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Date Range From
1943
Date Range To
1973
Material Type
Artifact
Materials
SHEET METAL, GLASS, CARDBOARD
Catalogue Number
P20160027000
  1 image  
Material Type
Artifact
Date Range From
1943
Date Range To
1973
Materials
SHEET METAL, GLASS, CARDBOARD
No. Pieces
2
Height
13.7
Length
5.4
Width
1.8
Description
A: THERMOMETER. THE THERMOMETER'S CASING IS METAL. THERE IS A COVER ON THE THERMOMTER THAT HAS 17 HOLES PUNCHED OUT OF THE FRONT (7 ROWS ALTERNATING BETWEEN 3 AND 2 HOLES PER ROW). THERE IS A SHORT BACK TO THE COVER. THE COVER IS ATTACHED TO THE THERMOMETER WITH 2 SMALL NAILS ON EITHER SIDE. THE THERMOMETER GLIDES OUT OF THE COVER AND HINGES BACK TO STAND (SUPPORTED BY BACK OF CASE AND THE 2 NAILS). THE BACKGROUND OF THE THERMOMETER IS WHITE AND IS ATTACHED TO THE METAL CASE. “US PAT 2329685” IS ON THE BOTTOM OF THE THERMOMETER. ON THE LEFT SIDE TEMPERATURE MEASUREMENTS FROM 1 TO 6 ARE ETCHED. THE NUMBERS ARE DIVIDED INTO INCREMENTS OF FOUR. ON THE RIGHT SIDE OF THE THERMOMETER THERE ARE “00” ACROSS FROM EACH NUMBER ON THE LEFT. THE THERMOMETER’S GLASS IS TINTED YELLOW WITH A TRANSLUCENT CENTER. THIS TUBE IS 12.4CM IN LENGTH. TWO SMALL METAL RINGS HOLD THE GLASS THERMOMETER TO THE MEASUREMENT BACKING. THERE IS A SMALL METAL HOOK AT THE TOP OF THE THERMOMETER. ON THE RIGHT SIDE OF THE THERMOMETER IN ITS CLOSED POSITION, "D. CARSE" IS HANDWRITTEN IN BLACK INK. GOOD CONDITION. RUSTING/STAINING OVERALL SURFACE. LOSS OF WHITE BACKING BEHIND THE THERMOMETER (SEVERE ON THE UPPER LEFT CORNER AND SLIGHT ON THE UPPER RIGHT CORNER). B: CARDBOARD CASE WITH OVERALL DIMENSIONS OF 13.9 CM X 6 CM X 2 CM. CARDBOARD BOX WITH GREEN LABEL ON FRONT. THE LABEL SAYS “RUXCO” “NO-600-MO-10” “OVEN TEST THERMOMETER RANGE 100 TO 600°F IN 10° DIVISIONS.” GOOD CONDITION. MISSING LEFT END OF BOX. SCRATCH ON THE SURFACE OF THE LEFT SIDE OF THE LABEL. STAINING IN VARIOUS PLACES.
Subjects
FOOD PROCESSING T&E
THERMAL T&E
Historical Association
TRADES
DOMESTIC
History
IN SEPTEMBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED IRENE MOCH ABOUT THE HISTORY OF A THERMOMETER SHE DONATED TO THE GALT MUSEUM AND ARCHIVES. THE THERMOMETER BELONGED TO HER FATHER, DAVID ROXBOROUGH CARSE, AND WAS USED BY HIM AS AN EMPLOYEE OF CANADIAN WESTERN NATURAL GAS COMPANY. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: “HIS JOB WAS TO GO HOUSE-TO-HOUSE ON SPECIFIED CALLS TO REPAIR AND CHECK GAS APPLIANCES AT VARIOUS HOMES. HE LOVED HIS JOB. IT WAS GREAT PASSION AND HE WOULD SHARE A LOT OF HIS EXPERIENCES AT HOME WITH US. IT BECAME A BIG PART OF OUR FAMILY LIFE. HIS FIRST PASSION WAS HIS FAMILY AND HIS SECOND PASSION WAS HIS WORK. TWENTY- EIGHT YEARS, HE WAS WITH THE GAS COMPANY. HE WOULD BRING VARIOUS LITTLE ITEMS HOME, BUT MOSTLY IT WAS JUST HIS MEMORIES AND OUR MEMORIES OF THE STORIES THAT HE TOLD… MY MOM AND DAD WILLED THEIR HOUSE TO MY HUSBAND, WHO HAD BEEN CARING FOR IT OVER THE YEARS. [THEY] LEFT ALL THEIR TREASURES AS THEY WERE [TO] US BOTH TO DO WHAT WE FELT WAS BEST WITH EVERYTHING. THEY HAVE BEEN GONE SINCE 2000, 2003. SO FINALLY, THIS MOVE HAS FORCED ME TO GO THROUGH SOME OF THE THINGS THAT I HAVE, AND THIS HAS COME UP, AND IT MEANT A LOT. WE ALWAYS HAD GAS STOVE AND GAS RADIANT HEAT AND HE WOULD ALWAYS TEST MY MOTHER’S OVEN WITH THE THERMOMETER TO MAKE SURE THAT IT WAS FUNCTIONING PROPERLY. IT WAS VERY VISIBLE TO ALL OF US. IT WAS VERY IMPORTANT.” MOCH RECALLS THE THERMOMETER IN HER DAD’S WORK TOOLBOX: “… WHEREVER HE WENT, HE WOULD HAVE HIS TOOL BOX, AND THAT WAS THE FIRST THING THAT CAME OUT OF THE TOOL BOX. HE CARRIED IT IN HIS VEHICLE. HE DROVE TO THE HOUSES AND THE FIRST THING THAT CAME OUT OF HIS TOOL BOX WAS THAT.” IT WAS THE JOB AT CANADIAN WESTERN NATURAL GAS COMPANY THAT BROUGHT CARSE AND HIS FAMILY TO LETHBRIDGE: “HE HAD ANDREW’S HARDWARE IN FORT MACLEOD FOR I DON’T KNOW HOW MANY YEARS – QUITE A FEW – AND THEN HE WENT TO THE GAS PLANT IN BURDETT/ BOW ISLAND. AND FAMILY WAS COMING. [HE] NEEDED A STEADY JOB, [SO HE] CAME TO THE CITY [ TO] FIND A STEADY JOB. HE WAS A CERTIFIED PLUMBER AND GAS-FITTER SO HE APPLIED AT THE CANADIAN WESTERN AND NATURAL GAS… THAT WAS HIS WORLD. HE JUST BLOSSOMED. HE WAS A VERY PRIVATE PERSON, BUT HE LOVED TO BE WITH PEOPLE. THERE WAS A LOT OF COMRADERY AND HORSE-PLAY. HE WORKED BY HIMSELF. HE DIDN’T HAVE A PARTNER. AND [HE] WENT PLACE-TO-PLACE – AND IT GREW, AND GREW, AND GREW, AND GREW – 28 YEARS. AND IT WAS NOT UNCOMMON FOR OUR RESIDENCE PHONE AT HOME TO RING FROM VARIOUS PEOPLE, SAYING, ‘DON’T SEND SO-AND-SO; SEND DAVE BACK. DAVE KNOWS WHAT HE’S DONE HERE, AND THAT’S THE PERSON I WANT BACK.’ THAT WAS NOT UNCOMMON AT ALL TO HAPPEN AT OUR HOUSE. HE MADE A GOOD REPUTATION FOR HIMSELF, AND HE LOVED WHAT HE DID, AND IT SHOWED… HE BECAME A KIND OF AN IMAGE AND I THINK HE REVELED IN THAT. HE WAS KING OF HIS WORLD, REALLY. IT WAS VERY NICE.” “… THERE WAS ALWAYS SOMEBODY ON CALL," CONTINUED MOCH, "BUT, IF IT WAS A MAJOR BLIZZARD, OR SOMETHING LIKE THAT, THEN EVERYBODY WAS PRESSED INTO SERVICE. IF IT WAS TURKEY DAY, AND EVERYBODY WANTS TO COOK A TURKEY, AND THE PILOT LIGHT OR THE OVEN DIDN’T WORK, SOMEBODY HAD TO GO. AND THAT WAS THE BIG THING WITH THE GAS COMPANY. GAS COMPANY SERVICEMEN WERE FREE OF CHARGE AND THE ONLY CHARGE WOULD HAVE BEEN FOR A THERMOCOUPLE OR A PART THAT NEEDED TO BE REPLACED. PEOPLE WERE NOT SHY ABOUT CALLING THE GAS COMPANY TO REMEDY THEIR SITUATION. YES, THERE WAS ALWAYS SOMEONE ON CALL, AND HE HAD TO TAKE HIS TURN DOING THAT. BUT, IF THERE WAS A MASS BLIZZARD OR STORM OF SOME SORT, THEN THEY WERE ALL CALLED OUT.” MOCH EXPLAINED THE THERMOMETER WAS OF GREAT IMPORTANCE TO CARSE’S WORK: “MOST OF HIS CALLS WERE [BAKING RELATED]. PEOPLE ALWAYS BAKED IN THOSE DAYS – ALWAYS BAKED AND [IF], ‘THE OVEN WASN’T COOKING RIGHT,’ OR ‘IT WASN’T HOT ENOUGH,’ OR ‘HOW COME THIS FLOPPED?’ ‘WE’D BETTER CALIBRATE THE OVEN PROPERLY.’ AND SO [THEY'D CALL IN], ‘CAN DAVE COME OUT AND CHECK IT OUT AND CHECK THAT OUT FOR US?’ SO YES, THAT [THERMOMETRE] WAS ONE OF THE FIRST THINGS THAT HE BROUGHT OUT… MOM BAKED ALL THE TIME AS WELL, TWICE A WEEK PROBABLY. ON A REGULAR BASIS, HE WOULD JUST DOUBLE CHECK [WITH THE THERMOMETER] TO MAKE SURE THINGS WERE WORKING THE WAY THEY SHOULD. NOT NECESSARILY THAT THERE WAS A PROBLEM, BUT JUST SO THAT THEY STAY THE WAY THEY SHOULD BE. HE EDUCATED US ALL ABOUT THE BLUE FLAME AND HOW THE BLUE FLAME HAD TO HAVE THE LITTLE TIP ON THE END OF THE BLUE FLAME AND THAT MEANS IT’S BURNING CLEAN. IT WAS VERY EDUCATIONAL, TOO.” “[HE] ALWAYS CAME HOME FOR LUNCH. MOM ALWAYS HAD LUNCH READY. WE HAD LUNCH IN THE LIVING ROOM WITH A SANDWICH AND HE HAD A LITTLE SNOOZE. FIVE MINUTES, AND HE WAS OUT THE DOOR. HE WAS NEVER LATE. HE WAS ALWAYS HOME, AND HE WAS NEVER LATE COMING HOME FROM WORK. HE JUST LOVED IT… HE RETIRED IN SEPTEMBER 30, ’73. SO, PROBABLY ’43, ’44 THAT HE CAME TO LETHBRIDGE TO [WORK AT THE] GAS COMPANY.” ACCORDING TO HIS OBITUARY IN THE LETHBRIDGE HERALD, DAVID ROXBOROUGH CARSE PASSED AWAY IN LETHBRIDGE ON 15 NOVEMBER 2000. PLEASE SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPT, LETHBRIDGE HERALD ARTICLES, AND THERMOMETER PATENT.
Catalogue Number
P20160027000
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
JAPANESE CERAMIC VASE
Date Range From
1923
Date Range To
1956
Material Type
Artifact
Materials
CERAMIC
Catalogue Number
P20160042001
  2 images  
Material Type
Artifact
Other Name
JAPANESE CERAMIC VASE
Date Range From
1923
Date Range To
1956
Materials
CERAMIC
No. Pieces
1
Height
32.5
Length
17.5
Diameter
17.5
Description
BLACK AND SILVER GLAZED, CERAMIC VASE WITH RED AND GOLD DESIGNS PAINTED ON OPPOSITE SIDES OF THE VASE. ONE DESIGN SHOWCASES A CRANE FLYING TOWARDS A TREE BRANCH, WHILE THE OTHER SHOWCASES TWO CRANES PERCHED ON A LARGE TREE BRANCH BENEATH A RED DISC/MOON. “MADE IN JAPAN” IS STAMPED INTO BASE OF VASE. CONDITION: THE LIP OF THE VASE HAS A 4.3 CM CHIP AND IS MISSING 7.6 CM ALONG TOP EDGE. LOOSE OF PAINT AND OVERALL FINISH OF DESIGN. SLIGHT CHIPPING AROUND BASE.
