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Material Type
Artifact
Materials
WOOD, METAL
Catalogue Number
P20190010001
  2 images  
Material Type
Artifact
Date
1945
Materials
WOOD, METAL
No. Pieces
1
Height
7.2
Length
12.2
Width
17.5
Description
WOOD BOX WITH DARK-WOOD TONES AND LIGHTER WOOD BASE; BOX HAS CARVED SCROLL PATTERN ON TOP WITH CARVED TEXT, “MY DARLING IRENE”; BOX HAS CARVED SCROLL PATTERN ON FRONT WITH CARVED TEXT, “HOLLAND 1945”. BOX HAS NAILS IN SIDES AND ATTACHED TO BASE; BOX HAS BRASS HINGES ON BACK. INSIDE OF BOX HAS MINOR RESIDUE AND STAINING; OVERALL VERY GOOD CONDITION.
Subjects
CONTAINER
Historical Association
DECORATIVE ARTS
FURNISHINGS
MILITARY
History
ON JUNE 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED CAROL DARMODY REGARDING HER DONATION OF OBJECTS RELATED TO HER PARENTS, IRENE (NEE NAGY) AND JOHN FROUWS. ON THE CARVED BOX, DARMODY SHARED, “DAD SENT [THE BOX] FROM OVERSEAS, TO MOM, FROM HOLLAND…HE DID SEND A FEW THINGS, BUT IT WAS MAINLY THE LETTER-WRITING BACK-AND-FORTH. HE MADE SURE MOM SENT BOXES OF COOKIES, AND DIFFERENT THINGS…MORE PSYCHOLOGICAL, THAN NEEDING THE COOKIES.” ON HER FATHER’S SERVICE IN THE CANADIAN MILITARY, DARMODY RECALLED, “I THINK IT WAS POVERTY [THAT MOTIVATED DAD TO ENLIST]…DAD STRUGGLED IN THE 1930S. HE WAS PULLED OUT OF GRADE 11 TO WORK IN THE COAL MINE, AND HE GOT A LUCKY BREAK FROM BILL HOPE, TO WORK IN GALT GARDENS WITH PLANTS, BEFORE HE SIGNED UP [FOR THE WAR EFFORT]. THAT WAS SIGNIFICANT, AND THEY BECAME FRIENDS WHEN HE RETURNED FROM THE WAR…HE WAS A GOOD MENTOR TO DAD, AND THAT’S WHERE [HIS] KNOWLEDGE OF PLANTS GREW. [DAD] ENLISTED, BECAUSE THEN HE HAD A CHOICE. HE DIDN’T WANT TO FIGHT IN THE FRONT-LINE, SO, IF YOU VOLUNTEERED EARLY, YOU GOT TO PICK AND CHOOSE WHAT YOU WANTED TO DO, SO HE PICKED ELECTRICAL ENGINEER, AND HE WAS REALLY WELL-TRAINED.” “MY DAD’S FAMILY CAME [FROM HOLLAND] IN THE ‘20S—’25—AND HIS DAD WANTED TO BE A FARMER HERE, AND [GRANDPA] WAS THE OLDEST, SO HE AGREED TO EMIGRATE FROM HOLLAND. THERE WASN’T ENOUGH LAND [IN HOLLAND]…AND HE DECIDED HE WANTED TO FARM SOMEWHERE ELSE, ‘CAUSE IT WOULDN’T HAVE WORKED OUT STAYING IN HOLLAND. SO, BECAUSE HE DIED IN THE ‘30S, TRYING TO SAVE THAT LITTLE BOY…WHO HAD FALLEN THROUGH THE ICE NEAR THE WEIR IN THE OLDMAN RIVER. THEY BOTH DROWNED…BUT HE HAD A FEW FAILURES, I THINK, WITH FARMING, AND HE DID WORK FOR THE COAL MINING COMPANY…WHEN [GRANDPA] DIED, THE CITY OF LETHBRIDGE GAVE HIS WIDOW, AND THE FAMILY, $30.00 A MONTH [I THINK IT WAS RELIEF MONEY]. SO DAD WAS HIGHLY-MOTIVATED. HE DIDN’T WANT TO GO OVERSEAS, AND BE KILLED…BUT, IF HE SIGNED UP EARLY, HE COULD PICK AND CHOOSE WHAT HE WANTED TO DO, AND START SENDING MONEY TO HIS MOTHER…ONLY DAD’S OLDEST SIBLING, GERTRUDE, WAS MARRIED. HIS OTHER SIBLINGS, ALICE, TINA, HARRY, AND JIM WERE YOUNGER AND NOT ABLE TO FINANCIALLY SUPPORT THEIR MOTHER. THE THREE YOUNGEST WERE STILL IN SCHOOL…THEY WEREN’T OF AN AGE WHERE THEY COULD WORK, AND SUPPORT THE MOTHER. SO, HE WAS IN A GOOD POSITION TO DO SO, BY SIGNING UP [FOR THE MILITARY IN 1940].” “[DAD] REALLY FELT CANADIAN, THROUGH-AND-THROUGH…AS A KID, HIS PARENTS TRUSTED HIM. HE WOULD BE GONE ALL WEEKEND, AT ALEXANDER WILDERNESS, JUST CAMPING WITH A FRIEND. THEY DIDN’T WORRY ABOUT HIM AT THE RIVER BOTTOM. HE LOVED THE COULEES…THIS WAS HOME. HOLLAND DIDN’T MEAN ANYTHING TO HIM, BECAUSE HE WAS SO YOUNG WHEN HE CAME HERE…HIS MOM COULDN’T GO BACK, AND SHE PROBABLY HADN’T BONDED AS WELL TO SOUTHERN ALBERTA, ESPECIALLY WITHOUT HER HUSBAND…THE IRONY…HE SPENT A LOT OF TIME IN HOLLAND [DURING THE SECOND WORLD WAR], AND HE WAS AN ASSET, BECAUSE HE COULD SPEAK SOME DUTCH, I’M NOT SURE HOW WELL, BUT IN EMERGENCIES THEY WOULD USE HIM." DARMODY ELABORATED ON HER PARENTS’ RELATIONSHIP, NOTING, “FOR DAD, [THE RELATIONSHIP WITH MOM] STARTED REALLY EARLY. MOM WAS 4 YEARS OLDER, AND HE FELL IN LOVE WITH HER WHEN HE WAS A LITTLE BOY. HE WOULD PLAY WITH HER YOUNGEST BROTHER, BUT 3-4 YEARS [AGE DIFFERENCE WHEN] YOU’RE YOUNG, IS A LOT…HE PROBABLY WAS A NICE KID, BUT SHE DIDN’T SHOW ANY INTEREST. BUT HE FELL IN LOVE WITH HER EARLY, AND HE PROCEEDED…MOM WOULD HAVE BEEN [LIVING] IN DIAMOND CITY. DAD MIGHT HAVE BEEN ON THE NORTH SIDE, THEY HAD A LITTLE HOUSE.” “THINGS WERE HAPPENING DURING THE GREAT DEPRESSION. MY MATERNAL GRANDMOTHER [VERONA NAGY], HAD AN EXTREMELY UNHAPPY MARRIAGE. MY GRANDFATHER [STEVE NAGY], [HE] ALLEGEDLY DRANK TOO MUCH AND WOULD OFTEN SQUANDER HIS MEAGRE COAL-MINING EARNINGS ON ALCOHOL. IN 1933, SHE DECIDED TO HOMESTEAD IN PEACE RIVER AREA [HARMON VALLEY]. HER THIRD OLDEST SON [LEWIS] CAME WITH HER, AND HE BUILT HER A LOVELY LOG CABIN. DURING THE DEPRESSION, MOM [IRENE NAGY] SPENT TIME IN CHICAGO WITH HER BROTHER STEVE AND HIS FAMILY. SHE ALSO ALTERNATED BETWEEN LETHBRIDGE AND PEACE RIVER. IN PEACE RIVER THEY HAD LOTS TO EAT BUT VERY LITTLE MONEY. THROUGH HER YOUNGEST BROTHER, MITCH, MOM MOST LIKELY LEARNED THAT DAD WAS ABOUT TO ENLIST IN [THE SECOND WORLD WAR]. IN 1939, MY PARENTS ALLEGEDLY STARTED DATING. THEY WOULD SPEND LOTS OF TIME IN THE COULEES HAVING PICNICS AND PICKING SASKATOON BERRIES…THE THIRD OLDEST BROTHER, AND ALL HER SIBLINGS, EXCEPT FOR HER SISTER, MARY, MOVED EVENTUALLY TO PEACE RIVER, AND JUST THE TWO SISTERS REMAINED. DAD ASKED MOM, WHEN THEY MARRIED IN ’43, TO MAKE HER HOME BASE LETHBRIDGE. SHE WAS GOING BACK AND FORTH…TO HELP HER MOM.” “THEY STARTED TO COURT IN THE ‘40S [AND MARRIED IN 1943], BECAUSE HE GOT A LEAVE FROM THE TRAINING CAMP IN ONTARIO…SHE WAS IN PEACE RIVER AT THE TIME, WHEN HE ASKED HER TO MARRY HIM, AND HE WAS ON A SHORT LEAVE. HE TOOK HIS MOTHER, IN HIS CAR, FROM LETHBRIDGE TO PEACE RIVER, AND IT WAS LIKE A MAJOR EXCURSION ON GRAVEL ROADS, TO MEET MOM, AND THEN THE TWO MOTHERS WERE TOGETHER.” DARMODY ELABORATED ON HOW SHE OBTAINED HER PARENTS’ COLLECTION INCLUDING THE TROPHY, NOTING, “[THE OBJECTS CAME INTO MY POSSESSION TOGETHER]…WHEN DAD DIED…[IN] 2011.” “[I WANTED TO KEEP THEM BECAUSE] THEY CONNECT ME TO THE PAST, AND WHEN…THE FORMER GOVERNOR-GENERAL’S WIFE WAS IN LETHBRIDGE, SHE WROTE THAT BOOK, ‘MATRONS AND MADAMS’, SHE SAID IT USUALLY TAKES 3-4 GENERATIONS FOR THE WAR EFFECTS TO BE ELIMINATED, FROM THE GREAT-GREAT-GREAT GRANDKIDS, SO, I WAS INDIRECTLY AFFECTED BY THE WAR…I HAD TO TEACH SOCIAL STUDIES AT ONE POINT, IN VANCOUVER, SO I LEARNED, DID A LOT OF PREPARATION. DAD WAS SUPPORTING HIS WIDOWED MOTHER…AFTER 1943, HE WAS SENDING MONEY TO MOM. HE DIDN’T HAVE A LOT OF SPARE MONEY TO BUY THINGS AND SEND BACK HOME…SO THE THINGS HE SENT WERE HUMBLE.” ACCORDING TO THE SERVICE PAY BOOKS OF JOHN W. FROUWS HELD IN THE GALT ARCHIVES [20191038011], STAFF SERGEANT FROUWS [M-35922] ATTESTED WITH THE CANADIAN FORCES ON JUNE 3, 1941. THE WAR DIARY OF THE 10TH CANADIAN FIELD PARK COMPANY, ROYAL CANADIAN ENGINEERS, HELD IN THE GALT ARCHIVES [20191038023] DETAILS THE ACTIONS OF ST. SGT. FROUWS AND HIS COMPANY. AT CAMP PETAWAWA, ONTARIO IN 1942, THE 10TH CANADIAN FIELD PARK COMPANY TOOK ON MEMBERS OF THE 2ND CORPS. FIELD PARK COMPANY, R.C.E., AND ON JULY 22ND, 1942 THE UNIT WAS CHANGED TO THE 2ND CORPS. FIELD PARK COMPANY, R.C.E. ON AUGUST 14TH, 1943, THE NEW WAR ESTABLISHMENT CREATED AN ELECTRICAL AND MECHANICAL UNIT WITHIN THE FIELD PARK COMPANY. AN ENTRY FROM MARCH 1, 1943 RECORDS FROUWS AS BEING PROMOTED FROM L.CPL. TO A.CPL. AT CAMP PETAWAWA, ONTARIO. FROUWS WAS FURTHER PROMOTED TO L.SGT. ON JUNE 24, 1943 AT ALDERSHOT, NOVA SCOTIA, TO A.SGT. ON JULY 26, 1943, AND TO S.SGT. ON SEPTEMBER 29, 1943 AT MICKLEHAM, SURREY, ENGLAND. THE 2ND CORPS. FIELD PARK COMPANY MOVED FROM CAMP PETAWAWA, ONTARIO TO HALIFAX, NOVA SCOTIA BEFORE PROCEEDING TO ENGLAND IN AUGUST 1943. THE UNIT SAILED FROM ENGLAND TO JUNO BEACH, NORMANDY IN TWO PARTS ON JULY 11, 1944. ON JULY 14, 1944, S.SGT. FROUWS WAS LISTED AS ACCOMPANYING L.CPL. TRETHEWAY IN “DE-BOOBY-TRAPPING” THE TELEPHONE EXCHANGE IN CAEN, FRANCE. THE COMPANY PROCEEDED THROUGH HOLLAND AND BELGIUM IN 1944 AND 1945, STATIONING AT NIJMEGEN, HOLLAND ON SEPTEMBER 22, 1944, BOURG LEOPOLD, BELGIUM ON SEPTEMBER 29, 1944, WEMMEL, BELGIUM ON OCTOBER 2, 1944, KESSEL, BELGIUM ON OCTOBER 10, 1944, AND TILBURG, HOLLAND BY NOVEMBER 1944. THE COMPANY REMAINED IN HOLLAND UNTIL APRIL 19, 1945, WHEN IT MOVED TO NORDHORN, GERMANY AND REMAINED THROUGH VE DAY ON MAY 9, 1945. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND COPIES OF THE LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190010001-GA.
Catalogue Number
P20190010001
Acquisition Date
2019-06
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
WOOD
Catalogue Number
P20190010003
  2 images  
Material Type
Artifact
Date
1945
Materials
WOOD
No. Pieces
1
Height
7.3
Diameter
30.6
Description
BROWN WOODEN BOWL; BOWL HAS SCALLOPED EDGES; BOWL TAPERS FROM TOP TO BASE; BOWL IS CARVED INWARDS FROM UPPER EDGES. INSIDE OF BOWL HAS CARVED WREATH OF LEAVES WITH TEXT AT THE TOP, “HOLLAND”, AND TEXT AT THE BOTTOM, “1945”, AND CARVED FLOWER IN THE CENTER. BASE HAS A HOLE CARVED IN THE CENTER. BOWL HAS MINOR DUST AND RESIDUE INSIDE; BOWL HAS LIGHT WEAR AND SCRATCHING INSIDE AND ON OUTSIDE; OVERALL VERY GOOD CONDITION.
Subjects
HOUSEHOLD ACCESSORY
Historical Association
DECORATIVE ARTS
FURNISHINGS
MILITARY
History
ON JUNE 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED CAROL DARMODY REGARDING HER DONATION OF OBJECTS RELATED TO HER PARENTS, IRENE (NEE NAGY) AND JOHN FROUWS. ON THE BOWL, DARMODY SHARED, “DAD SENT [THE BOWL] FROM OVERSEAS, TO MOM, FROM HOLLAND…HE WATCHED THE GUY MAKE THIS [BOWL]…HE DID SEND A FEW THINGS, BUT IT WAS MAINLY THE LETTER-WRITING BACK-AND-FORTH. HE MADE SURE MOM SENT BOXES OF COOKIES, AND DIFFERENT THINGS…MORE PSYCHOLOGICAL, THAN NEEDING THE COOKIES.” “[THE BOWL WAS USED BY MY MOM AS A] JEWELRY BOX—THIS WAS PROBABLY ON THAT TABLE FOREVER.” ON HER FATHER’S SERVICE IN THE CANADIAN MILITARY, DARMODY RECALLED, “I THINK IT WAS POVERTY [THAT MOTIVATED DAD TO ENLIST]…DAD STRUGGLED IN THE 1930S. HE WAS PULLED OUT OF GRADE 11 TO WORK IN THE COAL MINE, AND HE GOT A LUCKY BREAK FROM BILL HOPE, TO WORK IN GALT GARDENS WITH PLANTS, BEFORE HE SIGNED UP [FOR THE WAR EFFORT]. THAT WAS SIGNIFICANT, AND THEY BECAME FRIENDS WHEN HE RETURNED FROM THE WAR…HE WAS A GOOD MENTOR TO DAD, AND THAT’S WHERE [HIS] KNOWLEDGE OF PLANTS GREW. [DAD] ENLISTED, BECAUSE THEN HE HAD A CHOICE. HE DIDN’T WANT TO FIGHT IN THE FRONT-LINE, SO, IF YOU VOLUNTEERED EARLY, YOU GOT TO PICK AND CHOOSE WHAT YOU WANTED TO DO, SO HE PICKED ELECTRICAL ENGINEER, AND HE WAS REALLY WELL-TRAINED.” “MY DAD’S FAMILY CAME [FROM HOLLAND] IN THE ‘20S—’25—AND HIS DAD WANTED TO BE A FARMER HERE, AND [GRANDPA] WAS THE OLDEST, SO HE AGREED TO EMIGRATE FROM HOLLAND. THERE WASN’T ENOUGH LAND [IN HOLLAND]…AND HE DECIDED HE WANTED TO FARM SOMEWHERE ELSE, ‘CAUSE IT WOULDN’T HAVE WORKED OUT STAYING IN HOLLAND. SO, BECAUSE HE DIED IN THE ‘30S, TRYING TO SAVE THAT LITTLE BOY…WHO HAD FALLEN THROUGH THE ICE NEAR THE WEIR IN THE OLDMAN RIVER. THEY BOTH DROWNED…BUT HE HAD A FEW FAILURES, I THINK, WITH FARMING, AND HE DID WORK FOR THE COAL MINING COMPANY…WHEN [GRANDPA] DIED, THE CITY OF LETHBRIDGE GAVE HIS WIDOW, AND THE FAMILY, $30.00 A MONTH [I THINK IT WAS RELIEF MONEY]. SO DAD WAS HIGHLY-MOTIVATED. HE DIDN’T WANT TO GO OVERSEAS, AND BE KILLED…BUT, IF HE SIGNED UP EARLY, HE COULD PICK AND CHOOSE WHAT HE WANTED TO DO, AND START SENDING MONEY TO HIS MOTHER…ONLY DAD’S OLDEST SIBLING, GERTRUDE, WAS MARRIED. HIS OTHER SIBLINGS, ALICE, TINA, HARRY, AND JIM WERE YOUNGER AND NOT ABLE TO FINANCIALLY SUPPORT THEIR MOTHER. THE THREE YOUNGEST WERE STILL IN SCHOOL…THEY WEREN’T OF AN AGE WHERE THEY COULD WORK, AND SUPPORT THE MOTHER. SO, HE WAS IN A GOOD POSITION TO DO SO, BY SIGNING UP [FOR THE MILITARY IN 1940].” “[DAD] REALLY FELT CANADIAN, THROUGH-AND-THROUGH…AS A KID, HIS PARENTS TRUSTED HIM. HE WOULD BE GONE ALL WEEKEND, AT ALEXANDER WILDERNESS, JUST CAMPING WITH A FRIEND. THEY DIDN’T WORRY ABOUT HIM AT THE RIVER BOTTOM. HE LOVED THE COULEES…THIS WAS HOME. HOLLAND DIDN’T MEAN ANYTHING TO HIM, BECAUSE HE WAS SO YOUNG WHEN HE CAME HERE…HIS MOM COULDN’T GO BACK, AND SHE PROBABLY HADN’T BONDED AS WELL TO SOUTHERN ALBERTA, ESPECIALLY WITHOUT HER HUSBAND…THE IRONY…HE SPENT A LOT OF TIME IN HOLLAND [DURING THE SECOND WORLD WAR], AND HE WAS AN ASSET, BECAUSE HE COULD SPEAK SOME DUTCH, I’M NOT SURE HOW WELL, BUT IN EMERGENCIES THEY WOULD USE HIM." DARMODY ELABORATED ON HER PARENTS’ RELATIONSHIP, NOTING, “FOR DAD, [THE RELATIONSHIP WITH MOM] STARTED REALLY EARLY. MOM WAS 4 YEARS OLDER, AND HE FELL IN LOVE WITH HER WHEN HE WAS A LITTLE BOY. HE WOULD PLAY WITH HER YOUNGEST BROTHER, BUT 3-4 YEARS [AGE DIFFERENCE WHEN] YOU’RE YOUNG, IS A LOT…HE PROBABLY WAS A NICE KID, BUT SHE DIDN’T SHOW ANY INTEREST. BUT HE FELL IN LOVE WITH HER EARLY, AND HE PROCEEDED…MOM WOULD HAVE BEEN [LIVING] IN DIAMOND CITY. DAD MIGHT HAVE BEEN ON THE NORTH SIDE, THEY HAD A LITTLE HOUSE.” “THINGS WERE HAPPENING DURING THE GREAT DEPRESSION. MY MATERNAL GRANDMOTHER [VERONA NAGY], HAD AN EXTREMELY UNHAPPY MARRIAGE. MY GRANDFATHER [STEVE NAGY], [HE] ALLEGEDLY DRANK TOO MUCH AND WOULD OFTEN SQUANDER HIS MEAGRE COAL-MINING EARNINGS ON ALCOHOL. IN 1933, SHE DECIDED TO HOMESTEAD IN PEACE RIVER AREA [HARMON VALLEY]. HER THIRD OLDEST SON [LEWIS] CAME WITH HER, AND HE BUILT HER A LOVELY LOG CABIN. DURING THE DEPRESSION, MOM [IRENE NAGY] SPENT TIME IN CHICAGO WITH HER BROTHER STEVE AND HIS FAMILY. SHE ALSO ALTERNATED BETWEEN LETHBRIDGE AND PEACE RIVER. IN PEACE RIVER THEY HAD LOTS TO EAT BUT VERY LITTLE MONEY. THROUGH HER YOUNGEST BROTHER, MITCH, MOM MOST LIKELY LEARNED THAT DAD WAS ABOUT TO ENLIST IN [THE SECOND WORLD WAR]. IN 1939, MY PARENTS ALLEGEDLY STARTED DATING. THEY WOULD SPEND LOTS OF TIME IN THE COULEES HAVING PICNICS AND PICKING SASKATOON BERRIES…THE THIRD OLDEST BROTHER, AND ALL HER SIBLINGS, EXCEPT FOR HER SISTER, MARY, MOVED EVENTUALLY TO PEACE RIVER, AND JUST THE TWO SISTERS REMAINED. DAD ASKED MOM, WHEN THEY MARRIED IN ’43, TO MAKE HER HOME BASE LETHBRIDGE. SHE WAS GOING BACK AND FORTH…TO HELP HER MOM.” “THEY STARTED TO COURT IN THE ‘40S [AND MARRIED IN 1943], BECAUSE HE GOT A LEAVE FROM THE TRAINING CAMP IN ONTARIO…SHE WAS IN PEACE RIVER AT THE TIME, WHEN HE ASKED HER TO MARRY HIM, AND HE WAS ON A SHORT LEAVE. HE TOOK HIS MOTHER, IN HIS CAR, FROM LETHBRIDGE TO PEACE RIVER, AND IT WAS LIKE A MAJOR EXCURSION ON GRAVEL ROADS, TO MEET MOM, AND THEN THE TWO MOTHERS WERE TOGETHER.” DARMODY ELABORATED ON HOW SHE OBTAINED HER PARENTS’ COLLECTION INCLUDING THE TROPHY, NOTING, “[THE OBJECTS CAME INTO MY POSSESSION TOGETHER]…WHEN DAD DIED…[IN] 2011.” “[I WANTED TO KEEP THEM BECAUSE] THEY CONNECT ME TO THE PAST, AND WHEN…THE FORMER GOVERNOR-GENERAL’S WIFE WAS IN LETHBRIDGE, SHE WROTE THAT BOOK, ‘MATRONS AND MADAMS’, SHE SAID IT USUALLY TAKES 3-4 GENERATIONS FOR THE WAR EFFECTS TO BE ELIMINATED, FROM THE GREAT-GREAT-GREAT GRANDKIDS, SO, I WAS INDIRECTLY AFFECTED BY THE WAR…I HAD TO TEACH SOCIAL STUDIES AT ONE POINT, IN VANCOUVER, SO I LEARNED, DID A LOT OF PREPARATION. DAD WAS SUPPORTING HIS WIDOWED MOTHER…AFTER 1943, HE WAS SENDING MONEY TO MOM. HE DIDN’T HAVE A LOT OF SPARE MONEY TO BUY THINGS AND SEND BACK HOME…SO THE THINGS HE SENT WERE HUMBLE.” ACCORDING TO THE SERVICE PAY BOOKS OF JOHN W. FROUWS HELD IN THE GALT ARCHIVES [20191038011], STAFF SERGEANT FROUWS [M-35922] ATTESTED WITH THE CANADIAN FORCES ON JUNE 3, 1941. THE WAR DIARY OF THE 10TH CANADIAN FIELD PARK COMPANY, ROYAL CANADIAN ENGINEERS, HELD IN THE GALT ARCHIVES [20191038023] DETAILS THE ACTIONS OF ST. SGT. FROUWS AND HIS COMPANY. AT CAMP PETAWAWA, ONTARIO IN 1942, THE 10TH CANADIAN FIELD PARK COMPANY TOOK ON MEMBERS OF THE 2ND CORPS. FIELD PARK COMPANY, R.C.E., AND ON JULY 22ND, 1942 THE UNIT WAS CHANGED TO THE 2ND CORPS. FIELD PARK COMPANY, R.C.E. ON AUGUST 14TH, 1943, THE NEW WAR ESTABLISHMENT CREATED AN ELECTRICAL AND MECHANICAL UNIT WITHIN THE FIELD PARK COMPANY. AN ENTRY FROM MARCH 1, 1943 RECORDS FROUWS AS BEING PROMOTED FROM L.CPL. TO A.CPL. AT CAMP PETAWAWA, ONTARIO. FROUWS WAS FURTHER PROMOTED TO L.SGT. ON JUNE 24, 1943 AT ALDERSHOT, NOVA SCOTIA, TO A.SGT. ON JULY 26, 1943, AND TO S.SGT. ON SEPTEMBER 29, 1943 AT MICKLEHAM, SURREY, ENGLAND. THE 2ND CORPS. FIELD PARK COMPANY MOVED FROM CAMP PETAWAWA, ONTARIO TO HALIFAX, NOVA SCOTIA BEFORE PROCEEDING TO ENGLAND IN AUGUST 1943. THE UNIT SAILED FROM ENGLAND TO JUNO BEACH, NORMANDY IN TWO PARTS ON JULY 11, 1944. ON JULY 14, 1944, S.SGT. FROUWS WAS LISTED AS ACCOMPANYING L.CPL. TRETHEWAY IN “DE-BOOBY-TRAPPING” THE TELEPHONE EXCHANGE IN CAEN, FRANCE. THE COMPANY PROCEEDED THROUGH HOLLAND AND BELGIUM IN 1944 AND 1945, STATIONING AT NIJMEGEN, HOLLAND ON SEPTEMBER 22, 1944, BOURG LEOPOLD, BELGIUM ON SEPTEMBER 29, 1944, WEMMEL, BELGIUM ON OCTOBER 2, 1944, KESSEL, BELGIUM ON OCTOBER 10, 1944, AND TILBURG, HOLLAND BY NOVEMBER 1944. THE COMPANY REMAINED IN HOLLAND UNTIL APRIL 19, 1945, WHEN IT MOVED TO NORDHORN, GERMANY AND REMAINED THROUGH VE DAY ON MAY 9, 1945. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND COPIES OF THE LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190010001-GA.
Catalogue Number
P20190010003
Acquisition Date
2019-06
Collection
Museum
Images
Less detail
Other Name
KNIT LEAVES
Material Type
Artifact
Materials
WOOL, PLASTIC
Catalogue Number
P20190020043
  1 image  
Material Type
Artifact
Other Name
KNIT LEAVES
Date
2017
Materials
WOOL, PLASTIC
No. Pieces
3
Length
130.5
Width
10.1
Description
A. KNIT LEAVES HANGING ART, 130.5CM L X 10.1CM W; STRAND HAS SEVEN MULTICOLOUR AND OMBRE RED, ORANGE, YELLOWS, GREEN, BLUE, AND PURPLE LEAVES; BOTTOM OF STRAD HAS ORANGE FLOWER TIED ON. LOWEST LEAF ON STRAND HAS THREE BUTTONS OF RED, BLACK, AND ORANGE PLASTIC. LEAVES ARE ALL TIED TOGETHER; EDGES OF LEAVES CURL IN; OVERALL EXCELLENT CONDITION. CROCHET OR KNIT?] LEAVES B. KNIT LEAF FOR HANGING STRAND, 15.1CM L X 10CM W; LEAF IS COMPRISED OF BLUE AND GREEN OMBRE YARN. LEAF IS TIED AT TOP; OVERALL EXCELLENT CONDITION. C. KNIT LEAF FOR HANGING STRAND, 13.5 L X 7.8 W; LEAF IS COMPRISED OF BRIGHT GREEN YARN. LEAF IS TIED AT TOP; OVERALL EXCELLENT CONDITION.
