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Material Type
Artifact
Materials
WOOD, PAINT
Catalogue Number
P20190025001
  2 images  
Material Type
Artifact
Date
1957
Materials
WOOD, PAINT
No. Pieces
1
Length
30.1
Width
9.5
Description
WOOD DIRECTIONAL SIGN WITH SIX TRIANGULAR POINTS CARVED AT HORIZONTAL ENDS; SIGN HAS STENCILED CREAM-COLOURED TEXT PAINTED ON FRONT, “300 – 307” WITH LINE PAINTED UNDER TEXT; LINE HAS LOWER HALF OF AN ARROW HEAD PAINTED AT END UNDER “300”. SIGN HAS TWO HOLES CARVED BESIDE “300” AND “307” FOR HANGING THE SIGN. BACK OF SIGN IS UNPAINTED. CARVED POINTS AT ENDS ARE CHIPPING AND PEELING; FRONT SHOWS WEAR AROUND CARVED HOLES; OVERALL VERY GOOD CONDITION.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
FURNISHINGS
BUSINESS
History
ON JUNE 19, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED RAY DJUFF REGARDING THE DONATION OF A PAIR OF SIGNS FROM THE PRINCE OF WALES HOTEL IN WATERTON LAKES NATIONAL PARK, ALBERTA. ON THE SIGN, DJUFF ELABORATED, “[I CHOSE TO GIVE CHRIS MORRISON THE SIGN] INDICATING THE HALLWAY WITH ROOMS 300 TO 307 [BECAUSE] IT JUST LOOKED LIKE A GOOD SIGN. SOME OF THEM WERE A LITTLE MORE WORN THAN OTHERS AND I WANTED [TO] TRY AND PICK ONES THAT WERE IN REASONABLE CONDITION OR BETTER CONDITION…THE DIRECTION SIGNS ARE PRETTY WELL THE SAME.” “THE [SIGNS] ALL ORIGINAL TO THE OPERATION OF THE HOTEL. THE SIGNS DATE FROM 1957…THE PRINCE OF WALES HOTEL WAS BUILT BY THE GREAT NORTHERN RAILWAY, AND IN 1957, THE RAILWAY WAS LOOKING TO GET RID OF ITS HOTEL COLLECTION IN BOTH GLACIER AND WATERTON AND, IN THAT DRIVE, IT LEASED THE HOTELS. THIS WOULD INCLUDE GLACIER PARK LODGE, MANY GLACIER HOTEL, LAKE MCDONALD LODGE, THE PRINCE OF WALES HOTEL AS WELL AS A NUMBER OF MOTOR INNS IN GLACIER PARK; THAT’S GLACIER NATIONAL PARK IN MONTANA. IT LEASED THE WHOLE KIT AND CABOODLE TO DONALD KNUTSON, A BUILDER AND HOTELIER OUT OF MINNESOTA. THE IDEA WAS THAT MR. KNUTSON WOULD UPDATE AND UPGRADE THE HOTELS WHICH WERE PRETTY WELL ORIGINAL FROM WHEN EACH OF THEM HAD BEEN BUILT, DATING FROM 1913 TO 1927.” “THESE SIGNS WERE INSTALLED AT THAT TIME TO MODERNIZE THE LOOK, AND THE HOTELS ALL TOOK ON A VERY DISTINCT 1950S, MID-CENTURY, MODERN LOOK…THE ROOM SIGNS I FOUND PARTICULARLY INTERESTING BECAUSE, AT EACH ONE OF THE HOTELS, THERE WAS A SIMILAR SHIELD SIGN THAT WAS USED. BUT ON EACH ONE, THERE WAS A DIFFERENT SYMBOL REPRESENTING THE HOTEL AND THIS WAS PART OF THE MARKETING CAMPAIGN THAT DONALD KNUTSON CAME UP WITH.” “[THIS SIGN] THAT YOU HAVE…ONE INDICATING ROOMS ON THE THIRD FLOOR, 300 TO 307, [IS] PRETTY STANDARD OF WHAT THEY DID AT THE TIME. RUSTIC-LOOKING, A LITTLE BIT, BUT STILL, VERY MID-CENTURY. IT’S INTERESTING, THE ONE INDICATING ROOMS DOWN THE HALLWAY, BECAUSE IT’S OBVIOUSLY A STENCIL WHERE THE OTHERS ARE WELL LETTERED; HAND-LETTERED, ALL HAND-DRAWN.” DJUFF RECALLED THE ACQUISITION OF THE SIGNS, STATING, “I WAS AT THE HOTEL IN LATE MAY, 2019. I WAS DOING A PRESENTATION FOR THE HOTEL STAFF ON THE HISTORY OF THE HOTEL, AND THE MANAGER OF THE HOTEL, CHRIS CAULFIELD…INDICATED THAT THE SIGNAGE WAS BEING CHANGED THROUGHOUT THE HOTEL BECAUSE THE COMPANY THAT OWNS THE HOTEL [GLACIER PARK COLLECTION BY PURSUIT] WAS STANDARDIZING THE SIGNAGE THROUGHOUT THE COMPANY. THEREFORE, THESE WERE TAKEN DOWN AND AT THE TIME, HE INDICATED THEY WERE IN THE BASEMENT OF THE HOTEL IN THE REPAIRMAN’S OFFICE AND IF I WISHED TO HELP MYSELF TO THEM, GO AHEAD.” “I [TOOK THE SIGNS] FOR A COUPLE OF REASONS. ONE WAS TO PRESERVE