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Other Name
"TREES"
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
WOOD, PAINT, CARDBOARD
Catalogue Number
P20190006001
  2 images  
Material Type
Artifact
Other Name
"TREES"
Date Range From
1990
Date Range To
2000
Materials
WOOD, PAINT, CARDBOARD
No. Pieces
1
Length
38.2
Width
48.4
Description
OIL ON WOOD PANEL PAINTING IN BROWN WOODEN FRAME. PAINTING DEPICTS TWO CLUSTERS OF TREES WITH GREEN AND YELLOW-ORANGE LEAVES, WITH A BROWN FOREGROUND AND BLUE BACKGROUND. BACKGROUND HAS TWO TONES OF BLUE DEPICTING HILLS AND SKY. FOREGROUND HAS RED AND GOLD TONES. BRUSH STROKES ARE DISTINCT SHOWING GRASS IN FOREROUND; PAINTING HAS PAINT APPLIED HEAVILY TO YELLOW-ORANGE TREE LEAVES. PAINTING IS SIGNED IN BLUE IN FRONT LOWER RIGHT CORNER OF CANVAS “M. PISKO”. FRAME AROUND CANVAS IS BROWN WITH DOUBLE-CIRCLES ENGRAVED BETWEEN DOUBLE LINES ALONG TRIM; FRAME HAS FOUR SCREWS LOCATED AT UPPER AND LOWER LEFT AND RIGHT CORNERS. BACK OF FRAME HAS CARDBOARD BACKING SECURED TO WOODEN FRAME WITH SILVER TAPE. CARDBOARD BACKING HAS WHITE LABEL ON LEFT SIDE WITH HANDWRITTEN TEXT IN BLACK INK “MIKE PISKO, 1998 $100.00”; CARDBOARD BACKING HAS HANDWRITTEN TEXT IN PENCIL IN UPPER LEFT CORNER “TRUCK [UNDERLINED], 01 0066”. FRONT OF CANVAS HAS YELLOW DISCOLORATION AND STAINING IN UPPER LEFT AND RIGHT CORNERS. FRONT OF FRAME HAS MINOR CHIPPING AND DENTS ALONG OUTER EDGES. CARDBOARD BACKING HAS BROWN AND BLUE STAINING; BACK OF FRAME HAS WHITE STAINING ALONG LOWER LEFT EDGE, AND BLUE STAINING AT UPPER LEFT EDGE; UPPER RIGHT EDGE OF FRAME IS SPLITTING ALONG SEAM. OVERALL VERY GOOD CONDITION.
Subjects
ART
Historical Association
FINE ARTS
History
ON MARCH 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DON FLAIG REGARDING HIS DONATION OF ARTWORKS. THE ARTWORKS WERE COLLECTED BY FLAIG’S PARENTS, HELEN AND LLOYD FLAIG. ON THE PAINTING BY MIKE PISKO, FLAIG RECALLED, “I HAVE NO MEMORY OF [KNOWING PISKO OR OTHER SKETCH CLUB MEMBERS]. OCCASIONALLY [MY PARENTS] WOULD MENTION THEIR NAMES, AS YOU MIGHT SPEAK OF FRIENDS. I KNOW THEY WOULD GO OUT, AND DO THE ART ELSEWHERE, OR SOME AT HOME. IT JUST SEEMED NATURAL THAT THEY WOULD DEAL WITH THEIR ARTIST FRIENDS…THAT WOULD HAVE BEEN WHEN I WAS VERY YOUNG.” FLAIG ELABORATED ON HIS PARENTS’ AVID INTEREST IN LOCAL ART, NOTING, “MOM AND DAD ALWAYS HAD ART IN THE HOUSE. THEY WERE ALWAYS DOING ART. I REMEMBER DAD DOING LARGE PLASTER SCULPTURES, IN THE BASEMENT, IN THE CITY, AND MOM WAS ALWAYS PAINTING AND THROWING POTS, AND DOING SOMETHING FUNNY OUT IN THE BACK YARD, ART-WISE. GROWING UP, I ASSUMED EVERYBODY HAD ART IN THE HOUSE, BUT I’VE REALIZED THAT’S NOT THE CASE. NOT EVERYBODY LIKES HAVING ART AROUND, ALTHOUGH [THERE IS EFFORT IN] FINDING ART THAT YOU LIKE, AND ACQUIRING IT, OR CREATING IT, AND KEEPING IT. THERE WAS ALWAYS SOMETHING DIFFERENT HANGING ON THE WALLS IN THE HOUSE. [MOM AND DAD] WERE ALWAYS MOVING IT AROUND. THESE THREE PAINTINGS [BY MIKE PISKO AND ERNEST RIETHMAN], I’M AWARE THAT THESE PEOPLE WERE FRIENDS OF MOM AND DAD. THEY WERE …ARTISTS. I DON’T KNOW MUCH ABOUT THEM OTHER THAN THAT THEY WOULD OFTEN GO OUT TO SKETCH, AND PAINT, AND THEIR NAMES ARE FAMILIAR TO ME. [THE ARTWORKS] MEANT SOMETHING TO [MY PARENTS], WHETHER THEY BOUGHT THEM OR THEY WERE JUST GIFTS FROM OTHER ARTISTS, I’LL NEVER KNOW, BUT THERE HAS OBVIOUSLY BEEN A LOT OF CARE AND EFFORT PUT INTO THE WORKS BY THE ARTISTS. I HAVE A LARGE NUMBER OF MY MOTHER’S PAINTINGS, BUT THERE ARE LOTS OF THOSE AROUND THE CITY, AND HER WORK IS WELL PRESERVED. THESE ONES…I KNOW THEY ARE LOCAL ARTISTS SOMEWHERE NOW.” FLAIG RECALLED HIS PARENTS AND THEIR HOME IN LETHBRIDGE, “I GREW UP IN TOWN, ON HENDERSON LAKE BOULEVARD. [MY PARENTS] MOVED OUT IN THE EARLY 1970S TO BROXBURN ROAD. SOME OF [THE PAINTINGS] I’D HAVE SEEN THERE AT HENDERSON LAKE BOULEVARD, AND THE REST WOULD HAVE BEEN ON THE FARM. THEY WOULD HAVE BEEN UP ON THE WALLS, OR DOWN IN THE BASEMENT. THINGS WERE ALWAYS MOVING AROUND, BUT THESE ARE PAINTINGS THAT ARE FAMILIAR TO ME. NOT THAT I PAID THAT MUCH ATTENTION TO THEM, BECAUSE THERE WERE ALWAYS PAINTINGS AROUND, AND I NEVER THOUGHT TO ASK.” “MIKE PISKO IS THE NAME THAT COMES [TO MIND ON ARTISTS MY MOM SPENT MORE TIME WITH]; HAS MORE PAINTINGS, MEMORY-WISE, FOR SURE. OUT ON BROXBURN ROAD, THAT’S WHEN THEY MET THE MALKAS’. MOM SPOKE FREQUENTLY OF MELISSA, AND I PROBABLY MET THEM IN PASSING, BECAUSE I WAS ON TO OTHER STUFF. BUT I THINK THAT, WHEREVER THEY WERE, THEY WOULD HAVE REACHED OUT AND GOT IN TOUCH WITH OTHER ARTISTS. PLUS, WHERE THEY WERE ON BROXBURN ROAD, IT WAS A PLACE WHERE WE COULD DO JUST ABOUT ANYTHING—BUILDING THINGS, TEARING THINGS DOWN, MAKING ART, BLOWING STUFF UP, AS KIDS DO. THERE WERE ALWAYS ANIMALS, SOME HORSES, AND ONE DISASTROUS ATTEMPT AT RAISING SHEEP BY MY FATHER. THEY WERE ALWAYS INTO SOMETHING.” ON HIS MOTIVATIONS FOR DONATING, FLAIG ELABORATED, “AS TIME GOES BY, WE FIND THE NEED TO TIDY UP AND GET READY FOR THE NEXT STAGE OF LIFE. PART OF IT IS FINDING ROOM FOR SOME OF THESE WORKS OF ART THAT HAVE BEEN IN MY HOUSE AND HAVE SURVIVED, SOMEWHAT MIRACULOUSLY, SINCE MOM AND DAD LEFT A LITTLE FAR AND I TOOK THEM OVER, AS WE WERE EMPTYING OUT THE PLACE. THEY’VE BEEN IN MY BASEMENT, UNAPPRECIATED, AND I SUPPOSE AT SOME RISK OF BEING FORGOTTEN, OR LOST, OR THROWN OUT. THEY DO HAVE SOME SENTIMENTAL VALUE FOR ME, AND I CAN APPRECIATE THE ARTWORK THAT IS IN THE PIECES, MYSELF, TO A LIMITED DEGREE.” “MOM AND DAD HAD REACHED THE END OF THE ROAD...AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THESE WORKS WERE IN THEIR PLACE, AND, AS WE CLEANED THE PLACE OUT, I TOOK THEM AND PROTECTED THEM, AND SAVED THEM FROM THE BINS…I’M PUTTING THAT AT 2011.” IN 2014, COLLECTIONS ASSISTANT JANE EDMUNDSON CONDUCTED A SURVEY OF ART OBJECTS. THE FOLLOWING BIOGRAPHICAL INFORMATION ON MICHAEL PISKO WAS FOUND IN A PRESS RELEASE ANNOUNCING THE 'MICHAEL PISKO MEMORIAL AWARD', WHICH WAS ESTABLISHED BY THE ARTIST'S WIDOW AND THE ALBERTA SOCIETY OF ARTISTS IN 2000, TO BE AWARDED TO A GRADUATING BFA DEGREE PAINTER FROM THE UNIVERSITY OF LETHBRIDGE: "MICHAEL PISKO WAS BORN IN LETHBRIDGE IN 1913. HE MADE HIS LIVING AS A SUCCESSFUL SIGN PAINTER THROUGH HIS BUSINESS, CITY SIGN COMPANY, BUT LANDSCAPE PAINTING WAS HIS LIFE'S FULFILLMENT. TO HONE HIS SKILLS, HE STUDIED THREE SUMMERS AT THE BANFF SCHOOL OF FINE ARTS AND SOUGHT INSTRUCTION FROM SENIOR VISITING ARTISTS WHO CAME TO LETHBRIDGE ON INVITATION OF THE LETHBRIDGE SKETCH CLUB, OF WHICH HE, IN 1937, WAS ONE OF THE FOUNDING MEMBERS. PISKO GREATLY ADMIRED A.Y. JACKSON, THE GROUP OF SEVEN MASTER, WITH WHOM HE HAD THE OPPORTUNITY TO SKETCH AND PAINT AROUND LETHBRIDGE WHENEVER JACKSON CAME TO TOWN TO VISIT HIS BROTHER. HE WAS ALSO DEEPLY INFLUENCED BY H.G. GLYDE, WHO TAUGHT AT THE ALBERTA COLLEGE OF ART IN CALGARY AND AT THE BANFF SCHOOL OF FINE ARTS AND WHO VISITED LETHBRIDGE TO TEACH ART CLASSES AT THE LETHBRIDGE SKETCH CLUB. IN 1947 PISKO WAS ACCEPTED FOR MEMBERSHIP IN THE ALBERTA SOCIETY OF ARTISTS. HE WAS A PROLIFIC PAINTER, WHO EXHIBITED REGULARLY WITH THE LETHBRIDGE SKETCH CLUB AND THE ALBERTA SOCIETY OF ARTISTS. HIS WORK IS REPRESENTED IN MANY PRIVATE, CORPORATE AND PUBLIC COLLECTIONS, AMONG THEM THE ALBERTA FOUNDATION FOR THE ARTS AND THE UNIVERSITY OF LETHBRIDGE. MICHAEL PISKO PASSED AWAY IN 1999." FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190006001-GA.