Subjects
HOUSEHOLD ACCESSORY
Historical Association
DOMESTIC
FURNISHINGS
ETHNOGRAPHIC
History
ON 2 DECEMBER 2016, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED THE DONORS, MAKIO (MAC) AND REYKO NISHIYAMA, IN THEIR HOME TO DISCUSS ITEMS THEY WERE DONATING TO THE GALT. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT INTERVIEW: MRS. NISHIYAMA EXPLAINED THAT THIS VASE CAME INTO HER CUSTODY AFTER ITS INITIAL OWNERS – HER PARENTS TAKASHI AND CHIAKI KARAKI – MOVED FROM THEIR RAYMOND HOME TO BRITISH COLUMBIA. SHE SAID, “… [AFTER THE] SIXTY YEARS OF FARMING, MY [PARENTS] DID IN RAYMOND… THEY SELL THE WHOLE THING AND MOVE! I’M LEFT BEHIND IN RAYMOND BY MYSELF, MARRIED… WHEN THEY MOVE TO QUESNEL, B.C [IN THE LATE 1950S], THEY HAD TO LEAVE BEHIND THEIR TRUNK AND IT HAD ALL THE TREASURES IN IT.” THIS VASE WAS VISIBLE THROUGHOUT MRS. NISHIYAMA’S CHILDHOOD. SHE EXPLAINED, “[THE VASE] WAS MORE AN EVERYDAY THING.” IT WAS PLACED BY THE DOOR OF THE FARM HOUSE. AND “[THE] ONLY THING THAT WAS IN THERE WAS [MY MOTHER’S] UMBRELLA.” OTHER TREASURES FOUND IN THE TRUNK WERE HER MOTHER’S HAIR ORNAMENTS AND COMB ALSO DONATED WITH THE VASE (P20160042002-004). THE TRUNK, ALONG WITH ITS CONTENTS, WERE BROUGHT TO SOUTHERN ALBERTA FROM JAPAN BY HER MOTHER, CHIAKI KARAKI (NEE KUMAGAI), FOLLOWING HER MARRIAGE TO TAKASHI KARAKI. MRS. NISHIYAMA EXPLAINED HER PARENTS’ MARRIAGE STORY: “… SHE CAME OVER AS A VERY YOUNG BRIDE… NOT QUITE EIGHTEEN… I OFTEN SAID TO MY MOTHER…, ‘HOW IN THE WORLD DID YOUR PARENTS EVER LET YOU GO TO CANADA? YOU DIDN’T KNOW THE LANGUAGE – IT’S A DIFFERENT COUNTRY.’ SHE DIDN’T KNOW ANYTHING ABOUT MY DAD, EXCEPT THAT HE WAS A FARMER. HE’S SEVENTEEN YEARS OLDER THAN SHE WAS THEN. IT DOESN’T MAKE SENSE. SHE JUST SAID, ‘MY PARENTS SAID TO GO, SO I CAME’ … IT TOOK A LOT OF COURAGE…” MRS. NISHIYAMA WENT ON, “ALL JAPANESE MARRIAGES WERE DONE [BY] GO-BETWEENS. THERE WERE, I WOULD SAY, HARDLY ANY, IN FACT, I DON’T THINK THERE WAS ANY… FALLING-IN-LOVE KIND OF THING. THAT WAS JUST NOT EVEN THOUGHT ABOUT… MY DAD’S FOLKS WERE IN THE VILLAGE. THEY WERE FARMERS… THEY HAD A LARGE HOUSE AND THEY RAISED SILKWORMS. MY MOTHER’S FOLKS LIVED IN THE TOWN… SHE COMES FROM A VERY MODEST FAMILY, BUT HER DAD WAS A PAWN BROKER…” A FAMILY HISTORY WRITTEN BY MRS. NISHIYAMA AND HER BROTHER, SUSUMU KARAKI, IN THE BOOK TITLED "NISHIKI: NIKKEI TAPESTRY: A HISTORY OF SOUTHERN ALBERTA JAPANESE CANADIANS" (PUBLISHED 2001), ELABORATES ON THE FAMILY’S STORY. IT STATES THEIR FATHER, TAKASHI KARAKI, WAS BORN ON 1 JULY 1889 IN NAGANO PREFECTURE, JAPAN. THE HISTORY READS, “AFTER GRADUATING FROM HIGH SCHOOL IN 1907… HE LEFT A COMFORTABLE HOME… TO VENTURE OUT FOR A NEW LIFE IN AMERICA.” IT EXPLAINS HE LANDED IN VANCOUVER, AND WAS LURED BY A HIGH SALARY JOB IN SKEENA, BRITISH COLUMBIA. AFTER WORKING IN BRITISH COLUMBIA, THE HISTORY SAYS THAT “IN 1909, HE AND SEVERAL HUNDRED OTHER YOUNG JAPANESE MEN WERE RECRUITED BY AN AGENT OF THE KNIGHT SUGAR COMPANY TO WORK IN THE SUGAR BEET FIELDS IN RAYMOND, [ALBERTA] WITH PROMISES OF GOOD PAY AND EASY WORK...” THE MEN SOON LEARNED THAT THE WORK WAS MUCH MORE DIFFICULT AND THE PAY SIGNIFICANTLY LOWER THAN THEY HAD BEEN INITIALLY BEEN PROMISED, SO MANY RETURNED TO BRITISH COLUMBIA AFTER THEIR CONTRACT YEAR. KARAKI WAS OF THE GROUP THAT DECIDED TO STAY ON WITH THE COMPANY UNTIL ITS CLOSURE IN 1914. AFTER THAT, HE BEGAN A FARMING OPERATION WITH TWO OF THE FRIENDS HE MADE IN THE COMPANY – LEASING LAND FROM FIRST THE KNIGHT SUGAR COMPANY, THEN FROM A LOCAL NAMED ROLLO KINSEY, AND FINALLY FROM THE MCINTYRE RANCH IN MAGRATH. EVEN THOUGH THE PARTNERSHIP DISSOLVED AFTER THE FIRST THREE YEARS, KARAKI PERSISTED UNDER THE TRYING CONDITIONS, AND BY 1918 HE MADE THE DECISION TO MAKE ALBERTA HIS PERMANENT HOME AND TO BECOME A CANADIAN CITIZEN. HE PURCHASED A DRY LAND FARM IN RAYMOND AND FARMED THAT FOR FIVE YEARS BEFORE DECIDING HE WANTED TO GET MARRIED AND RAISE A FAMILY OF HIS OWN. HE RETURNED TO JAPAN IN 1923, WHERE HE MET THROUGH FAMILY AND FRIENDS, CHIAKI KUMAGAI, WHO WAS ALSO FROM THE NAGANO PREFECTURE. THE COUPLE MARRIED IN DECEMBER 1923, AND THE NEWLYWEDS RETURNED TO RAYMOND IN SPRING 1924. IN THE 2016 INTERVIEW, MRS. NISHIYAMA ADDED, “THERE WAS SOMEBODY ELSE. GO-BETWEENS HAD PICKED OUT SOMEONE ELSE FOR HIM, SO SOMEONE ELSE LOOKED AT HIM AND SAID ‘NO, THANK YOU.’ YOU KNOW, SOMETIMES IT WORKS, AND SOMETIMES IT DIDN’T. SO, THEN THEY HAD TO SCROUNGE A LITTLE BIT, AND MY MOTHER’S TOWN WAS NOT SO FAR FROM WHERE DAD’S FAMILY LIVED, SO THEY SAID, ‘WELL, WE’RE NOT THAT FAR APART. WHEN YOU COME HOME FOR A VISIT, YOU WILL BE ABLE TO VISIT.’” WHEN DESCRIBING THE HOME THE COUPLE INTIALLY SETTLED IN, MRS. NISHIYAMA EXPLAINED, “WE [WERE] 8 MILES SOUTH OF RAYMOND, IN WHAT WE CALL THE MAMMOTH SCHOOL DISTRICT… THERE WERE QUITE A FEW JAPANESE FAMILIES IN AND AROUND THAT MAMMOTH SCHOOL DISTRICT, SO WE WERE SORT OF THE MAJORITY.” MRS. NISHIYAMA SAID THAT HER MOTHER SPOKE OFTEN OF HER EARLY DAYS IN SOUTHERN ALBERTA. MRS. NISHIYAMA RECALLED, “IT WAS REALLY VERY LONELY [FOR MY MOTHER]. SHE’S YOUNG; THE CLOSEST NEIGHBOR WAS HALF A MILE AWAY… WHEN SHE GOT TO THE FARM, SHE SAID, ‘YOU SAID OUR NEIGHBORS ARE TAKAGUCHI’S. IS THAT HOUSE OVER THERE OUR NEIGHBORS?’ DAD SAID, ‘NO, THAT’S A CHICKEN COOP. THE NEIGHBOR’S HOUSE IS AWAY OVER THERE.’ FOR HER, THAT’S JUST APPALLING, COMING FROM A TOWN WHERE NEIGHBORS WERE CLOSE…DAD WOULD GET UP ONTO THE FIELD. NO ONE TO TALK TO EVEN. FORTUNATELY, SHE SAID, HER BROTHER-IN-LAW (DAD HAD A YOUNGER BROTHER HELPING HIM AT THAT TIME) – AND HE SAID, ‘GET ON THE BACK OF MY TRACTOR AND (IT WASN’T TRACTOR THEN – IT WAS HORSE AND BUGGY, BUT ANYWAY -) JUST COME AND RIDE THE FIELD WITH ME.’ AND, SHE DID JUST BECAUSE SHE COULDN’T STAND BEING BY HERSELF IN A LONELY OUTPOST, ON THE PRAIRIES, WITH NOTHING TO LOOK AT…” ACCORDING TO THE KARAKI FAMILY HISTORY IN THE NISHIKI BOOK, THE COUPLE RAISED A FAMILY OF SIX CHILDREN INCLUDING THE DONOR, REYKO NISHIYAMA. BY 1956, THEY SOLD THEIR FARM AND RELOCATED TO BRITISH COLUMBIA. TAKASHI PASSED AWAY IN THERE IN 1974 AT THE AGE OF 85 AND CHIAKI PASSED AWAY 14 YEARS LATER IN 1988. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION, INCLUDING FULL INTERVIEW TRANSCRIPTIONS AND COPIES OF THE FAMILY HISTORIES.
Catalogue Number
P20160042001
Acquisition Date
2016-12
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
PAPER, INK
Catalogue Number
P20180029004
  2 images  
Material Type
Artifact
Date
1991
Materials
PAPER, INK
No. Pieces
1
Length
35
Width
25.3
Description
WHITE PAPER CALENDAR WITH RED FRONT. FRONT HAS BLACK TEXT “1991 CALENDAR ANNIVERSARY SPECIAL, ROYAL CANADIAN MULTICULTURAL POLICE, (FARCE), “COSTUME SUGGESTIONS”; FRONT HAS WHITE BOX WITH BLUE TRIM AND BLUE TEXT “WARNING!! MATERIAL CONTAINED HEREIN IS FICTITIOUS AND MAY BE OBJECTIONAL TO SOME PEOPLE. VIEWER DISCRETION IS ADVISED.” CALENDAR HAS HOLE PUNCHED IN TOP FOR HANGING. FIRST PAGE INSIDE CALENDAR INCLUDES EXAGGERATED PHOTOGRAPH OF MAN WEARING A TURBAN IN RCMP UNIFORM AND CAPTION “1991, SGT. KAMELL DUNG, [COPYRIGHT SYMBOL] HERMAN B. 1991”, PAGE FOR MONTHS JANUARY AND FEBRUARY. SECOND PAGE INCLUDES EXAGGERATED PHOTOGRAPH OF MAN IN RCMP UNIFORM AND KILT WITH CAPTION “1991, SCOTTY MACDRAFTY, [COPYRIGHT SYMBOL] HERMAN B. 1991”, PAGE FOR MONTHS MARCH AND APRIL. THIRD PAGE INCLUDES EXAGGERATED PHOTOGRAPH OF MAN WEARING HEADGEAR FEATURING QUEBEC FLAG AND RCMP UNIFORM, HOLDING A QUEBEC FLAG, WITH CAPTION “1991, FRANCOIS LES SPLIT, [COPYRIGHT SYMBOL] HERMAN B. 1991”, PAGE FOR MONTHS MAY AND JUNE. FOURTH PAGE INCLUDES EXAGGERATED PHOTOGRAPH OF MAN WEARING BLACK BRAIDS, BEADED HEADDRESS AND FEATHERS, RCMP UNIFORM AND HOLDING A KNIFE AND BOW WITH CAPTION “1991, CHARLIE MANY BEEFS, [COPYRIGHT SYMBOL] HERMAN B. 1991”, PAGE FOR MONTHS JULY AND AUGUST. FIFTH PAGE INCLUDES PHOTOGRAPH OF MAN WEARING GERMAN LEDERHOSEN AND RCMP UNIFORM, HOLDING A BEER STEIN, WITH CAPTION “1991, HANS HOSENSCHEISER, [COPYRIGHT SYMBOL] HERMAN B. 1991”; PAGE FOR MONTHS SEPTEMBER AND OCTOBER. SIXTH PAGE INCLUDES PHOTOGRAPH OF MAN WEARING BLACK BRAID, MUSTACHE, BROAD-BRIMMED STRAW HAT, AND RCMP UNIFORM WITH CAPTION “1991, WHO FLUNG DUNG, [COPYRIGHT SYMBOL] HERMAN B. 1991”, PAGE FOR MONTHS NOVEMBER AND DECEMBER. CALENDAR HAS MAY 25 CIRCLED IN BLUE INK WITH BLUE INK INSCRIPTION BESIDE “SANDI B DAY”; CALENDAR HAS DATES CIRCLED IN BLACK INK OCTOBER 13, 20, 27, NOVEMBER 3, 10, 22, 23, DECEMBER 2, 11.FRONT OF CALENDAR HAS BROWN STAIN IN LOWER LEFT CORNER AND CREASING ALONG LOWER EDGE; BACK HAS PINK, RED AND BLACK STAINING. CALENDAR IS STAPLED TOGETHER AT TOP WITH TWO STAPLES; OVERALL VERY GOOD CONDITION.