THE SIGNS. I WAS FEARFUL, AS I’VE SEEN HAPPEN IN OTHER CIRCUMSTANCES, SIGNS WOULD SIMPLY BE DISPOSED OF AND NO RECORD OF THEM WOULD BE KEPT OTHER THAN MAYBE IN A PHOTOGRAPH. I HAD PERSONAL REASONS AS WELL. SINCE I’D WORKED AT THE HOTEL FOR FOUR SUMMERS…THIS WAS THE SIGNAGE THAT WAS IN PLACE AT THAT TIME AND IT CAPTURED A LITTLE BIT OF PERSONAL MEMORY FOR ME.” “I KNOW THAT WHEN KNUTSON DID THE RENOVATIONS OF THE PRINCE OF WALES HOTEL IN THE ‘50S…MANY THINGS GOT THROWN OUT AND SOME ITEMS OF PARTICULAR IMPORTANCE. IN THE PRINCE OF WALES HOTEL DINING ROOM…[THERE] WERE DRAWINGS BY JOHN FERY, AN ARTIST WHO HAD BEEN HIRED BY THE GREAT NORTHERN RAILWAY AT THE TURN OF THE LAST CENTURY, IN 1910, 1911, 1912, TO PAINT SCENES OF GLACIER NATIONAL PARK. WHEN THE PRINCE OF WALES HOTEL WAS OPENED, FERY WAS BROUGHT IN TO AGAIN PAINT SCENES AND THESE WERE MOUNTED ON THE WALL IN THE DINING ROOM. MOST OF THOSE SCENES WERE SIMPLY CUT OFF THE WALL WITH AN EXACT-O-KNIFE AND, TO THE BEST OF MY KNOWLEDGE, WERE THROWN OUT OR TAKEN BY A FEW OF THE STAFF OR OTHER PEOPLE. I’VE SEEN ONE OF THOSE IMAGES AND I KNOW WHERE IT WAS.” “I KNEW THOSE GOT THROWN OUT. I KNEW IN LATER RENOVATIONS, OTHER ITEMS WERE SIMPLY DISPOSED OF, SO THAT’S MY MOTIVATION IN LATCHING ONTO THESE. THEY’RE SMALL ITEMS BUT INDICATIVE OF AN ERA, AND HAVING BEEN AT THE HOTEL FOR MORE THAN HALF ITS LIFE.” “I HAVE NO IDEA WHAT [THE ORIGINAL 1927-28 SIGNS WOULD] LOOK LIKE. THERE ARE VERY FEW PICTURES OF PARTS OF THE INTERIOR OF THE HOTEL FROM THOSE EARLY YEARS...IF I HAD MY DRUTHERS, I WOULD PREFER THAT THESE WOULD HAVE STAYED THERE, MAYBE SOME COULD HAVE BEEN UPDATED…I KNOW THAT MANY GLACIER HOTEL, WHICH IS NOW UNDER THE CONTROL AND OWNERSHIP OF THE NATIONAL PARK SERVICE IN THE UNITED STATES, THAT THERE HAS BEEN A PUSH TO PRESERVE THIS SORT OF SIGNAGE THROUGHOUT THE HOTEL IN RECOGNITION THAT IT IS PART OF AN ERA IN THE OWNERSHIP OF THE HOTEL.” “I UNDERSTAND THE CURRENT ADMINISTRATION OR OWNERS, AND EVEN GREAT NORTHERN AT THE TIME, LOOKING TO HAVE THE HOTELS RENOVATED TO MAKE THEM SELLABLE…IT’S ALSO UNDERSTANDABLE, HAVING WORKED THERE IN THE 1970S AT…THE PRINCE OF WALES, SOME OF THE THINGS WE FACED FROM CUSTOMERS WHO WERE WALKING IN, LOOKING AT THE HOTEL ROOMS AND BALKING BECAUSE THEY HAD COME TO EXPECT A CERTAIN LEVEL OF FURNISHING AT A HOTEL AND JUST SERVICES OFFERED, AND WHEN YOU WALK INTO A ROOM AT THE PRINCE OF WALES HOTEL NOW, WE APPRECIATE IT FOR ITS HISTORIC VALUE. BACK IN THE ‘50S AND ‘70S, PEOPLE WERE WALKING IN SAYING, ‘THIS JUST LOOKS LIKE AN OLD, CRAPPY ROOM. WHY AM I PAYING GOOD MONEY, EVEN IF IT IS A RESORT, FOR SOMETHING THAT IS SUBSTANDARD IN WHAT I CAN GET AT A MORE MODERN HOTEL?’ SOME OF THE UPGRADES WERE CERTAINLY NECESSARY. I’M GLAD THEY WERE DONE TO KEEP THE HOTEL FUNCTIONAL, ONGOING, AND I WON’T NECESSARILY SAY A PROFITABLE VENTURE BUT CERTAINLY ENOUGH THAT NO ONE WANTED TO TEAR IT DOWN OR REPLACE IT.” ON HIS TIME WORKING WITH THE PRINCE OF WALES HOTEL, DJUFF SHARED, “I WORKED AT THE PRINCE OF WALES HOTEL FOR FOUR SUMMERS, 1973, ’74, ’75, AND ’78, AND MY APPRECIATION OF THE HOTEL REALLY STARTED THAT FIRST SUMMER. MY INITIAL POSITION WAS AS A BUSBOY, AND I DIDN’T QUITE KNOW WHAT THE POSITION WAS. I SIMPLY ACCEPTED IT WAS IN A NATIONAL PARK, IT WAS IN THE ROCKIES…I’D SPENT A SUMMER IN BANFF IN 1970 AND I JUST WANT TO BE BACK IN THE MOUNTAINS SO I TOOK THE POSITION. DIDN’T MATTER WHAT IT WAS, I GOT A POSITION AT THE HOTEL.” “THEY REQUIRED US TO WORK A TRIPLE-SPLIT SHIFT IN THE