Catalogue Number
P20190006001
Acquisition Date
2019-03
Collection
Museum
Images
Less detail
Other Name
"UNTITLED"
Date Range From
1990
Date Range To
2000
Material Type
Artifact
Materials
PAPER, METAL, PAINT
Catalogue Number
P20190006004
  2 images  
Material Type
Artifact
Other Name
"UNTITLED"
Date Range From
1990
Date Range To
2000
Materials
PAPER, METAL, PAINT
No. Pieces
1
Length
74.8
Width
67
Description
WATERCOLOUR AND PASTEL PAINTING DEPICTING A TREE IN THE FOREGROUND IN BLACK PASTEL ON GREEN, PURPLE, PINK AND BLUE BLENDED WATERCOLOUR BACKGROUND. TREE AND GROUND OUTLINES ARE DONE IN PASTEL WITH ABSTRACT WATERCOLOUR BACKGROUNDS FOR LEAVES AND LANDSCAPE. PAINTING SIGNED IN FRONT LOWER RIGHT CORNER IN BLACK INK, "MELISSA MALKAS". PAINTING BACK IS STAINED, AND HAS INSCRIPTION IN LOWER RIGHT CORNER IN BLACK LEAD "PAINTING BY MELISSA MALKAS". PAINTING WAS DONATED IN A LAVENDER MATTE AND SILVER METAL FRAME. FRAME HAD WHITE COROPLAST BACKING WITH HANDWRITTEN TEXT IN BLUE MARKER ON LEFT SIDE "MELISSA AFTER CALGARY". MATTE CONSISTED OF A FRONT BOARD WITH THE PAINTING SECURED BY MASKING TAPE ALONG FOUR EDGES. A TREATMENT WAS CONDUCTED ON OCTOBER 24, 2019 BY CONSERVATOR JULIET GRAHAM TO REMOVE THE MASKING TAPE FROM THE BACK OF THE PAINTING, AND TO SECURE HOLLYTEX TO THE REMAINING ADHESIVE ON THE PAINTING. PAINTING HAS TWO PINHOLES AT LOWER RIGHT CORNER, AND SMALL TEARS ALONG RIGHT EDGE [REVEALED DURING TREATMENT TO REMOVE TAPE]. PAINTING HAS ADHESIVE RESIDUE ALONG FRONT EDGES FROM PREVIOUS MATTING OR FRAMING. OVERALL VERY GOOD CONDITION. FOR FURTHER CONDITION DETAILS AND THE COMPLETE TREATMENT REPORT BY CONSERVATOR JULIET GRAHAM, PLEASE SEE THE PERMANENT FILE P20190006001-GA.
Subjects
ART
Historical Association
FINE ARTS
History
ON MARCH 5, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED DON FLAIG REGARDING HIS DONATION OF ARTWORKS. THE ARTWORKS WERE COLLECTED BY FLAIG’S PARENTS, HELEN AND LLOYD FLAIG. ON THE PAINTING BY MELISSA MALKAS, FLAIG RECALLED, “MY BROTHERS AND I HAD MET [MELISSA MALKAS]. WE THOUGHT HIGHLY OF HER AS AN ARTIST, [AND] AS A PERSON. I BELIEVE SHE’S NOT AROUND IN TOWN ANY MORE, BUT SHE WAS PART OF THAT RURAL SCENE, WHERE YOU HAD A GREAT AMOUNT OF FREEDOM.” “I JUST [HAD], I BELIEVE, TWO OF MELISSA’S PIECES, THE PAINTING [WAS ONE], WHICH IS VERY BIG, BEAUTIFUL, AND PRETTY. ON THE BACK IT SAYS ‘AFTER CALGARY’. I’M NOT SURE WHAT THAT MEANS.” “[WE MET THE MALKAS’S] ONCE WE MOVED OUT TO BROXBURN. I DON’T KNOW IF THEY MOVED IN BEFOREHAND. THEY WERE [OUR] NEIGHBORS. MOM WAS RAISED ON A FARM IN SASKATCHEWAN, AND [MY PARENTS] KNEW HOW TO REACH OUT TO THE NEIGHBORS, AND MAKE FRIENDS, AND TAKE FOOD OVER AND VISIT…THEY WERE ALWAYS OUT VISITING.” “I KNOW [MY PARENTS] WOULD GO OUT, AND DO THE ART ELSEWHERE, OR SOME AT HOME. IT JUST SEEMED NATURAL THAT THEY WOULD DEAL WITH THEIR ARTIST FRIENDS…THAT WOULD HAVE BEEN WHEN I WAS VERY YOUNG.” FLAIG ELABORATED ON HIS PARENTS’ AVID INTEREST IN LOCAL ART, NOTING, “MOM AND DAD ALWAYS HAD ART IN THE HOUSE. THEY WERE ALWAYS DOING ART. I REMEMBER DAD DOING LARGE PLASTER SCULPTURES, IN THE BASEMENT, IN THE CITY, AND MOM WAS ALWAYS PAINTING AND THROWING POTS, AND DOING SOMETHING FUNNY OUT IN THE BACK YARD, ART-WISE. GROWING UP, I ASSUMED EVERYBODY HAD ART IN THE HOUSE, BUT I’VE REALIZED THAT’S NOT THE CASE. NOT EVERYBODY LIKES HAVING ART AROUND, ALTHOUGH [THERE IS EFFORT IN] FINDING ART THAT YOU LIKE, AND ACQUIRING IT, OR CREATING IT, AND KEEPING IT. THERE WAS ALWAYS SOMETHING DIFFERENT HANGING ON THE WALLS IN THE HOUSE. [MOM AND DAD] WERE ALWAYS MOVING IT AROUND. THESE THREE PAINTINGS [BY MIKE PISKO AND ERNEST RIETHMAN], I’M AWARE THAT THESE PEOPLE WERE FRIENDS OF MOM AND DAD. THEY WERE …ARTISTS. I DON’T KNOW MUCH ABOUT THEM OTHER THAN THAT THEY WOULD OFTEN GO OUT TO SKETCH, AND PAINT, AND THEIR NAMES ARE FAMILIAR TO ME. [THE ARTWORKS] MEANT SOMETHING TO [MY PARENTS], WHETHER THEY BOUGHT THEM OR THEY WERE JUST GIFTS FROM OTHER ARTISTS, I’LL NEVER KNOW, BUT THERE HAS OBVIOUSLY BEEN A LOT OF CARE AND EFFORT PUT INTO THE WORKS BY THE ARTISTS. I HAVE A LARGE NUMBER OF MY MOTHER’S PAINTINGS, BUT THERE ARE LOTS OF THOSE AROUND THE CITY, AND HER WORK IS WELL PRESERVED. THESE ONES…I KNOW THEY ARE LOCAL ARTISTS SOMEWHERE NOW.” FLAIG RECALLED HIS PARENTS AND THEIR HOME IN LETHBRIDGE, “I GREW UP IN TOWN, ON HENDERSON LAKE BOULEVARD. [MY PARENTS] MOVED OUT IN THE EARLY 1970S TO BROXBURN ROAD. SOME OF [THE PAINTINGS] I’D HAVE SEEN THERE AT HENDERSON LAKE BOULEVARD, AND THE REST WOULD HAVE BEEN ON THE FARM. THEY WOULD HAVE BEEN UP ON THE WALLS, OR DOWN IN THE BASEMENT. THINGS WERE ALWAYS MOVING AROUND, BUT THESE ARE PAINTINGS THAT ARE FAMILIAR TO ME. NOT THAT I PAID THAT MUCH ATTENTION TO THEM, BECAUSE THERE WERE ALWAYS PAINTINGS AROUND, AND I NEVER THOUGHT TO ASK.” “MIKE PISKO IS THE NAME THAT COMES [TO MIND ON ARTISTS MY MOM SPENT MORE TIME WITH]; HAS MORE PAINTINGS, MEMORY-WISE, FOR SURE. OUT ON BROXBURN ROAD, THAT’S WHEN THEY MET THE MALKAS’. MOM SPOKE FREQUENTLY OF MELISSA, AND I PROBABLY MET THEM IN PASSING, BECAUSE I WAS ON TO OTHER STUFF. BUT I THINK THAT, WHEREVER THEY WERE, THEY WOULD HAVE REACHED OUT AND GOT IN TOUCH WITH OTHER ARTISTS. PLUS, WHERE THEY WERE ON BROXBURN ROAD, IT WAS A PLACE WHERE WE COULD DO JUST ABOUT ANYTHING—BUILDING THINGS, TEARING THINGS DOWN, MAKING ART, BLOWING STUFF UP, AS KIDS DO. THERE WERE ALWAYS ANIMALS, SOME HORSES, AND ONE DISASTROUS ATTEMPT AT RAISING SHEEP BY MY FATHER. THEY WERE ALWAYS INTO SOMETHING.” ON HIS MOTIVATIONS FOR DONATING, FLAIG ELABORATED, “AS TIME GOES BY, WE FIND THE NEED TO TIDY UP AND GET READY FOR THE NEXT STAGE OF LIFE. PART OF IT IS FINDING ROOM FOR SOME OF THESE WORKS OF ART THAT HAVE BEEN IN MY HOUSE AND HAVE SURVIVED, SOMEWHAT MIRACULOUSLY, SINCE MOM AND DAD LEFT A LITTLE FAR AND I TOOK THEM OVER, AS WE WERE EMPTYING OUT THE PLACE. THEY’VE BEEN IN MY BASEMENT, UNAPPRECIATED, AND I SUPPOSE AT SOME RISK OF BEING FORGOTTEN, OR LOST, OR THROWN OUT. THEY DO HAVE SOME SENTIMENTAL VALUE FOR ME, AND I CAN APPRECIATE THE ARTWORK THAT IS IN THE PIECES, MYSELF, TO A LIMITED DEGREE.” “MOM AND DAD HAD REACHED THE END OF THE ROAD...AS BEING ABLE TO TAKE CARE OF THEIR FIVE ACRES…OUT ON BROXBURN ROAD. THESE WORKS WERE IN THEIR PLACE, AND, AS WE CLEANED THE PLACE OUT, I TOOK THEM AND PROTECTED THEM, AND SAVED THEM FROM THE BINS…I’M PUTTING THAT AT 2011.” ACCORDING TO LETHBRIDGE HERALD ARTICLES, MELISSA MALKAS WAS A SECOND GENERATION LETHBRIDGE ARTIST, THE DAUGHTER OF IRMA MALKAS (RODOWITZ) AND EGON MALKAS. MELISSA MALKAS GRADUATED FROM THE UNIVERSITY OF CALGARY IN 1986 WITH A DEGREE IN FINE ARTS, AND ALSO ATTENDED THE UNIVERSITY OF LETHBRIDGE. DURING HER CAREER, MALKAS EXHIBITED AT THE BOWMAN ARTS CENTRE WITH THE ALLIED ARTS COUNCIL OF LETHBRIDGE. MELISSA MALKAS EXHIBITED AS A SOLO ARTIST, AND WITH HER MOTHER IN 1996 AND 2003 AT THE BOWMAN ARTS CENTRE. MALKAS WAS AN INSTRUCTOR AT THE BOWMAN ARTS CENTRE FOR THE LETHBRIDGE ARTISTS CLUB IN 2005 AND 2010, TEACHING COURSES IN MIXED MEDIA WATERCOLOUR AND OILS. FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES, PLEASE SEE THE PERMANENT FILE P20190006001-GA.
