAD BEFORE RECOGNIZING THAT ITS MARKET WAS GREATER IN LETHBRIDGE. FOR COPIES OF INFORMATION REGARDING THE SIGN, PLEASE SEE THE PERMANENT FILE P20180004000-GA.
Catalogue Number
P20180004000
Acquisition Date
2018-03
Collection
Museum
Images
Less detail
Date Range From
1943
Date Range To
1973
Material Type
Artifact
Materials
SHEET METAL, GLASS, CARDBOARD
Catalogue Number
P20160027000
  1 image  
Material Type
Artifact
Date Range From
1943
Date Range To
1973
Materials
SHEET METAL, GLASS, CARDBOARD
No. Pieces
2
Height
13.7
Length
5.4
Width
1.8
Description
A: THERMOMETER. THE THERMOMETER'S CASING IS METAL. THERE IS A COVER ON THE THERMOMTER THAT HAS 17 HOLES PUNCHED OUT OF THE FRONT (7 ROWS ALTERNATING BETWEEN 3 AND 2 HOLES PER ROW). THERE IS A SHORT BACK TO THE COVER. THE COVER IS ATTACHED TO THE THERMOMETER WITH 2 SMALL NAILS ON EITHER SIDE. THE THERMOMETER GLIDES OUT OF THE COVER AND HINGES BACK TO STAND (SUPPORTED BY BACK OF CASE AND THE 2 NAILS). THE BACKGROUND OF THE THERMOMETER IS WHITE AND IS ATTACHED TO THE METAL CASE. “US PAT 2329685” IS ON THE BOTTOM OF THE THERMOMETER. ON THE LEFT SIDE TEMPERATURE MEASUREMENTS FROM 1 TO 6 ARE ETCHED. THE NUMBERS ARE DIVIDED INTO INCREMENTS OF FOUR. ON THE RIGHT SIDE OF THE THERMOMETER THERE ARE “00” ACROSS FROM EACH NUMBER ON THE LEFT. THE THERMOMETER’S GLASS IS TINTED YELLOW WITH A TRANSLUCENT CENTER. THIS TUBE IS 12.4CM IN LENGTH. TWO SMALL METAL RINGS HOLD THE GLASS THERMOMETER TO THE MEASUREMENT BACKING. THERE IS A SMALL METAL HOOK AT THE TOP OF THE THERMOMETER. ON THE RIGHT SIDE OF THE THERMOMETER IN ITS CLOSED POSITION, "D. CARSE" IS HANDWRITTEN IN BLACK INK. GOOD CONDITION. RUSTING/STAINING OVERALL SURFACE. LOSS OF WHITE BACKING BEHIND THE THERMOMETER (SEVERE ON THE UPPER LEFT CORNER AND SLIGHT ON THE UPPER RIGHT CORNER). B: CARDBOARD CASE WITH OVERALL DIMENSIONS OF 13.9 CM X 6 CM X 2 CM. CARDBOARD BOX WITH GREEN LABEL ON FRONT. THE LABEL SAYS “RUXCO” “NO-600-MO-10” “OVEN TEST THERMOMETER RANGE 100 TO 600°F IN 10° DIVISIONS.” GOOD CONDITION. MISSING LEFT END OF BOX. SCRATCH ON THE SURFACE OF THE LEFT SIDE OF THE LABEL. STAINING IN VARIOUS PLACES.
Subjects
FOOD PROCESSING T&E
THERMAL T&E
Historical Association
TRADES
DOMESTIC
History
IN SEPTEMBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED IRENE MOCH ABOUT THE HISTORY OF A THERMOMETER SHE DONATED TO THE GALT MUSEUM AND ARCHIVES. THE THERMOMETER BELONGED TO HER FATHER, DAVID ROXBOROUGH CARSE, AND WAS USED BY HIM AS AN EMPLOYEE OF CANADIAN WESTERN NATURAL GAS COMPANY. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: “HIS JOB WAS TO GO HOUSE-TO-HOUSE ON SPECIFIED CALLS TO REPAIR AND CHECK GAS APPLIANCES AT VARIOUS HOMES. HE LOVED HIS JOB. IT WAS GREAT PASSION AND HE WOULD SHARE A LOT OF HIS EXPERIENCES AT HOME WITH US. IT BECAME A BIG PART OF OUR FAMILY LIFE. HIS FIRST PASSION WAS HIS FAMILY AND HIS SECOND PASSION WAS HIS WORK. TWENTY- EIGHT YEARS, HE WAS WITH THE GAS COMPANY. HE WOULD BRING VARIOUS LITTLE ITEMS HOME, BUT MOSTLY IT WAS JUST HIS MEMORIES AND OUR MEMORIES OF THE STORIES THAT HE TOLD… MY MOM AND DAD WILLED THEIR HOUSE TO MY HUSBAND, WHO HAD BEEN CARING FOR IT OVER THE YEARS. [THEY] LEFT ALL THEIR TREASURES AS THEY WERE [TO] US BOTH TO DO WHAT WE FELT WAS BEST WITH EVERYTHING. THEY HAVE BEEN GONE SINCE 2000, 2003. SO FINALLY, THIS MOVE HAS FORCED ME TO GO THROUGH SOME OF THE THINGS THAT I HAVE, AND THIS HAS COME UP, AND IT MEANT A LOT. WE ALWAYS HAD GAS STOVE AND GAS RADIANT HEAT AND HE WOULD ALWAYS TEST MY MOTHER’S OVEN WITH THE THERMOMETER TO MAKE SURE THAT IT WAS FUNCTIONING PROPERLY. IT WAS VERY VISIBLE TO ALL OF US. IT WAS VERY IMPORTANT.” MOCH RECALLS THE THERMOMETER IN HER DAD’S WORK