DINING ROOM. YOU WOULD OPEN UP AT EIGHT IN THE MORNING AND SERVE BREAKFAST UNTIL ABOUT TEN. IT WOULD SHUT DOWN, YOU’D GO BACK TO YOUR DORM, COME BACK, HAVE LUNCH, OPEN UP AT NOON, DINING ROOM IS CLOSED AT 1:30, YOU MIGHT HAVE DUTIES IN THE AFTERNOON—ADDITIONAL ONES—OTHERWISE YOU RETURN TO YOUR DORM, COME BACK UP, EAT DINNER AND THEN OPEN THE DINING ROOM AT SIX AND IT WAS OPEN UNTIL ABOUT 8:30…IT WAS TIRING, IT WAS EXHAUSTING, IT WAS HARD WORK. BEING A BUSBOY, YOU’RE A GRUNT.” “I WAS FORTUNATE IN THAT ONE OF THE BARTENDERS WAS NEW AT THE HOTEL, THE OTHER WAS THE MORE SENIOR ONE AND HE’D BEEN THERE ALMOST TEN YEARS. THE NEW BARTENDER WASN’T WORKING OUT WELL, AND THE SENIOR BARTENDER SAW POTENTIAL IN ME, ALTHOUGH I’D NEVER SERVED ALCOHOL IN MY LIFE. AFTER MY TRIPLE-SPLIT SHIFTS, I STARTED TRAINING OVER THERE AND I WOULD CONTINUE WORKING UNTIL MIDNIGHT…I SWITCHED POSITIONS WITH THE BARTENDER. HE BECAME A BUSBOY, EVENTUALLY A WAITER. I BECAME A BARTENDER AND IT TURNED MY LIFE AROUND BECAUSE THEN I WAS WORKING A SINGLE SHIFT; BETTER CONDITIONS. I WAS EARNING TIPS—WHICH ENHANCED MY SAVINGS TO RETURN TO UNIVERSITY, PAY FOR MY EDUCATION—AND THE INTERACTION WITH CUSTOMERS IS WHAT MADE THE JOB PHENOMENAL, FURTHER ENHANCED BY THE FACT THE WINDSOR LOUNGE AT THE PRINCE OF WALES HOTEL LOOKS SOUTH DOWN UPPER WATERTON LAKE AND IS ONE OF THE MOST INCREDIBLE VIEWS IN THE CANADIAN ROCKIES.” “THERE’S AN EXPRESSION A FRIEND OF MINE HAS, AND HE’S TALKING ABOUT GLACIER NATIONAL PARK ACROSS THE BORDER FROM WATERTON, BUT IT APPLIES TO WATERTON AS WELL. THE EXPRESSION IS, ‘WHEN THE GLACIER BUG BITES YOU, THERE IS NO CURE,’ AND THE WATERTON BUG BIT ME. THERE IS NO CURE. I’VE BEEN GOING BACK FOR FOUR DECADES MORE AND I CAN’T GET ENOUGH. I WANT[ED] TO LEARN MORE ABOUT THE HOTEL, KEPT DOING RESEARCH, IT EVENTUALLY LED TO THE PUBLICATION OF A NUMBER OF BOOKS RELATED TO WATERTON AND GLACIER, AND I CONTINUED GOING BACK AND I CONTINUE DOING RESEARCH AND THE FASCINATION HASN’T ENDED.” ON HIS MOTIVATIONS TO DONATE THE SIGNS, DJUFF NOTED, “THERE WERE TWO THOUGHTS IN MIND. THE FIRST WAS THAT I WAS ABLE TO ACQUIRE A NUMBER OF THESE SIGNS FROM THE PRINCE OF WALES HOTEL, AND I HAD MORE THAN I NEEDED. IN FACT, I TOOK THESE ADDITIONAL ONES WITH THE IDEA OF SHARING THEM WITH MY WRITING PARTNER AND CO-CREATOR, CHRIS MORRISON, OF LETHBRIDGE, AND ALSO, WATERTON. SO, I PICKED SOME OUT AND GAVE HER SOME THAT I THOUGHT SHE MIGHT ENJOY AND SHE DECIDED SHE DIDN’T NEED MORE PHYSICAL THINGS IN HER LIFE. [SHE] APPRECIATED THE OFFER, AND TOLD ME SHE WAS GOING TO DONATE THEM TO THE GALT MUSEUM, WHICH I AM INCREDIBLY HAPPY ABOUT; THAT THEY’RE PRESERVED IN A MORE PERMANENT WAY THAN JUST IN OUR POSSESSION.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND INFORMATION ON THE PRINCE OF WALES HOTEL SIGNAGE REBRANDING, PLEASE SEE THE PERMANENT FILE P20190025001-GA.
Catalogue Number
P20190025001
Acquisition Date
2019-06
Collection
Museum
Images
Less detail
Material Type
Artifact
Materials
WOOD, METAL, PAINT
Catalogue Number
P20190025002
  2 images  
Material Type
Artifact
Date
1957
Materials
WOOD, METAL, PAINT
No. Pieces
1
Length
22.7
Width
15.2
Description
HARDWOOD/FIBERBOARD SIGN, FRONT PAINTED WHITE WITH A BLACK CROWN ABOVE RED ITALICIZED TEXT, “214”. SIGN FASHIONED IN THE SHAPE OF A SHIELD; SIGN HAS TWO HOLES DRILLED IN UPPER CORNERS AND HOLE DRILLED IN LOWER POINT OF SHIELD. BACK OF SIGN IS BROW WITH TEXTURED-LEATHER APPEARANCE; BACK IS STAINED WITH WHITE PAINT; OVERALL VERY GOOD CONDITION.