Catalogue Number
P20190006004
Acquisition Date
2019-03
Collection
Museum
Images
Less detail
Date Range From
1980
Date Range To
2015
Material Type
Artifact
Materials
POLYESTER, WOOL, METAL
Catalogue Number
P20170007001
  2 images  
Material Type
Artifact
Date Range From
1980
Date Range To
2015
Materials
POLYESTER, WOOL, METAL
No. Pieces
1
Length
74
Width
50
Description
PURPLE BLAZER JACKET WITH PURPLE LINING; FRONT LAPELS OF JACKET ARE DECORATED WITH PINS. FRONT LEFT AND RIGHT POCKETS LINED WITH GREY PATTERNED FABRIC; FRONT POCKETS HAVE WHITE AND PURPLE “LETHBRIDGE, NO. 32, OORP” AND “BRANDON, NO. 138, OORP” DIAMOND BADGES SEWN ON, WITH WHITE STAG IN CENTER OF TEXT. INSIDE OF BLAZER HAS BLACK TAG WITH WHITE STITCHED TEXT AT BACK OF COLLAR, “MADE IN / FABRIQUE EN CANADA”. TWO POCKETS SEWN INTO BLAZER LINING WITH WHITE CLOTH LINING; INSIDE RIGHT-WEARING INNER POCKET IS WHITE TAG WITH BILINGUAL (FRENCH AND ENGLISH) TEXT “MADE IN CANADA, CA – 00023, 55% POLYESTER, 45% WOOL DRY CLEAN ONLY”. OUTSIDE OF RIGHT-WEARING INNER POCKET HAS TAG SEWN ON; BLACK WITH WHITE TEXT “VETEMENTS, CLOTHES” AND GOLD-STITCHED TEXT BETWEEN WHITE READING “BILTMORE” AND GOLD AND WHITE LOGO IN UPPER LEFT CORNER “LP”. TWO GOLD CHECKERED BUTTONS DOWN FRONT OF BLAZER AND TWO AT EACH CUFF. BLAZER HAS FADING ON INSIDE OF CUFFS, AND STAINING ON FRONT LEFT-WEARING SIDE; OVERALL VERY GOOD CONDITION. ON FRONT RIGHT-WEARING LAPEL, PINS INCLUDE: GOLD-FINISHED PIN WITH RED AND WHITE CANADA FLAG AND BLUE AND WHITE CROSS FLAG; GOLD-FINISHED FLYING DOVE PIN; RED AND WHITE CANADA FLAG PIN; WHITE PLASTIC NAME TAG WITH SILVER ORDER OF ROYAL PURPLE SEAL AND BLACK TEXT “LETHBRIDGE LODGE NO. 32, DOROTHY TAYLOR”; GOLD-FINISHED PIN GREY, WHITE AND PEACH IMAGE OF WOMAN AND BLACK TEXT ABOVE IMAGE “DEAF DETECTION” AND BLACK TEXT BELOW IMAGE “PHOEBE MCCULLOUGH, 1896-1971”; GOLD-FINISHED PIN OF MAPLE LEAF WITH GOLD ORDER OF ROYAL PURPLE STAG ON A PURPLE BACKGROUND SURROUNDED BY GOLD LETTERS “OORP”; GOLD-FINISHED PIN WITH BAR SHAPED LIKE BOW AND HANGING SEAL OF THE ORDER OF ROYAL PURPLE; GOLD-FINISHED PIN WITH GOLD BORDER AROUND PURPLE AND YELLOW FLOWERS ON GREEN BACKGROUND, WITH ENGRAVED TEXT ON BORDER “MANITOBA ROYAL PURPLE ASSOCIATION”. ON LEFT-WEARING LAPEL IS PURPLE RIBBON WITH GOLD-FINISHED ATTACHMENT TO JACKET AND WHITE FRINGE, ON RIBBON GOLD-FINISHED PINS INCLUDE: TWO GOLD BARS ATTACHED WITH CHAIN AND HANGING ORNATE SEAL OF THE ORDER OF ROYAL PURPLE, TEXT ON TOP BAR READS “BRANDON LODGE NO. 138”, LOWER BAR TEXT READS “1998-1999”; BAR PIN WITH PURPLE TEXT “15 YRS” AND ORDER OF ROYAL PURPLE SEAL IN CENTER; BAR PIN WITH TWO TEXT BANNERS TO THE UPPER LEFT AND LOWER RIGHT OF ORDER OF ROYAL PURPLE SEAL, UPPER BANNER READS “20” AND LOWER BANNER READS “YRS”; OVAL PIN WITH ORDER OF ROYAL PURPLE SEAL IN CENTER AND BOTTOM BANNER READING “LIFE MEMBER”; FLOWER PIN WITH ORDER OF ROYAL PURPLE SEAL IN CENTER AND SIX HANGING BARS THAT READ “25 YEARS”, “30 YEARS”, “35 YEARS”, “40 YEARS”, “45 YEARS”, “50 YEARS”.
Subjects
CLOTHING-OUTERWEAR
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. WHEN ASKED ABOUT HER MOTHER’S BLAZER, WOOD RECALLED, “[MY MOTHER WAS WEARING THIS] WITHIN THE [PAST] TWO OR THREE YEARS, AS YOU CAN SEE, SHE HAD IT ON WHEN SHE RECEIVED HER 50 YEAR PIN. I THINK SHE WENT TO ONE MORE ACTIVITY BEFORE SHE COULDN’T ANYMORE BECAUSE SHE’S BEEN WHEELCHAIR BOUND FOR 15 YEARS. IT GOT MORE AND MORE DIFFICULT FOR HER TO GET OUT.” MACLEAN ADDITIONALLY INTERVIEWED ANN MARIE MCDONALD OF THE LETHBRIDGE ORDER OF ROYAL PURPLE ON JUNE 6, 2017. ON THE BLAZER, MCDONALD ELABORATED, “WHEN I JOINED IN ’89, THEY WERE MOVING INTO THE NEW JACKETS…WE USED TO PASS DOWN JACKETS. WE USED TO HAVE A CUPBOARD. IF A LADY PASSED AWAY, YOU’D DRY-CLEAN HER JACKET, AND PUT IT INTO THE CUPBOARD…PROBABLY ABOUT 1985 THEY STARTED REPLACING THE JACKETS. I KNOW [THIS WAS DOROTHY’S JACKET] ORIGINALLY, IT HAD PIPING ON IT, AND…IT HAD BRANDON. SHE WORE THE BRANDON [BADGE] ON IT – THEN, SHE OBVIOUSLY GOT THE NEW JACKET MADE, AND THEN PUT THE [PATCH] ON HER POCKETS. IN THOSE DAYS, BEFORE I JOINED ROYAL PURPLE, YOU HAD A PATCH. YOU ALWAYS WORE THE PATCH OF YOUR LODGE ON YOUR JACKET.” “YOU WEAR WHAT ARE CALLED YOUR JEWELS ON YOUR LEFT SIDE. THIS [RIBBON WITH HER YEARS] WOULD BE A JEWEL.” “SHE WAS HONORABLE ROYAL LADY IN BRANDON, IN, POSSIBLY, 1975-76, THAT’S WHEN SHE WOULD HAVE BEEN IN.” MCDONALD ELABORATED ON THE PINS ON TAYLOR’S BLAZER, NOTING, “EACH YEAR THAT YOU STAY IN LODGE, THEY GIVE YOU A BAR. I’M THINKING MAYBE SHE DIDN’T [A BAR PIN] FROM OUR LODGE, BECAUSE SHE WAS ALREADY AN HONORED ROYAL LADY IN BRANDON. SHE JUST TOOK THE BAR, AND HAD THE BAR PUT ON HER OLD PIN – HER BRANDON PIN.” “BARS WERE [GIVEN] IF, FOR EXAMPLE, YOU WERE ON THE DRILL TEAM. YOU WOULD GET A BAR EVERY YEAR THAT YOU’RE ON THE DRILL TEAM. IF YOU WERE OUR PIANIST, YOU GOT A BAR EVERY YEAR THAT YOU STAYED AS PIANIST. SHE WAS OBVIOUSLY ON THE DRILL TEAM FOR 3 YEARS HERE. EVERY YEAR THEY GIVE YOU 1, UP TO 10. EVERY 5 YEARS YOU GOT A BAR.” “[THE CLASP PIN] IS HER 15TH YEAR BAR, SO WHEN SHE WAS IN OUR LODGE 15 YEARS…ALTHOUGH I’M NOT SURE WITH DOROTHY, IF THEY COMBINED HERS OR NOT. I KNOW THEY COMBINED HERS FOR HER 50TH. YOU WOULD WEAR IT ON [THE] RIBBON. ON THE LEFT HAND SIDE. THE LEFT SIDE IS WHAT WE CONSIDER IS OVER YOUR HEART. YOU WEAR ALL YOUR JEWELS OVER YOUR HEART.” “[THE MAPLE LEAF] IS AN INSTALLATION PIN. WHEN YOU JOIN THE LODGE, THEY GIVE YOU AN INSTALLATION PIN. THEY WANT ACKNOWLEDGE [YOUR INSTALLATION], IT’S NOT SOMETHING YOU EARN. IT’S KIND OF “WELCOME TO THE LODGE”. SHE WOULD WEAR THIS…ON HER REGALIA [LEFT] SIDE.” “NOW [THE PINS ON THE RIGHT SIDE] I DON’T KNOW WHAT [THEY ALL] ARE. DEAF DETECTION…ARE PINS, IN OUR ORGANIZATION THEY PUT OUT TONS OF PINS AND THEN SELL THEM. THERE WAS SOME FUND-RAISER FOR DEAF DETECTION, AND SHE BOUGHT A PIN.” “[THE PURPLE FLORAL PIN] IS A MANITOBA ROYAL PURPLE ASSOCIATION. SHE WOULDN’T HAVE [WORN THIS ON HER REGALIA] BECAUSE…THEY SELL THE PINS AND THEY MAKE MONEY. HER PERFECT ATTENDANCE [PIN], 5 YEARS SHE COULD WEAR ON HER REGALIA PIN. THERE IS A KEEPSAKE [PIN] THAT THEY HAD WHEN THEY HAD THEIR YEAR 2000…[YOU] BOUGHT THE PIN TO SUPPORT THE LODGE. THERE IS A BRANDON PIN. SHE WOULDN’T WEAR IT WITH HER REGALIA THOUGH…IT’S PURCHASED FOR BRANDON. [THERE IS] THE 12TH COLLECTION EDITION OF ROYAL PURPLE. THE BIRD [HAS NO SIGNIFICANCE] WITH OUR LODGE. ON DOROTHY TAYLOR’S INVOLVEMENT IN THE ORDER OF ROYAL PURPLE, MCDONALD RECALLED, “SHE WOULD HAVE BEEN IN OUR LODGE BY [1989]. SHE WAS A DUAL MEMBER OF OUR LODGE. SHE PAID HER DUES TO BRANDON, AND SHE PAID TO US FOR MANY YEARS, BECAUSE SHE LOVED BRANDON, AND HER HEART WAS IN BRANDON. SHE HAD FRIENDS, TOO, LADIES IN BRANDON THAT SHE STAYED REALLY GOOD FRIENDS WITH…WHEN SHE WAS HONORABLE ROYAL LADY, [THE BAR PIN] WASN’T THERE. [THE REST] ARE ALL FUND-RAISERS…[THERE IS ONE FOR] FUND FOR CHILDREN, WHICH WAS OUR NATIONAL CHARITY.” 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
P20170007001
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Date Range From
1980
Date Range To
2015
Material Type
Artifact
Materials
COTTON, PLASTIC
Catalogue Number
P20170007002
  2 images  
Material Type
Artifact
Date Range From
1980
Date Range To
2015
Materials
COTTON, PLASTIC
No. Pieces
1
Length
67
Width
44
Description
WHITE LINEN BLOUSE WITH SIX WHITE PLASTIC BUTTONS RUNNING DOWN FRONT, AND ONE AT EACH CUFF. BLOUSE HAS FLORAL-PATTERNED EMBROIDERED LINING OVER BUTTON HOLES DOWN FRONT, AND FLORAL-PATTERNED EMBROIDERY AT COLLAR. INSIDE COLLAR OF BLOUSE HAS WHITE TAG WITH YELLOW AND BLACK TEXT “ELITE, INTERNATIONAL, CA – 00034. INSIDE LEFT-WEARING SIDE OF BLOUSE IS WHITE TAG WITH BLACK TEXT “18” AND TWO WHITE PLASTIC BUTTONS. BLOUSE SHOWS LITTLE SIGNS OF WEAR; OVERALL EXCELLENT CONDITION.