Subjects
DOCUMENTARY ARTIFACT
Historical Association
FURNISHINGS
History
ON DECEMBER 21, 2018, GALT MUSEUM CURATOR AIMEE BENOIT INTERVIWED KEVIN MACLEAN REAGARDING HIS DONATION OF PERSONAL OBJECTS. ON THE ACQUISITION OF THE CALENDAR, IT WAS NOTED, “THE CALENDAR WAS BEING SOLD, ‘CAUSE I BOUGHT IT MYSELF, OUT OF LETHBRIDGE…AT A STORE.” “IN THE LATE ‘80S, EARLY 1990S…THERE’S A MEMBER OF THE [NATIONAL] SIKH COMMUNITY WHO WANTS TO WEAR A TURBAN AS A MEMBER OF THE R.C.M.P. THERE’S A LOT OF ANGST BY PEOPLE WHO DON’T UNDERSTAND WHY THIS SHOULD BE THE CASE AND THERE’S A BACKLASH THAT IS HAPPENING. I THINK SOME OF THAT BACKLASH IS COMING OUT OF SOUTHERN ALBERTA AND OUT OF LETHBRIDGE.” “AT THE SAME TIME, IN THE EARLY 1990S…YOU HAVE THE RISE OF THE QUEBEC SEPARATIST MOVEMENT OUT IN EASTERN CANADA. YOU HAVE THIS RISE OF WESTERN VALUE-TYPE STUFF AND PEOPLE FEEL, MAYBE, AS THOUGH THEY’RE BEING CHALLENGED. SO YOU HAVE THE REFORM PARTIES COMING UP. [BECAUSE] I’M A NEWS JUNKIE, I’M ACTIVELY INTERESTED IN THAT. THE FIRST AND ONLY TIME, IN 1992, THAT I ATTENDED A NOMINATION FOR A POLITICAL PARTY…IT WAS A REFORM PARTY [NOMINATION IN 1992]…I REMEMBER BEING AT THE ENMAX. I REMEMBER THE OTHER COMPETING NOMINEES AND I REMEMBER THE POLITICS OF THAT PARTICULAR MEETING. WITH THE UPCOMING ELECTION, A LOT OF MY MOTIVATION [I VOTED REFORM] WAS THAT THERE WAS A GREAT POTENTIAL THAT THE PQ WAS GOING TO FORM THE OFFICIAL OPPOSITION IN CANADA AND I JUST THOUGHT, THERE’S NO WAY THAT CAN HAPPEN.” “AT THE SAME TIME, PEOPLE, I DON’T KNOW WHO, PRODUCED THIS CALENDAR WHICH IS RACIST AND OFFENSIVE AND IT’S HORRIBLE. [I HAVE BEEN] ASHAMED [OF HAVING IT] BUT I RECOGNIZED THAT IT’S MATERIAL CULTURE. IT HAS POTENTIAL HISTORIC VALUE. THAT’S WHY IT’S BEEN KEPT. IT’S JUST THAT I COULD NOT BRING MYSELF TO SHARE THAT IT WAS IN MY POSSESSION AND THAT I BOUGHT IT.” “IT WOULD BE HARD TO SAY [WHAT THE LOCAL REPONSE TO THE PRODUCTION AND SALE OF THE CALENDAR WAS AT THE TIME] BECAUSE OUTSIDE OF MY IMMEDIATE CIRCLE…THAT CIRCLE WOULD BE CERTAINLY IN FAVOUR OF THIS THOUGHT. I DON’T REMEMBER ANY RESPONSE FROM LOCALS…AS AN EXAMPLE, IF THIS CALENDAR WAS BEING SOLD TODAY, MAYBE EVEN PRODUCED IN LETHBRIDGE, THERE WOULD BE PROTESTS. DO I REMEMBER ANYTHING LIKE THAT BACK, THEN? NOT AT ALL. IT’S REALLY EASY TO TARGET PEOPLE AND FEEL THIS WAY ABOUT PEOPLE WHEN YOU DON’T HAVE TO INTERACT WITH THEM OR SEE THEM. THEY’RE NOT EVEN ON THE LANDSCAPE SO IT’S REALLY EASY ‘CAUSE AGAIN, IT’S REALLY ABSTRACT, I THINK.” ON HIS DONATION OF THE CALENDAR, MACLEAN ELABORATED, “I’M OBVIOUSLY CONSCIOUS ABOUT CONFORMITY AND, FOR THE MOST PART…[PEOPLE] NOT ONLY WOULD WORK TO LOOK THE SAME…THEY DID [DRESS] THE SAME—SAME RUNNERS, SAME BLUE JEANS, TEE-SHIRT—GENERALLY SPEAKING, THROUGH THE ‘70S AND ‘80S, INTO THE ‘90S. I DON’T THINK THERE WAS A LOT OF DIVERSITY REFLECTED IN SOUTHERN ALBERTA. THAT’S MY OPINION. THERE CERTAINLY WASN’T OUT IN PICTURE BUTTE AND WHEN I’M VISITING LETHBRIDGE, I’M NOT SEEING IT OUTSIDE OF THE TRADITIONAL DIVERSITY WHICH WOULD BE JAPANESE-CANADIANS, WHICH WOULD BE HUTTERITES IN DOWNTOWN LETHBRIDGE, WHICH WOULD BE MEMBERS OF THE CHINESE POPULATION. THE OTHER THING IS THAT BECAUSE THE JAPANESE-CANADIANS ARE REPRESENTED OUT IN PICTURE BUTTE, I’M DATING A MEMBER OF [THE JAPANESE-CANADIAN] COMMUNITY AS WELL BY 1985.” “I STARTED ATTENDING UNIVERSITY IN THE SPRING OF ’92, AND THEN THE PEOPLE WHO I WOULD HAVE BEEN SHARING TIME WITH, I WOULD NOT HAVE BEEN SHARING TIME WITH ANYMORE. I THINK YOUR OUTLOOK BECOMES MUCH BROADER WHEN YOU’RE AT THE UNIVERSITY. THAT’S WHEN THE CHANGE HAPPENED. [THE CALENDAR IS] LITERALLY 1991 AND I’M IN UNIVERSITY BY 1992. I WOULDN’T SAY THAT THERE WAS THIS LIGHT SWITCH [MOMENT]. THAT WOULDN’T BE THE CASE BUT IT WOULD HAVE HAPPENED RELATIVELY SOON AFTER I STARTED UNIVERSITY.” “I WOULD HOPE THAT [THE CALENDAR] COULD BE USED IN SOME POSITIVE WAY TO CAST THE LIGHT ON CRAPPINESS…I LIKE TO HEAR FROM PEOPLE THAT [COMMUNITY VALUES ARE] CHANGING BUT THEN I KNOW, AT THE SAME TIME, THAT THERE’S A LOT OF PEOPLE THAT HAVEN’T CHANGED. THE DIFFERENCE THOUGH, I THINK, IS THAT WE’RE A MUCH MORE DIVERSE PLACE IN 2018 AND I THINK IT STARTED TWENTY YEARS AGO.” “[THE CALENDAR] SHOULD HAVE BEEN THROWN OUT IN 1993 BUT I THINK I RECOGNIZED IT FOR WHAT IT WAS; THAT POTENTIALLY IT COULD BE USED FOR GOOD NOW, THIRTY YEARS LATER, TO TELL A BROADER STORY ABOUT SOMETHING THAT STILL, TO SOME EXTENT, EXISTS TODAY.” ACCORDING TO ARTICLES FROM THE LETHBRIDGE HERALD, MEDICINE HAT NEWS, AND BRANDON SUN [MANITOBA], IN 1989 RCMP COMMISSIONER NORM INKSTER ANNOUNCED HIS RECOMMENDATIONS FOR CHANGES TO THE RCMP UNIFORM TO ALLOW SIKH MEN TO WEAR CULTURAL, RELIGIOUS TURBANS AND BEARDS. FOLLOWING THE ANNOUNCEMENT, IN 1989, BILL HIPSON OF CALGARY BEGAN PRODUCING PINS WITH THE DESIGN OF A SIKH MAN IN TURBAN AND RCMP UNIFORM, WITH TEXT WRITTEN DIAGONALLY ACROSS THE IMAGE “KEEP THE RCMP CANADIAN”. BY OCTOBER 1989, FACING BACKLASH ACROSS CANADA FOR THE DISCRIMINATORY MESSAGING OF THE PIN, HIPSON AGREED TO END PRODUCTION OF THE PIN AFTER FULFILLING PENDING ORDERS, HOWEVER INDICATED THAT OTHER DESIGNS MIGHT BE RELEASED. IN DECEMBER 1989, PETER KOUDA OF CALGARY BEGAN PRODUCING A PIN WITH THE DESIGN OF A CAUCASIAN MAN SURROUNDED BY THREE INDIVIDUALS OF VISIBLE MINORITIES, WITH TEXT AROUND THE PIN EDGE “WHO IS THE MINORITY IN CANADA?” THE PIN WAS SOLD ACROSS CANADA FOR $5.00. IN THE LATE 1980S AND EARLY 1990S, QUOTES ON STATISTICS FROM NEWSPAPER CLIPPINGS INDICATED THAT VISIBLE MINORITIES COMPRISED 6.3% OF THE CANADIAN POPULACE. IN JANUARY 1990, AFTER FACING NATIONAL CONDEMNATION FROM COMMUNITIES AND POLITICIANS, KOUDA BEGAN SELLING THE PIN INDEPENDENTLY WHEN SELLERS AND SUPPLIERS DROPPED IT FOR ITS DISCRIMINATORY MESSAGING, FOR FEAR OF OFFENDING CUSTOMERS OF VISIBLE MINORITIES. KOUDA CONTINUED TO SELL THE PIN, WITH NATIONAL PROTESTS TO HAVE CHARGES LAID FOR INCITING HATE PROPAGANDA. MANITOBA’S JUSTICE MINISTER, JAMES (JIM) MCCRAE DETERMINED THAT PRODUCTION OF THE PIN COULD NOT BE HALTED WITH CRIMINAL CHARGES, STATING THAT THE PINS COULD NOT BE DEFINED AS PROMOTING HATRED UNDER THE CANADIAN CRIMINAL CODE. CANADIAN CUSTOMS AND REVENUE CANADA ALSO STATED THAT THE PINS WERE NOT CLASSIFIED AS HATE PROPAGANDA UNDER THE CRIMINAL CODE, AND ALLOWED IMPORTATION OF THE PINS INTO CANADA. ON THE PINS, ALBERTA CULTURE MINISTER DOUG MAIN IN 1990 STATED THAT THEY WERE AN ISSUE FOR THE PEOPLE OF ALBERTA, AND NOT NECESSARILY FOR THE GOVERNMENT OF ALBERTA, ACCORDING TO A QUOTE FROM A LETHBRIDGE HERALD ARTICLE. IN FEBRUARY OF 1990, A CALENDAR PRODUCED BY HERMAN BITTNER OF LANGDON, ALBERTA BROUGHT ABOUT SIMILAR CHALLENGES OF HATE PROPAGANDA. BITTNER POSED IN A PHOTOGRAPH FOR THE CALENDAR AS A SIKH MAN IN A TURBAN AND RCMP UNIFORM, WITH THE PHOTOGRAPH CAPTIONED “SGT. KAMELL DUNG” AND THE INSCRIPTION “IS THIS CANADIAN OR DOES THIS MAKE YOU A SIKH?” JUSTICE MINISTER MCCRAE STATED THAT THE POSTER CONSTITUED INCITEMENT TO HATRED, AND THAT HE WOULD CHARGE ANYONE POLICE FOUND SELLING THE CALENDARS. THE 1990 CALENDAR WAS THEN BEING DISTRIBUTED BY TRAVELLING SALESMEN IN BARS ACROSS CANADA. A SECOND POSTER FEATURING DISCRIMINATORY MESSAGING AND IMAGES OF MULTIPLE VISIBLE MINORITIES EMERGED IN 1991. THE POSTER WAS ATTRIBUTED TO THE “ROYAL CANADIAN MULTICULTURAL POLICE”, WITH THE PHOTOGRAPHS COPYRIGHTED TO “HERMAN B.” [BITTNER]. THE WIDESPREAD MEDIA COVERAGE OF THE DISCRIMINATORY PINS AND CALENDARS GARNERED FURTHER SUPPORT FOR PROTESTS AGAINST SIKH MEN WEARING TRADITIONAL TURBANS AND BEARDS IN THE RCMP. THE PINS AND CALENDAR SAW HIGHER SALES AND DEMAND FOR THE PRODUCTS IN SHOPS ACROSS CANADA, AS STATED BY KOUDA AND BITTNER IN ARTICLES FROM 1990. IN 1990, FEDERAL SOLICITOR GENERAL PIERRE CADIEUX APPROVED THE DECISION TO ALLOW SIKH MEN TO WEAR TURBANS AND BEARDS IN THE RCMP. THE DECISION WAS MET WITH A PROTESTING PETITION SIGNED BY OVER 200,000 CANADIANS, ACCORDING TO ARTICLES FROM 1990. FOR MORE INFORMATION INCLUDING ARTICLES FROM THE LETHBRIDGE HERALD, BRANDON SUN, MEDICINE HAT NEWS, AND THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180029001-GA.
Catalogue Number
P20180029004
Acquisition Date
2018-12
Collection
Museum
Images
Less detail
Date Range From
1945
Date Range To
2005
Material Type
Artifact
Materials
STEEL, WOOD
Catalogue Number
P20160029000
  2 images  
Material Type
Artifact
Date Range From
1945
Date Range To
2005
Materials
STEEL, WOOD
No. Pieces
7
Height
30
Diameter
31
Description
A: PRESSURE COOKER POT: STEEL POT WITH TWO BLACK WOODEN HANDLES. HANDLES ARE SCREWED TO LIP OF POT WITH TWO SCREWS EACH. FAIR TO GOOD CONDITION. BLACK RESIDUE, WATER STAINS, AND SCRATCHES ON OVERALL SURFACE OF POT FROM USE. THERE IS A FULL CRACK SEPARATING THE BACK END OF THE RIGHT HANDLE FROM THE POT. B: LID: STEEL LID 31.9CM (D) X 3.8CM (H). LID HAS ONE BLACK WOODEN HANDLE HELD IN PLACE BY TWO SCREWS. BOTH SIDES OF HANDLES HAVE VALVES FOR LETTING OFF/MANAGING PRESSURE. THE CENTER HAS A ROUND GAUGE WHICH READS BOTH PRESSURE (0 TO 20) AND TEMPERATURE IN DEGREES FAHRENHEIT (228° TO 259°). IT READS "WARNING OPEN PETCOCK, EXHAUST STEAM…” GAUGE HAS SINGLE RED NEEDLE. IN FRONT OF GAUGE ON TOP OF LID READS, “IMPROVED KOOK / KWICK STEAM PRESSURE COOKER 22”. LID IS SECURED TO POT WITH REMOVABLE RING THAT IS TIGHTENED BY TURNING A SMALL HANDLE AT THE FRONT. GOOD CONDITION. STAINING ON OVERALL SURFACE OF LID AND BACKGROUND OF GAUGE IS YELLOWED. C: SEALING RING: 36 CM IN DIAMETER UNTIGHTENED. STEEL WITH A RUBBER KNOB AT THE OPENING. HINGE AT THE BACK SIDE OF THE RING. CLAMP AT FRONT IS TIGHTENED BY A METAL HANDLE. GOOD CONDITION. STAINING ON OVERALL SURFACE OF THE STEEL. D: COOKING RACK: 26.5 CM IN DIAMETER. CIRCULAR, METAL RACK WITH A CIRCLE OPENING AT THE CENTER AND A CURVED PATTERN OF TWO ROWS AROUND. THE RACK HAS 6 SECTIONS AROUND. THERE ARE RIDGES ALONG THE VERTICAL LINES ON ONE SIDE. THE OPPOSITE SIDE IS FLAT. THREE OF THE RIDGES HAVE SCREW HOLES ON THE OUTSIDE EDGE. E-G: 3 MASON JAR LID BANDS: ALL 8.5 CM IN DIAMETER. E IS MADE OUT OF A SILVER-COLOURED METAL. F AND G ARE MADE OUT OF GOLD-COLOURED METAL. POOR TO FAIR CONDITION FOR COMPONENTS D THROUGH G. ALL COMPONENTS ARE RUSTING WITH SIGNIFICANT MINERAL BUILD UP ON THEM. THERE IS FURTHER MATERIAL BUILD UP ON COMPONENTS E-G.