Subjects
VISUAL COMMUNICATION T&E
Historical Association
FURNISHINGS
BUSINESS
History
ON JUNE 19, 2019, COLLECTIONS TECHNICIAN KEVIN MACLEAN INTERVIEWED RAY DJUFF REGARDING THE DONATION OF A PAIR OF SIGNS FROM THE PRINCE OF WALES HOTEL IN WATERTON LAKES NATIONAL PARK, ALBERTA. ON THE SIGN, DJUFF ELABORATED, “[THE ROOM DOOR SIGNS WERE THE] SAME SIZE, SAME SHAPE…THE SAME CROWN ON EACH ONE…THERE’S NO WORDING, WHATSOEVER. THEY JUST HAD A CROWN ON THEM…214 WAS JUST A NUMBER THAT STRUCK ME; NO PARTICULAR MEANING FOR THE HOTEL.” “EACH ROOM SIGN HAD A CROWN ON IT INDICATING ROYALTY AND THE NAME, ‘PRINCE OF WALES’, REFERRING TO THE PRINCE OF WALES OF BOTH ENGLAND AND CANADA. AT GLACIER PARK LODGE, EACH HOTEL ROOM HAD A SILHOUETTE OF A NATIVE AMERICAN HEAD—WITH LIKE A WAR BONNET ON. AT MANY GLACIER HOTEL, THE SYMBOL WAS A SWISS CROSS AND THE THEME THROUGHOUT THE HOTEL WAS SWISS. AT GLACIER PARK LODGE, THE THEME WAS NATIVE AMERICAN/WESTERN WRANGLER OR COWBOY AND, IN PART, A REFLECTION OF THE POPULARITY OF…THE COWBOY GENRE BOTH ON T.V. AND IN THE MOVIES DURING THAT ERA. THAT WAS PART OF THE MARKETING THAT THEY DID. IF YOU ACTUALLY LOOK AT LETTERHEAD OF THE HOTEL COMPANY DURING THAT TIME, WHEN KNUTSON HAD THE HOTELS AS A LEASE, FROM ’57 TO ’59, YOU WILL SEE THOSE SYMBOLS USED ON THE LETTERHEAD, KIND OF INDICATING THE FOUR, PRIMARY HOTELS.” “THE ROOM SIGNS [HAVE A] SMALL, INTERESTING DIFFERENCE WHICH IS, ALL THE ROOM SIGNS…FOR THE FIFTH FLOOR TO THE SECOND FLOOR…THE NUMERALS ARE ALL IN ITALICS. THE NUMERALS FOR THE SIXTH FLOOR ROOMS ARE ALL UPRIGHT, NOT LEANING, AND THOSE WERE DONE AFTER THE ORIGINAL SIGNS WERE PUT IN, WHEN THOSE ROOMS BECAME AVAILABLE FOR RENTAL. THEY HAD TO RECREATE THE SIGNS THEY INSTALLED LOWER DOWN IN THE HOTEL.” “THE [SIGNS ARE] ALL ORIGINAL TO THE OPERATION OF THE HOTEL. THE SIGNS DATE FROM 1957…THE PRINCE OF WALES HOTEL WAS BUILT BY THE GREAT NORTHERN RAILWAY, AND IN 1957, THE RAILWAY WAS LOOKING TO GET RID OF ITS HOTEL COLLECTION IN BOTH GLACIER AND WATERTON AND, IN THAT DRIVE, IT LEASED THE HOTELS. THIS WOULD INCLUDE GLACIER PARK LODGE, MANY GLACIER HOTEL, LAKE MCDONALD LODGE, THE PRINCE OF WALES HOTEL AS WELL AS A NUMBER OF MOTOR INNS IN GLACIER PARK; THAT’S GLACIER NATIONAL PARK IN MONTANA. IT LEASED THE WHOLE KIT AND CABOODLE TO DONALD KNUTSON, A BUILDER AND HOTELIER OUT OF MINNESOTA. THE IDEA WAS THAT MR. KNUTSON WOULD UPDATE AND UPGRADE THE HOTELS WHICH WERE PRETTY WELL ORIGINAL FROM WHEN EACH OF THEM HAD BEEN BUILT, DATING FROM 1913 TO 1927.” “THESE SIGNS WERE INSTALLED AT THAT TIME TO MODERNIZE THE LOOK, AND THE HOTELS ALL TOOK ON A VERY DISTINCT 1950S, MID-CENTURY, MODERN LOOK…THE ROOM SIGNS I FOUND PARTICULARLY INTERESTING BECAUSE, AT EACH ONE OF THE HOTELS, THERE WAS A SIMILAR SHIELD SIGN THAT WAS USED. BUT ON EACH ONE, THERE WAS A DIFFERENT SYMBOL REPRESENTING THE HOTEL AND THIS WAS PART OF THE MARKETING CAMPAIGN THAT DONALD KNUTSON CAME UP WITH.” DJUFF RECALLED THE ACQUISITION OF THE SIGNS, STATING, “I WAS AT THE HOTEL IN LATE MAY, 2019. I WAS DOING A PRESENTATION FOR THE HOTEL STAFF ON THE HISTORY OF THE HOTEL, AND THE MANAGER OF THE HOTEL, CHRIS CAULFIELD…INDICATED THAT THE SIGNAGE WAS BEING CHANGED THROUGHOUT THE HOTEL BECAUSE THE COMPANY THAT OWNS THE HOTEL [GLACIER PARK COLLECTION BY PURSUIT] WAS STANDARDIZING THE SIGNAGE THROUGHOUT THE COMPANY. THEREFORE, THESE WERE TAKEN DOWN AND AT THE TIME, HE INDICATED THEY WERE IN THE BASEMENT OF THE HOTEL IN THE REPAIRMAN’S OFFICE AND IF I WISHED TO HELP MYSELF TO THEM, GO AHEAD.” “I [TOOK THE SIGNS] FOR A COUPLE OF REASONS. ONE WAS TO PRESERVE THE SIGNS. I WAS FEARFUL, AS I’VE SEEN HAPPEN IN OTHER CIRCUMSTANCES, SIGNS WOULD SIMPLY BE DISPOSED OF AND NO RECORD OF THEM WOULD BE KEPT OTHER THAN