TOOLBOX: “… WHEREVER HE WENT, HE WOULD HAVE HIS TOOL BOX, AND THAT WAS THE FIRST THING THAT CAME OUT OF THE TOOL BOX. HE CARRIED IT IN HIS VEHICLE. HE DROVE TO THE HOUSES AND THE FIRST THING THAT CAME OUT OF HIS TOOL BOX WAS THAT.” IT WAS THE JOB AT CANADIAN WESTERN NATURAL GAS COMPANY THAT BROUGHT CARSE AND HIS FAMILY TO LETHBRIDGE: “HE HAD ANDREW’S HARDWARE IN FORT MACLEOD FOR I DON’T KNOW HOW MANY YEARS – QUITE A FEW – AND THEN HE WENT TO THE GAS PLANT IN BURDETT/ BOW ISLAND. AND FAMILY WAS COMING. [HE] NEEDED A STEADY JOB, [SO HE] CAME TO THE CITY [ TO] FIND A STEADY JOB. HE WAS A CERTIFIED PLUMBER AND GAS-FITTER SO HE APPLIED AT THE CANADIAN WESTERN AND NATURAL GAS… THAT WAS HIS WORLD. HE JUST BLOSSOMED. HE WAS A VERY PRIVATE PERSON, BUT HE LOVED TO BE WITH PEOPLE. THERE WAS A LOT OF COMRADERY AND HORSE-PLAY. HE WORKED BY HIMSELF. HE DIDN’T HAVE A PARTNER. AND [HE] WENT PLACE-TO-PLACE – AND IT GREW, AND GREW, AND GREW, AND GREW – 28 YEARS. AND IT WAS NOT UNCOMMON FOR OUR RESIDENCE PHONE AT HOME TO RING FROM VARIOUS PEOPLE, SAYING, ‘DON’T SEND SO-AND-SO; SEND DAVE BACK. DAVE KNOWS WHAT HE’S DONE HERE, AND THAT’S THE PERSON I WANT BACK.’ THAT WAS NOT UNCOMMON AT ALL TO HAPPEN AT OUR HOUSE. HE MADE A GOOD REPUTATION FOR HIMSELF, AND HE LOVED WHAT HE DID, AND IT SHOWED… HE BECAME A KIND OF AN IMAGE AND I THINK HE REVELED IN THAT. HE WAS KING OF HIS WORLD, REALLY. IT WAS VERY NICE.” “… THERE WAS ALWAYS SOMEBODY ON CALL," CONTINUED MOCH, "BUT, IF IT WAS A MAJOR BLIZZARD, OR SOMETHING LIKE THAT, THEN EVERYBODY WAS PRESSED INTO SERVICE. IF IT WAS TURKEY DAY, AND EVERYBODY WANTS TO COOK A TURKEY, AND THE PILOT LIGHT OR THE OVEN DIDN’T WORK, SOMEBODY HAD TO GO. AND THAT WAS THE BIG THING WITH THE GAS COMPANY. GAS COMPANY SERVICEMEN WERE FREE OF CHARGE AND THE ONLY CHARGE WOULD HAVE BEEN FOR A THERMOCOUPLE OR A PART THAT NEEDED TO BE REPLACED. PEOPLE WERE NOT SHY ABOUT CALLING THE GAS COMPANY TO REMEDY THEIR SITUATION. YES, THERE WAS ALWAYS SOMEONE ON CALL, AND HE HAD TO TAKE HIS TURN DOING THAT. BUT, IF THERE WAS A MASS BLIZZARD OR STORM OF SOME SORT, THEN THEY WERE ALL CALLED OUT.” MOCH EXPLAINED THE THERMOMETER WAS OF GREAT IMPORTANCE TO CARSE’S WORK: “MOST OF HIS CALLS WERE [BAKING RELATED]. PEOPLE ALWAYS BAKED IN THOSE DAYS – ALWAYS BAKED AND [IF], ‘THE OVEN WASN’T COOKING RIGHT,’ OR ‘IT WASN’T HOT ENOUGH,’ OR ‘HOW COME THIS FLOPPED?’ ‘WE’D BETTER CALIBRATE THE OVEN PROPERLY.’ AND SO [THEY'D CALL IN], ‘CAN DAVE COME OUT AND CHECK IT OUT AND CHECK THAT OUT FOR US?’ SO YES, THAT [THERMOMETRE] WAS ONE OF THE FIRST THINGS THAT HE BROUGHT OUT… MOM BAKED ALL THE TIME AS WELL, TWICE A WEEK PROBABLY. ON A REGULAR BASIS, HE WOULD JUST DOUBLE CHECK [WITH THE THERMOMETER] TO MAKE SURE THINGS WERE WORKING THE WAY THEY SHOULD. NOT NECESSARILY THAT THERE WAS A PROBLEM, BUT JUST SO THAT THEY STAY THE WAY THEY SHOULD BE. HE EDUCATED US ALL ABOUT THE BLUE FLAME AND HOW THE BLUE FLAME HAD TO HAVE THE LITTLE TIP ON THE END OF THE BLUE FLAME AND THAT MEANS IT’S BURNING CLEAN. IT WAS VERY EDUCATIONAL, TOO.” “[HE] ALWAYS CAME HOME FOR LUNCH. MOM ALWAYS HAD LUNCH READY. WE HAD LUNCH IN THE LIVING ROOM WITH A SANDWICH AND HE HAD A LITTLE SNOOZE. FIVE MINUTES, AND HE WAS OUT THE DOOR. HE WAS NEVER LATE. HE WAS ALWAYS HOME, AND HE WAS NEVER LATE COMING HOME FROM WORK. HE JUST LOVED IT… HE RETIRED IN SEPTEMBER 30, ’73. SO, PROBABLY ’43, ’44 THAT HE CAME TO LETHBRIDGE TO [WORK AT THE] GAS COMPANY.” ACCORDING TO HIS OBITUARY IN THE LETHBRIDGE HERALD, DAVID ROXBOROUGH CARSE PASSED AWAY IN LETHBRIDGE ON 15 NOVEMBER 2000. PLEASE SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPT, LETHBRIDGE HERALD ARTICLES, AND THERMOMETER PATENT.