Subjects
CLOTHING-OUTERWEAR
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. 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
P20170007002
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Date Range From
1980
Date Range To
2015
Material Type
Artifact
Materials
POLYESTER, COTTON
Catalogue Number
P20170007003
  1 image  
Material Type
Artifact
Date Range From
1980
Date Range To
2015
Materials
POLYESTER, COTTON
No. Pieces
1
Length
71.5
Width
40
Description
WHITE PLEATED SKIRT WITH ELASTIC WAIST; INSIDE BACK OF SKIRT HAS GREY TAG WITH BLACK TEXT “TRADITION, SEARS”. WHITE TAG UNDERNEATH HAS BLACK AND RED TEXT “100% POLYESTER, CA – 02945, MODELE/STYLE 207902, LOT, 2 ½, TAILLE/SIZE, 16, FABRIQUE AU/MADE IN CANADA, EXCLUSIVE OF TRIM”. FRONT OF SKIRT IS STAINED ON RIGHT-WEARING AND LEFT-WEARING SIDES; OVERALL VERY GOOD CONDITION.
Subjects
CLOTHING-OUTERWEAR
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. 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
P20170007003
Acquisition Date
2017-02
Collection
Museum
Images
Less detail
Date Range From
2000
Date Range To
2017
Material Type
Artifact
Materials
NYLON, POLYESTER, PLASTIC
Catalogue Number
P20180006004
  2 images  
Material Type
Artifact
Date Range From
2000
Date Range To
2017
Materials
NYLON, POLYESTER, PLASTIC
No. Pieces
1
Length
78
Width
62.5
Description
VEST WITH WHITE FABRIC AT SHOULDERS AND MID-WAY DOWN CHEST; FRONT LOWER HALF OF CHEST IS RED, WITH RED PLASTIC ZIPPER RUNNING DOWN FRONT. COLLAR IS WHITE WITH RED MAPLE LEAVES PATTERN. BACK OF VEST HAS LARGE RED MAPLE LEAF PRINTED. INSIDE OF VEST IS LINED WHITE; INSIDE OF COLLAR HAS FABRIC TAG MACHINE-STITCHED TO VEST LINING WITH RED, BLACK, AND WHITE LOGO “FLAG WEAR”. SMALL PAPER TAG ATTACHED BELOW IS WHITE WITH BLACK TEXT “XL/TG”. FABRIC TAG BELOW IS WHITE WITH BLACK TEXT “FLAGWORKS INC., CA 24838, CALGARY, CANADA, 1 800 661 FLAG (3524), MADE IN CANADA, 100% NYLON SHELL, 100% POLYESTER LINING, FAIT AU CANADA” WITH WASHING INSTRUCTIONS ON BACK OF TAG. FRONT OF VEST HAS POCKETS ON BOTH SIDES LINED WITH RED NYLON. BOTTOM OF JACKET HAS BLACK DRAWSTRINGS INSIDE WITH BLACK PUSH-BUTTONS ON BOTH SIDES FOR ADJUSTNG DRAWSTRINGS; DRAWSTRING BLACK ELASTIC SEWN INTO HEM OF VEST. VEST HAS MINOR FRAYING TO THREADS AT HEM; OVERALL EXCELLENT CONDITION.
Subjects
CLOTHING-OUTERWEAR
Historical Association
COMMEMORATIVE
PERSONAL CARE
History
ON MARCH 29, 2018, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED LORI HARASEM AND JENNIE SUDO REGARDING THE CITY OF LETHBRIDGE DONATION OF CANADA 150 MEMORABILIA. HARASEM AND SUDO WERE INVOLVED WITH ORGANIZING THE JULY 1, 2017 EVENTS FOR CANADA 150, WITH SUDO ACTING AS CHAIR FOR THE LETHBRIDGE CANADA DAY COMMITTEE WITH THE CITY OF LETHBRIDGE AND HARASEM AS A MEMBER OF THE COMMITTEE. ON THE VEST, HARASEM ELABORATED, “WE HAD ACTUALLY QUITE A FEW OF THESE BUT EDEN, OUR SUMMER STUDENT WHO DID THE PASSPORT, AND I PROUDLY WORE THESE AROUND CITY HALL DURING THE CANADA 150 PAVILION WEEK AND LEADING UP TO IT TO TRY TO GET SOME EXCITEMENT AROUND THE PAVILION. THEN WE WORE THEM, ALONG WITH ANY VOLUNTEERS OR STAFF WHO HELPED US, AT THE CANADA 150 PAVILION WHEN YOU FIRST WALKED IN, ‘CAUSE WE WERE A 'GREETER DESK.' TO ME, IT KIND OF GAVE THAT CANADA 150 LOOK SO PEOPLE KNEW THEY WERE WALKING INTO THE RIGHT PLACE IF THEY WERE LOOKING FOR THE PAVILION.” “THESE WERE OWNED BY CHINOOK COUNTRY TOURIST ASSOCIATION FOR MANY YEARS AND THEIR CANADA DAY COMMITTEE, WHICH WAS THE CANADA DAY COMMITTEE BEFORE IT CAME TO WHERE IT IS NOW. [THE VESTS] USED TO BE THEIR OFFICIAL CANADA DAY COMMITTEE CLOTHES AND THEY WOULD ALSO WEAR THEM TO A LOT OF TOURISM EVENTS THAT CHINOOK COUNTRY WOULD GO TO PROMOTE LETHBRIDGE AT. THEY HAD DONATED THEM TO THE CITY A NUMBER OF YEARS AGO WHEN THEY STOPPED USING THEM. WE HAD THEM AROUND FOR A WHILE. WE KEPT ONE FOR THE GALT MUSEUM COLLECTION, BUT THE REST OF THEM HAVE GONE TO IMMIGRANT SERVICES TO SEE IF ANY OF THE NEWCOMERS TO CANADA ARE REALLY PROUD AND REALLY WANT TO SHOW OFF THEIR RED AND WHITE. WE HAVE NO IDEA WHERE THEY’RE [GOING TO] SHOW UP IN THE FUTURE, BUT THIS IS THE ONE THAT I WORE FOR A COUPLE OF WEEKS IN AUGUST.” HARASEM AND SUDO RECALLED THEIR TIME PLANNING AND ORGANIZING THE 2017 EVENTS, WITH SUDO NOTING ABOUT THE PLANNING COMMITTEE, “THE LETHBRIDGE CANADA-DAY COMMITTEE IS A COMMITTEE THAT’S MADE UP OF CITY OF LETHBRIDGE EMPLOYEES IN PART WITH COMMUNITY VOLUNTEERS. MY POSITION AS THE COORDINATOR OF RECREATION AND CULTURE, I AM AUTOMATICALLY VOLUNTEERED FOR THIS COMMITTEE ALONG WITH OUR RECREATION AND CULTURE TEAM. THE CHAIRING RESPONSIBILITIES FOR THAT COMMITTEE GET ROTATED BETWEEN OUR TEAM MEMBERS EVERY TWO YEARS AND MY YEAR JUST SO HAPPENED TO FALL ON THIS VERY IMPORTANT, NOSTALGIC YEAR FOR CANADA’S 150.” “[THE COMMITTEE IS] ALWAYS IN EXISTENCE. I THINK [THERE] WAS A LOT OF PRESSURE, BUT REALLY GREAT PRESSURE. I WAS VERY PROUD TO BE ABLE TO BE PART OF THE COMMITTEE. AND BEING ABLE TO LEAD THE TEAM FOR MY VERY FIRST TURN AT CHAIRING THE COMMITTEE. I FELT A LOT OF PRIDE TO BE ABLE TO SHOW THAT OUR COMMUNITY CAN COME TOGETHER AND CELEBRATE CANADA’S 150.” “[THE] COMMITTEE [WAS] COMPRISED OF THE RECREATION AND CULTURE TEAM, WHICH WAS TWO MANAGERS, LORI HARASEM AND JASON FREUND, MYSELF AS THE CHAIR FOR [2017]. WE ALSO [HAD] MARLENE LAPOINTE, SARAH BURTON, SCOTT CARPENTER AND ONE OF OUR TEMPORARY EMPLOYEES, ERIC SHARP, [AS] PART OF THE COMMITTEE AS FAR AS THE CITY OF LETHBRIDGE SIDE GOES. WE ALSO HAD THREE PUBLIC VOLUNTEERS FROM THE COMMUNITY. WE HAD ADELLE HARRINGTON, BOBBY MCCALLUM AND DAVID FRITZ WHO ALSO PLAYED A HUGE ROLE IN HELPING COORDINATE SOME OF THE ACTIVITIES THERE.” “AS SOON AS CANADA DAY 2016 ENDED, WE WERE ALREADY THINKING ABOUT WHAT WE WERE GOING TO BRING BACK, WHAT KIND OF BUDGET WE WERE GOING TO NEED, WHAT KIND OF ACTIVITIES WE WERE GOING TO HAVE, HOW WE WERE GOING TO MAKE IT SPECIAL, AND MAKE IT STAND OUT THE NEXT YEAR…FOR THE REST OF THE CANADA DAY [EVENTS], THE ONES THAT AREN’T CANADA 150 OR STAND-OUT, WE WOULD PROBABLY ONLY START [PLANNING] ABOUT SIX MONTHS IN ADVANCE. BUT, THE PLANNING PROCESS FOR CANADA DAY, PERIOD, IS QUITE LONG AND STRENUOUS. WE HAVE TO THINK ABOUT SOME PRETTY TIGHT TIMELINES WHEN WE’RE TALKING ABOUT PLANNING AN EVENT THAT BIG. WE DEFINITELY NEEDED THE FULL YEAR TO PLAN CANADA 150.” “CURRENTLY, THE ONLY SPECIAL EVENT THAT THE CITY OF LETHBRIDGE REALLY HOSTS, AS A CORPORATION, IS THE CANADA DAY EVENT. WE RELY ON OUR COMMUNITY GROUPS TO DO MOST OF OUR OTHER SPECIAL EVENTS." ON THE EVENTS PLANNED, HARASEM RECALLED, “IN ALL HONESTY, FOR THE CANADA DAY ACTIVITIES ITSELF, THOUGH I’M ON THE COMMITTEE, I’M NOT AS INVOLVED WITH THAT AS OTHER THINGS THAT I OVERSAW THAT LASTED FROM JANUARY 1ST TO DECEMBER 31ST. SEEING JENNIE AND THE TEAM AND HOW MUCH THEY WORKED…THEY EVEN CHANGED THE LAYOUT