MAYBE IN A PHOTOGRAPH. I HAD PERSONAL REASONS AS WELL. SINCE I’D WORKED AT THE HOTEL FOR FOUR SUMMERS…THIS WAS THE SIGNAGE THAT WAS IN PLACE AT THAT TIME AND IT CAPTURED A LITTLE BIT OF PERSONAL MEMORY FOR ME.” “I KNOW THAT WHEN KNUTSON DID THE RENOVATIONS OF THE PRINCE OF WALES HOTEL IN THE ‘50S…MANY THINGS GOT THROWN OUT AND SOME ITEMS OF PARTICULAR IMPORTANCE. IN THE PRINCE OF WALES HOTEL DINING ROOM…[THERE] WERE DRAWINGS BY JOHN FERY, AN ARTIST WHO HAD BEEN HIRED BY THE GREAT NORTHERN RAILWAY AT THE TURN OF THE LAST CENTURY, IN 1910, 1911, 1912, TO PAINT SCENES OF GLACIER NATIONAL PARK. WHEN THE PRINCE OF WALES HOTEL WAS OPENED, FERY WAS BROUGHT IN TO AGAIN PAINT SCENES AND THESE WERE MOUNTED ON THE WALL IN THE DINING ROOM. MOST OF THOSE SCENES WERE SIMPLY CUT OFF THE WALL WITH AN EXACT-O-KNIFE AND, TO THE BEST OF MY KNOWLEDGE, WERE THROWN OUT OR TAKEN BY A FEW OF THE STAFF OR OTHER PEOPLE. I’VE SEEN ONE OF THOSE IMAGES AND I KNOW WHERE IT WAS.” “I KNEW THOSE GOT THROWN OUT. I KNEW IN LATER RENOVATIONS, OTHER ITEMS WERE SIMPLY DISPOSED OF, SO THAT’S MY MOTIVATION IN LATCHING ONTO THESE. THEY’RE SMALL ITEMS BUT INDICATIVE OF AN ERA, AND HAVING BEEN AT THE HOTEL FOR MORE THAN HALF ITS LIFE.” “I HAVE NO IDEA WHAT [THE ORIGINAL 1927-28 SIGNS WOULD] LOOK LIKE. THERE ARE VERY FEW PICTURES OF PARTS OF THE INTERIOR OF THE HOTEL FROM THOSE EARLY YEARS…I KNOW THAT MANY GLACIER HOTEL, WHICH IS NOW UNDER THE CONTROL AND OWNERSHIP OF THE NATIONAL PARK SERVICE IN THE UNITED STATES, THAT THERE HAS BEEN A PUSH TO PRESERVE THIS SORT OF SIGNAGE THROUGHOUT THE HOTEL IN RECOGNITION THAT IT IS PART OF AN ERA IN THE OWNERSHIP OF THE HOTEL.” “I UNDERSTAND THE CURRENT ADMINISTRATION OR OWNERS, AND EVEN GREAT NORTHERN AT THE TIME, LOOKING TO HAVE THE HOTELS RENOVATED TO MAKE THEM SELLABLE…IT’S ALSO UNDERSTANDABLE, HAVING WORKED THERE IN THE 1970S AT…THE PRINCE OF WALES, SOME OF THE THINGS WE FACED FROM CUSTOMERS WHO WERE WALKING IN, LOOKING AT THE HOTEL ROOMS AND BALKING BECAUSE THEY HAD COME TO EXPECT A CERTAIN LEVEL OF FURNISHING AT A HOTEL AND JUST SERVICES OFFERED, AND WHEN YOU WALK INTO A ROOM AT THE PRINCE OF WALES HOTEL NOW, WE APPRECIATE IT FOR ITS HISTORIC VALUE. BACK IN THE ‘50S AND ‘70S, PEOPLE WERE WALKING IN SAYING, ‘THIS JUST LOOKS LIKE AN OLD, CRAPPY ROOM. WHY AM I PAYING GOOD MONEY, EVEN IF IT IS A RESORT, FOR SOMETHING THAT IS SUBSTANDARD IN WHAT I CAN GET AT A MORE MODERN HOTEL?’ SOME OF THE UPGRADES WERE CERTAINLY NECESSARY. I’M GLAD THEY WERE DONE TO KEEP THE HOTEL FUNCTIONAL, ONGOING, AND I WON’T NECESSARILY SAY A PROFITABLE VENTURE BUT CERTAINLY ENOUGH THAT NO ONE WANTED TO TEAR IT DOWN OR REPLACE IT.” ON HIS TIME WORKING WITH THE PRINCE OF WALES HOTEL, DJUFF SHARED, “I WORKED AT THE PRINCE OF WALES HOTEL FOR FOUR SUMMERS, 1973, ’74, ’75, AND ’78, AND MY APPRECIATION OF THE HOTEL REALLY STARTED THAT FIRST SUMMER. MY INITIAL POSITION WAS AS A BUSBOY, AND I DIDN’T QUITE KNOW WHAT THE POSITION WAS. I SIMPLY ACCEPTED IT WAS IN A NATIONAL PARK, IT WAS IN THE ROCKIES…I’D SPENT A SUMMER IN BANFF IN 1970 AND I JUST WANT TO BE BACK IN THE MOUNTAINS SO I TOOK THE POSITION. DIDN’T MATTER WHAT IT WAS, I GOT A POSITION AT THE HOTEL.” “THEY REQUIRED US TO WORK A TRIPLE-SPLIT SHIFT IN THE DINING ROOM. YOU WOULD OPEN UP AT EIGHT IN THE MORNING AND SERVE BREAKFAST UNTIL ABOUT TEN. IT WOULD SHUT DOWN, YOU’D GO BACK TO YOUR DORM, COME BACK, HAVE LUNCH, OPEN UP AT NOON, DINING ROOM IS CLOSED AT 1:30, YOU MIGHT HAVE DUTIES IN THE AFTERNOON—ADDITIONAL ONES—OTHERWISE YOU RETURN TO YOUR DORM, COME BACK UP, EAT DINNER AND THEN OPEN THE DINING ROOM AT SIX AND IT WAS OPEN UNTIL ABOUT 8:30…IT WAS TIRING, IT WAS EXHAUSTING, IT WAS HARD WORK. BEING A BUSBOY, YOU’RE A GRUNT.” “I WAS FORTUNATE