Catalogue Number
P20160027000
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
"RED DAWN"
Date Range From
1980
Date Range To
1990
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20180029001
  2 images  
Material Type
Artifact
Other Name
"RED DAWN"
Date Range From
1980
Date Range To
1990
Materials
PAPER, INK
No. Pieces
1
Length
104
Width
68.8
Description
POSTER WITH IMAGE ON FRONT OF PURPLE AND BLUE SKY WITH SUNRISE AND PARATROOPERS DESCENDING OVER TOWN SURROUNDED BY MOUNTAINS AT BOTTOM EDGE. POSTER HAS WHITE BORDERS; POSTER HAS WHITE TEXT PRINTED ON IMAGE “IN OUR TIME NO FOREIGN ARMY HAS EVER OCCUPIED AMERICAN SOIL. UNTIL NOW” AND RED PRINTED TEXT BELOW WITH RUSSIAN SYLLABICS OVER “RED DAWN”; POSTER HAS WHITE CREDITS ALONG BOTTOM EDGE, “A VALKYRIE FILM A SIDNEY BECKERMAN PRODUCTION RED DAWN…” WITH LISTING OF CAST AND CREW MEMBERS. LOWER LEFT CORNER OF IMAGE HAS TEXT WARNING “PG-13, PARENTS ARE STRONGLY CAUTIONED TO GIVE SPECIAL GUIDANCE FOR ATTENDANCE OF CHILDREN UNDER 13, SOME MATERIAL MAY BE INAPPROPRIATE FOR YOUNG CHILDREN”, AND TEXT BESIDE “[COPYRIgHT SYMBOL” 1984 UNITED ARTISTS CORPORATION”; LOWER RIGHT CORNER OF IMAGE HAS LOGO “METRO GOLDWYN MAYER UNITED ARTISTS, DIAMOND JUBILEE, SIXTY YEARS OF GREAT ENTERTAINMENT”; POSTER HAS TEXT ALONG LOWER BORDER “PROPERTY OF NATIONAL SCREEN CORPORATION LICENSED FOR USE ONLY IN CONNECTION WITH THE EXHIBITION OF THIS PICTURE AT THE THEATRE LICENSING THIS MATERIAL. LICENSEE AGREES NOT TO TRADE, SELL OR GIVE IT AWAY, OR PERMIT OTHERS TO USE IT, NOR SHALL LICENSEE BE ENTITLED TO ANY CREDIT UPON RETURN OF THIS MATERIAL. THIS MATERIAL EITHER MUST BE RETURNED OR DESTROYED IMMEDIATELY AFTER USE. LITHO. IN U.S.A., RED DAWN 840077”. BACK OF POSTER HAS HANDWRITTEN TEXT IN RED INK IN LOWER LEFT CORNER “KEVIN MCLEAN $2.00” AND HANDWRITTEN TEXT IN BLUE INK “RED DAWN”. POSTER HAS TEARS AT RIGHT AND LEFT EDGES, AND LOWER EDGE; FRONT IS CREASED; BACK OF CORNERS HAS LOSS FROM REMOVAL OF ADHESIVES. OVERALL GOOD CONDITION.
Subjects
ADVERTISING MEDIUM
Historical Association
BUSINESS
LEISURE
History
ON DECEMBER 21, 2018, GALT MUSEUM CURATOR AIMEE BENOIT INTERVIEWED KEVIN MACLEAN REAGARDING HIS DONATION OF PERSONAL OBJECTS. THE OBJECTS DONATED BY MACLEAN REFLECTED HIS LIFE AND IDENTITY THROUGH HIS TIME IN LETHBRIDGE. ON THE “RED DAWN” FILM POSTER, MACLEAN ELABORATED, “THE POSTER [WAS] UP [IN MY ROOM].” “[IN] THE 1980S, AS A KID, AND I DON’T KNOW IF IT WAS JUST ME ‘CAUSE I WAS A NEWS JUNKIE, THE COLD WAR WAS A BIG DEAL IN THE EARLY ‘80S. THERE WERE SHOWS ON TV THAT WERE SCARING THE CRAP OUT OF ME. THERE WAS ONE CALLED "THE DAY AFTER" AND THAT WAS IN ’83. THEN IN 1984 THIS MOVIE COMES OUT WHICH IS CALLED RED DAWN WHICH IS, AGAIN, ABOUT RUSSIAN COMMUNIST INVASIONS OF NORTH AMERICA. IT’S A SMALL TOWN THAT ALL THESE TROOPS DROP INTO. TO SAY THE LEAST, I WAS SEMI-OBSESSED WITH THE SUBJECT MATTER.” “IF YOU WATCHED "THE DAY AFTER"…ON ONE HAND, THAT KIND OF SUBJECT MATTER CAN FEEL FOREIGN AND ABSTRACT AND NOT RELEVANT. BUT, IF AT THE SAME TIME YOU’RE A KID, AND YOUR PARENTS ARE WATCHING THE NEWS EVERY NIGHT, AND YOU HAVE AN INTEREST IN WHAT’S GOING ON—A LOT OF KIDS DON’T CARE BUT FOR SOME REASON, I WAS VERY INTERESTED. THEN YOU THOUGHT, “NO, THIS IS A VERY REAL PROSPECT. THIS COULD ACTUALLY HAPPEN.” I WAS TERRIFIED ABOUT IT. BUT, AT THE SAME TIME, I WAS ALSO ATTRACTED TO IT, LIKE A FLAME. IT WAS…ROCKETS…I DON’T KNOW WHAT IT WAS BUT I WAS ACTIVELY INTERESTED IN [THEM]. THEN AT SOME POINT, THAT PIVOTED, WHICH IS WHEN I KNOW I WAS LOOKING AT THE SOLDIER OF FORTUNE MAGAZINES AND THEN I STARTED BUYING COMIC BOOKS…WORLD WAR TWO COMIC BOOKS.” “WE DIDN’T HAVE MUCH TV OUT IN PICTURE BUTTE. [OTHER PEOPLE] PROBABLY HAD LOTS OF CHANNELS IN LETHBRIDGE. ONE CHANNEL WE DID HAVE—I THINK WE ONLY HAD THREE—WAS CBC. I REMEMBER [MY PARENTS] WATCHING THE NATIONAL. I THINK [THERE] WAS [A SHOW] CALLED THE JOURNAL WITH BARBARA FRUM [THAT MY PARENTS] WOULD WATCH AT TEN O’CLOCK EVERY SINGLE NIGHT. I WOULD SNEAK OUT OF MY ROOM AND HIDE BEHIND THE COUCH, AND [THE COLD WAR IS] ON THE NEWS EVERY SINGLE NIGHT.” “IN TERMS OF [THE COLD WAR] MANIFESTING ITSELF LOCALLY…I THINK TRUDEAU’S IN POWER, AND THERE’S A WHOLE DEBATE ABOUT CANADA HAVING NUKES IN THIS COUNTRY. ULTIMATELY, IT DIDN’T HAPPEN. BUT, THE