Subjects
FOOD PROCESSING T&E
Historical Association
DOMESTIC
History
THE FOLLOWING INFORMATION ABOUT THIS PRESSURE COOKER IS EXTRACTED FROM A SEPTEMBER 2016 INTERVIEW CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN WITH THE ARTIFACT'S DONOR, JEANNETTE HOUTEKAMER: HOUTEKAMER CAME INTO POSSESSION OF THE PRESSURE COOKER FROM HER AUNT, EUGENE SICOTTE: “WELL, FIRST OF ALL, I KNOW IT’S VERY OLD. IT CAME FROM A GREAT AUNT, WHO CAME TO THIS COUNTRY AS A YOUNG GIRL AND WAS LOCATED AROUND THE BEAVER MINE AREA… MUST [HAVE BEEN] LUNDBRECK. SHE WAS THERE WITH HER HUSBAND... SHE ALSO WAS A WONDERFUL COOK, AND SHE COOKED IN A LUMBER CAMP … HER FIRST MARRIED NAME WAS EUGENE (SIC) SICOTTE, MARRIED TO A PETE SICOTTE. [N.B. ALTERNATIVE SPELLING OF FIRST NAME EUGINE OR EUGENIE FROM OBITUARY AND LEGAL NOTICE] … SHE WAS WITH HIM FOR 17 YEARS... HOW SHE MET GEORGE ANDERSON, I’M NOT SURE, BUT HE WAS A FARMER PAST COALDALE - BARNWELL. THEY HAD A FARM UP THERE. AND SHE WAS QUITE A BIT OLDER THAN HIM, BUT THEY MARRIED, AND DID VERY WELL. THEN THEY RETIRED AND MOVED TO THE CITY HERE… I IMAGINE THEY BOUGHT [THE PRESSURE COOKER] DOWN IN GREAT FALLS, BECAUSE HE HAD A SISTER WHO WAS DOWN IN SHELBY. AT THE TIME, IT WAS CONSIDERED MORE EXPENSIVE.” OF THE RELATIONSHIP SHE HAD WITH HER AUNT, HOUTEKAMER STATED: “[W]E WERE VERY CLOSE. THEY HAD NO FAMILY, SO THEY KIND OF ADOPTED MY HUSBAND [MARTIN HOUTEKAMER] AND I... WE DID A LOT OF THINGS FOR THEM WHEN THEY GOT OLDER... SHE WAS A FABULOUS COOK.” HOUTEKAMER’S AUNT’S NAME BECAME EUGENE ANDERSON UNDER HER SECOND MARRIAGE. SOMETIME DURING THE PERIOD AFTER THE EUGENE AND GEORGE ANDERSON MOVED TO LETHBRIDGE AND BEFORE THE PASSING OF MRS. ANDERSON IN 1968, HOUTEKAMER CAME TO ACQUIRE THE PRESSURE COOKER: “WELL, SHE JUST GOT TO THE POINT WHERE SHE WAS GETTING OLDER, AND SHE DIDN’T DO A LOT OF CANNING ANYMORE. SHE HAD DONE A LOT PREVIOUS TO THAT. SHE CANNED EVERYTHING, EVEN MUSHROOMS … [SHE WAS A] FABULOUS COOK … SHE KNEW THAT I DID A LOT OF CANNING, SO SHE THOUGHT [THE PRESSURE COOKER] WOULD HELP." "MY HUSBAND DID A LOT OF FISHING, SO [WE] CANNED FISH, WHICH WAS THE BEST THING FOR IT. WHEN YOU CAN IT IN THERE, IT’S GOING TO BE GOOD… [HE CAUGHT FISH FROM] ALL OVER SOUTHERN ALBERTA. BEAVER MINES WAS ONE OF THE SPECIALS. IN FACT, HIS ASHES ARE IN POLICE LAKE. HE DID A LOT THERE AT POLICE LAKE AND LEE’S CREEK. DEPENDING [ON] HOW MANY FISH YOU HAD TO MAKE IT WORTHWHILE, I WOULD DO A CANNER OF IT. I USED THE SMALL FISH JARS, SO I COULD PACK THEM UP. I DID QUITE A FEW…” PRIOR TO OWNING A PRESSURE COOKER, HOUTEKAMER SAID SHE “USED A BIG CANNER. I HAD ONE THAT HELD 7 OR 8 QUARTS. THAT’S WHAT I DID - MOSTLY FRUIT. I DIDN’T DO A LOT OF VEGETABLES BECAUSE, BY THEN, YOU COULD START FREEZING STUFF. YOU KNOW, IT WAS STARTING TO GET MORE POPULAR.” HOUTEKAMER DID NOT LEARN A GREAT DEAL OF COOKING FROM HER AUNT, “BECAUSE I HAD LEARNED A LOT FROM MY MOTHER. SHE WAS A GOOD COOK. SHE EVEN MADE LEFTOVERS TASTE GOOD. SHE HAD HAD A LOT OF EXPERIENCE… WE DID A LOT OF PRESERVING IN HER DAY. THAT WAS ALL WE HAD AND IT WAS ALWAYS DONE IN A BOILER - A GOOD COPPER BOILER. THAT’S THE WAY YOU LEARNED. … FOR SOME THINGS [THE PRESSURE COOKER WAS BETTER THAN THE COPPER BOILER] BECAUSE MY VEGETABLES TAKE A VERY LONG TIME TO PRESERVE THROUGH BOILING. AND FISH, OH MY GOD, YOU WOULD BE THERE FOREVER TO BOIL, SO THIS [PRESSURE COOKER] IS MUCH BETTER, MUCH FASTER [AND] SAFER, AS WELL. IT WAS HEAVY WORK, MIND YOU. WHEN YOUR COOKER WAS DONE, WHEN YOUR TIME WAS DONE, IF YOU COULD LIFT IT AND TAKE IT OUTDOORS, YOU COULD THROW COLD WATER ON IT AND OPEN IT RIGHT AWAY. THEN YOU WOULD THROW THE CANS IN COLD WATER. FOR JARS, YOU HAD TO WAIT UNTIL IT WENT DOWN BY ITSELF. YOU COULDN’T OPEN IT UNTIL THEN OR ALL THE LIDS WOULD COME OFF.” FOR HOUTEKAMER, CANNING TOOK PLACE MOSTLY DURING THE FALL. SHE WAS ABLE TO PRESERVE A VARIETY OF FOOD WITH THIS PRESSURE COOKER: “I [CANNED] CHICKEN ONE YEAR, AND THAT WAS ENOUGH. WE ALWAYS HAD CHICKEN AROUND [AND] IT WAS BETTER FRESH. MY HUSBAND LOVED HIS FRESH CHICKENS. WE HAD OUR OWN GARDEN, AND SOMETIMES WE WOULD GET SOME CORN IN THE FALL [WHEN THE FARMERS WERE DOING THEIR THRESHING].” OF HER FAVOURITE VEGETABLES TO PRESERVE, HOUTEKAMER SAID, “BEANS, I GUESS. I WOULD GET A LOT OF BEANS. BEETS – I DID SOME – NOT CANNED. [I] DID A LOT OF PICKLES. BEANS WERE THE MAIN THING, AND CHICKEN, AND FISH. AND THAT WAS IT. I DID A LOT OF TOMATOES, BUT THEY WERE SIMPLER TO DO IN THE CANNER, BECAUSE THEY ONLY TAKE ABOUT 20 MINUTES… [THE PRESSURE COOKER] WOULD BE PLACED ON [A] GAS OR ELECTRIC [STOVE]. WHEN THE TIME WAS DONE, YOU JUST SHUT THE STOVE OFF AND LET IT COME DOWN BY ITSELF… I USED TO JUST KNOW WHERE TO PUT THE STOVE AT, THE BURNER, TO KEEP [THE PRESSURE WHERE NEEDED]. YOU HAD TO BE CAREFUL. YOU COULDN’T JUST TURN YOUR BACK ON IT. YOU WOULDN’T WANT THAT. THAT WHOLE THING WOULD COME OFF, AND YOU WOULD HAVE ONE BIG MESS. … NO [THAT NEVER HAPPENED]. I ALWAYS WAS VERY CAREFUL – WATCHED IT CLOSE. I DON’T THINK [MESSES] EVER HAPPENED TO MY AUNT EITHER THAT I’M AWARE OF… MOST OF THE COOKBOOKS IN THOSE DAYS HAD INSTRUCTIONS ABOUT HOW MANY POUNDS TO USE FOR VEGETABLES. I THINK MY FISH WAS 15 POUNDS. FOLLOW THOSE INSTRUCTIONS AND IT WORKED FINE – [IT] DID A VERY GOOD JOB.” HOUTEKAMER WOULD USE THE PRESSURE COOKER AT HER HOME ON THE RESEARCH STATION AND THEN LATER AT HER HOME ON THE NORTH SIDE OF LETHBRIDGE: “… AT THE TIME WE LIVED ON THE RESEARCH STATION FOR TWENTY YEARS. AND I USED IT THERE. MY HUSBAND WORKED THERE, IN POULTRY RESEARCH. WE WERE POOR. WE DID A LOT OF CANNING AND ALWAYS HAD A GARDEN. THAT’S HOW IT CAME ABOUT … WE HAD A PLACE TO LIVE AND OUR OWN GARDEN.” THE PRESSURE COOKER WAS ACTIVELY USED BY HOUTEKAMER UNTIL HER HUSBAND’S DEATH IN 2005: “WELL, I DON’T THINK I’VE USED IT IN THE LAST 10 YEARS BECAUSE I’VE BEEN LIVING IN A CONDO. I JUST HAD IT SITTING AROUND, TOO HEAVY TO MOVE… I DIDN’T DO A LOT OF CANNING ANYMORE…” THIS ARTIFACT BRINGS BACK MEMORIES OF HER LATE HUSBAND: “WE ALWAYS DID A LOT OF FISHING TOGETHER. WHEN HE RETIRED, HE BOUGHT HIS BOAT. WE HAD A CAMPER VAN, SO WE COULD GO OUT AND STAY OVERNIGHT. WE HAD [THE] BOAT, SO WE COULD GO ONTO THE WATER [AND] TRY TO GET SOME FISH. THOSE DAYS, THERE WERE SO MANY FISH... IF YOU WERE LUCKY, YOU HAD A NICE BIG ONE THAT WOULD FILL ABOUT FIVE OR SIX JARS.” CANNING WAS A NECESSITY FOR FOOD PRESERVATION: “WELL, I GUESS IT’S OK IF YOU CAN AFFORD IT, BUT WHEN WE WERE YOUNGER, WE WERE VERY POOR, SO YOU DID WHAT HAD TO DO. KEEP GOING. EAT… MY GIRLS STILL DO SOME, BUT NOW, WITH THE NEW FANCY STOVES, YOU COULD NEVER USE THIS – TOO HEAVY. THE NEW STOVES – THEY JUST CAN’T PUT ANYTHING HEAVY ON THERE. I THINK IT’S KIND OF TOO BAD, BECAUSE A GARDEN IS NOT THAT HARD TO HAVE, AND YOU CAN GET AN AWFUL LOT OF GOOD FOOD OUT OF THERE – NATURAL FOOD, AND VERY HEALTHY FOOD. SOME PEOPLE JUST CAN’T BE BOTHERED. [IT'S] SIMPLER TO GO TO THE STORE… [MY AUNT] COULD HAVE PROBABLY SAID MORE, SHE DID A GREAT DEAL OF CANNING. SHE ALWAYS MADE SURE, WHEN THEY BUILT THEIR HOUSES, THAT THEY HAD A PLACE FOR PUTTING HER CANNED STUFF, WHERE SHE COULD KEEP IT COOLER IN THE SUMMER.” ACCORDING TO HER LETHBRIDGE HERALD OBITUARY, MRS. EUGINE ANDERSON PASSED AWAY IN LETHBRIDGE ON JANUARY 18, 1968 AT THE AGE OF 85. HER SECOND HUSBAND, MR. GEORGE ANDERSON, PASSED AWAY IN CALGARY ON NOVEMBER 26, 1972 AT THE AGE OF 79. MRS. ANDERSON’S FIRST HUSBAND, MR. PETE SICOTTE, PASSED AWAY IN CAMROSE, ALBERTA ON FEBRUARY 15, 1966 AT THE AGE OF 92. A MEMORIAM IN THE LETHBRIDGE HERALD INDICATES THAT THE DONOR’S HUSBAND, MR. MARTIN HOUTEKAMER PASSED AWAY ON APRIL 21, 2005. SEE PERMANENT FILE FOR ADDITIONAL INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION AND COPIES OF OBITUARIES.
Catalogue Number
P20160029000
Acquisition Date
2016-09
Collection
Museum
Images
Less detail
Other Name
WOOD, LEATHER
Date Range From
1952
Date Range To
1975
Material Type
Artifact
Materials
WOOD, LEATHER, PAINT
Catalogue Number
P20170019000
  2 images  
Material Type
Artifact
Other Name
WOOD, LEATHER
Date Range From
1952
Date Range To
1975
Materials
WOOD, LEATHER, PAINT
No. Pieces
1
Height
100
Length
41
Width
49
Description
WOODEN CHAIR COATED IN A LIGHT WOOD-COLOURED PAINT. LION’S FEET LEGS IN THE FRONT, DETAILS ON FRONT OF THE LEGS NEAR THE GROUND AND NEAR THE SEAT; DECORATED KNOBS ON TOP OF THE SIDES OF CHAIR. THE BACK SUPPORT IS MADE UP OF ONE WIDE PANEL AND ONE THIN PANEL HORIZONTALLY PARALLEL WITH ORNATE DETAIL WITH OVAL IN THE CENTER OF THE BACKREST. BACKREST IS 4 CM IN WIDTH. WOODEN STRIPES BETWEEN BACK LEGS AND ON EITHER SIDE BETWEEN LEGS. CONDITION: VERY GOOD TO EXCELLENT CONDITION: SLIGHT WEAR ALONG CORNERS OF CHAIR; DARKER WOOD COLOUR SHOWS THROUGH THESE WORN SPOTS ESPECIALLY ON THE TOP OF THE CHAIR; GLUED ON CORNER OF BACK OF CHAIR DESIGN NEAR THE TOP RIGHT CORNER.