Subjects
ART
Historical Association
DECORATIVE ARTS
COMMEMORATIVE
History
ON JULY 25, 2019, GALT MUSEUM CURATOR AIMEE BENOIT AND COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ELISABETH HEGERAT REGARDING HER DONATION OF PRIDE MATERIALS. ON THE HANGING LEAF ART, HEGERAT NOTED, “THE KNIT PIECES WERE PART OF A WINTER DISPLAY AT SHANNON PHILLIPS [M.L.A. CONSTITUENCY] OFFICE, AS PART OF PRIDE FESTS DOWN TOWN BUSINESS DECORATING CONTEST IN 2017. ONE OF THE ASSISTANTS IN [SHANNON PHILLIP'S] OFFICE, NATASHA FAIRWEATHER, IS ALSO A CROCHETER AND SHE HAD BEEN INVOLVED WITH A PUBLIC YARN BOMBING PROJECT DOWN AT THE PUBLIC LIBRARY THE YEAR BEFORE FOR THE WORD ON THE STREET FESTIVAL. THEY DECIDED THEY WOULD ASK PEOPLE IN THE COMMUNITY TO CONTRIBUTE KNITTING/CROCHET LEAVES, FLOWERS AND OTHER THINGS TO DO A RAINBOW DISPLAY FOR THEIR WINTER DISPLAY (WHICH IS HOW SHE GOT IN TOUCH WITH ME). THERE WAS A LOVELY LITTLE WRITE UP, WHICH I THINK I INCLUDED, ABOUT COLLABORATIVE COMMUNITY EFFORT AND MANY SMALL THINGS TOGETHER ADDING UP TO A LARGER WHOLE, WHICH WAS THE THEME OF THE WHOLE PIECE. I WAS ONE OF THE PEOPLE SHE ASKED TO CONTRIBUTE. I KNIT A WHOLE BUNCH OF LEAVES…NOT ALL THE PIECES HAVE MADE IT HERE, BUT SOME OF THE LEAVES I KNIT ARE HERE…WHEN NATASHA MOVED AWAY TO VANCOUVER EARLIER THIS YEAR, SHE ASKED IF I WANTED TO TAKE OVER THE LEFTOVERS BECAUSE SHE KNEW I WOULD FIND SOMETHING TO DO WITH THEM, AND HERE THEY ARE.” “PRIDE FEST FOR A NUMBER OF YEARS HAS RUN A BUSINESS WINDOW DECORATING COMPETITION DURING PRIDE MONTH. I THINK THE RESULTS FROM PREVIOUS YEARS ARE ON THE PRIDE FEST WEBSITE RIGHT NOW. I KNOW IT WAS RUNNING FOR AT LEAST THREE OF FOUR YEARS. IT DIDN’T HAPPEN [IN 2018] BUT IT MIGHT HAPPEN AGAIN THIS YEAR [IN 2019]. A LOT OF THE DOWNTOWN BUSINESSES PARTICIPATE AND THERE HAS BEEN ONE OR TWO—I THINK IT WAS BUBBLES CAR WASH—THAT ARE OUTSIDE OF THE DOWNTOWN CORE THAT ALSO DID SOMETHING AS WELL.” “I THINK [THE KNIT AND CROCHET PROJECT] WAS JUST AN INVITE ONLY, PEOPLE THAT NATASHA KNOW COULD PARTICIPATE. PROBABLY NOT ANY EXCLUSIVITY REASON, BUT JUST FOR THE SAKE OF EASILY MANAGING THE PROJECT…I DECIDED TO TAKE PART BECAUSE I SUPPORTED THE POLITICIAN WHO WAS DOING IT AND BEING A KNITTER, I THOUGHT IT WAS NEAT THAT [PRIDE] WAS [THE] THEME THAT THEY CHOSE. I ALSO HAD BUNCH OF LEFT-OVER SCRAP YARN IN VARIOUS COLORS THAT I COULD USE UP IF I DID THIS, AND I HAD A PATTERN WHICH I COULD WHIP STUFF UP REALLY QUICKLY.” “[I CHOSE LEAVES] PARTLY BECAUSE I FOUND A PATTERN THAT I LIKED THAT LOOKED OKAY, AND THAT I COULD DO RELATIVELY QUICKLY, AND PARTLY BECAUSE IT FIT THE THEME NATASHA ASKED FOR. HONESTLY, ALL THE FLOWER PATTERNS I FOUND WERE TOO FINICKY AND DIDN’T LOOK THAT GREAT. IT WAS MOSTLY THE AESTHETICS…I THINK THERE WERE ABOUT EIGHT OR NINE [PEOPLE WHO CONTRIBUTED]. THERE WERE A BUNCH OF US AROUND THE TABLE WHEN IT CAME TO STARTING TO PUT STUFF TOGETHER, AND I KNOW A FEW PEOPLE JUST DROPPED STUFF OFF…I THINK MOST PEOPLE DID THEIR STUFF INDIVIDUALLY, ALTHOUGH I THINK THERE WAS ONE EVENING WHERE WE DID GET TOGETHER AT THE TENTH AT SHANNON’S OFFICE, BUT I COULD BE GETTING IT MIXED UP WITH WHEN WE PUT THINGS UP.” “[OUR GROUP] DID NOT WIN THE PRIZE. SOMEBODY ELSE WON…I THINK IT WAS ONCE UPON A BRIDE THAT YEAR. AND IF I AM REMEMBERING RIGHT, THEY DID A GORGEOUS, VERY ELABORATE DISPLAY WITH RAINBOW PATTERNS BEHIND THE WEDDING DRESSES, MADE WITH STRING PULLED INTO STRAIGHT LINES AND TRIANGLES. HOWEVER, I THOUGHT THAT THE THEME FOR THIS ONE SHOULD HAVE BEEN “GIVE THEM MORE WEIGHT WE SHOULD HAVE WON.” THERE WERE A LOT OF COOL ENTRIES, I AM NOT BITTER.” IN AN INTERVIEW WITH HEGERAT FROM JULY 25, 2019, HEGERAT RECALLED HER TIME WORKING WITH THE LETHBRIDGE PRIDE FEST SOCIETY, NOTING, “I THINK IT WAS 2016 THAT I FIRST STARTED VOLUNTEERING WITH THE PRIDE BOARD…WHEN WE MOVED HERE IN 2006…PRIDE IN THE PARK DIDN’T EXIST, OR THE PARADE, OR ANYTHING ELSE. THERE WAS A BARBECUE, AND WE NEVER REALLY WENT TO IT, BECAUSE WE DIDN’T KNOW ANYBODY…WE KNEW WE COULD SHOW UP AND PEOPLE WOULD BE GLAD WE WERE THERE, AND EVERYTHING ELSE, BUT IT STILL KIND OF FELT LIKE WE WOULD HAVE BEEN CRASHING SOMEBODY’S FAMILY BARBECUE, BECAUSE WE DIDN’T KNOW ANYONE.” “WHEN PRIDE IN THE PARK STARTED, I KNOW THERE WERE A COUPLE OF YEARS WHERE WE WANDERED OVER AND CHECKED IT OUT, AND EVERYTHING ELSE, BUT [I] DIDN’T REALLY KNOW ANYBODY. WHEN, I THINK IT WAS 2015, [ONE OF THE PRIDE IN THE PARK PROGRAMS] WAS THEY HAD AN AUTHOR FROM CALGARY, A POET, COME AND DO A READING…WE WENT, AND WE LISTENED TO HER READ, AND I KNOW THE PEOPLE AT THE U OF L BOOKSTORE QUITE WELL THROUGH DOING LIBRARY STUFF, AND SO WAS HANGING OUT WITH BECKY COLBECK, AND KARI TANAKA, AND ONE OF THEIR BOOKSTORE STAFF, NICK ANTSON—HE AND HIS HUSBAND, DERRICK, WERE ON THE PRIDE BOARD. SO I ENDED UP TALKING WITH THEM, AND THEN STARTED THINKING…“MAYBE WE SHOULD DO SOMETHING AT THE LIBRARY NEXT YEAR.” AND THAT, AND SORT OF A FEW OTHER COMMITMENTS WITH WORK, AND A PUSH FROM THE LIBRARY TO GET MORE INVOLVED…IN THE COMMUNITY…I SHOWED UP FOR THE FIRST PRIDE FEST BOARD MEETING, AND JUST KEPT SHOWING UP…AT THE BEGINNING OF THE YEAR IN, I THINK THE MEETING WOULD HAVE BEEN LIKE OCTOBER, 2015, BUT IT WAS FOR THE 2016 PRIDE. SO, I HAVE BEEN INVOLVED AS A VOLUNTEER SINCE THEN, AND HAVE DONE SOME WORK LIAISING BACK AND FORTH BETWEEN PRIDE FEST AND THE LIBRARY FOR PARTNER PROGRAMS…FOR 2019 PRIDE, I’M FINISHING MY FIRST TERM AS AN ELECTED BOARD MEMBER.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENENT FILE P20190020001-GA.
Catalogue Number
P20190020043
Acquisition Date
2019-07
Collection
Museum
Images
Less detail
Other Name
CLOAK AND SASH
Material Type
Artifact
Materials
FABRIC, THREAD, YARN
Catalogue Number
P20200029009
  2 images  
Material Type
Artifact
Other Name
CLOAK AND SASH
Date
1929
Materials
FABRIC, THREAD, YARN
No. Pieces
2
Length
142
Width
77
Description
A) HAND SEWN RED CLOAK MADE FROM A LIGHT AND THIN FABRIC. THERE IS ONE ARM HOLE ON EACH SIDE AND THE NECK HOLE HAS A YELLOW SHINY EDGE SEWN ON WITH BLACK THREAD. THE WAIST IS HEMMED AROUND A WHITE DRAWSTRING, WHICH IS HANGING OUT ON ONE SIDE OF THE GARMENT. THERE IS A METAL SAFETY PIN ATTACHED TO THE END OF THE DRAWSTRING. THE BOTTOM OF THE CLOAK SKIRT IS FOLDED AND HEMMED WITH BLACK THREAD. THERE ARE SOME TEARS IN THE FABRIC AND THE HEMS ARE A BIT LOOSE AND UNEVEN. ON ONE ARM HOLE, THE HEM IS COMING APART. THE FABRIC IS WRINKLED. B) CREAM WHITE FABRIC SASH OR BELT WITH RED YARN CROSSED STITCHES ON ONE LONG SIDE EDGE AND BOTH OF THE SHORT ENDS. THE LONG EDGE WITHOUT THE RED CROSSED STITCHES HAS BEEN FOLDED OVER AND HEMMED. THE SASH IS COMPOSED OF THREE FABRIC SEGMENTS SEWN TOGETHER. WHERE THE SEGMENTS ARE ATTACHED, THE EDGES HAVE BEEN CUT WITH PINKING SHEARS AT THE SEAMS. ON THE SIDE WITHOUT THE RED CROSSED STITCHES, THE THREAD IS COMING LOOSE. ON ONE OF THE SHORT ENDS, THE RED YARN HAS COME UP ON THE CORNER. THE FABRIC IS SLIGHTLY WORN. LENGTH: 136CM WIDTH: 7.5CM
Subjects
CLOTHING-OUTERWEAR
Historical Association
ASSOCIATIONS
DECORATIVE ARTS
LEISURE
History
KENNETH RUSSELL, WHO PASSED AWAY IN 1983, WAS A LETHBRIDGE BOY SCOUT IN HIS YOUTH; A MEMBER OF THE CHURCH OF JESUS CHRIST OF LATTER-DAY SAINTS; AND LATER BECAME A SCOUT LEADER AND SCHOOL TEACHER. HE WAS ONE OF 150 CANADIAN CONTINGENT BOY SCOUTS TO ATTEND THE 3RD WORLD SCOUT JAMBOREE IN ENGLAND IN 1929, ALSO CALLED THE “COMING-OF-AGE” JAMBOREE DUE TO IT FALLING ON THE 21ST ANNIVERSARY OF THE PUBLICATION OF “SCOUTING FOR BOYS”. ACCORDING TO A MAY 9, 1929 LETHBRIDGE HERALD ARTICLE, KEN RUSSELL WAS SELECTED TO ATTEND THE WORLD JAMBOREE BY THE DISTRICT BOY SCOUT COUNCIL ALONG WITH FELLOW LOCAL KING SCOUT NORMAN MIDDLETON. THE COST OF THE TRIP WAS COVERED THROUGH FUNDRAISING EFFORTS. A SEPTEMBER 7TH, 1929 LETHBRIDGE HERALD ARTICLE MENTIONED THAT THE ATTENDEES FROM CANADA TRAVELLED BY BOAT ABOARD THE ANTONIA TO ENGLAND, THEN CONGREGATED WITH AROUND 50 000 SCOUTS FROM AROUND THE WORLD IN A CAMP IN ARROWE PARK. THE JAMBOREE CONSISTED OF VARIOUS EVENTS AND INCLUDED APPEARANCES FROM FOUNDER OF THE SCOUTING MOVEMENT BADEN-POWELL, THE DUKE OF CONNAUGHT, AND THE PRINCE OF WALES. ON THE 7TH OF AUGUST 2020, KEVIN MACLEAN MET WITH JOYCE ROSS, RICK ROSS, AND RON SHIELDS. THE THREE HAVE ALL BEEN INVOLVED WITH BOY SCOUTS, AND WERE CONSULTED TO PROVIDE INSIGHT INTO THE LATE KENNETH RUSSELL’S BOY SCOUT MATERIALS, WHICH WERE DONATED TO THE MUSEUM BY HIS DAUGHTER, KENNA ASPLUND. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THEIR DISCUSSION. THERE IS NO EVIDENCE TO SUGGEST WITH CONFIDENCE THIS WAS A COSTUME WORN AT THE JAMBOREE, NOR THAT BOTH ITEMS ARE ASSOCIATED WITH ONE ANOTHER. THE CONNECTIONS MADE BETWEEN THESE GARMENTS ARE SPECULATIVE AND CIRCUMSTANTIAL. RICK CONTEMPLATED WHAT THESE DONATED CLOTHING PIECES MAY HAVE BEEN USED FOR: “…WE THOUGHT THEY MIGHT BE A JAMBOREE COSTUME ORIGINALLY. WE KNOW [BOY SCOUTS] DO JAMBOREE COSTUMES WHICH THEY MAKE AT THE JAMBOREE...” THE COSTUME WAS STORED IN THE SAME CONTAINER AS THE SCOUTING MATERIALS, WHICH RICK ACKNOWLEDGED: “IT COULD BE THAT PLAY ENACTMENT WAS AT SCOUTS, WHICH IS WHY THAT [CLOTHING WAS STORED TOGETHER].” RON KNEW THE RUSSELL FAMILY, BUT WAS NOT AWARE OF KEN’S INVOLVEMENT WITH BOY SCOUTS: “…THIS [DONATION] ACTUALLY IS A TOTAL SURPRISE TO ME BECAUSE OF ALL OF THE YEARS THAT I GREW UP WITH [KEN RUSSELL’S] FAMILY, I NEVER…HEARD HIM SPEAK OF ANY SCOUTING EXPERIENCE, SO I WAS KIND OF SHOCKED WHEN I SAW THIS. HE OBVIOUSLY HAD A VERY VAST EXPERIENCE IN SCOUTING, BUT HE NEVER SHARED IT WITH ANYBODY THAT I AM AWARE OF.” ON SEPTEMBER 8TH, 2020 COLLECTIONS TECHNICIAN KEVIN MACLEAN MET WITH SIBLINGS KENNA ASPLUND, DALE RUSSELL, GRAEME RUSSELL, AND CHRISTOPHER (KIT) RUSSELL TO DISCUSS THEIR LATE FATHER KENNETH RUSSELL’S BOY SCOUT ITEMS THAT KENNA DONATED TO THE MUSEUM. THE FOLLOWING INFORMATION IS DERIVED FROM THEIR MEETING. KENNA SPOKE ABOUT HER DAD’S JOURNAL MENTIONING THE PERFORMANCES THE SCOUTS PUT ON: “…HE TALKS A LOT ABOUT THEM GETTING THEIR DISPLAYS READY AND THEIR STUNTS AND PUTTING ON THEIR PLAYS...” KENNA SAID HER MOM BRIEFLY SPOKE ABOUT THE SCOUT MATERIALS BEFORE HER PASSING: “…[MY MOM TOLD ME] THAT IT WAS [DAD’S] STUFF FROM THE WORLD JAMBOREE. SOMEHOW I KNEW BEFORE THAT HE HAD ATTENDED IT… THERE WASN'T ANYTHING SPECIFIC SHE SAID ABOUT ANY SPECIFIC ITEMS, BUT SHE SEEMED VERY AWARE WHAT ALL THE STUFF WAS.” KENNA EXPLAINED WHY SHE DECIDED TO DONATE THE ITEMS TO THE MUSEUM: “…ALTHOUGH MY MOTHER PASSED AWAY, HER HOUSE WAS NOT TOTALLY CLEANED OUT. SO WHEN GOING THROUGH ALL OF THE THINGS, SOME OF WHICH I HAD AT MY HOUSE…AND REALIZING THIS WAS SOMETHING VERY COOL…I JUST THOUGHT IT WOULD BE [VALUABLE] TO SOUTHERN ALBERTA BECAUSE IT ORIGINATED HERE. IT ALL HAD TO DEAL WITH BEING A CANADIAN SCOUT AND BEING ABLE TO GO TAKE PART IN THIS [JAMBOREE]. THERE WAS ONLY [A RELATIVELY SMALL NUMBER OF] SCOUTS FROM CANADA. I FOUND A BOOK THAT TOLD ME…OUT OF ALL OF ALBERTA THERE WERE ONLY SIX THAT WERE ALLOWED TO GO.” KENNA EXPLAINED HOW SHE WAS ACQUAINTED WITH A TRUNK THAT HOUSED THE SCOUT ITEMS: “…AS A CHILD I REMEMBER THE TRUNK IN…MY FIRST HOUSE IN DIAMOND CITY DOWN IN THE BASEMENT BY…STEEL CABINETS… I KNEW IT WAS A TRUNK OF DAD’S STUFF, BUT NOBODY EVER SHOWED ME AT THAT TIME WHAT WAS IN IT. IT WASN’T UNTIL LATER AT THE SECOND HOUSE WHEN WE TOOK IT OUT AND PUT IT INTO A ROUGH TOTE, THAT MOM EXPLAINED WHAT ALL OF THE STUFF WAS AND I HAD PINNED ON THINGS SO THAT I KNEW WHERE THEY WERE FROM.” WHEN ASKED IF THE OTHER SIBLINGS REMEMBERED SEEING THEIR FATHER’S SCOUT ITEMS AS KIDS, GRAEME RESPONDED: “I REMEMBER SEEING THEM BUT THEY WERE PACKED AWAY IN THE TRUNK. HE HAD A SPECIAL TRUNK THAT WAS HIS SCOUT TRUNK, AND THIS [DONATED] STUFF WAS IN THERE.” DALE ALSO REMEMBERED THE TRUNK OF SCOUT MATERIALS BEING IN HIS GRANDPARENT’S HOME AT AN EARLIER TIME: “I REMEMBER THE TRUNK WHEN IT WAS IN OUR GRANDFATHER’S HOME UPSTAIRS… DAD TOOK ME UP THERE TO LOOK AT IT. HE WAS PULLING STUFF OUT...” DALE CONTINUED: “HE DID NOT TALK ABOUT IT, HE JUST PULLED IT OUT AND SHOWED ME SOME OF IT. I WAS A BOY SCOUT AT THE TIME...” DALE REMEMBERED ANOTHER ITEM BEING IN THE TRUNK AT SOME POINT IN TIME: “…THERE USED TO BE A ROPE IN THAT BOX ALSO, BUT I DO NOT KNOW WHAT HAS HAPPENED TO IT. HE WAS DOING ROPE TRICKS WHEN HE WAS OVER IN ENGLAND AS A DEMONSTRATION.” DALE PROVIDED MORE DETAILS AND THE TEACHING HIS DAD SHARED ALONG WITH THE ROPE: “…[IT WAS] A WHITE BRAIDED COTTON ROPE. HE TOLD ME THE STORY THAT HE WAS ON A STREET CORNER IN LONDON DOING ROPE TRICKS AS PART OF THEIR ASSIGNMENT, AND A MAN CAME UP AND STARTED TALKING TO HIM WHO ACTUALLY HAPPENED TO BE FROM LETHBRIDGE. HE SAID THE…LESSON HE WAS TRYING TO EMPHASIZE TO ME AT THE TIME WAS, ‘NO MATTER WHERE YOU ARE PEOPLE PROBABLY KNOW YOU [SO] ACT ACCORDINGLY.’ I DON’T KNOW WHERE THE ROPE IS, I HAVEN’T SEEN IT FOR YEARS, BUT I DID SEE IT ONE TIME IN THAT BOX.” DALE ADDED: “I WAS PROBABLY A SCOUT, ABOUT TWELVE [OR] THIRTEEN YEARS OLD [WHEN HE TOLD ME THE STORY].” KIT RECOLLECTED WHAT HIS FATHER SHARED ABOUT TUMBLING AT THE WORLD BOY SCOUT JAMBOREE: “…WHEN I WAS IN SIXTH GRADE [MY DAD] TAUGHT ME IN COALHURST, AND HE TOLD THE WHOLE CLASS ABOUT BEING IN ENGLAND AND…BEING SHOWN AROUND SHERWOOD FOREST. I CAN’T REMEMBER WHO HE SAID THE OWNER OF THE PLACE WAS, SOME DUKE OR EARL, BUT HE SAID THE GUY TOOK GREAT PLEASURE IN TAKING [THE SCOUTS] AROUND AND SHOWING THEM HOW IN SHERWOOD FOREST, THERE WERE CAVES THAT WERE COVERED IN VINES, WHICH ADDED TO THE MYSTIQUE OF ROBIN HOOD, SO TO SPEAK... [HE ALSO TALKED ABOUT] READING THE DIARIES ABOUT HIM DOING TUMBLING…AS THEY PREPARED TO GO TO THE JAMBOREE. THEY WENT TO OTTAWA AND PRACTICED. [THOSE ARE THE MEMORIES] I HAVE.” A SEPTEMBER 7TH, 1929 LETHBRIDGE HERALD ARTICLE DOCUMENTED KIT’S MEMORY OF KEN’S STOP IN OTTAWA, NOTING THAT “LEAVING LETHBRIDGE THE SCOUT’S WERE GIVEN A WEEK’S SPECIAL TRAINING AT OTTAWA UNDER THE DIRECTION OF REV. G. GUITON. AT THE CAPITOL…TUMBLING [WAS] PRACTICED”. KENNA ALSO REMEMBERED SOME FRAGMENTS HER DAD HAD TOLD HER ABOUT THE JAMBOREE: “…HE TOLD ME ABOUT RUNNING AROUND THE TENT AND RUNNING INTO THE PRINCE OF WALES, AND HOW EMBARRASSED HE WAS AND HOW ‘UN-SCOUT-LIKE’ HIS CONDUCT WAS… I DO REMEMBER HIM QUITE OFTEN MESSING AROUND AND PRETENDING TO DO THE SWORD DANCE USING STICKS AND THE STUFF HE HAD BEEN TAUGHT WHEN HE WAS IN ENGLAND. IT IS INTERESTING, BECAUSE I AM READING THIS ONE BOOK; IT IS WRITTEN BY LORD BADEN-POWELL BUT IT IS A SUMMARY OR A REPORT ON THE CANADIANS TO HIS EXCELLENCY COUNT WELLINGTON WHO WAS THE CHIEF SCOUT FOR CANADA. HE [TALKED ABOUT]...THE CANADIAN SCOUTS AND THE VISITORS THEY HAD TO THEIR CAMP AND…ABOUT HOW THE SCOTTISH CONTINGENT CAME OVER AND TAUGHT THEM ALL THEIR FOLK DANCING. I AM WONDERING IF THAT IS WHERE THAT CAME FROM, [HOWEVER MY DAD] NEVER ACTUALLY SAID THAT.” DALE SHARED ANOTHER OUTING HIS FATHER WENT ON WITH BOY SCOUTS: “…HE SPENT I THINK A SUMMER...IN GLACIER PARK WITH THE AMERICANS AND HE WAS SHORT HIS SWIMMING [BADGE] TO GET HIS EAGLE SCOUT ON THE U.S. SIDE. THE REASON HE COULD NOT DO THAT WAS BECAUSE HE SAID THE WATER WAS TOO COLD AND HE KEPT LOSING HIS BREATH WHEN HE WAS DIVING IN THE WATER TRYING TO PASS THEIR SWIMMING REQUIREMENTS. OTHERWISE, HE WOULD HAVE BEEN AN EAGLE SCOUT IN ADDITION TO A QUEEN SCOUT…OR KING SCOUT, WHATEVER IT WAS AT THAT TIME. HE ALSO TALKED ABOUT THAT CAMP. THEY HAD A CUB COME INTO THE CAMP, SO THE BOYS FORMED A CIRCLE AROUND IT, THEY WERE GOING TO CATCH IT. SO THESE SCOUTS ALL GOT IN A CIRCLE AND WENT AROUND THIS CUB, THINKING THEY WERE GOING TO CORRAL [AROUND] IT, AND HE SAID THE CUB TOOK OFF AND IT JUST KNOCKED THE BOYS OVER. HE SAID, ‘NEVER UNDERESTIMATE THE STRENGTH OF A BEAR’… I THINK THAT [STORY] AND BUILDING THE TRAIL ARE ABOUT ALL I CAN REMEMBER OF WHAT HE SAID…” WHEN ASKED TO SPEAK ABOUT THEIR DAD’S INVOLVEMENT IN BOY SCOUTS, KIT SAID: “…WHEN I BECAME A SCOUT LEADER, HE WAS TOTALLY SUPPORTIVE OF ME DOING IT ALL. HE REALLY LIKED THE SCOUT PROGRAM.” KIT WENT ON: “I THINK BECAUSE [SCOUTING] GAVE KIDS DIRECTION… IT GAVE PARTICULARILY CITY KIDS SOMETHING TO KEEP THEM OUT OF TROUBLE. IT GAVE THEM SOMETHING TO BE DOING THAT WAS WORTHWHILE. IT IS A WORTHWHILE PROGRAM.” DALE ALSO INTERPRETED THE IMPORTANCE OF THE SCOUTS TO HIS DAD: “…HE WAS A VERY SMALL INDIVIDUAL. WHEN HE WENT TO UNIVERSITY HE WAS NINETY-EIGHT POUNDS. IN THE LETHBRIDGE HERALD THERE ARE MANY REFERENCES TO HIS AWARDS IN TRACK-AND-FIELD, SO HE WAS VERY ATHLETIC, BUT HE WAS VERY TINY. THE SCOUTING PROGRAM GAVE HIM SELF-CONFIDENCE. THERE ARE MANY ARTICLES WHEN HE WAS IN HIGH SCHOOL IN…THE PAPER…AT THE TIME, ACKNOWLEDGING HIS AWARDS IN TRACK-AND-FIELD.” DALE CONTINUED: “…I NEVER WENT VERY FAR IN SCOUTING. I ENJOYED IT, BUT I DID NOT ACCOMPLISH [EVEN CLOSE TO] WHAT HE DID...” DALE SPOKE ON HOW HIS DAD USED THE LESSONS HE LEARNT THROUGH SCOUTS IN HIS PARENTING: “…HE WAS VERY RETICENT TO PUSH HIMSELF FORWARD; HE PREFERRED TO BE ON THE BACK SEAT OF THINGS. HE HAD A LOT OF PRIDE IN [THESE OBJECTS] OBVIOUSLY BY KEEPING [THEM], BUT HE NEVER REALLY DEMONSTRATED IT… HE ONLY TALKED ABOUT IT IN PASSING WHEN THERE WAS A TOPIC THAT IT WAS RELEVANT TO. OTHER THAN THAT, HE DID NOT. FOR EXAMPLE, GIVING ME A LECTURE ON MY CONDUCT, EVEN WHEN I WAS AWAY FROM HOME, AND WITH THAT REFERENCE, THE ROPE TRICK. THAT WAS HIS STYLE, IT WASN’T TO TELL US HOW HE WAS ON THE CORNER DOING ROPE TRICKS, IT WAS TO TELL ME TO PAY ATTENTION.” KENNA ADDED: “AND I THINK THAT IS THE SAME REASON WHY I HEARD ABOUT HIM RUNNING AROUND THE TENT, WAS BECAUSE SOMETIMES I WOULD RUN TO THINGS OR PEOPLE HEAD-LONG.” KENNA CONTINUED TO SPEAK ABOUT GROWING UP WITH THEIR DAD UTILIZING LESSONS LEARNED THROUGH BEING A SCOUT: “…I JUST REMEMBER BEING REALLY JEALOUS THAT MY BROTHERS HAD THESE COOL [SCOUT] HATS… [I WAS] READING HIS JOURNAL…LAST NIGHT AND THEN I FOUND THIS NOTEBOOK THAT HE HAS HANDWRITTEN ALL THAT IS REQUIRED OF A SCOUT LEADER AND THE TRAINING COURSE... AS I WAS READING THROUGH IT, I REALIZED THAT THE TRAINING AND KNOWLEDGE THAT HE HAD, HE DID USE THROUGHOUT HIS LIFE. IT WAS LITTLE THINGS, JUST IN TEACHING YOU HOW TO WALK DOWN THE COULEE AND CHECK FOR RATTLESNAKES. A LOT IT WAS HIS KNOWLEDGE THAT HE HAD LEARNED AS A SCOUT AND AS A SCOUT LEADER. HE WAS JUST CALMLY PASSING ON, LIKE DALE SAID, AS THE MOMENT [WARRANTED] IT, NOT NECESSARILY AS A BIG THING.” FOR MORE INFORMATION, OR TO ACCESS THE FULL INTERVIEW TRANSCRIPTS, PLEASE SEE THE DONATION’S PERMANENT FILE.
Catalogue Number
P20200029009
Acquisition Date
2020-07
Collection
Museum
Images
Less detail
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
FELT, WOOD, PAINT
Catalogue Number
P20170023002
  2 images  
Material Type
Artifact
Date Range From
1940
Date Range To
1950
Materials
FELT, WOOD, PAINT
No. Pieces
1
Length
37
Width
30
Description
RED FELT BANNER WITH TOP FORMING A STITCHED LOOP FIXED TO WOODEN ROD. BANNER IS FRINGED AT THE BOTTOM AND FRONT HAS RED AND BLACK PAINTED SCENE DEPICTING FORT MACLEOD, TEEPEES, AND MOUNTAINS WITH TEXT “ORIGINAL HOME OF THE MOUNTIES, FORT MACLEOD”. BACK HAS WHITE PAPER LABEL ATTACHED WITH BLACK FADED TEXT “JUNIOR FOREST WARDENS & [ILLEGIBLE], FORT MACLEOD, ALBERTA, CANADA”. FRONT AND BACK ARE CREASED, AND FRONT HAS STAIN AT TOP BELOW ROD; OVERALL VERY GOOD CONDITION.