IN THAT ONE OF THE BARTENDERS WAS NEW AT THE HOTEL, THE OTHER WAS THE MORE SENIOR ONE AND HE’D BEEN THERE ALMOST TEN YEARS. THE NEW BARTENDER WASN’T WORKING OUT WELL, AND THE SENIOR BARTENDER SAW POTENTIAL IN ME, ALTHOUGH I’D NEVER SERVED ALCOHOL IN MY LIFE. AFTER MY TRIPLE-SPLIT SHIFTS, I STARTED TRAINING OVER THERE AND I WOULD CONTINUE WORKING UNTIL MIDNIGHT…I SWITCHED POSITIONS WITH THE BARTENDER. HE BECAME A BUSBOY, EVENTUALLY A WAITER. I BECAME A BARTENDER AND IT TURNED MY LIFE AROUND BECAUSE THEN I WAS WORKING A SINGLE SHIFT; BETTER CONDITIONS. I WAS EARNING TIPS—WHICH ENHANCED MY SAVINGS TO RETURN TO UNIVERSITY, PAY FOR MY EDUCATION—AND THE INTERACTION WITH CUSTOMERS IS WHAT MADE THE JOB PHENOMENAL, FURTHER ENHANCED BY THE FACT THE WINDSOR LOUNGE AT THE PRINCE OF WALES HOTEL LOOKS SOUTH DOWN UPPER WATERTON LAKE AND IS ONE OF THE MOST INCREDIBLE VIEWS IN THE CANADIAN ROCKIES.” “THERE’S AN EXPRESSION A FRIEND OF MINE HAS, AND HE’S TALKING ABOUT GLACIER NATIONAL PARK ACROSS THE BORDER FROM WATERTON, BUT IT APPLIES TO WATERTON AS WELL. THE EXPRESSION IS, ‘WHEN THE GLACIER BUG BITES YOU, THERE IS NO CURE,’ AND THE WATERTON BUG BIT ME. THERE IS NO CURE. I’VE BEEN GOING BACK FOR FOUR DECADES MORE AND I CAN’T GET ENOUGH. I WANT[ED] TO LEARN MORE ABOUT THE HOTEL, KEPT DOING RESEARCH, IT EVENTUALLY LED TO THE PUBLICATION OF A NUMBER OF BOOKS RELATED TO WATERTON AND GLACIER, AND I CONTINUED GOING BACK AND I CONTINUE DOING RESEARCH AND THE FASCINATION HASN’T ENDED.” ON HIS MOTIVATIONS TO DONATE THE SIGNS, DJUFF NOTED, “THERE WERE TWO THOUGHTS IN MIND. THE FIRST WAS THAT I WAS ABLE TO ACQUIRE A NUMBER OF THESE SIGNS FROM THE PRINCE OF WALES HOTEL, AND I HAD MORE THAN I NEEDED. IN FACT, I TOOK THESE ADDITIONAL ONES WITH THE IDEA OF SHARING THEM WITH MY WRITING PARTNER AND CO-CREATOR, CHRIS MORRISON, OF LETHBRIDGE, AND ALSO, WATERTON. SO, I PICKED SOME OUT AND GAVE HER SOME THAT I THOUGHT SHE MIGHT ENJOY AND SHE DECIDED SHE DIDN’T NEED MORE PHYSICAL THINGS IN HER LIFE. [SHE] APPRECIATED THE OFFER, AND TOLD ME SHE WAS GOING TO DONATE THEM TO THE GALT MUSEUM, WHICH I AM INCREDIBLY HAPPY ABOUT; THAT THEY’RE PRESERVED IN A MORE PERMANENT WAY THAN JUST IN OUR POSSESSION.” FOR MORE INFORMATION INCLUDING THE FULL INTERVIEW TRANSCRIPTION AND INFORMATION ON THE PRINCE OF WALES HOTEL SIGNAGE REBRANDING, PLEASE SEE THE PERMANENT FILE P20190025001-GA.
Catalogue Number
P20190025002
Acquisition Date
2019-06
Collection
Museum
Images
Less detail
Other Name
"1945 RED CROSS QUILT"
Material Type
Artifact
Materials
COTTON, WOOL
Catalogue Number
P20170035000
  2 images  
Material Type
Artifact
Other Name
"1945 RED CROSS QUILT"
Date
1945
Materials
COTTON, WOOL
No. Pieces
1
Length
214
Width
168.5
Description
BLUE AND PINK QUILT WITH PATTERN OF 56 PINK DIAMONDS INTERLAID WITH BLUE DIAMONDS; PINK FABRIC DIAMONDS HAVE NAMES EMBROIDERED IN BLUE THREAD, LISTED BELOW. BLUE DIAMONDS HAVE AN EMBROIDERED FOUR PETAL DESIGN STITCHED IN FABRIC. QUILT HAS BLUE EMBROIDERED TEXT ON TWO CENTER DIAMONDS, “1945” AND “RED CROSS”. QUILT HAS FINISHED EDGES WITH PINK BORDERS. QUILT HAS FRAYING AND LOSS ON UPPER RIGHT EDGE; FABRIC AND EMBROIDERED TEXT IS FADED; QUILT HAS MINOR BROWN STAIN ON BACK AT LOWER EDGE; OVERALL VERY GOOD CONDITION. EMBROIDERED NAMES ON FRONT OF QUILT [ALPHABETICAL]: ANNAND, ASHMAN, BAILEY, BAKER, BARNES, BELL, BURNS, CARLSON, CARNELL, CHAMBERS, CHRISTIANSEN, CYNCH, DAYMON, DELANY, DEVEBER, DICKSON, DILATUSH, FALLON, FOSTER, GAIRNS, GIDDIE, GLADSTONE, GOBLE, GOING, GREGORY, HAGGLUND, HARRISON, HARWOOD, HATFIELD, HAUG, HINTON, HOLROYD, KEMMIS, KLOPPENBORG, MATKIN, MCEWEN, MCKENZIE, O’BRAY, PITTAWAY, PRESLEY, RACKETTE, REEVES, ROPER, SHERMAN, STEWART, STRATE, THOMAS, UDELL, WACHER, ZORN.