U.S. WAS TESTING CRUISE MISSILES IN ALBERTA, AND NOT FAR FROM MY FRIEND’S HOUSE OUT NEAR PICTURE BUTTE, WHEN THE TALK OF A CRUISE MISSILE BEING TESTED IN ALBERTA WAS IN THE NEWS, ACTIVELY, PEOPLE WERE UNHAPPY AND PROTESTING. A BUNCH OF TRACTOR TRAILERS PULLED UP ON THE TOP OF A HILL, TWO MILES AWAY FROM [MY FRIEND’S] HOUSE, WITH U.S. LICENSE PLATES. OTHERWISE, THEY WERE TOTALLY UNMARKED. THEY BUILT THIS RADAR INSTALLATION UP ON THE TOP OF THE HILL, WHERE IT REMAINED…FOR THREE DAYS OR [SO]…AND THEN IT ALL DISAPPEARED.” “I CAN’T SAY THAT I KNOW FOR A FACT THAT IT WAS RELATED TO CRUISE MISSILE TESTING.” “GENERALLY TO SAY…WITH THESE [OBJECTS] I CAN DRAW A BIT OF A LINE FROM MY HAVING POSSESSED THEM ALL THE WAY, IN SOME FORM…THEY WOULD HAVE HAD AN IMPACT ON [MY] IDENTITY AND WHO I THINK I AM TODAY. I DON’T VALUE THEM BECAUSE THEY DON’T HAVE UTILITY AND THEY DON’T HAVE PRACTICAL VALUE. I DON’T LOOK AT THEM ALL THE TIME, BUT I KNOW THAT THEY HAVE SOME IMPORTANCE LIFE-WISE.” “IN SCHOOL, THERE WAS A GAME THAT WE WERE PLAYING. THIS IS AT A TIME WHEN THERE’S ONE COMPUTER FOR THE ENTIRE SCHOOL. IT WAS AN APPLE…AND IT WAS A WW2-BASED GAME. MY INTEREST, INITIALLY, WAS IN CONTEMPORARY-TYPE STUFF. THEN WE’RE PLAYING THIS GAME WHICH I’M NOT REALLY–IT’S ABSTRACT TO ME. WE’RE JUST PLAYING THIS GAME AND THEN, BECAUSE I’M INTO THIS, I’M BUYING MAGAZINES CALLED SOLDIER OF FORTUNE, AND I CAN REMEMBER FLIPPING THROUGH THE PAGES OF [THE] PROXY WAR IN AFGHANISTAN. [THE RUSSIANS] HAD GONE INTO AFGHANISTAN, AND I SAW A WW2 PICTURE AND I CONNECTED IT TO THIS GAME AND I [THOUGHT], “OH, THIS IS A REAL THING.” THEN, ALL OF A SUDDEN, THIS CONTEMPORARY STUFF IS OF LESSER INTEREST AND THEN IT BECOMES MORE SECOND WORLD WAR INTEREST AFTER THAT.” “MAYBE I STILL AM [THAT PERSON] TODAY A BIT…IN DIFFERENT RESPECTS. [THE OBJECTS] TAKE UP SOME SPACE BUT I COULDN’T LET THEM GO BECAUSE THEY’RE SYMBOLS, IN A WAY. THEY’RE ONLY THAT BECAUSE OF WHAT IS IN MY HEAD, SO I THOUGHT AT SOME POINT IT WAS GOOD TO [DONATE THEM]…IT WOULD HAVE BEEN MAYBE EASIER TO LET SOME OF THIS STUFF GO.” 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
P20180029001
Acquisition Date
2018-12
Collection
Museum
Images
Less detail
Date Range From
1945
Date Range To
2005
Material Type
Artifact
Materials
STEEL, WOOD
Catalogue Number
P20160029000
  2 images  
Material Type
Artifact
Date Range From
1945
Date Range To
2005
Materials
STEEL, WOOD
No. Pieces
7
Height
30
Diameter
31
Description
A: PRESSURE COOKER POT: STEEL POT WITH TWO BLACK WOODEN HANDLES. HANDLES ARE SCREWED TO LIP OF POT WITH TWO SCREWS EACH. FAIR TO GOOD CONDITION. BLACK RESIDUE, WATER STAINS, AND SCRATCHES ON OVERALL SURFACE OF POT FROM USE. THERE IS A FULL CRACK SEPARATING THE BACK END OF THE RIGHT HANDLE FROM THE POT. B: LID: STEEL LID 31.9CM (D) X 3.8CM (H). LID HAS ONE BLACK WOODEN HANDLE HELD IN PLACE BY TWO SCREWS. BOTH SIDES OF HANDLES HAVE VALVES FOR LETTING OFF/MANAGING PRESSURE. THE CENTER HAS A ROUND GAUGE WHICH READS BOTH PRESSURE (0 TO 20) AND TEMPERATURE IN DEGREES FAHRENHEIT (228° TO 259°). IT READS "WARNING OPEN PETCOCK, EXHAUST STEAM…” GAUGE HAS SINGLE RED NEEDLE. IN FRONT OF GAUGE ON TOP OF LID READS, “IMPROVED KOOK / KWICK STEAM PRESSURE COOKER 22”. LID IS SECURED TO POT WITH REMOVABLE RING THAT IS TIGHTENED BY TURNING A SMALL HANDLE AT THE FRONT. GOOD CONDITION. STAINING ON OVERALL SURFACE OF LID AND BACKGROUND OF GAUGE IS YELLOWED. C: SEALING RING: 36 CM IN DIAMETER UNTIGHTENED. STEEL WITH A RUBBER KNOB AT THE OPENING. HINGE AT THE BACK SIDE OF THE RING. CLAMP AT FRONT IS TIGHTENED BY A METAL HANDLE. GOOD CONDITION. STAINING ON OVERALL SURFACE OF THE STEEL. D: COOKING RACK: 26.5 CM IN DIAMETER. CIRCULAR, METAL RACK WITH A CIRCLE OPENING AT THE CENTER AND A CURVED PATTERN OF TWO ROWS AROUND. THE RACK HAS 6 SECTIONS AROUND. THERE ARE RIDGES ALONG THE VERTICAL LINES ON ONE SIDE. THE OPPOSITE SIDE IS FLAT. THREE OF THE RIDGES HAVE SCREW HOLES ON THE OUTSIDE EDGE. E-G: 3 MASON JAR LID BANDS: ALL 8.5 CM IN DIAMETER. E IS MADE OUT OF A SILVER-COLOURED METAL. F AND G ARE MADE OUT OF GOLD-COLOURED METAL. POOR TO FAIR CONDITION FOR COMPONENTS D THROUGH G. ALL COMPONENTS ARE RUSTING WITH SIGNIFICANT MINERAL BUILD UP ON THEM. THERE IS FURTHER MATERIAL BUILD UP ON COMPONENTS E-G.