Subjects
DOCUMENTARY ARTIFACT
Historical Association
DECORATIVE ARTS
SAFETY SERVICES
History
ON JULY 21, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED GLENN AND JOANNE ALLEN REGARDING THEIR DONATION OF RCMP AND LETHBRIDGE MEMORABILIA. GLENN ALLEN WAS RAISED IN LETHBRIDGE, AND COLLECTED THE OBJECTS AS A CHILD IN LETHBRIDGE. ON THE RCMP FIGURINE, ALLEN RECALLED, “THESE TWO MOUNTED POLICE ITEMS, THE BANNER AND THE LITTLE STATUETTE…I WAS YOUNG, IN THE [HOMEFRONT] PERIOD FROM 1940-1945. LETHBRIDGE WAS A MAJOR BASE FOR THE COMMONWEALTH AIR TRAINING THING. WE HAD YOUNG BRITISH AIRMEN COME, AND THEY LIVED EVERYWHERE. THEY BOARDED WITH PEOPLE; THEY STAYED ON BASE, BUT WHEN THEY HAD A DAY OFF, IT WAS ONE OF THE RESPONSIBILITIES OF THE PEOPLE OF LETHBRIDGE TO TAKE THEM ON LITTLE JOURNEYS TO PLACES. I CAN REMEMBER GOING WITH THEM…TO FORT MACLEOD, AND THEN TO PINCHER CREEK, AND WE HAD PLUMS AND CHERRIES. I CAN REMEMBER MY MOTHER BRINGING THIS BAG OF FRUIT OUT, AND SAYING TO THE ONE YOUNG FELLOW, “WOULD YOU LIKE A PIECE OF FRUIT?” HE WAS SITTING IN THE FRONT SEAT, TURNED TO MY MOTHER [WHO] WAS DRIVING THE CAR, [THEN] HE TURNED TO HIS BUDDIES IN THE BACKSEAT, AND HE [SAID], “WOULD YOU LIKE A PLUM OR A CHERRY?” WE VISITED THERE, AND THOSE WERE GIFTS FROM THOSE AIRMEN TO ME, AT THAT TIME. I HAD A LITTLE MANTLE IN MY ROOM, DOWNSTAIRS IN CALGARY, AND HAD THEM THERE. WHEN WE WERE IN LETHBRIDGE, WE HAD NO SPACE AT ALL FOR ANYTHING. OUR FURNITURE HAD TO BE ALL STORED. THE ONLY POSSESSIONS OF OURS THAT WERE IN THAT HOUSE WERE OUR BEDS AND OUR DRESSERS, MAYBE A COUPLE OF CHAIRS…” “[I DISPLAYED THEM] MORE IN CALGARY, THAN LETHBRIDGE.” ALLEN ELABORATED ON HIS FAMILY’S HISTORY IN LETHBRIDGE, NOTING, “MY MOTHER’S FAMILY CAME TO LETHBRIDGE IN 1923, AND SHE WAS ABOUT 12 AT THE TIME. SHE DIDN’T GO TO SCHOOL ANY FURTHER AT THAT POINT IN TIME, AND SHE WAS HIRED ON AS A HOUSE GIRL FOR THE STOLZ FAMILY.” “MY DAD’S NAME WAS TOM, THOMAS SPENCE ALLEN, AND MY MOTHER WAS DOROTHY EMMA SCHIELS. MY DAD’S FAMILY - HIS FATHER AND, A FEW YEARS LATER MY DAD AND HIS MOTHER - CAME TO LETHBRIDGE IN 1910, AND THEY SETTLED IN NORTH LETHBRIDGE, AT 707 12A ST. NORTH. THERE WERE THREE BOYS AND ONE GIRL. THEY ALL WENT THROUGH HIGH SCHOOL AT GALBRAITH HIGH SCHOOL, AND MY DAD WORKED FOR THE RAILWAYS. HE STARTED AS A MESSENGER…HE WAS 15 YEARS OF AGE. HE PROGRESSED IN THE FREIGHT CPR BUSINESS, AND BECAME A FREIGHT INSPECTOR IN LETHBRIDGE, AND THEN, IN 1948, WAS TRANSFERRED TO CALGARY. MY MOTHER WAS ALWAYS A HOUSEWIFE. THEY LIVED ON 3RD AVENUE NORTH, BY THE LEALTA THEATRE. THEY HAD JUST ONE CHILD. I GREW UP [IN THAT HOUSE] UNTIL I WAS ABOUT AGE FIVE. AT THAT TIME, THE END OF THE WAR WAS COMING, AND SOLDIERS WERE RETURNING. RENTAL HOUSING BECAME ALMOST NOT AVAILABLE. ANYBODY WHO WAS RENTING AT THAT TIME, IF YOU HADN’T BEEN IN THE FORCES, YOU WERE REQUIRED BY ORDINANCE TO FIND ANOTHER PLACE. IT WAS A HOUSE WHICH WE HAD TO GIVE UP. WE’D BEEN THERE SINCE I WAS BORN. THEN WE MOVED OVER TO 12TH STREET C, THE 500 BLOCK. WE LIVED TEMPORARILY THERE, AND THEN THAT HOUSE WAS SECONDED. WE WERE ONLY THERE MAYBE 6 MONTHS, AND THEN WE MOVED INTO AN ATTIC SPACE AT 507 12TH STREET A NORTH, AND LIVED IN THE 2 ROOMS IN THE ATTIC - NO INSULATION, AND VERY COLD IN THE WINTER, AND HOT IN THE SUMMER.” “[MY FATHER] GOT A PROMOTION [IN 1948]. HE GOT A PROMOTION TO CALGARY…A BETTER JOB.” “MY MOTHER AND DAD LIVED IN LETHBRIDGE, GREW UP IN LETHBRIDGE. MY MOTHER WAS THE COLLECTOR IN THE FAMILY. WHEN I WAS MARRIED [IN 1962], ALL OF THESE THINGS SHE GAVE ME TO JUST TAKE ALONG, BECAUSE THEY HAD BEEN GIVEN TO ME. THEY ARE JUST LITTLE ITEMS THAT WE JUST DON’T KNOW WHETHER THEY HAVE ANY VALUE, AND RATHER THAN HAVE THEM JUST GO TO LAND FILL, WE’D LIKE YOU TO HAVE A LOOK AT THEM.” “TODAY IS OUR FIFTY-FIFTH WEDDING ANNIVERSARY, AND WE’RE RETURNING TO LETHBRIDGE BECAUSE WE’VE HAD THESE THINGS IN OUR POSSESSION FOREVER, AND WE WANT TO SEE IF THEY HAVE ANY VALUE TO THE MUSEUM. THEY ARE RELICS THAT WE’VE [GATHERED] FROM PAST YEARS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170023001-GA.
Catalogue Number
P20170023002
Acquisition Date
2017-07
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
FELT, PAINT, COTTON
Catalogue Number
P20170023003
  2 images  
Material Type
Artifact
Date
1935
Materials
FELT, PAINT, COTTON
No. Pieces
1
Length
79.3
Width
19.2
Description
GREEN FELT PENNANT WITH BROWN TRIM AT FRONT AND TWO SETS OF BLACK DOUBLE-STRAND TIES FOR SECURING PENNANT. PENNANT HAS WHITE PAINTED TEXT ON FRONT “LETHBRIDGE GOLDEN JUBILEE CELEBRATION, 1885 TO 1935”. PENNANT IS CREASED ACROSS FRONT AND BACK, AND TEXT ON FRONT IS DISCOLOURED AND YELLOWED; OVERALL VERY GOOD CONDITION.
Subjects
DOCUMENTARY ARTIFACT
Historical Association
COMMEMORATIVE
DECORATIVE ARTS
History
ON JULY 21, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED GLENN AND JOANNE ALLEN REGARDING THEIR DONATION OF RCMP AND LETHBRIDGE MEMORABILIA. GLENN ALLEN WAS RAISED IN LETHBRIDGE, AND COLLECTED THE OBJECTS AS A CHILD IN LETHBRIDGE. ON THE LETHBRIDGE JUBILEE PENNANT, ALLEN RECALLED, “PENNANTS WERE REALLY POPULAR IN THOSE DAYS. [MY FAMILY] LOVED PENNANTS, AND, IN MY ROOM, AS A CHILD, I HAD [IT] PINNED TO THE WALL.” “THAT [PENNANT] RELATES BACK TO [MY PARENTS’] MARRIAGE… THE PENNANT WAS THE YEAR THEY WERE MARRIED.” “[IT] WOULD HAVE BEEN POSTED ON MY WALL IN CALGARY. THEN IT WENT INTO A BOX WITH THE OTHER PENNANTS. I LIKELY HAD THOSE BEFORE I WAS ADOLESCENT IN AGE, AND THEN WHEN ADOLESCENCE CAME ALONG, THERE WERE OTHER THINGS THAT INTERESTED ME, AND THOSE PENNANTS WENT.” “PENNANTS…SHOWED THAT YOU HAD BEEN SOME PLACE. MY DAD BEING WITH THE RAILWAY, WE WENT BY RAIL TO VANCOUVER, FROM THE TIME I WAS ABOUT 3 ON. IF YOU STOPPED IN BANFF, YOU HOPPED OUT AND YOU GOT ONE OF THESE, AND YOU DID AT LAKE LOUISE, AND YOU DID AT REVELSTOKE, AND THEY WENT TO SEATTLE. THEY BROUGHT ME [PENNANTS].” “THEY WERE KIND OF ‘THE THING’, SO THEY BROUGHT THOSE BACK TO ME. I HAD DOZENS OF THEM.” ALLEN ELABORATED ON HIS FAMILY’S HISTORY IN LETHBRIDGE, NOTING, “MY MOTHER’S FAMILY CAME TO LETHBRIDGE IN 1923, AND SHE WAS ABOUT 12 AT THE TIME. SHE DIDN’T GO TO SCHOOL ANY FURTHER AT THAT POINT IN TIME, AND SHE WAS HIRED ON AS A HOUSE GIRL FOR THE STOLZ FAMILY.” “MY DAD’S NAME WAS TOM, THOMAS SPENCE ALLEN, AND MY MOTHER WAS DOROTHY EMMA SCHIELS. MY DAD’S FAMILY - HIS FATHER AND, A FEW YEARS LATER MY DAD AND HIS MOTHER - CAME TO LETHBRIDGE IN 1910, AND THEY SETTLED IN NORTH LETHBRIDGE, AT 707 12A ST. NORTH. THERE WERE THREE BOYS AND ONE GIRL. THEY ALL WENT THROUGH HIGH SCHOOL AT GALBRAITH HIGH SCHOOL, AND MY DAD WORKED FOR THE RAILWAYS. HE STARTED AS A MESSENGER…HE WAS 15 YEARS OF AGE. HE PROGRESSED IN THE FREIGHT CPR BUSINESS, AND BECAME A FREIGHT INSPECTOR IN LETHBRIDGE, AND THEN, IN 1948, WAS TRANSFERRED TO CALGARY. MY MOTHER WAS ALWAYS A HOUSEWIFE. THEY LIVED ON 3RD AVENUE NORTH, BY THE LEALTA THEATRE. THEY HAD JUST ONE CHILD. I GREW UP [IN THAT HOUSE] UNTIL I WAS ABOUT AGE FIVE. AT THAT TIME, THE END OF THE WAR WAS COMING, AND SOLDIERS WERE RETURNING. RENTAL HOUSING BECAME ALMOST NOT AVAILABLE. ANYBODY WHO WAS RENTING AT THAT TIME, IF YOU HADN’T BEEN IN THE FORCES, YOU WERE REQUIRED BY ORDINANCE TO FIND ANOTHER PLACE. IT WAS A HOUSE WHICH WE HAD TO GIVE UP. WE’D BEEN THERE SINCE I WAS BORN. THEN WE MOVED OVER TO 12TH STREET C, THE 500 BLOCK. WE LIVED TEMPORARILY THERE, AND THEN THAT HOUSE WAS SECONDED. WE WERE ONLY THERE MAYBE 6 MONTHS, AND THEN WE MOVED INTO AN ATTIC SPACE AT 507 12TH STREET A NORTH, AND LIVED IN THE 2 ROOMS IN THE ATTIC - NO INSULATION, AND VERY COLD IN THE WINTER, AND HOT IN THE SUMMER.” “[MY FATHER] GOT A PROMOTION [IN 1948]. HE GOT A PROMOTION TO CALGARY…A BETTER JOB.” “MY MOTHER AND DAD LIVED IN LETHBRIDGE, GREW UP IN LETHBRIDGE. MY MOTHER WAS THE COLLECTOR IN THE FAMILY. WHEN I WAS MARRIED [IN 1962], ALL OF THESE THINGS SHE GAVE ME TO JUST TAKE ALONG, BECAUSE THEY HAD BEEN GIVEN TO ME. THEY ARE JUST LITTLE ITEMS THAT WE JUST DON’T KNOW WHETHER THEY HAVE ANY VALUE, AND RATHER THAN HAVE THEM JUST GO TO LAND FILL, WE’D LIKE YOU TO HAVE A LOOK AT THEM.” “TODAY IS OUR FIFTY-FIFTH WEDDING ANNIVERSARY, AND WE’RE RETURNING TO LETHBRIDGE BECAUSE WE’VE HAD THESE THINGS IN OUR POSSESSION FOREVER, AND WE WANT TO SEE IF THEY HAVE ANY VALUE TO THE MUSEUM. THEY ARE RELICS THAT WE’VE [GATHERED] FROM PAST YEARS.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170023001-GA.
Catalogue Number
P20170023003
Acquisition Date
2017-07
Collection
Museum
Images
Less detail
Other Name
TRANSFER PATTERN
Date Range From
1940
Date Range To
1950
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20170022000
  2 images  
Material Type
Artifact
Other Name
TRANSFER PATTERN
Date Range From
1940
Date Range To
1950
Materials
PAPER, INK
No. Pieces
2
Length
43
Width
71.3
Description
A.WHITE ENVELOPE, 11.6CM LONG X 20CM WIDE; ENVELOPE PRINTED WITH BLACK IMAGE OF A WOMAN EMBROIDERING BESIDE TABLE AND LAMP AND BLACK TEXT “THE HERALD, HOUSEHOLD ARTS DEPT., LETHBRIDGE, ALBERTA, RETURN POSTAGE GUARANTEED, ALICE BROOKS DESIGN, YOU HAVE ORDERED TWO OR MORE PATTERNS, PLEASE BE ADVISED THAT THEY MAY [WORD TORN] ARRIVE AT THE SAME TIME BECAUSE [WORD TORN] ARE MAILED IN SEPARATE ENVELOPES”. FRONT OF ENVELOPE HAS WHITE LABEL WITH PRINTED TYPED BLACK TEXT “LH DEC. 3/47, MRS. OLE HUSTAD, 336 TALISMAN AVE., VANCOUVER, B.C., 7457”. FRONT OF ENVELOPE HAS BLACK HANDWRITTEN TEXT “EMBROIDERY” AND RED POSTAL SEAL “TORONTO, ONTARIO, DEC. 5, 1947”. BACK OF ENVELOPE HAS BROWN LONG STAIN ON LEFT SIDE; ENVELOPE IS TORN OPEN AT FRONT LEFT SIDE; ENVELOPE IS CREASED ALONG TOP AND RIGHT EDGES. OVERALL GOOD CONDITION. B. TRANSFER PATTERN PRINTED IN DARK GREEN ON PAPER, 43CM LONG X 71.3CM WIDE. PAPER IS FOLDED INTO FOUR SECTIONS LENGTH-WAYS AND WIDTH-WAYS; FIRST SECTION HAS PRINTED BLUE TEXT “ALICE BROOKS DESIGNS, T.M. REG. U.S. PAT. OFF., TRANSFER PATTERN, NO. 7457” AND TEXT WITH INSTRUCTIONS “MATERIAL REQUIREMENTS”, “PLACING MOTIFS”, “TRANSFERRING PATTERN”, “EMBROIDERY”, “COLOR SUGGESTIONS”, AND IMAGES OF FIVE TYPES OF STITCHES. PATTERN IS PRINTED OF: A PUPPY IN A CORNER WITH DARK FOOTPRINTS LEADING TO PUPPY; A PUPPY IN A WASHBIN WITH KETTLE POURING WATER ON IT; A CHICK CHASING A PUPPY; A PUPPY HIDING FROM A CHICK BEHIND A DOGHOUSE LABELLED WITH REVERSED TEXT “BEWARE!”, A PUPPY WITH A BONE IN GRASS LOOKING AT BUTTERFLY; A PUPPY OUTSIDE A WASHBIN WITH KETTLE AND SCRUB BRUSH, AND DARK FOOTPRINTS; A CHICK WITH LABELLED WITH REVERSED TEXT “TRIAL”. BOTTOM RIGHT CORNER HAS REVERSED NUMBERS “7457”. PAPER IS YELLOWED AND TORN IN CENTER; PAPER IS CREASED FROM FOLDS INTO SIXTEEN SECTIONS; TOP LEFT CORNER IS CREASED ALONG EDGE; OVERALL GOOD CONDITION.
Subjects
TEXTILEWORKING T&E
Historical Association
DECORATIVE ARTS
DOMESTIC
History
ON JUNE 22, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED PAT DEBOER REGARDING THE DONATION OF A NEEDLEWORK TRANSFER PATTERN. THE TRANSFER PATTERN WAS SOLD TO PAT’S MOTHER, MARGARET HUSTAD, IN 1947 THROUGH THE LETHBRIDGE HERALD. WHEN ASKED ABOUT THE PATTERN AND HOW SHE CAME TO ACQUIRE IT, DEBOER ELABORATED, “MY MOTHER [MARGARET HUSTAD] NEVER THREW ANYTHING OUT…AND I DON’T THROW ANYTHING OUT. SHE HAD THIS GREAT BIG SEWING BOX PLUS A GREAT BIG BOX OF PATTERNS…WHEN SHE DIED IT JUST GOT MOVED TO MY HOUSE. I STARTED TO GO THROUGH IT AND I’VE GIVEN…A LOT OF THE PATTERNS I TO THE DRAMA DEPARTMENT IN THE UNIVERSITY BECAUSE THEY WENT BACK TO ABOUT 1945.” “THIS PATTERN…CAME FROM LETHBRIDGE, SHE ORDERED THEM THROUGH THE LETHBRIDGE HERALD…THAT’S HOW SHE COULD HAVE ORDERED THEM. [IT’S A] TRANSFER…THEY’RE LITTLE PUPPY DOGS AND A DOG HOUSE…I THINK SHE BOUGHT IT TO USE IN THINGS IN MY ROOM.” “IT’S IMPORTANT FOR PEOPLE TO UNDERSTAND THAT…WE DIDN’T HAVE MASS [PRODUCED GOODS]. MOM DIDN’T HAVE MASS PRODUCED STUFF LIKE THEY DO NOW. SHE WAS AN EXPERIENCED SEAMSTRESS AND SHE MADE ALL MY CLOTHES, SHE ALTERED ALL HER CLOTHES AND SHE HAD SO MUCH [SEWING] STUFF. I THOUGHT WELL…I DON’T THINK IT WOULD HURT TO GIVE SOME OF THIS TO THE GALT SO THAT IF YOU EVER WANT TO DO A DIORAMA…THAT EXPLAINS WHAT WIVES AND FARM WIVES AND WOMEN DID YEARS AGO.” DEBOER SPOKE TO HER MEMORIES OF HER MOTHER’S SEWING, RECALLING, “I DON’T KNOW WHERE [MY MOTHER] LEARNED HOW TO SEW, OTHER THAN I THINK WOMEN ALWAYS SEWED. IT WAS A NECESSITY, DURING THE DIRTY ‘30S WHEN PEOPLE COULDN’T GET THINGS. WOMEN WOULD COME INTO TOWN HERE, THEY WOULD SEND THEIR HUSBANDS TO ELLISON’S AND GET FLOUR SACKS. THEY WOULD MAKE TEAS TOWELS AND PILLOW SLIPS, AND IT WAS SIMPLY BECAUSE THAT WAS WHAT THEY HAD, THAT’S WHAT THEY COULD GET. MOM WAS GOOD AT IT. DURING THE ‘30S, MOM AND HER FAMILY WERE LITERALLY LIVING HAND TO MOUTH AND MOM WAS MARRIED TO A GENTLEMEN FROM BARONS FOR FOUR OR FIVE YEARS AND SHE WAS RIGHT DURING THE MIDDLE OF THE ‘30S. [SHE] AND LLOYD HAD NO MONEY, BUT PEOPLE WOULD GIVE MOTHER THINGS. THEY WOULD GIVE HER OLD DRESSES AND THEY’D GIVE HER OLD COATS, AND SHE WOULD ALTER THEM SO THAT SHE COULD WEAR THEM, OR LLOYD COULD WEAR THEM. OTHERWISE SHE WOULDN’T [HAVE] HAD ANY CLOTHES TO WEAR.” “[MY LOVE OF SEWING] COMES FROM MY MOTHER…SHE ALWAYS WAS SEWING…THE SEWING MACHINE SAT IN THE KITCHEN, RIGHT WHERE SHE COULD GET AT IT. SHE TAUGHT ME TO SEW WHEN I WAS ABOUT TWELVE MAYBE, A SINGER SEWING MACHINE AND I DID IT. I COULD’VE USED A TREADLE SEWING MACHINE TOO BECAUSE MY AUNT THAT LIVED IN VULCAN…SHE HAD A TREADLE SEWING MACHINE, SO I’D USE THAT. MY MOM TAUGHT ME TO SEW ON AN ELECTRIC SEWING MACHINE AND SHE TAUGHT ME TO MAKE MY OWN DOLL CLOTHES. THAT’S HOW IT STARTED. I HAD AN AFFINITY FOR IT. IT WAS SOMETHING I FELT I LIKE I WAS GOING TO BE GOOD AT…YOU COULD PRODUCE SOMETHING THAT SOMEBODY ELSE COULD USE OR ENJOY. WHEN MY GIRLS WERE LITTLE I MADE ALL THEIR OWN CLOTHES. I SEWED EVERYTHING.” “MY MOTHER WAS THIRTY-EIGHT WHEN I WAS BORN…I CAME LATER IN LIFE. MY DAD [MOTHER’S SECOND HUSBAND] WAS SIXTY-SEVEN WHEN I WAS BORN. I’M MY DAD’S SECOND FAMILY. MOTHER ALWAYS SEWED, SHE SEWED FOR HER[SELF], SHE HAD A SISTER WHO HAD EIGHT CHILDREN AND FOUR GIRLS AND FOUR BOYS, AND MOM SEWED FOR THEM. THEY LIVED JUST OUTSIDE OF VULCAN…THE OTHER LADIES SEWED, BUT NOT TO THE EXTENT MY MOTHER DID. MY MOTHER REALLY WAS AN EXPERT SEAMSTRESS. SOME OF THE NEIGHBOURS WOULD BRING THINGS UP TO HAVE MOTHER FIX THEM, OR [SHE WOULD] SHOW THEM HOW TO FIX THEM. MOTHER WAS ALSO VERY GOOD AT MAKING DINING ROOM AND LIVING ROOM DRAPES. THE NEIGHBOURS WOULD SHOW UP WITH THESE BOLTS OF CLOTH AND SAY, “HERE MARGARET WE NEED DRAPES”…IT WAS A BIT UNUSUAL. THE OTHER LADIES IN THE NEIGHBOURHOOD DIDN’T DO IT LIKE SHE DID…I THINK THAT WAS PART OF THE REASON WHY I TOOK TO SEWING.” “MOM A GREAT BIG KITCHEN, AND HER IRONING BOARD WAS IN THE KITCHEN AND…THE SEWING MACHINE WOULD GET MOVED OUT TO THE KITCHEN, EVERY SO OFTEN IT WOULD GET PUT AWAY…AT CHRISTMAS WHEN SHE WAS CLEANING THE HOUSE UP FOR COMPANY. IT WOULD GET PUT AWAY. MOST OF THE TIME IT WAS IN THE KITCHEN. MOM WAS SEWING AND I APPARENTLY EXPRESSED AN INTEREST, AND SO SHE SAID “OKAY IF THIS WHAT YOU’D LIKE TO DO” THEN…SHE BOUGHT PATTERNS FOR DOLL CLOTHES THAT WOULD FIT MY DOLLS AND STARTED TEACHING ME. WE’D BE IN THE KITCHEN, AND IT WAS JUST SOMETHING THAT WAS DONE, BETWEEN THE TWO OF US…IT WAS A PROGRESSION OF HER EXPERTISE AND LOVE OF DOING IT.” “I DON’T THINK SHE EVER CHARGED [FOR HER SEWING]. IT WAS THEY ASKED HER AND SHE SAID OKAY AND THAT WAS THE WAY IT WAS. I CAN NEVER REMEMBER MY MOTHER CHARGING FOR HER SEWING.” “PART OF [SEWING] WAS BONDING WITH MY MOM. I WAS AN ONLY CHILD BEING RAISED BY PARENTS WHO WERE OLD. THERE [WERE] A LOT OF TIMES WHERE I WAS BY MYSELF BECAUSE OF THE PEOPLE MOM AND DAD ASSOCIATED WITH WERE OLDER…SO [SEWING] WAS SOMETHING THAT I COULD DO THAT WOULD KEEP ME OCCUPIED…WHILE MOM AND DAD WERE VISITING…IT WAS A GENERATIONAL THING, BECAUSE MOM AND DAD WERE ESSENTIALLY A GENERATION ABOVE THE PARENTS OF ALL MY FRIENDS. I SPENT A LOT OF TIME AS A YOUNG CHILD ALONE, SO I READ OR SEWED.” “[MY PARENTS] LIVED IN VANCOUVER [AFTER RETIRING]…THEY LIVED IN VANCOUVER FROM 1945 TO 1949.” “IN 1949 THEY MOVED, THEY DIDN’T COME TO LETHBRIDGE RIGHT AWAY. I WAS RAISED IN PENTICTON. MY DAD HAD BRONCHITIS AND WHEN THEY MOVED OUT TO VANCOUVER HE FOUND THE DAMP AIR WAS TOO HARD ON HIS LUNGS. HE DIDN’T WANT TO COME BACK TO GRANUM, SO HE WENT LOOKING FOR SOME PLACE TO MOVE TO THAT WAS DRIER SO HE FOUND PENTICTON.” “IN 1961 I MARRIED A BOY FROM BARONS BY THE NAME OF RONALD DEBOER. I HAD A CHILD, AND AS I’M AN ONLY CHILD, AND DAD AND MOM DECIDED IF THEY WERE GOING TO HAVE GRANDCHILDREN, THEY WANTED TO BE CLOSE TO THEIR GRANDCHILDREN AND MOVED BACK.” “SHE KEPT SEWING. SHE MADE CLOTHES FOR HER GRANDDAUGHTER…MOM WAS ALWAYS SEWING SOMETHING. I DON’T THINK SHE MADE TOO MANY THINGS FOR ME AFTER THEY MOVED BACK TO LETHBRIDGE HERE, BUT SHE CERTAINLY DID FOR [MY DAUGHTERS]. THERE WERE SIX YEARS BETWEEN BOTH MY TWO GIRLS, MY FIRST HUSBAND WAS KILLED A YEAR AND FOUR MONTHS AFTER WE WERE MARRIED IN A FARMING ACCIDENT. I WAS SINGLE FOR TWO YEARS…THE FACT THAT MOM AND DAD WERE HERE IN LETHBRIDGE WAS MY SAVING GRACE BECAUSE I WAS OUT ON THE FARM.” “I SEWED ALL THE TIME. THE LAST FEW YEARS IS ABOUT THE ONLY TIME I HAVEN’T SEWED. THIS LAST…TEN OR FOURTEEN YEARS THAT I HAVEN’T SEWED ON A REGULAR BASIS [WAS] BECAUSE I HAD TO GO BACK TO WORK FULLTIME. BUT PREVIOUS TO THAT I SEWED ALL THE TIME. MY MACHINE WAS NEVER PUT AWAY. IT WAS DOWN IN THE BEDROOM, IT WAS JUST NEVER PUT AWAY.” “[I ALWAYS SEWED] GENERALLY SPEAKING CLOTHES. I WAS EITHER ALTERING CLOTHES…MY HUSBAND’S GOT REALLY SHORT LEGS, TWENTY-EIGHT (28) INCH LEG, YOU CAN’T GET A PANT THAT’S GOT TWENTY-EIGHT INCH LEGS, SO I WAS SHORTENING HIS JEANS. ON THE FARM YOUR WORK CLOTHES GET RIPPED AND THE SEAMS COME APART AND I DID ALL THAT.” “[I LIKED SEWING FOR] THE FACT THAT I COULD SHUT EVERYTHING ELSE OUT, AND IT WAS MY TIME. I COULD FOCUS…IF I WAS IN THE MIDDLE OF A PROJECT, YOU HAD TO KNOW WHERE THE GROCERIES WERE BECAUSE I NEVER STOPPED. [MY HUSBAND] WOULD COME IN AND SAY “YOU KNOW, IT IS SUPPER TIME”, AND I’D SAY, “YEAH, MHMM”. IT WAS A WAY FOR ME TO FOCUS, AND IT WAS MY TIME. IT WAS JUST TIME THAT WAS MINE. I WAS BEING CREATIVE, AND FELT LIKE I REALLY BEING USEFUL…IT FELT GOOD.” WHEN ASKED ABOUT HER MOTIVATION TO DONATE THE PATTERN, DEBOER NOTED, “I HAVEN’T BEEN DOING ANY SEWING FOR A LONG TIME AND I DECIDED BECAUSE I HAVEN’T DONE ANY SEWING FOR A LONG TIME MAYBE I SHOULD GET GOING AND START DOING SOME SEWING. WHEN I STARTED SEWING, I STARTED GOING THROUGH ALL THIS STUFF, AND I THOUGHT THERE’S A LOT OF OLD INTERESTING STUFF IN HERE. THIS IS JUST A VERY BRIEF SAMPLE OF WHAT I HAVE AT HOME. I THOUGHT MAYBE I SHOULD GET A HOLD OF [THE MUSEUM] AND SEE IF THEY’D LIKE SOMETHING THAT THEY COULD USE TO DEMONSTRATE AT SOME POINT IN TIME THROUGH THE MUSEUM OF WHAT WOMEN USED TO DO…WHAT THEY WERE EXPECTED TO DO.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTS, PLEASE SEE THE PERMANENT FILE P20170022000-GA.
Catalogue Number
P20170022000
Acquisition Date
2017-06
Collection
Museum
Images
Less detail
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, WOOL
Catalogue Number
P20180022000
  2 images  
Material Type
Artifact
Date Range From
1950
Date Range To
1960
Materials
COTTON, WOOL
No. Pieces
1
Length
175
Width
61.5
Description
GOBELIN TAPESTRY, MACHINE-STITCHED AND WOVEN; SCENE WOVEN DEPICTS FOUR FIGURES IN A HOUSE AROUND A TABLE, THREE ADULTS AND A CHILD; INTERIOR OF HOUSE DEPICTED SHOWS CABINET AND VASES ON CARPET IN FOREGROUND ON LEFT SIDE; BACKGROUND HAS TWO CHAIRS AND A LANDSCAPE PAINTING ON WALL AT LEFT, CENTER OF ROOM HAS A FIREPLACE AND COOKING POT WITH SIX PLATES ON MATLEPIECE, RIGHT SIDE OF FIREPLACE SHOWS PODIUM WITH BOOKS STACKED AND CABINET; RIGHT SIDE SHOWS FIGURES IN FOREGROUND AROUND A TABLE SEWING, AND WINDOW ON RIGHT WALL OPEN. SCENE IS WOVEN USING GOLD AND BROWN HUES PRIMARILY, WITH PINK AND GOLD FOR FLOOR. FRONT HAS ORANGE STAINING ALONG UPPER EDGE ON RIGHT, CENTER, AND LEFT SIDES; TAPESTRY SHOWS SIGNS OF FADING; OVERALL VERY GOOD CONDITION. *UPDATE* IN JANUARY 2021 COLLECTIONS ASSISTANT NICOLE WILKINSON ATTACHED A COTTON MUSLIN SLEEVE TO THE REVERSE SIDE.