AT HENDERSON LAKE THAT HAD BEEN THE SAME WAY FOREVER AND WE HAD TO GO TO SENIOR LEADERS OF THE CITY AND ASK FOR EXTRA MONEY BECAUSE THE BUDGET FOR CANADA DAY HASN’T CHANGED FOR TWELVE OR FIFTEEN YEARS. TO PUT ON SOMETHING THAT WE KNEW THE PUBLIC EXPECTED A LOT [FROM]…[WAS] MY BIGGEST ROLE WITH THE CANADA DAY. IT WAS A HUGE AMOUNT OF WORK AND IT WAS SO SUCCESSFUL, ESPECIALLY ON THE SOCIAL MEDIA SIDE. AT THE CITY, WE’RE USED TO SEEING A LOT OF NEGATIVE COMMENTS. OUR COMMUNICATIONS TEAM HAS SAID THAT THE MOST POSITIVE COMMENTS THEY’VE EVER HAD ON ANYTHING THAT THEY’VE EVER POSTED ON THEIR FACEBOOK WAS AFTER THE CANADA DAY. I THINK THAT THEIR TEAM, JENNIE’S TEAM, DID AMAZING AT MEETING THE EXPECTATIONS OF THE PUBLIC WHICH WERE VERY HIGH.” “I CAME IN [WITH THE COMMUNITY GROUPS ORGANIZING]. WE HAD A GRANT, ‘CANADA 150’. WE HAD EXTRA FUNDING INJECTED INTO OUR BUDGET FOR 2017 [AT] OUR REQUEST, SO THAT WE COULD HELP LOCAL GROUPS THAT WERE ALREADY DOING EVENTS TO THEME IT AROUND CANADA 150. NORMALLY, THE CITY’S RULES IS YOU CAN ONLY GET ONE GRANT FOR ANY EVENT, EVEN THOUGH THERE’S MULTIPLE GRANTS AVAILABLE. BUT, FOR CANADA 150, WE ALLOWED GROUPS TO GET THEIR NORMAL GRANT, AND WE ALLOWED THEM TO ASK FOR UP TO $750 EXTRA, AND THAT WOULD ALLOW THEM TO THEN THEME THEIR EVENT. WE DIDN’T CARE HOW THEY DID THAT. IF THEY WANTED TO USE $750 TO BUY RED AND WHITE CUPCAKES AND BALLOONS [THEY COULD]. WE HAD [AT THE] JAPANESE GARDEN A HUNDRED AND FIFTY JAPANESE DANCERS PERFORMING AND THEY BOUGHT SPECIAL RED MATCHING JACKETS WITH THE MONEY THEY GOT. IT WAS OUR WAY OF ENCOURAGING THE COMMUNITY TO CELEBRATE CANADA 150 ALL YEAR-ROUND. BECAUSE ALL WE DO IS CANADA DAY, WE HAD TO FIND A WAY TO HELP THE COMMUNITY CELEBRATE CANADA 150 AND TO PUT IT IN THE PUBLIC’S EYES ALL YEAR-ROUND IN ANY WAY WE COULD. WE HAD A LOT OF GROUPS AND A LOT OF EVENTS. THERE WAS THIRTY-EIGHT EVENTS THAT RECEIVED FUNDING OVER THE COURSE OF THE YEAR, SO THERE WAS SOMETHING EVERY MONTH OF THE YEAR.” “DURING 'PRETTY, WITTY AND GAY', WHICH IS AN EVENT THE LGBTQ COMMUNITY PUTS ON IN FEBRUARY/MARCH, THEY USED THEIR FUNDING TO [HAVE] A BIG BULLETIN BOARD WHERE PEOPLE [COULD] WRITE DOWN THEIR THOUGHTS ABOUT WHAT IT WAS LIKE TO BE GAY IN CANADA. AND TO SHARE THEIR FEELINGS ON [BEING GAY IN CANADA] TO CONNECT BECAUSE, OBVIOUSLY, WE’RE A MORE OPEN-MINDED COUNTRY AROUND THAT THAN MOST OF THE WORLD. THAT, TO ME, WAS A REALLY UNIQUE WAY TO CELEBRATE CANADA’S 150TH.” “WE ALSO HAD A SMALL THEATRE GROUP COME TOGETHER, A COLLECTIVE THAT HAD NEVER EXISTED BEFORE. THEY PUT ON A VERY CONTROVERSIAL PLAY ABOUT FORMER PRIME MINISTER STEPHEN HARPER WHICH I WENT TO SEE AND IT WAS PRETTY SMALL. IT WASN’T THIS HUGE PLAY WHICH IS DONE IN CASA IN THE BLACK BOX [THE COMMUNITY ATB ROOM] BUT IT WAS FUNNY. IT WAS VERY CONTROVERSIAL AND WE DID PUT SOME MONEY BEHIND THAT.” “[THERE WAS] UPPER VICTORIA PARK NEIGHBOURS. I HAD SO MANY NEIGHBOUR DAYS. BUT WITH NEIGHBOUR DAY BEING A VERY POPULAR EVENT IN JUNE, AND WE’VE GOT MORE NEIGHBOURHOOD ASSOCIATIONS FORMING, WE REALLY ENCOURAGED THE NEIGHBOURHOODS TO APPLY FOR THE GRANT. MOST OF THE NEIGHBOURHOOD ASSOCIATIONS, AT THIS POINT, THEIR NEIGHBOUR DAY EVENTS ARE PRETTY SMALL, UNDER A HUNDRED PEOPLE. BUT IT’S THE PERFECT PLACE TO CELEBRATE CANADA DAY AND CELEBRATE YOUR NEIGHBOURS. OF COURSE, UPPER VICTORIA PARK IS THE ‘GO BIG OR GO HOME’ NEIGHBOURHOOD ASSOCIATION FOR NEIGHBOUR DAY. IT’S EXCITING WHENEVER WE’RE ABLE TO SUPPORT THE THEME OF THE EVENT IN ANY WAY BECAUSE WE KNOW THAT PEOPLE FROM EVEN OUTSIDE LETHBRIDGE ATTEND THAT EVENT. WE’RE NOT JUST SUPPORTING THE MEMBERS OF UPPER VICTORIA PARK NEIGHBOURHOOD ASSOCIATION WHEN WE SUPPORT SOMETHING, SO IT WAS NEAT TO BE ABLE TO PUT SOME MONEY THERE.” “OF COURSE, WINTER LIGHTS FESTIVAL AT JAPANESE GARDEN IS A VERY NEW EVENT. THIS WAS ONLY ITS SECOND YEAR, EVER. THOUGH IT IS A TRADITIONAL, JAPANESE, CULTURAL WINTER EVENT, WE WERE ABLE TO GIVE THEM SOME FUNDING, TOO, BECAUSE THEY ACTUALLY [HAD] THE FIRST EVENT IN 2017 BECAUSE THEY START IN EARLY DECEMBER AND GO TILL FEBRUARY. THEY WERE THE LAST EVENT, ‘CAUSE THEY WERE ON NEW YEAR’S EVE IN 2017. THAT FESTIVAL, THE FIRST TWO YEARS OF IT, KICKED OFF THE BEGINNING OF CANADA 150 AND ENDED CANADA 150 FOR US. IT WAS NEAT TO HAVE SUCH AN IMPORTANT CULTURAL GROUP AND ATTRACTION IN LETHBRIDGE…BE THE FOCUS OF THAT. THERE WERE EVENTS OF ALL SIZES. WE EVEN HAD THE DOGS THAT [ON] THE LAST DAY OF OPERATIONS [AT WESTMINSTER POOL] IS JUST FOR DOGS. EVEN THE HUMANE SOCIETY GOT MONEY TO [HAVE] DOG CANDIES THAT WERE RED AND WHITE…DOG TREATS DECORATED WITH RED AND WHITE BALLOONS AND RIBBONS. I WENT TO IT AND IT WAS HILARIOUS. THE DOGS [TOOK] OVER THE POOL AND THEY’RE SO HAPPY, IN CELEBRATION OF CANADA’S 150TH.” “WE ALSO HAD FREE SWIMMING AND SKATING THROUGHOUT THE YEAR THAT THE CITY SPONSORED AS A CELEBRATION. THAT WAS BECAUSE WE OBVIOUSLY WANT PEOPLE TO BE ACTIVE AND WE WANT PEOPLE TO USE OUR FACILITIES, AND WE KNOW THAT COSTS CAN BE A BARRIER. EVERY MONTH WE HAD AT LEAST ONE FREE SWIMMING WHERE THE FIRST HUNDRED AND FIFTY PEOPLE WERE FREE. IN THE SUMMER THAT INCLUDED BOTH OF THE OUTDOOR POOLS, HENDERSON AND WESTMINSTER. HENDERSON WAS REALLY POPULAR ‘CAUSE IT’S ONLY SECOND YEAR OF OPERATIONS…IT’S STILL [A] VERY POPULAR PLACE TO GO. THEN, WE HAD FREE SKATING AT ALL OUR ARENAS, INCLUDING THE NEW ATB CENTRE AND WE HAD THOSE AT LEAST [ONCE] A WEEK THROUGHOUT THE WHOLE YEAR. THOUSANDS OF PEOPLE IN LETHBRIDGE GOT TO PARTICIPATE IN SWIMMING OR SKATING FOR FREE AS [PART OF THE] CELEBRATION. AT SOME OF THOSE, WE HANDED OUT LITTLE CANADA FLAGS OR CANADA TATTOOS OR HAD BALLOONS.” ON THE DONATION OF CANADA 150 MATERIALS TO THE MUSEUM, HARASEM NOTED, “I BELIEVE THAT THIS IS IMPORTANT TO GO TO THE GALT BECAUSE I KNOW THAT WHEN WE FIRST REALIZED WE NEEDED TO DO SOMETHING TO CELEBRATE THE 150TH, THE FIRST THING WE DID WAS LOOK BACK TO SEE WHAT HAPPENED AT THE 100TH AND WHAT WE HAD IN THE MUSEUM AND ELSEWHERE IN LETHBRIDGE FOR CELEBRATIONS THAT OCCURRED AT THAT TIME. [WE WERE LOOKING TO] SEE IF THERE WERE THINGS THAT WE COULD MIMIC OR SHOULD KNOW ABOUT. WE USED A LOT OF PHOTOS THROUGH OUR REC AND CULTURE GUIDE FOR THAT YEAR TO REMIND PEOPLE THAT, FIFTY YEARS AGO WAS THE BIG CENTENNIAL. WE THOUGHT THAT WHEN THE 200TH COMES, THAT PEOPLE WOULD PROBABLY BE WANTING TO LOOK BACK TO 2017 TO SEE WHAT HAD HAPPENED.” SUDO ADDED, “I THINK CANADA’S SESQUICENTENNIAL [150TH ANNIVERSARY] WAS VERY IMPORTANT TO REMEMBER BECAUSE FIFTY YEARS IS A LONG TIME AND A LOT HAPPENS IN FIFTY YEARS. IT’S GREAT TO BE ABLE TO LOOK BACK AT ALL OF THE THINGS THAT WE DID FOR CANADA’S SESQUICENTENNIAL AND REMEMBER ALL OF THE HARD WORK, AND THE COMMUNITY COMING TOGETHER AND SHOWING THEIR CANADIAN PRIDE.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION, PLEASE SEE THE PERMANENT FILE P20180006007-GA.