Subjects
FURNITURE
Historical Association
FURNISHINGS
PROFESSIONS
History
ON MAY 16TH, 2017 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DONOR GERALD TODD ABOUT A CHAIR HE DONATED TO THE GALT MUSEUM. TODD BEGAN, “I GOT [THE CHAIR] FROM MY DAD WILLIAM (BILL) TODD. WHEN MY DAD PASSED AWAY, MY MOTHER PASSED IT ON TO ME. I USED IT AT MY DESK AT HOME, WHERE I WOULD SIT ON IT NOW AND THEN TO DO MY PAPERWORK.” HE CONTINUED, “MY DAD GOT [THE CHAIR] FROM [WHEN] HE WAS THE PUBLIC SUPERINTENDENT FOR THE PUBLIC WORKS DEPARTMENT OF ALBERTA. [HE WAS IN THIS POSITION WHEN] THEY WERE RENOVATING THE COURTHOUSE IN LETHBRIDGE – JUST EAST OF CITY HALL – AND WHEN THEY WERE DEMOLISHING THINGS IN THERE, THEY FOUND [THIS CHAIR]. THEY TOLD MY DAD TO THROW IT AWAY, BUT INSTEAD HE ASKED IF HE COULD HAVE IT. THEY TOLD HIM ‘YEAH TAKE IT,’ AND SO HE DID. HE PROBABLY RECEIVED THE CHAIR IN THE MID-1960S – I THINK THAT’S WHEN THEY STARTED TO REVAMP THE COURTHOUSE. I KNOW HE DIED IN ’76, SO I’M JUST GUESSING. IT COULD HAVE BEEN SOONER OR A LITTLE LATER [WHEN HE RECEIVED IT]. BUT AT THAT TIME I WASN’T REALLY INTERESTED IN THE CHAIR MYSELF, [SO I NEVER LEARNED WHAT JUDGES SAT IN IT]… ALL HE TOLD ME [ABOUT IT] WAS THAT IT WAS A JUDGE’S CHAIR IN THE COURTHOUSE. AS FAR AS ANYTHING ELSE GOES, I DON’T KNOW. I THOUGHT, ‘WELL, IT’S JUST A CHAIR’ [I DID NOT BECOME INTERESTED IN IT UNTIL] MY MOTHER SAID, ‘DO YOU WANT THE CHAIR?’ MAYBE SIX MONTHS OR SO [AFTER MY DAD’S PASSING]. I SAID, ‘SURE. DO YOU KNOW ANYTHING ABOUT IT?’ AND SHE SAID, ‘NO, YOUR DAD NEVER TOLD ME. HE JUST BROUGHT IT HOME, PUT IT BY HIS DESK AND THAT WAS IT.’ IT WAS SORT OF A REMEMBRANCE OF MY DAD WORKING.” “[MY DAD] WORKED FOR THE PUBLIC WORKS DEPARTMENT [WITH THE PROVINCE OF ALBERTA] STARTING IN THE ‘50S,” TODD EXPLAINED, “HE WORKED FOR I DON’T KNOW HOW MANY YEARS AND THEN BECAME THE SUPERINTENDENT FOR PUBLIC WORKS FOR SOUTHERN ALBERTA. ANYWHERE THERE WAS A GOVERNMENT BUILDING – FROM THE [CROWSNEST] PASS, TO MEDICINE HAT, TO LETHBRIDGE, AND ALL OVER SOUTHERN ALBERTA – HE WAS IN CHARGE OF THE MAINTENANCE AND REPAIRS.” TODD EXPLAINED THIS CHAIR IS THE ONLY THING FROM A BUILDING HIS FATHER WORKED IN THAT HE ENDED UP BRINGING HOME: “IT WAS JUST ONE ITEM OUT OF PROBABLY MANY THINGS BEING THROWN AWAY. HE JUST HAD ROOM FOR THE CHAIR, SO THAT’S ALL HE TOOK. THEY THREW AWAY THE DESK AND THE JUDGE’S CABINETS, WHICH HE WAS QUITE UPSET [ABOUT], BUT [HE COULD NOT KEEP IT ALL].” WHEN ASKED ABOUT WHY, OUT OF EVERYTHING, HIS FATHER WOULD HAVE SELECTED THIS CHAIR TO BRING TO HOME, TODD SPECULATED, “I THINK IT WAS BECAUSE IT WAS A UNIQUE CHAIR TO HIM AND IT WAS SAT ON BY A JUDGE IN THE COURTHOUSE. [MY FATHER] LIKED THE CHAIR. HE SAT IN IT QUITE A BIT AND IT BRINGS LITTLE MEMORIES OF HIM TO ME. I’D WATCH HIM GO DOWN AND SIT IN THE CHAIR IN THE BASEMENT, WHICH WAS FINISHED. [IT WAS WHERE HE] HAD HIS DESK [AND WHERE HE WOULD] TINKER AROUND. [THE CHAIR] WAS SOMETHING [MY DAD HAD] FOR REMEMBERING HIS WORK. IT WOULD BRING BACK MEMORIES TO MY DAD OF WHAT HE HAD DONE.” “MY DAD WAS IN POLITICS BEFORE. HE DID QUITE A BIT OF WORK WITH THE ALBERTA GOVERNMENT – THE SOCIAL CREDIT GOVERNMENT IT WAS – AND HE HAD JOHN LANDERYOU HERE IN LETHBRIDGE, HARTLEY FROM FORT MACLEOD, AND OTHER FELLAS THAT I DON’T REMEMBER THAT HE ASSOCIATED WITH. HE TOOK IN A LOT OF FUNCTIONS WITH THE GOVERNMENT,” TODD STATED, REMEMBERING HIS FATHER, “MY DAD WAS A GREAT GUY. HE WAS ALWAYS GOOD TO ME. HE GOT ALONG WITH PEOPLE VERY WELL. HE WAS VERY KNOWLEDGEABLE. HE COULD SIT DOWN AND TALK TO ANYBODY.” “[DONATING MY FATHER’S CHAIR TO THE MUSEUM] MAKES ME FEEL GREAT, BECAUSE IT [WILL BE SOMEWHERE] WHERE PEOPLE ARE GOING TO GET TO LOOK AT IT [AND CONNECT WITH ITS HISTORY].” THE OBITUARY OF WILLIAM TODD WAS PUBLISHED IN THE APRIL 29, 1975 EDITION OF THE LETHBRIDGE HERALD. IT READ, “BORN IN BUTTE, MONTANA… TODD CAME TO CANADA WITH HIS PARENTS AT THE AGE OF TWO. HIS PARENTS HOMESTEADED IN THE NEWLANDS DISTRICT SIXTEEN MILES NORTH OF LETHBRIDGE WHERE HE LIVED AND WORKED UNTIL 1920 WHEN HE LEFT THE FARM AND WORKED IN A COAL MINE IN COMMERCE, AND LATER IN COALHURST, WHERE HE MET AND MARRIED MARY (BABE) VICKERS IN 1931. AFTER A SHORT TIME THEY MOVED BACK TO HIS PARENTS’ FARM, WHERE HE FARMED AS WELL AS [WORKED] IN THE COAL MINE AT SHAUGHNESSY.” IT CONTINUES, “IN 1945, HE MOVED TO NOBLEFORD WHERE HE OPERATED THE TODD BROTHERS SEED CLEANING PLANT. IN 1956, HE MOVED TO LETHBRIDGE… HE WAS A VERY ARDENT WORKER FOR BETTER GOVERNMENT FOR ALBERTA AND SPENT A GREAT DEAL OF TIME TO THAT END.” WILLIAM AND MARY TODD HAD ONE SON, DONOR GERALD TODD. WILLIAM TODD PASSED AWAY IN LETHBRIDGE ON APRIL 26TH, 1975 AT THE AGE OF 72 YEARS. A BRIEF HISTORY OF LETHBRIDGE COURTHOUSES TITLED, “BETTER GET TO KNOW A BUILDING -- LETHBRIDGE’S 1952 COURTHOUSE,” WAS PUBLISHED ON JANUARY 30, 2016 BY THE LETHBRIDGE HISTORICAL SOCIETY FOR THEIR FACEBOOK PAGE. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM THAT POST: “LETHBRIDGE’S ‘OLD COURTHOUSE’ LOCATED AT 4 AVENUE AND 11 STREET SOUTH IS ACTUALLY THE 3RD COURTHOUSE LETHBRIDGE HAS HAD. IT WAS OPENED OFFICIALLY IN SEPTEMBER 1952 AND SERVED AS A COURTHOUSE UNTIL 1983 WHEN IT WAS SUPERSEDED BY THE PRESENT COURTHOUSE ON 4 STREET SOUTH. WHILE THE 1952 COURTHOUSE WAS BUILT AS A PROVINCIAL COURTHOUSE, THE ARCHITECTS WERE FROM LETHBRIDGE AND THE DESIGN AND PLACEMENT WAS DONE TO TIE IN WITH THE CITY OF LETHBRIDGE’S URBAN RENEWAL PLANS AND THE CITY’S PLANS FOR CIVIC CENTRE... THE NEW 1952 COURTHOUSE BECAME THE ‘OLD COURTHOUSE’ IN JUNE 1983 WHEN THE COURTHOUSE ON 4 STREET SOUTH WAS BUILT TO REPLACE IT." PLEASE SEE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION, LETHBRIDGE HERALD OBITUARY, AND LETHBRIDGE HISTORICAL SOCIETY TEXT.
Catalogue Number
P20170019000
Acquisition Date
2017-05
Collection
Museum
Images
Less detail
Other Name
CASSEROLE DISH SET
Date Range From
1970
Date Range To
2006
Material Type
Artifact
Materials
CERAMIC
Catalogue Number
P20160001000
  2 images  
Material Type
Artifact
Other Name
CASSEROLE DISH SET
Date Range From
1970
Date Range To
2006
Materials
CERAMIC
No. Pieces
22
Height
22
Length
44
Width
32
Description
BOX OF SUNBURST CASSEROLE DISHES WITH 11 PIECES (5 FULL SETS OF SMALL AND LARGE DISHES AND 1 PARTIAL SET WITH ONE SMALL DISH). THERE ARE 22 PIECES INCLUDING THE STORAGE MATERIALS. A – F: CERAMIC CASSEROLE DISHES. UNGLAZED. “SUNBURST… OVENPROOF” WITH A SUN LOGO STAMPED ON THE BOTTOM. THE DISHES HAVE A RIM AT THE TOP AND A BASE AROUND THE BOTTOM. THERE ARE 2 HANDLES ON OPPOSITE ENDS OF THE TOP OF THE DISHES. A-E HAVE “1.95” WRITTEN ON THE BOTTOMS IN PENCIL. F HAS AN ERASER MARK IN THAT PLACE, AND A WHITE STICKER WITH THE PRICE “$5.00” HANDWRITTEN AND STICKING TO A TOP HANDLE. THE DIAMETERS ARE 19.4 CM, THE LENGTHS INCLUDING THE HANDLES ARE 23.3 CM AND THE DISHES ARE EACH 7.1 CM DEEP. THE CONDITIONS OF DISH A THROUGH D ARE VERY GOOD TO EXCELLENT. THERE IS DUST COATING EACH DISH. B HAS 5 SMALL CHIPS ON THE BASE AND A SLIGHT CRACK (LESS THAN 1 CM LONG) ON THE OUTSIDE OF THE RIM. THE CERAMIC ON C IS ROUGH ON THE INNER RIM. IT ALSO HAS A DARK MARK ON THE OUTSIDE OF THE RIM AND SOME SMALL CHIPS ON THE BASE. D HAS A SCRATCH ON THE BASE. THE CONDITION OF E IS VERY GOOD WITH A SMALL CRACK ON THE SIDE OF THE DISH, A DARK STAIN ON THE EDGE OF THE RIM, AND A SLIGHT SCUFF ON THE BOTTOM. CASSEROLE DISH F IS IN GOOD TO VERY GOOD CONDITION WITH SOME MARKS ALONG THE RIM AND BASE. THERE IS A CHIP IN THE HANDLE. G – K: CERAMIC CASSEROLE DISHES. UNGLAZED. “SUNBURST… OVENPROOF” WITH A SUN LOGO STAMPED ON THE BOTTOM. THE DISHES HAVE A RIM AT THE TOP AND A BASE AROUND THE BOTTOM. THERE ARE 2 HANDLES ON OPPOSITE ENDS OF THE TOP OF THE DISHES. H-J HAVE “2.95” WRITTEN ON THE BOTTOMS IN PENCIL. G HAS AN ERASER MARK IN THAT PLACE, AND A WHITE STICKER WITH THE PRICE “$7.00” HANDWRITTEN AND STICKING TO A TOP HANDLE. THE DIAMETERS ARE 22.6 CM, THE LENGTHS INCLUDING THE HANDLES ARE 27.1 CM AND THE DISHES ARE EACH 8.4 CM DEEP. THE CONDITION OF DISH G IS VERY GOOD WITH DARK IMPURITIES IN THE CLAY, A SCUFF ALONG THE BASE AND A SCRATCH IN THE CLAY ON THE SIDE OF THE DISH. THE CONDITION OF H IS FAIR TO GOOD. THIS DISH HAS A LARGE CHIP IN THE RIM WITH A LENGTH OF APPROXIMATELY 6.1 CM. THERE IS A SCUFF IN THE BOTTOM. DISH I IS IN VERY GOOD CONDITION WITH SOME IMPURITIES IN THE CLAY, AN AIR BUBBLE ON THE SIDE OF THE DISH, A DARK BROWN STAINING ON THE SIDE, AND CHIPS ON THE BOTTOM RIM. DISHES J AND K ARE IN VERY GOOD TO EXCELLENT CONDITION WITH SMALL CHIPS IN THE RIM. L – M: SQUARE PIECES OF CARDBOARD FOR PACKING. THEY ARE BENT TO FOLD AROUND A DISHES WITH A CIRCULAR CREASE IN THE CENTER WITH TWO PARALLEL SLITS (APPROX. 3.5 CM APART) FROM ONE END TO THE CENTER. THE DIMENSIONS OF EACH ARE 21 CM X 21 CM. GOOD CONDITION WITH TEARING IN SOME AREAS (L IS TORN ON ONE SIDE) AND CLAY DUST OVERALL. N – U: RECTANGULAR CARDBOARD SEPARATORS FOR PACKING (THEY ARE PLACED IN BETWEEN THE SMALL AND LARGE DISH IN A SET. THERE ARE 3 SLITS IN EACH SEPARATOR THAT ARE 4.5 CM LONG FROM ONE SHORT END STOPPING AT THE CENTER AND EACH SLIT IS 7.5 CM APART. EACH PIECE IS BENT TO FIT THE SHAPE OF DISHES. FAIR TO GOOD CONDITION WITH REGULAR WEAR (TEARS AND STAINING) OVERALL. V: CARDBOARD BOX WITH ORANGE LETTERING, “SUNBURST CERAMICS” WITH AN ORANGE LOGO ON THE LONG SIDE OF THE BOX. HANDWRITTEN IN BLACK INK ON THE TOP OF THE BOX CAN BE READ “OPICAL EDMONTON ALTA.” ON ONE SHORT SIDE IT SAYS, “6 CASSEROLES 48 OZ…” IN ORANGE PRINT AND THEN IN BLACK HANDWRITING IT READS “6 + 32 OZ 6 – 48 OZ CASS.” THERE ARE 4 LARGE STAPLES HOLDING THE BOTTOM OF THE BOX TOGETHER. THE INSIDE HAS 4 CARDBOARD DIVIDERS (3 LENGTHWISE AND 1 HORIZONTALLY DOWN THE CENTER) THAT FIT TOGETHER THROUGH SLITS IN THE DIVIDERS. THESE MAKE UP 6 SECTIONS IN THE BOX FOR STORING THE SETS OF DISHES. THE OVERALL DIMENSIONS OF THE BOX ARE 32 X 44 X 22 CM. POOR TO FAIR CONDITION. THERE ARE HOLES, BENDS, AND TEARS OVERALL THE WHOLE SURFACE OF THE BOX. ONE CORNER EDGE IS TAPED TOGETHER WITH A BROWN PAPER TAPE. THERE IS A STAPLE LOOSE ON A TOP FLAP. THE BOX IS DIRTY AND STAINED OVERALL.DIRTY AND STAINED OVERALL.