Subjects
ART
Historical Association
DECORATIVE ARTS
History
ON SEPTEMBER 27, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED MARY WITDOUCK REGARDING HER DONATION OF A GOBELIN TAPESTRY. WITDOUCK IMMIGRATED TO CANADA FROM HOLLAND IN 1955 WITH HER FAMILY, THE BOUWS, AND HAD BEEN GIFTED THE TAPESTRY BY HER MOTHER PRIOR TO IMMIGRATING, HAVING PURCHASED THE TAPESTRY FROM A BELGIAN SALESMAN. ON THE TAPESTRY, WITDOUCK ELABORATED, “THERE WERE A FEW TAPESTRIES [IN THE FAMILY] BUT THEY WERE NOT GOLDEN. THEY WERE TAPESTRIES [OF] TULIP FIELDS AND THEY WERE MORE VELVETY TYPES WITH BRIGHT COLOURED TULIP FIELDS…IN DIFFERENT COLOURS HERE, DIFFERENT COLOURS THERE. TO ME, THEY WERE NICE AT THE TIME BUT THEY FADED MORE AND THEY WERE JUST NOT LIKE THIS ONE.” WITDOUCK TOLD THE STORY OF HOW SHE ACQUIRED THE TAPESTRY, RECALLING, “IT WAS AROUND THE END OF FEBRUARY IN 1955. I WAS SEVENTEEN YEARS OLD AND WORKED ON MY FATHER’S FARM. OUR FARM WAS SITUATED NEAR THE SMALL TOWN OF ERP IN THE PROVINCE OF NORTH BRABANT, NETHERLANDS. THE ECONOMY IN EUROPE AT THE TIME, DUE TO THE AFTERMATH OF THE SECOND WORLD WAR WAS NOT GOOD AND THAT WAS EXPECTED TO LAST FOR MANY MORE YEARS. LIFE FOR US, MYSELF AND OUR WHOLE FAMILY, WAS ABOUT TO CHANGE IN A BIG WAY AS MY PARENTS HAD MADE PLANS TO IMMIGRATE TO CANADA. THE DAY THAT WE WOULD LEAVE WAS ONLY ABOUT THREE WEEKS AWAY ON MARCH 25TH TO BE EXACT AND LOTS HAD TO BE DONE TO PREPARE FOR THAT DAY. JUST AROUND THAT TIME, A MAN RIDING A TRANSPORT BICYCLE STOPPED BY OUR HOUSE. THE MAN SAID THAT HE WAS SELLING TAPESTRIES AND ASKED MY MOTHER IF HE COULD SHOW THEM TO HER. THE TAPESTRIES WERE GOBELINS AND WERE MADE IN BELGIUM. SEVERAL OF US GIRLS, ALONG WITH MY MOTHER STOOD AROUND THE SALESMAN AS HE SHOWED US THE DIFFERENT ONES. MY MOTHER THEN SAID TO US OLDER GIRLS, 'IF YOU LIKE TO HAVE ONE YOU MAY ALL PICK ONE.' WE WERE HAPPY WITH THAT TO GET THESE TAPESTRIES. I DON’T KNOW WHAT MY MOM PAID FOR THEM. WE CAREFULLY WRAPPED THEM AS SOON THESE TAPESTRIES WOULD COME ALONG TO CANADA. AFTER ARRIVING IN CANADA, I WAS NOT ABLE TO SHOW OFF MY TAPESTRY ON THE WALL UNTIL 1965 ABOUT 10 YEARS LATER. RALPH [WITDOUCK] AND I MET AND MARRIED IN 1960, AND CAME TO LIVE ON A FARM IN A SMALL TWO-ROOM HOUSE. [WE] DID NOT HAVE A WALL LARGE ENOUGH TO HANG THIS BEAUTIFUL TAPESTRY. OUR FAMILY GREW AND FIVE YEARS AND THREE LITTLE ONES LATER, WE MOVED INTO A MUCH LARGER HOME. EVER SINCE THEN, NEARLY FIFTY YEARS, WE HAVE BEEN ABLE TO SHOW OFF THIS BEAUTIFUL TAPESTRY. THE REASON WHY THE TAPESTRY ALSO MEANT A LOT TO US IS BECAUSE BELGIUM WAS THE PLACE WHERE RALPH WAS BORN…I STILL REMEMBER MANY OF THE OLDER HOMES IN HOLLAND, THAT HAD THE SAME TYPE OF FURNITURE, FIREPLACE WITH PLATES ON TOP, WINDOWS THAT OPENED FROM THE TOP…AND A DOOR WHERE YOU COULD LEAVE THE TOP HALF OPEN, AND ALSO A BIBLE STAND WITH BIBLE. I ALSO REMEMBER MY GRANDMOTHER BEING DRESSED LIKE THE MOTHER IN THE TAPESTRY. ALSO SEWING AND KNITTING WAS ALL DONE BY HAND.” “IT’S IMPORTANT BECAUSE I’VE ALWAYS LIKED OLD PLACES IN EARLIER DAYS. I REALLY LIKED GOING TO MY GRANDPARENTS BECAUSE THINGS WERE SO DIFFERENT THEN. ALREADY [BEFORE 1955]…OUR PLACE WAS A BIT MORE MODERN. I CAN CONNECT WITH LOTS OF THOSE THINGS [IN THE TAPESTRY] BECAUSE I SAT ON THOSE CHAIRS AND I KNOW MY GRANDMA WAS DRESSED SOMETHING LIKE THE LADY IN THERE.” “BELGIUM WOULD HAVE HAD THOSE SAME SCENES IN THOSE DAYS. THEY WERE OLD FARM HOMES…THEY WERE AN AWFUL LOT ALIKE.” “I’VE ALWAYS ENJOYED HAVING THIS ON THE WALL. MOST OF THE TIME IT WAS EITHER IN THE DINING ROOM OR IN THE LIVING ROOM, EITHER ABOVE THE CHESTERFIELD OR [IN FAIRMONT SUBDIVISION] WE HAD IT IN THE DINING ROOM, THERE WAS A NICE BIG WALL THERE.” “THE FARM THAT WE WERE LIVING ON WHEN I LIVED IN THE TWO-ROOMED HOUSE WAS SE 10-11-20. THEN WE MOVED TO SW 15-11-20 AND THERE WAS A TWO-STORY HOUSE ON THERE THAT WAS BUILT IN 1906. IT WAS OLD AND IT WAS COLD. IT WAS ONLY INSULATED WITH NEWSPAPERS BUT WE HAD MUCH MORE ROOM...WE LIVED THERE UNTIL WE WERE ABLE TO BUILD A NEW HOME ON THAT PLACE [IN 1975]. BUT AS SOON AS WE MOVED TO SW 15-11-20, I WAS ABLE TO PUT [THE TAPESTRY] UP.” “AT THAT TIME, IT WAS HANGING ON A ROD. THERE WERE ALSO TASSELS ON THERE…I THINK MY KIDS HAD PROBABLY PULLED ON IT TOO MUCH. THEY WERE ALL LITTLE ONES [AND] BECAUSE IT WAS ALWAYS HANGING ABOVE THE CHESTERFIELD AND THE KIDS ARE ON THE CHESTERFIELD [IT WAS DAMAGED]. AFTER THAT, PROBABLY TWENTY YEARS AFTER THAT, WE DECIDED TO FRAME IT. I HAD IT, WE LIVED IN FAIRMONT FOR ABOUT TWELVE YEARS…MAYBE FIFTEEN YEARS…I HAD IT HANGING IN THE DINING ROOM ON A NICE BIG WALL. IT’S ALWAYS BEEN ON THE WALL UNTIL WE GOT [IN THIS LETHBRIDGE HOUSE], BECAUSE I KNEW THAT THIS WAS THE LAST PLACE UNTIL WE HAVE TO GO TO…ONE OF THOSE PLACES [SENIORS’ HOMES]. YOU DON’T KNOW WHERE YOU’LL END UP, BUT NOW WE DECIDED THAT WE SHOULD DECIDE WHAT TO DO WITH IT.” WITDOUCK RECALLED THE MOVE HER FAMILY MADE TO CANADA IN 1955, STATING, “WE [THE BOUW FAMILY] LEFT MARCH 25TH, AND WE ARRIVED IN CANADA…AT PIER 21 IN HALIFAX ON APRIL 2ND. WE ENDED UP IN LETHBRIDGE ON APRIL 6TH. MY BIRTHDAY WAS ON JULY 6TH SO I WAS NEARLY 18.” “[MY PARENTS] THOUGHT, WELL ‘MAYBE THIS [TAPESTRY] IS A NICE MEMORY’ AND [MY MOTHER] WANTED TO MAKE US HAPPY BECAUSE WE WERE IMMIGRATING AND WE LEFT OUR FRIENDS BEHIND, FAMILY. MY OLDER SISTER WAS ALREADY IN CANADA BECAUSE SHE GOT MARRIED THE YEAR BEFORE. [THAT WAS] ONE MORE REASON WHY MY PARENTS WANTED TO IMMIGRATE TOO, BECAUSE THEY KNEW THAT THE FAMILY WOULD BE DIVIDED FOREVER IF WE DIDN’T GO. LOTS OF TIMES WITH FAMILIES, SOME WOULD LIKE TO GET MARRIED BUT THERE WAS NO CHANCE IN HOLLAND. AFTER THE WAR, THE ECONOMY WAS REALLY BAD AND PEOPLE COULD NOT BUILD ANY HOMES FOR THEIR CHILDREN WHO [GOT] MARRIED.” “THERE WERE NINE CHILDREN, TEN WITH THE ONE THAT IMMIGRATED TO [CANADA] BEFORE…THE YOUNGEST ONE WAS FIVE, AND MY SISTER WAS 22 BY THEN AND THE NEXT ONE WAS 21. WE SLEPT WITH THREE IN A BED. ON THE FARM, WHEN WE ARRIVED, [THERE WAS] NO RUNNING WATER AND THAT WAS THE NORM FOR ALL NEW IMMIGRANTS.” “MY OLDER SISTER ENDED UP IN SPRING COULEE [WITH] HER HUSBAND, AND NATURALLY WE WANTED TO BE IN SOUTHERN ALBERTA TOO. BUT IN SPRING COULEE THERE’S NO SUGAR BEETS [AND] WE WANTED TO BE SOMEWHERE WHERE A FARMER WAS GOING TO GIVE US A JOB. THAT’S THE ONLY WAY YOU COULD COME IS IF YOU HAD A JOB LINED UP FOR A FAMILY LIKE THAT.” “I MISSED MY FRIENDS THE MOST BUT, IN THE MEANTIME, YOU END UP WITH NEW FRIENDS, SLOWLY…WE WERE ONLY [HERE] FOUR DAYS AND I HAD A JOB IN MILK RIVER ALREADY. IN THE MEANTIME, I GOT TO KNOW RALPH. I ONLY GOT TO COME HOME ONCE IN TWO WEEKS FROM MILK RIVER TO PICTURE BUTTE AND WE WENT TO CHURCH. RALPH WAS CATHOLIC TOO AND THIS IS HOW WE GOT TO SEE EACH OTHER AND HE FLIPPED MY HAT OFF. HE WAS KIND OF A FUNNY GUY. WE BECAME FRIENDS AND THEN IF YOU HAVE FRIENDS HERE, YOU DON’T REALLY FORGET THE ONES IN HOLLAND BUT IT BECOMES EASIER.” “I WAS NEVER AGAINST [IMMIGRATING]…WE [SAW] THAT THERE WAS GOING TO BE A FUTURE HERE IN CANADA FOR US. WHEN WE FIRST ARRIVED IN CANADA WE COULD SEE THAT ALL THE FARMERS WERE NOT ALL THAT RICH EITHER. THEY WERE WILLING TO GIVE US A JOB BECAUSE THEY NEEDED PEOPLE TO HELP IN THE SUGAR BEETS AND THAT. BUT AT THE SAME TIME WE COULD SEE THAT THEY WERE NOT ALL THAT RICH YET EITHER. THERE WAS THE ODD ONE THAT WAS VERY WELL OFF BUT LOTS OF THEM WERE NOT. BUT THEY WERE WILLING TO GIVE US A JOB. WE ARRIVED IN APRIL [WITH] THE FARMER, BUT WHEN THE BEETS WERE READY TO BE THINNED AND HOED AND HARVESTED…[AFTER THAT] MY DAD WAS OUT OF A JOB. WE COULD STILL LIVE IN THE HOUSE AS LONG AS WE WANTED BUT OF COURSE MY DAD WANTED A JOB AND HE LOOKED AROUND. HE ENDED UP [AT LOURDES FARM].” [MY DAD] WORKED THERE FOR TWO YEARS, BUT HE WANTED TO FARM FOR HIMSELF. THEN HE CAME AND WORKED FOR TIFFIN BUT NOT ON THE DAIRY. HE HAD ANOTHER PLACE, AND TIFFINS WERE VERY GOOD FOR US. THEY GAVE US A MILK COW AND THAT MEANT A LOT. WE HAD A YARD AND A LITTLE GARDEN, AND MY DAD RENTED LAND FOR SUGAR BEETS FROM TIFFIN FOR A FEW YEARS THEN HE BOUGHT A FARM IN BOW ISLAND. MY PARENTS MOVED TO BOW ISLAND BUT I NEVER MOVED WITH THEM BECAUSE I HAD A GOOD JOB HERE. THEN RALPH AND I WERE GOING TOGETHER ALREADY AND HE WAS TALKING SOMETIMES ABOUT GETTING MARRIED.” “I THINK [IMMIGRATING] WAS HARDEST ON MY MOTHER, YET SHE WAS THE BIGGEST PUSH BEHIND IMMIGRATING. I THINK IT WAS THE HARDEST ON HER MAINLY BECAUSE, DURING THE DAY WE WERE ALL OUT WORKING IN THE BEETS. IF WE WEREN’T WORKING IN THE BEETS, THE CHILDREN WERE GOING TO SCHOOL. LUCKILY THE YOUNGEST ONE WAS NOT IN SCHOOL YET AND THAT HELPED MY MOM. BUT SHE DIDN’T KNOW MUCH ENGLISH YET, MAYBE A LITTLE BIT, BUT NOT ENOUGH TO UNDERSTAND WHAT THE RADIO WAS SAYING. THEN HER PARENTS IN HOLLAND HAD A GOLDEN ANNIVERSARY...SHE WENT BACK. THAT WAS TWO AND A HALF YEARS AFTER SHE WAS HERE, SHE WENT BACK TO CELEBRATE HER PARENTS’ ANNIVERSARY. MY DAD DIDN’T GO, MAINLY BECAUSE IT WAS EXPENSIVE AND HE PROBABLY NEEDED THE MONEY HERE TO KEEP GOING. WHEN SHE CAME BACK SHE WAS A DIFFERENT PERSON. SHE WAS SO HAPPY TO BE BACK.” ON HER MOTIVES FOR DONATING THE TAPESTRY, WITDOUCK NOTED, “I WANT TO SCALE DOWN. I’M 81 NOW, YOU NEVER KNOW WHEN SUDDENLY YOUR LIFE TAKES A TURN...THIS IS WHY I WANT TO TAKE CARE OF [THE TAPESTRY] NOW BEFORE IT HAS TO BE DONE IN A HURRY.” FOR MORE INFORMATION INLCUDING MARY WITDOUCK’S TYPED STORY, LETHBRIDGE HERALD ARTICLES, AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180022000-GA.
Catalogue Number
P20180022000
Acquisition Date
2018-09
Collection
Museum
Images
Less detail
Other Name
"CANADA 150 QUILT"
Material Type
Artifact
Materials
COTTON, WOOL, POLYESTER
Catalogue Number
P20180018000
  2 images  
Material Type
Artifact
Other Name
"CANADA 150 QUILT"
Date
2017
Materials
COTTON, WOOL, POLYESTER
No. Pieces
1
Length
239
Width
216
Description
QUILT WITH BACKGROUND PRINTED WITH RED NAMES OF CANADIAN TOWNS AND CITIES ON WHITE, AND WITH RED TRIM AROUND EDGES PRINTED WITH WHITE MAPLE LEAVES. QUILT HAS INNER BORDER ON FRONT ALONG LEFT, RIGHT, AND LOWER EDGES; INNER BORDER HAS 13 FABRIC BLOCKS TRANSFER PRINTED ON WHITE WITH THE FLAGS OF ALL CANADIAN PROVINCES AND TERRITORIES, THE NAME OF THE PROVINCE/TERRITORY, THE FLOWER OF THE PROVINCE/TERRITORY, AND THE DATE THE PROVINCE/TERRITORY JOINED CONFEDERATION; TRANSFER PRINTED BLOCKS ARE ARRANGED GOING DOWN THE LEFT SIDE: QUEBEC, ONTARIO, NORTHWEST TERRITORIES, BRITISH COLUMBIA; TRANSFER PRINTED BLOCKS ARE ARRANGED FROM LEFT TO RIGHT ALONG BOTTOM EDGE: YUKON, NEWFOUNDLAND AND LABRADOR, NUNAVUT, ALBERTA, SASKATCHEWAN; TRANSFER PRINTED BLOCKS ARE ARRANGED GOING DOWN THE RIGHT SIDE: NEW BRUNSWICK, NOVE SCOTIA, MANITOBA, PRINCE EDWARD ISLAND. CORNERS OF INNER BORDER HAVE TRANSFER PRINTED FABRIC BLOCKS HAVE BROWN, WHITE AND BLUE BACKGROUNDS WITH YELLOW TEXT “DISCOVER” AND RED TEXT “CANADA” WITH BLACK SILHOUETTES OF BEAR AND CARIBOU ON SIDES OF TEXT, WITH RED MAPLE LEAF BELOW TRANSFER PRINTED BLOCKS. CENTER OF QUILT HAS RED FABRIC BLOCK WITH APPLIQUED WHITE MAPLE LEAVES IN UPPER CORNERS, AND WHITE APPLIQUED TEXT IN CENTER “CANADA 150, 1867, 2017”. ABOVE CENTER BLOCK IS SEWN RED AND WHITE CANADA FLAG; LEFT OF FLAG HAS TRANSFER PRINTED BLOCK DEPICTING POSTER OF ORANGE, RED, AND BLACK CITYSCAPE WITH RED TEXT “OTTAWA”, AND TRANSFER PRINTED BLOCK OF BILINGUAL [ENGLISH AND FRENCH] ”ELIZABETH THE SECOND…A PROCLAMATION…” ON THE ADOPTION OF THE 1965 CANADIAN RED AND WHITE MAPLE LEAF FLAG; RIGHT OF CANADA FLAG SHOWS FOUR TRANSFER PRINTED FABRIC BLOCKS OF ITIERATIONS OF THE CANADIAN FLAG, STARTING FROM TOP: ROYAL UNION FLAG “USED PRIOR TO 1801”, RED ENSIGN “1871-1921”, CANADIAN RED ENSIGN “1921-1957”, AND CANADIAN RED ENSIGN “1957-1965”. BELOW CENTER “CANADA 150” BLOCK IS MAP OF CANADA WITH APPLIQUED PROVINCES AND TERRITORIES IN ORANGE, YELLOW, BLUE, AND RED FABRIC WITH WHITE PRINTED TEXT LABELLING THE PROVINCES AND TERRITORIES, WHITE STITCHED EDGES AROUND PROVINCES AND TERRITORIES, AND WHITE PRINTED IMAGES OF: ORCA AND FISH BESIDE BRITISH COLUMBIA; MOOSE AND TOTEM POLE ON BRITISH COLUMBIA; PUMPJACK AND SKIER ON ALBERTA; WHEAT HEAD ON SASKATCHEWAN; BEAR ON MANITOBA; BEAVER, LEGISLATURE BUILDING, AND CN TOWER ON ONTARIO; FLEUR-DI-LIES AND “SKIDOO” ON QUEBEC; LIGHTHOUSE AND FISH ON NOVA SCOTIA; FISH ON NEWFOUNDLAND AND LABRADOR; WHALES BESIDE NEWFOUNDLAND AND LABRADOR; HAWK ON YUKON; DIAMOND ON NORTHWEST TERRITORIES; CARIBOU, BEAR, AND INUKSHUK ON NUNAVUT. PROVINCES AND TERRITORIES HAVE CAPITAL CITIES INDICATED WITH BLACK STARS AND CITY NAMES IN WHITE. UPPER LEFT CORNER OF MAP HAS RED MAPLE LEAF AND YELLOW TEXT “DISCOVER” AND RED TEXT “CANADA”; UPPER RIGHT CORNER OF MAP HAS RED MAPLE LEAF AND BLUE TEXT “FROM SEA TO SEA” AND RED AND WHITE CANADIAN FLAG; LOWER LEFT CORNER OF MAP HAS RED, WHITE, AND BLUE ROUND COMPASS ROSE WITH “N” LABELLED AT TOP OF COMPASS IN BLACK. CENTER BLOCKS HAVE BORDERS AROUND THEIR PERIMETERS OF CREAM FABRIC PRINTED WITH RED REPEATING TEXT “CANADA 1867-2017”. BACK OF QUILT HAS WHITE LABEL ON TRANSFER PRINTED FABRIC IN UPPER LEFT CORNER WITH RED TEXT “SYDNEY FISHER; LETHBRIDGE, ALBERTA; 403-327-5838; QUILT FOR CANADA’S 150TH; 1867 – 2017.” BACK HAS MINOR STAIN AT LOWER EDGE; OVERALL EXCELLENT CONDITION.
Subjects
ART
Historical Association
COMMEMORATIVE
DECORATIVE ARTS
History
ON JULY 26, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED SYDNEY AND FRANK FISHER REGARDING SYDNEY FISHER’S CREATION OF THE CANADA 150 QUILT DONATED BY VERN NEUFELD. NEUFELD WON THE QUILT IN A RAFFLE AS A FUNDRAISER FOR THE LETHBRIDGE SOUP KITCHEN. ACCORDING TO A LETTER SENT TO THE GALT MUSEUM, NEUFELD INDICATED THAT HE AND HIS WIFE HAD NO NEED TO KEEP THE QUILT, AND HAD OFFERED THE QUILT BACK TO THE LETHBRIDGE SOUP KITCHEN FOR ANOTHER RAFFLE. BILL GINTHER, CEO OF THE LETHBRIDGE SOUP KITCHEN, DIRECTED THE QUILT TO THE GALT MUSEUM & ARCHIVES, WITH THE DONATION COMPLETED BY NEUFELD. ON THE CREATION OF THE QUILT, SYDNEY FISHER RECALLED, “AS FAR AS I KNOW, IT’S THE ONLY ONE WITH THAT LAY-OUT THAT I’VE SEEN, ANYWHERE. IT WAS MY ORIGINAL IDEA. I LIKE TO MAKE THEME QUILTS. THE 150TH BIRTHDAY WAS THE IDEAL TIME TO DO IT. SO, I WENT ABOUT COLLECTING ALL THE PIECES, FROM THE INTERNET, AND THE MIDDLE PIECE IS TOTALLY MY OWN. THIS WAS FROM FABRIC STORES…THE MAP.” “I MADE THAT [CENTER PIECE], TOTALLY FROM SCRATCH. I BOUGHT THE TEMPLATES, CUT IT OUT, AND APPLIQUED IT ON. THESE LITTLE THINGS, I MADE UP OUT OF THREE MAPLE LEAFS, JUST STUCK TOGETHER, UP IN THE CORNER. I MADE THE FLAG, AT THE TOP. THIS PIECE [THAT READS “OTTAWA”] WAS FROM A PANEL [OF] MATERIAL.” “[I INCLUDED IT BECAUSE] IT’S THE CAPITAL. BELOW THAT IS THE DECLARATION FROM THE QUEEN THAT SAYS THAT THE MAPLE LEAF BECAME OUR FLAG IN 1965. THAT, WE GOT OFF THE INTERNET ALSO. AND, SOMEBODY SAID TO ME, 'YOU CAN’T DO THAT. THAT’S --' I SAID, 'IT’S ON THE INTERNET. I CAN SO.' THEN WE ALSO GOT, ON THE UPPER RIGHT-HAND CORNER, ARE THE FOUR FLAGS THAT [WERE] USED FROM 1867 TO 1965, AND IT’S GOT THE DATES UNDERNEATH EACH ONE OF THEM.” “[THERE ARE] THE FLAGS AND THE FLOWERS, AND THEN THERE’S ALSO THE DATES THAT THEY JOINED CONFEDERATION, WHICH BRINGS THEM DOWN THE QUILT FROM BOTH SIDES. THERE’S THE FOUR ORIGINALS, AND THEN AS THEY JOIN, THEY COME [AROUND THE EDGE], AND NUNAVUT IS RIGHT IN THE MIDDLE, BECAUSE IT WAS THE LAST ONE IN 1999.” “THAT CAME RIGHT OUT OF MY HEAD. IT’S JUST SOMETHING I LIKE TO DO. I LIKE THEME QUILTS, AND IF I HAVE A THEME, I RUN WITH IT. [THE QUILT] HAS MORE MEANING BECAUSE IT IS CANADA. SOMEBODY SAID TO ME, 'WELL, IT SHOULD HAVE SOMETHING TO DO WITH MILITARY.' NO, IT’S CANADA’S BIRTHDAY, IT’S NOT MILITARY! THAT ONE IS A CANADA QUILT…THIS ONE WAS SPECIFICALLY FOR CANADA.” “IT WOULD BE ABOUT MARCH OF 2017 [WHEN I STARTED THIS QUILT]. WHEN I START A QUILT, I FOCUS ON NOTHING ELSE. I HAVE THIS BEAUTIFUL PICTURE IN MY HEAD, AND IT’S GOT TO TURN OUT THAT WAY, OR I DON’T LIKE IT. I JUST KEEP GOING. THE FIRST ONE ENDED UP KING-SIZE BECAUSE I HAD ALL THIS STUFF I WANTED TO GET ON IT…THEN I STARTED NARROWING IT UP A BIT, SO THAT IT WOULD BE A QUEEN-SIZE INSTEAD.” “[THE FIRST QUILT] TOOK ABOUT 120 HOURS, BECAUSE I HAD TO GATHER ALL THE STUFF FOR [IT]. I [HAD] ALL THE PATTERNS FOR THIS, AND THE DOWN-SIZED ONE, SO I CAN PUT IT TOGETHER [FASTER]…BECAUSE I HAVE ALL THE PATTERNS…I WORK USUALLY FROM 7:00 IN THE MORNING TILL 4:00 IN THE AFTERNOON.” “THIS ONE WAS THE SECOND [QUILT] MADE TO SHOW OFF, BECAUSE [THE FIRST] ONE WENT TO ENGLAND. MY PLAN WAS TO MAKE ONE, AND I MADE THE ONE AND HUNG IT IN THE [ROYAL BANK ON MAYOR MAGRATH DRIVE]. IT WENT OVER SO WELL, I MADE TWO MORE. QUEEN-SIZE. THEN SOMEBODY SAID, “BUT THAT’S SO BIG.” THEN I MADE [ABOUT SIX]…WALL-HANGINGS.” “[THIS QUILT] WENT OVER WELL, EVEN IF THE BIRTHDAY IS OVER. PEOPLE WANT IT. THERE WAS A FELLOW AT THE BANK, HE WANTED THE QUILT BECAUSE HE’S SETTING UP, OUT IN STIRLING THEY HAVE A CP RAIL [MUSEUM], BUT THE QUILT WAS TOO BIG. HE ORDERED TWO—ONE FOR HIS HOUSE, AND ONE FOR STIRLING, BUT HE WANTED THE CP RAIL ACROSS CANADA, SO THAT ONE HAS THE CP RAIL ACROSS THE BOTTOM.” SYDNEY FISHER ELABORATED ON THE DONATION OF THE QUILT TO THE LETHBRIDGE SOUP KITCHEN FUNDRAISER, NOTING, “[THIS KING-SIZED VERSION ENDED UP] IN THE ROYAL BANK ON MAYOR MCGRATH. THAT IS MY BANKING BANK, AND I SAID, 'WOULD YOU CONSIDER HANGING IT THERE?' BECAUSE THAT WAS THE END OF JUNE…THEY HUNG IT THERE SO THAT THEY COULD HAVE IT THERE FOR THE FIRST OF JULY. [THIS QUEEN-SIZED VERSION] WENT TO THE EXHIBITION WHEN THEY HAD…A CANADA DAY PAVILION, OR CANADA’S 150TH BIRTHDAY. I HUNG ONE OF THE WALL HANGINGS ALONGSIDE OF IT.” “[THE KING-SIZED VERSION] WENT TO ENGLAND…THERE WAS AN ENGLISHMAN CAME INTO THE BANK, AND HE GAVE THE GIRLS HIS PHONE NUMBER, AND SAID, 'GET HER TO PHONE ME.' I PHONED HIM, AND HE SAID, 'I WANT ONE.' I SAID, 'EXCUSE ME?' WELL, HE SAID, 'THAT QUILT AT THE BANK…I WANT ONE.' I SAID, 'WELL, IT’S A KING-SIZE (IT’S 100X104, OR 108), IT’S $1000.00.' 'I’LL TAKE IT.'” “THAT’S WHEN I MADE TWO QUEEN-SIZED ONES. I DONATED [THE QUILT FROM THE PAVILLION] TO THE SOUP KITCHEN. I PUT [THE QUEEN-SIZED QUILTS] ON KIJIJI, AND GOT NO RESPONSE WHATSOEVER. I WOULDN’T PAY $800.00 FOR A QUILT, BECAUSE I COULD MAKE THEM. I BROUGHT THEM BACK HOME, AND I SAID, 'YOU KNOW, WE DONATE TO THE SOUP KITCHEN. THEY’RE DOING A BREAKFAST PROGRAM. THEY CAN TAKE IT, AND RAFFLE IT OFF FOR THEIR BREAKFAST PROGRAM.' I [DONATED ONE QUILT TO] NOR-BRIDGE. THEY RAFFLED IT OFF, FOR WHATEVER PROGRAMS THEY NEED.” “WE STARTED TALKING ABOUT IT, AND [THE SOUP KITCHEN STAFF] ALL SAID TO ME, 'OH, THAT WOULD BE NICE FOR US TO RAFFLE OFF.' I THOUGHT (THIS WAS BEFORE I PUT THEM ON KIJIJI), 'I DON’T KNOW.' WHEN THEY DIDN’T SELL ON KIJIJI, I TOOK IT TO BILL, AND I SAID, 'DO YOU STILL WANT IT?' WELL, HE HUNG IT ON THE WALL, AND STARTED SELLING TICKETS…I THINK THESE GUYS GOT $1500.00. I DON’T KNOW ABOUT NOR-BRIDGE…$1500.00 IS WHAT BILL SAID THEY MADE ON THAT QUILT. [TICKETS] WERE $5.00.” “THIS ONE HAD GONE TO SASKATCHEWAN…TO [THE KELVINGTON HERITAGE SHOW]. THE LEGION LADIES SAW IT, AND ASKED MY SISTER HOW MUCH I WANTED FOR IT. OF COURSE, THE LEGION ISN’T AS FLUID AS A LOT OF THINGS, AND $800.00 WAS TOO MUCH. I SAID, 'WELL, YOU ASK THEM IF THEY WOULD LIKE A WALL-HANGING.' THE WALL-HANGINGS ARE ONLY $150.00. THAT’S HOW THEY STARTED. THAT, AND LARRY AT THE ROYAL BANK, WHO WANTED A SMALLER ONE FOR STIRLING.” ON HER INTEREST IN QUILTING, SYDNEY FISHER RECALLED, “MY MOTHER [FRANCES DICKS, NEE FENNELL] SEWED EVERYTHING, FROM HER OWN BRAS ON UP, AND SHE SEWED FOR EVERYBODY. I WENT HOME TO HER HOUSE, WHEN I WAS IN NURSING, AND SHE SAID, 'WELL, DON’T TOUCH THAT.' THERE’S A SHEET IN THE MIDDLE OF THE LIVING ROOM FLOOR; THERE’S ANOTHER ONE OVER HERE; THERE’S ANOTHER ONE OVER HERE. I SAID, 'WHAT HAVE YOU GOT IN -?' “WELL, THAT’S THE WEDDING DRESS, AND THESE ARE THE BRIDESMAID DRESSES.” THAT’S HOW SHE SEWED! ON AN OLD TREADLE SEWING MACHINE.” “PROBABLY ABOUT 10 YEARS AGO I STARTED QUILTING. I WAS PAST DOING CLOTHING, AND TO DO THESE SILLY LITTLE THINGS THAT ARE OF NO USE, OTHER THAN TO COLLECT DUST, I CAN’T BE BOTHERED WITH THAT. I NEED TO HAVE SOMETHING I CAN KIND OF SET MY TEETH IN.” “QUILTING HAS MADE ME EVEN A WORSE HOUSEKEEPER THAN I ALREADY WAS, BECAUSE, WHEN I GET UP IN THE MORNING, AND I HAVE AN IDEA, WELL, 'IF YOU DON’T DO THE DISHES, FRANK, THEY AREN’T GOING TO GET DONE, BECAUSE I’M DOING SOMETHING.' I’M NOT A SUPER HOUSEKEEPER, AS IT IS, AND WHEN I HAVE SOMETHING LIKE THIS, EVERYTHING ELSE TAKES A BACK-BURNER.” SYDNEY FISHER NOTED HER THOUGHTS ON THE DONATION OF THE QUILT TO THE MUSEUM, “IT MEANS EVERYTHING TO ME, BECAUSE I AM A CANADIAN. I WAS BORN IN SASKATCHEWAN, AND THE FURTHEST I’VE GONE IS TO LETHBRIDGE. I’VE BEEN TO TORONTO ONCE, AND WE WENT TO NOVA SCOTIA ONCE. I’VE BEEN TO B.C. ONCE. I LIVED IN WINNIPEG FOR A COUPLE OF YEARS. BUT, YOU’RE STILL IN CANADA, AND, AS FAR AS I’M CONCERNED, THERE ISN’T ANY PLACE LIKE IT, EVEN IF IT IS THE DUST BOWL OF THE WORLD…I’M QUITE PROUD THAT IT’S AT THE MUSEUM. I DIDN’T THINK THEY’D EVER GET THAT FAR.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETTER FROM VERN NEUFELD, PLEASE SEE THE PERMANENT FILE P20180018000-GA.