Subjects
FOOD PROCESSING T&E
Historical Association
DOMESTIC
History
THE FOLLOWING INFORMATION ABOUT THIS PRESSURE COOKER IS EXTRACTED FROM A SEPTEMBER 2016 INTERVIEW CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN WITH THE ARTIFACT'S DONOR, JEANNETTE HOUTEKAMER: HOUTEKAMER CAME INTO POSSESSION OF THE PRESSURE COOKER FROM HER AUNT, EUGENE SICOTTE: “WELL, FIRST OF ALL, I KNOW IT’S VERY OLD. IT CAME FROM A GREAT AUNT, WHO CAME TO THIS COUNTRY AS A YOUNG GIRL AND WAS LOCATED AROUND THE BEAVER MINE AREA… MUST [HAVE BEEN] LUNDBRECK. SHE WAS THERE WITH HER HUSBAND... SHE ALSO WAS A WONDERFUL COOK, AND SHE COOKED IN A LUMBER CAMP … HER FIRST MARRIED NAME WAS EUGENE (SIC) SICOTTE, MARRIED TO A PETE SICOTTE. [N.B. ALTERNATIVE SPELLING OF FIRST NAME EUGINE OR EUGENIE FROM OBITUARY AND LEGAL NOTICE] … SHE WAS WITH HIM FOR 17 YEARS... HOW SHE MET GEORGE ANDERSON, I’M NOT SURE, BUT HE WAS A FARMER PAST COALDALE - BARNWELL. THEY HAD A FARM UP THERE. AND SHE WAS QUITE A BIT OLDER THAN HIM, BUT THEY MARRIED, AND DID VERY WELL. THEN THEY RETIRED AND MOVED TO THE CITY HERE… I IMAGINE THEY BOUGHT [THE PRESSURE COOKER] DOWN IN GREAT FALLS, BECAUSE HE HAD A SISTER WHO WAS DOWN IN SHELBY. AT THE TIME, IT WAS CONSIDERED MORE EXPENSIVE.” OF THE RELATIONSHIP SHE HAD WITH HER AUNT, HOUTEKAMER STATED: “[W]E WERE VERY CLOSE. THEY HAD NO FAMILY, SO THEY KIND OF ADOPTED MY HUSBAND [MARTIN HOUTEKAMER] AND I... WE DID A LOT OF THINGS FOR THEM WHEN THEY GOT OLDER... SHE WAS A FABULOUS COOK.” HOUTEKAMER’S AUNT’S NAME BECAME EUGENE ANDERSON UNDER HER SECOND MARRIAGE. SOMETIME DURING THE PERIOD AFTER THE EUGENE AND GEORGE ANDERSON MOVED TO LETHBRIDGE AND BEFORE THE PASSING OF MRS. ANDERSON IN 1968, HOUTEKAMER CAME TO ACQUIRE THE PRESSURE COOKER: “WELL, SHE JUST GOT TO THE POINT WHERE SHE WAS GETTING OLDER, AND SHE DIDN’T DO A LOT OF CANNING ANYMORE. SHE HAD DONE A LOT PREVIOUS TO THAT. SHE CANNED EVERYTHING, EVEN MUSHROOMS … [SHE WAS A] FABULOUS COOK … SHE KNEW THAT I DID A LOT OF CANNING, SO SHE THOUGHT [THE PRESSURE COOKER] WOULD HELP." "MY HUSBAND DID A LOT OF FISHING, SO [WE] CANNED FISH, WHICH WAS THE BEST THING FOR IT. WHEN YOU CAN IT IN THERE, IT’S GOING TO BE GOOD… [HE CAUGHT FISH FROM] ALL OVER SOUTHERN ALBERTA. BEAVER MINES WAS ONE OF THE SPECIALS. IN FACT, HIS ASHES ARE IN POLICE LAKE. HE DID A LOT THERE AT POLICE LAKE AND LEE’S CREEK. DEPENDING [ON] HOW MANY FISH YOU HAD TO MAKE IT WORTHWHILE, I WOULD DO A CANNER OF IT. I USED THE SMALL FISH JARS, SO I COULD PACK THEM UP. I DID QUITE A FEW…” PRIOR TO OWNING A PRESSURE COOKER, HOUTEKAMER SAID SHE “USED A BIG CANNER. I HAD ONE THAT HELD 7 OR 8 QUARTS. THAT’S WHAT I DID - MOSTLY FRUIT. I DIDN’T DO A LOT OF VEGETABLES BECAUSE, BY THEN, YOU COULD START FREEZING STUFF. YOU KNOW, IT WAS STARTING TO GET MORE POPULAR.” HOUTEKAMER DID NOT LEARN A GREAT DEAL OF COOKING FROM HER AUNT, “BECAUSE I HAD LEARNED A LOT FROM MY MOTHER. SHE WAS A GOOD COOK. SHE EVEN MADE LEFTOVERS TASTE GOOD. SHE HAD HAD A LOT OF EXPERIENCE… WE DID A LOT OF PRESERVING IN HER DAY. THAT WAS ALL WE HAD AND IT WAS ALWAYS DONE IN A BOILER - A GOOD COPPER BOILER. THAT’S THE WAY YOU LEARNED. … FOR SOME THINGS [THE PRESSURE COOKER WAS BETTER THAN THE COPPER BOILER] BECAUSE MY VEGETABLES TAKE A VERY LONG TIME TO PRESERVE THROUGH BOILING. AND FISH, OH MY GOD, YOU WOULD BE THERE FOREVER TO BOIL, SO THIS [PRESSURE COOKER] IS MUCH BETTER, MUCH FASTER [AND] SAFER, AS WELL. IT WAS HEAVY WORK, MIND YOU. WHEN YOUR COOKER WAS DONE, WHEN YOUR TIME WAS DONE, IF YOU COULD LIFT IT AND TAKE IT OUTDOORS, YOU COULD THROW COLD WATER ON IT AND OPEN IT RIGHT AWAY. THEN YOU WOULD THROW THE CANS IN COLD WATER. FOR JARS, YOU HAD TO WAIT UNTIL IT WENT DOWN BY ITSELF. YOU COULDN’T OPEN IT UNTIL THEN OR ALL THE LIDS WOULD COME OFF.” FOR HOUTEKAMER, CANNING TOOK PLACE MOSTLY DURING THE FALL. SHE WAS ABLE TO PRESERVE A VARIETY