Subjects
ART
Historical Association
DECORATIVE ARTS
FURNISHINGS
History
THE WATERTON PARK RED CROSS QUILT WAS CREATED BY WATERTON FAMILIES DURING THE SECOND WORLD WAR AND WAS EMBROIDERED WITH THE SURNAMES OF WATERTON RESIDENTS LIVING IN THE PARK DURING THE HOMEFRONT PERIOD. THE QUILT FEATURES 50 NAMES EMBROIDERED ON THE SURFACE, ALL SURNAMES OF WATERTON FAMILIES IN THE COMMUNITY DURING WORLD WAR 2 ACCORDING TO BERT PITTAWAY IN A LETTER TO THE WATERTON NATURAL HISTORY ASSOCIATION. THE QUILT WAS PART OF A RED CROSS SOCIETY INITIATIVE THAT SAW GLOBAL AND CANADIAN COMMUNITIES CREATE QUITS FOR SENDING OVERSEAS AND FOR RAISING FUNDS FOR THE RED CROSS. ACCORDING TO ONLINE INFORMATION FROM HALIFAX WOMEN’S HISTORY [HTTP://HALIFAXWOMENSHISTORY.CA/CANADIAN-COMFORT-QUILTS] AND ACTIVE HISTORY [HTTP://ACTIVEHISTORY.CA/2017/07/RED-CROSSES-AND-WHITE-COTTON-MEMORY-AND-MEANING-IN-FIRST-WORLD-WAR-QUILTS/], RED CROSS QUILTS WERE COMMONLY CREATED BY CANADIAN COMMUNITIES AS CIVILIAN CONTRIBUTIONS TO WAR EFFORTS DURING BOTH WORLD WARS. THE QUILTS WERE SENT TO THE RED CROSS FOR DISTRIBUTION TO FAMILIES DISPLACED BY THE WAR OVERSEAS AND TO REFUGEES; QUILTS WERE ALSO RAFFLED PUBLICLY IN COMMUNITIES TO RAISE FUNDS FOR QUILTING GROUPS AND THE RED CROSS. THE WATERTON QUILT WAS RAFFLED IN 1945 AND WON BY MARY PITTAWAY OF WATERTON. BERT PITTAWAY DONATED THE QUILT TO THE WATERTON NATURAL HISTORY ASSOCIATION FOR DISPLAY AT THE WATERTON HERITAGE CENTRE IN THE 1980S, IN MEMORY OF BERT’S PARENTS MARY AND JOHN EDWARD PITTAWAY. JOHN EDWARD PITTAWAY, FATHER OF JACK, BERTRAM, AND DENNIS PITTAWAY, BEGAN HIS MILITARY CAREER AS AN ARMY TRUMPETER IN AN IRISH MILITIA UNIT. J.E. PITTAWAY JOINED THE REGULAR ARMY IN NOVEMBER 1893, SERVING IN WORLD WAR 1 AND WORLD WAR 2, IN WORLD WAR 2 ACHIEIVING THE RANK OF BATTERY SERGEANT MAJOR. J.E. PITTAWAY MOVED TO WATERTON IN 1927 FROM IRELAND. J.E. PITTAWAY WORKED FOR THE PARKS DEPARTMENT AS A GARDENER AND THEN AS A CAMPGROUND CARETAKER. J.E. PITTAWAY DIED MARCH 13, 1956, WITH HIS FINAL TRIBUTE IN CALGARY ON MARCH 17, 1956. ACCORDING TO THE PARKS CANADA WEBSITE ON WATERTON NATIONAL PARK, MEMORY OF THE WARS WERE “…INSCRIBED ON LANDFORMS IN PLACE NAMES…AND THE CELEBRATION OF PEACE WAS GIVEN SYMBOLIC FORM IN THE ESTABLISHMENT OF THE WORLD’S FIRST INTERNATIONAL PEACE PARK IN 1932.” WATERTON NATIONAL PARK FEATURES LAKES, RIDGES, AND PEAKS NAMED WITH REFERENCES TO THE WORLD WARS, INCLUDING AVION RIDGE, FESTUBERT MOUNTAIN, AND MOUNT ALDERSON. IN 2017, THE WATERTON NATURAL HISTORY ASSOCIATION DISSOLVED AND REPRESENTATIVES FROM WATERTON LAKES PARK FACILITATED THE TRANSFER OF THE COLLECTIONS TO OTHER INSTITUTIONS. THE 1945 WATERTON QUILT WAS DONATED TO THE GALT MUSEUM & ARCHIVES AS PART OF THE EFFORTS TO RE-HOME THE WATERTON NATURAL HISTORY ASSOCIATION’S COLLECTION. FOR MORE INFORMATION INCLUDING THE LETTER FROM BERT PITTAWAY, DONATION NOTES FROM THE WATERTON NATURAL HISTORY ASSOCIATION, INFORMATION FROM THE PARKS CANADA WEBSITE ON WATERTON LAKES PARK, AND NEWSPAPER CLIPPINGS ON THE PITTAWAY FAMILY, PLEASE SEE THE PERMANENT FILE P20170035000-GA.
Catalogue Number
P20170035000
Acquisition Date
2017-11
Collection
Museum
Images
Less detail
Other Name
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 INTERVIEWED 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
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
TEA TOWEL, LETHBRIDGE HANDICRAFT GUILD OF WEAVERS
Material Type
Artifact
Materials
COTTON
Catalogue Number
P20140037000
  1 image  
Material Type
Artifact
Other Name
TEA TOWEL, LETHBRIDGE HANDICRAFT GUILD OF WEAVERS
Date
2014
Materials
COTTON
No. Pieces
1
Length
82
Width
39
Description
PLAID, HANDWOVEN TEA TOWEL MADE UP OF VARIOUS PLAID PATTERNS. THE BASE THROUGHOUT THE TOWEL IS A SYMMETRICAL PATTERN OF BANDS (DARK BLUE, LIGHT BLUE, GREEN, YELLOW, ORANGE, RED, PINK, DARK PURPLE, AND LIGHT PURPLE). THERE IS A CARDBOARD TAG ATTACHED THAT READS, “LETHBRIDGE HANDICRAFT…” PRINTED IN BLACK INK AND “GALT TOWEL… GUILD WEAVERS” HANDWRITTEN IN BLUE INK. THE REVERSE OF THE CARD HAS CARE INSTRUCTIONS. THE TOWEL IS 82 CM BY 39 CM. EXCELLENT CONDITION. CREASED AT THE FOLDS.