Catalogue Number
P20180018000
Acquisition Date
2018-07
Collection
Museum
Images
Less detail
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
FELT, PAINT, WOOD
Catalogue Number
P20170038000
  2 images  
Material Type
Artifact
Date Range From
1990
Date Range To
2000
Materials
FELT, PAINT, WOOD
No. Pieces
1
Length
41.5
Width
88
Description
BLUE FELT BANNER WITH WOOD DOWEL POLE AT END, DOWEL WIDTH 88CM, BANNER WIDTH 74 CM. DOWEL ENDS ARE ROUNDED WITH SCREWS IN ENDS; RIGHT END OF DOWEL AS BLUE LINE AROUND POLE. BANNER IS FELT WITH WHITE FELT SEWN ON IN LETTERS “CFUW”, ROUND FELT MOSAIC OF COULEES UNDER A BLUE SKY BELOW, AND WHITE FELT SEWN TEXT “LETHBRIDGE & REGION”. LOWER EDGE OF BANNER HAS BLUE COTTON STRING TASSELS. BACK OF BANNER HAS WHITE OUTLINES OF LETTERS IN THREAD FROM STITCHING ON FRONT. LOOSE THREAD ON LETTER “G” IN “REGION” TEXT; LETTERS HAVE RED STAINING ON LOWER TEXT; WRINKILING OF FELT ON RIGHT SIDE OF BANNER; OVERALL VERY GOOD CONDITION.
Subjects
HOUSEHOLD ACCESSORY
Historical Association
DECORATIVE ARTS
ASSOCIATIONS
History
ON APRIL 16, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED KATHYRN YOSHIDA AND ROSE JURISICH REGARDING THE DONATION OF A WALL BANNER FROM THE CANADIAN FEDERATION OF UNIVERSITY WOMEN [CFUW]. YOSHIDA AND JURISICH WERE MEMBERS OF THE LETHBRIDGE CHAPTER OF THE CFUW WHEN THE HANGING WAS MADE IN THE 1990S. ON THE WALL BANNER, JURISICH RECALLED, “I THINK THAT [LAURIE] KAMINSKI MADE IT…SHE HASN’T BEEN A MEMBER FOR A LONG TIME… LAURIE MADE IT I THINK IN [PROBABLY THE ‘90S]. WE HAVE A NEW BANNER NOW THAT’S CURRENT. I DON’T REMEMBER WHO ELSE LAURIE DID IT [WITH]. SHE DIDN’T DO IT HERSELF, SHE DID IT WITH A COMMITTEE. BUT I DON’T REMEMBER WHO IT WAS.” “[WE USED THIS AT] PRAIRIE MEETINGS, WHERE WE ALL MET, AND THEY THOUGHT THAT EACH CLUB SHOULD HAVE A BANNER. THAT’S WHY WE GOT IT, AND THEN WE DIDN’T USE IT, I GUESS, BECAUSE IT’S HERE. I DON’T THINK [THE BANNER WAS IN USE] UP UNTIL 2010.” YOSHIDA ADDED, “I THINK [WE USED THE BANNER AT] MORE PROVINCIAL MEETINGS, NOT FOR THE GENERAL MONTHLY MEETINGS, BUT FOR ANYTHING A LITTLE BIT MORE SPECIAL.” “I REALLY LIKE [THE BANNER]…THE PRAIRIE AND THE COULEES. THERE’S A DIFFERENT…GRAPHIC ON THE NEW [BANNER]. THE NEW ONE WAS JUST UNVEILED A COUPLE YEARS AGO.” MACLEAN INTERVIEWED BARBARA DOYLE ON DECEMEBER 22, 2017 REGARDING HER TIME WITH THE CANADIAN FEDERATION OF UNIVERSITY WOMEN AND ON THE WALL BANNER. ON THE BANNER, DOYLE NOTED, “WE [USED] IT WHEN WE [WERE HAVING] A GATHERING OF PEOPLE FOR ONE THING—[THE] AGM. SOMETIMES, WE HOST [THE AGM], JUST THE ALBERTA ONE. IT GOES TO DIFFERENT CITIES, SO WE PUT [THE BANNER] UP THERE, WHEN SOMETHING LIKE THAT [HAPPENS].” “I THINK THIS IS JUST THE ‘HOME’ THING, AND THEY ALL HAVE A ‘HOME’ PLACE THERE, TOO. WHEREVER THEY ARE GOING, THERE IS PROBABLY SOMETHING LIKE [THIS BANNER DISPLAYED] TOO.” “I THINK I DO [REMEMBER THE BANNER BEING ON DISPLAY], BECAUSE I THINK [THE] NEW ONE HAS BEEN IN THE WORKS IN THE LAST FIVE YEARS.” “[WHEN I FIRST STARTED, THE BANNER] WOULD JUST HANG IT IN THE HOUSE, WHEN THERE WAS A MEETING… IT WOULD BE FOLDED UP AND PUT IN THE CLOSET.” YOSHIDA ELABORATED ON THE HISTORY OF THE CANADIAN FEDERATION OF UNIVERSITY WOMEN IN LETHBRIDGE, NOTING, “WE USED TO MEET AT THE [ATCO] GAS COMPANY [BUILDING]…IN THE 70S AND 80S…WE HAD TO GO DOWN STAIRS, AND I THINK THE STAIRS BECAME A PROBLEM FOR SOME OF OUR WOMEN. FROM THE GAS COMPANY [WE WENT] TO THE BULLMAN.” JURISICH ADDED, “WE WERE ALSO AT SAVE-ON-FOODS. [ATCO HAD] AN AUDITORIUM DOWNSTAIRS. THAT WAS QUITE LARGE. THEY [HAD] A VERY LARGE ROOM DOWNSTAIRS WITH A KITCHEN. IT WAS ACTUALLY VERY NICE EXCEPT THAT THE STAIRS WERE LIKE GOING INTO THE DEPTHS. THE STEPS WERE VERY STEEP AND VERY LONG. AND NO ELEVATOR.” DOYLE NOTED, “WE DON’T HAVE A BUILDING. BOOK CLUB IS AT PEOPLE’S HOUSES. WE ROTATE, AND WE HAVE A LITTLE, NOT A LUNCH, BUT NIBBLEY’S, (THAT’S FINGER FOOD), THERE. I DON’T KNOW WHERE THE BRIDGE GOES – THE BRIDGE PEOPLE. I THINK MAYBE TO THE SENIOR’S, ON THE SOUTH SIDE…WE USED TO GO TO THE POLICE STATION, BECAUSE THEY HAD A ROOM THERE, AND THEY LET US HAVE OUR MEETINGS THERE. I THINK IT WAS USUALLY MONTHLY THAT WE WERE DOING SOMETHING THERE.” “THAT SPACE [AT THE POLICE STATION] IS GONE, AND I WAS TOTALLY OUT OF IT THIS PAST SEMESTER, BECAUSE I WAS SO BUSY…I DON’T KNOW WHERE THEY WENT.” ON HER TIME WITH THE GROUP, JURISICH RECALLED, “I MOVED HERE IN 1971 AND A FRIEND BROUGHT ME TO THE ORGANIZATION. SHE THOUGHT I WOULD BE INTERESTED IN A MEMBERSHIP. IT WAS LIKE-MINDED WOMEN AND WE HAD A LOT OF DISCUSSIONS ABOUT WHITE PAPERS AND [OTHER TOPICS].” “AN UNDERGRADUATE DEGREE WAS FINE [TO BE A MEMBER], JUST SO LONG AS YOU HAD A DEGREE. THEY DIDN’T HAVE NURSING DEGREES AT ONE TIME, IT WAS JUST REGISTERED NURSE WHICH WASN’T CONSIDERED A DEGREE. NOW THEY HAVE NURSING DEGREES. BUT IF YOU HAD THAT KIND OF EDUCATION, THEN YOU WERE AN ASSOCIATE MEMBER…THEY ALSO WERE QUITE RESTRICTIVE AS TO LEGITIMATE UNIVERSITIES, AND THEY DON’T HAVE ANY OF THAT ANYMORE.” “I REMEMBER WHEN WE STUDIED THE WHITE PAPER ON THE MURDOCH CASE, WHERE THAT WOMAN WAS MARRIED FOR…FORTY YEARS OR SOMETHING AND THEY LIVED ON A FARM. HE LEFT SO THEY CHANGED THE LAWS ABOUT WOMEN CONTRIBUTING TO LIFE AND I THINK THE CHANGE WAS IN THE ‘70S OR ‘80S.” “THE SCHOOL SYSTEM [WAS AN IMPORTANT TOPIC] WHEN THEY WERE INTRODUCING THE GIFTED PROGRAM. I REMEMBER GOING TO MEETINGS ABOUT THAT AND REPORTING BACK.” “[OUR ACTIVISM] VARIES [BY] THE ISSUE, WE WERE VERY ACTIVE WITH THE ANTI-FRACKING. WE WERE DEMONSTRATING ON THE STREETS FOR THAT…I THINK WE WERE MORE INVOLVED WITH DISCUSSING THINGS. I DON’T THINK THE ADVOCACY WAS GREATER [THEN]. I THINK IT’S GREATER NOW.” “I REMEMBER THAT WE USED TO WRITE LETTERS AND THINGS, I THINK AT THE TIME. WE STILL DO THAT ACTUALLY.” “THE MEETINGS ARE ON SATURDAY, THAT’S TO ACCOMMODATE ANYBODY THAT’S WORKING THAT CAN COME. OTHERWISE THEY WOULD PROBABLY BE WORKING OTHER DAYS. THAT WAS PROBABLY WHY, ORIGINALLY, IT WAS DECIDED TO HAVE IT ON THE SATURDAY. SATURDAY AT NOON ACTUALLY. IT USED TO BE IN THE EVENING ALL THE TIME, THIRD MONDAY OF THE MONTH.” “FOR ME IT WAS THE FIRST ORGANIZATION THAT I WAS INTRODUCED TO AND I WAS WORKING. I HAD A WORKING LIFE AND A HOME LIFE WHERE I HAD CHILDREN. I DID BELONG TO SOMETHING ELSE AT ONE TIME, I THINK THE HOME EC ASSOCIATION. I ENJOYED THE PEOPLE IN IT AND IT WAS INTERESTING FOR ME. IT WAS DIFFERENT THAN ANYTHING I HAD DONE, SO THAT’S WHY I CONTINUED.” YOSHIDA ADDED, “I BECAME A MEMBER IN 1968, THE YEAR THAT WE CAME TO LETHBRIDGE, AND I WAS BROUGHT TO THE MEETING BY ANOTHER FACULTY MEMBER’S WIFE, JENNIFER BUTTERFIELD. I THINK SHE KNEW THAT WE WERE NEW TO TOWN AND WE DIDN’T REALLY KNOW ANYBODY. SHE REALLY DID A VERY NICE JOB OF INTRODUCING ME TO LETHBRIDGE AND WHERE THE MEAT MARKET AND VALUE VILLAGE [WERE], PLACES TO SHOP AND PLACES TO GO. CFUW WAS ONE PLACE THAT SHE BROUGHT ME TO. AT THE TIME, I WAS NOT ONLY NEW TO TOWN, BUT I WAS A STAY-AT-HOME WITH A BABY AND DIDN’T HAVE MUCH SOCIAL EXPERIENCES. THIS GROUP MET ONCE A MONTH AND IT WAS MY EVENING OUT AND, AS ROSE SAID, THEY HAD EXCELLENT SPEAKERS ABOUT [TOPICS], PEOPLE FROM THE COMMUNITY WHO WOULD COME AND TALK. IT WAS MY INTELLECTUAL EVENING, IT WAS AWAY FROM DIAPERS AND BABIES AND A CHANCE TO BE WITH ADULTS. THAT, FOR ME, REALLY SERVED A VERY IMPORTANT PURPOSE. AT THAT TIME I DIDN’T REALLY KNOW WHAT IT STOOD FOR AND THE PROVINCIAL OR NATIONAL AGENDAS, IT WAS JUST THAT IT WAS NICE.” “MANY WERE [IN THE] UNIVERSITY WOMEN’S CLUB. AT THE TIME, YOU HAD TO BE A GRADUATE OF A UNIVERSITY OR HAVE A DIPLOMA[TO BE A] FULL-FLEDGED MEMBER. I THINK THEY’RE DESPERATE FOR MEMBERS, BECAUSE I THINK THIS GROUP, AS OTHER GROUPS/CLUBS ARE NOTICING A DECLINE IN INTEREST THAT THEY HAVE TAKEN THAT [REQUIREMENT] AWAY. WHEN ROSE SAYS LIKE-MINDED PEOPLE, THE WOMEN WERE EDUCATED, THEY WERE KEEN, AT THAT TIME IT WAS THE WOMEN’S MOVEMENT, MS MAGAZINE WAS BIG, THE PLACE OF WOMEN AND EQUAL MEMBERS. WE’RE STILL WORKING ON IT…I REMEMBER WHEN IT WAS REALLY IMPORTANT…ALL ALONG IT HAS ALWAYS BEEN [ABOUT] THE STATUS OF WOMEN.” “DAYCARE WAS [AN] IMPORTANT [TOPIC] AT ONE TIME… SOMETIMES THE WOMEN IN OUR GROUP ARE INVOLVED IN OTHER AGENCIES OR GROUPS, SO IT KIND OF MESHES, AND I’M NOT SURE WHERE ONE BEGINS AND THE OTHER ENDS.” “[I JOINED THE GROUP BECAUSE] I GUESS NOBODY ELSE ASKED ME TO JOIN ANYTHING. ALTHOUGH, WHEN YOU ARE A ONE-CAR FAMILY AND YOU HAVE A BABY AND YOU ARE…TRADING, LIKE, I’LL LOOK AFTER YOUR CHILD THIS AFTERNOON SO THAT YOU CAN DO THIS AND THEN IT’S MY TURN, I WAS IN THAT SORT OF SITUATION. I GUESS I WASN’T INTERESTED IN PURSUING OTHER THINGS LIKE KINETTES, THE ‘Y’.” DOYLE ELABORATED ON HER TIME WITH THE CANADIAN FEDERATION OF UNIVERSITY WOMEN, STATING, “I WAS ASKED TO JOIN [THE GROUP BY A FRIEND, PATTY JOHNSON, ABOUT 2008], AND I ENJOY IT VERY MUCH. IT’S A WOMEN’S GROUP, AND WE COLLECT MONEY, FOR A [SCHOLARSHIP]…WE DO TWO SCHOLARSHIPS A YEAR, AND IT’S ALSO A FRIENDSHIP GET-TOGETHER, AND A LEARNING PROCESS. WE HAVE PEOPLE COME IN, AND [TELL] US WHAT’S GOING ON, AND WHAT’S GOING ON IN THE CITY…IT’S REALLY QUITE ENJOYABLE.” “I HAVE TWO DEGREES, SO I ENJOY THE COMPANY OF PEOPLE, THAT WE HAVE A LOT TO TALK ABOUT. I LIKE THE FACT THAT WE ARE GIVING BACK, TO THE KNOWLEDGE THAT WE LEARNED, IN THE FORM OF SCHOLARSHIPS.” “WHEN THIS STARTED, AND IT’S BEEN GOING IN LETHBRIDGE UNDER A DIFFERENT NAME, THE WIVES OF THE PROFESSORS THAT MOVED INTO TOWN, AND THE UNIVERSITY OF LETHBRIDGE WAS FORMED. THEY WERE THE ONES THAT STARTED THIS CHAPTER.” “I THINK MOST OF THE WOMEN THAT MARRIED WERE HOUSEWIVES, AFTER THEY WERE MARRIED, AND HAVING CHILDREN, BUT THEY HAVE DEGREES. THAT WAS THE REQUIREMENT FOR BELONGING – THAT YOU HAD A DEGREE, BUT JUST IN THE NEAR PAST NOW [ABOUT 2 – 3 - 4 YEARS], THE DOORS ARE OPEN TO ALL WOMEN NOW. THERE ARE A FEW PROFESSIONALS IN OTHER AREAS, AND SOME, WE DON’T ASK. IF THEY WANT TO JOIN, THAT’S FINE.” “THEY HAVE A PRESIDENT, VICE-PRESIDENT, SECRETARY. I’M FINDING, AS WE ARE ALL FINDING, AS WE ARE AGING, WE HAVE VERY FEW YOUNGER PEOPLE, BECAUSE THEY ARE ALL AT UNIVERSITY, AND VERY BUSY. THE ONES THAT HAVE JOBS, THEY ARE VERY BUSY TOO. AS WE AGE, WE ARE ALL ACTIVE, AND IT KEEPS US REALLY ACTIVE. IT’S GOOD TO GET OUT, AND BE WITH OTHER PEOPLE.” “WE DO HAVE PEOPLE IN THE GROUP THAT GO TO OTHER THINGS THAT ARE GOING ON, IN DIFFERENT PROVINCES. THEY SOMETIMES DO THE NATIONAL ONE, EVEN, AND FLY SOMEWHERE, AND THAT GOES ON ONCE A YEAR. IT’S CERTAINLY A WORTHWHILE GROUP, AND REALLY QUITE ACTIVE. WE HAVE A YOUNG PRESIDENT NOW, SHE IS DOING HER PHD, AND HER MOTHER IS A PROF [AT THE UNIVERSITY OF LETHBRIDGE].” “I THINK [THE GROUP IS RAISING AWARENESS] THAT TIMES ARE CHANGING. IT HAS BEEN, IN THE PAST, KIND OF SNOBBISH, HAVING TO BE VETTED IN, SO THIS IS REALLY GOOD, AND IT’S WORKED WELL. WE HAVE GOT SOME WONDERFUL PEOPLE WORKING IN [THE GROUP]…WHEN THEY HAD THE WOMEN’S PARADE, THE WOMEN’S PROTEST…THERE WAS A NUMBER OF US THAT PARTICIPATED IN THAT, AND THEY MADE THE HATS FOR IT. WE ARE ACTIVE IN THINGS LIKE THAT, THAT PERTAIN TO WOMEN.” “IT’S LIKE WOMEN ARE RISING, AND THAT SEEMS QUITE APPARENT. I AM IN THE UNIVERSITY BUILDING ENOUGH THAT I SEE IT AMONG THE YOUNG WOMEN. BOY, THEY DON’T LET ANYTHING GO BY. THEY’RE ACTUALLY REALLY QUITE GOOD, I THINK…[SEEING THAT MAKES ME FEEL] REALLY GOOD. IT’S ABOUT TIME. WE HAVE LOTS OF ENGAGEMENT WITH WOMEN—THE PEOPLE AROUND TOWN, WHO ARE THE ‘SHAKERS’ HERE, AND THEY SHAKE THINGS UP. THAT’S REALLY GOOD.” ACCORDING TO LETHBRIDGE HERALD ARTICLES, THE CANADIAN FEDERATION OF UNIVERSITY WOMEN FORMED A CHAPTER IN LETHBRIDGE IN 1944. DR. URSILLA MACDONNELL, DEAN OF WOMEN AT THE UNIVERSITY OF MANITOBA, SPOKE TO A GROUP OF LETHBRIDGE WOMEN ON FORMING A CHAPTER. BY 1958, THE LETHBRIDGE CHAPTER WAS SENDING REPRESENTATIVES FOR THE CANADIAN FEDERATION OF UNIVERSITY WOMEN’S NATIONAL CONVENTION. FOR MORE INFORMATION INCLUDING COPIES OF LETHBRIDGE HERALD ARTICLES AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20170038000-GA.
Catalogue Number
P20170038000
Acquisition Date
2017-12
Collection
Museum
Images
Less detail
Other Name
APPLIQUE QUILT
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, WOOL
Catalogue Number
P20170026001
  2 images  
Material Type
Artifact
Other Name
APPLIQUE QUILT
Date Range From
1950
Date Range To
1960
Materials
COTTON, WOOL
No. Pieces
1
Length
203
Width
262
Description
FINISHED QUILT WITH BLUE BACKING AND TRIM ALONG EDGES; QUILT TOP HAND-STITCHED, BACKING AND TRIM MACHINE STITCHED. QUILT TOP IS WHITE WITH MULTI-COLOURED FLOWERS ARRANGED IN RINGS; FLOWERS HAVE GREEN LEAVES SURROUNDING PETALS AND LEAVES CONNECT TO FORM THE RINGS. QUILT TOP HAS TWO WHITE FABRICS STITCHED TOGETHER AS BACKGROUND FOR FLOWERS. FRONT HAS MINOR STAINING; BACK HAS SMALL HOLE WITH FRAYED EDGES AND LOSS; OVERALL VERY GOOD CONDITION.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
ON AUGUST 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND GLORIA BETTS REGARDING THEIR DONATION OF FIVE HANDMADE QUILTS. THE QUILTS WERE CREATED BY ED BETTS’ MOTHER, KATHERINA BETTS. ON THE APPLIQUE QUILT, ED BETTS ELABORATED, “DAD DIED IN ‘69 SO JIM [MY BROTHER] AND I TOOK OVER THE FARM…IN 1970. GLORIA AND I TOOK OVER THE HOME FARM [IN 2010] AND [THE QUILTS WERE] LEFT BY MY MOTHER. [THE FARM WAS] EAST OF COUTTS, NINE MILES…IT BELONGED TO MY MOTHER AND DAD [KATY AND CLARENCE].” “WE FOUND [THE QUILTS] WHEN WE WERE CLEANING EVERYTHING OUT [OF THE ATTIC] WHEN WE MOVED TO LETHBRIDGE. [THE QUILTS WERE IN] AN OLD WOODEN BOX IN THE [ATTIC]…NINE WERE IN A BOX AND [THE BLUE AND WHITE APPLIQUE QUILT] WAS OUT.” “THIS BLUE AND WHITE [APPLIQUE] ONE WAS MADE FOR MY [OLDER] SISTER MARY AND SHE WAS AWAY FROM HOME SO IT NEVER GOT HANDED OFF…THE [APPLIQUE] QUILT WAS UP IN THE ATTIC AND THE REST OF THEM, I THINK, WERE JUST IN STORAGE IN THE [ATTIC].” “[MARY] WAS THE SECOND IN LINE…[SHE WAS BORN] IN 1935. I THINK [MY MOM] THOUGHT THAT MARY WAS ONE OF THE ONES THAT WAS OUT OF THE FAMILY. SHE WAS THE BLACK SHEEP, I THINK.” GLORIA BETTS NOTED, “MARY HAD GONE TO THE CONVENT AND THAT’S PROBABLY WHILE SHE WAS GONE WHEN IT WAS MADE.” “[MARY WAS BORN IN] ’35, SO IN ‘55 SHE WOULD HAVE BEEN 20 YEARS OLD AND WOULD HAVE BEEN IN THE CONVENT. [THE QUILT WAS MADE] PROBABLY MID ‘50S.” ED BETTS NOTED, “IT WAS UP IN THE ATTIC , IT WAS SEWN…HOW THE OLD 100-POUND FLOUR SACKS USED TO COME, WHITE, IT WAS ALL SEWN UP AND HER NAME WAS PUT ON IT IN INDELIBLE PENCIL.” GLORIA BETTS NOTED, ON THE QUILT'S INVOLVEMENT IN THE "ALBERTA QUILT PROJECT", “[FOR THE ALBERTA QUILT PROJECT WITH THE ROYAL ALBERTA MUSEUM] WE BROUGHT IN THE BLUE [APPLIQUE] ONE, THE PURPLE [DOUBLE WEDDING RING] ONE AND THE ONE [QUILT TOP], THE FAN. WE BROUGHT THOSE 3 IN AND [THE ROYAL ALBERTA MUSEUM] CHOSE THE TWO.” ON HIS MOTHER’S HISTORY, ED BETTS RECALLED, “[MY MOM WAS FROM] CZECHOSLOVAKIA ORIGINALLY…SHE GOT ON THE TRAIN IN NOVA SCOTIA AND [CAME] WEST [IN 1930]. SHE HAD A BROTHER IN WETASKIWIN. SHE DIDN’T SPEAK ENGLISH AND WHEN SHE GOT ON THE CPR SHE THOUGHT SHE WAS GOING TO WETASKIWIN. SHE ENDED UP ON THE DOCK IN COUTTS. SHE DIDN’T KNOW ANYBODY…THE OSTBY FAMILY TOOK HER HOME AND THERE SHE WORKED FOR HER [ROOM AND BOARD]. FROM THERE SHE WENT TO OUR NEIGHBORS, DICK WOLLERSHEIM. HE WAS A NEIGHBOR TO DAD. SHE BROKE HER LEG, SHE GOT THROWN OFF A HORSE AND SHE HAD NO PLACE TO GO AND I THINK DAD TOOK HER HOME…[MOM] AND DAD WERE MARRIED IN ’32.” “DAD HOMESTEADED IN 1908…DOWN ON THE MILK RIVER…THREE MILES SOUTH OF [THE FARM].” “[MOM CAME TO CANADA] FOR A NEW LIFE. SHE THOUGHT SHE WAS GOING TO HER BROTHER’S PLACE.” ON HIS MOTHER’S QUILTING AND SEWING, ED BETTS ELABORATED, “I THINK [HER SKILL AND KNOWLEDGE OF SEWING CAME] FROM THE OLD COUNTRY BECAUSE THAT’S WHAT WOMEN DID –COOK, AND SEW.” “[MOM WAS SEWING] EVERYTHING. THAT’S THE WHOLE THING. SHE JUST HAD TO HAVE SOMETHING TO DO WITH HER HANDS…IT WOULD TAKE ONE HELL OF A MAN TO KEEP UP WITH HER…[THE UNFINISHED QUILT TOPS WERE] JUST SOMETHING TO DO.” GLORIA BETTS NOTED, “I THINK THE THING WAS, EVERY LITTLE SCRAP OF MATERIAL HAD TO GO SOMEPLACE. SHE DIDN’T WASTE ANYTHING. SOMEWHERE DOWN STAIRS…THERE’S A BOX THAT HAS OLD BABY BONUS CHEQUES THAT WERE NEVER CASHED. THERE’S RECEIPTS FOR A HUNDRED POUNDS OF FLOUR FOR TEN CENTS. SHE KEPT EVERYTHING. SHE WAS SO AFRAID THAT SHE WOULD DO WITHOUT AGAIN. I KNOW WHEN I FIRST MET HER, SHE WOULD SEE A PICTURE IN A NEWSPAPER OR IN THIS OLD CATALOGUE WHICH USED TO COME ALONG. YOU COULD MAIL AWAY IF YOU SENT TEN CENTS BUT SHE WOULDN’T SPEND TEN CENTS. SHE WOULD LOOK AT THE PICTURES AND THEN SHE WOULD DRAW IT ON NEWSPAPER AND THAT’S HOW SHE MADE THE QUILTS. IT’S AMAZING, THE WAY THAT THEY’RE PUT TOGETHER BECAUSE THEY FIT…THERE’S ONE QUILT THERE THAT’S MIS-MATCHED BUT THE REST OF THEM ARE JUST PERFECTLY PUT TOGETHER.” “[SHE MADE QUILTS THAT] WOULD HAVE BEEN CALLED CRAZY [QUILTS] BACK IN THE DAY. YOU CAN SEE IN [ONE OF THE QUILTS] HOW THE PIECES DON’T MATCH COMING TOGETHER. YET YOU CAN TURN AROUND AND THERE’S ANOTHER QUILT…SHE’S PERFECTED [IT] ALMOST DOWN TO AN EXACT MATCH. IT’S AMAZING THAT SHE GOT THEM FROM A PICTURE, THAT SHE’S GOT THEM TOGETHER THE WAY THEY ARE.” “PROBABLY MATERIAL THAT SHE GOT [FOR THE QUILTS WAS FROM] HER CLOTHES. SHE WOULD PROBABLY CUT THEM UP AND MAKE THEM INTO SOMETHING.” ED BETTS RECALLED, “SHE HAD AN ANEURISM AND HAD TO GO TO CALGARY FOR A MONTH [IN THE ‘70S] AND AFTER THAT I DON’T THINK SHE DID MUCH SEWING ANY MORE…IN THE ‘80S SHE WENT TO LIVE WITH MY SISTER.” “[THE QUILT INTERIORS ARE] ALL NATURAL WOOL. I CAN REMEMBER HER SITTING FOR HOURS RE-CARDING ALL THIS STUFF TO PUT IN HER QUILT.” ON KATHERINE BETTS’ QUILTS, GLORIA BETTS ELABORATED, “SHE CERTAINLY WASN’T ONE TO SHOW OFF WHAT SHE WAS DOING EITHER. SHE WAS JUST A VERY PRIVATE WOMAN, VERY HUMBLE WOMAN.” “I THINK SOME [OF THE QUILTS] WENT TO BC WHEN SHE WENT TO LIVE WITH MARGE IN BC. I KNOW THAT HER TREADLE SEWING MACHINE WE HAD AT THE HOUSE UNTIL SHE PASSED AWAY AND THEN MARGE TOOK THE TREADLE SEWING MACHINE.” “I’M THINKING THE PURPLE [DOUBLE WEDDING RINGS QUILT] ONE IS THE MOST RECENT, ALTHOUGH I CAN’T REALLY SAY ABOUT THE TOPS…[THE ROYAL] ALBERTA MUSEUM TOLD ME NOT TO FINISH [THE QUILT TOPS], TO LEAVE THEM AS THEY WERE.” “NOBODY SEWED [IN THE FAMILY EXCEPT KATHERINA]. MARGE CROCHETED.” GLORIA BETTS NOTED THEIR MOTIVATION FOR DONATING THE QUILTS, STATING, “WE’RE DOWNSIZING BECAUSE OF AGE AND MOVING. [THE QUILTS] HAVE TO GO SOMEPLACE WHERE THEY ARE GOING TO BE LOOKED AFTER.” KATHERINA BETTS WAS BORN KATHERINA KOVACIKOVA IN 1903 AND IMMIGRATED TO CANADA FROM CZECHOSLOVAKIA IN 1930. A GRAVE RECORD ON FINDAGRAVE.COM LISTS KATHERINA KOVACIKOVA BETTS AS THE WIFE OF CLARENCE BETTS OF COUTTS, ALBERTA. THE BLUE APPLIQUE QUILT WAS DISPLAYED AS PART OF THE ROYAL ALBERTA MUSEUM'S "ALBERTA QUILT PROJECT" WITH THE NUMBER "AQP 2-0284." THE ALBERTA QUILT PROJECT DOCUMENTED QUILTS REFLECTING QUILTING TRENDS OF THE 20TH CENTURY IN ALBERTA, ACCORDING TO A CALL FOR QUILTS PUBLISHED BY LUCCIE HEINS, CURATOR FOR THE ROYAL ALBERTA MUSEUM MANAGING THE PROJECT. THE ALBERTA QUILT PROJECT'S SECOND PHASE BEGAN IN 2014 TO EXAMINE QUILTS IN PUBLIC COLLECTIONS, WITH THE EARLIER FIRST PHASE EXAMINING QUILTS PRIVATELY OWNED. ACCORDING TO 1930 PASSENGER LISTS FOR THE HMS MONTCLARE [ACCESSED THROUGH THE LIBRARY AND ARCHIVES OF CANADA DIGITIZED MICROFILM RECORDS], KATHARINA [KATHERINA] KOVACIKOVA ARRIVED IN ST. JOHN’S, NEW BRUNSWICK ON MARCH 30, 1930 FROM HAMBURG, GERMANY. KATHERINA WAS LISTED ON THE PASSENGER LISTS AS 26 YEARS OF AGE, SINGLE, BORN IN RADOSINA, CZECHOSLOVAKIA AND ARRIVING IN CANADA TO PURSUE A “DOMESTIC” TRADE. KATHERINA BETTS PASSED AWAY IN VERNON, B.C. ON MAY 20, 1985, ACCORDING TO LETHBRIDGE HERALD ARTICLES. KATHERINA’S HUSBAND, CLARENCE, PASSED AWAY ON DECEMBER 4, 1969 IN COUTTS, ALBERTA. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND COPIES OF THE GRAVE AND PASSENGER RECORDS, PLEASE SEE THE PERMANENT FILE P20170026001-GA.