Catalogue Number
P20180006004
Acquisition Date
2018-03
Collection
Museum
Images
Less detail
Other Name
TURNOUT PANTS / BUNKER PANTS
Date Range From
1980
Date Range To
2000
Material Type
Artifact
Materials
CANVAS, COTTON, PLASTIC
Catalogue Number
P20150010020
  2 images  
Material Type
Artifact
Other Name
TURNOUT PANTS / BUNKER PANTS
Date Range From
1980
Date Range To
2000
Materials
CANVAS, COTTON, PLASTIC
No. Pieces
3
Length
170.5
Width
61.0
Description
FIREMAN'S TURNOUT PANTS OR BUNKER PANTS. OUTER SHELL, SUSPENDERS, INNER LINER. DIMENSIONS ARE FROM TIP OF SUSPENDERS TO HEM AND WIDTH IS AT WAISTBAND. .A: OUTER SHELL. TAN CANVAS. HEM IS A PLASTICIZED FABRIC. FLORSCENT YELLOW AND SILVER REFLECTIVE STRIPE AT ANKLE. LINER KEPT IN PLACE AT HEM WITH TWO SNAPS: POSTS ON LINER, WITH THE CAPS ON SHORT PIECES OF BLACK NYLON STRAPPING, SEWN TO THE INSIDE OF THE SHELL'S LEG. REINFORCED KNEES AND TWO LARGE POCKETS ON OUTER THIGH AREA, EACH WITH A FLAP THAT CLOSES WITH VELCRO. PANTS CLOSE WITH A VELCRO CLOSURE, A SINGLE SILVER COLOURED SNAP, AND LARGE HOOK AND EYE, WITH THE HOOK AT THE WEARER'S RIGHT HIP AND A D-SHAPED EYE ON THE LEFT SIDE OF THE FLY. HOOK IS AFFIXED TO PANTS WITH THREE SILVER COLOURED METAL RIVETS GOING THROUGH A PIECE OF BLACK LEATHER THAT THE HOOK IS SEWN ONTO. BLACK NYLON STRAPS ON THE WEARER'S HIP ALLOW PANTS TO BE ADJUSTED ONCE ON. BACK OF PANTS CONTINUES UP WEARER'S BACK FOR 14.5CM HIGHER THAN THE FRONT. INSIDE OF WAISTBAND IS NAVY BLUE AND THERE ARE NINE CAPS FOR THE SNAPS THAT ATTACH THE INNER LINER. INSIDE OF FLY LINED WITH BLACK PLASTICIZED MATERIAL. WHITE RECTANGULAR LABEL, WITH NAVY BLUE WRITING: "FIRE SERVICE MANAGEMENT. TEL: (403) 279-5095." BELOW IN RED: "C 5519". ON THE OUTSIDE OF THE PANTS, SIX SILVER COLOURED BUTTONS, WITH STAMPED "GLOBE" IN THE CENTRE ALLOW SUSPENDERS TO BE ATTACHED - FOUR ARE IN THE FRONT, WITH TWO IN THE BACK. .B: SUSPENDERS. RED WOVEN STRAPPING. VERY ENDS OF SUSPENDERS ARE FINISHED IN BLACK LEATHER, WITH EACH OF THE SIX ENDS HAVING A BUTTON HOLE. THE LEATHER PORTION IS SEWN ONTO ELASTICIZED RED STRAPPING. ON THE FRONT, THIS ELASTICIZED PORTION GOES THROUGH A BLACK PLASTIC D-RING, WHICH HAS NON-ELASTICIZED WOVEN STRAPPING ON THE OTHER SIDE. EACH FRONT STRAP HAS A SECOND D-RING TO ALLOW ADJUSTMENT IN LENGTH. IN THE BACK, THE ELASTICIZED PORTION IS SEWN DIRECTLY ONTO THE WOVEN PORTION. STRAPS FORMA ROUGH 'H' SHAPE, WITH THE ELASTICIZED CROSS PIECE GOING ACROSS THE WEARER'S BACK AT THE SHOULDER AREA. SMALL LABEL NEAR THIS CROSS PIECE: "ASSEMBLED IN MEXICO". .C: INNER LINER. LIGHT BLUE/GREY COTTON FABRIC ON ONE SIDE, WITH A PLASTIC/COTTON OFF-WHITE FABRIC ON THE OTHER SIDE. THE STUDS OF NINE SNAPS GO AROUND THE WAISTBAND. LINER KEPT IN PLACE AT HEM WITH TWO SNAPS: POSTS ON LINER, WITH THE CAPS ON SHORT PIECES OF BLACK NYLON STRAPPING, SEWN TO THE INSIDE OF THE SHELL'S LEG. TWO LABELS, INSIDE WAIST AREA. INSIDE LEFT IS AN OFF-WHITE LABEL WITH RED WRITING, DETAILING PROPER USE OF GARMENT, TO ENSURE SAFETY. BEGINS: "DANGER. DO NOT USE THIS GARMENT IF YOU HAVE NOT READ AND UNDERSTOOD THE ENTIRE FEMSA OFFICIAL USER INFORMATION GUIDE AND ALL LABELS FOR STRUCTURAL FIRE FIGHTING PROTECTIVE GARMENT!" LABEL DETAILS PROPER USE AND ENDS: "COPYRIGHT 1996. FIRE AND EMERGENCY MANUFACTURES AND SERVICES ASSOCIATION, INC. DO NOT REMOVE LABEL." HANDWRITTEN IN BLACK INK, OVERTOP OF THE INITIAL WARNING: "2445617 LETHBRIDGE". ON THE INSIDE RIGHT SIDE IS A WHITE LABEL WITH RED WRITING, DETAILING THE TYPE OF PROTECTION THESE PANTS CAN PROVIDE, AS WELL AS WHAT THEY ARE MADE OUT OF. BEGINS: "GLOBE FIREFITERS SUITS. 37 LOUDON ROAD, PITTSFIELD, NEW HAMPSHIRE, U.S.A. 03263 TEL. 603-435-8323 * FAX: 603-435-6388. THIS GARMENT MEETS THE GARMENT REQUIREMENTS OF NFPA 1971, STANDARD ON PROTECTIVE ENSEMBLE FOR STRUCTURAL FIRE FIGHTING, 2000 EDITION. DO NOT REMOVE THIS LABEL." THIS LABEL ALSO HAS A BLANK SPACES TO FILL IN FOR THE SIZE, LENGTH, CUT, SERIAL #, DATE, AND MODEL NUMBER. THE LABEL ENDS WITH: "IN ACCORDANCE WITH THE NATIONAL FIRE PROTECTION ASSOCIATION STANDARD ON PROTECTIVE ENSEMBLE FOR STRUCTURAL FIRE FIGHTING. NFPA 1971-2000." OVERALL IN GOOD CONDITION. PANTS ARE VERY WELL USED, WITH MANY BLACK STAINS, WHICH ARE ESPECIALLY BAD AT HEM AND KNEES, PARTICULARLY ON THE FRONT OF THE PANTS. RED SUSPENDERS HAVE SOME TEARS, ESPECIALLY IN THE WOVEN STRAPPING. ELASTICIZED STRAPS HAVE LOST SOME OF THEIR ELASTICITY.