Subjects
FOOD PROCESSING T&E
Historical Association
INDUSTRY
TRADES
DOMESTIC
History
DONOR MIKE MYCHAJLUK ACQUIRED THIS SET OF CERAMIC DISHES WHEN TROPICAL GARDENS IN EDMONTON, ALBERTA WAS CLOSING BETWEEN THE YEARS 2004 AND 2006. THE OWNER OF THAT BUSINESS HELD AN AUCTION AT HIS WAREHOUSE AND PART OF THAT LOT WAS THE SUNBURST CERAMIC SET, WHICH MYCHAJLUK BOUGHT FOR THIRTY-FIVE DOLLARS. THE FOLLOWING INFORMATION ABOUT THIS CERAMIC SET COMES FROM AN INTERVIEW WITH MYCHAJLUK THAT WAS CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON JANUARY 22, 2016: “TROPICAL GARDENS WAS GOING OUT OF BUSINESS AND THEY WERE SELLING OFF IN THEIR STORE. A COUPLE OF BOXES THEY HAD ON DISPLAY THEN A COUPLE OF MONTHS LATER HE HAD THE AUCTION AT HIS WAREHOUSE ON HIS ACREAGE. HE HAD BINS - TONS OF STUFF THERE AND THIS [BOX] HAPPENED TO BE IN [THE SALE] WHEN I BOUGHT IT. I HAD TO BUY THE WHOLE LOT… [FIRST], I’M INTERESTED IN ALBERTA POTTERY STUFF AND NUMBER TWO I KNEW OTHER PEOPLE WERE [TOO]. I WAS GOING TO SELL SOME OF IT OFF BUT THERE WAS SO MUCH OF IT. I’LL NEVER SELL [ALL OF IT] IN MY LIFETIME TO COLLECTORS… NOBODY KNOWS MUCH ABOUT [SUNBURST] AND IF I BRING IT MORE TO THE ATTENTION, MORE PEOPLE WOULD BE INTERESTED IN IT. IT’S ONE OF THE LAST POTTERIES THAT WAS IN ALBERTA… THE STUFF IS ORIGINALLY FROM LETHBRIDGE.” ON THE CERAMICS BEING UNGLAZED, MYCHAJLUK STATES: “I THINK THAT’S WHEN [SUNBURST WAS] GOING OUT OF BUSINESS. THEY JUST PACKAGED WHAT WAS LEFT AND SOLD IT OFF OR EVEN AFTER IT COULD BE A DISPERSAL… I’M ASSUMING [TROPICAL GARDENS] BOUGHT IT TO SELL DRY FLORAL ARRANGEMENTS… THE ONLY THOUGHTS WAS HE COULDN’T USE IT FOR LIVE [FLOWERS] WITH WATER BECAUSE IT WOULD COME APART.” ACCORDING TO MYCHAJLUK, WHO IS INTERESTED IN ALBERTA POTTERY, IT IS NOT USUAL TO FIND A LARGE QUANTITY OF UNGLAZED CERAMICS LIKE WHAT HE FOUND AT TROPICAL GARDENS. WHILE MYCHAJLUK WAS BORN IN LETHBRIDGE, HE DID NOT SPEND MUCH TIME LIVING HERE. SUNBURST CERAMICS WAS ESTABLISHED IN 1961 BY RALPH THRALL SR. AND JR. WHEN THEY BOUGHT OUT NEW MEDALTA CERAMICS FROM MALCOM MCARTHUR IN MEDICINE HAT. AFTER OPERATING WITH THOSE KILNS FOR THE COMPANY’S FIRST YEARS, A NECESSITY TO UPGRADE INFLUENCED THE COMPANY TO MOVE THEIR OPERATION TO LETHBRIDGE, WHERE THEY OPENED A PLANT ON 3RD AVENUE NORTH IN 1965. DURING THEIR EXISTENCE, THE PLANT PRODUCED 200 TYPES OF PRODUCTS. IN THE EARLY 1970S, THEY EXPANDED THEIR OPERATION TO PRODUCE GIFTWARE IN ADDITION TO WHAT THEY WERE PRODUCING IN THE MEDALTA STYLE. THE COMPANY DEVELOPED A REPUTATION AS LEADERS IN THE ALBERTAN CERAMIC INDUSTRY, BRINGING IN THE NEWEST TECHNOLOGIES AND EQUIPMENT FROM GERMANY WITH PROVINCIAL SUPPORT. THIS ALLOWED THEM TO ADD DINNERWARE TO THEIR PRODUCTION LINE. SUNBURST CERAMICS CLOSED ITS DOORS IN 1975. THE THRALL FAMILY BOUGHT THE MCINTYRE RANCH FOLLOWING THE DEATH OF BILLY MCINTYRE IN 1947. THE FAMILY CONTINUES TO OPERATE IT AT THE TIME OF DONATION. PLEASE SEE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPT AND LETHBRIDGE HERALD ARTICLES REGARDING SUNBURST CERAMICS. SEE ALSO FILES FOR ARTIFACTS P19960004001, P19980077001, AND P200000056000 FOR MORE INFORMATION ABOUT SUNBURST CERAMICS.
Catalogue Number
P20160001000
Acquisition Date
2016-01
Collection
Museum
Images
Less detail
Other Name
WHAT THE FRACK HAPPENED?
Material Type
Artifact
Materials
COTTON, POLYESTER, PLASTIC
Catalogue Number
P20160014000
  2 images  
Material Type
Artifact
Other Name
WHAT THE FRACK HAPPENED?
Date
2014
Materials
COTTON, POLYESTER, PLASTIC
No. Pieces
3
Length
77.7
Width
86.8
Description
.1: VEST. PATCHWORK OF VARIETY OF MATERIALS AND TEXTURES. CLOSES AT FRONT WITH A LARGE BLUE, CIRCULAR, CONVEX BUTTON, WITH THREE SMALL STONES IN THE CENTRE OF THE BUTTON. A PIECE OF VELVET TRIM LOOPS AROUND THE BUTTON TO CLOSE. A WHITE PAPER TAG (P20160014000.2) HANGS FROM THIS BUTTON. FRONT DEPICTS A NATURE SCENE. ALONG TOP OF VEST, FABRIC IS PINK AND PURPLE, POSSIBLY DEPICTING A SUNRISE OR SUNSET. ON WEARER’S LEFT THERE IS A NATURE SCENE OF A PINE TREE AND ROCKS, WHICH HAS BEEN APPLIQUED AND EMBROIDERED ONTO VEST. LIGHT BROWN YARN DEPICTS THE TREE’S ROOTS, WHICH GO DOWN FROM THE TREE INTO A GREEN SECTION ON THE VEST. THERE ARE SEVERAL BUTTONS AND SMALL ROCKS OF VARIOUS COLOURS SEWN ONTO THIS GREEN SECTION. BELOW THIS IS A BLUE STRIPE, THEN A SECTION OF MULTIPLE SHADES OF BROWN, INCLUDING ONE SECTION THAT IS VERY TEXTURED AND IS LIKELY PAINTED/DYED TYVEK. THE WEARER’S LEFT SIDE DEPICTS A FARMING SCENE WITH MOUNTAINS IN THE BACKGROUND. BELOW THAT IS A CONTINUATION OF THE BLUE STRIPE FROM THE RIGHT SIDE. THEN THERE IS A SECTION OF MULTIPLE SHADES OF BROWN AND PURPLE. THERE IS ALSO ANOTHER SECTION OF PAINTED/DYED TYVEK ON THIS SIDE, WHICH IS PURPLE IN COLOUR AND THERE ARE SEQUINS, BUTTONS, AND SMALL ROCKS SEWN INTO AND ONTO THIS PURPLE SECTION. BACK OF VEST DEPICTS CONSEQUENCES OF FRACKING. TOP OF VEST ON BACK IS A SHADE OF PURPLE/PINK, WITH BLACK NETTING OVER IT. THERE ARE TWO BRIDGE TRUSSES ON THE WEARER’S RIGHT SIDE AND TWO GAS RIGS ON THE WEARER’S LEFT SIDE. BELOW THIS IS A STRIPE OF GOLD RIBBON, WITH 5 GOLD COLOURED KEYS AND FIVE SQUARE WOODEN BUTTONS ATTACHED HORIZONTALLY ACROSS THE VEST. BELOW GOLD STRIPE IS A PATCHWORK OF A VARIETY OF MATERIALS AND TEXTURES AND COLOURS INCLUDE VARIOUS SHADES OF PURPLE, GREEN, BLUE, RED, PINK, YELLOW, AND BROWN. MOST OF THE DIFFERENT PIECES OF MATERIAL ARE BORDERED WITH A RED FRINGE TRIM. ON WEARER’S LEFT SIDE, BELOW ARM HOLE, IS A SMALL SECTION OF BLUE FABRIC WITH THREE SMALL SEA SHELLS SEWN ON. BOTTOM RIGHT HAND CORNER OF THE BACK OF VEST HAS A MEDIUM SIZED WHITE AND RED BUTTON (P20160014000.3). INSIDE OF VEST LINED WITH BLACK NETTING ON THE FRONT AND WITH GOLD, BLACK, AND RED NETTING ON THE BACK. .2: TAG. WHITE, HEAVY PAPER. HANDWRITTEN IN BLUE INK “CREATED BY CHERYL ATKINSON, BEV HALL, FRANCES SCHULTZ.” REVERSE HAS HANDWRITTEN IN BLUE INK “ART VEST. $200.XX” WITH 26-14 TYPED IN BLACK INK. 3.8CM LONG X 6.5CM WIDE .3: BUTTON: ROUND BUTTON, WHITE BACKGROUND. DEPICTS A GAS RIG WITH A RED DIAGONAL LINE ACROSS THE RIG. TEXT OF BUTTON READS: “WWW.NODRILLINGLETHBRIDGE.CA”. 6.5CM DIAMETER
Subjects
CLOTHING-OUTERWEAR
Historical Association
DECORATIVE ARTS
History
THE FOLLOWING INFORMATION COMES FROM AN INTERVIEW WITH THE DONOR, CHERYL ATKINSON, CONDUCTED BY KEVIN MACLEAN IN MAY 2016. THIS VEST WAS CREATED AS PART OF AN ART GARMENT CHALLENGE PUT FORWARD BY THE TEXTILE SURFACE DESIGN GUILD. CHERYL WAS BOTH A PARTICIPANT AND AN ORGANIZER OF THIS ART CHALLENGE. CHERYL INDICATED THAT “PART OF THE CHALLENGE WAS TO WORK WITH OTHER MEMBERS OF THE GROUP WHO, MAYBE YOU HADN’T SPENT TIME TRYING TO WORK COLLABORATIVELY WITH.” IN JANUARY 2014 THE GUILD GOT TOGETHER TO DETERMINE THE WORKING GROUPS AND THE THEMES THAT WOULD BE WORKED ON, BASED ON “WHAT THEIR INTERESTS WERE IN LIFE. SO, SOME PEOPLE CHOSE GARDENING, ANOTHER GROUP DID ART, LIKE PURE ART, AND OUR GROUP CHOSE THE ENVIRONMENT. AND, AT THE TIME, THE ENVIRONMENT IN LETHBRIDGE WAS UNDER THREAT, IN QUESTION BECAUSE THERE WAS A COMPANY THAT WAS PLANNING TO DO DIRECTIONAL DRILLING, FRACKING, IN WEST LETHBRIDGE, AND ONE OF THE MEMBERS WHO JOINED OUR GROUP WAS PARTICULARLY CONCERNED ABOUT IT, SO WE THOUGHT THAT WOULD BE A GOOD SOURCE OF INSPIRATION FOR OUR ART GARMENT.” PART OF THE REASON THE GUILD WANTED TO DO A COLLABORATIVE PROJECT LIKE THIS IS BECAUSE THE GROUP HAD GROWN CONSIDERABLY IN SIZE: “OUR GROUP HAS EXPANDED A LOT. IN THE LAST NUMBER OF YEARS WE WENT FROM A GROUP OF ABOUT FIFTEEN PEOPLE TO A GROUP OF ABOUT FORTY PEOPLE, SO IT’S HARD TO GET TO KNOW FORTY PEOPLE INTIMATELY, SO WE WERE TRYING TO FIND A WAY TO CONNECT WITH EACH OTHER, LEARN MORE ABOUT OUR INTERESTS. AND SO, WE JUST, LIKE, HAD A CONVERSATION AND PEOPLE WERE TALKING ABOUT THINGS THEY WERE INTERESTED IN, AND THEN WE STARTED, I THINK WE PASSED AROUND A LIST OF, JUST LIKE A SHEET THAT PEOPLE WOULD WRITE DOWN KIND OF TOPICS OF THEIR INTEREST, AND THEN WE JUST STARTED MATCHING THEM UP, AND THEN WE PUT, WE DIDN’T WANT TO HAVE LIKE TEN PEOPLE ON ONE PROJECT AND ONE ON ANOTHER, SO WE TRIED TO SORT OF SPLIT THEM UP IF PEOPLE PUT DOWN MORE THAN ONE AREA OF INTEREST. SO, ENVIRONMENT JUST TURNED OUT TO BE FRANCES [SCHULTZ], BEV [HALL] AND I SO.” CHERYL INDICATED THAT THE ENVIRONMENT WAS ESPECIALLY IMPORTANT TO GROUP MEMBER BEV HALL: “I THINK THAT THE ISSUE ABOUT THE FRACKING CAME UP AS WE DISCUSSED, LIKE, WHAT WE WERE GOING TO DO ABOUT THE VEST … BEV FOR INSTANCE, LOVES TO HIKE IN THE MOUNTAINS AND THAT SHE FEELS CONNECTED TO THE NATURAL ENVIRONMENT IN SOUTHERN ALBERTA. AND I AM INTERESTED IN THINGS LIKE HERITAGE PLANTS AND NATIVE SPECIES AND THINGS LIKE THAT. I DON’T THINK ANY OF US HAD ANY, LIKE, WE’RE NOT