Catalogue Number
P20170026001
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
DOUBLE WEDDING RING
Date Range From
1960
Date Range To
1970
Material Type
Artifact
Materials
COTTON, WOOL
Catalogue Number
P20170026002
  2 images  
Material Type
Artifact
Other Name
DOUBLE WEDDING RING
Date Range From
1960
Date Range To
1970
Materials
COTTON, WOOL
No. Pieces
1
Length
202
Width
260
Description
PURPLE QUILT WITH DOUBLE WEDDING RING PATTERN ON FRONT; QUILT HAS MACHINE-STITCHED GRID OF 80 SQUARES. RINGS ARE INTERLOCKED AND MULTI-COLOURED AND MULTI-PATTERNED WITH YELLOW, BLUE, PINK, AND RED PRIMARY COLOURS IN RINGS. QUILT TOP IS HAND-STITCHED AND SEAMS ALONG EDGES ARE MACHINE-STITCHED. BACK OF QUILT HAS LIGHTER PURPLE SECTIONS IN LOWER LEFT CORNER. EDGES ARE FRAYED; LOWER RIGHT CORNER HAS LOOSE STUFFING EXPOSED FROM INSIDE, STUFFING IS WOOL. UPPER RIGHT CORNER HAS INTERIOR FABRIC EXPOSED AND IS WORN; OVERALL VERY GOOD CONDITION.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
ON AUGUST 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND GLORIA BETTS REGARDING THEIR DONATION OF FIVE HANDMADE QUILTS. THE QUILTS WERE CREATED BY ED BETTS’ MOTHER, KATHERINA BETTS. ON THE DOUBLE WEDDING RING QUILT, ED BETTS ELABORATED, “DAD DIED IN ‘69 SO JIM [MY BROTHER] AND I TOOK OVER THE FARM…IN 1970. GLORIA AND I TOOK OVER THE HOME FARM [IN 2010] AND [THE QUILTS WERE] LEFT BY MY MOTHER. [THE FARM WAS] EAST OF COUTTS, NINE MILES…IT BELONGED TO MY MOTHER AND DAD [KATY AND CLARENCE].” “WE FOUND [THE QUILTS] WHEN WE WERE CLEANING EVERYTHING OUT [OF THE ATTIC] WHEN WE MOVED TO LETHBRIDGE. [THE QUILTS WERE IN] AN OLD WOODEN BOX IN THE [ATTIC]…NINE WERE IN A BOX AND [THE BLUE AND WHITE APPLIQUE QUILT] WAS OUT.” “[MOM] WAS ALWAYS DOING SOMETHING, ’CAUSE SHE COULDN’T SIT DOWN IDLY. SHE HAD TO BE CROCHETING, OR EMBROIDERING OR MAKING QUILTS.” GLORIA BETTS NOTED, “[IT WAS MADE IN THE] ‘60S, MAYBE EVEN THE ‘70S.” “WHEN I FIRST MET [KATHERINE], I CAN REMEMBER COMING INTO THE HOUSE AND SHE WAS SITTING AT THE OLD TREADLE SEWING MACHINE. THAT THING WAS JUST [GOING] AND THAT’S WHAT SHE WAS DOING, WAS JUST PIECING PIECES OF MATERIAL TOGETHER.” “[FOR THE ALBERTA QUILT PROJECT WITH THE ROYAL ALBERTA MUSEUM] WE BROUGHT IN THE BLUE [APPLIQUE] ONE, THE PURPLE [DOUBLE WEDDING RING] ONE AND THE ONE [QUILT TOP], THE FAN. WE BROUGHT THOSE 3 IN AND [THE ROYAL ALBERTA MUSEUM] CHOSE THE TWO.” “I THINK THE REASON [WE CHOSE THE DOUBLE WEDDING RING] IS BECAUSE THE PURPLE DOUBLE WEDDING RING IS PROBABLY NEWER THAN WHAT THE OTHER ONES WERE.” ON HIS MOTHER’S HISTORY, ED BETTS RECALLED, “[MY MOM WAS FROM] CZECHOSLOVAKIA ORIGINALLY…SHE GOT ON THE TRAIN IN NOVA SCOTIA AND [CAME] WEST [IN 1930]. SHE HAD A BROTHER IN WETASKIWIN. SHE DIDN’T SPEAK ENGLISH AND WHEN SHE GOT ON THE CPR SHE THOUGHT SHE WAS GOING TO WETASKIWIN. SHE ENDED UP ON THE DOCK IN COUTTS. SHE DIDN’T KNOW ANYBODY…THE OSTBY FAMILY TOOK HER HOME AND THERE SHE WORKED FOR HER [ROOM AND BOARD]. FROM THERE SHE WENT TO OUR NEIGHBORS, DICK WOLLERSHEIM. HE WAS A NEIGHBOR TO DAD. SHE BROKE HER LEG, SHE GOT THROWN OFF A HORSE AND SHE HAD NO PLACE TO GO AND I THINK DAD TOOK HER HOME…[MOM] AND DAD WERE MARRIED IN ’32.” “DAD HOMESTEADED IN 1908…DOWN ON THE MILK RIVER…THREE MILES SOUTH OF [THE FARM].” “[MOM CAME TO CANADA] FOR A NEW LIFE. SHE THOUGHT SHE WAS GOING TO HER BROTHER’S PLACE.” ON HIS MOTHER’S QUILTING AND SEWING, ED BETTS ELABORATED, “I THINK [HER SKILL AND KNOWLEDGE OF SEWING CAME] FROM THE OLD COUNTRY BECAUSE THAT’S WHAT WOMEN DID –COOK, AND SEW.” “[MOM WAS SEWING] EVERYTHING. THAT’S THE WHOLE THING. SHE JUST HAD TO HAVE SOMETHING TO DO WITH HER HANDS…IT WOULD TAKE ONE HELL OF A MAN TO KEEP UP WITH HER…[THE UNFINISHED QUILT TOPS WERE] JUST SOMETHING TO DO.” GLORIA BETTS NOTED, “I THINK THE THING WAS, EVERY LITTLE SCRAP OF MATERIAL HAD TO GO SOMEPLACE. SHE DIDN’T WASTE ANYTHING. SOMEWHERE DOWN STAIRS…THERE’S A BOX THAT HAS OLD BABY BONUS CHEQUES THAT WERE NEVER CASHED. THERE’S RECEIPTS FOR A HUNDRED POUNDS OF FLOUR FOR TEN CENTS. SHE KEPT EVERYTHING. SHE WAS SO AFRAID THAT SHE WOULD DO WITHOUT AGAIN.” “I KNOW WHEN I FIRST MET HER, SHE WOULD SEE A PICTURE IN A NEWSPAPER OR IN THIS OLD CATALOGUE WHICH USED TO COME ALONG. YOU COULD MAIL AWAY IF YOU SENT TEN CENTS BUT SHE WOULDN’T SPEND TEN CENTS. SHE WOULD LOOK AT THE PICTURES AND THEN SHE WOULD DRAW IT ON NEWSPAPER AND THAT’S HOW SHE MADE THE QUILTS. IT’S AMAZING, THE WAY THAT THEY’RE PUT TOGETHER BECAUSE THEY FIT…THERE’S ONE QUILT THERE THAT’S MIS-MATCHED BUT THE REST OF THEM ARE JUST PERFECTLY PUT TOGETHER.” “THAT WOULD HAVE BEEN CALLED A CRAZY QUILT BACK IN THE DAY. YOU CAN SEE IN [ONE OF THE QUILTS] HOW THE PIECES DON’T MATCH COMING TOGETHER. YET YOU CAN TURN AROUND AND THERE’S ANOTHER QUILT…SHE’S PERFECTED [IT] ALMOST DOWN TO AN EXACT MATCH. IT’S AMAZING THAT SHE GOT THEM FROM A PICTURE, THAT SHE’S GOT THEM TOGETHER THE WAY THEY ARE.” “PROBABLY MATERIAL THAT SHE GOT [FOR THE QUILTS WAS FROM] HER CLOTHES. SHE WOULD PROBABLY CUT THEM UP AND MAKE THEM INTO SOMETHING.” ED BETTS RECALLED, “SHE HAD AN ANEURISM AND HAD TO GO TO CALGARY FOR A MONTH [IN THE ‘70S] AND AFTER THAT I DON’T THINK SHE DID MUCH SEWING ANY MORE…IN THE ‘80S SHE WENT TO LIVE WITH MY SISTER.” “[THE QUILT INTERIORS ARE] ALL NATURAL WOOL. I CAN REMEMBER HER SITTING FOR HOURS RE-CARDING ALL THIS STUFF TO PUT IN HER QUILT.” ON KATHERINE BETTS’ QUILTS, GLORIA BETTS ELABORATED, “SHE CERTAINLY WASN’T ONE TO SHOW OFF WHAT SHE WAS DOING EITHER. SHE WAS JUST A VERY PRIVATE WOMAN, VERY HUMBLE WOMAN.” “I THINK SOME [OF THE QUILTS] WENT TO BC WHEN SHE WENT TO LIVE WITH MARGE IN BC. I KNOW THAT HER TREADLE SEWING MACHINE WE HAD AT THE HOUSE UNTIL SHE PASSED AWAY AND THEN MARGE TOOK THE TREADLE SEWING MACHINE.” “I’M THINKING THE PURPLE [DOUBLE WEDDING RINGS QUILT] ONE IS THE MOST RECENT, ALTHOUGH I CAN’T REALLY SAY ABOUT THE TOPS…[THE ROYAL] ALBERTA MUSEUM TOLD ME NOT TO FINISH [THE QUILT TOPS], TO LEAVE THEM AS THEY WERE.” “NOBODY SEWED [IN THE FAMILY EXCEPT KATHERINA]. MARGE CROCHETED.” GLORIA BETTS NOTED THEIR MOTIVATION FOR DONATING THE QUILTS, STATING, “WE’RE DOWNSIZING BECAUSE OF AGE AND MOVING. [THE QUILTS] HAVE TO GO SOMEPLACE WHERE THEY ARE GOING TO BE LOOKED AFTER.” KATHERINA BETTS WAS BORN KATHERINA KOVACIKOVA IN 1903 AND IMMIGRATED TO CANADA FROM CZECHOSLOVAKIA IN 1930. A GRAVE RECORD ON FINDAGRAVE.COM LISTS KATHERINA KOVACIKOVA BETTS AS THE WIFE OF CLARENCE BETTS OF COUTTS, ALBERTA. ACCORDING TO 1930 PASSENGER LISTS FOR THE HMS MONTCLARE [ACCESSED THROUGH THE LIBRARY AND ARCHIVES OF CANADA DIGITIZED MICROFILM RECORDS], KATHARINA [KATHERINA] KOVACIKOVA ARRIVED IN ST. JOHN’S, NEW BRUNSWICK ON MARCH 30, 1930 FROM HAMBURG, GERMANY. KATHERINA WAS LISTED ON THE PASSENGER LISTS AS 26 YEARS OF AGE, SINGLE, BORN IN RADOSINA, CZECHOSLOVAKIA AND ARRIVING IN CANADA TO PURSUE A “DOMESTIC” TRADE. KATHERINA BETTS PASSED AWAY IN VERNON, B.C. ON MAY 20, 1985, ACCORDING TO LETHBRIDGE HERALD ARTICLES. KATHERINA’S HUSBAND, CLARENCE, PASSED AWAY ON DECEMBER 4, 1969 IN COUTTS, ALBERTA. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND COPIES OF THE GRAVE AND PASSENGER RECORDS, PLEASE SEE THE PERMANENT FILE P20170026001-GA.
Catalogue Number
P20170026002
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, POLYESTER
Catalogue Number
P20170026003
  2 images  
Material Type
Artifact
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Materials
COTTON, POLYESTER
No. Pieces
1
Length
197
Width
154.5
Description
QUILT TOP WITH MULTI-COLOURED AND MULTI-FABRIC CRAZY QUILT DESIGN IN A TWENTY SQUARE GRID; EACH GRID SQUARE HAS AN EIGHT-POINT STAR SEWN TOGETHER WITH MIXED-PATTERNED FABRICS. GRID SQUARES ARE DIVIDED BY EXTRA FABRIC TO FORM BORDERS. QUILT HAS ONE GRID BORDER OF DENIM EXTENDED PAST QUILT EDGE. QUILT IS HANDSTITCHED WITH STITCHES VISIBLE ON BACK; EDGES ARE UNFINISHED AND FRAYING; SMALL, FRAYED TEAR IN MIDDLE OF QUILT; OVERALL VERY GOOD CONDITION.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
ON AUGUST 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND GLORIA BETTS REGARDING THEIR DONATION OF FIVE HANDMADE QUILTS. THE QUILTS WERE CREATED BY ED BETTS’ MOTHER, KATHERINA BETTS. ON THE CRAZY QUILT, ED BETTS ELABORATED, “DAD DIED IN ‘69 SO JIM [MY BROTHER] AND I TOOK OVER THE FARM…IN 1970. GLORIA AND I TOOK OVER THE HOME FARM [IN 2010] AND [THE QUILTS WERE] LEFT BY MY MOTHER. [THE FARM WAS] EAST OF COUTTS, NINE MILES…IT BELONGED TO MY MOTHER AND DAD [KATY AND CLARENCE].” “WE FOUND [THE QUILTS] WHEN WE WERE CLEANING EVERYTHING OUT [OF THE ATTIC] WHEN WE MOVED TO LETHBRIDGE. [THE QUILTS WERE IN] AN OLD WOODEN BOX IN THE [ATTIC]…NINE WERE IN A BOX AND [THE BLUE AND WHITE APPLIQUE QUILT] WAS OUT.” ON HIS MOTHER’S HISTORY, ED BETTS RECALLED, “[MY MOM WAS FROM] CZECHOSLOVAKIA ORIGINALLY…SHE GOT ON THE TRAIN IN NOVA SCOTIA AND [CAME] WEST [IN 1930]. SHE HAD A BROTHER IN WETASKIWIN. SHE DIDN’T SPEAK ENGLISH AND WHEN SHE GOT ON THE CPR SHE THOUGHT SHE WAS GOING TO WETASKIWIN. SHE ENDED UP ON THE DOCK IN COUTTS. SHE DIDN’T KNOW ANYBODY…THE OSTBY FAMILY TOOK HER HOME AND THERE SHE WORKED FOR HER [ROOM AND BOARD]. FROM THERE SHE WENT TO OUR NEIGHBORS, DICK WOLLERSHEIM. HE WAS A NEIGHBOR TO DAD. SHE BROKE HER LEG, SHE GOT THROWN OFF A HORSE AND SHE HAD NO PLACE TO GO AND I THINK DAD TOOK HER HOME…[MOM] AND DAD WERE MARRIED IN ’32.” “DAD HOMESTEADED IN 1908…DOWN ON THE MILK RIVER…THREE MILES SOUTH OF [THE FARM].” “[MOM CAME TO CANADA] FOR A NEW LIFE. SHE THOUGHT SHE WAS GOING TO HER BROTHER’S PLACE.” ON HIS MOTHER’S QUILTING AND SEWING, ED BETTS ELABORATED, “I THINK [HER SKILL AND KNOWLEDGE OF SEWING CAME] FROM THE OLD COUNTRY BECAUSE THAT’S WHAT WOMEN DID –COOK, AND SEW.” “[MOM WAS SEWING] EVERYTHING. THAT’S THE WHOLE THING. SHE JUST HAD TO HAVE SOMETHING TO DO WITH HER HANDS…IT WOULD TAKE ONE HELL OF A MAN TO KEEP UP WITH HER…[THE UNFINISHED QUILT TOPS WERE] JUST SOMETHING TO DO.” GLORIA BETTS NOTED, “I THINK THE THING WAS, EVERY LITTLE SCRAP OF MATERIAL HAD TO GO SOMEPLACE. SHE DIDN’T WASTE ANYTHING. SOMEWHERE DOWN STAIRS…THERE’S A BOX THAT HAS OLD BABY BONUS CHEQUES THAT WERE NEVER CASHED. THERE’S RECEIPTS FOR A HUNDRED POUNDS OF FLOUR FOR TEN CENTS. SHE KEPT EVERYTHING. SHE WAS SO AFRAID THAT SHE WOULD DO WITHOUT AGAIN.” “I KNOW WHEN I FIRST MET HER, SHE WOULD SEE A PICTURE IN A NEWSPAPER OR IN THIS OLD CATALOGUE WHICH USED TO COME ALONG. YOU COULD MAIL AWAY IF YOU SENT TEN CENTS BUT SHE WOULDN’T SPEND TEN CENTS. SHE WOULD LOOK AT THE PICTURES AND THEN SHE WOULD DRAW IT ON NEWSPAPER AND THAT’S HOW SHE MADE THE QUILTS. IT’S AMAZING, THE WAY THAT THEY’RE PUT TOGETHER BECAUSE THEY FIT…THERE’S ONE QUILT THERE THAT’S MIS-MATCHED BUT THE REST OF THEM ARE JUST PERFECTLY PUT TOGETHER.” “THAT WOULD HAVE BEEN CALLED A CRAZY QUILT BACK IN THE DAY. YOU CAN SEE IN [ONE OF THE QUILTS] HOW THE PIECES DON’T MATCH COMING TOGETHER. YET YOU CAN TURN AROUND AND THERE’S ANOTHER QUILT…SHE’S PERFECTED [IT] ALMOST DOWN TO AN EXACT MATCH. IT’S AMAZING THAT SHE GOT THEM FROM A PICTURE, THAT SHE’S GOT THEM TOGETHER THE WAY THEY ARE.” “PROBABLY MATERIAL THAT SHE GOT [FOR THE QUILTS WAS FROM] HER CLOTHES. SHE WOULD PROBABLY CUT THEM UP AND MAKE THEM INTO SOMETHING.” ED BETTS RECALLED, “SHE HAD AN ANEURISM AND HAD TO GO TO CALGARY FOR A MONTH [IN THE ‘70S] AND AFTER THAT I DON’T THINK SHE DID MUCH SEWING ANY MORE…IN THE ‘80S SHE WENT TO LIVE WITH MY SISTER.” “[THE QUILT INTERIORS ARE] ALL NATURAL WOOL. I CAN REMEMBER HER SITTING FOR HOURS RE-CARDING ALL THIS STUFF TO PUT IN HER QUILT.” ON KATHERINE BETTS’ QUILTS, GLORIA BETTS ELABORATED, “SHE CERTAINLY WASN’T ONE TO SHOW OFF WHAT SHE WAS DOING EITHER. SHE WAS JUST A VERY PRIVATE WOMAN, VERY HUMBLE WOMAN.” “I THINK SOME [OF THE QUILTS] WENT TO BC WHEN SHE WENT TO LIVE WITH MARGE IN BC. I KNOW THAT HER TREADLE SEWING MACHINE WE HAD AT THE HOUSE UNTIL SHE PASSED AWAY AND THEN MARGE TOOK THE TREADLE SEWING MACHINE.” “I’M THINKING THE PURPLE [DOUBLE WEDDING RINGS QUILT] ONE IS THE MOST RECENT, ALTHOUGH I CAN’T REALLY SAY ABOUT THE TOPS…[THE ROYAL] ALBERTA MUSEUM TOLD ME NOT TO FINISH [THE QUILT TOPS], TO LEAVE THEM AS THEY WERE.” “NOBODY SEWED [IN THE FAMILY EXCEPT KATHERINA]. MARGE CROCHETED.” GLORIA BETTS NOTED THEIR MOTIVATION FOR DONATING THE QUILTS, STATING, “WE’RE DOWNSIZING BECAUSE OF AGE AND MOVING. [THE QUILTS] HAVE TO GO SOMEPLACE WHERE THEY ARE GOING TO BE LOOKED AFTER.” KATHERINA BETTS WAS BORN KATHERINA KOVACIKOVA IN 1903 AND IMMIGRATED TO CANADA FROM CZECHOSLOVAKIA IN 1930. A GRAVE RECORD ON FINDAGRAVE.COM LISTS KATHERINA KOVACIKOVA BETTS AS THE WIFE OF CLARENCE BETTS OF COUTTS, ALBERTA. ACCORDING TO 1930 PASSENGER LISTS FOR THE HMS MONTCLARE [ACCESSED THROUGH THE LIBRARY AND ARCHIVES OF CANADA DIGITIZED MICROFILM RECORDS], KATHARINA [KATHERINA] KOVACIKOVA ARRIVED IN ST. JOHN’S, NEW BRUNSWICK ON MARCH 30, 1930 FROM HAMBURG, GERMANY. KATHERINA WAS LISTED ON THE PASSENGER LISTS AS 26 YEARS OF AGE, SINGLE, BORN IN RADOSINA, CZECHOSLOVAKIA AND ARRIVING IN CANADA TO PURSUE A “DOMESTIC” TRADE. KATHERINA BETTS PASSED AWAY IN VERNON, B.C. ON MAY 20, 1985, ACCORDING TO LETHBRIDGE HERALD ARTICLES. KATHERINA’S HUSBAND, CLARENCE, PASSED AWAY ON DECEMBER 4, 1969 IN COUTTS, ALBERTA. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND COPIES OF THE GRAVE AND PASSENGER RECORDS, PLEASE SEE THE PERMANENT FILE P20170026001-GA.
Catalogue Number
P20170026003
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, POLYESTER
Catalogue Number
P20170026004
  2 images  
Material Type
Artifact
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Materials
COTTON, POLYESTER
No. Pieces
1
Length
187.5
Width
147
Description
QUILT TOP WITH GRID OF 20 SQUARES; EACH SQUARE HAS A PATCHWORK FAN BLOCK MADE OF ASSORTED PATTERNED FABRICS. QUILT TOP IS HANDSTICHED WITH UNFINISHED EDGES. QUILT BACKING IS PATCHWORK WITH BLACK AND WHITE SQUARES; BACKING SQUARE IN THE SECOND COLUMN AND THE 12TH SQUARE DOWN HAS BLACK TEXT ON WHITE FABRIC, “CRANE LIMITED; AT POINT OF MAILING; VALVES, FITTINGS, PUMPS, FABRICATED PIPE, HEATING AND PLUMBING MATERIALS”. QUILT HAS MINOR STAINING ON FRONT AND ALONG TOP EGDE; EDGES ARE FRAYING; QUILT HAS RIP BELOW CENTER SQUARE; OVERALL VERY GOOD CONDITION.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
ON AUGUST 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND GLORIA BETTS REGARDING THEIR DONATION OF FIVE HANDMADE QUILTS. THE QUILTS WERE CREATED BY ED BETTS’S MOTHER, KATHERINA BETTS. ON THE FAN BLOCK QUILT, ED BETTS ELABORATED, “[THE QUILT BACKING IS] FLOUR SACKS…OR SUGAR SACKS, THEY ALL [CAME] IN WHITE SACKS.” GLORIA BETTS ADDED, “[SHE PROBABLY PUT A BACKING ON THIS QUILT TOP] BECAUSE USUALLY, EVEN TODAY IN QUILTING, THE FANS ARE DONE ON A BACKING BECAUSE EVERYTHING ON THE PIECES IS ON A BIAS SO IT STRETCHES. SO IT’S PUT ONTO A BACKING. BUT THE BACKING ON THAT PARTICULAR ONE BEING EITHER THE FLOUR SACKS OR THE SUGAR SACKS, TO ME, MADE IT UNIQUE.” “[FOR THE ALBERTA QUILT PROJECT WITH THE ROYAL ALBERTA MUSEUM] WE BROUGHT IN THE BLUE [APPLIQUE] ONE, THE PURPLE [DOUBLE WEDDING RING] ONE AND THE ONE [QUILT TOP], THE FAN. WE BROUGHT THOSE 3 IN AND [THE ROYAL ALBERTA MUSEUM] CHOSE THE TWO.” “I THINK THE REASON [WE CHOSE THE DOUBLE WEDDING RING] IS BECAUSE THE PURPLE DOUBLE WEDDING RING IS PROBABLY NEWER THAN WHAT THE OTHER ONES WERE. [WE CHOSE THE FAN QUILT TOP] PROBABLY BECAUSE OF THE BACKING ON IT. A LOT OF THE TIME, IN THE OLD DAYS, THAT’S WHAT THEY DID, THEY PUT [QUILT TOPS] ON A BACKING.” “ON THE FAN [QUILT], [LUCY WITH THE ROYAL ALBERTA MUSEUM] IDENTIFIED FABRICS THAT WERE BACK TO THE EARLY 1900S. ONE SHE THINKS MIGHT BE BACK INTO THE LATE 1800S WHICH WAS PROBABLY A DRESS THAT [KATHERINE] GOT SOMEWHERE. THE BLUE BACKED ONE, THEY FOUND THERE WERE STILL PINS LEFT INSIDE THE QUILT AND THEY LEFT THEM THERE BECAUSE THEY SAID TO TAKE THEM OUT WOULD DAMAGE THE FABRIC. THEY WERE IMPRESSED WITH THE WORKMANSHIP ON THAT…ESPECIALLY WHEN THEY FOUND OUT THAT IT WAS PUT TOGETHER FROM A DESIGN DRAWN ON NEWSPAPER.” ON HIS MOTHER’S HISTORY, ED BETTS RECALLED, “[MY MOM WAS FROM] CZECHOSLOVAKIA ORIGINALLY…SHE GOT ON THE TRAIN IN NOVA SCOTIA AND [CAME] WEST [IN 1930]. SHE HAD A BROTHER IN WETASKIWIN. SHE DIDN’T SPEAK ENGLISH AND WHEN SHE GOT ON THE CPR SHE THOUGHT SHE WAS GOING TO WETASKIWIN. SHE ENDED UP ON THE DOCK IN COUTTS. SHE DIDN’T KNOW ANYBODY…THE OSTBY FAMILY TOOK HER HOME AND THERE SHE WORKED FOR HER [ROOM AND BOARD]. FROM THERE SHE WENT TO OUR NEIGHBORS, DICK WOLLERSHEIM. HE WAS A NEIGHBOR TO DAD. SHE BROKE HER LEG, SHE GOT THROWN OFF A HORSE AND SHE HAD NO PLACE TO GO AND I THINK DAD TOOK HER HOME…[MOM] AND DAD WERE MARRIED IN ’32.” “DAD HOMESTEADED IN 1908…DOWN ON THE MILK RIVER…THREE MILES SOUTH OF [THE FARM].” “[MOM CAME TO CANADA] FOR A NEW LIFE. SHE THOUGHT SHE WAS GOING TO HER BROTHER’S PLACE.” ON HIS MOTHER’S QUILTING AND SEWING, ED BETTS ELABORATED, “I THINK [HER SKILL AND KNOWLEDGE OF SEWING CAME] FROM THE OLD COUNTRY BECAUSE THAT’S WHAT WOMEN DID –COOK, AND SEW.” “[MOM WAS SEWING] EVERYTHING. THAT’S THE WHOLE THING. SHE JUST HAD TO HAVE SOMETHING TO DO WITH HER HANDS…IT WOULD TAKE ONE HELL OF A MAN TO KEEP UP WITH HER…[THE UNFINISHED QUILT TOPS WERE] JUST SOMETHING TO DO.” GLORIA BETTS NOTED, “I THINK THE THING WAS, EVERY LITTLE SCRAP OF MATERIAL HAD TO GO SOMEPLACE. SHE DIDN’T WASTE ANYTHING. SOMEWHERE DOWN STAIRS…THERE’S A BOX THAT HAS OLD BABY BONUS CHEQUES THAT WERE NEVER CASHED. THERE’S RECEIPTS FOR A HUNDRED POUNDS OF FLOUR FOR TEN CENTS. SHE KEPT EVERYTHING. SHE WAS SO AFRAID THAT SHE WOULD DO WITHOUT AGAIN.” “I KNOW WHEN I FIRST MET HER, SHE WOULD SEE A PICTURE IN A NEWSPAPER OR IN THIS OLD CATALOGUE WHICH USED TO COME ALONG. YOU COULD MAIL AWAY IF YOU SENT TEN CENTS BUT SHE WOULDN’T SPEND TEN CENTS. SHE WOULD LOOK AT THE PICTURES AND THEN SHE WOULD DRAW IT ON NEWSPAPER AND THAT’S HOW SHE MADE THE QUILTS. IT’S AMAZING, THE WAY THAT THEY’RE PUT TOGETHER BECAUSE THEY FIT…THERE’S ONE QUILT THERE THAT’S MIS-MATCHED BUT THE REST OF THEM ARE JUST PERFECTLY PUT TOGETHER.” “THAT WOULD HAVE BEEN CALLED A CRAZY QUILT BACK IN THE DAY. YOU CAN SEE IN [ONE OF THE QUILTS] HOW THE PIECES DON’T MATCH COMING TOGETHER. YET YOU CAN TURN AROUND AND THERE’S ANOTHER QUILT…SHE’S PERFECTED [IT] ALMOST DOWN TO AN EXACT MATCH. IT’S AMAZING THAT SHE GOT THEM FROM A PICTURE, THAT SHE’S GOT THEM TOGETHER THE WAY THEY ARE.” “PROBABLY MATERIAL THAT SHE GOT [FOR THE QUILTS WAS FROM] HER CLOTHES. SHE WOULD PROBABLY CUT THEM UP AND MAKE THEM INTO SOMETHING.” ED BETTS RECALLED, “SHE HAD AN ANEURISM AND HAD TO GO TO CALGARY FOR A MONTH [IN THE ‘70S] AND AFTER THAT I DON’T THINK SHE DID MUCH SEWING ANY MORE…IN THE ‘80S SHE WENT TO LIVE WITH MY SISTER.” “[THE QUILT INTERIORS ARE] ALL NATURAL WOOL. I CAN REMEMBER HER SITTING FOR HOURS RE-CARDING ALL THIS STUFF TO PUT IN HER QUILT.” ON KATHERINE BETTS' QUILTS, GLORIA BETTS ELABORATED, “SHE CERTAINLY WASN’T ONE TO SHOW OFF WHAT SHE WAS DOING EITHER. SHE WAS JUST A VERY PRIVATE WOMAN, VERY HUMBLE WOMAN.” “I THINK SOME [OF THE QUILTS] WENT TO BC WHEN SHE WENT TO LIVE WITH MARGE IN BC. I KNOW THAT HER TREADLE SEWING MACHINE WE HAD AT THE HOUSE UNTIL SHE PASSED AWAY AND THEN MARGE TOOK THE TREADLE SEWING MACHINE.” “I’M THINKING THE PURPLE [DOUBLE WEDDING RINGS QUILT] ONE IS THE MOST RECENT, ALTHOUGH I CAN’T REALLY SAY ABOUT THE TOPS…[THE ROYAL] ALBERTA MUSEUM TOLD ME NOT TO FINISH [THE QUILT TOPS], TO LEAVE THEM AS THEY WERE.” “NOBODY SEWED [IN THE FAMILY EXCEPT KATHERINA]. MARGE CROCHETED.” GLORIA BETTS NOTED THEIR MOTIVATION FOR DONATING THE QUILTS, STATING, “WE’RE DOWNSIZING BECAUSE OF AGE AND MOVING. [THE QUILTS] HAVE TO GO SOMEPLACE WHERE THEY ARE GOING TO BE LOOKED AFTER.” THE BLUE APPLIQUE QUILT WAS DISPLAYED AS PART OF THE ROYAL ALBERTA MUSEUM'S "ALBERTA QUILT PROJECT" WITH THE NUMBER "AQP 2-0286." THE ALBERTA QUILT PROJECT DOCUMENTED QUILTS REFLECTING QUILTING TRENDS OF THE 20TH CENTURY IN ALBERTA, ACCORDING TO A CALL FOR QUILTS PUBLISHED BY LUCCIE HEINS, CURATOR FOR THE ROYAL ALBERTA MUSEUM MANAGING THE PROJECT. THE ALBERTA QUILT PROJECT'S SECOND PHASE BEGAN IN 2014 TO EXAMINE QUILTS IN PUBLIC COLLECTIONS, WITH THE EARLIER FIRST PHASE EXAMINING QUILTS PRIVATELY OWNED. KATHERINA BETTS WAS BORN KATHERINA KOVACIKOVA IN 1903 AND IMMIGRATED TO CANADA FROM CZECHOSLOVAKIA IN 1930. A GRAVE RECORD ON FINDAGRAVE.COM LISTS KATHERINA KOVACIKOVA BETTS AS THE WIFE OF CLARENCE BETTS OF COUTTS, ALBERTA. ACCORDING TO 1930 PASSENGER LISTS FOR THE HMS MONTCLARE [ACCESSED THROUGH THE LIBRARY AND ARCHIVES OF CANADA DIGITIZED MICROFILM RECORDS], KATHARINA [KATHERINA] KOVACIKOVA ARRIVED IN ST. JOHN’S, NEW BRUNSWICK ON MARCH 30, 1930 FROM HAMBURG, GERMANY. KATHERINA WAS LISTED ON THE PASSENGER LISTS AS 26 YEARS OF AGE, SINGLE, BORN IN RADOSINA, CZECHOSLOVAKIA AND ARRIVING IN CANADA TO PURSUE A “DOMESTIC” TRADE. KATHERINA BETTS PASSED AWAY IN VERNON, B.C. ON MAY 20, 1985, ACCORDING TO LETHBRIDGE HERALD ARTICLES. KATHERINA’S HUSBAND, CLARENCE, PASSED AWAY ON DECEMBER 4, 1969 IN COUTTS, ALBERTA. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND COPIES OF THE GRAVE AND PASSENGER RECORDS, PLEASE SEE THE PERMANENT FILE P20170026001-GA.