Subjects
CLOTHING-OUTERWEAR
Historical Association
SAFETY SERVICES
History
THESE TURNOUT PANTS OR BUNKER PANTS WERE USED BY THE LETHBRIDGE FIRE DEPARTMENT. IN A WRITTEN STATEMENT PROVIDED AT THE TIME OF DONATION, JESSE KURTZ, DEPUTY CHIEF – SUPPORT SERVICES (RETIRED), EXPLAINED THAT THIS COAT WOULD BE “WORN BY ALL FIREFIGHTERS WHEN FIGHTING STRUCTURE FIRES. MADE OF FIRE RESISTANT MATERIAL AND MANUFACTURED ACCORDING TO NATIONAL FIRE PROTECTION AGENCY (NFPA) AND CSA STANDARDS. STANDARDS CHANGE EVERY FIVE YEARS.” IN THE SUMMER OF 2015, COLLECTIONS TECHNICIAN KEVIN MACLEAN, CONDUCTED A SERIES OF INTERVIEWS WITH CURRENT AND FORMER MEMBERS OF THE FIRE DEPARTMENT, INCLUDING: CLIFF “CHARLIE” BROWN (HIRED IN 1966, RETIRED 2004), TREVOR LAZENBY (HIRED IN 1994), RAYMOND “RAY” PETIT (HIRED 1965, RETIRED 1998), AND LAWRENCE DZUREN (HIRED 1959, RETIRED 1992). BROWN SAID: “THESE ARE HIGH CLASS. THESE ARE NICE TURNOUTS. WHAT I HAD IN ’66 WAS JUST AN OLD BLACK CANVAS PANTS AND COAT – LITTLE BIT OF RUBBER LINING INSIDE, ORDINARY HOOKS LIKE THIS. THIS HERE’S GOT VELCRO ON IT; IT’S GOT HOOKS, IT’S GOT ZIPPERS, SORT OF A LINER IN IT FOR HEAT PROTECTION. THIS IS VERY MODERN COMPARED TO WHAT I HAD WHEN I STARTED.” LAZENBY ADDED: “THIS WAS AT LEAST ONE GENERATION AHEAD OF THE JACKET AND PANTS THAT I WAS ISSUED WHEN I WAS NEW. WHEN I WAS NEW, I GOT SECOND HAND TURNOUTS. I GOT STUFF THAT HAD BEEN USED FOR A NUMBER OF YEARS BEFOREHAND … MONEY WAS TIGHT IN THE MID-‘90S WITH COUNCIL AND THE GOVERNMENT PROVINCIALLY, BEING WHAT IT WAS, THERE WAS NOT A LOT TO GO AROUND. … THE HEALTH AND SAFETY MOVEMENT WASN’T AS STRONG THEN AS IT IS NOW. NOW THE HEALTH AND SAFETY MOVEMENT IS VERY POWERFUL AND CAN AFFECT CHANGE IN A HURRY, TO A POINT WHERE WE NOW KNOW THAT SEVEN YEARS OR WHATEVER IT IS AFTER I GET THIS SET OF TURNOUTS, I’M GOING TO GET A NEW SET OF TURNOUTS NO MATTER WHAT. BECAUSE THEY HAVE A SHELF LIFE OF SO MANY YEARS AND ONCE THAT’S UP, YOU’RE NOT ADHERING TO THE STANDARD ANYMORE AND SO IT’S TIME TO CHANGE THEM OUT. WE DIDN’T REALLY GO BY THOSE STANDARDS WHEN I FIRST GOT ON THE JOB, SO I GOT ISSUED STUFF FROM A GUY THAT HAD JUST RECENTLY RETIRED AND I DON’T EVEN THINK THEY GOT SENT TO THE CLEANERS FIRST.” HE CONTINUED, SAYING “THE COMPANIES THAT MAKE THIS GEAR FOR THE FIRST SERVICE … ARE CONSTANTLY SPENDING MILLIONS OF DOLLARS ON RESEARCH AND DEVELOPMENT FOR THE LATEST, GREATEST FIREPROOF FABRIC. THAT GOES DOWN TO WATER VAPOUR BARRIERS, HEAT LINERS, AND THE OUTER SHELL. … YOU KNOW, IT’S A DOUBLE-EDGED SWORD … BECAUSE THE MORE PROTECTED YOU ARE, THE MORE ENCAPSULATED YOU ARE, AND THE LESS YOU FEEL THE AMBIENT TEMPERATURE AROUND YOU, THE MORE TROUBLE YOU CAN REALLY GET YOURSELF IN, RIGHT? THE FURTHER YOU GET INTO A STRUCTURE, THE FURTHER IT IS YOU HAVE TO GET OUT. AND THAT’S ONE OF THE KNOCKS ABOUT, UP UNTIL RECENTLY, OF GETTING THAT MUCH MORE PROTECTION IN YOUR PERSONAL PROTECTIVE EQUIPMENT IS THAT IT WAS LEADING TO PEOPLE MAYBE GOING TO PLACES WHERE 20 YEARS EARLIER THEY COULDN’T HAVE GONE BECAUSE IT WOULD HAVE BEEN TOO HOT.” HE ELABORATED FURTHER: “BUT THE SCIENCE OF FIRE IS BEING BETTER UNDERSTOOD NOW, AS IS OUR TRAINING AND OUR TACTICS. … I THINK I’VE BEEN ISSUED THREE SETS OF TURNOUTS NOW SINCE I GOT MY ORIGINALS … THIS WAS SIMILAR TO MY SECOND SET … I THINK THE ADVANCES IN TECHNOLOGY IN THIS FIELD HAVE BEEN LEAPS AND BOUNDS. THEY’RE JUST SO MUCH BETTER THAN THEY USED TO BE.” IN COMPARING THIS STYLE OF TURNOUT TO WHAT HE CURRENTLY WEARS, LAZENBY SAID: “IT HAS A SHORT BACK ON THE BACK OF THE TURNOUT COAT AND NOW WE HAVE FLAPS THAT COME DOWN. IF YOU WERE TO WEAR THIS JACKET AND YOU DIDN’T HAVE A HIGH BACK ON YOUR TURNOUT PANTS, IF YOU WERE TO BEND OVER, THERE WOULD BE A GAP BETWEEN WHAT YOUR JACKET COVERED AND WHAT YOUR PANTS COVERED. ANY TIME YOU HAVE A GAP, YOU’RE EXPOSING YOURSELF TO EXCESSIVE HEAT … THE FABRICS ARE DIFFERENT NOW, AS IS THE REFLECTIVE STRIPING. … THESE SET WERE NOT AS WELL MADE … THE MATERIAL WASN’T AS HEAT-RESISTANT AND THESE ACTUALLY AREN’T AS REFLECTIVE AS OUR NEW STUFF. THE CUFFS ARE A LITTLE BIT DIFFERENT. I LIKE THE CUFFS THAT THERE’S A THUMBHOLE THAT YOU CAN PUT YOUR THUMB THROUGH THE CUFF SO THAT IT DOESN’T END UP CREEPING UP THE INSIDE OF YOUR JACKET WHEN YOU’RE WORKING. THE CUFF IS AN INTEGRAL PART OF KEEPING DEBRIS AND THINGS OUT OF YOUR COAT AND IF YOU HAVE A COAT THAT TENDS TO RIDE UP YOUR ARM, IT’S NOT IDEAL, SO. JUST LITTLE THINGS THAT ADD UP TO MAKE A BIG DIFFERENCE AFTER/AT THE END OF THE DAY. SO, YEAH, THESE WOULD BE ’95 TO 2000, I THINK.” PETIT ADDED: “THE TURNOUT GEAR IS SO MUCH BETTER, IT’S GONE THROUGH ALL KINDS OF TESTS, DIFFERENT MATERIALS, LIGHTER … ACTUALLY, WE STARTED GETTING BETTER TURNOUTS, AND WHAT THEY WERE DOING WITH THE OLD TURNOUTS THAT WERE NOT GOOD TO US, THEY WERE GIVING THEM TO SMALLER DEPARTMENTS THAT DIDN’T HAVE ANY.” DZUREN DISCUSSED THE TYPE OF TURNOUT GEAR HE WORE WHEN HE FIRST STARTED IN 1959: “THEY WERE JUST STRICTLY KIND OF A CANVAS. THERE WAS NO FIRE-PROOFING TO THEM … I DON’T EVEN BELIEVE THERE WAS ANY FIRE RETARDANT TO THEM. BUT THEN EVENTUALL, WELL THE UNIONS, THEY WERE QUITE ADAMANT, AND THE DEPARTMENTS THEMSELVES WERE QUITE ADAMANT IN TRYING TO KIND OF IMPROVE THAT … WHERE THEY DEVELOPED KEVLAR TYPE STUFF THERE, LIGHTWEIGHT, VERY HEAT RESISTANT, SAVED MANY LIVES WITH THE FACT THAT THEY WERE THAT GOOD.” HE CONTINUED, SAYING: “ONCE THEY CAME IN EVERYBODY WAS QUITE ELATED, THAT THEY DID COME IN, CAUSE’ BEFORE IT WAS ALL JUST STRICTLY BLACK, AND WITH YOUR NAME ON THE BACK, I DON’T EVEN BELIEVE… WELL THEY HAD “L-F-D” ON THE BACK IF I RECALL, AND YOUR NAME, AND THEN THEY WERE HEAVY, AND CUMBERSOME, AND THEY HAD A LINER THERE FOR THE WINTER MONTHS AND A WOOL LINER WAS VERY HEAVY. SO WHEN YOU GOT IN THERE AND YOU START SWEATING, IT WAS NOT IDEAL WORKING GEAR THAT YOU HAD ON WHEN YOU WERE WORKING.” SEE PERMANENT FILE FOR FULL INTERVIEW TRANSCRIPTS AND ADDITIONAL INFORMATION ABOUT THE LETHBRIDGE FIRE DEPARTMENT.
Catalogue Number
P20150010020
Acquisition Date
2015-02
Collection
Museum
Images
Less detail
Other Name
LETHBRIDGE HANDI-BUS DRIVER'S UNIFORM SHIRT
Date Range From
1975
Date Range To
2007
Material Type
Artifact
Materials
COTTON, POLYESTER
Catalogue Number
P20160009003
  2 images  
Material Type
Artifact
Other Name
LETHBRIDGE HANDI-BUS DRIVER'S UNIFORM SHIRT
Date Range From
1975
Date Range To
2007
Materials
COTTON, POLYESTER
No. Pieces
1
Height
66
Length
69
Description
LIGHT BLUE COLLARED SHIRT. THERE ARE SEVEN WHITE, PEARLIZED BUTTONS DOWN THE FRONT OF THE SHIRT. THERE ARE TWO POCKETS, EACH WITH ONE BUTTON, ON EITHER SIDE OF THE CHEST. A LOGO IS EMBROIDERED ON THE LEFT CHEST WITH “LHB” IN WHITE. THE LOGO IS AN INVERTED MAROON TRIANGLE WITH A WHITE BORDER. THERE IS A PARTIAL HANDICAP SYMBOL IN THE CENTER, EMBROIDERED IN WHITE. THE INSIDE TAG ON THE BACK OF THE COLLAR READS, “MARK’S … XL”. THE TAG STATES IT IS A COTTON/POLYESTER SHIRT. THE SLEEVES ARE 61.5 CM LONG. VERY GOOD – EXCELLENT CONDITION. THERE IS A LOOSE THREAD AT THE TOP BUTTON, NEAR THE COLLAR AND ONE ON THE INSIDE TRIM AT THE FRONT BOTTOM LEFT SIDE.
Subjects
CLOTHING-OUTERWEAR
Historical Association
ASSOCIATIONS
TRANSPORTATION
History
THE LETHBRIDGE HANDI-BUS ASSOCIATION WAS A NOT-FOR-PROFIT ORGANIZATION THAT BEGAN IN 1975 WHEN THE KIWANIS CLUB DONATED THE FIRST VAN. ON AUGUST 1, 2007 – AFTER 32 YEARS OF SERVICE TO THE COMMUNITY – THE LETHBRIDGE HANDI-BUS ASSOCIATION WAS TRANSFERRED TO THE CITY OF LETHBRIDGE. AT THAT POINT, THE ASSOCIATION HAD A FLEET OF 20 BUSES – MANY OF WHICH WERE DONATED BY LOCAL SERVICE CLUBS – THAT WERE ALL TRANSFERRED TO THE CITY. THE NAME OF THE SERVICE BECAME ACCESS-A-RIDE UNDER THE CITY’S MANAGEMENT. THESE ARTIFACTS WERE DONATED BY A LETHBRIDGE HANDI-BUS ASSOCIATION BOARD MEMBER, LYNN SPRING. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM AN INTERVIEW CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON APRIL 12, 2016 WITH SPRING. HE EXPLAINS, “I WAS A MEMBER OF THE LETHBRIDGE HANDI BUS BOARD OF DIRECTORS FOR HALF A DOZEN YEARS AT LEAST AND SOME OF THESE ITEMS WERE GIVEN TO ME BY THE DRIVERS. THE LETHBRIDGE HANDI BUS STARTED IN 1975 AND ABOUT SEVEN YEARS AGO, LETHBRIDGE HANDI BUS STOPPED THEIR CHARTER AS A NOT- FOR -PROFIT ORGANIZATION BECAUSE OF THE NATIONAL RULING IN TRANSPORTATION THAT MUNICIPALITIES WOULD BE RESPONSIBLE FOR ACCESSIBILITY RIDES, HANDICAP TRANSPORTATION. SO THE CITY TOOK OVER ALL OF THE BUSES, THEY PURCHASED THEM AND MOST OF THE DRIVERS WENT OVER TO THE CITY OF LETHBRIDGE BECAUSE WE HAD, I BELIEVE, TWENTY-SIX AT THAT TIME AND YOU JUST DON’T JUST DON’T FIND TWENTY-SIX DRIVERS. THAT WAS PART OF THE AGREEMENT ON SALE THAT THEY WOULD TAKE THE BUSES. WE TOOK OUR PLATES OFF AND THE NEXT DAY CITY PUT THEIR PLATES ON AND THEIR INSURANCE. THE DRIVERS WENT OVER EVENTUALLY. THEY WERE WEARING THE CITY TRANSIT, LETHBRIDGE CITY TRANSIT UNIFORMS.” OF HIS TIME AS A BOARD MEMBER, SPRING SAID, “I CAME TO LETHBRIDGE IN [2005]… THE MANAGER OF THE DAY, MURRAY CAMPBELL, WAS A LONGTIME FRIEND OF MINE AND HE ASKED ME [TO BE ON THE BOARD], AND I THOUGHT WELL IT IS A VERY WORTHWHILE ORGANIZATION. IT WAS A NOT-FOR -PROFIT ORGANIZATION AND DIDN’T INVOLVE A LOT OF HOURS.” SPRING WAS ON THE BOARD UNTIL 2011. SPRING REFERRED TO HIMSELF AS “A COLLECTOR AT HEART” AND AS A RESULT GATHERED THE DONATED ARTIFACTS DURING THE LAST DAYS OF THE LETHBRIDGE HANDI-BUS ASSOCIATION IN 2011. THEY WERE IN HIS POSSESSION FOR 5 TO 7 YEARS. HE EXPLAINS, “WELL I WAS ONE OF THREE THAT CLOSED DOWN AND CLOSED OUT HANDI BUS. WE HAD TO FILE WITH TAX CANADA AND OF COURSE, WORKERS COMP AND ALL THOSE THINGS SO FINALLY WE’RE AT THAT STAGE WHERE WE CAN GET RID OF A LOT OF THE PAPER RECORDS. IT PROMPTED THAT I SHOULD MAYBE DONATE THESE TO THE GALT MUSEUM FOR PROSPERITY… [T]HAT’S JUST MY NATURE, I GUESS, TO RETAIN THINGS AND SAY ‘WELL SOMEBODY WOULD BE INTERESTED IN THIS IN A FUTURE DATE.’” SPRING WOULD HAVE WORN THIS SHIRT AS A BOARD MEMBER: ”WE WOULD WEAR THAT AT FUNDRAISERS AND DIFFERENT OCCASIONS LIKE THAT. THE ODD TIME AT THE BOARD MEETINGS, BUT MAINLY THE FUNDRAISERS, OR WHEN WE HAD MEDIA PEOPLE OR, SOME RECORDING OF THAT NATURE.” IT IS IDENTICAL TO THE SHIRTS WORN BY THE HANDI-BUS DRIVERS. SPRING DESCRIBES THE SHIRT’S DESIGN, “IT’S A DENIM SHIRT, AND OF COURSE A LOT OF OUR MATERIAL WAS FROM MARK’S WORK WAREHOUSE AS YOU SEE ON THE LABEL. THAT’S SIMPLY DENIM AND THE DISTINCTION IS HAVING THE LHB LOGO ON IT… THE LOGO LHB IS IN MAROON AND GRAY COLOURS, THAT WAS THEIR COLOUR AND OF COURSE LHB FOR LETHBRIDGE HANDI BUS.” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES.