TRAINED ENVIRONMENTALISTS IN ANY WAY. IT JUST SEEMED THAT THAT WAS AN AREA OF INTEREST THAT WE COULD USE AS A FOCUS FOR ART.” TO CREATE THE VEST, THE THREE WOMEN DIVIDED UP THE WORK: “WE DECIDED THAT TOGETHER WE WOULD MAKE A PATTERN AND CREATE THE SHAPE OF THE GARMENT. AND THEN, WE HAD A VERY TIGHT TIME PRESSURE, WE HAD SIX WEEKS TO FINISH IT … SO, WE DECIDED TO PARCEL IT OUT INTO PIECES. SO, FRANCES DID THE BACK, BEV DID THE SHOULDER AREA AT THE FRONT, AND I DID THE LOWER AREA AT THE FRONT. AND THEN BEV SEWED IT TOGETHER, AND THEN I EMBELLISHED IT AT THE END.” TO MAKE THE VEST, THE WOMEN USED FABRIC FROM THEIR COLLECTIONS: “WE KIND OF LOOKED AT THE MATERIALS THAT WE HAD, AND WE HAD QUITE A SELECTION! … AND TRIED TO DECIDE WHAT KINDS OF COLOURS OR TEXTURES, THINGS THAT WE COULD DRAW FROM ON OUR OWN PIECES, AND SOMETIMES WE SHARED THEM WITH THE OTHER PEOPLE THAT WERE – YOU KNOW, IF A PIECE OF MY FABRIC FIT BETTER IN BEV’S AREA, THEN I JUST GAVE HER, AND SHE COULD DECIDE WHETHER SHE’D USE IT OR NOT. AND THEN WE EACH TOOK OUR BITS HOME. BEV DID HER PART FIRST, AND THEN I ADDED MINE TO IT, SO SHE STARTED ON THE FRONT AND THEN I ADDED LATER, AND FRANCES DID THE BACK INDEPENDENTLY OF EACH OTHER. SO WE REALLY DIDN’T KNOW WHAT THE WHOLE PIECE WAS GOING TO LOOK LIKE UNTIL IT CAME TOGETHER AS ONE. AND THEN, ONCE THE PIECE WAS TOGETHER, IT WAS MEANT TO BE SHOWED AT THE TEXTILE GUILD MEETING IN MARCH, AND WE HAD A LITTLE FASHION SHOW, AND WE SHOWED IT OFF, AND RESULTING FROM THE PIECES THAT CAME TOGETHER AT THAT TIME, WE HAD A, WE WERE INVITED TO SHOW THE ARTWORK IN THE DISPLAY CASES AT CASA FOR SIX WEEKS.” CHERYL DESCRIBES THE PIECE: “SO THE IMAGERY IN THE PIECE, AT THE FRONT, WE HAVE THE NATURAL ENVIRONMENT OF SOUTHERN ALBERTA REPRESENTED ON THE TOP, THE SHOULDER AREAS. SO, THE MOUNTAINS, THE COULEES, THE TREES, THE VALLEY, THE WATER. AND THEN IT GOES DOWN TO THE LOWER, WHAT WE WOULD IMAGINE THE UNDERGROUND LAYERS LOOK LIKE IN THE EARTH, THE GEOLOGY, THE WATER TRAVELLING UNDERGROUND, THE ROCKS THE SOIL, THINGS LIKE THAT. AND THEN ON THE BACK SIDE OF THE VEST, WE SEE ALL OF THAT DISRUPTED DURING THE FRACKING PROCESS. WE SEE FRACTURING HAPPENING. THE WATER AND THE EARTH ARE GETTING ALL MIXED TOGETHER AND DAMAGED AND, THE BIG EMBELLISHMENT ACROSS THE BACK, THERE IS A SERIES OF GOLD KEYS RIGHT ACROSS THE BACK OF THE VEST, AND THEY ARE, ACTUALLY, WE HAD JUST MOVED OUT OF THE BOWMAN ARTS CENTRE AT THAT PERIOD IN TIME, AND WE HAD A LOT OF STUDIO KEYS LEFT OVER THAT WE DIDN’T KNOW WHAT TO DO WITH, SO WE JUST SEWED THEM ON THERE, AND THEY REPRESENT THE DRILLING COMPANY THAT WAS PROPOSING TO DO THE FRACKING IN WEST LETHBRIDGE. SO, IT’S SUBTLE, BUT THERE IS KIND OF A MESSAGE THERE. AND THERE’S ALSO A BUTTON ON THE BACK FROM THE ANTI-FRACKING CAMPAIGN.” CHERYL WAS MADE CUSTODIAN OF THE VEST BECAUSE SHE WAS “SORT OF THE PROJECT LEADER … IT WAS ALSO MEANT TO FIT ME, SO I THINK THAT’S ALSO WHY I AM THE ONE THAT HAS CUSTODY OF IT.” SHE IS PROUD OF HOW THE GROUP COLLABORATION TURNED OUT AND FINDS IT A LITTLE DIFFICULT TO PART WITH THE VEST: “IT IS HARD TO PART WITH IT, BUT I CAN’T, I MEAN IT’S SORT OF A SNAPSHOT IN TIME. I MEAN IT WAS SOMETHING THAT WAS VERY CURRENT AND IMPORTANT, AND I THINK WE ADDED SOMETHING TO THE CONVERSATION BY HAVING THIS ON DISPLAY AT THE TIME WHERE DECISION MAKING WAS HAPPENING. BUT I DON’T REALLY KNOW, LIKE I’M NOT GOING TO WEAR IT TO CHURCH ON SUNDAY OR SOMETHING, (LAUGHS) SO, I DON’T REALLY KNOW WHAT ELSE TO DO WITH IT SO.” INCLUDED IN THE DONATION PAPER WORK IS A SMALL DESCRIPTION OF THE VEST, FROM WHEN IT WAS DISPLAYED. THE TEXT READS AS FOLLOWS: “WHAT THE FRACK HAPPENED? CHERYL ATKINSON, BEV HALL, FRANCES SCHULTZ OUR WORLD IS A FRAGILE HOME. HOW WE EXPLOIT IT CAN HAVE DRASTIC EFFECTS FAR INTO THE FUTURE. THIS GARMENT IS AN ARTISTIC RESPONSE TO THE CURRENT, MAJOR ISSUE FACING THE CITY OF LETHBRIDGE. THE FRONT DEPICTS THE NATURAL GEO-LANDSCAPE OF THE CITY – PRISTINE SCENERY ABOVE GROUND AND THE MANY DIFFERENT GEOLOGIC LAYERS UNDERGROUND. THE BACK ATTEMPTS TO DEPICT WHAT FRACKING MIGHT DO TO THESE GEOLOGIC LAYERS, AS WELL AS THE THREAT TO THE SURFACE. HOUSES AND THE UNIVERSITY SIT AMONG OIL WELLS WITH THE GOLDEN KEYS SYMBOLIC OF THE SOURCE OF THE THREAT. MANY SURFACE DESIGN TECHNIQUES HAVE BEEN USED. THESE INCLUDE INDIGO DYEING, SHIBORI DYEING AND DISCHARGING, VEGETABLE PRINTING, TYVEK PAINTING WITH HEAT MOLDING, WAX BATIK, DYE PRINTING, BEADING, EMBROIDERY, COUCHING, MARBLING, ETC.” IN THE TEXTILE SURFACE DESIGN GUILD SPRING 2014 NEWSLETTER THE EXHIBIT IS DESCRIBED: “VESTED INTERESTS IS A COLLECTION OF ART GARMENTS CREATED COLLABORATIVELY BY TSDG MEMBERS. EACH VEST LOBBIES PASSIONATELY FOR A PERSONAL INTEREST HELD BY THE CREATIVE TEAM BEHIND ITS DESIGN. ON DISPLAY IN THE 2ND FLOOR SHOWCASE AT CASA UNTIL APRIL 26.” SEE PERMANENT FILE FOR COPY OF INTERVIEW TRANSCRIPT, THE EXHIBIT DISPLAY TEXT, AND THE TEXTILE SURFACE DESIGN GUILD SPRING 2014 NEWSLETTER.
Catalogue Number
P20160014000
Acquisition Date
2016-05
Collection
Museum
Images
Less detail
Other Name
“KITCHEN BOUQUET” CONDIMENT W/ TUBE
Date Range From
1911
Date Range To
1920
Material Type
Artifact
Materials
GLASS, CARDBOARD, FOIL
Catalogue Number
P20130029002
  2 images  
Material Type
Artifact
Other Name
“KITCHEN BOUQUET” CONDIMENT W/ TUBE
Date Range From
1911
Date Range To
1920
Materials
GLASS, CARDBOARD, FOIL
No. Pieces
4
Height
7
Diameter
3
Description
.A – TUBE – TIN CYLINDRICAL TUBE, LINED WITH CARDBOARD, WITH THREADED TOP RIM AND METAL BASE. A PAPER SHIPPING LABEL IS GLUED AROUND THE OUTSIDE, WITH PRINTED TEXT READING “FROM THE PALISADE MFG. CO. – 247-249 CLINTON AVENUE – WEST HOBOKEN, N. J.” AND TYPEWRITTEN TEXT READING “MRS. C. NELSON – 643 8TH ST., S. – LETHBRIDGE, ATLA.”. A RED STAMP WITH MALE FACE IN PROFILE AND TEXT READING “U.S. POSTAGE – 2 CENTS” IS GLUED ONTO THE LABEL. INSIDE CARDBOARD OF TUBE IS WORN; LABEL IS FADED AND PEELING AT EDGES. OVERALL GOOD CONDITION. 7 X 3 X 3 .B – TUBE CAP – TIN CIRCULAR CAP WITH THREADED EDGE. STAMPED TEXT CIRCLES AROUND TOP SIDE AND READS “IMPROVED MAILING CASE CO. – NEW YORK. INSIDE OF CAP IS LINED WITH GREY FELT. SOME WEAR AND DISCOLORATION; OVERALL GOOD CONDITION. 0.75 X 3 X 3 .C – BOTTLE – CLEAR GLASS BOTTLE STOPPED WITH CORK AND FILLED WITH DARK BROWN LIQUID. RAISED TEXT ON BOTTOM READS “TOURNADES KITCHEN BOUQUET”. GLUE AND PAPER RESIDUE ON SIDE. OVERALL VERY GOOD CONDITION. 6.5 X 2.2 X 2.2 .D – BOTTLE CAP – FOIL CAP WRAPPER, PRINTED WITH BLUE TEXT ON WHITE BACKGROUND, READING “KITCHEN BOUQUET” ON TOP AND “GUARANTEED GENUINE – J. L. TOURNADE”. BOTTOM EDGE IS IRRIDESCENT PINK. OVERALL VERY GOOD CONDITION. 1.5 X 1.75 X 1.75
Subjects
FOOD PROCESSING T&E
Historical Association
DOMESTIC
History
THIS BOTTLE OF “KITCHEN BOUQUET” CONDIMENT SAUCE BELONGED TO CHRISTINE NELSON HERRIOT, THE MOTHER-IN-LAW OF THE DONOR, JIM HAWKES. THE FOLLOWING INFORMATION ABOUT HERRIOT AND HER FAMILY’S CONNECTION TO LETHBRIDGE WAS DEVELOPED WITH A GENEALOGY DOCUMENT PROVIDED BY THE DONOR AT TIME OF DONATION, ARTICLES FROM THE LETHBRIDGE HERALD, AND THE W.F. NELSON FONDS AT GLENBOW ARCHIVES. CHRISTINE NELSON WAS BORN IN 1903 IN RUTLAND, VERMONT TO WILLIAM FREDRICK NELSON AND SARAH CROMWELL BRYAN. IN 1911 WILLIAM TOOK THE POSITION OF MANAGER AT THE ALBERTA LOAN AND INVESTMENT CO., AND THE FAMILY MOVED TO LETHBRIDGE. BY 1918 THE COMPANY HAD FAILED, AND WILLIAM OPENED A REAL ESTATE OFFICE, W.F. NELSON & CO., BUT DIED SUDDENLY OF HEART FAILURE THE FOLLOWING YEAR. SUSAN AND CHRISTINE WERE MENTIONED IN THE OCTOBER 19, 1920 ISSUE OF THE LETHBRIDGE HERALD AS RELOCATING TO CALGARY, WHERE CHRISTINE WOULD MEET AND MARRY WILLIAM HAROLD HERRIOT IN 1928. THEIR DAUGHTER JOANNE LATER WED THE DONOR, JIM HAWKES. THE FOLLOWING BRIEF HISTORY OF “KITCHEN BOUQUET” WAS DEVELOPED WITH INFORMATION FOUND ON WWW.COOKSINFO.COM. KITCHEN BOUQUET WAS DEVELOPED TO BE USED AS AN INGREDIENT IN COOKING, RATHER THAN AS A TABLE CONDIMENT. IT IS PRIMARILY USED FOR ITS ABILITY TO ADD A DARK BROWN COLOUR – A “BROWNING AGENT”. THE PRODUCT WAS FIRST DEVELOPED IN THE 1880S BY JULES L. TOURNADE’S PALISADE MANUFACTURING COMPANY IN WEST HOBOKEN, NEW JERSEY. IT WAS ORIGINALLY MARKETED AS “TOURNADE’S KITCHEN BOUQUET”. IN 1923 KITCHEN BOUQUET BECAME A PART OF THE FOULDS COMPANY AS A RESULT OF A MERGER, AND SIX YEARS LATER BECAME ENCOMPASSED IN ANOTHER FOOD CONGLOMERATE, GROCERY STORE PRODUCTS INC. IN 1971 GROCERY STORE PRODUCTS INC. WAS PURCHASED BY THE CLOROX COMPANY, WHICH STILL PRODUCES AND DISTRIBUTES KITCHEN BOUQUET AT THE TIME OF THIS ARTIFACT’S ACQUISITION BY THE GALT MUSEUM. SEE PERMANENT FILE FOR HARDCOPIES OF NEWSPAPER CLIPPINGS, FAMILY HISTORY, AND ONLINE SOURCE MATERIALS.