Catalogue Number
P20170026004
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Material Type
Artifact
Materials
COTTON, POLYESTER
Catalogue Number
P20170026005
  2 images  
Material Type
Artifact
Other Name
QUILT TOP
Date Range From
1950
Date Range To
1960
Materials
COTTON, POLYESTER
No. Pieces
1
Length
215.4
Width
165
Description
QUILT TOP WITH EIGHT POINT STAR PATTERN IN 48 SQUARE GRID; QUILT TOP HAS BLUE TRIM ALONG EDGES AND BETWEEN SQUARES; EIGHT POINT STARS FASHIONED FROM MULTICOLOURED AND PATTERNED FABRICS. RIGHT EDGE HAS TWO SQUARES MISSING BLUE TRIM ALONG OUTER EDGE AND ONE SQUARE WITH RIPPED BLUE TRIM ALONG OUTER EDGE; LEFT EDGE HAS SQUARE MISSING BLUE TRIM ALONG OUTER EDGE. UPPER LEFT CORNER HAS THREE SEAMS SEWN IN BLUE TRIM. STARS IN SQUARES HANDSTITCHED; SQUARES ATTACHED WITH MACHINE STITCHED SEAMS; MACHINE STITCHED SEAMS ATTACHING SQUARES TO BLUE TRIM AND EDGES. EDGES ARE FRAYING; QUILT TOP HAS NO BACKING AND THREADS ARE EXPOSED; OVERALL VERY GOOD CONDITION.
Subjects
BEDDING
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
ON AUGUST 2, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED ED AND GLORIA BETTS REGARDING THEIR DONATION OF FIVE HANDMADE QUILTS. THE QUILTS WERE CREATED BY ED BETTS’ MOTHER, KATHERINA BETTS. ON THE EIGHT-POINT STAR QUILT, ED BETTS ELABORATED, “DAD DIED IN ‘69 SO JIM [MY BROTHER] AND I TOOK OVER THE FARM…IN 1970. GLORIA AND I TOOK OVER THE HOME FARM [IN 2010] AND [THE QUILTS WERE] LEFT BY MY MOTHER. [THE FARM WAS] EAST OF COUTTS, NINE MILES…IT BELONGED TO MY MOTHER AND DAD [KATY AND CLARENCE].” “WE FOUND [THE QUILTS] WHEN WE WERE CLEANING EVERYTHING OUT [OF THE ATTIC] WHEN WE MOVED TO LETHBRIDGE. [THE QUILTS WERE IN] AN OLD WOODEN BOX IN THE [ATTIC]…NINE WERE IN A BOX AND [THE BLUE AND WHITE APPLIQUE QUILT] WAS OUT.” ON HIS MOTHER’S HISTORY, ED BETTS RECALLED, “[MY MOM WAS FROM] CZECHOSLOVAKIA ORIGINALLY…SHE GOT ON THE TRAIN IN NOVA SCOTIA AND [CAME] WEST [IN 1930]. SHE HAD A BROTHER IN WETASKIWIN. SHE DIDN’T SPEAK ENGLISH AND WHEN SHE GOT ON THE CPR SHE THOUGHT SHE WAS GOING TO WETASKIWIN. SHE ENDED UP ON THE DOCK IN COUTTS. SHE DIDN’T KNOW ANYBODY…THE OSTBY FAMILY TOOK HER HOME AND THERE SHE WORKED FOR HER [ROOM AND BOARD]. FROM THERE SHE WENT TO OUR NEIGHBORS, DICK WOLLERSHEIM. HE WAS A NEIGHBOR TO DAD. SHE BROKE HER LEG, SHE GOT THROWN OFF A HORSE AND SHE HAD NO PLACE TO GO AND I THINK DAD TOOK HER HOME…[MOM] AND DAD WERE MARRIED IN ’32.” “DAD HOMESTEADED IN 1908…DOWN ON THE MILK RIVER…THREE MILES SOUTH OF [THE FARM].” “[MOM CAME TO CANADA] FOR A NEW LIFE. SHE THOUGHT SHE WAS GOING TO HER BROTHER’S PLACE.” ON HIS MOTHER’S QUILTING AND SEWING, ED BETTS ELABORATED, “I THINK [HER SKILL AND KNOWLEDGE OF SEWING CAME] FROM THE OLD COUNTRY BECAUSE THAT’S WHAT WOMEN DID –COOK, AND SEW.” “[MOM WAS SEWING] EVERYTHING. THAT’S THE WHOLE THING. SHE JUST HAD TO HAVE SOMETHING TO DO WITH HER HANDS…IT WOULD TAKE ONE HELL OF A MAN TO KEEP UP WITH HER…[THE UNFINISHED QUILT TOPS WERE] JUST SOMETHING TO DO.” “I THINK IN THE OLD COUNTRY…THINGS WERE PRETTY TOUGH THERE. SHE HAD QUITE A FEW BROTHERS AND SISTERS OVER THERE TOO AND HER MOTHER DIED QUITE YOUNG. SHE WAS THE CAREGIVER, AND I GUESS WHEN THEY GOT OLD ENOUGH, SHE PULLED THE PLUG.” GLORIA BETTS NOTED, “I THINK THE THING WAS, EVERY LITTLE SCRAP OF MATERIAL HAD TO GO SOMEPLACE. SHE DIDN’T WASTE ANYTHING. SOMEWHERE DOWN STAIRS…THERE’S A BOX THAT HAS OLD BABY BONUS CHEQUES THAT WERE NEVER CASHED. THERE’S RECEIPTS FOR A HUNDRED POUNDS OF FLOUR FOR TEN CENTS. SHE KEPT EVERYTHING. SHE WAS SO AFRAID THAT SHE WOULD DO WITHOUT AGAIN.” “I KNOW WHEN I FIRST MET HER, SHE WOULD SEE A PICTURE IN A NEWSPAPER OR IN THIS OLD CATALOGUE WHICH USED TO COME ALONG. YOU COULD MAIL AWAY IF YOU SENT TEN CENTS BUT SHE WOULDN’T SPEND TEN CENTS. SHE WOULD LOOK AT THE PICTURES AND THEN SHE WOULD DRAW IT ON NEWSPAPER AND THAT’S HOW SHE MADE THE QUILTS. IT’S AMAZING, THE WAY THAT THEY’RE PUT TOGETHER BECAUSE THEY FIT…THERE’S ONE QUILT THERE THAT’S MIS-MATCHED BUT THE REST OF THEM ARE JUST PERFECTLY PUT TOGETHER.” “THAT WOULD HAVE BEEN CALLED A CRAZY QUILT BACK IN THE DAY. YOU CAN SEE IN [ONE OF THE QUILTS] HOW THE PIECES DON’T MATCH COMING TOGETHER. YET YOU CAN TURN AROUND AND THERE’S ANOTHER QUILT…SHE’S PERFECTED [IT] ALMOST DOWN TO AN EXACT MATCH. IT’S AMAZING THAT SHE GOT THEM FROM A PICTURE, THAT SHE’S GOT THEM TOGETHER THE WAY THEY ARE.” “PROBABLY MATERIAL THAT SHE GOT [FOR THE QUILTS WAS FROM] HER CLOTHES. SHE WOULD PROBABLY CUT THEM UP AND MAKE THEM INTO SOMETHING.” ED BETTS RECALLED, “SHE HAD AN ANEURISM AND HAD TO GO TO CALGARY FOR A MONTH [IN THE ‘70S] AND AFTER THAT I DON’T THINK SHE DID MUCH SEWING ANY MORE…IN THE ‘80S SHE WENT TO LIVE WITH MY SISTER.” “[THE QUILT INTERIORS ARE] ALL NATURAL WOOL. I CAN REMEMBER HER SITTING FOR HOURS RE-CARDING ALL THIS STUFF TO PUT IN HER QUILT.” ON KATHERINE BETTS’ QUILTS, GLORIA BETTS ELABORATED, “SHE CERTAINLY WASN’T ONE TO SHOW OFF WHAT SHE WAS DOING EITHER. SHE WAS JUST A VERY PRIVATE WOMAN, VERY HUMBLE WOMAN.” “I THINK SOME [OF THE QUILTS] WENT TO BC WHEN SHE WENT TO LIVE WITH MARGE IN BC. I KNOW THAT HER TREADLE SEWING MACHINE WE HAD AT THE HOUSE UNTIL SHE PASSED AWAY AND THEN MARGE TOOK THE TREADLE SEWING MACHINE.” “I’M THINKING THE PURPLE [DOUBLE WEDDING RINGS QUILT] ONE IS THE MOST RECENT, ALTHOUGH I CAN’T REALLY SAY ABOUT THE TOPS…[THE ROYAL] ALBERTA MUSEUM TOLD ME NOT TO FINISH [THE QUILT TOPS], TO LEAVE THEM AS THEY WERE.” “NOBODY SEWED [IN THE FAMILY EXCEPT KATHERINA]. MARGE CROCHETED.” GLORIA BETTS NOTED THEIR MOTIVATION FOR DONATING THE QUILTS, STATING, “WE’RE DOWNSIZING BECAUSE OF AGE AND MOVING. [THE QUILTS] HAVE TO GO SOMEPLACE WHERE THEY ARE GOING TO BE LOOKED AFTER.” KATHERINA BETTS WAS BORN KATHERINA KOVACIKOVA IN 1903 AND IMMIGRATED TO CANADA FROM CZECHOSLOVAKIA IN 1930. A GRAVE RECORD ON FINDAGRAVE.COM LISTS KATHERINA KOVACIKOVA BETTS AS THE WIFE OF CLARENCE BETTS OF COUTTS, ALBERTA. ACCORDING TO 1930 PASSENGER LISTS FOR THE HMS MONTCLARE [ACCESSED THROUGH THE LIBRARY AND ARCHIVES OF CANADA DIGITIZED MICROFILM RECORDS], KATHARINA [KATHERINA] KOVACIKOVA ARRIVED IN ST. JOHN’S, NEW BRUNSWICK ON MARCH 30, 1930 FROM HAMBURG, GERMANY. KATHERINA WAS LISTED ON THE PASSENGER LISTS AS 26 YEARS OF AGE, SINGLE, BORN IN RADOSINA, CZECHOSLOVAKIA AND ARRIVING IN CANADA TO PURSUE A “DOMESTIC” TRADE. KATHERINA BETTS PASSED AWAY IN VERNON, B.C. ON MAY 20, 1985, ACCORDING TO LETHBRIDGE HERALD ARTICLES. KATHERINA’S HUSBAND, CLARENCE, PASSED AWAY ON DECEMBER 4, 1969 IN COUTTS, ALBERTA. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD ARTICLES, AND COPIES OF THE GRAVE AND PASSENGER RECORDS, PLEASE SEE THE PERMANENT FILE P20170026001-GA.
Catalogue Number
P20170026005
Acquisition Date
2017-08
Collection
Museum
Images
Less detail
Date Range From
1899
Date Range To
1968
Material Type
Artifact
Materials
LEATHER, WOOD, METAL
Catalogue Number
P20170010000
  2 images  
Material Type
Artifact
Date Range From
1899
Date Range To
1968
Materials
LEATHER, WOOD, METAL
No. Pieces
12
Height
55.5
Length
28.5
Width
10
Description
A: RIGHT BROWN LEATHER BOOT. THE LEATHER IS ABOUT 2CM THICK, MEASURED FROM THE TOP. WORN BLACK LEATHER SOLE, HEEL AFFIXED WITH WORN METAL NAILS. TWO LACE LINES ARE ON THE BOOT, ONE MEASURES SEVEN HOLES LONG ABOVE THE TOP OF THE FOOT, THE OTHER MEASURING FIVE HOLES LONG ON THE TOP OUTSIDE EDGE OF THE BOOT. THE LACE HOLES ARE RIMMED WITH RED METAL FRAMES. THE SOLE IS WORN, STAINED, AND FRAYED RED. TEXT STAMPED ON THE SOLE READS “A.E. N…ON CO. SYRACCUSE N.Y. U.S.A.” THE BOOTS LEATHER IS WORN ON THE TOE AND SCRATCHED ALL OVER. A CUT IN THE LEATHER SITS ABOVE THE TOE. THE STITCHING AT THE BACK OF THE BOOT HAS TORN OPEN AND AT THE TOP OF THE BOOT, NEXT TO THE LEATHER PULL, THE BOOT IS SPLIT NEXT TO THE SEAM. THE LEATHER INSIDE THE BOOT IS FLAKING OFF IN THE HEEL AND THE INSIDE EDGE. WHITE FABRIC PULL LOOPS SIT ON THE LEFT AND RIGHT INSIDE OF THE BOOT. DIMENSIONS: H: 46 CM, L: 28.5CM, W: 10 CM. CONDITION: GOOD. B: THE TOE-SHAPED PIECE OF THE RIGHT BOOT’S WOOD INSERT. MADE OUT OF THE FOOT-SHAPED PIECE AND A HANDLE PIECE TO FIT INTO THE FRONT LEG INSERT PIECE, ATTACHED TO EACH OTHER WITH TWO LARGE SCREWS. WRITTEN ON TOP OF THE INSERT IN BLACK INK IS THE LETTER “R”. THE VARNISH IS CHIPPED AND DENTED. DIMENSIONS: H: 10 CM, L: 21 CM, W: 8 CM. CONDITION: VERY GOOD. C: THE FRONT PIECE OF THE RIGHT BOOT’S WOOD INSERT. ENDS IN TWO PRONGS TO SLOT OVER THE TOE INSERT OF THE BOOT, A TRACK RUNS ON THE BACK SIDE FOR THE INSERTION OF THE HANDLED INSERT PIECE. STAMPED ONTO THE TOP OF THE WOOD INSERT ARE THE WORDS “ROBINBROS. MONTREAL” AND “MADE IN CANADA”. ON THE LEFT SIDE IS A STAMPED “6” AND ON THE RIGHT SIDE IS A STAMPED “R”. WRITTEN ON THE UNVARNISHED BACK OF THE INSERT IN BLACK INK IS “R” AND “6 R…”. THE VARNISH IS SCRATCHED AND DENTED, JUST AT THE TOP FRONT EDGE. H: 43 CM, L: 5 CM, W: 8.4 CM. CONDITION: VERY GOOD. D: THE BACK PIECE OF THE RIGHT BOOT’S WOOD INSERT. SHAPED LIKE THE BACK OF THE LEG, ENDING IN THE HEEL. THE FLAT FRONT HAS WRITTEN ON IT IN BLACK INK “R”. THE VARNISH IS SCRATCHED AND DIMPLED. STAMPED ONTO THE TOP OF THE WOOD INSERT ARE THE WORDS “ROBINBROS. MONTREAL” AND “MADE IN CANADA”. ON THE TOP LEFT SIDE IS A STAMPED “6” AND ON THE TOP RIGHT SIDE IS A STAMPED “R”. DIMENSIONS: H: 42.5 CM, L: 5.5 CM, W: 9 CM. CONDITION: VERY GOOD. E: THE MIDDLE PIECE OF THE RIGHT BOOT’S WOOD INSERT. THIN, THE INSERT TAPERS FROM THE TOP TO THE HEEL. THE VARNISH IS DARK, MINIMALLY SCRATCHED BUT DENTED AND DIMPLED. DIMENSIONS: H: 44.2 CM, L: 2.2 CM, W: 9 CM. CONDITION: VERY GOOD. F: THE HANDLED PIECE OF THE RIGHT BOOT’S WOOD INSERT, MEANT TO FIT BETWEEN THE FRONT AND MIDDLE INSERT PIECE. THE FRONT OF THE PIECE FITS INTO THE FRONT WOOD INSERT’S TRACK. THE VARNISH IS MOSTLY WORN AWAY, SURVIVING ON THE HANDLE. THE WOOD IS SCRATCHED AND DIMPLED. ON THE BACK OF THE INSERT IN BLACK INK IS THE LETTER “L”. STAMPED ON THE TOP LEFT SIDE IS A STAMPED “6” AND ON THE TOP RIGHT SIDE IS A STAMPED “R”. DIMENSIONS: H: 55 CM, L: 1.6 CM, W: 8.5 CM. CONDITION: GOOD. G: THE LEFT BROWN LEATHER BOOT. THE LEATHER IS ABOUT 2CM THICK, MEASURED FROM THE TOP. WORN BLACK LEATHER SOLE, HEEL AFFIXED WITH WORN SILVER NAILS. TWO LACE LINES ARE ON THE BOOT, ONE MEASURES SEVEN HOLES LONG ABOVE THE TOP OF THE FOOT, THE OTHER MEASURING FIVE HOLES LONG ON THE TOP OUTSIDE EDGE OF THE BOOT. THE LACE HOLES ARE RIMMED WITH RED METAL FRAMES. THE SOLE IS WORN, STAINED, AND FRAYED RED. TEXT STAMPED ON THE SOLE READS “A.E. NETTLET… CO. S…SE N.Y. ...S.A.” THE BOOTS LEATHER IS WORN OVER THE TOP OF THE FOOT, THE SIDE OF THE HEEL, AND SCRATCHED ALL OVER. THE LEATHER INSIDE THE BOOT IS FLAKING OFF IN THE HEEL AND THE INSIDE EDGE. WHITE FABRIC PULL LOOPS SIT ON THE LEFT AND RIGHT INSIDE OF THE BOOT. DIMENSIONS: H: 46 CM, L: 28.8 CM, W: 9.7 CM. CONDITION: GOOD. H: THE TOE SHAPED PIECE OF THE LEFT BOOT’S WOOD INSERT. MADE OUT OF THE FOOT SHAPED PIECE AND A HANDLE PIECE TO FIT INTO THE FRONT LEG INSERT PIECE, ATTACHED TO EACH OTHER WITH TWO LARGE SCREWS. WRITTEN ON TOP OF THE INSERT IN BLACK INK IS THE LETTER “L”. THE VARNISH IS MINIMALLY DENTED. DIMENSIONS: H: 10 CM, L: 21 CM, W: 8 CM. CONDITION: VERY GOOD. I: THE FRONT PIECE OF THE LEFT BOOT’S WOOD INSERT. ENDS IN TWO PRONGS TO SLOT OVER THE TOE INSERT OF THE BOOT, A TRACK RUNS ON THE BACK SIDE FOR THE INSERTION OF THE HANDLED INSERT PIECE. STAMPED ONTO THE TOP OF THE WOOD INSERT ARE THE WORDS “ROBINBROS. MONTREAL” AND “MADE IN CANADA”. ON THE LEFT SIDE IS A STAMPED “6” AND ON THE RIGHT SIDE IS A STAMPED “L”. WRITTEN ON THE UNVARNISHED BACK OF THE INSERT IN BLACK INK IS “L” AND “6 LEFT”. THE VARNISH IS SCRATCHED AND DENTED, MOSTLY AT THE TOP FRONT EDGE. DIMENSIONS: H: 43 CM, L: 5 CM, W: 8.4 CM. CONDITION: GOOD. J: THE BACK PIECE OF THE LEFT BOOT’S WOOD INSERT. SHAPED LIKE THE BACK OF THE LEG, ENDING IN THE HEEL. THE FLAT FRONT HAS WRITTEN ON IT IN BLACK INK “L”. THE VARNISH IS MINIMALLY SCRATCHED AND DIMPLED. STAMPED ONTO THE TOP OF THE WOOD INSERT ARE THE WORDS “ROBINBROS. MONTREAL” AND “MADE IN CANADA”. ON THE TOP LEFT SIDE IS A STAMPED “6” AND ON THE TOP RIGHT SIDE IS A STAMPED “L”. DIMENSIONS: H: 42.5 CM, L: 5.5 CM, W: 9 CM. CONDITION: VERY GOOD. K: THE MIDDLE PIECE OF THE LEFT BOOT’S WOOD INSERT. THIN, THE INSERT TAPERS FROM THE TOP TO THE HEEL. THE VARNISH IS DARK, SCRATCHED AND WORN IN PLACES. A KNOT IN THE WOOD HAS FALLEN OUT AND LEFT A HOLE IN THE TOP OF THE INSERT. DIMENSIONS: H: 44.3 CM, L: 2.5 CM, W: 9 CM. CONDITION: VERY GOOD. L: THE HANDLED PIECE OF THE RIGHT BOOT’S WOOD INSERT, MEANT TO FIT BETWEEN THE FRONT AND MIDDLE INSERT PIECE. THE FRONT OF THE PIECE FITS INTO THE FRONT WOOD INSERT’S TRACK. THE VARNISH IS MOSTLY WORN AWAY, SURVIVING ON THE HANDLE. THE WOOD IS SCRATCHED AND DIMPLED. ON THE BACK OF THE INSERT IN BLACK INK IS THE LETTER “R” WITH TWO LINES DRAWN OVER IT. STAMPED ON THE TOP LEFT SIDE IS A STAMPED “6” AND ON THE TOP RIGHT SIDE IS A STAMPED “L”. ON THE LEFT SIDE OF THE INSERT IS A NAIL, THE TOP GRINDED DOWN. DIMENSIONS: H: 55.5 CM, L: 1.9 CM, W: 8.6 CM. CONDITION: GOOD.
Subjects
CLOTHING-FOOTWEAR
Historical Association
PERSONAL CARE
MILITARY
PROFESSIONS
LEISURE
History
THIS PAIR OF RIDING BOOTS BELONGED TO MURRAY NELSON, THE BROTHER DONOR KATHRYN HINMAN. TO LEARN MORE ABOUT THE HISTORY OF THESE BOOTS AND THEIR OWNER, GALT COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED HINMAN AT THE MUSEUM ON MARCH 20, 2017. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: “THE PREVIOUS OWNER OF THESE BOOTS WAS MY BROTHER, MURRAY [NELSON],” HINMAN BEGAN, “HE PASSED AWAY AT THE END OF NOVEMBER 2015… HE WAS A LOCAL MUSICIAN. HE CAME INTO THE POSSESSION OF THESE BOOTS FROM MY GRANDFATHER, GEORGE S. BROWN, WHO WAS LIEUTENANT COLONEL GEORGE S. BROWN. MY GRANDDAD WAS A GREAT FRIEND OF BRIGADIER GENERAL STEWART. GRANDDAD CAME INTO POSSESSION OF THESE BOOTS AT SOME POINT FROM DR. STEWART AND WHEN MY BROTHER WAS ABOUT EIGHTEEN, MY GRANDFATHER PASSED THEM ON TO HIM.” “[MURRAY DID] TELL ME THAT HE WAS IN THE GARAGE OUT AT THE FARM, WHICH IS ACTUALLY BROWN ROAD JUST OFF THE COUTTS’ HIGHWAY AND THAT WAS WHERE MY GRANDFATHER’S ACREAGE WAS. ON THAT ACREAGE, THERE WAS A GARAGE [AMONG] MANY BUILDINGS. MURRAY HAD SAID GRANDDAD HAD TAKEN HIM INTO THE GARAGE AND WHEN MURRAY EXPRESSED AN INTEREST IN [THE BOOTS THERE] GRANDDAD SAID, ‘YUP, YOU CAN HAVE THEM. THEY WERE GENERAL STEWART’S FROM THE BOER WAR. TAKE GOOD CARE OF THEM.’” “[MY BROTHER] USED TO WEAR THEM PLAYING IN BANDS WHEN HE WAS EIGHTEEN AND UP,” HINMAN CONTINUED, “[THEY WERE] PART OF HIS DRESS CODE… THEY’RE LOVELY BOOTS. THE STORY WAS THAT THEY WERE FROM THE BOER WAR, WHICH PUTS THEM OVER ONE HUNDRED YEARS OLD… [MY BROTHER] PROBABLY ACQUIRED [THESE BOOTS WHEN] MY GRANDFATHER PASSED AWAY IN 1968. MURRAY WOULD HAVE BEEN EIGHTEEN [THAT YEAR]. HE WAS IN HIS ELEMENT PLAYING WITH THE BANDS, EXPERIMENTING WITH ALL DIFFERENT KINDS OF MUSIC [AT THAT TIME]. I REMEMBER HIM LOOKING VERY COOL WEARING THEM. ALTHOUGH THESE ARE A VERY SMALL SIZE, RIGHT? SO I’M SURE THEY WERE A LITTLE PINCHEY.” “[MY BROTHER HAD] LONG HAIR – WELL EVERYBODY HAD LONG HAIR IN THE 60’S AND 70’S. [HE WAS] VERY COOL AND AT THAT POINT TOO MY DAD (BILL NELSON) HAD ACQUIRED A SMALL MGA, BURGUNDY-COLOURED, AND [MY BROTHER] USED TO BOMB AROUND AND GO TO BAND PRACTICE IN THAT. OH YEAH, HE WAS NOTORIOUS,” HINMAN LAUGHED, REMEMBERING. WHEN ASKED ABOUT HER BROTHER, HINMAN REPLIED, “MY BROTHER WAS BORN IN 1950. HE WAS JUST A LITTLE OVER SIXTY-FIVE WHEN HE PASSED AWAY. HE WAS AN ACTIVE MUSIC TEACHER AND LOCAL GUITAR TEACHER IN TOWN. YOU COULD SEE HIM BUSKING ON THE STREETS IN FRONT OF THE PENNY COFFEE HOUSE AND IN FRONT OF ESQUIRE’S COFFEE HOUSE. EVERYBODY KNEW HIM. HE USED TO BUSK AT THE FARMER’S MARKET ON FIFTH STREET ON FIRST FRIDAYS. HE PLAYED IN BANDS FOREVER.” “[HE WAS IN A] ROCK’N ROLL BAND. HE WAS IN SO MANY BANDS OVER THE YEARS AND I DON’T KNOW THE NAMES OF THE EARLY BANDS. ONE OF [THE BANDS HE PLAYED WITH] WAS KRANDEL’S KLOUD MACHINE, ONE OF THEM WAS THE SHAMAN, AND THEN HE MOVED TO VANCOUVER FOR A COUPLE OF YEARS AND PLAYED IN VANCOUVER – UP AND DOWN THE WEST COAST. WHEN HE CAME BACK FROM THE COAST, HE JUST PLAYED EVERYWHERE IN SOUTHERN ALBERTA WITH VARIOUS PEOPLE… ANYWAY HE WAS VERY WELL KNOWN IN THE BAND SCENE AND HE HAD A RECORDING STUDIO. THAT WAS A PASSION. HE CALLED HIS RECORDING STUDIO, AARDVARK RECORDINGS. HE HAD HIS FIRST RECORDING STUDIO IN THE BASEMENT OF KRUEGER’S MUSIC, WHERE HE TAUGHT MUSIC FOR BILL KRUEGER. THEN HE MOVED ALL HIS STUFF OVER AND HE WAS IN THE BASEMENT OF THE TRIANON FOR YEARS TEACHING RECORDING AND THEN HE GOT INVOLVED IN TECHNOLOGY, SO HE STARTED FIXING COMPUTERS AND DID COMPUTER PROGRAMMING. HE KIND OF USED TECHNOLOGY IN THE RECORDING STUDIO. HE HAD THIS HUGE SOUND BOARD WITH ALL THE SWITCHES AND WHATEVER AND HE HAD TONS OF LIKE STACKS OF MACHINES [FOR RECORDING],” HINMAN REMEMBERED. “[MY BROTHER] HAD A REPUTATION,” HINMAN WENT ON, “[PEOPLE WOULD SAY TO ME], ‘OH YOUR MURRAY’S SISTER.’ IT WAS GREAT AND ACTUALLY MY HUSBAND WAS BORN IN CARDSTON AND HE HAD A BAND THAT HE USED TO PLAY IN SOUTHERN ALBERTA WITH. WE HAVE AN ACTUAL RECORDING FROM THE BASEMENT RECORDING STUDIO AT KRUEGER’S, WHEN [MY BROTHER] RECORDED WITH MY HUSBAND’S BAND. IT WAS GREAT.” WHEN ASKED ABOUT THE MUSICAL INFLUENCE WITHIN HER FAMILY, HINMAN EXPLAINED, “MY MOM (MARGARET NELSON) WAS A LOCAL MUSIC TEACHER. SHE WAS A PIANO TEACHER. MY DAD’S MOTHER WAS KATE MARQUIS NELSON, WHO WAS A LOCAL PIANO TEACHER SO [WE HAD INFLUENCE] FROM BOTH ENDS. WE ALL GREW UP IN OUR HOUSEHOLD WITH MUSIC. I HAVE A DEGREE IN MUSIC AND I’M A MUSIC TEACHER AND MY YOUNGER BROTHER, MARK, PLAYS CLASSICAL GUITAR. WE HAD MUSIC EVERYWHERE. I HAVE SOME PICTURES AT HOME OF THE THREE KIDS WITH A DRUM SET AND I’M ON THE KEYBOARD AND MURRAY IS PLAYING GUITAR AND, EVEN A PICTURE OF MY MOM SITTING AT THE DRUMS TAKING PART IN THE MERRIMENT IN OUR BASEMENT.” “MY DAD PLAYED IN THE SYMPHONY. IN FACT, MY MOM AND DAD REVIVED THE SYMPHONY IN THE EARLY ‘60S. SO IT WAS JUST NATURAL FOR MURRAY TO [BE MUSICAL]. HE PLAYED EVERYTHING. HE PLAYED BANJO WITH MUSICAL THEATRE ONE YEAR, AND TAUGHT BANJO. HE THOUGHT THAT HE WAS THE ‘ONLY’ BANJO TEACHER IN LETHBRIDGE. HE [ALSO] THOUGHT THAT HE WAS THE ONLY REAL GOOD GUITARIST TEACHER IN LETHBRIDGE TOO,” HINMAN LAUGHED. “SO ANYWAY,” SHE CONTINUED, “IT WAS A STRUGGLE FINANCIALLY. MUSIC IS NOT AN EASY, AN EASY PROFESSION TO BE IN, A PERFORMING MUSICIAN. HE QUIT HIGH SCHOOL WHEN HE WAS PROBABLY SIXTEEN, BUT IN HIS MID TO LATE TWENTIES, HE FINISHED HIS DIPLOMA AND HE STARTED NURSING AT THE COLLEGE. HE DID PRETTY WELL [THERE], BUT HE DIDN’T DEAL WELL WITH AUTHORITY, SO HE DIDN’T FINISH IT. BUT [THROUGH THAT HE] GOT A LOT OF GOOD PRACTICAL KNOWLEDGE. [AFTERWARDS] PROCEEDED TO PURSUE HIS PASSION, WHICH WAS MUSIC. IN THE LAST FEW YEARS OF HIS LIFE HE FIXED THOSE COMPUTER SIGNS THAT SIT ON THE SIDE OF THE ROAD. HE WOULD FIX THE MOTHER BOARD… HE JUST DID WHAT HE WANTED. HE LIVED IS LIFE HIS WAY.” TO THE QUESTION OF WHY HER GRANDFATHER, GEORGE S. BROWN, RECEIVED THE BOOTS FROM GENERAL JOHN SMITH STEWART, HINMAN ANSWERED, “THE ONLY REASON I CAN THINK OF IS THAT BECAUSE THEY WERE GREAT FRIENDS… [IF GENERAL STEWART PASSED AWAY IN THE 1970S], THAT WOULD HAVE BEEN AFTER MY GRANDFATHER [DIED]. I KNOW THAT THEY WERE INVOLVED IN THE MILITARY STUFF LOCALLY. ELLA STEWART AND MY GRANDMOTHER WERE GREAT FRIENDS. SOMEHOW [THESE BOOTS WERE] JUST PASSED ALONG TO GRANDDAD.” “WHEN MURRAY WAS DIAGNOSED WITH THE CANCER IN JUNE OF 2015, I KNEW THAT THERE WAS SOME ITEMS THAT HE HAD THAT I NEEDED TO RETRIEVE BECAUSE THEY WERE FAMILY HISTORY,” HINMAN REMEMBERED, “[AMONG THOSE TREASURED THINGS WERE] GENERAL STEWART’S BOOTS, SO I RETRIEVED THEM IN JULY… [MURRAY SAID], ‘TAKE THEM. DO WHAT YOU NEED TO DO WITH THEM.’” “[ONE REASON MY BROTHER HELD ON TO THE BOOTS WAS] HE WAS VERY CLOSE TO MY GRANDPARENTS, BECAUSE HE USED TO SPEND A LOT OF TIME OUT AT THE FARM,” HINMAN EXPLAINED, “I THINK THAT HE JUST COULDN’T BRING HIMSELF TO PART WITH THEM, BECAUSE THEY WERE PART OF HIS FAMILY HISTORY. IT WAS A SPECIAL KIND OF THING BECAUSE GRANDDAD HAD ACTUALLY PASSED THEM TO HIM.” MURRAY NELSON’S OBITUARY WAS PUBLISHED ON THE MARTIN BROTHERS FUNERAL CHAPELS WEBSITE. IT STATES, “WILLIAM MURRAY NELSON, AGE 65, PASSED AWAY PEACEFULLY AT THE LETHBRIDGE REGIONAL HOSPITAL ON SUNDAY, NOVEMBER 29, 2015, AFTER A VALIANT BATTLE WITH CANCER. MUSICIAN, PERFORMER, TEACHER, MENTOR, SOUND GUY, RECORDING GUY, VIDEO GUY, COMPUTER GUY, SIGN GUY; HE WAS A MAN WHO LIVED LIFE HIS WAY, ON HIS TERMS, DOING WHAT HE LOVED.” AN ARTICLE PUBLISHED IN THE LETHBRIDGE HERALD ON DECEMBER 9, 2015, SHORTLY AFTER THE MUSICIAN’S DEATH STATES THAT AT A LOCAL MUSIC SHOW, PROMINENT LEHTBRIDGE SONGWRITER, LEEROY STAGGER, BEGAN THE SHOW WITH A TRIBUTE TO NELSON. TO FURTHER UNDERSCORE NELSON’S REPUTATION IN THE CITY, A DECEMBER 23, 2015 ARTICLE TITLED, “2015 WAS A MEMORABLE YEAR FOR CITY MUSIC SCENE,” WRITTEN FOR THE LETHBRIDGE HERALD BY RICHARD AMERY STATED, “LETHBRIDGE SAID GOODBYE TO MURRAY NELSON, WHO PASSED AWAY FROM CANCER THIS YEAR. NELSON WAS ONE OF THE SCENE’S MORE PROMINENT PERFORMERS ON STAGE PERFORMING SOLO AND WITH A VARIETY OF BANDS AS WELL AS BUSKING ON THE STREETS ALL OVER LETHBRIDGE…HIS MEMORY WILL LIVE ON IN THE STUDENTS HE TAUGHT AND THE SOULS HE TOUCHED ON STAGE OR JUST CHATTING AT VARIOUS WATER HOLES.” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTION AND THE COPIES OF LETHBRIDGE HERALD ARTICLES REFERENCED.