Subjects
MAINTENANCE T&E
Historical Association
ASSOCIATIONS
COMMEMORATIVE
DOMESTIC
TRADES
History
AN EXHIBITION AT THE GALT MUSEUM AND ARCHIVES TITLED "WOVEN IN TIME: CELEBRATING 65 YEARS WITH LETHBRIDGE WEAVERS" WAS ORGANIZED BY GALT CURATOR WENDY AITKENS IN PARTNERSHIP WITH THE LETHBRIDGE HANDICRAFT GUILD OF WEAVERS. THE EXHIBITION RAN FROM JUNE 7 TO SEPTEMBER 1, 2014 AND DISPLAYED THE HISTORY OF THE GUILD WITHIN THE COMMUNITY SINCE ITS RE-ESTABLISHMENT IN 1949. THE EXHIBITION INCLUDED BOTH HERITAGE AND RECENT WEAVINGS, ARCHIVAL MATERIAL, DEMONSTRATION VIDEOS, AND WEAVERS WHO SAT AT A LOOM IN THE EXHIBIT CREATING 6 COTTON TEA TOWELS. OF THESE TOWELS, ONE WAS CHOSE FOR DONATION TO THE MUSEUM. THIS TEA TOWEL SHOWS SEVERAL DESIGNS CREATED BY THE WEAVERS WHO SAT AT THE LOOM IN THE EXHIBIT. IT WAS CREATED AS A WEAVING DEMONSTRATION WITH AT LEAST SEVEN WEAVERS DESIGNING THE PATTERN AND WORKING ON IT. THE FOLLOWING INFORMATION ABOUT THE LETHBRIDGE HANDICRAFT GUILD OF WEAVERS HAS BEEN TAKEN FROM TEXTS WRITTEN FOR THE EXHIBITION BY AITKENS: “IN THE PAST, FUNCTIONAL HOUSEHOLD ITEMS SUCH AS CLOTHING, BEDDING AND OTHER NECESSITIES WERE WOVEN BY HAND, ON HOMEMADE LOOMS. WITH THE INDUSTRIAL REVOLUTION, MASS PRODUCED WOVEN PRODUCTS EMPLOYED MANY PEOPLE IN FACTORIES MAKING THINGS THAT THEY WOULD HAVE MADE EARLIER AT HOME. AS TIME PASSED THERE WAS A GROWING FEAR THAT THE SKILLS AND KNOWLEDGE REQUIRED TO PRODUCE HANDMADE WOVEN ARTICLES WOULD BE LOST. CONSEQUENTLY, FOLLOWED MOVEMENTS IN BRITAIN, SEVERAL WOMEN IN MONTREAL FORMED THE CANADIAN HANDICRAFTS GUILD [CHG] IN 1905 TO PRESERVE THESE TRADITIONAL ART AND CRAFT SKILLS. … BY THE LATE 1800S, MEN AND WOMEN WERE RECOGNIZED FOR THEIR ADVANCED SKILL IN WEAVING, AND GUILDS WERE ESTABLISHED IN COMMUNITIES ACROSS CANADA, INCLUDING EDMONTON, VANCOUVER, AND WINNIPEG. GUILDS ALSO ENCOURAGED PRODUCTION OF FURNITURE, JEWELRY DESIGN, LEATHER AND IRON WORK, AS WELL AS OTHER ARTISTIC ENDEAVOURS. THE NATIONAL GUILD TRANSFERRED ITS ASSETS TO THE QUEBEC PROVINCIAL BRANCH OF THE CHG IN 1936. "THE LETHBRIDGE BRANCH OF THE CHG WAS FOUNDED IN 1935. IT WAS DISCONTINUED DURING WWII BECAUSE RED CROSS PROJECTS, WHICH SUPPORTED SOLDIERS OVERSEAS, WERE THE PRIORITY. AFTER THE WAR IN 1949, ELEVEN LOCAL WOMEN REBUILT THE CHG AND OFFERED COURSES IN NEEDLEWORK, LEATHERWORK, COPPER TOOLING, GLOVE MAKING, POTTERY, ALUMINUM ETCHING, AND OTHER CRAFTS INCLUDING, IN 1951, WEAVING. MEETINGS AND CLASSES WERE HELD IN THE CANADIAN WESTERN NATURAL GAS COMPANY BUILDING [420 – 6 ST. S] AND THE RED CROSS ROOMS [1160 – 7 AVE S] UNTIL 1964 WHEN THE GUILD MOVED TO THE BOWMAN ARTS CENTRE [811 – 5 AVE. S]. “SINCE 1951, WHEN WEAVING BECAME A POPULAR ACTIVITY IN THE LETHBRIDGE HANDICRAFT GUILD, MEMBERS PRACTICED THEIR ART, TAUGHT OTHERS HOW TO WEAVE, AND SHARED THEIR PIECES WITH THE PUBLIC THROUGH SHOWS AND SALES. INITIALLY, 16 BOX LOOMS WERE PURCHASED FROM EATON’S FOR EVERYONE TO USE. IN 1954, GUILD MEMBERS SAVED LABELS FROM SOUP CANS AND WHEN THEY TURNED THEIR LABELS IN TO THE CAMPBELL COMPANY THEY RECEIVED $165 TO PURCHASE A FLOOR LOOM. TODAY, THE GUILD OWNS MANY LOOMS OF VARYING SIZES. "THE LETHBRIDGE GUILD HAS ALWAYS OPERATED AS A CO-OPERATIVE. ALL THE LOOMS ARE OWNED BY THE GUILD AND THEY ARE SET UP WITH A COMMON WARP (THE LONG THREADS ON THE LOOM) FOR ALL MEMBERS TO USE. GUILD MEMBERS WORK TOGETHER TO PLAN GROUP PROJECTS SUCH AS A FRIENDSHIP BED COVERLET, TEA TOWELS AND PLACE MATS. MEMBERS USE TRADITIONAL FIBRES SUCH AS COTTON, LINEN AND WOOL BUT THEY ALSO EXPERIMENT WITH YARNS MADE FROM YAK, DOG AND POSSUM HAIR. THEY ALSO USED RIBBONS, ZIPPERS AND VHS TAPES TO CREATE IMAGINATIVE WORKS OF ART. "IN THE EARLY 2000S, GUILD MEMBERS ASKED CITY COUNCIL FOR PERMISSION TO DEVELOP AN OFFICIAL TARTAN FOR LETHBRIDGE. MONTHS OF WEAVING SAMPLES, CHOOSING THE PERFECT PATTERN, AND GETTING COUNCIL APPROVAL RESULTED IN A SPECTACULAR TARTAN WHICH WAS UNIQUE IN THE WORLD. THE TARTAN WAS OFFICIALLY CERTIFIED BY THE SCOTTISH TARTAN SOCIETY. "KNOWLEDGEABLE LOCAL WEAVERS TAUGHT ADULTS AND CHILDREN THE ART OF WEAVING, SPINNING, AND DYING. MASTER WEAVERS FROM OUTSIDE LETHBRIDGE HAVE BEEN BROUGHT IN TO EXPAND THE TECHNIQUES AND STYLES OF GUILD MEMBERS. THE GUILD RECEIVED INTERNATIONAL RECOGNITION FROM INTERWEAVE PRESS WHEN IT WON THE FIBERHEARTS AWARD IN 2005 FOR ITS UNIQUE MENTORSHIP PROGRAM. THE $500 RECEIVED WITH THE AWARD ALLOWED NOVICE WEAVERS TO LEARN FROM EXPERIENCED WEAVERS.” PLEASE SEE PERMANENT FILE FOR MORE INFORMATION.
Catalogue Number
P20140037000
Acquisition Date
2014-09
Collection
Museum
Images
Less detail

7 records – page 1 of 1.