Catalogue Number
P20160009003
Acquisition Date
2016-04
Collection
Museum
Images
Less detail
Other Name
LETHBRIDGE HANDI-BUS DRIVER'S WINTER COAT
Date Range From
1975
Date Range To
2007
Material Type
Artifact
Materials
NYLON, POLYESTER, PLASTIC
Catalogue Number
P20160009004
  2 images  
Material Type
Artifact
Other Name
LETHBRIDGE HANDI-BUS DRIVER'S WINTER COAT
Date Range From
1975
Date Range To
2007
Materials
NYLON, POLYESTER, PLASTIC
No. Pieces
2
Length
78.5
Width
77
Description
A: DARK GREY WINTER JACKET. EMBROIDERED “LHB” LOGO ON THE PROPER LEFT SIDE OF THE CHEST (MAROON INVERTED TRIANGLE WITH LETTERS AND HANDICAP SYMBOL IN WHITE). THE JACKET HAS A HIGH COLLAR AND A GREY, PLASTIC ZIPPER DOWN THE FRONT. THERE ARE 5 METAL SNAP FASTENERS TO CLOSE THE JACKET IN ADDITION TO THE ZIPPER. THERE IS A POCKET ON EITHER SIDE OF THE CHEST, BOTH WITH VELCRO-ED FLAPS. THERE IS REFLECTIVE MATERIAL ATTACHED TO THESE POCKETS. THERE ARE TWO POCKETS AT THE LOWER SIDES OF THE JACKET WITH ZIPPERS TO CLOSE. THERE ARE TWO STUDS FROM SNAP FASTENERS ON THE OUTSIDE OF THE JACKET (FRONT, LOWER LEFT SIDE). THERE IS ELASTIC AROUND THE BOTTOM HEM AND VELCRO AROUND THE CUFFS OF THE SLEEVES. A 20 CM REFLECTIVE STRIPE IS ATTACHED TO THE CENTER BACK OF THE JACKET. THE SLEEVES ARE 58 CM LONG. THE TAG AT THE BACK COLLAR READS "MARK'S 3XL" AND "MADE IN KOREA". B: A REMOVABLE BLACK FLEECE LINING IS ATTACHED TO THE INSIDE OF THE JACKET WITH A ZIPPER. THE FLEECE LINING HAS AN LHB LOGO IDENTICAL TO THE JACKET'S ON THE PROPER LEFT SIDE OF THE CHEST. THE INSIDE TAG READS “MARK’S… 3XL”. GOOD CONDITION. THE COLOUR OF THE GREY IS FADING OVERALL. THE FLEECE ON THE INSIDE IS BALLING. THERE ARE LOOSE THREADS AT VARIOUS PLACES OF THE JACKET. THE LOGO IS DIRTY/DISCOLOURED. THE VELCRO IS SLIGHTLY DIRTY. THE LEFT CHEST POCKET IS WRINKLED/MISSHAPED AND STICKING TO THE VELCRO. THERE IS A WHITE NEAR THE ZIPPER ON THE UPPER, LEFT SIDE OF THE JACKET.
Subjects
CLOTHING-OUTERWEAR
Historical Association
ASSOCIATIONS
TRANSPORTATION
History
THE LETHBRIDGE HANDI-BUS ASSOCIATION WAS A NOT-FOR-PROFIT ORGANIZATION THAT BEGAN IN 1975 WHEN THE KIWANIS CLUB DONATED THE FIRST VAN. ON AUGUST 1, 2007 – AFTER 32 YEARS OF SERVICE TO THE COMMUNITY – THE LETHBRIDGE HANDI-BUS ASSOCIATION WAS TRANSFERRED TO THE CITY OF LETHBRIDGE. AT THAT POINT, THE ASSOCIATION HAD A FLEET OF 20 BUSES – MANY OF WHICH WERE DONATED BY LOCAL SERVICE CLUBS – THAT WERE ALL TRANSFERRED TO THE CITY. THE NAME OF THE SERVICE BECAME ACCESS-A-RIDE UNDER THE CITY’S MANAGEMENT. THESE ARTIFACTS WERE DONATED BY A LETHBRIDGE HANDI-BUS ASSOCIATION BOARD MEMBER, LYNN SPRING. THE FOLLOWING INFORMATION HAS BEEN EXTRACTED FROM AN INTERVIEW CONDUCTED BY COLLECTIONS TECHNICIAN KEVIN MACLEAN ON APRIL 12, 2016 WITH SPRING. HE EXPLAINS, “I WAS A MEMBER OF THE LETHBRIDGE HANDI BUS BOARD OF DIRECTORS FOR HALF A DOZEN YEARS AT LEAST AND SOME OF THESE ITEMS WERE GIVEN TO ME BY THE DRIVERS. THE LETHBRIDGE HANDI BUS STARTED IN 1975 AND ABOUT SEVEN YEARS AGO, LETHBRIDGE HANDI BUS STOPPED THEIR CHARTER AS A NOT- FOR -PROFIT ORGANIZATION BECAUSE OF THE NATIONAL RULING IN TRANSPORTATION THAT MUNICIPALITIES WOULD BE RESPONSIBLE FOR ACCESSIBILITY RIDES, HANDICAP TRANSPORTATION. SO THE CITY TOOK OVER ALL OF THE BUSES, THEY PURCHASED THEM AND MOST OF THE DRIVERS WENT OVER TO THE CITY OF LETHBRIDGE BECAUSE WE HAD, I BELIEVE, TWENTY-SIX AT THAT TIME AND YOU JUST DON’T JUST DON’T FIND TWENTY-SIX DRIVERS. THAT WAS PART OF THE AGREEMENT ON SALE THAT THEY WOULD TAKE THE BUSES. WE TOOK OUR PLATES OFF AND THE NEXT DAY CITY PUT THEIR PLATES ON AND THEIR INSURANCE. THE DRIVERS WENT OVER EVENTUALLY. THEY WERE WEARING THE CITY TRANSIT, LETHBRIDGE CITY TRANSIT UNIFORMS.” OF HIS TIME AS A BOARD MEMBER, SPRING SAID, “I CAME TO LETHBRIDGE IN [2005]… THE MANAGER OF THE DAY, MURRAY CAMPBELL, WAS A LONGTIME FRIEND OF MINE AND HE ASKED ME [TO BE ON THE BOARD], AND I THOUGHT WELL IT IS A VERY WORTHWHILE ORGANIZATION. IT WAS A NOT-FOR -PROFIT ORGANIZATION AND DIDN’T INVOLVE A LOT OF HOURS.” SPRING WAS ON THE BOARD UNTIL 2011. SPRING REFERRED TO HIMSELF AS “A COLLECTOR AT HEART” AND AS A RESULT GATHERED THE DONATED ARTIFACTS DURING THE LAST DAYS OF THE LETHBRIDGE HANDI-BUS ASSOCIATION IN 2011. THEY WERE IN HIS POSSESSION FOR 5 TO 7 YEARS. HE EXPLAINS, “WELL I WAS ONE OF THREE THAT CLOSED DOWN AND CLOSED OUT HANDI BUS. WE HAD TO FILE WITH TAX CANADA AND OF COURSE, WORKERS COMP AND ALL THOSE THINGS SO FINALLY WE’RE AT THAT STAGE WHERE WE CAN GET RID OF A LOT OF THE PAPER RECORDS. IT PROMPTED THAT I SHOULD MAYBE DONATE THESE TO THE GALT MUSEUM FOR PROSPERITY… [T]HAT’S JUST MY NATURE, I GUESS, TO RETAIN THINGS AND SAY ‘WELL SOMEBODY WOULD BE INTERESTED IN THIS IN A FUTURE DATE.’” THE WINTER JACKET WAS WORN BY A DRIVER NAMED WAYNE HALES WHO WAS ONE OF THE LHB EMPLOYEES WHO TRANSFERRED TO THE CITY WHEN THE ORGANIZATION WAS TAKEN OVER. WHEN SPRING WAS GATHERING ITEMS RELATED TO THE ASSOCIATION HE REACHED OUT TO HALES: “I SPOKE WITH WAYNE HALES, AND SAID I HAD SOME OTHER THINGS DID HE HAVE ANYTHING? AND HE SAID, ‘OH, I THINK I’VE GOT A COAT IN THE CLOSET’, SO HE DUG IT OUT AND I ADDED IT TO THESE OTHER ITEMS.” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION INCLUDING FULL INTERVIEW TRANSCRIPTION AND LETHBRIDGE HERALD ARTICLES.
Catalogue Number
P20160009004
Acquisition Date
2016-04
Collection
Museum
Images
Less detail

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