Catalogue Number
P20170010000
Acquisition Date
2017-03
Collection
Museum
Images
Less detail
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
SANDAL
Date Range From
2010
Date Range To
2017
Material Type
Artifact
Catalogue Number
P20170007006
  2 images  
Material Type
Artifact
Other Name
SANDAL
Date Range From
2010
Date Range To
2017
No. Pieces
2
Length
26.3
Width
9.3
Description
PAIR OF WHITE SANDALS, LADIES’ SIZE 8.5. SANDALS HAVE ANKLE STRAP WITH SILVER BUCKLE AND TOE STRAP WITH A CENTER STRAP CONNECTING TOE STRAP TO ANKLE; INSIDE OF SANDALS IS SILVER; BOTTOM OF SANDALS IS BROWN. LABELS INSIDE SANDALS READ “GEORGE” ON BOTTOM, “8 ½, 29 PADDY, MADE IN CAMBODIA, FABRIQUE EN CAMBODGE, 030829470 36131215 S14” INSIDE ANKLES. INSIDE LININGS HAVE RED/BROWN GRIME BUILDUP AROUND EDGES; ANKLES OF SANDALS ARE WORN AND DISCOLOURED; OVERALL VERY GOOD CONDITION.
Subjects
CLOTHING-FOOTWEAR
Historical Association
ASSOCIATIONS
PERSONAL CARE
History
ON FEBRUARY 22, 2017, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED WILMA WOOD, DAUGHTER OF DOROTHY TAYLOR, ABOUT HER DONATION OF TAYLOR’S ORDER OF ROYAL PURPLE REGALIA. THE REGALIA REPRESENTED TAYLOR’S 50-YEAR INVOLVEMENT WITH THE ORDER OF ROYAL PURPLE FROM BRANDON, MANITOBA TO LETHBRIDGE, ALBERTA. ON THE SANDALS, WOOD ELABORATED, “THESE ARE RELATIVELY NEW SHOES [ABOUT FIVE OR SIX YEARS OLD] THAT WE GOT WHEN SHE WENT TO PARK MEADOWS BECAUSE SHE COULDN’T HAVE HEELS ANY MORE, OR ANY HEIGHT. SHE AND I WENT OUT AND WE FOUND THESE SHOES THAT SHE COULD WEAR TO THE MEETINGS.” WOOD DISCUSSED HER MOTHER’S TIME IN THE ORDER OF ROYAL PURPLE, STATING, “SHE CONSIDERS [THESE OBJECTS IN ACTIVE USE]. SHE IS VERY MUCH A PERSON WHO VALUES THAT SOCIETY. IT HELPED HER A NUMBER OF TIMES. AS YOU GROW OLDER, ALL OF A SUDDEN YOU DISCOVER THAT YOUR BRAIN ISN’T AS ACTIVE AS IT SHOULD BE AND THE MEMORY IS GOING. SHE WOULD PUT HERSELF INTO POSITIONS WITHIN THE ORGANIZATION INCLUDING BEING PRESIDENT, THREE OR FOUR TIMES. SHE HAD TO BE AN ORGANIZER, SHE HAD TO GET HER BRAIN AND KEEP HER BRAIN FUNCTIONING, WHICH I THOUGHT WAS VERY ADMIRABLE FOR A WOMAN HER AGE BECAUSE…SHE WAS IN HER EIGHTIES. SHE RECEIVED HER 50 YEAR PIN, I THINK IT WAS TWO YEARS AGO OR THREE.” “SHE JOINED [THE ORDER OF ROYAL PURPLE] IN BRANDON, MANITOBA WHERE [MY PARENTS] WERE LIVING AT THE TIME, AND MY DAD RETIRED THERE. THEY MOVED HERE TO LETHBRIDGE BECAUSE MY BROTHER LIVED HERE, AND MY UNCLE ART GOOD…HE LIVED HERE AND THEY WANTED TO BE CLOSER TO FAMILY. THEY MOVED TO LETHBRIDGE AND MY DAD DIED SHORTLY AFTER THAT.” “[SHE JOINED] BECAUSE OF HER FRIENDS. SHE HAD A FRIENDSHIP GROUP AND THEY BELONGED. THEY RECRUITED HER.” “WHEN SHE WAS VERY ACTIVE, SHE WAS A MAJOR RECRUITER. SHE WENT OUT AND FOUND YOUNG WOMEN BUT THEY FELL BY THE WAYSIDE BECAUSE OF LIFE. SHE WAS CERTAINLY VERY ACTIVE IN THEIR PROJECTS, ONE OF WHICH WAS FINDING FINANCES TO EDUCATE YOUNG PEOPLE. WHATEVER THEY WERE [DOING], SHE WAS INTO IT FULL TILT BECAUSE THAT’S THE KIND OF PERSON SHE IS…WHATEVER SHE DOES IS FULL BLAST, FULL BORE. SHE NEVER TOLD ME ANY DETAILS ABOUT THE SOCIETY BECAUSE IT’S ONE OF THOSE SECRET SISTERHOODS. SHE WAS ALWAYS VERY PROUD TO BE A MEMBER OF IT.” “THIS [CHAPTER] DID A LOT OF EDUCATIONAL SUPPORT…SHE TRAVELED WITH THEM BECAUSE IT WAS A CANADIAN ORGANIZATION, SO THEY HAD THEIR ANNUAL GENERAL MEETINGS ALL OVER CANADA. SHE CAME OUT TO VANCOUVER TO A MEETING AND I WENT OVER TO VANCOUVER TO MEET HER AND SAY “HOWDY”. SHE WENT OUT TO THE PREMIER’S, AT THAT TIME WAS VANDER ZALM, AND HE HAD THE BIG GARDENS OUT NEAR STEVESTON. SHE WENT OUT THERE AND SHE MET HIM.” “A YEAR AGO ABOUT THIS TIME, THAT’S WHEN [THE ORDER WAS] FOLDING. THE ALBERTA CLUBS WERE ALL IMPLODING, AND I THINK THERE’S ONLY ONE LEFT IN SOUTHERN ALBERTA. IT WAS THE ISSUE THAT THEY WERE ALL OLD PEOPLE AND YOUNG PEOPLE DID NOT WANT TO JOIN THESE KINDS OF ORGANIZATIONS ANY LONGER…[THIS HAPPENED BECAUSE] I THINK WE HAVE MORE LEGAL SUPPORT. THE GOVERNMENT HAS SET UP HEALTH CARE, COMMUNITIES HAVE SET UP ASSISTANCE FOR WOMEN WHO ARE ABUSED, THERE’S DRUG ASSISTANCE. THERE IS MUCH MORE ASSISTANCE AVAILABLE. IN THE EARLY DAYS ON THE PRAIRIES, IF YOU DIDN’T KNOW YOUR NEXT DOOR NEIGHBOR, WHO MIGHT BE TWENTY MILES AWAY, YOU WERE IN DEEP DOO-DOO IF YOU HAD A BIG PROBLEM. THAT’S WHAT THESE SOCIETIES CAME OUT OF WAS THAT NEED. THE NEED PRETTY WELL HAS BEEN TAKEN CARE OF, I THINK. THERE ARE STILL CLUBS BUT THEY’RE DIFFERENT KINDS OF CLUBS NOW.” WHEN ASKED ABOUT HER MOTIVATION FOR DONATING HER MOTHER’S REGALIA TO THE MUSEUM, WOOD NOTED, “MY MOTHER HAS TURNED 99 YEARS OLD IN JANUARY. SHE HAS DEMENTIA AND SO WE’VE HAD TO MOVE HER FROM HER SENIOR’S LODGE ROOM INTO A MORE SECURE ROOM. CONSEQUENTLY THE LAST OF THE THINGS THAT SHE TREASURED OR VALUED MUST BE DISPERSED. MY BROTHER AND I DECIDED THAT, SINCE THE ELKS AND THE ROYAL PURPLE MEANT SO MUCH TO HER, THAT [THESE WERE] THE [OBJECTS] WE WOULD LIKE TO DONATE TO THE MUSEUM. IT DEPICTS A PERIOD OF TIME WHEN THE WOMEN USED THESE ASSOCIATIONS AS A SUPPORT GROUP FOR THEMSELVES. IT WAS ANOTHER ONE OF THESE SECRET SOCIETIES, WHEN IN FACT THEY WERE SISTERHOODS. THEY WERE MEANT MAINLY FOR THEM TO HAVE PEOPLE TO SUPPORT EACH OTHER. SINCE THIS ORGANIZATION HAS BASICALLY COLLAPSED, I THOUGHT IT WAS SOMETHING THAT THE MUSEUM SHOULD HAVE BECAUSE IT DOES SHOW THAT PERIOD OF TIME IN THE SOCIAL HISTORY OF CANADA.” FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTIONS, PLEASE SEE THE PERMANENT FILE P20170007001-GA.
Catalogue Number
P20170007006
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Date Range From
1950
Date Range To
1951
Material Type
Artifact
Materials
LEATHER, COTTON LACES
Catalogue Number
P20160021000
  1 image  
Material Type
Artifact
Date Range From
1950
Date Range To
1951
Materials
LEATHER, COTTON LACES
No. Pieces
2
Height
19
Length
26.5
Description
BLACK, LEATHER PAIR OF COWBOY BOOTS. ANKLE-LENGTH WITH A HEIGHT OF 19 CM FROM BOTTOM OF HEEL TO TOP OF BOOT. THE BOOTS ARE 26.5 CM LONG FROM THE TIP OF THE TOE TO THE BACK OF THE HEEL. THE HEEL HEIGHT IS 3 CM MEASURED FROM THE INSIDE CENTER OF THE HEEL. THE BOOTS ARE LACED UP WITH BLACK, FLAT LACES. THERE ARE 10 EYELETS ON EITHER SIDE OF THE SHOE FOR THE LACES. THERE IS DECORATIVE STITCHING IN BLACK THREAD ON THE BOOT WITH A DESIGN ON TOE. IN THE INSIDE RIM OF THE SHOES (AT THE ANKLES) THERE IS A BAND THAT SAYS “JUSTIN’S SINCE 1879 FT. WORTH, TEXAS.” THIS LOGO IS REPEATED AROUND THE RIM 3 TIMES ON BOTH SHOES. THE INSIDE SOLES AND BOTTOM SOLES OF THE SHOES ARE UNMARKED. GOOD CONDITION. THERE IS SLIGHT SCUFFING ON THE LEATHER OF THE SHOE, SPECIFICALLY ON THE TOES AND HEELS OF BOTH SHOES. THE BOTTOM AND INSIDE SOLES ARE WORN FROM USE. THERE IS A CRACK ON THE HEEL OF THE INSIDE SOLE INSERT OF THE LEFT SHOE. THE LEFT SHOE IS SLIGHTLY MISSHAPED (BENT TOWARDS THE INSIDE OF THE SHOE).
Subjects
CLOTHING-FOOTWEAR
Historical Association
PERSONAL CARE
History
ON 4 AUGUST 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN CONDUCTED AN INTERVIEW WITH LAWRENCE BAILIE WITH REGARDS TO THIS PAIR OF COWBOY BOOTS HE DONATED. THE BOOTS HAD PREVIOUSLY BELONGED TO HIS FATHER, RICHARD BAILIE. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THE INTERVIEW: “THE BOOTS BELONGED TO MY DAD [RICHARD BAILIE], AND MY DAD BOUGHT THEM IN EITHER 1950 OR ’51, IN SHERIDAN, WYOMING. WE WERE DOWN THERE ON A FAMILY HOLIDAY AND WENT TO THE BLACK HILLS, TO WILD BILL HICKOK’S SHOW... I WAS PROBABLY ABOUT… I THINK 13-14… IT WAS A SHORT ONE. MY DAD HAD ACTUALLY BOUGHT A NEW PLYMOUTH CAR, AND SO WE WENT ON A HOLIDAY… WE DIDN’T [GO ON HOLIDAYS] VERY MUCH, BECAUSE WE ALWAYS HAD WORK ON THE FARM, AND IT WAS HARD TO GET AWAY...” IT WAS BECAUSE OF THE RARE OCCASION OF THIS HOLIDAY THAT BAILIE WAS ABLE TO RECALL THE PURCHASE OF THE BOOTS: “I PROBABLY WOULD HAVE REMEMBERED THAT ANYWAYS BECAUSE WE DIDN’T HAVE – THAT WAS ONE OF THE ONLY HOLIDAYS [THAT WE WENT FAR AWAY] – OTHER TIMES WE WOULD MAYBE GO TO WATERTON FOR TWO DAYS, AND THAT WAS THE EXTENT [OF OUR TRAVELS]. THAT’S PROBABLY WHY I REMEMBER IT, BECAUSE IT WAS ONE OF THE FIRST BIG HOLIDAYS THAT WE WENT TOGETHER. AND IT WAS PROBABLY THE LAST ONE TOO – PROBABLY ONE OF THE ONLY ONES. I GOT OLDER AND WE DIDN’T DO THINGS. WE WERE TOO BUSY. WE WORKED. I GUESS MY DAD ALWAYS WANTED TO GO DOWN TO SEE THE BLACK HILLS, AND WE WENT TO YELLOWSTONE PARK, WE CAME BACK THROUGH SHERIDAN, AND WE STOPPED AND WERE SHOPPING. I ALWAYS WANTED COWBOY BOOTS, BECAUSE, UP UNTIL THAT POINT, I DIDN’T HAVE ANY. I THOUGHT I WAS A COWBOY - WELL, I WAS A HALF-WAY. EVERYBODY WANTED TO BE A COWBOY, BUT ANYWAYS I BOUGHT COWBOY BOOTS, AND MY DAD BOUGHT COWBOY BOOTS. THESE WERE HIS GOOD BOOTS – HIS DRESS BOOTS… MY DAD WORE THESE, THEY WERE HIS DANCING BOOTS, AND GOING OUT SPECIAL, YOU KNOW, TO CHURCH OR SOMETHING LIKE THAT. [THESE WERE] HIS SUNDAY BOOTS, SUNDAY SHOES, YEAH…” AS BAILIE RECALLS, HIS FATHER GREW UP ON A RANCH. HE EXPLAINS HIS GRANDFATHER ROBERT BAILIE’S HISTORY HOMESTEADING IN SOUTHERN ALBERTA: “MY GRANDFATHER, WHEN HE HOMESTEADED IN ’09, HE CAME TO WARNER. HE ACTUALLY CAME TO LETHBRIDGE FIRST. HE WENT OUT WITH SOME PEOPLE SELLING LAND, AND HE BOUGHT THIS LAND OUT THERE. HE HAD A HOMESTEAD OUT THERE, BUT HE BOUGHT SOME LAND AND IT WOULD BE, OH MY GOODNESS, APPROXIMATELY 10-12 MILES STRAIGHT EAST OF WARNER. HE HAD IT RIGHT UP AGAINST THE LAKE… MY DAD WAS CONCEIVED ON THE RANCH AND BEING IT WAS 1912, MY GRANDMA (LAURA BAILIE) [WHILE PREGNANT] WENT BACK TO MADISON, WISCONSIN, AND MY DAD WAS BORN THERE. BECAUSE THEY HAD A FAMILY DOCTOR THERE. THEY’D ONLY BEEN HERE FOR A COUPLE OF YEARS, AND THERE WAS NO DOCTORS IN THIS AREA, SO MY GRANDMA WENT BACK BEFORE MY DAD WAS BORN THERE, AND THEN AFTER HE WAS A COUPLE OF WEEKS OLD, OR SO, SHE BROUGHT HIM BACK TO ALBERTA… HIS DAD [ROBERT BAILIE], AT ONE TIME, HAD A HUGE HERD OF CATTLE AND HORSES OUT IN THE KING’S LAKE AREA [ALSO CALLED CROW INDIAN LAKE ON THE MAP], WHERE THEY HOMESTEADED. [IN] THE WINTER OF, I’LL SAY ’29, MY GRANDFATHER WAS PROBABLY A MILLIONAIRE. HE HAD, I CAN’T GIVE YOU NUMBERS, A HEAD OF CATTLE AND HORSES, BUT THEY COULDN’T FEED THEM. MY DAD TELLS STORIES ABOUT RIDING OUT CLOSE TO ’30, AND THERE’S JUST CATTLE AND HORSES ALL OVER, LAYING THERE, WITH THEIR FEET UP IN THE AIR, AND FROZE OVER. THEY STARVED TO DEATH OVER THE WINTER. MY GRANDFATHER LOST PRETTY NEAR EVERYTHING BECAUSE THERE WAS JUST NO FEED. THEY TURNED THEM LOOSE TO LET THEM FIND THEIR OWN FEED AND THEY JUST DIDN’T MAKE IT. BUT MY DAD WAS RAISED ON A RANCH. HE WAS A COWBOY. I CONSIDERED HIM PROBABLY MORE COWBOY THAN MOST COWBOYS ARE TODAY…” PRIOR TO HAVING HIS OWN FAMILY, RICHARD BAILIE “… WAS INTO RODEOS. HE LIKED TO RIDE, HE USED TO RIDE BRONCS… IN ALBERTA. IN THOSE DAYS, THEY HAD NO MONEY TO GO ANYPLACE ELSE, JUST ALBERTA. LOCAL RODEOS... THE LUND BOYS, AND THE ROSSES, AND SOME OF THE OTHER ONES WOULD GET TOGETHER ON A SUNDAY, AND THEY WOULD HAVE THEIR OWN RODEOS… [MY DAD] WAS AN OLD-TIME COWBOY… HE WAS IN ONE OF THE FIRST RODEOS THEY HAD IN RAYMOND. HE USED TO RIDE BRONCS, BEFORE I CAME INTO THE PICTURE, AND AFTER I WAS IN THE PICTURE. MY MOM SHUT HIM DOWN. NO MORE COWBOYING…” WHILE THERE WAS STILL FAMILY PRESENCE ON THE HOMESTEAD WHERE RICHARD BAILIE WAS RAISED, HE MOVED IN 1935 TO THE PLACE WHERE LAWRENCE BAILIE WOULD GROW UP. PRIOR TO PURCHASING HIS LAND, RICHARD MARRIED HIS WIFE, LELAH BAILIE (NEE FLICKENGER), IN 1935 AND IN 1936 LAWRENCE WAS BORN: “… MY DAD BOUGHT SOME LAND IN 1935 BETWEEN SKIFF AND GRASSY LAKE. THAT’S WHEN [MY DAD] STARTED FARMING... HE WAS MIXED FARMING. THEY WERE RANCHING AND WE HAD A LOT OF DRY LAND, AND MY DAD WAS VERY GOOD AT MECHANICS, AND SO HE BECAME A DRY LAND FARMER, AND I GUESS HE WAS SMART ENOUGH TO KNOW THAT THERE WASN’T THAT MUCH MONEY IN [RANCHING]. HE SORT OF SWITCHED FROM BEING A COWBOY TO A DRYLANDER, I GUESS… I CAN REMEMBER THAT WE MOVED FROM OUR LITTLE SHACK WHEN I WAS PROBABLY 4 YEARS OLD – 1939-1940 – TO SKIFF. MY DAD HAD BOUGHT SOME LAND AT SKIFF, BUT I REMEMBER BEING IN OUR TAR-PAPER SHACK - THAT IT GOT VERY COLD, AND AT TIMES, DURING THE NIGHT, WHEN I WAS YOUNG.” BAILIE EXPLAINS THESE BOOTS WERE HIS DAD’S GOOD SUNDAY BOOTS, WHICH HE WOULD WEAR WHEN HE WENT TO DANCES IN THE TOWN. BAILIE EXPLAINS, “HE WOULDN’T WEAR THEM RIDING BRONCS, BECAUSE THEY WERE LACED. HE COULDN’T GET THEM OFF. IF HE EVER GOT STUCK UP IN THE STIRRUP, HE COULDN’T GET HIS FOOT OUT – THEY WERE JUST ‘SHOW.’ … THEY WENT TO CHURCH, OR MOST OF THE TIME, HE’D WEAR THEM TO A DANCE. HE ACTUALLY WORE THESE LATER IN LIFE EVEN. YOU’D GO TO A DANCE, AND WEAR THESE WITH THE WESTERN HEEL. I CAN REMEMBER WHEN I WAS A KID, THAT THE SOCIAL ACTIVITIES OF THAT PART OF THE COUNTRY WOULD BE DANCES, [IN PLACES] LIKE IN HUDSON SCHOOL. THERE’D BE DANCES AT SKIFF, I DON’T KNOW, A FEW A YEAR - ALWAYS AT CHRISTMAS TIME AFTER THE CHRISTMAS CONCERT. THEN THEY WOULD GET TOGETHER AND CELEBRATE MAYBE THE FOURTH OF JULY OR SOMETHING LIKE THAT. THAT WAS THE MAIN SOCIAL THING, PEOPLE GET TOGETHER TO GO TO A DANCE… MY MOM [WAS THE MORE SOCIAL ONE IN THE RELATIONSHIP]. AT THAT TIME, THE MEN USED TO GET AWAY FROM THE FARM A LITTLE BIT MORE OFTEN. LIKE MY DAD USED TO BRING IN CATTLE, OR SOME PIGS, OR SOMETHING INTO LETHBRIDGE TO THE AUCTION MART AND MY MOM WOULDN’T COME. SHE’D BE HOME, LOOKING AFTER THE FARM. WHEN YOU LIVE OUT AT SKIFF, YOU ARE 55 MILES FROM NOWHERE. THERE WASN’T MUCH SOCIAL LIFE IN A COUNTRY STORE, WHICH WE USED TO WALK [TO]. WE’D WALK IN JUST AROUND A MILE TO WALK INTO SKIFF, AND GET GROCERIES THE ODD TIME, AND THEN IF THERE WAS SOMEBODY ELSE IN THE STORE AT THE SAME, MY MOM WOULD GET TO SEE THEM. OTHERWISE, IF IT WASN’T FOR THE SOCIAL, THERE WASN’T A VERY GOOD SOCIAL LIFE." "I DON’T KNOW WHEN WOULD BE THE LAST TIME HE EVER WORE THEM," BAILIE SAID GOING BACK TO HIS FATHER'S BOOTS, "THEY WERE A NOVELTY TO HIM. I DON’T KNOW IF HE WENT DOWN THERE LOOKING FOR THEM, OR IF WE WENT BY THE SHOP AND HE [SAW] THEM. I HAVE NO IDEA WHAT HE PAID FOR THEM. I THINK I PAID ABOUT $12.00 FOR MINE, SOMETHING LIKE THAT.” AS FOR THE COLOUR CHOICE OF THE BOOTS, BAILIE STATES: “WELL, IN THOSE DAYS, BLACK WAS THE COLOR. I GUESS THERE WAS THE ODD GUY HAD SOME REAL FANCY BOOTS, BUT, NO, THERE WASN’T THE COLORS OF - . BLACK WAS IT.” WHEN ASKED WHAT HE THINKS OF WHEN HE SEES HIS FATHER’S COWBOY BOOTS, BAILIE ANSWERED: “IT TAKES ME BACK TO MY CHILDHOOD – GOOD – AND MY DAD. HE WOULD ALWAYS, EVEN WHEN HE WAS OLDER, WEAR A BIG HAT... SOMETIMES HE WAS GOOFING OFF. WE USED TO CUT A LITTLE BIT OF OUR CROP WITH A BINDER, [AND] IF YOU EVER RAN OVER A ROCK IT REALLY BUCKED YOU RIGHT OFF IT. SO HE PLAYED AROUND THE ODD TIME, [AND] HE’D SIT THERE, AND HE’D THROW HIS HEEL LIKE HE WAS RIDING A BUCKING BRONC. PUT HIS HAND UP AND HIT A ROCK AND HE’D PUT ON A SHOW FOR ME. THE BINDER WAS LIKE RIDING A BUCKING BRONC. I LOOK AT THOSE BOOTS, THEY ARE LIKE A MEMORY OF MY DAD THAT I AM VERY PROUD OF… OH, HE WAS A HARDWORKING MAN, AND STRONG. I’M A WIMP COMPARED TO MY DAD... I WAS PROUD OF HIM. HE DID WELL. HE TREATED US WELL, AND LOOKED AFTER HIS FAMILY VERY WELL.” BAILIE AQUIRED THE BOOTS AFTER HIS FATHER MOVED IN THE 1990S: “I CLEANED OUT MY MOM AND DAD’S PLACE, BECAUSE THEY WENT INTO A SENIOR CITIZENS SOMETHING, SO I CLEANED OUT HIS PLACE, AND I SEEN THE BOOTS AND I HAVE NEVER SEEN ANYBODY ELSE WITH THAT TYPE OF BOOT... MY DAD WAS THE ONLY ONE THAT I KNEW THAT HAD A PAIR OF BOOTS LIKE THAT." BAILIE SAYS THAT SINCE THE BOOTS HAVE BEEN IN HIS POSSESSION “THEY HAVE BEEN IN THE GARAGE. I’VE JUST BEEN KEEPING THEM. I DON’T KNOW IF I HAVE EVER WORE THEM OR NOT. I DON’T THINK I HAVE. MY DAD’S FOOT WAS A LITTLE BIGGER THAN MINE, SO NO. I HAVE MY OWN BOOTS, SO I WOULDN’T HAVE WORE THEM.” AS STATED IN HIS OBITURARY IN THE LETHBRIDGE HERALD, RICHARD BAILIE PASSED AWAY IN LETHBRIDGE ON MARCH 28, 2002 AT THE AGE OF 90 YEARS. HE WAS PREDECEASED BY HIS WIFE, LELAH BAILIE, WHO PASSED AWAY IN LETHBRIDGE ON OCTOBER 8, 2001 AT THE AGE OF 86 YEARS. SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPT AND COPIES OF LETHBRIDGE HERALD OBITURARIES.
Catalogue Number
P20160021000
Acquisition Date
2016-08
Collection
Museum
Images
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24 records – page 1 of 2.