OF FOOD WITH THIS PRESSURE COOKER: “I [CANNED] CHICKEN ONE YEAR, AND THAT WAS ENOUGH. WE ALWAYS HAD CHICKEN AROUND [AND] IT WAS BETTER FRESH. MY HUSBAND LOVED HIS FRESH CHICKENS. WE HAD OUR OWN GARDEN, AND SOMETIMES WE WOULD GET SOME CORN IN THE FALL [WHEN THE FARMERS WERE DOING THEIR THRESHING].” OF HER FAVOURITE VEGETABLES TO PRESERVE, HOUTEKAMER SAID, “BEANS, I GUESS. I WOULD GET A LOT OF BEANS. BEETS – I DID SOME – NOT CANNED. [I] DID A LOT OF PICKLES. BEANS WERE THE MAIN THING, AND CHICKEN, AND FISH. AND THAT WAS IT. I DID A LOT OF TOMATOES, BUT THEY WERE SIMPLER TO DO IN THE CANNER, BECAUSE THEY ONLY TAKE ABOUT 20 MINUTES… [THE PRESSURE COOKER] WOULD BE PLACED ON [A] GAS OR ELECTRIC [STOVE]. WHEN THE TIME WAS DONE, YOU JUST SHUT THE STOVE OFF AND LET IT COME DOWN BY ITSELF… I USED TO JUST KNOW WHERE TO PUT THE STOVE AT, THE BURNER, TO KEEP [THE PRESSURE WHERE NEEDED]. YOU HAD TO BE CAREFUL. YOU COULDN’T JUST TURN YOUR BACK ON IT. YOU WOULDN’T WANT THAT. THAT WHOLE THING WOULD COME OFF, AND YOU WOULD HAVE ONE BIG MESS. … NO [THAT NEVER HAPPENED]. I ALWAYS WAS VERY CAREFUL – WATCHED IT CLOSE. I DON’T THINK [MESSES] EVER HAPPENED TO MY AUNT EITHER THAT I’M AWARE OF… MOST OF THE COOKBOOKS IN THOSE DAYS HAD INSTRUCTIONS ABOUT HOW MANY POUNDS TO USE FOR VEGETABLES. I THINK MY FISH WAS 15 POUNDS. FOLLOW THOSE INSTRUCTIONS AND IT WORKED FINE – [IT] DID A VERY GOOD JOB.” HOUTEKAMER WOULD USE THE PRESSURE COOKER AT HER HOME ON THE RESEARCH STATION AND THEN LATER AT HER HOME ON THE NORTH SIDE OF LETHBRIDGE: “… AT THE TIME WE LIVED ON THE RESEARCH STATION FOR TWENTY YEARS. AND I USED IT THERE. MY HUSBAND WORKED THERE, IN POULTRY RESEARCH. WE WERE POOR. WE DID A LOT OF CANNING AND ALWAYS HAD A GARDEN. THAT’S HOW IT CAME ABOUT … WE HAD A PLACE TO LIVE AND OUR OWN GARDEN.” THE PRESSURE COOKER WAS ACTIVELY USED BY HOUTEKAMER UNTIL HER HUSBAND’S DEATH IN 2005: “WELL, I DON’T THINK I’VE USED IT IN THE LAST 10 YEARS BECAUSE I’VE BEEN LIVING IN A CONDO. I JUST HAD IT SITTING AROUND, TOO HEAVY TO MOVE… I DIDN’T DO A LOT OF CANNING ANYMORE…” THIS ARTIFACT BRINGS BACK MEMORIES OF HER LATE HUSBAND: “WE ALWAYS DID A LOT OF FISHING TOGETHER. WHEN HE RETIRED, HE BOUGHT HIS BOAT. WE HAD A CAMPER VAN, SO WE COULD GO OUT AND STAY OVERNIGHT. WE HAD [THE] BOAT, SO WE COULD GO ONTO THE WATER [AND] TRY TO GET SOME FISH. THOSE DAYS, THERE WERE SO MANY FISH... IF YOU WERE LUCKY, YOU HAD A NICE BIG ONE THAT WOULD FILL ABOUT FIVE OR SIX JARS.” CANNING WAS A NECESSITY FOR FOOD PRESERVATION: “WELL, I GUESS IT’S OK IF YOU CAN AFFORD IT, BUT WHEN WE WERE YOUNGER, WE WERE VERY POOR, SO YOU DID WHAT HAD TO DO. KEEP GOING. EAT… MY GIRLS STILL DO SOME, BUT NOW, WITH THE NEW FANCY STOVES, YOU COULD NEVER USE THIS – TOO HEAVY. THE NEW STOVES – THEY JUST CAN’T PUT ANYTHING HEAVY ON THERE. I THINK IT’S KIND OF TOO BAD, BECAUSE A GARDEN IS NOT THAT HARD TO HAVE, AND YOU CAN GET AN AWFUL LOT OF GOOD FOOD OUT OF THERE – NATURAL FOOD, AND VERY HEALTHY FOOD. SOME PEOPLE JUST CAN’T BE BOTHERED. [IT'S] SIMPLER TO GO TO THE STORE… [MY AUNT] COULD HAVE PROBABLY SAID MORE, SHE DID A GREAT DEAL OF CANNING. SHE ALWAYS MADE SURE, WHEN THEY BUILT THEIR HOUSES, THAT THEY HAD A PLACE FOR PUTTING HER CANNED STUFF, WHERE SHE COULD KEEP IT COOLER IN THE SUMMER.” ACCORDING TO HER LETHBRIDGE HERALD OBITUARY, MRS. EUGINE ANDERSON PASSED AWAY IN LETHBRIDGE ON JANUARY 18, 1968 AT THE AGE OF 85. HER SECOND HUSBAND, MR. GEORGE ANDERSON, PASSED AWAY IN CALGARY ON NOVEMBER 26, 1972 AT THE AGE OF 79. MRS. ANDERSON’S FIRST HUSBAND, MR. PETE SICOTTE, PASSED AWAY IN CAMROSE, ALBERTA ON FEBRUARY 15, 1966 AT THE AGE OF 92. A MEMORIAM IN THE LETHBRIDGE HERALD INDICATES THAT THE DONOR’S HUSBAND, MR. MARTIN HOUTEKAMER PASSED AWAY ON APRIL 21, 2005. SEE PERMANENT FILE FOR ADDITIONAL INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION AND COPIES OF OBITUARIES.