Catalogue Number
P20130029002
Acquisition Date
2013-11
Collection
Museum
Images
Less detail
Other Name
LIBRARY CARD CATALOGUE
Date Range From
1965
Date Range To
2010
Material Type
Artifact
Materials
WOOD, PAPER, METAL
Catalogue Number
P20140025001
  2 images  
Material Type
Artifact
Other Name
LIBRARY CARD CATALOGUE
Date Range From
1965
Date Range To
2010
Materials
WOOD, PAPER, METAL
No. Pieces
31
Height
100.75
Length
103.25
Width
46
Description
.1 – WOOD CABINET CONTAINING 30 DRAWERS IN SIX ROWS (.2 - .31). CABINET’S FOUR LEGS AND EDGES ARE SQUARED, WITH THREE METAL ANGLED BRACKETS AND TWO WOODEN CORNER BRACES ATTACHING THE CABINET BODY TO THE LEGS. WOOD IS STAINED BLONDE. STAMPED TEXT IN BLUE INK ON UNDERSIDE OF CABINET READS "MADE IN CANADA". GENERAL WEAR AND SCUFFS OVERALL, ESPECIALLY ALONG TOP FRONT EDGE AND BOTTOM FRONT SKIRTING PANEL. DRIPS OF WHITE PAINT ON EDGES OF BOTH FRONT LEGS AND CABINET BACK EDGES. OVERALL GOOD CONDITION. 100.75 X 46 X 103.25 ALL DRAWERS (.2 - .31) ARE WOOD WITH BRASS LABELPLATES AND MEASURE 9.75 X 14.5 X 41. .2 – FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “LYRICS INDEX”. DRAWER ROD IS IN PLACE; METAL FILING CLIP INSIDE DRAWER AT BACK. .3 – FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “LYRICS INDEX”. DRAWER ROD IS IN PLACE; METAL FILING CLIP INSIDE DRAWER AT BACK. .4 – EMPTY EXCEPT FOR METAL FILING CLIP INSIDE DRAWER AT BACK. NO LABEL OR DRAWER ROD. .5 – HALF FULL OF LOOSE CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. NO LABEL OR DRAWER ROD; METAL FILING CLIP INSIDE DRAWER AT BACK. .6 - EMPTY EXCEPT FOR METAL FILING CLIP INSIDE DRAWER AT BACK. NO LABEL OR DRAWER ROD. .7 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “LYRICS INDEX”. NO DRAWER ROD; METAL FILING CLIP INSIDE DRAWER AT BACK. .8 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “LYRICS INDEX”. DRAWER ROD IS IN PLACE; METAL FILING CLIP INSIDE DRAWER AT BACK. DRAWER ROD BRACKET IS MISSING ONE SCREW AND HANGS LOOSE. .9 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “LYRICS INDEX”. NO DRAWER ROD; METAL FILING CLIP INSIDE DRAWER AT BACK. .10 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “LYRICS INDEX”. NO DRAWER ROD; METAL FILING CLIP INSIDE DRAWER AT BACK. .11 - EMPTY EXCEPT FOR METAL FILING CLIP INSIDE DRAWER AT BACK. NO LABEL; DRAWER ROD IN PLACE. .12 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL IS FADED AND ILLEGIBLE. DRAWER ROD IS IN PLACE; METAL FILING CLIP INSIDE DRAWER AT BACK. .13 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “L.H. NEWS 1989”. DRAWER ROD IS IN PLACE; METAL FILING CLIP INSIDE DRAWER AT BACK. .14 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “L.H. NEWS 1989”. DRAWER ROD IS IN PLACE; METAL FILING CLIP INSIDE DRAWER AT BACK. .15 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “L.H. NEWS 1989”. NO DRAWER ROD; METAL FILING CLIP INSIDE DRAWER AT BACK. .16 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “L.H. NEWS 1989”. NO DRAWER ROD; METAL FILING CLIP INSIDE DRAWER AT BACK. .17 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “L.H. NEWS 1990”. NO DRAWER ROD; METAL FILING CLIP INSIDE DRAWER AT BACK. .18 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “L.H. NEWS 1989”. DRAWER ROD IS IN PLACE; METAL FILING CLIP INSIDE DRAWER AT BACK. .19 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “L.H. BIOGRAPHY 1989 A-J”. DRAWER ROD IS IN PLACE; METAL FILING CLIP INSIDE DRAWER AT BACK. .20 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “L.H. BIOGRAPHY 1989 J-S”. DRAWER ROD IS IN PLACE; METAL FILING CLIP INSIDE DRAWER AT BACK. .21 – HALF FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “L.H. BIOGRAPHY 1989 S-Z”. DRAWER ROD IS IN PLACE; METAL FILING CLIP INSIDE DRAWER AT BACK. .22 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “L.H. BIOGRAPHY 1990 A-K DONE”. DRAWER ROD IS IN PLACE; METAL FILING CLIP INSIDE DRAWER AT BACK. .23 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. NO LABEL. DRAWER ROD IS IN PLACE; METAL FILING CLIP INSIDE DRAWER AT BACK. .24 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “L.H. AUTHORITY”. DRAWER ROD IS IN PLACE; METAL FILING CLIP INSIDE DRAWER AT BACK. .25 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “L.H. AUTHORITY”. DRAWER ROD IS IN PLACE; METAL FILING CLIP INSIDE DRAWER AT BACK. .26 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL IS FADED AND ILLEGIBLE. DRAWER ROD IS IN PLACE; METAL FILING CLIP INSIDE DRAWER AT BACK. .27 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL IS FADED AND ILLEGIBLE. DRAWER ROD IS IN PLACE; METAL FILING CLIP INSIDE DRAWER AT BACK. .28 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL IS FADED AND ILLEGIBLE. DRAWER ROD IS IN PLACE; METAL FILING CLIP INSIDE DRAWER AT BACK. .29 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “CDN… PLAY ANALYTICS”. DRAWER ROD IS IN PLACE; METAL FILING CLIP INSIDE DRAWER AT BACK. .30 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “PLAY ANALYTICS”. DRAWER ROD IS IN PLACE; METAL FILING CLIP INSIDE DRAWER AT BACK. .31 - FULL OF CATALOGUE CARDS WITH TYPED AND HANDWRITTEN NOTES ON BOTH SIDES. HANDWRITTEN DRAWER LABEL READS “PLAY ANALYTICS”. DRAWER ROD IS IN PLACE; METAL FILING CLIP INSIDE DRAWER AT BACK.
Subjects
FURNITURE
DATA PROCESSING T&E
Historical Association
EDUCATION
FURNISHINGS
History
THIS CARD CATALOGUE WAS PRODUCED AND USED BY STAFF AT THE LETHBRIDGE PUBLIC LIBRARY. ON MAY 1, 2015 COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LINDA MCELRAVY, WHO WORKED AT THE LIBRARY’S MAIN BRANCH STARTING IN 1978, RETIRING FROM HER POSITION AS ASSOCIATE DIRECTOR OF PUBLIC SERVICES IN 2008. MCELRAVY EXPLAINED THE CATALOGUING PROCESS AND SUGGESTED THAT IT MAY HAVE BEEN HOUSED IN THE LIBRARY’S SENATOR BUCHANAN ROOM (A REFERENCE RESOURCE OF LOCAL HISTORIES AND GENEALOGIES) AT ONE TIME. MCELRAVY SAID: “WE USED [CARD CATALOGUES] PRIOR TO AUTOMATING OUR CATALOGUE WHICH WOULD HAVE BEEN IN THE EARLY ‘80S… THERE ARE AT LEAST THREE INDEXES [INSIDE THIS SPECIFIC CATALOGUE]… WE USED TO CREATE CARD INDEXES FOR COLLECTIONS AND THINGS THAT YOU COULDN’T FIND… THROUGH NORMAL CATALOGUING PROCESSES. SO, THE FIRST ONE IS… THE SONG INDEX AND THAT WAS MADE UP OF ANALYTICS OF SHEET MUSIC MAGAZINE AND COLLECTIONS AND SONGS – ALL MUSIC AS OPPOSED TO JUST THE LYRICS. SO WE WOULD TAKE COLLECTIONS OF SONGS IN OUR LIBRARY COLLECTION, WE DIDN’T USE ANYTHING THAT WAS NOT AVAILABLE AT THE LETHBRIDGE PUBLIC LIBRARY – SO IT WASN’T A GENERAL THING IT WAS SPECIFIC, A SPECIFIC TOOL TO OUR COLLECTION… IF SOMEONE WANTED A PARTICULAR PIECE OF MUSIC… WE WOULD BE ABLE TO FIND THAT HERE RATHER THAN PEOPLE STANDING AT THE SHELF, LEAFING THROUGH ALL OF THAT… [AT] THE OTHER END OF THE BANK OF CARDS IS THE PLAY INDEX AND THAT’S THE SAME IDEA – THERE WOULD BE ‘AUTHOR’, ‘PLAYWRIGHT’ AND ‘TITLE’ CARDS PUT IN FOR EACH OF THE PLAYS IN COLLECTIONS THAT WE HAD AT LPL. AND THE MIDDLE ONE WAS THE INDEX TO THE LETHBRIDGE HERALD – I THINK SOME OF IT GOES BACK TO ’99 AND BEFORE AND FOR THAT ONE THE STAFF WOULD CUT OUT ARTICLES FROM THE LETHBRIDGE HERALD AND THEN THEY WOULD PUT SUBJECT HEADINGS ON THEM AND MAKE A CORRESPONDING CARD FOR THE CATALOGUE SO THAT THAT WOULD GIVE PEOPLE ACCESS TO THAT [FILE]...” MCELRAVY CONTINUED: “I THINK [THE AUTOMATION OF THE LIBRARY CATALOGUE] WAS IN THE MID ‘80S… [AFTER THAT PROCESS] I’M NOT SURE HOW OFTEN THEY USED [THE CARD CATALOGUES] ANYMORE… PERHAPS IT WAS JUST A QUESTION OF HANGING ON TO IT FOR THE SAKE OF HANGING ON TO IT.. I DON’T SUPPOSE REALLY FOR TOO LONG AFTER THAT IT WOULD [HAVE BEEN] USEFUL… [THE CARD CATALOGUE] REPRESENTS A LOT OF WORK… IT WAS EXPENSIVE TIME-WISE, IT WAS EXPENSIVE MATERIALS-WISE AND IT WAS EXPENSIVE SPACE-WISE… EVEN WITH THE DIGITIZED, AUTOMATED CATALOGUE, THOSE GENERIC ENTRIES DIDN’T NECESSARILY HAVE ANALYTICS… SO THAT’S WHY WE CONTINUED WITH THIS FOR A WHILE AND THEN EVENTUALLY IT JUST SEEMED TO BE NOT WORTH THE EFFORT TO DO IT… IT JUST SEEMED SAD TO ME THAT IT WAS ALMOST LIKE IT WASN’T RECOGNIZED BECAUSE IT WAS TOO OLD – IT HAD HAD ITS DAY BUT THERE’S NO PURPOSE FOR IT ANYMORE… I THINK THAT THIS CERTAINLY SERVED ITS PURPOSE FOR ITS TIME AND IT’S PART OF THE CONTEXT OF THE PERIOD… I OFTEN THINK TODAY WITH INTERNET AND WITH ALL THE ONLINE ACCESS THAT PEOPLE HAVE TO INFORMATION… WHEN YOU HAVE A QUESTION WHAT DO PEOPLE DO NOW? THEY PULL OUT THEIR PHONE, AND THEY GOOGLE, AND THEY GET THE ANSWER. WHEREAS, BEFORE ANY OF THIS HAPPENED THAT WAS WHAT THE LIBRARY DID, THAT WAS THE ROLE OF THE REFERENCE DEPARTMENT. THE LIBRARY IS THERE NOT JUST TO PROVIDE RECREATIONAL READING BUT TO PROVIDE INFORMATION. I’M NOT SAYING THEY’RE NOT DOING THAT ANYMORE, THEY ARE, IN A VERY MUCH MORE SOPHISTICATED WAY BUT THIS WAS ONE OF THE WAYS THAT WE HANDLED THE NEED TO PROVIDE INFORMATION TO PEOPLE.” THE FOLLOWING BRIEF HISTORY OF THE LETHBRIDGE PUBLIC LIBRARY WAS DEVELOPED WITH INFORMATION FROM THE LIBRARY’S WEBSITE. IN 1911 A CITY BYLAW WAS PASSED FOR THE PROVISION OF A LOCAL LIBRARY TO BE ESTABLISHED, AND EIGHT YEARS LATER LETHBRIDGE’S FIRST LIBRARY SERVICE WAS OPERATED OUT OF TWO ROOMS IN THE YMCA BUILDING. IN 1922, THE CARNEGIE LIBRARY BUILDING IN GALT GARDENS OPENED, WITH AN EXTENSION ADDED IN 1951. IN 1956 A NORTH BRANCH WAS OPENED, AND A SOUTH BRANCH FOLLOWED IN 1974. THE LETHBRIDGE PUBLIC LIBRARY MAIN BRANCH ON STAFFORD DRIVE SOUTH WAS COMPLETED IN 1974, WITH AN EXTENSION AND THE ESTABLISHMENT OF THE CHINOOK ARCH REGIONAL LIBRARY SYSTEM IN 1992. IN 1989 THE LIBRARY ADOPTED THE DYNIX AUTOMATED CATALOGUE SYSTEM, AND IN 1997 INTRODUCED PUBLIC INTERNET ACCESS COMPUTERS. IN 2010, THE CROSSINGS BRANCH OPENED IN WEST LETHBRIDGE. SEE PERMANENT FILE FOR HARDCOPIES OF FULL INTERVIEW TRANSCRIPT AND ONLINE SOURCE MATERIAL.
Catalogue Number
P20140025001
Acquisition Date
2014-07
Collection
Museum
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