Catalogue Number
P20160029000
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
CASSEROLE DISH SET
Date Range From
1970
Date Range To
2006
Material Type
Artifact
Materials
CERAMIC
Catalogue Number
P20160001000
  2 images  
Material Type
Artifact
Other Name
CASSEROLE DISH SET
Date Range From
1970
Date Range To
2006
Materials
CERAMIC
No. Pieces
22
Height
22
Length
44
Width
32
Description
BOX OF SUNBURST CASSEROLE DISHES WITH 11 PIECES (5 FULL SETS OF SMALL AND LARGE DISHES AND 1 PARTIAL SET WITH ONE SMALL DISH). THERE ARE 22 PIECES INCLUDING THE STORAGE MATERIALS. A – F: CERAMIC CASSEROLE DISHES. UNGLAZED. “SUNBURST… OVENPROOF” WITH A SUN LOGO STAMPED ON THE BOTTOM. THE DISHES HAVE A RIM AT THE TOP AND A BASE AROUND THE BOTTOM. THERE ARE 2 HANDLES ON OPPOSITE ENDS OF THE TOP OF THE DISHES. A-E HAVE “1.95” WRITTEN ON THE BOTTOMS IN PENCIL. F HAS AN ERASER MARK IN THAT PLACE, AND A WHITE STICKER WITH THE PRICE “$5.00” HANDWRITTEN AND STICKING TO A TOP HANDLE. THE DIAMETERS ARE 19.4 CM, THE LENGTHS INCLUDING THE HANDLES ARE 23.3 CM AND THE DISHES ARE EACH 7.1 CM DEEP. THE CONDITIONS OF DISH A THROUGH D ARE VERY GOOD TO EXCELLENT. THERE IS DUST COATING EACH DISH. B HAS 5 SMALL CHIPS ON THE BASE AND A SLIGHT CRACK (LESS THAN 1 CM LONG) ON THE OUTSIDE OF THE RIM. THE CERAMIC ON C IS ROUGH ON THE INNER RIM. IT ALSO HAS A DARK MARK ON THE OUTSIDE OF THE RIM AND SOME SMALL CHIPS ON THE BASE. D HAS A SCRATCH ON THE BASE. THE CONDITION OF E IS VERY GOOD WITH A SMALL CRACK ON THE SIDE OF THE DISH, A DARK STAIN ON THE EDGE OF THE RIM, AND A SLIGHT SCUFF ON THE BOTTOM. CASSEROLE DISH F IS IN GOOD TO VERY GOOD CONDITION WITH SOME MARKS ALONG THE RIM AND BASE. THERE IS A CHIP IN THE HANDLE. G – K: CERAMIC CASSEROLE DISHES. UNGLAZED. “SUNBURST… OVENPROOF” WITH A SUN LOGO STAMPED ON THE BOTTOM. THE DISHES HAVE A RIM AT THE TOP AND A BASE AROUND THE BOTTOM. THERE ARE 2 HANDLES ON OPPOSITE ENDS OF THE TOP OF THE DISHES. H-J HAVE “2.95” WRITTEN ON THE BOTTOMS IN PENCIL. G HAS AN ERASER MARK IN THAT PLACE, AND A WHITE STICKER WITH THE PRICE “$7.00” HANDWRITTEN AND STICKING TO A TOP HANDLE. THE DIAMETERS ARE 22.6 CM, THE LENGTHS INCLUDING THE HANDLES ARE 27.1 CM AND THE DISHES ARE EACH 8.4 CM DEEP. THE CONDITION OF DISH G IS VERY GOOD WITH DARK IMPURITIES IN THE CLAY, A SCUFF ALONG THE BASE AND A SCRATCH IN THE CLAY ON THE SIDE OF THE DISH. THE CONDITION OF H IS FAIR TO GOOD. THIS DISH HAS A LARGE CHIP IN THE RIM WITH A LENGTH OF APPROXIMATELY 6.1 CM. THERE IS A SCUFF IN THE BOTTOM. DISH I IS IN VERY GOOD CONDITION WITH SOME IMPURITIES IN THE CLAY, AN AIR BUBBLE ON THE SIDE OF THE DISH, A DARK BROWN STAINING ON THE SIDE, AND CHIPS ON THE BOTTOM RIM. DISHES J AND K ARE IN VERY GOOD TO EXCELLENT CONDITION WITH SMALL CHIPS IN THE RIM. L – M: SQUARE PIECES OF CARDBOARD FOR PACKING. THEY ARE BENT TO FOLD AROUND A DISHES WITH A CIRCULAR CREASE IN THE CENTER WITH TWO PARALLEL SLITS (APPROX. 3.5 CM APART) FROM ONE END TO THE CENTER. THE DIMENSIONS OF EACH ARE 21 CM X 21 CM. GOOD CONDITION WITH TEARING IN SOME AREAS (L IS TORN ON ONE SIDE) AND CLAY DUST OVERALL. N – U: RECTANGULAR CARDBOARD SEPARATORS FOR PACKING (THEY ARE PLACED IN BETWEEN THE SMALL AND LARGE DISH IN A SET. THERE ARE 3 SLITS IN EACH SEPARATOR THAT ARE 4.5 CM LONG FROM ONE SHORT END STOPPING AT THE CENTER AND EACH SLIT IS 7.5 CM APART. EACH PIECE IS BENT TO FIT THE SHAPE OF DISHES. FAIR TO GOOD CONDITION WITH REGULAR WEAR (TEARS AND STAINING) OVERALL. V: CARDBOARD BOX WITH ORANGE LETTERING, “SUNBURST CERAMICS” WITH AN ORANGE LOGO ON THE LONG SIDE OF THE BOX. HANDWRITTEN IN BLACK INK ON THE TOP OF THE BOX CAN BE READ “OPICAL EDMONTON ALTA.” ON ONE SHORT SIDE IT SAYS, “6 CASSEROLES 48 OZ…” IN ORANGE PRINT AND THEN IN BLACK HANDWRITING IT READS “6 + 32 OZ 6 – 48 OZ CASS.” THERE ARE 4 LARGE STAPLES HOLDING THE BOTTOM OF THE BOX TOGETHER. THE INSIDE HAS 4 CARDBOARD DIVIDERS (3 LENGTHWISE AND 1 HORIZONTALLY DOWN THE CENTER) THAT FIT TOGETHER THROUGH SLITS IN THE DIVIDERS. THESE MAKE UP 6 SECTIONS IN THE BOX FOR STORING THE SETS OF DISHES. THE OVERALL DIMENSIONS OF THE BOX ARE 32 X 44 X 22 CM. POOR TO FAIR CONDITION. THERE ARE HOLES, BENDS, AND TEARS OVERALL THE WHOLE SURFACE OF THE BOX. ONE CORNER EDGE IS TAPED TOGETHER WITH A BROWN PAPER TAPE. THERE IS A STAPLE LOOSE ON A TOP FLAP. THE BOX IS DIRTY AND STAINED OVERALL.DIRTY AND STAINED OVERALL.
Subjects
FOOD PROCESSING T&E
Historical Association
INDUSTRY
TRADES
DOMESTIC
History
DONOR MIKE MYCHAJLUK ACQUIRED THIS SET OF CERAMIC DISHES WHEN TROPICAL GARDENS IN EDMONTON, ALBERTA WAS CLOSING BETWEEN THE YEARS 2004 AND 2006. THE OWNER OF THAT BUSINESS HELD AN AUCTION AT HIS WAREHOUSE AND PART OF THAT LOT WAS THE SUNBURST CERAMIC SET, WHICH MYCHAJLUK BOUGHT FOR THIRTY-FIVE DOLLARS. THE FOLLOWING INFORMATION ABOUT THIS CERAMIC SET COMES FROM AN INTERVIEW WITH MYCHAJLUK THAT WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON JANUARY 22, 2016: “TROPICAL GARDENS WAS GOING OUT OF BUSINESS AND THEY WERE SELLING OFF IN THEIR STORE. A COUPLE OF BOXES THEY HAD ON DISPLAY THEN A COUPLE OF MONTHS LATER HE HAD THE AUCTION AT HIS WAREHOUSE ON HIS ACREAGE. HE HAD BINS - TONS OF STUFF THERE AND THIS [BOX] HAPPENED TO BE IN [THE SALE] WHEN I BOUGHT IT. I HAD TO BUY THE WHOLE LOT… [FIRST], I’M INTERESTED IN ALBERTA POTTERY STUFF AND NUMBER TWO I KNEW OTHER PEOPLE WERE [TOO]. I WAS GOING TO SELL SOME OF IT OFF BUT THERE WAS SO MUCH OF IT. I’LL NEVER SELL [ALL OF IT] IN MY LIFETIME TO COLLECTORS… NOBODY KNOWS MUCH ABOUT [SUNBURST] AND IF I BRING IT MORE TO THE ATTENTION, MORE PEOPLE WOULD BE INTERESTED IN IT. IT’S ONE OF THE LAST POTTERIES THAT WAS IN ALBERTA… THE STUFF IS ORIGINALLY FROM LETHBRIDGE.” ON THE CERAMICS BEING UNGLAZED, MYCHAJLUK STATES: “I THINK THAT’S WHEN [SUNBURST WAS] GOING OUT OF BUSINESS. THEY JUST PACKAGED WHAT WAS LEFT AND SOLD IT OFF OR EVEN AFTER IT COULD BE A DISPERSAL… I’M ASSUMING [TROPICAL GARDENS] BOUGHT IT TO SELL DRY FLORAL ARRANGEMENTS… THE ONLY THOUGHTS WAS HE COULDN’T USE IT FOR LIVE [FLOWERS] WITH WATER BECAUSE IT WOULD COME APART.” ACCORDING TO MYCHAJLUK, WHO IS INTERESTED IN ALBERTA POTTERY, IT IS NOT USUAL TO FIND A LARGE QUANTITY OF UNGLAZED CERAMICS LIKE WHAT HE FOUND AT TROPICAL GARDENS. WHILE MYCHAJLUK WAS BORN IN LETHBRIDGE, HE DID NOT SPEND MUCH TIME LIVING HERE. SUNBURST CERAMICS WAS ESTABLISHED IN 1961 BY RALPH THRALL SR. AND JR. WHEN THEY BOUGHT OUT NEW MEDALTA CERAMICS FROM MALCOM MCARTHUR IN MEDICINE HAT. AFTER OPERATING WITH THOSE KILNS FOR THE COMPANY’S FIRST YEARS, A NECESSITY TO UPGRADE INFLUENCED THE COMPANY TO MOVE THEIR OPERATION TO LETHBRIDGE, WHERE THEY OPENED A PLANT ON 3RD AVENUE NORTH IN 1965. DURING THEIR EXISTENCE, THE PLANT PRODUCED 200 TYPES OF PRODUCTS. IN THE EARLY 1970S, THEY EXPANDED THEIR OPERATION TO PRODUCE GIFTWARE IN ADDITION TO WHAT THEY WERE PRODUCING IN THE MEDALTA STYLE. THE COMPANY DEVELOPED A REPUTATION AS LEADERS IN THE ALBERTAN CERAMIC INDUSTRY, BRINGING IN THE NEWEST TECHNOLOGIES AND EQUIPMENT FROM GERMANY WITH PROVINCIAL SUPPORT. THIS ALLOWED THEM TO ADD DINNERWARE TO THEIR PRODUCTION LINE. SUNBURST CERAMICS CLOSED ITS DOORS IN 1975. THE THRALL FAMILY BOUGHT THE MCINTYRE RANCH FOLLOWING THE DEATH OF BILLY MCINTYRE IN 1947. THE FAMILY CONTINUES TO OPERATE IT AT THE TIME OF DONATION. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPT AND LETHBRIDGE HERALD ARTICLES REGARDING SUNBURST CERAMICS. SEE ALSO FILES FOR ARTIFACTS P19960004001, P19980077001, AND P200000056000 FOR MORE INFORMATION ABOUT SUNBURST CERAMICS.
Catalogue Number
P20160001000
Acquisition Date
2016-01
Collection
Museum
Images
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